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William Kent
Pop Carvings
Donald Duck No.1: As American Eagle on Trashcan with Snow Tires 1977 - 1978mahogany28.75 x 79.50 x 28.75 inches ( 73.02 x 201.93 x 73.02 cm )with alabaster egg
Self Portrait: Under the Iron 1984wood63 x 48 x 38 inches ( 160.02 x 121.92 x 96.52 cm )spruce with maple handle, stained
Hot Water Bottle No.1 1994wood15 x 75 inches ( 38.10 x 190.50 cm )mahogany, stained pine, and western cedar
Flat Head Screw in Hand 1995wood36 x 55 inches ( 91.44 x 139.70 cm )mahogany, pine, catalpa, and brown cedar
Faucet with Drill Bit 2003wood70 x 48 inches ( 177.80 x 121.92 cm )mahogany, pine, western red cedar, poplar, walnut, redwood
Maple Seed No.2 1993wood46 x 69.50 inches ( 116.84 x 176.53 cm )mahogany maple seed on red oak base on found creosoted log column on western stained red cedar base
Battering Ram (Fuck Machine) 1984 - 1985wood30 x 84 x 30 inches ( 76.20 x 213.36 x 76.20 cm )Spruce, Pine (screw), handle: Maple, Cherry & Red Cedar
Caster and Arrow 1988wood81 x 52 inches ( 205.74 x 132.08 cm )pine (2 pieces) with poplar base
Electric Plug Knotted with Spigot 1988 - 1989wood20 x 73 inches ( 50.80 x 185.42 cm )poplar cord with elm spigot on circular pine base on square poplar base
Crushed Boot 1991wood22 x 45 inches ( 55.88 x 114.30 cm )maple on creosoted pine base
Clamp 1992wood28 x 74 inches ( 71.12 x 187.96 cm )red cedar with poplar, walnut, pine on brown cedar base
Apple with Saw 1993wood26 x 53.50 inches ( 66.04 x 135.89 cm )stained pine, brown cedar & cottonwood saw, black walnut stem, on poplar and maple base
Shell Bean 1993wood16 x 82 inches ( 40.64 x 208.28 cm )red cedar shell bean on pine base on white cedar column on brown cedar base
Fork and Shell Bean No.2 1993wood18 x 87 inches ( 45.72 x 220.98 cm )bean in Kentucky coffee wood, fork tune in poplar, handle in cherry
My Levis 1995wood18 x 47 inches ( 45.72 x 119.38 cm )basswood, western cedar, on base of telephone pole and white cedar
Hand with drill bit 1999 - 2000wood50 x 64 inches ( 127 x 162.56 cm )pine and western cedar on butternut base
Spigot Drill Bit 2003wood70 x 48 inches ( 177.80 x 121.92 cm )mahogany, pine, western red cedar, poplar, walnut, and redwood
Star Wheel Pie Crimper 1991wood84 x 54 inches ( 213.36 x 137.16 cm )pine and cottonwood with 1-inch steel axle on western cedar base
William Kent: The Sphinx of Durham
William Kent: No Category
In the 1960s William Kent's works were hailed by the New York Times as "Masterfully rendered and highly refined in technique, they smolder with a timeless power." Kent's work was in the 1966 Whitney Biennial and other museum exhibitions. He even invented an entirely new printing medium. But this master sculptor — one of America's greatest — was soon overlooked and then forgotten. An irascible character, contemptuous of the commercial art world, he disappeared from the New York scene. He chose an ascetic path, living and working in a dairy barn nestled in the rolling hills of Connecticut. A New York Times critic once called him "the world's greatest living carver of wood; there's not even anyone close." His huge and awe-inspiring carved wood sculptures have been compared to those of Brancusi. And his paintings and monoprints push far beyond those of Warhol.
A Carving Artist
This is not the woods, really.
It just seems that way when you enter the low-slung, asbestos-sided cow barn where William Kent sculpts. It could be the swarms of pollen-like sawdust, or the musty, loamy scent, or the forest of seven-foot-tall wood sculptures that seem to sprout from the cement floor like dandelions in a neglected field. The place seems enchanted, which would make Kent, a ninety-two-year-old wood sculptor who has been compared to Brancusi, a kind of Merlin, if he would accept the role.
But the irascible and phenomenally talented Kent is not a mirthful figure. In many ways, he is a bitter one, and if anyone has a right to bitterness, it is he. Entering his seventh decade in wood sculpture, he is an artist who has been overlooked.
"They are fools, these people who run the art world," says Kent, a bald, lithe man who looks like a thin-lipped Picasso with hooded hazel eyes. "They are managerial types, slick politicians, culture vultures. My work doesn't fit into the New York style. Woodcarving is out. It's hard for people to understand that. People think if you're good, you'll sell, you'll make money. That's not true. Not in this country."
William Kent, whom one Massachusetts gallery owner called "the greatest living carver of wood in the world," crosses his arms emphatically across his narrow chest. He lives alone here, with two cats, and a grove full of six- to seven-foot-tall, elegant sculptures of glowing mahogany, red cedar, poplar and pine. These organic works, from bulging bellies to erotic chickens, laze beneath bare light bulbs in former cow stalls, like fossils in an ancient deciduous civilization. Everywhere one looks there is a buried grace.
"He's brilliant," says fellow sculptor Marv Beloff of Meriden, who has known Kent since the 1950s. "He's a philosopher. He is a very deep and very sensitive man who feels very strongly about things. He's lived a long time and he's done something that not a lot of people do, which is to think."
Kent has lived here in this former barn since 1964, carving masterworks of wood sculpture that recall Brancusi, removed from the fickle art world. These astonishing abstract sculptures are études of form and shape. They boggle and offend; caress and cajole. They are at once satirical and seraphic, rapier-like in wit and rhapsodic in tenderness. An unabashed '60s liberal prone to stinging political invectives, Kent has chiseled more than his share of artistic derision. His sculptures, from his craven Donald Duck, to his erotic Greek odes, are oxymoronic and occasionally obscene. In Bill Kent's world, small things become big, ordinary things become extraordinary and sacred things become profane.
"People ask, 'What does it mean?'" Kent shrugs dismissively. "It doesn't mean anything. Shapes and forms. That's what it's about. Shapes and forms."
Sense, No. Ambiguity, Yes.
Here in this cement-floor workshop, giant sugar peas bulge with fertility. Electrical plugs take on an erotic mien and corkscrews as large as a bureau swivel with lubricious energy. A straightedge razor takes on the aura of a mythic instrument and Donald Duck replaces the bald eagle as the talon-toed symbol of our national character. A ladle becomes eroticized and a hot water bottle takes on the gravitas of a military memorial. A giant key slips into the belly of a huge light bulb, another of Kent's fantastic oxymorons.
"It doesn't make any sense, I know," says Kent , twisting in his wheelchair and bringing his coarse fingers to his mouth. "Ambiguity, they say, is one of the keys to contemporary art."
If Kent wanted ambiguity, he went at it in a big way. It is not just the subjects that raise eyebrows in his work, but their enormity and their classic beauty. Kent is surely a contemporary artist who revels in the beauty of the ordinary form, but he is a classicist at heart. All of his work has the finely finished sheen of a Renaissance marble. And Kent, who never married and passes his time playing Rossini on a piano held up by a cinder block and a jack, has something of the monastic about him.
"He's sort of an ascetic in a way," said Johnes Ruta, an independent curator from New Haven. "He's an extremely literate guy. He knows music inside and out. And he knows his art history."
But Kent's prodigious talent has not translated into success in the art world. That has left him bitter and contemptuous, but it has not extinguished his artistic impulse or his intrinsic hopefulness. As engaging as he is censorious, he can be delightfully warm and astringently bitter — often in the scope of five minutes. Kent, who is as agile physically as he is intellectually, has a riveting glance that, like his sculptures, can either pierce with contempt or comfort with warmth. With Kent, who has been called a "curmudgeon," "recluse," and "eccentric" you never know which will receive you until he has pulled the lance out from your chest.
He has thrown many potential admirers and inquisitive reporters out of his studio and most people are dismissed as "boobs" or "fools." His contempt for the art world is vigorous; he is so bitter about past rejections he has received from major galleries that he has not only kept the rejection letters; he has annotated them. "Too shiny," they said. "Too satirical."
"Too big." "Unsalable." And the best: a rejection that came with an apology for spilling coffee on his prints.
"Here's a man who works everyday, seven days a week, from 4:30 a.m. to 12 noon with the full knowledge that he has been rejected by the world of art," said Beloff. "He's very angry. He's hostile. And he has a right to be." Beloff puts the analogy this way: "Suppose you spent fifty years of your life becoming the best chef in the world and you cooked the most remarkable meals and every day you cooked and you waited for someone to come in and eat them and no one ever did."
But Kent, who sleeps in a twin bed in what is essentially a back hallway, keeps sculpting. "He's smart enough to know that one day his work will be respected as it should be," said Beloff.
Idealist or Cynic?
Under a metallic lightshade next to his workbench, Kent has thumbtacked a quote in French from Brancusi, written in cursive pencil, which roughly translates: "Don't look for obscure or mysterious forms; It is pure joy that I give you. Look at them as you like; The closest to God have seen them."
For most of his career, Kent has been hearing from critics and sycophants, and their palaver has left him bitter and abrasive. "We're an uncreative, uncultured country," says Kent, coiled on a stool adjacent to his workbench. "We have contempt for art, and artists. How many artists make a living from their work? Unless you want to be one of these superficial interior decorator types, no one does."
Kent is either an idealist or a cynic — and at times he is both simultaneously. He spends his mornings chipping away at enormous blocks of wood, turning these coarse leviathans into supple, sensual forms. In the afternoon, he retreats to his narrow living quarters to pump out a Chopin Mazurka or Étude before he pads out to his back porch to read. There, in an oddly cozy room invaded by outdoor vines and protected from the afternoon sun by a dilapidated set of Venetian blinds, sits the book he is currently reading, The Albigensian Crusade, a story of a thirteenth century massacre in southern France. The Middle Ages are his current fascination, mainly because a few years ago he realized it was one of the few periods he knew nothing about.
In his workshop, festooned with chisels and clamps, plastic baby dolls, and withered footballs, hangs a print that Kent made in the 1960s that reads Sunt Lacrimae Rerum, a quote from Lucretius meaning "There are tears for things." Certainly there could be tears aplenty for Kent. A Kansas City native who came to Yale in the 1930s to study music composition and theory with Paul Hindemith, began sculpting in the late 1940s, purely, he says, by chance.
Initially, his works were in stone, but he soon moved into carving into slate, and those works mix the solemnity of old gravestones with the satire of Mad magazine. As the New York Times wrote, "Though an undeniable anger resides at their heart, they are built to last. Masterfully rendered and highly refined in technique, they smolder with a timeless power, like the satires of Juvenal or Swift, the prints of Daumier or Goya." The slate works have the quality of fossils; finely chiseled works of organic figures embedded on highly finished onyx-like rock. The monoprints Kent made of them have a biting edge; most were made during the Vietnam War and seethe with contempt at politicians and a society torn asunder by dashed hopes and doublespeak. Many are sexually satirical, like American Victory, a red, white and blue image of a woman carrying her husband's castrated and winged penis over her head like a heavy weight belt.
There are hundreds of these images stacked against a piece of cardboard, which he used to sell at very low prices. If not for Social Security, he says, he could not make ends meet. But it is not something he is unused to. His artistic ambitions were never acknowledged or embraced. His father was a tool-and-die manufacturer and his mother had a scant education and never learned to drive. Neither understood when he expressed his musical ambitions.
"When I was a child I used to listen to the Metropolitan Opera, when I was fourteen, fifteen years old," says Kent. "Saturday afternoons. They broadcast even back then. And I couldn't do it when my father was in the house because he'd say, 'Turn that garbage off. We don't want to listen to that.' I got no help from my parents whatsoever. My father said, 'You don't need to study that stuff. Just go out and get a good job.' He was stupid. He was ignorant. He had a fourth grade education. My father was a dummy, really."
Awe-inspiring Works
Kent threads through the back room that holds most of his large sculptures, crossing his arms across his oxford shirt occasionally and staring at the enormous works. "Sometimes I wonder how the hell I did these things." That's part of the mysterious allure of his work. The sculptures are not only jaw-dropping for their workmanship, but awe-inspiring for their execution.
Certain motifs show up frequently, like the carved balls that sit in a chiseled encasement, or the latch links fashioned from different colors and types of wood. The works have a ship-in-a-bottle effect: Was the ball carved first, or last? Was the latch glued or added? In fact, all of these works were carved from a single block of wood. Kent created his own method of fusing different types of wood — poplar, cedar, pine and mahogany — into one large block.
From there, he carves out forms like his latest sculpture, which features a ball resting in a box. On either side are links to buoy-like forms. The links are embellished with artichoke-like ornamentation. The buoys are attached like a latch-and-eye on a door frame. It is such an extravagant and ingenious sculpture that one is apt to wonder what it represents. But to Kent representation is not important. It is the forms he worships and their harmonies he composes.
In that, he is not far from his original love of theory and composition. Just as twentieth century composers said that eggbeaters or lathes could be as musical as pianos or French horns, Kent says that an eggbeater or ladle can serve as an exquisite artistic form. So he bristles when, for instance, one viewer suggested he take his eight-foot anthropomorphic bean sculpture to a restaurant lobby. "Suppose I did a nude woman," he says. "Would I take her to a local whorehouse and put her in the lobby?" But Kent can only shrug his shoulders in resignation of what he said has become "a backward, dumbed-down culture."
It has not stopped him from chiseling, clamping, and carving and imagining, breathing in the sweet fog of saw dust. A doctor once asked him what he did. When he told the doctor he carved wood, the doctor seemed pleased that a man of his age could relax with a nice hobby.
"It's the only activity they can conceive of, you see," Kent sighed. "The general public is really illiterate."
— by Tracey O'Shaughnessy. This is an updated version of the article originally published 10 June 2001 in the Republican-American, Waterbury, Connecticut.
New York Times Exhibition Review
How Prints Got an Artist in Hot Water
The last time William Kent, an 81-year-old artist who lives in Durham, exhibited his slate prints in New Haven, it was 1965. The last time Mr. Kent created one of his slate prints -- a process that requires the precision of a sculptor, the strength of a weightlifter, the satiric vision of Jonathan Swift, and the patience of Job -- it was 1977.
The last thing Mr. Kent expected in the year 2000 is that someone -- in New Haven, no less -- would want to exhibit his slate prints, consigned to obscurity beneath dust -- and cobweb-laden tarpaulins in his barn.
That someone is Johnes Ruta, curator for the past 12 years of the eclectic and unusual installations at York Square Cinema in New Haven, one of the state's best art-house movie theaters. The show, "Carved Wood and Slate Prints by William Kent" opened last week and will run through Oct. 1, 2000.
Mr. Kent's surprise derives in part from the fact that in the years since 1977 he has turned his promethean energies to wood sculpture and become — in the words of Sandra Swan, a gallery owner in Cape Ann, Mass. — "the greatest living carver of wood in the world; there's not even anyone close."
It also derives from the fact that the last time his slate prints were shown in public, all hell broke loose for him in New Haven.
Indeed, because of the fallout from a 1965 exhibition called "Sex and Violence, Or Erotic and Patriotic Prints," Mr. Kent lost his job as curator at the John Slade Ely House in New Haven. The scandal created by his slate prints coupled with Mr. Kent's being a thorn in the side of the city's art establishment — the same year, he led a boycott of Yale-sponsored New Haven Arts Festival — made him persona non grata.
"I really asked for it, didn't I?'" Mr. Kent said, his laughter bittersweet at the distant memory. '"In 1961, I'd persuaded the Ely House trustees to open their space to artists year round instead of one day a year for the hobbyists in the Paint and Clay Club. I made a professional gallery out of the place.
"But the trustees were retired businesspeople, and some busybody told them I was making dirty pictures in the basement. They believed it. Of course, they never actually saw any of the prints. I stirred up a lot of trouble and it all hit me at once. I was fired. But what could I do? I had no money. I couldn't fight them."
What Mr. Kent did was move to Durham, convert a barn into work space and monk-like living quarters, and set to work, seven days a week, for the next 35 years. His surprise at the prints' resurrection was shared by Mr. Ruta, who'd been led by a Kent admirer to the barn in Durham to see the wood sculpture. Upon entering the barn, though, Mr. Ruta noticed the riveting slate print, Sunt Lacrimae Rerum, a 1966 work created from Colonial-era tombstone rubbings.
"There are tears for things," Mr. Kent said, translating the Latin inscription. "It was the same when I made it as when Lucretius said it in 200 B.C."
This giant, elegant print is one of the few the artist has up in his barn, a reminder of his former incarnation as a printmaker. Mr. Ruta asked to see others, and Mr. Kent obliged, pulling aside his mottled tarpaulins. Mr. Ruta was overwhelmed by what he saw, and somewhat saddened that such remarkable work could be out of the public's view.
"Bill Kent's slate prints, and his sculpture, for that matter, has been neglected by mainstream galleries,"said Mr. Ruta, who is also an art historian, art consultant for a New York gallery and a community arts activist in New Haven. "Nonetheless, all of his work has strong technical qualities and polish; satiric impact, daring and humor, as well as imaginative insight, compassion and originality."
Many of the slate prints that got Mr. Kent in hot water 35 years ago will be on display at York Square.
These include The Society for the Abolition of Sex, inspired by a photograph of members of the Society of Colonial Wars in the State of New York (the U.S.A. on their seal, Mr. Kent explained, stands for "United Sex Appeal."); American Victory, a highly charged work of patriotic eroticism; Come and Take It (Joint Chiefs of Staff) and Leaders of Congress, both based on photographs; Bloody Sword Flag of Texas and First Tri-Color Flag of Texas, two prints inspired by illustrations from a book called Romantic Flags of Texas.
"The bloody sword flag was from 1836, to commemorate the taking of Mexico's land," said Mr. Kent. "President Polk did the same thing L.B.J. did in the Gulf of Tonkin, provoking an incident as an excuse to start a war. The history books gloss that over." Asked for the theme that unites his slate prints, he said, "My outrage is at the politicians and the double talk. It's still with us today, of course. People have been removed completely from the political process."
Some of the titles of other prints from the 60s and 70s reveal the artist's perspective: Society Ladies, My Life Ruined By Sex, Abolish HUAC, Integration (Jackie in Blackface), Smile When You Go Under, Honesty Is the Best Poverty, Yale Go Home, Joe Hill, Brecht, and Portrait of an Artist as Target.
Despite their topicality, the prints are not ephemeral. Though an undeniable anger resides at their heart, they are built to last. Masterfully rendered and highly refined in technique, they smolder with a timeless power, like the satires of Juvenal or Swift, the prints of Daumier or Goya.
As Mr. Ruta put it, Mr. Kent's slate prints "are provocative, daringly satirical, as historically timely now as when they were produced."
Mr. Kent started making art in 1949, only after he left Yale, where he had studied music with Paul Hindemith. Mr. Kent began by carving limestone and marble, then moved to small slate flagstones, which he turned into bas-reliefs, with no thought of making prints from them.
The flagstone carvings grew larger, especially after he found a demolition company in West Hartford with a supply of blackboards, three feet by six feet. He went to work in earnest, for the next thirteen years doing little else but making giant slate prints. He carved or sandblasted the images into the surfaces of the 100-pound blackboards, lifted the slates onto a washstand, and applied ink with a brayer. He placed the surface of the print material on the inked slates.
After each print was made, he washed the slate down and did it again, with new colors and new print material. Starting with rice paper, he moved to material that allowed for larger prints — some as tall as seven feet — anything from fabric to pre-printed wallpaper and shower curtains.
"The prints are really monoprints," he explained. "I never did the normal thing of numbering consecutive editions. Unlike lithographic plates or copper engravings, these slates never deteriorate. You can print tens of thousand without hurting the surface. I don't remember how many I made of each. I still have 10 or 15 of about 80 different slate prints. I also have all the slates, but I can't lift them anymore. They're interesting in themselves, as carved stone bas-reliefs."
Despite their obscurity now, Mr. Kent's slate prints were well-received in New York's art circles in the beginning.
His ethereal work Leave the Moon Alone was included in the 1966 Whitney Annual Show, hung alongside prints by Philip Guston, Jasper Johns, and Robert Motherwell. He had a dealer, his work was included in scholarly art tomes, and earned friendly notices from The Herald Tribune ("large, highly amusing and inventive prints that look like Pop posters but really go deeper in their social significance and satiric overtones") and other newspapers.
He seemed poised to enter the upper echelon of American artists, those whose works were purchased by museums, institutions, and collectors.
But by 1977, Mr. Kent stopped making slate prints. "After 13 years, and hundreds of these prints, I was tired. I had done what I set out to do," he said. But the full truth was that he had found another medium: wood.
Mr. Ruta's recent interest in the slate prints has sparked the artist's reconsideration of these old works.
"The prints I made in the 1960s," Mr. Kent said, "still seem relevant to me, and that's why I think the art is good. People didn't understand satire then. They still don't. They don't understand the difference between erotic and pornographic, either. But the sources of my inspiration go back to 530 B.C., to Greek and Roman culture. Of course, these same people would say the classic erotic art was dirty, too."
He paused and added, with some satisfaction, "This show has real punch to it. It's not just pretty pictures. I can't believe no one has shown these prints since I was fired. I'm glad Johnes wants to show them, but can he really get away with it?"
— This article by Alan Bisbort was originally published 3 September 2000 in The New York Times.


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subset: commoncrawl


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New Car Review
2013 BMW 5 Series GT: New Car Review
Pros: Excellent engines; exceptional ride/handling balance; sumptuous interior; versatile backseat and cargo area; tons of standard features
Cons: Strange looks; steep price; firm ride with the bigger wheels
What's New: The 550i's V8 now comes standard with 445 horsepower and 480 lb-ft of torque, a significant upgrade that still costs extra on some other BMWs with this engine. Standard across the board this year is auto start/stop and an Eco driving mode for improved efficiency.
Pretty much every other 2013 BMW 5 Series GT review on the Internet will say something snarky about this car's styling, but not this one, folks. We're done poking fun at BMW's oddly shaped hatchback people mover like a playground bully. Why pick on the 5 Series GT just because it looks different? It may be unconventional, but, bottom line, this is one heckuva car.
Of course, if you check the archives, you'll find that we had our own laugh at the GT's expense in last year's review, comparing it to Pontiac's historically hideous Aztek, which is perhaps best known these days as Walter White's pathetic ride on "Breaking Bad." But then we spent some quality time with the 2013 550i Gran Turismo and, folks, there's just no denying this vehicle's across-the-board excellence. Most notably, the V8-powered 550i GT is now rated at a just-plain-silly 445 hp and 480 lb-ft of torque, and it comes that way right out of the box. If you want the same output in your X5 or X6, you'll have to spring for the pricey M Performance package.
Beyond enabling you to embarrass unsuspecting performance cars whenever you please, the 5 Series GT boasts a world-class mix of refinement and practicality. Although it's got 5 Series in its name, the GT borrows its basic dimensions--wheelbase, front track, rear track--from the executive-class 7 Series sedan. No surprise, then, that the ride quality is royal, though the optional 20-inch wheels don't do it any favors. The handling's outstanding too, as is the finely crafted cabin. And with up to 63.6 cu ft of cargo space behind the front seats, the GT can haul as much as some crossover SUVs.
So we're holding our tongue this year, because when a car is this good, looks are almost beside the point. Forget the Aztek. The 2013 5 Series Gran Turismo is actually closer to being a cheaper, more practical Porsche. Proud new owners will be laughing all the way to the bank.
Comfort & Utility
The 2013 BMW 5 Series GT is offered in two trim levels: 6-cylinder 535i and 8-cylinder 550i.
The 535i comes standard with a turbocharged inline-6 engine, 18-in alloy wheels, adaptive xenon headlamps, fog lights, electronic limited-slip differential, self-leveling rear air suspension, auto start/stop, power tailgate, panoramic sunroof, keyless entry with push-button ignition, leather upholstery, 10-way power front seats with lumbar support and driver memory, power tilt/telescopic steering wheel, dual-zone automatic climate control, iPod/USB and Bluetooth connectivity, 12-speaker audio system with dual subwoofers and the hard-drive-based iDrive infotainment system with a 10.25-in wide-screen display, 12 GB of digital music storage and rearview camera.
The 550i adds a twin-turbocharged V8 engine, but otherwise its standard equipment is comparable to that of the 535i.
Options include wheels up to 20 inches in diameter, 20-way Multi-contour front seats with Nappa leather upholstery and two power rear bucket seats in place of the standard 3-person bench. There's also a Dynamic Handling package with adaptive dampers, two Sport packages (which, notably, do not include a sport-tuned suspension) and a Cold Weather package with heated front and rear seats and a heated steering wheel.
Sliding into the Gran Turismo's driver's seat, the first impression is one of unexpected elevation. The GT has more of a crossover-style ride height, so you don't plop down into the seat, because it's already at hip-level. Although the standard 10-way power front seats are excellent in their own right, the 20-way Multi-contour seats are a no-brainer upgrade, in our opinion. They belong in any conversation about the best automotive seats in the world.
The gauges will be familiar to any BMW fan, employing the classic white-on-black numerals that change to orange-on-black at night. Interior materials are top-notch, and the graceful dashboard design is basically the same one you'll find in the 7 Series. Unlike the 5 Series sedan, every 5 Series Gran Turismo comes standard with the wide-screen iDrive display for a uniform look across the lineup.
One way in which the 5 Series Gran Turismo actually outdoes its 7 Series sibling is in backseat comfort. Thanks to that elevated ride height, the bottom cushions provide extra thigh support, and the seat backs recline for added comfort. The backseat also slides fore and aft, and those adjustments are power-actuated if you get the optional power rear bucket seats.
As for cargo space, it seems there's not much in the trunk (15.5 cu ft), but let's take a closer look at that cargo bay. The 5 Series GT's liftgate is divided into two pieces, and the lower piece can be lifted independently for access to the area directly behind the rear seat backs--that's where the 15.5-cu ft measurement comes from. So unlike conventional hatchbacks and crossovers, in which trunk space is measured all the way up to the ceiling, the 5 Series GT's smaller measurement refers only to the trunk-like compartment underneath the liftgate's lower half. Translation: It's a useful amount of space. Moreover, if you open the entire liftgate and fold the rear seat backs down, there's 63.6 cu ft available--a healthy number that puts the GT on par with smaller luxury crossovers like the Cadillac SRX.
The 5 Series Gran Turismo comes standard with a dizzying array of high-tech features, including an awesome stereo with two subwoofers, but the technological heart of the beast is the beautiful 10.25-in iDrive system. More than just a pretty face, iDrive has improved dramatically from its controversial early years, now featuring a vastly better menu structure and numerous physical buttons next to the controller knob for direct access to common pathways. Furthermore, iDrive is now hard-drive-based, which gives you higher processing speeds and the fringe benefit of digital music storage. As a bonus, BMW's navigation system comes standard on every 5 Series GT. On the 5 Series sedan, for example, that's an extra-cost option.
Performance & Fuel Economy
The 535i is powered by a turbocharged inline-6 rated at 300 hp and 300 lb-ft of torque. Acceleration is plenty strong and exceptionally smooth with this engine, and fuel economy is quite good at 20-mpg city and 30-mpg highway, improvements of 1 and 2 mpg, respectively, compared to last year's model.
The 550i features a twin-turbocharged V8 with 445 hp, 480 lb-ft of torque and simply absurd acceleration that makes the family-friendly Gran Turismo a match for all but the very fastest production cars. The V8 is unbelievably refined too, with so little in the way of noise and vibration that it could pass for an electric motor at times. Fuel economy has improved here as well, inching up to 16/24 mpg versus last year's 15/22 mpg. Most of the credit goes to the new-for-2013 auto start/stop feature, which is standard across the lineup.
An 8-speed automatic is standard on every 5 Series Gran Turismo. Rear-wheel drive is the default configuration, but xDrive all-wheel drive can be added to both the 535i and the 550i. With AWD, fuel economy drops to 18/26 mpg for the 535i but oddly holds steady at 16/24 mpg for the 550i.
The 2013 BMW 5 Series Gran Turismo comes with standard stability control, 4-wheel anti-lock disc brakes and six airbags (front, front side, full-length side curtain).
In government crash testing, the 5 Series Gran Turismo received a perfect five stars overall, including four stars for frontal impacts and five stars for side impacts. The independent Insurance Institute for Highway Safety (IIHS) has not tested the 5 Series GT.
Driving Impressions
The 5 Series Gran Turismo drives exactly like what it is, a tall 7 Series. We prefer the 7er's lower center of gravity, but we do appreciate the GT's commanding view of the road ahead. That's not to say that the Gran Turismo doesn't handle well; in fact, this is one of the best-handling family vehicles on the market, exhibiting remarkable cornering composure for something so big and heavy. But the GT really hits its stride making time on the highway, as its composure at speed makes it feel more like a bullet train than an automobile. We'll warn you, though, that the optional 20-in wheels noticeably worsen the ride quality, so we'd stick with the standard 18s or the optional 19s at the most.
Other Cars to Consider
Mercedes-Benz ML-Class - In the 2-row luxury crossover segment, the M-Class is arguably the most refined option, and its available V8 engine is pretty competitive with the Gran Turismo's V8. But the BMW's athleticism is superior.
Porsche Panamera - If your tastes run to unusual-looking luxury vehicles, check the bottom line on the GT you're considering and see if you could snag a new or lightly used Panamera for the same price. Probably not, but it's worth checking. The 4-seat Panamera is an epic car.
Volkswagen Touareg - It's a dark-horse candidate, we admit, but the cheaper Touareg has a nice interior, a wonderful backseat and far more off-road capability than the car-like Gran Turismo. We really like the way the Touareg drives too.
AutoTrader Recommends
Did you see all the standard equipment on the 535i Gran Turismo? We're amazed. But with the V8's upgrades this year, we think the 550i is the no-brainer choice. Drive one. It's addictive.


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With input into some of the world's most iconic guitars, you may think Les Paul's favorite Les Paul would be a "legendary" one. An original '52 Gold Top, maybe? Or a sunburst '59 Standard? But no. Les Paul's favorite was the Les Paul Recording model of the 1970s. It never sold particularly well. But to Les himself, it was the ultimate Gibson Les Paul.
In the "SG years" of 1961-'68, Les Paul didn't have much input on Gibson electrics. But when the Gibson/Les Paul relationship resumed from 1968, new models were soon on the horizon. Single-cut Standards and Customs were back, in the 1970s there'd be the Les Paul Signature.
But Les had his eye on the ultimate recording guitar, and he wanted low impedance pickups. In 1969 Gibson produced their first Low Impedance Guitars — the Les Paul Personal and Les Paul Professional Guitars – but they replaced in 1971/'72 by Les's ultimate: the Gibson Les Paul Recording model.
"For years I've worked to produce a multitude of distinctive guitar sounds," said Les at the time. "The hang-up was to obtain everything in one guitar. Now I'm not talking about gimmickry, I'm talking about the real McCoy - authentic guitar sounds, the type of highs that can rip your ears off, the type of bass response that's clean and clear. Every note must be balanced and offer maximum sustain."
"Low Impedance For High Performance"
From a distance, the Recording was shaped like a Les Paul Standard. But it was very different. It had two Low Impedance humbuckers, stacked and angled. It was designed to sound best when plugged into a mixing desk at (Low Impedance setting). When used with a regular amp, you had to engage the inbuilt impedance transformer. Controls were relatively complex — Volume, Treble, Bass, "Decade," Microphone Volume, Pickup Selector, Tone Switch and Phase Switch on its large inlay panel.
The Decade switch was designed to "tune"/alter treble harmonics, for "biting" or "silky" highs. And the Decade switch was feasibly the start of a guitar culture joke: although called the Decade, the selector switch had one more position. It actually went up to 11.
Brochures were produced for the Low Impedance Les Paul Recording model and its sister, the Triumph bass. Each came with a demo flexi-disc demonstrating Les and Gibson's work - played by Bruce Bolen, Les's jazz guitarist friend who also worked for Gibson. And it still sounds visionary.
The Recording could sound like anything you wanted – the "Want To Get Highs?" demo sounded akin to a Rickenbacker, "Country" sounded like a classic single-coil twanger, "Wes Montgomery Style" sounded like a big-bodied Gibson jazzbox.
A Guitar Before Its Time?
The Les Paul Recording was ahead of its time. In the early 1970s, most effects remained stompboxes, and most amps had simple controls. The Recording put "emulation" or "tone shifting" if you like, in the guitar itself and at your fingertips.
The problem was, most guitarists weren't ready. The Gibson Les Paul Standard was back in vogue by the early 1970s, but the Les Paul+Marshall sound was to dominate rock (heavier sounds than Les Paul himself liked) and the Recording model became, in the eyes of many Gibson buyers, something of an oddity. Low Impedance pickups do produce a clearer sound, which then can be manipulated… but audiophiles will soon enter debates about the guitar cord you're using, the amp/desk, and many more differentials. Les Paul understood such studio-sound trickery, of course. Dudes who just wanted to rock? Maybe they didn't.
The Recording nevertheless sold decently. It hit a high in '73, with 1759 sold. But in 1979, after eight years of production and demand slumping – it was never going to be a punk/new wave choice - the Gibson Les Paul Recording model was discontinued.
Few famous players, other than Les Paul himself, are renowned for playing the Recording. Although Jimmy Page certainly owns one – he was pictured on the cover of Musician magazine (1998) with a white Les Paul Recording.
Les Paul's Favorite
But Les Paul continued to love his Recording. It was his go-to guitar for his latter career. When The Les Paul Foundation auctioned some of Les's equipment in 2012, the second-highest sale was for a Gibson Les Paul Recording prototype. The guitar is serial number 001 and is, most likely, the first Recording model ever made. It was estimated to be auctioned for $20-$30,000, but sold for $180,000. Maybe because bidders knew this was Les Paul's favorite Les Paul model.
Lou Pallo – co guitarist in the Les Paul Trio for many years, and architect of the recent Thank You Les album – tells Gibson.com.
"Les loved all the controls on the Recording. I had two of them… but you have to be an engineer to understand all those controls! But Les loved his Recording models. Every few weeks [with the Les Paul Trio] Les seemed to come in with a modified one — he'd been changing the electronics and whatever.
"Les was… 'fussy' isn't the word, but he was so into sound. He kept looking for his perfect sound… looking, looking, looking, even when he was 90 years old. He loved the Recording model for that. It was all about changing sounds.
"But I even think of his sound on those early records with Mary Ford… You can get close to that sound, but you won't sound like Les Paul. No-one ever will."
Even in one of his last-ever interviews with Guitarist magazine, Les Paul argued of any great guitar: "You should be able to add reverb to it, delay, flanging, fuzz – whatever you wish, whatever you can imagine that you want you should have on that instrument. I was going for the very clean sound, too. To this moment I want a very clear sound, and then I want to be able to take that very clear sound and warp it or change it to the different sounds of the other player."
The Gibson Les Paul Recording didn't quite do everything, but it was a pioneering idea of 40 years ago. It arguably fired the starting pistol for the do-it-all guitars of today.
The Gibson Les Paul Recording model may still be viewed as an "oddity" by some, but it proved that Les Paul was not only a great player, but also a visionary who never stopped "chasing sound."


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A 35-year-old Northbridge woman�s car careered out of control during a fit of coughing, crashing through a roadside sign and utility pole.
The accident near 17 Main St. was reported at 12:21 p.m.
According to Police Sgt. Scott P. Szymkiewicz, Sarah Brodeur, 35, of 11 School St., Northbridge, was driving a Toyota Corolla northbound on Main Street when she crossed into the southbound lane. The car traveled approximately 200 feet, striking the sign for Boylston Dental Associates, continued along the side of the road, shattering a utility pole and hitting a mailbox before coming to rest in front of 23 Main St.
�She stated that she started to cough and then doesn�t remember anything,� Sgt. Szymkiewicz. The cause of the accident is still under investigation.
Ms. Brodeur was transported to UMass Memorial Medical Center in Worcester.


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Home > Bibles > Youth Bibles
Product Code: 9780564033072ISBN/EAN: 9780564033072Publisher: BIBLE SOCIETY
Format: Hardback
Release Date: 10/10/2016
Size: 241mm high x 173mm wide x 39mm thick
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ESV Daily Devotional New Testament HB - ESV
The ESV Daily Devotional New Testament provides wise reflections and encouragement alongside daily readings in the New Testament books of the Bible.Featuring 365 devotions, this engaging devotional Bi
ESV Anglicised Bible Thinline Paisley Tan Imit. Lth - ESV
An attractive new edition of the English Standard Version of the Bible, the world's fastest-growing Bible translation. Ideal as a gift or for personal use. The ESV Thinline Bible complete with high qu
ESV Anglicised Bible Thinline Racing Green Imit. Lth - ESV
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An attractive and great value new edition of the world's fastest-growing Bible translation.This new TruTone edition of the English Standard Version is fantastic value. The new Anglicised thinline type
ESV Compact Bible Imit Lth - ESV
The English Standard Version is a highly accurate translation of the Bible from the original sources. It sits in the classic stream of word-for-word Bible translations, using the Revised Standard Vers


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Commentators unsure about 'Sachin Tendulkar MP'
Sachin Tendulkar's nomination to India's parliament was met with widespread bemusement today, with many questioning whether the publicly apolitical batting superstar will have the time or inclination to serve as an MP. Sachin in Upper House| Warming up to new innings | Watchcricket Updated: Apr 27, 2012 18:13 IST
Sachin Tendulkar's nomination to India's parliament was met with widespread, bemusement on Friday, with many questioning whether the publicly apolitical batting superstar will have the time or inclination to serve as an MP.
President Pratibha Patil approved the government's nomination of Tendulkar late on Thursday, offering him one of the 12 seats in the Rajya Sabha, or upper house, that are reserved for presidential appointees.
He is the first active sportsman to receive the honour, with the seats normally gifted to people who have distinguished themselves in the arts, sciences or social services.
The adoration of the cricketer in India verges on religious worship -- a fact not lost on Friday's newspaper headline writers.
But while a number of sitting MPs welcomed the celebrity starpower Tendulkar could bring to their affairs, the reaction of media commentators and some of the "Little Master's" fellow cricketers was one of puzzled caution.
"Frankly, I am at a loss for words," said former Mumbai and India team-mate Sanjay Manjrekar. "I never realised these sort of things interested him.
"He is not one to express his views publicly and this would be a real test for him. I hope he can make a difference in parliament."
Tendulkar, who turned 39 on Tuesday, has played more Tests (188) and one-day internationals (463) than any other player since his debut in 1989. He is the highest run-getter in both forms of the game and last month became the first batsman to complete 100 international centuries -- 51 in Tests and 49 in one-dayers.
Despite recent speculation about his retirement, Tendulkar has given no indication that he plans to hang up his pads, leading some to question how he could fit an MP's duties into his hectic playing schedule.
"He plays almost right through the year, where is the time to go to parliament?" said another ex-international Akash Chopra. "I will be disappointed if he did not contribute and make a mark for himself in the Rajya Sabha."
Noted cricket commentator Harsha Bhogle suggested the nomination was a cynical ploy to gain "political mileage" out of Tendulkar, who has rarely, if ever, spoken out on political issues or professed any party affiliation.
"I don't think it is the greatest idea," said Bhogle. "He does not have the experience of governing or doing social work." Tendulkar has not yet commented to indicate whether he will accept the honour.
But news of the nomination broke just hours after he and his wife called on ruling Congress party president Sonia Gandhi at her residence in New Delhi.
"My only fear is that the stamp of a political party should not come on him," said Chetan Chauhan, a former India opener who forged a career as an MP.
"The minute he associates himself with a party, the public's perception about him will change," Chauhan was quoted as saying by the Mid Day daily.
Well-known cricketers who are sitting members of the elected lower house, or Lok Sabha, are former internationals Mohammad Azharuddin, Kirti Azad and Navjot Sidhu.
First Published: Apr 27, 2012 13:54 IST


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A year or so before Emma was born I signed up to serve a three-year term on a church committee. DUMB. Dumb dumb dumb. At the time I was thinking, "Something else to do! A chance to get out of the house! Grown up conversation!" And it was for a while, but then Emma was born and tonight was the first meeting I've attended since. I mean, at this point they should pretty much fire me for poor attendance.
Actually, last night I was feeding the baby and I blindly reached over to the nightstand, feeling around for my phone to check the time. Then I noticed I had an email and the subject line said "meeting minutes". So I spent the rest of the middle of the night feeling horrendously guilty for not only skipping my meeting this month but NOT EVEN KNOWING I WAS SKIPPING IT!
Except, I woke up this morning and realized they were the minutes of LAST month's meetings, and perhaps I am a little spaced out when checking the time at three something in the morning.
Anyway, I went to the meeting TONIGHT and there was a new person in attendance and all the committee veterans were asked to quickly introduce ourselves. I went through my usual spiel - how long we've been there, married to the devastatingly handsome Chinese man, mother of three - and this time I added their ages. "Four, three, and three months." And then? EVERYONE SNICKERED!
Oh yes they did. And I honestly had no idea what to do or say or how to respond at all. I mean, it was a GOODNATURED snickering. It might even have been a sympathetic snickering. But it was snickering nonetheless and in that split second I had to ask myself, "Did I INCITE snickering? In what sort of TONE did I list those ages?" Because honestly, Internet, I was just giving the facts. I was not fishing for hugs or sympathetic glances. If anything I want to come off as ROCKING this mom-of-three gig. I mean, have you met me? And my need to succeed at everything? Or at least make it LOOK THAT WAY?
I gave a fake little "ha ha" to show that I was in on the joke, except I still wasn't quite sure what the joke WAS.
But now I wonder if it was a joke at all. Maybe it wasn't snickering. Nearly every other person in the group, when introducing themselves, mentioned college-aged children. Marriages that have lasted nearly thirty years. Now I'm thinking that these people weren't snickering so much as making a sort of "Oh we KNOW how that GOES" sound. A sound of EMPATHY.
Because you know what? This stuff is hard. People keep asking me if Emma is hard and I have to say EMMA is not hard. Emma, on her own, is actually pretty easy. But throw in two preschoolers who rarely nap anymore, the holidays, the dreary dark weather in the Pacific Northwest, a husband who travels for work, and my less-than-suited-to-stay-at-home-motherhood personality and things get harder. As much as I hate to admit it, maybe I'm not making it look as easy as I'd like. I'd love to hear what, "Four, three, and three months" sounded to ears other than mine.
As I was leaving the meeting, one of the women said, "Do you have a picture?!" And you guys, I am TOTALLY the mom busting out the nine million pictures of my baybeee on my phone. I had no shame. Emma in her Christmas outfit. Emma in the bathtub. Emma with her brother and sister. Emma asleep in her crib. "I've been thinking about you," she told me. "How are you doing?"
"It's hard," I said. I know most people don't have this problem, but it was a super huge deal for me to say that. Can something be hard, but also awesome and exactly what you want to be doing at the same time? Because that's what this is.


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November 30, 2010
Recipes | Homemade Cinnamon Rolls with Cream Cheese Icing
My Mom is famous for her cinnamon rolls - she makes them, it seems, on a weekly basis. The are soft, buttery, gooey and sweet. They are great to make ahead of time in large batches and freeze for gifts - perfect for hostess gifts or impromptu holiday brunches.
Mom's Homemade Cinnamon Rolls
2 packages of active dry yeast
1 tsp. of sugar
1 cup of warm water
1 can of evaporated milk
2/3 cup of melted butter
3/4 cup of sugar
4 tsp salt
6-8 cups of flour
1/2 stick of softened butter
1 1/2 cups of sugar
3 tablespoons of cinnamon
In a small bowl, combine yeast, sugar and warm water. Let the yeast activate.
In the bowl of a Kitchen Aid mixer fitted with the dough hook, combine milk, butter, sugar, salt and flour (starting with 6 cups and add more, if necessary). Stir in yeast mixture. "Kneed" dough with dough hook on med-low for 5-8 minutes, adding flour as necessary, until it forms smooth elastic dough. You may need to turn it out onto a floured board and kneed by hand until it is completely smooth.
In a large bowl greased with vegetable oil, place the dough in the bowl and cover with a warm damp kitchen towel. Let the dough rest and rise for 2 hours in a warm place until it has doubled in size. Sometimes I'll turn my oven on 250 degrees and let the bowl sit on top of it.
After 2 hours, punch the dough down and let it rest for 5 minutes. Next, turn it out onto a floured surface and roll it into a rectangle (approx. 15" x 20"). Spread it with softened butter, then sprinkle it with the sugar and cinnamon.
Roll the dough into a log and cut into 1 1/2 inch slices (that look like a pinwheel). Place them spiral side down into a buttered baking dish - I like to put them in a pie dish - it makes an easy presentation.
Again, let them rise covered with piece of parchment paper sprayed with cooking spray (to keep it from sticking) for about 1 hour.
Take off the parchment and bake at 350 degrees for 18-22 minutes until slightly brown on the edges.
Cream Cheese Icing
4 tablespoons of cream cheese
8 tablespoons of butter, softened
2 cups of powdered sugar
In the Kitchen Aid fitted with a paddle attachment, whip cream cheese, butter and powdered sugar until smooth. Add a little water, if necessary, to get desired consistency.
Labels: Breakfast, brunch, cinnamon rolls, holidays, homemade cinnamon rolls, Recipes
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Linux-France Inetdoc
Tutoriaux réseaux. Téléchargement: http://www.linux-france.org/prj/inetdoc/telechargement/
1 (2 marks)
Founded in late 2003 and heartquartered in France, we are non-profit and independant.
We believe in the open web, think internet services should be sustainable, build for the long term.
While we are re-launching the service, we only accept new members through invitation.


text: The primary values touted by this talented group of AV consultants are twofold; they do not sell audio visual equipment so their recommendations are not biased due to any loyalties or commitments to manufacturers and their only function is system design and since they are single purposed in that focus their experience is broader and deeper than others that may have multiple responsibilities. The bottom line is simple; these independent AV consultants exist primarily for the purpose of design services and construction documents. If desired they can also assist in identifying qualified integrators and other AV service providers to implement the project, supervise the construction phase and provide initialization and commissioning services.


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We are happy to announce some new additions to our website. In our continual efforts to address the needs of our applicants and our students, as well as making our website robust, we've added two new pages.
The first new page is a list of our partner language schools. International student applicants to College of San Mateo (CSM) are required to meet an English proficiency requirement. However, if applicants meet all our other requirements except for the English proficiency requirement, they can attend one of our partner language schools. Once they near completion of the designated level of proficiency at the partner language school they can complete the application for admission process to CSM and gain admission to the college.
We've also added a Housing page which addresses finding either temporary housing or long term housing. The temporary housing page includes links to search for local hotels to CSM as well as list of area hotels and bus routes/driving directions to the college. The long term housing page provides information on the kind of questions to ask when looking for housing, types of housing, housing terms, and much more.


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Showing 1 - 1 of 1 speakers.
Futurist; Innovation and Brand Consultant; CEO Sparks & Honey
Types: Entrepreneur, Male
Bio Info
As the fast gets faster and industries experience exponential change, Terry Young shares a new approach with audiences to understanding what's now, next and in the future to gain the competitive advantage.
Showing 1 - 1 of 1 speakers.


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Producers Of '50 Shades' Porn Parody Argue That The Work Is In The Public Domain... But It's Not
from the that's-not-how-the-law-works dept
On information and belief, as much as 89% of the content of the allegedly copyrighted materials grew out of a multi-part series of fan fiction called Masters of the Universe based on Stephenie Myer's Twilight novels. On information and belief, this content was published online between 2009 and 2011 in various venues, including fanfiction.net and the person website of Erika Leonard. On information and belief, much or all of this material was placed in the public domain.To which we can only say, "huh?!?" I could see an argument being made about transformative works and fair use, but there's no indication anywhere that the work is in the public domain. Just because the same author posted a very similar version online earlier has no bearing on the copyright in the work itself. It kind of makes you wonder about the lawyer that Smash Pictures has working on this case that they'd even make this argument.
Not surprisingly, Universal Studio's high priced lawyers hit back pretty quickly, calling the filing "slapped-together" and pointing out that the whole public domain argument makes no sense.
Moreover, their unsupported assertion that "as much as 89% of the allegedly copyrighted material is derived from previously published, public domain fan fiction based on Stephanie Myers' Twilight novels" is both deliberately misleading and legally flawed. Defendants suggest that the Fifty Shades Trilogy is "derived from" works by authors other than Erika Mitchell. However, Defendants are in fact referring to an earlier version of the same story written by Ms. Mitchell, which they in their own improper deposition notice identified as "Master of the Universe." ..... Defendants do not and cannot provide any legal authority for the proposition that an earlier version of Ms. Mitchell's work is now in the "public domain." They can hardly defend their infringement of Plaintiffs' copyrights in the Fifty Shades Trilogy by claiming that it is substantially similar to Ms. Mitchell's own earlier work.Indeed. While I still think the lawsuit itself is silly, the public domain claim here is just wacky.


text: There have been plenty of big selloffs in the stock market over the last month, but early on Friday Oct. 24, many market watchers thought it would bring the big one that would join other infamous days. For history's sake, however, the days since Lehman Brothers' chapter 11 have been momentous and notable enough. Here's a look at some very bad days and periods for stocks that got investors' attention over the past 80 years.


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VANCOUVER — Mark Recchi scored his first goal since Game 1 of the second-round series with Philadelphia tonight at the Rogers Arena.
After the Bruins lost to the Canucks, 3-2, in overtime in Game 2 of the Stanley Cup Final, he decided that the goal combined with his five hits and two total shots on goal were enough reason to give his critics a tongue-lashing.
"I'm not worried about my critics, I worry about my teammates," said the future Hall-of-Famer. "Critics, they're not in the dressing room every day. They don't know what I bring to the table every day. Really, they can kiss my ass, really.
"So I'm not too worried about it. My teammates are all I care about, and my coaching staff. So I've got a job to do and that's focus on making sure I'm helping in the dressing room, helping in other areas and playing physical, skating, trying to create things."
Recchi's inability to register a point in the previous eight games — including missing an open net in Game 1 — and his overall lackluster play at even strength and on the power play had many, including this blog, asking for his role in the Bruins' scheme to be reduced.
Of course, Recchi was on the ice for the game-losing goal against tonight. If he had any speed left in his legs, maybe he catches up to the Andrew Ference pass or is able break up the Canucks' play. And with the amount of power-play minutes he logs, he probably shouldn't go so long between goals and points. But, heck, he finally scored a goal so all the criticism is somehow unfair.
The celebrating of Recchi's abilities in Boston have far overshadowed any criticisms. If a guy's not producing he has to understand there's going to be some backlash. I always thought Recchi was one of those guys that had a grasp of the whole dynamic.
Regardless, Recchi's goal and the Bruins' ability to finally break through on the power play were certainly rare positives in an otherwise ugly night. Whether they were worthy of placing ones lips in an unclean place, I'm not sure.


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Susan Sontag, 71, critic who was fiercely independent
By Chris Schmidt
Susan Sontag died of leukemia on Tues., Dec. 28, at the age of 71.
With her dies the era of the glamorous public intellectual and perhaps even the idea of New York as the center of modern literary intelligence.
Such was this writers influence and icon status. The writers many, often conflicting positions last week anti-American, this week anti-communist have proven so controversial, her legacy will no doubt be debated for years. This is particularly true for gay men and lesbians, who have both taken her up as a kind of diva of letters and reproved her for not speaking openly about her bisexuality.
What is not in dispute is Sontags brilliance or breadth as a writer. She wrote essays, novels, short fiction, plays and films that bristle with social critique and sparkle with an imperious and polished prose.
Precocious by almost any standard, an always bookish Sontag graduated from high school at 15; then attended the University of Chicago and Harvard and Oxford Universities; married; divorced; and gave birth to her son, David Rieff, all before the age of 30. Establishing herself first as a cultural critic in the 1960s, writing for publications like the New York Review of Books and the now-defunct Partisan Review, Sontag became the eras representative female intellectual.
Despite her more recent successes in fiction writing her novel In America won the National Book Award and her controversial political positions, its likely as a critic that shell be most remembered. Against Interpretation, On Photography, Illness as Metaphor the titles of these books are as coolly stylish as the prose contained within them.
Sontag owed at least some of her celebrity to her remarkable beauty and style. That glamorous black mane with its shock of white hair became an iconic image, particularly after Sontag appeared in the Woody Allen movie Zelig. In part because her writing advocated an erasure of the boundaries between high and low art, she herself became a pervasive presence in pop culture. Early in her career she was a regular guest on television talk shows; more recently, Sontag appeared in an Absolut vodka advertisement shot by Annie Leibovitz. If such gestures seem incongruous with Sontags sterner side, it is partly because the world has changed since she admitted, in 1978, Rock and roll really changed my life. Sontag became more serious more committed to literature and high art as the culture became more frivolous.
In 1996, she recanted her earlier flippancy: What I didnt understand
was that seriousness itself was in the early stages of losing credibility in the culture at large
Thirty years later, the undermining of standards of seriousness is almost complete.
So Sontag became something of a mainstream icon even as she abandoned her interest in pop culture. Was Sontag a gay icon? Provisionally, yes. Her first succès de scandale, the 1964 essay Notes on Camp, took the gay sensibility as its subject, even as it disdained identifying with it: I am strongly drawn to [camp], and almost as strongly offended by it, she wrote.
Indeed, as a defining statement on the topic, Notes on Camp is oddly sober, almost clinical, in tone. Sontags attraction to camp, and the simultaneous need to distance herself from it, came to characterize much of her relationship with gay culture, both in print and in life.
On one hand, Sontag wrote about gay artists such as Jack Smith and Paul Goodman as gay artists long before it was fashionable to do so. Her critical equipoise helped advance the discourse on homosexuality, making it something that could, and should, be considered seriously.
Yet Sontags refusal to come out stories about her complicated living arrangements with lover Annie Leibovitz abound as dinner party gossip complicates her relationship to gay and lesbian readers.
I dont talk about my erotic life any more than I talk about my spiritual life, she once told a journalist. Her sexuality, she felt, was too complex and it always ends up sounding so banal. Yet Sontags political stridency on so many other issues, as well as her reluctance to write about her sexuality, open her to accusations of timidity. And the very least, her silence on the subject reveals her to be icy, unsensual and contradictory qualities that have calcified into The Sontag Persona, an entity that has long threatened to eclipse the writing.
And on the subject of gay mens sexuality, Sontag wrote with such circumspection and high-handedness that critics went so far as to call her homophobic, if unconsciously so. Her short story The Way We Live Now is widely heralded as one of the smartest literary treatments of AIDS to come out of the plague years. But Sontags other efforts in that direction have been less well received. She wrote her 1988 book, AIDS and Its Metaphors, with the intention of dismantling the prejudices and indeed, homophobia surrounding the illness. The following year, D.A. Miller, then a professor at Harvard, wrote an excoriating and influential critique of the book in the literary journal October. Miller claimed that Sontag propagated the same damaging stereotypes about gay men with AIDS that they are de facto promiscuous, and that they courted the plague as a kind of hedonistic suicide that she ostensibly set out to debunk.
Questionable passages aside, queer readers have emerged as some of her most ardent torchbearers. Craig Seligman, a gay critic and editor, this year published a valentine to the writer entitled, Sontag & Kael: Opposites Attract Me, in which he defends Sontag against Miller and other critics. Yet, Seligman was somewhat lame in his defense: For Christs sake, Sontag is gay, he declares, as if that alone were enough to end discussion on the topic. But couldnt Sontags unwillingness to identify as gay be precisely what led to her unexamined prejudices?
It remains to be seen what permanent legacy Sontags writing will have in arts and letters. But as a contemporary literary icon someone who thought as a writer, wrote as a thinker and did both fearlessly she has inspired countless others and is irreplaceable.
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Thurs., Oct. 31: Traders Weighing Mixed Facebook News
Polya Lesova takes a look at which stocks traders will be watching during market action, including Facebook, Avon, and Starbucks. Photo: Getty Images.
This transcript has been automatically generated and may not be 100% accurate.
... the the ... we stopped by one else ... so the foot stock is Facebook I the company pointed to the silence of the market closed last night it a point to sixty percent healthy net revenue which was well above expectations ... out of the Gulf was also very strong ... of a mall by letting you know was who was based on ... Cullen on a conference call ... I miss people cautioned that the smoke is seen some declines ... in the number of the downgrade teens are using the social metrics and that's causing some concern in my mind and in this ... decade ... it's Facebook's that stage yet and maybe the site is not the school is that once was aam oh so Facebook posts and that that ... it may not be able to to push more ads into the newsfeeds ... utility did eyes ... on the end of the times when ads are paid to the ... source of revenue golf with Facebook so that's also I'm getting back to some cause but that there is what the results were based on a decadelong ... I am on the ... way to the point that they want and also a decline in revenue ... it also cautioned that it had this sneaking Exchange Commission ... has proposed that the SEC film Uncle Monty of the ivory help things much bigger than the company expected so the the activity could upset the one ... I didn't think it their business will be stocked with TNA impact there ... that's the true impact it is bad ... now we're also looking at Starbucks which is very appropriate to miss the morning ... what's happening and yet the company to report that at double digit profit growth as sales fall one of my eye while being hosted the twenty strong base as investors expected ... aam ... the sales hit North America of a went up about eight percent and so that was pretty good time in Asia ... sales growth was not discounting expected ... so that's a concern when we get in our eye on that tonight thank you my much Polya Lesova all MarketWatch mall ... markets coverage at ten thirty ... on MoneyBeat


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High-Speed Water Figures
Saturday, May 28, 2011
High-Speed Water Figures
Posted by BINU KUMAR G at 10:36 PM 0 comments
Labels: color ful water figure, creation, design, gods creation, High-Speed Water Figures, water creation, water design, water figure
Wednesday, May 11, 2011
A typical Indian Village
A typical Indian Village
"The soul of India lives in its villages", declared by the Gandhiji at the beginning of 20th century. India is known to be a mine of villages. Many villages has been poured with all the natural beauty a village is supposed to have.
From nature to technology and from Dada to Leaders(No doubt they are all where), Rail to Roads, Hills, River to Plains everything is just either partition of village or touch it.
According to the 2001 Indian census, 74% of Indians live in 638,365 different villages.
The size of these villages varies considerably. 236,004 Indian villages have a population less than 500, while 3,976 villages have a population of 10,000+. Most of the villages have their own temple, mosque or church depending on the local religious following.
Posted by BINU KUMAR G at 8:27 PM 0 comments
Labels: A typical Indian Village, gramam, hill, india, mountain, rail, river, road, technology, village
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OAKLAND, Calif., Oct. 19 (UPI) -- An Occupy Oakland protest tent city in California may have to be shut down because it's attracting rats and plagued with alcohol and drug abuse, officials say.
Demonstrators' presence at the city's Frank H. Ogawa Plaza is worsening a rat problem city works employees normally are able to keep under control, The Oakland Tribune reported Tuesday.
The problem "has gotten worse with all the food and people and couches," city administrator spokeswoman Karen Boyd said.
The city has received complaints about the rats from local businesses, workers and even the demonstrators themselves, she said.
There have also been reports of illegal drug and alcohol abuse, fighting and sexual harassment in the tent camp, she said.
"Basically, it's not legal for them to camp; we're accommodating it. And we've been telling them, we reserve the right to change our minds at any time," Boyd said. "Certainly, that kind of behavior makes it more difficult to continue."


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Venue: Phoenix Mills, Lower Parel, Mumbai.
Date: 09-Oct-2009
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CHARLOTTE, N.C. -- Six days ago, before they faced the Tampa Bay Buccaneers, coach Tony Sparano told his team to strive for one mark by the time they took the coming weekend off: 5-5.
Sure Sparano was talking about multiple games and he usually preaches one at a time, but, "I looked a game ahead, I guess is what I'm saying. We knew we had two games in a short period of time and we knew it was going to be critical for us to take care of two football games to get ourselves back in position to make a charge."
Well, get the credit cards out because the Dolphins believe they are charging.
But first the bad news: Defensive tackle Jason Ferguson suffered a knee injury Thursday and did not return to the game. The Dolphins believe the injury is" serious," according to a source, and have scheduled an MRI for Friday.
The source declined to be specific about his definition for "serious." It is likely Ferguson will miss playing time but unclear if he is done for the remainder of the season.
The Dolphins find themselves in the playoff hunt today.
"We're back at eye-level now," said Nate Jones, who had an interception Friday. "We're back at ground zero. We're 5-5. We're have two huge division games coming up. We've put ourselves in a position to make a huge dent in this division and the league.
"We don't control our own destiny but we put ourselves in a position to make a run."
This game had many heroes.
Ricky Williams rushed for 119 yards on 22 carries. It was his second consecutive 100-yard game.
"I don't want to talk about myself," Williams said. "I want to talk about the team. We struggled a bit during the game, but the defense kept it close to give us an opportunity and give us time to get it together."
Yeremiah Bell made a tackle on DeAngelo Williams after a 50-yard gain. That came just before Jones got his interception.
"Without the tackle they score a touchdown," Bell said accurately. "It saved some points for the defense. I can run a little bit. I'm not going to downplay myself. I can run. And that's my job. It's to save touchdowns. I'm the last guy on the back end and I expect to make those plays."
Nate Garner was a hero. He played left guard, right tackle and center during the game as Jake Grove, Joe Berger and Vernon Carey went out with injuries. Carey and Berger returned. Grove did not return after his ankle injury.
"I'll play wherever they want me to play," Garner said.
Sparano said he never coached a game where so many players, particularly offensive linemen, went down.
"One time when I was an offensive line coach in Cleveland I was down to my last offensive lineman and he got poked in the eye and came out of the game, and I was coaching a defensive tackle right there in the middle and he finished the game," Sparano said. "But this thing today, they were going down left and right. I'm kind of happy we played on a Thursday and we got a couple of extra days.
"If another guy went down, I don't know where we would have gone. I don't know if they would have liked it but we would have been poking on one of those defensive line guys, maybe Merling."
As I wrote in my column, Chad Henne outplayed Jake Delhomme. After three quarters, Delhomme had completed only 9 of 21 passes. He was terrible. Henne was not spectacular -- completing 17 of 21 passes for 172 yards. But he avoided the big mistake and completed three big third-down passes.
"Ricky Williams stepped up today, and Lex Hilliard got in there," Henne said. "The wide receivers stepped up and the offensive line is playing great. Pass protection is great, I had a lot of time back there. All together we're forming a team and we're not putting it on anyone's shoulders."


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Many people may have acne scars as a result of bad acne when they are younger. This is quite common and may have lead to bad scarring. If you are in this situation, there is a good chance you will want to know how to get rid of acne scars. We all would like to reduce the unsightly appearance of acne scars, but how?
If you want to know how to get rid of acne scars, it is entirely possible if you follow the right methods in which to do so. You may want to consider doing some research to allow you to find more methods and also to aid you in finding the best ones to suit you.
It is a good idea to see how severe the acne scars are and then try to figure out the best way to get rid of acne scars. If the scars aren't so bad, then you can take a much less aggressive approach such as using various types of lotions to help get rid of acne scars.
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It doesn't have to seem so hard and when you take the time to educate yourself, it can have a very strong impact on the outcome of how to get rid of acne scars. So, invest a little time and you may be surprised at the outcome.


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NEW YORK, Sept. 7 (UPI) -- Madonna took off her shirt at a New York concert this week, revealing the word "Obama" painted across her lower back, The Hill reported.
The 54-year-old pop icon showed her support for U.S. President Barack Obama the same night he accepted the Democratic party's nomination for re-election.
Speaking at her show at Yankee Stadium Thursday, Madonna also praised the first lady, The Hill reported.
"Thank God for Michelle Obama," Madonna said.