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Forty-six years ago, a blond teenager in glasses, a plaid shirt and blue jeans cropped below the knee stood out as he strutted in a second-line parade.
Four months ago, still blond but now 61, he took part in a celebration in the small west African nation of Benin. As the drumming and dancing reached a crescendo, he dropped to all fours to "pop the gator," a particularly unhinged form of late-night New Orleans self-expression.
Quint Davis, the son of a prominent local architect, would seem an unlikely candidate to undertake a five-decade immersion in African-derived music and culture.
But as the producer-director of the New Orleans Jazz and Heritage Festival presented by Shell, Davis has channeled an improbable passion into a national treasure, shaping and nurturing the Jazz Fest's evolution from folksy, funky, local celebration to internationally renowned, multimillion-dollar economic engine.
Davis neither founded nor owns Jazz Fest. But as the festival's omnipresent public face -- careening around the infield on a golf cart, emceeing the main Acura Stage, answering questions live on local TV at 5, 6 and 10 p.m. -- he is a lightning rod for complaints ranging from warm beer to the weather. George Wein, Jazz Fest's founder and Davis' mentor, supplied the only job description Davis has ever had: "If anything screws up, it's your fault."
Given that Jazz Fest turns 40 this year, Davis obviously has done something right. In his view, "we have helped give traditional music a place at the table in American popular culture."
But his lifelong love of uninhibited street culture and noncommercial music, in New Orleans and beyond, is tempered by an understanding that somehow it must pay for itself.
The second-line must respect the bottom line. And so the presentation of live music is both his business and his art.
"People think that I'm a funny guy in funny clothes that rides a golf cart and runs around," Davis said. "But it's a life, and a professional career.
"My mom once said, 'When are you going to stop with this music stuff and get a real job?' And I said, 'Mom, as long as I work 24 hours a day, seven days a week, I'll never have to get a real job.'"
Inside the Camp Street headquarters of his event production company, Festival Productions Inc.-New Orleans, Davis greets a visitor in typical workday attire: faded blue jeans, vintage New Orleans Jazz T-shirt and tennis shoes.
His is not a typical office. His "desk chair" is an authentic African throne of goat hide and riveted metal, a gift from a troupe of dancers from Ghana. Walls and flat surfaces erupt in photos, posters, mementos and folk art.
And alligators. Davis is way into alligators.
He is every bit as colorful as his office. His ego is robust, his fashion sense, or lack thereof, legendary. A lifelong bachelor with no children, he cranks Howlin' Wolf in his custom-painted Camaro Z28, dates women decades younger and relishes late nights and an adult beverage or two.
His temperament suits his occupation. He is able to remain cool in a crisis, deal with volatile personalities and controlled chaos, and accept the fact that the seven festival dates he toils all year to plan are at the mercy of a variable beyond his control: rain.
He is discreet, and can positively spin just about anything -- including Jazz Fest's booking of Bon Jovi.
"Here's a guy," Davis said, speaking of Jon Bon Jovi, "who was chosen by Barack Obama to sing 'A Change is Gonna Come.' He was phenomenal. It was soulful. It was fantastic."
Opinions about Davis and his stewardship of Jazz Fest are varied and plentiful. He tries to avoid the haters.
"I'm sure it's out there -- it comes with the territory," he said. "Mostly it doesn't get to me. Most of the people who talk to me are nice. I'm not a big blog reader. I went on there once recently and it was so upsetting that I stopped reading."
Such opinions are often not informed by his past or perspective.
He spent years on the road with Professor Longhair; managed concert tours by Duke Ellington, B.B. King and Muddy Waters; went to jail with Chuck Berry at gunpoint in Spain -- and talked his way out.
He moves among music's elite. He counts Paul Simon and Jimmy Buffett as friends and he has dated Linda Ronstadt. He escorted U2's Bono and The Edge to a second-line and high-fived Lil Wayne court-side in celebration of Hornets star Chris Paul's heroics.
Yet he is equally at home among Mardi Gras Indians, social aide and pleasure club marchers, and shirtless villagers in Benin. Perhaps more so.
It is not the life to which he seemed destined.
Arthur Quentin Davis Jr. was born in November 1947, the first of three children. His family stretches back generations in Louisiana, to the state's first rice mill in Point a la Hache.
His mother served on the state museum board. His father literally redrew the New Orleans skyline.
Arthur Davis Sr. or his architectural firm designed the Superdome, the New Orleans Arena, the UNO Lakefront Arena, the Marriott, Hyatt, Royal Sonesta and Royal Orleans hotels, the now-demolished Rivergate and elements of Louisiana State Penitentiary at Angola, among many others.
Growing up, young Quint listened to gospel and rhythm-and-blues radio stations with his family's domestic help. He'd sleep with the radio under his pillow, subconsciously soaking it in.
Attendants at a neighborhood gas station took him to Dorothy's Medallion Lounge to hear saxophonist James Rivers. Photographer Jules Kahn, a friend of Davis' parents, introduced him to New Orleans street culture: second-lines, jazz funerals, Mardi Gras Indian practices.
Theirs were often the only white faces. "I thought that was normal life," Davis said.
Deacon John, Irma Thomas and Tommy Ridgley played at his Metairie Park Country Day School dances. Davis was voted "best twister" and says he learned to "pop the gator" by watching older students, including Pres Kabacoff, now a prominent developer.
He graduated from Country Day in 1965 and set out for Lake Forest College near Chicago. He didn't like it, and returned to New Orleans to pursue a different education, in gospel churches and neighborhood blues bars.
He embraced his inner hippie. He lived in the French Quarter and played tambourine and danced in the psychedelic band Yesterday's Children. He hung out at a head shop in the French Quarter called the Love Shop.
Awakened to the possibility of a career in music, he enrolled at Tulane University as a drama and ethnomusicology major. "That was the first time I thought of looking at indigenous culture with some kind of academic concept, because I was part of it," he said.
At Tulane, he let his freak flag fly: long hair, tortoise-shell glasses with yellow lenses, a "soul patch" under his bottom lip, a toothpick in his mouth. He formed a student organization called GIT -- for Get It Together -- to book shows at the student center.
One featured keyboardist Wilson "Willie Tee" Turbinton's band and the Wild Magnolias. During the Magnolias' set, Willie Tee took a seat at his keyboard and started vamping. It was the genesis moment for Mardi Gras Indian funk.
During Indian practices at bars, Davis had noticed that jukeboxes were switched off until practice was over. He came to believe the Indians' music deserved a place on the jukebox, too: "I wanted to make that bridge."
In 1970, Davis formed a record label, Crescent City 25 -- he likes multiples of five -- and released the Wild Magnolias' first single, "Handa Wanda." The yellow label identifies the record's producer as "Cosmic Q," aka Quint Davis.
Cosmic Q was not the most dedicated student. A former secretary in the Tulane dean's office recalled Davis playing a conch shell during frequent visits to check his academic status. "He was something else," Barbara Jenkins said.
Davis eventually dropped out of Tulane. But not before he met the man who would change the course of his life, and New Orleans music.
By 1969, George Wein was already a music industry legend. A blunt-talking jazz pianist from Boston, he had built a business promoting jazz and blues tours. He pioneered contemporary music festivals with the Newport Jazz Festival in 1954.
In the 1960s, New Orleans civic leaders wanted to boost tourism. They approached Wein about launching a jazz festival in New Orleans. City ordinances prohibiting interracial bandstands rendered the idea untenable. They tried again a few years later, only to discover that Wein, who is Jewish, had married an African-American woman. The idea was tabled again.
An International Jazz Festival in 1968 and$?'69, staged without Wein, lost money. Propositioned once again, Wein agreed to produce the first New Orleans Jazz and Heritage Festival in the spring of 1970. Nighttime concerts at the Municipal Auditorium would augment a daytime Louisiana Heritage Fair of local music, food and crafts in what is now Armstrong Park.
Wein needed a "kid" to round up local musicians for the Heritage Fair. He consulted Preservation Hall founder Allan Jaffe, who steered him to Dick Allen, proprietor of the Hogan Jazz Archives at Tulane. Allen recommended Davis, a student worker at the archive.
Wein hired him over beignets at Cafe du Monde.
"When George said, 'I want to do this festival that has blues and gospel and Cajun and zydeco,' I said, 'I know some of those people. I'll go ask them to come.'$?"
One afternoon Wein and Davis heard Professor Longhair's "Go to the Mardi Gras" on a jukebox. "George says, 'Who's that?' And I said, 'It's not anybody. It's just a song that comes on every year at Mardi Gras.' And George said, 'Well, it's somebody. You find that guy.'"
That led Davis to Longhair, aka Henry Roeland Byrd. Destitute, unknown and in poor health, the pianist's best days seemed far behind him.
Davis became Longhair's manager. They traveled in a green station wagon and slept on floors. Allison Miner, Davis' girlfriend at the time, later took over Longhair's management; she also played a critical role in Jazz Fest's development. By the time of his death in 1980, Longhair was a beloved icon of New Orleans music.
Davis' path was set. "After 1970," he said, "every spring it was either Jazz Fest or a geology exam."
Jazz Fest won.
"My father went to Newman, then Tulane, then Harvard," Davis said. "And I tell him I'm dropping out of school to live in a green station wagon with someone named Professor Longhair."
The senior Davis rolled with it.
"I've always supported whatever he wanted to do," Arthur Davis said. "If that's the direction he wanted to go, I supported it. It turned out pretty well."
Wein took a shine to Davis and hired him for other festivals and tours produced by Wein's company, Festival Productions Inc. Davis worked the 1971 Newport Jazz Festival, which ended in a riot triggered by gate crashers.
"The first big festival I did, they burned the stage down under my feet," Davis said. "Everything after that's been calmer."
A firm believer in "sink or swim," Wein dispatched Davis as the assistant tour manager for Duke Ellington's 1971 tour behind the Iron Curtain. Armed troops flanked stages. In Romania, officials refused to let Ellington encore. Davis packed up the musicians' gear as the defiant audience cheered.
"I'm on stage by myself and the whole audience is standing out there pouring their hearts out," he said. "Little hippie me learned real quick what freedom was and wasn't on that trip."
Two years later, Wein promoted Davis to manager of a B.B. King tour of Senegal, Ghana and Nigeria. Davis later shepherded Muddy Waters across Africa, and traveled the globe with Chuck Berry, Fats Domino and John Mayall.
"This," Davis said, "is like if a kid who collects baseball cards in his garage gets a call that says, 'Can you come pitch in the World Series next week at Yankee Stadium?'"
Working for Wein, Davis learned the concert business "from real music professionals, instead of coming up as some hippie in the rock business. George understood what a bottom line is. How to construct it, how to maintain it, how to work to it."
Wein introduced him to the "economics of creativity."
"I never thought of those two things in the same place before," Davis said. "Something important only comes out of longevity. And the only way to achieve longevity is to master the economics of creativity. Otherwise, you'll do something that will be great -- once -- and lose a lot of money."
The economics of creativity took hold slowly at the New Orleans Jazz and Heritage Festival. The inaugural festival in 1970, budgeted at $80,000, reportedly lost $40,000.
In 1972, Wein and Davis moved Jazz Fest to the New Orleans Fair Grounds. Davis' father signed a $25,000 line of credit to keep it afloat. "George went to my dad and said, 'I think I found a direction in life for your son. You think you could go to the bank with me and sign a note?'"
In a move he would later regret, Wein assigned ownership of Jazz Fest to a nonprofit board, the New Orleans Jazz and Heritage Foundation. Early on, the board's members included Arthur Davis and others who generally let Wein and Quint operate as they saw fit.
But as the board grew, members sought more oversight and control of the festival. Separately, a group led by writer Kalamu ya Salaam pushed for more African-American involvement.
Around 1982, Davis took a year off from Jazz Fest. "I was going through growing pains," he said, "and needed to get away."
He drove his Corvette to Winter Park, Fla., where he and Wein partnered in a new festival. "It was the first time I ever took a risk," Davis said. "It was a terrible failure. George said, 'OK, you owe $40,000.' It took me years to recover."
He soon returned to New Orleans and Jazz Fest. Wein ceded more control to Davis, who became a fixture on stage.
"I only got to announce acts because nobody knew how to get them off," he said. "Running a show on time is not about an introduction; it's about an out-troduction. When a band's time is up, I had to learn to go out there and take the microphone and take them off."
Through the 1990s, Jazz Fest grew exponentially. In 1995, Davis and Wein signed their first contract with one another, forming Festival Productions Inc.-New Orleans and launching the Essence Music Festival in the Superdome with Essence Magazine founder Ed Lewis. It, too, grew quickly.
At Jazz Fest in 2001, the Dave Matthews Band headlined the single largest day in the festival's history: 160,000 attendees.
Davis' stature astride two of New Orleans' major cultural events seemed secure.
But it wasn't.
After the 2004 Jazz Fest lost $900,000, the Jazz and Heritage Foundation board put production of the festival out to bid. The board eventually voted to retain Davis and Wein, but demanded certain financial guarantees.
Davis went looking for a partner with deep pockets. He found one in AEG Live, the international concert industry powerhouse that had initially bid against him.
In 2004, Davis and AEG signed a five-year agreement, with two five-year options, to co-produce the festival for the Jazz and Heritage Foundation. The 2005 festival was a success.
Then came Hurricane Katrina. The 2006 Jazz Fest was in jeopardy, Davis said, until Shell Exploration Co. propped up the bottom line with a "presenting sponsorship."
Surrounded by musicians, Davis choked up at the news conference to announce Jazz Fest was on.
"Irma Thomas started patting me like a church woman," Davis said. "Everybody had those Katrina moments, where you're talking and all of a sudden you lose it. The musicians were coming back so that the festival could live, and New Orleans music could live. And it just hit me out of the blue."
The 2006 Jazz Fest was a triumph, highlighted by Bruce Springsteen's set for the ages. That summer, with the status of the Superdome still unclear, Davis and his team rebuilt the Essence Music Festival in Houston. The next summer, they brought Essence back to a refurbished Dome.
Meanwhile, Ed Lewis had sold Essence Magazine to Time-Warner. A new regime took over. In January 2008, Davis received a call: Essence had hired a different producer for the festival. Adding insult to injury, that producer was Rehage Entertainment, one of the firms that had tried to wrest away Jazz Fest.
Davis was stunned.
"The loss of Essence was a real body-blow to our company and everybody that works here," he said. "We envisioned, gave birth to, created and built the No. 1 African-American social and cultural event in the world. To lose that was like having your guts torn out."
He couldn't bear to attend the 2008 Essence. He spent a lost weekend in the Caribbean instead.
Sixteen months later, he concedes that perhaps he had grown complacent. Getting fired fixed that.
"It threw open the curtain, and all this light is flooding in," he said. "It turned all the juices back on. It's a challenge, to reinvent ourselves, start over and go out and create new festivals that we own."
To that end, in October 2008 Festival Productions and AEG co-produced Festival New Orleans in London the same weekend the Saints played the Chargers there. Allen Toussaint, Dr. John, Kermit Ruffins, the Rebirth Brass Band, Big Chief Monk Boudreaux and John Mooney performed.
And Davis hints that two more "major" projects are inching toward reality.
"How many times in one lifetime can you climb the mountain? Jazz Fest and Essence, two of the greatest festivals in the world -- can you do that again?
"Yes, you can. That's very energizing, at this stage in my career."
Davis oversees the booking of bands for Jazz Fest and personally assembles the "cubes," the stage-by-stage, hour-by-hour schedule. "When I got behind a desk, even one as weird as mine, and took on the responsibilities of running a business, I kept that part to myself," he said.
Depending on who you ask, Jazz Fest is either too slow or too quick to change. "We're always 'ruining' the festival," Davis said, echoing a charge he has heard for decades.
He argues that the festival cannot be defined by one or two bands out of 600. And the high-dollar headliners of the AEG era -- Billy Joel, Rod Stewart and now Bon Jovi -- are necessary, he says.
"In order to have a traditional music/jazz/blues/Cajun music festival that draws 300,000 people over seven days -- how else could it happen?" Davis said. "How many tickets and records do those acts sell? Those of us who have spent our lives producing and promoting blues, gospel, jazz in particular -- we know. This is the least commercial music there is.
"But more people have seen gospel at Jazz Fest than anywhere else. Really straight white people come up to me in airports and say, 'I just go sit in the Gospel Tent.' These people go home and go to a blues club they never went to or buy a Cajun or zydeco record."
When Jazz Fest added another stage in 2005, it wasn't a jam band or indie rock stage, but the Jazz & Heritage Stage dedicated to brass bands and Mardi Gras Indians.
"I guess that goes back to the weird old producer who grew up in the street at second-lines," he said. "But if we're going to be a festival of the heritage of jazz and New Orleans, that's the taproot. That's the heart and soul. That's who we are."
When the options on his Jazz Fest contract run out, Davis will be in his 70s. He says age won't slow him down "because I've got a golf cart." George Wein is 83, he notes, and is still performing and working on the 55th anniversary Newport Jazz Festival.
"I don't think you stop," Davis said. "If it's what you do, it's what you do."
His vocation is "like falling in love every day. People in all businesses get blase and jaded. I can't understand that. It's just as unbelievable and thrilling to me, every day, every minute, as it was when I got the call to take B.B. King to Africa."
However the remainder of his life and career play out, it will likely be in New Orleans.
"There's no better place to come home to," he said. "You don't eat the same, you don't dance the same, you don't make love the same, none of that.
"In New York and L.A., if you start to fall, you're going to hit the ground. In New Orleans, you will never hit the ground. New Orleans people will catch you and hold you and put you back up."
And they don't care how you dance.
Late, late on Mardi Gras, Davis slipped into "reptile mode" at the Maple Leaf and crawled on stage amid the Rebirth Brass Band, popping the gator like crazy.
Days later, a woman behind the counter at a seafood store recognized him.
"She said, 'I know you! I saw you dancing at the Rebirth on Mardi Gras! You can dance!' The woman selling me boiled crabs at Kjean was praising my gatoring at Rebirth. What a city. What a life.
"I started here as a kid thinking this was great. Forty years later, it's greater than I thought."


text:
I have been using Macintosh Common Lisp (MCL) for several years. Now I am switching to Clozure CL/Emacs on Windows Vista.
The first problem is I cannot load/compile my files successively. I use (load (compile-file "....")).
* Every .lisp file is "complied" to *.wx64fsl. But every wx64fsl file has size 1KB. I doubt my lisp files are actually compiled.
* When I tried to call some functions in my files, all I get is "undefined function".
* When I enter SLIME, select a function and "compile region", I can successively compile this function.
I am still in the very first stage of this system switch. Very frustrating....I will be very grateful if anyone can provide any tips.
Thanks a lot!!!!!

subset: commoncrawl


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Alexander Dugin and Eurasianism
Philosopher and political scientist Alexander Dugin, born in 1962 in Moscow, is a controversial figure in the Russian political landscape. His political biography encompasses different allegiances and ideologies he has been described as a fascist, an anti-Semite and a radical anti-Westerner. Dugin was one of the founders of the National Bolshevik Party, a nationalist outfit. The Party was declared an "extremist" organisation by a court decision in 2007 and has been banned ever since. Dugin is currently the leader of the "International Eurasian Movement", which aims to promote Russo-centric integration in Eurasia. The movement's ultimate objective is the creation of a common political and ethnocultural space in Eurasia under Russian leadership.
In an interview with the Ekho Moskvy radio station on the occasion of the August 2008 war with Georgia, Dugin expressed his full support for Russia's military intervention in Georgia. He argued that international law and post-WWII borders were no longer binding:
"In this case, when the old [international] legal system has collapsed due to the change in the balance of powers, the law of the strongest, again, triumphs over rights … I actually think that we should not stop at liberating South Ossetia but should move further."[25]
"It's very simple: there are friends and foes, and nothing else is important. And we have to do something similar in Ukraine."[26]
Dugin has been successful in attaining recognition in Russia. The Eurasianist ideology has allied itself to Russia's official foreign policy orientation in the 2000s. Dugin, in fact, was an advisor to Gennadiy Seleznev, former Speaker of the State Duma. In 2008 Dugin became a professor at Russia's highly prestigious Moscow State University, where he heads the Centre for Conservative Research at the Department of Sociology. Dugin's Eurasianist movement has its own website, www.evrazia.org, containing Dugin's publications, public lectures, and so forth.
An article in Open democracy from September 2008 sees Dugin's ideas gaining ground in Russia:
"Dugin presents himself today as a 'radical centrist' and ardent supporter of Russia's authoritarian domestic and anti-Western foreign policies. Both his impassioned articles in defence of Putin and his especially rabid anti-Americanism are, apparently, popular in the Kremlin and in Moscow's 'White House' (the seat of the federal government). No other explanation is possible for Dugin's frequent appearances on popular evening shows on Russia's government-controlled TV channels."
"Mikhail Leont'ev, one of Russia's most well known TV commentators and, according to some information, Putin's favourite journalist. In 2001 Leont'ev took part in the foundation of Dugin's Eurasian movement; subsequently, he was, for some time, a member of that organisation's Political Council. In February this year, Ivan Demidov, a popular TV presenter, was promoted to Head of the Ideology Directorate in Putin's United Russia party. This happened in spite of the fact that only a few months earlier Demidov had professed to be a pupil of Dugin and announced that he would use his talents as PR manager to disseminate Dugin's ideas."[27]
Dugin was very outspoken during the Georgian conflict:
"Alexander Dugin, a famous proponent of neo-Eurasianism in Russia, is heavily involved in the crisis between Russia and Georgia. On August 26, he visited South Ossetia to celebrate the recognition by the Russian Duma of the independence of the small republic and to welcome the 'long-awaited renaissance of the Russian empire'. The Ossetian issue is indeed steeped in history. From the nineteenth century wars in the Caucasus, the Ossetians positioned themselves as allies of Moscow in its conquest of the region … Dugin has taken a position clearly in favour of the intensification of conflict with Georgia, arguing that the Caucasus is at the heart of American strategies to 'destroy Russia'. His stance is therefore simultaneously based on geopolitical arguments (avoiding the encirclement of Russia by states defending U.S. interests), cultural arguments (preventing what he called 'genocide' of the Ossetian people by Georgians), and territorial arguments (the rest of the Ossetian people, in North Ossetia, are already integrated into Russia)."
"To influence public opinion, Dugin in 2005 formed the Union of Eurasianist Youth. This group is notable for its forceful actions, organizing the first 'Russian March' on November 4, 2005, following with numerous forays into Ukraine and Estonia to destroy symbols of independence and protect symbols of the Soviet Union, particularly those related to the Second World War. In autumn 2007, it attacked the Ukrainian cultural center in Moscow, which then hosted an exhibition devoted to the famine of 1930. This year, like many other nationalist associations, the Union of Eurasianist Youth invited young people to participate in the resistance in South Ossetia. In August, the movement organized an 'Eurasianist camp' in the South Ossetian capital Tskhinvali just after the departure of Georgian troops."
"Dugin appears to have a new ally in the Kremlin, Ivan Demidov. A former journalist who became one of the new engineers of patriotism through his 'Russian Project', Demidov took the lead of the pro-presidential youth group, the Young Guard (Molodaia Gvardiia). In May 2008, he was promoted to lead the ideological arm of the presidential party. Dugin and Demidov have known each other for several years since they worked together on the Orthodox-oriented television channel Spas and on television programs like 'Russian View'. Demidov promotes ethnocentric and Orthodox nationalism, inviting the country's elites to free themselves of the taboo associated with the russification of Russia. He supports the ideas of Vladislav Surkov on modernization without Westernization."[28]
Alexander Dugin's vision for the Caucasus also highlights the potential for Russian-Turkish rapprochement. Some of his most important Turkish contacts are currently on trial in Turkey, however, as part of the so-called Ergenekon investigation:
"The Caucasus region represents a stress point for Eurasian integration since the heterogeneity of its cultures and ethnic groups easily turns it into a high tension zone. This characteristic is usually exploited by the forces which aim to thwart integration processes in Eurasia. The Caucasian enclave is populated by peoples belonging to different states or to different civilisational spheres. This region is meant to become a laboratory for integration, since an adequate Eurasian federated model for the Caucasus would showcase the advantages of the adequate restructuring of the entire Russian-Central Asian zone. According to the Eurasianist vision, the Caucasus question is solved not through the creation of mono-national (mono-ethnic) states, nor through the inclusion of certain peoples into regional states, but through the creation of a flexible federation on an ethno-cultural and confessional basis.
This integration project would thus feature a system of semi-axes between Moscow and Caucasus centres, such as Moscow-Baku, Moscow-Yerevan, Moscow-Tbilisi, Moscow-Makhachkala, Moscow-Grozny, etc., on the one hand, and between Caucasus centres and Russia's allies in the Eurasian project on the other (Baku-Ankara, Yerevan-Ankara, Yerevan-Tehran, etc)."[29]
[25] Interview with Alexander Dugin, by Matvei Ganapolskii. Ekho Moskvy, talk show "Osoboe mnenie," 8 August 2008.
[26] Interview with Alexander Dugin, by Matvei Ganapolskii. Ekho Moskvy, talk show "Osoboe mnenie," 8 August 2008.
[29] Alexander Dugin, "The Eurasianist Idea" (in Russian).
- Alexander Dugin, "The Georgian Scenarios" (in Russian), Rossiiskaya Gazeta, 6 February 2004.
- For a more detailed analysis of Alexander Dugin's Eurasianist ideology, see Anton Shekhovtsov, 'Aleksandr Dugin's Neo-Eurasianism: The New Right à la Russe', Religion Compass, Vol. 3, No. 4 (2009), pp. 697-716.
- An article on Dugin's views from 2001 finds that:
"Eurasianists were in many ways similar to traditional Russian nationalists. For example, they believed in the corporate/collectivist nature of Russia/Eurasia and asserted that Western-style democracy was foreign to the country's political culture. They also berated the West for its absence of a grand goal and a sense of spiritual messianism. For them, the West was crass, materialistic and, of course, morally rotten. What made the various brands of Eurasianists different from traditional Russian nationalists was their assumption that Russia's spiritual tone was not so much Slavic as Asian in origin."
Dugin, in the same article, is quoted as saying that "a confrontation between the West and Eurasia is inevitable":
"And I was the first to state this. I was the first who made this clear even in the beginning of the Yeltsin era, when everyone was confident that Russia would become a part of the West. Everyone who has stated that Russia will clash with the West took these ideas from me. And what I say is on the mind of the Russian elite."
The author goes on:
"A grand explosion, presumably nuclear, will be the final outcome of this confrontation. … Dugin's hatred of the West is so intense that he regards the flames of mutual self-destruction as a better alternative to that of existence of the West … Recent developments give some credibility to Dugin's assumptions that the Westernism of the present day Russian oligarchy, whether they are ethnic Russians or Jewish, is a fleeting phenomenon, and that they will eventually have to join the Russian nationalists and prepare Eurasia for a showdown with its arch enemy, the United States … Dugin's views, i.e., the sense of hostility to the West, seem to be spreading among the Russian elite, and not only among those who disagree with the government. In a public radio interview, the editor of one of the new Russian magazines stated that Russia and Nato are on a collision course and the Russian elite should strengthen the country's armed forces to be ready for all eventualities."
Privileged Interest? The Russian debate on the South Caucasus
- Russias dilemma: partnership or empire?
- Medvedev and Putin on red lines in the Caucasus
- Establishment Debates: CFDP and Russia in Global Affairs
- The debate in Russia in Global Affairs
- Russia, Georgia, the world in 2009: Sergey Karaganov
- The EU, Russia and the Caucasus: Timofei Bordachev
- Political Technologists: Gleb Pavlovsky
- The Centre for Political Technologies
- Alexander Dugin and Eurasianism
- Opposition Voices: Garry Kasparov
- Russia as Aggressor: the view of Andrei Illarionov
- Dissenting voices: Ekho Moskvy and Yulia Latynina
- Mainstream views on Russian TV
- Judge for yourself: Maxim Shevchenko and the Caucasus
- Pavel Felgenhauer and Novaya Gazeta
- Masha Lipman and the Carnegie Moscow Centre
- The Russian Debate online


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Nelly Furtado on tour with "Loose" – and with Sennheiser technology
For six weeks, Nelly Furtado presents her platinum-selling album "Loose" as a stunning stage show in Europe, the USA and Canada. And the perfect sound was provided by Sennheiser, including two evolution microphones in white and gold that were specially made for Nelly Furtado.
The performer could hardly have hoped for a better start to her European and American tour: at February's Brit Awards in London, the 29-year-old won the "Best International Female Solo Artist" category. With this award in the bag, she set off on the six-week long tour to present live performances of her album "Loose", a breathtaking mixture of Nelly's typical folk rhythms, hip hop elements, rap, echoes of reggae and her unmistakable, energy-packed beat.
When she performs songs like "Maneater", "Say it right" or "Promiscuous" on stage, everything has to be perfectly coordinated: lighting, special effects, choreography, costumes… As a special touch, Nelly Furtado asked Sennheiser to make a special version of her favorite microphone, the SKM 935 from the "evolution wireless" series, in white and gold. "That's two wishes come true," she said. "I get perfect sound and it looks great, really going together with the design of the show."
But these two microphones were only the start: the entire microphone and monitoring technology for the stage show was provided by Sennheiser. "I think it's really fantastic for my show to use Sennheiser equipment. It gives me more confidence and security," Nelly Furtado explained. A stage show of such proportions is a technical and logistical tour de force for the entire team. "We have to make sure night after night that everything is perfect," said Jeffrey Holdip, head sound engineer on Nelly Furtado's tour. "With the Sennheiser equipment — wireless microphones, wireless monitoring and wireless system management — we know that the technical part will not fail, and that we get exactly the sound we want Nelly to have. Other things might fail, but not these, and that gives us a lot of confidence."
The "Loose" tour will continue in the US and Canada until June and return to Europe in July: to Portugal. For the daughter of Portuguese parents a fitting finale to her mega tour, almost like playing in front of a hometown crowd.
As one of the world's leading manufacturers of microphones, headphones and wireless transmission systems, the Sennheiser Group with its headquarters in Wedemark near Hanover, Germany, had total sales of about €300 million in 2005. The export share is 82.5%. Sennheiser has a total workforce of more than 1,650 employees, of whom about 60% are employed in Germany. Sennheiser is active worldwide and, in addition to other partnerships, has its own sales subsidiaries in France, the UK, Belgium, the Netherlands, Denmark, India, Singapore, Canada, Mexico and the USA.
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Weekly merger, acquisition, deal update: June 7
This week Morrissey Goodale reported seven domestic deals and three international deals involving Canada, the United Kingdom, South Africa, Australia, Switzerland and Mexico.
This week Morrissey Goodale reported seven domestic deals and three international deals involving Canada, the United Kingdom, South Africa, Australia, Switzerland and Mexico.
M&A Transactions
International design firm Stantec (Edmonton, Canada) announced two buildings-focused acquisitions this week. Stantec acquired the assets of IBE (Sherman Oaks, CA) a 50-person buildings engineering firm that specializes in high-performance, sustainable design of mechanical, electrical, and plumbing systems. Stantec also acquired AP/ID (Vancouver, Canada), a 20 year old provider of interior design services to a variety of corporate clients. Link to details
Environmental science and planning consulting firm Environmental Science Associates (ESA) (San Francisco, CA), announced that Vigil-Agrimis (Portland, OR), a professional design firm specializing in water and natural resource management, has joined with ESA. Link to details
Engineering, planning and scientific firm Fay, Spofford & Thorndike (FST) (Burlington, MA) announced the acquisition of 22-person civil and environmental engineering company DeLuca-Hoffman Associates (DHAI) (South Portland, ME). Link to details
Engineering and environmental firm, Partner Engineering and Science (Torrance, CA) has acquired the assets of engineering firm Birdsall Services Group (Eatontown, NJ) out of bankruptcy. Partner indicated they intended to operate Birdsall under the Partner name and to pick up all of the firm's existing public and private contracts. Link to details
Jacobs Engineering (Pasadena, CA), a global technical,professional, and construction services firm acquired specialist wireless telecommunications infrastructure design and construction firm Compass Technology Services (Atlanta, GA). Link to details
Foster Wheeler (Zug, Switzerland) acquired one of Mexico's largest engineering and project management companies NorthAm Engineering (Monterrey, Mexico). Link to details
Natural resources-focused EPC firm Forge Group (Perth, Australia) acquired Taggart Global (Canonsburg, PA), a provider of engineering, EPC and asset management services to the mining industry. Link to details
Hill International (Marlton, NJ), a global construction services firm, acquired Binnington Copeland & Associates (BCA) (Johannesburg, South Africa), a 25 person provider of commercial and contractual consulting and training services to the construction industry. Link to details
Woolpert (Dayton, OH), a national infrastructure management, design and geospatial firm acquired Kings Canyon Technology (KCT) (Reedley, CA) a professional services firm focused on delivering permitting, land and licensing solutions. Link to details
HLM (London, UK), an architecture, landscape and urban design, interiors, and environmental firm announced a strategic investment to rescue the brand of Llewelyn Davies (London, UK), which had previously closed its practice in April. The new practice will be known as Llewelyn Davies and be run independently of HLM. Link to details
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Missoula Air Quality Unhealthy for Saturday [AUDIO]
The Missoula City County Health Department's website says when visibility gets down to 1.3 miles because of wildfire smoke, the air quality rating moves to 'hazardous'. At 5 a.m., The National Weather Service rated visibility at 3 miles.
Forecaster Jen Pallister says at its worst, visibility was down to one and a half miles on Friday afternoon, prompting school officials to move Friday night's Missoula Hellgate-Kalispell Glacier homecoming football game to Saturday at 7 p.m. at the Ronan High School.
When air quality reaches the hazardous level, the health department advises that outdoor athletic events be cancelled and practices moved indoors, however at 'unhealthy' levels, it is up to each individual as to how long to expose themselves to the smoke.
The University of Montana-Liberty football game is scheduled for a 1:30 p.m. kickoff inside Washington-Grizzly stadium.
Forecaster Jen Pallister


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|System: PS3, X360
|Review Rating Legend
|Dev: Criterion Games
|1.0 - 1.9 = Avoid
|4.0 - 4.4 = Great
|Pub: EA Games
|2.0 - 2.4 = Poor
|4.5 - 4.9 = Must Buy
|Release: Jan. 22, 2007
|2.5 - 2.9 = Average
|5.0 = The Best
|Players: 1-2
|3.0 - 3.4 = Fair
|ESRB Rating: Everyone 10+
|3.5 - 3.9 = Good
by Amanda L. Kondolojy
December 17, 2007 - Burnout has been one of the most successful vehicular franchises since it's induction in 2001 on the PlayStation 2. It's one of the rare series that was able to retain the same formula that it gave us nearly seven incarnations ago. However, it's made enough steady improvements over the years to keep itself fresh and updated. Now the Burnout franchise returns to the Xbox 360 and the PlayStation 3 with its newest entry, tentatively titled "Burnout Paradise"
I've known for quite some time that Burnout: Paradise was going to be awesome. Call it pure speculation or gamer's intuition, but from the moment we first got details on this hot upcoming title, I was impressed with the great strides the series was making in terms of gameplay. The expansion of the overall game experience, including the incorporation of an open-world system and the less-structured event experience, all sounded like positive steps for the newest itineration of the Burnout series. The word "hyped" did not begin to cover the enthusiasm I had awaiting this game. I knew it would be a difficult few months to wait for this one, but I was ready to endure it.
As I've said before, the main draw of Burnout: Paradise will be its open-world system. You'll be able to drive around and discover new challenges and gameplay options as you progress through the game. All of the events in the game will take place on the same map, so it helps to drive around a bit to get a feel for the area, and where major landmarks, shortcuts, ramps, and other noteworthy objects are. The demo gives you plenty to explore, so you could easily spend an hour or so just driving around the map and learning about your surroundings.
Once you become well acquainted with where you are, you can find challenges. Challenges will appear on your map and will be available at different stoplights. You start off with only one challenge in the demo, but you can unlock more as you go along. Challenges include a race, burning lap, and the all-new stunt challenge. The race challenge, as you might expect, involves the player and a number of A.I. opponents all vying to reach the finish first. Burning lap is also a very predictable challenge that entails getting from one spot on the map to another. This challenge is one of those that definitely require a working knowledge of the map and several shortcuts, as there is no way to complete it without cutting quite a few corners.
The new mode, stunt mode, plays a lot like the various other destructive modes from previous Burnout titles, but it's not as easy as some in previous titles. While other modes gave you buku points for things like driving on the wrong side of the road and near-misses, Burnout: Paradise ups the ante. You'll have to perform jumps, barrel rolls, and perform high-level takedowns in order to score points in stunt mode. And since the demo's stunt challenge sets the bar high at a cool 50,000 points, you'll definitely have to work to gain some momentum in this mode. Even Burnout veterans may have to go through Stunt mode a few times to get the hang of all the new features and ways in which you can score points.
Although exploring the map and playing in the various challenges offered by the demo is extremely fun, they're not the centerpiece of the demo. The best part of the Burnout: Paradise demo has to be the online functionality. The sneak peek into how the online mode will work with the open world system is a definite boon for the demo because the online integration is seamless. You can pull up an online menu while you are driving around with just the touch of a button and decide on a specific online mode to join, and then you can decide whether you want to create a new game or join one already in progress. Once you decide on the mode, then you drive around the open world, bumping into opponents and causing destruction until the game leader decides on a challenge.
Although there are many more online modes promised, the demo only gives us insight into the FreeBurn mode, which includes both cooperative and competitive challenges. Among these is a challenge that tests your ability to get to a certain landmark by way of driving off a ramp on top of a parking garage and a challenge that has you smashing billboard signs. Sound fun yet? Online play also lets you crash into things and takedown other players, even if the challenge is cooperative. So no matter what, you are assured to have a great experience in online multiplayer.
Besides the awesomely fun gameplay, it's worth noting that the graphics in this game look pretty sweet. Cars and locales come to life in extremely vivid detail, and the whole thing just looks smooth and clean. That is, until you get to the crashes. The crashes look decidedly messy, and trust me, this is a good thing. Picture this: you're barreling toward an oncoming bus, your car will slow down, and the colors wash out. You lose control over the car and can sit back and watch as your car gets demolished by the bus. Pieces of your car fly everywhere, as your hood crumples like a tin can from the force of the bus. Your windows are almost immediately smashed out, and by the end of the whole process, your crash has resulted in four or five other cars losing control. You've just become the source of a major traffic situation. Not to mention, your car looks like a smashed cola can. You have a few precious seconds to wallow in your ultimate destructive powers. Then the game goes back into full color and your car re-appears, unscathed as if nothing ever happened. Yes, the crashes in Burnout: Paradise are magic. They look absolutely amazing and provide just the right amount of detailed crash mechanics to make an impression on even the most hardcore Burnout fan.
The Burnout: Paradise demo is expansive to say the least. There's so much to do and explore that this demo just may be enough to tide us all over until next month when we finally will get our hands on the real thing. With a large portion of the game's map to discover, different challenges to try out, and online modes to explore, you'll have plenty of time to hone your skills and become a Burnout master!
Amanda L. Kondolojy
CCC Freelance Writer


text:
If you are interested in using this image, please consult Acknowledging the Website.
Image Reference
Anon., The Suppressed Book About Slavery! Prepared for Publication in 1857 (New York, 1864), facing p. 49. (Library of Congress, Prints and Photographs Division, LC-USZ62-30798)
Caption, "The Coffle Gang"; led by white on horseback and black musicians at the front. An eye-witness account of the scene depicted in this illustration is given on pp. 164-65 of this abolitionist book; the scene described is of "about forty men, all chained together. . . . Behind them were about thirty women, in double rank, the couples tied hand to hand...."


text:
i. Biography, and Burtons Library
MSS. Marshall, 132 (Bodleian), an early fourteenth century volume of Statuta Angliae, at one time in the possession of Burtons ancestor, William Burton, who fell in the battle of Towton, 1461. It has been used for memoranda, and contains a pedigree of the Burton family, medical recipes and notes by Burtons father.
The original will of Robert Burton, proved in May, 1640, in the Prerogative Court of Canterbury, is now at Somerset house. (See, also, Stephen Joness Life of Burton in the 1800 edition of the Anatomy, and often in later reprints.)
MSS. Seld. supra 80 (Bodleian). Among the contents is A Note of Mr. Robert Burtons books, given to the Library by his Last Will and testament A° Dni. 1639. The Bodleian contains many books with Burtons autograph. In some, passages are marked by his pen. Those of his books which belong to the library of Christ Church have, through Oslers liberality, been brought together and placed in a special case, with editions of the Anatomy.
Burton, William. Description of Leicester Shire, 1622, pp. 1739. On the engraved title is a birds-eye view of Lindley, the house in which Robert Burton was born. The Brit. Mus. copy (at one time Peter le Neves) has MS. notes on the Burton pedigree.
Hearne, Thomas. His edit. of Benedictus, Abbas Petroburgensis, Oxford, 1735, Appendix ad Praefationem, pp. lv, lvi.
Reliquiae Hearnianae. Ed. Bliss, P. 2nd ed. Vols. I, 282; III, 113, 1145. 1869.
Kennet, White. A Register and Chronicle. Vol. I (all published), 320. 1728.
Lluelyn, Martin. Elegie: On the Death of Master R. B., in Men-Miracles, with other Poemes by M. Ll., p. 124. Oxford, 1646.
Macray, W. D. Annals of the Bodleian Library, pp. 46, 9092, 159. 1890.
Nichols. J. The History and Antiquities of the County of Leicester. Vols. III, 4159, 5579, 1137; IV, 635, 668. 17951811.
Thompson, H. L. Christ Church (College Histories, University of Oxford), pp. 245, 254. Oxford, 1898.
Wood, Anthony à. Athenae Oxonienses. Ed. Bliss, P. Vol. II, cols, 6524. 1815.
Fasti Oxonienses. Ed. Bliss, P. Part I, cols. 296, 305, 357.
ii. Philosophaster, and Occasional Latin Verse
A MS. of Philosophaster was formerly in the possession of W. E. Buckley. Another is in Lord Mostyns library.
Philosophaster, Comoedia; Poemata adhuc sparsim edita, nunc in unum. collecta. Ed. Buckley, W. E. Roxburghe Club. Hertford, 1862. The poems had appeared in Academiae Oxoniensis Pietas erga Jacobum Regem, Oxford, 1603; Musa Hospitalis, Ecclesiae Christi, Oxon., Oxford, 1605; Justa Oxoniensium (in memory of Henry, Prince of Wales, London, 1612); Death Repealed, Verses on Lord Bayning, Oxford, 1638; and similar collections. Buckley did not give all Burtons Latin verse. At the beginning of the 1617 ed. of Riders Dictionarie, corrected by Francis Holyoake, are some Latin elegiacs by Burton addressed to the editor.
An edition of Philosophaster by Bensly, E., is announced as in preparation in W. Bangs Materialien zur Kunde des älteren Englischen Dramas (Louvain).
iii. The Anatomy of Melancholy
The Anatomy of Melancholy, What it is. With all the Kindes, Causes, Symptomes, Prognostickes, and Severall Cures of it. In Three Maine Partitions with their severall Sections, Members, and Subsections. Philosophically, Medicinally, Historically, Opened and Cut up. By Democritus Junior, With a Satyricall Preface, conducing to the following Discourse. Macrob. Omne meum, Nihil meum. 4to. Oxford, 1621. The next seven editions are in folio. The first edition of the Anatomy contains the Conclusion of the Author to the Reader, signed in Burtons own name. Second ed., Oxford, 1624. Third (first with engraved frontispiece explained in English verses, and introductory poems in English and Latin), Oxford, 1628. Fourth, Oxford, 1632. Fifth (begun at Edinburgh and stopped by Burtons printers), Oxford, 1638. Sixth, Oxford, 1651, and London, 1652. Seventh, 1660. Eighth (double columns), 1676. Editions of 1728 and 1738, mentioned in Watts Bibliotheca Britannica, appear to be imaginary. Ninth edition, 2 vols., 1800. For this reprint see Lamb, C., Detached thoughts on Books and Reading, and Coleridge, S. T., Letters, ed. by Coleridge, E. H., vol. I, 428. The 1800 ed. was reprinted several times, and so was that published in 1845.
The Anatomy of Melancholy. Ed. by Shilleto, A. R., with introduction by Bullen, A. H. 1893. Supplies many references, chiefly for quotations from well known authors. Text, apparently, from seventh ed. Reviewed in Academy, 15 Sept., 1894, by Robert Steele, also Athenæum, 6 Jan., 1894; Saturday Review, 17 Feb., 1894; Spectator, 6 Oct., 1894. Reprinted in 1896, etc.; with some corrections, 1904.
W. Aldis Wright has made a collation of all the editions from 1621 to 1676; his work is not yet published.
iv. The Anatomy of Melancholy abridged
Drawn chiefly from
Burtons Anatomy of Melancholy. 1801. A careless reprint was published in 1824 and in 1827. Further eds., 1865, 1881.
v. Comment, Criticism and Imitation
Bensly, E. A hitherto unknown source of Montaigne and Burton. Athenæum, 5 Sept. 1908 (see 6 June and 13 June).
Burtons Anatomy of Melancholy. N. & Q. Ser. IX, Vols. XI, XII; Ser. X, vols. I, II, III, IV, V, VI, VII, X. (Passages from earlier authors identified.)
Burtons Anatomy of Melancholy. Presentation Copy of the First Edition. N. & Q. Ser. X, vols. VIII, XI.
Burton and Fletcher. N. & Q. Ser. X, vol. VI.
Burton and Jacques Ferrand. N. & Q. Ser. X, vol. XI.
The Scene of Burtons Philosophaster. N. & Q. Ser. X, vol. XII.
The title of R. Burtons Anatomy of Melancholy. Mod. Lang. Rev. vol.IV.
Theodorus Prodromus, John Barclay and Robert Burton. N. & Q. Ser. X, vol. XI.
Blackwoods Edinburgh Magazine, vol. XC, 323342. Burtons Anatomy of Melancholy.
Boswell, James. Life of Johnson. Ed. Hill, G. Birkbeck. Vols. II, 121, 440; III, 415. Oxford, 1887 ff.
Brown, T. E. Robert Burton (Causerie). New Review, vol. XIII (1895), 257266. (A curiously perverse and unsympathetic treatment.)
Byron, Lord. Letters and Journals. Ed. Prothero, R. E. Vols. II, 383; V, 184, 392. 18981901. Poetry. Ed. Coleridge, E. H. Vol. II, 236. 18981904. Letters and Journals with notices of his life, by Moore, T. Vol. I, 98. 1830.
Dieckow, Fritz. John Florios Englische Übersetzung der Essais Montaignes und Lord Bacons [sic], Ben Jonsons und Robert Burtons Verhältnis zu Montaigne. Diss. Strassburg, 1903.
Ferriar, John. Illustrations of Sterne. 2nd ed. Vol. I, 82120. 1812.
Fuller, Thomas. The Worthies of England. Part II, 134. 1662.
Greenwood, William. A[char] Or, A Description Of The Passion of Love. 1657.
Herring, Thomas (archbishop of Canterbury). Letters to William Duncombe, pp. 148150. 1777. (Among the wits whom Herring thought to have been beholden to Burton were probably Swift, and possibly Addison. Compare No. 1 of the Spectator with the beginning of Democritus to the Reader.)
Johnson, Samuel. Letters. Ed. Hill, G. Birkbeck. Vol. I, 293, 383. Oxford, 1892.
Jusserand, J. J. Hist. lit. du peuple Angl. Part II, livr. 5, sect. 2, 8739. Paris, 1894.
Keats, John. Poetical Works and other Writings. Ed. Forman, H. Buxton. Vol. II, 40. 1883. See, also, Complete Works, vol. III, 266275, Glasgow, 1901; Marginal notes on Bs Anatomy of Melancholy, vol. II of ed. 1813.
Lake, Bernard. A General Introduction to Charles Lamb, together with a Special Study of his Relation to Robert Burton. Diss. 4991. Leipzig, 1903.
Lamb, Charles. Curious Fragments, extracted from a Common-place Book which belonged to Robert Burton, the Famous Author of the Anatomy of Melancholy, in John Woodvil, A Tragedy, to which are added Fragments of Burton, the Author of the Anatomy of Melancholy. Reprinted with alterations in Lambs Works, 1818. See the Works of Charles and Mary Lamb, ed. by Lucas, E. V., vol. I, 3136 and notes (an imitation of Burton, by Craigie, W. J.), 3948, 19035.
Letters in Lucass Edition. Vol. VI, 159, 161, 173.
Essays of Elia, and Last Essays of Elia. Lucass ed., vol. II, 40, 67, 174. See, also, vols. I, 175, 452, and V, 27, 29.
Nichols, John. Illustrations of the Literary History of the Eighteenth Century. Vol. VI, 210. 1822.
IIEPIAMMA EIII[char]HMION: Or, Vulgar Errours in Practice Censured. 1659. See N. & Q. Ser. X, vol. IV, 123. (J. T. Curry.)
Steevens, George. MS. notes in a 1632 copy of the Anatomy. See Nicholss Leicestershire, III, pt. I, 558.
Toynbee, Paget. Dante in English Literature from Chaucer to Cary. Vol. I, 114116. 1909.
Warton, Thomas, Poems upon several occasions
by John Milton. 2nd ed.; esp. 9496. 1791.
Whibley, Charles. Literary Portraits. Robert Burton, pp. 251288. 1904.
[At the end of P. A. Beckers article (see below, iv) is a general bibliography of Barclays works, translations of his works, and productions that have been attributed to him on dubious grounds. See, also, pp. 34 and 114, 115 of the same essay. Dukas (see below, iv) supplies a bibliography of Euphormio; Collignon, one of Icon Animorum in his Le Portrait des Esprits de Jean Barclay, and one of Argenis in his Notes sur lArgenis. The fullest and best bibliography of the last work is to be found in John Barclays Argenis, by Schmid, K. F. The following select list is necessarily based in great part on these authorities.]
i. Biography
(A useful summary of the original sources for Barclays life and a list of later biographical works and articles is given by Becker, pp. 109111 and 114, 115.)
Abram, Nicolas. Historia Universitatis et Collegii Mussipontani quam conscripsit P. Abram S.J. ab institutione ad annum 1650. In MS. A copy is in the municipal library at Nancy, another in the library at Epinal. A French translation of the parts dealing with John Barclay and Euphormio is printed on pp. 921 of Collignons Notes sur lEuphormion.
Bayle, Pierre. Dictionnaire historique et critique. (For a criticism of the article on Jean Barclai see R. Garnetts life of J. B. in the D. of N B.).
Bugnot, Louis Gabriel. Joannis Barclaii Vita in Bugnots ed. of Argenis. Leyden, 1659.
Dalrymple, Sir David (Lord Hailes). Sketch of the life of John Barclay. 1786.
Gassendi, Pierre. Vita Peireskii. 1655.
Irving, David. Lives of Scottish Authors. Vol. I, 371384. Edinburgh, 1839.
Mackenzie, George. The Lives and Characters of the most eminent Writers of the Scots nation. Vol. III, 476. Edinburgh, 1822.
Ménage, Gilles. Vita Petri Aerodii. Paris, 1675.
Peiresc, Nicolas Claude Fabri de. Lettres. Ed. by Larroque, Ph. Timizey de. Vol. VII. Paris, 1898.
Scaliger, J. J. Epistres françoises de M. J. J. de la Scala. Harderwyck, 1624. Three letters by Barclay on pp. 15, 198, 361.
Thorie, Ralph. In obitum Jo. Barclaii Elegia. Signed R. Th. 1621.
Tomasinus, J. Ph. Elogia. 1644.
Urbain, Charles. Apropos de J. de Barclay. In the Bulletin du Bibliophile, 1891, pp. 315330 (contains some hitherto unpublished letters of Barclay from the Bibliothèque Nationale).
References to Barclay are found in Isaac Casaubons Ephemerides (where we have a glimpse of Barclay in England), the epistolae of J. J. Scaliger, Grotius, Claude Morisot and elsewhere. For a mention of Barclay in Gilbert Gaulmins ed. of Theodorus Prodromus, see N. & Q. Ser. X, vol. XI, 101.
ii. Works
Euphormionis Lusinini Satyricon. (London?), 1603. (See Dukas, p. 29. No copy of this edition is known to exist.)
Euphormionis Lusinini Satyricon nunc primùm recognitum, emendatum, et varijs in locis auctum. Paris, 1605.
Euphormionis Lusinini Satyricon Pars Secunda Nunc primum in lucem edita. Paris, 1607.
Both parts of Euphormio and Apologia were first published together, with separate titles and pagination, in 161011 (s.l.). These three, with Icon Animorum, were first published together in 1616 (s.l.) in the same way. The 1628 (Rouen) ed. first added pt. V (Morisots continuation) which had appeared separately in 1625; the annotated edition of Bugnot with pt. VI (Aletophilus Castigatus) was published in 1674 (Leyden).
The Clavis is first found in the editions of 1623.
Euphormionis Satyrici Apologia Pro Se. Paris, 1610.
In Phaethonta Gallicum (signed I. B.). Paris.
In P. Statii Papinii The baidos libros IIII commentarii et in totidem sequentes notae, cum argumentis. Pont-à-Mousson, 1601.
Ioannis Barclaii Argenis. Parisiis, Apvd Nicolavm Bvon, in via Iacobaea, sub signis S. Claudij, & Hominis Siluestris. MDCXXI.
The Elzevir ed. of 1627 (Leyden) is the first that contains Discursus in Io. Barclaii Argenidem (Clavis). The Elzevir of 1630 (Leyden) is the first that contains Discursus de Autore Scripti (Schmid, pp. 1317).
For Tabula Nominum fictorum, see Schmid, pp. 9 and 16, 17.
Io Barclaii Argenis. Nunc primum Illustrata. Leyden, 1659. (The notes are by Bugnot.)
Joannis Barclaii Icon Animorum. 1614.
Johannis Barclaii Pietas, sive publica regum ac principum, et privata Guil. Barclaii sui parentis defensio adversus Roberti S. R. E. Card. Bellarmini Tractatum. Paris, 1612. (Replied to by Andreas Eudaemon-Joannes in Epistola Monitoria ad Joannem Barclaium Guillelmi filium. Cologne, 1613.)
Paraenesis ad Sectarios. Rome, 1617.
Poematum Libri Duo. 1615. (Dedicated to prince Charles.)
Poematum Libri II cum l. III ex Argenide. Cologne, 1626.
Preface to William Barclays De Potestate Papae, an et quaten us in reges et principes sæculares jus et imperium habet (printed in London, some copies s.l., some with imprint of Pont-à-Mousson). 1609. (Bellarmine attacked this work in Tractatus de Potestate summi Pontificis in temporalibus adversus Gulielmum Barclaium.)
Regi Jacobo primo, carmen gratulatorium, auct. Joanne Barclaio. Paris, 1603. (See Becker, p. 36.)
Series Patefacti Divinitus Parricidii in Ter maximum Regem regnumque Britanniae cogitati et instructi: Nonis IXbribus MDCV. Illo ipso novembri Scripta, nunc demum edita. Printed at the end of the 1628 (Amsterdam) ed. of Euphormio.
Sylvae. 1606. (Dedicated to Christian IV of Denmark.)
According to Fr. Pona (Life of Barclay in his Italian trans. of Argenis), Barclay left in MS. De Bello sacro, dealing with the same subject as Tassos Gerusalemme, and some pages of a History of Europe.
iii. Translations into English
Argenis. A trans. by Ben Jonson was entered at Stationers hall, 2 Oct., 1623.
Barclay His Argenis: Or, The Loves of Poliarchus and Argenis: Faithfully translated out of Latine into English, By Kingsmill Long, Gent. 1625 and 1636. (The verse is by May.)
John Barclay His Argenis, Translated out of Latine into English: The Prose upon His Majesties Command: By Sir Robert Le Grys, Knight: And the Verses by Thomas May, Esquire. 1629. (Southeys copy with MS. notes by Coleridge is in the Brit. Mus.)
Icon Animorum. The Mirrour of Mindes, Englished by Thomas May. 1633.
The Adventures of Poliarchus And Argenis. Translated from the Latin of John Barclay. By the Revd. Mr. John Jacob. Dublin, 1734. (For this English abridgment of Argenis, not mentioned in the bibliographies of Barclay, see Bensly, E., Mod. Lang. Rev. vol. IV, 3925.)
The Phoenix; or, the History of Polyarchus and Argenis, translated from the Latin, By a Lady. 4 vols. London and York, 1772. (By Clara Reeve.)
(For translations of Argenis in other languages, and continuations, see Schmid, K. F. For dramatisations, see Collignon. For translations of Euphormio and Icon Animorum, see Dukas.)
iv. Criticism, etc.
Becker, Ph. Aug. Johann Barclay, 15821621. Zeitschrift für vergleichende Litteraturgeschichte, Neue Folge, Band XV, 33118. Berlin, 1903.
Boucher, Léon. De Joannis Barclaii Argenide. Paris, 1874.
Censura Euphormionis auctore Anonymo. Paris, 1620. (Pierre Musniers Censura Censurae Euphormionis in same vol.)
Coleridge, Samuel Taylor. Literary Remains. Vol. I, 255258. 1836.
Collignon, Albert. Le Portrait des Esprits (Icon animorum) de Jean Barclay. Nancy, 1906. (Extrait des Mémoires de lAcadémie de Stanislas, 19056.) (On pp. 68, 69 is a list of Ouvrages relatifs à lIcon animorum.)
Note complémentaire sur lArgenis. Appendix to C.s Le Portrait des Esprits de J. B.
Notes Historiques, Littéraires et Bibliographiques sur lArgenis de Jean Barclay. (Extrait des Mémoires de lAcadémie de Stanislas, 19012.) Paris and Nancy, 1902.
Notes sur lEuphormion de Jean Barclay. (Extrait des Annales de lEst.) Nancy, 1901.
Dukas, Jules. Etude Bibliographique et Littéraire sur le Satyricon de Jean Barclay. Paris, 1880.
Dupond, Albert. LArgénis de Barclai. Étude Littéraire. Paris, 1875.
Fournel, Victor. La Littérature independante et les écrivains oubliés, essais de critique et dérudition sur le XVIIe siècle, pp. 2124. Paris, 1862.
Körting, Heinrich. Geschichte des französichen Romans im XVII Jahrhundert. 2 vols. Leipzig and Oppeln, 18857.
Schmid, Karl Friedrich. John Barclays Argenis. Eine literarhistorische Untersuchung. 1. Ausgaben der Argenis, ihrer Fortsetzungen und Übersetzungen. Berlin and Leipzig, 1904. (Heft XXXI of Josef Schick and M. v. Waldbergs Literarhistorische Forschungen.)
(For 17th and 18th cent. works on Argenis see Schmid, pp. 167174.)
i. Biography
Archaeologia Cambrensis. New Series, vol. IV, 130. 1853.
Colvile, F. L. Worthies of Warwickshire. Warwick and London, 1870.
Dwnn, Lewys. Heraldic Visitations of Wales and Part of the Marches. Ed. by Meyrick, Sir S. R. Vol. II, 180. Llandovery, 1846.
Hughes of Kinmel, H. R. The Two Hugh Owens. Y Cymmrodor, vol. xvi. 1903.
Leach, A. F. History of Warwick School, pp. 124134. (See Bensly, E., John Owen the Epigrammatist, N. & Q. Ser. X, vol. XI, 21.)
Williams, W. Ll. The Two Hugh Owens. Appendix H to Welsh Catholics on the Continent. Trans. Hon. Soc. Cymmrodorion, Session 19012, pp. 128144.
Wood, Anthony à. Athenae Oxonienses. Ed. Bliss, P. Vol. II, cols. 3202.
ii. Works
Epigrammatum Ioannis Owen Cambro-Britanni Libri Tres. Ad Illustrissimam D. Mariam Neuille, Comitis Dorcestriae filiam Patronam suam. Editio Tertia, prioribus emendatior. 1607. (The first two eds. had appeared in 1606.)
Epigrammatum Ioannis Owen Cambro-Britanni Ad Excellentissimam & doctissimam Heroïnam, D. Arbellam Stuart, Liber Singularis. Editio Prima. 1607. (Uniform with the above.) (Fourth ed. of Owens first volume was published in 1612. Lond. ex off. Joh. Legati, sumtibus Simonis Waterson, and also the two following.)
Epigrammatum Ioannis Owen Oxoniensis, Cambro-Britanni, Libri Tres. Ad Henricvm Principem Cambriae Dvo. Ad Carolvm Eboracensem unvs. Editio prima. 1612.
Epigrammatum Ioannis Owen Cambro-Britanni Oxoniensis. Ad Tres Mecaenates, Libri Tres. Ad Edoardum Noel equitem & Baronetum, vnus. Ad Guilielmum Sidley equitem & Baronetum, alter. Ad Rogerum Owen equitem auratum, Tertius. Editio Prima. 1612. (Uniform with the above.)
Additional epigrams are printed in the Leyden ed. of 1628 and in Ioannis Oweni libellus epigrammatum, etc., ed. by Ebert, F. A., Leipzig, 1824.
iii. Translations
Vicars, John. Epigrams Of That most wittie and worthie Epigrammatist Mr. John Owen, Gentleman. Translated by John Vicars. 1619.
Hayman, Robert. Qvodlibets, Lately Come Over From New Britaniola, Old Newfound-land. Epigrams and other small parcels, both Morall and Divine. The first foure Bookes being the Authors owne: the rest translated out of that Excellent Epigrammatist, Mr. John Owen, and other rare Authors. With two Epistles of that excellently wittie Doctor, Francis Rablais: Translated out of his French at large. All of them Composed and done at Harbor-Grace in Britaniola, anciently called Newfound-Land. By R. H. Sometimes Governour of the Plantation there. 1628.
Pecke, Thomas. Parnasi Puerperium: or, Some Wellwishes to Ingenuity, in the Translation of Six Hundred, of Owens Epigrams; Martial de Spectaculis, or of Rarities to be seen in Rome; and the most Select, in Sir Tho. More. To which is annext A Century of Heroick Epigrams, (Sixty whereof concern the Twelve Caesars; and the Forty remaining, several deserving Persons.) By the Author of that celebrated Elegie upon Cleeveland: Tho. Pecke of the Inner Temple, Gent. 1659.
Harvey, Thomas. John Owens Latin Epigrams, Englished by Tho. Harvey, Gent. 1677.
Cowper, William. Epigrams translated from the Latin of Owen. Life and Works, ed. Grimshawe, T. S. Vol. VIII, 3689.
Translations of isolated epigrams of Owen occur in various collections.
Harflete, Henry. A Banquet of Essayes, Fetcht out of Famous Owens Confectionary, Disht out, and servd up at the Table of Mecoenas. By Henry Harflete, sometime of Grayes-Inne, Gent. 1653. (Essays on Ep. 1, 2, with a trans. of that Epigram.)
(For early German translators and very numerous imitators of Owen, see Erich Urbans treatise. For translations in other languages, see Brit. Mus. Cat.)
iv. Criticisms and Literary History
Gervinus, Georg Gottfried. Geschichte der Deutschen Dichtung. Vol. III (ed. 5), IX, 4. Epigramme und Satiren, pp. 396423. Leipzig, 1872.
Lafenestre, Pierre. François Maynard. Révue dHistoire littéraire de la France, pp. 457477. 1903.
Lessing, Gotthold Ephraim. Zerstreute Anmerkungen über das Epigramm, und einige der vornehmsten Epigrammatisten, pp. 214 sqq. in vol. XI, 3rd ed. (Stuttgart, 1895) of Karl Lachmanns ed. of Lessings Sämtliche Schriften.
Urban, Erich. Owenus und die deutschen Epigrammatiker des XVII Jahrhunderts. Berlin, 1900. (Heft XI in Literarhistorische Forschungen ed. by Josef Schick and M. v. Waldberg.)
v. Mention and imitation of Owen in Latin epigrammatists
(A selection)
Barth, Caspar. Amphitheatrum seriorum Jocorum. Hanau, 1613. (Several references.)
Bauhuis, Bernard, Epigrammatum Libri V, ed. altera. Antwerp, 1620. (1st ed. 1615.) (Slight touches of imitation.)
Bruch, Richard. Epigrammatum Hecatontades duae authore R. B. 1627. (Imitations of Owen.)
Cabilliau, Baldwin. Epigrammata Selecta. Antwerp, 1620. (Slight touches.)
Dunbar, John. Epigrammaton Ioannis Dvnbari Megalo-Brittani Centvriae Sex, Decades totidem. 1616. (Imitations of Owen.)
Harder, H. Epigrammata, in Deliciae Poetarum Danorum ed. Rostgaard, F. Leyden, 1693. Tom. II. (Much imitation of Owen.)
Paterson, Ninian, Epigrammatum Libri Octo. Edinburgh, 1678. (Imitation of Owen.)
Stradling, John. Epigrammatum Libri Quatuor. 1607. (Owen addressed in lib. IV, 91.)
Owens epigrams are freely quoted in such books as Caroli A. S. Antonio Patavino, Anconitani, de Arte Epigrammatica Libellus, Cologne, 1650, and Nic. Mercers De Conscribendo Epigrammate, Paris, 1653.
[For the writings of Thomas Newton (1542?1607), see D. of N. B. A. R. W.]


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U.S. Equal Employment
Opportunity Commission
Upstate NY Gas and Oil Company Owner Subjected Nine Women to Groping and Crude Sexual Language for More Than Four Years, Federal Agency Charged
BUFFALO, N.Y. - Nichols Gas & Oil, Inc., a former upstate New York fuel supply company, will pay nine women $150,000 to settle a sexual harassment lawsuit brought by the U.S. Equal Employment Opportunity Commission (EEOC), the federal agency announced today.
The EEOC's lawsuit, EEOC v. Nichols Gas & Oil, Inc. and Townsend Oil Corporation d/b/a Townsend Oil & Propane, 05-CV-6482 (CJS)(MWP), filed in U.S. District Court for the Western District of New York in September 2005, charged that the company subjected nine female employees to sexual harassment from January 1999 through July 2003. Nichols Gas & Oil, located in Macedon, N.Y., in Wayne County near Rochester, was purchased by Townsend Oil Corporation, doing business as Townsend Oil & Propane in November 2005. In September 2007, Townsend was added to the lawsuit as a successor defendant.
According to the nine harassment victims, company owner Wayne Nichols groped their breasts and buttocks, made sexually explicit propositions and comments including requests for sexual intercourse, and other lewd remarks. Nichols routinely referred to female employees using sexually degrading terms and made offensive and graphic comments about sex acts and genitalia.
Townsend Oil Corporation purchased Nichols Gas & Oil on or about Nov. 30, 2005. EEOC filed an amended complaint naming Townsend as a successor defendant on Oct. 1, 2007. In a January 2010 decision, Judge Siragusa determined that Townsend was an "innocent purchaser because the alleged acts of discrimination arose prior to Townsend's purchase of Nichols Gas & Oil," but it would remain in the case as a successor defendant.
Sexual harassment violates Title VII of the Civil Rights Act of 1964. The EEOC filed suit after first attempting to reach a voluntary pre-litigation settlement through its conciliation process.
Although Nichols Gas & Oil is no longer in existence, Nichols and his former company will be bound by a ten-year consent decree which, in addition to the $150,000 monetary relief, enjoins Nichols and any future businesses he may purchase or operate from engaging in further sexual harassment or retaliation. Further, Nichols must put mechanisms in place to protect any future employees. The decree has been submitted to Judge Siragusa for approval.
"These women were subjected to especially crude and unacceptable treatment," said EEOC New York District Director Kevin Berry. "The EEOC will not stop aggressively pursuing remedies for victims of sexual harassment in the workplace."
EEOC Trial Attorney Judith Biltekoff added, "The victims in this case have shown great courage and have waited a long time to right the wrongs perpetrated against them by their former employer. We are pleased that they will finally be compensated."
EEOC enforces federal laws prohibiting employment discrimination. Further information about the commission is available on its website at www.eeoc.gov.


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Middle Class Tax Relief and Job Creation Act of 2011
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H.R. 3630 extends the payroll tax holiday, reforms and extends unemployment insurance benefits, and provides for a two-year extension of the Medicare "doc fix." The bill is fully offset over a ten-year period based on Congressional Budget Office estimates. The table below shows the budgetary impact of the legislation.
Read the CBO estimate of H.R. 3630 here.


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Got an email from a friend at work who went for a ride at lunch:
FYI - your front tyre is flat at the bottom
I can't find a thing wrong with the tyre but found the hole in the tube.
That's 10 flats for 3000-odd km. 1 flat per 300km. It's getting silly, I think!


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Howie Long was the speaker for Sunday's "Fired Up" segment on the Fox pregame show. His topic was the perplexing nature of NFL fines for on the field incidents. Howie made the point that it seems that players with less experience are hit with harder fines than proven veterans. The crux of his commentary was that the "fine" system in the NFL is not a level playing field, and something needs to be done about it.
I have the answer, and it is a simple one. A specific standardized sliding scale of fines. Maybe it could look something like this:
Helmet to helmet hit:
basic: $10,000
1 tooth loss: $15,000
2 or more: $20,000
season ending injury: $50,000
Stomping on opponent:
body: $50,000
head: $100,000
head without helmet: $250,000
Bitch slapping:
teammate: $5,000
head coach: $7,500
opponent: $10,000
referee: $25,000
Kick or punch in the nuts:
basic: $20,000
vomiting: $30,000
sack surgery: $5,000,000
End Zone Celebration:
flipping the bird: $10,000
double flip: $20,000
ass in TV camera: $10,000
inappropriate cheerleader interaction: $50,000
inappropriate interaction with self: $75,000
Of course, this is only a sample of how they might do it. I think it would be helpful if players knew before-hand so they can commit fines that are within their spending budget. This idea not only ends the controversy, it is a great financial planning tool for all the tools in the league.
There were a few other notable moments during football programming last week. I believe it was Moose Johnston during the Cards/Giants game speaking of Edge James, "…we all know how explosive he can be." Huh? Edge James? We all know how explosive he can be?
Moose, you might want to flip your calendar forward 4-5 years. In the last 5 games Edge has played in he has carried the ball 20 times and exploded for 50 yards. The only way Edge James is explosive is if he drinks nitro glycerin, gets tackled behind the line yet again, and the biggest chunk of him shoots across the goal line holding the ball.
Which brings up a good point. If you are in a dynasty league, why are you still holding on to Edge James? It's over dude. It's over. Don't be a Moose. Let go of the past. Drink your nitro and get it over with.
But the moment that brought about the most outrage for me last week was a moment on Sunday Night Football. No, I'm not talking about Al Michaels now self-caricature like pounding of hard e's at every opportunity, though I do find that reeeeeeeally annoying.
No, I am talking about the promo commercial on Sunday Night Football for the Rosie O'Donnell variety show. Hey guys, just in case you missed it, the new "Rosie Live" variety hour will preview Wednesday night at 8:00. With special guests Alannis Morrisette and Harry Connick Jr.
Are you guys as excited as I am?
Okay, so many things wrong here it is hard to know where to begin. But let's try.
I think I can speak for a vast majority of Americans when I say that I detest Rosie O'Donnell. That being said, I realize that NBC is so desperate for programming that they will reach out to any small lunatic fringe niche, even the one that actually finds Rosie worth wasting minutes of their lives watching. And I understand that Sunday Night football is a mechanism by which NBC will promote their programs. It is just the way things are done in the big machine. We get football. They get to pimp their asinine products.
But I want to meet the NBC exec that actually thinks anybody watching the NFL game on Sunday night would be even remotely interested in watching some mealy-mouthed no talent bitch plod around the stage less than 24 hours before we will eat our biggest meal of the year. C'mon, we have our appetites to think about. I mean, I threw up a little in my mouth just from watching the promo.
And a variety show in the first place? What is this, the 50's? Who are we? Wally and the Beaver?
Donald Trump said it best. Rosie is a loser. And NBC is a loser if they think fishing for viewers on a football broadcast will land them any whoppers, especially using that big slimy chunk of stink bait.
Let me throw the network execs a bone here. No charge.
I (typical football viewer) like two shows on NBC. "The Office" and "My Name is Earl"…occasionally. And NBC currently has those shows running opposite of Thursday Night Football.
And there you have it.
NBC has its finger on the pulse of the viewing public much in the same way the Lions front office has its finger on the pulse of what it takes to win in the NFL.
Misery Index
10) Seahawks/49ers: The times they are a changing. While in most seasons, this level of putrid play would be right in the running for the Misery Index crown, this year these bumbling stumbling Westies barely crack the top 10. Solution? Two words. Matt Millen.
9) Raiders: The good news is you finally won a game. The bad news is that now after beating the hated Shanahan led Broncos, and only being 3 games out of the lead in the division, crazy Al will probably consider the season a success.
8 ) Jaguars: Ya' know, I cut the Jags a lot of slack this year, much like they have done for their opponents. I mean, what with losing their entire offensive line to injury and all it just didn't feel right to bang on them. But come on. That performance against the Vikings made you look like a bunch of quitters. And the only thing more pathetic than a loser is a quitter. Unless we are talking about Rosie O'Donnell. Then being a quitter would actually be less pathetic.
7) Broncos: I am almost as excited about the Broncos impending 7-9 division championship as I am the Lions winless season. This is a banner year for the Misery Index. We have here a potential playoff team whose starting quarterback just went 16 of 37, and whose defense and special teams got jacked up by Johnnie Lee Higgins and Ashley freaking Lelie. This whole situation is as whacked as Shanahan's teeth at a black light party.
6) Chargers: Here is something every head coach in the NFL knows. As a matter of fact, this is something every football fan from the mean streets of Indianapolis to the dung and urine stained streets of Bangkok knows. Don't leave Peyton Manning over a minute of clock time in a close game. As a matter of fact, as soft as the Chargers have been in crunch time they probably shouldn't leave JaMarcus Russell more than a minute of clock. That is almost as dangerous as ditching a successful head coach for a loser.
5) Eagles: Serving up Kolb against that hungry Ravens defense was as a bad idea. A really bad idea. Like throwing chum to the sharks. That was as bad an idea as the time I thought about opening a restaurant across the street from Hooters and calling it Cooters - home of the camel toe waitresses.
4) Rams: While you might be laughing your ass off right now at the Rams giving up 35-40 points a week, you might want to check yourself and see if any of your potential first week fantasy playoff opponents are sporting any Arizona Cardinals. The Rams travel to the desert in week one of the fantasy playoffs and the sense of impending doom for those matched up against Cardinals-heavy rosters can officially begin now.
3) Bengals: This team is every bit as effective as Tony Kornheiser's comb-over.
2) Chiefs: Lets review GM Carl Peterson's history and see if we can find out where he went off track, shall we?
Marty Schottenheimer 101-58-1
Dick Vermeil 44-36
Other 16-16
Herm Edwards 14-29
1) Lions:
Does anyone know where the love of God goes
When the play turns the minutes to hours
The naysayers say they would win it someday
Before sixteen games were behind her.
They might have split up or they might have capsized
They may have broke deep and took water
And all that remains is the faces and the names
Of the sixteen weeks of the slaughters.
In a musty old hall in Detroit they prayed
And the players Ford Field Cathedral
The church bell chimed, 'til it rang 53 times
For each man on the '08 Lions roster.
The legend lives on from the Chippewa on down
Of the big lake they call Gitche Gumee
Superior, they say, never gives up her dead
When the gales of Matt Millen come early.


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after a weekend of testing new gear and riding different bars, I can't understand how people can ride without a power locking system all the time?!!??!
First I can't do my board-offs etc and my arms start to hurt like crazy when the wind is less and I need to pull the bar tight.
How do you guys ride without it, I don't get it!
Therefore the poll to see if I'm alone out here!


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Time to Stop the Fighting in USHL Games
These have been the best of times for the Sioux Falls Stampede.
The Herd finished the regular season with a franchise best 45-17-2 record, and a season best 92 points. Sioux Falls has home ice advantage in their opening round playoff series with Lincoln.
The club also saw seven of its former players take part in the NCAA Frozen Four, and a trio of former players sign with NHL teams this month (Matt Lindblad - Bruins, Joho Olkinuora - Jets, Eric Hartzell - Penguins).
But amidst all of that positive, there is one huge black eye (literally and figuratively) heading into the post season.
Last Friday night against Des Moines at the Sioux Falls Arena, a series of fights late in the game resulted in 30 penalties, 96 penalty minutes, and, at one point, put 15 players in the penalty boxes.
That ugly scene, and others like it in the United States Hockey League over the years, are unacceptable for one important reason: the ages of the participants.
Teenage players come from all over the world to Sioux Falls, and other USHL cities, for one main reason: to try and earn a college scholarship, where they can continue their careers in the hopes of playing professionally someday. You may think of it as a minor league sport, but in reality, it's being played by high school aged players.
Can anyone name another high school sport where fighting is allowed? There isn't one.
If these kids engaged in this type of behavior anywhere other than a hockey rink, they'd be arrested.
The ultimate irony here? As the vast majority of USHL players groom their game for a shot at college hockey, the NCAA has some of the toughest anti-fighting rules anywhere - a game disqualification for fighting, and an additional one game suspension. That suspension grows based on the number of game disqualifications a player has during a season.
I don't remember hearing a lot of people complaining that college hockey is missing something without the fighting. Why isn't the USHL playing by NCAA rules? Wouldn't that make the most sense considering that's the next stop for most of these players?
Even the Olympics, which these days feature a majority of NHL players, ban fighting.
But, there does seem to be a little common sense creeping through.
This season, the new Ontario Hockey League began a new experiment, limiting a player to ten fights during the season, before the league steps in:
If a player fights an 11th time, he will earn a two-game suspension. Another two-game suspension will apply for Fights No. 12, 13, 14, and 15. Starting with the 16th fight, his team also will be fined $1,000 for each scrap. If referees designate a player the instigator in any fight above the 10-game threshold, he will be suspended for four games.
The fact that the rules still allow each player ten fights is obviously still too many, but it's a baby step in the right direction.
USHL Hockey is a great, fast paced, energetic game, played by very talented kids. Let the professionals beat each others brains in.