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This is FRESH AIR. I'm Terry Gross. Sunday is Oscar night, and the film "Argo" is one of the leading contenders in a tight race for the Best Picture Award. It's nominated for a total of seven Oscars, including Best Adapted Screenplay. In the award season leading up to the Oscars, it swept up a bunch of other big awards, including Golden Globes for Best Picture, Drama, and Best Director. "Argo" came out on DVD this week.
We're going to hear the interview I recorded with Ben Affleck last month. Affleck directed and stars in "Argo." It's based on a true story. The film begins in 1979, at the start of the Iranian revolution, when an angry mob storms the American embassy in Tehran, taking the diplomats hostage.
Six Americans escape and eventually find refuge hiding out in the home of the Canadian ambassador. Affleck plays CIA agent Tony Mendez, who comes up with a scheme to get these six Americans home by having them pose as a Canadian film crew scouting locations in Iran for a science fiction film called "Argo."
Mendez flies to Tehran with fake Canadian passports for the six and cover stories that will enable them to pass themselves off as members of a Canadian film crew. In this scene, he's in Tehran at the Canadian ambassador's home quizzing the six on their cover stories to make sure they've committed the stories to memory and can convincingly repeat them under pressure.
BEN AFFLECK: (as Tony Mendez) Where was your passport issued?
TATE DONOVAN: (as Robert Anders) Vancouver.
AFFLECK: (as Tony Mendez) Where were you born?
DONOVAN: (as Robert Anders) Toronto.
AFFLECK: (as Tony Mendez) Toronto, Canadians don't pronounce the T.
RORY COCHRANE: (as Lee Schatz) Some Komiteh is actually going to know that?
AFFLECK: (as Tony Mendez) If you're detained for questioning, they will bring in someone who knows that, yes. Mary, who were the last three prime ministers of Canada?
CLEA DUVALL: (as Cora Lijek) Trudeau, Pearson and Diefenbaker.
AFFLECK: (as Tony Mendez) What's your father's name?
DUVALL: (as Cora Lijek) Howard.
AFFLECK: (as Mendez) What's his occupation?
DUVALL: (as Cora Lijek) Fisherman.
AFFLECK: (as Tony Mendez) Where were you born?
DUVALL: (as Cora Lijek) Halifax, Nova Scotia.
AFFLECK: (as Tony Mendez) What's your date of birth?
DUVALL: (as Cora Lijek) February 21, 1952.
AFFLECK: (as Mendez) Good. What's your job on the movie?
SCOOT MCNAIRY: (as Joe Stafford) Producer.
AFFLECK: (as Tony Mendez) Associate producer. What was the last movie you produced?
MCNAIRY: (as Joe Stafford) "High and Dry."
AFFLECK: (as Tony Mendez) Who paid for that?
MCNAIRY: (as Joe Stafford) CFDC.
AFFLECK: (as Tony Mendez) What's your middle name? What's your middle name? What's your middle name?
MCNAIRY: (as Joe Stafford) Leon.
AFFLECK: (as Tony Mendez) Shoot him, he's an American spy. Look, they're going to try to break you, OK, by trying to get you agitated. You have to know your resume back to front.
MCNAIRY: (as Joe Stafford) You really believe your little story is going to make a difference when there's a gun to our heads?
AFFLECK: (as Tony Mendez) I think my story's the only thing between you and a gun to your head.
GROSS: Ben Affleck, welcome to FRESH AIR. I have to tell you, I always get scared when I hear that scene because, you know, I put myself in the shoes of the houseguests, the hostages staying at the Canadian embassy home, and I have such a bad memory. So I know, like, if you were grilling me, and I was in that situation, I'd go: My birthday, oh my God I forget when my birthday is. Oh, I forgot the Canadian prime ministers name.
GROSS: And you'd be going: Shoot her.
AFFLECK: You'd get killed, yeah. The irony of that scene is that that was one where I said to them, I actually had all those houseguests live on that set for a week together before we started shooting to create a bond for them to sort of understand what it was like to be holed up together with somebody. And I said: If any of you feel like you can create a biography and give it to me, we'll use it in some of the scenes at some point.
And the only person to do it, actually, which is surprising, was Clea DuVall. So she's the one who ended up getting the little sort of getting interrogated a moment, and I thought, well, I'm going to hit her with, you know, in the middle of this take with her answers that she wrote down. And she was pretty good. She had them memorized and prepared.
And then we said cut, and all the other actors were like: Oh, I didn't know it was going to be in the movie.
AFFLECK: I would have prepared something.
GROSS: I didn't know that was going to be on the test.
AFFLECK: Exactly, exactly.
GROSS: So you were, what, about eight when the hostage crisis actually happened?
AFFLECK: Yeah, that's right, I was eight years old.
GROSS: And you have a little history lesson at the beginning, which I was glad you did because a lot of people, like you, were too young to remember what happened or weren't even born yet. And so without some kind of historical context, you don't really know what the real story's about.
AFFLECK: Yeah, as I - I was a Middle Eastern studies major, so I had taken a couple, mostly focused on the Arab world but had taken a couple of classes about Iran and the Islamic revolution there. And all of a sudden it occurred to me that I was going to start a movie off where audiences were just going to think these are bearded sort of meanies who arbitrarily just don't like the United States and are frothing at the mouth to tear down the bricks of our embassy.
And that really, really neglected decades of, and even almost a century of interplay between our nations and between the West and Iran that led to this moment. Even more than that, I thought it robbed the audience of an understanding of the way in which this was really quite relevant.
For example, you know, we deposed this guy Mosaddegh, who was an elected, secular leader. We installed the Shah because he was sort of be our friend, sell us oil and because he had the patina of being Western, you know, and he sort of said the right things. And we turned a blind eye to his corruption and to his cronyism and to his oppression, which I thought was very much like what happened with Mubarak.
And then both situations, you know, ultimately ended up in revolutions, and both those revolutions produced results that weren't predictable and that were tricky for us to try to navigate or even understand. So I wanted that historical context in the beginning.
GROSS: So one of the things you had to do in the movie was recreate the takeover of the American embassy in Tehran and have, like, mobs of angry Iranians chanting what I assume is death to America, in Farsi.
AFFLECK: Yeah, there were two or three chants. The main chant was (speaking foreign language), which is death to America, yeah.
GROSS: So you shot on location in Turkey. How do you cast all the extras to be chanting death to America?
AFFLECK: Well, that was quite a difficult thing, as it turned out. I was really convinced that we didn't want to use digital extras, that that would take away the potency...
GROSS: Boy, that hadn't even occurred to me.
AFFLECK: Yeah, that's what people do now. You go see movies about, you know, baseball stadiums, and they're all digital people created by visual effects artists. And that's great, and those artists are really talented, but something about dragons and fire and that stuff lends itself to visual effects in a way that people don't.
You know, digital effects extras tend to do - you know, they put their arm up, their arm down, their head to the left and then to the right, and then they repeat those motions. And to me what that does is it takes away the potency of the power of a crowd and how that can be really scary.
And so I wanted to use real people. We wanted over 2,000 people for the takeover, which was hardly - you know, it would have been a light day for David Lean, but for me, it was....
AFFLECK: It was a big deal. And the problem was - it was really a student's revolution, but all the students were in school. And I thought we could put a little money out there and get a lot of Turks. It turns out their growth rate is like 6 to 8 percent. I mean, they're just - things are booming in Turkey.
So we couldn't get any students. The professional folks are naturally working and making more money than we were offering them. So the only people that were available to us were folks over 65. So we turned it into a bit of a seniors' revolution.
GROSS: That's so funny. It hadn't occurred to me watching it that, oh yeah, it should be students.
AFFLECK: Yeah, I know, well, I'm glad.
GROSS: If you're just joining us, my guest is Ben Affleck. We're talking about his new movie "Argo." I want to play another scene from the movie, and this is a scene in which you, playing the CIA agent who comes up with the cover story to smuggle out, or exfiltrate as the word is, the Americans who are in hiding at Canadian embassy houses.
AFFLECK: So you're talking with the makeup artist. You're telling him you need his help for the cover story. And you're talking about how to disguise the Americans as a film crew. So he's looking through the dossiers of the Americans, trying to figure out what role they should play in this fake story that you're cooking up.
Exactly, what covers they should have, yeah.
JOHN GOODMAN: (As John Chambers) Well, this one's got an MA in English. She should be your screenwriter. Sometimes they go along on scouts because they want the free meals. Here's your director.
AFFLECK: (As Tony Mendez) Can you can teach somebody to be a director in a day?
GOODMAN: (As John Chambers) You can teach a rhesus monkey to be a director in a day. Look, if you're going to do this, you've got to do it. The Khomaniacs are Fruit Loops, but they've got cousins who sell prayer rugs and eight-tracks on La Brea. You can't build cover stories around a movie that doesn't exist. You need a script, you need a producer.
AFFLECK: (As Tony Mendez) Make me a producer.
GOODMAN: (As John Chambers) No, you're an associate producer at best. You're going to do a $20 million "Star Wars" rip-off. You need somebody who's a somebody to put their name on it, somebody respectable, with credits, who you can trust with classified information, who'll produce a fake movie for free.
GROSS: That's a funny scene. So the little joke John Goodman makes in there about how you can teach a rhesus monkey to direct in a day...
AFFLECK: In a day, yeah.
GROSS: Having directed your third film now, what do you think of that joke?
AFFLECK: One aspect is yes, there I am, I'm the director. He's saying it to me. It has that kind of cuteness to it. But, really, it speaks to something that people don't often think about Hollywood, which is the kind of class hierarchy, that this above-the-line, this narrow strip of people - director, star, sort of prima donna, that kind of thing, they're sort of the icing, right - and then the huge bulk of the cake, who are all the workaday people, the lunch-pail folks who do that job.
And I wanted to liken them to the folks at the CIA who sort of do a similar job and that he's expressing a cynicism about the kind of vain, you know, sort of maybe fools that he has to work with periodically; the guy who's, you know, basically kvetching about his boss.
GROSS: Did you approach Alan Arkin for his role?
AFFLECK: Alan Arkin was the first guy we went to. He seemed - the only worries I had about Alan Arkin was he was almost too obvious a choice, you know. I talked to him, he was like: What made you think of me, the old cranky guy with a heart of gold? I wonder how you found me.
AFFLECK: He was like - and then so when he did this whole thing at the beginning about, you know, I've got a lifetime achievement award. He just, he was getting constantly, you know, feted with lifetime achievement awards and very cynical, and it's very much who Alan - I mean Alan is a gentler soul, and smarter, you know, but he has that quality.
So - and John looks just like Chambers. All the people who know Chambers, his family, have come up and say this is incredible, you just like him, this is amazing. You know, you even had his limp. John's like: That's my own sciatica, I'm not trying to do his limp.
AFFLECK: But he was one were everything sort of fell into place. And those two guys, John had such a fondness and admiration for Alan that he just had fun sort of being around him, and so that part of really worked out nicely.
GROSS: So we talked a little bit about having to, you know, kind of compress events and leave things out because it's a movie, and you have two hours, and this is a story that took a long time to actually play out. And a question I always wonder about when I see a historical film is, like, what actually happened and what's been fictionalized for the purposes of storytelling in the movie. So watching your movie, of course, I thought about that, too.
AFFLECK: Sure, of course.
GROSS: And there are some things that are, you know, pretty different in the film compared to the reality, and - like one example is, you know, there's a very thriller aspect of it toward the end. Without giving anything away, there's always something happening that's threatening them every step of the way so that they're going to be discovered.
And I think most of those things didn't happen with that kind of timing or maybe didn't happen at all in reality.
AFFLECK: Right.
GROSS: Which isn't to say reality wasn't really terrifying and dramatic, but these, like, split-second escapes and nearly getting discovered and so on didn't happen that way.
AFFLECK: Right, well, you know, I always feel like that's what they pay me for as a director, you know, is to - if you accept the fact - and I do - that the escape for them was extremely harrowing and scary, you know, and it was mostly about getting from where they were to the airport, getting through these checkpoints and getting on this airplane, that that was the story of it.
So what I did with the end, in order to have a third act that I felt sort of worked, that wasn't just a bunch of people, like, walking through checkpoints and looking at their paperwork, was to add elements to that and to cross-cut it in ways that, you know, used what I bring to it, what I had to try to make it more exciting and to make it more tense.
You know, as you point out, it's tricky because you can't flash up subtitles that say OK, hold on, this part right here when the guard looked over at them, that didn't happen, or those cars were not on the runway, but they did in fact take off.
Also there's a sort of uncertainty because we don't really know from the Iranian side where everybody was; when they found out, what they did. We just know that they went through the checkpoints and got on the plane. And at some point between that and the next morning when the Iranian minister went on television saying that Canada would pay, they found out.
And it's that struggle between, as I said, the bookkeeper's reality and the reality - the poet's reality. And you make judgments as a director. And my judgment falls really cleanly on the line of it's OK to embellish, it's OK to compress, as long as you don't fundamentally change the nature of the story and of what happened.
GROSS: So just one more question about this. As a viewer, whenever I see, like a biopic or historical film, I'm always wondering, like, what am I learning - like what's true and what's false, and what can I trust? Like if I'm - because I think movies that are historical have usually a dual goal. One is to, like, enlighten you about this, like, really interesting story that actually happened, and the other is to entertain you because it's a movie.
And as somebody who's interested in historical accuracy and in journalistic accuracy, I know movies aren't journalism, except for documentaries, and your film...
AFFLECK: Unless they say they're journalism, yeah.
GROSS: Right, right. But I mean your movie isn't trying to be journalism. But I walk away, and I wonder, like, how do I know what to believe. Like I walk away thinking, like, now I know really what happened, and a lot of it really is what happened, but some of it isn't what happened. So how do I know which is which?
AFFLECK: Well, here's the one answer that I have is that the reason why this exact thing was so important to me is that I felt like it was such an incredible story, I wanted people to be able to know the details - and I'm not hawking additional product - but you can get the DVD - on the Blu-ray, there's every documentary in - I mean, we spent, you know, Warner Brothers' money interviewing people, people who aren't in it, people from every detail, people who talk about it in a very robust way.
So if you really want to follow up, we present to you in a very thorough way exactly what happens from the people in their own words. And I do think it's a fundamentally really interesting question, and it's one that's been raised about a number of films this year. You know, to what extent is it OK to make these alterations?
And I wouldn't want to comment on any other filmmaker's work except to say that I understand that there's definitely a push and pull. And for me as a filmmaker, the line is about what I believe is, you know, in the deeper essential truth rather than - you know, I mean, you can look in historical movies, dialogue gets changed because people don't really speak like that anymore, so it would be inaccessible.
And did the guy really sort of have this type of relationship with this woman? You know, unless the movie's about that, you - to me I go OK, that's part of the storytelling. But I deeply, deeply believe that one has to stay true to the essence of the events that you're telling because you're conferring meaning.
You want people to walk out of there and say I understand this more deeply. And that - if you corrupt that, it's a tremendous betrayal.
GROSS: My guest is Ben Affleck. He directed and stars in "Argo," which is nominated for seven Oscars, including Best Picture. More after a break. This is FRESH AIR.
GROSS: Let's get back to my interview with Ben Affleck. He directed and stars in "Argo," which is nominated for seven Oscars, including Best Picture. It just came out on DVD.
This is the third feature film you've directed, before that "The Town," and your first directorial feature "Gone, Baby, Gone." I love that film.
AFFLECK: Thank you very much.
GROSS: Yeah, yeah, and so what was it like the first time out as a director, directing without any experience, and, you know, it turned out very good.
AFFLECK: Thank you. I was very, very scared. You know, I just didn't know if I could do it. The only thing I can think of a good metaphor is running a marathon, where you just don't know, am I even going to finish? You know, maybe I'll fall over at mile 15 or something. Or, you know, it seems so daunting and so far.
And, yet I had been prepared in the sense that I had directed shorts. I'd always wanted to be a director. I've been on a lot of sets. But that just felt like very little compared to the task of directing a movie when I went into it. And every day, I was scared, and I probably stayed that scared throughout. And when I looked at the first assembly, I thought it was terrible. And so I just started, you know, dove in and started working on it, and worked on it until I didn't so...
GROSS: So you've re-edited the whole thing?
AFFLECK: Yeah. I mean, I actually changed editors in the middle and hired another editor, but he couldn't come on for a couple of months. Incidentally, he's William Goldenberg, who did both our movie and "Zero Dark 30" this year. So he's the CIA real story specialist, that is.
AFFLECK: But - and so, in that interim, I was by myself cutting the movie. And my wife was in a movie in Arizona, and so I was just in this room in our house in Arizona cutting away. And - but, you know, I guess the short answer is: I was really, really scared and not sure of myself at all.
GROSS: Were there things you felt you have to fake at first until you had done it enough to know for real? Because I think it's that way in most positions, that you have to just kind of fake your way through, initially.
AFFLECK: Yeah. I talked to - the one advantage I had is I could talk to other people who have done it. And I remember talking to Kevin Costner and saying, like, what do I do? I'm going to direct a movie. Kevin said: Make sure that on your first day, you know what your second shot is.
And I was, like, what you mean? He said, everyone goes there and knows what their first shot is, and they do the first shot, and all of a sudden think: What am I going to do now? He's, like, make sure you know the second shot, and that'll get you rolling into, you know, we're going to do this. We finished that. OK, guys, let's go over here. And now the crew trusts you.
GROSS: Was that good advice?
AFFLECK: It was definitely good advice. I had great advice from a lot of those different guys, mostly centered around - I thought this was interesting - not being - not trying to be noble about anything. In other words, if you need more takes on yourself, do more takes, because if you don't, you're going to end up in the editing room without enough material.
GROSS: But, you mean by being noble, like if your performance needed another take, but the actor, the other actor in the scene did good, don't feel guilty about asking for another take?
AFFLECK: Noble in terms of don't - in other words, let's say - so you do takes - I'm going to do a close-up on you and a close-up on me.
GROSS: Yeah.
AFFLECK: So say we do a close-up on you, and we do nine takes. He's saying don't be noble by just turning around on yourself and doing one take and going, oh, I think we're fine. Don't worry. We're not going to wait on me, that sort of thing.
GROSS: Right.
AFFLECK: You know, be willing to allow people to wait on you, as well, as you would if it were just another, you know, actor.
GROSS: How do you direct yourself? What do you tell yourself? Like, when you have a director, they can say well, we need another take, or give me more, give me less. Or...
AFFLECK: There's a couple of things. One, there's a monitor, so you can go over and kind of watch it. And eventually, you just have to get rid of this - you have to slough off this kind of insecurity about looking at yourself. You know how you hate to hear your own voice on an answering machine? You must be over that, because you do it all day, right?
GROSS: Not really.
AFFLECK: But the other thing is, you know, you get to - I just shoot a lot of film, and as I go through it, I try different choices. And I'll be a little more afraid here, a little more angry, a little faster, a little slower, that sort of thing. And I'll do 10, 11, 12 takes. And I really do the direction of myself in the editing room.
So I can, you know, go throw this out, throw that out, throw this out, and then get down to the few things that I think have merit and calibrate those there. And I don't pretend that I'm going to have the sort of perspective on the day that I'll have later. And so I just try to throw enough stuff in the bag that, you know, I'll have something left when it comes time to look at it all.
GROSS: Ben Affleck will be back in the second half of the show. He directed and stars in "Argo," which is nominated for seven Oscars, including Best Picture, and it's just come out on DVD. I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross, back with Ben Affleck. He directed and stars in the film "Argo," which is nominated for seven Oscars, including Best Picture. The film begins in November 1979, when Iranians stormed the American Embassy in Tehran, taking the diplomats hostage. "Argo" is based on the true story of six Americans who escaped and went into hiding with the help of the Canadian ambassador. Affleck plays the CIA agent who came up with the scheme that got them out of Iran and safely home.
You started acting when you were eight?
AFFLECK: I did, when I was eight years old. Yeah.
GROSS: So was that helpful? Like, is there anything you learned then that you still use now?
AFFLECK: You know, what I learned then that's helpful was to be the - a sense of comfort being in front of a camera, and maybe some sort of early adult-ification(ph) that was helpful. What wasn't helpful was that there was no premium placed on the emotional truth of acting. It was kind of, like, you know, it was like getting through the day. You know what I mean? Say the words. You look to the right way. You sort of move on. And so that early on, I took that on as my idea of what acting was, and then really had to relearn it when it occurred to me that, you know, it should be interesting to watch. You should have emotional honesty.
GROSS: When did that occur to you?
AFFLECK: In high school, I had a great high school teacher named Jerry Speca, who, you know, me and Matt and my brother and all these - and a lot of other really good actors who are working now still went through his classes and, you know, he taught that it had to be - you didn't just say the words. It had to be good. It had to have an emotional reality to it.
GROSS: So when you were a kid, you auditioned for the "Mickey Mouse Club" and for "Batman and Robin," didn't get the part. And Matt Damon was auditioning with you for that.
AFFLECK: Yes, don't leave Matt out. Yeah.
GROSS: Did that hurt your self-esteem? I mean, I think one of the really hard parts of acting for any actor is you get rejected so much of the time, until you have - until you finally establish yourself, if you ever establish yourself. And a lot of actors don't ever even reach that point. So it's just, you know, a career of rejection.
AFFLECK: Yeah, no, it's true.
GROSS: Yeah. So what was it like to handle that as a kid? And we're not talking about a school play.
AFFLECK: Right.
GROSS: I mean, we're talking about TV shows.
AFFLECK: Well, I didn't do very many - I mean, I did - you know, I came out of "Voyage of the Mimi," and then I did this afterschool special with Madeline Kahn. And then I did a TV movie with Forest Whitaker and Blair Brown and Beverly D'Angelo and Armand Asante. And then I started sort of auditioning, kind of going to New York and Matt and I would go down and audition.
And, at first, I would say for the first half of the bell curve as an actor, that rejection is good for you. It coarsens you to, you know, getting turned down, because you know you're going to get turned down a lot, and you have to just sort of keep rolling and keep believing that you can do this, despite the fact that the last 30 people you read for didn't want to hire you, and recognize that those are kind of your odds.
Eventually, you need to get some work. Otherwise you come down on the back side of the bell curve and exactly what you describe happens, which is, I mean, people start to get a very defeatist attitude. They get very depressed. They get sad, and then that becomes a self-fulfilling prophecy. You just - you know, my goal - from going up and auditioning in high school to moving out to L.A. after high school and auditioning, to when I first really started getting, you know, work when I was 24, 25 - was I just wanted to work enough so I didn't - I could say that I was an actor, not an actor-waiter, you know, that I could just, you know, with pride, look myself in the mirror and say this is actually what I do for a living.
GROSS: How did auditioning as a child affect you as a director auditioning people today?
AFFLECK: Enormously. I hate directing young actors. I hate auditioning them, rather. I don't even like having them in the movie. I like to get them in and out. I don't - I would never in a million years allow my children to be actors.
GROSS: As children.
AFFLECK: As children. Yes. I would never allow them as adults, although I think I'll have very little control over that.
AFFLECK: And I think the - I find it difficult, because I had some, you know, complicated experiences as a young person. When I look back on that, some of it was really valuable, and some of it I think was not. And I just see kids, you know, oftentimes getting pushed out there and forced to do stuff. And maybe I'm over, you know, reading something into it, because I know a lot of - you know, Blake Lively was, I think, a young, you know, kid actress. She turned out great. She's a great actress.
GROSS: You turned out OK.
AFFLECK: I did, but, you know, it's a tricky thing. I think it says something that I wouldn't let my kids be actors. Put it that way.
GROSS: So, before you go, I just have to ask you. You did, on "Saturday Night Live," a really funny impression of Keith Olbermann a few years ago, when Olbermann still had a show on MSNBC. And I played it for Olbermann when he was on. So I have to ask you: Was that an impression you had already worked up and that you told "SNL" about and said, hey, I can do this on the show? Or did...
AFFLECK: They came to me when I got on "SNL" and said, you know, we have this Olbermann thing that we've been wanting to do. We think you could do it. Are you up for it? And so I looked at - they hadn't had the full material, but I said, yeah, like, definitely. Let me work on him. Let me watch a bunch of his stuff and try to go, you know, go after it a little bit.
And then the material started getting better, and I started getting, like - finding more things to do with the impersonation. And it was great, because I - initially, they - you know, the idea was, oh, it's eight minutes, just you in a chair. It's going to get cut. And, you know, they don't want to see it. But by the end, we had it down enough where I kind of said to Lorne, like, I think this works. You've got to let us keep it in the show.
And they did. And it's one that I get comments on. Interestingly enough, I get - all the comments are from liberals. You know what I mean? Like, it's the rare one from a conservative. You would think the conservatives would say ha, ha, you made sport of that liberal guy.
But it's like the liberals that all watch the show. You know what I mean? So they got the - whatever the joke was. But it was fun. It was a really good time. And I actually saw him. He came down. You know, his office was in the building. He came down during one of the rehearsals, and - so I saw him briefly, and I think he got the joke. Having been, you know, the subject of that kind of thing many times myself, I feel like you've got to have a sense of humor about it, you know?
GROSS: Have you always done impressions? I mean, is that part of...
AFFLECK: I like to do impressions. Yeah, I do. I feel a little bashful of it, because I know it's not really acting. Like, once you get into mimicry and impressions, it is a gift, and a gift that I love to watch. You know, the guy on "SNL" who can do Denzel, to me, is just amazing, you know.
But I try not to rely too much on it, because I know that it's sort of like - I used to play chess a lot with my brother and Matt when we all lived together, and then we got into speed chess. And all the teachers would say you can't play speed chess. It'll ruin your game. And I think there's something about impressions a little bit that will ruin your game, because it's just the, like, fast, Chinese-food-accessible version of a character.
GROSS: Nevertheless, who do you do?
AFFLECK: I used to do Denzel. I do Morgan Freeman. I used to do Al Pacino. You know, a whole bunch of them. Olbermann's, like, a face thing. You know what I mean? And a little bit of a, you know, he kind of likes to have himself be sort of down here. You know, he has that kind of I'm-a-serious-newsman kind of thing.
You know, and Denzel is like: It doesn't matter if someone saw me or not. It doesn't matter if I win this case or not. I'm a find out the truth. I'll guarantee you that.
AFFLECK: Goddamn it, Denzel! That's Morgan. What'd I tell ya? Mm-hmm. Come down here and talk about folks. Come around here. You know, he's got that kind of, like, whatever he says, he says down here. You don't need to understand it.
AFFLECK: That's Morgan, and...
GROSS: That was great.
AFFLECK: ...Al is, like, hello! Al Pacino. What do you know? Welcome. This is FRESH AIR. Hello. What we talking about? That's Al. I hear - I want to see his "Glengarry." I hear it's really good. I'm excited.
GROSS: Thank you so much...
AFFLECK: Thank you. It's a pleasure.
GROSS: ...for talking with us. It's really been fun. I really appreciate it.
AFFLECK: Thank you.
Ben Affleck recorded last month. He directed and stars in the film "Argo" and is also one of its producers. "Argo" is nominated for seven Oscars, including Best Picture, and it just came out on DVD. Coming up, Bradley Cooper, the star of ""Silver Linings Playbook," which is nominated for eight Oscars, including his nomination for Best Actor. This is FRESH AIR.
Copyright © 2013 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.
NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR's programming is the audio record.


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Incoming Winston-Salem police chief Barry Rountree shoots woman
Rountree shot at dog when bullet ricocheted, police say
A woman is recovering from injuries after being hit by a bullet fired by Winston-Salem assistant police chief, and soon-to-be chief, Barry Rountree on Wednesday.
Tamara Whitt, 33, was injured around 1:35 p.m. at her home at 114 N. Jackson Ave. east of Martin Luther King Jr. Drive. Whitt was treated at Wake Forest Baptist Medical Center and released.
Rountree and Officer Mohammed Khan had responded to a report of a man on a porch pointing a two-barrel gun just up the street at 124 N. Jackson Ave.
Both officers had taken cover behind a police vehicle when Whitt's dog charged toward Rountree, Winston-Salem police said.
Roundtree fired one shot at the dog, and the shot ricocheted on the pavement of Whitt's driveway, police said. Whitt, who said she was standing in the driveway near the dog, was hit by bullet fragments that remain in her leg.
The dog ran away and was later found with a leg injury that appeared to be a gunshot wound, police said. The dog was under quarantine at the Forsyth County Animal Shelter as of Thursday.
The man who led to the initial police call hadn't been found as of Thursday.
"(Rountree) has no business with a gun in the community," said Whitt, whose three children were inside the home during the incident. "That could have been my head. It could have been anything. I could have been killed."
"If I've got a human right there, I'm not going to fire a .40-caliber round that close and jeopardize a human life because I feel threatened by a dog," said Will Gore, Whitt's fiance. "There's no way you can dress that situation up and make it right."
Rountree has been placed on administrative duty as the department and the SBI investigate. Assistant Chief David Clayton will be acting chief of police until Rountree returns to full duty.
Clayton apologized about the incident Thursday. He said Rountree responded to the low-level call since he already was in the area, while Khan's backup was far away.
Rountree will be sworn in at 3 p.m. Sunday at City Hall as previously scheduled. Whitt said Rountree shouldn't be sworn in.
Rountree has been with Winston-Salem police for 25 years and was named its new chief just last month.

subset: commoncrawl


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Journal Article
© Jul 2005 Volume 3 Issue 1, Editor: Charles Despres, pp1 - 64
Look inside Download PDF (free)
Practice based studies have provided rich descriptions of knowledge dynamics. On the other hand, they led to conceptualizations that question the possibility to view knowledge as a resource that can be oriented and shaped by managers. From this perspective, questions such as why an existing community has developed, or how to enable the emergence of a new community, are still unanswered. Such weaknesses are rooted in a tendency to ignore the cognitive motivations (theories) that lead actors to behave in a particular way. As a consequence, we propose that social practice can be explained as the outcome of interlocking cognitive theories and, moreover, that to shape practice, we need to act on theories.
Keywords: communities of practice, situated learning, cognition, knowledge management, organizational learning, theory of action
Share |


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::ties shoelaces::
Dear Internet,
Meet 2of3. 2of3 is, by every definition of the word, my middle child. He is silly and outlandish and hysterical and he feels *everything* and he needs validation on a constant basis and absolutely must be accepted into social circles and is in no way, shape of form afraid of color.
While every other jr high school boy is wearing enough black that they, themselves, become matter-sucking holes in the universe, with emovers, my 2of3 is wearing purple t-shirts or pink polos with these.
He is the kind of person who isn't able to bring himself to actually *do* silly things, but he sure as shit will wear them. I have no idea where he gets this from, but I love it about him. In a world of carbon-copied mediocrity, my son has a style that is all his own, and he rocks the shit out of it.
Jr High School has done what Jr High School does to all of us eventually. My son spent the better part of the day listening to people point and laugh at his *girl* shoes. GIRL SHOES, INTERNETS.
And just like that, he doesn't want to wear his shoes to school anymore. Just like that, his power animal inhaled a Marlboro red and was all, "Slide, bitch."
If Jr High School sucks the originality out of the one child in this school zone who has any, I just won't be able to go on. I need him to be able to confidently walk into school tomorrow being the person he is, the Greyscaled Axe mafia be damned.
Of course, I just want to go punch them all in their throats, so I need you, internet, to help me fight pre-pubescence with fire. He needs a comeback line, one great line to say that will give him his mojo back. Preferably one that won't also get him suspended.
::buttons up cardigan::


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Cub Scout Leader Awards
From MeritBadgeDotOrg
(add see also)
(→See also: formatting)
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== See also ==
== See also ==
{{Cub Scout Leader portal}}
* [[Fast Tracks|Fast Track Den Meeting Plans]]
* [[Fast Tracks|Fast Track Den Meeting Plans]]
:{| class="wikitable" border="0" cellpadding="0" cellspacing="0" align="left"
:{| class="wikitable" border="0" cellpadding="0" cellspacing="0" align="left"
Revision as of 15:01, November 12, 2008
|These are just a few of the awards that can be earned or worn by Cub Scout Leaders. Please see Scouter Awards for details on many others.
Cub Scout Leader Recognition awards are available to Cub Scout leaders who complete training, tenure, and performance requirements. These awards are presented by the local council. All of the awards require the completion of Fast Start Training, Basic Leader Training for the position, Youth Protection training, and participation in roundtables or a pow wow or University of Scouting. Some require additional supplemental training. One or two years of registered service in the appropriate position is a requirement for each award, and tenure used for one award may not be used for another.
Note that Cub Scout Leader Awards may be worn by Boy Scout, Varsity, and Venturing leaders. Also Cub Scouts Leaders may qualify for a number of other award knots: Youth Awards, Leadership Awards, Honor Awards, Religious Awards, James West, Lifesaving - Meritorious Awards.
Award knots
Tiger Cub
Den Leader Award
Cub Scout
Den Leader Award
Den Leader Award
Cub Scouter Award
Cubmaster Award
Pack Trainer Award
See also
|Cub Scout Leader portal
- Cub Scout Leader Awards
■ Tiger ■ Wolf/Bear ■ Webelos ■ Cub Scouter ■ Cubmaster ■ Pack Trainer
- Cub Scouts at all levels can also earn the Belt Loops and Pins.


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News, Press & Media
Our Next Event
News, Press & Media
Press & Media Archives
Models, Talent & Beauty
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Modeling & Talent
Beauty Department
About Our Events
About Our Events
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General Information
Contact Us
Thank you for visiting our website. Check back regularly for new events, news, press and media.
Fashion Diversity on the Inclusive Catwalk
Photo Gallery
Fashion Show + Brunch on November 20, 2016


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Getting around parts of downtown Sheridan will be difficult this summer, and next year is already looking to be just as busy with capital construction projects. The biggest endeavor will be the North Main Reconstruction project. The City of Sheridan is partnering with WYDOT to get aging infrastructure repaired while the road surface is replaced from Dow Street to Fort Road. Sheridan Mayor Dave Kinskey is in Cheyenne today to appear before the State Loan and Investment Board.
While the money is coming from the recent Stimulus Package, the funds will be a loan to the City. Is the City really going to go $5 million in debt on this project?
If the SLIB approves the loan, the City would be very close to fully funding their part of the project. They are still counting on voters to pass the capital facilities tax this summer to garner the rest of the cash.


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Weekly Sponsorship
If you'd like to promote your product or service to the fine readers of iPad.AppStorm, this is the most direct way to do so. You receive an exclusive sponsorship position for one week, and it gets you:
A short promotional post about your product or service at the beginning of the week.
This is essentially our personal recommendation of your product. For this reason, we only accept sponsors who produce an application we absolutely love, and are happy to recommend! If you'd like, you can also include a discount code for our readers.
A promotional tweet.
This is sent out later in the week, and is our second follow-up endorsement of your application.
A feature in our monthly "Thanks to the Sponsors" post.
You'll receive prime position in this monthly post, which goes out to all our RSS and Twitter subscribers.
Who Will I Be Reaching?
iPad.AppStorm has 3900 RSS subscribers, around 5000 Twitter followers, and receives just over 170,000 page views per month.
AppStorm readers have their finger on the pulse of new, interesting software. They have a love for beautifully designed apps that help them work smarter. They read, write, design, program, produce music and video, and get excited about Apple's keynote presentations.
The AppStorm brand is widely known as one of the leading networks of software blogs. We focus on quality over quantity, investing time and care into our reviews, articles, and editorial content.
Pricing & Availability
Exclusive weekly sponsorship costs $199 per week, and you can book multiple consecutive weeks if you'd like to.
We do have a really, really high standard for the type of apps and services we'll feature each week, so you need to make a top notch product. If we're going to personally recommend an application, it has to be one that we've used and really love!
Think you're up to the mark? Then send us your details:
Just fill out an enquiry form and we'll take a look at your app!


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CRESTVIEW � Television and film star Kirk Cameron will be the keynote speaker at "Love Worth Fighting For" on Saturday at Central Baptist Church.
CRESTVIEW � Television and film star Kirk Cameron will be the keynote speaker at "Love Worth Fighting For" on Saturday at Central Baptist Church.
Cameron � who portrayed Mike Seaver on TV�s "Growing Pains" and starred in faith-based filmssuch as the "Left Behind" series and "Fireproof� � joins musical guest Warren Barfield, singer of �Love is Not a Fight� and other hit contemporary Christian songs, for the event.
Keep reading for our Q&A with the former "Growing Pains" co-star
Central Baptist Pastor Paul Mixon said he hopes the event will inspire couples to strengthen their marriages.
"Divorce has become such an easy out for married folks in our society that hosting an event like this should speak directly to the hearts of the attendees to help them see God�s plan for marriage as a lifelong covenant," Mixon said.
"(Our church) will be starting a marriage mentor program designed to link couples together using love, accountability and conflict resolution methods," he said.
Want to go?
WHAT: "Love Worth Fighting For"
WHEN: 6 p.m. Saturday, Sept. 21
WHERE: Central Baptist Church, 951 S. Ferdon Blvd.
COST: general admission (per person), $22.50; $25 at door; VIP, $35; and groups of 10 or more, $20 per person
ORDER: Tickets are available at bit.ly/15WNPJw or 8:30 a.m. to 3:30 p.m., Monday through Thursday at the church front office.
Q&A with Kirk Cameron
How did the Love Worth Fighting For tour come about?
LWFF started as a one-time event in Knoxville, Tenn., in July of 2009, put on by Feed Your Faith Ministries. The response was incredible and the emails about strengthened marriages just kept pouring in, so we decided to try to put the event together in multiple cities to reach out to the community and share the message that marriages are worth fighting for!
We are now in our fourth year and have presented more than 120 of these events all over the country.
What should attendees expect?
We want people to leave with hope. Some of the (married couples who) walk through the doors are great and, for those, the LWFF event is a fun date night with stories, worship and time together.
For others, this may be a last ditch effort before calling it quits. For still others, they may be engaged or newly married and they want to builda strong marriage that will last.
Our prayer is thateveryone who attends takes something away from the event that strengthens their marriage.
Is there anything else we should know?
Just that LWFF is for everyone. Whether your relationship is fantastic and going strong or just hanging by a thread, there is something for everyone.
Warren Barfield is an amazing musician and extremely humorous ... sharing personal stories from his own marriage that will have you laughing while really hitting home how the little snowflakes can build into an avalanche � if we let them build.
Our prayer is that not only will we strengthen marriages, but that we are affecting family trees.
What is your view on marriage in 2013?
Marriage is a struggle for everyone, whether Christian or not. The divorce rates are high across the board. Families are being impacted by separations.
Our goal is to help show that God has a plan to strengthen and heal marriages.
How can couples maintain a healthy relationship?
Like everything in life that we want to excel at, whether it's work, sports or relationships, it takes time and effort.
The best performers at work, the professional athletes and the people with strong marriages didn't just stumble into being "the best.� They worked really hard to get where they are.
Take time to be together and learn about your spouse. What are their likes and dislikes? Put in the effort to make your relationship great!
Besides this tour, what have you been up to these days?
It is a very exciting time right now, as I have a new movie being released ... on Sept. 24 .
You know, it's easy to get excited about your faith when things are going well in your life. But when your whole world comes crashing down on you, the questions start: 'Where is God when I need him most?� �Why do bad things happen to good people?'
�Unstoppable� is a journey, based on a true story, that has become the most personal and transparent project I have ever made regarding my faith.


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Erika – African American Woman on the Phone – Headset
This phone series includes dozens of pre-clipped images of this person on the telephone. Rapidly build sales, customer service, or phone skills training.
Product info:
- 50 images of this person on the phone
- Backgrounds clipped out
- 2,500 pixels tall (about 2MB)
- Shot from multiple angles for realistic scenarios
Save time with these images now!


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Feedback about the forum. This is the place to report any operational problems. Please give as much information as possible including web browser and operating system. Suggestions for improving the forum also welcome.
Use this control to limit the display of threads to those newer than the specified time frame.
Allows you to choose the data by which the thread list will be sorted.
Order threads in...
Note: when sorting by date, 'descending order' will show the newest results first.
Forum Rules


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The latest addition to the Chicago Gay Men's Chorus subscription series is "Lipstick and Lyrics: What Doesn't Kill You Makes You Stronger." The Drag Divas perform pop music favorites with dance numbers and costumes that splash on the glam.
Why go: From the "Holly Follies" to "That '80s Show," CGMC productions are fun, entertaining and full of talented performers.
Reconsider: For $75, you want to see the real Kelly Clarkson perform "What Doesn't Kill You (Stronger)."
Details: 7:30 and 10:30 p.m. Saturday at Mayne Stage, 1328 W. Morse Ave.; $53-$75; 866-468-3401, ticketweb.com


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Long time, no talk, am I right? Sorry for the lack of posts this past week, but I have a good excuse… I was traveling all around Scotland. To say Scotland is the most gorgeous place I've ever been would be an extreme understatement. Every single place I visited in the country was beyond spectacular. It seriously felt like I was traveling in a dream. So, so beautiful. I actually went with my brother, four other people from school, and three chaperones. It was an Explorica tip through school and it was such an amazing experience. So, the first day we arrived, we got into Glasgow at 6am local time. We then hopped on our bus and traveled to these ginormous horse sculptures called Kelpies. They were absolutely beautiful, but I think we were all a little too jet lagged to fully appreciate their beauty. After we visited the Kelpies, we hopped back on the bus and traveled to a gorgeous church and cemetery. Next, we went to the city center of Glasgow to wonder around and grab lunch. We then traveled all around Glasgow learning about the history of the city and looking at the monuments from the comfort of the bus. Everyone in the group was trying their hardest to not fall asleep, unsuccessfully. Jetlag really sucks. We then arrived at our hotel, ate dinner, and passed out. I'm pretty sure everyone on the trip was in bed and asleep at 9pm.
So the first day was relatively uneventful, but got us all very excited for our next week in the beautiful country of Scotland.
Day two was spent driving to the Highlands where we would spend the next three days and two nights. The drive was absolutely spectacular and we stopped at a gorgeous lake and a few other pretty spots. I can't even begin to describe how gorgeous Scotland is. 360 degree beauty, for real. We then arrived at the cutest little hotel and wandered around the tiny village that we were staying in. I swear, it was so tiny I probably saw four locals the entire time we were there. One of the highlights of the Highlands was definitely the chance to visit Loch Ness. I convinced our tour guide to let us take a ferry ride on Loch Ness and it was absolutely, hands down, worth it.
After three days in the Highlands, we traveled to Edinburgh. This city is absolutely gorgeous and if you have the chance to visit Scotland, I totally recommend it. The nice thing about our trip was that the counselors let the students wander around the city by ourselves (we just had the buddy system rule) and it really allowed us to feel immersed in the city and not feel like we were on a boring walking tour. While in Edinburgh we went on an underground city tour, climbed up the Gothic Rocket, ate at a ton of little restaurants, shopped in a ton of cute boutiques, and just wandered around aimlessly. I wish we had more time to explore the city because there were so many hidden gems.
On the last day of our trip, we visited St. Andrews. Home of the famous golf course, castle, gorgeous views, and birthplace of the meeting of Will and Kate. I was hoping to find my prince, but unlike Kate, I was unsuccessful. Like I mentioned before, Scotland is seriously the most beautiful country with the most beautiful cities, but St. Andrews stole my heart. It was seriously so beautiful, quaint, home-y, and beachy all in one. If I had a choice of any city to grow up in, I would definitely have picked St. Andrews.
All in all, my Scotland trip was an amazing experience. I wish I could put into words how awesome of a time I had, but I just can't. It was too perfect. I'm so thankful that I had this opportunity and totally recommend Scotland as a place to visit. I'll now leave you guys with a ton of pictures!
If you want me to do a post on the "must see" things of Scotland, let me know! Thanks for reading! xox Chloe


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2014-15 IceHL Team Logos/
Here's a look at the 40 team logos that will be in use for the 2014-15 IceHL season.
The Philadelphia Aces shift to the IceHL East this season after spending a year in the west following their relocation from Regina, Sask. Departing the conference this offseason were the Quebec Armada, who will go on to join the IceHL World in 2014-15.
The IceHL West will enter the 2014-15 season with a brand new franchise. After losing the Philadelphia Aces to the IceHL East in the offseason, the conference expands beyond the coast of North America to welcome the Hawaii Honu.
Right now, we're in the process of creating seven new teams for the IceHL World. The Quebec Armada will shift from the IceHL East after being squeezed out by the Philadelphia Aces. Check back after the IceHL World logo brackets have been completed.


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Let There Be Joy: Day 1
When God created the earth, His first spoken words were, "Let there be light!" God was announcing His presence into the darkness and void where before there had only been nothingness. Let there be Light!!
When Jesus was born on the earth that God the Father had created, the first spoken words of the angels concerning the birth of Jesus were, "For behold I bring you good news of great JOY which shall be to all the people!" What the angels were truly saying was, "Let there be JOY!"
The joy of God's presence had arrived on planet earth and nothing … nothing would ever be the same again.
Join Carol McLeod as she takes you on a journey to the heart of Christmas. Each day of this 25 day journey, you will be reminded what Christmas is truly all about. You will be encouraged to celebrate extravagantly and completely! It is our prayer that Christmas will never be the same again for you as you discover the joy of this eternal and miraculous season!
Let there be joy!!


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We found this amazing letter from an emancipated slave to his former master at Project Gutenberg, via LettersofNote.com
The letter was written, or dictated, by Jourdan Anderson and sent to his former master, Colonel P.H. Anderson. Jourdan had been living in Ohio, earning wages as a free man. Colonel Anderson had written Jourdan asking him to come back and work on the farm again.
The letter's tone is at times friendly and funny, but it very pointedly points to the cruelties of the former relationship between master and slave.
Dayton, Ohio,
August 7, 1865
To My Old Master, Colonel P.H. Anderson, Big Spring, Tennessee
Sir: I got your letter, and was glad to find that you had not forgotten Jourdon, and that you wanted me to come back and live with you again, promising to do better for me than anybody else can. I have often felt uneasy about you. I thought the Yankees would have hung you long before this, for harboring Rebs they found at your house. I suppose they never heard about your going to Colonel Martin's to kill the Union soldier that was left by his company in their stable. Although you shot at me twice before I left you, I did not want to hear of your being hurt, and am glad you are still living. It would do me good to go back to the dear old home again, and see Miss Mary and Miss Martha and Allen, Esther, Green, and Lee. Give my love to them all, and tell them I hope we will meet in the better world, if not in this. I would have gone back to see you all when I was working in the Nashville Hospital, but one of the neighbors told me that Henry intended to shoot me if he ever got a chance.
I want to know particularly what the good chance is you propose to give me. I am doing tolerably well here. I get twenty-five dollars a month, with victuals and clothing; have a comfortable home for Mandy,—the folks call her Mrs. Anderson,—and the children—Milly, Jane, and Grundy—go to school and are learning well. The teacher says Grundy has a head for a preacher. They go to Sunday school, and Mandy and me attend church regularly. We are kindly treated. Sometimes we overhear others saying, "Them colored people were slaves" down in Tennessee. The children feel hurt when they hear such remarks; but I tell them it was no disgrace in Tennessee to belong to Colonel Anderson. Many darkeys would have been proud, as I used to be, to call you master. Now if you will write and say what wages you will give me, I will be better able to decide whether it would be to my advantage to move back again.
As to my freedom, which you say I can have, there is nothing to be gained on that score, as I got my free papers in 1864 from the Provost-Marshal-General of the Department of Nashville. Mandy says she would be afraid to go back without some proof that you were disposed to treat us justly and kindly; and we have concluded to test your sincerity by asking you to send us our wages for the time we served you. This will make us forget and forgive old scores, and rely on your justice and friendship in the future. I served you faithfully for thirty-two years, and Mandy twenty years. At twenty-five dollars a month for me, and two dollars a week for Mandy, our earnings would amount to eleven thousand six hundred and eighty dollars. Add to this the interest for the time our wages have been kept back, and deduct what you paid for our clothing, and three doctor's visits to me, and pulling a tooth for Mandy, and the balance will show what we are in justice entitled to. Please send the money by Adams's Express, in care of V. Winters, Esq., Dayton, Ohio. If you fail to pay us for faithful labors in the past, we can have little faith in your promises in the future. We trust the good Maker has opened your eyes to the wrongs which you and your fathers have done to me and my fathers, in making us toil for you for generations without recompense. Here I draw my wages every Saturday night; but in Tennessee there was never any pay-day for the negroes any more than for the horses and cows. Surely there will be a day of reckoning for those who defraud the laborer of his hire.
In answering this letter, please state if there would be any safety for my Milly and Jane, who are now grown up, and both good-looking girls. You know how it was with poor Matilda and Catherine. I would rather stay here and starve—and die, if it come to that—than have my girls brought to shame by the violence and wickedness of their young masters. You will also please state if there has been any schools opened for the colored children in your neighborhood. The great desire of my life now is to give my children an education, and have them form virtuous habits.
Say howdy to George Carter, and thank him for taking the pistol from you when you were shooting at me.
From your old servant,
Jourdon Anderson.
UPDATE 12:05 PM Many people in the comments are suggesting this letter is a fake. Here is the micro-fiche scan of the letter as reprinted in the New York Daily Tribune in 1865.


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Possible Duplicate:
Is it normal for BibTeX to replace similar author names with "------"?
I am compiling a latex file and the some papers in the references section do not have the authors' name after compilation. Please see reference [7] in the image below. Its bibtex entry is as below
Address = {London},
Author = {Alan Traviss Welford},
Publisher = {Methuen},
Title = {Fundamentals of Skill},
Year = {1968}}
does any body know why this happens?


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Posted on October 30, 2012
Ben Jonson. Shakespeare's contemporary urged readers to "looke not on his picture, but his Booke" to understand the writer's "wit." Jonson might have been simply expressing his prejudice against images, or perhaps attempting to head off at the pass many centuries' worth of speculation into the extratextual matter of the figure–or figures–behind the many plays.
Submitted by Donna Margaret Eaton on October 30, 2012 Permalink
This entire presentation is excellent. Thank you


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Electronics Projects: How to Create a Transistor NOR Gate Circuit
You can build a two-transistor NOR gate by following the steps outlined in this project. The project uses normally open pushbuttons to control the input circuits. When power is applied to this circuit, both inputs initially will be LOW, and the output will be HIGH. Pressing either one of the switches causes that switch's input to go HIGH, which in turn causes the output to go LOW.
A NOR gate is an inverted OR gate. If at least one of the inputs is HIGH, the output is LOW. If both inputs are LOW, the output is HIGH.
This circuit is similar to an OR gate circuit, except that the output is connected to the collector of both transistors and the emitter of each transistor is connected to ground. If either one of the transistors is on, current from Vcc will be short-circuited to ground, bypassing the output.
As a result, the output will be HIGH only when both inputs are LOW. If either input is HIGH or both inputs are HIGH, the output will be LOW.


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Grade 8 - Dan Sullivan
Log In
You do not need to Buy the Photo. Simply click on a full size pi
cture, right-click it and choose "Save picture as...." to your device.
2018-2019 School Year
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OMAHA, Nebraska (AP) — Warren Buffett's company's longtime stake in the Washington Post newspaper will end when the publication is sold to Amazon.com founder Jeff Bezos.
Buffett's Berkshire Hathaway conglomerate holds 1,727,765 shares of the Washington Post Co. Berkshire has been the largest outside shareholder since the 1970s, and Buffett served on the Post's board for more than two decades.
Buffett invested $10.6 million in the Post after its stock fell in the wake of its publication of its famed Watergate stories. Berkshire will receive about $53.5 million from the newspaper's sale.
Over the past few years, Buffett has bought more than two dozen newspapers, but apparently he decided the Post didn't fit with the small and medium-sized newspapers Berkshire has been collecting.
Buffett didn't immediately respond to questions about the Washington Post deal.


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Governor Taps Shane '70 for Education and Employmentby Jim Amidon • January 13, 2005 Share:
Indiana Governor Mitch Daniels has appointed Wabash alumnus David N. Shane '70 as senior advisor to the governor for education and employment. He will be responsible for workforce development, higher education, and K-12 education. Shane will be on a leave of absence as president and chief operating officer from LDI, Ltd., in Indianapolis.
"Our mission is higher personal income for Hoosiers, and to that end, we must help them achieve higher levels of education and workforce preparation. That will be Dave's focus," said the governor.
Shane has served in multiple volunteer roles in higher and K-12 education over the last decade. He's been a member of the Indiana Education Roundtable and chair of the K-12 Subcommittee of the Government Efficiency Commission.
"Education is now the primary driver of opportunity for our citizens and competitiveness for our employers," said Shane. "I'm grateful for the opportunity to help."
Shane majored in English and minored in political science as a Wabash College undergraduate. He was a member of the tennis and football teams, graduated Phi Beta Kappa, and earned the Peck Medal for Promise in Law. He earned his law degree from Duke University in 1975, before beginning his law career with Baker and Daniels in Indianapolis.
He left Baker & Daniels to serve as president of Citizens Allied for Superior Schools (CLASS). Most recently, he has been president of LDI, Ltd. in Indianapolis. He is a member of the Board of Trustees of Wabash College and serves on the Advisor Board of the Center of Inquiry in the
Liberal Arts. He has served the Indianapolis Public Schools as part of the IPS Group for Renewal, Accountability, and Development of Excellence in Schools.


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We're just back from my Coney Island Photo Walk. Great light. Great fun! Great photographers.
The idea is to use Nik plug-ins and Snapseed to awaken the artist within, and to create perhaps more artistic images. Check out my workshops photo page tomorrow (and from time to time) to see the work of the participants.
New to Nik? You can get a 15% discount on all Nik products by using this code - RSAMMON - on the Nik web site.
Here are a few of my favorite images (all Canon 5D Mark III, Canon 24-105mm IS lens).
But first, I want to thank my friend and Photoshop/Lightroom Guru (and a heck of a cool dude) Tim Grey for helping out on the photo walk. Thanks Tim. You helped to make it fun.
About the images.
Nik Color Efex Pro
Nik Bi-Color User Defined
Detail Extractor
Image Borders
Nik Snapeed
Center Focus
Color Efex Pro
Bi-Color User Defined.
I hope to see you on one of my photo walks or workshops.
Wow! What a fun group!
Explore the light,


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This page contains revisions
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School of General Studies
The School of General Studies provides an interdisciplinary environment that allows students to understand and integrate the liberal arts and sciences. The school administers interdisciplinary degree programs that afford students the opportunity to design their degree plans on an individualized basis. To assist the student in pursuing a course of study leading to successful completion of an undergraduate degree, the school provides a unique support structure. Included in this structure is the school's Internship Program that arranges professional work experience in diverse career settings. The educational environment of General Studies is especially congenial to students eager to pursue unconventional or innovative combinations of course work.
The School of General Studies administers the programs for the Bachelor of Arts in American Studies, the Bachelor of Arts in Gender Studies, the Bachelor of Arts in Interdisciplinary Studies, and the Bachelor of Science in Interdisciplinary Studies. The program in American Studies is designed for students who wish to learn more about United States' institutions, arts, and society, both in the past and present. The Bachelor of Arts in Gender Studies is designed to elucidate the ways that gender, as a set of ideas, fundamentally shapes our institutions, history and culture. The Bachelor of Arts and the Bachelor of Science in Interdisciplinary Studies Programs emphasize a broad learning experience and a wider perspective than that provided by traditional undergraduate majors. All programs are designed for students who wish to choose among conventional disciplines, both to explore a variety of topics and to integrate courses focusing on a particular area of interest. They are also appropriate for those students who seek a thorough grounding in the traditional arts and sciences from an interdisciplinary perspective. For students in other schools who wish to broaden their education by including a School of General Studies program, the double degree is recommended. This option calls for a minimum of 30 semester credit hours at the upper division beyond those necessary for the major with the larger credit hour requirement. In addition, the student must satisfy all requirements for both majors. The School of General Studies encourages double majors in both American Studies and Gender Studies, but a double major is not an option in Interdisciplinary Studies. Students seeking to double major in American Studies or Gender Studies must consult with the Associate Dean for Undergraduate Education in the School of General Studies.
Internship Program
All undergraduates in the School of General Studies are encouraged to take an internship with an organization in the community. Internships provide students with the opportunity to apply the knowledge and skills that they have mastered in their academic work. Students applying for internships must be in their junior or senior year and in good academic standing, have completed the appropriate course work, and receive approval of the Internship Director. Students normally enroll for 3 to 6 semester hours. Students interested in the program should see the Internship Director of the School of General Studies or call 972/883-2354.
Minors in the School of General Studies are available in the Bachelor of Arts in American Studies and the Bachelor of Arts in Gender Studies. Students in the Interdisciplinary Studies degree programs cannot have a minor, nor is there a minor offered in Interdisciplinary Studies. The requirements for each minor are listed below the degree requirements.
Degree Programs in the School of General Studies
This catalog is a general information publication only. It is not intended to nor does it contain all regulations that relate to students. The provisions of this catalog do not constitute a contract, express or implied, between any applicant, student or faculty member and The University of Texas at Dallas or The University of Texas System. The University of Texas at Dallas reserves the right to withdraw courses at any time, to change fees or tuition, calendar, curriculum, degree requirements, graduation procedures, and any other requirements affecting students. Changes will become effective whenever the proper authorities so determine and will apply to both prospective students and those already enrolled.
Statement on Equal Educational


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MSI GK-601 Gaming Keyboard
Great looking keyboards from MSI
Published: 20th January 2014 | Source: MSI |
Mechanical keyboards have been around for decades now, and all the way back to the old IBM keyboards, they've been considered the best kind of keyboard money can buy. It's only over the last couple of years that mechanical keyboards have become an affordable option for consumers, with more mainstream brands such as Corsair, Coolermaster and Gigabyte offering their lower costing alternatives to the more expensive Ducky and Filco options. Now, MSI have entered the mechanical keyboard market with the GK-601 Gaming Keyboard.
Package contents
It's always good to have more manufacturers in any market as it creates more competition, which in turn makes every company produce better products, and generally at a lower price too. It's great that MSI have finally entered the mechanical keyboard market, and with a great looking product like the GK-601, we can tell that this is going to be popular.
The GK-601 encompasses Cherry MX Red switches, which are probably the most popular switches we see at the moment. They offer an awesome response time and a very comfortable experience whilst gaming. Cherry MX Red keys are the lightest keys around, meaning even after very long gaming sessions, having to hold the shift key to run, or having to stretch elsewhere isn't going to make your hand ache. Despite Cherry MX Red switches being one of the most obvious choices for a new keyboard manufacturer to use, we would have liked to see more of a range of choices when it comes to switches. Even if MSI have only just entered the market, they are still trying to compete with more incumbent firms like Corsair who do now offer a full range of switches. We are hopeful however that MSI will bring us more of a range over the coming months which will make the GK-601 a more attractive option. It is worth noting that the specific board pictured and in the video uses the US ANSI layout. When the product ships to the UK it will have the standard ISO UK layout, but as this is a review sample the ISO layouts have not yet gone into production.
On the design front, we're really impressed with the GK-601. This is the first time we've seen a manufacturer implement the same design on external peripherals as we see on their internal components. The GK-601 carries forward the same design that they use on their lightning series graphics cards and also their M-power range of motherboards. This offers great continuity for consumers wishing to colour/theme match their entire setup. It is a shame that at this point in time we don't have a mouse carrying the same theme across, but we do expect something to be released soon. Along with the yellow version of the GK-601 to match the lightning cards, MSI have also announced a GK-601 Dragon Edition which carries the red theme from the Gaming series of motherboards and graphics cards. As you'd expect, the two versions offer red and yellow backlighting respectively, with several different modes to choose from.
As we see from most mechanical keyboards, the GK-601 does come with a high quality braided cable, and also gold plated connectors. This also comes with laser engraved switches rather than a printed alternative, which means over time, they won't wear out like lower end, cheaper options might. The GK-601 is equipped with USB, and headphone and microphone jack pass-throughs. Despite none of these features being new, and there are other keyboards which do offer the same or similar features, it is great to see so many of these on the GK-601. This shows MSI have definitely put in extra effort to ensure the users get a product full of features as well as an outstanding quality keyboard.
We're highly impressed with the keyboard overall. It offers the same quality and performance of other more established firms, and also other more expensive products, which makes it a great choice for consumers.
Let us hear your thoughts over on the OC3D Forums.
Most Recent Comments
i have an mpower board and i love the looks of it, but i don't like the looks of this one. it just looks too flashy and a bit cheap compared to other mech keyboards.Quote


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Vehicle inspection requirements differ by state or province, but all are determined by an authoritative governing body in response to safety or environmental concerns. In particular, emissions inspections are engineered to solve air-quality problems and meet a state or province's goals for improvement. Because vehicles are a major source of pollution, many areas are trying to cut down on pollution as much as possible by requiring emissions inspections. These inspections help by serving as an effective means of protecting the environment and enhancing air quality. Because emissions inspections are required in many states or provinces, drivers can be fined for riding in a vehicle that either has not had or has failed to pass an emissions inspection. As such, motorists are encouraged to look up the emissions inspection laws of the state or province they reside in or plan to visit an emissions inspection station before they embark on a destination.
We have a knowledgeable staff available to perform a comprehensive emissions inspection on your vehicle. Emissions inspections help ensure that all vehicles driven on public roads produce safe levels of emissions that decrease environmental harm. The goal of our inspection is to preserve the ecosystem and improve air quality. Our emissions inspection requires an extensive investigation of several different parts of your vehicle to ensure that everything is up to code, including the amount of emissions produced, the gas tank and gas cap, and an overall visual inspection among other things. If any part of your vehicle fails our state or province's inspection regulations, the part will need to be replaced or repaired before the vehicle can be legally driven. When you need your vehicle inspected, contact us about our emissions inspection service.
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Federal authorities in the United States have been quietly supporting certain Mexican criminal empires, especially the Sinaloa drug cartel, in a bid to solidify the syndicates' reign as dominant powerbrokers in particular territories, according to leaked e-mails from a U.S.-based Mexican diplomat to the private intelligence firm Stratfor. If cartel chiefs cooperate with authorities, "governments will allow controlled drug trades," the diplomatic source wrote.
Other information unearthed so far in the leak, much of it coming from a variety of sources, was equally explosive. One 2011 e-mail from an individual described by Stratfor as "a US law enforcement officer with direct oversight of border investigations," for example, indicated that American troops were already operating in Mexico under the guise of the drug war.
"U.S. special operations forces are currently in Mexico. Small-scale joint ops [operations] with Mexico's [special forces], but they are there," the document claimed, citing the federal law enforcement supervisor identified as US714. The allegation in the e-mail was echoed by the Mexican diplomat and served to confirm previous reports of U.S. military operations in Mexico based on other sources.
Also troubling were Stratfor documents detailing "surgical strikes" by Mexican special-operations troops — backed by U.S. taxpayer money and the Obama administration — which analysts equated with "death squads." Essentially, then, Mexican troops have gone on a killing spree taking out certain troublesome "cells," multiple sources, including those working for Stratfor, suggested.
Another bombshell uncovered in the leaked e-mails indicated that the U.S. federal government had deliberately allowed cartel hit men to murder people inside the United States if they agreed to offer their services to Washington. "Regarding ICE [U.S. Immigration and Customs Enforcement] screwing up informants: They [ICE] were handling big hit men from Juarez and letting them kill in the U.S.," the same federal law enforcement supervisor wrote in an e-mail.
While the claim is certainly explosive and hard to understand, analysts who follow the drug war closely say it would not be the first time the U.S. government had authorized similar insanity. "Though Stratfor source US714's revelation may seem too dark to be true, Narco News has already documented, via the multi-year House of Death investigative series, that ICE, with the approval of US prosecutors, allowed one of its informants to participate in multiple murders inside Mexico in order to make a drug case," wrote investigative reporter Bill Conroy, one of the premier journalists covering the issue.
The latest revelations about government support for certain cartels, first reported by Narco News after WikiLeaks released hacked e-mails from Stratfor, would appear to confirm accusations made last year by a top Sinaloa operative. Jesus Vicente Zambada-Niebla, allegedly the "logistics coordinator" for the Sinaloa Cartel, claimed in federal court filings that the U.S. government had offered his criminal syndicate virtual immunity to import multi-ton quantities of drugs across the border.
"El Vicentillo" also suggested that in exchange for information on rival cartels, the U.S. government armed the Sinaloa cartel while helping the organization avoid Mexican authorities. More than a few experts have drawn a link to the Obama administration's Fast and Furious scandal, which put thousands of U.S. weapons into the hands of Mexican cartels under the guise of targeting two "drug lords" that already worked for the FBI.
The unnamed Mexican diplomatic source, dubbed MX1 in the leaked documents, suggested that the reason U.S. authorities were willing to help certain cartels was to minimize the level of violence. In one 2010 e-mail to Stratfor Vice President of Intelligence Fred Burton, the Mexican diplomat outlines part of his government's strategy to deal with cartels — essentially a hands-off, "look the other way" approach unless and until violence breaks out.
"[If] they [a big narco-trafficking group] bring [in] some drugs, transport some drugs, they are discrete, [and] they don't bother anyone, [then] no one gets hurt," wrote MX1, identified by Narco News as a U.S.-educated lawyer and Mexican diplomat stationed in the Southwest named Fernando de la Mora Salcedo. "[And the] government turns the other way."
On the other hand, if a smaller criminal group arrives on the scene and engages in violence, the Mexican government allows more powerful cartels to "do their thing" before taking down the new arrivals. MX1 goes on to explain that his bosses' official strategy is to not negotiate with the cartel leaders. However, he said the U.S. government does in fact deal with them, oftentimes by sending subtle "signals" urging cartel chiefs to do something.
"I think the US sent a signal that could be construed as follows: 'To the [Juárez] and Sinaloa cartels: Thank you for providing our market with drugs over the years. We are now concerned about your perpetration of violence, and would like to see you stop that. In this regard, please know that Sinaloa is bigger and better than [the Juárez cartel]. Also note that [Ciudad Juárez] is very important to us, as is the whole border. In this light, please talk amongst yourselves and lets all get back to business. Again, we recognize that Sinaloa is bigger and better, so either [the Juárez cartel] gets in line or we will mess you up,'" MX1 wrote in a 2010 e-mail.
In the end, the Mexican diplomat concluded that the U.S. government had put its weight behind the Sinaloa Cartel. "In sum, I have a gut feeling that the US agencies tried to send a signal telling the cartels to negotiate themselves," he wrote. "They unilaterally declared a winner, and this is unprecedented, and deserves analysis."
In a separate e-mail later that year, MX1 reveals even more astounding information. He claimed, among other explosive statements, that law enforcement agencies in both Mexico and the United States have been negotiating deals with the cartels and openly tolerating major drug trafficking operations while helping the big cartels eliminate smaller competitors.
"I found out that there is a group of US and Mexican LE [law enforcement] that discretely attempted, and succeeded, in brokering a deal in Tijuana.... It was this same group of guys that presented their 'signaling strategy' and attempted it for CDJ [Juarez]," MX1 wrote.
If the drug kingpins cooperate, business can go on. "It is not so much a message for the Mexican government as it is for the Sinaloa cartel and VCF [the Juarez Cartel] themselves. Basically, the message they want to send out is that Sinaloa is winning and that the violence is unacceptable. They want the CARTELS to negotiate with EACH OTHER. The idea is that if they can do this, violence will drop and the governments will allow controlled drug trades." [Emphasis added.]
In other words, if the major cartel bosses cooperate with authorities on both sides of the border, governments will allow them to continue doing business shipping drugs into the United States. Incredibly, it gets worse though, with MX1 claiming that the drug trafficking organizations have already reached agreements with the U.S. federal government on protecting their criminal empires.
The Mexican government, meanwhile, was discreetly prodded by American officials into allowing certain shipments of narcotics belonging to U.S. government-favored cartels while attacking their competitors. "Unfortunately, CDJ [Juarez] is not ripe for this kind of activity, as the major routes and methods for bulk shipping into the US have already been negotiated with US authorities," MX1 claimed, echoing allegations made by U.S. and Mexican officials, drug cartel leaders, and analysts for years.
"In this sense, the message that Sinaloa was winning was, in my view, intended to tell SEDENA [the Mexican military] to stop taking down large trucks full of dope as they made their way to the US," MX1 wrote about his analysis of the situation. "These large shipments were Sinaloa's, and they are OK with the Americans. The argument is that most of the violence [in Juarez] remains related to the local market, and that SEDENA should focus on smaller gangs and fringe groups that try to cross smaller quantities."
It should be noted that the quality of Stratfor's "intelligence" has been criticized and even ridiculed by some commentators following the massive leak of its e-mails. Others have called the company a sort of "private CIA." However, many of the revelations uncovered in the documents so far have merely served to re-confirm what experts and analysts had suspected all along.
Essentially, then, the drug war, aside from being unconstitutional, is a fraud at best. In a best-case scenario, the U.S. government is simply out of control, assuming that it has just given up and that something more sinister is not going on. On the other hand, officials on both sides of the border have said that the U.S. government's involvement in the drug trade, especially through the CIA, runs much deeper than just looking the other way.
Tens of thousands of innocent Mexicans, meanwhile, have paid for the drug war with their lives in recent years. The Obama administration and Attorney General Eric Holder are engaged in a frantic ongoing cover-up surrounding DEA money laundering for cartels, ATF sending heavy weapons to the cartels, and much more. Whether or not the whole truth will ever come out remains unclear, but activists and victims are not giving up yet.
Related articles:
CIA "Manages" Drug Trade, Mexican Official Says
Reports: CIA Working with Mexican Drug Cartels
Calderon: U.S. Officials Involved in Drug Trade
Mexican Drug Trafficker Says He Worked With Feds
CIA Lies and Other Redundancies
Trafficker: U.S. Feds Aided Mexican Drug Cartel
"Drug Lords" Targeted in Fast & Furious Worked for FBI
Congress Probes DEA Drug Money Laundering Scheme
Outrage Grows After U.S. Drug War Kills More Honduran Women, Children
Obama Backs Mexico's Failed 'War on Drugs'
The Other Unconstitutional War
Feds Purposely Keeping U.S. Borders Wide Open, Experts Say
Fast and Furious Massacres Spark Fresh Pressure on AG Holder to Resign
Blasted as Whitewash, Fast and Furious Report Blames ATF and DOJ
WikiLeaks Starts Massive E-mail Dump From Intelligence Firm Stratfor
Photo: The home page of the Stratfor website is seen on a computer monitor in London, Jan 11, 2012: AP Images


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The dream to dress up DuBois Park in Bluffton's Old Town is taking shape.
A surveyor staked out the park last week for Phase 1 upgrades, and construction activity is beginning, said Karen Jarrett of the town's engineering department.
Martin & Lindsay Landscape LLC is teaming with Carolina Engineering Consultants Inc. and Kenneth Scott Builders Inc. in a design-build contract with the town for about $130,000, she said.
Kenneth Scott Builders is a Bluffton company. The other two are based in Beaufort.
It's a major start for a multi-year project to transform the 1.25 acres on Boundary Street between Lawrence and Lawton streets. Now, it's basically open space with some trees, a tiny playground and the former Bluffton library building.
Along with landscape plantings, work will include building sidewalks and pathways, a rain garden, arbor swings, fencing and parking. Lighting and irrigation is included, along with other hardscapes such as trash cans, benches and bike racks.
Kenneth Scott Builders' Ken and Chris Tosky met on the site last week to go over construction plans with Jarrett, town transportation project manager, and Jeff Wiggins, town engineering construction manager.
The schedule targets an August completion, Jarrett said.
Design roots
The master plan for Phase 1 and later work incorporates concepts fashioned at an October 2009 citizens' workshop at Town Hall.
More than 20 residents — a mix of volunteer architects, downtown business owners and others — broke into teams that sketched out ways they'd like to change and improve the parkland.
The property was deeded to the town in 1940 with a restriction that it always have civic uses and forever be called DuBois Park. But it had never been master planned.
The citizens teams' designs were used to inspire a conceptual master plan done in 2011 by Patrick Rooney Associates Inc. of Hilton Head Island and finalized after a public review that May.
Approvals included Historic Preservation Commission and Town Council clearances of the master plan.
To make way for upgrades on the Lawrence Street side, the town in late 2010 tore down an old concrete block building facing Lawrence Street. The structure was first a fire station and after that housed the town's building and grounds department. The public works operation was relocated to a building at Oscar J. Frazier Park after opponents killed a proposal to rebuild on the park land.
The rundown, former library building on the northeast corner is now used by the Society of Bluffton Artists for classes. But the master plan calls for eventual demolition to make way for other park upgrades including a pavilion with restrooms and an open-air shelter.
Last month the town demolished a modular unit attached to the back of the former library.
Stepping stones
Town staff's proposed Fiscal Year 2012-2013 Capital Improvement Plan includes a project overview and notes the master plan "targets … improvements over multiple years. … "Phase 2 targets playground equipment with mulched set surface and a restroom-equipped pavilion. Phase 2 activities are contingent on securing adequate grant funding. Phase 3 includes miscellaneous enhancements such as picnic tables and a stage for events."
Phase 2 costs are projected to run $235,000 and playground equipment and area preparation $40,000.
The summary also adds this project context: "Re-establishing a usable park (on the site) is a component of the proposed open space and green network established in the Old Town Master Plan and Comprehensive Plan. It provides improved services and access to citizens and also supports increased tourism in the Old Town.
"Bluffton and southern Beaufort County's active and passive parks and recreation facilities are an important component of the region's quality of life. They are also an important component of the region's economy."


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Sunday October 20, 2019; 10:17 pm EDT
Shop New American Beagle Outfitters
Do you look like your dog?
Do you want to?
French bulldogs, hairless Chinese cresteds, pugs and chugs may give their human companions second thoughts on cultivating the legendary cross-species resemblance.
Dressing like your dog, and vice versa, may be a better option. That's the apparent thinking behind American Beagle, the dress-alike campaign debuted this month by American Eagle Outfitters, the niche retailer of casual clothing for the 15- to 25-year-olds.
"Your dog's style is another form of expressing your own, and we are thrilled to bring American Eagle fashionable looks to our pups with the debut of American Beagle Outfitters," American Eagle style director Preston Konrad was quoted as saying in a March 24 press release.
American Beagle collection was released online modeled by 16 dogs in sizes small, medium and large. Styles are geared to men and women who are invited to "shop this look" to find matching human clothes.
Beguiled shoppers awaiting the spring debut are invited "to sign up for the waitlist and receive 20 percent off American Eagle purchases, with $1 per order benefitting the American Society for the Prevention of Cruelty to Animals."
Viewers can also "show off your own #AEOstyle," posting pictures of their dressed up dogs.
An accompanying "dogumentary captures the inspiring journey of the doggy-human clothing line from ideation to creation."
See for yourself at www.ae.com/dogs.
Or it is a mocumentary?
Neither American Eagle nor American Beagle Outfitters returned Bay Weekly inquires about the new collection. Buzzfeed couldn't get confirmation either.
"New American Beagle Outfitters line is probably an April Fool's joke," reports The Consumerist, a blog overseen by Consumer Reports.
Too bad for you, but your dog's rejoicing.


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Prime Minister Julia Gillard has hailed the great spirit of "Australian mateship" as she tours bushfire-hit southern Tasmania.
Authorities are putting together a supply convoy to travel to the Tasman Peninsula, where about 100 buildings have been destroyed by fire.
Ms Gillard said the firefighters were "showing great Australian mateship" and the nation was standing with Tasmanians at this difficult time.
"To all of those people, we are thinking of you in moments of grief and despair," she told reporters at the fire authority headquarters in Hobart on Monday.
"A number of people know their home has been destroyed, but as yet for safety reasons they haven't been able to ... see the damage for themselves."
Ms Gillard said she had met Victorian firefighters who were repaying the favour done by Tasmanian counterparts who helped them out in the 2009 blazes.
Tasmanian Premier Lara Giddings warned the fire danger was not over.
"It's very important people remain vigilant," she said.
The Australian Defence Force is working with the Tasmanian government, fire service, state police and local authorities to provide practical assistance.
Ms Gillard's itinerary includes some of the worst affected areas at Dunalley and a refuge centre at Sorell.
She acknowledged Dunalley residents were upset at being locked out of the area where many homes have been destroyed, but she urged them to obey the instructions of emergency services.
"I understand the frustration of people who want to get back to see what's happened to their home," Ms Gillard said.
"The thing that would be worse ... would be to try to go and see it and get hurt doing so."
Emergency Services Minister Nicola Roxon said those affected could apply for emergency funding of up to $1000 per adult and $400 per child.
Ms Roxon said a mobile government services centre had been sent to Tasmania to deliver the funding.
Ms Gillard toured the control centre, stopping to talk to staff.
Opposition Leader Tony Abbott, who is on leave, wrote on Twitter on Monday: "Our thoughts are with the people and the communities across the country who are impacted by the bushfires."
"Good that the government has swiftly responded with assistance to victims of the bushfires in Tasmania," he added in a second message.


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Precision Audio Op-amps and Headphone Amplifiers
This session will cover our audio op-amps and headphone amplifier portfolio, focusing on the latest devices and the tools available to help accelerate your design (e.g. the newest Reference Designs, the Amplifier design tool and the Linear audio amplifier selection guide).
Speaker info: Ying Zhou is the Product Marketing Manager for Precision Amplifiers at Texas Instruments. Prior to joining Texas Instruments in 2014, she received her MSIE from Georgia Institute of Technology and BS in Automation from Zhejiang University, China
Webinar - 6W-50W Audio Amplifiers
In this session we will discuss TI mid-power (<50W) class-D portfolio, highlighting the newest devices, an overview of hybrid flows to easily design a full blown system and the PPC3 driven design with the new TAS5782M.
Speaker info: Andy Liu is a Senior Application Engineer for Mid-power Audio Amplifiers tea, at Texas Instruments. He has been supporting audio products for the past 6 years in Texas Instruments across different teams.
Webinar - Above 50W Class-D amplifiers
This session will cover our high-power (>50W) class-D portfolio, including the latest releases, roadmaps and the new content from TI's Audio Lab (e.g. the Audio Plug-In Modules, the LC Filter Designer and the Post-Filter Feedback Implementation & Benefit)
Webinar - Audio DACs, ADCs and CODECs
The entire TI Audio converters portfolio will be the main topic of this session, covering notably the Beamforming or Far Field Voice Recording in harsh environment, amongst other topics.
Speaker info: Multiple speakers from the ADC and DAC application and system teams.
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Join a series of 4 free Webinars focusing on TI audio technologies and products! In the 4 sessions, our factory application and marketing engineers will explore a different topic to help you find solutions to your current and future design challenges. We will cover our product portfolio overviews, latest devices and application insights.
Audio Measurements and Results
This training series outlines key measurements for audio products, specifically signal-to-noise ratio, crosstalk and gain, intermodulation distortion, frequency response and phase, THD+N and level. These videos explain the basic principles of each measurement, why it is significant and how to test and calculate correctly.
Audio intermodulation distortion and frequency response
Audio THD+N measurements
Signal to noise measurements in audio applications