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Michigan native Jeff Daniels' powerful performance as a pretentious intellectual luxuriating in bitterness and unearned superiority in 2005's The Squid And The Whale felt revelatory. This was, in part, because it deviated so wildly from the clean-cut, wholesome, all-American image Daniels cultivated in films like The Purple Rose of Cairo, Something Wild, Speed, Pleasantville, and Dumb & Dumber. The role felt like a comeback, or at least the beginning of a new phase in Daniels' career; but the actor never stopped appearing in challenging, worthwhile projects, both onscreen and onstage, where he was nominated for a Tony for his turn in God Of Carnage.
Daniels' aw-shucks Midwestern persona also informs the stripped-down, folksy albums he's been releasing throughout the decade as a way of raising money for his homegrown Michigan venture, The Purple Rose Theatre Company. On albums like Live And Unplugged To Benefit The Purple Rose Theatre, Daniels pokes lighthearted fun at fellow actor-musicians in songs like "If William Shatner Can, I Can Too," and affably embodies the role of laid-back storyteller/wandering troubadour. Daniels has also written and directed a pair of independent films, Super Suckers and the regional hit Escanaba In Da Moonlight, in addition to writing and directing plays for The Purple Rose. The A.V Club recently spoke with Daniels, who is playing the Cedar Cultural Center on Nov. 10 as part of a Midwest tour to raise money for The Purple Rose, and who can soon be seen in the partially animated docudrama Howl. He discussed not wanting to go the Billy Bob Thornton route with his music, playing a character based on Noah Baumbach's father in The Squid And The Whale, and why he sure as shit isn't the next Cary Grant.
The A.V. Club: From the articles that I've read, it seems like you were reluctant to release your music, either on a CD or perform it live.
Jeff Daniels: Well, the music industry is littered with actors who belatedly came to singing. From records made by Terry Bradshaw of the Pittsburgh Steelers, I think Burt Reynolds made one, and of course William Shatner pioneered it and blazed the trail. If you're at all serious about it, you've got to go against the whole, "We're not going to let you do two things successfully in this country, only one, maybe." You're kind of going in with two strikes on you already. That was part of the reluctance. The other part was that it was for the back porch; it was just something I did for me, to keep me sane, especially when I wasn't working and in between phone calls and all that. To actually have to go out and perform it and subject myself to "Why are you doing this?" stuff was part of the reluctance as well. But I'd played for 30 years; I'd worked hard at it. I'd written, and then I was starting to write for the set. And once I was able to do it and raise money for my theater company—which is what got me in front of people in the first place—and then being told, "You could take this around the country if you wanted," and then doing it and enjoying it, and seeing that the songs traveled, and this whole other one-man-show happened, I realized that oh, this is fun, I do enjoy this. That kind of happened in the last five or six years.
AVC: You said that you wanted to be taken seriously as a musician, but at the same time your songs are funny and rooted in your experiences as an actor. Were you ever determined to draw a line between the acting and the musicianship?
JD: I think initially I was thinking that they're two different things, and then I realized that they aren't. It's a role you play. You walk out and you're entertaining people for 90 or 100 minutes. It's my version of what I would want someone with just a guitar to be able to do for me for 100 minutes. Certainly the guy who's been on a Broadway stage is out there with me; the guy who's written plays, which I've done, is helping write the songs; the director, I've directed a few times, is helping build the set. All the hats that I've worn over the years converge into pulling this show off. The musicianship, that's not an issue anymore because I've worked so hard at it and I've had a lot of really great players to play with, some of which I've studied with. I've taken lessons with Keb' Mo' and Stefan Grossman in particular, and really worked hard to improve. When you're out there without a band, you've got to be able to get around on it. You can't just nod and let the lead guy go off and do his solo, and then you come back to playing three chords. Especially doing it acoustic, you've got to be able to play it. I worked hard on that, so I don't worry about it anymore. I actually plant a couple of songs early on because there are always a couple guitar players out there who are waiting for the train wreck. So I go, "Here's this" [Makes guitar noodling sound], and they go, "Oh, okay."
AVC: Did you always write songs with a more comic bent?
JD: That's just always been something that I've been able to do. I think you can either do it or you can't. Certainly you guys at The Onion know that there are some people that just aren't fucking funny. To be able to be one of those guys that know how to tap that vein without too much difficulty, I think, is an asset. And regardless of the fact that in this country, certainly in the arts, we treat comedy as a second-class citizen, I've never thought of it that way. I've always thought it to be important. The last time I looked, the Greeks were holding up two masks. I've always thought of it not only as having equal value, but as the craft of it, being funny. One too many words in a sentence blows the joke, and whether it's a song or it's an article in The Onion, there's an art to making it sharp and precise. I've always, knowing I'm able to do that, worked hard at learning the mechanics of how to do that.
AVC: It also seems that by being self-deprecating, as you are in your music—
JD: Part of that too just is a disclaimer … certainly a lot of that was, starting out, the route I took. I just had to deal with this big, 800-pound gorilla in the room, which was, "You're known for something else, what are you doing with a guitar?" That was in the first five minutes of the show, so I had to deal with that. Part of that was by singing songs—"Well, if William Shatner can, I can too"—or the self-deprecation. Just go, "Look, everybody relax. I'm gonna have fun; you have fun too." Since then, it's less of an issue.
AVC: It's certainly the opposite approach of Billy Bob Thorton.
JD: Well, I didn't see the success in that, whether it was Billy Bob or whomever. I just felt it was best to lead with a sense of humor about it, and then maybe they'll come along with you. I just didn't know any other way to do it.
AVC: Do you feel like because you've been so successful as an actor you have to prove yourself as a musician in a way that you wouldn't have to otherwise?
JD: I suppose so, but the expectations are very low. When I walk out with a guitar, and you bought tickets to see one of the guys from Dumb & Dumber, I know that's going to last about eight minutes. Then you'll have seen me, and then it's over, and they'll go, "Oh Jesus, what the hell did we spend our money for?" It's okay now; I don't really worry about it because, in a way, people who haven't heard the music at all are expecting the worst: another actor/singer/songwriter, just what the world needs. But I think I'm able to defeat that pretty quickly and, next thing you know, it's a show and it's worth what they spent on it.
AVC: You can only go so far on the audience's goodwill.
JD: Well, yeah, but then you've got to be able to deliver. And, having played publicly for about 10 years now, I tell you something: What the actor brings to this is someone who knows how to engage the audience, knows how to perform, and knows how to structure a show, whether it's a play or a 90-minute set. I've learned a lot outside of music that informs how to do it, so it's not just navel-gazing songwriting. There's a show. You're sitting in the living room with me, and I'm gonna make you laugh harder than you have in a long time. Utah Phillips, he's since passed away, but he was a great one-man-show-with-a-guitar-type guy, and he came out and would do a song. I should look it up, it's something about the railroad. And his opening song lasted 20 minutes because he kept stopping it and talking and doing this stuff. And you're going, "That's just great." I talked to his agent, Jim Fleming, afterwards—we have the same agent—and I said, "That whole thing, man, he just winged it." And he said, "No, no, no. Every word is written, every word is chosen. He just made it look spontaneous." That's what actors do. We make it look like it's happening for the first time. The show, over the 10 years, while there are many parts that I do wing and I move the setlist around depending on the crowd, someone thought about it. All the acting and the writing, it all enters in to walking in and sitting down with a guitar.
AVC: What do you get from music that you don't get from acting, and vice-versa?
JD: It's all the blame and all the glory, meaning that because I have no band, creatively it's just me. I don't have to worry about a studio or the other actors. It's just me. I don't have to tell anybody what I'm doing; there's no director with notes from the last show or whatever. You're all on your own, and so I like that; I like the freedom. If you do a movie, you shoot it, and then a year later you see what they did with it.
AVC: On your other CD, you speak of being star-struck and being rendered speechless when meeting George Harrison. You've worked with a lot of legendary people. Have you ever felt that way about anybody else you've collaborated with?
JD: Yeah, I've worked with Meryl Streep a couple of times. Bring everything you've ever learned to work with you because, when you're working with Meryl, you're gonna need it that day. Because she's that good. But I've been around a long time now so, as far as the acting end, they're all kind of like peers now. Even the De Niros and the Meryls, while they're immensely successful, when you've been around 30 years, it gets to be a small community, and you all know each other and each other's work. That's okay; it's really not that intimidating. I went to Crossroads [Guitar Festival] in Chicago recently, and was backstage for three days and got to meet Clapton. That was pretty good; that one mattered.
AVC: In Purple Rose Of Cairo, you replaced Michael Keaton. How did that come about? Had you auditioned for it, or did you just get that call?
JD: I think they made a mutual decision, Michael and Woody [Allen] mutually. What I was told is that it's just not working, so Woody recast it. He screen-tested about three or four of us on a Wednesday and made his decision on Thursday. And it was me, and we were shooting on Monday.
AVC: Is it stressful coming into a situation that's already—
JD: Well, certainly then, with Woody, because it's such a coup for an actor to score a Woody Allen movie, and then you get the script and discover that you've got two leading roles in a Woody Allen movie. You're almost better off not having a lot of time to think about it. All you've got is a weekend to learn the lines for Monday and Tuesday's work, and just go to work. It helped that I was just thrown into it. You pinch yourself: You're on a set and there's Mia Farrow, and there's Woody Allen off-camera saying, "Action." It's pretty good.
AVC: You have to go on instinct. You don't really have time to be nervous.
JD: Well, it's also another one of those, "Please God let me remember everything I've ever learned" moments. I just hope I'm prepared to do whatever he's going to need me to do. If it's sports, they give you the ball at the end of the game and you have got to hit the shot. At this level, when you walk onto the set of a Woody Allen movie, you have got to hit the shot.
AVC: You mentioned directing before, writing and directing both for the stage and also for film. How did that change the way you saw or approached filmmaking?
JD: Well, you understand that part of the process that doesn't involve you as an actor. When you're the actor in a movie, all you're concerned about is executing your role and making sure that you give the director some options. Then you wrap the shoot and you walk away thinking the movie's done. And it is, for you. But if you're directing it, you're only a third of the way through. That's what I learned on the two indies I shot. You're editing for months, putting the music on it, doing the sound, doing this. It's another six months on this thing, and actors don't know that. As a writer, having written a movie, you then shoot it and that's just another draft of it. You may add some things and try some things, and then you go to the editing room and that's the final draft. You literally rewrite. You may not make major changes in the story, but you're certainly focusing scenes in the way that a writer would. I think that, as an actor, I never truly understood that until I was in the editing room making those kinds of decisions. It made me come out of it realizing that, really, my job as an actor on a film is to just throw as many options against the lens as a director might need. Nobody really knows until you get into editing where it's gonna go, whether you do the speech quickly or slowly, whether you should look away or not away. Any actor that says, "I know how the character would do this, and this is the way to do it," has spent one too many years at star school. You just don't know. Having written and been in an editing room, you want options. "Man, I wish I had one where he put a little bit more energy into that speech, or had taken a little bit more time with it. Oh look, take four, I do have it." It's also called covering your ass as an actor.
AVC: Your first film as a writer-director was Escanaba In Da Moonlight, which began as a play. What made you think of it in cinematic terms?
JD: Well, I wanted to do an indie, and that was my most successful play. And I think that, even if it didn't get distribution nationally, we would be able to distribute it regionally, which is what happened. It was my most successful play, why didn't I just turn it into a screenplay? And I was able to.
AVC: The film is rooted in the culture and the language of the Upper Peninsula. Did you worry that it would limit your appeal?
JD: I don't care. You could say that of every Irish movie, or every London movie, or every movie that was set in the Tennessee hills. I didn't care about that. I think the bigger problem, and it's part of the problem that indies had even more 10 years ago, is distribution. You've got distributors going, "Man, if only you'd have had Adam Sandler and Jim Carrey do cameos in it, then we could market it."
AVC: So what motivated you to go back to Michigan?
JD: I understood it. We wanted to raise our family; the kids were young at the time. They're now in their 20s, and we wanted to raise them in a place we understood. [My wife] Kathleen and I are both from Michigan, so that's why we came back home.
AVC: From a business standpoint, what are the advantages and the disadvantages?
JD: Well, you're not able to drive 15 minutes to a meeting on the 20th Century lot in L.A. You're kind of away; you're distant. That didn't really matter; we moved back here in '86, at a time when the movies were happening, and more often than not directors came to Michigan. There were times when I had to go out to L.A. and stay a little while and do some meetings, but pretty much it didn't really matter. It was just at the start of the, "You can live anywhere" phase. And now you truly can.
AVC: In The Squid And The Whale your character was at least partially based on Noah Baumbach's father, who was on the set occasionally. How did that affect your performance?
JD: Well, I think it was based on some things in Noah's life; I wouldn't say from my end that it was a direct lift or imitation. I kind of combined a little bit of that family history with just the writer that I am, the writer that I've known. That solitary existence and, if you lack success, that kind of self-critical acclaim that you have to generate for yourself in order to keep working on the next book. It made sense to me, it really made sense. That artist who was under-appreciated, I got that, I understood that. It was a little bit like taking all of that and just pouring gas on the flame and lighting it.
AVC: Sort of magnifying?
JD: Well, I think, again, one of the things that we found in rehearsal was that I had met his father, and I was trying to do a little bit of an impression of that, but it was wrong because it wasn't really his father. It was, yes, based on him but I said, "You know what, no. I've got to tap into me." So I did. I tapped into a guy who's not been nominated for an Oscar and occasionally finds myself the under-appreciated actor, so I took those two things and got bitter about it. That fed Bernard. That's what acting is sometimes: using parts of yourself and just lighting it and stepping in front of the camera.
AVC: Is that something that would matter for you, being nominated for an Academy Award?
JD: I'll rent a limo, I'll get a tux; I won't turn it down, absolutely not. It's certainly the kind of thing where it's better to get nominated than not.
AVC: The Golden Globes are not—
JD: It's nice to get a Golden Globe nomination; I won't badmouth that. But to get an Oscar nomination? Absolutely. It's like getting nominated for a Tony for God Of Carnage. Forever and ever, I'm a Tony-nominated actor. That's just a label that the industry puts on you and it's great, it means a lot. So yeah, absolutely. But, in regard to Squid And The Whale, you're looking for things that you can blow up and use as fuel. You've got to tap in to stuff, at times, that's there and may not be big deal, but for the point and time when you're shooting that character, it's a big damn deal. You blow it up so that you can get where you need to go. It's called using yourself.
AVC: How did The Squid And The Whale change your career? Do you think that people saw you differently?
JD: I think once you've done Dumb & Dumber, they decide that's what you are. It's that whole thing I was saying about comedy being a second-class citizen. Once you've done that, but yet you've done other things, Hollywood tends to forget that. So there was an effort made to try and show the range from Dumb & Dumber, to a Gettysburg, to a Pleasantville. But then Squid came along, which was about as far away from Dumb & Dumber as you can get. So in a way that was the end of that, "Oh, he did Dumb & Dumber that's all; he's not really serious. Oh, here's Squid And The Whale. Wait a minute, time out, maybe not." Suddenly I had range.
AVC: In the 1980s you were on the cover of GQ with the headline, " Is Jeff Daniels The Next Cary Grant?"
JD: I don't write the headlines. You guys do.
AVC: How did it make you feel?
JD: I didn't buy it for a second.
AVC: Do you think it created, in people's minds, these impossible expectations?
JD: It's a magazine cover. That's all it is. I don't tell you about impossible expectations; again that's you guys. I don't give a shit about that.
AVC: Do you have plans to write and direct films again? Is that something you'd like to return to?
JD: Not films. We're looking at some television stuff that might actually pan out that would be a great opportunity. I think it's interesting when the business changes. I think a lot of the writing has gone to cable—a lot of the writers, and the writing, and the risk-taking. What were once really great indie films 10 years ago, those writers are now able to do that thing and—key—get distribution and get it to people on cable, on those 300 channels or whatever we've got now. In a way, I don't know if it is yet, but that golden era of television in the '50s where you had Paddy Chayefsky and all these guys writing for Playhouse 90 and all of that, we may be seeing a resurgence of all of that. Amidst all the reality shows and the American Idols, there's a lot of really great writing going on in cable, and even in network. That interests me. That'll keep me on that side of the business if I can participate in that. We'll see.
AVC: It seems that television is getting much more writer-friendly and becoming a more writer-centric medium at this point.
JD: I'd say very much so, yeah.
AVC: It also seems like television, paradoxically, has never been better and never been worse.
JD: Yeah, true.
AVC: The great stuff is unbelievably great, your Mad Mens and your Wires and stuff like that, and the bad stuff is so—
JD: I think with cable too, you don't have to play to 15 million people to be called a hit. You can play to a million people. You're given the freedom to play to that specific audience, as long as it's making money and the subscriptions are there and it's supported. It reminds me of when you're in a sold-out show Off-Broadway: You're only playing to a 150 people, but you're sold out. Where on Broadway, if you're playing to 150 people, you're closing in two weeks.
AVC: It seems like, with films, the more money that you spend on a film, the fewer chances you can take.
JD: Yeah, and it's also like we don't know what to do with movies. Not all, there are a lot of good movies out there, and they're character-driven and they're trying, but video games are not helping. You see a lot of these movies that are really just 90-minute video games. The effects are incredible. I get it: There's an art to that, terrific. I'm not interested in it, but there's an art to that I suppose.
AVC: It seems like the sudden domination of 3D is also putting the emphasis more on spectacle.
JD: I think what's interesting too, and this is good and this is bad, but the days of going to the movie theater and seeing larger-than-life characters on a 30-by-60 screen, that's changed because of the home entertainment systems we have now. HD channels, and big-screen TVs, and good sound coming out of the TV, instead of the just the Zenith in the corner. The day is gonna come—it's here now, they just don't know how to spread to money out—where the movie opens on Friday and you've just got to download it on your TV or computer for $9.99. It's there, the technology is there. They could do it now, and I think that's obviously where we're headed. I don't think that's all bad; you have the comfort of your own home instead of sitting through a half-hour of commercials. I don't know; I just think it won't be long before we're getting movies right to our doorsteps.
AVC: Technology never stops advancing. The antithesis of that is live theatre, which obviously you're very involved with on a number of different levels. Could you talk about what led you to found The Purple Rose Theatre?
JD: When we moved back in '86 to raise the kids, after about three years, creatively I was going to sleep and I missed the New York theater scene. I missed the creativity that happens on a good movie set. And I was sitting in Michigan and kind of felt stagnant. So I bought a building, thinking that I could create a professional theater company that did new plays, because that's how I was brought up at Circle Repertory Company in New York City Off Broadway. So I did it. It helped me; creatively, I was awakened and turned myself into a playwright and really enjoyed it, and also created a creative home for people who are pros … and maybe didn't get the breaks I did, but were still good. It also provided a place for that 21-year-old kid, who I used to be, who didn't have this place, who didn't have really good actors who were able to teach me what I needed to know before I went to New York. I just got in the car and went to New York at 21. So now that kid, he or she, now has a place where really good people can make him or her better. It's a big fat giveback, and it's also helped the community. Rocco Landesman, the head of the NEA [National Endowment for the Arts], came out last March. He was doing a nationwide tour of arts organizations, and he just looked at our theater and this town, the way we bring 40,000 people a year into this two-stoplight town. There are restaurants and art galleries, and bookshops, and western cowboy boot stores, and on and on and on, that are thriving because of the 40,000 that are walking around with wallets and purses before they go see a show. So he said, "This is a model for what the arts can do economically and culturally for a community." He had me go to Washington and testify before Congress on behalf of the NEA in April. It was a great honor. In a way the theater has done a lot for me, but it has probably done a lot more for the community and for the people that are inside it.


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One of the best parts about DC was that who should be there at the same time other than, oh, you know, WHITE LIGHTNING. Elizabeth and I met up back in the summer and since lightning never strikes the same place twice we met up again in Georgetown and I am pretty much convinced we are the most dynamic duo ever.The only vintage shop open was this place Annie Creamcheese, which some of you recommended but we didn't even know that was the name of it til we actually paid attention to the posters hanging everywhere written in a font I'm pretty sure my 9 year old birthday party invitations were written in. Pretty good selection but the prices were INSANE, yo. I say this not as just a 12 year old with the money of a 12 year old but as an American citizen with a...budget? conscience? the want to buy pizza after school comfortably? I dunno.We are at the end of a psychedelic belt tunnel.We were grateful however to the in-awe-guration sale, because it meant I could get these crazy futuristic sunglasses and Elizabeth could get a Roman war hero pin (since she fought
back then, dontchaknow) and her friend Melissa could get an adorbz top.We talked about Bat Mitzvah dress options and how she is trying to make Melissa a go-go girl and fashionz and how Chuck Bass always improves school essays and about how I am going to move in with her in NY (somehow, okay?)That blue sweater which is totally Chicago Children's Museum is the REAL 80s Betsey Johnson shiz, not all that recent revival stuff.
Also-I look like Spock.We will meet again soon, WL. Miss you already! xoxo
Also-I look like Spock.We will meet again soon, WL. Miss you already! xoxo

subset: commoncrawl


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On the Separation of Press and State
As it often does, The Wall Street Journal this morning offers us an op‐ed with which it surely must disagree, entitled "Journalism Needs Government Help" – bringing to mind the fabled knock on the door: "Hi. I'm from the IRS and I'm here to help." The author is no less than Lee Bollinger, former dean of the law school at the University of Michigan and now president of Columbia University, my undergraduate alma mater. As with many an academic, Bollinger has long been a friend of public‐private partnerships: indeed, one could say he has lived by them. But the partnership at issue here is so fraught with peril that one wonders how it can be advanced as uncritically as it is in this little piece.
The argument, in essence, is this. The communications revolution has decimated media budgets. Indeed, "the proliferation of communications outlets has fractured the base of advertising and readers," leading to shrunken newsrooms, especially in foreign bureaus. Thus the FCC and FTC are now studying the idea of enhanced public funding for journalism. Not to worry, Bollinger assures us, since "we already have a hybrid system of private enterprise and public support" – to wit, public regulation of the broadcast news industry and the Corporation for Public Broadcasting. And the most compelling example of state support not translating into official control, he continues, can be found in our public and private research universities, which receive billions of government dollars annually with no apparent problem.
Really? Try getting your hands on some of those funds, or an appointment in one of those departments, if you have reservations about global warming. Or do we need any better example than the case of Elena Kagan, now before us. When the good dean took her principled stand against admitting military recruiters to the Harvard Law School, the larger university community reminded her of the government funds that were thus put in jeopardy, and she adjusted her position accordingly.
But here comes the kicker: Like those who imagine that there'd be no art without the National Endowment for the Arts, Bollinger tells us that "trusting the market alone to provide all the news coverage we need would mean venturing into the unknown — a risky proposition with a vital public institution hanging in the balance." Was there no news before the invention of NPR, all things considered? And back on the academic analogy, he adds, "Indeed, the most problematic funding issues in academic research come from alliances with the corporate sector. This reinforces the point that all media systems, whether advertiser‐based or governmental, come with potential editorial risks." True, but government is categorically different than private businesses, of which there is no shortage. Yet those who fail to notice that difference, or discount it, are forever drawn to government because it is, as we say, so easy to get in bed with.


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PACE Pathways
Program for Adult College Education
A Learning Community
Offering paths to various Associate of Arts Degrees
What is PACE Pathways?
PACE Pathways is a two-year learning community designed for working adults looking to complete an Associates of Arts Degree.
Currently the longest running learning community program in the Peralta Community College District, PACE Pathways has a great track record in helping working adults like you finish their associate in arts degrees and transfer into a four-year college or university by offering classes and services in the evenings, online and weekends.
As a PACE Pathways student, you will travel together with other PACE Pathways students in locked classes (cohorts) for the first year through a fixed sequence of courses. Starting in Fall 2014, all courses will be scheduled in the evenings and some will include an online component. On Saturdays you will have the opportunity to attend tutoring, counseling workshops, and other support services. You can start the program in Fall or Spring semester. After the first year of study you are mentored to choose your major or degree path. In the second year of the program you remain a PACE Pathways student, with all of its benefits, but take most of your courses in your chosen major.
If you are PACE Student who entered BEFORE Fall 2013, please read this important note.
Read More:
- Benefits of PACE Pathways
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- Who to Contact
- Important Note for PACE students who entered BEFORE Fall 2013


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Airlines Could Allow Gadgets for Takeoffs
U.S. passengers may soon be allowed to use their electronic gadgets during takeoff and landing, according to a draft report from the U.S. regulator, the Federal Aviation Administration. But there is no mention of allowing phone calls. Matthew Curtin reports.
This transcript has been automatically generated and may not be 100% accurate.
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National committees, PACs pump about $5 million into 6th Congressional District
Media buys, survey research and mailers have accounted for the millions of dollars in negative advertising from outside groups that's poured into the race for the 6th Congressional District.
Based on Federal Election Commission reports a steady stream of money from Super PACs and national committees have flooded the race since September.
And with no public polling in the race between Republican U.S. Rep. Mike Coffman and Democratic state Rep. Joe Miklosi, following the money, as they say, is the best indicator as to the perceived competitiveness of this contest.
On Wednesday, the Democratic Congressional Campaign Committee filed a FEC report that revealed a $549,916 media buy in opposition to Coffman. And on Oct. 19 the National Republican Congressional Committee made a media buy for $500,072 in opposition to Miklosi. The NRCC has also spent about $49,000 in survey research on the 6th District race.


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NFL Training camp season is always a time for irrational exuberance. Every team thinks it can win the Super Bowl, even though 31 of those teams will end being horribly wrong. And so, to preview the upcoming NFL season, which could be the most unpredictable ever, we now give you five reasons why your favorite team could win the Super Bowl. Today, it's the Minnesota Vikings (DISCLOSURE: I am a Vikings fan, so this will be painful).
1. No franchise is better at rehabilitating old, washed-up quarterbacks. While you may have laughed at the Vikings trading two draft picks to Washington for Donovan McNabb when they could have had him for a ball of twine and a $3 coupon to Chic-Fil-A, it should be noted that few teams do a better job with retread QBs than the Vikings have over the years, making playoff runs with Jim McMahon, Randall Cunningham, Jeff George and Brett Favre. It's probably sheer luck, or perhaps there's something in the water (loon urine is a steroid!), but regardless, old QBs play well once they come to town. And then a year later they fall apart. But for now? HONEYMOON PERIOD.
2. Is Donovan McNabb really so awful? Like many Vikings fans, I kind of winced when the McNabb trade came through. But then all the Football Outsiders people were like THIS IS A HEIST ACCORDING TO OUR METRICS and I nearly got whiplash changing my stance and being like, "Ha! We got a motivated and fully operational McNabb! SUCKERS!" It's true that McNabb was hampered by a hilariously bare cupboard of offensive talent in Washington: no line, no wideouts, no useful backs. It's also true that he was also quite terrible himself. But perhaps having Adrian Peterson and Percy Harvin will cause McNabb to stop rocketing the ball into the turf. Perhaps. Probably not. Also, the Vikings' O-line is secretly terrible.
3. No Ray Edwards, no problem. You probably remember defensive end Ray Edwards from the time he nearly entombed Tony Romo in the 2010 divisional playoffs. Edwards was a monster in that game, and now he's off to Atlanta for a deserved payoff. But Edwards was the beneficiary of playing alongside the Williamses and Jared Allen, and the team is likely to get similar production out of Brian Robison. No one knows if the Williamses will still be suspended for four games in theStarCaps case
(I kind of wish they would, just to put the dread behind), but the team acquired former Saints DT Remi Ayodele to hold down the fort in their absence. This is still a very talented defense, particularly if CB Cedric Griffin is fully healthy.
4. BRAD CHILDRESS ISN'T THE COACH ANYMORE! Did you see this team beat Philly in Philly with Joe Webb last season, using a brilliant strategy of merciless corner blitzes? That doesn't happen with Brad Childress in charge. With Leslie Frazier as the coach, there's a certain security, a sense that the team may lose, but at least it won't lose because it was so horribly coached.
5. Because they've already been written off. Most prognosticators have the Vikings finishing no better than 3rd or 4th in the division, especially with the additions Detroit made in the draft. But the Vikings tend to do okay when expectations for them are mild. Their 1998 15-1 blitzkrieg was a season no one saw coming, and so perhaps a miraculous season from McNabb isn't as far-fetched as it seems. Then again, I put $50 on Christian Ponder starting by Week 8. Vikings fans are nothing if not pragmatic.


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As a developer, I take a lot of screen captures. I often take a lot to share with StackExchange members on chat. The problem is my desktop is so cluttered with screen captures that they're now overlapping!
On Mac OS X 10.5.8, how do I change the default location where screen captures (taken with Command+Shift+3 or Command+Shift+4) are placed?
EDIT: I would prefer a solution which doesn't require installing any software.


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3 killed, 10 held in raid on senior banker's residence
3 killed, 10 held in raid on senior banker's residence
JALALABAD (Pajhwok): Three people were killed and more than 10 others arrested during a raid by security force on the residence of a senior banker in eastern Nangarhar province, an official said on Wednesday.
Special Forces raided the house of Maulvi Ahmadzai, head of the Afghanistan Bank for the eastern zone, Attaullah Khogyani, the governor's spokesman, told Pajhwok Afghan News.
The midnight operation took place in Koti Taran area of Khewa district. Ahmadzai's sons, brothers, nephews and a gust were arrested during the raid, Khogyani said, without giving more information.
A security official, meanwhile, confided to this news agency that Saad, Zakirullah and Ziaullah were killed and 18 others captured. The source said the operation was aimed at arresting some individuals linked to Daesh.
Related Article
Download "Pajhwok" mobile App, on your smartphone to read and access latest news, features, interviews, videos and photos about Afghanistan.


text: Grandma VS Black Cat Sprite Sheet is super cool for mini games. Naughty black cat stole Grandma lovely gold fish and Grandma tried to cath the naughty cat by throwing the yarn ball, the cat tried to escape and trap Grandma with his poo! The Main file are well organized and crafted, easy to edit and smaller file size. Enjoy!


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November 24, 1968 - September 26, 2013
Middletown, NY
Trisha Kelly-Turner died unexpectedly on Thursday, September 26, 2013 at Orange Regional Medical Center. She was 44.
The daughter of Robert and Shirley Kelly, she was born on November 24, 1968 in Middletown. Trisha was a 1986 graduate of Goshen High School.
A family statement read, "Who can find a virtuous woman? For her price far above rubies".
Trisha will be forever loved and remembered for the extremely caring person that she was, from all the people in her life to the animals and wildlife on the farm. She took in a bird with a broken leg, a wild turkey with an injured wing, and bottle fed baby lambs in her house until they were able to be on their own. She still had time to home school her beautiful, loving daughters, Julia and Rebekah. She just wanted everyone in her life to be happy.
A dedicated mother and wife, she is survived by her husband, John W. Turner Jr. and daughters, Julia M. and Rebekah Turner, all at home; her parents, Robert and Shirley Kelly; brother, Randy Kelly and his wife, Betty; nephew, Shane Kelly; niece, Heather Kelly; mother-in-law, Carol Turner, father-in-law, Jack Turner, sisters-in-law, Deborah Beamesderfer and her husband, James and Ruth Turner Loria and her partner, Paul Tenney. Trisha is also survived by her longtime and best friend, Danielle Potenza; several aunts, uncles and cousins.
There will be no visitation. Cremation will be private at the convenience of the family.
Memorial contributions in Trish's name may be made to the Church at Circleville, 80 Shaw Road, Middletown, NY 10941.
Arrangements under the direction of Applebee-McPhillips Funeral Home, Inc.


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Jim Reavis on cloud transparency, cloud security trends
Cloud computing continues to be an irresistible trend for organizations looking to cut IT costs but security teams remain concerned. The Cloud Security Alliance has been working to address the security issues with a number of initiatives. In this video interview, conducted at RSA Conference 2012, CSA Executive Director Jim Reavis talks about a wide range of cloud security trends, including cloud transparency and the state of cloud security.
Reavis talks about the CSA's STAR program, which aims to provide transparency into cloud provider security controls, and new initiatives such as the CSA's innovation initiative, which plans to help incubate new technologies that address cloud security gaps. He also talks about the role of security teams as cloud computing deployments grow.


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Another month or two, another bunch of movies seen. October was a bit middling with few real highlights, but November picked up in a big way. November 11 in particular was a great day, with two 5/5 movies seen, something I don't think has ever happened before. Good times.
Fright Night (Craig Gillespie, 2011)
A solid horror movie, albeit one with few surprises along the way. What I really liked about it was how the characters and their reactions felt largely believable. They filled standard parts for a horror film, but they did in such a way that they didn't come off as mere archetypes. That was cool, and a spark of just the kind of thing I'd expect from the director of Lars and the Real Girl.
Room 237 (Rodney Ascher, 2012)
I wouldn't take any of the theories on Stanley Kubrick's The Shining presented in this documentary as anything resembling facts, but it's nonetheless quite fun to listen to people talk about something they're passionate about and have devoted a lot of time to. It's all fairly well executed and presented, but it does get a bit samey at times. Perhaps a shorter run time would have been a nice idea.
God Bless America (Bobcat Goldthwait, 2011)
As subtle as a bowling ball, and roughly as sharp, but at its best, it's a really funny black comedy; at its worst, it's Goldthwait soap-boxing in the guise of 10 minutes long montages of TV parodies. It's a good movie, but hardly a step forward from his previous film World's Greatest Dad.
Good Bye Lenin! (Wolfgang Becker, 2003)
A sweet story combined with an interesting look at East Germany at the time of the fall of the Berlin Wall. While the basic premise of a lie that needs to be upheld is far from rare, the setting and earnestness makes it work here. A fun and fairly touching watch.
Magic Mike (Steven Soderbergh, 2012)
The acting is the strong point of the film, with Channing Tatum doing everything right in the lead and Matthew McConaughey putting in a supporting turn that's charisma all the way through. The story is fine, but you'd expect a Soderbergh movie about male strippers to either have more to say, or at least put a fresher spin on things. There's a lot of angles that could be explored here, and it feels like there's plenty of missed opportunities. Not the director's bravest effort.
A Nightmare on Elm Street (Wes Craven, 1984)
Very 80s-y. Freddy is more goofy than anything, and the ending is awful, but it does have its moments. Although not many.
The Eye (David Moreau & Xavier Palud, 2008)
Jessica Alba sees something scary and freaks out. Repeat a thousand times. Roll credits. Weak horror movie with a story that moves at a snail's pace.
Avalon (Axel Petersén, 2011)
Kind of dry, like many Swedish films tend to be. Johannes Brost puts in a strong lead performance, and really shines when his character is stricken by guilt. Those scenes are the highlight of the film. The rest, I could take or leave. The ending is pretty but weak.
Side Effects (Steven Soderbergh, 2013)
Twisty, tense and entertaining thriller that keeps you on your toes throughout. The antidepressant element of the plot helped introduce some welcome ambiguity to the proceedings, and Rooney Mara puts in a performance at least as good as the one in The Girl with the Dragon Tattoo. Just a damn solid film.
The Innkeepers (Ti West, 2011)
Perhaps not so much a slow-burner as a late-starter, The Innkeepers lulls you into first thinking it'll be one certain kind of horror film, only to carefully flip your expectations upside down – or at least 90°. By the end of it, the tension and atmosphere had me clutching my pillow tightly. Great pacing, wonderful execution, and a very compelling set of lead characters. Best horror film I've seen in quite some time.
Win Win (Tom McCarthy, 2011)
There's little particularly new or noteworthy about the story and characters in this film, but fine execution goes a long way and makes this a solid and enjoyable watch regardless. With a lesser cast, this could have turned out really weak.
Martha Marcy May Marlene (Sean Durkin, 2011)
While there's a lot to like about this film, the best reason to see it is to witness Elizabeth Olsen's terrific performance in the leading role. There's a lot of tricky emotions at play for her character, and she nails it all. The rest of the movie can't really hope to match it fully, but that says more about Olsen than anything else. It's a fascinating character study, as much about paranoia as about cult life, and while the ending really caught me off guard, it did so in a way that made me reevaluate what the film was really trying to say. And that's fine. As is the movie.
The Guard (John Michael McDonagh, 2011)
Brendan Gleeson is in fine form here, playing a somewhat grumpy policeman. He and Don Cheadle have plenty of fun interactions with one another, rising above your usual "buddy cop" routines. The plot itself might be somewhat familiar, but that's not what you should be here for; the Irishness of both the humor and the tone is what makes the film stand out.
We Need to Talk About Kevin (Lynne Ramsay, 2011)
The opening scene had me immediately enthralled. 10 minutes in, I had found 10 or so things about this film I really loved. And then it just kept on going at that same high level. A horrific tale to be sure, but it's impossible to tear one's eyes from the screen. A top-notch performance by Tilda Swinton, and Ramsay's directing is flawless. Had I seen this when I was first getting into movies some years ago, it would have blown my damn mind. Even watching it now, it still does.
Gravity (Alfonso Cuarón, 2013)
I wasn't all that enamored by Cuarón's much-beloved previous film Children of Men, finding it visually impressive but sterile to a fault in terms of story and characters. I was thus a bit wary of Gravity, in spite of all the praise it has been receiving. Well, Gravity is good. It's really good. Great, in fact. The visuals are certainly the highlight here too, but they're combined with solid characters (Sandra Bullock has probably never been better), thematic food-for-thoughts, and more suspense and excitement than you can shake a stick at. Wonderful.
Headhunters (Morten Tyldum, 2011)
Cool Norwegian thriller that ramps up and transforms as it moves along. Some of the more comedic parts feel a bit out of place, but that's about the only major gripe I have with the film. Everything else is pulled off really well, which makes for a captivating ride.
Skyfall (Sam Mendes, 2012)
Exhilarating action scenes, solid plot and characters, interesting theme of old vs new, expert pacing, and visually stunning. That last thing is almost done to a fault, as there were times when the flashy cinematography took me out of the moment. Overall, however, this is a very fine action film, one of my favorite Bond movies, and another winner from Sam Mendes.
Six Degrees of Separation (Fred Schepisi, 1993)
Six Degrees of Separation somewhat fails to get its point across, and the transition from stage to screen is not a particularly smooth one. Whether Will Smith is just ill-suited for this kind of theater material or whether it was just too early in his career for him to tackle it, I'm not sure. He's not bad, but his part is one that ought to sparkle, and it doesn't here. The cast is fine for the most part, though the acting is lacking in "oomph" until Stockard Channing's big emotional scene towards the end.


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Comic books browse by: Shop category:
Artist Franco SaudelliAvailable series in store category "Comic books"
Franco Saudelli in the COMICLOPEDIA
"Franco Saudelli is mostly known as an artist of erotic comics. However, since 1977, Saudelli's work appeared in several Italian and French magazines, like Lanciostory, Orient-Express, Libération and Charlie Mensuel. In the 1980s, he started making short erotic comics for the magazines..." [ Read more ]


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Letting Go of the Past
If "genius is making the complex simple", then the Baboon Rafiki was a genius. Most of you have seen the Lion King and will be familiar with Rafiki as he wanders around the movie sharing his wisdom and observations with all who would listen. In one scene, Simba is lamenting that change is tough and he has been running from the past for too long. An unsympathetic Rafiki whacks him over the head with his stick.
Simba recoils. "OUCH…what did you do that for?"
Rifiki responds, "it doesn't matter it is in the past!'
Simba: "Yea but it still hurts!"
Rafiki: "The past can hurt. But the way I see it, you can either run from it or learn from it."
The past is a great school and so much can be learned from our experiences. We all have fantastic memories that fill us with optimism and hope. But we also have many mistakes and misses that fill us with fear and doubt. We have to be careful that we are not allowing our past losses to limit tomorrow's victories.
I know it is so hard to do. The emotions that we felt during the bad times seem to be so powerful and easy to remember and the joy that we felt during the good times can feel fleeting and almost too delicate to grasp. But, I want you to think for a moment about mountain biking or hiking. The principle is the same. It is easy to remember the uphill portions. They take longer and require more effort, while the exhilarating downhill parts happen so fast it's hard to recall them!
But when you think about it, the miles you rose uphill are perfectly equal in distance to the miles your rode downhill. I believe it is the same with life. If there was a way to measure the good times and bad times, I am confident that the good would outweigh the bad. Do not allow the loud voice of doubt to silence the hope that is inherent in all of us.
So, if you feel a sense of reluctance or fear when you are building your business and establishing your legacy, or if you feel a lack of confidence based on a brief moment from your past - think of Rafiki and smack yourself in the head.
Don't forget, "…it doesn't matter it is in the past!"
Forever Yours,
Rex Maughan
CEO, Forever Living Products


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Barack Obama came to power on a promise to change the way Washington worked and to make his White House "the most transparent ever." The Daily Caller reports today that instead of adhering to new standards of ethical behavior, the Obama White House has trouble even measuring up to the old standards. Their technology office has demanded arguably-illegal discounts from vendors, for example:
Two sources say a top White House technology official, Chief Information Officer Brook Colangelo, routinely asked technology vendors for special deals based on his position as a public official.
"I heard the CIO talking to various technology vendors, saying … like, 'You should give this to us for free because we're the White House.' And he actually said that to people," one source said. A second source said Colangelo continued the practice even after having been confronted about its appropriateness.
Asking for discounts as a White House political official violates ethical rules and potentially federal law, experts say.
"You're asking me a hypothetical because I'm not endorsing any facts here," said Lanny Davis, former special counsel to President Bill Clinton, but "I can't imagine a circumstance where a public official based on the fact that the person is a public official who asks a commercial business for a discount, I can't imagine how that's ethical under ethical rules in the White House that I know of, and it might even be worse."
Remember how Obama pledged to keep lobbyists out of the administration? That promise got broken in the first days of his administration, with dozens of "waivers" of the no-lobbyist rule flying around the White House. However, Obama sternly insisted that any former lobbyists would have an impermeable firewall keeping them from engaging with their former employers for their benefit. That impermeable firewall must be past its expiration date:
For instance, e-mails recently released by the White House show Andrew McLaughlin — a former Google lobbyist and now deputy chief technology official for the administration — e-mailing his former employer from his personal gmail account on policy matters.
On one occasion, a lobbyist for Google asked McLaughlin and Susan Crawford, then a telecommunications advisor in the National Economic Council, for a meeting on the Federal Trade Commission's (FTC) Internet privacy policy. McLaughlin and Crawford worked with Becky Burr, the lobbyist, to set up a meeting time.
The FTC is an independent agency supposedly immune from White House meddling. While it's unknown what was said at the meeting, Burr's request for the meeting noted the "worrisome implications" of stricter privacy controls on innovation and said "it seems important for the FTC to have administration input on this."
The issue is especially concerning to privacy activists like Consumer Watchdog who fault Google for its privacy policies.
In other instances, McLaughlin coordinated public relations strategy with Google employees.
It turns out that McLaughlin sent "numerous" e-mails from his personal account while at work for the White House. He managed to bypass the White House firewall by using his cell phone to send the e-mails. What did the Obama administration do when it discovered McLaughlin's activities? He received a "reprimand" for "inadvertently" bypassing the lobbying and e-mail restrictions.
Remember how Karl Rove's personal e-mail account became a national news story? Democrats howled that Rove was secretly plotting political strategies without any of the oversight required by law for people with White House positions. Suddenly, bypassing the Records Act is the cool thing to do — and the Daily Caller reports that everyone is doing it now:
The source who worked in the White House for approximately the first six months of the administration said the use of personal iPhones, Blackberries and other smart phones is ubiquitous in the White House.
"A lot of the political staff have two Blackberries. One that's issued by the government and then their other Blackberry. Which they're using their personal Blackberry while they're in the office to talk to other people, probably about official business," the source said.
Are they using their iPhones for official business? "You would think so," the source said. An "example would be somebody in the political staff texts their counterpart over at the [Democratic National Committee (DNC)] and says, 'Hey what should we do about this?' and the person at the DNC says, 'Well, here's what we're doing.' That's, obviously, the worst case scenario where you've got the actual sort of political collusion which is strictly prohibited by the Hatch Act and then also the violation of the records act at the same time.
Opacity. It's the new transparency. Or, in other words, beware of Chicago Machine pols bearing Hope and Change.


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With the new season of "American Idol" beginning Tuesday, viewers are wondering whether Simon Cowell will be around to deliver his arsenic-laced assessments after this season.
However, sources who know Cowell well say that he's not really planning on leaving "American Idol," he's just using the possibility as a bargaining chip to help another show along.
"He's just using his current situation at 'AI' to be able to get 'X Factor' into the U.S.," said one source.
U.S. & World
"X-Factor" is a British show not unlike "America's Got Talent." Cowell's not just a judge on "X Factor," he has a financial stake in its success. "X Factor" is produced by his production company, Syco.
Sources say that Cowell's contract with "American Idol" currently prevents him from launching any sort of competing show, but that will have to change if he renews his contract when it expires this May.
"Simon isn't allowed to launch any competitor to 'Idol' while he's under contract — but he's necessary to the show," said another source close to Cowell. "If push comes to shove, 'Idol' is likely going to try to find any way to keep him onboard, even if that means giving in to the 'X Factor' problem. Otherwise, if there's no more Simon, I'm guessing there will be no 'Idol,' either."
Will 'Lost' live on?
White House Press Secretary Robert Gibbs finally addressed the possibility of the president's State of the Union address pre-empting the Feb. 2 season premiere of "Lost," saying, "I will say this on behalf of ABC Radio: I don't foresee a scenario in which millions of people that hope to finally get some conclusion in 'Lost' are pre-empted by the president."
And now the show's executive producers Damon Lindelof and Carlton Cuse are dropping hints that this season might not, technically, be the last for the show.
"It's a franchise that's conservatively worth billions of dollars. It's hard to imagine 'Lost' will rest on the shelves and nothing will ever be made with 'Lost,' Cuse told The Hollywood Reporter. "Eventually somebody will make something under the moniker of 'Lost' — whether we do it or not. We just made a commitment to this group of characters whose stories are coming to a conclusion this May."
No box-office surprise
Really, this is beginning to get a little boring. "Avatar" was No. 1 at the box office yet again.
This $48.5 million weekend gives the James Cameron flick a fourth consecutive week atop the box office, and brings its domestic gross to $429 million.
In terms of box office newcomers, only "Daybreakers" was able to crack the top five: It came in at No. 4 with a $15 million gross.
Courtney Hazlett delivers the Scoop Monday through Friday on msnbc.com. Follow Scoop on Twitter @courtneyatmsnbc


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Lawren S. Harris
Canadian, 1885–1970
Clouds, Lake Superior, 1923
oil on canvas
102.5 x 127.6 cm
Collection of the Winnipeg Art Gallery; Gift of Mr. and Mrs. John A. MacAulay, Q.C.
Painting, Canadian Modern (1910-1979)
Lawren Harris was a major influence in Canada as a painter of landscapes, portraits, and later, abstract works. He was also a committed and articulate spokesman for both a spiritual and national dimension to art. As a member of the Group of Seven, Harris was interested in developing a quintessentially Canadian school of painting by confronting and depicting the majesty and power of the nation's wilderness. The WAG painting demonstrates Harris's interest, which developed in the 1920s, in the simplification of natural formations—clouds, islands, mountains, and trees—to raise awareness in a spiritual reality that he believed underlay the physical world. This spiritual reality is also manifested through colour. For Harris, blue signified intuition and feeling, and white was used to suggest purity.
Gallery Hours
- Tuesday 11am-5pm
- Wednesday 11am-5pm
- Thursday 11am-5pm
- Friday 11am-9pm
- Saturday 11am-5pm
- Sunday 11am-5pm
- Closed Monday


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Elderly Texas Inmate Accused of Prosecutor Murder Plot
An 84-year-old woman jailed on a theft charge is now accused of trying to hire a hit man to kill one Houston-area prosecutor and maim his boss.
Montgomery County District Attorney Brett Ligon said Monday that Dorothy Canfield allegedly sought to have him attacked and his assistant district attorney, Rob Freyer, killed.
Ligon says Canfield faces charges of solicitation of capital murder and solicitation to commit aggravated assault. She was being held in jail in Conroe, 30 miles north of Houston, on a property theft charge.
Ligon says Canfield allegedly wanted the attacks to appear similar to the recent unsolved killings of McLelland County District Attorney Mike McLelland, his wife, and Assistant District Attorney Mark Hasse.
Online jail records don't list an attorney for the elderly woman.
Associated Press


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Are you having or going to a get together for the Superbowl tomorrow? Do you know who is playing?
I have a few teams I like to cheer on, and when they're out, it's all about the commercials and more importantly, the food and the entertaining. I might pick a team before the game starts, I may not.
What Superbowl Sunday really is to me?
Practice for my Oscar party.
and to dip in the chili:
Reuben rolls with homemade thousand island
chipotle grilled cheese sliders
for dipping everything:
chocolate bourbon caramel truffles
salted marcona & chocolate rice crispies
need even more?
FOODball – great game day eats from friends
are you watching tomorrow? who are you rooting for, Jim or John Harbaugh?


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In a new 2-minute Web video, President Obama is reminding people of exactly what he campaigned for during the election: higher taxes on those making $250,000 or more a year.
The clip is part of the Obama administration's social-media push to raise public support for his position of higher taxes on the top 2 percent of earners as "fiscal cliff" negotiations continue. It is one of the first times the post-election the Obama team has used actual footage from the campaign to show verbatim what he called for on the trail.
"President Obama campaigned on a clear tax plan," graphics in the video's opening sequence read. Then, a flashback to Obama's speech on Sept. 9 in Florida: "Under my plan, first of all, 98 percent of folks who make less than $250,000, you wouldn't see your income taxes go up a single dime."
Since he won re-election, Obama has highlighted what he believes was his victory in the court of public opinion on taxes, suggesting Republicans should accept the politically popular idea of raising taxes on the wealthiest Americans.
"That's the kind of fair, balanced, responsible plan that I talked about during the campaign, and that's what the majority of Americans believe in," Obama said in Hatfield, Pa., last Friday in a campaign-style trip to rouse public support for the White House's position.


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Michael Festa
Class of 2015
Major/Minor: Economics / Accounting & Finance, Political Science
Campus Involvement
- Peer Mentor
- Varsity Baseball team member
- Washington College to Wall Street Program
- Alex Brown Student Investment Fund Program
Hometown: Newtown, PA
What do you do for a campus job or work study?
I am a Marketing intern at the Washington College Geographic Information Systems (GIS) Lab.
What are you up to this summer? And what are you most looking forward to?
This summer I will be interning in the Washington DC office of Congressman Mike Fitzpatrick. He is a member of the House of Representatives' Committee on Financial Services, so I am excited to have an experience that intertwines my interests in Economics, Politics, and Finance. I am also very excited to be in such an amazing city for the summer.
What should every student do before they graduate?
Every college or university has its unique tradition, and WAC's is obviously May Day. Every student needs to experience this uniquely odd tradition at least one night before they leave WAC.
What is your favorite place on campus?
My favorite place on campus is the Johnson Fitness Center. The newly renovated gym is now state-of-the-art and a great place to get a good workout in.


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Game Leaders
Team Stats
Passing Yards
Rushing Yards
Time of Poss.
SPOKANE, Wash. (csssaints.com) – Whitworth University scored 21 points off of CSS turnovers as the St. Scholastica football team fell to the Pirates 36-7 in the season opener Saturday at the Pine Bowl.
This was the first game out of the central time zone for the Saints in program history and the first time the team took a flight to play a game. CSS is now 2-4 all-time in season openers.
The Pirates had the ball first and drove the ball down the field before the Saints held them on downs after an incomplete pass on fourth-and-one at the CSS 17. On CSS's first possession, the Saints were forced into a third and long and would be intercepted on a pass down the field.
Whitworth capitalized on the turnover and after converting a fourth down this time rushed it in from six yards out to make it 7-0 with 5:27 left in the first quarter. The Saints would be intercepted on their next possession as well and the Pirates scored on the first play on a D.J. Tripoli 14-yard touchdown run to make it 14-0.
The Pirates began the second quarter with a 38-yard pass play setting up a one-yard Tripoli touchdown to make it 20-0. The Pirates scored one more time just before halftime when Bryan Peterson connected with Devon Lind for a 16-yard reception to make the halftime score 27-0 Whitworth.
The Pirates out-gained the Saints 289-58 in the half, including 101-31 on the ground. CSS had just three first downs in the first 30 minutes, while Whitworth had 14.
The third quarter would go scoreless as the CSS defense had a couple of nice holds, getting to the quarterback twice in the quarter. The Saints had something going offensively at the end of a quarter, but the drive ended on a fumble around midfield.
After Ryan Tollerud recovered a Whitworth fumble, the Saints threw a third interception, which was returned for a touchdown, but the score was negated by holding penalty. However, Whitworth got inside the CSS 5-yard-line on a 33-yard pass completion on its first play. The drive was capped off by Tripoli's third TD score of the day.
The Saints finally got on the board late when backup quarterback Ian Papenheim found Cory Gebhard for a 19-yard touchdown reception. Mike Theismann tacked on the extra point to make it 34-7. The Saints still have not been shutout in program history. The Pirates had a late sack for a safety to make the final score 36-7.
The Saints were out-gained in the game 407-200. The Pirates averaged 17 yards per completion and converted 12-of-22 third downs.
Tyler Harper was 14-for-24 through the air for 72 yards. Jake Jensen was held to 34 yards on the ground and Chris Gassert added 25 yards. Gebhard led the receiving corps with five receptions for 55 yards and had the one touchdown. Nick Murphy had six receptions for 25 yards. Alec French led the defense with 10 tackles. Tyler Zurn had two sacks.
Bryan Peterson threw for 259 yards and Devon Lind had six receptions for 113 yards for the Pirates.
The Saints will have their home opener next Saturday when they host Iowa Wesleyan University at UMD's Malosky Stadium with kickoff scheduled for 4:30 p.m.Watch all of the action live on Saints Sports Net.


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Creamy mustard pork
Nutrition and extra info
- Freezable
Nutrition: per serving (for 2)
- kcal522
- fat34g
- saturates15g
- carbs11g
- sugars0g
- fibre3g
- protein44g
- salt0.89g
- 1 tbsp olive oil
Olive oilol-iv oyl
Probably the most widely-used oil in cooking, olive oil is pressed from fresh olives. It's…
- 350g pork fillet, thinly sliced
One of the most versatile types of meat, pork is economical, tender if cooked correctly, and…
- 1 large onion, thinly sliced
Onions are endlessly versatile and an essential ingredient in countless recipes. Native to Asia…
- 1 garlic clove, crushed
- 100g chestnut or button mushrooms, sliced
The mushroom is a fungus which comes in a wide range of varieties that belong to two distinct…
- 100ml/3½ fl oz crème fraîche
- 1 rounded tbsp wholegrain mustard
A condiment made by mixing the ground seeds of the mustard plant with a combination of…
- a good handful of fresh basil
Most closely associated with Mediterranean cooking but also very prevalent in Asian food, the…
Heat the oil in a large frying pan. Add the pork and fry for 2 minutes over a high heat. Toss in the onion, garlic and mushrooms and cook for 4-5 minutes, stirring occasionally.
Stir in the crème frâiche and mustard, then tear in the basil. As soon as the crème frâiche has gone runny, remove the pan from the heat. Serve with rice and seasonal vegetables.