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Geoffrey Dean via The Committee for Skeptical Inquiry – CSI
Today, phrenology ("head reading") is usually seen as the fossilized stuff of cranks and charlatans. But in the nineteenth century it had a huge influence at all levels of Western society, more than all of its later competitors (such as psychoanalysis) put together. It was influential because of its attractive philosophy and because practitioners and clients saw that it worked. But we now know that it could not possibly work; personal experience had led millions of people astray. Indeed, few beliefs can match phrenology for its extent of influence and certainty of invalidity. So it has valuable lessons about any experience-based belief.
Phrenology's Influence
In the nineteenth century, phrenology affected all levels of Western life and thought. In Britain, Europe, and America, its influence was felt in anthropology, criminology, education, medicine, psychiatry, art, and literature. In France, it eroded established power and led to wide social changes. In Australia, it rationalized the violence against Aborigines and explained the criminality of convicts. For ordinary people everywhere a head reading was often required for employment or marriage.1 But how could this happen if phrenology was totally invalid? For answers, we need to start at the beginning.
First Steps to Delusion
Around 1790, the German-born anatomist Franz Joseph Gall, one of the founders of modern neurology, put together his skull doctrine that later led to phrenology. He held that behavior such as painting or being careful had their own specialized organs in the brain, and that they influenced the shape of the skull. So the skull's bumps would indicate behavior and abilities that were innate. Gall spent eleven years examining hundreds of heads to test his ideas: "If … he observed any mechanician, musician, sculptor, draughtsman, mathematician, endowed with such or such faculty from birth, he examined their heads to see whether he might point out a particular development of some cerebral part…. He also called together in his house common people, as coachmen and poor boys, and excited them to make him acquainted with their characters" (Spurzheim 1815, 271).
Gall's seemingly logical approach had two fatal defects. First, his claims were often based on a single striking case, for example "Cautiousness" was placed above the ears because an extremely cautious priest had a large bump there. Second, Gall looked only for confirmingcases and ignored disconfirming cases, a flaw not lost on his critics. Thus David Skae (1847), a physician at the Royal Edinburgh Asylum, noted that once the truth is "fixed upon our minds," looking for confirmation is "the most perfect recipe for making a phrenologist that could well be devised." But to Gall and the thousands of phrenologists who came later, personal experience mattered more than procedural defects. Phrenology had taken its first giant step on the road to delusion.2 Note that the delusion of experience is not limited to artifacts of reasoning such as the Barnum effect.


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This is 4 Pin Relimate Connector. It has male stright pin headers and female socket with crimped wire in it. wire length is 30cm and pin spacing is 2.54mm. This connector is also known as polorized header wire connector. Relimate connector is most widely used board to board or wire connector.
Product 3/5

subset: commoncrawl


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Check BNN and Bulbanews for up-to-date Pokémon news and discuss it on the forums or in the Bulbagarden Discord server.
Pokémon USA recasting controversy
On March 21, 2006, it was discovered that Pokémon USA (now a part of The Pokémon Company International) and TAJ Productions were going to recast the voices for the English-language dub of the Pokémon anime from season nine onwards. The company used the special that aired on April 29, The Mastermind of Mirage Pokémon, as a testing ground for the new voice actors. This caused a controversy in the Pokémon fan community.
Because of the Pokémon franchise's waning popularity in the United States, the international Pokémon distributor, Pokémon USA, began looking for ways to cut costs on production of the English adaptation of the series, and decided to find a new partnering company who could produce the English adaptation for less money. Once 4Kids Entertainment's contract expired in early 2006, they were outbid by TAJ Productions, who had earlier assisted 4Kids in their production of the English-language version of the series. There was a catch, however: according to statements made Veronica Taylor, and Eric Stuart, the voice actors were to be replaced with different sound-a-like voice actors to keep production costs low. TPCi has made no official statements on these claims. The special episode, which aired on April 29, was used as a testing ground for the new voices. Because of this, and the discontinuation of anime in their block as they were planning to move to The CW Network, Kids' WB! decided not to renew the series, and Cartoon Network, the sibling cable network owned by Kids' WB's owners, Time Warner, started to air the series as of September 8, 2006.
Voice Actor Reaction
Members from various Pokémon forums emailed the former voice actors.
Maddie Blaustein
This was sent by a staff member of Serebii Forums:
"Thanks for your very kind letter. There's very little I'm permitted to say on the subject other than what you've already stated in your e-mail. On a personal note, I'm very saddened by this development as I'm quite close to Ol' Meowth. The only thing I can tell you is I'm not leaving the VA business by any stretch of the imagination, and I hope to (like all cats) land on my feet
Thanks again and I'll be sure to pass your note onto my fellow VAs
Eric Stuart
"Pokémon USA has decided that it's too expensive to use 4Kids and the actors that have made Pokémon the TV show such a success for the last 10 years. They have 'behind our backs' re-cast the show with 'sound-a-likes' to try to save money. They actually believe the fans don't care. They are starting with the 10 year anniversary special - starring all new voices. The main cast, me included, has taken a lot of pride in the characters we have helped to create. To change now, on the last season, based on greed is a sad example of what big business kids marketing really is.
Please spread the word - maybe some fan buzz can stop this tragedy.
Eric "Brock & James" Stuart" [2]
Veronica Taylor
"Hey Scott- Unfortunately, this is very real. We have been informed that Pokémon USA has already made plans to do the Anniversary special with substitute voices. Apparently, they haven't made a firm decision on the next season yet. None of us have been formally asked to do the show, we've simply been told we'll be replaced. Pokémon USA has made no effort to negotiate with 4Kids, simply feeling that getting a cheaper rate to dub the show is enough. They care nothing for the quality. They will be using new script writers, voices, music, etc. We (the voice actors and those at 4Kids who work so hard on the show) are all extremely upset as we care very much for Pokémon and what we've worked to create. However, there is nothing that we can do. It seems that the only recourse is for fans to write to Pokémon USA and tell them how wrong their decision is and how it will adversely affect the show.
Thanks for your concern. Please spread the word and let's all try to work together to right this wrong before it's too late.
Veronica" [3]
Subject: Re: FW: The PokéCommunity Forums Contact Us Form - Pokémon Urgent news
"hey Steve-
Thanks for your note. Unfortunately this is all too true. Pokémon USA recently informed us that they are dubbing the Anniversary special with sound alikes. They are not sure about the next season. None of us (actors, script writers, etc.) have even been asked to continue working on the show. They have not even attempted to negotiate with 4kids. They say that the show will be exactly the same even though they are replacing all the elements and using all new people totally unfamiliar with the project. We are all extremely upset about this turn of events as we care so much about the show and have no say in the matter whatsoever. I am hoping that if enough people write to Pokémon USA and express their dismay, we may right this wrong before it is too late!
Spread the word!
Thanks for your concern.
Veronica" [4]
Fan reaction
Many fans were upset and opposed the idea of recasting the voice actors with new ones. Some were open to the idea because they weren't fond of the old voice actors in the first place. Some wanted to see the special episode before making a comment.
Some fans who opposed the idea of recasting decided to send letters to Pokémon USA by mail and e-mail. An online petition has also been made by online members.
However, on April 29, 2006, after the special aired, many Pokémon fans disliked the new voices. According to a Bulbagarden Forums poll, one person liked the special, 17 people said it was OK, 15 people hated most of the voices, and 30 hated the new voices altogether (as of April 30th at 1:19 PM ET). Some Pokémon fans planned to boycott merchandise from Pokémon USA, and many started to write complaint letters to Pokémon USA.
PUSA's reaction to complaints
After many complaints from the fans about Ash's voice, which was done by Kayzie Rogers (as "Jamie Peacock") they re-casted the voice actor for Ash. It was announced at Comic Con International that Sarah Natochenny will do the voice of Ash. Also, "The Mastermind of Mirage Pokémon" special was re-dubbed. Sarah Natochenny's performance of Ash is still a controversy for some in the Pokémon Community up to this day.
TAJ Productions went out of business in early 2008, and DuArt Film & Video became Pokémon USA (now called The Pokémon Company International)'s new partner in producing the English adaptation. Because the show had grown somewhat in popularity over the past two years, production costs weren't kept as low, and DuArt brought back many of the original voice actors to play newer, smaller roles, and Ted Lewis was brought back to continue playing his roles (notably Giovanni) and Mike Pollock was brought back to continue playing Contesta with the departure of Craig Blair from the franchise. Other actors from the original cast who have returned to voice characters in current episodes include Rachael Lillis, Maddie Blaustein (briefly before her death), Erica Schroeder, Lisa Ortiz, Jason Griffith, Dan Green, among others. However, DuArt has kept most of the main voice cast from the TAJ dubbed episodes for consistency.
External links
- Save Our Voice Actors Archive of the Official Site
|This article is a part of Project Fandom, a Bulbapedia Project that aims to write comprehensive articles on every aspect of the Pokémon Fandom.


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Up until the moment I lay on Arezoo's table with my legs akimbo, warm wax being applied with a spatula on the most intimate of areas, the thought of a Brazilian wax, or indeed any kind of waxing down there was an utterly horrifying thought to me.
But I'm getting ahead of myself.
You have to remember I'm quite shy and I even got spray tanned with my bra on.
The reason I got the crazy idea to get a Brazilian was because I thought it was one of those things you should try at least once and Arezoo is definitely the woman to go to.
Arezoo's salon is in the heart of Knightsbridge and she was the lady who introduced the Brazilian and threading to the UK. Her celebrity client list includes Gwyneth Paltrow, Reece Witherspoon, Claudia Schiffer and more.
If it were not for her impressive credentials and experience, the idea of a Brazilian wax would never have crossed my mind…
So thanks to my somewhat confused driver I end up at Arezoo's salon half an hour late, but the atmosphere is very relaxed in the salon so I felt comfortable right away.
The room in which treatments take place is like a cosy front room – it's spacious, but relaxed. You have a sofa you can spread your things out on and all the equipment and products are professionally laid out, as you would expect.
So the moment Arezoo sees me, she can smell fear. I tell her half heartedly that perhaps I just need a leg wax or a simple bikini wax and in fact I've never had a professional body wax before. But it's too late – the Brazilian is in lock-down and this – this is going ahead.
Step one, Arezoo gives you an ice cube. "I won't look at you" she says, as she advises me to really rub it in all over my privates to help numb the area.
Step two, on the bed. Arezoo has a look and right away starts chatting and waxing. The sides first, it's a sharp pain but certainly bearable. I don't really notice as we are talking away.
Step three, Arezoo asks me to turn round (uh-huh) and it's butt time. This was not painful – well, it wasn't unpainful but it didn't hurt nearly as much as I thought it would and I read a horoscope book to keep me distracted. The back of my legs actually hurt more than the bottom.
Step four, back round again. Now this is the bit that is painful although, my eyes weren't watering. The warm (perfect temperature) is applied for the remainder of the front and also the underneath parts. OUCH.
It's a sharp smarting pain, like someone stabbing you with a fork, then removing it again quickly. If you have tried waxing before, then you know what I mean – just this is on a sensitive area.
Arezoo pretty much has be giggling like an idiot whilst I'm on her table "You can curse me if you want"
Arezoo also does my legs, toes, feet (I don't have hairy feet!) brows! No bit of hair was safe. I had to show her my armpit to prove it was shaved down (phew!).
After the waxing, Arezoo usually applies her special cream which prevents ingrown hair. She asks me, "Do you have a boyfriend?" [yes] "Seeing him tonight?' [yes]. "I won't apply the cream then, it contains tea tree oil. It doesn't taste very nice."
I love this woman.
The things I wanted to know before I went and no one would tell me:
1. Do you go on all fours?
Not with Arezoo. You lie on your front and part your butt cheeks. It sounds gruesome but was actually not that painful and over quickly.
2. Are there lots of people watching?
When I went to Arezoo's, there were 4 ladies about but the door was locked and even when it came to doing my brows (multi tasking!) Arezoo didn't let the other lady in until I felt comfortable.
3. What about my lady erm, flaps?
You are told how to hold everything out of the way. Your skin doesn't get caught in the wax or anything like that, but that's just with Arezoo, I can't guarantee that your waxer will be perfect!
4. Do you have to hold your leg up in the air?
No, thank god.
5. Which bits really hurt?
Every one is different. I have quite a high pain threshold or at least, I believe in mind over matter.
I'd say the bits underneath, if you know what I mean, are pretty ouch-ie, and the front part but towards the centre makes you jump a bit.
6. Did you bleed?
I did not bleed one bit. Strange as I have highly sensitive skin and even threading and tweezing can make me bleed.
7. Did you itch?
After my wax I had a 12 hour day traipsing around London followed by a 2 hour train journey and I did not itch, not one bit. Shaving makes me itchy. But once again, this is under the expert hands of Arezoo, I can't guarantee it's the same for everyone.
8. Isn't it really humiliating?
That's what I thought before I went but the staff are so professional at Arezoo's and clearly, the lady has seen it all before. You just feel comfortable – by the end of it you can dance around the room with no knickers on (but don't).
9. What IS a Brazilian?
With Arezoo it's a small triangle as opposed to a landing strip, but you can request that if you want. A little triangle is quite neat. Also everything from behind and underneath is removed.
10. Do men like it?
Can't speak for all mankind but I reckon that most men are probably curious and pretty appreciative of a Brazilian and you will get as many cups of tea as you so wish, or at least until the regrowth comes back.
Would I get a Brazilian again?
……I never thought I would say this but yes. Yes. Yes I totally would. But only with Arezoo.
Visit Arezoo's website.
Hans Crescent, Knightsbridge London


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(But for the record, I think those calculators are extremely inaccurate, so even if your score hasn't changed, I'm sure you've still made a difference and you should pat yourself on the back.)
As I said when I started this challenge, my goal was to reassess my green side - to "make sure I'm still committed in some areas and push myself a little farther in others." I hope the challenge has been as helpful for you in that way as it has been for me. I have a much greater awareness now of the areas I'm doing great in, and I know what I need to work on next year.
Below is a complete index of the Conscious Shopper Challenge. I hope you'll take a minute to add in the comments how the experience went for you, what areas you can check off as a Marathon Runner, and what areas you plan to work on next year.
See you in 2011!
1) Calculate your carbon footprint
Challenge #1: Trim Your Waste-Line
2) Keep track of your trash for a week
3) Switch to cloth bags
4) Start using a reusable water bottle/thermos
5) Green your household cleaners
6) Dispose of your disposable paper products
7) Go green in the bathroom
8) Green your diapers
9) Reduce packaging
10) Start composting
11) Recycle everything
12) Pack a waste free lunch
Challenge #2: Energize
13) Change your bulbs
14) Get a home energy audit
15) Save energy through heating and cooling
16) Save energy when cooking
17) Save energy when washing dishes and laundry
18) Slay your vampires
19) Upgrade to energy star
20) Support renewable energy
Challenge #3: Water Down
21) Reduce your indoor water use (Part 1)
22) Reduce your indoor water use (Part 2)
23) Reduce your outdoor water use (Part 1)
24) Reduce your outdoor water use (Part 2)
Challenge #4: Travel Sustainably
25) Walk
26) Bike
27) Keep up with your car maintenance
28) Use public transportation
29) Learn to hypermile
30) Upgrade to an energy efficient vehicle
31) Travel sustainably over long distances
Challenge #5: Non-Consumption
32) Avoid temptation
33) Buy used
34) Reuse/repair
35) Start a swap network
36) Have more fun, less stuff
37) Observe an ecosabbath
Challenge #6: Green Your Grocery Bill
38) Shop smart
39) Learn to cook
40) Eat less meat
41) Eat seasonally
42) Buy local
43) Buy organic
44) Plan a garden
45) Limit your special occasion foods
Challenge #7: Beyond Your Front Door
46) Vote
47) Bank sustainably
48) Get involved
49) Get to know your neighbors
50) Plan an act of eco-service
51) Give to charity


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This report was written by David Hendricks of the San Antonio Express-News.
In a development that will help hundreds of U.S. companies regain their Mexican customers, two Mexican trucking companies are on track to receive U.S. operating authority by the end of the month.
At that time, Mexico is obligated under an agreement signed in July to drop the remaining 50 percent of the punitive tariffs against nearly 100 U.S.-made goods that began in 2009.
The Department of Transportation on Thursday notified the Free Trade Alliance San Antonio that seven Mexican long-haul carriers have applied to make U.S. deliveries under a new cross-border trucking program, and two are close to approval.
According to a study issued in March by Texas A&M University, about 12,000 U.S. jobs would be restored — 1,550 of those in Texas — when the tariffs affecting agricultural products are lifted.
The tariffs apply to a wide range of U.S.-made goods. Mexico imposed the tariffs when Congress suddenly defunded the 2007-09 cross-border trucking pilot project that was an attempt to meet a requirement of the 1994 North American Free Trade Agreement.
But even after the tariffs are erased, companies that lost their Mexican markets will face challenges gaining them back, said Free Trade Alliance President and CEO Kyle Burns.
"The unfortunate reality is that many U.S. companies have likely experienced long-term damage to their exports to Mexico, as a result of the U.S.' failure to follow through on our commitments with Mexico," Burns said.
"Global competitors have now had two years to develop relationships with Mexican buyers and further develop their brand recognition while the U.S. product was priced out of the market as a result of the tariffs. Switching costs, costs associated with changing vendors, are a reality that U.S. companies will now have to compete with and is one more hurdle to gaining the business back," he added.
The tariffs, which ranged from 5 percent to 25 percent, applied to $2.4 billion worth of U.S. goods yearly, making those products more expensive and uncompetitive in Mexico. The U.S. Chamber of Commerce in Washington last year estimated that more than 25,000 U.S. jobs were at risk because of the tariffs.
The tariffs were cut in half July 6 when U.S. Transportation Secretary Ray LaHood and Mexican Transportation and Communications Secretary Arturo Pérez-Jácome Friscione signed agreements on the trucking program and the tariff elimination.
The news Thursday came amid signs the Obama administration was under pressure from unions to slow the process down.
"It's being looked at very closely and being monitored by Secretary LaHood," Labor Secretary Hilda Solis said.
"I know the unions have also met with Secretary LaHood, and I think they've kind of reached an agreement overall," she said.
Nelson Balido, president of the San Antonio-based Border Trade Alliance, said Thursday he believes companies in the Midwest finally realized how critical U.S.-Mexico border issues are to their markets when they were hit by the tariffs.
"They had not recognized it as important," Balido said.
The Border Trade Alliance since this spring has lobbied for a different oversight commission for the new cross-border trucking program. The 2007-09 program was overseen by a commission comprised only of U.S.-Mexican government officials.
The Border Trade Alliance, made up of various business, education and government leaders, wants private-sector representatives on the commission.
"If the program runs into difficulties, we don't want it to be canceled again," Balido said. Balido said he will travel to Washington on Sept. 12 to visit with the Trade Representative Office and the Department of Commerce to seek private-sector appointments to the commission.
Under the cross-border trucking program, Mexican trucks will be required to comply with all U.S. safety standards and must have electronic monitoring systems to track hours-of-service compliance. In addition, the Transportation Department will review the complete driving record of each driver and require drug-testing samples to be analyzed in federally certified laboratories in the U.S.
The Transportation Department also will assess drivers on their ability to understand English and U.S. traffic signs. The agreement ensures Mexico will provide reciprocal authority for U.S. carriers to engage in cross-border long-haul operations into that country.
Puneet Kollipara in the Hearst Newspapers bureau in Washington contributed to this article.


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The Healthways Center for Health Research has a singular mission: to constantly explore how best to inspire healthy lifestyles, minimize health risk and support those living with chronic conditions. Our research journey, which began 30 years ago with the study of diabetes management, ultimately led us to well-being improvement as the best way to address these three pillars of total population health.
Healthways has advanced the science of well-being by:
This robust scientific foundation has helped guide the development and validation of solutions that deliver the best value to our health system, health plan and employer customers — solutions that effectively and efficiently change populations by respecting the multifaceted nature of the individual.
Collected here is a library of our recent research on population health management and well-being.
RECENT Research


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Brett Dennen's Empathy Song
Musician Brett Dennen sings about empathy, not entropy, for the Mosaic Project, a nonprofit outdoor education program focused on building positive relationships based on respect.
The Mosaic Project is based on the idea that if children begin to exhibit prejudice between 2 1/2 and 8 years old, we need to reach them early, before prejudices are entrenched.
At Mosaic, elementary school students from diverse backgrounds come together at a unique outdoor school that focuses on building positive relationships based on respect.
Brett Dennen, the program's "resident rock star," created the Mosaic Project's musical curriculum. Dennen became involved with the project while still in college. He now serves on the project's board.
Video about the project produced by Steve Goldberg and .


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When thinking about career and job decisions, we know it's important to factor in company culture. Companies and candidates are finally beginning to realize just how important culture can be.
Culture is the approach to work, the mission of the company, the way people behave, and much more.
Of course, I completely believe that all those things are incredibly important. What I also believe is that even the little things can make a big impact.
This thought was sparked by a recent discussion I had in the Levo League offices about dress code. In my first job, I had to wear slacks, heels, a nice (but never trendy) top, and a blazer to work every day. I felt so "blah" it wasn't even funny! Honestly, it seems small, but walking out the door every morning not feeling good about what I was wearing made an impact on my day. I definitely didn't select my next job based on dress code, but when I was in the interview process, I couldn't help thinking, "Wow, how great would it be to wear what they're all wearing every day?"
Based on moving from the finance industry to the fashion industry, here are a few other "small" culture-related things that I've noticed made a big difference to me (and might to you, too).
Desk/Cubicle Layout
Who would ever think this is something that would matter! My first few years in banking, I had this fake wood and gray cubicle with high walls, which gave a lot of privacy. Then I got moved into a shared office. When I moved industries, everyone's desk was completely open (read: absolutely no walls) and you could hear and see everything everyone else was doing. While I liked that this promoted collaboration (plus-one for open layout) it also was a lot less private (a minus on some days). Depending on what you prefer, you may feel happier in one layout versus another, so be sure to take a look around when you're interviewing to do some layout research.
Dress Code
Yup, as stated above, this made a huge difference to me. Do you like to dress very formal or casual? What helps you do your best work? What do you want to be wearing in those 100-degree summer days on the subway? One great part of having a more relaxed dress code was being able to easily go out after work without worrying about stopping home first. It's a small thing, but it's made work-life balance a little bit easier, and that was a perk.
Perks in the Office
We all know the Googles of the world will do everything from feeding you to doing your dry cleaning. Not all companies will do those things and that's okay. However, take a look at the perks as you're deciding on an offer. Maybe that product discount or free lunch will make every day just a little better for you. It's all personal, but spend a few minutes thinking about the perks that matter to you (and don't place any weight on the ones that really don't).
The Hours
We all know we're going to have to work very hard in whatever job we choose. I definitely wouldn't say you should choose the job that has the least hours of work. However, there are a few small things related to the time you put in at work that you should pay attention to.
Are you able to work remotely when it's necessary, or will you always need to be in the office? Are you staying late just for "face time" or because it will make an impact? Are the hours fixed or flexible? One of my jobs was very flexible in terms of leaving the office for a few hours. I never took advantage of this privilege in an irresponsible way, but if I had an important errand, it was good to know I could go take care of it without it being looked down upon.
The "Vibe"
I know it's ambiguous, but I don't have a better way to describe this attribute. Essentially, you want to pay attention to the overall energy as you spend time in the office in the interview process. Is it upbeat? Is it serious? Is it silly? There's no "right vibe" for all companies across the board, but there is a "right vibe" for you personally. Think about what type of energy your personality would contribute to the most.
Hopefully this will inspire you to look at "the little things" about company culture and not just the big ones. Sometimes, the smallest things can make the biggest impact.


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..::Media Forum Rules and Information::..
Welcome to the Media Forum!
Welcome to the Ellusionist.com Media forum! This is a place where you can showcase your videos to the world!
We have some rules for ensuring everyones stay here is pleasant, constructive, and helpful. Please review them and let us know if you have any questions.
Rules for your viewing pleasure:
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Quick Tip: Click on the links for more details!


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Lifelong Learning announces series
The following Lifelong Learning programs will be presented this semester at 9:45 a.m. in the Wohlgemuth Music Education Center at Tabor College.
- Feb. 22: "A Concert of My Favorite Things," by Steve Vincent.
- March 1: "The Photography of the '8 Wonders of Kansas Guidebook,'" by Harland Schuster.
- March 8: "Leading and Following: The Path of Service," by Larry Nikkel.
- March 15: "Jumping through Homesteading Hoops: How the Process Worked," by Jim Beck.
- April 5: "Antique Roadshow: Glassware of the Depression Era," by Donavon Schmidt.
- April 12: "Maximizing Generosity in Tough Times," by Jon Wiebe.
- April 19: "Adventures in Teaching: Pleasures and Hazards of Teaching Abroad," by Betty Baerg Lofland.
- April 26: "Pickin, Singin, and Snackin," with music by the Cottonwood River Band.
Membership fees of $15 per individual or $29 per couple may be paid at the first meeting. Individual sessions may be attended at a cost of $4 per session.
Last modified Feb. 9, 2013
© 2019 HOCH PUBLISHING | Marion County Record | Hillsboro Star-Journal | Peabody Gazette-Bulletin | Checkerboard


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In Which Nobody Sees Us Glowing
Living Alone
by ALICE BOLIN
"Your absence has gone through me/Like thread through a needle," reads W.S. Merwin's classic, tiny poem "Separation." "Everything I do is stitched with its color."
Some poems go through me like thread through a needle, including that one. I carry them with me, my mind snags on their lines, so that the words color the patterns of my thoughts. They form and they reflect my relationship with myself, my fantasy of myself.
"I am too pure for you or anyone," I sometimes find my mind iterating on a loop. This is from Sylvia Plath's "Fever 103˚," a famous poem, and a characteristically Plath-ian one. It combines many of Plath's preoccupations — heat, sickness and hospitals, purity, flowers, religion, war and atrocity — with her penchant for a keen and forceful melodrama.
The poem cycles through a violent rush of images, presumably mimicking the assault of visions in a fever dream. But the lines I love best reflect a vision that Plath has of herself. "I am too pure for you or anyone," she writes.
Your body
Hurts me as the world hurts God. I am a lantern
My head a moon
of Japanese paper, my gold beaten skin
Infinitely delicate and expensive.
Does not my heat astound you. And my light.
All by myself I am a huge camellia
Glowing and coming and going, flush on flush.
In Plath's work we see a fixation on personal purity. Esther, the protagonist of her novel The Bell Jar, takes painfully hot baths essentially to re-baptize herself. But Plath's purity is a hard thing: it is not about innocence, or religious goodness, or sexual abstinence. It is more about wholeness, being a complete and original self, unadulterated by any other personality.
The purity in "Fever 103˚" is coupled with a ravishing delicacy, the image of a body like a flower or a paper lantern. These all work to establish the speaker of "Fever 103˚" as separate from other people — both blessedly and painfully so. To think of oneself as set apart by purity, by beauty, and by delicacy is also to think of oneself as constantly being sullied, tarnished and damaged by other people.
When I was in eighth grade we read Plath's poem "Mushrooms" out loud over and over. I can hear my English teacher, Mrs. Hodgin, saying in her Louisiana accent, "Nobody sees us,/Stops us, betrays us;/The small grains make room," pounding her fist on the accented syllables. "So many of us!/So many of us!" we shouted, and at that point in the poem I sometimes felt slightly nauseous. It was not until I reread the poem as an adult that I realized that it was actually and concretely about mushrooms.
The ritual repetition of this poem whose only meaning for me was the synesthetic evocation of an olive-brown color along with a slow, uneasy feeling has caused its lines to stick with me, as mysterious and grave as enchantments. "Our toes, our noses/Take hold on the loam" are the lines that will come creeping terribly through my mind, settling in, permeating everything.
We talked a lot about Plath's suicide then. Plath maybe had not really meant to kill herself, Mrs. Hodgin told us. She frequently put her head in the oven on days when she knew her mother was visiting, as a cry for help.
Who knows if that story's true. I've never bothered to confirm it.
This was around the same time that I felt my own separation from other people revealed to me. The summer after eighth grade, I was convinced I was going to die before my thirteenth birthday in August. I stopped sleeping. I turned on my overhead light one day and then it wouldn't turn off. After a week, I cut its wires with kitchen shears. Even after I didn't die, something monstrous followed me, I felt my heart and my brain rush, I was tense all the time. I sometimes have a perverse sense looking back that this suffering was the raw truth of my identity. "Today, recognizing it as the sadness I've always had," Marguerite Duras writes in her novel The Lover, the story of a teenage girl discovering herself stricken by separateness, "I could almost call it by my own name, it's so like me." Eventually I was put on antidepressants and I read The Bell Jar, of course. I knew the feeling of being set apart by sadness, Sylvia and I, alone together.
I talk to myself often in lines from Anne Carson's "On Defloration," from her prose poem series "Short Talks." "The actions of life are not so many," Carson writes.
To go in, to go in secret, to cross the Bridge of Sighs. And when you dishonored me, I saw that dishonor is an action. It happened in Venice; it causes the vocal cords to swell. I went booming through Venice, under and over the bridges, but you were gone. Later that day I telephoned your brother. What's wrong with your voice? he said.
I think of the scene of Esther losing her virginity in The Bell Jar, and the traumatic, torrential bleeding that follows. It makes sense that someone with such fiercely guarded purity would take this invasion of her body harder than most.
To be dishonored is not an action. It is a state of being, a state of insult continually renewed as a camellia's delicate petals are bruised and bruised.
"If he's attracted to you," my friend Matt said this winter, in a booth near the door of a freezing dive bar, "it's probably because you have a way of identifying things about people. You can sort of say… what the situation is." Any man who would be attracted to me, if I understand what Matt was saying, is the kind of man who enjoys the negative attention of being told what his problem is.
Many of the poems I have stuck in my head are badly misremembered. "One day I will say to you how all mixed up I am because of you" is my brain's mangled version of a line from John Ashbery's "Worsening Situation": "One day I'll claim to you/How all used up I am because of you." But the song remains the same — the tone is injured, self-pitying, accusatory, the complaint of the dishonored.
Richard Hugo's poem "Living Alone" tells the story of an eccentric and possibly sinister "animal man" who lives a solitary life in a cabin in the woods. My deep association with this poem is sort of inexplicable; although when the animal man describes how he has named the deer near his cabin, there is the wonderful line, "Alice, I liked best." It is the poem's simple title that reverberates for me. "The city burning is Los Angeles's deepest image of itself," Joan Didion writes. My deepest image of myself is of a person living alone.
In my romantic disappointments it is always the problem of being drawn to people who are "unavailable," meaning in a relationship, newly out of a relationship, or living in a different state. The coarsest armchair psychology can explain that when a person is attracted to unavailable people, it is because they themselves are unavailable — because they fear intimacy, because they feel must avoid threats to their individuality, because the self is a secret they do not want to disclose, or because they have fetishized their loneliness.
In Woody Allen's film Manhattan, Mary, played by Diane Keaton, has just been dumped by her married boyfriend, so she goes to visit Allen's character, Isaac. "You pick a married guy, and when it doesn't work out, it confirms your worst feelings," Isaac tells her. "What worst feelings?" Mary asks. "You know," Isaac says, "your feelings about men and marriage and that nothing works."
If you are convinced that nothing works out, you can choose a romantic situation that's already broken. You can confirm your existential separateness by choosing situations where alienation is assured. You can seek to be dishonored because it reinforces your purity.
"Only connect…" reads the epigraph to E.M. Forster's masterpiece Howards End, his sprawling examination of turn-of-the century London and the effects of industrialization on the national soul. This is the motto of the novel's innocent and strident and soulful heroine, Margaret Schlegel. She insists that it is a mistake to favor either the abstract or the concrete, the romantic or the practical, the rural or the urban, tradition or progress — it is the marriage of opposites that gives life its meaning and provides true insight. "Only connect! That was the whole of her sermon," Forster writes. "Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no more."
It is a rejection of purity — no one is set apart, and no one's identity is completely their own. She seeks to connect life's diverse aspects and to connect with other people. Margaret's mission is always to be more trusting and less suspicious, even if it means she gets hurt, even if it means she is dishonored.
And I saw that trust is an action.
In Carson's short talk "On Sylvia Plath," she writes, "She said plain, burned things. She said I thought it an excellent poem but it hurt me." This is a helpful frame for Plath, because it is an image not of a woman but of work — work that is marked by its terrible purity.
I am devoted to Plath, but I still cannot cultivate much interest in her biography, meaning mostly her marriage and death. This is because the portrait that her biography paints — of a fragile, overly emotional, unstable desperate housewife — does not line up with the portrait that I have developed of her through her work. I see Plath as a skillful and deliberate craftsperson, dominant over her words and her subjects. The extreme sentiments displayed in her work were a calculated performance. Lines as exquisite as "All by myself I am a huge camellia/Glowing and coming and going, flush on flush" simply could not have been written by a person who was completely out of control.
That Plath wrote fiercely about difficult emotions should not be ignored, but an idea of her as a figure of tragic separateness is really beside the point. I have learned to let go of thinking of her as pure and damaged and set apart, and I'm trying to stop thinking of myself that way. Now I love Plath not for her sadness, but for her strength.
It is complicated — there is the persona of Plath herself, the mature and technically gifted writer, and the persona Plath creates in her work, who I still sometimes cling to as a totem of resentment and bad-girl energy. Her diaries are so bitchy and self-pitying and dramatic that they are often very funny. The line from her diaries that I say to myself most is "I don't care about anyone, and the feeling is quite obviously mutual."
There is freedom in self-parody: the freedom to see that an extreme and romanticized vision of yourself does not account for all the complexities of who you are or could be. At one point I wrote in my eighth grade diary, "I am exceedingly sensitive, but I never let it show when someone hurts my feelings." This is hilarious because it could not have been less true. It is complicated — the interaction of who you are and the lies you tell yourself about who you are.
If, like Matt said, I have a way of identifying what's going on in other people's heads, then that insight could lead me to be more open, to connect more, rather than making me more wary, more unavailable. I am a person who, when giving advice, has been known to repeat Bruce Springsteen lyrics like they are ancient and profound koans: "Don't make no difference what nobody says,/Ain't nobody like to be alone."
The importance of Margaret's ethos in Howards End is that in connecting, she is not flattening or simplifying the shades of human experience — she is more aware of the varying and contradictory elements that make up our lives and ourselves. "It is part of the battle against sameness," she says. "Differences — eternal differences, planted by God in a single family, so that there may always be colour; sorrow perhaps, but colour in the daily grey."
Alice Bolin is the senior contributor to This Recording. She is a writer living in Missoula.. She last wrote in these pages about Taylor Swift. She tumbls here and twitters here. You can find an archive of her writing on This Recording here.
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As I mentioned earlier, I have a ton of products which I would like to forward to readers to do reviews for me. I will get these items up as we go along so keep your eye out.
If you filled in the readers request a while ago I will be able to go back to that to refer to.
Stuff to remember:
– Read about the product that I would like reviewed and make sure it fits your profile. If I have a hair dye for blondes, don't apply if you have jet black hair!
– You don't get paid for your review but you can of course, keep the product. If you have a blog I will link back to you as long as you don't write a blog about how to cook kittens etc.
– You must forward your review to me once you are done with the product. Depending on what it is, I will set a time scale (ie. skincare will need a longer testing product, make up may need just 2 weeks).
– Not to sound like a school teacher, but please get your review back to me within this time frame we agree. Of course if you don't submit anything then you won't be chosen to do a review again and I'll moan about it on Twitter.
– I will set out a questionnaire type thing to guide you with your review
– I will edit reviews, not to change OPINIONS expressed by you, only to clean up the text and make it fit better on the blog and omit whatever I think is unnecessary (ie. I am reviewing this as I watch Crimewatch in my pink stripy thong…) I will also remove anything I think is offensive or libelous.
– If you get an allergic reaction etc. obviously just stop using the product. I will not be responsible for accidents or so on caused by the product in question.
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There will be more things coming up so keep an eye out!


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Psychology in Society
versión On-line ISSN 2309-8708
versión impresa ISSN 1015-6046
Psychol. Soc. no.42 Durban ene. 2011
Grahame Hayes
University of KwaZulu-Natal Durban. email@example.com
PINS (Psychology in society) does not often write editorials these days, and only does so when there is a special issue and the guest editors want to introduce the special edition, or when the editors want to communicate something to the subscribers and readers. For this issue, the first thing we want to communicate is an apology for the lateness of the issue, still dated 2011! PINS is committed to producing at least two issues per year, and hence the need to date this late issue, PINS 42, 2011. We shall attempt to be more timely in future. The main reason for our somewhat irregular production schedule has to do with our independence, which has the effect of leaving us with no infrastructural support to ensure a highly efficient and regular production timetable. We are working on solving this problem and thus ensuring a more regular operation.
One way of improving our resources for the production of the journal is to grow our individual subscriber base. Many more people read PINS than we have subscribers, and this is especially so given that we now have a website. PINS is keen to increase access to the journal and at the same time create a broader subscriber base to allow the journal to continue to produce a print version. It is to this end that we would like to encourage subscribers to renew their subscriptions regularly, and to encourage other people who may be interested in reading and supporting the journal become subscribers. We would like PINS also to be a "loose association" of people interested in a critical and socially engaged psychology. Our subscription form now carries a space for subscribers to give us their email addresses. What we envisage for PINS subscribers - this "loose association" of critical thinkers in, and about, psychology - is irregular email postings of interest. This would include the contents page of the latest issue of PINS as it is posted out; a list of available book titles for review; notices of conferences; and so on. We are aware that people get enough unwanted emails these days, and would not want to contribute to this with these suggested postings that will be kept to a discrete minimum.
Mentorship. We have mentioned previously that we are keen to encourage new authors starting out with their writing careers. Prospective authors can approach us with either an idea about a submission, or a draft of an intended submission, or a proper submission indicating that they are new at this. PINS would still send out the article for anonymous review, but would indicate to the reviewers that the author is just beginning their publication career, and hence to be more detailed in their constructive feedback to help the author get the article to publication level. The PINS editorial would also add further detailed commentary to the reviewers' reports to assist new authors.
Biographies. With very few exceptions South African psychology has been rather silent about its own history. Some of that history is quite embarrassing given its complicity with apartheid, and yet we should not shy away from presenting the past of the discipline. To this end PINS is keen to publish biographical essays of people who have made a contribution to the discipline (in the past). For instance, in the pipeline are two essays, one on the "psychoanalyst" Wulf Sachs who died in 1949, and one on the neglected figure of Chabani Manganyi. Other names that randomly spring to mind are I D MacCrone, Professor Pratt-Yule (surely one of the first women professors and heads in South African psychology), the big name émigrés like Joseph Wolpe, and Jospeh Sandler. Many psychologists in South Africa were (are) influenced by the ideas of Black consciousness, and hence a biographical type essay on the influence of Stephen Biko's ideas on / in psychology would be interesting and revealing. In short, we are looking for prospective authors to contribute to this "biography series".
The final communication of this editorial is about book reviews. PINS has always put store by reviewing a range of books in each issue, usually about five. The primary concentration has been with locally published texts. This issue has a "bumper crop" of 10 interesting book reviews, of both local and international texts. Book reviewing is a form of writing that is sometimes underrated, and yet writing reviews that are both critically engaging and inviting is quite challenging. Besides continuing with our usual reviews of contemporary texts, we would like to re-visit, and review anew some "older, classic" texts. The main reason for doing this is to introduce younger scholars and students to some forgotten classic texts, while making a case for their continued relevance and influence. Again, at random, a selection of books could include Russell Jacoby's (1975) Social amnesia: A critique of conformist psychology from Adler to Laing; Paulin Hountondji's (1983 / 1976 - French) African philosophy: Myth and reality; Chabani Manganyi's (1973), sadly out of print Being-black-in-the-world; Karl Jaspers' (1997 / 1959 - German) General psychopathology; and obviously many more.
If any of the above suggestions about brief (historical) biographies, and the re-visiting of earlier influential texts, are of interest to some of our readers who would like to contribute one way or another, they should contact the PINS editor at: email@example.com


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Q. When are insulated bushings required on raceway terminations?
A. Where raceways contain conductors 4 AWG and larger, the conductors must be protected from abrasion during and after installation by a fitting that provides a smooth, rounded insulating surface, such as an insulating bushing [300.4(F)]. For IMC and RMC, a metal or plastic bushing must be installed on conduit threads at terminations, regardless of conductor size, in accordance with 300.4(F), unless the design of the box, fitting, or enclosure is such as to afford equivalent protection [342.46 and 344.46].
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In late December, on the fifth anniversary of his mother's assassination and with his family's mausoleum in view, Bilawal Bhutto Zardari stood before a massive crowd at Garhi Khuda Bakhsh, a village in Sindh province, and was anointed as the last great hope for Pakistan's most prominent political dynasty.
Bilawal's father, Asif Ali Zardari — Pakistan's president and the co-chairperson of the Pakistan People's Party (PPP) —informed the audience that his son's political training has just begun. Bilawal, his father said, will not only be learning politics from his elders, but he will also be learning about Pakistan from the masses. Having lived most of his life outside of Pakistan, and, until recently, having been unable to speak any of Pakistan's major languages — Bilawal has much to learn. That Bilawal has been chairman of the PPP for five years is incidental. The twenty-four-year-old was a mere teenager when his mother, Benazir, was assassinated in late 2007. He was brought into the limelight merely to ensure that no one else took his place.
Bilawal soon disappeared. With his father running the party, Bilawal was largely out of public view until he graduated from Oxford in 2010. An audience member at an Oxford University town hall discussion for Pakistanis complained that Bilawal made no effort to engage the Pakistani student populace, though he would one day be leading their country. Bilawal limited his public engagements to PPP loyalists, giving English-language speeches packed with Urdu slogans about martyrdom and sacrifice. In a 2009 speech that was widely mocked, Bilawal screamed that he and his party members will give their blood, heads, and lives in their supposed struggle for Pakistan's masses.Enjoying this article? Click here to subscribe for full access. Just $5 a month.
But it would be a mistake to dismiss Bilawal as a political joke. He has grown in the past two years. In the wake of another assassination — that of Punjab Governor Salmaan Taseer, who was killed by one of his bodyguards in 2010 because of his outspoken opposition to Pakistan's anti-blasphemy laws—Bilawal seemed to gain a voice. After Taseer's murder Bilawal began speaking out against extremism and in defense of the slain governor. Though the speech was delivered in English and in London, it had none of the vagueness or verbal hedging characteristic that most Pakistani politicians use when speaking about radicalism. Subsequent speeches by Bilawal, including one earlier this month, have also been marked by a similarly unapologetic tone.
Can Bilawal develop into a strong voice for Pakistani liberals, an increasingly embattled lot? His speech in Garhi Khuda Bakhsh suggests that it's at least possible. Speaking in Urdu, Bilawal painted an image of a polarized Pakistan. There was the Pakistan of those on the side of truth — the "martyrs" Governor Taseer, Christian politician Shahbaz Bhatti, anti-Taliban minister Bashir Bilour, and, of course, his mother, Benazir. And then there was the Pakistan of the "liars": the authoritarians and terrorists who opposed democracy, and the apologists afraid of calling terrorism by its name.


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The Three Pillars to Cisco's Secure Data Center Strategy: Part 1 Segmentation
Last week Cisco announced several new products in it's Defending the Data Center launch. These included the Cisco Adaptive Security Appliance Software Release 9.0, Cisco IPS 4500 Series Sensors, Cisco Security Manager 4.3, and the Cisco ASA 1000V Cloud Firewall, adding enhanced performance, management, and threat defense capabilities. Core to this launch was also Cisco's new strategy for developing Secure Data Center Solutions, a holistic approach similar to what Cisco previously did with Secure BYOD. This new strategy integrates Cisco security products into Cisco's networking and data center portfolio to create validated designs and smart solutions. Organizations that lack bandwidth and resources or the know how to test and validate holistic designs can simply deploy template configurations based on pre-tested environments that cover complete data center infrastructures. These designs enable predictable, reliable deployment of solutions and business services and allow customers infrastructures to evolve as their data center needs change.
In developing this strategy we interviewed numerous customers, partners and field-sales reps to formulate the role of security in the data center and how to effectively get to the next step in the data center evolution or journey, whether you are just beginning to virtualize or have already advanced to exploring various cloud models. Three security priorities consistently came up and became the core of our strategy of delivering the security added value. They are Segmentation, Threat-Defense and Visibility. This blog series, beginning with segmentation, will provide a deeper dive into these three pillars.
Segmentation itself can be broken into three key areas. Perimeters are beginning to dissolve and many environments are no longer trusted, forcing us to segment compute resources, the network, and virtualized environments to create new boundaries, or zones. Along with segmenting physical components, policies must include segmentation of virtual networks and virtual machines, as well as by function, device, and logical association. Lastly, segmenting access control around networks and resources whether they are compute, network or applications offers a higher level of granularity and control. This includes role-based access and context based access. Let's discuss even deeper.
Segmentation is really about enforcing consistent policy and access control across different boundaries. Customers are focused on protecting data at rest and in motion and control of who has access to data in these various states and locations. In essence, segmentation of boundaries begins at the Fabric level, where the core compute of Cisco's Unified Computing System (UCS) separates networking from management and servers. Network segmentation virtually partitions physical networks using VLAN and VRF. And, within virtual compute environments segmentation occur with virtual switches and by the creation of tenants and zones.
Firewall segmentation controls connections across different networks or network segments, with the advantage of having awareness over the session's state. Edge firewalls typically inspect all traffic flowing in and out of the data center or North-South traffic, and separate the good data from the bad data. Data center edge-security appliances, such as the ASA 5585-X, are high performing appliances, which include additional services such as a full intrusion detection and prevention system and VPN that can handle high traffic rates at a single point of enforcement and with full redundancy. Inside the virtualized compute environment traffic flows between virtual machines, that run servers and applications, and is not visible to the edge firewall. This traffic, also referred to as East-West traffic, can be segmented further into tenants and then zones within the tenants. For large-scale, multi-tenant environments the ASA 1000V Cloud Firewall can create multiple virtual network edge segments or tenants that can separate different companies data or different business units. Zones within these tenants separate groups of virtual machines where policy in enforced through the Cisco Virtual Security Gateway (VSG).
As data centers continue to evolve, applications are now dynamic objects moving through the network. Securing and managing access to these applications and the underlying data requires policies that can be effectively implemented at the network level and travel as users constantly migrate and virtual machines are created, moved, and recreated. Current network enforcement (segmentation) techniques do not provide the scalability, agility or efficiency required for consistent policy enforcement in highly dynamic environments.
Cisco's TrustSec is an innovative solution architecture for security policy enforcement within the campus, branch and data center networks. TrustSec propagates contextual information, in the form of Security Group Tags, across the network and can be used by firewalls and data center switches to provide highly scalable, distributed, and consistent policy enforcement and segmentation.
TrustSec leverages role assignments so that when users or resources change IP addresses, firewall rules and access control lists do not need to change because the underlying policy does not change
TrustSec, along with the Cisco Identity Services Engine (ISE) enhances security, reduces operational expense and removes the management complexity of access control enforcement and administration.
This concludes part one on our series for the Secure Data Center strategy. Come back Wednesday for the next insertion on threat defense.
In an effort to keep conversations fresh, Cisco Blogs closes comments after 60 days. Please visit the Cisco Blogs hub page for the latest content.


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The LIberal's Disturbing Flip-Flop on Land Banking
Richard Brown's attempt to sell Wade MacLauchlan's rejection of a land banking system last night (Thursday, April 3, 2019) on CBC's Compass program was excruciating to watch. Why was Brown interviewed instead of Wade? He's not the leader of the … Continue reading
Posted in Agriculture, Provincial Politics Tagged CBC Compass, Land Bank, Liberal Government, NFU, Richard Brown, Wade MacLauchlan 2 Comments


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Martin Scorsese is an unflinching perfectionist. For his latest film on the gritty 1840s turf wars between Italian and Irish mobsters - "Gangs of New York" - he demanded a set so surreal it could have been a Fellini dream sequence. Opium dens, miles of twisting slums, a sprawling harbor, even a transatlantic steamer.
When shooting started last month, where did he report? Hollywood? Nope. The Bronx? Not even close.
Take one: Rome.
With a reported budget of $100 million, "Gangs" will be the biggest project to date for Miramax Films. For Italy, it is part of an American-fueled renaissance of a film industry that once rivaled Hollywood. Mr. Scorsese's choice of the legendary Cinecitta studios - called "Hollywood on the Tiber" in the 1950s when colossals like "Ben Hur" and "Quo Vadis" were shot here - is a blockbuster vote of confidence for an industry that for decades has been as stagnant as a Venetian canal.
And Scorsese isn't alone. Two weeks ago, George Lucas finished filming parts of the second "Star Wars" prequel here.
After Roberto Benigni's 1998 Oscar-triumph with "Life is Beautiful," US studios are increasingly coming here to shoot, drawn by the weak lira, the high caliber of local artisans, and unfathomably beautiful locales - even nurturing Italian projects - a development being dubbed Miramaxizzazione. But there is some ambivalence about the American money and its influence on Italian filmmaking traditions.
"As far as this trend of Miramaxizzazione goes," says Rossana Rummo, head of the Ministry of Culture's Entertainment Department, "I think it's great that American companies have faith in foreign talent again. The case of Benigni and Giuseppe Tornatore [director of Oscar-winner 'Cinema Paradiso'] proves that a US audience will indeed pay to see a handcrafted, intensely emotional film like those made in Italy."
During the '90s, distributing Italian films in the US market has proven to be a pot of gold for Miramax. The Oscars for Best Foreign Film went to Mr. Tornatore's Cinema Paradiso in 1989, Gabriele Salvatores's "Mediterraneo" and "Life is Beautiful" in 1998, and its critically successful "The Postman" garnered a 1995 nomination.
"Clearly Miramax has found a land of opportunity in Italy, in terms of both creativity and business, the head of Miramax's Italian activities," Fabrizio Lombardo, recently told Variety magazine. "We've obtained Oscars and commercial results with our Italian films."
In fact, Italy is the only market outside America where Miramax, a Disney subsidiary, will coproduce local films as well as distribute.
350 films a year
But this recent revival is still a far cry from the glory days of Italian cinema. In the '50s and' 60s an average of 350 Italian films were produced each year - from neorealist classics like Vittorio De Sica's "The Bicycle Thief" and Roberto Rossellini's "Open City" to indulgent paeans to excess like Federico Fellini's "La Dolce Vita." During this heyday, as many as 30 Italian films were presented at a single Venice Film Festival. Last month's festival screened 10, now a boon.
By the '80s, production fell to about 175 and then hit bottom in 1995, with a paltry 77. With television, home video, and reduced access to movie theaters on the rise in the '80s, film industry jobs fell by 51 percent.
Veteran director Maurizio Lucidi is nostalgic for Italy's marquee years and laments a national lack of creativity since then.
"We don't have ideas anymore. We used to get our ideas from tension in society. Now, we all have mineral water, cars, houses. What are our problems today? Globalization and unemployment ... Does that sound poetic to you?"
Well, no. Some of Italy's most financially successful films domestically are often embarrassingly sophomoric sex romps or toilet humor slapstick. "Unfortunately, Italian cinema has been of laughably low quality in both technique and content, says Enzo Kermol, a film history professor at The University of Trieste. "One hope would be the Miramaxizzazione effect. There is sure a lot to learn from the Americans, especially logistics."
But at last month's Venice Film Festival, it appeared there might soon be an upturn. After a complete snub at Cannes this May, Italians felt vindicated that for the first time in 10 years, four of the 20 movies in running for the Venice's Golden Lion were Italian.
Dr. Kermol argues that this is a pivotal moment in history that Italy needs to seize - especially "for the young kids coming up without any more maestros." Privatization and more US attention to Italian projects "would help everyone. The Americans can cash in, and the Italians will have something to be proud of again. We need a major shake-up!"
Filming has just ended for "Malna," the latest film by Giuseppe Tornatore, set in the 1940s - a joint production with Miramax. That company is also in the development stages of a movie based on the novel "Silk" - to be directed by "Shakespeare in Love" director John Madden. Miramax has also purchased the rights to Italy's campy mystery comic book "Dylan Dog." Another American firm, Fine Line Pictures, is producing Francesca Archibugi's "Tomorrow" and has optioned the rights to "Foucault's Pendulum" by Umberto Eco.
Perhaps the most anticipated Italian movie in Hollywood is irrepressible Benigni's next project, "Pinocchio." While he is still only in writing mode, there has been some speculation that Miramax might choose to coproduce the movie. A Miramax spokesman declined to comment on plans for any future deal.
A major factor in this mini-renaissance is the restructuring at Cinecitt. The enterprise partially privatized in 1997, and in the last three years has pumped over $13 million into building new sound stages and installing cutting-edge technology, like digital imaging systems.
The director of Cinecitt Studios, Tonino More, says "Martin Scorsese just couldn't have made his film anywhere else. My artisans, craftsmen are talented beyond belief. And for that caliber of work, he would have to pay much, much more in America."
Dino De Laurentis also seems convinced that it's no longer business as usual. After a 45-year absence, he returned to shoot his submarine blockbuster "U-571" at the Roman dream factory. This year, he has shot much of "Hannibal" (The "Silence of the Lambs" sequel) in Italy.
Director Lucidi - who's worked with Pier Paolo Pasolini and Orson Welles - expresses discomfort at the growing US presence. "If we have Americans edging in to the early stages of production, it will be challenging to maintain an authentic Italian vocabulary," he says. It is vital, he insists, to focus on young directors, but it's hard because there's a "diffused cynicism among that generation" and nowhere to learn - no botteghe workshop cooperatives like in the '50s.
Boost for young filmmakers
In 1994, the Italian government stepped in with new funding, including low-interest rate loans and paying up to 90 percent of production costs. The laws targeted younger directors and films of "cultural interest."
Young Sicilian director Pasquale Scimeca is one of the up-and-coming auteurs to benefit from the subsidies. His delicate film about a 1940s union organizer who stood up to the Corleone Mafia, "Placido Rizzotto," premiered in Venice last month. Mr. Scimeca, who was born just miles from the birthplace of Scorsese's parents, received 60 percent of his budget up front.
"We've suffered a double crisis in Italy," Scimeca says. "Part is, yes, we need to stop pandering to the public, making movies you think they want to buy, like selling chocolates. The other fundamental element is our inferiority complex with the States." In an effort to withstand American hegemony, he and a group of other Sicilian directors have banded to revive the cooperatives Fellini and De Sica made famous - the ones veteran Lucidi pines for.
Teresa Moneo, part of Miramax's acquisition team at the Venice Festival, was quite impressed by Scimeca's Placido Rizzotto, "but I don't know if it fits US tastes." The American public has an idea of what Italian film is - "they want nostalgia, melancholy." She agrees Miramax is becoming more involved in Italian coproductions. But, she says they most likely "won't be investing in too many experimental movies."
Italy, she says, is a "labor of love" for copresident Harvey Weinstein, "who has a deep, personal love of the country." While France's film industry is thriving, benefitting from generous government subsidies, "Italy," says Ms. Moneo, "needs a boost."
Scimeca, however, worries that avoiding more daring projects could mean the death of the Italian genre as we know it. "If the Americans come with their stereotypes of what Italy is - all shoot-em-up, mafia all the time, we're through." He cringes at the thought of these US majors catering "Italian films" to middle Americans who think of Italy as a place to hear Neapolitan songs like "O Sole Mio" sung in an improbable Venetian gondola.
(c) Copyright 2000. The Christian Science Publishing Society


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Trumpeter Ted Daniel's Energy Module with Daniel Carter, Oliver Lake, Richard Pierce and Tatsuya Nakamura, a post-bop free improvising quintet from the mid-70s, here in an unreleased studio session showing raw power and superb playing.
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Edition of 400 LP copies
Label: NoBusiness
Catalog ID: NBLP81/82
Squidco Product Code: 19999
Format: 2 LPs
Condition: New
Released: 2014
Country: Lithuania
Packaging: LP - Gatefold
Recorded at Sunrise Studio,in New York City on the November 8th, 1975.
Ted Daniel-trumpet, flugelhorn, French hunting horn, Moroccan bugle
Louis Freres Daniel Carter-tenor saxophone
Louis Freres Oliver Lake-alto saxophone, soprano saxophone, piccolo, cow bell
Richard Pierce-bass
Tatsuya Nakamura-drums, quarter drums
Louis Freres
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• Show Bio for Daniel Carter
"Daniel Carter (born December 28, 1945, in Wilkinsburg, Pennsylvania) is an American experimental saxophone, flute, clarinet, and trumpet player active mainly in New York City since the early 1970s.
Carter is a prolific performer and has recorded or performed with William Parker, Federico Ughi, DJ Logic, Thurston Moore, Yo La Tengo, Sun Ra, Cecil Taylor, Sonic Youth, scientist/musician Matthew Putman, Cooper-Moore, Sam Rivers, David S. Ware, Yoko Ono, Living Colour, Medensky Martin and Wood and Jaco Pastorius among others. He is a member of the cooperative free jazz groups TEST and Other Dimensions In Music."-577 Records (http://www.577records.com/danielcarter/)
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• Show Bio for Oliver Lake
"Oliver Lake (born September 14, 1942) is an American jazz saxophonist, flutist, composer and poet. He is known mainly for alto saxophone but he also performs on soprano and flute.
During the 1960s Lake worked with the Black Artists Group in St. Louis. In 1977 he founded the World Saxophone Quartet with David Murray, Julius Hemphill, and Hamiet Bluiett. He has worked in the group Trio 3 with Reggie Workman and Andrew Cyrille. He is the father of drummer Gene Lake.
Lake has been a resident of Montclair, New Jersey."-Wikipedia (https://en.wikipedia.org/wiki/Oliver_Lake)
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• Show Bio for Louis Freres
Louis Freres is a Canadian bassist and improviser known for the band Escargot-Squidco 8/21/2019
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1. Innerconnection
1. Jiblet
2. Ghosts
1. Entering
2. Congeniality
1. The Probe
2. Pagan Spain
sample the album:
unreleased session from 1975.
"Trumpeter Ted Daniel's Energy Module was a short-lived band. They played exactly two gigs in the course of one week in the fall of 1975-and never played again. They gelled quickly as a quintet, however, in large part because everyone knew each other from working in Daniel's big band, Energy. However, the Energy Module was a less formal affair than the large ensemble, in which they played Daniel's original compositions and arrangements. "We had a couple of rehearsals and played through the tunes, but our main focus was on collective and individual improvisation," Daniel says. "We were getting ready to take care of business."
And they took care of business with a vengeance, as you can hear on this recording of their second and final performance. It's the sort of loose-knit, pull-out-all-the-stops blowing session that took place nightly on New York's Lower East Side in the 197os. But November 8, 1975, at Sunrise Studio was much more than an ordinary night in the lofts. Ted Daniel, Oliver Lake, Daniel Carter, Richard Pierce, and Tatsuya Nakamura stoked the cathartic fires of free jazz to a white-hot intensity and made it a special night indeed."-Ed Hazell
"Ted Daniel's Observations on the Music
First Set
"Jiblet" is a Sunny Murray composition that I used to play while in his band. The melody is a simple sing-song tune, something akin to a nursery rhyme. Tatsuya plays his quarter drums (which he designed) along with his regular trap set on the melody as well as supplying a backbeat that gives the reading a soulful feeling. The improvisation is an energetic collective effort with the three horns playing off each other's energy.
"Innerconnection" is by Dewey Redman and I played it often while in his band. The line is played in unison until the end, at which time the horns answer one another with a short phrase before repeating the unison line. We begin the improvisation with a collective effort and then take solos with the rhythm team. I lead off followed by Oliver. Solos are accompanied by horn players commenting at will as well as horn players utilizing percussion instruments behind the soloist. Daniel Carter's high wail behind my trumpet solo is particularly haunting and he is joined by Oliver at one point during the solo, which was inspiring. Oliver solos on soprano sax. As background, I play several long tones on French hunting horn. Danny takes the third solo on tenor and is pushed by my vocal incantations, French hunting horn, and Moroccan bugle (Khakhai). Oliver joins with low blasts from his alto as Danny continues to burn through his solo. Tatsuya and Pierce also burn right through to the end of Danny's solo and Oliver picks up his flute to cool things down a little before we find our way out with the closing unison line.
I composed "Probe" with the Apollo ii lunar landing in 1969 in mind. The melody is structured around a whole tone scale. Pierce has a pedal throughout and Tatsuya utilizes his tom-toms and mallets. Oliver leads off with a very expressive solo, sounding like the human voice at times. I enter playing some harmonics on the flugelhorn and utilize the whole tone scale, referring back to the melody often. I take the melody out after my solo, ending on a dissonant chord to leave the piece unresolved.
We start Albert Ayler's "Ghosts" with a collective improvisation in which I and the other horns introduce the melody intermittently and Tatsuya and Pierce supply the energy. The performance takes on the characteristic of what happens in some Black churches in the US. Danny Carter's tenor work is particularly inspired and inspiring on this track. Albert Ayler's music has always been an inspiration to me and I especially enjoy this composition.
Second Set
"Entering" is meant to be an intro to the two pieces that follow. Pierce starts off with a bass solo accompanied by the drums, after which Oliver enters on alto for an extended solo. Danny and I briefly join him before we all play Ornette Coleman's "Congeniality." I solo first with the two horns quoting and answering my statements throughout my solo. Danny has an extended second solo on tenor. Tatsuya employs his quarter drums throughout and Oliver alternates from cowbell to birdlike piccolo behind Danny. Trumpet and alto enter toward end of the tenor solo and bass and tenor end together to move into my composition, "Pagan Spain." I play an intro on trumpet with the Harmon mute and switch to open flugelhorn to play the melody and improvise with bass and percussion. I incorporate some harmonics to create tension and contrast during my solo. The composition ends with tenor and alto softly commenting in support of my rendering of the melody."-Ted DanielsAlso available on CD.
Edition of 400 LP copies
Vinyl Recordings
Improvised Music
NY Downtown & Jazz/Improv
Quintet Recordings
Daniel's, Ted Energy Module (feat. Oliver Lake and Daniel Carter)
Innerconnection [VINYL 2 LPs]


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With all the Knicks postseason talk about bringing in centers, the draft with Shumpert and Big Jorts and Mike D'Antoni's defensive coordinator search, there has been no talk about Anthony Carter's future with the team. The forgotten man was one of the better bench players down the stretch for the Knicks last season and I think the Knicks need to take a long hard look at bringing him back. Granted the first round selection of Iman Shumpert takes away another guard spot on the roster but I think Carter still brings alot to the table. Think back to game 4 against Boston when Carter led a fourth quarter comeback and hit a 3 to get the Knicks within 5 before Boston pulled away from the ailing Knicks. He showed that even at age 36, he still can be a very serviceable emergency point guard and I wouldn't be so fast to throw him on the street now that Shumpert is on the team. Here is what the current guard situation looks like assuming Carter comes back:
PG Billups, Shumpert, Douglas, Carter
SG Fields, Douglas, Walker, Rautins
I think going in with Billups, Shumpert, Carter and Douglas as a combo guard would be a very good point guard rotation. I am not saying Carter deserves 20 minutes a game or even a bench spot, but why couldn't Carter be a 12th man? Why not keep him around to mentor the younger players? He clearly knows how to play defense and how to bring energy every night. He can contribute big time in the locker room and if injuries happen he can step in and make a contribution. Now he is not a superstar or even an above average player but with Carmelo and Amare being the stars, we need high energy players willing to scrap and claw on defense and Carter is that kind of player.
As Amare says "If everybody on the team is a leader then the team is going to be better". Anthony Carter is a leader. Despite his lack of elite ability, age and stature on the depth chart, he is a leader. He made the most of his opportunities last season and he made a great impression on the coaching staff. Just because we drafted Iman Shumpert does not mean that Carter deserves to be shown the door. I would endorse him coming back even as the 15th man, as long as he is around the team he will have a positive impact. I am a big Anthony Carter fan and, bias aside, he deserves to be back with this team next season and the team could use veteran leaders like him.
[Image Via NY Daily News]
Follow @tarmosino


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SIMA Members,
Welcome to the new SIMA forum, now merged with, and renamed, the Agent Survival Guide! We've taken the best parts of Agent Survival Guide and the best parts of SIMA and have combined them to create a training and discussion hub for insurance agents across the country!
Since we've moved to a new platform, you'll need to create a new Agent Survival Guide account to start interacting on the forums. Click the "sign up" button at the top right of the page to get started!
You can visit the blog by clicking the logo in the top left or going to www.AgentSurvivalGuide.com.
We hope you enjoy this new collaboration and learn the secrets to surviving today and thriving tomorrow in the insurance industry.
The ASG Team


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I've seen microscope lenses optimized for 0.17mm covering glass. I don't see what needs to be optimized here? As glass does not touch the lens (as in case of oil/water immersion) - it should just affect focal distance without introducing any aberrations.
Is that correct, or covering glass will cause aberrations imbalance, and will require recalculating the lens? (I can probably only think of very slight chromatic aberration, but it's not important in my case)
Same for water immersion: If we cover sample with 1mm of water, but water does not touch the lens, will it cause any additional aberrations and require recalculating the lens?
Same for diffraction-limited laser focusing optics: I've seen some of them are optimized for laser output windows - what is the nature of this optimization?


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Friday, September 17, 2010
Laptop Cover
8 comments:
- Kenzie said...
This is amazing! The fabric and colors are to die for!
- Friday, September 17, 2010 at 9:27:00 PM CDT
- Jen.Jensen said...
I am loving this!
- Sunday, September 19, 2010 at 12:55:00 AM CDT
- The Sewist said...
How wonderful i love it!
I actually started to make one and might just finish it after seeing this :)
I love the way you customized it and i actually like the changes you made thanks for sharing this
Mayya @ Sew Chic and Unique
- Monday, September 20, 2010 at 12:04:00 AM CDT
- Ashley Allen said...
Awesome Angie! I want one! You'll have to teach me at Lindsey's house next month! I LOVE your fabric choices too! And I didn't have trouble with sewing minky either.
- Tuesday, September 21, 2010 at 11:04:00 AM CDT
LOVE this! I featured you on my blog! www.simplyhandmadebypaige.blogspot.com
- Thursday, September 23, 2010 at 10:14:00 AM CDT
- I♥naptime w/ Chocolate Sundaes said...
This turned out SO cute! I want to make one now!
- Friday, September 24, 2010 at 12:51:00 PM CDT
- Mindy said...
I love this! I too got a laptop earlier this year and want to make a sleeve for mine. Thanks for the inspiration.
- Thursday, October 14, 2010 at 8:25:00 AM CDT
- manoj singh said...
This is really beautiful cover I have ever seen and now I am going to make same cover but in different style.laptop covers
- Wednesday, February 20, 2013 at 1:01:00 AM CST


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|MLBPA/MLB News Release
The Brand USA partnership with the 2013 World Baseball Classic is an integrated program comprised of international TV broadcast exposure, Brand USA TV, print and digital advertising, social media programs and other promotions, as well as event signage in Japan and Taiwan. Through the partnership, Brand USA expects to raise awareness of, and interest in, travel to the United States from international in-bound travelers -- with the world's growing love of baseball and the excitement of the World Baseball Classic as the backdrop.
As the official airline of the 2013 World Baseball Classic, Delta will be the tournament's preferred carrier for the more than 3,000 commercial flights needed for players, team personnel and tournament staff. Delta will also provide 14 charter flights to transport teams between each round of the tournament.
"The World Baseball Classic is an event that brings fans from around the globe together to celebrate the game. It is fitting that Delta Air Lines and Brand USA -- two companies that are also dedicated to bringing people together -- are partnering with the 2013 tournament at the global level," said Paul Archey, senior vice president, International Business Operations, Major League Baseball. "We are pleased to have Delta and Brand USA on board and look forward to working with them in the lead up to next March."
"The World Baseball Classic provides a great platform and unique opportunities for its sponsors to further their reach and enhance their images, by reaching millions of passionate baseball fans spread across the globe -- fans who are loyal to the core," said Timothy Slavin, member of the World Baseball Classic Inc. Board of Directors. "We're excited to have Brand USA and Delta Air Lines join the World Baseball Classic lineup, and we're confident their sponsorship activation will benefit all involved, including the players and the fans."
"Being the official worldwide carrier of the World Baseball Classic supports Delta's vision to do more business on a global scale. This partnership reflects Delta as a premier global carrier," said Steve Sear, senior vice president, Global Sales, Delta Air Lines. "What better way than in the spirit of competition and in conjunction with professional baseball. Delta has a long history of service with baseball; including partnerships with our hometown Atlanta Braves as well as six other MLB clubs."
"The World Baseball Classic provides Brand USA a unique opportunity to reach hundreds of millions of potential travelers from core international inbound travel markets to the United States through a fully integrated and highly interactive campaign," said Michael Carroll, vice president, Partner Marketing, Brand USA. "In addition to significant international advertising and digital exposure, the campaign also provides opportunities for our U.S. host city partners to leverage the international appeal of baseball to inspire more travelers to come to the United States and discover this land like never before."
The 2013 World Baseball Classic, which is the third edition of the tournament, will feature the world's best players representing their countries and territories. Thirty-nine games will be played in seven venues in four nations and territories from March 2 through March 19, 2013. Team Japan is the two-time defending champion of the World Baseball Classic, having won in 2006 and 2009.
For the first time, four qualifiers were held for the 2013 World Baseball Classic, which expanded the competitive field from 16 to 28 countries. Brazil, Canada, Chinese Taipei and Spain emerged from the qualifiers to earn spots in the March 2013 event. Those four qualifier teams will join the teams of the 12 countries/terrirories -- Australia, China, Cuba, Dominican Republic, Italy, Japan, Korea, Mexico, Kingdom of the Netherlands, Puerto Rico, United States and Venezuela -- that received automatic invitations based on their performances in the 2009 tournament.
In the United States, MLB Network will be the exclusive English-language broadcast partner for all 39 games of the 2013 World Baseball Classic. The semifinal and final games will take place March 17-19 at San Francisco's AT&T Park, hosted by the San Francisco Giants. Second-round games will be held in the Tokyo Dome in Tokyo from March 8-12 and at Marlins Park in Miami from March 12-16. First-round games will be held at the Fukuoka Yahoo! Japan Dome in Fukuoka, Japan, from March 2-6; at Intercontinental Stadium from March 2-5 in Taichung, Taiwan; at Hiram Bithorn Stadium in San Juan, Puerto Rico, from March 7-10; and at Chase Field and Salt River Fields at Talking Stick in Phoenix from March 7-10.


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