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Things to Do in Statesboro
Things to Do Deals
See Savannah Walking Tours
- Downtown Savannah
Experienced guides lead walking tours toward haunted destinations, recounting folklore and grim stories
Spotlight Theatres Eisenhower Square 6
- Oakdale
Six screens with digital sound & 3-D-equipped projectors show first-run films while audiences fill plush seats
Star Castle
- Skyland Terrace/Greenway Park/Grove Park
This medieval-castle-style roller-skating rink pairs stone walls, archways, and coats of arms with modern music and lights
Savannah Belle Tours
- Savannah Historic District
Friendly, knowledgeable guide Michelle leads groups on tours around Savannah landmarks, customizing stops to personal interests
TrueFit Pilates and Training Center
- Bluffton
Certified instructors help students of all ages and abilities reach their fitness goals with Spinner Blade bikes in intense spinning classes
The Savannah Walks
- Downtown Savannah
Guides shepherd groups through Savannah's colonial district to induce shivers with tales of hauntings, exorcisms, and Gullah superstitions
Marsh Grass Adventures
- Bluffton
Knowledgeable guides lead two-hour paddleboarding expeditions through Hilton Head Island waterways in search of dolphins, fish, and birds
Cool Savannah Tours
- Downtown Savannah
During 90-minute guided tours, groups learn dark historical facts while looking out for hauntings
Rainbow Jump N Fun Play Center
- Richmond Hill
Indoor-outdoor play zone with inflatables, swing sets, a trampoline, basketball court, and a 22-foot slide
The Fitness Club
- Victory Heights
Membership includes access to elliptical trainers, treadmills, Nautilus weight-training equipment, free weights, and Zumba and yoga classes
AOA Fitness, LLC
- Wilmington Island
Instructors lead attendees through series of flowing poses in Hatha-style basic yoga, prenatal yoga, and power yoga classes
Old Carolina Golf Club
- Bluffton
9-hole course designed by course architect Clyde Johnston set on the site of a former horse farm features palms, pines, and waterways
Recommended Things to Do by Groupon Customers
Laid out by golf course architect Tommy Fazio, The Golf Club at Hilton Head Lakes effortlessly weaves through the natural fabric of the land's lakes and wetlands. More than 7,300 yards, the course challenges golfers of all ilk to navigate around curvilinear greens, chip past strategically placed bunkers, and avoid raccoons playing freeze tag. Copious fairways and five sets of tees also call for mindful decision-making, planning, and ingenuity. The club rounds out its golfing experience with a 36-acre training facility boasting target greens, bunkers, and practice greens, as well as a golf shop and café.
Savannah Yoga Room's instructors focus on traditional Hatha and Ashtanga styles, creating classes accessible to newbies and challenging enough for yoga veterans. In addition to teaching pupils to center their thoughts with a slowly linked sequence of poses, they introduce the basic breathing techniques needed to blow out a centenarian's birthday candles during Hatha Flow Level I sessions. In Hatha Flow Level II, they quicken the pace to ensure a more dynamic practice and incorporate meditation.
After nudging up the studio's thermostat to around 85 degrees and setting off a miniature supernova to heat the space, they enlist strong Ashtanga postures during power yoga, harnessing the radiating heat to engage muscle groups across the entire body without sacrificing the style's mindful focus or four-part om-ing harmonies. They also lead specialized prenatal sessions on Wednesdays and kids' classes for tykes aged 4–10 on Tuesdays.
The array of glazes at Starlight Pottery puts a rainbow's paltry six stripes to shame; 70 different hues await artists within the studio. Conversation drifts beneath full shelves of bisque pottery, centering on the mugs, plates, and figurines available for painting. Paintbrushes hush quietly in freehand curls or stencils on the pottery, and hands working with unformed clay make the gentle slapping sound of two scuba divers fighting. Experts fire creations in a kiln, and parties for adults and children fill the studio with laughter and artistic banter.
Anyone active in Savannah's theatre community in the 70s and 80s would likely have encountered Tom Coleman III, a director who began his career at the Savannah Young People's Theatre. He produced and directed more than 200 shows in the ensuing 35 years, culminating in the founding of the Savannah Community Theatre. The company often produces shows by local playwrights, along with a weekly, pirate-themed murder mystery dinner show.
The opening scene of Forrest Gump follows a feather as it floats above Savannah's rooftops, a view seen from the Sorrel-Weed House, where the scene was filmed. Completed between 1839 and 1840, the now-iconic building was distinguished as a state landmark in 1954—only the second house in Georgia to receive that honor. Today, during historic tours, guests patter down the same corridors where onetime houseguest General Robert E. Lee once practiced hacky sack, or track spirits during ghostly explorations of the home's creepy quarters. Southern history pervades each visit as guests catch glimpses of the house's antique decor and Greek revival architecture.
A group of 15 people sit at the bar socializing, then simultaneously they all put their drinks down and the bar begins to slowly roll down the street. These people are sitting aboard a combination custom-built bicycle and bar, which features built-in coolers and 15 pedal stations plus an optional beer tap. A company-provided driver controls steering and braking to ensure absolute safety as riders pedal along sightseeing and pub-crawl routes. Because the pedaller is only allowed on certain streets and yellow brick roads, Pedals Eco-Entertainment recommends their planned routes but can also work with groups who want to create their own.


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Meal deals
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Sponsored listings |
Name | Area | Cuisine | |||
Lunch deal
at Al Mahara
Sample a three-course set menu at the Burj Al Arab's signature seafood restaurant. Pick-up and drop-off services are provided by the hotel's Rolls-Royce Phantom. Dhs795 |
Umm Suqeim | Seafood | |||
Friday Brunch
at Al Qasr Hotel, Madinat Jumeirah
The Al Qasr brunch is famed for its size (guests are handed a map on arrival) and is sure to impress visiting relatives. This said, there is a feeling it spreads itself thin in places. Dhs450 (soft drinks), Dhs550 (selected house beverages, mixed drinks and sparkling grape), Dhs250 (children aged four to 12), free for children under four |
Umm Suqeim | ||||
Armani/Amal's Malabar special
at Armani/Amal
The menu showcases the flavours of northern Kerala, including dishes such as plantain and coconut cakes with tomato chutney, and king crab stir-fried with chillies, ginger and curry leaf. Dhs400 per person |
Downtown Dubai | Indian | |||
Friday Brunch
at BiCE
The Italian restaurant's new brunch offers a four-course menu of house signatures, along with Italian sparkling grape, hops and mixed drinks. Dhs285 (soft drinks). Dhs375 (house beverages), Dhs135 (children below 12) |
Dubai Marina | Italian | |||
BiCE's bubbly dinner
at BiCE
A three course sharing menu paired with premium bubby. Dhs550 per person. Offer valid on 28th of May only. |
Dubai Marina | Italian | |||
Cooking class
at Blue Flame
Create signature meat and seafood dishes. Dhs300; Dhs465 (grape pairing). Advance booking required |
Garhoud | International Seafood Steakhouses | |||
Blue Flame's movie nights
at Blue Flame
Watch movies in the hotel's screening room with popcorn and candyfloss, plus a three-course dinner. From Dhs190 per person |
Garhoud | International Seafood Steakhouses | |||
Jumeirah Restaurant Week
at Blue Flame
The restaurant promotion returns for a second year, offering set menus at Jumeirah restaurants across the city. Dhs180 (signature dining) |
Garhoud | International Seafood Steakhouses | |||
Lunch deal
at Caramel Restaurant & Lounge
The three-course business lunch at this DIFC spot gives guests a choice of signature dishes from the menu. Dhs89 |
DIFC | Asian Fusion International | |||
Fish Market's 'crazy' lobster Sundays
at Fish Market
Choose your lobster, of any size, from the display and the chef will prepare it to your liking. Dhs99 |
Deira | Seafood | |||
Seafood bucket
at Fish Market
Enjoy buckets of seafood, containing prawns, crabs and mussels, steamed or sautéed in a choice of sauces, asccompanied by steamed rice, garlic bread or French fries. From Dhs45 |
Deira | Seafood | |||
Gaucho's mini masterclass
at Gaucho
The venue offers free grape lessons with the sommelier for guests who are dining at the restaurant. Free for diners |
DIFC | Argentinian Latin American | |||
Lunch deal
at Gaucho
This Argentinian steakhouse offers either a starter and main course or main course and dessert. From Dhs120 for two courses |
DIFC | Argentinian Latin American | |||
Friday Brunch
at Hakkasan
Offering ten types of Hakkasan's finest dim sum and some rather good bubbly to boot. Dhs199 (tea), Dhs395 (soft drinks; selected house beverages), Dhs500 (bubbly) |
Sheikh Zayed Road | Chinese | |||
Lunch deal
at Hakkasan
The lunch menu features spicy prawn, stir-fried rib-eye beef and home-made sorbets, among other dishes. Dhs120 |
Sheikh Zayed Road | Chinese | |||
Hakkasan's grape and food night
at Hakkasan
Enjoy a three-course meal paired with three to four different grapes. Price TBC |
Sheikh Zayed Road | Chinese | |||
Friday brunch
at Indego by Vineet
The lazy brunch offers an à la carte selection of fine Indian cooking. Also available on Saturdays. Dhs250 (soft drinks, hot beverages and petit fours). Dhs350 (selected beverages) |
Dubai Marina | Indian | |||
Afternoon tea
at Indego by Vineet
A set menu gourmet thali deal. Dhs170 (veg), Dhs190 (non-veg) |
Dubai Marina | Indian | |||
Cooking class
at Jones the Grocer
The café hosts a masterclass focusing on how to cook some of the classic dishes from the menu, before guests eat the dishes they have learned to prepare. Dhs375 (masterclass and dinner) |
Sheikh Zayed Road | Cafés | |||
Jumeirah Restaurant Week
at La Parrilla
The restaurant promotion returns for a second year, offering set menus at Jumeirah restaurants across the city. Dhs180 (signature dining) |
Umm Suqeim | Argentinian South American Steakhouses | |||
at More Café
A basic family brunch at affordable prices. Dhs95 (soft drinks), Dhs45 (children under 12) |
Al Quoz | Cafés | |||
Nobu High Brunch
at Nobu
A brunch bursting with Nobu specialities, as well as a varied selection of beverages. Dhs360 (soft drinks), Dh540 (bubbly), Dhs210 (children aged four to 11) |
Palm Jumeirah | Japanese | |||
Cooking classes
at Nobu
Prepare sushi, miso black cod and desserts. Booking essential. Dhs1,250 (cooking lesson, three-course lunch with a glass of bubbly and an apron) |
Palm Jumeirah | Japanese | |||
Nobu Sushi Masterclass
at Nobu
Learn to make sushi, miso black cod and delicious desserts. Advance booking essential. Dhs1,250 (cooking lesson, three-course lunch with a glass of bubbly and a Nobu apron) |
Palm Jumeirah | Japanese | |||
Nobu's Sunset Saturdays
at Nobu
Enjoy sundowners and canapés in Nobu's garden. Dhs450 (food and mixed drinks) |
Palm Jumeirah | Japanese |
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subset: commoncrawl


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Comedy Zone at the Bar
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I need help. please read.
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Feb 1, 2006, 5:53 PM
Post #1 of 1 (1440 views)
I need help. please read.
Can't Post
please read the following and tell me of your feelings so far (it"s not finished)
Sub natural
I vaulted the railing and landed among the other combatants. Searching for Jamie I caught the wrist of someone trying to punch me and slammed my palm just above the elbow, forcing him to his knees. I wrenched his arm up behind his back and sent him reeling into a pair of advancing thugs who fell under his stumbling charge. Hearing rapid footsteps behind me, I turned to see someone flying towards me, his foot outstretched. I flung my hand out and grabbed at his ankle while slamming my palm into his leg just above his knee and swung him at the three I'd knocked over earlier, making a small, groaning pile.
Still looking for Jamie, I crushed the nerve cluster of another would-be assailant and shoved him into the padded wall. A calm spot in the battle allowed me a small glimpse of Jamie fighting at the other end of the arena. I made my way in his general direction and lost all sense of effort and just punched the next combatant in the stomach before sending him reeling with an uppercut to his face. About ten meters away from him I noticed the ring of unconscious, injured or otherwise incapacitated combatants lying around him as he picked up an oncoming opponent, swung him around a bit then hammer threw him into four others trying approach him. I ran up to him and put my hand on his shoulder, nodding I went back to work on the crowd.
Jamie was taller, bigger, and much stronger than myself, but did not have the intensive training in street fighting, par kour and human anatomy, all of which gave me a huge advantage over my opponents. Jamie had learnt to use his body weight and strength to his advantage by physically lifting his opponents off the floor and either swinging them into other fighters or just throttling them into submission. Meanwhile I struck at their vulnerable points and nerve clusters to subdue them quickly so I could either move onto my next opponent or use them against other attackers with minimal effort.
Standing together we did not form a formidable team, but an unstoppable area of pain and destruction that left many of its victims crying for mercy long after we had left them, in the fear that we might come back. The one rule in the arena was once someone was eliminated you left them alone, and it was well enforced.
I swiveled on the ball of my left foot and planted my right foot in an opponent�s abdomen with enough force that I pushed off it into a back flip and completely by luck dodged the blow sent at my back. As I landed I bent my legs to cushion the blow as I landed and used the built up tension to explode outwards, uncoiling me like a spring, launching my shoulder into my opponents exposed back as he struggled to turn to meet me in time. Slamming him into the floor I pulled his right arm up to his neck and placed my knee at the base of his spine causing him to scream in agony as two messages hit his brain at the same time. I smiled at the small satisfaction this classic elimination brought me.
Standing up I realized me, Jamie and the last victim he had pinned against the wall had just qualified for the intersexes final as there was no more opposition.
We walked through the door in the side of the arena; this led to a smaller ring with more padding and higher walls. Directly across from us were the opposition, a group of thirteen or fourteen girls of varying age, most over fifteen, and height, most over 5ft 6�. As they advanced towards the center of the circle they split into four groups, two of five one of two, and one by herself. The group of two consisted of Rachel; 5ft 7�, blond hair down to her upper back, with green eyes, Isabel; 5ft 4�, neck length, French styled black hair with red high lights. Both were wearing tracksuits as skirts would be either to long and get in the way, or be to short and reveal to much if put in certain positions found often here. Despite this Rachel was wearing a skirt over her trousers; I wasn�t sure if she was even trying to make a point or if she just liked doing it.
The one girl ran at me and I went to intercept her as Jamie took care of the last opponent from the previous arena by throwing him back through the still closing doors. I ran forward about five meters before stopping and observing her approach pattern, she was charging. The fact that this amateur had managed to make it through the five qualifying astounded me, she was charging at a prepared fighter hoping to scare me into inaction as she came within striking range she took off into a fly kick, ignoring the stupidity of this I bowed under her wild kick and drew my arm back so my palm was parallel to my shoulder.
They say when you�re in combat and adrenaline is pumping through your veins, time slows down and you see every thing through a red haze and you had enough time to do anything. This is not true, time only appears to slow down and then you realize there�s nothing you can do to change what�s happening. I watched the realisation dawn on her face as she came to terms with what was going to happen. Her body came in range and I pushed my hand down pushing off her and into the air. I placed my right foot on her ribcage and jumped smashing her into the ground and unconsciousness while sending me about 7ft in the air.
For some reason instead of letting me finish this pretty impressive stunt by performing an immaculate landing, Jamie found it necessary to snatch me out the air.
�You said no theatrics, no time for them you said, yet here you are acting your pathetic arse off just to impress the girls; now shut the hell up, stop acting and do something about the sea of oestrogen coming this way.�
�I said nothing I�m not even supposed to be here, if it wasn�t for your stupid antics with those guys in there I would already be at home changing for group.� I yelled going along with it. This was an old trick used in street fighting all the time but to my knowledge had never been used in an arena bout. It was simple make them think you were going to rip yourselves apart then attack them, in our case it meant Jamie throwing me at them and me tearing them apart. Jamie was jabbering on about something but I was checking the effect our charade was having on the advancing hoard. They were slowing down, and looking puzzled at our increasingly violent display. They stopped about two meters away and seemed to be discussing what to do, as I watched they started to split them selves into four groups of two, which meant Rachel and Isabel were distracting two. They seemed decided and started to move out to surround us during this brief moment of anger.
�Shut. Up. Or do you want me to bring up Jim bob.� As I shouted this my face started to go red, this was a special effect as the previous sentence was the signal for him to pick me up spin me around and throw me into their ranks. I have often wondered why he spun me round, he said it was better for distance, but I reckon he just got a sick sense of enjoyment out of causing me pain and discomfort. Jamie roared, lunged forward, grabbed my torso in both hands, spun round and threw me spinning into the crowd of bemused girls, sending them reeling all over the floor. I stood up and stumbled under a kick from a girl by accident, because my vision swam and caused me to doubt my surroundings I thought about closing them but it didn�t work, I had done it before, and it left me open to attack. I jumped forward a brought my foot down half way up a girls leg, I heard the cartilage crackle and the bones crack as my foot went towards the ground bringing her with it. Spinning round I brought my hands up just in time to deflect a jab to my face from what was possibly the largest girl I had ever seen, the blow was still enough to knock me from my feet and send me into the grasp of two girls who had moved in behind me. Trying to prise my way free I forced myself to my feet before my assailant came to help them and once again forced me to the ground. I strained against them but could only move a little at a time, I had about ten seconds before this was counted as elimination and no one was going to get here in time, I wasn't going to panic, I was going to get angry. "I will give you to the count of three to get up." I said it in a perfectly normal voice, but the pent up rage and annoyance at the world in general was already beginning to course through my veins. By the time I said one my head was pounding, my body felt as if it were on fire, my vision hazed and the world seemed smaller. by the time I said three I could feel my pulse throughout my body, beating a steady rhythm, getting faster and faster, on three I stood up as if through water, the speed enough to send the girls who had been mocking me rolling across the floor away from me. Then I collapsed and lay on the floor until I heard the crowd watching counting me out. Not wanting to give them the satisfaction I flipped to my feet fighting down a wave of nausea. Looking round I assessed the scene, Rachel and Issy had beaten their opponents and were coming towards me, Jamie had joined in, which is why those three girls didn�t come back while I was laying down. Of the ten original fighters set against us only five were still standing and two of those were injured. I saw a duelist going to attack Rachel in the back while she fought someone else. I felt my legs start moving and watched myself practically fly across the intervening space and take out the threat to her before she had any idea she was there. Rachel turned round to see me pummeling the poor girl into the wall, before lifting her up off the floor
We're all gonna die anyway
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As a small tribute to the late George Hickenlooper, here's a few excerpts from threads he contributed to from the old Welles board. Some concern his film adaptation of Welles's screenplay for THE BIG BRASS RING:
Posted by George Hickenlooper on June 24, 1999 at 09:07:51:
This is excellent. I had no idea there was an Orson Welles message board. Bravo to the genius who started it!
I've read all the various entries regarding the film version of "Brass Ring" which I directed and adapted with my co-writer F.X. Feeney from the original script by Orson Welles. The film stars William Hurt, Nigel Hawthorne, Miranda Richardson, Irene Jacob, Ewan Stewart, Gregg Henry, Ron Livingston,and Jefferson Mays.
As I get more information about the future of my film I will post it. Once again, bravo to all those Welles fans and aficionados out there who keep his memory alive.
JW: Good luck with the film. I look forward to seeing it. As a fellow (albeit former) St. Louisan, I wish you the best. Hopefully, I can make it back home when the film plays there. I'm curious to know what attracted you to that script. I don't think it's one of his best, although it does have some interesting stuff in it.
HICKENLOOPER: Dear JW, thanks for your interest. First, BRASS RING will be screening in St. Louis as the opening night film of the film festival there. That'll happen sometime in November. Secondly, you might be interested to know that the film was shot in St. Louis which leads to my answer to you question about the script. The screenplay I used to shoot the film was actually an adaptation. Though I loved the dynamic of the story's central relationship between Pellarin and Mennaker, I felt that much of the original script felt incomplete, as if it were a thumb nail sketch that Welles were to flesh out as he shot. I would never be presumptuous in trying to second guess what Welles would have done. Stylistically that would have been like trying to shoot PSYCHO II.
Ultimately, what I loved about the original script, as flawed as it may have been was how richly drawn the characters were, and how Welles had so brilliantly made a beautiful poem about the state of America at the end of the 20th century. It was that essence which I tried to capture. When you go see my film, don't expect to see something directed by Welles. Though my own shooting style has many Wellesian flourishes, I tried to shoot the film with a certain mis-en-scene quality. I actuall thought more about John Ford and Renior when I shot the picture than I did about Welles.
I treated this project strictly as an adaptation. I've been criticized for this of course, but I was simply looking at Welles as the writer -- the brilliant writer that he was, regardless of Pauline Kael's insipid essay. Welles in many respects was the Shakespeare of the American cinema. So, if Welles adapted Shakespeare, why not adapt Welles. His characters are so timeless they lend themeselves beautifully to interpretation.
Thanks, yours, George.
JW: I had heard you had adapted the script Welles wrote, and I can imagine some people had a problem with that. Frankly, it's just a script, not a finished film, so one should expect it to be altered in production. Certainly Welles would have tinkered with it had he gotten the chance to film it. Nobody has really done anything of this sort yet, so you're really treading in uncharted waters to a certain extent. I'm looking forward to seeing what you've done with it. Hopefully, this will encourage other filmmakers and studios to make some of Welles' unproduced scripts.
Posted by George Hickenlooper on November 30, 1999 at 19:50:21:
Unfortunately, I do not have the luxury of broadcasting my opinions in a major alternative newspaper because I am not a world renowned famous film scholar like Mr. Rosenbaum. Over the years, I have enjoyed Mr. Rosenbaum's opinions (I think he is one of the better critics in the country), I have enjoyed his scholarship, and I have respected his perseverance in preserving an "unadulterated" memory of Orson Welles. However, at this point, I must object to his persistent bashing of my filmed ADAPTATION of the Orson Welles script "The Big Brass Ring". I regret that this is the only forum I have to do so, but nevertheless, here goes.
When Mr. Rosenbaum first learned of my intention to adapt BBR, he brought it up in his rather mediocre review of my film "The Low Life." I'm not sure what relevance BBR had to this film, nevertheless, Mr. Rosenbaum found the space to chastise me for even having the thought. Subsequently, I knew I was doomed in his eyes from the very beginning.
Now that BBR is finished, I don't mind that Mr. Rosenbaum doesn't like it. I know for a fact that he saw it at a screening at the Toronto Film Festival. A screening in which, by the way, the film broke, there was a twenty-minute forced intermission and when the film re-started three minutes of a crucial, expositional scene was not shown (a nightmare for any filmmaker, believe me). And whatever Mr. Rosenbaumís opinions may be about my film, let me make it clear that I am not pining away to be celebrated by his inner circle of aesthetes, a circle that includes mostly publications of leftist leanings that have insidiously contributed to the debasing of American art in literature, fine art, and most blatantly, the cinema. I would equate the current state of film criticism and independent film in general to that ridiculous "Sensation" exhibit at the Brooklyn museum. We live in a kind of Hellenistic, hedonistís age where aesthetics and criticism have become bankrupt (like the avant garde) to the point of becoming a celebration of meaningless shock value -- kind of like a fart in the wind. Now, I would say that Mr. Rosenbaum is less guilty of this than most. Most of the blame frankly exists with Janet Maslin and all of the other solipsistic sycophants of Pauline Kael, but here I digress, so let me get back to the point.
Mr. Rosenbaum is welcome rip apart my movie, I only wish that he would look at the film on its own terms. ITS OWN TERMS. Critics who have successfully done this are Stephen Hunter of "The Washington Post" and Howard Rosenberg of "The Los Angeles Times" among others. But in a way, I can understand why Mr. Rosenbaum is doing this, because after all, he is the most persistent keeper of the Wellesian flame, and fancies himself a purist, no doubt. And here let me challenge Mr. Rosenbaum with the word "hypocrisy" by asking the question IS Mr. Rosenbaum more guilty of aesthetic arrogance by pretending he can step into the shoes of Mr. Welles and properly reconstruct "Touch of Evil" from a 58 page memo. Welles was known to be highly improvisational, even in the cutting room, so wasn't this memo a simple reaction to the changes that the studio wanted? In other words, did this memo reflect pure changes, pure Wellesian changes, or were they a frightened reaction to what Universal was doing to his film? What I'm trying to say is that Mr. Rosenbaum is just as guilty for tampering with the Welles memory as anyone (and let us not forget that he was paid money for his consultation), and perhaps more guilty of hubris by his repeated insistence that "Touch of Evil" is an honest reflection of Welles' vision.
I, on the other hand, never pretended to be stepping into Welles' shoes. If Mr. Rosenbaum had bothered reading any of the press material to BBR, he would have learned that my writing partner F.X. Feeney and I treated this as an ADAPTATION. We adapted this like we would adapt any great piece of literature, from William Shakespeare to T.S. Elliot. We looked at the script as a kind of unfinished poem that only Mr. Welles himself could have realized (so unlike Mr. Rosenbaum and the "Touch of Evil" crew, we were not trying to assume to have the genius touch of Mr. Welles). We were simply being inspired by him and the timelessness of his great writing, as Mr. Chaplin was on Mssr. Verdoux.
However, I am being dragged through the coals because I am not Mr. Chaplin (nor is BBR Mssr Verdoux), nor am I Mr. Welles, but I am rather a no name documentary filmmaker who has virtually no reputation in the crititical world. And since most critics (not Mr. Rosenbaum) are sheep and have very little ability to judge movies on their own terms, unless they come out of Cannes, Sundance, Toronto, or New York or unless they are by a "name" director, or unless they fit some hedonistic or political chic, then they ultimately will be dismissed, because critics' editors of these various newpapaers and alternatives won't be interested in giving those unknows filmmakers space, because after all, space is limited and advertising revenue is more important than ever (again here I digress, but all things are relative to even those leftists who pretend to be the sole perveyors of integrity in the capitalist world).
So, in the end, I only ask that BBR be judged on its own terms. And as difficult as this may be for Mr. Rosenbaum to do (after all he published the original BBR screenplay in 1987 with an invaluable essay on the history of the project), it is only fair. I never set out to try to assume Mr. Wellesí vision. I was trying to make my own film (as brazen as that might be) inspired by his idea, and idea that personally struck a chord with me. If anything, in the end, I would hope that my film would only bring more attention to the SOURCE material, to the ORIGINAL Welles script, and to Welles as a writer, a reputation that was substantially diminished in Pauline Kaelís unscholarly essay "Raising Kane." If anything, I hope that this dialogue will be a healthy one between me and Mr. Rosenbaum and in the end, will only draw more attention to the great master Orson Welles. And if Mr. Rosenbaum continues to have problems with young filmmakers taking on Mr. Welles, then he should go to the source of the estate itself, Oja Kodar, and ask her not to license the rights to any of his work. But then, I doubt he would ever do that, for he cannot afford to alienate Mrs. Kodar for that would negatively affect his own pursuits, many of which are monetary regardless of their honorable intentions.
John Koehler: It is difficult for any creative personality to accept criticism which seems all too high-handed, even arbitrary. Kael's purposefully sensational "expose'" of Welles' supposed plagiarism, his innate lack of writing talent, as she claimed, is an example. It hurt him deeply. When David Lean was once asked to be a guest at a conference of critics upon the release of Ryan's Daughter, he was told to his face (by a well known critic) that the film was "a bunch of bullshit." Criticism? Or jealousy? Or patent ignorance? Certainly a lack of basic courtesy.
Mr Rosenbaum has done more for the contemporary re-evaluation and appreciation of Welles than anyone, Bogdanovich a close second. Rosenbaum takes a no-nonsense and scholarly approach to his subject, clarifying many an apochryphal legend or misleading anecdote. Often, when someone in a position such as this takes on what too many others ignore, then by word and deed rights the critical wrongs, he sets his own terms for orthodoxy. Any interloper must be regarded as pagan, lest the work of Keeping the Flame be diminished. This is a natural attitude.
Consideration should have been given to your own personal esteem for Welles; a consultation with you, BBR's director, initiated by Mr Rosenbaum would at the very least have steered the criticism away from Welles Orthodoxy toward a film which claimed to be nothing more than a Welles adaptation, to be judged on its own merits.
As someone who has no authority or professional competence with respect to judgment of Rosenbaum or your picture, yet one who admires Welles as one of the century's greatest artists, it is regrettable to witness conflict where unity of purpose should play. You BBR is an *adjunct* to Welles, not necessarily an interpretation, or realization of his unfinished work. It should be viewed as such. Similarly the restored Touch of Evil, which I had the pleasure to see in a restored old movie palace: this is an exercise in Welles scholarship, not pure Welles (he did not edit personally). I am grateful for your film and for Rosenbaum's work to bring back TOE. Your audience, in the theater, at the bookstore, is the ultimate critic. That audience would have precious little to sustain them without people like Hickenlooper and Rosenbaum.
No. My only claim to respond is the fact that I was born and live in a town 33 miles away from Kensoha, Welles' birthplace! I fell for him big when I first saw Kane, when I was a callow 21 years old. I haven't lost my respect or admiration for him since. Just as I appreciate the efforts of you and Rosenbaum, Callow and Carringer, and Bogdanovich, certainly. In my eyes you are colleagues. High-handed criticism is a personal conceit and ultimately non-productive. You should have been extended the courtesy of input before the critique was written.
Robin: I'm looking forward to finally being able to see the film. Could you please tell us Mr. Hickenlooper, why the film is in such a limited release? With all of the talented cast, William Hurt, Ewan Stewart etc. I'm sure it will be worth the wait. If you have time, would you be able to tell us a little bit more about what your experiences were while making the film? Thank you and best wishes, Robyn
HICKENLOOPER: Dear Robyn, thank you for your interest in THE BIG BRASS RING. Though the film has already garnered several outstanding reviews, and the overall audience response has been overwhelmingly positive, it still will not get a decent theatrical release. Why? The only answer I can give is that people who work in acquisitions are afraid of the picture, I believe. One top level studio person told me that the film was "brilliant," but that it was "too intellectual." In fact, THE HOLLYWOOD REPORTER, which gave it a favorable review, called the movie uncommonly erudite."
Unfortunately, in my opinion, the American cinema in general has reached an all time low in quality. Call me a sour grape, but if you just look at the movies that are released into the market place today versus 25 years ago (i.e. NASHVILLE, RAGING BULL, FIVE EASY PIECES, THE CONVERSATION, TWO LANE BLACK TOP, etc.), well,
there is no comparison. Anything that has an ounce of intelligence or originality tends to get quarantined into obscurity.
I'm thinking of making a film about lesbian pornographers who swing between heroine and meth-anphetamines. Then,
perhaps I'll pique somebody's interest.
Anyway, see the film if you can. Let me know what you think. I hope you like it, and if not, I'd love to hear why.
Yours sincerely,
George H.
John Koehler: With all the criticism coming from certain self-anointed Defenders of Welles, I didn't know what to expect in George Hickenlooper's Big Brass Ring. After months of working overtime, catching only snatches of the film on Showtime, I finally last night, at 9 p.m., put on my new DVD version of the film, intending just to see if the transfer was up to par. I was so damned exhausted from the mundane office labors. Then, the film brought me back to life. I had to stay with the picture until then end, then listen to about 30 minutes of the GH/Feeney commentary.
As a devout Wellesian, I discovered all I could hope for: Welles' preoccupation with male/male relationships, the homoerotic undertones which became more apparent in his later writing, though they had been there as early as Bright Lucifer, the political commentary, the literary quotations so dear to him, the ponderings on love ("I hate love, because I need it." CK: "Here's to love on my terms. Those are the only terms anyone understands."), the nods to Wellesian camera angles, the Richard Welles allegory, the part of each human life which is dark or hateful yet which is one of the only things we each of us can truly call our own...on and on the spirit of Welles was called, acknowledged, indeed sanctified.
Finally, a picture with substance, cinematic skill, genuine talent in front of and behind the camera (Hurt is nothing less than superb). This is a work of art I have longed for since Mr Welles' death. A perfect homage to one of the 20th Century's truly genial men (the denotation meaning infused with genius). Those critics who cannot understand the film, who complain about a muddled story linearity, or unclear flashbacks, or poor construction generally would undoubtedly say the same of Kane were it premiered today. BBR is not passive entertainment. The viewer must pay attention, not eat popcorn. The director and Feeney and Welles assumed some literacy in their audience as well. Watching the film is an intellectual challenge, not a shoot-em-up light show.
I discovered Welles when I was 21, just at the time the shrewish Pauline Kael asserted that Welles was only a buffoon, a plagiarist, a man who stole credit from Herman Mankiewicz. Of course I knew who he was from his appearances on TV and in the movies of other directors, stints of "buffonery" undertaken solely to finance his own projects. He was then and still is to many a jovial big man, a raconteur, a magician of practice and of guile. To those who saw what he actually was, first revealed with Kane and its myriad autobiographical clues, and who took the time to learn more about him, all that jocular public posturing covered a much deeper intellect, a more profound and philosphical real Welles. This aspect is amply reflected in Hickenlooper's Ring.
It is NOT a Welles film. It is a respectful homage. It is Wellesian enough to take the place of what could have been had the Master himself been able to direct it. It is the understudy to this "lost" Welles film. It is welcome reward to one such as me, hungering for more from his dead hero.
Few movies leave me with impressions that take days to digest. Kane was the first to have that effect on me, Vertigo another example. BBR is now added to that short list.
Mr Hickenlooper, I can't thank you enough for this effort, so many years in gestation. Because of you, your evident devotion to a great artist, the shade of Orson Welles is brought back to life.
And yes: You are correct about that bloated soap opera Titanic. Ewan Stewart was the best thing in that movie! And he is a most appreciated addition to your Ring cast.
Phil: Surely a copy of this nearly completed film must be in circulation somewhere. Has anybody seen anything other than what was in the documentary 'THE LOST FILMS OF ORSON FILMS' (containing scene in a car and a load of press interviewing star). I would infinitly grateful on any information about this film and the possibility of me ever seeing more.
The car scene rates as one of the best I've seen from any film. Thanks for any help.
Tom Novak: In 1988 at the 50 Anniversary Celebration of The War of World's Broadcast I had an opportunity to speak with the late Richard Wilson (hopefully he was alive at the time I was talking with him and someone wasn't squeezing the back of his neck to move his mouth). Wilson of course worked with the Fat Man. I asked him whatever happened with The Other Side of the Wind. At first he told me with a degree of sadness that it could not be released in it's unfinished state. I told him that was a shame because of all the great actors in it...John Huston etc. He became nostalgic, and reminisced about all those talents in that uncompleted movie. He had a lost but uplifting look to his face as if the movie could be raised from the ashes. Then I added that Edmund O'Brian was in the movie. He thought of him, then said he was going to look up Oja Kodar to see what was going on with that movie.
I have a number of wishes. In movies before I die I would like to see The Other Side of the Wind and the director's cut of The Magnificient Ambersons. These wishes are unlikely to be fulfilled, but I'm sure it's possible with the new technology to clean up the soundtrack of Chimes At Midnight, and if that is possible, it would be quite possible to computerize the ending for The Other Side of the Wind.
HICKENLOOPER: I was recently at a screening with Oja Kodar and Gary Graver in which 2 hours of "Other Side Of The Wind" was shown. It was a compilation of scenes (some of which appeared on the 1975 AFI tribute to Welles), many of which no one had ever seen before. The footage was visually brilliant and it was fascinating watching John Huston play Orson Welles' alter ego. Even though many of the costumes and looks of the characters dated back to the early '70s, the footage nevertheless had a timeless quality. One could say that Welles' use of fast cutting, hand held camera and overall cinema verite style was two decades ahead of the kind of MTV approach to storytelling which is now the style du jour as seen in such pictures as "Trainspotting" and "Run Lola Run."
What is the fate of the footage? Gary Graver, who came to a screening of my film "The Big Brass Ring," says that he has found the $5 million necessary to bring the project to fruition. Bingham Ray, the former head of October Films, told me at this year's Independent Spirit Awards, that it might be more practical to try to make a documentary about the making of "Other Side Of The Wind" in the same way that Bill Krohn so successfully made "It's All True." Who knows what will happen? But whatever does it certainly will be interesting.
JW: I think the documentary approach might be more interesting, if for the sole fact that no one knows what exactly Welles would have done with the footage. How much did Welles shoot in total? I would think a good deal more than 2 hours. He was constantly revising the film as he went along, so there really isn't much to go on as far as editing and post-production work, is there? My basic fear is a repeat of the Quixote sitiation, where someone else slaps together the footage and it doesn't add up to much.
Posted by R. Fischer on July 05, 1999 at 23:14:39:
From October 20th through October 24th, 1999 an Orson Welles Conference will take place in Munich, Germany at the film museum (located in the Stadt Museum).
Some 1.8 tons of footage, left in a Los Angeles storage room after Orson Welles' death, is being sifted through and partly restored by the Munich Film Museum, will host the conference on the legendary filmmaker's career.
Much of this material will be screened in up to 15 programs that will include never-seen-before footage from THE DEEP, THE MERCHANT OF VENICE, THE OTHER SIDE OF THE WIND, DON QUIXOTE, among other incomplete treasures.
Among the guests participating will be Oja Kodar, Welles scholar Jonathan Rosenbaum, Welles cinematographer Gary Graver, and filmmaker George Hickenlooper.
For more information, contact the Munich Film Museum.
Posted by Peter Tonguette on December 01, 1999 at 17:23:06:
Hi everyone, Long time lurker, first time poster and huge Orson Welles fan...
I read a while back about Oja Kodar's plans to finally release Welles' film "The Deep," filmed in the late '60s. In "This Is Orson Welles," the book by Welles and Peter Bogdanovich, I get the impression that "The Deep" never finished shooting. Has anyone ever determined what the actual state of the film is in? Of all of the various OW projects out there, this would seem to be one of the more promising if indeed most of it was shot and edited.
Look forward to whatever insights you might be able to provide,
Peter, age 16
HICKENLOOPER: Last June had a conversation with Robert Fischer, who is the archivist in charge of THE DEEP footage which is held at the Film Museum in Munich, also the location of the recent Welles conference. If I remember correctly, according to Mr. Fischer, much of the negative of THE DEEP has been lost. In other words, the footage that does exist, only exists as a work print (the material the editor works with before the negative is cut). This would not make it impossible to finish THE DEEP, but it would make it very difficult, and very expensive, because you would have to digitally restore or clean that footage that no longer has negative.
Peter Tonguette: Mr. Hickenlooper -- Thank you for your reply -- I appreciate it. I guess the main question I would have as a follow-up is, was all of the footage actually shot? Although, as you note, it would be very costly to restore, THE DEEP would seem to be one of the more promising un-finished OW projects out there if it was indeed completely shot.
BTW, I haven't seen THE BIG BRASS RING yet, but, as a very big admirer of Peter Bogdanovich's THE LAST PICTURE SHOW, I really enjoyed your documentary on the making of the film, PICTURE THIS. Thanks again.
HICKENLOOPER: Thanks for your comments regarding Picture This. With respect to The Deep, yes, it is my understanding that all the footage was shot. Unfortunately, not all the sound was recorded. Consequently, a good impressionist would need to finish the dialogue work of Lawrance Harvey's character.
HICKENLOOPER: For anyone interested, who has a DVD player, I shot two scenes from THE BIG BRASS RING (a version of my adaptation which was a lot closer to Welles' original script, but which I ultimately didn't use). The scenes star Malcolm MacDowell as Kimball Mennaker. MacDowell ultimately didn't play the part in the feature, Nigel Hawthorne did, nevertheless, the scenes might be interesting to look at for those interested.
The scenes are also accompanied by a short documentary about the project. They are available the the DVD magazine, SHORT CINEMA JOURNAL, NO. 2. Also, for those interested, my short version of SLING BLADE with Billy Bob Thornton is on SHORT CINEMA JOURNAL, NO. 1.
Take care, all.


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More than two-thirds of Victorians support a ban on smoking in alfresco dining areas, according to new research released today.
The data, from Cancer Council Victoria, also revealed the majority of smokers supported a ban on smoking in hospital grounds or outdoor areas where children are present.
Victoria is now the only state in Australia that has not already introduced or announced an intention to introduce smoking bans in outdoor dining areas.
The 2011 Attitudes to Smoking in Outdoor Areas report also showed:
Cancer Council Victoria Chief Executive Officer Todd Harper said the research was further proof that Victorians wanted the government to take action and legislate for smoke-free alfresco dining.
"Smoke-free alfresco areas not only help denormalise smoking for young people, they also support recent quitters to stay quit," he said.
Quit Executive Director Fiona Sharkie said research had shown that one in five smokers were prompted to make a quit attempt when similar laws were introduced in Queensland.
"Councils across Victoria are doing great work implementing smoke-free areas but they are all saying the same thing: they want an across-the-board ban from the State Government," she said.
Heart Foundation Victoria Chief Executive Officer Kathy Bell said smokefree legislation, along with price rises and anti-smoking advertising campaigns, was a key factor in driving down smoking rates.
"We're calling on the State Government to protect Victorians from the harms of secondhand smoke. There is clear community support for this move," she said.
*NB: For more information on designated outdoor smoking areas, see our position statement here http://www.quit.org.au/news/article.aspx?ContentID=smokefree_outdoor_dining
To arrange an interview with Todd Harper or Fiona Sharkie, contact Jessica Craven on 0400 424 559
To arrange an interview with Kathy Bell, contact Vanefsha Crook on 0423 827 697


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It was unclear Monday whether Singapore Police have made any arrests related to the scams. A message to the police force was not immediately returned.
Singapore Police warn potential targets to be wary of strangers befriending them on social networks and to avoid giving away personal details or "performing compromising acts" with people you barely know. The police also urge users to call authorities immediately if someone tries to extort money from you.
Cluley adds a simpler word of advice: "Be careful out there, and keep your trousers on, chaps."
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The 13 papers in this volume illustrate issues and opportunities confronting geologists as they bring their knowledge and understanding to bear in matters related to public health and welfare. Public decisions and decision-making processes in the face of geologic complexity and uncertainty are the subject of the first group of papers. In the second group, several "voice of warning" papers illustrate the use of geologic knowledge and research to warn the public of health hazards derived from geologic materials and processes. A third group of papers, in the "voice of reason" section, describes use of geologic knowledge to help lower the costs of mitigation and avoidance of geologic hazards. Finally, ethical and philosophical questions confronting geoscientists are discussed and issues of "truth" as related to the legal process and questions about the adequacy of information in making decisions about long-term radioactive waste disposal are discussed.
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dee_burris (dee_burris) wrote, @ 2011-04-03 07:31 pm UTC |
Entry tags: | freeman, photo post, pope county ar, william alfred freeman |
As we emerged four-wheel drive hell, we came across an old abandoned homeplace on our cousin-in-law's land. We didn't stop then, but I have been dying to get photos of it ever since.
My plat book says that William Alfred Freeman got a land patent on that parcel in 1845. The home, which shows signs of two additions, probably will not be standing much longer. If any of the Freeman descendants are interested, below are photos of how it looks now, as well as the little bit of Freeman family history I've been able to piece together.
Because as can be expected, one of the Freemans married into the Burris clan...
Dad and I saw the house from the side on that first trip, and discussed whether it was really a house or an old barn.
You get the front view first.
It's a shotgun house, as was common in the South (best seen from the rear).
However, as Dad pointed out to me, it didn't start that way.
The house had two additions to it over the years, as you can see in the side view here, with different styles of siding on each addition and the original.
As I looked at how small that first section was, I wondered how many people the home had sheltered before they decided to add on.
William Alfred Freeman probably did not live there very long. He got the land patent in 1845, but died by 1847. His widow, Mary Elizabeth Ward lived until 1873.
I found three of their sons in the 1850 census in Conway County (this land was at that time in Griffin Township, Conway County, and did not become Pope County until later).
Those sons were Alfred (born in 1822), Thomas (born in 1825) and Jesse (born in 1831). Alfred was married by the 1850 census, and he and his wife, Kezziah Mariah Bass, had two sons, Richard and James.
Thomas was a newlywed at the 1850 census, having married Lucinda Angeline Burris, daughter of John Burris and Cynthia Ann Ashmore. Jesse was still single.
So it's possible that in 1850, the first section of that house provided a home for as many as eight people. (Side view with sections marked in red below.)
The house stood on rock pilings.
Dad noticed that several of the rocks had been chiseled to make them fit snugly together.
Because of the shape of this one, we wondered if it had been flipped over at the entrance to make a step more stable.
Even if they hauled the rocks from the creekbed nearby, it's still about a quarter of a mile away.
And then, they chiseled them by hand.
I don't know who lived in the house when the Freemans left it, or if anyone did.
But it's a little bit of history in the woods of Pope County, and I wanted to be able to remember it, even after it is gone.


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Registration opens for Giro Bello benefit ride
Published: Wednesday, February 13, 2013 at 4:07 p.m.
Last Modified: Wednesday, February 13, 2013 at 4:07 p.m.
Registration has opened for the third annual Giro Bello, a benefit bike ride put on by the Rotary Club of Santa Rosa.
The ride, scheduled for July 6, starts and finishes at the O'Reilly Media Campus in Sebastopol.
The beneficiaries include Social Advocates for Youth, YWCA Womens Shelter, Polio Plus and the Sonoma County Vet Connect, with an additional $17,000 raised for college scholarships.
The ride is limited to 1,500 participants, who will receive a T-shirt, a post-ride meal and a beverage.
The cost is $55 for the 28-mile ride, $75 for the 66-mile ride and $95 for the 102-mile ride. Registration is at www.girobello.com.
All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


text: A classic Southwestern design, this ring is both elegant and contemporary, and is the kind of piece you'll wear all the time. A stepped surface adds texture, and the waves evoke the rhythm of nature. Measuring 3/8" long x 3/4" wide, the ring is created from recycled sterling silver to minimize the effect on the environment. A true tribute to nature. Consider ordering a size larger as ring size runs small. Made in the USA.


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Recent FIS NewsBelow you will find a listing of recent FIS News Find your newsKot wins Ski Jumping Summer Grand Prix Maciej Kot scored a home victory for Poland in last Saturday's FIS Ski Jumping Summer Grand Prix competition in Wisla (POL). The 21-year-old from Zakopane captured his victory on the new hill with 252.2 points ahead of Swiss' Simon Ammann (245.3 points) and Austria's Wolfgang Loitzl (243.7 points). |
credit | © copyright This website is the only official website of the Fédération Internationale de Ski (FIS), the International Ski Federation, and is © FIS. All rights reserved. No commercial reproduction, adaptation, distribution or transmission of any part or parts of this website or any information contained, herein by any means whatsoever is permitted without the prior written permission of FIS. | contact | links | home | mobile.fisski.com |


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Kansas Humane Society
About the Animal Shelter
The Kansas Humane Society is a private, non-profit organization that receives nearly 18,000 animals each year from citizens unable or unwilling to care for them. We receive no local or state tax dollars, United Way funding, or support from the Humane Society of the United States and depend entirely on private donations and adoption fees.
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Wichita, Kansas and the surrounding area.
Adoption Process
IN ORDER TO ADOPT, YOU: - must be 18 years of age or older (or accompanied by an adult) - have a current photo ID - be able and willing to spend the time and money necessary to provide training, medical treatment, and proper care for your adopted companion. When you arrive at the Kansas Humane Society, weÂll ask you fill out an Adopter Survey. This one-page survey tells us what your kind of pet youÂre looking for and helps us determine which animals might best suit your lifestyle.
Meet the Pets
Kansas Humane Society 3313 N Hillside Wichita, KS 67219 Mon-Thurs & Sat from 11am-6:30pm Friday from 11am-8:00pm Sunday from 1pm-5pm


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The Foundation's primary site.
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The Policy Dialogue on Entrepreneurship Informs and connects thought leaders looking to understand policies that help entrepreneurs start companies, create jobs and strengthen the economy. Sign up to receive our weekly update!
Every day—while building roads, giving inoculations, sitting at computer screens—individuals are quietly thinking: "I know a better way to do this." Or: "I could create something new that would make this easier for everyone."
And then they go back to work, never transforming their thoughts into action. Why does this happen, and how can we unleash these hidden ideas?
The Obama Administration is now coming up on the end of the first 100 days, so it is a good time to revisit its innovation agenda to determine which directions it has taken. Although it is too early to judge any outcomes, we see positive signs that the role of innovation and entrepreneurship is at the core of this Administration's approach to the economy.
Last week, I argued in favor more high-skilled immigration to bring additional entrepreneurial talent into the country for the near future. Today, I want to focus on an urgent policy issue that needs to be addressed to produce results over the long-run. Improvements in education are essential to equipping American citizens with entrepreneurial skills. Creative thinking and prudent risk-taking are no different than any other skills people are born with; they are likely to be useless unless the skill is developed through education and experience.
"Lizard King" John Bello describes his first entrepreneurial venture as a miserable failure. Bello launched South Beach Beverage Co. in 1995. Despite the popularity of other geo-based drink brands such as Nantucket Nectars and AriZona iced tea, South Beach didn't resonate with consumers, not even in the upscale Florida community that shared its name. Within two months, Bello knew the $2 million startup investment was heading, well, south.
Last week, I participated in the NASVF Annual Conference in Oklahoma City where experts discussed again how to ensure that credit crunches do not negatively impact start-up performance. The good news is that those gathering at this conference started from a common appreciation that entrepreneurship cannot be on the sidelines of economic and financial policy.
In the past few months, we have highlighted through articles and factsheets how public policy can make the path easier for entrepreneurship and innovation. With the Policy Dialogue on Entrepreneurship, we hope to emphasize not only how policies can foster entrepreneurs, but also how entrepreneurship can directly be part of the answer to so many public challenges.
If you have ever been around somebody trying to start or grow a business, you know that entrepreneurs don't have time for much else, especially not for going to Washington to help keep policymakers up to date on how to encourage high growth entrepreneurship in America—not hurt it.
Youth unemployment rates are soaring worldwide. That rate recently reached 15% in the UK, a record 25.5% in the U.S., and much higher numbers in other countries where economic growth and opportunity have long failed to keep pace with the growing number of young people entering the labor force. However, youth unemployment rates don't have to translate into catastrophe for that generation and those it sustains. The very victims of the situation might actually benefit from it if policymakers can incentivize them to follow their dreams. In the U.S. alone, four in ten young people ages 8 to 21 have or would like to start their own business someday. These two statistics spell opportunity to me.
Times are tough. Layoffs are growing every day and despite massive government intervention, there is little talk of anything more than a slow prolonged recovery. There are a few reasons though to remain optimistic. The main one: as long as we have entrepreneurial people, jobs will be created, and when times get tough we learn to do more with less. There are many entrepreneurs out there who see new and better opportunities for innovation now we are in the midst of crisis.
Making what is urgently needed consistent with what is needed for the long-term is not a bad idea. The current House bill on the economic stimulus nicely blends the short- and long-term perspectives, particularly in the way it addresses renewable energy. The challenge now is to figure out how to achieve progress in developing and commercializing green technologies without turning the government into an obstacle to the entrepreneurial innovation needed to end the climate change and economic crises.
Register today to receive news and updates from Entrepreneurship.org.
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What's New
2012 Uranium Marketing Annual Report ›
May 16
United Kingdom Country Analysis Brief ›
May 14
State-Level Energy-Related Carbon Dioxide Emissions, 2000-2010 ›
May 13
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Coming Up
U.S. Crude Oil and Natural Gas Proved Reserves ›
U.S. Natural Gas Imports & Exports ›
International Energy Outlook ›
More ›
Posted May 17, 2013Today in Energy
Mexico Week: U.S.-Mexico electricity trade is small, with tight regional focus ›
U.S. electricity trade with Mexico represents a small fraction—less than a hundredth of a percent—of total U.S. electricity use. A small amount of electricity trade with Mexico exists in California, New Mexico, and Texas, where transmission lines cross the border. More›
Source: EIA, based on Ventyx Energy Velocity Suite.
Registration is now open ›
The 2013 EIA Energy Conference will be held June 17–18 at the JW Marriott in Washington, DC.
What is shale gas and why is it important? ›
Shale gas refers to natural gas that is trapped within shale formations.
The International Year of Statistics ›
It's a worldwide event to increase awareness of the power and impact of statistics.
Our Experts Speak
Administrator Sieminski discusses U.S. outlook for shale gas and tight oil at Joint Forum on US Shale Gas & Pacific Gas Markets ›
May 14, 2013
Administrator Sieminski discusses U.S. outlook for shale gas and tight oil at Council of Foreign Relations ›
April 11, 2013
More ›
Data Highlights
WTI crude oil futures price
5/16/2013: $95.16/bbl
down$1.23 from week earlier
up$2.35 from year earlier
Natural gas futures price
5/16/2013: $3.932/mmBtu
down$0.051 from week earlier
up$1.314 from year earlier
Weekly coal production
5/11/2013: 18.466 million tons
down0.042 million tons from week earlier
up0.324 million tons from year earlier
Natural gas inventories
5/10/2013: 1,964 Bcf
up99 Bcf from week earlier
down694 Bcf from year earlier
Crude oil inventories
5/10/2013: 394.9 mmbbl
down0.6 mmbbl from week earlier
up13.2 mmbbl from year earlier


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Mesquite News > News
No challengers yet for Mesquite council incumbents
By Kenny Green,
Published: Thursday, February 14, 2013 5:22 PM CST
Filing for the city elections has been under way since Jan. 30, and only incumbents are on the ballot. There are four places up for election this year: mayor, Place No. 1 representative, Place No. 2 representative and Place No. 6 representative.
The deadline to file a candidacy application is March 1.
John Monaco is seeking another term as the city's mayor. Monaco currently has no challenger for the position he has held since 2007. Monaco ran unopposed in 2011. He currently serves as president of the Texas Municipal League.
Place No. 1 representative Bill Porter also filed to retain his seat on the council. He has been on the council since 2009 and works for the Mesquite ISD. Porter currently has no challenger for his seat. He last ran in 2011 and was unopposed then as well. Porter has been a Mesquite resident since 1936.
Al Forsythe currently represents Place No. 2. So far, Forsythe has not filed an application for re-election, and there is currently no candidate on the ballot for the Place No. 2 seat. City secretary Sonja Land said she has never seen an election where there were no candidates. The only person to be given a packet to for the Place No. 2 seat is Forsythe; the packet is automatically given to incumbents. The filing deadline is March 1.
Place No. 6 is represented by Dennis Tarpley, who has filed his application to seek another term. Tarpley was first elected to the city council in 2003. He is currently unopposed for his seat.
For information about filing to run for office or registering to vote, contact the city secretary's office at 972-216-6244.
Copyright © 2013 - Star Local News


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To find a doctor, call 800-667-5356 or click below:
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En Español (Spanish Version)
Definition | Causes | Risk Factors | Symptoms | Diagnosis | Treatment | Prevention
Foreign accent syndrome (FAS) is a rare and acquired speech disorder. If you have FAS, you adopt what sounds like a foreign accent, even though you may never have traveled to that particular country.
Copyright © Nucleus Medical Media, Inc.
FAS is caused by damage to the part of the brain that controls the rhythm and melody of speech. The damage may be due to:
FAS is also linked it to other symptoms, such as:
These factors increase your chance of developing FAS:
Tell your doctor if you have any of these risk factors.
The symptom of foreign accent syndrome is a distorted rhythm and tone of your speech, such as:
If you have FAS, you may be able to speak easily and without anxiety. Other people are able to understand you. The "accent" that you have adopted could be within the same language, such as American-English to British-English.
Symptoms can last for months or years or may be permanent.
Since FAS is closely linked to stroke, follow these guidelines to prevent stroke:


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Leekes, Cross Hands Department Store - Tel: 0845 050 8240
Business Park Cross Hands Carmarthenshire SA14 6RB |
Monday Opening Hours: Tuesday Opening Hours: Wednesday Opening Hours: Thursday Opening Hours: Friday Opening Hours: Saturday Opening Hours: Sunday Opening Hours: |
* Selected departments only, store fully open 09:00 DIY, Decorating & Building departments open from 08.00 |
Leekes is a well established furniture store in Cross Hands, West Wales, serving Llanelli, Carmarthen, Haverfordwest, Tenby, Milford Haven and all South West Wales. Furniture from the UK's leading brands including West Wales' largest G Plan and Ekornes ranges, complimented by our own brand furniture, unique to Leekes and beautifully set out in our furniture store in Cross Hands, West Wales.. Add to our great range of furniture a huge range of home accessories and our award winning conservatories design, supply and conservatory installation services and it's easy to see why we're the favourite department store in Carmarthenshire, Pembrokeshire and Dyfed.
You'll love our range of 120 ceiling light fittings, hundreds of sofas, dining sets and a whole host of home accessories and more, it's easy to see why we're the popular choice for all things 'home'. And we're so much more than a home store too! Our range of accessories, gifts and leisure clothing from brands such as Animal, O'Neill, and FitFlop means you're sure to keep coming back for more!
You'll find famous names including G Plan, Ekornes, Rest Assured, Bedeck, Sony as well as our own brand, CASA, exclusive to Leekes. We also display a wide range of contemporary brands such as Joseph Joseph, Bodum, Brabantia and Le Creuset; and our price promise gives you the added reassurance that you won't find the same products cheaper locally*. Whatever you choose, our promise to you remains the same - quality products sold at competitive prices, complete with excellent customer service.
*Conditions apply. Not applicable with any other offer. Additional discount to a maximum of Ł500. Excludes televisions.
At Leekes we have a proud tradition dating back over a century as a home specialist and we've been one of the favourite conservatory installers in Carmarthenshire, Dyfed, Pembrokeshire and all West Wales for decades. We've recently added a stunning range of great value orangeries and veranda extensions to our extensive double glazing, conservatories, windows and doors offer. Our conservatory design specialists will help you select from hundreds of conservatory design and finish options, many of which you can see in our extensive display of conservatories in our conservatory showroom in Cross Hands, Dyfed, West Wales which showcases the varied conservatory installation solutions we can provide from our Carmarthenshire base from where we install conservatories in Llanelli, Carmarthen, Haverfordwest, Tenby, Milford Haven and all Dyfed, Pembrokeshire, South West Wales. Orangeries and Conservatories by Leekes offer the most technically advanced glazing and door options, and as well as the conservatory installation itself we can install underfloor heating, complete all electrical installation, and assist with the design and planning of your conservatory. You'll have a dedicated conservatory project manager from the initial planning consultation until your conservatory is ready for you to move in. And it's not just conservatories. Why not consider an orangery. Our orangery design and installation service offers the same award winning service as our conservatories and an orangery can really add style and value to your home. To find out more about Leekes' conservatories and orangeries installation services in Llanelli, Carmarthen, Haverfordwest, Tenby, Milford Haven and all South West Wales - or to arrange a free, no obligation double glazing, conservatory or orangery design consultation - take a look at out conservatories pages here, or our windows and double glazing services in West Wales here, or if it's an orangery, find more here. We offer all our great value conservatories, orangeries and double glazing with highly competetive finance packages, so if you're in Cross Hands, Llanelli, Carmarthen, Haverfordwest, Tenby, Milford Haven or anywhere else in South West Wales there really is no reason why you shouldn't enjoy the style and extra space Leekes' conservatories or orangeries are now adding to homes throughout Carmarthenshire, Pembrokeshire, Dyfed and all South West Wales.
Request your free, no obligation conservatory design and installation quote in our Cross Hands store here
With over 40 different kitchens, Leekes has long been the preferred fitted kitchen supplier and fitted kitchen designer in Carmarthenshire, West Wales. We boast displays of fitted kitchens by some of the top fitted kitchen designers in our store in Cross Hands, Carmarthenshire - including kitchens from Rotpunkt, Cusina, Charles Rennie Mackintosh, Sheraton and our exclusive Casa Fitted Kitchens. Our kitchen installation department in Cross Hands offers unrivalled design, planning and installation services and competitive finance options to customers looking for great value and quality fitted kitchens in West Wales, serving Cross Hands, Llanelli, Carmarthen, Haverfordwest, Tenby, Milford Haven and all South West Wales.
Request your fitted kitchen installation consultation in our Cross Hands store here
At our South West Wales fitted bathrooms store in Cross Hands, Carmarthenshire, Dyfed, West Wales we have more than 100 bathrooms and showers, to choose from. Like our Kitchen and Conservatory installation services, we offer full planning and design advice for your bathroom installation.
Find out more about our fitted bathroom service and our latest offers on fitted bathrooms in our West Wales store here
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