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Forman, Milos
Milos Forman 1932-
(Full name Jan Tomas Forman; also spelled Miloš Forman) Czechoslovakian-born American director, screenwriter, and memoirist.
The following entry presents an overview of Forman's career through 2000.
During the 1960s Forman was recognized as one of Eastern Europe's most sardonic and accomplished filmmakers. Leaving his homeland of Czechoslovakia after the Soviet Invasion of 1968, Forman relocated to the United States, where he gained notoriety for directing film adaptations of several critically acclaimed literary and theatrical works by such authors as E. L. Doctorow, Ken Kesey, and Peter Shaffer. In 2000, when the American Film Institute compiled its list of the top 100 films of all time, two of Forman's films—One Flew over the Cuckoo's Nest (1975) and Amadeus (1984)—were ranked as 20 and 53, respectively. His films offer a refined blend of realism and naturalism, often featuring the theme of the common man struggling within an oppressive society.
Biographical Information
Forman was born on February 18, 1932, in Cáslav, Czechoslovakia, to Rudolf, a Jewish professor, and Anna, a Protestant homemaker. During his youth Forman's parents were imprisoned by the Nazis and sent to concentration camps. His mother died in Auschwitz in 1943 and his father died in Buchenwald in 1944. In 1951 Forman enrolled at the Academy of Music and Dramatic Arts in Prague. Upon graduating he worked as a director and screenwriter for Czech television, and as an assistant director of short films. His first full-length films, Cerný Petr (1963; Black Peter), and Lásky jedné plavovlásky (1965; Loves of a Blonde), both received critical honors, including the Grand International Prize from the French Film Academy. His third film, Horí, má panenko (1967; The Firemen's Ball), met with controversy when forty-thousand Czechoslovakian firemen walked off their jobs following the film's release. Forman was forced to make a public apology, explaining that the film was a political allegory and not intended as a slur against the fire department. The Firemen's Ball was eventually banned in Czechoslovakia by the reigning Soviet regime. During the Soviet Invasion of 1968 Forman was scouting film locations in Paris and elected to emigrate to America instead of returning to his home country. His first American film, Taking Off (1971), was neither a popular nor critical success. However, his next film, One Flew over the Cuckoo's Nest, won five Academy Awards from the Academy of Motion Picture Arts and Sciences, including best picture and best director. In 1978 Forman joined the staff at Columbia University as a professor of film and co-chair of the film division of their School of the Arts. Forman was awarded the Academy Award for best director again in 1984 for Amadeus—which won eight Academy Awards overall, including best picture. He was also nominated for the best director award for The People vs. Larry Flynt (1996).
Major Works
Forman's early career as a director and screenwriter in Czechoslovakia was integral to a movement later known as the Czech "New Wave" of theater and arts. Noted for its blend of fiction and realism, the movement included directors who used the government-controlled film industry to explore the problems of living in a totalitarian society. His first feature film, Black Peter, is a partially autobiographical tale about a dispirited young man who works in a department store, arbitrarily reporting on shoplifters. Loves of a Blonde follows the life of an unhappy factory worker named Andula. Her small town has a ratio of sixteen women to every man, forcing Andula to make desperate and awkward attempts at finding romance. She falls in love with a young pianist and relentlessly pursues him, eventually following him to Prague. Despite the controversy surrounding the release of The Firemen's Ball, the film was well received by critics and audiences alike. The story centers around a well meaning but inept fire department that wishes to honor their retiring chief with a gala ceremony. Despite their good intentions, the banquet comically falls apart due to problems with the door raffle, a poorly-planned beauty contest, and a nearby house fire. The film's political allegory links the ineptitude and bickering of the firemen to the oppressive bureaucracy of the Czechoslovakian government. For his first American film, Forman directed and co-wrote Taking Off, which depicts the increasingly permissive American society of the late 1960s as personified by a staid businessman named Larry Tyne and his family. When Larry's daughter Jeannie becomes involved in a Greenwich Village theatre production in New York City, Larry and his wife try to acquaint themselves with their daughter's environment in an attempt to convince her to return home. They attend a meeting of the Society for Parents of Fugitive Children, where they learn how to smoke marijuana, and they venture into "The Village," where they are appalled by the habitants' casual attitude towards sex and drugs.
In 1975 Forman directed One Flew over the Cuckoo's Nest, an adaptation of Ken Kesey's critically acclaimed novel. The film focuses on a battle of wills between R. P. McMurphy, an antisocial but engaging patient in a mental hospital, and Nurse Ratched, the domineering head-nurse who attempts to force McMurphy to conform to an established behavioral pattern. McMurphy inspires the other patients to rebel against Ratched's strict rules and regulations in a variety of ways. After a young patient commits suicide, McMurphy physically attacks Ratched, causing the hospital to lobotomize him. Forman revisited this theme of an individual fighting against the Establishment with his 1979 adaptation of the popular Broadway musical Hair. John Savage, a small-town farmboy, comes to New York City to experience life before being drafted into the Army and sent to Vietnam. Savage falls in with a group of hippies and radicals living in Central Park who embody the counter-culture of the 1960s. Ragtime (1981), an adaptation of E. L. Doctorow's novel, follows multiple characters and storylines, and is set against the backdrop of the early 1900s. The lead characters include Coalhouse Walker, a proud young African American who single-mindedly pursues restitution for the social injustices he has suffered. The film examines values in transition in turn-of-the-century America and explores the ways the nation coped with post-Civil War racial issues and dealt with the cultural changes brought by the expanding immigrant population. In 1984 Forman directed Amadeus, which was adapted from the play by Peter Shaffer. The film is loosely based on the life of renowned composer Wolfgang Amadeus Mozart, focusing on the relationship between Mozart and his mentor, Antonio Salieri. Mozart is depicted as a childish and outrageous genius who flouts social norms and contemptuously rejects many of the personal and artistic ideals that Salieri holds sacred. Valmont (1989), an adaptation of the novel Les Liaisons dangereuses by Choderlos de Laclos, marked Forman's first return to screenwriting since Taking Off. The film—which Forman also directed—depicts a cold and cunning game of seduction played by Valmont, a rogue gentleman, and a manipulative lady, the Marquise de Meureuil. Set amongst the Parisian salons of pre-Revolutionary France, the film portrays Valmont as a confused young man who, despite his notorious amorous adventures, is only discovering his sexuality. Forman's next film, The People vs. Larry Flynt is based on the life of Larry Flynt, the founder of the pornographic magazine Hustler. Flynt turned Hustler into the foundation for a multi-million dollar publishing empire and waged several legal battles involving issues of moral decency against Reverend Jerry Falwell and financier Charles Keating. Despite the fact that Flynt is a pornographer and former drug user, Forman characterizes him as a champion of the First Amendment right to free speech. In 1999 Forman directed Man on the Moon, a film based on the life of comedian and actor Andy Kaufman, who became known during the 1970s and early 1980s for his bizarre and experimental comedy routines. Forman depicts Kaufman as a misunderstood performance artist who enjoyed pushing the boundaries of comedy in order to get a reaction from his audience, even if the reaction was negative. Forman has also published a memoir, Turnaround (1994), which recounts his early days in Czechoslovakia and his successful career as a filmmaker.
Critical Reception
Critical reception to Forman's films has been varied throughout his career. His early Czechoslovakian films have been praised by international audiences, even though the Soviet regime at the time banned several of his works. Reviewers have consistently praised Forman's ability to show the universality of human emotions, complimenting his tendency to present well-rounded characterizations. Some critics, however, have objected to Forman's American films—particularly Hair, Ragtime, and One Flew over the Cuckoo's Nest—pointing out that Forman's European sensibility hampered his adaptations of such singularly American works. Several reviewers have also criticized Ragtime for overly truncating or ignoring the novel on which it was based, though some have asserted that the novel's complex plot structure is primarily to blame for Forman's loose adaptation. The People vs. Larry Flynt has met with sharply divided criticism, with some critics praising the film's anti-Establishment message and others declaring that the film acts as propaganda for pornographers. A number of noted feminist critics, including Gloria Steinem, have argued that Forman glosses over many of the facts of Flynt's life and portrays him as a champion of justice, while his magazine routinely degrades women and mocks rape and child abuse. Other commentators have argued that the film uses Flynt's life as an allegory and that Forman is not obliged to factually recount every event from Flynt's life. Several critics agree that, despite the subject material, The People vs. Larry Flynt ultimately conveys a positive message about the American right to free speech.
Principal Works
Stenata [with Ivo Novák] (screenplay) 1957
Laterna magica II [The Magic Lantern; screenwriter and director] (short film) 1960
*Cerný Petr [Black Peter; screenwriter with Jaroslav Papousek; director] (film) 1963
Kdyby ty muziky nebyly [If It Wasn't for Music; screenwriter with Ivan Passer; director] (film) 1963
Konkurs [Audition; screenwriter with Ivan Passer; director] (film) 1963
†Lásky jedné plavovlásky [Loves of a Blonde; screenwriter with Jaroslav Papousek, Ivan Passer, and Václav Sasek; director] (film) 1965
Horí, má...
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Peter John Dyer (essay date winter 1965-1966)
SOURCE: Dyer, Peter John. "Star-Crossed in Prague." Sight and Sound 35, no. 1 (winter 1965-1966): 34-5.
[In the following essay, Dyer examines Forman's emphasis on celebrating the emotions of his characters in Peter and Pavla and A Blonde in Love.]
Directors cannot be relied upon to look and sound like the films which they make. Milos Forman, who with two Czech films has made much the same quiet impact as Olmi did a few years ago, can. There's no good reason why one should expect him to live up to the image which his films create. It is simply interesting that—having lunch with him, hearing him introduce his latest film at the London Film Festival—his...
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John Coleman (review date 20 May 1966)
SOURCE: Coleman, John. "Milos Forman, Marco Bellachio." New Statesman 71, no. 1836 (20 May 1966): 746.
[In the following excerpt, Coleman praises A Blonde in Love, complimenting Forman's subtlety, proficiency, and simplistic directing style.]
Milos Forman's A Blonde in Love is a wonderful film concerning, among other things, young love, sexual and social timidity, parental incomprehension, and the problems of a Czech community where the ratio of women to men is 16 to one. It's so much of a piece in fact, so funny and painful and precise in its observation of a sector of the human condition, that it presents a very real problem: how to describe it...
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Philip T. Hartung (review date 11 November 1966)
SOURCE: Hartung, Philip T. "Czech Mates." Commonweal 85, no. 6 (11 November 1966): 166-67.
[In the following excerpt, Hartung offers a positive assessment of Forman's casting choices in Loves of a Blonde.]
Now in general release is Loves of a Blonde, the Czech movie that opened the New York Film Festival in September and won huzzas from most of the reviewers. Perhaps the critics, impressed with the glamor of this opening night, let some of their enthusiasm spill over into their reviews of this heart-warming and unpretentious little picture about romance-hungry adolescents. In any case, audiences can now judge for themselves—and they will find Loves...
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Stanley Kauffmann (review date 24 April 1971)
SOURCE: Kauffmann, Stanley. "Stanley Kauffmann on Films." New Republic 164, no. 17 (24 April 1971): 20.
[In the following review, Kauffmann commends Forman's artistic vision in Taking Off, but argues that the film lacks consistency and direction.]
Milos Forman had an interesting idea in Taking Off. He wanted to do a film about the generation gap that made its point primarily through pictures. The content of most films, particularly the ones with social themes, is usually conveyed in words and story. Taking Off has words and a story, of course, but they are only the scaffolding for the purely cinematic elements, which really state the theme....
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Colin L. Westerbeck, Jr. (review date 21 May 1971)
SOURCE: Westerbeck, Colin L., Jr. Review of Taking Off, by Milos Forman. Commonweal 94, no. 11 (21 May 1971): 262-63.
[In the following excerpt, Westerbeck offers a negative assessment of Taking Off, noting that the film's ending is "completely arbitrary."]
Like most films about the youth culture, Taking Off should be called Ripping Off. Director Milos Forman doesn't seem to have been satisfied with the usual cynicism of exploiting teenagers merely as paid admissions to his film: he's also exploited them as extras in the film. Taking Off begins in a rehearsal hall where some impresarios of rock are auditioning hundreds of spaced-out,...
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David Wilson (review date autumn 1971)
SOURCE: Wilson, David. Review of Taking Off, by Milos Forman. Sight and Sound 40, no. 4 (autumn 1971): 221-22.
[In the following positive review, Wilson discusses Forman's understated directing technique in Taking Off.]
'I think I speak English well enough to understand the "first row." But what's behind that, the double meanings, and all the nuances, which are very beautiful, always this is difficult for me.' Milos Forman needn't have worried about those nuances. Taking Off, which he made in America last summer, is replete with them.
We say we'd like to see ourselves as others see us, but we don't always like what we see. The...
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Michael Wood (review date 5 February 1976)
SOURCE: Wood, Michael, "No, But I Read the Book." New York Review of Books 23, no. 1 (5 February 1976): 3-4.
[In the following excerpt, Wood compliments Forman's adaptation of Ken Kesey's novel, One Flew over the Cuckoo's Nest, noting that Forman's quieter, more realistic approach to the material adds sensitivity to the story.]
Kubrick is attracted by apparent impossibilities. Lolita, A Clockwork Orange, and Barry Lyndon are all, in their different ways, highly literary texts, works that seem to defy translation into film. ("How did they ever make a film of Lolita?" the advertising asked when the movie was first...
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John Coleman (review date 27 February 1976)
SOURCE: Coleman, John. "You All Crazy?" New Statesman 91, no. 2345 (27 February 1976): 269-70.
[In the following excerpt, Coleman explores the themes of sanity versus insanity and love versus hate in One Flew over the Cuckoo's Nest.]
Ken Kesey's novel [One Flew over the Cuckoo's Nest] caused quite a stir when it first appeared in 1962, and rightly. I had heard vaguely of Kesey as a major prophet of the youth revolution, read some disjointed scraps of his somewhere or other, and knew that his book about life in a mental institution was supposed to have been written under the influence of LSD: the auguries were unpromising. But the other day I laid bold hands...
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Charles Champlin (review date 15 March 1979)
SOURCE: Champlin, Charles. "Hair Comes to the Screen." Los Angeles Times (15 March 1979): section 4, pp. 1, 25.
[In the following review, Champlin assesses the strengths of Hair, calling the film a "poignant reminder" of America during the Vietnam War era.]
Fresh off the bus, duffel bag in hand, the boy from Oklahoma stares in wonderment. A happening is happening in Central Park, Manhattan Island, U.S.A., vintage '60s. Crazy kids with long hair and costume clothes are sporting on the greensward. Then, like a foreboding shadow, two mounted policemen invade the scene, towering over it and monstrously silhouetted, keep the sunshine out....
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Richard A. Blake (review date 7 April 1979)
SOURCE: Blake, Richard A. "Selective Memory." America 140, no. 13 (7 April 1979): 286.
[In the following excerpt, Blake commends Hair's atmosphere of "great good fun," but cautions against the film's tendency to sanitize historical events.]
Sanitizing the past is easier than living with ugly memories. Self-exoneration is, of course, a key motive for reshaping the past. Today, for example, people who admit they once admired Senator Joseph McCarthy and his crusade against Communists (and, incidentally, the Constitution) are as rare as those who can recall their enthusiasm for stopping the Red menace in Vietnam. Everybody, it seems, was on the right side...
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Stanley Kauffmann (review date 14 April 1979)
SOURCE: Kauffmann, Stanley. "Stanley Kauffmann on Films: Ex-Champions." New Republic 180, no. 15 (14 April 1979): 40-1.
[In the following excerpt, Kauffmann examines the change of public perceptions and attitudes between the original theatrical production of Hair and the release of Forman's film adaptation.]
Hair (United Artists) is chockablock with imaginative lift and pyrotechnical dazzle, all of it apparently intended to forestall question. That question, of course, is: Is Hair dated? Well, most of the songs (most of which have been retained from the original score) are still engaging, and much of the filming is fine. But Hair, even...
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Colin L. Westerbeck, Jr. (review date 25 May 1979)
SOURCE: Westerbeck, Colin L., Jr. "Hair Today." Commonweal 106, no. 10 (25 May 1979): 305-06.
[In the following review, Westerbeck offers a negative assessment of Hair, criticizing Forman's understanding of American culture and the editing of the film's dance sequences.]
No one lives in the Age of Aquarius today. Its "dawning," celebrated ten years ago in the musical Hair, turned out to be its twilight as well. Still, Hair remains pertinent. It continues to tell us something about our collective life as Americans. Popular shows usually do this. They are a revelation to us of ourselves, especially shows that are surprisingly popular...
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Sheila Benson (review date 15 November 1981)
SOURCE: Benson, Sheila. "Ragtime—An Optimistic Novel Lost in Translation." Los Angeles Times (15 November 1981): Calendar section, p. 29.
[In the following review, Benson asserts that much of the depth of E. L. Doctorow's novel Ragtime is lost in its film adaptation.]
E. L. Doctorow's bold exhilarating novel Ragtime, his "real-world act," was a newsreel of America at a critical period, from 1902 until just the end of World War I when "the era of Ragtime had run out." America at that time combined innocence, optimism, energy and personal and social ambition at levels it would never reach again.
And in the book every...
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Robert Asahina (review date 25 January 1982)
SOURCE: Asahina, Robert. "Sorting Out the Film Glut." New Leader 65, no. 2 (25 January 1982): 21.
[In the following excerpt, Asahina criticizes Forman's directorial skills in Ragtime.]
When E. L. Doctorow's Ragtime was published a few years ago, there was much heavy-handed discussion of its fanciful mixture of fact and fiction. In retrospect, the controversy seems to have grossly exaggerated the seriousness of what actually is little more than an entertaining commercial novel with a distinctly cartoonish quality. The film adaptation, [Ragtime,] on the other hand, directed by Milos Foreman from a script by Michael Weller, exhibits precisely the...
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David Thomson (review date January-February 1982)
SOURCE: Thomson, David. "Redtime." Film Comment 18, no. 1 (January-February 1982): 11-16.
[In the following excerpt, Thomson argues against Ragtime's negative critical reception, asserting that the film is well adapted and masterfully directed.]
Milos Forman's film of Ragtime omits many delightful views and moments from the book. Why not? It is a film, and it has assets denied to the novel. It does not go to the North Pole with Peary and Father, or to the pyramids with J. P. Morgan. J. P.'s strawberry nose and his stomach rumblings about reincarnation are both dropped: apart from a "newsreel" flash, the film's Morgan is only the absent...
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John Simon (review date 5 February 1982)
SOURCE: Simon, John. "Wrong-Note Rag." National Review 34, no. 2 (5 February 1982): 122-23.
[In the following excerpt, Simon asserts that Ragtime's unsuccessful transition from page to screen is due to the novel's diffuse storyline structure.]
For once I am in complete agreement with the majority of my colleagues: Ragtime, the movie, does not work, largely because one misses the kaleidoscopic construction of the Doctorow novel. Milos Forman, the director, and Michael Weller, the scenarist, chose what they felt to be the principal strands of this multifarious web: Evelyn Nesbit and the celebrated murder case; Coalhouse Walker Jr., the black musician...
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Sheila Benson (review date 19 September 1984)
SOURCE: Benson, Sheila. "The Music of Mozart, the Magic of the Film Maker—That's Amadeus." Los Angeles Times (19 September 1984): 1, 6.
[In the following review, Benson compliments Forman's casting choices and attention to historical details in Amadeus.]
To be able to perceive genius, to luxuriate in its example, all the while knowing that one's own work would have to strain, to reach mediocrity is a pretty good working definition of hell on earth.
In Amadeus, Peter Shaffer's play, which he and director Milos Forman have turned into an enthralling film, [Amadeus,] the genius is Wolfgang Amadeus Mozart, the "mediocrity"...
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Harlan Jacobson (essay date September-October 1984)
SOURCE: Jacobson, Harlan. "As Many Notes as Required." Film Comment 20, no. 5 (September-October 1984): 50, 53-5.
[In the following essay, Jacobson explores the working relationship between Forman and Saul Zaentz, the producer of One Flew over the Cuckoo's Nest and Amadeus.]
So long and so used to measuring the achievements of individual genius, we have built a culture devoted to it. Time tells us that we have begun trying to teach the fetus in the womb. In the most wanton and random of our acts, war, we single out a man here or there for a medal. And in between, we have this problem of the artist: is he an artist if he doesn't sell? When does the man...
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Peter Shaffer (essay date September-October 1984)
SOURCE: Shaffer, Peter. "Making the Screen Speak." Film Comment 20, no. 5 (September-October 1984): 50-1, 56-7.
[In the following essay, Shaffer—the author of the play that Amadeus was based on—discusses his working relationship with Forman, describing the process of how they adapted the play into film.]
The cinema is a worrying medium for the stage playwright to work in. Its unverbal essence offers difficulties to anyone living largely by the spoken word. Increasingly, as American films grow ever more popular around the world, it is apparent that the most successful are being spoken in Screenspeak, a kind of cinematic esperanto equally comprehensible in...
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Stanley Kauffmann (review date 22 October 1984)
SOURCE: Kauffmann, Stanley. "Stanley Kauffmann on Films: Divertimento." New Republic 191, no. 173 (22 October 1984): 30-2.
[In the following review, Kauffmann argues that although Amadeus is an improvement over the original play, the film is still implausible and poorly acted.]
Lucky are those who see the film of Amadeus without having seen the play. Peter Shaffer's original was markedly different in the London and New York productions that I saw, but both of them used theatrical conceits as if they were virtuosity, when in fact they were padding for a thin body—tricks like an address to the audience and a stylized chorus. Shorn of this spurious...
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Gilbert Adair (review date spring 1985)
SOURCE: Adair, Gilbert. "What's Opera, Doc?" Sight and Sound 54, no. 2 (spring 1985): 142-43.
[In the following review, Adair examines the relationship between Mozart and Salieri in Amadeus.]
In the beginning, probably, was the word; or name: Amadeus. Futile as it surely must be to speculate on the various mazy processes of free association rippling through an artist's consciousness when a project enters its formative stage, it might just be worth playing the game with Milos Forman's Amadeus—not only was creativity the subject of Peter Shaffer's play, it was a shortfall of creativity that constituted its own tragic flaw. Why, then, did Shaffer call it...
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Tom O'Brien (review date 1 December 1989)
SOURCE: O'Brien, Tom. "Bland and Better Than Bland." Commonweal 116, no. 21 (1 December 1989): 670-71.
[In the following excerpt, O'Brien argues that Valmont is more sensitive to the underlying humanity of its characters than Stephen Frears' Dangerous Liaisons.]
First things first: Valmont is not a remake of Dangerous Liaisons. Generally, it tells the same story; tonally, it is a completely different, sometimes better, sometimes weaker film. Its source is not the Broadway play, but the original novel; on the other hand, the film's credits declare it is "loosely based" on Laclos's text. Its new flavor reflects the humanistic vision of the...
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Stanley Kauffmann (review date 11 December 1989)
SOURCE: Kauffmann, Stanley. "Worlds Apart." New Republic 201, no. 24 (11 December 1989): 24-5, 28.
[In the following excerpt, Kauffmann compares Valmont to Stephen Frears' Dangerous Liaisons, arguing that Valmont is the weaker of the two films.]
In less than a year since Dangerous Liaisons comes another film made from the Laclos novel. This one is called Valmont (Orion), after the leading male character; was directed by Milos Forman, whose last work was Amadeus; and was adapted from Laclos by Jean-Claude Carrière (with, uncredited, Forman). Carrière has had one of the most active of screenwriting careers since he began in...
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Anne Billson (review date 22 November 1991)
SOURCE: Billson, Anne. "More Laclos Than La Close." New Statesman and Society 4, no. 178 (22 November 1991): 40-1.
[In the following review, Billson compliments Forman's casting choices in Valmont, describing the film as more plausible and enjoyable than Stephen Frears' Dangerous Liaisons.]
Les Liaisons Dangereuses by Choderlos de Laclos is my own personal Bonfire of the Vanities. Given it to read at an impressionable age, I promptly concluded that "la Marquise de Merteuil, c'est moi," and went on to develop that obsessive possessiveness reserved for one's favourite works of fiction. None shall touch! And if they must touch, they'd...
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Malcolm Bowie (review date 29 November 1991)
SOURCE: Bowie, Malcolm. "Rites of Passage Romp." Times Literary Supplement, no. 4626 (29 November 1991): 21.
[In the following review, Bowie asserts that although Valmont is visually stunning, the film is ultimately a sterile adaptation of Les Liaisons dangereuses.]
What will Milos Forman do next?, cinema-goers were entitled to ask themselves during the long years of silence that followed Amadeus. Forman's career had been Protean, after all, and the gulf between, say, One Flew Over the Cuckoo's Nest and the Shaffer adaptation was perhaps even more remarkable than the caesura that the Soviet tanks had inserted between his early Czech-language...
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George B. MacDonald (essay date 1992)
SOURCE: MacDonald, George B. "Control by Camera: Milos Forman as Subjective Narrator." In A Casebook on Ken Kesey's One Flew Over the Cuckoo's Nest, edited by George J. Searles, pp. 163-72. Albuquerque: University of New Mexico Press, 1992.
[In the following essay, MacDonald analyzes the intent and effect of the subjective camera technique that Forman employs in One Flew over the Cuckoo's Nest, highlighting Forman's use of color and point-of-view.]
The film version of One Flew Over the Cuckoo's Nest is that rare adaptation which balances a respect for its literary source with a rich contribution of cinematic meanings. [One Flew Over the Cuckoo's...
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Andrew Hislop (review date 7 October 1994)
SOURCE: Hislop, Andrew. "The Cuckoo Clocked." Times Literary Supplement, no. 4775 (7 October 1994): 26.
[In the following review of Turnaround, Hislop underscores the recurring theme of betrayal in Forman's life and body of work.]
Off-screen at least, betrayal in Hollywood has all the sinfulness of a quick costume change—it's just business. "Turnaround" is a Hollywood term for a shift in loyalty, when a project is transferred from one studio to another, but, for Milos Forman, betrayal is no casual business. Its moral consequences and historical nuances permeate this subtle, witty autobiography, written with the Czech novelist Jan Novak, as it does his...
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Milos Forman and Richard Porton (interview date fall 1996)
SOURCE: Forman, Milos, and Richard Porton. "Porn Again: The People vs. Larry Flynt." Cineaste 22, no. 4 (fall 1996): 28-32.
[In the following interview, Forman discusses his views on censorship and his film The People vs. Larry Flynt.]
The controversy inspired by Milos Forman's The People vs. Larry Flynt has focused attention on America's most notorious pornographer and Hustler magazine's virulent misogyny. Unfortunately, this ongoing debate has yielded considerably more heat than political or moral illumination. Distinctions between Hustler's frequently vile brand of porn, First-Amendment issues, and Flynt's personal life have become...
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Charles Paul Freund (essay date January 1997)
SOURCE: Freund, Charles Paul. "Market Culture: Bashed and Unabashed." Reason 28, no. 8 (January 1997): 54.
[In the following essay, Freund examines the issues of capitalism and left-wing vs. right-wing politics in response to The People vs. Larry Flynt.]
Quick: Name an icon of "capitalism at its most unabashed." Who'd you come up with? Somebody like Bill Gates from the exploding information economy? A Daddy Warbucks from Wall Street? Some old-time, public-be-damned robber baron?
The correct answer—at least the one given by The New York Times—is pornographer Larry Flynt. [He is] portrayed by Woody Harrelson in Milos Forman's movie,...
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David Holmstrom (essay date 12 February 1997)
SOURCE: Holmstrom, David. "Director Defends The People vs. Larry Flynt." Christian Science Monitor (12 February 1997): 57.
[In the following essay, Holmstrom discusses Forman's response to the negative critical reaction to The People vs. Larry Flynt.]
Milos Forman already won the Golden Globe Award as best director for his controversial new movie, The People vs. Larry Flynt. And just yesterday, he also earned an Oscar nomination for the same film. Entertainment Weekly magazine predicts Mr. Forman is a "shoo-in" for the Academy Award.
But Forman, honored twice before with Oscars (best director for One Flew Over the...
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Stella Bruzzi (review date March 1997)
SOURCE: Bruzzi, Stella. Review of The People vs. Larry Flynt, by Milos Forman. Sight and Sound 7, no. 3 (March 1997): 58-9.
[In the following review, Bruzzi argues that Forman glosses over the darker side of Larry Flynt's persona in The People vs. Larry Flynt, therefore lessening the importance of Flynt's First Amendment battles with the U.S. Supreme Court.]
Kentucky, 1952. Two boys, one of them Larry Flynt, manufacture and sell moonshine liquor. Twenty years later, Larry is running the Hustler go-go club, where he meets Althea Leasure, a dancer he later marries, after the Hustler 'newsletter' has become a commercial porn magazine and made him...
(The entire section is 1168 words.)
Adam Newey (review date 18 April 1997)
SOURCE: Newey, Adam. "Trials of the Smut-Pedlar Who Cared." Times Literary Supplement, no. 4907 (18 April 1997): 18.
[In the following review, Newey questions the reality behind Forman's "softening" of Larry Flynt's character in The People vs. Larry Flynt.]
From the opening credits of The People vs Larry Flynt, it is clear that the real hero of this film is the American flag. The stars and stripes form a near-constant backdrop to Milos Forman's biopic of Hustler publisher Larry Flynt, the king of blue-collar porn; the New York Times has even described the film as "the most patriotic movie of the year."
Forman's aims...
(The entire section is 746 words.)
Kathryn H. Fuller (review date December 1997)
SOURCE: Fuller, Kathryn H. Review of The People vs. Larry Flynt, by Milos Forman. Journal of American History 84, no. 3 (December 1997): 1185-86.
[In the following review, Fuller analyzes the public reaction to The People vs. Larry Flynt and expresses surprise that the majority of debate came from liberal and feminist groups.]
The People vs. Larry Flynt is a recent addition to the surprisingly small store of Hollywood films dealing with censorship, freedom of speech, and First Amendment controversies. Previous films featured likable, unassuming, Everyman protagonists such as Edward G. Robinson's journalist in Dispatch from Reuter's (1940),...
(The entire section is 1041 words.)
Joanna E. Rapf (essay date January 1998)
SOURCE: Rapf, Joanna E. "Volatile Forms: The Transgressive Energy of Ragtime as a Novel and Film." Literature-Film Quarterly 26, no. 1 (January 1998): 16-22.
[In the following essay, Rapf explores the dynamics of the novel Ragtime and examines the elements that were lost and retained in its film adaptation.]
Father kept himself under control by writing in his journal. This was a system too, the system of language and conceptualization. It proposed that human beings, by the act of making witness, warranted times and places for their existence other than the time and place they were living through.
(The entire section is 4438 words.)
David Sterritt (review date spring 2000)
SOURCE: Sterritt, David. Review of Man on the Moon, by Milos Forman. Cineaste 25, no. 2 (spring 2000): 52.
[In the following review, Sterritt dismisses the negative critical response to Man on the Moon, arguing that the film is both thought-provoking and mischievous.]
Man on the Moon joined the list of 1999's most misunderstood movies within hours of its first press screenings, as assorted critics started complaining they'd been cheated of the Andy Kaufman biopic they'd apparently come to see. The film's lukewarm box-office reception probably had a similar cause, abetted by lingering memories of Kaufman's actual career, which still conjures up...
(The entire section is 1514 words.)
Leslie Felperin (review date April 2000)
SOURCE: Felperin, Leslie. Review of Man on the Moon, by Milos Forman. Sight and Sound 10, no. 4 (April 2000): 58.
[In the following excerpt, Felperin asserts that Man on the Moon neither explains nor justifies Andy Kaufman's life and career.]
Clearly, if you're going to spend $52 million making a movie about a now-obscure comedian from the 70s, you have to believe his life is extraordinary in some way. (It's probably rule number one in the textbook for film-school courses called Advanced Screenwriting: Biopics.) Indeed on paper, Andy Kaufman's life story sounds thrillingly unlikely. Here's an introverted situationist manqué who rose to...
(The entire section is 712 words.)
Jonathan Romney (review date 8 May 2000)
SOURCE: Romney, Jonathan. "Out of this World." New Statesman 129, no. 4485 (8 May 2000): 41-2.
[In the following review, Romney applauds Forman's casting choices in Man on the Moon, but finds that the film offers no further insight into Andy Kaufman's life.]
To American audiences in the 1970s and 1980s, the comedian Andy Kaufman was a legendary figure whose confrontational routines turned show-business conventions upside down. In Britain, where he was known mainly as the ingratiatingly kooky Latka in the TV sitcom Taxi, Milos Forman's biopic Man on the Moon won't mean quite so much. There's an uncomfortable sense of "you had to be there":...
(The entire section is 925 words.)
Further Reading
Berlins, Marcel. Review of The People vs. Larry Flynt, by Milos Forman. New Statesman 126, no. 4328 (4 April 1997): 36-7.
Berlins discusses the significance of and depiction of Larry Flynt's legal battles in The People vs. Larry Flynt.
Boylan, James. Review of The People vs. Larry Flynt, by Milos Forman. Columbia Journalism Review 35, no. 5 (January-February 1997): 15.
Boylan praises The People vs. Larry Flynt as an important film about free speech.
Brudnoy, David. "Iris' Head, Eric's Knee, Milos' Gap." National Review 23, no. 29 (27 July 1971): 822-23....
(The entire section is 428 words.)


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Lets go people...................Let your voices be heard on this matter.
Moderator: Mike
Harrythebannister wrote:Speaking for myself and I'm sure for many others aswell. If Mike doesn't bring up the situation on a regular basis, it's almost as if the problem has gone away. Lathergy is a major problem and I certainly need a kick up the butt from time to time myself. I haven't donated for several months, but will try to donate something shortly.
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Amid China's many environmental problems, acid rain has received little international attention.most notably in the Northeast and Upper Midwest. Then, with Title IV of the 1990 Clean Air Act, Congress created a "cap and trade" system for SO2 emissions, which included financial incentives for plants to install equipment — i.e., flue-gas desulfurization technology, known in lay terms as scrubbers — to remove SO2 before it left smokestacks. Where possible, U.S. plants switched to low-sulfur coal.
Between 2006 and 2010, China's sulfur dioxide emissions decreased more than 13 percent.
Says one U.S. official, 'Where they are today is where we were in the late 1980s and early 1990s.'monitoring center; a national registry listing which plants have certified sulfur-scrubbing equipment has also been created.
MORE FROM YALE e360
Growing Shortages of Water
Threaten China's Development


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Bloomingdale's, Palm Beach Gardens
Brooklyn Cruiser limited edition bike, $649. One hundred percent of the proceeds go to The Keep A Breast Foundation. BrooklynCruiser.com


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Topic: acts as authenticated question.
I'm using AAA for user authentication. I'm wondering does it not give any method for knowing that a login error occured or what it was?
Note I just installed it but I'm not using Rails 1.2 so I had to make some changes to the login view, but even the old view doesn't seem to display errors.


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DNR seeks information on wolf poaching in Iron County
Wisconsin spring election on Tuesday
MARINETTE, Wis. – Marinette County residents will vote Tuesday in municipal and school elections.
Polls open at 7 a.m. and close at 8 p.m. on Election Day.
In a Marinette County-wide race, incumbent Circuit Court Judge Jim Morrison is challenged by Allen Brey, the county's district attorney. Morrison was appointed a year ago by Gov. Scott Walker to fill a vacancy created by Judge Tim Duket's retirement.
Voters in the Niagara School District will choose three members for the school board from a field of four candidates: Kaitlin Waugen, Patricia Sparapani, Peter Swanson and incumbent Keri Amundson.
In the Beecher-Dunbar-Pembine School District, Ryan Berger and Sally Monroe are competing for a single school board seat.
In the Goodman-Armstrong Creek School District, Carly Frydrych and Robert Stec are the candidates for two school board positions.
The town of Niagara and the town of Pembine each have three choices for two supervisor positions.
In the town of Niagara, Alfred Sauld is running for town board chairperson. The two town board supervisor positions are sought by Mary DeClark, Dick Payette and Robert Sparks. Dawn Johnson is running for town clerk. There is no one running for the treasurer position.
Louis Linsmeyer is running for the town of Pembine board chairperson. Voters are being asked to pick two of the three candidates for town board supervisor: Vincent Czahor, Patrick J. Willis and John Schutte.
In the town of Beecher, Robert Gehri is running for chairperson; Daniel Groy, town board supervisor 1; John Keeley, town board supervisor 2; Betty Nowack, town clerk; and Caroly Keeley, town treasurer.
In the town of Dunbar, Chairperson Russ Bousley is unopposed on the ballot, along with Supervisor 1 Robert Kordus, Supervisor 2 David White, and Clerk/Treasurer Becky Grandaw.
In the town of Goodman, Bill Stankevich is unopposed on the ballot for town board chairperson; Steve Gostisha for town board supervisor 1; James LaChapell for town board supervisor 2; Susan Pratt for town clerk; and Cindy Nelso for town treasurer.
In the city of Niagara, Mayor George Bousley is unopposed on the ballot. Running for three seats as alderpersons at-large are Michael Darne, Glenn Lantagne and Teresa West.


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I use this product 5 times a week and it's awesome. It's not too abrasive for my sensitive skin, and has worked well for keeping skin clean and acne away. The sample size lasted me a couple months since you only have to use a small amount. Favorite product sample I've received so far!5
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I received this in a box a few months ago, I started using in almost immediately. The sample was quite large especially since I don't exfoliate on a daily basis so it lasted about a month. I have yet to purchase but I think I will because I keep thinking about how glow-y my skin was while using this product. I'm glad Birchbox gives me tool to glance a past boxes for this reason.5


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Twister 8 USB FlashDrive
Oval shaped version of the Twister FlashDrive. The rotating metal sleeve protects the USB plug eliminating the need for a lid.
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Looking to boost your fiber intake? Who says you have to stick with prunes and beans? Read on for 7 delicious high-fiber recipes for every meal of the day… Grilled Filet Mignon with Herb Butter & Texas ToastsThis dish is simply luxurious: grilled beef tenderloin smothered in a vibrant herb butter served on top of a garlicky slab of whole-grain toast. And yes, with only about 303 calories and 14 grams of fat total, this steakhouse-worthy entrée can be part of a healthy diet. If you like, make extra herb butter to top chicken, fish or even a grilled pork chop.Serves: 4Preparation time: 45 minutesIngredients1 tablespoon whipped or regular butter, slightly softened 3 teaspoons extra-virgin olive oil, divided 1 tablespoon minced fresh chives, or shallot 1 tablespoon capers, rinsed and chopped 3 teaspoons minced fresh marjoram, or oregano, divided 1 teaspoon freshly grated lemon zest, divided 1 teaspoon lemon juice 3/4 teaspoon kosher salt, divided 1/2 teaspoon freshly ground pepper, divided 1 tablespoon minced fresh rosemary 2 cloves garlic, (1 minced, 1 peeled and halved) 1 pound filet mignon, about 1-1/2 inches thick, trimmed and cut into 4 portions 4 slices whole-grain bread 4 cups watercress, trimmed and choppedPreparation1. Preheat grill to high.2. Mash butter in a small bowl with the back of a spoon until soft and creamy. Stir in 2 teaspoons oil until combined. Add chives (or shallot), capers, 1 teaspoon marjoram (or oregano), 1/2 teaspoon lemon zest, lemon juice, 1/2 teaspoon salt and 1/4 teaspoon pepper. Cover and place in the freezer to chill.3. Combine the remaining 1 teaspoon oil, 2 teaspoons marjoram (or oregano), 1/2 teaspoon lemon zest, 1/4 teaspoon salt and pepper, rosemary and minced garlic in a small bowl. Rub on both sides of steak. Rub both sides of bread with the halved garlic clove; discard the garlic.4. Grill the steak 3-5 minutes per side for medium-rare. Grill the bread until toasted, 30 seconds-1 minute per side. Divide watercress among 4 plates. Place 1 toast on each serving of watercress and top with steak. Spread the herb butter on top of the steaks and let rest for 5 minutes before serving.Enjoy!Nutrition FactsPer serving:303 calories14 g fat (5 g sat, 6 g mono)80 mg cholesterol15 g carbohydrates29 g protein5 g fiber438 mg sodium462 mg potassiumNutrition Bonus: zinc (46% Daily Value), selenium (44% DV), vitamin C (28% DV), iron (17% DV)
Savory Breakfast MuffinsIf you're tired of sweet breakfast muffins or just looking for a savory breakfast, try these – you'll love the smoky flavor from the Canadian bacon and the fresh-tasting combination of red bell pepper and scallions.Makes: 12 muffinsPreparation time: 45 minutesIngredients2 cups whole-wheat flour 1 cup all-purpose flour 1 tablespoon baking powder 1/2 teaspoon baking soda 1/2 teaspoon freshly ground pepper 1/4 teaspoon salt 2 eggs 1-1/3 cups buttermilk 3 tablespoons extra-virgin olive oil 2 tablespoons butter, melted 1 cup thinly sliced scallions, (about 1 bunch) 3/4 cup diced Canadian bacon, (3 ounces) 1/2 cup grated Cheddar cheese 1/2 cup finely diced red bell pepperPreparation1. Preheat oven to 400°F. Coat 12 muffin cups with cooking spray.2. Combine whole-wheat flour, all-purpose flour, baking powder, baking soda, pepper and salt in a large bowl.3. Whisk eggs, buttermilk, oil and butter in a medium bowl. Fold in scallions, bacon, cheese and bell pepper. Make a well in the center of the dry ingredients. Add the wet ingredients and mix with a rubber spatula until just moistened. Scoop the batter into the prepared pan (the cups will be very full).4. Bake the muffins until the tops are golden brown, 20-22 minutes. Let cool in the pan for 5 minutes. Loosen the edges and turn the muffins out onto a wire rack to cool slightly before serving.Enjoy!Nutrition FactsPer muffin:217 calories9 g fat (0 g sat, 0 g mono)50 mg cholesterol24 g carbohydrates9 g protein3 g fiber339 mg sodium113 mg potassiumNutrition Bonus: fiber (13% Daily Value), vitamin C (25% DV)
Creamy Scallop & Pea FettuccineThis rich pasta dish is full of sweet seared scallops and plump peas. Low-fat milk and flour thicken the sauce, giving it creamy texture without the extra calories and fat found in traditional cream sauces. Serve with a small Caesar salad on the side.Serves: 5Preparation time: 40 minutesIngredients8 ounces whole-wheat fettuccine 1 pound large dry sea scallops 1/4 teaspoon salt, divided 1 tablespoon extra-virgin olive oil 8-ounce bottle clam juice1 cup low-fat milk 3 tablespoons all-purpose flour 1/4 teaspoon ground white pepper 3 cups frozen peas, thawed 3/4 cup finely shredded Romano cheese, divided 1/3 cup chopped fresh chives 1/2 teaspoon freshly grated lemon zest 1 teaspoon lemon juicePreparation1. Bring a large pot of water to a boil. Cook fettuccine until just tender, 8-10 minutes or according to package instructions. Drain.2. Meanwhile, pat scallops dry and sprinkle with 1/8 teaspoon salt. Heat oil in a large nonstick skillet over medium-high heat. Add the scallops and cook until golden brown, 2-3 minutes per side. Transfer to a plate.3. Add clam juice to the pan. Whisk milk, flour, white pepper and the remaining 1/8 teaspoon salt in a medium bowl until smooth. Whisk the milk mixture into the clam juice. Bring the mixture to a simmer, stirring constantly. Continue stirring until thickened, 1-2 minutes. Return the scallops and any accumulated juices to the pan along with peas and return to a simmer. Stir in the fettuccine, 1/2 cup Romano cheese, chives, lemon zest and juice until combined. Serve with the remaining cheese sprinkled on top.Enjoy!Nutrition FactsPer serving:399 calories7 g fat (3 g sat, 3 g mono)38 mg cholesterol54 g carbohydrates31 g protein9 g fiber618 mg sodium492 mg potassiumNutrition Bonus: vitamin A (45% Daily Value), vitamin C (35% DV), magnesium (28% DV), calcium (25% DV)
Tangy Cauliflower SaladThese salty, lemony and spicy flavors make each cauliflower floret "pop" in your mouth. This chilled salad is a great accompaniment for a sandwich, grilled meats or even pot roast.Serves: 4Preparation time: 1 hourIngredients1 small clove garlic, minced 2 tablespoons capers 2 tablespoons extra-virgin olive oil 2 tablespoons white-wine vinegar 1/4 teaspoon crushed red pepper 1 lemon, zested (2 teaspoons) and juiced (2 tablespoons) 8 cups bite-size cauliflower florets, (about 1 head), cooked until tender-crispPreparation1. Whisk garlic, capers, oil, vinegar, crushed red pepper, lemon zest and juice in a large bowl. Add cauliflower to the bowl and toss to coat. Chill the salad for 30 minutes, or overnight. Serve cold.Enjoy!Nutrition FactsPer serving:113 calories8 g fat (1 g sat, 5 g mono)0 mg cholesterol9 g carbohydrates4 g protein6 g fiber158 mg sodium294 mg potassium
Curried Chicken with Sweet Potatoes & CauliflowerBoneless, skinless chicken thighs, with a little help from the well-seasoned yogurt marinade, remain moist and tender when oven-roasted. Soaking the prepared vegetables in ice water for 15 minutes before roasting will hydrate them, making them more moist and tender when cooked.Serves: 4Preparation time: 5-1/2 hoursIngredients3/4 cup nonfat plain yogurt 1 teaspoon Madras-style curry powder 1 teaspoon ground coriander 1 teaspoon ground ginger 1 clove garlic, minced 3/4 teaspoon salt, divided 1/4 teaspoon cayenne pepper 8 boneless, skinless chicken thighs, (about 1-1/2 pounds), trimmed 1 sweet potato, (about 1 pound), peeled and cut into 1/2-inch cubes 3 cups cauliflower florets, (1 small head) or broccoli florets 1 tablespoon extra-virgin olive oil Freshly ground pepper, to taste 1/4 cup chopped unsalted dry-roasted peanuts, or cashews 1/4 cup loosely packed cilantro leavesPreparation1. Combine yogurt, curry powder, coriander, ginger, garlic, 1/2 teaspoon salt and cayenne in a shallow glass dish; mix to blend. Reserve 1/4 cup of this mixture; cover and refrigerate. Add chicken to the remaining yogurt mixture and turn to coat. Cover and marinate in the refrigerator for at least 4 hours or overnight.2. Preheat oven to 450°F. Lightly coat a large rimmed baking sheet with cooking spray.3. Remove the chicken from the marinade and place on the prepared baking sheet. Toss sweet potato with the reserved yogurt mixture in a medium bowl and place on the baking sheet. Toss cauliflower with oil in a medium bowl and add to the baking sheet. Season vegetables with the remaining 1/4 teaspoon salt and pepper. Roast chicken and vegetables, uncovered, for 15 minutes.4. Carefully turn the chicken over and stir the vegetables. Roast until the vegetables are tender and chicken is cooked through, 10-15 minutes more.5. Arrange chicken and vegetables on a platter or individual plates and garnish with peanuts (or cashews) and cilantro.Enjoy!Nutrition FactsPer serving:473 calories26 g fat (6 g sat, 11 g mono)154 mg cholesterol34 g carbohydrates52 g protein7 g fiber655 mg sodium1183 mg potassiumNutrition Bonus: fiber (30% Daily Value), vitamin A (440% DV), vitamin C (110% DV), iron (20% DV), folate (2% DV)
Frozen Raspberry MousseNo one will ever guess that this dessert easily conforms to any healthy weight-loss regime. A fluffy meringue creates a sublime texture, while just a little real whipped cream delivers velvety richness. Straining the raspberries is a labor of love (consider delegating this task), but the results are absolutely worth the effort, guaranteed. For nonbaking recipes, we use Splenda Granular (boxed, not in a packet). For baking, we use Splenda Sugar Blend for Baking, a mix of sugar and sucralose.Serves: 8Preparation time: 7 hours (including 6 hours freezing time)Ingredients6 cups fresh raspberries, or two 12-ounce packages unsweetened frozen raspberries, thawed 1/4 cup confectioners' sugar or Splenda Granular 2 tablespoons orange juice 1 teaspoon unflavored gelatin 8 teaspoons dried egg whites, reconstituted in 1/2 cup warm water according to package directions (equivalent to 4 egg whites) 2/3 cup sugar 1/3 cup whipping cream 2 cups fresh raspberries, blueberries, blackberries and/or strawberries for garnish Mint sprigs, for garnishPreparation1. Place a small mixing bowl in the freezer to chill for Step 5.2. Purée raspberries in a food processor until smooth. Pass through a fine sieve set over a large bowl; discard seeds. Measure out 1 cup raspberry purée, whisk in confectioners' sugar (or Splenda), cover and set aside in the refrigerator for sauce.3. Place orange juice in a small saucepan. Sprinkle in gelatin. Let soften for 1 minute. Place over low heat and stir until the gelatin has completely dissolved. Let stand for 5 minutes.4. Meanwhile, beat reconstituted egg whites in a large mixing bowl with an electric mixer until soft peaks form. Gradually add sugar, beating until the meringue is stiff and glossy.5. Beat cream in the chilled bowl until soft peaks form.6. Add the melted gelatin to the remaining raspberry puree and whisk until blended. Set the bowl over a bowl of ice water and stir just until the mixture starts to thicken slightly, 5-10 minutes. Add one-fourth of the meringue to the raspberry puree and whisk until blended. Using a whisk, fold in the remaining meringue. With a rubber spatula, fold in the whipped cream. Scrape the mousse into a 6-cup metal bowl (or other decorative mold) or a 9" x 5" metal loaf pan. Cover with plastic wrap and foil and freeze until firm, at least 6 hours.7. To serve, fill a bowl or basin (large enough to hold the mold comfortably) with very hot water. Run a knife around the edges of the mold. Quickly dip the mold in hot water, then invert a serving platter over the top. Grasping the mold and platter, jerk downward several times. If the mousse does not release, dip in hot water again and repeat. Cut the mousse into wedges or slices. Serve with the reserved raspberry sauce and garnish each serving with a scattering of berries and a mint sprig.Enjoy!Nutrition FactsPer serving:168 calories4 g fat (2 g sat, 1 g mono)11 mg cholesterol29 g carbohydrates3 g protein6 g fiber33 mg sodium184 mg potassiumNutrition Bonus: fiber (24% Daily Value), vitamin C (45% DV)


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Mass GlassPosted by Michael McDonagh in CD Review, Michael McDonagh, minimalism, Philip Glass
GLASS BOX: Music by Philip Glass. 10 CD Nonesuch. (Sony Classical; Orange Mountain Music; Virgin, Shandar)
Philip Glass piano, keyboards,: The Philip Glass Ensemble, Michael Riesman, keyboards, music director; Stuttgart Chamber Orchestra; Vienna Radio Symphony; Bruckner Orchester Linz; American Composers Orchestra, Dennis Russell Davies, conductor, various vocal soloists; New York City Opera Orchestra, Christopher Keene. conductor, various vocal soloists; English Chamber Orchestra, Michael Riesman, Harry Rabinowitz, conductors; various film studio orchestras with members of The PGE and The Western Wind Vocal Ensemble;conducted by Michael Riesman; Kronos Quartet – David Harrington; John Sherba, violins; Hank Dutt, viola; Joan Jeanrenaud, cello; Lyric Quartet.
Philip Glass is so ubiquitous and successful that's it's easy to take him for granted and stop listening. Sure, he repeats, uses arpeggios, broken chords, minor modes/keys, and his style is instantly identifiable and frequently copied. But he's always been interested in re-inventing himself and he's changed the rules of his game by putting himself into unknown situations with other artists, or forms, and sometimes both at once. The fruits of several seminal collaborations with theatre director Robert Wilson — -EINSTEIN ON THE BEACH (1975), and film director Godfrey Reggio — KOYAANISQATSI (1983) are in this with essays and appreciations 40 year retrospective set. But there's a kicker. Glass frequently works with visual artists, or artists from theatre or film, but the CD only format can't show how his music works with images. Yet it does show how arresting his music is as sound, and those who think he hasn't changed, developed, or matured are in for a shock or a revelation.
The early works (1969- 70) on the eponymously titled disc one were shocking to some and a revelation to others when first performed. Glass threw the academic rule book out the window, but kept what he learned from Nadia Boulanger – the music of the classic masters was both logical and inevitable — and that sense of inevitable logic certainly drives these works here. The carefully added lines in MUSIC IN SIMILAR MOTION (1969) are like a mural you have to walk with in order to see, and its development is just as planned as the nearly hour long 1970 MUSIC WITH CHANGING PARTS – 45 minutes here – in which Glass let his musicians play and sing pitches they heard in its intricate overlapping parts which I think reflects his rarely remarked on before India encounter with the rhythmic patterning of Moroccan ritual music where drones and simple shifting counts – there are frequent contrasts between 2 and 3 and multiples thereof – become the building blocks for something very complex.
These early works grew in complexity as Glass' musical language developed , but their complexity has nothing to do with the serial method in vogue when they were written. That was tied to the dialectical view of history as a kind of conflict resolution process, which starts as thesis, moves on to antithesis, and culminates in synthesis. These pieces function outside of history, or rather within their own idea of history and time.
Glass decided to confront that subject head on in the massive yet ingeniously varied MUSIC IN 12 PARTS (1971-74) [ disc two ] which is, in some almost dialectical way the culmination of his minimalist period. Or as Glass told me " My idea was to write a piece that was like a catalog, a kind of grand compendium of all the ideas I had worked out"¦ and I tried to find ways of linking an overall harmonic structure to an overall rhythmic structure to produce a kind of (laughs) unified field theory of music. " Time and how it's perceived is a large part of what it's about, and Glass has many ways of expanding our sense of it here. Producers Robert Hurwitz, Kurt Munkacsi, and Michael Riesman have chosen parts VII to X so that the listener can experience them as a sequence of developing units and not just bleeding chunks. There's a lot of variety in Glass' sometimes circumscribed approach – a full range of contrapuntal devices and rhythms as well as surprising but perfectly logical changes of direction and texture. But you can't hear the unwritten undertones and overtones which emerge from the overlapping lines, volume, and acoustic properties of the room where it's played live. And a rare complete performance by the PGE at San Francisco's Davies Hall 16 Feb 2009 will certainly bring these out. Orange Mountain Music – — has also released a PGE live at Rovereto, Italy, 2006 set of 12 PARTS, which is as thrilling and cogent as this studio one though the tempos are markedly slower in several places.
Glass' 5 hour " opera " with Robert Wilson EINSTEIN ON THE BEACH (1975) – [ disc three ] – is paradoxically more elaborate and simpler than 12 PARTS, as befits a work tailored for and responsive to the exigencies of stage action. These excerpts give a good sense of its shape as well as its intimate – all 5 Knee Plays – and spectacular dimensions – Train 1 and the concluding Spaceship scene. The incisiveness and elegance of the playing and singing defines the character of the piece as I imagine it to be when encountered live – all space, light, movement, décor – aligned with Glass' strongly varied harmonic and rhythmic densities, though I miss the seat of your pants rawness of the PGE's Tomato LP . Still it's wonderful to hear the Prologue from Act V ( Rome Section ) of Wilson's originally for the 1984 LA Olympics the CIVIL wars (1983) — a beautiful, imaginative, and tremendously moving score with killer bass clarinet solos, which Dennis Russell Davies and his American Composers Orchestra play with heart and soul. But there's not a note from the Wilson/ Glass – Rumi poems MONSTERS OF GRACE (1997) , which is on OMM.
Three of Glass' 5 collaborations with Reggio – KOYAANISQATSI (1983) , POWAQQATSI (1987) – [ disc 6 ], and ANIMA MUNDI (1999) [disc 10] are here. KOYAANISQATSI is revered for its fits like a glove marriage of image and sound – the slow moving lines and suspended harmonies in "Organic" and the unsettling altered chords in "Resource" are perfect musical analogues as well as stand alone pieces as are al the others — while Glass' absorption of world music instruments into his own idiom in POWAQQATSI is striking, but much less known, largely because its distributor, Cannon Films, was going bankrupt when it was released. But the last installment in Reggio's QATSI trilogy, NAQOYQATSI (2002), with its intricate textures and demanding but perfectly apt writing for cellist Yo Yo Ma – it's on SONY Classical – sadly didn't make the cut. But the good news is that all 3 QATSI films have gotten a new lease on life by being performed live with the PGE.
Glass' orchestra only and orchestra with voices writing , which appears throughout his 8 symphonies. has grown by leaps and bounds. The strings only – violin 1 and 2, violas, cellos, double basses – Symphony # 3 (1995) [ disc nine ] is full of timbral contrasts despite its white on white sound which Stravinsky and Herrmann also exploited in APOLLO (1927) and PSYCHO (1960), and the third movement's quick assymetrical metres — 7 /8 , 9/8 "¦ are virtuosic and thrilling. The complex rhythmic and harmonic writing for every choir approach of Symphony # 8 (2005), which Dennis Russell Davies and his Bruckner Orchester Linz premiered at BAM on their first US tour in 2005, and play here, is extremely original and subtle. The 8 themes which begin the first movement are closely related yet legible, the second movement passacaglia ventures into strange harmonic waters ala Boulanger's teacher, Faure, and the third and final one, with its sense of deep and inevitable sorrow, never fails to bring me to tears, whether at BAM, or at home.
Chamber music speaks from the mind and heart , and Glass' string quartets are clearly letters from home. # 4 (Buczak) (1987) [ disc seven ] , which was commissioned by Geoffrey Hendricks as a memorial to his young artist lover Brian Buczak, who died of AIDS, has an alternately ecstatic, and otherworldly character – the suspended in time middle slow movement – while the first movement's sostenuto chords seem to frame a kind of narrative of Buczak, Hendricks and Glass together – they were friends – in a continuously evolving present, which extends to the third and final movement, too. Lots of the writing in # 5 (1991) , with its frequent metric shifts , mercurial changes of texture, and the headlong dive of its chromatic scales in 17/8, at a very fast tempo, is openly virtuosic, and Glass told me he asked David Harrington and Kronos to play it as one thought, which they do, with accuracy and point, in all 3 quartets here. Four of the 10 Etudes for Piano (1994), which Glass wrote for Davies to play, and which Glass does here, are very personal, idiosyncratic and non-didactic additions to this form which Chopin and Debussy enlarged so beautifully before him.
Glass' use of the orchestra in his Gandhi opera SATYAGRAHA (1979 [ disc five ] is not unlike that of Debussy in PELLEAS Et MELISANDE (1893-1902) , where the orchestra disappears into the music, and being invisible in this way becomes more deeply felt. His wind and string – with one synthesizer – writing evokes a completely unique sound in which the voices seem to flower from the orchestra and vice versa. Tenor Douglas Perry's Gandhi – he virtually owned the role till Richard Croft sang it at The Met this spring – gives a mellifluous and touching performance, though the miking of alto Rhonda Liss' Mrs. Alexander, while dramatic alright, is too far forward harsh. But Christopher Keene, sadly dead from AIDS, leads a cogent performance with the New York City Opera Chorus, and his singers in Act III's extremely exposed sextet make it seem easy as pie.
The text and performance style of Glass' opera about the heretic king AKHNATEN (1983) [ disc eight ] aim, like the in Sanskrit SATYAGRAHA, at divorcing and /or mirroring action(s) from words. The voice – countertenor Paul Esswood sings the pharaoh – is set within an umbrous ( no violins as in KOYAANISQATSI ) yet continuously shifting orchestral frame, and musical time and scale once again take center stage, in Davies and the Stuttgart State Opera and Chorus' vigorous and deeply atmospheric account of this monumental yet very personal score.
You get a touch but only a touch of Glass' wide-ranging efforts in moving pictures – other than his for Reggio — in disc ten, Filmworks, though Nonesuch's PHLILIP ON FILM gives a better introduction and in depth survey of his work in this form. Still disc four has excerpts from his odd yet enchanting score, ETOLIE POLAIRE , for Francois de Menil and Barbara Rose's 1977 doc MARK DI SUVERO, SCULPTOR. My favorite has always been " Are Years What? ( for Marianne Moore ) " for flute and soprano and tenor saxophone – Dickie Landry , with its startling and refreshing "break " – rest — midstream. Disc ten is strangely unsastisfying – we don't get bleeding chunks, but chunks nevertheless of scores both famous and obscure. But who could ever think, much less see Glass' 1994 opera based on Jean Cocteau's 1946 film LA BELLE ET LA BETE, as anything but new music wedded to the work of this way too gifted – who could ever pigeonhole Cocteau? -and deeply influential artist? Glass apparently identifies with him – both were outsiders even when they appeared to be movers and shakers within their own time – and Glass' time is decidedly ours. But anyone curious about his recent film, concert, and theatre work should check out Orange Mountain Music's catalog – as well as Nonesuch's , which give a close-up view of this straightforward, extremely important, yet deeply elusive artist.


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I hate winter with a passion. Hated it growing up in Ohio...still hate January & February in NC, except for the fact that I can usually get three or four rounds in before March.
That said, I'm about to take off on Friday for my second straight "get the hell out of Dodge and play golf weekend" in Myrtle Beach.
Great thing about playing in January/early February...$44 rounds on Trent Jones and Arnold Palmer courses that would cost you $100 plus in two months.
Ocean front hotels running at $60 a night that'll cost you $250+ in another two months.
Last year, I played Man-o-War, The Wizard, and The Witch.
This year I'm playing Aberdeen, Waterway Hills and Myrtle Beach National South Creek.
Booze, beach ,and golf. Not a bad life...at least this week.


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iHerb Customer Reviews
Savings of: $2.50 (20% off)
Great For Nightime Leg Cramps!
Posted by Reviewer2737500 on Nov 27, 2012
This is the best potassium I've found for nighttime leg cramps, which used to plague me almost nightly. I take various other medications for blood pressure, colesterol, psycotropic drugs (antidepressants), all of which I have been told deplete the body of potassium. It works for me, Thankfully!
Potassium is potassium
Posted by Reviewer1783842 on Mar 09, 2011
I take potassium for my blood pressure and it works! This is as good as any on the market.
normal now
Posted by Reviewer1626105 on Oct 02, 2009
My potassium levels run low, so I started taking Bluebonnet once a day - last physical all was normal, so it's now part of my daily regimen.
Stops Nighttime Leg Cramps!
Posted by Reviewer2107689 on May 11, 2013
This BlueBonnet potassium is "potassium ASPERATE" which I have found to be the most effective of all the different potassium types that are out there today. Combined with BlueBonnet CHELATED Magnesium, it stops agonizing nightly leg cramps which my Grandmother used to call "Charley horses." I take one Potassium and one Magnesium every night before bedtime, and sleep like a baby, without any signs of cramps. If I miss taking them even for a couple of nights, I pay the painful price... and have to jump out of bed and walk around frantically until the cramps disappear. I usually buy these two products ahead of time, so I don't run out. Thanks, iHerb, for being the BEST there is! You have never failed me in 8+ years!!
Very pleased with product and price
Posted by Reviewer2095620 on Aug 26, 2010
Delivery not so fast as the first delivery, but it got here !
Very good
Posted by Reviewer1336645 on Dec 12, 2011
Great potassium tablet
Items 1-6 of 6 total


text: Weddings are beautiful occasions that bring friends and family together. With so many themes and seasons to choose from, the possibilities are endless. A winter wedding has all the makings of a wondrous fairy tale, or so your fiancée says. If you are planning a winter wedding, there are certain looks that will fit the bill better than others. They will provide a classy and desirable look for you, and will wow the bride as well. Keep the following tips in mind when picking out your wedding day attire. (more…)


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Time to Change the Game: Perspectives on Agency Relationship Management Challenges
November 8, 2012
Michael Farmer, chairman, Farmer & Company, LLC, shared his thoughts on the state of the client/agency relationship today.
Members Only Content
This content is available to ANA Members only. Please login below or create an account.
You may already be a member. Find out if your company is already an ANA member.


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Vintage-inspired black vegan leather moto jacket featuring a cropped fit and asymmetric zip pockets. Silver button detailing, buckled waist. Fully lined. Looks badass tossed over a vintage tee and cutoffs! By Nasty Gal.
*Shell: Synthetic Leather; Lining: 100% Polyester
*17.5"/44.5cm length
*Measurements taken from size small
*Model is wearing size small
*Wipe clean
Please use these size charts to help determine your size. Because sizing and cut will vary between brands, please use the charts as a general guide to compare the various size scales. If you have a specific sizing question or would like more information, please contact Customer Care.
Sizes listed are US, unless otherwise noted.
Height: 5'11.5"
Bust: 31 / Waist: 23 / Hips: 34
Guilty Pleasure: Hmm.. :)
Emoji That Describes You: All of them. LOL.
Style Icon: Coco Chanel
If you're not utterly obsessed with your recent purchase, it's now so easy to send it back! All US returns can be completed online using our fast, hassle-free system. Check out the links below for more details.
Opened makeup, earrings, ear cuffs and panties cannot be returned.


text: When Connor Barwin emerged in 2008/2009 he seemed like a relatively rarity. An uber-athletic kid with a basketball as well as a football background who had been switched positions in college and suddenly exploded on defense, leading the Big East in sacks. It seems like this kind of story is becoming more and more commonplace. Guys with cross-sports backgrounds and insane athleticism who move to football and develop quite rapidly. Guys who change positions in college (sometimes more than once), sometimes switching from offense to defense, finding the position that best suits both their frame and their personality. There are clearly guys who seem better mentality suited to playing on one side of the ball than the other, and who thrive once they change positions. Consider some recent examples: - Jason Pierre-Paul (2010): a 4 year letterman in basketball who only took up football after a leg injury. Thrived because of his exceptional length and athleticism, but was considered technically raw when drafted. Exploded as a pro, and is now the standard for pass rushing DEs. - Jimmy Graham (2010): basketball player with great size, athleticism and footwork who took up football. Very raw initially. Mike Mayock predicted it would take at least 2 years for him to start to make an impact. It obviously didn't. - Nate Solder (2011): former TE, outgrew the position and was moved to offensive tackle. Great footwork and agility for the position, insane athleticism. Is emerging as a top OT in his second year. - JJ Watt (2011): former TE, terrific athleticism. Switched to defense, was quite raw at first. Now is all world. - Richard Sherman (2011): former high school track and field star (hurdles, triple jump) as well as football. WR in college, was converted to CB as a junior, so was technically raw when he came out. Exploded as a pro. His athleticism, aggressiveness and background as a WR have all combined to make him one of the best coverage CBs in the NFL today, in only his second year. Consider some of the current college crop: - Dion Jordan, DE, Oregon:high school basketball player and WR, switched to TE and then to defense, where he has emerged as an explosive pass rusher who is fluid enough in space to play CB at times. Possible 1st round pick in 2013. - Ziggy Ansah, DE, BYU: Ghanese track athlete who had never played football until 3 years ago. Reportedly ran a 10.9 100 meter dash and 21.9 200 meter at 260 lbs. Has exploded this year, and is getting consideration as a possible 1st round pick. Plays OLB, DE and DT and 270+ lbs. - Ra'Shede Hageman, DT, Minnesota: highly recruited TE and basketball player out of high school, was switched to DE and then DT. Has emerged as a starter this year and has dominanted inside with 6.5 TFL and 5 sacks, now regularly requires double teams. Getting serious pro interest, considering declaring. - Nick Kasa, TE, Colorado: basketball player and 4 star recruit as a DE. Stagnated a bit, and got moved to as a junior TE, where he is thriving. Supposedly has 4.55 speed at 6'6" 260#. Was also a multiple track letterman in highschool where he was a sprinter despite playing DE, and reportedly ran a 11.1 100 meter dash and 23.7 200 meter. - Travis Kelce, TE, Cincinnati: former quarterback before being converted to TE. Also a basketball and track standout in high school, had trouble picking football over basketball. Now considered a fast rising draft prospect. - Reid Fragel, OT, Ohio St.: recruited to Ohio St. as a TE, also played basketball and participated in track in high school. How 6'8" and 305-310#, in his first year of playing RT for the undefeated Buckeyes. Michigan and Michigant St. both recruited Fragel, but wanted to convert him immediately to OT, and he was unwilling, otherwise he might be a much higher rated prospect by this time. - Kyle Long, OT, Oregon: former baseball pitcher who only converted to football last year. Still technically raw, combines massive size and athleticism. There are lots of others. I'm including kids who were either cross-sports late switches to football and/or positional switches. All were relatively late comes to their eventual positions, and all had to deal with either the technical challenges of a new sport/position and/or the challenges of a changing physical frame. Obviously, not all of these stories are the same, and not all kids develop at the same rate, or necessarily succeed. But it seems like there are scads of uber-athletic kids with cross sports backgrounds who either come to football late or who undergo positional switches and are late to pick up a position. All of these kids tend to be technically a bit behind their more experienced peers, but have superior athleticism. Those with the drive to succeed frequently seem to do so. Many of these kids are available fairly late in the draft process because their technical ability or control over their bodies hasn't yet matured. I'm guessing that we'll see more and more of colleges finding raw but ultra-athletic kids who don't have much football experience and/or have a cross-training experience, and will tinker more and more with moving players to different positions. TE seems to be a bit of a nexus in terms of size/athleticism. We've seen a lot of kids with TE backgrounds move to DE or to OT, and some kids with DE backgrounds move to TE. It seems like some of these kids may be good day 3 pickups for those patient enough to work on their fundamentals. JJ Watt, Jimmy Graham, Jason Pierre-Paul and Richard Sherman are good examples of how quickly these kind of athletes and can develop if they have enough drive to succeed. It might not be a bad draft strategy to target some of these kids, particularly those that are available day 2 or 3.


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TRAINING LEVEL: Basic
CLASS SIZE: Minimum: 1 Maximum: 1
NOTES:This training is provided to you at no cost by the National Highway Institute.
This training provides basic information on video conference training, or VCT, and tips on how to present information effectively during a VCT session. This training will also discuss some of the specific challenges in communicating at a distance using video conferencing and how to meet those challenges.
Upon completion of the course, participants will be able to:
This course is intended for instructors who will be delivering interactive video conference training to adult learners.
If you have questions about this NHI training, please contact NHI at
firstname.lastname@example.com or 877.558.6873.


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twenty one pilots: Blurryface Live premieres tonight on Palladia at 9/8c! Check your local listings and tune in!
|January 01, 2016
|December 31, 2015
Panic! At The Disco just released a new track 'Don't Threaten Me with a Good Time' off of their upcoming album Death Of A Bachelor - listen in the video above!
Pre-Order Death Of A Bachelor now on iTunes
|December 30, 2015
Vinyl Theatre released the official music video for 'Gold' earlier this month! This is the second official video from the band's debut album Electrogram.
During 2015, Vinyl Theatre helped celebrate the 10th anniversary of Panic! At The Disco's A Fever You Can't Sweat Out - with their own version of 'I Write Sins Not Tragedies' - you can check out the their take on the song HERE.
Vinyl Theatre also completed several tours across North America this year, including the Love Tap! Tour with Smallpools and the GRAVITY Tour with label mates Against The Current. They also made their network TV debut with a performance on MTV's Finding Carter - check out their appearance HERE!
Vinyl Theatre will start 2016 with a bang on The Ones To Watch Tour with Finish Ticket - get your tickets at VinylTheatre.com
|December 29, 2015
Happy Birthday to Mitchy Collins from Oh Honey! Send him your birthday wishes today on Twitter - tweet @mitchycollins
|December 28, 2015
'Victorious' is the third video released from Panic! At The Disco's upcoming album, Death Of A Bachelor and features several hilarious situations of victory, along with a cameo from MMA fighter, Joe Schilling.
Panic! At The Disco performed 'Victorious' during the Macy's Thanksgiving Day Parade. This song was also featured throughout the MLB playoffs, including the World Series.
You can see how the video came together in the behind-the-scenes clip HERE!
|December 28, 2015
The official video for Ghost Town's 'Loner' premiered with Billboard shortly after the release of the band's new album, Evolution. Directed by Raphael Chatelain, this video expresses a different perspective-- an anthem for the next generation.
Ghost Town recently concluded their fall headline tour in their hometown of Los Angeles, CA and will be back on the road this February in Europe with Simple Plan! Visit officialghosttown.com for dates & tickets!
|December 28, 2015
Just before Halloween 2015 Panic! At The Disco released the official video for their track 'Emperor's New Clothes' from their upcoming album Death Of A Bachelor. The video, directed by Daniel Cloud Campos has over 18 million views!
Go Beyond the Video and watch some behind the scenes footage HERE!
|December 25, 2015
Merry Christmas and Happy Holidays from Fueled By Ramen! Enjoy this wonderful cover of 'Jingle Bell Rock' by Oh Honey!
|December 24, 2015
Panic! At The Disco just released the official music video for the title track from their upcoming album Death Of A Bachelor. Watch it now in the video above!
Pre-order Death Of A Bachelor today on iTunes
|December 23, 2015
The Front Bottoms joined the Fueled By Ramen family this year with the release their video for 'HELP' along with the pre-order for their new album Back On Top over the summer. The band went on to sell out their headline tour in support of the new record - watch the video updates from the road HERE!
Check out The Front Bottoms' official videos for 'Laugh Till I Cry' and 'Summer Shandy' from the album Back On Top on YouTube as well!


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Manchester Stationary Leather Group - 2 pc.
About this item$99 Delivery
Practicality, transitional styling and comfort are rolled into one with this all leather collection. It offers superior support and comfort with the 8-way hand tied coil springs and down feather pillow top seating. The 8-way hand tied coil springs offer paralleled support and comfort. When each spring is tied to all neighboring springs they all work in unison to offer even support. It features expertly hand tufted backs and seats which offer softness and secure leather fit.
The double backs offer superior softness and less resistance adding to the level of comfort. Frames are constructed of a durable wood construction, which are blocked, stapled and glued further adding to the strength and durability of this collection. Superbly tailored in 100% leather in rich chocolate and accented with the dark finish showood legs, this group will add style and comfort to any family room environment.
- 100% Luxurious Leather
- Down feather pillow top seating for ultimate seating comfort
- 8-Way hand tied coil spring seating for superior support
- Durable wood frame construction
- Heavily padded outside arms and back
Assembled Country
Assembled Size
Component Country


text:
in shark bay in Australia, I heard that I can find a lot of dolphins. in addition, it's home town of various animals such as shark, birds and sea cow. I would like to visit there to see dolphins.
text and photo from wikipedia.
Shark Bay
Shark Bay is a World Heritage Site in the Gascoyne region of Western Australia. It is an area centred approximately on 25°30′S 113°30′E / 25.5°S 113.5°E / -25.5; 113.5Coordinates: 25°30′S 113°30′E / 25.5°S 113.5°E / -25.5; 113.5, 800 kilometres north of Perth, on the westernmost point of Australia. An expedition led by Dirk Hartog happened upon the area in 1616, becoming the second group of Europeans known to have visited Australia.[1] Shark Bay was named by William Dampier, in 1699.
The area has a population of fewer than 1,000 people and a coastline of over 1,500 kilometres. The half dozen small communities making up this population occupy less than 1% of the total area.


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Slayer, Pantera, Megadeth, Anthrax Members + More Rock Metal Masters 5 [Videos]
Last night (Jan. 22), metalheads were treated to the fifth installment of Metal Masters. Boasting a lineup of brilliant musicians, the 11 legendary players tore through 22 songs for a captivated Anaheim, Calif., audience. If you were unable to check out Metal Masters 5 in person, no worries! We've got some fan-filmed footage to share with you here.


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I got my annual CD from Turbotax the other day, and it got me thinking about, well, taxes. When you are pilot who flies for hire, there are a number of things to consider. If you are flying as an independent contractor, it's up to you to make estimated payments. If you are an employee, your employer will deduct your taxes from your paycheck.
As a pilot, you are entitled to deduct certain expenses from your income taxes. While this is not intended to be a tax-advice article, it can point you in the general direction.
The most important point is to document everything. If you have any reason at all to believe that a purchase you are making—be it an item or a service—might be deductible, you should keep your receipt and document what you have bought, when, and where. The IRS provides a fair amount of latitude, and some if it is common sense. As an instructor, the obvious items are things like new headsets, a new kneeboard, and similar items of the sort. The more complicated items are those that also can be used for personal reasons, such as cell phones. For the best advice, talk to a CPA or the local IRS office.
As with many jobs, you will learn that doing your taxes is not going to change much from year to year as far as business expenses and deductions are concerned. If you do your own taxes, you can save some money. In my opinion, it only pays to hire an expert if you are dealing with some complicated items; if you are married to someone who has a fairly high income; or if you have other income that needs to be addressed and accounted for, such as a rental property. It might also pay to have someone talk you through dealing with depreciation if you decide to purchase an aircraft for teaching.
As a general rule, if the item you buy is required for your work, you can likely deduct it. Certain professional organization memberships or periodicals might also apply. If it isn't required for work, think twice. Again, ask a professional for expert guidance.
Taxes are a hassle we must all deal with, but there are provisions in the tax code that professional pilots can take advantage of. Whether you are self-employed or work for Big Flying School Inc., you can reduce your tax bill legally and smartly, but it all starts with proper documentation and a paper trail….sort of like dealing with the FAA. Be diligent, be smart, and be thorough….just like dealing with the FAA!—Chip Wright


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|Version 2 (modified by shesek, 6 years ago) (diff)
Underscore_Wiki_Page automatic linking
Makes Trac transform the MediaWiki styled Underscore_Wiki_Page to a link automatically, as it does with CamelCaseWikiPage.
Bugs/Feature Requests
Existing bugs and feature requests for UnderscoreWikiPlugin are
here or nadav
humaninternals <dot> com.
If you have any issues, create a new ticket.
Download the zipped source from [download:underscorewikiplugin here].
You can check out UnderscoreWikiPlugin from here using Subversion, or browse the source with Trac.
This is just a one-file plugin. You can simply put the .py directly in your plugins directory.
This plugin has two configuration options that can be set under the [underscore-wiki] section of TracIni.
- ignore_missing_pages - Enable/disable highlighting Underscore_Wiki_Page links to missing pages. Defaults to false (not ignoring them, they'll be shown in grey with a question mark).
- uppercase_in_words - Enable/disable using upper case letters in places other than first character of every word. Only Foo_Bar is supported by default, setting this to true adds support for Foo_BAR, Foo_BaR, FOO_Bar, etc. Defaults to false.
[underscore-wiki] ignore_missing_pages = true uppercase_in_words = false
Transforms every Foo_Bar (at least two words, each word must start with an upper case letter) into a link to a wiki page.
Recent Changes
- 8441 by shesek on 2010-08-24 22:15:43
Uploading the initial version of UnderscoreWikiPlugin
- 8440 by shesek on 2010-08-24 22:01:28
New hack UnderscoreWikiPlugin, created by shesek


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Having a baby – whether it's your first child or your fourth – is so exciting! But it is not always easy. If your baby was born more than three weeks early, you may have more questions about your baby – and how he will grow – than a parent whose baby was born on time.
We have listed important milestones – or achievements – in a child's growth, so you know what to watch for at each age. For example, typical milestones for babies are: "makes eye contact and smiles" and "rolls from tummy onto back".
It is important to remember that development is not a race. Babies develop at their own speed and in their own way. Some children do not reach every milestone at the same time. This is especially true if they were born early.
Here's what to do: If your baby is 14 weeks old, but was born 6 weeks early, subtract 6 from 14. This gives you 8 weeks. Use this adjusted age when you look at the milestones sections.
By age 2, most children have caught up to the normal range, and you won't have to do this math. If your child has not caught up, he may require extra support for a longer period of time.
Watch for progress. The most important thing is to make sure your child is moving forward in his development. For example, your baby should progress from pulling himself up, to standing, and then to walking. Remember that children reach new milestones at different ages.
You will know your child better than anyone else. When you watch her carefully, you will see ways she is growing well.
You will also know if she needs more help. Remember, you do not have to do it alone. There are doctors, teachers and other people and information to support you. We hope this brochure gives you a good place to start.
The information below shows how young children typically develop. It is important to use your child's adjusted age when tracking his development. So, if your baby is 21 weeks old, but was born 5 weeks early, his adjusted age is 16 weeks (or 4 months). This means you should refer to the milestones listed under "at 4 months (16 weeks)" to see what your child should be doing at this age.
Activities of Daily Living
Ongoing Issues Your Child May Face
As premature babies get older, some of them may face ongoing physical problems (for example, asthma or cerebral palsy). They may also face developmental challenges (for example, difficulties paying attention or lack of motor control). This may be especially true for babies who were very small at birth.
Once your child reaches school age, it will be important for you to work closely with his teacher and other school staff to identify any areas of concern. They can also help you find the right resources for help. If the school does not have the resources necessary for your child, his teachers can help you find local groups or programs to help him do well in school. You are not alone – your child's teachers and healthcare providers are dedicated to helping you meet all of his health and educational needs.
Treat your doctor as your partner. Talk to him or her about any questions or concerns you have.
All babies will babble before they say real words. All babies will pull up to a stand before they walk. We are sure that babies will develop in these patterns. But babies can reach these stages in different ways and at different times. This is especially true if they were born prematurely. Take some time to think about your baby's development, and answer the questions below. Your answers will help you better understand your baby and how she is going to grow.