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"I hope that everyone who owns a copy of Portland, Oregon Chef's Table puts it to frequent use, lets it get a little food stained, and even turns back some corners. My favorite cookbooks are the ones that get the most worn, which is how it should be," says Laurie Wolf in her recently published book Portland, Oregon Chef's Table.
Wolf's book features more than 70 recipes for the home cook from more than 60 Portland restaurants, including Biwa, Bluehour, Fat City Café, Mother's Bistro & Bar, Olympic Provisions, Roost and many more. The book can function both as a cookbook and a restaurant guide.
- See some recipes from Portland, Oregon Chef's Table.
Wolf attended the Culinary Institute of America and worked as a chef and caterer in New York and Vermont. Then she moved on to become a food stylist and later served as the food editor for Mademoiselle and Child magazines for 18 years.
Both Wolf and her husband Bruce, a professional photographer who shot the pictures of the chefs and their dishes featured in the book, moved from New York to Portland in 2008. Wolf, who is captivated by Portland's food and drink scene, credits the move as one of the best decisions she's ever made.
Arts & Life had the opportunity to talk with Laurie Wolf about her book, her culinary experiences and more.
Q&A with Laurie Wolf
Q: What were the criteria for choosing restaurants and chefs to feature in your book? How did you pick them?
A: I started out with restaurants that I was familiar with, having done a pretty extensive amount of dining out in town before actually moving to Portland. Once I started doing research for the book, I found that asking the chefs where they like to eat was a terrific resource. Andy Ricker, Jenn Louis, Gabe Rosen, John Toboada and the delightful guys from Victory Bar, Eric Moore and Yoni Laos, were enormously helpful. I wanted to include a combination of restaurants that were already well known and offer their signature recipes, as well as places that didn't have the name recognition but would or should!
Q: What do you find different about the food scene in New York and in Portland?
A: I believe that the food scene here is far less ego driven than in New York. There is a strong food community with a collective dedication to working with local farmers and other purveyors. I am impressed with the strong camaraderie among the chefs and restaurant owners. The availability of local produce of all kinds is a huge benefit for foodies here in Portland.
It is not that hard to open a restaurant here in Portland. It doesn't take a ton of money, and although industry rules are more stringent than they were years ago, it is still relatively doable in terms of finances and bureaucracy. This allows for young chefs to open places that reflect their youth and creativity, and there is not the same urgency to be full every night. It seems that the slow months are easier to get through here on the left coast.
Q: What made you get into the food industry?
A: I was an English and sociology major at NYU. Upon graduation I spent five years living in Vermont, working by day and sometimes night at the local mental institution. And at the same time I started a catering business. I baked for local shops and catered weddings and dinner parties. My lack of any formal education in cooking left me quite limited, so I applied and attended the Culinary Institute of America, a two-year program that gave me the well-rounded base that I was missing.
After graduation, I worked as a chef for five years and then I got into the recipe writing and food styling arena. I was food editor at Mademoiselle Magazine and Child Magazine and did recipe writing and food styling for such magazines as New York Magazine, Vogue Magazine, Fitness, Shape, Parents, Self and Glamour. The magazine business was very cool and among other things, we got to go with Bryan Miller, one-time food critic for the New York Times, when he was evaluating restaurants. That was super fun.
Q: You mention in the book that you find many creative chefs in Portland. Are you a creative chef as well? Tell me about the most creative food you cooked using local ingredients.
A: The book has definitely made me a more creative, sensitive chef. It was a wonderful bonus that I had not anticipated. I now have a much more seasonal focus, more respect for the people who grow and/or raise the food. I am ingredient driven, and I combine ingredients that I would not have considered putting together before. I am still not a big fan of sweet and salty, and I never include bacon in my desserts.
Last week, I stuffed local morels with mashed potatoes that were mixed with spring onions and crispy Nueske's bacon, cream, and salt and pepper. I baked them and when done drizzled them with a touch of Jack Czarnecki's extraordinary truffle oil.
My recent "very Portland" dessert was a deep-dish local berry crumble with an oatmeal crust with candied local hazelnuts and a whipped cream flavored with my own homemade version of Nutella. Very tasty.
Q: As noted in your book, many restaurants come and go. What do you think makes a restaurant successful?
A: I have asked myself that question many times over this past year. When Alder closed I was somewhat stumped. In my mind it was the best gelato and some of the most amazing pastries in Portland. It is not as simple as just having a good, or very good, product, though I would like that to be the first priority to having a successful restaurant.
I think there needs to be a dedication to being there, at least for the first year, almost all the time. Total time commitment. Being a successful chef requires drive and passion, along with a willingness to be patient and attentive to the tastes of your clientele. But without 100 percent commitment I think there is a great danger of not succeeding. I think that Portland is not as likely to support very pricey restaurants. There is so much wonderful food to be had here for very reasonable prices.
Q: What's next? Are you planning to publish another book like this in the future?
A: I have already comprised a list of 45 new dining places for what I hope will be volume 2 of The Portland, Oregon Chef's Table. I love that about Portland. Wonderful restaurants are opening all the time. It's sort of unbelievable that with this dreadful economy you still have to wait on lines at many places for both brunch and dinner.
I have proposals for several other cookbooks that I hope to write in the near future. Writing this book has been one of the most satisfying experiences in my career. I was introduced to an extraordinary group of men and women who are making all kinds of history in Portland. That was fascinating and I would like to continue to explore this much more self-reliant food mentality. I love what's going on here between the restaurants, carts and also the wonderful markets and their connections with Portland's farmers and ranchers.


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Sprint Bids for Rest of Clearwire
Sprint Nextel Corp. offered to acquire the 49% of Clearwire Corp. it doesn't already own for $2.90 a share, confirming that the carrier is moving to consolidate a long-time partner that is key to its future strategy.
Clearwire shares immediately rose above the offer price Thursday, reinforcing expectations that any deal for the smaller wireless company will likely need to be higher. Although Sprint controls a majority of both Clearwire's stock and board seats, any deal must be approved by a majority of non-Sprint directors and a majority of remaining shareholders.

subset: commoncrawl


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October 14, 2009 at 6pm to December 21, 2009 at 7pm – anywhere Reposted from Pharyngula Double your investment! Posted: 13 Oct 2009 12:00 PM PDT The Secular Student Alliance is growing faster than their income, but that could change. They just got a generous… Organized by Secular Student Alliance | Type: donation, drive
November 16, 2009 at 6pm to December 7, 2009 at 7:30pm – Melbourne, Vic COURSE: PROBLEM OF EVIL 16 NOV CAE MELBOURNE Monday 6.00-7:30pm from 16 Nov for four nights, discussing the history of this argument, how can a loving, all-powerful, morally-perfect God exist with a… Organized by Alex McCullie CAE tutor | Type: adult, education
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The footnote is:Recent scholarship suggests that a distinguishing trait of the Digha Nikaya may be that it was "intended for the purpose of propaganda, to attract converts to the new religion." 1
From: http://www.accesstoinsight.org/tipitaka/sutta.html" onclick="window.open(this.href);return false;1. Bhikkhu Bodhi, Connected Discourses of the Buddha (Somerville, Mass.: Wisdom Publications, 2000), p.31, referring to Joy Manné's "Categories of Sutta in the Pali Nikayas and Their Implications for Our Appreciation of the Buddhist Teaching and Literature," Journal of the Pali Text Society 15 (1990): 29-87.
I tried briefly to find the Joy Manne article online, but was unsuccessful.
So, is this a common conclusion, that perhaps part of the Digha Nikaya's purpose was to attract new Buddhists?
(If this is a silly question I apologize, I just haven't heard anything like this before. Thanks in advance for any insight.)


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Share on
An expression of strength.
And splendour.
And splendour.
Sleek, sensuous and self-confident. What defines a Mercedes-Benz coupe
is not just its body but its soul. And among SUVs, nothing reveals true depth
of character with an unmatched breadth of capabilities like the Star in its
grille. From its aggressive stance to its muscular shape, the GLE Coupe
is a new breed of thoroughbred performance.
Four-door coupe design stretches the imagination and the GLE's very real comforts. Generous rear doors welcome three passengers into the widest rear seat in its class. Fold the split seatbacks down for up to 60.7 cu ft of carpeted luggage space, the most of any coupe in the world. The available Panorama roof brings in the sun and stars, too.
The chiseled muscle, athletic poise and undeniable power of the GLE will draw admiring glances. Up close, the GLE proves that style can equal substance. Outside, there are numerous wheel designs and dramatic gloss black accents. The spacious cabin is exquisitely tailored from up to 11 upholstery options and six distinctive trim choices.


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CLARKSVILLE, Tenn. – The Tennessee State women's tennis team hit the road for a pair of OVC matches this weekend, falling to Murray State on Saturday and Austin Peay on Sunday.
Against the Racers, Victoria Haynes and Trinity Randolph were defeated by Eleonore and Verginie Tchakarova, 8-1, while Jade Daniels and Adrianne Presley could not win a game, giving Murray the doubles point.
In singles, Haynes and Daniels managed to win one game, but TSU's other three players fell in straight sets.
On Sunday, APSU and TSU did not play doubles and three of the singles matches were left unfinished by the Tigers.
Haynes, playing in the No. 1 spot, had the most competitive match of the day, but her opponent came out on top, 6-1, 6-1.
TSU is 0-7 and 0-4 in OVC play and will next take the court at home on Tuesday against Belmont.
Murray State 6, Tennessee State 0
Singles competition
1. SUGA, Carla (MUR) def. HAYNES, Victoria (TSU) 6-1, 6-0
2. TCHAKAROVA, Eleonore (MUR) def. RANDOLPH, Trinity (TSU) 6-0, 6-0
3. TCHAKAROVA, Verginie (MUR) def. DANIELS, J. (TSU) 6-1, 6-0
4. STOLTZ, Suzaan (MUR) def. EILAND, Attallah (TSU) 6-0, 6-0
5. PATTON, Erin (MUR) def. PRESLEY, A. (TSU) 8-0
Doubles competition
1. TCHAKAROVA, Eleonore/TCHAKAROVA, Verginie (MUR) def. HAYNES, Victoria/RANDOLPH, Trinity (TSU) 8-1
2. BLUE, Megan/SUGA, Carla (MUR) def. DANIELS, J./PRESLEY, A. (TSU) 8-0
Austin Peay 4, Tennessee State 0
March 23, 2014 at Clarksville, Tenn.
Singles competition
1. DI SALVO, Ornella (APSUW) def. HAYNES, Victoria (TSU) 6-1, 6-1
2. CORNEA, Andra (APSUW) def. RANDOLPH, Trinity (TSU) 6-1, 6-0
3. TAVARES, Vanessa (APSUW) def. DANIELS, Jade (TSU) 6-0, 6-0
4. KUBEK, Mary Theresa (APSUW) vs. PRESSLEY, Adrianne (TSU) 6-1, 4-1, unfinished


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Saint Petersburg - Let The New Era 2012 IZOD IndyCar Series Begin!
Let the new era of unified American Open-Wheel Racing (#aowr) begin with the temporary street course Honda Grand Prix Of St. Petersburg. This year, 2012, will go down as the first year that American open-wheel racing is truly unified since there are no excuses that were first raised when the merger happened suddenly at the beginning of the 2008 season. Everyone will be competing on new Dallara DW12 equipment, with a choice of three new turbo-charged 2.2 liter engines, on tracks that are the most favored by fans of both series.
The season will favor street/road courses as opposed to NASCAR styled ovals and the oval tracks featured in this truly unified season are, for the most part, ones made famous through the sport of open-wheel automobile racing.
Five oval venues out of sixteen races are on the schedule and appear as follows:
The first oval race on the schedule is the grand-daddy of them all, The greatest specticle on all of autosport, the Indianapolis 500 - May 27, 11:00AM ET - ABC Sports.
Next will be the high-banked, super high-speed Firestone 500 at the Texas Speedway. This track holds a string of closest finishes in open-wheel racing. Broadcast set for the night of June 9, 8:00PM ET - NBC Sports.
Third comes the Milwaukee IndyFest, West Allis, WI - run on the famed flat four-cornered bull-ring of a track near the Wisconsin fairgrounds. This race venue was saved by the Andretti family primarily because of the history this track holds as a contrast to all other oval tracks ever run. This track was originally a flat dirt track that transformed itself into a concrete ring that challenges drivers with close quarters and the challenge of virtually no banking. Broadcast set for June 16, 1:00pm ET - ABC Sports.
The Iowa Corn 250, Newton, IA - represents a hold over from the Indianapolis Racing League days and gives a nod to the corn based Ethanol fuel that powers these 2.2 liter turbo-charged Chevrolet, Honda, and Lotus engines of this modern era season. In order to spice things up, this race will be run at night under the lights as they do in Texas. Broadcast set for June 23, 8:00PM ET - NBC Sports.
The last oval race of the season happens to be the final race of this 16 race benchmark of the modern era in American Open-Wheel Racing. This track holds the speed records for racing of any kind on a closed course for both qualifying and at race lap speeds. Yes, the venue is the Auto Club Speedway (formally, California Speedway) at Fontana, California.
On October 28, 2000, during CART qualifying, Gil de Ferran set the track record for fastest lap at 241.426 mph (388.537 km/h), breaking the record (240.942 mph) set by former F1 driver, Maurício Gugelmin (PacWest Racing) who went even faster -- 242.333 mph, to be precise -- in practice. Mark Blundell, also a former F1 driver (PacWest Racing - Gugelmin's teammate), was originally credited with the fastest "at race lap" speed record with a lap at 237.000+ (lap time unknown). Wikipedia shows that Greg Moore actually set fastest lap during the race on lap 80 with a time of 30.900 sec. over the 2.029 mile D-shaped oval (awaiting email clarification from Auto Club Speedway). All of these times are suspect as official by the FIA due the measurement of the track at being slightly longer than exactly 2.0 miles, but the recorded speeds recorded are factual.
What is not in dispute, however, is that the 2003 IndyCar race held at Fontana (the Auto Club Speedway) was the fastest closed-circuit race ever in motorsport history, with an average speed of 207.151 mph(333.306 km/h) over 400 miles (640 km) by Sam Hornish Jr. The 2012 race broadcast is set for a dusky night-time ending, September 15, 8PM ET - NBC Sports.
KV Racing Technology's driver Rubens Barrichello gives the new DW12 Chevrolet powered Dallara a spin at Sebring after signing a one-year agreement to run a full year in the IZOD IndyCar Series. Here Rubens is being followed on the track by fellow ex-pat F1 driver, Takuma Sato, driving the Rahal Letterman Lanigan Racing Honda. Image Credit: LAT via IZOD IndyCar Series
This weekend features a temporary street course e set up in the Florida city of Saint Petersburg first run under ChampCar (CCWS) sanctioning in 2003. After a one year break in order to regroup, the event was resumed with the sanctioning of the Indy Racing League (IRL) from 2005 to the 2007 and continued uninterrupted after the merger of CCWS and IRL as today's IndyCar beginning in 2008 through to today.
Past winners of the Honda Grand Prix Of St. Petersburg event are as follows: Paul Tracy (2003), Dan Wheldon (2005), Helio Castroneves (2006 and 2007), Graham Rahal (2008), Ryan Briscoe (2009), Will Power (2010) and Dario Franchitti (2011), Team Penske is the most successful with 4 wins ... track speed record is held by Sebastien Bourdais (McDonalds/Newman-Haas), set competing in ChampCar (2003) when he qualified for the pole, besting Paul Tracy (Players/Forsythe) with the time of 1:00.928 as his Lola-Cosworth turned an average of 106.472 mph.
A field of 26 drivers -- listed below -- are expected to take to the track for the race set to start Sunday, March 25, 12:30PM ET broadcasted to national network TV audience by ABC Sports.
Car# | Driver (R - Rookie) | Hometown | Sponsor Car Name | Engine (Chevrolet/Honda/Lotus) | Team Entrant
2 Ryan Briscoe Sydney, Australia IZOD Team Penske Chevrolet Team Penske
3 Helio Castroneves Sao Paulo, Brazil Shell V-Power/Pennzoil Ultra Chevrolet Team Penske
4 JR Hildebrand Sausalito, Calif. National Guard Panther Racing Chevrolet Panther Racing
5 E.J. Viso Caracas, Venezuela Citgo – PDVSA KV Racing Technology Chevrolet KV Racing Technology
6 Katherine Legge (R) Guildford, England TrueCar Lotus-Dragon Racing Lotus Lotus-Dragon Racing
7 Sebastien Bourdais Le Mans, France Lotus-Dragon Racing Lotus Lotus-Dragon Racing
8 Rubens Barrichello (R) Sao Paulo, Brazil BMC/Embrase KV Racing Technology Chevrolet KV Racing Technology
9 Scott Dixon Auckland, New Zealand Target Chip Ganassi Racing Honda Target Chip Ganassi Racing
10 Dario Franchitti Edinburgh, Scotland Target Chip Ganassi Racing Honda Target Chip Ganassi Racing
11 Tony Kanaan Salvador, Brazil GEICO/Mouser Electronics KVRT Chevrolet KV Racing Technology
12 Will Power Toowoomba, Australia Verizon Team Penske Chevrolet Team Penske
14 Mike Conway Bromley, England ABC Supply Co./A.J. Foyt Racing Honda A.J. Foyt Enterprises
15 Takuma Sato Tokyo Rahal Letterman Lanigan Racing Honda Rahal Letterman Lanigan
18 Justin Wilson Sheffield, England Sonny's BBQ Honda Dale Coyne Racing
19 James Jakes Leeds, England Boy Scouts of America Honda Dale Coyne Racing
20 Ed Carpenter Indianapolis Fuzzy's Vodka / Ed Carpenter Racing Chevrolet Ed Carpenter Racing
22 Oriol Servia Pals, Spain Lotus-DRR Lotus Lotus-Dreyer & Reinbold Racing
26 Marco Andretti Nazareth, Pa. Team RC Cola Chevrolet Andretti Autosport
27 James Hinchcliffe Toronto Team GoDaddy.com Chevrolet Andretti Autosport
28 Ryan Hunter-Reay Ft. Lauderdale, Fla. Team DHL/Sun Drop Citrus Soda Chevrolet Andretti Autosport
38 Graham Rahal New Albany, Ohio Service Central Honda Service Central Chip Ganassi Racing
67 Josef Newgarden (R) Hendersonville, Tenn. Sarah Fisher Hartman Racing Honda Sarah Fisher Hartman Racing
77 Simon Pagenaud (R) Poitiers, France Kingdom/Schmidt-Hamilton HP Motorsports Honda Schmidt-Hamilton Motorsports
78 Simona de Silvestro Thun, Switzerland Nuclear Clean Air Energy Lotus HVM Racing Lotus Lotus-HVM Racing
83 Charlie Kimball Camarillo, Calif. Levemir and NovoLog FlexPen Honda Novo Nordisk Chip Ganassi Racing
98 Alex Tagliani Lachenaie, Canada Team Barracuda-BHA Lotus Bryan Herta Autosport w/Curb-Agajanian
First Practice Laps At #GPSTPETE
Target Chip Ganassi Racing's Scott Dixon set first ever mark in an event for the new DW12 formula as he was fastest in the first official practice session of 2012, leading Team Penske's Ryan Briscoe by 0.4784 seconds.
Briscoe's teammate, Will Power, ran third, posting a lap of 1:03.57 around the 1.8-mile, 14-turn street course.
Dario Franchitti served as a bookend for the Penske duo, placing fourth with a lap of 1:03.60 seconds.
Schmidt Hamilton Racing's Simon Pagenaud rounded out the top 5, turning a 1:03.64-second lap in hot, humid conditions.
Honda engined-cars placed 1st, 4th, 5th, 6th, 8th and 9th, with Chevrolet runners occupying the rest of the top 10 slots.
The fastest Lotus-engined car was Oriol Servia's DRR entry in 19th with a lap of 1:04.29.
The session was mostly trouble-free, barring Charlie Kimball's nose-first crash at Turn 10 with less than five minutes remaining in the session.
With so little rubber down, times are expected to drop throughout the weekend.
Practice 1 for the Honda Grand Prix of St Petersburg at the St Petersburg Street Circuit
Rank | Driver | Diff. | Best Lap
1 Scott Dixon 0 1:03.0406
2 Ryan Briscoe 0.4784 1:03.5190
3 Will Power 0.5341 1:03.5747
4 Dario Franchitti 0.5607 1:03.6013
5 Simon Pagenaud 0.6011 1:03.6417
6 Justin Wilson 0.6298 1:03.6704
7 Marco Andretti 0.7522 1:03.7928
8 Mike Conway 0.7927 1:03.8333
9 Graham Rahal 0.8116 1:03.8522
10 Helio Castroneves 0.8322 1:03.8728
11 Josef Newgarden 0.8366 1:03.8772
12 EJ Viso 0.8736 1:03.9142
13 James Jakes 0.9228 1:03.9634
14 JR Hildebrand 1.0508 1:04.0914
15 Takuma Sato 1.0666 1:04.1072
16 James Hinchcliffe 1.0673 1:04.1079
17 Ryan Hunter-Reay 1.0833 1:04.1239
18 Tony Kanaan 1.0998 1:04.1404
19 Oriol Servia 1.2540 1:04.2946
20 Alex Tagliani 1.3455 1:04.3861
21 Sebastien Bourdais 1.4468 1:04.4874
22 Charlie Kimball 1.6226 1:04.6632
23 Simona de Silvestro 1.8741 1:04.9147
24 Rubens Barrichello 2.6275 1:05.6681
25 Ed Carpenter 2.9904 1:06.0310
26 Katherine Legge 4.2925 1:07.3331
[Reference Here]
UPDATE: Power Tops Second St. Pete Practice
Team Penske's Will Power nearly matched his pole speed from last year in only the second practice session of the weekend, leading Briscoe and Franchitti.
Practice 2 for the Honda Grand Prix of St Petersburg at the St Petersburg Street Circuit:
Rank | Driver | Diff. | Best Lap
1 Will Power 0 1:02.0077 1:06.1375
2 Ryan Briscoe 0.0854 1:02.0931
3 Dario Franchitti 0.2155 1:02.2232
4 Graham Rahal 0.2847 1:02.2924
5 Scott Dixon 0.3040 1:02.3117
6 Helio Castroneves 0.3113 1:02.3190
7 James Hinchcliffe 0.4555 1:02.4632
8 Tony Kanaan 0.4737 1:02.4814
9 Ryan Hunter-Reay 0.5224 1:02.5301
10 Mike Conway 0.5260 1:02.5337
11 Marco Andretti 0.5547 1:02.5624
12 Simon Pagenaud 0.5920 1:02.5997
13 JR Hildebrand 0.7606 1:02.7683
14 Josef Newgarden 0.7761 1:02.7838
15 Justin Wilson 0.8838 1:02.8915
16 Simona de Silvestro 0.9059 1:02.9136
17 James Jakes 0.9075 1:02.9152
18 Takuma Sato 0.9517 1:02.9594
19 Sebastien Bourdais 0.9701 1:02.9778
20 EJ Viso 0.9780 1:02.9857
21 Charlie Kimball 1.0827 1:03.0904
22 Alex Tagliani 1.1735 1:03.1812
23 Rubens Barrichello 1.3213 1:03.3290
24 Oriol Servia 1.3458 1:03.3535
25 Ed Carpenter 2.5954 1:04.6031
26 Katherine Legge 2.7515 1:04.7592
[Reference Here]
UPDATE - Qualifications Highlights:
Will Power breaks his own track record by 0.2305 (old mark = 1:01.6026). Teammate Ryan Briscoe nails down P2 by breaking Will Power's old mark as well.
The top five positions on the grid are held by Chevrolet powered DW12's with seven of the top ten grid positions being filled by the new era engine supplier over longtime supplier and race sponsor, Honda.
A less than competitive showing by the cars powered by the Lotus/Judd effort with the highest placing driver of the "Lotus Legion" (highlighted in BOLD below), being one of the most consistent performing drivers of the series, Oriol Servia.
Probably the biggest surprise of this first qualification session of the new formula 2012 IZOD IndyCar Series season is that even though cars fielded by Target Chip Ganassi Racing did very well in practice, the highest placing car from the Ganassi stable was Scott Dixon in P7 - none made it into the Firestone Fast Six qualifications round.
Team Penske had 3 cars, Andretti Autosport had 3 cars - 2 in the Firestone Fast Six round, Ganassi had only 2 cars, Kingdom/Schmidt-Hamilton had it's one car effort place P6 in the Firestone Fast Six, and KV Racing Technology with only one car rounding out the top ten positions on the grid.
Pos Driver Team/Car Time Gap
1. Will Power Penske DW12-Chevrolet 1:01.3721s
2. Ryan Briscoe Penske DW12-Chevrolet 1:01.5357s + 0.1636s
3. Ryan Hunter-Reay Andretti DW12-Chevrolet 1:01.9321s + 0.5600s
4. James Hinchcliffe Andretti DW12-Chevrolet 1:01.9701s + 0.5980s
5. Helio Castroneves Penske DW12-Chevrolet 1:01.9987s + 0.6266s
6. Simon Pagenaud Schmidt-Hamilton DW12-Honda 1:02.1095s + 0.7374s
7. Scott Dixon Ganassi DW12-Honda 1:01.7636s Top 12
8. Marco Andretti Andretti DW12-Chevrolet 1:01.7895s Top 12
9. Tony Kanaan KV DW12-Chevrolet 1:01.8699s Top 12
10. Dario Franchitti Ganassi DW12-Honda 1:01.9570s Top 12
11. Graham Rahal Ganassi DW12-Honda 1:02.0233s Top 12
12. Mike Conway Foyt DW12-Honda 1:02.5084s Top 12
13. EJ Viso KV DW12-Chevrolet 1:02.5146s Group 1
14. Rubens Barrichello KV DW12-Chevrolet 1:02.2009s Group 2
15. Takuma Sato Rahal DW12-Honda 1:02.6015s Group 1
16. Justin Wilson Dale Coyne DW12-Honda 1:02.2538s Group 2
17. Alex Tagliani Herta DW12-Lotus 1:02.6506s Group 1
18. JR Hildebrand Panther DW12-Chevrolet 1:02.4426s Group 2
19. Josef Newgarden Fisher Hartman DW12-Honda 1:02.7155s Group 1
20. James Jakes Dale Coyne DW12-Honda 1:02.5271s Group 2
21. Simona de Silvestro HVM DW12-Lotus 1:02.8218s Group 1
22. Charlie Kimball Ganassi DW12-Honda 1:03.0437s Group 2
23. Oriol Servia Dreyer & Reinbold DW12-Lotus 1:02.8771s Group 1
24. Ed Carpenter Carpenter DW12-Chevrolet 1:03.3591s Group 2
25. Katherine Legge Dragon DW12-Lotus 1:03.6048s Group 1
26. Sebastien Bourdais Dragon DW12-Lotus 1:05.6858s Group 2
A short memorial for the late Dan Wheldon, who made St Petersburg his home, preceded Sunday's race.
This excerpted and edited from the Tampa Bay Times –
How the 2012 Grand Prix of St. Petersburg unfolded
By Joey Knight, Times Staff Writer – Monday, March 26, 2012
On Lap 73, Castroneves gets far outside, breaks as deeply as he can and passes Dixon on Turn 1 for second. "It was awesome because the car (stuck), and I was like, 'Yesss!' " said Castroneves, who soon after passes Hildebrand.
By Lap 80, Castroneves' lead on Dixon grows to more than five seconds. Hunter-Reay, in third, falls seven seconds behind Castroneves as his crew implores him to conserve fuel. E.J. Viso, on the brink of dehydration following an overnight bout of food poisoning, is fifth — seven places ahead of his starting spot — 93 laps into the race before a final pit stop ultimately drops him to eighth. His lead edging closer to insurmountable, Castroneves drives conservatively on the last dozen or so laps and wins by 5.5292 seconds.
[Reference Here]
How the field of 26 DW12′s finished in their first race:
Pos | Driver | Team/Car | Time/Gap
1. Helio Castroneves Penske DW12-Chevrolet 1h59m50.9863s
2. Scott Dixon Ganassi DW12-Honda + 5.5292s
3. Ryan Hunter-Reay Andretti DW12-Chevrolet + 7.5824s
4. James Hinchcliffe Andretti DW12-Chevrolet + 10.6526s
5. Ryan Briscoe Penske DW12-Chevrolet + 11.7854s
6. Simon Pagenaud Schmidt-Hamilton DW12-Honda + 31.2623s
7. Will Power Penske DW12-Chevrolet + 34.6582s
8. EJ Viso KV DW12-Chevrolet + 35.5943s
9. Charlie Kimball Ganassi DW12-Honda + 43.1425s
10. Justin Wilson Dale Coyne DW12-Honda + 44.3141s
11. Josef Newgarden Fisher Hartman DW12-Honda + 44.8275s
12. Graham Rahal Ganassi DW12-Honda + 45.1080s
13. Dario Franchitti Ganassi DW12-Honda + 45.8468s
14. Marco Andretti Andretti DW12-Chevrolet + 1 lap
15. Alex Tagliani Herta DW12-Lotus + 1 lap
16. Oriol Servia Dreyer & Reinbold DW12-Lotus + 1 lap
17. Rubens Barrichello KV DW12-Chevrolet + 2 laps
18. Ed Carpenter Carpenter DW12-Chevrolet + 2 laps
Did not finish:
JR Hildebrand Panther DW12-Chevrolet 96 laps
Mike Conway Foyt DW12-Honda 75 laps
Sebastien Bourdais Dragon DW12-Lotus 73 laps
Takuma Sato Rahal DW12-Honda 73 laps
Katherine Legge Dragon DW12-Lotus 59 laps
Simona de Silvestro HVM DW12-Lotus 22 laps
Tony Kanaan KV DW12-Chevrolet 21 laps
James Jakes Dale Coyne DW12-Honda 19 laps
Most of the problems of cars not finishing had to do with electrical gremlins on a car most engineers are still trying to figure out.
So, the new era 2012 IZOD IndyCar Series (#indycar) has begun at the Honda Grand Prix Of St. Petersburg (#gpstpete) — Twitter #hashtags included!
** Article first published as Saint Petersburg - Let The New Era 2012 IZOD IndyCar Series Begin! on Technorati **


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Let's face it. Skiing is a romantic activity. There's you and your significant other and snow - and that need for warmth at the end of the day.
Let's face it. Skiing is a romantic activity. There's you and your significant other and snow - and that need for warmth at the end of the day.
You don't have to look far to find nooks with the right dose of downhill skiing and apres ski ambiance for a romantic getaway. Book a trip for you and your sweetheart at one of these charming spots just a Cupid's arrowshot from the slopes. Your winter resort rendezvous will have you looking like a Harlequin novel hero or heroine.
Stowe is known as "The Ski Capital of the East," for its history (dating back to the 1930s) and heralded Front Four trails. But Vermont's highest ski peak could also be cast as "romance resort of the East," for its softer side - snow covered sidewalks in the shadows of the church steeple, outstanding eateries and abundant apres ski pubs. Stowe has an alpine elegance that you just don't find in most New England ski towns. Splurge on a slope-view room, and spa treatments at the new Stowe Mountain Lodge (www.stowemountainlodge.com; 802-253-3560). The Alpine Concierge will fetch your skis, wine and cheese or just about anything you please.
The Mad River Valley has those magic romance factors - covered bridges, cutesy Vermont shops and rolling hills blanketed in sparkling snow. Add to the mix two ski mountains at Sugarbush and you have yourself a winter winner. In fact, the Slide Brook Express swiftly carries skiers between Sugarbush's separate slopes over bear-mating territory - which has been subject to debate by environmentalists. This could make for an interesting chairlift chat. Stay slopeside at the new Clay Brook Inn. Or head to The Pitcher Inn in Warren (www.pitcherinn.com; 802-496-6350), a lovely Relais and Chateaux property where no two rooms are alike. Enjoy an elegant candlelit dinner at the inn, followed by a Jacuzzi and a crackling fireplace upstairs in your room.
The scenic, historic hamlet of Woodstock is a super setting for a winter romantic weekend. The Woodstock Inn (www.woodstockinn.com; 802-457-1100) is the place to stay - the inn owns the Suicide Six alpine ski area (dating back to 1934) and its own Nordic facility (plus, you're just a 20-mile drive to Killington's lifts). Staying at the Woodstock Inn, you'll enjoy four-diamond lodging, four-star dining and live jazz in the 1793 replica tavern. Relax by the 20-foot fireplace, and read up on the love story of Laurence S. Rockefeller and Mary Billings French, founders of the nearby Marsh-Billings-Rockefeller National Historical Park, Vermont's only National Park.
Okemo has great groomers, delicious on-mountain food and a regal "castle" to cap off your day of downhill. The Castle Hill Resort and Spa (www.castlehillresort.com; 888-764-6836) is a gorgeous 1905 stone mansion built for the wealthy Vermont Gov. Allen Fletcher as his turn-of-the-century arty palace. Castle Hill is richly decorated and perfectly preserved with a mahogany-paneled library, private dining room and wine cellar, plus sumptuous guestrooms upstairs. Ski-and-stay packages at the Castle Hill Resort and Spa include champagne and Belgian chocolates in your room, a four-course dinner and breakfast, and use of the Aveda Spa facilities with outdoor heated pool and hot tub.
New Hampshire
Jackson is a postcard perfect kind of place in the White Mountains. Ski the quaint slopes of Black Mountain or take in the extraordinary scenery at Wildcat by day. Then stay nearby at the lovely Wentworth Inn (www.thewentworth.com; 603-383-9700) by night. After a delicious breakfast at the opulent inn, you'll find you're only 15 minutes from ski areas that also include Attitash and Cranmore. A sumptuous setting and fireside dinner at the inn await your return from outdoor exhilaration.
North Conway
If shopping and skiing is the way to your significant other's heart, then get thee to North Conway. Be sure to make ski tracks in the great outdoors at Cranmore or Attitash in the morning. Save the outlet shopping for the afternoon, followed by drinks and dinner at one of many fun establishments like the Shovel Handle Pub at Whitney's Inn in nearby Jackson. There are oodles of inns to choose from that ooze romance, many offer ski and stay packages. The Kearsarge Inn in North Conway (www.kearsargeinn.com; 603-356-8700) has a package that also includes massages.
Bretton Woods
Bretton Woods, New Hampshire's largest ski area, is a treat for the eyes and the skis, featuring well-groomed snow, a good variety of gentle glades and dramatic views of the highest peak on the Eastern Seaboard, Mount Washington at 6,288 feet. After schussing the slopes, stay at the spectacular century-old Mount Washington Hotel (www.mountwashingtonresort.com; 603-278-1000). Watch the Alpenglow over cocktails, succumb to treatments at the new Presidential Spa, then savor dinner and dancing in the ballroom followed by nightlife in the Cave. You'll feel like a prince and princess in a snow-covered castle.
Book a room in the Sugarloaf Mountain Hotel (www.sugarloaf.com, 800-THELOAF) so you and your sugar-pie can hang out slopeside. You're also walking distance to Sugarloaf's famed apres ski and nightlife including at Widowmaker (a great dance spot with live music despite the name). Sugarloaf's lift rides can be cozy as you snuggle up together at this typically chilly Maine mountain. A romantic Snow Cat ride takes you to dinner at mid-mountain Bullwinkle's making for a dreamy day at the Loaf.
Quebec, Canada
Quebec City
Quebec City is like a European city, sans jetlag. The romantic French "joie de vivre" is in the air along the cobblestone streets and cafes of Old Quebec and on the scenic snowy slopes of Mont Sainte Anne, about 40 minutes from the city. Stay at the landmark Chateau Frontenac (www.fairmont.com; 800-257-7544) and savor apres ski in this legendary city or stay slopeside at the Chateau Mont Sainte Anne (www.fairmont.com; 800-257-7544) for first tracks, dog sledding and fondue dinners by the mountain.
Mont Tremblant Ski Resort (www.tremblant.ca; 514-876-7273) is a Eu-romantic ski spot - the perfectly planned ski village seems plucked from the snowy Alps. Stay on property and you can walk to the ski lifts, boutiques, gourmet bistros and bars that rock till late. Tremblant is a happening ski place, busy during weekends and holidays but wonderfully romantic if you can steal your little bon bon away midweek.
Find more travel deals, the Get Away with Fran blog and the Warm Winter Getaway giveaway - a week in Punta Cana for the lucky winner - at www.wickedlocal.com/travel


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Considering the Ethics of Lateral-Appropriation in Regards to the Ongoing Debate, in Some Circles, of the Quasi-Case of Bajagic vs. Novitskova
by Sean Joseph Patrick Carney, January 2013
One of the surest tests [of the superiority or inferiority of a poet] is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.
– T.S. Eliot, The Sacred Wood, 1921
Every artist who is under the age of forty that I know of, or know personally, appropriates quite regularly in their practice. It's a result of myriad factors, perhaps the most obvious of which is the ubiquity of the internet as a matter-of-fact aspect of our everyday lives. I, too, regularly appropriate images, video, and sound elements from popular culture into my own work and rarely think twice about the larger implications of these actions. When an idea or image reaches a certain level of public visibility or cultural presence, it is, in my opinion, open for fair use. Perhaps what gives me peace in regards to this is that I feel that the action of appropriation is evident in my second-usage; nobody is likely to assume that I'm claiming that I shot footage of dozens of infants learning to swim, or that I am the composer who created the ludicrous "duhn, duhn" sound from Law & Order.
Appropriation is generally deemed ethical when the original work is transformed in some capacity. There's much debate about what constitutes transformation, exactly, but I've always considered that recontextualization itself is tantamount to transformation. At the heart of recontextualization is an understanding of the original context from which an image or idea comes, and an intentional change of context by the artist. It's fair to say that even the smallest change can give something an entirely different meaning, and much of the history of contemporary art is hinged on artists doing just that. The digital realm is a seemingly limitless expanse of fodder for future appropriations, and many of us comb it regularly in the pursuit of things to sample, remix, rework, and ultimately recontextualize. The assumption though, that whatever is online is fair game, does, in some instances, create problematic situations.
One such situation arose recently when Estonian-born, Netherlands- and Berlin-based visual artist Katja Novitskova appropriated an image from Montenegrin-born, United States-based visual artist Darja Bajagic and exhibited the work in an exhibition, MACRO EXPANSION, at Kraupa-Tuskany in Berlin in November of 2012. The image used was not originally credited to Bajagic in the context of Novitskova's exhibition, causing a tension between the two artists and raising some germane questions about the way that we as visual artists reemploy imagery and ideas. For context, it is relevant to note that Novitskova encountered the image in the feed of her Tumblr dashboard–the interface of the social networking micro-blogging site on which the aggregated content of a user's followed blogs appears.
In their own individual practices, Bajagic and Novitskova appropriate often, though the sources are, most often, corporate imagery or National Geographic photography, respectively. Bajagic's work is rooted in painting and utilizes stock photos of women from advertisements or similar sources, and she regularly posts constructed screen grabs to her Tumblr blog as works in their own right. Novitskova's work is more overtly comical and sculptural, explicitly appropriating colorful images of animals and sportswear, and repurposing physical commercial objects. Each of the artists owes much to the history of appropriation in the visual arts. What is unusual about the act of appropriation in question is that the content was not borrowed from someone "remote in time, or alien in language, or diverse in interest." Rather, Novitskova borrowed directly from a peer without explicit permission. This requires that we address the ethics of such an action, though I'm cautious about labeling Novitskova's deed as right or wrong–those terms lack the nuance to address the paradoxes present here–Novitskova argues that she didn't even know she was appropriating Bajagic.
Surely readers have heard the misquotation, "Good artists copy, great artists steal," often attributed to Pablo Picasso. Maybe Picasso said that at some point, who knows? Washington, DC-based attorney Nancy Prager, in a post on her blog from May of 2007, does an excellent job of elucidating the history of this often "bastardized" (her words) motto. She found that the origin of the quote, itself another misquotation, is commonly attributed to T.S. Eliot as, "Good poets borrow, great poets steal."
It is, though inaccurate, a lovely sentiment, as it would afford us as visual artists or producers of culture carte blanche to borrow, steal or reuse anything we find as we see fit. However, the quote itself is grossly-simplified and removed from its original context: a critical piece of writing by Eliot about playwright Philip Massinger. As Prager points out in her blog post, Eliot is referring to the fact that Massinger borrowed too liberally from Shakespeare, another playwright with whom he overlapped in time. It's not that one can't borrow from a generational peer, of course they can do that. What might make the act more ethically sound is simply asking another artist if they mind being appropriated. The worst that they can do is say no, at which point the appropriator has a choice to make. Regardless of whether or not one is granted permission, one has acknowledged the point of origin of the image or idea in question, and will not later appear to have acted naively or without due research.
One thing I believe most younger artists agree upon is that when we appropriate something, we're doing so in an attempt to further explore its significance in the social or cultural sphere. In his essay, "The Ecstasy of Influence," originally published in 2007 in Harper's, novelist Jonathan Lethem uses dozens of appropriations from original sources to craft a convincing argument for the merits of second-use. This cut-and-paste method nods to William S. Burroughs, Bob Dylan and countless others who freely reworked the original content of others into their own practices. It's difficult to figure out exactly how to attribute parts of the essay to Lethem since so much of it has existed in other contexts previously, but that's obviously the point.
Nonetheless, in the interest of simplicity, I'll simply relay that in a section titled "THE BEAUTY OF SECOND USE," Lethem argues that appropriated works have been paid a type of tribute through repurposing. Further, he states, "Artists and their surrogates who fall into the trap of seeking recompense for every possible second use end up attacking their own best audience members for the crime of exalting and enshrining their work." Having read through and taught this essay numerous times, it's my understanding, through consultation with his citations in the endnotes, that this particular passage is actually Lethem's own. I certainly agree with him to an extent. Where it is a bit murkier is when the appropriated artist isn't recognized or referenced in the appropriation. I'll argue that in cases like this, it's not "second use" that we're talking about, it's closer to actual theft.
On December 11th, 2012, Bajagic, whom I am connected to on Facebook, posted a series of links and the status update: "Katja Novitskova [tagged] prints my image (a work from September of 2011) for her most recent show and calls it her own…"
The links included a review on Berlin Art Link's website by Melissa King of Novitskova's solo exhibition "MACRO EXPANSION" at Kraupa-Tuskany, and a link to a post on Bajagic's Tumblr from September of 2011. The image in the Tumblr post is a screen grab of a drawing by Italian painter Andrea Mantegna (c. 1431-1506) that shows cropping and zooming tools generally found on image databases or museum archive websites. For her exhibition, Novitskova printed this digital image and mounted it on wood panel as a discrete object titled "Geometria MMXII."
Two months prior, on October 12th, 2012, Novitskova had sent Bajagic a Facebook message inquiring about the Tumblr post. The message read:
Hei Darja,
i once liked this Tumblr post you did http://dbajagic.tumblr.com/post/10523317556
i really like this image, and would love to know what is the original old image and where you found it or took it from..
thanks a lot in advance!
Several weeks later, on November 3rd, 2012, Bajagic replied:
hey katja! sorry for the delay i have a bad habit of reading messages and then delaying reply… it is an old tarot card of "geometry"… i looked through my favorites to see if i can find the original site but i can't… but i know for sure it is an old tarot card of "geometry"… i think it is italian… i hope this helps! x
Novitskova's exhibition opened on November 17th, 2012 and upon the posting of the Berlin Art Link review on December 10th, 2012, Bajagic saw that the screen grab she had generated and posted to her Tumblr had been printed, mounted, and included in the exhibition. The original posting of the review, which includes an image of the piece mounted on the wall, did not list Bajagic as an author or contributor to the piece. However, it should be noted that the writer of the review, Melissa King, is not a personal acquaintance of either Novitskova or Bajagic, and that the review itself was developed independently of either party's input.
It is my understanding that Bajagic then posted the previously referenced Facebook status update, as well as a similarly worded post on her Tumblr. Numerous comments were posted to the status update over the course of the next twenty-four hours from Facebook users on both sides of the argument, including several comments from Novitskova herself providing links to the sources of other appropriated images she'd employed in the same exhibition. Bajagic and Novitskova then participated in a lengthy discussion via email with Nick Scholl, an editor at DIS Magazine, as he attempted to mediate a conversation about the logical next steps to take. There hasn't been a post to DIS as of yet in regards to this, and Scholl has not yet replied to a request to offer his thoughts for this writing.
Both Novitskova and Bajagic have been gracious and forthcoming in my requests to each of them for their perspective in regards to the screen grab in question. It is a testament to both's enthusiasm for rigorous dialogue about concerns of authorship in twenty-first century contemporary art, especially as authorship is complicated by the internet. What's admittedly difficult for me to ascertain is where Novitskova's action falls on a scale of ethics.
According to Bajagic, she views dbjagic.tumblr.com as a second website that archives her practice. Many artists utilize several different Tumblrs for different reasons. One might be, for example, exclusively reserved for their own works while another is used to reblog images that cycle through their own dashboard that they find funny or amusing. It's true that some fuse both into a singular blog, but a little time spent looking can usually give a viewer a sense of what type of format the artist is employing. Scrolling through dbajagic.tumblr.com, it seems to me to be very evident that the majority of the works presented are authored by Bajagic, or are in some way related to an exhibition she is in or a commission that she has done.
That Bajagic's Tumblr is specific to works of her own authorship isn't in question. What is in question is how far Novitskova looked into the site before deciding that the screen grab posted in September of 2011 was openly available for her own use. I can't in good faith make a claim one way or the other, but it is interesting that Novitskova contacted Bajagic inquiring after the specifics of the screen grab's origins. Does that imply that she did, in fact, recognize Bajagic as the author of the image? Bajagic thinks so.
What further complicates the ethics of Novitskova's action is the language used in their Facebook correspondences. Bajagic's response to Novitskova's inquiry, included above, doesn't explicitly state that she views the screen grab as a work of her own authorship, or that she actually produced the screen grab herself. But one can reasonably assume that Novitskova, who follows Bajagic on Tumblr and who was her Facebook friend, has been exposed to Bajagic's aesthetic and process in the past. Bajagic believes that Novitskova's inquiry itself implied that she knew Bajagic considered it to be a work she'd authored, as she states in a Facebook message to Novitskova on December 11th, 2012:
And to clarify, you asked me about the *origins* of that image, and where the screenshot was taken. It was implied that the screenshot is mine, and I didn't feel that that needed clarification. I've exhibited it before, on top of everything.
Novitskova responded:
Hei Darja, sorry about that really. I havent checked your website in full. So i really saw it as just a found image. I would never use it if I knew it's your piece. It really never crossed my mind. I think the lightness in the situation comes from the fact that this is a a very interesting problem in term of art. All images in my show have initial 'authors'
The trouble here is that there is no way to validate either perspective. I don't necessarily see in Novitskova's original message inquiring after the source of the image a clear indication that she understood it to be a work by Bajagic. On the flip side, it's troublesome to see Novitskova claim that she hadn't checked Bajagic's website in full. Don't get me wrong, it's not our responsibility as peers to comb carefully through each other's websites in the interest of making sure that we don't repeat unintentionally–that would be ludicrous. But when an artist has a clear understanding that an image was posted by another artist, it seems like a few extra clicks in the interest of investigating the context of the image would be a little more diligent, research-wise.
A) How much energy should an artist using appropriation put into understanding the context of their source material?
B) When and how is lateral-appropriation ethical?
Regarding the former, it seems to me that the employment of appropriated imagery is legitimately a critical artistic practice when the appropriator understands the implications of the original context of an image or idea. Randomly cutting-and-pasting images is certainly fun in its youthful ambivalence and anarchical exuberance, but it does raise a question regarding what exactly the artist is communicating about the borrowed imagery. Naturally, one could argue that the very non sequitur mindset of this approach is itself an active critique of a culture of spectacle where visual stimulation has become akin to white noise, but that seems like such an obvious and sophomoric foundation for making art. Of course there are too many random, meaningless images in the world and online. Nobody needs to tell anybody that.
The point here isn't that one's art making can't be intuitive or even enjoyable. There's an undeniable magic in that, and I fully support an artist trusting their instinct when it comes to formal or procedural choices when they're making work. But when it comes to selecting pre-existing imagery, at the risk of sounding conservative, I firmly believe that an artist needs to have thoughtfully considered the various ways in which an audience is going to read that image, and at least have the capacity, when asked, to communicate accurately the context from which the image comes.
I don't think that Novitskova was attempting to be deceptive or underhanded in her employment of Bajagic's screen grab. She did look into it enough to deduce that the original drawing was by Mantenga, but it's unfortunate that, according to her, she didn't take a few additional minutes to explore Bajagic's website or Tumblr to ascertain that this was an intentionally framed and captured work of art that was intended, as Bajagic stated to me, to be "autonomous." And as stated previously, it is unlikely that Novitskova was unfamiliar with Bajagic's methods due to their connections via social media and her documented contact inquiring after the source of the image. It is not, in my opinion, tantamount to overt theft, per se, but it is the result of a lackadaisical process of research.
Now, in consideration of the second question, when and how lateral-appropriation is ethical, the answers are not cut and dry. When I describe appropriation as being lateral, I'm referring to the act of borrowing from a peer or contemporary who is essentially an equal–counter to borrowing from "authors remote in time, or alien in language, or diverse in interest." The problem with lateral-appropriation is that it risks foregoing a critical engagement with an original image or idea. Because the appropriation may not be understood by an audience as such, it lacks the second use value of promoting further discourse.
This is why the appropriation of Bajagic's screen grab, whether intentional or not, is ultimately damaging to her rights as the author of the image. Novitskova and Bajagic are, more or less, generational art peers. They are close in age and possess circles of acquaintances that overlap quite regularly. Their works are viewed digitally via identical platforms. We could argue over which is presently enjoying more international exposure, and it is likely that Novitskova would be considered by most to have more public visibility. But we can't predict where either will be in five years' time, and despite Novitskova's practice being better known in a relatively objective sense, they're of the same context. So what is at risk when borrowing from a peer artist is that their ownership over an idea or image will be negated simply by it having been presented by another artist in a broader fashion before they had the chance to do so.
Most readers will be familiar with Sherrie Levine's appropriation project in which she re-photographed works from Walker Evans' Let Us Now Praise Famous Men for her exhibition After Walker Evans in 1980 at Metro Pictures. In this situation there existed a cultural power imbalance between the two artists, both generational and in terms of gender, that renders Levine's appropriations a critical engagement with the originals. The act of the appropriation itself was political and is the location of the art in the process; the photographs exhibited by Levine are simply documents archiving this action. And, unarguably, credit was given where credit was due. Despite the cheekiness of the title and the satire inherent in Levine's execution, Evans' works retain their authority as products of their creator. Referring back to the Lethem essay, one of his main points in discussing the cultural value of second use is that a thoughtful and culturally relevant appropriation leaves the original intact. It can be a satire or even a mockery of an existing image or idea, but second use doesn't delete origin.
An issue with lateral-appropriation besides the risk of the originator of an image losing credit is also that it places them in an awkward scenario in which they must make a request to the appropriator to receive said credit. This is an unfortunate position as it then creates a substantial power imbalance between two individuals who previously were peers. Regardless of Novitskova's intentions in printing and mounting the screen grab, when that work came to the attention of Bajagic, she was understandably angered and felt slighted. The imbalance here is that Bajagic is now required to provide documentation and proof that she is the author of something that she did indeed produce, at the risk of appearing petty or jealous. That power imbalance, tipped in Novitskova's favor, doesn't have anything to do with rigorous critique like Levine's practice. It's simply an unfair outcome of casual image-grabbing.
In placing the debate in a public forum such as Facebook, Bajagic took a gamble. The ensuing conversation, and outcome, could have gone either way. Mutual acquaintances between Bajagic and Novitskova, digital or corporeal in terms of the nature of those relationships, were required to take a side, if they chose to participate in public dialogue. This understandably created apprehension on the part of those individuals, regardless of their opinion. The resultant toxic atmosphere of swearing allegiances acts as a deterrent to the appropriated to make a statement in their own favor in the first place.
Sticking up for oneself in a scenario like this is not a simple action. One must weigh the value of being recognized as the author of an image against the potential fallout from their peer community who might not take their side for a variety of reasons. Further, when the intention of the appropriator is still unclear and could hypothetically have been, for lack of a better term, innocent, there is much at stake for the emerging artist who's been appropriated. Younger artists depend greatly on their networks of peers as a support system–they provide opportunities for exposure, further networking, and, most importantly, they act as critics. There exists a natural drive to share what we produce with as wide an audience as possible, and tools like Facebook, Tumblr, Vimeo and others can be wonderfully useful in reaching new viewers. However, caution is advised, as online content has a way of becoming severed from its source very quickly. When an image is recycled by a peer artist without recognizing its source, it's not an easy task to vocalize one's disapproval. Besides the author appropriated, it's also difficult for any member of their larger network to publicly position themselves in opposition to any member of the group.
Through her communications with Bajagic, Novitskova was for the most part cordial, albeit sometimes coming across as intentionally naive to the seriousness of the situation from Bajagic's perspective. She did offer on several occasions to credit Bajagic in the title of the piece, or through a written component that would accompany the work to tell the story of how the three-dimensional object in her show came to be. At a certain point though, the communication broke down–Kraupa-Tuskany Gallery stepped in, in Novitskova's place, to convey to Bajagic that they'd reached a mutual decision with their artist that the work would remain titled as it was originally exhibited. Bajagic was annoyed, as this contradicted Novitskova's previous offers to credit her, and once again had to press them by email to change the labeling of the work.
What's transpired since then can at least be viewed as a partial positive: both the original Berlin Art Link review and Kraupa-Tuskany's website have included Bajagic's name in their respective descriptions of the piece. The title and subsequent materials description, as it now reads, is:
"Geometria MMXII, 2012 – digital image piece by Darja Bajagić (screenshot from Andrea Mantegna's tarot card drawing Geometry XXIV, posted on Tumblr 2011), UV print on acacia wood, white varnish, TV screen holder."
Now that Bajagic has received credit, at least that aspect of the situation can be considered resolved. In terms of how ethical Novitskova's response to the situation was, it appears that she and the gallery have come around, albeit over a longer period of time than perhaps necessary, to the ethical solution. It's never going to be clear whether she intentionally exhibited that image as her own without crediting Bajagic. But the fact is, many who champion free use of imagery would argue that even though Bajagic had also printed and exhibited the work before, the fact that Novitskova did it in a separate context excuses her action and even grants her an authorship over the screen grab. What's difficult here is understanding whether Novitskova's appropriation was critically intentional enough to constitute an actual recontextualization, thus giving her authorship over the work.
Such is the complication for an entire generation of artists utilizing the internet. We borrow freely from every aspect of contemporary life, repurposing everything from the Nike swoosh to bottles of shampoo, often to hilarious and thought-provoking ends. Like any cultural moment though, it's incredibly difficult to objectively take inventory of the times while we're actually experiencing it. I have no doubt that countless younger artists are directly appropriating from one another daily. It's my hope that this is being done with a certain unspoken social contract in mind; everyone of the opinion that this is how things work. To make these appropriation-based practices into a sustainable form of production, it would benefit the artists to consider being candid with one another and their audiences about images they're reworking from their peers.
It's true that it's easier to ask for forgiveness than permission, but when it comes to one's peer community, I'd wager most of them would readily grant that permission. Like I stated earlier, the worst that they can do is say no, at which point one could move forward in spite of objections, because then it's "political." Even so, simply making the effort to give due diligence in consideration of an image's origin isn't exactly a heavy responsibility. Using the original context as a starting point is part of why appropriation is often, for lack of a better term, fun. The transformation we apply to it requires that original context if our gesture is going to be read as funny, clever, critical, or insightful.
In the case of Bajagic vs Novitskova, I find in favor of Bajagic. There are no real repercussions here because, to be quite frank, we're talking about art. However, having weighed all of the elements and having read their correspondences, Novtiskova's defense that she didn't know the image in question was a work Bajagic authored doesn't hold up, in my opinion. It doesn't matter that she didn't know the image was Bajagic's; it wouldn't have mattered, whatever the source of the image had been. Novitskova's infraction lies not in the specific origin point of the image, but in the fact that she did not perform due diligence to track down that origin.


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Anyway, the hamstring strain is not healing, the sciatica nerve got bunged up inside it and inflamed from knee to glut, I make my morning outings at 11 min/mile pace (I dipped sub-10 on one run for 8 miles and was thrilled! on the road!), the 5 miles of rocky trails we have here (ok, may be 15 miles) are run in the last 4 years across and over every inch (and even that only happens once a week on Saturday, the rest is stuck to flat road loops around house)...the goals get fuzzy, and I am not a happy camper.
I am not too concerned about Grindstone, but may be it's not a good thing. As long as I get healthy by then, I plan to hike it up and jog it down (and pray for not many flat parts I am technically required to run, since that's the hurting part). I need a finish under 36 hrs (cut off) to qualify for Hardrock 100 lottery. I do hope to make it sub-30 - I'll be lying if I say I am ok to walk the whole thing, but if I need to, I will.
Because this winter will be my last time applying for Hardrock 100 lottery. It's just not working out for me here. And you can tell me to get excited, and keep on going, and suck it up...and if you think I haven't said that, or heard that, or done that, think again.
But sucking up still requires at least an inspirational point, which I ran out of. And as I tell my coaching clients, if the goal doesn't inspire you and doesn't mean something personal to YOU - forget doing anything serious and just power through. Like last season, when San Diego 100 turned in by accident and my whole first half of the year lit up all kinds of great colors...ain't happening now. Hardrock is changing, I am changing, my life is changing.
I am running low on mental and emotional fuel. The job job, the daily 8-5 one, provides security and stability (and means to run). The other things provide emotional and mental blessing, but little pay off. We can all talk about money in high-spirited terms, but the truth is, I am here, in this country, all with no relatives to help, with kids, future (very near retiring) and responsibilities to my partner in life and his goals. So, floating on dreams is not going to make me feel better if I can't pay for food - at the ripe age of almost 44 - or for those runs that still fill my soul. Lets set aside the "Ah" moments and get into real life. I work a lot and am totally wiped out, and the summer heat makes it worse, and the hard training overwhelms right now. This is THIS moment. I "coached" through this kind of moments my running clients - and I told them to drop me and pull back. So, who's gonna tell me that?
I took 8 yoga classes in the last 12 days, went to my chiropractor for some digging (and have 2 more sessions), got a massage, I stretch, I weight train per PT advice, and I shuffle flat roads to not aggravate the injury. It doesn't get better, nor does it fill my heart.
For a lot of other reasons, my life seems to be upside down right now, and I can't find a course. I will, of course, I always do...that "suck it up" part works like a charm, but right now I need to break down, to be able to re-build.
I wanted to plan on Bryce 100M next summer, and they cancelled a 100M option. No other 100M course inspires me enough in this country (or other country, which I wouldn't go to anyway) to train for. I had the same feeling last year, until, as I said many times, that email from Scotty Mills about SD100 came in. So, if I don't get into Hardrock 100 via lottery, the 100's are over. Should have done it on a high note after SD100, but wanted to give HR one last try, and signed up for qualifier...:) Well, lets make it happen then.
I never learned how to depend on anybody, and I don't know if I ever will. Sometimes I wish I could, actually, I often wish, it would make so many lives easier. But it can't happen at the snap of a finger when for 40 years nobody gave a damn.
So, here is my yearly angry post, take it for what it is. Tomorrow I am going to make 4 hrs of 3,500 feet of climb with hill repeats on trails, and I hope there will be running, but if I need to - I'll hike and suck it up. This could be my only chance to do so as a "long run", God willing. Gotta have one, right? (Actually, #4 for the 5 weeks span!)
Somebody throw some inspiration, or something. If I lived close to the mountains, I could have at least hiked up - and not care a tiniest bit about injuries, heat, training...but I don't, and I won't for a while. So, every summer, by the time August rolls around, and I am done with traveling to the mountains for the year (I only have so much vacation and spare change for that to happen), I am about to scream my head off - although more likely I end up crying my eyes out:)
Deep breath. See you on the other side of this crazy time.


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The ultimate makeover: Chocolate chip cookies
Angela Nilsen has created a lighter, yet still chocolatey cookie with just 97 calories per biscuit
Nutrition and extra info
- Freezable
Nutrition: per serving
- kcal97
- fat5g
- saturates3g
- carbs12g
- sugars6g
- fibre1g
- protein1g
- salt0.12g
- 85g butter
Butter is a dairy product made from separating whole milk or cream into fat and…
- 1 tbsp cocoa powder
- 1 tsp instant coffee granules
- 85g light muscovado sugar
- 25g golden granulated sugar
- 85g dark chocolate, about 70% cocoa solids (we used Lindt as it keeps its shape when baked)
Dark chocolatedahk chok-o-let
Dark chocolate means the shiny, dark-reddish brown treat produced from the cacao bean, theobroma…
- 1 medium egg, beaten
The ultimate convenience food, eggs are powerhouses of nutrition packed with protein and a…
- ½ tsp vanilla extract
- 140g plain flour
- ½ tsp bicarbonate of soda
Bicarbonate of soda
Bicarbonate of soda, or baking soda, is an alkali which is used to raise soda breads and full-…
Line a couple of baking sheets with baking parchment. Put the butter, cocoa and coffee in a medium saucepan then heat gently until the butter has melted. Remove from the heat, stir in both the sugars, then leave to cool.
Chop the chocolate into small pieces. Beat the egg and vanilla into the cooled butter mix to make a smooth batter. Stir the flour and bicarbarbonate of soda together. Tip it into the batter mixture with two-thirds of the chocolate, then gently stir together to combine. Don't overmix. Leave for 10-15 mins to firm up slightly, ready for shaping. Heat oven to 180C/160C fan/gas 4.
Using your hands, shape the mixture into 22 small balls. Lay them on the lined sheets, well apart so they have room to spread (you may have to bake in batches). Press the rest of the chocolate pieces on top of each cookie. Can be frozen on sheets and then transferred to bags at this stage for up to 1 month. Bake for 12 mins. Leave on the sheets for a couple of mins, then transfer to a cooling rack.


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We live-blogged SDCC 2014 in real-time throughout each day of the convention. Here is our log of all things for Boba Fett fans.
Day-By-Day Announcements
Wednesday, 7/23
- Photos of the new Walgreens exclusive (and apparently online only, with pre-sale sold out already) Black Series Boba Fett action figure were posted online
- At booth #1929, Sideshow Collectibles has their new Premium Format 1/4 Scale Boba Fett, which had previously only been seen as an artist illustration (source)
Thursday, 7/24
- At booth #3513, Gentle Giant has a life-size replica of the vintage "rocket firing" Boba Fett action figure from 1979 (source); and it has a removable rocket on its back; they also have another big statue, their usual giant Boba Fett bust above their booth
- We've seen fans creatively dressed up as Evel Fett (source), Dr. Fett (source), and a superb regular Boba Fett (source)
- LeeAnna Vamp dressed up as Boba Fett (source)
- Daniel Logan showed up and got his picture taken wearing the new UD Replicas motorcycle Boba Fett jacket (source)
Friday, 7/25
- At 11am in Room 7AB, Joe Johnston is scheduled to speak; at 12:30pm at Abrams Booth 1216, he is scheduled to sign copies (only) of his new book, "Star Wars Storyboards: The Original Trilogy" (source)
- One group panel taught everyone how to fold Boba Fett origami (source)
- Snoba Fett (Snow White meets Boba Fett) attended, as well as "Mini" Boba Fett in a special white prototype Boba Fett armor (source)
- One panel apparently introduced McQuarrie concept Boba Fett figures coming to Sideshow Collectibles (source #1, source #2) -- we're looking more into this to elaborate
- Cosplayer "Boba Phat" also made an appearance (source)
Saturday, 7/26
- At the Marvel Comics panel, the question was raised, "will we see #BobaFett?" The answer was "you'll be VERY happy." (source)
- More cosplayers, such as a Boba Fett with Slave Leia (source) and also a Rocketeer Boba Fett (source)
- Homer Simpson appeared as a 3D hologram and mentioned Boba Fett aloud to the crowd in his "talk" (source)
- Santa Cruz Skateboards featured their Boba Fett skateboard, which had one cosplayer stop by for a great photo op (source)
Sunday, 7/27
- In Room 8 from 12:30 - 1:30pm, Disney Publishing has a sneak preview to showcase some new Star Wars books and apps (source)
- At booth 5629 in Hall C from 2pm to 4pm, Acme Archives has Greg Lipton signing his Star Wars artwork, which includes a Boba Fett print (source #1, source #2)
- In Hall H at 3pm, Ashley Eckstein (Her Universe, makers of several Boba Fett dresses) is a guest in the event, "End Bullying! Responding to Cruelty in Our Culture"
- San Diego Pier Cafe featured a Boba Fett burrito for their lunch specials (source)
- One Boba Fett cosplayer settled his beef with Han Solo (source)
Artists in Attendance
- Joe Corroney (example artwork) at Artist's Alley GG-08
- Carlos D'Anda (example artwork) at Artist's Alley CC-05
- Dave Dorman (example artwork) at booth #4500
- Otis Frampton (example artwork) at booth #4505
- Alex Garner (example artwork) at Artist's Alley DD-06
- Tom Hodges (example artwork) at Artist's Alley GG-01
- Chrisopher Moeller (example artwork) at Artist's Alley II-22
- Livio Ramondelli (example artwork) at Artist's Alley CC-16
- John Van Fleet (example artwork) at Artist's Alley II-23
For the complete list, visit comic-con.org.
Vendor Booths
- Acme Archives is at booth #5629 (Hall C)
- Anovos (Jango Fett replica costume) is at booth #4536
- Del Rey Books is at booth #2913-D
- Gentle Giant is at booth #3513
- Hasbro is at booth #3213
- Lucasfilm is at booth #2913N
- Sideshow Collectibles is at booth #1929
- Titan (Star Wars Insider) is at booth #5537
After SDCC
- MTV published a photo essay on the 18 cutest couples at SDCC. Here's the Boba Fett photo with Slave Leia that made the cut.


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Please include the full names of the sire and dam of any litters posted. Also, please include health clearances normally associated with the breed.
The Classifieds for General Sporting Breed Puppies will no longer show any ads older than 60 days. During this time, any all ads may be edited by the advertiser an unlimited number of times.
You may not delete your own ad. If your litter sells out, please EDIT YOUR AD to indicate this. (Go to your ad, click the "edit" button, type in new text and hit "submit")
During the 60 day time period, all advertisers are asked to edit their ads to keep them current and up-to-date.
Duplication of any litter ad before the 60 day removal date will be grounds for ad deletion and RTF account deactivation.... (place more than one ad for a litter here and you will be "read only" on RTF)
RTF Moderator


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Yolo County Releases 2013 Crop Report | Business
This week, the Yolo County Board of Supervisors received the 2013 Yolo County Agricultural Report – an annual report which summarizes the acreage, production and gross valuation of all agricultural commodities produced in Yolo County in 2013. The total gross valuation for all agricultural commodities in 2013 was $721,636,091; an all-time high and an increase of 12.89% from 2012.
"These production figures reflect an overall higher price per unit for commodities and increases in acreage," said Yolo County Agricultural Commissioner John Young. "Field labor, processing, transporting, marketing and other farm-related services significantly multiply the value agriculture has to our county."
Processing tomatoes remain Yolo County's leading commodity with a gross value of $107,880,514, down from $111,566,739 in 2012. Although harvested acres were fewer than in 2012, the commodity increased in value due to a slightly increased price for the 2013 cropping season.
Wine grapes, almonds, rice and walnuts are in the top five commodities according to gross value, with wine grapes holding the number two position ahead of almonds. Almonds edged into third position in gross value ahead of rice. The gross value of organic production increased to just over $60,000,000 keeping it in sixth place for 2013. Alfalfa hay, sunflower seed, field corn and wheat round out the top ten commodities for 2013.
For more information on the acreage, production and gross valuation of agricultural commodities produced in Yolo County in 2013, visit: www.yolocounty.org/ag or contact the Yolo County Agriculture Department at (530) 666-8140.


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Photographer's Note
One of the beautiful baroque churches of Antigua's old town - a UNESCO World Heritage Site and a must-see of any trip to Guatemala. It makes a perfect day just wandering along the cobbled streets of the old town, visiting churches and watching people.
Picture taken from the rooftop at sunset - warm light added nice contrast with heavy dark clouds in the background.
Critiques | Translate
Antipodean (666) 2013-03-28 16:10
Kia ora Michal,
Nicely framed photo of this church taken in a good warm light. Well composed. Cheers, Neil
rogerl (1632) 2013-03-28 18:32
Michal, I lovely shot, all in yellows and golds except for the wonderful sky. The church itself is well-framed against the mountains and by the palm fronds. Interesting architecture - it reminds me in some ways of buildings in Thailand. Nicely done.
PaulVDV (51086) 2013-03-28 19:10
Hello Michal,
The setting sun creates beautiful warm tones as well on the leaves in the foreground, as on the church and on the forested hill in the background.
Nice framing with the leaves.
Best regards, Paul
baclama (19172) 2013-03-29 2:41
very good light (perhaps too hard yellow?) with original natural frame and so dramatic sky
well seen and well done
Kamilutka (8107) 2013-03-29 3:17
Witaj Michal,
piekna praca i zdecydowanie wyrozniajaca sie sposrod innych. Swiatlo i kolory zdecydowanie sa najwiekszym atutem tego zdjecia, ale rowniez bardzo przemyslana kompozycja powoduje ze chce sie na nie spojrzec jeszcze raz. Bardzo dobry pomysl z obramowaniem calosci liscmi palmy (?).
Photo Information
- Copyright: Michal Strzelbicki (mikele_pl) (2400)
- Genre: Places
- Medium: Color
- Date Taken: 2008-11-02
- Categories: Architecture
- Camera: OLYMPUS E-510, ZUIKO DIGITAL 12-60mm f/2.8-4
- Exposure: f/11, 1/80 seconds
- More Photo Info: view
- Photo Version: Original Version
- Date Submitted: 2013-03-28 14:42


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meow wrote:MRandall25 wrote:It's the first f'ing day of camp
No! He's not allowed to give up any goals! EVER! Not even if there is a fire!
Lol this made me chuckle.
meow wrote:MRandall25 wrote:It's the first f'ing day of camp
No! He's not allowed to give up any goals! EVER! Not even if there is a fire!
tfrizz wrote:tfrizz wrote:On a side note, did anyone else see the rosters for A and B? Man... B was STACKED!
Group A
7 Martin
12 Kobasew
16 Sutter
17 Jeffrey
22 D'Agostini
23 Conner
24 Mikkelson
29 Fleury
32 Leblond
36 Jokinen
39 Zolnierczyk
40 Drazenovic
44 Orpik
49 Gibbons
51 Pouliot
52 Ruopp
53 McNeill
61 Marcantuoni
70 Jarry
Group B
4 Scuderi
6 Harrington
8 Dumoulin
9 Dupuis
10 Glass
14 Kunitz
27 Adams
33 McIntyre
34 Kostopoulos
46 Vitale
56 D'Agostino
57 Thompson
58 Letang
59 Megna
60 Murray
64 Seymour
87 Crosby
92 Vokoun
Honestly, surprised it was only 5-0.
Penspal wrote:So far, on day one....- Despres is out of shape (as per Josh Yohe tweet),
columbia wrote:It's like watching a friend yet again get involved in a sketchy relationship.
You hope it works out, but it's difficult to be brimming with optimism.
Penspal wrote:So far, on day one....
- Despres is out of shape (as per Josh Yohe tweet), lgp-phreak meter registers little bump
penny lane wrote:Eric Majeski @LGP_netwolf 5h "Get your ass to the net" has been a popular HCDB quote throughout these practices.
Staggy wrote:I don't understand how it's possible for a professional athlete to arrive to camp out of shape. All you have to do is hit the weight room, bike, or ice for an hour or two a day.
Daniel87 wrote:I know it's not happening under Bylsma, but I'm curious if Jacques Martin would support giving Malkin time on the pk. Anyone know if he tends to use his stars?
columbia wrote:I'm waiting to hear what Yohe has to say on that one....
pcm wrote:No more stretch passes?
"Defensively, there are a few adjustments that we're going to add to our scheme … and I think we have to look at a transition to offense in the neutral zone a little bit differently."
I was all for firing Blysma, but I like what I'm hearing from him so far this season. I imagine J Martin is whispering a little in his ear.
Crankshaft wrote:Am I correct in assuming that this season, any positive coaching changes will be the result of J. Martin and anything bad will be Byslma's fault?
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In today's press briefing, reporters asked press secretary Jay Carney whether the Obama administration has any identifiable policy with regard to events in the Middle East. The questioning was rather pointed:
QUESTION: On Libya, the president's reaction has been fairly muted and low-key, in terms of what he's said publicly about it. And I was wondering if you could explain that.
When the Egypt unrest was occurring, he made several public statements. Does he plan to make any public statements on Libya? And what's going on — what's driving the decision to be more low-key on this?
CARNEY: Well, let me just say that the president strongly condemns, and condemned in his statement on Friday, the violence, the bloodshed perpetrated by the Libyan government in Libya. The secretary of state has strongly condemned what's happened in Libya.
The president will be meeting with Secretary Clinton, his regular meeting with the secretary of state this afternoon. We will have some announcements out of that meeting. The president will address this issue either later this afternoon or tomorrow, so you will hear from the president relatively soon on Libya.
But let me step back and again make the point that this administration has very strongly condemned what's happened in Libya.
The violence is abhorrent. It is completely unacceptable. And the bloodshed must stop.
This administration has made that clear. And we've made it clear both through the statements of the president and the secretary of state, also through our work very closely with the United Nations Security Council, their very strong statement, which I'm sure you've all read, of which we are a party.
And we continue to work with the U.N. in reviewing various options for actions that can be taken to compel Libya to stop — to end this terrible bloodshed.
QUESTION: Are steps like a no-fly zone under consideration?
CARNEY: A lot of options are under review: sanctions, other options.
But I also want to make clear that we — our thoughts and prayers are with the families of victims in Libya.
And we're also focused, as I think many of you know, on the safety of American citizens who are in Libya. It's a very high priority for this administration, the safety of American citizens. And we're making sure that those Americans are able to be evacuated.
QUESTION: Can you articulate a policy that the Obama administration has for this sweeping wave of protests that are breaking out in North African and Middle Eastern countries?
Obviously, as has been said by your administration many times, nobody could have predicted that all this was going to happen. But certainly the president and administrations long before this president have been articulating the need for democracy and for political reform.
Is there a plan in place here?
CARNEY: There is a policy. And we have been very clear about this. And what is important about this policy is that it does apply to every country in the region.
First of all, violence against peaceful protesters is unacceptable.
The rights — the universal rights of the citizens, the peoples of these countries, must be respected: the right to peaceful assembly, the right to free speech, the right to access of — to information.
And the need for reform is paramount.
These are principles that the president has enunciated when he's talked about every country in the region that's experienced unrest.
QUESTION: I won't dispute that. Those are certainly the principles that he has consistently articulated. But that's not really necessarily a policy for what to do in this country, what to do in that country, this country.
Egypt has a functioning military. Libya has a complete vacuum, a lack of infrastructure. Is there — is there a policy for not just beliefs that the president holds or America holds, but steps that the country will take given unrest in the various countries?
CARNEY: Well, the principles guide the policy.
And — and you are right to note that each country is different, and the president's made that point. Every country is different. Every country has a different tradition, different institutions. And — and a different relationship in some cases with the United States.
But is important that — that those overall principles guide our actions.
And what I would say is that in each case we are guided by the principles and also by the fact that the unrest, the demonstration by the peoples of these countries of their desire for greater political — greater access to the political system, greater freedom, for rights, we support. We support those aspirations of those people.
And we are — but we are not dictating outcomes and we are not telling the people of any country who their leader should be or should not be. That is up for the people of Libya to decide, just as it is up for the people of Egypt to decide.
QUESTION: Is it fair to call this policy, as it's formulated, ad hoc or ad libbed?
CARNEY: No, I — I think quite the contrary. It's — it's been — there is a very clear set of principles that guide the policy, and I think that when you talk about broad policies in the foreign policy arena, the ones that are not ad hoc are the ones that are guided by a broad set of principles and not situation-specific or country- specific.
Which is not to say, as I said, that how we handle or react or act proactively with regard to the situation in every country doesn't differ depending on the country because we obviously want — you know, we're looking for positive outcomes.
QUESTION: This is my final question. I'm sorry (inaudible) — you guys are prepared. You have a policy for if this were to happen in Jordan, if this were to happen in Saudi Arabia, if this were to happen in Morocco? You have plans for all of these different countries?
CARNEY: I'm not sure what you mean by "plans."
But we would be, without speculating on what might happen, our policies — our policy in the region and toward the unrest we've seen in these countries has been consistent and would apply going forward.
QUESTION: If there is a clear set of principles, why has the president chosen to not enunciate them for several days now? The last statement was from you on Friday, not from — it was the president's words, but delivered by you on Air Force One.
The president, when he comes out and makes a statement — I know you're saying might do it later today, maybe tomorrow. In the meantime, hundreds of people have been killed in Libya.
So why has he chosen to not enunciate those very principles you say are clear?
CARNEY: Well, I was merely a vehicle for that statement. The president puts out statements on paper sometimes. I happened to be on Air Force One and read it aloud. But it was also put out and disseminated everywhere on paper. …
There are now obviously various Libyan officials who are leaving the Gadhafi government, and one has come forward to say that he believes he has evidence that Gadhafi himself ordered the Pan Am bombing in 1988, which obviously is of great interest to the American people: large loss of life, huge terror attack.
What does the administration make of those reports? Are you doing anything to verify them?
CARNEY: I don't have anything on that for you.
Obviously, we're focused right now on — on — on the events that are unfolding in Libya, how we can work together with our partners internationally to take the kind of steps that will bring about the end of the bloodshed and the protection of the rights of the citizens, the people of Libya, and also the protection of American citizens still in Libya.
So I don't have anything for you specifically on that.
My favorite answer is, "I'm not sure what you mean by 'plans.'" I think a fair paraphrase of the colloquy is that the administration doesn't have a policy. Nor, apparently, does it have any plan for what to do if the current unrest spreads to additional countries, as seems possible.
Carney was asked specifically whether the administration has remained quiet about Libya out of concern for the Americans who may be stranded there:
QUESTION: Is he more cautious because of what you said about the Americans that are on the ground in Libya, is that a key driving force here to make sure they're safe and if he went out there and spoke it might backfire?
CARNEY: The president is obviously concerned about the safety of American citizens. No question. And that is an important factor in any country.
And the circumstances of American citizens are different in each country. The protections they have, say, at the embassy, might be different in one country than the protections they have in another. All of those factors are important in how we approach these situations and how the president looks at them.
He is also extremely concerned and alarmed by the horrific violence and bloodshed that's happened in Libya. And we have made that clear and he will make that clear, as I said, this afternoon or tomorrow.
You can make of that answer what you will.


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Miranda - The Prodigal part 3
Walkthrough - Miranda - The Prodigal part 3
Shipping Cargo: For the time being, heading to Shipping Cargo will seem like a bit of an unnecessary aside, but considering it will help you to recruit a character later more quickly, you should do it now and save yourself the trouble later. The woman you're seeking out here is another Asari, one named Seryna. Liara would have alerted you to the fact that she knows the whereabouts of one of the characters you're going to find and bring into your party later, a devious assassin. Pick her brain about everything she knows, but don't get too overzealous here. At the end of the conversation tree, Seryna will offer to bring you directly to the assassin's location. Don't take her up on this yet, and tell her you need more time. When you finally get back to Illium to recruit the assassin, all you have to do is walk up to Seryna and speak with her to head on your way, without doing all of the extra legwork we just took care of. Nice!
Tracking Offices/Baria Frontiers: Head over to the Tracking Offices and Baria Frontiers, which is located at the southwestern end of the map. Over there, you can find some persons to speak with (which we will get to soon enough), though there's a human female sitting on a chair directly next to the Tracking Offices that you should seek out. This woman knows Shepard. Though she remains nameless, she was a colonist from a colony that Shepard liberated during the original Mass Effect. While thankful to Shepard for seeing her and her people off of the colony alive, their time on the colony has left them with serious medical problems. They've journeyed to Illium to get a good deal on medical treatment, though a botched contract has this woman in a bit of a bind. If you want to help her, you can, which will unlock the side quest known as Illium: Medical Scans. More information about it can be found at the Side Quests section of this guide.
Tracking Office: While we visited the human colonist near the Tracking Office, there's someone you want to meet at the Tracking Office itself. Find an Asari named Officer Dara, who is sitting at a lone desk at the modest office. When you do, you'll be able to pick her brain about the whereabouts of another person you're eventually going to recruit, someone named Samara. Samara is a Justicar of the Asari people, and is currently a fish-out-of-water on Illium. Officer Dara will be happy to give you the information you seek about Samara's whereabouts, and you can talk to her about a number of other subjects as well. When she offers to hail a cab for you to get to Samara's general location, however, turn her down for the time being. We have other matters to attend to. Thankfully, having this conversation with Officer Dara now will save you a considerable amount of time later, when it's finally time to pursue Samara.
Memories of Illium/Gateway Personal Defense: On the eastern edge of the southern part of Illium's map, you'll find a couple of non-descript shops. One is a souvenir store called Memories of Illium. The other is a more useful store that sells weapon and armor components, a place called Gateway Personal Defense. Be sure to visit both store podiums to browse what they have, purchasing whatever you need in the process. Memories of Illium is an especially important store, not because of its goods, but because of the woman who works there. The Asari nearby, leaning against the rail, is part of the side quest known as Illium: Blue Rose of Illium. More information on that side quest can be found in the Side Quests section of the guide.


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Hi Everyone!
(Scroll down further for links to PDF files of the actual documents)
Kathryn Barrett, our library's genealogy program speaker for our May 2012 program, was kind enough to provide me with a series of paper handout aids that are at the Great Lakes Region of the National Archives and Records Administration (NARA) that can help the genealogical researcher. Kathryn does volunteer work at the Great Lakes Region for genealogy.
I thought this presented an opportunity for me to scan these aids and ultimately get them up on the blog to help other researchers be able to read up on some of the handout material available at both the National level of NARA as well as local to us here at the Great Lakes Region location at 7358 South Pulaski Road in Chicago, IL and some other local regional offices of NARA.
As you can see I have created this additional "page" on this blog to accommodate the 27 documents that Kathryn provided to me. These documents are in the form of PDF files. Some are single page documents, some are multi-page documents. Some have short, manageable titles, some have extremely long titles. They are generally in alphabetical order.
When you open one of the PDF links just look to see at the top of the page if it looks like it indicates the document originates from the Great Lakes Region located in our area. It will be more meaningful to you if you will be going to the facility in our area to do your research. Some of the documents apply to some of the "other" local regional offices or even to the national location in Washington, D.C.
They may still be used as the "handouts" but it is possible that some may be out of date.
You may just want to peruse the titles and see if any could be of help to you in your own research giving you enough background information to pique your curiosity on data that exists that you may never have known about.
Or you may just want to be aware that they exist on this blog if it strikes you in the future you might want to check them again.
Enjoy the documents.
- Family History Research Using Original Records – The Great Depression and Second World War Years, 1929-1945
- Instructions for Using National Archives Microfilm Publication M1285, Soundex Index To Naturalization Petitions for the United States District and Circuit Courts, Northern District of Illinois and Immigration and Naturalization Service District #9, 1840-1950
- Microfilmed Federal Non-Population Census for Social Statistics, 1850-1880 and Defective, Dependent, and Delinquent Schedules, 1880
- Microfilmed Federal Non-Population Schedules for Manufactures Schedules 1810-1820 and 1880 and Industrial Schedules 1850-1870
- Naturalization Records of Federal Courts in Illinois, Indiana, Michigan, Minnesota, Ohio and Wisconsin At the Great Lakes Region
- Request Form for U.S. Citizenship and Immigration Service Copies of Records That Are Not in the National Archives
I want to especially thank Kathryn Barrett for providing these guides to me that she obtained from the Great Lakes Regional center of NARA. It does astound me about the variety of data that exists within NARA that makes genealogical research so fascinating when we consider more than just searching surname indexes! These "aids" give you an insight into materials that are available that you would never have thought about!
I hope you enjoy the variety of the links above. Take a peek at some of the links to see what our National Archives puts together to help genealogy researchers.
Tony Kierna
Genealogy Coordinator
Schaumburg Township District Library


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Ali Fedotowsky graces this week's cover of InTouch magazine with the headline, 'Bachelorette Lies & Betrayal.' Please note that this story contains some spoilers about the show, so please do not read any further if you do not want to know any spoilers.
The magazine touches on the men that will end up betraying Ali this season on The Bachelorette, case in point Justin Rego, who had not one, but two girlfriends while on the show. The not so big shocker comes when the mag claims the show's producers might have knowingly set up Ali with unsuitable guys, simply to create drama for the show.
Ali's mom, Beth Johnson, tells the mag that when it comes to falling in love, Ali has never had a specific physical type. "It doesn't matter" to Ali what her dates look like. In fact, "Ali has dated guys who are unattractive in other people's eyes. It is who they are inside that matters!"
Frank kissing girlfriend Nicole Caruso
And it seems the show's producers decided to take advantage of Ali's "open — and somewhat needy — nature" by steering her into the arms of more than one unsuitable guy. While it's been widely reported that wrestler Justin will be sent home for two timing Ali, In Touch also reveals that nice guy manager Frank Neuschafer also has a major secret of his own.
"Frank was the early favorite because he had the first date of the season with Ali, but by the end of the show, women are going to hate him," Bachelorette insider "Reality" Steve Carbone tells In Touch. According to Steve, Frank has a girlfriend back in Chicago whom he's "still in love with." And even though the producers were aware of this, they never warned Ali, 25, thus leaving her heartbroken and humiliated when she found out.
"Ali was left in the dark," says Steve, who reveals that she went so far as to take Frank to Tahiti as one of her final three — only to have him tell her, in the midst of a super-romantic date, that his heart belongs to Nicole back home. "There was no rose ceremony — he just left," Steve shares, adding that it was devastating for Ali.
There are however conflicting reports about Frank and this GF. While a previous report claims Frank and Nicole Caruso, 23, were broken up before he went on the show, Star magazine claims Frank was still with Nicole before leaving to do the show. The mag claims he only went on the Bachelorette to try to further his career.
"Frank wants a screenwriting career, and he assured her that he was only going on The Bachelorette for the show business exposure," a friend of Nicole tells Star. "This whole business about Frank wistfully longing for a former girlfriend seems like a sham. He and Nicole were rock-solid when he left for the show, and I believe they still are. He never had any interest in Ali."