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A key interview from 1975 that nearly split The Who. The dejection and depression of an embittered Townshend (catalysts behind The Who By Numbers) are glaringly apparent in this discussion of the state of 'rock' and the future of The Who.
In the U.S. this article was reprinted in Creem Magazine (Sept.-Oct. 1975).
Pete Townshend didn't die before he got old. Yet death isn't his problem, it's the passing of the years and his current position in what he feels is a younger man's occupation.
"If you're in a group," he begins, "you can behave like a kid and not only get away with it, but be encouraged."
The name Keith Moon somehow springs to mind.
"If you're a rock musician," Townshend continues, you don't have to put on any airs and pretend to be all grown, up … pretend to be 'normal' or even be asked to behave like you're a mature and a highly responsible person. These are just the trappings that society puts on most people, with the result that most kids are burdened down, with responsibilities far too early in their life.
"You know the deal: as soon as you leave school you've got to find a secure job and hang onto it. I wrote 'My Generation' when I was 22 or 23, yet that song breathes of 17-year-old adolescence. But then I did have a somewhat late adolescence."
So what are you trying to tell us?
"Personally, I feel that the funniest thing and also the saddest thing about the current state of rock 'n' roll is that it's the pretenders that are suffering the most. Those people who, for a number of years, have been pretending to be rock stars and have adopted false poses. It's the difference between someone who has made rock an integral part of their lifestyle and therefore doesn't feel like they're growing old.
"You want to know something? I really hate feeling too old to be doing what I'm doing.
"I recently went to do a BBC-TV interview and when I arrived at the studios there were all these young kids waiting outside for the Bay City Rollers. As I passed them by, one of the kids recognized me and said, 'Oo look, it's Pete Townshend' and a couple of them chirped 'Ello Pete'. And that was it. Yet the first time the Who appeared at those same studios on Top Of The Pops, a gang of little girls smashed in the plate glass front door on the building.
"Anyway, as I entered the building, the doorman turned to me and smirked. 'Ere, what's it feel like to walk past 'em now and have nothin' happen, eh?'
"I told him that, to be quite honest, it brings a tear to my eye. Look, I don't want them to mob me because the Who have never been a Rollers-type band, what I'm scared of is hypocrisy."
Hypocrisy? In what way?
"Well, nowadays it's considered very passé to admit that you've got a burning ambition to stand on stage and be screamed at by 15-year-old girls. But when we started out that was something to be very proud of. If it didn't happen there was something wrong with you.
"Though I haven't all that much experience as to what is happening contemporarily in music, I do feel that 'the-world-owes-me-a-living' attitude still prevails, not only in rock, but in every walk of life. So now everyone's gotta look like they really mean business and every bloody singer I see on The Old Grey Whistle Test looks a-n-g- r-y." He breaks off the conversation to pull relevant grimaces. "When I see this I go into hysterical fits of laughter.
"Sure, I know that I look angry when I play but usually there's no reason for it. I suppose it's an adopted aggressive thing, which is in turn a subconscious layover from those days when I was angry. I don't quite know what I was angry at, but I was angry, frustrated, bitter, cynical and it came through in the music I wrote."
C'mon, Pete, you're either evading the moment of truth or approaching it in a very roundabout manner. What's brought on this manic obsession about being too pooped to pop, too old to stroll?
"It's just that when I'm standing up there on stage playing rock 'n' roll, I often feel that I'm too old for it."
No kidding.
"When Roger speaks out about 'we'll all be rockin' in our wheelchairs' he might be but you won't catch me rockin' in no wheelchair. I don't think it's possible. I might be making music in a wheelchair, maybe even with the Who, but I feel that the Who have got to realize that the things we're gonna be writing and singing about are rapidly changing.
"There's one very important thing that's got to be settled." He pauses again. "The group as a whole have got to realize that the Who are not the same group as they used to be. They never ever will be and as such … it's very easy to knock somebody by saying someone used to be a great runner and can still run, but he's Not What He Used To Be." Townshend pauses yet again. "Everybody has a hump and you have to admit that you've got to go over that hump."
Yes we have … no we haven't. Townshend won't commit himself either way as to whether the Who are over the hill, but he intimates in no uncertain manner that the group is beset with acute problems.
"You've got to remember that there was a time when suddenly Chuck Berry couldn't write any more. He just went out and performed his greatest hits and I've always wondered what that was all down to?
"Jagger told me at his birthday party that he was having difficulty in writing new material for the Stones, which is unfortunate because nowadays so much importance is placed upon writing songs. To a degree, you could call it front-man paranoia, and even Roger gets it from time to time. Let's face it, Jagger carries a tremendous amount of responsibility apart from being the Stones front-man.
"Forget about that tired old myth that rock 'n' roll is just making records, pullin' birds, gettin' pissed and having a good time. That's not what it's all about. And I don't think Roger really believes it either. I think that's what he'd really like to believe rock 'n' roll was all about.
"Steve Marriott has chosen to live it like that and, as far as I can see, he's having a good time. Fair enough. But in my opinion Marriott's music falls short of his potential, which is a bloody shame because everyone knows what he's really capable of … there's all those old incredible Small Faces records piled up. For me, Ogden's Nut Gone Flake is one of the classic albums of the Sixties and, if it's the difference between that music and having a good time, I prefer that Steve Marriott suffer, because I want the music.
"Believe me, I don't want to sound too cruel and vitriolic, but I do think that you have to face up to the undeniable fact that there's no point in your life when you can stop working. You can't suddenly turn round and say, we're on the crest of a wave so now it's time to sit back and boogie. Deep down inside, everyone wants to do this but it's tantamount to retiring altogether. And personally, I can't do it.
"It's not necessarily to do with standards," Townshend continues before I have time to fire another question. "The Who's Odds & Sods collection would have been released even if it hadn't been all that interesting, but it's all been put down in the past for being substandard."
Apparently the reason for its release was to make null and void the increasing amount of Who bootlegs currently being circulated, and once a second volume has been prepared and issued, there will be no need to backtrack. "If," says Townshend, "The Who were gonna wave their banner for standards, Odds & Sods would still have remained unreleased. Standards have got absolutely nothing to do with it. I feel that it's the pressure at the front of your mind that … not necessarily your fans… but then, maybe your fans really are the most important people … are actually sitting twiddling their thumbs waiting for your next album.
"Every time they wait, they become more and more impatient. What Jagger said in that interview that he did with CREEM is that between the albums they are eagerly waiting for, he'd like to chuck out an R&B set to keep 'em happy. Fair enough, if he thinks it'll make any difference. But of course it won't.
"It's just like making a 'live' album. The fans will say 'Thank you very much, but what we're really waiting for is the next studio album, so get on with it.'"
New subject: Townshend was once quoted as stating that the eventual outcome of any Who recording depended entirely upon whether or not he could keep Moon away from the brandy and himself from imbibing whatever it took him to get through a session.
"At the moment, what governs the speed of the Who is the diversification of individual interests. We would have been recording the new album much earlier were it not for the fact that Roger is making another film with Ken Russell. Roger chose to make the film and John wanted to tour with his own band The Ox, so I've been working on tracks for my next solo album. Invariably what will happen is that once we all get into the studio, I'll think 'Oh fuck it', and I'll play Roger, John and Keith the tracks I've been keeping for my own album and they'll pick the best. So as long as the Who exists, I'll never get the pick of my own material … and that's what I dream of. But if the Who ever broke up because the material was substandard then I'd really kick myself.
But the way you're going on, Peter, old Meter, it sounds like the Who is on its last legs?
"However much of a bastard it is to get everyone together in a recording studio, things eventually turn out right., You see, though it has never been important in the past, we do have this problem that everyone has been engaged on their own project, so that the separate social existence that we lead has become even more acute.
"I mean, if I just couldn't live without Moonie and if I could go over to the States and spend a couple of months with him we'd probably be a lot closer. But as it happens, I haven't seen Keith since last August. I may have seen a lot more of John but as yet I haven't seen his new group or listened properly to his album because, apart from working on Tommy, I've been putting together new material. And the same thing applies to Roger; as soon as someone decides to do something outside of the area of the Who the pressure suddenly ceases, because they are the people who put the pressures on me.
"Let me make this clear. I don't put pressures on them. I don't say 'we've got to get into the studio this very minute because I've got these songs that I've just gotta get off my chest.' It's always the other way around. They always rush up to me and insist that we've got to cut a new album and get back on the road."
So it's quite obvious that the pressures are back on and Townshend is feeling the strain.
"In a sense, rock is an athletic process. I don't mean running about on stage, but as a communicative process it's completely exhausting. It's not necessarily being a part of things," insists Townshend.
"Like I said, when I wrote 'My Generation' I was already in my early twenties, so I was by no means a frustrated teenager. And that's what a lot of people often tend to forget."
But you were an integral part of that generation?
"Right," he retorts, "but we're also part of the Generation that we play to on stage today. Let me clarify that statement."
"What I don't feel part of is not the Generation of age, but the Generation of type. I mean, who the hell were all those people at the Tommy premiere? Whoever they were, I'm certainly not in their gang! Yet funnily enough, whatever the age group, I feel much more at ease before a rock audience."
So why this current fixation about being too old to cut le Moutard?
"Because to some extent the Who have become a golden oldies band and that's the bloody problem. And it's the problem that faces all successful rock groups at one time or another, the process of growing old.
"A group like the Kinks don't have that problem because, theoretically, Ray Davies has always been an old man. He writes like an old man who is forever looking back on his life and, thank heavens, old Ray won't have to contend with such problems. But with a group like the Rolling Stones, there's this terrible danger … now I could be wrong … but there's no question in my mind that it's bound to happen…Mick Jagger will eventually become the Chuck Berry of the Sixties, constantly parodying himself on stage. And this is the inherent danger that the Who are so desperately trying to avoid.
"I can tell you that when we were gigging in this country at the early part of last year I was thoroughly depressed. I honestly felt that the Who were going onstage every night and, for the sake of the die-hard fans, copying what the Who used to be.
"Believe me, there have been times in the Who's career when I would have gladly relinquished the responsibilities of coming up with our next single or album to another writer. There're have been a lot of people who said they would have a go but somehow it never quite worked out."
"Like a lot of things connected with the Who, I really dunno. Maybe it's because we've got such an archetypal style that's geared to the way that I write."
But by his own admission, Pete Townshend has always considered his forte to be writing. The fact that he also happens to be a guitarist is, in his opinion, quite irrelevant. Yet even now, Townshend is astounded when other guitarists compliment him upon his instrumental prowess. He isn't bowing to false modesty when he insists that, after all these years, he still can't play guitar as he would really like to.
In his formative years with the Who, he compensated for his acute frustrations by concentrating his energies on the visual aspects of attacking the instrument. Every time he went on stage, Townshend insists he bluffed his way through a set by utilizing noise and sound effects which eventually led to the destruction of many a valuable weapon.
"It's still true even today," he confesses without embarrassment. "I may be a better guitarist now than I was when the Who first started but I'm far from being as technically proficient as I would really like to be.
"What I like about the way that I play," he explains, "is what I think everyone else likes. I get a particular sound that nobody else quite gets and I play rhythm like nobody else, plays. It's a very cutting rhythm style. Sorta Captain Powerchords! I do like to have a bash every now and then at a wailing guitar solo but halfway through I usually fall off the end of the fretboard. I might have a go, but I've resigned myself to the fact that I haven't got what it takes to be a guitar hero.
"Yet funnily enough I don't really respect that kind of guitar playing. I've got no great shakes for Jeff Beck or Jimmy Page. Sure, I love what they do, but it always seems to me that they're like the Yehudi Menuhins of the rock business. They're extremely good at what they do, but I'm sure they'd give their right arm to be writers though not necessarily in my shoes.
"I don't really feel the showmanship side of my contribution to the Who's stage show is fundamentally a part of my personality. It's something that automatically happens. Basically, it stems from the very early days when we had to learn to sell ourselves to the public, otherwise nobody would have taken a blind bit of notice of us; and, like many things, it's been carried on through up until today. Yet I have no doubt that, if we wanted to, we could walk on any stage and stand there without doing all those visual things and still go down well with an audience."
So why this depressing down-in-the-mouth attitude? Could it stem, I ask Townshend, from the fact that a critic once bemoaned that, in his opinion, the Who, once the true essence of rock 'n' roll, now just go through the motions?
"Well, that statement was true, but on the other hand if it's unqualified then it might as well be ditched. But you've put the question to me and now I've got to try and qualify that other journalist's statement.
"To me, the success of any truly great rock song is related to the fact that people who couldn't really communicate in normal ways can quite easily communicate through the mutual enjoyment of rock music. And that was simply because, for them, it was infinitely more charismatic than anything else around at that time.
"For example, you're aware that there's this great wall around adolescents and that they can't talk freely about their problems because it's far too embarrassing. Personally, I feel that adolescence lasts much longer than most people realize. What happens is, that people find ways of getting round it and putting on a better show in public. And as they get older they become more confident and find their niche.
"Now why I think that journalist said the Who now only play rock 'n' roll is because on most levels rock has become a spectator sport. It's not so important as a method of expression as it once was. Today something else could quite easily replace it."
Townshend goes on to concede that rock doesn't hold as much genuine mystique as it did with previous generations to the extent that the stigma of the social outlaw has almost been eradicated. Those who have tried to become outlaws have failed miserably, hence the, last ditch shock tactics of Alice Cooper and David Bowie.
"For many kids, rock 'n' roll means absolutely nothing." He compares it to switching on a television set, going to the movies or a football match. It's just another form of entertainment. If what the kids do listen to consists entirely of the Bay City Rollers and the Top 10 then it must mean even less than most other similar forms of mass media entertainment because they're not really listening.
"The real truth as I see it is that rock music as it was is not really contemporary to these times. It's really the music of yesteryear. The only things that continue to keep abreast of the times are those songs that stand out due to their simplicity."
An example?
"'My Generation.' A lot of people don't understand that there's a big difference between what kids want on stage in relationship to what they actually go out and buy on record. Perhaps the reason why so many young kids can still get into The Who in concert is simply because it's a very zesty, athletic performance. However, if we just restricted our gigs to performing songs we'd just written yesterday and ignored all the old material then I'm positive that we'd really narrow down our audience tremendously.
"I dunno what's happening sometimes," he bemoans. "All I know is that when we last played Madison Square Garden I felt acute shades of nostalgia. All the Who freaks had crowded around the front of the stage and when I gazed out into the audience all I could see were those same sad faces that I'd seen at every New York Who gig. There was about a thousand of 'em and they turned up for every bloody show at the Garden, as if it were some Big Event, the Who triumph over New York. It was like some bicentennial celebration and they were there to share in the glory of it all.
"They, hadn't come to watch the Who, but to let everyone know that they were the original Who fans. They had followed us from the very beginning of it. It was their night.
"It was dreadful," Townshend recollects in disgust. "They were telling us what to play. Every time I tried to make an announcement they all yelled, out 'Shhhrrruppp Townshend and let Entwistle play, 'Boris The Spider,' and, if that wasn't bad enough, during the other songs they'd all start chanting , 'jump … jump … jump … jump … jump.'
"I was so brought down by it all! I mean, is this what it had all degenerated into?
"To be honest, the highest I've been on stage last year was when we used to play 'Drowned.' That was only because there was some nice guitar work in it. Roger liked singing it and both John and Keith played together so superbly. Really, that was the only time I felt that I could take off and fly."
Pete Townshend may well have some cause to feel sorry for himself; when the final reckoning comes he's got a lot to answer for, in particular, the Curse Of The Concept Album.
Though concept albums are by no means new to popular music; Gordon Jenkins and Mel Torme were churning them out almost a quarter of a century ago, it was Tommy (as opposed to Sgt. Pepper) which unleashed a deluge of albums built around one specific theme. These ranged from the Fudge's horrendous The Beat Goes On through to J. Tull's obscure Passion Play up to and including Rick Wakeman's Disneyesque King Arthur.
"None of which,." says Townshend, as he bursts into laughter, "work."
Yet as we all know, Townshend himself has had no less than three stabs at the same subject. So how does he view the trilogy in retrospect?
"I don't. And if you're going to ask me which one I prefer, I don't really like any of them very much. I suppose I still like bits of the Who's original version, but the definitive Tommy album is still in my head."
Perhaps it would he wise to quit this line of questioning and leave Tommy where he is. But Townshend wants the last word.
"I think that everyone in rock shares the same basic urges, and therefore, that it would be very unfair for me to say it's all right for the 'Oo 'cause we invented it. I have great doubts about that.
"For instance, when the Big Feedback Controversy was going on in the mid-Sixties, Dave Davies and I used to have hilarious arguments about who was the first to invent feedback. I used to pull Dave's leg by saying 'we both supported the Beatles in Blackpool and you weren't doing it then … I bet you nicked it off me when you saw me doing it'. And Dave would scream that he was doing it long before that. Then one day I read this incredible story about Jeff Beck in which he said" – at this juncture he adopts a retarded Pythonesque android accent – "Yeah, Townshend came down t'see d'Tridents rehearsing and he saw me using the feedback' …pause…'and copied it'." Returning to his natural voice, Townshend scowls, "I never ever saw the Tridents and the man is pathetic.
"Obviously, Beck may feel deeply enough that he invented feedback – but for Chrissakes who gives a shit? Why even comment on it? It doesn't really matter, it's just a funny noise made by a guitar."
Townshend goes on to explain the innovatory part of rock is not necessarily the part that he's proud of, even though he's regarded as the Who's ideas man. "I was trained in graphic design…to be an ideas man… to think up something new and different … like let's give a lemon away with the next album!"
Thank you.
"In the early days of the Who we ,were tagged with gimmicks and subsequently it made me very gimmick- conscious.
"Now if I might return to Tommy for a moment…"
But only for a moment.
"…What I think is good about Tommy is not that it's a rock opera or that it's the first or the last … that's of course, if you assume that there's gonna be any more!!"
Don't worry, there will be. Have a copy of Camel's Snow Goose.
"What I feel is very important about Tommy is that as a band it was our first conscious departure out of the adolescent area. It was our first attempt at something that wasn't the same old pilled-up adolescent brand of music. We'd finished with that and we didn't know which way to go. That's when we went through that very funny period of 'Happy Jack' and 'Dogs'.
"It was also a very terrifying period for me as the Who's only ideas man. For instance, though 'I Can See For Miles' was just released after 'Happy Jack', I'd written it in 1966 but had kept it in the can for ages because it was going to be the Who's ace-in-the-hole.
"If you want the truth "
And nothin' but…
"I really got lost after 'Happy Jack' and then when 'I Can See For Miles' bombed-out in Britain, I thought 'What the hell am I gonna do now?' The pressures were really on me and I had to come up with something very quick and that's how Tommy emerged from a few rough ideas I'd been messing about with."
And whereas the Beatles had cried that it was impossible to perform Pepper in public, the fact that the Who. demonstrated that Tommy was an ideal stage presentation quickly motivated other bands to mobilize their might for the New Aquarian Age.
With more sophisticated electronic weaponry than they knew how to utilize, the likes of Floyd, Yes, and ELP adopted a more "profound" stance as, in a blaze of strobes, they began to bombard audiences with techno-flash wizardry, pseudo-mystical jargon and interchangeable concepts.
Townshend may have had a helping hand in starting the whole schmear rolling (it sure didn't rock), but he is adamant in his belief than many alleged "profound" music machines are working a clever con-trick on the public.
"All that they're really doing is getting together and working out the most complex ideas they can handle, packaging it with pretentious marketing appeal and unloading it on their fans. But" – and here comes the get-out clause -"does everything have to hold water? Obviously, it must mean something to the integrity of the band that's putting it together, but it's results that count."
Well the result, as Townshend puts it, has turned many a rock theatre into a dormitory.
"It might be difficult to fall asleep at a Who gig, but I can understand why some bands send their audiences into a coma. I don't like Yes at all. I used to like them when Peter Banks was in the line-up because, apart from being extremely visual, he also played excellent guitar. With so many changes in the line-up, Yes is Jon Anderson's band and he might be guilty of much of that wishy-washy stuff they churn out because Jon really is a tremendous romantic. Maybe he believes in the old mystical work, and maybe poetry moves him along, but I'm not concerned either way."
Just wait until the letters come pouring in.
"It's like that line in 'Punk and The Godfather'…'you paid me to do the dancing.' The kids pay us for a good time, yet nowadays people don't really want to get involved. Audiences are very much like the kids in Tommy's Holiday Camp, they want something without working for it.
"That wasn't the way it used to be. The enthusiasm that evolved around the Beatles was enthusiasm as opposed to energy generated by the Beatles. You talk to them now about it and they don't know what happened! It was the kids' enthusiasm for them. Now when you see it happening again you can see how utterly strange it must have seemed the first time around.
"For instance, take the amount of energy and enthusiasm that's currently expended on say, Gary Glitter … and Gary's just as confused as everyone else. All he knows is which curler to put on which side of his head�Gary readily admits this, and is all the better for it.
"Get in the middle of a crowd of screamin' kids; it doesn't matter who they're screamin' at, and there's a certain amount of charisma transferred to these people. But then, that's what fan-mania is really all about.
"When the real charismatic figures like Mick Jagger came along, then I think that rock started to change and then the kids began to create their own trends in fashion. The Mods not only used to design their own clothes but sometimes actually to make them; and the fact that they did humdrum jobs to get money to buy clothes, scooters, records and go to clubs built up this elite. Therefore it wasn't too long before the artists let that rub off onto them and in that sense, I think the Who were as guilty as anybody else. And I'll tell you why. Because in the end we wanted the audiences to turn up to see only us as opposed to the audience being the show and struttin' about like peacocks. We had to be the only reason for them turning up at a Who gig."
With rock and its peripheral interests having been systematically turned into a multi-million dollar consumer industry, Townshend has observed that the customer no longer dictates youth fashion. "That's all down to some designer employed by a multiple chain store. Everything nowadays is premeditated. Within days the whole country is flooded with what someone thinks the kids want."
Even as far back as 1968, the Who were somewhat trapped by their own image, when Townshend stated that the thing that had impressed him most was the Mod movement. He had been fired by the excitement of witnessing and subsequently taking an active part in what he felt was the first time in history that youth had made a concerted move towards unity of thought and drive and motive. "It was almost surreal" was how he was quoted at the time.
Somewhere at the turn of the Sixties, the youth movement was derailed. Talk of a promised land and the eventual greening of America became suffocated as the consumer industry once again took command, and the Business in show business grabbed the spoils.
When Townshend looks back in time, he can't help but laugh. "I don't think they were promises, I think it was just young people promising themselves something … having ambitions to do something … and, if you like, certain rock people were acting as spokesmen. So they are the convenient people to blame. That's if you want to lay the blame at anyone's feet.
"Basically, everyone had this mood that something was happening … something was changing. In essence it did, but unfortunately a lot of its impetus was carried off by the drug obsession . Everybody credited everything innovative and exciting to drugs…'yeah man, it's pot and leapers and LSD, that's what makes the world great.'
"Then when things turned out to be meaningless and people had missed the bus, they quickly realized that they'd gambled everything on something that had run away. The same thing happened to rock. Rock got very excited and flew off ahead leaving most of its audience behind. The Who went on to do what I feel to be some very brave and courageous things, but in the end the audience was a bit apathetic.
"It was back to what I wrote in 'Punk And The Godfather' – you paid me to do the dancing. That's why when I'm on stage I sometimes feel that I'm too old to be doing what I'm doing."
Then, by way of contrast…
"Track by track, the new album that the Who are making is going to be the best thing we've ever done. But if people expect 'another grandiose epic then they ain't gonna get it. 'Cause this time we're going for a superb single album." Townshend, make your mind up, squire. If the last couple of hours are anything to go by, you're either – by your own admission – past it, or you're just after a bit of public feedback.
Ouch. Better not mention that word.


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subset: commoncrawl


text:
I have always declared constants like so;
private static final int MY_CONSTANT = 0;
But recently I have had reason to question the use of the static keyword in this declaration. Since it is final, do I even need to declare it static? Are there any repercussions for leaving out static? Are there any reasons I should leave in the static modifier in this context? Are there any costs associated with leaving the static clause?


text:
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"The lipid mediator lysophosphatidic acid induces folding of disordered peptides with basic amphipathic character into rare conformations", Scientific Reports, vol. 8, 2018.,
"Preparation and characterization by infrared emission spectroscopy and applications of new mineral-based composite materials of biomedical interest", Applied Spectroscopy Reviews, vol. 53, pp. 439–485, 2018.,
"Effects of ursolic acid on the structural and morphological behaviours of dipalmitoyl lecithin vesicles", Biochimica et Biophysica Acta - Biomembranes, vol. 1848, no. 5, pp. 1092 - 1098, 2015.,
"The supramolecular chemistry of gold and l-cysteine: Formation of photoluminescent, orange-emitting assemblies with multilayer structure", Colloids and Surfaces A: Physicochemical and Engineering Aspects, vol. 470, pp. 8 - 14, 2015.,
"Infrared emission and theoretical study of carbon monoxide adsorbed on alumina-supported Rh, Ir, and Pt catalysts", Journal of Physical Chemistry A, vol. 110, no. 5, pp. 1817 - 1823, 2006.,


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A 1 on 1 fighting game similar to old arcade fighting game. Although it's a boxing game there will also be round house kicks. The game is aimed for the mobile platform.
Only registered members can share their thoughts. So come on! Join the community today (totally free - or sign in with your social account on the right) and join in the conversation.


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Professional Community for Car Dealers, Marketing, Advertising and Sales Leaders
How much do you know about how much you know.
Many dealers desire the knowledge to be better, improve their practices, and generate more business. It would seems that much like the bad credit customer who has all the DESIRE to purchase just lacking the ability, dealers have all the ABILITY to track better but lack the true desire to do so. Myself included I don't have the stats on every little metric in our dealership but I do have the ability. I try to track everything that is notable but not everything that is trackable.
Dealers in general don't have the time, or the man power, or the strong enough desire to know what they are looking at to better estimate goals, to better position advertising, to just be better. This blindfold holds back many dealers from additional profit and growth potential. It has been said, knowledge is power but in our industry knowledge is money, and to be without the former is to be missing out on the latter. Here are a few crucial metrics a dealer should know in order to use the knowledge to better themselves.
There is a saying I try to live by "If you ain't trackin' then you ain't tryin'."
By doing your due diligence to ensure that you are looking at accurate numbers every day, every week, every month, you will ensure that you are at least making educated guesses about your next decisions. You take the blindfold off by simply making the effort to see what is already there. While bringing that customer in the door is a moving target every month, by taking the blind fold off at the very least you're able to pull the trigger and be confident that you were aiming in the right place.
Until the DESIRE to do these things actually inspires you to do it, the growth you have the ABILITY to achieve will be just out of reach. Every day, every week, every month. If you'd like some help with these things, please ask, it's the only way I've learned.
Views: 407
"You can't manage what you don't measure." Speaking of measuring, does anyone have "turn key" spreadsheets for measuring floor traffic. BB's, Demos, write ups, sales etc. Same for Internet and BDC? Tnx!
Thank you Ralph. If a dealer chooses not to track, they are choosing not to learn, and an un-learned dealer is most assuradley not a profitable one.
Mike, you are all too accurate in your assessment of the differences between what we are able to measure, what we are willing to measure and what we are willing to do with those measurements in the car business! This has always seemed to me to be more of a lack of willingness than capability... Every time I have taken a retail management role, I have implemented measurement and scheduled review processes that improve revenue and profits on a steady and continuous basis. People ask "how did you sell over 11,000 cars in a single year working out of a 50 year old single point Chevy facility"... Next time, I will send them to this blog post: Measurement of data points that drive actionable management decisions.
© 2020 Created by Ralph Paglia. Powered by


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As it turns out, South Alabama will have a former SEC player at its disposal for the upcoming season.
The Sun Belt Conference school announced Friday evening that Danny Woodson has been granted immediate eligibility by the NCAA and will play for the Jaguars in 2013. Exactly what the appeal for a waiver entailed is unknown.
The wide receiver and his new coach received the news earlier in the day that his appeal had been approved.
"When I got the phone call from [USA Assistant Athletic Director] Daniel McCarthy, he said he was going to make my day; I told him if it's the news I hope it is, it's going to make my year," said USA head coach Joey Jones. "We got really good news about Danny. He's a great football player and a great young man, we're tickled to death that he is going to be with us this fall. Danny can make a big difference in our offensive production."
Woodson will have three seasons of eligibility remaining beginning with this upcoming one. The receiver had already been practicing with his new Jaguar teammates.
A four-star member of the Alabama's 2011 recruiting class, Woodson was rated as the No. 25 receiver in the country and the No. 7 player at any position in the state of Alabama. After redshirting his true freshman season, Woodson appeared in six games in 2012, catching one pass for nine yards.
He was suspended in February of this year for violating unspecified team rules, a suspension that cost him the whole of spring practice. Three months later, it was announced that he would be transferring to South Alabama.


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Save interesting products in this list and find them quickly at any time.
Simply click on the watch list symbol
Practical, beautiful and a real highlight in the bathroom. With a mirror cabinet by Villeroy & Boch, you are combining the advantages of a mirror with the practical storage space of a cabinet. Whether with all-round glass or as a built-in mirror cabinet seamlessly recessed into the wall, discover the mirror cabinets by Villeroy & Boch.
Whether for hand towels or shampoo, a stylish bathroom cabinet by Villeroy & Boch has plenty of storage space for everything. It makes it fun to keep things tidy and it looks good too. It's very easy to add highlights with shelves, tall and side cabinets by Villeroy & Boch. Select from many designs, sizes and colours to find the perfect cabinet for your bathroom.
The modern SoftClosing technology closes drawers and doors silently and gently, even when force is used. The SoftClosing mechanism slows down the drawer and automatically closes it, slowly and silently – not only is it pleasant to the ears, it is also gentle on the bathroom furniture.
The Push-to-Open technology in the Villeroy & Boch bathroom furniture makes your everyday unbelievably easy. Handleless fronts provide a particularly sophisticated look and, thanks to the Push-to-Open technology, they can be opened and closed easily with minimal pressure. Enjoy the best comfort in your bathroom!
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Wood. fastening set included. hinges on left. Equipped with: 1x door, 2x glass shelf. It is not always possible to cancel or alter orders!. Equipped with: 1x door, 2x glass shelf


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Missionaries of the Sacred Hearts of Jesus and Mary
About Us
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Fr. Hector Luis Zordan, M.SS.CC. consecrated as Bishop of Gualeguaychu, Argentina.
With great joy and thanksgiving to God, our Superior General announced that Pope Francis has appointed Father Hector Luis Zordan, M.SS.CC. Bishop of Gualeguaychu, Entre Rio province, Argentina by Pope Francis on March 28, 2017. He was consecrated Bishop on May 28, 2017 in the Cathedral of St. Joseph in Gualeguaychu.
Bishop Zordan, born in Calchaqui, Sante Fe, Argentina in 1956 entered the Missionaries in 1976 and was perpetually professed on August 14, 1983. He completed philosophical and theological studies at the Carlo Borromeo Seminary of the Archdiocese of Rosario. Ordained in March 1984, he has served the Congregation as parochial vicar of San Roque Parish in Capital Bermudez; Pastor of Our Lady of Sorrows Parish in Buenos Aires; Rector of the religious community of Capitan Bermudez and as Novice Master and Vocation Director. In addition, he has held the office of vice-president of Archdiocesan Caritas of the Archdiocese of Rosario. Before his appointment as Bishop, he was the Delegate of the Superior General of the Missionaries of the Sacred Hearts for Argentina from 1998 to 2016. We give our fraternal wishes for a most fruitful apostolate and assure him of our prayers for God's blessings on all his endeavors.
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Dear Friend . . .
I'm writing in response to Roland Karlman's article "Dear Friend . . ." (July 2014), which introduces the newly published Ellen G. White Letters and Manuscripts With Annotations, Volume 1 (1845-1859). My reaction? This is good news! I am so happy that this scientifically critical edition has been published! I wonder: Why after 100 years?
I have a great desire for truth—and I pray for the publisher of the E.G.White Letters and Manuscripts With Annotations, Volume 1 (1845-1859).
Dark P. Green
Stuttgart, Germany, Europe
Breast Cancer
The World Health article "Breast Cancer Diagnosis" (June 2014) was an excellent summary of the risk factors for breast cancer. Recent evidence, out in June 2014, makes a strong case for red meat being another important risk factor. This should interest Adventists who advocate a meat-free diet. I quote from an authoritative source (The New England Journal of Medicine's Journal Watch, June 11, 2014): "High red meat consumption in early adulthood is associated with increased risk for breast cancer, according to longer-term follow-up from the Nurses Health Study II, published in the
British Medical Journal [BMJ 2014;348:g3437]."
The authors conclude: "Consistent with the American Cancer Society guidelines, replacement of unprocessed and processed red meat with legumes and poultry during early adulthood may help to decrease the risk of breast cancer."
Peter Tung
Hamilton, Victoria, Australia
Reverence Needed
Barry Gowland's June 2014 letter "Immanence!" struck a chord with me. I want, and need, to worship in an environment of Christ-centered calm where, in some sort of liturgy, I can state my faith and sing praises, and be assured of salvation through a glorious Lord.
I have grown increasingly aware of the "pop concert with a veneer of religiosity" type of worship that seems to be pervading Seventh-day Adventism. I have also seen it as resembling a political rally, or an hour of superficial entertainment where a host of performers appear, where little children are given the awesome responsibility of representing the congregation in the main prayer to the Most High Creator God; where preachers shout and stamp about. It saddens me deeply.
Mary Trim
New South Wales, Australia
Especially Inspiring
Although I always enjoy Adventist World, I found the April 2014 edition especially inspiring. It was filled with educating, informative, and thrilling material. It was great to read how the church is working in so many countries, thus hastening the return of Jesus.
Donald E. Casebolt
College Place, Washington, United States
Thank You
Greetings in the name of our Lord and friend, Jesus Christ! Thank you for the great work you do through Adventist World.
Gift Dorcus
Adventist World omitted giving credit to Spencer Freeman of Florida Hospital for the photography of Dr. Jeff Kuhlman on the back page of our July 2014 edition. We thank Freeman for letting us use his work, and apologize for the omission.
It was great to read how the church
is working in so many countries, thus hastening the return of Jesus.
—Donald E. Casebolt, College Place, Washington, United States


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The Secret Life of Video Arcade Characters
Wreck-It Ralph provides little more than '80s nostalgia.
Wreck-It Ralph, the latest 3-D offering from Walt Disney Animation Studios, is a pixelated paradox that is both entertaining and underwhelming, frenetic and flat.
Full of visual verve, the zippy digital animation clearly smacks of Pixar, as does the story that derives much of its narrative DNA from Toy Story, the 1995 movie that put Pixar on the map. It's hardly surprising, given that Pixar veteran John Lasseter — who directed the first two Toy Story installments — executive-produced this film.
Like Toy Story, Wreck-It Ralph revolves around the secret life of toys, only here it's characters from classic video arcade games.
And a very active life it is, complete with after-hour parties and a mass transit system that shuttles avatar straphangers through electrical cables to neighboring machines.
The titular Ralph (John C. Reilly) is a likable but lumbering 8-bit bruiser — with disproportionately large hands. He spends his Sisyphean existence endlessly smashing things as the villain of a fictional video game called Fix-It Felix Jr. — only to have them repaired by the game's hyper-handy hero, Felix (Jack McBrayer), whom everyone loves.
But Ralph has an identity crisis: He no longer wants to be bad; he wants to be a good guy.
Quite an existential dilemma when you are programmed for bad behavior.
To cope, he attends "Bad-Anon" — a support group populated by a veritable rogue's gallery of video-game heavies, including Zangrief from Streetfighter, Bowser from Super Mario Bros. and even Clyde the ghost from Pac-Man — where his villainy is validated, and he is warned, "You can't mess with the program."
Resolved to prove his own "hero worthiness," Ralph "goes turbo" — program speak for crossing over into another game — a major no-no that puts the entire arcade in jeopardy, not to mention his own safety. If you die outside your game, you don't regenerate.
Sneaking into an ultra-violent first-person shooter game called Heroes Duty, he encounters Calhoun (Jane Lynch), a no-nonsense futuristic marine, and battles a swarm of giant, flying, robotic bugs, inadvertently ending up in the candy-coated environs of Sugar Rush, a high-speed (and higher glucose) road-race game.
There, he befriends Vanellope von Schweetz aka "Glitch" (Sarah Silverman), a precocious, pony-tailed imp who frequently fragments into html coding.
She tells Ralph, "Everybody said I was a mistake and that I shouldn't even exist." (Apparently, even "Candy Land" is not immune to a culture-of-death mentality.)
She desperately wants to compete in the Sugar Rush race, but the nutty, Napoleonic King of Candy (Alan Tudyk) is equally desperate to make sure she doesn't.
Director Rich More does a nice job creating a believable cyber world, including an ingeniously rendered transportation hub inside an electrical junction box that is a mix of New York's Grand Central Station and the cantina from Star Wars.
Also effective is the way More visually contrasts the retro, 8-bit characters with the realism of the newer avatars, prompting one of Ralph's funnier lines. Upon meeting Calhoun, he blurts out admiringly, "Look at your high definition!"
Acknowledging that not all "advances" are improvements, the film seems to criticize the coarsening of culture exemplified by the aggressive Heroes Duty by having Ralph ask rhetorically: "When did video games become so violent?"
There's enough screwball zaniness to keep kids entertained, but the target audience is the accompanying adults old enough to have actually cut their gaming teeth playing Frogger and Pac-Man in the 1980s.
As with many animated films these days, the humor has a bit of an edge, including a sight gag involving a zombie character having his heart pulled out — I believe a first for Disney.
Parents should also take serious note that there is a brief, but unwelcome, appearance by Satan, as part of the Bad-Anon attendees. Yes, he's included among the "villains," but the chummy, light-hearted depiction is a far cry from Disney's classic rendering of demonic evil in Fantasia's "Night on Bald Mountain."
The film does score points for its worthy themes of self-sacrifice and loyalty. It also teaches a valuable lesson about aspiring to higher virtue, even heroism, despite false rationalizations that stunt true moral growth, as comically conveyed in the Bad-Anon mantra: "I'm a bad guy, and that's good. I will never be good, and that's not bad."
On a theological level, the film's underlying premise — that we are able to make moral choices — seems to support a Catholic view of free will, as opposed to the Calvinistic pre-determinism expressed by one character: "We can't change who we are."
Having said all that, there are some glitches that prevent Wreck-It Ralph from being the movie it could have been.
First, Ralph is never established as truly being a "bad" guy, which undercuts real character development. As for the secondary characters, they lack the distinct personalities that made the supporting toys in Toy Story so endearing and memorable.
Toy Story set the bar very high, but in aspiring to that Pixar pinnacle, Wreck-It Ralph falls emotionally short. The central relationship between Ralph and Vanellope — though sweet — didn't engage me the way Woody and Buzz's did, or, for that matter, the pairings of Marlin and Nemo, Sully and Mike in Monsters, Inc., curmudgeonly Carl and Russell in Up or even Lightening and Mater in Cars.
Perhaps comparisons to those films are unfair. Despite the '80s nostalgia, a video arcade can't compete with the iconic childhood charm of Buzz and Woody's world and therefore doesn't resonate as deeply on a sentimental level.
Wreck-It Ralph has its genuinely amusing and even heartfelt moments, but the fun is mostly fleeting, and when it's finally game over, the joy doesn't stick.
The film is preceded by the short Paper Airplane by John Kahrs, a silent, black-and-white love story that's worth the price of admission for the adults, though it may fly over the heads of children.
David DiCerto, former film reviewer for the Office for Film & Broadcasting of the
U.S. Conference of Catholic Bishops, is co-host of Reel Faith on NET NY with Register film critic Steven D. Greydanus,
who is studying for the permanent diaconate in the Archdiocese of Newark, New Jersey.
Content Advisory: Some mildly crude humor and double entendre; action and peril, including some violent and scary images that may be frightening for young children.
- Keywords:
- November 18-December 1, 2012


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Thursday, November 30, 2006
Between the strippers, dancers and hookers (Yes, there is a "difference" as I have learned.) in Vegas, I am amazed that you all found time to eat and gamble. At least you didn't sleep. Today was a tough day at work - for me that says alot. I just had to share because I am sure it will not happen again for a very long time.
Posted by The Maharaja at 4:44 PM
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Current MVP or the "Kid" almost guaranteed to win 3? The young talented point guard or the young talented center? Present or future?
With the almost "expansion like" feel of the Oklahoma City Thunder's name contests and jersey submissions, it makes me wonder who is the perfect foundation to build a franchise upon.
So as the Redeem Team rolls through the Olympics and are on center stage of the basketball world, let's look at Coach K's crew to find that player, in no particular order.
D-Wade: He is always exceeding expectations, at every level. His run with the Heat to the championship is considered, by many, to be the single greatest playoff performance. He is athletic and smart. He knows his game and when he is "on", there is little that most can do to stop him. He continues to expand his range on the court and off the court, Wade is as marketable as Kobe and LeBron. The two "issues" are his age and health. He is 3 years older (26) than LeBron and Paul and having battled so many injuries lately, you must wonder if he would be able to get back to his form of 2006 and maintain it. But if the Olympics are a preview, he is on his way.
Kobe: It is very easy to make the case for Kobe. He is a 3-time NBA Champ, MVP, scoring champ, first team all-everything member, and if last year was not a fluke, a real leader. But Kobe will turn 30 on Aug. 23rd. That is not to say he will not be able to carry a team in the short-term, but would need help in the long-term. And typically expansion teams are thin on help. Yet, Kobe has international appeal that few in the game have, so no matter what number he might switch to, people are going to buy the jersey.
LeBron: 23 years old, averages 27 and 7, and has proven very durable. LBJ may be the front runner. He gained "one-name" status straight-out of high school (probably while he was still in high school) and his face is everywhere; Nike, Coke, PowerAde and of course, Bubblicious. He ranks with Tiger as the most recognizable athlete in the US and is certain to sell-out stadiums. Loyalty may be LeBrons down fall. Can he play for team with out talking about future options? Will he see your team through the storm and lead them to the championship?
Dwight Howard: Best center in the league? No question. Only a healthy Yao can affect play like Howard can. With every ounce of muscle he puts on, combined with the vertical and "freak of nature" factor, Howard comes closer to that true ELITE Center Status last achieved by Shaq. His personality and charisma might even be more user-friendly than the Big – Aristotle. Howard, at time, takes control of games on both ends of the court. I believe he is a PG away from completely owning the league; he is not yet able to create on offense the whole game. Imagine Howard and Chris Paul on the same team. I just got chills.
Carmelo: As a NBA player, Melo underachieves. As an international player, he is great. Melo has put up great numbers in the past for the Nuggets and led some so-so teams to the playoffs. He is undoubtedly talented and knows how to score (24.4 pts. avg. for his career). But, going into his 6th NBA season, he is still one dimensional. His attitude and off-the-court problems would to be a huge issue with the new fan base. On-the-court, he is more Scottie Pippen than Michael Jordan. So Melo needs to prove that he can win without LeBron on his side. Remeber, the Bulls did not do too much without that Jordan guy.
Chris Paul: I am still not sure why he did not win MVP. Take him off the Hornets and the team does not make the playoffs. He makes his team better and is a true PG. He is able to see and make passes people thought were only possible by Kidd and Nash. He will become a better shooter than the former and is already a better athlete than both. What makes Paul even a more appealing franchise player is that he is great person (that's what I have heard) and showed the class and compassion needed in New Orleans. And he is only 23.
Deron Williams: Taken before Chris Paul by a team that has the highest expectations of a point guard in the NBA. Williams broke out in the Playoffs of 2007 and continues to evolve. He is tough, strong, a good shooter and passer, and able to create for himself AND others. He also has the confidence and ability to lead a veteran team. Even though he is not yet a house hold name like some of the others on the team, I think that changes this year, he is still on this team for a reason.
Chris Bosh: He has the potential and talent, just like every other person in the top-5 picks of the 2003 draft NOT named Darco. He is tall (6'10") and athletic. His careers averages of 19 pts and 9 rebounds are solid. He does not need to add greatly to the points, but needs fill-up the rest of the stat sheet. Having played only one year at Georgia Tech, he is only 24, and should be able to grow into a more dominant big man. Maybe running against Howard everyday for couple months will help.
Not an easy call or maybe it is. For me it comes down to two people; LeBron or Paul. Either way you are setting yourself up nicely for the beginning of your franchise.
Having to pick from this group would be a problem every GM wishes they had.


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Savannah Hosts Veterans' Mental Health Conference | Health
SAVANNAH, Ga. (AP) - The Department of Behavioral Health and Development Disabilities is hosting a conference in Savannah focusing on promoting trauma recovery needs for Georgia veterans and their families.
The conference, titled "Unspoken Wounds: Breaking the Silence" started Sunday and runs through Oct. 22. Organizers say the program is sponsored by the department's jail diversion and trauma recovery program.
Organizers say department Commissioner Frank Berry, state Department of Corrections Commissioner Brian Owens and Department of Veterans Services Assistant Commissioner Dan Holtz are among more than a dozen educators, care professionals and advocates who will be on hand for the conference.
(Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


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Which is the most dangerous keyword to search for using public search engines these days? Its screensavers with a maximum risk of 59.1 percent, according to McAfees recently released report The Webs Most Dangerous Search Terms.
Upon searching for 2,658 unique popular keywords and phrases across 413,368 unique URLs, McAfees research concludes that lyrics and anything that includes free has the highest risk percentage of exposing users to malware and fraudulent web sites. The research further states that the category with the safest risk profile are health-related search terms.
Here are more findings:
- The categories with the worst maximum risk profile were lyrics keywords (26.3%) and phrases that include the word free (21.3%). If a consumer landed at the riskiest search page for a typical lyrics search, one of four results would be risky
- The categories with the worst average risk profile were also lyrics sites (5.1%) and free sites (7.3%)
- The categories with the safest risk profile were health-related search terms and searches concerning the recent economic crisis. The maximum risk on a single page of queries on the economy was 3.5% and only 0.5% risky across all results. Similarly, even the worst page for health queries had just 4.0% risky sites and just 0.4% risk overall
This isnt the first time McAfee is attempting to assess the risk percentage of particular search terms, as the company did similar studies in 2006 and 2007. And whereas the research attempts to raise awareness on malicious practices applied by cybercriminals, it also has the potential to leave a lot of people with a false feeling of security since its basically scratching the surface of a very dynamic problem.
With cybecriminals anticipating the dynamic nature of Web 2.0, they too, adapt dynamically to the changing environment. In the context of blackhat SEO, like true marketers they apply basic mass marketing keyword practices, which may get wrongly interpreted as the use of particular keywords only.
In reality, mass marketing from blackhat SEO perspective means a very diverse set of topics usually consisting of hundreds of thousands of syndicated news/video/blog titles aggregated over a recent period of time, all operated by the same group. Therefore, the search term screensavers or any related phrases is among the hundreds of thousands of others part of a single malware campaign.
In October, 2008, cybercriminals taking advantage of blackhat SEO for malicious purposes, started syndicating popular Google Trends keywords in real-time in order to occupy the top ten search results with hundreds of automatically registered Windows Live Spaces serving Zlob variants as fake codecs back then. This dynamic approach not only undermines any static lists of most dangerous keywords to search for, but also, tipped more cybercriminals on the basics of event-based blackhat SEO campaigns serving malware.
For instance, in an attempt to hijack the anticipated traffic of people searching for the Twitter XSS worm StalkDaily/Mikeyy, blackhat SEO campaigns using related keywords started appearing in public search engines serving scareware. At least thats what appeared at the first place, since a much more in-depth research revealed that the Mikeyy keywords are part of a diverse blackhat SEO farm. The same Ukrainian group took advantage of the swine flu buzz and launched another blackhat SEO campaign earlier this month, again consisting of swine flu related keywords in between the diverse set of topics that theyve generated on the hundreds of domains participating.
Furthermore, taking into consideration the fact that nowadays legitimate and compromised web sites serve more exploits and malware than the purely malicious ones (77% of Websites that carry malicious code are legitimate sites; Thousands of legitimate sites SQL injected to serve IE exploit; Over 1.5 million pages affected by the recent SQL injection attacks; Gumblar - approximately 17,000 compromised sites), a compromised web sites index would undermine any such static lists of dangerous keywords to search for based on the diverse content that its providing.
So, which is the most dangerous keyword to search for on the Web? Thats a variable which cybercriminals play with at any moment.
Source | ZDNet Blogs


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From Terragen Documentation from Planetside Software
The Planetside Wiki runs on the MediaWiki platform, which Wikipedia itself also runs on. As a result the instructions for use of Wikipedia generally apply to our wiki as well. Please reference Wikipedia's editing instructions for information on how to work with a wiki system: Wikipedia Editing Instructions
A Wiki is a collaborative information authoring system. It is designed with simplicity in mind and so it uses a formatting syntax somewhat like a simplified HTML. The text content and the formatting both appear in the editing window together, so it's important to know the difference between formatting information and content. You can reference this "cheat sheet" on wiki formatting syntax for help on that: Wiki Formatting Cheat Sheet


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Politicians love a good scandal. At least, they do if their hands are not dirty.
That helps to explain the growing tempo, the increasing sound and fury at the State Capitol over the mystery of $54 million in state Parks funds that remained hidden for more than a decade.
Since this story was broken by the Sacramento Bee a couple of weeks ago, it's been primarily Republicans who have been vocal about the need for answers. But not all. On Thursday, Assembly Budget Chair Bob Blumenfield, D-San Fernando, calling the episode "shameful", said parks officials had "lied to all of us."
U.S. & World
This week, GOP leaders Bob Huff and Connie Conway sent a letter to the legislature's Democratic leaders, asking that top Parks Department officials be hauled before oversight budget hearings. That includes former longtime Parks Director Ruth Coleman, who resigned over the issue.
The Republican lawmakers also declared that these officials should be placed under oath. That's a relatively rare occurrence, but necessary, their letter said, "given the conflicting reports provided to the press regarding the department's knowledge of its budget surpluses, and the inability of members to obtain complete and accurate information.."
In addition, State Auditor Elaine Howle was asked this week to launch an expedited audit of the hidden funds and another controversy in which parks employees reportedly cashed in vacation time without authorization.
That's not all. The Brown Administration is conducting its own investigation, after an internal audit that it says shows no more hidden funds in other state accounts. And Attorney-General Kamala Harris is conducting her own separate probe of how all that cash stayed stashed in secret for so long.
You have to wonder just how many investigations are needed.
Is there some piling on going on here?
The answer lies in the fact that it's an election year. An election year in which the issue is especially sensitive, given the governor's hoping voters will approve a package of temporary taxes.
There is legitimate concern about what went wrong at the state Parks Department. Lawmakers are right to seek answers.
But multiple investigations and putting bureaucrats under oath, as if this were an Enron-style misdeed, smacks, not of a level-headed inquiry, but of political head-hunting.
Author Kevin Riggs, an Emmy-winning former TV reporter in Sacramento, is Senior Vice President at Randle Communications.
Send us your thoughts via Twitter @PropZero or add your comment to our Facebook page.


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George Mitchell was born in Caltowie in South Australia on 30 August 1894. His family moved to Thebarton in Adelaide not long after his birth. When war broke out, he was 20 years old and working as a registry office clerk in Thebarton, South Australia. He enlisted in the AIF at Morphettville, South Australia on 5 September, 1914, and was appointed to the 10th Battalion. They undertook six weeks of basic training, including regular route marches to Glenelg, where they swam.
Mitchell and the 10th Battalion troops boarded HMAT Ascanius and left Adelaide bound for Fremantle on 20 October 1914. There, they were joined by the men of the 11th Battalion, and the ship departed on 31 October to join the First Convoy at sea.
In darkness on 20 November, during a change in convoy positions, Ascanius twice rammed the stern of Shropshire and sustained a large hole high on the bow. After being repaired while in the Suez Canal, Ascanius disembarked troops at Alexandria on 6–7 December 1914. Over the subsequent months, Mitchell trained at Mena Camp and was afforded some time to explore the nearby pyramids and entertainments of Cairo. On 28 February, the 10th Battalion departed Mena Camp for the Gallipoli peninsula, and spent the next seven weeks on board HMT Ionian, where they slept on the decks. In mid-April, they began practising disembarking and landing.
The Australian 3rd Brigade, comprising the 9th, 10th, 11th and 12th Battalions, was the covering party in the first wave of the Gallipoli landing. Mitchell and the 10th Battalion came ashore at 4.30am and landed near Ari Burnu – at the site later named Anzac Cove. Their objective was to reach the second ridge inland and locate the Ottoman batteries. Mitchell wrote in his diary, 'Fierce we expected it to be, but fierce as it was we never dreamed'. They managed to scale the first ridge above the beach. Most of the 10th reached a minor objective and dug in on the northern edge of 400 Plateau beside Wire Gully. Desperate but futile attempts to advance were made under constant Ottoman bombardment. In what became a stalemate, the battalion remained dug in, making little progress over the next three weeks. Mitchell noted, 'There is no excitement in waiting for the enemy who never appears'.
Two weeks later, on 19 May, the Ottomans launched an audacious attack on the Anzac lines. The 10th Battalion was heavily involved. This strong offensive was successfully resisted and became a massacre with around 3,000 Ottoman casualties. Australian casualties numbered around 160. Mitchell wrote, 'The Turks came up six and seven deep and every time were repulsed by our fire … just outside the opening trench were twelve men of the 10th – stark in death. Four of them were pals of mine and one belonged to my section: [g]lorious war'. On 24 May, a ceasefire was called to allow soldiers of both sides to remove the bodies of the dead from no-man's-land. The following day, Mitchell received his first field punishment for being absent from duty. Historian Bill Gammage later wrote that Mitchell was 'a man … decorated for bravery and fined or imprisoned for indiscipline with almost equal regularity … whose outlook during the war was often to typify the irreverence and valour of the AIF'.
By early June, no further attempts were made to advance, and the 10th tried only to consolidate their position. Mitchell became one of the thousands evacuated from Gallipoli when he collapsed with dysentery and severe enteric fever (typhoid) on 27 July. By 6 August he was in hospital in Alexandria. Failing to respond to treatment, in October he was moved to hospital in England. The 10th Battalion left Anzac Cove at dawn on 22 November 1915. The eventual evacuation of all troops brought the stalemate on Gallipoli to an end.
Mitchell spent four months recuperating at the Royal Victoria Hospital in London before returning to training in England, first at Abbey Wood, and then Weymouth. In March, he was treated for venereal disease, and from May to August his personnel file reveals a series of transgressions that resulted in loss of pay and confinement, including damage to barracks, loss of kit, and overstaying leave. By the time he rejoined the 10th in the Ypres salient on 19 September 1916, reduced to the rank of private, he had spent more than 12 months away from the front line.
Mitchell spent a short time with the 10th before taking ill again. Upon returning, he found himself with men of the 48th Battalion who he observed to be 'like the 10th before the landing, but the 10th with years of experience and discipline'. Believing that those gone from the 10th Battalion meant more to him than those who remained, Mitchell chose to stay with the 48th Battalion. He was immediately trained in Lewis gun operation, and two months later was promoted to lance corporal.
On 17 February, the 48th Battalion returned to the front line. Their objective was to move forward to the recently captured Stormy Trench. The Germans still occupied part of the trench behind a barricade 75 metres away. In the pre-dawn hours of 21 February, the 48th charged the enemy-held section of Stormy Trench and captured it with little resistance.
A major allied offensive took place at Bullecourt in April 1917. The 48th Battalion, the only remaining Australian troops in the area, breached the 'impregnable' German Hindenburg line. Mitchell distinguished himself in battle with his controlled management of the Lewis gun, almost single-handedly driving off an enemy attack.
The British offensive was planned to commence on 9 April 1917, with the 4th Division operating on the extreme right flank at Bullecourt, which had been fortified and incorporated into the Hindenburg Line. The objective was to breach the Hindenburg Line and advance on Cambrai. On 7 April, Mitchell was in the advance party moving into the front line with the 52nd Battalion. Each man was assigned 200 rounds of ammunition, two Mills bombs and two sandbags.
In the early hours of 11 April, the 48th Battalion took up their position in front of the railway line in two waves. The first wave consisted of bombers and bayonet men. Mitchell was in the second wave comprising Lewis gunners, rifle grenaders and a carrying party with tools and supplies. The success of the attack depended on the tanks, which failed to deliver. Troops of the 48th Battalion were the last into the fray and sustained heavy casualties in the 'unrelenting hurricane of fire'. By 7 am the 48th had seized 500 yards of the Hindenburg Line, but in doing so more than half its strength had been killed or wounded. At 9.30 am roll call revealed that only 9 officers and 218 other ranks remained.
Hard pressed from three sides and in danger of being over-run, Captain A. E. Leane ordered a withdrawal at 12.25 pm. According to official war correspondent, C. E. W. Bean, this withdrawal happened a full hour after every other battalion had left the trenches, and when the 48th came out, it was under heavy rifle and machine-gun fire.
Listen to Mitchell's testimony about his involvement in the first battle of Bullecourt:
Quoted from: Mitchell, G D, 1937, Backs to the Wall, Angus & Robertson, Sydney
Shortly after the offensive, due to a chronic shortage of officers, Mitchell was commissioned as second lieutenant. The 48th Battalion had lost a total of 15 officers, and 301 other ranks were killed or wounded, with 120 captured. The 4th Brigade, previously thought one of the finest, lost 2,399 out of 3,000 engaged – effectively destroying the brigade. This failure at Bullecourt was later used in training as an example of how not to plan an offensive.
For his actions, Mitchell was awarded the Distinguished Conduct Medal. The recommendation read:
At Bullecourt on 11th April 1917 for bravery and devotion to duty. He was in charge of Lewis gun and did fine work in driving off enemy counter attack. He kept is gun in action during the six hours the trenches were held, and when the order to retire was given, carried out his gun under heavy fire from flanks and front. He then went out and recovered the wounded from no mans land, saving many lives.
Mitchell and the 48th next fought at Messines in June 1917. Following the detonation of 19 mines placed beneath German lines, they entered into two days of relentless fighting. Mitchell recalled:
Messines battle was child's play as compared to any other battle we had encountered, the troops had been engaged only forty-eight hours, yet never before or since have I seen men carrying such a burden of exhaustion. It came to me, too, later.
On 12 October, the soldiers of the 48th Battalion trudged through heavy rain and mud towards the front line of what became known as Passchendaele, named after the village on the ridge that was the offensive's primary objective. Although immediately encountering fierce enemy fire, the 48th still managed to bomb and overrun a German post at bayonet point and seize several dug-outs, killing or capturing the garrisons. During consolidation of the line, however, the enemy resistance increased and bombardment intensified, with salvoes of howitzer shells descending on frantically digging men. Eventually, the troops were forced back to their original front line, which they garrisoned, and continued to hold back the enemy onslaught. The Second Anzac Corps lost 7000 men on this one day, for no tangible result.
An advance in the German Spring Offensive of late March 1918 took back all ground taken by the British during the previous 18 months. On 27 March, the 48th Battalion was back in the front line on the Dernancourt–Albert Road. The following day, they stoutly resisted nine enemy attacks. The Germans lost 600 men to the 48th's 62 killed or wounded. In the battalion history, Browning outlines Mitchell's actions on 28 March:
On the right of the 48th's line Lieutenant G. D. Mitchell observed the enemy infiltrators behind the 47th's positions and reported to Capn. L. L. Carter who thought they were probably Australians. Unconvinced, Mitchell ran towards the party of thirty troops with his revolver drawn and discovered they were Germans, with two captives from the 47th. Mitchell aimed his revolver at a German officer and demanded that he surrender. The Germans dropped their weapons and were disarmed and marched off by Sergeant J. Fennell.
Mitchell was awarded the Military Cross on 6 May 1918. His citation read:
For conspicuous bravery and leadership during the German attack at Albert on 28/3/1918. The enemy broke through a battalion on our right. Lieutenant Mitchell immediately charged the enemy and succeeded in capturing about 30. He continued to direct his platoon during the whole of the day in an absolutely fearless manner. His example was very inspiring to his men.
On 3 May, at Monument Wood near Villers-Bretonneux, the 48th Battalion prepared to advance on German lines. While one troop from C Company managed to penetrate enemy lines, the remainder was held up through heavy machine-gun and artillery fire. Many casualties had been sustained, and Mitchell managed to negotiate a short truce to allow the 48th to recover wounded men from no man's land.
A party of our stretcher-bearers appeared over the railway bank. The leader carried a white flag. Held my breath for fear they would be shot down. Fritz was a gentleman. They went unscathed, not a bullet was fired from the enemy trenches, a short 100 yards away. Then an astounding thing. Full length out of the German line rose an officer. He called 'Do you want to surrender?' A chorus: Surrender be ------------!… Just as I was debating whether he had a sense of humour, he marched calmly towards our line…I heaved myself out of the trench and marched toward him…Soon I was face to face with [him]. We saluted … 'What is it you want?' he asked … 'These', I said, pointing to our wounded all around us. 'Very well', he said, 'I will give you twenty minutes. If we fire three shots in the air we will continue the war … to do him justice [he] was the soul of honour, integrity and generosity throughout the whole proceeding … Fritz started stretcher bearing too … in this way the work went swiftly … The twenty minutes of grace had stretched to two hours. All the wounded had been removed long since …I turned to [him]: 'I thank you for your generosity. We have all our wounded. We had better continue the war' … We stood to attention–face to face. He saluted flat handed–I with the palm outward. We turned right about and marched slowly back.
On 25 July 1918, Mitchell received the news that he was to be sent to Army Rest Camp. Those chosen for the rest camp were men who had provided the longest continuous, good service in the firing line; Mitchell certainly qualified. He arrived by 3 August and enjoyed several days in Paris.
Mitchell missed the last two battles faced by the 48th Battalion, at Amiens and the Hindenburg Outpost Line. From 12 September he was in hospital recovering from venereal disease. He rejoined his unit at the end of October. The war ended two weeks later and Mitchell returned home to Australia on HMAT Armagh in May 1919.
Transition back to civilian life was not easy for Mitchell. Failing to make a go of farming on his small soldier settlement block in Mt Gambier, he pursued a range of jobs, mostly in sales. Over time Mitchell had small businesses of his own, running a garage and later mail-order work, however the mainstay of his occupations was as a writer. His flamboyant nature translated well into the written word, and he had a gift for producing colourful and descriptive accounts of his war-time experiences. He wrote for Smith's Weekly, an irreverent publication aimed at returned soldiers that contributed to the glorification of the Anzac legend. In 1937 he published Backs to the Wall, the first of several publications based on his personal experience of war. Mitchell also edited and toured with an official First World War documentary film called We of the AIF, at screenings of which he would provide vivid commentary and answer questions from viewers.
Enjoying the limelight, Mitchell stood as an Independent candidate for the New South Wales State Legislative Assembly seat of Oxley. Though he lost on his first attempt in 1938, he won convincingly in 1941. At this time he married 20-year-old Thelma Bell, a woman 26 years his junior. They did not have long together before Mitchell was called up to serve in the Second World War. War was close to home in the Pacific region and after Broome was bombed in March 1942, Mitchell was sent there, along with other officers, to assess the situation. His report urged the need for increased vigilance, and saw him appointed commanding officer of a Guerrilla Warfare Unit, tasked to patrol the north-west coast. During this period Thelma gave birth to their only child, a son, George Junior.
In 1943, Mitchell became commanding officer of the No. 43 Landing Craft Company, formed to provide inshore transport for army personnel along the north coast of New Guinea. He eventually had 235 volunteers under his control, including at its core, the 60 men from his previous Guerrilla warfare group. They achieved great success in their role.
Unfortunately Mitchell, with his characteristic disregard for authority, acted independently on some dubious intelligence, and took the full force of his command to attack an uninhabited island. He was relieved of command the following day and spent the rest of the war training landing craft personnel in Moreton Bay.
Mitchell's second round of post-war occupations was as unsettled as the first. He held positions in various associations and tried to get a mail-order business operational before finding longer-term occupation. In the early 1950s, he worked with businessman Hastings Deering, who owned the Chamberlain Tractor Company and had interests in many large cattle properties in northern and central Australia. Mitchell and his wife packed up a caravan and travelled at Deering's expense, seeking to identify the best areas in which post-war migrants could settle. During this time he continued to write, and produced a travelogue based on his personal and wartime experiences.
Mitchell died of cancer on 11 January 1961. Thelma died ten years later of a heart attack, aged 50 years. Nothing is known of what happened to their son George Junior.
Australian War Memorial, Embarkation, Honour and Nominal Rolls, http://www.awm.gov.au/
Bean, CEW 1939, Official History of Australia in the War of 1914 -18 Vol. IV, 9th Edition, Angus & Robertson, Sydney
Browning, N 2009, Leane's Battalion, 48th Battalion AIF, 1916-1919, Quality Press, Osborne Park
Gammage, B 1970, 'The broken years: a study of the diaries and letters of Australian soldiers in the Great War, 1914-18', PhD thesis, Australian National University, Canberra
Limb, A 1919, 10th Battalion A.I.F. 1914-1918, Egypt, Gallipoli, France, Belgium, Cassell and Company Ltd, London.
Lock, CBL 1936, The Fighting 10th, Webb & Son, Adelaide, combined in a compendium presented by the 10th Battalion A.I.F. Association
Mitchell, GD 1937, Backs to the Wall, Angus & Robertson, Sydney; and 2007 edition introduced by Robert Macklin, Allen & Unwin, Crow's Nest
National Archives of Australia: Australian Imperial Force, Base Records Office; B2455, NX156027, Lieutenant George Deane Mitchell's First Australian Imperial Force personnel dossier,1914-1948; MITCHELL G D, 1914-1948
Thank you very much.
Thank you Sir.
Your unrelenting courage and bravery is inspiring. I thank for your service to your country that you continued throughout your life in public office and WW2.
janet parkinson
You were a very brave man. I'm glad you were able to come home and live out your life. Thank you.
You were a very good corporal, especially in 1916.
I have 1 question: what type of cancer was it?
Thank you for your service.
Sarah M
Thank you so much for your service. We will always remember.
Thank you for looking after our country.
What an achievement to have survived both world wars and even after that you decided to write books about your experiences. Even though you died from cancer you lived through the war.
For your service and courage, we honour you.
Thank you for your bravery and sacrifice. God bless you and your family.
Lachlan Barkwill
We thank you for your bravery.
Good work.
Kane chandler
Thank you for all your service xx
Thank's for fighting for Australia.
Your heroics won't be forgotten thanks to this memorial.
Rest in peace.
I love you.
Thanks for your courage and service. Thank you for writing about your experience and leaving a memorandum for us; to never forget!
Dear Mitchell, Words would not explain what it means for so many to live with freedom.
Dear George Mitchell, Every soldier that goes to war is doing something bigger than themelves. Every living Australian would be grateful for your contributions.
This has made me want to go buy this book. Thank you for your courage.
Eva Henderson-Mott
Your services during both wars you served in were greatly appreciated.
A tribute to a fine soldier who served his country gallantly in two wars.
Thank you for your service. I am keen to read your book. I will keep you in my prayers. Alphie.
Thank you for serving our country.
Thank you for your sacrifice. You are the greatest.
You did a great job serving your country.
Lest we forget. You are our heroes.
It has been very interesting hearing your story. Thank you for your service.
We are so proud of your service and success during and after the war. You are a true hero.
My love to your family xxx
Thank you for your bravery x
Rest easy.
So in awe of your bravery and the sacrifices you have made to keep Australia free.
Thank you for your service and courage. You will not be forgotten. RIP.
Thank you for giving up your life to protect mine!
Thank you for saving Australia. I am sad you are dead because you changed all of Australia. Thank you very much.


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Despicable Me 3
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Gathering Place
Wednesday, March 25, 2020 4:45 pm - 6:00 pm
Location: 1448 E Street
Description: We serve dinner. The Gathering Place is located at 1448 E Street. Arrive at 4:45 pm. Duty in the kitchen or serving line will be determined upon your arrival. Dinner is served at 5 pm, seconds at 5:30 and to go dinners at 5:50. We all participate in wiping down tables and sweeping the floor. We are out by 6 pm or shortly thereafter. Two meeting attendance credits are awarded for your participation. Donations of these items are welcome and appreciated: BBQ sauce, sugar, napkins, financial contributions, toilet paper, paper towels, and 10 oz. foam cups. Milk, tubs of margarine, packaged desserts, coffee, and coffee creamer are also good.
This form stopped accepting submissions on March 25, 2020 4:45 pm CDT.
Contact Information:
Kristin Yates


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Dina Eastwood Files for Divorce from Clint Eastwood
The former reality star seeks to end her marriage just weeks after withdrawing separation papers
Dina Eastwood is now ready to end her 17-year marriage to Clint Eastwood for good.
The former E! reality star, 48, filed divorce papers Monday in Monterey County Superior Court in Carmel, Calif.
This comes just a few weeks after Dina withdrew her papers for legal separation from the actor, 83 – which she had originally filed on Oct. 7.
Citing the usual irreconcilable differences, Dina seeks physical custody of their daughter Morgan, 16, with spousal support and attorney fees to be paid by Clint.
The pair's split was confirmed by PEOPLE last month. "This is really sad," a source said at the time. "They were great partners for many years."
Sources tell PEOPLE that Erica Fisher, who is confirmed to be dating Clint, has been living in his L.A. area home and has been spotted around town driving his Mercedes Benz.
One of Fisher's sons from a previous relationship has been working as a production assistant of the Clint-directed Jersey Boys.


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Our experiences tell us that in the night party, we should care more on our wearing, shoes and other accessories like bag and necklace. But have you considered that in the dim light, people's eyes are more attracted by the shinning gadgets. If you saw the previous article, you will know that boys can have a pair of shinning Led shoelace. (If not, you can know that by clicking here) But how about girls, of course I will seize the chance and find a good LED gadget to make ladies out of standing.
After about one month, I finally got this one — fiber optic hair extension. You can cut it in any size you want to fit your hair. Then clip the barrette into your hair. Let it looks like sparkling from your hair. Let's see how it works on other girls. Can anyone say it is not charming?the price for this one is $1.99+free shipping.


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Eureka! Timberline
The Timberline has been discontinued. If you're looking for something new, check out the best three-season tents for 2020.
Reviewers Paid: $70.00-$175.00
4-star: 2
3-star: 0
2-star: 4
1-star: 1
I've had this tent at least 15 years and used it many times in the spring, summer, and fall. It handles the rain well. During hard rain the tent stays dry inside even when standing in a puddle of water.
It has done fair with snow. It has done well with mild winds and I've never had it in hard winds. No condensate buildup during cold nights.
It may be a little heavy for backpacking, but, I consider it to be a bomb proof tent.
Price Paid: $100
The only experience I have, is one desert southern/central Utah trip (by Moab), with one person setting up the Eureka Timberline on the edge of the bluff, and a pole snapped in the wind; and one High Uintah's trip, we were in our own tent,and some boys "knocked" on our tent, their Eureka Timberline had snapped in the rainstorm. So I got some rope, and tied it up to a tree, so that they could make it through the night.
Given that's the only time I have seen anyone in these tents, I would be very leery to get one. Besides, who wants an A frame when domes are so much better?!
Design: A frame tent
Sleeps: 2
Ease of Setup: no ideas
Weight: who cares!?
Don't buy this tent - it is a poorly made copy of the original Timberline that was made in the '80-'90s. The aluminium rings easily bend, the fabric is cheap and is totally a disappointment from the old scout tent I know and still love.
Design: timberline
Sleeps: 4
Ease of Setup: easy
Weight: 7 lbs
Price Paid: $175
My Timberline is about 6 years old, used for "car camping" about 5 times per year (trips ranging from a weekend to two weeks).
Unfortunately, these aren't the Timberlines I remember from my Boy Scout days, which were nearly indestructible. I kind of wish I had something else, to be honest.
The floor on this model is thin and delicate, and ceases to hold out water after a good, all-day rainstorm. Clips are plastic and cheaply made. Poles feel very weak and are easily bent. If you want the OLD Timberline quality, check out the Timberline Outfitter, which has the thicker floor and metal parts of the older models. Like all A-frames, the Timberline suffers from a lack of headroom.
There are pros, however. Floor space is amazing. The tent is easy to set up, even in pitch darkness without a light. Accessories (such as vestibules and lofts) and replacement parts are easy to find. Holds up well in high winds if you stake it down well. The A-frame design allows frozen precipitation to slide right off, extending your season a bit (I wouldn't use this in heavy snow, though, give the aforementioned floor issues). The twin doors are a huge plus.
If you like the upsides to this tent, consider the Outfitter version. Avoid the standard model which, unfortunately, is not the product it once was.
Design: Three-season A-frame
Sleeps: 4
Ease of Setup: Extremely easy
I have several Eureka tents as well as Kelty and Coleman. I have to agree with what I read one guy say. Eureka is not putting out the same stuff as they did. Not nearly as well made are sealed. Seems to be out to make a buck with less quality in mind.
Design: I have dome and "a" frame type
Ease of Setup: this I say is good on all
Weight: one problem with Eureka to heavy
Price Paid: have several
I learned about the Timberline as a boy scout years ago. I took it to the Eastern Shore of Maryland, all over Pennsylvania, West Point NY, Charleston SC, the New Jersey Pine Barrens, the Everglades, Colorado, and Philmont NM. Rain, high heat, snow, high winds, and hell's worst mosquitoes all had no effect on the tent. I bought a T2 secondhand for 50 bucks and took it to the San Pedro valley in AZ and the San Gorgonio range in CA. No surprises. I just got another Timberline, this time a T4, for a more ambitious trip up Mount Whitney. It's not ultralight, brightly-colored, or asymetrical, but it does kick butt. Goes up quick, durable, all the features. Perfect size with the vestibule. Get one.
Price Paid: T2=$50, T4=$70
I used this Timberline A-Frame tent for two weeks in Canada during a canoe expedition through the Boundary Waters area. I was issued the tent from the outfitters there. This tent is great. I first noticed how worn out it was when we first set it up. It was very wrinkled and dirty, but the tent was very well constructed and showed no serious signs of damage. The tents issued there had been in service for at least a year, to several other parties.
The tent itself is a strong nylon tafetta. The floor is a very heavy duty nylon oxford cloth that reists wear very well. The fly of the tent, a highly water repellent nylon goes down almost all the way on the sides, and support bars hold it out over the door and window on opposite ends. The construction is top notch. Heavy Duty #10 Zippers for the doors. A real quality item.
Setup is not very hard, but may require two people. The A-Frame design is sturdy but you need to stake it down very tightly during windstorms. The tent is comfortable and can fit 3 with a little bit of gear, or 4. It ventilates well even without opening the windows. During a heavy rainstorm, everything stayed dry. Moisture will not permeate even if you hit the sides of the tent. The seams don't leak like Wal-Mart tents do.
I love this tent. For two weeks I used it without a problem. We used it over sand, dirt, roots, and sharp rocks and the material of the tent never had a problem. It is extremely well constructed, as this is an outfitter type tent. It had been used for more than a year before me without any repairs made to the tent. It is built like a tank.
Design: Three Season A-Frame
Sleeps: 4
Ease of Setup: Average
Weight: 10 lbs
Price Paid: N/A
I have an Eureka Timberline from the '70s and it is still a favorite. It is very easy to set up and wears like iron. I washed it in woolite once and destroyed it to shreads. I wrote and told Eureka just what I did and to my delight, they sent me a new tent. Great Company... Great tent! Highly recommended if you are on a budget ...or not.
I backpack alot and it has never let me down. Great value!
Design: 3 to 4 season
Sleeps: 2
Ease of Setup: easy
Price Paid: $100
Have had the tent since 1979 and think it's great. Have camped and hiked through Alaska with it twice, plus hiked and camped with the Scouts all over California. Been in the rain and snow and it holds up as any tent should. For a 3 season tent it is an excellent first tent for two. Little heavy hiking for 1 person but easy to split up the weight between two.
My son and I used it through his scouting years but it is a bit tight for two adults. I blew a pole out after a windstorm in Alaska, repaired with duct tape and tent pole. When I returned Eureka replaced all poles, no questions asked. Excellent folks to deal with.
My only complaint with the tent is that it smells. The seam sealent used 20 years ago has an aged smell of barf and I must set it up in the sun for a day before I can take it out. After 20+ years though I don't think Eureka has a responsibility there.
Liked it so much I bought the 4 person version for car camping. Like Eureka so much I bought the 1 person Zypher for single use.
Design: 3 season
Sleeps: 2
Ease of Setup: Easy for two, with a little experience one can set up with no problem
Weight: 7 lbs
Price Paid: $100
I bought the Timberline about 30 years ago and love it, but now i need the set up instructions. might be giving it away to family, the sheet nunber is 225 if that is still good.
Design: 4 person
Sleeps: 4
Ease of Setup: very easy
Weight: 8
Price Paid: NOW $149
I have had my Timberline for about 10 years. I think it is a good "first tent" for someone on a budget, but there is little need to upgrade. My friends also have owned these tents for several years. We think the quality is good. They hold up over time.
It is a two person tent. A little cozy for two adult men. I use mine as a one person tent. When my son was a lad, there was room for two of us; but, as he grew, I bought him his own tent.
I am 6 feet tall, and have room to sit up in this tent. There is room at the ends. It does not feel cramped.
It does well in the rain. The fly covers most of the sides of the tent. The ends are open, although the fly does extend out over the end about a foot. I have been out in a down pour with no leakage. You do need to make certain you have sealed the seams well.
Used by one person, it is pretty heavy at 7 pounds. I believe that the weight makes it best for a trip of two or three days. If you were going out on a trip where you need to carry five or six days food, the extra weight of this tent is definitely a nuisance. But, it would be okay if the weight were shared by two people.
Design: 3 season, A-frame
Sleeps: 2
Ease of Setup: Easy. Five shock-corded rods.
Weight: 7 lbs
Price Paid: $100
Although Eureka has been know in the past for its quality, things have changed. My Timberline leaks like a sieve even after numerous applications of seam sealant. The nylon floor is thin and not coated with urethane. Eureka was unwilling to help me with my problem and simply told me to reapply the sealant. I will never again purchase a single Eureka prduct and must recommend the same to others as well.
Design: 3 season A-frame
Sleeps: 2
Ease of Setup: Easily Set up (3 min)
Weight: ~6.5 (a ton)
Price Paid: ~$100
Have had this tent since 1977. Been through torrential rain, snow, heat (have thrown the worst at it). Never any problems whatsoever. Sleeps two fine, but cramped with gear.
Excellent heat retention in winter, never froze even at 12k+ feet in the eastern sierras. Lightweight and easy to arrange on the backpack. Highly recommended.
Design: 3 season but holds up well during even heaviest snow
Sleeps: 2
Ease of Setup: very easy after the first time, you can do it with your eyes shut. Time yourself sometime - you'll be amazed at how quickly it goes up
Weight: 6 + lbs
Price Paid: shop around - $99-$300