text:
May 7, 2006
The following is the text of Mayor Bloomberg's weekly radio address as prepared for delivery on 1010 WINS News Radio for Sunday, May 7, 2006
"Good Morning. This is Mayor Mike Bloomberg.
"There is no doubt about the power of DNA as a tool for solving crime. If you've ever watched the hit TV show C.S.I., you know that with just the saliva on a cigarette butt or the sweat from a baseball cap, investigators can determine with ironclad accuracy the genetic identity of the person they're looking for. DNA evidence has helped the NYPD move forward on some of its toughest cases, including the horrific murder of Imette Saint Guillen and the 'Spiderman Rapist,' who was recently terrorizing the Upper East Side.
"It's imperative that law enforcement agencies take full advantage of this advanced science so that we can catch even more of our worst criminals and stop them before they strike again. That's why 43 states require that every felon provide a DNA sample upon conviction - but New York is not one of them. In fact, our State has one of the weakest DNA databank laws in the country; the majority of people convicted of felonies and misdemeanors are not required to provide a DNA sample - which means that if they commit other crimes and leave DNA evidence behind, detectives may not be able to identify them.
"It's high time for that to change. There is legislation currently pending in Albany that would mandate the collection of DNA samples from anyone convicted of a felony or a misdemeanor. It would make New York the first state in the nation with such a comprehensive DNA collection system. It also would go hand-in-hand with our opening this November of a $250 million DNA laboratory - the country's most advanced laboratory, capable of analyzing evidence from the most miniscule samples.
"Why, you might ask, is it so crucial to collect DNA from someone who has committed a misdemeanor, like petty theft? The reason is that most murderers and rapists have long rap sheets that include every kind of crime in the book - major and minor. The earlier we get their DNA into our databank, the better chance we'll have of identifying them before they can commit more serious crimes.
"This point was hammered home to me earlier this week when I met a courageous woman named Isa Cekic. In September 2002, Isa was raped in the Queens laundromat where she worked. It was a brutal attack, but worst of all, it could have been prevented. Her attacker had been convicted of an earlier misdemeanor - and had also committed a rape in January of 2002. If the law we're proposing had been in place back then, his DNA sample would have been on file after his misdemeanor, and he would have been caught after that first rape. Instead, he continued to roam free, and months later attacked Isa.
"Giving the members of our police department the tools they need to do their job is so important. So is giving them the tools to do it safely. That's why, as part of the budget I presented last week, we are now committing $12 million over the next two years to buy 18,000 state-of-the-art police vests. These new vests will provide significantly more body coverage and can also withstand shots from some of the most powerful firearms. They were redesigned after the tragic death of Detective Dillon Stewart in November, and will go a long way towards giving our dedicated and courageous officers the protection they need.
"Along with our ongoing effort to expand DNA analysis in New York, these new vests remind us once again that the tools and technology to make the nation's safest big city even safer are out there. It's just up to us put them to good use.
"This is Mayor Mike Bloomberg. Thanks for listening."
Stu Loeser (212) 788-2958
Listen to the radio address


text:
"We are the eyes of Eberron herself, and it is her voice that guides us to our prey".
Maagrim Torrn d'Tharashk (N female half-orc druid7/expert 5/Heir of Siberys 1) is one of the three triumvirs who make up the ruling council of House Tharashk, the Triumvirate. She is also the leader of Clan Torrn and is a supporter of the clans secret organization, the Valshar'ak Seal, though she is unable to take a direct role within the Seal as her duties as house triumvir prevents it.

subset: commoncrawl


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- Free general admission
- 11150 East Boulevard
- 216-421-7350
- Hours
We recently asked our new director David Franklin [1] to share his five favorite works from our collection. Here they are along with his personal take on their importance in art history.
Andrea del Sarto, Sacrifice of Isaac [2].
Sarto's great panel was originally commissioned in Florence as a political gift for Francis 1, King of France but was left unfinished and substituted with another version now in Dresden. One of the most articulate, tensely harmonized paintings of the entire Florentine Renaissance, its incomplete state conveniently reveals to us the painter's highly experimental and daring approach.
Caravaggio, Saint Andrew [3].
Not since Michelangelo or Raphael had one artist in Europe influenced so many of his contemporaries over such a broad geography and irrevocably changed the course of painting as did Caravaggio. This monumental canvas expresses the artist's dramatic and humane vision that has not relinquished its raw, uneasy power from the moment it was produced.
Bust of a Girl [4]
Despite their colossal achievements the individuality of the ancient Romans is expressed to us in surviving works of art that provide traces of a poignant emotional life, even a sense of sadness as in this exquisite example. The degree of humanity the now anonymous sculptor discovers in this figure seems to collapse time and bring us directly into their emotional as well as physical space.
Griffin Tile [5]
Although it is merely a superficial, decorative fragment, the elegant handling of a delicacy approaching watercolour reveals something of the character of the ancient Romans to us – their love of pleasure and fantasy. The fact that it is fragment seems now less disturbing if we consider the material object a metaphor for the fraility of beauty itself.
Sargent, Portrait of Lisa Colt Curtis, Inv [6]
Sargent's painting is like a fashion portrait familiar to us from magazines with the beautiful sitter captured in a mellifluous pose breathlessly addressing the viewer. The mother of pearl finish of the painting seems appropriate to an image suffused with an over-arching sense of grace and effortless facility.
[1] http://www.clevelandart.org/about/New%20IMAGE%20Card/New%20Article.aspx/uid/%7B344AB998-04A5-4308-A707-BDB20513C513%7D/pid/%7BAD8217D2-23E8-4376-B7E9-D06C7DC019BB%7D/sidebar/David%20Franklin,%20%3Cbr%3ENew%20Director/ItemId/%7BAD8217D2-23E8-4376-B7E9-D06C7DC019BB%7D
[2] http://www.clevelandart.org/global/collection/Collection%20Object.aspx/uid/%7B1BEBC2FD-5B05-405F-B7CC-7471C7F7050D%7D/pid/%7B91ADCD8F-992A-45A5-8599-70835467DF5E%7D/coid/5910536/dept/European%20Painting%20and%20Sculpture
[3] http://www.clevelandart.org/global/collection/Collection%20Object.aspx/uid/%7B1BEBC2FD-5B05-405F-B7CC-7471C7F7050D%7D/pid/%7B91ADCD8F-992A-45A5-8599-70835467DF5E%7D/coid/3526874/dept/European%20Painting%20and%20Sculpture
[4] http://www.clevelandart.org/global/collection/Collection%20Object.aspx/uid/%7B1BEBC2FD-5B05-405F-B7CC-7471C7F7050D%7D/pid/%7B91ADCD8F-992A-45A5-8599-70835467DF5E%7D/coid/5889265/dept/Greek%20and%20Roman%20Art
[5] http://www.clevelandart.org/global/collection/Collection%20Object.aspx/uid/%7B1BEBC2FD-5B05-405F-B7CC-7471C7F7050D%7D/pid/%7B91ADCD8F-992A-45A5-8599-70835467DF5E%7D/coid/5657017/dept/Greek%20and%20Roman%20Art
[6] http://www.clevelandart.org/global/collection/Collection%20Object.aspx/uid/%7B1BEBC2FD-5B05-405F-B7CC-7471C7F7050D%7D/pid/%7B91ADCD8F-992A-45A5-8599-70835467DF5E%7D/coid/5705141/dept/American%20Painting%20and%20Sculpture
[7] http://www.clevelandart.org/categories/collection
[8] http://www.clevelandart.org/categories/museum-staff
[9] http://www.clevelandart.org/blog-tags/art-history
[10] http://www.clevelandart.org/blog-tags/caravaggio
[11] http://www.clevelandart.org/blog-tags/collection
[12] http://www.clevelandart.org/blog-tags/david-franklin
[13] http://www.clevelandart.org/blog-tags/directors
[14] http://www.clevelandart.org/blog-tags/portrait-lisa-colt-curvis
[15] http://www.clevelandart.org/blog-tags/sacrifice-isaac
[16] http://www.clevelandart.org/blog-tags/saint-andrew
[17] http://www.clevelandart.org/blog-tags/sargent
[18] http://www.clevelandart.org/blog-tags/staff


text:
|Reviews for The Opinion Paper of BJ Ecklefield
| Italy Fox chapter 1 . 10/13/2005
Some it reminds me of a particular couple I know *angelic look*It's really, babe. I enjoyed reading it.
| Bentfender chapter 1 . 10/9/2005
I really like this. It's a great premise and you wrote it very well. I'm looking forward to more chapters!
Oh, and I have a comment on the toilet seat thing. It is true that it doesn't take that much effort to put it down. So it's no big deal for us women to have to do it. But it's equally not as big a deal for guys to have to do it...so they should just do it, haha.


text:
Slave Pty Ltd was originally established in 1990 by George Stavropoulos (a.k.a Strop) and offered a dedicated service to the Sydney nightclub industry and party scene for over a decade.
In 2003, Slave International Pty Ltd was formed, in which Michael Bartolo handled its Australian operation, whilst founder, George Stavropoulos opened shop in New York City & LA.
Slave International has become renowned for delivering high performance audio installations and has grown to be one of the most respected audio design companies in Sydney – successfully completing projects, which have won accolades from both clients and peers alike.
Slave International designs integrated systems for venues around the country incorporating sound systems, lighting, video, and automation. This way each element is tied in together to produce a better overall finish.
Our specialist event production team supply solutions to the events and entertainment industries. Catering to events both large and small our regular client base includes high profile fashion, corporate clients, product launches, concert production, media releases, and celebrations.
Partnering with many local and international production companies our services go above and beyond to bring the clients creative dream to an audio visual reality.
Our production inventory includes audio, lighting, staging, projection and LED screens.
We are committed to provide excellence in client relationships and vision delivery. Our team is passionate and highly experienced with a dedication to 'attention to detail'.


text:
Caps' Skid Costs Hanlon His JobNovember 22, 2007
After a great start to the season, the Capitals have come to an almost complete stop.
With just one win in their last 10 games, GM George McPhee announced that head coach Glen Hanlon has been given the boot.
Of course, the underlying question is who should be held at fault for the Capitals' dismal season.
Hanlon, who never had a chance to become the head coach of anything other than a team constantly rebuilding mode?
Or McPhee, for not being able to build a team around Ovechkin?
My money is on both. Neither of which really capable of fixing this plucked bird of a team.
Hanlon has had 11 years as a coach or assistant coach in the AHL/NHL. This includes three seasons as head coach of the Portland Pirates (the Caps' AHL affiliate at the time), and just under three full years as coach of the Capitals. In his six seasons as head coach, he has had only one winning campaign—his first with the Pirates—and has come close just one other time—his third year of Pirates head coach.
In placing Hanlon behind the bench, the Capitals were trying to follow in the footsteps of other NHL franchises which have groomed their head coach from within their AHL affiliate—such as Chicago (Trent Yawney), Montreal (Claude Julien), and Calgary (Jim Playfair), just to name just a few.
All three of those coaches played in the NHL, became a coach in either the AHL or a junior league, and then worked their way up through the system. However, none of the these coaches are still manning their respective teams, and only Playfair is still employed within the same franchise—after being demoted to assistant coach.
On the other side of the glass is George McPhee, a well-respected hockey guy both in the league and worldwide, who helped the Capitals reach the Cup Finals in 1998, and compiled a handful of 40-win seasons—including one 102 point campaign.
However, after the franchise was sold to Ted Leonis, the Capitals held a firesale and dumped any player of value to other teams around the league. The Caps promptly fell into the basement, and the only thing they have to show for this slide is Ovechkin.
You can make an argument for the on-again, off-again Semin, and the soon-to-retire Kolzig—but following a five-year plan set to end this season, they really don't have much to look forward to.
Compared to other teams in rebuilding mode, such as the Penguins and the Oilers, the Capitals are doing much worse. Edmonton has not fared quite so well as Pittsburgh, but with an influx of talented many new faces, both teams are in good shape for the future. The Capitals, on the other hand, find themselves back on the bottom, with little hope for improvement.
So in comes Bruce Boudreau as interm coach. Boudreau was behind the bench for Washington's AHL affiliate, has 15 seasons of head coaching experience from the IHL to the AHL, and has only missed the playoffs once. He has more experience than Hanlon did, and seems to know how to guide his team to victory.
Will he be able to bring his winning ways to Washington? I don't think so.
Simply put, the Caps would have to overcome the Hurricanes, the Thrashers, and the Lightning—all of whom have better-seasoned squads. They may be able to catch the Panthers to take fourth in the division, but it looks like they will be battling for dead last league wide.
So look for the Caps to ride through the rest of the season holding their breath, waiting for the league to announce who's won the draft lottery.
(Side Note: McPhee was an assistant to Pat Quinn in 1994 when the Canucks made their valiant Cup run, ultimately losing to the Rangers in Game 7 of the Finals. I still remember the puck hitting the wrong side of the post with just seconds left in that game. Or Pavel Bure, taking the breakaway pass from Linden and roofing it past my beloved Mike Vernon in the opening round. Great series, great run—heartbreaker of an ending! In the end those white towels became signifiers of defeat, and not defiance.)


text:
- Haybridge High School and Sixth Form
Brake Lane
- Head: Ms Caroline Hoddinott
- E email@example.com
- W www.haybridge.worcs.sch.uk
- A state school for boys and girls aged from 11 to 18.
- Boarding: No
- Local authority: Worcestershire
- Pupils: 1172
- Religion: None
- Latest Overall effectiveness Outstanding 1
- 16-19 study programmes Outstanding 1
- Outcomes for children and learners Outstanding 1
- Quality of teaching, learning and assessment Outstanding 1
- Effectiveness of leadership and management Outstanding 1
- 1 Full inspection 10th December 2008
- Previous Ofsted grade: Outstanding on 6th October 2005
- Ofsted report: View the Ofsted report
What the school says...
Haybridge is an 11-18 mixed comprehensive with 1,100 students (300 in the sixth form) serving North West Worcestershire.
Haybridge is deemed to be a high-performing specialist school. It is a Technology College, with two second specialisms of Vocational and Sports College. It is a Training School and Leading Edge School.
Converted to an academy 2011. ...Read more
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2015 Good Schools Guide Awards
- Excellent performance by Girls taking Mathematics (Further) at an English Comprehensive School (GCE A level)
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text: Hello! Do you have any plan to produce Windows version of the acedb? And if anyone plans to produce Japanese version, or any other language versions of the acedb, please tell me about your plan. Thank you for your attention to this mail. Takako Igarashi National Institute of Health Sciences taka at nihs.go.jp


text:
Louisiana Spring Fling............original formula
That's right folks........Louisiana Spring Fling is coming back to Funroe (aka Monroe by the locals) this summer and we're hoping for an old skool reunion. The date is set for the weekend of June 14-16. The sponsor list and other event details are still in the works, but it's looking as though this year will bring back the vibe that was associated with LSF's in the past.
Once more details are established, I'm sure an official "press release" will be issued..................
Currently, the sponsor list is as follows:
Louisiana Wake Sports
Moon Lake Marina
B&L Marine
Swamp Sports
Other offers are being reviewed and finalized.
Can't wait, the first LSF was a blast!
****Sponsor List Update****
Sponsors as of today include:
Louisiana Wake Sports
Moon Lake Marina
B&L Marine
Swamp Sports
Precision One Customs
Bayou Powersports
Opus Broadcasting (Rock 106)
MOLA Promotions
Hyperlite Wake
Slingshot Wake
Cajun X Cables
Other event details to be posted today including information about a kicker contest, bikini contest, boat sound comp, and more.
Schedule of events:
(as of now, subject to change)
June 14....Friday afternoon....free-riding on the glass of the Ouachita River. Please offer people rides if you have room. Feel free to flag people down and trade some of your riders for some of theirs, it's a great way to meet new people.
...Friday night....Party at Encore with Brady Ragland.....free drinks till midnight; $1 longnecks and $4 wells after Midnight. (not sure what the cover will be at this time..)
June 15....Around midday.......Cajun X Kicker comp - a Seado provided by Bayou Powersports will pull the contest. 3 shots at the kicker ramp, awards to best trick, best crash, and biggest air....$20 entry fee (winner gets all the entry fee money)
...around 6pm... Precision One Customs Sound Off Contest...Prize pack to the loudest and clearest boat sound system....
....after Sound Off.....LSF bikini contest sponsored by The Cave...
....Saturday night.....Party at Encore...Jam Brass Band (not sure what the cover will be at this time...)
June 16....recovery and free-ride.....
|All times are GMT -7. The time now is 5:03 PM.


text:
"Just a few notes on injuries:
"It was a good win. It wasn't always perfect, but it was a good team we played. We are pleased to get the win and now we get ready for another tough opponent."
(on St. Louis having chances to get back in the game, but the Saints able to hold them out) "It was good. The turnover by Malcolm (Jenkins) was a big play. When we turn the ball over on a kick return, there is a swing there potentially 14, 10 points or if they are going to get a field goal or a touchdown. I think it began with that play."
(on what was not pretty) "There are still some things that you want to work on. I thought we had some early momentum and all of the sudden there are a couple of turnovers and halftime may be a lot closer if it weren't for the interception. We'll just keep working on those aspects of the game. That is a good team we played. They are a lot better than the team we saw a year ago. Those guys have done a good job so I was pleased with us being able to get that win. That was an important game."
(on running backs) "We didn't have Chris (Ivory) so it ended up being just Pierre (Thomas) and Reggie (Bush). Those two guys did a good job, both of them. In Pierre's first game back you don't know how many carries you want to give him. He handled what he got real well, both in the run and the passing game. With Chris' absence shortly after the first quarter it changed the dynamic. Fortunately, we are getting healthy at a good time. Each week we just have to pay attention to the plan and who we are playing and how we want to utilize not only the running backs, but the other players that are healthy. It's the first time in awhile we had almost a full, healthy inactive list. We had guys that were able to play but were just inactive and normally that is not the case."
(on Brees' INTs) "One came on third and long and it ended up being a lot like a punt. I think the interception that would frustrate Drew (Brees) I'm sure was the first one where they rotated in coverage and he was working to (Marques) Colston. He is playing at a high level right now and operating very efficiently, not only in third down. I thought we had some aggressive shot plays and he located the ball well. We'll pay attention to it and look at it and really try to look at it no different than a potential holding call on Jahri (Evans) and really look at it for what it is. He (Brees) has really played well here this stretch with us running the ball better and playing well on defense."
(on Sam Bradford) "When you watch him play he doesn't play like a first-year player. They have done a real good job; Sam (Bradford) has done a real good job. He is playing within their scheme and he is a guy that throws on rhythm. We thought the pass for us was going to be significant in regards to a battle for both teams. This is a team that is number four or five in the league defensively in sacks. We felt like that number was going to be a number much like the turnover number that we needed to emphasize. In other words, us being able to pressure him and get hits on the quarterback, and then us being able to protect (Drew) Brees. I thought we did a pretty good job with that. I thought that was a number that had a lot to do with the third down conversions. He (Sam Bradford) is having a very good season as a young player. He shows you all the things you would want and hope for as an organization with your first round pick."
St. Louis Rams vs. New Orleans Saints
Saints Player Quotes
(On his first touchdown reception) "It was just a great play call for the coverage that they were running. Drew (Brees) put the ball up where it needed to be and I was able to come down with it."
(On the ball finding him lately) "I had two touchdown catches today, but from the second quarter on I felt like I didn't really play good football. I've just been working with Drew and keep doing what I do day in and day out. I think preparation is the one thing that makes us successful."
(On his second touchdown reception) "Once I saw the safety move back, I had a pretty good feeling the ball was going to be put up high. Drew put it up in a great spot for me and I was able to go get it."
(On his interceptions) "On the first one, they tried to do a double move on the corner. We were in cover two. I got a good break on it. He didn't put much velocity on it and I was able to go get it. There was nobody on the outside, so I was able to score. On the second one, I was supposed to be covering (Danny) Amendola and he was trying to do the Jerry Rice route where they motion come back and try to swing back and come to the flat, but (Darren) Sharper and I just kind of stayed back. Once he came into coverage (Sam Bradford) tried to squeeze the ball in and I was there to catch the ball."
(On the amount of point scoring lately) "We'd like to keep that going. It was a matter of getting into a rhythm lately. We had those injuries early on. We're just trying to get guys in and for everybody to find their role. When you look at our tight end group and our four wide receivers and our stable of running backs, we can just do a lot with our personnel groupings."
(on the difference between this year and last in terms of having to chase a team this year) "Obviously we're in a different situation now than last year. Last year we were the one seed and everybody was kind of chasing us, whereas, there is the top and a couple of other teams that stand in our way for getting a high seed for the playoffs and obviously when you look at our division with Tampa and Atlanta sitting right there, still to play them the last two games of the season, obviously they mean a lot. We play it one game at a time. Anytime you can go out and win that makes you feel good about your team."
(on if the interceptions put a damper on his day) "I'm very frustrated when you feel like you have a real good day and it's marred by the interceptions, regardless of how they happened. The Seattle game was won like that. This game was won like that. It's been uncharacteristic of me and I guess that's the frustrating part. I'm not worried about it, but I'm worried about it. I'm not going to go in a shell, but it's something that needs to be fixed. There are two plays a game, where you look back and wish you had that back, whether it's a poor throw or something else. You never give yourself an excuse."
(on what gave you guys a chance to get your bearings for the series where Malcolm Jenkins had the interception return for the touchdown) "First of all, we wanted to make sure Courtney was all right. They tried to run it early. We got into a cover two. Malcolm made a great play, jumped it and took it to the house. The timing was more important than the play itself. It was important to get a turnover right behind it and get the score."
(on getting caught by the quarterback on his fumble return that was overturned) "He never caught me because he didn't touch me. I went out of bounds. Next question."
(on having such a big day on his birthday weekend) "It was a great one today. I'm going to celebrate my birthday tonight with some family in town."
"I was surprised to get as many touches as I did. I felt ready. I'm just getting back into the groove and everything. I still have a lot of work ahead of me. I'm not there yet.
(On what he missed) "Just being in. A lot of people were looking forward to the screens. We did a good job on our screen game. I have to set it up a lot more. I just felt great and blessed and happy to be out there with my team again.
"Chris Ivory did an excellent job. That's why he's here and made the roster.
(On conditioning) "I still have a lot more work to do, a couple more running drills. I felt myself getting a little winded one time. I wasn't going to quit, give up.
New Orleans Saints vs. St. Louis Rams
St. Louis Rams Head Coach Steve Spagnuolo
On the loss: "I didn't really think that we played well. That's kind of obvious. The message to the team was that if you don't protect the football and you don't tackle well on defense, it's hard to beat any team, let alone one of the best teams in the league."
On Steven Jackson reaching 1,000 yards today: "I know that it's not going to mean much to Steve right now, but I would like to publicly congratulate Steve on reaching 1,000 yards today. The O-line, the fullbacks (deserve credit, too)."
On injuries: "David Nixon has got a hand (injury). We'll get it x-rayed. It might be broken. We'll find out."
On Malcolm Jenkins' interception return for a touchdown late in the first half and if the hurry caused it: "I didn't see that part of it. It was a hitch and go and it was open for a minute there. 27, the safety made a big play. I don't know if the ball was out there for too long. I'll have to see it on the tape. Needless to say, that was a game-changer or at least a half-changer."
On the second red zone interception: "The play was designed for Danny (Amendola). I think the coverage was pretty good. I think Sam was looking for another guy."
On what he tells Bradford after a couple throws like that: "You correct what he did on that particular play and say forget about it and move on. He'll realize the mistake if there was one."
On the pass rush by the Saints: "They did a good job of that. It was a lot of things. Again, we're not looking at the tape, but when they get that kind of pressure, it's not just up front. It's receivers getting open, or a back chipping. There are a lot of things that go on with that."
On the efficiency of Drew Brees and New Orleans' offensive start: "We knew they up-tempo. We knew that would be a challenge. If we had held them to the field goal on the second one, we'd be in the game 10-0. They do that. They're up-tempo and they keep you off-balance and somewhere in there you need to find a way to make a play. I think on that first drive we let them off (the hook) on third down three times. They were manageable third downs for them."
While the loss today was disappointing, can you talk about how everything is still in front of you because of Seattle's loss: "I didn't think about that. To be honest with you maybe tomorrow I'll wake up and look at it. I'm very proud of this football team in what they're doing. I just don't think that's us. We all have a little bit of pride in playing a very good football team. You certainly want to match that."
Was it a little shocking when Steven Jackson fumbles: "Yes, he's always been secure."
Did your injury situation in the secondary make it hard to put pressure on Drew Brees: "We did that a couple times where we only rushed two. To their credit, they did a quick snap and got it out of there."
Did the crowd noise affect your team: "We expected it so it wasn't like we came out and were shocked by it. They have great fans, it's a great city and they do a good job. We have to handle the noise anyway."
Was it a situation where you couldn't use your blitz package much: "More the situations and then they did a little bit more shifting. We got settled in and handled it as we got going in the game. That's their MO going into the game."
When Sam came to the sideline after his mistakes what was his demeanor: "He never really flinches. It probably makes him more determined. He doesn't put his head down. He doesn't make that mistake. He probably feels more than anyone that he let everybody down."
St. Louis Rams vs. New Orleans Saints ● Sunday, December 12, 2010
QB #8 Sam Bradford
(On turnovers) "Turnovers killed us today. Turnovers hurt you everywhere, but when you get in to the red zone and turn the ball over, it just gives the other team all of the momentum in the world. I've got to be better when we're down there and I have got to be smarter with the football. I just can't make those mistakes.
(Did Malcolm Jenkins bait you on INT for TD?) "No. To be honest, I thought I had it. I just wasn't able to put enough on the ball to get it there in time. He made a nice play. Nice pick. He ran it all the way back.
(Amount of pressure surprising?) "No. We were expecting to see a lot of blitzes today. There really wasn't anything that we hadn't seen on tape. We will have to go in, look at the film, see where we can be better on protections, where I can be better getting the ball out, and move on from there.
RB #39 Steven Jackson
"When you are on the road, the last thing you want to do is turn the ball over. It was uncharacteristic for us today to not take care of the football. They did a good job on both sides of the ball. They did a good job of executing on offense, they moved the ball pretty good. On defense, they created turnovers and created a lot of pressure for us. It made it hard for us to get in to a rhythm.
(On 3rd down inefficiency) "They have a complicated blitz package. They continued to mix it up, show us different things. Communication was pretty hard. The Dome is really loud. When it boils down to it, you don't want to turn the ball over and you don't want penalties and that's what killed us today.
(On 15-point halftime deficit) "When you fall behind, in a game like this, early, you want your team to chip away. We had opportunities to do that. Chip away at the lead. It's hard. It's hard to play catch up when you have a high powered team like that offense.
S #21 Oshiomogho Atogwe
(On play in second half where Saints got up sidelines) "That was just miscommunication. It was another way where we hurt ourselves. We just need to communicate better on that play and there is a better chance to be in position to stop that."
(Better than what the score showed today?) "Not today. If we were to meet them again, then we would have to wait and see until that day. Today, they were a better team.
(On atmosphere in Superdome) "It was enjoyable. It was a good atmosphere."


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What will happen if we accepted that past lives are real?
Will we make the same choices if we know we have to live with them eternally?
Would our perspective of life remain the same if this cycle were never to end?
Would Hitler have killed so many people if he knew that nobody dies and all the people who he suffocated would return and suffocate him over life-times?
Would there be so much crime and theft if people were sure it would return?
Would you hit your friends if there was a teacher who hit you back immediately and made you realize you were hit because you hit your friend?
Would men hit their wives if they knew that the same souls who are wives hit them back as husbands in other lives?
The answer to all these questions is NO. If people are made aware that every energy they send out recycles, they will not make decisions for short term or one life.
If you do not like your wife or husband in this life, and you knew you have to live with that energy over life-times, you would make efforts to change yourself or raise your soul frequency through meditation; so that you can detach from that person's energy, or eternity. Till you are in the same soul class, you are soulmates; be it as teacher/student relationship or same peer relationship. Disabled people are usually teachers or ascended masters who come on Earth to teach lessons like patience, love and compassion for those who make selfish choices but want to evolve to happiness.
People do not go away from your life simply by death or divorce. People leave you when you choose to let them go and you move to a different level of soul awareness. To break away, you need to vibrate at a different or higher soul frequency than they do, by using meditation, self awareness or prayers to help you detach from misery. There are some souls who evolve very differently and these knots have to be broken by choice to be free, to rise to happiness.
The same scenario which holds for relationships holds for professional and health problems. If you have cancer and you die, you will be reborn with work problems where you feel irritated , which can lead to cancer, or emotional issues which led to cancer. You will carry over impulsive anger,finickiness, impatience etc. as all these emotional imbalances lead to cancer. Similarly, if you die of asthma, suffocation, poisoning, drowning or any problem where your throat felt constricted, you will be reborn with throat problems, inability to speak freely, speech shyness, breathlessness in negative atmospheres, self-blame, feeling of defeat etc.
Problems carry over and do not get solved by death. Past life therapy helps to resolve problems in this life so that they do not become worse over life-times. The seeds we sow to heal ourselves now make us happier in our present life and in our future life-times. If we do not end the cycle of misery through self- improvement in this life, the same cycle repeats over life-times.
Most of our misery comes when we cannot make other people happy who we care about. But, by pulling ourselves down due to their inability to learn, we do injustice to God. When a student does not learn, it is not the fault of the teacher or the syllabus but more often a disagreement in the mind of the student which makes him lazy or an escapist.
Disabilities and health problems are karmic. If our child is retarded and we keep blaming ourselves for our inability to help, we indirectly blame God's plan of karmic justice. We are not responsible for anybody's death, disease, suffering or choices of life. We can only spread positive energy with our intentions to help. Whether they receive help or don't is their own choice. Each person's suffering, is his own karma. We can only help others as much as they chose to help themselves and the more we stay positive, the more we help spread happiness.
There are several religions who deny the existence of past lives like Christianity or Muslim religion but violence and crime rates are highest in these religions.


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Let's cross the Nuggets off the list. They were beaten soundly twice in LA, and there's no way they'll be up to the task after that harrowing game four defeat.
Let's cross the Magic off the list. They're terrible. Barring 15 made three-pointers, it just ain't happening. I could go for round two of Duke vs. UNC, though.
Let's cross Atlanta off the list. They're the Hawks. Come on. Somehow, they're 2-point favorites at home against the Celtics.
Which leaves the Bulls. Banged up and trailing Philly 3-1, the Bulls should save face at home tonight. The 76ers haven't won a playoff series since 2003. If Chicago can manage to slow Jrue Holiday and Spencer Hawes – sounds funny, doesn't it? – the series should be headed back to Philly Thursday.
The move is probably to go to bed early and rest up for Wednesday, which will feature the Knicks/Heat and Clippers/Grizzlies.


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MEMBER 131 writes:
"We constantly get phone calls from the ATO and debt collectors in relation to outstanding amounts.
When we advise that we do not collect debts the caller then tells us the conversation is being recorded in a threating manner attempting to gain our co-operation. This relates to calls from the ATO, not the debt collectors.
Telecommunications (Interception and Access) Act 1979 states that a caller can only monitor or record a call in the normal course of business if, and only if, the person being called is told at the beginning of the conversation. We then also have the right not to accept a call which is monitored.
The callers then without providing any proof of identity ask us to break the privacy laws and provide information in relation to the client contact details. Some agents must provide this information as the ATO have been doing this for years.
The ATO has a range of methods they can use to collect debt. Some in the ATO believe that it is the Tax Agent's job to manage a client's debt; another free service provided to the ATO. Regardless, they should review their systems to ensure that in pursuing debt they are not breaking the law or encouraging others to break the law."


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A touch of inspiration, our chic thread chain earrings feature a gentle pointed crystal pencil, a perfect match with other jewellery from our collection. Made with sterling silver and Lapis Lazuli.
Crystal: Lapis Lazuli – Remains the symbol of wisdom and truth. And Is all about manifestation, creativity, concentration and communication.
These sterling silver thread earrings come in their own velvet gift bag (symbolic card inclusive).
Chain Length: 85mm
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Express. Home of the Daily and Sunday Express.
Brighton 1 - Bolton 1: David Ngog spots weakness
DAVID NGOG scored a dramatic stoppage-time equaliser for Bolton as Brighton's promotion bid ran into another spot of bother.
Gus Poyet's Brighton side missed a third penalty in a month through Ashley Barnes before Spanish full-back Bruno put them ahead.
But deep into the 95th minute, Chris Eagles finally escaped down the left and squared for former Liverpool striker Ngog to steer the ball home. It extended Bolton's unbeaten run to five matches and manager Dougie Freedman said: "We have players with the skill, character and ability to go right to the end.
But the result was so tough on Brighton, who hit the woodwork three times and found Bolton keeper Adam Bogdan in inspired form.


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Hello! I've stumbled upon problem with HDMI output on BPI-M2U. The problem is with corruption or shift of the first 4 lines in 1080p mode in both console and X-window. This problem persists with both 1080p50 and 1080p60 modes and with different linux distributions (namely 2016-11-29-ubuntu-16.04.1-mate-desktop-preview3-bpi-m2u-sd-emmc.img.zip and 2017-01-20-debian-8-jessie-lite-beta3-bpi-m2u.img.zip) . I've checked my m2u with more then 10 different cables and monitors/tv's so the problem is not with cables or monitors. To illustrate the problem I took two photos:1. Corruption and occasional flickering on some monitors (the small black box 2x4 pixels at the left upper corner):
On some monitors the image is unstable and flickers once/twice per second. Does anybody have a solution to this problem?
Same here on every image tested 11-22-16 and newer. Sooo, BananaPi support people, is this
a hardware problem? A fex problem? Something you're working on? Something you're gonna fix?
This is unusable at 1080P. This never should have shipped. Is there a person there who is
responsible there (foxxconn/bpi/sinovoip)? Anyone working to fix things or communicate with
users or are you just content to sit around and collect your next paycheck.
Your organization and accountability suck.
Here's hoping a kick in the butt will get you to do something..
Newest image dated 4/27/17 nothing has changed. I've now tried this on two monitors.
I am running M2-U with 1080P on my monitor without the corruption or flickering you are experiencing. Still have the 2x2 (2x4?) black pixel at the upper left corner though.
I have not done any research on this 2x2 pixel hole or tried to fix this.
Noee: i use LXDE, not MATE.
I was using a 2010ish monitor before. Just upgraded to a new acer today and now only get the black hole in the upper left as well. Seems 1080p isn't big in China or their engineers would have caught this.
This 2x2 pixel looks like someone left some debugging / testing enabled on kernel....


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Honda Repair Questions? Ask a Mechanic for Answers ASAP
I'd check the state of the front pulley as they can break up over time and then rub on the front cover
have you tired removing the timing belt plastic cover and running without it ? as this will hopefully eliminate if its the belt or not
do you still need help?
Bear in mind that the site takes a deposit from you at the beginning and this is held by the site until you rate my answer at which point the cash is split between the site and the expert. I am only paid for my work on this question if you rate my answer, using the star system at the top of the screen. Please do not forget! Thank you


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Case Of Percy Mackaye And His Father
( Originally Published 1911 )
NOT only has the drama an historical evolution, but, like any other human activity, it is subject to inherited traits, and is influenced by the spirit of the age. Ibsen believed in the theory of imbibing the thoughts that were in the air, rather than in limiting those thoughts by an amount of contradictory reading. There is no doubt, for instance, that through Mr. Carnegie's gift of ten millions of dollars for the furtherance of peace, many more people will be forced to think seriously on the subject, and already there is as much discussion about who will write the great peace drama, as about who will be the great American dramatist.
Subtle forces mould a man, but also evident circumstances. In "Famous Actor-Families in America," I suggested the possibilities of applying Galton's law of inheritance to the material I had gathered from various sources. The method might likewise serve as a measure in deter-mining how far Henry De Mille's career prompted his son, William, to follow the same bent, and in tracing those speculative characteristics of Steele Mackaye which are now evident in his son, Percy. Sons of fathers who hold positions in a profession are most likely to continue in that profession, but whereas young De Mille, furthered by Belasco, uses the theatre more as a business than as an art, young Mackaye is prone to forget the theatre in a commend-able, but over-serious, attitude toward art.
The theatre has always been subject to attack; it has always been threatened by poor quality and plethoric quantity. Young De Mille takes things as he finds them, making a reporter's use of a certain dramatic ability; young Mackaye is more morose than rebellious over the theatre, about which he speculates in ideal fashion. But, nevertheless, these men either have to conform to the conventions of the time and to the interests of the period, or else submit to the relentless verdict of the people.
In the days when the Madison Square Theatre, in West Twenty-fourth Street, New York, was the center of theatrical interest, and when the Mallory Brothers combined this business with that of issuing The Churchman, which still survives as a religious weekly, theatre managers were reading their own plays. Daly always gave personal attention to the manuscripts sent him. Palmer announced openly that he was not favorable to the native playwright. But, to judge by the personal note-book of Henry De Mille, who read plays with the assistance of Daniel Frohman, Franklin Sargent, and David Belasco, the manuscripts continued to flow into the office of the little playhouse. In three months, during 1883, some two hundred dramas by Americans were read, and the possible subjects were never accepted without material alteration. When Bronson Howard's "Young Mrs. Winthrop" was in preparation, it was rewritten in accordance with a multitude of suggestions, and was then handed over to Belasco, who had already evinced his remarkable gift for certain phases of stage management. The theatre of that day knew what it wanted, and the playwright was whipped into shape. The current papers were then as persistent in their attack upon the insipidity of the Madison Square drama, as critics are today upon the pornographic literature which passes for virile thinking.
I believe that both young De Mille and young Mackaye have an advantage in this race for dramatic honors; it remains to be seen whether they will profit by the past history of the theatre. Their fathers were writing at a time when their contemporaries in dramatic authorship were Bronson Howard, Bartley Campbell, George Jessop, Fred Marsden, A. C. Gunter, Fred Maeder, James J. McClosky, A. R. Cazauran, Edward Harrigan, and H. G. Carleton. William De Mille is greatly in advance of that period, as far as methods and interests are concerned; he is one of the numberless newspaper men who is content with effective incident, and he leaves speculation alone. In "Strongheart," which had a slight problem of Indian blood in it, he failed to do what he wished above all else to do; he originally intended to consider the theme inadequately treated by Edward Sheldon in "The Nigger" (1910). There is nothing pioneer, or even largely stimulating in young De Mille.
Percy Mackaye is of a different stature; he comes out of the past into the present, and his ear and heart have caught certain phrases which remind him of the Golden Age of Greece. De Mille shook from him the cap and gown of Columbia University; Mackaye walks in the shadow of Harvard, with an academic command of literature, and with a poetic gift which is not spontaneous, though it be elaborate and earnestly used. Being a poet, we must compare him with poets.
There is more hope for him than for Stephen Phillips, who has steadily declined in effectiveness since writing "Herod." They both are wedded to the past. Phillips gave us a Francesca, Mackaye a Jeanne D'Arc; Phillips wrote in the face of Goethe's "Faust," Mackaye in the face of Chaucer's "Canterbury Tales." Phillips turned to Ulysses, Mackaye to Sappho and Phaon. In other words, being poets who are using the theatre as a means of poetic communication, rather than as a high end in itself, they largely adhere to the Shakespeare precedent of finding inspiration for their plots outside of their native imaginations. Unlike John Masefield, whose "Pompey the Great" is a rewriting of history, and is tinged through and through with broad and colorful expressions of democratic strength, they unfold their dialogue in lines of haunting beauty but of reminiscent measure.
Yet Mr. Mackaye possesses a humor which is totally lacking in Phillips, a perspective of the present which allows of such sparkling cynicism as one detects in "Mater" and "Anti-Matrimony," even if it is not sufficiently analyzed to make him an invigorating critic of life, civic and personal.
He is a poet who has "murmurs and scents of the infinite seas," without any deep knowledge of the forces of existence. Stephen Phillips utters haunting lines of pure, sensuous beauty; Mackaye writes lines of equal beauty, but lacking in that simple, lyric passion which makes "Francesca da Rimini" so delicate. It strikes me that Mr. Mackaye as a poet is only a vehicle for unformed and inadequately founded social views. He has poetic quality rather than the abiding strength of the true poet. Occasion has done much to shape his course from the very day that his father locked him, a sixteen-year-old boy, in a room and told him to write a Storm Choral for a Columbian Exposition spectacular, before he could come out.
The theatre critic has from generation to generation deplored the fast decading drama, and has vainly searched for the art spot in the chaos of commercialism on which to rest his hopes and to raise his temple. Traveling through the slough, confident of a bright to-morrow, keen to the civic necessity of the play, Mr. Mackaye is searching for the art centre. He is intensely earnest, and the persistent questions in his prose work, which follow one after the other in logical order, point to undoubted weaknesses in the present theatrical system. But deep conviction on his part, however to be welcomed, does not result in a conviction on our part that endowment on the one hand is the only way to free the theatre of present methods, or that endowment on the other will create a better type of drama, especially of the poetic drama.
Mr. Mackaye's "The Playhouse and the Play" (1909) is a small volume of lectures which have been delivered before university bodies, and which are now slightly added to, but still unchanged as to intimate and personal style. The eye is immediately caught by the frequency of italicized lines; these might be taken as the measure of Mr. Mackaye's argument. The scope is purely local, except where the author's culture seeks to connect the present with Greek civilization. The book is idealistic, not soundly philosophic — idealism based on practical knowledge as a producing playwright. In the building of a civic theatre for the people, in the fitting of the drama to become a vehicle for the ideals of democracy, to clear the theatrical field of its present business standards is only one phase in the education of dramatic taste. I cannot see that divorcing art from money will immediately improve art or better the supply and demand — although it will clear the theatre atmosphere. Any one at all versed in things of the stage will note the consistency of Mr. Mackaye's "Law of Deterioration," based on such self-evident facts as the preponderance of the emotional demand over the intellectual, brought about by the antagonism between the rational aim of theatrical business and the rational aim of democratic art. Henry Arthur Jones established this condition more fully in his essay: "Our Modern Drama — Is It an Art or an Amusement?"
It is true that what the drama needs is to be subjected to an atmosphere of artistic rather than of business competition. Yet one might justly fear that the removal of the restraining hand of "profit and loss" would largely afford added hope to the dilettante, to the disappointed playwright. No suggestion has been offered as to whether or not there would be competent people to run the theatre, or where and how the theatre-goers would receive the education which would make them prefer Charles Rann Kennedy's "The Winterfeast" to comic opera, or Mr. Mackaye's "Mater" to vaudeville. We all deplore the benumbing hand of commercialism, recognizing that business methods, nevertheless, have raised the status of an actor from that of vagabondia to that of professionalism, but it all depends on what we mean by absolute freedom in the theatre to convince us as to whether absolute endowment will hasten the desired goal.
In his lectures on "The Drama of Democracy" and "The Dramatist as Citizen," Mr. Mackaye is most suggestive; if nothing else, his book will provoke discussion, and in my opinion that is what he wishes, for he is the dramatist beneath it all. The dissemination of whatever seeds of art may be in the American people through channels of least richness has blighted the product. There is the fine art for the few, and the vaudeville for the crowd. Conditions are chiefly responsible for the absence of evidences pointing to a fine art for the many, in other words — to a drama of democracy. Mr. Mackaye has the evil well indicated here; the poet in him feels the pulse of the people. He writes: "The status of the playhouse in society is as vital as the status of the university in society. The dignity and efficiency of the one demand the same safeguard against in-ward deterioration as the dignity and efficiency of the other. The functions of both are educative."
Young Mackaye sincerely desires to be a citizen, but his social philosophy is weak and his historical perspective is not sufficiently defined to lend authority to the definitions he frames or to the strictures he utters in his numerous lectures and talks. From his father he has learned the use of a certain largeness of scene; from the present he has drawn a certain restlessness and shapeless idealism which are waiting for systematizing. But he has not found himself, and the reason lies, not in the theatrical conditions which surround him, but in the inheritance and the tradition which are his — the inheritance of his father, and the tradition of Harvard University.
James Steele Mackaye was born in Buffalo during 1844, and at the age of seven moved to New York. His father was a man of some means, who had a home just outside of Buffalo, known as Castle Mackaye; while his grandfather, a Scotchman of sturdy build, wore the cloth, and died at the advanced age of one hundred and twenty, boasting of having lived one hundred years in the same parish.
The move to New York was due to legal connections of Mackaye's father, who likewise, as a man of affairs, once held the position of president of the Western Union Telegraph Company. It was not until he went to Paris, at the age of sixteen, that Steele turned his attention to the stage, and even then there was no opportunity to gratify his interest practically. At eighteen he came back to America, where for sixteen months he served in the army as a member of the Seventh Regiment. Reaching the age of twenty-two, and still intent on the stage, he procured a small engagement at the Old Bowery Theatre in New York, but soon after was sent abroad as an agent for buying pictures. Once more in Paris, he haunted the studios and the theatres, and chance took him in the path of François Delsarte, who recognized in him a startling likeness to his dead son, and who took him under his tutelage.
From now on, and for many years to come, Mackaye was to be an exponent of principles in acting which subdued the old-time ranting, and aimed at the reproduction of natural movement, and of what the papers of the time called "emotionally gentle manner." So closely did the youthful actor identify himself with the methods of his teacher, that he was known in the papers as "Delsarte Mackaye"; but no amount of ridicule could deter him from his set purpose. Later in life, Mackaye wrote:
"A man to be a true actor must not only possess the power to portray vividly the emotions which in any given situation would be natural to himself, but he must study the character of the man whom he impersonates, and then act as that man would act in a like situation. This is what Delsarte taught and what Rachel, Sontag, and Calvalho studied with him."
During 1874, Mackaye lectured extensively on the Delsarte system, speaking of the occult nature of emotion; of the science of expression, illustrated by pantomime; of the necessity for aesthetic gymnastics, illustrated by chromatic scales of emotion in the face and figure.
At that time there was something more or less theoretical in such a method; people were regarded as poseurs who adopted it. Hence it was that Mackaye was spoken of as a speculative dreamer. It is true that throughout life people said of him that his crude idealism was due to defects in his education; his fancies forced him into many experiments which could not possibly find practical fulfilment. But nevertheless, he was of a serious turn of mind, and of an experimental nature, and these characteristics combined to give him a distinct streak of philosophical speculation, which is detected in his utterances upon aesthetics.
When Delsarte found himself in the midst of the Franco-Prussian war, Mackaye was traveling in Switzerland (July, 1870); and on his return to America, hearing that his old friend was in a destitute condition, he immediately arranged for a lecture at Harvard University, the proceeds from which — amounting to ten thousand francs — were sent to Delsarte. The latter died in 1871, bequeathing to his pupil many unpublished manuscripts. There is no discounting Mackaye's enthusiasm over the Delsarte principles; his interest was not only deep, but his execution vivid, so much so that Forrest, listening to him, jumped up in that impetuous manner of his, and exclaimed: "By G--d, my noble boy, you have let in a flood of light!" Not only did he establish a school of acting which should uphold French naturalism, but his first venture in the theatrical field, the St. James Theatre, which opened in January, 1872, was popularly spoken of as the Delsarte house.
At the very outset it is well to emphasize the theatrical rashness of Mackaye and the philosophic severity of his criticism; it is well to note that his theory of acting affected his work, making it self-conscious; while his tendency to experiment made him limit or expand his ideas in mathematical ratio. A man of many failures, he was yet the fore-runner of diverse excellent theatrical innovations. His double stage for the Madison Square Theatre was not as perfect as the revolving platform at the New Theatre, but the principle of usefulness was practically the same. His Spectatorium may have fallen into ruins, carrying with it a fortune and the health of its conceiver, but it foreshadowed the modern Hippodrome. He never profited by failure, and his enthusiasm always made him forgetful of the fact that finance requires practical guarantee. Yet no man of the time, unless it was Henry De Mille, had better opportunity than he to know the physical features of the theatre.
His career as actor opened in 1872, when he appeared in "Monaldi," a Venetian story of the seventeenth century, based on Washington Allston's novel. His pale, classic features, his aquiline nose, his sensitive mouth, his intellectual and quiet expression, all tended to mark this tall, slender, and graceful man with distinction. I have before me a clipping which conveys an impression of Mackaye's nature beneath the practice of his Delsarte methods: "If he were paralyzed from the neck down, he could express more with his face than nine-tenths of justly celebrated actors could with all the appliances which nature and art have given them. His speechlessness is as crammed with expression as a thunder-cloud with electricity." There were stirring within him many conflicting interests; the author, actor, and lecturer did not meet on common ground. During part of 1872, Mackaye was in Paris, studying with Regnier, while in the winter of that year he remained in England, meeting Charles Reade, Wilkie Collins, and Tom Taylor. With the latter he was led into further experiment, collaborating in the writing of such plays as "A Radical Fool," "Clancarty," and "Arkwright's Wife." At this time, also, he was prompted to dramatize George Eliot's "Silas Marner"; the matter went as far as his meeting the novelist, but at the crucial point, Lewes, "the dragon," stepped in and put a stop to further negotiations. It was in the Spring of this year that Tom Taylor successfully urged Mackaye to appear as Hamlet, bringing to his interpretation all the originality of the Delsarte method (May 5, 1872). An edition of the play was issued with notes, and with indication of new stage business.
Evidently Mackaye was encouraged by his start, for I have the record of a booklet, printed in 1872 while he was in Paris, presenting "Extracts from the Press in Reference to the Three Months' Dramatic Season of James Steele Mackaye in New York City, from January 8 to April 1, 1872." During that period, Nym Crinkle appears to have come to his rescue, while he was being attacked for his persistency in the Delsarte methods. This was the season of the St. James Theatre, where, on February 1, 1872, Mackaye's "Marriage," an adaptation of Octave Feuillet's "Julie," was given a hearing.
Mackaye's novitiate in the art of playwriting was spent in collaboration and in adaptation, two of the dominant tendencies of the day. Not only this, but the men associated with the Madison Square Theatre reinforced the ideas presented by others. Being actors as well as writers, they knew wherein weak situations might be bettered. So that Mackaye's list of plays, while pointing to technical activity, does not impress one with any striking originality. Here again we find the man meeting with success, yet not sufficiently concentrated to be more than of temporary influence. As an author, he is to be credited with the following:
"Marriage" (1872); "Arkwright's Wife" (1873); "Clancarty" (1874, with Taylor); "Rose Michel" (1875, collaboration); "Queen and Woman" (1876, adaptation from Victor Hugo, with G. V. Pritchard); "Won at Last" (1877); "Through the Dark" (1878); "An Iron Will" (1879, later "Hazel Kirke," 1880); "A Fool's Errand" (1881, adaptation);
"Dakolar" (1884); "In Spite of All" (1885); "Rienzi" (1886, rewritten for Barrett); "Anarchy" (1887); "A Noble Rogue" (1888; also "Money Mad," modeled on the style of Hugo's "Jean Valjean") ; "Paul Kauvar" (known as "Anarchy").
The majority of these plays contained melodrama common to that period. It was a period when the physical outlines of the theatre were materially changing; when the old gas-jets, laboriously turned on at each performance, were now on the eve of being simultaneously ignited by an electric spark; when Ogden Doremus was experimenting with asbestos curtains, to give fireproof protection to the theatre; when Mackaye himself was designing orchestra chairs. It was the later day of the Boucicault drama, which had made demands upon the scenic pictures, introducing physical details that were regarded as marvelous. It was the time of Kate Claxton, Ida Vernon, Clara Morris, Montague, Gilbert, Holland, and Ponisi.
Mackaye fell readily into the atmosphere; he imbibed much of the Boucicault technique, without its flexibility, without its humor, without its easy grace and cheerfulness. And yet he was not considered a conservative; on the contrary, the papers regarded him very much as a defier of tradition, especially in comparison with Wallack and Daly. He was only rash, however, in the outward scope of the theatre; for his plays are constructed along conventional lines, with an emotionalism either akin to Boucicault or to Dumas' "Camille."
The five acts of " Won at Last" are epitomized graphically in the program as: "Act I, Ashes; Act II, Embers; Act III, Fire; Act IV, Flame; Act V, Fireside." "Hazel Kirke," which was first presented in 1879 under the title of "The Iron Will," bears all the characteristics of the romantic and melodramatic school of Boucicault. Indeed, critics never let Mackaye alone about the reminiscent touches to be found in his dramas. Earnest though he always was, and however high his ideals, he could not escape the sensationalism of Tennyson's and Charles Reade's "Dora"; of "Amy Robsart," and of "Rose Michel," which he helped to adapt.
Mackaye and De Mille were a great part of the force of the little Madison Square Theatre — a theatre whose greatest thorns seem to have been the Rev. Dr. G. S. Mallory and Marshall Mallory. They were astute business men, and understood how to obtain the best of any bargain. When Mackaye went to them, the understanding was that he was to relinquish all patents and copyrights for the period of ten years, and that he was to have five thousand dollars and profits under certain conditions. But the contract was not definite enough; on either side it might be disturbed at will. "Hazel Kirke" ran for nearly five hundred nights, with Mackaye every now and then assuming the rôle of Dunstan, but whenever the Mallorys had the suspicion that they were losing money, it was a signal for them to try to revoke their contracts. In fact, the theatre of that day was not so good as the theatre of the present. Boucicault was continually involved in litigation, and all dramatists had their successes pirated on every occasion. In 1881, according to one authority, four companies were enjoined for playing distorted versions of "Hazel Kirke."
However much Mackaye may have had the correct idea regarding the close treatment of drama, it was only in the expansiveness of outward detail that he dared depart from the conventional structure. No man realized more philosophically than he that a good play must contain some deep knowledge of human nature, some wide experience of life, and some surety in dealing with the craft of the stage. And he drew from himself and his own ambition, when he stated the requisites of a dramatist to be:
"Mechanical instinct, poetic fancy, sensitive sympathies, passionate fervor and vivid imagination, thoroughness in preparation, industry in elaboration, conscience in revision, courage in excision, and dominating all this, that breadth of mind which breeds humility, and that depth of heart whose understanding love goes out in charity to all mankind."
But though he would have had the process so, plays of the Daly period were not evolved; they were not intensive. Realism was just beginning to modify the romantic glow of "The Two Orphans" and "The Lady of Lyons," while it could hardly be claimed that violent action had been succeeded by rational themes. What Mackaye called "the focal purpose" of a play had not departed from French models or from French emotionalism. Howard, Belasco, De Mille, and Mackaye all came under its spell, the latter speculating upon a way of escape. "The master playwright," so he said, "combines the constructive faculty of the mechanic, and the analytical mind of a philosopher, with the aesthetic instinct of a poet, and the ethical ardor of an apostle."
There is no doubting the truth that Mackaye was serious-minded; in fact, he was continually active, a peculiar combination of a Swedenborgian, a theatrical Edison, and an undisciplined reader of Tyndall, Huxley, and Spencer. His interests lay between religion and civil engineering; he was diversely equipped, and a specialist only in what actual experience had taught him. But he never heeded experience for long, preferring to follow his imagination and his inventiveness. Like all dramatists, he was alive to the moment, and when, in 1887, his "Paul Kauvar" was presented, containing all the earmarks of its kind in flimsy sentiment, verboseness, and theatrical effect, he nevertheless claimed him-self to be deeply concerned in the problem of "anarchy," under which name the play was first known.
Notwithstanding the fact that the papers called "Paul Kauvar" "tumultuous and declamatory," and critics saw in it imitations of Bulwer, the play attracted wide attention, since there was beneath it a slight tinge of contemporaneousness, despite its Red Terror atmosphere. For Mackaye, being convinced that demagogues were spreading a spirit of anarchy among the masses, determined to show wherein tyranny was unjust, in the hopes of counteracting a revolutionary spirit which he felt existed among the people. To do this, he demanded a large spectacle, which drew from Nym Crinkle the remarks: "Mr. Steele Mackaye, whatever else he may be, is not a `lisping hawthorn bud.' He does n't embroider such napkins as the 'Abbé Constantin,' and he can't arrange such waxworks as `Elaine.' He can't stereo-scope an emotion, but he can incarnate it if you give him people enough."
The play was doubtless the outcome of certain ideas which were in the air. It was the old cry which was raised in regard to the influx of emigrants whose excessive poverty, together with the yoke of political oppression, drove them to the new country. But with them Mackaye felt that they brought certain foreign ideas which were inimical to the welfare of the American laborer. So it was that "Anarchy," besides being a melodramatic spectacular, was also a purpose play in the newspaper sense. In 1888, he wrote:
"In the struggle between capital and labor in this country, the grasping spirit of corporations and the demoralizing influence of political corruption are constantly affording the demagogue or the dreamer, who has nothing to lose and everything to gain by the destruction of civil order, an opportunity to preach anarchic doctrines with great plausibility. When I first discovered the large extent to which the passions of the working classes were being played upon by the fine phrases of these insidious foes of the American Republic, I determined to investigate, as carefully as circumstances would permit, the means by which these foreign influences were seeking to achieve their diabolic results in this country."
After his dispute with the Mallorys, Mr. Mackaye went over to the Lyceum Theatre, on Fourth Avenue, which playhouse soon began to gain prestige under Daniel Frohman, and where E. H. Sothern was on the eve of large recognition. Mackaye's enthusiasm, his charm of manner and his grace, made him well liked, and he was much more at ease in private talk than in acting. He was a charming conversationalist, and possessed what critics called a mind "ratiocinative, not poetic." Interested in painting, sculpture, teaching, managing, playwriting and inventing, he lacked system; he was devoid of concentration. Philosophically, he was under the influence of the transcendentalists, and even the mystic touches in Delsarte bore evidences of Catholic symbolism. His language, outside his plays, was marked by metaphysical distinctions, seen, for instance, in an excellent letter sent to his son from Chicago, on December 15, 1893, in answer to Percy's objections to changes made in some chorals he had written. The statements show first of all a serious attitude toward all creative work, as well as a modesty which was no small part of his charm; they are likewise evidences of a speculative mind which delighted in analyzing the absolute, the relative, and the conscious in terms of art. This is what he wished to do in his big Columbian spectacle prepared for his Spectatorium; every detail of it was to have philosophical value; even the choruses were to be representative of fine distinctions.
He felt that Percy, at an early age, should have grasped this in the writing of the poetic tasks set before him.
"Everything in the Cosmic order," he said, "is perfect or complete. When I speak of the Time Chorus, I mean that which voices the accomplishment of the past. . . . The Past Time Chorus, philosophically, represents the real world, and the Future Time Chorus represents the ideal world, while the Eternity Chorus represents the essential world — the world of principle or spirit. . . . The spirit of the whole is the perfect spirit — universal spirit — the divine spirit. The spirit of the past is the imperfect spirit and the demoniac spirit."
His distinctions of mortal and immortal consciousness clearly mark his scattered reading in metaphysical fields.
We now reach the culmination of Mr. Mackaye's life, at the time of the Chicago Exposition of 1893. All his theatrical extravagance overflowed and ran riot in the Columbian Celebration Company, organized to exploit his Spectatorium, a building devised for his entertainment, which was called " Spectatorus." This was a combination of grand scenic display with Oratorio, in which stage realism was to be carried to its highest perfection. It was to be a Hippodrome in size, with appliances of every conceivable power, so arranged as to create illusions of the noblest order. The stage, called a " Scenitorium", was to contain an immense reservoir for water effects, and around this were to be grouped Mackaye's remarkable inventions.
It is not necessary to go into details regarding this mammoth shell. In it were to be erected automatic combination stages, allowing of any variety of motions; wave-current makers, for the creation of currents of water which were to be regulated as to velocity and height; wind-current makers, so conceived as to create cyclone velocity from the gentlest breeze; weather-makers, for atmospheric effects, such as large rainbows; illuminoscopes, "by means of which the scope and character of the illumination of the scene can be instantly determined;" colorators, for tints according to the changing hours; nebulators, for cloud effects; and a luxauleator, which was to be a dazzling sheet of light to take the place of a curtain. Examining the large scope of Mackaye's idea, it is surprising how near he came to the conception of a Hippodrome. He aimed at mechanical duplication of Nature; mechanical acceleration of mystery. The production in such a huge machinery was to be called a "Spectatorio," which was " a species of performance celebrating a theme which may be either historic, fabulous, or fanciful. It illustrates its subjects by great pictures — whose stories are told in pantomime, and whose sentimental, ethical, or ideal meaning is celebrated or interpreted by music." On one hand he had in mind the most extravagant display of Barnum; on the other he accepted as a model Cody's Wild West Show. Undoubtedly the educational vastness of such an enterprise met with some enthusiasm and support; preparations actually began for the mounting of "The Great Discovery," which was to epitomize the life of Columbus. The financial figures of returns were chimerical, with the seating capacity of over ten thousand people, and the other sources of income to cover the initial expenditure of nearly a million dollars. The structure was to have occupied the northeastern corner of Jackson Park.
Any one in the theatre will understand that the very magnitude of the undertaking was enough to handicap business and to kill the man in control. Mackaye's whole nervous system went to pieces as he saw the money slipping from his hands. The Spectatorium was only a skeleton when the company went into the hands of a receiver because of depression in Wall Street. His brain teeming with projects, Mackaye was able, through a natural gift of persuasiveness, to carry any amount of enthusiasm. But now he was completely broken in health. He was given a benefit which enabled him to start on a trip to California, but on his way, while passing through Timpas, Colorado, he died aboard the train, on February 25, 1894.
In this career we find many evidences of the son, Percy, writer of dramas; of the son, James, instructor at Harvard, and author of a philosophical, sociological discussion of "The Economy of Happiness"; and of the son whose interest in nature is marked.' The speculative tendency is in the Mackaye blood, and a staid seriousness. Yet Percy has a keen sense of humor which he realized in "Mater" and in "Anti-Matrimony," but sedulously governs because of his Harvard training. Steele Mackaye, in his experiments, foreshadowed the present possibilities of the mechanical stage; he would have been greater had he possessed restraint. Curiously, his son, Percy, is handicapped by this very quality of restraint.


text:
Discussion in 'Landscape & Cityscape' started by FAV, Jan 4, 2007.
missing the winter.. so here it is some "snow" in the summer....
I love this shot! Great use of IR!
Is that ice or water?
Thanks a lot Eric.
was water, but with long exposure time.
on the left hand was the wave track of a boat
It's beautiful. I truthfully have seen very little like it but it thoroughly impresses me whenever I do. I have tried to use IR film but to no avail and have great respect for those that can.
Beautiful shot. :thumbup:
thanks a lot guys !
here's another one:
very very very good like them both
Separate names with a comma.


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51-year-old shade throwin' Talk Show Host and Media Maven Wendy Williams will be prancing into your living rooms way up into the year 2020. She announced yesterday that FOX has renewed the show for another four years! During the November 2015 sweeps, The Wendy Williams Show finished either number one or two in the key demo of women ages 25-54 in 55% of the US and 20 of the top 25 markets. Wendy is hitting those marks with ease.
She may be Queen of all things overcast and over the top, but she's untouchable right now. Where else do you tune in to keep up with celeb gossip? Check out her emotional reaction to the news below.
Congrats Wendy!


text:
Innovation in Compliance-Digital Transformations in Compliance with Vince Walden
FCPA Compliance Report-Episode 375, Steve Durham on Impact of Digital Realty Trust
This Week in FCPA-Episode 94, the March Madness edition
12 O'Clock High-Episode 82, Leadership Lessons from Henry Worsley and Ernest Shackleton
Compliance into the Weeds-Episode 74, Continued Fallout from Somers
How Can We Spark Difficult Compliance Discussions?
Jack Sharman discusses Rick Gates Plea on The 11th Hour with Brian Williams
FCPA Compliance Report-Episode 374, John Davis on Miller & Chevalier's FCPA Winter Review 2017
Building Blocks for an Effective Due Diligence System (Part II of III)
This Week in FCPA-Episode 93 - the Hell Hath No Fury edition
Across the Board-Episode 16, Boards of Directors and Compliance
Countdown to GDPR-Episode 3, Policies and Procedures
Compliance into the Weeds-Episode 73, Compliance Trouble in Dallas
FCPA Compliance Report-Episode 373, John Hanson on 1 year at the helm of the IAICM
Across the Board-Episode 14, Joel Solomon on the Clean Money Revolution
Countdown to GDPR-The Role of a Data Protection Officer
Compliance into the Weeds-Episode 72-Implications from Digital Realty Trust
FCPA Compliance Report-Episode 372, an exploration of the Somers decision with Roy Snell
the Where are the Chickens? edition
Everything Compliance-Episode 25, the One Year Wrap Up Edition
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As noted in our recent memorandum on the Frank R. Lautenberg Chemical Safety for the 21st Century Act (S. 697, Lautenberg), Senators Barbara Boxer (D-CA) and Ed Markey (D-MA) recently introduced the Alan Reinstein and Trevor...more
A vote by European Union (EU) lawmakers in mid-January gave individual governments within the 28-nation bloc the authority to decide whether genetically modified organisms (GMOs) can be grown and cultivated within their...more
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On 16 October 2014, the first CfD allocation round commences, with the first CfDs being signed as early as January 2015, subject to any mid-allocation round appeals. The attached "Contracts for Difference – On the Launchpad",...more
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On June 13, 2014, the European Commission (EC) Scientific Committee on Emerging and Newly Identified Health Risks (SCENIHR) published its final opinion on "Nanosilver: safety, health and environmental effects and role in...more
Australia Publishes Eighth Tranche Of IMAP Assessments:
The National Industrial Chemicals Notification and Assessment Scheme (NICNAS) published for public comment the eighth tranche of human health and environmental...more
Participating agencies jointly target commercial imports that threaten health and safety -
U.S. Customs and Border Protection (CBP) announced last week that three additional Federal agencies have formally joined the...more
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Canada Begins Consultation On Potential Amendments To The E2 Regulations: On March 10, 2014, Canada began a public consultation on potential amendments to the Environmental Emergency (E2) regulations. Canada states that the...more
EPA's Endocrine Disruptor Screening Program Updates EDSP Comprehensive Management Plan: On February 21, 2014, the U.S. Environmental Protection Agency (EPA) updated its Endocrine Disruptor Screening Program (EDSP)...more
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Welcome to loeber.dkYour account has been created.
You can access your Web site right away using d24115310.u248.surftown.dk. Over the next few days, DNS servers all across the Internet will update themselves with your new site name. Once that happens, you will be able to access your site at its permanent address, loeber.dk.


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Stainless Steel Zest GraterT34/0829U
M&S says
A great value kitchen utensil in stainless steel, this high quality grater is a contemporary kitchen essential.
Product Details
- Height: 15 cm
- Width: 4.5 cm
- Depth: 39.5 cm
Item details
- This grater will quickly zest citrus fruit and is also great for finely grating nutmeg or ginger. Includes useful integrated hanging loop for easy storage
- These are dishwasher safe
Care and Composition
- Stainless Steel
Returns & Refunds
35 days to return
You may return or exchange unused products within 35 days of purchase with a valid parcel summary document. Your items don't need to be in the original box or bag as long as they're securely packaged.
How to return
It's easy to return items to us in the UK. Simply use our returns portal to print a returns label and returns note. You will then be able to return all or part of your order at your own cost through your preferred carrier.
To print the returns label and return from Canada, simply click here.
Delivery Options
Tracked Express Delivery: Free over $50 (otherwise $5), within 3-5 working days. All orders go via express.
- bvseo_sdk, dw_cartridge, 16.1.1, p_sdk_3.2.0
- CLOUD, getContent, 126ms
- reviews, product
- bvseo-msg: Unsuccessful GET. status = '{0}', msg = {1};


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Originally Posted by karen14
Yeah but it could've been worse, I was expecting to see a hairsuit during the massage
Printable View
Originally Posted by karen14
Yeah but it could've been worse, I was expecting to see a hairsuit during the massage
OK, but she shouldn't cry when the guys do it. Can't have it both ways.Quote:
Originally Posted by dberk
Does anyone want to tell Art that silence is golden sometimes?
Anna claiming to be charmed by this is the best evidence so far that maybe this isn't on the level. Who could listen to that non-stop and not go mad.
I mean I believe he's capable of being romantic, I suppose. But constantly having to listen to 1000 words where 2 or 3 will do? Being with someone with seemingly NO concept of when to let the mouth rest?
JR, you're bad. :laughQuote:
Originally Posted by JR.
Yeah, I thought they were going to give in to gravity any second too. :lol
Poor Art, I get the feeling from watching her with him and with the others that his emotional-ness is making her feel pressured. :shrug
Anyway, if three are going, you KNOW one is Rocky. And one Hunk is staying, so that's Josh. I'm betting Art and newly-cutie Nathan are out. :(
Ah yes, a good pearl of wisdom there JR. But in her mind, they are all there for her and can't go macking on paid escorts.Quote:
Originally Posted by JR.
OMG :omg Josh is gone. NOOOOoooooo...
WHAT??! That's it, I am no longer watching this show!
Poor Ave. Josh gets the boot first. I guess he had to learn the hard way not to spill his cream in his dates lap.
Getting rid of Arthur would be like kicking a puppy. An annoying noisy puppy, but a puppy nonetheless. Nathan is like a puppy too. Wah! for the puppies!
Oh my gosh, she got rid of JOSH! Ha! The woman is certifiably insane. Run home Josh, there has to be better women there.
Didn't see that coming.


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Football animations all made by Sevenoaks Art and not collected from obscure places on the internet. Use them,
modify them as you see fit but do not include them in other collections. These football animations can even work as mobile phone screen savers or backgrounds. At Sevenoaks Art we are not great lovers of football, I used to play it with a leather football with a lace which could mark your head if you headed it and leather football boots with studs nailed on. The nails often used to come through the soles and stick into your feet. Very painful.
These days football has become a business and not so much a sport and good sportsmanship has really gone down the pan. The only reason we have any interest in football is because my son has always played it and I have traveled miles to support him
On this page we have made an FA and World cup, English football with background flag, the English football emblem, boots, chatting monkey and our favourite, the cocky little chick balancing on the football
If you have stumbled upon this page looking for American football animations we have made a collection for you to peruse.
Click this link for American football gifs
I would love to be able to add animations for particular football clubs but because club logos are copyright protected I'm unable to do so. Sadly I do get many requests for animated club logos but I'm unable to make any for you. That is the way life goes sometimes, enjoy the animations that we do have.
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