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1974 Dodge Dart Sport - Three Strikes, You're In
Despite Its Atypical Styling, A White Vinyl Top, And A Smog-Choked Motor, This 11-Second '74 Dart Is So Weird, It's Cool.
Sometimes you just have a bad year. Just ask Britney Spears or the 2004 New York Yankees. Such misfortune is no stranger to the Big Three either, and in the world of musclecars, every year after 1972 was a bad one. While it's understandable why the OEs had no further need for hot rodders inside their engine shops, it seems like every stylist who knew anything about styling was mysteriously replaced by a new crop of Art Center flunkies. Perhaps they went on to make better use of their talents by pursuing careers in women's handbag design. Who knows what really happened, but some models survived this deplorable era with their dignity intact. With its groovy post-'72 body style, far-out white vinyl top, and righteously smog-compliant (pre-mod) 360 small-block, Randy Gunter's '74 Dart Sport has three irrefutable strikes against it. Nevertheless, these idiosyncrasies make for a surprisingly competent 11-second street machine that's so unorthodox, it's cool.
Since Mopar made this all possible, it deserves much of the props. After fecal matter had already splattered everywhere in most GM and Ford vehicles by 1974, it was still mid-air in its ascent to the fan at most Mopar showrooms. Compared to contemporaries like the Nova, whose top-of-the-line 350 couldn't even crack 200 hp, the '74 Dart's 360 mustered nearly 250 ponies. And let's not even get into what happened to the Mustang that year. Furthermore, while it wasn't immune to the industry-wide styling dilution of the day, the Dart Sport still shared much of its aesthetic DNA with Dart Demons of a few years prior. Sure, Mopars may not have been as popular as their cross-town rivals, but the grade of its slope wasn't nearly as steep as the rest of Detroit's downhill tumble.
Taking advantage of this fact, at least subconsciously, Randy saw potential where others were merely blinded by the cloak of an atypical body style. "It was just a situation where I was driving down the road about four years ago, saw an unusual-looking car for sale, and decided I wanted it," he recollects. Understandably, it could conceivably take a loyal Mopar man to appreciate a '74 Dart in the first place, and this was definitely the case. However, having sampled an eclectic mix of Detroit iron in the past, Randy isn't your typical Mopar fanatic. "My first car was a '71 Dart Swinger, but I've also owned Camaros, Trans Ams, and Novas. From my experience, I've always felt that Chrysler offered the best motors per cube from the factory, so after the kids grew up and left the house, I decided to get another one."
While it takes a lot of explaining to justify spending $7,500 on a car Randy describes as "unusual," the story behind the madness confirms that he is indeed in his right mind. "The car's original owner brought it into the dealership to have some work done on it, but for some reason he never came back to pick it up," he explains. "After sitting in the back lot for seven years, one of the mechanics got a salvage title for it and turned it into a track car. Fortunately, he didn't hack the car up, and since it sat abandoned for so long and was then driven only occasionally at the dragstrip, it only has 24,000 original miles. The body panels are all original, and the only thing that's ever been replaced inside the car is the carpet."
The result of spending what at first seems like an absurd amount of cash on an "unusual" car is a project that required no bodywork, interior work, or any type of restoration whatsoever. That allowed digging into the good stuff right away and building the car on a brisk six-month schedule for under $25,000. Almost immediately after purchase, Randy drove the Dart to Mike Miller at Miller Performance (www.millerperformance.net) for a complete motor and driveline revamp. Although the factory 360 was running fine, Randy yanked it out and built a stroker with the intent of bruising some egos on the street. The block was bored .030-over and fitted with a Scat 4.000-inch cast-steel crank for a total displacement of 408 ci. The motor's larger appetite was addressed with a set of ported Edelbrock Performer RPM heads, a Mopar Performance M1 intake manifold, a custom 258/266-at-.050 solid roller cam, and a Holley 750-cfm carb. On the dyno, the combo puts out a respectable 565 hp.
To ensure that the driveline could keep pace with the additional grunt, Miller Performance installed a 727 trans, and beefed up the factory 8 3/4-inch rearend with Moser 35-spline axles and a spool. Hook comes courtesy of a set of custom ladder bars, and Mickey Thompson 255/60R15 drag radials good for 1.58-second 60-foot times. Even with the camshaft's impressive duration specs, the factory power front discs and rear drums efficiently bring the Dart to a halt.
So far, the car has run a best of 11.37 at 117 mph, despite the fact that track prowess was never Randy's original goal. His intention was to build a stout street racer, but it ended up being a bit too stout after his buddies kept donating parts and the combo became more radical than planned. "When the car had the original 360, it had a nice rumble and I got a lot of challengers on the street, but after dropping in the 408, I couldn't get anymore action," he says. "I had never even been to the dragstrip before, and thought 'how hard can it be to pull up to the tree and hit the gas?' I found out there are about 10,000 things that can go wrong on each pass, and at least one of those things is usually happening. I was humbled very quickly."
Not knowing what to expect as the Dart was being assembled, the car has exceeded Randy's expectations. Now that his target e.t. of 12s has been toppled, he's debating whether to keep pushing or take it easy for a while. "The racer in me says to go faster, but the other side of me realizes that going faster will require cutting up the car and adding more safety equipment," he explains. "Since I have no rollbar in it, I've been asked to put it on the trailer a few times. The good thing is, my windows have a nice dark tint to them so sometimes the track officials just don't notice."
Since Randy's original plan involved boulevard brawling, it comes as no surprise that cruising through town is what he enjoys the most. In the rare instance that someone has the audacity to put up their dukes, the Dart's 408 is ready to deliver a crushing right hook. "Compared to other cars I've owned, driving the Dart is like holding your finger on the trigger of an atomic bomb," he quips. "You know you can use it, but really bad things can happen if you're not careful. I've had the privilege of humbling many Camaros, Corvettes, and Mustangs."
Without question, Randy's built a formidable street/strip combo out of an "unusual" platform, a body style that's not fully embraced even by the Mopar crowd. That means that Randy's either an oddball or a pioneer. Perhaps it's too early to tell, but Randy's escapades make one thing certain. Despite its groovy post-'72 body style, far-out white vinyl top, and righteously smog-compliant (pre-mod) 360 small-block, Randy's "unusual" '74 Dart isn't almost cool-it is cool.
|Where The Money Went
|1974 Dodge Dart:
|Engine block (original):
|Rotating assembly:
|Timing set:
|Cylinder heads (used):
|Head work:
|Intake manifold:
|Ignition box:
|Plug wires:
|Oil pan:
|Oil pump:
|Headers (used):
|Mufflers/collectors (used):
|Fuel system:
|Water pump:
|Cooling fans:
|Rear suspension:
|Front suspension:
|By The Numbers
|1974 Dodge Dart Sport
|Randy Gunter, 52
|Benbrook, TX
|Total cost to build: $24, 360
|Chrysler 408ci small-block
|Chrysler block bored to 4.030 inches
|stock pump, Milodon eight-quart pan
|Rotating assembly:
|Scat cast crank and steel rods; Ross 11.5:1 pistons
|Cylinder heads:
|Edelbrock Performer RPM aluminum castings with 2.02/1.60-inch valves ported to flow 268 cfm
|custom Straightline Performance 258/266-at-.050 solid roller, .638/.630-inch lift, 108-degree LSA
|Crane lifters and 1.6:1 roller rockers, Cloyes timing set
|Mopar Performance M1 intake manifold, Holley 750-cfm carb
|MSD distributor; 6AL ignition box, coil, and plug wires
|Fuel system:
|stock tank; Holley blue pump and regulator
|Hooker 1 7/8-inch long-tube headers, Dynomax bullet mufflers
|stock water pump and Autozone electric fans
|565 hp at 6,500 rpm, and 527 lb-ft at 5,000
|Built by:
|Miller Performance (Haltom City, TX)
|Rear axle:
|Chrysler 8 3/4-inch rearend; Moser 35-spline axles, 4.10:1 gears, and spool
|Front suspension:
|rebuilt stock
|Rear suspension:
|rebuilt stock with custom ladder bars and subframe connectors
|factory discs, front; stock drums, rear
|American Racing Torq-Thrust II 15x6, front; 15x8, rear
|Road Hugger 215/65R15, front; Mickey Thompson 255/60R15 drag radials, rear


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Keeping Your Children Safe from Scald Injuries
Most people, when they think about severe burns, automatically imagine fire as the main cause of these devastating, life-changing and sometimes fatal injuries.
Fire is more dangerous that hot water in many ways – hot water doesn't stay hot, it doesn't spread to clothes and other fabrics and materials in the same way as fire does. Once hot water has made contact with skin, it starts to cool almost immediately. However, hot water and liquid vapours can still be very dangerous indeed and they present a particular danger to babies and young children in and around the home.

subset: commoncrawl


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My apologies for not keeping up with this site, but I hope to keep up with it, as I am reviewing a book dealing with the period, and I hope to get other writers involved.
I have been meaning to write something about the documentary "The War That Made America" for some time now. As one who enjoys good television programming on the subject of early American history, I not only own this show, but both "Frontier" series put out by the History Channel (back when it was good), as well as the A&E documentary "The American Revolution", which is a classic (reviews on these will appear some day).
That said, I would like to highlight some of the good parts, as well as some of the bad with this program. The documentary is narrated very well by Graham Green, an Oneida actor who had ancestors that fought in the conflict. The documentary is packed with information and good living history excerpts. It examines the war from all sides and discusses many of the important figures and events of the war, though sometimes with only a mention. In addition to good narration and balance, the research is quite solid. Finally, the acting for the living history is good and certainly not as annoying as recent documentaries on The History Channel.
There are a couple of problems that I do have with this program. While the acting is quite good, the way it is presented is somewhat awkward. This is because in many of the scenes the main character in question (Washington, the Marquis de Montcalm, etc.) pulls a stunt out of Saved by the Bell, in which the scene seems to freeze with the actor portraying the character in question talking to the audience. While the tactic is interesting and makes the attempt to have a historical figure communicate with the audience, I believe that a traditional scene, similar to a movie would be more appropriate. This is only a small problem that does not negatively affect the value of this program much.
The other, more serious, problem is the portrayal of George Washington. The program portrays Washington as a brash and blundering young man. While this may be somewhat true based upon the events involving him and the ignition of the war, it must be noted that if he were so brash and blundering, how could he have secured a position as a major in the Virginia militia? Yes, his family was well off, but Washington did possess valuable experience.
In addition to the portrayal of Washington, another problem is the overt amount of attention paid to him by the program. While I certainly revere Washington and admire him, I also know that he was a minor player in the grand scheme of the war in America. More attention could have been paid to other aspects of the conflict, like the siege of Louisbourg.
Overall, while there are minor problems, I find this program to be very good and a useful tool for educators wishing to find a good program to show classes dealing with this period. I applaud PBS (which is a rarity given my views on their politics) on this fine program and encourage everyone to consider watching it.


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Friction welding: the technology
Friction welding is used to join materials of the same type as well as different materials such as aluminum and ceramic or aluminum and steel. The one and only condition: one of the two parts to be joined must be rotationally symmetrical.
Friction welding is subdivided into four stages:
- Frictional contact phase: One of the workpieces is rotated. Simultaneously, the other component is pressed against it with a defined level of pressure.
- Friction phase: The contact surfaces heat up due to the relative motion (rotation) and the simultaneous pressure.
- Forge phase: The rotation stops and the pressure is increased once again. This enables the plasticized material to be joined to the other component.
- Holding phase: Both materials remain under pressure and can then cool down slowly.


text: This central lobby area welcomes guests to speak with a Guest Relations specialist should they have a question or require any service. Assistance is available 24 hours a day. For guests wishing to make shoreside arrangements, the Silver Shore Concierge is available to assist with knowledgeable suggestions and personalised coordination of all private, independent touring including sightseeing, water sports, golf and more. The Cruise Consultant can prove indispensable when planning your next Silversea voyage, or should you wish to extend your current voyage for a day, a week, a month… Like having your own personal onboard Silversea professional, the Cruise Consultant will help you to select the perfect voyage, reserve your preferred suite and provide immediate confirmation.


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Seminary Community Rallies at March for Life
January 24, 2011 • Washington, D.C.
Amid the signage at the March for Life rally this year in Washington, D.C.— "Choose Life: Your Mother Did," "Everyone Deserves a Birthday," and "I Regret My Abortion"— waved a banner embossed with the "St. Vladimir's Seminary" name and logo. Thirty members of our campus community braved the January chill to gather with thousands of pro-lifers on the National Mall to mark the 38th year since the U.S. Supreme Court handed down Roe v. Wade, legalizing abortion.
Our seminary Chancellor, Archpriest Chad Hatfield, accompanied seminarians and their families to the annual March, where they joined other Orthodox Christians, including His Beatitude Metropolitan Jonah, primate of the Orthodox Church in America (OCA), who opened the pre-March rally, and Archpriest John Kowalczyk of Jermyn, PA, who delivered the benediction.
"Life is a gift from God and we were in Washington, D.C. to make that witness," noted Fr. Chad. "This year, I was struck especially by the youthfulness of the participants. Most were young women, and the crowd was around 350,000 people.
"I am also so thankful for the warm hospitality given by St. Nicholas Cathedral to the seminarians and their families, who traveled from both St. Vladimir's and St. Tikhon's Seminaries to 'March for Life'," Fr. Chad continued.
Prior to the March, Metropolitan Jonah presided at the celebration of the Divine Liturgy at the OCA's St. Nicholas Cathedral in the nation's capital. His sermon, which set the tone for the Orthodox Christian marchers, may be viewed on the OCA web site at www.oca.org.
On March 26, 2011 Metropolitan Jonah will monitor a forum with our campus community, which will examine "beginning of life" issues.
View photo galleries of the March for Life 2011 by Dn. Gregory Hatrak and Tanya Lapchuk Hoff.


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In Reply to: Period posted by RRC on September 19, 2008 at 04:26:
: : I am a subscriber to your 'A phrase a week' service and I was wondering if you could help me out with something that is stuck on mind since a couple of months. If you have seen the movie The Pursuit of Happiness there is a scene where Will Smith is talking to his son telling him about how he should never let anyone tell him he can't do something and he goes like," If you want something go get it. Period". I never really understood what adding 'period' to the end of a sentence meant. I thought you could help me out.
: A period is that little mark you have put at the end of each sentence which in British English is known as a full stop. The usage you are describing places emphasis on this idea.
: If you want something, go get it - period - full stop - I have spoken - there is nothing more to be said - don't ask questions, don't quibble, don't argue - that's the way it is.
Period. (End of statement.)


text: Back to search results Manufacturing Assembly Location New Bern, North Carolina Job type Contract/Temporary Salary $9.50/Hour Category Industrial & Manufacturing - Assembly / Production Adecco is assisting a local client recruiting for Manufacturing Assembly jobs in New Bern, North Carolina. These jobs are temp to hire opportunities! As a Manufacturing Assembly worker, you will operate production machines, ensure the manufacturing lines have enough product to continue running, complete job quality and production reporting, and ensure quality control requirements. Responsibilities for Manufacturing Assembly jobs include but are not limited to: Reading and comprehending instructions and following established procedures Collecting all material and equipment needed to begin the process Taking precision measurements to ensure a perfect fit of components Selecting or modifying components according to measurements and specifications Aligning material and putting together parts to build more complex units You should meet the following qualifications to be considered for a Warehouse Production Associate job: 1 to 2 years of warehouse experience is required Must be able to lift objects up to 40 lbs. Ability to understand and follow verbal and written instructions What's in this for you? Pay rates starting at $9.50/hr, plus overtime as needed! Weekly Pay – you receive a paycheck every week Casual, warehouse Work Environment – dress casual and enjoy a casual, laid-back atmosphere Comprehensive benefits after 1 week – medical, dental, vision, options available Generous Bonus Incentives offered for referrals! For more information, ask a recruiter today! We have openings on 2nd shift. Click on "Apply Now" to be considered for this Manufacturing Assembly job at a local client in New Bern, North Carolina! After submitting your application, you can choose to answer a few quick questions to be pre-qualified for the job, and you will have the opportunity to schedule an immediate interview! Adecco is committed to the health and safety of our applicants and employees. We are offering virtual interviews as needed and when possible. And we're partnering closely with our clients to ensure safety protocols are in place. We are dedicated to addressing any concerns brought to our attention. We look forward to partnering with you on your job search! More Information Share


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Should you look up Foxoak St, Cradley Heath, West Midlands B64, United Kingdom on Google Street View and move the camera toward the sky, you may notice something a bit off. I don't know what's more disconcerting: proof of alien battle cruisers or the fact that they've been cribbing human designs.
[Reddit via Dangerous Minds]


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After 90 years at Western Springs, Auckland Zoo is opening a "show home" for endangered New Zealand species on Rotoroa Island in the Hauraki Gulf.
To mark the birthday, the zoo has received a $4 million gift to extend its boundaries to establish a wildlife conservation sanctuary on the island.
It is envisaged the gift will eventually see Rotoroa Island become a drawcard like Tiritiri Matangi Island with the added attractions of its colourful history and four beautiful beaches.
It will take the island and the zoo to the next level, according to the partners in the project - Auckland Zoo and the Hutton Wilson Charitable Trust, whose backers Neal and Annette Plowman have contributed the $4 million for the project.
This is on top of the $30 million-plus the Plowmans have spent funding a 99-year lease from the Salvation Army to create a conservation park and restore historical features of the former alcohol and drug rehabilitation centre, including a chapel, jail and school house.
The latest project is part of a transition of healing the body and soul for 100 years to a new century of healing the land, which started in 2008 with cutting down and mulching 20,000 pine trees and planting 400,000 native plants.
Ian Fraser, the zoo's New Zealand fauna curator who will oversee the conservation sanctuary, says it will not be a purist's restoration project that discounts wildlife that had never occupied the island but more of a "show home" with a strong focus on education.
"This will be a great platform to train conservationists of the future," he said.
The project will begin with a survey of the existing birds, reptiles and invertebrates, leading to a 25-year wildlife restoration plan.
Apart from mice, the island is virtually pest-free. Rats have been eliminated in the past year and there is a comprehensive set-up of 120, GPS-tracked bait stations. However, Rotoroa's proximity to Waiheke, Ponui and Pakatoa islands means it will always be susceptible to pests.
The island has a limited number of native wildlife species, such as tui, kingfishers, weka, dotterels and petrels, but Mr Fraser said this would change in the next year or two.
He said the first birds to be relocated to the island could be "relatively robust" kiwi, either brown kiwi or little spotted kiwi. Other birds that could eventually settle are saddleback, whitehead, robin, bellbird and kakariki.
Mr Fraser said the island, with 30ha in grass, could also take the flightless takahe, one of New Zealand's most endangered and popular species.
Other possible wildlife are giant weta and endangered skinks and geckos.
Zoo director Jonathan Wilcken said wildlife would have to be managed carefully in conjunction with other island sanctuaries in the gulf.
"New Zealand leads the world in island restoration and has always shown more appetite for managed conservation," he said.
The zoo plans to establish a school programme in the hope a generation of children will grow up with a sense of ownership in the renewal of Rotoroa Island. About $280,000 of the $4 million gift will be spent on a Rotoroa Island display at the zoo's new $16 million Te Wao Nui New Zealand precinct.
A reptile house and aviary will be built on Rotoroa as part of $1.5 million assessing existing species and introducing new ones. The funding, over five years, provides operational costs for the council-owned zoo at no cost to the ratepayer.
Mr Wilcken said the $4 million birthday gift was an extraordinary act of philanthropy by the trust, which could never have happened otherwise.
The Plowmans, who made their money through New Zealand Towel Services, are an intensely private couple who live in Kerikeri and leave matters to the trust.
Trust chairman Barrie Brown said the public would be able to see active conservation on the island, east of Waiheke Island and a 75-minute ferry ride from downtown Auckland.
Trustee John Gow said creating a sanctuary on Rotoroa Island for endangered wildlife was a natural extension to protecting its conservation and heritage.
Since February 2011, the 82ha island has been open to the public after being off-limits to everyone apart from 1200 recovering alcoholic and drug addicts cared for by the Salvation Army.
When visitors and boaties arrive at Home Bay, they find the remnants of the Salvation Army's treatment centre, including a primitive two-cell jail block, a simple brick chapel containing several craft works made by patients, a restored schoolhouse dating back to the 1860s, a buttery/butchery and a woolshed-style exhibition centre, designed by architect Rick Pearson.
Visitors have a choice of walks, one of which goes from Home Bay, past a wetland to pristine Ladies Bay, where there are changing rooms, toilets and barbecue facilities. From there, it's a relatively easy climb through one of the remaining stands of native trees to a cemetery, surrounded by a white picket fence overlooking a dramatic headland.
At the southern end of the island a dramatic Chris Booth sculpture points out to sea and nearby Ponui Island.
Doorstep sanctuary
*The 82.5ha Rotoroa Island is east of Waiheke Island.
*It and neighbouring Pakatoa Island were used by the Salvation Army as an alcohol and drug rehabilitation centre.
*The army bought Rotoroa in 1908 and public access to the island was banned.
*After catering for thousands of people, the army's centre at Rotoroa closed in 2005.
*A 99-year lease was bought by a trust in 2008.
*The island is being turned into a conservation park, funded by Neal and Annette Plowman.
*The Plowmans, through the trust, are contributing $4 million to create a wildlife sanctuary with Auckland Zoo.
Getting there
360 Discovery operates ferries to the island seven days a week between December 24 and February 6 and five days a week between February 7 and April 28.
Current wildlife
Weka, New Zealand dotterel, grey-faced petrel, tui, kingfisher, little grey warbler.
Possible new wildlife
Kiwi, whitehead, saddleback, robin, bellbird, kakariki, takahe, giant weta, flax snail, shore skink, moko skink, robust skink, Duvaucel gecko


text: Building F Expansion Page ContentThis addition will expand the services and classes provided by the Business School, Building M, and the Arts School, Building F. Addition of nine business labs and two large instruction rooms for the business program in Building M. Expansion to Building F will incorporate a ceramic lab, 2D design lab, art gallery, computer lab, kiln area and improvements to the courtyard. From top left: 1) North entrance to Art Gallery. 2) Building F entry facing west. 3) Interior of Art Gallery. 4) Corridor in Design Labs and Sculpture area. 5) North entry to Building M. 6) Corridor showing computer labs. 7) New computer classrooms. 8) Computer lab looking into corridor.


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Throwback Clip Of The Week: Young Buck And G-Unit In Amsterdam! (Buying Weed & Studio Sessions)
Old footage of Young Buck and G-Unit in Amsterdam, buying weed and studio sessions with Lloyd Banks
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SOMERSWORTH — A handful of PainCare patients are currently experiencing meningitis-related symptoms and one person has been hospitalized in relation to a widespread fungal meningitis outbreak, PainCare's owner and CEO Michael O'Connell said Wednesday.
However, New Hampshire is still reporting no confirmed cases in an outbreak that has sickened well over one hundred people — killing 12 — across a number of states.
O'Connell said cultures from several patients currently experiencing symptoms were sent to a University of Massachusetts laboratory for further testing. The results of these tests won't be known for an additional one to two weeks.
"We've notified, educated, and invited patients who may be experiencing symptoms to come in for an assessment and evaluation," O'Connell said. "Some additional patients may be sent to the hospital for cultures or blood samples — we're being extra safe and taking extra precautions."
These safety measures are in response to a widespread outbreak of fungal meningitis linked to a contaminated steroid shipped from a Framingham, Mass., pharmacy to 23 states. The company, the New England Compounding Center, has recalled all products and shut down all operations since the tainted medication was first discovered roughly three weeks ago in Tennessee.
As of Wednesday night, 137 cases and 12 deaths were confirmed throughout 10 states, However, health officials estimate up to 13,000 people may have been exposed to the steroid since May.
On Tuesday, the Department of Health and Human Services said up to 742 patients across New Hampshire were identified as having been possibly exposed to the recalled product, which are linked to three PainCare clinics throughout the state.
Last Thursday, the DHHS announced Somersworth and Merrimack PainCare clinics had received shipments of the tainted medication before these health risks were uncovered. More recently, it was announced on Tuesday that Paincare's Newington location was also linked to the tainted steroid. The company quickly pulled the product from shelves after learning of these health risks.
O'Connell said his staff is fully devoted to tracking down patients who may be exposed to the medication.
"We have roughly 50 employees who've been putting in 16-hour days now in relation to this," he said. "These are our patients and it's out responsibility."
To date, PainCare contacted nearly 700 patients. O'Connell said while 40 to 50 still haven't been reached, the DHHS would try to contact them by the end of the day Wednesday.
The Centers for Disease Control and Prevention originally identified 186 patients who had been exposed to the drug between July 1 and the end of September as the "core group" of patients PainCare needed to contact in relation to the outbreak. Since then, this group increased as dates expanded and those exposed to the medication have increased.
So far, those with confirmed cases of the outbreak received epidural injections for back pain. Although the medication has not yet been linked to muscle or joint injections, O'Connell said patients who received these procedures have also been contacted as a safety precaution.
The medication in question was shipped to 23 states: California, Connecticut, Florida, Georgia, Idaho, Illinois, Indiana, Maryland, Michigan, Minnesota, North Carolina, New Hampshire, New Jersey, Nevada, New York, Ohio, Pennsylvania, Rhode Island, South Carolina, Tennessee, Virginia, Texas and West Virginia.
Thirty-nine of the fungal meningitis cases, six of them lethal, have been in Tennessee. Cases have also been reported in Michigan, Virginia, Indiana, Maryland, Florida, Minnesota, North Carolina, Ohio, and most recently, New Jersey.
There are many different types of meningitis, a general term for an infection or inflammatory process involving the lining of the brain and central nervous system. The cases under investigation have no relation to the much more common forms of bacterial or viral meningitis. Although this particular form of meningitis cannot be passed from person to person, it can be very dangerous, even fatal.
Symptoms of meningitis include headache, fever, nausea, neck stiffness, and sensitivity to light.
"We were injecting medication we thought was of a high-quality," O'Connell said, while also mentioning the company was following all current guidelines. "We're taking this very seriously — we're on top of everything that has been occurring."
Some N.H. PainCare patients have meningitis symptoms
SOMERSWORTH — A handful of PainCare patients are currently experiencing meningitis-related symptoms and one person has been hospitalized in relation to a widespread fungal meningitis outbreak, PainCare's owner and CEO Michael O'Connell said Wednesday.


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anybody seen the movie shenendai or something. it was made in like the 60s its got gregory peck. not really a war movie but its set during the civil war about a father whose son is mistaken for a soldier and sent to a prison camp and the dad and his sons go out looking for him. i thought it was a good movie.
and the lost battalion and glory are two of my favorite movies ever.
another good one was all quiet on the western front and enemy at the gates.


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Etch A Sketch Time for the GOP
Hard right rhetoric in the House and Senate will cool as November nears.
Call it "the Romney Effect," or call it a GOP bent on recapturing the White House, but whatever the name or rationale for taming partisan rhetoric, it comes down to gaining some much needed political wiggle room for the presumptive Republican presidential nominee.
House Republicans know they have to tone down the diatribes and stop hiding behind their uncompromising agenda if they're to accomplish their goal of ousting President Obama. Refuse to budge at least a bit from their never-give-an-inch mentality and it could cost Mitt Romney support from centrist voters. He absolutely needs the political middle to maintain any hope of winning in November.
Romney can expect some compromise from House GOP hard-liners on holding down student loan interest rates and maybe even on creating revenue by closing some corporate tax loopholes. And don't be surprised if the majority party in the House also tones down its debt ceiling rhetoric; it has been threatening to let the government hit the ceiling unless Washington cuts more spending.
The Republican nominee-in-waiting will have to prod some Senate Republicans into modulating their right-wing agenda as well, but that's far easier than the task Romney faces with his House brethren. On issues such as student loan rates and wiping out tax breaks, he at least gets some help from the Democratic majority in the Senate.
In what may turn out to be a hopeful sign for Romney, the House GOP recently moved a bit more toward the middle on student loan rates, though the Republican majority refused to pay to keep those interest rates from doubling by closing $6 billion in corporate tax loopholes, as Democrats had urged. House Republicans opted instead to gut preventive care measures in Obama's health care reform law, prompting Democrats to try to paint that move as another broadside in the so-called war on women. If Democrats succeed in making their case, it may force House Republicans to move closer to accepting the idea of closing the corporate loopholes.
There's more than just domestic politics at work here, too. Global economics are also going to clutter up the GOP's "no new taxes" platform. There is some evidence that austerity alone is not working in Europe. Officially in a double-dip recession now, Britain is a prime example, with many economists blaming the recurring slump on making deep cut without raising taxes. Count on Team Obama to point to Britain's recidivist economic doldrums as it argues that GOP cuts have impeded the U.S. recovery as well.
Apply that same argument in the reprise of raising the debt ceiling expected in the fourth quarter of this year. Romney ducked and dodged the bloody debt ceiling debate last summer, but don't expect him to take that tack when the fight is resurrected later this year. His "Silent Mitt" act last year was all about not alienating the tea partyers with any hint that he would come out for raising the debt ceiling, but there will be no bobbing and weaving as his general election campaign focuses on wooing the political center.
Despite primary accusations that he would shift toward the center in the general election (remember his adviser saying, "It's almost like an Etch A Sketch.... shake it up and restart all over again"), the fact is that all candidates do it. That's where the votes are. To win the election, Romney will need to muzzle the tea party faction, and those far-right budget cutters will have to hold their noses and take their medicine. That may be a tall order, but he has no choice but to try. The U.S. debt rating cannot face even the potential of absorbing another downgrade. It would send the financial markets into a tailspin and return the fragile American economy to recession.
Conversely, look for Romney to swallow a bitter pill of his own. He'll have to widen his stance on immigration reform or else kiss good-bye any chance of winning states such as Colorado, New Mexico and Nevada. He'll also have to spend more time and money than he'd like in order to win Arizona, usually a Republican stronghold. Democratic Senate candidate Richard Carmona will help bring out the Hispanic vote in Arizona, and polling shows that Hispanics in the Grand Canyon State overwhelmingly prefer Obama to Romney.
So Romney has no choice but to take his cue from potential vice presidential candidate Sen. Marco Rubio (R-FL), whose "DREAM-lite" immigration reform bill is the only Republican game in town when it comes to attempting to cut into Obama's huge support among Hispanic voters.
It's indeed Etch A Sketch time for the Republicans.


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Welcome to my website, where you can find information about my books, view my illustrations, check out what people asked in my Q&A section. I hope you enjoy your visit.
I recently commented on bookselling in the UK, and part of my statement was extracted in Richard Brooks' article in the Sunday Times on 30th July 2017. You can read my full statement here.
I recently gave an interview to BBC Radio 4's Today Programme about the Book of Dust. Here is a link to it.
This catastrophe has had a thousand causes. Here are some.There is our country's post-imperial reluctance to let go of the idea that we are a great nation, combined with our post-second-world-war delusion that we were still a great power.
In 1915 pocket broadsheets of inspiring literature were distributed to the troops. One hundred years on The Guardian asked poets and writers to select the pieces they would send today. Here is one of my choices.
As a passionate believer in the democracy of reading, I don't think it's the task of the author of a book to tell the reader what it means.
The meaning of a story emerges in the meeting between the words on the page and the thoughts in the reader's mind. So when people ask me what I meant by this story, or what was the message I was trying to convey in that one, I have to explain that I'm not going to explain.
Anyway, I'm not in the message business; I'm in the "Once upon a time" business.
I was very surprised and honoured to be offered a knighthood. I believe the profession of letters should be recognised as having a proper place in the life of the nation, along with science, and sport, and music, and scholarship, and many other human activities. Many people I admire, such as Quentin Blake, Ellen MacArthur, Chris Hoy, Jacqueline Wilson, Nicholas Hytner, Jocelyn Bell Burnell, Bryn Terfel, Ray Davies, Mary Beard — far too many to list — have been happy to accept a knighthood or damehood, and I am proud to be in their company.
Today sees the publication of my latest book The Adventures of John Blake: The Mystery of the Ghost Ship. Beautifully illustrated by Fred Fordham, the story first appeared in The Phoenix, the weekly comic published by David Fickling Books. Thanks to the artwork, as well as the fact, perhaps, that I grew up on the adventures of Dan Dare, it has a wonderfully nostalgic feel.
Eleven-year-old Malcolm lives with his parents at the Trout Inn near Oxford, across the river Thames from Godstow Priory, where the nuns are looking after a special guest. One night his father comes to Malcolm's bedroom.
Now read on
The title of the The Book of Dust is La Belle Sauvage. It will be published simultaneously on 19 October 2017 by Penguin Random House Children's and David Fickling Books in the UK, and Random House Children's Books in the US.


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When I think of the perfect brunch, a Sunday morning comes to mind, one where I don't have to go anywhere or do anything other than lounge in my PJs, read a new magazine (or two) and drink my coffee while clipping recipe ideas and perusing pictures of my future dream home. A point where Jamie and I have yet to come to an agreement is the kitchen cabinets... I dream of pretty white cabinets, and he's not quite on board with the whole white cabinet thing. But more important than the color of the cabinets is having a big kitchen with a huge, rustic farmhouse-style table - I don't care much for formal dining rooms - where I envision lots of fun dinners with family and friends.
To me, the kitchen is the heart and soul of a home. It's the place where everyone gathers, where people feel warm and comfortable and full, where the lovely aromas of apple crumbles, freshly baked breads, flaky pie crusts, warm pots of soup, cinnamon and sugar and steaming coffee permeate the rest of the house, drawing everyone back to the kitchen.
Of course, for my perfect brunch, there's brunch food, too. It can be anything really... warm, streusel-topped muffins and jam, a tomato tart, toast and a poached egg, or just simple scrambled eggs with potatoes and vegetables.
Growing up, I didn't know there was any way to cook eggs other than scrambled or hard-boiled. The first time I tasted a poached egg, Jamie made me breakfast one weekend morning during our first year together, and he presented me with a beautiful English muffin, topped with crispy prosciutto, a poached egg and hollandaise sauce. The runny yolk was this gorgeous sauce that soaked into the muffin, so creamy and rich. And just like that, my limited notions of how to cook an egg were gone.
In thinking about the pizza dough recipe I've made several times lately, in particular for the mini pizzas topped with caramelized balsamic onions and Parmesan, I decided a breakfast pizza would be just perfect for brunch. I planned to make the dough on Saturday so that it was ready to go first thing on Sunday, but... life happens, I got busy, and never made the dough, but thought I would get to it later that night. But we went out to dinner that night for some deliciously spicy curry, followed by The Raven. Between the spicy food making my stomach too full, the scary movie, and getting home at 12:30 that night, we fell straight into bed.
So, upon waking up Sunday morning, I realized I had forgotten to make the pizza dough and not only that, but there was no cheese in the fridge. Jamie headed downstairs to work on his car while I mixed and kneaded the dough, then set it in a bowl to rise. I knew this would no longer be the relaxing morning I had hoped for, since I would have to get dressed and go to the store for cheese - and as long as I was there, go ahead and do the grocery shopping for the week.
We ended up eating "brunch" at almost 1:30 that afternoon. Which was okay, because this pizza is as wonderful for lunch or dinner as it is for breakfast. And as good as the pizza dough is leftover if you need to refrigerate or freeze portions of it, there's nothing like the soft and chewy texture of the dough when you bake it right after it rises.
And now I'm keeping my fingers crossed for a weekend morning where I haven't forgotten any ingredients and the weather keeps us inside all day...
Breakfast Pizza with Turkey Bacon, Spinach, Fontina and Gruyere, and an Egg
printable recipe
- recipe for "Honey Pizza Dough" (omit the cinnamon and add 1 teaspoon dried dill)
- 4 teaspoons olive oil
- handful of fresh baby spinach leaves, chopped
- 8 slices turkey bacon, cooked until crisp and chopped
- 1/2 cup Fontina cheese, grated
- 1/2 cup Gruyere cheese, grated
- 4 eggs
- coarse salt and cracked pepper
Prepare the dough as instructed in previous post (click above link for recipe and instructions). On a lightly floured surface, roll or press dough out into four 8-inch rounds.
Preheat the oven to 450. Line two baking sheets with parchment paper; place the dough on the baking sheets. Prick a 1-inch border all around the dough, then several times in the middle to prevent it from bubbling too much. Brush with olive oil.
Prebake the dough for 4-5 minutes until very pale golden, but still doughy. Sprinkle half the spinach over the dough, reserving the rest for later. Top with the turkey bacon and the cheese, then carefully crack an egg in the middle of each pizza, taking care not to break the yolk. Bake for another 5-6 minutes until the crust is golden brown and the whites of the eggs are set but the centers are still jiggly. Sprinkle the rest of the spinach on top of the pizzas and add a pinch of salt and pepper.
Serve immediately. The runny yolk is wonderful for dipping the crust into!
Yields 4 servings.
Recipe from Curly Girl Kitchen


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Community Sports
Sports board to begin work on Pony League ball field
- Details
- Category: Community Sports
- Published on 01 April 2013
- Written by Mount Vernon Optic-Herald
A unanimous vote of the Franklin County Sports Complex Board at their Monday night meeting gave the go ahead for the first phase of construction on a playing field for older youth teams at the complex site.
The estimated cost of this part of the work is $20,000. "Our current fields do not accommodate required distances for play in the Pony League age group [13-14]," noted Steve Slaton, board president. These are sometime called "O Zone" by Dixie Baseball.


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The Massachusetts Senate's oversight body is launching an inquiry into homeowners insurance rate increases approved by the Division of Insurance (DOI) this
Source: Massachusetts Senate to Launch Inquiry Into Home Insurance Rate Hikes
Displaced tenants gathered outside of Boston City Hall on March 14, advocating that the city councilors pass a just cause eviction law.
Source: City hall hears proposal of just cause eviction law – Spare Change News
With Boston snowfall comes the question of whether the city's tenants are responsible for shoveling their own sidewalks. Here's the answer.
Source: If you rent in Boston, do you have to shovel your sidewalk? – Massachusetts news – Boston.com
Four homeless people have fallen ill with norovirus at a local homeless shelter, which is also dealing with an outbreak of bedbugs, officials said Tuesday.
Source: Norovirus, bedbug outbreak reported at Brockton homeless shelter | Local News – WCVB Home
Landlords should hire a good housing attorney to avoid these scenarios: An owner of two apartments tallies the pro-tenant leaning of Massachusetts.
Source: Think it's tough to rent? Try being a landlord – The Boston Globe
When entering a lease for a new apartment or home, it is important for landlords and tenants to be familiar with their rights and responsibilities, according to experts who specialize in state and federal laws governing rental properties.
Source: Rights of tenants, landlords in focus – News – The Herald News, Fall River, MA – Fall River, MA
All Massachusetts residents must be given equal access to housing court.
Source: Housing court needs to be expanded – The Boston Globe


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Sara Zahedi has won a prestigious prize at the European Congress of Maths. Your future medical diagnoses, and even the welfare of sea life, may depend on her work.
We'll start our series of articles with a look at the force of electromagnetism.
Here's the economic model we'll use as an analogy for gauge symmetry.
Now let's look at the economic analogy for electromagnetism.
After having explored our economic analogy for the force of electromagnetism, let us turn to the weak force.
How to get massive particles from gold.
And finally, here is how the famous Higgs boson gets into the picture.
Why evolution through natural selection is more than a mere "theory".


text: Job Discussion Forums :: View topic - non-native english teacher in korea Get TEFL Certified & Start Your Adventure Today! Job Discussion Forums"The Internet's Meeting Place for ESL/EFL Students and Teachers from Around the World!" FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in non-native english teacher in korea Job Discussion Forums Forum Index -> General Asia Forum View previous topic :: View next topic Author Message teacherglenJoined: 17 Apr 2004Posts: 2 Posted: Sun Apr 18, 2004 12:21 am Post subject: non-native english teacher in korea I'm Filipino. I'm an experienced ESL teacher to Korean nationals in the Philippines. I taught in hagwon for 7 years. I 've got my bachelor's degree, tesl/tefl certification and I am pursuing my master's degree in language education. I have good command of English and my accent has never been a problem. I've been here in the USA for more than a year now. I want to teach in Korea but I wonder if I am qualified despite my not being a native english speaker. I appreciate your reply. Thanks. Glen Back to top prosodicJoined: 20 Jun 2004Posts: 8Location: New York, NY Posted: Mon Jul 19, 2004 4:18 am Post subject: Hi Glen, I'm assuming that your passport is from the Phillipines. If so, that could be a problem. It's not really an issue of being qualified. It seems apparent that you are fully qualified to do the work in terms of training and language ability. The problem is market forces. A number of Koreans are fluent enough to teach English, so they don't see a need to bring over more non-natives. Beyond that, there is quite a bit of racism in Korea. You can get a job if you're not white, but it's more difficult. You may want to read the following thread: http://www.eslcafe.com/forums/korea/viewtopic.php?t=5 That being said, it is not impossible for you to get a job in Korea. It's just going to be difficult. The important thing is being persistent. Keep applying and eventually you'll get a job, but you can't expect to be inundated with offers. You may not want the first job you're offered, though. Some disreputable hagwons employ filipinos and pay them half the going rate for a native speaker. Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Job Discussion Forums Forum Index -> General Asia Forum All times are GMT Page 1 of 1 Jump to: Select a forum Where to Begin----------------General DiscussionNewbie ForumCurrent Events ForumTechnology ForumOnline Teaching Forum Africa Forums----------------General Africa Forum Asia Forums----------------CambodiaChina (Job-related Posts Only)China (Off-Topic)Hong KongIndiaIndonesiaJapanMalaysiaPhilippinesSingaporeTaiwanThailandGeneral Asia ForumVietnam Caribbean Forums----------------General Caribbean Forum Europe Forums----------------Czech RepublicFranceGermanyGreeceItalyMacedonia and the BalkansPolandRomaniaRussia & C.I.S.SpainTurkeyUkraineUnited KingdomGeneral Europe Forum Latin America Forums----------------ArgentinaBrazilChileColombiaCosta RicaMexicoMexico (off-topic)PeruGeneral Latin America Forum The Middle East Forums----------------BahrainEgyptIsraelKuwaitOmanQatarSaudi ArabiaUnited Arab EmiratesGeneral Middle East Forum North America Forums----------------General North America Forum Oceania----------------Australia/New Zealand You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forum This page is maintained by the one and only Dave Sperling. Contact Dave's ESL Cafe Copyright © 2018 Dave Sperling. All Rights Reserved. Powered by phpBB © 2001, 2002 phpBB Group Teaching Jobs in China


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We check over 450 stores daily and we last saw this product for £4,600 at Selfridges.Go to Selfridges
A child of 1970s new york, the love 18 carat pink gold bracelet from cartier seals a love that defies boundaries. With undeniably elegant lines and stamped with the trademark screw motif, the creation is a timeless tribute to passionate romance. Each cartier creation is available to order online using our click & collect service at selfridges london. You will collect your order, presented in the iconic red box, at the cartier boutique in the wonder room.cartier 18ct pink gold braceletscrew detail16cmto ensure you are choosing the right size for you, you can measure your wrist using a tape measure in cm. Wrap the tape measure around the wrist on which you plan to wear your cartier bracelet. Make a note of the number at the point where the tape meets the 0. You can then add or subtract centimetres according to whether you prefer a loose, exact or tight fit. Cartier recommends adding 1cm for a tight fit or 2cm for a loose fit.cartier prides itself on providing excellent customer service. This includes contacting customers to offer after sales care and share details about its brand and products. As such, when you order a cartier product from us, your details will be passed onto cartier so that it can provide these services to you size: 16cm. Love 18ct pink-gold bracelet. Colour: pink


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Andrew began playing the trumpet at the age of four; playing in Brass bands and The Leicestershire Schools Symphony Orchestra, he was also a Chorister at Leicester Cathedral winning awards as a young chorister and trumpeter.
In 1990 he entered the Royal Academy of Music (RAM) in London U.K. During his time at the RAM he was asked to play Principal Trumpet in the Gustav Mahler Youth Orchestra (GMJO), touring twenty-six European countries, the GMJO was conducted by Claudio Abbado, Ricardo Chailly and Sir Neville Marriner. Andrew performed as soloist with the RAM String orchestra, RAM Brass Ensemble (directed by John Wallace) and with the London Philharmonic Youth Orchestra. Andrew was awarded many scholarships and bursaries for tuition and performance and was a recitalist for the Countess of Munster Musical Trust; selected by Philip Jones. Andrew studied the Trumpet with William Houghton, Raymond Allen, John Wilbraham and Hans-Peter Schu. As a student he performed in classes with John Wallace, Jeffrey Curnow, Paul Archibald, John Miller and Denis Wick.


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However, one thing for sure is that there is a proper wrist watch for you to wear in every different occasion. For example, for a formal event or special dinner, a sport watch is not the best option to go with, but instead, an elegant gold watch will help you to create a good impression. On the contrary, if you are going to exercise, run or do outdoors activities a quartz watch is not the best option for you, it will damage or got broken quickly. However, a sport watch is made with lighter materials; most of them are waterproof and had been designed for enduring more challenging environments and heavy activity.
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"Out there tonight a lot of little girls and boys are watching. They're watching us, and they're seeing the beginning of something, well, a little bit different," Lori Lightfoot said Tuesday. "They're seeing a city reborn."
Walgreens slashed its 2019 forecast and missed second-quarter expectations with a performance that sent its shares plunging Tuesday and helped knock down the Dow Jones Industrial Average.
With the race behind them, Chicago Mayor-elect Lori Lightfoot and Cook County Board President Toni Preckwinkle came together for a unity event with the Rev. Jesse Jackson Sr.
The zoo is no longer offering a program that allowed visitors to touch or interact with a handful of different animals, citing research showing that some animals display signs of stress after being handled by humans.
Janiah Monroe was transferred this week after repeatedly claiming she'd been the victim of sexual harassment and abuse inside various all-male prisons.
The Federal Aviation Administration said Monday it anticipates Boeing's final software improvements for 737 Max airliners "in the coming weeks."
Food fests decidated to bacon and donuts, an epic pillow fight, an artisan market and political posters usher in the weekend. Here are 10 things to do in and around Chicago.
The Chicago Symphony Orchestra said in a Wednesday statement that it and the Chicago Federation of Musicians have "mutually agreed" to continue negotiations Friday.
Jaquan Washington faces one count of first-degree murder in connection to the fatal shooting last month of Chicago police Officer John Rivera, who was sitting inside his car in River North.
Veteran Ald. Patrick O'Connor is taken down by democratic socialist and former battle rapper Andre Vasquez in the city's 40th Ward. Vasquez joins us to talk about his victory and his aldermanic plans.
Mayor-elect Lori Lightfoot wasted no time getting ready for her new job. Just hours after her historic victory, Lighftoot met with city leaders and talked about plans for a transition of power.
More than 2,800 streets make up Chicago's famous grid, and city planners and developers drew the streets' names from all sorts of people and places – including some of our own politicians.
Watch the April 3, 2019 full episode of "Chicago Tonight."
In Tuesday's runoff, Lori Lightfoot bested Cook County Board President Toni Preckwinkle in each of the city's 50 wards. Lightfoot calls it a "mandate for change." Our politics team weighs in.
Tuesday's runoff election brought to a close aldermanic battles in 15 wards across the city. We speak with Alds.-elect Jeanette Taylor (20th Ward), Byron Sigcho-Lopez (25th Ward), Samantha "Sam" Nugent (39th Ward) and Matt Martin (40th Ward).


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Conservation groups debate gas drilling ties
As a natural gas drilling boom sweeps Pennsylvania and other states, conservation groups are debating whether it makes sense to work with the industry to minimize impacts to the environment - and whether to accept industry donations.
The big question is "how to deal with this overwhelming impact," said Phil Wallis, executive director of the Pennsylvania chapter of the Audubon Society, adding that the industry "in general, is interested in resolving these issues."
The drilling technique known as hydraulic fracturing, or fracking, has made it possible to tap into deep reserves of oil and gas but has also raised concerns about pollution. Large volumes of water, along with sand and hazardous chemicals, are injected underground to break rock apart and free the oil and gas.
Over the past five years thousands of new wells have been drilled across Pennsylvania, West Virginia and Ohio, and hundreds of miles of pipeline have been laid to transport the gas to market. And that's just a snapshot of a similar boom in Texas, Colorado and other states.
Wallis and the Pennsylvania Audubon chapter discovered that even casual conversations with the drilling industry can generate controversy.
In August, Audubon partnered with the Marcellus Shale Coalition, an industry group, and the Ruffed Grouse Society to hold a series of gatherings for birdwatchers, anglers, hunters and hikers to ask questions about drilling. The meetings didn't attract much notice until it emerged that some had discussed whether the industry might donate $30 million to set up an endowment to fund research on drilling impacts.
The idea of donations "came up several times," said Don Williams, a Harleysville, Pa. resident.
"It caught me completely off guard. I see that as somehow basically latching on and riding the coattails of the industry," Williams said. "The message itself bothered me."
After Williams wrote a blog post about the meeting, Audubon quickly responded that there had been no decision to seek gas drilling donations. Wallis said the $30 million was just a hypothetical number about funding a research project on drilling that a number of conservations groups might provide staff for.
Williams said a representative of Chesapeake Energy was at the meeting, acting as more of a general industry representative. Chesapeake spokesman Rory Sweeny declined to comment on whether the company is donating to any environmental groups.
Two more public meetings with outdoor groups are scheduled for December, said Steve Forde, a spokesman for the Marcellus Shale Coalition.
"The sportsmen and conservation communities are an important part of Pennsylvania's heritage and key partners in responsible shale gas development," Forde wrote in an email. But he added that the coalition hasn't discussed donations with any of the outdoor groups that helped set up the sessions.
It's a sensitive issue. Earlier this year, the Sierra Club acknowledged that from 2007 to 2010 it had secretly accepted more than $26 million from individuals or subsidies connected to Chesapeake. After deciding it would no longer take such donations, the group launched a campaign that is critical of the gas drilling industry.
Environmental groups and some scientists say there hasn't been enough research on water and air pollution issues that stem from drilling. The industry and many federal and state officials say the practice is safe when done properly, and that many rules on air pollution and disclosure of the chemicals used in fracking are being strengthened.
Sitting down with people in the gas drilling industry makes sense, said Mark Brownstein, the chief counsel for the energy program at the Environmental Defense Fund.
"If environmental groups who are both passionate and knowledgeable fail to engage the natural gas industry, who will?" Brownstein asked. "If we simply sit and protest, we're missing an opportunity" to create stronger regulations.
Some conservation groups are finding that they can't avoid the industry.
The Audubon Society of Western Pennsylvania owns or has easements to about 500 acres of land in the region, and drilling company representatives have approached them numerous times, according to executive director Jim Bonner.
Bonner said the chapter decided that current regulations aren't strong enough to meet their standards for environmental protection, so they haven't signed any gas leases. But they're not rejecting the idea.
"We kind of put up the mirror, and said, we are consumers of gas," and that it would be hypocritical to not try to understand all the pros and cons around drilling, and Audubon's place in the debate.
"If a company came to us and said we've developed a process that does not use any chemicals, we would probably almost feel obliged to consider that, if only to help demonstrate a best practice could be developed," Bonner said. "We all agree that energy is needed. I'd love to think that we can extract it better here than somewhere else around the world."
John Eichinger, president of the Ruffed Grouse Society, hopes the discussions with the drilling industry lead to some changes. He thinks the Marcellus Shale Coalition may support some of the suggestions that conservation groups made for stricter regulations.


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Parts Bin - 1948 Willys M38 Rat Rod
Midwest Flat Rod
If you read Jp magazine with any regularity, than this is not the first Jeep rat rod you have seen on our pages. While they will likely never be as common as TJs with long-arm suspensions and 35-inch tires, we love the creativity that's possible when you put a seven-slot grille on the front of a hot rod. Brain Shirley, from Dodge City, Kansas, has upped the ante with his new flatfender rat rod, and the best part is that he has less than two grand in the whole thing.
Instead of using a flimsy stock frame, Brian built his own. As a competitive rock racer, custom fabrication is not foreign to Brian so he made his own foundation from 2x4 rectangular box tubing. The Z-frame is raised up 9 inches in the front and a whopping 18 inches in the rear to keep the tub 6 inches off the ground and provides room for the suspension components. With such a low ride height, Brian used old aluminum street signs for skidplates to protect the undercarriage.
The rear suspension uses a triangulated four-link, coil springs from a Subaru Justy, and shocks that were found on a Chevy Luv. The front suspension is also a four-link with short trailer leaf springs sourced from Brian's business BS Trailer Sales. The trailer springs are frenched into the frame. Shocks and a panhard bar were considered optional items and are nowhere to be found in the front of the Jeep. All the links are constructed from 5⁄8-inch rod ends used to hold ordnance in place and 1¼-inch gas pipe that Brian had rusting in his yard.
In true rat rod style, the drivetrain was all sourced from things Brian just had lying around. Fortunately for him, he had a 350ci small-block Chevy V-8 and TH350 automatic transmission from his former stock car racing days. He claims the engine is a "mild build," but as the burnout photos can attest, it produces plenty of power. A two-barrel carburetor sits under the vintage WWII Army helmet and is fed by two Jerrycans plumbed together for the fuel tank at the rear of the Jeep.
A Tom Wood's Custom Drive Shafts conversion driveshaft was all that was needed to mate the driveshaft out of his stock car to the Toyota 8-inch rear axle, in what is quite possibly the only Jeep where the driveshaft actually goes up from the transmission to the differential. The Toyota axle is filled with the factory 4.10 gears and an open differential, which makes for wicked peg-legged burnouts. Up front, another Toyota 8-inch axle is used, although the differential and axle shafts were removed since the diff would not clear the front frame horns. A Samurai manual steering box sits on the frame under the driver's feet and connects to the stock Toyota steering. Staggered Maxxis Marauders give the Jeep the correct hot rod look—big in the back and skinny up front. The axles were sourced from Brian's son's pickup after he got tired of breaking Birfield axles off-road. Finally someone found a use for old Toyota axles!
Body and Interior
The body and interior are where Brian really had the opportunity to get creative with his Jeep. The M38 grille sits in front of an AFCO aluminum radiator and is filled with H4 headlights from a truck stop that have integrated LED turn signals. At the other end, '29 Ford taillights were added to the ammo boxes that serve as the bed and are covered with wood from the bed rails of a military truck.
The tub is from a '51 flatfender that was rusting in a field, and Brian cut off the back and tacked in the wheel wells to create a pickup tub reminiscent of a Model T. The inside of the Jeep received fairly extensive sheetmetal work, with a new transmission tunnel and integrated seating. The seats are covered with heavy canvas from, you guessed it, the local army surplus store. One of Brian's big purchases was the collection of gauges from Speedway Motors, which have parchment faces and script numbers that fit the overall theme. The steering wheel features a quick release hub, also from Speedway Motors, and makes ingress and egress much easier. The TH350 is shifted via a 20mm cartridge casing shift lever and a 7-inch-tall windshield keeps the wind out of Brian's face if he leans down far enough in the seats.
Good, Bad, and What It's For
Obviously this is not a Jeep to take off-road, but Brian says that he has gotten nothing but positive feedback from Jeepers and hot rodders. "They love it, people are coming up to me all the time telling me their own Jeep stories and asking me questions about it." Ideally Brian would like an overdrive transmission or gears that aren't quite so deep, but he hasn't spent the money yet to make that happen. And honestly, he probably won't. The Jeep takes off like a rocket ship as it sits, even if it the revs are high at freeway speeds.
Hard Facts
Vehicle: '48 Willys M38
Engine: Chevy 350ci V-8
Transmission: TH350 three-speed automatic
Transfer Case: N/A
Suspension: Four-link (front and rear)
Axles: Toyota 8-inch (front and rear)
Wheels: Staggered red steel
Tires: Maxxis Marauder
Built For: Turning heads
Estimated Cost: $1,850
Why I Wrote This Feature
While this isn't the first Jeep rat rod I have ever seen, it is definitely one of the most unique. I like that Brian wasn't afraid to use unconventional components like Toyota axles or a Samurai steering box to create his rat rod. While I certainly wouldn't want it to be my only Jeep, riding in Brian's flat rod definitely makes me want one of my own.
—Harry Wagner


text: In BotanicalWorkshop19July0031 August 2, 2018 No Comments 0 Author nialawrence Nia Lawrence has over 10 years of experience working as an Art Director at some of the top magazinesin New York City. She was responsible for creating visual content for companies such as Real Simple, Latina, Redbook, Women's Health, Martha Stewart Living, Suede and Victoria's Secret.. Brooklyn, NY is home to the mom of one who currently runs the Nia Lawrence Design Studio, a print and digital marketing company. Write A Comment Cancel Reply


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If you're a fan of the Indiana Jones franchise, September is a great month. Not only did Raiders of the Lost Ark get a special one-week IMAX release, but the entire franchise hits Blu-ray next week and the box set is loaded with incredible behind-the-scenes extras. For a full list of what's included, click here. But trust me when I say, this is a set absolutely worth owning. Click here to order Indiana Jones: The Complete Adventures on Amazon.
To help promote the release, I recently got to visit LucasFilm in San Francisco and participate in a group interview with Sound Designer Ben Burtt and Visual Effects Supervisor Dennis Muren. They talked about their thoughts on how the films hold up, the visual effects, their favorite moments, how Burtt came up with some of the signature sounds, if anything changed during the restoration process, and a lot more. Hit the jump for what they had to say.
Question: Dennis, Indiana Jones has been synonymous with huge action adventure blockbusters. How do you think the imagery of then holds up to today's standards?
DENNIS MUREN: I don't know if you want to compare the images of then and now, because I think the old ones hold up very well. Having been there and, lived through it, there's just something in the reality of it that usurps any technical problems we might have had in those days. And it gives it a very hand feel, look to it. I think the movies hold up extremely well, not that the newer ones aren't good also. But, the smell and the feel of all the effects material, I think, fit with the rest of the movies. If these movies were all made in the studios that would be one thing, but with those real locations, with the reality of everything, I think it really helps that the effects are all real things also.
The visual effects were as much a character in the film as Harrison. Can you speak a little bit about that? The visual effects were really a strong part and really carried the film as much as anything else.
MUREN: Yea, I guess so, but I mean Harrison is the movie; we were supplementary to all that. But they're important because what George and Steven always wanted was to experience a hyper-adventure that this guy is wild and crazy enough to get into. So the effects were there to supplement that, and to go beyond what was going on probably in the James Bond movies that were pretty much rooted in reality, and there are times when you can get out of reality and have a real thrill ride adventure. That's what they were going for in this film, and that's where the effects needed to come in to do things that just couldn't be done for real.
Ben, we had a conversation earlier about the auditory language that existed pre-Indy. The one thing that wasn't out there so much was the mix between what is historically accurate—what would really be there in that place—with the supernatural and something that's a little more mystical. Can you comment about what it was like to embark on the journey of the Indy properties?
BEN BURTT: I had started off in my career with Star Wars, and of course in Star Wars the sound was being attached to give credibility to a highly imaginative universe of characters, places, and things. And then along came Indy, and the action adventure genre was my favorite. The films that this series pays homage to are the films I loved growing up; the westerns, the adventure movies, the Tarzan movies, the Gunga Din, that sort of thing. So I was so excited to work for it. I knew that the sound effects in those classic movies, as they are today, almost all the sounds in the films are added after the fact; they're not the sounds that are recorded during the filming because you want control of the sounds later. Of course, there's no appropriate sound on the set anyways that is right for the final movie.
So my job and the team I work with is to create all that and add it in. We could have gone to a library at any studio and gotten face punches, fire explosions, trucks, these things have been in movies many times before and they were good recordings. But, what I wanted to do was not do that, but to build our own new customized Indiana Jones library, which would have its own signature. But conceptually it would be based on my favorite sounds from the classic movies of the past. I would study the gunshots in all the movies that I loved, and I would say, "how did they do it? How can I make something that is better, but pays homage, owes its origins to what has been movie language up to that point? Because so many things about the Indiana Jones series were new visions of things that had existed in movies before, but now put together all under the adventures of one character. So we set out to record everything all over again; new fire, new explosions, new body falls, new truck skids, new snakes, whatever it might be.
Then on top of that level of reality, there was always the mystical and supernatural elements of these films; the crystal skull, the Shankara stone, the Ark of the Covenant. In order to portray the sounds for those objects, these were the supernatural things, maybe a little more like Star Wars in the sense that they related to things that were unfamiliar, alien things that were new, and we wanted to give those objects an expressive voice as well. That was also my department to try and come up with sounds for all of that. So there was both the science fiction element, or the fantasy element of the sounds, as well as the reality based element.
So there's always the question about going back and seeing how the sausage is made. I would imagine that going back and looking at some of these films for each one of you evokes certain memories, probably very different than the memories that we all may have from the first time we saw them. Dennis, I want to ask you are there some favorite moments that you want to share?
MUREN: Well Temple of Doom is really, really memorable. We had the big mine chase sequence in that, which was very difficult. These shots go on and on going through this tunnel, and of course they couldn't do it for real. They had a nice tunnel they could get some shots with, but not the distance or the length of travel that they needed to carry the dramatic effect. In order to build these long miniature sets, the size was depending on the size of the camera of all things, because the camera had to go through the tunnels. I came with this idea of using just a Nikon still camera. Instead of shooting with one of the bigger movies cameras, just use a still camera, shoot still frame after frame after frame. And these shots that only ran like four, five seconds anyway we could get that on one load in the Nikon camera and that meant that all the sets could be smaller, they only needed to be 100 feet long instead of 300 feet long. We didn't have room in San Rafael to build anything very long anyway. It just saved a heck of a lot of money, which everyone was very happy about, because these films, no matter how they appear, were always on very, very tight budgets, and we always had to work within that. The work came out really great in that sequence too. The cave walls are aluminum foil, you know, heavy aluminum foil painted, and it's all done with stop motion, or go motion, frame at a time motion. You know, it was really pretty neat.
Then the other thing that was neat from my experience was I got to act in one little sequence in Raiders of the Lost Ark, which was when Harrison goes on the airplane, and there's a spy who's in front of him reading this Life magazine, and that's me. I'll tell you, that is the weirdest experience going from behind the scenes, to being in front of the camera with Spielberg looking at you here, and Harrison's over there, and it's like what the heck am I doing here? We shot it over in Richmond where the plane was, and the plane actually couldn't fly, but fortunately it was near by and we went over and shot all of those scenes in one morning. That was a pretty darn neat experience. I thought it would lead to bigger parts, but actually it didn't.
I heard he gave Harrison a run for his money, that's what I heard.
MUREN: You should have seen what they cut out.
Well along the same lines, Ben, whenever I talk to you I am always thrilled because I know I'm going to get a fantastic story from you. Are there any particular memories that you have from any moment in the film?
BURTT: Well since we go on expeditions to gather the sounds, or we invent special props, there's always a story for every sound. Dennis mentions the mine car chase, we wanted the sound of these cars clattering down the tracks and squealing around corners, and we thought perhaps is there any place we could go that we could record something full size like that? We ended up making arrangements to go to Disneyland at night when the park was closed and ride all of the roller coasters and record them. So we would go into space mountain, turn all the lights on, turn the music off and ride in the cars or stand along side the track, and get them squealing around the corners. Gary Summers and I were working together on that, gathering all of these, had a wonderful all night Disneyland experience: Big Thunder, Space Mountain, the Matterhorn. All of them completely out of context with the lights on so you could see all of the behind the scenes stuff. That was fun.
Right here on the ranch, it's interesting, at the time of Raiders of the Lost Ark this building didn't exist, in fact there were no buildings on the Ranch, it was just an empty property. Gary and I used to come out here every afternoon when it was quiet and there weren't birds or frogs to interfere with recordings, and we would stage sound effect events here at the ranch that we needed for Raiders. When you walk out the front door you'll notice up on the hill here a big rock outcropping, we spent a day laboriously carrying rocks and gravel and everything we could find to the top of that rock outcropping and then we shoved it down the rock face and recorded all the tumbling rocks and dust and grit and we have used or derived from that recording just about every rock effect that you hear in these movies when things are collapsing or a temple falls apart, you'd slow the sound down.
Right here where this theater is now today we had a shooting range. There was a gulley here and some old cars down in it. We brought out some of the explosive guys from ILM and we blew things up for a while to get a lot of explosions. We found that this canyon here, right where this tech building is today, was wonderful for acoustics because the sound would slap back and forth, and we did all the gunshots that you'll hear for Indy's gun. We did it with much higher-powered riffles. Of course everything in Indiana Jones is exaggerated so his pistol's not just a little 38-caliber pop, we would have used a howitzer if we could have brought one in here. We made some gunshot recordings here, slowed them down and beefed them up a lot to get these sounds. We did all the ricochets here, and there's a lot of stories about trying to bounce bullets around. In fact, we got in trouble here because we had some machine guns and we didn't tell anybody what we were doing, and we got a little carried away just shooting things, shooting the ground and other targets with live ammunition. We had some people from LA come up, Stembridge gun rental, so we had a permit, but we didn't tell anyone. So finally a bunch of headlights come down the road here, we were doing this in the evening, and people wanting to know if we were terrorists or something, and they didn't understand. The neighbors were complaining I guess.
In any event, this was our recording studio, this outdoor area here, and so much of Raiders material was done right here. We brought a truck up here and I would run and throw myself against the hood of the truck for Indy banging on to the hood. Gary Summers did the whip cracks on the road right here next to where this building is today and we would get the echo and the trees. So these are very pleasant memories about deriving sounds. There were hundreds of things we had to gather like that, and it's wasn't just the simple matter of getting the right technical recording, its all about finding the right performance and the right acoustic location. We would tend to do things outside because there would be enough echo, especially in the trees that when you put that sound into the movie, it would really fit in the context of the location, the jungle or something of that sort.
This is for Dennis, every new movie that comes along drives visual effects field further. What was groundbreaking with the Indiana Jones movies, would you say?
MUREN: Well, you know, it was having to cut in, hopefully perfectly, no sign of an effect in there, totally real, to not break the reality of it. That gets harder and harder to do with every film we did. So I would say on the artistic side, the attention to the detail, the reality, the feel of the Steven Spielberg directed scene, even though he didn't direct the effects scenes, he certainly approved everything. That and probably some of the motion stuff we did with the mine chase cars moving so they didn't look like they were stop-motiony or very much like a miniature hopefully. So I wouldn't say it was like we invented a lot of new gear for it, it was more being able to use it in a way that was more pristine and more in the style of Steven actually out there directing the stuff for real. And that's really hard to do; or else the shots could just pop and look like they were done by a second unit or something like that.
By far my favorite sound effect in the Indy films is the punches. Seeing the film the first time in the theater there was nothing like an Indy punch, it was the biggest, most concussive noise I've ever heard. Where did the punches come from and what was your initial design for them?
BURTT: As big as possible. There's one part I'm not going to tell you because I have to protect a few things so I have future work—there's always punches to be needed in the movies. Of course there's body punches and there's face punches, and they're not so simple to do, because an actual face punch, if you've ever had one or delivered one, is not very loud. It's usually the person going "Ouch!" or whatever. But movies have a tradition of something enormous, right? Going all the way back to the first punches in movies in the early 1930s. They started out using clapboards and things to make a slapping sound, a punching sound. What we did, was right here on the road we had a setup with a lot of baseball gloves, like catchers mitts and leather jackets and some football equipment and what we would do is – like for instance if you took a baseball bat, threw a catchers mitt in the air, and hit it with the baseball bat as hard as you could, you would get a good whack. We took pumpkins, one of my favorites, if you take a croquet ball and you put it in a sock so that you have kind of a nun chuck sort of weapon, and you beat the pumpkin to death every so often one of those hits out of the five or so is really good. It has that meaty sort of choppy sound. So a library was built up of those kinds of things and used for a body blow or kick. We reserve a particular set of effects just for the Indy films, you know, because we wanted it to be associated with Indiana Jones every time he swings his fist.
By the time Crystal Skull rolled around did you want to embrace the old school methods when it came to sound? And when George Lucas told you he was going to build a building over his favorite recording spot were you dismayed? What was your reaction to that?
BURTT: Well, you know, its true – just for fun a couple years ago I brought one of the guns back and I fired it here next to the building to record it to see whether it sounded the same here, and it didn't because of the presence of the building. I was let down. You know, when we were initially doing those gunshots, we went all around the ranch; we probably went to 30 or 40 different spots because the whole key to recording gunshots is the location where you do it, the acoustics. A good gunshot is multiple syllables, kind of a slap and a repeat, but you also want to have some trees around so it gives a slow decay to it. You want to give it character. The best gunshots always have two syllables, I think. That's one of the big mistakes that people make today they use one-syllable gunshots. That's my opinion.
MUREN: Let me just mention one thing about what Ben's talking about here. Sound effects, even though I don't do them at all, it's something like what I do but in a different way, but sound effects it's not like you go into GarageBand and just grab "bullet shot." Some people would think you've got your bullet shot; you've got your punch. They'd put it in the movie and they wouldn't understand why it didn't have the effect. All the time that Ben is going for this take after take, 30 times going around the ranch, is that he's hearing—first of all he's got an idea, and then he's hearing the result and then saying, "Yea, that's good" or "No, that's not good enough." You're making a judgment all the time, and that's really missing in a lot of the stuff going on today I think. It is sort of like the GarageBand thing, just solution, boom, put it in. It should work. But not at all, you know?
BURTT: Thank you Dennis, that was good, I ought to hire you for my next interview.
During the restoration process, did you guys talk about bringing new sounds or changing the effects?
MUREN: No, there was never any talk about changing the effects at all.
BURTT: When it came to sound. You know I'm an avid film historian and it would be very hard for me to change the movie in some way that really modernized it, you know, imposed an idea that didn't exist at the time. What I did on Raiders for instance is that, we did some touch ups of things because we had to expand the use of the surround tracks because that was available to us now in a way that wasn't available to us back then. The interesting thing is that some of the sounds that were in the original monaural soundtrack on Raiders, of course I had all the original stereo recordings of all those sounds, so fortunately I saved all of that and I could find it so I was able to go back and take time to match up the recordings with what was there in the release of the original movie and put them in stereo now. So I did add something to the movie but it was the same content, now just more with a spatial dimension to it. In the few places that we added a few additional sounds I took them all off the Raiders library, off the tapes, you know if we wanted to add what I thought were a few missing little body hits in one of the fights that we might have missed. And I took them off the same tapes that I had back in 1981. I wanted to make sure that what was done was still in the same fabric as what was originally there, because I didn't want it to stand out or be different. I know there's been some restorations of other films, because I've seen them on Blu-ray or DVD, in which they've actually changed the sound effects. They've composed something brand new into an old film and that really throws me off because I immediately recognize it and I wonder why they would do such a thing. So I didn't want to have anything like that occur. Nonetheless, additions that we made to it—because there's more space to put sound in a movie now, there's just a bigger playback system and you've got more opportunity—we added material that was from the original library so it would be consistent.
It's interesting, because the original surround track for Raiders, you know Raiders obviously being the first on done, and it was done at the Golden mixing facility in Los Angeles before we had our own mixing operation up here. The surrounds in theaters at that time, in 1981, were very problematic. You didn't know whether they would ever get played correctly, at the correct level, or if they would ever get played at all. So the original mix on Raiders, we did the mix just left, center, right across the front, you know, we didn't use the surround track. We got the balance of music, effects, and dialogue right and got everybody's approval, George and Steven, then as a separate mix, after that was approved, we began conservatively adding surround effects. The idea being that we knew the movie would work upfront and that's what was going to be played in most theaters with more of a guarantee of it being played correctly, and if the surrounds worked then they would be a nice enhancement, but we didn't want to put content in the surrounds that was essential to the storytelling; because it might be lost. That's just because we knew at that time many theatres were just not going to be able to get it right. This is before THX existed or any of the digital revolution, which helped improve theaters. So now, going back listening to Raiders, we say "Boy, we were awfully conservative." So now we can have a richer experience, so lets recreate it with the same raw material. And that's what we did, put stereo music in the surrounds instead of monaural, and that's one of the things that was done.
Ben, what's your thinking on frontal sound perspective versus a more aggressive, more immersive sound field?
BURTT: Well, as time has gone on, we kind of predicted this, first as a joke years ago we thought, "Everything is going to move into the surrounds." That's what we kind of felt. And it's kind of gone that way to some extent, because we had 5.1, then we had 7.1 and now we have 11.1 we did Red Tails in, and there's the Dolby Atmos process, which is now being experimented with. I like it. I like to make it a more immersive experience, I think audiences – once again it's a learning curve too. At one time, when I first started out working in stereo, people would be distracted if something was in the surround, especially if they were sitting too close to a speaker, so you had to be careful not to put a line of dialogue right next to their head or something that would distract them. But as time has gone on and filmmakers continually move the experience forward, it's always changing and evolving, we're at a point now where we're doing a lot more all around the room and we're expecting it to be played that way, in home theater as well as theatrical. I think as long as it's justifiable in terms of the content of the movie, I like that direction.