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Many Catholics can remember the dramatic Year of Three Popes in 1978, when Pope Paul VI died, was succeeded by the short-lived Pope John Paul I and was himself followed by Pope Blessed John Paul II. Years from now, Catholics looking back at 2013 will likely express a similar amazement at the Year of Two Popes. The one notable difference, of course, is that the sede vacante — the interregnum between pontiffs — was not to bury a deceased pope and elect his successor, but to witness the departure of one pope through resignation and the election of a new Vicar of Christ under circumstances not encountered in more than 700 years.
Pope Benedict XVI's announcement last February that he would renounce the papacy at the end of that month sent a genuine shockwave through the Church and across the globe. His decision was not unprecedented, but it was certainly unique in the modern life of the Church.
The events of the resignation and the conclave that followed became, ultimately, a testament to the two men at the heart of the decision, the pope emeritus and the man who followed him, Jorge Mario Bergoglio, Pope Francis.
On the morning of Feb. 11, 2013, Pope Benedict informed a gathering of the cardinals in Rome and other officials of the Roman Curia that he was resigning. Cardinal Angelo Sodano, dean of the College of Cardinals, spoke for the shocked room of prelates — and ultimately for the whole Church — when he said: "Your moving message has resounded in this room like a lightning bolt in a calm sky. We've listened to you with a sense of shock, rather in total disbelief."
Pope Benedict had not rushed into the decision. His health had been declining, and he had grown increasingly concerned about his ability to govern the Church with the energy needed to deal with the crises of modernity and to implement the reforms that were needed. According to the Vatican newspaper L'Osservatore Romano , Pope Benedict had reached the decision to resign after his journey to Mexico and Cuba in the spring of 2012.
Once he made the announcement, the pontiff transformed his remaining days in the Vatican into a time of prayer and discernment. Huge crowds gathered to say farewell, and he used his addresses and homilies to impart poignant lessons of humility and service. Speaking at his final general audience on Feb. 27, Benedict revealed his expectations for his remaining days.
"I do not return to private life," the pope said. "To a life of travel, meetings, receptions, conferences and so on. I do not abandon the cross, but remain in a new way near to the crucified Lord. I no longer wield the power of the office for the government of the Church, but in the service of prayer I remain, so to speak, within St. Peter's bounds."
The next day, at an audience with the members of the College of Cardinals literally moments before leaving the apostolic palace forever, he likewise pledged himself to the new pope.
"Among you," he said, "among the College of Cardinals, there is also the future pope, to whom, here today, I already promise my unconditional reverence and obedience."
Keenly aware of the challenging situation facing his successor, Pope Benedict made every effort to assist him. He had explained his reasons for resigning, and he had vowed complete obedience to the pontiff who would follow him. Pope Benedict then removed himself completely from the scene at the Vatican and made his way to the papal residence at Castel Gandolfo while the cardinals performed their duties and while his place of retirement was being finished.
Even with Pope Benedict's thoughtful resignation, however, the cardinals still had to proceed with a conclave unlike any since 1294.
Resignations from the papacy are not unheard of in the historical life of the Church. Pope Gregory XII voluntarily resigned in 1415 in order to bring an end to the Great Western Schism, but the closer historical parallel — and one that Pope Benedict clearly looked to in making his own decision — was Pope St. Celestine V, a hermit who'd been elected pope in 1294 at the age of 80 in order to end a deadlocked conclave that had gone on for some two years. Untrained to be pontiff and ill-suited for the office, Pope Celestine prudently resigned before a consistory of cardinals at Naples, Italy. Celestine's successor, Pope Boniface VIII, ordered the pope emeritus to be taken into custody to prevent his misuse by the many scheming enemies of the Church. Pope Celestine died two years later in the monastic cell he had desired.
The cardinals in 2013 understood clearly that the pope they were electing faced not only crises from many directions, including scandals besetting the Vatican — financial, moral, bureaucratic — and the already awesome burden of the papacy, but the enormously difficult task of succeeding a living pope.
Their choice proved as surprising as the very resignation only a few weeks before — Cardinal Jorge Mario Bergoglio of Argentina. Far from being overwhelmed by the challenges, the new pontiff seemed from the start to transcend them with immense charity, pastoral energy and genuine aplomb. Pope Francis wasted little time in going to see his predecessor. The world saw images that were truly unparalleled: two popes — both in white, one retired and one freshly chosen — in a fraternal embrace. They were not rivals for the papacy. The one had followed the other in an orderly and legal fashion, and there was no need for the resigned pope to be hidden away.
Pope Emeritus Benedict returned to the Vatican City State on May 2, 2013, to settle into his place of retirement, the Mater Ecclesiae convent on the grounds of the Vatican Gardens. Pope Francis was there to welcome him home. The two have a good working relationship, facilitated by Archbishop Georg Gänswein, the prefect of the papal household who has remained also secretary to Pope Emeritus Benedict and who has described himself as a "bridge" between the current and former popes. They share a bond that is utterly unique, and Pope Francis is blessed to be able to consult with someone else who understands so personally the enormity of the Petrine ministry.
The pope has made it a point to visit Pope Emeritus Benedict, including just before Christmas, and he has invited him to attend various public events. In answer to the media question as to whether he might feel under the shadow of the former pope, Pope Francis embraced Pope Benedict's unfinished encyclical on faith, made his own contributions to it and promulgated it as his first encyclical, Lumen Fidei("The Light of Faith").
In July, Pope Francis encouraged his predecessor to attend the consecration of the Vatican City State to the protection of St. Michael the Archangel. The presence of the pope emeritus was significant because Pope Francis saw the consecration as a vital act of advancing a spiritual reform of the Roman Curia that Pope Benedict had started but had lacked the vigor to bring to fruition. Once again, the occasion was marked by the image of two popes, both in white, embracing, but with the pope emeritus taking a conspicuously secondary role to his successor.
The gathering for the consecration demonstrated again that the prayerful, humble and nearly serene way that Pope Benedict went about his resignation had set the tone for his life as pope emeritus.
Good to his pledge, he's remained largely away from the public spotlight. He's been known to leave Mater Ecclesiae on occasion and enjoys visits from friends, especially his brother, Georg. Otherwise, Pope Benedict has been very reticent to be in public save for some very specific circumstances.
When Georg underwent a medical checkup in Rome on Jan. 4, the pope emeritus visited him in the hospital and the two celebrated Georg's 90th birthday on Jan. 15 in the Vatican with a classical music concert.
Likewise, Pope Emeritus Benedict traditionally met with his former students, the "Ratzinger Schülerkreis," every year at Castel Gandolfo. Last September, for the first time, he did not take part in the annual meeting, but he celebrated Mass with his former students in the chapel of the governorate of Vatican City State. And then there was his decision to write a letter to the militant Italian atheist and mathematician Piergiorgio Odifreddi, which was published in extract form in September by the Italian newspaper La Repubblica and printed in its entirety in November by the German-language agency Kath.net. The pope emeritus wrote the letter in reply to Odifreddi's 2011 book "Dear Pope, I'm Writing to You." The papal response was wide ranging, but notable was Pope Emeritus Benedict's defense of his record in the clergy sex abuse scandal. He wrote: "I have never tried to hide these things. That the power of evil penetrates even to this point in the interior life of the faith is, for us, a suffering which, on the one hand, we must endure, while on the other hand, we must at the same time do everything possible so that cases such as these never occur again."
The letter was important to him to express a defense of the Church's authentic record in the scandal, but also to continue his own intellectual outreach to atheists and secularists in a postmodern world. It additionally confirmed what his guests have told to the press after their encounters with him. His health remains frail, but his mind is as sharp as ever.
In an interview with the Italian newspaper Il Messaggero last October, Archbishop Gänswein gave some details as to Pope Emeritus Benedict's daily routine. He prays, listens to music, reads, maintains a very active correspondence and has many visitors. He also takes daily walks with Archbishop Gänswein in the grove behind the monastery and prays the Rosary. "The day," he added, "is well planned."
Pope Emeritus Benedict XVI remains faithful to his promise of obedience to the new pontiff. When asked about the danger of having "a pope and an anti-pope," Archbishop Gänswein said to Il Messaggero: "There is a reigning pope and a pope emeritus. Whoever knows Benedict XVI knows that this danger does not exist. He has never interfered and does not interfere in the governance of the Church; it is not part of his style. The theologian Ratzinger also knows that his every word could attract the public's attention and whatever he said would be read as being for or against his successor."
A year after the shocking resignation it is possible to see it as an act of service to the Church, but not the last in an extraordinary life of service.
The resignation created the opportunity for his successor to push ahead with the New Evangelization, the reform and renewal of the Roman Curia, and the proclamation of the Gospel to a troubled world. Pope Benedict lacked the strength to achieve them.
As his successor Pope Francis carries forward as Vicar of Christ with zeal and a surprising papal style, he does so with the certain foundation provided by his predecessors, especially his most immediate one. Francis is aided further, as is the entire Church, by the humble presence of the pope emeritus who will remain at service, in prayer, until God calls him home.
At his last Angelus address on Sunday, Feb. 24, the feast of the Transfiguration of the Lord, Pope Benedict said: "The Lord is calling me to 'climb the mountain,' to devote myself even more to prayer and meditation. But this does not mean abandoning the Church. Indeed, if God is asking me to do this, it is so that I can continue to serve the Church with the same dedication and the same love with which I have done thus far, but in a way that is better suited to my age and my strength."
Matthew Bunson is OSV senior correspondent.
Copyright © 1996-2019 Our Sunday Visitor, Inc.


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Eldridge is a growing community just north of Davenport in Iowa. The population is 6,162 and rising! Eldridge has the lowest property taxes of any large city in Scott County, Iowa and our quality of life is among the best in the area. This makes for a desirable place to buy a home.
History From 1840-1848... The first territory settlers, the majority of whom were Scotch and Irish Presbyterians, arrive in the Eldridge area. In 1846, Jacob M. Eldridge moved permanently to Davenport from Philadelphia and purchased land north of Davenport from the U.S. Government for $1.25 per acre. Known as the 48ers, immigrants from Schleswig and Holstein, Germany arrived and settle in the Scott County area. Railroads were developed during the 1860s, bringing more settlers. Eldridge Junction, built on land donated by Jacob Eldridge, was incorporated on July 2, 1871. A post office and a Presbyterian church were soon built. Eldridge faced several challenges during its early years. The railroad faltered financially during the 1880s and was re-located to Oxford Junction, while a smallpox epidemic several years later was said to have totally isolated the city. A fire heavily damaged the city's business district in 1904, and in 1918 a tornado of unknown strength heavily damaged or destroyed several residences and the church, and killed one person. Each time, the city recovered, and the farming community maintained its status as a grain and livestock shipping center. The city began growing in population during the 1950s, starting with the formation of the Scott County Library System (a countywide network of libraries serving smaller communities in the area) in 1950, and the North Scott Community School District in 1956. By the late 1960s, the population had grown to more than 1,000 residents, and with the creation of several industrial parks to encourage new business development, the city continued to grow.
Eldridge Community Eldridge is the perfect mix of small town living with big city adjacency. Just minutes away from Davenport, Bettendorf, Moline and Rock Island and located adjacent to Highway 61, you can be anywhere in the Quad Cities in no time. With numerous parks, a recreation trail, a fitness center and excellent schools, Eldridge is the perfect choice for families and singles alike.
Attractions and Entertainment Eldridge houses entertainment venues from Iowa's Largest Trampoline Park, AirFX, to a Community Center/Skatepark. There are also several parks in the area with walking, hiking, camping, biking trails, swimming, and fishing available. In addition the city has seven churches, a library and a fitness center.
Nearest Ruhl&Ruhl Office 4545 Welcome Way Davenport, IA 52806 Phone Number: (563) 441-5100 Website
Eldridge Helpful Links City of Eldridge North Scott Chamber of Commerce Community Events Scott County Park Clinton Showboat Theater Helium Park QC Community Center and Skate Park
Below is a selection of properties in the area. If you would like to view all properties in this area. click here
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Ted Berrigan
Ted Berrigan—Edmund Joseph Michael Berrigan Jr.—was born in Providence, Rhode Island, the oldest of three children of Margaret Dugan and Edmund Berrigan, the chief engineer at Ward's Baking Company. On both sides the family was Irish Catholic. Berrigan attended local schools and entered Providence College, a local Catholic school, but left after a year and enlisted in the army.
Berrigan was sent to Korea in 1954 but never saw action. Sixteen months later he returned to the United States and was based in Tulsa, Oklahoma. He enrolled in the University of Tulsa under the GI bill, earning his BA in 1959 and his MA in 1962, after writing his master's thesis on Bernard Shaw. Berrigan returned the diploma for his master's degree to the university with a note saying that he was "the master of no art"; he was, he would tell friends, a poet because he wrote poetry, not because he had mastered poetics. To say that one could "master" an art was to imply that it was a matter of learning lessons and following rules.
Berrigan considered himself a "late Beat," and, like Allen Ginsberg and Jack Kerouac, he traced his lineage as a writer to the American Expressionist tradition. The first writer to excite him was Thomas Wolfe, who had also been important to Kerouac. Berrigan had very high regard as well for Kerouac, whom he interviewed for the Paris Review, and for another writer at the core of the Expressionist tradition, William Saroyan.
American Expressionism, which grounds literary authority in the personality of the writer rather than, say, a political creed or traditional aesthetics, can be traced to the work of mid-nineteenth-century writers such as Ralph Waldo Emerson, Henry David Thoreau, and Walt Whitman. Among its most influential twentieth-century practitioners was Gertrude Stein. Kerouac stated his own Expressionist position in "Essentials of Spontaneous Prose," where he said that a writer should pursue "not 'selectivity' of expression but following free deviation (association) of mind into limitless blow-on-subject seas of thought, swimming in a sea of English with no discipline other than rhythms of exhalation and expostulated statement."
Berrigan argued that the world as presented in his poetry was a projection of his self. In an interview with Anne Waldman and Jim Cohn, Berrigan noted that:
One of my principal desires is to make my poems be like my life... I can't see myself the way that you can see me, but I can see everything else around me. If I can make everything around me be the way that is, presumably I can create the shape of the self inside the poem, because there is a person inside almost all of the poems.
Expressionist aesthetics were anathema to many academic and professional literary critics in the 1940s and 1950s, particularly the New Critics, and they largely excluded Wolfe, Saroyan, Henry Miller, and others from most textbooks and courses in American literature. At the same time, Kerouac and other Beats extended the Expressionist tradition and were in turn widely ridiculed by writers and critics such as Norman Podhoretz, who felt that Kerouac's "conception of feeling was one that only a solipsist could believe in." Nonetheless, through the Beats, Expressionism again became a dominant trend in American writing, one with great consequence for Berrigan as well as Clark Coolidge, Anne Waldman, and other poets with whom Berrigan was associated.
Berrigan's principal precursor is usually said to be Frank O'Hara, rather than Kerouac, and it is true that Berrigan owes much to O'Hara's "I do this, I do that" style. O'Hara's phrasing emerges in early Berrigan works as well, although—as in "Personal Poem #9"—it is sometimes parodied, a fact that critics often overlook. There are characteristic O'Hara phrasings in many Berrigan poems, particularly in the early work, but the sensibility they express is unmistakably Berrigan's. He borrowed procedures and even lines from other poets but fused them with a persona that was distinctly his own. His ambition was always to absorb whatever he borrowed, so well that it would become wholly his own. His control in doing this was in fact so good that he was able to write an "interview" with John Cage, whom in fact he had never met, which was selected by an unwary George Plimpton as the best interview of the year for National Literary Anthology.
Berrigan's closest poetic associate and collaborator was Ron Padgett, but their respective poems are radically different from each other. While much of Berrigan's poetry draws on intimate or private matters, Padgett's is rarely personal, at least on the surface. His poetry is self-conscious, and the tone is sophisticated and urbane; he has been particularly successful in creating a characteristically French wit in his poems and so becoming, it has been said, America's greatest French poet. Berrigan, on the other hand, projects a sensibility that is confiding, sad, graceful, affectionate, and indistinguishable from the sensibility he projected in person. While never pretentious, his poetry can also be cerebral and erudite; he was enormously well read, much better read, perhaps, than most poets of his generation.
In spite of differences in age as well as sensibility (Padgett is eight years younger than Berrigan), they became close friends shortly after meeting at the bookstore in Tulsa where Padgett worked in 1959. Padgett was still in high school but was already known to avant-garde poets throughout the United States for a mimeographed magazine, The White Dove Review, which he edited with his boyhood friends, the poet Dick Gallup and the artist and writer Joe Brainard.
Padgett entered Columbia College at Columbia University in 1960, and Berrigan, Brainard, and Gallup soon followed him to New York. Berrigan lived for several months with Brainard and then with Padgett before finding his own apartment on the Lower East Side. Aside from years spent teaching at universities outside New York, he spent the rest of his life there.
Berrigan, Padgett, Gallup, and Brainard shared great enthusiasm for poets who made up the so-called New York School, particularly O'Hara, John Ashbery, and Kenneth Koch. Critics in turn saw the four, together with a few other poets, such as Waldman and Coolidge, as a second generation of the "school"; many of these poets objected to being classified in this manner, but not Berrigan, who greatly valued any sense of community, especially among poets.
Berrigan initially supported himself in New York by writing papers for Columbia students (papers that consistently earned an A or better), then tried assorted odd jobs, and finally taught at various universities. He insisted that any work he did be somehow related to writing. As his wife Alice Notley said, he "famously believed that being a poet was a 24-hour-a-day job—you did it in your sleep too, in your dreams when you gave in to sleep. It was full-time also in the sense that it was worthy of all one's attention, and a poet shouldn't have to have another job as well."
Berrigan was much respected as a teacher of poetry, in part, no doubt, because of his uncompromised dedication to his work, but also, it may be, because of his democratic ability to appreciate poetry and poetics radically different from his own. At a time when American poets were divided between academic, traditional poets and those, like Berrigan, whose work was more innovative or experimental, he spoke highly of comparatively conventional poets such as Conrad Aiken. (Aiken was less generous, insisting that Berrigan submit himself to a regimen of Dantean and Virgilian poetics.)
Berrigan advised his students and other poets who approached him for advice to find their own voices and technical means, rather than imitate his. Aram Saroyan remembered Berrigan's criticisms as "tactful, sweet-natured and full of a real generosity of spirit." That attitude earned him a strong following in his classes at schools as various as Yale, the University of Iowa, the Stevens Institute of Technology, and the City College of New York.
In 1962 Berrigan married his first wife, Sandra Alper, with whom he had two children, David and Kate. The following year, he wrote The Sonnets (1964), perhaps his most famous book, and founded "C" magazine. In 1964 he began publishing "C" books and quickly won a modest fame in what was soon to be called the counterculture. He also wrote essays for Art News on Jane Freilicher, Red Grooms, and Alice Neal. In 1966 the Poetry Project was founded at St. Mark's Church-in-the-Bowery, near Berrigan's home on the Lower East Side, and he became one of the project's principal organizers, taught workshops there, and was closely associated with it until his death. In 1971 he married the poet Alice Notley, and they had two sons, Anselm and Edmund.
By this time Berrigan occupied a place at the center of a community of avant-garde New York artists and writers, including such painters as Alex Katz, Philip Guston, Jasper Johns, and George Schneeman. The publication in 1969 of An Anthology of New York Poets, edited by Ron Padgett and David Shapiro, helped to define the second generation of New York poets, while insisting that "most poets of any interest these days... automatically reject, in their lives and work, the unhealthy idea of being part of a literary movement."
Healthy or not, poetic movements and communities, at least to the degree that they defined a circle of like-minded individuals, were important to Berrigan, and his own community included many who were identified as composing the second generation of New York poets: Padgett, Gallup, Coolidge, Waldman, Bernadette Mayer, Lewis Warsh, Simon Pettet, and Eileen Myles, among many others. He also made alliances with poets from strikingly different backgrounds, such as Robert Creeley, Tom Clark, Aram Saroyan, and Philip Whalen. Two of his closest companions were the Finnish American poet Anselm Hollo, whom he met when teaching in the Writers' Workshop at the University of Iowa in 1968-1969, and the British poet Douglas Oliver, whom he met in 1973-1974 when teaching at Essex University.
Berrigan's books and chapbooks of poetry were published regularly, sometimes two or three a year. Clear the Range, a novel created by substituting words in a popular Western, appeared in 1977. A volume of selected poems, So Going Around Cities, was published in 1980. A second volume of selected poems appeared in 1994.
Much of Berrigan's reputation throughout his career depended on The Sonnets, privately published in 1964 but reissued by Grove Press in 1966. According to Notley, at times he dismissed the volume "as being too reflective of a poetic education," while at other times he spoke "with awe of the exalted place" from which it had been written. Certainly the book does reflect "a poetic education." One of the more obvious influences, and one that Berrigan freely acknowledged, is T. S. Eliot's The Waste Land (1922), which he had read with great excitement as an undergraduate. In particular, the disjunctive structure and the mixture of cadences and voices in The Sonnets is modeled on Eliot's example. What did not interest Berrigan was Eliot's wearied tone and sensibility, and in its place one finds Berrigan's distinctive Irish American temper, his own blend of humor and grace. Instead of Eliot's allusions to, and quotations from, canonical works of high culture, Berrigan employed a great range of references from popular as well as serious works.
Berrigan was also influenced by the playfulness and fractured texts of Marcel Duchamp and John Cage and the cutups of William Burroughs. The Sonnets were, however, far more sympathetic to traditional form than one generally finds in the works of experimental writers; the sonnet, Berrigan demonstrated, was not fourteen lines of iambic pentameter, but rather a form essentially grounded in certain intricate relationships of cadence and meaning. Duchamp, Cage, and Burroughs disrupted traditional form; Berrigan, meanwhile, argued that form operated on far more subtle levels than critics and poets generally realized or acknowledged.
Berrigan was particularly attentive in his work to the delicate shifts in connotation and sound, and it is not surprising that he was enthusiastic about Wallace Stevens and the precise modulations in poems such as "The Idea of Order at Key West." Berrigan's "Things To Do in Providence" (1970), another of his highly regarded works, is a fine instance of his ability to create subtly shifting evocations of meaning and tone. Its surface is as disjunctive as The Sonnets, but the breaks from one tone of feeling to another are never casual and map a precise personal trajectory from emotional exhaustion to joy.
Like his friend Robert Creeley in the late 1960s and early 1970s, Berrigan tried stripping his poems of all but the most essential words. These minimalist works incensed critics such as David Lehman, who savagely reviewed In the Early Morning Rain (1970) for Poetry, singling out one poem as "moronic drivel." However, Berrigan's minimalism was very important in further refining his capacity for presenting exact nuance in tone and mood.
That precision is evident in Berrigan's greatest works, such as "Red Shift" and "A Certain Slant of Sunlight," written toward the end of his life. These poems are notable for their strong emotions; their intricate, subtle modulations in sensibility and cadence; and their occasionally baroque grammar. Here, for example, are the concluding lines to "Red Shift":
I'm only pronouns, & I am all of them, & I didn't ask for
You did
I came into your life to change it & it did so & now
will ever change
That, & that's that.
Alone & crowded, unhappy fate, nevertheless
I slip softly into the air
The world's furious song flows through my costume.
Occasionally Berrigan's works were reviewed in mainstream publications, but it was not there that he had, or has, his principal reputation. There have been a few critical studies by academics such as Marisa Januzzi, but most of the work on Berrigan has been done by other poets. The most important resource is the collection of memoirs, photographs, and homages edited by Waldman in Nice To See You: Homage to Ted Berrigan (1991), but there are individual memoirs by Tom Clark, Ron Padgett, and Edward Halsey Foste, as well as extended reminiscences and commentary in books by Aram Saroyan, Eileen Myles, and Lita Hornick. Notley wrote a brief reminiscence as an introduction to Berrigan's Selected Poems (1994), and her life with Berrigan is also reflected in various works, including her play Anne's White Glove (1987) and her poem, "At Night The States" (1987). Other memoirs, as yet uncollected in book form, have appeared, and there will undoubtedly be more, because Berrigan was a presence of great importance to many poets. Some might disagree with his poetics or find him at times tendentious and argumentative, but he had few strong enemies. Padgett calls his inflexibly honest memoir "disloyal," but even when the less congenial aspects of Berrigan's character are acknowledged (notably his great mood swings that perhaps were caused by the heavy use of amphetamines), he seems one of his generation's most respected and well-liked poets. Above all, his absolute dedication to poetry in a culture that has only a marginal interest in that art was virtually heroic.
Because Berrigan was in poor health during his last years, other poets were more likely to visit his apartment at 101 St. Mark's Place than he was to visit them. He spent much of his time in bed, smoking Chesterfields and drinking Pepsis, surrounded by established and younger writers who listened to his elaborate disquisitions on poetry and poetics. Notley wrote that she and Berrigan "never had any money," but if an individual were willing to make "a small loan," he adopted that person as a student.
Berrigan died 4 July 1983, at the age of forty-eight. He had contracted hepatitis in 1975, and his liver was severely damaged. As Notley wrote, "He was, in a way, always sick during [his last] years. The illness went untreated, because there was no treatment really; we couldn't afford doctors anyway, he didn't want to change his lifestyle that much, and he didn't want his illness named and charted by doctors."
Berrigan's funeral and burial were held at Calverton National, a military cemetery on Long Island. The ceremony was perfunctory, the priest doing no more than the occasion required, but the casket was surrounded by a multitude of poets. Cemetery regulations required that a person's full name appear on the grave marker, but in this case officials made an exception, and the stone reads simply "Ted Berrigan." Had Berrigan's wishes been carried out, however, the stone would also have read "Nice To See You."


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Cities and metropolitan areas worldwide are developing at an enormous speed. Along with this growth comes numerous challenges including the supply of energy, water, housing, transport, education and finance; flexible and equitable regulations; and service offerings for citizens and businesses. It is crucial to find ecological and sustainable solutions to these challenges without increasing taxes and charges.
Accenture Intelligent Infrastructure Platform enhances cities' operational efficiency by facilitating innovation and collaboration while reducing capital expenditure. It is a scalable platform that is operated in an infrastructure-as-a-service (IaaS) mode and can be easily integrated with other systems. The platform:
Provides a portal that acts as a central hub, enabling interoperability among services via smooth, swift and efficient data exchange.
Offers an easy-to-use, single access point to interconnected services. Cities and their service partners get information about the usage of infrastructure and services, and an insight into the changing usage patterns over time.
Offers a powerful and flexible pricing engine that allows modulating prices based on statistical data. This can help cities implement regulatory policies in transport and traffic, and energy consumption.


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This is a set of materials about spectroscopy, including a downloadable PowerPoint presentation and two demonstrations or activities. Learners will read and/or hear about the science of spectroscopy, what a spectrum is, and how spectroscopy is... (View More) important to the study of our Sun. These resources can also accompany the Stanford Solar Center's Build Your Own Spectroscope activity. (View Less)
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Dr. Royce Avery will be speaking on a panel hosted by edback about private funding in public education Wednesday March 8. Manor ISD partners from Samsung Austin Semiconductor and PayPal will also be on the panel.
Manor ISD has used edbacker to fund new classroom initiatives, such as Learn 2 Stem Through Legos at Blake Manor Elementary and Super Outrageous Science Days at ShadowGlen Elementary.
The panel will start at 2 p.m. Wed. March 8 at the J.W. Marriott. It is open to badge holders but can also be viewed via the edbacker Facebook page livestream.
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Game Review: Heavy Rain (PS3)
February 2, 2011 in Best Of, Game Reviews by pacejmiller
In a nutshell, Heavy Rain is a 'choose your own adventure' cinematic experience squeezed into a PS3 game. It's a unique and important game, one that relies on a well-written plot, interesting characters, touching drama, moody atmosphere, and plenty of suspenseful action. While it does have its fair share of faults, Heavy Rain is one of the most immersive and addictive games I've played in a long time.
[To read on, click on 'more'…]
The game is presented in the style of, and looks very much like, a slick 'noir' crime thriller you might catch at the movies. The graphics are amazing and the intricate details of the characters and the environments are truly magnificent. Even the camera angles and movements mimic those from Hollywood films. And dare I say, the acting was excellent for a video game.
The story is somewhat cliched but sufficiently engrossing and executed so expertly for a video game that you'll barely notice.
You play four different characters, all on the trail of the 'Origami Killer', a disturbed psychopath who drowns young children and leaves origami figures and orchids on the bodies of his victims.
The first is Ethan Mars, a grieving father whose son Shaun has become the latest victim. The second is Scott Shelby, a private detective hired by the families of the victims. The third is Norman Jayden, an FBI profiler with a drug addiction and a pair of very cool 'Added Reality Interface' (or ARI) glasses that allow him to analyse and store crime scene evidence. And the last is Madison Paige, an insomniac journalist that gets caught up in the whole mess. You play the four protagonists in turn through various stages or 'scenes'. In this sense the game unfolds exactly like a movie, with the characters picking up clues indpendently before piecing them all together to discover the identity of the killer.
However, the gameplay of Heavy Rain is not like say Grand Theft Auto, where it is an open world free for you to roam about and do whatever you want. Each 'scene' is limited in scope (for instance a house, a warehouse, a police station, or a crime scene) and you can only wander around the restricted environment until you complete the scene's purpose (or fail to complete it) and move on to the next one.
When you are allowed to interact with an object, a small action prompt will appear on the screen, and you have to complete the action (usually a certain movement of the right analogue stick or a series of button presses or tilting or shaking the entire controller) in order to interact with the object.
When interacting with other people, the game usually gives you a number of choices on what to say and how to say it (calmly, aggressively, etc), and these also appear on the screen as button prompts.
But the best part, and the most exciting part of the game are the 'action sequences', which run like cinematic cut scenes from other video games — except here, you have the opportunity to affect the outcome. These action sequences (coupled with suspenseful music) usually involve having to perform 'quick time events' (QTEs) you may have seen in other games such as Resident Evil 5 — ie pressing the right combination of buttons (or stick movements) within a limited time. These QTEs come at you (especially on the higher difficulty settings) fast and furious, and can be lengthy and relentless. When you are in the moment, it can provide a real adrenaline rush.
What is also impressive about the gameplay is that the stick movements and the buttons you have to press are not random and tend to reflect how you would move in real life. So for example, if you have to duck, chances are you have to shift the right stick down. If you have to jump, you might have to jerk your entire controller in an upward motion. If you have to hold an object with your left arm and push another object with your right, you might have to hold L1 and continuously press R1, and so forth. Some of these combinations can get very tricky because you might run out of fingers!
Of course, with the PS3 Move in operation, there is now a 'Move Edition' of Heavy Rain sold separately, though owners of the original version can download the Move capabilities as a free patch. I tried this out and it adds a whole new dimension to the game as you have to wave your arms about now — though unfortunately the rip-off artists at Sony require you to use both a Motion Controller and a Navigation Controller (the latter I don't have and costs 50 bucks) to play the game optimally, so I quickly reverted back to the old-style gameplay.
Also worth mentioning is that Heavy Rain is an 'adult' game that should be played by adults or at least with adult supervision. There is strong violence and some dark themes, and a few of the things the characters are required to do are quite macabre. And for the geeks out there, yes, there is nudity (both male and female, but no genitalia) and (potentially) sex — but this is a game, and none of it is particularly gratuitous, so don't spray your shorts.
Accordingly, as an experience, Heavy Rain ranks right up there as one of the best I've had on the PS3 (or on any console for that matter). Because the story unfolds so well, at the right pace, and with the right amount of unpredictability, I was desperate to keep playing to see what would happen next, and how my decisions would affect the outcome. And when I finally finished the game, I was eager to go back and redo some things differently to see if the result would be any different. There are also various 'Trophies' to be earned depending on how you play the game, and you must replay some scenes to get all the trophies. As such, Heavy Rain has pretty decent replay value. The unlockable bonus features (such as sketches and 'the making of' videos) are also fascinating to see, especially the audition tapes of the real life actors.
That said, Heavy Rain is far from perfect. I understand most reviewers have heaped praise on the game as it stormed towards various 2010 'Game of the Year' honours, but apparently the game has no shortage of critics either.
The back cover says 'Your smallest decisions can change everything' — and that is certainly how the game is presented — it makes you think that if you do something wrong, miss a clue, fail to complete a task or a QTE, you're stuffed and you'll end up with a crappy ending. Not true. For the most part, the statement on the back cover is merely an illusion.
In fact, for the vast majority of scenes in the game, it doesn't really matter what you do. You can even fail all the QTEs and the result will still be the same — it's only the sequence of events that leads to the conclusion might be different. It's really only a small handful of scenes where a couple of wrong moves or decisions can kill a character or alter the ending you'll end up with. Most of the time, the game will find a way to help you keep going and get back on track.
In the same vein, there are certain actions that must be completed in order for the game to proceed. You might think if you fail the action something bad will happen, but it won't — it'll just keep allowing you to try it until you get it done.
That's why I say Heavy Rain is like a 'choose your own adventure book', which I used to read a lot as a kid. You may think you are really choosing your 'own' adventure when you are in fact being safely guided towards a limited number of predetermined outcomes no matter what choices you make.
And as is often the case with such games, most players will gravitate towards the same types of endings — in order to get all the endings, you'll have to replay the game and will probably have to do some pretty crazy things and/or fail QTEs on purpose.
Ultimately, your enjoyment of Heavy Rain depends on what you look for in a video game and what you were expecting. If you like to have absolute control over your characters and/or just want to shoot people or blow stuff up, you might find yourself frustrated with Heavy Rain's restrictive gameplay and environments.
As an avid film buff, I was impressed by how cinematic the game was and how well it was put together. At times it almost feels like you are in a movie, or at least directing a very good one. The story, despite its flaws, is very compelling, and occasionally I found it to be genuinely moving. Kudos to Quantic Dream and writer/director David Cage for creating such an immersive and engaging gaming experience. No wonder a film adaptation is already in the works.
9 out of 10!
- Immersive, interactive, cinematic gaming experience
- Compelling plot and engaging characters
- Fantastic visuals, music and sound
- Incredibly suspenseful action sequences and moving dramatic scenes
- Numerous alternate endings depending on how you play
- Excellent motion capture and voice actors
- Does not shy away from 'adult' themes or footage
- Decent replay value
- PS3 Move compatible
- Restrictive gameplay and environments
- Decisions and QTEs not as influential as they appear to be
- Right stick controls sometimes not responsive enough
- Beginning is rather slow
- Long load times between scenes
- A couple of camera issues/glitches
- Overindulges in cinematic cliches (at times)
- Interestingly no fat people the entire game except for one of the main characters
[PS: I remember I really wanted to get the PS3 exclusive game Heavy Rain when it was released to widespread critical acclaim, but I had too many other games I hadn't yet played, and eventually forgot all about it. Last week, a friend of mine let me the game and I've been playing it religiously — and last night I finally achieved all the possible endings. Yay!]


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…Playmate November 2012 – Clivia Treidl
I always try to re-invent myself in a lot of ways. For my blog that means a variety in content and of course, sometimes even with the layout. For a couple of weeks now I am studying Journalism for a Master's degree and I have come to the task of doing an interview. This time it wasn't like the 5 minutes 2 questions interview with Nelly Furtado I did about 2 months ago in Berlin and loved like hell. This time it was more elaborate. It had to be. I thought about whom to interview and so many interesting people came to my mind. I did a variety of interviews and have decided to show them all here – for you to read and for you to reach.
I've spent hours preparing questions and hours trying to figure out who Clivia Treidl (25 – studying Media Studies) might be as a person; as a woman; as a model and as a playmate.
Date: October 28th, 20012
Time: 10.00 am
Location: Starbucks, 1st district Vienna, Austria
Drink: Clivia is having a soy cappuccino; I am having an espresso doppio and earl grey tea.
Mr.StrictlyIntimate: What does the name 'Clivia Treidl' represent? Please, describe yourself in three words – professionally as well as in private.
Clivia Treidl: Professionally… Clivia Treidl. Mhm… I would say ambitious, determined and patient. In private: a little bit chaotic, sensitive and a good friend.
Mr_SI: Apart from modeling, do you work besides studying? Can one survive from modeling in Austria?
C_T: By now I am just doing model and hostess jobs. Back then I also did some waitressing and other jobs. Like internships in PR and things like that. But at the moment I am only taking on model jobs and hostess jobs. That works out all right currently.
Mr_SI: Did you always know that you wanted to be a model? Or, did this idea come to mind during your time studying in Vienna?
C_T: To be honest, it was never my plan to become a model. If you are 5'5″ you do not think about such a career path. It just happened and the moment I saw the first pictures of me I thought, 'Well, maybe this could work out.' But I do not feel a pressure about it – either it works or it doesn't.
Mr_SI: One of the most important questions that came to my mind is, how does a model who has worked in exclusively in fashion before actually become a Playboy girl?
C_T: Personally, I have always preferred the revealing shoots. I have never been completely naked in a shoot before but I have always felt like drowning in clothes in a lot of shoots. In the fashion industry it is not very welcome to be nude in shoots – except if it is for VOGUE.
Every now and then, when being at castings you get to meet someone who has been in Playboy once and well, you get to talk and you just pop the question. Girls really do send pictures to Playboy and so did I. The next day I got a call. One thing led to another and I found myself at a casting and two years later I am Miss November 2012.
Mr_SI: I can hear the ambition in your words…
C_T: Exactly. I was just curious. During the casting process I wasn't even sure if I wanted to do it – to actually take of my clothes for Playboy. I just wanted to test my chances and check on how far I'd come. Then, when they chose me the actual deliberations started.
Mr_SI: I assume it was an 'Ego-Thing' – How far do come? How do others see me? Do others see me the way I see myself?
C_T: Yes, the whole model industry is basically about the Ego. Maybe it dissolves with time but in the beginning it definitely has a lot to do with Ego. Not with those rare girls who are discovered on the streets, that's definitely something else. But with those deciding on becoming a model it most certainly has something to do with Ego: Am I good enough? Do I look good enough?
Mr_SI: Would you describe yourself as someone utterly satisfied and happy with their reflection in the mirror, knowing that the one person looking back at you is someone you can smile at saying, 'Yes, that's me and that's great.?'
C_T: By now, yes, absolutely. But that hasn't always been the case. I have always been rather the shy, precarious person between two extremes: One day, perfectly self-confident and happy. The next day, completely unsatisfied and unhappy and so not at peace with myself.
There were times when I thought that changing parts of my body to fit my own imagination of what's ideal would be the solution. Just to look the part. Obviously, I have had something done. One can see that my breast are not real and I have often been criticized for that.
Mr_SI: Would you say your breasts have been a hindrance for Playboy?
C_T: They were more of a hinderance than they were of help.
Mr_SI: Why do you think that having fake breasts was a problem for Playboy? What kind of image does Playboy want to develop with the women they feature?
C_T: The concept I see, as a student of media studies is the image of the beautiful neighbor. The girl, or woman who is reachable to any kind of guy rather than the diva who is distanced and not approachable.
Mr_SI: Do you like the pictures that have been chosen for the magazine?
C_T: I have to say that I am very, very happy with the selections. For the magazine they most certainly have picked the best pictures available and I couldn't be happier about the results. They illustrated me the way I wanted to show myself – sensual, natural, surrounded by bright colors, not too provocative. Just beautiful.
Mr_SI: How was the shooting behind the scenes? Where did they shoot you? Did it take you a long time to prepare – not just physically but also mentally?
C_T: The shoot was at Mallorca. In a beautiful house. The team was amazing. We did the shoot by day – very relaxed and without pressure to get more and more pictures done. And in the evening we went out for dinner together. It really took of the edge.
The two months before the shooting I was very nervous. I told myself that I would be at my best possible physique and that I would be fit as never before. In fact I was so nervous that I ate more than usual and I haven't been at the peek of a model's physique but as you can see in the pictures it helped me to underline my own femininity. WITH those few extra pounds.
Mr_SI: How did you experience the moment of realizing, 'Okay, I am taking of my clothes now and in a couple of months thousands of people can see me fully nude?'
C_T: I actually never had such a moment. In fact, during the whole shoot I was desperately waiting for that one moment when the whole situation would become ridiculously unpleasant and weird to me. But it never did. The team was awesome and I felt really great about myself. I think it would have been weird for me if the pictures wouldn't have turned out to be that great. THAT would have been unpleasant, knowing that there would be thousands of issues of Playboy magazine with pictures of an uncomfortable and unhappy me in them.
Mr_SI: My final question – seeing you in the pictures one could describe you as a 'Femme Fatale.' Would you yourself say that you are a Femme Fatale in private? Or rather a shy, calm, not tantalizing woman?
C_T: Mhmm… I guess I have both of these sides in my personality. I like Femme Fatale – that's a good description because it is exactly the opposite of who I was way back when I wasn't a model. Rather a shy plain Jane.
But by now I have overcome this shyness and especially when going out like to be consciously sexy and a little bit provocative from time to time. Still, I have a lot of the shy girl in me. But from time to time I like to be a Femme Fatale.
The latest issue of Playboy Magazine featuring Clivia Treidl will be available until the middle of November.
More pictures of Clivia Treidl, Playmate November 2012 can be found on www.playboy.de.
To me it was an amazing start into a wonderfully productive Sunday, sitting together with Clivia talking on and off topic about everything that has been going on in our lives since we last saw each other about two years ago. She is a very relaxed, wonderfully funny and beautiful woman. This interview couldn't have been any easier and more fun than this.


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Bonhams holds two auctions of Greek paintings each year, which include works by Greek and European artists dating from the late 18th century to the present day. Bonhams offers an unrivalled level of service on an international scale whether you need confidential advice on the potential value of your Greek paintings, or whether you are a collector seeking to enrich your collection.
Some past artists whose Greek pictures have sold well and even made records in the past include: Nicholaos Gysis, Constantinos Volanakis, Theodore Jaques Ralli, Pericles Pantazis, Yiannis Moralis, Nikos Hadjikyriakos-Ghika, Yiannis Tsarouchis, Thanos Tsingos, Alecos Condopoulos.


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MFR necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 131 diseños de 20 diseñadores freelance.
privately run asset management business, would like an image that reflects an experienced, stable and trustworthy comapny with exceptional management and pedigree expertise....Business Card and Stationary Ideas would be a bonus but not required
MFR Currency Asset Management
- would like an image that reflects an experienced, stable and trustworthy comapny with exceptional management and pedigree expertise
- The companies investment philospohy is characterised by an emphasis on technical analysis and a rigourous and consistent approach to risk management
- Item 1...MFR to be in capital letters
- Image to be consistent with other Currency Management Hedge funds/Asset Funds
- The logo should be representative of three sons and myself and reflect professional approach, Boutique/Elite/Dynamic/Nimble fund
- Clear/Concise/Efficient
- Logo should look neat and clean.
- Preference for a logo using the color blue or black/grey, but I am open to other suggestions..small amount of red/green acceptable
- I would like the artwork to be made available to me in a vector format like that produced by Adobe Photoshop or Adobe Illustrator. That way I can resize vector graphics without any loss of quality
- examples I like are;
- http://www.aqrcapital.com
- http://www.fortressinv.com
- http://www.cerberuscapital.com
- http://www.moorecap.com
- Our target audience is institutional investors who are incredibly conservative and very risk averse. We need a branding that is "soothing" to them, especially in the current climate. So clear, understated, elegant and subtle are all good. Bright colours and striking graphics will most likely be negatively received by our prospective customers.
- Apply logo to business card layout that looks at possible colour pallet and type/font options that compliment the brand mark.
- Wordmark typography should feel classic, stone cut feeling font ( Caps version of Charlotte Sans book or similar), clean lines but echos the narrative.
Classic / Uncluttered feel.
- Brandmark should not be made up of too many colours, when applying it to the business card carefully considered colour balance, 90/10 ratio of colours. e.g. 90% range of dark to light warm greys that reflect the Portland (limestone) used to build St. Pauls Cathedral, 10% use of 1 or 2 accent colours that balance the greys with a more impact-full modern/vibrant feel.
- Business Card and Stationary Ideas would be a bonus but not required
- Item 1...
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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, Nov 15, 2008 / 06:11 am (CNA).-
Doug Kmiec, a pro-life Catholic who vocally supported President-elect Barack Obama, defended his position in a lecture Tuesday at St. John's Seminary in Camarillo, California. The law professor told attendees that if Pope Benedict told him that his support for the pro-abortion politician was out of line with the Church's teachings, he would stand by the Magisterium.
About 30 to 40 protesters against Kmiec's speech stood in silence outside the seminary gates, an attendee who requested anonymity told CNA. Inside the seminary, nearly 300 people listened to Kmiec's speech, the Thirteenth Annual Newman C. Eberhardt lecture.
Father Eberhardt was a long-time history professor at the seminary.
"Several of his students wished that he could be there to demolish Dr. Kmiec's presentation point by point," the attendee told CNA, claiming that the setting of the event "causes scandal to the faithful and sows confusion throughout the non-Catholic community."
The attendee only took notes at the presentation because recording the lecture was prohibited.
Monsignor Craig Cox, the seminary rector, greeted the audience and gave a benediction. Father Richard Benson, academic dean and chair of moral theology, introduced Prof. Kmiec with a description of the "angst of the seminary administration" in inviting Kmiec.
The priest reportedly said that the administration decided to invite Kmiec in order to present differing views for consideration.
Kmiec began his lecture by referring to then-Cardinal Joseph Ratzinger's 2004 letter to the U.S. bishops which advised that a vote for a pro-abortion rights candidate can be permitted "in the presence of proportionate reasons." Kmiec, a Pepperdine University law professor and a former official in the Reagan and George H.W. Bush administrations, then went on to explain how he came to support Obama's candidacy.
An early supporter of former Massachusetts governor Mitt Romney, Kmiec said he was disappointed that, in his view, the Republican Party rejected Romney's candidacy on the basis of his Mormon religion. Not finding the views of the eventual Republican nominee Sen. John McCain consistent with Romney's positions, he looked elsewhere.
Kmiec told how he was first drawn to Obama during his "Call to Renewal" speech. Attending a meeting which included Rev. Franklin Graham, son of the famous evangelist Rev. Billy Graham, he told how he became convinced that while Obama had no religious upbringing, he is a religious man.
According to the lecture attendee who spoke to CNA, Kmiec described how his decision to support Obama included weighing the candidate's platform with Catholic social teaching. He became part of Obama's Catholic outreach program to secure the Catholic vote, which has consistently sided with the winner of the past ten presidential elections.
The Obama campaign's Catholic outreach was described as "tightly organized" at the national, state, and local levels.
Kmiec noted that he had pressed Obama concerning what have been perceived to be his gaffes on abortion issues.
Questioning Obama about comments about not wanting his daughter "punished with a baby," Obama told Kmiec "That's not it." The candidate then explained his belief that a child is indeed a punishment for many who do not have the economic and social support to care for a child.
Explaining his belief that the legal fight against abortion is lost, Kmiec advocated reducing the numbers of abortions through economic means and fully informing women about abortion. He also added that Obama had worked for the Catholic Campaign for Human Development, a primary vehicle for Catholic charity.
Concluding his remarks, Kmiec said he would always "bear the scar" of being refused Communion at Mass for the Catholic business leaders' group Legatus, where a deacon believed his support for Obama should have barred him from receiving. Kmiec related how he loved his faith and didn't know what he would do without it.
In audience questions following the lecture, a priest proposed a hypothetical situation in which Kmiec has a telephone conversation with Pope Benedict. The priest asked whether Kmiec would ask for further explanation of the letter to the U.S. bishops concerning proportionality in voting decisions.
Kmiec stated that if the Pope said, "Doug, you're wrong," he would then have to tear out the first 174 pages of his pro-Obama book and stand with the Magisterium.
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Just two days after the House of Representatives passed a resolution supporting the United States' efforts to bring the World Cup to America, the Senate followed suit on Thursday.
READ: U.S. Soccer's press release
House Concurrent Resolution 327 -- introduced on Sept. 29, 2010 by representatives Chris Van Hollen (MD), Dave Reichert (WA), George Miller (CA) and Mary Bono Mack (CA) -- flew through the upper chamber of Congress.
The bill resolves to support the US Bid Committee's efforts, encourage federal agencies to assist the process, and affirm "that the Congress stands prepared to consider requests by the President for support related to the 2022 FIFA World Cup."
With full support from the Congress, the US will make their presentation to the FIFA Executive Comittee to host the 2022 World Cup on Dec. 1. Voting to award the tournament will take place Dec. 2.
Noah Davis covers the United States national team for MLSsoccer.com. Follow him on Twitter at @noahedavis.
Ready to Launch: MLS Matchday 2010, The new official MLS iPhone app. It's FREE! Download it here!


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Alexion Pharm Inc (ALXN) shares have seen the Balance of Power trend lower over the past few sessions, indicating potential price moves are ahead.
The Balance of Power (BOP), indicator was developed by Igor Livshin and it was introduced in the August 2001 issue of Stocks and Commodities Magazine. Balance of Power (BOP) measures the strength of the bulls versus the bears by assessing the ability of each to push price to extreme levels. The BOP indicator represents the strength of the buyers (bulls) vs. the sellers (bears), and oscillates between -100 and 100. The calculation of the BOP = (close – open) / (high – low). A directional change of the BOP can be interpreted as a warning signal and will generally be followed by a price change.
On a typical market day there is no shortage of stock news. Investors are often tasked with trying to decipher which news is worth paying attention to and which isn't. Not only is there plenty of swirling news, there are usually plenty of opinions that follow. Closely following market sentiment can be useful for some, but it may impede others when decisions need to be made. When it comes to dedicated stock research, taking shortcuts may result in disappointing portfolio performance. Investors have to be careful not to be tempted by the hot stocks of the day. Of course, maybe some of those stocks would fit well in the portfolio, but doing individual stock study can help confirm the addition.
One technical indicator that may assist in measuring the strength of market momentum is the Average Directional Index or ADX. At the time of writing, the 14-day ADX for Alexion Pharm Inc (ALXN) is standing at 31.52. Many chart analysts believe that an ADX reading over 25 would suggest a strong trend. A reading under 20 would suggest no trend, and a reading from 20-25 would suggest that there is no clear trend signal. The ADX was created by J. Welles Wilder to help determine how strong a trend is. In general, a rising ADX line means that an existing trend is gaining strength. The opposite would be the case for a falling ADX line.
Alexion Pharm Inc (ALXN)'s Williams Percent Range or 14 day Williams %R is sitting at -52.55. Typically, if the value heads above -20, the stock may be considered to be overbought. On the flip side, if the indicator goes under -80, this may signal that the stock is oversold. The RSI, or Relative Strength Index, is a commonly used technical momentum indicator that compares price movement over time. The RSI was created by J. Welles Wilder who was striving to measure whether or not a stock was overbought or oversold. The RSI may be useful for spotting abnormal price activity and volatility. The RSI oscillates on a scale from 0 to 100. The normal reading of a stock will fall in the range of 30 to 70. A reading over 70 would indicate that the stock is overbought, and possibly overvalued. A reading under 30 may indicate that the stock is oversold, and possibly undervalued. After a recent check, the 14-day RSI is currently at 56.41, the 7-day stands at 51.52, and the 3-day is sitting at 40.71.
Taking a look at another technical level, Alexion Pharm Inc (ALXN) presently has a 14-day Commodity Channel Index (CCI) of -19.90. Typically, the CCI oscillates above and below a zero line. Normal oscillations tend to stay in the range of -100 to +100. A CCI reading of +100 may represent overbought conditions, while readings near -100 may indicate oversold territory. Although the CCI indicator was developed for commodities, it has become a popular tool for equity evaluation as well. Moving average indicators are used widely for stock analysis. Many traders will use a combination of moving averages with different time frames to help review stock trend direction. One of the more popular combinations is to use the 50-day and 200-day moving averages. Investors may use the 200-day MA to help smooth out the data a get a clearer long-term picture. They may look to the 50-day or 20-day to get a better grasp of what is going on with the stock in the near-term. Presently, the 200-day moving average is at 120.29 and the 50-day is 112.88.
Serious investors are often looking for that next batch of quality stocks to add to the portfolio. Finding quality stocks at a discount can be a tough task, especially with the market trading at such high levels. Many investors will be patiently waiting for a dip to get in on some researched names. Being prepared for any situation may help the investor make those tricky decisions when opportunities present themselves. Nobody can say for sure which way momentum is likely to swing heading into the New Year. Staying on top of the key economic data can help provide a good baseline for stock investing decisions in the near future.
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Bluefield Daily Telegraph
Two Women Inspiration for Counterfeiters
Mrs. M. M. Leonard and Mrs. Ester Foalding [sic] Leading Figures in Alleged Gang.
Ten Now in Huntington Jail Awaiting Trial
With Round-up of Band That Has Been Operating Extensively in West Virginia
Washington Authorities Breathe Easier.
Nearly Thousand Dollars in Spurious Coin Seized
June 29, 1911
Two Women Inspiration for Counterfeiters
Mrs. M. M. Leonard and Mrs. Ester Foalding [sic] Leading Figures in Alleged Gang.
Ten Now in Huntington Jail Awaiting Trial
With Round-up of Band That Has Been Operating Extensively in West Virginia Washington Authorities Breathe Easier.
Nearly Thousand Dollars in Spurious Coin Seized
Ten alleged counterfeiters, alleged to have been operating extensively in West Virginia, have been rounded up by the secret service men of the treasury department, and are now awaiting trial in Huntington. In the socalled "gang," whose alleged operations escaped the vigilance of the West Virginia police, are Mrs. M. M. Leonard and Mrs. Ester Foalden, two women whom the secret service men declare are the leading figures and the inspiration for the daring series of counterfeits.
Charles K. Wright, operator for the secret service bureau of the the [sic] treasury department, was sent to West Virginia more than two weeks ago, when the news first reached Washington that two suspicious characters had been arrested in the Widemouth section of this county, which arrests were reported in the Daily Telegraph at this time. Representing himself as one of the "profession," Wright persuaded Mrs. Foalden that he was a friend who could lend aid, and declares he elicited from her a confession by which it is believed the entire "gang" will be convicted.
In commenting on the case Chief John M. Wilde, of the secret service, said:
"It is one of the most remarkable bits of work that we have had for some time. Wright was given the case when two arrests were made on suspicion, and from that developed a case which has led to the arrest of what we believe to be the entire counterfeiting gang. With their arrest the authorities will breathe easier. They had plates which enable them no only to make spurious gold coins, but paper bills."
Wright's report has been forwarded to the authorities at Washington.
That the two women of the alleged gang should have been arrested first lends an atmosphere of peculiar interest to the case. Several months ago the police of West Virginia were mystified by the regular appearance in various districts - particularly the country surrounding Huntington - of gold $5 pieces so closely imitating the original that they could not be detected, except by experts. A careful watch was set for those responsible for the influx of the gold pieces, but nothing resulted until a few weeks ago, when the two women were arrested in a cafe while attempting to pass one of the coins.
Even the police did not believe that either of the women was connected with the counterfeiting plot. Hesitating as to the future action, the police telegraphed at Chief Wilkie at Washington who at once sent Wright.
Wright, on arriving in Huntington, went to the two women and represented himself as a counterfeiter. Th[r]ough them, according to secret service officials, he ascertained the status of the case and was given the trail of their husbands, who, it is claimed, were the instigators of the plan.
Without letting Mrs. Foalden or Mrs. Leonard know of his plan, Wright began a still hunt for the husbands and after two weeks of trailing arrested them.
The arrested were made in this county and John E. Wilson, M. M. Leonard, and R. R Foalden were held on charges of counterfeiting. With them were captured J. R. Leonard and R. R. Foalden, jr., sons of two of the men who are held by the secret service.
The police recovered $110 in $5 gold coins and $180 in $1 silver coins; a counterfeiting outfit, and a money belt containing $635 in counterfeit $5 gold coins.
Crime and Punishment


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