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As a commercial hauler, the Ford E-250 Econoline does the job but lacks the design for great fuel economy. Mileage ratings stand at 12/13 mpg city and 16/17 mpg highway, depending on the engine choice and options.
Ford's venerable Econoline series vans have been handling commercial work with durability and loads of space for decades. While Ford maintains a ""if it isn't broke, don't fix it"" attitude towards its workhorse van, occasionally the company adds features to keep the model up to date. There have only been major changes twice in the last 20 some years, so expect this vehicle to always fit a certain amount of gear, tools, or people. No matter the job at hand, shuttle duty, service fleet, or hauling tools and equipment, for more than 50 years the E-Series vans always get the job done.
The E-250 differs from the E-150 model in that it can handle heavier loads. It accomplishes this with a bigger axel (10.25 vs. 8.8); larger springs, brakes, wheels, and tires; and a three-quarter-ton frame versus a half-ton frame on the E-150. This all makes for a stiffer and more truck-like ride. The handling has more of a commercial vehicle feel. While some buyers of the E-150 may use that van for personal purposes (coaching and transporting a little league team, for example) buyers of the E-250 should be aware that the design of this vehicle keeps serious commercial applications in mind; thus, it does not offer an easy, lazy handling drive. Even SUVs require less from a driver than an E-Series van. With that in mind, it should be noted that these vans have been reliable work vehicles for years.
The exterior of the E-250 clearly indicates its intended use, with its boxy and utilitarian style. It employs double-sealed headlamps, a blacked-out grill, and 16-inch steel wheels. Like other E-Series vans, it has rear doors that swing 178 degrees and a 60/40-split side door that can be replaced with a sliding door at no extra cost. It offers all the basic exterior looks and features of the utility-oriented body style.
The engine options include the E-Series basics: a 225-horsepower, 4.6 liter V-8 with 286 lb-ft of torque. That can be upgraded to a 255-hp, 5.4-liter V-8 with 350 lb-ft of torque. The E-250 weighs more than the 150 and hauls more, resulting in another engine option. The 305-horsepower, 6.8-liter Triton V10 will handle even bigger jobs than the V-8 models and takes the place of a diesel option without the extra cost. All engine choices pair with a four-speed automatic transmission.
The interior of the E-250 is a Spartan and plain design that typifies the commercial hauling vehicle. Scratch resistant vinyl floor coverings and a basic layout handle the rigors of a vehicle work life. Options for the layout include seating for eight, two bucket seats, and space or options such as a ladder rack, a 12-drawer cabinet, and special up-fitting for duty in the plumbing and air-conditioning repair trade.
Standard features include air-conditioning, dual side mirrors, 12-volt outlets, an AM/FM stereo, a tilt steering wheel, intermittent wipers, and power steering. The XLT trim adds chrome bumpers, a six-speaker stereo with a CD player, dual cloth captain's chairs, cruise control, power windows, mirrors, and door locks. Other available options include the Sync multimedia system, an in-dash computer with high-speed internet access to which a mouse and printer can be connected, and a navigation system with real-time traffic data and fuel prices.
The E-250 drives like a van, not an SUV or car. The handling and ride feel like a commercial truck because everything about the frame, suspension, and design remains that of a commercial vehicle. The AdvanceTrac stability control and roll stability control help save aggressive drivers who are unprepared for the way this type of vehicle behaves. More attention to the steering and the rear navigation camera can prevent fender benders.
Safety features such as the four-wheel anti-lock disc brakes, dual front airbags, and the aforementioned control features, inspire confidence. The lack of side curtain head airbags is worth mentioning as they prove helpful in this vehicle class. Overall safety meets acceptable standards, but the model provides a bouncy ride and slightly demanding drive.
Ford has included a new paint color, Steel Blue Metallic, for 2012. The model also offers 16-inch aluminum wheels, and a new jack on the stereo allows for the use of MP3 players.
The price range for the E-250 falls in the typical range for commercial vans. Expect to pay $27,000 for a base model. Features and trim upgrades can take the price up to the $44,000 range.
There have been a few notable differences over the years. In 1997, Ford replaced the E-250's engine with a new V-6, two new V-8s, and a new V-10.
1997 brought the first significant upgrade with the addition of a tilt steering wheel, anti-lock brakes, and a passenger front airbag. The interior receives an update, and the exterior changes to match Ford's new oval theme. In 2003, the E-Series vans got a grille redesign to match the F-Series Super Duty truck.
Since 2008, the E-250 has benefited from modifications to the steering, braking, and suspension systems that improve driving dynamics. The 2010 model year marks the last for the 6.0-liter PowerStroke turbodiesel V-8, which replaced the 7.3-liter six years earlier.
2001 Ford E-250 Econoline
The 2001 Ford E-250 Econoline is a fourth-generation van that belongs to Ford's iconic E-Series, which is a line of full-size vans that has been in production since 1961.
2000 Ford E-250 Econoline
The bestselling full-size van for Ford is the 2000 Ford E-250 Econoline cargo version, which is called the ?van.
1999 Ford E-250 Econoline
The Ford E-250 vans have been around since 1961, a favorite of commercial users who turn these vans into mobile workplaces.
1998 Ford E-250 Econoline
The 1998 Ford E-250 Econoline differs slightly from later models in terms of naming.
1997 Ford E-250 Econoline
The 1997 Ford E-250 Econoline is a van designed primarily for hauling cargo.


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Download the PDF here.
Oct 8, 2008
Day 71: Marge Simpson
Download the PDF here.
11 comments:
- Schöny90 said...
I´m not able do download the file: "The file link that you requested is not valid. " Any idea for the problem?
- October 9, 2008 at 8:27 AM
- Telman said...
I´m not able do download the file also.
- October 9, 2008 at 8:46 AM
- JoE said...
- October 9, 2008 at 9:22 AM
- Operator said...
Marge looks really great, and in my opinion a lot better than Bart before. Maybe you can update him so that he matches the style from Homer, Krusty and Marge :)
Will you make Lisa and Maggie as well?
- October 9, 2008 at 9:30 AM
hey man quite fantastic art! would youu please help us? we've made marge but can't find homer - there's no link on his page!((
- October 10, 2008 at 3:50 AM
- JoE said...
just scroll down and on the left, there's a list of the PDF of every toy i had done to date.
- October 10, 2008 at 8:35 AM
- richard said...
Hi Joe,
I was mainly wondering when you're going to have your next contest?
I missed the first one and since I found your site I've been itching to get making, I've got a design in mind and i'm worried if I don't get it made soon you're gonna have thought of the idea and built it.
On another note, is there any chance you'd be interested in swapping links, (I make card models too, you may remember I left a comment on your blog about my Octo-boy design. Shameless website plug here.....)
I don't get much traffic but I'd be happy to steer any I do get towards you.
Anyway, looking forward to the next model.
- October 11, 2008 at 6:20 AM
- JoE said...
Hi Richard,
I am not planning any new contest at the moment, but you can make your own toy using the template and email a picture to me. I will then try to post in this blog and link it back to your blog.
- October 11, 2008 at 8:23 AM
- Paul Z. said...
I realy like it, I've downloaded, printed and built her without any problem.
- October 11, 2008 at 9:59 AM
- richard said...
- This comment has been removed by the author.
- October 11, 2008 at 10:35 AM
- Lolly Bunny said...
this papercraft is awesome..i love it..i hv just made barrack obama and my mom loves it.. hehehe
- January 22, 2009 at 3:04 AM

subset: commoncrawl


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The latest theme music compilation from WWE is out. While the past few CDs put out by WWE have been subpar, WWE The Music Volume 8 isn't brutal -- but isn't anything to write home about either.
Volume 8 came out March 25th and is a 14-track CD with a lot of the newer themes, plus a couple never-before-released themes. The music the average fan hears every week on TV is OK, but the so-called bonus tracks aren't quite appealing.
For instance, a remixed Mr. McMahon "No Chance In Hell" is on this set and it's not clear why. Another Mr. Kennedy version of "Turn Up The Trouble" appears as does yet another incarnation of Chris Jericho's "Break The Walls Down," sans the "break the code" music that led to his return last November.
Good calls on Volume 8 include "SOS," Kofi Kingston's theme, Jeff Hardy's new "No More Words" tune that we won't hear again for a few weeks, John Morrison's '70s-like riff "Ain't No Make Believe," Beth Phoenix' "Glamazon," the epic "Biscuits & Gravy" for Jesse & Festus and the ECW theme, "Don't Question My Heart."
Notable tracks missing from this compilation in this writer's opinion include Big Daddy V, Tommy Dreamer, Lance Cade and Trevor Murdoch, Cody Rhodes and Paul London and Brian Kendrick. Very little ECW presence is nothing new for WWE and their music releases and that's obvious in Volume 8 as in the CD jacket, the TV sets are shown for Raw and SmackDown!, but ECW is absent. Big surprise.
Rounding out the list of music is "The Wall" (Mark Henry), "In The Middle Of It Now" (Hawkins and Ryder), the horrid "Sliced Bread" (Jillian Hall), "What Love Is" (Candice Michelle) and a newer, mellow "Ain't No Stoppin' Me" (Shelton Benjamin).
Saliva and Theory Of A Deadman partake in this CD and names like that lend a sense of credibility within the music industry to WWE and producer Jim Johnston.
If you dig theme music and don't feel like getting off the couch to sit in front of a computer to download these songs, then head to the store as WWE The Music Volume 8 is worth the exercise. It doesn't come highly recommended, but no true theme music fan should ever have a CD like this missing from their collection.


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The Golgi apparatus, which is also known as the Golgi complex, was one of the first organelles ever identified with a light microscope. Indeed, the relatively large size and regular configuration of the Golgi apparatus makes it a very prominent cellular feature. Existing as a group of flattened sac-like structures known as cisternae, each of which is surrounded by a membrane, the appearance of the Golgi complex has often been compared to that of a stack of pancakes or pita bread. The number of cisternae in a Golgi stack varies and multiple stacks may be found in the same cell. In some types of cells, several Golgi stacks are connected to one another via tubular linkages, resulting in a sizable complex typically located near the centrosome adjacent to the nucleus. Vesicles concentrated in the area surrounding the Golgi apparatus are generally in the process of transferring material between the organelle and other cellular structures.
The close proximity between the Golgi complex and nuclei in the culture of adherent albino Swiss mouse embryo cells illustrated above was probed in a double immunofluorescence experiment with mouse anti-NPCP (nuclear pore complex protein) and rabbit anti-giantin primary antibodies. The antibody targets were visualized with goat secondary antibodies conjugated to Alexa Fluor 568 and Alexa Fluor 488, respectively, while the actin cytoskeletal framework was labeled with Alexa Fluor 350 conjugated to phalloidin. Images were recorded in grayscale with a QImaging Retiga Fast-EXi camera system coupled to an Olympus BX-51 microscope equipped with bandpass emission fluorescence filter optical blocks provided by Omega Optical. During the processing stage, individual image channels were pseudocolored with RGB values corresponding to each of the fluorophore emission spectral profiles.
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Home » Classic in Field » SOFT MACHINE: Virtually
SOFT MACHINE: Virtually
This exceptional Cuneiform release contains late 'Third/Fourth' era Soft Machine pieces recorded for radio Bremen in March 1971. The drums are very clean and forward in the mix, and for this alone the CD is a fan must-have. Everyone is on late tour confident form and the recording is studio quality. Indispensable really.
Code: RUNE100
Price: £14.50


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Whatever your reason for transferring to a new university, we welcome the opportunity to help you discover what Wittenberg can offer you. Our professors encourage, nurture and guide, while stretching students' minds in ways unimagined.
Wittenberg has inspired generations of students to lead in their communities and around the world. We believe that every student should not only be able to make a successful living, but also a meaningful life.
Thinking of transferring to Witt? Wittenberg welcomes applications from transfer students for both the fall and spring semesters. The transfer application process is designed to help us become acquainted with you. Each applicant is considered on the basis of individual qualifications both academic and non-academic.
Wittenberg Transfer Application
Transfer Admission
- Wittenberg welcomes in any semester a student who transfers from another college or university.
- The applicant must present a cumulative grade-point average no less than 2.0 on a 4.0 scale and must be in good academic and social standing.
- There is a 94-credit-hour limit to courses/hours transferable; 50 percent of the semester-hour credits for all coursework in the major must be completed while in residence at Wittenberg.
- Secondary transcripts and aptitude test scores are not normally required if a student has finished a year or more of college work.
- Unusual mitigating circumstances related to a student's academic or social standing can be taken into consideration by the Admission Committee. Information relating to such matters must be presented in writing.
Transferring Credits
There are specific guidelines for transferring credits that give you an idea of what you would get credit for upon admission to Wittenberg University. If you are coming from a community college, we have transfer equivalency guides for a number of community colleges in the region.
Students who have completed the Ohio Transfer Module and have been awarded an A.A. or A.S degree can apply their coursework toward the graduation requirements at Wittenberg University.
- The entire 60 semester hours of the A.A. or A.S. degree will count toward Wittenberg's graduation requirements (up to 94 semester hours can be transferred).
- Courses with a grade of C- or below will not be transferred.
- Students will be considered to have met the requirements of the General Education program at Wittenberg.
- Students who have completed less than the equivalent of one year of foreign language at their home institution will be required to complete the Wittenberg General Education Language requirement.
- Students will be required to complete the Community Service requirement and four writing-intensive courses at Wittenberg to fulfill graduation requirements.
Wittenberg Scholarships
For all accepted transfer students who are members of Phi Theta Kappa, Wittenberg offers a half-tuition scholarship that is renewable if the student maintains a 3.2 GPA at Wittenberg. Other Wittenberg scholarships are available based on academic performance. Applicants are automatically considered for scholarships; no separate application is required. All traditional transfers automatically receive the Book Award of $1,000 ($500 per semester).
Phi Theta Kappa Scholarship ($2,000)
This scholarship is offered to any transfer student who is a member of Phi Theta Kappa and has maintained good academic standing. The Phi Theta Kappa Scholarship will be awarded in addition to any Wittenberg merit scholarship the student receives.
Financial Aid
Annually, Wittenberg grants more than $35 million in the form of academic scholarships and grants. More than 98% of Wittenberg students receive financial aid or a scholarship. Need-based financial aid includes grants, loans and work-study.
Campus Visits
To discover if Wittenberg is right for you, we encourage you to visit our campus, ranked as one of the most beautiful in the United States. During your time with us, we want you to meet the people behind the place that make Wittenberg special, and to explore your academic and career interests.
For transfer students, a typical visit includes an interview with our transfer coordinator and a campus tour. We would be happy to arrange class visits and appointments with professors and coaches if you would like. You can schedule a visit online or contact us at (877) 206-0332 or firstname.lastname@example.com.
Questions about transferring?
Contact Gina Beck, admission counselor for transfer recruitment, by e-mail at firstname.lastname@example.com or by phone at (937) 327-7012 or (937) 327-7046.
If you have any other questions or concerns about your transfer to Wittenberg, please contact our Office of Admission at (877) 206-0332, or e-mail us at firstname.lastname@example.com.


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Watch TV
|User Manual:Detailed configuration Frontend
|User Manual:Index
|User Manual:Accessory Modules
|User Manual:Daily Use
|User Manual:Watch Recordings
When you select Watch TV from the front page, MythTV will automatically go to the default channel when you setup the mythbackend. You can also have it go directly to to programme guide.
Basic Usage
(Sure be nice if some kind soul would augment this information with keyboard key command sequences. - For those of us who are not so lucky as to have a remote IR control. Marc.)
Changing channels
While watching Live TV you can change channels with . There is a pause of several seconds while MythTV buffers the new channel. People often find this pause disconcerting as they are typically coming from a normal TV where they are used to "Channel Surfing", though it's fairly common on digital cable TV service, as well. The way to overcome this is to put MythTV into Browse Mode, and this will become the default as of 0.19 for precisely this reason.
Browse Mode is enabled under
- TV Settings->Playback->On Screen Display,
check the box "Always use browse mode when changing channels in LiveTV".
Press to browse the program information on the next/previous program with the OSD. Then when you see the program you want, press and MythTV will jump to that channel. While in Browse mode you can also use to see what shows are coming up next, by scrolling the program guide earlier and later in time.
You can also jump directly to a channel by pressing the number keys. Press 1 and it will jump to the first channel in your channel list, press 12 it will jump to the twelfth channel in your channel list etc. You can organise your channel list with the MythTV-Setup program.
Changing Volume
Press / to increase/decrease the volume.
Press to toggle the audio mute
- The OSD will show the volume provided you have set MythTV to use its internal volume controls. It is possible to set MythTV to bypass its internal volume controls and send the audio directly to your soundcards SPDIF output. In this case you should program your remote's volume up and volume down keys to control the volume on your AV amplifier.
Changing Aspect Ratio
You can step through the different screen aspect ratios with the key.
|Classic TV Aspect Ratio
|True Anamorphic Widescreen
|4:3 Zoom
|Crop top and bottom to fill Wide Screen TV
|16:9 Zoom
|Crop sides to fill 4:3 TV
|16:9 Stretch
|Resize 4:3 picture to fit a Wide Screen TV
Live TV Capabilities
MythTV offers some of the most sought after features of modern Media Centres.
Pause Live TV
Pausing live TV is great when the phone rings during a show or your little ones need a comfort break during a movie.
By pressing on your remote the picture will freeze, and MythTV will start to buffer Live TV to the hard drive. The OSD will appear showing seconds behind realtime TV and (in version .18) how much live TV has been buffered as a percentage of total buffer space.
In .18, if you changed channels or exit from watching Live TV then any buffered TV will be lost. 0.19 changes this by treating live TV as a recording and saving it in your media list. The live tv recording is set to auto expire when the hard drive nears being full.
While the picture stream is paused:
Press to move forwards / backwards by 1 frame
Press a second time to unpause live tv, you will now be watching 'behind' live TV. This is sometimes referred to as Chase TV Playback for obvious reasons.
Chase TV Playback
With Chase TV Playback the system can be recording live tv while you are watching the same program behind realtime. It is somtimes referred to as Timeshifting TV.
Press to move forwards/backwards in the stream (default is 5 seconds)
Press to jump forward/backwards by the configured number of minutes (default is 10). This is great to skip quickly over commercials
If you are coming to MythTV from using a Video Recorder, you might want to enable the "sticky" keys option. This keeps the fast forward or rewind on even after you release the key. Subsequent presses of or will increase the speed of the rewind or playback. When you reach the point you want to watch, press to resume normal playback.
Time Stretch Playback
At the 0.17 release of MythTV the concept of timestretch playback was introduced. Though, it's really 'time-compression'. This allows the user to adjust the playback speed slightly, but keeps the audio at the same pitch. If you're recording a lot of shows, timestretch lets you get through them faster. So now you can watch a 1 hour show in 40 mins without feeling like you are listening to Alvin and the Chipmunks. You can use this feature to play the TV Stream in slow motion, nice for instant reviews of sports events.
Press to toggle the Time Stretch playback.
Press the to set the Time Stretch speed.
Electronic Program Guide (EPG)
The Electronic Program Guide will allow you to get more detailed information on what is being broadcast currently as well as scheduled programs that are coming up.
Since Mythtv 0.20 you can go directly to the Program Guide, by pressing
Press and the OSD will show information on what you are currently watching. The OSD will stay up for a default of 3 seconds and then fade out. You can set the duration in
- TV settings->Playback Settings->OSD
Press and the On Screen Menu will show.
Use / to move up and down the menu. Use to Select.
Select the Program Guide and the Full EPG will show.
Use to switch to full-screen Live TV on the channel you selected, or just press to go back to watching Live TV on your original channel.
The EPG also allows direct channel jumping by entering a channel number. By default, it is off. You can turn it on in the
- TV -> Guide Settings.
When you press a number key MythTV gives you 2.5 seconds to enter additional digits, (These are displayed on screen as you press), after which it will jump to the closest channel it can find that matches the digits you have pressed.
Concurrent Channel Watching
If you have multiple tuner cards you can watch two channels at once using the Picture in Picture (PIP) facility. You can record one programme while you are watching another. Turn on the PIP via the Onscreen Menu by pressing the key while watching Live TV.
Press the key to switch between your various tuner cards.
Recording Live TV
While watching Live TV press the key, MythTV will start recording the show from the point that you started watching it until the show is finished, according to the Guide schedule. This might cause some rescheduling of later recordings.
The Tuner card being used to record from will be locked until the recording has finished or you explicitly cancel the recording. If you have multiple Tuner cards you can now change channels with the keys. MythTV will continue recording the current show and switch to the next available Tuner card. If there are no more available Tuner cards then the keys will just jump back and forth in the recording.
Press the key, and the OSD will show the position in the recording.
Use the keys to move backwards and forwards in the recording.
Press the key, and the On Screen Menu for Recordings will show.
You can exit the watching recordings with the key.
If you try watching live TV and all the Tuner cards are busy recording, you will get the following screen.
|User Manual:Detailed configuration Frontend
|User Manual:Index
|User Manual:Daily Use
|User Manual:Watch Recordings


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It's the end of the work/school week and that means another Free Goods Friday. This week we are giving away a grip of gear from Gnarly including a crew neck sweatshirt, a hoody, pants, stickers, and a copy of "Givin". As you may or may not know, this brand was started by Keegan Valaika and a group of homies. They decided to call it "Gnarly"… but we want to know what you would name a brand. In the comment section below tell us what you would want to name a brand that you started with your friends. We will pick our favorite answer to get hooked up with all this Gnarly product. Get creative.
Contest ends 5/4/12


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Harassment, injuries, drunk driving and more - the risks to an employer could make you cancel your holiday party. How can you ensure the biggest story coming out of the holiday party is Steve from Accounting's terrible taste in ties?
Miller Thomson partner Béatrice Arronis outlines some of the common risks and recent case law to help HR reduce liability and avoid a lawsuit.
Video transcript below:
Caitlin Nobes, HRM Online
Caitlin Nobes: Most companies have some kind of event for their staff at this time of the year, but are you aware of the legal minefield? I'm Caitlin Nobes, you are watching HRM TV.
An employer's obligation to protect their employee's health, safety and dignity don't finish at the end of the work day. So what are the biggest legal risks of the office holiday party?
Béatrice Arronis, Partner, Miller Thomson LLP
Béatrice Arronis: The first one is certainly harassment, it's the most common one is harassment and when I am talking about harassment I am talking about unfortunately very often sexual harassment. There is also consumption of alcohol, too much consumption of alcohol and what happens if your employees leave the party and has an accident and injured somebody. There is also the inappropriate behaviour that sometimes happened during the party, such a fight for example between employees and finally you can have a work accident during the party, at the place where this party is.
Caitlin Nobes: Canadian court decisions show an employer can be held responsible for an employee who drives drunk after a party. Other cases show an employer is liable for incidents such as harassments and accidents.
Béatrice Arronis: In fact we have one quite recently seen in Quebec, in the province of Quebec during a Christmas party, there was an exchange of gifts and it was not a good one, it was a erotic exchange of gifts and at one point this [provisor] of the victim, employee's female employee put handcuff on her and take the opportunity to touch her in a manner that was absolutely not appropriate. The employee returned to work after that, she was in shock but she returned to work, but a while after she was not able to bear the situation anymore and she decided to resign, but she sued her employer and the employer was found responsible and he was condemned to pay for the salary lost. In fact we have a recent case in the province of Quebec, a case where an employee during a Christmas party again and at a restaurant was injured. She was injured by one of her colleague, one of her colleague insisted to have her dance on the dance floor, so she grabbed her literally and pushed her on the dance floor and the employee hurt and injured herself seriously and she had to stop working. So she claimed that it was an accident related to work. It could said that it was, it qualifies as a work accident because the employer has a certain interest in this bonding event between amongst you know the employees and their peers and that's how it was defined finally and the court concluded that it was a work accident.
Caitlin Nobes: So what can an employer do to prevent such problems, the steps to be taken before, during and after an event to reduce your risks and liability?
Béatrice Arronis: Before the event I think that the employer can first of all remind to his employees that you know the employer's policies, internal policy concerning harassment and eventually reasonable consumption of alcohol do still apply during events such as Christmas party or holiday [at] parties. During the event I would recommend the employer to ensure at all times that there is a reasonable consumption of alcohol and that he monitors the consumption of alcohol and this can be accomplished by for example closing the bar an hour or two before the end of the event. Also provide for transportation like chauffeurs or taxis, make sure that there are taxis and chauffeurs at the exit of the event. After the party if something happens, I think the employer should make clear and he should make a follow up and investigate if there was non-appropriate behaviour, if there is, if there was harassment during the party and eventually the employer must, should discipline the employees that have committed some excess I would say during the party.
Caitlin Nobes: An employer's responsibilities don't end with the work day, but neither do an employee. Canadian courts have upheld disciplinary decisions based on inappropriate behaviour at work events, such as violence towards bar staff. Thanks for watching HRM TV, have a safe and happy holiday.


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Milan Kundera, one of my favorite writers, claimed that life is about choices. Every choice leads to a different adventure and experience. I believe that pursuing a PhD degree is a crisis choice in life since it means a huge investment of time and effort. Meanwhile, the decision of which program to enter is a critical choice too. People around you as well as resources and opportunities you can have are essential to enhancing your knowledge, harnessing your research ability, and impacting the development of life values and personality. It sounds like a dramatic change for me to make the choice of transferring from the University of Georgia (UGA), a 33,000 student public university in a small college town to Seattle Pacific University (SPU), a less than 4,000 students private university in a comparatively big modern city. I am blessed and overjoyed that this choice has been leading me to a fascinating path of being a doctorate student.
I still clearly remember the most struggle-filled midsummer I have ever had. Every day I prayed for the clues and guidance from God, consulting pastors and experienced senior scholars, talking with family and friends, so as to figure out an answer to whether I should move to Seattle or stay at Athens. Most of my Chinese friends suggested that I stay at UGA without any hesitation because they even didn't hear about SPU and obviously the program of the Learning, Design, and Technology at UGA enjoys a strong reputation. I wrote many emails to Dr. Lumpe asking many questions about the transfer and he was always very patient in answering any question.
Time flies! Now I have started my second quarter in the PhD of Education program at SPU. The journey of exploring and adventuring at SPU in the past half a year has provided me sufficient insights and experience to give answers to my questions and concerns before I came here.
My experience in the past six months tells that ranking doesn't matter as much as you think. Being educated from kindergarten to graduate school in China, I cannot be clearer about the importance of the ranking of schools which is closely associated with the quality of education and the future career development opportunity in China. I have to say it was the biggest struggling I had. UGA is well known in China and the program I was in has been top ranked in the field of educational technology.
I talked about this concern with two Chinese professors working in UGA; however, they told me that, ranking doesn't mean so much in USA because big public schools definitely have more resources and advantages regarding these standards for evaluation, but these standards for assessing a school usually are not too much associated with your personal learning experience and growth. What really matter is how much personal care, direction, assistance, support and resources you can have from professors and the school.
Now I can say that, the direction, care, help and support I gained from SPU is not less than I had in UGA, and is even more customized and personalized as it is a small group in which students can obtain more attention and assistance. For example, I was impressed that after the international student orientation, every international student has an individual meeting with the coordinator for personal issues or requirements. Because the program is small, everyone knows everyone very well and the acquaintance makes me feel comfortable and encouraged everyday. I have never met the dean of the College of Education at UGA in person, but at SPU, you can talk with the dean, faculty and staff frequently and they are always very happy to help. In this small school, actually, you can reach more resources and have more assistance.
The other main concern I had for the transfer was if there were opportunities to be involved in research and academic practice in the doctorate program at SPU. As we know, research is a critical part through the journey of the doctorate education. Now, I would say that the doctorate program in the School of Education at SPU provides many opportunities involving me into real research project and practice, conference presentation, and journal or book chapter publication. I have started to work in the bPortfolio project since I registered in the school. Benefiting from this ongoing project so far, I was listed as the fourth author of a presentation in at the 18th Annual Sloan Consortium International Conference on Online Learning in Orlando, Florida in October, 2012. Additionally, a full paper coauthored by Dr. Lumpe and I has been submitted for the AACE conference presentation in the coming June. The effort of coding data and writing a paper for this project is a rather valuable experience in terms of improving research skills and academic writing. Additionally, I am blessed to get involved in writing a book chapter in terms of "teacher reflection" with Dr. Lumpe and Dr. Bishop. I believe my knowledge has been broadened and enriched greatly in terms of teacher education, educational technology and research methodology in the past half a year.
Above all, I do enjoy my new journey in the school of education as a doctorate student. I like the fact that SPU places a huge emphasis on students' development and individual needs and builds a harmonious and collaborative community.
In closing, I would like to use what my friend in my previous program at UGA told me about my choice. When I told her what I am studying and learning, she said that, I think you made a right decision for the transfer to SPU.
About Daihong Chen:
I am a current doctorate student in the PhD of Education program at Seattle Pacific University. I am originally from China. I graduated from Beijing Normal University with the Bachelor degree in Education and Master degree in Education majoring in Curriculum and Instruction. Before I came to USA, I was a high school teacher teaching Moral and Political Education for three years and then worked for the China National Curriculum Resources Center for two years. I finished my first year of PhD education in the program of Learning, Design, and Technology at the University of Georgia in which I was a graduate assistant working for the coordinators of Master programs of Learning Design and Development and School Library and Media. I also co-instructed the course of Introduction of Instructional Design with Dr. Clinton in the summer semester of 2012 at UGA. I transferred to Seattle Pacific University in August, 2012. My research interest is technology integration and teacher education.


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In a challenge organized by FortyOneSix.com, the famed British 1945 Vickers Supermarine Spitfire Fighter took to the skies over Goodwood Aerodome's grass airstrip while the RRS showcased its all-terrain agility during the off-road air-to-land race as seen in the video.
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- 2014 Range Rover Sport V8 Supercharged 510hp boasting 0-100km (62mph) in 5 seconds
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- Drag race down grass airstrip before a U-Turn that leads vehicles back down the strip to the start where the first to arrive wins.
To begin the race, the 1945-vintage model Spitfire fighter, piloted by Matt Jones from the Boultbee Flight Academy, lined up beside Mike Cross, Jaguar Land Rover's Chief Vehicle Integrity Engineer, within the new Range Rover Sport, a supercharged V8 model with 510hp on tap.
A drag race then commenced. A later U-turn at the end of the strip highlighted the Range Rover's new Torque Vectoring technology that enables more stable cornering before both headed back to the start. Cross clocked a top speed of 130mph before braking for the mid-race turn and had this to say:
"It's always difficult to find traction from a standing start on grass, but the Range Rover Sport made a great launch off the line. I was surprised by how bumpy the course was as I accelerated up to 130mph, and of course the other extreme challenge is to brake in time for the turn-around, but the car felt composed throughout the whole run."
Further details here: fortyonesix.com


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Richmond Burton likes to paint big, unless he wants to paint small. He uses oil paints applied so thinly they appear matte, sometimes translucent, and a lot more like acrylic. He is a trained architect who prefers mark-making in a two-dimensional form, and he really likes color, but sometimes he does not. His work over the past two decades has shown a dance across the spectrum of rigid systems of grids and complete abandonment of that structure for more organic abstraction.
There are a lot of contradictions here, and it seems to suit the artist, who lived in East Hampton, in Elaine de Kooning's old studio, from 1998 to 2011. The work he left behind when he moved to Los Angeles and then Woodstock is the subject of an exhibition at Silas Marder Gallery in Bridgehampton, organized by Jess Frost.
Although there have been many times that the art on the walls of the old barn structure, with a gently peaked arch roof and ceiling, has looked as if it were made for the space, here it is even more so. The brightly hued paintings look like stained glass windows in a Romanesque church, and Ms. Frost used the installation to highlight that effect. The artist even calls some of his paintings "windows," so it is not off the mark to see them as such. Veils and chalices are some of the other associations brought up by the paintings, but those are more fanciful.
At floor level on a side wall, there are two large, almost square, works from 2010 titled "Architecture," one red, one yellow. They are big, beautiful, and bodacious, the red gridwork on the one highlighting the jewel tones within it and the yellow and white of the other gently obscuring them. They are works that sum up much of the push-pull, yin and yang of Mr. Burton's oeuvre.
On the back wall are four "Stretch Paintings'" each named for its predominant color: green, yellow, orange, or red. Looking like netting that has captured the brightest and most colorful jewels, they are pulled and pinched just once in the center and placed against a pewter background, painted on old cheap plywood doors. What an elegant way to dress up a rather unattractive architectural element, and a perfect way to reintroduce an element of one's background into one's current practice.
These are all rather large works. Upstairs, it is more of a mix of intimate panels and more expansive compositions, along with some paintings made in Los Angeles and Woodstock. The spot that might be occupied by the rose window in a traditional church is taken up by the last painting made in East Hampton.
"Elevator'" from 2011, has been raised high on the back wall of the loft and is visible at ground level in a way that allows it to play with all of the other paintings in the gallery. It is dark and bright at the same time. The kaleidoscopic grid is there but obscured, not by blackness but by a deep, dark navy. It hints at sadness and ending but underscores the exuberant beauty underneath. The painting succeeds in capturing what it would be like to be melancholy in a place as rich in natural wonder as the East End.
Although it was not the painter's intent, in this context, which evokes church windows, the deep blue is celestial and melds nicely with the allusions to the color of Mary's garments in traditional Christian painting, which are intended to symbolize the sky and heaven.
The Los Angeles paintings, all easel-sized, have lighter and brighter grids, showing the warm western light filtering into his working method. "Horizon Window — Orange and Red," a work from 2013 painted at Woodstock, returns to a cooler palette and a larger format.
Everyone seems to have a favorite artist to compare Mr. Burton to, and why not. As Sheridan Sansegundo pointed out in a Star profile of him in 2005, he is from "the generation of appropriationists." There is Frank Stella, Pat Stier, even Gustav Klimt — but Mr. Burton retains his own vision from unique experiences that seem much more influential than just art on a wall.
The exhibition will remain on view through Aug. 11.


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Total RecallTotal Recall is a look back at the history of video games through their characters, franchises, developers and trends.
You may have seen one or two of these clips before, maybe even here on Kotaku, but boy, seeing them all laid out in a single video like this is something else.
Witness stars like Christian Bale, Jack Black and...30 Rock's Jenna Maroney and...Paul Rudd get a big break on crappy old video game commercials.
Before they Were Stars - Video Game Edition [PSP @ YouTube]


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Flowering Judas and Other Stories is a collection of Katherine Anne Porter's twelve earliest short stories (written in the 1920s and 1930s), many of which are set in Mexico, and all of which are memorable for their realistic insights into the human condition. These stories were all included in 1965's The Collected Stories of Katherine Anne Porter, the book that won her both a Pulitzer Prize and a National Book Award and marked the apex of her reputation.
Several of the stories are set in Mexico during its revolutionary period from 1910 to the early 1920s, stories told largely from the points-of-view of ordinary Mexicans and American expatriates who find themselves caught up in the struggle. These include "Virgin Violetta," "The Martyr" and the book's first story, " Maria Concepcion."
"Maria Concepcion" is typical of the "Mexico stories" in the sense that the revolution serves as the backdrop for a story that does not delve into the politics of that fight. Rather, this is the story of a young Mexican peasant woman who temporarily loses her husband to an even younger woman who is willing to follow him into battle. Maria's story is that of a woman fierce enough to reclaim what his hers when the opportunity finally offers itself, a woman so fierce that even the authorities respect her passion enough to allow her to get away with what she does.
But my favorite stories from this collection are not the Mexico stories. The ones that appeal to me the most are the deceptively simple ones that focus on the relationship between husbands and wives. These are largely conversational presentations that wonderfully illustrate how much is left unsaid between husband and wife, stories in which inner thoughts are detailed inside the heads of her characters but never expressed out loud to each other during their long conversations.
Two stories of this type particularly stand out for me: "Rope" and "The Cracked Looking Glass." "Rope" tells of the tensions between a woman and her husband that have been exaggerated by his decision to move them deep into the country to begin a new life, one which neither of them is prepared to live in that kind of isolation. When her husband returns from town one afternoon with a long length of rope coiled on his back, she is outraged to see that he has used their almost nonexistent savings to buy something they do not need. Their conversation is revealing; what they think but do not say to each other offers the real truth in their relationship.
"The Cracked Looking Glass" explores another marriage, this one between an older man and a woman not yet prepared to settle into the lifestyle that his age demands. As in "Rope," what these two people say to each other is only part of their story. Their real character and the truths of their marriage are not generally expressed out loud by either of them, and the reader, for a while, comes to know more about the health of that marriage than do either of the parties involved.
Katherine Anne Porter does not seem to be as appreciated today as she once was and that is a shame because, as this collection so aptly illustrates, she is one of the finest short story writers in the history of American literature.
Rated at: 4.0
Saturday, October 11, 2008
Flowering Judas and Other Stories
4 comments:
I haven't read this collection, but I'm also an admirer of her short stories. Also curious about her novel, Ship Of Fools.ReplyDelete
Bybee, I'm reading her three "short novels" at the moment (Porter detested the word "novella) and enjoying them. Actually, I've only read one so far but I'll be reading the other two in the next few days. You might want to consider those, also.ReplyDelete
Oh Sam. Must you continually review books that I now HAVE to read?ReplyDelete
(Yes. You must.)
Life is tough, isn't it, Carrie? :-)ReplyDelete
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Mama mia! Life with two elementary school-aged kids is tough! But beautiful shining moments between the times of frustrations make it absolutely worth it!
Wednesday, September 10, 2008
My Miscarriage Story
Do I even need to bother with a warning? Just in case...
Warning: This is a very sad post. I discuss my miscarriage and resulting D&C. If loss like this upsets you, skip this post. I'll understand.
I know people who have had multiple miscarriages, and at times I feel fortunate that I had only one miscarriage (so far). But it was still a devastating loss to me. After trying on our own for two years with no success, it took us 3 medicated IUI cycles to get pregnant that first time. All those months of disappointments, and finally, a fertilized egg that actually implanted!
I still remember how we found out. My MIL and FIL were up here visiting, but Londo wasn't ready to tell them that we were even trying to conceive. We had taken the day off of work to spend with the inlaws, however my appointment for the pregnancy blood test was scheduled for early Friday morning. I snuck out of the house, successfully avoiding my inlaws, had my blood taken, and was back in time for breakfast. I think Londo told them I had to go help my mom with something so they wouldn't suspect anything.
After breakfast, we headed off to the DC museums. We saw the American History museum and then met my dad downtown for lunch at the American Indian museum. After lunch, we went around the American Indian museum. I was getting tired from the full day downtown and went outside the gift store to sit on a bench. That was when I got the call. After receiving the good news, I motioned Londo out of the store and told him. As we left the museum, we told his parents, and included the whole tale about our trouble trying. Everyone was so happy.
For those who don't know, when you are getting fertility treatments, you get your blood taken and measured for the pregnancy hormone every few days until you reach a certain threshold, and then you go in for weekly ultrasounds until they are satisfied the baby is growing, has a heartbeat and seems fine. After three more blood tests that all looked good, we went in for the ultrasound and saw the egg growing. The following week, Londo couldn't make the appointment, but since I was only 6 and a half weeks along, we figured it would be too early to see a heartbeat so he wouldn't be missing anything major.
There was a heartbeat. But it was slow. I did not know what that meant, but the ultrasound technician who had been so cheerful the week before was very reserved when she told me. The doctor came in, and I'm sure he explained what it could mean, but I don't remember now what he said. I do know that I was still unsure how bad a sign a slow heartbeat was. Of course I googled it when I got home, and I found out the likelyhood that the baby would make it was very slim.
The next, Londo was sure to come to the appointment with me. The doctor was in the room for the beginning of the ultrasound. There was no heartbeat at all. The doctor put his hand on my knee and said "I'm sorry."
Londo and I were devastated. We had tried all week to hope for the best, but I had tried to prepare for the worse. Let me just tell you, nothing can prepare you for looking at a picture of your baby inside you whose heart is no longer beating. I cried. They gave me and Londo time to get ourselves together, and we left. Later, I talked with our nurse over the phone about what it would mean and what we should do at that point.
We decided to wait and see if it would "pass naturally." After a week and a half, it still had not "resolved" itself. I don't know how this might sound to anyone else so please excuse me if this is at all offensive, but at that point I couldn't stop thinking that I had a dead baby inside. My dead baby. (Excuse me while I take a minute to collect myself... Okay.)
We decided to go ahead and have the D&C so I could start recovering and we could move on. The D&C sucked. Everyone was wonderful and understanding, afterall the procedure was done by the people in the fertility center. Londo was the most wonderful, being supportive and trying to keep me in good spirits, even though I know he was as upset by the whole thing as I was. I was unconscious when they did the procedure, but I was awake when they wheeled me into the room, got me on the table, got my legs in the stirrups and strapped my arms down. Sucked sucked sucked.
I don't think recovery took more than I few days, but I was emotionally miserable, physically uncomfortable and hormonally whacked out. I. Was. A. Mess. I got better, and we did start treatments again, which resulted in our second pregnancy and subsequent birth of my precious baby girl.
I don't remember the dates of these events exactly. We found out we were pregnant in December. We found out the heartbeat stopped in January. I had the D&C in January. (We took a cruise in March to help get away from it all and feel better.) But I don't even try to remember the dates. The only date I know for sure was September 3rd, the baby's due date. Every year on and around September 3rd, I am reminded and feel down at the loss of my first baby. The baby who wasn't.
24 comments:
I am so sorry you went through this. I think people often don't understand that miscarriage is and feels like a death in the family, and involves that type of grief. My cousin recently suffered a miscarriage and I was really suprised by the clueless things apparently well-meaning friends and family said.
- September 10, 2008 at 12:05 PM
- HeatherY said...
No words can truly bring any comfort when you mourn a loss of life. Thank you so much for sharing that. (((Hugs)))
- September 10, 2008 at 12:06 PM
- electriclady said...
Oh, honey. I'm so sorry. I hope writing about it helped you, at least a little.
- September 10, 2008 at 12:09 PM
Hugs for you and Londo. I haven't heard your story in depth until today. I keep deleting every line I come up with because they are all inadequate in expressing how I feel.I think Pumpkin is a lucky little girl to have parents like you. I am uncomfortable saying your pain has a "silverlining". I think its unfair and just plain sucks. I also think it makes me see your parenting of Pumpkin in a new, richer light (I was already in awe of your abilities)I think that maybe a little of the careful and deliberate consideration you put into raising your daughter comes from the struggles you have faced. All children are precious, but I don't know if every parent realizes, to the extent you do, what a gift they really are. You take such great care of your
giggly, little climber.
- September 10, 2008 at 12:11 PM
I've been there and back three times, and I know how much it hurts. I hope writing about it will bring you some relief.
- September 10, 2008 at 12:23 PM
im sorry woman, i'm really crying for you. i never knew what it meant to love a babe till now,
- September 10, 2008 at 1:12 PM
- Jan said...
November 19 and July 10 for me.
I can't tell you how sorry I am that you had to go through this -- that anybody does, really. It's just a crummy, crummy deal.
I felt exactly the way you described about carrying around a dead fetus inside me. I went through it twice (the second time it was twins) and both times I scheduled the D&C as soon as I could.
I very definitely feel that I didn't fully grieve my loss until after I'd had my babies. I think it wasn't until then that I even knew what I was grieving.
All I can do is hope and pray that this time around things go better. Take care of yourself.
- September 10, 2008 at 2:14 PM
- September 10, 2008 at 5:26 PM
- heSaid said...
This is extremely sad to read about, but I cannot imagine how hard this is for you to talk about.
I feel that the real benefit of having a blog is to share your story with others that are like you. That involves good and bad. We as a part of the Internet/Blogging community are here for you. I put RSS on per your request, who knows what else us Internet Folk can do for one-another. (And don't take that last comment in-appropriately)
- September 10, 2008 at 9:07 PM
- - Dana said...
:-( That is strong of you to share your story. It's so very sad. Your sharing give us all a little insight into something so private. I had a friend at work go through a similar thing and I didn't know how to react or what to do. What was the best thing a friend or someone close to you did/said that made you feel (even just a little) better?
- September 10, 2008 at 9:21 PM
- La folle maman said...
{{HUGS}} and more {{HUGS}}
- September 10, 2008 at 9:44 PM
- Parisienne Mais Presque said...
Caramama, I'm not sure what I can say that isn't woefully inadequate. Hugs to you on this difficult anniversary.
- September 11, 2008 at 7:25 AM
- AmyinMotown said...
I'm so sorry. I know so many people who've been through miscarriages or later losses, and it just sucks. It's a sadness that doesn't go away. My MIL had one between my husband's next-oldest brother and him, and when I was pregnant the first time she talked about it a lot. And it had been almost 40 years at that point.
I'd like to know what's helpful too. I just try to tell people I am sorry it happened to them, and dial down my own kid talk.
- September 11, 2008 at 10:41 AM
- Don Mills Diva said...
I have tears in my eyes. It's probably a date you will always remember but I hope the pain lessens just a little each year...
- September 11, 2008 at 12:24 PM
March 15 for me.
We never saw a heartbeat. I began spotting at 5 weeks, and as I was driving to my 6 week ultrasound, I began bleeding heavily. Passed the yolk sac into the toilet at the doctor's office. I stuck my hand in the toilet, got it out, wrapped it up in a paper towel, and drove home. We buried the yolk sac in our yard.
I got pregnant again two weeks after that (no conception problems here), and spotted again at 12 weeks. I remember getting in the tub, lying there for over an hour, and talkedtalkedtalked to that baby, begging him to stay. He did. He's 5 months old now.
Thanks for sharing your story. It's important to remember, regardless of subsequent births. It was a life, a part of you. Though I did have a morbid thought the other day: I was looking at my son, and I was actually okay with the miscarriage, because if I hadn't had the miscarriage, I wouldn't have him.
- September 11, 2008 at 1:28 PM
- Colleen said...
I've long-held the belief that mothers that lose their babies like this eventually meet them...either they are born to life later, or the mothers are met by their little angels in Heaven.
Regardless, you will always feel connected to that baby and that date. I also hope that the raw pain lessens for you.
- September 11, 2008 at 2:16 PM
- Laski Gal said...
I am so sorry for your loss. There are no right words for something like this except to know that heartfelt thoughts are with you . . .
Take care . . .
- September 11, 2008 at 2:17 PM
I'm so sorry.
- September 11, 2008 at 3:26 PM
- Rudyinparis said...
Oh my God, I am so sorry.
Thhinking of you.
- September 11, 2008 at 4:33 PM
- Jezer said...
I'm so sorry. I hope that writing about it has helped you find a little bit of peace and comfort.
- September 11, 2008 at 7:33 PM
- Jezer said...
I mean, I hope you find MUCH peace and comfort, I'm just not so optimistic to believe that great loads of it come at once. In other words, {hugs}.
- September 11, 2008 at 7:34 PM
When this happened, I felt so clueless on how to console you as a friend, so I went online and found an online support group for advice. Many posters said this: recognize a miscarriage for what is it, a loss of life. Say that you are sorry that it happened and offer your support. No advice, no "it was for the best," basically no comments about what it meant for the mother. I hope that I said that then, and I will say it again - I am very sorry for your and Londo's loss, and as you know, I am always here for you.
- September 13, 2008 at 10:43 AM
- Shellie said...
Oh, how miserable! Hugs and more hugs!
- September 16, 2008 at 8:41 PM
- JAB said...
wow (followed by awe-some silence and appreciation for feeling and sharing a major part of you!)
- October 2, 2008 at 9:30 PM
The Beginnings of a Ski Buddy
After lunch, my daughter and I went back up the "magic carpets" to the top of the bunny slopes. She wanted to keep skiing! With me...
Since I've started this blog, I've had quite a few visitors find me through a search for something like "baby fidgets in sleep&...
I have mentioned before that we had a very fidgety baby . It's been a while sinced I talked about it. Although she is still pretty fidge...
My daughter was a very fidgety baby . More fidgety than any other baby I knew through all my years of babysitting, being an aunt and having...


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Web exclusive
A campaign to change the way some immigrants are described in news stories faces an uphill battle. Posted: Fri, Dec. 17 2010
By Karen Carmichael and Rabiah Alicia Burks Karen Carmichael, a former AJR editorial assistant, and Rabiah Alicia Burks are graduate students at the Philip Merrill College of Journalism at the University of Maryland. This article was originally written for Maryland Newsline.
"It is much easier to dehumanize and to silence somebody when you're calling them an illegal," says Ivan Roman, executive director of NAHJ. "When you don't give credibility to people, and you don't give respect to people, it is really easy for politicians to not take them into account when they are establishing policy."
A recent analysis of the frequency with which "illegal immigrant" turns up in U.S. newspapers and wire services reveals that usage has declined since 2006―but the term still shows up fairly frequently, as it has for decades.
The term appeared 582 times in U.S. newspapers and wire services in a single week in October 2010, according to LexisNexis. That was down from 2006, when 743 examples turned up between October 10 and October 16. But it was still significantly higher than in 2000, when the term appeared only 107 times. (See chart: Media Use of Immigration Terms)
Roman says he's not surprised by the continued presence of "illegal immigrant" and "illegal alien," which some publications still use. But he adds that the NAHJ campaign has made an impact.
That impact, though, didn't translate into an uptick in use of NAHJ's preferred term, "undocumented immigrant." Between October 10 and October 16, the phrase was used 36 times in newspaper and wire service accounts―down from 69 times in October 2006, and nearly even with the 33 times in 2000.
Meanwhile, news outlets' use of the term "illegal alien" was on the upswing. It appeared 110 times in U.S. newspapers and wire services in that week in October 2010, up from 28 times in 2000.
"You guys have got to get language right," says linguist Otto Santa Ana, who finds both "illegal immigrant" and "undocumented immigrant" to be partisan. Santa Ana prefers "unauthorized immigrant," which he says doesn't soft-pedal the issue of people entering and staying in the country without permission, but also doesn't characterize them as felons.
"It [connotes] more than not having papers, but it's less than being criminal," he says. Journalists, he adds, should try to find neutral terms.
David Minthorn , the AP's deputy standards editor, defends the use of the term "illegal immigrant." He says the AP Stylebook created its entry on "illegal immigrant" in 2004, in response to the heightened debate over border security and the enforcement of immigration laws after the terrorist attacks of September 11, 2001.
"Together the terms describe a person who resides in a country unlawfully by residency or citizenship requirements," Minthorn said in an e-mail interview. "Alternatives like undocumented worker, illegal alien or illegals lack precision or may have negative connotations. Illegal immigrant, on the other hand, is accurate and neutral for news stories."
But Santa Ana, a founding member of the César Chávez Center for Chicana and Chicano Studies at the University of California, Los Angeles, says the AP Stylebook is contradictory: it forbids using "illegal" as a noun but allows it as an adjective. Calling people illegal immigrants is only one step away from calling them illegals, he says.
"When you label a person as criminal, as illegal, it structures the way we think about those people," he says. "It's a strongly partisan perspective―it shouldn't be a term newspapers should be using."
Does it make a difference to use the term "illegal alien" as opposed to illegal immigrant or undocumented worker? "Yes, absolutely it does," says linguist Jennifer Sclafani, who has examined the press' use of language in her research. "No matter which way you look at it, an alien is always an outsider."
The term immigrant can have positive connotations, Sclafani says; all Americans without Native American ancestry are descended from immigrants. But alien, she says, is inherently negative.
"You'll never hear people refer to their grandparents as aliens," Sclafani says.
Politicians and political organizations are well aware of how the nuances of language can affect the outcomes of debates. They use specific terms depending on the type of emotion they want to invoke, says Stella Rouse, assistant professor in the Department of Government and Politics at the University of Maryland. Pro-immigrant groups prefer not to use any term with the word "illegal" attached to it, while conservative groups have used terms like "illegal alien," which can be considered offensive, she says.
"The way terms are used, it's going to frame the debate," Rouse says.
Most of the stories published between October 10 and Oct. 16, 2010, that used "illegal alien" referred to immigrants in general terms. When an ethnic group was clearly identified, however, it was always Hispanic.
"Domingo Salazar and Norma Mendez, both illegal aliens, pleaded guilty in July to federal charges of smuggling women from Mexico and putting them on the street as prostitutes," the New York Post reported on October 14.
United Press International also reported on the story that day, saying, "Illegal aliens Domingo Salazar and his wife, Norma Mendez, allegedly ran the prostitution ring from their New York apartment."
An October 12 story in Charleston, South Carolina's Post and Courier used "illegal immigrants" throughout, except when it used "illegal aliens" to clarify a quote: "If you really want to say you don't want them (illegal aliens), sign here," it quoted Linda Rouvet, who called for immigration reform after her son was killed in a car accident with an illegal immigrant from Mexico, as saying.
"In most people's mind in this country," Roman says, "given the context of what's going on and giving the crossing of the border of Mexico, which is what the media focus on, [illegal immigrant] is the equivalent to Latino, and that's what we're fighting against now."
The NAHJ first saw anti-immigrant groups using "illegals" more and more in 2004 and 2005, Roman says. "Then the term started being used by politicians, and then by some in the mainstream media."
Between 2004 and 2006, several immigration reform efforts in Congress sparked protests and demonstrations across the country that garnered national media attention. During the first half of 2006, millions of immigrants marched to protest a House bill that would have classified all illegal immigrants as felons; anti-immigration marches were held in response.
In 2006, NAHJ drafted a statement condemning the use of the word "illegal" in conjunction with immigrants and wrote letters to news organizations to that effect. Some editors and TV stations responded, asking NAHJ for advice on the best terminology to use and how to cover the broader subject of immigration.
NAHJ didn't quantify the results of its campaign, but members did see a decrease in the use of the term "illegals" by the media, Roman says. NAHJ directly contacts news organizations that still occasionally use the term and suggests that they change their style, he says.
"It's the kind of thing that has to be instituted at that particular medium as a matter of style," Roman says. "So that no matter who's there, they are following the same guidelines."
Although the AP Stylebook makes a recommendation, it's up to each news organization to decide which terms to use.
The Arkansas Democrat-Gazette in Little Rock makes a clear distinction between "immigrant" and "alien," says International Editor Yavonda Chase. "Alien" is the paper's default term for referring to U.S. residents who aren't citizens. "Immigrant" is used only to describe people who intend to stay in the U.S. permanently. Since personal intentions can be difficult to determine in news stories, she says, "alien tends to be used more often."
Sometimes that can be very often: One 533-word story in the Democrat-Gazette, published October 16, used "illegal aliens" eight times.
The very concept of illegal immigration dates only to the 1920s, says Mae Ngai, a professor of history at Columbia University who focuses on immigration. "Everybody came legally" before that, "because there were no restrictions," she says. The only exception was for Chinese immigrants, when public animosity led to the exclusion of Chinese laborers in the late 19th century.
Between 1880 and World War I, only 1 percent of the millions of immigrants who arrived at Ellis Island―those who had a contagious disease or a criminal record― were turned away, Ngai says. New arrivals didn't need a visa, a green card or even a passport, she says.
Once immigrants were required to provide documentation in 1924, the notion of "undocumented" or "illegal" immigrants came into existence, Ngai says, and the terms entered the public discourse.
The news media must be more responsible with which terms they decide to use, Rouse says.
"They're information conduits," he says, "and they are carrying the message to the people."


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The ArcLight theater in Hollywood, CA held a special media screening of the new Ron Howard film based on the true story of two well-known Formula 1 drivers: James Hunt and Niki Lauda. Just like an avid book reader, I went into this screening hoping that Howard wouldn't turn off serious Formula 1 fans (such as your author) from an attempt at recreating history. He most definitely proved me wrong.
The film follows the rivalry between James Hunt, McLaren driver (played by Chris Hemsworth) and Niki Lauda, Ferrari driver (played by Daniel Bruhl) during the 1976 Formula 1 season. If you know anything about these two drivers, the film depicts them quite accurately, portraying Hunt as the good-looking play-boy and Lauda as brilliant and serious. The two could not be more opposite in personality, but came from hauntingly similar backgrounds. Six years prior to the explosive season depicted, the two were just starting in a lower Formula division. That's where the rivalry began.
While I could go into each and every detail of the film and each race depicted, I will tell you some highlights. The women in the audiences jaws dropped at the sight of Chris Hemsworth without a shirt and I was glued to the screen for each and every racing scene. But one in particular was truly gripping.
The race at Nurburgring in Germany took place in less than ideal weather conditions. Lauda called a driver's meeting to take a vote with the hope of canceling the race. Modesty aside, Lauda told the room that he was the fastest driver on that track and was sure to beat them all. But if he ever felt there was more than a 20% chance of death during a race, he would not participate. Hunt led the campaign against Lauda and convinced the other drivers to race. That would be Hunt and Lauda's biggest regret. If you know what happened to the then current F1 world champion you can guess what happened next. The accident was horrific, watching Lauda wave his arms helplessly as the inferno engulfed him.
But if you haven't followed these two drivers you would probably assume that Lauda died in that car and that was the end of the rivalry. Wrong. Help eventually arrived and Lauda began his weeks of recovery.
At this point I was really on the edge of my seat. I had taken sides and wanted Lauda to again be world champion, not that good-looking play-boy portrayed so well. I was rooting for Lauda's quick recovery and hoping he would kick some serious butt on track even with painful burns to his face. Remember, Lauda was a huge reason for Ferrari's success that year and he worked tirelessly on improving the car, his abilities and staying focused. He never partied and prepared weeks in advance for a race. It was probably director Howard's goal to make you just as uncomfortable with his recovery as he probably was. You felt his pain and you wanted to see him to race just as badly as he did.
To avoid spoiler backlash I won't tell you how the film ended and what happened to the drivers. But let's put it in race fan terms: the film rocked my world and I am totally and utterly impressed with Ron Howard's accuracy and attempt at making you feel as if you were racing with the drivers. Unlike most films where the camera is uncomfortably steady while following the cars, the camera work was top notch and always active during the track scenes, giving you a real sense of racing.
You might be wondering what I didn't like. There wasn't much, but I could have done without the unnecessary amount of scenes showing Hunt doing what he did best (which isn't racing, if you catch my drift). I kept reminding myself it was what he was like, but I would have preferred those minutes being instead dedicated to even more on-track footage. Besides that I really can't complain. The supporting actors were believable, costumes were period correct and the soundtrack really added to each scenes' mood. What I feel Howard did best were the detailed race scenes. The audience was even taken inside the engine through CGI, showing us how various parts worked. The noise that emanated from the exhaust from start to finish was incredible. I felt like the biggest nerd in the room getting goose bumps each time one of those gorgeous Formula 1 cars ignited to life or accelerated hard through a corner. Compared to other race films? I might be biased, but this may just be one of the best films I have ever seen.
If you are remotely interested in racing, a serious fan or just want something to do this September go see this film! If not for the love of Formula 1 and racing, then for the appreciation of a great film.


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Watch how to make this recipe.
In a large saute pan, heat 2 tablespoons olive oil. Season steaks with salt and pepper. When pan starts to smoke, carefully add steaks. Allow the steaks to cook for about 3 to 4 minutes on 1 side, without moving or piercing the meat. This will help create a good, crusty sear. When steaks are brown, flip and sear the other side for 3 to 4 minutes. Remove meat to a large plate and allow to rest for 10 minutes.
Decoratively line a large platter with arugula. Tear the roasted peppers into large pieces and scatter over the arugula. In a small bowl, whisk in the remaining olive oil, balsamic vinegar and any meat juices that may have collected on the plate from the steaks. Season with salt and pepper.
Slice the steaks across the grain and on a bias into 1 1/2-inch thick pieces. Lay the slices on top of the salad and drizzle with dressing. Using a vegetable peeler, shave about Parmesan over the dish.


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The Society for Exact Philosophy
The Society for Exact Philosophy is an international scholarly association, founded in 1970, to provide sustained discussion among researchers who believe that rigorous methods have a place in philosophical investigations. To this end, the Society meets annually, alternating between locations in Canada and the U.S.
The membership of the Society is predominantly academic philosophers from Canada and the U.S., but with a membership of over 450 scholars, spanning over 20 countries, the S.E.P. includes many researchers in linguistics, cognitive science, logic & mathematics, computer science, as well as history of science, economics, law, psychology, and education.


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Don't Ask Me ... I Don't Know has been around now for about 10 years posting Blues LP's, some CD's and whatever else I feel like.
Your help in filling requests or with LP rips are always very welcome and greatly appreciated. Enjoy the music but don't forget to support the artists and labels.
Post a Comment


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Candy made her first appearance in Police Comics issue #37, published by Quality Comics, in December 1944. She continued in this title nearly six years with her final appearance in issue #102 in October 1950, at which time Police Comics concentrated on crime. During this time Candy also ran in her own title. The first issue was in the Fall of 1947 and the run lasted for 64 issues until July 1956.
Placed firmly in the teen-humor genre, Candy was the creation of Harry Frank Sahle. She was a small-town American girl called Candace O'Connor living in Hartwick. Also appearing were her boyfriend Ted Dawson, her pals Tina and Trish and her rival Cornelia Clyde.
Harry Sahle, along with writer Elmer Groggin, also produced a Candy comic strip, first syndicated by the Chicago Times Syndicate on October 2, 1944. Soon the strip was taken over by Tom Dorr, who continued drew it for the next 25 years.
To read a comic book, click on one of the covers beneath. Click on the sections on the right to navigate through the site.


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A tune and some drag rubber and 9's are within reach. GIAC already showed that was possible with a 9.8@135 run in a bolt on 997.2 Turbo S. The PDK transmission simply makes the most of the horsepower and launch. With some upgraded turbos these cars are going to be running absolutely insane 1/4 mile times.
Congrats to owner here. Now get a tune and experience that rush all over again.


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The title of this story from the Agence France Presse (AFP), "Exorcism boom in Poland sees magazine launch" caught my eye, as a good headline should, and set my click finger twitching. "What was this?", I wondered. An explosion during an exorcism? Did the acolyte get too close with his burning taper to a gas line? Satan levitating magazines, tossing back issues of Our Sunday Visitor at a cowled cleric?
Alas, my imagination -- alight with images of Max von Sydow battling the forces of evil in the form of the National Catholic Reporter -- was a bit off. The AFP was reporting on the launch of Egzorcysta, the Polish word for "exorcist", a monthly Polish-language magazine devoted to exorcisms, demonology, and related topics.
With its 62-page first issue including articles titled "New Age — the spiritual vacuum cleaner" and "Satan is real", the Egzorcysta monthly with a print-run of 15,000 by the Polwen publishers is selling for 10 zloty (2.34 euros, 3.10 dollars) per copy.
Though not as colorful as I had hoped, the article nonetheless turned out to be well crafted with strong quotes from the magazine's principals outlining its editorial mission. It also looks into the phenomena of exorcisms.
The story beings with Fr. Aleksander Posacki, one of the magazine's founders, whom AFP describes as a "professor of philosophy, theology and leading demonologist and exorcist" explaining the niche his magazine will fill is related to the "rise in the number or exorcists from four to more than 120 over the course of 15 years in Poland ..."
Having identified his audience, Fr. Posacki explains why the market for exorcists has grown.
Ironically, he attributed the rise in demonic possessions in what remains one of Europe's most devoutly Catholic nations partly to the switch from atheist communism to free market capitalism in 1989.
"It's indirectly due to changes in the system: capitalism creates more opportunities to do business in the area of occultism. Fortune telling has even been categorised as employment for taxation," Posacki told AFP.
"If people can make money out of it, naturally it grows and its spiritual harm grows too," he said, hastening to add authentic exorcism is absolutely free of charge.
The article offers Fr. Posacki's views on the intersection of psychiatry and the demonic possession, and he and fellow exorcist Fr. Andrzej Grefkowicz offer accounts of exorcisms.
According to both exorcists, depictions of demonic possession in horror films are largely accurate. "It manifests itself in the form of screams, shouting, anger, rage – threats are common," Posacki said. "Manifestation in the form or levitation is less common, but does occur and we must speak about it — I've seen it with my own eyes," he added.
A fun little story -- yet I was troubled by its lack of curiosity and its underlying assumptions. Unlike the Huffington Post's treatment of this issue, the AFP does not play it for laughs. But is it too respectful, to earnest? An assumption behind this story is that exorcisms are a bona fide spiritual phenomena -- should AFP have been more circumspect? Even-handed? Would it have reported accounts of Sufis doing spiritual battles with Jinns from Pakistan, or occult practices from Zimbabwe in the same way?
The respectful tone of the story might well have led to the avoidance of hard questions. Fr. Posacki argues that the free market for spiritualists has led to the growth in demand for the services of Catholic exorcists. Might not the same question be put to Fr. Posaki? Is he making a quick buck out of exorcisms though the launch of this magazine?
And, if the rise in the number of exorcists is only "partly" due to a free market in fortune tellers, what are the other reasons for the jump from 4 to 120?
Let me say I am not denigrating Fr. Posacki with my questions. Rather I am asking why the reporter on this story did not press Fr. Posacki to address the issues of the business of exorcisms when Fr. Posacki raises this issue in his rationale for the magazine. Many of my posts at GetReligion deal with the ignorance or hostility a journalist brings to a religion story. But there are also times when a too respectful attitude, too deferential to an institution, individual or doctrine results in poor reporting. Tell me GetReligion readers, is this the case here?