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These games teach valuable skills and have a high fun and educational rating.
Your child gains familiarity of colonial occupations as well as spatial reasoning skills by completing challenge along the way of delivering a midnight message.
Your child will learn to use the correct word order in written/spoken sentences by choosing words and placing them in the right order to make sentences and create stories.
Your child learns about ancient Egypt by investigating a tomb.
Your child will develop reading comprehension skills by reading / listening to a story about a troll who goes to a fairy school and learn to be nice to others.
Your child learns about the travels and experiences of Lewis and Clark.
Your child develops grammar and reading comprehension skills by filling in the blanks with different tense words.
Your child will watch a video where Jack Prelutsky reads a poem about a boring day, that is not very boring.
Your child uses logic and reasoning skills to read clues and search the picture for the appropriate match. In turn, they learn about outer space and NASA.
Your child improves their statistical analysis skills by analyzing and interpreting visual data representations (charts, bar graphs, etc.).
Your child learns to identify parts of story and their significance using context clues by correctly sequencing comic strip blocks and then answer reading comprehension questions based on the completed story.
Zoodles 11.5.8 Copyright (c) 2014 Inquisitive Minds, Inc. All rights reserved.


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Dorothy M. Baldwin
GERRY – Dorothy M. Baldwin, 93, of Heritage Village, died Saturday, June 28, 2013 at the Rehab and Skilled Nursing Facility.
Born May 28, 1920, in Buffalo, daughter of the late Harrison and Ella Pingrey Cheney.
She was a 1938 graduate of Cuba High School and the Practical Bible Training School, 1940. She married the Rev. Ernest L. Beuter. After serving two pastorates in New York State, they worked with Baptist Mid Missions in Haiti for two years. After his death in 1949, Dorothy graduated from Houghton College, magna cum laude, 1954 She was listed in Who's Who Among Students in American Universities and Colleges. While teaching English and French in Clymer, she completed her Master's degree in journal-ism at Syracuse University.
In 1965 she married the late Robert G. Baldwin of Fredonia, teaching in Hamburg from 1963-1975. Robert died in 1999.
Dorothy was a freelance writer of several articles published in various magazines and authored Memoirs of a Depression Bum, a book chronicling her second husband's teenage travels.
She was a member of the Benjamin Prescott chapter of the National Society of the Daughters of the American Revolution, Harvest Chapel Free Methodist Church, had been a resident of Heritage Village since 1998 and attended the Gerry Free Methodist Church.
Mother of Mary Anna (Warren) Harbeck of Cochrane, Alberta, Canada, Rhoda Rhoads of Edmonton, Alberta, Canada; grandmother of six; great-grandmother of 12; sister of Donald (Jane) Cheney of Ormond Beach, FL and the late Basil (Hazel of Myrtle Beach, SC) Che-ney.
Memorial service 1:30 p.m. Friday in Seeley Auditorium, Schwab Manor of Heritage Village, Gerry. No prior visitation. Burial in West Clarksville Cemetery, West Clarksville.
Memorials to Gerry Free Methodist Church.
Arrangements by Jordan Funeral Home, Sinclair-ville.

subset: commoncrawl


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We had the opportunity to view Gary Hamel's video in which he speaks to 'Reinventing the Technology of Human Accomplishment' that we found profound and resonated with our experience of coaching executives and managers throughout North American and other global organizations. Gary is a leading management thinker and author and co-founder of the Management Innovation eXchange (MIX). He makes a very cogent argument for management that can be expected in the 21st century. Turn up your sound and enjoy.
This video is a portion taken from the University of Phoenix Distinguished Guest Video Lecture Series. We would enjoy hearing your response. Take care.
Tags: 21st century, accomplishment, Bev Benwick, Bob Benwick, coaching, executive, Executive Coaching, Gary Hamel, human, leader, leadership, leading, manage, management, managing innovation, reinventing, technology, University of Phoenix, video
Posted in 360 Coaching, Business Coaching, Career Transitions, Emotional Intelligence, Executive Coaching, Leadership Development, Leadership Transition, Organization Development, Personal Coaching, Team & Group Coaching | Add a Comment »


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A Certain Scientific Railgun
AIM Burst
Episode 12 | TV-14
The girls work to stop the monster before it reaches a nuclear power plant! Uiharu's efforts slow the abomination down, but Mikoto might be the only person able to stop the creature's rampage!
Dub Expires: 05-16-2014
Official Site: www.funimation.com/shows/a-certain-scientific-railgunHide Details


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Prep Roundup (4-29-13)
HILLMAN-The Hillman girls softball team won the Hillman Invitational on Saturday, defeating Alcona 12-1 in the first game and beating Marquette 5-2 in the final game.
Jensen Tchorzynski pitched the first game for Hillman and struck out 13 batters. She hit four for five including two doubles, a triple and seven RBI's. Her sister Kaylin picked up a single, a double and an RBI.
Ariel Barrie, Courtney Sauer, Eden Hunt and Morgan Hardies all picked up a single.
Kendra Cole was the losing pitcher for Alcona, giving up 12 runs, six walks and striking out five batters. She hit one for three and drove in an RBI.
Hillman then faced Marquette in the final game. Marquette had just defeated the Alpena girls softball team and was up 2-0 going into the sixth inning.
The Tigers were able to rally in the bottom of the six to pick up all their winning runs.
The Alcona girls softball team moved on to the consolation game and lost to Rogers City 14-4.
The second game's losing picher was Alyssa Terpstra. She gave up 13 walks and struck out three batters. She led the team in pitching going 2-3 with two doubles, gained one RBI and scored once.
Kendra Cole went 1-3, knocked in a run and scored herself.
Rogers City's winning pitcher was Alexa Quaine who gave up four runs, six hits, one walk and struck out five.
Logan Fleming led the Rogers City team by hitting a home run shot. Sara Meredith and Brooklyn Idalski picked up a double while Cassie Brege picked up a single.
Rogers City's first game was a heated battle against Marquette which they lost 7-3. Idalski was the losing pitcher, giving up five runs and six hits.
Rebecca Meredith picked up two hits while her sister Sarah picked up one hit and a double. Overall, Rogers City picked up nine hits.
WHITTEMORE-The Whittmore-Prescott boys track team took first place on its home track on Friday, winning the Whittemore-Prescott Invitational.
The Cardinals finished with 137 points overall, edging Lake City (133) in the Red Division, made up of the bigger schools competing. Fairview was third with 96 points, but won the Black Division, which was comprised of smaller schools.
Mio took 10th place (19 points); Alcona took 11th place (14 points); Posen took 13th place (5 points) and Rogers City was 14th with four points.
In the girls meet, Gladwin topped the field with 173 points, well ahead of second-place Pinconning which had 58. Posen (47 points) won the Black Division and was seventh overall.
Alcona took fourth (56 points); Rogers City was eighth (32 points); Fairview was 10th (29 points) and Mio was 15th (5 points).
Boys Results:
Medaling for Fairview were: Jake Wojotoviets in the shot put (7th, 36-10); Austin Klein in the high jump (2nd, 5-10); Kasson Willobee in the pole vault (3rd, 11-6); the 3200 relay team of Harold Cummings, Tony Oaks, David Haskin and Hudson Szubelak (2nd, 9:19); Drew Helcher in the 100 hurdles (3rd, 18.14) and the 300 hurdles (7th, 48.10); Szubelak in the 1600 run (3rd, 5:06); Dylan Danhoff in the 400 dash (3rd, 54.43) and 200 dash (3rd, 24.76); Jacob O'Grady in the 400 dash (6th, 57.03); Brian Eaves in the 400 dash (7th, 57.64); Haskin in the 800 run (3rd, 2:13.05) and the 3200 run (1st, 10:12); Szubelak in the 800 run (4th, 2:13.63) and the 1600 relay team of Eaves, Danhoff, O'Grady and Szubelak (2nd, 3:42.93).
Medaling for Alcona were: Garrette Norling in the pole vault (6th, 9-6); Eric Hampton in the long jump (7th, 18-0 1/2) and Kyle Thum in the 3200 run (8th, 11:49).
Medaling for Posen was Warren Beach in the 1600 run (4th, 5:06.5).
Medaling for Rogers City was Chris Lopez in the 100 dash (7th,13.14) and the 200 dash (7th, 26.39).
Medaling for Mio were: Cody Kahunek in the 100 hurdles (8th) and the 300 hurdles (6th); Robert Thompson in the 1600 (8th); Bryce Degrammont in the 800 run (2nd, 2:09) and Josh Kalbfleisch in the 3200 run (6th, 11:39).
Girls Results:
Medaling for Posen were: Kristina Wisniewski in the shot put (6th, 29-8 1/2); Korynn Hincka in the high jump (1st, 5-0), the 200 dash (2nd, 29.73) and the 1600 run (2nd, 5:56); Lindsay Randall in the long jump (5th, 13-11), the 200 dash (4th, 30.72) and the 400 dash (3rd, 1:07.38); the 3200 relay team of Hincka, Lea Peyer, Sam Freske and Shianne Smolinski (5th, 11:59).
Medaling for Rogers City were: the 800 relay team (4th, 2:04.99); Raelyn Hoeft in the 400 dash (2nd, 1:07.09) and the 200 dash (5th, 30.77); Sami Bober in the 300 hurdles (5th, 55.53); Amber Wirgau in the 800 run (5th, 5:00); Victoria Bullock in the 200 dash (8th, 31.29) and the 1600 relay team (4:35.71).
Medaling for Fairview were: Johnna Wiedbrauk in the long jump (3rd, 14-4 3/4), the 100 dash (3rd, 15.17) and the 100 hurdles (3rd, 18.97) and Cheyenne Berryhill in the 300 hurdles (6th, 57.03).
Medaling for Alcona were: Torie Harmon in the high jump (4th, 4-8.2) and the 100 hurdles (8th, 20.16); the 3200 relay team of Megan Quick, Nicole Smith, Harlie Lafond and Karina Cole (2nd, 11:34); Miranda Schalk in the 100 dash (8th, 15.56) Cole in the 1600 run (4th, 6:06) and the 800 run (4th, 4:00); Quick in the 400 dash (1st, 1:03) and the 800 run (1st, 1:00); Sydney Pierce in the 300 hurdles (8th, 59.04) and the 1600 relay (2nd, 4:34.27).
Medaling for Mio were: Paige Young in the high jump (8th, 4-6.2); Pebbles Foust in the pole vault (7th, 6-6.10) and Halie Haskin in the 3200 run (7th, 14:26).
Posen's girls track team also topped the field at the Hale Invitational last week on April 23. The Vikings finished with 86 points, edging Fairview who finished with 80. Alcona took third (70 1/2 points), Au Gres was fourth (45) and Hillman took fifth (35 1/2).
Winning for Posen were: the 800 relay with the team of Hincka, Alex Werth, Austin Sharpe and Kari Ataman (2:04) and Wisniewski in the shot put (29-0).
Finishing runner-up for Posen were: Randall in the 100 dash (14.14) and the long jump (12-10 1/2); Peyer in the 1600 run (6:44); Hincka in the 400 dash (1:07); Ataman in the 300 hurdles (58.45) and Wisniewski in the discus (77-5).
Gaylord 1, Alpena 0
GAYLORD-Gaylord's goal with nine and a half minutes remaining in the game was enough to send the Blue Devils by the Alpena girls soccer team on Friday.
"The girls showed a lot of heart and tenacity. We were shorthanded due to some injuries and some of the bench players really stepped up," Alpena coach Tim Storch said.
The loss was the fourth straight Big North Conference loss for Alpena (3-6, 1-4 BN).
Alpena will host Petoskey tonight at 7 p.m.


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Crispy Lobster Skewers with Green Papaya and Mint Salad
- 1 small coconut
- 6 (1-pound) lobster culls
- 2 tablespoons oil, plus 2 tablespoons butter
- 2 diced shallots
- 1 small fresh chile, seeds removed and diced
- 2 stalks lemongrass, sliced thinly
- 1 cup white wine
- 1 heaping tablespoon freshly grated ginger
- 1 tablespoon Thai yellow or red curry paste, or 1 tablespoon Madras curry powder
- 1/2 cup heavy cream
- 2 to 3 limes, juiced, plus the zest of 1 lime
- Salt and freshly ground black pepper
- 2 tablespoons unsalted butter
- 6 scallions, cut into 2-inch pieces
- 3 egg whites
- 2 tablespoons cold water
- 1/2 cup water chestnut flour
- Peanut or corn oil, for frying
- 6 (10-inch) wooden skewers, soaked for 30 minutes
- Green Papaya and Mint Salad, recipe follows
- Green Papaya and Mint Salad:
- 2 green papayas, thinly sliced
- 1 bunch wild mint, chopped
- 3 bunches Upland cress or 2 bunches watercress
- 1 daikon, julienned
- 1 carrot, julienned
- 1 small cucumber, sliced thinly
- 12 scallions, cut into thin rounds
- Vinaigrette, recipe follows
- Vinaigrette:
- 1/4 cup rice wine vinegar
- 2 teaspoons Nam Pla (Vietnamese fish sauce)
- 1 teaspoon grated fresh ginger
- 2 tablespoons oil of your choice
Put coconut into a plastic bag and drop the bag onto a hard surface to split the coconut and catch the liquid. Remove the outer shell and discard. Finely grate 1 cup of fresh coconut. Thinly shave the remaining coconut into moon shaped pieces. Toast shavings lightly and set aside for garnish.
Bring a large pot of salted water to a boil. Drop live lobsters into a pot of boiling water and cook for only 5 minutes. Remove the lobsters from the water and plunge them into a large bowl or pot filled with iced water to stop the cooking. The lobsters should be cooked early in the day so the lobsters have time to reabsorb their wonderful juices.
In a 2 quart saucepan, add the oil and butter. Remove the claws and tails from all the lobsters. Set aside. Remove the outer shell from 3 of the lobsters. Saute the 6 lobster bodies over medium high heat until a little bit colored. Leaving some of the shells on will give your sauce a pink cast.
Add the shallots, chile, and lemongrass. Cook gently until tender. Deglaze the pan with white wine. Add grated coconut and ginger. Add enough cold water to barely cover the lobster bodies. Add curry paste or curry powder. Let sauce simmer slowly for 20 to 30 minutes until reduced, showing a little "body".
Add heavy cream and let sauce reduce slightly. Add lime juice and lime zest. Add salt and pepper, to taste. Finish with 2 tablespoons of butter for silkiness.
Strain sauce. Take approximately 1/2 of the solids and puree in blender with some liquid. Add pureed solids back to sauce. Set aside.
Remove claw meat from their shells. Split the tail, removing all the shell carefully from the tail, except the last segmet of shell connected to the actual tail flippers.
Skewer the 2 segments of the tail with 1 claw and 1 piece of scallion in between. You will have 6 skewers.
Beat the egg whites with the 2 tablespoons of cold water to thin out. Dip each skewer lightly into the egg white mixture. Very delicately, sprinkle water chestnut flour all over the lobster. Don't pack on too much.
Bring a large pot of peanut oil to 350 degrees. Fry 2 skewers at a time. They will only take approximately 2 to 3 minutes to crisp. Remove skewers from the oil and drain. Place in barely warm oven while the other skewers cook.
To serve, place finished skewers on plate with your delicate salad leaning against the lobster. Spoon the curried coconut sauce around the plate and garnish with toasted coconut "moons".
In a large bowl, assemble the salad, combining the green papayas, the mint, the Upland or watercress, daikon, carrot, cucumber, and scallions rounds. Dress salad with vinaigrette right before serving.
Yield: 6 servings
Recipe courtesy of Lydia Shire


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Topic: Sprocket: precompiled assets fingerprint inconsistency
Our Rails 3.2 application uses 4 different hosts as CDN. Upon deployment, we have a task that run assets:precompile on these 4 boxes. The problem we're facing is that the assets that are compiled have different fingerprints/digests. My understanding is that the fingerprints/digests are generated from the content of our assets file so they should be the same across different boxes. Does anyone know what the cause might be? Thanks,


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mattvan1 wrote:Chip Kelly?The Cleveland Browns made it clear Monday they desire to find a strong leader at head coach after parting ways with Pat Shurmur.
Citing two high-ranking NFL personnel executives, Adam Caplan of SiriusXM NFL Radio says Oregon's Chip Kelly is Cleveland's clear top choice to coach the team.
Well at least bringing in a coach to run a bullshit college offense with a team that clearly doesn't have the personnel for it is something new.
I wonder if Mouse Davis is still available?


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Economic Importance for Humans: Positive
Dugongs are hunted throughout their range for meat,which has been likened to veal. They are also hunted for oil, hides for leather, and for their bones and teeth, which are made into ivory artifacts and charcoal for sugar refining. Some Asian cultures prize dugong products for medicinal purposes.


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Movie Extras, Actors and Models Wanted.
Jobs for Movies, Television, & More
- No Experience required
- All looks and ages wanted
- New openings every day
I have been cast in two films (Downriver 2012; Count Time The Movie 2013 and one television pilot (Walter Dream of Jeanie 2013) off C360
Got a few really great jobs...flying to Florida next week to film a commercial and back home for a fashion photo shoot with an international magazine. So much fun.
This last month has been busy. I have been to three auditions. Thanks casting 360 I will be shooting as an extra in Richmond on the 20th and 21st of april.
Movie Extras, Actors and Models Wanted.
Jobs for Movies, Television & More


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Beaba Babycook Baby Food Maker
- Overview
From the French company renowned throughout Europe for baby food-related products, this compact countertop appliance makes it easy to prepare fresh, healthy meals for your baby – from start to finish.
- A steamer, blender, warmer and defroster in one compact appliance.
- Steams vegetables, fruits, meat and fish in less than 15 minutes, preserving vitamins and flavors.
- Purees or blends foods to the desired consistency.
- Quickly reheats or defrosts precooked foods.
- BPA-free.
- Includes 2 1/2-cup plastic bowl, cooking basket, spatula and recipe booklet.
- Dimensions & Care
- BPA-free, lead-free and phthalate-free copolyester and polypropylene and plastic construction.
- 8.5" wide x 5" deep x 7.5" high
- Weight: 3.5 pounds
- 350 watts
- Bowl and basket are dishwasher-safe.
- Wipe exterior of machine with a damp cloth.
- Shipping & Return Info
This is a general shipping item.
View Our Shipping Information
Return Policy
At Pottery Barn Kids, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction is our priority. We carefully inspect your order prior to shipment; upon receipt, please inspect your purchase and notify us of any damage. We will arrange for a prompt replacement. If, within 7 days for Quick Ship upholstery and 30 days for all other products, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value.
If your return for Merchandise Credit Cards is greater than $10,000, we will issue $10,000 in Merchandise Credit Cards to you that day, and then mail additional Merchandise Credit Card(s) for the amount in excess of $10,000 to you.
We cannot accept returns on monogrammed, personalized, special-order items, or on items damaged through normal wear and tear. We also cannot accept returns of final-sale items, which are identified by a price that ends in $0.99.
For returns of items purchased from your Pottery Barn Kids registry, we will gladly provide a refund or exchange for the merchandise within 90 days of your event or within 90 days of purchase, whichever date is later.
For assistance, please contact Customer Service at 800.993.4923
International Returns: Online returns are available only for items that were shipped to the United States. If you would like to return items that were shipped outside the US, please see International Returns and Exceptions.


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Before Apple retires Aperture, learn how to migrate your Aperture images and metadata to Adobe Lightroom.
All Courses
- Photography (9)
- Photo Management (2)
- Raw Processing (2)
- Sharing Photos (2)
- video2brain (2)
- Black and White (1)
- Plugin (1)
- Portraits (1)
- Printing Photos (1)
- Retouching (1)
- Aperture
- Apple (8)
- Adobe (1)
- iPhoto (1)
- Lightroom (1)
- Nik Software (1)
- Silver Efex Pro (1)
Skill level
- Intermediate
- Appropriate for all (1008)
More options
Make your product shots look their best (and most accurate) with these image-enhancing techniques in Aperture.
Learn how to retouch portraits and make your subjects look their best with Aperture.
Watch artist Joseph Linaschke explain the creation of his gallery hanging of large black-and-white prints on metal and discuss the many challenges he faced along the way.
Learn how to combine the simplicity of iPhoto with the power of Aperture and get the best of both worlds.
Get up to speed on the many changes between Aperture versions 3.0 and 3.3/3.4.
Shows how to use Apple Aperture to quickly and efficiently create a slideshow to impress any audience.
Explore the powerful and easy-to-use photo management tools in Apple's Aperture 2.
Shows professional and amateur photographers how to take advantage of Aperture's advanced photo management tools.
"I was pulling my hair out worrying about how I was going to afford classes. Then I found lynda.com. Thank you, thank you, thank you." —Lynn H.
more from our members »


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Topic: RESTful friends system
I used to have actions like add_friend, remove_friend, and show_friends on my users controller but I'm trying to redo it in a RESTful way, so I'm just wondering how the database and new model/controller should be set up.
My old database had a table called friends_users that had user_id and friend_id columns. In the RESTful way I'm thinking of naming the relationship between users "friendships" and then having a new model/controller for that. Should I now have a table called friendships with id, user_id and friend_id columns? Or should I just leave the table as is? It seems like friendships need their own id to be able to have routes like /friendships/1. That route looks weird to me though, because its identifying the friendship instead of the user(s).
Also, how would you show all the friends for a particular user? With /friendships/index? Shouldn't there be a unique url for each user's friends page (like /users/1/friends)?
Should it even be called "friendships"? That seems weird to me too, but when DHH was explaining users and groups, he named the relationship "membership" to turn it into a RESTful design.


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House of Blues Gospel Brunch Presented by Kirk Franklin
* Additional fees apply. No coupon or promo codes necessary to enjoy the displayed discount price.
The last date listed for Gospel Brunch Presented by Kirk Franklin was Sunday December 22, 2013 / 1:00pm.
Currently at House of Blues Las Vegas
LOCASH ("I Know Somebody"): Pop-Country Hitmakers
- Full Price:
- $21.73
- Our Price:
- $10
Combining country twang and pop melodies, LOCASH is a two-man hit factory. Hot off the release of… More
Venue Details
Reviews & Ratings
Featured review from SARAH
view more less of this review
The food, the people, the singing was awesome. Being led to believe that Kirk Franklin himself would be there was deceitful. Seeing him on screen did nothing for me, just took away from the Spirit and the awesome singing that took place and shortened the time.
report as inappropriate
Food was great and the gospel show was uplifting and moving. Would definitely go again and again....
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Amazing food! A great buffett was served with Chicken & Waffles, build your own omlettes, jambalaya, really good shrimp (not the cheap stuff) and so much more! I will be going again, the music was fun and exciting, a great brunch, highly recommend!
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Loved the show and the food was excellent!!!


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Fund-raising for good causes
Kendal Conrad and Brighton Muklebust held a cookie and lemonade stand during a family garage sale last weekend to raise money for two organizations, Cruizen for Carson and Children's Hospital (for cancer research). The girls raised almost $400, to be divided between the two organizations. Cruizen for Carson is a local fund-raising effort for a specially equipped vehicle for the family of a classmate of Kendall's who has cerebral palsy. Brighton wanted to donate her share to the Children's Hospital in honor of a friend who died of juvenile cancer. Not pictured is Egan Muklebust who helped with the fundraiser.


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Taylor Electric Guitars
Taylor Guitars is based in El Cajon, California, and Taylor acoustic guitars have seen some of the most successful innovations in guitar manufacture over the past three decades. Established in 1974, Taylor has quickly risen to become the bestselling acoustic guitar brand in North America. View All Information


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Theodore J. Gorka Jr.
Theodore J. "Ted" Gorka Jr., 81, of Brocton, N.Y., died Sunday (June 30, 2013) in Fort Wayne, Ind.
He was born May 30, 1932 in Dunkirk, N.Y., the son of the late Theodore J. Gorka Sr. and Gertrude (Feinen) (Gorka) Reed.
Mr. Gorka was a U.S. Air Force veteran of the Korean War. He had been employed as a steelworker.
He was a member of American Legion Post 434, Fire Police, and had 55 years of service with the Brocton Volunteer Fire Department.
Survivors include his daughter, Kathy (Stan) Keller of Fort Wayne; a brother, William (Barbara) Gorka of Fredonia; and nieces and nephews. He was preceded in death by his wife, Eunice Gorka; a brother, David Reed; and a sister, Joan Riforgiato.
Ted made a gift of his body to Indiana University Medical Center to further education and research.A Memorial Service is being planned for later this year.
The family suggests memorials to Heartland Hospice, 1315 Directors Row, Suite 210, Fort Wayne, IN 46808 or the Brocton Fire Company First Aid Squad.


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ASPCA rescued 29 cats from a home in Brooklyn, New York, on April 28. The homeowner and guardian of the felines was considered to be a compulsive hoarder, which resulted in the cats' ailments, according to the Brooklyn Paper.
The ASPCA arrived at the house after receiving calls that the apartment owner had over a dozen cats inside.
The news source reports that the owner, who was in her 40s, was not charged with anything because the cats were always fed and their litter boxes always cleaned. However, there were just too many of them in one space, which made them sick.
"Like many people, this woman was well intentioned, but she found herself overwhelmed," Joe Pentangelo, who is a part of the ASPCA's Humane Law Enforcement Team, told the media outlet.
Now, these felines are in need of a home. The newspaper explains that pet adoption is important in helping animals who were in similar or worse situations. According to the Humane Society, 22 percent of cat owners adopted their kitty from an animal shelter.


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As always, MLB free agency is expected to be a hectic period, with players of various abilities and experience levels marketing themselves to all 30 teams.
There were 147 major league veterans who immediately began searching for work, according to MLB Trade Rumors. That total rose to 168 with various declined/voided options, the MLB Players' Association has announced (h/t Adam Rubin, ESPNNewYork.com). Dozens of others with less service time became available when they were not tendered contracts prior to the Dec. 2 deadline.
We'll narrow our focus to the top 50.
Despite several high-profile retirements, we're certain that Robinson Cano, Jacoby Ellsbury and other available superstars will fuel the rumor mill in the coming weeks and months.
Here is where you'll find the latest, most relevant news, complete with contract analysis as soon as deals become official.
*Stats provided by FanGraphs and Baseball-Reference unless otherwise specified.


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While playing through my amp, the Anthem SL stopped amplifying my guitar. If I crank everything to max volume, I can hear some weak, muffled sounds but nothing like the sound of guitar strings. I tested the battery - good - but replaced it with a new one, anyway. No help. Endpin was still tight. Tried several cables, a preamp with headphones and a computer guitar interface. No luck. My other guitars all work fine through the same cables, amps, etc.
If I have it connected to an amp while removing and replacing the battery, there are popping sounds as the battery makes its connection so I'm pretty sure the preamp is getting power. I also reached in and jostled all the wires while connected and strumming a string and it made no difference. I also ran the volume and pickup mix controls to both ends of their travel and neither pickup was producing sound.
Hope I don't have to pay the luthier to replace it.
Will you suggest the best method to either troubleshoot further or replace the unit?
Thank you.


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Wednesday, April 23, 2014
Regional Scan: North America
NextGen Data Comm on Track For 2016 IOC
|What a pilot will see on the cockpit display when using Data Comm for a revised route clearance.
Photo: NATCA
Data Comm is one of the most transformative ATM overhauls coming to the U.S. National Airspace System (NAS) under NextGen. The technology will enhance two-way voice communication between Air Traffic Controllers (ATCs) and pilots, significantly reducing delays throughout the NAS by providing an email-like digital communications service for flight plans, departure clearances and route information.
AEA Avionics Market Report Shows Industry Growth
The Aircraft Electronics Association (AEA) released its 2013 year-end avionics market report at its annual convention showing global General Aviation (GA) avionics sales reaching more than $2.4 billion last year, a 6.9 percent increase over 2012. This is the second annual avionics market report released by AEA, capturing sales of all business and GA aircraft electronics, including all component and accessories in cockpit/cabin/software upgrades, portables, non-certified aircraft electronics; all hardware (tip to tail), batteries and chargeable product upgrades from the participating companies. The report doesn't include repairs and overhauls, extended warranties or subscription services.
AEA President Paula Derks said the numbers were a good sign for the industry given the uncertainty surrounding the global economy, with the U.S. improving while Europe continues to recover from the downturn in 2012 and emerging economies in Latin America and Asia remaining inconsistent with expected performance in those regions.
The report features sales figures from 21 participating AEA member companies, which includes some of the avionics industry's biggest names such as Rockwell Collins, Garmin, Honeywell and Universal Avionics.
Facebook to Provide Internet to Developing World With UAS
|Facebook's prototype aircraft for delivering Internet connectivity to remote locations.
Photo: Internet.org
The process of providing connectivity via UAS is being developed as part of Facebook's Connectivity Lab, which is also looking to use satellites and lasers, in addition to aircraft, to deliver basic Internet services to the 5 billion people worldwide who currently lack it, Zuckerberg said.
Garmin Introduces G3X Touch
Garmin released a large touchscreen glass flight display system for light sport aircraft, the G3X Touch. Garmin's experimental engineering team, TEAM X, designed the display.
The non-certified system features 10.6-inch displays and allows pilots to receive NEXRAD, METARs, TAFs, TFRs, winds aloft and more through its SiriusXM aviation weather and radio capability. The upgrade will allow pilots to locate targets when radar is not an option.
Aircell Unveils New In-flight Connectivity for Biz Jets
Gogo's business aviation subsidiary announced a new in-flight communications system for business jets, the ST 4300. The system features voice, narrowband data and cockpit data link services in a single system.
ST 3400 features one, two or three Iridium voice/narrowband data channels, plus one dedicated Iridium data channel. Additionally, the system allows business jet operators to configure flight deck communications based on their specific needs. In the future, Gogo says the ST 3400 will be eligible for FANS (Future Air Navigation System) certification.


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>Runner's World - My Event Ratings>
In short: very wet n muddy,good fun, start set up a bit messy..In full: Despite the rather large downpour, it was a good race on trails, tarmac and gravel,well marshalled,only gripe was the set up at the start,unclear where actual start line was, and as a consequence finishing times are a little 'out'. Very hard to over take and get into the swing for the first mile or so because of narrowness of pathway...But for a local race, it has a great atmosphere, good off road route and a pleasant run. :)Date of review: June 11, 2009
In short: lovely easy local race,well organised, friendly atmosphereIn full: second time at this event, still just as warm and friendly,great mix of ability, lots of chat, feels very welcoming to beginners..good route, runners soon spread out and fun part over the twirly motorway bridge..good to be able to cheer/wave/congratulate the really fats runners as they come back towards you..Date of review: May 20, 2009
In short: good fast race, well organised very user friendlyIn full: ok so the weather could have been alot better but that is out of the organisers hands. Well signposted, good parking facilities close to the start, good supportive marshalling, good routeDate of review: November 23, 2008
In short: fab atmosphere, well organised, great race for all abilitesIn full: A really great local race, well organised and so friendly, lovely easy route with a fun run up the spiral bridge over the M4.! Would do again.Date of review: September 3, 2008
In short: ditto previous comments, badly organised start and finishIn full: On the positives cant fault the crowd support, marshalls and drinks stations all fantastic and worked perfectly. Thats where the good bits end. Delayed start, runners village a joke anyone think of using metal gang planks or straw? Gangerously narrow entrance and exit points for number of racers, poor Tannoy announcing delay, complete farce at the end, no space blankets, no after run drinks, no medals in bags, some runners taking more than 1 t shirt long queues for baggage (in mud and cold) then hazardous exit and huge wait for wait seemed like the only bus in bath.I know there is nothing any one can do about the weather but come on guys u knew it was on its way - did no one in the good ideas gang have a contingency plan? I agree with others a refund of the over priced entrance fee and will stick to smaller local events at half the price with better organisation, think this one has just got toooo big to handle now.Date of review: March 16, 2008
In short: Hills have multiplied..there was definitly more than one!!In full: So much for one hill near the end!! Where did the other 4 spring from then? Disappointed that I wasn't able to get a pb as the hills took their toll and the gorund in places was very uneven and difficult to go round other runners. The band at 6k really put a smile on my face, marshalling good and well organised, heres to doing it again in 2008!Date of review: September 24, 2007
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Contacting the Accessibility Resources Center is a student's first step to receiving reasonable accommodations and accessing services that may be needed to provide the individual with the opportunity to be successful as a student with a disability, a student with a chronic health related issue, or a student in need of veterans accommodations when returning to or attending college for the first time. The services of this office are at no charge to students, and can be accessed upon determination of eligibility as a qualified student.
The staff works with students who self-identify in the following categories:
- Mobility/orthopedic disabilities
- Specific learning disabilities
- Attention deficit disorders
- Vision and hearing disorders
- Head injuries
- Psychological/emotional disorders
- Chronic health-related conditions
- Speech impairments
The Office handles all matters regarding any student with a disability, from coordinating classroom accommodations to handling complaints regarding non-compliance and/or alleged discrimination. The staff acts as advocates/liaisons and provides guidance, assistance, information and referrals whenever needed. Services include the following:
- Coordinating classroom accommodations such as extended time for exams/quizzes, use of computer, and/or use of calculator among others.
- Coordinating modified housing and/or dining requests.
- Assistance with course registration.
- Securing auxiliary aids such as sign language interpreters, readers, scribes, notetakers, e-text books.
- Arranging for physical access to classrooms and other campus facilities.
- Training in the use of assistive technologies such as CCTVs with Zoomtext, Dragon Naturally Speaking, Kurzweil, Read & Write Gold, Scan & Read, Talking Calculator, Talking Word Processor and others.
- Exam/quiz proctoring (includes all English post-tests and Writing Proficiency Exams for students requiring reasonable accommodations not available in the classroom environment).
- Access to Learning Assistants.
- Alternate Format Textbooks.
The Director also assists the university's ADA/504 Compliance Officer with oversight of the university's compliance with Section 504 of the H.E.W. Rehabilitation Act of 1973, the Americans with Disabilities Act (ADA) and other governmental regulations, and is the individual with whom students must file complaints regarding discrimination. (See the University Grievance Policy for Students with Disabilities for details.)


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Here's how RW members rated this race in the past (185 votes).
In short: great race, excellent marshals, well organised, really enjoyed it and a also a pb for me!Date of review: November 27, 2011
In short: my first and will definitely be back againIn full: in short a superb race. yes probably biased as i did get a pb, but the organisation was excellent. great marshalling, water stations, start, finish, toilets, and a t-shirt i will use again in trainig! ok some of the course did have traffic in both directions, but a bit of common sense on the parts of pedestrians and runners is all that is needed in these circumstances, and that's what happened here - indeed its actually quite nice to know that the health and safety do-gooders havent spoiled this. And thanks to the community centre (especially the lovely polite young boys at the counter!) for their post race bacon butties, flapjacks and coffee...probably not the ideal post race nosh, but after pb in gail force conditions, i deserved it!!!Date of review: November 27, 2011
In short: A tough race, mentally and physically, great support, good valueIn full: I got great support- am a nearby club member but thanks anyway, a miracle of organisation as its all on public roads. Great value nice to see running clubs still doing races,u don't need chips and pins, just a clipboard. Good qual t shirt advertising an insurer, guess that's what keeps it all going, nice to see the Police are not driving this race off the calender with costs and risk assessments nice one, keep up the good work Clowne Date of review: November 27, 2011
In short: Interesting, undulating, route with a great atmosphere.Date of review: November 27, 2011
In short: windyIn full: done this race a few times and this year was the toughest due to the wind but got 1h33 love the route and will be back next yearDate of review: November 27, 2011
In short: Nice course enough hills to make it interestingDate of review: November 27, 2011
In short: |Sould be called the 'traffic' half marathonIn full: I have to say that I was very dissapointed with this race. Very little support added to the fact that the race is almost entirely on roads with traffic still flowing in both directions - at times pretty dangerous. Not enough marshalls either. When you add tio the fact that it is hilly, with horrendous wind (today anyway), this is not a half marathon that will be remembered fondly.Date of review: November 27, 2011
In short: Excellant race, very good organisation, just a bit windy!In full: Ditto all the good things that have been said below. Despite the wind ran 3 minutes faster than last time I did this race, and it was bright and sunny!Date of review: November 27, 2011
In short: a tough stamina builderIn full: Plenty of parking, enough toilets at the start (shame the joining notes didn't mention them and the queue at the school could have been avoided), and a good start and finish area.A hilly challenge (Fetch hill score of 372) was made tougher by a fierce head wind which at one corner nearly blew me off my feet. Although this was my slowest half for some time it was the stamina builder I was looking for.Good quality tech shirt which I probably won't wear due to the huge sponsor's logo covering the front…less is more guys.Good support from the marshals all around the course and 3 water stops (bottles not cups).Thanks for a good event.Date of review: November 27, 2011
In short: Simple. Great race!In full: Good facilities, good start zone, great route, good finish! Nice t-shirt!Would like to see chip'n'pin timing though!Fantastic support from crowds along the route and especially from the marshallsDate of review: November 27, 2011
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Art in the Loft gets $12,000 grant
Art in the Loft has been awarded a $12,000 grant from the Michigan Council for Arts and Cultural Affairs , with $2,050 of those funds contributed by the National Endowment for the Arts.
The grant was given through the MCACA peer review process and was one of 233 applications to compete for MCACA fiscal year 2012 funding.
Organizations receiving a MCACA grant award are required to match those funds with other public and private dollars. Local support of the project has included: Bank of Alpena, First Federal of Northern Michigan, and KFC-WMCR. Art in the Loft also receives donations and significant volunteer support from the community.
The MCACA grant has helped fund the Ready, Set, Create! program. This program brings fifth grade students into the Loft for high-quality workshop instruction over a period of five weeks.
The Ready, Set, Create! program introduces students to the Art in the Loft gallery and allows them to become familiar with the environment, supplies, equipment and the staff, while learning a hands-on skill. The program served 450 students during the 2011-12 school year.
All fifth grade students in Alpena County (as well as some fourth and sixth grade students) participated in the program, including students at all public schools, parochial schools, charter schools, home school students and special needs students.
The program was very well-received by students, teachers, schools and the community, and the Loft is now able to continues its success with the help of MCACA. These grants enabled Art in the Loft to hire a part-time education coordinator as well as an assistant to develop, coordinate and teach the program.
In addition, the education coordinator designs and implements new offerings for intermediate level workshops and coordinates the other education programs, including the National Workshop Series, ArtsCool Workshops and Young Artist Workshops.
The MCACA peer review process allows for each grant application to be competitively considered by a panel of in-state arts and culture professionals. This ensures the taxpayers, who support this project through legislative appropriations, and all other visitors or residents in Michigan will have access to the highest quality arts and cultural experiences.
A complete list of grant awards around the state is available by contacting MCACA at (517) 241-4011, or by visiting the MCACA website at www.michiganadvantage.org/arts.


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New Living Wage Benchmarks Point the Way Forward10 June 2014
Three reports published today set new living wage benchmarks for rural South Africa, Dominican Republic and Malawi. The reports, commissioned by Fairtrade International (Western Cape, South Africa), Fairtrade and Social...[more]
Women Leading the Way07 March 2014
Fairtrade recognizes the vital role of women in agriculture on International Women's Day[more]
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Grounded firmly in the daily reality of Fairtrade workers across the globe, the new Standard offers greater support for freedom of association, important steps toward living wages, greater autonomy in decision-making and more.[more]
Fairtrade International part of new coalition to address low wages in the tea industry02 May 2013
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Here's how RW members rated this race in the past (102 votes).
In short: Hot day but great organisation and very friendlyIn full: This was my first 5 miler - chose well as the organisation was spot on, support along the route, friendly and welcoming, excellent prize-giving (I won a spot prize!) lovely fun run for the kids beforehand - 2 much needed drinks stations plus one at the finish with water and juice - fantastic facilities at the leisure centre. Only down side was the blistering heat, but hey, can't do much about that one.Date of review: June 19, 2006
In short: Well done Long Eaton cannot fault the organisationDate of review: June 12, 2006
In short: Top class organisationIn full: I was so very impressed with the organisation of this race. A problem with the course was dealt with smoothly and efficiently. The marshals were terrific and deserve a huge round of applause. On a day like today, the lack of shade over large parts of the course did add to the difficulty, but that is obviously not something that can be held against the organisers, especially since they did provide an extra water station on account of the heat. The only downside for me was the section along the main road with cars whizzing by non-stop. I did not feel confident about overtaking anyone on that stretch, and some cars did veer in very close to the runnner. Overall though, I think this is a splendid event and I intend to return next year. Date of review: June 12, 2006
In short: The organisers said they had had problems - but everything seemed to go like clockwork to me.In full: First things first - today wasn't a day to be running. By 10 o'clock we were in the mid twenties and the thought of a fast five miler was a thing of dread.Apart from that though LERC were fantastic, they announced early on that there had been problems with the course (due to someone locking a gate) but they advised that the course had not only been rerouted but also remeasured.They also made sure they catered for the hot weather making sure that the one original water station was added to to make two and that they decided to go from cups to bottles to allow you to run with them. This seems really thoughtful to me.Just to top it off a cracking T-Shirt which was XL as well (all too often at races I have to settle for a tight fitting large!).Well done LERC you really made the best of what could have been a dreadful day (what with the weather...and lets face it Long Eaton could be nicer).Date of review: June 11, 2006
In short: Superb, friendly raceIn full: Well marshalled, with great enthusiam and encouragement for us. Nice to see a few familiar faces. Shame the sun was too strong. On summer days maybe an earlier start time of 9/9:30a.m?? Has a PB potential there. Back next year hopefully.Date of review: June 11, 2006
In short: Very good eventIn full: Flat and fast course very well marshalled with nothing to complain about. Well done Long Eaton Runners.Date of review: June 11, 2006
In short: a good day - nice flat course - and very very hot!Date of review: June 11, 2006
In short: Perfectly ok, but nothing specialIn full: It was extremely hot, glad it was only 5 miles, and started at 10am.Course is fast, but a bit boring. Organisationally fine.Date of review: June 11, 2006
In short: Nice, friendly race, well organised, flat & quick, though some pavement running & an uninspiring first half on roads/pavements - would definitely do again, though hopefully in cooler weather next time.Date of review: June 11, 2006
In short: Newish to this, but I have to hand it to the organisers and marshals. Brilliant.Date of review: June 11, 2006
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Pabst, G. W.
G. W. Pabst 1885-1967
(Full name Georg Wilhelm Pabst) Austrian director and screenwriter.
Pabst is known for chronicling in his films the turbulence and neuroses of Europe during and after the two World Wars. His particular interest in exploring the psyches of the women of his time led to his legendary associations with actresses such as Brigitte Helm and Louise Brooks and set him apart from most of his contemporaries in cinema.
Biographical Information
Pabst was born in Raudnitz, Bohemia, in 1885. He received his education in engineering at a technical school and at the Academy of Decorative Arts, both in Vienna, from 1904 to 1906. Beginning in 1906, Pabst worked as an actor, traveling to the United States with a German language troupe in 1910. He returned to Europe and entered the military where he was captured and placed in a prisoner-of-war camp from 1914 to 1918. At the end of the war, he moved to Prague, where he directed a season of expressionist theater in 1919. The following year he joined Carl Froelich's film production company. He directed his first film, Der Schatz (The Treasure), in 1923. In 1928 he formed with Heinrich Mann, Erwin Piscator, and Karl Freund the Popular Association for Film Arts. A year later he traveled to London to study sound film techniques, and in 1933 he moved to Hollywood. Pabst returned to France in 1935. He planned to emigrate to the United States with his wife and son at the outbreak of World War II, but illness forced him to remain in Austria. During World War II Pabst was compelled to make films for the Nazi regime, for which he has been harshly criticized. Most commentators agree, however, that Pabst did not sympathize with Nazi ideology, and the tone and subject matter of much of his film canon supports this. After the war, in 1948, he was awarded the Best Director prize at the Venice Festival for Der Prozess (1947; The Trial) and in 1949 he formed Pabst-Kiba Filmproduktion. Pabst worked in Italy from 1950 to 1953. He died in Vienna in 1967.
Major Works
Pabst's films were deeply informed by both the socio-political events of his lifetime and his personal interest in Freudian psychoanalysis. Like other German directors, Pabst drifted to the cinema through acting and scripting. His first film, The Treasure, explores a search for hidden treasure and the passions it arouses. Expressionist in feeling and design, the film echoed the trend then in vogue in German films, but in Die freudlose Gasse (1925; The Joyless Street) Pabst brought clinical observation to the tragedy of his hungry postwar Europe. In directing the young Greta Garbo and the more experienced Asta Nielsen, Pabst was beginning his gallery of portraits of women, to whom he would add Brigitte Helm, Louise Brooks, and Henny Porten. In Geheimnisse einer Seele (1926; Secrets of a Soul) Pabst explored his interest in the subconscious, dealing with the Freudian subject of the dream and using all the potential virtues of the camera to illuminate the problems of his central character, played by Werner Krauss. Die Liebe der Jeanne Ney (1927; The Love of Jeanne Ney), based on a melodramatic story by Ilya Ehrenberg, reflected the upheavals and revolutionary ideas of the day. Two of Pabst's films have a special significance. Die Büchse der Pandora (1928; Pandora's Box) and Das Tagebuch einer Verlorenen (1929; Diary of a Lost Girl) featured the American actress Louise Brooks, in whom Pabst found an ideal interpreter for his analysis of feminine sensuality. Lesser-known films of Pabst's career include Gräfin Donelli (1924; Countess Donelli), which brought more credit to its star, Henny Porten, than to Pabst; Man spielt nicht mit der Liebe (1926; One Does Not Play with Love) featured Krauss and Lily Damita in a youth-and-age romance; and, Abwege (Begierde) (1928; Crisis [Desire]), a more congenial picture that took as its subject a sexually frustrated woman. Pabst's other noted films include Westfront 1918 (1930), an uncompromising anti-war movie; Die Dreigroschenoper (1931; The Threepenny Opera), an adaptation of the play by Bertolt Brecht, is a satire on the pretensions of capitalist society; Kameradschaft (1931; Comradeship), a moving plea for international cooperation; The Trial, which deals with Jewish pogroms in nineteenth-century Hungary; and Der Letzte Akt (1955; The Last Ten Days), about the last days of Adolph Hitler.
Critical Reception
Pabst's films are known to be both technologically advanced and narratively intimate. Pabst achieved this by using film techniques that blended both expressionistic and realistic elements in his films. Critics note the success of these two elements in such films as Joyless Street and Secrets of a Soul. As Jean Renoir said of him in 1963: "He knows how to create a strange world, whose elements are borrowed from daily life. Beyond this precious gift, he knows how, better than anyone else, to direct actors. His characters emerge like his own children, created from fragments of his own heart and mind." Critic Linda Schulte-Sasse also notes Pabst's uniqueness among the Nazi genius films for "allowing a woman to forge historical progress" in Komödianten (1941). However, critic Eric Rentschler characterizes Pabst's films as "problematic" because they tend to involve vacillation and uncertainty.
Principal Works
Der Schatz [The Treasure] [screenwriter and director] (film) 1923
Gräfin Donelli [Countess Donelli] [director] (film) 1924
Die freudlose Gasse [The Joyless Street] [director] (film) 1925
Geheimnisse einer Seele [Secrets of a Soul] [director] (film) 1926
Man spielt nicht mit der Liebe [One Does Not Play with Love] [director] (film) 1926
Die Liebe der Jeanne Ney [The Love of Jeanne Ney] [director] (film) 1927
Abwege (Begierde) [Crisis (Desire)] [director] (film) 1928
Die Büchse der Pandora [Pandora's Box] [director] (film) 1928
Das Tagebuch einer Verlorenen [Diary of a Lost Girl] [producer and director] (film) 1929
Die weisse Hölle vom Pitz-Palu [The White Hell of Pitz-Palu] [director] (film) 1929
Skandal um Eva [Scandalous Eva] [director] (film) 1930
Westfront 1918 [director] (film) 1930
Die Dreigroschenoper [The Threepenny Opera] [director] (film) 1931
Kameradschaft [Comradeship] [director] (film) 1931
L'Atlantide [Die Herrin von Atlantis] [director] (film) 1932
Don Quichotte [director] (film) 1933
Du haut en bas [High and Low] [director] (film) 1933
A Modern Hero [director] (film) 1934
Mademoiselle Docteur [Salonique, nid d'espions] [director] (film) 1936
Le Drame de Shanghai [director] (film) 1938
Jeunes Filles en détresse [director] (film) 1939
Komödianten [screenwriter and director] (film) 1941
Paracelsus [screenwriter and director] (film) 1943
Der Prozess [The Trial] [director] (film) 1947
Geheimnisvolle Tiefen [producer and director] (film) 1949
La Voce del silenzio [director] (film) 1952
Cose da pazzi [director] (film) 1953
Das Bekenntnis der Ina Kahr [director] (film) 1954
Der Letzte Akt [The Last Ten Days] [director] (film) 1955
Es geschah am 20 Juli [Jackboot Mutiny] [director] (film) 1955
Durch die Walder, durch die Auen [director] (film) 1956
Rosen für Bettina [director] (film) 1956
Thomas Elsaesser (essay date July 1983)
SOURCE: Elsaesser, Thomas. "Lulu and the Meter Man: Louise Brooks, Pabst, and 'Pandora's Box'." Screen 24, no. 4 (July 1983): 4-36.
[In the following essay, Elsaesser explores Weimar culture's response to Pandora's Box and to the American actress Louise Brooks starring in the film.]
For several decades, G. W. Pabst's film, Die Büchse der Pandora/Pandora's Box (1928-29) was practically unavailable, except as one of the very special treasures of Henri Langlois' Cinemathèque in Paris. The star of the film, Louise Brooks, an actress from Wichita, Kansas, was to have one of the most enigmatic careers in film history. After the release of the two films she made with Pabst (the other one is Tagebuch einer Verlorenen/The Diary of a Lost Girl, 1929) she became a Paris cult figure in 1930, but on returning to Hollywood she virtually ceased appearing in films, and literally became a 'lost one'. Langlois' infatuation with Louise Brooks made him feature a huge blow-up of her face—by then barely recognised by anyone—at the entrance of his 1955 'Sixty Years of Cinema' exhibition:
Those who have seen her can never forget her. She is the modern actress par excellence because, like the statues of antiquity, she is outside of time … She is the intelligence of the cinematographic process, she is the most perfect incarnation of photogenie; she embodies in herself all that the cinema rediscovered in its last years of silence: complete naturalness and complete simplicity.1
Among those who could never forget Louise Brooks after Langlois' screenings of her films were Jean-Luc Godard (paying homage to Lulu in Vivre Sa Vie, 19622), and James Card, curator of Film at the George Eastman House, Rochester. He went in search of Louise Brooks in New York, found her in almost squalid circumstances, and brought her to live in Rochester, on a small Eastman House stipend. While he encouraged her to write and take an interest in her own past, he also tracked down and restored Pandora's Box, so that we now possess the image of Louise Brooks in this film as it had been seen by her first audience.
Pandora's Box was not a commercial success, and in the United States, for instance, only a cut and censored version3 was briefly in circulation, at a time when the new phenomenon of the talkies eclipsed and consigned to oblivion many of the more outstandingly modern films of the last silent period. In Germany, the film was widely shown and discussed, but Pabst was attacked on several fronts. Even his most consistent supporter, Harry M Potamkin, was disappointed and found the film 'atmosphere without content'4. About Louise Brook's performance a Berlin critic wrote: 'Louise Brooks cannot act. She does not suffer, she does nothing.'5
A good deal of criticism tried to prove Pabst's shortcomings as an adaptor of Wedekind's plays, and complained about the film industry's general temerity of turning a literary classic into a silent film with nothing but laconic intertitles.
Lulu is inconceivable without the words that Wedekind makes her speak. These eternally passion-laden, eruptive, indiscriminating, hard, sentimental and unaffected words stand out clearly against her figure. … The film is unable to reproduce the discrepancy between Lulu's outward appearance, and her utterance.6
This assessment is contradicted by Siegfried Kracauer, who writes in his book From Caligari to Hitler:
A failure it was, but not for the reason most critics advanced. … The film's weakness resulted not so much from the impossibility of translating (the) dialogue into cinematic terms, as from the abstract nature of the whole Wedekind play. … Pabst blundered in choosing a play that because of its expressive mood belonged to the fantastic postwar era rather than to the realistic stabilising period.7
The almost unanimously unfavourable response to the film is interesting in several respects. Even if we can assume special pleading on the part of the literary establishment, busy safeguarding its own territory8, the various complaints outline an ideologically and aesthetically coherent position. It goes right to the heart of the film's special interest within Weimar attitudes to sexuality, class and the representation of women in literature and the visual arts. For the passages quoted are indicative of a resistance that, on the one hand, has to do with the difference between literary language and body language ('utterance'/'appearance')—reminiscent of more recent discussions in the area of sexual difference between speaking and being spoken as a subject in language. On the other hand, there is an evident irritation that Louise Brooks is neither active ('she does nothing'), nor actively passive ('she does not suffer') which contrasts unfavourably one kind of body—that of cinematic representation—with another, the expressive body of the theatre performance. Compare this to Langlois' '(her) art is so pure that it becomes invisible': praise that implies a diametrically opposite visual (and literary) aesthetic.
Pabst's choice of an American actress for the part caused consternation among German film-stars. It gives the issue a further dimension if one considers it within the large-scale emigration of German film-makers to Hollywood, the economic difficulties of the German film industry after the 1927 crash and especially UFA and Nero's bid to break into the American market. But ideological attitudes towards America also played their part. Louise Brooks recalls a telling incident:
As we left the theatre (at the opening of an UFA film, at the Gloria Palast, and Pabst) hurried me through a crowd of hostile moviegoers, I heard a girl saying something loud and nasty. In the cab, I began pounding his knee, insisting, 'What did she say? What did she say?' Finally, he translated: 'That is the American girl who is playing our German Lulu'.9
Kracauer's comments rather simplify this whole ideological and aesthetic complex, with his implied juxtaposition of Expressionism and the Neue Sachlichkeit ('New Objectivity'), but as so often, he has recognised a crucial tension in the film—even if, calling Pabst's choice of subject a blunder, he overlooks the extent to which the film actually reinterprets the inner relationship between Expressionism and Neue Sachlichkeit, since this 'American' Lulu gives Pabst a vantage point on both Expressionism and the Neue Sachlichkeit, as well as on the fundamental shift that the cinema (compared to the theatre) has brought to the representation of sex and class, libidinal and political economy.
When one wants to understand the place of the cinema in Weimar society and culture, Kracauer's work is still essential reading, even though it appears different now from the book it was when first published in 1946. Historians of Weimar culture consider the cinema as part of what makes Weimar Weimar, but they are certainly far from giving it the privileged status that Kracauer allows it, that of unlocking the Zeitgeist, the ever-elusive essence of an epoch. John Willett gives an apt summary in The New Sobriety:
There are existing studies that deal with the culture of the Weimar Republic between 1918-1933 much more broadly. 'When we think of Weimar', writes Peter Gay in the preface to his Weimar Culture, 'we think of the Three-penny Opera, The Cabinet of Dr Caligari, The Magic Mountain, the Bauhaus, Marlene Dietrich.' More recently, that other eminent historian Walter Laqueur has defined its Zeitgeist in very similar terms as 'the Bauhaus, The Magic Mountain, Professor Heidegger and Dr Caligari'.10
Laqueur, however, had added a proviso:
The fact that Marlene Dietrich has not been forgotten in 1974, while many of her contemporaries have faded from memory, need not necessarily mean that future historians of the cinema will have to share the preferences and prejudices of our time.11
I take this as an invitation to talk about Lulu, rather than Lola Lola.
The cinema is part of the colourful mosaic of the Zeitgeist, providing an easily recognisable iconography, the period flavour, or—again in John Willett's words—important mainly for its 'atmospheric, essentially nostalgic relevance'12. Such is the general view, and it implies an idea of cultural diametrically opposed to that of Kracauer, for whom the cinema was not an addition, among the many forms of entertainment that flourished (Laqueur's account of Weimar cinema is the last part of a chapter called 'Berlin s'amuse') but its hidden centre. A period thinks, compul-represents and interprets itself—and its contradictions—in all the products of its social life, and among the means of self-representation, the cinema had for Kracauer an absolutely preeminent function. In this respect, Kracauer had already applied the lessons of structural analysis and social anthropology, and as Adorno put it: 'his way of considering the cinema (as a cipher of social tendencies) has long since become common property, so much so that it is practically an unquestioned assumption underlying any serious reflection on the medium in general.'13
No fundamentally new or different history of the Weimar cinema has thus appeared since Kracauer's socio-psychological study of the 'secret history involving the inner dispositions of the German people'14. And this despite the fact that in the field of economic film history particularly, and also textual criticism, many new perspectives have been opened up. The general impact has been that in the intervening time, scholars have become more careful in specifying who—that is, what class, what group—represented itself or was addressed, when 'going to the movies' became a regular habit. A somewhat different understanding of the nature and origin of German fascism has also made it less urgent to read '(the) disclosure of these dispositions through the medium of the German screen' primarily as a 'help in the understanding of Hitler's ascent and ascendancy'.15
Today, Kracauer is the historian of the social and sexual imaginary—the structures of anxiety, desire and denegation—that constituted the identity of the German lower middle class. They made up the bulk of the cinema-goers at the Gloria Palast and all the other high-street movie-palaces in Berlin and other German cities. What his book attempts, in a language that borrows some of its key analytical terms from Freudian and Adlerian psychoanalysis—regression, hysteria, impotence, compulsion, sublimation, instinct—is a metaphoric description of a dominant personality-type, whose characteristics are that he is male, paranoiac and masochistic, with repressed homosexual objects of identification. He experiences class barriers as insurmountable, and upward mobility a desire tantamount to parricide, punishable by social déclassement, a fate that, like the sword of Damocles, hangs over his head in any case. Kracauer offers a number of reasons why this class and its dominant character-type is representative for 'the German people' generally, and why it is reasonable to assume this to be the target audience of the films:
In a study published in 1930 (Die Angestellten) I pointed out the pronounced 'white collar' pretensions of the bulk of German employees, whose economic and social status in reality bordered on that of the workers, or was even inferior to it. Although these lower middle-class people could no longer hope for bourgeois security, they scorned all doctrines and ideals more in harmony with their plight, maintaining attitudes that had lost any basis in reality.16
Kracauer's emphasis on personality-structure and psychoanalysis implies a double thesis: firstly, that political and economic life have a shaping effect on the 'logic' of psychic development, and secondly, that cinematic fictional narrative is a particularly efficient way of crystallising dispositions into attitudes. The two theses have a separate theoretical status, as recent debates make only too clear.17 Or, one can interpret the implications as a feminist as done:
From Caligari to Hitler consistently and repetitiously depicts … a national, middle-class, Oedipal/familial failure peculiar to Germany and its cinema. … Beneath its sociological pretense is a perverse discourse on sexuality. … (The) argument places the blame on the domestic family, or historically, patriarchy …, a massive failure of the family to properly inscribe males into the symbolic of paternal order.18
That definitions of masculinity and male identity were in crisis during the Weimar years is not especially new: Peter Gay more or less built the thesis of his book around the father-son conflicts of Expressionist literature and drama. When Walter Laqueur says the opposite about the cinema ('one looks in vain, among German films, for the father-son conflict so prominent on the stage') he indicates either a very literal understanding of the motif, or that he has not looked very far, even in Kracauer. Current studies about 'male fantasies' in the literary and semi-literary products of the time, have continued to explore the manifestations of male paranoia and repressed homosexuality.19
But what Kracauer also argues is that the depictions of Oedipal conflicts and their modes of narrative resolution in the films are so paranoid and perverse because they are a 'screen', a field of projection and a compensation for objectively insoluble political contradictions and immovable class barriers. Sexuality—always an overdetermined cultural code—becomes the site for the representation of highly ambiguous fears (ambiguous, because libidinally charged) about any social existence outside the bourgeois order, outside the law, outside the hierarchical markers of identity and difference recognised by the middle class. This is not to say that the representation of sexual conflict, or the many family tragedies in the Weimar cinema simply substitute themselves for the 'real' tragedy of class conflict and economic ruin. Such a view would imply an almost trivial understanding of the Freudian notion of the unconscious, and a serious confusion of levels. The bourgeois film of the Weimar period does indeed have a narrative structure whose symbolic code remains remarkably constant throughout the '20s: it is Kracauer's achievement to have pointed this out. But it does not follow from this that the class conflicts of the period are structured in strict analogy to the stages of the Oedipal conflict. If the various revolutions on the Left failed, it is not because its militants were held back by castration anxiety. However, it is quite another matter if in the fictional and ideological discourses of the period, sexuality and the family become symbolic sites for the construction of political ideology.
To give a historical example. In 1925 the Austrian newspaper editor and writer, Hugo Bettauer, author of Die Freudlose Gasse (The Street of Sorrow, adapted by GW Pabst, and filmed the same year) was assassinated in Vienna. He had been the popular editor of Bettauers Wochenschrift, a journal of progressive social views advocating free love. He was also a Jew. His assassin, a 20-year-old, unemployed, first-generation immigrant from Czechoslovakia, had proven connections with the Austrian Nazi Party and was an avid reader of millenarian political tracts. The trial, which incidentally acquitted him, was entirely preoccupied with the question of whether Bettauer's journal was pornographic and morally corrupting. The young man claimed that it was, and that he had acted spontaneously, out of moral outrage. The jury essentially accepted his plea. What seems interesting in the case is that in a social climate rife with class, ethnic, and party-political conflict and close to civil war, sexuality is the preferred field on which ideological conflict and difference can legitimate itself, to the point of justifying politically and ethnically motivated assassination. Otto Rothstock did not kill in Bettauer the symbolic father, but he did find in sexual outrage a subject position that sufficiently unified the contradictions of his social existence (non-integrated minority, unemployment, ambitions towards gentility) in order for him to act in what seemed to him a politically meaningful way. On his side, Hugo Bettauer, a sex-and-crime formula novelist, found in the sexological articles he published a lucrative market among the semi-literary bourgeoisie for his socially progressive views. For him, too, sexuality implied a political and moral position. The assassin supported his confused political aspirations by modelling himself on particularly rigid conceptions of sexuality and sexual difference. The victim, on the other hand, supported different though perhaps also vague and indeterminate political goals and views with an inverse, open, 'free' conception of sexuality and individual identity.
To what extent then, one might want to ask, did the very existence of Freudian psychoanalysis and the many sexological investigations that emerged in its shadow and vicinity give the question of sexuality a different social space? Did they reinforce, or on the contrary, limit the kind of metaphoric haemorrhage that makes the period's ideologies of race, of power and authority, of State and the Law, of the Soul and the Will, seem to us so many versions of the same 'perverse discourse on sexuality? An intense curiosity focused on Woman is undeniable, but it antedates the Weimar period. Freud's hesitations, and his cautious remarks about the 'dark continent' of female sexuality were not always heeded by his followers: definitions of the 'nature' of Woman proliferated, precisely because in search of an elusive essence, femininity was so often construed in the negative or oppositional image of a masculinity in crisis. Structurally related to the endless father-son conflicts, where male sexuality appears in its most classically Oedipal fixations, and where women are either terrified bystanders or non-existent, one finds in Weimar culture also the sexually predatory and aggressive woman—phallic mothers, on whom the male subject projects both castration anxieties and masochistic fantasies. But there is a third possibility—and this one seems to me relevant for Pandora's Box—rarely in evidence in either the avant-garde or the 'serious literature' of the time and nonetheless perhaps the single most striking characteristic of its popular culture: sexual ambiguity, androgyny, the play with sexual roles and the fascination attached to the realm between male and female—Isherwood's Berlin, if you like, but also Magnus Hirschfeld's research institute. Yet it documents itself most vividly in the cabarets and the variety-shows, the fashion pages or the photography and drawings in quality magazines for a popular audience, like Die Dame. Pabst's Lulu—this is the question—is she the demonic female or a Weimar flapper?
The figure of Lulu that Wedekind portrays in Erdgeist and Die Büchse der Pandora20 superficially belongs to the tradition of the femme fatale, the sexually alluring but remote woman, through whom men experience the irrational, obsessional and ultimately destructive force of female sexuality. The social and historical dimension of the figure is too complex to be discussed here, but many of the literary or visual embodiments, especially in the late nineteenth century, project onto the desired woman an aggressiveness and destructiveness whose subjective correlative is guilt and self-punishment: for transgression, for violation, perhaps for desire itself. In Baudelaire, Huysmans, Gustave Moreau this figure is a stylisation and a character often from mythology (Salomé, Judith, the feminised Sphinx) whose location in the Orient and among the spoils of colonial wars or conquests gives a glimpse of a specifically political source of desire and guilt. In Strindberg, Munch or Klimt the figure is more a reminder of the violations of nature and instinctual life by the ascending bourgeois society and its consolidation of the family. With Wedekind, a specific social milieu, marked by class division, comes into view.
More explicitly than anyone else, he locates the question of sexuality within an ideological field. The repression of almost all manifestations of female sexuality entails an intense eroticism suffusing everything that is a-social, primitive, instinctual, according to a topos that sees nature as devouring whenever its nurturing function has been perverted. At the same time, Wedekind saw very precisely the relationship between social productivity and sexual productivity that the bourgeoisie had fought so hard to establish, and which lay at the heart of its 'sexual repression': it was the energy that had to be subjected to the labour-process, regulated and accounted for. The bourgeois subject, for whom sexual passion is nothing but the reverse of all the frustrations that make up his social and moral existence, is contrasted with the members of the lumpenproletariat—those outside, unassimilable or scornful when it comes to the bourgeois' dialectic of renunciation and productivity.
By locating a deviant, instinctual and liberating social behaviour among circus people, artistes, petty criminals, and calling it sexual passion, Wedekind builds a fragile bridge with another class that also felt itself outside the bourgeois order, the declining aristocracy against whose notions of libertinage, of productivity and non-production, of waste and display, the codes of the bourgeoisie once developed themselves. A non-repressive sexuality thus becomes the utopia where the lumpen-class and the aristocracy meet in mutual tolerance and indulgence: the cliché situation of so many Viennese operettas and popular literature fantasies, the ones that served film directors from Stroheim to Ophuls.
This kind of identification cannot maintain itself other than as a projection that also invests the 'other' with the attributes that the self lacks. The attraction of the bourgeois for the lumpenproletariat, however, arises not from the similarity of position vis-à-vis a common antagonist, but out of an opposition. Wedekind's Lulu is without family ties, without social obligations, without education or culture. Her psychological existence is free of guilt and conscience, her physical existence the very image of beauty, youth and health. Being outside the social order, she belongs to 'nature'—the only non-social realm that the plays can envisage. Sexuality therefore constructs itself primarily through negative categories, where non-family equals amorality, and the non-social becomes the 'wild' on the animal level, or the tropical plant in the vegetal realm. Several layers of self-projection are superimposed, yet it is the sympathy of the aristocrat for the lumpen (one outcast for another) that provides the basis for the glamourisation of these negative, somewhat demonic categories.
To leave it at this, is to suggest a very schematic reading of the plays. Wedekind's Lulu is in a sense not only a more radical critique of bourgeois notions of sexuality, but also of the myth of the femme fatale itself. By critique I do not mean a denunciation or a persuasively argued case for or against. For Wedekind, Lulu is a construct, not a sociological portrait: she represents in all her manipulative deviousness the only constant value, set against the relativity and dissolution of the so-called absolute and transcendental values. This, one suspects, is also because Wedekind endows her with a kind of articulacy and energy that makes her the next-of-kin of another outcast altogether: the artist, traitor to his class—whether aristocratic or bourgeois. She voices not only the artist's disgust with the members of all classes, but with himself, which is why her predatory lust is allowed to vent itself against members of all constituted classes and convictions.21 Wedekind's notion of female sexuality is thus even more abstract and conceptual than that of the French decadents. As the guise that the artist gives himself, she is distant and alluring, devouring and irresistible. As a woman, she remains terra incognita. For Wedekind, the conflict between class and productivity, between class and sexuality resolves itself only through the intermediary of art, and of an art that understood its own productivity as a form of elemental, natural expressivity. Lulu is characterised by her expressivity, because she is conceived in response to a societal repressivity.22
The space where such an expressivity could articulate itself is the theatre. Voice and gesture, thought and body could be unified in the performance and thus represent what one might call an image of non-alienated existence, the enactment of 'destiny as pure present',23 even if Wedekind is careful to relativise the tragic pathos of his figure by such 'epic' devices as the prologue, the ringmaster and the animal imagery of the circus, as well as stating in the preface that Geschwitz, not Lulu, is the tragic figure.24
The cinema, however, is still silent. Its expressivity, the way it speaks to the mind and the senses is different, and different affective values attach themselves to gesture, decor or face. With it, the relation of expression to repression changes; conflict and contrast, antinomies and argument are suggested, and perceived by an audience, in forms specific to the cinema.
When Leopold Jessner staged Die Büchse der Pandora in 1911, he had written:
Lulu is honest, because she is woman, only woman, who however, has succumbed to the pleasure of the senses, in an elementary form (Urwüchsigkeit) that cannot but bring disaster to us civilised beings, removed as we are from animal instincts.25
In 1923 he made a film called Loulou, with Asta Nielsen in the title role. Louise Brooks, who saw the film, describes Jessner's conception and Asta Nielsen's performance as follows:
There was no lesbianism in it, no incest. Loulou, the man-eater devoured her sex-victims—Dr Goll, Schwarz, Schoen—and then dropped dead in an acute attack of indigestion.26
To Louise Brooks Loulou is pure camp, because the relationship between theatrical and cinematic body-language is so different; Jessner's conception of cinema is clearly felt to be inadequate, even though his conception of the figure ('Lulu is honest') would be completely endorsed by Louise Brooks. The cinema itself, and not least the American cinema, had drastically changed what was to be accepted as 'honest' in the visual representation of sexuality and affect. Fritz Rasp, also a favourite actor of Pabst's (Diary of a Lost Girl, Love of Jeanne Ney, Threepenny Opera) recognised this very well:
The first law of film acting has been for me, right from the start, to be very reticent with my gestures. When I came from theatre to the stage, I realised that acting for the living image meant a complete break with the theatre, and that the strongest visual effects are … achieved solely through the complete internalisation of a role, for which one is the right physical type. That is why I prefer working for directors who have … recognised my physical appearance … so that acting in film, although this may seem paradoxical, is for me today not 'acting' at all, but—'being'.27
Another aspect needs to be remembered, one that points to a sociological difference between theatre and cinema, in respect of audiences—that is to say, in respect of the kinds of visual pleasure, curiosity and emotion that might bind an audience to the cinema. Wedekind's plays engage an audience's curiosity on a double level: the interest in the representation and dramatisation of raw sexual desire is coupled with the gratification of a social curiosity that allows glimpses at the private pleasures and vices of the ruling classes. In Berlin of the late '20s, by contrast, as Louise Brooks remarks:
the ruling class publicly flaunted its pleasures as a symbol of wealth and power.28
Not only could the film not expect to shock with revelations, the curiosity and fascination which Pabst's Büchse der Pandora wanted to arouse had to be of a quite different nature. Again, Louise Brooks:
At the Eden Hotel, where I lived in Berlin, the café bar was lined with the higher-priced trollops. The economy girls walked the street outside. On the corner stood the girls in boots, advertising flagellation. Actors' agents pimped for the ladies in luxury apartments in the Bavarian Quarter. Race-track touts at the Hoppegarten arranged orgies for groups of sportsmen. The nightclub Eldorado displayed an enticing line of homosexuals dressed as women. At the Maly, there was a choice of feminine or collar-and-tie lesbians. Collective lust roared unashamed at the theatre. In the revue Chocolate Kiddies, … Josephine Baker appeared naked except for a girdle of bananas. …29
Louise Brooks' description of 'collective lust' not only highlights the sexually explicit, but also the sexually ambiguous aspect of Berlin high- and low-life. In this respect, the world of entertainment is clearly also part of what defines sexuality and sexual difference for society as a whole.
But once it is no longer prescribed in biological categories (and roles do not divide strictly along the lines of gender), sexuality becomes itself more than a social product: a symbolic structure that can articulate other values, distinctions and categories. In Pabst's film, for instance, Lulu's sexual attraction is invariably portrayed in the context of sexually ambiguous attributes. Throughout the relationship with Dr Schoen, it is her androgynous body that is emphasised. With Alwa Schoen, an incestuous and homosexual element is always present. At her wedding, Pabst makes her dance most sensuously with the lesbian Countess Geschwitz, and on the gambling boat, she lets herself be seduced by a young sailor, in order to exchange clothes with him. Following on directly from this reversibility of attributes seems to be the principal ambiguity that preoccupied critics of Lulu, both in the plays and the film—whether she is a victim or an agent, whether she has a passive or an active role in the events of which she is the centre. Wedekind himself writes:
Lulu is not a real character, but the personification of primitive sexuality who inspires evil unaware. She plays a purely passive role.30
Yet this conception of Lulu as a catalyst of the obsessions and neuroses, of the restless searching for meaning and value among the men she encounters, is rendered ambiguous precisely because she is a 'personification'. As such she has a positive presence, because for Wedekind 'primitive sexuality' does constitute an expressive potential as well as a creativity that is close to an absolute, the presumed 'essence' of woman.31 Critics did not always see Lulu as 'purely passive'. An English reviewer wrote:
Wedekind reacted against German Naturalism and his plays are as full-blown and direct as anything the Elizabethans could produce; indeed, the nearest parallel to his Lulu cycle is The Duchess of Malfi, except that in the former case the woman is the active principle of evil.32
Agency is a crucial question because in our society moral evaluation of guilt or innocence, evil or virtue attaches itself to intentionality and agency. Given the traditional division of sex and gender in terms of active and passive, Lulu's behaviour would find itself interpreted accordingly, and thus her function as a figure of projection for fantasies of power and control is also at stake.
Pabst, it seems to me, resituates all these questions, firstly by a script that drastically reduces the number of protagonists and simplifies their narrative functions, and secondly, by his choice of actress. The narrative, apart from stressing sexual ambiguity, involves the male protagonists (except Schigolch) in a perpetually brooding, scheming, angry and frustrated state, the very parody of inwardness in search of expression and self-realisation. Against this world, obsessed with intentionality, goals and motives, Lulu appears exacerbating and provocative, ie seductively sexual—because she is a being of externality, animated but without inwardness; attentive, but without memory; persistent, but without willpower or discipline; intelligent but without self-reflexiveness; intense but without pathos. Her superiority resides in the fact that these effects-without-causes are experienced by the men as both fascinating and a threat.
As to the choice of actress, the cameraman Paul Falkenberg reported:
Preparation for Pandora's Box was quite a saga, because Pabst couldn't find a Lulu. He wasn't satisfied with any actress at hand, and for months everybody connected with the production went around looking for a Lulu. I talked to girls on the street, on the subway, in railway stations …33
Louise Brooks had her own conception of the role. She, too, seems inclined to see Lulu as a victim, although elsewhere she says that at the end, Lulu 'receive(s) the gift that has been her dream since childhood. Death by a sexual maniac'.34 Here is why she thought the film controversial:
(Besides) daring to show the prostitute as victim, Mr Pabst went on to the final damning immorality of making his Lulu as 'sweetly innocent' as the flowers that adorned her costumes and filled the scenes of the play. … How Pabst determined that I was his unaffected Lulu, with the childish simpleness of vice, was part of the mysterious alliance that seemed to exist between us. … When Pandora's Box was released in 1929, film critics objected because Lulu did not suffer after the manner of Sarah Bernhardt in Camille. Publicity photographs before the filming of Pandora's Box show Pabst watching me with scientific intensity. … (He) let me play Lulu naturally … And that was perhaps his most brilliant directorial achievement—getting a group of actors to play unsympathetic characters, whose only motivation was sexual gratification. Fritz Kortner, as Schön, wanted to be the victim. Franz Lederer, as the incestuous son Alva Schön, wanted to be adorable. Carl Goetz wanted to get laughs playing the old pimp Schigolch. Alice Roberts, the Belgian actress who played the screen's first lesbian, the Countess Geschwitz, was prepared to go no further than repression in mannish suits.35
It is quite possible to see the film in the terms that Louise Brooks suggests: Lulu is a child-like creature, and her attraction resides in the incorruptibility, the lack of guile, menace, calculation, the simple pleasures she enjoys, among which are sex, but it could be the bulging biceps of a trapeze artist, the sight of old Schigolch in the doorway, the fashion page in an illustrated journal, or mistletoe at Christmas-time. But Lulu is not one of those obsessional figures of the Victorians—a child bride or Browning's 'Last Duchess'. Her sexual ambiguity and indeterminacy has nothing to do with puberty. Just as Pabst seems concerned to redefine active and passive, so he is at pains not to take up Wedekind's paradigm of the anti-social as identifiable with animal nature or tropical vegetation (it is Dr Schoen who keeps a particularly wild and luxuriant plant in his office). She is modern, in a manner that at the time would have been labelled 'American', even without the choice of a Hollywood actress for the part and the ballyhoo this created. But the film does not make 'Americanism' an issue as did Pabst's Joyless Street. On the contrary, it gives us a Lulu practically without origin, or particular cultural associations. No doubt, because it allows for a much more 'symbolic' configuration: Pabst's Lulu in her relations with Schoen father and son, as well as on the gambling boat, acts as a stake for male/male power play, and her role is circumscribed by a male double fantasy: she is the woman that father and son both want to possess; she is also the phallic mother whom they want to destroy, the father by demanding that she kill herself, the son by wishing her to act out his own parricidal desire, so that his guilt feelings become her crime. In this respect, the film takes up in elegantly condensed figurations some of the main themes and motifs of Kracauer's (male, paranoiac) German soul. But the very elegance and sophistication of Pabst's narrative and visual solutions indicates that Pandora's Box is not primarily about the secrets of this (German) soul: more a knowing allusion to homosexual latency, and a deconstruction of the pathos of repression/expression. A central complex of German Expressionism is inspected with serene indifference, an indifference to which Lulu gives a...
(The entire section is 15749 words.)
Linda Schulte-Sasse (essay date spring 1990)
SOURCE: Schulte-Sasse, Linda. "A Nazi Herstory: The Paradox of Female 'Genius' in Pabst's Neuberin Film Komödianten (1941)." New German Critique 50 (spring 1990): 57-84.
[In the following essay, Schulte-Sasse examines the unique place of Komödianten as a movie featuring a woman in the genre of Nazi "genius" films.]
Ob Männer oder Frauen, ist ganz wurscht: Eingesetzt muß alles werden
—Hitler, March 1945
G. W. Pabst's film biography of Caroline Neuber, Komödianten (1941), follows in most respects the paradigm of the "genius" films that pervaded Nazi cinema in the early forties. These films extol...
(The entire section is 11361 words.)
Thomas Elsaesser (essay date 1990)
SOURCE: Elsaesser, Thomas. "Transparent Duplicities: The Threepenny Opera (1931)." In The Films of G. W. Pabst: An Extraterritorial Cinema, edited by Eric Rentschler, pp. 103-15. New Brunswick: Rutgers University Press, 1990.
[In the following essay, Elsaesser argues in favor of The Threepenny Opera's merits as a great achievement in Weimar cinema despite a lawsuit filed against Pabst by Bertolt Brecht—the author of the opera upon which Pabst's film is based.]
To write about Pabst's The Threepenny Opera (Die 3-Groschen-Oper, 1931) is to venture into a minefield of received opinions. Even if one...
(The entire section is 8910 words.)
Anne Friedberg (essay date 1990)
SOURCE: Friedberg, Anne. "An Unheimlich Maneuver between Psychoanalysis and the Cinema: Secrets of a Soul." In The Films of G. W. Pabst: An Extraterritorial Cinema, edited by Eric Rentschler, pp. 41-51. New Brunswick: Rutgers University Press, 1990.
[In the following essay, Friedberg explores the relationship between cinema and psychoanalysis in light of Pabst's experiences making Secrets of a Soul.]
"Mass culture is psychoanalysis in reverse."
—Leo Löwenthal
The coincident birthdates of psychoanalysis and the cinema have frequently been celebrated as "no accident."...
(The entire section is 7378 words.)
Michael Geisler (essay date 1990)
SOURCE: Geisler, Michael. "The Battleground of Modernity: Westfront 1918 (1930)." In The Films of G. W. Pabst: An Extraterritorial Cinema, edited by Eric Rentschler, pp. 91-102. New Brunswick: Rutgers University Press, 1990.
[In the following essay, Geisler examines the ways in which Pabst's film Westfront 1918 reflects Germany at the end of the Weimar Republic rather than the events of World War I depicted in the film.]
A number of major texts in film history have never been accorded their due because more popular contemporary releases have pre-empted the audience's as well as the critics' attention and interest. Pabst was twice unlucky in this...
(The entire section is 8004 words.)
Eric Rentschler (essay date 1990)
SOURCE: Rentschler, Eric. "The Problematic Pabst: An Auteur Directed by History." In The Films of G. W. Pabst: An Extraterritorial Cinema, edited by Eric Rentschler, pp. 1-23. New Brunswick: Rutgers University Press, 1990.
[In the following essay, Rentschler discusses Pabst as a "problematic" figure in cinema.]
"None of us who knew Pabst well felt that we ever knew him at all. He was all things to all men, and nothing consistently. He would argue any side of the question with apparent complete conviction and sincerity, but to see this happen over and over was to suspect that he had no convictions at all. He worked like a scientist,...
(The entire section is 13540 words.)
Russell A. Berman (essay date 1993)
SOURCE: Berman, Russell. "A Solidarity of Repression: Pabst and the Proletariat." In Cultural Studies of Modern Germany: History, Representation, and Nationhood, pp. 123-33. Madison: The University of Wisconsin Press, 1993.
[In the following essay, Berman contends that Pabst's allegedly left-wing film Kameradschaft is actually ambivalent on the issue of proletarian liberties.]
The lesson of Nolde's vicissitudes in Nazi Germany involves the limits of intentionality: the painter's desire to identify with the fascist state was unable to influence the state's rejection of the painter. A similar disjunction operates in the case of Pabst's Kameradschaft...
(The entire section is 5547 words.)
Ira Konigsberg (essay date fall 1995)
SOURCE: Konigsberg, Ira. "Cinema, Psychoanalysis, and Hermeneutics: G. W. Pabst's Secrets of a Soul." Michigan Quarterly Review 34, no. 4 (fall 1995): 519-47.
[In the following essay, Konigsberg examines Secrets of the Soul in the context of films that feature psychoanalysts as either saviors or demons.]
In the 1948 film The Snake Pit, a psychiatrist (played by Leo Genn) has a long therapeutic session with a patient (played by Olivia de Havilland) in which he slowly opens up to her two earlier traumas that have resulted in her nervous breakdown and incarceration in a mental institution. A photograph of Sigmund Freud prominently appears on the...
(The entire section is 12652 words.)


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