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Noah Baumbach, the writer and director, has been more willing than most to think of his films of the past decade—about disappointment, broken families, dying pets—as comedies. When "Greenberg" opened, in 2010, the spectacle of Ben Stiller as a sour, haunted man—an asshole in a down vest—was so off-putting, to some people, that one cinema posted a sign reading, "We must limit refunds to an hour past the start time." A few years earlier, during a panel that followed a screening of "Margot at the Wedding," an audience member compared Nicole Kidman's character, a self-involved fiction writer, to Hitler's mother. Baumbach recently told me that in 2005, when he began previewing "The Squid and the Whale," which is based on memories of his parents' divorce, he was "expecting more laughs." He also recalled that, while showing the film to his mother, he began sobbing and had to leave the screening room.
Not long ago, at dusk, Baumbach was in an elegant old café in Berlin, having a jet-lagged late lunch with Greta Gerwig, the actress, before a festival screening of "Frances Ha," his new film. A black-and-white comedy about young people in New York, it is filled with such a sweetly unfamiliar spirit of joy—or, at least, the prospect that life may hold satisfactions beyond survival—that Baumbach purists may dismiss the film as evidence of the kind of midlife giddiness that can lead to kite-surfing. "Frances Ha" is generous—some critics may say indulgent—in its handling of hip, floating characters who could easily be satirized. Baumbach, who is forty-three, with the collar-length, well-tended hair of a less worried man, seems to have made his "Manhattan," and he has done so in partnership with Gerwig, who co-wrote the film and plays Frances, a dancer. Baumbach and Gerwig met when he cast her alongside Stiller in "Greenberg"; later, Baumbach separated from Jennifer Jason Leigh, his partner of nine years, and he and Gerwig became both a couple and a writing team. They kept this fairly quiet. When I first met them, in February, they had barely acknowledged their relationship in public, and they had not disclosed that, after finishing "Frances Ha," they co-wrote a second New York film—something "looser and wonkier," in Baumbach's words—and worked together on a cartoon feature, now in development at DreamWorks Animation, about a woeful dog.
In the time that it took Gerwig to drink two beers, Baumbach weighed the case for ordering a glass of wine. They talked about the self-consciousness of Stiller's character in "Greenberg," and their own.
Gerwig, who grew up in Sacramento, said, "When I was a kid, I used to do my homework in the living room, where there was a picture window. I was hoping that someone would walk by and see me looking very studious in my living room."
"I know that," Baumbach said; he had experienced that sense of an imaginary audience, if not the suburban peace of mind. "When I was a kid, I would fantasize about my own funeral."
Baumbach has a wary gaze and speaks in careful loops of retraction and calibration; it's hard to imagine that he spent years doing improvised comedy, during and after college. He has a long, square-chinned face whose handsomeness he is said to recognize but not overprize. ("He treats it like he has a good computer," Gerwig said.) When striving for clarity, he wiggles the fingers of one hand, but he is otherwise still. Gerwig, who is twenty-nine, also has a precise, literate mind, but she is more buoyant, and sometimes has the air, not uncommon among her contemporaries, of having swallowed a very low dose of LSD. Baumbach's eyebrows are usually down, and Gerwig's are up, over a pale, large-featured, casually glamorous face. It annoys her a little to be mistaken for the screwball she has sometimes played in movies, instead of being seen as an adept physical comedian. But, even when she's off-camera, there is a lot going on: nods, ironic frowns, waist-height waves. One morning, Gerwig and I failed in an attempt to shake hands, our palms sailing past each other in the ornate lobby of Baumbach's apartment building, on lower Fifth Avenue.
In Berlin, they recalled a recent evening when they had come across "Greenberg" on TV, and watched for a few minutes. Gerwig was the first to protest. As Baumbach recalled, "I was thinking, This seems pretty good." He laughed. "You said, 'If you're going to watch this, I'm going to leave the room.' "
As Gerwig later pointed out, Baumbach's films tend to begin with a sly signpost of the story to come. "The Squid and the Whale" starts with a family of four on a tennis court, and a young boy saying, "Mom and me versus you and Dad." "Greenberg" opens with Gerwig's character, an unmoored personal assistant in Los Angeles, walking a dog, then driving. The Steve Miller Band's "Jet Airliner" plays, breezily, on the soundtrack. As she tries to switch lanes in traffic, she quietly addresses another car, in the film's first line of dialogue: "Are you going to let me in?"
Watching this on TV, Gerwig could cope with the driving sequence, but when the scene changed—a party, a hookup—all she could see was acting. "I'm embarrassed by how hard I try, how much I go for it," Gerwig said. "It's as if you had access to a love letter you wrote a long time ago and—oh, Jesus!—even if you're proud of it . . ."
By the standards of independent cinema, "Greenberg" was an acceptable commercial success, and it boosted the career of Gerwig, who previously had been in very low-budget and often improvised mumblecore films, like "Baghead." After "Greenberg," she worked with Woody Allen and Whit Stillman, and appeared in a remake of "Arthur." But "Greenberg," by not becoming a big hit despite the presence of Stiller, felt a little like a failure. "Some of the independent movies that make money have a very specific thing that you can tell audiences they'll feel about it," Gerwig said. " 'This will make you feel so happy.' 'This will make you feel something about your family.' And anything that's not that, if it's 'This will make you feel perhaps uncomfortable about choices you've made in your life'—"
"I like the 'perhaps,' " Baumbach said, with a quiet laugh. "We're not even guaranteeing that."
" 'This will touch your deep feelings of failure and unworthiness,' " Gerwig added, and then remembered her father's response to the film. "He said, 'You know they play that Steve Miller song in the beginning? You think, This is really gonna make you feel great.' " She laughed. "He was 'Yes!' and then 'What?' "
"Frances Ha," Baumbach said, was like "if the song kept going—if you kept driving, and that Steve Miller song just kept going."
Instead of "Action!," Baumbach says, "Begin," or "When you're ready," and then sits motionless but for a movement in his mouth, as if his tongue were searching for a missing tooth. Late one evening in March, he was on a sidewalk in the East Village, shooting a scene for the second film he has written with Gerwig. Still untitled, it will be released next year, in color, with Gerwig as a dauntless New York striver, and Lola Kirke—the twenty-two-year-old sister of Jemima Kirke, who plays Jessa on HBO's "Girls"—as a Barnard undergraduate in awe of her. Baumbach compared the movie to "The Great Gatsby" and Jonathan Demme's "Something Wild." When it is completed, Baumbach and Gerwig will have made two films in which there's barely a kiss on-camera. Such restraint, however, won't block all comparisons to "Girls" (bright young women, New York).
As in 2011, when he shot "Frances Ha," Baumbach was working with a digital camera, in a low-key, almost covert way. There was nothing about the project in Variety or on IMDb. For the permit paperwork, Baumbach had chosen a misleading and dull working title: "Untitled Public School Project." ("Frances Ha" was "Untitled Digital Workshop.") New York pedestrians know that a film production involves, at the least, a basket of unripe fruit under a white tent, and a lot of cables. In the absence of that—a small huddle around a camera, in the dark, as Kirke hurried across the street toward Gerwig, at a flower stand—Baumbach's operation was almost invisible. A passerby explained knowingly to his friends, "This is N.Y.U.-land."
Baumbach had compared his process to that of a student film, but he had added, "Of course it's not, at all." He is a fastidious and formal director, with an educated sense of the American and European canon and his possible place in it. He expects actors to say the lines he wrote for them, and to say them again and again. After the flower stand, the crew moved into Veselka, the twenty-four-hour restaurant on Second Avenue, which remained open to customers while Baumbach filmed until just before dawn. (Around 3 A.M., Kirke yawned and Baumbach called out, "No tiredness!")
Even a modest independent film can cost more than a hundred thousand dollars a day; "Frances Ha" cost a fraction of that. Actors in "Untitled Public School Project" changed clothes in a van parked on Sixth Street. Baumbach has discovered that elective frugality gives him power. By working with a tiny crew, and by asking people to accept a percentage of the film's earnings rather than up-front fees, he can impersonate Stanley Kubrick: he can afford to keep a production going week after week, revisit material that turned out badly, and fly to Paris to film a six-minute sequence. One recent day, he did fifty-five takes of Gerwig and Kirke searching through a closet. (Gerwig now finds it unnerving to do just five or so takes for another director: "I don't know that we've actually thought about it enough.")
Early one morning, Baumbach was in a modern house by a reservoir in Mt. Kisco, New York, shooting a scene for "Untitled Public School Project." Gerwig's character was visiting a wealthy ex-boyfriend and his wife, to ask them to invest in a restaurant that she wanted to open in the city. Kirke was also in the scene. The ex-boyfriend, self-conscious about his suburban life, reminisced about his days as a college-radio d.j., and rooted around for ancient weed in the back of the freezer. For much of the day, Baumbach gently urged his actors to speed up: "Don't be polite about other people's lines." Breaking from his usual composure, he demonstrated how to dart up a flight of stairs and then turn and descend, all in one comic, high-kneed movement.
For Baumbach, who has often found dry, witty ways to tell stories of bourgeois inertia, this material had unusual bounce. "The whole sequence is sort of designed like an Ernst Lubitsch movie," he said to me. "The trick is to hold this kind of style in a movie that also has Lola's character, alone, in college—things that feel more realistic." Later, he added, "If 'Frances' is a three-and-a-half-minute pop song, this is a five-and-a-half-minute song. Not that the movie will be longer; it's like that thing of 'Oh, you pulled off that organ solo in the middle.' " He went on, "We're going for laughs more. Maybe. As much as we go for them."
They worked for about ten hours. Between takes, there were stretches of silence. Baumbach had murmuring consultations with his co-writer; at one point, he put his hand an inch away from her lower back, without touching her.
"Movie time is like college time," Baumbach said.
"Days are slow and months are fast?" Gerwig asked.
"If you had a test on Thursday, Friday felt so far away."
The cinematographer, Sam Levy—at thirty-nine, Baumbach's oldest colleague in the room—took responsibility that day for hair and makeup. The production designer drove the minivan that brought Baumbach and his actors back to Manhattan. In the passenger seat, Baumbach evaluated possible posters for "Frances Ha"—all of them using an image of Gerwig, caught in a modern-dance leap, by the fountain in City Hall Park. He then began a call with Scott Rudin, his producer, about the casting of a film, "While We're Young," that he will direct, this fall, in a much less pared-down way. The script, which he wrote a few years ago, is about two New York couples, one in their early forties, the other in their twenties. Stiller will play the older man, a painstaking documentary filmmaker, who becomes entranced by how lightly the younger man treats the enterprise of creative work. As Baumbach put it, "The young guy sees it all as collage. There's no genius—you just take what's useful and you put it all together." The screenplay is "about realizing that you're not the young people anymore." (Rudin told me that Baumbach is "tremendously good at turning psychology into behavior.")
On the phone, Baumbach resisted the suggestion of a particular actress for the role of Stiller's wife, calling her work "too manicured." As he talked, Lola Kirke, two rows behind, described, drowsily and half-seriously, a manicure that she planned to get when the movie was finished: a happy face on one finger, a cannabis leaf on the next, and so on. Gerwig, who at times served as a generational liaison between Baumbach and Kirke, said, affably, "What are you, fourteen?"
Baumbach was still on the phone—"No, not her. Not for this"—when the van stopped in midtown, in front of a building where DreamWorks has an office, and moments later he and Gerwig were in a bare, well-lit room, videoconferencing with executives in California about whether or not cartoon dogs should be seen in hats.
This is Baumbach's third animated film. He co-wrote Wes Anderson's "Fantastic Mr. Fox" (2009), based on the Roald Dahl novel. For a children's film, it has unusually strong notes of melancholy: at one point, Mrs. Fox tells her husband, "I love you, but I never should have married you." A year later, he rewrote "Madagascar 3: Europe's Most Wanted" for DreamWorks—a lighter assignment, encouraged by Stiller, who plays the franchise's lion hero. Baumbach and Gerwig's screenplay, not yet fully green-lit, is about a Brooklyn mutt, Freddy, who becomes separated from a young girl named Heidi when her parents divorce. Artists in California had sketched a few sequences and showed this material to Baumbach and Gerwig, who were delighted. Baumbach, who plans to direct the film, gave notes, including "The squirrel seems . . . not necessary" and "I love the mustache." He wondered if it was still realistic to show home delivery of newspapers. Gerwig said, gently, "It's pretend. Dogs also don't talk."
Baumbach and Gerwig then read aloud from a scene that was soon to be storyboarded. Freddy has set off to look for Heidi, who may be in Manhattan, and he has met a guide called Wise Dog, who imagines himself to be sophisticated. Together, they reach the top of a building under construction in Brooklyn. "A blinding light comes through the door," Baumbach said. "They would approach the edge of the building, and, as their eyes adjust to the light, you'd see Manhattan in the background and the little dogs looking at it."
Gerwig read Wise Dog's line: "Every time, it takes my breath away. This, and side two of Rod Stewart's 'Every Picture Tells a Story.' " (Baumbach later said, "Let's see if that line makes it into the multiplex.")
Baumbach continued, "Then Wise Dog says to Freddy, 'So that's where you want to go, huh? Manhattan?' "
Gerwig read Freddy's line: "That's where Heidi is. That's where I need to be. I know I'm meant to be with her again. I feel her love all around me. And, with every step and every breath, I love her more."
Although "Frances Ha" surprises with its optimism, it is driven by familiar Baumbach questions: How do people leave their twenties behind? How hard is it to abandon a version of oneself into which one has put some effort? Frances, twenty-seven, is underemployed as a dancer, and she reacts poorly when Sophie, her best friend, played by Mickey Sumner, evolves into someone who has things to do that don't include her. Frances runs out of money. She's in motion—switching apartments, changing day jobs—but making no progress. She is given the test that Roger Greenberg apparently failed: in his twenties, he messed up a potential career in pop music, and his life stopped. In "Greenberg," we meet him at forty.
That late-twenties moment is still vivid to Baumbach, and part of the charm of "Frances Ha" has to do with the way it combines, in one character, a partial self-portrait of two writers, from two generations. If "Girls" describes the life of a certain kind of mid-twenties New Yorker, "Frances Ha" overlays that experience with memory, and the result is as romantic as a forgotten pop song that, years later, revives a place and a mood. The sensation is enhanced by a soundtrack featuring seventies acts like Hot Chocolate and Harry Nilsson.
"At the Frances age, I was kind of agonized," Baumbach said recently. Brought up in a bookish Brooklyn family, he attended Vassar, and worked as a messenger at this magazine; by the age of twenty-seven, he had made "Kicking and Screaming" and "Mr. Jealousy," two commercially released films about talky young men in sports jackets. (A third film, "Highball"—shot in six days—was released on video, against Baumbach's wishes.) Although his two early releases were, at times, infected with the glibness of Woody Allen's lesser work, they were fairly well received, and "Kicking and Screaming" became a cult favorite, released on DVD by Criterion. But Baumbach felt unsatisfied. "I was ridiculously young. I felt so old," he told me. He has a rather pitiful memory of flying back to New York from the Toronto Film Festival, hauling the reels of "Mr. Jealousy," which had failed to impress a distributor. "My persona was, Everything's O.K., I'm right on track. I was so afraid to admit that I was disappointed or upset."
By then, he had met Wes Anderson, who became a close friend and a collaborator. "Rushmore," Anderson's second movie, was released in 1998, a year after "Mr. Jealousy." "I saw that he really was doing what was interesting to him, and he was trusting that that would be interesting to other people," Baumbach said on a rainy afternoon, when we met at Bar Pitti, in the West Village. "Mr. Jealousy" was "kind of personal, but kind of genre-y"—a romantic comedy. "And I saw 'Rushmore' and I thought, He's comfortable making his own genre." Anderson released "The Royal Tenenbaums" (2001) and "The Life Aquatic with Steve Zissou" (2004)—which he co-wrote with Baumbach, largely in Bar Pitti—before Baumbach finished his next film.
After "Mr. Jealousy," Baumbach started therapy, though he feared that it would disrupt mysterious paths of creativity. He discovered that the process let him write. "It was a huge change in my life," he said. "I was less afraid to be embarrassed." In the first of three scripts apparently connected to therapeutic discoveries, he reëxamined his teen-age years without his usual self-protective equanimity.
The final script of "The Squid and the Whale" was fiction, but the first outpouring was pure memoir. In the nineteen-eighties, Baumbach, the older of two brothers, was an assured, popular student at Midwood High School. According to his longtime friend Matthew Kaplan, Baumbach had little doubt that he would become a filmmaker: "He'd say, 'This is what I'm going to do.' " His father, Jonathan Baumbach, taught at Brooklyn College, published experimental fiction, and had written about film in Partisan Review. His mother, Georgia Brown, also published fiction; she was later a film critic at the Village Voice. The family lived in Park Slope. (Thanks to a location scout who happened to knock, the Baumbachs' dining room appears in "Heartburn," when Meryl Streep pushes a Key-lime pie into Jack Nicholson's face.) One evening, when Noah was fourteen, his parents asked him to make sure that he came straight home after seeing a movie with friends. He knew what was coming. "I watched 'Romancing the Stone,' knowing my fate," he recalled. Back at the house, he began to cry even before the announcement was made: his parents were separating, and his father was moving to a house across the park, where the boys would sleep on Tuesdays, Wednesdays, Saturdays, and every other Thursday. That awkward custody arrangement was unchanged in the movie.
It was not a remarkable story, but Baumbach's sardonic screenplay, which was nominated for an Oscar, was clear-eyed about the sorrows and pretensions of adolescence, and it created, in the figure of the father, a singularly uneasy egotist. After years of trying to raise funds, Baumbach eventually shot it in twenty-three days, "in a kind of fever dream." Jeff Daniels played the father; Laura Linney the mother. Baumbach had not shown the script to his parents, who until then had read everything he wrote, although he did give a cameo to his father. When Noah showed the film to his mother, he recalled, "It was like a cat bringing a dead bird as if it was a present. It was a tribute, but it was also a rebellion."
The film was released in 2005. Baumbach found it painful to read reviews that noted only the parents' flaws: the narcissism of the father, the blitheness of the mother. Baumbach now regrets that he didn't include a few more notes of homage. "My dad was a great movie companion," he told me. "He wouldn't diminish 'The Jerk.' If I liked it, he liked it. He could see it through my eyes."
Georgia Brown lives for much of the year in Italy. When she was in New York a few weeks ago, I visited her house in the West Village and was introduced to Michael Cary, her partner, a retired architect and high-school teacher, who in "The Squid and the Whale" was reinvented as a tennis pro, played by William Baldwin.
Brown was wearing the kind of outfit that her son wears: a gray cardigan over a white shirt. She recalled a scene in the film where Frank, the younger of the two boys, returns unexpectedly to his mother's house one evening. She comes downstairs, half-dressed, followed by the tennis pro—"What's up, brother?"—and Frank learns of the romance. Brown said that this was based on a real incident, but that it had been Noah, not his younger brother, who had come back to the house. "It was when I was first going out with Michael, and the kids were supposed to be at their dad's. I could hear somebody in the kitchen, and I came downstairs and said, 'Oh, Noah, I have to tell you that there's somebody here with me.' And he looked up with this radiant smile and said, 'Mom, that's just like in the movies!' And then he put it into a movie." She laughed.
She found the film "an immense, and delightful, therapeutic triumph," but was initially shocked by the representation of Walt, the older boy, played by Jesse Eisenberg. Whereas Noah had been so charismatic at that age, she said, Walt was "tense, humorless, somewhat sycophantic." One could also say that he was scathing, especially toward his mother—"You disgust me"—but Brown didn't see him that way. She described Noah's shaping of Walt as a brave creative choice. I asked if the film had shown her that Noah was less happy at the time than she had realized, and the question seemed to surprise her a little. "I'll think about it," she said. Later, she e-mailed a response: "You mustn't assume that my picture of real-life Noah as this charming, quietly hilarious, confident boy underestimates the boy's capacity for spite, fury, and, most especially, grief."
Baumbach was slightly taken aback by his mother's recollection of the staircase incident. He recalls extreme discomfort. Although he may have said something about movies, he told me, any smile would have been counterfeit.
Jonathan Baumbach claims to have taken Noah to Truffaut's "The Wild Child" when he was two. ("Maybe five," Noah told me.) He described the teen-age Noah as "extremely confident and poised—but, you know, poise often hides a certain anxiety." When Jonathan first saw "The Squid and the Whale" (for which Jeff Daniels borrowed his brown corduroy jacket), he left the screening room feeling anxious but "got over it very quickly." His son called, half an hour later, "wanting to know why I hadn't already responded to the film." He added, "Noah's joke is that 'The Squid and the Whale' was me at my worst, 'Margot' was Georgia at her worst, and 'Greenberg' was him at his worst."
Late one night, in Berlin, Baumbach and Gerwig had drinks with Scott Foundas, a friend who is a film critic and a former programmer at the New York Film Festival. The conversation touched on "Margot at the Wedding" (2007), which starred Nicole Kidman and Jennifer Jason Leigh. Kidman, as Margot, visits Leigh, her sister, in a big house on an island somewhere in the Northeast, and takes her twelve-year-old son, whom she treats, at times, like a disappointing ex-lover. ("You used to be rounder, more graceful.") The movie, though memorably fraught, is perhaps overfilled with ideas for smart short stories. It can feel like an application for membership in cinema's first rank. Baumbach acknowledges his debt to Éric Rohmer, a director he loves, and to Ingmar Bergman's "The Silence," a film that also starts on a train, and involves two sisters, a boy, and strange things seen from a hotel window. Baumbach explained to Foundas, "I wanted the feeling of when you're inside, and having a conversation, and the light starts to fade outside, and you don't turn on the light. That's what the whole movie looks like." Earlier, Gerwig, thinking of that light, and of a shot of a child's shoe dropped on a forest path, and of seemingly lurid goings on in the house next door, had joked, "I thought it was a horror movie." Baumbach replied, "I thought I was making a comedy."
The film received several angry, confounded reviews. In Time, Richard Schickel called it "no more than an invitation to wallow in ill-defined neuroses," adding, "He's the kind of filmmaker who thinks that if he sets his star to masturbating on camera, he's making a statement, when all he's actually doing is signifying the true spirit of the movie."
Foundas, an admirer of the film, recalled that Steven Soderbergh had recently said to him, "People seem to be willing to accept complexity in behavior in television in a way they don't in movies." Foundas went on, "Even in comedies—in 'Curb Your Enthusiasm,' where Larry David behaves reprehensibly all the time—people are willing to entertain two thoughts at the same time. But movie audiences seem to want a simpler, or more obviously entertaining or spectacular, experience."
"Do you think it's because they're seeing these characters over a longer period of time?" Baumbach asked. Earlier, he had observed that traits one could accept in a novel's protagonist, or in a complicated friend, often seemed loathsome to modern moviegoers.
"What Margot says to her son upsets people because their mother said that to them, or they've thought about saying that to their child," Foundas said, then laughed. "Whatever it is, there's clearly a limited appetite for it."
Before "Frances Ha," this seemed to be Baumbach's fate: to pursue a literary career through the medium of film, while ruefully noting that, in the nineteen-seventies, someone who had made work like this might have had a reputation as a mainstream director. "Greenberg" is an explicit attempt to channel the work of Philip Roth and Saul Bellow. "With the title, I was thinking of Portnoy or Herzog," he told me. "I can't say this well, but I felt I could do cinematically what I loved about those writers and those books."
Gerwig noted that Roth and Bellow often told a story "relentlessly from one point of view." In film, though, "when you put a camera on something, you're here and that's there." Instead of inhabiting a man's psyche, you had to put up with it, across the room. "Greenberg" is a good and funny film, but one wonders if Baumbach has always fully recognized the cinematic challenge of presenting difficult people, even as he meets the literary challenge of acute, merciless portraiture.
"Greenberg" was shot in 2009. Because of Gerwig's background in improvised movies, Baumbach put her through many auditions. She recalled, "There was a little bit of 'Do you know what you're doing? Can you do this in a controlled way, or are you just some weird person who has no shame?' " Baumbach came to realize, he said, that "Greta has old studio-system chops. Carole Lombard, Katharine Hepburn, they could be in something totally dramatic, or totally funny; they could sing, they could dance. 'Frances' was intended to be a showcase for her to do a lot of this."
After she was hired for "Greenberg," they began to discuss her character, Florence, and some of Gerwig's thoughts were dropped into Baumbach's script. One was a remark that Florence makes to the man she brings home from a party: "I've been out of college now for as long as I was in, and nobody cares if I get up in the morning." (Gerwig graduated, from Barnard, in 2006.)
They shot in L.A., largely in the house of Jennifer Jason Leigh's mother. Leigh played Greenberg's ex-girlfriend and shared, with Baumbach, the film's story credit. After that, Baumbach and Gerwig had little contact until the movie's world première, at the Berlin Film Festival, almost a year later. The film was released in March, 2010, shortly after Leigh and Baumbach—who had been married for five years—had their first child, a son they named Rohmer.
Leigh and Baumbach separated a few months later. If the split was connected to his experience working with Gerwig, this remains hidden: Baumbach and Gerwig firmly place the start of their romance at a point after his separation. Baumbach thinks that aspects of his divorce might eventually appear in his work. There's already some reflection of it in the animated movie about the mutt, whose story, Baumbach said, contests the thought that "divorced families are flawed families. There are no flawed dogs or flawed families." Baumbach shares custody of his son. Now three, Rohmer lives primarily with Leigh (and the family dog, Freddy) in L.A., where Baumbach keeps a home; he tries not to be away from his son for more than two weeks at a time. One morning, I met Rohmer in New York, in Baumbach's bright, never-ending apartment: he was wearing gold battle armor and was knighted by Gerwig after slaying his father, the dragon.
After his separation, Baumbach worked on the scripts for "While We're Young" and "Madagascar 3." He also had his first conversations about an adaptation of "The Corrections," Jonathan Franzen's novel, for HBO. He would direct; he and Franzen would write it; Rudin would produce it. They eventually mapped out four seasons of ten episodes each, and in 2012 shot a pilot, with a cast that included Chris Cooper, Ewan McGregor, and Gerwig. HBO passed on the series. Baumbach, and others, declined to show me the pilot. "We were trying to do too much," he said. "It was too expensive. We were jumping around in time: every episode would go back in time, and you'd see the family at younger ages, but as a result there was everything I try to avoid when making movies: old-age makeup, young-age makeup, different actors playing the same characters at different ages." A key member of the pilot's production told me that Baumbach seemed to be "just trying to get through it," and was disengaged and unavailable: "It was, Boy, we really need more time with Noah." To get a decision required "pulling teeth." The pilot was unfinished when it was shown to HBO. Baumbach, who recognizes that he is not a natural showrunner, recalls that, when it was over, "I said to Greta, 'How could I have miscalculated this?' She said, 'You don't really watch TV.' " He laughed. "I was like, 'You're right.' "
In the summer of 2010, while Baumbach was helping to set this multimillion-dollar enterprise in motion, he had thoughts about a lightweight digital movie, and a connected thought about working again with Gerwig. He asked her if she had any suggestions for a film in which she might act. Gerwig, in her post-"Greenberg" boom, was shooting "No Strings Attached," with Ashton Kutcher and Natalie Portman. "I wrote a list, and then I sat on it because I was scared to send it," she told me. "It was just ideas, either for a character or scenes or situations, and they weren't necessarily related." She finally e-mailed it to him. "He loved it," she recalled. "He said, 'I can totally see this in a movie and I can see what kind of movie it is. Let's keep going.' "
On March 3rd, a trailer for "Frances Ha" was posted online. Baumbach and Gerwig were in a hall in Greenpoint, Brooklyn, shooting a pop-concert scene for "Untitled Public School Project"; the night before, he had prepared by watching "The Last Waltz." Between takes, Baumbach showed me the trailer, which starts with Frances and Sophie larking around New York, to ebullient music borrowed from Truffaut's New Wave classic "The 400 Blows." The soundtrack then changes to David Bowie's "Modern Love": "I know when to go out / I know when to stay in / Get things done."
Baumbach and Gerwig were being pressed by the distributors of "Frances Ha" to promote the trailer, but they both lacked Twitter accounts. Baumbach wrote to Stiller, with the subject line "Embarrassing email," and asked him if he would mind tweeting a link to the trailer to his nearly four million followers. Gerwig texted Lena Dunham, the creator of "Girls," who is a friend of theirs: nine hundred thousand followers. "She's so good at it, so plugged in," Gerwig said. "She's the Oprah of hipsters." Both friends coöperated.
Not long afterward, I met Baumbach at Bar Pitti again, and he showed me the earliest "Frances Ha" document that he'd been able to find: a list of first thoughts that he and Gerwig had compiled after she sent her original note. It was written in both the first person and the third person: "I keep thinking about a leather jacket. Not a cool one, just something a friend had given her because she didn't want it anymore. Maybe it's too big, and there's no perfect season to actually wear it." (Frances does have this jacket.) "She should have moments where she actually appreciates the city, walks through the park because she can, and that kind of stuff. But it's hailing. I don't know. I was hailed on once." There were suggestions about running, mid-date, to an A.T.M.; having bruises one can't account for; a reckless trip to Paris. These are all in the movie. In one striking sentence, Baumbach and Gerwig seemed to set themselves an onerous writing challenge: "Maybe she has some idea of how she thinks the world should work which people make fun of, even she knows is ridiculous, but in the end kind of happens for her." In slightly different terms, they pulled this off.
There was little here about a best friend, and this absence reinforces one possible reaction to the film: that the story of Sophie is perfunctory, and too evidently has the task of framing the portrait of Frances, and of steering the film away from romantic comedy. (Gerwig's early idea was to give the film no shape: five disconnected episodes.) The document also has many ideas that never reached the script: "She becomes involved with obese women on a message board online. She claims also to be obese"; "Her dog died while she was away." Much of what was excluded points to embarrassment and sexual exposure. One sentence reads, "She should be naked and conflicted about it."
At Bar Pitti, Peter Bogdanovich, the director and actor, joined Baumbach for dinner. They have been close since Bogdanovich played a therapist in "Mr. Jealousy." Separately, Bogdanovich also became friends with Wes Anderson. "I call them Son Wes and Son Noah, and they call me Pop," Bogdanovich told me. This summer, Baumbach and Anderson plan to produce "Squirrels to the Nuts," the first feature that Bogdanovich has directed in more than a decade. Baumbach sees, in this gesture of cross-generational solidarity, a reflection of the support that Bogdanovich gave to Orson Welles in his later career. (Among other things, Bogdanovich published a collection of admiring interviews.) Discussing "Squirrels," Baumbach and Bogdanovich bonded over the annoyance of dull yet unavoidable shots. "It's ridiculous!" Baumbach said. " 'She glances at them for this one moment,' and we've got to actually do that moment!" They talked about Robert Altman—Baumbach said "totally singular" at the very instant that Bogdanovich said "overrated"—and Baumbach remembered an answering-machine message that Altman had once left him, which his mother later accidentally deleted, "along with a message from my therapist the weekend he died, trying to change our appointment." He paused. "Little did I know, he was changing it forever."
Gerwig arrived.
"How did you get more attractive?" Bogdanovich asked.
"Oh, Peter," Gerwig said. She told him that "Untitled Public School Project" still needed a title.
"Look for song titles—they're always the best," Bogdanovich advised.
At Baumbach's urging, Bogdanovich told a story about once being encouraged by Cary Grant to sneak into a theatre where one of his movies was playing, to relish the laughter. He then told another, about a call from Grant. This was when Bogdanovich was in a long relationship with Cybill Shepherd. "Cybill and I were getting all that bad press," Bogdanovich said. "Couldn't open a newspaper or magazine without something nasty. And Cary calls me and says, 'Peter!' "—Bogdanovich had the voice—" 'Will you for Christ's sake stop telling people you're happy, and stop telling them you're in love?' 'Why, Cary?' 'Because they're not happy, and they're not in love.' 'I thought that all the world loves a lover.' 'No. Don't you believe it.' "
One could think of "Frances Ha" as an e-mail courtship that accidentally created a fine movie. At lunch in Berlin, Gerwig looked for a way to describe the experience: "It's sort of like—this is a ridiculous way to say it—but like a nun in a convent singing over a wall to someone she knows is on the other side. And the person thinking, That song is for me, but not really knowing it's for them, but then it was for them. And then they meet one day." She added, "I re-watched 'The Sound of Music' recently."
Though "Frances Ha" has no romantic plot, it is an expression of an emerging love affair. Baumbach said, "I think so. You can say that. If we say it . . ." He put a finger to his mouth and made a quiet vomiting sound.
"Oh, my God," Gerwig said.
He said, "It always felt important that Frances get a victory and be protected in the movie, and I'm sure on some level it was because I wanted to protect Greta."
"I also think we have to believe in a happy ending," Gerwig said. "We have to, otherwise what is anybody doing? I always have this frustration that, in a therapeutic sense, it can feel you have one of two ways of relating to your parents: one is you're in denial, and the other is you can be really angry at them. And I'm, like, there has to be a way in which you just love them." She continued, "And I feel that there has to be a story that's true to its marrow and also filled with joy. There has to be that. Otherwise, it's utterly depressing."
She went on, "This is lofty"—a lot of emphasis—"but in one of Hamlet's soliloquies he says, 'This brave o'erhanging firmament,' and he's talking about the air and the stars and how everything is so alive and so beautiful, and at the end of it he says, 'It means nothing, it means nothing, and I don't want to live.' And I'm, like, 'How can you see everything and then feel that way?' I always want to find the reverse of that—to see all the darkness and find the light, as opposed to see all the light and resonate with the nothingness."
Baumbach imagined the article being prepared: " 'At that point, Gerwig launched into a "Hamlet" soliloquy.' "
"So bad," Gerwig said, in mock shame, telling Baumbach, "Or it's going to show up in the next thing that you write on your own." That last remark, though joking, pointed to some likely evolution in their work relationship. Gerwig recognizes aspects of herself in the character of the younger woman in "While We're Young"—including a moment at a dinner party, witnessed by Baumbach, when Gerwig couldn't stop laughing while telling a story about seeing, as a child, her dog torn apart by Rottweilers. Gerwig has since written her own script, alone. When she showed an early version to Baumbach, he offered to direct it. He also asked if he could help her finish writing it. "He wanted to absorb it," she said, laughing. She thought for two weeks, and then declined, having decided to direct it herself. I asked if he had been gracious about her choice. "Yes," she said. "Half-gracious."
Baumbach described "Frances Ha" as a more even collaboration than past ones, in which he'd either supported someone else's vision (Anderson) or asked others to support his (Leigh). Gerwig recalled worrying that if she acted in "Frances Ha" people wouldn't believe that she really co-wrote it; because of the improvisation in her past, "It would be 'He shot her while she was talking and gave her a credit.' " A writing partner who deepens someone's work even as she lightens it does not want to be mistaken for a director's muse, like the actresses who inspired Bogdanovich, Woody Allen, or John Cassavetes. When we talked in New York, Gerwig said, "Noah's a realist and pragmatist, and he sees things without adornment. Which is helpful for someone writing about how people actually are and how they feel. For me, I feel like the adornment sometimes is what is true." Gerwig occasionally goes to church. "Noah says, 'You do that because you're a guilty person.' " She laughed. "No, I think I do it because it connects me with a story that I don't think is true, but I think is somehow resonant. Everything doesn't have to be true to have power."
Baumbach started shooting "Frances Ha" in August, 2011, after Gerwig returned from Italy, where she had acted in Allen's "To Rome with Love." Baumbach asked himself if he really was making a movie if nobody knew about it. One key location was the Chinatown apartment that Gerwig shared with roommates, furnished with vintage chairs and shelves of vinyl records.
A month or so into the production, Gerwig and Baumbach became a couple. They had tried this a few months earlier, while writing, but they had failed, and Gerwig had started another relationship. She now broke up with her new boyfriend, explaining, "I'm in love with Noah."
Over Christmas, they flew to Sacramento, where Gerwig's parents still live. In the film, they play the part of Frances's parents, and in one scene they see off their daughter at the Sacramento airport. That day, Baumbach was short of time, and there had been little preparation. He needed Gerwig to reach the top of an escalator and look back at her parents, standing below, holding their dog. "I'm thinking, Give that look that will be heartbreaking," Baumbach told me. "I didn't say that, but it's what I'm thinking. And Greta just turns around, and it was the look you see in the movie"—the ache in an ordinary family farewell. "It's a killer."
"Thanks, Noah," Gerwig said, touched. "I was happy with that, too. Whatever that was. That's how I feel every time I leave."
After screenings, Gerwig has been happily surprised by the reaction of people who are the age of Frances's parents. "They say, 'I thought she would go home and it would be a bad place and they would fight. I'm so happy they were just good parents.' "
On their last night in Berlin, Baumbach and Gerwig were sitting on low square stools in the second-floor lobby of a Berlin theatre, eating pretzels. Baumbach wore a dark suit, and Gerwig wore a maroon coat and orange stilettos that required her to hold on to handrails, or Baumbach, when in motion. They had just made a red-carpet entrance at the festival screening, with autographs and photographs, and then taken their seats in an audience of two thousand. When the film began—Frances and Sophie, play-fighting in Tompkins Square Park—they had crept out to the lobby, with Jeremy Barber, their agent.
Fans of "Greenberg" would recognize Barber's laugh; he is the man who, during Greenberg's birthday dinner, claps as he laughs, prompting Greenberg to say to Ivan, his old friend, "Laughing already demonstrates appreciation. The applause seems superfluous."
There was laughter from the theatre. Baumbach recalled standing outside a screening of "Kicking and Screaming," when a woman came out and asked him to agree that the film was terrible. "I said, 'It was all right.' " He laughed. "I couldn't go either way—I couldn't create a character who said, 'Yes, it was terrible!' or said, 'I made it, you bitch!' I said, 'Oh, it was O.K.' " Barber had been carrying the contents of Baumbach's pockets, including his house keys and his ChapStick. Baumbach took back the latter and, with the particular happiness with which a self-protective person allows himself to sink beneath the waters of affectionate mockery, listened to Barber and Gerwig riff about his ChapStick tic, which he gave to Roger Greenberg. Gerwig pressed him: "Where do you buy it?"
"You can be aware that something is idiosyncratic, and give it to a character, but keep doing it," Baumbach eventually said. "And I feel I'm so different from Greenberg in so many ways." It's hard to get a good measure of Baumbach's anxiety levels. "He could have been Greenberg," Stiller told me. "Noah's so smart and observant, of it all, that, without the success that he's had, it would be a pretty painful existence." Baumbach regrets food orders the moment he has made them. When he starts comparing airlines and flight paths, a look comes over Gerwig's face. Greenberg is surely quoting Baumbach when he says, "I wish I could be one of those guys who doesn't care where he dumps his coat at a party." But this is not exactly self-doubt: Gerwig told me that, not long ago, she made a joke about always falling for nerds. "And Noah said, 'I am not a nerd.' And I realized, Oh! You don't think of yourself as a nerd at all!" Greenberg's discomfort sits atop a mountain of self-regard and single-mindedness; his worry is not that he is worthless but that the world risks underestimating his worth. Baumbach is not this person, and he has a sense of humor, but he has been directing people since his teens, and has firm passenger-seat opinions about which exit to take off the West Side Highway. At a press conference for "Frances Ha," he compared the film to "the records Paul McCartney made after the Beatles. He made them in his basement, and they were really big-sounding but also intimate." This is the grandest possible way to describe modest cultural ambitions. Baumbach could have given the thought to Jeff Daniels for "The Squid and the Whale."
After Baumbach finished shooting "Frances Ha," he spent months refining the footage. The richly textured black-and-white images of the finished film are the product of repeated digital manipulation by Pascal Dangin, a retoucher known as the "photo whisperer." Baumbach began to show the film, which was still unannounced, to friends. Peter Bogdanovich wrote an effusive e-mail that began, "Son of mine, I'm extremely proud of your accomplishment." Baumbach's actual father regards "Frances Ha" as Noah's best film.
Baumbach's earlier movies are not despairing. They end with things at least no worse than they were at the start, after a period of awkwardness. ("A Noah happy ending," in Stiller's words.) Nobody dies, although you worry about the animals, which seem to carry the burden of human mortality. But those films are wary of mollycoddling an audience. "Probably, at some level, I'm not quite letting you laugh, and then getting annoyed when I don't get the laugh," Baumbach told me.
When "Frances Ha" was shown at the Telluride Film Festival, last September, it received a standing ovation. For Baumbach, it was "a very nice feeling to have a movie where you can actually experience the reaction," rather than guess at it. Gerwig said, "We lived the Telluride fantasy, which is that your movie is loved and people stop you in the street."
In the Berlin lobby, Baumbach and Gerwig heard sudden cheering. They rushed back to retake their seats. As the applause continued over the end credits, and over David Bowie, Gerwig sang along—"Church on time"—and danced a little in her seat, and gave Baumbach a look that said, This could be worse. ♦


text:
Hugo Silva appointed coach of Portugal men's national team
Lisbon, Portugal, July 31, 2013 - Hugo Silva has been appointed coach of the Portugal men's national volleyball team.
The former national team assistant coach and former coach of club SC Espinho accepted the Portuguese Volleyball Federation (FPV) appointment acknowledging the perfect timing of the new challenge.
"This invitation was extended to
me two years ago," said Silva. "It was not the best moment then to accept it. But
this year, the conditions were right for me to help the national team, which I
represent proudly."
Silva, the first national team head
coach from Portugal in 13 years since António Rodrigues, is determined to place his team among the world's
volleyball elite.
"This is a huge challenge. I think we have failed the easy part on the FIVB World League 2013 Intercontinental Round and the task now is more difficult. It's tough as the time for preparation is not ideal, as the players are on vacations after an exhausting season. But I believe that we have what it takes to play the FIVB World League next year."
The coaching staff of Portugal will be completed by António Guerra who will take on the role as National Team Assistant Coach.
Former coaches of Portugal's men's national team

subset: commoncrawl


text:
Beginning of April 2000, all of a sudden I had a new scanner - and also I had this little program that someone had given me called Dreamweaver, and I had instructions on how to use FTP, and I had the ability to do a strip all on my own. Chosen for the strip was a little story that I had written when I was back in high school about the concept of utopia and what precisely that meant and whether or not it was possible to keep one or have one - this really nutball little dark story called Xenith. Xenith launched on May 5th, 2001 - the archives are still up and available at http://xenith.keenspace.com, for those interested. That one started off with a bang - people seemed interested in where it was going. I had obtained a cheap-ass tablet as well, which I used for drawing the first strip, and I was using all kind of different media for it - pencils for some, watercolour for others, chalk pastel for others. Xenith was meant to run for precisely one year and end one year after it began.
Obviously, this didn't work out quite right. The problem with Xenith is that while it is in my mind a good story, it is also a very depressing story - and it was making me unhappy when I worked on it. At that point, I decided to keep Xenith as an experimental strip - and I do update it occasionally when I have time to do so (actually there's an update in the works that has been in the works for awhile now - go fig) - but that it would not have a 'regular' update schedule, and would be the strip wherein I play with different art forms and the internet itself as a canvas.
Users browsing this forum: No registered users and 1 guest


text:
Ruth Schneider reviews medical content for Healthwise, a nonprofit
organization with a mission to help people make better health decisions. Ms.
Schneider is the Dietetic Internship Coordinator and a Clinical Assistant
Professor at Idaho State University in Pocatello, Idaho. She also has a private practice in Boise,
Idaho. She served as nutrition education specialist for the WIC program
(Special Supplemental Nutrition Program for Women, Infants, and Children),
administered through the Idaho State Department of Health and Welfare, from
1980 to 1982. She also wrote training manuals for WIC paraprofessionals in 1991.
Dietetic Internship: Barnes Hospital, St. Louis,
MPH: University of California, Berkeley,
Dietetic Internship Coordinator and Clinical
Assistant Professor, Idaho State University, Pocatello, ID, 2001–present
Part-Time Instructor in Nutrition, Boise State University, Boise, ID, 1989–present
This reviewer reported no financial conflicts.
Healthwise Staff
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
To learn more visit Healthwise.org
© 1995-2012 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


text:
Weight-bearing exercises, started in your youth and
continued throughout your life, can help prevent
osteoporosis. These exercises, such as walking,
jogging, climbing, dancing, or lifting weights, help you build strong bones as
a young person. And they help you maintain your bone thickness (density) as an
adult. But if you stop exercising, your bones will begin to thin.
these exercises at any age will help prevent bone loss. It is best to do
weight-bearing exercise for at least 2½ hours a week. One way to do this is to
be active 30 minutes a day, at least 5 days a week. In addition to
weight-bearing exercise, experts recommend that you do resistance exercises at
least 2 days a week.
Exercises that are not weight-bearing, such as swimming, are good for
your general health. But they do not work your muscles and bones against
gravity and so they do not stimulate new bone growth.
Next Section:
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Last Revised:
November 6, 2012
Healthwise Staff
Medical Review:
Kathleen Romito, MD - Family Medicine & Carla J. Herman, MD, MPH - Geriatric Medicine
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
To learn more visit Healthwise.org
© 1995-2012 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


text:
A former teacher who spent almost three years in prison for raping a teenage student will spend more time behind bars for failing to register as a sex offender and violating parole.
Cara L. Dickey, 35, was sentenced Thursday by State Supreme Court Justice John L. Michalski to up to 12 months in Erie County Correctional Facility, Alden. That sentence will be served concurrently with an 18-month sentence for violating the conditions of her parole.
Dickey didn't speak during the sentencing proceeding before Michalski, who also had sentenced her on the rape charges four years ago.
Defense attorney Chrysanthe Vergos, of the Legal Aid Bureau of Buffalo, said she wanted to talk about Dickey's "very long and hopefully successful road to redemption."
Dickey had been "a model parolee" following her release from Albion Correctional Facility, a medium-security women's prison, in late February 2012, Vergos said.
But according to the state Department of Corrections and Community Supervision, an administrative law judge conducted a final parole revocation hearing for Dickey on March 19, and a decision was made to return Dickey to custody for 18 months.
Parole violations considered during the proceeding were: contact with a minor, associating with another parolee, tampering with a GPS device, absconding, failure to comply with treatment program requirements, out of area and solicitation. The last two violations are related to the brief time Dickey spent in the Chicago, Ill., area earlier this year.
Dickey spent part of her parole living in transitional housing operated by Back to Basics Outreach Ministries on William Street. Minister Cal Fenner, who serves as a court advocate and handles public relations for the organization, spoke on Dickey's behalf during sentencing.
"I never found any problem with her," said Fenner, who added that he was saddened because he didn't know about the registration requirement and could have helped Dickey with that.
"I know that Cara can be very productive down the road," Fenner said afterward. Dickey had performed clerical and computer work at the ministry and displayed "a very good work ethic," he said.
But in January, Dickey disappeared from the halfway house and ditched the electronic ankle bracelet that was a condition of her parole. As a convicted sex offender, she is required to register a change of address within 10 days but failed to do so.
She was arrested in February near Chicago after more than a month on the run with another ex-con with whom she had a romantic relationship while in prison.
That woman was Candice L. Brighon, a fellow parolee who had been convicted in Niagara County Court of attempted burglary and weapon possession charges. Brighon is currently in Taconic Correctional Facility in Westchester County, where she will remain until the end of May 2014.
Two months ago, Dickey pleaded guilty, as charged, to a felony count of failure to register or verify as a sex offender. The maximum penalty she faced on that charge was four years in prison.
A mother of three – the eldest a boy now in his teens – Dickey was married and living in Clarence while teaching at South Buffalo Charter School.
In June 2008, she had been repeatedly warned about an inappropriate relationship with a 14-year-old West Seneca boy who attended the school.
The relationship became public after Dickey and the boy briefly went missing the afternoon she was suspended from her job.
Dickey subsequently was arrested on multiple charges, including promoting a suicide attempt. Police said she had supplied rum and over-the-counter medications to the boy for a suicide pact the pair had made.
Two statutory rape charges followed that fall, after authorities learned that Dickey maintained contact with the boy, in violation of a court order. She pleaded guilty to the rape charges and was sentenced to two concurrent four-year prison terms in April 2009.
A sentencing memorandum submitted by Dickey's attorney came under fire from Assistant District Attorney Roseanne Johnson, chief of the Special Victims Bureau.
Johnson began by criticizing the late filing of the memorandum, which the District Attorney's Office received Wednesday afternoon – approximately five weeks after the deadline. "That is completely unprofessional," she said.
But the content was even more problematic to Johnson.
"The submission is fraught with factual inaccuracies, hearsay claims and significant omissions," Johnson said. "Most disturbing," she continued, was the statement that Dickey had engaged in "consensual sexual relations with a 14-year-old boy."
email: email@example.com


text:
Kessler Land Agency specializes in Alabama land for sale, Northeast Alabama farms, acreage, timberland, hunting land, waterfront properties, commercial properties, and land development.
With over 100 years of experience in real estate, Kessler Land is Northeast Alabama's leading land authority for Alabama land. So whether you are looking for farmland, hunting land, timberland, a homesite, or a commercial property, we can handle all of your needs.
At Kessler Land, our services offered include direct purchasing, brokerage, consulting, and accelerated marketing of properties throughout Alabama. Through our direct purchasing program, Kessler Land offers its customers a quick and easy way to obtain top cash prices for their properties.
Each of our brokers and agents offer decades of knowledgeable experience of real estate throughout the state of Alabama. Many of our agents have earned both the (CCIM) designation as well as the Accredited Land Consultant (ALC) designation and are recognized as experts in both commercial real estate and land sales and brokerage. So when you are looking to buy or sell a property in Alabama, Kessler Land Agency can handle all of your real estate needs.
Please note that our property listings are constantly changing, so if you do not currently see what you are looking for on our website, please contact us and let us know what type of property you are seeking and we will assist you in your property search.
Accredited Land Consultant (ALC)
Certified Commercial Investment Member (CCIM)


text:
Saddleback Memorial's centers of excellence are renowned for prevention, diagnosis and treatment of cancer, heart disease, stroke, pulmonary disease, orthopedics and diabetes; and for leadership in emergency medicine, critical care medicine, breast health, outpatient rehabilitation, advanced imaging, women's health, geriatric care and surgery, including robotic-assisted procedures.
Saddleback Memorial Medical Center (Orange County, CA) has consistently been named one of Healthgrades' America's 50 Best Hospitals, an achievement gained by just 1% of the nation's hospitals. It has also been honored among Truven Health Analytics' Top 50 Cardiovascular Hospitals in the U.S., consecutively voted Orange County's #1 Best Hospital in the Orange County Register's Best of Orange County poll of readers and has appeared on both Becker's Hospital Review and Thomson Reuters' lists of America's Best Hospitals. Saddleback Memorial's U.S. News & World Report "high-performance" ranking categories included Heart Failure, Hip Replacement, Knee Replacement and Chronic Obstructive Pulmonary Disease.
Position Summary
This position requires the full understanding and active participation in fulfilling the mission of Saddleback Memorial Medical Center. It is expected that the employee demonstrate behavior consistent with the core values. The employee shall support Saddleback Memorial Medical Center's strategic plan and the goals and direction of the performance improvement plan.
ExperienceOne year acute care experience in Critical Care nursing required. Word processing and order entry experience desirable
The American Thoracic Society improves global health by advancing research, patient care, and public health in pulmonary disease, critical illness, and sleep disorders. Founded in 1905 to combat TB, the ATS has grown to tackle asthma, COPD, lung cancer, sepsis, acute respiratory distress, and sleep apnea, among other diseases.
25 Broadway
New York, NY 10004
United States of America
Phone: +1 (212) 315-8600
Fax: +1 (212) 315-6498
Email: email@example.com
© 1998 - 2015 American Thoracic Society, all rights reserved.


text:
Courtesy Splash News Online; Pacific Coast News
John Mayer's love life is notoriously unpredictable, with his relationship status seemingly subject to changes in the wind, so it's understandable that he would crave one constant in his life. We can only imagine that's why he's worn the same exact outfit twice in less than a week.
He first stepped out in his army jacket, distressed jeans, Wayfarer-style shades and statement-making (your call on what the statement being made is) necklace in Toronto on Wednesday during the latest stop of his "Born and Raised" world tour. He must have liked the way he looked in the ensemble because he broke it out again five days later in N.Y.C.
RELATED PHOTOS: See even more star fave wardrobe items here!
We'd bet all the hippie pendants in the world that this won't be the last time Mayer wears his go-to outfit. And since there's just so much to take in, we've decided to break it down for you and share the recipe for the John Mayer Uniform.
-One large silver necklace (beading and turquoise optional, but recommended)
-One pair jeans, with a sprinkling of distressing to taste
-A military-style jacket complete with a yellow peace sign patch
-Black sunglasses
Combine all ingredients and stir listlessly while singing "Your Body is a Wonderland."
Serve with a generous side of emo expressions.
Tell us: Are you feeling this latest hippie look on Mayer, or is it not your thing?
–Storm Heitman


text:
Remember Me
Routinely drawing upward of 85 percent of its tourists from
Canada and United States, Mexico is steadily becoming home to Canadian
snowbirds who can't resist the lure of its great weather, strong currency, tax
benefits and lifestyle rich in culture.
According to HiFX, one of the largest providers of foreign exchange services to
individuals and businesses, last year more than 32 percent of new homeowners in
Mexico were from Canada. This trend has recently been mirrored in sales
center traffic for local real estate developments. In just this past
week, Calafia Condos, Resort and Villas in northern Baja California saw six
families through its sales office from Canada alone.
Lyndie Meissner, originally from Ft. Francis, Ontario, said
it's the sense of freedom found only in Mexico that prompted her to buy a home
"You can drive up and down the warm coast to enjoy the
water with no worries of traffic jams," said Meissner. "It's like going
back in time to the Wild West. I lived in Dana Point, Calif., in the
1970s, before any homes were there and we camped on the beach. Now, Baja
California is the only place left on the West Coast with that lifestyle."
Meissner has lived happily in the small town of Calafia,
Baja California, for 23 years. She initially bought a second home in Baja
but has since traded-up to the penthouse at Calafia Condos, Resort and Villas
and has made Baja her permanent residence. In fact, Meissner sold her
previous business and started a new venture in Baja California, where she now
has 10 employees.
For Meissner, Mexico living has become a family affair as
her daughter, son-in-law and granddaughter also live close by in Baja.
The north coast of Baja California is filled with shores of alluring waters,
warm sunshine and kind-hearted neighbors, many of which are American or
Canadian expatriates. In fact, the city of Rosarito, Baja California,
just south of Calafia Condos, Resort and Villas, claims nearly 40 percent of
its residents are expatriates.
According to real estate officials at Prudential California
Realty, Baja California is the perfect location for a delightful vacation
get-away or home-away-from-home for the price.
"A better bargain cannot be found elsewhere along the coast
of North America," says Kathy Katz, partner in the Northern Baja Division of
Prudential California Realty. "Many snowbirds are discovering the
benefits of buying real estate in Mexico. We not only have an enviable
year-round climate but we offer homes literally on the beach for less than $300,000! We are only 30 minutes
from the U.S. border and our property taxes are as little as $200 a year."


text:
Are you looking for eldercare information or services for a family member or friend? Is care at home your first choice? Greater Springfield Senior Services, Inc. can help you find what you need.
Greater Springfield Senior Services is the place to turn for resources that support older adults and younger individuals with disabilities so that they can maintain their well-being and independence in the community. We connect older adults, caregivers and professionals with the resources and services needed to help address their issues and concerns. From case management to home care services to housing information and more, our staff of caring eldercare experts is ready to offer help tailored to an individual's need.
For more detailed information on our services, please go to the Programs & Services page of this website or call 413-781-8800. TTY: MassRelay 711.
Equals Dignity for All


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This area contains information about each version upgrade we release. Skin programmers should pay special attention to these announcements.
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Gadget lust can get in the way of romance—like when your dinner date checks her email over dessert or live-tweets the entire encounter. We've got our share of these stories, but we really want to hear yours.
Maybe your spouse's reaction to your 18 TB video collection of bendy redheads wasn't all that positive. Maybe you drunk dialed your ex on Skype. Maybe you learned that power cords aren't the best idea when it comes to kinky restraints. Maybe your date rudely checked her email in the middle of dessert and proceeded to pull out a second phone to continue reading after you teasingly confiscated her first. (I'm sorry! Won't do it again. Call me?)
Whatever the details, I want to hear about how gadgets or technology interfered with your love life. So send your stories to me with the subject of "Bad Valentine Tales" and we can share the horror.
Picture by sunshinecity
Bad Valentine is our own special take on the beauty—and awkwardness—of geek love.


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A pilot version of Wolfram's language will now be available free for owners of the UK-innovated single-board Raspberry Pi computer. More specifically, a pilot version of the Wolfram Language (as well as Mathematica) is now available for use on the Raspberry Pi and will soon be bundled as part of the standard system software on every Raspberry Pi computer.
The Wolfram Language proposition itself is a distillation of code originating inside the company's Mathematica product and Wolfram Alpha search technology.
Mathematica itself is described as an "application for computations" but also a development platform capable of fully integrating computation into complete workflows.
Stephen Wolfram himself says that he (and his team) now have a language that's NOT mostly concerned with the details of computers, but is instead about being able to understand and create things on the basis of huge amounts of built-in computational ability and knowledge.
Wolfram has detailed a "giant web of algorithms" joined by "thousands of carefully designed functions" inside the language offering here.
"In effect, this is a technology preview: It's an early, unfinished glimpse of the Wolfram Language. Quite soon the Wolfram Language is going to start showing up in lots of places, notably on the Web and in the cloud. But I'm excited that the timing has worked out so that we're able to give the Raspberry Pi community (with its emphasis on education and invention) the very first chance to put the Wolfram Language into action," wrote Wolfram.
Wolfram will also release the Raspberry Pi Remote Development Kit, so that programmers can develop code while they maintain a "notebook interface" on a standard laptop or other computer, while seamlessly executing code on a networked remote Raspberry Pi.
"Within the Wolfram Language there's actually a whole emerging structure for symbolically representing remote running language instances — and for collecting results, dispatching commands, doing computations in parallel, and so on. We're also going to have the Wolfram Symbolic Transport Protocol (WSTP, derived from the MathLink protocol that we've used for nearly 25 years), that'll let one exchange code, data, or anything else in a very flexible way," wrote Wolfram.
Quite Zippy, But a Trifle Sluggish
The command-line Wolfram Language is described as "quite zippy" on the Raspberry Pi. But, in comparison, the full notebook interface to Mathematica (which requires the whole X Window stack) can be a "trifle sluggish" by modern standards.
Raspberry Pi owners with 600MB of space can install now with the following command:
sudo apt-get update && sudo apt-get install wolfram-engine


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Norman Lerner collection, 1950 - 2011
- Raccolta
- 1950 - 2011
This collection is comprised of 15 folders containing photographs and press tear sheets, shot by Norman Lerner (1950s to 2011).
Lerner, Norman
Norman Lerner collection, 1950 - 2011
This collection is comprised of 15 folders containing photographs and press tear sheets, shot by Norman Lerner (1950s to 2011).
Lerner, Norman
Lucile, Ltd. records, 1910-1925
Collection is comprised of model photographs, sketches, photographs of sketches, show programs, some newspaper and magazine clippings with articles about or by Lucile, order forms, advertisements, and fashion plates. Garment designs include theatr...
Lucile, 1862-1935
Carmel Snow for Harper's Bazaar press photos, 1954-1955
This collection is comprised of 18 folders containing black and white photographs depicting women wearing fashions from various designers (1954-1955).
Harper's Bazaar
FIT general historical material
Fashion Institute of Technology (New York, N.Y.)
Miscellaneous costume plates and sketches
This collection is comprised of 37 miscellaneous costume plates and sketches in color and black and white from different regions of the world.
Carte de Nuances de la Chambre Syndicale des Teinturiers, Printemps 1937
Dye sample book containing various bundles of colored thread.
Chambre Syndicale des Teinturiers
Continental Airlines stewardess uniforms scrapbook, 1970
This collection is comprised of one folder containing scrapbook material, including publicity photos, press packet, tear sheets, and sketches with fabric swatches pertaining to Continental Airlines stewardess uniforms designed by Adele Simpson.
Continental Airlines
Thierry Mugler collection, 1989-1998
This collection is comprised of 7 folders comprised of press materials, sketches, slides and photos, and promotional materials as well as .5 linear foot of audiovisual content of runway shows, highlights, and works directed by Theirry Mugler.
Mugler, Thierry
Robert Dudley collection, 1932-1979
This collection, dated 1932-1979, is comprised of 10 folders of press clippings, high-quality photographs, and correspondence relating to New York milliner Robert Dudley's hat collections, as well as 2 scrapbooks containing press, correspende...
Dudley, Robert
Original illustrations for Encyclopaedia Britannica, 11th edition, 1910
This collection is comprised of 14 original illustrations of academic robes and official robes created for Encyclopaedia Britannica 11th Edition, 1910.
Margé Studios collection, 1919-1953
This collection is comprised of 18 folders containing designer sketches, large fabric swatches many of which include embellishment, and press materials.
Margé, Madame, 1878-1950
Man-Sew Corporation patents, 1933-1965
This collection is comprised of 7 folders of patents, largely for sewing machinery, registered by the Man-Sew Corporation between 1933 and 1964.
Man-Sew Corporation
Hattie Carnegie sketches, 1940-1955
This collection is comprised of fashion sketches made for Hattie Carnegie, Inc. from 1940 - 1955. This collection contains millinery (hats) for which some designs can be attributed to Esther A. Kleeper in 1945. The remainder of the collection is r...
Carnegie, Hattie
The Museum at FIT records are arranged into six (6) series; they are Administrative records, Exhibition records, Promotional material, Symposia records, Correspondence, and Fashion Culture records.
Museum at FIT
Jacques Fath collection, 1949-1974
This collection contains scrapbooks from 1949-1953. These scrapbooks include print ads, editorial copy, and biographical sketches. Photographs from 1949-1974 include portraits of Fath, Halpert and their wives, and highlights from the 1952 collecti...
Halpert, Joseph
This collection contains black and white press photographs and tear sheets dating from 1933-1976.
Esquire, inc.
Miscellaneous Subscription Services
This collection contains four folders of fashion sketches accumulated as part of subscription services.
Andre Studios sketches, 1931-1968
Alexander-Lipman, Pearl
Miscellaneous fashion plates, sketches, and photographs
Miscellaneous fashion plates, sketches, and photographs from various sources. The fashion plates from unknown or miscellaneous publications consist of various styles and techniques of printmaking in both color and black and white. Fashion sketches...
Nancy North photographs and sketches, 1973
This collections is comprised of seventeen (17) 18x16" black and white framed photographs by Bill Cunninham taken at the Grand Divertissement à Versailles in 1973. Persons featured in photographs include Marisa Berenson, Karen Bjornson, Alv...
North, Nancy


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Imagine a machine with a mind of its own- one that tells you the exact degree to bend for the perfect backhand. This future is being shaped with data-driven analytics, virtual reality and artificial intelligence. Infosys and ATP World Tour have partnered to explore these new rich digital experiences, so you can see the game you love, like never before.
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Monday, February 15, 2010
Children's Artwork Display Solution
It was the perfect length for a small curtain rod. I purchased this rod and the ring clips from Target. It is the same rod style that I used for my dropcloth drapes in another area of my house. My children are thrilled to have their artwork up and I love having it up. I know some people use art display systems from Ikea or Pottery Barn, but I don't live near those stores--plus this rod was very inexpensive and it matches (in color and general style) the curtain rods and chandelier that I already have in this space.
Yes, the rod is centered on the wall--it is hard to tell, but the wall turns a corner just a few inches beyond the piano. If you look at the trim along the floor, you can see that it is farther back than the piano. I'm still deciding whether or not the rod is too high. I like that the artwork is high enough that the children can't tug on it, but I'm not a huge fan of the empty space below it. I'm still pondering this one.
I linked this up to DIY Day at A Soft Place to Land.
23 comments:
- janelle said...
love it! i want to put one of those in each of my kids rooms! i also love your blog name! super cute! janelle at sew blessed
- February 15, 2010 at 8:08 PM
- Sara said...
Now why haven't I thought of that before?!? Love it!
- February 15, 2010 at 8:21 PM
- Centsational Girl said...
That is wicked smart ! Love it so much. How wonderful for a rotating display of budding Picasos !
- February 15, 2010 at 8:36 PM
- michelle@somedaycrafts said...
How have I not found your blog before now! It's incredible. I was going to feature one of your posts, but I can't copy any of the pictures. I can't really feature anything that I can't get a picture for. Am I doing something wrong or do you have something set on your blog that won't allow it. Anyway, REALLY cute blog and great ideaS!
- February 15, 2010 at 8:57 PM
- Tammy James said...
Great Idea!
Hmmm I do see what you mean about the space below too, I don't have a suggestion for you though.
- February 16, 2010 at 3:23 AM
- Karri said...
GENIUS!!!!! I am so copying this. I've been trying to figure out what to do over the couch in the den, while at the same time, not having a playroom to display artwork anymore. This is a fab idea! I am off to Target today....
- February 16, 2010 at 5:11 AM
- Angel said...
Oh, I love this idea! I was thinking of using a tension wire with clips to display art in our playroom, but this looks fun too. About the open space below it...could you just add a second rod, so you'd have two rows for display?
- February 16, 2010 at 7:58 AM
- Fawn said...
Oh! What a great idea! My 5-yr-old is totally into displaying her art, and her 2 3-yr-old brothers are totally into tearing them down! What a great solution!
Thanks for stopping by my blog :)
- February 16, 2010 at 8:30 AM
- Vanessa Contessa said...
I stumbled on this from another blog and I just want to say thanks for the great idea! I am in the process of redecorating our guest room/play room and I think this is a great solution for over my daybed! The art will be up, but still be nice and contained when guests are here!
- February 16, 2010 at 8:56 AM
- Angie @ The Country Chic Cottage said...
Girl I love this!! :)
- February 16, 2010 at 11:28 AM
- The Thriftress said...
What a great idea. I was going to do a clothes line display for artwork but this is more polished!
- February 16, 2010 at 12:40 PM
- Kristy said...
Such a great idea - I've seen the systems from Ikea, too, and always thought it looked just a bit flimsy. A curtain rod is a great idea, because if you've attached it securely to the wall, you should be able hang lots of stuff from it (paper and otherwise)!
- February 16, 2010 at 1:45 PM
- Jodee Leader said...
That turned out soooo cute! The black rod really dresses it up a bit! I do something similar with wire and clothes pins so it looks more casual!
- February 16, 2010 at 5:36 PM
- jenjen said...
I love it! I put a couple of those in my basement and my kids love putting their artwork on it. I love yours!
- February 16, 2010 at 7:28 PM
- Nicole said...
Very Cute! I love your valentine garland also, and your wreath with the beads.
- February 17, 2010 at 5:35 AM
- Shannon said...
That is a great idea!!! Love it!
- February 17, 2010 at 12:29 PM
- Heidi said...
I love this idea! I'll have to keep it tucked away in my brain until my little one starts doodling:) Brilliant!
- February 17, 2010 at 1:58 PM
- heather said...
This is such a great idea ... my fridge is getting over run with paper crafts & doodles!
Oh! and I am now following you on twitter. I'm @cheekyheather
- February 18, 2010 at 3:17 PM
- michelle@somedaycrafts said...
this is a great idea! I need something like this at my house! I am featuring this at somedaycrafts.blogspot.com!
- February 19, 2010 at 10:18 AM
- Julie Johnson said...
LOVE THIS! Why oh why didn't I think of this sooner? I have little clips from Ikea and used string for awhile, but I didn't like how the string drooped. Now their work is in piles...and I feel so bad! Now I need to figure out where to hang a rod. Thank you!
- February 19, 2010 at 11:14 AM
- Carmie - the Single Nester said...
What a great idea. Looks beautiful.
- February 19, 2010 at 2:43 PM
- Kim said...
Such a fantastic idea! Love it! I put a picture of the one I put in my daughters room with a link to your blog today. Thanks!
- March 14, 2010 at 1:28 PM
- Your Frugal Friend, Niki said...
Genius! And looks nice too!
- March 28, 2010 at 5:59 PM


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Thanks to Sonya of Only 100 Words for hosting #3LineTales.
Credit: Luis Alfonso Orellana via Unsplash
"Alice, is that you? Well, what door will you enter, the red door or the blue? The up or the down; it doesn't matter you know, both are the same." She fluffed her pony tale and straightened the lapels of her sky-blue blazer.
"Can't Wonderland find another Alice? It's a common name, you know. Just because my grandmother was, and my mother was, and somehow great-Grandpa Wren's magical blood flows in my veins along with the first, Alice — doesn't mean I have to follow in their footsteps. I left that world. I chose to leave. Why won't you let me be?"
A grin appeared between the doors. "Dear girl, it's you who can't forget us; you found the doors home. That's why you're our guardian, but you as any Alice, must choose your path. Thus, you have before you two doors. Which door, dear Alice? You do have to decide. Time won't wait."
Alice trembled, and without thinking her hand turned the knob on the red door. Then, she was falling as the Cheshire cat laughed and Destiny caught up with Alice.
She'd tried to disappear, to become another young woman. But as her predecessors, including her dear mother, she was a guardian of Wonderland. The land of magic wouldn't have it another way. She fell, and when she woke up, she sighed as brilliant flowers hovered over her whispering.
They beamed at her, brimming with questions. "Oh, Alice is it true? Have you come home. You're the new guardian now, and your mother been waiting; her time is at an end. Five-hundred years is a long time not too see one's daughter. Your time to serve has come. The white queen has decreed, as do your grandfather Wren's people."
Alice blew her hair from her face. "What's the point of free will if your choices all lead you back to one path?"
The flowers shrugged. "Tulips and Marigolds don't think of such things; we simply are."
©Mandibelle16. (2018) All Rights Reserved.


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Carnival Completes First Phase of Enhancements to GoCCL.com
Carnival Cruise Lines has completed numerous enhancements to its travel agent Internet portal, based on suggestions from agents through the "Carnival Conversations" program. The line has a tutorial highlighting the upgrades on the site.
The enhancements include:
Streamlined stateroom display and selection, so agents can search for accommodations by deck.
More customized rate selection with pre-selection filters for military, senior, resident and interline rates, as well as Carnival's Very Important Fun Person (VIFP) guest recognition program, so agents can more easily find the best rates for their guests.
A simplified "change of occupancy" process with the addition of an "add guest" option that allows agents to add up to three additional guests to an existing booking.
The ability to decrease group allotments to less than eight cabins.
When cancelling a booking, travel agents will now receive a message confirming that any additional funds are being refunded.
Travel agents without ACH access can now use FunShipPay for credit card and gift card payments.
FACEBOOK COMMENT by JETZTKAUFEN.INFO - best online store


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Air Handlers
What is an air handler? Air handlers usually consist of a large metal box that combines an electric heat strip, blower, and an evaporator coil. That's not all; also included in most air handlers are filter racks or a filter chamber.
Have questions about your air handler in the attic? Need filters for your air handler? Want to buy from the best brands in the industry? We sell AirQuest by Carrier air handlers and Goodman air handlers that are known for their reliable and efficient endurance. We carry 1.5 ton air handlers, 2 ton air handlers, 5 ton air handlers, and so much more. If you need an air handler and condenser you've found the right place.
Goodman 1.5 Ton Wall Mounted Air Handler w/ 3kW HeatModel: AWUF180316Low Price: $469.95
Goodman 2 Ton Wall Mounted Air Handler w/ 3kW HeatModel: AWUF240316Low Price: $474.95
Goodman 2.5 Ton Wall Mounted Air Handler w/ 3kW HeatModel: AWUF300316Low Price: $499.95
Buy Air Handlers Online
We carry multi-positional air handlers, single piece air handlers, and wall mounted air handlers. We sell air handlers from brands like Airquest by Carrier and Goodman AC but we're also very familiar with the other top brands. If you need help with choosing your system or advice in choosing accessories for your AC; be sure to contact us and one of our friendly customer service managers will help you make the smart choice in buying your next air conditioner.
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Our dedicated staff works hard to ensure that all orders are handled quickly and efficiently to ensure that you get what you ordered as quickly as possible.
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We provide you great prices so you can save your money for the more important things in your life.


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In a sign that the wine touring season is upon us, the Washington State Wine 2011 Tour Guide has been released.
This year's tour guide has been radically changed from previous versions. The guide is physically larger – magazine-sized instead of a booklet - and sports a considerably more attractive cover. The differences are not just in appearance though.
As in previous years, the guide is divided into eight wine touring regions: Seattle & Puget Sound, Woodinville, Yakima Valley, Tri-Cities, Walla Walla Valley, Spokane & Pullman, Vancouver & Columbia Gorge, and Cascade Valley & North Central. However, in a change, each touring region has an introductory article with information about the area as well as suggestions on when to go, how to get there, places to eat and drink, and things to do (several of these articles were written by yours truly with others by Chris Nishiwaki and Adrianne Dow Young). Recipes with suggested varietal pairings are distributed throughout the guide. There is also a new Washington State AVA map that makes it considerably easier to visualize the state's grape growing regions (download a .pdf version of the map here).
Look for hard copies of the guide at wineries and retailers throughout the state. Read an electronic version here.
Washington State Wine 2011 Tour Guide released
In a sign that the wine touring season is upon us, the Washington State Wine 2011 Tour Guide has been released.
3 comments
Michael Says:
118 pages! Nice publication. Has certainly grown in size and quality over the past few years. Nice to have an electronic copy to peruse now until we head back to the emerald city this Summer. Very nice job all the way around.
Travis Says:
Thank you Sean for the info!
Sean P. Sullivan Says:
Michael, thanks and Travis, quite welcome!


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Xcel's Minnesota subsidiary, Northern States Power Company, is accepting proposals for wind projects within the footprint of the Midwest Independent System Operator.
Eligible proposals include power purchase agreements, utility ownership and community-based projects.
To be eligible, wind farms must be able to come online by the end of 2012 – a deadline Xcel set specifically to take advantage of the federal production tax credit.
The credit applies only to projects completed by that date, although Congress may choose to extend the measure.
Minnesota's renewable portfolio standard requires Northern States Power to derive 30% of electricity sales from renewables, including 24% from wind, by 2020.
Proposals are due to the company by October 15.
It plans to begin negotiations with select bidders in December.
Minnesota is the country's seventh-ranked state by wind capacity, with 1.8GW in July 2010 according to Windpower Monthly's Windicator report.


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(Phoenix, Ariz. -- Aug. 13, 2010) Attorney General Terry Goddard today applauded federal approval of a $600 million measure to increase border security, calling it a significant step in the right direction. He added, however, that the Mexican border will never be made secure until the drug- and human-smuggling cartels based in Mexico are taken down.
President Obama signed the $600 million bill into law this morning. It will increase both human and technological resources along the U.S.-Mexico border and fund the hiring of 1,000 new Border Patrol agents and more Immigration and Customs Enforcement (ICE) agents. The new law will also pay for more sophisticated communications equipment and expanded use of unmanned surveillance drones.
"Our border cannot be made secure as long as the cartels are so deeply entrenched and well-funded," Goddard said. "As long as they remain powerful, rampant trafficking of drugs, humans, guns and money across our border will persist. I continue to urge the President and Congress to go after them with decisive, overwhelming and binational force."
Bringing down the cartels, the Attorney General added, would substantially reduce illegal immigration because most illegal crossings are coordinated by the cartels and their network of armed escorts, scouts, intelligence and communications.
Goddard again called on the federal government to follow the recommendation in a recent report from the U.S. Government Accountability Office (GAO) to adopt investigative techniques developed by the Arizona Attorney General's Office to disrupt the flood of cash from wire transfers to the cartels. Blocking the flow of money is one sure way to weaken the cartels and make the border more secure, he said.
For more information, contact Communications Director Steve Wilson at (602) 542-8351.


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Learn more about the Kia Cadenza: Kia Cadenza Reviews, Pricing, Specs and more »
Find Used Cars in Naperville at CarsDirect.com. No matter what your reasons for searching for a used car, the process of finding just the right vehicle may seem like something you'd rather avoid. You might be looking for a reliable used car for a daily commute to the Chicago area, so you'll need a car with great fuel economy and excellent handling. Perhaps your growing family needs a second vehicle for convenience, or an upgrade to something larger so you can all attend family events. You may even be looking for a great deal on the car of your dreams to sport a night on the town with your significant other, or a luxury ride to a Bears or Cubs game. Since the Naperville area boom in the 1990s, it may be a little more difficult to find the right used car dealer based upon selection, professionalism and reputation. Start your search the easy way by checking daily updated used car listings on the CarsDirect website. Not only can you limit your search to find just the right car for yourself or your family, but you'll also have access to articles, tools and other resources to make your car shopping chore more of a pleasant experience. CarsDirect can make finding used cars in Naperville fast, easy and fun.Show More »
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|Eldersburg, Md
|High School:
|Ploe Vault
2012 Outdoor: Set a new personal-best to improve the school record in the pole vault with a height of 3.35m (10' 11.75) at the Liberty Invitational... Placed fourth in the event at the America East Outdoor Championships by clearing a height of 3.30m (10' 10.0")... Named to the America East Commissioner's Honor Roll.
2011-12 Indoor: Broke the school record in the pole vault by clearing 3.45m (11' 3.75") at the America East Indoor Championships in Boston... Finished in third place in the event at the conference meet.
2011 Outdoor: Did not compete... Named to the America East Honor Roll.
2010-2011 Indoor: Set a personal-best in the women's pole vault with a height 3.25m (10' 8") and finished fourth overall at the Patriot Games… Placed eighth in the pole vault at the America East Indoor Track & Field Championships... Returns as the top performer in the indoor pole vault.
2009-10 Indoor: Set the UMBC record in the pole vault at 3.15m (10' 4")... Set the record twice, first at the George Mason Patriot Games and then at the Rider/Lafayette Winter Games, finishing third and fourth, respectively.
2009 Outdoor: Competed at UMD Invitational and Bucknell Team Challenge in the pole vault.
2008-09 Indoor: Competed at Bison Opener and Rider/Lafayette Invitational in the pole vault.
Background: Earned the bronze at the Maryland
State Championships in the pole vault as a senior… Did not
start competing in the pole vault until her junior season.
Personal: Only child of Robert and Nancy Walker… Member of the National Honor Society, as well as the National Art Honor Society… Father, Robert, played soccer at UMBC… Plays the piano and flute... Born Sept. 20, 1990.