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It's been busy over here lately, with lots of researching and recipe testing going on in between nap times and the demands of a nearly eight month old (none of which I am able to do without the help of Marco, my husband and number one pasta maker), but finally I'm very excited to announce the launch of my new weekly column over at Food52, dedicated to regional Italian food traditions and recipes.
The Regional Italian Food column will join the ranks of the other brilliantly themed columns, such as Gluten Free Girl's The Good Life (gluten free recipes), Half Way to Dinner (great ideas for how to stretch your staples), Genius Recipes (an endless source of inspiration of truly genius ideas), Cooking for Clara (a baby food column!) and Strange Food History, just to name a few of my favourites.
What I am pleased about most is what the launch of this column says about the love and interest in regional Italian food outside of Italy – it is, after all, the only food52 column dedicated to a specific country's cuisine, and not only, but that country's specific regions. It's true that Italy's regions are still, after 150 years of unification, distinctly different from each other, carefully guarding their identities through their food for the most part. It's a constant reminder that "Italian cuisine", in many ways, does not exist. It is many cuisines. I cannot help but think of the phrase written by Mario Pei (Roman-born Columbia University linguist) in Ada Boni's 1950 publication in English of her 1927 classic cookbook, The Talisman:
"The countries that display the widest range of dialects are also the ones in which cookery assumes the most diversified forms; while the lands where dialectal differences are slight exhibit a certain monotony in their food. Italy appears very close to the top of the list among countries with a wide dialectal array, and correspondingly, the food of Italy is so diversified that the cuisine of one region is practically foreign to another."
What a Tuscan eats on a regular basis is quite different from what a Venetian eats. The Arabic influences of Sicilian cuisine could not be further from the French influences in Piedmont's kitchens or Liguria's maritime influenced dishes. This column will take a look at these distinctly different regions, all twenty of them, exploring some age old dishes, some favourites, some lesser known.
I couldn't help but start with something Tuscan, naturally. After making my home in Florence for seven years, Tuscan food is what drives this blog, as well as most of the happenings in our kitchen, even now, many miles away in Melbourne. Funnily enough, it's a pasta dish that isn't so easily found in Florence as it comes from Siena and its surrounding countryside (and here we go with what happens in each region – the cuisine is even distinct city to city, town to town… but we won't go too far into that just yet).
Pici are thick, hand rolled noodles made from just flour and water (no eggs), a sign of its poor origins, and typical of southern Tuscany. It is a dish that reminds me of Tuscany itself in many ways. Firstly, only a Tuscan would think of dressing pasta in bread. The thrifty use of very simple ingredients, scraped up from the pantry, that results in a dish that packs a punch in terms of flavour is the mark of ingenious Tuscan cooking. And finally, aesthetically, with its golden olive oil-seeped breadcrumbs, thick, hand-rolled noodles, flecks of chilli and perhaps parsley, I am reminded of the golden countryside of the Crete Senesi, outside of Siena, the undulating clay hills dotted with cypress trees and crumbling farmhouses. Yes, this is a dish that is all Tuscany.
For the article, head over to the Regional Italian Food column. Below you'll find the list of ingredients in grams (cups and tablespoons are on the Food52 recipe) and for the rest of the recipe, head to Food52.
Pici con le briciole – Pici with breadcrumbs
Serves 4
For the pici:
- 200 grams of plain flour
- 200 grams of semolina flour
- 200 ml lukewarm water
- 1 tablespoon of olive oil
For the dressing:
- 60 ml extra virgin olive oil
- 2 cloves of garlic, chopped
- 4 salted anchovy fillets
- a large handful of homemade breadcrumbs (always better to use than packet breadcrumbs for this)
- salt, pepper and dried chilli, to taste
- grated pecorino cheese and chopped parsley, optional
See the rest of the recipe at Food52.


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Who doesn't enjoy a little healthy competition? Employers, maybe?
Thanks to the Federal Trade Commission, non-compete agreements are going away, leaving employers with fewer legal means of keeping workers from switching jobs or starting their own business.
FTC chair Lina Khan says, "Non-competes are bad for workers and undermine labor competition. When one set of workers are locked in place, that reduces churn overall."
This affects about one in five Americans, especially those in technology and healthcare. The proposed ban would nullify existing clauses. And the FTC even estimates $300 billion in wage increases for about 30 million American employees.
– Vikki Locke, C2 Communications, The Southwest Florida 100

subset: commoncrawl


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Jimmie Johnson Parts Ways with His Crew Chief of 17 Years
There will not be an eighth NASCAR title for Jimmie Johnson and Chad Knaus.
Hendrick Motorsports will split the driver and crew chief — the longest pairing in NASCAR — at the end of a disappointing season. Johnson has not won a race in 17 months and was knocked out of the playoffs in the first round. Johnson and Knaus won their record-tying seventh championship in 2016 but have slumped in the two years since.
"It's no secret that Chad and Jimmie have experienced their ups and downs over the years," owner Rick Hendrick said. "They're fierce competitors, great friends and have immense respect for one another. They also fight like brothers. All three of us agree it's finally time for new challenges and that a change will benefit them and the organization."
Johnson and Knaus were partnered in 2002 when Knaus built the No. 48 team as part of a Hendrick expansion. They won a record-tying seven titles and made the playoffs in all 15 years of its existence.
There has sometimes been tension between the two, and Hendrick more than once considered splitting them for the good of the organization. The time finally came Wednesday in a personnel shakeup announced by the rebuilding organization.
"Chad and Jimmie will go down as one of the greatest combinations in sports history," Hendrick said. "They defied the odds by performing at a championship level for longer than anyone could've possibly imagined. What they've accomplished together has been absolutely remarkable and will be celebrated for generations. This has been an incredible, storybook run."
The changes Hendrick will implement next season brings back former employee Kevin Meendering to the organization to partner with Johnson. Meendering spent 16 years with Hendrick beginning with a high-school internship in the chassis department. His last three seasons have been at JR Motorsports, a Hendrick affiliate, as crew chief for Elliott Sadler.
Hendrick called Meendering one of the "most sought-after talents in the garage" and said he'll be ready to take over the No. 48 team on his first day.
"He's a respected, forward-thinking crew chief," Hendrick said. "He's the right fit for Jimmie at the right time. With an established No. 48 team behind them, I believe they will perform at a winning level next season and chase that eighth championship."
Knaus, meanwhile, will crew chief William Byron and the No. 24 team next season.
Knaus started with the No. 24 team and had a variety of crew roles under mentor Ray Evernham from 1993 until 1998. Knaus was an integral part of Jeff Gordon's 1995 and 1997 Cup titles.
Darian Grubb will be moved from Byron's crew chief to a technical director role that supports Hendrick Motorsports' engineering and vehicle development resources.
Hendrick Motorsports is in a rebuilding mode following the retirements of Gordon and Dale Earnhardt Jr. and the firing of Kasey Kahne. Johnson is the veteran, surrounded by rookie Byron, and promising youngsters Chase Elliott and Alex Bowman.
Elliott is the only Hendrick driver to win a race this season and locked himself into the third round of the playoffs with a victory last weekend at Dover.
"We believe these decisions will provide us with a tremendous opportunity for success in the future," Hendrick said. "As an organization, we are here to win races and compete for championships. Everything we do comes down to putting our people in the best possible positions to further that objective. Winning is what it's all about."
The Western Journal has reviewed this Associated Press story and may have altered it prior to publication to ensure that it meets our editorial standards.
Truth and Accuracy
We are committed to truth and accuracy in all of our journalism. Read our editorial standards.


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It is important to discuss your specific needs with our staff, so we can create the radiation doors that will provide maximum protection for you in Brisbane, QLD.
Medical staff and patients must be protected when they are working in an environment where radiation is a concern. Radiation doors protect both medical and nuclear facility personnel from exposure to stray radiation. At Spartan Doors, we create radiation doors that can be single or double doors, depending on the required configuration, with double doors featuring a lead-lined insert to block stray radiation from passing between the door leafs.
Whether a facility utilises x-rays or radiation doors are needed for nuclear medicine testing, our radiation doors are designed with a solid wood core with bonded hardwood edge strips. Lead sheeting, with thicknesses dependent upon application, is bonded to both sides of the timber core followed by a paint grade skin. Lead is used as a radiation shield because of its high density and high atomic number, making it effective at stopping or scattering both x-rays and gamma rays. Depending on the needs for your site or facility, you may want to ask our team at Spartan Doors about viewing panels as an addition to radiation doors that allow visibility without reduced performance.
Every facility in Brisbane, Queensland has different requirements for the safety and security of their personnel, visitors, and medical patients. Because of these variables, it is important to discuss your specific needs with our staff, so we can create the radiation doors that will provide maximum protection. At Spartan Doors, we provide a quick turnaround, and our professional staff is available to answer your questions about our specialised doors. Contact us today to learn more.
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found for ""
Publications by Dr. Dhawan
"Ultrafiltration and Low Pressure Reverse Osmosis Systems for Point-of-Use Water Treatment", G.K. Dhawan, 1997
"Mistakes to Avoid in Design & Operation of Reverse Osmosis Systems", G.K. Dhawan
"Low Pressure Reverse Osmosis Systems", G.K. Dhawan, Water Technology, September 1990
"Optimum RO Components", G.K. Dhawan, Water Conditioning and Purification, July 1990.
"Selecting RO Membranes", G.K. Dhawan, Water Conditioning and Purification, July 1989.
"Reverse Osmosis Membranes and Systems for Low Tap Pressures", G.K. Dhawan, 1988
"Ultrafiltration (Back to Basics)", G.K. Dhawan, July 1985
"Solutions to Membrane Fouling", G.K. Dhawan, 1985
"Investigating New Applications for Reverse Osmosis and Ultrafiltration", G.K. Dhawan, 1985
"Improvement in the Point-of-Use Cellulosic Membranes", G.K. Dhawan, Water Conditioning and Purification, 1986.
"Tubular Cellulose Acetate Reverse Osmosis Membranes for Treatment of Oily Wastewaters", G.K. Dhawan, Sourirajan, S. Kutowy, O., Thayer, W.L. and Tigner, J., Industrial and Engineering Chemistry, Product Research and Development, 20, 354-361, 1981.
"Applications of Reverse Osmosis and Ultrafiltration for Pollution Control of Industrial Effluents", G.K. Dhawan, Proceedings of the 24th Canadian Chemical Engineering Conference, Ottawa, October, 1994.
"Development of Reverse Osmosis Membranes and Systems", G.K. Dhawan and Webb, R., Report on 3 year development program, National Research Council of Canada, IRAP Contract ROPE-184, completed September, 1976.
"Applicability of Reverse Osmosis Membranes to Ultrafiltration Applications", G.K. Dhawan, National Research Council of Canada, Contract Report, Co9ntract OSR77-00065, completed October 1977.
"The Development of Reverse Osmosis-- Ultrafiltration Technology", G.K. Dhawan, National Research Council of Canada, Contract OSQ77-00159, completed November 1979.
"Recycling and Reuse of Industrial Wastewater", G.K. Dhawan, presented at Southwestern Water Conference on Water Conservation, San Diego, CA, November 11 & 12, 1982.
"Water Recycle Potential by Reverse Osmosis", presented at The Association of Water Reclamation Agencies, Vista California, August 1982.
"Performance of 12,000 M/day Seawater Reverse Osmosis Desalination Plant at Jeddah, Saudi Arabia", presented at Third Congreso Nacional De Tratamiento De Agua, Mexico City, Mexico, March 10-12, 1982.
"Concentration of Gelatin Solutions by Ultrafiltration", G.K. Dhawan and Wein, E., presented at The American Chemical Society, 20ht Anniversary Symposium, Synthetic Membranes, and Their Applications, Las Vegas, August 25-28, 1980.
"The Application of Reverse Osmosis and Ultrafiltration for Pollution Control of Industrial Effluents", G.K. Dhawan, 24th Canadian Chemical Engineering Conference, Edmonton, Alberta, June 1975.
"Reverse Osmosis for the Treatment of Brackish Water", G.K. Dhawan, Alberta Mechanical Contractors Conference, Edmonton, Alberta, June 1975
"Emulsified Oily Waste Water Treatment by Ultrafiltration", G.K. Dhawan
June 1978: 25th (Silver Anniversary) Ontario Industrial Waste Conference, Toronto, Ontario
July 1978: International Waste Treatment
1979: Chapter in Waste Treatment and Utilization; Theory and Practice of Waste Management, Pergamon Press of Oxford, England -
"Maple Sap Concentration by Reverse Osmosis", G.K. Dhawan, 20th North American Maple Sap Conference, Deerfield, MA, October 1979
Case Studies
- Case Study: Experience to Date in Troubleshooting Problems Encountered with the Encina Power Plant Reverse Osmosis System
Written By: William H. Stroman, Laboratory Projects Analyst, San Diego Gas & Electric, 1995
Presented at: Applied Membranes, Inc. Seminar: Design, Operation & Maintenance of Reverse Osmosis Systems by Dr. Gil Dhawan - Case Study: "Zero Discharge Industrial Wastewater Treatment at R.D. Nixon Power Plant", G.K. Dhawan, January 1983
Other Related Publications
"Applied Membranes Expands Unique Offerings in U.S. Dairy Sector", Alyssa Mitchell, Cheese Market News
"Improving Water Quality Can Yield a Better Crop", Nancy Walery, San Diego County Farm Bureau
Contact us
for a quote or for any additional information
or call us at 1.800.321.9321


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I-Team In-Depth
Purdue Pharma Payouts Decline As Fewer Clinicians Report Taking Money
Purdue Pharma, in bankruptcy and embroiled in thousands of lawsuits for its role in the opioid crisis, paid Connecticut doctors and nurse practitioners $394,662 in 2018, a slight drop of 9% from $433,246 the prior year, federal data show. But more significantly, the number of doctors and nurse practitioners who reported receiving payments shrunk by 51%, from 204 to 99. "I would assume it was the stigma," said Dr. Arthur Gale, contributing editor at Missouri Medicine. "You can't pick up a newspaper and not read about Purdue. Even the greatest promoter of OxyContin and narcotics, Dr. Russell Portenoy, is now saying he was exposed to false information."
Data from the Centers for Medicare and Medicaid Services (CMS) show that a small group of doctors in Connecticut received the bulk of payments during the two years.


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This is FRESH AIR. I'm Terry Gross. My guest Noah Baumbach is best known for writing and directing the films "Frances Ha," "Greenberg" and "The Squid And The Whale." His new film, "The Meyerowitz Stories (New And Selected)," is a comedy with a lot of real emotional pain. It's about the complicated mix of love, resentment and anger in a complicated family. It revolves around three adult siblings who share a father. The older brother and sister are from the father's second marriage. The younger brother is from the third marriage.
The father, who's now on his fourth marriage, is played by Dustin Hoffman. He's a self-absorbed sculptor who believes he's an important artist who's never gotten the recognition he deserves. He never paid much attention to his first two children, Danny and Jean, played by Adam Sandler and Elizabeth Marvel, but they're the ones who still live close to him in New York and look out for him. His youngest son, Matthew, played by Ben Stiller, has moved 3,000 miles away to LA, where he's a successful money manager. He's flown back to New York to arrange for the sale of his father's house and artwork, but he hasn't told his half-siblings. When his half-brother finds out about the plan to sell the house, he's incensed.
Here's Adam Sandler as Danny with Dustin Hoffman as his father and Emma Thompson as his father's fourth wife.
ADAM SANDLER: (As Danny Meyerowitz) You're thinking about selling the house. Why?
EMMA THOMPSON: (As Maureen Meyerowitz) It's very expensive to keep this place up, and we're spending more time at the country house now.
SANDLER: (As Danny Meyerowitz) But the country's yours.
THOMPSON: (As Maureen Meyerowitz) Well, I had it before we got married, but it's ours. Everything is ours now.
SANDLER: (As Danny Meyerowitz) You're selling all the art. Dad, why?
THOMPSON: (As Maureen Meyerowitz) We don't have room for it.
SANDLER: (As Danny Meyerowitz) Do you want to sell?
DUSTIN HOFFMAN: (As Harold Meyerowitz) Oh, come on. Cabrera just grounded into a double play.
SANDLER: (As Danny Meyerowitz) Matt set this up?
HOFFMAN: (As Harold Meyerowitz) I told him it was a family discussion.
SANDLER: (As Danny Meyerowitz) I think it is. I don't think you should sell at all. I'm telling you.
HOFFMAN: (As Harold Meyerowitz) I didn't expect you to get so upset about it.
SANDLER: (As Danny Meyerowitz) I am. I am upset about it.
THOMPSON: (As Maureen Meyerowitz) Why do you care?
SANDLER: (As Danny Meyerowitz) I don't know. We've lived here for years.
HOFFMAN: (As Harold Meyerowitz) You haven't. This is where Matthew grew up. You lived in Queens with your mother.
SANDLER: (As Danny Meyerowitz) It's a Meyerowitz tradition, this house.
THOMPSON: (As Maureen Meyerowitz) Well, I guess I wouldn't know about that.
SANDLER: (As Danny Meyerowitz) I didn't mean it like that.
HOFFMAN: (Harold Meyerowitz) She gets sensitive about these things. She feels like an outsider. She doesn't have kids of her own. I tell her, technically you're their stepmother.
GROSS: Noah Baumbach, welcome to FRESH AIR.
NOAH BAUMBACH: Thank you.
GROSS: So I love this movie, and it's about what so many families are like now - different sets of parents and siblings and all the opportunities that presents for more resentments and maybe sometimes more love. And I would say you're very sympathetic to all of the characters in this movie except maybe - not so much the father.
GROSS: How would you describe his type of narcissistic personality? And this is the character played by Dustin Hoffman, who's an artist who has, like, the upmost confidence that his work is great, under-recognized but great.
BAUMBACH: Well, I think he has the utmost confidence in a certain way, but I think there's some aspect of him, too, that feels like a failure. And I think in that way, I do have a lot of sympathy for him and love for that character because I think he is in a lot of pain. He just can't access it.
GROSS: The Dustin Hoffman character, the father - he's a sculptor and a college teacher, and he thinks he's worthy of much more recognition than he's received. His friend L.J. has just had a museum show at the Museum of Modern Art. And so the father kind of has to convince himself and everyone else that L.J. isn't really all that talented 'cause if L.J. is that talented, he's kind of, like, a threat to the Dustin Hoffman character. At least that's how I see it.
So he starts telling his son, you know, ultimately L.J. is a popular but unimportant artist. It's a disturbing commentary on the culture that truly ordinary work gets reverent reviews by the critics. I feel like you've heard that, that (laughter), like, you've almost, like, borrowed that from things you've read or heard people say.
BAUMBACH: Well, it was something that Dustin and I talked about when we did that scene, that, you know, because, you know - Harold goes to this opening of his friend's, you know, and it's this, you know, big retrospective at the Museum of Modern Art, which would be the sort of the pinnacle of, you know - or a pinnacle of, you know, an artist's career. And you know, Harold is feeling unseen and unrecognized, and - but actually, all around him, people are being - you know, L.J. is very nice to him and trying to involve him and include him in the in the, you know, in the festivities and introduces him to Sigourney Weaver. He has, you know - he's - but Harold really only knows how to feel slighted I think.
But yeah, and to your question, I - you know, they're definitely a version of things I've heard - this sort of notion that someone else needs to be lesser-than so you can feel better, you know? I mean Harold, you know, definitely lives in that kind of mindset.
GROSS: So there's one more scene I want to play, and this is the scene between the two brothers who are the sons of different marriages. They have the same father. They have different mothers. They live on different coasts. They don't see each other very much, and they're back together again, uniting around their father who has been in the hospital. So they're catching up on each other's lives. And so in this scene, Danny, who's played by Adam Sandler, and Matthew, who's played by Ben Stiller, are going up the elevator in the hospital, catching up with each other.
SANDLER: (As Danny Meyerowitz) Dad says you started your own company.
BEN STILLER: (As Matthew Meyerowitz) Yeah, a couple of other guys and me decided to...
SANDLER: (As Danny Meyerowitz) How does that work? You just tell your boss, like, I'm going to start my...
STILLER: (As Matthew Meyerowitz) Well, I was one of the partners, so I didn't technically have a boss.
SANDLER: (As Danny Meyerowitz) Right, no, I understand. So you got a better offer.
STILLER: (As Matthew Meyerowitz) No. There were no offers. That's what was so scary. We were creating our own opportunity.
SANDLER: (As Danny Meyerowitz) Because you wanted something smaller.
STILLER: (As Matthew Meyerowitz) Bigger - many of the firm's clients came with us.
SANDLER: (As Danny Meyerowitz) Which was surprising.
STILLER: (As Matthew Meyerowitz) No. We expected it. We can't legally ask clients to come with us for...
SANDLER: (As Danny Meyerowitz) But they don't have much choice.
STILLER: (As Matthew Meyerowitz) It's totally their choice.
SANDLER: (As Danny Meyerowitz) No, I know because you have their money.
STILLER: (As Matthew Meyerowitz) Well, their money is with the firm, but their money is in investments or...
SANDLER: (As Danny Meyerowitz) I understand. My buddy Ptolemy who lives across the street or lived across the street from...
STILLER: (As Matthew Meyerowitz) Dad told me about your (unintelligible).
SANDLER: (As Danny Meyerowitz) Ptolemy is like you.
STILLER: (As Matthew Meyerowitz) I'm sorry.
SANDLER: (As Danny Meyerowitz) He works in...
STILLER: (As Matthew Meyerowitz) But also...
SANDLER: (As Danny Meyerowitz) ...Arbitrage.
STILLER: (As Matthew Meyerowitz) Yeah, that's not what I do.
GROSS: (Laughter) The movie strikes me as being very carefully written. Every moment seems to count. It doesn't seem like there's much improvisation in it. It seems very planned in a good way.
BAUMBACH: I'm glad to hear you say that (laughter).
GROSS: Yes, very composed in a good way.
BAUMBACH: Yeah.
GROSS: So what's it like to have somebody like - to have people like Adam Sandler and Ben Stiller on the set and not - and discourage improvisation (laughter)?
BAUMBACH: (Laughter) What fool would do that? Well, first of all, I also will say I'm glad that's your observation because I think pretty much every Q&A, I get asked how much improvisation was in the movie, and I can't help but feel somewhat insulted by it because I think I'm working very hard on these things. And they are very planned and very structured. And it was something Dustin was very articulate about. I think he even kind of even helped me understand kind of what I was doing and what I've been doing in a more explicit way because he would talk about how stylized the writing is but that when it's done right, it doesn't actually feel that way. It feels maybe more naturalistic. But actually it's all rhythmic and very specific, as you say.
And that's true also of the blocking in the movie and the camera work. And you know, it's all, you know - I think of them as very stylized and constructed in a certain way, but when actors come now to work on my movies, I think they all kind of know what they're in for, so they - you know, nobody's like trying to slip in new lines and things. They're all prepared extensively and want to do, you know, what's on the page.
GROSS: So since this movie is so much about the children of divorce and of half-siblings from two separate marriages, when your parents divorced, did they marry other people and have children with those other spouses?
BAUMBACH: They didn't have children, but they both married again.
GROSS: I'm wondering if your parents became different people when they were no longer a couple 'cause I think most people change depending on who they're with. I think most people have, you know, like...
BAUMBACH: Yeah.
GROSS: ...Like, code - I think most people have some kind of personality code switching in addition to maybe language code switching where you're funny with one person and you're more serious with another and...
BAUMBACH: Sure.
GROSS: You know, you talk more with one person and less with another person. You know, you're more quiet and introverted with one person than another. So, like, did your parents change when they became couples with different people, and did you change when you became part of those different units?
BAUMBACH: Yeah, I'm sure they did. And I mean, I observed it, and I'm sure they did in ways that at that time I didn't even see. I mean, I remember, like, the first Christmas after they separated and both of them got these big, bushy trees. And we'd always had these really bony trees. And I remember thinking, like, why didn't we do this when we all lived together? Why now do we have the good tree, which is maybe a symbolic version of what you're saying (laughter), you know?
GROSS: Do you think that watching your parents' divorce and remarriages made you any more or less enthusiastic about the prospect of becoming a parent yourself?
BAUMBACH: I've thought about that. I mean, and also I'm divorced now myself. You know, consciously, I'd say no, actually. But you know, I think it has to have affected things. I didn't really - I mean, I remember people asking me that because I got married around the time that "Squid And The Whale" came out and people saying, oh, how ironic. You know, maybe they didn't quite phrase it that way to me, but they were thinking (laughter) probably of that, you know, you've just taken this leap, and yet you're telling this story of a marriage falling apart. And I - you know, it didn't seem strange to me at the time. I wanted to get married.
GROSS: So when you did divorce and it wasn't long after your son was born, did you feel like, oh, how can I do this to my son? You know, like, my parents did this to me; how could I do it to my son?
BAUMBACH: Yeah. You know, it's such a bad time, and you just - I just - you know, I just felt bad all over. I mean, I didn't even feel it that kind of dramatically. Like, oh, no, I've done the same - you know, I just felt like I wish this wasn't happening.
GROSS: Yeah, yeah. So let's take a short break here, and then we'll talk some more. If you're just joining us, my guest is Noah Baumbach, and his new film is called "The Meyerowitz Stories (New and Selected)." We'll be right back. This is FRESH AIR.
GROSS: This is FRESH AIR. And if you're just joining us, my guest is Noah Baumbach. He directed the films "The Squid And The Whale," "Frances Ha," "Greenberg." His new movie, which he also wrote and directed, is called "The Meyerowitz Stories (New and Selected)."
So part of what happens in your movie is that the father is hospitalized. And I don't want to give away too much of the story. But the two sons and the daughter and - the older son and daughter are from one marriage. The younger son from another marriage, but they all have the same father. They're all in the hospital, you know, trying to watch over their father and deal with the doctors and the nurses and all the medical issues you have to deal with when someone's in the hospital. Had you had a hospitalization experience with someone who you're close to or yourself?
BAUMBACH: Yeah. I mean, I've - that experience was, you know - in some ways came from my own experience being in the hospital - I mean, being with somebody who is in the hospital and, at the time, I mean, that just horribly vulnerable feeling. But I did find something also sort of comic about it, too, just how the nurse that you - you know, you think, you know, understands and is the caretaker is suddenly relocated to another floor. And you get a new nurse who knows, you know - doesn't have the same information and, you know, might be passive aggressive and just that sort of frustration of trying to deal with all of these complicated emotions in an institution like a hospital.
And it was after I made "The Squid And The Whale." And I met Mike Nichols, and he said - it was one of the better compliments I've gotten in my career. But he said, you know - reminded me of why I got into movies in the first place, which is revenge.
GROSS: (Laughter).
BAUMBACH: And (laughter), you know, in a way, I think you could say in some way particularly it was my - not revenge on an individual but my revenge on a time in my life.
GROSS: So one of the issues for the sons is, is it, like - is it OK to leave for a while? (Laughter) I know when, like, the Ben Stiller character...
BAUMBACH: Right, right.
GROSS: ...Says to the nurse so, like, I have a meeting with a client. Is it OK for me to leave (laughter)?
BAUMBACH: Yeah.
GROSS: Like, asking the nurse for permission. But I've been in that situation with my parents. And like, you don't know if it's OK to leave. First of all, you feel guilty about just even walking out of the room. And second of all, like, you don't know, like, is there going to be drama if I leave for an hour or two...
BAUMBACH: Right.
GROSS: ...Or even longer? Like, are they going to still be alive? Is there something that terrible is going to happen? Are we at a transition point? Like, what's going on? But then the nurse or the doctor looks to you, like, that's your choice, you know?
BAUMBACH: Yeah, yeah. That - well, I was thinking in a way that the hospital sort of takes the place of a kind of parental role in a way for them because it is like in - you know, in absence of having the parent there, you're looking to all these other people to tell you it's OK. And you know, what should I do? You know, you don't know what the protocol is or the process is. And you know, at the same time, you're, you know - I think there's almost this sort of, like - for some people, it's like they get angry and confrontational. And for other people, they get kind of, like, overly polite, you know, and sort of, like, they don't want to say the wrong thing for fear of some kind of retribution or something, you know, that...
GROSS: Absolutely. Like, if you're the model relative (laughter), then...
BAUMBACH: Right, right. You know, they...
GROSS: And then maybe they'll treat, like, your loved one, like, extra nice or at least not badly, you know...
BAUMBACH: Right, right, exactly, yeah.
GROSS: ...Because, you know, in all honesty, there's so much, like, sloppiness in hospitals. It can be really frightening, you know, whether it's getting the wrong medicine or not getting the medicine or disregarding certain symptoms that, like, you see this change, but no one else seems to have noticed it. And you have to point it out and then point it out in such a way so that, like, you're being nice about it and you're not challenging their professional credentials by saying, look; they were better yesterday, and they're worse today. Something's wrong.
BAUMBACH: Right, which happens in the movie, that thing of - you realize you know more than they do in some cases. And that's a scary thought, you know, because you can't make them better.
GROSS: I - there was a great doctor once when my mother-in-law was in the hospital. He said, like, you know her really well. What do you see that's different? And I thought, like, wow that's really great...
BAUMBACH: Yeah, that's what you want to hear.
GROSS: ...To ask us and not just, like, tell us (laughter). He was - he was really terrific.
BAUMBACH: That's what you want to hear. Yeah, I mean, I - you know, it's true of hospitals, it's true of the legal system, you know, going back to what you were saying about divorce, you know, of these times in your life where you're at your most frayed and afraid.
GROSS: Then there's also the thing when it's a parent, as it is in the movie, seeing a parent who had been this very powerful figure when they were younger, and, when you were younger now be in a hospital bed. And to be, like, an older, weaker person in a hospital bed, it's such a turning point in your relationship with your parent when you see them in that kind of condition. And I think the adult siblings in the movie are going through that. Is that something that you went through too with whoever it was that was in the hospital of seeing them in a different way because they were in a weakened, vulnerable state from which they may never return to who they were before?
BAUMBACH: Yeah, absolutely. And you still have - you know, in the case of a parent, you still have all the, you know, complicated feelings, you know, of love and - but also whatever else, you know, with the strong, formidable figure that went in. And they're all put on hold, you know, because they're in this other state, you know. And, you know, in the movie, Harold is also such a verbal character and, you know - and he's actually in the hospital, can't speak the same way. You know, it's this sort of like aphasia or whatever he has there and he - Ben's character, Matthew, has this, like, highly verbal fight with him, which ends in screaming at him.
And then, you know, in the next sequence, he's, you know, at his bedside and the father is being gentle and inarticulate and that's, you know, sort of trying to play out that just what you're saying there. You know, I also thought about it in movies, too. I mean, this will give stuff away. We can - I guess people can turn down the volume for a second. But I think it's worth pointing out. I think in movies death often is a catharsis in a movie that it isn't necessarily in life. And I thought, well, what if the parent doesn't die? You know, in a way, doesn't that highlight sort of something else, which is you went through this whole experience and then they're back out and they're the same as they were when they went in.
GROSS: Exactly. And you're back to dealing with the same resentments again. Like, you did all the forgiveness thing. You made your peace with everything. And then the person recovers. The father recovers and, like, you're back to the same annoyances and resentments and like nothing's change.
BAUMBACH: Yeah, absolutely. And that to me I thought dramatically and for the movie highlighted kind of what I wanted it to be about, which is that you can't - this is the stuff you've internalized. You know, your parents are in you now, so you've got to now - you know, you have to deal with this on your own, you know. And they may be there, may not be there. But, you know, this is up to you to - you know, you've got to handle it yourself.
GROSS: My guest is Noah Baumbach. His new film, "The Meyerowitz Stories: New And Selected," opens in select theaters Friday and will also be available on Netflix starting Friday. We'll talk more after a break. And I'll talk with the author of a book about the making of the classic film "Casablanca." Next month marks the 75th anniversary of the film's opening. I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross, back with Noah Baumbach, who wrote and directed the films "Frances Ha," "Greenberg" and "The Squid And The Whale." His new film, "The Meyerowitz Stories: New And Selected," will open in select theaters and be available on Netflix starting Friday. It's about the complicated relationships in a complicated family. It stars Adam Sandler, Elizabeth Marvel and Ben Stiller as adult siblings who have the same father but are from two different marriages. Dustin Hoffman plays their father, a self-absorbed sculptor who teaches at Bard College.
The Dustin Hoffman character, the narcissistic father who's so wrapped up in his art and thinks his art is really great and that he's unrecognized, he's such a recognizable father figure. Did you base it on anybody in your life? And is that an uncomfortable question to answer?
BAUMBACH: Well, my grandfather, who was named Harold...
GROSS: Oh, like Dustin Hoffman's character.
BAUMBACH: Like Dustin Hoffman's character - was a painter. And we used to go to - this is back where you could be a painter and teacher and have a townhouse in Brooklyn Heights and - but we would go to their home on Henry Street, and he would take us up to his studio, and he would put up the new work for us to see. And, you know, he would say things like, I think this one's a masterpiece. And then, you know, we would all nod and, you know - and I remember feeling very intimidated by it because I couldn't understand. You know, he was painting abstractly at that point, and I couldn't understand it as a kid, but I heard all about, you know, stories of him and, you know, his supposed - you know, he was contemporaries with Milton Avery and Rothko.
And there were all these sort of reasons given why he wasn't kind of on their level and - success-wise. And it was his sort of irascibility, his - you know, he was known for taking work down off walls if people didn't - you know, gallery walls if people didn't appreciate it correctly or - he died when I was in my 20s. And he had, like, a show at Brooklyn College that we all went to when I was in my 20s. And so I - a lot of that kind of I guess was inspired by him.
GROSS: So did your grandfather pay attention to you?
BAUMBACH: Yes, but I think it was clearly on his terms. You know, I mean, it was...
GROSS: Was it your job to admire him?
BAUMBACH: I think - I kind of knew that intuitively, but - I posed for him once, you know. Like, I wanted to get my painting done. I remember that was something that meant a lot to me because other people in the family had gotten their portraits. But by the time I was doing it, he was - again, things were much more abstract, and I felt like I wanted mine to look like me, and it didn't whereas he had done portraits earlier in his career that kind of looked like, you know, they were more realistic. And mine looked like some kind of ghost or something.
GROSS: You grew up in Park Slope and the home that you grew up in was also used as the home in the movie "Heartburn," which has a screenplay by Nora Ephron, and it's based on her divorce from, I want to say, Dustin Hoffman (laughter).
BAUMBACH: (Laughter) Yeah. Carl Bernstein.
GROSS: Carl Bernstein, yes. He plays Carl Bernstein in "All The President's Men" and her - Nora Ephron's actual divorce was from Carl Bernstein. So that's hilarious. Did you feel six degrees of separation from Dustin Hoffman before you started working with him?
BAUMBACH: Well, I mean, I had great love for Dustin Hoffman before I knew him because of, you know, all the movies I'd seen him in. I mean, he felt very much part of my childhood, you know. But Mike Nichols directed "Heartburn," who I got to know and become friends with, which was great, so I did have that sort of, like, connection. And it also was a movie that sort of had like so much talent in it. It was like - it was Meryl Streep and Jack Nicholson and Catherine O'Hara and Stockard Channing. And then also, like, Milos Forman was in it, and Nestor Almendros was the cinematographer, who I - shot all these great French New Wave movies I later would love. And so when I look back on, like, all those people who are in our kitchen, it was kind of amazing.
GROSS: So did you learn anything about filmmaking when "Heartburn" was shot in your home? Were you on set? Did Mike Nichols let you watch what was happening? How old were you?
BAUMBACH: I think I was, like, 16 something. Well, one thing that happened was there was - a hurricane came that weekend or at least it was going to come. I think it was - it was downgraded eventually. But they couldn't shoot. They were supposed to only be in our house for a few days, but then they had to break down and wait. So all the equipment was left in our home, including the hot set, which had all this, like, lobster and stuff on the - and so we kind of lived for a few days sort of in and around the movie (laughter) while we waited out this hurricane.
But, you know, I don't know that I consciously did except it was the only time I'd ever been on a film set until I made my first movie. So when I did make "Kicking And Screaming," which was my first movie - I was 24 when I made it - that was, like, what I thought, well, I remember this from this or that from "Heartburn." I remember the PAs - like or how the AD talked or how - it was sort of my only, you know, instruction manual for, you know, the sort of protocol of a movie set.
GROSS: Why was it your house that was chosen?
BAUMBACH: It was totally random. It was also a double for a Washington, D.C., home. And we - at the time, it was, like, being cast in a movie. I thought - I was so excited about it and I really couldn't believe it. I couldn't believe - because movies - you know, I loved movies, and I went to movies all the time. My parents loved movies. We all talked about movies all the time, but making movies was not - we didn't know anybody who did it. And I had no inside knowledge of movies or how they got made or anything. And so it really seemed like this kind of dream come true that this movie would be made in my - in my home. You know, now the idea of a movie crew coming into my home sounds horrible. I would do everything to avoid it. But then it was like - you know, it really did feel like we were cast somehow. You know, like, somehow we got to be in a movie.
GROSS: Well, Noah Baumbach, thank you so much for talking with us.
BAUMBACH: Thank you.
GROSS: Noah Baumbach wrote and directed the new film "The Meyerowitz Stories: New And Selected." It opens in select theaters and will be available on Netflix starting Friday. After we take a short break, we'll talk about the making of the classic film "Casablanca" with Noah Isenberg, the author of a book about the making of the film. This is FRESH AIR.
(SOUNDBITE OF MUSIC) Transcript provided by NPR, Copyright NPR.


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text: If it has a human element, C3GB wants to be involved. Whether that's homelessness, childhood poverty, veterans, Special Olympics, mental illness or anything else that relates to the human condition, we connect directly with those in need of help. In extending a hand we learn from them, and learn about ourselves.


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Norman gives the third talk of the Loon Lake Sesshin 2011 on the remaining three of the Five Hindrances – Laziness, Worry, Doubt.
Five Hindrances – Laziness, Worry, Doubt
By Zoketsu Norman Fischer | Nov 08, 2011
Abridged and edited by Barbara Byrum
Let me continue today with my discussion of the hindrances. Yesterday we were talking about sense desire and ill will. Today I will discuss laziness, worry and anxiety, and doubt.
To practice at all takes a certain amount of energy. Just to show up is already a huge amount of energy. Then, once you are here, you have to pay attention, not only some of the time, but all of the time. The practice is not just in the meditation, with breaks for meals and work. The practice is all the time: during the meal, during the work, during the rest. You have to pay attention, which requires a certain amount of zest and liveliness.
In the various lists of positive qualities that need to be cultivated, energy, or enthusiasm, always appears on all those lists. This means steady, sustained, bright energy. Too much raging enthusiasm is no good, because it burns out. It usually creates havoc and then disappears, leaving you depressed and discouraged. So this is not what is meant by energy or virya. It means "Bright, steady, alert, strong, sustained" energy.
Laziness is exactly the opposite of this. The word "laziness" is maybe not a good word. It implies, in our language, a moral failing. But here it means that you are just worn out. You are drowsy, sleepy. The actual, exact translation of this hindrance is "sloth and torpor." Very descriptive! You just can't get going. So it is more physical than laziness. Your very bones are resisting. You just can't keep your eyes open. You can't be alert, and you can't help it. It's not like you decided to be lazy, and you could be otherwise.
We all want to practice; otherwise, we wouldn't be here at sesshin in the first place. But, also, we don't want to practice. We actually have a love affair going with our unhappiness and our misery and our chaos. We are quite enamored of it. As much as we want to give it up, we don't want to give it up. Or maybe we are just in love with the idea of our self as a person, who has always had a lot of problems and just can't overcome them.
Also, we are absolutely scared of the idea, which has a tremendous amount of truth to it, that in actuality we are buddhas. We are strong, dignified, solid, loving, compassionate people, who were born with a destiny to become awakened and to sustain others in love. This idea of our life terrifies us. I think it's true. We are scared of running into our best self. It's as if we were shy around that person. We would just as soon not encounter her.
This struggle between wanting to practice and not wanting to practice, between being stuck on our feeble self, and scared of our powerful, compassionate, awakened self, is really, really exhausting. So it looks like fatigue, or maybe it looks like some kind of inner turmoil. I think this is the deep, deep root of our laziness. When we are not clear about what we are doing with our lives, when we are doing one thing after another, reflexively, without much sense of a bigger purpose to our life. Or maybe we have a glimpse of a bigger purpose, but we feel that we don't have enough courage to really engage that, and we get tired out.
I have spent my whole life thinking about truth and religion and what is this thing about being a human being. This has been the main pursuit of my lifetime, which may seem unusual, but, actually, is not at all unusual. We all have these deep, human questions. We all have to engage them. When we do engage them, energy comes up. When we engage our highest purpose and our deepest questions, we have plenty of energy, even if we are old, even if our body doesn't work 100% right. There's plenty of energy to live and do what we need to do in this life. When we don't engage our deepest questions, it feels like our body is not strong, our spirit is not strong. We get worn out, and we are just plain tired. As time goes by, you can feel just bone weary with life's demands.
The Buddha said that if we embrace impermanence, instead of resisting it, then things are always looking up, because impermanence is the one thing that is not impermanent. And permanence continues on and on and on, spiraling ever upward. The one thing that is totally and utterly reliable and always beautiful is impermanence, which means change and development and growth. Dogen calls impermanence buddha-nature. We could also call it love. When we shift our sense of identity and purpose from the preservation of that which cannot be preserved, to the ongoing process of love itself, we have a buoyant spirit, and we have energy.
So the next hindrance on the list of popular hindrances is the opposite of laziness. Energy is the wholesome opposite of laziness, and anxiety and worry is the unwholesome opposite. If laziness makes us worn out and sleepy and groggy, anxiety makes us wide awake, but now we are jumpy and anxious. Instead of the mind being dark and groggy, it is constantly flitting in and out of thoughts and feelings, with a disturbed and worried energy.
Worry is very compelling. It's very convincing. If somebody says, Don't worry, we say, Yeah, that's easy for you to say. You don't have this going on that I do. Maybe we have important decisions to make. Maybe we have serious problems brewing. We have things to worry about. These days, a lot of people are worried about finances, worried about the future, worried about the dire state of the world, worried about the environment. We can worry about our health. We can worry about our loneliness. We can worry about our aging. We can worry about our children, if we have any children. We can worry about the fate of our grandchildren, if we have any grandchildren. What I am saying is that worry does seem quite reasonable and quite compelling. Maybe we could say that worry is the content, the worried thoughts and anxiety are the energy, the jumpiness in the body and the mind.
When you think about it, it is quite obvious that worry is not helping any of these situations. Concern, yes, maybe it is good to be concerned. Caring, maybe it is good to care. But worry and anxiety don't help. They just make things worse. They actually make things worse. When you are worried and anxious at the same time, this doesn't promise a good result. It promises a worse result, because worry and anxiety cloud the mind, and they reduce one's effectiveness in dealing with actual problems. Worry is something extra.
Things are so much simpler than we make them out to be. We make things a lot worse. A situation is as it is. It is not as it is not. Right? It is as it is. We like a situation. Good things happen. We enjoy them. We try to encourage more good things to happen. Also, bad things happen. We endure them with as much equanimity that we can muster. We try to act so as to prevent more bad things from happening. This is true no matter what the situation is, who we are, what the circumstances are, whether they are good times or bad times. Good things happen; bad things happen. We see them with enjoyment or some equanimity. We try to create the best situations possible.
So, what do we do when worry appears? We understand, Oh, yeah, this is worry. It's not helping. It's not a benefit. Good conditions come, bad conditions come. That's life. Worry is extra. We have to have a good teacher inside of ourselves, who knows the dharma and talks to us, and says to us, Yeah, okay, that's what is going on. This is worry. This is not helping. Or we can take a breath and say to ourselves, Worried thoughts. Worried thinking. In saying that, we can let go. Maybe in the next moment another worried thought comes. Then we do the same thing again. Maybe we have to do this many, many times. But that is what we do; otherwise, the mind is off and running, with more and more confusion.
This does not mean that one cannot plan. Planning and worrying is not the same thing. Planning turns into worrying when one starts thinking whether the plan is actually going to happen. Planning is fine, without being concerned about the future results.
My wife, Kathie, used to negotiate on behalf of her local teachers' union. She once told me about a brilliant, negotiation technique. When the teachers negotiate, they have the professional union people come in and coach them. So she would take workshops on how to negotiate. They taught her this wonderful concept called BATNA. It means: the best alternative to a negotiated agreement. So here is the way they worked with this. The negotiators would get together before they started a negotiation, and they would think, What are we going to do if the negotiations completely fail, and we do not get an agreement at all? What will happen? What are we going to do then? Then they think about what they are going to do, and then they make their peace with that. They settle with that in their hearts. They don't talk to the other side about it, but they do that among themselves. The reason why they do that is that then they are free to go into the negotiations without fear. They can then make whatever compromises that seem necessary, but they don't need to be driven by fear and worry and anxiety. This means they cannot be coerced into any settlement that is not good for them. They can't be coerced into something that they really don't want, because they have made their peace with the best alternative to a negotiated settlement. So they are okay with that, and they are confident.
This is a great practice for dealing with worry. This is what I always do. Whatever the situation you are facing, just think, What happens if everything fails? What's the worst possible thing? Then think about that, meditate on that, and get used to it. Have some acceptance of it. Probably it won't happen, but just in case it did, you are ready. You accept it. Then, no matter how things turn out, it is always going to be better than that. So it's fine. You don't need to worry.
If course, the ultimate BATNA, the BATNA to end all BATNAs. I will get sick and die and lose everything. Right? That's pretty much the ultimate BATNA. So if you want to worry about something, why don't you worry about that? [Laughter] But, of course, it will do you no good to worry about that. That is going to happen. For sure! So if you meditate on this, which, of course, you are doing every time you breathe in and you breathe out, and tolerate that situation, you are meditating on that, right? You can see the beauty in it. Instead of a terrifying outcome, there is something beautiful about that. In fact, there is no inhale, unless there is an exhale. It's beautiful. Did you ever think of that? It is so perfect: the inhale and the exhale perfectly match one another. There is a beauty to it. There is a kind of rhythm of living that has to do with dying.
When you have meditated on this ultimate BATNA, then all other worries and anxieties appear superficial. They may come, but they also go, and you have no need to be entangled in them. They will not be so compelling anymore. Maybe you won't even worry so much anymore. Maybe you won't worry at all.
The last hindrance is called doubt, usually referred to as "corrosive doubt," or "skeptical doubt." Doubt itself, ordinary doubt, having a healthy skepticism, is necessary for practice. Especially in Zen, it is very much encouraged not to entirely believe the teachings. This does not mean that you should dismiss them out of hand and say, That's stupid. I quit. No, it means believe them just enough to spend some time investigating for yourself. Then, when you understand for yourself, in your own way, you will have faith in the teachings, but not until then. You shouldn't have faith, until you see for yourself, until you know for yourself, through your own simple, ordinary, and concrete experience. It's a pragmatic truth that works in your actual living. It gives you hope and energy and a very distinct path forward in life. It doesn't really matter what words you use to describe it. There is no doubt about it. You know what you know. Your life is what it is.
Corrosive doubt is something other than this necessary doubt. Corrosive doubt is, maybe we could say, two things. First of all, a lack of basic self confidence. Second, a kind of despair about life in general. This is actually itself a kind of faith or belief, a faith that nothing is possible, a faith that nothing will work, that nothing will stand up to scrutiny. Also, this corrosive doubt is a strong sense of oneself as being unable to practice and to find strength. I see that it can be done. I admire other people who do it. I wish I was like them, but I can never do it, it's too hard for me. It's really painful to feel that way, about oneself and about life. Sometimes we have that despair, when nothing seems possible, especially when nothing seems possible for oneself.
This kind of doubt does come along from time to time. As a practitioner, sometimes we know that there is nothing we can do about it. We just keep going on with our practice. The practice itself, and our dharma friends, will eventually help us find a way out of that hole. If we can manage to stay with our practice in those dark times, the process itself, and the warmth of others, eventually helps us through. Usually that is the time when we don't want to show up. So the challenge is, can we show up? Will our friends call us on the phone and say, Hey where are you? And you say, Oh, man, I just can't do it. They say, Okay, maybe I will call you next week.
The Buddha taught that all beings, without exception, are capable of the wisdom and peace that he promised. In Zen practice we say that all beings are Buddha. That is their nature. This is not something personal about you or me. It is about life itself. Life has this liberating quality built into it.
Sometimes when somebody complains to me that they feel that they can't do the practice because they are too ill, or because their past is too painful and tragic, or because they can't shake some basic feeling of unworthiness, I say to them, All beings are Buddha. However there is one exception to this universal rule: you! I guess you are a special person. I feel honored to be sitting across from you. [Laughter]
No matter what the circumstances, no matter who the person, there is always a way to practice. Everyone can practice, and in reality, there are no exceptions to this.
So, these are the five hindrances, which are a good lens through which to view our moment to moment experience. Sense desire, ill will, laziness, worry, and doubt – we all have them. They are just the other side of the positive qualities that we need to cultivate in our lives: loving-kindness, energy, wisdom, faith. Each one of us will have them in some combination. We will all have our personal favorite.
All of our lives, we have been taught to see the world through the lens of self. We have been taught by everyone around us, and there is a good reason for this. It is built into our biology. Everything revolves around, What's in it for me? What's good for me? What's bad for me? Even our ideals and values end up being all about ourselves. But this is too small a scope for our living. That confinement, in the end, proves to be too painful to be sustainable. To practice is to open the field of our vision. It is giving ourselves over in full engagement to our life.


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1249 Howe Street project - McLaren Housing Society
Certifications & Awards
- LEED Canada for New Construction and Major Renovations (registered)
Project Team
- Code Consultant : Protection Engineering
- Building Envelope: Morrison Hershfield Ltd.
- Surveyor : Isaak, Osam & Associates
- Commissioning : Inland Technical Ltd.
- Civil Engineer : Horizon Engineering
- Landscape Architect: Durante Kreuk Ltd.
- Electrical Engineer: R.A. Duff & Associates Inc.
- Mechanical Engineer: Stantec
- LEED Consultant: Sustainability Solutions Group
- Architect: GBL Architects Group Inc.
- Owner's Representative : Terra Housing Consultants
- Owner/Developer : BC Housing
- Client: McLaren Housing Society of BC
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The building at 1249 Howe Street is a 12-storey multi-tenant affordable housing complex in downtown Vancouver, containing 110 residential units of supportive housing with amenities and staff offices. The building is run by the McLaren Housing Society of British Columbia, whose mission is to provide safe and affordable housing to men, women and families living with HIV / AIDS who are in financial need.
The building design projects an image made to reflect modern housing units rather than the conventional, conspicuous look of affordable housing. Within the project there are 96 studio, 4 accessible studio, 7 one-bedroom and 3 townhouse suites, all designed to be highly livable and comfortable. Amenity areas include a main floor open space for tenants, with a second floor amenity space, co-located with 'skills building areas' for programs and group sessions, complete with reception area, seating areas, tenant community kitchen, laundry, outdoor patio, small meeting rooms and rooftop garden.
Sustainable Building Highlights
* Solar thermal array for space heating and domestic hot water
* Uses 40% less potable water to flush toilets
* Highly efficient mechanical system supplemented by passive design,
solar thermal, heat pumps and heat recovery ventilation
* Compliance with ASHRAE standards for thermal comfort and ventilation
* Proximal to community amenities
* Daylit spaces with access to views throughout occupied areas
Sustainable Sites
The central location of a project and its proximity to amenities can
contribute to livability for building occupants and overall quality of
life. 1249 Howe Street is located within a short walking distance to
grocery stores, schools, parks, as well as multiple transit stops.
The building itself has green roof technology installed wherever
possible to minimize heat island effect, with over 3000 square feet of
intensive and extensive green roof planted on the building. All plants
selected for use on the project were native and adaptive, which thrive
in local climate conditions with minimal maintenance and watering. The
use of vegetation improves rainwater infiltration, slowing down the
release of the site's rainwater, to help relieve surges of rainwater to
city storm drains and sewers during large rain events.
Water Efficiency
Dual flush toilets using 3.0 Litres per flush (LPF) and 4.8 LPF were installed throughout the building to reduce the water used for sewer conveyance by 40% based on baseline measurements. Low-flow and high efficiency fixtures have been installed through the residential and non-residential areas.
The design team for 1249 Howe Street worked together to identify and pursue energy savings wherever possible. In pursuit of passive design, consideration was made for the way building elements interact with the local microclimate to take advantage of energy savings. The project found ways to benefit from passive solar heating and natural ventilation, which supplement the HVAC systems for increased efficiencies.
Water-source heat pumps do the preheating of process and domestic hot water for energy savings before supplemented by the hot water heaters. The heat pump also provides chilled water to the air-handling unit.
A 1440 square foot solar hot water system creates energy savings by heating domestic hot water without electricity or fossil fuel-emitting energy sources. The project has been able to meet an estimated 6.6% of its energy cost needs through renewable energy.
Pre-heating by heat wheel
The building's mechanical system uses a heat wheel. Made of a high efficiency filter mounted in a circular frame, half of the heat wheel is exposed to the outside air/supply side of the fan system, with the other half exposed to the exhaust air system. When hot exhaust air escapes, it passes through the filter, which absorbs the heat. The heat wheel motor spins the wheel to supply-air side of the unit and transfers the heat to the incoming outdoor air as it passes through the media. This energy recovery system is the first stage of pre-heating.
Energy consumed by lighting is reduced by daylighting, occupancy sensors and daylight dimming sensors. Exterior lighting is controlled by time clock and photocell sensors.
Compared to a reference building, the proposed design saves over almost 49% of energy use. Based on the energy model, the greenhouse gas emission savings of the project is estimated at 15 tonnes.
Materials and Resources
The building was designed to have an expected lifetime of 60-100 years. A durability plan was put in place to ensure the building assemblies were designed and constructed to address the design service life of building components. The use of spaces and the building's mechanical and electrical systems were designed to be flexible over the 100-year service lifetime to meet the changing needs of occupants. This project required easy-to-maintain materials that could withstand heavy use. Durable materials and finishes were specified and installed to protect surfaces. Locally harvest and manufactured building products and recycled materials were utilized wherever possible.
Indoor Environmental Quality
With mechanical system design, there is always the need to balance energy savings with occupant comfort. The heating, cooling and ventilation systems have been designed and program to meet industry standards in thermal comfort (ASHRAE 55) as well as for air change effectiveness levels (ASHRAE 129-1997).
During specification and construction, the design and construction team worked to meet industry standards that minimize volatile organic compounds (VOCs) in paints, coatings, and carpeting. Windows were placed and sized to maximize the amount of natural light entering the building and into apartment units and amenity spaces. Interior spaces provide as much access to daylight and to outdoor views as possible based on site limitations.


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SD cards are used in digital cameras, phones and other devices, where their speed and large capacity makes them useful for storing pictures, video and other voluminous multi-media items. It is quite common these days for a mobile device to contain a 16 Gb or 32 Gb SD card.
With the devices being so mobile, backups are easily overlooked. And it is quite easy for an SD card to become corrupted, for example if the card is removed while the device is on, or the battery is taken out while a video is being shot.
I was given a corrupted 16 Gb card and asked to recover the files, if possible. The rest of this post explains how the data was safely restored using simple Linux tools. Continue reading


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You have to wonder if President Obama ever thought, when he first ran for the White House, that he would need to defend himself from accusations his presidency would be a mere extension of his Republican predecessor.
But there he was with journalist Charlie Rose having to explain why his approach to national security wasn't really like that of President George W. Bush and Vice President Dick Cheney.
The main reason Obama is no repeat of that previous administration? He pointed to his championing of strong checks and balances on federal government surveillance (his strong suggestion was that his immediate predecessors didn't).
Further, he seeks a "national conversation" about data-gathering by the government and other entities. Again, the implication there was that any broad debate during the Bush-Cheney years about surveillance was something the prior administration was only brought to while kicking and screaming.
From the reasonable, matter-of-fact way the president put it, you would have thought that such a discussion had been part of Obama's plan for his second term all along. But, of course, it wasn't.
The Obama administration didn't exactly initiate this discussion. Instead, it was thrust upon him. Indeed, whether you view Edward Snowden, the leaker of the NSA surveillance programs, as a hero or traitor, he's likely the only reason Obama is now forced to call for such a discussion about NSA surveillance.
Something similar happened with the U.S. drone program that targets terrorist suspects. Once controversial details leaked out about the president's expansion from the Bush era of the unmanned aerial vehicle program, Obama called for another national discussion. In his National Defense University speech, Obama said there was a "larger discussion we need to have about a comprehensive counterterrorism strategy."
Obama's appearance on The Charlie Rose Show, as well as his calls for Americans to discuss what they're willing to abide for national security, also comes at a time when the president's once durable job approval ratings have fallen. Some polls suggest an erosion even among Democrats. The NSA revelations as well as the IRS controversy have clearly taken their toll.
Hence the president's attempt to convince Americans that much of what they've heard about the NSA's activities has been flat out wrong and that the American people have no greater defender of their civil liberties than him.
"My job is both to protect the American people and to protect the American way of life which includes our privacy," Obama told Rose. "And so every program that we engage in, what I've said is, 'Let's examine and make sure that we're making the right tradeoffs.' "
The need to openly talk about national security issues he would prefer not to is just one more area where Obama has more in common with the Bush administration than he apparently wants to admit publicly.
But it's not just the Bush-Cheney administration Obama shares this with, but many predecessors.
Presidents often see national security as requiring aggressive actions — frequently at odds with civil liberties — which they, of course, would rather not discuss openly.
Once leaks force a public debate, presidents are compelled to speak to the nation's concerns and sometimes to the global public beyond the U.S. But it certainly isn't part of their plan.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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See the latest in advanced military training and simulation software at BISim's booth #1071.
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