What if there are two are more common or related words and you want to include both of them in your search? You’ll use parentheses – it works like an algebraic equation.
You enter your search into the database like so:
Example (blue or harvest) moon. You’ll get results that include blue and moon and harvest and moon.
(Soviet or Russia) “Cold War”
You’ll get results that include Soviet and “Cold War” AND Russia and “Cold War.”
If you have been doing searches like blue or harvest moon, you’ll get results back that feature only the word blue together with results that mix harvest and moon. No blue moon exactly, just blue….skies, bells, tooth, etc…
The parentheses make sure (those words go together.)
Click of the print button. Login with your Texas State netID and password. Expand all of the categories and select a printer you want to print two. Use duplex for two-sided print jobs and letter for single-sided print jobs. Browse for an upload the document you want to print. Click continue once the document is selected for upload. Click continue once more after adjusting page sizes. Wait for the job to upload. Once the page displays complete go to a print release station to release your job.
“Buried Child” (1978) won the Pulitzer Prize for drama and remains Mr. Shepard’s best-known work. It arrived on Broadway in 1996 and has been revived many times since — the most recent staging, by the New Group Off Broadway in 2016, starred Ed Harris. Richard Eder reviewed the premiere, at the small Theater for the New City downtown:
Sam Shepard does not merely denounce chaos and anomie in American life, he mourns over them. His corrosive images and scenes of absurdity never soften to concede the presence of a lament, but it is there all the same.
Denunciation that has no pity in it is pamphleteering at best and a striking of fashionable attitudes at worst, and it is fairly common on the contemporary stage. Mr. Shepard is an uncommon playwright and uncommonly gifted and he does not take denouncing for granted. He wrestles with it at the risk of being thrown.
“When I arrived at something I wanted to draw. I’d stop reading and draw it right then. It’s like arriving at a cafe or a truck stop: You don’t go any further. No pencils, otherwise you lose the virgin moment. I was using a pen, although sometimes I’d whack the art with a brush, when I wanted a big flash of ink, because it explodes on the paper. The drawings were what we call A-1 size over here — that’s American letter-size paper, times eight.
The idea of the cover was a motorbike flying over the journalists in a bar. There was also a landscape, a bit of sky. But the rider was completely attached to his motorbike, almost swallowed up by his gearbox. The second cover, for Part Two of “Fear and Loathing,” the magazine chose the picture of the 250-pound Texan necking with his wife in the back row. After those two issues, Rolling Stone had a blueprint of where to go next: It wasn’t only rock & roll, but something different, something social and political.
It was wonderful to do printing that was so primitive — and to finally have a job where the remit was to be weird.”