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We lived in Drimnagh (south Dublin) at the time and as there were no local Ballet classes I was brought to Irish dancing classes instead, which did not impress me at all! It was not until we moved to Coolock on the Northside of Dublin and we found a Ballet class in nearby Whitehall, that my dream was finally realised. I was 8 or 9 years old.
I loved Ballet and was quite good at it although I was quite shy. Towards the end of my Ballet years I knew I wanted to do a more modern style of dance. I was influenced by Arlene Phillips and her Hot Gossip Dance Troupe. I also regularly watched Pans People on Top Of the Pops, BBC TV, every week! I knew I wanted to "dance on stage" in "shows" but I had no idea exactly what it was I wanted, let alone how I'd go about it.
Around the same time I became aware of an annual event on our own National TV...RTE. The National Finals of John Player Tops of the Town were televised live in June every year, and I LOVED IT! Oh, yes...this is truly what I want to do. I remember going to see Irish Life in a JPT Dublin Final in the Olympia Theatre in 1981, and seeing it live totally captivated me. A new dream to be realised! Little did I know that a certain someone backstage in that show would, in the future become a good show pal of mine.....
John Player Tops of the Town was founded in 1962 and began life in Waterford where it was simply called "Tops of the Town". It went nationwide in 1964 with John Player providing financial support. Local Community Groups entered alongside local Businesses, all across the nation in the Regional and National rounds. RTE came on board and commenced filming the National Finals in 1975. You could even say that John Player Tops was the X Factor/ Britain's Got Talent of it's time!
Love it or loathe it, JPT was an absolute institution. It was a much needed opening for talent in this country. Yes, you had your local Musical societies and Panto groups, but Tops was different! A Tops show was a Variety show with a difference. You had dance numbers, soloists, duets, production numbers and comedy routines all interspersed with each other. However, you also had a limited time-frame (55 minutes) in which to perform all this, so that made for very fast-paced and entertaining shows! There is nothing like the added edge of competition to add spice to your performance. However as it was competition, you never knew how many times you'd get to perform the show that you'd worked so hard on. If you were knocked out at local level the most shows you would do was 4, I think. But.... if you got to the National Finals, you had 6 glorious months of rehearsing and then performing! Ahh......the memories!
I got to "dance on stage" in "shows" after a fashion, by joining a local musical society, Panto Group and a fabulous local dance class! Lorraine Barry, Billie Barry's daughter started her own dance classes for teens /young adults and we eagerly signed up. Oh my God....this was exactly what I wanted. She is a fantastic Choreographer. Another dream realised. We danced with her for about 14 years, whilst also performing in numerous shows. Through this class we got to hear of the Aer Lingus show being choreographed by another Billie Barry daughter, Joan Kenny. Another fabulous Choreographer. Lots more shows came from this. Things were really happening!
All the while we (my best dance pal and I) were avidly following our friends in Bank of Ireland as they performed in JPT. Only dying to get up there ourselves! We got a chance in the early 80's when we performed with Telecom but the company couldn't invest properly in it, so we were knocked out in the early rounds.
The thing about JPT was that your chances of progressing to National Final level was greatly assisted by the money behind you. Money that paid for the best Production Team, Lavish sets and fabulous costumes. Unfortunately that meant that Company Groups tended to fare better than Community Groups but over time an attempt was made to redress that balance, and a separate Dublin Final was introduced for Community Groups. As the years went on Dublin had by far the biggest amount of Group entrants and another anomaly had to be addressed. The year that my best dance pal and I finally got to be involved in a show, that went all the way to the National Finals was 1989 ..... Aer Lingus. That year there were, as far as I can recall, 6 groups who were serious contenders in Dublin. That was in comparison to some regional rounds that only had two group entrants, so this clearly needed addressing. Thankfully that year the rules were changed and 2 runners up, along with the regional winners went through to the National levels. That was very good for us in the Aer Lingus Show because we lost the Dublin Finals and went on to win the National Finals! Which only went to prove the necessity of the rule change.
We, my best dance pal and I, went on to do two more shows in John Player Tops getting to the National Finals with both shows. Namely, Irish Distillers in 1991 (Winners!) and Telecom again in 1992 (Runners Up). There are others with a far better pedigree than me and have been involved in Tops for far longer.
So, after all those years of yearning to be up there in a live JPT National Final did it live up to my expectations? Hell, yeah!! It was truly amazing and another dream realised!
To be in a Tops Show was entirely different from any other onstage experience. Rows over Dressing Rooms??? Dressing rooms??....what Dressing rooms?! We had no time for that. We could never make it to a dressing room due to all the quick changes! We changed in the closest area to the stage we could find....behind the back cyc of the Olympia Stage for example! And woe betide ANYONE who touched your meticulously laid out costumes! Sometimes we wore layers of costumes so velcro is another strong memory! Other times we 'd just make it to the wings and changed there..... once we even changed onstage behind some scenery and came straight back on!! All done with military precision.
The best part of the JPT experience was touring in the Regional rounds. Yes, there was a serious job to do but after that there was the serious parties! Great fun. One lasting memory is the Aer Lingus aftershow party, in Jurys Hotel Cork (national semis) ..... party was in the dying stages at 4 am when out came Earl Gill and his trumpet players to rock the joint!
The scariest part was the nail-biting wait for the adjudicators to announce the Finalists, at all levels. And we can never forget the Adjudicators, especially the regulars like Jim Bartley or the Presenter of the National Finals, Marty Whelan, with his jet black hair!!
John Player Tops made a very significant contribution to community life in Ireland, and to the cultivation of theatrical knowledge and skills. Participation in Tops involved thousands of dancers, singers, musicians, comics, stage hands, set builders and painters, producers, directors, choreographers, writers, costume makers, fund raisers, committees, lighting and sound technicians. In fact (per a 1992 programme I have) it was estimated that 300,000 people had been exposed to or involved in all facets of stage work through the event to that date!
Involvement in JPT shows taught us all so much. Any professional group of people would be hard pushed to achieve what we did. Stage sets were built and had to be adapted, at relatively short notice, for ever changing venues. We also had to cope with a quick turnaround between two shows in the interval. In the National Final you only had the 9pm news slot ( 20 minutes on a Sunday night) on RTE, in which to strike one set and set up the second show!
Aside: Anything could be forgotten in these get-outs ..... National semi in Cork 1992: in our Jesus Christ Superstar Finale of our Telecom show, Jesus Christ is seen hanging on the cross just before final curtain. In order to create the illusion of cross rising we dropped the set. Set is being struck....Jesus is still on his cross, high above floor level... backstage crew forgot the cross and were preparing to leave when they hear a little voice..."eh...helloo..anyone there...can someone get me down!!" Hilarious!!
(*NOTE - Aug 2012: see here for exciting news of Tops of the Town revival in 2013!!)


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Friday, July 8, 2011
Almond Travel Cookies
Sometimes I end up with too many yolks. It's not a common infliction, I know, but a serious one. It usually hits me after making meringue ... and my natural inclination is to pop the unused yolks into a jar to be stored on an obscure shelf in my fridge ... where I can forget about it for a month or so ...
Until my lovely golden yolks are revolting and I have to tip them out.
What a waste.
So, this time I made cookies out of my yolks.
What a genius.
Cookies that not only use up extra yolks, but taste like wholemeal fortune cookies (in a good way) and travel really well. Perfect for snacks on long flights. Or for pelting at screamers in the back seat of the car. Your call.
10 comments:
These are very pretty pictures. They look like chunks of biscotti. Thanks for sharing!
- July 9, 2011 at 9:39 AM
- Peggy said... [Reply to comment]
Love these little cookies - they sounds super delicious! And I'm so glad you finally got to use up your extra yolks =)
- July 9, 2011 at 9:54 AM
- Easy peasy organic said... [Reply to comment]
@scholasticfood They actually reminded me of biscotti! Good call.
- July 9, 2011 at 2:18 PM
- Easy peasy organic said... [Reply to comment]
@PeggyYes. Sigh of relief! Almost worth using up some egg whites ... :)
- July 9, 2011 at 2:20 PM
- Sherilyn @ Wholepromise said... [Reply to comment]
Amanda these sound very yummy and are such a great way to use up egg yolks.
- July 9, 2011 at 6:50 PM
- Marnely Rodriguez-Murray said... [Reply to comment]
What a great use for yolks! Thanks for sharing :)
- July 9, 2011 at 7:22 PM
- Zuckerbäckerin said... [Reply to comment]
I've been thinking for a recipe to use my left over egg yolks for ages! Next time I will make these great cookies :)
- July 10, 2011 at 10:39 AM
- Linda Barnier said... [Reply to comment]
Meringues AND biscotti. I have my week's baking worked out. Bet they won't last a day...
- July 11, 2011 at 5:04 AM
- Paula said... [Reply to comment]
I've tossed a few yolks out myself that I had great intentions for. These cookies look wonderful and I'll have to remember this post next time I've extra yolks.
I know you didn't *pelt* these at *someone screaming* from the back seat of the car but it was funny :)
- July 13, 2011 at 10:41 AM
Hi Amanda, just found your blog via Biome! Great little find! Little tip for your step 2, put the dough in the middle of a piece of baking paper, fold in half and use a cutting board to push the dough, this will form into a roll. No use of plastic this way. Little trick I've learned from my Dad who's a retired chef. Hugs Catherine
- April 13, 2012 at 5:48 PM

subset: commoncrawl


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Welcome to our Store!
Our online store specializes in unique jewelry by Mens Jewelry by Aagaard and sea life ocean and beach themed jewelry. Our retail store in Provincetown, Massachusetts specializes in sales of unique, handcrafted and hand painted items for your home, office and garden decor.
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Obituary: Andrew Clinton Jones
Andrew Clinton Jones passed away Feb. 12 in Dillon. Andrew was born March 2, 1984, in Bartlesville, Okla. He was 28 when he died.
He is survived by his parents Patricia and Richard Stroud of Colorado Springs, and his father George K. Jones of Clear Lake, Texas. He is also survived by his brothers, Jeremy Jones (Corissa) of Aurora and Ryan Jones (Tarah) of Ramona, Okla., and his sisters Jennifer Beauford (Zachary) of Weatherford, Texas, and Lara Artherton of Colorado Springs. He is also survived by 13 nieces and nephews and a great niece and nephew.
Andrew has remained a member of First Baptist Church, Bartlesville, Okla., and attended Falls Creek Christian Camp during the summers growing up.
Andrew attended schools in Bartlesville, Okla.; Branson, Mo.; and Cheyenne Mountain High School in Colorado Springs where he graduated before his class by taking his GED.
He was employed two summers during high school at Cave of the Winds as a tour guide; and at On The Border for eight years in Colorado Springs. He was recently employed by Target in Silverthorne as a team leader.
Andrew loved Colorado's mountains and was living his dream in Dillon being able to snowboard every day of the season.
Andrew had an especially close relationship with his mom, brothers and sisters.
Andrew had a "people" personality and had a vast network of friends all over the country.
There will be a private family service at a later date and his ashes will be returned to his beloved mountains.
Bailey-Kent Funeral Home of Leadville assisted the family with arrangements. To send a condolence to the family, please visit http://www.baileykentfuneralhome.com.
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Forms Jobs
Even though this picture shows a peaceful and serene setting, winter weather
can cause hazardous and life-threatening situations. PLEASE PREPARE!
Every winter, people are injured or killed during winter storms in automobile accidents, and face other indirect dangers such as fallen trees, power lines, and house fires. Improper indoor use of heat sources such as grills, stoves, and space heaters has become the number one winter danger resulting in house fires and deadly carbon monoxide poisoning.
The goal of winter weather preparedness week is to re-educate North Carolinians on the hazards of winter weather and to help everyone become better prepared for these hazards before winter weather strikes.
After several quiet winters with only light snow accumulations, are we "due" for a big, snowy winter? While it is extremely difficult to predict the number of winter storms this season, weather patterns are changing to support a wetter winter than last year and perhaps near normal cold temperatures. In Central North Carolina any snow the area receives is often accompanied by ice in the form of sleet or glaze from freezing rain.
What North Carolinians can and should do is prepare for the worst.One good practice is to keep up with the latest conditions and forecasts from the National Weather Service either via NOAA Weather Radio or on the Internet. If a light accumulation of freezing rain or sleet is forecast or if snow accumulations ofone tothree inches are expected in central North Carolina, the Raleigh National Weather Service will issue a Winter Weather Advisory. Watches and Warnings are issued for more severe weather.
You can keep up with winter forecasts, warnings and advisories by visiting the Raleigh National Weather Service online.
For the latest road conditions and access to web cameras statewide, visit the North Carolina Department of Transportation online.
And for more winter weather safety tips, visit the National Weather Service.
Putting Together Good Winter Survival Kits
Preparing for winter weather long before it strikes is easy and will go a long way to helping you and your loved ones stay safe through this winter. Take time at the beginning of the winter season to assemble winter survival kits – one for home and one for each vehicle. A good home kit is easy to make and consists of:
Having these items on hand will help you avoid having to venture out into hazardous conditions and will help sustain you in the event of widespread power outages or fallen trees that may block roads and keep you at home. Cans of food with flip-top lids and pantry items such as granola bars and dry cereal are better choices to get you through a long power outage.
For a winter survival kit for your vehicle, consider adding these items:
If you will be traveling to a more snowy location, such as the mountains or in the northern U.S., you'll want to add other items such as a tow rope and tire chains. But most of all, when driving during wintry weather, you should also bring along your best driving skills and your patience! And remember that if possible, the safest place to be during winter weather is at home.Do not venture out in your vehicle during a winter storm unless it's absolutely necessary.
National Weather Service Online Winter Weather Presentation
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How to Find Us
Google Map
Campus Map
|campus map pdf file
Our address is Old Odiham Road, Alton, Hampshire GU34 2LX.
The car park is situated off Edward Road. GU34 2HU
You'll be pleased to know that our College is just a short walk from Alton train station and the town centre.
By train
Travelling from Farnham, Guildford, Aldershot or beyond? Come by train - we've agreed a discount for students travelling by South West Trains.
By bus
Many public buses stop right outside our College and services run throughout the academic term.
By car
We've got some space for car parking for visitors, staff and students in Edward Road car park GU34 2HU . There is limited car parking at the Odiham Road entrance and we would advise visitors to park in the main car park (Car Park D).
Please avoid driving to our College if you can get a bus or train.
Our College is in a residential area and parking in the streets is limited so please park with care and respect for our neighbours.
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The BOYTONE BT-24DJB with Bluetooth connection is a dynamic multi-media system record player turntable with the much sought after ability to play vinyl. Add MP3 encoding from any of the system's media formats, and you have a sound system that packs more features in one that other systems separately. With a pair of Dual Full Range Dynamic Speakers, the BT-24DJB outputs high fidelity sound whether you're listening to your favorite record, old cassette tapes, CDs or radio station. Features: 33/45/78 Variable Speed Turntable | CD player | AM/FM Stereo Radio | Cassette Tape Player | Auxiliary Input (3.5mm) | RCA out | LCD Display Encode to MP3 from Radio, Auxiliary-in and Cassette Tape Playback MP3 and WMA on USB Comes with: Dust cover and 45RPM ADAPTER Black wood color even comes with Turntable Anti-Static Felt Mat, with 1 year BOYTONE USA direct warranty.
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Loving big summer movies as an adult can be a sad and lonely thing. When you're a kid, any action blockbuster that you watch is epic. You haven't seen enough to compare. But then you get older, and you realize that they follow certain formulas and attract a certain audience, which is a lot younger than you. As much as I hate the Transformers movies, part of me knows if I was 10, I'd love the hell out of them.
So the excitement over next Friday's arrival of The Dark Knight Rises is bittersweet for me. It marks the conclusion of a streak of terrific summer movies—four in the past eight summers—from director Christopher Nolan.
A decade ago, Nolan was an indie hero, thanks to Following and Memento. These were crafty, ingenious films that played around with traditional linear narrative, not obvious down payments on a career making comic-book movies. Yet around the time of Memento's release, he was asked about the movie's unconventional style, which he didn't think was really that daring. "Filmmakers should be able to experiment with narrative without alienating the audience and without creating something that's impenetrable," he said. "I actually see myself as a very mainstream filmmaker and always have."
Despite his reputation for being a brainy filmmaker—or, if you don't like his movies, for being a "smartypants"—Nolan was like a lot of his fellow movie lovers in that the ultimate summer movie, Star Wars, was one of the biggest influences on him as a kid: "For people of my age, that was it," Nolan (who turns 42 at the end of the month) once said. "That was kind of the birth of cinema in a way." His movies may often be somber or even chilly, but deep down he's a guy like the rest of us who had his mind blown by George Lucas.
Nolan transitioned to Hollywood films with Insomnia, but even then there were plenty of arty trappings. Insomnia was more psychological thriller than action film, it featured Robin Williams in serious mode, and it was based on a 1997 Norwegian film. But Nolan clearly had grander aspirations, talking about his love for The Matrix in interviews and discussing the possibility of doing a movie about Howard Hughes starring Jim Carrey. (He's still talking about that movie, by the way.) But he definitely wanted to do something in the sci-fi genre. "[It] would require a fresh take and a fantastic script," he said in 2002. "I am biding my time waiting for the right thing in the science-fiction genre."
And after Insomnia, Nolan basically achieved what he said he wanted to do. First came 2005's Batman Begins, which is about as mainstream as you can get. And seven years ago, a new Batman movie was hardly a slam dunk. Everybody still remembered how awful Batman & Robin was. Christian Bale wasn't a box office titan. And Nolan had no blockbuster experience. (By comparison, the following year's Superman Returns seemed a more like a sure thing, considering that Bryan Singer had just made two X-Men movies.)
Nolan invested in a gritty realism that seemed more grown-up than the mood of any previous Batman movie (or, really, most summer movies) had been. In interviews, Nolan made it clear that he had a lot of respect for the Batman/Bruce Wayne mythology, but he didn't grow up reading Batman comic books. He was more of a 2000 AD kind of guy. He didn't go out of his way to prove his Bat-credentials to diehard fans. (Unlike Andrew Garfield, he wasn't going to dress up in costume to win over the Comic-Con crowd.)
And with the help of Christian Bale and co-writer David S. Goyer, Nolan created that rare hit that tapped into the pure joy of being a kid watching summer movies, engaging the brain and the heart at the same time. His skill with action sequences was still a bit iffy at that point, and Katie Holmes was a drip as Wayne's love interest—but Batman Begins lived up to how Nolan described Star Wars: "The screen just opened up a world that you had never seen before and that you could lose yourself in."
From there, Nolan became almost exclusively a summer-movie filmmaker, leading up to The Dark Knight, which for plenty of reasons is the best comic book movie ever made. When critics complain about Nolan's movies, their chief attack line is that Nolan is too much of a brooding intellectual to let his films be any fun.
I've never understood this: The Dark Knight's storytelling ambitions and its thematic concerns are wrapped up together in such a way that is utterly, joyfully thrilling. The Dark Knight isn't immune to criticism—you're right, Bale's "Batman voice" is goofy—but a movie doesn't make that much money because it's not fun or because that many people want a parable about vigilantism. At some level, the film's success has to be chalked up to the fact that Nolan (along with Heath Ledger and Aaron Eckhart and Gary Oldman, and Nolan's co-writer brother Jonathan) made a damn entertaining movie.
Nolan's most recent film was Inception, and it fulfilled his promise of wanting to wait for a fresh take on the sci-fi genre. A thriller about dream burglars, the movie was based on an idea he'd come up with about a decade earlier, and it's funny to think that Inception is his idea of a passion project he does between Batman movies. For any other director, Inception would have been the big swing for the fences, but with Nolan it was a busman's holiday, a big funhouse of cool, mind-bending concepts that maybe didn't all work, but, seriously, who cares, man? Unlike a lot of summer movies, where you walk out discussing if they were "sorta OK" or "sorta terrible," Inception was bold and imaginative, blending big-idea concepts about regret and guilt into a really entertaining package.
And now we come to The Dark Knight Rises. Nolan could still make summer blockbusters in the future, but right now he seems happy stepping back and being a producer. (He's overseeing next year's Superman re-reboot, Man of Steel.) With The Dark Knight Rises, Nolan has a chance to finish a trilogy on a high note, the way Peter Jackson did with The Return of the King. As a film critic, I rarely get personally invested in the people who make movies. But I find myself actively rooting for Christopher Nolan to knock it out of the park with The Dark Knight Rises. He's given me more great summer movie memories than anybody in a long time. But I'm greedy, and I want just one more.
Grierson & Leitch is a regular column about the movies. Follow us on Twitter, @griersonleitch.


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This is a fifth set of transparent patterns. Set includes 10 unique metal crack high quality patterns. With these patterns you can generate awesome metal cracking effects by applying them to textures, styles, web elements, images etc.
Files Included
- 1 PAT file (10 different patterns)
- Help PDF file


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Cicada Treatment NJ, PA, DE & MD
What is a cicada?
The adult cicada is about 1 5/8 inches long. Most of the body is black. Its legs and eyes are reddish. Some of the wing veins in the nearly transparent wings are orange. They are also called "locusts" but this is a misnomer as locusts are really grasshoppers.
Do they bite?
They do not bite, but they do have claws on their legs. The female has something that looks like a stinger but it is used to lay eggs.
When will they arrive?
The 17 year Cicada Brood II will arrive again in the year 2030! Their numbers typically are tens to hundreds of thousands per acre but some areas the numbers could reach in the millions per acre. In addition to this brood, we do regularly see the Green Eyed Cicada annually in much smaller populations throughout NJ, PA and DE.
What damage do they do?
They primarily damage small trees. Females will crawl up the base of trees, lay eggs that hatch into small nymphs. This stage will feed and damage branches of small trees. This may kill small trees should a lot of feeding occur. Homeowners can protect small trees by placing ¼ inch plastic netting over the trees until the swarm is over.
When is the swarm over?
When soil temperatures reach 64 degrees F, the mature nymphs that are in the soil will emerge, crawl up on trees and surfaces and the adults will emerge from the nymphal stage. This leaves behind the brown colored cicada "skin". The swarm will last for about 2 weeks.
Why is it called the 17 year cicada?
The nymphs are fully grown after the 7th or 8th year, but continue to feed and develop until the spring of the 17th year. The brood that is coming this year is called Brood II. There is also a Brood X. I have the emergence schedule if you are interested.
|Brood II
|Brood X
What can Viking do to control cicadas?
Since the numbers of emerging cicadas can reach the hundreds of thousands, we can only offer limited services for this insect. We can offer you a Cicada population reduction program, but keep in mind these insects can fly in from other areas in your neighborhood. We feel obligated to offer a service but need you to understand our limitations. The service we will provide will deal with the numbers you are experiencing from an initial swarm, but may not address additional swarms after our treatment. Any additional treatments would be at an additional cost.
Can you guarantee your treatment?
We cannot offer a guarantee with this insect. Our population reduction program is a per treatment service and with this insect it could take numerous treatments to control. This is because of the potential numbers of cicadas emerging from the soil and adults invading from other neighboring properties.


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Redcurrant Bushes
Redcurrant bushes remain a joy to grow. Redcurrant bushes bedecked in strigs of sparkling red fruis gladden the heart! Redccurant bushes are versatile too. You can traditional Redccurant bushes, as well as Cordon Redcuccrants a single or double Redcucrant cordons, and standard Redcurrants too, grown on a stem. These make an attractive formal feature for the kitchen garden. A traditional Redcurrant bush remains the most productive.[more...]
Redcurrant Bushes Catalogue


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The Amazing Adventures of Super Lovers Oh, Super Lover, You're my Hero! No one can resist his powers fo sexiness!, personalize with your own photosInside:
Happy Valentine's Day to my own, personal superhero.
5x7 Folded Card | Valentine's Day
More from Cardstore
Love is in the air, and what better way to share the love with all your special someones than with customized Valentine's Day cards. These aren't just any valentine cards—our Valentine's Day cards let you play Cupid and customize them with your photos, add your own messages, and even sign your name yourself. You'll find the perfect Valentine's Day cards to send kisses to your sweetie, cute stuff to kids, or simple smiles to all your special someones, which makes them the perfect sweet surprise for everyone in your heart.
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Big Tentacles: The Big Ten and it's influence over college football.
The Crying Game.
Virginia high school senior running back Derrick Green's decision to commit to Michigan's 2013 recruiting class makes Michigan head football coach Brady Hoke cry. (Dr. Saturday)
NCAA sanctions? What NCAA sanctions?
The recruiting sanctions that the NCAA dropped on Ohio State don't seem to be hurting Buckeye head football coach Urban Meyer's ability to lure recruits to Columbus. (The Columbus Dispatch)
The King of Iowa?
Michigan HS senior defensive back Desmond King commits to Iowa's 2013 recruiting class. (The Quad City Times)
He's just not that into you.
Ohio HC senior safety Marcus McWilson decommits from Nebraska. (The Lincoln Journal Star)
Minnesota recruiting news.
California HS receiver Drew Wolitarsky commits to Minnesota. (The Daily Gopher)
In other news...
In my mind I'm going to Carolina.
Illinois defensive line coach Keith Gilmore is leaving to take the DL coaching job at North Carolina. (The Champaign Room)
A Few Small Repairs.
Iowa announces provisional changes to Kinnick Stadium's seating plan in 2014. Yes, Hawkeye fans, you'll probably be paying out more for home games. (The Cedar Rapids Gazette)
Aw Dad, we're having to go to the Outback Bowl again?
Big Ten athletic directors are discussing changes to the B1G's bowl tie-ins to cut down on what Ohio State AD Gene Smith calls "bowl fatigue." That's where fans get sick of going to the same bowls that's not in Pasadena year after year. (ESPN)
The blame game.
Dirk Chatelain says turnovers are the reason that's keeping Nebraska from being an elite football program. (The Lincoln World-Herald)
Is it August 31st yet?
Lake the Posts takes a look at Northwestern's 2013 schedule, and predicts a 9-3 record.
Battle of the banhammered?
Penn State and Central Florida will reportedly play a home-at-home series in 2013 & 2014. (Black Shoe Diaries)


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Create A Stem Cell Line
Cure The Bunny
Dark Cut
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Dental Adventure
Dental Implant
Dentist Fear
Draculaura Nose Surgery
Ear Surgery
Epilepsy Surgery
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Operation Heart Transplant
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"Every war is ironic because every war is worse than expected," Paul Fussell wrote in "The Great War and Modern Memory," his classic study of the English literature of the First World War. "But the Great War was more ironic than any before or since." The ancient verities of honor and glory were still standing in 1914 when England's soldier-poets marched off to fight in France. Those young men became modern through the experience of trench warfare, if not in the forms they used to describe it. It was Yeats, Pound, Eliot, Joyce, and Lawrence who invented literary modernism while sitting out the war. Robert Graves, Siegfried Sassoon, Edmund Blunden, Isaac Rosenberg, and Wilfred Owen—who all fought in the trenches and, in the last two cases, died there—remained tied to the conventions of the nineteenth century while trying to convey the unprecedented horror of industrial warfare, a condition of existence so murderous and absurd that a romantic or heroic attitude became impossible. The essence of modern understanding is irony, Fussell argued, and it was born on the Western Front.
Fussell wasn't wrong about the Great War, but, in his insistence on its newness, he underestimated the staying power of military myths for each generation. Fussell cited a newspaper story about a London man who killed himself out of concern that he might not be accepted for service in the Great War, and noted, "How can we forbear condescending to the eager lines at the recruiting stations or smiling at news like this." But in the summer of 1968 Tim O'Brien, a twenty-one-year-old in a small Minnesota town, a liberal supporter of Eugene McCarthy and an opponent of the war in Vietnam, submitted himself for induction into the United States Army. O'Brien couldn't bring himself "to upset a peculiar balance between the order I knew, the people I knew, and my own private world," he wrote, in "If I Die in a Combat Zone," his 1973 Vietnam memoir. "It was not just that I valued that order. I also feared its opposite—inevitable chaos, censure, embarrassment, the end of everything that had happened in my life, the end of it all." Was O'Brien's fear of dishonor entirely different from the impulse that drove a forty-nine-year-old man to throw himself under a van in 1914?
Or from the thinking that led Brian Turner to volunteer for the U.S. Army in 1998 and go on to serve as an infantry team leader in the badlands of northwestern Iraq? "I signed the paper and joined the infantry because at some point in the hero's life the hero is supposed to say I swear," Turner writes in his memoir, "My Life as a Foreign Country" (Jonathan Cape), published earlier this year in the United Kingdom and forthcoming from Norton here. "I raised my hand and said the words because I would've been ashamed in the years to come if I hadn't, even if it didn't make sense, even if nobody I cared about ever thought about it, even if all the veterans in my family never said a word, or even if they did, saying, It's cool, Brian, it doesn't mean a thing, believe me, the uniform doesn't make the man." Here's Kevin Powers, who joined the Army out of high school and ended up as a machine gunner in the same region of Iraq as Turner: "I had by then inferred that the military was where a person went to develop the qualities that I had come to admire in my father, my uncle, and both of my grandfathers. The cliché, in my case, was true: I thought that the army would 'make me a man.' " The scare quotes suggest Fussell's wised-up irony, but they weren't enough to keep Powers home. Every generation has to discover what Fussell called the "hope abridged" that waits somewhere beyond the recruiting office. For Americans, this experience has been an overwhelmingly male one, recorded in literature written by men, but that will change as women—such as Kayla Williams, the author of two Iraq memoirs—go off to combat zones.
Soldiers who set out to write the story of their war also have to navigate a minefield of clichés: all of them more or less true but open to qualification; many sowed long before the soldiers were ever deployed, because every war is like every other war. That's one of them. War is hell is another. War begins in illusion and ends in blood and tears. Soldiers go to war for their country's cause and wind up fighting for one another. Soldiers are dreamers (Sassoon said that). No one returns from war the same person who went. War opens an unbridgeable gap between soldiers and civilians. There's no truth in war—just each soldier's experience. "You can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil" (from "How to Tell a True War Story," in O'Brien's story collection "The Things They Carried").
Irony in modern American war literature takes many forms, and all risk the overfamiliarity that transforms style into cliché. They begin with Hemingway's rejection, in "A Farewell to Arms," of the high, old language, his insistence on concreteness: "I had seen nothing sacred, and the things that were glorious had no glory and the sacrifices were like the stockyards at Chicago if nothing was done with the meat except to bury it. There were many words that you could not stand to hear and finally only the names of places had dignity."
The style of understated disillusionment remains universally recognizable and pervasively influential in war literature. Vietnam gave us another kind of distancing—black humor, satire, surrealism—often in novels that were not set in Vietnam, such as Vonnegut's "Slaughterhouse-Five." (A similar mood suffuses "M*A*S*H," a movie that was nominally about the Korean War.) Tim O'Brien's Vietnam writing—his memoir, the interlocking stories in "The Things They Carried," and, especially, his novel "Going After Cacciato"—combined Hemingway's hard and exact prose with often fantastical incidents, suited to a jungle war against an invisible enemy. The characteristic voice of Vietnam literature became the matter-of-fact statement of hallucinatory evil, poised between humor and horror. It's heard in the opening paragraph of "Going After Cacciato": "The rain fed fungus that grew in the men's boots and socks, and their socks rotted, and their feet turned white and soft so that the skin could be scraped off with a fingernail, and Stink Harris woke up screaming one night with a leech on his tongue."
O'Brien's work, like the work of other great war writers, makes violence inseparable from pity. In "How to Tell a True War Story," a soldier loses his best friend to a booby-trapped artillery shell, and, later that day, he machine-guns a baby water buffalo in the cruellest possible way. The narrator reports that whenever he tells this story some kindhearted older woman will urge him to move on. "I'll picture Rat Kiley's face, his grief, and I'll think, You dumb cooze. Because she wasn't listening. It wasn't a war story. It was a love story." This isn't just the soldier's love for his war buddies, intense as that attachment can be. It's a redemptive understanding of their capacity for good and evil both, and of the way that war, more than any other human endeavor, leaves them nowhere to hide.
The wars in Iraq and Afghanistan fully meet Fussell's description of the ironic: they were worse than expected. Both began with hubris and false victories, turned into prolonged stalemates, and finally deserved the bitter name of defeat. The shorthand for Iraq, from "Mission Accomplished" to Falluja, Abu Ghraib, civil war, the surge, U.S. withdrawal, and the ongoing sectarian killing, is a story of exploded illusions. The first wave of literature by American combatants in these long, inconclusive wars has begun to appear—poems, memoirs, short stories, novels. Their concerns are the same as in all war writing: bravery and fear, the thin line between survival and brutality, the maddening unknowability of the enemy, tenderness, brotherhood, alienation from a former self, the ghosts of the past, the misfit of home.
But Iraq was also different from other American wars. (So far, almost all the new war literature comes from Iraq, perhaps because there weren't many troops in Afghanistan until 2009, and the minimum lag time between deployment and publication seems to be around five years.) Without a draft, without the slightest sacrifice asked of a disengaged public, Iraq put more mental distance between soldiers and civilians than any war of its duration that I can think of. The war in Iraq, like the one in Vietnam, wasn't popular; but the troops, at least nominally, were—wildly so. (Just watch the crowd at a sports event if someone in uniform is asked to stand and be acknowledged.) Both sides of the relationship, if they were being honest, felt its essential falseness. A tiny number of volunteers went off to fight, often two or three times, in a war and a country that seemed incomprehensible. They returned to heroes' welcomes and a flickering curiosity. Because hardly anyone back home really wanted to know, the combatant's status turned into a mark of otherness, a blessing and a curse. The title of David Finkel's recent book about the struggles of soldiers returned from Iraq, "Thank You for Your Service," captures all the bad faith of a civilian population that views itself as undeserving, and the equivocal position of celebrated warriors who don't much feel like saying, "You're welcome."
So it's not surprising that the new war literature is intensely interested in the return home. The essential scene of First World War writing is the mass slaughter of the trenches. In the archetypal Vietnam story, a grunt who can never find the enemy walks into physical and moral peril. In much of the writing about Iraq, the moment of truth is a reunion scene at an airport or a military base—families holding signs, troops looking for their loved ones, an unease sinking deep into everyone.
In "Letter Composed During a Lull in the Fighting" (Little, Brown), Kevin Powers's first collection of poetry, published this month, the mood is meditative and convalescent, the poet's mind reopening after a great shock: "I am home and whole, so to speak. / . . . But I can't remember / how to be alive." The narrator of Powers's lyrical and disturbing novel "The Yellow Birds" (which appeared in 2012) is far from whole. Returning from Iraq to rural Virginia, Private John Bartle stands in his mother's enveloping hug while strangers around them call out thanks: "Yet when she said, 'Oh, John, you're home,' I did not believe her." "The Yellow Birds" has a fragmentary quality that's suited to prose by a poet; it's better at evoking landscapes and states of feeling than at sustained psychological realism. There are remarkable evocations of the uncanniness, even the wonder, of fighting: "When the ringing of the first shots subsided, we heard bullets, sounds like small rips in the air, reports of rifles from somewhere we couldn't see. I was struck by a kind of lethargy, in awe of the decisiveness of every single attenuated moment, observed in minute detail each slender moving branch and the narrow bands of sunlight coming through the leaves. Someone pulled me down to the orchard floor."
When a glib reporter asks what combat feels like, a character compares it to the moment just before a car accident, when you know it's going to happen and are helpless to stop it. "Death, or whatever, it's either coming or it's not," he says, "like that split second in a car wreck, except for here it can last for goddamn days." Whether or not the fictional soldier is likely to have formulated such a thought, it's one of the best distillations of combat I've read.
Back home, Bartle finds that "everyone wants to slap you on the back and you start to want to burn the whole goddamn country down, you want to burn every goddamn yellow ribbon in sight, and you can't explain it but it's just, like, Fuck you, but then you signed up to go so it's all your fault, really, because you went on purpose, so you are in the end doubly fucked." Private Bartle's homecoming is an extreme case, but his emotions are not.
Journalists and historians have to distort war: in order to find the plot—causation, sequence, meaning—they make war more intelligible than it really is. In the literature by veterans, there are virtually no politics or polemics, in stark contrast to the tendentious way in which most Americans, especially those farthest removed from the fighting, discussed Iraq. This new writing takes the war, though not its terrible cost, as a given. Instead of a coherent explanatory narrative, it presents us with fragments; for example, "Dust to Dust," a 2012 memoir by Benjamin Busch, a former Marine Corps captain and an actor, is organized not chronologically but around certain materials—metal, bone, blood, ash. Fragments are perhaps the most honest literary form available to writers who fought so recently. Their work lacks context, but it gets closer to the lived experience of war than almost any journalism. It deals in particulars, which is where the heightened alertness of combatants has to remain, and it's more likely to notice things. To most foreign observers, the landscape of Iraq is relentlessly empty and ugly, like a physical extension of the country's trauma. But in the poetry and the prose of soldiers and marines the desert comes to life with birdsong and other noises, the moonlit sand breeds dreams and hallucinations.
Like Kevin Powers, Brian Turner is a poet. He's the Isaac Rosenberg of the Iraq War; romantic by disposition, he resorts to surrealist imagery in order to hold out a margin of human sympathy under the extreme pressure of war. His poems—collected in "Here, Bullet" and "Phantom Noise"—keep returning to the most brutal situations: a suicide car bombing in a Mosul traffic circle, the execution of fifty Iraqi soldiers travelling on minibuses, the torture of Iraqi prisoners by American M.P.s. But violence that begins as fact mingles by metaphor with dreams, eroticism, history, classical poetry, until the borders between individuals and worlds melt away. "The Mutanabbi Street Bombing" is about a famous outdoor book market in Baghdad that was repeatedly blown up by insurgents:
Buildings catch fire. Cafes.
Stationery shops. The Renaissance Bookstore.
A huge column of smoke, a black anvil head
pluming upward, fueled by the Kitah al-Aghani,
al-Isfahani's Book of Songs, the elegies of Khansa,
the exile poetry of Youssef and al-Azzawi,
religious tracts, manifestos, translations
of Homer, Shakespeare, Whitman, and Neruda—
these book-leaves curl in the fire's
blue-tipped heat, and the long centuries
handed down from one person to another, verse
by verse, rise over Baghdad.
Turner has at least one truly astonishing poem, "Al-A'imma Bridge." It describes an incident that took place in 2005, when a Shiite religious procession across a bridge over the Tigris in Baghdad turned into a stampede with the rumor of a suicide bomber, and almost a thousand people were trampled to death or drowned. In a single sentence that cascades over twenty-three free-verse stanzas, Turner imagines those falling, a pregnant woman in an abaya, a young woman from Mosul, and the vision opens up to encompass figures from Iraqi history going back to Babylon, Scheherazade "made speechless by the scale of war," ghosts woken from their sleep, as the Tigris fills "with bricks from Abu Ghraib, burning vehicles," razor wire, rubble, bombs of every kind:
give daisies and hyacinths
to this impossible moment, flowers to stand for the lips
unable to kiss them, each in their own bright beauty, flowers
that may light the darkness, as they march deeper into the earth.
It is improbable and moving that an American soldier should write a poem of such generous, Whitmanesque spirit about this one Iraqi disaster. The war kept Americans and Iraqis far apart, as each side learned to fear and distrust the other. "In Vietnam They Had Whores," as the title of one Iraq War story bluntly puts it—in Iraq they had blast walls and body armor. It was possible for British Tommies to preserve a romantic vision of France, for American grunts to find Vietnam alluring, but very few American troops fell in love with Iraq.
Turner is the rare soldier-writer who takes a deep interest in Iraqis—their language and literature, their past, their daily doings, their inner lives. His memoir, "My Life as a Foreign Country," opens with a metaphor of the writer as a drone aircraft, flying at thirty-two thousand feet over his life, "gathering the necessary intelligence, all that I have done, all that we have done, compressed into the demarcations annotated in the map below." Turner's sympathetic imagination takes in even the Iraqi insurgent in Mosul who nearly killed him with a rocket-propelled grenade. "Maybe it isn't that it's so difficult coming home," Turner writes, "but that home isn't a big enough space for all that I must bring to it. America, vast and laid out from one ocean to another, is not a large enough space to contain the war each soldier brings home. And even if it could—it doesn't want to."
The best literary work thus far written by a veteran of America's recent wars is Phil Klay's "Redeployment" (Penguin Press), a masterly collection of short stories about war and its psychological consequences. "Redeployment" is military for "return," and Klay's fiction peels back every pretty falsehood and self-delusion in the encounter between veterans and the people for whom they supposedly fought. In the title story, which opens the book, the unnamed narrator, back from Iraq, spots his wife in the waiting crowd, dressed to please him but looking somehow unfamiliar: "I moved in and kissed her. I figured that was what I was supposed to do." In "Bodies," a marine whose job was in Mortuary Affairs—"processing" the corpses of Americans and Iraqis alike—says, "It was another three weeks before I got home and everybody thanked me for my service. Nobody seemed to know exactly what they were thanking me for." He visits a former girlfriend, but the war now lies between them: she doesn't want him, and he can't tell her the story that's on his mind, "about the worst burn case we ever had." Instead, he gives a drunken version to a man he meets in a bar later that night. When he finishes, the man says, "I respect what you've been through." The story goes on:
I took a sip of my beer. "I don't want you to respect what I've been through," I said.
That confused him. "What do you want?" he said.
I didn't know. We sat and drank beer for a bit.
"I want you to be disgusted," I said.
In "Psychological Operations," the narrator is an Iraq vet of Coptic Christian descent who enrolls at Amherst. He takes a combative interest in an outspoken black classmate—a new convert to Islam—and almost courts her dislike by telling her how he once broadcast sexual insults over loudspeakers to compel insurgents in Falluja out of their houses so that other marines could shoot them. It's part confession, part argument, part seduction. He can't decide how he wants the girl to feel about him:
I looked down at my hands, then back up at Zara. I didn't know how to tell her what coming home meant. The weird thing with being a veteran, at least for me, is that you do feel better than most people. You risked your life for something bigger than yourself. How many people can say that? You chose to serve. Maybe you didn't understand American foreign policy or why we were at war. Maybe you never will. But it doesn't matter. You held up your hand and said, "I'm willing to die for these worthless civilians."
At the same time, though, you feel somehow less. What happened, what I was a part of, maybe it was the right thing. We were fighting very bad people. But it was an ugly thing.
Klay, a Dartmouth grad who served in the Marine Corps in Anbar Province during the violent months of the surge, in 2007, is a writer who happened to be a marine—you can imagine him writing well about anything, not just Iraq. His fiction is extremely funny and absolutely serious, his control over language and character so assured that the array of first-person narrators in these dozen stories—combat grunts, a desk-bound officer, a beleaguered State Department official, a Marine chaplain—are all distinct and persuasive. Klay writes with a powerful restraint about the inversion of normal reality called combat, its permanent effects on bodies and souls, but the best stories in "Redeployment" look at war from a slight distance. The narrator in "Unless It's a Sucking Chest Wound," a battalion adjutant, has the inglorious job of writing up the heroics of other marines being nominated for medals. He feels like a real marine only when he returns home and becomes a civilian again—he keeps his hair short so that people will know. (Vietnam vets grew their hair long to blend in.) He meets a woman at N.Y.U. who assumes that he has post-traumatic stress disorder: "I don't have PTSD, but I guess her thinking that I did is part of the weird pedestal vets are on now. Either way, I didn't contradict her." Just as soldiers could never write about glory and sacrifice in the old way after the First World War, the current generation can be ironic about the image of the psychologically damaged vet introduced into the culture with fear and reverence by Vietnam.
The adjutant is one among many troops—their numbers grew over time—who spent their war almost entirely within the confines of an American base. They were known, derisively, as Fobbits, from Forward Operating Base (a satirical novel of that title by a former Army journalist named David Abrams came out in 2012), and they have a relation to combat troops similar to that of civilians to all veterans—the guilt, the awe, the envy, the relief. Back home, the adjutant finds that he misses not Iraq itself but "the idea of Iraq all my civilian friends imagine when they say the word, an Iraq filled with honor and violence, an Iraq I can't help feeling I should have experienced but didn't through my own stupid fault." Klay, who was a public-affairs officer in Anbar—a relatively safe job in a very dangerous place—sounds this minor chord across several stories, with the rigorous honesty that characterizes all his work and is the source of much of its humor and its sadness.
The most morally complex story in "Redeployment," and perhaps the best, is "Prayer in the Furnace," about a Marine chaplain in Ramadi who begins to pick up signs that the infantrymen in his combat-weary battalion, led by a hyper-aggressive commander, are committing war crimes. A corporal named Rodriguez, violent and despairing, brings hints, but when the chaplain presses him for details Rodriguez lets him know that he lacks the street cred to understand. "How can you say this place ain't evil?" the corporal asks. "Have you been out there?" Klay shows sure command of his craft in tracing the chaplain's anguish as it becomes a crisis of faith. The chaplain writes in his journal:
I see mostly normal men, trying to do good, beaten down by horror, by their inability to quell their own rages, by their masculine posturing and their so-called hardness, their desire to be tougher, and therefore crueler, than their circumstance.
And yet, I have this sense that this place is holier than back home. Gluttonous, fat, oversexed, overconsuming, materialist home, where we're too lazy to see our own faults. At least here, Rodriguez has the decency to worry about hell.
Torn between awareness of sin and compassion, the chaplain holds Sunday Mass on the base for a handful of marines and tries to break through his inability to minister to them in extremis. He begins his sermon by asking, "Who here thinks that when you get back to the States no civilians will be able to understand what you've gone through?" Hands go up. Then he tells three stories. One is about an American parishioner who watched his child waste away with cancer, then angrily refused the chaplain's glib attempt at comfort. One is about an Iraqi father who brought his badly burned daughter to the base for medical help, then told the chaplain of his hatred of the Americans for humiliating him in front of his family. The third is about Wilfred Owen, gassed in the trenches. "We are part of a long tradition of suffering," the chaplain tells the listening marines, some of them uneasy, some angry. "We can let it isolate us if we want, but we must realize that isolation is a lie. Consider Owen. Consider that Iraqi father and that American father. Consider their children. Do not suffer alone. Offer suffering up to God, respect your fellow man, and perhaps the sheer awfulness of this place will become a little more tolerable."
The sermon fails to move the marines. It's too soon, and Ramadi is too terrible. There will be more combat deaths, and then, after redeployment, a rash of suicides. The story can end only in irony: the chaplain alludes to Christ's Passion, and Rodriguez spits in the grass. Some of the men will remain alone for years, perhaps their whole lives. But some will begin to recognize their own suffering in the stories of others. That's what literature does. ♦


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In a notoriously litigious country like the Philippines, it's bewildering that the government coupled a law targeting so-called cybercrimes like cybersex, child pornography, identity theft, and spamming with the hoary and over-used concept of libel. And no matter how abusive those crimes may be, it's an even bigger mystery why the government felt it should suspend its lengthy heritage of due legal process by giving the Department of Justice power to shut down websites and monitor all online activities without a warrant.
That's what happened when President Benigno Aquino III signed the Cybercrime Prevention Act of 2012 into law on September 12. It went into effect on October 3.
By October 4, the government admitted it had made a mistake when presidential spokesman Edwin Lacierda said in a statement, "Questions have been raised about the constitutionality of certain provisions of the act. We recognize and respect efforts not only to raise these issues in court, but to propose amendments to the law in accordance with constitutional processes."
"Raise these issues in court," indeed. By the BBC's count, at least eight petitions to the Supreme Court from various groups called into question the law's constitutionality. Hacktivists assaulted government websites, protesting journalists took to the streets, and some Facebook users (including the widely circulated Inquirer) replaced their profile picture with a blank screen. When senators started to criticize the bill that had passed through their chambers, Malacañang (the presidential palace) applauded the criticisms, saying, in so many words, "Let the amending begin." Few of those protesting are making arguments to repeal the restrictions that are aimed at protecting underage women or punishing fraudsters for stealing personal information.
The no due process/no warrant clause might be the first to go. But, for journalists and other citizens, the libel laws are equally threatening. Under the new law, comments posted online and judged libelous are criminal offenses, with a penalty of up to 12 years in jail--a much longer sentence than for libel in traditional media.
This is chilling, to say the least. Politicians accusing critics of libel is a time-honored sport in the Philippines, though very often one which does not bring a conviction. Well-heeled, well-lawyered politicos love to harass their critics, cowing them into silence through the threat of lengthy, draining lawsuits making their way languidly through the Philippine court system. You can read CPJ's detailed account here but, for example, in 2006 the government of President Gloria Macapagal Arroyo "filed at least 10 different criminal libel lawsuits against 43 different journalists seeking damages totaling 70 million pesos (US$1.4 million). Penalties for criminal libel convictions in the Philippines also include imprisonment of six months to six years," we reported. Libel-wise, that was an extraordinarily bad year, but also an indicator of how public figures, corrupt or not, go about protecting their image.
(It's worth noting that former President Arroyo spent the past eight months under hospital arrest on charges of election fraud, before being freed in July because of insufficient evidence. She faces additional allegations of taking gifts in relation to a telecommunications deal in 2007, according to local media reports. On Thursday she was charged with "plunder" and remains in custody.)
The staff at the presidential palace says it doesn't know how those suspensions of due process and overzealous libel clauses made it into the law that Aquino signed last month. The palace has tried its best to distance itself since, even though Aquino publicly signed it into law. The term "not irrepealable" is now in play: As presidential spokesman Lacierda said in his Thursday statement, "This law is not perfect. There's no irrepealable law or there's no law that cannot be amended."
Better get to work before some thin-skinned politico decides to silence a tweeting critic with the threat of a 12-year jail sentence.


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This was DFJ best blend of Caladoc & Tinta Roriz.
Jose Neiva Correia
Quinta de Porto Franco
Classic fermentation method, involving selective extractive enzymes, which are compatible with the active dry yeasts. Fermentation up to 30º C in the first 2/3, and lowering down to 20º C during the last 1/3. During the whole fermentative process, pumping over 2 times per day, using each time half of the volume contained in the vat.
Wine is aged in French of Allier oak barrels of 225 Lt for 2 months. Ageing in bottle a minimum 3 months after bottling.
With a well defined garnet colour, it has enticing aromas; along with a full body and many and different flavours, we find figs, cherries, and damascus; these are complemented by subtle vanilla from oak ageing.
Excellent by itself or with any full flavoured dishes. We recommend to serve at the temperature of 16-18ºC.
16,4 kgs (12x75cl)
68 cases (12x75cl) - 17 cases/level x 4 levels
48 cases (12x75cl) - 12 cases/level x 4 levels
Bottle (EAN13) = 560 031219 045 8 // Case (ITF14): 0 501 4313701 49 8
20 Silver and 13 Bronze Medals & Best Paring
TROPHY: Bigode Quirky - Portuguese Wine of the Year
DFJ Vinhos - PORTUGAL WINERY OF THE YEAR
Until today DFJ VINHOS won 228 awards only in 2017.
DFJ VINHOS awarded "Portugal Winery of the year" won also 6 Double Gold medals, 9 Gold, 10 Silver and 1 Bronze medal at the BERLIN International Wine Competition.
The Berliner Wine Trophy It is divided in two editions, this is the result of both conquered by DFJ:
Great recognition of our work in the most important Portuguese wine magazine.
DFJ received 26 excellent ratings, 23 Best Buys and 2 Cellar Selection in Wine Enthusiast 2013. Also relevant DFJ get two wines with the rating of 92, two with 91 and four with 90.
DFJ won one Silver medal, 3 Bronze medals and 7 Commended inthe International Wine Challenge 2009 wine contest. The PATAMAR Reserva red 2007 won Silver Medal.
In the 2010 Wine Enthusiast DFJ has been awarded with 1 Cellar Selection, 23 Best Buy, one rating of 92 points, one of 91 and three ratings of 90.
DFJ won 1 gold medal, 21 silver medals and 5 Seal of Approval.
DFJ Vinhos received two Gold Medals and 10 Silver Medals in the Councours Mondial De Bruxelles 2011.
DFJ Vinhos was awarded with 8 Bronze Medals and 12 Commendeds in the International Wine Challenge 2011.
DFJ Vinhos was awarded with one silver medal, seven Bronze medals and 10 Commended on Decanter Wine Awards in 2011.
Bronze Medal for the Point West 2008 in the Korea Wine Challenge 2011.
2011 was outstanding for DFJ wines at Wine Enthusiast.
D.F.J. Vinhos has been distinguished in the elections Mondiales Des Vins 2011 in Canada.
D.F.J. Vinhos has been distinguished with 17 Silver medals and 7 Seals of Approval in AWC 2011.
DFJ begin 2012 with 8 awards in the prestigious german wine contest SELECTION PREMIUM SELECT WINE CHALLENGE PROWEIN.


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|Chapter 1
|Bird Toys and Treats
|Chapter 2
|Hooked on Books
|Chapter 3
|Cookies Crumble
|Chapter 4
|Mirror Apartments
|Chapter 5
|Craft Fair Sales
|Chapter 6
|Haphazard Heights
|Chapter 7
|Making Muffins
|Chapter 8
|Backpacks Weigh-In
|Chapter 9
|Hoop Stars
|Growing a Garden
|Park and Lock
|Bookshelf Bedlam
Education Place | Site Index
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An inspired pairing, the AMQ Puma range encompasses Alexander McQueen's knowledge of high-end fashion and Puma's tech-savvy experience in trainer manufacturing.
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With a host of designs available for men and women, you'll find everything you need here at OFFSPRING. Shop quality leather and suede designs right here today.


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Free Legal Clinic Sunday
United African Congress and their lawyers, Lipsig, Shapey, Manus & Moverman are offering a free legal forum this Sunday, March 2nd from 2:00 PM - 4:00 PM in the Bronx
On March 2, 2008, the United African Congress and their lawyers, Lipsig, Shapey, Manus & Moverman will be presenting a FREE legal forum, "All You Need To Know About Your Legal Rights In New York." During this free forum, Lipsig, Shapey, Manus & Moverman invites you to ask any question -- whether it involves immigration, green cards, personal injury, automobile accidents, Worker's Compensation, accidents on the job, traffic violations, or whatever the matter may be.
What: FREE Legal Clinic presented by the lawyers for the United African Congress -- Lipsig, Shapey, Manus & Moverman
When: Sunday, March 2, 2008
Time: 2:00 PM - 4:00 PM
Where: 2006 Westchester Avenue., Bronx, NY 10462
For information, contact: (212) 285-3300
For Directions call: (718) 892-5555
There will be Entertainment and Refreshments will be served.
This FREE Legal Forum is a community service initiative of Lipsig, Shapey, Manus & Moverman in partnership with the United African Congress; Bronx Clergy Task Force and the United Caribbean Congress Inc.
There will be Entertainment and Refreshments will be served.
For more information on Lipsig, Shapey, Manus & Moverman, logon to www.lipsig.com
For more information on the United African Congress, logon to http://unitedafricancongress.info/
To subscribe to or advertise in New York's leading Pan African weekly investigative newspaper, please call (212) 481-7745 or send a note to email@example.com
Also visit out sister publications Harlem Business News www.harlembusinessnews.com and The Groove music magazine at www.thegroovemag.com
"Speaking Truth To Empower."
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- Ann GarrisonFebruary 22,2018 @ 08:03 PM
I think you have "Filtered HTML" turned on here. If you switch to "Full HTML," it will probably...
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It is finally time to talk about this baby. This bouncing Buckingham baby, who prompted Harlequin to launch a whole line of royal-baby-themed romance novels -- "His Royal Love Child," "Sheikh's Baby Bombshell," "His Pregnant Princess" -- currently populating Amazon. This baby, who set British bookies aflutter with due-date speculations, who introduced us unwillingly to the phrase "too posh to push." Where is the royal baby? headlines began demanding five days ago, as if the Windsors were deliberately hiding it in the duchess of Cambridge's womb. This baby was delivered unto the people at 4:24 Monday afternoon, weighing eight pounds and six ounces, a presumably adorable boy. Throngs gathered outside of Buckingham Palace awaiting the official announcement to be posted, as is tradition, on the gilded easel. "It is an important moment in the life of our nation," said Prime Minister David Cameron of the new arrival, according to Britain's ITV news. "But I suppose above all it's a wonderful moment for a warm and loving couple who got a brand-new baby boy." This baby is . . . an important baby? Yes -- he is the future king of England. Which is only slightly less momentous than a future queen of England would have been -- this year, Parliament finally repealed an ancient succession rule that gave heirs the preference over heiresses, regardless of birth order. Amid the pomp and general celebration, one finds something both archaic and strange about declaring any baby's arrival "important," any more so than every baby's arrival is "important." When we talk about this baby, what we are really talking about is the powerful vortex he inhabits: the intersection of celebrity worship, royal worship and the burgeoning baby-industrial complex. His Royal Highness -- the name has not yet been announced -- was born into a world in which a British market research firm recently estimated that celebrations surrounding his birth would inject $400 million into the British economy, and in which photos of star offspring can fetch $15 million (as People magazine reportedly paid for photos of Angelina Jolie's twins in 2008). A world in which sites such asBabyrazzi.com
exist to stalk A-list toddlers, in which Forbes magazine a few years back published an earnest analysis of the "most influential babies." Historically, the arrival of a much-anticipated baby meant more than a cash influx. Sometimes, the birth changed history, as when King James II unexpectedly had a son. After the 17th century Reformation, there was a strong anti-Catholic feeling in England. James II had sired two Protestant daughters with his first wife, but when she died, he converted to Catholicism and married an Italian princess. "If the new queen had produced a daughter, the heir would have been the existing Protestant daughters," and all would have been well, British historian John Ashdown-Hill said. Instead, the birth of James Francis Edward Stuart resulted in the Glorious Revolution. For more than a century, Catholics were prohibited from holding seats in Parliament; for more than three, monarchs were prohibited from marrying them. That was an important baby. Often, royal marriages were political unions; the arrival of an infant was the final erasure of regional or inter-familial tensions. That tradition goes all the way back to the 11th century, the era of the Norman invasion, when Henry I of England (son of William the Conqueror) married Matilda of Scotland. Her daughter, also named Matilda, was widely perceived to be "the hope of the future," royal watcher Amy Licence said. That was an important baby. Licence's upcoming book, "Royal Babies: 1066-2013," has been ready to go for weeks, by the way. "What we're waiting for is the official photograph and then it can be rushed out the door," Licence said. The snapshot of the new baby will be used as a cover-wrapper and popped, posthaste, onto bookshelves. But how important is this baby, in the context of modern royalty -- a largely ceremonial institution in which the ruling monarch's salary must be approved by taxpayers? How important, in the context of modern fame, in which some American celebrities live in houses bigger than royals do, and have higher approval ratings? How important, in the context of modern parenthood, when it's not uncommon for even commoner children to have prenatal Twitter accounts? Every baby is a prince in 2013, with the home-mashed food and the artisanal naps and the "Congratulations! You're 1 (month)" birthday celebrations. It's awfully retro to give much importance to any baby, in this post-feudal society where accolades are supposed to be based on accomplishments rather than birthright. And the list of babies who accomplish something just by being born is very small. Jesus: Important baby. Louise Brown: Important baby. She was the first "test-tube baby," born through in vitro fertilization, a process that changed the nature of modern reproduction. But in general, contemporary baby culture has conflated "famous" with "important." In leadups to the royal birth, photo galleries abounded online, ranking the most "powerful" celebrity baby bumps: Beyonce's Blue Ivy, Kim Kardashian's North West, Brangelina's moppets. All of these babies are famous babies; none of them are important ones. When Blue Ivy grows up, she'll be only a satellite to her parents' renown, and when Suri Cruise grows up, she'll struggle with being seen as more than a satellite to her father's weirdness. The true value that these babies provide to our culture is what they tell us about our own values. After all, it's easy to denigrate celebrity infant obsession as shallow tabloid culture, but shallow tabloid culture runs deeply through our veins -- a glossy dissertation on Western mores. Celebrity pregnancies teach women how to be pregnant, says Renee Cramer, a professor at Drake University whose scholarly article "The Baby Bump is the New Birkin" examines celebrity pregnancy. The overarching storyline of the duchess's pregnancy focused on her trim physique, her fresh clothes, her patient demeanor. More than that, celebrity pregnancies reinforce the communal possession of every pregnant woman's body. When Cramer herself was pregnant, she said, "People asked, 'Are you really going to eat sushi? Are you really going to drink Coke? Are you gaining enough weight, are you gaining too much weight?' " The village, in other words, felt free to raise her child before it was even out of the womb. With this royal baby, the proprietary relationship is only magnified, and will only grow as he grows. As a 2-month-old, he'll be the test for whether the duke and duchess seem caring and competent enough; as a 2-year-old, he'll be used by the public to judge whether his parents possess enough discipline. He'll be important not because he's a shoo-in for future king, but because he'll be a humanizing lens through which to view a normally quite private world. "Grandparenthood is a unique moment in anyone's life, as countless kind people have told me in recent months," Prince Charles said in a statement shortly after his grandson was born. "So I am enormously proud and happy to be a grandfather for the first time." Meanwhile, three months ago, a few months after the former Kate Middleton announced her pregnancy, scientists in Italy discovered the skeletal remains of what is believed to be the first known Homo sapiens/Neanderthal hybrid -- the tangible specimen supporting research that modern humans are 1 to 4 percent Neanderthal. "First Love Child of Human, Neanderthal Found," the Discovery Channel heralded on its website. That baby changed the face (and DNA) of the human species for the course of the next 30,000 years. That baby was an important baby. This royal baby is a blessed bundle of joy.


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Central Europe is a timeless beauty offering the oldest and best preserved cities in all of Europe.
Discover Prague, Vienna and Budapest with
- Prague delights with its magical bridges, cathedrals and compact medieval centre;
- Vienna is rich in architecture and musical legacy
- Budapest enchants with the old Baroque and modern energy. All three cities complement one another on this cultural and sophisticated tour
Package Includes:
- Total 9 nights accommodation at 5-Star hotels
- 3 nights in Prague, Czech Republic at Hotel Liberty, Standard Room
- 3 nights in Vienna, Austria at Hotel Stefanie, Standard Room
- 3 nights in Budapest, Hungary at Prestige Hotel Budapest, Standard Room
- All private transfers to and from airport, train station and hotel
- First-Class Train tickets: Prague - Vienna - Budapest
- Tours & entrances as per itinerary
- Continental breakfast daily
- Hotel taxes and service charges**
Day 1: PRAGUE, CZECH REPUBLIC
Arrival in Prague, the magical capital of Czech Republic. Welcome by our local representative and transfer to your hotel. Enjoy the rest of your day at leisure.
Day 2: PRAGUE
After breakfast, meet your English-speaking guide who will take you to explore the medieval part of Prague: including Wenceslas Square, the Theatre of the States, Old Town Square with the Astronomical Clock and Parížská Street. Also see the only Central European Jewish town squares that survived the Holocaust. Stroll through the Old Jewish Cemetery and see Franz Kafka's house. After your tour, stop at one of Prague's finest breweries for a tour and tasting of four beers including famous cold delicacies. Transfer back to the hotel. Breakfast Included
Day 3: PRAGUE
After breakfast, meet your guide with whom you will explore the historical part of Hradcany Castle, Strahov Library and Loreto Château. Visit the Royal Palace, St. Vitus Cathedral, St. George's Basilica and Golden Lane. Descend the castle stairs to Lesser Town and continue walking towards Charles Bridge. In the evening, enjoy a performance of Opera or Ballet in the State Opera building; transfers to and from your hotel are included. Breakfast Included
Day 4: PRAGUE – VIENNA, AUSTRIA
After breakfast, transfer to the train station to board your train to Vienna, Austria, also known as the City of Music due to its musical legacy. Upon arrival, transfer to your hotel. Breakfast Included
Day 5: VIENNA
After breakfast, enjoy a half-day, private city tour of Vienna with your English-speaking driver-guide. See the Ringstrasse and admire the many magnificent buildings: the State Opera, the Hofburg Palace, the Museums of Fine Art and Natural History, Parliament, the Town Hall and more. The highlight of your tour is Schönbrunn Palace. Enjoy your afternoon at leisure. Breakfast Included
Day 6: VIENNA
Breakfast at your hotel. Enjoy your day at leisure. We suggest an optional full-day excursion to Wachau, the most picturesque stretch of the Danube Valley with sprawling vineyards, apricot orchards and romantic ruins. Drive past the charming old villages and castles including Dürnstein, where King Richard the Lionheart of England was held captive. Visit the magnificent Benedictine Abbey of Melk, a stunning example of Baroque architecture. This tour including an optional lunch and boat ride down the Danube can be added to your itinerary. Return to Vienna. Breakfast Included
Day 7: VIENNA – BUDAPEST, HUNGARY
After breakfast, transfer to the train station to take your train to the beautiful capital city of Budapest, Hungary, which sits divided over the Danube River. Upon arrival, transfer to your hotel. Breakfast Included
Day 8: BUDAPEST
After breakfast, take a morning tour of Budapest to get acquainted with this delightful city. Sights include Buda and Pest, Heroes' Square and the Millennium Monument, Gellert Hill and the Castle District. Enjoy the rest of your day at leisure to perhaps try one of the many mineral-rich thermal baths the city offers. Breakfast Included
Day 9: BUDAPEST
Enjoy breakfast at the hotel. Take today to explore the city on your own. An optional tour to the Puszta grasslands with a traditional three-course meal and folklore show is available (not included). Breakfast Included
Day 10: BUDAPEST – HOME
Enjoy breakfast at the hotel and transfer to the airport for your home-bound flight. Breakfast Included


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|Home >> Course Descriptions >> College of Arts and Sciences
|Modern Political Philosophy
|Three semester hours.
|Fundamentals of political thought, theory, and philosophy since Machiavelli; major contemporary political theories and movements. Prerequisite: Six hours of political science.
Home - General Information - Student Services -
Academic Undergraduate Regulations -
Undergraduate Degrees - Academic Graduate Regulations -
Graduate Degrees - Course Descriptions - Faculty -
Appendix A - Appendix B - Appendix C - Appendix D


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Industry veteran has Oklahoma City roots.
OKLAHOMA CITY – Arvest Wealth Management is pleased to announce Kendra J. Barnes has been promoted to vice president, trust officer for Arvest Trust.
Barnes, a Certified Trust and Financial Advisor, most recently worked for InvesTrust, N.A., where she also served as a trust officer, and also spent 13 years at Bank of Oklahoma. In her new role, Barnes is responsible for fiduciary account administration of personal trusts, estates, investment accounts and IRAs. She will office at Arvest Bank's Oklahoma City branch at 9350 S. Western Ave.
An Oklahoma native, Barnes lives with her husband, Jason, and their two sons in Guthrie. She is an active supporter of Ronald McDonald House Charities® Oklahoma City, among other community service organizations, and serves on its scholarship review committee.
Submitted questions will be answered by an Arvest banker and may appear on the Arvest Blog.
All Arvest banks are Equal Housing Lenders and Member FDIC.
Investment products and services are provided by Arvest Investments, Inc., doing business as Arvest Asset Management, member FINRA/SIPC, an SEC registered investment adviser and a subsidiary of Arvest Bank. Trust services are provided by Arvest Bank. Insurance products are made available through Arvest Insurance, Inc., which is registered as an insurance agency. Insurance products are marketed through Arvest Insurance, Inc., but are underwritten by insurance companies.
Securities and Insurance Products: Not Insured by FDIC or any Federal Government Agency, May Lose Value, Not a Deposit of or Guaranteed by a Bank or any Bank Affiliate.


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Sheffield's Tramlines music festival has been given the go ahead to move to a new home to celebrate its 10th birthday next year - it will be held at Hillsborough Park.
The line-up will be announced early in the New Year for the 2018 event which will be held July 20 to 22. Tickets details at www.tramlines.org.uk.
Bosses had been expecting a licensing decision at a sub-committee hearing on Thursday.
But the license has been approved in advance of the Sheffield Council hearing.
It means the main stage will move from the 17,500-capacity Ponderosa in Upperthorpe as Tramlines aims for a 40,000 crowd in Hillsborough for its 10th anniversary next July.
The size of the festival's new site and good public transport links were cited as reasons for the move.
Bosses say the relocation will allow Tramlines to offer a family element, and that local businesses are likely to benefit.
Acts appearing over the years have included Public Enemy, The Charlatans, Echo and the Bunnymen, Sister Sledge, Heaven 17, Reverend and the Makers, Olly Murs, Pixie Lott, Dizzee Rascal, Catfish and the Bottlemen, The Libertines, Primal Scream and All Saints.
Economic experts have estimated it is now worth £9m to the city's economy.
The decision follows public consultation including a well attended meeting in September at which organisers outlined Hillsborough Park as the 'best place' in Sheffield for a relocated Tramlines festival in 2018,
A working group was set up to address residents' concerns about noise, traffic, vandalism and the specific parts of the park Tramlines will occupy.
Sarah Nulty, the festival director, said: "I'm delighted that our license for Hillsborough Park has been approved.
"We can now put our plans into practice as we celebrate the 10th anniversary with the biggest and best Tramlines to date.
"The first line-up announcement will be early next year so please keep an eye on our website and social media channels.
"We are working closely with Sheffield City Council on the city centre proposition to ensure that it remains a core part of the weekend and more information on those plans will be released in the new year."
The proposal had the full backing of the city council's major events chief.
Richard Eyre, the council's head of major events, who was one of Tramlines' founders in 2009, said a change was necessary as the venture had become 'too successful'.
"It's outgrown the city centre. This is a great move. We think Hillsborough Park is the right site."


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The idea of this thread post your thoughts/memories etc. on the player/official/coach left by the previous poster and then leave a new player's name....I'll go first to show you how it works...
Javed Miandad:
Miandad is undoubtably 1 of the greatest players ever to come out of Pakistan. Most known for his undoubted grit, and ability to scrap it out is matched by few others. His fighting qualities were undboubted, just ask dennis lilee whom almost had the pleasure of tasting Javed's bat.
With the ability to either nurdle the ball around, or swat a few big ones when needed, Miandad became a truly influential player in the pakistan team.
Perhaps it wasn't the best idea to appoint Javed as the captain as his abrupt, no holds barred attitude proved to be disruptive, and did not allow him to share a positive relationship with many of his teammates.
His record of playing in the first 6 world cups is simply unbeleivable, and in unlikely to be touched in any of our lifetimes.
Since retiring Miandad has had a few stabs at being the national teams coach, but unfortunately for Javed all 3 attempts didn't lead to much success and he was promptly replaced by Bob Woolmer after an unsucessful series against fierce rivals India in 2004
Next Player: Bruce Reid


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U.S. Equal Employment Opportunity Commission
Federal Agency Charged Affiliated Dentist Harassed Female Assistants
BOSTON – Affordable Care, Inc., a national denture provider, will pay $150,000 and furnish other relief to settle a sex and race discrimination lawsuit filed by the U.S. Equal Employment Opportunity Commission (EEOC), the agency announced today. The lawsuit, filed in March 2009 in federal court in Springfield, Mass., charged that Affordable Care violated federal law when its affiliated dentist, Nelson Wood, sexually and racially harassed two female employees.
According to the EEOC's lawsuit, Kinston, N.C.-based Affordable Care and Nelson Wood, operating as Nelson Wood, DMD, PC, created a sexually and racially hostile work environment for Ariede Mills, who is African American, and Laura Carl, who is white, at its office in West Springfield. The lawsuit alleged that, among other things, Wood referred to women as "whining b-----s," propositioned Mills for sex, spanked Carl repeatedly on the buttocks, made insulting remarks about blacks, and claimed that he had a relative who was a member of the Ku Klux Klan. Both Mills and Carl complained repeatedly about Wood to Affordable Care, which is headquartered in North Carolina, but the company failed to stop the harassment. The EEOC also charged that Mills was fired in retaliation for her complaints, and that Carl was forced to quit because of the offensive conduct.
The settlement provides $75,000 each to Mills and Carl. In addition to the monetary payments, the consent decree resolving the litigation (Civil Action No. 1:09-cv-10399), approved by Judge Michael Ponsor today, enjoins Affordable Care and Wood from further discriminating on the basis of sex and race; creates an independent EEO coordinator to receive and investigate complaints of discrimination and retaliation at Affordable Care's dental practices; mandates training on the requirements of anti-discrimination laws; and requires the issuance of a new anti-discrimination policy and the posting of a notice regarding the settlement.
Spencer H. Lewis, Jr., director of the EEOC's New York District Office, which has jurisdiction over Massachusetts, said, "This case is a reminder that the EEOC will not allow a company like Affordable Care to escape liability for the actions of its affiliated entities when it maintains control over those operations."
EEOC Senior Trial Attorney Markus L. Penzel in Boston added, "The EEOC is pleased that Affordable Care worked cooperatively with us to resolve this case with minimal litigation. We believe that the relief provided in the consent decree will help prevent what happened to Ms. Mills and Ms. Carl from happening to others in the future."
On its web site, Affordable Care describes itself as a dental services organization currently supporting over 150 affiliated practices providing Affordable Dentures® in more than 37 states.
The EEOC is the federal government agency responsible for enforcing federal anti-discrimination laws in the workplace. Further information about EEOC is available on the agency's web site at www.eeoc.gov.


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124/3A Fotolite Unit
by Stanrite
The Stanrite Fotolite Lighting Unit is the perfect light source for mixing colors and for the illumination of canvas during painting. It's also great for model or subject lighting.
The lighting unit comes complete with a heavy-duty aluminum 10 in. diameter reflector, 8 ft. cord, and sturdy aluminum three-section stand that extends to 7 ft. The unit also features a metal socket with a cool handling wood knob.
The lamp swivels to all angles and folds down for easy storage. It has a metal/chrome finish.
Light bulb is not included.
?Ask a question about this product
Average User Rating: Based on (5 Reviews)
Patti P from Tucson, AZ says:
The lamp/lighting stand works well for lighting a still life, painting or photographing drawings. It is very light to move around, but very stable and easy to adjust. I'm very pleased.
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Fluorescein cadaverine is a popular fluorescent transglutaminase substrate to label proteins by transaminidation. It has also been used to prepare other small fluorescent biomolecules via amidation or reductive amination.
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Manjoo: Why Twitter Should Stay Weird
WSJ columnist Farhad Manjoo says Twitter's impending IPO may force it to change, and not for the better. Investors will want growth, and Twitter will be tempted to give in—and that may already be happening.
This transcript has been automatically generated and may not be 100% accurate.
... I ... we ... were planning an IPO but it is a chemist a way of ... staying with its was fun and Manjoo one season Cullison DoCoMo still The Wall Street and was made his debut on digits now ... five ... thank you Brian much for joining us ... a good year ... so why he wants ... what it is a way of ... in ... the area they wanna do is get ... people don't maybe you don't ... use the H don't realize is that Twitter is very different from Cecil ... basically Twitter is not for everyone instead be a good series for connecting with people who wanna see probably like journalistic celebrities marketers ... but it's not a good for connecting with your friends ... and I think there is certainly they appeal to the handset is the ineluctable dawn of the ... problem in on a post anything publicly ... Daddy Twitter very different and it makes it ... hard into ... one of these people ... that wear notice is that ... a ... few of them to keep using it because ... it takes a little time to use to be used to service ... and I hate it when the things it's can happen when Twitter ... Lake ... isn't even before to become a law accessible basically ... he spoke ... at an anti Twitter is ... you know that the time of iPhone is pleased with the just say we have ... that's what you're saying you want this deal actually hold out much hope of that happening ... given that when corporations the public they happen to the shareholders moment anything else ... then I think that's that's the worry that I know that a Sikh identity on Twitter who love to hear ... sch ... yes I think that people who read Twitter ... Nero de beers service is different from the spill and a tail wind in ... late fees though ... but the other hand the Junie two dozen public company it will be to report ... a constant state the huge growth and it will be says to me it looked like to see this is a service ... that has mainstream appeal ... so far it doesn't seem like Twitter is that since I know ... that the numbers suggest it can meet the two hundred to three hundred million users which is a lot ... but it's ... a fraction of what Facebook has its own earnings fastest newer services like Instagram ... that's because ... you know it's not for everyone ... and is a leader like there they're headed ... at conventions away ... at Sundance and sunny ... we're just the idea of meeting people whom you don't really know the lack ... of strange a team to the city's main street and end users ... and if Twitter ... those features ... it is in line at Twitter work Elan to ... everyone else that might make it ... less appealing to people who use it at all ... for your time as the debates and fun to be all things to wall people ... and white wires night and on that it's trying to come be insulted by people you've never met him in my life ... I'm I'm and that is as funny now what about just leaving this to the marketplace and if it does get old mainstream media and on we if one somebody else come along and do something that will fill the void ... yet the city the serious social services are really hard to connect each is related to ... get to get a critical mass a single service thinking we have a ... Twitter ... is the leader for real-time events ole ... or sporting events or ... in the second any awards ... or ... breaking news when something ... big happens in people follow on TV and Twitter and eighty BC hit the market is being ... traded to it that that duty ... so ... banks potentially use case that the market in my ... garden for ... the ... lender is exactly it's it's it's I feel like cable news is that the business that it's not ... it's not that suited the business than that ... Bespoke wants ... and that traders investors might want to ... become ... REITs up by a man two minute then beyond that that we appreciate time so ... they so much ... I'm Simon Qassam on that was digits