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John Louis Sanders 1924 - 2012 McLouth
John Louis Sanders, 87, McLouth, died Monday, June 25, 2012 at the St. Joseph Medical Center in Kansas City, MO. He was born Aug. 9, 1924 at McLouth, the son of Clarence George and Anna Mary Kimmel Sanders. A 1942 graduate of McLouth High School, he rented his first farmland when he was 17 and has farmed all his life on his family's "Century Farm" in rural McLouth. He was a member of the McLouth Church of the Brethren and a 60 year member of the Lyra Masonic Lodge in McLouth and Tonganoxie. He served on the McLouth Board of Education for 23 years, the Watershed District Board, and served on the Board of Soil Conservation for Jefferson County for many years. He married Zelma Gay Tarr on July 26, 1948 at McLouth, she survives at the home. He is also survived by four daughters, Beverly (Rick) Muzzy, McLouth, Ronda (Jay) MowBray, Kansas City, MO., Lois (Ted) Uihlein, Sedona, AZ., Glenna (Jim) Kaup, Topeka, six grandchildren and five great-grandchildren.
Funeral services were held at 11 AM Friday, June 29, at the McLouth First Baptist Church. Burial was in the McLouth Cemetery. Visitation was from 10 to 11 AM Friday, June 29, at the church, prior to services. Memorials may be made to the McLouth First Baptist Church in care of Barnett Family Funeral Home, P. O. Box 602, Oskaloosa, KS. 66066. www.barnettfamilyfh.com.
Please sign this guestbook at Obituaries.LJWorld.com.


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He created two of the biggest movie franchises of all time, wrote eight scripts, generated nearly $4 billion for the studios, and has been spoken of in the same breath as Charlie Chaplin. (Seriously.) Yet Sylvester Gardenzio Stallone gets no love from Hollywood. He's not angry about it. Just a little bruised
It's not easy being Sylvester Stallone.
Say the guy's name and people are more than likely to give you an eye roll. After forty years in Hollywood and fifty films, he's become, for most people, a cartoon buffoon. A punch line.
And I can say, I get it.
I know where you're coming from.
But men, I just want to say this: We are all Stallone.
Think about it: How many filmmakers have created two characters who so neatly embody the conflicting sides that live inside every guy? The romantic and the warrior; the dreamer and the destroyer; the underestimated and the misunderstood; the lonely and the loner; the Rocky and the Rambo. How many people have written—that's right, written, because Stallone, despite the image that he is preliterate, has written eight scripts and been nominated for best screenplay—dialogue and scenes that resonate so deeply with men?
Yes, Stallone is all of us. A guy who gets no respect for what he's accomplished, because the establishment, no matter what he does, will see him as they want to see him.
And yet Stallone is okay with that.
Sly Stallone knows who he is.
Sly—that's who he is. What he is.
Most days, Stallone sits at a desk in a dinky two-story office building in Beverly Hills. It's a run-down building, the paint faded and cracked by the unforgiving sun, the way things in L.A. always seem to dry out after they've been exposed too long. On the front, a sign says Trademark Entertainment. Some time ago, though, someone painted over Trademark, so now it's just plain old Entertainment. Next to the building there's a tiny parking lot where Stallone parks. A man in a vest and a bow tie lets down the chain that keeps other cars out.
I buzz a buzzer—the kind of buzzer you might find in a medical building when going to see a dentist.
"I'm here to see Mr. Stallone?"
Gggggzzzz! Click! Slam!
Stallone's office is on the second floor. There's a twentysomething dude/receptionist. The waiting room is orange and lined with detritus of Stallone's movies, like the wrought-iron sign that says Tools—it hangs outside the tattoo parlor in The Expendables, Stallone's new movie, about a band of mercenaries who go to South America and take on a general who is the puppet of a rogue CIA agent. It stars just about every '80s macho man, from Stallone to Dolph Lundgren to Steve Austin to Mickey Rourke. There's even a scene of Stallone with Arnold Schwarzenegger and Bruce Willis.
Stallone's standing behind his desk when I'm shown in. He's wearing black pants, a pale pink short-sleeve shirt, and glasses, the lenses of which are tinted lavender. He's 64 now, but his biceps are still huge, and it looks like there are small snakes under his skin. On the wall behind his desk is a copy of the front page of the New York Post from March 29, 1977. There's a photo of Stallone and the producers of Rocky after winning the Oscar for Best Picture—having just beaten out All the President's Men, Bound for Glory, Network, and Taxi Driver. Stallone's shirt is unbuttoned, and he wears no bow tie; his arms are raised, Rocky-style. The headline: "Rocky" KO's Hollywood.
Stallone squeezes a small plastic bottle and some goo drips into his palm. He rubs his hands together, then shakes mine and says, "Just washing my hands. It's not bubonic plague or nothin'." He gestures toward the couch. That's when I see it: Filling one wall is a bookcase lined top to bottom with action figure after action figure of…Sylvester Stallone. Or rather, as Rambo and as Rocky. It looks like the bedroom bookshelf of a 12-year-old boy—if that 12-year-old boy could somehow collect action figures of nothing but himself.
Let's start with Rocky. My mother took me to see it, and it was just mythic for me. It made a difference in my life.
It certainly made a difference in mine. It wasn't like I went in there with this blueprint for success. I worked on instinct. I wanted a guy who talks like a child, and somewhere in there are incredible nuts of wisdom. But he's one malapropism after another. I'd never seen that in any boxing film. Rocky's about a guy who's just trying to get something out of life. He knows he's a ham 'n' egger. He says, "I'm not even worth giving a title shot to. I'm a joke. But I've got me this girl." That was great. I said, "If we can go there, and the by-product is he happens to fight, there's a movie." If it was just about the fight, you'd be bored.
Do you know what you, Charlie Chaplin, and Orson Welles have in common?
Um…Mediterranean diet?
**With Rocky, you were the only three to ever have been nominated for best actor and best screenplay in the same year. **
Chaplin wrote me after Rocky. Three people wrote me that I never got over. One was the president, the second was Chaplin, and the third was Frank Capra, when I lost for best actor. Talk about Capra-esque! I said, "Damn, I'm just a guy off the streets of New York. Charlie Chaplin!" And they all identified with my character. Capra wrote, "But take heart, angels make note of things like that. Because it's fitting that the character you created, Rocky, would lose, that other people would take all the glory." I never forgot that.
What did Chaplin say?
Chaplin said, "Rocky reminds me of a little character I used to play. We'd love for you to come to Switzerland and visit." And you know what? I never went. A few months later, he was dead. Same thing with Elvis.
Elvis wrote you, too?
He called and said, "I'd like to screen Rocky. We'll rent the theater in Memphis, and we'll watch the film." And I didn't go. I was shy, believe it or not. And I remember, when he died in '77, I was doing F.I.S.T. So now I try to instill in my children: Grab something when it's offered. I'm not a big believer in reincarnation. I haven't met anyone yet: "Look at me, I was a caterpillar!"
**Do you have regrets? **
Regrets? There's tons. That is the fuel that keeps me going. It's not success, it's not money. It's regret. I was on cruise control from '85 to '95, and it was my fault. There were a lot of self-inflicted wounds, when I was not doing any original material. I wasn't directing. I wasn't writing. That's not who I am. I wish it was, it'd sure be a lot simpler, but it seems my fate is to be self-generating, produce my own films. I try to direct. That's why I admire Eastwood. Started as an amateur and became an auteur. I'm sorry I didn't adhere to opportunities presented, because I could've done so many things.
**Clint controls his own fate. **
Clint, I think, is also very clever behind the scenes in maintaining relationships.
In show business, you mean?
Yeah. Like the best one in the world at that is Arnold. There's no one in the world close to Arnold Schwarzenegger. He is a phenomenon. He's brilliant. Just because his physique belies that, don't underestimate him. He doesn't walk around like a college professor, but he is smart. He always made sure he was at the right parties. And Clint is extremely clever in that rural "one day at a time" thing: "Okay, I don't want to do another Harry, but it's going to give me that opportunity down the line."
**You're kind of like that. **
I knew that when all else fails, when your career is going down a generational vortex—where you have a new crop of moviegoers that don't embrace you the way the prior generation did—the one X factor is a sequel. "I know I'm pushing 60, and Rocky V was considered the worst, but give me one more!" What was once the bane of our existence, like, "God, we're typecast," it's what gave us a second shot.
** You never felt imprisoned by those roles?**
I used to. Now I'm elated, like, "Jesus Christ, I've got backup!" It's two good buddies who've got your back. And whether I want it or not, it's my signature. It's my brand. It's hard to say an actor is a brand, but that's what happens. Some actors are brilliant character guys. They submerge. But once you do films like Rambo, you're no longer an actor; you're something different. When you watch John Wayne, you never go, "Oh, where's John Wayne, I can't find him, he's so deep into the character!" No, you can't play "normal" anymore. It's always playing a person involved in a cause. The older I get, the more I embrace it. It's affirming.
** Did you ever say, "Screw Rocky, screw Rambo"?**
Oh, totally. Many times. After Cop Land, I actually made a declaration: "I am done with action films!" Like I'm moving on to a world of…_in_action. [laughs]
** You said, "Action films have been all mined out. Mindless, senseless violence is going away."**
Such bullshit. See, this is funny. You sit there and rationalize anything. "Mindless, senseless violence." My God, it's as natural as breathing, unfortunately. And Rambo understands that dark part of the mind and the soul. That's why it's a hard character to play. People may not think so. I say, "Here's my headband. Here's my knife. Try it."
** Let's talk Rambo. You have three young girls, and there's a few moments in those films—and The Expendables—with violence toward women. Do you feel a responsibility for that?**
No. The one thing I try to instill in my daughters is a lack of gullibility and that it's very easy to be a victim. You have to understand the propensity of violence that people can harbor. And that gullibility factor is… I'm trying to just weed it out of them. People say, "You're taking away their sense of innocence." No. They walk around with teddy bears, and they're as feminine as possible, but I want to show them this world is not Beverly Hills. I want them to understand that this is a violent, difficult, imperfect sphere we live on. I don't want you walking through New York City at 3 a.m. thinking everyone is your friend. If anything, I went light on the Burmese violence in Rambo. The violence is so horrendous that if I had put it down true, I would've been considered the incubus, Satan.
Here's my philosophy from now on in filmmaking: I have to consider each film my last film. I want no regrets. I want to say, "This is a story about Burmese civil war. Having done my research, I owe it to everyone, alive and dead, to try to be as truthful as possible." I can't make it a Rambo fantasy where everyone kisses and makes up.
** With Rocky and Rambo, you've captured the tension that lives in men: romantic, family man, but also the rageful part.**
Especially if you see something that you feel doesn't have your protection, like an innocent. When I see crimes perpetrated against children, I want to find this person myself. I get so panicked. If that had happened to my kid—the volcanic transition, I can't even fathom how bad it would be. I don't understand how society says, "Turn the other cheek." I'm going to remove the other cheek! I have nothing to live for. That spark is gone.
I've been perceived as a proponent of this kind of jingoistic saber-rattling. Rambo doesn't even live in America. So I took great offense when certain politicians made Rambo their boy. He has complete detachment from any political affiliation. He's America's waif, a Frankenstein's monster. He was created and then cut loose. But I was—what's that word they were using? A revisionist?
** You don't get the respect from the Hollywood establishment you deserve.**
You think? [laughs] I can't complain. I think a lot of it has to do with the way I came into the party.
** But that was more than thirty years ago.**
I get it, but I came in through the service entrance. You know, like at the Oscars, I didn't have a bow tie on. It had broken. Later I heard people thought I was disrespectful. I woulda tied a shoelace on—something—had I known.
** How much money have you made for this town?**
In college—one of those two weeks I was there—in Psychology 101, they said primary recognition is the longest lasting—
** First impressions, you mean?**
It's almost indelible. You see a guy, you say, "Ehhh…" And if twenty years later that guy has gone on, raised a family, but he still resembles a certain "He looks stupid." And you say, "He wrote all the _Rocky_s!" "Doesn't matter, he's stupid." After a while, you gotta laugh. I get that the insults come with the characters I play. Rocky's blue-collar. He's a pug; on the outside he looks intimidating, scary. But Rocky's not stupid. He's simple. But he gets it. To the core. He understands who he is. He knows he can't win, but he knows there's something more important.
** When people rip on you, does that hurt?**
No. My life is like many performances; it's a duality. There's a public persona which is completely founded on the character you play. That's who people think you are. And when you do things that are out of character, you're held to that standard: "Rocky wouldn't do that." You have to realize that's out of your control. I'm not as simple or as ethical as Rocky, and I'm not as tough as Rambo. I'm impressionable and given to highs and lows—not depression but… I go through this carnival of emotions all the time. Do I know who I am? I know I'm incredibly unpredictable, and that's the only thing I'm sure of. And that's helped, because it's almost a sense of wonderment that has allowed me to think I can still do The Expendables, to still go into fantasyland, when everyone goes, "You should be in a fucking walker!"
** There's a line in Rambo II: "Expendable means someone has a party, and if you don't show up, no one cares." I feel like that line is a mantra for you.**
Well, we're all expendable. We think the world's going to stop when a pope dies, or a king. And then…life goes on.
** Is that part of your philosophy?**
Absolutely! One hundred percent. When John Wayne died, they said, "How are they ever going to fill that void?"
** It's curious: Your career took off just after John Wayne died.**
Exactly right. I have a picture, he and I together. I'm in my rented tux. But he did something, and I've done it to younger actors. I was at, I think, the People's Choice Awards. I was incredibly nervous, and all of a sudden this big fellow walks across the room—it's John Wayne! And I'm going, "Oh, my God!" I look over my shoulder. There's nobody. I am the target. And he goes, "I wanted to introduce myself. My name is John Wayne. Welcome to Hollywood." I was nobody. Zero! So when I would meet, like, Leonardo, I'd say, "I'm Sly Stallone. Welcome to Hollywood." I don't even know if they remember. So that influenced me very much: Here's a man that crossed the room for a fellow who was sort of invading his turf? That showed me a lot of character. Most guys are just the opposite.
** Are there other people you learned from in Hollywood as you were coming up?**
Kirk Douglas. He was full-on. A ballsy guy. And you carry a big mantle when you're a so-called action icon, because you don't want to think there's a shelf life, and so you depend on being vital. And it's a lot of responsibility. People think it's easy; it's not. It's not.
** What's the hardest part of being an "action star"?**
Not letting yourself feel as though you're, quote, "expendable." And that you're not really making a viable artistic or cinematic contribution. Action films are dismissed as "filler," when in fact they provide the money for "artistic films" to be financed. And when the time comes to give recognition, it's dismissed. "It's not filmmaking per se." Oh, it is. I've done Cop Land and I've done action films, and it's very hard to do a good action film. An action film has to build and build. Whereas a drama can go along at the same pace; at the end you go, "Oh. I'm moved."
But if the action film doesn't perform, it derails itself. It can be too top-heavy with action, not enough action, the characters are not there. I'm not saying I'm Scorsese, but what's being done in this genre… When I came into this there was no such thing as an action film. Films had beats of action, but they weren't designed as action films. First Blood comes along and people went, "Oh."
** You once said, "There's a reason they're called motion pictures."**
Exactly. Now it's something we couldn't even have conceived of. Avatar? Whoa.
** But how much money do you think you've made for Hollywood?**
Well, there's two ways to put it. Rocky was $1.70 a ticket, and it did $120 million. Now if you multiply that by today's price, $7 a ticket, it would've done $800 million by today's standards. And that's without DVDs. Straight box office. If you want to go by those standards, it's probably around…1.6?
** Billion dollars?**
Something like that.
** So where's the respect for that?**
I read, I think, that Arnold was 2.4, Bruce and I were 1.6—or I was 1.5. Who's counting?
** I think people underestimate you.**
There's a physicality. We're interpreted by primary impression. And away from film, I was physical. I work out a lot, and I didn't mingle in a lot of political circles. I thought you just went to premieres and everybody loved everybody. A kind of naïveté, I had. Peter Sellers gave me some incredible advice: "I'll never see you again, but remember the three H's: Hollywood Hates Happiness." And I thought, "That's bleak!" Nobody hopes everyone goes down in abject failure. I like the competition—Bruce, Arnold… It was invigorating. "He did that? I can do better!"
** What do you think your legacy will be?**
The character of Rocky, I'm fused to that. So his "never-give-up-ness" is…he, again, came through the service entrance. He dined with the staff, dined with kings, but at the end of the night he paid the check and left through the service entrance. I'll always have this blue-collar connection. For every guy, there is an opportunity to be a lot better than he thought he could be. We can't all be the star of the team, but we can be a star in our life. That's where you set your goal. And that is attainable, because if I did it, it's feasible.
** What would you tell your sons to look for in a woman? **
A person who revels in your absurdity, laughs at your jokes and your stupidity. You can be the master of the house and the court jester. That's what it's all about. Some days you're just the goofiest bastard in the world and others you're discussing the mortgage.
** When your daughters start dating guys, what are you going to tell them to look for?**
I'm going to tell them to look for body bags. And where do they want the pieces sent?
** You don't want them dating?**
I'm going to tell the guys my girls are on a hiking expedition in Egypt; they'll be gone five, six years. Them dating is not going to be fun. I'm totally not ready for it, because I know what lurks in everyone's heart.
** What is that?**
Conquest. They can't help it. It's the circle of life, and that wheel's rolling real close, and I don't want it rolling over my toes too soon.
** What does your wife say about it?**
She tends to be a bit more philosophical: "Sly, you can't threaten 12-year-olds." I say, "It works—really well."
** Are you a religious man?**
I'm pretty spiritual; I believe a lot in the spirit of man. I'm certainly not an atheist.… I was baptized Catholic, but I don't belong to a structured church. I have no opposition to it. I think there's great nuggets of knowledge in there, some wonderful rules to live by. Then the flip side is the amount of agony that's caused, which is, excuse me?
** What's the biggest number Catholicism did on you?**
Original sin. That guilt. How they say, If you really believe, you have to suffer for Jesus. Guys in military school would stick their hand into a cauldron of scalding water and yell, "I'm doing it for Jesus!" I was at a retreat, and the priest said, "If you can't hold your hand over this candle for five seconds, imagine what an eternity in hell will be like." I put my hand over the flame for two seconds, then I pulled it away. The priest says, "Sit down and be quiet!" I never got over that; it's like, "Eh, I'll give it a shot." Listen, I'm going to have to wrap this up.
Stallone shows me to the waiting room. The kid who buzzed me in is asleep at his desk. The clock says 12:15 p.m. Stallone looks at him, says nothing. I point to one of Stallone's paintings on the wall. He has been painting for twenty years. The piece is mostly black, with a red slash in the center.
** Tell me about this. **
The black is man. And the red, this is what he's searching for. A woman.
** Interesting that the red, the woman, is the void in the center of the piece.**
There you go.
That night, I get a call: Stallone wants me to come to his home the next day to see his art. He lives in the kind of gated community where there are gates beyond the gate. Stallone's gate is big and twisted, and there is a stone stallion rearing on two legs. A sign says Slow. Watch for insane dog. When I arrive, Stallone is at the front door. As he is about to walk toward me, I notice a large, fresh dog crap on his porch. Stallone steps toward it.
** Watch out for that!**
Oh, I put that there. [laughs] I did that just to keep it homey and real. Yeah…this is the house that Rocky built, that's for sure. [Stallone shows me inside. The walls are hung with many of his paintings, and we wander through, looking at them.] That's a thing I did about James Dean. I was doing a series on actors and their trials and tribulations.… Here's something interesting. [Stallone points me toward an old manual typewriter painted olive drab. On the keys, someone has glued bullets and military stars.] Billy Wilder made this typewriter for me. It's called Rambo's Typewriter. He said, "Here, tough guy, this is something I thought would interest you." I thought, Billy Wilder and Rambo, you can't get any further apart.
** What films influenced you as a kid?**
The thing that changed my life was Hercules starring Steve Reeves. [Stallone shows me another piece, in his living room.] This is again hearkening back to artists in trouble—Errol Flynn. He was always considered that era's Roman Polanski. And here he is, riding on the back of a young woman, and the hand pointing down is saying, "This is where you're going—where it's nice and warm."
** Do you ever have any of those concerns about your own mortality?**
I just know it's a foregone conclusion that I'm going to end up in a very cold, dark place.
** Why do you say that?**
I don't believe that we go anyplace. You make your heaven and hell right here, and you are what you leave behind. But don't think that you're going to change anything; you're not. Like these pharaohs; they thought they were gods. Gods don't die! End of fucking story!
** Do you have a mantra?**
"Be realistic, and take it as far as you can—but know your limitations. You can't be better than you are." Many people—and I've done it—overshoot their abilities, and then you have this incredible sense of rejection and anger. And the other is, "Listen to your inner voice." Who's going to betray you less?
** You said something once which broke my heart: that you remembered two times that your mother ever kissed you. **
Once. Once, fleetingly.
** When was that?**
I think it was when there was a divorce. I hope you put this in: I don't hold it against her, because she was treated that way, so she didn't know any better. But yeah, that was…
** That pain never leaves us.**
You don't ever, ever get over that. There's no closure for things that happen during your childhood. You're wet clay, and that's a dent that's been put in the clay. You can't buff or sand it out; it'll always have that fissure. So you've got to be careful, what you say to a kid; it buries itself in the heart like a hatchet. And you can't fix the wound. I don't care how much loving and kissing and adoration.
** Your characters seem to come from a reservoir of pain.**
There is that. When you're doing action films, you don't have to hone that as much. Films like Cop Land, you're always in that mood, and it often reminds you of things growing up. Mooding up is not therapeutic. It can put you in a dark place.
** Did Cop Land kick your ass?**
It did. I had to give up all my armor. My body had become like a suit of armor. It's what I felt I needed to get through life. Because I didn't have confidence in other areas, I thought, "I'll do it physically rather than intellectually or emotionally."
** What would you be insecure about? **
My voice. I have an impediment, and growing up it was pretty bad, so it was constant harassment. I hate my voice.
** Are you still writing poetry?**
I mostly write it to my wife. I have volumes of poetry.… Dante's Inferno and John Milton? Give it up! Paradise Lost? The guy wrote it blind. Hello! After Poe? Come on.
** What will be on your tombstone?**
I'd like to use a line from one of the movies. Like "It's not how hard you hit, it's how hard you can get hit that makes all the difference in your life." Or "It's how much you can take, and how much you can give." I really feel the survivors are the ones with good jaws. Not everyone has a punch, but if you can keep taking it, quite often you can prevail.
** Is there something your father taught you that you still think about?**
I inherited a kind of feistiness that I can definitely feel in Rambo. That's where it really comes out, that kind of…primal rage. My father would fight with anybody.
** But you're not a violent guy.**
[laughs] No, I'm not. I only get angry when honor has been dismissed or betrayed. I know it sounds corny, but when you wear your heart on your sleeve and you've been betrayed? My God, it's so deep, that wound. I fill up just thinking about it, and I identify with people who've been betrayed by someone they've loved. There's nothing worse.
** So where does that come from, for you?**
Oh, probably really early on. I don't want to get too psychological; people will say, "Oh, he's unhappy with his childhood." I didn't have a perfect childhood, but I'm a believer in this, too: I wouldn't be here with a perfect childhood. So whatever trials and tribulations, it provided me with enough ammunition and anger and competitiveness and insecurity to keep forging ahead. So I tell people, Embrace your frustration, your fears, because that's what makes life interesting. Nobody likes perfection; I want that flawed guy. He's there in spite of the flaws. And the hurts never go away. You can't get rid of memory.
** In this house, what most defines you?**
If it still existed? Or I could still have it?
** You pick.**
Well, it'd be a cowboy hat from like 1958. I was 11. It came with a cap pistol and a picture of a horse. Again, it was all about heroes. Wild Bill Hickok, Davy Crockett. So I got one of these cowboy hats. And that stupid thing—it was smelly, moldy, floppy—but man, whenever I put that hat on… [Stallone goes quiet, looks down, then bites his lip and turns away.]
** Was it a gift?**
Yeah, I think my mother bought it.
_A few days later, I get a call from Stallone. _
** Mr. Stallone?**
** What's going on?**
No, everything's fine. I just wanted to request that if you're gonna write anything about my mother, please make it neutral, because in our parents' minds, they think they're perfect.
** I was intrigued by your memory of the cowboy hat.**
Oh, I came up with something that's even more precious to me—a cardboard box that I've had since I'm 9 years old. And on this cardboard box is the first thing I ever drew.
** What is that?**
Believe it or not, a Masai warrior. I should have shown it to you. It was very detailed and exacting; you can see the savanna in the background, as this warrior, in full regalia, is coming over the hill holding a spear and a shield. And the design of the shield, it's very detailed, and I thought, God, it's the first thing I ever drew. I did it on a dry-cleaning box. I worked on it and worked on it, and I said, Finally I'm proud of something. I finally accomplished something artistically. Because, see, I'd always been considered this incorrigible menace. And my father comes home, and I wait for the proper moment after dinner, I said, "Look!" And I show him the box, on the back of which I've drawn the warrior. He looks at it and goes, "Where's the stuff that was in the box?" [laughing a little] But that was… There it is, in a nutshell.
** Why a Masai warrior?**
I was sitting at home, because I always spent a lot of time at home, and I wanted to impress my dad. I wanted to show that I am different than what he thinks I am. That I could actually do something worthwhile. That's what inspired me. So there was this album, a soundtrack, and there was a picture of this warrior. And I started to draw it, and I just nailed it. I thought, "Boy, he'll be really impressed." I drew the cover of his album that he loves so much, and all he says is, "Where's the stuff that was in the box?"
Maybe you should've said, "Where's the stuff that was in your heart?"
Yeah. I just wanted to pass that on to you.
** Why—**
But the mother thing's a real delicate matter.
** Tell me about Edgar Allan Poe. You've been working on a Poe script forever. Why?**
I was 21, and one day I went into the New York library and down into this cavernous space. The guard says, "It's a special writers section." I went in, and he says, "You might think this is interesting," and he pulled out a scroll by Poe. I started reading up on Poe and realized he is the epitome of the misunderstood artist. The more he remained true to himself, the worse it got. I went, "Wow." The other part that I related to—he was a young man who started with all this enthusiasm and originality, and in the end he was scorned for it. His dilemma was contemporary. He was hip well before his time.
** So do you identify with him?**
I do. I don't identify with his genius, because it's far beyond anything I could imagine. But it was like Rocky—he was just incredibly misunderstood. And eventually he gave up trying to find financial success and was just trying to find love. And I went, Jesus, what trauma! And I just related to all the pathos.
** So you've written a script, right?**
Yeah. I've written about ten scripts.
** Do you think you'll ever do it?**
I don't know if I could ever live up to the hype. Poe fanatics—I mean in an intellectual sense—they would tear me to pieces. My take is very simple: He's a misunderstood artist.
** Are you a misunderstood artist?**
Completely. Candidly? Yeah, and one of the reasons is, the subjects I've played, it's assumed that I am that person. And when I would try to be Sylvester Stallone, it threw people off. I was this enigma. A lot of actors were presented with wonderful projects, and they rose to the occasion. I had to write my own material. I didn't have a pedigree, like how DeNiro came through Brian De Palma. With me it was, "Who? Where'd he come from?" I was this outsider. And in some way I still sort of am. I live here, but I've never felt comfortable. I wish I were. Or they've never felt comfortable. I've never quite blended. I used to say to my wife, "I would love just to be able to act and have wonderful scripts and wonderful directors." It just has never been my lot in life. It's always been do-it-yourself.
** If you could tell people in Hollywood something that they don't understand about you, what would you tell them?**
God, that's a tough one. These people don't understand: I am this person. But as I get older, it's all about what you do that really tells the truth. Words? Anyone can produce words. But actions…they really do speak louder than words. So I guess I am what you see. The art, the movies, the ideology in the films that I'm involved in, is really who I am. That's my philosophy. Even though I wallow in pessimism, in the end I'm optimistic. So it's that ongoing battle.
** You're a romantic.**
Yeah! There you are! Totally! People think I'm foreboding and—what would you say?—a physical presence that's intimidating.
** Menacing.…**
Yeah, and it's not true at all. That's the character I play. But yeah, I'm a hopeless romantic. It's impossible to do six _Rocky_s without saying, That's pretty close to who he is. One of the toughest days of my life was that last day making Rocky Balboa. I said, "I'm never gonna find this friend again. It's like I am losing part of my soul. I'll never be able to voice myself the way I was able. 'Cause this guy was allowed to do that." I lost the greatest character I'll ever come close to.
** Rocky will live forever, like the Little Tramp. Amazing.**
It is. When people ask, "How did you do it?" I say, "It was one of those very rare occurrences." When Chaplin—you know the stories—when he was trying on different hats? And he found this one that was too big and his shoes were too large? That was genius. But he knew, subconsciously, that if you played this little guy who had all this heart but he looked like a fool? But inside, he was brave and heartfelt and ethical. That's why Chaplin never came close again. With Rocky, they didn't want me to wear a hat: "You look like a thug with a hat." I said, "But that's part of his armor…like the Little Tramp. That's his uniform. And everything that he wears speaks volumes." Chaplin got that, and I guess I borrowed that.
** Did you create Rocky's wardrobe yourself?**
That was my wardrobe! I still have it at home. Yeah! We didn't have budget for wardrobe. I bought that coat when I was 19 and living in Philadelphia. I bought it at E. J. Korvette for like $32. It was half leather and half something from Korea. When I thought about the character, I went, "I got the black pants, the boots." Anyway, I gotta run, brother. It was great talking to you.
** Okay, Rock.**
[laughing] Bye.
** I mean Sly.**
Michael Hainey is GQ's deputy editor.

subset: commoncrawl


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Recent Posts
On its 10th-year anniversary of blogging, York Town Square is moving to another platform on the York Daily Record's ydr.com website. Learn more about how to find the latest posts.
Check out this neat, unrelated stuff about York County history from all over, including a new book on Gen. Jacob L. Devers and a mystery statue.
J. Horace Rudy came to York from Pittsburgh, but he settled into his new home more than a century ago, where he became known for his stained glass work, his paintings and his curatorial work.
A new look on ydr.com is part of a continuing evolution in local journalism, which recently received a national shout-out.
Check out this neat, unrelated stuff about York County history, including George Washington Memorial Plaza and the unsung York Town Craftsmen Guild.
Look, mom, one hand. This is one of York Barbell's iconic weightlifters and part of the "history mysteries" series.
B.F. Willis design + J. Horace Rudy stained glass windows = Beautiful Zion Church on York's Penn Park
Check out this neat, unrelated stuff about York County, including skateboard deck art and when Gen. Devers paraded through York, Pa.
These barn photos are part of a recent picture release from Yale University of Library of Congress photos from the 1930s and 1940s. They were commissioned by the Farm Security Administration-Office of War Information.
Check out this neat, unrelated stuff about York, Pa., including Jacob Devers and Ike Eisenhower, and reuse for Met-Ed's old steam plant.


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Robot Name Survey Results
What is it about R2-D2 that makes him so popular? Is it the cute-ish whistles, the grace under pressure, the slavish devotion to its owner, or just the fact that we surveyed a community of dedicated R2 builders? Whatever it is, it's clearly working. For R2-D2 has come out on top of our recent Favorite Fictional Robot Survey.
Here are the final results:
1. R2-D2, from Star Wars (81.5% 'Like It' votes)
2. Bender, from Futurama (76.4%)
4. Marvin, in The Hitchhiker's Guide to the Galaxy (66.3%)
5. HAL 9000, from 2001: A Space Odyssey (65.4%)
6. Eve, from WALL-E (62.7%)
7. T-800 or T-1000 from The Terminator (60.8%)
8. Data, from Star Trek: Next Generation (60.1%)
9. C-3PO, from Star Wars (58.9%)
10. Johnny Five, from Short Circuit (53.3%)
11. Optimus Prime, from Transformers (52%)
12. Sonny, from I, Robot (49.8%)
13. KITT, from Knight Rider (40.1%)
14. Cylons, from Battlestar Galactica (39.9%)
15. Rosie the Maid, in The Jetsons (27.8%)
As a reminder, we released this survey into the wild a few weeks ago to determine the favorite fictional robot from the Willow Garage community. They survey focused on fictional robots (although we do appreciate the write-in votes for the PR2!) and was winnowed down to a Top 15 following an internal Willow Garage survey that included 40 original names.
While our survey methodology wouldn't pass academic muster, some interesting items emerged when we compared to the Willow Garage internal list.
The discrepancy between the top two spots is marginal, considering that the Willow Garage internal survey had Bender and R2-D2 neck and neck, albeit in a much smaller sample size. What's most surprising is the big drop-off of Rosie. Our guess is that our larger community skews a bit younger than Willow Garage employees, some of whom actually watched The Jetsons during the Kennedy Administration and not on-demand via Boomerang.
Poor Rosie was the least-liked robot by a wide margin; outdistancing KITT by a full 10 percentage points, followed by Optimus Prime.
We also received nearly 200 write-in votes for our readers' favorite fictional robots. Many of them were in our internal survey and didn't get enough support to make the public survey, but there were some great examples that we just missed. All of these received multiple votes: the robot Andrew in Bicentennial Man; the robot servant GIR from the Invader Zim TV series; GLaDOS from the video game Portal; the robots V.I.N.CENT ("Vital Information Necessary CENTralized"), B.O.B. (BiO-sanitation Battalion), and Maximilian from the movie The Black Hole were all mentioned; R. Daneel Olivaw, who appears is Isaac Asimov's Robot/Foundation Series.
Given the findings from the original internal survey, it's not surprising that Pee Wee Herman's Conky 2000 didn't receive a single write-in ;-)
The complete survey results are available here.
Image: Bosch RTC's "Alan" PR2
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*Top 20 Worst Bands Ever: The Complete List
*Top 20 Musicians of All Time, in Any Genre: The Complete List
*Top 20 Sexiest Female Musicians of All Time: The Complete List
*Top 20 Sexiest Male Musicians of All Time: The Complete List
The history of Los Angeles punk is largely composed of a series of brief, but brilliant, flashes in the pan. Since its inception in the late '70s, the genre has been consistently livid, often funny, rarely commercial, but always socially relevant. From the British-influenced first wave, to the violently political hardcore scene that followed to the revival in the late '90s, the music remains irritated, youthfully temperamental and unmistakable for anything else. Without question, L.A. punk is an undeniable part of the story of American music. Now if only they would play it on the radio. --Kai Flanders
20. Angry Samoans
Back From Samoa
Normally, punk bands trying to be cute is a nonstarter, but it somehow works for Angry Samoans. Back From Samoa features blazing punk rock with titles like "They Saved Hitler's Cock," "Tuna Taco" and "My Old Man's a Fatso." Their secret? The emphasis is always on the rocking, not the mocking. They weren't trying to be funny, they just were. --Nicholas Pell
19. The Minutemen
Double Nickels on the Dime
It's like someone sent descriptions of punk and funk music to Mars, the signals got jumbled and this is what the Martians perfected and beamed back. Fortunately, "Mars" was just San Pedro, and we get to call this album our own. At an average of two minutes apiece, the songs on Double Nickels run the gamut from Beefheartian absurdity to blue-collar alienation to literary pedantry to, uh, farts. The title flashes a big middle finger to the banal rebellion of pop rock. You say Hagar's going to break the speed limit? Well, we're going to go exactly 55 (double nickels) and save the rebellion for the music. --Paul Bradley
18. Despise You
West Side Horizons
Despise You's stature keeps increasing, largely due to this career-spanning document incorporating early EPs and tracks from a previous abortive attempt at an album. In a sense, the record is something of a spiritual successor to Black Flag's Damaged; looking to metal as much as punk, both records are what happens when rage meets perfectionism and adds up to something more than the sum of its parts. For proof of its influence, just hit up a backyard powerviolence show some time and see what folks are into. --Nicholas Pell
See also: Our feature story on the band: Despise You Are More Hardcore Than Hardcore
17. Social Distortion
Mommy's Little Monster
OC will cry foul - we don't care, we're borrowing Social D. Both a love letter and a character study of the '70s-'80s SoCal punk scene, this album tells stories about angry people getting thrashed and boldly trashed. Even though the titular Mommy's Little Monster now shops at Target for Ramones T-shirts, her kids will still get the point. Punky frustration gives way to more twang and less musical anger as the record closes, hinting at the band's evolution toward punk-a-billy. --Paul Bradley
Punk in Drublic
Where would we be without the skinhead WeHo Hebrew thugs' anti-Swastika tattoos terrorizing goyim from "The 'Brews," Rabelais-esque "Reeko" parties or Jeff (from "Jeff Wears Birkenstocks") and his tie-dyed Rancid shirt? Holding a shit-specked funhouse mirror to the entire scene, Punk in Drublic flashes the hilarious images of stinky scenesters and post-adolescent frustrations that were crucial to '90s punk. Their hook-heavy pop and ska-based tunes left an entire generation of happy-go-lucky poseurs in their wake. --Paul Bradley
15. The Nerves
One Way Ticket
You can't discount the impact that The Nerves' Paul Collins, Peter Case, and Jack Lee had upon L.A. punk. The best EP in their paper thin catalogue, One Way Ticket is four tracks of perfect power pop. The Nerves take four-chord punk and add sharp melodies, harmonic choruses and a touch of pop sensibilities. One can hear One Way Ticket's influence on current L.A. acts like Pangea, White Fence and Hunx & His Punx, all of whom contributed to Volar Record's recent tribute to the trio, Under the Covers Vol. 2. --Kai Flanders
14. Circle Jerks
Wild in the Streets
Another legendary hardcore band from Hermosa Beach, The Circle Jerks' second full-length release, Wild in the Streets is a prime example of the special brand of hardcore developed by Keith Morris. The frontman of The Circle Jerks and founding member of Black Flag -- and currently carrying the torch for L.A. hardcore into the 21st century with OFF! -- has a "screw bullshit" attitude and songs that are over before you can catch your breath. It is 25 minutes of power (and Morris' trademark political ranting about the "moral majority") packed into 15 tracks. --Kai Flanders
See also: Still a Malcontent: A midlife crisis spawns Keith Morris' new band Off!
Dance With Me
T.S.O.L.'s debut EP was a vitriolic blast of political hardcore. But on Dance With Me, the group eschewed political ranting in favor of songs built around topics like necrophilia ("Code Blue") and vampires ("Silent Scream"). The latter, slower-paced goth jam and the ebb-and-flow build of the title track displayed a level of craftsmanship that was still undeniably punk. In the end, Dance With Me influenced mainstream acts to come like AFI and My Chemical Romance. --Jason Roche
12. The Vandals
Peace Thru Vandalism
For 30 years, The Vandals have proven that punk doesn't need to take itself seriously. While other members of the genre in the early '80s were singing about socio-political issues, The Vandals peppered Peace Thru Vandalism with humorous odes to being fucked up on LSD at Disneyland ("Pirate's Life") and songs lampooning big-city cowboys like "Urban Struggle." "I can ride that phony bull so damn good," we were told, "sometimes I think I'm Clint Eastwood." --Jason Roche
11. Suicidal Tendencies
Suicidal Tendencies
"Institutionalized," for which the album and band is most known, is the punk rock version of the talking blues. Instead of "mama's in the kitchen fixing biscuits," it's "momma's in the kitchen tryin' to get me to take my Ritalin." The work is in the very DNA of every subsequent hardcore kid, punk, anti-social shitfit misfit who wanted to piss off their parents by doing something different. Suicidal Tendencies is filled with serious speed and aggression, but punctuated and occasionally slowed for effect -- making its politically charged, humor-tinged lyrics entirely intelligible. That's not often the case in hardcore. --Paul Bradley
10. The Dickies
The Incredible Shrinking Dickies
The Dickies' amphetamine-soaked covers of Black Sabbath's "Paranoid" and The Monkees' "She" provide an insight into the heart of punk: speed it up and get to the fucking point. Reacting to the ballads of long-haired troubadours of the '70s, The Incredible Shrinking Dickies injects quickness where there was once excess. They never take themselves too seriously; on "Poodle Party" they sing "You're the easiest except for me." In the end, the group were never scared to break any of punk's unwritten rules, even allowing for a variety of instrumentation, including a sax solo on "Shadow Man." --Kai Flanders
9. Wasted Youth
Reagan's In
Ole' Ronny took office in 1981, the same year this vitriolic gem was released. Its ten tracks last barely that many minutes but, along with the terrific cover art -- where the band's logo is carved into Reagan's forehead -- they get you terrifically angry. In a way, Reagan's America both spawned and destroyed hardcore punk. In their review of the documentary American Hardcore, Slant Magazine wrote that the late president "figures prominently in the film's explanation for domestic punk's birth... and unceremonious disappearance shortly after Reagan's reelection." --Kai Flanders
8. Black Flag
Nervous Breakdown
Every ten years or so, a band comes along that just blows everything all to hell. In 1978, Black Flag became that band. They didn't completely crystallize until Henry Rollins came aboard for 1980's Damaged, but the effect of the Nervous Breakdown EP can't be overstated. The opening riffs of the title track sound like a bomb dropped on tepid, skinny tie bands like The Cars and Blondie. This wasn't cutesy retro pop rock & roll. Instead, it feels like the full-throttle scream of an anxious, unmedicated teenager punching a hole in the wall. --Nicholas Pell
Under the Big Black Sun
Some bands come out of the gate with both barrels blazing, while others hit their stride later in their career. X somehow managed to do both, releasing three spectacular records in three years, each better than the last. Under the Big Black Sun, however, stands out by incorporating country, '50s vocal pop and straightforward rock elements into the mix, all the while keeping their trademark dual-sex moaning and wailing. --Nicholas Pell
6. Circle Jerks
Group Sex
Group Sex is not subtle, but there's not much time for subtlety when your longest song clocks in at 1:36. No intros, no bridges, no bullshit, just Keith Morris' whiny scream. The Circle Jerks aren't as overtly political in their song-writing as some of their contemporaries, but the core fury is there. "Beverly Hills" and "World Up My Ass" are as antagonistic and irritated as anything you'll find. --Kai Flanders
See also: Still a Malcontent: A midlife crisis spawns Keith Morris' new band Off!
5. Bad Religion
"Melodic hardcore" sounds like a contradiction until you hear Suffer. Its slick production doesn't detract from the band's fury -- it adds to it. The drums sit high in the mix, but eschew the heavily reverbed sound of later records like No Control. Lead vocalist Greg Graffin is on point with incisive lyrics and a fast-paced, spitting delivery that rivals anything from the world of hip-hop. Over 20 years later, the record is still the gold standard for the suburban discontent and malaise of young kids too clever by half. --Nicholas Pell
4. Descendents
Milo Goes to College
You're in high school. You're angsty because girls don't like you. Your parents don't get it. You're really smart but your teachers don't realize it; they are dickheads. And your copy of Milo Goes to College has been played enough to where it skips on "Hope." Every song speaks to your teenage fucked-up-ness, from feeling incredibly horny to just wanting to hit someone for no reason. High school sucks, and if Milo's story is any indication, college isn't going to be much better. --Kai Flanders
3. Germs
In the classic documentary The Decline of Western Civilization, Germs frontman Darby Crash has an infamous scene where he makes a hot mess of the stage, demanding beer from the audience while stumbling violently. GI conveys that violent energy -- the title stands for "Germs Incognito," as they often were barred from venues -- but in a tightly controlled manner. Predating the hardcore scene by almost two years, every one of the sixteen songs contains bottled fury and depravity, though none perhaps as well as "Lexicon Devil" or "We Must Bleed." --Kai Flanders
Los Angeles
Released in 1980, and produced by Ray Manzarek, X's Los Angeles is a searing critique of a city under economic siege and engaged in changing racial demographics. Simultaneously, its slice of life poetry about the angry new youth enlivened a burgeoning L.A. punk scene. Los Angeles plugged these first wave punk listeners into their city, gave them something that was their own and made them feel like members of a growing tribe. Exene Cervenka's voice carried an urgency that demanded attention. The album defined its moment and set the bar for other L.A. punk bands that followed. Like the striking image of the burning X effigy on its cover, 32 years later the music inside is hard to shake. --Nikki Darling
1. Black Flag
"We. Are. Tired. Of. Your. Abuse!" The chorus of Damaged's opening song "Rise Above" immediately declares a vicious contempt for America's social and political environment, circa 1981. Reagan was in office, police brutality was seemingly unchecked, and people seemed to be coping with it by having a "TV Party." Following on the heels of excellent EPs like Nervous Breakdown, Hermosa Beach-based Black Flag's full-length debut manically articulated youthful aggression toward rampant commercialism, eager consumerism and a serious lack of autonomous thought. There is real, unbridled anger at work here, but also a sort of prophetic wisdom, as if they know that if we blow it all up we're going to have to rebuild it. In an odd way, it's a hopeful record; Henry Rollins himself has said, "Hope is the last thing a person does before they are defeated." That's the ethos that's at work here, though on Damaged, they don't yet know if they're going to win the battle. --Kai Flanders
*Top 20 Worst Bands Ever: The Complete List
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RALEIGH – After 96 arrests and three consecutive weeks of NAACP protests at the NC General Assembly, rally leader Rev. William Barber has declared the "wave of civil disobedience" will continue.
Chapel Hillians have been protesting as well—some getting arresting.
But on the other side of the rallies are the police—the General Assembly has its own police unit—working to keep the situation controlled.
"They have been peaceful but at times are violating the building rules. They have been noisy and disruptive, disrupting the General Assembly Process," said GA Police Chief Jeff Weaver.
Protesters have been singing and chanting outside chamber doors while the General Assembly is in session— against what they call a regressive agenda.
Those who have been arrested during previous rallies where warned before entering the building that they would be arrested again for trespassing.
Weaver says the 49 arrested during Monday's "Moral Monday" protest faced charges of violating building rules, failure to disperse and trespassing.
Weaver says his strategy is to anticipate the crowd size and adjust accordingly
" We've had to bring in additional personnel for the safety of the participants as well as everyone else involved," Weaver said.
NC Senator Ellie Kinnaird participated in the protest this week but was not arrested.
"The officers who were there we very respectful of the people who they were arresting and of the people watching," Kinnaird said.


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Glen Arbor
Nestled near the Sleeping Bear Dunes, which are named for a Native American legend about a mother bear forever waiting on shore for her two drowned cubs, the tiny hamlet of Glen Arbor is pure storybook.
Ready yourself for a peek inside by first stopping at the town's corner bakery, Barb's Country Oven (5921 Lake St., 231-334-3686). Pick up a sticky pecan roll and stroll north up Lake Street to Sleeping Bear Bay. A go-on-for-miles beachwalk is welcome – so long as you stay near the waterline – and so is Petoskey stone hunting. Come up empty? You'll find Petoskey and precious stones in remarkable jewelry at Becky Thatcher Designs (795 Lake St., 231-334-3826).
Refuel at Art's Tavern (6487 Western Ave., 231-334-3754) with a true Lake Michigan-lover's lunch: a whitefish burger and pint of Sleeping Bear Brown Ale. The electrifying tales of the tavern's early days are a must-read menu option. If they leave you hankering for more, you're next door to historic log cabin turned The Cottage Book Shop (5989 Lake St., 231-334-4223). Among the bestsellers, find local auther Linda Alice Dewey's Aaron's Crossing.
Ask directions to the trail at the base of Alligator Hill that leads you to the real-life ghost story's cemetery setting, but first, two pre-hike stops: the whimsical Cherry Republic (6026 Lake St., 231-334-3150) for some trail-worthy dark chocolate-cherry-caramel turtles with pecans, and The Yarn Shop (Village Sampler mall, 231-334-3805) for a pair of ski walking poles (skiwalking.com). Yes, The Yarn Shop sells yarn too, so be warned: You may be invited to sit in one of the cozy shop's rocking chairs and learn to knit before you go. Take the owner up on her offer. A pair of needles, a skein and a dream of a scarf-to-be make for a happy ending to a full day.
Stay the NightThe Homestead: exceptional accommodations, ski, golf and hiking overlooking Lake Michigan, stay & dine packages, 231-334-5100 or thehomesteadresort.com
Visit Up North Vacation Rentals: homes, cottages and condos in and around Glen Arbor, 888-334-3051 or visitupnorth.com
Glen Arbor Lakeshore Inn: walking distance to downtown and Lake Michigan, 231-334-3773 or lakeshoreinnmotel.com
Leelanau Vacation Rentals: variety of properties in and around Glen Arbor, 231-334-6100 or leelanau.com/vacation
Lynda Twardowski is travel editor at Traverse, Northern Michigan's Magazine[email protected]
Note: This article was originally published in March 2007 and was updated for the web February 2008.


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Woodworking In America 2013: October 18-20. There is just one conference this year—in Cincinnati—and I plan to attend.
I didn't make it last year and really missed seeing my buddies. A spirit of camaraderie defines WIA, so you can't help but make friends. And the more times you go, the more friends you make. I've attended four conferences, so WIA has become a reunion to me. And what better reunion is there than one spent with your woodworking family?
Modern Woodworkers Association will have PopWood's new editor—Megan Fitzpatrick—as the guest speaker. If you have questions for Megan—about the magazine, WIA, or pets of the feline persuasion—you can post them in the comments section on the MWA blog.
Get Woodworking Week, created and hosted by Tom Iovino. It's an opportunity for you to encourage others to take up the craft. Even if you're not a blogger or podcaster, there are many ways for you to reach out to your community: invite a neighbor kid into your shop and, depending on the age, show him/her how to properly use a hammer or handsaw; start a woodworking club; offer to give demonstrations at local events; or write an article for your local paper.
Monday, January 7, 2013
Save The Dates
Posted by Kari Hultman at 7:52 AM
3 comments:
- Mark Dorman said...
I would like to hit Cincinnati this year also. I am defiantly going to the Hand Works show in Amana Iowa in May.
- January 7, 2013 at 10:34 PM
- Kari Hultman said...
The Iowa show looks fantastic, Mark. I'd love to go but it's a bit too far to drive and I'm not a fan of flying. Have a great time!
- January 8, 2013 at 6:28 AM
- Dyami Plotke said...
I can't wait to see you in Cincinnati, Kari. You were definitely missed last year.
- January 8, 2013 at 8:46 PM
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Helen Boardman
Joined Northern Ballet in 1998
Performed with Royal Liverpool Philharmonic Orchestra, Royal Philharmonic Orchestra, Opera North, BBC Scottish Symphony Orchestra, Lancashire Sinfonietta, Northern Sinfonia, London Philharmonic Orchestra, Scottish Ballet, Welsh National Opera, Birmingham Royal Ballet, English National Ballet.
Born in Morecambe, Lancashire
Lives on the Wirral
Where did you study: Royal Academy of Music, London
Career Highlights: A tough one, but I have been privileged to see the world on tour with various orchestras. Memorable trips include the Far East, North and South America
Hobbies include walking, gardening, cycling and chilling out at home.


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Placido Domingo: My Favorite Roles
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This comprehensive performance documentary, the first profile of the tenor in a decade, features the celebrated tenor – and general director of both the Washington National Opera and the Los Angeles Opera – as he looks back and reflects with heartfelt candor on his choicest roles from opera houses around the world.
The story of Domingo's roots in Spain is interwoven with his famous performance as Don Jose in Carmen at the Vienna Staatsoper, while his reminiscences about his childhood in Mexico inform his acclaimed performance in El Gato Montes from LA Opera.
Other excerpts – several of them culled from earlier Great Performances telecasts — includes Ernani and I Pagliacci from La Scala (the latter seen in the Franco Zeffirelli film version); La Gioconda from the Vienna State Opera; Andrea Chénier, The Tales of Hoffmann, Otello and The Girl of the Golden West from The Royal Opera House, Covent Garden; Luisa Miller and Simon Boccanegra from the Metropolitan Opera; Samson and Dalila from the San Francisco Opera; and the Emmy-winning Tosca from Rome (Cavarodossi from "Tosca" is his all-time favorite role, he states).


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- Homer J. Simpson
Part of the reason I'm insistent that Seals should not proc of instant attacks is because those Seals exact a "tax" on our abilities. To see what I mean, compare Mortal Strike and Crusader Strike.
Mortal Strike is easier to get (31 points vs 41 points), has an awesome debuff, and does about the same damage as Crusader Strike (100% Weapon + 380 vs 110% Weapon).
Yet that comparison is not quite accurate. CS will proc a Seal. If we assume Seal of Blood (Seal of Command is much the same, only more bursty and with a bit more complex math), Crusader Strike actually does 110% Weapon + 28% Holy Weapon. *That* ability combination compares well with Mortal Strike. Paladin attacks will always seem weaker than you would think, because of the hidden "Seal tax".
You can see the same thing with Divine Storm. 100% Physical Weapon damage to 4 targets, with a small heal, is seriously not worth being a 51-point talent. It's pretty much Whirlwind, only Whirlwind is a baseline warrior ability. But 100% Physical Weapon + 28% Holy Weapon is much closer to a decent talent.
Maybe it's a problem with perception, more than anything else. Paladin attacks just look weak, and I think that hurts the morale of the class. If abilities didn't proc seals, but were slightly buffed, I think paladins would be happier. If for example, assuming no seal proc, Crusader Strike did 125% Physical Weapon damage, and Divine Storm went back to 100% Holy damage, they would look more powerful. A direct comparison to warrior abilities is not so one-sided anymore.
Second, having abilities proc Seals tightly couples Seals to the abilities. This means the abilities don't really exist independently of each other, and it's harder to tweak abilities without affecting Seals and vice versa. For example, Seals have been significantly nerfed since the start of Beta, primarily to keep Retribution damage in line. But this has had the side-effect of significantly hurting Holy's ability to solo. If Seals were separate from abilities, the Seals could be made more powerful, and Ret's abilities tuned separately. This would help improve Holy soloing, while not adding to Ret's burst or sustained damage.
Third, I think Blizzard is coming too close to making a Retribution paladin feel like a "Warrior-lite". Crusader Strike is Mortal Strike without the debuff. Divine Storm is Whirlwind. Apparently we're getting a Deep Wounds variant just like Warriors. We gear like warriors, and use warrior weapons. Judgements of the Wise mimics rage.
Having some points of differentiations is important in my view. For example, the new Art of War talent is a very nice talent--assuming the heal doesn't interrupt the swing timer--because it plays up to the *paladin* side, and doesn't feel like a warrior talent at all. Even the old Crusader Strike refreshed all Judgements, which is a very paladin-centric ability. One of the knocks against the new CS is that it really doesn't feel like a paladin ability anymore.
One of the main points of differentiation is that paladins do Holy damage. That's our shtick. Crusader Strike is the exception, mostly so we can still do something when Silenced. The old Divine Storm was Holy damage, reinforcing the differentiation, and the paladin identity. And this manifests in subtle ways. As Slayton at Retpaladin.com points out:
Making Divine Storm be physical damage also takes away from the good itemization. The armor penetration we weren't stacking just got an itemization buff, and that destroys the simplicity of who got what and what was best. We got the haste strength gear, warriors got the hit armor pen.
It's not to say that armor penetration and hit are useless to Ret paladins, just we value those stats slightly less than warriors, and that's a good thing. Too much homogeneity is bad for the game.
I want a Ret Paladin to feel like a Ret Paladin, not a warrior rip-off. Keep Divine Storm as Holy damage, decouple Seals from abilities, eliminate the Seal Tax and balance abilities so that they can stand on their own.


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Welcome to our first ever Wild-Card weekend playoff picks!
If this goes well, we'll publish our picks for next weekend's playoff games. If it's an abysmal failure, we'll all agree to never do this again, and, more importantly, never talk about it again.
So let's dive in!
Cincinnati Bengals on the road against the Houston Texans, who are 4.5 point favorites.
At first blush, this is an easy pick: Texans in a rout, right?
After all, the Texans clobbered the Bengals last year when they had a backup QB starting the game. And the Bengals just barely eeked out a win against the Ravens last week when the Ravens didn't even play their starters.
But, the Texans have stumbled in the second half of the year. Their offense is significantly weaker both through the air, and on the ground. Meanwhile, Bill Barnwell at Grantland says the Bengals' pass defense is the best in the league over the last eight games of the season.
Still, the Texans defense remains strong enough to stifle Andy Dalton and A.J. Green, giving Matt Schaub and the Texans offense enough space to cover the spread.
The lead pipe lock: Texans -4.5
Minnesota Vikings on the road against the Green Bay Packers, who are 9.5 point favorites.
After Minnesota won against Green Bay, it's pretty stunning to see the Packers as such heavy favorites. But if you watched that game, you saw Green Bay pick apart the Vikings defense after the first quarter.
Still, these are division rivals. It's hard to see Green Bay totally blowing out Minnesota. In the first game between these two in early December, Green Bay won by 9 thanks to two interceptions. Ponder is playing better, and the Vikings seem to be smart enough to just run the ball with Adrian Peterson.
While I'm very tempted to say the Packers throw all over the Vikings, run up the score and win this one in a route, I think the Vikings keep it close enough to make them the pick.
The stone cold lock: Vikings +9.5
Indianapolis Colts on the road against the Baltimore Ravens, who are 7 point favorites.
Upset alert! The Colts lose this game but manage to eek out enough points to cover the 7-point spread. The Colts' defense is really terrible, but guess what? The Ravens offense is pretty bad. The Ravens defense is wildly over rated and the Colts offense is actually rather decent. Look for Andrew Luck to step up. And in match of intangibles, I'll take #chuckstrong over Ray Lewis' last ride any day of the week.
The Matlock: Colts +7
Seattle Seahawks are 3 point favorites on the road against the Washington Redskins.
This is clearly the best game of the weekend. And therefore, the toughest to pick.
In Seattle, this is a no-brainer. The Seahawks win easily. In Washington, it's a much tougher game. RG III, despite his busted leg, still has enough magic to give the Redskins a really good chance to win.
Ultimately, I believe the offenses are evenly matched, but Seattle's defense is significantly stronger than Washington's and therefore, Seattle wins and covers. But it's going to be a very close game.
The pad-lock:Seahawks -3
Don't Miss: The Biggest Weaknesses Of All The Playoff Teams


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Jennifer Nettles and J Rome 'Breakeven' on 'Duets'
"I don't want America to think I wasn't ready," said 'Duets' contestant J Rome just before taking the stage with Jennifer Nettles for the first perform of tonight's live episode of the popular reality competition show. "I don't want them to say the pressure was on and he didn't deliver."
According to the remaining three judges, the clear frontrunner did indeed deliver with his performance of the 2011 pop hit 'Breakeven' by the Script.
"I think it's a great song," says Robin Thicke. "I wouldn't think it would be right for your voice, but the fact you made it your own is a testament to your talent."
Kelly Clarkson, who has been a clear supporter of J Rome throughout the entire season, also praised the young hopeful's willingness to tackle a song outside his comfort zone. "I'm mad. I'm mad — you're so good," said the Texas native.
"You did so well. It's not as exciting as other songs. You chose a song that I didn't think you would choose, but it was perfect," added Clarkson.
Much like the his celebrity mentor peers, John Legend offered J Rome similar critical praise. "I've decided everything is right for your voice," said the 'Ordinary People' singer. "Your chemistry is really infectious and cool,' referring to his relationship with the Sugarland lead singer.
"J Rome came into this competition already ready in my opinion," Nettles told the cameras just before taking the stage. "This was a stepping stone to take it to the next level."
When asked what keeps him from cracking under the pressure of being in the Top 3, the singer remarked "prayer" with a laugh. J Rome also gave Nettles props saying, "the confidence that Jennifer has in me and what I have in her."
Fans of J Rome need to unite in support this evening as tonight's voting will dictate the winner of season 1 of 'Duets' with the winner being announced during next week's finale episode. Dial 1-855-962-5002 to vote for J Rome.
Watch Jennifer Nettles and J Rome Perform 'Breakeven' on 'Duets'


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Against Policy
Thomas Jones
- The Manual of Detection by Jedediah Berry
Heinemann, 278 pp, £14.99, March 2009, ISBN 978 0 434 01945 8
One of the dissatisfying things about a lot of classic crime fiction is that when it comes to the anagnorisis, we really only have the detective's – and the author's – word for who, how and whydunnit. In many cases it would take only a few tweaks here and there to turn any of the red herrings into the solution, and for Sherlock Holmes's or Hercule Poirot's ingenious but ultimately arbitrary explanation to be exposed as just another false trail. One of the many pleasing things about Jedediah Berry's first novel is that the plot hinges on a famous detective's most celebrated cases having been solved incorrectly.
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Vol. 31 No. 10 · 28 May 2009 » Thomas Jones » Against Policy
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Thursday, November 17, 2005
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I'm having so much fun looking at the world through the lens of my Panasonic Lumix DMC-LX3. I will share my world of Rocklin, California and points North, South, East and West. Come and enjoy with me.


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Selecting your vehicle's make, model, and year allows us to display only parts and items specific to your car's model and year.
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OPGI Price: $42.99
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Years: 1976-1977
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Refresh your AC system with this reproduction switch from OPGI. Each switch has been precisely manufactured to OEM specifications and mounts on or near your accumulator to control the system cycles based on temperature. Sold per each.


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FrankMyersAuto needed a new other design and created a contest on 99designs.
A winner was selected from 39 designs submitted by 8 freelance designers.
High volume used car dealership is looking to spice up their POP computer kiosk. We have a very distinctive brand in our community and graphics MUST follow current image. Uncle Frank should be the centerpiece, followed by the red-white & blue with stars/stripes (see attached logo). The words "PRIZE & REGISTRATION CENTER" should also be used.
While we are NOT targeting a specific audience, we ARE wanting to keep the look and feel of our current marketing since we are very well known in the community.
High Resolution graphic design needed for computer kiosk panel. Dimensions are 36" wide by 76" high panel. Must be in an eps or ai file. Drawing of kiosk without graphics is attached as well as a picture of the display with SAMPLE graphics. NOTE: The picture with sample graphics is NOT what we want the project to look like. It is simply a rendition to show the dimensions.


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City of Lincoln
Mayor's Office
2006 Media Releases
Mayor Coleen J. Seng today announced plans for the City's sixth annual Abraham Lincoln Birthday Celebration from noon to 5:30 p.m. Sunday, February 12, the 197th birthday of the 16th President. The celebration is free to the public and will take place again at North Star High School, 5801 North 33rd Street. For the first time, the celebration will include a recreation of a Lincoln-Douglas debate beginning at 2:30 p.m.
"On this one day a year, we give the public an opportunity to learn more about President Lincoln, his accomplishments and the time in which he lived," said Mayor Seng. "We expect a great deal of interest this year in the presentation of one of the historic Lincoln-Douglas debates. We encourage families to come out to North Star for an entertaining and educational afternoon."
Two Illinois actors will be featured in the debate. Michael Krebs will portray Lincoln, and Larry Diemer will portray Stephen Douglas. In 1858, Lincoln and Douglas faced off in a series of formal political debates in a campaign for one of Illinois' two U.S. Senate seats. Lincoln lost that election, but the debates gave him the national exposure needed in his successful bid for the Presidency in 1860. Krebs and Diemer will recreate portions of the three-hour fifth debate, which took place October 7, 1858 in Galesburg, Illinois. They first performed the recreation in Galesburg in 1994 for a live broadcast on C-SPAN, a cable television public affairs channel. More information is available on Krebs' Web site at www.abrahamlincolnperformance.com.
Krebs formed a theatrical company dedicated to performances concerning Lincoln in 1992. He has produced Visiting the Lincolns at Gettysburg, the Lincoln Presidential Museum, the Hoover Presidential Library, the Gerald Ford Museum and other sites and had an extended run in Chicago. While working at the Chicago Historical Society, he helped create an online analysis of Lincoln's assassination for the Society's Distance Learning Center. He has appeared on the History Channel (Conspiracy) and in the Library of Congress' Mr. Lincoln's Virtual Library.
Larry Diemer has been teaching and directing theatre at Galesburg High School since 1976. He has directed, acted in and/or designed more than 100 productions at his school and for the Prairie Players Community Theatre. He also plays in an Irish music band. He has been a technology coordinator for his school district and is working on a doctorate in human performance technology. Diemer first played Douglas after being selected in an open audition for the C-SPAN production.
Also on the schedule for February 12:
A variety of Abraham Lincoln exhibits will be on display, and area Civil War re-enactors in authentic uniforms will mingle with the crowd and answer questions. Those attending are encouraged to wear costumes from the era. Refreshments and souvenirs will be available. For more information, see the City Web site at lincoln.ne.gov.
Mayor Seng thanked the community donors who make it possible to offer the event free to the public. A volunteer steering committee headed by Cleve Reeves of Bahr Vermeer and Haecker has planned the celebration. Producers are the City of Lincoln and the Lincoln-Lancaster County Convention and Visitors Bureau.
In connection with the annual Abraham Lincoln Birthday Celebration, Professor Ken Winkle, Chair of the UNL History Department, will present a program on Lincoln at noon Friday, February 3 in the Steinhart Room at the Lied Center, 301 North 12th. His topic is "The Great Body of the Republic: Abraham Lincoln and the Great Plains." The program is free, and those attending are invited to bring lunch.


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NWSB Vancouver Canucks insider Josh Hall gives us 5 ways Alex Edler's Goal of the Year candidate has AND will affect the Canucks. It ranges from good things to bad things. How could such a beautiful goal be so wrong? Josh tells us how.
Five Ways Alex Edler's Goal Affected the Vancouver Canucks
March 19, 2012 By


text: We've come to expect a lot of Formula. They have a reputation for building upscale boats that yes… cost more, but you get more for those extra dollars too. And let's face it, if everyone built boats with the same features, it'd be a dull world. So when it comes to Formula, we think we should expect more. The good news is however… that Formula delivers on those expectations. Not only does it handle well enough to earn the "Performance Cruiser" moniker, but everywhere we looked on this 34 PC we found items reserved for larger cruisers.


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CAPE CANAVERAL, Fla. — A commercial cargo ship rocketed into orbit Sunday in pursuit of the International Space Station, the first of a dozen supply runs under a mega-contract with NASA.
It was the second launch of a Dragon capsule to the orbiting lab by the California-based SpaceX company. The first was last spring.
This time was no test flight, however, and the spacecraft carried 1,000 pounds of key science experiments and other precious gear. There was also a personal touch: chocolate-vanilla swirl ice cream tucked in a freezer for the three station residents.
The company's unmanned Falcon rocket roared into the night sky right on time, putting SpaceX on track to reach the space station Wednesday. The complex was soaring southwest of Tasmania when the Falcon took flight.
In more good news, a piece of space junk was no longer threatening the station, and NASA could focus entirely on the delivery mission.
NASA is counting on private business to restock the space station, now that the shuttles have retired to museums. The space agency has a $1.6 billion contract with SpaceX for 12 resupply missions.
Especially exciting for NASA is the fact that the Dragon will return twice as much cargo as it took up, including a stockpile of astronauts' blood and urine samples.
The Dragon will spend close to three weeks at the space station before being released and parachuting into the Pacific at the end of October. By then, the space station should be back up to a full crew of six.
Space Exploration Technologies Corp., or SpaceX — owned by PayPal and Tesla Motors co-founder Elon Musk — is working to convert its unmanned Dragon capsules into vessels that could carry astronauts to the space station in three years.


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Home base: The Billetdeaux Family in Manchester, Michigan
February 1, 2001
Rufus leaves home in Manchester, Michigan to begin his travels around the world. Bon Voyage, Rufus!
The Billetdeaux Family, Sam (10, dx'd 8/98), Carolyn (13), Laura (mom) and Neal (dad)
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October 7, 2011
President Patrick White, Dean of the College Gary Phillips, and two faculty members will travel to China Tuesday for an unprecedented opportunity to establish relationships with Chinese universities.
Economics Professor Kay Widdows and Assistant Professor of Chinese Qian Pullen will accompany the Colleges' top two administrators to Shanghai and Beijing.
The group will meet with leaders from Fudan University and East China Normal University in Shanghai. They will also participate in the 39th annual China Conference for International Education being held in Beijing.
"All of us at Wabash are excited about this historic trip to China," said Wabash President White. "Our strategic plan calls for us to expand international learning opportunities for Wabash students, and the $700,000 Mellon Foundation grant enabled us to establish an Asian Studies Program.
"Our trip to China will build on connections we have already established with Fudan University and are initiating with East China Normal University, and will lead to enriched learning in Chinese studies at Wabash, as well as new opportunities for our students and faculty in China and for Chinese students and faculty at Wabash. Our relationships with alumni and friends of the College in China have helped drive this project and will help us make the most of what we learn and the contacts we nurture."
A trip to Fudan University was planned for the fall of 2008 then canceled after the economic downturn. Widdows suggested the College is now better positioned to take advantage of the exchange. The John H. Schroeder Interdisciplinary Chair of Economics noted the hiring of Pullen, the Mellon Grant, and the Visiting Professorship in Chinese as stronger footing to establishing ties.
"The College has an extraordinary, I believe unprecedented, opportunity on this trip to make face-to-face contact with significant Chinese educators and leaders," Dean of the College Gary Phillips said. "This could have a significant impact on the quality of teaching and learning for Wabash students and faculty. It could well open doors for other ways to strengthen the College in advancement and admissions. We will be meeting with the institutional leaders at Fudan University and East China Normal University to craft cooperative working arrangements between Wabash and these two major Chinese universities."
Wabash connections have also facilitated this rare opportunity to work with Chinese education leaders. Trustee Peter Kennedy '68 set up the initial contacts with Fudan for the planned 2008 trip. The Secretary General of China's Education Association for International Exchange, Jiang Bo, invited President White as a special guest to the plenary session of the conference.
"The trip to the conference in Beijing will place Wabash College symbolically and the delegation physically at the heart of an international conference and exposition," Phillips said. "Dr. Jiang Bo, a good friend of the College whose son attended Wabash and tragically died in a car accident in Crawfordsville in 2006, has invited Pat White to be his honored guest. Dr. Jiang is the second highest ranking Chinese official responsible for international education. It will be a unique opportunity to meet officials and educators at the highest levels, to be present when the Minister of Education announces a five-year national initiative to engage and study American Liberal Arts education, and to establish relationships with our Chinese counterparts from institutions across the country and around the world."
Pullen, the College's first tenure-track professor in Chinese, said the unexpected trip to the 2011 China Education Expo in Beijing will broaden the knowledge of China's ongoing undergraduate education reform of the old socialist system. "We will be connecting with officials and leaders of the Chinese universities in Beijing, and become familiar with both reform policies from the central government and specific reforming plans initiated by various institutes at the provincial level. This will be extremely beneficial to both the College's further collaborations with the Chinese universities and the development of the Asian Studies program."
The group leaves Tuesday, October 11 and travels to Shanghai to meet with Fudan University leaders. They travel to Beijing Friday for the weekend conference then return to Shanghai Monday morning to meet with officials at East China Normal. The Wabash group will return Wednesday, October 19.
The Mellon Grant provided funding to start an Asian Studies program. One of the first steps was to hire a tenure-track Chinese professor, which was accomplished last summer with Pullen's position. The grant also sends four Wabash and four DePauw professors for an intensive program in Hawaii during the summer.
English Professor Agata Szczeszak-Brewer, Philosophy Professor Mark Brouwer, Spanish Professor Gilberto Gomez, and Music Professor Peter Hulen participated last summer. The next step would be for each of those professors to work on a project next summer in China.
"What I would like to do is get an agreement with Fudan, East China Normal, or both to host our faculty for short-term visits of two to three weeks, provide a research assistant to help with language, and maybe a contact to a faculty member in the field who speaks English," Widdows said.
"If this goes over four years we're going to have 16 faculty that are looking for ways to develop Chinese content through a second summer visiting China."
Widdows said East China Normal has a "well-regarded Chinese-as-a-second language program." She hopes to discuss a program to bring a graduate student to Wabash "for a year or perhaps two years to teach Chinese."
But the relationships built during the trip could lead to more than faculty exchange. "It could be programs, immersion learning, or summer schools," Widdows suggested.
The College hopes to promote the Center of Inquiry in the Liberal Arts at the Conference as an assessment ally for the Chinese as they explore liberal arts education.
"We will explore opportunities to bring Chinese education experts to the Center of Inquiry in the Liberal Arts to participate in the close assessment and teaching improvement work the Center is so known for," Phillips said. "There may be no better place in the U.S. for Chinese educators to come than to the Wabash Center of Inquiry to learn about what makes high quality liberal arts learning work."
The other Wabash connection providing a big assist to the trip is Hao Liu. Liu, who runs a successful international school in China, is helping with many of the trip's logistics. He also welcomed three Wabash professors to East China Normal last year to teach in summer programs.
Widdows gave great credit to Pullen, who will be on the trip, for her guidance in setting up the logistics, arranging, and planning the protocol for meeting with the university leaders.
"This trip opens a door," Widdows said. "There are things we hope to accomplish now, but depending on personalities and institutional needs this could grow into something really important for Wabash College."


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And He said, "What have you done? The voice of your brother's blood cries out to Me from the ground.
31Then it shall be, that whatsoever cometh forth of the doors of my house to meet me, when I return in peace from the children of Ammon, shall surely be the LORD'S, and I will offer it up for a burnt offering. 32So Jephthah passed over unto the children of Ammon to fight against them; and the LORD delivered them into his hands. 33And he smote them from Aroer, even till thou come to Minnith, even twenty cities, and unto the plain of the vineyards, with a very great slaughter. Thus the children of Ammon were subdued before the children of Israel. 34And Jephthah came to Mizpeh unto his house, and, behold, his daughter came out to meet him with timbrels and with dances: and she was his only child; beside her he had neither son nor daughter. 35And it came to pass, when he saw her, that he rent his clothes, and said, Alas, my daughter! thou hast brought me very low, and thou art one of them that trouble me: for I have opened my mouth unto the LORD, and I cannot go back. 36And she said unto him, My father, if thou hast opened thy mouth unto the LORD, do to me according to that which hath proceeded out of thy mouth; forasmuch as the LORD hath taken vengeance for thee of thine enemies, even of the children of Ammon. 37And she said unto her father, Let this thing be done for me: let me alone two months, that I may go up and down upon the mountains, and bewail my virginity, I and my fellows. 38And he said, Go. And he sent her away for two months: and she went with her companions, and bewailed her virginity upon the mountains. 39And it came to pass at the end of two months, that she returned unto her father, who did with her according to his vow which he had vowed: and she knew no man. And it was a custom in Israel, 40That the daughters of Israel went yearly to lament the daughter of Jephthah the Gileadite four days in a year.
28 "So you shall say to them, 'This is a nation that does not obey the voice of the LORD their God nor receive correction. Truth has perished and has been cut off from their mouth. 29 Cut off your hair and cast it away, and take up a lamentation on the desolate heights; for the LORD has rejected and forsaken the generation of His wrath.' 30 For the children of Judah have done evil in My sight," says the LORD. "They have set their abominations in the house which is called by My name, to pollute it. 31 And they have built the high places of Tophet, which is in the Valley of the Son of Hinnom, to burn their sons and their daughters in the fire, which I did not command, nor did it come into My heart.
26 And when the king of Moab saw that the battle was too fierce for him, he took with him seven hundred men who drew swords, to break through to the king of Edom, but they could not. 27 Then he took his eldest son who would have reigned in his place, and offered him as a burnt offering upon the wall; and there was great indignation against Israel. So they departed from him and returned to their own land.
2 Ahaz was twenty years old when he became king, and he reigned sixteen years in Jerusalem; and he did not do what was right in the sight of the LORD his God, as his father David had done. 3 But he walked in the way of the kings of Israel; indeed he made his son pass through the fire, according to the abominations of the nations whom the LORD had cast out from before the children of Israel. 4 And he sacrificed and burned incense on the high places, on the hills, and under every green tree.
Moreover you took your sons and your daughters, whom you bore to Me, and these you sacrificed to them to be devoured. Were your acts of harlotry a small matter, 21 that you have slain My children and offered them up to them by causing them to pass through the fire? 22 And in all your abominations and acts of harlotry you did not remember the days of your youth, when you were naked and bare, struggling in your blood.
In the story about Abraham and Isaac and even earlier with Cain and Abel. He used this verse as an evidence that the earliest worshippers of God scrificed humans.
I wonder if your professor has read the entire Cain and Abel story, or if someone showed him this one sentence some time? I honestly do not understand how he got human sacrifice out of that. Clearly, the line about Abel's blood crying out from the ground is merely poetic, and Cain tried to hide his deed from God. Does one normally hide their sacrifice from the one they sacrificed to?
Abel's sacrifice was vegetables and was given in humility, were Cain killed animals whose blood was shed in vain out of selfishness. From the very beginning then, the reality that God asks us to give ourselves to Grace and not selfishness and self-destruction.
Quote from: HabteSelassie on January 22, 2012, 06:42:52 PMAbel's sacrifice was vegetables and was given in humility, were Cain killed animals whose blood was shed in vain out of selfishness. From the very beginning then, the reality that God asks us to give ourselves to Grace and not selfishness and self-destruction.Actually that is backwards; it was Abel who offered from his flock:"Cain brought an offering to the LORD of the fruit of the ground. Abel, on his part also brought of the firstlings of his flock and of their fat portions. And the LORD had regard for Abel and for his offering; but for Cain and for his offering He had no regard. So Cain became very angry and his countenance fell." -Gen 4:3-5Also it was the animal offering that was deemed acceptable, rather than having been described as "shed in vain out of selfishness." The offering of the fruit of the ground, rather than having been "given in humility," was rejected according to the text.
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Opinion: Congressmen for McMansions
American Enterprise Institute Resident Fellow Ed Pinto on why a bipartisan coalition doesn't want to change Fannie Mae and Freddie Mac's loan limits.
This transcript has been automatically generated and may not be 100% accurate.
... I ... I'm back to Opinion Journal why Mary Kissel it's been years since the housing bubble burst ... and the one hundred and eighty seven billion dollar bailout of Fannie Mae and Freddie Mac ... it's also about the Federal Housing Administration that needs a bailout ... what is going on why would anybody on Capitol Hill one a key taxpayers behind mortgage insurance that got ... American Enterprise Institute scholar and can still here to explain what's going on ... and I understand the fight is about loan limits ... what their loan limits for viewers out there that might not fall housing finance ... loan limits are the announce that the Congress sets for Fannie Mae Freddie Mac NFHA the maximum amount of loan that they can ensure ... and of those limits use to be ... tied to low and moderate income individuals to middle income individuals ... now they go up to over seven thousand dollars for FHA yet well and pray I think we've got some the loan limits for Fannie Mae and Freddie Mac among us from up on the screen here ... and ... these are the main auction prices six hundred and twenty five ... hundred and five hundred thousand dollars ... um there's a bipartisan coalition wants to keep these levels there ... why and to learn ... that the of my colleague of the Maurice complex was to keep these there because they make money ... on having these limits of where they are because it offers a slightly lower interest rate to those fire borrowers ... and that's money in their pocket so was the National Association of Realtors is the home builders lead the charge but the rest of the lobby ... also or unsupported and what's really happened ... is you not only have the business side they have community groups who've entered into a coalition with the business side ... to support ... of broad and housing ... standards are looser standards ... on supporting also to everybody supports the bull here's what President Obama has a say in August and I quote ... I believe Lawler housing system must have a limited government role private lending should be the backbone of the housing market ... including Giannini bizliners Seaview their borrowers niacin number but as a neighbor and quote ... so Ed ... the president has told ... the regulator on top of Fannie and Freddie can reduce the loan limits to let the private sector and ... why are we getting letters from the Senate and from the house against that they're going against the Whitecaps ... well the White House and Senate for couple years that hasn't happened ... and so the regulator wants to reduce the limits ... of the now Congress over certain members are stepping in Sina you shouldn't do that and I do a mini don't even have the power in the center is a question about that ... on and so it's free sickly trying to stop the FHFA from reduced elements the regulator for Fannie and Freddie is it just Democrats or Republicans ... this is a bipartisan issue housing has been a bipartisan issue in this country ... for a long time and it's always supporting ... you know more government support for housing today we've got ninety percent ... of loans are guaranteed by Fannie Freddie FHA and ... almost all the new loans are being purchased by the Fed ... so not only the guaranteeing them they're owned by the federal government is not an unsustainable price then you've got taxpayer standing behind all of it what a mass congressman for McMansions and American


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