text:
|I. Prelude
|II. The Dove
|III. The Hen
|IV. The Nightingale
|V. The Cuckoo
NWS performs Respighi's The Birds on December 21, 2014
Ottorino Respighi
The Birds
Recorded Date: 21-12-2014
Established in 1987 under the artistic direction of Michael Tilson Thomas, this unique educational environment prepares gifted graduates of distinguished music programs for leadership positions in orchestras and ensembles around the world.
Since its inaugural concert on February 4, 1988, the New World Symphony has been heard in such prestigious venues as New York's Carnegie Hall and Avery Fisher Hall, London's Barbican Centre, Paris's Bastille Opera and Argentina's Teatro Colon.
NWS has been televised on PBS, London Weekend Television and Univision. New World Symphony tours have included performances in Argentina, Brazil, Costa Rica, France, Great Britain, Israel, Japan, Monaco, and throughout the United States. The New World Symphony has worked with such internationally recognized conductors as Leonard Bernstein, Sir Georg Solti, Marek Janowski, David Robertson, Christoph Eschenbach and Stanislaw Skrowaczewski; violinists Anne-Sophie Mutter, Midori, Gil Shaham and Sarah Chang; and such other artists as Yo-Yo Ma, Renee Fleming, John Adams, Emanuel Ax, Yuri Bashmet, Barbara Hendricks and Gloria Estefan.
In 1991, Mr. Tilson Thomas and the New World Symphony were presented in a series of benefit concerts for UNICEF in the U.S. featuring Audrey Hepburn as narrator of From the Diary of Anne Frank, composed by Mr. Tilson Thomas and commissioned by UNICEF. In April 1995, Michael Tilson Thomas and the musicians performed with Debra Winger for the season finale concerts in Miami, the Kennedy Center in Washington, D.C., and New York's Avery Fisher Hall.
The New World Symphony has made seven recordings to date. In January 1997, BMG Classics released NWS' first recording on the RCA Red Seal label with Mr. Tilson Thomas leading the musicians in works by Heitor Villa-Lobos. A second disc for RCA Red Seal entitled New World Jazz was released in September 1998, and features Mr. Tilson Thomas and the orchestra in vibrant interpretations of jazz-inspired works by 20th-century composers. On Argo/Decca, the Grammy-nominated Tangazo, featuring Latin-American classics with Michael Tilson Thomas, was released in March 1993; Four Parables, with John Nelson conducting music of the American composer Paul Schoenfield, was released in June 1994. Defining Dahl: The Music of Ingolf Dahl, conducted by Mr. Tilson Thomas, was released in 1995, also on the Argo label. Other releases on Argo/Decca include Coptic Light, music of Morton Feldman led by Mr. Tilson Thomas, and Amy Beach's piano concerto with soloist Alan Feinberg and conductor John Nelson.
In the 27 years since its inception, NWS has helped launch the careers of more than 900 alumni worldwide. In North America, they are members of such ensembles as the Boston Symphony, Cleveland Orchestra, Los Angeles Philharmonic, National Symphony in Washington, D.C., and the San Francisco Symphony. Their placement in foreign orchestras includes symphonies and chamber orchestras in Germany, China, Hong Kong, France and Spain. In addition, many New World Symphony musicians have chosen career paths in chamber music, music education and arts management.


text:
When your child is feeling scared or angry and appears headed for a meltdown, try this yoga pose to calm the child, so he or she is ready to shake it off and hug it out.
Called deep down wisdom (and known to many adult yogis as eagle pose), its modification is demonstrated here by Leah Kalish, founder of Move With Me Action Adventures, which specializes in yoga and movement education for kids.
What it does
This breath meditation, which can be done sitting, standing or lying down, helps shut off the fight-or-flight mechanism, helping to de-stress and center you. It's a good thing to do before any type of conflict resolution or problem solving, Kalish says.
"Kids can't do that from a place of upset," she says. It also helps to improve balance.
What to do
From a standing position, cross one ankle over the other with weight evenly distributed between both feet; soles on the floor. Extend arms out in front of you and cross your wrists. Turn your thumbs down to the floor, so your palms are facing each other and clasp your hands. Bring your clasped hands up and in toward your body, resting them on your sternum. Close your eyes and breathe in and out slowly through your nose, imagining someone or something that you love.
If you need a little more physical exertion, try crossing the front leg over and wrapping the foot behind the calf of the leg you're balancing on, while lowering your body slightly. It's a big balance challenge and a great way to shake off stress.
Here's the chant that Kalish uses as she guides children into the pose:
Feel your upset melt away
as your wisdom comes to play.
Your heart will know what's best to do.
Listen deep down and let it guide you.
How much
Hold the position while you breathe deeply for 15 seconds to a minute.

subset: commoncrawl


text:
For fourteen weeks in the winter and spring of 1956-57, I came into millions of American homes, stood in a supposedly soundproof booth, and answered difficult questions. I was considered well spoken, well educated, handsome—the very image of a young man that parents would like their son to be. I was also thought to be the ideal teacher, which is to say patient, thoughtful, trustworthy, caring. In addition, I was making a small fortune. And then—well, this is what happened:
I don't remember the dinner clearly, except that at some point in the early fall of 1956 I was talking with a man named Albert Freedman, who knew a friend of mine. Freedman was about my age, suave and well dressed—certainly no bohemian, like most of my friends. He asked me what I thought of "Tic Tac Dough."
I didn't have a television set in those days, but I knew that Al Freedman was in the TV business. And I'd certainly heard about the game shows, where people could win a lot of money. Al told me that contestants on "The $64,000 Question" could win that amount and on some shows they could win even more.
"Your father's a professor at Columbia?" he asked, and, when I nodded, he asked if I was, too.
I told him that I was an instructor of English—a long way from being a professor. I was not comfortable talking about myself, especially when he asked me how much an instructor of English made. When I told him, he just looked at me.
Later, I asked my friend to tell me more about Freedman, and she said that he was a producer for Jack Barry and Dan Enright, who created shows like "Tic Tac Dough." Freedman called me a few days later. When I learned what he wanted, I telephoned Gerry—Geraldine Bernstein, the young woman I had been dating and whom I married six months later.
I told her that Al had persuaded me to take a test and that, depending on how I did, they might want me for a new show called "Twenty-One," which was structured like blackjack. "The winner gets quite a bit," I said. "The guy who's on the show now has already won something like twenty-five thousand dollars."
"Promise me you won't agree to do this without talking to me first," I remember her saying.
"O.K., I promise. They probably won't ask me."
They did—at least, Al Freedman did. He called me and told me that his job was on the line. A man named Herb Stempel was winning week after week, but he wasn't popular and the ratings were suffering.
"They want me to find a contestant who can beat Herb Stempel," Al said. "It might be you."
It wasn't hard to guess why Al was interested in me. My father was Mark Van Doren, a poet and critic and, as Al Freedman knew, a legendary teacher. My uncle Carl, his oldest brother, had been a professor of American literature at Columbia. In 1912, Carl had married Irita Bradford, who not long afterward was named the book-review editor of the New York Herald Tribune. Carl resigned his Columbia professorship in order to pursue a writing career, which included winning a Pulitzer Prize for biography (of Benjamin Franklin); he helped my father to become a teacher of literature at Columbia, too. By 1956, Carl was dead and my father was close to retirement, after nearly forty years.
The first time Al called, he asked me to come to his apartment. When I arrived, he seemed nervous. I wondered what I was getting into.
Right away, he said, "You remember I told you about this fellow Stempel? Well, the sponsors want him to be beaten. He'll walk away with a bundle, but they want somebody more sympathetic."
"Do they have a right to do that?"
"Hey, come off it, Charlie. Don't be naïve." And he launched into his argument—that, when all was said and done, these game shows were mere entertainment. "Even Shakespeare is entertainment," he said, although he conceded that the shows, unlike the plays, were presented as the real thing.
Al played an episode of "Twenty-One" for me, in which Stempel seemed very sure of himself. His answers were obviously based on genuine knowledge. I say "obviously," although I realized that I couldn't be certain. How would anyone know?
Stempel's posture and gestures were awkward, his clothes were too tight—he seemed almost to be choking in his shirt—and his speech was wooden. I remembered Al's remark that I might have a good chance against him, and then he came right out and said it: "I've thought about it, Charlie, and I've decided you should be the person to beat Stempel. And I'll help you do it." He held up his hand. "I swear to you, no one will ever know. It will be just between you and me. Jack Barry"—the show's host—"won't know and Dan Enright won't, either. Stempel won't know—I've got a way to handle that. The sponsors won't know—anyway, they'll be so happy they won't give a damn. And the audience will never know, because I won't tell them, and you won't, either."
He suggested that I could make at least eight thousand dollars, maybe a good deal more. I was guaranteed a thousand dollars for the first show.
"How would you do it?"
"Jack would ask you a question you could answer and Stempel couldn't."
I leaned my elbows on the table, resting my head in my hands. He was telling me, in so many words, that the show was fixed. "I don't know," I said again. "When would this be?"
A few days later, I took Gerry to dinner at Steak au Pommes Frites, the midtown restaurant where we'd had our first date. We drank some wine and then I told her. She didn't say much; she's a woman of few, choice words. But she didn't like any of it.
My first appearance on "Twenty-One" was on November 28, 1956. I must have put the whole thing out of my mind, but about a week after my conversation with Freedman I suddenly found myself in the studio, with the red light glowing above the camera, totally unaware that I was being watched by millions of people. Herb Stempel by then had been on the show for six straight weeks and had won some seventy thousand dollars. You can "quit right now," Jack Barry was saying to Stempel, in a voice practiced in arousing suspense, "and a check will be waiting for you, or you can decide to continue playing."
Barry then introduced me: "He teaches music at Columbia University, and was a student at Cambridge University, in England . . . and his hobby is playing the piano in chamber-music groups."
Barry was reading from a "continuity card" written in haste. In fact, I played the piano only clumsily and I taught literature. There was no time for corrections, I knew; Al had stressed this. Anyway, Barry was racing ahead, asking me if I was "related in any way to Mark Van Doren, up at Columbia, the famous writer." Papa, forgive me! Mama, forgive me! Uncle Carl, forgive me! I've remembered that moment for more than fifty years.
Al had given me my instructions. My understanding was that I was to reach seventeen points in the first round, twenty-one in the second—at which point I'd defeat Herb Stempel. To my astonishment, both Stempel and I reached twenty-one points in the second round. So bells rang, commercials were read, and both of us agreed to come back a week later.
It was then—on December 5, 1956—that I "beat" Herb Stempel and began my rise to celebrity. I learned later that the question Stempel missed was one that he could have answered easily. But they had him. If he failed to go along with his script, he could lose a lot of the money he had already "won."
Each week, Stempel had been told what to do: how many points to choose, how to deliver his answers. He was to pat his brow (it was hot in those glass booths) but not rub it, to avoid smearing his makeup. In addition, he was instructed to get a Marines-type "whitewall" haircut, to wear an ill-fitting suit (it had belonged to his deceased father-in-law), and to describe himself as a penurious student at City College. In fact, he was a Marines veteran married to a woman of some means who once appeared on the set wearing a Persian-lamb coat and was quickly spirited away so that she wouldn't blow his cover.
Stempel was also told to wear a six-dollar wristwatch that "ticked away like an alarm clock," as he later testified, and was audible when he stood sweating in the booth, earphones supposedly damping all outside sound. Once, he wore a new suit and had let his hair grow out, for which he was severely chastised by Enright. As Enright apparently believed, a successful game show needed two distinct personalities, one unsympathetic and unattractive, the other the opposite.
I continued to appear on "Twenty-One" until March 11, 1957. During those four months, Freedman never stopped coaching me, and I came to see just how carefully controlled the show was. In our sessions, he would ask me questions, I would answer them—and then he would tell me how to answer them: pause here; add this or that remark or aside; always seem to be worried, anxious; never answer too quickly, let the suspense build up. One January night, I was asked to give the nicknames of several Second World War airplanes, and in February I was asked to name the seven Prime Ministers of Britain between the world wars. A critic later wrote that mine "was a remarkable and seductive performance." Toward the end, my face appeared on the cover of Time (with earphones superimposed on my head), and I was seen in public with movie starlets (the dates were arranged by Barry and Enright); a couple of women found out where I lived and came to my door.
For several weeks, the programs had ended in ties between me and a lawyer named Vivienne Nearing. At one point, it looked as if I could have won more than a hundred and fifty thousand dollars—except I couldn't, because Al had informed me that I would lose to her. On the evening of March 11th, Jack Barry asked both of us to name the kings of Norway, Denmark, Sweden, Jordan, Iraq, and Belgium. According to our covert script, Nearing knew the answers and I didn't. For years after that, people enjoyed asking me if I knew the name of the one I missed—the king of Belgium.
A photograph of me writing the figure "$128,000" on a blackboard was widely published. I deposited the net amount (a little less than that) and began to try to understand the life I'd created. Part of it was going to work for the National Broadcasting Company, which was willing to sign me to a three-year contract as a consultant on public-service and educational broadcasting, at an annual rate of fifty thousand dollars.
One day in the spring of 1957, shortly after Gerry and I were married, my father and I had a conversation. We were walking slowly down the road from his house, a road lined with stone walls on each side. At that time, our neighbor pastured heifers and dry cows—pregnant cows waiting to deliver—in the nearby fields. When we walked at night, the cows, curious about us, would breathe and snuffle, sometimes scaring our city friends.
"I've never asked you about this whole experience, Charlie," Dad said. He was dressed in overalls, denim shirt, and boots, like the farmers he was descended from. In New York, he was an elegant figure, but this was the father I loved best. "But I get the impression you're not too comfortable with your new fame—I mean, the way the quiz show may have changed your life. You have many opportunities now that you might never have had before. But I've wondered if they're good—for you, being the man you are, or the man I think you are."
I didn't know what to say, because I suddenly sensed that he knew the truth about the show. I had thought of telling him, but I hadn't been able to.
As we walked on, he said, "You know, I've never been certain you wanted to live my life over again—be a professor at Columbia or anywhere." He mentioned the contract I had with NBC. "I know it's tempting, but it might not be the right thing for you, either." He brought up Mortimer J. Adler, a family friend who was then on the board of editors at the Encyclopædia Britannica, and said that Adler had talked about making me editor-in-chief of the Britannica.
"You might or you might not want to take that on," he said. "Or you might just want to be a writer. You could live for years on the money you've won, couldn't you?"
I had lived in Paris for a time, and Dad recalled how happy I had seemed then. He mentioned a novel I had worked on—"You somehow lost the thread of it," he said. "You and Gerry could go to Paris." And he added, "You can do anything you want, Charlie. I wish you knew that."
"I don't?"
"No, you don't. You're now one of the most famous people in the country—much more famous than I ever was." He quoted Mark Twain—"You surprised everybody, and astonished the rest"—and urged me to "wipe the slate clean, start over."
"You think the slate is dirty?" I couldn't look at him.
We walked along for a while. Then he said, "It's none of my business. Dirty or not—and I don't know what 'dirty' would be—the fact is you're caught up in something you may not really want." That was as direct as he got that day. "Sometimes I think you're having a lot of fun, other times you seem sad. I think turning your back on all of it might make you really happy."
Tears came. "Dad," I said, "I'm sorry, but it's just not possible."
"Why not possible?"
"I'm afraid there's no way out anymore. In a way . . . I think I'd like to have done what you describe. As far as fame is concerned, you know as well as I do that celebrity isn't the same as fame." Finally, I said, "Oh, shit, Dad, I wish I were . . . free to do this." My father and I never talked about it again.
NBC News tried hard to find work for me, as a writer of radio newsbreaks, for example, but I wasn't very good at it. In the summer of 1958, they assigned me to the White House.
This was a strange experience. NBC's old Washington hands weren't welcoming. After all, here was this neophyte who was probably being paid more than they were but who didn't know how to do the simplest things. To punish me, they let me flounder unless it would make them look bad. They couldn't always tell in advance. For example, they asked me to go to the airport and interview John Foster Dulles on his return from some international conference—not an important story, or they would have sent someone else. I managed to be on the steps when the Secretary of State emerged from his plane, but I was wearing sunglasses, because the summer sun was in my eyes. He glared at me and very brusquely answered my carefully composed questions, then pushed past. When I asked my bureau chief what I'd done wrong, he said, "You damn fool, you don't wear sunglasses when you speak to Mr. Dulles." What made it all worse was that I had to be away from home during the week; our daughter, Elizabeth, was born that summer, and I missed my young family.
I fared better doing segments for Dave Garroway's "Wide Wide World" show, a Sunday-afternoon cultural program. I soon became a semi-regular on this program, appearing once a month in place of Garroway. Some of "my" shows were pretty good, and the arrangement led to Garroway's accepting me as a regular on "Today." (Garroway, a television pioneer, was the first host—and star—of "Today.") I was awkward at first, but before long Dave gave me a daily five-minute spot at the top of the hour in which to report on cultural and literary events; I read a great poem or two every Friday morning and talked about its author. Viewers liked this; so did Dave.
Being on "Today" meant getting up every weekday morning at five o'clock, appearing on the show for two hours, writing my spot for the next day, and then taking the subway to Columbia to teach, where my sudden celebrity seemed to impress no one. I was busy but also relatively content. I would have been more content if I'd been able to escape the consequences of what I'd done on "Twenty-One."
In the summer of 1958, stories appeared in the New York Post and later in the Hearst newspapers—the Daily Mirror and the Journal-American—raising questions about the quiz shows. People who knew the entertainment business didn't have much doubt about what was going on, although they didn't speak out. Why would they? At the height of the boom, there were as many as twenty-four prime-time shows, each giving away significant sums, attracting large audiences, and producing large profits for the sponsors.
One day, Al Freedman called me and invited me to lunch. I hadn't seen him since my last game-show appearance. When I asked about the rumors (particularly the ones about "Twenty-One"), he told me not to worry—even though he might have to go down to the District Attorney's office to answer questions. "Of course I won't tell them," he said. "Nobody will—Jack or Dan or me. We're the only ones who know about it."
I was having trouble swallowing my food. "I didn't know Jack knew about it."
"He didn't really know," Al said, or something to that effect. He looked embarrassed. "It's not anything. They're partners, of course—close."
Then he talked about Herb Stempel. "Enright says he's crazy. He knows some things about him . . . psychiatric treatment, threats, all sorts of things." He looked me in the eye. "It'll be O.K. Whatever happens—I won't say a word." He waited, and, as I recall, he said, "There's a lot at stake. Jack and Dan are selling the company to NBC. I don't know the details, but I think there's a couple of million dollars. . . ." He paused; he clearly wanted to be sure that I was dependable—and he surely didn't want me to know that anyone else was talking. "They're counting on you," he said.
Soon enough, in October of 1958, the call came: Joseph Stone, a Manhattan Assistant District Attorney, wanted to ask me a few questions. They wanted me to come downtown—I can't remember the venue, but I remember that it made me very uneasy.
My meeting with Stone, who seemed to be in charge of a quiz-show investigation, was a disaster. I was seated in a chair with a light in my eyes; Stone and three or four other men sat or stood about ten feet away. I later tried to write down much of what Stone asked me, beginning with questions about the interview in Time from a year earlier. Was I telling the truth when I talked to the reporter?
I hesitated, trying to remember everything I'd said. "I left out some things that were none of his business."
"I'm interested in the things you didn't leave out, the things you said," Stone said. "For example, how you got on that show, 'Twenty-One.' "
He had read in Time about the tests I'd taken, and wanted to know who'd contacted me. I told him about Al Freedman, and how we'd met during dinner with a mutual friend.
"Did Al Freedman say you had done very well on the test, and that was why Barry and Enright wanted you to try out for the show?"
"Did Freedman say only one person had ever done better?"
I didn't remember saying that to the reporter. I shook my head.
"I'm going to repeat my question. Did he say only one person had ever done better on that second test?"
"Maybe he did. I'm not sure."
"He did say that, Mr. Van Doren. Thank you for trying to remember. Now, what I want to know is, did he tell you the name of the person—the only person—who had done better than you?"
The room was hot and I had kept my suit jacket on. Stone and the others were in shirtsleeves. I could feel the sweat trickling down from my armpits. I told Stone that if Freedman had said that, he probably would have named Herb Stempel.
Stone said that I must have known a lot of facts in order to win more than a hundred thousand dollars on "Twenty-One," and I told him that I was lucky. With the bright light in my eyes, it was hard to see Stone's face.
"I want to go back to the time when Freedman said the only person who had done better than you on the test was Herb Stempel. Did he also say that you would not be able to beat Stempel?"
"He said it would be hard."
"Did he also say you would need a lot of luck to beat him?"
"I guess so."
"I don't believe he said that, Mr. Van Doren. What did he actually say? I want you to think very hard."
"I'm trying." My lips were dry.
"Did he say you would need help?"
I looked up, squinting in the lights, which seemed brighter than ever.
"No," I said.
Stone's grilling went on for an hour or so after that. I never admitted that I had received help. Finally, Stone said that I was free to go. I'll never forget his last words: "You can lie to me, but I'm not going to let you lie to the grand jury." The grand jury was being convened, Stone told me, and I would have to testify.
I rose unsteadily and walked out of the room. I suppose that, at the time, I hated him for making me feel like a criminal; he probably saw me as an arrogant liar. I have often wondered what would have happened if I had told the truth. When I went before the grand jury, I wasn't sure what I would say. When I looked at the jurors' faces, I saw that the foreman was a senior professor at Columbia, a man I knew by sight. And I panicked, thinking that if I told him the truth I would in effect be telling everyone at the university. So I lied. This was, of course, folly, since I had to tell the story anyway—to everyone, not just to him.
Many years later, Stone wrote to me asking me to help him publish a book about the quiz-show scandal. (The book was published in 1992.) He said that he'd never meant to hurt me and in fact had tried to protect me. I threw his letter away and never answered it.
One morning in August, 1959, I met Richard Goodwin, an investigator for a subcommittee of the House Committee on Interstate and Foreign Commerce. By then, I had been on "Today" for more than a year. I had just come off the set at the end of that morning's show—in fact, I was still at the desk, looking at notes for a piece I wanted to do the next day. What Goodwin said scared me. He told me that his subcommittee planned to hold hearings on the matter of the television quiz shows; clearly, the grand jury's work had made its way to Washington. Goodwin opened a folder and pointed to part of a transcript of the grand-jury proceedings. In the page or two that I read, Herb Stempel was testifying. I had thought the testimony was sealed, but evidently not.
He went on to tell me that my testimony contradicted what Stempel said and, worse, that Freedman and Enright had returned to the grand jury and confirmed what Stempel had said.
I had read something about this in the newspapers, but I hadn't thought much about it, foolishly believing that it had nothing to do with me. Goodwin glanced around at the busy office. "Is there a place where we could talk?"
Dave Garroway was standing near the door, waiting for me to go to the daily story conference. I asked him if I could come later. "There's this guy—I have to talk to him for a few minutes," I said. Dave looked only mildly curious.
We found an empty office and I shut the door. There was a table and a couple of chairs. "Do you want to read any more?" Goodwin asked, pointing to the transcript.
I shook my head. I was surprised to learn that Freedman had returned to the grand jury and changed his testimony; I didn't know you could do that. Goodwin told me that Freedman and Enright had wanted to warn me but were told that they couldn't. Goodwin also told me that I wasn't the only one who had lied. From all that he said, I realized that the committee wanted my story to come out at hearings in Washington. Before Goodwin left, he said, somewhat mysteriously, "I can only say it would be best for you, Professor Van Doren, if you say nothing to anybody." To this day, I don't understand what he meant. We shook hands and I told him the easiest way to get out of the building.
I went to the story conference but I couldn't keep my mind on what was going on. "I'm sorry," I said, "I have to get home." I said that our daughter had an earache and Gerry wanted me there. Garroway told me to go ahead.
The news broke a month later—September, 1959—and the first sign of what it meant to me, as I recall, was a remark made by Dick Rubin, my new agent. I'd been waiting to see if NBC wanted to renew my contract. I asked Rubin what was going on.
"Of course they're gonna renew. They're just waitin' till this stuff blows over." He glanced at me. "There's no problem, is there?"
But it was clear that NBC was growing nervous. When I met with some of the executives, they reminded me that a year earlier, on "Today," I'd said that I didn't know about any funny business on any quiz show. Probably they realized then that I wasn't telling the truth, even when I declared—privately, of course—that I had been offered help by Al Freedman but had refused it.
The congressional hearings began on Tuesday, October 6, 1959, in the caucus room of the Old House Office Building. My turn came on Monday, November 2nd. I had written a statement and showed it to my father. "I'll go with you," he said, and he and Gerry accompanied me to Washington.
I asked permission to read my statement. In it, I told the entire story, for the first time. The committee members asked a few questions, but there was really not much else to say, and they told me that I was free to go.
When I stepped out the door of the caucus room, I saw a large crowd—members of the press, photographers, and bystanders. I realized that there was no way to avoid repeating my testimony. I was, I said, "foolish, naïve, prideful, and avaricious," and added, "I have deceived my friends, and I had millions of them." After that, Gerry, my father, and I made our way to Union Station, where we caught a train to New York. We arrived home in the early evening and were met outside our house by, among many others, a reporter who informed us, first, that NBC was going to fire me, and, second, that Columbia had accepted my resignation. All I could say was that I wasn't surprised.
The next afternoon, Dave Garroway had to tape a news report on my shame. I didn't hear the broadcast the following morning, but I was told that he had been genuinely upset—he couldn't finish the broadcast, and had to turn it over to his co-hosts. We wrote to each other, but I have no recollection of what our letters said, and after that we fell out of touch. That week, Gerry went alone to Columbia to pick up a few of my personal things, and I didn't go back to the campus for twenty-three years—until the day that my son graduated.
Along with Vivienne Nearing and eight others, I later pleaded guilty to second-degree perjury, a misdemeanor, for lying to the grand jury about getting answers from producers. The six weeks between my confession and Christmas of that year, 1959, were mostly agony.
But a small gift from my father helped me through it. He had wrapped a square box in tissue paper, sealed with Scotch tape. The box contained a gyroscopic compass, the kind you can start spinning and put on the edge of a glass, where it will stay upright till the spinning stops. A card in the box read, "May this be for you the whirligig of time that brings in his revenges." I knew the quotation. It's from "Twelfth Night." Feste, the mean-spirited clown, has been unmasked, but those are his last words, thrown over his shoulder. The play's audience knows that somehow he will survive and live to taunt some other master. I didn't ask my father what he had meant by it, because I knew he was saying that I, too, would survive and somehow find a way back. I just hugged him and said, "Thank you, Papa."
By the end of 1959, thanks to the intercession of a former college roommate, I would set off on a new career—at the Encyclopædia Britannica, in Chicago. I would earn about twenty per cent of what I'd been getting with NBC, but that was all right with me.
In 1965, we moved to Chicago, the site of the Britannica headquarters. (By then, we'd had a second child, John, who was born in 1962.) We stayed in Chicago for seventeen years, during which I got the title "vice-president of editorial" and wrote and edited a number of books, both by myself and with Mortimer Adler; one of these was a new edition of Adler's immensely popular "How to Read a Book." In 1982, when I was fifty-six, I retired. I had a contract for another book, and it was followed by still another, "A History of Knowledge."
One of the best things about writing is that it's private. I can sit with my thoughts without having to respond to people who say, "Aren't you Charles Van Doren?" Well, that's my name, I say to myself, but I'm not who you think I am—or, at least, I don't want to be. It's been hard to get away, partly because the man who cheated on "Twenty-One" is still part of me.
One day in the spring of 1990, a man named Julian Krainin appeared at the door of a small conch cottage we had bought and renovated in Key West. He was affable; he had come to Florida to visit his parents, he told us, and had drifted down the Keys. He said that he'd learned that I lived there and wanted to see me. After we had chatted for a few minutes, he came to the point of his visit: he told me that a production company was thinking of doing a television show about the quiz-show affair, and he guessed they'd want to talk to me.
For more than thirty years, I had refused to be interviewed, and I told him that I hadn't changed my mind. He said that the program would be coming from WGBH, in Boston, one of the leading public-television stations, and that he was a documentary filmmaker. Also, he had some advice: "I've found that if an important figure in a documentary refuses to coöperate, it leaves the producers free to say . . . not just whatever they want but maybe some things he'd prefer they didn't say."
Krainin was certainly skilled in the art of journalistic seduction. "Have you ever thought of returning to television, Charles?" he asked. "I think you have a lot to offer." He went on to mention two popular public-television series—James Burke's "Connections" and Jacob Bronowski's "The Ascent of Man"—with the suggestion that I might be the host of a series, too. I was being drawn in, and we chatted until Gerry arrived with a pitcher of lemonade and some cookies. "What were you two talking about?" she asked.
I made a joke of it: "My going back on TV as a kind of idiot savant." I laughed, but she didn't. I saw the dismay in her eyes. "There's no chance of Charlie's doing that," she said.
Without looking at Gerry, I told Krainin that I knew something about the history of philosophy, and even sketched out a possible series on the subject. "Think of Plato, Aristotle, Cicero, Augustine, Aquinas, Bacon, Locke, Hume, Voltaire, Jefferson, Hegel, Marx, Nietzsche," I said. "That's thirteen right there."
Krainin brightened. Gerry was silent, her lips compressed. "That's very interesting," Krainin said. When he was gone, Gerry and I walked down Simonton to Catherine, across to Frances, through the cemetery to Angela, and home again. She said nothing at first.
"What do you think of that?" I asked finally.
"I think you're being foolish."
Krainin called two weeks later. He sounded breathless, and told me that the "people" in Boston wanted an outline from me. He said he'd pass it on to them, and after discussing the weather in New England he brought up the other program.
My program wasn't a go; I don't suppose it ever had a chance. Deep down I believed that the two were connected—and I still do. (I also know that Krainin has a different recollection about our first conversations.) "The Quiz Show Scandal," written and co-produced by Julian Krainin for "American Experience," aired on WGBH in 1992. At the end, they thanked a list of people. Although I had done nothing, I was at the top of the list.
The program was pretty good. I learned some things I hadn't known, one of which was that about a hundred contestants had lied to the grand jury, although only seventeen of us were indicted, arrested, and arraigned. (None of us was sentenced to jail.) It brought back to me how we were marched through the streets of downtown New York (accompanied by photographers), forced to hand over our valuables, take off our belts and shoelaces, and get fingerprinted. I hadn't remembered that this had happened to anyone but me; I suppose I'd been in shock. I do remember that it was hard to keep my trousers up, because I'd lost weight.
I also learned that when "Twenty-One" was first on it wasn't rigged, and it was—therefore?—a failure. Herb Stempel was the first to agree to the fix; it was said that fifty million people watched us on the night when he "took a dive," as he put it. I learned that Al Freedman eventually got an executive job at Penthouse International, and founded Penthouse's spinoff magazine Forum; and that, after ten years or so, Barry and Enright were allowed to come back to television and resume their partnership with new programs.
I didn't hear from Julian Krainin for a while. Then he telephoned to ask if he and his wife could drop by our house in Cornwall, Connecticut, because he had "great news." Gerry wasn't enthusiastic, but I said, "Why not? He won't bite."
The news this time was that Robert Redford was planning to make a feature film about the quiz shows and me. Krainin was a producer and Richard Goodwin was a co-producer. (In 1959, Goodwin had gone to work as a speechwriter for John F. Kennedy and, later, for his brother Robert.) Gerry was upset, but the more I thought about it the more I felt that it couldn't really hurt. What the hell? Our children were grown, and we wouldn't have to watch it.
Krainin returned a short time later. I asked what Redford wanted from me. After all, I pointed out, my story was in the public domain, and WGBH did perfectly well without me.
He told us how much Redford admired me and hoped for my help to make the film even better. And, as I recall, he added that Redford wanted my approval—my "guarantee of its truthfulness." He said that Herb Stempel had already agreed to be a consultant, and when I asked what there might be in it for me he replied that the filmmakers would be willing to pay a fee—fifty thousand dollars. And that was how we left it, with Krainin promising to call me in a few days for a decision.
When Krainin called, he said, "I'm sending you a contract. The fee is higher—a hundred thousand dollars. You won't have to do much. Bob really wants you on board."
Our family had a meeting, sitting around our kitchen table. John, our son, was for my taking the money. "They're going to make the movie anyway, whatever you do," he said. "Everybody else is making money out of it, why shouldn't you?"
Gerry agreed—they would say whatever they wanted—"But taking the money gives them a kind of license." Liz, our daughter, tended to agree with Gerry. Sally, John's wife, said it wasn't her place to say anything.
I argued for it on the grounds that John had stated. Gerry, though, was adamant: "I don't want to have anything to do with the whole thing. The film, the money . . . the money's yours if you want it. But you won't have me!" She added, "I'm not going to leave you, but you'll be on your own." She waited. "Please don't be a fool."
We decided to ask Sally's father, Bill Van Cleve, the managing partner of the law firm of Bryan Cave, in St. Louis. He asked me to fax him the document and let him think about it.
The morning after our family meeting, I had to go to Litchfield, and I played a K. T. Oslin tape in my truck. A song on it called "Money" had the refrain "I don't need money. All I need is you." I played it again, then again. "Oh, Honey," I said to myself, "I don't need money, all I need is you." Honey was Gerry's family childhood name.
When I got home, Gerry told me that Bill had called. "He thought you'd be wrong to sign it," she said. "The contract ties you up in knots. I told the children and I think they both agree."
"He's right, so are you, and I was wrong," I said.
The contract lay on the table in the kitchen. I picked it up and tore it into pieces. Just at that moment, the phone rang. Gerry answered. "It's him," she said, and handed me the phone. After I'd told Krainin our decision, I hugged Gerry, held on to her for a long time. Finally, she squirmed out of my grasp. "Let go!"
"Never!" I said.
The film opened in 1994, but months before that a curious thing happened. A car turned in to our road and drew up alongside the house. "I'm lost," the driver said. "Can you tell me how to find . . . ?" I realized later that he was Ralph Fiennes, who played me in the film. He told a reporter that he had driven by my house and had seen me looking "sad."
Of course, I eventually saw the movie. I understand that movies need to compress and conflate, but what bothered me most was the epilogue stating that I never taught again. I didn't stop teaching, although it was a long time before I taught again in a college. I did enjoy John Turturro's version of Stempel. And I couldn't help but laugh when Stempel referred to me in the film as "Charles Van Fucking Moron."
Today, Gerry and I live in a small, very old house on the place my father and mother bought more than eighty years ago. My father retired from his position as a professor of English at Columbia in 1959, when he was sixty-four, and moved to Cornwall, where they had always wanted to live. He told me that he regretted not having done this sooner. I wish he had lived long enough to see us come to live here, too, not just visit on weekends in good weather. He died in 1972. Gerry and the children had spent every summer and I'd spent my month's vacation here each September. Dad and I never talked about the quiz shows, but we did discuss his ongoing work and mine, and country things, which he loved and I did, too. After his death, my mother, who had published two very good novels and had enjoyed a successful journalistic career (including writing for The New Yorker), wrote to him every day until her own death, at ninety-six.
Our children and grandchildren love the place as much as we do. They come when they can, given the demands of their separate lives. Gerry and I are writing and teaching English at the Torrington campus of the University of Connecticut; last fall I taught the Shakespeare course, and Gerry taught the modern novel.
There are two houses, several barns, fields and woods. There are tools and machines: a truck and a tractor, two riding mowers, one of which doesn't work at the moment, and trimmers, chain saws, leaf blowers, a table saw, and plenty of gardening and other tools. I've mowed paths that wind through the fields and into the woods, and I hope the children will keep them up when I can't do it anymore.
Gerry and I went to Rome in the early spring, a fiftieth-anniversary gift to one another, and one morning I took my little gyroscope out of my toilet kit, where it has travelled with me since 1959. I set it spinning on the edge of my orange-juice glass, and, as I looked at it, I said "Thank you"—to it and to my father and my mother and to all the other people who helped us to survive. ♦


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Japan Landslides: Many Dead in Hiroshima
At Least 39 Dead and Thousands Evacuated
TOKYO—At least 39 people have been confirmed dead and 51 are still missing Thursday after a series of landslides struck a hillside residential area in Hiroshima prefecture, western Japan.
As of Thursday night, evacuation orders were still in effect for around 106,000 residents in 25 locations in Hiroshima city. 186 houses have been damaged or flooded by landslides that hit the city's hillside neighborhoods early Wednesday morning....


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Scottsboro Boys: Black Eye For Black-face Minstrel
"We closed the Scottsboro Boys show down in December and we will do it again," said Freedom Party member Kamau Brown.
[Theater of the Absurd]
While masses of celebrity gawkers gathered at the 65th Annual Tony Awards Celebration at the Beacon Theatre, a large contingent of the Freedom Party stormed the scene in this past weekend protest.
The demonstration targeted the Scottsboro Boys Minstrel show which was nominated for 12 awards. The musical depicts the racist travesty that ruined the lives of nine Black boys who were falsely accused of raping two white women in Alabama in 1931 and spent many years in prison. The play was framed in full minstrel context. Black men in black-face grease paint, grinning and dancing around the electric chair, Mr. Bones and Mr. Tambo, and a White Interlocutor running the show.
Contemporary audiences, particularly conscious Black folks were appalled.
When the show ran in New York, the Freedom Party began a protest campaign in front of the Lyceum Theater. Within a month attendance fell significantly and the show lost over $5 million dollars. The Scottsboro Boys Minstrel closed on December 12, 2010 after only 49 performances.
The protesters were led by Omowale Clay a Freedom Party Coordinator, who said, "We will not tolerate the denigration of our history and the disrespect of the victims of the racist judicial system in this country that is still in full effect. The Central Park 5 are the modern day Scottsboro Boys. It's not a minstrel show, racism is real."
The reference was to the five young African American teenagers falsely accused of raping a White investment banker jogging in Central Park in 1989.
This past weekend, protesters marched through the crowd with large signs "Broadway's Scottsboro Boys is Racist" and "Scottsboro Boys Aint No Minstrel Show." Councilman Charles Barron and Assemblywoman Inez Barron were among the throng as they chanted slogans calling attention to the politics of the Tony Awards. They ended the march at the front door of the Beacon Theatre as the startled tuxedoed and gowned theater tribe entered.
Police presence increased significantly shortly after. They tried to get the protesters to move a block away, to no avail. They were not having it. Roger Wareham, an attorney, and Freedom Party Co Chair Viola Plummer informed the police of their democratic rights and they stood their ground. The stand off quickly dissolved and the police were ordered to stand down.
"We closed the Scottsboro Boys show down in December and we will do it again," said Freedom Party member Kamau Brown. "They will never come back to Broadway without a serious fight. We will certainly contact our people across the country and encourage them to protest this racist show wherever it goes. You better believe it. We never give up."
The Scottsboro Boys Minstrel left the Tony Awards empty-handed. Not one nomination garnered an award. Their revival effort was DOA.
"Speaking Truth To Empower."
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I think you have "Filtered HTML" turned on here. If you switch to "Full HTML," it will probably...
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To me, Caravan Girl is one of the most beautiful and inspiring tracks ever created by the genius of Alison Goldfrapp and Will Gregory, the British band known as Goldfrapp (one of many, anyway). It's at the top of my road trip playlist.
The track appeared in Seventh Tree—their fourth studio album—and it's also part of the Caravan Girl EP, which contains a goose-bumping choral version of the song (you can play it below—two for the price of one!). Listening to it makes me want to run away with an Elven redhead queen, to explore the world with no destination in mind.
Like every Goldfrapp album, Seventh Tree has a very distinctive sound. While Felt Mountain, their first, was beautifully atmospheric and cinematic (Utopia, you make me shiver), Black Cherrygot into glam and their particular blend of technopop (Forever, let's make love), and Supernature was hardcore disco, oozing sex and glitter lust (Oh la la, I want to fuck your brains out), Seventh Tree changed their register completely.
It feels like it was created by elves in a forest lost somewhere in the English Midlands. If you like this single, explore the rest of the album. You will love it. [Amazon, Spotify, iTunes]


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Public File - Capital Brighton
13 August 2018, 11:07 | Updated: 10 April 2019, 09:16
Each local commercial radio station in the UK has requirements in respect of its music and local content, such as news, speech levels etc. These requirements are set out in the station "Format", a document issued by Ofcom, the UK's radio regulator. This Public File contains details of the elements that Ofcom regulate, such as music tracks, local news etc. It is intended to give you a better understanding of our output and what we are doing for our local community.
News bulletin schedule:
Capital Brighton broadcasts bulletins containing a mix of Brighton, UK and world news together with sport, entertainment, travel and weather information on the hour from 06:00 to 19:00 on weekdays and 06:00 to 12:00 on Saturdays and Sundays.
Recent news stories covered on air
The latest Brighton, UK and world news headlines are available in the news section of our website.
The news team
You can contact the Capital Brighton News Team on 01273 316940 or via the news section of our website.
Head of News is:
The Brighton News Editor is James Hoxey who can be contacted at firstname.lastname@example.com
Global Group Head of News is James Rea who can be contacted at firstname.lastname@example.com
The programme schedule
Details of Capital Brighton's programmes can be found on the schedule. This includes details of all the shows for the coming week as well as quick links to all the DJ pages.
Automated programming:
We are proud to broadcast the vast majority of our output live from Capital's studios. None of our output is automated.
Amount of local programming:
Capital Brighton's programming is locally produced and presented for 3 hours each weekday.
Ofcom localness guidelines
Ofcom, the government regulator with responsibility for local radio, has produced localness guidelines that this station adheres to. These guidelines can be read here.
Station contact details:
Post: Capital Brighton, Radio House, 24 Franklin Rd, Portslade, Brighton BN41 1AF
Tel: 0333 009 1072
Web: www.capitalfm.com/brighton
Events / charities support or coverage
Capital FM supports Global's Make Some Noise, an appeal operated by Global Charities which is a registered charity in England & Wales (1091657) & Scotland (SC041475).
All information can be found here.
Recent programme and / or news highlights
We keep our website up to date with all the latest happenings at Capital, so if you want to know what we're up to, then please visit the homepage at www.capitalfm.com/Brighton/on-air/
If you have any specific questions, then our Contact Us page contains details of how to get in touch with us.
Any other issues or areas of interest likely to impact on localness
There are no current issues that impact on the localness of the station.
The station's playlist
Our complete playlist can be found here. The playlist is updated weekly and includes links to listen to a clip of each song.
How to complain to the station or to Ofcom:
If you have a complaint to make about Capital, in the first instance please submit your complaint by using one of the following methods:
1.Submit your complaint direct to Capital FM.
Online: click here
Address: Capital Brighton, Radio House, 24 Franklin Rd, Portslade, Brighton BN41 1AF
Tel: 01273 316931
2. If the matter can not be resolved you can submit your complaint through Ofcom. Visit http://www.ofcom.org.uk/ for more information.
Capital TV is licensed and regulated by the Office of Communications (Ofcom) under Television Licensable Content Service License No. 1659.
The licensee operating Capital TV is Global Music Television Ltd, which is a subsidiary of Global Radio UK Ltd. Both companies are based at 30 Leicester Square, London WC2H 7LA.
Capital TV can be contacted in the following ways:
- via post at 30 Leicester Square, London WC2H 7LA
- via email at email@example.com
- or via telephone number: 020 7766 6000
Ofcom can be contacted via post as follows:
Television Broadcast Licensing
(5thFloor) Riverside House
2a Southwark Bridge Road
London SE1 9HA
In addition, viewers can correspond with Ofcom via its website.
Capital TV may from time to time offer viewers the opportunity to enter competitions using Premium Rate Telephony Services.
If you think there is a problem with our Premium Rate Services or would like to make a complaint, please call our customer service line on:
03333 212196
Alternatively, you can write to us. Please send your query to: Premium Rate Manager, Global, 30 Leicester Square, London, WC2H 7LA.
Global, the parent company of Capital TV is registered with the Premium Rate Services regulator, PhonepayPlus. Our registration number is: ORG832-96388-41101.


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Rethinking the future
ME PoV Spring 2015 issue
Stricter capital requirements and low interest rates are impacting the Gulf region's finance companies that are now seeing the need to re-evaluate their corporate strategy and business model.
Although the United Arab Emirates financial sector's net profits grew by 14 percent in 2013 and has had its credit rating raised from negative to stable by Moody's1–a rating that has been maintained for 2014 – there are concerns that new regulations to be issued by the Central Bank of the UAE (CBUAE) in line with international best practices such as Basel III, may end up constraining the activities of certain types of financial institutions.
Download and read this article


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Lovely work from GE and similar from Nike hat tip to FlowingData Tweet
British IT humour
Enfield and Corbett. Classic…and given Google is a verb, ironic that it didn't make it in to the sketch! Tweet
Minifig yourself
I got sent a minifig of myself recently and they're scarily good. Check 'em out at Sculpteo – 3D printed using two photos of you. Tweet
The link between ID theft and going green
One thing I've been impressed by as I've settled in to life in the US is the easy with which you can choose to have most of your statements from banks, insurance, utilities and pretty much everyone else delivered to you electronically. The reason most companies give for this choice (which they often set as…
Windows Phone 7 and personality
Hugh's latest seemed entirely appropriate for Windows Phone 7 – this product has more personality that any other Microsoft product I know. Tweet
Dilbert on social media
Simple Wallpaper
Love this…and many more wallpapers from simpledesktops.com Tweet
The difference between need and want
Just in case anyone is listening (pun), I absolutely definitely need these headphones. This is not a case of want, it's definitely need. If the B&W MM-1 speakers are anything to go by, these will rock the house (pub). Ladies and gentlemen, I give you the Bowers and Wilkins P5 headphones. Did I mention they…
13 years at Microsoft. What's Next
Today is my thirteen year anniversary at Microsoft and though 13 is supposed to be an unlucky number, today I feel pretty lucky. I'm about to start a new era where a hobby becomes my day job. Nope, I'm not leaving Microsoft but I will be leaving this blog a little. A few hours ago,…
Talking to Slate
No, I haven't got myself an iPad and starting talking to it….I'm talking about a demo fest I helped host yesterday with the crew from Slate's Culture Gabfest. Stephen Metcalf, Dana Stevens, and Julia Turner came by to check out Kinect so Ryan Moore and I took them over to our Visitor Center and showed…


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WHAT: Health First to offer free lectures for Esophageal Cancer Awareness Month. Light refreshments will be served during all lectures. Seating is limited so please be sure to RSVP to the phone numbers listed below.
About Health First
Founded in 1995, Health First is a fully integrated health system. The not-for-profit employs more than 7,500 people and has four hospitals (including Cape Canaveral Hospital, Holmes Regional Medical Center, Palm Bay Hospital, and Viera Hospital). Health First Health Plans also offers a wide variety of health insurance plan options for Brevard and Indian River Counties. In addition, Health First is home to Brevard County's only Trauma Center. Health First Medical Group is the largest multi-specialty physician group on the Space Coast. Health First offers numerous outpatient and wellness services, including four Pro-Health and Fitness Centers. Visit www.Health-First.org for more information.


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SRD:Pearl of Power
From D&D Wiki
|This material is published under the OGL
Pearl of Power: This seemingly normal pearl of average size and luster is a potent aid to all spellcasters who prepare spells (clerics, druids, rangers, paladins, and wizards). Once per day on command, a pearl of power enables the possessor to recall any one spell that she had prepared and then cast. The spell is then prepared again, just as if it had not been cast. The spell must be of a particular level, depending on the pearl. Different pearls exist for recalling one spell per day of each level from 1st through 9th and for the recall of two spells per day (each of a different level, 6th or lower).
Strong transmutation; CL 17th; Craft Wondrous Item, creator must be able to cast spells of the spell level to be recalled; Price 1,000 gp (1st), 4,000 gp (2nd), 9,000 gp (3rd), 16,000 gp (4th), 25,000 gp (5th), 36,000 gp (6th), 49,000 gp (7th), 64,000 gp (8th), 81,000 gp (9th), or 70,000 gp (two spells).
Back to Main Page → 3.5e Open Game Content → System Reference Document → Magic Items


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Scrum Sevens
The Fantastic Four
Tom Hamilton
August 25, 2011
Argentina's Mario Ledesma will be playing in his fourth World Cup come September © Getty Images
The forthcoming Rugby World Cup will herald in the latest group of players to have played in four of the sport's showpiece tournaments.
It has been a rather exclusive club up until now but that is set to change next month with a whole host of international veterans set to add their names to the list. However, they all have some way to go before matching Brian Lima who made an incredible five World Cup appearances for Samoa.
To celebrate their achievements, Scrum Sevens honours those individuals who will go into the World Cup looking to improve, emulate or even re-write history.
Contepomi's finest hour in international rugby came during the 2007 World Cup. The Pumas impressed fans around the world with their enthralling brand of attacking rugby which saw them progress to the semi-finals where they were undone by the eventual winners South Africa.
Playing largely at inside centre, Contepomi's connection with scrum-half Agustin Pichot and mesmeric fly-half Juan Martin Hernandez put the frighteners up France in the first match of the tournament with the Pumas upsetting the hosts 17-12. Contepomi starred in midfield and with the boot, but could also tackle - just ask Sebastien Chabal.
The 34-year-old's World Cup debut came in the 1999 tournament when the then young fly-half came off the bench in their 33-12 win over Japan. And in 2003 he played three matches as the Argentineans failed to progress from their group which included Ireland and hosts Australia. Contepomi will go into the 2011 event hoping to recreate the glory of 2007 but they will have to do it without two thirds of the three musketeers - the now retired Pichot and the injured Hernandez.
Jones is perilously close to taking the all-time cap record for Wales caps - poised on 100 - and despite injury worries going into his fourth World Cup, looks set to add to his tally. Jones established himself on the international scene as deputy to Neil Jenkins before making the fly-half berth his own in 2002.
His first appearance for Wales came in the 1999 World Cup as a second-half substitute in their 64-15 thrashing of Japan. Jones was present in their following two campaigns with their quarter-final appearance in 2003 the clear highlight. With the likes of Rhys Priestland snapping at his ageing heels, Jones will have to be in the same sort of form which saw him finish off Wales' wonder try against England eight years ago.
Alongside fellow front-row Martin Scelzo, Ledesma will be playing in his fourth World Cup come September having made his World Cup bow in the Pumas' narrow loss to Wales in 1999. The ferocious hooker is a passionate and well-respected figure in the game and with 79 caps to his name, will provide a wealth of experience to Argentina's latest campaign.
A central figure for French side Clermont Auvergne since 2005, where he has even seen off the threat of Springboks' World Cup winning captain John Smit, Ledesma has announced that the 2011 competition will be his swansong but do not expect him to go into retirement quietly.
Little played a key role in the Flying Fijians' famous win over Wales in the 2007 tournament. Kicking 18 points during the match, Little left the field on a stretcher with a knee injury in one of the most iconic scenes the battle for William Webb Ellis Cup has ever witnessed.
Little, now 34, has enjoyed plying his trade in Italy and England, most notably with Saracens and Bath, and looks set to spearhead the Fijians' latest World Cup assault. He graced the tournament for the first time in 1999 as a replacement in Fiji's pool victory over Namibia. He was rewarded with a start in the next match against Canada kicking 18 points in the process but was a bit-part player just four years later. It looked as if his international days were numbered come 2009 but back in form and fitness, he regained the Fiji No.10 shirt earlier this year.
BOD, or even God in the eyes of some supporters, is Ireland's talismanic outside centre and made his World Cup debut in 1999 playing in all four of their games in the tournament and scoring a try in the process against the USA. O'Driscoll will go into the 2011 tournament hoping to put to bed the ghosts of 2007 which saw Ireland unable to progress from a group which included hosts France and tournament surprise package Argentina, though he did manage a spectacular solo effort against Namibia.
A three-time British & Irish Lions tourist, O'Driscoll has the ability to turn a match on its head and having struggled with injuries in recent times, Ireland will hope their inspirational leader can make it through the tournament unscathed.
Paterson's boot is the stuff of legend having not missed a single kick in the 2007 World Cup. He made his debut for Scotland in the 1999 tournament where he started at fullback against Spain. The versatile playmaker then played at both fly-half and wing for the national side in all five of their matches during the 2003 tournament - crossing the try line three times in the process.
His ability to play at fullback, wing and fly-half makes him a valuable addition to the Scotland side and it is yet to be seen where Andy Robinson will utilise the Test centurion in the forthcoming tournament. However, one thing is for certain, and that is if Paterson is presented with a kickable penalty, you can bet your mortgage on him nailing it.
There is not much about England's golden boy that has not already been written since his drop-goal against Australia on November 22, 2003. The iconic image of Wilkinson's right boot following through the ball after Matt Dawson's pass is the stuff of legend.
He made his World Cup debut in 1999 against Italy and ended the match with a haul of 32 points. Aged just 20, he showed the maturity and calmness under pressure which is still associated with the Toulon stand-off to this day. Wilkinson goes into the 2011 showpiece looking to improve on the 2007 campaign which saw England finish runners-up to South Africa. However, the 32-year old's place in the side is not guaranteed with Toby Flood also vying for the fly-half berth.
© ESPN Sports Media Ltd.
Tom Hamilton is the Assistant Editor of ESPNscrum.
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Patagonia Men's Capilene® Cool Daily Graphic Shirt
Our most versatile performance knit for use on trails or on the water provides 50+ UPF sun protection and HeiQ® Fresh durable odor control. Made from 50–100% recycled content, Patagonia tech tees keep you comfortable when you're working hard in conditions ranging from cool to hot. Fair Trade Certified™ sewn.
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- MiDori® bioSoft for added wicking and softness; HeiQ® Fresh durable odor control keeps things fresh
- Artists by color code: Neil Hubert (FZSE, FHWH); Closer & Closer (DPGX); all others Patagonia original art
- 50+ UPF sun protection
- Fair Trade Certified™ sewn
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- 128 g (4.5 oz)
Solids: 3.7-oz 100% recycled polyester jersey.
Heathers and cross-dyes: 4.1-oz 100% polyester (50% recycled) jersey.
All with MiDori® bioSoft for added wicking and softness, HeiQ® Fresh durable odor control and 50+ UPF sun protection.
Fabric is certified as bluesign™ approved.
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WERF, U.S. EPA to host biosolids research summit
The Water Environment Research Foundation will host a national Biosolids Research Summit July 28-30, 2003, that will involve public participation.
May 19, 2003 -- The Water Environment Research Foundation will host a national Biosolids Research Summit July 28-30, 2003, that will involve public participation.
By hosting this summit, WERF and co-sponsor U.S. Environmental Protection Agency will take the first steps in identifying needs and conducting research to address the controversy surrounding land application of biosolids.
The Summit will focus on a July 2002 report from the National Research Council (NRC) of the National Academy of Sciences, and on other scientific issues related to biosolids. In response to one of the core recommendations of the NRC report, public participation will be a key part of the Summit. The Summit will bring together a wide variety of stakeholders--including critics of the biosolids industry--to create a research agenda that addresses questions about the land application of biosolids.
Biosolids are the organic matter that remains at the end of the wastewater treatment process after being broken down by bacteria and other organisms. An estimated 6.9 million tons of biosolids were generated in 1998, about 41 percent of which was applied to agricultural land as fertilizers and soil amendments, according to U.S. EPA.
Although the NRC report found no documented scientific evidence that the part 503 rules have failed to protect public health, it did recommend that U.S. EPA update the scientific basis of regulations governing biosolids, improve knowledge of chemicals and pathogens, and evaluate concerns about health effects and exposure.
WERF expects that public input will ensure balanced and fair consideration of all perspectives regarding biosolids research.
"While much has been done by WERF and others in the biosolids research arena, public participation and understanding of the science behind decisions are critical," said Glenn Reinhardt, executive director of WERF. "We want to help provide a thoughtful, inclusive, and educational response to the scientific questions raised by the NRC report--as well as other issues the public may bring to the Summit. By involving the public in setting the biosolids research agenda--and throughout the actual research process--we hope to develop more widely accepted and credible information for use by biosolids managers and policymakers.
WERF's biosolids research includes more than 40 projects valued at more than $18 million.
The Biosolids Research Summit will identify and prioritize biosolids research for the next five or more years, with the aim of ensuring that sewage sludge and biosolids management practices protect public health and the environment. The summit will focus on research needs, as opposed to policy. The multi-day workshop will include 45-60 invited attendees, including representatives from state and federal agencies, academia, wastewater facilities, biosolids management companies, conservation groups, and interested citizens.
"Those who study public policy conflicts--like biosolids/sewage sludge management--have found that, rather than engaging in 'dueling science,' it is more productive for both sides to work together on the science," said Ned Beecher, a researcher on a WERF project on biosolids public perception. "Together, the two sides will determine research needs and establish a research process that is credible for everyone."
WERF has formed a steering committee of five individuals to define the goals of the Summit and to provide oversight to ensure balance, objectivity, focus on scientific issues, and the accomplishment of goals. The steering committee will also help develop mechanisms for implementing the resulting research agenda. The committee members include Robert Olexsey, Ph.D., U.S. EPA (NRMRL); James Stahl, WERF board member, Los Angeles County Sanitation Districts; Anthony Pilawski, New Jersey Department of Environmental Protection; Joan Rose, Ph.D., Michigan State University; and Ellen Harrison, Cornell Waste Management Institute.
"WERF is pioneering an opportunity for constructive dialogue about research needs and appears to be taking seriously the concerns we have," said Harrison, who has raised concerns about the safety of biosolids recycling, of the Biosolids Research Summit. "I commend them for that and I hope the Summit will lead to more comprehensive research that includes greater focus on our concerns. Many concerned citizens fear that this effort is no more than PR and fear being 'co-opted.' It will be critical to see the extent to which WERF comes through on really listening to and implementing recommendations."
WERF has recently conducted several research projects aimed at understanding how to effectively work with the public, and use the public as a resource for improving decisions, developing public support, and ensuring cost-efficient public initiatives in biosolids, water reuse, and environmental management.
The public partnering process is designed to improve relationships with the community through building trust and demonstrating fairness, opening channels for two-way communication, providing objective information, and developing motivation and commitment to the partnering process. WERF is applying these concepts to its own research processes. The Biosolids Research Summit will serve as an initial pilot test of WERF's efforts to effectively partner with the public.
Stahl notes: "Bringing meaningful public input and participation into the scientific research process is a challenge. It may mean some changes in how researchers go about their business, including learning how to develop and implement protocols that include stakeholder and public participation. This process will require patience and a willingness to work toward a research standard that is responsive to the needs of the public, as well as to the needs of the water quality field."
For More Information
In addition to the invited participants, interested observers will have an opportunity to attend and to provide comments at this summer's Biosolids Research Summit. Due to space limitations, the number of observers will be limited. Information on how to register as an observer will be available on the WERF website at www.werf.org on June 2, 2003.
For the full text of the NRC report, Biosolids Applied to Land: Advancing Standards and Practices (July 2002), go to http://books.nap.edu/books/0309084865/html/index.html. For more information and regular updates on the Summit or for more on WERF's work in public partnering, go to www.werf.org.
WERF is dedicated to advancing science and technology that addresses water quality issues as they impact water resources, the atmosphere, the land, and quality of life. In carrying out its mission, WERF funds, oversees, and publishes research targeted at addressing specific scientific issues related to wastewater treatment, including such topics as sludge and biosolids management. Beginning this year, it is appropriating 3 percent to 6 percent of its annual research budget toward new public partnering initiatives.
The Water Environment Research Foundation, a not-for-profit organization affiliated with the Water Environment Federation, addresses water quality issues with a commitment to environmental protection, economic conservancy, and enhanced quality of life. WERF Subscribers consist of wastewater utilities representing more than 60% of the U.S. sewered population and corporations sharing concerns for water quality issues.


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Geezer wrote:npv708 wrote:SolidSnake wrote:npv708 wrote:After this game, I bet the Caps wish they had this guy back in net...
Firemarshall Bill?
Jim Carey.
I'm thinking him as the Caps potential young franchise that the Pens destroyed in the playoffs one year. Pretty much ended his Caps career unless I'm mistaking him for someone else.
He actually won the Vezina in 95-96 with the Caps as a result of a monster regular season. Got destroyed by the Pens in the playoffs that year. From then on out, it was basically the Kolzig show.


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PVRblog is reporting what it calls a "wild rumor" that landed in its inbox alleging that Apple will license TiVo software for its upcoming iTV box, which will reportedly be called the Mac Media Capsule.
Then today, one more meager yet tantalizing tidbit popped into our inbox, supposedly from an Apple employee who said this Mac Media Capsule has gone through a slight design change since its iTV prototype was revealed in September, and now it will include a stand that gives users a choice of either vertical or horizontal orientation. Is this true? The thin evidence so far:
There's an Apple patent application dated November 2, 2006 that outlines techniques for acquiring a season's worth of TV shows. However, it only mentions the word TiVo once in the entire document, and that's only in a generic sense, describing recorded digital video.
Last summer, TiVo was hiring Mac programmers, but that probably had to do with TiVo's promise to deliver TiVoToGo software for the Mac, a crude alpha version of which we saw at CES last January but still isn't available. Why the delay when we saw a semi-working version nearly a year ago? But TiVo Desktop, the software that lets you program your TiVo from afar, has since become available for the Mac, so those programmers were doing something.
What's next? TivoToGo software on the upcoming iPhone? Then there's that widescreen video player we've heard rumblings about. Wouldn't that be a great device on which to watch your TiVo recordings? But then wouldn't that conflict with Apple's deal with the networks to sell TV shows?
Wild rumor: Apple & TiVo partner for iTV [PVRblog]


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Drake's season ends in Arch Madness quarterfinals
Doug McDermott scored 23 points to become Creighton's all-time scoring leader and the top-seeded Bluejays defeated Drake 65-53 on Friday in the quarterfinals of the Missouri Valley Conference tournament.
In Saturday's semifinals, Creighton (25-7) will play No. 5 seed Indiana State, which defeated Evansville 51-50 on Friday.
Will Artino scored 14 points off the bench and Gregory Echenique had 11 points, 11 rebounds and six blocked shots for Creighton, which enjoyed a 44-26 rebounding edge. Grant Gibbs had eight of the Bluejays' 11 assists.
McDermott, a junior, now has 2,129 points - 13 more than Rodney Buford, who played for the Bluejays from 1995-99.
Richard Carter scored 14 points and Seth VanDeest scored 13 for the ninth-seeded Bulldogs (15-17). Jordan Clarke had 10 rebounds for Drake, which reached the quarterfinal by beating Bradley on Thursday night.


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Email has been sent to you , please check your spam/junk emails if you are unable to find the email.
Due to some internal error, the mail has not been sent.
50TC WEATHERMAKER® rooftop unit were designed by customers for customers. With a gauge plug, centralized control center, plug & play accessory board, "no-strip screw" collars, and handled access panels, we've made the unit easy to install, easy to maintain, and easy to use. Units are pre-wired and pre-charged with environmentally sound Puron® (R-410A) refrigerant at the factory. The units are factory tested in cooling mode.
AHRI = Air-Conditioning, Heating & Refrigeration Institute
ASHRAE = American Society of Heating, Refrigerating and Air Conditioning, Inc.
EER = Energy Efficiency Ratio
SEER = Seasonal Energy Efficiency Ratio
1. Rated and certified under ARI Standard 210/240---06 or 340/360---07, as appropriate.
2. Ratings are based on:
» Cooling Standard: 80 F (27 C) db, 67 F (19 C) wb indoor air temp and 95 F (35 C) db outdoor air temp.
» IPLV Standard: 80 F (27 C) db, 67 F (19 C) wb indoor air temp and 80 F (27 C) db outdoor air temp.
3. All 50TC units comply with ASHRAE 90.1-2010 Energy Standard for minimum SEER and EER requirements.
4. 50TC units comply with US Energy Policy Act (2005). To evaluate code compliance requirements, refer to state and local codes or visit the following website: http://bcap-energy.org
California residents please see Proposition 65.


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Yesterday in Crappy Hour we totally labored over an epic piece on shifting philosophies inside the jihadist movement, but all the regular readers wanted to do was objectify the opposite sex, so in case you missed it, here's a link again to that 9-page photo album of Barack Obama's somewhat handsome aide Reggie Love. Well, yesterday a reader sent us a tenth picture that really completes the whole album. (Click the pic!) We looked at it, immediately thought of making some DrunkenStepfather type joke in the interest of upholding Title IX, then decided to…take another stroll through the photo album. Dude. That's what I'm talking about. [Truth About Duke]
Can Reggie Love Hold His Roofies?


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The Player of Games
All reality is a game. Physics at its most fundamental, the very fabric of our universe, results directly from the interaction of certain fairly simple rules, and chance; the same description may be applied to the best, most elefant and both intellectually and aesthetically satisfying games. By being unknowable, by resulting from events which, at the sub-atomic level, cannot be fully predicted, the future remains makkeable, and retains the possibility of change, the hope of coming to prevail; victory, to use an unfashionable word. In this, the future is a game; time is one of the rules. Generally, all the best mechanistic games - those which can be played in any sense "perfectly", such as a grid, Prallian scope, 'nkraytle, chess, Farnic dimensions - can be traced to civilisations lacking a realistic view of the universe (let alone the reality). They are also, I might add, invariably pre-machine-sentience societies.
The very first-rank games acknowledge the element of chance, even if they rightly restrict raw luck. To attempt to construct a game on any other lines, no matter how complicated and subtle the rules are, and regardless of the scale and differentiation of the playing volume and the variety of the powers and attibutes of the pieces, is inevitably to schackle oneself to a conspectus which is not merely socially but techno-philosophically lagging several ages behind our own. As a historical exercise it might have some value, As a work of the intellect, it's just a waste of time. If you want to make something old-fashioned, why not build a wooden sailing boat, or a steam engine? They're just as complicated and demanding as a mechanistic game, and you'll keep fit at the same time.
--- in "The Player of Games", Iain M. Banks
Great way of saying it. This is a book I recommend, not only for those that like SciFi, but also for those curious about gaming, game theory, or "different" social/cultural/political scenarios.
Talking about "games like life", I've been playing for quite a while an interesting web-based game called "eRepublik", and Ihave some invites, so if you want one just drop me a line. I hope I'll manage to write an extensive article about this game, but for now I'll just sum it up: A new world, with social issues, political issues, and virtually complete freedom to evolve. Here, you can be a polititian, owner of your company or employee, you have to take care of your wellness, don't forget to have food to eat, and - if you want - try to make the world a better place. Things evolve quite fast there, we're in the verge of "living" the first World War, Portugal is a fascist, almost dictatorial country, Pakistan aims to be the "worldwide country" and subject everyone to their religion, one USA state wants to be independent, India was conquered... Why don't you try out and see for yourself?


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My brain hurts.
Sometimes it seems that our thoughts are dominating our lives. Must do this, should do that, don't forget this, try that etc. So it is quite surprising that only some 10% of what we do is governed by our conscious minds. Like an iceberg the tip is only a small proportion of what is really going on.
Much of what we do is done without thinking about it. A lot of life passes by on automatic pilot. Indeed it needs to. We'd be overwhelmed if every action we took was part of our conscious mind. So when we are learning something new it can really hurt the brain as it is much more conscious thinking than usual.
Mine hurts a lot just now.
We all learn in different ways and I'm that person who takes the IKEA package out and gets half way through before I think to read the instructions properly. And that is what I did with Mail Chimp a fancier communication systems for emails etc.
I got off to a flying start sending out a lovely pretty looking email with the easy press of a button. It felt good. Some seven hundred emails later, some bounces and a few unsubscribes I was feeling pretty chuffed. All good and well though. Then, I get the email to say that as I had too many unsubscribes (1.2% of total sent) the account is suspended until I get everyone to manually sign up. Groan.
More haste, less speed. I just went onto automatic pilot on this one, adopting my usual pattern of diving in without reading the small print. It would be lovely to think you live and learn. So maybe next time, I'll think a bit more about what is below the tip of the iceberg and rein in that automatic pilot….. Meantime, if you receive an email from me, please bear with me and sign up.


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Yolo CountyHome Sitemap Contact
County Surveyor
Records of Survey, Parcel Maps and Subdivision Maps in the unincorporated County are received by the Public Works Division and reviewed for technical accuracy by a consulting licensed land surveyor to satisfy statutory requirements prior to filing with the County Recorder.
For County Surveyor related questions and fees, please contact County staff at (530) 666-8811 or by e-mail at firstname.lastname@example.com to go over your inquiries, and verify staff availability before scheduling a visit to the Public Works Division.
If you are interested in obtaining copies of recorded documents, please contact the Yolo County Clerk-Recorder at (530) 666-8130 or Click Here.
If you plan to submit a Record of Survey for review and filing, please review the Record of Survey Review Checklist prior to submitting to the County Surveyor. Click Here to view the County Engineers Association of California Guide to the preparation of Records of Survey and Corner Records (4th revision)
The Public Works Division also reviews and files Corner Records, and coordinates survey monument preservation activities. The following records are available by clicking on the links below:
|Corner Records
If you plan to submit a Corner Record for review and filing, please see the following general notes and form links:
General Notes:
Corner Record Form - Electronically fillable
Corner Record Form - Print and complete
Click Here for the National Geodetic Survey (NGS) website containing information on survey points in Yolo County.
If you are a surveyor working in the County and notice survey monuments that have been damaged and need repair, or survey monuments that are missing a protective cover and need one, please report the location and nature of repairs needed. Please Click Here.


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COLUMBUS, Ohio (AP) -- Republican Josh Mandel has kept two traffic accidents quiet since becoming Ohio treasurer in 2011 -- including one that raises a potential violation of federal campaign finance law.
Law enforcement reports obtained by The Associated Press show one crash in March near Toledo and one in April 2011 in downtown Columbus.
During the late-night March accident, Mandel was riding in a vehicle owned by his 2012 U.S. Senate campaign, months after he'd lost his high-profile bid against Democrat Sherrod Brown.
Under federal campaign finance law, Senate campaign property can't be used for personal use or to campaign for a different office, such as treasurer.
Mandel's state treasurer campaign says it rented the vehicle from the federal campaign. The rental check cleared June 30, more than seven months after Mandel had lost the Senate race and almost four months after the accident, which totaled the vehicle.
Federal campaign rules generally require rental checks for transportation to be paid no more than 60 days after the travel takes place. Mandel's political team says both state and federal campaign finance lawyers were consulted on the rental arrangement.
As treasurer, Mandel has opted not to use state-owned transportation for official business on the premise that it saves taxpayers money. The practice, while legal, allows him to leave virtually no paper trail at his state office of his travel activity.
Campaign spokeswoman Rebecca Wasserstein said the practice is fiscally responsible.
"While many public officials use tax dollars to travel around the state, Treasurer Mandel is saving Ohioans thousands of dollars by not using a penny of taxpayer money," she said. "This is yet another example of Josh Mandel walking the walk as a fiscal conservative and leader with integrity."
The practice meant Mandel would have had to take extra steps to inform his state office that he was involved in the two wrecks, and in one case sustained minor injuries. An AP public records request for associated documents turned up no existing records.
Wasserstein said Mandel informed his chief of staff of both crashes but did not make a formal report because neither accident involved official business.
The 2004 Jeep Grand Cherokee owned by Mandel's Senate campaign was totaled on March 5 after his driver, 29-year-old Brian Pochitila, spun out, lost control and struck a concrete wall after hitting a patch of ice at about 11 p.m., according to the State Highway Patrol accident report.
In the earlier accident, Mandel was being driven by Jacob Dummermuth, then a 21-year-old Senate campaign intern, when their vehicle collided with another in a downtown Columbus intersection near Mandel's state offices at about 3 p.m. on April 26, 2011. Dummermuth was driving a Ford Explorer owned by his father, according to the Columbus police report.
At the time, Mandel had been Ohio's state treasurer for a little more than three months. He had not yet announced his plan to run for the Senate.
Using campaign accounts to pay for official state trips is legally allowed, but it can raise transparency issues for public officials. Most make known any traffic accidents they're involved in -- such as a four-vehicle accident in April involving Ohio Gov. John Kasich. Those driving state vehicles are required to report accidents immediately.
Wasserstein said Mandel had a political event in Toledo on March 6 and traveled up the night before in hopes of beating a snowstorm. His official calendar for April 26, 2011, shows Mandel was due at a videotaping at the Statehouse to promote his Center for Public Investment Management on the afternoon of the crash.
Ohio Secretary of State filings show Pochitila, his driver in March, is paid by Mandel's state treasurer campaign. The federal campaign, Citizens for Josh Mandel Inc., reported to the FEC that it purchased the vehicle it was driving for $13,800 on March 8, 2012, ahead of the November Senate election.
The March accident report lists Citizens for Josh Mandel as the vehicle's owner.
Ohio campaign finance law would have prohibited transferring the vehicle from the federal to the state campaign, though the state campaign could legally have purchased the vehicle. The state campaign chose to pay $1,000 to rent it for two months from the federal campaign.
Wasserstein said the rental fee covered January and February. After questioning by the AP, the campaign wrote an additional check for about $80 to cover the days in March before the vehicle was wrecked. The campaign provided listings showing several area Jeep rentals for less than $500 a month.
Mandel's state treasurer campaign reported in Ohio filings that it bought a new vehicle for $15,000 on April 9, the month after the March crash.


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Drummers in the street. Hellín Drummers Association
Hellín Drummers Club Association
Hellín Drummers Club Association
Hellín Drummers Club Association
Hellín Drummers Club Association
Practical information
- When?: From Apr 8, 2020 to Apr 12, 2020
- Where: Hellín
- More information : http://www.tamborada.com/
- Autonomous region: Castilla-La Mancha
- Province/Island: Albacete
- Category: Festivity of International Tourist Interest
- Theme: Religious
The pinnacle of the Easter week in Hellín, Albacete province, is the Tamborada (drum-playing). This is the most important fiesta on the town calendar, when up to 20,000 drums start playing, the beginning of an uproar that will continue over several days.
Midnight on Maundy Thursday sees the most important drum-playing moment of the whole celebration. On Good Friday night the Santo Entierro procession takes place, marked by silence and meditation, in clear contrast to the tremendous noise of the drums. In this procession you can see the wooden Cristo Yacente statue, by sculptor Mariano Benlliure, considered one of the finest works of 20th century sculpture. One last session of drum-playing, from Holy Saturday night to Sunday evening, marks the end of Hellín's Easter week celebrations, after hundreds of doves are released into the sky.
Easter week is one of the most heartfelt and deep-rooted fiestas celebrated in Spain. This commemoration has centuries of history and tradition, remembering the passion and death of Jesus Christ. The streets of the majority of Spain's cities, towns and villages become the stage for religious fervour and devotion, combining grief and meditation in memory of Christ's death. Music, art and colour come together in magical processions - solemn parades in which crowds of people accompany religious images on their route through the streets.
Practical information
- Date: From Apr 8, 2020 to Apr 12, 2020
Contact details
Tel. +34 967305560
Schedules and prices
- From Apr 8, 2020 to Apr 12, 2020
* Information may be subject to modifications


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The good news (there have to be good news, right?) were:
a) Clark Zeland and David Horton graciously rolled ALL our (who wanted) entries (with no additional fees!) into year 2014. I responded with a "YES!"
b) Sophie Spiedel offered to crew and potentially (if I want to) pace me (however many miles) as next year that weekend (so far) is open for her (unlike this year), so I might get spoiled for the first time in years
c) David Horton emailed me an application invitation to Hellgate 100km race in December prior posting it online - I felt extra-special - as a counseling effort. Well, that, and I promised him to come since 2004. So, I am in for sure, check went out a week ago.
The not-so-good news are:
a) there is no more Hardrock 100 lottery qualifiers this year
b) I did email the board seeing if there is any consideration for the situation (never hurts to ask, right?) and got a (very quick) response that no, it ain't any different than fire or weather conditions and race shut down. It is fair, so I have no grouchy feelings
c) no (even remote) possibility to get into Hardrock 100 for 2014 means my willingness (and ability) to train for it in TX is twinging down. Now, since I will make to to G-stone (and thus a qualifier) in 2014, I could apply for 2015 lottery, but, first of, I may just get tired of being hopeful (1 in, 6 misses, and 1 totally out - this year), secondly, 2015 will run same direction as I already did it, and I'd like to go "backwards" for a "full Monty", and the crowd is changing rather fast in every race (while I don't mind it as much in the new races I visit, in the "old timers" I have too many memories and keep having expectations and being disappointed).
Bottom line is, life goes on, and we shall see.
On a good note of no Hardrock (again, gotta be a silver lining!) it means I free''d up 2 weeks of my summer that Larry and I can spend doing some more backpacking trips! A.k.a. Grand Tetons we did past July, or Tahoe lake we did in 2009...so, we better get thinking! And I can also "participate" in other races I want to see without a pressure to perform - what I am truly looking forward to - what also means my next season might be what I keep promising myself, just an easy "stay in shape and run as you're pleased" (I still love to travel to races). My schedule for the first few months is on the side bar, and I already registered for everything up to April. Summer is open for fun ideas.
On a funky note, after my friend Steve Moore ran Mogollon Monster 100 at the end of September (on Zane Grey 50M course in AZ, my all-time favorite 50), I was going to go there next year myself, but with Grindstone set on October 3rd, that is not happening.
I am toying with ideas of re-do on Tahoe Rim 100, Cascade Crest 100 and AC100 (but AC100 is already full, so no go there) - my 3 DNF's I'd like to avenge (NOT race, just finish). One I don't care for (in terms of DNF or race itself) is Leadville 100, but it's personal, so whatever. So, example could be us backpack in 3-days Wonderland trail, then me doing CC100?
I was also invited to come visit (with Larry, of course) Canada and run Squamish 50 with Linda and Gary Robbins (and visit Leslie in Banff?), so that's a possibility too (that 2 weeks vacation? sounds like a perfect plan).
Anyway, Ozark is close, training is lazy (my body refuses to do it when it was promised to be done mid-September, it is much smarter than me). I am anticipating a lot of pain - and a lot of fun too:) I know, we're a weird crowd.
I turned 44 yesterday. I love my age. I would never go back to 30's (and forget 20s!). I have good friends, good life, and best husband who supports me and understands me. Here is to another blessed year - year I will make the way I'd like it to be.


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With Amazon founder Jeff Bezos buying the Washington Post and eBay founder Pierre Omidyar putting up $250 milllion for a project featuring journalist Glenn Greenwald, it is starting to feel as tech billionaires might be just the folks to save journalism.
But what kind of owners will they be?
That's one of the questions discussed on Howard Kurtz's "Media Buzz" show Sunday on Fox News.
Here's video (above) of Kurtz, me and Farhad Manjoo, tech columnist for the Wall Street Journal, talking about the roles tech money and expertise could play in the future of journalism.


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Top SongsSee All
The Moment of Our LoveSweet and Deceitful 2003
In My HeavenSweet and Deceitful 2005
About My SorrowSweet and Deceitful 2005
End of the LineNeon 2010
My My/Hey Hey (Out of the Blue)Sweet and Deceitful 2005
No One Can Save Me TonightNeon 2010
AlbumsSee All
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About Negative
A Finnish glam rock band that first saw the light of day in the late '90s, Negative were influenced by such rock giants as Guns N' Roses, Mötley Crüe, and Hanoi Rocks. Singing in English, the group started life as a trio in 1997, eventually playing its first show in 1998. Negative signed a deal with Gbfam Records in 2002, and released their debut album, War of Love, soon after. The album would go on to become a huge seller (gold) in their home nation, and eventually found successful release in the rest of Scandinavia and other parts of Europe and Asia. In 2004, Negative returned to the charts with their second full-length, Sweet & Deceitful. The band toured extensively over the next two years, and in 2006 members Jonne Aaron (vocals), Larry Love (guitar), Sir Christus (guitar), Antti Anatomy (bass), Jay Slammer (drums), and Snack (keyboards) released album number three, Anorectic, to a great reception. In 2007, after more touring, the band was awarded for its efforts with the Best Finnish Act prize at that year's MTV Video Music Awards. Another busy year arrived for the Finnish combo in 2008, with Negative first seeing the release of a double-DVD overview of their career, In the Eye of the Hurricane, and the release of album number four, Karma Killer, in May. Before the album could be recorded, however, a stumbling block appeared, as longtime guitarist Sir Christus and the band decided to end their time together. The band took on a close friend to cover for Christus in a live capacity, but would remain a five-piece in its "official" lineup. ~ Chris True
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