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Kimberley Broome to Broome Gibb River Rd Bungles Manning Gorge 8 Day Tour
- Trvanie: 8 Dní (cca.)
- Poloha: Broome, Wa
- Kód produktu: 20KBBB8
Kimberley Broome to Broome Gibb River RdManning Gorge Mitchell Falls Lake Argyle 8 full days Tour via Rock Art, Bungle Bungles, El Questro plus Fitzroy Crossing with Geikie Gorge cruise on Fitzroy River, Windjana Gorge, Tunnel Creek, Imitji, King Leopold Ranges, Galvans Gorge, Manning Gorge, Mt Barnett, Drysdale Station, Mitchell Falls, King Edward River rock art, El Questro, Zebedee Hot Springs, Bungle Bungles walks & optional heli flight. Opportunity to meet Aboriginal elders and artists, visit Wandjina and Bradshaw rock art sites, swim in pristine waterholes on this Gibb River Road tour. Fully accommodated (extra cost) or camping rate is shown. Tour CodeKBBA11 (Broome to Broome) or Broome - Darwin, Darwin - Broome options.
Wrap up the Top End – Combine spectacular Kimberley scenery with Top End treats. Experience incredible rock art galleries – learn about Aboriginal culture, lore, men and women's business, spirituality, bush medicines and food, language and history, ceremony, song and dance.
Consider arriving with us from Alice Springs via the Tanami Track, Wolfe Creek Crater and Aboriginal art communities.
Day 1 – Depart from Broome travelling through vast Savannah grasslands to Willare on the Fitzroy River before we visit the infamous prison Boab tree with its insights into past and more recent history and cultural significance. We then commence our journey on the Gibb River Road for mystical Windjana Gorge and a walk through the gorge at this special creation "waterhole". Here is abundant wildlife and numerous freshwater crocodiles in this eerie, ancient seabed environment. After lunch we follow the Devonian Reef /Napier Range to Tunnel Creek National Park with its many boab trees and picturesque complex shapes to Tunnel Creek. Here we don torches and shorts to wade through this incredible underground river system full of active stalagmites and stalactites and even an underground spring. This is where the Aboriginal freedom fighter Jandamarra and the Bunuba Resistance was centred in the 1890s, depicted in 2 novels and a recent stage production. After our walk in the shady and refreshing underground system, we follow the boab clad ranges and then cross through them again, to travel through sweeping Kimberley grasslands and cattle country to cross the flood plains of the Fitzroy River. Check in at our accommodation at Fitzroy Crossing before a relaxing night and tasty evening meal, with a chance to meet some of the locals. LD
Day 2 – After breakfast enjoy a relaxing Darngku Geike Gorge river cruise on the vast Fitzroy River, and marvel at the high cliffs, annual flood records, stunning wildlife and river tales from our knowledgeable local guide. There is time to check out the local Aboriginal Art Centre and take a look around Fitzroy Crossing which is an education and supply centre for surrounding cattle stations and Aboriginal communities. After a morning cuppa, our journey continues via Mesa & mountain country and we take a photo stop at the scenic Ngumban Cliffs, where the grey limestone Devonian Reef meets the red sandstone and laterite layers of the Canning Basin. We take a lunch break at the scenic and bird lovers Marys Pool on the Mary River. Halls Creek is next with its gold mining history including the tale of Russian Jack, before the local Aboriginal Art Centre (time permitting). Travel on to Mabel Downs Cattle Station and to the Bungles Bungles Safari Park for overnight. BLD
Day 3 – Today we drive amongst the domes as we enter the Bungle Bungles in Purnululu National Park to marvel at this high energy amazing orange and black striped beehive landscape formed by giant river systems. Walk the spectacular Cathedral Gorge and Piccaninny Creek. After lunch a walk in Echidna Gorge. Optional scenic helicopter flights also available approx $280 for 18 minutes – fantastic. Please ask – pre-booking recommended. Overnight at Bungle Bungles Safari Camp. BLD
Day 4 – We farewell the Bungle Bungles today and stop at Turkey Creek and the Warmun Aboriginal Art Centre – where Rover Thomas and numerous other famous Aboriginal artists emerged. Here you can view the latest works, meet the artists and find some bargain art. After Turkey Creek, we travel through spectacular rugged granite mountain ranges past the Argyle Diamond Mine to Five Rivers Lookout overlooking the spectacular Cambridge Gulf and Wyndham. We also visit Parry's Lagoon for the rich wetlands bird life including Jabirus and Brolgas. We then join the Gibb River Rd, to arrive at El Questro resort for a late afternoon relax at the resort. El Questro is a million acres of spectacular Kimberley scenery, mountains, rivers and gorges. Dinner at ELQ restaurant own expense. BL Overnight at El Questro
Day 5 – El Questro is a million acres of spectacular Kimberley scenery, rivers and gorges. Here is where the movie Australia was filmed, nestled under the Cockburn Ranges. This morning soak up the relaxing Zebedee hot springs, enjoy a walk in spectacular Emma Gorge or alternative El Questro or Amelia Gorge, before a cruise on the Chamberlain River Gorge and viewing from Pigeon Lookout over the Pentecost River. Overnight at El Questro. BLD.
Day 6 – Today we journey the scenic and spectacular Gibb River Road via Cockburn Range, to cross the mighty Pentecost River and view this ancient sweeping river and landscape from a high vantage point. Enjoy the Durack River, and another river crossing. View Aboriginal rock art including Wandjina and Bradshaw's (Gwion Gwion). We cross the Hann and Barnett Rivers, to Mt Barnett Roadhouse, then Manning Gorge waterhole. This is one of the gems of the Kimberley, for a swim and play and relax, or take the 3 hour return hike to spectacular Manning Gorge Falls with more rock art and a great swimming hole. BLD
Day 7 – Enjoy picturesque Galvans Gorge with more Wandjina rock art, great scenery and good swimming and photos too! We travel through spectacular Kimberley woodlands and river crossings to Bell Gorge for a walk and swim by the falls. Overnight at Bell Gorge / Imitji Safari Camp. BLD
Day 8 – After breakfast enjoy a visit to the Imitji store and Aboriginal community and art centre before the scenic drive through spectacular Kimberley range and cattle country. We drive through the King Leopold Conservation Park (great views at lookouts) via Inglis Gap then through unique geology and the Napier Range at Queen Victoria Pass. We cross the Lennard River, and traverse the Wunaamin Miliwundi Ranges, (formerly King Leopold Ranges) & Conservation Park (great views at lookouts) via Inglis Gap. We arrive Derby and visit the new Mowanjum Aboriginal Art Centre (opportunity to meet artists, learn and buy from source) at Mowanjum Aboriginal Community and then Derby highlights including the Derby wharf (30 ft. tides!) on King Sound. Depart Derby for Broome to arrive late afternoon to enjoy sunset at Cable Beach over the Indian Ocean. Tour completes in Broome approximately 6 pm. This nights accommodation own arrangements – please ask. BL
Next Day Options – A day to celebrate your journey. Enjoy a leisurely breakfast and the many sights or activities Broome has to offer. Options include a trip to Horizontal Falls, or simply shop or relax in Broome's balmy climate. Home Flights available or consider travelling with us to Alice Springs or Pilbara Karijini National Park.
- Bungle Bungles tour and walk in to Cathedral & Piccaninny Creek + Echidna Chasm
- Cruise Chamberlain River Gorge at El Questro & Geike Gorge at Fitzroy Crossing
- Exceptional Aboriginal rock art – Wandjina, Bradshaw, Gwion Gwion
- Professional and experienced driver / guide
- Long established relationships with local Aboriginal people enriches experiences
- Access to remote areas and rock art sites unreachable by most tour vehicles
- Delicious meals as shown, including vegetarian options.
- Accommodated sleeping (extra) or comfy camping. Camp gear is modern and easy to use.
- Optional Accommodation upgrades available if pre booked .
- All World Heritage and National Park entry and accommodation fees
- Aboriginal Art community visits for "direct from artist" purchases
- Contributions of tour price supports Outback Kids and nature care programs.
- You – and Your involvement in a creation much bigger than most can imagine
- 2 dinners own purchase in restaurants, Alcohol
- Accommodation upgrades if required. Available most nights if pre booked


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A groundbreaking Retina display. Powerful dual-core and quad-core Intel processors. Fast flash storage. High-performance graphics. Great built-in apps. And now in the 13-inch model, a revolutionary new Force Touch trackpad and even longer battery life.1 Whatever you can imagine, MacBook Pro with Retina display gives you the power to create.
The design of MacBook Pro packs a lot of power into not a lot of space. Because we believe that high performance shouldn't come at the expense of portability. And despite being so compact, the new 13-inch and 15-inch MacBook Pro with Retina display models now deliver up to 10 hours and nine hours of battery life, respectively — an hour more than the previous models.
With Multi-Touch in OS X, you can use realistic gestures like swiping or pinching to switch between apps, navigate your content and get the most out of your desktop space.
The new Force Touch trackpad takes all the capabilities of Multi-Touch and adds force sensors that detect subtle differences in the amount of downward pressure you apply. This lets you have a deeper connection to your content, bringing more functionality to your fingertip. It also introduces haptic feedback to MacBook Pro — allowing you to not just see what's happening on the screen, but to feel it.
The Widescreen Curved 4K SUHD TV is an unparalleled blend of form and function. Its Quantum Dot Color envelops you in our best picture yet, allowing you to escape into whatever you're watching. Supreme UHD Dimming dramatically improves color and contrast, while Supreme Motion Rate 240 captures action that leaves your heart pounding. We've enhanced everything from its curved screen to its seamless Smart TV capabilities. The ultimate viewing experience has arrived.
Technical Specifications
Brand | Apple |
Item Height | 18 Millimeters |
Item Width | 31.4 Centimeters |
Screen Size | 13 Inches |
Item Weight | 1.6 Kg |
Product Dimensions | 21.9 x 31.4 x 1.8 cm |
Item model number | MF841HN/A |
Processor Brand | Intel |
Processor Type | Core i5 |
Processor Speed | 2.9 GHz |
RAM Size | 8 GB |
Hard Drive Size | 512 GB |
Hard Disk Technology | Solid State Drive |
Graphics Coprocessor | Intel Integrated Graphics |
Graphics Card Description | Integrated Graphics Card |
Hardware Platform | Mac |
Operating System | Mac OS |
Average Battery Life (in hours) | 9 |
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subset: commoncrawl


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Designed by former World Champion, Olympic silver medalist and G.O.A.T contender Sam Willoughby, the Siren Pro offers BMX racers unparalleled performance on any track. Lightweight and fast-rolling, the 120 TPI, tubeless-ready tire rails turns, smooths out technical straightaways, and provides insane grip on the gate and out of corners.
- Supple 120 TPI shaped casing
- Center slick design for gaining maximum speed
- Super-narrow gaps in the center tread grip the start gate without flexing
- Wider gaps on the shoulder provide max grip when cornering
Part Numbers
Option | UPC |
Black / 20 x 1.75 | 04571244747595 |
Black / 20 x 1.90 | 04571244747601 |


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The Internal Revenue Service announced cost of living adjustments affecting dollar limitations for pension plans and other retirement-related items for Tax Year 2012. In general, many of the pension plan limitations will change for 2012 because the increase in the cost-of-living index met the statutory thresholds that trigger their adjustment. However, other limitations will remain unchanged. Highlights include:
The elective deferral (contribution) limit for employees who participate in 401(k), 403(b), most 457 plans, and the federal government's Thrift Savings Plan is increased from $16,500 to $17,000.
The catch-up contribution limit for those aged 50 and over remains unchanged at $5,500.
The deduction for taxpayers making contributions to a traditional IRA is phased out for singles and heads of household who are covered by a workplace retirement plan and have modified adjusted gross incomes (AGI) between $58,000 and $68,000, up from $56,000 and $66,000 in 2011. For married couples filing jointly, in which the spouse who makes the IRA contribution is covered by a workplace retirement plan, the income phase-out range is $92,000 to $112,000, up from $90,000 to $110,000. For an IRA contributor who is not covered by a workplace retirement plan and is married to someone who is covered, the deduction is phased out if the couple's income is between $173,000 and $183,000, up from $169,000 and $179,000.
The AGI phase-out range for taxpayers making contributions to a Roth IRA is $173,000 to $183,000 for married couples filing jointly, up from $169,000 to $179,000 in 2011. For singles and heads of household, the income phase-out range is $110,000 to $125,000, up from $107,000 to $122,000. For a married individual filing a separate return who is covered by a retirement plan at work, the phase-out range remains $0 to $10,000.
The AGI limit for the saver's credit (also known as the retirement savings contributions credit) for low-and moderate-income workers is $57,500 for married couples filing jointly, up from $56,500 in 2011; $43,125 for heads of household, up from $42,375; and $28,750 for married individuals filing separately and for singles, up from $28,250.
My Retirement Blog was featured in the following carnivals during the past week.
Yakezie Carnival at Little House in the Valley
Carnival of Financial Camaraderie at Financial Success for Young Adults
Totally Money at Passive Income to Retire
Festival of Frugality at Squirrelers
Carnival of Financial Planning at Credit Cards Canada
Carnival of Retirement at 20's Finances


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Please support Game Informer. Print magazine subscriptions are less than $2 per issue
Battlefield: Hardline
EA and Visceral are continuing to keep the lines of communications open to fans. Battlefield Hardline is undergoing some changes following the beta last month, and feedback has helped shaped some of the improvements.
In this week's "Community's Most Wanted List," Visceral talks about a number of things that will change the feel and pacing based on your input. Explosives will be toned down a bit, with less frequent uses and more realistic impact.
The HUD, customization screen, and audio are all getting tweaked to improve the delivery of vital information (like the enemy sneaking up behind you). If you happen to favor the Mechanic class, you'll be happy to know that it will become more versatile by the next time you play Hardline. However, it will likely not be called "Mechanic." Visceral is currently taking suggestions for a new name.
Rounds will last longer in the final version, which also pairs nicely with one of the other improvements. Visceral is adding more interactive objects for a more dynamic world. The idea is to increase your environmental options.
You can read the entire list on the Battlefield website. You can also check out our E3 preview of the title and the first Community's Most Wanted list.
[Source: Battlefield]


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Tom Spurgeon's Web site of comics news, reviews, interviews and commentary
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December 23, 2012
CR Holiday Interview #6—Derf Backderf
I was floored by
Derf Backderf
My Friend Dahmer
, out since Spring from Abrams. I had enjoyed previous book-length efforts from the alt-weekly cartoonist (
The City
) like
Punk Rock And Trailer Parks
. I was even familiar with previous comics from Derf himself about his high-school relationship with the serial killer that appeared in
Zero Zero
and then
stand-alone form
. Still, nothing had prepared me for this new book's ruthless depiction of
Jeffrey Dahmer
's slow descent away from humanity, facilitated in part by the harrowing isolation and neglect facing so many Midwestern teenagers in the closing decades of the 20th Century. Such was the place where Derf and Dahmer were raised that when the cartoonist was informed by phone that one of his classmates had committed certain heinous acts that were about to become national news the artist's first guess as to that person's identity was someone else entirely.
My Friend Dahmer
has been well-reviewed, making several year-end lists, and is currently on a third printing. I greatly enjoyed the following conversation, conducted just about 10 days ago. -- Tom Spurgeon
One thing I seem to be asking everyone about this year is the shape and scope of the press attention paid books like yours. It used to be that it seemed an author in your position did everything in a big, promotional burst. Now we have this rolling period where interest bubbles up here and there and fades and returns.
I was kind of expecting the same thing, to talk when it first came out. But yeah, it pretty much keeps going and going and going. I don't know if it's that some people need interviews to fill up the end of the year stuff, or what it is. At
the Miami Book Fest
, I did a bunch of interviews. That was just a couple of weeks ago. Maybe it's because they were there? I don't know. I have no explanation for it. The book business is a total mystery to me anymore.
I would think that with
My Friend Dahmer
, a lot of people probably discovered it at different points throughout the year. I know that when I read it, I might not have done so when it first came out. I picked it up off the shelf maybe a couple of months later. I found to be powerful and affecting, but I hadn't read it the moment I got it. Other people have told me the same thing, that they've sort of stumbled into your book. People are
your book, which I guess is nice.
Yeah, sure. I always knew it needed good promo at the beginning -- which it got from Abrams, so I was happy about that -- and that word of mouth was going to carry it. And I was right on that. Given my early experiences with the project, that's the way it was going to go. It built momentum, as you said. All of these best-of lists have certainly helped, and the reviews. It's been great.
I don't know that I've talked to too many people that have worked with
Charlie [Kochman] and Abram
s -- what was that experience like for you as an author? Were they a supportive house?
Oh yeah, it was great. Charlie's a treasure. He's a really good guy. He's got that comics background, which is nice because Abrams is really a book publisher. They don't know what to do with comics. Charlie's kind of brought that to them. It's really nice, because you get the best of both worlds. You get the comics mentality, he knows what you're dealing with and what your process is and what good comics are, but you also get the book apparatus.
The editing I got on this book was like nothing I'd ever gotten before. The copy-editing. I'll use this as an example, even though you probably can't use it. There's one scene in the book where Jeff is in his house listening to a football game. I just put in some random stuff, some names I remembered from that era. The copy editor actually went and looked at the schedules and box scores of games from that year and said, "Well, the team you have playing did not play until the following year. On this rough date you have to use this team or that team." I actually had to go back and get like a game summary from a game that would fit in that time frame and use some of the players that scored the touchdown I was talking about and put that in that dialogue box. I was blown away.
I guess that's a good way to get into the expansion of the book from previous comics you did about your relationship to Dahmer, particularly your digging into that time period and making sure everything was accurate and specific to that time and place. What kind of personal resources did you have available to you there? I'm guessing you may have talked about this some, so I apologize for the redundancy, but I've tried to avoid other interviews since I knew I was going to get a shot at you. [Derf laughs] What was the process like for you to capture that time?
Well, I started with my own papers, which were really key. I had journals and stuff, pretty large ones from that era, which I hadn't looked at in a number of years when I started working on this project. That's where I started. It was very helpful in creating that time, because of course they were period. That's
thoughts, my take on life when I was living it. It could have ended there and been straight memoir, but of course I didn't want it to be that.
My background is actually in journalism. I have a degree in journalism. So I just started putting that training to use, and threw out a wide net. I started from scratch because I didn't really believe a lot of the stuff that was written about the time frame of this book. I found it to be... the tone was wrong, or they didn't capture it, or there were errors. Even with some pretty news organizations. And that's a given when one comes in from the outside and tries to immerse themselves into a time and a place. That's very difficult. I had the advantage of being from that time and place. So I went in and re-reported everything.
Do you remember something that threw up a red flag for you? Do you remember something that you read where you were like, "Yeah, that's not right."
They were talking to the wrong people. They would pick random classmates to get their opinion. And I was like, "That guy never talked to Dahmer. That guy had nothing to do with Dahmer." It was just sort of that thing. Really minute errors, but built up as they were, created the wrong tone. I thought. I really wanted to capture that, because I thought it was important. And I think I did. That was my advantage as an insider.
How early on did you land on making the book -- you said you weren't going to limit it to a memoir, but you also don't limit it in terms of what gets seen: you show Dahmer's activities in addition to the perspective of the kids that witnessed some of them. Did you get the general approach right away, that you wanted this kind of complete picture, or did that develop as you went along?
That did develop. In the early short stories I did, they were very much from my perspective. I decided I wasn't happy with that, so I cast a wider net. Also because that material became available: all the interviews Dahmer gave, and the transcripts, the stuff that I got my hands on. That came later, because once he was dead, nobody cared anymore. There was no reason to suppress it. The Milwaukee police stuff is still pretty hard to get. They're still tamping down on that. But all the other stuff, the FBI, the prison stuff, that's real easy to get. [laughs]
So it was available, and I looked at it, and I thought, "Wow, this is really great stuff." From my perspective, because it was unedited transcripts of these interviews, it was like interviewing Dahmer. His words were right there. There was no one interpreting that. I could look at that stuff, and kind of mine it for information. It proved to be really great stuff. And at that point I started expanding the book to include that.
Are there boxes of research material still lurking around there?
There's a file drawer, yeah, full of stuff. I've thrown some of it out.
You talked about your journalism background, but in terms of your cartooning, you told an interviewer in one of the couple that I read early on that you were glad this project came along when it did because you felt that your skill-set matched the ambition of the project. You were ready to go on something like this.
What is a skill you have now, that you can see in the book, that you might not have been able to utilize earlier in your career?
Well, the drawing ability, specifically. Early on, when I first started -- it would have been like '94 when I started working on it? -- I was still very cartoony, because that's all I was doing at the time. It was heavily stylized. I used this real expressionist, cartoony style with a lot of jagged lines. Kind of Gen-X weirdo stuff. I liked the way I was drawing then, but it wasn't something that I -- I don't know. It wasn't something as subtle, as complex as the work I can do now. That comes from just sitting down and doing the other books that I did. And working it. I'm not a prodigy. I have to slowly work the craft.
I found your character designs fascinating in that there's a definite cartoony-ness to them, but they're rendered enough that they're not distracting in any way.
There's a certain acting-out quality that repeats with a lot of the characters that seems really affecting through those designs.
I didn't want to get too far away from what is my signature style. Whatever that is. I wanted it to look like I did it. I think it's closer to my last book,
Punk Rock And Trailer Parks
, than it is to anything else. That's really the book that cemented in my head how I wanted to proceed as far as longer storytelling went. It's more serious than that, and that was by design. I knew I couldn't be goofball with this story; that would be inappropriate. I wanted to ratchet it down and make it very understated. I don't want to say conservative, although the panel layout is very conservative. That was also a decision that I made. I thought that I was being too conservative and too straight-forward, but a lot of reviewers have said, "Well, it's this goofy, cartoony style." So I guess I didn't pull that off. [Spurgeon laughs] But I was trying.
The page layouts: there
a lot of standard, sturdy page layouts here.
Four by four, yeah.
The four-panel structure repeats. You do vary it, but it's rare for you to break away totally from it, except for a few dramatic moments of narrative and for a few establishing shots.
I did do a lot of full-pagers in there. That was fun for me to really draw my ass off, which I enjoy doing. I tend to feel that there's so much of that in comics anymore, all of these crazy layouts, and stuff that's hard to read. Sometimes it works really well. When it's in the hands of a master like, I don't know,
Chris Ware
, I mean sure, that's what he does. But there are a lot of people doing it badly. [laughs]
Going into it, my goal was not to get in the way of the story. I felt that I had such a powerful story, that if I just let the story do the work rather than fancy layouts and digital trickery, it would be much more effective. I think that was a good instinct.
You're very judicious in your use of special flourishes. At one point you incorporate a photo in there, and you put some old drawings in there. I imagine that's because you didn't want to draw attention to those moments, didn't want to drive people from the narrative.
Sure, once you commit to a certain way of laying stuff out, you don't want to break away from it mid-book. [laughter] That would be jarring. I wanted it to be consistent front to back. There were some reproduction problems, too, with that photo and those drawings. They weren't really made to be reproduced, and they're not very good, so there was some stuff I had to tinker with. There's only so much you can do.
You mention that you didn't want to get in the way of your story, which indicates you had a strong sense of what that story was. The story isn't just the Dahmer story.
There are two stories.
Maybe even three if you separate the people from the place. One of the things I found super-affecting about the book is how convincing your depiction of this place was: the town, and the time, and the isolating aspects of it.
I thought that was key. We all are a product of our time and place, and I think Dahmer was, too. I think it helps explain maybe not what he did, but how he got away with it. I thought that was important. A lot of people really responded to that, they really are taken with that, so I guess that was a good instinct as well.
Now is that a longstanding interest of yours in any way, how these structural elements in neighborhoods and streets and houses and where schools are and how many kids go to them shape society, or is that something you got to through Dahmer's story?
I've always been interested in pop culture and its effects. I do that in my other work, too. So yeah, I'd have to say that was an interest. But most of that came through this story, and talking about it with my friends, those themes just kept popping up. Like the adults never being around. How different it was, and how weird this was and that was. It's not stuff you think about or hear about when a lot of people talk about that era. The '70s. They talk about other things. But in a small town, there were some very specific things. The isolation. The adults not being around. This very specific boredom. I think those things were really key to our lives at that time.
The two stories that I really focused on were Dahmer's, obviously, but also me and my friends. Those stories intertwined. One of the reasons I wanted to really include that... there were two reasons, really. One was to offer contrast to Dahmer. I think it makes it even more striking, how similar our lives were and how they went in different directions. I felt that I had to give the reader some humanity. Because as the story progresses, Dahmer becomes less and less so. There had to be something there, a character or characters there, that readers could hang onto. Someone they could relate to, or find some similarities to. I felt it was important not to be just overall this dark, dark, dark tale.
The other reason is that I spent so long on this book. I can't say it was a lot of fun to spend time in Dahmer's world. So the way I made it fun, what I concentrated on in recreating this world is my friends. It was Jeff's world, yes, but it was also our world. Recreating the shopping mall where we hung out all the time, that was just me making the book more fun to produce. And it worked. That was fun. I was surprised by how many people picked up on that without knowing the details and specifics. I wasn't sure it would relate, that they would relate to that. But they have.
When you say "it," you mean...?
The details.
You're kind of unsparing in your criticism. You're not
to indict, but you're very confident when you do, like with the parents not stepping in to notice this obvious alcoholism that was going on.
All the adults really. I have to say... there have been a few that have said, "He doesn't own up to his own role in this." And I don't think that's true.
I don't either.
There are no heroes in this book. Everybody fails. Including Jeff, of course. The only reason that these critics know about my failures as a friend, or me not stepping up, is
because they read it in my book!
[Spurgeon laughs] How is that not owning up to it? I could have portrayed myself heroically; who the hell would have known the difference? A handful of people. I chose to lay it all out there as honestly as I could because I thought it was fascinating that everybody turned away.
You say that Dahmer himself failed. You're very clear in the book that when Dahmer steps over the line into outright murder that that's different than anything that came before, that he's no longer a creature of any sympathy. I assume it was important to make that point as strongly as possible.
It was for me, yeah. That also ties in to a larger, sort of outside issue. There's this whole, strange, urban legend that's sprung up around this guy, this death-metal, goth, urban legend where Dahmer has become this strange anti-hero. He's this shunned and bullied kid who was picked on, passed off and ignored and later in life he lashed back at the society that had done these things to him and blah blah blah. It's all total crap. [Spurgeon laughs] There are a lot of people that get really cheesed at me because I counter that urban legend, and I think in some ways point out that it's nonsense. They've responded to that; they're not very accepting. They're pissed off about that.
What is the basis of their objection? Is it partly the sexual politics involved?
That I just don't buy it: that Dahmer was picked on, and that he did these things because he was picked on. No. He did these things because he had this hideous, all-consuming sexual urge that just drove him. He was driven by depravity, not by revenge. That didn't enter into it at all. There's nothing sympathetic about this guy; there's no way you can empathize with him. I really went out of my way to pop that balloon. There are some people that have not taken kindly to that.
You're a journalist and you've done your research. You've also done your due diligence as a memoir writer to be unsparing in terms of all the actors. But was there a worry on your part in terms of how close anyone can get in terms of figuring out certain things about Jeffrey Dahmer? Are there still things you wonder after?
Oh, yeah. I have no idea what made him do the things he did. Dahmer doesn't know. Dahmer didn't know. He's undiagnosable. Everything I've read, he was interviewed by at least four or five criminal psychologists, some of the best in the business, and they couldn't come up with a diagnosis, either. Sometimes, as sad as it is to say, sometimes monsters just happen. And [laughs] the lesson here is... I don't think there's any great lesson. It's not, "This is what Dahmer did and this is how to prevent someone like Dahmer from being born at all." The lesson there is "Mistakes were made. He could have been flagged but he wasn't." It's more a cautionary tale than anything else.
You mentioned the urban legend aspect. I have to imagine that anyone buying into an urban legend isn't really closely connected to him.
And invariably younger, much younger.
I know from my own hometown's horrible story that happened when I was there, that it's a very difficult subject for my friends and me to talk about. Did you encounter any of that? Was it difficult for anyone else to talk about? Did you encounter any resistance that way?
Some. There are some that don't want to talk about anything at all. And I get that. There are others, like in the Dahmer Fan Club [a group of Derf's friends at the high school when Dahmer and Derf were in attendance], two of the guys talked to me for hours and hours and hours over months and years. Mike and Neal. They were great. And it was a really incredible benefit to have their input, so much of their memories and all of that stuff. Kent, my other friend, won't talk about it at all. He just doesn't even want to deal with it. And you have to respect that as an interviewer and say, "Well, I'll get it from people that want to talk." A frustrating thing is that since the book came out a lot of people have come up with input and stories that I never thought of getting -- I didn't know where they were, or I didn't know their role. Suddenly they're coming out of the woodwork and you're getting all this material. It's like, "Oh, crap." [laughter] "Where were you two years ago?"
Can you give me one that you might particularly regret, one that you wish you could have gotten in there of a bunch of different ones?
Some of it is in the e-book -- I put a couple of extra chapters in there. One was from Neal who was very open. He brought up this story after the book came out. "Did I ever tell you about the time that Dahmer got spanked in school?" I was like, "What?!" It was this whole thing with Dahmer getting caught with booze. I knew that he got caught with booze, but Neal knew the whole story. It had just never come up, or he had forgotten it. He told me this great story of Dahmer getting caught with booze, and the choice the assistant gave was he could call his parents right now or he could take ten licks. It was his quote-unquote first offense. And Dahmer chose the licks. There was this great scene, and I was like, "Oh man, why didn't you tell me this before?" So I drew it up and put it in the e-book. I would have loved to have had that in the book.
There have been a couple of others. The kid who discovered the dog head in the woods, he contacted me later. Offered some details, nothing I didn't already know, but still some interesting stuff. Things like that. You just don't know who the figures were. You don't know who played what role. You didn't have a name attached to it. I sort of knew who was involved with various things, but there's always a gray area in there. Obviously people aren't putting it on their resume or anything.
You signed a media development with this book, right?
A film deal, yeah. An option.
That's not the kind of thing I usually discuss, but I wonder if that's odd for you, considering how personal this project is, letting it go in that way?
Well... hm. It's something I've never had to deal with before. You do have to pass it off, yeah. It becomes somebody else's work of art. It's that progression. I'm comfortable with the filmmaker. It's good stuff. It's not Hollywood schlock. He's really taken with this story, and is certainly doing a lot of research on it. As I told him, it's not my problem, you're the one that has to live up to the book. I made the book I set out to make. It's been incredibly received and it has all of these great reviews. You have to live up to that. If you fuck that up... the book will still be there, it'll be your bad movie that you're going to have live with. [laughter] You just kind of shrug your shoulders and move on.
The written material at the book's end, was that something you knew you were going to include when you started out?
I actually started with that. Those are essentially my story notes. As I was working out the story, working out where things were going, when it came time to put it together I never doubted for a second I would footnote everything. A lot of this stuff in the book, and if you read it, and those footnotes weren't in there, you'd think, "Where did he get this? How did he know this? How does he know what Dahmer was thinking when he walked in the woods? He just made this up!" Well, no, you go to the footnotes, it goes to the interview exactly where Dahmer was talking about that very thing. It's really the factual skeleton of the book -- although I probably shouldn't use the word "skeleton" when talking about Dahmer. [laughter] It's the factual foundation of the whole book.
You've talked about doing longer form work as a deliberate choice in terms of where you thought your career might go as the alt-weekly thing has started to fade. I wish I had a not-depressing question to ask about that whole thing.
[laughs] Go ahead and ask.
A lot of people have just left that avenue for comics, and you've kind of stuck around. You have 10 or 15 papers I'm guessing now.
This includes one of your hometown papers.
the daily
. The only reason I'm still doing it is because the daily is paying me enough to continue doing it. When that stops, which could come as early as this Spring when the paper goes to three-days-a-week publication, it could well be that I shut it all down. It's hard to walk away. I still think I'm doing good strips. It's hard to write them, especially after you do long form stuff where you have so much space and so much freedom. I kind of like that weekly deadline from a selfish, creative standpoint. It makes me put pen to paper, as opposed to going a couple of weeks without doing anything. So I like that. But I realize it's long past time to move on. There's no question there. The flipside of that is that I've gotten more attention and accolades from my longer work than I ever got for my shorter work [laughs], so I've probably been in the wrong field all along.
You were kind of a latecomer to that world, weren't you?
You mean the longform stuff?
No, the alt-weeklies. I think of you as an early '90s debut.
I started in 1990. That was at the peak of it, when everyone was coming into it.
Okay. You were certainly there at the prime moment for that work. The boiling away of that audience, are you aware of how your strips might be received differently now? We have a different media culture now. Do people react at all to the work, do they react more strongly given our constant, ongoing attention to political back-and-forths?
It depends. On the daily's site, which is this horrible free-for-all with unfettered comments, you can comment anonymously. All of these sites are owned by the same company, which is called Advance. The comments are just appalling. They go back in and try to clean them up, so you get a lot of... it's still general media, so you get all political stripes, everyone has their own agenda. They're all taking potshots at everybody and everything and luh luh luh.
In the weekly press, I don't get that at all. The weekly press was always pretty narrowly targeted. It was mostly urban liberal intellectuals, right from the beginning. It was always a different kind of animal. I don't worry about feedback that much. My stuff, particularly in Cleveland, has always been pretty well received. I can't say I spent a lot of time worrying about it. But there doesn't seem to be a lot of people reading weekly papers, no. That genre is dead.
Did you have a sense at some point that the writing was on the wall there?
Oh, yeah. I would say about '99 or 2000. That far back. The thing was, I was still making a decent living at it, so I decided to keep writing it. That's when I started moving into longer form comics, right around that same time. That was a decision I made. It just took a little longer than I thought it would.
I hadn't know you suffered a longstanding health issue there for a while. Does that change your orientation towards work?
It doesn't really change it. It slowed me down. I'd probably have two more books out by now if it weren't for that. It doesn't really change my outlook or my process any. I don't have this frantic sense of [laughs] "Oh, I've got to do as much as I can, quickly." I'll take the time that I have left and do as many comics as I can. It's not like I feel a sense of urgency or anything.
Do you feel a kinship with other journalists that use cartoons, other memoirists? We're talking not soon after
Spain Rodriguez
passed away.
Yeah, I was a huge Spain fan. A lot of people say, you know how it is, especially in comics which kind of blows me away, they always want to stick you in a little category and bag you and stick you in a certain box. "The
-type school... Crumb, Crumb, Crumb." It was Spain before Crumb. I got my hand on Spain's stuff long before Crumb. I was sad to hear of his passing. We had exchanged some e-mails over the last year or so. I'd sought him out. I usually don't. I'm kind of funny about that. I was surprised he knew who I was and knew my work. I never met him.
The transition to longer-form work, we kind of take that for granted.
It was hard. It was a lot harder than I thought it would be, perhaps out of my own cluelessness.
Was there an educational process? Did you go look at stuff?
It was basically me just working it out. I think, particularly with my first book
-- which I really like, it was a lot of fun. It's very cartoony. It's very clipped; the pace is way too fast. It was difficult for me to learn to slow down and learn to tell the story without getting ridiculously indulgent, the way indie comics tend to do. Jaime Hernandez calls it the fluttering leaf syndrome, where you get a leaf going across panels for two pages. You don't want to go that far. But you don't want it to be clipped, like a newspaper strip where you have to cram everything in four panels. It took a book or two to work that out. In
My Friend Dahmer
, I really put the breaks on. That one moves at a slow, methodical pace, which is by design, but I don't think I would have been able to do that early on.
The pacing is very confident and assured -- what was important to you about pacing the story that way?
I felt it fit the book. It's not the story of some guy racing around. The action in the book is mostly people standing around talking or Dahmer walking around. So you have to adjust to the work, adjust to the story, but still make it compelling so that people want to turn the page. Those are decisions that every storyteller faces. You either learn how to do it or you don't. I'm a slow learner, but at least I can learn. [laughter]
One standard question I ask might be appropriate here. We talked about how long you've been out there with this one. I'm interested in authors having to live with a work for a long period of time after they're done creating it. Has your opinion changed on the work since having it out there, having to talk about it?
No. No, no. That's probably the benefit of taking so long to put it together. By the time it was out it was exactly the work I wanted to produce. I didn't take any shortcuts. Obviously, taking 20 years or whatever to do it. I was pretty confident. Right from the beginning I knew that word of mouth would be important because it's such a weird book. The first reaction is "Yuck." I knew I'd have to hit the road. As I told some of my friends, going into this I knew I had doomed myself to talking about Jeffrey Dahmer for a solid year. That's why it's nice to talk about process. It's why I like talking to fellow comics geeks like yourself. [Spurgeon laughs] It's a nice break from "This is what Dahmer did. That is what Dahmer did."
You mentioned that you'd be two books further along -- is that an abstract idea, or do you have two books on a list of books that you know you would have done by now?
No, that's just judging from the times I lost.
Given how deliberate your career choices have been, do you now have next books in mind?
I have books that I'm kicking around. Yeah. The problem is that
is so unlike anything I've ever done. I'm basically a humorist. My other books are these raucous, rollicking comedies. Now people are expecting me to do this darker work and I'm pretty good at darker work. I have to think of something that's not going to be too far afield. You know? From a purely practical, sales standpoint.
All of your work has a personal connection, too.
They do. I don't know if that's going to be the case moving forward. I've always been kind of a restless creator. I've wandered a lot, and I imagine I'll continue to do that. The thing is, my audience is much bigger now thanks to the success of
, so I'm going to carry some of that with me. I won't carry all of that with me, but this is a breakout book and a lot of people are reading it that don't read comics. I was going to lose those people anyway. I'm not worried about them. I'm glad they bought the book, don't get me wrong. A lot of people will follow me wherever I go, because they like the way I tell stories. I just have to keep plugging away.
My Friend Dahmer
The City
* cover to the new work
* self-portrait, from the new work
* the book's primary subject
* the sturdy four-panel grid
* one of many digressions into such things as basic social and community structure
* an indictment
* Dahmer: not driven by having been bullied
* a Dahmer Fan Club member strikes a deal
* a strip and then a stang-alone panel from
The City
* isolated Jeffrey Dahmer (below)
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Yakima Chief, the people with the patent to Amarillo, are in actually in Sunnyside. You can smell them from the freeway when they are processing them.
Simcoe is a Yakima Chief/Select Botanicals hop, and it is grown at 3 farms.
Quote from: hopfenundmalz on July 07, 2011, 10:29:52 amSimcoe is a Yakima Chief/Select Botanicals hop, and it is grown at 3 farms.I know one farm is Loftus Ranches. I toured it during Hop Union's Hop and Brew School in 2009. Nothing like walking through a field of Simcoe... anyone going to that this year?
Remind me later and I'll check the hops I have at home. They are labeled with the farms, I have simcoe and amarillo.
I never really cared for Amarillo. To me it tastes too close to St. Joseph Baby Aspirin.
The one hop variety I'd like to try, but am told it too will be in short supply, is Sorachi Ace.Guess come September I will start pinging the Puterbaugh Farms website in hopes of getting a pound of some of these varieties when they get listed.


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The Name Plate Necklace Love
$ 70.00
Hand Formed 14K Gold Filled Name Plate Necklace. Each Letter is 1mm Height. Suspended on a gorgeous 2mmx1.6mm Flat Cable Chain.
Stamping: LOVE
Length: 16" Chain (See pull down for shorter or longer chain options)
Bar Pendant: Hand Formed Solid 14K Gold Filled
Chain: 14K Gold Filled 2mmx1.6mm Flat Cable Chain
Clasp: 14K Gold Filled Spring Clasp
Processing Time: Please allow 3-5 days for processing of all custom items
This item is Hand Made in the USA, all components are made in the USA.


text:
Just wanted to wrap up a few thoughts I had after sitting through the "input session" organized by ITI and The Otter Group on the whole SWIFT/CiL thing. Several really important points came up during that session, which I felt like needed to be pulled out for comment.
First was Ryan Deschamps comment during the (admittedly somewhat tense) discussion. Paraphrased, it was "you don't just have to be good, you have to be better than me." This wasn't said egoistically, just to point out that any particular tool, especially a tool that is commercial in nature, has to be better in significant ways than the tools that are available for free. As well, the tool has to do something that the individual attendees of the conference can't do either as easily or as quickly by themselves. While I'm quite sure that not everyone at Computers in Libraries is as talented as Ryan, I'm equally sure that anything he or any of the other seriously talented people who were at the input session were to build would be sharable and community driven. As Michael Sauers pointed out on llyfrgellydd.info, several presenters created tools for free, for the hell of it, that ended up being huge drivers of the conference. SWIFT has to be better than them, and it's not.
Second was the issue that I have with perceived audience of this product. The product is marketed at people who use tools that rely on tags as metadata…flickr, blogs, delicious, etc. It, by necessity, has to have tags in order to pull all the disparate pieces together. But the very people using those services are the people who don't need SWIFT. The Otter Group developed a platform that is useless for the very people that must use it for it to work.
Third and last is what the session turned out to be. Meredith Farkas has, as usual, a thoughtful post on her take on the session, and comments on the very real tension in the room. I think the tension was a result of the clash between expectation and implementation…we expected an actual feedback session, and we got a sales pitch. Meredith got to the party a little late, and might have missed the fascinating anecdote about where Kathleen got the name for the product (SWIFT is named after a bird!).
We. Don't. Care. We use products called things like ooVoo, Tumblr, Hulu, and Twitter. Clearly names are not at the top of our list when we choose products or service. We didn't care about the history of the product, nor even really about its intended use. The street finds its own uses. The point of Web2.0 and Library 2.0 is to provide tools.
Several people in the room commented on the fact that The Otter Group seemed not at all interested in really hearing about the problems with the product. Everything was blamed on "being beta", or on the lawyers, or something. My take on it is that they just don't seem to get the social web, as hard as they tried and as much history as they have in trying to make it a commercial product. They fell hard once with their ALA Bootcamp, and if possible fell even harder with Cil2008 and SWIFT.
Oh, and since I know that eventually Kathleen and The Otter Group will see this: Who won the Wii?


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(from Joni Mitchell Paintings Interview of Joni Mitchell by Rene Engel © KCSN-FM December 21, 1999)
This is Edmonton, Alberta. Most of my relatives live there. In the distance you see a skyline. The Edmonton skyline came up late and fast because of oil money and is mostly glass buildings, so from a distance the pink glass or blue glass, it's quite an Oz-looking place. And in the bend in the river there is a foot bridge or a bicycle bridge, and there's a bicycle path that comes along this side, again, right at that point that stands out at the left-hand side. The following day I gave a concert. So this is the day before the concert and very close to the concert site but this is the North Saskatchewan River. The figure in the foreground is my boyfriend who's from my hometown. Donald and I grew up playing on the banks of the South Saskatchewan River, and one of the reasons that a lot of these images of he and I -- well, they're not all here -- they take place -- we have a Saskatoon, Saskatchewan thing about walking in parks. I don't know, it's just something locals do, you know. So we always end up in every city that we are renting bicycles whether it's in Rome and riding our bikes through parks and a lot of the images that I track home with me to paint come from those public spaces."
This painting and 'The Ice Offering' were both featured in the film 'Vanilla Sky' by Joni's long-time friend and filmaker Cameron Crowe. Thank you to Marcus Hauke for reminding me of this fact! I don't remember everything that should go on these pages. Thank you to the legions of Joni's fans that send in information to me.
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David Marshall on :
I really like this painting. I lived in Edmonton one autumn, winter and spring and walked along these very footpaths. She did excellent with all the colors, the sky reflecting in the water is superb, it really can look like that. Judging by the bare shrubs not yet sprouting leaves and probable ice melting on the river in the distance, it appears she painted this in April or May. Edmonton is a very clean, safe city of 1 million people.


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The seniors who make it to the age of 75 or 85, or even 100 have triumphed and survived many threats to their physical and emotional health. Through these events, they have become much wiser and possess a maturity that only comes with age.
Depression, worthlessness, and anxiety are some feelings that are often found in seniors as they age. There is no need to allow these feelings to take over your life. As you begin to look at life, you can see that there are so many things to be thankful for, and many times you will discover that you can do things that were not possible before. When you begin to look at the positive things that come with the process of aging, it will allow you to age gracefully and gain the most from your senior years.
Here are a few things that you can to do embrace the aging process:
1. Try to exercise daily.
The serotonin levels in your body begin to decrease with age. These levels regulate your mood, appetite, sleep patterns, and blood pressure. When your serotonin levels drop, you are at risk for anxiety and depression. When you exercise, you are boosting the serotonin levels in your body and reducing the stress hormones. Exercising is also a great way to prevent injury and treat many symptoms that come with disease.
As we age, the amount and type of exercise we do will change. Some great options for seniors would be swimming, walking, yoga, or even activities that increase the range of motion. With the help of a caregiver or physical therapy, even those who find themselves bedridden can benefit from exercise to reduce the changes of bed sores and stiff muscles.
2. Go outside and enjoy the beautiful sunshine.
Being outside is good for your physical and mental health. It exposes you to vitamin D, which improves your immune system, regulates cell growth and helps you continue to absorb calcium. It is recommended that you spend 15-20 minutes a day outside. This will ensure that you are getting the vitamin D that your body needs.
3. Find things that you love to do.
When you retire or move to a senior care home, that doesn't mean that you stop living. It's important that you continue to do the things that you love. If you liked going to a movie, go to the movies. If you liked to paint, continue to paint. Doing the things that you love will keep your mind occupied and give you a much greater sense of self-worth.
4. Stay connected with your loved ones.
Many studies have shown that seniors who stay connected to the people they love and the social circles they belong to have lower rates of developing dementia. A support team can be created by involving yourself at the local community center or with any organization.
5. Keeping the mind busy and active.
Your brain will perform much better when it is challenged. A few things that you could do to keep your mind active would be to try and learn something new, go join a group activity, or crossword puzzles. Keeping your mind busy will also help treat illnesses such as dementia and depression.
6. Finding a few meaningful activities to fill your day.
It is important to find meaningful activities to fill your day. When a senior reaches the age of retirement, they are often caught off guard by the extra free time they have. To avoid feeling worthless, you can fill your day with things that you love and fun hobbies. A few new hobbies that you might try are writing, drawing, or traveling.
7. Accept the help of a caregiver.
Having a caregiver can help seniors preserve their sense of dignity and independence. By doing this, they are improving their quality of life and extending their lives. A caregiver can provide seniors and their families with a security that they need to keep living and doing the things they love to do.
8. Feel free to ask for help.
Asking for help when you need it is perfectly ok. As humans, we are social people. We need to be able to connect with others and we need support from time to time. Asking for help does not make you weak, it makes you human.
If you need the help of a caregiver to help you age gracefully, please don't hesitate to contact us.
Home Helpers of Dallas is a locally-owned, trusted home health care agency and offers quality, compassionate senior in-home care services including home care assistance, personal care, companion care, respite care, 24-hour live-in care, Alzheimer's & dementia care, Parkinson's care as well as homemaker services in Dallas, Richardson, Garland, Plano, Highland Park, University Park, Mesquite, Allen, Carrollton, Irving, Addison, Farmers Branch, Lake Highlands, Duncanville, Desoto, Fairview, Cedar Hill, and McKinney, Texas.
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Unforgotten: Inspired By An Unknown World Cup Story
Back in 1966, Umbro was all set to kit out all 16 teams in that summer's world cup. John Humphreys, son of Umbro founder Harold, had travelled the world to arrange deals with all the competing nations.
However, when the tournament started, only 15 of the teams wore Umbro. The USSR arrived with their own kits rather than the agreed Umbro designs, which were then lost to history.
This story is the inspiration behind a new lifestyle collection unveiled today – Unforgotten. Ahead of this year's tournament in Russia, the new collection uses 1960s design, sportswear style and striking graphics to create a smart capsule.
The Unforgotten collection is split into two lines – the Missing Team range is in the striking red, white and blue of the Russian flag, displayed in bold colour blocks, a reference to 1960s Soviet design.
The Lev range is inspired by possibly Russia's greatest ever player, Lev Yashin, who was always played head-to-toe in black. Known as the Black Spider, Lev is still the only goalkeeper to win the Ballon d'Or, and was known for his dynamic, athletic style of play.
Celebrating his status as a Russian football icon, the Lev range is all in understated black with flashes of red. Across both ranges, a graphic tells the Unforgotten story: 16 dots representing each team in the original tournament, with the Soviet Union called out in a different colour. They're placed fourth in the graphic to reflect their final position in the tournament.
In the collection, there's six pieces in each range: a Bomber Jacket, Game Day Jersey, two Graphic Tees, Track Pants and a Quarter Zip Lightweight Jacket. The collection is available from today at umbro.co.uk.


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Third of Four Parts
Books, newspapers, radio stations, TV stations, websites and cutting edge videos. The pieces of the George Soros media empire are as diverse as the nations of the world and just as widespread. From nakedly partisan left-wing media like Think Progress, the blog for the Center for American Progress, and a TV show on MSNBC, to the supposedly impartial National Public Radio, Soros has impact on the flow of information worldwide.
It gives him incredible influence. Every month, reporters, writers and bloggers at the many outlets he funds easily reach more than 330 million people around the globe. The U.S. Census estimates the population of the entire United States to be just less than 310 million.
That's roughly the entire population of the United States with the population of Australia thrown in for good measure - every single month.
This information is part of an upcoming report by the Media Research Center's Business & Media Institute which has been looking into George Soros and his influence on the media.
Just counting 13 prominent operations of the 180 media organizations he has funded equals 332 million people each month. Included in that total are big players like NPR, which received $1.8 million from Soros, as well as the little known Project Syndicate and Public News Service, both of which also claim to reach millions of readers.
And that's really just the beginning. That tally takes into account only a few of the bigger Soros-funded media operations. Many numbers simply aren't available. 'Democracy Now!' - "a daily TV/radio news program, hosted by Amy Goodman and Juan Gonzalez' - is known for its left-wing take on global news. Its vitriol ranges from attacks on Blackwater founder Erik Prince and supporters of Andrew Breitbart (whom it calls 'Electronic Brownshirts'), to claims the U.S. is opposed to Arab democracy. Just that one Soros-funded operation is heard 'on over 900 stations, pioneering the largest community media collaboration in the United States." But it posts no formal audience numbers. Phone calls to 'Democracy Now!' were not returned.
Laughably, Soros denies he has a media empire, despite spending easily more than $48 million on that empire and having top journalists from more than 30 major news organizations serving on the boards of groups he funds. "Another trick is to accuse your opponent of the behavior of which you are guilty, like Fox News accusing me of being the puppet master of a media empire," wrote Soros in the introduction to his new self-promotional book "The Philanthropy of George Soros." That book, appropriately, was written by former New York Times reporter Chuck Sudetic who now works for Soros' Open Society Foundations. It is the second such Soros promotional book written by a Times staffer.
But Soros wildly understates his own impact. On April 8, House Democratic leader Nancy Pelosi headlined a Boston conference on "media reform"' She was joined by four other congressmen, a senator, two FCC commissioners, a Nobel laureate and numerous liberal journalists.
The event was sponsored by a group called Free Press, which has received $1.4 million from Soros. Free Press has two major agenda items - undermining Internet freedom by pushing so-called "net neutrality," and advocating for government-funded media to the tune of $35 billion a year. Many of those attending or speaking were affiliated with Soros-funded operations.
Free Press is just one of the better funded Soros groups. They also include the Center for American Progress ($7.3 million), which operates the heavily staffed Think Progress blog. That blog "now has 30 writers and researchers," according to Politico. Other well-funded operations include the investigative reporting operations at the Center for Public Integrity ($3.7 million) and Center for Investigative Reporting ($1.1 million), as well as Media Matters ($1.1 million) and the Sundance Institute ($1 million).
That's not all. "Soros' foundations gave 34 grants from 1997 to 2010 to local NPR member stations and specific programs that have totaled nearly $3.4-million," said the foundations' [spokesperson Maria] Archuleta. Recipients included WNYC and Minnesota Public Radio,' wrote outgoing NPR ombudsman Alicia Shepard.
In fact, Soros funds nearly every major left-wing media source in the United States. Forty-five of those are financed through his support of the Media Consortium. That organization "is a network of the country's leading, progressive, independent media outlets." The list is predictable - everything from Alternet to the Young Turks.
A report by the Media Consortium detailed how progressives had created an "echo chamber" of outlets "in which a message pushes the larger public or the mainstream media to acknowledge, respond, and give airtime to progressive ideas because it is repeated many times." According to the report called "The Big Thaw," "if done well, the message within the echo chamber can become the accepted meme, impact political dynamics, shift public opinion and change public policy."
That mindset plays out in much of what the consortium's members do. Alternet describes itself as an "award-winning news magazine and online community that creates original journalism and amplifies the best of hundreds of other independent media sources." It hates Tea Parties and complains about "hatemongering" as the "ugly side of Evangelical Christianity." The site gets 1.5 million unique visitors to its unique view of the world.
Brave New Films, also funded by the Media Consortium, is run by the same people who run Brave New Foundation. Robert Greenwald and Jim Miller produce and distribute videos attacking businesses and conservatives. The site brags about a 2008 election video "that exposes John McCain's double talk, for instance, and receive 9 million views around the world." Their latest effort is yet another attack on Koch Industries, attempting to halt a much-needed pipeline from the Canada to the U.S.
Then there's the Young Turks and MSNBC host Cenk Uygur. In 2010, he was welcomed to the network with a press release detailing his web impact. "One of YouTube's Top 100 Partners, the irreverent talk show averages over 18 million views per month and has over 320 million views overall on its YouTube Channel."
The list goes on and on. Project Syndicate calls itself "the world's pre-eminent source of original op-ed commentaries.'"It has wide reach. "As of May 2011, Project Syndicate membership included 462 leading newspapers in 150 countries." Its monthly circulation is 72,815,528. Naturally, "support comes from the Open Society Institute," the primary Soros foundation.
Project Syndicate's columnist line-up, spread to 462 newspapers, is impressively left-leaning or globalist: UN Secretary General Ban Ki-moon, former President Jimmy Carter, former Soviet President Mikhail Gorbachev, as well as lefty economists Jeffrey Sachs and Nobel Prize winner Joseph Stiglitz. Those two are on the board of the Soros-funded Institute for New Economic Thinking, which was founded with $50 million from Soros.
Public News Service describes itself as "a member-supported news service that advocates journalism in the public interest." It is a 'network of state-based news services' in 33 states. It claims it reaches "a combined national weekly audience of 24 million." PNS is proud of its 2010 success. "Last year the Public News Service produced over 4,000 stories featuring public interest content that were redistributed several hundred thousand times on 6,114 radio stations, 928 print outlets, 133 TV stations and 100s of websites. Nationally, an average of 60 outlets used each story."
The Soros "echo chamber" is even larger. Many of his organizations have a media component - from New Orleans, where he funds The Lens, to nations that were once part of the former Soviet Union. But he doesn't have a media empire.
Dan Gainor is the Boone Pickens Fellow and the Media Research Center's Vice President for Business and Culture. His column appears each week on The Fox Forum. He can also be contacted on Facebook and Twitter as dangainor.


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Why good vision is so important
If one sense is missing, the other senses have to take over the work. The eyes play an important role in this.
The human senses are our contact to the environment. The human brain combines the fireworks of neurons of seeing, hearing, smelling, tasting, and touching into a meaningful whole. But we don't think about our senses until an organ stops working.
Humans have five senses: the eyes to see, the tongue to taste, the nose to smell, the ears to hear, and the skin to touch. By far the most important organs of sense are our eyes. We perceive up to 80 per cent of all impressions by means of our sight . And if other senses such as taste or smell stop working, it's the eyes that best protect us from danger.
Example: colds
Cold viruses hit on average three or four times a year. When people catch cold they feel terribly tired and their sense of smell and taste deteriorates. As a result, it is suddenly no longer possible for us to smell rotten food. Smell is a genetically predetermined program. It used to be essential for survival, as the only possible way to distinguish what was edible from what was inedible was through smell. If the sense of smell stops working, the eyes need to take over, both in looking for mould and other traces as well as in reading the small print of the expiry date.
Example: food and drink
It may sound strange at first, but in addition to the sense of taste, the eyes also play a major role in deciding whether something tastes good or not. In contrast to the other senses, the sense of taste is very weak: while it is possible for us to distinguish thousands of colours with our eyes, we have the ability to distinguish only five flavours: sweet, sour, salty, bitter and umami, which roughly translates to meaty, a natural flavour enhancer, which is found especially in tomatoes, cheese, and meat. But as already mentioned, the sense of taste does not only rely on the tongue, but also on the eyes. For example, yellow, orange, and especially red food is considered sweeter than food of other colours. Even professional wine connoisseurs have been fooled in the past. When French researchers offered them white wine dyed with red food colouring, nine out of ten professionals could not distinguish it from ordinary red wine.
Example: the search for a partner
The sense of sight plays a decisive role in the magic of the first moment. Gestures, facial expressions, and body language make up a large part of the overall impression. Within fractions of a second, people decide whether they find someone attractive or not. It is only getting to know each other better that other senses - in particular the sense of smell - have a role.
Example: hearing impairment
Millions of people all over the world face problems with their hearing. Only very few of them make use of the currently existing technical possibilities in order to improve the situation.. For these people, a conversation in a large group may become a word salad, and music just a blend of noises. There are also many dangersfor these people as they can no longer hear cars honk, police sirens, or the whistle of a water kettle. At this point, the eyes must take over – in traffic, in the household, in free time.
Example: blindness
Blind people also compensate for their handicap with other senses. For example, with intensive training, they can use their sense of hearing to orient themselves in space or their sense of smell to recognise people and places.
Formerly seeing people who have lost their sight because of illness or an accident can remember colours for the rest of their lives. People who have been blind from birth have no proper idea of colours, but they still understand the meaning of light and dark, of bright and dull.


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Louis Allen, 31 January 1964, Liberty, Mississippi
The morning train is turning like a compass needle
now the night has folded all its schedules
in the stands of pine and cedar, all its innumerable wings,
and tomorrow he will be gone from the lumber-yards
and the farmhouse windows that semaphore like televisions
and the vacant hands of Herbert Lee
and the killer and the quiet of having never seen a thing.
Quietly now, while his truck is idling,
dark decides from all the county's limbs,
shattering into birds that shatter then collapse to his skin.
Beaks lace eardrum and eardrum, his cheeks, his tongue,
their obsidians needling for what he's seen,
what he would surely tell, so he won't have to see it,
so he won't have to whisper it, even once, ever again.
Published in A Murmuration of Starlings (2008).
Text may vary slightly from the video reading.
Published: 1 April 2008
© 2008 Jake Adam York and Southern Spaces


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It's because the readers of this exceptional book-review and book-club blog have such passion for books and all things reading that I'm excited to be given this space to introduce you to Backword Books (backwordbooks.com).
Backword Books is a collective of authors publishing under their own imprints, and whose novels have received critical acclaim and attracted media attention. From our website:
There has never been a time like this. There's a perfect storm brewing: publishers less willing to take chances on new fiction writers and emerging media making it easier for writers to reach readers…
People read good books. The BACKWORD authors write good books. There are no longer any valid barriers keeping the two groups from finding each other.
Popular perception is that independently released novels are substandard. We don't completely disagree—many of them are. Just as many traditionally released books are substandard. Our purpose, our goal, is to introduce the good independent work to readers and break down the belief that if it's self-published—no matter what it is (and if it's not by someone famous)—it should be discounted. Publishers don't make good writers. Good writers make good writers.
A little about the Backword Books' authors and their books:
Kristen Tsetsi's 'Homefront' has a cab-driving former English professor, an unpredictable alcoholic Vietnam Veteran, an anti-war soldier, and a morbid mother in-law coming together in this realistic, sensual, and darkly humorous semi-autobiographical tale of waiting through a war deployment. [Heather J.'s note: I reviewed her book here - it was quite good!]
* 'One of the most powerful and brilliant books I have read in a long time. Make this the next book you read.' –PopCultureZoo
* 'Love and pain is the plot of Homefront, but in the hands of this talented artist they are a mighty force.' --James Moore, co-author of the bestselling, 'Bush's Brain: How Karl Rove Made George W. Bush Presidential'Bonnie Kozek's 'Threshold' is a take-no-prisoners noir thriller whose protagonist, Honey McGuinness descends into a dark, seedy, and dangerously seductive underworld in the fearless pursuit of her best friend's killer.
* 'This book kicked me in the teeth. Every few scenes your get you jaw rocked and your gut punched. It hurts like hell, but once the literary adrenalin starts juicing, there's no way you are going to stop.' -Ron Fortier, Pulp Fiction Reviews
* 'Let's face it, living life can be pretty graphic. And, ignoring it doesn't solve problems. Ms. Kozek takes the reader into such a seedy world brilliantly.' --Susan Haley, Fascinating Authors
Andrew Kent's 'Spam and Eggs: A Johnny Denovo Mystery' has the world-renowned detective finding a message hidden in a spam email, which sets in motion a case filled with metaphors and double-meaning.
* 'This book is different from any other that I have read. 'Spam & Eggs' is a clever, intellectual mystery that will leave you wanting more of Johnny Denovo in the future. I look forward to many more intriguing cases!' --RebeccasReads.com
* 'This is a book that in fact puts the writing of a lot of very seasoned and famous mystery writers to shame. . . . If true talent rises to the top then this is not the last we have heard from Johnny Denovo and his creator Andrew Kent.' --The Book Friar
Eddie Wright's 'Broken Bulbs' tells the story of Frank Fisher who finds himself involved in a twisting mystery full of addiction, desperation, toothaches, hamsters, a vindictive postal worker, and self-discovery.
* 'A brilliant and stunningly original work, by far the best novel I read in 2008.' --Alternative Reel
* 'This slim volume is the bastard child of Memento and William S. Burroughs, absolutely not for the faint of heart nor for anyone seeking a nice, simple beach read.' --Jason Pettus, The Chicago Center for Literature and Photography
R.J. Keller's 'Waiting for Spring' takes readers beyond the Maine tourists know, beyond lighthouses and lobster and rocky beaches, and drops them instead into a rural town whose citizens struggle with poverty and loss, yet push onward with stubbornness and humor.
* 'A strong debut. Her voice is strong, her talent is evident. [... This is the spring of Keller's work, the beginning and now we can anticipate the full bloom of summer in her next work.' --Barb Radmore, Front Street Reviews
* ''Waiting for Spring' is a very well-written, consistent story with a skillful eye for characterization. It's not a showy fantasy or clever comedy or groundbreaking genre-maker -- but it accomplishes something even better. It shows you a main character, and unfolding group of secondary characters, that live and breathe and...touch the reader's heart and mind.' --Sarah Suleski, Web Fiction Guide
Christopher Meeks's 'The Brightest Moon of the Century' brings Minnesotan Edward Meopian across thirty-six years, and such situations as an all-boys high school, a drive-in in mid-winter, and a mini-mart in an Alabama trailer park to find his place in the universe.
* 'Meeks manages to put together a thoughtful, fresh-feeling portrait of how we become who we are.' --Cherie Parker, Minneapolis Star-Tribune
* 'This focus on introspection is what pins the story together into more than a series of vignettes. No matter where Edward is, or what age he may be, his talent for both engineering frustrating, socially awkward situations and learning from them make him supremely sympathetic.' --Jennie Blake, Book Geeks
'American Book of the Dead' by Henry Baum will release soon. In the meantime, to read Baum's work, pick up The Golden Calf or the self-published North of Sunset, listed in Entertainment Weekly as the #1 Self-Published Novel. North of Sunset also won the Hollywood Book Festival Grand Prize.
Meeks' and Baum's work both made the EW list of best self-published novels, and critically-acclaimed Homefront--whose true-to-life characters and unique relationships continue to make it an increasingly popular book club selection--has been featured on NPR's "Faith Middleton Show," "Front Page," and a number of other radio programs.
The novels at Backword Books are literary fiction. All this means is that they can't easily be categorized on a shelf under "Romance," "Mystery," or "Sci-Fi." As a new collective, we're understandably still relatively small, but we're open to working with others and are looking at branching out. Because genre books have generally had an easier time of self-publishing, Backword is—for the moment, anyway—sticking to books that aren't too genre-specific. But we're thinking of connecting with a number of different niche publishers – a sort of Gawker-esque network of publishing collectives that all cross-promote. Thinking big: the idea is to have a romance self-publishing group, horror, science fiction, non-fiction, etc. But that's something that will take a little time and planning.
Until then, you're invited to stop by, take a look at our books, and read our blog. We have a lot of fun at Backword Books, and we even have the occasional heated discussion. Feel free to join in!
Coming soon: contests and giveaways. Subscribe to our blog to make sure you don't miss anything. Also, look for a Backword Books feature in an upcoming issue of Publishers Weekly.
- KristenThanks Kristen! And thank you also for the copy of HOMEFRONT that you are going to ship to one lucky reader.
*** How To Enter ***
- Leave a comment with your thoughts on Backword Books' authors collective - what do you think of their approach to self-publishing? Did any of their books catch your eye? A simple "enter me!" won't get you in.
- If your email address is not available through your profile or your blog, please include it in your comment.
- Everyone is eligible to win no matter where you live. Kristen has graciously offered to ship anywhere in the world - yeah!
- I'll choose the winner on Friday morning (8/14) so be sure to get your comment posted before then.


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Greetings, citizens of the future! Click here to enjoy the debut bi-weekly podcast from your pals from the 1947project.
Featured is a lively and sometimes tasteless recap of recent crimes covered on the blog (including the Bath Township school disaster), recommended events for the next two weeks for listeners in 1927 or 2007, A Moment with Crimebo the Crime Clown, Nathan Marsak's saucy faux adverts and a sneak announcement of a top secret Crime Bus tour not otherwise available to the public.
On the mic: Kim Cooper, Crimebo the Clown (Michael Perrick), Nathan Marsak, Mary McCoy and Joan Renner. We certainly hope you find this 40 minute podcast to your liking, and thank you for your kind attention.


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As the national conversation about gender identity gets increasingly intense, one of the nation's largest retailers is taking a stand.
In a statement titled, "Continuing to Stand for Inclusivity," Target makes its position clear:
"In our stores, we demonstrate our commitment to an inclusive experience in many ways. Most relevant for the conversations currently underway, we welcome transgender team members and guests to use the restroom or fitting room facility that corresponds with their gender identity." MORE
As reported by NBC's Today Show, a North Carolina law that prevents transgender people from using bathrooms that align with their gender identity has two billion-dollar companies withdrawing investments. A similar bill failed in the Tennessee legislature on Monday as lawmakers assess the legal challenges in other states where bills have passed.
The Target statement reiterates the company's support of the "federal Equality Act, which provides protections to LGBT individuals, and opposes action that enables discrimination.
"Everyone deserves to feel like they belong. And you'll always be accepted, respected and welcomed here." Target.com


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Receipt of statement of transactions
Transaction history displays incoming and outgoing transactions. When you make a purchase, or transfer funds to another contact, information is stored in the history of transactions on the purse. This section is available in all versions of WebMoney Keeper.
To get the statement of operations, use the service of reports.
Reports reflect transactions with this purse, as well as initial and end balance for a specified period of time. You can get an instant report or order scheduled reports. They will come at specified intervals (daily, weekly or monthly). If necessary, the extract can be certified and sent to the mailing address.
How to order a report?
Go to page of the report service
ExpandSettings of service and selection of draft report available after login in the service.
Login to the service
Select the report type
Expand- Scheduled reports will be generated with the specified date and at a certain periodicity will be delivered over the Internet to E-mail. You can also order the delivery of the paper version of the report via the Post of Russia.
- A one-time report allows a one-time order for report generation for the interesting period of time. It can be delivered via the Internet or by mail.
- Instant report provides information on the website immediately.
Enter the purse and the period
Expand- The service allows finding a unique transaction number in the system, which is assigned to each transfer, the date and time of the operation, and the purse of the contact.
- Under the table, summary information on the purse for the period is displayed.


text:
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The temple's legend is that when Saint Agasthiar went to Kasi / Varanasi, he stopped here to offer his prayers to Lord Shiva here who was in the name, Chathurvedeeswarar. The Lord's consort here was called Sivagami Ammai.
During the night, the Lord appeared in his dreams and told him that if he offered prayers here for 108 days, he need not come to Kasi and would get the blessing of Kasi here itself. So from the next day, he bathed in the nearby river of Aranya and brought a handful of sand and made a Siva Lingam out of it below a tree here called Azhinjal tree and performed his prayers for 108 days. On the 108th day, all the 108 Siva Lingam he made, merged into one which appeared like a figure of Lord Vinayaka. Reason - he didn't start his first day with prayers to Lord Vinayaka which is the custom. Looking at this miracle, the king Nandi Varman built the temple here. Since the 108 became one, a single Siva Lingam was made to represent the 108, and was called Nootreteeswarar or Ashtothreeswarar. His consort was Ashtothravalli.
The entire temple was white washed and I couldn't spot any inscriptions! So was it really built by Nandi Varman - I don't know!
That insect egg like thing attached the tree is actually the seed of the tree! |
Bark Texture |
Btw, just outside the temple, was this old, typical village house that had fallen into disuse!
Ph. no. of the temple priest: +91 98437 08593.


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