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>Runner's World - My Event Ratings>
In short: Fantastic Event. You'll return year after year!In full: Great day out. Great coast line. Great history. Great smell of kippers. Great organising. Great souvenir running top and much more. This is the benchmark for all other races.Date of review: July 24, 2015
In short: Great race from start to finish. Definately a must do race.Date of review: October 9, 2012
In short: This race has it all!In full: Alnwick Harriers - you should be ashamed of yourselves. Not only do you provide great views, cliff top trails, castles, wildlife, fishing villages but some of the best beaches in the country. Combine this with great weather, organisation, marshalling, T shirts, etc. etc.How can any other Club / Race compete with this. It's unfair!!!!Date of review: July 15, 2009
In short: Need a serious inquiry into the water provision from 14 - 22m!!!In full: This was my first marathon. Should have been well under 4 hours but accept, due to the heat was not on. Had to walk from 14 - 22m because the water stations were 'dry'. Seeing fellow runners dropping by the road side was disturbing but having marshalls & first aiders screaming at us to give them water to help distressed runners was unbelievable. We could, we hadn't had any for miles. The sight of fellow runners scavenging among discarded bottles trying to find a few drips was disgraceful. Please have an enquiry into this - it must NEVER happen again.Hope everyone survived.Date of review: June 1, 2009
In short: Much tougher than expected. More than just a bridge.In full: Certainly a different start to most races and lining up in order of times might help the first mile bunching. Going over the bridge south was the best, I was to tired returning to appreciate the views. Well marshalled, lots of drinks stations and we needed them, it was hot. Oh, by the way, this run was sold as mildy undulating. There were some tough hill to negotiate. I was no where near my pb. Nice touch at the end when organisers handed out bottles of water as you passed the finish line, I needed mine badly. All in all, well worth the trip. I would do it again but perhaps not next year.Thanks for a good day out!Date of review: June 30, 2008
In short: Had a terrific day. Well organised & friendly. Pencil this race in your diary for next year.Date of review: May 17, 2008
In short: Well organised and good support. Good start & finish areas. Nice tee shirt, In full: Odd starting loop with the poor wheelchair guys fighting to get through as they started 10mins quicker. Some long boring straights to cope with, sea front not the prettiest but the course is good & flat and achieved my pb. Well organised & policed and plenty of support. Thanks Redcar, I will return one day.Date of review: April 21, 2008
In short: Give a go - its well worth the trip.In full: Once off the main road, which was rather busy, the run was very enjoyable. There were a couple of slight inclines but for those who train on hills, nothing to speak of. The water station at 7m didnt worry me as I carried liquid from the start. There was a very fast finish - I was over the line before I realised and had to be stopped by organisers. Marshalls were very good & encouraging. On the whole, well organised, well run, well done!Date of review: November 19, 2007
In short: Don't ask - just enter next year - you won't be disappointed.Date of review: November 6, 2007
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John Lewis Luxury Egyptian Cotton Satin Stitch Bedding
Product information
These satin stitch duvet covers are made from 100% fine Egyptian cotton percale sourced from the Nile delta, an area famous for producing cotton of exceptional quality. The long staple cotton has been woven into a 200 thread count fine percale, providing a smooth fabric with a luxuriously soft feel.
An easy-care finish has been applied which requires minimum ironing and will help you look after your bed linen wash after wash.
- Single (90cm bed) 135 x 200cm
- Double (135cm bed) 200 x 200cm
- Kingsize (150cm bed) 230cm x 220cm
- Super Kingsize (180cm bed) 260 x 220cm
Luxury Egyptian Cotton
Renowned for its softness, strength and durability, our Egyptian cotton is grown on the rich land of the Nile delta.
Featuring an extra long staple that creates a gloriously smooth and soft handle, we have used this yarn to create our Luxury Egyptian Cotton range of luxurious and high quality bed linen.
Crafted in a plain percale weave, the collection requires mininal ironing and is easy to care for, keeping you cool in the summer and warm in the winter.
Have you thought about sheeting? Shop here.
- Brand
John Lewis
- Duvet Cover Style
- Plain
- Duvet Cover Type
- Duvet cover
- Eligible for International Delivery
- Ironing instructions
- Warm iron
- Material
- 100% Egyptian cotton
- Pillowcases included?
- Pillowcases not included
- Thread count Information This number refers to the density of threads per square inch. Typically, the higher the thread count, the finer and smoother the fabric will be against the skin.
- 200
- Tumble Dry
- Yes, at low temperature
- Type
- Bedding
- Washing Instructions
- Machine washable at 40°C
Click & collect
- Click & collect from John Lewis and Waitrose shops tomorrow from 2pm
- £2.00
- Collect + from a local shop from tomorrow, postcode exclusions apply
- £3.50
UK delivery
- Standard delivery within 5 working days
- £3.50
- Named or Saturday UK delivery
- £6.95
- Named day UK delivery pre-10.30am
- £9.95
International delivery
- Europe (EU)
- £7.50
- Europe (Non EU)
- £7.50
- Australia
- £10.00
- Rest of World
- £10.00
We want you to be happy with your purchase. If you're not, depending on the type of product, you can make free returns in the UK via John Lewis shops, Royal Mail, Collect+, or MyHermes. If you need to arrange collection of large or heavy items, call us on 03456 049 049. For international returns queries, call us on +44 1698 545 454. Find out more about returns.
You'll find returns information on your delivery note. Unless faulty, we'd like you to make your return within 90 days of purchase. Exceptions apply to certain products - find out more about our refund policy.
Q & As
Choose the best bed linen and buy a good night's sleep too
UK delivery£3.50
Standard delivery within 5 working days
Click & collect£2.00
Click & collect from John Lewis and Waitrose shops tomorrow from 2pm
Collect+ from a local shop from tomorrow
International delivery availableFrom £7.50

subset: commoncrawl


text:
Abu Dhabi offre ottima cucina, splendide spiagge e avventure nel deserto.
Ensure your next holiday is extra special by talking to one of our Middle East travel specialists.
Bookings made over the telephone incur a £10 booking fee per person.
Pianifichi e prenoti la sua vacanza con British Airways, online o al telefono. Usufruisca di tutti questi vantaggi:
Abu Dhabi offre ottima cucina, splendide spiagge e avventure nel deserto.
Si lasci scaldare dal sole tutto l'anno e scopra la fantastica ospitalità araba in una vacanza ad Abu Dhabi.
Stay at one the world's finest hotels for an unforgettable luxury holiday in Abu Dhabi.
Book a great value hotel with flights and save on cheap holidays to Abu Dhabi.
Whether you seek relaxation, culture, great shopping or exciting family attractions – discover all of this and more on Abu Dhabi holidays. The United Arab Emirates city offers a captivating blend of the modern and historic, with year-round sunshine and superb Arabian hospitality.
Unwind on a pristine beach or treat yourself to lavish spa pampering on holidays to Abu Dhabi. Spend cultural breaks taking in awe-inspiring sights such as the Sheikh Zayed Grand Mosque and historic Al Jahili Fort. Shop at glittering malls and atmospheric souks, or enjoy memorable family days out at world-class attractions. Stay at one of our internationally-renowned luxury hotels for an unforgettable holiday.
Noleggi un'auto di fascia Economy per una indimenticabile vacanza "on the road".Selezionare auto
Effettui l'upgrade a un'auto di fascia Intermediate per la sua vacanza Fly & Drive.Selezionare auto
Noleggi una monovolume, ideale per gruppi con numerosi bagagli.Selezionare auto
Explore Abu Dhabi at your own pace, with a 24-hour hop-on hop-off bus ticket. Take in all the essential sights, from the dazzling white marble of the Sheikh Zayed Grand Mosque and the cultural district of Saadiyat Island, to the Bedouin history of the Heritage Village. Included with your ticket is a shuttle bus to Yas Island, home to the thrilling theme park Ferrari World. Also included is entry to the spectacular Sky Tower viewing platform at the Marina Mall.
Discover the famous historic sights and glittering modern landmarks of Dubai City on this guided tour. Photograph the iconic, sail-shaped Burj Al Arab hotel before continuing to upmarket Jumeira and its stunning Mosque. Your next stop is Dubai's atmospheric old quarter, Al Bastikaya, where you'll visit historic Al Fahidi Fort then step into a traditional water taxi for a ride across Dubai Creek. Finally, soak up the sights and scents of Dubai's legendary souks, with free time for shopping.
Enjoy a spectacular aerial view of Abu Dhabi and the Arabian Gulf on this exhilarating Seaplane Flight. Take in the city's sights and stunning surroundings as you soar at an elevation of several hundred feet. Your pilot will point out the F1 Grand Prix circuit on Yas Island and the world's largest theme park, Ferrari World. Look down at the pristine Corniche Road, admire the curved arches of the Zayed Bridge and get uninterrupted views of the turquoise Arabian Gulf.


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TRAINING LEVEL: Basic
CLASS SIZE: Minimum: 20 Maximum: 30
Public involvement is much more than public hearings. It involves creative thinking as well as the willingness and ability to interact openly and sensitively to the public's preferred forms of communication and participation. Public involvement is about reaching out to and involving the public in transportation decisionmaking. The public should have a role in every phase of decisionmaking, including the design of the participation plan itself. Successful public involvement addresses the public's procedural, psychological, and substantive needs while gathering useful information. By focusing on interests--rather than positions--public involvement can become more meaningful as well as useful.
Upon completion of the course, participants will be able to:
Federal, State, and local transportation agency staff, metropolitan planning organization personnel, transit operators, consultants, and others who are responsible for planning, implementing, or participating in any phase of the public involvement process.
If you have questions about this NHI training, please contact NHI at
firstname.lastname@example.com or 877.558.6873.
Sign up for session alerts
to receive email alerts when sessions of this course are scheduled.
The National Highway Institute (NHI) has been accredited as an Accredited Provider
by the International Association for Continuing Education and Training (IACET).
In obtaining this accreditation, NHI has demonstrated that it complies with the
ANSI/IACET Standard which is recognized internationally as a standard of good practice.
As a result of their Accredited Provider status, NHI is authorized to offer IACET CEUs
for its programs that qualify under the ANSI/IACET Standard.


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Lynch, David
David Lynch 1946-
(Full name David Keith Lynch) American director and screenwriter.
The following entry presents criticism on Lynch's career through 2002. For further information on his life and works, see CLC, Volume 66.
Regarded as one of the most creative and unusual filmmakers of his generation, Lynch has earned a reputation for confronting audiences with his distinctive personal vision, showing physical and psychological deformity with unsettling frankness. His works often focus upon innocent, alienated, or obsessive individuals who reflect either his own personality or those of characters drawn from American popular culture and cinema. By emphasizing protagonists entangled in sinister situations beyond their control, Lynch explores the unpleasant and grotesque realities hidden beneath the placid surface of everyday existence. He adopts an intuitive, surrealist approach to present viewers with images suggestive of sex, birth, and death—including womblike settings, phallic symbols, and mutilated bodies—while avoiding overt explanation. His best known works include Eraserhead (1977), Blue Velvet (1986), and the critically acclaimed television series Twin Peaks (1990-91).
Biographical Information
Lynch was born January 20, 1946, in Missoula, Montana. His father was a scientist who worked in the United States Department of Agriculture, conducting forestry research. When he was fifteen, Lynch moved with his family to Alexandria, Virginia, where he attended the Corcoran School of Art in Washington, D.C., and the Boston Museum School. From 1965 to 1969, he attended the Pennsylvania Academy of Fine Arts in Philadelphia. While studying in Philadelphia, Lynch made his first film, Six Men Getting Sick (1966), a repeating loop in which the heads of six different figures vomit and then burst into flames. Lynch was later awarded a $5,000 grant from the American Film Institute that enabled him to produce a half-hour film, The Grandmother (1970), which combined animation with live action. The Grandmother received several awards at film festivals, including the special jury prize from the Avoriaz Fantastic Film Festival. In 1970 Lynch enrolled in the Center for Advanced Studies of the American Film Institute in Beverly Hills, California. During this period, he began work on his first feature-length film, Eraserhead. The film was funded primarily by the American Film Institute and actress Sissy Spacek and took five years to produce. To support himself while filming, Lynch held a variety of jobs, including delivering newspapers, and often lived on the set of the film. Eraserhead became a cult success after its release and Lynch was hired to direct his first major Hollywood production, The Elephant Man (1980). The Elephant Man received widespread critical acclaim and was nominated for eight Academy Awards, including best director, best picture, and best adapted screenplay. The British Film Academy awarded The Elephant Man a British Academy Award for best film in 1980. Lynch was nominated for an Academy Award for best director for Blue Velvet in 1987. His 1990 film Wild at Heart received the Palme d'Or award at the Cannes Film Festival. Lynch's film Mulholland Drive (2001) earned him an Academy Award nomination for best director and won him the best director award at the Cannes Film Festival. Among his other projects, Lynch and Angelo Badalamenti co-wrote Industrial Symphony No. 1, an experimental theater piece that was released on videotape in 1990. In addition, Lynch's still photography and mixed-media artwork have been exhibited in major cities and collected in the book Images (1994). Lynch has also composed the lyrics for a number of the songs used in his films and has appeared as an actor in several productions, most notably as the recurring character Gordon Cole in Twin Peaks.
Major Works
Lynch's first feature-length film, Eraserhead is shot in murky, black-and-white tones and is set in an industrial wasteland. The film revolves around Henry, a modern Everyman who agrees to wed his girlfriend, Mary, when he discovers she has become pregnant. Their baby, born prematurely, is a squalling, alien creature resembling a skinless animal, its organs bundled together by strips of bandages. Mary, unable to withstand the constant crying of the infant-creature, abandons Henry, leaving him to care for their offspring on his own. In desperation, Henry cuts open the bandages in which the baby is wrapped and the child explodes like a bomb. Henry then retreats back to his apartment and loses himself in the comforting world he imagines behind his radiator. The Elephant Man is set largely in Victorian London and is based on the true story of John Merrick, a victim of what is today believed to have been neurofibromatosis, a rare disease of the central nervous system that causes the formation of thick, fibrous tissue beneath its victim's skin. In the film, a physician named Frederick Treves discovers John Merrick in a traveling side-show of "freaks." Treves rescues Merrick from his squalid conditions and presents him as a medical anomaly before an audience of physicians. Treves befriends Merrick and is amazed at how intelligent, gentle, and utterly lacking in bitterness Merrick is, despite his physical deformities. In 1984 Lynch directed Dune, an expensive Hollywood epic based on the best-selling science fiction novel by Frank Herbert. The story is set on a barren desert planet where a precious spice known as "mélange" is the source of an interplanetary war. Lynch's next film, Blue Velvet, is considered to be his masterpiece by several critics. The film is a modern day film noir, set in the Northwestern town of Lumberton. Blue Velvet focuses on Jeffrey Beaumont, a young college student who returns home to care for his ailing father and finds a severed ear in a vacant lot near his house. He begins investigating where the ear could have come from and is eventually led to Frank Booth, a sadistic drug dealer who has kidnapped the husband and son of a local nightclub singer named Dorothy Valens, in order to force Dorothy to perform bizarre and fetishistic sexual acts. Jeffrey becomes Dorothy's sympathetic lover, but one night he ambivalently indulges her masochistic desire to be hit; following a brutal confrontation with Frank, he is forced to acknowledge his own guilt for victimizing Dorothy. Wild at Heart is a black comedy road movie based on the novel by Barry Gifford. The film revolves around Lula, a sexually aggressive young woman whose mother orders the contract killing of her boyfriend, Sailor, because he may have witnessed the murder of Lula's father. Sailor, who strives to look, sing, and behave like singer Elvis Presley, decides to violate his parole and flee to California with Lula. The film features a wealth of imagery from the film The Wizard of Oz, including a scene where Lula's mother appears as the Wicked Witch of the West, riding her broomstick alongside the road.
After spending almost three decades as a professional filmmaker, Lynch chose to work in television in 1990 and—in collaboration with Mark Frost— created a thirty-part television series called Twin Peaks. Lynch wrote and directed several episodes of the series and served as a producer and creative consultant throughout the show's run. Named for its small-town setting, Twin Peaks makes use of multiple characters involved in continuous betrayals, secrets, mysteries, and conspiracies. Early episodes focus upon the efforts of Special Agent Dale Cooper, an eccentric boyish hero sent to Twin Peaks by the Federal Bureau of Investigations, to aid local law enforcement in locating the murderer of Laura Palmer, a popular homecoming queen with a suspicious past. Adultery, drugs, mystic visions, and the supernatural all figure into the serial narrative, which also features puns and non sequiturs, situation comedy, and a cast of eccentric characters, including the Log Lady, a widow who talks to a seemingly prescient log she carries with her. The series was cancelled after two seasons, but Lynch continued the Laura Palmer mystery in his feature-film, Twin Peaks: Fire Walk with Me (1992). Lynch's next film, Lost Highway (1997), once again shows the influence of the film noir genre. The film has been noted for its rejection of conventional storytelling techniques, as evidenced by the protagonist metamorphosing into another character halfway through the film. In the first half of Lost Highway, Fred Madison, a saxophone player, finds a videotape that implicates him in the murder of his wife. Fred attempts to solve the crime but is eventually apprehended by the police as their prime suspect. While in jail, Fred "changes" into Pete Dayton, a young auto mechanic who is having an affair with the girlfriend of a gangster. The Straight Story (1999) represents a radical departure in style for Lynch. The film has a traditional linear narrative, there is no sexual or surrealistic imagery, and the film received a "G" rating from the Motion Picture Association of America—a rating typically reserved for children's films. The Straight Story is based on the true story of Alvin Straight, an Iowa man in his seventies. Alvin learns that his long-estranged brother is dying and decides to visit him to repair their relationship. Because Alvin cannot drive a car, he decides to drive his riding lawnmower over three hundred miles to his brother's home in Wisconsin. During his trip, which takes several weeks, Alvin encounters a variety of Midwestern characters, most of whom are eager to aid him in his journey. Marking a return to Lynch's signature film style, Mulholland Drive was originally produced as a pilot for a television series. After the network rejected the pilot, Lynch obtained funding to add another forty-five minutes to the original version and released it as a feature film. The plot of the film—named after a hilltop road that runs through Los Angeles—follows a young woman who survives a violent car crash but loses her memory. She eventually takes the name Rita, after actress Rita Hayworth in the film Gilda. Rita meets Betty, a young woman from Canada who has come to Los Angeles with the hope of becoming a film star. Together, Rita and Betty attempt to solve the mystery of Rita's true identity. The plot of Mulholland Drive is narrated as a dream which deviates from conventional expectations of narrative coherence and plot resolution. Like Lost Highway, Mulholland Drive features characters who switch identities or assume double identities throughout the film.
Critical Reception
Though Eraserhead opened to scathing reviews and ambivalent audiences, it eventually became a cult favorite and critics have compared it to the surrealist films of Luis Buñuel, most notably Un Chien Andalou. Reviewers have been divided on Lynch's cinematic treatment of John Merrick's physical deformities in The Elephant Man. While some critics have commended the emotional elements of Merrick's story, others have criticized Lynch for exploiting the sensational elements of his subject matter. Dune was both a critical and commercial failure—a number of reviewers have criticized the length and lack of suspense in the film. Opening to critical acclaim and box-office success, Blue Velvet has been praised by several critics as Lynch's best film to date. Critics have admired the film's bold neo-noir cinematic style, especially its use of highly saturated colors to create a surreal atmosphere. Blue Velvet has been considered to be highly controversial by some, due to its graphic display of sex and violence towards women. Commentators have debated whether Lynch's portrayal of sexual violence was gratuitous and exploitative or intentionally shocking in order to provide an alternative perspective to the emotionally distant violence portrayed in many mainstream films. Twin Peaks has received widespread critical acclaim and held a large audience during its first season. Reviewers have praised the series' effective combination of a conventional detective story with quirky humor and pathos. Feminist critics have debated whether Lynch's treatment of Laura Palmer's sexual abuse exploited women or expressed a feminist perspective on family violence. Much of the critical response to Lost Highway has revolved around its unconventional narrative structure and the inexplicable transformation of the central protagonist halfway through the film. Critics have variously defended Lost Highway, with some arguing that the film's narrative is based on a dreamlike framework. The Straight Story has received a mixed critical response with some reviewers complaining that the film was too blandly sweet and sentimental. A number of critics have disagreed with this assessment and have praised Lynch for constructing his most fully realized and skillfully constructed narrative yet. Commentators have often compared Mulholland Drive to Lost Highway, noting that both films are structured around dreamlike sequences and recurring visual motifs rather than following a traditional storyline. Many critics have found the absence of closure in Mulholland Drive to be disappointing, revealing an overall lack of meaning and substance in the film.
Principal Works
Six Men Getting Sick [director] (short film) 1966
The Alphabet [screenwriter and director] (short film) 1968
The Grandmother [screenwriter and director] (short film) 1970
Eraserhead [screenwriter and director] (film) 1977
The Elephant Man [screenwriter with Eric Bergren and Christopher DeVore; director] (film) 1980
*Dune [screenwriter and director] (film) 1984
Blue Velvet [screenwriter and director] (film) 1986
The Cowboy and the Frenchman [screenwriter and director] (short film) 1989
†Twin Peaks (television...
(The entire section is 155 words.)
Charles Champlin (review date 28 September 1980)
SOURCE: Champlin, Charles. "Portrait of the Monster as a Human Being." Los Angeles Times (28 September 1980): 34.
[In the following review, Champlin argues that The Elephant Man presents a story of human compassion and avoids the subject's potential for exploitation.]
"There stood revealed," Sir Frederick Treves wrote later, "the most disgusting specimen of humanity that I have, ever seen … From the brow there projected a huge bony mass like a loaf, while from the back of the head hung a bag of spongy, fungous-looking skin. …"
Another bony mass protruded from his mouth like a half-swallowed stake, making speech almost...
(The entire section is 1581 words.)
David Sterritt (review date 9 October 1980)
SOURCE: Sterritt, David. "Undaunted Moral Strength—The Elephant Man's Story." Christian Science Monitor 72, no. 223 (9 October 1980): 18.
[In the following review, Sterritt praises Lynch for his bold cinematic style in The Elephant Man, observing that the film expresses faith in "the ultimate goodness of mankind."]
The story of The Elephant Man has become a modern myth. Books have been written about him, he is the subject of a long-running Broadway hit, and now a new movie [The Elephant Man] tells his history.
Does all this interest amount to a positive sign of the times? I think so. Despite the sad underpinnings of the tale,...
(The entire section is 1577 words.)
John Coleman (review date 10 October 1980)
SOURCE: Coleman, John. "Monstrous." New Statesman 100, no. 2586 (10 October 1980): 25-6.
[In the following review, Coleman characterizes The Elephant Man as a sensational film that exploits the "horror film potential" of its subject matter.]
It was David Lynch who made the squalid and diseased fantasy Eraserhead in 1976 and the first difficulty in dealing candidly with his The Elephant Man is exactly that knowledge. Had I seen the new film unascribed would I have felt the same initial unease, verging on queasiness, during its portentous opening sequences, which offer trumpeting pachyderms on the move, a woman's face, a form of mushroom...
(The entire section is 612 words.)
Henry Baker (review date spring 1981)
SOURCE: Baker, Henry. Review of The Elephant Man, by David Lynch. Cineaste 11, no. 2 (spring 1981): 28-9.
[In the following review, Baker praises The Elephant Man as "a grim fairy tale," applauding the film's black-and-white cinematography and the visual depth of its subject matter.]
David Lynch's extraordinary film, The Elephant Man, begins with a dream vision of a beautiful woman, and then plunges us into a nightmare—the loud, steady beats of elephant feet, the approach of the herd, and the woman, struck down by one of them, writhing in pain. The sequence ends with a rising cloud of vapor and the sound of a baby crying. Lynch conjures up a...
(The entire section is 1723 words.)
Michael Wilmington (review date 14 December 1984)
SOURCE: Wilmington, Michael. "Dune Is Slow Going but Apt to Stick in the Mind." Los Angeles Times (14 December 1984): section 6, p. 8.
[In the following review, Wilmington assesses Lynch's use of dark, obsessive, and bizarre visual imagery in Dune, noting that the film as a whole is not necessarily successful.]
The multimillion-dollar adaptation of Frank Herbert's best-selling science-fiction novel, Dune with its evocative and densely detailed vision of a desert planet where mammoth worms capable of swallowing whole express trains burrow through the sand, is one of the year's most peculiar films. It's cold, strange and remote. It's lit in such...
(The entire section is 763 words.)
Tom O'Brien (review date 11 January 1985)
SOURCE: O'Brien, Tom. Review of Dune, by David Lynch. Commonweal 112, no. 1 (11 January 1985): 18.
[In the following excerpt, O'Brien criticizes Dune, describing the film as unoriginal and meaningless.]
Dune and Starman—two … big budget sci-fi films—provide major disappointments. Dune is pseudo-inventive; despite all its arcana it is basically nothing more than an old shoot-'em-up-plus-adolescent-rite-of-passage in outer space. Of course I must confess a prejudice: Dune is faithful to its source, Frank Herbert's 1965 "classic" novel that became a big hit in some quarters, a book I detested for its freakish...
(The entire section is 338 words.)
Lynda K. Bundtzen (essay date autumn 1988)
SOURCE: Bundtzen, Lynda K. "'Don't Look at Me!': Woman's Body, Woman's Voice in Blue Velvet." Western Humanities Review 42, no. 3 (autumn 1988): 187-203.
[In the following essay, Bundtzen examines Blue Velvet from a feminist and psychoanalytic perspective, challenging some of the methodologies' assumptions.]
… woman as representation signifies castration, inducing voyeuristic or fetishistic mechanisms to circumvent her threat. None of these interacting layers is intrinsic to film, but it is only in the film form that they can reach a perfect and beautiful contradiction, thanks to the possibility in the cinema of shifting the...
(The entire section is 8696 words.)
Devin McKinney (essay date winter 1991-1992)
SOURCE: McKinney, Devin. Review of Wild at Heart, by David Lynch. Film Quarterly 45, no. 2 (winter 1991-1992): 41-6.
[In the following essay, McKinney discusses the excesses and graphic violence of Wild at Heart, contending that Lynch intentionally subordinated conventional narrative expectations to the power of recurring visual motifs.]
Apparently, no one ever instructed David Lynch in the rules that govern what a work of art should be—the forms it should take, the boundaries it should honor—let alone the accepted truisms on what a modern audience expects in return for its admission. But through a serendipitous (and fairly mystifying) configuration...
(The entire section is 3433 words.)
Jonathan Romney (review date 20 November 1992)
SOURCE: Romney, Jonathan. "Nothing to Declare." New Statesman & Society 5, no. 229 (20 November 1992): 33-4.
[In the following excerpt, Romney criticizes Twin Peaks: Fire Walk with Me as having nothing new or original to offer its audience.]
David Lynch's long-awaited Twin Peaks film would have provided the ideal opportunity to mull over, for one last time, cinema's obsession with America's dark underbelly. The Twin Peaks TV series was the last word in the suburban surreal, which had already received its definitive expression in Blue Velvet. But that once-disturbing genre has become so thoroughly domesticated that it now provides the...
(The entire section is 644 words.)
Martha Nochimson (essay date winter 1992-1993)
SOURCE: Nochimson, Martha. "Desire under the Douglas Firs: Entering the Body of Reality in Twin Peaks." Film Quarterly 46, no. 2 (winter 1992-1993): 22-34.
[In the following essay, Nochimson discusses the character of Agent Cooper in Twin Peaks, asserting that Cooper represents a new kind of movie and television detective.]
The dazzled affection that Dale Cooper, hero of Twin Peaks, inspired in a large television spectatorship can only partly be explained by the appeal of actor Kyle MacLachlan. Nor can it be ascribed merely to the time-tested popularity of the detective figure; on the contrary, Cooper lays waste to a multitude of film and...
(The entire section is 7670 words.)
Greg Olson (essay date May-June 1993)
SOURCE: "Heaven Knows, Mr. Lynch: Beatitudes from the Deacon of Distress." Film Comment 29, no. 3 (May-June 1993): 43-6.
[In the following essay, Olson discusses Lynch's spiritual vision in Twin Peaks: Fire Walk with Me.]
A few minutes into David Lynch's Twin Peaks: Fire Walk with Me, loud-talking, dual hearing aid-wearing FBI chief Gordon Cole, played by the director himself, gives Agent Chet Desmond (Chris Isaak) and his assistant Stanley (Kiefer Sutherland) a briefing on their new case. Cole doesn't verbalize information to Desmond—he has him stare at Lil, a gawky, pinch-faced woman in a red dress who makes odd, dancelike motions. Without explanation,...
(The entire section is 2707 words.)
Randi Davenport (essay date October 1993)
SOURCE: Davenport, Randi. "The Knowing Spectator of Twin Peaks: Culture, Feminism, and Family Violence." Literature Film Quarterly 21, no. 4 (October 1993): 255-59.
[In the following essay, Davenport discusses the representations of sexual abuse and violence against women in the television series Twin Peaks, arguing that Lynch's portrayal of family violence reflects a feminist bias.]
Twin Peaks is unusual in that it participates in recent public conversations about the effects of child sexual abuse, the victimization of the daughter, and the culpability of the adult male aggressor. I would like to suggest that in its exploration of the behavior...
(The entire section is 2363 words.)
Lenora Ledwon (essay date October 1993)
SOURCE: Ledwon, Lenora. "Twin Peaks and the Television Gothic." Literature Film Quarterly 21, no. 4 (October 1993): 260-70.
[In the following essay, Ledwon examines Lynch's use of and innovations on conventional Gothic themes and motifs in Twin Peaks.]
I am inhabited by a cry. Nightly it flaps out Looking, with its hooks, for something to love.
Sylvia Plath, "Elm"
The twentieth century has proven congenial to the Gothic. Gothic literature and film attest to the continuing vitality of the genre. Examples of today's popular Gothic include such works as Stephen King's The Shining with its Gothicized haunted hotel,...
(The entire section is 6646 words.)
Nicholas Birns (essay date October 1993)
SOURCE: Birns, Nicholas. "Telling Inside from Outside, or, Who Really Killed Laura Palmer." Literature Film Quarterly 21, no. 4 (October 1993): 277-86.
[In the following essay, Birns asserts that the television series Twin Peaks combines postmodern elements of self-referentiality with Romantic elements of heightened emotional affect.]
The question of "Who Killed Laura Palmer?" received its determinate answer on November 10, 1990. But this does not mean that the question has been fully decided. Indeed, much of the force and interest of the mystery in the first place proceeded from the inherently undecidable fashion in which the series posed the...
(The entire section is 6277 words.)
Kenneth C. Kaleta (essay date 1993)
SOURCE: Kaleta, Kenneth C. "Early Lynch—Eraserhead." In David Lynch, pp. 1-30. New York: Twayne, 1993.
[In the following essay, Kaleta discusses the themes, style, and main metaphors of Lynch's early short films that culminate with his first feature-length film Eraserhead.]
Suppose yourself in a large cinema, sitting at first in the back row, and gradually moving up … until your nose is almost pressed against the screen. Gradually the stars' faces dissolve into dancing grain; tiny details assume grotesque proportions … it becomes clear that the illusion itself is reality.
—Salman Rushdie...
(The entire section is 11944 words.)
Cyndy Hendershot (essay date 1995)
SOURCE: Hendershot, Cyndy. "Postmodern Allegory and David Lynch's Wild at Heart." Critical Arts 9, no. 1 (1995): 5-20.
[In the following essay, Hendershot defines postmodern allegory within the context of Wild at Heart.]
In Postmodernist Fiction Brian McHale discusses the resurgence of the allegorical mode in the postmodern era, a resurgence in both critical analysis of the mode and artistic practice of it1. Maureen Quilligan sees the postmodern and allegorical linked so closely as to assert that "we seem in the last quarter of the twentieth century to have reentered an allegorical age"2. Many critics see postmodern allegory...
(The entire section is 5727 words.)
Diana Hume George (essay date 1995)
SOURCE: George, Diana Hume. "Lynching Women: A Feminist Reading of Twin Peaks." In Full of Secrets: Critical Approaches to Twin Peaks, edited by David Lavery, pp. 109-19. Detroit: Wayne State University Press, 1995.
[In the following essay, George provides a feminist analysis of the representation of violence against women in the television series Twin Peaks.]
Should I call this a double-breasted approach? Laura Palmer had a double, so that's at least four breasts, but the show fairly crawled with creepy sex and grand tetons. They didn't eat with forks—the brothers with the yuppie ice cream names were devotees of primary process. Everything longer than it...
(The entire section is 5168 words.)
David Lynch and Psychology Today (interview date March-April 1997)
SOURCE: Lynch, David, and Psychology Today. "Naked Lynch." Psychology Today 30, no. 2 (March-April 1997): 29-33, 74.
[In the following interview, Lynch discusses Lost Highway and his creative process.]
Famous for evoking the eerie undertow of everyday life, David Lynch—the director whose films include Eraserhead, Blue Velvet, Wild at Heart and who created the television show Twin Peaks—fearlessly projects his own psyche onto the screen. But the man with the eccentric sensibility says we shouldn't read anything into the fact that in his latest effort, Lost Highway, he takes on the meaning of identity....
(The entire section is 2419 words.)
Marina Warner (review date August 1997)
SOURCE: Warner, Marina. "Voodoo Road." Sight and Sound 7, no. 8 (August 1997): 6, 8, 10.
[In the following review, Warner examines the doppelgänger motif of Lost Highway as a metaphor for identity crisis in the modern world, but concludes that Lynch's treatment of this theme is ultimately lacking in substance.]
The plot of Lost Highway binds time's arrow into time's loop, forcing Euclidian space into Einsteinian curves where events lapse and pulse at different rates and everything might return eternally. Its first and last shots are the same—the yellow markings of a straight desert road familiar from a thousand movies scrolling down as the camera...
(The entire section is 2916 words.)
Kim Newman (review date September 1997)
SOURCE: Newman, Kim. Review of Lost Highway, by David Lynch. Sight and Sound 7, no. 9 (September 1997): 48-9.
[In the following review, Newman assesses Lost Highway as a "noir horror film."]
Los Angeles. Saxophonist Fred Madison discovers on his doorstep a videocassette of his house, shot from the outside. The next day, another videocassette includes footage of a track through his home, showing Fred asleep with his brunette wife Renee. The Madisons call the police, who have no explanation. Renee takes Fred to a party thrown by Andy, a shady character, and Fred is accosted by a mystery man, whose face he has glimpsed in the shadows. The mystery man...
(The entire section is 1437 words.)
Eric Bryant Rhodes (review date spring 1998)
SOURCE: Rhodes, Eric Bryant. Review of Lost Highway, by David Lynch. Film Quarterly 51, no. 3 (spring 1998): 57-61.
[In the following review, Rhodes asserts that Lost Highway's narrative is based on a theme-and-variation structure in which recurrent visual and thematic motifs take precedence over conventional narrative coherence.]
The ever quotable pop artist and underground filmmaker Andy Warhol reportedly stated that films are "better talked about than seen." With his latest film adventure, Lost Highway, David Lynch has given audiences a complex and perplexing story to ponder and some astonishingly brilliant images to enjoy. Yet the majority...
(The entire section is 3250 words.)
David Sterritt (review date 15 October 1999)
SOURCE: Sterritt, David. "David Lynch Plays It Straight." Christian Science Monitor (15 October 1999): 15.
[In the following review, Sterritt comments on the dark undertones beneath the superficial sweetness of The Straight Story.]
Starting today, the biggest surprise of this year's Cannes film festival will be stirring up talk in theaters. David Lynch, known for ultraviolent movies like Blue Velvet and surreal TV fare like Twin Peaks, has found still another way to give audiences a jolt of astonishment: He's made a G-rated picture for the Walt Disney Company, spinning a tale so kind and gentle that it makes his previous career seem like a...
(The entire section is 731 words.)
Stanley Kauffmann (review date 15 November 1999)
SOURCE: Kauffmann, Stanley. "Character as Destiny." New Republic (15 November 1999): 28.
[In the following review, Kauffmann praises The Straight Story as "a small epic" that embodies the American ideal of rugged individualism.]
The viewer need not know David Lynch's reputation before seeing The Straight Story, but it helps. Here is a writer-director celebrated for his eccentricities, his disregard for convention, in such works as Twin Peaks and Blue Velvet, who has done a picture released by Disney, a picture based on the true story of an old man making a sentimental journey. Anyone ignorant of Lynch who sees The Straight...
(The entire section is 1076 words.)
Kevin Jackson (review date December 1999)
SOURCE: Jackson, Kevin. Review of Straight Story, by David Lynch. Sight and Sound 9, no. 12 (December 1999): 57-8.
[In the following review, Jackson characterizes The Straight Story as blandly sweet.]
Laurens, Iowa, 1994. [In The Straight Story,] Alvin Straight, a stubborn 73-year-old widower who lives with his adult daughter Rose, suffers a bad fall and is sent to the local clinic. The doctor warns him he is in dangerously poor health and needs to take better care of himself, but Alvin shows little sign of mending his ways. Rose takes a phone call and learns Alvin's estranged older brother Lyle has had a stroke. Despite Rose's warnings and the...
(The entire section is 830 words.)
Chris Tayler (review date 17 December 1999)
SOURCE: Tayler, Chris. "Life in the Slow Lane." Times Literary Supplement, no. 5046 (17 December 1999): 17.
[In the following review, Tayler praises Lynch's restrained cinematic style in The Straight Story.]
David Lynch's new film, The Straight Story, is about a stubborn, laconic old widower who chooses to drive 300 miles on a lawnmower to visit his estranged and ailing brother. Sometimes charming and sometimes sentimental, it is an uncharacteristically restrained piece of filmmaking: quiet, autumnal and, above all, slow. Not that it is unclear whose work we are watching; during The Straight Story, we are shown such Lynch-film staples as wood being...
(The entire section is 710 words.)
John Simon (review date 21 February 2000)
SOURCE: Simon, John. "Life in the Slow Lane." National Review 52, no. 3 (21 February 2000): 59.
[In the following review, Simon praises The Straight Story for its gentle tone and refreshing simplicity, noting that despite its sentimentality, the film avoids becoming sappy.]
Alvin Straight is a nice old man living—we don't quite know off what—in Laurens, Iowa, with his daughter Rose, who talks haltingly and whose four children have been taken away from her because she is slightly retarded and because one of them was badly burned in a fire. Alvin says, "She is a little bit slow, but her mind is like a bear trap." Laurens is a small town, and on the...
(The entire section is 757 words.)
Bert Cardullo (essay date summer 2000)
SOURCE: Cardullo, Bert. "Getting Straight." Hudson Review 53, no. 2 (summer 2000): 299-307.
[In the following essay, Cardullo praises The Straight Story for its restraint and serenity, asserting that it is one of the greatest films ever made.]
David Lynch, best known for exploring the darker recesses of the human psyche as well as the darker corners of the American landscape in such cult films as Eraserhead (1977), Blue Velvet (1986), and Twin Peaks (1992), has created an eloquently simple, representatively American, straightforwardly emotional, and extraordinarily moving picture titled The Straight Story (G-rated and released by...
(The entire section is 4682 words.)
Tim Kreider (review date fall 2000)
SOURCE: Kreider, Tim. Review of The Straight Story, by David Lynch. Film Quarterly 54, no. 1 (fall 2000): 26-33.
[In the following review, Kreider asserts that, despite its superficial sweetness and light tone, The Straight Story reveals a dark undercurrent of alcoholism and family abuse.]
The Straight Story begins a lot like a David Lynch film, specifically like Blue Velvet: first we see a dreamy montage of slow-motion scenes from a small-town, middle-American Eden (cinematographer Freddie Francis filling in for Norman Rockwell and composer Angelo Badalamenti for Aaron Copland), and then the camera drifts down to a neatly mown suburban...
(The entire section is 5536 words.)
Kent Jones (review date October 2001)
SOURCE: Jones, Kent. "Trading Faces." Artforum International 40, no. 2 (October 2001): 36.
[In the following review, Jones praises Mulholland Drive for thematic focus on sexual abuse.]
That David Lynch is a genuine visionary may be indisputable, but he has often seemed like an artist with a set of primal obsessions in lieu of a subject. Compelled to plunge headlong into his darkest fears, Lynch has conjured up some of the most mesmerizing passages in American cinema. But the imbalance between the hallucinatory and the desultory has been a constant in Lynch's work—and a nagging source of frustration. It's easy to understand his artistic dilemma, though:...
(The entire section is 530 words.)
Wendy Lesser (review date 19 November 2001)
SOURCE: Lesser, Wendy. "In Dreams Begin Responsibilities." American Prospect 12, no. 20 (19 November 2001): 36-7.
[In the following review, Lesser argues that the lack of narrative closure in Mulholland Drive leaves the viewer disappointed.]
Many people will love Mulholland Drive, I am sure; and the fact that my admiration is mingled with profound annoyance perhaps says more about me than about the movie. It is David Lynch's best film since The Elephant Man (which remains, for me, the pinnacle of his achievement). It is better than the goofy Eraserhead and the creepy Blue Velvet, and far, far better than Lynch's terminally...
(The entire section is 1171 words.)
Graham Fuller (review date December 2001)
SOURCE: Fuller, Graham. "Babes in Babylon." Sight and Sound 11, no. 12 (December 2001): 14, 16-17.
[In the following review, Fuller asserts that the narrative structure of Mulholland Drive follows "dream logic," rather than the Hollywood narrative conventions.]
Mulholland Dr. unwinds in a benighted LA dream-scape where two girl detectives fall into lipstick-lesbian embraces, a Mafia power play is sublimated in a menacing Pinteresque discussion of an espresso's drinkability, smug studio types commingle with doo-wop-singing starlets, Sunset Boulevard riff-raff and the ghosts of Hollywood past, and shattered identities are mosaicked back together in...
(The entire section is 3180 words.)
Philip Kerr (review date 14 January 2002)
SOURCE: Kerr, Philip. "LA Confident." New Statesman 131, no. 4570 (14 January 2002): 44-5.
[In the following review, Kerr recommends Mulholland Drive as Lynch's "best and most erotic film since Blue Velvet."]
Mulholland Drive is a road in Los Angeles that twists and turns for ten miles along the crest of the Santa Monica Mountains, and connects the Encino Reservoir, made famous in Roman Polanski's Chinatown, with the Hollywood Hills, made famous by that eponymous, cliched and ultimately irrelevant hillside sign. Mulholland is quite a drive, especially at night, and between Coldwater and Laurel Canyon there are lots of places to pull over,...
(The entire section is 946 words.)
Further Reading
Biga, Tracy. Review of Blue Velvet, by David Lynch. Film Quarterly 151, no. 1 (fall 1987): 44-9.
Biga focuses on the character of Sandy in her feminist analysis of Blue Velvet.
Carrión, María M. "Twin Peaks and the Circular Ruins of Fiction: Figuring (Out) the Acts of Reading." Literature Film Quarterly 21, no. 4 (October 1993): 240-47.
Carrión discusses the narrative structure of Lynch's television series Twin Peaks.
Carroll, Michael. "Agent Cooper's Errand in the Wilderness: Twin Peaks and American Mythology." Literature Film Quarterly 21, no. 4...
(The entire section is 387 words.)


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The Catholic Courier in Rochester, N.Y., has a story of two people of different ages in the diocese who, as the story says, "share a common passion: making and giving away rosaries." Frank Pettrone has been making rosaries for nearly a decade and is the first to use each of his creations. And 16-year-old Gretchen Smith organized a Girl Scout project to make and give rosaries to soldiers deploying overseas.
Filed under: clients


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Pricing Notes:
Pricing Notes:If it is necessary to cancel a confirmed reservation, Renter must give three weeks notice in order to receive a refund LESS THE $90 RESERVATION FEE. If cancelling less than three weeks prior to arrival date the down payment holding Renters reservation will be forfeited.
Galveston, Texas, United States
Home, 3 bedroom, 2 bath, sleeps 6
$114 - $446 per night
$800 - $1,810 per week
This advertiser has listed with PerfectPlaces.com since Mar 4, 2008
Available Unavailable Night Min.


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So after finding out there was a label named Motion Records now have a name change!! So lucky i didnt put it live before i found out!
So Ardour Records is born!
you can follow me as an artists on Twitter, Like the fanpage on Facebook, follow me on Soundcloud or subscribe to the Youtube channel!!
I will continue to post up clips of the tracks that will be featured on the forthcoming Trance album by myself.
So here you go a new clip and links to the pages
Like on Facebook: https://www.facebook.com/officialvisum
Follow on Twitter: https://twitter.com/ViSumuk
Follow on Soundcloud: http://soundcloud.com/vi-sum
Subscribe to Youtube: http://www.youtube.c...r/ArdourRecords
This post has been edited by HoodzieAllan: 14 April 2012 - 22:52


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Team Trials Wild Card Selections
USA Taekwondo
Phone: 719-866-4632
@USA_Taekwondo - USAT Facebook
USAT National Team Trials Wild Card Selections
Colorado Springs, CO (Nov. 9, 2012) - Following the 2013 National Team Selection Procedures, four athletes have been selected to receive wild card waivers into the 2013 National Team Trail.
After careful review of all the applications that were received, the High Performance Staff has finalized their decision. To determine final wild card selections, all athletes were ranked using the criteria in the written selection procedures. High Performance Staff members who were conflicted by definition recused themselves from the final decision making process. The High Performance Staff's decisions were discussed in detail with the USOC AAC Athlete Representative before being finalized.
Congratulations to TJ Curry (Male Welter), Bernard Posey (Male Bantam), Aziza Chambers (Female Bantam) and Giuliana Gil (Female Fin) on being selected.
We had a highly competitive pool of athletes apply and we would like to thank each applicant for their desire to participate in this event.
For more information on the 2013 USAT National Team Trials click here


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In a surreal scene in the ABC biopic "Gilda Radner: It's Always Something," Jami Gertz plays both Radner and her "Saturday Night Live" character, Baba Wawa.
In the sequence, cancer-stricken Radner is lying in the hospital after her hysterectomy, bald from chemotherapy, dreaming she's being interviewed by the wig-coifed Wawa. "So Gilda, what have you been doing since 'Saturday Night Live,'" Gertz-as-Baba purrs in an imitation so dead-on it's eerie.
"Dying," replies Gertz-as-Gilda in a tormented whisper.
It's a moment that illustrates why ABC chose the raven-haired actress -- best known for films such as "Twister" and "Less Than Zero" -- to play the comedienne who died of ovarian cancer at age 42 in 1989. "She nailed both the real comedic bits in the script and the dramatic part," ABC Executive Vice President Susan Lyne told The Hollywood Reporter.
Unlike the late comic actress, Gertz, 36, never suffered from bulimia or dysfunctional relationships -- though she did identify in one important way with Radner. "Gilda was a nice Jewish girl from Detroit, and I'm a nice Jewish girl from Chicago," she says. The two women even attended the same predominantly Jewish summer camp in Michigan.
While Radner grew up in a culturally Jewish home, Gertz attended weekly Conservative services and United Synagogue Youth. She received her big break playing the bubbly Jewish preppie Muffy Tepperman on CBS's "Square Pegs" in 1982. "My character even had a bat mitzvah," notes Gertz, who landed the role after winning a nationwide talent search at age 16.
To star in the sitcom, she had to move into a Los Angeles rental apartment with her mother, leaving her father and brothers behind in Chicago. "I remember going down to the pool and seeing a guy with nipple rings," she says of her subsequent culture shock. Gertz studiously avoided the Hollywood dating scene as she went on to star in hit teen flicks such as "The Lost Boys." "I dabbled with a few actors," she admits. "But I never felt really comfortable."
Instead, she married Jewish financier Tony Ressler in 1987 and cut back her acting career to raise their three sons. Gertz says she declined a "Friends" role to have her second child; she auditioned for "Gilda" in between car pools to karate and Wilshire Boulevard Temple's religious school.
Not long after she landed the Radner biopic, the actress' elation gave way to fear. "People started telling me how much they loved Gilda, and I was scared I wasn't going to do her justice," she says.
During hours of research, Gertz studied SNL tapes to perfect Radner characters, such as nerdy Lisa Loopner and vulgar Roseanne Roseannadanna. "Roseanne was the toughest, because of the accent, the gum-chewing and the thumb-pointing," she says. Donning Radner's frizzy wig and original costume helped, though the outfit had to be let out because the bulimic comic was so thin.
Even more helpful was interviewing Radner's widower, Gene Wilder, who starred with her in films such as "The Woman in Red." "He told me the most amazing stories," recalls Gertz, who received an Emmy nomination for her guest spots on "Ally McBeal."
"Like, when journalists asked why he didn't marry the pretty girl from 'The Woman in Red' [actress Kelly LeBrock], he'd say, 'I did marry the pretty girl.' He also told me that Gilda knew she was going to die while she was recording her autobiography, which made those scenes very difficult for me. When I asked, 'Will you visit the set?' he just kind of paused and said, 'No.' I think it would have been too painful for him."
Playing the dying Radner was also painful for Gertz, who often felt dizzy during the shoot. "I'd go back to my room at night and I really could not sleep," she says. "What was profoundly sad to me was how desperately Gilda wanted a baby, because I have three children of my own. I was very aware that I am living the happy ending she would have wanted."
"It's Always Something" airs April 29 at 9 p.m. on ABC.
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No place for religious rituals in the classroom
By JEFF WEBB
Published March 1, 2007
Hands and gloves. Love and marriage. Rum and Coke. Penn and Teller.
Some things just go together.
And there is at least one thing that foxholes, hospitals and houses of worship have in common: They all are vessels for prayer.
And, if you take away the life-and-death realities of the hunkered-down soldier or worried visitor in the ICU waiting room, there is another place where prayer has always had a front-row seat:
The classroom.
Whether it was asking for divine guidance as tests were handed out, or proffering a petrified plea that the teacher wouldn't ask to see your non-existent homework, classrooms long have doubled as sit-down altars for those who panic more than they prepare.
So, it is not surprising that some of that was going on at Brooksville Elementary School about a month ago as students prepared to take the Florida Comprehensive Assessment Test. What is unusual is that, for a change, it was the teachers and the principal who were giving a shout-out to the Higher-Ups.
"It was staff members on their own time who said "Do you mind if we say some prayers for the kids on the Friday night before FCAT, so the kids would do well?" Principal Mary LeDoux told Times staff writer Tom Marshall last week. "We went into all the classrooms and we touched all the desks and asked that the kids would do well," she said.
Actually, LeDoux and "four or five" of her staff members did more than touch the desks; they anointed them with prayer oil. So much oil, said one teacher who disapproved, that the following Monday he suspected vandalism because the desks were still "greasy." Anyone else have a visual of The Breakfast Club's Brat Pack with their soiled fists of angst raised in dissent of detention?
Certainly, most people would appreciate the good intentions of LeDoux's prayer group, which, it should be noted, gathered after school.
But daubing the desks goes a step - or several - beyond a few like-minded educators sharing a good vibe for the collective benefit of their students. What they did, no matter how casual and well-intentioned, was a religious ritual; it should not have happened in a public school, where there are students and employees who have their own rituals and preferred pipelines to God.
It won't happen again, LeDoux said. From now on, prayer meetings will be held off campus. That's good. Last time I knew, the way that prayer thing works it's the thought, not your location, that counts.
The same week as LeDoux's misstep was reported, a story broke in Tampa that puts it perspective. Anthony Giancola, the principal of Van Buren Middle School in Tampa, was accused of buying crack from an undercover cop and trying to smoke it right there in his office.
All the holy oil in the Sunshine State won't wash away that outrageous behavior; Giancola doesn't have a prayer of stepping inside a classroom again.
In the meantime, we'll wait to see the results of the FCAT scores at Brooksville Elementary. If they improve significantly, look for prayer oil to be a line item in the School District's budget next year, and for LaDoux on Oprah to promote her new book: The Four Rs: reading, 'riting, 'rithmetic and reverence.
Jeff Webb can be reached at email@example.com or (352) 754-6123.


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Playing Field Location
Playing Field Information
We are providing only the address at this time, there has been an error in the MAPQUEST link application. While we work on a resolution, we are providing the street address information and provided notes to playing fields. In addition, we are providing a DIRECT link to MapQuest - from which you can generate driving directions. Shortly we will restore the Mapping function.
Below you will find the address to Playing Field EMC for FYSNOTES: Upper Union Street to Constitution Blvd
|Field Name
|Street Address
|1 Constitution Blvd
Get your Directions
Clearly we want to restore the old functionality between BAYS and MapQuest. However, in the mean time we have prepopulated the MapQuest address box with the field address above. If you click on the submit button you will be REDIRECTED to MapQuest, and can then generate your personal directions. We appreciate your patience while we correct this mattter.


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Our friends at Brash Girl by Payless have provided an incredible prize package today including the following items that can also be picked up at Payless!
$50 Payless Gift Card to get your favorite pair of BRASH shoes!
BRASH by Payless Grey Liv Crossbody Bag
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You can also check out a bunch of videos of VersaEmerge on BrashGirl.com


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My New Favorite Prop
19 comments:
Beautiful! I love how the light reflects off of it in the room! You're bringin' the disco ball back, girl! Love it :)ReplyDelete
xx Ashleigh
Coud you please, please, please, tell me where Chloe's window coverings are from?ReplyDelete
You did an amazing job on her and I am in love with your disco ball!Replies
Thanks Traci! Her Roman Shades are from Restoration Hardware Baby & Kids. I am pretty sure they are still available....Delete
i love that gold polka dot lamp!ReplyDelete
Love her bed! How sweet. Makes me wish I had a little girl ;) KristinReplyDelete
How gorgeous!ReplyDelete
That disco ball is awesomesauce with a side of ice cream. Love it!ReplyDelete
I love the little flecks of light the disco ball gives off. We used to have this amazing hallway lantern with a herringbone etching in the glass bell. I loved the crazy patterns it made on the walls of our tall foyer. I sure wish I had some pics, as we've sinced moved from that home.ReplyDelete
Chloe's bed is so fab!
So much fun - like a thousand fireflies!ReplyDelete
I think maybe you should get two disco balls... :) It looks pretty cute in Chloe's room! I've always thought that canopy was amazing...can't wait to hear where it's going to be featured. Hope you have a great weekend! xoReplyDelete
the disco ball was a major feature at my 2 year olds birthday party. If you can hang that big guy you should buy a spot light for it! I promise you won't regret it. The tables look great!ReplyDelete
this post has me laughing. you caved in!ReplyDelete
but i should also add it looks really awesome.ReplyDelete
Where oh where did Santa find that disco ball!?! LOVE IT, MUST HAVE ONE!ReplyDelete
Love it! Now *I* want a disco ball!ReplyDelete
- AnonymousJanuary 5, 2013 at 3:22 AM
Love the disco ball!!! Must have for 2013!!!!....so started to look for one...ReplyDelete
Love from domanic (from Holland)
Very cool! Makes me want a disco ball. Did I really just say that!? I've come to appreciate light and anything that reflects or magnifies it is a bonus to me now...must be all the years living in the super gray Pacific Northwest. Enjoy your new favorite prop. Beautiful pictures btw!ReplyDelete
My goodness! How fabulous is her room?!?! Love that shot. Oh and how jealous am I of your disco ball? VERY! I really love it!ReplyDelete
I was immediately drawn to the gold dots on the lamp. DIY?? What did you use??ReplyDelete
Thanks! www.lifelovelarson.blogspot.com
Thank you so much for taking the time to comment! I always love feedback on what my lovely readers { like you } are thinking. Feel free to ask any questions or you can always email me at firstname.lastname@example.com


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new standings are out: http://www.isuresults.com/events/gp2010/gpsladies.htm
BTW, Czisny need to be 3rd to get above Rachel.
Anyway, on the bright side looks like Flatt is on her way to the GPF. 2 silvers should do it. Let's see if Czisny (or with a miracle, Nagasu) can join her.
I've been really busy and I just watched some performances on youtube and from what I watched it didn't seem I missed much.
Anyway, SA was the first competition that I watched the whole ladies and well, I really enjoyed Rachael and feel sorry for her that she didn't get higher score. Her choreography was interesting and she performed it pretty well. I think she should have won this competition. And I absolutely love her new costume for this LP. It is gorgeous and she looks so slim in it! Wow.
And Joshi Helgesson was wuzrobbed. I'll have my eyes on her from now on. She was enjoyable and looks very promising!
Carolina being Carolina even with a water-downed program was... so disappointing. I know she has knee injury so I'll stop ranting about her.
Kanako was also enjoyable but I can't agree with her score. She was not even clean and has her own technical flaws which reminds me of younger Mao quite a lot. And that score?
If it was up to me, I would have placed Rachael-Kanako-Joshi on the podium.
By the way, I'm so proud of Caroline. She fixed her horrid flip technic!! So sorry Caroline for ever doubting you... It will only benefit her in the long term. Way to go! Now, if only she can get rid of that mule kick from her lutz...
Carolina Kostner's choreography is pretty amazing, it's like she is doing a really complicated dance on ice, with her feet and arms constantly swaying and changing positions. But she does have some injury to deal with. I need to get the whole story on that.
Caroline Zhang, however, had the lowest TES score in the FS among all the Skate America participants. Obviously, this is a distressingly poor finish that signals that she will be out of contention for a top 6 finish in any ISU event but also at U.S. Nationals.
In the next few years I could see her going to Worlds and placing decently there and maybe getting back on the podium at US nats, but I don't think she'll ever be a world beater, and don't expect her to ever medal at Worlds or win nationals. JMPO but that's how I see it.
She used to do so well because she could do 3-3s (albeit with poor technique), her spins and spirals were exceptional, and she was consistent with her jumps. Now, she can't do 3-3s or even a proper 3lz, and while her spins and spirals are still good, they aren't as good as they used to be, and she's inconsistent with her jumps. She has time but the US is always a deep field and there's a good chance she could get lost in the shuffle, at least until she gets used to the new technique.
Kanako is so lovable and endearing to everyone watching her, her innate kindness and passion for skating shines through.
I absolutely love her!
I think Joshi should have medaled , she was amazing! It's amazing nonetheless, since she placed 4th in her first ISU gp event! Amazing! She placed 9th in Jr. Worlds.
Expect her scores to really soar as she starts to build a name for herself in skating! Her artistry and jumps were lovely, she only landed 5 triples so we hope she could add in some more.
I get a little of Lu Chen vibes when I see her, her body and lovely arm movements dances with the music so well.
I think the ladiezzz results really show the new generation has arrived. Great to see Kanako win gold, and Joshi did quite well for herself considering the hectic travel and competition schedule she's had so far this season. Meite doesn't do much for me, but she is definitely a good jumper and between her, Silete, and Marocco, the future of French ladies figure skating is looking a lot better than it used to. I was glad to see Kwak improve upon her performances in China despite competing for the 3rd time in 3 weeks. Hope she now will have some time to rest and let her back fully heal so she can come back strong for 4CC and Worlds. Despite the injury and less than ideal training facility, she has improved her speed and stretch, so hopefully the improvements will continue.


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Polymer Synthesis
The Macromolecular Nanomaterials laboratories include a wide range of polymer synthesis capabilities, with extensive fume hoods (including walk-in hoods for large scale apparatus) and glove boxes for handling sensitive materials.
Polymerization Techniques
- Ionic Polymerizations: World-class expertise in the preparation of well-defined, narrow molecular distribution polymers and copolymers including complex polymer architectures (i.e. block, star, comb, graft and hyperbranched polymers) by anionic and cationic polymerizations.
- Controlled Radical Polymerization: Extensive expertise in free radical and controlled radical (ATRP, NMP, RAFT) polymerizations.
- Ring Opening Polymerization: Expertise in the controlled ring-opening polymerization of lactones and lactides and N-carboxyanhydrides (NCA) for the synthesis of bio-inspired materials.
- Metal-catalyzed Cross-Coupling: Growing expertise in the synthesis of conjugated polymers by GRIM, Suzuki, and other polymerization mechanisms.
- Deuterated Polymers: Selective deuteration of polymers, enabled by our expertise in deuteration of small molecules, for the study of polymer morphololgy, dynamics and structure with neutron techniques.
Small Molecule Synthesis
- Synthesis of novel monomers and small molecule building blocks: Expertise in small molecule organic synthesis and characterization.
- Deuterated Monomers & other building blocks: Unique expertise in synthesis of deuterated monomers for neutron studies.
Macromolecular Characterization
The synthetic capabilities are complemented by extensive analytical resources for rigorous characterization of materials produced by CNMS staff and our user community. Additional capabilities applicable to polymeric materials (scanning probes, electron microscopy, Raman spectroscopy, etc.) are available in other groups within the CNMS or as shared resources at ORNL.
Molecular Weight Characterization
- Size Exclusion Chromatography (SEC)
Multiple SEC systems are available for molecular weight characterization in a variety of media (organic, aqueous) and temperatures. All systems are equipped with multidetector systems that include light scattering for absolute molecular weight determination.
- Temperature Gradient Interaction Chromatography (TGIC)
Unique chromatography technique for high resolution separation of polymers based on degree of polymerization rather than size. TGIC is particularly useful for the characterization of polymers with complex architectures.
- Vapor Phase & Membrane Osmometry
For measurement of absolute molecular weights from 100 to 1,000,000 g/mol.
- Matrix Assisted Laser Desorption Ionization Time-of-Flight Mass Spectrometer (MALDI-TOF MS)
The Bruker Autoflex II is used for the determination of molecular weight of polymers and copolymers, end-group and compositional analysis, and protein identification and sequencing.
Solution Properties
- Multi-angle Laser Light Scattering (18 angles) (MALLS)
Wyatt Heleos with Quasi-Elastic Light Scattering is capable of measuring molecular weight, hydrodynamic radii, and conformation of macromolecules in solution.
- Simultaneous Static and Dynamic Light Scattering
ALV Goniometer system based on a rotary disk allowing for precise angular steps. Four detection angles separated by 34° in angular space and temperature can be controlled from -10 to 140°C for simultaneous measurements of static and dynamic light scattering. Instrument contains prisms for depolarized detecting to obtain rotational diffusion coefficient.
- Absolute and differential refractive index detector
Wyatt Technology Optilab Rex capable of measuring absolute refractive index and refractive index increment (dn/dc) of solutions at various temperatures and wavelengths.
Mechanical and Thermal Properties
- Rheology
TA Instruments ARES AR-G2 is capable of characterization of both the structure and flow properties of simple and structured fluids over a temperature range of -160 – 600°C. Cone and plate, parallel plates, and concentric cylinder geometries are available.
- Dynamic Mechanical Analysis
TA Instruments 800 DMA with various operating modes and test probes available with temperature range from -160 – 600°C. Three point bending, fiber, film, and cantilever geometries are available.
- Thermogravimetric Analysis
TA Instruments Q5000IR capable of measuring weight loss (0.1 mg sensitivity) at heating rates up to 1200°C under a variety of purge gases.
- Differential Scanning Calorimeter
TA Instruments Q1000 with temperature range from -180 to 550°C.
Spectroscopic Techniques
- Nuclear Magnetic Resonance Spectroscopy (NMR)
500 MHz multinuclear solution NMR Spectroscopy.
Hewlett-Packard 7890 GC with a 5975 mass spectrometer with EI and CI ionization capabilities.
- UV-Visible-NIR
Varian Cary 5000 absorption spectrometer with liquid/solid sample holder, polarizers, diffuse reflectance, and specular reflectance accessory to probe the optical properties of solid, liquids, and solutions.
- Fourier Transform Infrared Spectrometer (FTIR)
Mid and far IR vacuum spectrometer with a variety of sample configurations including transmission, diffuse reflectance, ATR, as well as an IR microscope. Instrument has capabilities for vibrational circular and IR reflectance absorbance spectroscopy.
- In Situ Fourier Transform Infrared Spectrometer (In-situ IR)
Bruker IRCube with various probes for in-situ monitoring of chemical reactions in progress. Temperature range from cryogenic to 250°C, spectral range 7500-750 cm-1.
Thin Film Characterization
- Spectroscopic Ellipsometer
JA Woollam M-2000U for analysis of the thickness and refractive index of multi-layered structures.
- Phase Modulated Ellipsometer
Beaglhole Instruments Picometer Ellipsometer uses a photoelastic birefringence modulator to analyze the ellipticity of the reflected beam with a 1 ms response time and a detection limit of 1x 10 m. The Picometer Ellipsometer operates at a fixed wavelength of 632 nm.
- Contact Angle Goniometer
The KRÜSS DSA 30 contact angle goniometer is equipped with a CCD camera and automated liquid handling controls allowing for precise measurements.
- Optical Microscope
The Leica DM4500P is an intelligent function research polarized microscope with one-button access to bright field transmission or reflected (incident), dark field transmission, as well as polarized (transmission or reflected) microscopy and auto tracking of calibration for spatial quantitation. Samples are examined on slides as well as a thermal stage.
- Quartz Crystal Microbalance
QCM with dissipation can be used to determine film thickness in a liquid environment (such as the thickness of an adsorbed protein layer) or the amount of material attached to a substrate (e.g., gold or silicon) and can be used to further investigate properties of the sample such as the viscoelasticity of the layer.
Soft Matter Transmission Electron Microscopy (TEM)
A Zeiss LIBRA 120 TEM capable of operating between 60 keV and 120 keV is available for soft matter imaging (e.g., polymers and their nanocomposites). The instrument can be used to acquire electron energy loss spectra for quantitative chemical and electronic structure analysis and is suitable for generating high angular resolution nano-diffraction patterns from regions as small as a few hundred nanometers.
Capabilities provided by other CNMS groups
- Macromolecular Nanomaterials
- Nanomaterials Theory Institute
- Scanning Probe Microscopy
- Nanofabrication Research Laboratory
- Functional Hybrid Nanomaterials
- Catalytic Nanostructures
- Electron Microscopy & Atom Probe Tomography
- Neutron Scattering & X-Ray Capabilities
- General Characterization Facilities


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- Release: May 2, 2007
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Tarwater completes first Isaac Anderson internship at First Presbyterian
Tarwater completes first Isaac Anderson internship at First Presbyterian
July 15, 2013
Contact: Mary Moates '14, Communications Assistant
865.981.8209; email@example.com
A recipient of Maryville College's Isaac Anderson Fellowship, which provides support to students contemplating lives in the field of ministry, Jordan Tarwater '13 had the opportunity to form a connection between First Presbyterian Church of Knoxville, Tenn., and the College's Center for Campus Ministry through a semester-long internship last spring.
"As this is a brand new internship program with our church, I'm glad we had someone with Jordan's experience and perspective who could give us valuable feedback about the program," said Gregory Efurd, coordinator of youth ministry at First Presbyterian. "We enjoyed having Jordan be a part of our team here at the church. He is very resourceful, open and easy to work with."
Efurd said that Tarwater's internship activities included helping with children and youth ministry programs at the church, meeting with the church's Christian Education Committee, teaching Sunday School and helping to lead youth at First Presbyterian's Congregational Retreat.
"Most importantly at First Presbyterian, I helped older staff relate to the kids better and kids back to them," Tarwater said. "It was really fun, and a really good time. It's a lot about making things seem far removed from your experience and for your own importance, and just being able to make connections."
Tarwater said that he believed his internship at the Presbyterian Peacemaking Program in Louisville, Ky., and his current work at First Presbyterian made him more appealing to graduate programs, as well as introduced him to new ways of exploring his craft in theology.
"I came in thinking I didn't want to do ministry, and wanted to focus more on the academic side of theology, but my internship at First Presbyterian in connection with my Isaac Anderson scholarship has really opened up more options for me," said Tarwater, who will attend Union Theological Seminary in New York City this fall to pursue a Master of Divinity degree.
Campus minister Rev. Dr. Anne McKee said that Tarwater has taken advantage of every opportunity to serve the church during his time at the College.
"Jordan has grown in leadership, in scholarship and in faith in his college years. He has cultivated relationships with people who help challenge and expand his ideas," McKee said. "His quiet curiosity, winsome sense of humor and deep honesty, coupled with his faith and commitment to service, all equip him for success as he continues his education."
In addition to insights he said that he received during his internship at First Presbyterian, Tarwater said that his Isaac Anderson scholarship helped him to decide to pursue theology, overall, having first entered the College as a political science major.
"The Isaac Anderson Fellowship is the best scholarship on campus by far. We talk about what we want to do with our lives, and it was good to have an automatic eight friends when I first came to MC," Tarwater said. "But, most of all, being an Isaac Anderson scholar helped me on the journey of thinking about things, helping me to think about the right questions about my life."
According to Tarwater, his experiences at First Presbyterian and as an Isaac Anderson scholar influenced his vocational goals after graduation, which he said include connecting his ministry to Appalachian rights issues.
"I want to translate these issues into an activist mentality. I've grown up here my whole life, so I'm passionate about the area," Tarwater said. "It's always been home and it always will be."
Tarwater is the son of Michael and Pamela Tarwater of Sevierville, Tenn. He graduated from Sevier County High School in 2009. His sister, Chelsea Tarwater '14, an English literature for teacher licensure major, also attends the College.
Maryville College is ideally situated in Maryville, Tenn., between the Great Smoky Mountains National Park and Knoxville, the state's third largest city. Founded in 1819, it is the 12th oldest institution of higher learning in the South and maintains an affiliation with the Presbyterian Church (USA). Known for offering its students a rigorous and highly personal experience that includes an undergraduate research requirement, Maryville College is a nationally ranked institution of higher learning that successfully joins the liberal arts and professional preparation. Total enrollment for the fall 2016 semester is 1,197.


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AS A JUNIOR IN 2010: Set a school record in the 100 with a first place finish at the Pomona Pitzer Invitational with a time of 11.74... Finished second in the 200 at 24.12 and fourth with the 4x400 relay team during the same meet... Also set record times with the 4x100 and 4x400 relay team for a place on the Triton all-time list... Competed at the NCAA Championships, finishing sixth in the 100 with a time of 11.99 and seventh in the 200 at 24.03... Earned All-American honors in both events... Took home first place in the 100, 200 and 4x100 relay at the CCAA Championships with times of 11.95, 23.97 and 46.47, respectively... Posted a third place finish in the 100 and sixth place finish in the 200 during the Cal-Nevada Championships... Competed in four events at the San Diego Collegiate Championships, winning the 100 and 4x100 and finishing second in the 200 and 4x400... Recorded two first place finishes at the Mangrum Invitational in the 100 and 4x100 relay... Set two stadium records at the Soka Peace Invitational in the 100 and 4x100 relay with times of 11.75 and 1:05.51, respectively... Finished third in the 100, second in the 200 and second in the 4x100 during the Triton Invitational... Named one of the team's athletes of the year.
AS A SOPHOMORE IN 2009: Qualified for the NCAA Championships in the 100, 200, and 4x100 events… Part of 4x100 team that set school record of 45.81 and finished fifth at the NCAA Championships with a time of 46.42… Earned CCAA Championships in the 100 and 4x100 events, recording times of 12.01 and 46.92, respectively… Finished second at the CCAA Championships in the 200… School record in 100 with a time of 11.85… Named to USTFCCCA All-Academic Team.
AS A FRESHMAN IN 2008: 2008 CCAA Freshman of the Year... Placed 14th in the 100M at the NCAA Championships with a time of 12.23, and 19th in the 200 at 25.05... 100M Champion at the CCAA Championships with a time of 11.92, and 200M Champion with a time of 24.73... Placed 10th in the 100M at the UCSD Triton Invitational with a time of 12.09... Placed third in the 100M and second in the 200M at the All-Cal Challenge Cup... At the Cal-Nevada Championships finished 10th in the 100M and 13th in the 200M... 100M Champion at the Rossi Relays with a time of 12.53... Her 100M tme at the CCAA Championship was the fastest in school histroy, and the 200M was the second all-time mark.
HIGH SCHOOL: A 2007 graduate of San Ramon Valley High School in Danville, Calif... helped team to 2007 East Bay Athletic League Varsity Girl Championships in 2007... recorded statistical bests of 11.92 in the 100m and 24.49 in the 200m... holds school record in the 100m, 200m, and 4x100 relay events... named Most Valuable Athlete in 2006 and 2007... two-time All-American in the 4x100m event, finishing in 3rd place in 2006 and 2007 Junior Olympics.
PERSONAL: Born March 7, 1989... parents are Bob and Diane Fogarty... has an older brother named Michael and an older sister named Nicole... a Human Biology major in Sixth College... hopes to pursue a career in the medical career, as working as either a doctor, physical therapist, or in the sports medicine field.