#Apply Transcripts from DU

[varsity-sportsbeing]

Okay, I have ventured into the podcast bro realm for a Pierre-Luc Dubois (link - Empty Netters EP 53) and returned alive to summarize. Someone’s got to do it. Here is a list of things that seemed interesting to me! I’m also working on transcribing a few longer bits.

Name lore: PL to friends and family, about five hockey bro variations of Dubie, and

Torts decided to call him Luc. Because “PL” was too complicated. No one else calls him that! Yike!

Off days in Winnipeg he hung out at an Italian grocery store and coffee shop. What a vibe.

Referenced “red boots that broke the internet” on a tangent. Apparently more fashion knowledgeable than me 🤷 I had to google that shit

DJ guy in the locker room a lot of the time, but not a huge fan of the responsibility. He cares a lot about music and likes French rap in particular.

Mentioned sewerball being dangerous for rookies and he did not participate his first year in Columbus. Context for the Sharks?

Oh they are so excited about the LA deal for him. And hindsight is 20/20 but he seems much more tempered about it. Subjectively it’s like he’s saying “they made me an offer I couldn’t refuse” and they are like “isn’t it so great when you just have that perfect clarity that something is the right choice?” He’s clearly in for serious tho - talked about renting while buying/building a house (which in LA is gonna take years for sure)

Ok this is the funniest one. He has an alter ego of sorts. If he does not want to interact with someone who’s maybe recognizing him he’ll say his name is Enzo. Enzo who works in cybersecurity.

Apparently Byfield is a great guy but a total liar

Selected short transcripts below the cut.

Disclaimer: this is my first time transcribing anything, so feedback is welcome. I started from the generated transcript. I had a difficult time telling the two hosts apart by voice, so I just went with referring to them collectively most of the time, and when I felt it was important, by either left [L] or right [R]. If you are a big fan of these guys, I am sorry. I also cut out a lot of "yeah yeah" interjections for clarity.

Podcast link

Nickname Discussion: 12:31

Hosts: Alright, we're officially welcoming Gretzky Cup gold medalist, World Junior silver medalist, the Paul Dumont Trophy winner, the Mike bossy Trophy winner, 2022 World Championship All-Star, and the third overall pick of the 2016 NHL draft Pierre-Luc Dubois. Welcome to the empty netters podcast.

PLD: Thanks for having me

Hosts: it's just a long time coming dude. Exciting exciting stuff. I'm very very happy about it dude. When we met - when you first got here for media day, or you know, the Kings media day and everything, I heard one of the reporters was like, "What should we call you?" and you're like, "PL is good," so I call you PL. But I'm curious, like dude, what is - I want the scope of what people call you. What do your boys at home call you, what are the guys in locker room calling you, what does your mother call you? Because we have a funny sphere of people who know you, and everyone refers to you as something different.

PLD: Yeah I have a lot of nicknames.

Host: Yeah you do.

PLD: I don't even know where to start. I got Dubie.

Hosts: Yeah which is sick. That is a sick nickname.

PLD: That was my dad's nickname when he played. Because my dad played um, in the AHL and IHL so, that was his nickname. So it kind of started because of that. Then I have Dubes because I don't know why. Honestly I don't remember that one. Duber is my Instagram. That doesn't really apply. Nobody really calls me Duber. I have PL which is like what my family and close friends call me. But then I got to Columbus, and Torts said PL was too complicated; too long. So he changed it to Luc. [Host: It's two letters!] So I also had Luc. Yeah that's what I said! I was like complicated? Long? It's two letters! He's like nah, it's - it's Luc. I was like alright. So he would call me Luc; nobody else calls me Luc. Ummm [counting on fingers]- Dooby, Dubes, Duber, Luc, PL and then uh here - like my - when I was younger - you ever watch Even Stevens?

Hosts: oh my God yeah okay

PLD: So yeah my cousins who are older than me and my sister when I was annoying they call me "Beans."

Hosts: no no dude

PLD: And I love, I love Beans. Yeah I think it's hilarious. So a few - that's like, that's come up in the past. But yeah, so I'd say those five or whatever. Pierre-Luc when I was in trouble. Yeah I never want to hear that one

Winnipeg Down time 42:37-43:28

Host[L]: What was your go-to off day in Winnipeg?

PLD: There's this place uh, actually- I love this place, Italian grocery store called Deluca's.

Hosts: okay fuck yeah, okay

PLD: Good pizza, great coffee, the people are phenomenal, great food. So I'd go there even if I didn't have to do groceries. I'd just go there and have a coffee.

Host[L]: Yeah, is it Italian family owned and run?

PLD: Yeah

Host[L]:Yeah those are the best man

PLD: Great people. So I'd like to say thank you, because I was there a lot. You know, I'd often stop by my parents, go say hi. There's this place called The Forks - another good coffee - I love coffee, so yeah, spent a decent amount there. And then at the end of the year, we found a golf simulator we spent a decent amount of time at. So yeah, I'd say those things. Then I played a decent amount of video games too

Host[L]: So what's the go to? Actually, before we even say it - I am assuming you're a FIFA guy?

PLD: Yeah

Host[L]: Are you also a formula one guy?

PLD: yeah

[Editor's note: I am not a formula one guy but I know there's enough overlap between hockey and formula one fandoms that I figured I ought to include it. They talk a bit more about the video game after this]

Red shoes thing 45:45-46:11

[On screen they have a giant ~3ft slide from a sponsor. They do an ad for the brand.] Hosts: For everyone watching I hope you can see this incredible slide sandal. We don't have to do this, but it's amazing. It's a sick slide. You're uh, you're getting a pair of these - really it's not that size. You should-

PLD: Yeah, it's like a dog bed.

Hosts: Yeah, dude, you see all these NBA guys showing up to games in crazy fits? If you showed up in two of these, you break the internet. It'd break the internet.

PLD: Yeah, it's like the red boots, that broke the internet, same thing, yeah

Locker room DJ & Sewerball 46:35-47:35

PLD: I was forced to be DJ in Columbus.

Hosts: oh wow young

PLD: Yeah, too young. I wasn't ready.

Hosts: That is aggressive. Huge responsibility. How much French hip-hop did you shove down their throats?

PLD: I got chirped too bad so I stopped. But - ah, me, I'd always sit in the dressing room because my first year, I didn't play sewerball. Because as a rookie playing sewerball is tough.

Hosts: yeah yeah, dangerous.

PLD: Yeah, it's also dangerous. So I just stay in the dressing room, tape my sticks, and so would Panarin. And I played a Russian song for him. He loved it, didn't say anything. So I played a French song to see how he'd feel about it - didn't say anything. So I was like okay we're onto something here. So I played my French rap when everybody'd be gone. And then when he left, Bjorkstrand would be that guy, so I'd play some Danish rap for him and then I'd play my French stuff. But yeah, when I got put in that position, I wasn't ready for it. It was stressful. A lot a lot of sleepless nights, shuffling through the playlists, being like, "I gotta get this one out. I didn't like the reaction from anybody."

Enzo 1:30:30

PLD: Enzo - okay funny story. That's like my name when I go somewhere and somebody recognized me and I don't want to talk.

Hosts: Oh you just go like this - I'm Enzo. I'm not Pierre.

PLD: I say, "People tell that - people say that to me all the time." But I'm Enzo.

Hosts: oh my God that's

PLD: So at like Starbucks -

Hosts: So you have like a secret personality. When someone asks for your name, you say Enzo.

PLD: Yeah like Starbucks - Enzo. Because like, also Pierre-Luc - like, nobody gets. In English-speaking places, nobody gets it. So I just say Enzo because everybody gets that. But yeah, so uh Enzo is that name.

Hosts[L]: Having a Alter Ego when you don't want to be recognized might be the greatest.

Host[R]: Like, "Oh everyone thinks, I'm everyone thinks I'm Pierre-Luc."

Host[L]: I'm so glad I asked about that

PLD: And when somebody says - hey are you Pierre-Luc?

Host: -I look just like him, I get that all the time. Like I know, I know doppelganger.

PLD: I have no idea who this guy is but like whatever.

Hosts: Have you ever come into a circumstance where you pull that move, and someone's like bullshit, dude I know it's you?

PLD: Yeah in uh, we were in Dallas, it's after a game. I went downstairs to get my food, because I ordered food at the hotel. Then um, I had to go get it at the bar, and it wasn't ready. So I was like, hey I'll have a beer here. And these four guys next to me, they're like, "We saw you play tonight." I was like, "No idea what you're talking about." Then like, "Yeah, we saw you play. Pierre-Luc Dubois, you're Pierre-Luc Dubois, yeah right." It's like, "No I'm Enzo." like, "Where do you work? it's like, "Uh, cyber security." Yeah like, "What company?" "Fieldman Pelts," and they're like, "oh oh okay." And I came back to my room, and I thought, I was like, that was perfect. Because they had no idea about cyber security. They had no idea what questions to ask.

[cutepg]

Master CUET PG Life Science 2026: Syllabus, Question Papers, Eligibility, Application & Expert Preparation Strategy

Are you aspiring to crack CUET PG Life Science 2026 and get into top central universities like DU, BHU, JNU, or Hyderabad University?

This blog is your complete, SEO-optimized guide to everything you need for success in CUET PG Life Science. From the CUET PG 2026 Life Science syllabus to question paper insights, eligibility, application process, and preparation strategy, we’ve got it all covered.

 What is CUET PG Life Science?

CUET PG Life Science is a national-level entrance exam conducted by NTA for admission to postgraduate programs in Life Sciences and its allied fields such as Botany, Zoology, Biotechnology, Biochemistry, and Microbiology.

If you’re aiming for a career in research, academia, or biotechnology, this exam is your stepping stone. But to crack it, you must understand the exam structure and plan strategically.

 CUET PG 2026 Life Science Syllabus

One of the most searched and essential aspects is the CUET PG 2026 Life Science syllabus. NTA focuses on core UG-level concepts. Here’s a subject-wise breakdown:

Core Topics to Study:

Cell Biology – Organelles, membrane dynamics, cell cycle, signaling

Molecular Biology – DNA replication, transcription, translation, gene regulation

Biochemistry – Enzymes, metabolism, bioenergetics

Genetics – Mendelian laws, genetic mapping, mutation, gene interaction

Ecology – Ecosystem, population, biodiversity, energy flow

Evolution – Theories, natural selection, molecular evolution

Plant and Animal Physiology – Transport, hormones, systems (digestive, circulatory)

Immunology – Antigens, antibodies, immune response

Developmental Biology – Fertilization, organogenesis, pattern formation

Biotechnology – Cloning, PCR, vectors, gene therapy

Techniques – Microscopy, spectroscopy, chromatography

 Download the full CUET PG 2026 Life Science syllabus PDF from nta.ac.in or get printed study material from IFAS Online.

 CUET PG Life Science Question Paper

Practicing past papers is key to scoring well.

The CUET PG Life Science question paper consists of:

Section A (General): 25 questions on Quant, Reasoning, GK, English

Section B (Subject): 75 domain-specific Life Science questions

💡 Pattern Highlights:

Total questions: 100

Total marks: 400

Each correct answer: +4

Each wrong answer: -1 (Negative marking)

��� Download previous year CUET PG Life Science question papers (2014–2024) with detailed solutions from IFAS Online Use them for timed practice, topic analysis, and identifying weak areas.

CUET PG Eligibility 2026

Understanding the CUET PG Eligibility 2026 criteria is crucial before applying.

 Educational Qualification:

Bachelor’s degree in Life Science or related streams (Botany, Zoology, Microbiology, Biotech, etc.)

Final-year UG students are also eligible (provisional admission until graduation result)

Minimum Marks:

General / Unreserved – 50%

SC/ST/OBC/EWS/PwD – 45% (varies by institution)

Age Limit:

No upper age limit for CUET PG 2026.

🔎 Pro Tip: Each university might have specific criteria. Check university-wise CUET PG eligibility on their official websites or contact IFAS counselors.

CUET PG Application Form 2026

Applying on time is critical. The CUET PG Application Form 2026 is expected to be released in March 2026.

Step-by-Step Guide:

Visit cuet.nta.nic.in

Click on “PG Registration 2026”

Fill in your personal, academic, and contact details

Upload documents: Photo, Signature, ID Proof

Pay fee online (via UPI, card, net banking)

Submit and download the confirmation page

 Application Fee (Tentative):

General: ₹1000

OBC/EWS: ₹800

SC/ST/PwD: ₹600

Set a reminder for March 2026 so you don’t miss the deadline.

 CUET PG Preparation Strategy (Life Science)

Now let’s talk about the most important part — how to prepare effectively.

Here’s a tried and tested CUET PG Preparation Strategy designed by IFAS experts:

1.  Create a Month-Wise Study Plan

Start from the CUET PG 2026 Life Science syllabus and break it into weekly targets:

Month 1–3: Concept Building

Month 4–5: Problem Solving & MCQs

Month 6–7: Full-Length Tests & Revision

2.  Use Trusted Study Material

Avoid random books. Stick to:

IFAS Life Science Study Modules

NCERT (11th & 12th Biology)

Lininger (Biochemistry), Alberts (Cell), Taiz & Zeiger (Plant Physiology)

3.  Practice Past Year CUET PG Life Science Question Papers

Solve 5 years of papers to understand trends. Focus on:

Topic-wise weightage

Frequently asked MCQs

Speed and accuracy

4. Take Full-Length Mock Tests

Join the IFAS CUET PG Test Series to:

Simulate real exam conditions

Improve time management

Get performance analysis

5. Join IFAS Online Coaching

Get guidance from India’s top faculty for CUET PG Life Science:

Live & recorded video lectures

24/7 doubt-solving

Weekly assessments

Interview prep for universities like JNU, BHU

Why Choose IFAS for CUET PG Life Science?

✔️ India’s No. 1 CUET PG Coaching

🧑‍🏫 Expert faculty from IITs, IISc, CSIR NET

📦 Printed study material + PDFs

🧪 Test Series with live performance tracking

📞 One-on-one doubt support

 Over 10,000+ selections in CUET PG Life Science courses across India.

[visatips]

 Visa Documentation Guidelines | Step-by-Step Guide for Hassle-Free Approval

Introduction to Visa Documentation Guidelines

Applying for a visa can be a confusing process, especially when it comes to gathering and submitting the correct visa documentation. Whether you're planning to travel for tourism, education, work, or family reunification, every visa type requires specific documents that must be accurate, complete, and up to date. This article will walk you through essential visa documentation guidelines, helping you avoid delays or rejections.

Why Visa Documentation Is So Important

Visa officers rely heavily on your submitted documents to make a decision. Visa documentation is the backbone of your application — it's how you prove your intent, financial ability, and eligibility to enter another country. Missing or incorrect documents are among the top reasons for visa refusals worldwide.

Common Types of Visa and Their Documentation Needs

Each type of visa comes with unique documentation requirements. Here’s a breakdown of the most common categories:

1. Tourist Visa

Valid Passport

Recent passport-sized photographs

Proof of accommodation

Round-trip flight itinerary

Financial proof (bank statements, ITRs)

Travel insurance

2. Student Visa

Visa application form

Valid passport

Acceptance letter from the university

Proof of tuition fee payment

Academic transcripts

Statement of Purpose (SOP)

Proof of funds

3. Work Visa

Employment offer letter

Valid passport

Educational qualifications

Work experience letters

Proof of sponsorship or employer documents

4. Business Visa

Invitation letter from a business partner

Valid passport

Proof of business activities

Financial records

Itinerary for the business trip

Each of these categories has overlapping requirements, but it's essential to tailor your visa documentation to the specific visa type.

Key Visa Documentation Guidelines to Follow

Here are essential rules that apply to visa documentation across all categories:

1. Always Use Original Documents

Where possible, provide original documents or certified copies. Fake or tampered documents can lead to permanent bans.

2. Translate Non-English Documents

If your documents are in a language other than English, certified translations are usually mandatory. Failure to translate can delay the application.

3. Organize and Label Your Documents

An organized file helps visa officers find what they need quickly. Group documents by category (financials, identity, accommodation, etc.).

4. Consistency is Key

Ensure that the information in all your documents (name, date of birth, address) is consistent across the board.

Proof of Financial Means: What Counts?

A major component of visa documentation is showing that you can support yourself during your stay. Here are commonly accepted proofs:

Recent bank statements (3-6 months)

Income Tax Returns (ITRs)

Fixed deposits or mutual funds

Sponsorship letters with supporting documents

Make sure your account has sufficient balance to cover the trip; otherwise, your visa might get rejected.

Photograph Specifications in Visa Documentation

Incorrect photo specifications are one of the most common mistakes applicants make. Check the embassy website for country-specific requirements, but in general:

White background

Size: 35mm x 45mm (some countries vary)

Neutral expression, no shadows

Recent (taken within the last 6 months)

Follow these visa documentation guidelines precisely to avoid processing delays.

Additional Supporting Documents That Strengthen Your Case

Besides mandatory documents, adding extra supporting documents can improve your application’s chances:

Travel history (old passports with visas and stamps)

Proof of family ties (birth or marriage certificates)

Property ownership papers

Return flight bookings

Cover letter explaining the purpose of your trip

These documents build credibility and show strong ties to your home country — reducing the risk of being considered an overstay risk.

Tips to Avoid Visa Rejection Due to Poor Documentation

Even small errors in visa documentation can lead to denial. Here are tips to ensure your application is airtight:

Double-check every form and document for accuracy

Keep multiple copies of all documents

Submit well before the deadline

Attach a clear cover letter that summarizes your application

Don't hide any details — honesty is crucial

Country-Specific Visa Documentation Guidelines

Each country has its own requirements. Here are examples of specific differences:

USA Visa

DS-160 confirmation page

SEVIS receipt (for student visas)

Employment confirmation (for work visas)

UK Visa

Tuberculosis test report (for long stays)

Academic Technology Approval Scheme (ATAS) certificate (for certain courses)

Proof of English proficiency (IELTS or equivalent)

Canada Visa

Biometrics

Proof of ties to home country

Upfront medical exam (in some cases)

Researching country-specific visa documentation guidelines is vital for a successful outcome.

The Role of Visa Consultants in Documentation

If you’re unsure about any part of the process, visa consultants can help. They:

Provide customized documentation checklists

Assist in filling out complex forms

Offer updates on current visa policies

Increase the likelihood of approval by ensuring completeness

Hiring a consultant is optional but highly recommended for complex or high-stake visa applications.

Conclusion

Understanding and following proper visa documentation guidelines is the key to a successful visa application. It’s not just about submitting papers; it’s about presenting a well-organized, truthful, and complete profile that convinces the visa officer of your credibility. Take your time to research, prepare, and double-check every document. Whether you’re traveling for leisure, work, or study, solid documentation can make the journey much smoother.

[bestlawcollege]

LLB Institutes in Delhi Offering the Best Legal Education

Legal education is one of the cornerstones of a democratic society. Delhi, the capital of India, has emerged as a hub for quality law education, attracting students from across the country. From government-funded institutions to private law colleges, Delhi offers a variety of options for pursuing an LLB degree. This article explores the best LLB institutes in Delhi, including eligibility, admission, infrastructure, career prospects, and more.

Top LLB Colleges in Delhi for Legal Studies

Delhi is home to some of the most prestigious law colleges in India. These institutions are known for their academic excellence, experienced faculty, and strong alumni networks. Choosing the right college can set the tone for a successful legal career.

Highlights of Top Law Colleges:

Faculty of Law, University of Delhi (DU) – A premier institution with decades of legacy.

National Law University (NLU), Delhi – Offers specialized legal education with national-level recognition.

Amity Law School – Known for its modern infrastructure and global exposure.

Jamia Millia Islamia – Faculty of Law – Offers inclusive and affordable legal education.

Key Features:

Excellent academic curriculum

Moot court practices and competitions

Legal aid clinics and community outreach

Exposure to national and international legal platforms

Government Law Colleges in Delhi with LLB Programs

Government law colleges often offer quality education at a significantly lower cost, making legal studies more accessible. These colleges are affiliated with reputed universities and approved by regulatory authorities.

Notable Government Law Colleges:

Faculty of Law, University of Delhi

Campus Law Centre (CLC), DU

Law Centre-I and Law Centre-II under DU

Why Choose Government Colleges?

Affordable tuition fees

Highly qualified faculty

Extensive library and research resources

Strong placement assistance

These colleges are ideal for students seeking llb colleges in Delhi NCR with value-for-money education.

Private LLB Institutes in Delhi with High Placement Rates

Private LLB colleges in Delhi have made a mark by offering advanced infrastructure, practical exposure, and strong industry connections. Some of these institutes provide top-tier legal education and consistently achieve high placement rates.

Top Private Law Colleges in Delhi:

CPJ Institute of Management & Technology – Offers quality legal education with modern teaching methodology and industry partnerships.

Amity Law School, Noida

Jindal Global Law School, Sonipat

Advantages:

Industry-driven curriculum

Internship and recruitment tie-ups with law firms

Emphasis on skill development and soft skills

Personalized mentorship programs

These features make private colleges attractive options for legal aspirants.

Eligibility Criteria for LLB Admission in Delhi Colleges

Understanding the eligibility requirements is crucial before applying for an LLB program. While criteria may vary slightly among institutions, most follow a similar pattern.

Common Eligibility Standards:

For 3-Year LLB: Bachelor’s degree with a minimum of 45% marks (general category), 40% for SC/ST

For 5-Year Integrated LLB: Completion of 10+2 with at least 45% marks

Age limit: No upper age limit as per Bar Council of India norms (subject to institution-specific rules)

Candidates must check individual college websites for specific eligibility details.

This information is essential before selecting a Top llb Colleges in Delhi.

Admission Process for LLB Courses in Delhi NCR

Admissions to LLB courses in Delhi generally follow merit-based or entrance exam-based processes. Various national and university-level entrance exams are conducted each year.

Key Admission Methods:

Entrance Tests like CLAT, AILET, DU LLB

Merit-Based Admissions based on academic scores

Direct Admissions in select private colleges

Documents Required:

Academic transcripts

Entrance exam scorecard (if applicable)

Identity proof and photographs

Caste/Income certificate (if applicable)

Students interested in pursuing an llb course in Delhi must prepare accordingly and stay updated with official notifications.

Best 5-Year Integrated LLB Programs in Delhi

The 5-year integrated LLB program is a preferred choice for students right after completing high school. It combines a bachelor's degree (like B.A., BBA, B.Com) with an LLB.

Popular Integrated Programs:

B.A. LL.B.

BBA LL.B.

B.Com LL.B.

Institutes Offering These Programs:

National Law University, Delhi

Amity Law School, Noida

CPJ Institute of Management & Technology

Benefits:

Saves one academic year

Strong foundational legal and interdisciplinary knowledge

Better internship and career opportunities

Faculty and Infrastructure at Delhi’s Leading LLB Institutes

The quality of faculty and infrastructure plays a vital role in shaping a student's academic journey. Delhi’s top law colleges focus on both traditional and modern approaches to legal education.

What to Expect:

Experienced professors with Ph.D. and industry exposure

Smart classrooms and digital libraries

Moot courtrooms for practical training

Student clubs, debate societies, and legal aid clinics

Institutions like CPJ Institute of Management & Technology are known for blending classroom learning with practical exposure.

Law Colleges in Delhi Approved by the Bar Council of India

The Bar Council of India (BCI) regulates legal education in India. Only BCI-approved law colleges can confer degrees that allow graduates to enroll as advocates.

BCI-Approved Colleges in Delhi Include:

Faculty of Law, DU

National Law University, Delhi

Jamia Millia Islamia, Delhi

CPJ Institute of Management & Technology

Always check the BCI approval status before applying to ensure the degree is valid for legal practice in India.

LLB Entrance Exams Accepted by Delhi Institutes

Entrance exams are a key step in the law admission journey. Different colleges accept different entrance tests depending on their affiliation and type.

Commonly Accepted Exams:

CLAT – For NLU Delhi and other NLUs

AILET – Conducted by NLU Delhi

DU LLB Entrance – For Faculty of Law, DU

LSAT India – For private law colleges like Jindal Global Law School

Understanding the required exam is crucial before applying.

Internship and Career Opportunities for LLB Students in Delhi

Delhi offers unmatched career opportunities for law graduates due to its proximity to the Supreme Court, High Court, and central government offices.

Career Paths Include:

Legal Advisor in MNCs

Corporate Law Firms

Litigation in Courts

Legal Journalism

Academics and Research

Internship Opportunities:

Supreme Court and High Court internships

Legal aid organizations and NGOs

Corporate in-house legal teams

Law firms like Khaitan & Co., AZB & Partners

Students from top colleges often secure pre-placement offers during internships, setting the path for a rewarding career.

FAQs – Frequently Asked Questions

1. What is the average fee for an LLB course in Delhi? Fees vary from ₹10,000/year in government colleges to ₹2–3 lakhs/year in private institutions.

2. Is CLAT mandatory for all LLB admissions in Delhi? No, CLAT is mainly required for NLUs. DU LLB, AILET, and LSAT are other common exams.

3. Are internships mandatory during the LLB course? Yes, most colleges include internships as a compulsory part of the curriculum.

4. Can I pursue LLB after completing a B.Com degree? Yes, you can enroll in a 3-year LLB program after any bachelor's degree.

5. Is CPJ Institute of Management & Technology a good college for law? Yes, it offers quality legal education, industry exposure, and excellent student support.

Conclusion

Delhi stands out as one of India’s leading cities for legal education, offering a blend of affordability, academic excellence, and exposure to real-world legal systems. Whether you aim for a government college like DU or a private institution like CPJ Institute of Management & Technology, there's no shortage of excellent options. With the right preparation and guidance, you can embark on a fulfilling legal career from one of the Top LLB Colleges in Delhi.

[aman44455]

Master of Arts (MA) – Course Details, Eligibility, Admission, Syllabus & Career

A Master of Arts (MA) is a two-year, full-time postgraduate degree that opens doors for specialization in humanities and social sciences subjects. Ideal for those looking to dive deeper into a particular field of study, the MA degree is highly respected across academic, content, and research domains.

Whether you have a passion for languages, social studies, or education, the MA offers a comprehensive learning experience. Candidates who have completed their Bachelor of Arts (BA) or an equivalent undergraduate degree can pursue this postgraduate course.

The University Grants Commission (UGC) recognizes the MA program and offers it across numerous specializations, such as English, Hindi, History, Sociology, Economics, Geography, and more.

Let’s walk through everything you need to know about the MA course.

Table of Contents

MA Course Highlights

Eligibility Criteria

Entrance Exams for MA

Admission Process

Top MA Colleges in India

Fee Structure

MA Syllabus (Subject-wise Overview)

Career Opportunities After MA

Average Salary

Top Recruiters

Conclusion

FAQs

MA Course Highlights

Full Form: Master of Arts

Duration: 2 Years

Course Type: Postgraduate Degree

Eligibility: Bachelor’s degree with a minimum of 50% (varies by college)

Admission Basis: Merit-based and Entrance-based

Popular Entrance Exam: CUET PG

Top Colleges: DU, BHU, JNU, JMI, St. Xavier’s, TISS, Presidency University, etc.

Fee Range: INR 10,000 to INR 3,00,000

Popular Specializations: English, Hindi, Political Science, History, Education, Economics, Geography, Psychology, Sociology

Job Roles: Lecturer, Content Writer, Researcher, Social Worker, Counsellor, Translator

Average Salary: INR 2.5 – 3 LPA

Highest Salary: INR 7 – 8 LPA

Eligibility Criteria for MA

Eligibility may vary across universities and specializations, but the general criteria include:

A Bachelor's degree in any stream from a recognized university.

A minimum of 50% marks in the undergraduate program (relaxation for reserved categories).

For subjects like Psychology or Geography, a background in the same field may be preferred.

Entrance Exams for MA

To get admission into prestigious universities, candidates often need to appear for entrance exams. The most popular one is:

CUET PG (Common University Entrance Test – PG): Conducted by the National Testing Agency (NTA), CUET PG is the key to MA admissions in central and several state universities. It includes 100 objective questions based on subject knowledge and aptitude.

Application Month: January

Exam Month: March

Other institution-specific exams:

JNUEE (Jawaharlal Nehru University)

DUET (Delhi University)

TISS-NET (Tata Institute of Social Sciences)

Admission Process

There are two major ways to gain admission:

1. Merit-Based Admission

Apply directly through the university’s website.

Upload necessary documents and academic transcripts.

Attend interviews or counselling rounds (if required).

Pay the semester fee and confirm your seat.

2. Entrance-Based Admission

Register for the entrance exam (e.g., CUET PG).

Appear and score well in the test.

Participate in centralized counselling or interviews.

Secure admission and submit all academic documents.

Top MA Colleges in India

Here are some of the most reputed institutions in India that offer MA programs across various specializations:

University of Delhi, located in New Delhi, is one of the top public universities known for its strong faculty and a wide range of MA specializations.

Banaras Hindu University (BHU) in Varanasi, Uttar Pradesh, is a prestigious central university offering MA courses in languages, social sciences, and humanities.

Jawaharlal Nehru University (JNU), based in New Delhi, is highly regarded for its MA programs in Political Science, International Relations, and Area Studies.

St. Xavier’s College, with campuses in both Mumbai and Kolkata, offers quality postgraduate education in arts subjects with a strong academic environment.

Loyola College, located in Chennai, is known for its vibrant arts department and holistic academic approach to MA programs.

Presidency College, also in Chennai, has a long-standing reputation for excellence in humanities and social sciences.

Jamia Millia Islamia, situated in New Delhi, is a central university offering MA programs across a diverse range of disciplines.

Tata Institute of Social Sciences (TISS), Mumbai, is renowned for its specialized MA programs in Social Work, Development Studies, and Human Resources.

Madras Christian College, based in Chennai, provides a strong liberal arts education and offers MA courses with a focus on both academics and extracurricular development.

St. Stephen’s College, part of Delhi University, is one of India’s most selective and respected colleges for humanities and liberal arts.

Read More: Visit our detailed guide on the MA Course

Fee Structure

The fee for an MA program varies depending on the type of institution. Government colleges usually offer the course at a much more affordable rate, with the total fee ranging between ₹10,000 to ₹50,000 for the entire two-year program. On the other hand, private colleges may charge anywhere between ₹1 lakh to ₹3 lakhs.

It’s also important to note that the cost of the course can vary by subject. MA programs in theoretical subjects such as English or Hindi are generally less expensive, whereas practical or field-based subjects like Geography or Psychology may involve higher fees due to lab work, field visits, or technical requirements.

MA Syllabus Overview

The syllabus depends on the chosen specialization. Here’s a subject-wise glimpse:

MA in English

Literary Theory and Criticism

British & American Literature

Indian English Literature

Poetry, Drama, and Fiction Studies

Research Methodology

MA in Hindi

History of Hindi Literature

Medieval & Modern Poetry

Hindi Prose & Drama

Language & Translation Studies

Media and Hindi Literature

MA in History

Indian History (Ancient to Modern)

World Civilizations

Cultural and Social Histories

Indian National Movement

Historiography

MA in Geography

Geomorphology, Climatology

Economic & Social Geography

Cartography, GIS, Remote Sensing

Population & Urban Planning

Regional Development

Each semester includes electives, project work, and dissertations for deeper research.

Career Opportunities After MA

An MA degree can open up rewarding careers in multiple domains:

Academia: Assistant Professor, Tutor, Researcher

Writing & Media: Content Writer, Author, Journalist, Copy Editor

Social Sector: Psychologist, Social Worker, Counsellor

Language Services: Translator, Interpreter, Language Trainer

Civil Services: UPSC aspirants often pursue MA to gain subject expertise

Average Salary of MA Graduates

After completing an MA degree, graduates can pursue a variety of career paths across education, writing, psychology, and social development. Here is a breakdown of average salary ranges for some common job roles:

Teacher: The average salary for an MA graduate working as a teacher ranges from ₹5 to ₹5.5 lakhs per annum.

Content Writer: Those opting for content creation and writing roles can expect an average salary between ₹5 to ₹6 lakhs per annum.

Psychologist: This role generally offers one of the highest salaries for MA graduates, ranging from ₹7 to ₹8 lakhs per annum.

Social Worker: MA graduates working in the social sector can earn between ₹6 to ₹6.5 lakhs per annum.

Language Expert: Professionals in this domain typically earn between ₹4 to ₹5 lakhs per annum, depending on their expertise and employer.

Top Recruiters of MA Graduates

Government & Private Colleges

NGOs and Social Welfare Organizations

Media Houses & Publishing Firms

Language Schools

EdTech Companies

Government Departments

E-commerce Platforms

Research Institutions

Conclusion

If you are passionate about a subject and want to gain in-depth knowledge, the MA degree is the right choice for you. It not only builds strong theoretical foundations but also develops analytical and communication skills needed in various professional fields. Whether you aim to enter teaching, research, media, or public service, an MA can be a solid stepping stone to success.

You can also pursue further studies like MPhil or Ph.D. to specialize further and enter the academic or research field.

FAQs about MA

Q1: What is the full form of MA? Ans: MA stands for Master of Arts.

Q2: What is the eligibility for MA? Ans: A Bachelor’s degree with at least 50% marks from a recognized university.

Q3: Is there an entrance exam for MA? Ans: Yes, most reputed colleges require CUET PG or their own entrance exams.

Q4: Can I pursue a Ph.D. after MA? Ans: Yes. After MA, you can appear for UGC NET and pursue Ph.D. in your chosen subject.

Q5: Is an MA degree useful for a teaching career? Ans: Absolutely. An MA is a minimum qualification required for teaching in colleges, along with clearing NET or doing B.Ed for school teaching.

[evoldir]

Fwd: Graduate position: UQuebecOutaouais.InvertebrateDerivedDNA

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Graduate position: UQuebecOutaouais.InvertebrateDerivedDNA > Date: 15 November 2024 at 05:41:16 GMT > To: rdmpage@gmail.com > > > > M.Sc. position in molecular ecology > > Using invertebrates derived DNA (iDNA) to sample vertebrates diversity > > Several studies conducted in tropical ecosystems have shown that > sequencing DNA fragments extracted from invertebrates' meals can sample > part of vertebrates diversity of a defined area. This approach has never > been tested in temperate ecosystems, where vertebrates biomass and > diversity is lower. Furthermore, the relationship between the > biodiversity sampled via iDNA sequencing and the actual biodiversity of > an ecosystem remains poorly understood. The candidate will work on a > research project aiming to use iDNA sequencing to sample terrestrial > vertebrates in a Canadian deciduous forest. The candidate will (1) > assess the diversity of several vertebrates (large and micromammals, > birds, anoures) of a restricted region using traditional methods and (2) > compare it to iDNA sequencing results, extracted from invertebrates > captured concomitantly in the same region. Fieldwork will take place in > the forests around Mount Kaiikop, in the Laurentides (Qu?bec, Canada). > This project will assess the reliability and reproducibility of sampling > vertebrates diversity using iDNA sequencing and evaluate the pertinence > of this approach over larger geographical scales. > > The candidate will: > > *sample vertebrate diversity at Mount Kaiikop using acoustic recorders > and camera traps > > *sample flying invertebrates (hematophagous and carnivorous) using > passive traps > > *extract iDNA and analyse sequencing results > > *compare both approches, i.e., traditional and iDNA inventories > > The candidate will integrate the Environmental and Ecological Genomics > lab at ISFORT (Institut des sciences de la for?t temp?r?e, Ripon, QC, > Canada), affiliated to the Universit? du Qu?bec en Outaouais (Gatineau, > QC, Canada), joining a team of several M.Sc. and Ph.D. students, a > postdoc and a technician. The candidate will learn using several > biodiversity sampling techniques, in addition to environmental data > handling, processing and statistical analyses. Additionally, the > candidate will use advanced molecular biology techniques and learn how > to analyze meta-barcoding data. English speakers are welcome, but the > working and living environments are mainly in French. The candidate will > have to apply officially apply to the?Universit? du Qu?bec en Outaouais > M.SC Biology program: https://ift.tt/wGB7OjT > > This position is founded and conducted in collaboration with Coalition > Conservation Mont Kaaikop and the MITACS organization. You can find more > details on this project here (in French): > https://www.youtube.com/watch?v=j00Q5q0Ubd4 > > General Conditions: > > * MITACS grant of 48 month > > * Starting in summer or autumn 2025 > > * If starting in autumn, possibility to be hired as a research assistant > during summer > > * Grant : 24k$CAD /year > > * Driver's license mandatory > > *Fieldwork: Mount Kaaikop (Lantier, QC, Canada). Housing is covered by > the research grant. > > *Labwork and data analyses: Institut des sciences de la for?t temp?r?e, > Ripon, QC, Canada > > Please submit your application (CV, official transcript of records) to > Pr. Yann Surget-Groba (yann.surget-groba@uqo.ca) before the 13th of > December 2024 > > > Bautisse Postaire

[collegevorti]

University of Dhaka Admission and Fees: An Overview

The University of Dhaka, popularly called DU or Dhaka University is the oldest and most prestigious educational institution in Bangladesh with a rich historical background. Since it was formed in 1921, this public university has played an extremely important role in shaping the educational topography of Bangladesh. The school has given many notable alumni who have made huge contributions in various fields.

Historical Snapshot

The University of Dhaka was formed during the British colonial time in undivided India. Over the years, it grew into a major center of academic excellence. Known for its high academic standards, rigorous research, and vibrant campus, the university offers a wide range of curricula in different streams.

University of Dhaka Admission

University of Dhaka Admission is quite competitive and aspiring students must meet specific eligibility criteria and pass entrance exams to get a chance to study in this prestigious school in their chosen programs. The admission process happens in these steps:

i) Eligibility Criteria

Aspiring students must have completed their higher secondary education with good grades. Specific programs may have additional requirements.

ii) Entrance Exams

Students must sit for admission tests that evaluate their knowledge and aptitude in relevant subjects. These exams are held once a year.

iii) Application Deadlines

The university announces application deadlines well in advance, and students must submit their applications before the deadline.

University of Dhaka Admission: Tips for Prospective Students

Preparation

Exams cover the syllabus of higher secondary or the 12th.  Therefore, to prepare for the entrance exams, aspiring students need to review their course material thoroughly. If possible, obtain the previous years’ question patterns and do a mock test in a set time.

Documentation

All the required documents, such as transcripts and certificates, must be arranged, kept ready, and submitted with the application. 

Dhaka University Admission Fee

The admission fee at the University of Dhaka varies depending on the program and level of study. Mentioned below is a general breakdown. However, the university website and the admission cell must be consulted for the exact fee.

a) Undergraduate Programs

The admission fee for undergraduate programs can range from BDT 2,000 to BDT 5,000. Certain programs like science and engineering might attract additional costs due to laboratory and practical activities.

b) Postgraduate Programs

For postgraduate programs, the admission fee may be slightly higher, ranging from BDT 3,000 to BDT 6,000.

c) Additional Costs

Students may also need to pay for registration, examination fees, and other miscellaneous expenses.

Dhaka University Admission Fee vs Other Top Universities Fee

Compared to other top universities in the country, the University of Dhaka's admission fees are relatively moderate, making it an attractive option for many students.

Besides, the university also offers financial aid and scholarships.  The scholarships are merit-based and need-based. Students need to apply for financial assistance through the university's financial aid office. They need to furnish the necessary documentation to prove their eligibility.

University of Dhaka: Campus Life  

The University of Dhaka is not only known for its academic excellence but also for its vibrant campus life.

Facilities

State-of-the-art libraries, well-equipped laboratories, and extensive recreational facilities.

Student Organizations

Many student clubs and organizations bring opportunities for extracurricular activities and personal development.

Lodging and Dining

Many housing options are there such as dormitories and apartments, along with cafeterias. Madhur canteen is quite famous for its historical significance.

Conclusion

The University of Dhaka is a top choice for students in Bangladesh. It offers quality education, a competitive admission process, and a vibrant campus life. But that is not the only story. Studying at this prestigious university is an experience and memory to cherish forever.

[visagurukul012]

Documents Needed for Canada PR from India

If you're dreaming of starting a new life in Canada, obtaining permanent residency (PR) is a significant step towards making that dream a reality. However, the process involves gathering several documents to support your application. Here's a straightforward guide to the documents you'll need if you're applying for Canada PR from India.

Identification Documents:

Passport: Ensure your passport is valid and will remain so throughout the application process.

Birth Certificate: A certified copy of your birth certificate provides proof of your identity and date of birth.

Educational Credentials:

Educational Transcripts: Obtain transcripts from all educational institutions you attended, including schools, colleges, and universities.

Degree/Diploma Certificates: Provide copies of your degree or diploma certificates to demonstrate your educational qualifications.

Language Proficiency Test Results:

IELTS (International English Language Testing System) or CELPIP (Canadian English Language Proficiency Index Program) scores are required to assess your English language proficiency.

For French proficiency, provide TEF (Test d'évaluation de français) or TCF (Test de Connaissance du Français) results.

Employment Documents:

Work Experience Letters: Obtain letters from your previous employers detailing your job title, duties, duration of employment, and salary.

Reference Letters: These letters should attest to your work experience and skills, signed by your supervisors or managers.

Proof of Funds:

Bank Statements: Provide bank statements demonstrating your financial stability to support yourself and your family in Canada.

Investment Documents: Include documents related to your investments such as fixed deposits, mutual funds, or stocks.

Police Clearance Certificate:

Obtain a police clearance certificate from all countries or regions where you have lived for six months or more since the age of 18.

Medical Examination Records:

Undergo a medical examination by a designated panel physician approved by the Canadian government. You'll receive a report to submit with your application.

Family Information:

Details of Family Members: Include information about your spouse, children, and any other dependents in your application.

Photographs:

Recent Passport-sized Photographs: Follow the specifications provided by the Canadian immigration authorities for size, background color, and other requirements.

Forms and Applications:

Complete the necessary application forms accurately and truthfully. Double-check all information before submission.

Additional Documents:

Depending on your specific situation, additional documents may be required. These could include marriage certificates, adoption papers, divorce decrees, etc.

Consent Forms:

If applicable, provide consent forms for any children under 18 years of age who are not accompanying you to Canada.

Remember to carefully review the document checklist provided by Immigration, Refugees, and Citizenship Canada (IRCC) for the most up-to-date requirements. Organize your documents systematically to avoid any delays in the processing of your Canada PR application. With thorough preparation and the right documentation, you're one step closer to achieving your goal of Canadian permanent residency.

[transcriptsfromuniversity]

How TO Get Transcripts From Delhi University?

Have you got documentation for studying abroad?

Your study to the foreign exchange could be cancelled because of insignificant reason, i.e. lack of a transcript. Even though you'll have obtained admission in virtually any school overseas, yet it can not be confirmed if you don't provide with a combined record of your mark-sheets.

What's a transcript?

Delhi university issues transcripts at the end of each semester. In every semester, you receive six mark-sheets later graduation. Thus, whenever you proceed abroad for additional instruction, you will need to get that combined record of scores you gained in each session. This collective record of most mark-sheets is popularly referred to as being a transcript.

Why would you need demonstrating the transcript? They might require postage of authentication. This is precisely the reason you need to create an enterprise sheet composed of dozens of most semesters separately. Then, it has exemplified by the accounts of this university.

Notably, you can't do it by any university. Instead, it would help if you approached the varsity at which you graduated from. The chancellor or Password of this university could put the postage. Afterwards, it would be okay over the worldwide universities.

You might be swept up in confusion in case you never possess enough understanding of the way exactly to acquire the transcript on the web. I am carrying an instance at Delhi University.

Visit our website www.etranscripts.in to apply transcripts in Delhi University.

About the site, select register/login to make your accounts on the site.

Currently, fill out your information and instruction data. Please fill out the comprehensive application and store it.

Publish your documents together with form and submit this application.

Choose the addresses at which you wish to obtain the transcripts.

Pay the fees for the transcripts and track your application.

What record should you take alongside?

A duplicate of this Syllabus (It is awarded on the site of the university to download. It'd be available only if you've been handed out lately. When it isn't there, then you can get it out of the library of this university)

When you've paid off the fee on the website, the payment slip ought to be carried alongside.

Duplicate of diploma/Degree

Envelope-to Set the transcript.

Yet another envelope with total shipping details for rate pole

In case you desire to have more than just one transcript from Delhi university, fill all the address while filling the form on www.etranscripts.in.

[shasskor]

This obviously very bad, but the way this statement from Oslo’s City Environment Agency made me want to share it with you.

Transcription and English provided by me:

Norwegian:

EKSTRAORDINÆRT BÅLFORBUD! NB! Det er svært stor brannfare.

Kan du fyre opp bål?                     NEI

Kan du bruke engangsgrill?           NEI

Kan du bruke kommunens tilrettelagte bål- og grillplasser?      NEI

FORBUDET GJELDER OGSÅ NÅR:

* Du er forsikitg

* Du kjenner flere eksperter, eller er ekspert selv

* Du skulle bare... eller har tent bål hele ditt liv

* Du er på ferie

* Du har gledet deg til pølser

Hvem kan få dispensasjon?             INGEN

Ja, men...         NEI

Vi skal bare...         NEI

English:

EXTRORDINARY FIRE-BAN!

Important Information! There is an severe risk of fires.

Can you make a campfire?                      NO

Can you use disposable grills? NO

Can you use the county’s prepared campfire and barbeque areas?     NO

THE BAN ALSO APPLIES WHEN:

* You’re careful

* You know multiple eksperts, or is an expert yourself

* You were only going to... or have made campfires your entire life

* You are on vacation

* You’ve been looking forward to grilling hot dogs

Who can get exceptions?               NO ONE

Yes, but...                                       NO

I’m just gonna...                              NO

[leverage-commentary]

Leverage Season 3, Episode 2, The Reunion Job, Audio Commentary Transcript

Jonathan Frakes: Hello everyone I'm Johnathan Frakes.

Michael Colton: Michael Colton.

John Aboud: John Aboud.

Aldis Hodge: This is Al Hodge.

Chris Downey: Chris Downey.

John Rogers: Am I sexual chocolate if you’re Al Hodge?

[Laughter]

John Rogers: It's John Rogers.

Aldis Hodge: Sexual chocolate is coming up.

John Rogers: Executive Producer of this particular episode, along with Chris Downey. And those other gentlemen are the writers and director down at the end. Welcome to The Reunion Job. Boys, which we always ask in the opening sequence, where'd this episode come about?

Michael Colton: The- initially you guys told us you wanted to do a high school reunion episode. And I think all you had was ‘they go undercover at a high school reunion’ and I think you had the end beat of the dancing.

John Rogers: Yes.

Michael Colton: At the dance. 

John Rogers: Right, yeah.

Michael Colton: And so from that we started thinking, you know, who would be a good villain for this episode? Someone who high school meant a lot to.

Jonathan Frakes: You talked over my Bourne Identity opening!

[Laughter]

John Rogers: Sorry. Frakes why don't you tell us about the-

Jonathan Frakes: No, I got my-

John Rogers: Where'd that particular opening come from?

John Aboud: Bourne Supremacy.

Jonathan Frakes: I'm kidding. Bourne Supremacy.

John Rogers: Bourne Supremacy.

Jonathan Frakes: Carry on.

John Rogers: That was a very aggressive style.

Jonathan Frakes: Where’d you get the rest of this story?

John Aboud: Well as nerds, we were able to channel the rage of a software magnate. Why would a software magnate be bad in the Leverage universe? Well maybe he's supplying his software to some very bad people overseas.

Michael Colton: Well right at the time we were writing this, there was the Irianian- the aftermath of the Iranian elections, so it was actually in the news that this kind of thing could be happening.

John Aboud: And this episode aired on the one year anniversary of that election. And around- and the protests.

Michael Colton: There was enough propaganda.

John Rogers: It was actually funny, we did get one phone call that's like ‘are we gonna get in trouble for like- can we be open to litigation?’ I went ‘if one of the most evil regimes on earth wants to sue us, I don't really see that as a problem.’

Michael Colton: That would be good press for the show. Iran sues-

Jonathan Frakes: Any publicity is good publicity.

John Rogers: Exactly. Now who's playing our victim here? Did a great job.

Jonathan Frakes: That's Ricki Bhullar.

John Rogers: Yep, fantastic job. And now Frakes, why don't you tell us about that opening? What- cause it was a very different opening than what we usually do.

Jonathan Frakes: Well I think what we try to do with each of our cold opens is to either pay an homage or, in other words, steal stylistically from a show. 

Chris Downey: Yes.

Jonathan Frakes: From a Hitchcock show, or from you know-

John Rogers: It lets you know what the rest of the shows gonna be like.

Jonathan Frakes: Well- hopefully. Or that you just feel like the story of this show is in this particular style. That was a Bourne Supremacy rip off. 

John Rogers: Yes.

Jonathan Frakes: How many shots can we get? How fast can we cut it? How fast can this action happen? And it has that vibe of international espionage.

John Rogers: Yep. Also that room was great, it was built totally on set. That was actually just a two wall set, wasn’t it?

Jonathan Frakes: That was a three-wall set, but we shot the shit out of it.

John Rogers: Yeah.

Chris Downey: And then so you put your energy into that and the rest of the episode you sort of coasted? Is that- you sorta let it…?

Jonathan Frakes: Yeah it's an approach I've found very useful.

[Laughter]

Jonathan Frakes: Now.

John Rogers: Now.

Jonathan Frakes: Who do you think that- oh!

Everyone: Woahhh!!! 

Michael Colton: There we go.

Chris Downey: And reveal.

John Aboud: Didn't see that coming.

Michael Colton: That worked really well.

John Rogers: It did; it did. Johnathan Frakes knows what he’s doing. Yeah and this was also part of the mandate for the opening of the third season, where we wanted to start opening it up into international stories. Kind of open up the Leverage universe in a way that, you know, this is a fictional universe wherein certain rules apply. And it’s close to ours but you know we wanted to start seeing the ramifications of crime world and politics.

Jonathan Frakes: It also suggests the backstory of a lot of these characters has been, in fact, international.

John Rogers: Yeah.

Jonathan Frakes: So that they have experience with all these things. It makes them look, or appear to have more experience than-

Michael Colton: Right.

John Rogers: And sometimes people ask where we get the cases, and we’re kinda establishing here there's a lot of-

Jonathan Frakes: ‘I'm inside your head!’

John Rogers: ‘I'm living rent free.’

Aldis Hodge: Yeah, haha.

John Rogers: You know, kind of establish there's a community of people out there who take freedom of software, the internet's role in being free of government regulations and rules and internationalism very seriously, and Hardison is part of that group. That's part of the hacker group he fell in with.

Aldis Hodge: Yes indeed.

John Rogers: And that's how he knows this guy. That's his background.

Jonathan Frakes: ‘Yeah that's right, we are here to inspect your restaurant.’

John Rogers: Also based on a real spy safehouse that came up in research. But with better locks I think that one had. Ah this is crazy. How'd we get the roach?

Chris Downey: That’s a digital roach.

John Aboud: Digitally inserted.

Michael Colton: It's a real roach, but that plate was not there, it's like the whole thing.

Jonathan Frakes: More discussion about this cockroach than there was about the script!

[Laughter]

John Rogers: We tried to be a little robotic cockroach that went poorly. It went actually too well because it killed.

Jonathan Frakes: What about the real cockroach that we had that nobody liked? Cause it didn’t-

Chris Downey: Oh look at that! Boy that's great.

John Rogers: I think the close up was the real one, that one digital. 

Chris Downey: Is that one digital?

John Rogers: I love this, and the little.

Jonathan Frakes: Yeah, this tees up later. 

John Rogers: Yep.

Jonathan Frakes: They don't get much to do together, it's nice to see those two have a little beat.

Michael Colton: I feel like there's a lot of improv in this scene with you guys.

John Aboud: Absolutely.

Aldis Hodge: Yeah this- you know, anytime you get me and Christian in a room together it's over.

[Laughter]

Aldis Hodge: It's like ‘script, what?’ We just talk. 

John Rogers: Yeah, we’re just pretty much superfluous. Maybe next year without writers.

[Laughter]

Jonathan Frakes: That was how-

John Rogers: And that was a great way of using Jessie by the way.

Jonathan Frakes: How to make an entrance.

Chris Downey: We’re running out of ways for her to get out of a duct. I mean I feel like is there-

John Rogers: You know what? I just I may be speaking for-

Jonathan Frakes: Cirque du Soleil in town next year.

Chris Downey: We need to watch and take notes, cause there needs to be something new.

John Rogers: I may be speaking for a certain percentage of the audience, but anytime we have her in black jeans and that leather jacket coming out of a duct it's a good day. Really, the dismounts- really now you're really.

Aldis Hodge: I'm glad you said it, cause I was about to.

Jonathan Frakes: How about this shawarma?

John Rogers: I love the shawarma, by the way.

Jonathan Frakes: Who doesn’t?

Aldis Hodge: That shawarma was disgusting though, it was cold and greasy.

John Rogers: You can't shoot around hot shawarma.

Chris Downey: Prop shawarma was not?

John Aboud: Prop shawarma.

Aldis Hodge: Prop shawarma.

John Rogers: Don't eat the prop shawarma.

John Aboud: Don't recommend.

Jonathan Frakes: Not much room to move in this location as I recall, remember this place?

John Aboud: It was very narrow.

Jonathan Frakes: It feels as narrow as it was.

John Aboud: Hard to maneuver.

John Rogers: What was it? Was it a real restaurant we redressed?

John Aboud: It was a Hawaiian barbeque restaurant.

Jonathan Frakes: Real restaurant, Hawaiian barbeque.

Michael Colton: That's right.

John Aboud: And the production had to buy them out for the day, so there was a lot of the-

Jonathan Frakes: Are we happy with the yellow choice on the inside of the van?

[Laughter]

Michael Colton: It's a little late to be asking that.

John Rogers: Yeah, I think we might want to change that. Could you fix that in post? Could you just go and… And yes it's the first time- when do we air this? Episode two or three?

Chris Downey: This is second- this is first night.

Michael Colton: First night.

John Rogers: That's right even though we shot it- did not shoot it second, it aired second. And that was re-establishing- that was establishing the new Lucille.

John Aboud: That's right. Near and dear to Hardison's heart.

John Rogers: This is also fun is that- it always amazes me the amount of international espionage that is actually kept in notebooks. 

Jonathan Frakes: Yeah.

John Rogers: No, the people-

Jonathan Frakes: Old school.

John Rogers: Old school. Yeah, but people- 

Aldis Hodge: It keeps them off the radar.

John Rogers: Yeah. You can, you can burn it. You know it can't be hacked, it can't be stolen.

John Aboud: Now that dishwasher, I believe he was also in the prison- in the Jail Break Job?

John Rogers: Oh so this is the jail- it's the job.

John Aboud: In my mind the backstory is: he's on a work release.

John Rogers: Oh that's right.

Chris Downey: Already fell into the wrong element.

John Aboud: Yeah, right away.

John Rogers: Well he doesn't know, they don't tell him.

Chris Downey: His parole officer is not doing a very good job.

John Aboud: Right away, right away.

Jonathan Frakes: The victim. Now we get the villain Arye Gross. Very reliable character actor, been doing it for years. 

Michael Colton: You worked with him…?

Jonathan Frakes: I worked with him on Castle. Recommend him to the gang and he nailed it.

Aldis Hodge: Nice.

John Rogers: Your career is banterific. Eliot, of course, learned to make amazing tea, and that is English Breakfast from his samurai master when he studied for 18 months. [pause] Wait no that was Wolverine.

[Laughter]

Jonathan Frakes: Now whose idea was this to add this whole sequence?

Michael Colton: Well this is all based on NLP which means neuro linguistic programming. And all this is actually based on a guy named Derren Brown, who is British. And what would you- what would you call him? A magician slash-

John Rogers: He calls himself a mentalist, but he uses like a quotation marks around it because he duplicates the effects of charlatans by using psychological techniques.

Michael Colton: You can look him up on YouTube. Look up Derren Brown and NLP and there's stuff he does that is, we sort of basically ripped off for this episode.

John Rogers: Yeah ‘D-e-r-r-e-n’. Yeah, the primary one being he hires two advertising guys to come to his office and give him a campaign- a possible campaign for a children's zoo. They do the sketches and then he reveals his own sketches he did hours earlier and they're almost exactly the same. And then he reveals the visual cues he planted along the way into their head. And that really was the crux of this whole thing.

Michael Colton: And the one where Simon Pegg from Shaun of the Dead has- sits him down and asks him what he wants for his birthday, and he says he wants a bike.

John Aboud: BMX bike.

Michael Colton: But earlier he had written down he had wanted something completely different.

Chris Downey: A leather jacket, I think.

Michael Colton: A leather jacket! And throughout this whole discussion he was just doing cues to get him to say bike. It's kind of amazing.

Aldis Hodge: Wow.

John Rogers: It was also fun to kind of get into the mechanics of- it's easy with a grifter character to say they're just natural at it. To get into the intellectual work that Sophie does in her job.

Chris Downey: And also the idea of hacking into someone's head. I think that's what made this-

John Aboud: Wanted to establish that up front.

Jonathan Frakes: How infuriating it was that it was this character who [unintelligible].

John Rogers: Yeah, and also the fact that once you guys came up with the whole hacker/villain- the whole hacker theme, that really led us to the other material. 

Jonathan Frakes: And here we are, Dubertech.

Chris Downey: And this a great location too, this is very-

Jonathan Frakes: On the campus of-

John Aboud: The community college.

Jonathan Frakes: The community college in Portland.

John Aboud: It’s a great building.

John Rogers: The digital overlay on the sign.

John Aboud: It's a theater, actually.

John Rogers: A lot of digital signage.

Jonathan Frakes: It's the theater department, ironically.

John Rogers: It looks evil. 

[Laughter]

John Rogers: Got an evil vibe to it. This was a lot of fun and this was one of the- one of the times that we took something we could do in a beat, and turned it into almost the entire act. We have broken into someone's office in like half a scene.

Jonathan Frakes: Yeah.

John Rogers: But sometimes you just.

Jonathan Frakes: What we go through to get the fingerprint.

John Rogers: And it's great. And sometimes you find ways to do- you find stuff you want to do, you want to explore and kind of revel in, and that's the fun of this show. You know there's no real template to this show. So if you have an act where you have a bunch of cool stuff you wanna showcase, you can. Yes, tons of fun.

Jonathan Frakes: Boom.

John Aboud: We wanted this to be a real showcase for Hardison. 

John Rogers: Yes.

John Aboud: Because obviously we're dealing with his world. We are in the world that he knows well, and we really liked the idea of him confronting this 1980s technology. I think that was one of our initial pitches to you guys-

John Rogers: Yes.

John Aboud: For an episode.

John Rogers: I think that- you pitched that as a freelancer.

Michael Colton: Our pitch was Hardison hacks an ENIAC.

John Rogers: Yes.

John Aboud: In a museum.

Michael Colton: And that became a TRS-80.

Chris Downey: An abacus really.

[Laughter]

John Rogers: Yeah a giant, giant vacuum tube. Yeah and that blended right into this. No, that was- and by the way, if you're gonna pitch a Leverage, pitch a high concept, don't come in with a procedural. You know, ‘he has to hack a 60 year old computer’, I love it, you know. That was an easy one.

Chris Downey: And this is great, I mean how great did they dress this set?

Jonathan Frakes: I love that we [unintelligible].

John Aboud: The music was-

John Rogers: It's the music.

Michael Colton: The set’s great but it’s the music that put us over the edge and sold it.

John Rogers: Yeah Joe LoDuca again giving us that 80s synth pop vibe. It was fantastic. And Aldis you’re great here just the total shock and horror.

John Aboud: This take is wonderful.

Aldis Hodge: This took me back a couple years. I mean, this stuff was older than me but still.

John Rogers: Thank you, thanks for reminding us of that.

Chris Downey: We love to confront Hardison with old technology. Audio tapes things like that.

Jonathan Frakes: He’s appalled here.

John Aboud: His horror.

Aldis Hodge: He's offended, he's insulted.

Jonathan Frakes: And there it is!

[Laughter]

Aldis Hodge: This takes me back to when-

Chris Downey: Look at that.

John Rogers: Five and a quarter right there, baby.

Aldis Hodge: I used to run off of floppys though, I still remember those.

John Rogers: You were a baby though.

Aldis Hodge: It took like 10 hours to upload a page.

John Rogers: Yep.

Michael Colton: We used to use the war games. The phone doesn’t-

John Aboud: War dialer.

Chris Downey: They used to be on cassettes too.

John Rogers: Yeah they used to be on cassettes.

Jonathan Frakes: What was this computer called?

Michael Colton: TRS-80. Although I don't think we could say that.

John Aboud: We weren't allowed to.

Michael Colton: Yeah, it's just generic 1980s computer.

John Aboud: For clearance reasons.

Jonathan Frakes: I remember part of our prep was the ebay version of the TRS-80 that we shopped for, for two weeks trying to find the one that was actually going to be programmable.

John Rogers: Yeah. Yeah apparently Tandy Corporation has a problem with us saying that freedom is oppressed in Iran through the use of their product. Oh we’re the bad guy? That’s some sort of brand infringement I guess.

[Laughter]

John Rogers: I love the caricature- oh the caricature kills me!

Chris Downey: I didn't even notice that! The caricature of him winning the chess trophy.

John Rogers: He was twelve!

Michael Colton: Well they had photos all around of Arye Gross from that era.

John Aboud: From his personal archive.

Jonathan Frakes: With the hair. When he had that big John Hughes hair.

Michael Colton: The pre-Soul Man. Old stuff.

Chris Downey: That is pre-Soul Man]. He's great in Soul Man, by the way. Soul Man is-

John Rogers: That's a great little shot, by the way. That's kind of an iconic shot of Hardison being distracted and annoyed while Parker quietly freaks out next to him. It's just a nice vibe.

Jonathan Frakes: ‘How much time are you really gonna spend in here after I told you that the bad guys are on the way?’

John Rogers: Yeah.

[Laughter]

John Rogers: But they saw the bad guy in the sweater vest on the way in. I mean, they're not that intimidating.

John Aboud: They knew they could take him. They knew they could take him.

John Rogers: What do you think the origin for the- oh that's great.

Chris Downey: Oh that’s great!

[Laughter]

John Rogers: A locked off comedy frame people!

Chris Downey: It's a locked off comedy frame.

John Aboud: Yep.

Jonathan Frakes: The third in three shows!

[Laughter]

John Rogers: Can't go wrong. This was fun, by the way, the- this one when he says ‘it's adorable you still think there's privacy’.

Jonathan Frakes: Isn't this where some of our regulars drink when we do the 360?

John Rogers: Yes, yeah, we drink and we shoot it, too. But you guys had found out- who- was it Albert cause he was a journalist he knew that you could buy people's yearbooks?

John Aboud: Well he did that all the time at People.

Michael Colton: That’s what it was, yeah.

John Aboud: As a celebrity journalist he would go buy people's yearbooks. And it was the easiest thing in the world.

John Rogers: And there's actual services out there that will help you buy the yearbooks of different high schools. There's an enormous amount of creepy shit in this episode.

Aldis Hodge: Your embarrassment is on sale.

[Laughter]

Michael Colton: Here's where we bring up the Roman Room, which a lot of people thought we made up but is just another-

John Aboud: By a lot of people you mean Tim Hutton.

Michael Colton: Yes.

John Aboud: Thought we made it up.

Michael Colton: Just another curious thing from the mind of John Rogers.

Chris Downey: It's just one of your many hobbies.

John Rogers: One of my many hobbies.

Michael Colton: Memorizing everything.

John Aboud: Memorizing disconnected pieces of information.

Chris Downey: What was last season, whaling?

John Rogers: It was whaling. I remember I made you that scrimshaw-

Michael Colton: What, you memorized famous whalers?

John Aboud: Wow.

John Rogers: No. I am- a hobby of mine is memory techniques, and I use the Roman Room, and we wound up using it here. And it was just a great way- if we're gonna hack- the big problem was why do we need to go to this high school? We can go to this high school without this guy. Well no, we need context. Well what's the context? Well… It was interesting how this episode kind of organically came up. It was the flashback, it was the 80s thing. And that was that he was using, like I do, he was using his Roman Room for his passwords. And the- actually yes they did not believe this. I was up visiting them and I wound up doing the complete works of Shakespeare based on my high school gym in order to convince Tim that I was- that this was a real thing. 

Aldis Hodge: Right.

John Rogers: Aldis you were in the limo that night, that's right. The- we didn’t take Colton or Aboud with us.

John Aboud: Well it coincided with Comic Con.

John Rogers: There you go that's right. Yeah this is, by the way, a really easy memory technique, you can learn it really quickly and with a little bit of practice and imagination. The key is making everything as filthy as possible.

Jonathan Frakes: Seriously?

John Rogers: Has to be obscene.

John Aboud: Ahh, there you go.

John Rogers: Actually Chris Downey made me not use him in my Roman Room techniques because he was distrubed by the fact that I was having him have sex with people and things.

Chris Downey: Yeah.

John Aboud: Well he knows what goes on in that room.

John Rogers: He knows that the Roman Room is a horrible place.

Chris Downey: And John you'll be at the Allentown Marriott this week doing the Roman Room technique, won’t you? Doing it on your tour.

[Laughter]

John Rogers: If you'd like to advance yourself in business or socially. If you’d like to amaze salesmen and other people in your company.

[Laughter]

John Aboud: Whenever you see those signs on a light posts that say ‘make money from home’ the number rings at John Rogers home.

John Rogers: I'm not just running a TV show. I'm running a lot of small businesses out of my garage. Oh was- was that the Psych yellout?

Michael Colton: Oh that was- it in this scene where we talked about what's on his Netflix queue. 

John Aboud: That show Psych.

Michael Colton: I wanted Turk 182 to be on his Netflix queue but that was rejected.

Chris Downey: It’s a little too meta.

Jonathan Frakes: I thought it was Rockford?

Chris Downey: It is Rockford.

John Rogers: Well it is Rockford, we went with Rockford and Psych- we added Psych in the end cause Psych had given us a nice little shoutout in their show.

Michael Colton: I think Sex and the City was thrown out there.

John Rogers: Why Sex and the City?

Michael Colton: I think it was an improv, wasn't it?

John Aboud: Humor?

Aldis Hodge: It was an improv.

John Aboud: Humor. Cause it was funny.

John Rogers: Nothing funny about Sex and the City.

[Laughter]

Aldis Hodge: Very serious show.

Jonathan Frakes: Not that Gina likes to do accents.

John Rogers: This was a lot of fun.

Chris Downey: This was the tour de force.

John Rogers: And the difference- and what's great is watching this with the sound off is watching her physicality change and the smile, yeah, that character smiles and the other one is angry, yeah. It's lovely. And this is also one of those ones where it originally started much more complicated and turned into ‘let’s just have Gina talk, she can do the accents’.

Jonathan Frakes: We cut it all together, let her do the two characters.

Chris Downey: In, sort of, the Facebook era, one of the things I think helped this episode was that you are kind of confronted by people from your high school all the time that you have no recollection of.

John Aboud: Right, right.

Chris Downey: So it really sort of helped the idea that they could actually bomb into somebody's high school reunion as other people and they would just be accepted.

Michael Colton: Yeah this is kind of The Social Network of Leverage episodes, I think it's fair to say.

John Rogers: But before The Social Network- they stole this from you right? The Social Network is stolen from you.

John Aboud: And Facebook, the idea for Facebook.

[Laughter]

Michael Colton: We came up with Facematch.

John Rogers: This is the skype of evil.

Chris Downey: We got the finger pyramid of evil going too.

John Rogers: He's got the finger pyramid of evil.

Aldis Hodge: That was scripted right? Finger pyramid.

John Rogers: The finger pyramid of malfeasance I believe, this is the Skype of evil. 

Jonathan Frakes: Wait heavies right, there's heavies in dark clothes behind him.

John Rogers: Yes exactly I like to think he prepped it ‘alright let's Skype this- wait turn off the lights!’ I can't.

Chris Downey: Oh I love this.

Michael Colton: This turn here is fantastic. After he hangs up with them.

Jonathan Frakes: Unafraid to milk.

John Rogers: And also one of the things I like about- that you guys did in the script just wanted the general attitude you want to give the villains - ahh there you go - is nobody’s a villain in their own head.

Michael Colton: ‘Larry Duberman?’

John Aboud: ‘Larry Duberman?’

[Laughter]

Michael Colton: It took so long, but it worked.

Jonathan Frakes: And we stayed on it! We kept it all in. 

John Aboud: You did.

Jonathan Frakes: Confidant actor.

John Rogers: Yeah somebody said if schadenfreude is the pleasure of other people doing worse than you, what is the German word for delight in doing better than everyone else but not being able to come out and say it? The Germans should have a word for it. Yeah it's pretty impressive- that's a great match for Tim by the way, was that an actor or did we pick an-?

John Aboud: Stock. It was stock.

John Rogers: It was stock, wow.

Aldis Hodge: Now whose stock photos because there were some fugly people in there.

John Rogers: We went to fugly.com.

Aldis Hodge: All right. 

John Rogers: That’s where we got that stock.

Aldis Hodge: I'm just saying there’s a select few you didn't know exactly.

John Rogers: Well it's also 80s hair.

Aldis Hodge: There’s that.

John Rogers: 80’s hair was just a nation making a bad choice.

[Laughter]

Michael Colton: Evil speech of evil.

Chris Downey: Oh here it is. It's the slow push in on the evil speech of evil.

Aldis Hodge: You gotta get in his nostrils, nice and tight right up there.

[Laughter]

John Rogers: Well it's a 40 ft screen; it's a different look when they're on TV.

Chris Downey: And now here we go!

John Rogers: Now where was this?

Chris Downey: And now we're off!

John Aboud: Actual high school.

Michael Colton: This was an actual high school.

John Rogers: They let us redress, and yeah fantastic.

Jonathan Frakes: This is the gym of- what's the high school called? Hall? James T Hall High School?

Chris Downey: Now how many days were you here at the school?

Michael Colton: We were there-

John Aboud: Three days.

Michael Colton: Three, I think.

John Rogers: You managed to get all this done in three days?

Jonathan Frakes: Well the exterior was stock, and not our greatest effort.

John Rogers: Still pretty good.

Jonathan Frakes: This is- here we go!

John Aboud: Here we go.

Michael Colton: Now this was unused-

John Rogers: This was unused footage.

Aldis Hodge: Unused footage from the first season.

John Aboud: Season one.

Chris Downey: Using every part of the animal.

Aldis Hodge: Yes indeed. It’s probably one of my favorite scenes I've shot.

John Rogers: By the way, that is fearless of you. Not a lot of actors would go in the braces and throw on the-

Jonathan Frakes: Aldis is fearless.

Aldis Hodge: Very much so.

John Rogers: Throw on the hat. You really did manage to spot-weld Will Smith and the other guys from Fresh Prince into one character there.

[Laughter]

Chris Downey: Alfonso Ribeiro, you mean?

John Rogers: Alfonso Ribeiro. That's the Fresh Prince of Alfonso Ribeiro right there. And this is great that we-

Jonathan Frakes: Eliot pre-hair.

John Rogers: Eliot pre-hair.

Jonathan Frakes: Like wait a minute.

John Aboud: Still the same guy, he looks to camera.

John Rogers: Well it's a flashback.

John Aboud: He looks to flashback camera.

John Rogers: As one does.

Chris Downey: That's good man, that's a good match.

John Rogers: I also like the dialogue fix. Cause it was originally the dialogue-

John Aboud: Brutal punch.

John Rogers: Where we actually lay in that he learned about the knives in context not from a murderous Guatemalan, but from a sexy Home Ec teacher.

Chris Downey: Sexy home ec teacher.

Jonathan Frakes: He's the one who doesn't get to go to the high school.

John Rogers: Ooh yeah that was fun.

Jonathan Frakes: It was easy to take that guy out with one shot.

John Aboud: Little minion did not deserve the brutality of that one punch.

Chris Downey: But it's also nice like-

John Rogers: You know what he knows he's screwing the Iranian kids. He's an accessory after the fact.

John Aboud: It's true, he's complicit.

John Rogers: Absolutely more than complicit, he's an accessory. And therefore worthy of scorn. Ah this was again the Joe LoDuca score. Amazing.

Aldis Hodge: This the song that's playing in this scene right now is the band that Dean Devlin was in.

Chris Downey: Oh that's right. What’s the name of Dean’s band?

John Aboud: What was the name of that band?

John Rogers: Nervous Service.

[Laughter]

John Rogers: This was Dean’s band from the 80s. 

Aldis Hodge: Sure it wasn't Dean and the Devlins? 

John Rogers: No, no, that was his 50s band. And that's Beth in the badger suit right?

Aldis Hodge: Yeah.

John Aboud: Yes.

John Rogers: Yeah that is Beth.

John Aboud: Yes, spoiler warning.

Chris Downey: Well they've seen it already.

John Aboud: No, they haven’t.

Michael Colton: This is like their sixth viewing.

John Aboud: I only watch Leverage with the commentaries on.

John Rogers: Really? Interesting.

John Aboud: Yes.

Michael Colton: You don't know what happens in this one?

John Aboud: Nope. No clue.

John Rogers: That would explain why your pitches were so weird first year.

John Aboud: Well then Rogers drinks, right? And we do a zoom to see he pours the alcohol into the glass. 

[Laughter]

John Rogers: Oh yeah this was a lovely bit of scripting, by the way, on the NLP on this, guys. Very subtle.

Michael Colton: Yeah it's subtle it’s incredibly tight knit it’s-

John Rogers: And great dress. Is this Aboud or Colton on this scene?

Michael Colton: It's mostly Colton.

Jonathan Frakes: It's Grace Peltz! Look at Peltz in the middle of that shot.

John Rogers: That was a nice frame up on that shot.

Chris Downey: Look at that right there.

John Aboud: That's an actual Arye Gross high school photo in the row below.

John Rogers: Are you really?

John Aboud: Yup Lawrence Duberman, first one on the second row.

Aldis Hodge: Yup.

Jonathan Frakes: And here’s how it happened.

John Rogers: All you have to do is insert one page. Who doubts the evidence before their eyes? Where’s Arye Gross?

John Aboud: He's cross eyed. First one on the second row.

Aldis Hodge: That's really him?

John Aboud: That's really him.

Michael Colton: Now what kind of alphabetical order is this? Grace Peltz above Larry Duberman.

[Laughter]

John Rogers: Oh, the honor society had their own photos.

Michael Colton: Oh there you go. That’s computer club.

John Rogers: One of these days you gotta learn to just lie quick.

Chris Downey: You know how to retcon.

Michael Colton: Most of those names are from my high school. Jack Lebowski. I used my-

John Rogers: Don't say that, people have to sign forms for that.

Michael Colton: My high school girlfriend is in there.

Jonathan Frakes: Boom.

Chris Downey: Here we go.

Jonathan Frakes: Don't always get a ninja zoom into the socks and sandals.

John Rogers: He's enjoying that way too much.

Chris Downey: He is. Cleaning pools. I love that- I love that about him. Former quarterback now cleaning pools.

Jonathan Frakes: Tim owned Drake.

John Rogers: Yes.

Jonathan Frakes: He totally owned Drake Macintyre.

John Rogers: He really was enjoying that. There really was a moment you saw Tim kind of like ‘I wouldn’t mind cleaning pools. It’s nice and quiet’.

Michael Colton: Mandy Babson. 

John Rogers: Yep.

Michael Colton: What do his pins say?

John Rogers: I don't remember.

John Aboud: One of them said ‘I'll wash first’.

[Laughter]

John Rogers: Wha- why? Why would you have a pin that said that?

Chris Downey: Not blondie or something?

John Aboud: That's the kind of guy you are. They were all slogans. Oh my voice is really giving out.

Michael Colton: Maybe you should stop talking.

John Aboud: Apologies to the home viewer.

John Rogers: Just let Colton- he’ll be honest about who did what.

Michael Colton: Yeah.

John Rogers: There's no way he’ll-

John Aboud: How can that go wrong?

John Rogers: Yeah. And it was also fun coming up with the idea that: of course there's a villain. Everyone has a narrative in their head, everyone had the villain in high school. You know the person who made their life hell. Unless you were the villain.

Jonathan Frakes: There he is! ‘Oh Doucherman!’

John Rogers: I'm glad we got that past Standards and Practices, cause Doucherman really was-

Michael Colton: The whole episode was built around Doucherman.

Jonathan Frakes: Whole episode.

John Aboud: It really would’ve fallen apart.

Michael Colton: It's the first thing we started with.

Aldis Hodge: All you thought about at first, and then you built the story around it.

John Aboud: It came later.

Aldis Hodge: ‘Doucherman, hmm we need to write a show’.

John Rogers: And she anchors it with a touch every time, nice acting, nice use of space.

Chris Downey: Who's that guy?

John Aboud: That guy was wearing a kilt! That guy was wearing a kilt.

John Rogers: I know, I saw him in the opening shot.

John Aboud: In the opening shot you can see he was wearing a kilt.

Chris Downey: Good variety of alumni characters.

Michael Colton: You know when I was on Twitter when this was airing to watch it, and Tim was- I thought it was very flattered he was just repeated ‘Douchermans got lady parts’.

[Laughter]

John Rogers: Yes over and over again. He loved that. This was also fun showing Hardison scrambling. There's just some stuff you can’t prep for.

Aldis Hodge: Well Frakes, that was the first scene we shot for this episode, but it was also in the middle of shooting another episode the same day.

Jonathan Frakes: Same day in the van, here’s what’s gonna happen.

Aldis Hodge: I remember all that banter.

Chris Downey: That was the violin stuff.

Jonathan Frakes: Well this was the double up day.

Aldis Hodge: Double up day. All that banter was- I'm not even gonna lie I learned that right then and there in like ten minutes. Because I was on the other episode-

John Aboud: It worked.

John Rogers: You were on the other episode.

Michael Colton: Well you were on the violin.

John Rogers: Other episode was a giant part.

Aldis Hodge: Really shoot five pages just straight out? ‘Ok guys!’

John Aboud: Who’s this guy?

John Rogers: And there's our line producer!

Jonathan Frakes: There's our producer Paul Bernard as Schmitty!

Michael Colton: Star of the show.

Jonathan Frakes: I will tell you, he did have the 80s hair, that's not a haircut.

John Rogers: That's just what Paul Bernard looks like.

Jonathan Frakes: He works in that hair.

John Rogers: He works, he plays in that hair. That’s not stunt hair people.

Michael Colton: Is it true TBS is interested in a Schmitty spin off? Is that happening?

John Rogers: Yeah I think we might do ‘Here’s Schmitty.’

[Laughter]

John Rogers: ‘We’re up to our necks in Schmitty.’ We haven’t decided yet.

Chris Downey: I think there was a reality show in which somebody- they had hidden cameras and people led-

Michael Colton: Someone made like a 2020 special about someone who- some woman who didn't want to go to her thing so she hired a- I think it was a stripper.

Chris Downey: I think it was a stripper.

Michael Colton: To play herself.

Jonathan Frakes: At her high school reunion?

Michael Colton: At her high school reunion.

John Aboud: She coached the stripper through an earpiece-

Chris Downey: Yes.

John Aboud: As she was watching on a video feed.

Michael Colton: While she was watching Hardison-style in a hotel room.

Aldis Hodge: Doesn't it seem like it takes a lot more effort than just showing up?

John Aboud: Just go to your reunion.

Jonathan Frakes: Here's the Roman Room!

John Rogers: Turns out not. See you're young, you still remember what these people look like. You have to remember after 20 years everyone's kind of- what's the great line from Grosse Pointe Blank? Swollen? Everyone just doesn't quite look like what they used to.

Aldis Hodge: I'm young, but I'm an actor, but I don't remember a damn thing past 5 minutes ago.

John Rogers: ‘I don't remember other people, I'm an actor’.

Aldis Hodge: Hey.

Chris Downey: It's fun, too, seeing Eliot typing stuff.

Michael Colton: Ten go to twenty stuff.

John Rogers: It was- and this was actually fun too, we were originally developing this trying to figure out what the hell Eliot was doing and then we realized just put him over there. For once he's gotta- yeah. Also allowed us to do the fight in an interesting way. This- god all high schools do look alike.

Jonathan Frakes: Yeah this high school is perfect. The shiny floors, the lockers. We said, ‘We’re looking for a broom closet.’ They said, ‘Well what about the broom closet?’ We said ‘Good, that'll be fine.’

[Laughter]

John Rogers: ‘That'll absolutely work!; And by the way Gina seems to really enjoy when her character doesn't like Tims character. She seems to be digging in a little bit more, I'm just saying. Yeah the utter scorn of the good looking asshole is fantastic. Oh we're past that. That was the-

Michael Colton: This is fun also ‘cause so much- I mean just ‘cause the nature of the show often Tim’s or Nate’s character is playing the shady businessman and this is totally opposite.

John Rogers: Yeah this is a low status character.

Chris Downey: He doesn't do a lot of low status.

John Aboud: He's not worn a hat like this on previous jobs.

Aldis Hodge: I just saw one of the other buttons said ‘I’m a handyman’.

Chris Downey: Is that what it said?

Aldis Hodge: One of them yeah. The yellow one.

Chris Downey: ‘I’m a handyman’.

John Rogers: The bright green one says ‘if you can't be handsome be handy’.

Michael Colton: There's very few of his characters where he can wear that necklace.

Jonathan Frakes: ‘I should give you my card’.

Aldis Hodge: The necklace is questionable.

John Rogers: Questionably- is it a surfer? Or what is that?

Aldis Hodge: It's a surfer, man.

Chris Downey: Oh is that what that is?

John Rogers: He's still a Boston guy, so I don't know what he's wearing that for.

John Aboud: Well he's around water all the time.

John Rogers: That’s true.

John Aboud: Pools.

Chris Downey: That's right.

Aldis Hodge: He's a great surfer in his mind.

John Rogers: The great surf pools of Route 9.

Aldis Hodge: Surfer in his mind.

John Aboud: Uh-oh what is this?

Chris Downey: Someone is coming down the stairs.

John Aboud: What’s this what’s this?

John Rogers: Oh yeah, the lovely Kari Wuhrer.

Chris Downey: Now uh MTV? I mean best known-

John Aboud: Oh absolutely.

John Rogers: The sliders, the-

Michael Colton: What’s it called?

John Aboud: Class of ‘96.

Michael Colton: Remote Control. 

Chris Downey: Remote Control, that’s right.

Michael Colton: That was a formative influence on me. So I was very happy when I got to work with her.

John Rogers: Yeah, she's fantastic, by the way. She’s really sweet, worked her butt off and just-

Jonathan Frakes: Also happens to be married to our UPM [Editor’s Note: Unit Production Manager]. 

Chris Downey: But certainly we’re not giving away parts to people connected to the show!

John Aboud: No no.

Jonathan Frakes: Otherwise Jeanie Francis would be on the show by now.

[Laughter]

Michael Colton: I did not know-

John Rogers: She didn't want to work with you, that's the problem. We called here and-

Michael Colton: I did not know she was married to the Leverage team until after she was cast. Her audition was great.

Chris Downey: She was.

John Rogers: Well that's the- Jim Scoura, her husband, the UPM, plays of course the assassin in the finale, in the summer finale.

Michael Colton: It's a double assassin household.

John Rogers: In our heads actually they are married in the Leverage verse; they’re like the bad Mr and Ms Smith.

John Aboud: Neither one of them can actually complete a kill.

John Rogers: They just- but they work hard, they get a lot of-

Jonathan Frakes: Watch them roll down these lockers.

Chris Downey: Was Jim here for this sequence?

Jonathan Frakes: He avoided this scene.

John Rogers: Interesting.

John Aboud: Stayed in the office.

Michael Colton: Stayed with the kids this day.

John Rogers: Having your improbably hot wife all over a good looking actor is just-

John Aboud: Why improbable? Why improbably hot?

Jonathan Frakes: Watch this, watch Tim with these- is this where he does the-

Michael Colton: That’s coming up.

Chris Downey: Oh man.

Jonathan Frakes: The stuff with the-

Aldis Hodge: Did this in one take right? Just one take.

Chris Downey: Jeez she's devouring him. This is like an episode of V!

[Laughter]

John Rogers: She’s gonna unhinge her jaw any second now.

John Aboud: And here we go.

Jonathan Frakes: Oof what a surprise that she'd have it there.

John Rogers: It's a warm key.

Jonathan Frakes: Look at Tim! Look at Tim working those props!

John Aboud: Battling the brooms.

Chris Downey: Nothing like-

John Aboud: And then he stands back up.

John Rogers: Come on the doors right there. 

Jonathan Frakes: Come on, come on. Tried and true.

John Rogers: ‘And now I'm gonna go kill a dude.’

Jonathan Frakes: Lucky for us, Beth is in the building.

John Rogers: Yep. This is a real broom closet, that's great. How did you have room to shoot in there?

Jonathan Frakes: Went for the big broom closet.

John Rogers: Ah there you go, as opposed to the little one. Also this is a recurring bit: how Parker will just dump food everywhere. It actually turns out to a plot point in the Rashomon episode.

Chris Downey: Apparently we can have food.

Michael Colton: We can if it's chicken wings. They had like three giant trays of chicken wings.

John Rogers: Ahh good spark welding effect. Thank you, thank you props and special effects, appreciate it.

Jonathan Frakes: This works great, actually.

John Rogers: Yes that was better than the lightsaber through the door in the Star Wars prequel.

[Laughter]

John Aboud: That’s a low bar sir.

John Rogers: Well it's still- it's a feature bar I'll take it.

John Aboud: Feature bar.

Michael Colton: ‘I’m for clean fun’. That's another button,

Chris Downey: Is that what it says?

John Aboud: That’s another one, another button.

[Laughter]

John Rogers: The one on the left is haunting me, I can't quite make out the one on the left.

Aldis Hodge: It says- wait.

Michael Colton: Can we enhance?

John Rogers: Stop and enhance, enhance, push in. 

Michael Colton: Push in.

John Rogers: And yeah,this was a lot of fun just zooming in on- cause lets face it, not a lot of women can edge Gina Bellman out of that situation.

Jonathan Frakes: I know, and throw wine on her!

John Rogers: Yep.

Chris Downey: And the fun of this was having them revert to their high school personas and being offended by the cheerleader muscling in on her. I mean right? I mean this is- that's what-

Michael Colton: It's called subtext.

John Aboud: Seeing Sophie confront a mean girl.

Chris Downey: Yes.

John Rogers: Yes. It's great everyone had- everyone had their thematic little hook in this. One of the reasons we originally were attracted to the idea, even a year earlier, was because high school is that period where just the shell isn't on yet.

Chris Downey: And a high school reunion-

Jonathan Frakes: Had you done this before where the con men get conned in the middle of their con?

John Rogers: We play around with it, but rarely in this particular thing. Rarely this particular style.

Chris Downey: You mean an assassin showing up late in the episode?

Jonathan Frakes: No, no, no, I mean two con- our con and another con trying to duke it.

Chris Downey: Oh right.

John Rogers: Intersecting? Two Live Crew kinda.

Chris Downey: Well Order 23 we had a guy pretending to be a Marshall and he was an assassin.

John Rogers: Yeah but not a- those are the crucial- the crucials of surveillance photos.

Jonathan Frakes: Oh, she's on Interpol!

John Rogers: You need a half turn, you need a glasses-

Chris Downey: By the way you never see somebody eating spaghetti in surveillance photos.

[Laughter]

John Rogers: Well what are the odds that when you see that person they'll be eating spaghetti? You really don't want that on the wanted photo. That you can't recognize a killer without the spaghetti. You want a spaghetti free context.

John Aboud: ‘Here, eat this.’

John Rogers: ‘Oh, you're that person!’

John Aboud: ‘We've got our man!’

Jonathan Frakes: Mission Impossible.

John Rogers: Yeah great little three way walk, nice.

Jonathan Frakes: Boom. ‘You go this way I'll take this way’. Taking a long time to get through that door.

Chris Downey: Really is. It's a really thick door.

John Aboud: Very secure door.

Michael Colton: They stopped for a break.

Jonathan Frakes: Thick door they established that early.

John Rogers: This, by the way- this is great. Not a lot of guys could land this joke. ‘The health inspector?’

Michael Colton: Was that in the script or was that?

Jonathan Frakes: That was on the day.

John Rogers: That was on the day, that was an improv, right?

Michael Colton: Yeah, Chris did a lot of improv in this scene. Entire fight was improvised.

John Rogers: And that was fun, too, is coming up with the- I remember ‘ok what’s- what’s from the 80s you can hit people with?’

Chris Downey: Oh that's great.

John Rogers: This is a great fight.

John Aboud: First take on that smash.

Chris Downey: Oh that's great.

Michael Colton: Oh I know, ‘they give trophies for chess’ was Christian’s.

John Rogers: That's right.

Chris Downey: Yeah.

[Silence]

John Rogers: Sorry mouthful of Irish whiskey.

[Laughter]

Chris Downey: Yeah this is a great fight oh and the bowling trophy.

John Rogers: The bowling for chess. 

Jonathan Frakes: There’s no prop he doesn't flip!

[Laughter]

Aldis Hodge: He flips everything.

Jonathan Frakes: Am I right?

Chris Downey: Or twirl.

Aldis Hodge: He’ll flip a table.

Jonathan Frakes: Never found a prop he couldn't twirl.

John Rogers: And that's interesting, because on the big screen, you cut from the dude sort of cracking his neck behind Christian, and it's a slam cut into two people kissing. For a second I'm like ‘what the hell? Wait what the hell is going on here? Oh alright.’

Jonathan Frakes: Here's something we've all looked forward to. The fox fight in the girls dressing room.

Michael Colton: Well that- when we were writing the high school show and we came up with this character we knew we had to have a girl fight in the locker room.

John Aboud: And where was that silencer?

Jonathan Frakes: Gina resisted, and then ended up saying, ‘When can I do this again?’

John Rogers: She loves fighting, you see.

Chris Downey: She does.

John Rogers: You're always worried you're going to get hurt fighting, but the stunt people know what the hell they're doing, everyone’s super safe and you wind up just having fun. And also that was a big thing, you know Sophie’s character is not a killer, she has to cheat.

Chris Downey: Oh and the shoes!

John Rogers: The shoes come off.

Jonathan Frakes: Now it's real. Boom.

[Laughter]

Chris Downey: And there's another locked off comedy frame!

John Rogers: And then the cross.

Jonathan Frakes: Locked off comedy!

John Rogers: The cross cutting between the two fights was a lot of fun. And yeah, she could probably take her if she didn't have the fire extinguisher. It- Kari’s frustration in ‘what the hell are you talking about’ here is hilarious, actually.

Jonathan Frakes: These stunt doubles are quite good, this is intercut nicely.

John Rogers: Yup it is. And- 

Chris Downey: Oh and she uses a gun, look at that.

Jonathan Frakes: Yeah, look at that.

Michael Colton: Yeah, but she missed.

John Rogers: Yeah that's the problem, silencers are really useless anywhere over 10 feet. She should've unscrewed it but by then she'd be gone. 

Jonathan Frakes: Woah, woah, woah. 

John Rogers: And this is a great- actually of the early episodes this season this was one of my sort of favorite sort of character twists is that Drake actually has an arc. 

John Aboud: Right.

John Rogers: You know no person is without redemption, including Drake. Oh yeah.

Aldis Hodge: And the taser!

John Rogers: And the taser. Again, crucial for the finale for us to plant it that soon.

John Aboud: Her weapon of choice for the season.

John Rogers: Yeah catering. We originally had her lowering from the ceiling, and then that was just crazy. Used the taser. Oh the hug, that's nice.

Jonathan Frakes: Oof.

John Rogers: Oh the- and then the double turn this, is this is dense. This one’s actually got a lot going on in this act.

Michael Colton: I have no idea what's happening now.

[Laughter]

John Aboud: Truly lost.

John Rogers: Is this the fourth act? This is the fourth act

John Aboud: I think we're in act nine.

John Rogers: Yeah this is the fourth action act, and there's an awful lot of story going on here.

Chris Downey: Oh here we go. 

John Rogers: And what I kinda like here is where Arye Gross is playing not just angry, but hurt.

Michael Colton: Yeah.

John Rogers: It's like ‘I thought all my high school dreams had come true and now you're lying to me.’

Michael Colton: He's great in this. 

John Rogers: Genuinely never- can't go wrong with a shot down the gun.

Jonathan Frakes: Nope. Reliable.

John Rogers: Gonna react to it? Nope, just go to the reverse.

Jonathan Frakes: Go out number one.

Michael Colton: Bang.

Aldis Hodge: Commercial, people.

John Rogers: Remember, a guy pulling a gun for the act break is always better than a guy leaving with a gun. And now we do- what's sad is this was the plan. That's- when you think about it this is the most convoluted possible way to get this information in this guy’s head. I don't mean sad in a bad way, I mean this guy really just has no chance whatsoever. And yeah the mixture of like ‘I’m a villain’ and- this may be the saddest villain we’ve ever had.

Michael Colton: Well I was watching this with my sister, who said- this scene happened, she's like ‘oh I feel bad for him’ then he has a line about ‘cause you brutally beat the Iranian’ then she's like ‘oh now I don’t feel bad for him.’ It was the perfect-

Chris Downey: You're like, ‘Ooh I'm glad I put that in there.’

John Rogers: It's a little- it is sometimes a little funny that you know you realize television very much leads you through the emotions of the show. So it’s- you sorta feel like an idiot resetting the emotions as a writer but it’s important. You know you're in a contract with the viewer.

Jonathan Frakes: Well we’ve been in the school for two acts. 

John Rogers: Yeah.

Jonathan Frakes: Absolutely true. And the hacker getting hacked we've forgotten about that.

John Rogers: Yeah 42 minutes is- what is it, average American attention span is like 10 minutes? Which is why act length is probably just about right.

John Aboud: ‘Nice try fake Drake’.

Chris Downey: Fake Drake.

John Aboud: And he pointed out that that sounded a little like a Batman villain.

[Laughter]

John Rogers: Fake Drake.

John Aboud: ‘Very well Fake Drake.’

John Rogers: The- and again, these are people- these are professional spies. These are people who are hired to take care of people like Eliot.

Aldis Hodge: So it's okay for them to get hurt.

John Rogers: So it's okay for them to get beat up.

John Aboud: For his arm to bend that way.

Aldis Hodge: Yeah we don't feel bad for him, no.

John Rogers: I love the ASCII art there. 

John Aboud: Yep, yep.

John Rogers: I love that he would go to the effort of making an ASCII manticore. Cause that's not easy. And you can't have an intern do that cause it's your secret logo.

Chris Downey: Yeah.

John Aboud: I think that probably took Derek all of five seconds. And then it even animates! It even animates when it dies.

John Rogers: x o x o x o yeah. Again, he would've had to do that. So at some point Arye Gross' character had to have gone, ‘What if somebody hacks this? I should put a death animation in just in case.’

Chris Downey: Yeah well you want to know that it's gone.

John Rogers: Yeah exactly. Made unaware.

Jonathan Frakes: This is the fifth Beatle, played strong in this show.

John Rogers: Yeah Derek Frederickson. And of course manticore based on various intercept methods that you can use. And that's kinda tricky is social media is both a tool of insurrection and makes you vulnerable. As soon as you network with other people it's a weakness.

John Aboud: We talked about Carnivore I think wasn’t that the-

John Rogers: Yes, that was the FBI one.

John Aboud: Was the decryption.

Chris Downey: Now how long did it take to ‘Badger 85’? ‘Cause you had to find ways to implant it.

Michael Colton: That- actually that was kind of fun because we had to figure out ways to use the word ‘badger’ or ‘85’.

John Aboud: For this.

Michael Colton: Yeah.

John Aboud: For this sequence.

Chris Downey: For the flashes.

Jonathan Frakes: There was a wonderful alliteration in this.

Chris Downey: ‘Five years’.

John Aboud: ‘Wasn't all bad-ger brain hold onto every detail’.

John Rogers: And there's the badger. You gotta remember that badger.

Aldis Hodge: AKA Beth.

Michael Colton: ‘I already ate, five months’.

John Rogers: I've had this dream so many times.

[Laughter]

Michael Colton: ‘You hacked me?’

John Rogers: And now the meltdown. We don't really give them a gloat here, we don't really give them a gloat.

John Aboud: He pre-gloats.

Aldis Hodge: With the Fred Flinstone run out.

[Laughter]

John Rogers: That’s a chess club run.

Chris Downey: He was in the chess club.

John Aboud: Schmitty.

Jonathan Frakes: Can’t believe we’re out of beer.

Chris Downey: ‘Out of beer!’

Jonathan Frakes: Never happened to Paul.

John Rogers: I don’t think that was a line, I think we just ran out of beer on set.

[Laughter]

John Rogers: Oh Larry Duberman, millionaire, the stress has gotten to him, he's melting down. I'll take him away.

Jonathan Frakes: Here's where we toyed with having our favorite FBI guys in this.

Chris Downey: We almost did but the scheduling didn't work. But we tried to have-

Michael Colton: Yep.

John Rogers: Again always the pain but real humans are attached to these roles. They don't wait around for us.

Chris Downey: Taggert and McSweeten.

John Aboud: Doucherman!

Aldis Hodge: Doucherman.

John Aboud: So disappointed.

Chris Downey: Gave him a nice shot there.

John Aboud: So disappointed.

Jonathan Frakes: He's a friend, he gets a good close up.

John Rogers: That's good.

Jonathan Frakes: And this- I love this end. I love this.

Michael Colton: This is what the show started with.

John Rogers: We held onto this end for two years.

Michael Colton: This was all we had.

John Aboud: This is the image from which the episode sprung.

Michael Colton: From whence it sprang.

John Aboud: Yep.

John Rogers: Like the head of Zeus.

Aldis Hodge: It's a red party cup.

[Laughter]

John Aboud: I love that shirt. I love that shirt. I do love that shirt.

Chris Downey: Is that what that is?

Aldis Hodge: Yup yup.

John Aboud: Red party cup.

Michael Colton: Which is a line-

Chris Downey: Oh I want that.

Jonathan Frakes: And he gives it up to. This actor gives it up again.

John Rogers: Yeah, well didn't we put cayenne pepper in his eyes?

Jonathan Frakes: No we did not.

John Rogers: Oh we don't do that anymore? Alright. No he was-

Aldis Hodge: It's how we motivate our actors. They go hard.

John Rogers: Absolutely fantastic work. 

John Aboud: I made him cry.

Aldis Hodge: It’s cause you called him fat right before you shot it.

John Rogers: That's a big part of the show by the way, the victim isn't just pathetic.

John Aboud: It was the insults that did it.

John Rogers: That was a spinoff, too, we talked about - Mandy and Schmitty.

John Aboud: Mandy/Schmitty.

John Rogers: Unwittingly getting involved in cons.

Michael Colton: Schmitheads.

Jonathan Frakes: Mandy was thrilled to get to play a girl with big boobs cause she had just had a baby, so she never had boobs like this before. So she was thrilled to be asked-

Chris Downey: I'm sure she can enjoy hearing that on this.

[Laughter]

Jonathan Frakes: Lana[?] told me this for sure.

Michael Colton: They look wonderful.

John Rogers: The- and this was fun. The whole idea that they were so convincing at the con and so charming-

Jonathan Frakes: Yeah that they become-

John Rogers: You could've done an entire subplot like that. 

Chris Downey: Oh look at that.

John Rogers: I think that's you  know that's a good day for Schmitty, he really lost track of his friends, and he's just happy to know Drake’s doing okay.

Jonathan Frakes: And you can't miss the beer bowl, John Hughes. Thank you very much.

John Rogers: No he- and this is Joe LoDuca giving us- and we originally wanted words and then he gave us the melody as a sample before he put the words on and realized we don't want words.

Chris Downey: No, yeah, that's perfect.

John Rogers: This is perfect. This sounds exactly like an 80s tune.

Aldis Hodge: Now which one of your guys' high school dreams is this, here?

John Rogers: Dancing with Gina Bellman?

Michael Colton: Dancing with Tim Hutton?

[Laughter]

Aldis Hodge: Becoming prom king after like 85 years.

Jonathan Frakes: I love the callback to these two characters, in these costumes, in this place. I think this is lovely, actually.

Michael Colton: Magical.

John Rogers: This is fantastic. This is one of my favorite endings. It really is.

Aldis Hodge: Bit of redemption for what they’ve gone through.

Jonathan Frakes: No, but it’s in front of all these people. Their pasts-

John Rogers: Yeah, and she's not gonna tell him the name, but she's-

Chris Downey: And high school reunions like we said are full of, like, emotion. I mean it's just that’s what's- it kinda takes you back so it’s-

John Aboud: Well and of course what we liked was that Parker never experienced this stuff. So to her it's an alien world and by the end-

Chris Downey: And here's the shot.

John Aboud: This is it.

Jonathan Frakes: Well the metaphor of her feet being off the ground. Here we go bring it on.

Aldis Hodge: Yup.

Michael Colton: Oh yeah.

John Rogers: Yeah, just never actually touching the ground.

Aldis Hodge: I'm just that strong, I'm holding her up.

[Laughter]

Chris Downey: That is great.

Aldis Hodge: Oh yeah.

Chris Downey: And of course look! The one who- the one guy who didn't get to have any fun.

Jonathan Frakes: ‘I don't get to go.’

John Rogers: ‘Did anybody ask if Eliot's okay? Is Eliot alive?’

Jonathan Frakes: Sorry buddy.

John Rogers: Pissed off Christian is a funny Christian. And then pan up and then find both of them. Oh I love this shot.

Jonathan Frakes: Excellent use of the crane.

John Rogers: This is kind of the whole reason to do- yeah. And-

John Aboud: Fan favorite, gonna call it.

John Rogers: Fan favorite, yep.

Chris Downey: Yeah.

John Aboud: Calling it yeah.

Chris Downey: Both of your episodes guys have endings of real-

Michael Colton: The rest of them are shit, but the endings really land.

Chris Downey: But I'm saying-

Michael Colton: Stick the landing.

John Rogers: Gotta hold on for the ending of Colton and Aboud episode.

Chris Downey: I’m trying to pay you a compliment!

Jonathan Frakes: Makes you wanna put in another DVD doesn't it?

John Rogers: Yes, yes, you should go-

Jonathan Frakes: Let’s watch another episode!

John Rogers: You should go watch another episode right now.

Jonathan Frakes: Go run to the fridge, get some stuff, put another one in.

John Rogers: Get some stuff. If you're pantless that's cool we’re pantless.

Michael Colton: You’re saying for douchbags to go hard.

Aldis Hodge: If Hardison-

Michael Colton: We wrote two endings-

John Aboud: Fake it- we fake it well.

Michael Colton: That are actually heartwarming.

Chris Downey: Very heartwarming.

John Rogers: Well you were given one of them.

[Laughter]

Jonathan Frakes: Thanks for watching.

Aldis Hodge: Peace people.

[todaysdocument]

Treaty Between the the United States and the Iowa Indians and the Sauk and Fox Indians of the Missouri (Residing West of the State of Missouri) Signed at Fort Leavenworth, 9/17/1836

File Unit: Ratified Indian Treaty 211: Iowa and Sauk and Fox of the Missouri (West of Missouri) - Fort Leavenworth, September 17, 1836, 1789 - 1869

Series: Indian Treaties, 1789 - 1869

Record Group 11: General Records of the United States Government, 1778 - 2006

Transcription:

Articles of a Treaty made and concluded at Fort Leavenworth,

on the Missouri River, between William Clark, superintendent of

Indian Affairs, on the part of the United States, of the one part,

and the undersigned Chiefs, Warriors, and Councillors of the

Ioway Tribe and the Band of Sacks and Foxes of the Missouri,

(residing west of the State of Missouri) in behalf of their respective

tribes, of the other part:

Article 1. By the first article of the Treaty of Prairie Du Chien

held the fifteenth day of July eighteen hundred and thirty, with

the confederated tribes of Sacs, Foxes, Ioways, Omahaws, Missorias,

Ottoes, and Sioux, the country ceded to the United States by that

Treaty, is to be assigned and allotted under the direction of the Pres-

ident of the United States to the tribes living thereon, or to such

other tribes as the President may locate thereon for hunting and

other purposes.- and where as it is further represented to us the

Chiefs, Warriors, and Counsellors of the Ioways and Sack and Fox

Band aforesaid, to be desirable that the Lands lying between the

State of Missouri and the Missouri River, should be attached

to, and become a part of said State, and the Indian title thereto be

entirely extinguished; but that, notwithstanding, as these lands compose

a part of the Country embraced by the provisions of said first Article

of the Treaty aforesaid. The stipulations thereof will be strictly obs-

erved until the assent of the Indians interested is given to the

proposed measure.

       Now we the Chiefs, Warriors, and Counsellors of the Ioways,

and Missouri Band of Sacks and Foxes, fully understanding

the subject, and well satisfied from the local position of the

lands in question, that they never can be made available for

Indian purposes, and that an attempt to place and Indian pop-

ulation on them, must inevitably lead to Collisions with the

Citizens of the United States, and further believing that the

extension of the State line in the directions indicated; would

have a happy effect by presenting a natural Boundary between

the Whites and Indians; and willing, more over, to give the

United States a renewed evidence of our attachment and friend-

ship, do hereby for ourselves, and on behalf of our respective tribes,

(having full power and authority to this effect) forever cede, relinquish,

and quit Claim, to the United States, all our right, title and interest

of whatsoever nature in, and to, the lands lying between the State

of Missouri and the Missouri River; and do freely and fully

exonerate the United States from any guarantee; Condition or

?Limitation, expressed or implied, under the Treaty of Prairie

Du Chien aforesaid, or otherwise, as to the entire and absolute

disposition of the said lands, fully authorizing the United States

to do with the same whatever shall seen expedient or nec-

essary.

       As a proof of the continued friendship and liberality

of the United States towards the Ioway and Band of Sacks

and Foxes of the Missouri, and as an evidence of the sense

entertained for the good will manifested by said tribes to the

Citizens and Government of the United States, as coined in the

[page 2] 

[two page layout]

[left page]

Preceding cession or relinquishment, the undersigned, William

Clark, agrees on behalf of the United States, to pay as a present to

the said Ioways and Band of Sacks and Foxes, seven thousand

five hundred dollars in Money, the receipt of which they hereby ac=

knowledge.

        Article 2. As the said tribes of Ioways and Sacks and

Foxes, have applied for a small piece of land, south of the Missouri,

for a permanent home, on which they can settle, and request the

assistance of the Government of the United States to place them on this

land in a situation at least equal to that they now enjoy on

the land ceded by them: Therefore I, William Clark, superinten-

dent of Indian Affairs, do further agree on behalf of the United

States. As assign to the Ioway tribe, and Missouri Band of Sacks

and Foxes, the small strip of land on the south side of the Miss-

ouri River, lying between the Kickapoo northern boundary line and

the Grand Nemahar River, and extending from the Missouri

Sack and westwardly with the said Kickapoo line and the

Grand Nemahar, making four hundred sections; to the divided

between the said Ioways and Missouri Band of Sacks and Foxes,

the lower half to the Sacks and Foxes, the upper half to

the Ioways.

       Article 3. The Ioways and Missouri Band of Sacks and

Foxes further agree, that they will move and settle in the lands

assigned them in the above article, as soon as arrangements can

be made by them; and the undersigned William Clark, in behalf

of the United States, agrees, that as soon as the above tribes have

selected a site for their villages, and places for their fields, and

moved to them, to erect for the Ioways five comfortable houses,

to enclose and break up for them two hundred acres of Ground;

to furnish them with a Farmer, a Blacksmith, school master,

and interpreter, as long as, the President of the United States

may deem proper; to furnish them with such agricultural

Implements as may be necessary, for five years; to furnish them

with Rations for one year, commencing at the time of their arriv-

al at their new homes; To furnish them with one Ferry Boat;

to furnish them with one hundred Cows and Calves and five

Bulls, and one hundred stock hogs when they require them;

To furnish them with a Mill, and assist in removing them,

to the extent of five hundred Dollars. And to erect for the

Sacks and Foxes three comfortable Houses; to enclose and break

up for them two hundred acres of Ground; to furnish them with

a Farmer, Blacksmith, School Master, and Interpreter, as long as

the President of the United States may deem proper: to furnish them

with such Agricultural Implements as many be necessary, for five

years; to furnish them with Rations for one year, commencing

at the time of their arrival at their new home: to furnish them

with one Ferry Boat; to furnish them with one hundred Cows and

Calves and five Bulls, one hundred stock Hogs when they require

them; to furnish them with a mill; and to assist in removing

them, to the extent of four hundred Dollars.        [blue circular stamp] THE NATIONAL ARCHIVES OF THE UNITED STATES [/blue circular stamp]

[right page]

       Article 4. This Treaty shall be obligatory on the Tribes, Parties

hereto, from and after the date hereof, and on the United States from and

after its ratification by the Government there of.

      Done and signed and sealed at Fort Leavenworth, on the

Missouri, this seventeenth day of September, one thousand eight

hundred and thirty six, and of the Independence of the United States

the sixty first.              

[left column]

Witness

[signed]  S. W. Kearny

      Col. 1st Reg. Drags.

[signed]  Jno Daugherty Ind. Agt.

[signed]  Andrew S. Hughes  Sub Agent

[signed]  George R. H. Clark

[signed]  William Duncan Indian farmer

[signed]  Jos V Hamilton Sutler Dragoons

[signed]  H Robedou Jr

[signed]  Wm Bowman Sargt. Maj 1. Drgs.

[signed]  Jeffery Dorion his x mark, Sworn interpreter

[signed]  Peter Cadue his x mark, Sworn interpreter

[signed]  Jacques White Interpreter U. S.

[signed]  Louis M. Darrion

[right column]

[signed]  Wm. Clark Su In Afr         Seal

Ioways

Mo-hos-ca  (or white Cloud)      his mark x    seal

Nau-che-ning  (or No heart)      his mark x    seal

Wa-che-mo-ne  (or the Orator)       his mark x    seal

Ne-o-mo-ne  (or Raining Cloud)      his mark x    seal

Mau-o-mo-ne  (or Pumpkin)      his mark x    seal

Congu   (or Plumb)      his mark x    seal

Wau-thaw-ca-be-chu  (one that eats raw)      his mark x    seal

Ne-wau-thaw-chu  (Hair Shedder)      his mark x    seal

Mau-hau-ka (Bunch of Arrows)      his mark x    seal

Cha-tau-the-nu  (Big Bull)      his mark x    seal

Cha-tea-thau (Buffalo Bull)      his mark x    seal

Cha-ta-ha-ra-wa-re (foreign Buffalo)      his mark x    seal

Sacs & Foxes

Cau-a-car-mack  (Rock Bass)      his mark x    seal

Sea-sa-ho  (Sturgeon)      his mark x    seal

Pe-a-chin-car-mack (Bald head Eagle)      his mark x    seal

Pe-a-chin-car-mack Jr. (Bald head Eagle)      his mark x    seal

Ca-ha-qua  (Red Fox)      his mark x    seal

Pe-shaw-ca  (Bear)      his mark x    seal

Po-cau-ma  (Deer)      his mark x    seal

Ne-bosh-ca-wa  (Wolf)      his mark x    seal

Ne-squi-in-a  (Deer)      his mark x    seal

Ne-sa-au-qua  (Bear)      his mark x    seal

Qua-co-ou-si  (Wolf)      his mark x    seal

Se-quil-la  (Deer)      his mark x    seal

As-ke-pa-ke-ka-as-a  (Green Lake)      his mark x    seal

Wa-pa-se     (Swan)      his mark x    seal

No-cha-taw-wa-ta-sa   (Star)      his mark x    seal

[thenavajotourist-blog]

Your Hero is Not Untouchable Pt 2

Your Hero is Not Untouchable

A Monuments Study: Dakota War of 1862 Memorials, Monuments and Markers

by Rye Purvis 7/3/2020

(T.C. Cannon, Kiowa, painting “Andrew Myrick - Let Em Eat Grass” 1970)

On December 26th, 1862 38 Dakota prisoners of war were executed in Mankato, Minnesota. This was to mark an ending (though not an end to the suffering of the Dakota peoples) to the Dakota War of 1862, a war that began just months earlier in the Fall of ’62. The 38 men were ordered to be executed under the order of Abraham Lincoln, after Lincoln’s examined 303 war trials conducted from September to November of ’62 in Minnesota:

“The trials of the Dakota prisoners were deficient in many ways, even by military standards; and the officers who oversaw them did not conduct them according to military law. The hundreds of trials commenced on 28 September 1862 and were completed on 3 November; some lasted less than 5 minutes. No one explained the proceedings to the defendants, nor were the Sioux represented by defense attorneys. "The Dakota were tried, not in a state or federal criminal court, but before a military commission. They were convicted, not for the crime of murder, but for killings committed in warfare. The official review was conducted, not by an appellate court, but by the President of the United States. Many wars took place between Americans and members of the Indian nations, but in no others did the United States apply criminal sanctions to punish those defeated in war." The trials were also conducted in an atmosphere of extreme racist hostility towards the defendants expressed by the citizenry, the elected officials of the state of Minnesota and by the men conducting the trials themselves. "By November 3, the last day of the trials, the Commission had tried 392 Dakota, with as many as 42 tried in a single day." Not surprisingly, given the socially explosive conditions under which the trials took place, by the 10th of November the verdicts were in, and it was announced to the nation and the world that 303 Sioux prisoners had been convicted of murder and rape by the military commission and sentenced to death.” 1

 Lincoln reviewed all transcripts from the rushed trials and made his decision on the final execution in under a month. The public execution remains the largest mass execution in American history. Today a public park remains at the site of the execution, named “Reconciliation Park” and given the theme “Forgive Everyone Everything.” 2 Merriam-Webster’s lists its dictionary definition of reconciliation as “the act of causing two people or groups to become friendly again after an argument or disagreement.”

 It Starts with Treaties

To provide context to the Dakota War of 1862 is to acknowledge a trail of once again broken treaties and a US hunger for land acquisition. Before colonial interactions, the Great Sioux Nation covered present-day northern Minnesota and Wisconsin. The ancestors of the Sioux “arrived in the Northwoods of central Minnesota and northwestern Wisconsin from the Central Mississippi River shortly before 800 AD.” 3  Under the Great Sioux Nation are three subdivision groups: The Lakota (Northern Lakota, Central Lakota and Southern Lakota), Western Dakota (Yankton, Yanktonai) and the Eastern Dakota (Santee, Sisseton). It wasn’t until the early 1800’s that the Dakota, of the Sioux Nation, signed a treaty with the US in order to establish US Military posts in Minnesota and open trading for the Dakota. Soon after, the 1825 Treaty of Prarie du Chien and the 1830 Fourth Treaty of Prarie du Chien were put into place to cede more land to the American government. Another 1858 Treaty established the Yankton Sioux Reservation for the Yankton Western Dakota peoples, a treaty that ultimately moved the band from “eleven and a half million acres” to a “475,000 acre reservation.”11 The US created the Territory of Minnesota in 1849, thus placing even more pressure on the Sioux to concede land. More treaties followed with the 1851 Treaty of Mendota and the Treaty of Traverse des Sioux. In both deals, 21 million acres were ceded to the US by the Sisseton and Wahpeton bands of the Dakota in exchange for $1,665,000. “However, the American government kept more than 80% of the funds with only the interest (5% for 50 years) being paid to the Dakota” 4

The US’s aim ultimately was to force the Sioux out of Minnesota. Minnesota, established as a state on May 11, 1858 had two temporary reservations set up along the Minnesota River, one for the Upper Sioux Agency and one for the Lower Sioux Agency. Relocation and displacement from land once used for hunting created even more tension with delayed treaty payments causing economic suffering and starvation. Treaties promised payments to the Sioux, payments that were used for foods but at that point but were often late due to the US’s focus on the Civil War. Trader store operators many times charged credit to the Upper and Lower Sioux Agency’s, collecting the annuity allotments directly from the government in return.

Let them eat grass

Having owned stores in both the Upper and Lower Sioux Agency at the time, trader Andrew J Myrick eventually refused to sell food on credit to the Dakota during the summer of 1862. That summer saw additional hardship with failed crops in the previous year on top of late federal payments. In response to his refusal to allot food, Myrick was quoted as “allegedly” saying “Let them eat grass” a quote that is oftentimes disputed. Around the same time as this disputed quote, on August 17, 1862 a few Santee men of the Whapeton band killed a white farmer and part of his family, thus starting the beginning of the Dakota War of 1862.

This is where we in the 21st century have to take a pause. Most of the written accounts of the start of the war or the “murderous violence” of the “Murdering Indians” 5 (a quote from Peter G Beidler’s “Murdering Indians”) were accounts from the side of the colonizers. When researching the Dakota War of 1862, perspectives from the Dakota are not common. At some point the basis for war warrants a question of American mythology. In researching about this white farmer debacle, the killing is in one instance described as coming from “an argument between two young Santee men over the courage to steal eggs from a white farmer became a dare to kill.”6 In another account, the story follows the same narrative about the farmer’s eggs: “Upon seeing some chicken eggs in a nest at the farm of a white settler, there was a disagreement whether or not to take the eggs. When one refused, his companion dared him to prove that he was not afraid of the white man's reaction.”7 I bring up the eggs incident not to stress on this sliver of historical mythology but to emphasize the instability of perspective in historical accounts. Anti-Indian perspectives and a notion of eradication of the “Indian” has been profound in the beginning in the colonization of the US. For a war to rest on the stolen eggs of a farmer, and the killing of 5 individuals doesn’t take into account the broken down persons that were driven to get to the point of having to steal eggs nor what exactly occurred between the farmer and the men.

After the incident, however it occurred, Mdewakanton Dakota leader Little Crow led a group against the American settlements waging war as a means to remove the white settlers. Little Crow as he is known in European mistranslations, name was actually Thaóyate Dúta meaning “His Red Nation”. He was instrumental in leading discussions in the treaties, providing a voice for his people, and leading Dakota in the Battle of Birch Coulee. In a letter to Henry Sibley, the first Governor of the US State of Minnesota, on September 7, 1862, Thaóyate described the context for the uprising:

“Dear Sir – For what reason we have commenced this war I will tell you. it is on account of Maj. Galbrait [sic] we made a treaty with the Government a big for what little we do get and then cant get it till our children was dieing with hunger – it is with the traders that commence Mr A[ndrew] J Myrick told the Indians that they would eat grass or their own dung. Then Mr [William] Forbes told the lower Sioux that [they] were not men [,] then [Louis] Robert he was working with his friends how to defraud us of our money, if the young braves have push the white men I have done this myself." 8

Famine, broken treaties, late payments from the government were but a few of the motivating factors for driving change. The killing of the five white settlers by the 5 Santee men prompted a motion of action led by then natural leader Thaóyate. 

When the war neared an end, Thaóyate and other Dakota warriors escaped. It wasn’t until July 3 of 1863 that Thaóyate was shot by 2 settlers and mortally wounded. Upon his death, Thaóyate’s body was mutilated and his remains were withheld from both family and his tribe until 1971 when the Minnesota Historical Society returned his remains to Thaóyate’s grandson. A historical marker remains where Thaóyate’s life was taken:

“[The] marker, erected in 1929 at the spot where Chief Little Crow (who escaped the hanging) was shot, glorifies the chief’s killer: “Chief Little Crow, leader of the Sioux Indian outbreak in 1862, was shot and killed about 330 feet from this point by Nathan Lamson and his son Chauncey July 3, 1863.” The marker does not mention that Little Crow’s body was mutilated, that his scalp was donated to the Minnesota Historical Society and put on display at the State Capitol. He would not be buried until 1971.” 9

Marker of where Little Crow was shot (photo by Sheila Regan) 

I just want to acknowledge, that there is a lot of information to unpack that occurred during the Dakota War of 1862, and I don’t want to pretend that this article can sum up every occurrence, battle or person involved. Author and non-Native Gary Clayton Anderson wrote “Through Dakota Eyes” in 1988, and though not perfect, it provides eyewitness accounts from various Dakota peoples perspectives that is worth noting. The Minnesota Historical Society, though known for its problematic history holding on to Thaóyate’s body, also provides more information on its website regarding oral traditions, resources, publications and more in regards to the Dakota War of 1862. I encourage those interested in diving deeper into information to seek out more while simultaneously questioning the source of the information.

 Stolen Bodies

Before Thaóyate’s death, the 38 Dakota men were hung at Mankato under Lincoln’s orders. An additional 2 men by the name of Shakpe and Wakanozanzan who had been captured were also executed on November 11th, 1865 under the order of Andrew Johnson. But this mass execution was not the end of the US’s threat to eradicate the Sioux. After the mass execution, “277 male members of the Sioux tribe, 16 women and two children and one member of the Ho-Chunk tribe”1 were sent to a prison camp at Camp McClellan from April 25, 1863 to April 10, 1866. The prisoners who did not survive Camp McClellan were buried in unmarked graves, later dug up and their skulls used by scientists at the Putnam Museum in the late 1870’s. The 23 skulls were given to the Dakota tribe and not until 2005 was a proper memorial ceremony held for the Dakota prisoners.

In addition, 1600 Dakota women, children and old men were forced into internment camps at Pike Island. Wita Tanka, the Dakota name for Pike Island, is now part of Fort Snelling State Park.

“During this time, more than 1600 Dakota women, children and old men were held in an internment camp on Pike Island, near Fort Snelling, Minnesota. Living conditions and sanitation were poor, and infectious disease struck the camp, killing more than three hundred.[37] In April 1863, the U.S. Congress abolished the reservation, declared all previous treaties with the Dakota null and void, and undertook proceedings to expel the Dakota people entirely from Minnesota. To this end, a bounty of $25 per scalp was placed on any Dakota found free within the boundaries of the state.[38] The only exception to this legislation applied to 208 Mdewakanton, who had remained neutral or assisted white settlers in the conflict."1

 Where does this leave us?

The year was 1990 and a 36-year old Cheyenne and Arapaho artist by the name of Hock E Aye VI Edgar Heap of Birds had just finished an installation along the Mississippi River in Downtown Minneapolis titled “Building Minnesota.” The installation featured 40 white metal signs containing the names of the 38 men executed under the order of Abraham Lincoln, and the 2 men executed under the order of Andrew Johnson. Heap of Birds explained, “‘Not everyone loved the piece. Heap of Birds says that he received criticism because of the negative portrayal of Abraham Lincoln. ‘They thought it was a betrayal,’”9 Beyond that, the installation came to be known as a space for healing, mourning, for acknowledgement of the lost men, and a place for community to gather.

(One of the 38+2 Signs by Edgar Heap of Birds, photo from Met Museum)

Two monuments were placed up in 1987 and in 2012 at Reconciliation Park in Monkato, MN. The ‘87 monument named “Winter Warrior” features a Dakota warrior figure made by a local artist and the 2012 monument features a large scroll with poems, prayers, and the list of all the men killed on that dark day of 1862. 

Beyond that, Minnesota boasts a plethora of statues, monuments and memorials under the umbrella of the Dakota War of 1862. Fort Ridgely State Park located near Fairfax MN hosts a number of monuments, Wood Lake State Monument, Camp Release State Monument, Defenders State Monument are a few of the myriad of locations dedicated to the Americans who fought, lost their lives as well as civilian causality acknowledgement. 

Located in Morton, MN, the Birch Coulee monument was erected in 1894. Close to this monument a granite obelisk was erected five years later titled the “Loyal Indian Monument,” to honor the 6 Dakota “who saved the lives of whites during the U.S. Dakota War.” This monument stood out to me, not so much for its bland appearance, but the unusual circumstance to highlight six “loyal” Native lives amongst the many lost who were seen as disloyal. 

Seth Eastman, a descendant of Little Thunder (one of the 38 men executed in Mankato) shared how “one public school at the border of Minnesota, where a man dressed as Abraham Lincoln talked to the students and answered their questions [and one] of my nephews asked the question, ‘Why did you hang the 38?’ This man went on to tell him, ‘Oh, I only hung the bad Indians. The ones that killed and raped.’ Telling kids this, that we’re bad, it’s the same as how we’ve been portrayed in the media. That struck my core.””

He continued:

“Minnesota has its own memorials for the Dakota War, but some of the older ones especially are quite problematic. These markers paint the settlers who fought the Dakota as brave victims who defended themselves, without discussion of the broken treaties and ill treatment the Dakota endured which prompted the war; neither is there any mention of the mass execution, internment, and forced removal that followed.”9

Director and Founder of Smooth Feather productions Silas Hagerty released the documentary Dakota 38 in 2012. The documentary highlights a yearly journey where riders from across the world meet in Lower Brule, South Dakota to take a 330-mile journey to Mankato as part of a commemoration and ceremony of remembrance for the 38 lost in 1862. The film also delves into bits of history on the attempts the US took to remove the Dakota peoples from Minnesota. Jim Miller, a direct descendant of Little Horse (one of the 38 men) started the annual ride in 2005 as “a way to promote reconciliation between American Indians and non-Native people. Other goals of the Memorial Ride include: provide healing from historical trauma; remember and honor the 38 + 2 who were hanged; bring awareness of Dakota history and to promote youth rides and healing.”10

(Dakota Riders Ceremonial ride to Mankota, Photo by Sarah Penman)

The memorials and monuments are in abundance in regards to the Dakota War. But who’s perspective is acknowledged? Through work such as Edgar Heap of Birds in his 1990′s installation, to the 2012 larger public scroll monument in Mankato’s “Reconciliation Park” there have been steps taken by both Native and non-natives to explore what this reconciliation looks like. 

Of the two Dakota men captured and ordered to be executed under then US president Andrew Johnson on November 11, 1865, Wakanozanzan of the Mdeqakanton Dakota Sioux Nation’s final words were:

“I am a common human being. Some day, the people will come from the heart and look at each other as common human beings. When they do that, come from the heart, this country will be a good place.”12

This article is dedicated to the 38+2.

-------

Images Sources Andrew Myrick – Let Em Eat Grass 1970 TC Cannon, Google Arts & Culture https://artsandculture.google.com/asset/andrew-myrick-let-em-eat-grass-t-c-cannon-kiowa-and-caddo-southern-plains-indian-museum/uwGyR0PTzacQkA

Met Museum photo of Edgar Heap of Birds artwork https://www.metmuseum.org/art/collection/search/653721

Mankota riders https://nativenewsonline.net/currents/dakota-382-wokiksuye-memorial-riders-commemorate-1862-hangings-ordered-lincoln/

Sources

1 https://en.wikipedia.org/wiki/Dakota_War_of_1862 2 https://www.mankatolife.com/attractions/reconciliation-park/ 3 Gibbon, Guy The Sioux: The Dakota and the Lakota Nations https://books.google.com/books/about/The_Sioux.html?id=s3gndFhmj9gC 4 https://en.wikipedia.org/wiki/Sioux 5 Beidler, Peter G. “Murdering Indians” October 17, 2013  https://books.google.com/books?id=4RRzAQAAQBAJ&dq=santee+men+murdered+white+farmer 6 History of the Santee Sioux Tribe in Nebraska  http://www.santeedakota.org/santee_history_ii.htm 7 https://www.usdakotawar.org/history/acton-incident 8 Little Crow’s Letter  https://www.usdakotawar.org/history/taoyateduta-little-crow 9 Regan, Sheila June 16, 2017 “In Minnesota, Listening to Native Perspective on Memorializing the Dakota War” Hyperallergic https://hyperallergic.com/385682/in-minnesota-listening-to-native-perspectives-on-memorializing-the-dakota-war/ 10 https://nativenewsonline.net/currents/dakota-382-wokiksuye-memorial-riders-commemorate-1862-hangings-ordered-lincoln/

11 https://en.wikipedia.org/wiki/Yankton_Sioux_Tribe

12 https://www.findagrave.com/memorial/64427183/wakan_ozanzan-medicine_bottle

Monuments Depicting Victims of the Dakota Uprising  http://www.dakotavictims1862.com/monuments/index.html Morton, MN Monuments https://sites.google.com/site/mnvhlc/home/renville-county/morton-monuments

More information regarding Dakota War of 1862 Holocaust and Genocide Studies: Native American University of Minnesota https://cla.umn.edu/chgs/holocaust-genocide-education/resource-guides/native-american

[rollforsleepy]

So I’ve been working on this for like three weeks! It’s been a tonne of fun but also a tonne of work. Coming up with five distinct subraces meant a lot of drawing! Oh boy! This started as a re write of the Dryad race because I didn’t think the Dryad race i found online was super playable, but it kinda gotta away from me a bit so I left dryads behind and these are fully homebrewed! The main carry overs from dryads are the +2 wisdom that they all get, and the no metal caveat in the weaponry proficiencies.

I spent some time researching different culture’s mythology on dryads and similar creatures. Wikipedia has a handy list of similar folklores at the end of the dryad entry (im not linking cos tumblr screws w posts w external links, but you can check it out yourself if youre curious). Basically I picked a few and wrote down some notes on each one so each subclass had a distinct feeling to it.

The Deep Forest subclass is based off hamadryads. Super long life, connected to a specific tree (i removed the life or death thing and just made it birthed by a tree, cos having a tree that if cut would killed you seemed unbalanced to me), that sorta thing. Cos they’re based on Oak trees, and Oaks are fairly hardy, I gave them some good survival type stuff. I didn’t want long, unfamiliar names so I changed it from Hamadryad to Deep Forest. Also I really didn’t want them to hark back to dryads and just Hamad had a weird ring to it to me

Gillie Du got to pretty much keep it’s name tho. Originally it’s Ghillie Dhu, and there was nothing wrong w that but i wanted things a bit simple in the name department. Ghillie Dhu is a Scottish fairy who (to drastically summarise him) lives in a marsh and plays tricks on people. As I said earlier, I wasn’t using these sources as gospel, just as flavour affects, so the Gillie Du subrace became a more water based thing with the breathing under water and swim speed.

Desert Walkers probably changed most from their original material. I started with the Salabhanjika, a sculpture found in india that’s always got a tree and a musical instrument in it. I wanted a bit of size range (i had to talk myself out of making one of them Large size cos it got too op, but I wanted to so bad) so they got the Small tag, then because India is a hot country and I already had a sub class more tightly woven in with fruit trees I made it more desert based, giving some good boosts to travelling related skills. I really love playing Small races and I wanna play as one of these now, it feels built for a ranger but I think it could make a kickass wizard tbh

The Maliade are based on the Epimelides, who were a kind of nymph associated with apple trees and sheep. I extended that association to fruit trees and all farm animals cos i didn’t want to cramp anyones roleplaying incase someone really wanted to be a Maliade who’s buddies with a bull and makes three magic dragon fruits every day. There’s no information beyond that on wikipeida, but I didn’t have any subrace who had a close relationship with people, so they got that. I like this one, I think the skills are pretty useful in a lot of small ways

And the Kodama! The Kodama are the only ones who actually got to keep their original name. Kodama are a Japanese spirit that inhabit trees. They can also be seen as Mountain Gods. So these guys got the mountain skills. Spider climb is a great skill, but when coupled with a slower speed I thought they cancel out pretty comfortably to make a balanced race. The Kodama has a brief description on wikipedia, but it’s terrifying, “small, white humanoids with large, rattling heads and mask-like features, with asymmetrical black dots for eyes and mouth, and move similar to bobbleheads.” I took the essence of this (pale skin, dark eyes) and dropped the rest. A lot of people (myself included) like their characters to be sexy, and that ain’t hot to me

Click through to read a transcript of the race if the font above is too small/blurry.

I’m gonna be making more of these and if there’s some interest I’ll start doing some stuff on Patreon, let me know if you thinks that’s something worthwhile. I’ve got a race in the works now that is like a living statue. Super slow but super durable. It’s a bit min/max but could be fun for some campaigns

Nature Spirits

Nature Spirits are a known phenomenon, a wandering essence of the land who appear commonly in the land. Some Nature Spirits are chosen and come into being through a birth touched by the land, some choose the path themselves and give their souls over to the land, some are simply brought into being by the powers of the land. It is a difficult life as a Nature Spirit, your priority is not yourself rather the protection and love of your home land. You have features and traits specific to the type of land you hail from.

Varied Childhoods

Each Nature Spirit is different, some wander far from their home, travelling and researching the world at large to better safeguard the continued life of their land. Others never leave and are rarely if ever seen by a civilised person. Some live in harmony with the people of their land, others seek to drive out humanoid peoples. You path in life is up to you, but the land you are from is your home and your priority.

Nature Spirit Traits

Ability Score Increase: Your Wisdom score increases by two.

Languages: You speak Common and Sylvan

Weapon Proficiency: You are proficient with the quaterstaff, club, greatclub, and slings. You cannot use this proficiency to use metal weapons and must use naturally found projectiles (such as wood, stone, nuts) for your sling. If your Class gives you proficiency in any of these weapons the metal caveat no longer applies

Alignment: Nature Spirits can have any alignment, but their loyalty lies with the land that powers them

Choose one from the following Racial Variants

Deep Forest

These spirits emerge from an ancient tree once in the trees lifetime, sometimes living incorporeally their whole lives, other times taking humanoid form to explore their forest in that way. They are ancient, tough, and fast, living the longest of any of their brethren Nature Spirits. Their hair forms as moss does atop their head. They are the least likely to leave their home unless they must.

Age: You age slowly, up to about 1000 years, and you age in time as a human would, at 80 years old you appear 8, at 900 years old you appear as a 90 year old human

Size: Medium

Speed: Your speed is 35ft

Ability Score Increase: Your Strength score increases by one.

The Hard Trek: Rough and difficult terrain does not affect you

Vision: You have Darkvision to a distance of 60ft

Survivalist: You are proficient in the Survival skill

Gillie Du

The Gillie Du find home wherever land meets water, be it ocean, river bank, or a swampy marsh. They are generally cheerful and occasionally make themselves known as a trickster to strangers in their land. Their skin is a dusky green tone but otherwise they appear somewhat elven. They can be born of humanoids, but more often are formed over some time in their land, and very occasionally a humanoid will show such a loyalty to the land that they turn into a Gillie Du. They are comfortable in both water and on land, but prefer land.

Age: You are fully grown at about 40 years old and do not age until your death at about 700 years of age.

Size: Medium

Speed: Your speed is 30ft, and your swim speed is 30ft

Ability Score Increase: Your Dexterity score increases by one.

Powerful Lungs: You can hold your breath for fifteen minutes plus a number of minutes equal to your Constitution modifier (minimum of zero)

Vision: You have Darkvision to a distance of 60ft

Sleep with Ease: You can cast the Alarm spell once a day without components

Desert Walker

Desert Walkers are born in deserts and find themselves comfortable in a hot climates. They are the most inhuman in appearance, still humanoid but with grey black skin, ears that connect behind their heads, and everlastingly young. Their age, of course, is not reflected in their appearance and they often speak with an experience that startles people. They are soft spoken and have learned from the many cultures they have encountered in their time.

Age: You live up to roughly 200 years, always appearing someone younger than an adult

Size: Small

Speed: You move quickly despite your size. Your speed is 30

Ability Score Increase: Your nomadic lifestyle has caused you to meet with the odd civilisation and learn from many varied cultures. Your Intelligence score increases by one

Inexhaustable: You have advantage against effects that will cause Exhaustion

Fire: You can cast the Cantrip Produce Flame

Musically Gifted: You have proficiency in one musical instrument of your choice

Keep an Eye Out: You have Expertise in the Perception skill

Endurance: You do not need to eat

Maliade

The Maliade Spirits are the most civilised, often the child of a townsperson who is touched by the powers of nature. They grow up with a community of humanoids in a small town hidden in the forest, or a larger city connected to an expanse of untouched flora. They are Medium size even if their birth parents are Small or Large, their size is determined by their Nature Spirit soul. They are friendly with animals and people alike, used to the constraints of town life as well as the freedom beyond. They are the most normal in appearance, the least likely of their kin to turn heads

Age: You age at the same rate as the average human, and die at roughly 100 years of age

Size: Medium

Speed: Your speed is 30ft

Ability Score Increase: Your Charisma score increases by one.

Language: You can speak to all farm animals

A Good Fruit: Everyday you can create four fruits of your choice, each feeds the average person for a day and restores 2 Hit Points. You cannot use this abiliy again until your next long rest

Find a Ride: At 3rd level you can cast Find Steed once a day, you are restricted to animals that would be normally found in a farm such as a horse, sheep, or cow.

Cook: You are proficient in Cooks Tools

Kodama

The Kodama are usually the result of a lost traveller or explorer who commits their life to protecting the land they’ve found and accepts the physical changes that entails. They are drawn to the roads and paths through their mountain range, watching and learning the different plants, animals, and humanoids that grow and pass through. They are pale skinned with dark irises and are generally more lean than strong.

Age: You live up to 400 years, aging to appear as a human would in their 60s

Size: Medium

Speed: You’re used to moving carefully across treacherous mounains, as such your speed is 25ft

Ability Score Increase: The mountains are a hard life. Your Constitution score increases by one

Natural Defence: You are more likely to defend yourself than attacked, as such once a day you can cast Barkskin

A Life of Climbing: You are forced to carefully climb your way throug life, leaving you with an ability most professional climbers would marvel at. You can Spiderclimb, climbing across walls and roofs live gravity doesn’t affect you

Sight: You have 30ft of Darkvision

[han-made-bookbinding]

La Prose Part One: Recreation and Research

What an exciting project I have been involved in through my most recent bookbinding commission: the recreation of La Prose du Transsbérien et de la Petite Jehanne de France - the remarkable book by poet Blaise Cendrars and artist Sonia Delaunay. Sonia and Blaise first met in January of 1913 and formed an instant friendship, producing this book by letterpress and pochoir in 1913. The original book was a landmark achievement for its time and remains vibrant and modern today. 

The recreation project was conceived by Kitty Maryatt, the proprietor of Two Hands Press in Playa Vista, California since 1974. In 2017 she decided to publish the recreation with the help of underwriters. Kitty has created a blog of her own documenting her journey through the process of recreating 150 editions as closely as possible to the original book by using letterpress and pochoir. Her blog is totally fascinating can be found here. It is thanks to this blog, plus some additional information that was printed to be housed with the completed book, that I am able to pass on so much information about this latest binding of mine.

The image above shows the binding made by Paul Bonet between 1963-64, sold by Christie’s in Paris on April 29, 2004 for 350,000 Euros. Sonia and Blaise had planned on making 150 copies however this was not completed.

“Was the primary reason for the incomplete edition the excessive length of time it might take to complete the pochoir process, assuming that the pochoir was the final procedure before binding? Did World War I intervene? Were there exhibits of the book, any reviews, any publicity at all? Were the sales disappointing? Did they run out of money?”

The actual number remains unknown, 74 have been identified but the list of these has never been published.

“The edition numbering system Blaise Cendrars used is somewhat random, indicating that the edition numbers were not written on the copies when they were first made. For example, there are two copies numbered 47, two numbered 111, and two numbered 139. Many copies do not have an edition number. There is a copy numbered 1 and one numbered 150.”

The La Prose of 1913 was printed on three materials: vellum, Japon and simile Japon, they stuck to the typical formula of publishing a deluxe edition and regular edition. Japon in one of many Japanese papers sold by the Japan Paper Company; simili Japon is made with Western fibres, also sold by the Japan Paper Company. The Paul Bonet binding is one of the vellum editions.

The below image shows Kitty’s recreation (right) alongside an original copy at The Getty Research Institute, Los Angeles, CA (left). This is #124, glued and folded into 21 panels, inscribed to Archipenko, the vellum cover is not attached.

“The book itself is captivating with its colorful and painterly pochoir (French-style stencil), so unlike stenciled copies of artwork at the time. The colors seep from the painted side into the poem on the other side.”

Kitty wanted to recreate the pochoir methods as closely as possible to the original using pommes (short, wide brushes) and metal stencil plates. Pochoir is a refined stencil-based technique employed to create prints or to add colour to pre-existing prints. It was most popular from the late 19th century through the 1930's with its center of activity in Paris. Numerous stencils were designed as a means of reproducing an image. (Photo courtesy of Kitty Maryatt)

My copy was one of two that Neale Albert (New York) had underwritten and commissioned. When I received my copy of the sheets in the post (#58 0f 150) they came with three different instruction sheets of how the pages could be folded - it was rather daunting! 

The long vertical format of the book was an unprecedented choice for a book of the period: 

“The Trans-Siberian Railroad was begun in 1890 when Blaise Cendrars was only three years old, but it was highlighted at the 1900 Exposition Universelle in Paris that he attended with his family. The entire series of railroad lines weren't actually completed until three years after La Prose du Transsbérien was published. In the book, Blaise included a map of the journey from Moscow to Vlasivostok, which gives us a clue as to the distinctive folding scheme of the book. I've found tourist maps of Paris for the period similarly folded, in half first, and then in accordion – folded flat and glued to the cover. In the case of La Prose, as you open the book, you can't actually see anything in the book, neither the text nor the imagery, until the book is completely unfolded.”

It was up to me to choose which format I wished to use having been instructed that there was no set way of binding the book, so total creative freedom! Along with the written instructions, Kitty also sent all binders images of the folding and gluing process - crucial information to have before proceeding. There were three ways of folding the concertina, either like the original (left hand format), long and thin like the Paul Bonet binding (middle format) or double width (right hand format). (Photo courtesy of Kitty Maryatt)

  The 1913 edition book covers were painted in oils by Sonia Delaunay, some covers had a snap, which made the book resemble a purse. Kitty’s version of La Prose is bound with vellum covers however she used acrylic paint to decorate the cover as she found that the oils yellowed the vellum. The book is housed in an acrylic slipcase and is pictured below. (Photo courtesy of Kitty Maryatt)

So, the time had come to trim and stick all of my sheets together! 

The first step was to cut all four pages to size. I am used to working in cm, I have almost never used inches, so the fact that all of the instructions were in imperial took extra brain power - I never even glance at the other side of the ruler!

The first step was to measure 7 1/18 inches from the centre fold mark at the top and bottom and to cut off one vertical side. 

The next was to cut off the other vertical side so that the width of the page was 14 1/14 inches and the two sides were parallel.

Next I had to cut off one inch at the top of page one, and to trim the top of pages 2 to 4 at the printed mark on the right side just above the first line of type. The bottoms of each page then had to be cut to meet the following lengths: Page 1 - 21.75 inches, Page 2 - 20.25 inches, Page 3 - 19.875 inches and Page 4 - 19.5 inches.

I was then able to proceed with gluing all four sheets together. I soon found I didn’t have a long enough table to work on but managed to get around that by moving two next to each other! The cut edges of the sheet were not thinned or pared in any way, they were stuck together at full thickness (the same as with the original binding).

Pages one and two were lined up along their edges, overlapping by 3/4 inch. Each page was glued to about 1/2 inch in, so that when overlapped all of the paper overlap was covered in glue. The reverse of the upper page was glued, then the front of the lower page before being combined.

A weight was applied to the glued joint afterwards and I waited for it to dry before moving on to gluing the next joints. The instructions stated:

“Note that the images don’t line up completely at the joints. I copied the original exactly. Why did they do that? It’s odd from our perspective. The outside lines should line up pretty well if you cut to size carefully.”

Once all four sheets were glued together is was time to start folding. Her the instructions did actually switch to being in centimetres!

“Folding: I use a jig of board cut to 197mm. I place the board on to the paper at the bottom edge, blank side up, place the ruler next to the left side of the board, remove the board, and score the paper 197mm from the bottom edge, and fold up. The next fold is 197mm from the first fold, I score on the blank side and reverse the fold (or you can flip the book if you wish). Continue until you get to the top, where you will have a tab left for attaching to your binding, if you wish.”

These folding instructions left me with a text block to the largest format possible. I deliberated for a long while whether to keep it at this size, but in the end took the plunge and did an additional fold in each section to give me a text block that was half the width, so the same format as that of the Paul Bonet binding.

Once I had the text block size it was time to start designing the cover. I knew that I wanted to use embroidery, as I always do, so set about making sure I had threads to match all of the wonderful pochoir colours.

I decided to do some research into Blaise Cendrars. Blaise Cendrars was the pen-name for Fréderic Louis Sauser - a play on Braise (ember) and Cendres (ash). He was a Swiss-born novelist and poet who became a naturalised French citizen in 1916. He was a writer of considerable influence in the European modernist movement.

His writing career was interrupted by World War I, he was sent to the front line in the Somme from mid-December 1914 until February 1915. It was during the attacks in Champagne in September 1915 that Cendrars lost his right arm and was discharged from the army.

As he was right-handed, he had to learn how to write with his left hand following the war. I decided to try and find handwriting examples of his from before and after he lost his right arm which was possible online. It would have been wishful thinking to find a handwritten transcript of La Prose, however I did find some good examples of both his left and right handwriting on other documents.

What I decided to do was to transcribe parts of the poem in each of these handwriting styles to use on the front and back of the book. I used a typed print out of the poem to refer to and found example of whole words (if possible), or individual letters, from the documents I had found, and pieced these together to try and reflect the writing style of before and after the loss of his arm - the left hand writing was more haphazard and scribbly-looking. What I couldn’t work out at first though was which should go on which cover! 

I put the question to some family and friends and got some great feedback. What I hadn’t thought about before was that if I did the “before” handwriting on the front and the “after” handwriting on the back, when the book was opened up or laid flat I would have the writing on the sides which naturally correspond to the hands which were used - the decision was made.

So the “after” left handwriting became the design for the back board, and I took wording from the beginning of the poem.

And the “before” right handwriting became the design for the back board, and I took wording from towards the end of the poem.

It took a few attempts to get it to the right width for the boards, and to get enough words on so that the front and back covers started and ended at the same heights. For each of the covers I photocopied the writing onto tracing paper templates so I had a master copy to work from.

During the period of time I was working on this binding I made a trip to London to see the British Library’s exhibition entitled, Writing: Making Your Mark. 

“Writing: Making Your Mark is a landmark British Library exhibition, which spans 5,000 years across the globe, exploring one of humankind’s greatest achievements – the act of writing. From carved stone inscriptions, medieval manuscripts and early printed works to beautiful calligraphy, iconic fonts and emojis, Writing: Making Your Mark (26 April – 27 August 2019) will deconstruct the act of writing and consider its future in the digital age.”

What a timely exhibition to be on whilst I was making my own mark with the handwriting of Blaise Cendrars. 

“People first created writing 5000 years ago, its invention revolutionised society. Writing began in a number of locations around the world, at different times and for different reasons. People developed it to communicate across time and space, carrying it with them as they traded, migrated and conquered.”

It is amazing to think that writing and technology have often developed hand in hand. What began as inscribed patterns on bones thousands of years ago has somehow led to me sitting at my computer typing away at this blog on a keyboard. I hope I have done Blaise Cendrar’s two versions of handwriting justice in my binding! 

In August 2015 Kitty identified thirty-eight distinct typefaces used in La Prose. 

“Blaise Cendrars printed La Prose at Imprimerie Crété in Corbeil, France because he was already in the process of printing his second book, Séquences, at Crété in early 1913. The poem is four hundred and forty-five lines long. In a brilliant and groundbreaking master stroke, Blaise decided to select dozens of typefaces for the poem.” 

She was convinced that Blaise did not walk along the hundreds of type cabinets at Crété impulsively selecting type: Crété certainly would have had an in-house type catalogue to view the available typefaces.

The next blog post will go through the choices I made when it came to binding such a book, “La Prose Part Two: Structure”.

[evoldir]

Fwd: Postdoc: ULaval_Quebec.CaribouPopGenomics

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Postdoc: ULaval_Quebec.CaribouPopGenomics > Date: 2 October 2024 at 06:27:12 BST > To: rdmpage@gmail.com > > > > Post-doctoral position available in spatial and demographic connectivity > of caribou Université Laval, Québec (Canada) > > As part of the Caribou Ungava research program > (https://ift.tt/LEHWYcj), we are seeking a post-doctoral candidate > interested in working on the population genomics of the different ecotypes > of caribou in Québec and Labrador. The large herds of migratory caribou > in northern Quebec and Labrador have sharply declined in recent years and > the causes of decline are still not well understood. Most populations > of boreal and mountain caribou are also in a precarious state. We are > interested in better understanding the evolutionary history of the > caribou populations and the demographic and genetic connectivity among > them. We aim to compare gene flow between migratory, boreal and mountain > caribou populations, and identify geographical regions where gene flow is > highest. We plan to assess divergence time during the last few centuries > according to variation in climate. Analyses will be based on the long-term > monitoring and genome-scale data (whole genomes and 63k SNP chip) from > 800 migratory caribou from the Rivière-George and Rivière-aux-Feuilles > herds, 850 boreal caribou from 15 populations sampled over the last 20 > years in Québec and Labrador and about 55 mountain caribou (Gaspésie > and Torngat populations). > > The candidate will work with a team of scientists specializing on caribou > ecology and genetics, including Aaron Shafer (Trent University), Glenn > Yannic (Université Savoie Mont Blanc, France), Claude Robert (Université > Laval), Martin-Hugues St-Laurent (Université du Québec à Rimouski), > Joëlle Taillon (Quebec government), Sabrina Plante (Quebec government), > Sara McCarthy (Labrador and Newfoundland government), as well as Steeve > Côté (Université Laval).  The position will be based out of Université > Laval, but longer-term visits to collaborating labs are an option. > > Start date : in 2025 according to the availability of the candidate. > Funding : $59,823 annual fellowship including social benefits (available > for 2 years). > > Required skills : > > PhD in population genetics, animal ecology or similar subject. > Very strong academic and publication records; > Rigor, autonomy, and strong writing skills; > Experience with handling large genomic dataset and spatial genetic > analyses > > To apply, please send a brief statement of interest, a CV, copies of > University transcripts and 3 names that could provide a reference to: > Steeve Côté, Director of Caribou Ungava, Dept of Biology, Centre > d’études nordiques, Université Laval, Québec (Québec) Canada > steeve.cote@bio.ulaval.ca > > Catherine Bajzak