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As a semi-lore junky, I was very intrigued by the answers given in Round 1 of the Ask Creative Development forum posts. Unfortunately, Round 1 ended with an ominous quote from Bashiok: Expect answers sometime between next Monday and when the Moon escapes the Earth's orbit!
Well, apparently the moon got mad at being involved with the CDev process and got them to answer Round 2 under threat. It is definitely worth a read. While several of the answers are elliptical, they settle alot of questions that have probably been lingering for those interested in Warcraft lore.
Here are some select doozies:
- Q: Are the Warcraft and World of Warcraft RPG books considered canon?
- A: No. The RPG books were created to provide an engaging table-top role-playing experience, which sometimes required diverging from the established video game canon. Blizzard helped generate a great deal of the content within the RPG books, so there will be times when ideas from the RPG will make their way into the game and official lore, but you are much better off considering the RPG books non-canonical unless otherwise stated.
Commentary: Yikes! This means the many citations and references we use here at WoWWiki are only semi-valid!
- Q: Have we seen a true titan yet in World of Warcraft?
- A: No, only their creations.
Commentary: So Titans may or may not look like Titanic watchers, since we have never really seen a Titan in-game.
- Q: What races were on Azeroth before the coming of the titans?
- A: Besides the elementals, the only known sentient races on Azeroth when the titans' forces arrived to subdue the Old Gods were the trolls, the race known as "faceless ones," and the aqir. Due to the Old Gods' war against the titans, as well as the extensive terraforming that followed the war's conclusion, records of what races existed before even the Old Gods' arrival have likely been lost forever.
Commentary: My read on this — night elves are really just mutated trolls. They don't come out and say it directly, but "the only known sentient races on Azeroth when the titans' forces arrived to subdue the Old Gods were the trolls, the race known as "faceless ones," and the aqir." That definitely leaves out night elves, and since they didn't come here on a spaceship...
- Q: What has become of the blood elf Spellbreakers?
- A: While they were already few in number to begin with, the ranks of this formidable fighting force were thinned drastically when their headquarters on the Isle of Quel'Danas was overwhelmed by Kael'thas and his Burning Legion forces. The lone squad that remains now exists as a relic of a bygone era, as the Spellbreakers have refrained from training any new recruits since Kael'thas's betrayal.
Commentary: Doesn't bode well for a future Spell breaker hero class, but who knows.
- Q: Were there ever different elemental lords before the current four?
- A: Ragnaros, Al'Akir, Therazane, and Neptulon are the only elemental rulers Azeroth has had in its existence. What this will mean for the elements of fire and air with the deaths of their elemental lords is unknown, but it most certainly is not good.
Commentary: Aww...
- Q: Is Elune a naaru?
- A: During a recent visit to Darnassus by Velen, he explained that the kaldorei's description of Elune, as well as the demonstrated powers of the goddess, matched his experiences with powerful naaru. He began to offer advice regarding how to commune with powerful naaru, but Tyrande thanked him for his opinion, then cordially requested that he refrain from making such outlandish claims when in Darnassus or in the presence of Elune's priesthood.
Commentary: Tyrande is appearently a religious luddite.
Any other lore junkies out there?


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subset: commoncrawl


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It all might not have happened if Jay Leno had used representation. As Bill Carter tells the story in his hugely entertaining recap, "The War for Late Night" (Viking; $26.95), Leno fired his manager in 1992, shortly after taking over from Johnny Carson as host of the "Tonight Show." Leno believed that his manager had said things to poison his relationship with Carson. As it was, David Letterman, who, as the host of "Late Night," had been following Carson for eleven years and was considered the heir apparent, felt resentment about being passed over for Leno, whose reputation had been built partly on his many guest appearances on "Late Night." Leno was professional to the core, but he did not want business to ruin friendship. He never used a manager or an agent for his contract renewals again.
So when, in 2004, Jeff Zucker, the president of NBC Entertainment, came to Burbank and informed Leno that his contract would be renewed as usual but only if he agreed to step down in 2009 and hand "Tonight" over to the man who had inherited "Late Night," Conan O'Brien, there was no agent around to say what even the agent for Morris the Cat would have said, which was "My client has been beating the competition's brains in every night in the ratings for ten years. We're happy to hand the show back right now and head over to ABC." Instead, when he heard Zucker explain the deal, Leno had the Hyman Roth reaction. He said to himself, "This. Is the business. We have chosen." He decided that he had been fired, in slow motion, and he resolved to be a soldier. If Leno had been more of a jerk, or if he had been paying someone to be a jerk for him, one of the most embarrassing episodes in an industry that has never been a stranger to embarrassment might have been avoided.
Conan O'Brien did have agents, and what seems to have precipitated Zucker's decision to arrange the succession at "Tonight" five years in advance, in a business where the limit of foresight is normally thirteen weeks, is that one of those agents, Ari Emanuel (brother of the other guy), had been feeding him rumors that another network, ABC or Fox, was likely to lure O'Brien away if something was not done to insure that he would one day inherit "Tonight." When the moment of succession arrived, of course, NBC, in a panic about losing a man who was still the late-night leader, tried to move Leno to prime time; and, when that experiment bombed and NBC's affiliates threatened to revolt, the network tried to move him back to eleven-thirty-five. This meant moving O'Brien to 12:05 A.M. (and moving the new host of "Late Night," Jimmy Fallon, back to 1:05 A.M.).
By then, O'Brien had had enough. He issued a manifesto, addressed to "People of Earth," vowing that he would never be a party to the desecration of the "Tonight Show" tradition, and, somewhat less nobly, threatened NBC with a lawsuit for breach of contract. NBC settled for around forty-five million dollars—a lot of money, but roughly what the network had agreed to pay him back in 2004 if it had to renege on the agreement about replacing Leno. O'Brien launched his new late-night show this month, on TBS, a channel known for many years mainly as the place to find Atlanta Braves games.
Carter, who covers the television industry for the Times, has managed to put together a suspenseful piece of business journalism about the battle for "Tonight" in spite of the facts that, first, everyone interested in reading his book will already know how it all turned out, and, second, he has no spectacular revelations to share. He does seem to conclude that Leno, although he was portrayed as the villain of the piece by many of his fellow-comics, did nothing underhanded. He just did what NBC asked him to do: he moved to prime time, and then, when that didn't work out, he moved back to late night.
There are a lot of agents and men in suits in Carter's story. He has talked to most of them and to most of the late-night stars as well. (Letterman appears to be an exception.) He has in consequence been nice to pretty much everyone, though the writing is such that we can sometimes feel we are reading about the Battle of Stalingrad, rather than about a fuss over the careers of a couple of show-business millionaires:
"Let's all be aware of this—we're about to blow this fucker up," Ross said, full of portent. "This is going to blow this fucking thing up."
There was only one reaction that mattered, only one pair of eyes for Ross to check out. Conan stood outlined by the doorway of the conference room, his swoop of copper hair almost touching the frame. He looked directly at Ross, unblinking.
"Blow it up," he said.
By the time darkness had fallen on the plains around Kharkov, three Panzer divisions would be destroyed, the ruined hulks of hundreds of German tanks smoldering in the Russian night.
And yet men have always gone to war over late night. The "Tonight Show" is like the Tudor dynasty—from the beginning, nothing but succession troubles. The man who made it all matter—for Leno, Letterman, and O'Brien—was Johnny Carson. Carson had himself replaced a television legend, Jack Paar. In its earliest incarnations, "Tonight" had been routinely clobbered in its time slot by old movies, but in 1957 Paar took custody of the show and turned it into a reliable source of revenue for NBC. Carson's bona fides were somewhat sketchy. His own variety program, "The Johnny Carson Show," had been cancelled, after a single season, in 1956. When NBC offered him "Tonight," in 1962, he was hosting a daytime quiz show on ABC called "Who Do You Trust?," a knockoff of Groucho Marx's long-running "You Bet Your Life."
NBC had considered Groucho—also Bob Newhart, Jackie Gleason, and Joey Bishop—as the host for "Tonight" before approaching Carson. But he was a hit from the start. By the end of his first year, he was drawing an average of seven and a half million viewers, twice the size of Paar's audience. And the pie just kept on growing. By 1965, the "Tonight Show" was reported to be out-earning NBC's entire prime-time schedule.
This got the attention of the other networks. The "Tonight Show" was a programming novelty. Most of the early television executives came from radio, where late night had never inspired much advertiser interest. In the nineteen-fifties, some television stations simply played "The Star-Spangled Banner" after the eleven-o'clock news and went off the air. The man of vision in this area was Sylvester (Pat) Weaver, the vice-president and later the president of NBC. Seeing opportunity in the fringes, he created both "Today," in 1952, with Dave Garroway as the host, and "Tonight," in 1954, with Steve Allen. (He was also one half of the team that brought us Sigourney Weaver.)
Weaver was a Dartmouth philosophy major; his boss, the redoubtable David Sarnoff, president of RCA, which owned NBC, had never gone to college. Weaver believed that television could be "an enlightenment machine." He fought against what he called "the robotry of habit viewing," and opposed giving the schedule over to soap operas and situation comedies, generic staples of radio. He invented the special: his theory was that a large number of people will tune in to a program if there is buzz about it. The theory seemed to be paying off—NBC's broadcast of the Broadway "Peter Pan," with Mary Martin, attracted sixty-five million viewers, almost forty per cent of the entire population—when, in 1955, Sarnoff removed Weaver from the presidency to make room for his son. For the next twenty years, CBS, which had no compunctions about stuffing its schedule full of soap operas and situation comedies, ate NBC's lunch.
The theory at CBS was the reverse of Weaver's. It was that people don't watch programs; they watch television. The job is only to have your show be the one they end up watching once they turn the set on. They don't have to feel good about themselves for watching your show; they don't even have to like it. What Weaver deprecated as "habit viewing" was just what CBS was looking to exploit. At NBC, the policy was referred to, contemptuously, as LOP—Least Objectionable Program—but it worked. CBS broadcast, in prime time, "I Love Lucy," "Mister Ed," "My Favorite Martian," "Gilligan's Island," "The Beverly Hillbillies," and "The Munsters," all of them about as dumb as they come, and all of them huge hits. From 1962 to 1964, fifty-seven million Americans tuned in to watch "The Beverly Hillbillies" every week.
Neither CBS nor ABC gave much thought to late night until Carson showed the entertainment world that there was gold in those distant hills. They had been earning little or nothing after eleven o'clock, generally giving the time to their affiliates, who sold the commercials and ran old movies. In 1964, though, CBS and ABC started looking for talent to go up against Carson and NBC. Between 1964 and 1972, a number of men were pushed into the arena. One of them was Dick Cavett.
Cavett had a long television career, but he is remembered for the "Dick Cavett Show" that he hosted on ABC from 1969 to 1974. It was an interesting time to be on television—it was an interesting time to be in television—and Cavett made the most of it. He was sometimes considered the thinking man's Carson. He gave the impression of being slightly superior to the medium—a little too bright, a little too literate, a little too intellectually upmarket for commercial television, "the host with the mots," as Time called him. He may have been all those things, but he loved show business, he loved being on camera, and he loved talking to celebrities. He was not out to raise the standards of the medium or the I.Q. of his audience. He was just doing what he was hired to do. He was trying to take a piece out of Carson.
Their paths had long been, as they say, intertwined. Both were from Nebraska. Cavett's parents were schoolteachers; Carson's father was a power-district lineman. Their first encounter was in a church basement, where Cavett and some friends went "backstage" to watch Carson set up for his magic act, in which he billed himself as The Great Carsoni. Carson had graduated from the University of Nebraska, where he wrote a senior thesis on comic technique. Cavett won a scholarship to Yale, where he majored in English and drama, did a lot of acting, and met his future producer, Christopher Porterfield, and his future wife, the actress Carrie Nye. He graduated in 1958 and headed straight for Manhattan.
Even as a kid back in Lincoln, Cavett had been a stage-door groupie. He was infatuated with the stars. He was the kind of person who thinks that a glimpse of Sid Caesar getting into a taxi is one of the supreme benefits of being alive. The sheer number of Cavett's celebrity sightings in his early years in New York, as he recounts them in his 1974 memoir (written with Porterfield) "Cavett," almost suggests the habits of a stalker.
In 1960, after eighteen months of poverty and rejection, this obsession led to his big break. As Cavett tells the story, he was working as a copyboy at Time when he read that Paar was unhappy with the material his writers were giving him for the opening monologue. Cavett wrote some jokes, put them in an envelope on which the Time logo was prominently displayed, and sneaked backstage at the "Tonight Show," which was then on the sixth floor of the RCA Building (a.k.a. 30 Rock). He figured that he would be taken for a reporter. He positioned himself between Paar's dressing room and the bathroom, where he duly intercepted Paar and handed him the envelope. Paar used some of the jokes in his monologue and, a couple of weeks later, gave Cavett a job. It all feels about one standard deviation away from Rupert Pupkin, but it got him where he wanted to be, on the inside of a network.
After Paar left "Tonight," Cavett wrote for Carson. In 1964, he attempted a career in standup, but he had a hard time creating a persona. "Nebraska boy goes to Yale" did not knock them dead in the clubs. "I felt normal, in a nondescript, goyish sort of way that seemed to leave me nowhere comedywise," as he explained the difficulty in "Cavett." He bounced around in television for a while, writing for "The Jerry Lewis Show" (a megaton bomb) and appearing on game-show panels. In 1968, he landed a job as the host of ABC's "This Morning," and in May, 1969, ABC gave him a prime-time talk show three nights a week. But at the start of the fall season it replaced him with "Love, American Style," "Marcus Welby, M.D.," and "Jimmy Durante Presents the Lennon Sisters."
ABC had been struggling for years to come up with an answer to Carson. It opened its late-night challenge in 1964, with "The Les Crane Show," a program of hard-hitting discussions on controversial subjects that failed to make a dent (though Bob Dylan was a guest, a rare television appearance). In the spring of 1967, the network reverted to counterprogramming by imitation with "The Joey Bishop Show." Then, in 1969, the late-night field suddenly got crowded. In July, Westinghouse Broadcasting launched "The David Frost Show." In August, CBS launched "The Merv Griffin Show." And, finally, in December, ABC replaced Bishop—whose show was selling commercials for seventy-five hundred dollars a minute while "Tonight" was getting seventeen thousand—with Cavett. The first round of the talk-show wars had begun.
Despite having spent almost ten years in the television business, Cavett had a certain anti-establishment appeal. He was thirty-three in 1969, eleven years younger than Carson and Griffin, and he looked even younger. All the talk shows shared the same cadre of guests—comics, show-business veterans, writers who could amuse—but "The Dick Cavett Show," more than the others, appeared to belong to the Church of What's Happening. Also, Cavett was not afraid of serious and he was in favor of funny, which is pretty much what you want in a host.
His specialty was the single-guest format, and that is mostly what you see on the DVD collections of the shows that are available—interviews with actors, comedians, and rock stars. It was the old Pat Weaver theory: if you bill it as out of the ordinary, people will make a point of watching. An hour or more with the same guest is risky in a medium in which even the premonition of boredom is ratings death, but Cavett was able to get stars whose stature (or vanity) made them harder to book on the kind of talk show where Laurence Olivier, after he has entertained the host for eight minutes, has to take a seat on the couch next to Buddy Hackett and Dr. Joyce Brothers.
Cavett went to London to interview Olivier. He courted Katharine Hepburn and talked her into taping two shows with (her condition) no studio audience. She was delightful as the diva next door, and was neatly caught abusing the stagehands during the pre-show setup. Cavett's four great interviews with Richard Burton were done in 1980, after Cavett had moved on to PBS, and they're not available on DVD, but Burton, who was fifty-four at the time, and already a beautiful ruin, was mesmerizing. Cavett was wise enough to know he had gold, and just let him talk.
Cavett recalls the Hepburn and Burton interviews in his most recent book, "Talk Show" (Times Books; $25), a collection of the blogs he writes for the Times. A blog is a means of sharing your pet peeves and off-the-cuff theories of everything with the entire planet. To this point in the history of civilization, that is not what a book is. In a book, normally, one's eye is on a somewhat farther horizon. We probably no longer require insights about Joe the Plumber and Falcon Heene (of the helium-balloon hoax); but, if we do, readers of "Talk Show" will find them.
What fans of Cavett want are anecdotes of the stars, and there are plenty of these, some told more than once and a few recycled from Cavett's two earlier books. The stories are not gossip. They are entertaining and entirely fit for prime time (they appeared on the Times' Web site, after all). And they expose what was, from the beginning, the enigma about Cavett, which is that he is, deep down, exactly what he has always said he was: a starstruck kid from Nebraska who went to college in the nineteen-fifties.
His tastes were more or less formed in that decade. He worshipped the performers of an older generation and often mimicked their mannerisms on his show: the Marx Brothers, Jack Benny, Bob Hope, Stan Laurel, W. C. Fields. Some of these were enjoying a renaissance in the late nineteen-sixties as Lords of Misrule, but many were already prehistoric. At one point in an interview with George Harrison, Cavett affected a Jack Benny tone to announce, "Tomorrow night my guest will be Danny Kaye."
CAVETT: That was Jack Benny. Could you tell that? Could you tell that I was doing Jack Benny?
HARRISON: Who is Jack Benny?
Cavett interviewed newsmakers and trendsetters and pop stars because that was what you did on a talk show, but his favorite interview seems to be one he did with the Broadway actors Alfred Lunt and Lynn Fontanne, who were both near eighty. He had Janis Joplin, Jimi Hendrix, and Jefferson Airplane on the show, and they all seemed more relaxed than he did, though he was at ease with John and Yoko, who obviously liked him. He was a liberal, but there was not a countercultural bone in his body. "I thought he was the squarest person I ever met," his wife once said.
What saved him in almost every situation was his quickness. He could be maddeningly self-conscious; he relied on wit when he needed humor (and sometimes looked puzzled when laughs were appreciative rather than boisterous); and he never mastered Carson's art of turning misfires into gags. But not much could faze him—maybe this was Yale's contribution—and though he was criticized for being obsequious in the presence of theatrical royalty and other V.I.P.s, he was nobody's fool.
His management of the on-air fracas, in 1971, between Gore Vidal and Norman Mailer is properly renowned. Cavett writes about it at some length in "Talk Show." The short version of a long and ravelled story is that Mailer came drunk to the taping of a show featuring Vidal and The New Yorker's Paris correspondent, Janet Flanner, who was then almost eighty. Mailer glowered and blustered and abused the other guests and the audience, which began abusing him back.
At the time, Mailer was deeply embroiled with the women's movement. He was aggrieved by a piece that Vidal had written for The New York Review of Books in which Vidal associated him with Henry Miller and Charles Manson. "The Miller-Mailer-Manson man (or M3 for short) has been conditioned to think of women as, at best, breeders of sons; at worst, objects to be poked, humiliated, killed," Vidal wrote. Mailer was entitled to think that he had wrestled with the questions raised by the women's movement honorably, and that Vidal was high-handedly slandering him; but he was unable, in the condition in which he had entered the ring, to lay a glove on his opponent. Vidal feigned perplexity at Mailer's distress, joined forces with Flanner (who clearly found him très gentil), and made Mailer look ridiculous the way a cat makes a dog look ridiculous.
Mailer's fatal insult, though, was to Cavett. "Why don't you look at your question sheet and ask a question?" Mailer said to him at one point, after the swords had been drawn all around. "Why don't you fold it five ways and put it where the moon don't shine?" Cavett said. "It was received as the remark of the evening," Mailer later conceded, though Cavett's follow-up was equally inspired:
MAILER: Mr. Cavett, on your word of honor, did you just make that up or have you had it canned for years and were you waiting for the best moment to use it?
CAVETT: I have to tell you a quote from Tolstoy?
As any sort of intellectual exchange, the show was a disaster. But it was great television. It gave viewers what they want from a talk show: the sense that anything might happen.
"Cavett" had a feel of unpredictability at a time when life was still a little insane and had not yet coiffed itself to the cosmetic standards of the medium. On the DVDs, guests smoke cigarettes, their eyes dart around trying to pick up the camera, they ramble or they clam up. They have not learned how to perform the act of having a natural conversation.
On "Tonight" under Carson, the trains ran on time or else. During commercials, the producer and his team would huddle with Carson at the desk like coaches at the pitching mound, trying to determine whether the current guest had run out of stuff and needed to be moved down the couch. That was not Cavett's style. He could lose control of the show. One night, he let Groucho Marx interrupt Truman Capote repeatedly. Groucho ended by telling Capote, apparently completely seriously, that he should get married. Capote was clearly pissed, but he gamely played along. Carson would have gone to commercial the second he smelled unpleasantness.
Cavett once said that politics "bores my ass off," and he would probably have gladly interviewed Lunt and Fontanne every night. But in the late nineteen-sixties and the early seventies politics was street theatre, and some of it got played out on his show. In 1970, Lester Maddox, the governor of Georgia, walked off the set after he understood Cavett to imply that his supporters were bigots. (The incident inspired the Randy Newman song "Rednecks.") And when Cavett interviewed Hugh Hefner two women shouting "Fascist" and "Off the pig" tried to get onstage and had to be removed from the studio.
On other nights, the show was disrupted by a group protesting the under-representation of black jazz musicians on television, and heckled by members of the United Farm Workers. The Jewish Defense League staged a sit-in to protest the cancellation of an appearance on the show by its leader, Rabbi Meir Kahane. The activist Angela Davis refused to go on after ABC demanded that another guest be added to provide "balance."
In 1970, a verbal brawl broke out between the critic John Simon and the comedian Mort Sahl (neither man renowned for his ability to turn the other cheek). In 1973, after an appearance on "Cavett," Marlon Brando punched the paparazzo Ron Galella and broke his jaw. In 1974, ABC refused to broadcast a show featuring four of the Chicago Seven: Abbie Hoffman, Jerry Rubin, Tom Hayden, and Rennie Davis. The show was later aired with an added segment featuring a response by a conservative commentator.
Today, this might look like the résumé of a hot show. All of the on- and offstage altercations were reported in the press, and this brought "Cavett" the kind of attention that a network presumably would love. But the network did not love it, and the network did not love the ratings, either. The question of whether the show would be renewed was continually and publicly on the table; uncertainty about ABC's commitment put Cavett on the offensive, and it gave his fans something to root for.
A running feud with the network is a standard piece of talk-show shtick. It's a populist device for bonding with the viewers. Paar set the standard by walking off the set one night because he was annoyed that the network had censored one of his jokes, leaving his astonished sidekick, Hugh Downs, to greet the remaining guests. Carson had a large repertoire of NBC jokes and engaged in epic contract wars with the network (which he always won). Leno abused NBC regularly in his monologue after being forced into stepping down.
Compared with Carson's, Cavett's ratings were never robust, but in 1969 ABC was still the network runt. It had a hundred and thirty-five affiliates to CBS's hundred and fifty-one and NBC's two hundred and six, so Cavett reached fewer households. The problem wasn't just the numbers, though. There was also continual tension over content.
ABC and the other broadcast networks had a very good business reason to be anxious about content. When "The Dick Cavett Show" went on the air, the networks had a direct financial stake in ninety-eight per cent of their programs. It was an entirely unnatural oligopoly, and they were naturally frantic about protecting it. Their grip was threatened by the Federal Communications Commission, which might raise barriers to license renewal. It was threatened by Hollywood, which wanted a piece of the programming action. It was threatened by the existence of alternative delivery systems, such as satellite (the first television satellite, Telstar, went into orbit in 1962) and cable (a technology that predates television itself). And there was the eternal menace of all other entertainment products, the terrifying possibility that Americans might decide to do something else after dinner besides turn on their televisions.
The networks wanted everyone to watch, which meant they needed to promise excitement, and they wanted no one to be offended, which meant avoiding most of the things that people find exciting, from politics to sex. This was the tightrope that late-night entertainment had to tiptoe across every weekday night. The task was especially daunting because late-night viewers belong to a different demographic from prime-time viewers: they are younger and better educated; they have higher incomes; they are more likely to have white-collar jobs. Most of them don't have to get up at six to milk the cow or open the store. They expect something edgier and more sophisticated than "The Beverly Hillbillies."
Still, the old dream of making the medium a tool of elevation and enlightenment persisted into the nineteen-sixties, and its face was David Susskind. Susskind's talk show was one of the longest-running in television history. (William F. Buckley's "Firing Line" appears to hold the record, at thirty-three years.) It began in 1958 as "Open End," so named because the show wrapped whenever the host decided the conversation was finished, an option when late night was still an underprogrammed time period. It was a syndicated show that began on WNTA, Channel 13, in New York, and was picked up mainly by educational stations. It rarely made money. According to Stephen Battaglio's "David Susskind: A Televised Life" (St. Martin's; $27.99), by the time the show went off the air, in 1986, the year before Susskind died, he was covering the losses out of his own pocket.
Why did he do it? The answer is the answer to almost every question about Susskind: it was good for business. Susskind was from a place that has contributed even more than Nebraska to the entertainment and edification of postwar Americans: Brookline, Massachusetts. Barbara Walters, Mike Wallace, Arlene Francis, and Conan O'Brien all hail from that suburb. After graduating from Harvard, in 1942, he started out in public relations. In 1949, he and a partner founded Talent Associates, in New York City, which was where he always preferred to work, even after much of the business was done on the West Coast. Talent Associates produced, mostly for television.
Its specialty was specials—in particular, drama adapted for the television screen. Battaglio says that by the 1958-1959 season Talent Associates was "the biggest independent supplier of network television specials" in the industry. Susskind was a salesman. His job was to find sponsors for the shows he produced, and then to sell the package to one of the networks. He was erudite and eloquent; he schmoozed brilliantly; and, in his heyday, he was unstoppable. He convinced advertising agencies representing large corporations like DuPont and Xerox that their clients would benefit from being associated with something classy, "something," as he pitched it, "that's got a little tone and lustre to it"—for instance, "The Moon and Sixpence," starring Laurence Olivier, in his first American television appearance, which Talent Associates produced, in 1959.
As a talk-show host and industry personality, Susskind was in many respects a liberal Buckley. He liked to talk and he liked hearing himself talk. ("I can do anything," he said to the man who interviewed him for his first job in public relations. "Can you change the way you talk with the big words?" the man said.) His politics were progressive: he hired blacklisted writers and directors, and he had a large number of women working for his company. As Battaglio points out, though, this meant that he could pay both classes of employee at a discount.
To maintain his corner on the market for high-end television, Susskind cultivated (he may genuinely have felt) an attitude of disdain for the usual product. At an F.C.C. hearing on the state of television in 1961, he condemned what he called "the celluloid sausage that comes down the pike by the ream." The remark did not endear him to the networks, but it helped him with advertising agencies seeking prestige programs for their clients to sponsor. The talk show was therefore part of the presentation. It showcased Susskind as a thoughtful and broad-minded fellow, someone who was all about quality and taste.
By the time of the first talk-show wars, the demand for middlebrow uplift of the type that Susskind purveyed was shrinking. This was partly due to the Public Broadcasting Act, in 1967, which took some of the pressure off the networks to demonstrate to regulators a commitment to public service, a burden soon assumed by PBS. But the audience was moving in a different direction, too. Susskind's liberalism was showing its limits. He had the first national show on homosexuality, but he booked a gay man and two shrinks and called it "Homosexuality: Sickness or Perversion?" He was a notorious womanizer—a lot of his biography does seem right out of "Mad Men"—and the women's movement made him even crazier than it did Mailer. "None of these goddamn women have had a healthy orgasm in a long time," he explained to New York, which happily rushed his reflections into print.
The networks were having a tough time keeping up as well. They had all the old threats to worry about, but, after 1968, they had a new one: Richard Nixon. The Nixon Administration's campaign against the media began the year he took office. In October, 1969, two months before "The Dick Cavett Show" began its late-night run, a White House aide, Jeb Magruder (later of Watergate fame), sent a memo to Nixon's chief of staff, H. R. Haldeman (ditto), outlining plans for punishing the media establishment—mainly the East Coast newspapers and news magazines and the networks—for what Nixon considered "unfair news coverage."
Magruder suggested looking into possible antitrust violations, and that is exactly what happened. In 1970, the F.C.C. imposed new regulations on the networks. The Prime Time Access Rule limited the amount of network-owned programming the affiliates could use during prime time. And the Financial Interest and Syndication Rules prevented the networks from syndicating their programs to independent stations and from acquiring a financial interest in programs that they did not produce themselves. This allowed Hollywood to move into the television production business. The networks' nightmares were becoming reality.
All the talk-show hosts understood perfectly well that political controversy, or anything that might give the F.C.C. cover in a crackdown on the networks, would be dealt with summarily and unsentimentally by the suits. The example was set by the chairman of CBS, William S. Paley. In 1958, he had shut down Edward R. Murrow's "See It Now," the program that helped undo the red-baiter Joseph McCarthy—and Murrow was the rock on which CBS News was built. In 1969, Paley personally pulled the plug on "The Smothers Brothers Comedy Hour," a show that had a history of booking antiwar guests (Joan Baez, Pete Seeger, Dr. Spock), but that also angered the network by airing satirical sermons, by the comedian David Steinberg, that religious groups found offensive.
When Cavett had his morning show on ABC, in 1968, he booked Vidal and Muhammad Ali, who was appealing a conviction for draft evasion. Afterward, Cavett was reprimanded by a network executive. "Nobody in the world wants to hear what Gore Vidal or Muhammad Ali thinks about the Vietnam War," he was told. Since the Vietnam War was what everybody in the United States was talking about in 1968 and 1969, this made hosting a talk show that maintained some relation to current events virtually impossible. Griffin, too, had repeated run-ins with CBS over controversial guests. (Frost booked controversial guests, but his persona was that of a newsman.)
Carson had a different policy. "Well, bullshit!" he said when, in 1967, his show was criticized for deliberately avoiding controversy. "I'm not the host of 'Meet the Press.'. . . I'm an entertainer, not a commentator. If you're a comedian, your job is to make people laugh. You cannot be both serious and funny." He was wrong about that. But he was right that when the country is polarized any opinion you air with approval will alienate a chunk of your audience. Cavett interviewed the LSD proselytizer Timothy Leary, and told him, on the air, that he was "full of crap." Carson just refused to book Leary. He thereby did not anger his anti-drug viewers, and if he had any acidheads among his fans he did not anger them, either. Though "Tonight" was invented by a man hoping to reduce the predictable and formulaic on television, after 1969 it became the least objectionable program for Americans staying up past their bedtime. Carson was also, of course, brilliant at what he did do.
By 1972, the first talk-show wars were over. Carson had met the challenge with a tactic that was unusual for him—a special. On December 17, 1969, the "Tonight Show" featured the wedding of the middle-aged sixties superstar Tiny Tim to a teen-ager known as Miss Vicki. It drew a bigger audience than the Academy Awards and the Super Bowl. (It was also effectively the end of Tiny Tim's freakish fifteen minutes. The marriage did not last, and neither did the career.)
CBS surrendered first. The network fired Griffin in February, 1972, and reverted to "The CBS Late Movie." (Griffin went on to do his show on Metromedia for thirteen more years, and to create "Wheel of Fortune." He purred all the way to the bank.) "The David Frost Show" went off the air at the close of the season; it had never posed a threat to "Tonight," despite having both Prince Charles and the Rolling Stones on the opening broadcast. And at the end of the year ABC reduced Cavett, who was getting beaten even by the old movies, to one week a month on a mixed-genre late-night program called "The Wide World of Entertainment." ABC eventually solved its late-night problem by abandoning original programming entirely for reruns of prime-time shows like "Mannix."
Carson had moved "Tonight" in 1972 from New York to Burbank, where he could be closer to the places that his typical guest tended to work, Hollywood and Las Vegas. "Tonight" was then averaging eleven million viewers a night. By 1978, it had seventeen and a half million—more than watched Game One of the World Series in prime time this fall. Carson was king of late night. He reigned, without a serious rival, until his peaceful abdication, in 1992.
Carter gives the last words, or almost the last, of his book on the Leno-O'Brien wars to Jerry Seinfeld. To Seinfeld, O'Brien's letter to the People of Earth promising never to desecrate the "Tonight" legacy suggested a man who was indeed lost in space. "There is no tradition!" Seinfeld says. "This is what I didn't get. Conan has been on television for sixteen years. At that point you should get it: There are no shows! It's all made up!" O'Brien gave up a time slot on network television in the name of a fiction.
And what are the stakes, anyway? Seventeen and a half million people, Carson's nightly average back in the late seventies, is more than twice the number who now watch "The Tonight Show with Jay Leno" and "The Late Show with David Letterman" combined. Measured in constant 1972 persons, "Tonight" is watched by a smaller audience than "The Dick Cavett Show" was when it was cut back to one week a month. The late-night talk-show potatoes have got very small. But today the original networks are like gigantic and benign marine creatures, relics of an earlier time on earth, swimming in a sea filled with more nimble and opportunistic predators, all competing for the chance to alarm, to titillate, and—if such a thing is still possible—to offend. ♦


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Customs requirements
Customs requirements
The New Zealand Customs Service (external link) is the government agency with the job of protecting the New Zealand border. It has specific responsibilities for ensuring that all goods and persons entering and exiting New Zealand do so in accordance with New Zealand laws and regulations.
Their website provides information on:
- Arriving in New Zealand
- Importing goods (both personal and commercial)
- Importing motor vehicles
- Duty free allowances
Biosecurity at the border
The Ministry for Primary Industries (external link) is charged with leadership of the New Zealand biosecurity system. It encompasses facilitating international trade, protecting the health of New Zealanders and ensuring the welfare of our environment, flora and fauna, marine life and Maori resources.
The Personal Travellers section (external link) of the Ministry for Primary Industries website includes information on:
- completing the passenger arrival card
- what you must declare
- sending your belongings to New Zealand
- bringing your pet to New Zealand
Importation of Prescription medication
Information regarding the importation of medicines can be obtained from the New Zealand's medicines and medical devices safety authority (external link) (Medsafe) website.


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A San Rafael shopkeeper accused of selling methamphetamine out of his store made his initial court appearance Thursday as authorities confirmed that one of his employees was also arrested.
Alfredo Lopez, owner of the Azteca Market at 555 Francisco Boulevard East, was arraigned in federal court in San Francisco on various drug and conspiracy charges, said Casey Rettig of the Drug Enforcement Administration.
Lopez's employee, Alejandro Miranda, was indicted on similar charges. Both men were arrested Wednesday in a coordinated three-county bust operation that also led to the arrest of their alleged meth supplier, Miguel Angel Macias of Daly City.
The investigation, which is ongoing, was launched a year ago by the Marin County Major Crimes Task Force and eventually joined by the DEA.
After arresting Macias, 24, at a Daly City health club on Wednesday afternoon, investigators executed warrants on his two vehicles, his apartment and an alleged "stash house" about a block from Jefferson High School.
Then agents swarmed on the Azteca Market and arrested Lopez, a 50-year-old Hercules resident. Then investigators arrested Miranda, 27, at his residence in San Pablo.
Investigators found nearly three pounds of suspected cocaine, some meth and about $4,300 in searches of Macias, his two apartments and his two cars, Ahuncain said.
No drugs were found at the homes of Lopez and Miranda. Investigators seized three rifles and eight handguns at the Lopez residence.
The Azteca Market, which is located in the rear of the Harbor Center shopping complex, was closed for business on Thursday.
Authorities suspect Lopez was selling to meth in various quantities to users coming to his store, and that proceeds from the sales were deposited in a money machine at the shop and wired to Mexico.
In an interview Thursday night, Lopez's wife, Debra, said her husband is a dedicated community member who has donated to local charities, bought uniforms for football players at San Rafael High School and supported the San Rafael Police Department.
Lopez said she and her husband have four children — two of whom were handcuffed for three hours when agents arrived to search the home, she said — and that it is preposterous to suspect him as a drug dealer.
"I think they're looking for anyone to pin it on, to make themselves look good," she said.
"I told the kids, 'If your father was a big-time drug dealer, we wouldn't be struggling to make ends meet.'"
Contact Gary Klien via email at firstname.lastname@example.com or https://twitter.com/GaryKlien


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Da da da, da da
Da da da, da da
I don't know if I can yell any louder
How many time I've kicked you outta here?
Or said something insulting?
Da da da, da da
I can be so mean when I wanna be
I am capable of really anything
I can cut you into pieces
But my heart is broken
Da da da, da da
Please don't leave me
Please don't leave me
I had a birthday late last month. I had said that this celebration of 39 would be my "last best birthday" because with a '3' still in the number, I could maintain my claim to be young and dumb. Next year, I will just be dumb. However, there was nothing dumb at all about a spur of the moment offer thrown out by friend just a week or so prior to my big day. She realized that P!nk would be in concert a mere 5 hours from her home and sent out a request for anyone interested in joining her for the road trip. Never mind that her home was 8 hours from mine. I was in. What could be a more awesome way to celebrate my last best birthday than with P!nk live in concert?
It was a great trip with multiple stops for sushi and arguing with Naggy Maggy (as we christened the unrelenting TomTom GPS). Even with our last minute ticket purchase, my friend and I managed to snag pretty great seats and danced the night away through P!nk's high energy performance. It was an incredible Happy Birthday to Me with the entire weekend holding one outstanding event after another.
Then, I returned home. When I had packed my bags, my garden was still producing buckets of produce, and thoughts of finishing a few pending landscaping projects were on my mind. The crispness of autumn was in the air, but the days were still playful with the promise of late summer. My return found rain. Cold, wet, dreary, gray rain. Threats of garden killing frost loomed. The crisp, colorfully changing leaves had become soggy, droopy, wet misery. Perfect autumn was no more. Every day since my return, I have uselessly begged that the beautiful days please not leave me.
And, in that vein of thought, I am going to share a decidedly summer recipe even though I am sitting here in a turtleneck sweater and wrapped in a blanket. I love grilling in the summer, and grilled pineapple is a wonderfully sweet treat. I found this variation for Grilled Glazed Pineapple in the Aug/Sept issue of Food Network Magazine. The original recipe wrapped the pineapple in foil, but I like searing grill marks on the fruit. It makes a stunning presentation as well as a delicious dessert. Serve a wedge of Grilled Glazed Pineapple On My Plate with a scoop of vanilla ice cream, and I don't know if I can yell any louder to beg that summer Please Don't Leave Me.
1 whole pineapple
4 tablespoons butter, melted
1/4 cup light brown sugar
1/4 teaspoon curry powder
1/4 teaspoon cinnamon
1/4 teaspoon vanilla extract
pinch of salt
splash of dark rum
Slice the pineapple in half lengthwise (keeping the top attached).
Cut each half into thirds creating long wedges.
Combine all other ingredients.
Brush each wedge with spiced butter.
Grill over medium heat until the pineapple is soft and golden, about 15-20 minutes. (May need to move to upper racks to avoid charring.)
Serve wedges with vanilla ice cream or on their own.
Pink - Please Don't Leave Me (High Quality)
Uploaded by wonderful-life1989. - Watch more music videos, in HD!


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News Release 2009-120 | October 14, 2009
Comptroller Dugan Tells Senate Panel National Banks Have Capacity to Withstand Declining Asset Quality
WASHINGTON—Comptroller of the Currency John C. Dugan told a Senate subcommittee today that while credit quality is continuing to worsen, the vast majority of national banks are strong and have the financial capacity to withstand declining asset quality.
"Net capital levels in the national banking system have increased by more than $186 billion over the last two years, and net increases to loan loss reserves have exceeded $92 billion," Mr. Dugan said in testimony before the Senate Banking Subcommittee on Financial Institutions. "While these increases have considerably strengthened national banks, we anticipate additional capital and reserves will be needed to absorb additional potential losses in banks' portfolios."
The Comptroller told the panel that the OCC, which supervises over 1,600 national banks, accounting for 61 percent of all bank and thrift assets, is taking a balanced approach to supervision that encourages bankers to lend and to work with borrowers in a safe and sound manner, while recognizing and addressing problems on a timely basis.
"We are encouraging banks to work constructively with borrowers who may be facing difficulties and to make new loans to creditworthy borrowers, although it is true that in today's weaker economic environment, credit demand among businesses and consumers has significantly declined," Mr. Dugan said.
Related Links
Media Contact
Robert M. Garsson
(202) 874-5770
- Topic(s):


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- Super Middleweight
Froch: Retirement option very much on the table
Carl Froch has told ESPN that retirement is "very much on the table" after his stunning knockout victory against George Groves.
Speaking on Buncey's Boxing Podcast, Froch weighed up potential opponents for his next fight after knocking out Groves at Wembley, but admitted that the option of walking away from boxing was under serious consideration.
Time is right for Froch to quit
- Carl Froch may want a big fight in Las Vegas after surviving battles in the ring for supremacy and outside the ring for respect, but he can surely walk away with his head held high after conquering all the doubters for the last time, writes Steve Bunce.
- Click here to continue reading
"That is very much on the table, very much so," Froch told ESPN after ranking the merits of four potential opponents should he decide to defend his IBF and WBA super-middleweight titles once more.
James DeGale is the IBF's mandatory challenger after defeating Brandon Gonzales on the undercard of the Froch-Groves rematch, but Froch believes he has earned a voluntary defence if he so wishes, with a Las Vegas showdown with Julio Cesar Chavez Jr or a chance to avenge his defeat by Andre Ward his preferred options.
"The only reason we'd be discussing DeGale is because he's put himself in the mandatory position, to be honest - otherwise I wouldn't give him the time of day," Froch said.
"Chavez - definitely, that's a big fight that could happen in Las Vegas.
"Andre Ward? On my night I beat Ward, so that's got potential - he's the only guy out there who I've faced that I've not beaten. That's an automatic one that makes sense. Unfortunately for Ward, it's not a big fight in America. People aren't that interested in him, which is a shame but you can see why.
"Mikkel Kessler's on about coming back, and it's one-all so why not have the decider?"
Kessler, for his part, has confirmed he wants one final showdown with Carl Froch before bowing out of boxing.
Kessler announced last month that he was coming out of retirement because "I owe it to myself and my fans to retire as champion".
Kessler and Froch have gone toe-to-toe twice, including the Dane's last fight in May 2013 when he lost his WBA super middleweight title.
But having watched Froch's knockout victory over Groves on Saturday, Kessler knows who he wants for his 50th and final fight.
Writing on his Facebook page, Kessler said: "I'm more than ready to fight Carl for the decider, and I feel very confident that I will win that fight.
"The fight in the O2 Arena a year ago was not one of my best. I started out slow and had the chance to stop Froch in the eleventh round but failed. That won´t happen again.
"No excuses though. Carl fought brilliantly and I can´t take anything away from him. It was close, but he won the fight."


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Joined 2 years ago
All movies are mobile ready.
This tube focuses on Youthful JAV videos, teens and such. All models are 18 years old +.
If a video is down let me know in the comments section.
And if you loved this stuff support my website by purchasing HD videos using the links below:


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"Waiting for Forever"
Rachel Bilson and Tom Sturridge are childhood friends who drift apart--or do they??!?!? It turns out he's been following here for years, biding his time for the right opportunity to express his undying love. Opnes Feb. 4.
We don't waste our time on anything not worth your time. We celebrate the best of what's coming on film and TV. We cheer when our expectations are met and criticize when we're let down.


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Story highlights
- Mayor's reaction to CNN affiliate: "I might have tacos when I go home"
- "They behaved like bullies with badges," an FBI official says
- Three patrol officers and one sergeant will face charges in federal court
- Arrests come weeks after a scathing Department of Justice report on East Haven police
The FBI has arrested three East Haven, Connecticut, police patrol officers and one sergeant for their alleged role in the mistreatment of Latinos -- the first arrests to stem from a federal investigation into racial profiling in that town.
The men allegedly threatened and assaulted detainees, made false arrests -- including one against a local clergy member -- and later conspired to cover up evidence of their conduct by falsifying reports and blocking an investigation, prosecutors said Tuesday during a news conference in Bridgeport.
Sgt. John Miller and officers David Cari, Dennis Spaulding and Jason Zullo were arrested early Tuesday for allegedly conspiring to "injure, oppress, threaten, and intimidate various members of the East Haven community," profiling residents during traffic stops, performing illegal searches and harassing Latino business owners and their advocates, according to the indictment.
"They behaved like bullies with badges," said Janice Fedarcyk, assistant FBI director in New York.
On one occasion on January 21, 2009, Spaulding and Zullo allegedly assaulted two individuals they had arrested under false pretenses, slamming their heads against the station's cell block walls, the indictment said.
The indictment cited a similar incident in which Miller allegedly struck a detainee who was handcuffed after being propped up by two other patrol officers.
The men also dismissed a police commission inquiry into their alleged misconduct, it said, calling on the support of local union leaders to block and intimidate municipal investigators.
The defendants could not be immediately reached for comment, and the East Haven Police Department referred press inquiries to the mayor's office.
"It's unfortunate that it had to come to arrests," said Mayor Joseph Maturo Jr., who said his office "stands behind the East Haven Police Department."
"They're innocent until proven guilty," he said.
Maturo, in an interview with CNN affiliate WPIX, indicated that he saw no problem with not having any Latinos on the East Haven police force. When asked what he would do for the Latino community on Tuesday, Maturo said, "I might have tacos when I go home, I'm not quite sure yet."
The arrests come just weeks after a scathing Department of Justice report, derived from an investigation that began in September 2009, accusing the town's police of engaging in "discriminatory policing against Latinos."
In a letter to Maturo, Assistant U.S. Attorney General Thomas J. Perez said the practice was "deeply rooted in the department's culture," citing statistical analysis that showed Latinos had been "intentionally targeted" for traffic stops.
The letter provided an example of a particular officer's stops, 40.5% of which were of Latino drivers.
Overall, the investigation found that 19.9% of traffic stops made by East Haven police were against Latino drivers, concluding it "shows pervasive discrimination against Latinos on every level of EHPD traffic enforcement activity."
The report also accused some officers of conducting unauthorized immigration investigations.
It mentioned "numerous incident reports" in which officers contacted Immigration and Customs Enforcement to check on the status or seek an immigration detention of a Latino.
Investigators said the tactic was "used to harass and intimidate Latinos rather than pursue legitimate law enforcement objectives."
But Maturo said he doesn't believe allegations of such systemic discrimination in East Haven are accurate.
"We have an open community here," he said.
Maturo elaborated in a news release: "The Town of East Haven is prepared to do all that is necessary to address the consequences of this morning's grand jury indictment. While the Town has several factors to consider, the most important priority is ensuring the continued protection of our Town's residents. To that end, I met with several shifts of officers at our Police Department this morning to ensure that police service to our Town would not be interrupted today and moving forward."
According to 2010 census data, East Haven has a population of some 29,000 people, with about 10.3% identifying as Hispanic or Latino. The vast majority of residents, 88.5%, are white, while close to 3% identify as black or African-American.
Still, Maturo said, there have been changes in the wake of the December report.
An independent commission of community members, external consultants and former law enforcement officials has been formed to head off future allegations by revising police policies.
The mayor cited a series of reforms, including revisions to complaint review policies and training, and pointed to a revised East Haven police handbook, the first update since 1972.
"It was an outdated book," Maturo said.


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executing broker
Jitneytrade is an agency-based broker dedicated to providing clients the best possible access to North American and international exchanges.
Jitneytrade's mission is to effectively leverage its expertise and experience to provide cutting edge trading solutions.
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20Q: Tomek Rygalik (by Arkadíusz Bartoziak, Łukasz Klinke)
Information on Unofficial Playboy Statistics Pages is for viewing and personal information only. This site is not affiliated with Playboy Enterprises, Inc.
You may report errors and omissions on this page to G1's Administrator. They will be examined and if approved will be included in a future update.


text:
Teaching with Historic Places
Heritage Education Services
Teaching with Historic Places (TwHP) uses properties listed in the National Park Service's National Register of Historic Places to enliven history, social studies, geography, civics, and other subjects. TwHP has created a variety of products and activities that help teachers bring historic places into the classroom.
Lesson Plans
Teaching with Historic Places offers a series of more than 150 classroom-ready lesson plans that use historic sites as a means for exploring American history. Educators and their students can work through these online lesson plans directly on the computer or print them out and photocopy them for distribution.
You can browse the collection in several ways, each of which includes a short description of every lesson:
• Location/State
• Theme
• Time period
• Skill
• Primary Source
• National Standards for History
• Curriculum Standards for Social Studies
Although designed for middle school students learning history, social studies, geography, and other subjects, TwHP lessons are easily adaptable from upper elementary through high school, and even for college courses. Each lesson includes maps, readings, and photographs, all of which are accompanied by questions. At the end, activities pull together the ideas students have just covered and require them to initiate their own research.
Each TwHP lesson plan links both to relevant United States History Standards for Grades 5-12 and also to relevant Performance Expectations for Middle Grades from the national Curriculum Standards for Social Studies. For more information about the National Standards for History, please visit their website. To learn more about the national Standards for Social Studies, please visit the National Council for the Social Studies website.
All lessons are based on sites listed in the National Register of Historic Places, which include historic units of the National Park System, National Historic Landmarks, and places with state and local significance. Lessons plans that feature units of the National Park System, National Historic Landmarks, and United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage Sites are noted in each categorized index. National Historic Landmarks are nationally significant historic places designated by the Secretary of the Interior because they possess exceptional value or quality in illustrating or interpreting the heritage of the United States.
Designated by the World Heritage Committee, UNESCO World Heritage Sites are cultural and natural heritage sites around the world considered to be of outstanding value to humanity.
We welcome your comments and suggestions on how you've used the lesson plans, what's good about them, and how they could be improved.
In the fall of 1998, TwHP and the National Park Foundation created a curriculum kit that brought stories from six of our national parks into the classroom. While the original boxed kits, funded by Target Stores and The Eureka Company, were all distributed at Target stores, TwHP has posted much of that material on this Web site.


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We offer a deep steam cleaning that will leave your home fresh and beautiful. We will always exceed your expectations and protect your investment for years to come. We also offer pet odor and urine clean up, area rug cleaning, carpet protector and carpet repair services.
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The longer you wait the worse it gets. Make sure you turn off all shut-off valves and give us a call immediately. We will rush over and extract water before mold and bacteria take hold. Call Now!


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DENISON, TX - Hundreds of people were seeing pink Friday night in downtown Denison, during the Women Rock first annual Pink Parade.
Dallas Cowboys' mascot "Rowdy" kicked off the festivities.
Dozens of people lined Main Street to watch floats, a race car and Women Rock's pink fire truck roll down Main Street.
Breast cancer survivor, Rozlyn Austin, served as grand marshal.
Women Rock founder LuAnn Daniel says this is a fun way to celebrate survivors and raise awareness of early breast cancer detection.
After the parade, folks hit the Rialto for a showing of "Some Like it Hot."
Daniel, says the community support is overwhelming.
"I just have a big thank you from the bottom of my heart. Locally, the support has really grown in the past few months and that feels so good," she said.
KXII is a proud sponsor of Women Rock, Inc.
For more information about the group, click on the link below.


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Eden Hazard believes fellow Belgium forward Kevin De Bruyne would benefit from leaving Chelsea in January to boost his World Cup hopes.
De Bruyne spent his first 18 months as a Chelsea player on loan, first and Genk and then at Werder Bremen, and has been linked with a return to the Bundesliga after finding opportunities tough to come by at Stamford Bridge under Jose Mourinho.
Hazard thinks De Bruyne should seek first-team football elsewhere, although was not specific over whether his team-mate should seek a permanent switch or another loan move.
"For sure, playing at a World Cup without having been in action for a year, I think that's very difficult," Hazard told Belgian broadcaster VRT. "I think for him that leaving and playing, that would be good.
"If we want to get the best out of Kevin, I think that it's best if he leaves."


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|By Javier Paniza
Article Rating:
|May 20, 2015 04:00 PM EDT
OpenXava is an Open Source Tool for Rapid Development of WebSphere Applications.
In OpenXava you only have to write the domain classes in plain Java to get a web application ready to be deployed on WebSphere Application Server or WebSphere Portal.
OpenXava 5.3 has charts automatically generated form list data, sortable lists with drag & drop, upgrade to JPA 2.1 and Bean Validation 1.1, and many more things.
We invite you to download it and upgrade your OpenXava applications. Look at the migration instructions.
In the list mode of all your OpenXava modules now you have a new action, Charts:
When you click on this action a dialog like this is shown:
It allows you to generate several type of charts from the data of your list.
Try it yourself.
Sortable lists with drag & drop
Now you can have a collection that your user can order using drag & drop and keeps the order of the elements in the database. You only have to use java.util.List instead of java.util.Collection and to annotate the collection with @OrderColumn:
@OneToMany(mappedBy="project", cascade=CascadeType.ALL)
private List<ProjectTask> tasks;
From the above code OpenXava 5.3 generates the next user interface:
Where the user can order the rows with drag & drop and the order is persisted.
Try it yourself.
JPA 2.1 and Bean Validation 1.1
OpenXava 5.3 supports latest JPA specification, Java Persistence 2.1, with the next new features:
- Converters allowing custom code conversions between database and object types.
- Criteria Update/Delete allows bulk updates and deletes through the Criteria API.
- Stored Procedures allows queries to be defined for database stored procedures.
- ConstructorResult support for SQLResultSetMapping.
- Runtime creation of named queries.
- Injectable EntityListeners.
- Unsynchronized persistence contexts.
- DDL generation automatic table, index and schema generation.
- Entity Graphs allow partial or specified fetching or merging of objects.
- JPQL/Criteria enhancements, such as arithmetic sub-queries, generic database functions, join ON clause, TREAT option.
Bean Validation has been upgraded to 1.1, the main practical benefit of it is that now you have many more validation annotations. Look at the list of built-in constraints of Bean Validation 1.1.
Other improvements
We have done a lot of improvements in other areas:
- Combo has no blank option in enum properties with @Required.
- @RemoveSelectedAction available for @ElementCollection.
- New properties startInLastVisitedModule and rememberVisitedModules in naviox.properties.
- Hibernate upgraded to 4.3.9.
- Hibernate Validator upgraded to 5.1.3.
- Classic Hibernate Validator (3.1) dropped.
- New projects include a controllers.xml file by default.
- New method assertValidValueExists() in ModuleTestBase.
- Ant target updateSchema no longer supported for XML components.
- Automated Business Logic (ABL) library dropped.
- HSQLDB used in sample projects upgraded to 2.3.2.
Bug fixes
Though this is not a maintenance version we have done some fixes:
- Fix: Creating a new element in a collection with @OrderColumn fails.
- Fix: Obsolete hibernate namespace.
- Fix: Disabled dialogs using Liferay 5.1 style.
- Fix: Apostrophes in messages missing sometimes.
- Java Kicks Ruby on Rails in the Butt
- OpenXava 3.1.3: Productivity and Flexibility for Java EE
- OpenXava 4.3: Rapid Java Web Development
- OpenXava 3.1.4: Open Source Framework to Develop WebSphere Portal Applications
- OpenXava 4.0: Rapid Java Web Development
- OpenXava 3.1.4 Released
- OpenXava 4.6: Rapid Java Web Development
- AJAX Applications From JPA Entities
- OpenXava 4.2: Web Applications for iPad with Java or Groovy
- OpenXava 4.4: Rapid Java Web Development


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Symptoms of a nonpoisonous spider bite may last from a few hours to a
few days and are usually mild. Symptoms usually occur at the site of the bite
and may include:
Home treatment is often all that is needed to prevent infection and
relieve symptoms of a bite from a nonpoisonous spider.
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so i am officially surrendering to 2009. i know it is a bit early, but i feel like i have no choice. i fought the good fight, but i think it is going to win, so instead of continuing to fight i will conserve my strength for 2010. i won't go into the ins and outs of it, but generally things have been kinda sucky and i haven't felt like myself in months. and that's sucky because i usually like myself, but this person-- me no likey AT ALL. i didn't celebrate my birthday. i didn't feel like it. so there. take that 2009. i miss my friends. "hi friends!" i miss you guys. oh, and the thing about me and being down in the dumps is i don't like being down in the dumps. i spent lots of years in them there dumps and i didn't much like it there (the food is crap and the accommodations crap, too!). then i start feeling guilty for being down in the dumps. i beat myself up for feeling sorry for myself and for not being just generally happy, because a bad year for me is still a pretty darn good year for most. so then it becomes this nasty inner dialogue myself vs. myself and as you can see if myself wins then myself loses. i think they call that a lose lose situation. for now, i will carry on. i will try not to be completely erased by this big bowl of yuck, but please, pardon me if i have been a bad blogger, bad friend, bad wife, bad sister, daughter, partner, customer, e-mailer, bill payer, call returner, polaroider . . . you get the point.
on a lighter note, balloons still make me smile.
Wednesday, November 11, 2009
balloons still make me smile
Posted by jen gotch at 8:37 AM
29 comments:
- vanessa joie said...
Here's to a brighter 2010
- November 11, 2009 at 10:25 AM
- chelsea said...
sending a big, big hug your way, jen!
- November 11, 2009 at 10:31 AM
- secretheart said...
I'm totally with you! May 2010 be better! ♥
- November 11, 2009 at 10:38 AM
- deborah said...
let me repeat, you are not a bad anything! bring on 2010!
- November 11, 2009 at 11:41 AM
- sara said...
i hope your 2010 is a good one then :)
- November 11, 2009 at 12:10 PM
- Cassandra Marie said...
Hey there! Just wanted to let you know that I'm having a pretty little giveaway on my blog... just in case you wanted to enter!
- November 11, 2009 at 1:22 PM
- jen said...
sorry you're not feeling like yourself. i'm sure you will be back soon! hang in there! xoxo can't wait to see what 2010 has in store for you.
- November 11, 2009 at 1:42 PM
- Anitra said...
Youre still an inspiration to me. Your post so succinctly put into words how i have felt on a regular basis this year, and it was of great comfort to read. You write as beautifully as you photograph. x
- November 11, 2009 at 2:15 PM
- Erin @ SYL: Slipcover Your Life said...
Here's to brighter beginings in 2010!
- November 11, 2009 at 3:30 PM
- Ashley Yazzie said...
Take to find your belly laugh. Once the belly laugh returns, all comes together!
And those balloons are superb!
- November 11, 2009 at 4:27 PM
- g and h said...
sometimes a case of the blahs brings out a really well written piece...and that's surely the case here. hang in there, i haven't had a drink in a looooong time and come 2010 i'm going to need one! we'll plan an outing with the ladies to celebrate a fresh, new year!
- November 11, 2009 at 9:36 PM
- Saltina said...
You can take a polaroid like no other.
- November 11, 2009 at 10:27 PM
Hey, I'll kick 2009's ass for you if you want......just lemme know.....
I also know a guy who will kill 2009 for a real good price if you want that instead.....
- November 12, 2009 at 7:45 AM
- Lola Is Beauty said...
I'd happily scrap the rest of 2009, just to get it out of the way.
2010 is going to be a better year for yourself (and yourself)...
- November 12, 2009 at 10:58 AM
- Jen said...
Oh jen...I would hug the life out of you right now if I could. not that hard, but the bad stuff right out of you.
- November 12, 2009 at 1:40 PM
- east side bride said...
- November 12, 2009 at 2:46 PM
- Emilee Sutherland said...
Hears to 2010! If it helps any, I always love coming to your blog for inspiration and even on occasion your blog has made me smile on a "down in the dumps" day.
- November 12, 2009 at 6:14 PM
- Cheryl Gerbera said...
2010 will be a much better and brighter year! hugs hugs..
- November 13, 2009 at 3:28 AM
- chess said...
Let's just hope and pray that in the coming year/s is that, there will be a lot of great opportunities and a lot of blessings to come in our way.
- November 13, 2009 at 7:38 AM
- jen a said...
xoox - love you girl...
- November 14, 2009 at 9:40 AM
- alexandria said...
Balloons are the best. I sincerely hope your funk goes away and you can feel so much better. I always enjoy what you bring to your blog.
- November 14, 2009 at 11:28 AM
- Miss B said...
Ah, yes -- it's a vicious and perfect little cycle, that. I am always amazed, when I get caught in those endless downward spiralings, just how much self-loathing one can manage to cram into an average day. Shocking.
I hope your world is fizzy and balloon-filled soon, and for all of the coming year.
- November 15, 2009 at 12:24 PM
- Sarah Brett said...
You're not alone! I've heard generally from friends and fam recently it's a rubbish time, something about saturn and the moon aligning. Bliss for the future!
- November 24, 2009 at 7:32 AM
- MIss B said...
Oh Miss Jen, Happy Belated Birthday and the world is a shinier place because you are in it. It's okay not to be peppy all the time but you have inspired us all a bunch and made us laugh so there.
Miss B.
P.S. Congrats on the launch of your new collection!
- December 1, 2009 at 7:07 PM
- shanon said...
Hi there. I hope you are well. I don't know what happened, but I just now realized that I hadn't been getting updates from your blog. Now I am remembering how much I love and admire your work. Seeing it pushes me, makes me fall in love, and does a number of other wondrous things. So, I hope you are well. I really really do.
- December 2, 2009 at 2:37 PM
- small graces said...
I can't believe how exactly I know how you felt when you wrote this. Only now to know there is another person out there feeling perhaps the same way, makes me sad. HOPE for a new year, for you and me. See you there.
- December 12, 2009 at 4:43 PM
- This comment has been removed by a blog administrator.
- December 29, 2009 at 2:14 AM
- Stop snoring said...
I hope and wish that everything will turn out fine for this year. Let's bring on 2010 a great one. As what you have said, balloons makes you smile. So whenever you feel blue, just look for the balloons.
- February 19, 2010 at 2:32 AM
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- August 17, 2010 at 10:51 PM


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The beauty of Star Trek Beyond lies in its pensive narration. It will let you resonate alongside the musings of its characters. For once you will truly fathom the importance of USS Enterprise in the lives of Trekkers. You will get to witness the rudimentary lost Franklin up and running. You will see why a job needs to be done with a proper explanation, with an optimal aftermath. In short, everything is in place.
Movie's plot is like a chain reaction of events that fission into a deadlier game at play. It begins with James T. Kirk's (role reprised by Chris Pine) contemplation.
Knee deep in a five year mission, the fleet has been leading a life like commoners, compelling Kirk to go in a profound reflection of elusive things in the unknown.
The farther out we go, the more I find myself wondering what it is we are trying to accomplish. But if the universe is truly endless, then we are not striving for something forever out of reach.
At their liberty stop at Yorktown, Kirk is scrutinizing a promotion. In a weird stagnant like that, enters an escape pod introducing us to Kalara who claims her crew is stranded at a nearby planet. Induced by her misery, the Enterprise goes on a rescue mission only to be attacked by rampaging swarm ships.
Swarm ships or Bees in Star Trek Beyond will be remembered for their awesome theatrics. The way they acted in unison to decimate anything that appeared in their way make them look sheer bad-ass. With their intrusion we see the USS Enterprise's annihilation too. That's when Captain James Kirk makes one of the toughest decisions of his life – to abandon their beloved ship.
That's only the beginning. What follows therefrom is a brilliant affair of perversion that finds its way via cruel intentions of Krall played superbly by Idris Elba.
Peace is not what I was born into.
Inclusion of Jaylah to the tale was nicely done too. Played by Sofia Boutella the character finds a new meaning, perspective and direction. Montgomery Scotty reprised by Simon Pegg remains the nerdy heart of the Starfleet. His presence in the team is weirdly satisfying.
Screenplay of Star Trek Beyond has been written elegantly. There are moments when you see the crew relaxing for a word, delivering superb lines amidst conversations.
You spent all this time trying to be your father, and now you're wondering just what it means to be you.
Seeing Anton Yelchin up, alive and breathing on the screen was really lovely too. He seemed so lost in his character, unperturbed, unfazed by the mishap that awaited him in the corner, that you can't help feel sorry. A true talent, lost in life's fickleness!
It's easy to get lost. In the vastness of space, there's only yourself, your ship, your crew.
You cannot overlook Justin Lin's brilliant direction as well. The way he scales the camera with every motion is laudable. The way he cuts his frames by merging into a new territory, the way he races and traces down, filling voids (capturing the stunning vista of Yorktown) will leave you appreciating his prowess. Creating Yorktown's colossal beauty was a visual achievement, as Doctor Leonard McCoy puts it:
It looks like a giant snow-globe in space just waiting to break.
Star Trek Beyond DVD is here. Grab your copy today:
Star Trek Beyond scores a little low on the theatrics panel. Meaning it didn't have in his villain, flair like that of Khan's. It misses somewhat on bringing the flamboyance of its prequels, but is more or less similar when the build of previous installments is concerned. It appears a tad dull in terms of Editing. But, if you ask me this is how the Editing should really be. A calm dip that lets us hit and cover every thrilling spots one by one.
If you really look at it, Star Trek Beyond comes straight from a bag of Starfleet's numerous adventures. So, it is apparent, there are more parts to come. Fasten your belts!
Check out the trailer of Star Trek: Beyond movie: