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All the attention directed at the mega-donations that business titans are making in the race for the White House this year has eclipsed an equally critical aspect of the fund-raising war - courting the little guys. And in that boisterous battle of e-mails, celebrity-sponsored contests, and online credit card charges, President Obama is clearly winning.
As of the end of April, 43 percent of the donors who contributed to the Obama campaign gave $200 or less, generating a total of $88.5 million, according to the Campaign Finance Institute, a nonpartisan Washington research group. By contrast, only 10 percent of those who gave to former governor Mitt Romney's campaign had made donations of $200 or less, accounting for $9.8 million.
The gap in small-donor fund-raising shows that Obama and Romney are following radically different paths to raising the hundreds of millions of dollars that each will need to run a competitive race.
While Obama has embarked on a grass-roots fund-raising drive based largely on small donations, as he did four years ago, Romney has relied on contributions from more generous donors to his campaign, and unlimited contributions from wealthy individuals and corporations to the independent super PACs sympathetic to his candidacy.
Although both models may prove equally successful when it comes to the bottom line, Romney's struggle to match Obama in contributions from small donors who give $200 or less may be a sign that he is still having trouble corralling support from the Republican Party's conservative base.
"Small donations matter a lot because they indicate enthusiasm and energy for a campaign,'' said Rob Gray, a Boston political consultant who was an adviser to Republican John McCain's 2008 campaign. "The shortage of small donors means the Republican and conservative base is not jumping on board with Romney in big numbers - at least not yet.''
Small donors are also important because they are a renewable resource. Once a small donor has supplied a candidate with an e-mail address - a donation that, initially, can be more valuable than cash - the donor can be solicited repeatedly with little concern that the donor will bump up against the limit on campaign contributions by individuals.
In addition, small donors are often the volunteer foot soldiers of a campaign's ground operation, making phone calls on behalf of the candidate, posting lawn signs, and driving voters to the polls on Election Day.
"Obama has a huge advantage there,'' said Philip W. Johnston, an Obama fund-raiser and former chairman of the Massachusetts Democratic Party, noting Romney's reliance on wealthier donors. "Wall Street bankers are unlikely to be knocking on doors in the neighborhood anytime soon.''
In recent weeks, the importance of small donors has taken center stage in both the Obama and Romney campaigns.
Last month Obama staged a high-profile fund-raiser at the Los Angeles home of Hollywood star George Clooney and raised a reported $15 million - much of it from small donors who were asked to make a $3 contribution on the Internet in return for a chance to attend.
The Obama campaign is planning another similar event - blending a high-roller fund-raiser with a small donor contest - later this month when "Sex and the City'' star Sarah Jessica Parker is slated to host the president and Michelle Obama at her New York City home.
The Romney campaign, meanwhile, is raffling off a private dinner with the candidate and real estate businessman Donald Trump - without any contribution required. And last Thursday night, the campaign was scheduled to accept the final entries in a similar raffle for a chance to "Grab a Bite with Mitt'' and Ann Romney.
To be sure, Obama is holding his share of fund-raising events for wealthy donors. And Romney is using the Internet to generate small campaign contributions.
But records filed with the Federal Election Commission and research by nonpartisan analysts show a wide chasm between the two campaigns when it comes to small contributors.
To make up for a dearth of small donors, Romney has had to rely on those who gave $2,500 to his primary campaign - the legal maximum. Through the end of April, when the candidates filed their most recent fund-raising supports, 62 percent of donors to the Romney campaign had given $2,500, while only 16 percent of Obama's donors had contributed that amount.
Individual donors who gave $2,500 to either of the candidates' primary campaigns may contribute another $2,500 toward the candidate's general election campaign.
"That's a very high percentage of funding from donors who have given the maximum,'' said Anthony Corrado, the CFI board chairman and a Colby College professor, speaking of the Romney donors. "What it suggests is, Romney has not been very successful, at least through the primaries, of tapping the support of small, grass-roots donors. In fact, he's been remarkably unsuccessful.''
Ryan Williams, a spokesman for the Romney campaign, noted that during a one-month period between mid-March and mid-April, donors who contributed $200 or less to the Romney campaign jumped by about 27 percent, from 47,500 individuals to 60,500, adding that the campaign is heartened by the uptick.
"We're getting a tremendous response from small-dollar donors who are coalescing around Governor Romney's pro-jobs message,'' Williams said.
In addition, the Republican National Committee has attracted more money in small donations than the Democratic National Committee.
But Romney still lags far behind Obama in overall contributions from small contributors. "What we're seeing are two very different models of fund-raising,'' said Bob Biersack, a former Federal Election Commission staffer who is now a senior fellow at the Center for Responsive Politics, another nonpartisan research group.
Obama's continuing reliance on small donors is notable because, historically, the powers of incumbency have attracted large campaign contributors eager to secure access to the White House as part of their effort to protect or advance business interests.
"What you would generally expect for an incumbent's reelection campaign would be a much more traditional fund-raising model,'' Biersack said. "That's happened to some extent, but it's still the case that Obama is raising nearly half his money from small donors - and it's a lot of money.''
As of April 30, the Obama campaign had raised $217 million compared with the $98 million that had been raised by the Romney campaign. Those amounts do not include money raised by the national political parties or the unlimited donations to independent super PACs.
Corrado said he expected Romney to receive a larger surge in small donor contributions in April for a number of reasons.
First, after emerging as the presumptive "anti-Obama'' candidate, Romney might have received more contributions from small donors who backed one of his more conservative primary opponents, such as former senator Rick Santorum or former House speaker Newt Gingrich. Instead, Corrado said, those small donors are probably either sitting on the sidelines or making small contributions to more conservative candidates for the House and Senate.
Corrado also said he expected to see more small donors giving money to Romney in April because of technological advances in social networking that make it easier than ever to give to a candidate, and, finally, because polls are showing a close race between Obama and Romney.
"Generally speaking, competitive races tend to drive smaller donors,'' he said.
Michael Rezendes can be reached at email@example.com. Follow him on Twitter @RezGlobe.


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Van Gogh's Sky Journal
Van Gogh's Sky Journal
Van Gogh Sky
Vincent van Gogh (March 30 1853-July 29, 1890) was a little known or appreciated Dutch post-Impressionist painter who died young from a gunshot wound at the age of 37. Following memorial and retrospective exhibitions in the late 1800's and early 1900's his fame grew amongst colleagues, art critics, dealers and collectors. Some of Van Gogh's works are now among the world's most expensive paintings ever sold. His paintings, full of emotional honesty, are known for use of bold, heavily applied colors, and his depictions of the landscapes and people of the Netherlands and France are beloved the world over.
Deeply devout in adolescence his religious zeal predisposed him to experiment with the priesthood. Like Francis of Assisi, his decision to live in the style of the poorest of his parishioner's lead to his dismissal by church authorities for undermining the dignity of the priesthood. Reoccurring bouts of mental anguish, abuse of absinthe, excessive smoking and poor diet led to periods of ill health, despair and admissions to asylums and institutions. His relationship with his brother Theo was the grace note and sounding board of Vincent's life and the well documented and articulate correspondence between the brothers, reveal a deep, loving bond.

subset: commoncrawl


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McCain, circa January 2007: "I'll build the goddamned fence if they want it." McCain, two days ago to Univision:
-You voted for the construction of the wall between Mexico and the United States. However, the Mexican Government has just confirmed that every year, at least half a million Mexicans come to the United States. How exactly are you planning to secure that border? Every single minute there is an immigrant coming into the United States illegally.
-I didn't vote for, I am not sure what you are talking about, but we can secure…
-…about 700 miles.
-I say we can secure our borders with walls and/or fences in urban areas, and then virtual fences, vehicle barriers
-But, you did vote for the wall.
-I didn't vote for an…, I don't know what you are exactly what you are referring to. What my plan was, and what our proposal was, that we secure our borders, and we can secure it, not necessarilly with walls and fences. Although that is important in populated areas, in the deserts of Arizona vehicle barriers, cameras, and sensors, all of those things, can be used. By the way, on the Arizona Border, common practice today, drug dealers send a group of illegals across the border, the drug dealers call cartels, call the border patrol that they round them up and leave and the drugs go behind them. So, don't try to separate that issue, because they are inextricably tied, my friend.
Where could the interviewer have gotten the idea that Maverick supports a "goddamned fence"? Ah, right — from his vote for the Secure Fence Act of 2006, as this immigration blogger reminds us. Remember that? 700 miles of fence along the border? Remember how the blogosphere rejoiced — except for one dour skeptic who had the last laugh a year later when her warnings about what an egregious sham it was proved only too true? McCain's playing it off here as though what he really voted for was the virtual fence, which the bill did indeed provide for — and which, predictably, ran into delays and technological problems on the ground — but there was a bit more to it than that. Read Section 3 for yourself.
Incidentally, in the same Univision interview, he promises to present a new comprehensive immigration bill to Congress "in the first day" he takes office — which isn't the first time he's said that, his many empty soundbites about securing the border first notwithstanding. Exit question: You do understand we're going to see amnesty with President McCain in office, right? And Vice President Palin's likely to be cheering all the way.


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Template:Cub Scout Language and Culture/req
From MeritBadgeDotOrg
Mobile Menus: Cub Scouts - Scouts BSA - Venturing - Sea Scouts
Belt Loop Requirements
Complete these three requirements:
- Talk with someone who grew up in a different country than you did. Find out what it was like and how it is different from your experience.
- Learn 10 words that are in a different language than your own.
- Play two games that originated in another country or culture.
Academics Pin Requirements
Earn the Language & Culture belt loop, and complete seven of the following requirements:
- Earn the BSA Interpreter Strip.
- Write the numbers 1-10 in Chinese or another number system other than the one we normally use (we use the Arabic system).
- Visit an embassy, consulate, or charge d'affairs for another country.
- Make a display of stamps or postcards of another country. Explain the importance or symbolism of the things depicted to that country's culture.
- Learn 30 words in a language other than your own.
- Learn a song in another country's language.
- Say five words in American Sign Language. One of these words could be your first name.
- Visit a restaurant that specializes in recipes from another country.
- Watch a TV show or movie in a foreign language. Tell how easy or difficult it was to understand what was happening.
- Interview an interpreter. Find out what his or her job is like.
- Make a list of 30 things around your home that were made in another country.
- Read a book or story about an immigrant to the United States.
Please report any issues with this page.


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COOKEVILLE, Tenn. – The Golden Eagles held Vanderbilt to the lowest scoring game in the series history by holding them scoreless for the final 77 minutes of Friday evening's game. They also posted a season high in shots per game with eight.
Unfortunately, their efforts fell short as Vandy took the 2-0 win at home.
The Commodores got off to a quick start by maintaining possession well in their attacking end. Just four minutes into the game, Candace West broke through the backfield to take on freshman keeper, Becca Toler, one-on-one. West punched the ball low and hard to Toler's right, beating her dive for the first goal of the game barely into the fourth minute.
A breakdown in the midfield left VU's CJ Rhoades open at the top of the 18 just 10 minutes later. Her shot found the upper 90 to give Vanderbilt the 2-0 lead.
Despite the slow start however, the Golden Eagles pulled together to hinder the Commodores offense in the remainder of the first half and throughout the second half. The defensive line tightened up on marks, while the offense heightened the aggression on the attacking front.
Four different Golden Eagles combined for eight shots, led by senior forward Jen Hoffman with three. Senior midfielder Michelle Decker chipped in with two shots, while sophomores Kerri Reid and Jacquie Watkins each added one.
Toler notched four saves on the day, while Vanderbilt's keeper Rachel Bachtel logged three.
"We did a great job tonight adjusting our style and play to be effective against Vanderbilt," said head coach Daniel Brizard. "But we need to come out of the gate stronger.
"There were a lot of breakdowns early that cost us two goals. We need to work on adjusting our play more quickly against different opponents, so as not to get behind on the board," he admitted.
The Golden Eagles will return home for an afternoon game on Sunday against UNC-Asheville at 3 p.m.


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(1970- )
Troy Bellerose was born in Picture Bute, Alberta, Canada located near Lethbridge on April 7, 1970. He belongs to the Cree nation, which traditionally inhabits the central region of the country, also known as the plains.
Spirit Wrestler Gallery
101-1669 West 3rd Ave.
Vancouver, BC
Canada V6J 1K1
Toll Free: 1-888-669-8813
Phone: 604-669-8813
one block West of the Granville Island gates
Between Pine St. and Fir St.
Tuesday to Saturday, open 10-5
Sunday and Holidays, open 12-5
© 2019 Spirit Wrestler Gallery. All Rights Reserved.


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Video via USB
From LinuxTVWiki
This page provides links to USB devices which provide analogue video capabilities (i.e. they have on board, in one form or another, a video decoder IC).
- DiBcom USB devices
- Em28xx devices
- OmniVision USB devices (OV511, etc)
- PixArt PAC7301/PAC7302
- pvrusb2 devices
- TM60x0 based devices
- USBVision devices
- Sundtek (Sundtek MediaTV Pro, Sundtek MediaTV Digitizer)


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Sunday 16 September
Ashgrove Sports Ground
The Cross Country Cup is a point score competition for Queensland Athletics clubs, used to determine the champion club for the season.
QA club members earn points for their club each time they participate in point scoring events during the season. After each event, the points earned by club members will be tallied to determine the club places for the event, and the club points for the leader board.
More Information
Summer Calendar 2019-2020 [PDF]
Summer Event Grid 2018-2019 [PDF]
Permit Labels - Gold, Silver & Bronze
2019 QA Winter Season Calendar [PDF]


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Housing and Residence Life
IUPUI Housing and Residence Life offers much more than just a place to live. Convenience, safety, service, programming, and a student-focused environment make us the premier housing choice. On-campus residences keep you close to classes and campus life. Academic support, safety measures, and a dedicated, friendly staff help you focus on what's important. Student-led programs, events, and leadership opportunities engage and challenge. A choice among residence hall, apartment, and townhome living; multiple dining options; and residential based learning communities with honors, international, Living Your Freshman Experience, and other learning community options means there's a place for everyone.
Our motto in housing is Live. Learn. Lead. because everyday we strive to ensure students can LIVE in student-focused environments designed with resources that support their success; students have many opportunities to LEARN outside the classroom to achieve higher grade point averages or expand their understanding of life and world issues; and there are numerous ways for our residents to LEAD their peers by getting involved in Housing and Residence Life.
Learn more about what we offer »
Find out what students say about living on campus »
Why choose on-campus housing?
Living on campus gives students access to resources and opportunities to set them up for success. National statistics and our own IUPUI research shows that students living on campus maintain higher grade point averages and are more likely to graduate on time.
IUPUI On-Campus Housing is:
- Convenient—close to class, campus shuttles, students, food, and lots of ways to get involved
- Safety conscious—with access controlled buildings, under IUPD jurisdiction, and staff on duty 24/7, our program is designed with your safety in mind
- Living on campus is easy—our staff can help you with your college transition, address roommate concerns, find ways to get involved, and help you get the most out of your college experience
- No hidden fees—our rates are designed to be student friendly and all-inclusive so you don't have to worry about following up on lots of bills
- Academic support—on-campus housing provides students with additional academic support resources including study tables, supplemental instruction, learning communities that feature additional study materials, and more
The choice is easy - Live. Learn. Lead. by living on-campus at IUPUI.


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A2E OnRamp Inaugural Crew/
A2E OnRamp (The Direct Distribution Lab) filmmakers, tech partners and consultants after 4 intense days working on plans for the direct distribution of the 12 A2E films (they look tired but happy yes?). Standby for more exciting news!
In the meantime, fill yourself in with Alison Willmore's "Is Direct Distribution the Future for Indie Film? Notes From A2E at the 2013 San Francisco International Film Festival" on Indiewire.


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I love the fact they didn't believe she was in the race because she wasn't wearing technical running clothing. It is very telling that her biggest fear in life right now is "seeming Danish".
Now for the disappointer.
When I started warming up, I knew I didn't "feel it". I always used to think this was some lame excuse bloggers had when things didn't go well, but I have come to realize that there is at least some truth in it. Some days you feel it and some days you don't. I had a terrible cold and my stomach was still bothering me from the EGD. But I would of course still give it a go. In paddle gloves.
Thanks to Peter Agis Larsen for all of the photos below...
|This is just one of those pictures you do not post of yourself.
Grrr. Not happy with my time and feeling like crap. Garmin said I came through 5k in 19:37, official time was 19:47 - course made long due to having to run around ice patches. Bleh. I'll be back. We'll be back.


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Democrats, Republicans use jobless benefits fight to score politically
As the Senate struggle over extending benefits for the long-term unemployed heads into another week Monday, both political parties are using the issue _ the first big domestic battle of the 2014 election year _ to establish agendas they'll be touting throughout this election year and beyond.
Democrats say the benefits, which expired for about 1.3 million people Dec. 28, are an emergency and don't need to be paid for. Stop being heartless, they implore Republicans _ real people are suffering.
Republicans counter that the debate highlights two of their favorite political points: Deficit spending has gone on too long and has to be stopped now. And the emergency that spawned this benefit program, which helps to provide up to a total of 73 weeks of aid in some states, has waned.
The stalemate is rooted in the political numbers. Polls show the parties' bases _ the people who are most likely to vote in mid-term elections _ support their party's position.
Democrats are more united than Republicans. A Jan. 4-7 Quinnipiac University poll found that 54 percent of Republicans said Congress should not approve a three-month extension, while 83 percent of Democrats said Congress should OK the plan.
The issue could resonate in November. By more than 2-to-1, Republicans were less likely to support someone backing the extension. Democrats were more likely, by nearly a 10-to-1 margin, to vote for a candidate who got behind more benefits. Republicans are "hesitant to keep financially supporting those out of the labor force beyond their original benefits," said Timothy Malloy, a Quinnipiac analyst.
Interest groups are helping push the agendas. Americans United for Change, a liberal group, launched a national ad featuring three people who lost benefits last month. "Republicans continue to ignore their struggle," the ad says.
Among conservatives, the Club for Growth sent an advisory to supporters urging a no vote. "After six years, an extension can no longer be called an 'emergency' with any credibility," the club said. "There is plenty of waste in the federal budget from which to find an offset."
Fueled by this partisan ire, the Senate spent its first week of 2014 in a bruising fight over the extension. A vote is scheduled Monday on cutting off debate on a Democratic alternative that would fund 11 months of reduced benefits by extending certain automatic spending cuts an additional year, until 2014. It's uncertain if supporters can get the 60 votes they need.
The fight has become personal as well as political.
"There's a new harshness on the part of our Republican colleagues," said Sen. Tom Harkin, D-Iowa, a 30-year Senate veteran who is not seeking re-election this year. "They're so fixed on this austerity and this deficit they can't realize human beings are in trouble."
No, say Republicans, it's Democrats who want to prolong this debate, as a way of trying to convince the public Republicans are cruel.
"Most Americans like paying for things. I don't see what's wrong with that," said Sen. Lindsey Graham, R-S.C.
Republicans maintain Democrats are dragging out this drama as long as they can. Look, Republicans said, we're being reasonable. House Speaker John Boehner, R-Ohio, reiterated last week his long-held view he'd consider more benefits if they were paid for.
There was some glimmer of hope a week ago, when six Republican senators joined 52 Democrats and two independents to overcome a key procedural hurdle allowing debate to proceed.
But three of those Republicans warned that if they were to take the next step toward passage, they wanted an offset. Senate Majority Leader Harry Reid, D-Nev., said he'd be willing to consider a serious plan.
Sen. Dan Coats of Indiana was one of the Republicans who went along with Democrats Monday, and he offered several potential offsets. By the end of the week, he was disgusted as his ideas were not considered. "I am representing the people of Indiana and their voice is shut down," he told Reid.
Republicans fretted that Democrats really didn't want a deal right away so they could rail against opponents. "They really don't have any endgame," charged Graham.
Democrats maintained they were playing no game but were trying to ease an intolerable situation. They warned that Republicans will pay a political price.
"It's a different America, it's a different political structure than it was even a year ago," said Sen. Charles Schumer of New York, the chairman of the Senate Democratic Policy Committee. "Issues like the deficit and Obamacare are important, but helping average people, getting the economy going and creating jobs is now number one."


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Let $C$ be a category, say with finite products. What can be said about the category $Ab(C)$ of abelian group objects of $C$? Is it always an abelian category? If not, what assumptions on $C$ have to be made? What happens when $C$ is the category of smooth proper geometrically integral schemes over some locally noetherian scheme $S$?
For example if $C=Set$, we get of course the abelian category of abelian groups. If $C=Ring/R$ for some ring $R$, then we get the abelian category $Mod(R)$ (cf. nlab). In general, I have already trouble to show that $Hom(A,B) \times Hom(B,C) \to Hom(A,C)$ is linear in the left coordinate if $A,B,C$ are abelian group objects.


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People can't seem to let go of the Divine Comedy. You'd think that a fourteenth-century allegorical poem on sin and redemption, written in a medieval Italian vernacular and in accord with the Scholastic theology of that period, would have been turned over, long ago, to the scholars in the back carrels. But no. By my count there have been something like a hundred English-language translations, and not just by scholars but by blue-chip poets: in the past half century, John Ciardi, Allen Mandelbaum, Robert Pinsky, W. S. Merwin. Liszt and Tchaikovsky have composed music about the poem; Chaucer, Balzac, and Borges have written about it. In other words, the Divine Comedy is more than a text that professors feel has to be brushed up periodically for students. It's one of the reasons there are professors and students.
In some periods devoted to order and decorum in literature—notably the seventeenth and early eighteenth centuries—many sophisticated readers scorned the Divine Comedy as a grotesque, impenetrable thing. But not in our time. T. S. Eliot, the lawgiver of early-twentieth-century poetics, placed Dante on the highest possible rung of European poetry. "Dante and Shakespeare divide the modern world between them," he wrote. "There is no third." A lot of literary people then ran out to learn some Italian, a language for which, previously, many had had scant respect, and a great surge of Dante translations began. In some—Laurence Binyon's (1933-43), Dorothy Sayers's (1949-62)—the translator even tried to use Dante's rhyme scheme, terza rima (aba bcb cdc, etc.), a device almost impossible to manage in English, because our language, compared with Italian, has so few rhymes. Since then, we have had many kinds of Divine Comedy—lowbrow, highbrow, muscly, refined. The more fastidious ones, the ones that actually try to give equivalents for Dante's words, are in prose, because in prose the translator doesn't have to sacrifice accuracy to such considerations as rhyme and rhythm. As for verse translations, they may be less accurate, but it can be argued that they are more faithful than prose versions. The Divine Comedy, after all, is a poem, and its meanings are contained as much in sound as in "sense." Verse translations require more courage, and more thinking, because they are generally more interpretive. Within the past year, two more have been published, one by the American poet Mary Jo Bang, the other by the Australian essayist and poet Clive James.
In his translation of the complete Divine Comedy (Liveright), James made the crucial decision to rhyme, in quatrains (in his case, abab). But, as he tells us in the introduction, end rhymes were no more important to him than rhymes or chimes within the lines: alliteration, assonance, repetition. He says that his wife, Prue Shaw, now a celebrated Dante scholar (her book "Reading Dante" will be out next year), pushed him in this direction, by teaching him, years ago, that the Divine Comedy had to be read phonetically. The great thing about it was its richness of sound, as word after word, line after line, beckoned the next and thus kept the reader moving forward. James says this is what he was intent on, above all.
All is a lot. James gave himself permission to add lines to Dante's text and to incorporate background material. He didn't want footnotes—nothing should stop the reader. Many things do, though. Here are Dante's famous opening lines:
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura,
ché la diritta via era smarrita.
Ahi quanto a dir qual era è cosa dura
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
And here is James's rendering:
At the mid-point of the path through life, I found
Myself lost in a wood so dark, the way
Ahead was blotted out. The keening sound
I still make shows how hard it is to say
How harsh and bitter that place felt to me—
Merely to think of it renews the fear.
"Keening sound"? If ever there was a forced rhyme, this is it. Also, Dante didn't say anything about wailing, only about fear, and the two are different matters.
Soon the pilgrim (as the protagonist of the poem is usually called) and his guide, Virgil, arrive at the gates of Hell, with its dread inscription:
Per me si va ne la città dolente,
per me si va ne l'etterno dolore,
per me si va tra la perduta gente.
Giustizia mosse il mio alto fattore;
fecemi la divina podestate,
la somma sapïenza e 'l primo amore.
Dinanzi a me non fuor cose create
se non etterne, e io etterno duro.
Lasciate ogne speranza, voi ch'intrate.
James translates this as:
To enter the lost city, go through me.
Through me you go to meet a suffering
unceasing and eternal. You will be
with people who, through me, lost everything.
My maker, moved by justice, lives above.
Through him, the holy power, I was made—
made by the height of wisdom and first love,
whose laws all those in here once disobeyed.
From now on, every day feels like your last
Forever. Let that be your greatest fear.
Your future now is to regret the past.
Forget your hopes. They were what brought you here.
This shows a considerable drop in energy, partly because of a loss of compression. James has lengthened the passage by a third. But, also, he has added some confusion about what the gate is telling us. At least in the first line, it seems to think that we have a choice about whether or not to enter. We don't, and that is what makes going to Hell a serious business.
From what I can tell, these two problems, awkwardness and inaccuracy, are due to exactly the thing that sounded so nice when James told us about it in the introduction, his intention to capture the phonetic richness of Dante's lines. Worse are the demands made by the internal echoes. In the Hell-gate inscription, there's almost no word that isn't singing a duet, or more. We have "through me" / "through me"; "suffering" / "unceasing" / "everything"; "me" / "me" / "meet" / "be" / "people"; "maker" / "moved" / "made"; "him" / "holy." And that's just in the first six lines. The technique asks a great deal: that the translator obey, simultaneously, the summons both of English-language sounds and of Dante's meaning.
Still, the freedoms James takes allow him to get off some beautiful phrases. When the pilgrim realizes that his guide is Virgil, his idol, he says to him, "Or se' tu quel Virgilio e quella fonte / che spandi di parlar sì largo fiume?" James turns this into "Are you Virgil? Are you the spring, the well, / The fountain and the river in full flow / Of eloquence that sings like a seashell / Remembering the sea and the rainbow?" I love that seashell, and the rainbow. Neither is in Dante. James is a poet, doing a poet's work. Also, however interested he is in being fancy, he can be plain as well, sometimes poignantly so.
See the last line of the Hell-gate inscription: "Forget your hopes. They are what brought you here." The second sentence is not in the original poem, but it is wonderful, both sarcastic and sad. James is also a premier practitioner of the high-low style that became so popular in the nineteen-twenties, notably via Eliot and Pound, which is to say, in part, via Dante. He can be colloquial. Of the she-wolf that blocks the pilgrim's path, Virgil says, "In a bad mood it can kill, / And it's never in a good mood." (This could be from "The Sopranos.") James likes, iconoclastically, to do this sort of thing with the grandees, like Francesca da Rimini, who says to the pilgrim, "What you would have us say / Let's hear about." It's all rich and strange.
Mary Jo Bang, a poet and a professor of English at Washington University, in St. Louis, has much the same purpose: to convey Dante's internal music. Unlike James, she has made some major sacrifices to this end. In her Inferno (Graywolf), the only canticle she has taken on so far, she does not use end rhyme, and she does not hold herself to any regular metre. (James used iambic pentameter.) But, having cast off those restraints, she adopts another one. James was trying, he said, to be true to Dante. Bang is trying to be true to contemporary life, to the "post-9/11, Internet-ubiquitous present." As this implies, she aims to be faithful to something else as well: undergraduates. She writes, "I will be most happy if this postmodern, intertextual, slightly slant translation lures readers to a poetic text that might seem otherwise archaic and off-putting"—especially, I presume, to nineteen-year-olds. On the surface, this appears to be a laudable purpose, but whenever you hear those words "true to contemporary life," run for cover.
The trouble starts on the first page. The pilgrim speaks of his relief upon issuing from the dark wood. He says that he felt like a person who, almost drowned at sea, arrives, panting, on the shore. Bang places him, instead, at the edge of a swimming pool. But these two things—the ocean and the neighborhood pool—are nowhere near the same, and every nineteen-year-old knows what the ocean is. Other anachronisms create worse problems. Bang, in her lines, includes references to Freud, Mayakovsky, Colbert, you name it. She picks up swatches of verse from T. S. Eliot and Sylvia Plath. But, if readers get into the swing of these, what are they going to do when they encounter the Roman Catholic theology that is the spine of the Divine Comedy, and which Bang says, in her introduction, that she will honor? ("God has to look down from Heaven; Satan has to sit at the center of Hell.") Wouldn't it be better if she let the reader know that there are old things as well as new things—that there is such a thing as history? She is not unaware of this, as her learned footnotes demonstrate. Why is she keeping it from her readers? If they knew it, they might find out who Mayakovsky is, which I doubt that they have done.
Oddly, given Bang's stated aims, she's happy to court obscurity. She says that the she-wolf that detains the pilgrim outside the wood has a "bitch-kitty" face; Virgil tells the pilgrim to climb the "meringue-pie mountain" that lies ahead. "Bitch-kitty" gets an explanatory footnote: Bang says it's something that she found in the Dictionary of American Slang. My edition of that book says "bitch kitty" was a phrase of the nineteen-thirties and forties. (Roughly, it meant a "humdinger.") Did Bang expect today's readers to know it? Not really, it seems. She says that she wants these oddities to be fleeting pleasures for us. To me, they're not pleasures, but just oddities, something like finding a Tootsie Roll in the meat loaf.
Translators are not the only ones drawn to Dante. Since 2006, Roberto Benigni has been touring a solo show about the Divine Comedy. In 2010, Seymour Chwast rendered the poem as a graphic novel. There are Inferno movies and iPad apps and video games. As of last week, their company has been joined by a Dan Brown thriller, "Inferno" (Doubleday).
In many ways, the new book is like Brown's 2003 blockbuster, "The Da Vinci Code." Here, as there, we have Brown's beloved "symbologist," Robert Langdon, a professor at Harvard, a drinker of Martinis, a wearer of Harris tweeds, running around Europe with a good-looking woman—this one is Sienna Brooks, a physician with an I.Q. of 208—while people shoot at them. All this transpires in exotic climes—Florence, Venice, and Istanbul—upon which, even as the two are fleeing a mob of storm troopers, Brown bestows travel-brochure prose: "The Boboli Gardens had enjoyed the exceptional design talents of Niccolò Tribolo, Giorgio Vasari, and Bernardo Buontalenti." Or: "No trip to the piazza was complete without sipping an espresso at Caffè Rivoire."
As we saw in "The Da Vinci Code," there is no thriller-plot convention, however well worn, that Brown doesn't like. The hero has amnesia. He is up against a mad scientist with Nietzschean goals. He's also up against a deadline: in less than twenty-four hours, he has been told, the madman's black arts will be forcibly practiced upon the world. Though this book, unlike "The Da Vinci Code" and Brown's "Angels and Demons" (2000), is not exactly an ecclesiastical thriller, it takes place largely in churches and, as the title indicates, it constantly imports imagery from the Western world's most famous eschatological thriller, Dante's Inferno. Wisely, Brown does not let himself get hog-tied by the sequence of events in Dante's poem. Instead, he just inserts allusions whenever he feels that he needs them. There are screams; there is excrement. The walls of underground caverns ooze disgusting liquid. Through them run rivers of blood clogged with corpses. Bizarre figures come forward saying things like "I am life" and "I am death." Sometimes the great poet is invoked directly. The book's villain is a Dante fanatic and the owner of Dante's death mask, on which he writes cryptic messages. Scolded by another character for his plans to disturb the universe, he replies, "The path to paradise passes directly through hell. Dante taught us that."
The hellfire material makes the book colorful and creepy. It also sounds notes of conspiracy. (The villain, with his "Transhumanist philosophy," has many followers.) Religion and paranoia have a lot in common: above all, the belief that something big is going on out there and also that everything means something else. Further, both religion and paranoia are short on empirical evidence, so that greater faith is required. Finally, the conviction that everything refers to something else generates codes and symbols, which is what generates Robert Langdon. As a symbologist, he can read these runes. Often, the clue they give him does not point him to what he's looking for but rather to something that will offer a further clue, which will get him a little closer to what he's looking for, and so on, as in a treasure hunt.
That process is the plot, or at least the skeleton of it. It is then fleshed out with a million details: dreams, murders, priceless paintings. There is a yacht lurking off the Adriatic coast, where, for vast fees, sinister, tight-lipped men arrange for governments to change, wars to be hushed up, and the like. Meanwhile, we are given lessons in how to do ancient mosaics and how to make a death mask. We are introduced to products galore: Plume Paris glasses, Volvo motors, Juicy Couture sweatsuits, even a "Swedish Sectra Tiger XS personal voice-encrypting phone, which had been redirected through four untraceable routers." Page after page, things keep coming at you. People who sit down to read "Inferno" should bring a notepad.
The book has almost no psychology, because one of Brown's favorite plot devices is to reveal, mid-novel, that a character presented all along as a friend is in fact an enemy (see Leigh Teabing in "The Da Vinci Code"), or vice versa. To do that—and it's always pretty exciting—Brown can't give his characters much texture; if he did, they would be too hard to flip. Of course, without texture they don't have anything interesting to say, except maybe "Stop the plane there." The dialogue is dead. As for the rest of the writing, it is not dead or alive. It has no distinction whatsoever. Because "Inferno" transpires in so many glamorous places, Brown may rise to the grandiose. In Hagia Sophia, he speaks of the "staggering force of its enormity," and barely a page passes without italics. But this is to relieve the general coldness.
No, Brown is a plot-maker, and only that. This story is a little more complicated than usual, because although Langdon, with his trusted Brooks, is looking for something, he's not quite sure what it is. Meanwhile, from one side he's being chased by the storm troopers—black-clad thugs, with umlauts over their names—and from the other by Vayentha, the lady with the Swedish Sectra Tiger XS. There's also a reconnaissance drone buzzing through the sky, telling them where to find Langdon.
Too bad for them, because our hero knows more secret tunnels than you can shake a stick at. At one point, it takes Brown twenty pages to get Langdon and Brooks, in Florence, up and down the Palazzo Vecchio's hidden passages: through the corridor behind the Armenia panel in the Hall of Geographical Maps, into the cupboard in the Architectural Models room, down the Duke of Athens stairway, and so on. Never does the story slow down, though. Brown gives us extremely short chapters (often just two or three pages) and constant cross-cutting. He also adores cliff-hangers. One of the storm troopers calls his superior: " 'It's Brüder,' he said. 'I think I've got an ID on the person helping Langdon.' 'Who is it?' his boss replied. Brüder exhaled slowly. 'You're not going to believe this.' " Cut to Vayentha, who thinks she's been fired for failing to kill Langdon and is revving her motorcycle disconsolately. She's not the person helping Langdon, though. She's something else, which you have to figure out.
The book ends weakly, because Langdon—and Brown, too, clearly—actually sympathizes with the villain, or at least with his motives. And those who are familiar with Brown's previous books will not be surprised that the boy doesn't get the girl. Brooks clearly wishes it were otherwise. "You'll know where to find me," she says, as she and Langdon part, and then she kisses him on the lips. He gives her a big hug and puts her on the plane. In "The Da Vinci Code," Langdon's companion, Sophie Neveu, turned out to be a descendant of Jesus, and this made the question of a romance between them a tricky business. Brooks is free, though. Maybe Langdon is gay.
For all its absurdities, Brown's book is a comfort, because it proves that the Divine Comedy is still alive in our culture. The same is true, on a higher level, of the James and the Bang translations. Take James. He probably gave us more oddities—outrages, even—than he would have with a less famous text. Surely he knew the number and the excellence of his predecessors. But he is seventy-three and ailing, so, if he said to himself, "What the hell, let's just do it," you can see why. As for Bang, she's not seventy-three (she's sixty-seven), but if she has taught the Divine Comedy she has unquestionably faced a lot of young people saying, "What?" "What?" You can't blame her for trying to do something about that. At least she cares. All of us should worry about her students, though. They're going to go off thinking that Dante wrote about meringue-pie mountains, and this is wrong. Furthermore, there is no reason that they couldn't have faced the mountain without the pie, and the fourteenth century without the twenty-first.
Thankfully, because the original text survives more faithful translations will keep coming. Indeed, they have. The edition by Jean and Robert Hollander (2000-07) is both accurate and beautiful. I don't think any general reader, or any student of Mary Jo Bang's, needs more than this. But if Bang—and James, and even Brown—disagrees, so be it. As long as Dante is here, and the text is available, why shouldn't they have some fun? ♦


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Mortgage brokers act as a link between borrowers and lenders. Mortgage brokers in Owosso help in providing loans and can work for business firms, or as separate entities. On behalf of the borrowers, the mortgage brokers find lenders who give mortgage loans matching their needs.
Mortgage brokers in Owosso take applications from borrowers and fix the terms and rates of lending the money with the lenders. Mortgage brokers are also responsible in collecting different essential documents from the borrowers like their credit reports, asset disclosures, etc. The mortgage brokers in Owosso see to it that all the particulars for the application form are complete, and then hand it over to the lenders. It is up to the lenders then to approve the form and disburse the loan.


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Call us psychic, but after a fall collection filled with neoprene and a swim collaboration with J.Crew, we knew Araks was bound to launch its own line of swimwear, and
boy girl, did they deliver.
The once luxury lingerie brand flexes its (very toned) muscles to launch swim for resort '14, and has us feasting our eyes on bright colors and streamlined silhouettes. In a world of superfluous cutouts, every low back and surprise show of skin is perfectly placed, enhancing each piece (and your bod) to the fullest.
We'll admit we're sad we can't get our hands on the collection until October, but — hey — at least we have time to save up and plan the perfectly tropical winter vacation (plus work toward the beach body that didn't quite get there for summer, oops).


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Multiple Dates
ENVS 1000: Intro to Environmental Studies Lecture - YES! for a Day
Sales Have Ended
Sales Have Ended
Do you have a passion for environmental and social change? The York Environmental Studies (YES!) for a Day program is your opportunity to try out the Bachelor in Environmental Studies experience at York University and see if it's right for you! We offer visits Monday to Friday from September to March. It's perfect for a PA day or during March Break.
Your visit can include:
- Sitting in on 1st or 2nd year Environmental Studies lecture
- Meeting with a current Environmental Studies student
- Chatting with an Admissions and Recruitment representative
- Participating in an environmentally focused campus tour
Looking for a different lecture?
Browse our other events for a different 1st or 2nd year lecture topic.
- ENVS 1500: Intro to Environmental Science at 10:30am to 12:30pm
- ENVS 2000: Environmental Politics, Justice and the Arts at 12:30pm to 2:30pm
- ENVS 1200: Taking Action Workshop at 2:30pm to 4:30pm
- ENVS 2200: Urban & Regional Environments at 2:30pm to 4:30pm
Don't see a date that works for your schedule?
Email us at firstname.lastname@example.com and we can arrange a 1 on 1 meeting outside the lecture schedule to chat about the Bachelor in Environmental Studies experience including admissions, courses, and career outcomes.


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Shoemaker since 1849
John Lobb has produced the finest men's shoes and boots since 1849. The shoes are still handmade the traditional way, with 190 steps and several weeks involved in the production of each pair. A pair of John Lobb shoes is the ultimate finishing touch to any smart outfit.
- Elegant and timeless
- Treated correctly, they will last a lifetime
- Most pairs are handmade in Northampton
John Lobb
- Product view
- Outfit view


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Profiles in Courage against wrongful conviction
A special event will take place in Springfield on Monday, May 24, when exoneree Rolando Cruz comes to Springfield to recognize those who helped free him almost 15 years ago.
In 1983, 10-year-old Jeanine Nicarico was kidnapped from her Naperville home in the middle of the day, taken to a nearby wooded location and brutally killed. But despite the tragedy of the killing and the injustice of the wrongful convictions that followed, there are stories that don't get told very often of those who, at great personal cost, pursued justice.
Some law enforcement officials followed stereotypical thinking to focus on Rolando Cruz and Alejandro Hernandez, lower class Hispanics living in the nearby town of Aurora. Cruz and Hernandez were convicted despite the confession, shortly after Cruz's first conviction, of the real perpetrator, Brian Dugan. Their arrests, convictions and death sentences comprise one of the most renowned innocence stories in American legal history. Cruz was tried three times and spent 12 years on death row before he was shown to be innocent and then released.
The case became nationally known as a major example of prosecutorial misconduct. Reporters Thomas Frisbie and Randy Garrett wrote their book, Victims of Justice Revisited, about the case. Following Cruz's exoneration a special grand jury indicted seven highly prominent individuals – four sheriff's deputies and three former prosecutors – for perjury and obstruction of justice in the case. Although a DuPage County jury acquitted the seven, the county later agreed to pay $3.5 million to settle the defendants civil rights claims.
Despite the wrongful prosecution, many who constituted the legal team, such as local lawyers Michael Metnick, John Hanlon and investigator Bill Clutter, vigorously fought to have the truth told and justice achieved. The legal team also relied upon other individuals who demonstrated courage to the point of sacrificing established careers because they believed Cruz and Hernandez were innocent. These individuals include:
DuPage County Detective John Sam. Sam had a distinguished record for nearly 11 years. After reviewing all the evidence in the Nicarico murder investigation, Sam was convinced that Cruz, et al. were innocent. He pursued other suspects until the chief of prosecutions and the sheriff removed him from the case and demoted him, forcing him to quit the force in 1984. He has been unable to continue his career in law enforcement.
Mary Brigid Hayes. Hayes (formerly Kenney) was working for then Attorney General Roland Burris in 1991 when she was asked to continue the prosecution of Cruz. After examining the case, she became convinced that neither Cruz nor Hernandez were guilty. When Attorney General Burris insisted that prosecution of Cruz go forward, Hayes resigned, proclaiming: "I cannot sit idly as this office continues to pursue the unjust prosecution and execution of Rolando Cruz." She now works for the Cook County Public Guardian's Office in Chicago.
Ed Cisowski. During the 1980s, Cisowski worked as commander of the Illinois State Police's investigation division in DuPage County. Cisowski was asked to look into the possible involvement of repeat sex offender and murderer Brian Dugan in several cases. In the course of the interviews, Dugan confessed to killing Nicarico as well. Despite his confession backed by corroborating evidence, investigators refused to consider Dugan as the culprit and even accused Cisowski of leaking specific case-related details to Dugan. As a result Ed retired from the Illinois State Police. In 2009 Brian Dugan was finally convicted and sentenced to death for killing Nicarico.
Each of these individuals is a "profile in courage." Their willingness to stand up and sacrifice for what was right serves as a contrast to the ugliness of the crime and the oppression of the state authorities. Their actions need to be recognized and their stories told many times. We owe that to these honorable people; we owe it to ourselves to follow their example.
Larry Golden is an emeritus professor of political studies and legal Studies at UIS and is the director of the Downstate Illinois Innocence Project.
Innocence Project reception
Mary Brigid Hayes, Ed Cisowski and John Sam will be formerly recognized and thanked by Rolando Cruz with "Profiles in Courage" Awards Monday evening, May 24, 5-7 p.m. at the Executive Mansion at an awards reception sponsored by the Downstate Illinois Innocence Project. Reservations can be made by calling 206-7989 or at www.innocence.uis.edu.


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THE CSI's INVESTIGATE A 1920S-INSPIRED SPEAKEASY WHEN ONE OF ITS OWNERS IS MURDERED AND $10,000 GOES MISSING, ON "CSI: NY," FRIDAY, DEC. 7
"The Real McCoy" - The CSIs investigate a 1920s-inspired speakeasy when one of its owners is murdered and $10,000 goes missing. Meanwhile, Adam spends his day off in an unexpected way, on CSI: NY, Friday, Dec. 7 (9:00-10:00 PM, ET/PT) on the CBS Television Network.
Gary Sinise (Det. Mac Taylor)
Sela Ward (Jo Danville)
Carmine Giovinazzo (Danny Messer)
Hill Harper (Dr. Sheldon Hawkes)
Eddie Cahill (Det. Don Flack)
Anna Belknap (Lindsay Monroe Messer)
AJ Buckley (Adam Ross)
Robert Joy (Dr. Sid Hammerback)
Megan Dodds (Christine Whitney)
T.J. Linnard (Eli Walsh)
Christine Lakin (Courtney Jensen)
Jake Sandvig (Jason Black)
Mac Brandt (Nathan Brody)
Michael Filipowich (Jimmy Batts)
Melissa Fumero (Michelle Rhodes)
James Handy (Charles Ross)
Vanessa Curry (Woman)
WRITTEN BY: Sarah Byrd
DIRECTED BY: Matt Earl Beesley


text: The Master of Darkness crushes murderous evil in two classic pulp thrillers by Walter B. Gibson writing as "Maxwell Grant." First, The Shadow enters "The Circle of Death" to uncover the strange secret behind a bizarre series of Time Square killings! Then, the murder of a museum curator by an ancient Mayan stone hammer is only the first of an inexplicable series of robberies. Can The Shadow unmask the hidden mastermind behind "The Sledge-Hammer Crimes" and end the deadly crime wave? This instant collector's item features both original color pulp covers by George Rozen, the classic interior illustrations by legendary illustrator Tom Lovell and commentary by popular culture historian Will Murray.


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An aide to U.S. Rep. Carolyn Maloney says her husband has died on a mountain climbing expedition in Tibet.
Clifton Maloney was 71. The millionaire investment banker, a former vice president at Goldman Sachs, reports NY1, was an avid climber.
His death was confirmed Saturday by Maloney spokesman Joe Soldevere. He says the congresswoman's office was informed of his death on Friday.
Details on how he died were not immediately available.
Maloney and her husband have two daughters, Christina and Virginia. Clifton Maloney's financial career made his wife one of the richest members of Congress, according to a 2006 article by Roll Call.


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This class is open to People's Member-Owners only.
Maureen Culligan, firstname.lastname@example.com
Deep, slow-moving yoga with focus on awareness of the breath. Detailed instruction provides the opportunity to express healthy alignment, preventing injury and correcting old habits of posture. Intended to be accessible to all levels.
No need to RSVP. Mats available.


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Whole-grain bread rolls
There are not many things that can beat the whole grain bread, unless it's 8 delicious little whole grain breadrolls ;-) These are perfect for breakfast, and you can easily prepare and bake them in one evening, for e.g. Sunday breakfast! :-)
My fool-proof recipe will be a great fun, and a good addition to your baking arsenal.
When you make your own pasta, you will always end up with some scraps, even more if you make ravioli. You can easily recycle this leftover pasta to make maltagliati, meaning "poorly cut" in Italian, which was traditionally meant as food for the poor. We are way past that, and today you can enjoy rich texture and amazing flavor of your pasta without the social stigma ;-)
Plain muffins
Nothing says "hello autumn" like a batch of fresh muffins or cupcakes! :-) With this simple recipe, you gonna whip them up in no time, and they will be a perfect base for more fancy muffins with fruit (I love muffins with dried plum bits), chocolate chip muffins, caramel-stuffed ones or double-or-triple-chocolate ;-) Or savory ones: paprika, tomato, herbs, sunflower seeds, etc. It all starts with this recipe.


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So, in light of all of this information. Do we, as beekeepers in this era have a responsibility to try to undo what has been done?
Should we be requeening?
Should we be exterminating? (I hate even using that word)
What should our course of action be if we find our swarm or whatever are AHB?
The person that said that his AHB hive gave off 5 swarms a year...is that wise?
I know the AHB's are supposed to be much more hardy then not, but at what cost? The more AHB stories you hear the more people will exterminate instead of relocate...
Im just asking, please dont take offense to anything I have posted above.
Thank you.


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Monogram Necklace - "D" / RoseGold Plated / Length: 18" +2"ext / Pendant Dimension: 1 3/8"W x 1 3/8"H / Lead Compliant.
Please Note! These monogrammed jewelry items are NOT customizable. The initial indicated is in triplicate cursive form. For example, Monogram "A" is written in cursive font 3 times making up the body of the jewelry. They are sold just as they appear in the picture. NO customization available.


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After the Seahawks defeated the Redskins on Sunday, FOX cameras caught an image of Redskins tackle Trent Williams applying an open hand to the face of Seahawks cornerback Richard Sherman.
The folks at Q13, the FOX affiliate in Seattle, have more video and audio of the incident (via USA Today), thanks to the fact that Sherman wore a microphone during the game.
Sherman wasn't talking trash or otherwise agitating in the seconds before the confrontation with Williams, who is looming as Sherman turns from saying "nice work out there" (in non-sarcastic fashion) to Redskins defensive lineman Kedric Gholston, who publicly called Sherman a "cheater" in the days before the game. Just before the exchange begins between Sherman and Williams, Seahawks quarterback Russell Wilson breezes by Williams and pats a hand on his chest.
"What you goin' do, boy?" Sherman asks Williams, who stands and glares at Sherman from behind a helmet and visor.
"I'm gonna punch you in your goddamn face," Williams says.
"Well then do it then, boy," Sherman replies.
The strike comes quickly, appearing to be much more violent and potent than the angle captured by FOX. Immediately after the punch, Redskins linebacker London Fletcerh and quarterback Robert Griffin III surround Sherman, who says, "He punched me in my face! . . . I didn't do nothing, he came up to me!"
The video ends with Sherman and Griffin sharing a long hug, and with Sherman telling Griffin that Sherman is proud of the rookie.
Sherman also makes reference to Griffin's decision to "spurn us," an apparent reference to Griffin's decision not to attend Stanford. And Sherman's words and demeanor suggest that Sherman believes Griffin did the right thing by not joining a depth chart that already included quarterback Andrew Luck.
In all, the video shows a much different side of Sherman, and it shows that Sherman said or did nothing to provoke the exchange with Williams.


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Moonshine Stationery Range
Images above show one colour hot foil and letterpress printing. Stocks include 600gsm 100% cotton paper in Ivory and 540gsm Imperial Blue. Invitation dimensions: 133mm x 184mm (including envelope*) Card stock options: 600gsm/540gsm for letterpress / hot foil. 300gsm for flat digital printing.
Other coordinating items
Save the date cards
Insert cards
Table plans
Table names / numbers
Place cards
Order of service
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If there are any other coordinating items you require and you don't see them on our website, let us know and we'll be delighted to design and print them for you.
Download our handy PDF price list using the link below. If you get stuck, just ask for a quotation.


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Tao Lin
I was at Urban Outfitters shopping for overpriced t-shirts when I first encountered Tao, existentially speaking. Staring up at me with its minimalist cover design was a little novella called, Shoplifting From American Apparel. The title grabbed me, so I did what I do with any book: read the synopsis, the author bio, a random page in the middle. Later that night, I've got the novella sitting next to my Mac as I'm looking this guy up on Wikipedia.
Tao Lin: 26 years old, lives in New York. Has published five books.
After my initial Keanu Reeves "whoa" moment, I dig deeper.
Tao Lin: sells six shares of his to-be-released novel, Richard Yates, for $2,000 a piece. Also: arrested twice for shoplifting. Writes book based on it.
And as I keep poking around, it becomes obvious that Tao is doing something differently. Whether it's getting banned from a publication for excessive zeal or posting emails from an unhappy editor on his website, Tao may not be the "bad boy of literature," but he's making a name for himself as a guy to keep an eye on. When an author can treat their novel like the stock market, it's a sign of things to come.
I had the pleasure of interviewing Tao over the course of a couple weeks about his take on writing, as well as a few other topics ranging from Lindsay Lohan to the menu at Wendy's.
Tao Lin: Hi Brandon.
Brandon Tietz: Hey Tao, how's it going?
TL: Good, how're you?
BT: Good man, I'm just wrapping up "Up In the Air" right now. Good movie.
TL: Nice, I've seen that...liked it.
BT: So, right off the bat, I gotta thank you for hooking me up with your books. That was very cool of you and Melville House to do.
TL: No problem, glad you got them.
BT: I want to start off with your process of writing. We have a lot of writers here on the site (in our Writer's Workshop) who are just starting out or have come to that point in their life where they're beginning to take writing seriously. What advice do you have to share for those who are in that position?
TL: I only feel comfortable expressing advice, at this point in my life, I think, if I'm in a situation where I'm "acting" as a computer that might have access to different or more information, or be able to process information differently, than the person willingly inputting their information into me in order to receive "advice" as an output based on their input.
When I express advice in other situations I feel like a horse telling a mosquito how to live, or something, to some degree, in a way that I also feel like I'm indirectly conveying something like "you should be a horse not a mosquito."
What I've typed above is maybe "a kind of advice," though, in that whatever it has caused people to think/feel could be viewed as my "advice." I hope this answer is okay.
BT: A lot of modern writers "need" certain things in order to produce work. Examples being: music with no lyrics, Colombian coffee, the ability to instantly fact-check with Google, etc. What's your process like? Are you highly regimented?
TL: I like to feel like I'm "operating" optimally, as I produce things, in my life. I like to be focused on whatever project for the entire day, every day, structuring other things around it. I like to be healthy, and while working not be digesting food, so that it seems my brain has more power. My ideal "regiment" seems to be something like eating only raw fruits and vegetables, exercising to some degree, sleeping without an alarm, listening to music through earphones (while working), drinking coffee and/or tea every day (before working), and taking some kind of stimulant, or alcohol (at times I'm not working) maybe 1-5 times a week—with less/more some days/weeks, to create some kind of "disturbance" in tolerance levels and also to create a situation of "constant" variety, which seems desirable to me, in this "regiment."
I'm not sure if I actually produce more work when "using" this "regiment." Maybe I just feel happier, so it seems like I'm producing more work. It isn't really a "regiment" maybe because it sort of is focused on variety and "disturbance."
I don't want to feel I "need" anything though. If I feel myself becoming "neurotic" in some way, like feeling that I "can't" write unless sunlight is on 41% of my face or I've had 7.4 ounces of coffee, I usually will force myself, or tell myself that I should force myself, to not "encourage" that, in part because I would like to "work towards," in my life, if anything, having the ability to feel/think what I want regardless of environment/situation.
BT: One of my English teachers gave me the "write anything" lecture under the premise that I would write and write and write until I found my groove, but I always found most of it unusable. So when you're forcing yourself to work, or telling yourself you need to force yourself, are you still satisfied with the work you get done?
TL: I don't think I ever unsarcastically "force myself" to do something, in that I try not to think in terms of "have to." For example I try not to say or think, "I have to go to work" or "I have to write this essay." I try to view tasks as "wanting to." In part because literally I don't "have to" do anything. I could quit whatever job I have or cancel whatever thing I'm writing. I would like to view what I'm doing as what I want to be doing. I would avoid doing something if I felt so strongly that I was "only doing it because of ____" that I could only view it as something I was being forced to do. Therefore, when I'm writing I feel that I always have the same mindset, that I'm writing because I want to, so there's just "one mode," for me, it seems (ideally).
BT: The thing I've seen you take a lot of flak for is your disposition to writing. This is people online that I'm referring to. The general consensus of that is, "Tao doesn't care if he gets a bad review. He doesn't care if he gets a good review. He doesn't care if we like or hate his work. So why the hell should we care about him or anything he does?" What do you have to say to those people?
TL: Without being prompted I wouldn't say anything, I think. I wouldn't, at this point in my life, directly try to convince someone to like me or care about me. If asked directly about what I might say to someone who says "why the hell should I care about you?" I might, if it's in an interview, say something like "it's okay if you don't care about me."
If a meteor comes from another galaxy and kills me, it seems like, before it kills me, it would be impossible for me to feel angry, or to try to "argue" that the meteor should not hit me, or something. I might try to move away from the meteor but I wouldn't view the meteor as an enemy, or something. In that manner it "seems fine" that a number of people don't care about me or my writing. People literally can't "care" (in a concrete manner, for example by "spending time experiencing a thing") about every thing that they encounter in the universe, in the same manner, sort of, that a meteor literally can't travel through the universe "forever" without "hitting" something, I feel.
BT: Let's talk about Shoplifting From American Apparel a little bit.
TL: Sure.
BT: Tell me about the origin of this book. What was the first thing you ever stole from them? Take me through the paces.
TL: The story originated from me stealing a shirt from there. They had an undercover person who stopped me on the sidewalk outside. That was the first jail scene in the book. I initially typed it to my friend, in an email, just to relate what happened. At some point Vice Magazine solicited me for their fiction issue. I sent them something and they rejected it. I sent them the jail scene, in an edited form, from the email I sent my friend, and they accepted it. The first jail scene is ~10% of the novella.
BT: Were those characters real? The ones from the jail scene? I thought that was one of the funnier ones.
TL: Yes, the dialogue is from memory, edited down from my memory. I didn't write parts that weren't interesting to me, for example.
BT: Now, in the book, I think you only actually shoplift from American Apparel once. In reality, it was more, right?
TL: Maybe two or three other times. Not that much. When I was shoplifting a lot I was mostly shoplifting batteries and Moleskine journals to sell on eBay.
BT: And you made about ten grand on that over the years? I read that somewhere.
TL: I'm not sure exactly. Probably between $7k and $13k, yeah. The things would sell consistently for ~60% of their retail value.
BT: Geez, you must've been working in high volume. What was your biggest lift in one outing?
TL: Probably 95% of the time I would steal by just putting at most probably 5 packages of batteries in each front or back pocket, usually just two pocketfuls, so maybe 10 packages, so ~ $120. After that I would sometimes move them to a backpack or something, then do it again to a nearby store, or sometimes the same store.
BT: And you had a job, too, while you were doing this, right? I think you said your last job was at a restaurant.
TL: I didn't have a job during the time I was "routinely" shoplifting and selling the goods on eBay. That was my job. I had jobs after and before it, in libraries and at an organic vegan restaurant and as a personal assistant.
BT: That's incredible, man. I take it you don't have any legal worries.
TL: You mean, currently?
BT: Yeah, Shoplifting from American Apparel is quite the attention-grabbing title. Did they ever give you shit about that?
TL: No, it never seemed to be a concern to me or my publisher. I think it's just allowed to have anything be a title. The book doesn't encourage shoplifting, I feel. It seems like even if it did tell people explicitly to shoplift from a certain store it's legal to...have that. For example a book called Shoplift from American Apparel. Seems legal.
BT: So, this book is non-fiction, but you're portrayed as the character, Sam. Would you say it's 100% non-fiction or are there some minor embellishments here and there?
TL: I view it as fiction. The initial drafts were based exclusively on my memory of what happened. But after a certain point I wouldn't edit based on what really happened, I would do whatever was most satisfying, in the same manner I would edit something that was set in a fantasy land of dragons or something. I would move some things around and edit down things or whatever. If it were non-fiction I would say "something like" if I wasn't sure of something. Like, I would write "I said something like [whatever]" or "I think [whatever] happened." I probably wouldn't have any scenes containing a lot of dialogue. It would mostly be paraphrased if I wrote it as non-fiction. I wouldn't feel comfortable assuming my memory was 100% accurate or that I could recall dialogue perfectly.
BT: Yeah, I can imagine how it would be difficult to recall every single thing over the course of two years and somehow label it as non-fiction. Editing also makes that difficult. It's as if by leaving out portions of time, people view that as selectively telling the truth. I like what you did with it, though...very good stuff.
TL: Thanks.
BT: To me, it just felt like we were a fly on the wall in Sam's world and not so much being prodded along through a series of events.
TL: That sounds good. I would read it like that, I think.
BT: Shoplifting From American Apparel reads differently than your other works, such as Bed and Eeeee Eee Eeee, which are more traditional literary. The voice and the syntax are also altered. What was the difference between them writing-wise for you?
TL: With Shoplifting from American Apparel I deliberately didn't use metaphors or similes, em-dashes, semi-colons, or sentences that seemed long to the point of being "less readable." I tried to use mostly only concrete/literal language. Most of the time spent on the sentences was on making them "easier to read," trying to convey what I wanted in the least number of words possible, and on "giving them" a consistently "abnormal" level of non-sequitur from the previous sentence, to the next sentence, paragraph to paragraph, scene to scene. With the other two books I was also focused on having a consistently "abnormal" level of non-sequitur but using a different prose style, one with all those things I refrained from above. I like writing in both styles. I probably worked on the sentences in each of those books a similar amount, maybe more in Shoplifting from American Apparel just because I had higher standards by then, in terms of being consistent throughout re tone/style.
BT: What I really dug about Shoplifting From American Apparel is how incredibly direct it was. I was talking about it with a friend and called it a "no bullshit, no crust" style.
TL: I like directness.
BT: This, I can tell. Will we be seeing more of that from you in the future, you think?
TL: My next book, Richard Yates, my second novel, is more concrete/literal than Shoplifting from American Apparel, so probably more direct. Since finishing Richard Yates I've been writing more in the style of Bed, which is maybe less direct. I think they're both direct, but in different ways, or something.
BT: Yeah, I can recall at least a couple times where you'd have a paragraph-long sentence on occasion. I really love how you tied that book together, though. How did you decide on the theme of beds to hold that collection together?
TL: I don't think I decided on that. Almost every story just seemed to have beds in it. I was spending almost all my time alone then, and I didn't have a desk or chair in my room, so I was in bed a lot. Depressed people spend a lot of time in bed maybe. People might look at a book called Bed and think it's about sex, or something, but my Bed is more about sleeping and lying in bed alone, feeling things like loneliness and despair, which I like and think seems funny to some degree. I named it Bed after probably 8/9 of the stories were finished. I don't remember really when I first thought of Bed as the title. After I thought of it I didn't question much, it seemed "immediately satisfying," I think.
BT: I like it. Very minimalist. And fitting.
TL: I like it also. Glad you like it.
BT: Okay, so Eeee Eee Eeeee was probably the one I had the most fun reading. You've got dolphins hunting down Elijah Wood and bears offering money and laptops. There was some great stuff in there that just had me rolling. Just so we're clear, you like Elijah Wood, right?
TL: Yeah. Or, I don't know him, but I feel interested in him. I like watching him in movies. I like his facial expressions.
BT: Better Elijah role: Frodo or Kevin (Sin City)?
TL: I haven't seen him in Sin City, didn't know he was in that. I guess Frodo.
BT: Oh, he plays a cannibal that lives out on a farm. It's very...um...different for him.
TL: That sounds really funny.
BT: And he doesn't have one single word of dialogue and fights Mickey Rourke.
TL: Wow.
BT: It's worth checking out.
TL: I'll look at it on YouTube soon.
BT: Okay, so to get back on topic...Eeeee Eee Eeee is getting adapted to film, right?
TL: Yes, a librarian in Queens is making a movie of it. I've never met him. He made a short film about hugs that's on the internet that I like. I think he's using his co-workers to act in it.
BT: Maybe you could call Elijah for a cameo.
TL: I would like that. Seems like he'd be receptive.
BT: Use imdb pro. They give you a free trial for 14 days, and then you get his agent/management info and pitch him. Easy.
TL: I will tell the librarian to do that. Wong Kar-Wai is also in the book.
BT: Yeah, but Elijah has some major star power.
TL: Wong Kar-Wai has "indie cred" + international...something.
BT: He's a filmmaker. He'd want to take over the project.
TL: The librarian will have to "navigate" that. I would be okay with that.
BT: So is this film going to be taken to the film festivals or do you know?
TL: I don't know. Depends on what the librarian wants. Probably he'll want that, I don't know. I already feel "fulfilled" with it, as a project, based on his "hugs" movie, his Tumblr, and that he's a librarian in Queens.
BT: I'm sure you'll keep us posted on your website, right? Or is he just going to call and let you know when it's done?
TL: I think he's just going to email me when it's finished. I'll take the L to Union Square and then the R to Queens, to watch it, I assume.
BT: Well, I hope he does it justice. Talking bears and dolphins might pose some difficulty.
TL: Seems kind of difficult. Seems like if it's done "very shittily" it would be good. People wearing "shitty ass" suits made from shirts staple-gunned onto cardboard or something.
BT: I'm not expecting Where the Wild Things Are-caliber effects. My mind went to foam dolphin suits and rental bear costumes.
TL: Or even just someone wearing "bear ears" or something. Maybe just edit a bear from the Discovery Channel over the person, if that's possible, not sure how special effects work.
BT: You've got Richard Yates coming out in September in which you sold six shares of it for $2,000 a piece. The shares entitle the shareholder to 10% of your domestic royalties. I've never heard of this being done before with a book. How did you come up with this? Any regrets?
TL: I'm not sure who thought of it first. It seemed to be an idea "that was around." I remember someone telling me that I should do it, and me saying that I already had planned to do it.
I feel "very satisfied" about it. After I got the $12,000 I quit my job (at a restaurant) and focused "pretty hard" for 4-6 months on Richard Yates, which was at the time maybe ~45% finished (an entire draft was finished at that point but I worked on it for an amount of time, over the next two years or so, that made it so what I had was ~45% of the final draft, in terms of time spent). I'm not sure what would have happened if I didn't get the $12,000. The novel would be different now probably. Less people would know my name/books. The "shares selling" was "covered" by the New York Times' economics blog, Gawker, The Guardian, The Telegraph, the New Yorker's book blog, Poets & Writers, an Indian newspaper, and ~15 smaller blogs/sites. One of my investors, Matthathias Schwartz, bought me coffee and dinner. The main blog post for it is here.
BT: This is great, man. I'm sure if someone did have this idea, they either didn't have the means to do it and/or were afraid of suffering an embarrassment by way of the shares not selling. The fact that yours did is indicative (to me, anyway) that you've got a loyal following and are on the cusp of that mainstream breakthrough. Would you say that Richard Yates is your attempt to capture a wider demographic? If so, how is the writing on this book different from your others?
TL: I don't think I attempt to have a wider demographic until after I've completed something. Unless one considers "me trying to organize and express 'an amorphous contingency of thoughts/feelings' into readable sentences within some kind of narrative that I feel I—or a few specific people—would enjoy reading" as "increasing my demographic." A side-effect of that, though, is that it increases my demographic, probably. The side-effect seems not separable from the action. So maybe I do try to increase my demographic while writing, at the least from "my subconscious" to "my non-subconscious and the non-subconscious of some people I like."
Richard Yates has a more concrete/literal prose style than Shoplifting from American Apparel. "Mike got out of the car" in SFAA would be "Mike left the car" in RY due to "got out" not being literal and being more words. "Mike took a photo of Jon" in SFAA would be "Mike photographed Jon" in RY. The content of RY seems "more important," in the mainstream use of "important," because it contains illicit sex (vaguely), psychological issues with specific terms, men in their late 20s meeting a 15/16 year-old-girl first on the internet then in real life, a dysfunctional family that is affected to some degree by financial issues, and eating disorders.
BT: So, Tao…are you ready for the 10 Questions segment?
TL: Yes, go.
1) You seem to be a marketing whiz. What advice do you have for Lindsay Lohan as far as fixing her career?
TL: Lindsay Lohan is probably 1,000,000x richer than me, and can probably do whatever she wants for the rest of her life, without worrying about money or probably most other things not mental-health related, so my advice to her would be maybe to "do whatever you want, if you want, since you probably have the means to do whatever you want." In terms of her movie career, in my view, she seems to be "doing fine."
BT: Ooh, those quotes can say so much with so little.
2) You're big on vegan and organic food. Have you ever had a Wendy's Baconator?
TL: No. I think that came out after I stopped eating there. I ate there in middle school a lot. I've probably eaten 50-100 spicy chicken sandwiches and 300-1200 chicken nuggets from there. While typing that sentence I felt a "really strong" urge to eat a lot of their chicken nuggets with their various "dipping sauces." I remember liking all of their "dipping sauces." I haven't eaten food from there in ~7 years except maybe one baked potato ~3 years ago.
BT: Yeah, the spicy chicken sandwich got a few plugs in your work. Wendy's should be giving you a few of those for free...it's only fair.
TL: "Sadly," I've never received anything free like that. Not even Kombucha. My address is on one of my blogs if some company is reading this right now wanting to "get in on" me in terms of that, in terms of giving me free things.
3) If hell exists, what's the one book that they make you read over and over for all of eternity?
TL: Hm...maybe Finnegans Wake.
BT: Never read it...and probably won't now.
4) Your website is: www.heheheheheheheeheheheehehe.com. What do you do if you're out at a bar and someone asks for the address?
TL: That's happened before pretty often. I usually say something like "the URL isn't something I've memorized, it's kind of long, Google my name, it's the first result."
5) Follow up question: how cool does it feel to say "Google me" and know stuff will come up?
TL: For people alive today, under 25 or something, probably "just normal," since Facebook results come up.
6) In your novel, Shoplifting From American Apparel, you wrote, "Masturbation is the escape from literature." So what would sex be?
TL: Escape from masturbation, maybe, into another situation that one would potentially want to escape from, at some point, to some degree, while also wanting to escape toward it sometimes.
7) You're 26 years old with five books out. Does Tao Lin have groupies?
TL: I'm not sure. Maybe I do. But not "young girls." Mostly, actually, probably, or disproportionately, rather, gay men older than ~40. Gay men seem to like me. I like gay men.
BT: We'll try to send some ladies your way too if you want. This interview will be seen by a few people. Ladies included.
TL: I'm open to having anyone sent my way. Via Facebook.
BT: We'll start an application up.
TL: Sounds good. They should comment on my blog for a while, then add me on Facebook, then maybe write on my wall, then we could email maybe.
8) Have you read Twilight?
TL: I think I read the first page once. I think I felt afraid...like...I felt that the prose style was "pretty tight." I was working on Richard Yates then and felt that my prose "wasn't as tight" as Stephanie Meyers'.
BT: If I recall correctly, the first page is a quote from something else.
TL: Interesting...maybe that was what I read.
BT: I'm pretty sure it was.
9) If Palin wins the presidency, will you move out of the country or tough it out?
TL: My life probably won't be affected. Depending on if I'm already moving or not I'd either move or not move. I honestly "don't understand" the logic of moving out of a country due to who is president of that country.
10) Is Cujo a good name for a cat?
TL: I wouldn't go with that. Seems like everyone would make a joke about Stephen King or about it being a dog's name. I can see how that might be desirable, though, if you're bad at starting conversations or something.
BT: That's funny you said that....that's exactly what it's used for. You totally got it.
TL: Nice…interesting.
BT: Tao, it's been a real pleasure. I'll let you go so you can get back to doing what you do.
TL: I'm going to leave the library now, go to the store before it closes, thank you for taking so much time to interview me and read my books. I appreciate it. Have a nice night.
BT: You too, man. Have a good one.


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KennyTheKangaroo wrote:for those of us not keen to twitter, can you give us a brief summary
I player from the Pittsburgh Passion tweeted him and called him a f***** (gay slur) I think over him going nuts that they should not be allowed to play at that soccer only stadium. And he wants her cut from the team, an apology and what not. I think he just wants outrage were it normally would be had anyone else other than a female from an irrelevant team said the same thing. By the by, he retweeted somethign from her and I just out her profile, she don't look too bad.


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- Sara--sarThank you for visiting my website. If you are looking to sell your property or looking to buy, I can help you. I have been working as a real estate agent in this area for 15 years and have extensive knowledge on real estate, various neighbourhoods, local business services, schools, parks and much more. Please contact me and I would love the opportunity to discuss your needs and how I can help. I hope to hear from you soon.
- Sara Brown
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The contestants will come from different worlds. With varying socio-economic backgrounds, religions, cultures and beliefs, its a sure-fire recipe for conflict and tension as they try to uncover the moles identity.
Not too sure on this 'Culture Clash' thing... sounds like a bit of a flop to me, but I guess we'll have to wait and see
The contestants will come from different worlds.
QuoteThe contestants will come from different worlds.What does this mean? Is it to say that there's no limits in contestants' nationalities?
If your gut feeling is always right, if you think you can spot a Mole at one hundred paces, if you think you are a great judge of character, you could be the one who outsmarts The Mole. Perhaps you can sabotage without suspicion and fly under the radar maybe youd make the perfect Mole. Either way you need to apply to have a shot at winning a huge pot of cash. You must be 18 years of age or older, as of January 1st 2013 and also an Australian Citizen or permanent resident to compete in The Mole."
I think I liked Tom Williams more, though Grant Bowler improved after being terrible in the first season (which also had a bad cast). The next 4 seasons had very good casts, particularly the last 3 I thought. Way better than The American Mole which I think put too much emphasis on the prize money than on putting together a good production and a likeable enough cast. The Dutch version is also great, and I'm not tired of watching that.
I didn't mind the live part of series 5 but the test was so short (about 6 questions I think), maybe live restrictions made that, or maybe that's what they normally did anyway. Anyway I hope they have a reasonably long test now for eliminations, like the Dutch one tends to have.
Quick question. Has anyone seen any filming anywhere in the world for anything that looks like the mole.
Quote from: theamazingracer21 on December 08, 2012, 12:50:01 AMQuick question. Has anyone seen any filming anywhere in the world for anything that looks like the mole.Wondering that too. Unlike many other shows, I've read so few spoilers about any version of The Mole,
Quote from: SuperTux on December 08, 2012, 01:24:15 AMQuote from: theamazingracer21 on December 08, 2012, 12:50:01 AMQuick question. Has anyone seen any filming anywhere in the world for anything that looks like the mole.Wondering that too. Unlike many other shows, I've read so few spoilers about any version of The Mole,I don't know about international versions, but I know the Dutch Mole is making it a point to keep it as secret as possible. It only makes sense since it all revolves around the mystery of the Mole's identity.In fact last year was the first year (since 12 seasons) the contestants all got spotted (by leaked information presumably) boarding a plane to Iceland. The producers then had to make quite a few adjustments to the places they visited so as not to risk further exposure..Unfortunately that meant making adjustments to the original locations as well as challenges which had its effect due to improvisation too.For many reality shows it's not that important to know who is where near the end but for the Mole it's crucial of course.. Once they are spotted in locations important spoilers can leak out which will ruin the momentum of the show.So in the Netherlands contestants are given a 250.000 fine if they leak any information at all about the show before airing. I imagine the Australian version wants to keep this secret kept as such the same way, for the same reasons.
When your sky diving ,you want to trust who packed your parachute. But this is a game where you can't trust anyone. The Mole. On 7 in 2013
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Check it out – a new issue of All I Want is Everything, finished just in time for the end of International Zine Month!
This half-size zine, subtitled "Travels With Myself and Another," is a collection of personal essays written over a six-month period of my life when I traveled all around the United States with my husband. Join me as I feel overwhelmed with awe and envy in New York City, battle seasickness while traveling from Key West to the Dry Tortugas in the middle of the Gulf of Mexico, am less than impressed by the Hollywood sign in Los Angeles, lose money while smugly hating Las Vegas and have a crisis of non-faith in Salt Lake City, and more.
The zine is 44 pages and costs $2.50. You can send me money via PayPal to saltonmyskin at gmail dot com, or you can buy it from Stranger Danger Distro.
(And just so I can tie this into the theme of my blog, know that I write about not one, not two, but three long-distance road races!)
All I Want is Everything #1 is still available from the following distros:
- Stranger Danger Distro
- Fight Boredom Distro
- Things You Say Distro
- Click Clack Distro
- Riot Grrr Distro
- Vampire Sushi Distro
- Parcell Press
- Sticky Institute


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ok so i am about to finish my final project for my java class at penn foster using the book "Java Programming: Comprehensive Taken from by Joyce Farrell" which was published in 1999 (needless to say WAAAAAAAYYYYY outdated).
so go me, i know:
all the basics (methods, classes, instantiating, objects, etc.)
applets (not Japplets)
awt (barely even talked about SWING)
IO (as in filedataoutput/input and datastreamoutput/input, nothing about buffered)
multithreading (just how to start a thread, dont know how to use more than one, or i guess 2, threads)
and very little about animation
I want to get all caught up the best i can but i dont know where to start, Swing? generics? iterators? etc.
any suggestions? i have tried looking at tutorials at sun.com and oracle.com and i dont get what they are saying (tutorials are too brief)
(BTW it took me over an hour and a half to log in, i tried logging in and it kept saying i was logging in but i was never actually logged in, any help?)


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Photo Challenge: Doorway
Since doorways are a transitioning space between locations they can be extremely revealing. Even locations that are close in distance will have contrasts, and whether the differences are minimal or significant is very telling. To top it all off, compositionally a doorframe almost always looks good in a photograph. For this photo challenge, take a closer look at doorways and work one into your image.
RSS for photos in Photo Challenge: Doorway


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Australia's army chief has told a global audience that militaries that don't become more inclusive, particularly by allowing women to serve on the front line, "do nothing to distinguish the soldier from the brute".
Lieutenant General David Morrison was speaking at a London summit focused on ending rape in war zones.
He was invited to speak alongside British Foreign Secretary William Hague and US actor Angelina Jolie on the back of his 2013 video message telling sexist members of the armed forces to "get out".
Lt Gen Morrison delivered the blunt warning to troops following yet another sex scandal. It became a YouTube hit with 1.5 million views.
In London on Friday he encouraged militaries around the world to open up all areas of service to women as a way of changing their culture and helping end sexual violence.
"It wipes away the barriers to achieving potential and sends a clarion call to all who serve that talent will prevail, not gender."
He said some militaries were changing their culture in order to become more capable and that was cause for hope.
"Armies that revel in their separateness from civil society, that value the male over the female, that use their imposed values to exclude those who don't fit the particular traits of the dominant group, who celebrate the violence that is integral to my profession rather than seeking ways to contain it - they do nothing to distinguish the soldier from the brute."
Australian delegation head Natasha Stott Despoja said Lt Gen Morrison was a "bigger star" at the conference than Ms Jolie who is a UN special envoy.
"He had a powerful message," Ms Stott Despoja told reporters.
"He reminded people, both in the symbolism of him standing up there in his uniform but also with his words, that the military have a key role to play in ending this awful, abhorrent, sexual violence in conflict."
The former Democrats leader said the role of victims and survivors was "fundamental" in helping governments prevent future violence.
"We need to remove the stigma and the shame associated with what they've been through and move it onto the perpetrators," Ms Stott Despoja said.
She was quizzed about Australia's treatment of asylum seekers some of whom may have suffered sexual violence in warzones.
Canberra sends everyone arriving by boat to detention centres on Nauru and Papua New Guinea.
"I'm always concerned about anyone who has experienced violence, and in particular sexual violence - whether that's a man, a woman, a boy or a girl - ending in another institution be that a detention centre or elsewhere," Ms Stott Despoja said.
More than 150 countries, including Australia, signed an action statement on Friday.
The summit also endorsed a new protocol relating to the investigation and documentation of sexual violence in conflict areas.
Lt Gen Morrison acknowledged he'd received some "notoriety" for making a stand against sexist behaviour in the military but insisted he wasn't the star of the London summit.
That honour went to conference delegates who'd travelled from around the world to help end sexual violence, the army chief said.
Australia has lifted the restriction on women serving in combat roles with internal transfers opening in January 2013.
Women recruits will be able to apply direct for combat units from 2016.