text:
A Memoir Of Memory, Mental Illness And Trauma
TERRY GROSS, host:
This is FRESH AIR. I'm Terry Gross.
For people with family members who are schizophrenic, paranoid and violent, there are often no good options. My guest, Mira Bartok, ran out of options with her schizophrenic mother in spite of the social workers, the brief institutionalizations, and the attempts to become or appoint a legal guardian for her mother.
In order to have a life and live in safety, she changed her name to Bartok so that her mother couldn't find her. Her mother was homeless for about 17 years, but for the last three years of her life she lived in a women's shelter that is now named after her.
In the new book "The Memory Palace," Mira Bartok describes what it's like to have a mother who is disconnected from reality. The memoir is also about Bartok's own traumatic brain injury from a car accident, which left her with memory loss and difficulty retaining new memories.
Bartok has written many children's book. "The Memory Palace" is her first book for adults.
Mira Bartok, welcome to FRESH AIR. I'd like to start with a reading from the book, and this is a reading about the car accident and the neurological impact it had on you and how it relates to your mother. So if you would read that excerpt for us.
Ms. MIRA BARTOK (Author, "The Memory Palace"): Yes, I will.
When the truck hit, I was in the passenger seat, leaning over, looking for a cassette. The man driving my car, who suffered whiplash in the accident, was a guy I was dating at the time. We were on our way home from my sister's house in northern New York.
The truck driver, who must have fallen asleep, swerved toward the right and tried to put on his brakes. The next thing I recall was a pair of white gloved hands reaching in to pull me out of the car. I remember a blur of blinking lights and the feeling of hot lava dripping down the back of my head.
When I eventually told my mother about the accident, I said that I suffered from memory loss, mostly short-term but some long-term memory as well, which isn't that common with traumatic brain injury. I didn't tell her about the strange sensations of lost time that one doctor thought might be temporal lobe seizures, or that I no longer could follow directions, that I didn't know how to leave a tip and had trouble reading, writing and doing just about anything that required over 10 minutes of concentration, why I tell a homeless woman who slept at the airport that it felt like it was raining inside my body and ants were crawling up and down my legs. My mother thought there were rats living inside her body, aliens in her head.
GROSS: Thanks for reading that. That's Mira Bartok, reading an excerpt of her hew memoir, "The Memory Palace."
Did it help you understand your mother at all to have neurological issues of your own after the accident?
Ms. BARTOK: Oh, absolutely, especially in the way that it was very hard to - and it still is hard to filter out sound coming in from other places, for instance going to a restaurant and hearing a lot of noise or sitting at a dinner table with a lot of people having different conversations.
And I know for my mother, you know, it would be 10 million times, it would have been 10 million times worse. But things like that really made me understand her a little bit better.
GROSS: And with your mother, she always had voices in her head that she couldn't filter out.
Ms. BARTOK: Right. I don't - you know, I think at the end of her life the doctors told me that she was probably about 90 - 90 to 95 percent delusional. So she was just constantly hearing voices.
GROSS: Let's - before we talk more about your mother and her schizophrenia, let's start with the medical issue that you've been dealing with. What are some of the long and short-term memory problems that you have now?
Ms. BARTOK: Oh, I forget - no.
(Soundbite of laughter)
Ms. BARTOK: I - sometimes I think the most - the largest impact is the short-term memory problems that affect me as a writer, because I'll write something one day and I have no memory of writing it the next. So I have to create rather elaborate systems of recall in order to actually know what I wrote and where I put whatever I wrote.
And things like if I have a lot of distractions in the day or I listen to people talk too much, or I get really tired, then I might get lost on the way home from a place that I've always gone to that's not too far away. I forget, you know, how to get home.
So the long-term - as far as long-term memory, that has really come back a lot, and that's actually - long-term memory loss is rather rare with the kind of accident I have. However, some of the problems with my accident were probably compounded by the fact that I had some level of PTSD and had had a previous head injury several months before. So my brain was more vulnerable because of the second injury.
GROSS: Do you feel like you became a different person after the accident? When your memory was impaired, and you had to recreate ways of remembering, there were probably things that never came back to you.
Ms. BARTOK: Absolutely. In some ways, yes. But I think the thing that changed the most wasn't necessarily memory, even though obviously I had some memory impairment and still do.
It was more identity-related in that I always thought of myself as some kind of person who can endure just about anything and had boundless energy and could do several things at the same time - you know, draw while I'm listening to some language tape and learning a new language at the same time. I was very good at multitasking and was also very sociable and enjoyed spending time with a lot of people.
And so it's - I think what's been the largest change is that I just don't have that kind of endurance. I can't - I have to be pretty reclusive sometimes, which is kind of a - it's difficult for friends to understand, and family too.
GROSS: Let's talk about your mother. You describe her as: She was the mad woman on the street brandishing a knife, the woman who shouts obscenities at you in the park, who follows you down alleyways, lighting matches in your hair. Did your mother really do all those things?
Ms. BARTOK: That's the worst. That would be a description of the worst of her, of her behavior, not her.
GROSS: Including lighting matches in your hair?
Ms. BARTOK: No, that just happened to me once on a train. I was on a subway, and someone, some mentally - old woman did that me. My mother did set chairs on fire though. But I don't think she ever set anyone's hair on fire.
But when she was at her worst, she was extremely delusional and could turn toward - to violence, mostly to, in her mind, to protect me or my sister from enemies that she perceived were standing there in the room or outside the door. She would maybe threaten us in some way because she didn't want us to go outside or - you know, because Nazis might be there waiting for us.
But she was also incredibly loving. People say that a schizophrenic's nature is still there, that the nature they were born with before the illness sort of stampedes into their life. And I think, I really believe my mother, you know, had a very kind and loving soul. It's just that the illness hijacked her brain.
GROSS: She was also a piano prodigy.
Ms. BARTOK: Yeah, she was pretty - a pretty incredible pianist.
GROSS: When was the first time you realized that your mother could be violent and dangerous?
Ms. BARTOK: My first memory is in the book, and it's - I'm about five years old. And of course maybe I saw this side of her before, but I don't remember it.
It's very vague, as most memories are from early childhood, but I heard some kind of sound and laughter and just strange cackling in the living room, and my memory is really looking, peering into the living room at this woman who was my mother but not my mother sort of moving in circles, holding a knife and saying just - babbling and laughing saying - and swearing, and it was just very disturbing, obviously talking to someone who wasn't there.
GROSS: What's the closest your mother came to harming you?
Ms. BARTOK: Probably - it was probably the last - if you called a family visit. My sister and I came to Cleveland in 1990 to try to convince our mother to voluntarily agree to sign guardianship papers so that we could get a legal guardian for her and thereby, you know, therefore place her in supervised housing.
And she was so furious about this. We had already taken it to court a couple times and lost. And she came after me with a broken bottle and got very, she - I have a scar on my neck from it. She got very close to - she cut my neck, but it was a superficial cut, fortunately, because it was right in a very precarious place. But I got the bottle away from her.
GROSS: My guest is Mira Bartok. Her new memoir about having a schizophrenic, paranoid, violent mother is called "The Memory Palace." We'll talk more after a break. This is FRESH AIR.
(Soundbite of music)
GROSS: If you're just joining us, my guest is Mira Bartok, and she's written a new memoir called "The Memory Palace." It's in part about her own traumatic brain injury after she was in a car accident. But it's largely about being the daughter of a schizophrenic mother, a mother who was usually delusional and often threatening violence.
When your mother started hearing voices, becoming delusional, acting violently, there was nobody in your home to intervene. Your father left when you were four. So you, your sister and your mother ended up moving in with your grandparents, which sounds like it was no bargain.
It sounds like your grandfather was pretty violent himself and had quite a temper. But were your grandparents able to keep your mother under control?
Ms. BARTOK: No. You know, my grandfather was very ignorant about - most people were ignorant about mental illness in that era, and he was extremely ignorant about mental illness and thought she was just acting crazy and wouldn't stop.
And he had very little tolerance for her or her illness, even though I'm sure he loved her. And I also think he probably had some kind of undiagnosed illness himself, perhaps bipolar disorder or something. He had extreme - he had an extreme violent and violent streak.
My grandmother, I loved her very much, but she was pretty inept. She was pretty - you know, she was abused physically by her husband and was also kind of unhelpful and didn't - she was always afraid that the neighbors would hear about what's going on in the house.
She was always very concerned about what the neighbors would think, and that often superseded any kind of action on her part to really react in time to help our mother.
So you know, very early on my sister and I kind of put on adult clothing and really took on the responsibility of our mother.
GROSS: Were people in your neighborhood afraid of your mother?
Ms. BARTOK: They grew more afraid of her. Sometimes she was - you know, schizophrenics sort of, at least the kind that my mother had, she was a paranoid schizophrenic, and she flip-flopped between a kind of intrusive behavior that was very intense and what they call positive behavior, but it's not positive. It's, you know, violent behavior or hearing voices and all those things.
She flip-flopped between that and detachment, what they call negative behavior - catatonic, depressed, barely leaving the house for days. And when she was in that state, she could last that way for months, and then sometimes she'd come out of it.
And sometimes she - you know, my mother would be very, very sweet. And I think that the people in my neighborhood, most of the ones who lived near us were incredibly kind and were often very helpful to her, as much as they knew what was going on and helped her sometimes even when there was, you know, something that was pretty scary going on.
GROSS: So you, your sister, your mother, moved in with your grandparents. Eventually your grandfather died, and then your grandmother got very sick, and she needed to be moved to an elder care facility. And so your mother was on her own. Was that when she, like, really became homeless?
Ms. BARTOK: I placed my grandmother in this, in elder care, in '89, and then that year my mother went completely downhill, even where(ph) she was doing - it was hard to imagine her getting worse than she was, but she got worse.
And so by 1990, long series of events, but she ended up becoming homeless when she lost she lost the house that she had been living in. And then I didn't hear - I didn't know where she was for two years, until 1992.
GROSS: You didn't know because you couldn't find her or because you didn't want to know?
Ms. BARTOK: I did want to know where she was. I didn't want her to know where I was. Apparently she showed up in a friend's husband's office one day and demanded my address. But she wouldn't give hers. She wouldn't let anyone know where she was, but she gave a post office box. So that's when we started writing letters to each other.
GROSS: Now, this is something I really want you to explain because it's such a horrible position to be in. You didn't want your mother to know where you were because she could be so abusive. I mean, it was dangerous for you, yes?
Ms. BARTOK: Right, yes.
GROSS: But you loved your mother. You wanted her to be taken care of. But you couldn't be that person because you just couldn't, right? I mean, tell us why that was like an impossible situation for you, why you would not - why you thought it was like an unworkable situation to have your mother move in with you so that your mother wouldn't be homeless.
And I ask this because we all see people on the street, many of whom we know that their families tried to keep them, you know, at home, and it just, it was not possible.
Ms. BARTOK: Well, you know, when I was younger - this is in the '70s, '60s and '70s, there were like a couple community centers - one was called, I think, the Recovery Center - by our house. And my mother went there and she was learning life skills. It was for the mentally ill. And she was learning - you know, she got better care. It wasn't great, but it was, you know, it was better, and she had a place to go to and she was in a support group and all these things.
But in 1980, you know, when Reagan came to office, a lot of funding dropped for places like that. So my mother, little by little, began to lose the few support or safety nets that she had, and that the family had, to sort of - you know, my mother had this outlet that she could go to, and she could get some - she had a doctor to talk to once in a while, and she had - you know, she was learning things, how to take care of herself.
So you know, I think that the problem with so many people on the streets, it's just there's no, there's very little support system, and that was the problem for me.
You know, we - my sister and I had taken this thing to court several times to try to get her, our mother, a legal guardian, because we lived in different states. Even if we wanted to take her in, because of state-to-state law, we couldn't have. It would have taken three years, so - a three-year waiting period. And each time the court denied our guardianship request because my mother could - she could buy her own cigarettes and she could cash her own checks.
GROSS: I know there were times when you tried to get your mother committed to a mental institution and you were able to do it for very short periods of time but never for a long time. What were the problems there?
Ms. BARTOK: Well, you know, they used to keep people in mental institutions a lot longer and - as we know - and then, you know, then there was this huge release of everyone. And because I don't do memory, was it the '60s or '70s? I can't remember.
GROSS: I think it was the '70s. And you're talking about the changing of the laws for institutions, because so many of the mental institutions were so bad. They treated people so poorly. Institutionalization was seen as a very negative thing for many patients.
But then things swung in the other direction, where a lot of those patients ended up on the streets instead of in the mental institutions. So that didn't seems like the best solution. But that's the way it ended up for a lot of people.
Ms. BARTOK: That's the way it ended up for my mother. I mean, theoretically, what was supposed to be in place of those institutions, you know, were community centers like the place that helped my mother before. But those dwindled or weren't there, and so, you know, my mother got very little support from the social system that was available to her, and therefore she ended up on the street.
So you know, it was always really a difficult thing, difficult decision to try to get her institutionalized, because I knew that certainly wasn't a great thing either, and I felt like I was betraying her in some way, you know, and some of these places were just terrible.
But she would have harmed herself or harmed us. There was no real alternative. We just needed to be safe, and we needed her - we needed somebody to keep her safe from killing herself.
GROSS: But you couldn't be the ones to do that because then you wouldn't be safe.
Ms. BARTOK: No, we wouldn't be - I mean, my mother was so obsessed with my sister, Natalia(ph), then Rachel(ph), and obsessed with me, and didn't - you know, her idea was that, her master plan was that we three all go on government aid, we live in an apartment together, and we don't leave the apartment ever.
And she had already, you know, in my adult life shown up at various jobs, friends' houses. She'd call - the police would show up at my door because my mother would, you know, call the local district and say that I was being raped or murdered. She would call a hundred times a day. I mean, it was pretty horrible. I couldn't live like that, nor could my sister.
GROSS: My interview with Mira Bartok was recorded last week. We'll hear more of the interview in the second half of the show. Bartok's new memoir about her schizophrenic mother is called "The Memory Palace." I'm Terry Gross, and this is FRESH AIR.
(Soundbite of music)
GROSS: This is FRESH AIR. Im Terry Gross back with Mira Bartok. Her new memoir, "The Memory Palace," is about having a mother who is schizophrenic, paranoid and violent. Bartok's mother attacked her and tried to slit her throat. Bartok couldn't get her institutionalized or have a legal guardian appointed to make decisions on her mother's behalf.
So the police almost suggested to you that you change your name and phone number and not tell your mother because she was driving them crazy 'cause she'd always call the police to go check on you. Is that how you got the idea of changing your name?
Ms. BARTOK: I think it probably was, first, my sister's idea. My sister was in school - graduate school at the time (technical difficulties) when the policeman made that suggestion to me. She knew that she was going to be out looking for professional jobs, you know, teaching English at a university and there was no way she was going to have our mother show up and - in her classroom and, you know, she didn't want to lose her job. I think it was my sister's idea, but you know, definitely the policeman, after he said it, I immediately got an unpublished phone number and wrote my mother a letter saying that I had moved, but I actually hadn't. This was before she ended up becoming homeless but it was very close to that time.
GROSS: So you changed your last name to Bartok after Bela Bartok, the composer.
Ms. BARTOK: Yes.
GROSS: Who your mother probably introduced you to because she loved classical music and had been a piano prodigy. When I say introduced you to, I mean to his music, not to him as a person.
Ms. BARTOK: Right.
GROSS: So you sever ties with her. You changed your phone number, didnt know your address. She didn't even know your name anymore. But you had a post office box for her. And then you had a post office box for yourself so she could send you letters that you would get through a friend who would check the post office box.
At this point, you knew that she was homeless, that she was spending some time living on streets and parks, in airports and, you know, I'm sure like it's hard to live with that, even though you knew you couldn't live with her. How much did that eat at you? How difficult did it make your life to know what hell her life was?
Ms. BARTOK: I thought about it every day. I mean I lived my life and I made art and I had jobs and I had relationships. But, you know, there was a part of me that kept things rather private about that because, you know, you're at a party and people are having conversations and somebody turns to you and says, what's your family like? What does your father do? What does your mother do? She's homeless and she's schizophrenic. I mean, that's cheerful. So, you know, I mean I learned to change topics very quickly and just sort of, in some ways, compartmentalize that part of my life. But I thought about her all the time, constantly, and was always thinking about what I could like, you know, I how is keeping warm? You know, what does she need? And I also was constantly sending her art supplies because I knew she had started drawing and - so I was always thinking about her.
GROSS: Mira, I'd like you to read a letter that your mother wrote you while she was homeless and when you were communicating through each other through - with each other through post offices boxes. This is a letter that she sent to you on the back of a Dunkin' Donuts bag.
Ms. BARTOK: Mm-hmm.
GROSS: And she sent it with a postcard from a Marc Chagall museum show, because she loved going to museums, even when she was homeless. Would you read the letter for us?
Ms. BARTOK: Sure. (Reading) Dear daughter, I am trying to adjust to life with a white cane. Many years ago, there was a man in Cleveland who made a point of a rap tap tapping by my way but I am a little slow in the game of Simon Says. These days I keep a journal. There is always the continuous anxiety of blanking out again, and I need to be reminded of myself constantly. One can't always rely on who was there, but on one's self.
Within your sphere of interest, the painting you made for me in the 1980s called "Selective Forgetfulness" is missing, stolen or confiscated. I have some complaints going, as you can imagine. By the way, when you translate the message in the above dots, you will learn nine letters of the Braille alphabet. Note to your artist: the color pencils you sent are being used by yours' truly. I thank you. PS, when I have something nice to write about, I'll let you know. Love, Mother.
GROSS: It's such a disjointed letter of kind of delusional non sequiturs. What do you make of a letter like that? What reading did you infer from it?
(Soundbite of heavy sigh)
Ms. BARTOK: Well, on the one hand, if I separate myself emotionally -which is hard to do - from a literary point of view, you know, when I go through my mother's letters and her journals, I think they are like some kind of incredibly lyrical, hallucinatory bit of literature. I mean I just think they're absolutely beautiful and very inspiring to me.
On the other hand, I know that my mother saw signs in so many things, in numbers, in pictures, in things that she heard on the radio. And so, you know, I try to read into what was she thinking? Is the man in Cleveland she's talking about? You know, what is Simon Says? You know, what does that mean to her? So I start getting into this sort of investigative mode in my brain, trying to understand my mother. And you know, after reading 17 years of her diaries, I find, I realized I have a little bit of a better sense of how she saw patterns in the universe. But still, you know, this is really a lot of things firing at once in her brain and no one will ever know. So I guess I find them terrifying and beautiful, and often very funny. My mother was not without a sense of humor.
GROSS: If youre just joining us, my guest is Mira Bartok and she's the author of a new memoir called "The Memory Palace," and it's about her mother who was schizophrenic, delusional, often violent and for many years homeless. The memoir is also about Mira Bartok's own urological problems after a car accident that left her with traumatic brain injury and memory problems.
Let's take a short break here and then we'll talk some more.
This is FRESH AIR.
(Soundbite of music)
GROSS: If youre just joining us, my guest is Mira Bartok. She written a new memoir called "The Memory Palace." It's part about being the daughter of a schizophrenic woman who was often violent and almost always delusional. And it's also about her own memory problems after she was in a car accident that left her with traumatic brain injury.
For the last three years of your mother's life she lived in a shelter for women in Cleveland. And when she was diagnosed with terminal cancer, the staff of the shelter tracked you down, and they called you, and you went to see her for the first time in 17 years. She was, at this point, about 80 and very sick.
Ms. BARTOK: Mm-hmm.
GROSS: How was she different from what you'd remembered? And in her frail state, was she still violent?
Ms. BARTOK: No. I, you know, my sister and I both feel like we got the sweet part of our mother back. She was - and she was very, you know, she was medicated while she was in the hospital, medicated for her schizophrenia as well. And she was so happy that we were both there. My sister came a couple days after I arrived. And she didn't say that much. I mean, by then she was so ill and it was very hard for her to speak. But I felt, it was actually very peaceful to be with her.
My only regret - well, no, my one of many regrets, but one regret is that I wish that someone had sent me a photograph of her in her elder years, because I think that I might have tried to make, you know, physical contact with her sooner. In my mind she was still this really aggressive person, and dangerous person, where in reality, the last few years of her life, I think she was pretty, you know, infirmed in some ways.
GROSS: Was there any part of you that was - and forgive me if this comes off the wrong way - but was there any part of you that was relieved when your mother died, because her life had been - so much of her life had been so painful; she had been so threatening towards you when you were younger and you were so worried about her in all the intervening years?
Ms. BARTOK: Absolutely, as horrible as that might sound to some people. I mean my biggest nightmare was that she would die - I mean imagine this - you have a mother out there and she gave birth to you and she loved you and you loved her, and you have no idea where she is and you won't even know when she dies or where she dies - and you'll never know. I mean, the fact that I - it was an amazing gift to be given this short period of time at the end of her life to be with her and to know where she was, and to know that she was well cared for. She was very loved at the shelter, the women really watched out for her, and the women came every single day. And so, when she died, it was...
GROSS: Came to the hospital to see her.
Ms. BARTOK: Yes. I mean every day, you know, her bed was circled by these women from the shelter who called her grandma, even though she insisted she was sometimes 40 years old and sometimes 50. But, you know, she, I was really, even though I was just grief stricken when she died and felt like I had no, not enough time with her, I definitely was relieved. And just to know that I, you know, I was there at the end and no longer had to think about this anymore.
GROSS: The women's shelter where your mother spent the last three years of her life changed their name after she died and they changed it to her name. It is now called The Norma Herr Women's Center. And on the website for the center it explains why. It says: Norma was an elderly woman whose courage in the face of homelessness and mental illness served as an inspiration to other residents and to staff.
What does it mean to you to hear that?
Ms. BARTOK: It's pretty extraordinary. I mean we recent - my sister and I went in October - the end of October for the reopening of the shelter. The shelter was in pretty bad condition and then got some Obama stimulus funding and a couple of the grants and they were able to rebuild the shelter. Now it's just beautiful. And there was the ceremony, my sister and I were the keynote speakers and there were people from the mayor's office and commissioners, and it was very emotional. You know, this place that, you know, I think my mother had been the oldest resident. It was, I'm still very (unintelligible) about it.
(Soundbite of laughter)
Ms. BARTOK: You know, I'm just very and I, you know, and I've maintained, I keep in contact with them and now I'm going to go there and next month, early next month and do a poetry workshop with the women there. And it's just, we, you know, I have this ongoing relationship with them and it's really great. I mean, you know, who knew that a little frail, very, very ill homeless woman would have her name on a building, a large building like that in her honor, this one little person? It's pretty incredible.
GROSS: I see so many homeless people in the street who are talking to themselves and who are arguing with people who don't exist in reality or at least don't exist next to them. And, you know, I always wonder like, who are they? How did they end up living on the street? Do they have family? What's their back story? Who were they? What were they like before they became ill? When you run into somebody homeless on the street who is mentally ill, do you try to interact with them? Do you try to give them money or food, or what do you do? I think we all wonder what are we supposed to do in the face of this?
Ms. BARTOK: I think most of the time, unless I'm in a hurry, and I just - and I know that sometimes these interactions can actually take time. And I know it sounds terrible, but sometimes I'm in a hurry or I have to do something that requires a lot of concentration and I know that sometimes one tiny little interaction with someone and listening to them will totally throw me off. But most of the time, if it's cold out I go up to them. I ask if I could get them something hot to drink or something to eat. If it's hot out I go, sometimes I don't even ask. I just go and get them some cold water. I, you know, one thing you dont think about that often is a lot of people living on the street don't hydrate enough. They're not drinking enough water, especially in the hot weather. And sometimes people don't even let them into their stores to get water, so that's always a concern.
So I try to make eye contact. I ask them how they're doing. My first impulse is to get them some nourishment and then it really depends on how it goes, because sometimes I'll give money, sometimes I don't. Sometimes I just check, do you know where the nearest shelter is? I try to be aware of where the local shelters are. I treat them like a human because, you know, they are human and every one of those people had a family at some point, had a mother, had a father. Perhaps they have children. They were loved at one time. And so I think I just try to do my small part in asking - I mean in just giving them a little dignity for the day.
GROSS: Mira Bartok, thank you so much for talking with us.
Ms. BARTOK: Thank you, Terry.
GROSS: Mira Bartok's new memoir is called "The Memory Palace." You can read a excerpt on our website, freshair.npr.org. Our interview was recorded last week.
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Volume 34 Issue 7: (Aug/Sept 2011)
Issue: Volume 34 Issue 7: (Aug/Sept 2011)
JPR: Graphics, PC Shipments Both On the Rise
According to Jon Peddie Research (JPR), 2011 is shaping up to be an anomalous year for the industry, as businessestake their own path to recovery. To this end, JPR found that estimated graphics chip shipments and suppliers'market share for the second quarter of 2011 did not behave according to past years with regard to seasonality, and was higher on a year-to-year comparison for the quarter.
Typically, the second quarter of the year is a slower business quarter in the graphics industry (and in the PC industry as a whole). This year, Q2 did not conform to the normal seasonal cycle. Instead, sales were up significantly compared to previous years. The growth in Q2 comes as a welcome change, if not a bit worrying—Is it inventory building for back-to-school and the oliday season, or channelstuffing?
JPR's forecast for the coming years has been modified since the last report, and is less ggressive for both desktops and notebooks, as tablets have changed the nature of the PC market. The findings include desktops, notebooks (and netbooks), and PC-based commercial (POS) and industrial/scientific and embedded; it does not include handhelds (such as mobile phones), x86 servers, or ARM-based tablets (for instance, iPad and Android-based tablets), smartbooks,or servers.
The Quarter in General
In Q2, Intel celebrated its sixth quarter of embedded processor graphics CPU (EPG, a multi-chip design that combined a graphics processor and CPU in the same package) shipments, and enjoyed a 21 percent average growth in desktops and notebooks.
AMD and Nvidia lost in overall market share, while Intel grew compared to last quarter. Year to year this quarter, Intel had tremendous market-share growth (14.7 percent), AMD had a loss of 14.2 percent, and Nvidia slipped 18.4 percent in the overall market partially due to the company withdrawing from the integrated segments.
The second-quarter change in total shipments from last quarter increased 6.3 percent, significantly above the 10-year average of 3.5 percent, and raising concerns about an inventory buildup. Netbooks contributed to notebook growth a bit, however, and iPads and Android tablets have probably cannibalized some netbook sales.
More than 84 million PCs shipped worldwide in the quarter,an increase of 2.4 percent compared to the first quarter (based on an average of reports from Dataquest, IDC, and HSI), causing speculation that the 6.3 percent upswing in graphics could be an inventory buildup and have a negative impact on the next two quarters.
AMD's HPU quarter-to-quarter growth has been extraordinary at an average of 80 percent for desktops and notebooks, and Intel's EPG growth was significant at an average of 41 percent. This is a clear showing of the industry's affirmation of the value of CPUs with embedded graphics and is in line with our forecasts, claims JPR. The major, and logical, impact is on older IGPs, and some on low-end add-in boards (AIBS).Graphics chips (GPUs) and chips with graphics (IGPs, HPUs, and EPGs) are a leading indicator for the PC market.At least one, and often two, GPUs are present in every PC shipped. It can take the form of a discrete chip, a GPU integrated in the chipset, or one embedded in the CPU. The average GPU per PC has grown from 115 percent in 2001 to almost 160 percent.
Since the crash of 2009, combined with the introduction and influence of ARM-based tablets, the PC market has deviated from historical trends. Until the segment for tablets is clearly defined, the fluctuations in the market data are likely to continue. The disruptions probably won't settle down for a while as tablets find their place in the market and agreement
can be reached on whether to include them in the PC market analysis.
Market shares shifted for the big three, and put pressure on the smaller three, and they showed a decrease in shipments.
Intel continues to be the overall market share leader in the quarter, elevated by Core i5 EPG CPUs, Sandy Bridge, and Pineview Atom sales for netbooks. AMD gained market share quarter to quarter, and Nvidia lost share. Nvidia is exiting the integrated graphics segments and shifting focus to discrete GPUs. The company showed significant discrete market share gain (30 percent quarter to quarter) due to, they say, strong connect with new Intel Sandy Bridge notebooks. Ironically Nvidia enjoyed some serendipitous sales of IGPs in the period.AMD share dropped 7.3 points.
In summary, the market has increased year to year. Shipments increased to 140 million units, up 22 million units from this quarter last year. The full results are found in the Q2 2011 edition of Jon Peddie Research's "Market Watch," available in electronic and hard-copy editions for $995.
NewTek Shines with LightWave 10.1
NewTek recently rolled out LightWave 10.1, the latest version of its 3D content creation software. With advanced modeling and animation tools built to integrate into any production pipeline, LightWave 10.1 delivers new capabilities for 3D artists, such as an off-axis stereoscopic camera rig option, an improved Viewport Preview Renderer (VPR), more powerful import and export capabilities with FBX, MDD, and integrated Autodesk Geometry Cache support, a new Skin material node, and more.
With the continued growth of the stereoscopic 3D film,television, and gaming markets, artists need powerful tools to help streamline stereoscopic content creation. To this end LightWave 10.1 offers access to all major stereo camera rigs—parallel, toe-in, and off-axis—allowing artists to correct for toe-in distortion in the animation pipeline dynamically. Other enhancements include interactive OpenGL off-axis adjustment of the right and left camera planes, user-friendly click-and-drag convergence point adjustment in the viewport, and the ability to disable the anaglyph representation of the stereo camera in OpenGL. Also in LightWave 10.1, the interocular and convergence point both can be animated dynamically over time to track stereo changes within a shot.
Using the LightWave VPR, artists can directly interact and easily adjust lights, textures, volumetrics, and more within the viewport. They can also use the VPR to view updates to deliver realistic environmental walk-throughs quickly and perform virtual location scouts. LightWave 10.1 extends the functionality of the VPR with the support of clip maps in the VPR render, the addition of object and distance dissolve, and improved nodal shaders, like the new Skin material node that works with the VPR. The Skin material node uses a proprietary subsurface shading model for a simple "connect-and-go" way to create realistic-looking skin.
LightWave 10.1, with integrated Autodesk geometry cache support, gives artists the ability to include or exclude models, morphs, animations, cameras, and lights upon export. Additional workflow features in LightWave 10.1 offer the ability to import joints as LightWave bones for greater compatibility with other programs; multi-threaded mesh evaluation optimization and SubD mesh-freezing acceleration; linear color-space workflow improvements, including new support for .ICC. ICM monitor profiles; and more. Additional LightWave 10.1 features include: virtual studio tools supporting InterSense's Virtual Camera Tracking System (VCAM) and 3Dconnexion's SpaceNavigator 3D mouse; FiberFX hair and fur shader VPR support; and more.
LightWave 10.1 is available as a free download to current LightWave 10 users. An upgrade price from earlier versions of the software is set at $695; a full license for LightWave 10.1 costs $1495.
The Foundry Updates Nuke
To keep up with its expanding customer base, The Foundry is offering Version 6.3 of its compositing system, which addresses all VFX industries, including commercial work. The new 3D particle system, planar tracking, presets, audio scratch, track, and speed improvements save time on short-form projects, while redesigned spline and grid warpers and a brand-new de-noise algorithm aid common compositing tasks.
Available on Mac, Linux, and Windows, Nuke 6 is priced at $3800, while NukeX is priced at $6600. Current users can access the upgrades free of charge during their subscription term.
The Foundry also updated Mari 1.3, its creative paint and texture tool, to Version 2. Now users can bridge Mari and Nuke for an intuitive workflow, giving Nuke artists dedicated 3D paint tools that make digital environment and projection work more efficient and final composited scenes more believable. Mari 1.3 is available on Linux and Windows for $1980.
In other news, The Foundry took the wraps off Katana, an environment for preparing 3D assets for rendering in which artists can define and control the look and lighting of their imagery, especially with large datasets. Katana, now in alpha release, operates non-destructively using a rules-based approach, allowing modeling, look development, animation, and lighting teams to work in parallel.
Perceptive Pixel Launches Display
Perceptive has unveiled what it says is the first professional multi-touch desktop display, a high-resolution, optically bonded, projected capacitive 27-inch LCD display.
The performance and form factor of this new offering make it appropriate for professional users in fields such as geointelligence, DCC, CAD, energy exploration, medical imaging, and other visualization- intensive sectors, enabling them to work directly on the screen to access and manipulate complex data.
True multi-touch at this scale and fidelity was previously technically impossible. While projected capacitive technology is widely used in smaller handhelds and slates, it is notoriously difficult to deploy at large display sizes or if the sensor glass is placed close to a display due to electrostatic interference from the LCD panel itself. To achieve 24-inch plus diagonals, manufacturers typically distance the sensor glass far from the display, and the resulting parallax makes the device unusable for serious applications.
Perceptive Pixel says it has optically bonded the sensor glass to the display, thereby resolving the parallax issue while achieving an improved touch performance with a response time of less than 1 msec. The in-plane switching panel offers color accuracy and 3560x1440 resolution for the desktop display.
In other news, the company released at SIGGRAPH 2011 an 82-inch true multi-touch, projected capacitive LCD display, assumed to be the largest optically bonded, flat-panel, pro-cap display
in the world.
Featuring a slim profile (which measures just six inches in depth), the new 1920x1080 full-HD resolution wall display is particularly suited for use in creative, collaborative environments, such as design reviews, concept pitches,storyboarding, and brainstorming sessions, among others.
Maxon Rolls Out Cinema 4D R13
Maxon has unveiled Cinema 4D Release 13, the next generation of its 3D motion graphics, visual effects, painting, and rendering software application. With all-new character tools, integrated
stereographic capabilities, streamlined multi-artist collaboration, and physical rendering, R13 builds on the company's 25-year legacy of enabling digital content creators to produce engaging
content quickly and easily for a variety of industries.
The new version features an enhanced rendering engine for physically accurate rendering, efficient subsurface scattering for creating translucent materials, and anti-aliasing filters achieved with the Mitchell and Gauss algorithms. A shared image sampler enables users to combine samplings of multiple effects, thereby saving valuable render time.
R13 also touts various stereoscopic capabilities, such as a stereo camera conversion function, (parallel, on-axis/offaxis, radial), a stereo previewer, as well as stereo rendering support. The offering also contains updated character tools that simplify the rigging process, and more.
Maxon offers four versions of Cinema 4D, each catering to the needs of 3D artists in different industries, so not every version will offer all the new features.Pricing is as follows: Cinema 4D Studio, $3695; Cinema 4D Broadcast, $1695;Cinema 4D Visualize, $2295; Cinema 4D Prime, $995. Upgrade pricing from R12 is available.
The Foundry Creates Storm
The Foundry has launched its RED Digital Cinema workflow product,Storm, which brings a focused and easy-to-adopt tool to digital camera workflows, offering a consistent and reliable way to review, organize, prepare, edit, conform, and deliver Raw RED media on a laptop or workstation on and near a set. Storm brings continuity to a user's workflow, enabling the person—whether a DIT, data wrangler, cinematographer, editor, colorist, or director—to quickly and easily take RED media from camera, through editorial, and on to postproduction and delivery.
An intuitive, flexible UI makes it easy to customize and transition between layouts. Once the RED media is acquired, Storm lets users employ tags to identify and search for keyframes or clips, then create user-defined bins based on the tagged media. Users also can lower the resolution of the media for real-time playback on a laptop, to allow on-site verification of the data acquisition. Multi-track video and audio can be displayed and edited for comparing takes, establishing baselines, and verifying editorial content. Storm integrates with FCP, so that media can be edited and then re-conformed back in Storm to the user's original RED media, maintaining the look, tags, and metadata references.
Storm is available for $375. It requires a MacBook Pro, Mac Pro, or iMac with at least 2gb RAM running OS X 10.6.4 or later. Storm is optimized for RED R3D footage and will use a RED Rocket card if one
is installed.
NaturalPoint Showcases Trio System
NaturalPoint has unveiled its new OptiTrack V120:Trio tracking system, which is self-contained and factory-calibrated for out-of-the-box tracking.Simple to use, the V120:Trio nevertheless offers the accuracy and flexibility of optical tracking technology. Designed for desktop-friendly mocap, the Trio lets users create and track custom marker arrangements and extract an object's position and orientation for a full six degrees of freedom.
The system ships as a single plug-and-play package and offers the benefits of multi-camera tracking, such as enhanced accuracy, a wider field of view, and custom rigid-body tracking. Furthermore, the OptiTrack V120:Trio is compatible with the OptiTrack Insight VCS virtual camera
When using the system, the marker and rigid-body data is streamed in real time via VRPN, Trackd, or a custom NatNet plug-in, while the data is exported as a .C3D or .CSV file. Tracking, streaming, and saving is done through a custom-tailored release of Tracking Tools NaturalPoint's realtime, 3D engineering-grade, rigid-body and marker-tracking application),
which ships with the Trio camera.
The V120:Trio carries a price tag of $2499. The system comes with a free license of NaturalPoint's Tracking Tools, the company's motiontracking software (typically priced at $799).
DAZ 3D Releases Studio
DAZ 3D has rolled out DAZ Studio 4, the latest version of its character creation, art, and animation tool for generating versatile 3D human models using the new Genesis series of figures.
The Genesis series allows for virtually limitless figure variations that can be built from a common base. These variations can range in size and proportion while sharing a single joint system.
DAZ Studio 4 utilizes a new open file format that is lightweight and easily transferred. Key features include a new perjoint weight-map system, an auto-rigging capability, an auto-fit plug-in for clothes and hair, a smart content identifier to determine asset compatibility, and a content management service for locating assets. DAZ Studio 4 is free; the Auto-Fit plug-in is priced at $99.95.
Autodesk Offers Simulation CFD for Fluid Dynamics
Autodesk recently made available its new Autodesk Simulation CFD, which builds on computational fluid dynamics capabilities that the company gained as a result of the Blue Ridge Numerics acquisition, which occurred this past March.
The offering helps automate fluid flow and thermal simulation decision-making for designs, while eliminating costly physical prototyping cycles.
New integration with Autodesk Inventor Fusion software allows engineers to modify or simplify geometry quickly and easily from virtually any CAD system when running simulations. Automated fluid flow and thermal simulations provide a cost-effective and faster alternative to physical testing methods that often lack a complete picture of design performance.
Among the new features now available in the software are: one-click simulation for exploring flow and thermal design options, tools for avoiding repetition when creating a design study, and the ability to harness compute power on the user's network.
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Macabre Wins the Day
(Los Angeles, Calif. - July 11. 2010) Bloody mayhem makes for dark Irish comedy in this play about contentious factions within a nasty group of remarkably stupid terrorists during the "Troubles." Martin McDonagh's The Lieutenant of Inishmore , features a young hothead Padraic ( Chris Pine) who has broken away from the Irish National Liberation Army (INLA), one of several paramilitary groups fighting British rule in Northern Ireland in the late 1960s. Padraic's former cohorts Christy ( Andrew Connolly), Brendan (Kevin Kearns) and Joey ( Ian Alda) are out to get him. They lure him into a trap that also involves Padraic's unwitting father Donny ( Sean G. Griffin) and their teenage neighbors Davey ( Coby Getzug) and Mairead ( Zoe Perry). Along the way, drug dealer James ( Brett Ryback) makes the mistake of getting caught in the feud.
This production at the Mark Taper Forum is directed by Wilson Milam and runs through August 8. The play was first performed by the Royal Shakespeare Company in 2001 and then had a run on Broadway with the Atlantic Theater Company.
Georja: Although I am totally onboard with the style and themes of this play and its masterful production at the Taper, as an animal advocate I have to say upfront that the first two thirds of the piece, relying heavily on animal cruelty jokes, was a big turnoff. I love black humor, and am totally with Goya who depicts surrealistic images of war scenes, and Sweeney Todd which brings humor to killing. But when it involves poor defenseless animals suffering yet again at the hand of unfeeling humans, it turns my stomach.
Gerald: The gore in this play makes Sweeney Todd seem like an amateur rehearsal. When I was reading up on that hack-'em-up play, I learned that it was actually a revival of an old genre in British theater of the homicidal barber. Some 19th century theaters were even equipped with spring-loaded barber chairs that disappeared below the floorboards, only to pop back up bearing a blood-smeared mannequin. Suffice it to say that playwright McDonagh is playing to the same sense of "fun."
Georja: The characters in Lieutenant are so well drawn and enacted, the wit so integral to the story, that most of the play seemed quite plausible and even realistic. Right down to the Irish accents. Kudos to every actor in the piece for excellent work! Great directing by Wilson Milam.
Gerald: It is performed in Irish dialect, which takes some getting used to. The program has a helpful glossary, but after a few minutes, everyone will know what "feck" means. You'd also do well to learn "biteen" and "tadeen" (a little bit and a little bit more), "loveen" (my little love), "eejit" (idiot), and "poteen" (pronounced po-sheen and meaning potion, or potato liquor).
Georja: When the second act escalated into a violent free for all and a bloody ghoulish feast, I suddenly became happier. It was easier to accept the humor when it was full blown macabre absurdity. Especially when all concerned got their come-uppance. Even the leading feline prevailed. The only two somewhat endearing characters, Donny (Sean G. Griffin) and Davey (Coby Getzug), who carry the bulk of the dimwitted fun, and are too pacifistic to shoot a gun. They are the only ones able to survive, along with the upcoming young female heroine of the Irish cause, Mairead (Zoe Perry), the new "Lieutenant of Inishmore." Great writing!
Georja: Along with the hilarity and the shocking violence one did get a glimpse of what life must have been like for the average Irish citizen in those days. They grew up and were pulled their whole lives by a deep sense of patriotism fueled by anti-British propaganda. So surrounded by and used to violence were they, that it was an every day occurrence to point their guns at one another.
Gerald: The Irish troubles were "settled" (more or less) through a combination of pacification, poltical negotiation, and tax breaks for big corporations that were induced to move operations there. Street brawls and fire bombings gave way to IBM call-centers answered by lasses with Irish lilts. Fecking boring, if you ask Padriac, and hardly the stuff plays are made of.
Georja Umano is an actress/comedienne and animal advocate.
Gerald Everett Jones is the author of the Rollo Hemphill series of comic novels.
Photos by Craig Schwartz
The Lieutenant of Inishmore
Mark Taper Forum
Center Theatre Group
601 W. Temple Street
Los Angeles, CA 90012
(213) 628-2272
June 30 - August 8, 2010


text:
This article or section needs to be cleaned up to conform to a higher standard of article quality.
|"Valaraukar" by Thomas Rouillard
|General Information
|Other names
|Valaraukar (Q)
|Creation of the Ainur
|Primarily Angband,
Moria (Durin's Bane)
|Gothmog, Durin's Bane
|Physical Description
|Man-like, surrounded by shadow and fire, covered in smoke
(cf. Balrogs/Wings)
|Average height
|Twice the height of a man
|Whips, swords, axes
|Images of Balrogs
The Balrogs, or Balrogath ("Balrog-kind") were Maiar corrupted by Morgoth during the creation of Arda, who cloaked themselves in shadow and flame and carried whips and swords. Famed Balrogs include Gothmog, slain by Ecthelion, and Durin's Bane, slain by Gandalf.
[edit] History
Balrogs, also called Valaraukar, were a group of Maiar who were seduced by Morgoth and corrupted for his service before the coming of the Elves. They were of close relation to Arien, the Maia who guided the sun. The Balrogs were originally gathered by Morgoth in his ancient fortress of Utumno during the Years of the Lamps. When this fortress was destroyed by the Valar, they fled to the North and hid in the pits of Angband, awaiting their master's return.
When Morgoth and Ungoliant escaped from Valinor many years later with the Silmarils, the Balrogs were still awaiting their master in Angband. Ungoliant threatened Morgoth, demanding the Silmarils for herself, but the Balrogs issued from their hiding-place and rescued their lord.
The Balrogs were first encountered by the Elves during the Dagor-nuin-Giliath ("Battle under the Stars") in the First Age. After the victory of the Noldorin Elves over Morgoth's forces, the Elf Lord Fëanor pressed on towards Angband, but the Balrogs came up against him. He was surrounded and fought long against them before being mortally wounded by Gothmog, Lord of the Balrogs (the only Balrog known by name). Though Fëanor's sons fought off the demons of fire, Fëanor died of his wounds soon after.
After the last battle of the First Age, some Balrogs escaped the Valar's wrath and hid deep underground, in inaccessible places at the roots of the earth. Only one Balrog appears after the chaining of Melkor. In the Third Age the Dwarves of Khazad-dûm unwittingly released the Balrog, afterwards known as Durin's Bane, while mining for mithril and were driven out of Moria by the creature. Appearing in The Fellowship of the Ring, it is the only Balrog described by Tolkien after the War of Wrath and was the Balrog that Gandalf battled on the Bridge of Khazad-dûm.
[edit] Etymology
|By Ardamir. (Help; more articles)
Balrog is Sindarin for "Demon of Might" from bal- ("power") + raug/rog ("demon").[source?]
The Quenya form Valarauko (plural Valaraukar) points to a possible Primitive Quendian form *balaraukô.[source?]
In the earlier Etymologies, the word Balrog was derived from ñgwalaraukô,[1] but this is inconsistent with Quenya Valarauko.
A list of Old English equivalents of Elvish words, glosses Balrog as having the equivalent Bealuwearg and Bealubroga. As noted by Christopher Tolkien, the Old English word contains the elements bealu ("evil"; as in bale(ful)) and wearg ("wolf, outlaw") or broga ("terror").[2]
[edit] Other versions of the legendarium
In one of Tolkien's early Middle-earth writings, The Lay of the Children of Húrin, "Lungorthin, Lord of Balrogs" is mentioned. It is not, however, certain if it was another name for Gothmog, or if it simply meant "a Balrog lord". According to Christopher Tolkien, the latter is more probable, as the name Gothmog was mentioned in the earliest Middle-earth writings, as well as the final version of Tolkien's mythology.
The Balrogs were originally envisioned as being immense in number:
The early conception of Balrogs makes them less terrible, and certainly more destructible, than they afterwards became: they existed in 'hundreds' (p. 170), and were slain by Tuor and the Gondothlim in large numbers: "thus five fell before Tuor's great axe Dramborleg, three before Ecthelion's sword, and two score were slain by the warriors of the king's house.
—The Book of Lost Tales Part Two, commentary by Christopher Tolkien on "The Fall of Gondolin"
There came wolves and serpents and there came Balrogs one thousand, and there came Glomund the Father of Dragons.
—The Lost Road and Other Writings, Quenta Silmarillion, Chapter 16, §15
As the Legendarium became more formidable and internally consistent, and the Balrogs more terrible, this number was much reduced. In the end Tolkien stated that there were probably "at most" seven Balrogs:
In the margin my father wrote: 'There should not be supposed more than say 3 or at most 7 ever existed.'
—Morgoth's Ring, Section 2 (AAm*): note 50
It should, however, be noted that these texts postdate the published The Lord of the Rings, but predate the materials from which the published The Silmarillion was drawn. The exact number of Balrogs is therefore very uncertain, but Tolkien's note above seems to have been his final word.
[edit] Portrayal in adaptations
A Balrog as envisioned in The Lord of the Rings (1978 film)
A Balrog as envisioned in The Lord of the Rings: The Fellowship of the Ring The Balrog Thaurlach from The Lord of the Rings Online
If adaptations were to be counted as canon, the matter of Balrog wings would be decided.
1978: The Lord of the Rings (1978 film):
- The Balrog has wings and appears capable of limited flight. The head resembles a lion but the rest of the body was rendered in matte black, a technique commonly used for shadowy surreal effect in rotoscope animation.
2001: The Lord of the Rings: The Fellowship of the Ring:
- Durin's Bane has wings. Jackson's Demon of Might was indistinct, a real blend of shadow and fire. Only its horned head, cloven feet, and clawed hands could clearly be seen.
2002: The Lord of the Rings: The Fellowship of the Ring (video game):
- The Balrog has, once again, wings. The fight sequence, in which the player is Gandalf, takes considerably longer: only after a short fight on the bridge does Gandalf let it collapse.
2002: The Lord of the Rings: The Two Towers:
- The chase up the Endless Stair and the slime Balrog were omitted due to budget constraints.[source?] However, part of Gandalf's battle with the Balrog is shown at the beginning of the film, and the fight atop Zirak-Zigil is seen in a flashback after Gandalf's return.
2003: Sierra's The War of the Ring:
- The Balrog is the most powerful magical power available to Servants of Sauron. They have horns and wings.
2003: The Lord of the Rings: The Third Age:
- The players assist Gandalf in his fight with the Balrog.
2004: The Lord of the Rings: The Battle for Middle-earth:
- The Balrog is the most powerful magical power available to both Mordor and Isengard faction. Visual appearance follows the movie version.
2006: The Lord of the Rings: The Battle for Middle-earth II:
- Unlike the original game, The Balrog is not available to Isengard faction, but only to Mordor and the new Goblin factions.
2007: The Lord of the Rings Online:
- Durin's Bane can be observed in two "session plays" (player character not present): one depicts the awakening of the Balrog by Dwarves under Durin VI, the other depicts dwarves of Balin's company fleeing from the ancient evil. After Gandalf defeats him, the lifeless body of Durin's Bane can be found on the slopes of Zirakzigil. Despite the players knowing the Balrog dead, another Servant of Sauron tests their will and fears, by portraying an illusion of it. In the illusion, the fight between Gandalf and the Balrog on the Endless Stair is recreated, until it ends the opposite way of the actual event: the Balrog defeats the Wizard, throwing his lifeless body from Zirakzigil. Players have to defeat the Balrog in order to combat the illusion.
- The game also features another Balrog: named Thaurlach, he can be found in the Rift of Nûrz Ghâshu, where Angmar meets Misty Mountains. He fled there are the breaking of Thangorodrim, but was followed by an elf-maiden Glathlírel who was determined to end him. The Balrog eluded her for millennia, until she was able to face him in combat and defeat him. Rather than kill the Balrog, the two Blue Wizards decided to imprison him in the Rift, so that he could await his judgment at the end of days. However, by the end of the Third Age his chains were loosening and a band of players was sent to defeat the weakened Balrog - something, that as Gandalf remarked, should have been done ages ago.
2009: The Lord of the Rings: Conquest:
- The Balrog is one of the "heroes" available to Servants of Sauron during evil campaign. Appearance reflects the movie version.
2017: Middle-earth: Shadow of War:
- The game also features another Balrog: named Tar Goroth, who must be killed to complete a specific side-quest, has wings and is able to leap over large distances without flying.
[edit] See also
[edit] External links
- Conrad Dunkerson, The Truth About Balrogs
- GeekZone LOTR Youtube Channel The Balrogs of Middle-Earth
- ↑ J.R.R. Tolkien, Christopher Tolkien (ed.), The Lost Road and Other Writings, "Part Three: The Etymologies", entry "RUK"
- ↑ J.R.R. Tolkien, Christopher Tolkien (ed.), The Shaping of Middle-earth, "III. The Quenta: Appendix 1: Fragments of a translation of The Quenta Noldorinwa into Old English, made by Ælfwine or Eriol; together with Old English equivalents of Elvish names", p. 209
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Los Angeles had the Clooney Haiti concert, but Miami has the Diddy benefit.
This Friday, the hip hop mogul will team with Queen Latifah and Pharrell Williams to present SOS: Saving OurSelves -- Help for Haiti from the AmericanAirlines Arena downtown to benefit the victims of last month's devastating earthquake.
The telethon will air live on BET, MTV and VH1, running from 8 to 10 p.m.
U.S. & World
Slated to perform are Haitian native Wyclef Jean, Mary J. Blige, Lil Wayne and Chris Brown.
Proceeds will go to organizations including Project Medishare, Children's Safe Drinking Water and Jean's Yele Haiti.
Combs and Jean were also at the January 22 Hope for Haiti concert, which raised $66 million.


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Posts Tagged 'the power of the ideas'
Power of Ideas – Ron Paul to Lead Central Bank Panel – Nationalizes the Fed and Then What
Power of Ideas – Ron Paul to Lead Central Bank Panel – Nationalize the Fed and Then What
End the Fed – The Power of Ideas – Ron Paul to Lead Central Bank Panel
Okay Mr. Paul, The Power of Ideas Nationalize the Fed and Then What?
- Nationalize the Federal Reserve Bank
- Bring the Debt Free GreenBack Back and Then…
We Either Go Global (IMF, SDR) or Go Local…
We must Go Local. We must Go Michigan, Go Kentucky, Go Missouri, Go Oregon, Go Illinois, etc,
Support Local.
Demand Local.
Re-Public Locally.
Support Your Own Local Authority.
Demand State Owned Banks and State Commodity Depositories
Ron Paul, New Head of Congressional Federal Bank Oversight Committee
"It's Not Like I'm a Power Person.
My Ideas are powerful but I'm not a powerful person.
There's a committee chairman and there's a speaker of the house. I'm realistic and I know what that means but I also know the strength of Ideas and the Power of Ideas and that's what will prevail.
So it wasn't my Political Power that prevailed last year to get 320 co-sponsors of auditing the Fed. It was the power of the Ideas.
And That's what they ought to worrying about, Because we are going to be talking about Ideas and the Fallacy of the Fed and Paper Money."
END THE FED – Support The States Bank Commodities Act and Bring GreenBacks Back!
Dollar Dead as World Reserve Currency, USA is Bankrupt and Greenspan Admits It Was All a Scam & Fraud, We are asked to make a choice and either Go Global and Submit to a New SDR Currency Under a Bigger Foreign Federal Reserve Bank or Do We Go Local Get Our Houses in Order and Hold the Criminals Accountable?


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Western blot analysis of extracts from 293T cells, transfected with 100 nM SignalSilence® Control siRNA (Unconjugated) #6568 (-), SignalSilence® Cbl-b siRNA I (+), or SignalSilence® Cbl-b siRNA II #12122 (+), using Cbl-b (D3C12) Rabbit mAb #9498 (upper) or GAPDH (D16H11) XP® Rabbit mAb #5174 (lower). The Cbl-b (D3C12) Rabbit mAb confirms silencing of Cbl-b expression, while the GAPDH (D16H11) XP® Rabbit mAb is used as a loading control.
Product Information
CST recommends transfection with 100 nM SignalSilence® Cbl-b siRNA I 48 to 72 hours prior to cell lysis. For transfection procedure, follow protocol provided by the transfection reagent manufacturer. Please feel free to contact CST with any questions on use.
Each vial contains the equivalent of 100 transfections, which corresponds to a final siRNA concentration of 100 nM per transfection in a 24-well plate with a total volume of 300 μl per well.
SignalSilence® siRNA is supplied in RNAse-free water. Aliquot and store at -20ºC.
SignalSilence® Cbl-b siRNA I from Cell Signaling Technology (CST) allows the researcher to specifically inhibit Cbl-b expression using RNA interference, a method whereby gene expression can be selectively silenced through the delivery of double stranded RNA molecules into the cell. All SignalSilence® siRNA products from CST are rigorously tested in-house and have been shown to reduce target protein expression by western analysis.
Oligonucleotide synthesis is monitored base by base through trityl analysis to ensure appropriate coupling efficiency. The oligo is subsequently purified by affinity-solid phase extraction. The annealed RNA duplex is further analyzed by mass spectrometry to verify the exact composition of the duplex. Each lot is compared to the previous lot by mass spectrometry to ensure maximum lot-to-lot consistency.
The Casitas B lineage lymphoma (Cbl) proteins (in mammals these are c-Cbl, Cbl-b, and Cbl-c) are a family of single subunit RING finger protein-ubiquitin E3 ligases that contain multiple protein interaction motifs (1). All Cbl proteins have a highly conserved N-terminal tyrosine kinase-binding (TKB) domain that mediates interactions between Cbl proteins and phosphorylated tyrosine residues on Cbl substrates. C-terminal to the RING finger, Cbl proteins have proline-rich domains that mediate interactions with SH3 domain-containing proteins. Phosphorylated tyrosine residues mediate interactions with SH2 domain-containing proteins such as the p85 subunit of PI3K. These protein-protein interaction motifs allow Cbl family proteins to function as adaptor proteins (2). This adaptor function contributes to the E3-dependent activities of Cbl proteins by targeting specific substrates for ubiquitination and degradation. The adaptor function also contributes to non-E3-dependent activities, such as the recruitment of proteins involved in receptor tyrosine kinase internalization, localization of Cbl proteins to specific subcellular compartments, and activation of discrete signaling pathways (1).
Cbl-b is an E3 ubiquitin ligase with a domain organization nearly identical to that of c-Cbl. The role of Cbl-b in hematopoietic cell physiology is well documented. Cbl-b expression is important for the downregulation of TCR expression during antigen recognition (2). Cbl-b also acts as a potent negative regulator of the CD28 signaling cascade to Vav and Rac1 through its ability to ubiquitinate the p85 regulatory subunit of PI3K (3,4). As a critical regulator of clonal anergy in T lymphocytes, Cbl-b mRNA and protein are upregulated in T cells following calcium mobilization and calcineurin activation (5). Cbl-b-deficient T cells are resistant to anergy induction (5). The molecular events governing this phenotype are thought to be linked to defects in the ubiquitination of PLCγ1 and PKCθ since the degradation of these signaling molecules, which occurs following restimulation of wild-type anergic T cells, fails to occur in Cbl-b-deficient T cells (5).
Explore pathways + proteins related to this product.
UniProt ID: Q13191
Entrez-Gene Id: 868
|Product #
|300 µl (3 nmol)
|$ 270


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Watch CBSN Live
Broadway star Chita Rivera demonstrates her dance routines for a show in New York City in this April 1956 photo.
An actress, dancer and singer best known for her roles in such classic musicals as "Can-Can," "West Side Story," "Bye Bye Birdie" and "Chicago," Rivera has received two Tony Awards and nine nominations, and in 2002 was the first Hispanic woman to be a recipient of the Kennedy Center Honors.
By CBSNews.com senior producer David Morgan
Credit: Copyright Ted Streshinsky/CORBIS
Born in Washington,
D.C., Chita Rivera inherited the performer gene from her father, a jazz musician, and made the living room her
first dance studio. Her mother promptly enrolled her in ballet school after she
broke the coffee table. "I was a monkey," she told correspondent Mo Rocca.
At 14 she won a
scholarship to the School of American Ballet in New York.
Credit: Copyright Bettmann/CORBIS
Credit: Photofest
Credit: Copyright New York Public Library
Credit: Phoptofest
Dick Van Dyke and Chita Rivera
in the Broadway musical, "Bye Bye Birdie" (1960). Photograph from the Friedman-Abeles Collection.
Credit: New York Public Library/Billy Rose Theatre Division
Credit: Courtesy of Chita Rivera
Apart from a couple of TV roles, Chita Rivera's first appearance on screen was in 1969, in the Bob Fosse film of "Sweet Charity." Here she is joined by Shirley MacLaine and Paula Kelly in a memorable rooftop dance for "There's Gotta Be Something Better Than This."
Credit: Universal Pictures
Credit: Miramax
In 1986 a car crash
nearly ended Rivera's career; her left leg was shattered in twelve places, and
required 18 screws and two plates to hold her leg together. Nonetheless, she got
back on stage - and won a second Tony Award - for 1993's "Kiss of the Spider
Antonio Banderas and Chita Rivera in the Broadway musical, "Nine" (2003).
Mo Rocca asked, "When people say, 'Gosh, how can you do 500, 800 performances of a show?' what's your answer?"
"It's never the same," Rivera replied. "If you're bored, then you're boring. And if you're working with other people, you have to bring something to the table, you know?"
Chita Rivera performs during her show, "The Dancer's Life," about her 50-year career as a dancer, Dec. 1, 2005. The revue also showcases the trademark styles of choreographers Jack Cole, Bob Fosse, Peter Gennaro and Jerome Robbins.
Credit: copyright Saed Hindash/Star Ledger/Corbis
Credit: copyright Paul Kolnik, courtesy of Chita Rivera
Credit: copyright Walter McBride/Retna Ltd./Corbis
Credit: copyright Walter McBride/Corbis
The veteran, now 80, told Mo Rocca that she will always see herself as a dancer. "The
rhythm of the dance is still all in my being. I will always be a dancer."
For more info:chitarivera.com
Credit: copyright Omar Cruz/Corbis Outline


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North Shore schools locked down during police chase
2 in custody, police seeking a third after robbery
Police asked for several schools on the North Shore to shelter in place while they worked to apprehend robbery suspects.
Police said two people robbed the Credit Union Services Center at 64th Street and Brown Deer Road. The two people left the credit union with an undetermined amount of money.
VIDEO: An armed robbery leads to lockdown at several North Shore schools
Witnesses told police that the two people then entered a car driven by a third man. Officers from Glendale, Fox Point, Whitefish Bay, Bayside, Brown Deer and the Milwaukee County Sheriff's K-9 unit assisted with the pursuit and search.
"I heard sirens and looked out the window, and there were police cars coming from every direction, and the officers were jumping out with assault rifles, and I thought, 'Oh, this is something more than just a traffic stop,'" witness Larry Booth said.
Booth is the block watch captain for Fox Point neighborhood, but he said he had never seen activity like this out his front window.
The men drove down a dead end street in Fox Point, ran from the car and were found hiding in some bushes on Birch Hill Court off Clovernook Lane.
"We were looking out the window, and they brought up a gentleman in handcuffs who was obviously not dressed for the cold. He didn't have a jacket on or anything," Booth said.
Police had one person is in custody as of 12:10 p.m., and a second was taken into custody around 1 p.m.
School campuses at Cardinal Stritch University, Nicolet High School, Milwaukee Jewish Day School, Hillel Academy and Jewish Beginnings were asked to lock their doors and keep people inside as police worked to apprehend the suspects.
All three schools reported at 1:10 p.m. that they were cleared to resume normal activities.
Brown Deer police said they are looking for a third person, described as a black male in his early 20s with a tall, thin build. Witnesses said he was wearing a black hoodie and a black puffy-style jacket.
Anyone with information is asked to call Brown Deer police at 414-371-2900.
Remember you can send your breaking news or severe weather photos to us at email@example.com


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fall (a)foul of (someone or something)(redirected from fall afoul of)
fall (a)foul of (someone or something)
To become disliked or to come in conflict with someone or something due to one's actions, often resulting in further trouble or conflict. Since you're new here, be careful not to fall afoul of Bill—he'll keep you off of every case if he's mad at you. I fell foul of the committee, and now I'm not sure how to improve my reputation. Ted fell afoul of the law when he was still a kid, and he's been in and out of jail ever since.
fall (a)foul of someone or somethingand run (a)foul of someone or something
to get into a situation where one is opposed to someone or something; to get into trouble with someone or something. Dan fell afoul of the law at an early age. I hope that you will avoid falling afoul of the district manager. She can be a formidable enemy. I hope I don't run afoul of your sister. She doesn't like me.
fall foul ofcome into conflict with and be undermined by.
2004 Sunday Business Post Australia's biggest wine-maker, Foster's Group, is the latest company to fall foul of the wine surplus, which is set to continue for at least two years.


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Serena Williams will take on Simona Halep in the women's singles final after both won one-sided matches on Centre Court.
For the third time, Williams is one victory away from tying Margaret Court's record of 24 grand slam singles titles after beating Barbora Strycova 6-1 6-2, while Halep's 6-1 6-3 victory over Elina Svitolina sent her through to a first Wimbledon final.
Here, PA reviews the 10th day of action.
Tweet of the day
Quote of the day
Picture of the day
Shot of the day
Halep's power and placement was just too much for Svitolina and a fierce backhand winner down the line left her scrambling for thin air.
Stat of the day
World number seven Halep is the highest-ranked women's finalist since 2016, when Williams defeated Angelique Kerber.
The calm before the storm
Both women's semi-finals were done in less than two hours and 15 minutes as Halep and Williams breezed through. Friday's men's last-four clashes are expected to last a little longer as, after Novak Djokovic plays Roberto Bautista Agut, Roger Federer and Rafael Nadal renew their rivalry. Their last match at Wimbledon, in the 2008 final, lasted four hours and 48 minutes. Get the popcorn ready.
Celebrity corner
Brit watch
Andy Lapthorne is through to the first ever Wimbledon wheelchair quad singles final. But Anton Matusevich could not back up his win over the top seed in the boy's singles on Wednesday, losing in straight sets to Shintaro Mochizuki, and Evan Hoyt and Eden Silva also lost in the senior mixed doubles. Arthur Fery and Toby Samuel advanced to the quarter-finals of the boys' doubles, but Holly Fischer and Matilda Mutavdzic crashed out of the girls', while Alfie Hewitt, Gordon Reid and Jordanne Whiley exited their respective wheelchair competitions.
Day 11 order of play
Centre Court
Novak Djokovic v Roberto Bautista Agut
Roger Federer v Rafael Nadal


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The US Patent and Trademark Office (USPTO) is not exempt from the "sequestration" budget cuts being imposed on government agencies. For now, one casualty of the cuts will be that agency's plan to open an office in Silicon Valley in the near future, according to a Sunday report by The Associated Press. The Silicon Valley office was an idea that has been suggested for years, and it looked like it was finally coming to fruition.
The USPTO is funded by the fees paid by companies and persons seeking patents, not by taxpayers. The office collects $2.8 billion in such fees annually. But that doesn't protect it from the across-the-board budget cuts that were imposed when Congress failed to strike a budget deal earlier this year.
The California patent office is slated to be headed up by Michelle Lee, a former Google attorney. During her time at Google, Lee was one of the first lawyers to speak out about the harmful effects of "patent trolls." Her appointment was taken as a hopeful sign by many in the tech sector seeking changes to the patent system.
Other satellite offices are moving along. A Detroit office opened last year. Permanent sites have been selected for offices in Denver and Dallas, but construction has not yet begun in those cities.
California has no permanent site selected. In the long term, a full satellite office is still planned for the Silicon Valley area with as many as 150 new examiners. Still, it's unclear when that might actually occur. Currently, Lee is working with a few administrative law judges in temporary office space borrowed from another government agency in Menlo Park, according to the AP.
The article quotes one unhappy entrepreneur, Dave Clark, head of tech pet products startup called Petzila. Clark says he's eight months into his business and he and his partner spend about 20 percent of their energy on getting a patent. "It would be a godsend if we could meet with a patent examiner," Clark told the AP. "It would cut our costs and time in half and our anxiety by 60 percent."


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I've been thinking a bit about the fact that we're living in a time of monumental change that is running rings around the established systems of the world.
First consider that the world we live in now is one where the average computing power, and digital storage available to individuals is increasing at a rate that is roughly equivalent to a 64x improvement in performance, capacity or cost-effectiveness over the lifetime of an average political leader ( 8 years ). Those in nominal control of things haven't got the beginnings of a clue what that actually means, they are struggling to come to terms with the concept that stuff that was functionally impossible a handful of years ago is easily managed by a school-kid with a phone today. And the idea that such school kids might actually have experience with the complex multi-tasking needed to marshal armies is something that I suspect rarely bothers them but it probably should, after all hundreds of millions of hours are spent by the youth of today doing just that, only they call it online gaming.
Have a read of Ben Hammersley's awesome speech last month to the IAAC. He puts forward some ideas there that are well worth reading at any point in time but it is truly worrying to think about the conceptual problem the rulers of the world have given the things that are happening right now.
So there are clear problems with "The Suits" trying to get their collective heads around security and governance in a world that changes faster than they can change their ties and pin stripes but so far they have mostly only been dealing with the effects of revolutions in communications capabilities and patterns. Now even those can be dramatic – the Arab Spring and the London Riots both showed how social networks and cell phones can pose existential threats to governments. It is interesting to note that these are proven existential threats, unlike the fake existential threats that Hammersley talks about that have prompted the ridiculous security theatre of Airports and the rest of the pointless moves towards a ubiquitous surveillance society.
Now think about the following two articles I read today about some interesting legal edge cases in the world of 3D printing.
3D Printed parts for Automatic Weapons.
ATM Skimmer Gang invests in 3D printer.
Once the ability to print your own guns, and any other illegal machinery of your choice, gets out there it will be out there and no amount of banning will put that genie back in the bottle.
Interesting Times doesn't even begin to describe what I suspect is about to happen.
I think that despite my previous rant about being able to buy Rule-34 as an e-book that I really should go out and get a copy.


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We are now up and running with our online membership through Railstation. You can see the link on the main page of our website. This link will bring you to the main membership page where you can complete your membership registration. If you are a current member, you can always access and update your personal information at any time. The system will assign you a membership number once you complete the registration process. You can print out your membership card whenever you need it. We are extremely pleased with our relationship with Railstation and hope that you enjoy this service we are able to provide you. If you have any comments that would improve the system, we would be happy to have your feedback as we are constantly updating the system.
If you would prefer to send in a hardcopy membership form, that option is still available. On our website under resources, you will find a link to print out the membership form. Once you send it in with your check or credit card information, we will manually enter it into Railstation. You will have access to your information online from that point forward.