text:
There are two of them, man and boy. They emerge from a sandstorm and pass through the remains of civilization—a few broken walls and a swinging door. Beyond, they see something amazing: a ship sailing calmly through dry land. Only as the pair advance does the vision explain itself. This is the Suez Canal, a shocking stripe of blue. A motorbike buzzes along a road, on the far side, and the rider catches sight of the stragglers. He halts and shouts across the water, "Who are you?," and again, "Who are you?" We look at the face of the man from the desert. His eyes are even bluer than the canal, but he says nothing. Maybe his tongue is too dry for speech. Maybe he has no answer.
The movie, of course, is "Lawrence of Arabia," directed by David Lean in 1962, and the encrusted figure is T. E. Lawrence, played by Peter O'Toole. Lean, who seems in retrospect no less of an enigma than Lawrence, was born a hundred years ago, on March 25, 1908, and "Lawrence," it is fair to assume, will endure as his memorial, although there are smaller, equally solid monuments of no less ravishing design. Not that any of them will help us to mark his centenary, which, with the British reserve that Lean both typified and struggled to escape, seems likely to pass without fanfare or fuss. There is a London retrospective planned for June and July, but nothing comparable in New York; even the current MOMA season of Rex Harrison films, devised as a toast to his centenary, finds, among its many splendors, no room for "Blithe Spirit," which Harrison made with Lean in 1945. And so we are left with a galling irony: on March 25th, almost none of us will see "Lawrence" on the big screen. That is its natural habitat—the only place, you might say, where its proud and leonine presence has any meaning. Anything more cramped is a cage, as Jon Stewart showed during this year's Oscar ceremony. At one point, we found him gazing at his iPhone. "I'm watching 'Lawrence of Arabia.' It's just awesome," he said, adding, "To really appreciate it, you have to see it in the wide screen." And he turned the phone on its side. Deserts of vast eternity, reduced to three inches by two.
Grandeur is a far from simple blessing, for the filmmaker as for the politician. It is nagged by accusations of bombast and fears of emptiness. Comedy sniggers in its shadows. Yet those who try to brush it away from the history of cinema will find themselves scratching that history beyond repair, because it is in the nature of cinema that, as D. W. Griffith knew from the start, we like to look up to the grand—to men and women magnified onto a screen that starts at the height of an altar and stretches upward from there. It's no surprise that the more avid of us, perched in our pews beneath the projector's beam, should greet it as an Annunciation:
I would look at that light as a pious boy might react to a shaft of sunlight in a cathedral. I still find it a slightly mystical experience. Something to do with forbidden and secret things.
That is David Lean, remembering his childhood viewing in Croydon, south of London, about as unmystical a town as you can find in the British Isles. Lean hailed from the most practical, least precious, and altogether most enviable generation of moviegoers. They revered the cinema as a place well before they sought to analyze it as an art form. The theatres these people knew were palatial compared with what came before and after—the low-rent charm of the early nickelodeons and the paltry convenience of the TV screen. The glory of Lean was that, with "Lawrence," he summoned his earliest memory of awe and, perhaps for the last time, restored our illusion that a mass medium could be a miracle. And the sadness of Lean is that he went on clinging to that belief while the rest of us watched it drift away. He died in 1991. Thank heaven he was not around for the iPhone.
Lean was one of two sons born to Quaker parents of Cornish stock. His father, Francis (better known as Frank), was an absurdly handsome accountant, unlikely though it sounds. David's mother, Helena, came from a family of "artists, inventors, and engineers," as he later described them to Kevin Brownlow, whose 1996 biography remains the best and most exhaustive account we have. Lean himself described his mother as "sweet and very pretty," although Brownlow spoke to two of his cousins, who claimed that their aunt Helena had been a woman of fury: "She had such an awful temper, it's no wonder Frank couldn't live with her." The couple split apart; Frank fell in love with somebody else, and David, then fifteen, was left with his mother to pick up the pieces. The angry wife had dwindled into a weeper: "She used to spend her time crying and to this day I cannot abide tears. If my wife starts to cry, I say, 'Stop crying!' in a brutal way, because it reminds me of my mother. I spent my life with tears."
That is an astonishing admission, and all the more striking when we think of the movies to come. No part of the human anatomy has taken more loose mockery, since the Second World War, than the stiff upper lip of the British. But what is the cause of the stiffness: the pressure of things left unsaid, or of tears not permitted to fall? Think of "Brief Encounter," which Lean directed in the final year of the war. Its main event is what never happens: Laura (Celia Johnson), a married woman, does not have an affair with Alec (Trevor Howard), a married man, despite their being ardently in love. The film has been a favorite, almost a fetish, among British audiences ever since. This year, on Valentine's Day, it was screened outside the National Theatre, in London, so that young lovers could sit in the cold, huddle together, and learn just how incredibly miserable the business of love can be. What other country would subscribe to this? The saga of thwartings is played out in the pleasure domes of suburbia: railway stations, luncheon tables, and boating lakes. For Lean, the humdrum was drenched in emotion; he himself, as a teen-ager, used to take the train up to London to see a film, then hang around in the refreshment room at Victoria Station, smoking and drinking coffee, spinning out the time so that he did not have to head home and find his unhappy mother still awake. I agree with Gene Phillips, in "Beyond the Epic: The Life and Films of David Lean" (2006), when he suggests that these lingerings spilled into "Brief Encounter." The couple first meet at a station and, unbearably, part there for the last time, with Alec's hand resting briefly on Laura's shoulder in the refreshment room. They have measured out their love in coffee spoons.
Lean went to a Quaker school and enjoyed it, though academically he never shone. (There is little sign, either, that he kept faith with his religious roots.) His interests lay elsewhere, in radio sets and photography; at the age of eleven, he had been given a Brownie box camera by an uncle. In "David Lean: An Intimate Portrait" (2001), by Barry Chattington and the director's widow, Sandra Lean, there is an early photograph that Lean took of his younger brother, Edward, who stands with a confident smile against a plum-dark sky, with a windmill perfectly positioned in the upper left. He looks like the hero of a film that is waiting to be made. Lean's parents, however, considered photography and moviegoing to be no more than hobbies, and only after some persuasion did his father, who was acquainted with the accountants at the film company Gaumont-British, arrange an interview there for his son. Lean went along, got a lowly job as a general factotum and teaboy, befriended the projectionist, wriggled his way into the cutting room, learned to edit newsreels, and soon progressed to short features—the "quota quickies" that British film studios churned out in order to meet the tally of homegrown productions required by a parliamentary act of 1927. The effect on standards was often dire; something both stubborn and slipshod, enshrined in the act, persisted for decades in the British film industry, and it reflected a prevailing prejudice that the cinema, being a cheap and fleeting diversion, was not a serious business, still less a respectable profession. "You have no idea how the movies were despised by the middle classes in England," Lean said, looking back. At the royal première of "Lawrence of Arabia," in 1962, the Duke of Edinburgh, chatting with the director before the show began, inquired politely, "Good flick?"
Lean received his first credit as editor on "The Night Porter"—sadly, not the leather-and-jackboots Nazi-flavored outrage with Charlotte Rampling but a short film of a music-hall skit, made in 1930. From here, his career quickened, and the roster of films that he edited includes "As You Like It" (1936), with Laurence Olivier, "Pygmalion" (1938), with Leslie Howard, and two films for Michael Powell, "49th Parallel" (1941) and "One of Our Aircraft Is Missing," made the following year. "The best editor I ever worked with—or should I say, worked for," Powell wrote, in his autobiography. He was not the first to remark on the commanding, not to say forbidding, skill that Lean brought to the Moviola—the basic machine through which an editor runs and then eviscerates his footage. "I began to dread Lean zoning in on me with a list of questions in his hand," Powell recalled, saying that "he dived into that sea of film like Johnny Weissmuller into a sea of crocodiles."
There are many paths to the post of movie director. Some people, like Billy Wilder and Preston Sturges, start as writers. Some begin as actors and then, like Clint Eastwood, step smartly to the other side of the camera. Others are cinematographers by trade, and their origins show; look at the films of Nicolas Roeg, who worked for Lean as a second-unit cameraman on "Lawrence" and then rose to make "Walkabout" (1971) and "Don't Look Now" (1973), films whose hunger for the hypnotic image is nigh insatiable. Of all the apprenticeships, however, editing may be the most fruitful, if only because it schools you in the need for ruthlessness as you chop down the fruit. Lean is an extreme case, in that no one was more ferocious at whittling what he himself had labored to construct. If you want to witness the editorial instinct at full tilt, with arrogance and humility entwined, find a copy of "Lawrence of Arabia: The 30th Anniversary Pictorial History," by L. Robert Morris and Lawrence Raskin, and read Lean's notes. The première was over, the triumph was all his, and David Selznick, on a friendly walk down Fifth Avenue, had warned him, "Tomorrow morning you're going to start getting phone calls from people telling you to cut it. Don't do it!" That had happened to Selznick on "Gone with the Wind," and it pained him to think of Lean going under the lash. And what did Lean do? He and his editor, Anne Coates, went back into the editing suite, and set to work:
After Ali says to Lawrence, "This is the sun's anvil" I would go, as is, to the long shot of the ants going out into the anvil and dissolve to the second night sequence with the long shadows and the boy falling off his camel. This would cut out the 3-shot sequence of Lawrence looking at his watch, Ali catching him yawning, and Lawrence settling down in his saddle. Lean is talking about the crossing of the Nafud desert, the "sun's anvil," by Lawrence and Ali (Omar Sharif), a journey thought to be suicidal. Nonetheless, they and fifty warriors take the risk, on Lawrence's insistence, because he knows it is the only way to reach the strategic town of Aqaba, then under Turkish control. As for the cut, Sam Spiegel, the bullish producer of "Lawrence," wants to keep those three shots in, arguing that the audience needs to sense the slog of the night crossing, while Lean feels that any hint of tedium could be a killer. "The film has a certain something which we must be careful not to destroy," he remarks, as if running his eye over a set of kitchen drawers that he had knocked up in the garden shed. As for a sequence near the start:
I find the map room a goodish scene in a goodish British film. I would, without a second thought, dispense with it but for the match incident. I am not absolutely convinced that the match incident is worth the footage involved.
In retrospect, I think we can say it was worth it. One "match incident" leads to another: Lawrence, stuck in Cairo halfway through the First World War, and conscious of a place, not far away, where the fate of nations, not to mention his own private destiny, will be decided, holds a match up close and blows it out. We cut, without ado, to the desert at dawn, and so to the slow explosion of red gold on the horizon's rim: God lighting the first match of the day. It was a moment that Steven Spielberg saw at the age of fifteen, and which, he says, ignited his determination to make films. If you don't get this cut, if you think it's cheesy or showy or over the top, and if something inside you doesn't flare up and burn at the spectacle that Lean has conjured, then you might as well give up the movies.
What emerges from the working notes of Lean, as from the testimony of his colleagues, is his conviction that a cut—or, for that matter, any kind of dramatic gesture—should exist not purely to wow us but to click the story forward. We can trace the extinction of Lawrence's match back to "Blithe Spirit," when Elvira (Kay Hammond), the first wife of Charles Condomine (Rex Harrison), leans forward and does the same to a match held by Ruth (Constance Cummings), Charles's second wife. Nothing special about that, except that Elvira happens to be dead, and has been summoned back to Charles's house in a séance. Her puff is funny, but it also touches off two important lines of narrative. First, we realize that Ruth cannot see her predecessor, garbed though Elvira is in a dress of putrefaction green. Second, we notice that Elvira, while visiting from another world, can affect the physical state of our own. The rules of ghostly etiquette are laid down, and, with that, the movie comes to life.
Not everybody thought so. Noel Coward, the author of the original play of "Blithe Spirit," was upset by the resulting film. "You've just fucked up the best thing I ever wrote," he said to Lean. Yet the director brought something to the haunting that the writer did not envisage: in a few, steady shots of restless curtains and dark doorways, he made it scary. Isn't that what the dead are meant to be? It would be ungenerous to deny how much Lean owed to Coward (and we are all indebted to him for his infamous remark, after the première of "Lawrence," that if Peter O'Toole had been any prettier the film would have been called "Florence of Arabia"). Their partnership first bloomed for "In Which We Serve" (1942), where they were credited as co-directors, and Lean's first solo effort, "This Happy Breed," two years later, was based on a Coward play. So was "Brief Encounter," which remains a tribute to Coward's particular yearnings, clipped as closely as hedges. Even here, though, I sense flickers of apprehension in the way the characters are framed—gestures toward an intensity that outgleams their domestic plight, as if Lean were already aware that the writer's brand of passion was not enough. When Celia Johnson and Trevor Howard snatch a hasty kiss, in an underground passage between the station platforms, they could be criminals on the lam, and the shadow that looms and lengthens on the far wall, though nothing worse than other passengers descending, feels as fateful as the onset of a monster.
All these deepenings, in Lean, came to the surface in "Great Expectations" (1946) and "Oliver Twist" (1948)—still the most robust rebuke to any declaration that movies and literature don't mix. The first pages of "Great Expectations" are a strong candidate for the best opening of any novel, and Lean, far from being bowed down by the responsibility, promptly replied with one of the best openings in the history of film. There it all is: the marshes, the gallows, the raw leaden light off the sea, the boy Pip in the graveyard, and his scream as he runs into the grasp of Magwitch. Not only does the story bring out the Dickensian in Lean, who gets his chance to break free from the shackles of Coward's impeccable taste; the movie also brings out what was Lean-like in Dickens—the sureness of his footing as he heads to the core of both plot and mood, telling his tale in a string of loaded sensations. Every time I watch the film, I imagine spiriting Dickens into a cinema and watching his response—his recognition of treasures from the book, carried over and minted afresh. When Mr. Jaggers, the porcine lawyer, gives twenty guineas to a startled Pip, the page describes him simply as counting them out; but "Great Expectations" is nothing if not a cautionary fable of money, and so Lean lights the coins as they tumble and chime on the table. To our eyes—and, more perilously, to those of Pip—they shine like twenty suns. From here to the breaking of the desert day in "Lawrence" is not that much of a leap.
"Oliver Twist" is no less audacious. Few directors, faced with unregenerate savagery, have reacted as Lean did when it came to the murder of Nancy at the hands of Bill Sikes. Dickens used to act it out at his public readings, with frightening relish, but the screen of 1948, unlike that of today, could not show brains or cudgel blows; instead, we get a shot of Sikes's dog scrabbling at the doorway, crazy to leave the room, as his master's rage expends itself, heard but unseen, on the defenseless woman. This is Lean at his best, his compassion distilled into a single detail; it is when the images compel him, so forcefully that he neglects their moral implications, that trouble starts. "Oliver Twist" stumbles, and the obstacle is Fagin. When Alec Guinness, who had been a chipper Herbert Pocket in "Great Expectations," auditioned for the role of Fagin in full makeup and costume, Lean was dumbstruck. "This extraordinary thing came on," he recalled. The thingness seems to have perturbed neither him nor his star, and they were taken aback when Guinness's performance was described, prior to the American release, as "the worst caricature of a Jew ever depicted in an English-speaking film." What else, you might ask, did Lean expect? Guinness had modelled his appearance—straggling beard, olive skin, ridiculous prow of a nose—on Cruikshank's famous illustrations for the novel, as if that were justification enough. But those were drawn in the late eighteen-thirties, and this was after the Second World War. Kevin Brownlow quotes Lean's attempted defense: "Being brought up a Quaker, I was blissfully ignorant of anti-Semitism." This means that he was ignorant of Semitism, period, but the problem is not the ignorance. The problem is the bliss.
In the end, the film did not come out in the United States until 1951, and even then it was shorn of twelve minutes. (Almost forty years after "Oliver Twist," Lean hired Guinness to play Professor Godbole in "A Passage to India," getting him to perform in brownface. They never learned.) The incident raises the question of whether Lean ever lifted his gaze from the world of film, a world that unfolded at his command, to the kinds of experience—less controllable, more dismaying and intransigent—that lay beyond. The First World War, he said, "wasn't awful in those days at all. It was glorious." That was not unusual, in the mind of a small boy far from the front; what is more worrying is Celia Johnson, writing from the set of "This Happy Breed" in 1943 and remarking, "No one appears to take the faintest interest in the war." Lean was content to make films with propaganda value, but the shape of the film at hand was what absorbed him; the sufferings to which it referred were a distant, unpalatable prospect. "Reality is such a bore," he used to say. This takes us to the heart of what the "look" of a film portends, and of the dangers inherent in the manic pursuit of the beautiful; when Dr. Zhivago (Omar Sharif) stares down from a Moscow balcony at the forces of tsarist law and order, mounted on steeds, hacking their way through a peaceful protest, why do we focus on the hero's moistened eyes? Is that an easy way for Lean to avert his own gaze from the thought of genuine blood? The one spillage of it that we see, by way of an aftermath, is prettily splashed against the snow, with a few extra flakes sifting onto it, like confectioner's sugar onto a cake.
The reality of Lean's life, in his middle years, was anything but boring. He was married six times, in all: briefly, at a tender age, to his first cousin, whom he abandoned with a child, and finally, contentedly, to Sandra Cooke, whom he met in the Food Hall at Harrods, where he used to go to buy his muscatel grapes. Lean was an indomitable womanizer, and well equipped for that demanding task: if you think Omar Sharif was a knockout in "Doctor Zhivago" (1965), try the guy who made it. "Now, that's what a film director should look like," Billy Wilder's wife said. Lean appeared to be descended from a long line of golden eagles, and almost everyone fell prey—everyone, that is, except Katharine Hepburn, the star of his "Summertime" (1955), who said of Lean's directing, "He won't budge until he can smell perfection." Hepburn could be relied upon not to cry, and so could Margaret Thatcher. ("She is all woman, all woman, all woman!" he hissed excitedly to Alec Guinness as they surveyed the Prime Minister during a soirée at 10 Downing Street. "And heavens, with his experience he would have known," Guinness added later in his journal.) What effect the departure of Lean's father had wrought on the teen-age David is open to debate, but, as though unconvinced by the consequences of love, he grew into a serial quitter. If a relationship got in the way of a movie, it had to go. Women could be edited like frames of unwanted film. In his words, "You see you must cut. Anything that is finished is finished. You must just pretend people aren't there. Once you've made that decision, you've just got to cut people out of your life."
These predatory habits would be a sideline to Lean's career, were it not for the bizarre fact that the career bore so little trace of them. To be cursed with a fearful heart and a wandering eye would be material enough for most directors, but Lean's movies, though full of alluring women, suggest a man scarcely able to confront his own desires. To say that Lean was stranded in a prudish age, and was thus denied the chance to flesh out, on film, the nature of sexual appetite, is no excuse; consider what Hitchcock did with a single kiss in "Rear Window"—Grace Kelly bearing ravenously down on James Stewart, as if to eat him up. "Something to do with forbidden and secret things" had been Lean's assessment of cinema as a boy, but some things, clearly, were more forbidden than others. There is one tiny glow of authentic lust in "Doctor Zhivago," and it shows what might have been. Rod Steiger, playing the corrupt and worldly Komarovsky, rubs a finger against the lips of Julie Christie, as if testing the flesh of a peach; she gives in, not knowing whether she wants to, and you wonder whether her surrender touched a nerve in the real women who yielded to Lean.
In 1987, a woman approached the director at a film première and hugged him. "Who the hell was that?" Lean asked, when she had gone away. On being informed that it was one of his wives, he asked, "Which one?" It was in fact the third, Ann Todd, the British actress who had starred in three of his movies, "The Passionate Friends" (1949), "Madeleine" (1950), and "The Sound Barrier" (1952). Divorcing her almost ruined him financially, although some good emerged from the wreckage; he left the country, in flight from the press and the tax man, and there followed a stylish period of living abroad, with Lean in possession of nothing more than a few suitcases and a burgundy Rolls-Royce. "Hobson's Choice" (1954) was the last film that he ever shot entirely in England, and the instinct to fly the coop grew ever stronger—prefigured in "The Sound Barrier," when a test pilot jets his wife from England to Cairo for lunch, like a one-stop Lawrence, and returns her the same day to gusts of driving sleet. Escapism never looked so good.
That movie is apparently no more than a celebration of aerial technology, and yet, like Lean's other films of the period, it shows him refining his judgment of light and shade, and probing the uncertainties that lurk in chiaroscuro. When the same pilot is killed, later on, no words are needed: we move straight from a deep, cratered hole in the ground (it could be one of the alien landing sites from Spielberg's "War of the Worlds") to the wife, now pregnant, who has nervously taken herself to the movies during his flight. The light of the usherette's torch plays along the rows, seeking her out to break the news; when it finds her, she looks up into its beam, and knows that she is a widow. Such seamless progress was a tribute to the silent movies that had been Lean's education in cinema, and they confirm what Michael Powell wrote of Lean the editor: "He always cuts on the silent head of a Moviola, because he doesn't want to be distracted by what the actors are saying. How good for the actors to know that!"
The five big films that ensued—"The Bridge on the River Kwai" (1957), "Lawrence of Arabia," "Doctor Zhivago," "Ryan's Daughter" (1970), and "A Passage to India" (1984)—stayed loyal to that principle. They are crammed with conversation, for there is much to discuss, but you hardly come away reciting lines, as you do, say, with "All About Eve." Everyone remembers Lawrence coming into the officers' bar in Cairo with his young Arab sidekick and ordering two lemonades, but that is because it marks the culmination of their trek across the Sinai desert; see the film in 70-mm., as many of us did when it was restored and shown in 1989, and you feel as parched as they do. Only recently have I come to savor the scenes that follow: serene and orderly by comparison, with Lawrence reporting to General Allenby (Jack Hawkins) on the storming of Aqaba and his plans for arming the Arab tribes against the Turks. They are talking shop, in other words, but the sound of that talk, in these cool and sandless rooms, with the grave tones of Hawkins and O'Toole—plus, in attendance, Anthony Quayle and the mellifluous Claude Rains—not only points the movie's plot ahead but subtly shifts us away from the hero worship that Lawrence has earned in his exploits. In the desert, he was nearing godhead (and the costume designers clad him in ever more translucent robes as the film proceeded, to heighten the angelic sheen), whereas here we remember how he seemed at the start: a fey and dandified dreamer, possibly a fool. "Rubbish and nerves," Allenby says, as Lawrence admits that he enjoyed killing, and for a while you feel the director siding with the general. Indeed, Quayle, watching Lean in the desert, said, "You're like a bloody general out here; you've got a huge army under your command. I'm madly impressed!" Lean was often referred to in military terms for the discipline that he brought to his location shoots, and all these major, "international" projects resound to a half-concealed war, as Lean the upright Englishman, brisk and impatient of luxury, contends with Lean the visionary. We know what Allenby made of T. E. Lawrence, but what would he have made of "Lawrence of Arabia"? Would its raptures have struck him as pretty pictures? Was there a buried splinter of shame, in Lean the Quaker boy, at making a good flick?
This is what powers the charge, I suspect, that is commonly levelled against Lean: he is said to be impersonal, a coolly superb technician and a redoubtable marshaller of forces, but his movies lack the distinctive imprint of the auteur. Set alongside his fellow-Englishmen, he could claim none of the obsessiveness that we discern in Hitchcock, or the soaring semi-delirium that the affable Michael Powell, the maker of "The Red Shoes," flung at the screen. There was a vacancy in Lean, according to his critics, that only gaped wider with time, as other people's films grew nimbler, coarser, and more hung up on the issues of the day. "Ryan's Daughter," a storm-tossed romance with Sarah Miles, was indeed a poor and sagging film, and Robert Mitchum would not be everyone's first choice as an Irish schoolmaster, but, if the vitriol that it attracted was out of proportion (bad movies arrive every week, after all), that was partly because critics and audiences accustomed to "Midnight Cowboy," from the year before, could no longer believe in love being made in a mossy wood, with cutaway shots of dancing gossamer and nodding dandelions. Even more outdated was the imaginative generosity—or overblown fancy—that strove to build an epic, complete with intermission, around the loving couple. As Norma Desmond would say, they are small; it's the picture that got big.
The truth is that Lean was not exclusively drawn to the epic, any more than Lawrence's life was confined to the desert. What excited Lean was a change of scale: matchstick to ball of fire, catastrophe to teacups, great expectations to small wonders. In some respects, the two Dickens movies are the truest expression of Lean; there is both largesse and particularity in them, and room for doubt, whereas by the time of "The Bridge on the River Kwai," his stalwart account of British prisoners of war on what was then the Burma-Siam railway, Lean cut such a decisive figure, in appearance and by reputation, that he could no longer afford to be unknowing. "The film's ending was too ambiguous," he said, referring to the climactic scene in which Colonel Nicholson (Alec Guinness again), who has overseen the construction of a new bridge for his Japanese captors, detonates the explosion that will destroy it. What Lean failed to see was that the ambiguity is everything. I remember having it spelled out for me as a child—did Nicholson fall on the plunger by mistake, or did he realize, at the last second, his folly in aiding the foe?—and being enthralled, for the first time, by the idea of a movie that left you to make your mind up.
What links the Colonel to Oliver Twist, and to the Laura of "Brief Encounter," is the sentiment that Laura herself confides to us, in a voice like the Queen's: "I didn't think such violent things could happen to ordinary people." That is Lean territory. Violence of the heart was the only kind that he could tolerate for long (bodily damage was too much), but it was enough. In a letter to his longtime collaborator Robert Bolt, who wrote "Lawrence of Arabia," "Doctor Zhivago," and "Ryan's Daughter," Lean said, "The artist is surely the human being with the hatches off," but there are times, throughout his own work, when you can hear the hatches being battened down. I don't think that Lean was impersonal; he went as far as he could, and if something impeded him from going further—his country, his lost faith, or the fact that, as Alec Guinness said, "David has no sense of humor"—then the story of his restraint is also a personal one. "I wanted to talk to people, but I only let it out to the camera," he confessed. "Lawrence of Arabia" stands apart from the other films because Lawrence was not, by any standard, an ordinary person, and because, as Sandra Lean said of her husband, "the desert seemed to allow him to quit his English self," as if England were another of his wives. Many of his finest films had been shot in the studio, back home, and yet to be trapped within those limits, in the end, was no better than dawdling at the bar of Victoria Station, waiting for the heartbreak of the last train home. "Those huge doors come down and you're in a pitch-black mine," Lean said. "I prefer the sun." ♦


text:
Food may be consumed only in the"Food Friendly" areas in green.
Beverages may be consumed in most other areas of Moody and Jones Libraries but must be in containers with lids (secure, sealable lids are preferred).
No food or drink of any kind is allowed in the Riley Reading and Digital Presentation Room (Moody Library, 3rd floor).
PLEASE report any spills to a service desk immediately!
We expect that you, as one of our valued clients, will accept responsibility for following this policy. We urge you to encourage your peers to do the same. Your acceptance of this policy will help create a more comfortable and productive library and will help preserve library resources for all other library users, now and in the future. If, however, a member of the library staff notices that you are violating the policy, s/he will inform you of the infraction and ask you to comply with the policy by either moving to a Food Friendly area or discarding the food or drink. Additional sanctions may be imposed on uncooperative or repeat offenders.
Thank you for helping us take care of YOUR library!

subset: commoncrawl


text:
Latest News
Reggie Johnson nets game-winning basket for University of Miami in win over North Carolina State as unbeaten ACC run continues
More than 19,000 heartbroken North Carolina State fans filed out of the PNC Arena into the chilly night Saturday, silenced, gutted and in disbelief. They had just watched University of Miami center Reggie Johnson tip in the game-winning shot with 0.8 seconds remaining to give the 14th-ranked Hurricanes a 79-78 victory over the 19th-ranked Wolfpack.
Meanwhile, in the bowels of the arena, the UM celebration continued. Hurricane players, giddy and still admittedly stunned, emerged from their locker room to the cheers of about 100 family and friends decked in green and orange. Some had flown in from Miami, others drove in from nearby North Carolina towns.
There were hugs and high-fives all around. Players recorded the moment with their cellphones and couldn't stop smiling.
The Little Team That Could had done it again. On the road. In front of a national TV audience and a hostile crowd that screamed its lungs out from the highest rafters. The Hurricanes improved to 17-3 and remain the only undefeated team in the Atlantic Coast Conference with an 8-0 record, including five wins on the road.
N.C. State was 12-0 at home heading into Saturday's game, and UM had never won a game here.
"That was one heck of a college basketball game in a tremendous environment," UM coach Jim Larranaga said. "If you would have told me before the game that they'd shoot 53 percent from the field, 44 percent from three-point and 85 percent from the free-throw line, I'd have thought we lost the game. Reggie Johnson came up with a huge, huge tip-in. It was a great, great team victory for us."
Johnson's left-handed tip in traffic off a Shane Larkin miss was just one of many thrilling plays in a game that saw the Hurricanes lead by as many as nine and the Wolfpack by as many as 10 in the second half.
Johnson finished with 15 points and eight rebounds, his best game since returning from a broken left thumb on Jan. 23. He was one of five Canes in double figures. Durand Scott led the way with 18, Durham native Julian Gamble had 16 points on 6-of-9 shooting, and Larkin and Kenny Kadji each scored 13.
UM made only three of its 21 three-point attempts, but made up for it with tenacious defense and the inside play of Gamble and Johnson.
Rodney Purvis heaved a desperation jumper at the buzzer, and it when it clanked off, Johnson sprinted over to the scorer's table, yanked proudly on his jersey and roared. Then, he raced across the court and stood on a chair on the UM bench, faced the small contingent of Hurricane fans and roared again.
"It was something I will remember for the rest of my life," Johnson said. "Before the game some fans were yelling stuff at us, and I just wanted to go over and show off my Miami jersey in front of them. It was big time for us, to come here and win in front of that crowd.
"Beating Duke, Carolina, N.C. State, these are schools that passed up on guys playing at Miami right now, so beating these teams is very special. I'm not sure what people think of us now, but they should respect us. People think we're good, but I think we've got a great team. We can make noise come March."
Larranaga said he felt comfortable in the final seconds and never panicked.
"We had the ball, and we knew what we wanted to do," he said. "We told Shane to use the ball screens, they'll switch, and then just attack and big guys go to boards. Reggie was right where he was supposed to be. When it went in, I thought, 'Good win, we got to get ready for Boston College.' I know that sounds crazy, but that's exactly how I feel. We're gonna get Boston College's best shot on Tuesday. Can't rest on your laurels."
C.J. Leslie had 18 points and 12 rebounds to lead the Wolfpack (16-6, 5-4). They played without starting point guard Lorenzo Brown, who injured his ankle in the previous game. Freshman Tyler Lewis, a 5-11 fan favorite, filled in for Brown with 16 points and five assists. Richard Howell scored 15 and Purvis 13.
"Well, that's a heartbreaker," Wolfpack coach Mark Gottfried said. "It comes down to a play. Reggie makes a great tip, give him credit, he stayed with the play. Rodney did a great job to make Larkin take a tough shot, but the ball comes right off the rim in the most perfect spot. We didn't make the play, they did. It's a game of seconds and inches."
Gamble was elated.
"We have no quit in us," he said. "We're not gonna stop until it's all zeroes on the clock. Even in heat of moment, Coach L calmed us down, reminded us to go out and have fun playing with our teammates. And we did. That was a lot of fun."


text:
"VERONICA MARS" ?? (9:00-10:00 p.m. ET)
"Welcome Wagon" (TV-PG, DLSV) (HDTV)
FIRST DAY OF COLLEGE - Veronica (Kristen Bell) is in true form from the moment she and boyfriend Logan (Jason Dohring), along with close friends Wallace (Percy Daggs III) and Mac (Tina Majorino), set foot on the campus of Hearst College. Wallace enlists Veronica's help when his new roommate, Piz (Chris Lowell), has all his belongings stolen. While working on Piz's case, Veronica learns that the campus serial rapist has struck again. Meanwhile, Keith (Enrico Colantoni) runs into trouble while transporting a recently released convict across the country to reunite him with Kendall (guest star Charisma Carpenter, "Charmed"). Francis Capra, Ryan Hansen and Julie Gonzalo also star. John Kretchmer directed the episode written by Rob Thomas (#3T5801).


text:
Partners in the United States
National Science Foundation / Fundacion Nacional para la Ciencia (NSF)
The National Science Foundation (NSF) is an independent federal agency created by Congress in 1950 "to promote the progress of science; to advance the national health, prosperity, and welfare; to secure the national defense..." With an annual budget of about $6.9 billion (FY 2010), we are the funding source for approximately 20 percent of all federally supported basic research conducted by America's colleges and universities. In many fields such as mathematics, computer science and the social sciences, NSF is the major source of federal backing.
University of Florida / Universidad de Florida (UF)
The University of Florida (UF) is a major, public, comprehensive, land-grant, research university. The state's oldest and most comprehensive university, UF is among the nation's most academically diverse public universities. UF has a long history of established programs in international education, research and service. It is one of only 17 public, land-grant universities that belongs to the Association of American Universities.
Florida Museum of Natural History / Museo de Historia Natural de la Florida (FLMNH)
The Florida Museum of Natural History, located at the University of Florida, is Florida's state museum of natural history, dedicated to understanding, preserving and interpreting biological diversity and cultural heritage.
Smithsonian Tropical Research Institute / Instituto Smithsonian de Investigaciones Tropicales (STRI)
The Smithsonian Tropical Research Institute, headquartered in Panama City, Panama is a unit of the Smithsonian Institution. The institute furthers the understanding of tropical nature and its importance to human welfare, trains students to conduct research in the tropics and promotes conservation by increasing public awareness of beauty and importance of tropical ecosystems.
New Mexico Museum of Natural History / Museo de Historia Natural de Nuevo Mexico
The mission of the New Mexico Museum of Natural History and Science is to foster an understanding and appreciation of the diverse natural history and physical sciences of New Mexico and the Southwest for the benefit of residents of, and visitors to, New Mexico. The Museum provides educational experiences and promotes scientific inquiry through focused collections, research, public programs and exhibitions.


text:
HM*621 - Quality Management in Health Care Facilities
(3 cr.) This course provides a broad perspective on improving quality in health care facilities. Students gain a working knowledge of accreditation organizations and health care regulatory requirements including the JCAHCO and patient-safety legislation. The course explores patient safety and quality methods as well as the role of consumers in evaluating the quality of the health care services they receive. At course completion, students are able to competently participate in health care quality/patient safety endeavors at all levels of provider, payer, regulatory and accreditation organizations. Students may participate in an onsite project. Every Year, Fall


text:
Sunday, 3 April 2011
Run at Whale Lake Church
We ran together the entire time. I think we are at our best and most in love on days like this. Of course, when we get hypoglycemic, we get mean quickly, but that only happend once today. (Danni calls this phenomenon "hangry" by the way, which is great)
At about 18 miles, I started having Braxton Hicks contractions. I really didn't know what it was at first and thought I really had to pee, but no pee came out. I got worried. But then I realized that the pain kept coming and going and went away if I stopped running. And once I realized this, ironically, I wasn't afraid to run anymore. Because one knows it's Braxton Hicks if it goes away when one stops the exertion. Okay, but despite the fact I knew it wasn't dangerous, it wasn't comfortable either. I would describe it as going from feeling normal to feeling as if there is a big bowling ball pressing on your bladder and pelvis. I actually first experienced Braxton Hicks my last pregnancy after I had my running injury, while I was spinning, so I don't remember what they felt like running. Any of you readers have experience with them while running?
I'm not sure how I feel about running all of Chippewa in 3 weeks. 50k seems longer to me today than it did yesterday. And the terrain we ran on today was similar to the Chippewa terrain. It is not that I am worried about running it slowly, I just don't like the idea of running 12 miles or more with contractions. So, of course, I'll just run as much as I'm comfortable with. Chippewa is, after all, in such a beautiful area that just getting the chance to run there - even part of the distance - is something to look forward to. Plus, I know SR has a chance of winning. He is uninjured, light and has had some good long runs, though he adamantly denies being in good shape right now.
I didn't even listen to enough music to have a running song of the day. So instead, you're all stuck with captioned pictures.
Photo of the artist as a young man
23 weeks pregnant - after 23 miles run
The sexiest husband to ever stand on a rock with a Chippewa 50k shirt on, looking for whales in a fresh-water lake
22 comments:
- Julie said...
Sounds like a great run. You are an inspiration! Wish I had been more active and a runner back when I was pregnant. You are looking great!
- 3 April 2011 at 21:18
- Marathon Mom said...
Sounds like a nice run. I remember the BH contractions, mine started around week 19 during a half marathon when I thought "why do I keepfeeling like I have to pee, but then it goes away". I finally realized it was BH when it stopped as soon as I was done running. I found that staying really hydrated helped and using a pelvic support belt took some pressure off the bladder making the BH much less noticable while running.
- 3 April 2011 at 23:09
Great photo! I have gotten BH with both pregnancies - sometimes even from fast walks. Never with pain though - just tightness and discomfort. I would agree the support belt helps with that too - I have the Gabriella and found it online. And the strassburg sock for PF - I am sure you have that already!
- 3 April 2011 at 23:20
- The Chapples said...
I had B-H on TODAY'S run, as a matter of fact! I only ran 7.7, so can only imagine how it would feel at mile 20! I hate the feeling, had them like crazy during my last pregnancy but they've started earlier this time around. Like you said, they usually go away when I stop moving, put my feet up, and hydrate well. But darn are they ever uncomfortable!
- 4 April 2011 at 00:53
- mmmonyka said...
SR looks so serious in that first picture (at least compared to you):)"The "seriousest" husband to ever stand by his lovely wife with a Chippewa 50k shirt on..."
Pictures are better than running song of a day!
- 4 April 2011 at 01:22
- sea legs girl said...
Just have to give a general big thank you for all of the Braxton Hicks comments - it makes me feel much better.
Mmmonyka - totally agree pics are better than running song of the day, but unfortunately I'm not always so good at getting a hint of irony to come through :). One of my goals for the future is to be better about remembering to check to make sure the camera is functioning (with card and batteries) before I go out the door!
- 4 April 2011 at 07:47
I also had Braxton Hicks during my pregnancy. I was so worried that I went to the hospital twice as everyone told me I cannot have them at only 23 weeks (actually, the first time I realized they were there was at 18 weeks). They never influenced the length of my cervix so my doctor wasn`t concerned at all. Reading the experiences of you and the other posters I wonder if exercising and/or lean women have more and earlier Braxton Hicks contractions. Or is it because we are more aware of everything that happens in/to our bodies? But then, my Braxton Hicks contractions were so obvious - no way you could have missed them! But it is helpful to hear that I am not the only one who experienced them early on- this will definitely make it easier when I am pregnant again!
- 4 April 2011 at 08:47
- Jacqueline said...
I had them a lot my second pregnancy, and they actually did turn into pre-term labor for me -- after a spinning class, ha ha. I thought it was just from the class, but I was doubled over even afterward, then drank a ton of water, then went home and laid down and it still didn't stop. Scary. I was around 27 weeks when I had to go on medicine for it -- Procardia, I think, is the name. Something like that. Anyway, it sucked. I hope things settle down for you.
- 4 April 2011 at 17:58
SLG, I am a long-time reader of your blog. I unfortunately just learned my 2d pregnancy in 13 mos (3d if you count a positive test in Nov that turned neg a few days later) is ending in m/c after I developed a subchorionic hemorrhage and was spotting/bleeding for weeks. My doctor (a former Olympic athlete) at one point counseled me to avoid all strenuous exercise. Two questions for you: 1) have you read the 2007 Danish study that examined strenuous exertion and m/c, finding a positive correlation? 2) apart from that study, are you aware of any impact of strenuous exercise in causing a threatened m/c to progress to a m/c? You are the only person who I know is writing about these issues and I would be very grateful for your thoughts.
- 4 April 2011 at 19:56
- sea legs girl said...
Iris, well I think there are the main reason a lot of the women commenting here had Braxton Hicks earlier was because they exercised. In the pregnancy book I have given to all Danish women, it states that Braxton Hicks are normal starting in week 23 or even earlier. But, yeah, I don't remember ever having them when I didn't exercise, so it's no wonder a lot of people think that 23 weeks is too early. Looking back I think I had them at the end of all the pregnant marathons I ran because I always said to SR afterwards that I started having weird bladder pain at the end - even when I was just 9 weeks along!
- 4 April 2011 at 20:21
- sea legs girl said...
What a scary experience! But - did you actually go into labor at that point? I am just confused.
Braxton Hicks don't lead to labor. There have been multiple studies showing this. If you went into labor while spinning, it had nothing to do with Braxton Hicks or the spinning. It was a coincidence and there must have been other reasons you went into preterm labor. If you went to the hospital with Braxton Hicks and not premature labor, a doctor there may have given you a medication "just to be on the safe side". But labor and Braxton Hicks are two completely different things. And BH's don't lead to labor. It is hard for me to say more about your particular situation without knowing more details.
- 4 April 2011 at 20:26
- sea legs girl said...
- This comment has been removed by the author.
- 4 April 2011 at 20:45
- sea legs girl said...
I am so sorry to read about your miscarriage. It is such a hard thing to go through - and now, if I understand you right this is your second? I know it's easier said than done, but do everything you can to not put the blame on yourself - because it is NOT your fault.
I have read the study and I know Mette Juhl who is one of the researchers in the study. What they found was a small positive correlation between "high impact sports" and miscarriage. "High impact" was all ball sports, horsebackriding and running. So it is wrong to call it "strenuous exercise". There has been no study linking running alone with an increased risk of miscarriage. In fact, when running or dancing are looked at alone, they lower the risk of miscarriage. I have interpreted the Danish study as proof that high impacts to the womb such as balls or kicks from horses or falls from horses ARE potentially dangerous. It was thus not necessarily the exercise that was dangerous. In fact, it is hard to believe it was simply the exercise when all other studies on exercise and miscarriage have given opposite results. I have actually asked Mette Juhl if I could analyze just the runners alone and she was okay with that. Now I just need the money and the time for the study.
- 4 April 2011 at 20:48
- Jacqueline said...
Hi. No, I didn't go into labor, I just had a ton of contractions that didn't stop -- so I guess they were still BH, because they weren't causing any cervical change (tht's what makes them BH, right?).
But then I did keep having them, and I can't even remember now (how funny is that, my baby is only 5 months old and I am so forgetful about all the pregnancy details ALREADY), but they did put me on the medicine. I had so many other issues going on -- fluid issues, etc. -- that they were pretty conservative with me, I think. But after a while, the contractions would happen even on the medicine. But a fetal-fibronectin test at around 34 weeks was negative (I was breaking through the procardia then and had to go to the hospital because they wouldn't stop). At that point I was told, looks like I just have a sensitive uterus, or something like that. Basically, oh well.
Why am I sharing all this? I have no idea. Anyway.
I guess my point is be careful. It was scary to me when it happened. But that could be because of all the other issues.
I hope you have an uneventful pregnancy!
- 4 April 2011 at 22:59
- sea legs girl said...
Thanks so much for sharing more details! I in no way mean to downplay what you experienced. Life is of course never as simple as research indicates. But, yeah, you are right, it is not labor unless there is cervical change. It is, though, harder for me to explain why your contractions lasted so long after you stopped exercising, though of course one can have braxtons hicks while not exercising especially if warm and or dehydrated, if I remember correctly.
But the most important thing I want to get across to the readers of this blog is that neither exercising nor Braxtons Hicks contractions induce premature labor. I just don't want women to get scared when they have Braxton Hicks - and that is easier said than done since even I figured I was having Braxton Hicks on Sunday, but still was ever so slightly scared.
Glad everything ended well with your pregnancy :).
- 5 April 2011 at 11:14
Actually, I didn`t have my Braxton Kicks contractions while exercising but during rest, especially at night. I took a break from exercising when I was really worried and it didn`t have an impact on their frequency. My theorie is that women that are engaged in exercising have more muscle tone - everywhere, probably also in the structures supporting the organs. This might prompt those benign contractions in the uterus. Maybe this is far-fetched. My doctors (and yes, I saw several as I was so worried) were way more relaxed than I was as long as no cervical changes were noticeable. I am curious about your analysis of the "running group"!
- 5 April 2011 at 13:15
- sea legs girl said...
Hmmmm. Have you seen evidence that women who are thin/muscular/exercise more get Braxton Hicks contractions at rest earlier? I guess I just don't have that impression, but of course I might be wrong.
Regarding the muscle theory, it is difficult to make sense of it physiologically because uterine muscle is smooth muscle, not skeletal muscle, so it is not affected or strengthened by exercise. I don't think it makes sense to believe that strengthening skeletal muscle would have an affect on smooth muscle. Just like lifting boxes doesn't strengthen our heart, it's making our heart pump that strengthens our heart. Although there may be a complex interaction between smooth and skeletal muscle that is not yet understood.
- 5 April 2011 at 13:46
- Jacqueline said...
Yes, I am not trying to scare your readers! I think my problem was the contractions just wouldn't stop, you know?
Exercising while pregnant definitely made me feel less like a craze, rage-filled preggo!
- 5 April 2011 at 17:15
- Jacqueline said...
Iris: I was told that I might feel things more because I didn't have a lot of belly fat. Even in the hospital, during labor, they said that while watching my contractions on the monitor. The nurse made some comment that the monitor would pick things up sooner on me than on someone who was heavier (I was induced and on constant monitoring, though was able to walk around, etc.). So maybe your muscular theory makes sense?
- 5 April 2011 at 17:18
SLG, thank you so much for answering my question about strenuous exercise! It is so comforting to know about your exchange with Mette Juhl. I truly appreciate the information and I hope you get money for that study -- I for one am cheering you on.
- 5 April 2011 at 18:16
I'm due on August 8th, 2011 and found your blog while googling '23 week pregnant runner,' to see what it would come up with. And I'm so glad I'm here! I'm going to periodically check in and read your journey - you are truly an inspiration!
I ran through my first trimester and first half of second, and recently (at 21/22 weeks) started feeling sharp pains in the side areas of my pelvis - which I believe might be round ligament pains. I still run though, occasionally putting my hands under my belly to ease the pain. But my mileage and time have seriously plummeted to crawling speed.. so reading that you had just ran 23 miles at this point is just beyond awesome!
Thank you for a helpful, informative blog for all of us pregnant runners, and keep running!
- 9 April 2011 at 00:35
- sea legs girl said...
Hey Anon - Thank you so much for commenting. All I can say is keep running as long as you can. It is the healthiest and most effective stress reliever I know! Don't worry at all about how fast you run or about taking days off or cutting down on mileage when you need to. The most important thing is that it continues to make you happy. I really hope your pains don't get worse and that you are able to run all the way until baby comes! Stay in touch!
- 9 April 2011 at 21:00


text:
Builder Responsive: Introduction
Starting with version 4.0, Builder 4.0 uses responsive design, so your site will respond to different screen sizes like phones and tablets. Our newly-updated Foundation Series themes are now fully-responsive, and pave the way for future mobile responsive theme designs.
Responsive-ready Child Themes
- Visit the Builder child theme library and filter by the "responsive" icon.
As of Builder 5, Builder Core (previously referred to as Builder Parent theme) is now integrated in each theme. The Builder Portfolio shows which themes are responsive, and this applies to the Builder 4 child themes, as well as the Builder 5 themes.
Issues with IE
Unfortunately, responsive sites don't work very well on Internet Explorer < 9. That being the case, our themes have rules for IE 6, 7, and 8 that keep the site full width. This may not be ideal, but it is certainly much better than having a terrible-looking site in IE < 9.
- For more information, visit: http://ithemes.com/forum/topic/37756-builder-and-avail-theme-not-responsive/#entry172777
Updating to Builder 4.0
A lot of effort has gone into ensuring that this Builder 4.0 will not cause issues when you upgrade an existing site that is running an earlier version of Builder. The easiest way to upgrade to Builder 4.0 is to download the latest version of Builder Theme - Core and your corresponding child theme from the iThemes Member Panel. Follow the normal Updating Builder instructions.
If you have made customizations to your child theme's CSS, please visit the Note for Custom Child Themes section below.
Add Theme Support
There is a specific piece of code that needs to be in a child theme's
functions.php in order to trigger the new responsive feature, so your child theme will still function as it does now after you upgrade.
Here is that code:
add_theme_support( 'builder-responsive' );
Note for Custom Child Themes
If you have a large amount of customizations through filters that affect widths, positioning, and other aspects integral to rendering a Layout, it is possible that the changes in this release can cause you some issues.
So, if you have a highly-customized site, we recommend keeping a backup of your existing Builder theme directory just in case. If you run into any issues after upgrading, revert to the previous version of Builder and contact us in the forum about the issue. If possible, please provide a copy of your child theme that is having the issue so that we can find a way to work around the issue.
Can I update my existing child theme to be responsive?
The easiest way to update your child theme to a responsive-ready version is to download the latest version from the iThemes Member Panel and install it.
For Advanced Users
A big goal that we had for this release was to make it very easy to update existing child themes to be responsive. As Chris Jean mentioned here, the idea was to make it as simple as adding a line of PHP to your child theme's
functions.php file.
In a way, this has been achieved. By adding a single line of PHP to your child theme's
functions.php file, you can enable Builder 4.0's responsive feature. However, what we overlooked to account for is that the old method of styling child themes create some inconsistencies as the design breaks down responsively.
Will adding this line of PHP make your existing child theme responsive? Yes; however, the styling may not take to it too well.
The best advice we can give to people is to try making the change on a test version of your site. Set up a test installation of WordPress (if you have BackupBuddy, you can use the magic migration feature to set up a mirror of your site for testing), install the latest version of Builder, add your child theme, make the modification (listed below) to the functions.php file, and test things out to see if your design is coping well with the new responsive feature.
Note that the
functions.php modification can be removed to switch the child theme back to its non-responsive functionality, so trying out the feature will not do anything to prevent you from going back. If you don't want to go to the trouble of making the test site and are comfortable with your site possibly having some style issues while you test out the new feature, you can easily remove the modification and put things back the way that they were.
If your child theme already has a
functions.php file, simply add this line after the <?php line:
add_theme_support( 'builder-responsive' );
If your child theme doesn't have a
functions.php, create a new file, add the following code to it, save it as
functions.php, and add it to your child theme.
<?php add_theme_support( 'builder-responsive' );
See also
- Introduction
- Videos
- Updates
- Stylesheets
- Responsive Support Function Paramaters
- Responsive vs. Adaptive


text:
A first look at new collections, early access to sales, and sneak peeks at collaborations and special events!
Pink & burgundy mongolian scarf features a hand-crafted stripe pattern.
O/S; measures 52" L
Fabric Content:
We try our best ship all packages within 48 hours of receipt of the order from our New Jersey fulfillment center (excluding weekends and holidays). Your order will be shipped pending item availability, so please check the delivery time noted in the product description.
We ship via UPS and all real-time rates are calculated at checkout, so please enter your shipping address to determine shipping cost. All orders placed before 12PM EST will shipped out on the same day. Please make sure that your order is shipping to a secure location, as once package has been delivered to the correct location we cannot be responsible for lost or stolen packages.
We think everyone likes to wear their clothes a little differently, especially when it comes to outerwear. For that reason, we have chosen to size our products small/medium and medium/large. See our recommended size guidelines below. Additional sizes are possible by special order; please email us at email@example.com for more information.
Small / Medium is recommended for USA sizes 2-6,European sizes 32-36 and UK sizes 6-10.
Medium /Large is recommended for USA sizes 8-12, European sizes 38-44 and UK sizes 12-16.
We want you to love your House of Fluff purchase! If for some reason you don't, you may return an item within 14 days of receiving your order.
Please note that any returned items must be received in new, unused and unaltered condition with the original tags attached and accompanied by the original invoice, RMA number and original packaging.
To submit a Return Request, please email firstname.lastname@example.com with you name, order number & item you wish to return.
Questions? Call us at 646-688-5677 or email us at firstname.lastname@example.com.


text:
Irish police have launched an investigation after a Pakistani doctor made claims that he was racially abused at the night club.
Junior doctor Syed Kamran Haider Bukhari went public with his story last week when he revealed he was physically and verbally abused by a female and branded a n****r.
The 32-year-old was kicked and punched while he was out socializing with friends in his local nightclub last week. He revealed that the incident made him reconsider his future in Ireland.
Irish police have now launched an investigation into the doctor's claims and they are working with the Garda Racial and Intercultural Office, reports the Evening Herald. It is understood that they are reviewing the CCTV footage of the alleged incident.
Speaking to the Herald, the doctor said he has received an incredibly positive response since his story first appeared in the Herald last week.
Read More:
Irish man remembering his US Marine son is angry over reasons for Iraq War
Racist abuse may drive me out of Ireland says Pakistani doctor - POLL
Will New Jersey Hall of Fame induct Thomas Nast, a racist and anti-Irish Catholic?
"The reaction I have got from friends, colleagues and many people I do not know has been incredibly positive. I hope that going public with my experience will help other people to do so. If we don't talk about these things, we cannot move forward as a people." He added: "I have lodged a complaint with the gardai (police) and am hopeful that a good outcome can be reached."
Rosanna Flynn, of Residents Against Racism told the Evening Herald, the group have received a surge of reports in recent weeks.
"I would love to report that racism is not a major issue in this country but that would be a lie," she said.
"As a country we need to focus on how we can stamp out the kind of thing that happened to Dr Bukhari as it is very saddening to hear that people as talented and educated as him are considering leaving the country because of the disgraceful actions of so few."


text:
Business Insight Week, Gatwick, Summer, 2019
- Recruiter
- Location
- Gatwick
- Salary
- Competitive
- Posted
- 01 Dec 2018
- Closing date
- 01 Jan 2019
- Industry
- Finance & accounting, Accountancy, Financial services
- Job function
- Finance
- Job level
- Graduate
- Hours
- Full time
- Contract
- Permanent
- Listing type
- Job vacancy
Business Insight Week
On our Business Insight Week we'll put you through your paces, with guidance and support every step of the way to explore the work we do and the opportunities we can offer you. You'll spend time with teams working on live projects and buddying up with a member of the PwC team just a little older than you. You'll get a unique insight into how the world of business works and what it's like to start your career here. We'll spend time helping you identify the employability skills you already have and how you can develop these further to give you the best possible start to a career in business. We'll top it all off by sharing your experiences with other students on the programme and celebrating a fantastic week.
Once you've finished the programme, we'll spend time enabling you to reflect on your performance, talking you through your options and helping you to decide on your next steps - which could include a fast track to securing a permanent School and College leaver role with us.
What you'll gain
- Spend time with top business professionals.
- Develop your employability skills with support from our recruiters.
- Get a real taste for what a job with us would involve as an Apprentice, Flying Start student or graduate
- Experience real work, from meetings and client communication, through to high profile internal projects, giving you real exposure to what life is like at PwC.
- Do well and you could even find yourself on a fast track towards a permanent role with us when you finish studying.
What you'll need
No matter what background you're from or what subjects you're studying, we'd love you to join us. This is your chance to take the first step towards an incredible career in business.
You'll need to be:
- Currently in Year 12 and studying for A-Levels / Highers or equivalent.
- Interested in taking your first steps towards a career in business.
- Available for a week during your summer holidays in 2019 during 5th - 9th August or 19th - 23rd August
- You'll need to be on course for a 96 UCAS tariff (excluding General Studies)
- You'll need to have achieved a Grade 4 in Maths and English GCSE or equivalent
- Committed to your career ambitions and able to explain to us why you want to complete this programme.
What will the application process look like?
- Online registration form
- Online assessment and Situational Judgement Test
- Video interview or Assessment Day (we will invite you)
For application hints and tips please visit our website via the button below.
Application Timetable
- The closing date for applications is 31st January 2019
- The deadline for online testing is 4th February 2019
- Assessment Days and Video Interviews to be conducted in February and March 2019 (exact dates will be confirmed to you)
Further details about all our programmes can be found on our student careers website.
Take the opportunity of a lifetime
The PwC Deal
We want people to build exceptional careers during their time at PwC. When you feel motivated and energised by your work, you're more able to contribute to the organisation, as well as achieve your aspirations. No matter which area of the business you choose to join, all routes offer the same deal. The opportunity to grow as an individual, to meet new people, and build lasting relationships that will stay with you for life. We empower people to be the very best they can be and to reach their full potential. In return, your hard work will be rewarded with a competitive salary and a personally tailored benefits package.
Diversity and inclusion
We work in a changing world which offers great opportunities for people with diverse backgrounds and experiences. It's critical we have diverse talent, views and thinking if we are to deliver exceptional client value and solve the world's important problems. We seek to attract and recruit people from the widest talent pool, who reflect the society in which we work. And we aim to encourage an inclusive culture where people can feel empowered to be the very best they can be and to reach their full potential creating value through diversity is what makes us strong as a business and as an organisation with an increasingly agile workforce, we're open to flexible working arrangements where appropriate. So join PwC. We'll help you reach your full potential.
About PwC
We're one of the world's leading professional services organisations. From 158 countries, we help our clients, some of the most successful organisations on the globe, as well as its most dynamic entrepreneurs and thriving private businesses, to create the value they want. We help to measure, protect and enhance the things that matter most to them.
Find out more about our application process, at our website via the button below.


text:
Verisign domain takedown proposal very worrisome
Verisign just released an overview of their proposed "Anti-Abuse Domain Use Policy" Under ICANN's Registry Services Evaluation Process. The program's chief aim is to provide a takedown mechanism of malicious websites distributing malware. In itself, not a bad thing, considering some registrars are unresponsive toward abuse or network stability issues.
However, lumped in with the conditions under which Verisign can invoke their takedown capabilities are some troubling "add ons", as quoted below:
"The new anti-abuse policy, would be implemented though a change to the .com. ,net and .name Registry Registrar Agreements and would allow the denial, cancellation or transfer of any registration or transaction or the placement of any domain name on registry lock, hold or similar status as necessary:
(a) to protect the integrity, security and stability of the DNS;
(b) to comply with any applicable court orders, laws, government rules or requirements, requests of law enforcement or other governmental or quasi-governmental agency, or any dispute resolution process;
(c) to avoid any liability, civil or criminal, on the part of Verisign, as well as its affiliates, subsidiaries, officers, directors, and employees;
(d) per the terms of the registration agreement,
(e) to respond to or protect against any form of malware (defined to include, without limitation, malicious code or software that might affect the operation of the Internet),
(f) to comply with specifications adopted by any industry group generally recognized as authoritative with respect to the Internet (e.g., RFCs),
(g) to correct mistakes made by Verisign or any Registrar in connection with a domain name registration, or
(h) for the non-payment of fees to Verisign. Verisign also reserves the right to place upon registry lock, hold or similar status a domain name during resolution of a dispute;
The main problem here is Section (b), which let's Verisign takedown any domain that is inimical toward a government "requirement" or at the "request" of a law enforcement or other governmental or quasi-governmental agency.
What does this mean?
It means domains can be taken down without judicial process and in the absence of any overt network abuse. I refer anybody who thinks the possibility of abuse of this policy is remote to the actions of Senate Committee on Homeland Security and Governmental Affairs Chairman Joe Lieberman, last December regarding Wikileaks – an entity which has still never been charged with any offence in any jurisdiction and which continues to operate in a perfectly legal manner. (Lieberman called on "any company or organization that is hosting Wikileaks to immediately terminate its relationship with them." – Which sounds like a "request" to me.)
What Wikileaks did was expose bad actions of the various governments themselves, some of those – illegal. It can be assumed that governments that are acting against the interests of their constituents or committing actual crimes have a "requirement" that everybody shuts up about it. Thus any whistleblower, journalist or egregious truth-teller using a domain under .com or .net to bringing light on issues such as these could find themselves with their domain unplugged under this policy.
In the case of Wikileaks, Lieberman's staff telephoned various web services providers and demanded that they sever ties and cease providing services. Next time all they would have to do is call Verisign and tell them that the government "requires" them to takedown their domain. (Of course, Wikileaks is under .org, not .com or .net, but next time it may not be Wikileaks. Maybe it'll be Zerohedge. Maybe it'll be easyDNS. Maybe it'll be you.)
Under the proposed rules, it's not just the government that could initiate takedowns but even "quasi" governmental agencies. What's a quasi-governmental agency? It's a government created entity that undertakes commercial activities on behalf of the government. That would mean entities like Fannie Mae and Freddie Mac or the Federal Crop Insurance Corporation could takedown any .com or .net domain based on having a "requirement" or making a "request" to do so.
Section (c) is also troublesome: providing that Verisign can takedown any domain to avoid liability to themselves. So if other avenues of removing a troublesome domain fail, you could just simply sue, or threaten to sue Versign and they can unplug the underlying domain.
Last year the US Department of Homeland Security (Immigration and Customs Enforcement) began a series of domain takedowns intended to enforce copyright violations. In one case they seized a third-level domain provider (mooo.com) which resulted in the takedown of over 84,000 unrelated and innocent websites.
Since the ICE takedowns were arbitrary and widening in scope, there became a perceived benefit to using non-US based Registrars for domain registration, as the takedowns were being implemented via court orders to those US-based registrars.
If this policy goes into effect, there are no safer jurisdictions for any .com or .net domain anywhere in the world. They all come under US government, quasi-governmental and law enforcement agency "requirements".
The Verisign proposal concedes that:
" Registrants may be concerned about an improper takedown of a legitimate website. Verisign will be offering a protest procedure to support restoring a domain name to the zone. "
Which is not very comforting. What is the "protest procedure" and how long will it take? Will a contested takedown put the domain in an online or offline state while the procedure is implemented, and how long does that take?
Proposed Modifications
If this is to move forward, our recommendations are as follows:
- Section b should be stricken, and the current model that government inspired domain takedowns be requested via the Registrar of record be retained.
- In cases of court-ordered takedowns, Verisign should only intercede in the case of a non-responsive Registrar and again, under a court order.
- Section c should be stricken. Verisign already insulates itself from liability in its Agreements with Registrars and under the various Registrant Agreements already in place. This should not be a back-door method into taking down a domain.
- If a Registrar feels a false-positive takedown has occurred, there needs to be a mechanism to bring the domain back online immediately pending the outcome of a challenge or disputed takedown.
Editorial Add-on by Frank Michlick
I completely agree with the comments by Mark, but I'd like to one step further and comment on the plan to pro-actively scan the domain registration base for malware sites as highlighted in the Domain Name Wire article on the same topic. While I am not a lawyer, I think it is very dangerous grounds for a registry operator to start actively monitoring registered domain names for their content and its compliance with laws. Once a registry does this as a pro-active service, it could imply that the registry becomes liable for sites that it misses in its scans, since it should be aware of the content of the sites for the domains registered through them. I think that a registry should act as a technology provider and facilitator the registry should not be active in developing the policy that decides what is illegal and what isn't.
(c) 2011 DomainNameNews.com (1)
Tap into the most comprehensive Whois database
on the planet: Discover the details of a domain's current ownership,
learn a domain's pedigree and find all the domains ever owned by a
specific company or individual by accessing historical information from DomainTools.com.


text:
Enamored Maroon Embroidered Lehenga Choli
A Choli is a midriff-baring blouse-like garment in the Indian sari costume worn in India. The choli is cut to fit tightly to the body and has short sleeves and a low neck. A lehenga is a form of skirt which is long, embroidered and pleated. It is secured at the waist and leaves the lower back and midriff bare. The third part of Lehenga Choli is the Dupatta or the scarf. The garment is unstitched, consisting of the 3 pieces above, loosely attached together. The garment is unstitched


text:
- Bussiness News
- Trading And Investing
- sectors
- special features
- MV Education center
- Video
- t3 live subscriptions
There is nothing unusual about a 2 to 3 week correction in a roaring bull market.
Analysts' target prices tend to follow, or at least roughly, correlate with the underlying stock's movement.
It is interesting that as some big guns are being fired in currency wars, that gold is getting hit.
The following is a walkthrough of some setups from yesterday.
Coach was benched after last quarter's poor earnings performance
In the 4th quarter of last year, we walked through the convergence of the 25-year cycle, the 50-year cycle and the 75-year cycle.
I think we are nearing a time where Facebook is likely to come into another accumulation phase
Pattern and price have given indications of an important turn at the same time we have overbought conditions.


text:
BIRMINGHAM, Ala.—Senior Elizabeth Bromirski recorded her ninth double-double of the season Sunday afternoon, lifting the Birmingham-Southern women's basketball to a 66-56 victory against Sewanee at home in Bill Battle Coliseum. The Panthers move to 10-13 overall and 6-6 in the Southern Athletic Association; the Tigers fall to 9-14 and 2-10 in the SAA.
Bromirski recorded 15 points (on 6-10 shooting) and 12 rebounds in the win, while junior Kayla Ford led all Panthers with 16 points, 12 of those coming in the second half, the most of any player in the closing twenty minutes of play. She was 5-6 from the field and 6-7 from the free throw line. Sophomore Ashley Curry and freshman Laura van Peursem led with four assists apiece, and van Peursem also had two blocks.
The Panthers quickly found themselves in a ten-point hole with 13:33 left in the first half, down 13-3, with their first field goal not coming until the 14:47 mark. A BSC timeout proved to be the catalyst the Panthers needed as over the next 4:20 of game play BSC charged back with a 13-0 run. In that stretch Bromirski knocked down two jumpers and a three-pointer to go with a pair of layups from freshman Jasmynn Batts and two free throws from Curry to take the first Panther lead of the game at 16-13.
Both squads would exchange baskets in the ensuing minutes with Sewanee briefly staking a 21-20 lead with just over five minutes remaining in the opening frame. A mere 15 seconds later a pair of free throws from Ford put the Panthers up by one and earned the home team a lead they would never relinquish for the rest of the game.
After heading into the locker room with a 31-29 advantage, BSC used three three-pointers, two from freshman Jothani Dixon, to score 15 unanswered points and push the lead out to 44-29 with 16:24 left in the game. The Panther lead would swell to 21 after a successful conversion of an and-one after Ford was fouled making a lay-up off an assist from van Peursem.
Sewanee's Casey Hassett led all players with 17 points, and Kayla Sewell lead all players with three blocks. Savannah Rose led the Tigers with nine rebounds.
The Panthers held the edge in rebounding, 49-35, however the Tigers were able to convert more of their rebounds into points by scoring 12 second-chance points compared to two for BSC.
BSC is at home again next weekend for the final home stand of the year, taking on Oglethorpe on Friday at 6 p.m., and Berry on Sunday at 1 p.m. in Bill Battle Coliseum.


text:
The coffee bean was first discovered in the Kaffa region of Ethiopia around A. D. 800. According to legend, a goat herder named Kaldi discovered the bean by way of his goats. When the goats ate the beans and leaves of the coffee tree they became hyperactive, which made Kaldi curious enough to try it himself.
Excited by the surge of energy the beans gave him, he took them to a nearby monastery to show the monks. However, instead of sharing in his joy, the monks rebuked Kaldi for bringing the evil stimulus and threw the beans into a burning fire.
As the beans started to burn, the monks enjoyed the aroma so much that they decided to forgive Kaldi and give the coffee beans a chance.
They soon discovered that by chewing the roasted beans before their nightly prayers, they were able to stay awake and alert. Some time later, they learned that the roasted bean could also be ground and brewed into a hot drink — and thus buna (coffee) was born.
For Ethiopians, the coffee ceremony is an important social event that brings people of the family or community together. It is an important cultural ritual that's been passed from generation to generation.
Many people are drawn not only to the coffee itself, but also to the long and beautiful ceremony that gives people a chance to communicate and share ideas.
The ceremony commonly starts by washing coffee beans to remove their husks and other debris. Then the beans are roasted in a long-handled pan on a small fire contained in a stone oven. The beans are shaken rhythmically in the pan to prevent scorching.
As the seeds heat, they darken, become shiny with their own oils, and begin to make a popping sound. At this point, the hostess removes the beans from the heat and waves the pan to create an aromatic breeze for her guests to appreciate.
The coffee beans are then pounded to a fine powder and put into boiling water in a special local coffee pot called a jebena, which is made of clay.
The jebena sits for about three minutes to let the powder settle at the bottom before the hostess pours the coffee into cups.
In Ethiopia, coffee is served in three rounds during a single ceremony.
The first round is called abole. After abole is served, the second round is prepared by pouring water into the same jebena and boiling it again.
Obviously, this round of coffee is less concentrated than abole. The second round is called tona or huletegna.
Finally, the third round is similarly prepared. This time the coffee will be much weaker, and can be served to children as well. This final round is called bereka or sostegna.
Compassion workers in Ethiopia have incorporated the coffee ceremony in the Child Survival Program to help strengthen social ties and facilitate discussion among the mothers.
Mothers meet every week to learn the Bible, attend training, play with their children and discuss various issues.
One of the mothers is assigned to host each coffee ceremony. The ceremony is held at the child development centers once a month with all the mothers present, and once a week in the mothers' homes during group meetings.
The coffee ceremony helps the communication process and opens doors for many issues to come to light. Because the moms have all have passed through similar problems, they find it easy to discuss issues openly and share experiences.
Moreover, the ceremony has been a good means for the Child Survival Program team to learn about the challenges the mothers face and to come up with solutions together.


text:
We've only just had Hallowe'en, bonfire night is not officially until tomorrow and we have 51 days until Christmas.
However, rumours suggest the much anticipated John Lewis advert could air today and House of Fraser has just released its Christmas offering. So does this mean it's officially Christmas? When does the season officially start for you?


text:
Milford fighter beats odds -- and opponent
When he signed up for Little League as a boy, some people smiled.
Until he was named an All-Star second baseman.
When he decided to wrestle at Milford's Jonathan Law High School, some rolled their eyes. By his senior year, he earned all-state honors as a 130-pounder.
When he chose to launch a career as a mixed martial arts fighter, people scoffed.
Not anymore.
Late Friday, Nick Newell, who was born without a lower left arm, beat Eric Reynolds for the Xtreme Fighting Championship's world lightweight title in Nashville, Tenn. The five-round fight last just 82 seconds.
"I played the position game and when I got the suplex on him I knew it was over," a triumphant Newell said Saturday.
Newell lifted Reynolds high in the air, dropped him and latched on a rear choke hold forcing Reynolds into submission.
"The kid just keeps defying all the odds," said John Prisco, XFC's president. "It's just a wonderful story and he's a wonderful kid who has touched so many lives."
One of those touched lives belongs to Ely DuBray, whose parents drove him from Kansas City, Mo. to Nashville so he could meet Newell. But Newell went beyond a meet and greet. He brought DuBray, who has the same birth defect, into the hexagon for the televised belt awarding.
"For Nick to share that moment with Ely in the ring had to touch a lot of people," said Molly Stapleman, head of the Lucky Fin Project in Royal Oak, Mich., which serves as a network for parents and people with limb differences. "Nick is an inspiration and role model to people to persevere and live their dream. He's this generation's Jim Abbott," she said, referring to the one armed baseball pitcher who threw a no-hitter for the New York Yankees in 1993.
But DuBray is only one of the lives Newell touched in his 26 years.
There's Stapleman and her Lucky Fin families. There's Mike and Tara Schneider and Jeffrey and Pamela Smith -- Connecticut parents of children with limb differences -- something that challenges these kids, but does not define them.
Nor does it stop there.
There are veterans recovering from limb loss at the Walter Reed National Military Medical Center in Bethesda, Md. where Newell did a seminar for Operation Rebound.
"Nick doesn't realize how much of an inspiration he is," said Mike Schneider, the director of campus recreation at the University of New Haven. "The fact someone with the same condition as my son can be so successful and reaches out to others, means a lot to parents like us. I don't think Nick really understands the impact he has."
Schneider recalls the day a 20-week ultrasound showed the couple's son would be born with only one full arm.
"You can't imagine what starts going through your mind," Schneider said. "The first reaction is, he's not going to be able to do this, he's not going to be able to do that ... You start thinking about prosthetics."
But first Schneider scoured the Internet and found Newell. Then he went to one of Newell's matches in Boston where he met Newell's mother, Stacy. The two talked and talked. Schneider left "totally inspired."
"She let Nick be a boy," Schneider said. "She taught him not to shy away from who he is."
Schneider invited Newell to the University of New Haven in March to talk about overcoming adversity. Newell also did a seminar for the wrestling club.
"When I see what Nick does," said Tara Schneider, "it makes me feel my son is unstoppable."
Pamela Smith agrees.
When her 8-year-old son, Tyler, grew frustrated trying to tie his shoes with one hand, she and her husband reached out to Newell for advice.
Newell did them one better. He came to their Southbury home and taught Tyler.
"Something that we had been trying for months took Nick about five minutes," Smith said.
When Tyler struggled to learn how to ride a bike, Smith offered to call Newell for help again. Instead, Tyler chose to keep trying on his own.
"Tyler looks up to Nick," she said. "He sees the determination in Nick and it's rubbed off."
Since a 2009 Connecticut Post article profiling Newell before his first professional fight, he's been featured on ESPN, WFAN sports radio in New York, and various talk shows.
He credits his mother, who raised him as a single parent in Milford, for his success as well as his outlook on life.
"She always told me that the only person who could stop me from doing something is myself," Newell said.
So Stacy Newell enrolled her son in private swimming lessons. She signed him up for baseball, basketball and karate. And she refused to let him quit the Law wrestling team after his 2-win, 22 loss freshman season.
"I didn't want the world to eat him alive," Stacy Newell said. "I knew he could do things a normal child could do, but he'd have to work harder."
Working harder was never a problem for Newell, according to Matthew Schoonmaker, his Law wrestling coach: Andrew Calandrelli, one of his MMA trainers and Louis Figueroa, his strength coach who owns Fitness Concept in Orange.
Just days before the Reynolds' match, Newell was in Calandrelli's Ultimate MMA Training Center in North Haven working with the muscle-bound trainer on sparring, take downs and blocking for hours.
None of that surprised Prisco, who watched Newell when XFC conducted a 2010 tryout.
"At first, you look at him because of his handicap," Prisco said. "Then you see him doing everything everyone else with two hands was doing -- but better. At the end, you look at him as a legitimate talent. He certainly changed my mindset...This kid works harder than anybody."
Newell alternates training with Calandrelli and Jeremy Libiszewski, owner of the Fighting Arts Academy in Springfield, Mass.
"Nick's ready," said Calandrelli. "If Reynolds thinks Nick's a sideshow, he's in a lot of trouble."
At about 11:47 p.m. Newell stepped into the XFC hexagon ring in Nashville. When that happened, a deafening roar from nearly 200 friends and family members filled the Orange Ale House to watch the bout on the the 21 TVs there. Newell's mother led the cheering.
"Look at this," she said. "He's got 8,000 friends on Facebook. He's inspired people all over the world. He taught a kid to tie his shoes. He'll never be a loser no matter what happens."
Eight minutes later and just 82 seconds into the bout, Newell was no loser -- just a champion.
Some 700 miles away in Royal Oak, Mich. another roar went up -- at a Lucky Fin home.
"I'm so excited," said Stapleman. "He's a living, breathing example of all the possibilities that are viable for people with limb differences ... We're thankful he's including us on his ride."
firstname.lastname@example.com; 203-330-6286; http://twitter.com/mmayko2011


text:
No-Bake Energy Bites
This No-Bake Energy Bites recipe is easy to make, full of feel-good ingredients, and so irresistibly delicious! (Affiliate links included.)
Hip hip for no bake energy bites!
I'll admit, a few years ago when I first posted this recipe, I had never even heard of no bake energy "bites". But now, after zillions of pageviews on this post, countless batches of them made in my kitchen, and more new variations of them popping up each day online, I think it's safe to say that no bake energy bites are now officially a "thing".
And I hope that they are deliciously here to stay. Because I don't know about you, but I love these little guys.
Ever since my friend Courtney first introduced me to them on a ski trip in Breckenridge a few years ago, this no bake energy bites recipe has been on regular rotation in my house. And for someone who doesn't dig recipe repeats or leftovers all that often, that's saying something. I make a big batch at least once a month, and love popping them as an easy breakfast, a quick snack, a pop of protein before a workout, or even occasionally as a sweet dessert.
I've also posted about five different variations of this recipe on the site, from Cranberry Pistachio to Almond Joy to Nutella to Trail Mix energy bites. And I also have all sorts of tips from those who have questions about nutrition and ingredient substitutions. So scroll on down for the recipe, and hopefully we can answer any or your questions too. So that all the world can enjoy All The Energy Bites. :)
No Bake Energy Bites Recipe | 1-Minute Video
I have to say that the original recipe for these No Bake Energy Bites is still my fav. I originally just slightly adapted it from the blog Smashed Peas & Carrots, who came up with the brilliant idea for these all to begin.
The recipe calls for:
- chocolate chips
- toasted coconut
- vanilla extract, store-bought or homemade
- peanut butter
- old fashioned oats
- honey (or agave nectar)
- freshly ground flax seeds
- chia seeds (optional)
To make the no bake energy bites, just stir all of those ingredients together in a large bowl until combined. (Or if you get tired of using a spoon, just use your hands. That's what I do!)
Once the mixture is combined, pop it in the fridge for 10-20 minutes so that it will harden slightly. This will help make it easier to roll it into balls.
Then once the mixture has cooled slightly, shape it however you please, and refrigerate in an airtight storage container. I like shaping my energy bites into 1-inch balls, but you can make yours smaller or larger. Or if you'd rather, you can press the mixture into a baking dish lined with parchment paper and you make energy bars instead of bites. Whatever sounds good to you!
The best thing about this recipe is that it is super flexible as well. So if you are allergic to any of the ingredients, or if you are just looking for other substitution ideas, feel free to use:
- Different (or no) chocolate: I generally use dark chocolate chips. But you can also substitute in any other kinds of chips (butterscotch, milk chocolate, white chocolate, cinnamon chips, etc.). Or if you are vegan, grab some vegan chocolate chips. Or if you don't dig chocolate, you can leave this part out all together.
- Different nut butter: If you are allergic to peanuts, feel free to substitute in any other kinds of nut butter, like almond butter, sunflower seed butter, cashew butter, or others. (For a great tutorial on homemade nut butters, check out this great post from Tasty Yummies.)
- Different sweetener: I really prefer honey in this recipe. But agave also works and is vegan, and some readers have had success with alternative sweeteners too.
In general, if you start experimenting with different ingredients or leave some ingredients out entirely, the balance of the recipe may be a little "off". So if they get too dry, add a few more of the sticky ingredients like honey and/or peanut butter. If they get too gooey, add in more oats.
The name of the game with this recipe is customization. So feel free to give them a try and keep tweaking them to whatever specific combination tastes and feels good to you. Cheers to more energy bites in our future!
No Bake Energy Bites
These delicious little no bake energy bites are the perfect healthy snack!
- 1 cup (dry) oatmeal (I used old-fashioned oats)
- 2/3 cup toasted coconut flakes
- 1/2 cup peanut butter
- 1/2 cup ground flax seeds
- 1/2 cup semisweet chocolate chips (or vegan chocolate chips)
- 1/3 cup honey or agave nectar
- 1 tablespoon chia seeds (optional)
- 1 teaspoon vanilla extract
- Stir all ingredients together in a medium bowl until thoroughly mixed. Cover and let chill in the refrigerator for half an hour.*
- Once chilled, roll into balls of whatever size you would like. (Mine were about 1″ in diameter.) Store in an airtight container and keep refrigerated for up to 1 week.
- Makes about 20-25 balls.
*Prep time listed does not include time for the mixture to chill. To speed up the chilling, I recommend spreading the mixture out on a baking sheet, then covering it with plastic wrap and refrigerating.
**We do not currently offer nutrition facts on this site, but if you would like an estimate, I recommend using My Fitness Pal.
***If making these gluten-free, be sure to use certified gluten-free ingredients.
If you make this recipe, be sure to snap a photo and hashtag it #gimmesomeoven. I'd love to see what you cook!
Feel free to check out these other no-bake energy bites recipes too!
- Sweet and Salty Energy Bites
- Chocolate Peanut Butter Energy Bites
- Cranberry Pistachio Energy Bites
- Nutella Energy Bites
- Almond Joy Energy Bites
- Cashew Dark Chocolate Energy Bites
- Trail Mix Energy Bites
Leave a Reply
2,578 comments on "No-Bake Energy Bites"
Pingback: Raw Energy Balls Recipe- Vegan Option! - ArcticSabrina
I use this recipe ALL the time but there is so much to scroll through just to get to the recipe.
Am I missing an option to "jump to recipe" or may I suggest that link be added?