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The industrial facility vacancy rate fell 0.5% to 10.2% in the second quarter of 2005, according to CB Richard Ellis. The national vacancy rate was 11.2% a year earlier and peaked at nearly 12% two years ago.
Los Angeles and New York metro areas have the lowest vacancy rates, in the 6.5–7% range. These low vacancy rates are the combination of several factors. First, years of permit delays for new facilities prevented considerable speculative building. Also, New York and Los Angeles have been the major beneficiaries of the surge in warehouse and light manufacturing space needs for the rapidly expanding U.S. foreign trade. Finally, the dominant export industries in both cities has recently grown rapidly, causing income to rise faster than in the rest of the country. Finance and professional services are the dominant export industries in New York, while entertainment, technology, and defense are the rapidly growing industries in Los Angeles. None of the cities with the highest vacancy rates have a dominant position in servicing foreign trade.
For factories, the absorption of existing space will quicken. However, the completion of new supply also quickens, so the vacancy rate will decline slowly. Spending on factories is currently 25% higher than a year ago.
For warehouses, space absorption is slower due to continuing improvements in inventory management. However, vacancy rates will continue to ebb lower as new space supply remains very low. Warehouse construction spending has slipped 5% in the last year.
U.S. cities with the highest and lowest industrial vacancy rates
(% change in the last year)
|Source: CB Richard Ellis
Healthy vacancy rates in Los Angeles and New York are being driven primarily by a surge in warehouse and light manufacturing space needs for U.S. foreign trade.
|Highest vacancy rates
|Jacksonville, Fla.
|Austin, Texas
|Columbus, Ohio
|Lowest vacancy rates
|Salt Lake City
|Long Island, N.Y.
|Los Angeles
|Palm Beach, Fla.

subset: commoncrawl


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[Illinois] Biophotonics 2012: Introduction to Fourier optics, Light scattering, Holography and QPI (III)
Licensed according to this deed.
Published on
Dr. Gabriel Popescu is an Assistant Professor in the Department of Electrical and Computer Engineering, University of Illinois at Urbana-Champaign and holds a full faculty appointment with the Beckman Institute for Advance Science and Technology. He is also an affiliate faculty in the Bioengineering Department. Prof. Popescu received the B.S. and M.S. in Physics from University of Bucharest, in 1995 and 1996, respectively. He obtained his M.S. in Optics in 1999 and the Ph.D. in Optics in 2002 from the School of Optics/ CREOL (now the College of Optics and Photonics), University of Central Florida. Dr. Popescu continued his training with the G. R. Harrison Spectroscopy Laboratory at M.I.T., working as a postdoctoral associate. He joined UIUC in August 2007.
From Dr. Gabriel Popescu's faculty profile
Sponsored by
The National Science Foundation Network for Compuational Nanotechnology The Beckman Institute IEEE ISS EMB SPIE
Cite this work
Researchers should cite this work as follows:
University of Illinois at Urbana-Champaign


text:
NOAA Education Celebrates 2009, The Year of Science
NOAA Education
Strategic Plan
Color version
(2.52Mb, pdf)
Black and White version
(2.19Mb, pdf)
NOAA joins hundreds of organizations and agencies in a national, year-long celebration of science to make science more accessible, personally meaningful, and locally relevant.
NOAA is a world leader in understanding the ocean, coasts, atmosphere, and climate science, and maintains a presence in every state. It has emerged as an international leader in scientific and environmental matters and embraces the opportunity to expand the public's understanding of science and stewardship of the Earth's natural systems.
This Web site represents a small sample of the resources available to educators. Explore with us!
All content on this Web site is considered to be in the public domain and may be distributed freely. Please cite NOAA as the source.
Example citation:
Courtesy of the National Oceanic and Atmospheric Administration,
Technical Requirements
The resources on this Web site incorporate audio, video, and animations.
To use these materials, you may need to download and install the following free plugins: QuickTime, Windows Media Player, Adobe Acrobat Reader, Adobe Flash Player, and Adobe Shockwave.
QuickTime: http://www.apple.com/quicktime/
Windows Media Player: http://www.microsoft.com/windows/windowsmedia/player/11/default.aspx
Adobe Acrobat Reader, Flash Player, Shockwave Player: http://www.adobe.com/downloads/


text:
Cellulosic ethanol is getting closer to commercialization. How close? Just one to three years. Buoyed by federal funding, technological advancements, and their own considerable investments, a few companies are moving forward with commercial-scale plans.
In September, POET, Sioux Falls, SD, announced a $6.85-million funding increase to an existing grant from the U.S. Department of Energy (DOE). This, plus an additional $13.15 million expected next year, will help POET develop corncob feedstock infrastructure around its Project Liberty plant.
Design work has begun for this 25-million-gallon-per-year cellulosic ethanol facility, which will be attached to POET's existing corn ethanol plant in Emmetsburg, IA. POET has applied to the DOE for a federal loan guarantee to help finance the project.
The company expects to begin commercial-scale cellulosic ethanol production before the end of 2011.
POET already has been producing cellulosic ethanol at a pilot-scale facility in Scotland, SD. This plant (which has received no federal or state funding) began production in November 2008 and has run 24/7 since January 2009. The facility has been teaching the company how to confidently scale up to commercial production, reducing costs along the way, says Jim Sturdevant, director of POET's Project Liberty.
With the recent DOE grant money, POET will work with several equipment manufacturers to get cob-harvesting technology into fields around Emmetsburg. Fourteen area farmers tested prototype equipment this fall. POET is developing and testing cob pickup, delivery and storage.
"Cobs represent a whole new revenue stream for farmers without them having to buy more land or dramatically change production. They just need to add some equipment," Sturdevant says.
Some of the new cob-harvesting equipment, such as the CCX770 cob harvester offered by Vermeer Corporation, Pella, IA, is now available.
Warrenville, IL-based Coskata also has taken a major step forward with the recent launch of its semi-commercial (demonstration) ethanol facility in Madison, PA. The facility will produce ethanol from woody biomass, agricultural waste, energy crops and construction waste.
This flexible approach is enabled by Westinghouse Plasma Corporation and its plasma gasification technology and Coskata's syngas-to-biofuels conversion process. Coskata plans to license its technology to other companies that will build cellulosic ethanol facilities with capacities of 50-million gallons and 100-million gallons per year.
DuPont Danisco Cellulosic Ethanol
By the end of this year, DuPont Danisco Cellulosic Ethanol (DDCE) expects to begin producing cellulosic ethanol at its 250,000-gallon demonstration biorefinery in Vonore, TN. DDCE is a 50/50 joint venture formed in 2008 by DuPont and Danisco A/S.
The parent companies have committed $70 million each to the joint venture, which began in May 2008, explains Vonnie Estes, vice president of commercial development, DDCE. Part of this $140-million total was designated for construction of the demonstration project. The State of Tennessee also has committed $40.7 million to construction of the biorefinery.
DDCE tested its technology at pilot scale at both DuPont in Delaware and at the National Renewable Energy Laboratory in Golden, CO. There the company tested unit operations — pretreatment, enzyme saccharification and fermentation — which are all ready to scale up.
The Tennessee demonstration plant will produce cellulosic ethanol from corncobs for about a year and then convert to switchgrass. It will have the capability to process other feedstocks if those sources make economic sense.
DDCE will take what it learns from the demonstration plant and apply it to a commercial-scale facility, which it plans to build in the Midwest. This facility will be located with a corn ethanol plant. DDCE plans to select the site by the end of this year and expects it to be operational in 2012. The new facility, which be run on corncobs, will be capable of producing 25 million gallons of cellulosic ethanol per year.
DDCE also plans to build a commercial plant in Tennessee, which will produce 15 million gallons of ethanol per year from switchgrass. About 25,000 to 30,000 acres of switchgrass will be needed to supply the plant.
The future success of cellulosic ethanol depends on the ability of farmers to provide feedstocks, Estes says. Although the demonstration project will use corncobs at first to obtain data for the Midwest plant, switchgrass makes more economic sense in Tennessee. A commercial-scale biorefinery using switchgrass will create new markets for area farmers. Such a facility also will help create a new industry with new jobs, which will be welcome to a state that currently suffers from an 11% unemployment rate.
Range Fuels
Commercial-scale cellulosic ethanol production will begin soon at the Range Fuels facility in Soperton, GA. Construction is currently 50% complete, and production is expected to begin by next year's second quarter.
The new facility will initially use woody biomass as a feedstock since Soperton, known as "Million Pines City," has an abundant supply of pine trees. According to David Aldous, the company's CEO, the biorefinery will require about 125 tons of biomass per day to produce almost 10 million gallons of cellulosic biofuels per year. It also will produce cellulosic methanol for biodiesel.
As the biorefinery scales up to 100 million gallons per year, it will require 2,625 dry tons of biomass annually.
At the Soperton site, Range Fuels has 281 acres in plots to test potential feedstocks, including jatropha, switchgrass and slash pines. "We'll also look at the possibility of using municipal solid waste," Aldous says.
Verenium Corporation-BP
Verenium Corporation, Cambridge, MA, and BP, the international energy company, formed a 50/50 joint venture in 2008 and plan to build a 36-million-gallon-per-year cellulosic ethanol facility in Highlands County, FL.
The experience gained from Verenium's 1.4-million-gallon-per-year demonstration-scale plant in Jennings, LA, will help the joint venture scale up. The Louisiana plant will eventually process about 50 tons per day of sugarcane bagasse and energy cane.
The DOE has selected the Verenium and BP joint venture, Vercipia Biofuels, to negotiate a loan guarantee. The joint venture is currently gathering data for due diligence and expects to close on the loan in the first half of 2010.
Pending the loan approval, it will then take about 18 months to complete construction of the new biorefinery. The Florida facility could begin producing cellulosic ethanol in 2012.
Government funding
Jim Sturdevant, director of POET's Project Liberty, says it is critical that government provide both financial support and policies that support development of alternative biofuels. Because we have relied on conventional oil for more than 100 years, the alternative fuels industry is still new and needs government help to get it started. One of the ways government can help is to allow 15% ethanol blends in gasoline, because this will create a continued market for ethanol, Sturdevant says.
"The industry must demonstrate long-term profitability," he says, adding that the industry must eventually replicate its technology without government funding.
To date, much of the government funding has been for research and development. The funding needed now is for scale-up and commercialization. Fortunately, the Department of Energy has recognized the importance of this, says Vonnie Estes of DuPont Danisco Cellulosic Ethanol.
Both the Obama and Bush administrations have talked about the importance of reducing America's dependence on foreign oil, reducing our carbon footprint and creating new green industry jobs. Cellulosic ethanol can help the country achieve these goals.


text:
Fire Extinguisher Training
Tuesday, October 31, 2017
Location: See event detail for location
This basic course discusses the various aspects of fire safety in laboratory and office settings. Topics include: Self-Inspections and "Hands-On" Fire Extinguisher Use. High-rise evacuation training is also available. Five-participant minimum. Location: Empty lot south of Fire Station 34 at Del Mar and Holliston Ave.
To enroll in this course:
- Log onto access.caltech
- Under SELF SERVICE, click the Training and Professional Development link
- Search for course in search box
- Enroll in course
For more information, please phone 395-6727 or email firstname.lastname@example.com


text:
My username is AliciaPlum.
Designing for me is like writing a novel expressing everything I'm feeling and doing and thinking. Color, lines, fit, can tell a story, and I love seeing how others interpret and knit up my stories.
I'm messy, disorganized, and loving. I design because I wear my heart on my sleeve, and designing is a perfect outlet for self-expression. I'm heavily influenced by the rustic beauty of our old farmhouse and my small town here in rural Maine.
My aim is to design things that have the down home comfort of New England but are also everyday items that someone can grab and throw on and still look good.
I have a wonderful group with my dear friend and design partner, Melissa called Plum Dandi. We do giveaways, knit alongs, test calls, and fun threads all the time and I must say we have some of the nicest Ravelers around!


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Delaware On-Campus Secondary Education Graduate Schools
Why Consider Secondary Education Graduate Schools?
Looking for the next step in your teaching career? Or perhaps you're looking for an occupational change and think that teaching is a perfect fit. No matter your reason, there are different choices to choose from for secondary education graduate schools. There may be an on-campus secondary education graduate degree program that addresses your top wants and needs.
Graduate Schools with Secondary Education Programs
Earning a graduate degree in secondary education and completing the required coursework may help students improve their own classroom methods, strengthen core curriculum, or reinforce best teaching foundations – while simultaneously participating in the traditional on-campus experience.
Reviewing Secondary Education Graduate Schools: The Basics
Secondary education graduate programs may be available at different levels, with some schools offering master's, doctorate, or graduate certificate programs. While secondary education graduate degree programs may not seem necessary, especially if you've already earned your teaching license, there are a surprising amount of possible benefits - even if you're already in the classroom! For those just starting in the field, this could be a great opportunity to earn your teaching license while pursuing intensive graduate coursework.[i]
Here are a few more facts to tip the scales in favor of earning a graduate degree program in secondary education:
- Some states may require teachers to earn advanced degrees a set amount of years after gaining licensure.[i] Check your state's guidelines to ensure criteria are met.
- Education admins who have earned their master's degree may have a wage premium of $23,000 over their colleagues who earned only a bachelor's degree[ii].
- Teachers seeking career enhancement may want to consider earning a graduate degree. Roles such as instructional coordinators, administration leadership, or principals may require advanced degrees as a prerequisite.[iii]
Which On-Campus Secondary Education Graduate Degree Program Is Perfect for You?
Finding a perfect secondary education graduate degree program may seem daunting. Are you looking for a master's degree program? How do you know if that's a great fit? Maybe you'd be better suited for a doctoratal program? Slow down! Before you rush into your search, consider the following: what is your current level of education? What are your career goals? What coursework do you want to focus on? By deciding on these key factors – and reading the information below – your graduate program search could get a little bit easier. And a lot less intimidating!
As you search, keep in mind that some programs may require applicants to have earned their teaching license before enrollment. Check with your perspective schools to ensure that requirements are met prior to applying.
Secondary Education Master's Programs
Admission requirements for secondary education master's programs may vary between schools, but these may be some great guidelines if you're thinking of earning a degree. Applicants could be required to hold a 3.0 or higher undergraduate GPA . In addition, you may also be asked to supply admissions with official transcripts, letters of recommendation, personal essays, CVs and resumes, and a professional teaching portfolio. Some schools may supply you with an admissions check list: be sure to double check it!
If you're making a career switch, make sure your intended degree program offers a licensure track. That way, you could get to teaching as soon as you get your diploma.
When looking for a perfect program, here a few common ones you might find:
- A Master of Arts in Teaching (MAT) on-campus with a concentration in Secondary Education may focus on core teaching concepts used in the classroom. Coursework may vary, but students could expect to cover topics such as classroom management, curriculum development and implementation, and teaching methods for diverse student populations. With course work touching on general academics addressed in grades 5-12, this may be the perfect program for those entering the educational field.
- The Master of Science in Secondary Education focuses on a two prong approach: combining in-depth knowledge of core academics with intense pedagogical strengths. Students may cover common topics such as such as history, English, and STEM subjects . In addition, they may also implement in-classroom skills from recent research to better develop and support their classroom techniques.
- A Master of Education in Secondary Education is another great option for those newly pursuing an educational degree because many programs may offer a licensure program congruent with normal studies. This program may focus on bringing together liberal arts education with educational research and development. This combination could be a great way to work in the classroom while simultaneously seeking to advance new teaching methods.
Secondary Education Doctoral Programs
Doctoral degree programs may be competitive in terms of admissions. Due to their emphasis on academic excellence,schools may require a GPA of 3.0 to 3.5 in addition to GRE exam scores. Along with the rigorous course of study may come a longer completion time, with many students completing required coursework in 3 to 6 years. Program lengths vary by school. In addition, many doctoral programs may require writing a dissertation in addition to the normal course load.
Doctorate of Education (EdD) in Instructional Leadership is one of the common degrees linked with secondary education. This degree program aims at molding teachers to take on leadership roles within the educational system. Coursework may emphasize implementing clinically conducted research in the classroom.Professional skills and their applications are often another facet of this program, with classes including educational policy studies and creation, conflict resolution, and using evidence-based data to back educational paradigm shifts within a district. While this degree may be suited for those who have already earned a master's degree, it is less apt for those new to the field as it is meant to build upon pre-existing educational pedagogy.
Secondary Education Certificate Programs
Graduate certificate programs may be great for students making the switch to an educational career. Certificate programs may be a way to get into the educational field quickly – especially since some programs may not require an undergraduate degree in education. In addition, they may be a way for current teachers to test out master's coursework before fully committing to the time frame a master's program usually requires. Due to the reduced course load, students may expect for the program to take anywhere from 1 to 2 years to complete, depending on the school.
In terms of admission, schools may require 2.5 to 3.0 undergraduate GPA for acceptance. Coursework may vary, but common areas of study might include:
- Teaching theory & method
- Core curriculum
- Lesson planning
Students participating in a graduate certificate program may be required to pass state licensure exams before or during enrollment, unless already completed. Be sure to check with your school to make sure criteria are met.
Students are not required to complete coursework from an accredited graduate degree program in order to earn a teaching license. However, accredited programs follow a standardized national education curriculum that could be a great way for employers to evaluate potential employees.
The U. S. Department of Education and the Council for Higher Education Accreditation recognize the National Council for Accreditation of Teacher Education (NCATE) as a professional accrediting body for teacher preparation. The NCATE accredits schools, colleges, and departments of education in U.S. colleges and universities, as well as non-university entities that prepare educators for P-12 schools[iv].
Why Choose an On-Campus Secondary Education Degree Program?
Do you prefer an in-person learning style? Or perhaps you favor personalized academic attention? If so, you might want to consider an on-campus graduate degree program. There may be many advantages to enrolling in a campus based program, but here a few that stand out:
- With scheduled class times, it might be easier to work courses into your weekly routine.
- Students enrolled in on-campus degree programs could receive personalized attention from their professors. Having trouble in your course? Stop in to your professor's office hours for some extra instructional time outside of scheduled lectures.
- Classes aren't just you and your professor – you'll have peers! Chatting with classmates could be a great way to discuss your own teaching methods, network, or just make some new friends in your profession.
- With so many campuses across the United States, you could look for a campus almost anywhere! You could search for something close to home, or look for something in a new and exciting city.
- Students may have access to a wide selection of university facilities – libraries and technology labs may be open to assist with studying and research.
Find a Perfect Secondary Education Graduate Program Today!
With this information at your fingertips, finding a perfect on-campus secondary education graduate program could be as simple as a few clicks of the mouse. GradSchools.com is ready and waiting to help! To begin your search, select your preferred degree program and format to view a list of sponsored schools that address your unique requirements. To search by location, select your preferred city and state. Who knows? You may find a perfect on-campus degree program in your very own backyard today!
Sources: [i]bls.gov/ooh/education-training-and-library/high-school-teachers.htm | [ii]bls.gov/careeroutlook/2015/article/should-i-get-a-masters-degree.htm#Education| [iii]bls.gov/ooh/education-training-and-library/kindergarten-and-elementary-school-teachers.htm#tab-4 | [iv] ncate.org/
Sponsored Listings
- Newark, DENewark, DE
University of Delaware
Master of Art in Teaching
If you have always wanted to be a middle or high school teacher of Science, Math or English, this one year program is for you...


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Difference between revisions of "Contra (NES)"
|Line 7:
|Line 7:
Overall: 5/10
Revision as of 09:16, 2 June 2017
Contra is a run-and-gun action shooter from Konami. The game was originally released in the arcade and then ported to various platforms. My favorite is the NES release.
I have beat the American and Japanese NES ports several times without needing to continue.
- Overall: 5/10
- Best Version: NES
- The controls are really responsive and intuitive. You have good control over your jumps.
- Each stage is pretty unique with new enemies, scenery, and music.
- The game is challenging enough that even after playing for years, you'll still have difficulty beating it.
- The graphics are pretty good, and using Giger's art style as adapted to Alien was a great idea.
- The game is painfully difficult. Had I encountered this game later in life, I wouldn't have the patience for it. Thankfully there is a 30-lives cheat code which makes victory more possible for an amateur.
- Only the spray gun, machine gun, and rapid fire are worth getting. Laser and flame thrower are essentially downgrades from the default weapon since they are so difficult to work with.
- Nothing.
Box Art
Contra's original Japanese box art is done in a manga style, with a very Giger-esque background, but for some reason has a magenta backdrop. I prefer the North American box art which is clearly a rip off Schwarzenegger from Predator and Stalone. It also has a Giger-inspired background, though more insect and less phallus. Although the PC market kept the soldier theme and used the name Gryzor, the NES market used a robot theme for European audiences. While I don't care for the censorship, I really like the mecha bot art.
- mobygames.com/game/contra - MobyGames.
- en.wikipedia.org/wiki/Contra_(video_game) - Wikipedia.
- gamefaqs.com/nes/563399-contra - GameFAQs.
- vgmpf.com/Wiki/index.php/Contra_(NES) - Music.


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Bettendorf, Iowa is just one of the many Quad Cities locations served by Ruhl&Ruhl realtors on the Mississippi River. With a population of 32,445, Bettendorf has that small town charm. Although, the total metropolitan area has a population of nearly 400,000 people, so, you'll never be far from a larger city feel. The Quad Cities includes the cities of Davenport, Iowa and Rock Island, Moline, and East Moline, Illinois.
History Bettendorf is rich in history. The founders originally named the town Lillienthal, after a tavern and dance hall, but merged with an adjacent village name Gilbert in 1858. Around 1900, the Bettendorf brothers took over Gilbert with their ironworks. Their business evolved into the Bettendorf Axel and Wagon Company, which subsequently became the largest railroad car shop west of the Mississippi River. In recognition of their importance, the town was incorporated as Bettendorf in 1903. Bettendorf is now home to Alcoa, a world-wide manufacturer of lightweight metals. In 1940, Alcoa built the largest aluminum rolling mill in the world.
Bettendorf Community Bettendorf is located on the banks of the Mississippi River in Scott County just east of Davenport and directly across the river from Moline. The city covers an area of 22.4 square miles. It has the lowest population density (1,528 people/square mile) and the highest median household income of any of the Quad Cities.
Attractions and Entertainment Bettendorf offers a variety of cultural and entertainment opportunities. The river, with its waterfront parks, walkways, and Isle of Capri Casino, attracts many people. The Family Museum of Arts and Sciences offers a variety of hands-on exhibits that will keep kids fascinated for hours. The city is home to three public golf courses, with many others located around the Quad Cities area. Marinas and boat launch facilities foster boating and numerous trails are available for walking, jogging, or bicycling. Attractions and entertainment opportunities for other Quad Cities communities are readily accessible to Bettendorf residents. Start your search of Bettendorf homes for sale.
Nearest Ruhl&Ruhl Office 1228 Middle Road Bettendorf, IA 52722 Phone Number: (563) 441-5000 Website
Bettendorf Helpful Links City of Bettendorf Quad Cities Chamber Parks Facilities Parks Summer Programs Alcoa Isle of Capri Hotel & Casino Alcoa Family Museum of Arts and Sciences
Below is a selection of properties in the area. If you would like to view all properties in this area. click here
Ruhl & Ruhl Realtors is powered by IDC Global and Datafloat
Real Estate website solutions | Big data and market report products for the real estate industry


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- 2 cups fresh basil leaves only
- 1/3 cup olive oil
- ½ cup walnuts or pine nuts
- 2 cloves of garlic crushed
- 1 tsp. lemon juice
- ½ cup freshly grated Parmesan cheese
- salt and pepper to taste
- In food processor or blender, combine all ingredients except cheese and 'pulse' until ingredients are finely chopped and mixed. Add a couple more tablespoons of oil if it seems too dry. Empty into serving dish or bowl and stir in cheese.
- Serve over 1 pound package of pasta, prepared.
- Add chicken or shrimp, sprinkle with more parmesan to serve.
- Spread on pizza crust before adding other toppings.
- Serve on crostini or grilled French bread with fresh chopped tomatoes, or mix with butter and use on veggies or warm bread slices.
- Use as a sandwich spread with grilled chicken.
Terri's Notes
~ I prefer walnuts, and they're really good when toasted first.
~ A little more or less of any ingredient will be ok.
~ The lemon juice adds a bit of flavor, and keeps the green a pretty, bright green.
~ Leftovers can be frozen, ice cube trays work well. Store cubes in a zip-lock bag.
Share this Recipe


text:
|Victoria, British Columbia
|High School:
|Mount Douglas Secondary School
|Fly, Free-DX
|Mathematics, Electrical Engineering and Computer Science
2011: All-American (800 Free Relay) … NEWMAC second team All-Conference (500 Free) … fine season in both freestyle and butterfly … captured the 200 free at the Wheaton Invitational (2/4) … won the 500 free at the same meet … also took the 500 free against Colby (1/14) … won the 200 fly event four times in the regular season … finished second at the NEWMAC Championships in the 500 free in 4:34.02, and NCAA B cut … third in the 100 fly … seventh in the 1,650 free.
2010: Swam freestyle and butterfly events for the Engineers … CSCAA honorable mention Scholar All-America … finished in the top-three four times in the 500 free prior to the conference meet, getting the win against Babson/Bowdoin (11/20) … five top-three finishes in the 200 fly, with a victory at the Wheaton Invitational (2/4) … third at the NEWMAC Championships in the 200 fly with an effort of 1:52.57 … season best 4:38.88 at the NEWMAC Championships in the 500 free to finish fifth … fourth in the 400 IM (4:09.50).
Out of the Pool at MIT: Majoring in mathematics, electrical engineering and computer science … researched optical device design at the Institute for Soldier Nanotechnology and computational biology in the Kellis Lab.
High School: A 2010 graduate of Mount Douglas Secondary School … junior national qualifier … Provincial gold medal in the 200 IM relay … silver medal in the 200 fly … International Physics Olympiad bronze medal in 2009 … Western Canada Physics Olympiad winner … AP National Scholar.
Personal: Son of Machiko and Guy Mock.


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Monday, May 5, 2008
A hand-drawn techno-Flash FX extravaganza!
This collage of hand-drawn special effects works in sync with a techno soundtrack by Aphex Twin. I pieced this little animated gem together in Flash. Using the soundtrack as a guideline, I just intuitively layered the effects elements in different ways, skewing, tinting, resizing and repeating them as I went along....
Posted by Joseph Gilland at 3:49 PM
4 comments:
- collector_cliff said...
Wow you rock!! Looks like every major (and cool) special effect from Chaotic all rolled up into one. They use them on the show all the time. Would have really loved to hear the version set to music...oh well!!
- May 10, 2008 at 12:53 PM
- ekg said...
Man that is really great!
I wish I could see it larger to study the motion and timing =]
Looking forward to your book.
- November 10, 2008 at 5:51 PM
- Graham Ross said...
- May 25, 2009 at 5:29 PM
- Adeboye said...
Great work. Reminds me of Florida.
- July 18, 2009 at 12:39 PM
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Passion. Commitment. Sophistication. An international network with uncompromising dedication to exemplary service. These are the traits that set MacArthur Sotheby's International Realty apart from other realty agencies. To put it simply, we match extraordinary lives with exceptional properties.
In 1991 MacArthur and Company was asked to become an exclusive partner with Sotheby's International Realty representing the Big Island of Hawaii. The Sotheby's affiliation has been a successful merger of symbiotic firms whose commitment to client service ranks at the top worldwide.
Renowned for our worldwide marketing and vast network of clients and brokers, we provide our clients with the platinum standard of the Sotheby's brand in attention, resources, service and transaction management. Our hand-picked team of top producing professionals consistently achieves record-breaking sales making our firm a leader in the Big Island real estate market.
MacArthur Sotheby's International Realty has continued to enhance our marketing services by focusing our time and energy on the development of a full spectrum of local and worldwide marketing efforts. We expertly facilitate both buyer and sellers in accomplishing their real estate objectives.
Sotheby's International Realty® network, founded in 1976, was designed to connect the finest independent real estate companies to the most prestigious clientele in the world. Serving an international customer base, Sotheby's International Realty Affiliates, Inc. provides local brokerage companies with powerful marketing and referral programs for luxury listings. In keeping with its stellar reputation, the Sotheby's International Realty® organization boasts an esteemed group of real estate professionals who understand the unique mindset of upscale clients seeking distinctive homes (or second and third residences).
Our sophisticated, savvy and extensively trained agents have an intimate knowledge of the properties within our island community. Sotheby's International Realty® agents possess the qualities of integrity and discretion valued by their clientele. For the connoisseurs of life, MacArthur Sotheby's International Realty stands ready to find that inspiring home that is as expansive our client's vision.


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Raise your arms slightly and measure around your body. Be sure to measure the fullest part of your chest/bust, keeping the tape parallel to the ground.
Measure around your waist where your pants usually fall. Keep one finger between the tape and your body to ensure an accurate fit.
An average person drinks over three cups of coffee a day. Yes, it takes a village (of highly-caffeinated villagers) to get someone through the day, and that day can be substantially improved if you don't have to make as many trips to the coffee maker.
Our large ceramic coffee mug is about 50% larger than those smaller mugs.


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Current biology student..
Redwood City, CA
How Much Tsh Fluctuation Is Normal?
munchkinette replied to munchkinette's topic in Related Disorders & Celiac ResearchMy cholesterol is higher, but only because of my HDL. My regular doctor (not the sub) said it was excellent, even though it was higher. Last time I saw her was this summer though, which is about a month before my symptoms started. My main concern is to fix the hair loss ASAP. I can't afford to lose much more! I've also been getting panic attacks. I had no idea those could be related to thyroid disorders until I started googling thyroid issues... but those have been happening a lot lately as well.
How Much Tsh Fluctuation Is Normal?
munchkinette posted a topic in Related Disorders & Celiac Research(Follow up to my earlier thread, "Hair Loss") I got my test results back. My TSH is 2.81. I know that's borderline using the new "normal" ranges. My TSH a year ago was 1.46, so it has doubled since the last test. Is this a normal amount of fluctuation? What tests should I get next? So many of my symptoms fit with a thyroid issue, and multiple family members have thyroid disorders, but I don't know what to say to my GP. The normal range on my tests say that TSH should be .4 to 4.0. (Actually not my GP, but filling in while my regular GP is on maternity leave, so he doesn't know me.) Is this enough for a referral to an endocrinologist? So far my other tests (ferritin, CBC, metabolic panel) look normal. I haven't gotten the Vit D test back yet, although I do take 5000 IU and I'm absorbing iron, so I don't expect it to be off.
How Many Courses Of Antibiotics Have You Taken In Your Life?
munchkinette replied to deezer's topic in Related Disorders & Celiac ResearchI picked 20-30. I had lots of ear infections when I was little, up to the age of about 15. I don't think I've taken antibiotics once since high school. I've been taking probiotics for at least 4 years though. I think it helps a lot since I rarely get colds.
I've had my thyroid tested over the years, but it's always been pretty normal. I think it was 1.4 last time. Still, something new is happening. I have read that the new range should be 2.5 or 3.0 though, so if he doesn't get it right I'll go see an endocrinologist. I probably should anyway.
That's what the doctor has ordered to begin with. Plus some kind of thyroid test. I'll find out when I get there since I set up the first round of testing over email. I already take a multivitamin with iron, plus 5000 IU of vitamin d3 every day, and probiotics. I shouldn't have deficiencies, but who knows. Last time I wasn't absorbing anything even though I was taking vitamins.
I've had some blood tests for Celiac, but I can't get the biopsy. I was a mess after getting glutened right before Thanksgiving. I've only been feeling better for about 3 days now. I can't handle eating enough for the biopsy. I do have several other autoimmune diseases in my family, that's why I'm not ruling it out. But some of the symptoms I've been having (except hair loss) are similar to what I felt before going gluten free. Have you tried an endocrinologist? That was actually something I was considering.
Hair Loss?
munchkinette posted a topic in Related Disorders & Celiac ResearchA little background: I did my first triathlon in mid-September, so I was training hard for most of the summer. At the beginning of August my training peaked: instead of getting better, I just got slower. My hair started falling out. By the time the race happened, I was pretty sure that I was experiencing symptoms of overtraining. At the same time, school has been INSANE, and my stress levels have gone through the roof. It's the beginning of December, and I'm still losing hair. I've lost maybe 40% since August. I'm still unable to exercise hard like I used to, so I'm only walking (instead of running) and occasionally riding my bike at an easy pace. If it had just been overtraining, I would have recovered by now. I think the combined stress from school and the triathlon may have triggered something else. Stress from school triggered problems that led me to go gluten free 6 years ago, so I think something may be happening again. I feel like my insulin response was a little out of whack too after the race, but it seems better since I've gone to a low carb diet. I was eating dairy for a while too, but I decided to stop. Any thoughts on the hair loss and fatigue? My doctor ordered some basic vitamin deficiency and thyroid tests but I"m wondering if I should ask for anything more specific. I'm pretty sure it's something hormonal, but I wouldn't rule out the beginning of something autoimmune.
I Have Cocoa Powder And Coconut Milk. Any Good Brownie Recipes?
munchkinette posted a topic in Gluten-Free Recipes & Cooking TipsI am not great at making up recipes and substituting, but I have the ingredients for brownies. Does anyone have a recipe that uses cocoa powder and coconut milk? I DO NOT have actual chocolate in the house. I have the standard staples for gluten-free baking, like gluten-free flour and xanthan gum.
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Fruits And Vegies
munchkinette posted a topic in Food Intolerance & Leaky GutI posted this already in the weight loss section, but it might fit better here. I've noticed my belly is huge since I've lost weight, and I'm trying to figure out why. I'm mostly eating meat and produce. I limit the fruit, but I've been eating TONS of vegies. What vegies give people problems? I know some people have issues with nightshades, but what else? I'm not sure if it's just the volume of vegies I'm eating, or the fiber, but sometimes I get super bloated and gassy- like one in particular doesn't agree with me.
Weight Loss Makes My Belly Look Bigger
munchkinette posted a topic in Weight Issues & Celiac DiseaseI've been on a diet recently to lose a few pounds, and I've done OK so far. I've lost some fat everywhere, and now it seems like my belly looks really big in comparison. It's still the "problem area" on my body, even though it's not all from extra fat. I'm currently gluten, dairy, and soy free. I eat somewhat Paleo style- I have a serving of black beans or sweet potatoes first thing in the morning, and maybe one serving of fruit in a day. After that, I'm pretty much only eating meat and cooked vegetables. I don't eat much in terms of calories, but those vegetables are huge! Why is it that I look pregnant after a big meal, but I can never tell when anyone else has eaten a big meal? I really have no idea if I just digest REALLY slow, or if I'm intolerant to something else. I cook almost everything myself, so I don't think there's any hidden gluten. I haven't really kept up with all the other things that people have problems with on this forum. I know that certain fruits and vegies can be an issue.
Crohn's Disease And Gluten-Free Diets
munchkinette replied to munchkinette's topic in Related Disorders & Celiac ResearchThanks for the responses. It's interesting. The one girl I talked to at the meetings said she went into remission on a Gluten-free Casein-free low sugar diet, and some doctors supported her while others didn't. It sounded very similar to my own experience with negative tests, a variety of responses from doctors, but major health improvements on a different diet.
Crohn's Disease And Gluten-Free Diets
munchkinette posted a topic in Related Disorders & Celiac ResearchI'm currently training for my first triathlon in order to raise money for the Crohn's and Colitis Foundation of America. I picked this one because I know that some of their research does overlap other GI immune conditions. I'm not totally sure how though. I've found some research about shared genes. I want to make sure I'm telling people the right things, since many of them have experience with celiac only. My main question now is how many people with Crohn's and/or colitis follow a gluten free diet? Is it the same or different from the celiac diet in any ways? I've met one person who said she couldn't eat many other gluten free replacement grains. Is that something that varies by person? Also, how does a doctor distinguish between celiac disease and Crohn's when it affects the small intestine?
Eating For The Environment
munchkinette posted a topic in Food Intolerance & Leaky GutI've been kind of conflicted about this lately. I've been trying to do more things to live more sustainably. A lot of people go vegetarian. I don't feel like this is an option for me, considering all the things I can't eat. I definitely can't eat gluten, and I really have trouble with dairy and soy. I have a long history with anemia, so I really hesitate to cut back on the red meat. Has anyone modified their gluten-free diet in order to be more sustainable? If so how? Other than eating more local foods and grass-fed meats, I'm not sure what I can do that won't compromise nutrition.
School Project- What Should I Test For Wheat Contamination?
munchkinette replied to munchkinette's topic in Gluten-Free Foods, Products, Shopping & MedicationsI'm planning on using real time pcr to quantify. I asked my professor about trying an ELISA test. He said this was way more sensitive because you can get down to the number of dna molecules, but that he didn't need ELISA for the purpose of the class project. I'm just learning these techniques, but his background is with plant genomics, including a few decades with corn. I ended up picking a variety of different things- some are labeled as ELISA tested, some are made on shared equipment, some have no gluten ingredients and don't claim to be gluten free, and some are gluten free when packaged but I got them out of the bulk bins just to see what I'd get. They are all relatively homogeneous foods like flours, sauces, and crackers because I have to use small samples. Here's an example of the kind of thing I'm trying to do. (My project is to learn techniques as they apply to certain types of research, not do original research.) Previous Study
Help With gluten-free On A Budget
munchkinette replied to Cypressmyst's topic in Gluten-Free Foods, Products, Shopping & MedicationsCooking for myself has been the easiest way for me. I'm a student on the diet, but I like exotic foods, so I basically have to cook anything interesting. I usually set aside one or two days per month to cook and freeze a ton. Then I just grab one of the frozen meals in the morning, and it thaws in my back pack by the time lunch rolls around. It's a good way to save even without a gluten-free diet. Amazon is/was doing free Prime shipping for students. I think they still ship regular speed for free. I typically try an expensive thing at Whole Foods once just to make sure I like it, then buy it for half the price (in bulk) on Amazon. I get all my Bob's Red Mill, probiotics, sustainable canned tuna, and sometimes meal bars off Amazon.


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A video shot on the Golden Gate Bridge over the weekend has surfaced online showing a car doing doughnuts — a stunt under investigation by law enforcement officials.
The 15-second video was posted Sunday on Instagram by a user with the handle the_ssnoopy_sideshow, who wrote "My Sunday was better than yours!" and "I can't wait 2 go back…with my (expletive) car…still had a blast thou."
California Highway Patrol Officer Andrew Barclay said the reckless display took place around 12:30 p.m. Sunday.
"We received a call of numerous vehicles stopping traffic on the Golden Gate Bridge to allow an individual to do doughnuts," Barclay said.
The involved vehicles continued northbound on the bridge after endangering themselves, other drivers, and pedestrians on the sidewalk nearby, he said.
"Obviously what they're doing is extremely unsafe and dangerous," Barclay said. "We are investigating the incident."
The display by an apparent black Chevrolet Camaro was part of what's known as a "sideshow" — an illegal demonstration of vehicle tricks on public roads made popular in the East Bay.
The video had received more than 360 "likes" as of Wednesday afternoon.
The bridge switched to an all-electronic toll system in March 2013, and has the capability to snap photos of license plates in order to mail bills for the toll to the address of the registered owner of the vehicle. Barclay said he could not comment on whether the CHP would use the technology, citing the ongoing investigation.
Follow Megan Hansen's blog at http://blogs.marinij.com/bureaucratsandbaking.


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|Reno, Nev.
|High School:
2009: Team captain...Appeared in 34 sets...Averaged 0.59 kills and 1.35 digs per set...Hit .500 with a season-high six kills in the Sept. 25 sweep of Central Connecticut State...Had 11 digs in the Oct. 30 match at Penn...Picked up 10 digs in both matches of the Harvard-Dartmouth road weekend on Nov. 6-7...Landed five service aces.
2008: Appeared in 82 sets over 24 matches...Averaged 0.88 kills and 1.56 digs per set...Racked up 31 assists, seven service aces and 12 blocks...Recorded six kills and a season-best 15 digs on Oct. 11 against Harvard...Served up three aces and distributed three assists on Oct. 18 against Penn...Picked up a match- and season-best 12 kills on Nov. 7 against Columbia...Notched 11 digs and a season-best three blocks in the Nov. 14 win at Penn...Matched her career high of three assists in the NCAA Championship First Round win over Ohio.
2007: Emerged as one of the team's most versatile weapons, playing in 88 games and making 20 starts...Finished second on the squad with 254 kills (2.89 per game) and fourth with 228 digs (2.59 per game)...Also tallied 31 service aces and 35 blocks...Had 11 double-doubles during the season, including a span of five in a row...Developed a jump serve over the summer and had three service aces on five occasions...Posted a career-high 20 kills in a home victory over Penn on Nov. 9...Tallied five blocks three times, including the match at Brown on Nov. 13 where she had 13 kills and 16 digs...Registered 18 kills and a career-high 21 digs while tying a career-high with three assists against UC Santa Barbara in the Baden Thanksgiving Classic (Nov. 24).
2006: Appeared in 15 games...Recorded 25 kills, 14 digs and four blocks...Slammed a career-high seven kills against Princeton on Oct. 21...Also posted a career-high three digs in that match...Had another three-dig effort against Harvard on Nov. 11...Posted five kills, three digs and two blocks against Central Connecticut in the Courtyard by Marriott Yale Classic on Sept. 23.
Before Yale: Named 2005 co-MVP of the Northern Nevada State Zone as well the Gatorade Girl's Volleyball Player of the Year for the state while at Galena High School...Recipient of the 2005 Harvard Book Prize and a 2004 inductee to the National Honor Society...A member of the Nevada State All-Academic team throughout her high school career.
Appleman on Julia: "I am very happy to have Julia as our team captain. Her experience will play a big role in our team chemistry on and off the court. She makes good decisions as passer and can be a major threat as a hitter."
Getting to Know Julia
Favorite Quote: "All who joy would win must share it. Happiness was born a twin."- Lord Byron
Your Theme Song: "Mr. Jones" by Counting Crows... I always wanted to be a black-haired flamenco dancer.
Biggest Inspiration: Anybody who overcomes great odds in order to achieve their goals.
Favorite Reality TV Show: "Food Network Challenge"
Greatest Fear: Having Lydia beat me at anything. Just kidding.. kind of.
Pre-Match Superstition: I have a lucky T-shirt, and I always put my left hand in to cheer in the huddle.
Favorite Sports Movie: Miracle
Signature Dance Move: There are too many to list.
People are surprised that you…: used to be nicknamed "Machete".
Which of your teammates would make the best coach?: Taylor Cramm for sure; she loves kids!
Why did you choose Yale?: I didn't apply anywhere else! There are very few schools with a combination of great volleyball and great academics.


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The person who will guide you in selecting classes each semester and making sure you are meeting the requirements of your program will be your advisor. Advisors are assigned based on a student's acceptance status and program of study. Your advisor's name is listed on your acceptance letter.
Each semester you must schedule an appointment with your advisor to be cleared for classes for the upcoming term. Your advisor will give you a Registration Access Code for you to enter when you are registering for classes online. You cannot register without this code, so be sure to see your advisor before registration starts each semester.
Advising Days
An advising day is scheduled each semester. These days are the ideal time for you to meet with your advisor, discuss your progress, and obtain your Registration Access Code for the upcoming semester. Classes are not held on advising days so that you and your advisor are available to meet. Please contact your advisor to determine his or her appointment schedule during the advising days, or any time during the semester prior to registration.
You can find more information on advisement, including how to contact your advisor from our Advisement Office Web page located under the Current Students menu on the Athens Technical College homepage.


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What you guys think about N.C. vs. Miami this week? I know Miami is the home dog but they looked absolutley pathetic last week. Stephen Morris is an awful quarterback...guy has burned me on so many bets. I understand that Notre Dame looks to be a legit team and they are better than N.C. but I just don't see Miami covering the 6.5. N.C. looks like they can put numbers up. I have vowed to never bet on Miami again....however I might start betting the other side of their games and make some money.
JDN - with you on Kent, Bama and Wazzou.... congrats on the incredible week 6 and BOL ... if u can find the time, give a couple write-ups, they're a good read and good education...
"You never leave a table when youre on a heater"
- The Hangover
Originally Posted by roundrock9: is it a good idea to fade jdn this week since he won almost everything last week.
I wouldn't but it's your money...don't know why you feel the need to say it tho


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Tony Curtis, The Last of the Playboys
For a guy who started life as Bernard Schwartz, son of a struggling tailor in the Bronx, Tony Curtis has done alright for himself, making more than 130 movies and creating some iconic performances of guydom in pictures like Some Like It Hot (where he had the sweet joy of making out with Marilyn Monroe), The Defiant Ones (where he played opposite Sidney Poitier, and helped Poitier earn his first Oscar nomination); Sweet Smell of Success ("Match me, Sidney."); and, of course, the legendary Spartacus, directed by Stanley Kubrick and released 50(!) years ago
Tony Curtis doesn't live in Hollywood any more. He gave it up some years ago. Packed it in for a Del Webb subdivision outside of Las Vegas. ("I wanted a change of scenery," he says.) On the way to his modest, two bedroom home, you pass a Communuty Center where people, most of them a good twenty years younger than Curtis, come and go all day, some of them whizzing by on golf carts, most of them in cars, but all of them it seems dressed for leisure: Shorts, t-shirts, nylon windbreakers, white socks. The uniform of the 21st Century Pensioner. "Look at me!" they all seem to scream, "I'm still a kid! Really—I still matter! I'm still…active!"
What does it mean?
Active physically, maybe. But you look at them and can't help feel that mentally they checked out years ago.
And then there's Tony Curtis, 84 years old, a short golf-cart ride away. Most mornings you can find him working in his painting studio, trying, as he'll tell you, "to figure it out."
"It" being life.
And Curtis has lived a life most of the people here, in this subdivision—and most of us, period— can only dream of.
He meets me in his small, sun-filled studio behind his house. Wind chimes clink in the breeze and down below you can see an empty valley. He sits on an old office chair. He wears billowy white pants and a white tunic. He looks a bit like Matisse, in old age. He's bare-footed and on the top of his feet there are dabs of yellow paint, the color of French's mustard. He's been working on a canvas, a figure of a nude. Except for his white goatee, he has no hair now. A few years ago he finally hung up the toupee. Doesn't matter—one look at the eyes and you know it's Tony Curtis. A blue any guy'd kill to have. "Gleamers," someone I know once called them.
Michael Hainey: Tell me about Spartacus.
Tony Curtis: Fifty years of Spartacus! Even now and then in an airport, I'll hear somebody yell out, "I am Spartacus!" And I just piss in my pants. That is the funniest thing ever, that someone would have the chutzpah to do that, you know? The trouble we had making that picture…It was very convoluted, and what I mean by that is it was a peculiar movie that was made. With Kubrick directing it, it wasn't like Billy Wilder directing a movie, like Some Like It Hot, or some of the other directors around.
What was it like working with Kubrick?
Kubrick, was a kid out of New York, out of Manhattan.
Like you.
Yes. So he and I had a wonderful conversation with each other—which was not saying much, but looking at each other and behaving a certain way. We were able to give each other the strength that we needed, the wherewithal that was necessary to follow his needs as a director, so that he wouldn't have to articulate in a grand manner what he wanted you to do. He was able to, as a kid out of New York, it was easy for him… it was easy for him to give of himself. You were able to understand everything he said. Pronounced, sharp, and to the point.
And Laurence Olivier?
Oh, consummate. I like that word, a very consummate performer. He didn't give too much of himself, but he gave of his ability to show you what he thought was right, by not doing something. In doing that scene, with us in the tub, he didn't shiver, and say, Ooh, here we are in the hot water, ooh! Do you get what we're going be doing, Tony? Touch ya, touch ya when I get you out there, if you let me, ooh. He was identifying what the purpose of the tub was, the warm tub. When we were in it, working it, he mentioned on a couple of occasions that in fact that a hot tub between buddies is a great place to pee. How do you like that?
What was that line, in the bathtub?
He says, uh, 'Do you like snails?' And um, 'no my master.' 'Do you like oysters?' 'Yes, I could do with oysters.' 'I like both oysters and snails.' Too cool. Everybody got that one.
What was it like working with Kirk Douglas?
Kirk on the other hand, is a balabus.
What's a balabus?
A double-headed monster…I did The Viking with him. And you see, I know how to get these guys so they love me. I could convince them that I'm the sweetest kid in town, a little gruff maybe, a little clumsy maybe. But a nice kid. Someone you could trust. As an actor, Kirk didn't have much trusting as a human, in our relationships. But as an actor, he trusted me, and that's where his trust was necessary.
So he trusted you one hundred percent as an actor?
Yes, it was complete. He'd pull you aside and say, 'Well listen, um, why don't you say that line with a little more emphasis, because it will give me a little more strength to go on?' So I saw what it was, I saw exactly what it was. It was like a little kid asking me to give him what he had already. And I loved it.
You're about the same age as Douglas, right?
Maybe I am.
I think you're in better shape, though.
Oh much better. [Laughs.] I spend some time with him every now and then.
You do?
Yeah, I go visit him.
When's the last time you saw him?
Ahhh…about four months ago.
In Los Angeles?
Yes. It's hard for me to see some of these guys because I'm living in Las Vegas. If I were living in L.A., I'd pick up the horn, call them, and say, 'Can I come over?' And they'd say, 'Sure, come on over.' But since I don't live there anymore, I don't have that access. But they know I'm around. They all speak the highest of me, and that makes me feel great, that I'm a guy they can trust.
That's important to you.
Very! I'm a motherfucker you can trust. I used to save my buddies from terrible beatings, I would take their spot because I was faster. I shouldn't be talking this way.
Why not?
But I did that, I did that because I loved them, I liked them a lot. Well, maybe, love and like, mix it up together, it comes out the same. And all of these guys that are still living—Cary Grant, was I nuts about him.
What did you learn from Cary Grant?
Intelligence, the ability to take his craft, acting, and use it as a weapon if necessary, in doing a scene. To use it as a means of getting somewhere without offending. And he was a kind, wonderful man; handsome motherfucker, smart, his timing in movies was the best. He was funny too. I cried this morning [starting to cry]. I like crying, to think of Cary Grant now, with such affection. I did this picture with him, Operation Petticoat.
I love that movie.
Oh, I'm glad. You know, I developed it. What I mean was, I was in the submarines, when I served in the Navy, so I decided that would make a good picture at Universal. And I was doing really well to get some guy, Kirk Douglas, to play that other part. But then someone said they gave it to Cary Grant. I was afraid he would turn me down. He didn't, and to be accepted by Cary was a great Mitzvah. Was a great thing, 'cause the man was so articulate in his movements, you know, he didn't have to overload the circuits at all, he was able to do it very effortlessly. And then when he chose me to be in the movie…a lot of guys liked to work with me because I was always alert, and I knew how to pick up lines and attitudes. But Cary Grant allowed me to be with him in that movie. He didn't look upon me as someone who was gonna feed him lines. He looked at me, if I may, like I'm looking at you and talking to you. Free and open, and allowing you to contribute any way you want.
Do you have a routine every day? Do you paint every day?
Almost every day. Depends on what happened the night before. Depends how much energy I got. If I get pissed off or angry, I'll paint. If not, if I'm calm, I don't paint…or I do. I act just like a woman. [Laughs]
You should always create when you're pissed off, right?
I do, I do. Some nights I say, "Well, listen, I'm going to paint tomorrow, and fuck you." I kind of provoke myself. [Laughs]
You've got to work yourself up to it.
Yeah, I need that impetus. Well, I'm being facetious, but what I mean is, I'm 84 years old—I don't believe it, but I am. And going by insurance statistics, you know, if I've got 10, 12 years, I've got a lot of years. So it's not like when I was 20 or 30 when I didn't give a shit. I was jerking off in Macy's windows. You know what I mean? [Laughs] Running around, doing anything I wanted. Who needs an education? Who needs this? I just said: "Who needs dough?" So how do you improve ignorance? By knowledge. Living life gives you that impetus to want to learn a little bit, I think.
But there are certain things, though, when you're young and ignorant…Ignorance lets you take chances.
Yes, exactly. And now, not that it's different but I just see things a little different than I did before. I had no idea that I'd come out the way I did. 130-some-odd movies, five marriages. [Laughs] I mean, you walk into one of those little gypsy places in New York where they tell you your fortune—if I had walked in there at 16-years-old and they would have said what I just said to you, I'd say, "Thank you, and give me back my quarter, and let me out of here." You know?
Did you have any idea where you were going to end up then?
I never did. But I never worried about it—I just wanted to figure out what was the best I could get out of life. I was so naive. It wasn't until I started getting out, meeting people, I realized what a stiff existence. And I was the handsomest boy anywhere and I was Jewish—
And the most modest, too.
And they both worked against each other, you know? I was kind of envied. I didn't have any friends as a kid, but I made like I had friends. I wouldn't let anything get to me.
You had a couple. You talked in your book like you had a couple friends.
The only friends I've got are the ones I met in my profession. And all the ones I liked a lot, they're all dead. I never figured on that.
Who were you closest to that's dead now?
Jack Lemmon, Cary Grant, Burt Lancaster. They made me feel like I was a member of an elite group of men. I looked up to these guys because I saw in them the things I would like to see in myself. And by watching them, I saw how people did things—how to take a girl out for dinner, learn that the outside instruments were the ones you took first. Otherwise, I'd just lay there and say, "Why did they put them like that?" By watching, I saw how people behaved.
Were some of those guys like a father to you?
Maybe a father, maybe an older brother. They genuinely cared about me, and I cared about them. You know, they called me: "How's it going?" I'd get a call from Cary Grant. "Are you all right? I saw you the other night. Anything going on?" Jeff Chandler was a good friend. When my father died of a heart attack he came, rushed down to their apartment with me and we sat shiva. He organized the funeral and all of that. That made me feel good, I had somebody to rely on.
You know, I'm not talking about any great dilemma I had, because I could pass easily. I wasn't like my black brothers who couldn't pass. In those early days when there was a great deal of anti-semitism and anti-black feeling I was able to go through that jungle easily, unfettered. And I enjoyed it. Maybe I enjoyed it more than I should have. I don't know. Maybe I should have been more attentive, been more like Paul Newman or Marlon, you know, who fought against racial…but I didn't. I just didn't feel like that. I thought every man for himself. If you can, take a few people with you.
You lived with Brando. What was that like?
I liked that a lot. We were 24, 25. He was an interesting man, different, a genius in the way he thought.
You could tell already?
Yeah you could tell. He said, "I'm not going to walk into this scene"—every actor would do their walk in—"I'm going to come to the window." He always found the little piece of business he could do, that was his gift. They made a school of acting out of Marlon. And he had courage. I admired him for that. He spoke up whenever he wanted; he was tough, strong guy. Played the drums.
He played in the house?
Yeah, he used the pots and the pans in the kitchen. I used to play around on the flute. I had a little flute. So we'd make things up. He went to Warner Brothers and did The Men and I was around the corner at Universal and made Son of Ali Baba. We both always liked that about each other, that we started at the same time.
My dilemma was that Universal was a B studio, so any movies I made there were made in 11 days for $150,000, and released two weeks later. Universal had a huge distributing business. The more quality films came from most of the other studios who didn't hustle their movies through. So I ended up like a joke in the movies, you know.
I may be sounding hard on myself. But I'm not. I was getting laid a lot, a lot of beautiful girls I was chasing, and I had enough dough to do it. I was content. I had eyes for bigger stuff, but I figured somewhere along the line I would get that. You know, I stuck my head down with the work. I didn't drink, I didn't do drugs. My energy was through the girls.
I heard from someone you had a club. Can you tell me about the Face Club?
Yeah, I was a member of the Face Men of America. Sammy Davis, me, Frank Sinatra was an honorary member.
What were the membership requirements for the Face Men?
Well, going down on somebody.
How did you prove it to the guys?
You pick out the girl, and if you had that experience, you detailed it in your conversation. Sammy, you see, he had to do it. He was inadequate.
What do you mean?
He was a tiny little guy.
Even in his schvanz?
Yes, right. Tiny little guy and he had to make up for the difference between prick and penis.
Was this back in the day when this wasn't so commonly done?
No, very few, it was very few. [Laughs] And you know, I don't want to be unkind. The attitudes people have towards sex and what it represents, you know, it's ludicrous, these kinds of experiences become…they become vulgar. I never fooled around with guys. That to me was something offensive. And I became very careful of that because I attracted a lot of fellows.
Who hit on you? Did Rock ever hit on you?
Well, yeah. We did a picture together. I knew him for a long time. But you know, he was so big, he didn't want to fool with a little kid like me. But they all hit on me. Henry Wilson, he was the agent, he would love to have me in his coterie of clients.
So Frank wasn't actually a member of the Face Men's Club?
No, no, he was. He said he did. I mean, I wasn't sure about that. You know, he was a very peculiar fellow.
How do you mean?
Well, you know, he was very into himself. He wouldn't let anybody see a weakness in him. And if you saw something in him, he wouldn't just bawl you out, he'd say, "Get the fuck out of my face, or I'll knock your head off." You know it was…
Overcompensating almost.
Yes. So I was never sure…I mean, I knew a lot about Frank. We were really close. He liked me a lot, and that meant a lot to me. To be a friend of Frank's was a great help in those early days. I didn't abuse it or take advantage of it. I would just make myself available when he would call or want to go out to dinner. He had just busted up with Ava Gardner and was going with a girl named Jeannie Carmen, beautiful showgirl. And she told me that when she moved in with him into his apartment in Beverly Hills he only played his music on a big hi-fi set, just his songs, him singing. And one night, they made love and when they finished, he said to her, "How was that?" and she said, "I loved the music." [Laughter]
She told me that sometime during that evening she had asked him, "Who's your favorite movie star?" And he said, "Tony Curtis." And she asked, "Why?" And he said, "Because he beat the fucking odds." That meant a lot to me because it was hard to figure out why Frank loved you. But he liked that I came out of the same kind of background he did.
These were the things that gave me courage in those early days. And I mean, I went everywhere, I would go on tours for the studio, because I knew how I would be received. I knew there would be screaming in the lobbies of the theaters where I showed up. That's where I understood that I was making headway in my profession, for these little girls being in the lobby waiting to line up for me.
**Was that a sense of power that you got? **
Man, it was. There I was growing up, I was 22, 23. I didn't have much social graces. I never finished high school. And to meet these girls like that, and to find them so adoring that it didn't make any difference whether I opened the door or didn't, how I lit a cigarette, how I was having dinner. They followed me around in the evenings to find out where I was having dinner and they'd all be looking in the window of the restaurant. It made me cry sometimes. I'd say, "Up to a year ago I couldn't get arrested, and now all of the sudden, they're fighting to see me."
Fifty years of movies, maybe two, three billion dollars of sales over those 130, 140 movies. I don't see any of that money, I don't want to. I'm doing okay. But that's the nature of the profession. And what I did to ease myself, to make it possible for me, sir, to sit here and paint was the fact that I analyzed all of this stuff. It didn't turn me into a mean motherfucker. It didn't turn me into somebody angry and vicious and envious of other people. And it's easy to do that.
How did you do that?
I did it by exploring my life as I went through it.
You spent a lot of time with shrinks, right?
Yeah, I did, for a while after I got to Hollywood.
Did that help you explore?
A little bit. I didn't have any education where I could explore my id. [Laughs]
Did you learn anything in that?
I did, I saw things that I didn't want to see. I had a brother that died, hit by a truck in New York City. I took it very personally because I didn't want to play with him at that moment. Hung out with my buddies instead, and he gets hit by this truck and dies. My mother was a very difficult woman. Used to beat us, beat me a lot. I don't know what you'd call her today. She was an aggressive woman.
Abusive, yes. I never knew if I'd come home, she'd kiss me or punch me in the mouth. And she and my father fought all the time. And then on the streets of New York City, I couldn't stay out of trouble. I was always finding myself in confrontation just walking through a neighborhood. "Here comes the fucking Jew." How did they know I was Jewish? I guess I looked Jewish or I looked Mediterranean, or whatever I looked like. A lot of hair. Handsome kid walking alone, "Here comes a faggot." These are the things that I grew up with and they had a profound effect on me.
You lived briefly in an orphanage.
Yes, this was in the '30s.
How old were you then?
It was just before my brother died. I was 11, he was eight. It was on 62nd Street where my father's tailor store was. They ran out of money, so they put us in this orphanage. It wasn't a permanent one—well, I didn't know that then. We lived there for about a week, ten days, while my family relocated. And then a week later or so they came and took us, and we went and lived in back of another tailor shop. And four months later, my kid brother got hit by a truck and died and they sent me to pick him up.
Why did they send you?
They didn't have the guts to do it themselves. They sent me to the hospital with the police car to identify him. My kid brother's head was all distorted, and I know it's him because he had a tooth missing. But I took all of that with grace.
But that never leaves you.
No, never. It's there all the time. Then there was a time when I really fell apart with drugs.
What was that like?
It wasn't a big deal. Everybody around me was doing drugs so I got into it. Started smoking cocaine, freebase.
That's a big deal.
Well, it certainly made you different. I would burst out of the kid that I was into fantasies and dreams, but then a few hours later it was gone. So I kept trying to find it again. Nothing unique.
How much money do you think you blew on drugs?
Oh, $150 a gram. There were a lot of grams.
A couple of hundred thousand?
It could've come to that, yeah. I was ashamed, you know? I used the drugs as an expression of maintaining relationships. At that time, I couldn't. I had trouble with girls. I had trouble in the sexual department of my life. That was one of the reasons that I used substances so intensely. Wasn't a long time, about 18 months, but it was a very powerful 18 months. And it helped me get through two marriages.
The drugs?
The drugs did. I was very depressed. And I still have my moments.
Of depression?
Yes. Really card-carrying depression. You know, I muddled my way through it.
You talked about in the book how you found your father once with a knife.
Yes, sitting under the stairwell.
Did you think he was going to kill himself?
This is 1936 or '37, there was a Depression and there was no business at all. And there he found himself, married, two kids, running a tailor store. He wanted to be a violinist or something.
Did that scare you, finding him like that?
It did. And that was part of my—I won't say recovery—but that experience, seeing my father at a point in his life where he was ready to die. And what was he out of his mind for? Alcohol? No. Tobacco? No. He was so depressed about what life was like. And I'm telling you, when I was his age, every now and then I found myself in the realm of where I thought my father was, where nothing made sense anymore, where I didn't want anything or anybody.
Did you ever come close to suicide?
No. I wanted to see my son grow up. I wanted him to know me. And that's what started my recovery. Only to watch my son die of the same disease I had. He overdosed when he was 31-years-old. I don't know how I fared with it. I just, you know, I just did it. What are you going to do? Become somebody else?
Do you think you're a loner?
I am. I seek out relationships because they're intriguing and they're fun, and there's only so much I can amuse myself with.
But you keep a distance in your relationships.
I do. I find that's the best way to maintain. And I allow the creative juices to work constantly, you know? I write poetry, I paint, I work in movies. I allow myself all those creative joys. I liked girls always. I didn't even need to know that I was going to have sex with them, I just liked them. Their kindness, their aloofness. I love all ages of women, you know? This is my wife. [Shows painting/photograph of wife]
You're a lucky guy. And that's of Marilyn there? [Points to painting of Marilyn Monroe]
That's Marilyn.
They're beautiful. I like the bos, too. I love [Joseph] Cornell.
Oh, I was a good friend of Cornell's. I knew him right at the beginning in the '50s, I met him in New York. I used to keep things in cigar bos, like chewing gum, skate keys, and marbles, photographs. And I put them away, and look at them, a year later, and was stunned by how nicely everything fit. And I ran across his work, and then I made a point of finding him. He was an odd, interesting man. He lived in his bos. I don't live in mine, but I love them.
Tell me about that experience, when you're working on them.
I'm not sure how I start. All of a sudden, I find myself involved in an environment. It's either the box or the object. And I'll tell you how I feel. You heard of the Big Bang.
Not the girl I did four years ago, but the Big Bang. Everything got scattered, and it's all around us now, waiting to be pulled back into each other again. It's like that magician or somebody in a restaurant who can take the sheet…or this tablecloth, and pull it fast, and pull the tablecloth out from underneath. Now, let us take the guy that does that, but he doesn't pull it all off. It all falls on the floor. Everything crashes on the floor, everything: glassware, sugar, candles, everything. And by running a film backwards, everything goes back to what it was, doesn't it?
I feel that I'm contributing to that experience. I'm bringing everything back to the way it was, making order out of chaos.
Is that one from your childhood? [Pointing to one of the bos]
It was. It's old. I don't remember when. My father was a tailor. He used to sew a lot, and when he'd sew, in order to push it through, he wore a thimble. That was one of my father's thimbles. I've got a whole slew of them.
Did you have a favorite suit back then that your father made for you?
Yeah, my father made me a blue serge suit, single-breasted.
How old were you when he made it for you?
I was 14-years-old. It was a fucking beauty.
** You remember it.**
I remember it like yesterday. I duplicate them now. So when I went out alone somewhere you wouldn't think that I was a poor kid or someone who didn't have much social graces. And, you know, I'd make some nice friends if I didn't talk too much, because you could tell by my accent, it was a New York accent. Not gangster, but …
Street kid. You ever go back to New York?
Every now and then I go back. I like the St. Regis hotel. I like it because when I was a kid I used to shine shoes outside of the St. Regis on the elevator that takes goods down from the street. My father made me. And I would sit there with a ball and shine shoes. And as soon as things started going good for me, then I'd go back to New York and I'd stay at the St. Regis for no other reason than as I got out of the limousine I'd see me sitting there on the outside. And I loved just sitting there with a shoeshine box.
Do you think objects have power?
Oh, very much so. A thimble would certainly be up high on a list like that…it's such a perfect symbol, isn't it? Man, I remember my father using that fucker. It used to sit by his side as he sewed. And he was quick, but was only as quick as the thimble that he used. I'm so glad we're talking like this, you know, you're cleansing me of a lot of memories that have been awkward for me and clumsy. And I'm angry with a lot of it. I'm angry with my profession and never allowing me that privilege. They allowed Billy Wilder the privilege.
The privilege of what?
Exploring that creative part of me.
How do you mean?
In making a movie. I spend my life dedicated to it, and these motherfuckers won't even call me.
So they don't want you for a movie now?
No, no they don't. You know, I don't wish anything bad to anybody, I'm just saying, why is the system so vicious toward age…I'm not sure if it's even age, maybe it's the way it's run.
You once said you never wanted to age or—
I don't want to get old on screen. I'm not looking to play old men on the screen. Age is something that overwhelms you.
Tell me about a favorite scene you've done.
The best direction I ever got was a guy named Michael Gordon. He was directing a picture called The Lady Gambles with Barbara Stanwyck. I went to Warner's and they gave me a bellhop's uniform with the little round hat. And I went back to the set and they gave me an envelope. And the line is…"It looks like this followed you halfway across the country." So, I practiced. "It looks like this followed you halfway across the country, It looked like it has followed you halfway across …" I tried every possible way to say it. I was supposed to knock on Barabara Stanwyck's door. She says "Come in," and I say "Looks like this has followed you halfway across the country." She'd give me a tip or whatever and then I'd leave.
So we're getting ready to do the shot and I'm in my corner backstage and the director comes walking all the way around, from the front of the set behind to where I'm standing. He knew it was the first time I was going to be in a movie and he knew I came from New York. And he said to me "How are you doing this?" "Oh…" "All you want is a tip." Turned around and walked away. What was I doing when I was shining shoes? All I wanted was a tip. What was I doing when I carried clothes for my father in the tailor store? Carried packages? Whatever I did when I was a kid, all I wanted was the tip. And this fucker comes around and says that to me like bleeding in my soul. I went around and I waited and I said, "Looks like this has followed you halfway across the country." I gave her one of the best fucking smiles I ever had. He said, "Cut. Print." Ain't that neat? See, that, to me is what acting was. Personal. They had a place in Hollywood called the Actors Lab that was run by a lot of the existentialists, a lot of people who, for whatever reason, thought of themselves as intellectuals. And I could never become part of that because I never felt comfortable in that group. Marlon felt great. I couldn't do that, I didn't know how to perform that way. And I went there one night with this girl I liked, and she wanted to enroll in that school. So we were standing in the back, there's about 80 young people. And some guy with a beard was talking about what was acting and what was not acting. And he said, "For example, they've got a kid out of Universal, Bernie Schwartz, now Tony Curtis"—I'm with this girl, what the fuck did he bring up my name for?—and he proceeded to say, "They put him in a couple of movies and that's what you call Hollywood acting." Broke my heart. I never went back to that place.
But you were never a joiner, right?
No, there was no group I could join. I never found myself comfortable in these areas, you know? There was always a barrier and I didn't know how to handle this barrier. You know, my behavior sometimes was so overt in whatever I was doing that I'd let you know I was this kind of a guy out of New York. There's nothing wrong with that, but I didn't have the polish that a lot of guys had. And that was detrimental to me at the beginning.
You were angry about that.
I was, I really was. I'd go on the set and watch these guys fucking pouring coffee and picking up girls, lighting a cigarette. How the fuck did they do it without looking at it? When I was eating, I looked at my food. The social graces I didn't know.
I want to talk about The Defiant Ones for a minute. I want to read you a line from that movie. It's when you're with the woman, Cara Williams.
Cara Williams, yes.
**You're in bed, and she's talking to you, and you tell her, "If you fill it up with tears, you're a goner." **
That's almost your motto, isn't it? That's almost your motto for your life.
That's always been. I use to get so emotional about things. When I wouldn't get a part I wanted, go to a party, and they treat me like shit. And these tears would well up in me deeply, you know? But it wasn't like it was happening to me. It was like there was another person that someone was doing it to and I was just there, observing it, observing everything, remembering everything. That's the thing that I think meant more to me than anything. I mean, listen, I never had broigus, as we say in Yiddish. I never took the bitterness from it. When I was young there were times that I would get pissed off and angry, but I knew I was going to get in the movies. I just knew it. I looked in the mirror, and I said, "How could they miss me?" [Laughs] And they didn't.


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Reinhold Niebuhr, (born June 21, 1892, Wright City, Missouri, U.S.—died June 1, 1971, Stockbridge, Massachusetts), American Protestant theologian who had extensive influence on political thought and whose criticism of the prevailing theological liberalism of the 1920s significantly affected the intellectual climate within American Protestantism. His exposure, as a pastor in Detroit, to the problems of American industrialism led him to join the Socialist Party for a time. A former pacifist, he actively persuaded Christians to support the war against Hitler and after World War II had considerable influence in the U.S. State Department. His most-prominent theological work was The Nature and Destiny of Man, which was planned as a synthesis of the theology of the Reformation with the insights of the Renaissance.
Early life
Niebuhr was the son of Gustav and Lydia Niebuhr, who had emigrated to the United States at an early age from Germany. Gustav Niebuhr was a minister of the Evangelical Synod of North America, a denomination with a Lutheran and Reformed German background that merged into the Evangelical and Reformed Church in 1934. At an early age Reinhold Niebuhr decided to emulate his father and become a minister. He graduated from his denomination's Elmhurst College, Illinois (1910), and Eden Theological Seminary, St. Louis, Missouri (1913), and completed his theological education at Yale University, receiving a bachelor of divinity degree (1914) and a master of arts (1915). He was ordained to the ministry of the Evangelical Synod in 1915.
Pastor and theologian
Niebuhr served as pastor of Bethel Evangelical Church in Detroit from 1915 to 1928. His earliest writings exhibit the religious liberalism and social idealism that pervaded the theological atmosphere of the time. But his experience in Detroit—and especially his exposure to the American automobile industry before labour was protected by unions and by social legislation—caused him to become a radical critic of capitalism and an advocate of socialism. His Leaves from the Notebook of a Tamed Cynic (1929) is an account of his years in Detroit. Niebuhr left the pastoral ministry in 1928 to teach at Union Theological Seminary in New York City, where he served as professor of applied Christianity (from 1930) and was a great intellectual and personal force until his retirement in 1960.
As a theologian Niebuhr is best known for his "Christian Realism," which emphasized the persistent roots of evil in human life. In his Moral Man and Immoral Society (1932) he stressed the egoism and the pride and hypocrisy of nations and classes. Later he saw these as ultimately the fruit of the insecurity and anxious defensiveness of humans in their finiteness; here he located "original sin." He emphasized the tendency for sin—in the form of destructive pride—to appear on every level of human achievement, especially where claims to perfection were made, either in religious or political terms. His powerful polemics against liberal beliefs in assured progress and radical utopian hopes have caused a neglect of his more-hopeful teaching concerning the image of God in all men that is never completely destroyed by sin and concerning "common grace" that is not dependent on recognized Christian redemption in personal or collective life. Also, he was himself a hopeful political activist and emphasized the good that could be achieved if pretentions were overcome. His outlook is well expressed in his statement that "the saints are tempted to continue to see that grace may abound, while sinners toil and sweat to make human relations a little more tolerable and slightly more just." He always had faith in what he called "indeterminate possibilities" for humanity in history as long as men did not deceive themselves into thinking that absolute solutions of historical problems were in their control. Though he did much to encourage the revival of the theology of the Reformation, with its emphasis on sin and grace—so-called Neo-orthodoxy—his salient theological work, The Nature and Destiny of Man, 2 vol. (1941–43), was planned by him as a synthesis both of the insights of the Reformation and of the Renaissance, with its hopefulness about cultural achievements.
His distance from the strongly Christocentric forms of Protestant Neo-orthodoxy can be seen in his unusual attitude toward the Jewish community. He was perhaps the first Christian theologian with ecumenical influence who developed a view of the relations between Christianity and Judaism that made it inappropriate for Christians to seek to convert Jews to their faith.
Political activist
His early political activities were influenced by his socialist convictions (he was a founder of the Fellowship of Socialist Christians), and he ran for office several times on the Socialist ticket. In the 1930s he broke with the Socialist Party over its pacifist or noninterventionist attitude in foreign policy, and in the 1940s he became a left-wing, anti-Communist Democrat. He was a founder and for a time chairman of the Americans for Democratic Action and he was vice chairman of the Liberal Party in the state of New York. In the 1930s he was much influenced by Marxist theory, but he rejected Marxist absolutism and both the tactics of Communists in the United States and Stalinism in the Soviet Union.
He did much to persuade Christians influenced by pacifism to support the war against Hitler. He himself had been a pacifist as a result of his revulsion against World War I, but during the 1930s he became the strongest theological opponent of any form of pacifism that claimed to have universally applicable nonviolent solutions of political problems. Identifying himself with the resistance to Hitler within Germany, he opposed a vindictive peace after World War II, and he had considerable influence with the policy planners in the U.S. State Department. He was a strong supporter of the United States' resistance to Soviet political expansion in Europe during the postwar years. His political activity ended during the early stage of the Cold War, but his later thought showed his capacity to transcend the outlook of that period. His book The Irony of American History (1952), while justifying American anti-Communist policies, gave much attention to criticism of American messianism and the American tendency to engage in self-righteous crusades. He always attacked American claims to special virtue. Early he favoured the recognition by the United States of Communist China, and he was an early opponent of American participation in the Vietnam War. He regarded as an error attempts to impose U.S. solutions on the new countries that emerged out of the colonial empires after World War II.
In addition to the works mentioned above, Niebuhr's writings include Faith and History: A Comparison of Christian and Modern Views of History (1949), a theological orientation; The Self and the Dramas of History (1955), probably his profoundest philosophical work; and The Structure of Nations and Empires (1959), his chief systematic discussion of international relations. Four volumes of essays, some of which are essential for understanding Niebuhr's thought and his influence on events, are Christianity and Power Politics (1940); Christian Realism and Political Problems (1953); Pious and Secular America (1958); and Faith and Politics: A Commentary on Religious, Social, and Political Thought in a Technological Age, ed. by Ronald H. Stone (1968). Love and Justice, ed. by D.B. Robertson (1957), is a collection of shorter writings showing Niebuhr's response to events; Children of Light and Children of Darkness: A Vindication of Democracy and a Critique of Its Traditional Defence (1944), a brief but comprehensive discussion of social ethics.
Niebuhr was an editor of The World Tomorrow, a religious pacifist and socialist journal; Christianity and Crisis, a biweekly with wide-ranging social and religious concerns; and a quarterly, now discontinued, first named Radical Religion and later Christianity and Society. He married Ursula M. Keppel-Compton in 1931. His wife was herself a teacher of religion at Barnard College in New York City, and they worked closely together. After 1952 Niebuhr's public activities were seriously limited as the result of a stroke, but he was able to continue much of his teaching and writing.
Niebuhr's enormous influence on political thought, both inside and outside the church, caused Hans J. Morgenthau, an eminent political scientist, to say that Niebuhr was "the greatest living political philosopher of America." He was probably the most-popular preacher in university chapels from the early 1920s to the early 1950s. Many contemporary Christians trace their conviction that Christianity makes sense to the influence of his preaching. He was not a specialized scholar in any field, including theology, but his broad learning and his original and incisive thought made him the subject of many theses and other scholarly writings, and he exercised a seminal influence on scholarship and thought in a variety of fields.John C. Bennett


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