text:
Card Scatter Mats - Very thin lightweight mat. 380gsm card. Great for handing out or mailing campaigns - perfect for any pub, bar, club, caf
120 Micron Pulp Board Absorbent Drink Mats with Full Colour Print on Two Sides. Size: 94x94mm Square or 94mm Diameter. Great for Pub, Club, Restaurant Promotions.
Traditional cardboard coaster available in circular or square shape, full colour printed to both sides with your design.
PVC welded coaster, available in three shapes - round, square or octagonal. Other special shapes available i.e. house, telephone, car, van etc - .
Made in the UK from recycled plastic and digitally printed up to full colour to one side. Other colours available at extra charge.
Embossed Foam Coasters. A choice of 7 bright foam colours contrast embossed. Cut to any shape within 85 x 85mm
Create bespoke shaped coasters from only 250 pieces and with no tooling charges. Available with a choice of branding options, including screen print, digital print or relief-moulding to suit your design. Prices are for screen printing in one colour.
The cookie settings on this website are set to 'All Cookies' so that you have the best online experience possible from our site. Without changing this setting you consent to this. If you wish to opt out click on the 'change cookie settings' link.


text:
Maintenance & Repair and Contruction Trust Funds
Maintenance & Repair and Construction Trust Funds are typically used by self-supporting activities, such as Housing, Parking, Health Services and International & Extended Studies. These Trust Funds do not have a specific fund group but are identified as such on the trust fund agreements.
Maintenance and Repair Funds
Maintenance and repair projects preserve a building, but do not significantly extend its useful life or increase its value and therefore are not "capitalizable" (i.e., recorded as a long-term asset). Maintenance and Repair trust funds should account for major maintenance and repair expenses that are not capitalizable, but are considered "major" (as opposed to "routine" repairs). A "major" repair is one which is either infrequent in nature or which is scheduled on a non-routine basis and may require setting aside funds over a period time to fund the repair. Examples of major repairs include re-roofing an entire building, replacing the carpeting throughout a building, or replacing a ventilation system.
Examples of potential expenses and their designations:
- Charges related to SJSU Facilities Development & Operations (FD&O) managed projects. The types of projects should relate to the facilities, such as repaving a parking lot, or painting a building's interior or exterior. For example, if the original parking lot paving was expected to last 10 years and after that point it gets repaved every year or so, those repaving jobs would be considered major maintenance/repair.
- Charges for repair/maintenance which is on a set schedule (every other year, every 10 years, etc.). If the repair/maintenance is part of daily operations, it is considered routine and charged to the operating trust fund.
- In general, there should be no permanent staff allocated to a maintenance & repair trust fund: only project-based salaries are to be charged to Maintenance and Repair Funds.
Construction Funds
Construction Funds should be used to record financial expenditures and revenue associated with the construction of a building or building improvements that are capital events.
- A building is defined as a structure that is permanently attached to the land, is not infrastructure, and is not intended to be transportable or movable.
- Building improvements are defined as capital events that materially extend the useful life of a building or increase the value of a building, or both. A building improvement should be capitalized as a betterment and recorded as an addition of value to the existing building if the expenditure for the improvement is at the capitalization threshold, and the expenditure increases the life or value of the building.
Construction Funds for Self-Support Operations
Construction Funds which are 100% supported by self-supporting operations (such as Student Union, Student Recreation Center, and Student Health Center) will be set-up with FD&O as the owner of the Construction Fund. All Construction expenses will be charged directly to the Construction Fund.
- On a monthly basis, SJSU Accounting will transfer revenue based on actual expenses. The revenue fund will be determined by the self-supporting operation's owner.
- FD&O is responsible for distributing a cost report to the self-supporting operation's owner monthly to identify actual expenses. Therefore there is NO approval required by the self-supporting operation's owner prior to the transfer of revenue to the Construction Fund.
- All purchase requisitions over $100,000 must be approved by the self-supporting operation's owner.
- Project Management fees will be charged by FD&O based on approved Memorandum of Understanding (MOU) language.

subset: commoncrawl


text:
Dan O'Bannon and Ronald Shusett, the screenwriters behind the highly successful Ronald Shusett, turned their attention to earthbound terrors with this creepy horror tale. Dead and Buried focuses on Dan Gillis (James Farentino), a man who has recently returned to his hometown of Potter's Bluff to be its sheriff. His job becomes difficult when a series of strangers who visit Potter's Bluff begin dying in violent and mysterious ways. To make matters worse, his wife, Janet (Melody Anderson), has begun to act strangely, taking an odd interest in voodoo and acting like she might be having an affair. As the murder victims pile up, Gillis discovers that all his troubles have an occult origin that has to do with the town's elderly mortician, Dobbs (Jack Albertson, in his final feature film role). Gillis gets to the bottom of the mystery, only to discover that the truth is much worse than he imagined. Despite effective direction and solid acting, Dead and Buried got lost in the shuffle of the early '80s horror boom and failed to click with the movie-going public. However, it later gained an audience via home video and cable and remains a minor cult favorite today thanks to its singular blend of creepy atmosphere and gruesome shocks. ~ Donald Guarisco, Rovi
Movies.com, the ultimate source for everything movies, is your destination for new movie trailers, reviews, photos, times, tickets + more! Stay in the know with the latest movie news and cast interviews at Movies.com.
Copyright © 2020 FANDANGO MOVIES.


text:
Enquire Now
Upgrading your membership means you can get additional access to:
Don't forget, at least 70% of all net revenue from iFollow goes directly to us!
Upgrade me
New season, new journey. Subscribing to iFollow today means you'll get even more access to ##US## content, including:
Sign for ##US##


text:
|* Country:
|* Region / State:
|* Post Code:
Zombie Midnight Flip Pearls 25g
Per 1 gallon of sprayable Plasti Dip mix 75 grams of pearls. (Can be also Matte Clear Plasti Dip Spray or a blend of Matte Clear Plasti Dip Spray and Glossifier 50/50%).
Usefull video made by DipYourCar:
You don't need to pay additional custom taxes or VAT at reception : no bad surprises!
Prodip GmbH has its representative office in the EU territory, through our representative Prodip GmbH pays all taxes, fees and other costs related to the import into the EU territory. Every customer who makes a purchase on our site, will not have to pay extra charges, because everything will be paid and declared by Prodip GmbH thanks to our EU VAT number and EORI number. Tax representative - Prodip GmbH C / O Tax & Consult Ltd., 60 rue Jacques Mugnier, 68200 Mulhouse, France, Phone: 0033 389 330 303, Prodip GmbH EU VAT number: FR40807604129, Prodip GmbH EORI number: FRCH120650050.


text:
10gen, the company behind the MongoDB open-source "NoSQL" database, has teamed with EdX—the free online education collaboration between MIT, Harvard, and the University of California Berkeley—to bring MongoDB training to the Web and to accelerate the release of EdX's online learning platform as open source.
In an interview with Ars Technica, 10gen Vice President of Education Andrew Erlichson said that the company would release two free training courses for MongoDB—one for developers, and one for database administrators—starting in October. "As part of this collaboration, we have access to (EdX's) software," he said, "and we will contribute back our changes to the software." Some of those contributions will include integration of MongoDB into EdX as a data store.
The eventual goal of the collaboration is to both provide all of 10gen's training for free online and to release the entire EdX platform under an open-source license. "They [EdX] were interested in collaborating with us because we're an open source company who runs things in a similar way," said Erichson. "We develop out in the open, which is a model they were interested in emulating for the development of their own source code."
Harvard and MIT officially launched the EdX project in May, and both schools have committed over $30 million to the nonprofit collaboration. MIT offered a preview of the platorm in March when it offered a free basic course on electronics and circuits, which initially enrolled over 100,000 students—though only 10,000 stuck with the class through the midterm exam.
For its part, 10gen has been providing on-site training to individuals for about $1,500 per course. But a lack of a formal, widely available certification program was getting in the way of greater adoption of MongoDB, Erilichson said. "We're on target to train 1,000 people in the last year," he said. "But in the last few days we've had 4,000 people sign up for the developer and DBA courses. There's been a pent up demand for a certification program."


text:
Hobo Bag Hub
A Very Intuitive Search Box:
Your search for Carlos Santana Hobo Handbag found:
We have just matched the the following results for you on Ebay. That's not surprising... It's one of the best places to find the best deals on . Scroll to the bottom of this page , and you'll find some wonderful deals from other great merchants!
Carlos Santana Purse Lyanna Hobo
Champagne Tone Hobo/Bucket Handbag – Carlos Santana
Carlos Santana White Purse Handbag Bag Pocketbook Hobo Tassels NWT
CARLOS SANTANA Women's Black with Gold Studs Hobo Handbag
CARLOS SANTANA Black Faux Hobo Handbag / Black Patent Embellishments
CARLOS SANTANA PURSE HOBO SATCHEL SHOULDER BAG HANDBAG cream faux leather
We appreciate you visiting our website. We hope that you have found everything you are looking for. However, if you have not , please feel free to use the search box that can be found at the top right hand corner to look for what you need. It's smart and will help you look for anything you need in our database of discounted items.
Featured Hobo Bag:
Mary Frances Sunburst Handbag
Soft fabric, genuine leather structure, floral pattern with beaded accents, stunning fall color palette.
Latest Posts & Galleries:
Authentic Gucci Black Hobo Bag
Coach Park Quilted Colorblock Hobo Bag
Designer Hobo Bag Gallery
Pink Hobo Bag Gallery
Coach Hobo Bag
Featured Hobo Bag Sites
Pink Hobo Bags
Black Hobo Bags
Brown Hobo Bags
Beige Hobo Bags
Red Hobo Bags
Blue Hobo Bags
Coach Hobo Bags
Designer Hobo Purses
Leather Hobo Bags
Recent hobo bags Searches
Hobo Bag
Marc Jacobs Hobo Bag
Designer Hobo Bag
Leather Hobo Bag
Ladies Hobo Bag
Clutch Hobo Bag
Evening Hobo Bag
Wholesale Hobo Bag
Hobo Bags
Hobo Handbags
Designer Hobo Handbags
Womens Hobo Bag
Leather Hobo Handbags
Wholesale Hobo Handbags
Ladies Hobo Handbags
Designer Hobo Handbag
A Very Intuitive Search Box:
Copyright © 2020
Hobo Bag Hub
. All Rights Reserved Worldwide.


text:
Once the kings of the Bay Area metal scene -- the birthplace of thrash -- Exodus were unceremoniously demoted from their post with the arrival of Los Angeles' Metallica in 1982. And while they proceeded to eke out a hit-and-miss career of their own over the next few decades, all the while influencing at least two separate generations of younger thrash bands, Exodus were ultimately fated to be the ultimate also-rans of the genre they helped spawn.
Formed in 1981 by singer Paul Baloff, guitarists Gary Holt and Kirk Hammett, bassist Geoff Andrews, and drummer Tom Hunting, Exodus were heavily influenced by Motörhead and New Wave of British Heavy Metal bands like Iron Maiden and Raven, whose lessons they combined with the raw, D.I.Y. aesthetic of the prolific Bay Area punk scene to create thrash metal. Their handful of demos recorded between 1982-1984 became wildly popular on the all-important underground tape-trading circuit of the time, and solidified the band's standing as the Bay Area's first thrash champions. But they would soon lose their numero uno standing as well as their guitarist Hammett to the aforementioned Metallica, who then raced ahead of all competitors in their mission to bring thrash to the world. Wounded but undaunted, Exodus drafted guitarist Rick Hunolt and replaced bassist Andrews with Rob McKillop before signing with Torrid Records, for whom they recorded their Bonded by Blood debut in 1984. But the album languished unreleased for over a year due to business problems, and by the time it was finally unveiled by Combat Records in 1985, the would-be genre benchmark already sounded dated and its impact was severely dulled by the quick evolution of their peers.
These hardships also led to the ousting of vocalist Baloff, whose carefree, larger-than-life attitude (and often drunken behavior) made him an easy scapegoat for his more driven bandmates. His replacement was ex-Testament singer Steve "Zetro" Souza, who arrived in time for 1987's disappointing Pleasures of the Flesh -- an inconsistent album which did nothing to advance Exodus' cause. Incessant touring served to strengthen the band's new lineup, though, and 1989's meticulously conceived Fabulous Disaster was a critical triumph, bringing the group to their commercial peak. The successful world tour which followed brought another dramatic setback, however, when drummer Hunting was diagnosed with an irregular heartbeat which first sidelined, then forced him to quit the band at tour's end. Still, Exodus was on a roll, and their momentum led to a new contract with Capitol Records, which immediately rushed them back into the studio with former Anthrax drum tech John Tempesta manning the skins, to lay down tracks for 1990's Impact Is Imminent. But the absence of a competent producer and a carelessly assembled collection of songs resulted in a dull, forgettable album that was doomed to commercial failure from day one, squandering the group's recent accomplishments and pretty much closing their window to success. Longtime bassist McKillop left soon after (replaced by Mike Butler) and despite the renewed quality of 1992's Force of Habit (certainly their most diverse album ever), the members of Exodus decided to go their separate ways when the grunge revolution sidelined heavy metal bands of most any stripe.
But then, ten years after his departure from the band, Paul Baloff rejoined most of the classic Bonded by Blood lineup for a series of gigs in 1997. A live album entitled Another Lesson in Violence was issued by Century Media to memorialize their homecoming show in San Francisco, and the band continued to perform sporadically over the next few years until tragedy struck: Baloff suddenly passed away on February 2, 2002 after suffering a massive stroke and slipping into a comma three days earlier. Guitarist Gary Holt -- long Exodus' de facto leader -- still wanted to carry on, however, so after reuniting most of the band's "semi-classic" Fabulous Disaster formation, also featuring Hunolt, Hunting and Souza, plus bassist Jack Gibson, work began on the band's sixth studio album, 2004's Nuclear Blast released thrash-fest, Tempo of the Damned. The record didn't bring Exodus fame and fortune, of course, but it did meet with widespread critical acclaimed and firmly reestablished the band's career with the help of their still peerlessly energetic live performances, now being witnessed worldwide by thousands of impressionable fans, too young to have seen the original legends of thrash -- Exodus, Metallica, Slayer, etc. -- during their glory years.
In fact, not even a final falling out with Souza and Hunolt could derail the Exodus juggernaut now, as they moshed back into the studio to record 2005's Shovel Headed Kill Machine with vocalist Rob Dukes, guitarist Lee Altus (once of competing Bay Area thrashers Heathen), and drummer Paul Bostaph (ex-Forbidden, Slayer, Testament, etc.). Two years later, they were back at it again, with a returning Tom Hunting behind the drum kit for another new studio album named The Atrocity Exhibition...Exhibit A, as well as 2008's Let There Be Blood (a well-meaning but utterly unnecessary re-recording of 1985's seminal Bonded by Blood debut), as well as 2010's Exhibit B: The Human Condition. Be that as it may, Exodus continue in their quest to instruct new millennium audiences with their one-of-a-kind "lesson in violence"; simultaneously reaping the undying respect (if not monetary reward) from the hundreds of purist young thrash bands, created in their image, that sprung up worldwide towards the end of the '00s. ~ Eduardo Rivadavia, Rovi


text:
We caught up with Marina on a particularly sunny and uncharacteristically warm winter day and loved her effortless chic style! Marina immediately caught our attention with her supermodel good looks and endless legs and we were very pleased to find out that the beauty is also brainy!
Who: Marina, 26, Architecture student
Wore: Knit cardigan by Pull & Bear, sheer mint blouse by Forever 21, white top and mustard carryall by Studio Pasha, gray high waisted skirt by Twentyfourseven, multicolored sandals by Aldo, , and gold necklace and bracelet.
As a busy hard working student, Marina's first concern when putting together an outfit for a full day of studying and working, is practicality. The girl makes it work!
Who will be our next Street Style Star??


text:
Title: The Scorpio Races (2011)
Author: Maggie Stiefvater
Genre: Young Adult, Fantasy
Extent: 409 pages
Release Date: October 18, 2011
Rating: ★★☆☆☆
Goodreads Description
It happens at the start of every November: the Scorpio Races. Riders attempt to keep hold of their water horses long enough to make it to the finish line. Some riders live. Others die.
At age nineteen, Sean Kendrick is the returning champion. He is a young man of few words, and if he has any fears, he keeps them buried deep, where no one else can see them.
Puck Connolly is different. She never meant to ride in the Scorpio Races. But fate hasn't given her much of a chance. So she enters the competition — the first girl ever to do so. She is in no way prepared for what is going to happen.
Ah, The Scorpio Races. I buddy-read this book with the lovely Sara (Freadom Library) and Estefani (Fiction Jungle) a couple of weeks ago, and it's actually funny because our opinions ended up at rather opposite ends of the spectrum. Note that I am the black sheep of us three — I ended up not enjoying this book whereas they did.
My biggest problem with The Scorpio Races was that the plot took forever to unfold without any reason at all. The first 30 chapters or so went back and forth between Puck's and Sean's perspectives, setting the stage, introducing the characters, building up to the race. That wouldn't be a huge problem if the characters are doing different things each chapter, but I didn't get that impression.
I honestly think you could cut out maybe half of this book and still have the same story… or an even more captivating, fast-paced one. I feel like there were at least 10 chapters of Puck and Sean being on horseback just thinking, and another 10 of them spending time together silently without a lot of character or relationship growth. My attention faltered a lot and I had to force myself to read, which isn't a pleasant thing to do.
"It's easy to convince men to love you, Puck. All you have to do is be a mountain they have to climb or a poem they don't understand. Something that makes them feel strong or clever. It's why they love the ocean."
My other problem is that Puck's motivation for joining the race came across as unrealistic and extremely foolish to me. It's not really 'fate' that drew her into the competition as the blurb suggests — she joined because her older brother, Gabe had plans of leaving the island, and her possible death would make him stay… well, a couple weeks longer, that is. She just didn't think it through and her actions didn't make sense in that context. Needless to say, I didn't connect with her at all.
Unfortunately it's not only Puck that I didn't connect with. Sean, our other POV character, struck me as very one-dimensional — broody, angsty, and remarkably quiet with a horrible history to boot. Gabe was no better: barely there and underdeveloped. The only character I liked was probably Finn, Puck's younger brother, who was sweet and caring but didn't play that big a part in the story.
One of the lines in Finn's code is that you're not to say anything about Finn being attractive to the opposite sex. I'm not sure which exact statute governs this, but it's closely related to the one that won't let you thank him.
Something about compliments and Finn don't work.
Thirdly, I'm not a huge fan of dual narration and this book, unfortunately, reminds me why. Puck's and Sean's voices sound almost exactly the same — they have similar thoughts, similar personalities, similar ways of talking to others… I would often have to flip back a few pages because I suddenly forgot whose chapter I was reading and need to be reminded. These two were practically indistinguishable, and it did little to add to the story.
Where The Scorpio Races wins (and pretty much the only reason why I'm giving it an extra star) is the setting. Despite the slow-paced plot, this book is atmospheric. I love the idea of Thisby, this quiet, lonely, secluded island whose culture revolves very much around the capall uisce — flesh-eating, wild, ferocious water horses from the sea that were captured and trained to race in the Scorpio Races.
Unharmed, I find myself facing the sea, surrounded on all sides by the capaill uisce — the water horses. They are every color of the pebbles on the beach: black, red, golden, white, ivory, gray, blue. Men hang the bridles with red tassels and daisies to lessen the danger of the dark November sea, but I wouldn't trust a handful of petals to save my life. Last year a water horse trailing flowers and bells tore a man's arm half from his body.
The people of Thisby practically live and breathe these horses — there are traditions surrounding the beasts, curses and well wishes, scary myths and bedtime stories told generation over generation about them: what they're like and what they like, what to do when you see one, what to do when you're on one… It's very imaginative and evocative, and I admire Stiefvater's ability to bring this world to life until of course, the world-building took over and left the plot behind.
Ultimately, The Scorpio Races was too slow and boring for me to really enjoy the story, but I'll leave you with Sara's review here — she's covered other grounds and would provide you with quite a different perspective. 🙂


text:
Want to know when Equatorial Guinea are next playing live football on TV and on which channel?
This Equatorial Guinea on TV Schedule is updated daily to make sure you know when and who they are playing on TV during the 2019/20 season across all satellite and freeview channels in the UK including Sky Sports, BT Sport, Premier Sports, BBC, ITV and on official live streams.
So, If you are trying to find out if Equatorial Guinea are on TV today, tonight, tomorrow or this weekend make sure you view our Football on TV Listings for all of their upcoming live televised fixtures.
There are several ways to watch the next Equatorial Guinea game on TV or online - check out our Equatorial Guinea Live Stream guide.
This Equatorial Guinea TV schedule was updated on 12 August 2020.


text: The dining tables are the centerpiece of your dining room, without a bold dining table you will think twice to invite anyone to dinner in your place. To resolve that problem we decided to do a curated selection of 8 bold dining tables that will make you a host of an elegant and charming dinner. Our curated selection brings you an intense and marvelous options for how you must decorate your dining room, as we said the masterpiece of a dining room set is the dining table so let you evolve with this incredible pieces because they will bring an incredible ambience to your space not only for the curated design but also for the meaning of the pieces, every piece have a different meaning, a different inspiration. So for reason that will make your dining room perfect and into your own image.


text:
The cast of Broadway's "Hamilton" spoke directly to Vice President-elect Mike Pence as he sat in the audience after a show Friday night, saying they hope the production inspired him to govern in a way that protects a diverse America -- a statement President-elect Donald Trump took issue with on Twitter Saturday morning.
"Vice President-elect Pence, we welcome you and truly thank you for joining us here tonight at Hamilton, we really do," said actor Brandon Victor Dixon, who plays Aaron Burr, with the cast assembled behind him.
"We, sir, we are the diverse America who are alarmed and anxious that your new administration will not protect us, our planet, our children, our parents, or defend us and uphold our unalienable rights, sir," said Dixon.
"But we truly hope this show has inspired you to uphold our American values and to work on behalf of all of us," he continued. "We truly thank you for sharing this show, this wonderful American story told by a diverse group of men, women of different colors, creeds and orientation."
The audience clapped and cheered as Dixon spoke. 'Hamilton' creator Lin-Manuel Miranda responded online later in the evening that he was proud of Dixon and the cast.
"Proud of @HamiltonMusical. Proud of @BrandonVDixon, for leading with love. And proud to remind you that ALL are welcome at the theater," he tweeted.
Trump responded to the cast on Twitter Saturday morning, claiming they "harassed" Pence.
In another tweet, Trump demanded the cast apologize for the statement.
Dixon responded to the President-elect on Twitter, writing he appreciated Mike Pence listening to the cast's message and told Trump that "conversation is not harassment."
Pence also drew boos from the audience before the show as he was taking his seat in the theater.
Video posted to social media shows the audience at the Broadway show reacting boisterously as Pence walked into the theater with Secret Service in tow.
"Here's Pence getting booed as he gets to his seats at Hamilton," tweeted an audience member who captured the loud reaction on video.
Ron Rawlings, who was visiting from Dallas, Texas, later told NBC 4 New York, "Everything was calm, and then we heard almost a hysterical booing, went on for a long time. As my daughter and I stood up to see what was going on, we saw Vice President-elect Pence coming in."
"It was the most gross display of disrespect I've ever seen. It was awful," Rawlings continued.
Rawlings said of Pence's reaction: "He was very dignified, and there were a couple of people that showed support, he acknowledged them. He took his seat, he was very kind, he was very gracious."
Hannah Blau, visiting from Columbus, Ohio, said, "Some people were clapping, but the boos were overwhelming." She added that she thought it was "cool" that "people are still vocalizing their opposition."
"I thought LeBron Game 6 in Boston was the emotionally charged performance until this Hamilton performance with Mike Pence in audience," tweeted Noah Coslov, a digital sports editor.


text:
- Prayer and Worship
- Beliefs and Teachings
- Issues and Action
- Media
- Bible
- Catholic Giving
- About USCCB
In celebration of the World Day for Consecrated Life, the Secretariat of Clergy, Consecrated Life and Vocations is pleased to offer the results of "The Profession Class Survey," a survey taken of religious sisters and brothers who professed their perpetual vows each year. The News Release and Report are posted below. Thank you for your support of religious vocations in the Church!
Religious sisters and brothers serve the Church in a variety of ways. From left: Pauline Sister and author Maria Grace Gaetano (CNS Photo/Nancy Phelan Wiechec); Franciscan Brother and author Daniel Horan and Loretto Sister and teacher Kathleen Corbett. (CNS Photos/Bob Roller).
By accepting this message, you will be leaving the website of the
United States Conference of Catholic Bishops. This link is provided
solely for the user's convenience. By providing this link, the United
States Conference of Catholic Bishops assumes no responsibility for,
nor does it necessarily endorse, the website, its content, or
sponsoring organizations.


text: Swarovski fashion jewellery vividly illustrates the brand's ongoing quest for creativity, innovation, beauty and perfection. For more than a century, Swarovski crystals have set new standards in contemporary design. In each new collection, Swarovski crystal jewellery reaches new heights of inspiration and individuality. The unique jewellery creations are enhanced each season with a range of radiant colours, materials and patented techniques that the brand has developed to consistently expand and transcend its established quality and distinctiveness.


text:
Contribute to ReadWriteThink / RSS / FAQs / Site Demonstrations / Contact Us / About Us
ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, videos, activities, or other ideas you'd like to contribute, we'd love to hear from you.
Find the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals.
Teacher Resources by Grade
|1st - 2nd
|3rd - 4th
|5th - 6th
|7th - 8th
|9th - 10th
|11th - 12th
Home › Classroom Resources › Lesson Plans
Lesson Plan
Critical Reading: Two Stories, Two Authors, Same Plot?
|9 – 12
|Lesson Plan Type
|Standard Lesson
|Estimated Time
|Four 45-minute class sessions
|Lesson Author
Villanova d'Asti, Asti
Many students often lack critical thinking skills to be able to analyze what they read. This lesson encourages students to read and respond critically to two different pieces of literature with the same title. Students make predictions about the stories and analyze the story elements (i.e., characters, plot, conflict, and resolution). They then compare and contrast the different stories, distinguish between fact and opinion, and draw conclusions supported by evidence from their readings.
- Compare & Contrast Map: Students will choose one story element and use this interactive tool to compare the element in the two stories.
- Literary Elements Map: Students will use this interactive tool to reconstruct the story that they read.
Schallert D.L, & Reed J.H. (1997). The pull of the text and the process of involvement in reading. In J. Guthrie & A. Wigfield (Eds.), Reading engagement: Motivating readers through integrated instruction (pp. 6885). Newark, DE: International Reading Association.
- In this chapter, the authors discuss the importance of involving students in the development of stories in such a way as to attract their attention and emotions. It is clearly beneficial to devise tasks, environments, and strategies that will foster involvement in all kinds of reading tasks.
- Students who are reading a required assignment are likely to be drawn into their reading by features of the text such as characters with which they can identify, words that arouse vivid imagery, and texts that say the unexpected.
- Talking with peers to negotiate an understanding of what was read is highly motivating. Not only are students likely to become involved in the active interaction often associated with peer-lead discussion groups, they may be more interested in what they are reading as they anticipate what will happen when they meet in groups to discuss what they have read.
Welker, W.A. (1999) The CRITICS Procedure. Journal of Adolescent & Adult Literacy, 43(2), 188189.
Welker states that, "students often lack the critical thinking skills necessary to pass judgment on what they read." Critical Reading Instruction that Improves Comprehension Skills (CRITICS) helps students to develop into thinkers, not just readers.


text:
Enough lying about
ESA's volunteers recently finished their third and last session lying in bed in the interest of spaceflight and science. They can return to their normal lives after spending their last 21 days in bed with their feet up – once their bodies have recuperated from the experience.
When astronauts return from a long flight they can need days for their bodies to recuperate from the effects of living in weightlessness. Bedrest studies recreate some aspects of spaceflight to allow scientists to probe how their bodies react and test methods for keeping future astronauts fit and healthy.
This latest study, held in Toulouse, France, tested a high-protein diet and an exercise routine that involves pushing the volunteers down onto vibrating plates while doing upside-down squats.
Resting in bed and getting paid for it might sound like an ideal job, but bedrest puts a huge strain on the participants as they submit themselves to days of monotony, constant tests and a strict diet without being allowed to get up for a walk, fresh air, a shower or even the toilet.
"The first days of each session were the worst," says Marc Marenco. "The body needs to adapt and I had migraines and backaches."
In return, the 'pillownauts' can feel proud of their contribution to the science of human space exploration as well as helping bedridden people on Earth.
"We are a reference for many articles, I think the data will help scientists move a step further in their research," explains Daniel Fandino, who works in a bar when not lying down.
Just like real astronauts, the pillownauts had to spend time readjusting to upright life in Earth's gravity as well as finishing tests before they could return to normal life.
Researchers will now study the data from the experiments. The study was organised by ESA in cooperation with France's CNES space agency and run at the MEDES clinical research facility in Toulouse.
Provided by European Space Agency


text:
hang (up) (one's) hat
hang (up) (one's) hat
To live somewhere; to take up residence. I'm originally from the East Coast, but I hang my hat in San Francisco these days. I've been traveling around the world for so long that it feels strange to finally have a place to hang up my hat.
hang one's hat (up) (somewhere)
to take up residence somewhere. George loves Dallas. He's decided to buy a house and hang his hat up there. Bill moves from place to place and never hangs his hat up anywhere.
hang your hatbe resident. North American informal
2001 Kevin Sampson Outlaws End of the day though it ain't the Royal and that is where I want to hang my hat.


text:
MAIL VIA ROCKET (Jan, 1957)
A missile expert predicts rocket mail by 1965. Here are MI's ideas on how the system could function.
By Frank Tinsley
IT'S Friday noon. In the home office of a giant New York corporation the final drafts of a secret merger are being signed. If they can be signed by the party of the second part in San Francisco and be back here in the office before the stock market closes—so that "buy" orders can be rushed to dealers throughout the country—a possible Monday financial slump can be averted. The atmosphere is tense. A micro- photo machine has been moved into the president's office and a trusted operator inserts the sheets, one by one. Two tiny prints of each emerge, one for the files and one for mailing. The latter is sealed in a pencil-thin plastic carrier bearing the written address and the code punch for San Francisco. The carrier is then popped into a pneumatic tube that takes it to a central post office where it emerges into a sorting machine. Automatically identifying the punch mark, this device drops it into the San Francisco container. At scheduled intervals, an attendant seals these containers and inserts them in a large pneumatic tube to the rooftop heliport. Here our letter is picked up by a fast convertaplane that flies hourly between the city and the rocket base.
Arriving at the base, our pilot hovers over the Frisco-bound rocket. Mail containers are lowered to a loading crew perched high on the missile's open cargo doors. Parcel post packages follow swiftly and the doors are swung upward and locked. The "service stand" retracts its telescoping tower, folds it neatly on its bed and pulls away from the missile pit.
With an ear-splitting roar, the downward rush of incandescent gas is deflected up and out by the cup-shaped walls of the bunker. Slowly, the missile rises, gathering momentum with every foot of altitude. Climbing high into space at 10,000 mph the winged postman is guided on its course by electronic pilot installations spaced across the country. With engines cut, it begins the long, roller-coaster dip to the Pacific. As it nears the coast, controls are actuated and the huge missile turns slowly end-for-end. Tail first, with rocket again soaring, it gradually brakes it descent. Now the landing controls at its destination take over. Lightly, it touches down on its landing pad.
The postman's engine is cut. A reversal of the New York procedure whisks the merger container into the hands of its addressee by 10 a. m. Pacific Standard Time. Quickly countersigned and witnessed, it begins its return trip. Our New York executives receive the papers at 2:30 p.m.—in plenty of time to close the deal.
When will this closely-coordinated missile mail service be in operation? According to Hall L. Hibbard, head of Lockheed Aircraft's Missile Division, missile mail and freight will be possible by 1965. MI agrees—and we foresee that the speed of the service will require a smooth-working, speeded-up city-to-rocket base and ground handling system to exploit its fullest potential.


text: Enjoy this gorgeous and soft knitted infinity scarf all season long. It is functional and versatile from day-to-night. Besides adding a splash of color to your outfit, this scarf adds more texture to your look with it's knitted and chunky pattern. Chunky knits have been in style this season and are here to stay forever. Wear it over a comfy sweater for a super warm and cozy look. More is more, so why not play with a season-appropriate accessory and have some fun. Very functional, worn in many different ways such as long, double-looped, or over head to ward off some of that chilly wind. A statement-making scarf that is guaranteed to keep you looking fabulous while staying warm and cozy. 100% acrylic. 60" long x 12" wide.


text: ASUS GTX 670 DirectCU II: coolest and quietest 28nm card Flattened copper heatpipes makes direct contact with the GPU surface so heat is dissipated efficiently, delivering a 20% cooler and vastly quieter performance than reference.Acclaimed DIGI+ VRM with 8-phase Super Alloy Power technology delivers precise digital power and enhanced durability for stable overclocking.GPU Tweak utility helps you modify and tune clocks (including new boost clock settings), power consumption targets, voltages, and fan performance via an intuitive interface Shop Modal header Deploy the Cool. Reign in Silence. ASUS Exclusive Innovation DirectCU II 20% Cooler and Vastly Quieter with exclusive DirectCU II thermal solution GPU Tweak GPU Tweak co-developed with the most authoritative GPU-Z to provide the most accurate information DIGI+ VRM with 8-phase Super Alloy Power Acclaimed DIGI+ VRM with 8-phase Super Alloy Power technology Delivers precise Digital Power and Enhance Durability for stable overlocking Gigantic 2GB GDDR5 Memory On-board memory for the best gaming experience & the best solution Graphics GPU Features Powered by NVIDIA® GeForce GTX 670 NVIDIA® GPU Boost NVIDIA GPU Boost technology that dynamically maximizes clock speeds to push performance to new levels NVIDIA® Adaptive V-Sync NVIDIA Adaptive Vertical Sync adjusts VSync to current frame rates for maximum playability NVIDIA® PhysX® ready Dynamic visual effects like blazing explosions, reactive debris, realistic water, and lifelike characters. SLI Support Multi-GPU technology for extreme performance NVIDIA® 3D Vision™ Surround Ready Bring games to life with NVIDIA® Surround™ multi-monitor gaming on a single card PCIE 3.0 Delivers double the bandwidth per lane of PCIe Gen 2 for faster GPU – CPU communication Microsoft DirectX 11.1 API (feature level 11_0) Brings new levels of visual realism to gaming on the PC and get top-notch performance I/O Ports Highlight


text:
How to take a screenshot in Android Samsung Galaxy S smartphone
Saving a screenshot in the Samsung Galaxy S Android-based smartphone is very easy: it's just a simple combination of keys.
You need to keep pressed the tactile key Back and, without releasing this key, we press the central Home button (the one that returns to your main screen) and then we would release the "Home" button (without releasing the Back key.)
The best way this screenshot trick works is just keeping pressed "Back" during a second and then pressing "Home". If we do this fast it might not work. And if we wait too long, maybe the screenshot would be taken too late, because the "Back" key might act, going to the previous level in the current app or page.
Essentially, this trick is all about pressing and releasing "Home" while "Back" is still pressed.
If our screenshot was successful, we would hear a sound similar of a photographic camera shutter, and in the bottom of our screen a message would be displayed: "Screenshot taken. Saving as image file", and the image would be stored in the "ScreenCapture" folder of the Samsung Galaxy S device.
In spite of the outdated information spread all over Internet about this feature, with statements about the impossibility of saving a screenshot in the Samsung Galaxy S smartphones, suggesting other complex operations, connecting the device to the computer, etc., truth is that these specific Android-based phones, since the Android firmware version 2.2, are able to save screenshots in this simple way.


text:
A Sandwich A Day: Ham and Gruyere Sandwich at 606 R&D
A new sandwich every day.
In this great city of ours, one could eat a different sandwich every day of the year—so that's what we'll do. Here's A Sandwich a Day, our daily look at sandwiches around New York. Got a sandwich we should check out? Let us know. —The Mgmt.
I love me a good breakfast sandwich—especially when it's a block from my place. The ham and gruyere breakfast sandwich ($12) at 606 R&D in Prospect Heights is priced as you'd expect on a brunch menu, rather than a breakfast one, but it's available seven days a week. Still, even if it's a little pricey for an everyday breakfast, it's one I'm happy to know is available whenever I want it. (Pro tip: If you're doing breakfast for two, split this super-rich sandwich and a few of their fresh doughnuts. Savory and sweet in one go, and it brings the average cost down too.)
It starts with a flat egg scramble, neatly tucked in, on a buttery bun that also cradles ham and Gruyere. Hardly a novel combination, but there's a reason the two ingredients are so often paired. Next to that pile of steaming hot eggs, the Gruyere is melty and oozing, so fragrant you can smell it coming to the table before you see it. All the elements fuse together on that soft bun, making for a sandwich as refined as it is classic.
606 Vanderbilt Avenue, Brooklyn NY 11238 (map)


text:
Thanks to the mainstream success of artists like Skrillex, dubstep is enjoying some widespread appreciation. Wait, but what is dubstep? Most people probably can't tell it apart from other types electronic music. If you're amongst the newly-converted, this video will explain the basics.
Oh, the trials of a formerly niche electronic music genre. Old-school dubstep fans will tell you that Skrillex is full of shit and that this video is overly-reductive. They're right, but the truth is that sometimes it's useful to have a a baseline definition as a starting point. This video does an admirable job of explaining how it works. After you've watched it, turn off the Skrillex and dig into the vast troves of the expansive genre.
Here's a few jams on YouTube to get you started:
Burial "Archangel"
Kode 9 "Black Sun"
Pinch "Pepper Spray"
Silkie "New York City"
Pervelist "Bluez"


text:
Defense Secretary Leon Panetta on Thursday ordered the Pentagon to dig into and determine why an alarming number of generals and admirals have been snared by a variety of ethical lapses and misconduct allegations, headlined by the admitted marital infidelity of former four-star general and ex-CIA Director David Petraeus.
According to a statement released by the Department of Defense, Panetta believes that while the "vast majority" of U.S. general officers continue to abide by traditional ethical standards, he has nonetheless become concerned about the spike in alleged misbehavior among a rising number of flag officers spanning the Army, Navy and Marines.
"Over the past several months, the Secretary has spoken with the service secretaries, service chiefs, and combatant commanders about those instances when senior officers have not lived up to the standards expected of them. This has been an ongoing discussion reflecting shared concerns," the DOD release said. "This week, the Secretary directed General Dempsey to work with the other members of the Joint Chiefs of Staff to review how to better foster a culture of stewardship among our most senior military officers. This process is intended to reinforce and strengthen the standards that keep us a well led and disciplined military."
ISAF via Reuters file
Meet the people who have been pulled into the scandal that caused Gen. David Petraeus to resign.
Panetta was in Thailand Thursday as part of a visit to Asia. Neither Panetta's order nor the DOD statement mentioned Petraeus, who has been under FBI investigation, or Marine Gen. John R. Allen, the commander of U.S. and NATO forces in Afghanistan, who is involved in the Petreaus case. Allen has denied any wrongdoing.
In addition, three other top-rung commanders have recently been punished by the military or remain under investigation for alleged misconduct:
- Army Gen. William Ward, the four-star general who once led the U.S. Africa Command was demoted Tuesday amid accusations that he spent thousands of dollars on lavish travel. He was stripped of one star and will retire. In August, a Defense Department Inspector General's Report said Ward took an 11-day trip to Washington and Atlanta, costing $129,000 but spending just three days on official business.
- Brig. Gen. Jeffrey A. Sinclair is accused of 26 violations of military law including forcible sodomy, wrongful sexual conduct, possessing pornography while deployed and conduct unbecoming of an officer. According to prosecutors, the alleged sexual assaults happened in Afghanistan, Iraq and Germany, as well as at military bases in the United States. In May, Sinclair was removed from Afghanistan, where he'd served as a deputy commander for support. An initial military hearing has ended, but there has been no decision on whether to proceed to a court martial, The Associated Press reported.
- Navy Cmdr. Joseph E. Darlak and top officers of the San Diego-based Navy frigate USS Vandegrift were relieved of duty on Nov. 2 after a boisterous, drunken port visit to Vladivostok, Russia. Darlak was removed, the Navy said, after an investigation found he had exhibited "poor leadership and failure to ensure the proper conduct of his wardroom officers" during the three-day September stop, the Associated Press reported.
Ward, Sinclair and Darlak have not commented publicly about the charges against them.
Some military observers see the recent spate of high-profile cases of alleged misconduct as a much larger issue affecting the armed forces.
Directing combat operations on the far side of the world has separated many general officers from their families for the better part of a decade while they live in "an alternate-reality universe" – culturally insulated along with other brass – while being increasingly viewed as "untouchable," said Frank Wuco, a retired U.S. Naval intelligence chief.
That distance and divide can put military commanders at risk of losing their moral compass, said Wuco, who hosts a weekly radio program in Tampa, Fla. In the late stages of Wuco's intelligence career, he attended multiple meetings with then-Gen. David Petraeus who, at the time, was leading U.S. forces in the Middle East.
Wuco describes the former four-star general as "down to earth," but he said the social status of many U.S. generals has ballooned to new heights during the two wars (Iraq and Afghanistan), allowing American military leaders to "begin to live in this kind of artificial bubble."
"With the senior guys and the flag officers, this is like the new royalty. We treat them like kings and princes. These general officers in the military, at a certain point, become untouchable," Wuco said. "In many cases, they get their own airplanes, their own helicopters. When they walk into a room, everybody comes to attention. In the case of some of them, people are very afraid to speak up or to disagree. Being separated from real life all the time in that way probably leaves them vulnerable (to lapses in moral judgement)."
But Thomas Ricks, a senior fellow at the Center for a New American Security, disagrees with the notion that military leadership is more insulated and that they have had their heads clouded by adulation. To Ricks, the problem is squarely centered on a wholesale loss of accountability across the landscape of the American armed forces.
"It is because the U.S. military has lost hold of the idea of accountability - that is, rewarding success and removing failures. And so people get promoted kind of mindlessly, and aren't punished when they fail repeatedly over the years," said Ricks, who also writes a blog for ForeignPolicy.com called "The Best Defense."
"Ultimately, when their failure becomes public, they may get punished. Bottom line: Today being a general is like being a tenured professor. You can do a lousy job and keep it, but if you embarrass the institution with moral lapses, you will get bounced," Ricks said.
Click here for more military-related coverage from NBC News.
As for the reports of Petraeus' infidelity – as well as any unreported sexual dalliances involving other military leaders – ex-intelligence chief Wuco contends such behaviors within the highest levels of the military "are nothing new."
"This type of cheating, while definitely alarming, is not off limits to the military," Wuco said. "This is classic 'men of a certain age.' You're looking at a guy who's up there in age. He's been working his ass off his entire adult life, separated from all of the good times everybody else has been having. I don't think it's anything more than: it made him feel good. It was good for his ego. He was holding the attention of a younger woman. It's a classic story across every center of society."
In fact, two of America's most venerated generals - Dwight D. Eisenhower and Matthew Ridgway - were known to have had romantic flings during World War II and the Korean War, but their infidelities didn't make news and certainly didn't cost them their commands.
A third World War II hero, Gen. George S. Patton, also had an extramarital affair, according to the book, "Patton," by the late Martin Blumenson.
"We're in a different time now," said Robert O. Kirkland, a military historian who teaches at the University of Southern California. He called the Eisenhower and Ridgway liaisons with women other than their wives "documented in the historical record."
"Maybe some things in the past were overlooked," Kirkland said. "They're now enforced."
Related content from NBCNews.com:
- Emails on 'coming and goings' of military officials escalated FBI concerns
- Sen. Feinstein: 'We will need to talk to David Petraeus' about Benghazi
- Video: FBI agent search Broadwell's home
- CIA Director David Petraeus resigns, cites extramarital affair
- Video: Petraeus' stunning fall from grace
- Petraeus' biographer under FBI investigation over access to his email, officials say
- David Petraeus a battlefield 'hero' and savvy Washington insider
- Video: A 'painful' admission from Petraeus
Follow US news from NBCNews.com on Twitter and Facebook


text:
The A14 Motorway between Bologna and Taranto, Italy, has seen its traffic volume increase about 4% year on year. The most recent data suggests that 110,000 vehicles use the motorway daily. The trend looks set to continue which led the Italian government to plan an upgrade and expansion of the motorway. The multi-phased project took place along a 154.7 km section between Rimini North and a future junction at Porto Sant'Elpidio. The project widened the motorway from two to three lanes with the addition of an emergency lane. Ten existing junctions were upgraded and five new junctions built. They are located in Pesaro South, Fano North, Marina di Monte Marciano, Ancona West and Port Sant'Elpidio.
Ghea Sistem, a firm involved in many high-profile Italian projects, handled most of the challenging soil stabilisation. Ghea Sistem recently completed the Northern part of Section 2 of the project, a 28 km stretch of the expansion from Cattolica to Pesaro. Because of the clay-based soil and of the high water table, the section required some major work to raise the level of the road.
"The main challenges include the proximity of the water table which is almost at ground level in places along the motorway," said Alessio Cagnola, who owns Ghea Sistem with his brother, Paolo. "In addition, 95% of the works was carried out alongside the existing motorway route. This created issues with limited manoeuvring space, and sometimes large quantities of soil close to the traffic needed to be excavated to widen the road and to allow the construction of retaining walls. It could have interfered with the placement of concrete structures, such as large pipe and box culverts."
Tasks included grading of slopes, and the saturated soil was unstable for the work crews at times because of heavy rain on Section 2. On the more even grades, sometimes the soil was too saturated to be moved or for equipment to operate on.
Ghea used two approaches to stabilize the road. Wide, more even stretches of road were stabilised with the Cat® RM300 Rotary Mixer. In poor soil conditions, lime additives were sprayed on the soil and mixed by the RM300.
Ghea Sistems excavated clay-based soil to make room for culverts and other infrastructure such as two artificial tunnels used to divert traffic into the new tunnels to allow work to be carried out on the older ones. Pockets of unstable gumbo and saturated sub-soil were encountered. The challenge of establishing the load bearing capacity to keep thousands of kilograms of pavement in place was further compounded by the forces of nature and the instability of the remaining sub-surface soil.
Temporary soil stabilisation sites were established. Four-axle haul trucks transported thousands of cubic metres to each site. Non-usable soil was separated and blended into the surrounding terrain. The RM300 was deployed to blend lime additives into the soil that was deemed suitable for re-use. The stabilised soil was hauled back for use as fill material to build the new lane. The grade had to be raised from 2 to 5 m where the road crossed the high water table and areas of marginal soil consistency. The first step involved the placement of a base layer of graded aggregate hauled in from a nearby quarry. In addition to the reclaimed fill material, other suitable soil was excavated from high-ground pits. Soil topped with a lime additive was used to raise the grade to the required height.
Project specifications called for 20% of lime blended into each stabilised layer. Three Cat® RM300 passes were applied to each layer of the stratified soil-lime mix to consistently achieve the target composition. A motor grader insured each load was placed at the correct depth to consistently achieve the desired soil compaction. A soil compactor completed the third step to place each load. This three-step sequence was followed to establish each soil/lime layer and the Cat RM300 played a key role to help achieve a stable base. Depending on the time of year and on the soil moisture content, the soil was watered between the first and second passes of the Cat RM300. This insured that the lime was properly hydrated (up to 3% water) to achieve the best mix in preparation for the compacting finish.
With such a volume of material, productivity was a key element in all phases of the project.
"The RM300 has been giving us excellent results with regards to production, with an average of approximately 1,000m3 per day," said Paolo Cagnola. "In addition, when fitted with a universal rotor, the RM300 makes the material suitable for placement with little processing."
The operator of the Cat RM300, Felice Catello, found the cab quiet and the heavy traffic only a few feet away, was barely audible. The air conditioning provided comfort, and the instrumentation was easy to read. The Electronic Monitoring System (ECM) clearly displayed the readings and showed the machine often worked at a depth of 450 mm, although capable of greater depths.
After making a pass, Catello reversed the travel direction with the help of the rear wheel steering, which enabled crab and coordinated steering. The RM300 moved forward along the trench cut during the previous pass. The rear tyres are wide with a traction-assisting tread pattern and a large ground contact area. The wheels are hydrostatically driven by two radial piston motors that can be activated by the operator when a true all-wheel drive is needed.
The machine worked extensively and Catello estimated it only needed to be refueled every 16 hours. He also stated that 5,000m3 of material could be stabilised in approximately 40 hours of weekly operation, using only two full fuel tanks.
The material left behind was consistent in size, with no large chunks or clumps of clay. Its colour was uniform indicating that the additives and clay-based soil had been thoroughly mixed. Ghea Sistem chose a universal rotor fitted with 200 carbide-tipped tools. The tools can be quickly replaced and are in a chevron pattern for maximum breakout force. The kicker paddles placed on each stand-off also helped improve mixing during soil stabilisation.
The results were positive for Ghea Sistem. "We previously tried a Cat Rotary Mixer, and the machine performed superbly, so we decided to purchase another for this project," said Alessio Cagnola. "The machine has been giving us excellent results."
We've put the tools you need to succeed right at your fingertips—including mobile apps, calculators, application guides and more. Unlock the value inside our online paving resource center today. It's just one more way we're with you from the ground up.Unlock resources


text:
Cycle Chic is a brand name dedicated to a whole group of blogs who report on the fashionable side of bicycles. It all stems from Copenhagen with appropriately named: Copenhagencyclechic.com.
They recently had a nice video of the bicycle share program in Washington DC:
Capital Bikeshare Chic from Aurash Khawarzad on Vimeo.


text:
Beside You In Time (halo)
From NinWiki
Beside You In Time (also known as Halo 22) is the live release chronicling the 2005/2006 Live: With Teeth arena tours. It primarily features high-definition footage from two dates, March 28, 2006, in Oklahoma City, OK and March 30, 2006, in El Paso, TX. There is also bonus footage from rehearsals and the Summer Amphitheater Tour.
Beside You In Time was released on February 27, 2007 on DVD, Blu-Ray, and HD-DVD. The Blu-Ray and HD-DVD version have full 1080p high-definition playback for the main playlist. There was no CD release for Beside You In Time.
* These songs have an alternate angle option, allowing one to view the accompanying film from a central vantage point.
Summer Footage
The summer footage is filmed in high-definition by Rob Sheridan on handheld camcorders.
Footage of 2005 rehearsals was included. The audio for "Love Is Not Enough" was released on the Only single. This footage is similar to video for "The Hand That Feeds."
Music Videos
Standard Definition music videos from the With Teeth era are also included.
Release Date
The release date for the DVD version (NTSC only) was February 27, 2007.
External Links


text:
2 fresh shiitake mushrooms, stemmed and sliced
1 large portobello mushrooms, sliced
2 clove finely minced garlic
1/4 cup extra virgin olive oil
3 tablespoon unsalted butter
3 tablespoons pecorino romano cheese grated in long shreds more for garnish
1 cup heavy cream
2 tablespoons cream cheese
1 tablespoon of tomato paste
freshly ground pepper
12 ounces dry or (fresh preferred) fettuccine pasta
Cook the pasta according to package directions.
Meanwhile, saute mushrooms in butter for (around 5 minutes) add garlic after three minutes in olive oil over low heat. Mix in tomato paste, butter, heavy cream, cream cheese; bring to a boil over medium heat. Reduce heat, and simmer while stirring until cream cheese has melted and mixture has thickened.
Drain pasta. Pour sauce over pasta, and toss with cheese to coat. Serve with freshly cracked black pepper and more grating cheese.
Printable Recipe


text: In a forceful, hard-hitting policy brief, Executive Director Ann Mettler and Senior Fellow Anthony Williams look at the deep-seated changes afoot in our economy. These days, big companies are looking to compete mostly by downsizing or adding jobs in emerging markets while cash-strapped governments have put a break on hiring. By contrast, the only entities creating jobs in advanced economies are entrepreneurs, young companies and freelancers, many of whom have generated jobs for themselves amid slow employment growth and an anemic economic recovery. The policy brief sets out a nine-point set of recommendations for policymakers to create jobs and lay a foundation for future prosperity in Europe and North America.


text:
- This event has passed.
Silks (intermediate) with Rada
August 8, 2019 @ 8:00 pm - 9:30 pm
Event Navigation
Come and learn to fly with the Queen of the Skies! Aerial silks is the art of climbing up a long piece of fabric and using it to suspend your body in mid-air. Aerialists use the fabric to wrap, suspend, fall, swing, and spiral their bodies into and out of various positions.
What to expect from the classes: The class consists of stretching and conditioning the body for aerial work, and a fun-filled hour on the silks.
Expect to work hard, get fit and make some great friends!
You are welcome to join us at any time during the year as we have no fixed terms
What to bring with you: Please bring a bottle of water, wear leggings and a stretch top or leotard.
Intermediate 8 pm – 9.30 pm
Name of the teacher: Rada aka Miss Radida
Phone number: 07864106321
£15 per class or 4 classes for £ 40


text:
Long Island is a dangerous place, filled with bad accents and crazy people wandering around, like Verizon technicians. Eric Stetz knows mere deadbolts won't keep them out. No, you've gotta get medieval, Conan the Barbarian style. So he built a booby trap out of a massive knife, crutch and elastic trip-cord to poke intruders in the head. To death. Like the Verizon guy scheduled to visit his apartment.
Luckily for Mr. Verizon, the building's super dropped by to make sure everything was cool, and managed to avoid being chop sueyed with his ninja super skills as the knife snapped at him like cobra when he opened the door. When arrested, Eric asked the cops "Did anyone get hurt with my knives? I wish they did." Since they didn't, the court thought it was cool to release this dude on bail. I love this country. [Newsday via Gothamist]


text:
UpdatesGenie has genealogy news and tips from all over the world (Queensland, other Australian States, England, Scotland, Wales, Ireland, New Zealand, Canada, USA etc.) Find out about indexes, Web sites, publications, discounts, events, research strategies and lots more. Explore all the options in the tabs below, in the sidebar and at the bottom of the page, and on my main Web site.
10 August 2011
No.5 (report from London)
2 comments:
- Angelina0506 said...
Judy Hi,
It must be very unsettling knowing the riots are so close to where you are. I would imagine that the seminars would be so interesting it would be such a shame to miss them.
Keep safe
Angelina Brelih NSW Australia
- 27 August, 2011
- Judy Webster said...
Yes, Angelina, it was a bit scary when the helicopter was overhead, but because there were no shops in our street we felt relatively safe. Luckily the genealogy seminars were earlier, while I was up in Yorkshire. However the riots did make me cancel a day of research that I had planned to do in London.
- 27 August, 2011
Post a comment
If you think we are related, or if you want to comment but cannot do so because of restrictions designed to block spam, please email me at the address shown on www.judywebster.com.au.


text:
About the Forge
. Please
August 07, 2020, 01:07:29 AM
1 Hour
1 Day
1 Week
1 Month
Login with username, password and session length
Forum changes:
Editing of posts has been turned off until further notice.
Advanced search
Posts in
Topics by
Members Latest Member:
Jason DAngelo
Most online today:
- most online ever:
(November 03, 2007, 04:35:43 AM)
The Forge Forums
General Forge Forums
Independent Publishing
quoting TV dialogue in your game text: legal?
Pages: [
« previous
next »
Topic: quoting TV dialogue in your game text: legal? (Read 3818 times)
David Berg
Posts: 997
quoting TV dialogue in your game text: legal?
December 29, 2008, 08:32:56 PM »
So, I'm making a game that's inspired by X-Files, and I want to put some Mulder and Scully quotes in it. Does anyone know what rules I have to follow to make that legal?
The current text looks like this:
MULDER: Do you really think that was a coincidence?
SCULLY: I don't know what it was.
-The X-Files
So, attribution to the show (but not to the owners of the relevant rights), literal dialogue from copyrighted broadcasts/recordings, and references to the names of (I assume) trademarked characters. Is this good enough?
I have no intention of trying to secure relevant permissions at this time. (I can't imagine there exists any incentive for the relevant people to give them to me.)
here's my blog
, discussing Delve, my game in development
Eero Tuovinen
Acts of Evil Playtesters
Posts: 2775
Re: quoting TV dialogue in your game text: legal?
Reply #1 on:
December 30, 2008, 04:26:00 AM »
This is the sort of territory where Americans always remind you that they are not lawyers. I'm not either, and obviously recommend either asking a lawyer or researching the original sources pertinent to your own jurisdiction to your own satisfaction if and when you're going to actually apply this information in practice. I can only tell about my own conclusions, based on my own research, when I've figured out similar situations. This non-lawyereness does not particularly prevent me from saying my piece, what with believing in every citizen having a right to try to understand and apply the laws that govern him. Of course in my case those are mostly Finnish laws, so they're only useful for you insofar as our legal systems have similarities in this regard; 85% of the time western countries tend to conform in major points of copyright and trademark law due to international treaties.
Regardless, the short answer is that you need to make sure you don't run afoul of trademark law and copyright law. The former is mainly a problem if you're planning to use the IP in question on the outer covers or advertising materials of your product, where a customer might see it and associate your product wrongly with the other person's IP. In the case of a roleplaying product one might argue (I would) that convention scenarios and such could fall under this sort of usage. The latter is a problem, speaking roughly, if you're using the other person's IP to present their creative work or to construct a creative work of your own as a derivative of their work. Mere reference is not prevented by either of these laws, though, when it is necessary to actually discuss the work you cite.
Looking at the above principles, I wouldn't have any problems personally with putting an extensive discussion of the TV series into a roleplaying book if it was somehow pertinent to instructing my players. Using color quotes, especially if it was extensive, is a more grey area, as it's obvious that you're doing it just for the aesthetic effect. One pertinent quote from one show would be easy to represent as a practical reference (which would fall under fair use), but if you're using dozens of quotes from the same literary work, it could be argued that you're actually constructing a derivative work that uses the pure poetry of ambiguous X-Files dialogue to fill an aesthetic hole in your own work. So basically, the issue is whether your quote is there to illustrate a point about your game, or whether it's there to provide the aesthetic value it did in its original context. (Incidentally, if you use a lot of quotes from X-Files but frame them in a manner that provides new aesthetic pleasure that is only tangentially related to the original, then you're just using the original material as a basis for a new work - which is also permissible; it's the same situation as when a pictorial artist cuts lots of small pictures out of a newspaper and makes a mosaic out of them: the original pictures are not used for their own aesthetic virtue, but only as bulk material for a new work.)
These principles get potentially very grey when your game concerns X-Files specifically, and only X-Files. While it is not illegal to make a game that "produces stories just like X-Files", and it's not illegal to discuss the contents and structure of the series in your instructions for play, it's also quite easy to end up quoting so much dialogue and stills from the show that your work actually could be considered an aesthetic derivative. It's up to you how close to the border you want to go with this sort of thing. Only ever having direct quotes where you substantially need them to lay out your game would be the safest; for instance, not quoting dialogue unless you want to show an example of how proper X-Files dialogue never says anything. Not having a still unless you want to show how the camera angles should be planned. Functional use only, not aesthetic. This would all be fair use in my legal defense plan, similarly to how an academic paper on literary or visual arts might cite quotes and stills from a tv show to illustrate the points it is making; an emulative rpg is ultimately very similar to such research, as both are concerned with analyzing the narrative structures of existing work.
Still, if you're only going to have one quote, I wouldn't be worried. (Unless that one quote was a self-contained poem.) Even if it was pure aesthetics, it'd still clearly be a fair homage situation with just one quote, and an explicit reference to important prior art your work builds upon. Trademark is still a concern - if that one quote was in the back cover of a book sold in a bookstore, you'd almost certainly be flouting the trademark law, considering how high profile that characters of Mulder and Scully have.
As for disclaimers - those don't do anything under the Finnish law insofar as I know, but the Americans are very trigger-happy with all sorts of cute disclaimers about how they don't own the trademarks they reference (but somebody else does), how they aren't profiting from the sales of this work anyway and all other sorts of stuff. Apparently these disclaimers do something in the USA; perhaps they have something to do with defenses against trademark dilution, for example. On the other hand, I understand that claiming trademarks for somebody else is something that implies you've asked for permission to use - and the owner has required you to print that "Trademarks X, Y and Z are owned by thisandthatcorporation" declaration. I have no idea how much sense it makes to put that sort of verbiage in your product when you haven't even asked for that permission.
Blogging at
Game Design is about Structure
Zombie Cinema
Solar System
Arkenstone Publishing
David Berg
Posts: 997
Re: quoting TV dialogue in your game text: legal?
Reply #2 on:
January 01, 2009, 10:20:42 PM »
Thanks, Eero.
here's my blog
, discussing Delve, my game in development
Pages: [
« previous
next »
Jump to:
Please select a destination:
General Forge Forums
=> Actual Play
=> Game Development
=> Independent Publishing
=> Last Chance Game Chef
=> Site Discussion
=> Guide to the Archives
Independent Game Forums
=> Adept Press
=> lumpley games
Inactive File
=> Endeavor: Ronnies 2011
=> Endeavor: Game Chef 2010
=> Endeavor: Game Chef 2011
=> Arkenstone Publishing
=> Beyond the Wire Productions
=> Half Meme Press
=> Universalis
Powered by SMF 1.1.16
SMF © 2011, Simple Machines
design by


text:
Top flight deals to Colombo (CMB)*
Newcastle upon Tyne(NCL)toColombo(CMB)
Press the Enter/Space key to load more items on the list or press the TAB key to continue
Fly to Colombo with KLM
Together with our global network, we as KLM Royal Dutch Airlines offer flights to Colombo, serving Bandaranayike International Airport (CMB). Along with Colombo, we proudly serve over 150 destinations worldwide, and over 500 destinations with our partner network, so sit back and let us take you where you need to go!
Top Colombo attractions
- Kelaniya Raja Maha Vihara: a breath-taking Buddhist temple in Kelaniya. Famous for its image of the reclining Gautama Buddha and paintings by the native artist Solias Mendis which depict important events in the life of the Buddha.
- Colombo Fort: a beautiful historic fort primarily built by the Portuguese and developed by the Dutch after invading the Portuguese regime.
- Mount Lavinia: a suburb in Colombo famous for its "Golden Mile" of beautiful sandy beaches, and nightlife.
- National Museum: a famed museum founded in the 1800s, displaying all sorts of art, carvings and statuary from Sri Lanka's ancient past, as well as swords, guns and other paraphernalia from the colonial period.
- Pettah Floating Market: a farmer's market based on boats in downtown Colombo, consisting of 92 trade stalls offering local produce and local handicraft.
To help you get the most bang for your buck on your holiday to Sri Lanka, we've put together a travel guide with all the information you could possibly need. Find out about Colombo's best attractions, hotels and restaurants before you've even boarded your flight!
What's the best way to get around Colombo?
There are both privately-run and public buses that operate throughout Colombo, but finding out which route you need can be tricky at first. Tuk-tuks or trishaws are often more convenient and quicker to move around the city in, and they can navigate the traffic and winding roads much more easily than larger vehicles. Tuk-tuks are mostly fitted with meters, so make sure these are switched on before you set off! There are also plenty of taxis that can be used.
What's the weather in Colombo?
The weather in Sri Lanka is warm all year round, so whether you arrive in January or August, expect temperatures between 27°C (80°F) and 29°C (84°F). Rainfall can be sporadic, with May and October being the months with the highest chance of rain, averaging about 18 days of rain each. To give yourself the best chance of avoiding the rain completely, choose to travel in February when it rains on average just 4 days a month.
Weather in Colombo
Powered by: OpenWeatherMap.org
28 °CMonday10/08/2020
28 °CTuesday11/08/2020
28 °CWednesday12/08/2020
28 °CThursday13/08/2020
28 °CFriday14/08/2020
28 °CSaturday15/08/2020
28 °CSunday16/08/2020
*All amounts are in GBP including taxes and surcharges. No booking fee is applicable, but a payment surcharge may apply. Prices and availability may change without notice, see KLM price display for more information.


text:
In 1954 General Matthew Ridgway, Army Chief of Staff, had carefully programmed exactly what would be needed to fight the Viet Minh and to help the French in Indochina. The cost for one year would be an estimated $3.5 billion. President Eisenhower thereupon called in his economic advisers and Secretary of the Treasury George Humphrey. "George, what would all this do to the budget?" he asked. Humphrey thought for a few moments and then gave a quick answer: "It'll mean a deficit, Mr. President." In a way, thought one man present at the meeting, any idea of intervening in Indochina died at that moment.
By 1965 war had not become any less costly, particularly a war whose principal architects felt it could all be accomplished by expensive technology and modern military machinery, a war part of whose purpose was to spare Western, if not Asian, lives, a war in which the most expensive new helicopters replaced tanks. So the cost of the war became one more public relations problem for President Lyndon Johnson. The full dimensions of the American commitment could be kept partially secret from the press and the Congress and the allies. But eventually someone had to pay for it, and in the very process of the payment, some of the plans, projections, and realities had to become public.
Early in 1965 the Joint Chiefs of Staff were pushing for special funding for the war, knowing that it would be expensive; and knowing that the more open the Johnson Administration was about funding the war, the more open it was likely to be in admitting to the nation that it was, in fact, at war. The Chiefs wanted a program which would include traditional wartime budgetary procedures — invariably meaning higher taxes — and they lost that fight in July, 1965, when President Johnson decided to go ahead and make it open-ended, without announcing how open the end was. As a result, even at that point — when one might have expected, by checking defense expenditure projections, to find an honest assessment of what the war would cost — the reverse was true. In his attempt to keep the planning for the war as secret as possible, Lyndon Johnson did not give accurate economic projections, did not ask for a necessary tax raise, and did in fact direct his own military planners to be less than candid with his own economic planners, a lack of candor so convincing that his economic advisers later felt that Defense Secretary Robert S. McNamara had seriously misled them about projections and estimates.
The reasons for Johnson's unwillingness to be straightforward about the financing were familiar. He was hoping that the worst would not come true, that it would remain a short war, and he feared that if the true economic cost of the war became publicly known, he would lose his Great Society programs. The result was that his economic planning was a living lie, and his Administration took us into economic chaos: the Great Society programs were passed but never funded on any large scale; the war itself ran into severe budgetary problems (the decision in 1968 to put a ceiling on the number of American troops in Vietnam was as much economic as political); and most important, the failure to finance the war honestly inspired a virulent inflationary spiral which helped defeat Johnson himself. Seven years after the commitment of combat troops, that inflation was still very much alive and was forcing the Nixon Administration into radical, desperate economic measures in order to restore some financial balance.
In the spring of 1965 the economy had already reached the point of overheating, and some of the President's economic advisers were worried about inflationary dangers, even without the prospect of a major war. After years of high unemployment, the level had dropped close to the target of 4 percent. Now, with a war in sight, the economic advisers were even more uneasy. Johnson and McNamara were implying that it would not be a big war, but there were already rumblings in the early fall of 1965 from people on Capitol Hill that it was likely to become a very big war. The rumbling came from men like Senator John Stennis (D., Mississippi) and Representative Mendel Rivers (D., South Carolina), who estimated that the cost for fiscal 1966, which ended in June, 1966, would be about $10 billion. The Administration was denying this, and at that time Johnson had fairly good credibility. He had claimed in the past year that he intended to cut back defense spending, and although Rivers and others contradicted him, lo and behold, the President had cut defense spending. Later it would turn out that Stennis and Rivers knew quite well what they were talking about, since they were privy to the most secret of the back-channel military messages through their close liaisons with General William Westmoreland and the Joint Chiefs of Staff. Thus they had a very good idea of what Westmoreland was asking for and what McNamara had promised him — which made it a big war. Based on this, Stennis and Rivers were claiming that the war would cost about $10 billion by the year ending in July, 1966. That figure was of course far above the estimates coming from the White House (in his July messages Johnson had talked about a projected figure of only $2 billion above the estimated Defense Department budget).
The projections coming from Capitol Hill upset Gardner Ackley, chairman of the Council of Economic Advisers. He did not really believe them, but he wanted guidance from the White House, and assurance that his own forecast was accurate. With his estimates projected at a maximum cost of $3 billion to $5 billion, Ackley wanted to say in a forthcoming speech that anyone using the figure of $10 billion was operating on a figment of his imagination. Encouraged by the Administration to answer these critics, Ackley decided to clear the speech with McNamara, who assured him that the cost would be relatively low, nowhere near $10 billion. So Ackley went ahead with his estimates. Unfortunately the final figure for the year was about $8 billion, far closer to the Stennis-Rivers estimates than to the McNamara estimates.
But that was a marginal miscalculation compared to what was in store. The Council of Economic Advisers became more and more uneasy about the direction of the war; they felt they had been looking quite good as economic advisers recently and they wanted to keep it that way. The economy was going full blast, everyone seemed to have more money than ever, prosperity was everywhere — even the very poor were about to be let into the mainstream of American life. Time magazine had just put John Maynard Keynes on its cover. So the Council was up and the members wanted to stay up; they thought the time had come to slow the economy down, to turn down, or turn off, the faucet, particularly because of the problem of rising costs at the Department of Defense. With an overheated economy already on hand, and a war and major domestic legislation just ahead, they thought it was time to move for a tax increase. On December 10, 1965, they sent a message to the President to that effect, basing their demand for more taxes on the growing needs for the war and the additional domestic requirements. In Ackley's opinion there was a sense of urgency at the time; he believed that this was the kind of situation which could easily get out of control. In addition, he felt that war estimates were always faulty, the needs always greater than the projections.
The President seemed somewhat receptive to the idea of the tax increase, but did not seem to share Ackley's sense of urgency. Ackley was telling the President he could not have three things: the war, the Great Society, and no inflation. If he wanted all three, then he would need a tax increase. But if this was obvious to Ackley, it was not so obvious to Lyndon Johnson. The President feared that if he went to the Congress for the tax increase he might lose control of this delicate series of maneuvers. The Congress, Johnson told friends, would give him the war, but not the Great Society. So the President, who had sliced everything so thin, decided he would slice this one, too: he would hold back on the real estimates of the cost of the war for a year. Perhaps major expenditures would not be necessary after all, perhaps Hanoi would fold. Meanwhile he would push very hard to get the Great Society legislation through by early 1966, and once it was, passed, he would concentrate on the war. Thus by the time the extent of the involvement in Vietnam was fully apparent, the Great Society would already be a fact.
"I don't know much about economics," he told friends, "but I do know the Congress. And I can get the Great Society through right now — this is a golden time. We've got a good Congress and I'm the right President and I can do it. But if I talk about the cost of the war, the Great Society won't go through and the tax bill won't go through. Old Wilbur Mills will sit down there and he'll thank me kindly and send me back my Great Society, and then he'll tell me that they'll be glad to spend whatever we need for the war."
The President knew he was cornered and he decided to negotiate what he wanted, piece by piece, as stealthily, as possible. Now there were three sets of players, each acting independently of each other: the military, who wanted major financing for what they had been told was a major war; Johnson's domestic aides, who were pushing for the Great Society and who knew relatively little about the extent of the military planning (they were encouraged by the President to know as little as possible); and Johnson's economic planners, who sensed the potential of the conflicts involved but did not know the extent to which decisions on military troop levels had already been made.
The key man in all this was Robert McNamara. The Great Society projections were relatively public, and the rest of the budget was stable. It was the military projections which were based on secret information and private decisions — secret, it turned out, even to the President's own economists. In December, 1965, McNamara began drawing up the plans for the military budget for fiscal 1967, a budget which would run from the middle of 1966 to the middle of 1967 and which would go to the Congress in January, 1966. By this time he had already consulted with Westmoreland and had his darkest fears confirmed — Hanoi was reinforcing at a faster rate than we were; it would be a large war, and quite likely a long one. Westmoreland's July, 1965, estimates that we would need only 300,000 troops by the end of 1966 had been discarded; the approved figure was now 400,000 Americans by the end of 1966, and a probable figure of 600,000 by the end of 1967. Yet in constructing the budget, McNamara made the arbitrary assumption that the war would be over by June 30, 1967. It was in direct contradiction to the estimates he was getting from Westmoreland (and in direct contradiction to his own private estimates for Johnson at the time), but it was a plausible assumption for planning. McNamara wanted the cutoff date left in because in Korea we had fought an open-ended war and consequently too much military equipment had been bought, and he wanted to avoid a repetition. McNamara was telling the President at this point that he could not guarantee the length of the war, but that it would be the most economically fought war in history. That he would guarantee — he would really ride herd on the military.
McNamara placed the cost of the war at $10 billion for the fiscal 1967 budget. Thus Johnson would be able to propose significant increases in Great Society programs, administer the war, and—thanks to the normally rising revenues natural to a growing economy—still show only a minor deficit. It looked like the work of a great magician-economist, but it was really only a shell game. A magician who lied. The economic experts and critics who sensed that there was a built-in dilemma looked at the budget searching for the hole and found to their surprise that the hole did not exist; it was all acceptable. The problem, they knew, was the war, but there was Bob McNamara promising to keep it at $10 billion, and he told the President, but he did not tell the public or the Congress, that he was putting the cost of the war between $15 billion and $17 billion.
For the first time, there were memos on the subject in the bureaucracy, though not for the public; they were private memos, of course, and they were sent over to the Council of Economic Advisers with the notation: "For internal use only." Since the Council was already becoming very skeptical about the whole thing, Arthur Okun, one of its members, noted in the margin: "But not to be swallowed." At this point the Council began meeting with McNamara, pushing him hard to get a more exact estimate of the cost of the war and to get him to move for a tax increase. But they found McNamara, usually so sure, usually so filled with certitudes, very reluctant to come down with a hard figure for the cost of the war, and he gave three figures: high, low, and medium. The high was $17 billion (or $7 billion over the original estimate), the medium was $15 billion, the low was $11 billion. Eventually the figure came to $21 billion, which meant that even his own private re-estimate for a medium increase was off more than 100 percent, and his estimate for the general public was off even more. McNamara was not, it turned out, quite so good a manager as he had claimed, nor was his machine quite so efficient, though this did not necessarily make him any more modest. Indeed, a few months later, in discussing the forthcoming budget, he said, "Never before has this country been able to field and support in combat so large a force in so short a time over so great a distance, without calling up the reserves, and without applying price, wage, and material controls to our civilian economy."
It was at this point, in March, 1966, under increasing pressure from the Council of Economic Advisers to move for a tax increase — a modest one, 3 or 4 percent — that the President took his first tentative step. Tentative is the word. He was still worried about his domestic programs, and he was wary of revealing what he was up to overall. Though he knew by now that the military costs were going to be greater than the estimates in the budget revealed, he kept them to himself. Instead, he summoned key businessmen and members of the House Ways and Means Committee in separate meetings and asked them if he should move for a tax increase. He did not (and this was crucial) tell them how much the war was going to cost. Thus they were asked to give estimates and projections on a step as important as a tax increase based on totally erroneous information. It was an extraordinary bit of manipulation; indeed, said Edwin Dale, the economic correspondent of the New York Times in Washington, it was the single most irresponsible act by an American President in the fifteen years that he had covered Washington.
Naturally, acting on this limited information, both the businessmen and the congressmen told Johnson not to move for the tax increase; this in turn permitted the President to go back to his economic advisers and tell them that he had discussed a tax increase with the congressional leaders and they were all totally opposed, he could get no votes for it. One part of the government was lying to another part. Thus was the fatal decision made not to move for a tax increase, a decision made in early 1966 which resulted in the subsequent runaway inflation.
In the end, instead of being marginal, as predicted officially, the deficit for fiscal 1967 turned out to be a whopping $9.8 billion. Meanwhile, through early 1966, McNamara kept meeting with the Council of Economic Advisers, and the Council kept pressing him to go for a tax increase. McNamara, however, kept pleading that he did not want to — in fact, could not — go along. He did not have a firm figure on the war, he said, and they would have to trust him. In addition, he insisted the Congress would hang him if he went up there, hang him twice. They would hang him on the war, and hang him on the financing of it. Of course the real reason he did not want to go and testify, it soon became clear, was that open testimony on how deep we were in and how much deeper we were going would have been equivalent to a formal announcement on the size and duration of the war, Which was the last announcement the Administration wanted to make at that point.
So in the early months of 1966, when the planning and budgeting for the next year were in process, the Johnson Administration did not move for a tax increase. Nor did it admit that the projected cutoff date for the war of July 1, 1967, was an illusion. It did give up the idea within the Administration itself early in 1966. Much later, in November, 1966, McNamara admitted publicly that the idea of the cutoff date had been dropped and that since the war would continue to go on, the financing would have to be greatly increased. When McNamara did make the announcement, Edwin Dale of the Times wrote an analysis of the decision, and noted that doubling of spending on the war; the article naturally angered McNamara, who felt it cast doubt upon his reputation as a war manager. So he called Dale to say, with no small amount of irritation, that they had abandoned that assumption early on. Very early on, he said. And Dale answered, "Yes, sir, I know you did, and I know why you did, but you didn't tell us publicly until now." A minor point, of course.
As it became increasingly obvious that the war in the budget and the war in reality were two separate things, doubters and critics began to surface. In mid-1966 the economist Eliot Janeway, asked by senators to comment on the funding of the war, estimated that instead of the monthly drain of $800 million proclaimed by the Administration, the real drain was closer to $2 billion a month, and might go as high as $3 billion. This did not endear Janeway to the President, who set out to silence future critics of his arithmetic.
In May, 1967, Ralph Lazarus, president of the Federated Department Stores and vice-chairman of the Business Council, held a press conference and publicly criticized Johnson's war budget. He estimated that government spending on the war for the next fiscal year would be about $5 billion higher than the government estimate of $21.9 billion. He was immediately telephoned by no less an economic authority than Justice Abe Fortas, who asked Lazarus to tone down his estimates because they were inaccurate; indeed, Lazarus had upset the President very much with his erroneous projections. Unfortunately the war cost figure turned out to be $26.5 billion, which meant that Lazarus hit it almost on the nose. And the government's deficit was an almost parallel $23 billion.
In effect, the Johnson Administration went to war without really coming to terms with it, and paid for the war without announcing it or admitting it. They faked it. They barely got through the first year, but even the first year saw the start of the inflation, and it became more virulent month by month, finally almost a living part of the economy, and the political impact of the inflation became almost as serious a political issue in 1968 as the war itself. The Administration slipped by in fiscal 1966, but by fiscal 1967 things were getting worse, with the deficit almost $10 billion, but the deficit for fiscal 1968 was worse still. In late 1966 the Council of Economic Advisers continued to put pressure on Johnson for a tax increase, and by January, 1967, they found him far more amenable to their demand, largely because he already had pushed most of his Great Society legislation through Congress, and having less to lose, felt himself less vulnerable. In the January, 1967, budget message the President proposed an income-tax surcharge but with no date for congressional enactment, and in July the Council of Economic Advisers told him to go for it. In August he sent a message to the Congress. Chairman Wilbur Mills of the House Ways and Means Committee read it, made some suggestions, held some hearings, and took his time with it. By mid-1967 Johnson was no longer the awesome figure of 1965 who could force anything through the Congress as quickly as he wanted.
Now that Johnson was ready for the tax increase, the Congress was not. It took a great deal of negotiating between the Congress and the White House before the surcharge bill was passed in July of 1968. It was, of course, all too late: the deficit for fiscal 1968 was $27 billion. As managers of the economy, the Administration's top officials were turning out to be something less than their press clippings implied. The inflation was full-blown; the country was bitterly divided. Cities, hospitals, and schools found themselves caught in destructive, hopeless labor disputes growing out of the inflation. The irony of it all was that the cost of the war itself was not enough to destroy the economy; it never cost more than 3.5 percent of the gross national product, and there were never any real shortages. It was not the war which destroyed the economy, but the essentially dishonest way in which it was handled.
In late 1967 General Westmoreland made a request for additional troops. When it came in, the White House sent it to the Council of Economic Advisers for a reading on what its economic consequences would be. It was the first time Johnson had ever done this, and the Council was very pleased to render its quite negative findings, though there was a general feeling that it was all very late.
Similarly, in late 1967 Tom Wicker of the New York Times stopped in to interview Robert McNamara. When the subject of the miscalculation of the cost of the war came up, McNamara dismissed it in a casual way which shocked Wicker by its cynicism. "Do you really think that if I had estimated the cost of the war correctly, Congress would have given any more for schools and housing?" he asked. Implicit in what McNamara was saying, it seemed to Wicker, was that Congress would have given anything necessary for the war and very little for domestic legislation, so the Administration might just as well lie. Wicker left totally appalled by the conversation.
We want to hear what you think about this article. Submit a letter to the editor or write to firstname.lastname@example.com.


text:
City of ShoreviewHome Menu
Meet with the Mayor - Office Hours
- Date: 08/20/2019 3:00 PM - 5:00 PM
- Location: Shoreview City Hall
4600 Victoria Street North
Shoreview, Minnesota 55126
"Meet with the Mayor" on most Tuesday afternoons from 3 to 5 p.m. at City Hall to discuss your issues and concerns. Call 651.490.4610 to confirm schedules. Residents may schedule an appointment with the Mayor at 651.490.4618.Return to full list >>