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THE FOX NETWORK IS KNOWN for its thought-provoking television programming, so it was no surprise, last month, to flip the channel there and find a group of six bare-chested men wearing skirts, writhing and leaping in a frankly eroticized war dance, as they performed choreographer Robert Battle's The Hunt.
Or, wait. Perhaps you were surprised? These members of the Alvin Ailey American Dance Theater appeared on Fox's hit reality program So You Think You Can Dance, which wraps up its ninth season tonight. Viewers enjoyed the Ailey performance while waiting to find out which dancers would be, in reality-speak, "eliminated." As if to make up for the daring of the professional troupe's performance, the results were blandly predictable: two white girls (who are nearly indistinguishable from two other white girls currently on the show) got to stay; one lithe black ballerina named Amber was voted off. Thanks for nothing, America.
And therein lies the rub of So You Think You Can Dance, a very strange concoction that burbles and fizzes as high art and populism dissolve into one another. Disappointment in "America" as non-threatening boys are crowned again and again as our "Idols" is nothing new. But dance's typically unremunerative nature makes So You Think You Can Dance stand out from the nickel-plated surface of wannabe pop sensations: dance contestants might make a few dollars riding the arena circuit for a few years after, might even land a prime spot steering the Step Up steamroller, but they really can't be in it for the money. As my sensible older brothers used to tease me about my dance career fantasies, "Well, you can always eat cat food."
So why, other than millennial notions of fame, do they do it? Strangely enough: the art. It's just that this "art" looks a lot like mass culture in its emphasis on consensus and marketability. After all, So You Think You Can Dance does not crown America's "best" dancer, or "most technically skilled" dancer, but "America's Favorite Dancer." The show asks contestants to master multiple dance genres. Jazz, hip-hop, foxtrot, krump, b-boy, Bollywood, contemporary, Broadway, swing, paso doble: it all gets thrown together in a democratic potpourri, and the dancers' success at navigating the challenge is judged according to the reality fulcrum of "star power," that evanescent mix of charisma, physical beauty, and adhesiveness that draws an audience in.
So far, after nine seasons, America's "favorite" dancers have mostly been young, white women drawn from the well-lit competitive dance studios of the suburbs such as Melanie Moore, Lauren Froderman, and Jeanine Mason, all self-described "contemporary" dancers. These dancers in particular do not find the liminal space between high art and entertainment troubling. For them, art is expression, selfhood is the content, and they are there to express themselves all over that damn stage. So You Think You Can Dance could perhaps be renamed So You Think You Have Feelings. It is Instagram in motion, a technically virtuosic rendering of pose as inner life. Contestants on the show repeatedly emphasize that they are there to "show America" who they are, that they are on a "journey," with hopes to experience personal "growth." Theodor Adorno would have heard these banal platitudes of late-capitalist reality television and called them "pseudo-individualization." But the way that capitalism produces in individuals an anodyne belief in their own precious individuality is not news.
Though the show is structured according to such reality television triteness, my devotion to it is energized by how unexpectedly it can turn narratives about personal growth and artistic expression on their heads. The coincidence of these two aesthetic genres — dance and reality television — forces viewers really to see the capaciousness of reality television, its character as a genre governed by a set of rules, steps, artistic cues, and, increasingly, an elaborate, self-referential history, just like dance itself. So You Think You Can Dance often orients itself against the classical tradition in dance, claiming democratic, expressive freedom (no training necessary!) against high art's aristocratic constraint. But what the show actually does is propose, fascinatingly, that self-expression, personality, and "star power" are just another set of bodily vocabularies to master.
Like the high art dance tradition (ballet in particular), reality television is a disciplinary genre: it bends its subjects to its will. The question then emerges: what happens when this will claims to generate, unexpectedly, "unique personal and artistic expression"? The dancers of So You Think You Can Dance, on their way to being crowned Favorite and presumably most individual or unique, submit to the rules of reality television, "growing" and shedding tears at all the right moments. But what we also see is how the body precedes and actually shapes the expression that the show itself assumes is primary. Chip through the layers of sedimentary narrative that structure the twenty-first century culture industry — personal growth, a soft-focus on "social" issues, a consumerized vision of success — and you find the bedrock underlying them all: the body, inarticulate, at work, and joyful in its inarticulate work.
In the late nineteenth century, William James developed a theory that proposed emotion as secondary to, or resulting from, the physiological. That is, we don't fear a bear and then run away from it; we run away from the bear and then, because we are running, experience fear. In "How Tracy Austin Broke My Heart," an essay about corporeal genius, David Foster Wallace wondered whether "those who receive and act out the gift of athletic genius must, perforce, be blind and dumb about it […] not because blindness and dumbness are the price of the gift, but because they are its essence." Both theories critique the impoverished nature of the sort of knowledge work that values insight and explanation over manifestation. So You Think You Can Dance helps frame the problem another way: what if we revamp our assumptions about where genius resides? And how should we understand the bodily genius that the show advocates in the context of the show's relentlessly popularizing approach?
The "personal growth" narratives that shape SYTYCD have an unabashedly populist orientation aimed at making the dancers palatable to a national audience. Can the "untrained" street dancer hold his own among these polished suburban perfectionists? Can the ballet dancer learn how to loosen up, lose the turnout, and explore the truly democratic potential of dance? Can the white girl-next-door type learn how to krump? Can the gay boy straighten out enough for the tween girls to keep voting for him?
Regarding this last narrative: So You Think You Can Dance creator and judge Nigel Lythgoe is the most egregious perpetrator of gender normativity on this otherwise queer-friendly show. In 2009, Lythgoe critiqued two male dancers' audition, saying, "I think you probably alienate a lot of our audience":
I mean, we've always had the guys dance together on this show, but they've never really done it in each other's arms before. I'm certainly one of those people that really like to see guys be guys and girls be girls on the stage.
Even here, the show's populism rings clear: Lythgoe genuinely wants to spread the gospel of dance to the masses. He just believes that the best way to do this is to pretend — via a never-ending stream of adages about desire, power, partnering, and hairstyles, and defanged-yet-creepy insinuations about girlfriends back home — that everyone on the show is straight.
The growth narratives that the show favors often play on the audience's presumed cultural values. While So You Think You Can Dance allows young black men and women a centrality that is almost wholly missing in other contemporary television programs, it only does so within the relatively constrained "came up hard street dancer" identity. Season 6 winner Russell Ferguson was presented as an untrained street dancer (America's Favorite Krumper!), though he attended an arts academy high school and majored in dance in college. Likewise, Sasha Mallory, who took second place in Season 8, was repeatedly asked in post-routine interviews how she has drawn upon the hardships in her life in order to express the pain she was being required to express. I always thought Mallory looked somewhat nonplussed at the question, but game to go along with it. Whether or not Sasha was really one of the walking wounded, she rightly sensed that playing one on TV was good business.
The constant demand for Expression! Narrative! Emotional Journeys! can do a number on these physical savants. Contestants on the show are asked to perform a choreographed set of expressive moves that are not necessarily dance steps: this is part of the fundamental discipline of reality television, which shapes the personality no less rigorously than dance does the body. Audition episodes for Season 9 followed Alexa Anderson around like a remora as she was harangued by the judges for not expressing enough emotion when she dances. It was harrowing to watch the girl try to arrange her face in different ways that might read as "emotion" to the judges. It never took, and I never quite got why "trying desperately to please you" didn't count for them as a state of intense inner turmoil. She was eliminated in Episode 2 of this season and I felt relief that I no longer had to watch her search for an inner self.
This emphasis on a dancer's personal growth feeds seamlessly into the show's soft-focus social issue choreography. This is the analgesic influence of television as democratic genre: the multi-cultural, hold-hands-and-sing, everyone-agrees, yoga-prayer-hands effect. So You Think You Can Dance conveniently offers the audience the sentimental opportunity to engage with social issues through feelings, right from the comfort of their couch. Whether addressing homelessness or domestic abuse or the plight of child warriors in Northern Uganda, many of the pieces the dancers perform offer a sentimental experience for viewers. Would you like to cry for two minutes and 18 seconds while thinking about breast cancer and the medical industrial complex? Great, here's your chance. The politics here are deliberately vacuous: something like "breast cancer" becomes a way for audiences to project themselves into the emotional experience that the dancers are expressing for them on the stage. The textbook sentimentalism of these pieces — tear-producing and personally experiential — smooths the absurdity of the aesthetic and political pairings.
Other than this social issue choreography, the bulk of the routines performed on the show are structured not by through-line narrative but rather by premises. "You are insects, performing a mating dance." "Baseball players in an old-timey setting." "A woman with a large behind that a man worships" (a concept that resulted in choreographer Mia Michaels' famed "Butt Dance"). The choreographers who craft these pieces are less ill-informed or soft-headed than they are a responsive part of an artistic community that rewards what dance critic Joan Acocella (describing the Alvin Ailey repertory, no less) called "hazy humanitarianism." They have jobs, in an industry that has very few. And before you can revel too gleefully in your own tongue-in-cheek ribbing of the child warrior routines, an eliminated dancer gives a heart-wrenching interview in which she completely breaks down sobbing about how she has been auditioning for three years, but just cannot book a job, and does not know what she's doing wrong. Your heart skips a beat as you are reminded: this is a real person trying to do a real job.
Whether or not such glimpses of pathos are authentic or are just a "reality effect" spun by story editors, my affective response to these dancers' artistic struggle is the same. How, or more specifically why, I wonder, does one undertake a career in an art that has lasting, potentially negative effects on one's body, and provides very little opportunity for financial stability while requiring considerable financial commitment to hone? Whether or not you find the banal "for the love of it" answers convincing, So You Think You Can Dance shows us artists at work, as a part of a system that is sometimes exploitative, oftentimes dull, but rarely soulless. The presence of this hard-to-pin-down soulfulness adds to the appeal of a show that fulfills reality television's formulaic promises while also, at its best, violating those promises.
These are the high-low wilds in which we find So You Think You Can Dance: not an Idol, not yet a Nijinsky.
In Apollo's Angels, former dancer and historian Jennifer Homans predicts the end of ballet as the art form becomes more insular, speaking to fewer and fewer people. She critiques the unthinkingness of contemporary choreography, charging that it
veers aimlessly from unimaginative imitation to strident innovations usually in the form of gymnastic or melodramatic excess, accentuated by overzealous lighting and special effects. This taste for unthinking athleticism and dense thickets of steps, for spectacle and sentiment, is not the final cry of a dying artistic era; it represents a collapse of confidence and a generation ill at ease with itself and uncertain of its relationship to the past.
It is worth noting, on So You Think You Can Dance, that while dancers are regularly challenged to pick up the physical vocabulary of an unfamiliar dance genre, they are almost never asked to adopt the vocabulary of ballet. This is because ballet is emphatically not a pick-up game; it is a matter of precision and deep history (institutional, as well as personal), an art form that rewards patience and repetition and knowledge in both its dancers and audiences.
So You Think You Can Dance is not particularly concerned about the fate of ballet, and, other than the judges' admiring remarks about ballet dancers' refined feet and legs, the show most often invokes ballet as the unyielding, personality-squashing master against which these young artists must rise above. Of course the show's disavowal of ballet and its rigid adherence to form and tradition is a relatively unsurprising form of projection in which genre and discipline happen elsewhere — when, really, they lie at the very heart of reality television's mass cultural appeal.
Which is not to say that Homan's insight into the "unthinking athleticism" and lack of tradition in much contemporary dance is not on point, but only that, in its melodrama and athleticism, the spectacle and sentiment on display in So You Think You Can Dance represents a generation that seems completely at ease with its non-relation to the past. Rather than serving up a history of dance, the show gives us bodies at work writing a history of the present. That these bodies belong to relatively inarticulate young people is all the better. They are asked to express and grow as individuals and artists; to advocate for the continuance of an art form that has an increasingly marginal presence in our culture. They do this work, but only by making all the right moves. This is more difficult than it sounds. When was the last time your body truly shaped you?
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Walter White's Rebellion
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We went to have lunch with his uncle that came to visit from out of town, to a delicious sea food restaurant.
I wanted to dress up a little bit but still keep it casual.
So I went for a neutral color palette, which I love, in fact most of my closet is full of neutral color clothes.
I wore my nude pale pink high waisted denim Dolce and Gabbana pants. I've had them for a long time, but I had never used them before, so when I saw them I tought it was about time to wear them for the first time.
I also wore a grey H&M basic tank top and add some golden accessories like bracelets, rings and my Swatch watch.
To complement the outfit I used my camel high stiletto heel pep toe shoes and my nude Purificacion Garcia saddle bag.
With my thin camel leather belt and my huge anchor long necklace.
And wore my Salvatore Ferragamo silver gancini earrings to give the last detail.
hang on, two more days for the weekend!
Andrea G.

subset: commoncrawl


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Easter Egg Hunts in Missoula 2012
Looking for Easter events for 2012? You've come to the right place!
1) Townsquare Media Easter Treat Hunt: Bring the whole family for a day of fun! Saturday, April 7, 2012 at the Missoula County Fairgrounds. The Easter egg hunt itself will start at 11 a.m., but there will be lots of other activities before and after the "main" event:
- Face painting by Melisa Sparks 10:30-Noon
- Montana Clown Works clown 10:30-Noon
- A bounce house
- Sumo wrestling
- Photos by Jamie Lynn and J_Willis Photography
- Dr. Kyle Hayes from Lambert Family Chiropractic will be setting up a table to help out the adults.
- Red from Red Robin will be there 10:30-Noon
- Slash from the Maulers will be there 10:30-Noon
- Registered Herefords with calves from Roy Handly
- Miniature cows from Roy Miller
- Pigs and chickens provided by Missoula County Fairgrounds
- 20,000 eggs stuffed by Stage Works Productions
- The Carousel for Missoula will have coupons, and one lucky child in each age group will win a year-long season pass to the carousel
2) Join River City Church for their annual Easter Service! Along with the usual casual atmosphere, upbeat music and relevant teaching, they"ll also be teaming up with Mismo Gymnastics to provide an exciting Easter experience your kids will love!
- River City Church & Mismo Gymnastics Easter Event
- All Ages
- River City Church – 1900 W Broadway
- Phone: 880-9072
3) Free Easter egg hunt sponsored by Relay for Life. There will be raffle items, prizes, fun, and food! Come join the fun and show your support for Relay for Life and the American Cancer Society!
- All ages
- Head Start Playground – 1001 Worden
- Easter Egg Hunt 1:00 PM Head Start Playground
4) The University of Montana Oval will be transformed from a grassy lawn to a sea of colorful eggs and candy on Saturday, April 7 when UM hosts the 12th annual Missoula Easter Eggstravaganza. Children ages 9 and under are invited to bring their baskets and search for thousands of eggs packed with Easter treats during western Montana's largest egg hunt, which gets under way when the Main Hall bell tolls 1 p.m. The event is free and open to the public, and Mountain Line will provide free bus rides all day.
5) The Missoula Phoenix 2012 season opener is set for Saturday April 7th at 6pm against the Bitterroot Blaze. The Phoenix will also be hosting their second annual Easter Egg Hunt with 20,000 EGGS at 5pm! Both are FREE so come on down and have a great afternoon at Rollin Field! Remember that there is a full concession stand full of hot food, candy, nachos, water, soda and beer! Let's go Phoenix!!!
6) Sentinel Kiwanis Easter Egg Hunt
- Saturday, April 07, 2012
- 10:00 am – 10:30 am
- Kiwanis Park


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We've all gotten used to the idea of using Twitter, Facebook, and even YouTube for marketing -- even if the platforms aren't always as brand-friendly as they could be. And why should they be? They started as social networks meant for people to talk to people, not companies to talk to consumers. But in the struggle for monetization, they've had to adapt and continue offering ways for brands to market and make money using social media.
And we have! Many marketers have figured out how to generate leads via social media, start discussions with leads and customers, and even venture into the territory of social sales. And just when we got comfortable with this whole social media marketing thing -- BOOM! -- out comes Google+, followed shortly thereafter by Pinterest.
Great. Two more social networks brands need to figure out how to use for marketing. We all saw what happened with Facebook and Twitter; a small segment of savvy marketers figured out how to use the social networks for marketing successfully, and businesses that lagged were left playing catch-up years later. We're not going to fall victim to that again with Google+ and Pinterest!
But do we need to figure out how to use them for marketing? Are either of them actually useful in that regard? Like most generic questions of this nature, the answer is ... it depends. Pinterest and Google+ have their strengths and their weaknesses. And while in an ideal world you'd have the time to play around with both to see which, if either, is right for your business, we figure that you're just trying to find enough time to write your next blog post.
So if you just can't decide whether Pinterest or Google+ is really worth your time, here's a breakdown of the pros and cons of each social network. Hopefully the side by side comparison will help you prioritize whether you should pursue them as part of your internet marketing strategy.
First, a quick review. Pinterest is a social network where users share (or 'pin') images and videos of items that interest them. They are either their own images and videos, or ones they've found on others' pinboards or on the web. The pins are aggregated on 'boards' that often follow a common theme. If you decide after reading this post that Pinterest might be a good fit for your business, reference this ebook about how to use Pinterest for business.
Why Pinterest Rocks
You don't want to spend your time on a social network nobody is using, so let's start by taking a look at Pinterest's usage stats as an indication of its usefulness, courtesy of Media Bistro and comScore. As of February 2012, Pinterest had 10.4 million users. And in January, not only did Pinterest reach 11,716, 000 total unique visitors, but the average amount of time spent on the site per visitor was 97.8 minutes. Or in highly technical marketing terms – the site's really sticky. Why does this make Pinterest a great potential social haven for marketers? It means that the site provides significant value to its users, enough so they're willing to set aside a large chunk of their day to spend on it. And if those metrics continue to go up, it's an indication that Pinterest is not just a passing fad.
One of the reasons Pinterest has probably taken off – and why marketers should be excited about it – is that it offers a value proposition that's unique from the other social networks out there. If someone asked you to define what all the major social networks did – Facebook, Twitter, LinkedIn, YouTube – it's pretty easy to differentiate them from one another. And Pinterest is no different! None of the existing social networks do exactly what Pinterest does. Sure, you can share images on Facebook or via a Twitpic, but image-sharing is not those sites' primary purpose as it is with Pinterest.
Pinterest has also made it very easy to share content on the web, something content-crazy (in a positive way!) inbound marketers should get excited about. Pinterest prompts users to download a pinmarklet (a Pinterest toolbar bookmarklet) that allows them to pin any content they find on the web that they want to share; it's just that easy. No copying and pasting links or switching between tabs and browsers. If you're investing in visual content – infographics, cartoons, videos, etc. – Pinterest just made it even easier for that content to be disseminated by your readers to a brand new audience.
Which brings us to one of the best parts of Pinterest – that it's an image-driven site! And people love images, far more than they love words. In fact, images and videos are the most shared content on Facebook. If you're a product-driven business, sharing beautiful images of your products on Pinterest is a simple way to leverage the tremendous power of visuals on a booming social network that is dedicated solely to sharing beautiful and interesting images.
Where Pinterest Falls Short
One of Pinterest's biggest strengths, its emphasis on visual content, is also one of its biggest weaknesses for some businesses. Frankly, most people think of Pinterest as a place to look at things like clothes, hairstyles, furniture, crafts, and other visually stimulating images. If you're not a B2C or product-oriented business – or you're like HubSpot and your product is inbound marketing software -- it's a stretch to find a use for Pinterest. That's not to say you can't be successful on Pinterest; HubSpot got creative and combined pinboards of our visual content, like infographics, ebook covers, and inbound marketing graphs, with pinboards that reflect our brand, like "Fun Orange Things" and "Things With Spots."
And while relatively unsexy B2B businesses have found success on Pinterest, it has also resulted in some backlash from pinners about whether Pinterest should be a safe space from marketers. We wrote a blog post that discusses that debate in much more detail, but if you're considering experimenting with Pinterest, it's important to note that you very well may experience some backlash for it if you're perceived as, well, marketing (even though Pinterest has wiped any warnings against using the site for marketing from its 'Pin Etiquette' since we published that post).
It makes sense; one of the other weaknesses of Pinterest is the lack of dedicated brand pages. Google+, Twitter, Facebook, YouTube, and LinkedIn all eventually developed space specifically for companies, which helps alleviate some of the frustration consumers feel when they feel like they're being marketed to in their personal social networks. The challenge marketers will face on Pinterest, then, is figuring out how to market without seeming like marketing. In other words, create visual content that's so cool, people won't care that it's also driving referral traffic and inbound links to your website. Visual content creators out there know doing that is much harder than it looks.
Now that we know Pinterest's strengths and weaknesses, let's do a quick review of Google+ before continuing our deep dive. Google+ is a social network many have described as similar to Facebook. It lets users -- and since November, brands have dedicated pages for the same purpose -- share status updates, links, images, and videos. These updates can be commented on, shared, or receive a +1, which shows up in search engine results pages. We also have a Google+ for business ebook for your reference if you decide it's a worthwhile social network on which to spend your marketing time.
Why Google+ Rocks
While users don't expect Pinterest to be used for business, marketers on Google+ aren't met with any surprise from others on the social network. Even when Google+ initially launched without dedicated brand pages, it wasn't strange to see businesses promoting their content – probably because the network worked so similarly to Facebook (more on that later) which has long since integrated brand conversations with personal updates. So if you're concerned with being met with consumer backlash on Pinterest, Google+ is certainly a safer space to try out a new social media venture.
Google+ also allows for better targeting of content with its Circles functionality. You likely have several personas developed for your business, and if you've done any content mapping you know that while some content is ubiquitous, much of it needs to be tailored to the audience. Instead of blasting updates to your entire Google+ following, Circles allows marketers to let their followers identify the topics they're most interested in. This is the kind of content targeting inbound marketers relish, because it leads to higher click-through rates and a more engaged social following.
But perhaps the best argument for getting started on Google+ is its integration into search results. Google+ status updates and content people have given a +1 to now appear in the organic search engine results on Google.com. So whether you simply have a +1 button on your blog or you're actively publishing content to Google+, your content has a much greater chance of dominating search results than it did before your participation in Google+. If you're interesting in seriously dominating organic search results with Google+, reference this blog post that will teach you the tricks of the trade.
Where Google+ Falls Short
Just like Pinterest, Google+'s strengths also contribute to its weaknesses. Namely, some people find it really confusing. What's the difference between just posting to Google+, and +1'ing content? If I do either of them, does it mean I show up in search? How can I use Google+ to share content without making it indexable in search? These are all valid concerns that, as marketers, we understand, but we also easily take for granted that our target audience may not understand the intricacies of how Google+ works. And if they don't get it, they won't use it.
Perhaps that – plus a lack of clear value proposition – is why Google+ usage has leveled off after its initially skyrocketing adoption rate. While Pinterest has users on its site for over an hour at a time, eMarketer reports that users spent an average of just 3.3 minutes on Google+ in January. Ouch. So while Google+ has more users than Pinterest, those users aren't actually spending time on the site each month; do marketers really want to spend time on a social network their users aren't?
For Google+ to provide the same kind of value for its users as Pinterest, it needs to provide a unique value proposition like Pinterest has. Remember when I said it was easy to define the major social networks, like Pinterest, LinkedIn, YouTube, Facebook, and Twitter? I have a confession. I had a difficult time coming up with the words to explain Google+ in the beginning of this section. All I could think to say was – it's pretty much like Facebook. And until Google+ can differentiate itself further, it's not likely users will spend more than a few minutes a month on there, either.
So, Which Should You Choose?
Pinterest has the opportunity to be extremely valuable for retail businesses, or anyone who sells an aesthetic-centered service -- think hairdressers, for example. But it can also have a lot of value to businesses that are willing to put in the time to create visually stimulating content -- we've written an entire post about how B2B organizations can thrive on Pinterest. But your time will be wasted if the only time you have to give, at this stage in the game, is sharing links to written content you and others are creating. Realistically, that's what many businesses are doing on social media (and that's okay!), and Google+ is a much more appropriate social network for such sharing.
But I would be remiss to close out this post without mentioning one key difference between Google+ and Pinterest that might affect your decision to participate in the networks: Pinterest users are mostly women, while Google+ users are largely men. Okay, let's dive into some data and raging gender stereotypes for just a minute, courtesy of Remcolandia:
- 83% of Pinterest users are females between 18 and 34.
- Most Pinterest posts and photos are about design, fashion, and home decoration.
- 63% of Google+ users are men, who tend to post about technology.
- Two of the biggest user groups on Google+ are college students and software developers.
Does your business' target audience have a similarly heavy skew in one of these directions -- either by industry, job type, or gender? If so, this data may be key in deciding whether it's worth your time to pursue marketing on Google+ or Pinterest.
All of this isn't to say you should use Google+ or Pinterest, or that you should limit your usage to just one. If you have the bandwidth to experiment with both, finding opportunities to present your information both verablly and visually, take on the task! (And share the results with us, please!) But since we know how strapped for time and resources many marketers already are, hopefully this side by side comparison of the pros and cons of the two newest social networks makes your decision to participate just a little less agonizing.
Which social network -- if either -- do you find more helpful for your business, and why? Do you think one or both will fade into oblivion as a marketing tool?


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Chuck Hamly's '70 Pontiac GTO - More!
Chuck Hamly Found Out That More Is Just Enough With His Supercharged '70 GTO.
Car guys are all about more. They do things like buy a 505hp LS7 crate engine and immediately void the warranty by putting in a bigger cam. Why? Because you can always use more power. Seventeen-inch rims are replaced by 18s, so that even bigger rotors can fit inside them. Three-speed transmissions are swapped for four-speed units until there's enough cash in the account for a six-speed. It's the quest for "more" that led to the creation of Chuck Hamly's '70 Pontiac GTO.
Back in '85, he picked up the Goat as a daily driver, and until '92, it was still serving that purpose. Then, he was bitten by the "more" bug. "Being a hot rod guy, I always wanted more," says Chuck. "More power, more flash, a bigger stereo, nitrous, a four-speed, lower gears; more, more, more!" One of Chuck's roommates owned a body shop that specialized in custom cars and offered to teach him how to do paint and body work in his shop. The GTO was given a spot in the shop and Chuck began work on the car. "Things quickly spiraled out of control. At some point in the beginning, the shop's owner, Barney Squiers, said, 'You might as well pull the motor and paint the engine compartment.' That sounded like a good idea, so out it came. I figured I might as well rebuild it while it was out. Then someone said, 'You might as well shave the firewall while the engine is out.' That sounded like a good idea, too. Next thing you know, the fiberglass front end and rear quarters were done, the door handles were shaved, I ditched the chrome; more, more, more! My three-month paint job turned into four years of weekends and evenings in a body shop learning that I have no self-control."
Once Chuck had the body work just right, he decided on a color; something different that would stand out in a crowd. Barney pitched two colors to Chuck. One was a very intense PPG purple, and the other was the Aqua on the car today. At first, Chuck said, "No way!" to the color, but Barney eventually wore him down. "The color is PPG Aqua from the Hot Licks book. The paint is a single stage with no clearcoat. I don't think I could get away with this color on many cars, but it works on this body style." With the decision made, Chuck grabbed the spray gun and laid the vibrant hue onto the skin of the GTO.
Chuck has more than 20 years of experience installing high-end car stereos, so when it was time to wire the car and build the interior, he was really in his element. When we say he went all-out on the electronics, we're not even close to exaggerating. The interior has more tech than a BMW M6, and it's all seamlessly integrated into the GTO. The main attraction is the touch-screen display behind the shifter. "The Lexicon touch screen will operate all the functions in the car, including windows, heater, defroster, headlights, dash dimmer, trip reset, trunk release, door release, interior lights, nitrous control, line-lock control, stereo and video functions, power mirrors, and others. The signal from the remote is sent to the support electronics behind the rear seat," explains Chuck. Under the rear seats are two batteries to help drive the 1,200-watt audio system, complete with multiple LCD displays, and two CD changers. There are AM, FM, XM, CD, DVD, MP3, and even TV to choose from. The dash houses Dakota Digital gauges and parts of the massive audio system. Enough electronics are packed into the GTO to make a space shuttle look out of date. All the door and dash panels were hand-fabricated by Chuck, then covered in black vinyl. The trunk houses most of the audio gear, along with a nitrous bottle and a hidden 10-pound Halon fire system with spray nozzles in the engine compartment and under the dash. It took Chuck more than three years to wire the car, install the electronics, and make the interior. That's on top of the four years in the paint and body shop. But he still wanted more.
With such a killer drivetrain, the chassis and suspension seemed a bit lacking, so Chuck got down to business. Up front, he added modified Hotchkis upper control arms, Fatman lower arms, and Baer spindles. Out back, he installed Global West control arms. The front and rear springs are drop units from HO Racing, and Koni adjustable shocks are on all four corners. Bigger sway bars help keep the GTO level, and a factory fast-ratio steering box gives better response. Baer Trac disc brakes ride inside one-off Boyd wheels (18x8 inch, front; 20x10 inch, rear). "It's very smooth cruising," says Chuck. "The suspension works very well, even at the very low ride height."
In a sea of sameness, Chuck's GTO stands out, not just because of the color, but because of the hands-on approach he took to building it. Over the years, he's constantly improved his GTO. He's on his third gas tank and second exhaust system. "One of the reasons I've changed so many things is because I couldn't get something done the way I wanted. At one point, I got frustrated, and enrolled at Lincoln Electrics' Motorsports Welding School. Now, I can put things together myself and don't have to deal with someone doing it the wrong way," says Chuck. Future plans call for a 9-inch rear and he's in the process of building a sheetmetal intake, too. Why? Because nobody else makes one. He also wouldn't mind an overdrive transmission, and thoughts of more power are pushing him toward a 467-inch stroker Pontiac. After all, sometimes more isn't too much.
Chuck Hamly, 40 Springfield, VA | |
Total cost to build: | $85,000 |
Vehicle weight: | 3,900 lbs. |
Chassis dyno numbers: | 613 hp and 598 lb-ft of torque |
Type: | Pontiac 400 small-block |
Rotating assembly: | Forged crank, JE forged pistons, 8.5:1 |
Cylinder heads: | Pontiac 5C iron heads with 101cc chambers, 2.11-inch intake and 1.77-inch exhaust valves |
Camshaft: | COMP .508/.480-inch lift, 240/231 duration @ .050 |
Valvetrain: | COMP pushrods, Harland Sharp roller rockers, COMP lifters |
Induction: | Holley Torker II intake, modified for fuel injection |
Ignition: | MSD 6-AL |
Power adder: | ATI ProCharger P600B, 11 pounds of boost |
Fuel system: | Weldon pump and regulator feeding custom fuel rail and injector system |
Exhaust: | Hooker headers, Flowmaster mufflers, entire system Jet-hot coated |
Cooling: | BeCool aluminum radiator, Perma-Cool 14-inch fans, electric water pump |
Built by: | Chuck Hamly |
Transmission: | TH400 |
Torque converter: | |
Trans cooler: | Moroso |
Rear axle: | Pontiac, 3.90 gears, Moser axles narrowed 2 inches |
Front suspension: | modified Hotchkis upper control arms, Fatman lower arms, Baer tall B-body spindles |
Rear suspension: | Global West control arms |
Springs and shocks: | HO Racing springs and Koni adjustable shocks |
Brakes: | Baer Trac kit, 13.25-inch, front; 13-inch, rear |
Wheels: | custom Boyd wheels; 18x8, front; 20x10, rear, with 4-inch backspace |
Tires: | Yokohama AVS Sport 235/40R18, front; 275/35R20, rear |
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Oct 18, 2009
Main topic: Richard Cooke on ENVI EX. News: Mapathon, William and Mary, and GeoServer.
A VerySpatial Podcast is your weekly source for information on Geography and geospatial technologies. Geography touches most things we do everyday and geospatial technologies are taking over the world. This podcast seeks to point out how geo is filtering into our digital lives and daily lives.
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OAKLAND, N.J., Oct. 21 /PRNewswire/ — Collagen Matrix, Inc.,
the leader in collagen- and mineral-based matrix engineering,
announced today that it is expanding its operations by the addition
of a 28,000 sq. ft. facility at 15 Thornton Road, Oakland, New
Jersey 07436.
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processes, Quality Control laboratory, R&D, warehouse, and the
administrative group to the newly renovated state-of-the-art
facility. Located in the McBride/Oakland Industrial Park, the
Oakland facility will become Collagen Matrix's new corporate
headquarters. The new facility is about three miles from the
company's current 16,000 sq. ft. Franklin Lakes facility, which
will continue to operate.
Named as the 16th fastest growing company in New Jersey by NJBIZ
in 2009, Collagen Matrix's rapid growth has made the facility
expansion a critical and necessary next step for the company.
Some 6,000 sq. ft. of space at the Oakland facility was
renovated and updated into new clean room space, and about 4,000
sq. ft. of space was renovated into multiple smaller laboratories
and a pilot scale clean room.
"The new Oakland facility will provide Collagen Matrix with far
greater capacity and flexibility to meet our customers' needs.
The additional manufacturing space will also support our
upcoming new product launches and continued growth in the future,"
said Shu-Tung Li, Ph.D., Founder and CEO of Collagen Matrix.
Collagen Matrix, Inc. is a leader in the design and engineering
of collagen- and mineral-based extracellular matrices for tissue
and organ repair and regeneration. Since its inception in
1997, the Company has received many government grants for the
development of collagen-based matrix products in the areas of
neurological, vascular, urological, and orthopedic tissue
regeneration applications. The Company currently manufactures
collagen-based finished medical devices in the


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Google, as promised, has launched the Chrome browser ad-blocking feature it has touted for nearly a year.
Although not the first such effort by a browser maker, Google's decision - effectively a pre-emptive strike against even more users turning to independent add-ons for killing online advertisements - has both import and impact by virtue of Chrome's dominance.
With more than 61% of all browser users running Chrome as of January, according to analytics vendor Net Applications, when Google's browser whispers, the web listens. Sites that instead tune out last week's move do so at their peril.
Just what is Chrome's ad blocking - Google likes to call it "ad filtering" - really all about? How does it work and what's the reasoning behind it?
All good questions. We've got the answers.
What is Chrome ad filtering?
Google has dubbed Chrome's new functionality an "ad filter" rather than calling it an "ad blocker," the far-more-common label for separate or baked-into-the-browser software that scrubs online ads from website pages.
That's because Chrome does not, as do most ad blockers, eliminate all ads from all sites, then close up the now-empty spaces to make the page look more or less composed. Instead, Chrome looks for certain types of ads, those that the Coalition for Better Ads (CBA) says violate what the industry group calls its "Better Ads Standards," then expunges ads from the sites displaying such pitches.
The standards have identified several ad types on the personal computer desktop and on mobile devices that CBA-released research claimed are the most annoying of all online advertisements.
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Google is walking a tightrope calling its approach filtering (rather than blocking) because the end result on sites struck by Chrome is the same as if an ad-blocker add-on was installed: All ads have been "disappeared." The filtering Chrome does is on a site-by-site basis, not ad-by-ad, something that some commentary about the new functionality failed to mention.
How does Chrome's ad filtering work?
The multi-step process Google has implemented starts with an automated evaluation of a sampling of a site's pages that tallies violations of the coalition standards. Each site is handed a grade: Passing, Warning or Failing.
A warning means that the site has "a number of ad experiences that violate the Better Ads Standard," which the site administrator should correct before re-submitting for a follow-up review. A failing mark means "numerous" violations were found, and that the site owner has 30 days to make changes and request a second review. Ad filtering kicks in after that grace period if fixes are not implemented.
Once ad filtering begins, Chrome will scrub advertisements from a site for at least 30 days, because review submissions after the first two cannot be made until 30 days have passed.
Failing-grade sites get added to a list that Google maintains on its servers. Chrome uses that blacklist to look up URLs. When it finds a match - the browser has been steered to a site with a Failed grade - Chrome does another look-up, this time to a set of ad "fingerprints" caged from EasyList, the open-source ad-identification-and-removal rules list that forms the backbone of most browser ad blockers, including Adblock and Adblock Plus.
At that point, Chrome declines to honor the page's requests for ads, preventing them from appearing because they're never loaded. (Most ads are served by third-party networks, not directly from the servers running the site on which those ads run.) On any page with at least one omitted ad, Chrome notifies the user with an "Ads blocked" message. That, in turn, can be expanded to display a description which reports, "This site tends to show intrusive ads," along with an option to turn off the browser's filtering for that site.
This is important to remember: On sites that have failed the eval, all ads are eliminated, not just the ones that led to the violation in the first place. Think of the ads that led to the failing grade as triggers for Chrome to cleanse the site of every advertisement.
Google has not always led its announcements with that information. But in December, in an update on the anti-ad campaign, Google stated, "Starting on Feb. 15 ... Chrome will remove all ads from sites that have a 'failing' status in the Ad Experience Report for more than 30 days [emphasis added]."
Why is Google doing this?
In June 2016, when Google broached the ad filtering idea, it cited a 30% year-over-year increase in the use of browser ad-blocking extensions, fueled by "overwhelmingly frustrating or intrusive" ads. "This reduces the ability for publishers to continue creating free content and threatens the sustainability of the web ecosystem," the company explained.
Although Google has at times touted as a reason for restricting ads its desire to improve the user experience of Chrome, it has most often stressed the importance of keeping online advertising's reputation from bottoming out. That's no surprise: The company's rise to dominance was fed by ad revenue, specifically the ads users see when they run Google's search engine.
By extension, what poisons, or even taints, the online advertising well may, at some point, directly affect Google's ad revenue. Google has incredible motivation to do whatever it takes to ensure that does not happen.
One hint that Google's ad-blocking rationale differs from other browser makers' appeared in the company's announcement last week that it had switched on ad filtering. "We're encouraged by early results showing industry shifts away from intrusive ad experiences and look forwarding to continued collaboration with the industry toward a future where Chrome's ad filtering technology will not be needed," Chris Bentzel, an engineering manager on the browser team, wrote in a Google blog post. Bentzel was referring to a statistic he cited that said more than 40% of the sites tagged as failing in the early evaluations had dumped the offending ads to become compliant.
Other browsers that have declared war on ads, or some types of ads - Brave is one example - have been explicit in trumpeting the boost in performance that results when ads aren't rendered on a web page - not the long-term benefit to publishers and a rescue of online advertising.
How does Chrome's ad filtering affect browsing?
Most people using Chrome after Feb. 15 won't notice a difference.
According to Google, just 1.5% of 100,000 sites it evaluated prior to the ad filtering launch failed to meet CBA standards. And of those, only 0.9% displayed excessive numbers of the annoying ad categories. For the multiplication-challenged, that means of every 100,000 websites, Chrome would scratch out ads on about 14 sites.
Hardly web-shakin'.
How can site publishers sidestep Chrome's ad filtering and blocking?
That's a good question, and so far, the answer from the CBA is unclear.
The organization has said that site publishers who seek and are granted "certification" would be immune from Chrome's blockade. According to a statement from the CBA last week, Google wants to be among the entities allowed to access compliance and thus "certify" - whatever that means - publishers.
Key, however, is that Chrome will be kept at bay by certification. "Google has informed the Coalition that it will not filter ads for any company certified under the Program's requirements," the CBA said in the statement.
The CBA won't charge for letting a site publisher self-certify, at least not immediately. "Enrollment by each interested publisher allows the company and its domains to be included in the Program's register," the CBA added. "Initial publisher registration will be free of charge until at least July 1. Thereafter, registration may be on a fee basis [emphasis added]." Elsewhere, the CBA confirmed that fees, if there are any, will be annual.
It would be foolish to bet against a fees-at-some-point reality. The CBA itself implied as much on its website, where it dubbed the "Better Ads Experience Program" and spelled out the benefits to registration/certification. "This Program has been created by the Coalition for Better Ads to support its mission to improve the online advertising experience for consumers and promote adoption of the Better Ads Standards [emphasis added]." The group also said that fees, if any, would be announced at least 30 days prior to the termination of the free trial run, another clue that money will play a part.
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For those of you who haven't yet heard about John the Ripper (hereby called John for brevity), it is a free password cracking tool written mostly in C. Before going any further, we must tell you that although we trust our readers, we do not encourage or condone any malicious activities that may be performed using this tool or any other tools we talked about in the past. Security-related tools are often like a double-edged sword, in that they can be used for good but also for bad things. So although it might sound tempting, we recommend you to refrain from any damaging activities, if for nothing else, just because you have great chances to land in a jail cell. This article will deal with John from a system administrator's perspective, so we expect you to have intermediate knowledge about your Linux system, whatever distribution that may be, and that you are a security-conscious person with basic security knowledge. However, this article might appeal to you also if you are a home user wanting to learn about these kind of things, but be warned: some of the commands presented below will ask a great deal of your CPU time, so maybe it would be better if you had a test machine and/or lots of time and patience, because password cracking attempts may take days, even on a relatively new machine. As usual please refer to our new Linux Forum for additional help or information.
Installing John
Although, at least on the distributions we tried, the package in named simply "john" with Gentoo making an exception and naming it "johntheripper", we will make it easy for you and show you how to install it on several known distributions.
Debian differs from other distributions that offer John in their repositories because it offers a nice manual page, although upstream doesn't have one. To install, simply type
# aptitude install john
On Fedora, it's also as simple as doing
# yum install john
Arch Linux
# pacman -S john
OpenSuse Linux
# zypper install john
As we said, Gentoo's package is named differently from what others offer, so here you will have to run
# emerge johntheripper
Although there doesn't seem to be a john package in the official repositories, there is a slackbuild that gets John installed on your system (this was tested on Slackware 13.37).
Although we gave you just a few examples on how you can get John on your Linux system, many of the examples presented will run if you have other OS installed: besides source code, the project offers the program for BeOS, Microsoft Windows, Solaris or MacOS X. But for our article, as the title says, we tested the examples on Linux.
Using John the Ripper
You need not worry about cryptic configuration files, as John is ready to use with the appropriate command-line flags with no other effort on your part. One word of warning, though: as you already noticed, we tell our readers when they should use root privileges and when they shouldn't. Except when noted, you are strongly recommended to use your normal everyday user (or another, if you prefer, but it shouldn't have super user rights). On my Debian system, John is available as /usr/sbin/john, so if you don't find it we recommend you use whereis and type the whole path when running john unprivileged (or you can simply create an alias).
The simplest way to get your feet wet is to type
$ /usr/sbin/john --test
for doing some tests and benchmarks on John's capabilities. If you have no idea what Kerberos, MD5, DES or Blowfish are, we recommend you start reading some basic security books, because, like we said before, you need some security/administration background. Now, let's create a text file in password format (<user>:<hash>) with a valid hash, of course, and get John to work. You can simply copy a user from /etc/shadow, but we recommend something simpler, because we presume you want to see the results as fast as you can. So create a file named password.txt somewhere inside your /home and put this in it:
Save the file, then simply feed it to John with no arguments (for now):
$ /usr/sbin/john password.txt
We must repeat our warning: password cracking is a CPU-intensive and long process, so depending on your system, that might take quite a while. However, this also depends on what you want to achieve, because if your powerful CPU has been crunching at the password(s) for days with no outcome, it's only safe to say that it's a good password. But if the password is really critical, leave the system until John finishes its' work to make sure everything is alright. Like we said before, this could take many days.
Now, if you have a powerful box with the sole purpose of testing passwords, which is always a good thing given the means, you can try your real-life passwords with John. One way is to use /etc/shadow directly, but we recommend you take a somewhat different course. Note that this applies to systems using shadow passwords, and all the modern Linux distributions do. John offers a nifty utility called unshadow, which we will use to create a file from our passwd and shadow files:
# unshadow /etc/passwd /etc/shadow > mypasswd.txt
Now make sure that mypasswd.txt is available to your normal user and do
$ /usr/sbin/john mypasswd.txt
John will try single crack mode first, then wordlist mode, then incremental. In John's terms, a mode is a method it uses to crack passwords. As you know, there are many kinds of attacks: dictionary attacks, brute force attacks, and so on. Well, this is roughly what John's modes are. As some of you might have realized, wordlist mode is basically a dictionary attack. Besides these three modes enumerated above, John also supports another one called external mode. You can select what mode to use with, for example, –single, –external and so on. We recommend you check out the documentation over at openwall.com for a good but brief description of every mode. But of course we will tell you, in short, what every mode does.
John the Ripper's documentation recommends starting with single crack mode, mostly because it's faster and even faster if you use multiple password files at a time. Incremental mode is the most powerful mode available, as it will try various combinations when cracking, and you can choose what kind of mode (mode applied to the incremental option) to use, including your own. External mode, as the name implies, will use custom functions that you write yourself, while wordlist mode takes a word list specified as an argument to the option (it can be a file with a list of words written one per line, or stdin) and tries a simple dictionary attack on passwords.
If John is succesful in cracking one of the passwords, it will write to ~/.john/john.pot. However, that file isn't human-readable, so you can read cracked passwords with
$ /usr/sbin/john --show mypasswd.txt
To check if the root password got cracked, filter by UID:
$ /usr/sbin/john --show --users=0 mypasswd.txt
Of course, John knows about wildcards and multiple files:
$ /usr/sbin/john --show --users=0 *passwd*
Just as you can filter by user, you can also filter by group, by using the –groups flag, and that filtering is available also when cracking. Going further to wordlist mode, here's how you can use it with the built-in mangling rules enabled:
$ /usr/sbin/john --wordlist=passwd.lst --rules passwd.txt
John also allows you to create multiple named sessions, which is practical, because since John can take lots of time to complete a task, you can later view all sessions running to decide which one to kill. The option for named sessions is –session=taskname and you can use –status or –status=taskname to see all or certain sessions. But there's more: you can restore sessions or particular ones by name using –restore or –restore=taskname. A few examples:
$ /usr/sbin/john --session=allrules --wordlist=all.lst --rules mypasswd.txt $ /usr/sbin/john --status=allrules $ ps aux | grep john #get the PID of the john session you want to kill $ kill HUP $PID_of_john_session_to_kill $ /usr/sbin/john --restore=allrules
Here's some examples of using incremental mode with John:
$ /usr/sbin/john --incremental mypasswd.txt $ /usr/sbin/john --incremental=alpha mypasswd.txt
Of course, this isn't a replacement of John's documentation. Although, as we said, it doesn't offer a manual page, you will find lots of documentation on its' page, as well as a useful wiki. For example, you will notice that even if you're running John on a multiprocessor machine, it will use only one core, usually the first. You can address this problem by reading the documentation and following the instructions there.
We feel that it might be best we end this article with a little word on ethics. Although it very well might not be your case, there are those few who've seen Hackers too many times and think of cracking (as opposed to hacking) as a cool activity. We only suggest you try and use your knowledge for good, not for something that has 99.8% of failing and getting you a nice criminal record. Have fun.


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text:
The following are those persons injured or killed in Chicago, Milwaukee & St. Paul
Railroad accidents in Kittitas County during 1907-09, the physicians who attended to them, and
others listed in the accident reports. These are from a photocopy of the Field Book of the
railroad's division engineer at the office in Murdock, G. M. RICE. A copy of the logbook is
found at the KCGS Library; the original is with the Washington State Public Lands Survey Office.
The book appears to cover May 1907 through April 1909. When spelling is unclear, alternate
spellings are also indexed. Index of Injured or Deceased Index of Doctors Index of Witnesses and others listed in reports Transcript of Accident Reports A-F G-L M-R S-Z
List of Injured or Deceased:
AHO, Solomon Deceased ALADAHO, William Deceased ANDERSON, Chris ANDERSON, Ed ANDERSON, L ARRATA, Caesar Deceased ASPLUND, Gus BEHRENDS, Henry BENCE, John BENNETT, John BEZZIO, B (see Ezzio) BODI, Geo BOOKER, John (see Brooker) BROOKER, John (see Booker) BURKE, Lewis CARLSON, Anton CARLSON, C Deceased CARLSON, Wm Deceased CASTLE, Bert CEMOLINO, P CLINE, Clarence DAHLIN, Samuel DEMON, D (see Drinon) DEYMOVICH, D DIMITRI, Chris DIMITRI, Gus DOOLVICH, Dan Deceased DRASTON, John DRINON, D (see Demon) ERICKSON, Gust Deceased ERICSON, John EZZIO, B (See Bezzio) FRANK, Tony GILBERT, Frank Deceased GINLEY, John GLYGOROVICH, Boso (or Bose) Deceased GULIEN, Emil J Deceased HAHN, S HALEY, Pat HALLEY, Chas (see Holley) HARMON, Hector Ernest HARRIS, W F HATTLER, C P HOLLEY, Chas (see Halley) HYLAND, Pat JACKSON, John Deceased JOHNSON, Sam JONAS, Augustin JOVNICH, Mike KATAYAMA, Furkumateu KENNEY, W LABUSKY, Peter LARSON, C Deceased LEE, Carl Deceased LITTLE, O LUPER, John MACK, Rube MAGNUSSEN, Albert MAHONEY, John MARGEN, Antonio McDOWELL, Wm Francis MEYERS, Geo MILLER, Dan MITCHELL, Pat MITCHELL, Wm MORGAN, Harry MORRISEY, Patrick J MOSSOREVICH, Dan (see Mossouvich) Deceased MOSSOUVICH, Dan (see Mossorevich) Deceased MULLIGAN, W J MURDOCK, James H NAKAO, Kichige O'CONNELL, Morgan OGAL, Ben OLESON, C Deceased OLING, Charles Deceased OLSON, Henry OLSON, John PARKER, Thomas PELLUM, Ole PERRI, Veti PETE, John Deceased PETERS, Joe Deceased REED, H REMPHER, H RIVERS, Joe RUMKUS, Ben RYAN, Patty SABBIE, Henry SCHUMANN, Emil (see Schurhammer) SCHURHAMMER, Emil (see Schumann) SHRESGREEN, Fred SIVERSON, John SLATER, William L SMITH, Arnold SMITH, Joe (2) SORUKOVICH, Morj Deceased STALLE, Paul SUGRUE, John SWEENEY, Patrick THORSON, J Deceased TOPLA, John VERNAND, W S WEGUEHART, M WHITE, James WILLIAMS, Geo WILLIAMS, Roy D WISMANN, G WRIGHT, W A
The attending doctors were:
BALDWIN, T C (at West Beverly and at Columbia River Bridge) FELCH, H W (at Ellensburg) JUDAH, J S (at Lake Keechelus) KEARBY, D O (at Cle Elum) McCAULEY, J C (at Ellensburg) MOORES (at Lake Keechelus) RICHARDSON (at North Bend) TAYLOR, W A (at Ellensburg) THOMPSON (at North Bend) WILSON, A D (at Lake Camp) WILSON, W D (at Cle Elum)
Witnesses and others listed in the reports:
Name followed in parentheses by the man in whose report they are found. Note that,
for example, Fred Anderson as listed may not be the same person in each report. Also,
when spelling is unclear, alternate spellings are also indexed. ANDERSON, E. G. (Carlson, Dahlin, Draston, Erickson) ANDERSON, Frank (Carlson) ANDERSON, Fred (Ericson, Gulien) ANDERSON, John (Peters) ARRATA, Ceasar (Perri) ATCHISON, David (Murdock) AYERS, H. A. (Bence, Bodi, Pellum) BAAR, J. O., (Oling) BARNARD, W. J. (Luper) BARTHOLET, C. J. (Castle, Labusky, Larson, Mulligan, Vernand) BASFORD, W. B. (Williams) BELL, Jas. (Bennett) BERYRLA, A. (Rumkus) BODOBICH, Mike (Behrends) BOOKER, J. (Stalee) BROWN, C. W. (O'Connell) BUCHMAN, Frank (Morrisey) BURKE, J. (Luper) BURKE, Jno. (Williams) BUROR, Andrew (Labusky) CAIR, Pat (Gilbert) CALLAGHAN, M. J. (Meyers) CARSKADEN, John (Morrisey) CARSON, Geo (Jackson) CARTER, F. M. (Dimitri, Dimitri, Ericson, Frank, Gulien) CARY, Frank (Bence) CHEADLE, W. E. (Parker) CLARK, D. F. (Sweeney) COAKLEY, Jerry (Little, Weguehart) COGSHELL, Chas. (Little) COLLINS, Bert (Sabbie) COLLINS, Jno. (Sugrue) COLLINS, John (Williams) CONLOMBLE, August (Bezzio, Ezzio) CONNERS, Mike (Jonas) COOKLEY, J. (Wright) CORBINE, J. (Jonas) CURTISS, G. C. (Hattler, Mahoney) CUSTISS, G. C. (Jonas) DAHL, G. (Luper) DEYMOVICH, Frank (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) DIGMONTY, Den (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) DONNELLY, Jack (Williams) DOYLE, W. (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) DUSHANE, Henry (Schurhammer) ENGBERG, L. O. (Larson) EVANS, Jesse (Bence) FARNER, F. J. (Erickson) FARVER, F. J. (Carlson, Dahlin, Draston, Erickson) FIELDS, Rufus (Slater) FINNERTY, J. (Luper) FISHER, J. (Olson) FITTERBY, W. J. (O'Connell) FLANIGAN, A. (Meyers) FLORA, A. (Luper) FLORENCE, M. (Hyland, Kenney) FOSTER, Edw. (Mack) FRENCH, A. A. (Glygorovich) GINETTI, Alvon (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) GLIN, T. G. (Harris) GREENFIELD, W. S. (Ericson, Gulien) GRONET, Herbert (Schurhammer) GUSTAFSON, Peter (Jackson) HARRIS, W. J. (Harris) HAWLEY, J. E. (Smith) HAYFORD, W. P. (Cline) HENRY, H. C. (Bezzio, Ezzio, Little, Luper, Weguehart, Wright) HENSON, P (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) HOFFMAN, E. R. (Johnson, Perri) HOLM, Emil (Harris) IVANOFF, Kolo (Pellum) JACKSON, C. J. (Jackson) JACOBSON, A. (Sabbie) JAMESON, G. H. (Schurhammer) JOHANSON, Edwin (Peters) JOHNSON, Al (Anderson) JOHNSON, C. (Drinon/Demon) JOHNSON, C. J. (Cline) JOHNSON, Chas. (Harris) JOHNSON, Fred (Jonas, Siverson) JOHNSON, Herman (Behrends) JOHNSON, J. S. (Anderson) JOHNSON, Matt (Anderson, Magnussen) JOHNSON, W. S. (Bezzio, Ezzio) KAJITA, T. (Katayama) KAWASAHI, M. (Nakao) KISHI, N. (Nakao) KOLEFF, Nordan (Pellum) KOURSHUPI, M. (Katayama) KUBO, Y. (Nakao) KULLEN, Gus (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) KURITA, S. (Nakao) KUSHI, H. (Katayama) LAMBERT, Frank (Hattler) LAMPING, Oly (Miller) LARSEN, F. (Ericson, Gulien) LARSEN, Louis (Smith) LARSEN, O. C. (Pete) LARSON, C. (Olson) LARSON, Erick (Rumkus) LATSHAW, Russell J. (Carlson, Dahlin, Draston, Erickson) LIND, Alex (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) LINDGREN, Olaf (Bodi) LINDGREN, Ole (Topla) LINK, W. L. (Bence) LONGLEY, Jno. (Parker) LUND, A. (Miller) LUNDQUIST, S. (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) LYONS, F. L. (Morgan, Reed) LYONS, Fred (Smith) MAGUIRE, Jud (Ogal) MATAKASHI, K. (Nakao) MATHISON, Jno (Asplund) MATTSON, Alex (Smith) MAYNARD, Oly (Holley) McDONALD, M. R. (Wismann) McDONALD, W. R. (Mitchell, Sugrue) McDOWELL, W. F. (Bennett) McFALL, Thos. (Sugrue) McLEAN, H. (Gilbert) McMULLIN, John (Hattler) MILES, W. P. (White) MILTZER, Harry (Miller) MINATOGAWA, F. (Nakao) MISNER, Robt (Sabbie) MITCHELL, Geo (Burke) MONATOGAWA, T. (Katayama) MOODMAN, O. (Burke) MORAN, F. H. (Mitchell) MORAN, Frank (Mitchell) MORGAN, M. D. (Margen) MORRIS, Bruce (Mack) MUCEGH, George (Labusky) MULLANEY, L. (White) MURDOCK, H. (Bennett) NAKAO, K. (Katayama) NELSON, E. G. (Bodi, Margen, Topla) NELSON, W. (Olson) NEWELL, Henry (Glygorovich) O'BRIEN, Jerry (Hattler) OLESON, Chris (Rumkus) OLESON, O. E. (Harris) OLSON, Hjalmar (Johnson) OLSON, John (Ryan) OWENS, J. (Ginley) PETERSON, Anton (Asplund) POURPONT, Joseph (Carlson, Jovnich, Sorukovich) REED, Chas. (Glygorovich) RIGI, John (Arrata) RILEY, Holsey G. (Schurhammer) ROCK, L. (Miller) ROSEPRANS, M. (McDowell) RUTAM, F. A. (O'Connell) SANDELL, J. A. (Arrata) SANKOVICH, Mike (Oling) SCHELL, G. M. (Cemolino) SCHLITZ, John (Peters) SCHMELING, G. F. (Kenney) SCHUETZ, D. (Jackson, Olson, Peters, Ryan, Siverson) SHENDAY, P. H. (Williams) SHESGREEN, E. (Williams) SHESGRENS, E. (Murdock) SHIGA, G. (Katayama, Nakao) SMITH, B. (Topla) SMITH, Grant (Miller) SMITH, Louis (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) STA. SONLAVICH, Glesa (Carlson, Jovnich, Sorukovich) STA. SONLAVICH, Joe (Carlson, Jovnich, Sorukovich) STA. SONLAVICH, Mila (Carlson, Jovnich, Sorukovich) STA. SOULAVICH, Glesa (Carlson, Jovnich, Sorukovich) STA. SOULAVICH, Joe (Carlson, Jovnich, Sorukovich) STA. SOULAVICH, Mila (Carlson, Jovnich, Sorukovich) STASONLAVICH (Carlson, Jovnich, Sorukovich) STASOULAVICH (Carlson, Jovnich, Sorukovich) STATASHI, K. (Katayama) STENSON, Geo (Anderson, Magnussen) STERNER, C. (Miller) STINESON, Wm. (Pete) STOVER, Chas C. (Larson) TANNER, A. S. (Slater) THOMPSON, J. (Cemolino) TODD, Albert (White) TOLLY, Michael (Drinon/Demon) TRAMIST, Anton (Peters) VARSPIONO, Peter (Aho, Aladaho, Anderson, Deymovich, Doolvich, Hahn, Mossouvich, Oleson ) WAGNER, F. (Little) WALBECK, E. (Anderson) WALSH, J. E. (Jackson, Ogal) WALSH, Wm. (Mitchell) WARD, Ralph (Miller) WATANALE, M. (Katayama) WATANOFU, M. (Nakao) WEITZ, Fred (Morrisey) WENS, J. O. (Hyland) WHELAN, Thos. (Peters) WHITAKER, Thos. (Ogal) WHITE, A. (Murdock) WHITE, Chas. (Glygorovich) WILLIAMS, Al (Anderson) YAW, P. J. (Oling) YOHNSON, Chas. (Pete) ZHICKA, no first name given (Ryan)