text:
by Dr. Linda Caruso Haviland
Part I Forsythe and his work: From the outside in
In 1963, half a century ago, the fledgling Pennsylvania Ballet cut its teeth on the work of the revolutionary choreographer George Balanchine, dancing the first of over thirty of his ballets that would come to form the spine of its repertory. While audiences elsewhere may have been puzzled or vexed by this choreographer's innovations, Philadelphians, from the very beginning, were raised on Balanchine's extensions of the ballet vocabulary. We watched and learned as his choreography dynamically sculpted a powerful geometry in both the human form and the form of the dance itself, cutting through the last remnants of 19th century ballet and bringing it into modernity. What better audience, then, to receive or company to perform the ballets of a contemporary visionary, William Forsythe.
William Forsythe, simply put, is one of the more important choreographers working in the 21st century. Europe knows him, the US is catching up, and Pennsylvania Ballet, having first performed his work in the 1980s, is in the forefront, again, of training dancers to perform, and audiences to see ballet, anew, in his trail-blazing work. Like Balanchine before him, Forsythe has literally turned ballet on its head without missing a beat or diminishing its power as an art form. Forsythe acknowledges Balanchine's influence, including their shared confidence in the sheer beauty and power of dance on its own, in and of itself. They share, as well, the use of measured space and counterpoint to provide both visual and aural clarity, a great affection and respect for dancers, and a willingness to stretch the ballet vocabulary and canon to the edge of possibility, not for the sake of vacuous virtuosity, but to explore the full capacity of the dancing body. The two choreographers have each drawn differently on the same genetic material of stripped down, complex, brilliantly inventive movement and form, but the work of each also embodies a distinct but insatiable curiosity about what dancers can do and what ballet can be . . .or become . . .
Like Forsythe, Balanchine's work emerged from a set of influences particular to his life both here and abroad. His innovations are too numerous to list but range from the very specific—the particular use of the tendu or stretched foot to initiate action, the distinct placement of hands right down to the fingertips, the pelvic thrusts and flexed feet . . .to the global—the play of counter balance in the pas de deux, the promenades and pirouettes inverted, distorted or compressed, the encouragement towards bigger and faster, all the while maintaining a distinct sense of 'cool' and, always, his supreme musicality. His impact on both the look and dynamics of ballet is so widespread and his style is so ingrained in us as the exemplar of ballet that, while still spellbound by his work, we barely recognize the revolutionary aspect that once excited or confounded audiences. But, then, along came Forsythe, building on Balanchine as a baseline and further extending his radically beautiful vocabulary. Together with a generation of young dancers who matched him nerve for nerve, Forsythe surprised us, revealing ballet's potential to recreate itself once again. Roughly fifty years after Balanchine created works like Apollo or Concerto Barocco, Forsythe created several revolutionary dances that, like the work of very few choreographers before him, are generally considered to have initiated a new era for the ballet genre.
With the addition of Artifact Suite, Forsythe's three ballets from that period which are now in the repertory of Pennsylvania Ballet frame a particularly important arc in Forsythe's creative journey. Starting with Artifact in 1984, travelling through In the middle, somewhat elevated and The Vertiginous Thrill of Exactitude, and landing onArtifact Suite in 2004,[i] it was evident that Forsythe was doing ballet, but WHAT was he doing with it? Or, as some thought, to it? The pace, scale, and complex gestural dynamics clearly pushed ballet into new technical and aesthetic territories. Yet Forsythe ventured a description of his efforts as just another viable strand, another way to do and see ballet that moved alongside the "normative"[ii] or classical tradition of the art form without necessarily displacing it. These works are attached to ballet tradition by a strong umbilical cord that twists together the history of the form and his own history within it. Ballet, he has said, is his mother tongue; it cannot be erased from his body or from his consciousness. But given his intellectual and motional inquisitiveness and the contemporary cultural and political spaces in which these have been cultivated, neither could ballet remain the same.
While Pennsylvania Ballet is one of few US companies to bodily archive three of his works from this seminal period, any company worth its salt uses Forsythe's In the middle, somewhat elevated as its training ground, its portal into 21st century ballet vocabulary and structure. Forsythe's ballet vocabulary has been described as fractured, incisive, willful, deconstructed, in your face, stuttering, extreme, and exquisite. But words can fix as well as describe and Forsythe refuses to sit still for any categorization. Instead, he watches the dancing before him, always recognizing, as he says, that "it could be otherwise" and continually asking, and inviting us to ask, "what if?" Apply this question to ballet's preoccupation with balance—"what if?"—or to the carriage and shape of the arms—"it could always be otherwise." Question the lift against gravity and leap into space, and possibilities emerge that are limited only by the physical capacity of human bodies and the daring and intelligence of both choreographer and dancers.
Pennsylvania Ballet Principal Dancers Julie Diana and Ian Hussey in William Forsythe's In the middle, somewhat elevated. Photo: Alexander Iziliaev.
This vocabulary builds towards an overall structure in his ballets that is often dense with motion and gesture and can be challenging to see and absorb. Forsythe complicates beauty. But he trusts our imaginations as well as our perceptual systems, believing that we will discover patterns within the composition. He calculates and stages points of organization for us within the performance, setting them in motion to emerge from the blurs of complexity on stage. To create these moments of clarity and focus for the audience, he often turns to the classical stalwarts of theme and variation and of counterpoint as compositional strategies to help us make our way through these intricacies.
In his use of theme and variation, Forsythe references Marius Petipa's 19th century classical inventions as well as Balanchine's more contemporary and complicated fugal structures, but he extends these into his own postmodern displacements of theme across the entirety of both the body and the stage. He claims counterpoint as his means to generate and organize movement, using it as a motor in the body itself, riding the torque and fleshing out the vectors as the dancer spirals her way into the ballet épaulement—the counter position of torso against legs—the same contrapossto that Michelangelo used in sculpture to bring marble to life and convey the depth of human feeling, the same contrapossto so loved by the baroque dancers who seeded ballet with its shape and dynamic. But Forsythe also makes other uses of counterpoint within the larger architecture of his works. Like Balanchine and others, Forsythe makes visible the structural similarities between poses, gestures, and musical line, often transferring a shape or dynamic from one location to another, in what he calls "isometries." But he notices other congruencies that often go unseen and pushes these "alignments in time" to their extreme so that they play out across all and any levels of space, time and force. "Look everywhere," he urges. Meaning may be found in the consistency of the centuries-old form or in the surprises and interruptions he introduces. In the end, it is about actively watching the dancing, trusting that you and I will make our own sense of it.
Pennsylvania Ballet Principal Dancer Lauren Fadeley in William Forsythe's The Vertiginous Thrill of Exactitude. hoto: Alexander Iziliaev.
This is new ballet and it exists at this time and in this space, because Forsythe saw that it could happen and that dancers were willing to go along for the ride. While these important ballets make their way into the bodies and psyches of dancers and audiences in the US, he continues to ask dancers in his new group, The Forsythe Company, to catapult along yet other trajectories. Founded in 2004 and based in Dresden and Frankfurt, works choreographed on and with this company, such asDecreation, Human Writes, One Flat Thing, reproduced, or Yes, We Can't, continue to challenge and engage dancers and audiences alike. Are they dance? Are they ballet? And what does it mean for ballet if, in fact, we consider them as such?
But Forsythe's curiosity, voracious mind, and huge appetite for how movement, things, and, perhaps, even life are organized and structured, have led him on paths that are alternative even to his own newer visions of danced work. With collaborators across many fields and disciplines, he has investigated how elements of a dance might be captured in real or virtual objects that would extend our ability to see or 'read' that dance, long after it had vanished into history. He has even questioned whether the term, "choreography," could be extended beyond dance to describe or define other actions or categories of events or objects and has created both virtual and material installations that illustrate these and subsequent queries into what form these choreographic objects might take and what might constrain or excite their creative potential.[iii]
But returning to ballet as we know it, or are relearning to know it through his work, it may be surprising that, for an artist whose ballets are so firmly constructed on the various permutations of formal elements within a larger, splendid universe of geometrical space. . .the dance, in the end, is never just about the structure and the steps. It is about the affect, the whole that is larger than the sum of its parts, and about the dancers as interesting and intelligent beings who bring the work alive with both agency and abandon. It is about humans, like you and me, albeit extraordinarily adventurous and talented. It is not about transcendence but about being the best that humans can be within the art form—and it is the voice of the dancers themselves that make this most clear.
Part II The Dancers' Voices: From the Inside out
Forsythe's movement language, perhaps earlier but surely from Frankfurt on, integrated his full-bodied classical technique not only with his own explorations of motional possibilities but also with the movement passions and predilections of his individual dancers, which are generated, as one philosopher has said, "by that person's use of his own body through the accumulated grooming of a continuous life."[iv] From dancer after dancer, you hear of Forsythe's rigor and expectations that are exceeded only by his generosity and his genuine desire to motivate each dancer to dance to his or her fullest capabilities. In recalling rehearsals with Forsythe, Brooke Moore,[v] a principal dancer with Pennsylvania Ballet, explained that Forsythe "can really just pull things out of you that you didn't know you could do" that he encouraged and supported the dancer's desire to discover and achieve her full range of movement potential. "He has this ability to make us feel so incredible, and to not say no. . .and to keep pushing—pushing us to just explore every aspect of your body in his choreography." Nothing is taken for granted; nothing is absolute. After 20 or 30 years of training, a dancer can easily raise her leg behind her in a perfect arabesque, even if she were sleepwalking. But, says Moore, Forsythe challenges them to "do an arabesque like it's never been done before. . .you are the first one who had ever done this." "He is," she says, "giving you the liberty and luxury to explore who you are within his steps." Noah Gelber,[vi] a dancer with Forsythe back in the Frankfurt days and a trusted stager of Forsythe's ballets from this period, echoes this approach in his own teaching which he models on Forsythe's. It is, as Gelber says, his responsibility to work towards specificity in the earlier days of the restaging process. A consummate dance artist, himself, his choreographic notes are equal parts beautiful and meticulous. "I have to set very clear parameters to start with—this is what the dance 'is'. But at the end of the day, it's not about what it 'is,' it's about how they feel it and, as Bill is always saying, it's about how the dancers feel it for themselves. [The ballet] is not a museum piece, it's live theatre, and it's something that [the dancers] recreate and recreate each time, and each time is going to be only as they are in that moment. [It's about] letting them trust that and getting them to a place where your word is only a catalyst."
But even the willing must learn to trust and to dare. Moore, who danced with San Francisco Ballet prior to dancing with Pennsylvania Ballet, has performed Forsythe's work with both companies. Reflecting on the extremes of balance that Forsythe's work demands, she admits "it is scary because . . . I know where my weight is going to fall but it's just not how I've been trained. . .so it's not natural. It's not where I want to be. . .but then once I'm there, especially when I'm with a partner, it feels great. It's liberating, you know—how far I can pull myself off. I'm on pointe and I have only one hand on my partner and I'm leaning the whole way out… and he has me. We both have the ability to bring me to the next step or section. It is scary, but it's fun, it's a challenge…it's a whole new way of working."
Pennsylvania Ballet Principal Dancer Brooke Moore and Company Member Andrew Daly in William Forsythe's The Vertiginous Thrill of Exactitude. Photo: Alexander Iziliaev.
And the dancer's" whole new way of working" feeds back into Forsythe's choreographic loop. He is an artist who describes himself as 'influenced by the here and now" and whose curiosity is sparked by whoever or whatever is in front of him at that very moment. Put this together with a postmodern refusal to see anything as absolute and you get a reluctance to ever consider any dance work, even a ballet, as a museum piece, fixed or finished into perpetuity. Remember, "it could always be other." Gelber affirms Forsythe's own self-analysis: "He likes to go with what he sees... he might be very inspired by one particular dancer in the room and say, 'that looks good, let's all try that.' That's why there are so many different versions. . .Bill was changing Artifact for 25 years. . . In rehearsals, what was fascinating for me, as a spectator, was to see all of the permutations, transmutations that the choreography would go through from day to day until he was happy for that year."
Ballets can and do change over time, intentionally or otherwise. After conversations about the Balanchine repertoire with one of Balanchine's noted ballerinas, Merrill Ashley, Moore speculated that "everyone remembers things a bit differently" and that despite all efforts to coincide with the choreographer's intentions, there will always be "a slight variation there, or a hair of a difference over here." In addition, as she points out, the choreographer or stager might introduce slight changes to make the piece work for individual dancers, trying to "make it look best, although with the intention of the choreographer in mind." Add to this Forsythe's willingness, like Balanchine before him, to change elements of a ballet to keep it a living work of art, and the act of restaging a ballet becomes complex indeed. And if you have three stagers (Jodie Gates, Laura Graham, and Noah Gelber) plus the choreographer, himself, as was the case with the setting of Artifact Suite on Pennsylvania Ballet, how can any agreement be reached? Moore gives us a clue when she recalls the strong sense of community that the stagers encouraged in the dancers while setting the work. Having learned Forsythe work while dancing with two different companies, she was, in both instances, impressed with this emphasis on community. We were told, "You're dancing for each other. Yes, the audience is out there and watching you and you are dancing for them, but you are dancing for each other…the connection, the community, the family feel…they always wanted us to incorporate that into [the dance]. Moore even sees this reflected in the choreography of Artifact Suite as well. "In the end of Artifact the group, the ensemble, comes in and we're all sort of gaining strength together. . . It's some sort of force, not an army, but a group, and we're all coming together to be as one."
This sense of community, of reaching some sense of consensus, although far from perfect unity or concurrence, inflects the teaching as well as the making of the work and the restaging process. "OK, "says Noah Gelber, who eschews the dictatorial, "OK, let us agree to do the arm this way as opposed to another way." And this same sense of community is, perhaps, what enables consensus among the stagers. The dancers that comprised Frankfurt, and from whom Forsythe selected a handful to reset the ballets from that period, had learned to work both independently and collaboratively under the guidance of Forsythe. Because Forsythe had encouraged a process, as Gelber recalled , in which the dance "resided independently and individually in each one's body" there were, and are, likely to be as many minute variations as there are dancers, all bound to the 'steps' so to speak, but with multiple possibilities of slight divergences. When staging the work, Gelber, teaches the choreography but reminds the dancers that they must remain open. He tries to "disseminate as much information as possible, so that the dancers are ready for all options. . .and to build in room for the inevitable question mark." Because the stagers are used to the give and take of collaboration and a shared body politic, when they gather the dancers together in the studio for the first time, "it just naturally happens that we would look at each other and say, OK, you're doing that version, fine. And we pretty much anticipated the places where there was going to be a need for consensus. . . and it happens."
And what "happens" has changed the way that dancers dance and audiences see the ballet. Other top ballet companies in the US perform Forsythe ballets, but Pennsylvania Ballet is one of the few that holds multiple danceworks demarcating this groundbreaking historical shift in ballet. Having honed its skills and aesthetic on a Balanchine repertory that is one of the foundational precedents for Forsythe's work, it is both natural and important that this company serves as a corporeal archive, a living history of Forsythe's significant ballet choreographies.
Artifact Suite provides the dancers of Pennsylvania ballet with possibilities to stretch both their ideas about and their performances of ballet. They can, as Gelber noted, "access their intellectual processes" as well as "the sheer physicality" of the work." With the other Forsythe ballets now in repertory, Artifact Suite provides us, as audience, with a full-bodied experience of a monumental period in ballet history.
But like the best Balanchine work, these works are not dated and, despite the inevitable urge that other choreographers have had to incorporate this new 'style' or approach into their own work, Forsythe, as does Balanchine, remains a unique talent. Artifact Suite is a vital inclusion in the repertory. Although an "artifact", it is not a relic. Rather, in each performance we re-witness a turning point in ballet as the dancers experience history incarnated in their bodies. But we also see brilliant, in-the-moment dancing that continues to be a point of instigation, challenging dancers to perform superbly and audiences to see ballet with fresh eyes and an open mind. Forsythe's ballets remain dynamic exemplars of the form, speaking to us across time and connecting us to now.
Dr. Linda Caruso Haviland is a dancer, a scholar, and the Director of Dance and the Alice Carter Dickerman Director of the Arts Program at Bryn Mawr College.
[i] 1984 Artifact, Frankfurt Ballet; 1987 In the middle, somewhat elevated, Paris Opera Ballet (later incorporated into Impressing the Czar for Frankfurt); 1996 The Vertiginous Thrill of Exactitude, Frankfurt Ballet; 2004 Artifact Suite, Scottish Ballet.
[ii] All quotes by William Forsythe are taken from published or web interviews with William Forsythe.
[iii] "Synchronous Objects for One Flat Thing, reproduced," is an interactive Web site created with Ohio State University's Advanced Computing Center for the Arts and Design. http://synchronousobjects.osu.edu/ "Motion Bank" is a four year project of The Forsythe Company designed to provide a broad context for research into choreographic practice. http://motionbank.org/en/
Examples of Forsythe's installations and choreographic objects can be found on the Forsythe Company's website. http://www.williamforsythe.de/exhibitions.html(select the English version)
[iv] Joseph Margolis, The Autographic Nature of the Dance," The Journal of Aesthetics and Art Criticism, Vol. 39, No. 4 (Summer, 1981), p 421.
[v] Brooke Moore (principal dancer, Pennsylvania Ballet), taped phone interview, May 14, 2013.
[vi] Noah Gelber (former soloist with Royal Ballet of Flanders and the Frankfurt Ballet, Gelber has maintained the responsibility of Choreographic Assistant for 11 different ballets from William Forsythe's repertoire and has staged Forsythe's work on over 30 companies world wide) taped interview, June 1, 2013.


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U.S. Men's Update: Patak Attack Continues
B.J. Hoeptner Evans
Manager, Media Relations and Publications
Phone: (719) 228-6800
E-Mail: firstname.lastname@example.com
COLORADO SPRINGS, Colo. (March 3, 2010) – U.S. Men's Volleyball Team member Evan Patak led his Turkish league team Halkbank with 27 points as it defeated Besiktas, 3-2 (21-25, 26-24, 25-12, 27-29, 16-14) on Feb. 28.
Patak (Pleasanton, Calif.) scored on 24 kills and three aces. Halkbank sits in fifth place in the league.
Gabe Gardner (San Clemente, Calif.) led Fenerbahce with 13 points on 13 kills as it swept Bozkurt Belediye, including U.S. player Ryan Burrow, 25-16, 25-23, 25-22, on Feb. 28. Fenerbahce leads the league.
Istanbul Buyuksehir Belediye, the team of Ryan Millar (Palmdale, Calif.) and Scott Touzinsky (St. Louis, Mo.), remains in second place after sweeping Maliye Milli Piyango, 29-27, 25-23, 25-12, on Feb. 28. Touzinsky scored nine points on nine kills. Millar scored seven points on three kills and four aces.
- Which player on the 2008 Men's Olympic Volleyball Team graduated with a degree in chemical engineering?
- Who was the youngest player on the U.S. Men's roster in 2009?
- Why did the members of the 1992 U.S. Men's Olympic Volleyball Team shave their heads?
All three Russian Super League teams with U.S. players had a rough weekend.
First-place Zenit Kazan, featuring Lloy Ball (Fort Wayne, Ind.) and Clay Stanley (Honolulu, Hawaii), fell to Dynamo Moscow, 1-3 (25-21, 20-25, 23-25, 21-25) on Feb. 27. Stanley led Kazan with 14 points on 12 kills, one block and one ace. Ball started the entire match at setter and scored three points on two blocks and one ace.
Lokomotiv Novosibirsk, the Russian team of David Lee (Alpine, Calif.) and Reid Priddy (Richmond, Va.), still sits in third place after suffering a 2-3 loss to Gazprom-Ugra (25-19, 19-25, 25-18, 23-25, 12-15) on Feb. 27. Lee finished with 16 points on eight kills, seven blocks and one ace. Priddy had 13 points on nine kills, one block and three aces.
Right behind Novosibirsk is Fakel Novy Urengoi, including Sean Rooney (Wheaton, Ill.) and Kevin Hansen (Newport Beach, Calif.) in fourth place. Fakel fell to Yaroslavich Yaroslavl, 1-3 (21-25, 25-22, 18-25, 22-25) on Feb. 27. Rooney scored 11 points on nine kills, one block and one ace. Hansen started all four sets at setter and scored three points on one kill and two blocks.
To view photos from the match, click here.
The NET Live
The NET Live is an Internet radio show hosted by former U.S. Men's Team player and two-time Olympian Kevin Barnett along with current team member, two-time Olympian and 2008 gold medalist Reid Priddy.
The show is usually broadcast at 10 a.m. PT on Mondays and features interviews with a variety of volleyball personalities along with banter by the two hosts and sidekick/engineer Dan "Kinda Good" Madden.
Click here to listen to the show.
Prisma Taranto, the Italian Serie A League team that includes Donald Suxho (Korce, Albania), fell to Trenkwalder Modena, 1-3 (27-25, 19-25, 17-25, 23-25) on Feb. 28. Suxho started all four sets at setter and scored two points on one kill and one block while helping Taranto to a kill percentage of 0.5.
Marmi Lanza Verona, featuring Max Holt (Cincinnati, Ohio), lost to Itas Diatec Trentino, 1-3 (22-25, 25-22, 20-25, 32-34) on Feb. 28. Holt finished with 14 points on eight kills, two blocks and four aces. His hitting percentage was 0.62.
Riley Salmon (League City, Texas) was one of four players who scored 11 points as his Brazilian league team Vivo/Minas defeated Santo Andre on Feb. 25, 3-1 (25-21, 25-20, 23-25, 25-21). Salmon had nine kills, one block and one ace.
Salmon scored eight points on Feb. 28 as Vivo/Minas defeated Volei Futuro, 3-1 (25-19, 25-18, 25-27, 25-20).
On March 2, he started the first two sets and scored five points on five kills as Vivo/Minas swept Lupo/Nautico/Let's, 25-22, 25-21, 25-15.
Paul Lotman (Lakewood, Calif.) scored 10 points on nine kills and one block as his French league team Poitiers swept Nice, 25-20, 25-17, 25-21 on Feb. 27.
Middle European Zone
Hypo Tyrol Innsbruck, the Austrian club team of Russell Holmes (Fountain Valley, Calif.), fell to ACH Volley of Slovenia 2-3 (21-25, 16-25, 25-20, 25-18, 10-15) on Feb. 20.
Holmes started the final three sets and scored six points on six kills.
RWE Volleys Bottrop, the German league team of Jonathan Winder (Irvine, Calif.), swept evivo Düren, 25-20, 25-23, 26-24 on Feb. 27. Winder started all three sets at setter and scored two points on one kill and one block.
To view photos from the match, click here.
Unicaja Almeria, the Spanish league featuring U.S. players David Smith (Saugus, Calif.) and Matt Denmark (Edmond, Okla.) swept C.V. Caravaca Año Santo 2010, 25-16, 25-19, 25-23 on Feb. 28. Denmark started the first two sets and scored five points on three kills, one block and one ace. Smith started the third set and scored two points on one kill and one ace.
Trivia Answers
- Tom Hoff
- Matt Anderson
- They were protesting a decision by the FIVB that overturned a U.S. victory over Japan in the first match of the Games. Bob Samuelson, a U.S. player who was bald, had been given two yellow cards in a set. Japan said the second card should have been red and Japan should have been given a point, which would have ended the match with a Japanese victory in four sets. Instead, the U.S. team went on to win the fourth and fifth sets.

subset: commoncrawl


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Winter 2002
Volume 6 Number 2
Those Gleeful Gender Gnomes
"A Bryn Mawr girl missed her bus and was stranded on the Princeton University campus. A mutual friend asked me to find her a place to stay. Ira Marshall ('51B) and Phil Magee ('52B) were away at their weekend churches, so I put her in their room, right across from the latrine. I told her not to go into the toilet for the night until I came back to stand guard, but she sneaked on in. When Daniel Theron ('50D) came to take his evening shower, he found her hiding behind his shower curtain. Thus, the Benham Club made me pay a fine to the 'MishPot' for my 'Gob-slobishness.'"
"Yoshiko and Keiko were not introduced to the Seminary in the regular way. [Former PTS president] Dr. Mackay said Princeton University thought they were male until they arrived. The university had no dormitory for them and asked the Seminary to house them. Now, my question: Had they meant to come to the Seminary, but addressed their applications incorrectly?"
William O. Harris, PTS's librarian for archives and special collections, responds:
"Keiko Obara ('53b) and Yoshiko Yamamuro ('53e) arrived in Princeton from Japan in September 1950. They thought the Seminary was part of Princeton University and had applied to Princeton University to study religion. The university's Admissions Office thought that they were men and admitted them. In those days only men were accepted as students at the university. When they arrived there, the Admissions Office called the Seminary to find a place for them to stay, and then it was discovered that they were bound for the Seminary anyway. Obara had been ordained in the United Church of Japan in 1948, and Yamamuro was a teacher of Bible. Both of them stayed here doing graduate work for two years and then returned to Japan, where they became editors of a major women's Christian magazine as well as professors of Bible."
Princeton's Communion Bread
Kathleen von Känel of Victoria, British Columbia, is thankful for a PTS recipe she received long ago.
"For several years now I have made the recipe for Princeton Seminary's whole wheat communion bread. I was given the recipe while at St. Peter's Anglican Church in
Comox, British Columbia, Canada. At the time, they were looking for a new bread for the Eucharist celebration. [Former PTS director of the chapel] Arlo Duba is quoted in the altar bread book that I was given. He said they used wild honey and that sometimes they used the bread at home.
"For a long time I have made this bread for various churches and taught members of the altar guilds how to produce it. As a baker and pastry chef myself, I was pleased with the recipe. Often I need to change ingredients or methods in order to obtain a good product, but in this case I needed to make no alterations.
"So I send my thanks to the source of the recipe. From out of the blue in Victoria, British Columbia, I send my greetings in the name of the Lord."
Arlo Duba, who is now retired in Hots Springs, Arkansas, responds:
"The whole wheat communion bread recipe is found in Living Bread
by Christine Whitehorn Stugard. It is the first recipe in the book. Christine said she put it there because she had tried every recipe in the book and thought it so good that it deserved first place. Then come 18 additional communion or altar bread recipes from such varied sources as Benedictine,
Trappist, and Franciscan monasteries, Syrian Mass bread, the Church of Jesus Christ of the Latter Day Saints, the Coventry Cathedral, and Phosphoron (the altar bread used in the Greek Orthodox Church).
"We used to pass around the responsibility for baking the bread at the Seminary-students in North or South Halls, married students who lived off campus, and sometimes residence hall students who would come to our house to use our kitchen and oven. Also, there were certain practices we followed. Communion bread is never 'taken,' it is always given and gratefully received. And when the service was over, we would 'complete the feast' by passing around the bread and giving it to one another until it was finished."
Mix together:
1/2 cup tepid water
1 tablespoon honey
1 package active dry yeast
Meanwhile, in another pan prepare:
3 cups milk, scalded
While hot, add:
1/2 cup honey
1/4 pound butter (or margarine)
3 teaspoons salt
When cooled to about 100˚ add:
2 cups white flour
Mix the above together and let stand 1 hour in a warm place to make a sponge. Then add 7
cups whole wheat flour.
Knead the dough into a ball. Place in a pan and allow to rise until it has doubled its volume. Keep the surface moist. Divide into 12 loaves, 6-to-8 inches in diameter and 1 inch high. Place on a greased cookie sheet or a greased plank, cover, and let rise until double in size. Ten or fifteen minutes before baking, a cross may be cut into the top of each loaf. Bake in a
400º oven for about 15 minutes. Then reduce heat to 325º and bake another 15 minutes at lower heat.
Each loaf will serve 30-50 communicants. The bread may be tightly sealed in plastic bags and frozen.
If you have humorous anecdotes or photographs relating something
funny from your days at Princeton Seminary, send them to us at Funny You Should Remember,
c/o inSpire, P.O. Box 821, Princeton, NJ 08542-0803 or by email to firstname.lastname@example.com. Of course, the editors
the right to decide what is appropriate for this column.
© Copyright 2001 Princeton Theological Seminary
The URL for this page is http://www.ptsem.edu/read/inspire/6.2/funny.htm
firstname.lastname@example.com last updated 12/20/01
Renewing a Right Spirit
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Funny you Should Remember
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All those deductions, exclusions and loopholes cost Americans 6.1 billion hours a year to figure out.
The consequences of the federal government's impossibly complex tax code are staggering.
The IRS' Taxpayer Advocate Service estimates that 6.1 billion hours will go into deciphering the code and paying taxes this year — the equivalent of 3 million people working full-time. That's larger than the entire federal civilian workforce. And it produces nothing of value.
OPPOSING VIEW: Keep homeowners' tax deductions
Yet there has been no significant effort to fix the mess since 1986, until — perhaps — now. President Obama and lawmakers from both parties are calling it a priority. Whether it's enough of a priority to overcome the army of lobbyists and political constituencies lined up behind each deduction, tax credit or exclusion remains to be seen.
The key is to go big. Americans are likely to support doing away with popular tax breaks only if filing taxes gets easier and tax rates fall.
Thousands of narrow loopholes need to go. These include blatant giveaways to favored interests, such as the one that allows billionaire hedge fund managers to pay a lower tax rate than their secretaries, and a plethora of well-intentioned but complex provisions promoting such things as energy efficiency and alternative fuels.
But Congress will also have to address big and popular loopholes to raise the money needed to lower marginal rates. There are three big loopholes. In order of annual cost to the Treasury, they are: deductions for employer-sponsored health insurance ($181 billion), retirement plans such as 401(k)s and IRAs ($165 billion), and interest on home loans ($101 billion).
Given the demise of pensions and the difficulty of getting people to save, a good case can be made for leaving the retirement tax breaks alone. Limits on health insurance tax breaks are desperately needed, both to raise funds for tax reform and to restrain health care costs, but they have ramifications that reach beyond tax policy.
The mortgage interest deduction, though, just needs to go, if gradually. Nothing would better signal a serious stab at reform than killing off this sacred cow. For starters, it covers mortgages of up to $1 million. Why should average taxpayers subsidize people with such wealth?
Beyond that, it has perverse effects on the economy. Except in areas where land is abundant, its principal effect is not to make homes more affordable but to drive up their cost. The buyer gets a tax break but uses this to take out a bigger loan than would otherwise be necessary. That means the benefit from the federal government goes right through the buyer to help out lenders, real estate agents and, in some cases, builders.
Want proof? Canada has no mortgage interest deduction, yet it has homeownership rates comparable with ours.
The mortgage interest deduction is a kind of microcosm of the whole reform effort. Cutting it back would provide huge savings that could fund lower tax rates, a huge sweetener to getting a deal done.
It's a good bet that if Congress doesn't have the guts to take on the fight, it won't be able to achieve the kind of reform needed. That would be a terrible shame, now and again each April.


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Relish Chef Steve Petusevsky shares his affinity for avocados along with a couple recipes.
Avocados are perfect any where, any time, with anything. As a resident of South Florida, I use our local fruits, sometimes called alligator pears, constantly. My first run-in with avocados, though, came years ago when I worked for a 2,000-room hotel in Germany. Just days after I started as the new Chef Garde Manger (the person who makes the beautiful ice sculptures and arranges the buffet), 1,000 avocados arrived. My job? Sort through them to find 750 perfectly ripe fruits. I then had to cut them into halves, rub them with lime juice, and make a seafood stuffing to fill the cavities. But I am not deterred. Even after staring down 1,000, I still crave avocados for their creamy texture and vibrant green color. When I�m in a hurry, I spread whole-grain toast or an English muffin with ripe avocado in place of really fattening butter or cream cheese and sprinkle on a bit of hot sauce, lime juice and salt. My favorite brunch item is eggs scrambled with jalape�os, green onions and tomatoes, topped with chunks of avocado. Sandwiches of any kind with sliced avocados are amazing, especially grilled cheese or a spicy tuna melt. When I want a quick and comforting dinner, I make short-grain brown rice or quinoa with black beans topped with chopped avocado, red onion, Cheddar cheese and a dollop of Greek yogurt. It�s so comforting and satisfying. You can also add grilled chicken or shrimp as a topper here. Then there are the avocado recipes that seem bizarre: shakes, ice cream, cr�me brul�e, pudding and cheesecake. I�ll keep an open mind, but if you�ll please pass just the hot sauce, lime and salt, I�ll have everything I need. �By Chef Steven Petusevsky Brought to you by: Relish - Free Recipes, Cooking Videos & Articles


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Hello, Chas Guldemond here, this is my first blog documenting the year before the Sochi 2014 Olympic Winter Games. Snowboarding has been my life and work for the last seven years and I am grateful for all of the amazing places I have been able to see and the inspirational people I have had the pleasure of meeting along the way.
I got my start in action sports at the age of 4; I was riding dirt bikes and skateboarding until I got my first snowboard when I was 8. I was a high energy kid and being active kept me busy and out of trouble most of the time. I was always building ramps and jumps, trying to get air whether I was riding dirt bikes, skating or snowboarding. Having great energy outlets was very positive for me. When I was 9 I started competing in local USASA snowboard competitions and I haven't stopped competing since. I worked hard in the summers to help pay for my travels and my family played a huge role in making sure I was able to compete and train. I attended Waterville Valley Academy during the winters for high school, which is where I had the honor of first being coached by my now U.S team coach Bill Enos.
Before I finished high school I knew that I wanted to make snowboarding my career, or at least try to. I finished high school early to move out west so that I could focus on being the best snowboarder I could be. When I got to Tahoe is when things really picked up for me. I sold energy drinks to pay for groceries and hitchhiked to Northstar every day for a whole winter. I lapped the Northstar park religiously, just having fun and working on tricks. In the spring of 2006 my hard work paid off, I landed on the podium at the Vans Cup and got a second place at the U.S. Open. After that I was able to start filming for Standard Films and picked up sponsors who made it possible for me to travel the world and compete for a living.
Over the last seven years I have had the honor of standing on every major podium in snowboarding. I have competed in over 125 professional-level contests. I have the support of the best sponsors in the industry and I have been able to meet many incredible people during my travels around the world. When I found out about the inclusion of slopestyle snowboarding in the Sochi Winter Games I definitely made it a goal of mine to make it to the Olympic team and represent my country. I am excited about making the most out of the journey along the way and I will definitely be giving my best effort at earning an Olympic medal. I am honored to be a member of the first United States Slopestyle Team and I cannot wait to see what the future holds. I am sure it will be a long road of ups and downs over the next year so I will be keeping you all posted here on my blogs, so stay tuned.


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21 user reviews of Brooks ADRENALINE GTS 11 See all
Posted: 02/03/2011 at 18:29
I have just got the GTS 11's, I have had about 4 or 5 pairs of 10's, they feel a litle roomier to me, but it might just be that new shoe feeling as all of my GTS10's have about 500miles on them and are well worn in. I can just notice the DNA cushioning in the forefoot (i am a midfoot runner) but not in a bad way, did 10mile run in them straight out of the box last night and no issues. Will give them a proper workout this weekend.
Posted: 03/03/2011 at 23:10
The GTS 10 is my personal workhorse and I love it. For mixed terrain ultras, it is in a class by itself among the road shoes in its support category.
Have not taken the plunge with the GTS11 yet. I am a little bit concerned that the DNA might not retain its characteristics as well as the hydro flow did, but time will tell.
Posted: 04/03/2011 at 18:23
Had by GTS11's about a months and a half now and absolutley love them - they are my first pair of proper running shoe. I did get a blister on the arch of each foot but i think this was mostly due to my feet being new to running and me increasing distance.
Posted: 07/03/2011 at 20:53
It might be just the runnung in factor but they feel heavier than the 10s
Posted: 05/04/2011 at 22:41
The 11 is better than the 9, but not a patch on the 10 IMHO
Initially I found the GTS 11 more comfortable than the 10s (which I love). But then I started to get a pain in the front of my foot (behind toes, on sole). Im assuming this is the DNA not supporting the foot equally across the shoe. Have retired to the 10s, and Im looking for a few pairs before they all disappear.
Posted: 18/05/2011 at 13:30
Posted: 20/05/2011 at 16:46
Posted: 21/05/2011 at 00:59
Posted: 28/01/2012 at 14:33
Posted: 29/01/2012 at 18:19
I thought it was in my head the small pain on my ball on the big toe but yes, sounds like the same problems above !
Only problem too is how it treats my toes as feels cramp in. May go back to my 10's this week to compare as I already ran 60 miles in the 11's to give it a go.
I can't describe shoes properties to describe why it may be giving these problems so I am not going to try!
Posted: 30/01/2012 at 12:22
I've had the same problem with my second pair of GTS11's. I'm now on my 6th pair of Adrenaline's without any previous problems. My first pair of 11's were great but the second pair I've had a pain on my right side, ball of my foot. I thought it was just me but then I tend to run on the outside of my feet. I'm finding that my feet ache more than my legs when on long runs...on the positive it give me something else to think about I guess!!
I love Brooks so am hoping that the GTS 12's are better.
Posted: 05/03/2012 at 13:50
I've had no problems with Adrenalines -Think I'm on my 9th or 10th pair at the moment. When it comes to new shoe time I try other makes and models but always comeback to the Adrenaline. Never had any blisters or related problems. The only whinge I have is the price but then again you gets what you paid for.....
Posted: 06/03/2012 at 17:56
Posted: 08/03/2012 at 19:46
Posted: 09/03/2012 at 09:06
Posted: 24/03/2012 at 20:01
Posted: 26/03/2012 at 11:38
Posted: 27/03/2012 at 23:13
Speedy.G !!!!!!!!! wrote (see)
So disappointed with these. Order came very quickly but they are much narrower than previous ones. Tried walking around house in them but they are going to hurt my feet. Need to return them. Have worn Adrenaline's for years with no problems so not sure what to get. Only 3 weeks till VLM and no new shoes.
Posted: 28/03/2012 at 13:02
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Yesterday, TeaChatters voted that they prefer to make their own Iced Tea by a wide margin. You can still vote and discuss this topic.
Welcome TeaChatters of every tea preference to TeaDay. Come and share your cup with us...tell us what you are drinking today...all day. See what others are sipping as well. Reflect back on your TeaDay if you need to.
Today's TeaPoll continues with the iced tea topic. Please share your iced tea preferences with us...do you sweeten, add anything else?
I am as always looking forward to hearing what is in your cup. Bottoms up, refill, repeat......


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Nineteen Women's Frequency Speedskin
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For flat out speed in non-wetsuit swims, we present the Nineteen Women's Frequency Speedskin. Made from Speedline SCS Nano Fabric and featuring Nineteen's exclusive Wingspan System, the Nineteen Women's Frequency Speedskin offers unbeatable hydrodynamic performance with the perfect balance of compression and mobility.
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- WINGSPAN SS - Our highly successful Wingspan System has been adapted in the Frequency SS to offer the mobility you need.
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TRAINING LEVEL: Basic
CLASS SIZE: Minimum: 7 Maximum: 12
The 3.5-day is geared to instructors who anticipate teaching from a complete set of training materials (instructor manuals, participant workbooks, and visual aids) developed by training professionals.
This Instructor Development Course (IDC) will provide new and experienced instructors the knowledge and skills to deliver more effective training. NHI defines training as a "demonstration of acquired skills and knowledge of adult learning principles which necessitates that learning outcomes be developed and their attainment be measured."
A skilled trainer, therefore, will emphasize the use of experiential learning techniques, such as problem solving analysis, discussion, question and answer sessions, group activities, demonstrations, role-plays, etc. In essence, these learning activities tap into the knowledge and skills that an adult learner brings to the classroom and have the goal of meeting both the learning outcomes and the participants' expectations.
Pre-Class Assignment:
Training Sessions: You must come prepared to present a 15-minute training session at the beginning of the workshop. The topic for your session should be job related; it can either come from a course you have taught, will be teaching, or are developing. The 15 minutes typically translate to about 5 to 7 minutes of content with time for exercises, activities and/or questions, etc. Visual aids, such as overhead transparencies or handouts should be brought with you. Please bring your own laptop computer if you are planning to do a PowerPoint presentation.
A word of caution, not all training facilities are equipped with the appropriate technical support for a PowerPoint presentation (i.e., in-focus projector or support software) or have the equipment to reproduce overhead transparencies. For this reason, we encourage you to make use of other types of visual aids, such as flip charts, write-on transparencies, and handouts. These nontechnical methods will NOT diminish, but enhance the value of your presentation. Use a holistic approach in your training.
Readings: Read the Instructional Systems Design (ISD) material posted on the NHI Web site. To access the material go to http://www.nhi.fhwa.dot.gov, under "About NHI" at the bottom of the page, select "NHI Philosophy on Learning", select "Adult Learning" (Print and Read), select "Instructional Systems Design (ISD)" (Print and Read). You will find printable downloadable files (PDFs) of all required readings and any other materials related to this course.
This course is part of the NHI Instructor Certification program. To learn more about NHI's Instructor Certification visit the NHI Web site at http://www.nhi.fhwa.dot.gov/resources/resources.aspx.
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I'm drinking this:
Yunnan Chit Su Bing Cha - Puerh Tea Cake, Raw 2006
http://www.teakingdom.com/Pu-erh-Tea/Yu ... e.tpl.html
but I got it on ebay for much less. (maybe it's fake? I don't know.)
I really like this tea, it's leaves are quite green and young once infused with water. The first steep is quite bitter and dry. But after that it is smooth and sort of sweet with just a hint of greeness.
I steep it for only a moment with very hot water. I can get 6 infusions like this. I'm using my 120ml pot with about 4g of leaves (very full once they hydrate)
It's not a good idea to let these leaves sit in the water, it won't get darker but it will get bitter.
The cake is not very tightly packed, it was easy to break off large chunks and keep the leaves whole.
I don't think I'd pay $40 for this... but keep an eye out for it!
I wonder how it will age?


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92nd Street Y is where inspiration lives and exploration begins—with a diverse range of classes and programs that let everyone pursue what they love. With innovative, top-notch programs, events and concerts, plus over 4,000 classes taught by today's most talented professionals, 92Y has it all—for all ages and interests.
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Katera Noviello, Director of Children's Physical Education and Gymnastics and Head GymStars Coach. Katera went to University at Buffalo and received a BS in Exercise Physiology, as well as competing in Division 1 Rowing and Club Gymnastics. Katera also studied Rehabilitative Therapy at Daemen College where she was the President of her class. Katera has coached gymnastics, taught functional fitness and Pilates, and helped manage sports fitness for eight years. Katera holds USA Gymnastics Safety Certification, CPR, ACE, and RTE certifications.


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Skip to comments.President Bush: Clinton Weakness Led to 9/11
Posted on 09/23/2005 8:58:32 AM PDT by abletruth
Thursday, Sept. 22, 2005 11:15 p.m. EDT
President Bush: Clinton Weakness Led to 9/11
President Bush fired back at ex-president Clinton on Thursday, saying the weak U.S. response to terrorist attacks that took place mostly during the Clinton administration encouraged al Qaida to launch the 9/11 attacks.
"The terrorists saw our response to the hostage crisis in Iran, the bombings in the Marine barracks in Lebanon, the first World Trade Center attack, the killing of American soldiers in Somalia, the destruction of two U.S. embassies in Africa and the attack on the USS Cole," Bush noted, after getting an update on the war on terror at the Pentagon.
"The terrorists concluded that we lacked the courage and character to defend ourselves and so they attacked us," the president added, in quotes picked up by United Press International.
Four of the six terrorist attacks cited by Bush took place on Clinton's watch, with the first two coming during the presidencies of Jimmy Carter and Ronald Reagan.
Bush's decision to invoke Clinton's poor record on terrorism comes just five days after the ex-president slammed him for attacking Iraq without just cause. "The administration . . . decided to launch this invasion virtually alone and before the U.N. inspections were completed - with no real urgency, no evidence that there was any weapons of mass destruction there," Clinton complained to ABC's "This Week."
"I did not favor what was done," he added.
The planning was sloopy we hit the Chinese embassy, we took out all the bridges and most of the infrastruction only to have to rebuild it later. That is not what we did in Iraq because we had planners that knew what they doing in respect to that issue.
If Clinton had not put two FBI agents on the bombing of WTC 93 we might not had emboldened our enemy. Yje left would have us believe that the terrorists just decisded one to hit us, the attack on WTC 2001 was after years of coward indecisions by Clinton who couldn't even plan and execute an affir with a 21 year on his stff let alone a whole war. Able Danger will expose the incredible incompetense of Clinton and all the attornies he placed at all levels in our Gov.
The days of protecting Willy are over he can no longer take peopl's jobs and have IRS investigation done at his whim. The truth will show a man that was always more interested in himself and never the country he was the President of. Just to clear one thing up Clinton never created 2.2 million jobs he hired 2.2 people in to the federal gov and called that job creation.
Bill Clinton a bumbling fool that cost America more then any other Ptrez all because he was so obcessed with his legacy and we all know what that will be. abletruth
About time he ties into that compulsive LIAR.
Hope this means we'll see less of the Bushs being Bubba's buddies.
Well it's about time W showed a little fire!
Give the sink emperor h..l George.
Thank goodness, the President is finally fighting back. He is always being attacked and never goes down to the attacker's level. He needs to fight back.
I agree with you...all he cares about is how others see himself.
He's constantly trying to upstage Pres. Bush and bashing Pres. Bush and his handling of Katrina. Glad Bush decided to bite back and tell the truth.
A good read: Dereliction of Duty --Lt. Col. Robert Patterson, USAF (Ret).
I'm sure some of you have read this already. A good book, gives an inside view of what the Clinton Presidency was like. --Fee
GWB has basically said the same things (sometimes even the exact same words) ever since 9/11. That's why we won't leave prematurely as long as GWB remains President. We had this discussion already in another thread:
See posts # 73, 205, 254, 265, 277, and 287 for those actual earlier quotes.
Former President Bill Clinton (for the Google search) flat lied in the interview when he said, paraphrasing, the there was no evidence the Sadaam had WMD.
He said MANY TIMES himself that SH had weapons, was a threat, etc. I don't have to post all the sources...we all know it here.
Stephanopolis was too busy kissing his ass to call him on it. But, no one in the mainstream media would have said anything, anyway. They would be too busy "basking in the glow."
TAKE THE GLOVES OFF, MR. PRESIDENT!!! Go get 'em.
Finally. What everybody already knew is finally being spoken out loud.
ohhhh. Make no mistake - he is focusing on Clinton even though some events he listed predate Clinton's reign.
What took him so long?
I don't agree he has to go down to the attacker's level - but see the prior thread where the Administration has made this point over and over.
President Bush fired back at ex-president Clinton on Thursday, saying the weak U.S. response to terrorist attacks that took place mostly during the Clinton administration encouraged al Qaida to launch the 9/11 attacks.
Lord knows I'm not a fan of the bent one, and he was (IMO) the worst person we've ever had in the oval office, BUT plenty of blame to go around for responding weakly to Islamic terrorism going back to Carter. Yes I include President Reagan.
Heck, I'll post something anyway...Clinton is a bald-faced liar.
This is NOT the first time - see e.g. San Diego on August 30th 2005:
"They will fail because the terrorists of our century are making the same mistake that the followers of other totalitarian ideologies made in the last century. They believe that democracies are inherently weak and corrupt and can be brought to their knees. They looked at our response after the hostage crisis in Iran, the bombings of the Marine barracks in Lebanon, the first World Trade Center attack, the killing of American soldiers in Somalia, the destruction of two U.S. embassies in Africa, and the attack on the USS Cole. They concluded that free societies lack the courage and character to defend themselves against a determined enemy. Hear the words of Osama bin Laden that explain why he believed he could get away with the attacks of September the 11th, 2001: "We've seen in the last decade the decline of the American government and the weakness of the American soldier, who is ready to wage cold wars and unprepared to fight long wars... After a few blows they ran in defeat... [They forgot] about being a world leader..." End quote.
I second that recommendation.
Now if only someone could grab Cindy and her friends, and shake some sense into them. Fox just ran yet another of their obnoxious ads.
Now George, don't pick on your brother!
That assumes GWB has never pointed this out before - see above.
This means to me AD may come about after all.
In hindsight, it is easy to level such a charge. To defend Reagan, however, he had more important things on his plate than the lesser threat of Islamic terrorism - that's just a fact that unfortunately played a part in 9/11. I fault Clinton because, during a peacetime inherited from Reagan / Bush, he should have been the one to deal with these "lesser" threats.
"They will fail because the terrorists of our century are making the same mistake that the followers of other totalitarian ideologies made in the last century. They believe that democracies are inherently weak and corrupt and can be brought to their knees.
You'd think they'd look at our history.
"We've seen in the last decade the decline of the American government and the weakness of the American soldier, who is ready to wage cold wars and unprepared to fight long wars...
Right. That one only lasted...(what) 40 + years.
I am sure that Osama was emboldened by the US during the Clinton administration helping muslims to kill christians (SERBS) when we destroyed all of the bridges over the Danube and killed 3,000 innocent civilians. That was direct evidence of our stupidity and weakness.
To defend Reagan, however, he had more important things on his plate than the lesser threat of Islamic terrorism - that's just a fact that unfortunately played a part in 9/11.
Makes a person wonder what we're overlooking today.
Of course we fought our own revolution and then two World Wars. Unfortunately, the terrorists were right about our most recent history (see 8 years of Clinton) and used that to brainwash new recruits.
I will agree that was direct evidence of CLINTON's stupidity and weakness ; )
Just like the terrorists believed we would not respond after 9/11, Clinton thought Bush would not respond to him.
Cough...China...cough cough.
Well finally, Bush found enough cajonies to hang the truth on the Clintons for all to see.
Bush found out what we all knew for years that Clinton is a scumbag, lying, traitorous, womanizing, worthless piece of humnanity that ever went to the bathroom behind two heels.
I hope the American people will finally get to see the truth printed on the front pages of the world's newpapers about this sorry pinch of dirt!
To name one. But I'm thinking something that's not quite so much on the front burner. What it is I have no idea, but I know it's out there lurking in the gap.
"Saddam Hussein's son Uday
killed last week by coalition forces
apparently knew months ago that his demise was imminent. The London Telegraph says that three days before the fall of Baghdad on April 9, Uday told the director of Iraqi television, "I think the end is near" because "this time I think the Americans are serious, Bush is not like Clinton."
Even the terrorists understood........
"Makes a person wonder what we're overlooking today."
That's a good point, and we should be thinking outside the box as to future threats. What we will probably never find out is what tragedies were avoided by decisive action in Afghanisthan and Iraq . . .
Well, it's ABOUT DAMN TIME!
Just heard it on Rush. Fox will probably pick it up from there.
President Bush ought to be taking Mr. Clinton to the woodshed on a weekly basis!! Clinton screwed our country to the wall with his b.s. responses to the terrorists -if that's what you want to call them!-and left it to Mr. Bush to handle. History will not be kind at all to Clinton, nor should it, as he and Jimmy Carter will both go down in the history books as "do nothing" Presidents. When the whole truth comes out about the Clinton presidency, folks will really wonder how in hell we survived his stupidity and absolute greed! He is a pig, and lived as one in the White House. I'm surprised the Bushes' didn't have to fumigate the damn place after Clinton lived there.
Please see the examples already given where GWB said this before too.
If we have 1,000,000 people on the task of beating the Islamofascists and the Chicoms, I think we can spare 1 to think outside the box re: Canada for instance.
Benjamin Franklin, in 1775, in a letter to Humphry Marshall, made the following wise observation which should be heeded by all who would call themselves defenders of America:
"Dear Sir: Philadelphia, May 23d, 1775.
"I received your favour of the 13th inst. . . .
But, as Britain has begun to use force, it seems absolutely necessary that we should be prepared to repel force by force, which I think, united, we are well able to do. It is a true old saying, that make yourselves sheep and the wolves will eat you: to which I may add another, God helps them that help themselves.:
Well, I will concede that Canada deserves keeping an eye on.
They'd love to reimpose monarchy and Elizabeth II on us, given the chance.
Ah ha! You finally see the evil genius in my plan ; )
"All you base are belong to us!"
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Number of Required Coins
: 80
Current Finest Possible Set Rating
: 70.751
View Set Composition
( Shop )
With the recent auction sale of a PCGS MS66FB 1919-D dime for $212,500 this series is suddenly being looked upon with a new appreciation. The coins of this series have always been popular because of the highly attractive design and the important historical period in which they were struck, but the new price levels are a quantum leap forward. This set can be assembled in circulated grades, low mint state grades, with or without full bands, or a mixture of the above. The message is out, however, that if you wish to build the best set you had better be ready to step up to the plate.
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stephen king...more than just the fabled horror king, his books are some of the best dramatic reads around. his horror books work so well because he has this talent for depicting very real people, puts them into very real situations, and then twists those same situations into something bizarre..and yet his characters often react realistically. this creates the very sense of horror or dread better than dripping fangs or ghoulish deaths ( though, he resorts to that , easily, when needed). i've often tried, often in vain, to convince people of that most of his books could hardly be called horror, but, he has "that mantle", and, to this day is unable to shake it.
i can remember a day, just a couple of years ago, while watching
the charlie rose show' on PBS, they had a round table of some of the pre-eminant book critics, and they went off for a while on the underratedness of kings work. one said, and the others agreed, that he was one of americas best writers and possibly its most gifted storytellers. all agreed that he is a master of characterization, and of creating both real, and then unreal stituations.
these were regular book guys, not some rejects from a star trek convention.
best reads: salems lot, the shining, the stand, the dead zone, the dark tower series (7 books), misery, dolores claiborne, the mist, pet sematary, the long walk, the running man, different seasons ( 3 excellant short novels, one gruesome little tale)..and that is just some of the really great ones...
...so, who do you read regularly ?


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This North Carolina State University open drop necklace is made of polished sterling silver. Sterling silver 16in box chain, .8mm width. Spring ring clasp. Officially licensed and hand assembled in the USA.


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by Roy Firestone
This is not a 'dry spell". This is what youve got. A first baseman who isnt really a
first baseman who is paid to drive in runs and rarely does.A second baseman who
isnt really the second baseman and who really isnt a major leaguer baseball player.
A shortstop who absolutely cannot find his way out of a miserable slump, but who
cannot be replaced because there is no depth at that position on this teams' roster.
A third baseman who really isnt a third baseman and has an occasional hot bat but
mostly hurts the team defensively. A leftfielder who really isnt a leftfielder and has
a "mood ring" for a bat and a career. He simply cannot find any kind of groove.
Add to that dog tired players like the catcher and a CF who is playing hurt and all of
that BEFORE you get to the pitiful pitching situation.
Starters who cant get to the fifth inning, can't seem to shutdown opposing rallies and
of course absolutely cannot throw strikes on a regular basis.
There is no net now, no "cavalry" because the "cavalry" is worse than the regulars.
It has to be just a matter of time before you let the kids play. Hoes, Avery, and yes
Machado, Schoop, and maybe even Bundy. This team has collapsed, you might as
well see what you'll get because you know now what youve got. Not much.
Visit the Orioles Hangout Message Board


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Every September, IBM Tucson spends a Wednesday or Saturday to help out local non-profit charities. The event is orgnaized the the local United Way. My first one was packing boxes of food for the [Community Food Bank of Southern Arizona] on September 12, 2001, the day after the [tragic events in New York and Washington DC]. The mindless activity of putting a bottle, bag or can into one box after another helped us cope with the shock and awe that week.
So, it seemed fitting on the 10th anniversary of that event to go back to the Community Food Bank and help pack boxes of food. The facility received nearly $200,000 in donations in response to the [shooting of US Congresswoman Gabrielle Giffords]. Her husband, astronaut Mark Kelly, suggested that dontaions go in part to the Tucson Community Food Bank, and with the money they were able to expand operations, dedicating a portion as the [Gabrielle Giffords Family Assistance Center] to bring together food handouts with the [Supplemental Nutrition Assistance Program for food stamps, and the Women with Infant Children (WIC) program. One-stop assistance!
This year, nearly 500 Tucson IBMers to complete 22 projects at 17 nonprofit agencies. We were not alone, we were joined by volunteers from Bank of America, Texas Instruments, Tucson Medical Center, Geico Insurance, University of Arizona, Cox Cable TV, Desert Diamond Casinos, The Westin La Paloma Resort and Spa, the Arizona Lottery, Community Partnership of Southern Arizona (CPSA), Pizza Hut, Arizona Daily Star, 94.9 MixFM Radio, BizTucson, and News 4 Tucson (our local NBC affiliate).
In a bit of competition, our team, Team B, of 14 IBMers, competed against another team, Team A, of 20 people. Despite having fewer people, we were able to pack 746 boxes, representing 20,000 pounds of food, beating out Team A which only packed 18,000 pounds. (I have chosen not to identify anyone on Team A, no need to rub their noses in it. This was all for a good cause.)
Each box contained cereal, canned evaporated milk, canned vegetables and fruits, fruit juice, rice, and dry beans. My job on the assembly line was to put two half-gallon jugs of grape juice in the box and move it down the line.
What lessons can a team of people learn from an activity like this?
- When you put a bunch of efficiency experts from IBM on a task, they will self-organize and self-manage for optimum performance, just as we don on our regular day jobs.
- No matter what you plan in advance, individual personalities and strengths surface, encouraging minor adjustments to process and procedures to be more efficient.
- In an assembly line process, where each person has to wait for the person before them to finish their assigned task, it becomes obvious who is not pulling their fair share of the work. In this manner, everyone holds everyone else accountable for their output.
This was a great day for a good cause. The Community Food Bank qualifies for the Arizona [Working Poor Tax Credit] program. For every dollar the Community Food Bank receives, they can give 10 dollars of food to someone in need.
technorati tags: IBM, United Way, Community Food Bank, Gabrielle Giffords, SNAP, WIC


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Wang, Yi; Goodrich, Jaclyn; Gillespiem, Brenda; More
Wang, Yi; Goodrich, Jaclyn; Gillespiem, Brenda; Werner, Robert; Basu, Nil; Franzblau, Alfred Less
Epidemiology. 22(1):S134, January 2011.
Chen, Qixuan; Garabrant, David H.; Hedgeman, Elizabeth; More
Chen, Qixuan; Garabrant, David H.; Hedgeman, Elizabeth; Little, Roderick J. A.; Elliott, Michael R.; Gillespie, Brenda; Hong, Biling; Lee, Shih-Yuan; Lepkowski, James M.; Franzblau, Alfred; Adriaens, Peter; Demond, Avery H.; Patterson, Donald G. Jr Less
Epidemiology. 21(4):S51-S57, July 2010.
Gillespie, Brenda W.; Chen, Qixuan; Reichert, Heidi; More
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Starting today you can Play-To-Win Coupon Codes to use in The Fueled By Ramen Webstore.
HOWTOPLAY: Fill in the white boxes with the letter that corresponds with the symbol placed underneath the empty box. Once you have filled in all six boxes correctly you will reveal your six letter coupon code to use in the webstore. Enter your code at checkout to receive your selected prize. If the code doesn't work you may want to check out the puzzle again to make sure you solved it correctly.
Only 1 code can be used per webstore order. All codes expire at the end of the day March 18th.


text: This comes from the North Atlantic coast and it is a firm, white fillet that sushi chefs desire most in their preparation. Great for baking, stuffing or sauteing. Try it with All Fresh Seafood's famous gourmet gourmet crust and sauces. 1/2 lb Fresh Fillet for $11.99 or 1 lb Fresh Fillet for $23.99


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On November 18, 2014, the Pearson Charitable Foundation's Board of Directors publically announced the intent to cease Foundation operations and close the Pearson Foundation at the end of the year. This follows a decision by Pearson plc to integrate all of its corporate responsibility activities and functions into its business as a way to maximise social impact and to no longer fund the Foundation as the primary vehicle for its philanthropic and community activities.
The Pearson Foundation's closing follows more than a decade of support to some of the world's great teachers, schools, and non-profit organizations. Since its inception in 2003, the Pearson Foundation has contributed more than $130 million to improving learning opportunities and outcomes for young people and adults, and to supporting the aims of exemplary non-profit organizations to help identify, scale, and celebrate their important work. We are pleased that their work continues.
We thank these partners for their dedication, their lasting impact, and for their continued inspiration.
We also thank Pearson, the world's leading learning company, and our many public and private partners for their financial support and for their sustained confidence in our mission over the years.
Even more, we thank the countless individuals—young people, teachers, program leaders, and learning experts—who have inspired us and more often than not offered their own time, talents, and interests to further the Pearson Foundation's aims. We are grateful for their example, for the time we spent together, and for their lasting friendship, guidance, and support.


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Curly Hairstyle For Women With Long Hair
This is a romantic look as Mallika Sherawat has her hair long and curly. There is a lot of volume to the hair as it is thick and layered. The hair is parted in the center with curls styled all around.The hair has been cut long.Mallika's hair colour is dark brown.


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I'm not making her the face of the party, but I think SHE will, unless they separate from her definitively.
Of course, this will all be moot after the primary, if she doesn't win. Do you think she can win the GOP primary? Or what if she doesn't (or doesn't run in it) and goes third party? What then? Do you think the GOP would let her split their ranks with a third party run? (if I were Obama, I would be praying daily for that to occur)
God Bless PFC Jamie Harkness. The US Army's newest PFC, but still our neighbor's little girl!
God Bless PFC Jamie Harkness. The US Army's newest PFC, but still our neighbor's little girl!
Though I will admit that I didn't think LSU would win more than 7 games last season with Jefferson at QB. Next season should be another Nat'l Championship season for the Tigers
And, no one will ever accuse me of being PC.
I am Pro Business both large and small ones, anti-Big Government, fiscally conservative, strong military and that is what our government should be for as well! All the social crap need not be a part of our Fed Government.
Anti-intellectualism and fascism go together like bacon and eggs.
[QUOTE=BonMallari;755412]if I dint already have a signature, THIS would be my new one
Yours is a pretty good one, probably cost you more though
Bill Davis


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Outrageous Contracts...
So it turns out that the UFCs basic fighter contract has been made public due to the fact its come up in court with Alverez.
Its funny because no true numbers are used for pay, but we have a load of verbal guarentees by the Management on special bonus etc.
Now, usually I might give the benefit of the doubt to such a company, there is no way that really good fighters would tollerate being paid peanuts...but now im not so sure..
Well its simple...because they have a written part that they make the same verbal guarentees against concerning fighters being cut.
The Truth is the UFC can terminate your contract the moment you loose a single fight. That is the written statement on fighter contracts being terminated. Whilst of course they assure us they dont use that as a bench mark...the ultimate reality is, they keep who they like, and they terminate who they dont like.
If they can not be honnest about termination clauses, why should we assume they are being honnest about pay rates???
I expect its about as adhoc...the more they like you, I bet, the more they pay you. Its probably as simple as that, and as unbelievably descretionary as that also.
In my opinion, they do not treat their Fighters with the Respect or Fairness they deserve. They hold their most basic fundemental rights, not just whilst the contract runs, but for life...and infact, even hold rights over fighters AFTER they have died. Whilst one presumes thats merely the right to show video taped promotional stuff...that ISNT what it says in the contract, you could very much interpret that differently.
In essence, the Fighter has no rights...and the company has lots of Rights, the right to treat its fighters like slaves should it so wish. If, for example, you get injured in an accident...they could decide to extend the contract without your permission, holding you with them chronologically longer...OR they could take aggreed fights off you, dropping your aggreed quota of fights, and failing to pay you what was a guarenteed pay check. Or...if they like you, they could "ellect" to do nothing at all.
Its like being in King Henrys Court...best stay in favour, or meet Madame Guillotine. Absolutely appauling. The only way to combat this is a Union, that is the only way to make sure this company treats people right....the irony, is that if they treat people well and guarentee them afew rights, they would have found that content people wouldnt even consider the need for such an institution. People never think about their rights, unless they feel they are being unfairly treated.
I knew this was the case with that company when they started cutting good fighters for no reason whatsoever, and keeping their special favourites. They are acting in a corrupt manner...and that wont go down well with non american viewers, who struggle to tollerate "at will employers" anyway, let alone blatant coruption.
I am extremely dissapointed.
See for yourself
you know what ... my boss can fire me too if i don't live up to expectations ... i don't see your infatuation with this ... fighters are fighters because they want to be .. nobody is making them do this .. they do it because they want to ... if they are good at it, the money will come ... if they aren't they have a decision to make, keep fighting or quit and look for a new line of work.
I am a little suprised they are so blatant in their contracts, and what I hate more then liars, are lairs who pretend they are truthful. There is a very good reason that they didnt make this public...its not because they are a private company...its because its morally corrupt, and they know that, and they know a lot of people wont approve, so they try and muddy the waters by promising its not as bad as we think, but refusing to show us...
...This would corrolate directly with Pay also. They dont disclose the ammount, because they are being deceitful. They put on an act of caring for their fighters wellbeing, and being morally and ethically upright and assure us that people get paid fairly for their risks...but they refuse to show us the details, because that proves they are liars.
Ironically, I can cope with a liar, who simply lies, because you know where you are with them. you know they are untrustworthy, and mean, and they dont try to hide it. What really irks me, Ben, is those who are all of the above, but pretend to be nice, pretend to be honnest, pretend that they care and are acting in a Just manner.
When we didnt know, there was always a chance that they might not have been the liars I thought they were. Now, its proven that they are.
We strongly believe in work under Contract Laws...there are next to no "at will" employers...and that is because we also believe in Rights against "Constructive and unfair dismissal" This means that you CAN NOT distroy someones way of life, by giving them the sack for no good reason, because you simply do not like them for example. It also means that there are standards that are not discrectionary for the company.
For Example, if the UFC has a contract with a fighter, it should be black and white, AND applicable to ALL. That means, if you loose a fight, you are cut. It doesnt mean, if you loose a fight you "might be" cut...because that means you "might not" and there is NO good objective reason to keep/cut fighters for the same reasons, without it being discrimination against a fighter.
Sure, if you want to cut, for example Paul Sass, after a loss...then so be it...but you better bloody cut Josh Koscheck also...and yet, they do not. That matter of fairness, is about treating people with dignity, rather then using them like inanimate objects. People are not possessions that you can discard if they displease...that is Slavery...and of all the Civilizations on this planet, NOONE shouts louder then the United States of America, about Freedoms and Fairness...and yet they just dont get it do they?
The same mistakes, and some are thrown out with the trash, and others elivated beyond their abilities. Noone who supports such things can claim any moral authority on Rights of individuals.
Oh its fine for the UFC to throw away a useless Briton, and keep a privaledged American, because they are private, and they "own" the company.
Funny...When England "OWNED" America, and treated HER subjects with that kinda malice, she was the first to throw an all out hissy fit of "how dare the King" That REALLY upsets me, it really annoys me, because I start to see it as the very epitome of Hypocracy on behalf of a Bunch of US Capitalists that wouldnt know a "GOD-Given Right" if it was written on a stone tablet and given them in an Ark of Covernant.
Not a Clue....
...and then for the UFC to continually lie about their motives "We're cutting because our Roster is too big" NO Your Cutting because you gave every man and his dog from Strikeforce an automatic entry into the institution for NO reason at all. "We're trying to make room to build our lower weight class divisions" Really? then explain the amount of Debutees that are appearing in Welterweight and above every time the US puts a show on that isnt in Las Vegas!!
Whilst some will no doubt say, what do you expect from a greedy multibillion capitalist company...the problem is, that can be comfortably ignored, until they do something that makes it personal. But when they start treating MY FRIENDS, people I know, unfairly...I can no longer hold my peace I'm afraid...what kinda person would that make me, if I did not display my complete disgust? I Love my Friends, and I am Loyal to them, if they are mistreated, then I see it as a sign of disrespect and dishonour towards myself as well as them. You insult my Friends, and you insult Me. You insult a member of my Family, and you Insult me.
I do not bear insults well, and notoriously hold grudges.
England blows. Get over it.
In America (or at least, what used to be America) you have to earn something before you get it. If you don't like what the job is paying, don't do the job. Simple and fair.
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Work continues on theater expansion
February is a busy month at the Webster City Community Theater. As crews and volunteers continue work on the new addition, others are busy working on stage, getting ready to open "Sleeping Indoors" tonight.
WCCT President Loween Getter said the exterior siding and landscaping will be added when warmer weather arrives, but inside, the walls have been insulated and drywall has been installed, but not yet finished. Plumbing and electrical work is nearing completion with HVAC work to start soon. Work will be temporarily slowed during the production now through Feb. 24.
"The much-anticipated new theatre seating has been installed and the inaugural audiences will have a chance to test the comfort," Getter said. Audience members will also be invited to view the progress on the when they tour the addition following each performance.
As is the case with many construction projects, actual costs often exceed original estimates. Getter said several factors combined to push costs up about $40,000. The group had planned to have the Building and Trades class at the high school do much of the interior work. However, the course was not offered due to low enrollment and lack of an instructor.
A delayed start to construction resulted in much of the work being done throughout the fall and winter. Unanticipated plumbing issues and compliance to building codes related to joining new construction to existing construction have driven costs higher than anticipated. In order to complete the three-level, 6,000 sq. ft. addition in a timely fashion, the WCCT Board has determined that an additional $40,000 must be raised.
"With the help of donors, the organization plans to complete the final leg of its financial campaign during the next several months," she said. "If you have not yet made a donation to the WCCT Building Project, there is still time to add their name or that of a loved one to the current list of 375 donors."
Getter thanks all those who had made a contribution to the project and invited donors to consider a new donation for 2013. She added that WCCT is a 501(c)(3) organization and all contributions are tax deductible.
Getter said donations can be made at several support levels: Producer – $10,000 or more; Director -$5,000 to $9,999; Playwright – $1,000 to $4,999; Star-$500 to $999; Understudy – $100 to $499; Crew – $25 to $99.
Contributions can be sent to Webster City Community Theatre, PO Box 272, Webster City, IA 50595 or dropped off at the box office during the run of the show. The box office is at 1001 Willson Avenue and is open Monday through Friday from 5-7 pm and Saturdays from 10 am to noon.
Volunteers are now working to complete the project. Dozens of workers have already spent hundreds of hours volunteering. Anyone interested in lending a hand should contact Al Yungclas or Angela Rottering.


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Monday, January 24, 2005
Accidents and Incidents
DATE/SITE AIRCRAFT & REGN CIRCUMSTANCES DEATH & INJURY PRELIMINARY ANALYSIS2 imagery at http://www.iasa.com.au/170105.htm 03 Jan 1710L Thermal, California C441 of Western Slope Auto Co. Landed long and nose-gear collapsed after hydroplaning off runway 30 nil Reg: N441CX minor damage, arriving from...
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debunix wrote:Another day started with non-sencha, enjoying some Silver Needle from Jing Tea Shop with my jam and toast. Mmmmm.
CasualConnoisseur wrote:I just finished my cup of silver needle-- this one was borderline too grassy for me (I generally avoid strongly grassy flavors in anything), but I enjoyed it. I probaby won't buy it again but it wasn't a total miss either.


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Sunrise is Ocean Blue's DVB family of software products, offering Free to Air (FTA) or Pay-per-View (PPV) functionality. It encompasses all the components required to provide clients with digital TV on a set-top box or television. Developed to DVB and DTG D-book standards and written in ANSI C programming language, Sunrise is modular, hardware agnostic and comprises all the elements needed for digital TV devices for Satellite, Terrestrial and Cable.
Sunrise DVB can be provided as a standalone software product with a well defined API (Application Programming Interface) for integration into third party software systems, or customers can opt for a turnkey solution by adding any of our other software modules as plug-ins.
Sunrise provides comprehensive support for music, video, TV, High Definition (HD), MPEG-4, H.264, images, text and the data necessary for both hybrid IPTV and HD receivers. It also provides support for Conditional Access (CA) and PPV security systems. Sunrise supports every mode of transmission and each can be supplied in isolation or as a combination.
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Figure 1: Example of a multi-process Architecture
With the arrival of digital television, analogue broadcasts are gradually being phased out. However, Ocean Blue's Sunrise DVB allows channel tuning for analogue and digital to be accomplished through the same user interface, giving consumers a common look and feel across multiple broadcast mediums.


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Here's how RW members rated this race in the past (131 votes).
In short: Nice route and good organisationIn full: Snowfall throughout the race added to the six inches already settled, but it wasn't too cold, and made for a beautifully picturesque run.Only those who arrived early, were able to use the on-site car park (which costs £2.50). Others were forced to use the nearby Tescos, because of the snowy conditions. We were pushed into our parking spot by a marshall!Over 400 runners were involved over the three distances (5/10/15km) which started simultaneously. The 10km race was the popular choice, with over half of the competitors doing this two-lap event.The route was very well signposted, and well marshalled. There was a small crowd in support around the lap / finish area, and a good commentator on the home straight. The occasional dog-walker could be seen around the route.A nice medal was given to all finishers, but there was no goody-bag. Possibly due to the absence of the energy-drink sponsor, who were not able to make it to the event due to the weather conditions.This was Round 1 of a three round fortnightly event. Whilst there was a great atmosphere amongst the runners, there were understandably too few spectators willing to stick around until all the runners had come in.Overall, a nice event, but to get an above-average score from me (a first-timer at this one), it would have needed a goody bag, more support, and free parking (or cheaper entry-fee).Thank-you to the marshals who did a good job!Date of review: January 21, 2013
Date of review: April 22, 2012
In short: Despite the snow i got a PBIn full: Did this last year, and completed two rounds this year and even though we had snow to deal with I got a new 15k PB by over two minutes over round 1 so i am very pleased. The marshalls where lovely and helpful. I would like to see km markers as I do get confused around the finish and lap 2 n 3 never knowing where I am so i can pace myself. Really enjoyed both races this year cant do third tho Date of review: February 5, 2012
In short: good race, start could be imrpooved and km markers would be welcome.Date of review: January 22, 2012
In full: First time to this race and multi terrain so was alittle apprehensive. Did the 10K and I gotta say I really enjoyed it and my first at under the hour so well pleased. It was a very cold day and the course is undulating but a lovely country park and rather scenic. I am defo up for the next 2 rounds and also investing in some trail shoes, I could have done with more grip at times and I heard a few people went over on the icy corners. Organisation was ok, the start is just a free for all and go when you hear go. Could have done with more than a medal but never mind and also £2.50 to park is way to steep. All the marshals were great especially the black guy he was awesome, he was constantly shouting praise at everyone and how well we were doing. I hope you are there for the next two you made my day, thats if you have your voice back :-)Date of review: January 19, 2012
In short: well organised, fun, just lacked a goody bag wiv a nice tasting treat after all that hard workDate of review: February 6, 2011
In short: nice place, friendly atmosphereIn full: I agree beginners shouldn't be put off. It took me 50 mins just to do the 5K and lots of runners gave me encouragement as they sped past!Date of review: February 6, 2011
In short: Loved it!Date of review: February 6, 2011
In short: MuddyIn full: Enjoyed it even though it hurt...got caked in mud! well organised!....not used to running multi terrain or x country so this pushed me a bit.Date of review: January 17, 2011
In short: Well organised - good fun and great course if you like a bit of mud and a scramble!Date of review: January 17, 2011
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