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SAN FRANCISCO – Intel CEO Paul Otellini is retiring in May, giving the world's largest maker of microprocessors six months to find a new leader as it confronts two major challenges: a shaky economy and a shift toward mobile devices that is reducing demand for its PC chips.
Although Otellini's impending departure was announced Monday, he notified Intel Corp.'s board of his retirement plan last Wednesday. The decision surprised Intel's board of directors, which had been expecting Otellini to remain CEO until the company's customary retirement age of 65. Otellini is 62.
"The decision was entirely Paul's," said Intel spokesman Paul Bergevin. "The board accepted his decision with regret."
Otellini will be ending a nearly 40-year career with Intel, including an eight-year stint as CEO by the time he leaves. He joined the Santa Clara, California company after graduating from the nearby University of California at Berkeley and worked his way up the ranks before succeeding Craig Barrett as CEO in May 2005.
"It's time to move on and transfer Intel's helm to a new generation of leadership," Otellini said in a statement.
In another statement, Intel Chairman Andy Bryant praised Otellini for leading the company through "challenging times and market transitions."
Intel's board plans to consider candidates inside and outside the company as it searches for Otellini's successor. Otellini will be involved in the search.
Otellini and the four other men who have been Intel's CEO during the company's 45-year history have all been promoted from within. The company's board is believed to be leaning in that direction again.
Intel identified the leading internal candidates Monday by anointing three of Otellini's current lieutenants as executive vice-presidents. They are: Renee James, head of Intel's software business; Brian Krzanich, chief operating officer and head of worldwide manufacturing; and Stacy Smith, chief financial officer and director of corporate strategy.
If recent history is any indication, Krzanich has the inside track to become Intel's CEO. Both Barrett and Otellini served as chief operating officer before becoming CEO.
Although Otellini is generally well regarded, he has faced criticism for initially underestimating the impact that smartphones and tablet computers would have on the personal computer market. It was a pivotal change that also confounded Microsoft Corp. CEO Steve Ballmer, whose software company makes the Windows operating system that runs most of the PCs relying on Intel's chips.
"The shift came more quickly than they expected, and when they did finally see what was happening, they were a little late to react," said technology analyst Patrick Moorhead of Moor Insights & Strategy.
Indeed, in 2008, nearly 300 million PCs were sold and most of them were powered by Microsoft's Windows and Intel's microchips, according to Forrester Research. Some 142 million smartphones sold that year, at a time when the tablet market hadn't really taken off. That wouldn't happen until Apple's 2010 release of the iPad.
By contrast, this year, Forrester estimates 330 million PCs will be sold worldwide compared with 665 million smartphones and just over 100 million tablets. By 2016, Forrester predicts annual sales of PCs will rise only slightly to 370 million machines while more than 1.6 billion smartphones and tablets will be purchased.
The fates of Intel and Microsoft have been so tightly wound for the past 30 years that computers using a combination of their chips and software are famously known as "Wintel" machines.
Now, much of the technology industry is questioning whether Intel and Microsoft can catch up in the mobile market to ensure their products remain as essential — and profitable — in the future as they have been in the past three decades.
It's a challenge that Ballmer, 56, is confident he can tackle. He signalled his intent to remain Microsoft's CEO earlier this month when he ushered out the head of the company's Windows division because of philosophical differences over the company's future direction. For whatever reasons, Otellini concluded it was time for new leadership at Intel — an opinion that many investors share, according to RBC Capital Markets analyst Doug Freedman.
"A shift in leadership could be welcome news to investors as Intel could be in greater position to broaden its portfolio into higher growth markets," Freedman wrote in a Monday research note.
Intel's stock was unchanged at $20.19 shortly before the market closed Monday. The stock has fallen more than 20 per cent during Otellini's reign. Most of the decline occurred this year amid concerns about the company's ability to adjust to mobile computing and weakening demand for its core products in countries with troubled economies, particularly in Europe and China. The company blamed the poor economy for a 14 per cent drop in its earnings during its most recent quarter.
Intel's chips have become even more dominant in the PC computer market during Otellini's tenure, helping to boost the company's annual revenue from $39 billion in 2005 to $54 billion last year. Besides supplying Windows-powered PCs, Otellini also scored a coup in 2006 when he convinced Apple to start using Intel chips in Mac computers instead of IBM Corp.'s microprocessors.
But Apple's pioneering work in smartphones and tablet computers also muddled Intel's future. Both the iPhone and iPad inspired a wave of sophisticated handheld devices that are undercutting demand for desktop and laptop machines that house Intel processors.
Most tablets rely on a technology licensed from British chip designer ARM Holdings Plc. Even Microsoft has tweaked the latest version of the Windows operating system so it works on ARM chips.
Other chip makers such as Qualcomm Inc. have developed less expensive microprocessors that have eclipsed Intel in the smartphone market. Qualcomm's inroads in the mobile market are a key reason why its stock has soared by more than 70 per cent while Otellini was running Intel.
The contrasting performances of the two companies' stocks enabled Qualcomm to surpass Intel as the world's most valuable chip maker. Qualcomm's market value now stands at about $106 billion versus $100 billion for Intel.
Even though its stock under Otellini has lagged the rest of the market, Intel's ongoing prosperity has enabled the company to reward shareholders in other ways. Intel has paid stock dividends totalling $23.5 billion under Otellini as its quarterly payments rose 8 cents per share in 2005 to 22.5 cents per share currently.


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This seminar will examine the varieties of American intellectual responses to WWII in the 1940s and 50s. Seminar participants will explore how American commentators made sense of the war, justified American involvement, and likewise how the war set new terms for American self-understanding. By looking at developments in American political thought, moral philosophy, cultural criticism, and popular theology, participants will see how America's wartime experiences dramatically transformed American intellectual life at midcentury. The seminar also will reflect on how elements of those mid-century understandings have gone on to shape American debates about war ever since.
Seminar led by Jennifer Ratner-Rosenhagen, University of Wisconsin at Madison

subset: commoncrawl


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Cameron Chun
Phone: (408) 924-4244
Office: ART 211
Cameron Chun received his BFA from Art Center College of Design and his MFA from the New York Academy of Art. After graduation, he began a career in the screen arts and worked as a digital artist in the video game industry contributing to notable titles for console and PC games. More recently, he has shifted his artistic focus to painting and drawing the human figure and painting landscapes, a subject that has become an important interest and pursuit over the last several years. Mr. Chun writes that his motivation to expand his career "grew from a fascination with the way color and light fall on form as well as how those patterns change when working from life." Mr. Chun's paintings have been exhibited in two solo shows and in more than fifteen group exhibitions both locally and nationally. In 2010, Mr. Chun published a book of his drawings, Drawings 99-09: A Selection of Figurative Studies.


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Cutumisu, Maria, Szafron, Duane, Roy, Thomas, Carbonaro, Mike, McNaughton, Matthew, Schaeffer, Jonathan, Onuczko, Curtis
Many computer games use custom scripts to control the ambient behaviors of non-player characters (NPCs). Therefore, a story writer must write fragments of computer code for the hundreds or thousands of NPCs in the game world. The challenge is to create entertaining and non-repetitive behaviors...
Onuczko, Curtis, Schaeffer, Jonathan, Cutumisu, Maria, Roy, Thomas, Carbonaro, Mike, McNaughton, Matthew, Szafron, Duane
To compete in today's market, companies that develop computer role-playing games (CRPGs) must quickly and reliably create realistic, engaging game stories. Indeed, intricate storylines and realism that goes beyond graphics have become major product differentiators. To establish both, it's...


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Townshend discusses Mod, Pop Art, the concept of 'rock opera', Tommy-Quad-and-Lifehouse, and his own future on Broadway.
SG: What were the characteristics of mod that influenced the Who's performance?
PT: It's definitely a case of form following function. What the Who is all about is exactly that and it always has been. If it exists today for this concert, it's in response again to a function which is happening out there on the street. It's like the mod thing is happening again. Not just as it did in the 80s when the Jam were around. Let's use Oasis as an example: the way there's a look which relates to Liam and his funny hat and his zip-up jacket you see boys wearing. That kind of fashion thing is not so much something that he has created but rather something that he has adopted, which was a look that I've seen around Manchester for quite some time. The Who in the early years weren't really mods. I was an art student. Roger always calls himself a rocker. Keith was quite a mod-looking kid by today's definition of the word. But John Entwistle was very kind of parochial in the way that he dressed. So we weren't mods but our audience were. And what we learned quite early on is what was really important to early British pop that we produced – and this is where we were distinct from almost everybody else in this respect – is that it had to reflect exactly what the audience wanted us to say.
SG: Is there something about the British psyche that lends itself to a certain type of youth culture?
PT: No I don't think so. It's one of the functions of dramatic entertainment. I don't know that it used to be one of the functions of pop music. I think one of the functions of pop music used to be very much like Hollywood cinema. It used to be about escapism. What distinguished serious theatre for example from Hollywood in the 30s and 40s was that if Hollywood made a serious picture it was usually based in an ephemeral way on some great classic, or some Biblical story, or on some heroic incident of some kind. But it was usually about adventure, crime, murder, romance. What theatre started to look at much earlier than any other form was the internal operations of ordinary people, sometimes using mythic models in order to tell the story. But pop music prior to the early 60s had been purely about escapism. Escaping from the rigours of having a humdrum life, from living in a post-war society, from all those things. And early British pop was helped tremendously by the writing of Bob Dylan who had proved you could write about political and quite controversial subjects. What we started to do is wite about what ordinary people were experiencing. I'm not pretending we were kind of Arnold Weskers or John Osbornes of our age. But certainly what we did followed on from what was happening with the angry young men in the theatre. Definitely.
SG: From your perspective during the early Who years, how did you interpret the evolution of the mod scene?
PT: What was happening in London and what was happening in Paris during the early Who years was linked by the mods. The first mods were young Jewish jazz fans who tended to live up in the Hampstead, Highgate and Golders Green areas of London, who called themselves modernists. Their idea of a great weekend was to go off to Paris and to the Left Bank and watch people like Charlie Parker, Dizzy Gillespie, Miles Davis. Now those people didn't play in London. This is in 1963. And they would come back not only with the records but they would also come back having watched all of these very elegant Parisians and copy their tailoring, copy their lifestyle, copy their haircuts. Suddenly short neat hair was fashionable in the middle of a fucking hippie revolution. I was busily growing my hair long when everybody around me was busily cutting it off. And it all happened in the same month. And it was because of these kids. What was happening at the time in Paris was that there were revolutions on the streets, added to the glamour of the whole thing. Now mod appropriated that where early rock and roll didn't. What the Stones were dealing with was sex and drug danger. What the Beatles were playing with was moptop, kind of Oasis thing. Each one of them had his own private Patsy Kensit that everybody in England wanted for themselves. I wanted to fuck Jane Asher. So I think there is a link there.
SG: How closely were the early Who gigs connected to art happenings and the whole pop art movement?
PT: Obviously I lived in the climate of that particular time and I was very jackdawish. I'm sure I was influenced a lot by what was going on in France. I was at art school and I'm sure that there were radicals running around. They'd probably say something like: "Isn't it great what happened in Paris yesterday?" To be honest I lived in a bit of a bubble. I was aware of it and I was sensitive to it. But the reason I knew about Gustav Metzke is that he lectured to me in a room. I was really quite cut off. I often talk about how much I was affected by Bertrand Russell's speeches in Trafalgar Square and going on marches. And in my head I got myself going on the marches and seeing the speech at the end of the march. But the fact is that what I did was I joined the march for about five minutes when it passed through Ealing and heard the speech on the radio. It's not to say that I wasn't affected by these things but I wasn't quite embroiled in them as sometimes I feel I am. I'm trying to avoid the tendency to go back and try to join things up, which I think I will join up really quite satisfactorily. One of the things that I'm carrying as a thesis in my own life at the moment is that I believe that pop music changed dramatically around 1962. But I've got to prove it. But what was interesting about what the Who did is that we took things which were happening in the pop genre and re-present them to people so that they see them in a new way. I think the best example is Andy Warhol's work, the image of Marilyn Monroe or the Campbell's soup can. And we were consciously trying to make people look at things which they started to get blasé about in a new way. So to some extent revolution would have been part of the vocabulary. But I don't think it was a particularly important one. I used to get very angry with revolutionaries trying to co-opt the Who.
SG: Kit Lambert used to talk about the Who being "armed against the bourgeoisie".
PT: That was his comment. Sounds like Kit. See, he was older than I was. Ten years older than I was and I think hipper to what was going on in the world outside.
SG: Did you consciously push the three-minute pop song into high art territory with the rock opera?
PT: I think I did. But other people were doing the same thing. It's just that for other people it didn't seem satisfying in quite the same way. Bob Dylan did the first really long record – "Like A Rolling Song" – I think it was four minutes. I remember putting it on and looking at my watch and thinking "fucking hell this don't half go on". And of course it's nothing by today's circumstances. But we weren't even used to three minutes. Some of our early work was two minutes twenty when it actually came out on vinyl, very, very, very short. Sometimes if you made a three-minute record they would make you do an edited version for radio, particularly in America, so it was under two minutes. So when we started to look at longer work it was always very tongue in cheek. Like a mini-opera: it's a sexy, solacious little tale and it's all supposed to be incredibly funny. But what we were deadly serious about was whether it worked. Even in the Times last week Paul Sexton described "Quadrophenia" as pretentious. I just couldn't believe it. I just could not believe that 30 years later we're still looking at people who are supposed to write little two-minute pop that when they actually try to do something that's a little bit more they regard it as pretentious. Not ambitious. Not groundbreaking. I became very, very used to the fact that whenever I tried to do anything that was a little bit different I would be described as pretentious. A lot of the techniques that I used were to hide behind pomposity, to hide behind spirituality. But also most of all to hide behind aggression. So they might write it in a paper but if they were standing in front of me they'd never fucking dare to criticize me. "I think you should go back to your job as a pop song writer." I think the problem with that is if they said it I would say "well, what is a pop song?"
SG: Were you using rock opera to expand the musical tradition started by Elvis and the Beatles?
PT: No I wasn't really. I was aware that there was very much a mixed lineage in American music and I wasn't quite sure how that happened. The mixed lineage was I think because America is a country made up of immigrants. What we called rock and roll, what we thought was quintessentially American, was not American at all. It was African, Northern European, particularly Scandinavian, and Jewish in that order. With a bit of Celtic stuff thrown in. What the Stones took back was just the African. What I took back, because of my exposure to the Jewish music of the 30s and the 40s in my upbringing with my father, was that kind of theatrical songwriting. It was always a part of my character. This desire to make people laugh. I think Ray Davies was a bit like that, a quintessentially English writer in that style, much more musical. But we both shared that. And I think in that respect both Ray and I are distinct from the Stones of the Beatles.
SG: How did the exposure to show tunes shape your understanding of the dramatic structure within your songwriting?
PT: The problem for me, still today, is that I write purely with one dramatic structure and that is the rite of passage. I'm not really skilled in any other. Rock and roll itself can be described as music to accompany the rite of passage. You could get a bit clever about it and talk about the fact that perhaps it's about the psychological transference of ideas from adolescence into adulthood, which I also think it is about. There is this weird age problem that people that like pop music never seem properly to grow out of it. Or if they do there's always some aspect of it which they hang on to. The analogy I always use is of the guy who wears a three-piece suit and dresses up as a judge and sends people to jail at the Old Bailey and then gets on a Harley Davidson to drive home. There's a bit of rock in you that you want to hang on to. But I think the problem for me today is that I'm only interested in rites of passage stories. For example, when I found "The Iron Man", the reason I thought that would be such a wonderful story for a play in which there were pop songs is that it seems to me to be a kind of divine adulthood. So "Tommy" is about that. "Quadrophenia" is about that. Whenever you collect any group of my material together, it's about that. "White City" is about that. I wonder too whether the last thing that I wrote, called "PsychoDerelict", is about that. That's about a kind of rite of passage in reverse, about somebody old going back to their teenage years and re-embracing them. So it's all about that thing.
SG: Is their a consciously Brechtian quality to your rock operas?
PT: One of the things that fails down when you try to apply a Brechtian model to what I've done is you miss the fact that, although Brecht obviously dealt with music in the vernacular, there was a traditional storytelling spirit already there. I was working in an undisciplined arena. I only really started to go to plays and to be interested in drama 20 years ago when as an artist I was already well-rounded. I think I'm more disciplined today. Tim Rice and Andrew Lloyd Webber tended to honor these pre-established forms of music theatre. So what they did is drafted what they called rock songs into a traditional film schematic. But "Tommy" started with a few scraps of paper. As with "Quadrophenia", what created the dramatic structure was the need for the music to achieve certain ends. The need in "Tommy" was to create a sense of loneliness and depravation leading to spiritual absolution. In "Quadrophenia" it was about youthful pathos leading to grandiosity leading to spiritual destitution and then spiritual longing. Those two little models you could apply to young people. So they're both stories of young people growing up and then latching on to something which is going to serve them for the rest of their life. But if the music in "Quadrophenia" is Wagnerian it's because I was listening to music that I thought had that awful grandiosity. I used to see in the eyes of the kids after they'd filled themselves full of leapers. They'd haul themselves up and these wimpy little guys would behave like they were God incarnate. Couple of hours later and they'd be in the corner shaking, weeping. What was going on? I mean OK that's drugs but these are people. And it was the emotions and the feelings and why would they put themselves through this thing. That was what "Quadrophenia" was all about.
SG: When you were working on "Lifehouse", were you seeking to connect contemporary drug culture with Aristotle's perception of catharsis, the need to seek alternative realities?
PT: Most definitely. Had dance culture been excited by drugs that were in actual fact policed and legalized, it would have changed the whole thing. Ecstasy has been so important in the growth of dance culture. It's a universal leveling drug. I've never taken it, I just only read about it from the research that I have. But it's quite clearly a drug which has created a great leveling among the people that use it. As its use declines we see a return to capitalistic values. We see clubs where you have DJs with their own groupies. DJs being paid a thousand quid a night when the records they're playing aren't even announced or mentioned and neither do the people that made them ever make any money. And how do we know that the DJ is making a thousand pounds a week? Because he makes bloody sure that he shows up in some expensive Italian car. Even though he might be wearing the appropriate rave outfit, there's some way you will find out. All these things point to a fertile creative ground where it's valuable to be able to remove the old values and start again afresh. What happened with "Lifehouse" is that I was trying to find a way to create a place and a time where there was such a thing as entertainment and there was such a thing as music but everything was new. The whole experience was new. Just as I had tried with "Tommy" to create a boy in whose mind there would be no previous experience. So that I could draw my own line and say it all starts anew from here. And of course what's interesting about all of the drugs cultures that there have been, or the popular drugs cultures since the Victorian times, is that they've all in a way drawn a line through the creative and artistic communities that they've been engaged, involved in. They've made a new start in life. When you do that you're not able to break rules, but you're certainly able to make new ones.
SG: What new rules were you making when you were working on "Lifehouse", and how far did they result in the project's failure?
PT: "Lifehouse" failed because I couldn't get it to work dramatically. The problem that I had with it was that I jumped ahead in time so far that I was describing things like the internet and virtual reality and the karmic and psychological consequences of exposing naïve minds to more experience and information than they were capable of taking in 20 years before anybody had thought it was ever possible. But it wasn't my idea. Those notions were not my inventions. They were ideas that came from the course I did at art school. Like Gustav Metzke introduced me to guitar smashing. But Allan Cohen introduced me to computers. Back in 1961, when I was at art school, they had a computer that was as big as a factory. But they still did roughly the same things that they do today.
SG: Are you saying that your imagination has been limited by the extent of technological advance?
PT: I think it's limited by a number of things. It's limited by Roger Daltrey's imagination to a great extent. I mean, he's been a great creative ally for me over the years, but it's only now with "Quadrophenia" that we've been able to creatively collaborate. And his creative involvement in this particular version of "Quadrophenia" has been unbelievably valuable. I wish he'd been there for me in that way when I did it before. And what I actually got was a bunch of fives. The limitations of where you're working are what define your ability to make your ideas powerful. The more limited an arena you're working in, the more effective it has to be in order to work. Rock hasn't changed very much I suppose from the early days. But you know that the three chords have got to be about a rite of passage. Even if you're old and your audience is old, you've got to write what it's like to be young. And this is really bizarre for people that are my age now. I'm in my 50s, a lot of my audience are in their 50s. But they want me to pretend to continue to be pretending.
SG: Has adulthood altered your insights into "Quadrophenia" as it has with the Broadway version of "Tommy"?
PT: When I said that I don't think I completely thought it through properly, I think that's true. I think obviously adulthood has changed things. But I think what's actually changed is the times have changed. They were doing a piece about rock in music theatre in the American Daily News and mentioned "Tommy" as being the first one that had had financial success and they said it was ruined by a happy ending tacked on by the producers. I wrote to the Daily News to defend myself and said of course it wasn't tacked on by the producers. It was tacked on by me. And it was because I felt that what had actually happened on the record when it appeared in the late 60s was that there was a peace and love and suicide ethos. Now the suicide bit wasn't evident really in society. It was only evident in showbusiness. It was evident that one of the outcrops of our lifestyle was a kind of nihilism. When you looked at the fans closely, the people that grew up with that music, you found that it was just as prevalent in their worlds as it was in showbusiness. The same proportion of people who committed suicide as did in showbusiness. The same proportion of people who died in drink-related car crashes. The same proportion of people had taken drug overdoses. But you wouldn't have thought so. And so what actually happened was that somehow the ending of "Tommy", which was really about being destitute, being spiritually empty, being useless, it didn't reach the audience. I use exactly the same device at the end of "Quadrophenia". Here is this boy who's spiritually destitute. He sings "Love Reign O'er Me" which if you like is the epiphanistic prayer to equal "Listening To You I Get The Music" at the end of "Tommy" in under exactly the same circumstances. There's very little left. Now what you see at the end of the Broadway production is Tommy going home and people interpret that as a fucking happy ending. I just don't understand it. I see him absolutely beaten by the family. I see him forced to stay at home because it's all he can do.
SG: From what you are saying, it sounds like the Broadway incarnation of "Tommy" is a reflection of the 90s, just as the original album was a social document of the 60s. Is that an accurate understanding?
PT: This seems to me to be the 90s version of "Tommy". It's peace and love and being stuck at home. That seems to me to be what happens to so many modern people today. I don't see it as a happy ending at all. I see it as a deepening of the adversity, the difficulty that this young man is going through. He can put his childhood behind him. But what he can't do is erase the fact that he has to live with his family. He has to live with the consequences of his family. And that's very much what "Quadrophenia" did. But when "Quadrophenia" happened, because the context was slightly more realistic, it landed a little better. But it was also still slightly disguised. But today you see "Quadrophenia" and you know exactly what it's about. It's incredibly clear. Now I don't know what's happened in that time from 1973 to today. But with "Tommy" it was a little bit longer. And when I sat down to work on it with Des McAnuff I had to fight quite hard to get him to put on this so called happy ending. I said: "What would he fucking do?" He'd have to go home, partly out of sickness, partly because he would believe that there was some kind of vengeance available for him. But he'd also go home because there would be nowhere else to go. So to describe it as a happy ending seems to me to be just light headed.
SG: Put in those terms, there's an infinite sadness about "Tommy".
PT: I was very worried when we were putting "Tommy" up the first time in La Jolla that what would actually happen was that the ending would be deemed to be too sad. This poor kid has to stay with all these corrupt, horrible people. I wanted to see him climbing up the mountain as he does in the Ken Russell movie. But I thought it's not only unreal, it's also not what the journey is about. The journey is an internal journey. You can turn it in to a metaphor in a movie. But in the theatre what you actually have to do is allow each member of the audience to create their own metaphor. Theatre doesn't do what movies do. Theatre doesn't say how it could be if only you were able to imagine everything and make it real. What theatre does is it brings you back to reality. When you're put out on the street after you've been to see a play, it's a very different feeling that you have than if you've been to a movie. I think I probably would have enjoyed to keep my own private pain out of my work. But I was changed by my audience who said your private pain which you have unwittingly shown us in your early songs is also ours.
SG: When you premiered the "Quadrophenia" concert in Hyde Park, did you feel it was speaking more directly to your own age group rather than to the Oasis-Blur generation?
PT: It's changed a little bit. The mistake I made was creating two levels of removal from Jimmy. One was Phil Daniels as the narrator looking back at his early life. And the second was Roger and I as internal components of Jimmy singing about his themes. So what we've done is we've removed one of those levels. What you actually have is the boy on the screen talking about himself while he's going through the experiences that we describe. And Roger and I are singing about the internal stuff that he's feeling. And it seems to work much better. In the Hyde Park version I kept thinking I'm too old to be singing about this guy going off his head. Now I don't feel that. It's very clear we're singing about a young man because he's up there on the screen. It's not just cleaner, it's much more elegant, less dangerous.
SG: After a quarter of a century, why did you chose to work with Des McAnuff on a definitive theatre incarnation of "Tommy"?
PT: When I met him I was pretty much committed to working with somebody. I had decided that the time had come to try and get "Tommy" into the theatre properly. I felt that it was time to initiate something from the ground up. And when I met him I just really got on with him. He was very positive about me in the early conversations that I had. He seemed to be thinking on similar lines. Obviously my experience was much deeper in terms of rock performance and his was much deeper in terms of developing plays and working with classics. But it was an instant recognition.
SG: Did you feel that because McAnuff was an outsider, being Canadian, he was more able to reveal the scorching satire on postwar Britain than a British director?
PT: Yeah I did. I'm quite used to scorching satire and parody as well. "Tommy" is very angry, isn't it? I'm not sure that Americans felt that anger. I think their experience was very, very different. And it really was peace and love. And if there was peace and love and suicide, their confusion would have been: "Why the suicide?" For us postwar, there was a very clear desolation that we felt which is undoubtedly psycho-neurotic. It's handed down from generation to generation. As a young man, every bone in my body wanted to pick up a machine gun and kill Germans. And yet I had absolutely no reason to do so. Certainly nobody invited me to do the job. But that's what I felt that I was trained to do. Now no part of my upbringing was militaristic, no part of it was violent. The satire is of a country that really did not recover from the war at all. It thinks it won it but it didn't recover from it and to this day makes no effort whatsoever to recover from the war. I mean, even modern English people are imperious, superior, ridden by class. All of the hypocrisy and the difficulties that are endemic in being British also make it an incredibly fertile place culturally. A brilliant place to live. Sad but true.
SG: How much of a transformation was there to make "Tommy" ready for Broadway?
PT: The difference between the La Jolla and Broadway versions was the second act had to be more showbiz. It wasn't just about flashing lights and pinball machines blowing up and things like that. It was about using encores, bringing back the good songs and using techniques that I knew about from rock performance. The giveaway was it suddenly became "Oh What A Lovely War". It stopped being what it had felt. It stopped feeling purely autobiographical. It stopped feeling like a rock classic. It stopped feeling like a story about a bunch of kids from Shepherd's Bush or whatever. And it started to feel to be a story about Britain and the mechanics by which Britain had in the past medicated itself. The message of "Oh What A Lovely War" was that if we blow our leg off what do we do now? Sing a happy song. And there's a kind of irony in that, a poignancy and a tremendous tragedy. But there's also hope. And it's poignant and it's sad and it's pathetic. And all of those things gathered together to produce a result which certainly not everybody that went to see "Tommy" and go to see it now get.
SG: You received a lot of criticism for the Broadway production. How did you make sense of it?
PT: The loudest critics of "Tommy" are often foreign or colonial intellectuals. Bret Easton Ellis, Germaine Greer: they don't get it. They think it's puerile to suddenly get to the end of a classic piece and let go of the dream and face reality. But that is a definitive, quintessential English characteristic. It's not even Scottish, Welsh or Cornish. It's English. What the English like to do is to face reality with a glass of port and a tear and fade off like Basil Rathbone into the sunset. Ray Davies is very good at this. I'm good at it. Certain other people are good at it. So when you see it on Broadway with flashing lights and a yellow theatre and crowds of Americans walking in, it becomes cynical, it becomes ironic, it becomes in bad taste in a sense. The best balance of all for me was seeing the show in Toronto. It was a brilliant company there. But it also seemed to me that somehow, because Des is from Toronto in Canada which is obviously a colony and a much nearer colony than America ever was, it seems to work a bit better. Obviously Toronto is a much more English city than New York. It seemed to work a bit better. But I think we are incumbent, I am incumbent, the Who is incumbent, anybody that produces anything by me is incumbent by my Englishness.
SG: Would you describe Des McAnuff as an effective dramatherapist in the way he meted out the autobiographical elements in "Tommy"?
PT: I forced a lot of that on him. I had had this bicycling accident. I decided that I was going to use the opportunity of this convalescence to go and talk to my mother. And it was an astounding conversation. Absolutely astounding. She told me a few things about my childhood. It was not only astounding because they were traumatic events but because they were things I'd grown up not knowing had happened. And yet what was astounding about them was realizing that everything that I had done creatively related to two or three incidents that happened to me when I was a child that I'd forgotten. Everything, absolutely everything. Certainly all of "Tommy". And it was a real bone of contention when we came to argue the creative split based on the sweat factor with the other members of the Who. When I said it's autobiographical, you know, they said: "No it's not, we all played a part in writing the story". I was absolutely adamant: "No you fucking didn't, this came out of my subconscious, that's one place you can't have contributed to." So I went to Des McAnuff forcing stuff through. Where he was wonderful in catharsis and in creative exposition was actually simplifying, allowing me to just accept that something worked and it didn't need elaboration, it didn't need decoration. All it had to do was be presented. So a lot of it was about putting songs in the right order for the stage rather than a four-sided vinyl album or a 90-minute movie. And also encouraging me to believe that it was OK for me to rework, rethink and revisit what I'd done before. I would say: "You don't understand Des, you're not allowed to do that in rock and roll." And he'd always say: "Shakespeare can do it. If it's OK for Willie, it's OK for you. Who the fuck do you think you are?" And when I tell that story that's what people say to me: "Who the fuck do you think you are? Shakespeare?" And I say: "No that's what he said. Who the fuck do I think I am? You know, if it's good enough for Shakespeare, it should be good enough for the road sweeper."
SG: Will "Quadrophenia" appear on a theatre stage in the future?
PT: I've always thought that where "Quadrophenia" would work quite well would be in a theme park. Anyway when we came back through New York a distinguished agent rang through to my manager and he's convinced that it would work on Broadway. But the plans for "Quadrophenia" at the moment are simply to take it to Europe in its current shape or form. I'm very keen to take "Quadrophenia" in this form to Europe because I've had such incredible feedback from Europeans about it. It's the one piece that seems to have touched young Italian men, young Spanish men, young Greek men as well as the French, Germans, Scandinavians who have predominantly been our audience in Europe. "Quadrophenia" seems to touch the Latinos which I love, the idea that I've written something which might get some response from the Latin population of Europe. So we're going to wheel it around in May and see what happens.
SG: Are there any plans for "PsychoDerelict" to become a stage production?
PT: My next job is to talk to the creative team at the Ordway Theatre in Minnesota about putting up a stand-alone version of "PsychoDerelict" and that's happening. I'm really excited about that. I've asked Roger if he'll consider taking an acting role in it and he said he'll consider it when I've done the script. I'm also working on the book for a big "Les Miz" sort of musical. I've found a property which I really, really like, a classic property which I'm working on with a couple of writers to develop. Meanwhile I'm trying to do a trio of small plays, three short pieces, which I could put up in a kind of Donmar/Almeida type circumstance like I did with "PsychoDerelict" in which I might have a part in one of the plays but they would be kind of pure workshops basically about the way in which families either nurture or frustrate artistic talent. And that each one of the plays will say something about that. And we've just announced that "The Iron Man" is now in production as an animation feature with Warner Brothers. It's the third film in the series. The first is "Space Jam", the second is a thing called "Quest For Camelot" and "The Iron Man" is the third. And that's also very exciting because that's going to be a 40 or 50 million dollar film and we'll get a lot of publicity. It's going to be called "The Iron Giant" because of "The Iron Man" comic in America. I'm really grateful because poor old Ted Hughes was worried that he might be dead before he
gets paid. When I look at the blank sheet everyday, what I'm trying to do is find either existing properties or come up with properties or angles or stories which will create music drama. It's my obsession and most of all I would like to remain working in theatre. I think it's very much alive. What's actually happening in New York with "Rent", though young kids are being hyped into the theatre to some extent, it's great that it's happening. And once they do it they get a taste for it. I can't tell you how many hard nosed New Jersey Who fans would come up to me and say: "Yo Pete I went to see "Tommy" and after that I went to see a few other things and you know it's not so fucking bad". And you know they'll go and show up and see anything. If they're in the system they'll be broader. Rock fans have tended to be incredibly narrow. It's like a big part of my desire has always been not just to open up the minds of the fans but to prove that this music, this pride, this place of fertile energy is capable of working at every level of human experience and expressing them and reflecting and uplifting and entertaining of course.


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|Article Index
|UNRIC Library Newsletter - January 2005
|New information material
|New videos or DVDs
|New titles
|All Pages
28th Special Session of the General Assembly on 24 January 2005:
Commemoration of the sixtieth anniversary of the liberation of the Nazi concentration camps
61st session of the Commission on Human Rights - (14 March - 22 April 2005)
Calendar of Conferences and Meetings 2005
Commemoration of the sixtieth anniversary of the liberation of the Nazi concentration camps - 28th Special Session of the General Assembly: 24 January 2005
Press release: http://www.un.org/News/Press/docs/2005/sgsm9672.doc.htm
Provisional agenda: http://daccessdds.un.org/doc/UNDOC/GEN/N05/203/71/PDF/N0520371.pdf?OpenElement
International Conference on Biodiversity : Science and Governance
UNESCO Headquarters, Paris – France (24 – 28 January 2005)
International Meeting for the 10-Year Review of the Barbados Programme of Action for the Sustainable Development of the Small Islands Developing States (Port-Louis, Mauritius, 10-14 January 2005)
Millennium Project Report
"Investing in Development: A Practical Plan to Achieve the Millennium Development Goals"
and final Task Force Reports to UN Secretary-General on 17 January 2005
Official Documents System (ODS)
ODS, the premier full-text web resource for official United Nations documentation, is available to the general public as of 31 December 2004. The ODS covers all types of official United Nations documentation originating from duty stations worldwide. Comprehensive coverage starts in 1993. The ODS also provides access to the resolutions of the General Assembly, Security Council, Economic and Social Council and the Trusteeship Council from 1946 onwards.
ReliefWeb – redesigned website
>>ReliefWeb is the world's leading online gateway to information (documents and maps) on humanitarian emergencies and disasters. An independent vehicle of information, designed specifically to assist the international humanitarian community in effective delivery of emergency assistance, it provides timely, reliable and relevant information as events unfold, while emphasizing the coverage of "forgotten emergencies" at the same time.<<
Resolutions and Statements of the Security Council 2005
(Press Release SC/8293, 17 January 2005)
UN Responds to Tsunami Disaster
World Conference on Disaster Reduction (18 – 22 January 2004, Kobe, Hyogo, Japan)
World Economic Situation and Prospects 2005
The Brussels based United Nations Regional Information Centre for Western Europe - UNRIC provides information on UN activities to the countries of the region. It also provides liaison with institutions of the European Union in the field of information. Its outreach activities extend to all segments of society and joint campaigns, projects and events are organized with partners including the EU, governments, the media, NGOs, schools and local authorities.
United Nations Regional Information Centre for Western Europe (UNRIC Brussels)
Residence Palace, Rue de la Loi/Wetstraat 155, Block C2,7th and 8th floor, Brussels 1040, Belgium
Tel.: +32 2 788 8484 / Fax: 32 2 788 8485


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St. Regis Hotels & Resorts and Fashion Designer Jason Wu Unveil Limited-Edition Travel Bag Inspired by Today's Grand Tour
The Grand Tourista Bag by Jason Wu for St. Regis Hotels & Resorts debuts in conjunction with launch of St. Regis' Retail Website: www.stregis.com/boutique
NEW YORK - (BUSINESS WIRE) - Nov. 15, 2012 - St. Regis Hotels & Resorts, part of Starwood Hotels & Resorts, Inc. (NYSE: HOT), is delighted to unveil The Grand Tourista Bag by Jason Wu for St. Regis Hotels & Resorts inspired by today's grand tour and designed with a new generation of luxury travelers in mind. Sophisticated, timeless and informed by the brand's rich heritage, The Grand Tourista Bag marks Wu's first product created exclusively for travel and the first accessory designed for the St. Regis brand. The Grand Tourista Bag will retail for $1,995 at www.stregis.com/boutique and www.jasonwustudio.com beginning in early December and will be available for pre-order at online luxury fashion retailer Moda Operandi beginning today on www.modaoperandi.com.
"I see St. Regis as both a classic and a modern name, which I feel is an apt description of my brand as well," says St. Regis Connoisseur Jason Wu. "I am really excited to be part of a legacy that is rooted in impeccable style that can stand the test of time, and The Grand Tourista Bag reflects exactly that."
The Grand Tourista Bag by Jason Wu for St. Regis Hotels & Resorts is a sumptuous shoulder tote designed in a subtle black and white houndstooth pattern on structured canvas with elegant calf leather black trimming. The interior features two pouch pockets lined in viscose/silk grain in Wu's signature grey color, perfectly-sized for tablets, e-books and a passport. St. Regis hallmarks are embossed on the interior's leather trim and pay homage to the brand's flagship hotel on 55th Street and 5th Avenue in New York, opened over a century ago by John Jacob Astor IV.
"Traveling the world to design, show and sell his collections, Jason Wu intimately understands the needs of luxury travelers today – a new generation that is increasingly staying with St. Regis around the world," says Paul James, Global Brand Leader, St. Regis Hotels & Resorts. "As a hotel brand as international and informed as its guests, we are building our portfolio in destinations at the heart of the new grand tour itinerary and celebrating this concept with a travel bag that has both style and substance."
For centuries, affluent travelers would go on a grand tour through Europe to collect experiences and cultivate knowledge. Today as culture, business and leisure intersect in destinations as diverse as Abu Dhabi, Aspen, and Sanya Yalong Bay a new global traveler has emerged: multi-national and cross-generational, mobile and jet-setting. St. Regis Hotels & Resorts is uniquely positioned to cater to the needs of this global elite, offering a distinct perspective on contemporary luxury informed by its own rich heritage. Nearly tripling the brand's portfolio around the world in just five years, the St. Regis brand recently debuted hotels and resorts in Bal Harbour, Doha and Shenzhen with upcoming openings ranging from Mauritius and Jakarta to New Delhi and Chengdu. Celebrating this concept, St. Regis has created a package that offers guests an exceptional culinary experience and a special gift indicative of each destination on the new grand tour itinerary, featured on the brand's special website, www.stregis.com/newgrandtour.com.
St. Regis has taken special care to partner with ambassadors who share the brand's commitment to excellence and speak to the passions of its guests, while offering an authentic connection to the St. Regis heritage. Jason Wu joins Nacho Figueras as the brand's second Connoisseur. The partnership with Wu, whose stylish supporters include Diane Kruger, Rachel Weisz and Reese Witherspoon, developed organically over the course of two years, when Wu showed his collection as a breakout designer at The St. Regis New York during S/S 2010 New York Fashion Week. Wu has attended many milestone events for the brand, including the recent grand opening of The St. Regis Bal Harbour Resort, and as a genuine brand enthusiast, Wu calls St. Regis home when he is traveling and entertaining.
Through its signature St. Regis Aficionado program, the St. Regis brand has created an opportunity for its global guests to style their wardrobe for the new grand tour itinerary with a limited-edition Grand Tourista Bag. St. Regis Aficionado events scheduled at St. Regis Hotels & Resorts around the world are open to all guests and can be reserved at www.stregis.com/aficionado. Additionally, Starwood Preferred Guest (SPG) offers SPG members direct access to bespoke experiences including the opportunity to meet St. Regis Connoisseur Jason Wu at the legendary St. Regis New York. Please visit www.spg.com/moments for more information.
About St. Regis Hotels & Resorts
Combining classic sophistication with a modern sensibility, St. Regis is committed to delivering exceptional experiences at over 30 luxury hotels and resorts in the best addresses around the world. Since the opening of the first St. Regis Hotel in New York City over a century ago by John Jacob Astor IV, the brand has remained committed to an uncompromising level of bespoke and anticipatory service for all of its guests, delivered flawlessly by signature St. Regis Butler Service. From Bal Harbour to Bangkok, Saadiyat Island to Shenzhen, the St. Regis brand caters to a new generation of luxury travelers and continues to thoughtfully build its portfolio in the most sought after destinations at the heart of today's grand tour. Plans for the brand to expand its legacy include much-anticipated St. Regis Hotels & Resorts in the Riviera Maya and in Asia, where St. Regis has announced plans to open hotels in Changsha, Chengdu, Kuala Lumpur, Lijiang, Nanjing, New Delhi and Zhuhai. Additionally in Europe, Africa and the Middle East, St. Regis will continue to expand in Abu Dhabi, Amman, Dubai and Mauritius. For more information on St. Regis Hotels & Resorts, please visit www.stregis.com, to explore our recent debuts visit www.stregis.com/newgrandtour and for the privilege of residential ownership, please visit www.stregis.com/residences
Photos/Multimedia Gallery Available: http://www.businesswire.com/multimedia/home/20121115005958/en/
Source: Starwood Hotels & Resorts Worldwide, Inc.
Media Contacts:
Katie Roberts
St. Regis Hotels & Resorts
Meg Connolly
Meg Connolly Communications
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OK, folks it's time for the Calgary Flames Quarterly Report.
All right, so we're actually a game and change past the quarter-point, so it's actually the Calgary Flames Quarterly and Then Some But Hey We've Been Busy So What Are You Going To Do About It Report.
On the theory that's it's barely better late than never, here are some questions about the first 20-some games that Kent Wilson, TLP and Jean Lefebvre will either answer, partially answer or plead the fifth on.
1. Do you see any evidence of Brent Sutter's influence on the team so far?
Kent: The club seems to be blocking a lot more shots under Sutter, in direct contrast to Keenan's "let kIpper see the shot" mentality. I don't know if that's been a contributor to Kiprusoff's improved SV% or not. In addition, Phaneuf isn't playing 30 minutes a game and guys like Dawes and Boyd are actually getting legitimate chances to contribute.
TLP: I think the team is better-prepared to play road games, and that's obvious in the record and home/road goal differential. Calgary finished 19-20-2 away from home last season and would have to undergo a calamitous stretch the rest of the way to come close to matching that. Kiprusoff is also seeing a much lower quality of shot on the whole, which is partly because of shotblocking, as Kent said, and partly because the forwards' role on defense is changed.
Lefebvre: Not sure how much we're seeing, but we're certainly hearing a difference. More than any Flames coach since his older brothers, Brent is willing to call out his stars in the media and we all know by now that the unwillingness to make the marquee players accountable was one of the biggest beefs of the Mike Keenan Era. Big or small, thinly veiled or out-and-out named by name, the players have taken turns feeling Sutter's public wrath. The jury's still out on what impact the tactic will have on the on-ice product, but at least the fans must be pleased to hear the coach say what the patrons are feeling after a sloppy performance.
2. More specifically now, do you see any signs that Sutter has had an impact on his former junior protégé, Dion Phaneuf?
TLP: I don't think so, at least not yet. Dion has had so much bad coaching over the last few years that he doesn't resemble the Phaneuf of juniors and his early NHL days that was, y'know, somewhat capable of playing some type of defense. Being on Regehr's pairing isn't going to hurt him plus/minus-wise, but I'm not sure Dion has really caught on to what Sutter's been preaching yet (see the shouting match last week).
Kent: This is a tough question, because the addition of Bouwmeester has made Phaneuf's job a whole lot easier: not only is there another big minute blueliner on the club, but now Dion gets to play with the best pure defender the Flames system has produced in the last decade: Robyn Regehr.
Lefebvre: I'd say no, although Kent makes a great point when he says that the difference in Phaneuf's situation from last year to this one makes this a bit of an apples-and-oranges exercise. There still seems to be too many times Phaneuf is an idle bystander when the opposition is doing damage. Funny thing is that the Phaneuf bashers a year ago complained that Keenan kept giving Phaneuf lots of ice time no matter how he was playing defensively. Well, Phaneuf is currently averaging 18:14 of even-strength ice time per game for Sutter, which is the exact same amount No. 3 had last year under Keenan.
3. Has your opinion of the Flames changed in any meaningful way since Oct. 1?
Lefebvre: It has from the standpoint that Kiprusoff is showing signs of halting or even reversing the steady decline of his significant netminding statistics. If Calgary continues to get good-to-great work from the Finn — whose current .915 save percentage is his best figure since 2006-07 — then Calgary has a fighting chance to work on its other issues.
Kent: Not a great deal. Jokinen is who I thought he was, as is Bouwmeester. The team had an ugly habit of getting outshot to start the season, but that seems to be coming around. I think the most pleasant surprises this year are Bourque continuing to prove he's one of the best forwards on the team as well as Kipper putting up a satisfactory SV%. Overall, I still like the Flames chances of winning the NW.
TLP: I'd say it has, yes, in both positive and negative ways. I like the way the team defense has looked overall and it's really saving the team in terms of goals allowed. Most of the goals I've seen lately haven't necessarily been the result of breakdowns in the system as they have been stupid turnovers (hello Olli!) or special teams situations, which is slightly more acceptable than what was happening last year. I am concerned about the problems at home though, because the Saddledome has been a fortress the last few years and now they're on pace to lose 20 games there.
4. Based on the first quarter or so of the year, how would you rank the Northwest Division contenders, pretenders and miscallenous?
Kent: NW division contenders are Calgary and Vancouver. Yes, I know the Avs currently have the best record, but that's mainly based on out-of-this-world goaltending and some kids playing over their heads. At some point, that bubble is going to burst. Edmonton and Minnesota, on the other hand, have major issues and probably aren't worth worrying about.
TLP: I think Calgary is pretty clearly the favorite especially if the play at home gets remedied. Vancouver has a chance to win, I guess, just based on it being improbable that this absurd injury situation can't last forever. Colorado's already starting to fade, and fast. Edmonton and Minnesota were finished long before Oct. 1.
Lefebvre: Colorado is way better than a lot of us gave them credit for, but it stretches credulity to believe the current division leaders can keep this up. Call it statistical probability, call it the law of averages, call it a hunch, but getting routinely outshot and relying on significant production from two teenagers hardly sounds like a recipe for lasting success. The defending champion Canucks, assuming they achieve some semblance of health, still look like the favourites and the Flames are No. 2 on the list. And, you gotta wonder how Minnesotans are feeling now that Jacques Lemaire and Marian Gaborik are thriving in the Atlantic Division.
5. Any parting shots?
TLP: If we could fire Olli Jokinen into orbit, that'd be just swell. And I'd like to see the team not lean so heavily on Jarome Iginla because he can't score a goal a game forever to bail them out from otherwise mediocre performances.
Kent: The first 20 or so games have further convinced me that the Flames need another legit top six forward to be real contenders. Olli Jokinen, while slowly improving, is probably never going to be able to carry the mail with Jarome Iginla, especially when the team resorts to playing them with Jaime Lundmark when a single injury occurs.
Lefebvre: Sure, keep hammering on Jokinen. He deserves most of the criticism but that doesn't change the fact that his shortcomings aren't nearly as strangely entertaining as were Todd Bertuzzi's.


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Retired grandparents Jeanne and Burt Metz lost their home when Superstorm Sandy hit Breezy Point, New York. A volunteer organization told the couple that their floors and walls would be rebuilt – but little did the Metz family know that hundreds of people were working to resurrect their entire house. NBC's Rehema Ellis reports.
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Panhandling panned: No more Mall driving, either
It's happened to Jim Tolbert at Bizou, at Miller's, at Rapture, and at Blue Light Grill. While Tolbert was dining outside at those restaurants, someone came up to ask him for money and it wasn't the waiter.
Mayor Maurice Cox was also asked for money a couple of times while he was sitting outside at a restaurant on the Downtown Mall. "You really feel vulnerable," he says.
In a series of meetings that Tolbert, Charlottesville's director of neighborhood services, had with downtown merchants and vendors, these two major complaints arose: panhandling and driving on the Mall. As a result, City Council adopted an ordinance April 21 banning "aggressive" panhandling and forbidding vendors from parking or driving on the pedestrian thoroughfare.
City officials admit the new ordinance targets two or three people whose panhandling practices cause consternation and one vendor who continues to load and unload his wares on the Mall after other vendors agreed not to.
"There's a concern that a couple of panhandlers are overly aggressive," says City Councilor Kevin Lynch. "We're not trying to crack down on panhandling. Most of the people who do it are pretty respectful."
The city defines aggressive panhandling as making physical contact, accosting anyone seated at an outdoor café, or asking for money within 15 feet of an automated teller machine or bank.
"It's only a couple of them," says Mall regular Phil Gianniny. As for the new law, "I think it's a waste of time," he says. "There are better things to worry about. People can handle it, and scaring you isn't breaking the law. I tell 'em to get a freaking job."
However, Charles Hogan, who's lived on the Mall for seven years, definitely thinks aggressive panhandling is a problem. "I can't tell you how many suburban women won't shop here," he says.
Hogan suggests an ordinance like one in Berkeley, California, that prohibits panhandlers from stopping pedestrians in motion or speaking to ask for money– but "lets them sit there with a sign."
City Councilor Rob Schilling wishes the ordinance would also ban begging at stoplights. He doesn't want Charlottesville's problem to come to resemble the situation in Santa Barbara. "I didn't want to go back there," he says, "because the panhandling was so aggressive."
Over at the Drop-In Center, a place where the homeless can shower or get mail, director Will Gallik says panhandling is part of a larger issue. "If adequate services were provided," says Gallik, "this wouldn't be as big an issue if it is an issue."
Mayor Cox agrees that Charlottesville needs better safety nets for people who are drunk or mentally ill.
"This law is the stick," he says. "We are investigating the carrot."
As for driving on the Mall, City officials acknowledge that it isn't a widespread problem, and in fact, there's only one vendor who does it regularly. City staff talked to the vendors to ask them to stop, and although the majority complied, "One or two said no– you can't make me," says Lynch.
"When people are driving at eight on a Friday night to load up their wares, it is a dangerous situation," says Joan Fenton, a business owner and co-chair of the Downtown Business Association of Charlottesville.
She's also concerned about wear and tear. "Structurally the Mall is falling apart," she says.
Most Mall vendors don't view the lack of easy access to load and unload as a problem. One who sells jewelry and who declined to give her name thinks that driving on the Mall is a safety issue that's only worsened if every vendor does it.
"I was concerned about creating a hardship for vendors," says Schilling. "I was told only one had a problem with it."
Schilling did see to it that the ordinance allows an exception to make sure contractors don't have to haul heavy tools up and down the Mall.
"I guess I'm the one they're talking about," says a Mall vendor who requests that his name not be used. He says he won't drive on the Mall once the new law goes into effect, but he worries about his merchandise if he has to unload it from a side street.
"The problem is if I unload half my stuff around the corner, by the time I get back with the rest, that's gone," he explains.
The penalty for driving on the Mall is a $70 fine; aggressive panhandling is a Class 3 misdemeanor with a fine not to exceed $500.
Is there any danger in making laws that target only one or two people? Jim Lark is secretary of the local Libertarians, and while he specifies he's not voicing the official party line, he says, "Those laws that target one person make us queasy."
Lark sympathizes with those who find panhandlers irritating or threatening, but he cautions that crafting laws to address behavior may have unintended consequences and criminalize types of behavior that aren't a problem. Take, for example, passing out political literature. "Plenty of people may feel accosted. Is that something different from asking for money?" he asks.
City officials don't share Lark's concern. "A problem is a problem," says Tolbert. "It's against the law to murder, and only a small segment does that."
Lynch sees the ordinance as not so much about targeting one or two individuals. "It's behavior that goes over a line of civility," he says. [See news story about Councilors Lynch and Schilling debating civility.–editor]
Someone asking for spare change is one thing, says Lynch, but, "Grabbing you or asking at a restaurant where you can't get away, those things cross the line."
Mayor Cox looks at the ordinance within the bigger picture of the Downtown Mall. "I see these as problems of almost too successful a pedestrian environment. Maybe that's a good problem to have."
Now it's just a matter of getting the word out to those two or three aggressive panhandlers next time they pass through town.Read more on: Downtown MallPanhandling


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" CORY LIDLE New York Plane Crash - [st]90/II/0I[/st] I0/II/06 "
Baseball fans will remember the alleged plane-crash which reportedly killed Yankee pitcher Cory Lidle (and injured 11 New York firefighters) back in 2006. Apparently, "pilot error" caused his private plane to crash into the Belaire building at East 72nd in New York's upper East side, entering an apartment and injuring its owner, Ilana Benhuri. The fortunate lady, we may guess, was safely watching TV in her bath tub - and so escaped alive from the furnace.
Oh no, wait! This Daily News article from Oct 11, 2007 - a year after the event - informs us that...
"Benhuri, 51, was standing just a few feet from the window in her 30th-floor apartment and never saw the single-engine plane bearing down on her. The explosion threw her to the ground and flames licked her back."
http://www.nydailynews.com/news/east-si ... z2j1tD5as9
Oh well - we may surmise that Mrs Benhuri is of the thick-skinned type. Her husband however, is none too happy about the whole affair;
: "Benhuri's husband, Parviz, contends he could not have sex with his wife because of her injuries".
Here we can clearly see the classic plane-shaped gash in the building - caused by the fiery impact:
And here we can see the classic soot mark we'd expect after such a fire...
(everyone knows that building fires tend to spread mostly downwards - towards the lower floors) :
The aircraft, Wickedpedia informs us, was registered as "N929CD" and had taken off from Teterboro (NJ) at "2:29 (18:29UTC)".
http://en.wikipedia.org/wiki/2006_New_Y ... lane_crash
Another image of the tragic fire (the black smoke, I believe, must be the plane fuel. The white smoke is Mrs Benhuri's apple pie. Or vice versa.) :
Hmmm...[*mumble,mumble*]. Was this maybe/ perhaps / possibly just another scam? Naah... EVERYTHING isn't a conspiracy, Simon !


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This week in new hires, Joseph Gaeckle was appointed managing principal at Lincoln Financial Advisors, Jeff Conway was named to lead an organization at State Street, and the SEC appointed Dr. Jennifer Marietta-Westberg deputy director of its RSFI division.
Also, Joe Cunningham joined Horizons ETF Management; U.S Bank's Private Client Reserve named two new officers; and Clark Kendall joined the advisory board of the John Marshall Bank.
Lincoln Financial Advisors Appoints Joseph Gaeckle Managing Principal
Lincoln Financial Network, the retail client business of Lincoln Financial Group, announced Monday that Joseph Gaeckle has been appointed managing principal of Lincoln Financial Advisors Corp., serving as market leader in the greater Philadelphia area. He is based in Berwyn, Pa., and will report to Jack McCaughan, managing director of the Atlantic regional planning group, which includes the Philadelphia regional offices.
Gaeckle joins from Waddell & Reed, where he served as a managing principal focused on growing sales and the advisor force in his division, and district manager, where he led a team of advisors and supported recruiting efforts. Prior to Waddell & Reed, he served as regional marketing director/wholesaler and sales coordinator with The Hartford Financial Services Group, Inc. (PLANCO Financial Services).
State Street Taps Jeff Conway to Lead Data and Analytics Solutions for Clients
State Street Corp. announced Friday that it had named Jeff Conway to lead an organization dedicated to developing solutions to address clients' data information and trading challenges. Global Exchange reorganizes existing components from State Street's research and advisory, analytics, Currenex, Global Link and derivatives clearing capabilities into one organization focused on providing clients with easier access to solutions and accelerating new product development. Conway, executive vice president and 25-year industry veteran, will report to Jack Klinck, a member of State Street's management committee and head of global strategy and new ventures.
Conway has led a number of businesses and corporate functions during his 25-year career at State Street in addition to leadership roles within the company's international business in Europe and the Asia-Pacific region.
SEC Names Jennifer Marietta-Westberg Deputy Director of RSFI
The Securities and Exchange Commission recently announced that Dr. Jennifer Marietta-Westberg has been named deputy director of its division of risk, strategy, and financial innovation (RSFI). Marietta-Westberg will oversee the division's policy and rulemaking support functions, particularly its economic analysis in support of SEC policy and rulemaking. In addition, she will assist with the overall management of the division, working closely with Craig Lewis, RSFI director and chief economist, and the division's other deputy director, Kathleen Weiss Hanley.
Marietta-Westberg joined the SEC in 2006 as a visiting scholar in what was then the office of economic analysis. In 2010, she was named assistant director of what is now the office of investments and intermediaries within RSFI, where she oversaw economic analyses in support of policy and rulemaking recommendations by the SEC's division of investment management and its division of trading and markets. Before coming to the SEC, she was an assistant professor at Michigan State University. Horizons ETFs Management (USA) Appoints Head of Capital Markets
Horizons ETFs Management (USA), a subsidiary of Seoul, Korea-based Mirae Asset Global Investments Co. (MAGI), recently announced the appointment of Joe Cunningham as executive vice president and head of capital markets for Horizons USA. He will oversee all market-making and capital-market trading relationships for Horizons USA and assist with institutional distribution.
Cunningham is an investment industry executive with nearly two decades of experience in product and business development, strategic relationships management and the implementation of trading models for global equities and derivatives markets. Previously, he served as director of institutional ETF order flow and national account manager at ProShares. Prior to that, he was vice president of Louis Capital Markets, where he helped to launch the firm's algorithmic trading platform.
Horizons USA, through Exchange Traded Concepts, also announced that it has filed a registration statement with the SEC to issue three covered call ETFs on the New York Stock Exchange. The Horizons-branded covered call ETFs seek investment results that, before fees and expenses, generally correspond to the performance of the underlying S&P indexes.
U.S Bank's Private Client Reserve Names Two New Officers
The Private Client Reserve of U.S. Bank has announced the addition of Doug Heding as assistant vice president and private banking officer in Milwaukee, and Kenan Aksoz as wealth management consultant in Minneapolis.
In his new position, Heding will provide a customized set of services to manage the banking needs of high-net-worth individuals and families. He brings a wide range of experience in treasury management, credit risk management, HNW client relationship management and small business relationship management. Before joining, Heding was a private banking officer for the Private Bank and Trust in Milwaukee.
As wealth management consultant, Aksoz will work with HNW individuals and families to develop comprehensive solutions and strategies to help them meet their financial objectives. Aksoz has more than 23 years of experience in the financial services industry. Prior to cofounding Aksoz Medved, he was a principal in Aksoz & Company, a mergers and acquistions firm. His experience includes corporate restructurings, joint ventures, recapitalizations, management buyouts and the acquisition and sale of companies for his own account. Clark Kendall Joins Advisory Board of John Marshall Bank
Maryland-based financial services firm Kendall Capital Management announced Tuesday that Clark Kendall, CEO, president and founder, was selected to join the advisory board of John Marshall Bank. In his new role on the board, Kendall will meet with other board members occasionally throughout the year and act as an extended arm of the bank into the local community.
As a founder of Kendall Capital, Kendall is focused on providing financial direction to HNW individuals and families in and around Montgomery County, Md.
Read the April 10 New Hire Roundup at AdvisorOne.


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Today, Tokyo is getting its second Gundam cafe. This one is in Odaiba, near the Fuji TV building. Out front, there's an enormous one-to-one scale Gundam—you know, if you can't find the cafe.
Inside, you can guzzle Gundam coffee and munch on Gundam snacks. There is also a Gundam "theme park", Gundam Front, with attractions, a shop shilling souvenirs, and a collection of Gundam art. In the same complex, there's also Strict-G, a store selling high-fashion Gundam clothing.
If you live in Tokyo, but cannot make it out to Odaiba, there is also a Gundam Cafe in Akihabara. It has Gundam restrooms. Just remember that if someone salutes you, salute them back.
In the above gallery, check out photos from websites Akiba Kakaku and Famitsu.
ガンダムカフェの新店がお台場に! 限定「ガンプラ焼 シャアザク」「ビームチュロス」など [アキバ総研]
「ガンダムフロント東京」、内部が明らかに! お台場にオープンする「ガンダム」専門施設 [アキバ総研]


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Orthodontists in Harrison, NY – (855) 263-4605
Orthodontics typically involves the use of braces for aligning teeth. Braces consist of brackets that are bonded to the teeth, and arch wires that are threaded through the brackets. The arch wires act as a track and guide each tooth to its proper position. There are several types of orthodontic braces available to consumers, including the more traditional metal braces, ceramic "tooth-colored" braces, and clear plastic braces.
The purpose of orthodontic treatment is to make the best of your teeth. This includes allowing you to bite correctly, eat more comfortably, and to care for your teeth and gums more easily. And your smile will benefit, too. Treatment almost always involves using braces to straighten crooked, crowded or protruding teeth, close gaps between teeth, and correct the bite of the teeth so the top and bottom teeth meet when you close your mouth.
Several kinds of orthodontic braces in 10528 can be used to reposition teeth. Damon brackets and ceramic brackets are two of the most popular types of dental braces. Patients can choose from ceramic braces, plastic (clear braces), or stainless steel (metal braces). Stainless steel is a practical material, and the most common, but ceramic or plastic can be used for cosmetic purposes.
10528 Dental Braces | (855) 263-4605
Orthodontics is not just for children. While most people tend to associate orthodontics with children, adults are also prime candidates for treatment. Approximately 25% of all orthodontic patients are adults. Advances in technology and the introduction of more indiscriminate, clear braces make the benefits of orthodontics a must for any adult.
We absolutely love providing orthodontics for our patients in Harrison, NY and changing their lives! We have seen quite a few patients over the years become more self-confident, more radiant and more willing to show off their smile in social situations after having straightened their teeth with braces. If you have any questions about how you can have a healthy, attractive smile like many of our other patients, please contact us today.
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Malcolm Brown - Oral History Summer Series
The Harwood Museum of Art is pleased to announce a summer series of interviews with a variety of Taos based artists. In celebration of the Harwood's summer exhibition, The Errant Eye: Portraits in a Landscape, these videos provide an intimate portrait of a dozen artists who are living or have lived in Taos, including Larry Bell, Ron Cooper, Mildred Tolbert and Rosa Ellis Clark.
The Oral History Project originated in 1999 in collaboration with Douglas Dreishpoon, Chief Curator at the Albright-Knox Art Gallery in Buffalo, New York. The Project's initial concept called for a series of video-taped interviews with individuals who'd been associated with the Taos Moderns, a group of artists living in Taos during the 1940s and 50s that included Beatrice Mandelman and Louis Ribak. In June of 2000, eight interviews were conducted with artists and individuals who had been associated with the Taos Moderns.
As the Oral History Project evolved, the objective for the interviews broadened to encompass subsequent generations, the influx of artists and writers who came to Taos in the 1960s and 70s, and other individuals who had contributed to the culture and arts in Taos. To date, the Project has recorded 44 interviews, all of which have been transcribed. Each interview runs about an hour in length and develops around a set of questions researched and conducted by Douglas Dreishpoon. The interview materials of the Oral History Project constitute elements of an oral history archive for Taos and an invaluable resource for scholars and researchers.
1:00pm, Every Friday starting June 16th – September 8th, 2017
Free with museum admission. Free for members.
Summer 2017 Schedule:
1. June 16th Larry Bell
2. June 23rd Dennis Hopper
3. June 30th Ron Cooper
4. July 7th Agnes Martin – My Back to the World (Not a part of the Oral History Series)
5. July 14th Paul O'Connor
6. July 21st Malcolm Brown
7. July 28th Rosa Ellis Clark
8. August 4th Jenny Vincent
9. August 11th John DePuy
10. August 18th Mildred Tolbert
11. August 25th Ted Egri
12. September 1st Robert Ray
13. September 8th Jim Wagner
The Interviews are courtesy of The Beatrice Mandelman-Louis Ribak Collection (2014-06-20), Special Collections and Center for Southwest Research, and the University of New Mexico Libraries.


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World Families Forums - P312* and L21- Some Observations on Distribution
|WorldFamilies has changed our Forum Operating system and migrated the postings from the prior system. We hope that you'll find this new system easier to use and we expect it to manage spammers much better. If you can't find an old posting, please check our Legacy Forum to see if you can see the old posting there.


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A collection of scholarly works about individual liberty and free markets. A project of Liberty Fund, Inc.
The Collected Works of Arthur Seldon, 7 vols., ed. and with Introductions by Colin Robinson (Indianapolis: Liberty Fund, 2004-5). Vol. 6. https://oll.libertyfund.org/titles/1454,
|Available in the following formats:
|LF Printer PDF
|This text-based PDF was prepared by the typesetters of the LF book.
Volume 6 of The Collected Works of Arthur Seldon examines the failure of state-supported welfare programs to benefit the people most in need of help. The eight articles and one book in this volume encompass almost forty years of criticism of the welfare state. For copyright reasons, only "The Reluc tant Crutch," "The Great Pensions Swindle," and "The Retreat of the State in Social Welfare" are available online.
The copyright to this edition, in both print and electronic forms, is held by Liberty Fund, Inc.
This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit.


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Getting braces or other orthodontic work can require frequent appointments and hefty payments, so choosing the right doctor is a must. "You are entering a relationship that could last years," says Dr. Alan Bagden, an orthodontist in Springfield, Va. Some tips:
Ask for lots of recommendations. Don't just stop with your dentist: Check in with friends, neighbors, co-workers and nearby relatives. Visit the websites of potential practices.
Request a no-obligation consultation. At these initial meetings — often free — discuss treatment goals, the doctor's experience in correcting specific problems, payment options and insurance policies and ask to see before-and-after patient photos. In large practices, it's also smart to meet the office manager.
Don't be afraid to seek a second (or third) opinion. Getting braces is a major commitment, so compare treatment approaches, prices and office atmosphere, including cleanliness and staff friendliness. But note: If you love the first place you visit, that's fine too.
Be sure a doctor is board-certified in orthodontics. General dentists can take a few courses that allow them to perform orthodontic treatments, but they are not orthodontists. Rather, orthodontists are dentists who have undergone extra years of training, clinical experience and peer review.
Consider convenience. Ask about office hours, policies on changing appointments and how a practice handles emergency situations. If possible, select an office close to your home or work or your child's school because you might be heading there at least monthly for years.
Be comfortable with your orthodontist as a person. You want to look forward to the visits, not dread them. If a child will be the patient, bring him or her to meet a potential doctor. Alison Johnson, McClatchy Newspapers


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