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Montreal has five radio stations that are licensed as "ethnic" by the Canadian Radio-television and Telecommunications Commission, and two other stations that broadcast in third languages. Under CRTC rules, ethnic stations are generally required to broadcast programming in multiple languages and toward multiple ethnic groups.
Power: 50,000W
On the air since: 1962
Programming: Mainly Italian. Also serves Algerian, Brazilian, Cambodian, Chinese, Greek, Haitian, Jewish, Lithuanian, Pakistani, Polish, Portuguese, Romanian, Russian, Spanish and Ukrainian communities.
Website: cfmb.ca
CHOU 1450 AM (Radio Moyen Orient)
Power: 2,000W
On the air since: 2007
Programming: Mainly in Arabic and related dialects. Serves Lebanese, Syrian, Egyptian, Maghrebi and Armenian communities.
Website: 1450am.ca
Note: The station began in 1996 as a subchannel of Université de Montréal station CISM-FM.
CJWI 1610 AM (CPAM Radio Union)
Power: 1,000W
On the air since: 2002
Programming: Mainly directed at Haitian immigrants. Broadcasts in French and Creole for various ethnic groups that speak French.
Website: cpam1610.com
Note: In 2009, the CRTC approved a request to change frequency to 1410 AM. This switch is still pending.
CJRS 1650 AM (Radio Shalom)
Power: 1,000W
On the air since: 2006
Programming: Billing itself as North America's only Jewish radio station and officially licensed as a religious broadcaster, it carries Jewish programming in English, French and Hebrew six days a week. On the Sabbath (Friday sunset to Saturday sunset), it airs French gospel music.
Website: radio-shalom.ca
CINQ 102.3 FM (Radio Centre-Ville)
Power: 2,300W
On the air since: 1975
Programming: Mainly French on weekdays, with English programs on Saturdays. Also has programs in Spanish, Chinese, Creole, Portuguese and Greek.
Website: radiocentreville.com
Note: Licensed as a community radio station.
CKDG 105.1 FM (Mike FM)
Power: 141W
On the air since: 2004
Programming: English during rush hours, mainly Greek otherwise. Also serves Armenian, Russian, Hungarian and Chinese communities.
Website: mikefm.ca
Note: CKDG began as a closed-circuit cable radio service for decades before getting an FM licence.
Power: 102W
On the air since: 2010
Programming: French during rush hours, mainly South Asian otherwise. Also serves Haitian, African, Latin American and Middle Eastern communities.
Website: ckinfm.ca
Note: CKIN and CKDG are owned by Canadian Hellenic Cable Radio, and the two stations share offices.
Montreal is also served by one ethnic television station, CJNT (Metro 14). The station is in limbo as the CRTC decides whether to accept joint proposals to sell it to Rogers and simultaneously launch a new co-operative ethnic television station.


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- News
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Had Charles Toogood's family waited a month longer to sail to North America, he might never have seen age three, let alone 103. But they didn't and it was ultimately the Lusitania, not the ill-fated Titanic, that brought him to Canada from England, via New York, in March 1912.
It's just one of many great stories shared by the Second World War veteran, who's among the sharply rising number of centenarians across the country, according to 2011 census data released Tuesday by Statistics Canada.
Last year's national headcount showed there were 5,825 people in Canada aged 100 or older, a total that's up by about 1,200 since the 2006 census and by more than 2,000 since 2001.
If there's a secret to becoming a "super senior," Toogood seems a good one to ask; the Edmonton man can rattle off names, dates and details of decades-old events as if they occurred yesterday. He happily shares what he believes to be the linchpin to his longevity: the love of a good woman.
"We were married six weeks short of 75 years," he says of wife Nan, who passed away in 2007. "I give her credit for keeping me going . . . She was a super cook. She was a super everything."
The five-year growth rate for the very oldest cohort of Canadians was a whopping 25.7 per cent — and forecasts point to a continuous climb in the centenarian population for the next half-century, reaching 78,300 by the time the 1961 crest of the Baby Boom wave reaches age 100 in 2061.
That projected national total would equal the current population of Peterborough, Ont., which also happens to have a higher proportion of senior citizens (19.5 per cent) than any city in Canada, according to the 2011 census.
Notably, about 84 per cent of those reaching the century mark in Canada are women — not a huge surprise given the significantly higher life expectancy among the country's female population.
Saskatchewan, with 31 centenarians per 100,000 residents, has by far the highest proportion of 100-year-olds in the country — almost double the national average (17.4 per 100,000) and nearly as high as world-leading Japan (36.8 per 100,000), famous for the longevity of its citizenry.
While living to age 100 is tremendous feat, very few centenarians reach 105 — just six per cent of the 5,825 people in Canada's century club.
"Mortality rates above age 100 are quite high," states a summary of the census findings. "Among those aged exactly 100" — who account for 40 per cent of all centenarians — only "about 60 per cent will reach the age of 101."
Donald H. Paterson, research director of the Canadian Centre for Activity and Aging, notes that although absolute numbers of centenarians are increasing, the data suggest "there aren't a great many more centenarians per capita of older people" than in previous eras.
Furthermore, actually achieving centenarian status remains somewhat of a medical puzzle. For instance, while Toogood eschewed smoking and drinking his entire life, Queen Elizabeth the Queen Mother — who lived to 101 — was estimated to have consumed five times the recommended weekly amount of alcohol for a woman.
"I think there's something about the way in which these people see life — a joie de vivre," says Andrew Wister, chair of gerontology at Simon Fraser University in B.C. "But apart from finding the Elixir of Life, it does seem as though there are a few common factors."
He says some of these include committing to physical activity throughout life; maintaining a good diet (often a Mediterranean one, characterized by fish, olive oil, veggies and red wine); having a web of social support; and simply coming from good stock.
Indeed, recent research suggests genes only influence our chance of living to 85 by 20 to 30 per cent, but have greatly increased importance when it comes to reaching the years beyond.
John Elock, who turns 100 in July, is a prime example: both his father and grandfather lived to see their late 90s, while his own health remains excellent.
"The secret? No wine, women or song," says Elock, a resident of the Kipnes Centre for Veterans in Edmonton.
To which his daughter, Judi, promptly adds with a laugh: "But there was rum in there, dad!"

subset: commoncrawl


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- "Listen, out here we like to race for cash or pink slips. Racer's choice. Now get your car started. We're about to go. Good luck, Carl Johnson."
- — Wu Zi Mu
Wu Zi Mu is a mission in Grand Theft Auto: San Andreas, given to protagonist Carl Johnson by Cesar Vialpando from an area just south of the town of Montgomery in Red County, San Andreas.
Carl is waiting for Cesar in the meeting place, who is apparently late for a race. Later on, Cesar arrives, who explains that he is late because didn't know when the race would start. Later, the organizer of the race, Wu Zi Mu (a.k.a. "Woozie"), arrives. He introduces himself to Carl, and tells him that the races here a high stakes, and they may reward the winner with cash or a pink slip. Later on, Carl hops on to his vehicle of choice, and goes to the starting point.
Then, the race begins, with Carl and Woozie participating. They race through different parts of Red County, like in Blueberry and in Blueberry Acres. Then, Carl manages to get to the finish line in The Panopticon first, after Carl wins the race, Woozie congratulates him and makes an offer of partnership if he goes to San Fierro. Both disperse when they hear the police sirens.
Mission Objectives
In order to complete the mission the player must:
- Win the race.
The reward for this mission is $5000 and the mission Farewell, My Love... is unlocked.
In addition, once the race tournaments are unlocked, the race featured in this mission is offered as part of the tournament; however, as the player has already completed it here, they receive credit for it and do not need to do it again (except to improve their time).
Tips and Tricks
- Good vehicles for this mission are the Buffalo or the Rancher, they both have good speed, handling, and off-road traction. The Buffalo can be found at Catalina's hideout, while the Rancher can easily be found in the countryside. The Rancher has better off-road handling, but the Buffalo is faster.
- It is possible to attempt to complete either of the Unique Stunt Jumps in Blueberry Acres while driving through the farm; if done correctly, this can give the player a good lead on the other racers.
- If the player is having trouble staying in the lead, they can try to push the other cars off the ledge just as the race begins. However Carl must pay attention when doing this near the water.
- Once again, slow and steady wins the race as there many turns and jumps early on. Trying to handbreak turn in either Buffalo or the Rancher may cause a spin out on dirt roads or flip the vehicle over. It's best not to try to take over the lead too early as the cars are too bunched up. Take over the lead once the race hits the first straight away and then on the road leading to the farm.
- Claude, the protagonist of Grand Theft Auto III, can be seen in the background of the opening cutscene. Although two other protagonists have been seen in past games (Victor Vance in the Introduction and Toni Cipriani in his missions for Claude) they were not introduced as protagonists, making this the first mission to feature another known protagonist.
- The race may be repeated in the Los Santos Race Tournaments, accessed in Little Mexico, Los Santos. It can be found as "Badlands A". Unlike in this mission, Carl will be forced to use a Sabre for the race.
- No matter which vehicle the player chooses at the beginning of the mission, Carl is seen with a ZR-350 during the ending cutscene. (This is the car he wins off Woozie, which is why he happily swipes the rear wing) The ZR-350 is also the car the Carl uses in the next mission.
- Although Woozie drives a pink bulletproof Fortune during the mission, he is seen with a Bravura during the ending cutscene.
- This is the first appearance of Wu Zi Mu.
- If the "Flying Cars" cheat is activated during this mission, the opponent's cars will all fly away from the track and will usually spin out of control in the air. The player will then have a chance to finish the race in first place, but he must drive slowly so as to not fly away as well.
- When Cesar is getting out of his car, it looks like he's getting out of an invisible car. Also, his Savanna is seen behind Woozie.
- Hotring Racers, Bloodring Bangers and some vehicles are not allowed to be used in the race.
- Despite the race doesn't allow bikes to be used in the competition, the mission will accept Quad Bike to be used by CJ as his racing vehicle. Since driving a Quad Bike will only increase Driving Skill, not Motorbike Skill, the game may refer Quad Bike as a "car", not as a "motorbike" instead.


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MC Hammer (Feat. 2Face, Tommy Gigz, Bizzy, Bobby Hammer, Jerm, Rude Boi, JMO, Pleasure Ellis, Fullblst Social Music) - Better Run Run Remix 2011
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You don't have to call her "Dr. Eva Marie Saint." But you can.
At 86, the screen legend is receiving an honorary doctorate of humane letters from the Academy of Art University in San Francisco during its Epidemic Film Festival for her contributions to the stage, screen and television over nearly seven decades. And what a contribution it is: Saint won an Oscar for her turn in 1954's "On The Waterfront" and starred in other memorable films including "A Hatful of Rain," "Raintree County," "The Sandpiper" and Alfred Hitchcock's cinematic masterpiece "North By Northwest," along with a distinguished career in early television and later turns playing mother to both "Moonlighting's" Maddie Hayes and Clark Kent in "Superman Returns."
"I'm not particularly a scholar," Saint tells PopcornBiz with a chuckle, but she was thrilled to be tapped to receive the honorific. "I thought that it was beautiful, because it's talking to young filmmakers, directors and actors. We're going to work with the students. My husband, Jeffrey Hayden, is a director [Hayden's helmed countless TV episodes, from "Leave It to Beaver" to "Magnum, P.I."] and he'll work in directing with those who want to be directors and hopefully with those who want to be actors. So it's something that we care about. It's our life's work, and if we can give back and give them a sense of 'Hang in there and things will happen…' And I think that's true – you have to work hard. It didn't happen overnight for me, or my husband. We just started at the bottom and worked our way up."
U.S. & World
She'd rather not zero in on a specific personal highlight from her storied career. "With every project there are wonderful moments," Saint insists. "I recently did an oral history for the Academy of Motion Pictures Arts and Sciences this year. You do your history. It took about 50 weeks, talking with someone for about an hour and a half every Thursday. Luckily I had some journals from all these years and I could recall different things. Halfway through I said, 'Maybe my mom should've called me Pollyanna instead of Eva Marie, because I can only recall the good things.' I know some of the unpleasant things. I've lived this long and I've been very healthy, and I think that part of it is that I just go on with it. I don't go back."
The actress does have a remarkable recall of her early TV days. "My first role was off camera, applauding and then I was on camera applauding and then I did some cheers. 'Keds are keen, Keds are neat, Keds are the best of the family feet – Wear them!' I'd been a cheerleader in high school and so I knew all about that," she laughs. "When I first had a substantial role I was ready, because I had been watching the people who were carrying the shows – watching very carefully: their demeanor, how they worked and so forth and so on. 'The Trip to Bountiful' [in which Saint appeared in both the Broadway production and a 1953 television performance] was very important for me because that's where I met Lillian Gish, who became a mentor, and that's where [Elia] Kazan saw me."
Saint said one of the most valuable lessons she learned was to give herself over to the director's vision. "I was studying at The Actor's Studio with Lee Strasberg, and he said along the way that whatever the director wants you to do, he's the conductor and you're the instrument. So, take care of that instrument – meaning our bodies and our minds. I never forgot that," she recalls. It helped transition from more dramatically driven roles like "On the Waterfront" to a high-glam movie star-turn for Hitchcock.
"You just do it," she affirms. "Even though I'm all gussied up in this Edith Head gown this is still a role, this is still a lady that I want to do. So from 'Waterfront' to 'North By Northwest,' I never worried about it, and I just thought about it from the acting aspect, I guess. I didn't think, 'Oh, now I'm in a glamour role.' No – she was a spy lady: she dressed that way, she had her hair that way, and she was very careful with her makeup."
"Most people write their book, but I don't want to write my book: by the end I'd be really tired of talking about myself," she says, laughing, of revisiting her past. "If you live long enough there are many, many changes in your life, around you. And you can't hold onto the good old days. The good old days of television, they were glorious. I think possibly everybody has maybe some time in their life that was glorious, but you don't go back and say, 'Oh my God, those were the good old days.' No – today is a good day and tomorrow is going to be better."


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"New Girl" and Zooey Deschanel aren't as new as they were last year, but just as funny.
Deschanel emerged as TV's breakout star of the previous season as the quirky and – yes, we'll say it – "adorkable"Jess, who re-finds her footing in life after moving in with a supportive trio of new found guy pals. As the show enters its sophomore stretch, Deschanel reveals how the big success of the show struck her, and what fans can expect from the new season.
What new "New Girl" shenanigans will Jess encounter this season?
I think that Jess is going to get fired from her job and that's just going to throw her into a lot of chaos – and I think that's good.
Has the show been everything that you hoped it would be when you decided to try television?
It's exceeded my expectations in the sense that when you do a show, a pilot, you don't know if it's going to be picked up, all this stuff. You don't know if it's going to do well, if people are going to like it, or if people are going to like you. You don't know any of that stuff, and so it's been really a lovely experience.
What was the big surprise of that first year, something that you weren't expecting?
Well, I'm used to doing movies, and so that's like you never know what's going to happen there even more. This was even more of a sure thing. Doing 13 episodes of a TV show is still more of a sure thing than doing a movie. At least you know that people are going to get to see it.
What did it mean to you to see your costars on the show emerge as stars of their own?
It's like seeing your sibling get success. I think it's a wonderful thing, and I'm so proud of them all…Every episode it switches. That's one thing that I like: that it's like a rotating clown. You have a clown and you have a straight man and everybody has to play the straight man and everybody has to play the clown at some point. So it's sort of like that and I like that, because everybody has the possibility of going slightly insane.
How has the big first year of the show change your life, if at all?
It changes. It's really wonderful to have validation, but at the same time, when I go home and I go to sleep and I brush my teeth, it's all the same. Get up, get dressed, go to work, do all the same stuff. Work keeps me going.
What's been important to keep the same no matter how successful the show might've gotten?
The same things make me happy, so you just don't want to do the things that make you happy. Really, the things that make me happy are being creative and working on the show and having good friends and family around me – sort of the same stuff that makes everybody happy.
You have become associated with your character Jess in the public eye. Has that happened with any of your film roles?
Summer from '(500) Days of Summer' definitely had that. It's funny because definitely, like, whatever the last thing you did that was popular, people think that you're that person. There's varying degrees of truth in the characters that I play. I definitely put my heart into it, but it doesn't mean that it's me. But I'm happy to be associated with Jess.
What has been the feedback about your iPhone commercial with Siri?
There was a strange cut in the commercial, because the first shot showed me in close-up and I was supposed to be in my bathroom. We shot it on a bathroom set, but then I turned around and I was like, 'Oh, it's raining,' but it looks like from the commercial that I'm in front of my window. So there was definitely a misunderstanding with that, and so I got a lot of people commenting on that. I was like, 'No. I'm supposed to be in my bathroom.' But I love the commercial. I think it's cute.
Zooey Deschanel: Expect "Chaos" for "New Girl" on Season 2
Last year's breakout TV comedy star returns for more "New Girl" hijinx.
"New Girl" and Zooey Deschanel aren't as new as they were last year, but just as funny.


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Carl Zimmer on Rats, Cats, Viruses and Tattoos
In part 2 of our interview, award-winning author Carl Zimmer talks about his latest books, and a new study that shows how Toxoplasma influences the behavior of rats--and maybe of us.
Podcast Transcription
Steve: Hi, Steve Mirsky here for Scientific American's Science Talk. Welcome back for part 2 of our conversation with Carl Zimmer. In part 1, we discussed evolutionary research in the urban environment. Next we talk about Carl's latest books as well as a study that came out last week about toxoplasma infections and the amazing effects that they have on rats.
You've also got a new book coming out and another book coming out soon that's a little bit a departure for you. You want to talk about those?
Zimmer: Yeah, so in May I published a book called Planet of Viruses. I wrote a dozen essays on a dozen viruses looking at different aspects of virus biology and how viruses have affected humans, and also trying to make the point that, you know, viruses are incredibly abundant on Earth, and in fact are the most abundant life form on Earth.
Steve: So are they a life form? I mean, I'm not even sure this question is important, but are they alive or are they almost alive?
Zimmer: I think that they're alive. You know, there's certainly a debate about that. I think that it's kind of an arbitrary distinction to say that you have to be exactly like us in order to be alive. Viruses do all sorts of things that can only be done by living things. You know, they replicate, they evolve, they adapt, they have all sorts of traits that let them survive in very strange habitats like our throats, for example, and droplets floating around in the air. And so, you know, and viruses have been controlling the environment, literally. I mean, viruses help to set the climate itself. They might seed the clouds, they do all sorts of very powerful things in the environment, so it's silly to think of them as somehow not being alive, just because they, say, can't metabolize a sandwich. So, yeah, viruses are alive, I'll say.
Steve: So, I should have said that that book is already out, that came out in May, and you have a book coming out soon that's, sort of, I guess it's a picture book.
Zimmer: Yeah it is, it is. So I have a blog called The Loom, and I once posted a picture of a tattoo on the shoulder of a neurobiologist I know at Harvard. I just one day noticed that he has a DNA tattoo on his shoulder, and he explained to me how he actually had designed it so that it spells out his wife's initials in genetic code. And I thought, wow, and I wondered if there are other scientists out there who are hiding tattoos from the rest of us. So, I just asked that question in my blog and promptly got flooded with an endless supply of tattoos with all sorts of wild stories attached to them about every branch of science, from neuroscience to anthropology. And you know, after a while, maybe after the 300th or the 400th picture showed up, I said, you know, this seems like it would be a really fun idea for a book. So I picked out some of my favorites and then wrote kind of longish captions or shortish essays, however you want to think about it, about the subjects of their tattoos or about the people themselves, and so on. And yeah, so now it's called Science Ink--Tattoos of the Science-Obsessed, and that will be coming out in November.
Steve: Really looking forward to that. I'm going to assume that the Darwin branching tree diagram is a pretty popular one.
Zimmer: That is a very popular one, yeah. There must be four or five people who have the tree that Darwin drew in a notebook while he was working out his theory. In the notebooks, he draws this little sketch of a tree, and actually, he writes next to it, "I think" which is wonderful, and actually a number of these scientists have the tree and "I think" next to it because that really speaks to the scientists as well, the way you, sort of, play around with ideas and try to figure out what's actually going on.
Steve: So, let's spend another two minutes, if you have them.
Zimmer: Sure.
Steve: We both covered a story last week that came out that talked about the fact that it been well known that rats who have a toxoplasma infection will actually become attracted to the scent of cats, rather than flee from that smell, which would be the evolutionarily prudent thing to do. So they get attracted to the smell and, you know, presumably, often wind up in the cat's mouth. But a study came out last week that showed exactly what kind of attraction it is, and it's pretty interesting.
Zimmer: Yeah, I mean, scientists have been puzzling over toxoplasma for, I'd say, about 15 years now because it's got this really interesting lifecycle where in order to reproduce sexually it's got to get inside of the guts of cats. So the cat infected with this parasite is totally healthy, it's fine; and if it's infected, it sheds eggs, as it were, of toxoplasma with its droppings. So, that's why pregnant women are not supposed to have a kitty there, because they might get a toxoplasma infection, and for fetuses, toxoplasma is very dangerous because they don't have an immune system to keep it in check. For the rest of us, it's not really a big deal. We might feel a little fever when we get infected, but it passes away quickly. We don't kill off the parasite though, it just forms cysts in weird places like our brains.
Steve: Our brains. We should point out that people who are immunocompromised are also at a different level of jeopardy from toxoplasma.
Zimmer: Yeah. That's right. So when AIDS started to spread, one of the most puzzling things that happened was that people started developing cases of this disease called toxoplasmosis where toxoplasma gets out of control, and it causes inflammation in the brain, dementia, and can be fatal. But you know, the doctors were totally baffled by it, because normally people just keep the parasite in check. And the thing is that HIV just tears down your immune system, so that things like toxoplasma can just take off. But, you know, in a sense it's not in the "interest" of the parasite to kill you or another intermediate host. In order to reproduce, its intermediate host has to get back inside of a cat, and what happens often is that a rat, for example, that's infected gets eaten by a cat and then the parasite just moves from the rat to a cat.
Steve: Right--the rat will get infected because it'll touch the cat droppings.
Zimmer: Right. These eggs are just floating around in the dirt; you know, rats are sorta rummaging around and looking for food and they pick up the eggs, and they end up in their mouth and they get infected. So yeah, toxoplasma, you know, where there a lot of outdoor cats, toxoplasma is supposed to be very common everywhere.
Steve: So, what's really interesting is the researchers found out what precisely, the precise kind of attraction that the parasite endows in the rat to make them want to approach the cat odors.
Zimmer: Right, right, because initially some scientists at Oxford had done experiments in some big enclosures where they would put different odors in different corners, and they would just see what happened to the rats. And they were just observing the rats and once they looked at the numbers, they could see that the rats tended, healthy rats as soon as they smelled the cat odor, they stayed away from that corner. And in fact they explored a lot less in general; they got very anxious; whereas the infected rats, they didn't change, and in some cases, they seemed to be exploring that corner more. So you have that observation on the outside. So, then a scientist named Robert Sapolsky from Stanford University said, "Well let's try to see what's happening on the inside." And so they looked at rat brains to see where the parasite was accumulating, and it was accumulating in one particular part of the brain, in the limbic system, where a lot of what we would call emotions are regulated. And then just recently they did a very cool study where they were able to look at what areas of the brain were becoming more or less active in infected rats when they smelled cat urine, and it was quite mind blowing. So there are two, kind of, circuits, you can think of them, in this part of the brain, and they're pretty close to each other; and one of them, basically, you know, regulates fear and withdrawing from danger and being defensive. In these infected rats, that area of the brain was less active, specifically when they smelled cat urine, which is amazingly cool enough as it is; but they found another part of the brain right nearby that was actually becoming more active than usual, and that is an area of the brain that is responsible for sexual attraction; where, you know, a rat will approach a smell because it thinks maybe it's going to find a mate. So somehow it seems that this parasite is actually making this rat kind of, in a sense--I'm going to be metaphorical here but--fall in love with cats. It is feeling a pull towards the odor of cats and therefore towards its own doom.
Steve: That's amazing. What a clever parasite. So, now the obvious question, let's talk about me personally. You know, where this is going.
Zimmer: I do and I'm not sure I'm looking forward to the trip. You're not a cat lady, are you?
Steve: I have two cats.
Zimmer: Oh boy!
Steve: And I'm just wondering: Have I been manipulated--I grew up with a cat--have I been manipulated by toxoplasma to be in love with cats?
Zimmer: So, people ask this all the time, and you know, they've asked Robert Sapolsky, and he'll, sort of, shrug and go, "Oh, who knows?" Let me just put it this way. There's no evidence at all that you know, "cat ladies" or other cat lovers are more infected with toxoplasma than other people. A third or so of all people on Earth are infected with toxoplasma. And so. you know, someone would have to, like, do a really strange, very large-scale study that really nails this down and no one has done it. Now that being said, there are some very tantalizing studies, by no means the final word, but these studies show that there are potentially some differences in personality that arise when people get infected with toxoplasma. You know, it changes, women for example, when they take personality tests--if they're infected, they tend to be more open-hearted, and that's one of the measurements of personality tests. Men tend to be more distrustful authority. People who are infected with toxoplasma tend to get into more traffic accidents. This doesn't mean that people who are infected with toxoplasma are zombies running around, you know, just throwing themselves in front of cars, but, you know, there is something happening and that does not necessarily mean that, you know, it's some well-adapted strategy of toxoplasma. You know, it's possible that toxoplasma is really adapted for affecting the brains of rodents and other, you know, common prey of cats. The fact that you're giving your cat food and so on is not really, that's not really helping the parasite. The parasite would really be happy if your cats ate you, okay--little bit different. And so it's possible that, you know, that these parasites have all these very interesting brain drugs that they're secreting, and they just have a different effect on people than they do on rats.
Steve: Interesting. And it also brings up the question of who knows what else we might be infected with that is controlling behavior in various ways.
Zimmer: Yeah, now that's an important point because it's not necessarily just parasites that are doing this to us; you know, we are home to, you know, over a thousand species of bacteria; a lot of them are in our guts, and they're releasing molecules all the time and some of those molecules are getting into bloodstream and some of them are getting into our brains. And so researchers are doing some studies on how our resident bacteria affect behavior. And they are seeing, when they look at mice, you know, that have been experimentally inoculated with different kinds of harmless bacteria, they can see different levels of anxiety and so on. They can see changes in behavior. You know, the scariest one to me actually is what happens when mice eat a lot of food and get really fat. The diversity of the bacteria changes, and if you take those species of bacteria living in the obese mouse's gut and you put them in a mouse that has no bacteria in it at all, that mouse with that transplanted bacteria will actually become unusually hungry. And the only difference, the only thing, the only manipulation is that it's got these bacteria from an overfed, overweight mouse. And so it really looks like it's the bacteria that are sending messages to the brain that are making the mouse hungrier, in order to feed the bacteria.
Steve: Wow!
Zimmer: And you know that could very well be happening to us.
Steve: So we're going to be looking as an obesity treatment at antibiotics followed by fecal transplants.
Zimmer: That sounds weird, but I bet something like that will be happening within the next decade.
Steve: Wow! Hey, Carl this was really fun. It's a pleasure to talk to you, and everybody read his article in the New York Times July 25th, available at the Times' site, and at Carl's site and go out and buy his books.
Zimmer: Thanks, Steve.
Steve: If you haven't heard about fecal transplants, google it; it's fascinating, and I don't want to talk about it. Get your science news at our Web site--that's www.ScientificAmerican.com--where you can also check out various exclusive Web features related to our September single-topic issue all about cities. And follow us on Twitter, where you'll get a tweet each time a new article hits the Web site. Our Twitter name is @SciAm, S-C-I-A-M. For Science Talk, I am Steve Mirsky. Thanks for clicking on us.


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text: Gwyneth Paltrow is being lined up to star in Julian Fellowes' new TV show. The 'Iron Man 3' actress - who reportedly asked for a cameo on the producer's acclaimed series 'Downton Abbey' - is thought to be Julian's top choice to star in his new US-based period drama, 'The Gilded Age', which is due to air next year. A 'Downton...' source told the Daily Mirror newspaper: "Gwyneth is seen by Julian and his team as one of the best actresses in the world. They have loved her work in period dramas and know what she could bring to 'The Gilded Age'." Gwyneth, 40, is no stranger to costume dramas, as she earned a Best Actress Academy Award for her role in 1998 film 'Shakespeare in Love'. The actress has also impressed on the small screen, winning an Emmy Award for a guest role on hit musical TV show, 'Glee'. 'The Gilded Age', which was commissioned by NBC, will depict the rise of the country as a superpower in the 19th century, following the lavish lives of pioneers in the railway, oil, hotel and shipping trades. Julian previously said: "I didn't want to just try and write another British series and go into competition with myself."


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Posts tagged "alex simpson"
Weekly Release Spotlight: Washed Out
Washed Out
Sub Pop
Written By: Alex Simpson
While many have moved on to the latest and greatest chill-wave imitators, Greene has underwent much maturation (for the better), and his latest full-length Paracosm is evidence of that.
Fame came almost instantly for electronic producer Ernest Greene (Washed Out). His lo-fi debut Life of Leisure earned him a record deal with Sub Pop and regular play at hipster retail chains across the planet, not to mention "Feel It All Around" was featured in the opening credits of the quirky hit series Portlandia. But in the last four years, while many have moved on to the latest and greatest chill-wave imatators, Green has underwent much maturation (for the better), and his latest full length Paracosm is evidence of that.
One of the biggest surprises on Washed Out's sprawling sophomore full-length is the use of more live instrumentation. Paracosm flaunts over four dozen instruments, more than you'll hear on the last two Washed Out records combined. You may not be able to pick them out individually, but some of the dreamiest tones on the record come from old keyboards such as the Mellotron and Optigan. It's certainly worth mentioning that Greene and producer Ben Allen (Animal Collective, Deerhunter, M.I.A.) managed to make these obscurities work with harps, bird noises, country samples, and many other interesting choices.
Additionaly, Greene continues to blur his words on this record, and it's still working in his favor. In most instances, the listener demands the right to sing along, but Greene's lack of enunciation allows his vocal to float over the top of beats like some obscure synthesizer. It also allows the listener to "feel" his songs rather than dissect their parts or overall meaning. That implied "feeling" might be the only thing that is intrisically chill-wave, or at least for Greene it is- as we see his sound mature.
Paracosm is full of highlights -- "It All Feels Right", "Don't Give Up" and "Great Escape" are all fine examples. However Paracosm seems to be more of a whole work rather than a collection of singles. One should consider giving the whole record many complete spins. The lack of a smash single makes Paracosm a more cohesive, rewarding listening experience. Greene also keeps the listener within his little world, or paracosm. By making use of natural sound- like birds chirping and wind- in "Entrance" and "Falling Back" and the crowd noise in "It All Feels Right" and "Don't Give Up" adds to the album's overall awareness of setting.
In regards to past Washed Out albums: just because you can't feel it all around doesn't mean you can't feel it. Paracosm is far from Life of Leisure or even Within and Without, but it's the difference that makes it interesting and fun to listen to. It's the reflection of a matured musician who is very comfortable in his place, and that always makes for a strong album.
Washed Out will be visiting Minneapolis, September 12th to play a show at the First Avenue Mainroom you can buy tickets here; more tour dates available below. Check out "Great Escape" streaming and available for free download at the top of this review.
Tour Dates
September 2, 2013
Club 9one9, Victoria BC
September 3, 2013
Fortune Sound Club, Vancouver Canada
September 5, 2013
W.O.W. Hall, Eugene OR
September 6, 2013
Mississippi Studios, Portland OR
September 8, 2013
Cesar Chavez Park, Sacramento CA
Launch Music Festival!
September 10, 2013
Fox Theater (CO), Boulder CO
September 12, 2013
First Avenue, Minneapolis MN
September 13, 2013
Metro, Chicago IL
September 15, 2013
Opera House (ON), Toronto Ontario
September 16, 2013
Corona Theatre, Montreal Canada
September 18, 2013
Terminal Five, New York City NY
September 19, 2013
Union Transfer, Philadelphia PA
September 20, 2013
Wilbur Theater, Boston MA
September 21, 2013
Merriweather Post Pavilion, Columbia MD
Virgin Mobile Freefest
All Ages!
September 23, 2013
Cats Cradle, Carrboro NC
September 24, 2013
Georgia Theatre, Athens GA
Tags: radio k kuom university of minnesota weekly release spotlight washed out paracosm free download review alex simpson


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Arthur poised to make landfall in Nova Scotia on Saturday, warnings issued throughout Maritimes
HALIFAX — Forecasters say hurricane Arthur will make landfall in southwestern Nova Scotia on Saturday morning packing near-hurricane strength gusts and bringing torrential rainfall as it moves across the Maritimes.
"We want people to pay attention," said Chris Fogarty, the manager of the Halifax-based Canadian Hurricane Centre. "There are going to be some impacts from this (storm)."
Arthur resulted in the cancellation of some Independence Day celebrations along the East Coast of the United States and an exodus of residents from North Carolina's Outer Banks Island as the first named storm of the Atlantic hurricane season swept northwards.
Fogarty told a briefing on Friday afternoon that Arthur was poised to track through Nova Scotia at a time of year when few people expect such an intense storm.
Tropical storm warnings were in effect for Nova Scotia, Prince Edward Island, and southern and eastern New Brunswick on Friday afternoon.
Fogarty said the storm is forecast to create gusts of up to 100 kilometres an hour — enough to bring down some trees and cause power outages — in both Nova Scotia and eastern P.E.I., possibly matching gusts that buffeted the province when the remnants of hurricane Earl struck the province in 2010.
A farmer in the Maritimes said he was concerned the predicted blasts of wind and sheets of rain could cause crop damage.
"I'm getting pretty worried," said Greg Gerrits, co-owner of Elmridge Farm in Centreville, N.S. "I've been farming 22 years in the vegetable business and I've never dealt with a storm that could be potentially this strong at this time of year."
The centre said as the tropical weather system moves over the region it will collide with a cold front, bringing downpours across the region, primarily through southern and central New Brunswick.
"We could see 20 to 25 millimetres come down in any given hour in the areas of central New Brunswick. … There will inevitably be some flooding effects from this: shoulder and road washouts, small creeks will come up very quickly," said Fogarty.
The hurricane centre says there are parts of the province where up to 150 millimetres are expected to fall, though the heavy sheets of precipitation are likely to avoid the more densely populated Moncton area.
The Emergency Measures Organization in Fredericton warned residents that the expected deluge — 100 millimetres of rain over a 12-hour period — could lead to overflowing culverts and washed-out roads.
"Residents should be prepared for flash flooding along small drainage courses and potential washouts," the organization said in a statement.
The centre also predicted storm surges of up to one metre and waves of up to four metres along the coastlines of Nova Scotia, eastern New Brunswick and around P.E.I.
The storm comes at a time when the organizers of outdoor musical events across the region can usually count on clear weather.
Earlier this week, organizers cancelled the popular Stan Rogers folk festival in Canso, N.S., expressing concerns about public safety.
Tanya Mullally, the provincial emergency management co-ordinator in P.E.I., said her agency wants people who are attending outdoor musical events to "be mindful of the weather conditions and pay attention to weather alerts."
She estimated that about 20,000 people will be attending the Cavendish Beach Music Festival over the weekend.
Gwen Wyand, the chairwoman of the Resort Municipality, which includes the Cavendish area, said she will seek advice from the local RCMP, fire department, concert organizers and the emergency measures organization on whether her local government will allow the concert to proceed on Saturday.
"The wind would probably be the basic factor," she said in an interview.
Sailors taking part in next week's Route Halifax Saint-Pierre Ocean Race spent Friday getting their boats prepared for the weather.
"Initially I was very worried," said race chairman Scott MacLeod, adding he was shocked when he heard a major storm was brewing so early in the season. "It looked like it was going to smack us right on the nose, but it looks like it's going out to the Bay of Fundy.
"It was quite tense a few days ago when we thought it was coming right up here but I think if we do all the right preparation we should be fine, hopefully."
The weather is expected to pass by the time the annual race to the French islands of St-Pierre-Miquelon off Newfoundland's southern coast starts on Tuesday.
In the U.S., the storm caused less damage than was initially feared, but the hurricane left tens of thousands of people without power Friday in a swipe at North Carolina's Outer Banks.
Arthur struck North Carolina as a Category 2 storm with winds of 160 km/h late Thursday, taking about five hours to move across the far eastern part of the state. At the height of the storm, more than 40,000 people lost power.


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The drama surrounding Love & Hip Hop stars Joe Budden and Consequence is showing no signs of slowing down, with Consequence serving as the latest party to give their side of the story. Earlier today (March 14th), the Queens rapper called into The Angie Martinez Show to give his version of the Love & Hip Hop reunion fight that made its way onto the internet earlier in the week thanks to amateur video.
Consequence shared that he did in fact smack Joe Budden, a decision he says was brought about by Budden's interview with ThisIs50's Jack Thriller.
"The number one thing is I don't run from nobody. Why would I smack somebody and then run, but stay there to get jumped? I never ran from nothing. Let's keep that clear," the rapper explained in a video posted on 2DopeBoyz.com. "That's the part he came and told you Angie. That I hit him, Tahiry snuffed me, and then I ran. Nobody ran. I'm not gonna run from Tahiry. Unfortunately, when I smacked him, from what I was told by one of the stylists or production people, when I extended it hit Tahiry. So she reacted and she hit me. And that's a girl hitting me. And I like Tahiry. Shout out to Tahiry. It felt good."
Consequence's interview with HOT 97 took an unexpected turn when he revealed that during the commotion Joe Budden somehow forgot his cell phone. He then went on to read a handful of texts from the rapper's phone, which included messages from girlfriend Kaylin Garcia, cast mate Raqi Thunda, and a man named Derek.
"Then there's somebody named Derek," said Consequence. "And Derek is basically saying, 'Don't say anything stupid. We're hanging on by a thin thread. I will come see you after the reunion. I love you and I miss you.' And I guess he must have told Derek 'Hey, why don't you come to London Wednesday?' And then there's emojicons of an engagement ring and a baby…We never met anyone named Derek on any episode…Ain't no cameras Angie. And here's the thing, I was so disgusted I broke the phone. I just threw it, broke it. Listen, but I still got proof. Don't get it twisted. I don't lie."
Consequence's full interview can be heard below.
RELATED: Consequence & Joe Budden Fight Video Footage Released


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The Perfect Actor
It's a few days away, but actor Paul Giamatti knows it's coming: the big shave-down. Even as he sits in Teresa's, a neighborhood restaurant near his Brooklyn Heights home, drinking coffee and eating a BLT, Giamatti is anticipating having his head shaved to resemble the bald dome of Ben Bernanke, chairman of the Federal Reserve System. He'll be playing Bernanke in an HBO film of Too Big to Fail, the best-selling book about the 2008 financial collapse that's about to start shooting.
"My friends never know what the hell I'll look like when they see me," Giamatti says with a laugh. "I've always done things like that to change my appearance. At this point, I've done so many strange things to my appearance that the idea of shaving my head doesn't freak me out. You try to change yourself physically so that even if I can't achieve what I need to, character-wise, at least I did it physically."
It can be disconcerting for his family and friends, particularly the ones who don't see him regularly. He may show up with his head shaved—or with long hair and a lavish beard.
"I remember when I went to the Oscars (when he was nominated for 2005's Cinderella Man), I was making this movie, Shoot 'Em Up, and I had this crazy comb-over," Giamatti says. "People thought I was a freak. It can be hard to explain sometimes."
Even harder to explain: the fact that Giamatti, 43, who has the ability to grow a rich, lush beard—whose beard, in fact, is a prominent feature in his new film, Barney's Version—is clean-shaven just days before beginning to play the amply bearded Bernanke. The problem, Giamatti explains, is that Bernanke's beard is mostly white, while Giamatti's is brown with patches of gray.
"You can't bleach facial hair, the bleach won't take," Giamatti says. "I even grew a beard and they said it wouldn't work. So I have to wear a fake beard."
The beard, no doubt, will be the only false thing about Giamatti's performance. In a movie career that spans almost 20 years—but which really kicked into gear in the past decade—Giamatti has developed a reputation as an actor who almost never strikes a wrong note.
"Paul doesn't fake it," says actress Laura Linney, who played his wife in The Nanny Diaries and Abigail Adams to Giamatti's title role in the "John Adams" miniseries that swept the 2008 Emmy Awards. "He goes there. He's not phony in any sense. He's a great acting partner because he knows how to give and how to receive—and how to listen."
Says Tony Gilroy, who wrote and directed Duplicity in which Giamatti acted, "He's a director's gift. He's all-singing, all-dancing, all-talking. He comes prepared, and he gives you all kinds of things you hadn't expected."
Giamatti's latest leap into the unknown is Barney's Version, a year-end film based on a semi-autobiographical novel by the late Mordecai Richler. Giamatti has received a Golden Globe best actor nomination for playing Barney Panofsky, a TV producer in late middle-age forced to defend himself against an attack in a newly published book, which charges him with escaping justice for the murder of his best friend. As he tells his story, Barney looks back on his life—from his early 20s until shortly before his death in a story that features behavior ranging from the passionate to the outrageous, through three wives and professional highs and lows.
The film offers Giamatti something of a rarity for his career: the chance to play a ladies' man who cuts a swath through the female population—the guy even hits on the woman who will be his third wife at the reception for his second wedding.
It's a tough mix, because Barney is the protagonist of the story, but he's nobody's idea of a hero.
"Barney is someone with a gruff exterior, as Mordecai was in life," says Robert J. Lantos, who spent a dozen years trying to get his friend Richler's novel made into a movie. "He's someone with whom you fall in love very gradually, especially if you're a woman. This is someone who has to work really hard at making women fall in love with him. And Paul not only captures Barney's character but Mordecai's. Without ever having met Mordecai, he captured Mordecai's essence. He walks like Mordecai, he talks like Mordecai, he even wears his glasses like Mordecai."
Richard J. Lewis, who directed Barney's Version, says, "Paul was the only actor I could think of who could pull off both the age range and the emotional complexity—and the comedy. He finds a balance between the scoundrel and the good guy. You have to like the character and root for him. You don't have to like what he does, but you have to like him. And Paul makes that happen."
Giamatti has been so solid playing loners—whether they're cranks, villains, neurotics or down-on-their-luck good guys—that it's something of a revelation to see him woo actresses Rachel Lefevre, Minnie Driver and Rosamund Pike (as Barney's three wives) in Barney's Version. As Barney, Giamatti is aggressively seductive, a guy who's definitely got game because he knows he doesn't have good looks.
"This character could not be played by a conventional matinee-idol-looking actor," Lantos says.
It's a side that Giamatti has barely had a chance to show in his previous work, because he doesn't have the profile associated with romantic leading men: "When they see a romantic movie, people want to project themselves on to Cary Grant or someone like that," he shrugs. "I've played leading roles but certainly not a lot of romantic leads.
"This guy is difficult, but he's a romantic underneath it all. So is the guy in Sideways and, in a way, American Splendor. The romantic is buried underneath. If I'm playing someone romantic, I'm able to transcend what he looks like."
Indeed, Giamatti says, it wasn't until American Splendor (2003) that he played a character who was romantically involved in any way: "That was the first time I actually had to kiss somebody on camera," he says. "I guess I was romantically involved in Sideways. In this one, I get some great women."
Why has it taken so long? "I guess it's because I've played a lot of supporting character parts, a lot of sidekicks, guys like that," Giamatti says. "A major part of it is what I look like."
Ask some of the women who have worked with him, however, and you'd get an argument. Writer-director Sophie Barthes, who directed him playing a character named "Paul Giamatti" in the surreal comedy, Cold Souls, says, "There's something very touching about Paul. A lot of women have told me they find him very charming. Beauty is not just about appearance for me; Paul has a soulfulness that's very moving. He carries a lot of humanity; there's something happening on his face all the time. It would be interesting to watch him look at the Yellow Pages because he's extremely human."
Adds Laura Linney, "Movie stars come in all shapes. So if people say he's unconventional looking, I say: Compared to what? Paul is fantastic. When you've got talent like that, it's undeniable."
Barney's Version offered Giamatti the chance to wear a variety of wigs and beards to capture Barney at different ages. One thing, however, remained constant from start to finish: the cigars that Barney inevitably was smoking in most scenes.
"Richler was a big cigar smoker," director Lewis says. "We had a whole design to the cigar and cigarillo use in the film, as they pertained to different parts of Barney's life. Richler smoked Montecristos, and Romeo y Julietas; Barney smokes Montecristos."
Giamatti isn't a cigar smoker in his everyday life, but he's played a number of roles that called for him to smoke cigars on camera. None of the characters, however, indulged in the intense cigar use that Barney's Version offered.
"I was amazed because I was smoking cigars in pretty much every scene," Giamatti says. "For a guy like this, it's kind of a neurotic thing. I decided he was a guy who smells like cigars all the time. That gives you a texture and a feel to the character. He was also drinking the whole time. He lives in that cocoon of smoke and booze.
"It's not necessarily a power thing, like with some of the guys I've done. On the other hand, you see some of those guys who look like they smell like cigars and they do well with the women. They've got some sort of charm. I left it up to the actresses to find the reason to like my character."
For an actor, having a prop like a cigar can be revealing about a character. Giamatti relishes the opportunity to latch on to something quirky—like the way a character deals with the everyday objects of his life—to help him give the character added depth.
"They're wonderful props to have," he says. "Cigars have a lot of paraphernalia—all that clipping and poking—so you've got to get up on that. It can become such a ritual.
"The guy in Cinderella Man was a cigar smoker. And I smoked cigars in 'John Adams.' He chain-smoked what were considered cigars at the time, ones from Holland. It was an eccentric thing to do. They were these intense, dark little cigars. Those were great. That whole culture of smoking was fascinating, because they had no ashtrays. John Adams would just throw the butts on the floor—in the White House! There was no nicety about it. They were probably a Victorian thing, ashtrays."
Giamatti looks at different smoking options as keys to the characters that use them: "Everybody associates contemplativeness with smoking a pipe," he says. "I smoked a pipe in The Illusionist. I chose a pipe because I was playing a Victorian-era detective, so I had to smoke a pipe. I loved that. I was tempted to take that up myself, but smoking a pipe, that's a tough one to pull off. You have to have a certain gravitas.
"Cigarettes seem more neurotic. Smoking cigarettes for a role made me take it up briefly as a habit. But the cigar thing didn't seem to take with me. I don't know why.
"I've never had somebody get worked up about me smoking a cigar in a movie, the way I have with cigarettes. There's something more in-your-face about cigars, something a bit more aggressive. It's that whole Groucho Marx thing—that attitude seems to go along with it."
Giamatti says his own associations with cigar smoking aren't necessarily pleasant: "I associate it with making me nauseous, probably because, in Cinderella Man, it got to me a couple of times. We were working in an enclosed space for long periods, where I had to blow through about 10 cigars."
Giamatti grew up the youngest of three children of A. Bartlett Giamatti, a Yale University professor of comparative literature who went on to become Yale's president and, later, commissioner of Major League Baseball until his death in 1989.
Acting wasn't a particular passion when Giamatti was a kid: "I went through all kinds of phases," he says. "I wanted to be an admiral—I wanted to be in the Navy. I remember being quite serious about that. And I was very interested in archaeology; that was a boyish enthusiasm. Acting was not something that occurred to me."
When he thinks of his parents (his mother was also a teacher), "the first thing I think of is an interest in learning," he says. "They had an intellectual curiosity about everything—the love of that kind of thing, the love of the intellect and the mind."
Not that it rubbed off on Giamatti, at least initially.
"I was not a very good student, in a determined way," he says. "I guess it was my way of rebelling. Was it a conscious thing? Probably. I wasn't crazy about school—the regimentation, the confinement. Do you know I've never read 'Catcher in the Rye'? I can remember being in high school (he went to Choate) and having the cool young English teacher, who was teaching us 'Catcher in the Rye,' and everybody loved that book. It seemed like the biggest bunch of bullshit. Everyone was raving about this book and I thought, 'You guys are drinking the Kool-Aid.' It's funny because I've read (J. D. Salinger's) other books and they're amazing. But not that one."
Still, Giamatti wound up at Yale: "There was a certain amount of family pull, I'm sure. But I ended up doing well in things I was interested in. I did well on the SAT. It was complicated, my relationship with school. I did enjoy certain things and I worked hard the last couple of years. My life is kind of an unclear narrative."
He admits that, these days, his passions—aside from his work and his son Samuel (he and wife, Elizabeth, have been married since 1997)—are mainly books: "I feel like an anachronism because I don't like to read things on a screen," he says. "A book is an amazing thing to have."
At Yale, Giamatti tried out a couple of majors ("I thought anthropology was really interesting until I found there was a lot more science to it than I could handle"), including classics: "But I ended up an English major. I had no particular game plan."
He considered a career in academia, because of his parents: "That's definitely an attractive life but I wasn't suited to the actual work," he says. "I had no aptitude for the actual work. But it certainly went through my head."
Instead, he moved to Seattle after college because he had friends who were working there. Some of them ran a theater where Giamatti worked at odd jobs and would occasionally act in the plays they put on. One night an agent saw him perform and offered to represent him and find him work.
"I thought, 'Sure, I might as well try this,' " he recalls. "And I started making some money from that. My whole mindset shifted. I didn't know if I was good or not but I was making money.
"As much as I say I didn't know if I was interested acting when I was younger, it was the most fun thing I remember doing, back to when I was a kid. I was in the school play every year and always looked forward to it as something that was fun to do. But it was just this thing I did. When I started making money, I decided to get serious about it."
That meant going back to Yale, where he enrolled in graduate school "because I didn't know what the hell I was doing. I thought that I could maybe have a stage career. So I wanted to train my voice. I wanted to get better at it, to whip myself into shape and get some technique. But I mostly thought I would do stage stuff."
Writer-director Tom McCarthy (The Station Agent, The Visitor) was a year behind Giamatti in Yale's graduate theater program, where they became friends. He remembers Giamatti in a production of Chekhov's "The Bear" that cemented his regard for his friend.
"Anything by Chekhov is difficult for American actors," McCarthy says. "But Paul made it so accessible. He just has this uncanny ability to make text his own. It was practically a one-man show."
After graduate school, Giamatti moved to New York and began working steadily in theater, mostly off-Broadway, and TV: "I was really lucky," Giamatti says. "I did theater and lots of odd jobs. That really kept me afloat. Of course, I had low expenses, so I was able to make an OK living and managed to do alright."
The watershed year was 1997, where he won small but noticeable roles in films as diverse as Donnie Brasco (as an FBI technician) and My Best Friend's Wedding (as a bellman who has a heart-to-heart moment with Julia Roberts)—six films in all.
But the one that turned him into a hot commodity as a character actor was the short-fused station manager who becomes Howard Stern's nemesis in Private Parts. As Kenny "Pig Vomit" Rushton, he exploded to the camera, "There ain't no God while Howard Stern's walking the Earth, I'll tell you that."
"I started getting a lot more substantial movie work after that," Giamatti says. "In fact, I began to do movies more than theater."
Initially, the movie roles were variations on a theme: a twitchy criminal caught in a hostage situation (The Negotiator), a hyperbolic mob enforcer named Veal Chop (Safe Men), a sidekick to comedian Martin Lawrence (Big Momma's House), even the bombastic villain in a kid's comedy (Big Fat Liar). He worked for major directors, even if his roles were small: Steven Spielberg (Saving Private Ryan), Milos Forman (Man on the Moon), Woody Allen (Deconstructing Harry) and Todd Solondz (Storytelling).
Which may be why it seems like a leap for Giamatti to play a romantic lead in Barney's Version: "After a while, a persona begins to accrete around you, whether you like it or not. People have a lot of associations with me playing unpleasant or difficult people. But I admit I'm more interested in playing the stranger characters."
He's also extremely convincing. After American Splendor, he would be approached by people who assumed he was as consumed with comic books as his character, Harvey Pekar. After Sideways, people would engage him in conversations about wine, though his knowledge was limited: "That is flattering because it means my performances were convincing to people," he says.
But then, because his father was the commissioner of Major League Baseball—who oversaw Pete Rose's ouster from professional baseball for gambling—people also assume that Giamatti is as rabid a baseball fan as his late father was.
"People used to come up and ask me about Pete Rose all the time. Not so much anymore," he says. "My dad had two sides. One was a professor; the other was this sports guy. I was more interested in the other side; my brother is the huge baseball nut."
Sideways, the movie Giamatti says did the most to establish him, offered a role that was, at least on the surface, an unhappy person, disappointed with himself and what life had to offer him. Yet that kind of role, Giamatti says, often offers more for an actor to dig into than more well-adjusted characters.
"When I think about it, when I was a kid, I was always drawn to those characters," Giamatti notes. "If I saw The Maltese Falcon, I wanted to be Peter Lorre or Sydney Greenstreet, not Humphrey Bogart. There's something very interesting about the grotesque, something funny and vital in the idea of that kind of character. They always appealed to my imagination. It's more of an invitation to an actor to be eccentric and vivid."
There's a different challenge, Giamatti says, to playing a character based on someone in history, whether it's someone whose face is on television all the time (like Ben Bernanke) or someone out of the history books, like John Adams.
"I took a lot of liberties with John Adams, but who knew?" he says. "The series was based on David McCullough's book, but I've got to make a character out of him. I thought, 'Let's not see him as the guy on the money or a marble bust.' So I had to allow myself a lot of latitude not to be that."
The miniseries, for which Giamatti and costar Laura Linney swept acting awards from the Screen Actors Guild, Golden Globes and Emmy Awards, took six months to shoot "and I think Paul had one day off," Linney says. "It was a Herculean effort. We had a real adventure together. We'll always be somewhat bound to each other because of that."
"It was physically hard," Giamatti says. "But it was fantastic to be immersed in that character and that world 24/7. Getting to do it for that stretch of time, it gives you a chance to relax into a role."
Part of Giamatti's appeal on screen is his ability to show you exactly what he's thinking, even if his character is maintaining a poker face. That's true whether he's playing John Adams, the grumpy would-be writer Harvey Pekar in American Splendor, the earnestly aggressive boxing manager in Cinderella Man or the maniacally competitive corporate giant in Duplicity.
"Paul is an actor who would have worked in any era," says Duplicity director Tony Gilroy. "There's no era where he would not have been an MVP, the actor that has every director saying, 'I've gotta have that guy.' He brings all that truth into a really fun place. He's so truthful and fluid that he can be brave and bring strong flavor to your project. And he just gets better and better."
Still, perception—such as the one that Giamatti only plays characters who have some dark, twisted kink to their soul—is "nine-tenths of the law," says college colleague McCarthy. "People tend to generalize and categorize. When you look closely at Paul's body of work, he's done an amazing range of characters. He takes every role so seriously that he finds something original."
McCarthy recently directed Giamatti in a film, Win Win, which he also wrote and which will be released in April 2011. The movie takes Giamatti in an unexpected direction: likeability.
"You see him playing Pig Vomit or that American Splendor role and he nailed them—he's the ultimate grouch," McCarthy says. "That's how everyone sees him, and he's not like that. So when I told him about this film, I said, 'There's one obstacle. This character, he's a happy dude.' This isn't a guy who's been beaten down or one having a mid-life crisis. He has everything he wants."
"Tom approached me and said, 'I'm interested in seeing you play this guy because he's nice,' " Giamatti says with a laugh. " 'He's friendly. He's not unpleasant or unlikable.' And that was a challenge for me to do. It's a challenge anyway because a character like that can quickly seem like he's not dramatic. Drama is about conflict. An unconflicted person is not a dramatic person. Someone like that can be clownish or vapid. There's not as much to grip on to. And that might be my inclination as an actor—to find something unpleasant or dark, with the vulnerability hiding underneath. Not that this character doesn't have those things, but he negotiates stuff differently."
Giamatti, who got his start on the stage, was last on Broadway in the 1999 revival of "The Iceman Cometh" starring Kevin Spacey, and last appeared on a stage in an off-Broadway production of Bertolt Brecht's "The Resistible Rise of Arturo Ui" with Al Pacino in 2002.
"I've tried to get him back on stage," Linney says. "He's fantastic on stage. I saw him in 'The Three Sisters' and he's just a great actor who can do whatever he wants."
Giamatti, however, has more than enough movie work lined up to keep him busy for the next few years—and a certain fiscal fear that keeps him in front of the camera, though he says, "I want to be in things I hope are good."
But, he admits, "I worry about money, about having enough. I don't know why. I grew up comfortable and well-off. And I have a fair amount of confidence I'll find another role. But it worries me—worrying about people being happy and feeling good."
Theater, however, seldom pays as well as film. Plus, Giamatti notes, "There's nothing worse than being in a bad play. It's easier to be in a bad movie."
The fact that he hasn't been on stage in several years intimidates him a little—but may also push him to go back.
"Not having done it in a while, I have a fear of going back—that I got soft," he says. "But that's probably why I should. I've gotten a little lazy. So I've been thinking about it lately."
Asked whether there are particular roles he's dreamed of playing, Giamatti says, "I never know what it is until it's in front of me." Then he pauses and says, "Actually, there are two parts I've wanted to do for some time.
"I've always wanted to play Lucky in 'Waiting for Godot.' And the other is the character (Jean) who turns into a rhinoceros on stage in Ionesco's 'Rhinoceros.' I actually do have a stage urge—and it's not to play Hamlet or Lear. It's to be a rhinoceros."
Marshall Fine writes about film and entertainment at his website, www.hollywoodandfine.com.


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Mary Holland is an Assistant Professor of English at SUNY New Paltz. She recently spent time working in the David Foster Wallace and Don DeLillo archives at the Ransom Center. Her work, which was funded by the Andrew W. Mellon Foundation Research Fellowship Endowment, will be used in her article "'Your head gets in the way': Distortion, Vision, and Influence in Barth's Lost in the Funhouse and Wallace's Brief Interviews with Hideous Men."
Last August, I spent six glorious days working in the David Foster Wallace and Don DeLillo archives at the Harry Ransom Center, research made possible by a travel stipend generously awarded by the Center. A week is a strange amount of time to spend in a place filled to the gills with archival treasures beyond the imagination of an academic wearied by paper-grading and class prep. At first, encountering this abundance in the framework of a week's stay threatens to trigger an unhelpful paralysis in reaction to intense frustration. I managed to combat such stultification by using every available moment to gather information that I could examine in stolen moments of leisure once I was home. During my stay, I looked at most of the Wallace materials and a good portion of the DeLillo materials.
For a longtime lover of Wallace's work, the archive of his drafts, letters, and annotated books is exhilarating and revelatory. I read with glee his comments, written with his trademark tiny handwriting, in the margins of books I've never seen him quote from but knew in my gut he had to have mindfully read; I found in drafts of his work scribblings about other pieces he'd written much earlier or later, establishing how fluid and overlapping his creative process was—that his process for creating fiction was as recursive as the fiction he created.
The DeLillo archive is far vaster than the Wallace one and requires more time for full exploration than I could wrench from my life last August. But I did examine research folders for several of DeLillo's novels, as well as multiple drafts of a few novels: one could not paint a clearer picture of the enormous differences between Wallace's and DeLillo's writing processes than by putting the two authors' drafts side by side. Whereas DeLillo builds a novel like a house, crafting it room by room, paragraph by paragraph, all aiming to fit a blueprint he's mapped out well ahead, Wallace's novels spilled out of him like water, going where they would, joining other unexpected streams, requiring repeated and concerted acts of containment, reshaping, and solidification before becoming the complex crystalline structures they are. I also found some startling connections between novels by DeLillo I had previously not read as connected, and these kinds of discoveries will certainly fuel my next critical work on DeLillo.
Landing at such a place as the Ransom Center with only a week to stay before shoving off again is certainly a real test of fortitude and focus. (Yet I gladly set both aside for lost hours when I became passionately absorbed in this or that planned or unplanned thing: I think I spent an hour just reading letters from Gordon Lish to DeLillo. Lish's cocky, melodramatic persona is not to be missed.) But every time I jogged up the stairs to the reading room on an energized morning, or down again on a tired evening for that well-earned beer on Sixth Street, I did so with enormous gratitude that the Center exists, that its staff members are so helpful and kind, and that I was afforded my week of work there.


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Most of us got a little distracted from uneventful passing of near-Earth asteroid DA14 after that unrelated meteorite decided to slam into Russia. Photographer Colin Legg keep his eyes—and camera—on DA14 though, and put together this time-lapse of its flyby that makes it seem like an insignificant little dot.
Legg took the footage from Western Australia with a 5D Mark II and a 6D and pointed towards the sky, taking shots about every nine seconds. And despite all the buzz, DA14 is actually pretty hard to spot up there amid all the other dots; it's the one really cooking across the screen, starting at the top left corner and heading toward the bottom.
That other meteorite that took a trip a little closer to Earth and decided to visit Russia showed us first-hand what it could have been like if DA14 was a little closer, but it doesn't look so bad way up there. [Colin Legg via PetaPixel]


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Renault Owners Club of North America
Support, parts & resources for your older Renault
The Renault Owners Club of North America was established in May 1991, originally listed as the "Renault Owners Club of Southern California" with ten founding members. By the spring of 1995 our organization was averaging 115 members nationwide and abroad. Early 1996 the title was changed to include "of North America" to include not only the U.S., but also our members in Mexico and Canada. We also have members in South America as well as Europe and the UK. The purpose of this club is to keep our Renaults in shape and on the road, as well as a place for individuals with a fascination for Renaults to meet other members with similar interests. We currently average approximately 350 members with 300+ cars registered.
We specialize in mostly the older Renaults; 4CV, Dauphine, Caravelle & Floride, R8, R10, R5 (leCar and Turbo) and all the later front engine cars (mostly the ones that were exported to the U.S.), Fuego (R17) Alliance, Medallion, Encore. We do have members with R4 and really vintage cars.
We also have a quarterly newsletter called the "Renault News," which covers all the major Renault events in North America including swap meets, concours, and racing. Our club is affiliated with other clubs and organizations in France, England, Germany, Sweden, Finland, and Australia so we have all the latest news about Renault. Our online classifieds section of the forum, the "Marketplace" is an excellent source for locating a previously owned (and loved) Renault, new and used parts, and literature for sale.
After almost 25 years, the Renault Owners Club of North America continues to grow. To keep up with the demand of our members we have updated our website and adding new services. We have a members-only section where club members are able to access the latest issue of the "Renault News" as well as back issues of the newsletter, as well as the club's Registry of cars and Directory of members. We also feature an online library, which includes technical manuals, part lists, and even original ads and shop manuals on CD available to members only. We have back issues of the Renault News on CD as well.
Members Only Area
Download past newsletters and have access to the members-only material.
This is a password-protected area and you must be a member to access it.
You'll need the password from the most recent online newsletter you received by e-mail to access this area.
Join today to take advantage of this member benefit. The password is published in the Newsletter and in our e-mail list notices. Members with e-mail will be automatically sent the new one as it changes. You will need to be a current member to have access to this area.
Lose your club password? click here
What's in the Members Only Area?
• Newsletter – all the recent past newsletters as well as the current issue will be available as PDF files to download. The last Registry/ Directory is also here.
• Downloads – As many things as we can make available, such as obsolete shop manuals, color charts and articles will be here. We also have 3 CD-ROMs as downloads packed with old shop manuals, pictures and articles for the older cars that we are now offering to members for only a nominal charge.
• Update Club Info – Here's the easy way to update your info for the Directory and let us know if you move, get another car, change your email, etc.
Download the Renault News
The latest newsletter, Spring/Summer 2020, is up for members to download! Go to the newsletter page to get it.
Got a question about Renaults?
Need to find an expert?
Renault Discussion Forums – the place to get your Renault questions answered and to share your knowledge. This is open to anyone – members or non-members.
Have something Renault-related to sell?
It's FREE to place an ad to both non-members and members.
Go to the Marketplace and reach hundreds of North American Renault enthusiasts.
Place ads and add photos!


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|"Hey, Diabetes! Check me out!"
Wednesday, August 4, 2010
Please Don't Judge Me...
4 comments:
- k2 said...
She is indeed her mother's daughter~
kelly k
- August 4, 2010 at 5:19 PM
Where in the world did you find those? I want a pair!
- August 4, 2010 at 5:46 PM
- bethany said...
no judging at all - other than those are amazing! lol - and i love the pic :-D
- August 4, 2010 at 9:18 PM
- Sherry said...
k2: Indeed, she is. ;-)
mydiabeticheart: Aren't they a riot? So many situations where they would come in handy! They were on a rack of novelty glasses in a souvenir shop at a mini golf we had just played. She picked that particular pair off the rack and put 'em on. I'm so glad I carry my camera wherever I go!
- August 4, 2010 at 9:31 PM
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Choose another Topic
History Introduction
Georgia's history as a colony, and eventually a state, began when James Oglethorpe and a small group of settlers established Savannah on Yamacraw Bluff on the Savannah River. But of course they were not the first people to live in what is now Georgia - the colonists were befriended by Tomochichi and his band of Native Americans, who had lived in this area for generations. And before Oglethorpe the Spanish had established a string of missions along the coast of what is now Georgia. It is impossible to place a real, meaningful starting point to Georgia's history, but what is not in doubt is that Georgia has led a very eventful existence - from its earliest times, through the American Revolution, antebellum era, the Civil War and Reconstruction, and its continual growth up to modern times.
This section of GeorgiaInfo contains a wealth of material on Georgia history - some original from GeorgiaInfo staff, and some links to external sites with useful information on Georgia history. Each of the chronological categories is centered around a timeline, which lists the major events for each year in that particular era of Georgia history. Each timeline also contains related items which also correspond to that particular era of Georgia history. More specific Georgia historical information can be found on This Day in Georgia History, In Their Own Words, and FDR's Ties to Georgia.
- Prehistoric Era and Early History: Individual Items
- Georgia as an English Colony 1732-1775: Individual Items
- Revolution & Early Republic 1776-1800: Individual Items
- Antebellum Era 1801-1860: Individual Items
- Civil War & Reconstruction 1861-1877: Individual Items
- Late Nineteenth Century 1878-1900: Individual Items
- Progressive Era-World War II 1901-1945: Individual Items
- Civil Rights & Sunbelt Georgia 1946-1989: Individual Items
- Modern Georgia 1990-Present: Individual Items
- Historic Site Photos


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We had a great reception to CHEW, and sold a metric crap-ton of comics. Met a lot of cool fans and readers, too.
I bought a copy of Fart Party 2 from Julia Wertz, and the Doc Splatter Omnibus from Paul Horn.
I gave a copy of PUFFED to Jorges Garcia, Hurly from Lost, and told him if PUFFED was a movie, he should play the lead.
I picked up a Rescue Squad Mater for Carter, who was grateful for about 24 entire hours.
Not the most eventful con, true, but, then, I spent most of the con largely sober and working the CHEW booth.
Looks like Our Boy Layman is finally growing up!


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Recent News
The real-time fire monitoring and burnt scar mapping applications built in TELEIOS are the basis for the FIREHUB service which was awarded the Best Service award in the Copernicus Master's competition of 2014.
Project summary
Earth observation data has increased considerably over the last decades with satellite sensors collecting and transmitting back to Earth several terabytes of data per day. This data acquisition rate is a major challenge to existing data management, exploitation and dissemination approaches used by various agencies such as ESA, NASA and European national space agencies. To make the available petabytes of EO data easily accessible by an even larger group of end user applications, TELEIOS has designed and implemented technologies for developing Virtual Earth Observatories. When deployed in an EO data center, Virtual Earth Observatories enable satellite data together with other kinds of external data (e.g., maps or information from the Web) to be combined, to extract knowledge that is the basis for the development of applications targeting EO scientists, decision makers and the general public. Virtual Earth Observatories are built using the following state of the art technologies pioneered by the TELEIOS consortium:
Ontologies and linked geospatial and temporal data
Array database and data vault technologies
Knowledge discovery techniques for satellite data
Visual user interfaces
The TELEIOS advances to the state of the art have been demonstrated in two use cases:
A Virtual Earth Observatory for the TerraSAR-X archive of DLR. In this use case, more than 100 scenes (around 1TB of data) from the TerraSAR-X archive, covering various areas of the Earth, have been processed and, as a result, more than 800 semantic classes (e.g., bridges, roads, forests, lakes, etc.) have been detected with high precision and recall. This Virtual Earth Observatory has been used to demonstrate how to develop a new generation of semantic catalogues for TerraSAR-X data, and how to improve current rapid mapping techniques in emergency and disaster scenarios.
Wildfire monitoring and burnt scar mapping based on satellite images and relevant geospatial data. In this use case, the National Observatory of Athens used TELEIOS technologies to re-engineer its real-time wildfire monitoring and burnt scar mapping services that have been developed in the context of previous GMES projects. Both services are now operational and are actively been used in cases of forest fire emergency scenarios in Greece.
TELEIOS technologies have been benchmarked using extremely large datasets (billions of triples of linked geospatial and temporal data, terabytes of satellite images) and shown to outperform their competitors.
With the support of the European Space Agency, EO scientists have been involved in TELEIOS throughout its entire life-time, from requirements definition, through development to testing and validation, thus making sure that our results have a lasting impact in the EO community.
TELEIOS has ended successfully in August 2013. The following short video summarizes its achievements.
More detailed information on the scientific and technological contributions of TELEIOS can be found by clicking on any of the buttons below.


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If you're hurt on the job
BWC is deeply committed to keeping Ohio's workplaces safe and preventing on-the-job accidents, injuries and deaths. However, even with safety and prevention methods in place, accidents and injuries can still happen. The following information outlines what to do if a worker is hurt on the job.
Reporting the injury
When an injury occurs, the injured worker should immediately tell their employer what happened and ask if they need to fill out an internal accident report. An internal accident report is used to document the work-site injury.
Once completed, the injured worker should give the internal accident report to their employer and keep a copy for themselves. This report may be needed for claims management purposes, so the worker may also be asked to submit a copy to BWC or the MCO.
Getting medical attention
The injured worker should seek immediate medical attention. The injured worker can see any doctor on the first visit, so they can go to their own doctor or to a hospital.
After the first doctor's visit, the injured worker must select a BWC-certified medical provider. Refer to Getting Medical Care for more information.
During the initial doctor's visit, the injured worker should tell the physician or emergency room staff they are seeking treatment for a workers' compensation claim.
Filing a claim
To receive workers' compensation benefits, the injured worker must file a workers' compensation claim. Refer to Understanding the Claims Process for more information.
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Wednesday, November 30, 2011
Taliban Burqa Women Raise the Bar: Concealing the Human Form
MyNet/Yediot Yerushalayim reports that a new trend is emerging in which the Burqa women place a cylinder on their heads beneath their burqa, to further conceal their human form. (see photo below of the Burqa woman on the left)
MyNet Reports:
According to a source, close to the group of Burqa women, "the more stringent of the women decided that the burqa veil is not enough, because it still shows the shape of the face. The solution found is a tube that they wear over their heads under the veil so you can not identify the shape of their face."
Israel's Ultra-Orthodox rabbis and even the most stringent in the Orthodox community have came out against Burqas. "We warn the wives and daughters of Israel, that they should not be drawn into this. These customs spell doom and destruction, G-d forbid," reads the letter issued. "This is a group of women who have uprooted "Daas Torah" from Israel -- their behavior is against the Torah and is uprooting Jewish education and Torah from Israel. They are endangering the health of their offspring, as well as placing them in danger and the fear of death".
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19 comments:
I just saw 2 women dressed like this today. From the back I thought they were some monks from the Old City, but why would they be in Mea Shearim? This is so disturbing, and so not what tzniut is about.
- 2:20 PM, November 30, 2011
- Juniper in the Desert said...
This is the islamification of Jews!! What has happened to Christians who live in mozlem countries too!!
- 3:17 PM, November 30, 2011
- 3:52 PM, November 30, 2011
'uprooted "Daas Torah" from Israel'--as opposed to daat yehudit??
- 7:23 PM, November 30, 2011
Maybe they aren't really concealing anything, and their "Coneheads".
- 7:40 PM, November 30, 2011
- Reuven Chaim Klein said...
That picture is taken from the empty lot behind the Beis Yeshaya building of Yeshivas Mir. There were always all kinds of shady stuff happening in that empty lot (although recently it has been built up as part of Kiryat Shomrei Emunim).
- 10:07 PM, November 30, 2011
Holy crap Jewish Jawas!
Somebody please call Starwars and tell them to take back their Jawas.
- 2:19 AM, December 01, 2011
Jawas, seems more like Ringwraiths to me!
Can you do a post about the rockets fired from Lebanon, I'm not finding many facts about what actually happened. Hard to separate the speculation from the reality.
I live up here near the border of Lebanon, and family is asking if I'm ok... but I have no idea what they are asking about!
- 9:09 AM, December 01, 2011
Why publicize them? Aren't there any positive topics to talk about?
- 1:41 PM, December 01, 2011
- Olah Chadasha said...
Why should we be surprised about this given what's happening in that area, especially when it comes to the treatment of women? Women have to sit at the back of the bus or face being beaten. Women have to walk on opposite sides of the street of men or cross the street if they see a man. Newspapers and magazines are defacing or just completely cropping out women if they're in a picture. In some neighborhoods, women aren't even allowed to drive.
With that kind of Saudi Arabia mentality, is it any wonder that there are women in this community thinking that they need to completely deface themselves and do everything in their power to be negated as a human being when they're being treated as dirt on a man's show? We will soon see "Modesty Police" in these neighborhoods just like in Saudi Arabia. We're already seeing censor "Mashgichim" from the Sikrikim community going around and committing heinous acts of violence to get people in line with their definition of Tzniut.
So seriously, is it any wonder this kind of behavior is gaining traction and getting more extreme? It's going going in line with the increasing radicalization in some sects in these areas.
- 7:10 PM, December 01, 2011
- Jameel @ The Muqata said...
Hey OC - You should change your nik -- you arent "Chadasha" any more :-)
Im still trying to find an issue with your logic, but it makes sense (sort of).
The only caveat is that the super majority of the Chareidi world is against the burka phenomena.
- 7:19 PM, December 01, 2011
Can you please crop the picture to only show the conehead lady? The other one is just inappropriate for a frum site such as yours
- 10:21 PM, December 01, 2011
I see women dressed like this in Ramat Beit Shemesh Bet all the time. What really is disturbing is the fact that there are very young girls wearing the same full burkas as their mothers.
- 10:27 PM, December 01, 2011
Lol a man should go infiltrate their shul in a burke.
Then unclothe and streak out!
- 7:03 AM, December 02, 2011
I think that publicity like this actually attracts more people into the fold. As opposed to the treachorous NK, the Taliban ladies in definance of virtually the entire Haredi world, are rebellious and mysterious.
I would assume that their numbers are growing.
- 10:31 PM, December 05, 2011
Hmmm, just checked a lecture from Rav Mizrachi where he explains this is against halachah. It is not allowed for a Jewish woman to go around all the time with her face completely covered. Remeber Tamar when she covered her face to disguise herself as a prostitute to attract Yehudah.
As far as I know, it is usual for brides to wear a veil at the time they're lead to her groom immediately before the wedding, however it doesn't apply that they should dress like a taliban.
Not a minhag, not a "ma'uddeen", just plain ignorance on halachah and adding to G-d's Word.
R. Halevy.
- 3:49 AM, December 06, 2011
The burka women are teaching us an important lesson: there is quasi-Jewish conduct in our midst that strays from being simply a different form of Jewish conduct and crosses the line out of Judaism. Our problem is that we've learned to identify this on our "left," the Reform, but not on our "right," as in the example of the burka women. Now we're seeing it, and it exists in other matters, too.
- 5:36 AM, December 06, 2011
As I understand it, it is against halacha to cover the face. G-d Himself fashions our faces, and it is an insult to His magnificant handiwork.
- 2:51 PM, December 06, 2011
It seems that man is always look for a way to establish his own form of righteousness, how sad. A head covering for women is quite sufficient as it has to do with a symbol of authority, that is a wife subject to her husband. This is appropriate. This photo is laughable. What measures will some go to to try to appear more pious or religious than others? Here's a concept. How about rather than trying to make the woman invisible, you get a grip on your own thoughts? Such a concept. lol
- 12:37 AM, December 10, 2011