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How to think about prescription drugs
The Critics
Critics at large
Posted 2004-10-18
Ten years ago, the multinational pharmaceutical company AstraZeneca launched what was known inside the company as the Shark Fin Project. The team for the project was composed of lawyers, marketers, and scientists, and its focus was a prescription drug known as Prilosec, a heartburn medication that, in one five-year stretch of its extraordinary history, earned AstraZeneca twenty-six billion dollars. The patent on the drug was due to expire in April of 2001. The name Shark Fin was a reference to what Prilosec sales—and AstraZeneca's profits—would look like if nothing was done to fend off the ensuing low-priced generic competition.
The Shark Fin team drew up a list of fifty options. One idea was to devise a Prilosec 2.0—a version that worked faster or longer, or was more effective. Another idea was to combine it with a different heartburn remedy, or to change the formulation, so that it came in a liquid gel or in an extended-release form. In the end, AstraZeneca decided on a subtle piece of chemical reëngineering. Prilosec, like many drugs, is composed of two "isomers"—a left-hand and a right-hand version of the molecule. In some cases, removing one of the isomers can reduce side effects or make a drug work a little bit better, and in all cases the Patent Office recognizes something with one isomer as a separate invention from something with two. So AstraZeneca cut Prilosec in half.
AstraZeneca then had to prove that the single-isomer version of the drug was better than regular Prilosec. It chose as its target something called erosive esophagitis, a condition in which stomach acid begins to bubble up and harm the lining of the esophagus. In one study, half the patients took Prilosec, and half took Son of Prilosec. After one month, the two drugs were dead even. But after two months, to the delight of the Shark Fin team, the single-isomer version edged ahead—with a ninety-per-cent healing rate versus Prilosec's eighty-seven per cent. The new drug was called Nexium. A patent was filed, the F.D.A. gave its blessing, and, in March of 2001, Nexium hit the pharmacy shelves priced at a hundred and twenty dollars for a month's worth of pills. To keep cheaper generics at bay, and persuade patients and doctors to think of Nexium as state of the art, AstraZeneca spent half a billion dollars in marketing and advertising in the year following the launch. It is now one of the half-dozen top-selling drugs in America.
In the political uproar over prescription-drug costs, Nexium has become a symbol of everything that is wrong with the pharmaceutical industry. The big drug companies justify the high prices they charge—and the extraordinary profits they enjoy—by arguing that the search for innovative, life-saving medicines is risky and expensive. But Nexium is little more than a repackaged version of an old medicine. And the hundred and twenty dollars a month that AstraZeneca charges isn't to recoup the costs of risky research and development; the costs were for a series of clinical trials that told us nothing we needed to know, and a half-billion-dollar marketing campaign selling the solution to a problem we'd already solved. "The Prilosec pattern, repeated across the pharmaceutical industry, goes a long way to explain why the nation's prescription drug bill is rising an estimated 17 % a year even as general inflation is quiescent," the Wall Street Journal concluded, in a front-page article that first revealed the Shark Fin Project.
In "The Truth About the Drug Companies: How They Deceive Us and What to Do About It" (Random House; $24.95), Marcia Angell offers an even harsher assessment. Angell used to be the editor-in-chief of The New England Journal of Medicine, which is among the most powerful positions in American medicine, and in her view drug companies are troubled and corrupt. She thinks that they charge too much, engage in deceptive research, produce inferior products, borrow their best ideas from government-funded scientists, and buy the affections of physicians with trips and gifts. To her, the story of Nexium and drugs like it is proof that the pharmaceutical industry is "now primarily a marketing machine to sell drugs of dubious benefit."
Of course, it is also the case that Nexium is a prescription drug: every person who takes Nexium was given the drug with the approval of a doctor—and doctors are professionals who ought to know that there are many cheaper ways to treat heartburn. If the patient was coming in for the first time, the doctor could have prescribed what's known as an H2 antagonist, such as a generic version of Tagamet (cimetidine), which works perfectly well for many people and costs only about twenty-eight dollars a month. If the patient wasn't responding to Tagamet, the doctor could have put him on the cheaper, generic form of Prilosec, omeprazole.
The patient's insurance company could easily have stepped in as well. It could have picked up the tab for Nexium only if the patient had first tried generic Tagamet. Or it could have discouraged Nexium use, by requiring anyone who wanted the drug to pay the difference between it and generic omeprazole. Both the physician and the insurance company, meanwhile, could have sent the patient to any drugstore in America, where he or she would have found, next to the Maalox and the Pepcid, a package of over-the-counter Prilosec. O.T.C. Prilosec is identical to prescription Prilosec and effectively equivalent to prescription Nexium, and it costs only twenty dollars a month.
Throughout the current debate over prescription-drug costs—as seniors have gone on drug-buying bus trips to Canada, as state Medicaid programs and employers have become increasingly angry over rising health-care costs, and as John Kerry has made reining in the pharmaceutical industry a central theme of his Presidential campaign—the common assumption has been that the rise of drugs like Nexium is entirely the fault of the pharmaceutical industry. Is it? If doctors routinely prescribe drugs like Nexium and insurers routinely pay for them, after all, there is surely more than one culprit in the prescription-drug mess.
The problem with the way we think about prescription drugs begins with a basic misunderstanding about drug prices. The editorial board of the Times has pronounced them much too high; Marcia Angell calls them "intolerable." The perception that the drug industry is profiteering at the expense of the American consumer has given pharmaceutical firms a reputation on a par with that of cigarette manufacturers.
In fact, the complaint is only half true. The "intolerable" prices that Angell writes about are confined to the brand-name sector of the American drug marketplace. As the economists Patricia Danzon and Michael Furukawa recently pointed out in the journal Health Affairs, drugs still under patent protection are anywhere from twenty-five to forty per cent more expensive in the United States than in places like England, France, and Canada. Generic drugs are another story. Because there are so many companies in the United States that step in to make drugs once their patents expire, and because the price competition among those firms is so fierce, generic drugs here are among the cheapest in the world. And, according to Danzon and Furukawa's analysis, when prescription drugs are converted to over-the-counter status no other country even comes close to having prices as low as the United States.
It is not accurate to say, then, that the United States has higher prescription-drug prices than other countries. It is accurate to say only that the United States has a different pricing system from that of other countries. Americans pay more for drugs when they first come out and less as the drugs get older, while the rest of the world pays less in the beginning and more later. Whose pricing system is cheaper? It depends. If you are taking Mevacor for your cholesterol, the 20-mg. pill is two-twenty-five in America and less than two dollars if you buy it in Canada. But generic Mevacor (lovastatin) is about a dollar a pill in Canada and as low as sixty-five cents a pill in the United States. Of course, not every drug comes in a generic version. But so many important drugs have gone off-patent recently that the rate of increase in drug spending in the United States has fallen sharply for the past four years. And so many other drugs are going to go off-patent in the next few years—including the top-selling drug in this country, the anti-cholesterol medication Lipitor—that many Americans who now pay more for their drugs than their counterparts in other Western countries could soon be paying less.
The second misconception about prices has to do with their importance in driving up over-all drug costs. In one three-year period in the mid-nineteen-nineties, for example, the amount of money spent in the United States on asthma medication increased by almost a hundred per cent. But none of that was due to an increase in the price of asthma drugs. It was largely the result of an increase in the prevalence of usage—that is, in the number of people who were given a diagnosis of the disease and who then bought drugs to treat it. Part of that hundred-per-cent increase was also the result of a change in what's known as the intensity of drug use: in the mid-nineties, doctors were becoming far more aggressive in their attempts to prevent asthma attacks, and in those three years people with asthma went from filling about nine prescriptions a year to filling fourteen prescriptions a year. Last year, asthma costs jumped again, by twenty-six per cent, and price inflation played a role. But, once again, the big factor was prevalence. And this time around there was also a change in what's called the therapeutic mix; in an attempt to fight the disease more effectively, physicians are switching many of their patients to newer, better, and more expensive drugs, like Merck's Singulair.
Asthma is not an isolated case. In 2003, the amount that Americans spent on cholesterol-lowering drugs rose 23.8 per cent, and similar increases are forecast for the next few years. Why the increase? Well, the baby boomers are aging, and so are at greater risk for heart attacks. The incidence of obesity is increasing. In 2002, the National Institutes of Health lowered the thresholds for when people with high cholesterol ought to start taking drugs like Lipitor and Mevacor. In combination, those factors are having an enormous impact on both the prevalence and the intensity of cholesterol treatment. All told, prescription-drug spending in the United States rose 9.1 per cent last year. Only three of those percentage points were due to price increases, however, which means that inflation was about the same in the drug sector as it was in the over-all economy. Angell's book and almost every other account of the prescription-drug crisis take it for granted that cost increases are evidence of how we've been cheated by the industry. In fact, drug expenditures are rising rapidly in the United States not so much because we're being charged more for prescription drugs but because more people are taking more medications in more expensive combinations. It's not price that matters; it's volume.
This is a critical fact, and it ought to fundamentally change the way we think about the problem of drug costs. Last year, hospital expenditures rose by the same amount as drug expenditures—nine per cent. Yet almost all of that (eight percentage points) was due to inflation. That's something to be upset about: when it comes to hospital services, we're spending more and getting less. When it comes to drugs, though, we're spending more and we're getting more, and that makes the question of how we ought to respond to rising drug costs a little more ambiguous.
Take CareSource, a nonprofit group that administers Medicaid for close to four hundred thousand patients in Ohio and Michigan. CareSource runs a tightly managed pharmacy program and substitutes generics for brand-name drugs whenever possible. Nonetheless, the group's pharmacy managers are forecasting at least ten-per-cent increases in their prescription-drug spending in the upcoming year. The voters of Ohio and Michigan can hardly be happy with that news. Then again, it's not as if that money were being wasted.
The drug that CareSource spends more money on than any other is Singulair, Merck's new asthma pill. That's because Medicaid covers a lot of young, lowerincome families, where asthma is epidemic and Singulair is a highly effective drug. Isn't the point of having a Medicaid program to give the poor and the ailing a chance to live a healthy life? This year, too, the number of patients covered by CareSource who are either blind or disabled or have received a diagnosis of aids grew from fifteen to eighteen per cent. The treatment of aids is one of the pharmaceutical industry's great success stories: drugs are now available that can turn what was once a death sentence into a manageable chronic disease. The evidence suggests, furthermore, that aggressively treating diseases like aids and asthma saves money in the long term by preventing far more expensive hospital visits. But there is no way to treat these diseases in the short term—and make sick people healthy—without spending more on drugs.
The economist J. D. Klienke points out that if all physicians followed the treatment guidelines laid down by the National Institutes of Health the number of Americans being treated for hypertension would rise from twenty million to forty-three million, the use of asthma medication would increase somewhere between twofold and tenfold, and the number of Americans on one of the so-called "statin" class of cholesterol-lowering medications would increase by at least a factor of ten. By these measures, it doesn't seem that we are spending too much on prescription drugs. If the federal government's own medical researchers are to be believed, we're spending too little.
The fact that volume matters more than price also means that the emphasis of the prescription-drug debate is all wrong. We've been focussed on the drug manufacturers. But decisions about prevalence, therapeutic mix, and intensity aren't made by the producers of drugs. They're made by the consumers of drugs.
This is why increasing numbers of employers have in recent years made use of what are known as Pharmacy Benefit Managers, or P.B.M.s. The P.B.M.s draw up drug formularies—lists of preferred medications. They analyze clinical-trials data to find out which drugs are the most cost-effective. In a category in which there are many equivalent options, they bargain with drug firms, offering to deliver all their business to one company in exchange for a discount. They build incentives into prescription-drug plans to encourage intelligent patient behavior. If someone wants to take a brand-name oral contraceptive and there is a generic equivalent available, for example, a P.B.M. might require her to pay the price difference. In the case of something like heartburn, the P.B.M. might require patients to follow what's called step therapy—to try the cheaper H2 antagonists first, and only if that fails to move to a proton-pump inhibitor like omeprazole. Employers who used two or more of these strategies last year saw a decrease of almost five per cent in their pharmacy spending.
There is no mention of these successes in "The Truth About the Drug Companies." Though much of the book is concerned with the problem of such costs, P.B.M.s, the principal tool that private health-care plans use to control rising drug costs, are dismissed in a few paragraphs. Angell's focus, instead, is on the behavior of the pharmaceutical industry. An entire chapter, for instance, centers on the fact that the majority of drugs produced by the pharmaceutical industry are either minor variations or duplicates of drugs already on the market. Merck pioneered the statin category with Mevacor. Now we have Pfizer's Lipitor, Bristol-Myers Squibb's Pravachol, Novartis's Lescol, AstraZeneca's Crestor, and Merck's second entrant, Zocor—all of which do pretty much the same thing. Angell thinks that these "me-too" drugs are a waste of time and money, and that the industry should devote its resources to the development of truly innovative drugs instead. In one sense, she's right: we need a cure for Alzheimer's much more than we need a fourth or fifth statin. Yet me-too drugs are what drive prices down. The presence of more than one drug in a given category gives P.B.M.s their leverage when it comes time to bargain with pharmaceutical companies.
With the passage of the Medicare prescription-drug-insurance legislation, late last year, the competition created by me-toos has become even more important. The bill gives responsibility for managing the drug benefit to P.B.M.s. In each therapeutic category, Medicare will set guidelines for how many and what kinds of drugs the P.B.M.s will have to include, and then the P.B.M.s will negotiate directly with drug companies for lower prices. Some analysts predict that, as long as Medicare is smart about how it defines the terms of the benefit, the discounts—particularly in crowded therapeutic categories like the statins—could be considerable. Angell appears to understand none of this. "Medicare will have to pay whatever drug companies charge," she writes, bafflingly, "and it will have to cover expensive me-too drugs as well as more cost-effective ones."
The core problem in bringing drug spending under control, in other words, is persuading the users and buyers and prescribers of drugs to behave rationally, and the reason we're in the mess we're in is that, so far, we simply haven't done a very good job of that. "The sensitivity on the part of employers is turned up pretty high on this," Robert Nease, who heads applied decision analysis for one of the nation's largest P.B.M.s, the St. Louis-based Express Scripts, says. "This is not an issue about how to cut costs without affecting quality. We know how to do that. We know that generics work as well as brands. We know that there are proven step therapies. The problem is that we haven't communicated to members that we aren't cheating them."
Among the costliest drug categories, for instance, is the new class of antiinflammatory drugs known as cox-2 inhibitors. The leading brand, Celebrex, has been heavily advertised, and many patients suffering from arthritis or similar conditions ask for Celebrex when they see their physician, believing that a cox-2 inhibitor is a superior alternative to the previous generation of nonsteroidal anti-inflammatories (known as nsaids), such as ibuprofen. (The second leading cox-2 inhibitor, Merck's Vioxx, has just been taken off the market because of links to an elevated risk of heart attacks and strokes.) The clinical evidence, however, suggests that the cox-2s aren't any better at relieving pain than the nsaids. It's just that in a very select group of patients they have a lower risk of side effects like ulcers or bleeding.
"There are patients at high risk—people who have or have had an ulcer in the past, who are on blood-thinning medication, or who are of an advanced age," Nease says. "That specific group you would likely start immediately on a cox-2." Anyone else, he says, should really be started on a generic nsaid first. "The savings here are enormous," he went on. "The cox-2s are between a hundred and two hundred dollars a month, and the generic nsaids are pennies a day—and these are drugs that people take day in, day out, for years and years." But that kind of change can't be implemented unilaterally: the health plan and the employer have to explain to employees that in their case a brand-new, hundreddollar drug may not be any better than an old, one-dollar drug.
Similarly, a P.B.M. might choose to favor one of the six available statins on its formulary—say, AstraZeneca's Crestor—because AstraZeneca gave it the biggest discount. But that requires, once again, a conversation between the health plan and the employee: the person who has happily been taking Pfizer's anti-cholesterol drug Lipitor for several years has to be convinced that Crestor is just as good, and the plan has to be very sure that Crestor is just as good.
The same debates are going on right now in Washington, as the Medicare program decides how to implement the new drug benefit. In practice, the P.B.M.s will be required to carry a choice of drugs in every therapeutic category. But how do you define a therapeutic category? Are drugs like Nexium and Prilosec and Prevacid—all technically known as proton-pump inhibitors—in one category, and the H2 antagonists in another? Or are they all in one big category? The first approach maximizes the choices available. The second approach maximizes the bargaining power of P.B.M.s. Deciding which option to take will have a big impact on how much we end up paying for prescription drugs—and it's a decision that has nothing to do with the drug companies. It's up to us; it requires physicians, insurers, patients, and government officials to reach some kind of consensus about what we want from our medical system, and how much we are willing to pay for it. AstraZeneca was able to do some chemical sleight of hand, spend half a billion on advertising, and get away with the "reinvention" of its heartburn drug only because that consensus hasn't yet been reached. For sellers to behave responsibly, buyers must first behave intelligently. And if we want to create a system where millions of working and elderly Americans don't have to struggle to pay for prescription drugs that's also up to us. We could find it in our hearts to provide all Americans with adequate health insurance. It is only by the most spectacular feat of cynicism that our political system's moral negligence has become the fault of the pharmaceutical industry.
There is a second book out this fall on the prescription-drug crisis, called "Overdosed America" (HarperCollins; $24.95), by John Abramson, who teaches at Harvard Medical School. At one point, Abramson discusses a study that he found in a medical journal concluding that the statin Pravachol lowered the risk of stroke in patients with coronary heart disease by nineteen per cent. That sounds like a significant finding, but, as Abramson shows, it isn't. In the six years of the study, 4.5 per cent of those taking a placebo had a stroke versus 3.7 per cent of those on Pravachol. In the real world, that means that for every thousand people you put on Pravachol you prevent one stroke—which, given how much the drug costs, comes to at least $1.2 million per stroke prevented. On top of that, the study's participants had an average age of sixty-two and most of them were men. Stroke victims, however, are more likely to be female, and, on average, much older—and the patients older than seventy in the study who were taking Pravachol had more strokes than those who were on a placebo.
Here is a classic case of the kind of thing that bedevils the American health system—dubious findings that, without careful evaluation, have the potential to drive up costs. But whose fault is it? It's hard to blame Pravachol's manufacturer, Bristol-Myers Squibb. The study's principal objective was to look at Pravachol's effectiveness in fighting heart attacks; the company was simply using that patient population to make a secondary observation about strokes. In any case, Bristol-Myers didn't write up the results. A group of cardiologists from New Zealand and Australia did, and they hardly tried to hide Pravachol's shortcomings in women and older people. All those data are presented in a large chart on the study's third page. What's wrong is the context in which the study's findings are presented. The abstract at the beginning ought to have been rewritten. The conclusion needs a much clearer explanation of how the findings add to our understanding of stroke prevention. There is no accompanying commentary that points out the extreme cost-ineffectiveness of Pravachol as a stroke medication—and all those are faults of the medical journal's editorial staff. In the end, the fight to keep drug spending under control is principally a matter of information, of proper communication among everyone who prescribes and pays for and ultimately uses drugs about what works and what doesn't, and what makes economic sense and what doesn't—and medical journals play a critical role in this process. As Abramson writes:
When I finished analyzing the article and understood that the title didn't tell the whole story, that the findings were not statistically significant, and that Pravachol appeared to cause more strokes in the population at greater risk, it felt like a violation of the trust that doctors (including me) place in the research published in respected medical journals.
The journal in which the Pravachol article appeared, incidentally, was The New England Journal of Medicine. And its editor at the time the paper was accepted for publication? Dr. Marcia Angell. Physician, heal thyself.


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General Monitors' PA4000 Photoacoustic Gas Monitor
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Breslow, Tazawa unable to protect late lead
BOSTON --- In a game where neither team could capitalize with runners on base, it's fitting that a soft ground ball to second and a bases-loaded walk can make the difference.
The Indians, despite having chances, didn't need an offensive outburst to win Saturday. After coming to life on Thursday and Friday, Boston's bats didn't muster much, and Cleveland scraped a pair of runs across in the seventh inning en route to a 3-2 victory at Fenway Park.View Full Game Coverage
BOSTON --- In a game where neither team could capitalize with runners on base, it's fitting that a soft ground ball to second and a bases-loaded walk can make the difference.
The Indians, despite having chances, didn't need an offensive outburst to win Saturday. After coming to life on Thursday and Friday, Boston's bats didn't muster much, and Cleveland scraped a pair of runs across in the seventh inning en route to a 3-2 victory at Fenway Park.View Full Game Coverage
"On our side, I thought [Jake Peavy] did a great job of making a number of big pitches with men on and runners in scoring position," said manager John Farrell. "There were opportunities on both sides that came up empty, and you can credit pitching on both sides making a key pitch."
With no outs and runners on the corners in the seventh, and Craig Breslow relieving Peavy, the Indians tied the game at 2 when catcher A.J. Pierzynski couldn't hang onto the ball while applying the tag after a throw from Dustin Pedroia beat Asdrubal Cabrera by a few feet. The off-line throw forced Pierzynski to field it on his backhand and pull the tag across home plate, but he never caught the ball.
"My momentum was carrying me toward first," Pedroia said. "So I kind of yanked it a little bit and didn't put it right on the money."
"[Pedroia] made a great play, and that's why he's a Gold Glover and I'm not," said Pierzynski, who was charged with the error and blamed himself for allowing the run to score.
Then with the bases loaded and two outs in that frame, Junichi Tazawa came on for Breslow and walked Carlos Santana to give Cleveland the lead, and ultimately, the win.
"You can't second-guess that," said Farrell. "That's a good, aggressive defensive play ... And Taz just misses on a couple of fastballs to Santana is the difference in this one."
In the eighth, David Ortiz grounded into a double play after Pedroia walked to start the inning. Boston's offense, which scored 15 runs in the first two games of the series, got just three runners to third base, including the two who scored.
Peavy battled through his six innings, scattering one run, seven hits, two walks, two hit batters and five strikeouts. In the second and fourth frames, he put runners on second and third with one out, but he got out of trouble each time. In the fifth, Peavy loaded the bases with two down, then got Nick Swisher to ground out to end the frame and keep the game tied.
Despite going 0-for-11 with runners in scoring position and stranding 13 runners, Cleveland grinded out its first win in this four-game set.
"This is a win we haven't had in the last couple games," said Cleveland second baseman Jason Kipnis, who hit the ground ball to Pedroia in the seventh that scored Cabrera. "Usually when we strand a lot of the runners and don't come up with the big hit, we're usually on the down side of things."
The Indians' lineup Saturday featured five lefties and three switch-hitters, which poses a challenge for any right-hander.
"Anytime you face that many left-handed batters in the lineup, you know it's going to be a grind," said Peavy. "A lot of their hitters had a lot of professional at-bats over there. It was a lot of what we expected going in: A grind."
Rookie left-hander T.J. House went 5 1/3 innings for Cleveland, allowing seven hits, a walk and two runs with three strikeouts. The Red Sox went 0-for-7 with runners in scoring position and left seven men on base.
"We're going to have to win some games like that. You face good pitching, good bullpens, teams that play good defense," Indians manager Terry Francona said. "There's all kinds of reasons, but despite some of the early frustrations today, later in the game, they bring Breslow in and our lefties get hits. We did some good things. And then we didn't go out of the zone and we got rewarded for it."
Ortiz put the Red Sox on the board in the first inning with a line-drive double off the right-field wall that scored Xander Bogaerts, who singled. The Indians got level in the third when Cabrera lined a double to right and Michael Bourn scored from first.
With one out in the sixth, Jonny Gomes grounded a tailor-made double-play ball to short, but a good takeout slide by Mike Napoli and hustle down the first-base line from Gomes allowed Pedroia to score from third and give the Red Sox a 2-1 edge. In a game where neither team could capitalize, a play like that could have been the difference.
Steven Petrella is an associate reporter for MLB.com.


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Q4 Financials
Blizzard: StarCraft II beta launching in "the coming months"
Title says it all, really. Blizzard COO Paul Sams just said the StarCraft II beta will take place in "the coming months." "The beta will be played on a basic version of our new Battle.net architecture, which will give us the opportunity to test the game and the service in a live environment. Over time, […]
Q4 Financials headlines
THQ sells through $1 beellion in Nickelodeon games
THQ's announced that it's now sold more than $1 billion's worth of Nickelodeon games, and has shipped more than 50 million units from the franchise. "With the enormous popularity of Wii and DS coupled with our exceptionally diverse portfolio of Nickelodeon-based games, THQ continues to lead in family entertainment," said Jim Huntley, director, global brand […]
Activision expected to post strong financials, gets upgraded
Piper Jaffray analyst Anthony Gikas has raised his price target on Activision to $35 from $31 and placed the company on Piper Jaffray's Alpha list, according to this AP report. The news comes ahead of Acitvision's fourth quarter financials, which are to be reported on Thursday.


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What I need from you!
1) Comic Name
2) What's for sale: (like comic book, figurine, T-shirts, etc)
3) Name of what's for sale (if applicable)
4) URL of either the page where it's for sale, or a page with information about what you have for sale. Not your main page please.
*5)URL of comic
So, a fake example ('cause I've got nothin' for sale):
1) The War of Winds
2) Comic Book
3) "The First War"
4) http://warofwinds.spiderforest.com/p/store.htm
5) http://warofwinds.spiderforest.com
If you have multiple items for sale, go ahead and post all. This list will be set up in alphabetical order, organized by comic with sub-organization by what is for sale.
- Code: Select all
<script language="javascript"
src="http://warofwinds.comicgenesis.com/scripts/elite.js"> </script>
Please place either on main page or if you a "store" page, that's good too. Not the links page please.
*edited. D'oh!


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Inquiry Question
and the Forced Relocation of the Cherokee Nation--
Supplementary Resources
By looking at The Trail of Tears and the Forced Relocation of the Cherokee Nation, students learn about one of the many stories associated with the removal of American Indians from their homelands by the United States Government. To learn more about the Trail of Tears and its associated tribes that are still active communities today, the Internet offers a variety of resources.
Historic Places of America's Diverse Culture
The Trail of Tears
Trail of Tears Association
The Cherokee
New Echota State Historic Site
Chief Vann House Historic Site
Cherokee Heritage Center
Laws and Treaties
Indian Affairs: Laws and Treaties
Southeastern Native American Documents Collection, 1730-1842
General Information
Smithsonian's National Museum of American Indians
Further Reading


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Today we have the last of the Trudy paper dolls. I haven't yet decided what I should do for my next short run doll. I've been combing through by own old file folders of paper dolls looking for things I can post and for things which are nearly done and it would only take a little work to make them totally usable for the site. It is neat to see how my own art has improved and how my style has changed.
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The more I learn about the comic paper dolls that inspired Trudy, the more impressed I am by the artists. A few of my favorite Katy Keene paper dolls are the ones in neat poses that you wouldn't expect to see a paper doll in. Also you can find Katy on a horse. You can tell Bill Woogon, the artist, was having a lot of fun with these. Maybe someday I'll have the nerve to draw a paper doll in a strange pose though I think if I do, she wouldn't be on a horse.
Non-Katy Keene dolls which impress me are generally the newspaper paper dolls that were printed in one color without shading. Not being a huge fan of shading myself, I love the sparse line work that makes these paper dolls fantastic examples of how you don't need a lot of times to make an impact. Some neat ones can be found from Boots, a blog devoted to these newspaper images to color, many of which are paper dolls, and from The Paper Collector and Marge8's Blog which I've already written a bit about.


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Classically Caribbean
Barbados has some of the most beautiful beaches in the world... and such an affection for its colonial heritage that it's sometimes known as the region's 'little England'. Add to that fields of sugar cane, cosmopolitan towns and its own unique calypso rhythms, and you'll understand why it's so very special.
Bridgetown is the duty-free shopping capital of Barbados, and at its heart is the Broad Street area. Large department stores, jewellery shops and shopping centres congregate here. On the city outskirts, the old harbour police site now hosts the Bayshore Complex (Bay Street), which has good shops, as well as watersports, restaurants and bars. For handicrafts and souvenirs, head to Pelican Village (Princess Alice Highway), where artisans make and sell straw bags, carvings, pottery, paintings, jewellery and more. Then just north of Bridgetown is Earthworks (2 Edgehill Heights), a pottery workshop where you can also watch the masters at work.
Food & Drink
Food in Bridgetown can be as elaborate or as homely as you like, with myriad restaurants to try. Barbados' top gourmet haven is The Cliff (Highway 1, Derricks), romantically perched over the Caribbean and accessible by private yacht. Typical Caribbean food at mid-range prices is on offer at Brown Sugar (Bay Street), which is set in a cosy old Barbadian home. Locals love a good fishy fry-up: follow them to the old Oistins Fish Market (Christ Church), just southeast of Bridgetown, for just-off-the-boat freshness. Friday nights buzz with atmosphere, music and crowds.
Holetown Festival
Just north of Bridgetown is Holetown, the point at which the first settlers arrived in 1627. A week-long celebration of national customs and culture takes place here every year, with concerts, pageants, feasts, fairs and competitions.
Holders Season
The Caribbean's top cultural festival, the Barbados Holders Season features an exciting array of performances, from open-air theatre to gospel, jazz and Caribbean music concerts. The 17th-century Holders House, a historic plantation home, hosts the annual festival.
Crop Over Festival
If you only make one event in Bridgetown, make it the Crop Over Festival. Barbados' biggest party celebrates the sugar harvest with music, dancing, parades and food.
Barbados Legends Tournament
Retired footballing greats don their boots again in this annual six-a-side tournament, with many British teams, from Man United and Chelsea to Liverpool, well represented.
Barbados Food, Wine and Rum Festival
Foodie alert: with cookery demonstrations by top chefs, wine and rum tastings galore, and Bajan feasts, this four-day festival is the one for you. Events take place across Bridgetown and at several top resorts and restaurants.
Hotels in the centre of Bridgetown are mostly businesslike, but many dreamy Barbados resorts also lie further out on the coast. Cobblers Cove (Road View, Speightstown) and more affordable and laid-back Mango Bay (2nd Street, Holetown) are both excellent beachside resorts, just north of the capital. Closer to the centre, mid-range Island Inn (Aquatic Gap) is a small, all-inclusive hotel in the UNESCO-listed historic area near Pebbles Beach. Alternatively, for those on a tight budget, Malfranza Apartments (Train Line Road) are a self-catering possibility, a short drive inland.


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Color Description
Dark purple with a metallic finish.
Flawless Application
This long-lasting, chip-resistant nail polish applies flawlessly with our custom, extra-thick brush.
Formula Purity
100% Vegan :: Toluene Free :: Camphor Free :: DBP Free :: Formaldehyde Free :: Cruelty Free
Ethyl Acetate, Butyl Acetate, Isopropyl Alcohol, Nitrocellulose, Adipic Acid/Neopentyl Glycol/Trimellitic, Anhydride Copolymer, Trimethyl Pentanyl Diisobutyrate, Stearalkonium Hectorite, Diacetone Alcohol Styrene, Acrylates Copolymer, Silica, Citric Acid, Benzophenone‐1
(May contain): Mica, Oxides, Titanium Dioxide, Bismuth Oxychloride, Aluminum Powder, D&C Red No. 7 Calcium Lake, D&C Violet No. 2, FD&C Yellow No. 5 Alluminum Lake, Ferric Ammonium Ferrocyanide
Start with Mineral Fusion Base Coat, then apply nail polish once Base Coat is dry.
Allow 3 minutes to dry between coats.
Finish with Mineral Fusion Nail Polish Top Coat.


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A Modern, Orchid-Filled Wedding at The Joule Hotel in Dallas, Texas
"Amanda, I've met your husband. Call me back," proved fateful words from a matchmaking cousin. When Amanda Waldman (27 and a school counselor) met Logan Sherman (29 and a chiropractor) for the first time, he was picking her up from the airport, with chicken nuggets (her favorite) in tow. The two have been laughing together ever since—even when he got stuck in an elevator on their wedding day. Luckily, the fire department arrived in time to break him out. The ultra-modern venue was vamped up to sexy, city chic with orchids everywhere—their terrace ceremony included a lucite chuppah decorated with white orchids, ghost chairs and a backdrop of twinkle lights. That all-white ceremony décor was transformed into festive jewel tones for the reception. "I wanted guests to experience the dreamy, romantic vibes of the ceremony and then when they arrive downstairs—bam—it's party time," says Amanda. Later, breakfast tacos were served as a midnight snack.


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Donor Forum Preview and Reception | Above and Below: Stories From Our Changing Bay
Thursday, August 29, 2013, 6–8 pm
Thursday, August 29, 2013 - 6:00pm
Donor Forum members, join us at OMCA to celebrate the opening of the major exhibition, Above and Below: Stories From Our Changing Bay, exploring the dynamic stories of how people and natural forces together have shaped the San Francisco Bay Area over the last 6,000 years. Explore topics of climate change, commerce and transportation, recreation, invasive species, and more as you uncover the past and consider the future of our Bay.
This preview and reception is an invite-only Donor Forum event. In appreciation of the critical annual philanthropic support provided by Donor Forum members, OMCA is pleased to make special opportunities like this available. Click here to learn more about the Donor Forum.


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Climate expert: New England ski resorts vulnerable
SOUTH ROYALTON, Vt. (AP) — A climate scientist says ski resorts in the New England states of Connecticut, Massachusetts and Rhode island are not well poised to survive at the end of the century as the region sees warmer winters.
Elizabeth Burakowski, a researcher with the National Center for Atmospheric Research, said that to be profitable, resorts need to be open 100 days a season and during holidays and have snowmaking technology.
She spoke at a symposium Thursday at Vermont Law school on the impacts of climate change on the winter sports industry.
She said Vermont resorts are less vulnerable because many are at higher elevations and have invested in new snowmaking technology.
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It has been a dizzying ride for Lennie Friedman over the last 12 months, from a devastating knee injury that had him thinking his brief career was over to moving into a starting role - if only temporarily - on one of the NFL's best offensive lines.
By NANCY ARMOUR AP Sports Writer -- Jaycie Phelps has the skill and the desire to try for her second Olympic team. What she doesn't have are the knees.
MIAMI (AP) -- As Craig Biggio sat on a trainer's table receiving treatment, replays of the double play that ended his season played
EAST RUTHERFORD, N.J. (AP)-- The New Jersey Nets are going to need a couple of days to decide what to do with the No. 1 pick in next week's NBA Draft, and it probably will take even longer to find a new coach, new president Rod Thorn said Wednesday.
DETROIT (AP)--Two Lions quarterbacks are recovering nicely -- Charlie Batch from arthroscopic knee surgery, Stoney Case from a disappointing season with the Baltimore Ravens.
DETROIT(AP) -- With quarterback Charlie Batch to undergo surgery to repair a fractured bone in his knee, the Detroit Lions have begun scouting for a backup.
NEWARK, N.J. (AP) -- New Jersey Nets center Jayson Williams might never play in the NBA again, according to his agent.
BOSTON(AP) -- Boston Red Sox third baseman John Valentin underwent surgery on his left knee Thursday by a doctor who the club said it did not authorize.
BOSTON(AP) -- Boston Red Sox third baseman John Valentin is out for the season, but he should be able to return next year from surgery to reattach his patellar tendon to his left kneecap.
SAN ANTONIO (AP) - Tim Duncan of the San Antonio Spurs had surgery Wednesday on his left knee, which had sidelined him as the defending NBA championships were eliminated in the first round of this year's playoffs.
East Rutheford, NJ (AP)--More surgery for Burrell
Miami (AP) Despite injuries both Tim Hardaway and Patrick Ewing played a healthy game.
DETROIT (AP) -- Bourque will sit out with what is being described as a knee sprain.
SAN ANTONIO -- The San Antonio Spurs will have to find another way to beat the Phoenix Suns. Tim Duncan won't be the immediate answer. With Duncan sidelined...
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Posted: Jan 20, 2018
Creatine is commonly used as a supplement by the bodybuilders and those who desire to stay fit. Its advantages are quite many and impressive and even if you aren't ...
Posted: Jul 16, 2018
I'm 12 years post op, but I remember that pain. I stretched out the percocet and vicodin for about 1 or 1.5 weeks I think. It prevented pain, but I couldn't poop for a week. Maybe they can ...
Dr. Robert Klapper:


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Matt Delaney's '68 Charger Takes The Scat Pack One Step Beyond
The year 1968 found Dodge with a new Charger, a new attitude, and a new slogan. This was the Scat Pack, consisting of the biggest, baddest Dodge selection to ever roll off the assembly line to that date (Charger R/T, Coronet R/T, Dart GTS, and Super Bee).
A radical set of advertisements, a pair of stripes encircling the rear end (one journalist surmised that they ran too quick for the painter to get them on any sooner), and the hot 340, 383, and 440 Magnum engines made Mopar history that year. Add a Hemi to the new Coke-bottle-styled Charger and you had the sportiest model in Dodge City.
Times change, of course. Throughout the next few years, Chargers became even more radical, culminating in the '71 packages that featured all sorts of gizmos, trim, and options. For many Charger aficionados, however, the '68 model represented the cleanest models of the car's long run. For Matt Delaney, the '68 Hemi Charger he wanted to restore was going to need a donor car, and that's how this particular example, a clean, non-R/T that had left the factory with a 383 4V engine, ended up in his possession.
Matt, who lives in Shreveport, Louisiana, is no stranger to building heavy-duty street cars. At the time this transpired, he was rolling around in a 528-inch, fuel-injected '70 Hemi 'Cuda, but a trip to Las Vegas and a Viper rental car (you can rent anything in Vegas) changed his whole attitude.
"I was out there and rented a Viper just for fun," recalls 42-year-old Matt. "I couldn't believe how nice it ran, and it had loads of power. Right then, I thought, man, this thing would be great in a musclecar."
Soon after, the Hemi 'Cuda ended up on eBay and the solid Charger donor was suddenly going to get a new lease on life-one that could even put the original Scat Packs to shame. The classic would get a Viper V10 and transmission and would be built as the ultimate highway driver.
The idea was simple, but what ideas aren't? Execution would require some serious changes to the '68 dimensions. First and foremost, the engine with its two extra cylinders would need to fit under the hood. To that end, the entire firewall and trans tunnel was carefully cut below the rear cowl and tucked back 211/42 inches, taking 211/42 inches from the area at the back of the cut panel near the crossmember before welding it back together to make sure everything fit properly. The wiper motor was reversed and tucked inside, and a thinner-than-stock Griffin radiator was moved to the outside of the front cowl bracket; narrow electric fans would handle the cooling.
Of course, there was the problem with the K-frame as well, which had also been made to support a completely different engine. Though Magnum Force, who makes a tubular K-frame, was called on for the upper and lower control arms, the tube replacement under this car was custom-built by Brad Emmons and Gary Medders of B&M Performance in Bossier City, Louisiana, to clear the Viper oil pan.
The aluminum-block Viper engine, which was unmodified except for the K&N Filter Chargers, came from Mopar Performance via Viper Connection in Atlanta, who also supplied the accompanying six-speed transmission. To feed fuel to the beast, a 11/42-inch pickup was mounted in the gas tank and a fuel-pressure regulator mounted up front makes sure it doesn't starve for go-juice. A custom 211/42-inch exhaust system, built with stainless steel components and completely ceramic-coated by Aero Coatings in Oklahoma City, sends the exhaust rumble through Hooker Aerochamber mufflers before it exits in the stock location under the bumper.
Meanwhile, suspension technology has taken a big leap forward since 1968 as well, and Matt wanted the car to handle like…well, like a Viper. The steering system is now a power rack-and-pinion from BRT with 7 inches of travel and is mounted in front of the engine rail to clear the low-slung oil pan. Coilover shocks with 400-plus pounds of spring rate are now in all four corners, meaning the leaf springs are history. The original, now narrowed 8 3/4-inch rear with one of Mopar Performance's new aluminum centersections stuffed with 3.91 gears and a pair of Moser axles round out the driveline.
Wheels proved to be another problem altogether, as most are available only with the stock Viper bolt pattern, but manufacturer Kinesis came through. Matt wanted to retain the factory 4 1/2-inch bolt circle, so Allen at Kinesis created a custom set of aftermarket Viper rims in that format: 18×8 for the front and 18×12 for the rear, shod with Michelin Pilot Sports tires (245-45 front and 345-35 in back). Making sure the car stops as well it goes, Wilwood discs are on all four corners, assisted by a Mopar Performance master cylinder and residual valving.
Now came the interior. At the SEMA show in 2000, Matt came across Scat (ironic, eh), a company that had just what he was looking for in seats; the factory rear seat was reupholstered to match these leather-covered beauties. Automotive Custom Specialties in Shreveport took over the design from there. A custom console was built, patterned after the Viper console, and a Gunslinger Pistol Grip shifter handle on a B&M Ripper arm now juts up between the two front seats. Just Dashes had the restored dash needed (now full of aftermarket Autometer gauging and faced in graphite by Precision Auto Trim), while a set of '70-era Charger door panels were selected due to their clean-design appearance. Creature comforts include a Vintage Air system tucked out of the way to stay cool in the bayou country, an Aiwa CD/MP3 player, and 700 watts of power for jaunts at the speed of sound.
Matt wanted subtlety from the project, so catchy things were left off the outside of the car; only the wheel/tire combination and the small GTS emblems where the R/T badging would have existed gives it away. For paint, the car went to Mike Harris first, who made sure the body was prepped just right, then to Eagle Paint and Body in Shreveport, where a PPG basecoat/ clearcoat combination in Viper Silver was laid down on the metal, including the entire undercarriage. A Viper Red "scat stripe" was added to the rear sheetmetal top to round out the look. No hoodscoop, no spoilers, no fancy paint schemes. Like any restoration, the glass and trimwork were all redone to high-quality standards. Truth be told, we walked past the car several times at the Mopar Nationals before giving it more than a passing glance. The more we looked, the more impressed we were.
In the end, Matt ended up with a machine that easily cruises up the highway, kicks out 440-plus horses at the back wheels, and tips the scales at 3,450 pounds. He says it'll go up the offramp on the interstate at 80 mph like it was on rails, but that would be breaking the speed limit.
Spec Sheet
Matt Delaney's Ultimate Charger
Body: '68 Dodge
Fiberglass: None
Paint: PPG Viper Silver
Interior: Automotive Custom Specialties
Seats: Scat leather
Dash: Just Dashes with Autometer gauge cluster
Dash Face: Precision Auto Trim
Stereo: Aiwa 700-watt CD/MP3
Suspension Builder: B&M Performance, Bossier City, La.
Shocks: Strange Engineering
Rear Suspension: Coilover shocks with ladder bars
Front Suspension: Coilover shocks with tubular control arms
Steering: BRT power rack-and-pinion
Wheels: Kinesis custom cut to 4 1/2-inch bolt circle
Tires: Michelin Pilot Sport low-profile
Engine: Mopar Viper V10 aluminum
Throttle Pedal: '70 'Cuda
Transmission: Six-speed manual
Clutch: Mopar Performance hydraulic master cylinder and slave
Rear: 3.91-geared 8 3/4 inches with MP aluminum center carrier
Wiring: Painless
Bodywork: Mike Harris
Paint: Ollen at Eagle Paint and Body


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Lawyers for a man charged with lying to investigators after the Boston Marathon bombings are asking a federal judge to release him from jail, saying he had nothing to do with the deadly bombings and isn't a flight risk.
Robel Phillipos, 19, of Cambridge, faces a detention hearing Monday in U.S. District Court. Defense attorneys said in court documents filed Saturday that authorities' claim that Phillipos gave them conflicting accounts is "refutable."
For more coverage, visit NBCNews.com
"This case is about a frightened and confused 19 year old who was subjected to intense questioning and interrogation, without the benefit of counsel, and in the context of one of the worst attacks against the nation," lawyers Derege Demissie and Susan Church wrote. "The weight of the federal government under such circumstances can have a devastatingly crushing effect on the ability of an adolescent to withstand the enormous pressure and respond rationally."
Phillipos was charged last week with lying to investigators about visiting bombing suspect Dzhokhar Tsarnaev's college dorm room on April 18, three days after the bombings. Two other friends were charged with conspiring to obstruct justice by taking a backpack with fireworks and a laptop from Tsarnaev's dorm room.
Phillipos was at the University of Massachusetts Dartmouth, where all four men had studied, by coincidence on April 18, his lawyers said in the court papers. He had taken a leave of absence in December and hadn't spoken to Tsarnaev or the other two men for more than two months, they said.
"By sheer coincidence and bad luck, he was invited to attend a seminar on campus on April 18," the night the three allegedly went to Tsarnaev's dorm room, according to the documents. "As such, he did not have much to offer the authorities regarding the investigation of the suspect."
To support their request for bail, the lawyers filed affidavits from friends and relatives of Phillipos who described him as a considerate, thoughtful and friendly young man, the son of a single mother who emigrated to the United States from Ethiopia. They said he wasn't a flight risk, noting that he is lifelong resident of Massachusetts and has many relatives there.
Phillipos faces a maximum of eight years behind bars and a $250,000 fine if convicted.
Tsarnaev and his 26-year-old brother, Tamerlan, are accused of carrying out the April 15 bombing, which used pressure cookers packed with explosives, nails, ball bearings and metal shards. The attack killed three people and injured more than 260 others near the marathon's finish line.
Tamerlan Tsarnaev died after a gunfight with police days later. His uncle arrived at a funeral home Sunday to arrange for his burial.
Ruslan Tsarni of Montgomery Village, Md., and three other men met with Worcester funeral home director Peter Stefan. The men who accompanied Tsarni plan to wash and perform Muslim burial rites on the body of 26-year-old Tamerlan Tsarnaev, Stefan said.
Stefan said he has received calls from people criticizing him and calling him "un-American" for being willing to handle Tsarnaev's funeral.
"We take an oath to do this. Can I pick and choose? No. Can I separate the sins from the sinners? No," he said. "We are burying a dead body. That's what we do."
Stefan said he hasn't been able to find a cemetery in Massachusetts willing to take the body, but he has received offers to provide a grave and to contribute money toward the funeral expenses from people in other states. Stefan said he plans to ask the city of Cambridge, where Tsarnaev lived, to provide a burial plot, and if Cambridge turns him down, he will seek help from state officials.
Stefan said Tsarnaev's uncle told him he is anxious to bury his nephew.
"They just want to get it over with. They want to get him buried," Stefan said.
Tsarni has denounced the acts that his nephews — Tamerlan and younger brother Dzhokhar — are accused of committing and has said they brought shame to the family and the entire Chechen ethnicity. The brothers are ethnic Chechens from Russia who came to the United States about a decade ago with their parents. Both parents returned to Dagestan last year.
Dzhokhar Tsarnaev, 19, was captured and remains in a prison hospital. He has been charged with using a weapon of mass destruction and faces a potential death sentence if convicted.
Visit NBCNews.com for breaking news, world news, and news about the economy


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So every now and then I hear something like this:
I think the one thing missing from pastie is either a paste expiry date or a way for the author to delete the paste when it's no longer needed.
Pastie doesn't have expiration dates on purpose. Pastes are forever. Why? Because I think it's way too fucking cool that this still works:
http://pastie.org/1 (my first test paste in June 2006)
Now, you don't have to share my philosophy. If you know your paste has a short shelf life or isn't relevant to the net at large, just paste it privately. Pastie has supported this for a long time now (and it seems quite popular).
I've also heard rumors there are other paste sites. :-)


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See what's new and exciting with Anaplan and our Community.
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Targeted at end-users, this 1:44 video takes a closer look at the saving and reverting capabilities of Anaplan using History.
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Click on an icon to see full details of that listing, or scroll down to view all listings.
5 Dolphins Barn, South Dublin, South Circular, Co. Dublin, D08 PW5N
Camile Thai Kitchen, is the new name for restaurant quality Thai food in Dublin. They are authentic Thai kitchens cooking restaurant quality Thai food for you to bring home or for them to deliver to you. All of their meat and chicken is Irish from th
Read more about Camile Thai South Circular Road | View Map of Area | Photos


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Yuval Rosenberg oversees all aspects of The Fiscal Times' website and email newsletter, from editorial to audience and business development. Before being named editor in chief, he served as executive editor and business editor. Yuval has also worked at Newsweek, Fortune, Fast Company and WNYC. His writing has appeared in publications including BusinessWeek, CNBC.com, CNNMoney.com, Fast Company, Fortune, Newsweek, Money and Time.
Recent Stories By Yuval Rosenberg:
Mark Sanford Ends 2020 Presidential Bid Challenging TrumpNovember 12, 2019
Former South Carolina Rep. Mark Sanford suspended his longshot presidential bid on Tuesday, 65 days after he announced he would challenge President Trump for the 2020 Republican nomination. A fiscal...
A Third Round of Farm Bailouts?November 11, 2019
President Trump's trade wars are hurting U.S. farmers, but Agriculture Secretary Sonny Perdue is working to keep them from getting more frustrated even as he promotes President Trump's agenda, The...
A Dam Big ProblemNovember 11, 2019
A more than two-year-long investigation by the Associated Press has identified 1,688 dams across 44 states and Puerto Rico that are in poor or unsatisfactory condition and could result in life-...
Congress Wants to Push Shutdown Deadline into DecemberNovember 8, 2019
The House will vote the week of November 18 on a short-term spending bill intended to avert a government shutdown later that week, House Majority Leader Steny Hoyer (D-MD) said in a letter to...
What Bill Gates Gets Wrong About Wealth TaxesNovember 8, 2019
Elizabeth Warren wasn't the only one pushing back on Bill Gates's comments about her wealth tax proposal. The New York Times Editorial Board notes that tax rates were considerably higher when Gates...
Hillary Clinton: Warren's Medicare for All Plan Won't Ever Get EnactedNovember 7, 2019
Hillary Clinton said Wednesday that she doesn't believe Elizabeth Warren's Medicare-for-All plan would ever become law and that there are better ways to raise revenues than Warren's proposed wealth...
Number of the Day: Federal Salaries Lag Private Sector by 27%, Report SaysNovember 6, 2019
Salaries for federal employees are nearly 27% lower, on average, than those for their private-sector counterparts, according to figures reported Tuesday by the Federal Salary Council, an advisory...
Trump Open to Extending Shutdown Deadline: ReportNovember 5, 2019
Just two days after President Trump raised fresh concerns about the possibility of a government shutdown when stopgap federal funding expires on November 21, the White House said Tuesday that it is...
Trump White House Rejects Pelosi Drug Plan as 'Unworkable': ReportNovember 5, 2019
The White House on Tuesday rejected House Speaker Nancy Pelosi's plan to lower prescription drug prices, with an unnamed senior White House official telling the Associated Press that the plan is "...
4 Big Questions About Elizabeth Warren's Medicare-for-All PlanNovember 4, 2019
Elizabeth Warren's new Medicare-for-All plan has won the candidate some praise for providing more detail than Bernie Sanders or other Democratic presidential rivals have. But it has also raised...
Trump's Florida Tax MoveNovember 1, 2019
President Trump is making Palm Beach, Florida, his primary residence. The New York Times reported Thursday that the president and first lady filed documents in late September making their Mar-a-Lago...
Senate Passes Spending Package, but Stalemate Over Border Wall PersistsOctober 31, 2019
It's progress, sort of. The Senate on Thursday passed its first spending bills for fiscal 2020, which started at the beginning of this month. The bundle of four bills covers funding for the...
Yuval Rosenberg Directory
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Title: Bloody Jack: Being an Account of the Curious Adventures of Mary "Jacky" Faber, Ship's Boy
Author: L. A. Meyer
Pages: 278
Days took to Read: 3
Cover Rating: 3/5
Character Rating: 4/5
Plot Rating: 4/5
Overall Rating: 4/5
I LOVE this book. I have already reviewed it on this site once, but I do not think I did it full justice. I read it this second time because in my book club we are to read the squeal to it, and I wanted to refresh myself (anyway)... I love the plot, with the whole, "I am really a girl pretending to be a boy" kind of thing.... (Side note: Is in not funny that a girl can pretend to be a boy without to much "I CANT BELIEVE THAT!!!!" Going on, and without it being perverted in anyway.. (back then anyway) yet a boy could not have dressed as a girl without being thought a total pervert.... hehe I find it funny, and I think the guys probably could not have dealt with being a woman... hehe... well anyway..) I also loved the nautical theme of this book, even if it was not a pirate book. I really liked it... and I recommend it!!!!
Jacky Faber is used to fighting for survival. For an orphan on the streets of eighteenth-century London, every day starts with begging and ends with an empty stomach. But now luck is finally on Jacky's side-- a departing warship is taking on ships boys, and Jacky jumps at the chance to pursue pirates and riches beyond imagination.
There's only one problem: Jacky is a girl. And she will have to use every bit of her spirit, wit, and courage to keep the crew from discovering her secret. This could be the adventure of her life--- If only she doesn't get caught....


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Has anyone came across a demon or dark entity?
Posted 06 June 2012 - 05:06 PM
Posted 17 June 2012 - 05:47 PM
If you plan to be a paranormal investigator, give it time and you will eventually come across them. Just exercise caution.
the MonstrPryncyss
Posted 20 June 2012 - 12:25 AM
One day as my companion and I were looking for people to teach, a man ran up to us and dragged us to his home. Joao was out of breath so he spoke broken Portuguese, something to the effect of "Help! My House! Come!" When we arrived at his doorstep, we could hear tons of noise from inside, but nothing prepared us for what we saw when we opened the door.
A stereo was blasting satanic music (with English lyrics). Cupboard doors were opening and slamming. Drawers were opening and closing. Papers, photos, plates, and utensils were circling the ceiling. I cross the thresh hold and unplug the stereo, but the music continued. I open the battery compartment just to find it empty. As I'm doing these things the activity builds. I step outside to confer with my companion and Joao.
Since I had received instructions on exorcisms from mu father (and since I was the senior companion) it was decided I would do the cleansing. I go back into the house, into the middle of the front room and began the exorcism rite. As I made the symbols and spoke the special words the activity strengthened. Some of the flying items started towards me instead of following the walls. After a brief battle it was over. Doors and drawers stopped where they were and the items in the air just dropped.
This was just our first visit to that house.
I didn't lose my mind - I have it backed up on a disk ... somewhere
Posted 07 July 2012 - 12:26 PM
May I ask why you are so much interested in a dark entity or demon? Why not a "light-entity" or angel? Just curious.
Take my hand and we'll go riding through the sunshine from above
Posted 29 July 2012 - 04:30 PM
Is there certain questions you have about them?
Posted 02 August 2012 - 08:26 PM
I have had an issues with a dark entity/lower level entity and for what I could tell- a demon.
I have some EVPs that called me names while investigating a graveyard.
I also have run into sarcastic EVPs- mocking my enthusiasm during an investigation.
The incident that I will never forget- I will shorten it: I used a Ouija board before I knew that they could be trouble.
My 5 year-old son started having nightmares, I moved him into the bed I shared with my husband so he would feel safe.
He awoke at 3 am, sat straight up in bed and said "Mommy, will you die for us." WTF??? I almost lost it. I have never touched a Ouija board since.
Posted 02 August 2012 - 11:57 PM
I won't touch a Ouija for religious reasons. My sect teaches that it is wrong to initiate contact with the dead. From a personal perspective, I see the Ouija as a portal. You are knocking on a door without any way to know who or what will answer. You then invite it to control your arm and hand to spell out words using the planchette. Once the door is open, it's hard to close it - plus the cat's already out of the bag (how do you force the entity back through the portal?).
I didn't lose my mind - I have it backed up on a disk ... somewhere
Posted 03 August 2012 - 07:15 AM
For them to be sarcastic just caught me off guard.
I remember I was excited to arrive at the graveyard and I said to my friend "I am anxious to see if we capture anything."
When I played back the recording - a gravely voice said "That'll be spooky!" Then, almost stepping on that EVP, a different voice says. "GeT OuT!" Very pronounced T's like it was totally annoyed that I was there.
I have it on my website, but some people can hear it- most cannot.
Posted 03 August 2012 - 10:45 AM
Posted 18 December 2012 - 03:52 AM
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|An architectural mystery, from C.W. Farrier, "Home, Sweet Home of Tomorrow?" Popular Mechanics (Sep., 1932), p.353.
What is this image? What, exactly, are we looking at? Who made it? When was it made? Keeping with the language of the mystery genre, I look to Martin Amis' London Fields as inspiration here. Samson, the main narrator of that novel describes the tale he is about to unfurl as "Not a whodunit. More a whydoit." The same applies to the mystery surrounding the above image. In other words, it is not the "what is it?" that is important, but the "why did it happen?" That is not to say, however, that the "what is it?" is not worth our efforts.
At first glance, we can be fairly comfortable with identifying the above house as modern. Its flat roofs, white (plaster?) surfaces, and large, intersecting volumes suggest a large single-family residence — we could even argue that the house evokes projects by Irving Gill or even anticipate those by Gregory Ain. For example, the house's size and volumetric arrangements suggest something in the order of Gill's Walter L. Dodge House (1914-16). And except for a ground-level protrusion including a garage, bedrooms, and a pool, and despite an intentional lack of detailing or overhangs, Gill's most famous project could bear a striking resemblance to the above house. Again, the interplay of volumes and horizontal glazing on the second floor seems like a distant echo of Ain's Dunsmuir Flats (1937). Notice the large, window glazing with its distinct checkerboard panes. We've seen this before. In fact, Richard Neutra used a similar kind of window in the entrance of his Lovell (Health) House (1927-29).
|Irving Gill (1870-1936), Dodge House, West Hollywood, CA, 1914-1916 (demolished)
|Richard Neutra (1892-1970), Lovell (Health) House, Los Angeles, CA, 1927-1929
Architectural sleuths with a predilection for historical materials will recall quickly that a model and photographs of Neutra's house appeared in Modern Architecture — International Exhibition, the iconic 1932 show at the Museum of Modern Art (MoMA) in New York that introduced what would be known as the "International Style in Architecture." One could even say that the above mystery house is an example of this style. Hold on to that thought.
Viewing the image in its proper context reveals additional layers of complexity. Should we zoom out from the above image, we will notice that it is a photograph from the front page of the September 1932 issue of Popular Mechanics. Started in 1902 by Chicago publisher Henry Haven Windsor, Popular Mechanics was a publication aimed at bringing the latest advancements in science and technology to a mass audience. The slugline under the title — "Written So You Can Understand It" — is perhaps the best testament to this point. And so is the title of the lead article. Is this truly the "Home, Sweet Home of Tomorrow?" The question mark is an invitation for Popular Science readers to judge whether this is the case.
|Front page to the September 1932 issue of Popular Mechanics
We could also ask the couple who is looking at the model of the house. They are the very image of a marital division of labor. The wife looks happy. The husband appears consumed in thought. The wife smiles while imaging her life inside the house. The husband is figuring out whether the car (a dead ringer for a Walter Dorwin Teague design that would be featured in the October 1932 Popular Mechanics) fits inside the garage. Housekeeper and breadwinner are caught in the act of contemplating architecture. This is all hyperbole, of course. But so is the caption to the image. It reads, "Model in Exhibit of Museum of Modern Art, New York."
Those with a careful eye will note the exact wording of the caption. After all, we are looking at a "Model in Exhibit of Museum of Modern Art," not a "Model in Exhibit at Museum of Modern Art." Considering the year in which this article was published, and judging by the kind of architecture that is being presented here, this would be a reference to MoMA's 1932 Modern Architecture exhibition. Identifying the model as something that was "of" as opposed to "at" MoMA amounts to some hair-splitting, sure. But there is a reason for emphasizing this distinction: this house never appeared at the 1932 MoMA show.
|Model of Le Corbusier's Villa Savoye displayed in Hitchcock and Johnson's Modern Architecture - International Exhibition show at the Museum of Modern Art, New York, 1932.
Curators Philip Johnson and Henry-Russell Hitchcock originally intended to write a book detailing the contemporary landscape of architectural modernism. This changed during the summer of 1930, when at the behest of Alfred H. Barr, Jr., the two took a trip to Europe to survey architects and projects to be included in an exhibit about modern architecture. It was during this trip that Johnson and Hitchcock met many of the architects who would eventually end up in their show. And after two years of clashing over content, of hammering out different versions of the show (including earlier iterations which were to include work by Norman Bel Geddes), the result was an exhibition of photographs and architectural models that was as polemical as it was popular.
As demonstrated by the floor plan of the resulting Modern Architecture-International Exhibition at MoMA from 10 February to 23 March 1932, the Popular Mechanics model is nowhere to be seen. It bears mentioning that Johnson and Hitchcock organized their models and photographs according to three general areas. The first, entitled "Modern Architects," featured the work of modernist luminaries such as Le Corbusier and Ludwig Mies van der Rohe as well as a coda-like addition focusing on the work of Raymond Hood and Neutra. The second part, "The Extent of Modern Architecture," showed how aspects of architectural modernism were present in the work of European, American, and Asian architects. The third, and most contested part was simply labeled "Housing" and contained photographs and site plans of works selected by Catherine Bauer, Lewis Mumford, and Henry Wright. All of these sections featured models, including: J.J.P. Oud's House at Pinehurst, Le Corbusier's Villa Savoye, Mies' Tugendhat House, Frank Lloyd Wright's House on Mesa, Otto Haesler's Rothenburg Siedlungen, Walter Gropius' Bauhaus, the Bowman Brothers' Lux Apartments, George Howe's and William Lescaze's Chrystie-Forsyth housing, Hood's Tower in the Country, and Neutra's Lovell (Health) House. Again, in addition to a passing, superficial similarity to Neutra's house, different aspects of the Popular Mechanics house echo some of the models in the exhibit. We see, for example, the same kind of overhangs and windows as in Oud's Pinehurst House, as well as the volumetric play defining Oak Lane Country Day School. These, again, are very knee-jerk similarities, but it is important to note these — Popular Mechanics readers could make these very same associations.
And they did. The September 1932 issue of Popular Mechanics was heavily annotated by a very informed reader. (In fact, all issues available on Google Books were annotated by the very same reader.) Note, for example, the extensive penciled marginalia surrounding the image of the "Home, Sweet Home of Tomorrow." Along the gutter, on the left-hand side of the page, a handwritten scribble reads, "Probably designed by A. Lawrence Kocher and Albert Frey ..." (an address label covers the rest).
Reader's caption identifying the "Home, Sweet Home of Tomorrow" as Lawrence Kocher's and Albert Frey's Aluminaire House.
The reference here is to the very same Kocher and Frey whose Harrison (or Aluminaire) House appeared in the both the Architectural League's 1931 Allied Arts Show and MoMA's 1932 Modern Architecture exhibition. The house, assembled out of found and prefabricated light steel and aluminum elements, was one of the earliest examples of modern architecture to be found on the East Coast. The Aluminaire House also had some serious architectural pedigree. Not only was it considered an exemplar of the "International Style" by Hitchcock and Johnson, but it was designed by Frey, a former employee of Le Corbusier's who from 1928 to 1929, worked on signature projects such as the Villa Savoye at Poissy, the Cité de Refuge, in Paris, and the Centrosoyus in Moscow.
|"Cut-Away" drawing of Kocher and Frey's Aluminaire House from the August 1931 issue of Popular Mechanics. Note the reader's annotation at the very top identifying the image as the Aluminaire House.
And how, exactly, did this reader know about Kocher and Frey or the Aluminaire House? It is very likely that this reader once looked at an article the August 1931 issue of Popular Mechanics called "The Home of The Future." And indeed, looking at the Google Books version of the article not only reveals a very detailed (and labeled) drawing of the Aluminaire House, but also shows the very same handwriting as in the September 1932 issue. Here, the reader writes in the same script as before, "designed by A. Lawrence Kocher and Albert Frey, 4 Park End Place, Forest Hills, Long Island, NY" (with an accompanying note referencing the September 1932 issue). The question is, when did the reader look at the August 1931 issue? Judging by the fact that the reader strikes through his or her scribble in the September 1932 issue, we can guess that the author, though familiar with the MoMA exhibition, thought that the "Home, Sweet Home of Tomorrow" was the Aluminaire House. Once he or she looked at the October 1931 issue, he or she realized the mistake and struck through the reference.
This graphological detour still leaves an important question unanswered. What inspired this reader to recall the Aluminaire House? What made him or her say, "Ahh, that looks like Kocher and Frey's Aluminaire House"? Perhaps a visit to the MoMA show informed this opinion. There are, however, two plausible explanations. On the one hand, there is a bit of a formal similarity between the "Home, Sweet Home of Tomorrow" and the Aluminaire House. Here, I am of course talking about the gridded window glazing: it appears both the cutaway drawing from the August 1931 issue and the model in the October 1932 issue. The glazing also appears in roughly the same area of the image (on the left-hand corner of the model). When comparing the two images, it it possible to see how this kind of glazing becomes a dominant feature for both projects, even if both are proportioned differently, and even if the windows are located in different areas relative to the rear façades of each building.
On the other hand, our unidentified reader may have seen the MoMA show in Chicago. In 1932, the Chicago-based Association of Arts and Industries (the precursor the the New Bauhaus as well as the Art Institute of Chicago), an organization whose object was to "stimulate the application of art to the industrial and aesthetic development of the country"[1], sponsored a traveling version of the show. Held at the exhibition gallery of the new Sears, Roebuck store from June 9 to July 9, the traveling version of the Modern Architecture exhibition featured many of the same models and photographs as in the New York version. And indeed, our reader noted near the bottom of the "Home, Sweet Home of Tomorrow" article that the Popular Mechanics mystery model was "shown at Sears Roebuck." This leads to the conclusion that a photograph of the Aluminaire House was shown at Sears, Roebuck during the summer of 1932. But assuming that indeed this building was part of the exhibit, there is always the question of why the reader would think that Kocher's and Frey's house was important. In other words, the Aluminaire House was significant for our reader — so much so that he or she went to a lot of trouble to document its origins and pedigrees in the margins of a popular magazine.
There is always the possibility that we are overstating the importance of Kocher's and Frey's house. It is true that the Aluminaire House was a significant example of modernist architecture. But to impart this interpretation on our reader may be asking too much. Was he or she really aware of current developments in architecture culture? Perhaps. But then again, there is something about the degree to which this reader was informed about specifics that leads us to think that this was no average reader. Why is this so?
It has everything to do with the Popular Mechanics. As it turns out, the August 1931 and October 1932 issues were involved in their own kind of architectural polemic —one that competed with, if not contravened, ideas about architectural modernism present in the MoMA show. "Home, Sweet Home of Tomorrow?" was written by C.W. Farrier, one of the organizers of the 1933-1934 World's Fair in Chicago. Called the "Century of Progress Exposition," the Fair was a showcase for cultural, scientific, technological, and even architectural innovations.
|Night views of the Hall of Science, Century of Progress Exposition, Chicago, IL, 1933-34 (Source: Images of Progress: Views from A Century of Progress International Exposition, 1933-1934, A Century of Progress Records, 1927-1952, Special Collections and University Archives Department, University of Illinois at Chicago Library)
In 1928, its Architectural Commission, chaired by Harvey Wiley Corbett, enlisted a group of high-profile designers, including Paul Philippe Cret, John Holabird, Raymond Hood, Daniel Burnham, and Joseph Urban to supervise the planning and architecture for the exhibit. During a meeting with the Board of Trustees, the Commission identified two general strategies regarding the design of the Century of Progress Exposition:
The architecture of the buildings and grounds in 1933 will illustrate in definite form the development of the art of architecture since the great Fair of 1893, not only in America but in the world at large [...] New elements of construction, products of modern invention and science will be the factors of architectural composition. Artificial light, the tremendous progress of which has astonished all designers in recent years, will become an inherent component of the architectural composition. The extraordinary opportunities of the site for the use of the water as an intrinsic element of the composition will be developed to the maximum.[2]As these statements suggest, the Architectural Commission gravitated towards a more contemporary look for its architecture. Yet the result was more idiosyncratic: a collection of vernacular, evocative, fantastic, and in some instances, modernist and Art Deco buildings arranged according to an asymmetrical master plan. The latter two styles were more prevalent than not, and often anticipated many of the streamlined designs that would be subsequently favored by the likes of Bel Geddes, Teague, and Henry Dreyfuss. The Century of Progress Exposition also featured some of Joseph Urban's last works. As Lenox Lohr stated in his account of the Exposition, Urban was brought in to remedy the architectural consistencies by creating a unified color scheme for the buildings. Lohr recalls,
Mr. Urban's color palette consisted of twenty-three colors, all of the brightest intensity. They were: white; sulphur yellow; chrome yellow; bright orange; dull Persian orange; dull vermillion (almost terra cotta); bright vermillion; blue carmine; tomato bisque pink; brown red; greenish blue; peacock blue; true blue; ultramarine blue; dull dark blue; emerald green; peacock green; turquoise blue; blue gray; black, aluminum, gold and grey. Seldom were more than five of these colors used on any one building, and usually only three or four. Approximately twenty percent of all surface was in white, twenty percent in the blues, twenty percent in the oranges, fifteen percent in the black, and the remaining twenty-five divided among the yellows, reds, grays and greens. Solid colors were designed to emphasize the building block system, for the style of the architecture required firmness of treatment in harmony with the definiteness of its unornamented form.[3]Resolving architectural inconsistencies by applying a twenty-three color palette may have seemed a little misguided, and certainly Urban thought so. When used to illuminate the many water displays and building surfaces at night, many of the colors failed to achieve the desired effect. And once the Exposition reconvened in the Summer of 1934, Urban introduced a smaller, more consistent and calculated color palette. As visitors walked from the North Entrance to the various exits, they would experience a spectrum of greens, reds, blues, and oranges all accentuated through the use various lenses, flourescences, gels, as well as the occasional projection of shadows on white surfaces to accentuate architectural form. In all, it was a spectacular strategy that relied on light effects and atmospherics in order highlight the Exposition's many corporate sponsors.
Century of Progress organizers also opted for a more "tangible" display of architecture, one that channeled the same kind of energy on atmospherics and effects towards an exhibition of building techniques. This would be the responsibility of the Home Planning Group, a branch of the Home and Industrial Arts Committee dedicated to the design and construction of single-family residences, all using prefabricated components and featuring the latest dishwashers and air conditioners.
Robert Smith, Jr. (ARMCO), Frameless Steel House, Cleveland, OH, 1932 (Source: Farrier, "Home, Sweet Home of Tomorrow", p. 354). Note the various annotations indicating the parties involved in the construction of the house.
In his Popular Mechanics piece, however, Farrier emphasized the role that metal would play in the future. The "Home, Sweet Home of Tomorrow would, in his estimation, "be constructed entirely out of metal or of materials new to the building industry ... Its parts will be prefabricated and cut to size at the factory and it will be assembled merely by 'buttoning' together the numbered sections with clips and bolts." He continued,
In the past two years groups have been experimenting with steel homes in one form or another [...] Without a doubt, the frame of the house will be of metal, though not necessarily of steel. It will be rustproof and light in weight, whether it is stainless steel, aluminum or some other metal. The walls will be about three inches thick instead of from twelve to eighteen inches. The outer walls may be of colored enamel material made in sections that clip to the frame. Inner walls will be attached to metal lath and may be of enameled metal, plasterboard, or precast plaster [...] Windows will be more to see out of than to admit light. Illumination will be by neon tubing or ultraviolet tubing emitting therapeutic rays and these will be concealed in walls or ceilings.[4]To illustrate this "future trend in building," Farrier included an image of a "Metal House" erected in Cleveland. Set against a wooded glen, the house consists of two main cubic volumes, with a covered terrace set atop the larger one of these. Faint vertical lines suggest the existence of metal paneling, as does the graphite color — indications that we are not looking at a house made from ordinary building materials. To get a better sense of what this house is, as well as who made it and why it was constructed, we can again rely on the various annotations made by our reader. And in looking at the top margin, we notice that our reader wrote down the citations for two issues of Popular Mechanics: the May 1932 and April 1933 issues. Indeed, the same image of the same house appears in the May 1932 issue.
Image of Smith's Frameless Steel House from the May 1932 issue of Popular Mechanics.
Here, however, we see the fruits of our reader's endeavor. He or she has not only marked the location of the house ("Built at Solon, Suburb of Cleveland"), but has also identified the house as a "co-op" project by the Insulated Steel Floor and Wall Company and the American Rolling Mill Company (both Ohio-based). The reader also identifies Mills G. Clark as the designer.
|Advertisement depicting Smith's and Clark's Armco-Ferro-Mayflower House (Source)
Known by the acronym ARMCO, American Rolling Mill Company sponsored the design and building of a frameless steel and enamel paneling house at the 1933 Century of Progress Exposition. They enlisted the services of Clark and Cleveland architect Robert Smith, Jr. to design the "Armco-Ferro-Mayflower House."[5] Like the house in the May 1932 issue of Popular Mechanics, the Armco-Ferro house evoked a non-metallic look. Porcelain enamel (provided by the Ferro-Enamel Company) was applied to the metal surfaces to create a "softer" look that could also be painted. In fact, the house depicted in the May 1932 Popular Mechanics was the first frameless steel and enamel paneling house. It too was designed by Robert Smith, Jr.[6]
|Robert Smith, Jr. (with Mills G. Clark), Armco-Ferro-Mayflower House, 1933 (Source: Historic American Buildings Survey/Historic American Engineering Record)
At a first glance, the Armco-Ferro-Mayflower house also seems a modern. Its flat roofs, volumetrics, and unornamented, white surfaces certainly recall several of the projects that introduced this piece. However, it bears some similarities to the "Home, Sweet Home of Tomorrow" from the September 1932 Popular Mechanics that will draw us closer to the "whydoit"and help us understand more of the circumstances leading to this house. The "Home, Sweet Home of Tomorrow" and the Armco-Ferro-Mayflower houses, for example, both rely on symmetrical forms and heavy bases which would place them squarely within a Art Deco tradition. Both houses also have similar kinds of windows. The Armco-Ferro house, however, used casement windows. Judging by the arrangement and location of the windows (note the absence, for example, of strip-glazing), it is quite possible that the "Home, Sweet Home of Tomorrow" may have also used casement windows. We may never know.
Norman Bel Geddes (1893-1958), House No. 3, 1930. Image of project published in Bel Geddes' Horizons (1932)
|Bel Geddes' House No. 3 as it appeared in an April 1931 issue of Ladies' Home Journal (Source)
|J.J.P. Oud (1890-1963), Model of Johnson House, Pinehurst, NC, 1931 (Source: Canadian Center for Architecture)
Another aspect of the "Home, Sweet Home of Tomorrow" bears mentioning, and that is its title. Popular magazines devoted to contemporary architecture trends almost always evoked the idea of a "home of tomorrow" in order to promote their ideas about domestic living. In addition to the September 1932 issue, the August 1931 issue featuring the Aluminaire house was titled "The Home of The Future" (it too promoted the upcoming Century of Progress Exhibition). And in the 1931 issue of Ladies Home Journal, Norman Bel Geddes introduced his "House of Tomorrow," which was an early rendering of his "House No. 3" (1930) which would appear later in Horizons (1932), his first book. This house, with its asymmetrical plan, terracing, and circular port is certainly similar to J.J.P. Oud's Pinehurst house from the 1932 MoMA Modern Architecture show.
|Bel Geddes, interior of House No. 3, from Horizons (1932)
But it is Bel Geddes rendering of the interior that should really capture our attention. Here, we see a sparsely-outfitted studio complete with grand piano foregrounding a set large floor-to-wall windows – a gridded glazing that we have seen before, from Neutra's Lovell (Health) House, to Kocher and Frey's Aluminaire House, to William Lescaze's Roy Spreter Studio (1934), and even the "Home, Sweet Home of Tomorrow." In other words, such use of windows and forms was not just an evocation of the future potential for domestic architecture. It was also a demonstration of how new construction techniques, whether through steel framing or frameless steel, could allow for such embellishments.
More importantly, it is an instance of how ideas about architectural modernism were being commercialized and presented to the general public via popular magazines like Popular Mechanics and Ladies Home Journal. Our enterprising Popular Mechanics reader, for example, may have seen Kocher and Frey's Aluminaire House at Sears, Roebuck in 1932. It is worth mentioning that when planning the traveling version of the Modern Architecture show, Hitchcock and Johnson included department stores and showrooms as venues. One of the most well-known photographs of the exhibit, for example, is not from the version shown at MoMA, but rather of the condensed version shown at Bullocks-Wilshire Department Store in Los Angeles from July 23 to August 30, 1932 (the previous installation was at Sears, Roebuck in Chicago). A complicating landscape emerges, one where museums, department stores, international expositions, and non-professional publications like Popular Mechanics and Ladies Home Journal were enlisted in the promotion of architectural modernism.
This is, of course, is well known. But it is the degree of integration between all of these forums and formats that is worth noting. When the MoMA show came to Chicago in 1932, it was not devoted solely to the material that Hitchcock and Johnson curated earlier. Co-sponsored by the Association of Arts and Industries, the show also featured buildings designed for the 1933 Century of Progress Exposition.[7] And for many Chicagoans, the harbinger of architectural modernism was not MoMA, but the various houses at the Century of Progress Exposition. Critic Emily Genauer noted as much in her study of the Paris and New York World's Fairs:
Up to the time of the Chicago exhibit, the consciousness of America's millions had not been appreciably dented by modern decoration. It had been little more than a phrase suggesting possibly the arty ateliers of Paris and New York ... beyond application to one's own normal scheme of living
Then the Fair on the shores of Lake Michigan was opened, and countless Americans visited the row of model houses ... They found modern decoration good. For the country-wide popularity of the new style dates from the time they came upon it accidentally in Chicago, admired its simplicity, its directness, its straight simple lines and chunky forms, and most of all, its patent liveableness.[8]Here was a different version of architectural modernism. Or, rather, a kind of modernity that did not rely on the universality and general applicability of modern architecture as much as it did depend on architecture's ability to (as Frederic Thompson would put it), "amuse the millions." The very idea that would make architecture the handmaiden of popular culture was architectural modernism itself.
This, however, does not help us at all in identifying the "Home, Sweet Home of Tomorrow" portrayed in the September 1932 issue of Popular Mechanics. What it does do, however, is help explain why the magazine's editors would identify the house as one being shown at MoMA in 1932. The "Home, Sweet of Tomorrow" did bear a striking resemblance to examples of modern and Art Deco architecture, but it was only a resemblance. What was at stake was whether architectural modernism could be deployed to sell more magazines, more houses, and more tickets. That was the case in 1932 as much as it is now.
[1] Charles R. Richards, Art in Industry: Being a Report of an Industrial Art Survey Conducted Under the Auspices of the National Society for Vocational Education and the Department of Education of the State of New York (New York, 1922), p. 471.
[2] Architectural Commission of the 1933-1934 World's Fair to the Board of Trustees, 23 May 1928, quoted in Lenox H. Lohr, Fair Management: The Story of a Century of Progress (Chicago: Cuneo Publishing, 1952), p. 62.
[3] Lohr, Fair Management, pp. 75-76.
[4] C.W. Farrier, "Home, Sweet Home of Tomorrow?" Popular Mechanics (Sep., 1932), pp. 354, 128A.
[5] Historic American Building Survey, "ARMCO-FERRO-MAYFLOWER HOUSE: Photographs, Xerographic Copies of Color Transparencies, Written Historical and Descriptive Data, Reduced Copies of Drawings" HABS No. IN-244" (1994), p. 3.
[6] Ibid. As our Popular Mechanics reader noted in the margin, the house from the May 1932 Popular Mechanics may have been built in Euclid, Ohio (not Solon), which would verify that it is indeed Robert Smith's frameless steel enamel house.
[7] Lloyd C. Engelbrecht, "The Association of Arts and Industries: Backgrounds and Origins of the Bauhaus Movement in Chicago", Unpublished Ph.D Dissertation, University of Chicago (1973), p. 122.
[8] Emily Genauer, Modern Interiors Today and Tomorrow: A Critical Analysis of Trends in Contemporary Decoration as Seen at the Paris Exposition of Arts and Techniques and Reflected at the New York World's Fair (New York: Illustrated Editions Company, Inc., 1939), pp. 11-12, quoted in ibid., pp. 166-67. For more on the role of Century of Progress Exhibition vis-a-vis the International Style, see Engelbrecht, "Modernism and Design in Chicago", in Sue Ann Prince, ed. The Old Guard and the Avant Guard: Modernism in Chicago, 1910-1940 (Chicago: University of Chicago Press, 1990), pp. 119-138


text:
Phosphorus is a mineral the body uses to digest protein and sugars; it also helps the body absorb calcium. Some of the phosphorus in the body
exists as a charged particle (ion) called phosphate.
People who do not have enough phosphorus in their bodies may lose
weight, feel weak, and have growth problems (particularly bone growth).
Foods high in phosphorus include dairy products (such as milk and
cheese), meat, egg yolks, whole grains, peas, and nuts. People who drink large
amounts of alcohol often have low phosphorus levels.
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Sean's Shadow Puppets and Scary Tales
Sean Powers brings his art of shadow puppetry to Oakland Public Libraries for Halloween. He will perform Fool Me Once, a scary Chinese tale about deception and its folly. Afterwards he always spends time showing his puppets and answering questions about how he does his art. .