text:
Discovering Columbus
By the morning of December 2, 1991, Ridley Scott was ready to start shooting his new movie. He was up long before dawn, racing through final details. By first light, his big Mercedes was winding its way through the narrow streets of Cáceres, past the deserted esplanade, past the adobe huts on the edge of town, and finally out onto the cold Spanish plain leading to a 16th-century villa made to look like the ancient monastery of Santa Maria de la Rabida.
By temperament, Scott is calm, methodical and cool to the point of aloof, perhaps a vestige of his upbringing in the far north of England. No one ever accuses Ridley Scott of wearing his emotions on his sleeve. But one look at him this morning, fueled with coffee and cigarettes pacing around inside La Rabida monastery, inspecting the set, checking his cameras and lighting, commanding his crew, the celebrated director of Alien, Blade Runner and Thelma & Louise was a jangle of nerves, tightly clamped.
Etched into his face was fatigue. Dark circles ringed and puffed his eyes--so blue, so masked--and a couple of days' worth of red and gray stubble slid down his chin. Who had time to shave? Not Scott. For long months, he had been putting in marathon days and frustrating weeks, working against a terrible deadline, trying to manage a team of some 400 people, working in three different countries, on two different continents, all in an effort to plan and shoot an adventure of epic scope and grandeur, a movie that would recreate the historic voyages of Christopher Columbus.
Once inside La Rabida, Scott moved quickly and precisely. Sharpening camera angles. Fiddling with lighting. Positioning his monks at their drafting tables, plumes in hand and eyes fixed to their maps of the world, elegantly charted out on parchment and anchored in the firm conviction that the Earth was flat. In his mind, in his sketchbook, and here on the set, Scott had already worked this crucial first scene down to its finest detail, from its color and composition to its most subtle plays of light and shadow. He composed the scene the way a classical painter would compose a mammoth canvas, one he dreamed could be a masterpiece.
Throughout Scott's career, visuals have been his greatest strength; Pauline Kael has called him a "visual hypnotist." To anyone who saw Thelma & Louise, with its majestic landscapes of the American West, it may come as little surprise that Scott trained as a painter and graphics designer at the Royal College of Art in London, often in drawing classes next to David Hockney. But this morning Scott seemed intent on finding an even richer visual vocabulary: The candles flickering above the drafting tables and the embers glowing in the fireplace bathed his scene in glimmering hues of yellow and orange, just as in the warm, intimate paintings of Caravaggio and Georges de la Tour.
Finally, every detail in place, the mood as he wanted it, Scott signaled he was ready to shoot. "Silencio por favor! OK, boys, quiet down now," bellowed Terry Needham, one of Scott's assistant directors. "Shhh, shhh, shhh...OK, now, a little more atmosphere! Bring up the smoke..."
At once a hush fell over the converted stable and the 150 members of the cast and crew jammed inside. And then every eye on the set turned to the far end of the monastery and focused in on a huge wooden door reaching upward like the apse of a cathedral. "Rolling .... Action!" Slowly, creaking on its ancient hinges, the door inched open, and into the light came Christopher Columbus. A collective gasp rippled through the cast and crew. Columbus was cloaked in a long medieval robe the color of burnt orange with black trim, his dark blond hair flowed down over his collar, his blue-gray eyes burned with the haunted look of a man launched on a holy mission, beyond the reach of Prudence or Reason.
The impact on the set was stunning: This WAS Christopher Columbus, sprung to life. Before everyone's eyes, this towering, mysterious historical figure, so shrouded in myth, controversy and revisionist politics, was again a real man, flesh and blood, soul and will. And perfectly embodied by France's unique gift to the world of cinema, Gérard Depardieu.
At this stage in his life, and in the script, Columbus was an accomplished navigator and explorer, with long experience in the Mediterranean Sea and along the Atlantic coast of Spain, France and England. But he had been waiting an agonizing seven years for royal permission to mount his dream voyage into the pure unknown, to test his absolute conviction that the riches of the East could be reached by sailing to the West. In the halls of power in Spain, Columbus and his theory were objects of scorn and ridicule, and Columbus's patience had worn dangerously thin. Striding into the monastery, his frustration now wearing plain on his face, Columbus was greeted by his friend and spiritual and political adviser, Antonio de Marchena, being played by Spain's greatest actor, Fernando Rey.
"I have something for you," said Marchena, drawing from his robe a parchment bearing a royal seal. "You are going to be heard at The University of Salamanca."
Columbus studied the letter, marveling at the idea of at last presenting his case to an official commission of the Spanish royal court. He felt a rush of hope. And of panic: "God, that is in a week! " During rehearsals earlier this morning, Depardieu's English had come out haltingly and heavily Gallicized. But now, cameras rolling, his English came out clear, fluid and slightly exotic, as befits a humble mariner from Genoa who had settled in Spain.
"Cut! Good," said Scott. "Let's go again."
By the third try, Scott thought he had a printable take. He stared at the replay in one of his video monitors. The composition and the lighting looked right, and so did the chemistry between Columbus and Marchena. And this time when Depardieu delivered his lines, with a flurry of contradictory emotions playing across his face, Scott's hand flew up to his heart in joy. And relief. After nearly a year of agonized planning, scripting, casting, scouting locations, building sets, outfitting ships and leading rehearsals, Scott seemed to sense that this $45 million extravaganza just might deliver the magic for which every director dreams and works.
Ever cool, ever cautious, through, Scott was not about to call for Champagne. Still, after this successful take, on this crucial first scene , those who know Scott well detected a sure sign of his rising sprits. He put away his cigarettes and instead put a match to his favorite cigar: a long, regal Cohiba, made from the finest Cuban tobacco. A bold smoke to launch a very bold voyage.
On the set of every major movie, this first day of shooting is always filled with tension and excitement, but 1492 carried with it unusually high expectations and risks. For Scott's telling of the story of Columbus and his voyage to America was not just a major film, it was a colossal gamble--a $45 million gamble with implications far more daunting than budgets and global grosses.
This was to be a Hollywood-scale extravaganza, but this time financed and executed not by American studios and financiers but by Europeans, with European cultural values and European ideas about what the art of cinema should be. If 1492 succeeded, the film would be a welcome triumph for Europe and European cinema, especially at a time when more and more national film industries were feeling severely menaced by America's increasing dominance of world cinema. But if it failed, 1492 would be seen in Europe and in America as a major defeat, more proof that the Europeans, with their boutique approach to film-making, and their insistence on prizing art over commerce, just cannot make smash blockbusters with industrial scale budgets and international box-office muscle.
There were other layers of risk and ambition as well. In terms of its pan-European financing and its production team, using technicians from England, France and Spain, 1492 was designed to be a prototype venture, one that could set the standard for a range of European projects to come. Scott and Depardieu had shown they could bridge the gap between European artistic values and Hollywood commercialism; could 1492 help them lead Europe into a whole new era of major filmmaking? That was the hope. But if the film failed, if, in the typical Hollywood parlance, 1492 should "go down the toilet," well, then, Scott and Depardieu would surely face the heaviest flak.
But you would never know it watching Depardieu this morning. Between takes at La Rabida, the huge, rollicking Frenchman joked with his makeup team, pulled pranks on the sound specialists, friends of his from France, and he did his general best to keep everyone loose and to create a kind of family spirit and chemistry among the cast and crew. Unlike so many actors, Depardieu seems to be totally lacking in ego and pretense; he grew up in a peasant family in provincial France, and despite all his success, he is not about to become a supercilious Parisian. On the set, his warmth and clowning served as a sharp contrast and complement to Ridley Scott's aloof precision and preoccupation.
Like Depardieu, the origin of 1492 was purely French. In 1987, a young French journalist named Roselyne Bosch went to Spain on what was supposed to be a routine assignment for the French newsweekly Le Point. Bosch was doing an article on how Spain was going to fete the 500th anniversary of Columbus's voyage on behalf of Spain's Queen Isabella and King Ferdinand and for her research, Bosch went to Madrid and then further south to Seville to peek into the provincial archives.
In the two cities, like countless historians before her, she found some 40 million parchments, many never deciphered, and she found scores of letters handwritten by Columbus. Leafing through some of Columbus's books, she sometimes found notes and little drawings penned in the margins. The more she looked through his books and papers, the more real Columbus became to her; all the mythological haze surrounding the man started to clear.
Bosch: "I was deeply moved just by seeing his handwriting and signature. Suddenly, instead of being like Santa Claus, Columbus was a human being .... Sometimes in the margin of a book, he would draw a little hand pointing to a certain passage. It was very moving, and I thought, 'This ought to be a movie."'
Indeed it seemed a natural, especially with all the hoopla planned for the 500th anniversary of Columbus's voyage. And no one, up to then, had ever brought Columbus convincingly to the screen. In 1949, Hollywood brought out a Christopher Columbus, with Frederic March in the title role, but the general assessment was that the movie was an embarrassment and certainly not what Columbus deserved. In fact, with all the renewed interest in him, it has now become clear what a fascinating man Columbus was, no matter how disputed is the legend that he discovered America.
While historians disagree about many aspects of his life and travels, there now seems to be a consensus that while Columbus hoped to return from The New World with gold, silk and spices, he returned with something that proved to be as valuable: tobacco. Most accounts, from historians from America to Cuba, now maintain that when Columbus visited Indian villages in the Caribbean, he found the natives smoking enormous leaves fashioned into tight rolls, an aboriginal cigar. According to some Cuban accounts, two of Columbus's crew members, Rodrigo de Jerez and Luis de Torres, were sent on a mission into the interior of what Columbus thought was the Asian mainland but was probably Cuba. There, in a peaceful village, they made what was probably Europe's first sighting of tobacco.
By some historical accounts, Columbus himself was indifferent to the appeal of tobacco, so preoccupied was he by his quest for the Grand Khan and the source of Solomon's riches. But tobacco was among the curiosities and riches Columbus's ships brought back from The New World, thus introducing the pungent leaves to Europe and laying the groundwork for the tobacco industry and popular subculture that would develop over the next 500 years. In subsequent voyages, European explorers and traders bartered their silks and cinnamon and other spices for bales of tobacco, until the leaves themselves became a focal point of the growing transatlantic commerce.
Bosch came to see Columbus as an ideal subject for a film, a movie showing him not as a cartoon character but as a real man fueled by intellectual fervor and messianic zeal. She called a friend of hers in Paris, Alain Goldman, a French film distributor. He flew to Seville for a firsthand appraisal of the Columbus material and a visit to the cathedral in Seville, where Columbus is buried. (Though there are historians who doubt the remains are actually his.) Excited by what he saw, Goldman encouraged Bosch to pursue her research, and she stayed on in Spain. Soon the two of them became partners in a fledgling film venture: he as producer and Bosch plunging into research and a conversion from journalism to screenwriting.
Initially, they envisioned doing the entire film as a French project, but they found no support among French producers. It would be too big a budget for France, the producers said, try Hollywood. Rank amateurs though they were, neophytes with little idea how Hollywood worked and French to boot, Bosch and Goldman nonetheless started knocking on the doors of American studios. And they found no encouragement. And understandably so: they had no director, no star and no track record in screenwriting or movie production. You can almost hear Hollywood executives chortling: "No star, no script; kids, kids, get real."
Bosch became very disconcerted, but then for Le Point she did a profile of the American writer Tom Wolfe. He told her about how he had come to write The Right Stuff, and of his admiration for the NASA astronauts. Bosch was inspired: " 'Listen,' I told him, `the astronauts are nothing next to Columbus.' It was talking with Wolfe that I started to believe....And the more I read, the more I worked, the more convinced I became that Columbus was somebody people think they know, but really nobody knew. And so I felt I had to tell them."
Finally, Bosch knocked on the right door: Ridley Scott. He had ideal credentials for directing Columbus: he was a European with artistic merit, commercial success and excellent connections in Hollywood. He was just coming off Thelma & Louise and it would soon bring him an Oscar nomination as best director. By chance, Scott on his own had been exploring the idea of doing a film on Columbus, and when Bosch set forth her vision and a synopsis of a script, he had one immediate reaction: "Yes, if Gérard Depardieu would agree to be Columbus."
This took Bosch by complete surprise; oddly, Depardieu had not even occurred to her. With their sights set on finding U.S. financing, she and Goldman had been focusing on American stars like Kevin Costner and Michael Douglas, big names they figured would be the only way they could secure the necessary funding. But as soon as Scott said it, Bosch knew Depardieu would be perfect. The star of Cyrano de Bergerac, Danton, Jean de Florette and The Last Metro was now the biggest star in Europe, and with Peter Weir's Green Card, he had made an impressive debut in the English-language market. Distributed by Disney, Green Card grossed over $40 million in America alone. Bosch was sure he would be perfect for Columbus. "Right away I knew there would be no problem with energy; Gérard would burst the screen," she said. "And from that moment on, thinking of him in the role gave me a big push. Instead of having an abstract idea of Columbus, I knew it was Gérard. It was a liberation."
But would Depardieu agree? Bosch sent Depardieu a draft script and then set up a meeting with him in Paris, at the Hotel Raphael, a favorite rendezvous point for French film stars and executives. She and Scott arrived in the bar at the appointed hour of 7 p.m., but there was no sign of Depardieu. After a half-hour wait, Bosch telephoned Depardieu at a pied-à-terre he keeps in Paris, and he answered with a very soft, very shy voice. Had he forgotten? Or was he just nervous about taking on such a colossal role? She had no clue, but soon Depardieu was storming into the Raphael and into a torrential stream of conversation. For an hour Depardieu did most of the talking, about himself and his vision of Columbus; it left both Scott and Bosch a little dazed.
Bosch: "To my astonishment, I realized that in one or two readings he had understood all the subtleties behind the lines. When in Hollywood I had tried to discuss Columbus's relationship with Queen Isabella, I had great difficulty, because it was ambiguous, it was an unresolved sexual attraction. In sum, it was not Hollywood. Gérard got it right away, like a laser .... Ridley and I came away very excited. Gérard is larger than life. And Ridley films larger than life. It seemed a perfect match."
With Depardieu aboard, Goldman and Scott went to see Gaumont, the French film conglomerate and part of the Schlumberger family empire. They met with Nicolas Seydoux, head of Gaumont, and a close friend of Depardieu. Scott was expecting a tough Hollywood-style negotiation, but when they named a price of 43 million francs, some $8 million, one of the largest sums ever paid for French distribution rights, Seydoux simply said fine. "We shook hands," Scott recalled, "and then a moment later a waiter came out carrying a silver tray with a bottle of Champagne, from the family winery of course."
With Gaumont providing the essential start-up capital, Scott and Bosch began putting together the mammoth venture, from finding and outfitting Columbus's ships to scouting the locations needed in Spain and The New World. Goldman focused on packaging and selling world rights to their project, but soon he ran into an unexpected and terrifying hitch: Hollywood competitors.
Producers Alexander and Ilya Salkind, best known for their Superman movies, had their own Columbus film in the works, and it promised to be a real Hollywood shebang. There was talk Tom Selleck would play the lead, there were rumors Marlon Brando would have a role, and the Salkinds were busy trying to legally corner every conceivable title using the name Columbus. Both productions feared that even in the year of the 500th anniversary of his sailing, the world market just could not accommodate two Columbus extravaganzas.
Goldman, then not even 30 years old, was suddenly dipped into a full-scale Hollywood battle, one that would fry his nerves for months on end, right down to the first week of shooting, when he was still waiting for bank guarantees and insurance clearance. The battle quickly became nasty and was played out at several levels: with distributors and theater chains, with lawyers arguing over the rights to potential titles, and it was played out in the press, from Variety to The New York Times. The Salkinds made lavish use of Variety to announce they had signed Brando, for $5 million, to play Tomas de Torquemada, the infamous head of the Spanish Inquisition. Selleck wound up as King Ferdinand, while for Columbus the Salkinds signed George Coraface, a European whose name has yet to become a household word or a box-office draw.
From the vantage point of the Europeans, the Salkind project was going to be Hollywood as usual: a slick, highly commercial action picture, Superman meets Columbus. A cliché bearing little resemblance to the kind of historically accurate epic and human portrait Scott, Bosch and Goldman wanted. So when The New York Times did a large piece putting the two pictures on an equal footing, Scott went ballistic. To his mind, it was as if The Times was dealing with Superman and Caravaggio in the same breath. He raged about it for weeks, and he even drafted angry letters to the editor venting his spleen. Only the counsel of close friends, and Depardieu, kept him from mailing them off.
In the battle between the two Columbus movies, as in the larger rivalry between the American and European film industries, money is one of the clearest lines of demarcation. For his role as the Spanish inquisitor, involving ten days of shooting, Brando got $5 million. For playing Columbus, dominating nearly every scene in an 82-day shoot, Depardieu happily agreed to a package of $3 million, plus a hefty share of the take in France and a smaller share of other markets.
Probably no other star in Europe could command anywhere near that figure, and European producers show no inclination to get into American-style bidding wars for big-name stars and directors. For the Europeans, it is not just a question of money, it is a question of values. Depardieu, for instance, will follow Columbus by making a low-budget picture with France's Jean-Luc Godard, an artistic venture for which he will be paid practically nothing. Few American actors would do the same.
At this year's Cannes Film Festival, along with rival posters announcing the two Columbus films, these two radically different attitudes about money and the cinema were once again on vivid display. One of Cannes's most acclaimed films was the Merchant-Ivory production Howard's End, starring several of Britain's greatest actors: Anthony Hopkins, Vanessa Redgrave, Emma Thompson and more. The film has been hailed a masterpiece by many critics, and it is doing very well commercially around the world. European film wags in Cannes were gleefully noting that the entire film was done for $8 million, just over half the $15 million Michael Douglas received up front for his lead role in Basic Instinct.
Still, all the wags in Cannes cannot change the cold logic of the money men in Hollywood: to them, $15 million for Douglas, and the record $3 million paid to Joe Eszterhas for his script, look like great investments. The film is on course to gross some $200 million. By early summer it was even the leading box office hit in France, home of the auteur and probably the most eclectic film audience in the world.
Intellectuals in France cringed and with cause: They had to swallow the opening of EuroDisney and Basic Instinct within just a few weeks. But only two French films were drawing anywhere near comparable numbers: Tous Les Matins du Monde, starring Depardieu and his son Guillaume, and Indochine, featuring Catherine Deneuve's best performance in years. Little wonder the French so often decry "the tyranny of the marketplace."
Against this backdrop, and with all that was at stake, the first day's tension on the set of 1492, inside Rabida was certainly understandable. Besides, like the Salkinds, Scott was having his own problems with casting. During the first two weeks of the shoot, he still had no Queen Isabella. Scott had wanted Anjelica Huston, but negotiations with her battery of agents turned into a nightmare, and they turned to Sigourney Weaver, the star of Scott's first Alien movie, who worked out fine. At one stage in the Huston impasse, Scott just threw up his hands: "Screw 'em all. I'll take me mum."
Scott's impatience only emphasized his frustration with the way movies are made today. The way he and his producers managed 1492 made clear that Scott has no fondness for Hollywood glitz and self-indulgence. In a world where some American actors demand to travel with their personal trainers, and where Kim Basinger demands cases and cases of Evian with which to wash her hair, Scott and Depardieu allowed themselves only a few indulgences: Scott his Cohibas and Depardieu his phone.
Depardieu hates limousines, and while he prefers wines that are light, fruity and modestly priced, Depardieu is not about to skimp on his round-the-world phoning. Depardieu makes three, four, sometimes even five films a year, meaning almost his entire life is spent on the road. His telephone is his lifeline, to his wife and two children in Paris, to his agents in Paris and Los Angeles, and to director, pals like Peter Weir in Australia, with whom he made Green Card.
Indeed, telephoning became one of Depardieu's only reliefs from what turned out to be a grueling five months of rehearsals and shooting. Scott is what Depardieu calls "a work maniac, and throughout the 82 days of shooting, the typical schedule began before 6 a.m. and rarely ended before 8 or 9 p.m. In Cáceres, a night scene of a spectacular public burning of heretics went on for some 17 hours, until the extras, recruited locally, began an angry revolt. At one stage, the production chiefs were considering shortening a Christmas leave, an idea later abandoned, and only a "mais, non" from Depardieu halted plans for one day of Sunday shooting. For the most part, though, there was little complaining about the murderous schedule. Everyone understood that Captain Scott, whom his English crew calls "Guv'nor," was up against a terrible deadline. The film had to be shot, edited, mixed and polished in time to get enough prints for the world launch date: October 9, 1992, on Columbus Day weekend. Scott did not intend to be late.
On the open sea in the tropics, the heat was murder. Upwards of 100 degrees. Aboard the Santa Maria, the cast and crew were stripped down to their shorts, the extras were sprawled out on the deck, even the usually indefatigable Ridley Scott looked as wilted and wrinkled as his cotton shirt. And with good reason: today was the 82nd day of the shoot, 82 days with Scott alone at the helm. But with any luck, this would be the last day of the shoot, and Scott was on course to wrap up his voyage not only on time and within budget, but almost a full day early.
All morning Scott and his crew shot scenes on the bow of The Santa Maria, nothing complex, mostly pans and close-ups of his principal actors. And after each of the stars finished his work, the cast and crew gave them an ovation. By now they were all part of the same family. The shoot had moved to the coast of Costa Rica in January of 1992, to film the segments of Columbus leading the Nina, the Pinta and the Santa Maria to the shores of The New World and establishing his first base camps. In Costa Rica, not just the heat but the pace had proved to be grueling.
Scott usually had his cast and crew on the boats by 6 a.m. and would shoot until all the natural light was gone, stopping only for a break for lunch and a communal swim. In America, where crews work under tight union regulations, such a schedule would have been unthinkable, not to mention what it would have cost in overtime. But with the British film industry in shambles, the predominantly English crew was happy to have the work, especially on a venture that held out so much hope for European cinema.
Still, it had been 82 days of exhausting frenzy. Such was the rush that Scott's aides were assembling rough cuts as the shooting in Costa Rica progressed. And anyone visiting the set in Costa Rica quickly understood that the $45-million European budget was not spent on star salaries or limousines. Consider only Columbus's three majestic caravels, the Nina, the Pinta and the Santa Maria. Two of the ships came from Bristol, England, where they had been refitted from the hulls up and sailed across the Atlantic, with full crews. The third ship Scott's team found in Brazil, and it had to be reworked and sailed to the Pacific side of Costa Rica.
At one stage the Europeans considered bringing the boats home via New York and its planned regatta of sailing ships, part of the Columbus 500th anniversary festivities. The ships' presence might have generated good publicity for 1492, but in the end the price tag of the detour was judged too steep: $1 million.
A much larger sum was spent building La Isabella, a replica of the village Columbus established on the island of what was then known as Hispaniola, now the home to Haiti and the Dominican Republic. Near the Costa Rican coast, Scott's team built a lovely Spanish church, a villa for Columbus and a series of out-buildings. Bosch's script shows Columbus in all his faults as well as strengths, and the film shows some of the violence he used to quell the local populations, violence that on screen meant putting a torch to La Isabella, practically before the whitewash was dry. They also built a long jetty out over the sea, so that the Santa Maria could use it as a dock. At last report, there were no plans to burn it down.
On this final afternoon aboard the Santa Maria, the cast and crew were a swirl of conflicting emotions. Over the long months, they had formed themselves into an itinerant family, far away from their real families. And now, the work nearly completed, they would soon be going their separate ways, back to England, France, Spain and America. One of those who would be returning to America was Kevin Dunn, who was portraying the captain of the Santa Maria, with Depardieu above him as commanding admiral of the fleet.
During the shoot, Dunn and Depardieu had become pals, and Dunn brought a purely American eye to the entire Columbus venture. A native of Chicago, now working out of Los Angeles and finding his way into some good secondary roles, Dunn found working with Depardieu to be a dream come true. "Years ago, I vowed to work with him," Dunn said, "because, watching his movies, I couldn't keep my eyes off him. There was so much going on."
What impressed Dunn during the shoot was Depardieu's lack of pretense and his naturalism on camera; the Frenchman works like no American actors. "One day here in Costa Rica," Dunn said, "we were all going up a path through the jungle. Most of us tried to make it look easy, out of the ego of not wanting to look clumsy. Not Gérard. He just let whatever was going to happen happen, and when at one moment he staggered and nearly fell, I'm sure he looked great on camera and wholly believable."
On another scene in the jungle, trudging through a river, many of the actors were anxious about snakes, Dunn recalled. "So there we were, up over our waists in the water, and the director yells, 'Action.' And suddenly, we would feel this terrifying jab right on the thigh, just like a snake. It was Gérard poking you under water with a metal pike and shouting, 'Let's go!' I've never seen anything like his method of acting. It's just so different. I think he doesn't want to know what is going to happen emotionally. And I don't know of any other actor in the world who could have pulled this film off."
That seemed to be the general sentiment aboard the Santa Maria on the final afternoon of the shoot. And there was also a general glee emanating from rumors about the Salkind film. A few weeks later, Marlon Brando publicly attacked the Salkinds and denounced the movie, claiming that despite their promises to the contrary, the Salkinds were portraying Columbus as though he were a cartoon hero, instead of the murderous villain and plunderer Brando feels he was. Brando's attack was big news, but none of the reports indicated if he planned to give back his $5 million fee.
On this final afternoon, Roselyne Bosch and Alain Goldman were on hand to bear witness to the end of this stage in the birth of their baby, and they were both in awe of Depardieu. To Bosch's surprise, Depardieu had never suggested changes in her script or interfered in any way with Ridley Scott. "They lead, I follow," was how Depardieu described it, except for one scene in Costa Rica, which to the actor just did not feel right. He explained why, Bosch said, and everyone instantly knew he was right. "It was just as Ridley often told me," Bosch said, "for this film, Gérard was a benediction."
At 5:25 p.m. in the afternoon, the heat of the day finally subsiding, and the bow of the Santa Maria framed by the orange sun lowering on the horizon, Columbus stood with his face to the wind, the explorer now an old man completing his fifth voyage across the Atlantic. Ridley Scott, Adrian Biddle, his cinematographer, and the rest of the camera crew zoomed-in for close-ups. This was to be their last shot of Columbus, and an air of quiet settled over the ship, as the cast, crew and extras looked on in silence.
Their long, punishing voyage was drawing to a close, their multilingual, multicultural family was about to split up, and it was a solemn, moving moment. Until Depardieu pinched a cameraman on the arm and let out an hysterical cackle. Ridley Scott allowed himself a grin, and it quickly broadened into a smile, and then all his British reserve seemed to melt away in the emotion of the moment. Ahead of him were long months of editing and post-production, but Scott was bringing his boats and his crew back on schedule, with nary a mishap, and with old Columbus alone in the bow, just as Scott had sketched him many months before.
The last close-up done, Depardieu pulled off his gray wig and stood to a huge ovation from the cast and crew. An hour later, as the Santa Maria drew up next to the jetty, Champagne and a similar ovation greeted Ridley Scott, the Guv'nor, the respected captain of this exotic adventure. He was feted and toasted and hugged and kissed and endlessly congratulated, a might tough for anyone used to maintaining a stiff upper lip.
But it was a moment Scott might well cherish for a long time to come, especially on those rare moments between films when he can relax, put his feet up and enjoy a Cohiba. And if the heathen critics should fail to appreciate his painterly vision, well, he can always use his Cohiba to torch their bloody reviews.


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subset: commoncrawl


text:
By Andrew Liszewski
Not only is it oozing with charm and retro appeal, but Jamie McMahon's Acoustic Alarm also provides a subtler alternative to annoying electronic beeps, or local radio DJ banter, when it goes off in the morning. A simple pair of dials make setting the alarm time dead easy, while a toggle switch on the opposite side is used to activate, and presumably deactivate it, once you're awake.
When the Acoustic Alarm goes off, a mechanism inside its sound hole gently strums a set of 4 guitar strings. It does sound a lot like the traditional electronic beep we're probably all accustomed to, but considerably more pleasant. And if you're not happy with the sound, like on a guitar the strings are connected to tuning pegs allowing to adjust the notes until you find something agreeable for your morning self.
[ Acoustic Alarm ] VIA [ Fancy ]


text: Here you can find the cheapest flight deals from and to Paderborn airport without the hassle of entering your flight dates, airline names or even your desired destinations. Simply use the links below, such as: airline flights to / from Paderborn airport as well as other airports nearby. If you need more information, make use of our sophisticated flight search engine at the top of the page.


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Anne Hathaway has signed on for a new role: Fiancee.
A spokesman for the 29-year-old actress says Hathaway is engaged to boyfriend and fellow actor Adam Shulman.
Publicist Stephen Huvane revealed no other details.
Hathaway is among the stars of the anticipated Batman movie "The Dark Knight Rises." She was nominated for an Academy Award for 2008's "Rachel Getting Married" and hosted the 2011 Oscars with James Franco.
Hathaway's other credits include "The Devil Wears Prada" and "Get Smart."
Anne Hathaway is engaged to boyfriend Adam Shulman
Anne Hathaway has signed on for a new role: Fiancee.


text: Whatever your project, we have the jewelry findings and components you need to complete it in style. From bead caps and jump rings to from bead caps and jump rings to ear wires, bezels and clasps, you'll find the perfect embellishment from our selection of excellent quality components. Choose from a variety of popular materials, including sterling silver, gold-filled, natural brass, plated pewter and base metal.


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Book Direct with the Owner at Woongoolba Australia Vacation Accommodation Whitsundays Agent in Woongoolba, for all your holiday and travel needs.
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copyright © 2020 Accommodation Whitsundays. All rights reserved.


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Use our thorough list of work station manufacturers and suppliers in Illinois to examine and sort top work station manufacturers with previews of ads and detailed descriptions of each product. Any work station manufacturers can provide work station products to meet your company's specific qualifications. An easy connection to reach work station manufacturers through our fast request for quote form is provided as well. This source is right for you whether it's for computer workbenches, ergonomic workstations, or any other work station needs.
Bluco Corp.Naperville, IL | 630-470-6004
Bluco Corporation is a provider of precision modular fixturing for welding, machining, inspection, and assembly. Our products include 3D Precision welding tables, custom welding tables, basic workstations, manual positioners, HD manual positioners, powered manipulators, robotic welding fixtures, floor rail systems, and more. Visit our website to learn more or to talk with a sales representative.$$$
Dehnco™ Equipment & Supplies, Inc.Barrington, IL | 847-382-1579
Dehnco&trade Equipment & Supplies is a supplier & distributor of heavy-duty industrial modular tables, industrial workstations & workbenches, modular workstations, ergonomic workstations, adjustable lift tables & accessories like CPU holders, that are ideal for packing tables, packaging work stations, shipping benches, assembly, lab furniture, manifesting & wrapping tables, testing and LAN stations.$$$
Jamco Products, Inc.South Beloit, IL | 800-748-8080
Jamco Products is an industry leader in the manufacture of material handling products such as platform trucks and box trucks plus a wide range of heavy-duty carts, mobile tables and cabinets.$$$
Pack Materials Inc.Barrington, IL | 847-382-1579
Pack Materials provides free consulting services to help management become better informed about the problems and strategies involved in designing and integrating a packing department into a company order fulfillment plan. Included are product reference guides and other tools for easy access to design solutions.$$$
The Marvel GroupChicago, IL | 800-621-8846
Since 1946, we have been aspiring to provide our customers with the finest in furniture products. We are guaranteed to make sure that you get exactly what you need! We strive to provide all of our customers with high quality customer service. For more information on how we can better serve you today, give us a call!$$$
Companies Serving Near Illinois
80/20 Inc.Columbia City, IN | 260-248-8030
80/20 provides quality aluminum extrusions, work stations, guarding and enclosures. With 80/20's wide variety of accessories you can customize your projects. Contact us for a quality industrial work station at a reasonable price.$$$
Faztek, LLCFort Wayne, IN | 260-482-7544
Faztek is a Safety Guarding company that focuses on designing & building machine enclosures, safety fencing, robot cages, tool cribs, perimeter guards, etc. using T-Slotted Extrusions, Steel Fencing, & Electronic Safety Devices. Faztek offers free design assistance taking a concept sketch & creating a set of drawings & bill of materials free of charge. Faztek works factory direct with local reps throughout the country. For more information, visit our website or contact us at email@example.com.$$$
Cardinal Integrated SystemsLouisville, KY | 502-366-5600
Cardinal Integrated Systems has been distributing since 1947. We provide innovative and professional material handling system solutions for the warehouse, distribution and manufacturing industries. Our products include modular workstations, ergonomic workstations, computer workbenches and lab furniture in addition to conveyors, storage racks, shelving and forklifts.$$$
Schuler ManufacturingLouisville, KY | 502-637-4700
For all your laser cutting service needs, Schuler Manufacturing is the place to contact. Our policy is to offer the absolute best service possible & return quotes within 24 hours or less. All of our work is double checked before shipment. Our experienced laser cutting specialists equal quality work!$$$
All Metal Designs, Inc.Holland, MI | 616-392-3696
All Metal Designs has been an innovative leader in the production of ergonomic workstations. Our products are height adjustable, and we offer three adjustment mechanisms, hand crank, electric and pin-in-hole. With All Metal Designs' experience in design, you are sure to be satisfied.$$$
Autocraft AGVs by EckhartWarren, MI | 517-321-7700
Eckhart has a wide selection of workbenches that will suit a variety of applications. Products in our inventory include workstation plattforms, integrated removable work tables, and lift tables. In addition to our standard workbenches, we offer customization options. For other inquiries about our products and services, contact an Eckhart representative today!$$$
BASC Mfg., Inc.Walled Lake, MI | 800-968-2272
Our Allstor&trade mezzanines increase the floor space in your facility. These industrial mezzanines are freestanding. Among their applications is their use as machine, maintenance and storage platforms. Not everybody's needs or space to be used are alike, so these are truly custom mezzanines.$$$
Borroughs CorporationKalamazoo, MI | 800-748-0227
The Borroughs Corporation is a leading manufacturer of high-quality industrial steel shelving, storage shelving and open and closed shelving. Borroughs provides solutions for a variety of applications including industrial storage, office storage, library shelving and much more.$$$
Bosch Rexroth Corp./Linear Motion Div.Buchanan, MI | 269-697-5295
After four decades of global innovation, quality and expertise, Bosch Rexroth offers a wide range of products and solutions to nearly every industry. Our products include work stations and conveyors. Our ergonomic workstations are designed to decrease worker fatigue and increase productivity. They reduce hand and arm movements, promote correct body posture and reduce physical stress points.$$$
BOSTONtecMidland, MI | 989-496-9510
BOSTONtec is a multi-functional workstation supplier with easy product usage. As workstation suppliers, BOSTONtec supplies durable and efficient workstations for many industries, with products including CPU holders, ergonomic workstations, industrial workbenches, lab furniture, modular workstations and industrial workstations. BOSTONtec also supplies workstation accessories.$$$
C&C Manufacturing, Inc.Sterling Heights, MI | 248-577-9005
For easy assembly & maintenance of modular ergonomic workstations, C&C Manufacturing, Inc. offers superior quality. This company utilizes a large selection of extrusions & hardware to fabricate unique modular systems, including equipment enclosures, work stations, machine bases, frames & fixtures. Choose from a range of standard work benches to custom assembly stations with many productivity enhancements!$$$
Clean Rooms International, Inc.Grand Rapids, MI | 877-380-1860
Clean Rooms International is an industry leader in the design and manufacture of work stations utilized in clean room applications. Our product line includes such items as Clean Benches, Pass Thru Cabinets and stainless steel tables, which all help to aid in the environmental control of your clean room application.$$$
Electra-Tec, Inc.Otsego, MI | 800-225-3532
Manufacturing workbenches, technical, bio medical & lab furniture for most professional environments since 1976. Electra-Tec's completely modular furniture, the finest worksurfaces (including ESD), and variety of sizes, shapes & accessories gives you the versatility to create a custom workstation at a lower cost. Easy assembly & future expansion, plus free design, planning & layout services.$$$
Flexible MontisaPlainwell, MI | 800-875-6836
Quality steel furniture since 1906. Flexible Montisa offers work benches for office, storage, education, laboratory, medical, electronic, welding & similar applications. Work stations easily configurable to your needs. Lockers & cabinets; desks, chairs & stools; steel benches, assembly benches, CAD benches, tech & power benches, mobile benches; mail centers; modular cases, shelving & files.$$$
Manufactured Products GroupDavisburg, MI | 248-922-4760
We are a stocking distributor and fabricator of aluminum extrusion profiles, connectors and protective barriers. Our protective barriers can be used as machine guards, and they come with a variety of panel elements. We have both steel welded mesh and wire woven mesh for high quality safety guards.$$$
Metro Fabricating, Inc.Bay City, MI | 800-551-7936
Metro Fabricating provides a variety of work stations. Our specialty is gaging benches. We offer standard as well as custom-designed workbenches with a range of options such as electrical packages, pneumatic systems, part-manipulating fixtures, and drawers and gage storage systems. Call us for more information.$$$
Rack Engineering DivisionAlpena, MI | 800-245-6890
We manufacture many solutions to storage problems. Whether you need a storage rack to hold sheet metal or fixtures, or crank-out cantilever racks to hold bar stock, extrusions, pipe or tube, we will provide for your needs. Special requests are fabricated as well. We're a division of Corr-Fac Corp.$$$
Symbiote Inc.Zeeland, MI | 800-283-2434
Symboite offers innovative solutions to the furniture market's high-tech environments built with structurally superior systems of frames, posts, desktops, tables and work surfaces that are for tomorrow's workplace. Our products include ergonomic workbenches, ultra frame workstations great for laboratories, carts and even custom products. We offer services from designing to installation.$$$
Teclab® Kalamazoo Technical FurnitureKalamazoo, MI | 269-372-6000
It is our objective to supply our customers with workbenches of unparalleled quality. These items are designed with you in mind which means your productivity is guaranteed to be positively affected by our solutions. Our benches can be manufactured with a variety of surfaces including: high-pressure laminate, butcher-block maple, epoxy resign, ESD laminate, stainless steel, painted steel and more. Please visit our website for more information!$$$
ErgosourceWayzata, MN | 952-404-1969
With over two decades of experience, ERGOSOURCE offers the ultimate in ergonomics with its Levitech lift workbench system, making any work table, bench, stand or conveyor infinitely adjustable. Call for great prices on customizable ergonomic industrial workstations, plus retro-fit lift systems, computer desks, seating, forearm supports, anti-fatigue tools, office workstation accessories & more!$$$
Gerbig Engineering CompanyBurnsville, MN | 888-628-0056
Specifically designed for the construction of cleanrooms and cleanroom equipment, AireCell is a specialized line of aluminum and PVC extrusions and assemblies. Anodized framing is quickly created and locked together with an Allan wrench. Panels are easily installed and sealed into this framework. Walls are created in hours instead of days.$$$
Production Automation CorporationEden Prairie, MN | 888-903-0333
Production Automation Corporation has been a distributor of products for general industrial manufacturing since 1973. We specialize in providing items used in electronic assembly and medical device manufacturing. As a manufacturer's representative, we have a large line of products such as anti fatigue mats, safety wear, chairs, cleaners, hand tools, microscopes, cabinets, workbenches and more.$$$
Viking Acoustical CorporationLakeville, MN | 800-328-8385
"The Ergonomic Furniture Company" specializes in products that focus on productivity and user comfort through ergonomic solutions. We manufacture a wide range of adjustable consoles, workstations and tables, plus office furniture and ergonomic accessories that adapt your furniture for computer use.$$$
Shure ManufacturingWashington, MO | 800-227-4873
For more than 50 years, Shure Manufacturing has been offering enclosed workbenches, transmission workbenches, and many other high-quality business solutions. We also produce industrial workstations. As an industry leader, all of our products are manufactured from heavy-gauge steel. Contact us for details today!$$$
Johnson-Nash Metal Products, Inc.Cincinnati, OH | 513-874-7022
Designing, fabricating, installing and repairing is what Johnson-Nash Metal Products does. We do metal fabrication in sheet metal, stainless steel, aluminum, steel and galvanized metals. Some products we have fabricated: conveyors, hoppers, tanks, racks, guards, stairs, platforms, ductwork.$$$
Pucel Enterprises, Inc.Cleveland, OH | 800-336-4986
Pucel Enterprises specializes in work stations, workbenches, ergonomic work stations and modular work stations. As a manufacturer of Grizzly equipment, let us be your choice for workbenches and shop equipment. We offer custom-built products and workstation furniture fabricated to your requirements.$$$
Shelving Direct®Cincinnati, OH | 800-500-9141
Shelving Direct® is the manufacturer of Metal Point® boltless shelving — heavy duty shelving, steel shelving, wire shelving, record archive shelving, textile shelving, vertical and tire storage, plus others. Our products serve a variety of consumer, commercial and institutional applications.$$$
PhillocraftPortland, TN | 800-822-5376
Phillocraft is a manufacturer of industrial equipment, including modular workstations, workbenches, ergonomic workstations and workstation furniture. We have been providing top-quality products for over 75 years. Contact us today for more information on our workstations, workbenches and more!$$$
Tennsco CorporationDickson, TN | 800-251-8184
Tennsco is a manufacturer of open heavy duty industrial steel shelving. Our products are suitable for automotive, commercial, consumer, office, library, institutional and medical applications. We bring you high-quality shelving products. Call today to see which steel shelving system is right for you!$$$
Built-Rite BR Inc.STANLEY, WI | 800-644-4934
Built-Rite is a flexible manufacturer of workbenches and stations. Every item can be customized to meet requirements and all of our products are built with the customer in mind. We design our products for industrial use using the best materials and manufacturing processes. We provide our customers with many options in terms of frame types, configuration styles, bench top materials and more.$$$
Igar System, Inc.Madison, WI | 262-432-9433
For over 30 years, Igar System has provided quality ergonomic workstations, modular workstations, workbenches and workstation furniture. We can custom build your workstation to meet your exact specifications. Contact Igar for everything from individual products to all-inclusive workplace solutions.$$$
National Material Handling ProductsWauwatosa, WI | 800-676-5161
As a reliable supplier to businesses for decades, National Material Handling Products (NMHP) is a leading North American manufacturer of high quality material handling products and industrial machinery equipment. We offer over 30,000 products including shelving and work stations like industrial workbenches, steel workbenches, portable workbenches, ergonomic workbenches and modular workstations.$$$
Wisconsin Bench, Inc.Thorp, WI | 800-242-2303
Our workbenches are suited for applications including: manufacturing, lab work, testing and more. These systems are designed for incredible strength and flexibility. Our units are easy to assemble and only require four simple tools. We offer a plethora of additional features which results in the highest levels of customer satisfaction and ultimate operator usability. Give us a call today!$$$


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The Central Connecticut women's basketball team dropped its season opener to UCF on Friday evening by a score of 65-51. The game was played at the CFE Arena on the Orlando campus of UCF. Senior Jessica Babe led CCSU with a game-high 21 points and pulled down eight rebounds.
The Blue Devils (0-1) trailed 24-23 at the half and opened the second period with four baskets over the first four minutes to take a 32-28 lead. CCSU used a pair of free throws by Babe and a layup by sophomore Kayla Miller to extend its lead to seven points with 14:29 remaining in the game.
CCSU held the lead until UCF's Sara Djassi hit a layup and free throw to give the Knights (1-0) a 45-41 lead with 8:38 left to play. Seconds later, Miller hit a layup to put CCSU back in front, but the one point lead was erased minutes later on a layup by UCF's Zykira Knight. The Blue Devils were unable to regain the lead as UCF closed the game with a 25-7 run over the final 10 minutes of regulation.
In the first half, the Blue Devils jumped out to an early lead behind the shooting of Babe who connected on 4-of-7 field goal attempts and 3-of-6 three point attempts in the first half. Babe helped CCSU grab leads of 7-2 and 20-14 early in the game. She finished the period with 11 points and six rebounds.
UCF was able to take a 24-23 lead into the half with a 10-3 run over the final 7:19 of the period.
Babe led CCSU in points (21), rebounds (8), assists (4) and steals (3). She connected on seven-of-13 field goal attempts and four-of-10 three point attempts.
Senior Lauren Arbogast was CCSU's number two scorer with seven points. She also grabbed six rebounds. Right behind Arbogast was sophomore TeJahne Malone who scored six points and grabbed five rebounds in just seven minutes of action. Malone was two-of-three from the floor and connected on a pair of free throw attempts.
Senior Jaleen Thomas grabbed a team-high 10 rebounds. She also had four points in the game.
Sophomore Amanda Harrington had a solid game off the bench with five points and seven rebounds.
CCSU held a 52-46 advantage on the boards, but the Blue Devils were unable to capitalize on their rebounding success. As a team, the Blue Devils shot just 26.8% (19-71) from the floor and 16.1% (5-31) from behind the arc. CCSU was successful at the free throw line connecting on eight-of-10 attempts.
The Blue Devils return to action on Sunday afternoon at USF. The game is scheduled to tip-off at 2 p.m.


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Posted February 2 2012, 7:17 AM PST by Tara Sharp
Announcing the winners of the Foundation video contestPosted in Video Contest by Tara Sharp
Thank you to all of our Windermere offices that participated in the Windermere Foundation video contest. We are so moved by the work they are doing in their communities. Unfortunately we could only select three videos, each receiving a $2,000 donation to their Foundation organization of choice. This year's theme was "Milepost 40: celebrating the past, present and future" in honor of our 40th anniversary. Congratulations to Camano Island/Stanwood, Tacoma Professional Partners and Walla Walla for your great service and videos. You can find each complete video on our YouTube page at www.youtube.com/windermererealestate.


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There is more to setting up a functional and practical office than just selecting the right office chair, desk, or filing system. It is important, as well, to consider the less obvious needs of your office environment and think about what office accessories your new office will need. Most busy professionals who work in an office setting spend their days seated at their desk or workstation in front of their computers and some consideration should be taken for their ergonomic comfort and productivity with helpful office accessories such as keyboard trays, monitors arms, accessible storage, whiteboards or footrests.
No matter what industry you are in, or what the needs of your office are, Impact Office Furnishings has a wide selection of office accessories to help meet your needs and set up the most functional space possible.


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- Insurance Claim
- Certified by Recycling Association
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- Licensed and fully insured
Reducing unforeseen surprises
To make the very best choices with Egress Windows in Hudson, IN, you must be informed. We be sure you know what to expect. You won't need to deal with any surprises if you deal with Egress Windows Crew. You can start by going over the project with our customer care representatives when you dial 800-356-4092. We're going to talk about your concerns and questions as soon as you call us and help you get arranged with a scheduled visit. We are going to work together with you through the entire process, and our company is going to appear on time and prepared.
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Hot weather tips
It's important for everyone to take extra care in the extreme heat. Elderly people in particular, can be susceptible to stress and illness from the heat. It takes time to adjust to hot temperatures, and serious medical problems can occur when someone becomes overheated. On very hot days, venture outside with caution.
Beat the heat by taking these minor precautions
Stay cool: Some people don't perspire very much, even when it's humid. Stay out of the heat at the hottest times of the day and seek shade when you are outside. Being exposed to high heat can lead to heat-related problems such as heat exhaustion and heat stroke. Stay in areas where there is plenty of air conditioning and air circulation.
Drink plenty: Thirst declines with age, and older sweat glands don't produce as much sweat as they used to. Also, the sweat you produce tends to contain more salt. Lack of salt in the body can cause sudden drops in blood pressure. Drink plenty of water or juice throughout the day, as often as every 15 to 20 minutes. Avoid alcohol and caffeinated drinks, which can make it more difficult for your body to adjust its temperature.
Apply cool cloths: A cool cloth applied to the face, neck and arms, as well as short baths and showers, are other good ways to beat the heat. Avoid heavy meals. Wear lightweight, light-coloured clothing.
Watch for signs: Be aware of signs of illness due to excess heat. Muscle cramps, fatigue, confusion, light-headedness and nausea can all be signs of trouble. So can laboured breathing, chest discomfort, and a rapid or erratic pulse.
Watch for mosquitoes: Hot weather also brings out the mosquitoes, and the risk of West Nile virus, which they transmit to humans. Prevent mosquito bites by using insect repellent and covering up with light clothing—long sleeves and pants.
Tips for protection from heat and mosquitoes:
- Wear sunglasses to help protect your eyes from the sun's UV rays.
- Wear a hat with a wide brim; this will help shield your skin from UV rays.
- When possible, wear long-sleeved shirts, long pants and socks when outdoors.
- Avoid or take extra care when you are outdoors between dusk and dawn.
- Avoid areas where there is standing water.
- Stay in shaded areas when outdoors.
- Avoid outdoor activities during midday, when the sun's rays are strongest.
- Check the expiry date of any protective products you are using.
Check out www.extremeheat.ca, an online resource providing information, tools, and tips on protecting yourself from heat-related illnesses. This website is a collaboration of McMaster University, Health Canada, the Ontario College of Family Physicians and the Clean Air Partnership.


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Planning a trip using Google Maps just got a little easier and useful. Google teamed up with The Weather Channel to create interactive layers that overlay weather data and radar information on top of Google Maps.
To use the feature click on the Google Maps' My Maps tab and select The Weather Channel feature to begin exploring.
The new service allows you to see current weather conditions and forecasts at a glance from across the globe as you view Google Maps. Everything from severe weather alerts, cloud coverage, and more can also be added to your view.


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Rodney Johnson
- Ph.D., Mechanical Engineering, Drexel University, 2008
- M.S., Mechanical Engineering, Drexel University, 2007
- B.S., Mechanical Engineering, Rowan University, 2003
Dr. Johnson received B.S. in Mechanical Engineering from Rowan University in 2003. He later received an M.S. and PhD in Mechanical Engineering from Drexel University in 2008. His research area is combustion engineering, emissions control and measurement and testing. Prior to starting professional work, Dr. Johnson worked as a guest researcher in the combustion groups at the NAVSEA and Argonne National Labs.
Over the past 9 years, Dr. Johnson has worked in the development and application of technologies for controlling emissions from combustion systems. This activity has included the design and testing of systems at 2 to 3 MBtu/hr, 20 to 100 MBtu/hr, and large industrial and utility boilers. One of these systems was a low temperature dioxin catalyst (based on conventional SCR catalysts which improved activation in relatively low temperature zones (200ºC or lower). This achieved superior processing of dioxins in low temperature zones. He has experience with combustion systems for pulverized coal, oil, natural gas, wood waste, refuse derived fuel, mass burning of municipal solid waste (MSW), and coal and oil fired diesel engines. These systems have been coupled with in-furnace NOx control, selective non-catalytic NOx reduction (SNCR), selective catalytic NOx reduction (SCR), CO oxidation and dry sorbent injection for SO2 and HCl reduction.
- 2013 – Present, Environmental Manager, NRG Energy , Staten Island, NY
- 2012 – 2013, Senior Combustion Engineer, Norton Engineering Consultants, Montville, NJ
- 2010 – 2012, Supervising Engineer, PSEG Power, Maplewood, NJ
- 2008 – 2010, Staff Engineer, BASF Catalyst, Union, NJ
- 2003-2008, NSF GK 12 Fellow
- ME 529 Modern and Advanced Combustion Engines


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Symptoms of HIV/AIDS
The symptoms of HIV vary, depending on the individual and what stage of the disease you are in.
Within 2-4 weeks after HIV infection, many, but not all, people experience flu-like symptoms, often described as the "worst flu ever." This is called "acute retroviral syndrome" (ARS) or "primary HIV infection," and it's the body's natural response to the HIV infection.
Symptoms can include:
- Fever (this is the most common symptom)
- Swollen glands
- Sore throat
- Rash
- Fatigue
- Muscle and joint aches and pains
- Headache
These symptoms can last anywhere from a few days to several weeks. However, you should not assume you have HIV if you have any of these symptoms. Each of these symptoms can be caused by other illnesses. Conversely, not everyone who is infected with HIV develops ARS. Many people who are infected with HIV do not have any symptoms at all for 10 years or more.
You cannot rely on symptoms to know whether you have HIV. The only way to know for sure if you are infected with HIV is to get tested. If you think you have recently been exposed to HIV—if you have had oral, vaginal or anal sex without a condom with a known HIV positive person or a partner whose HIV status you do not know or shared needles to inject drugs—get an HIV test. Traditional HIV tests detect HIV antibodies. But during this early stage your body is not yet producing these antibodies. A new HIV test was approved in 2013 that can detect the presence of HIV in your body during this early stage of infection. So no matter where you get tested, it is very important to let your provider know that you may have been recently infected with HIV and you would like to be tested for acute HIV. Use the HIV/AIDS Testing and Services Locator to find a HIV testing site near you or enter your location here:
After the early stage of HIV infection, the disease moves into a stage called the "clinical latency" stage. "Latency" means a period where a virus is living or developing in a person without producing symptoms. During the clinical latency stage, people who are infected with HIV experience no HIV-related symptoms, or only mild ones. (This stage is sometimes called "asymptomatic HIV infection" or "chronic HIV infection.")
During the clinical latency stage, the HIV virus reproduces at very low levels, although it is still active. If you takeantiretroviral therapy (ART), you may live with clinical latency for several decades because treatment helps keep the virus in check. (Read more about HIV treatment.) For people who are not on ART, this clinical latency stage lasts an average of 10 years, but some people may progress through this phase faster.
It is important to remember that people in this symptom-free period are still able to transmit HIV to others even if they are on ART, although ART greatly reduces the risk of transmission.
Again, the only way to know for sure if you are infected with HIV is to get tested. Tests are available that can detect the virus at this stage. Use the HIV/AIDS Testing and Services Locator to find a HIV testing site near you.
If you have HIV and you are not taking HIV medication (antiretroviral therapy), eventually the HIV virus will weaken your body's immune system. The onset of symptoms signals the transition from the clinical latency stage to AIDS (Acquired Immunodeficiency Syndrome).
During this late stage of HIV infection, people infected with HIV may have the following symptoms:
- Rapid weight loss
- Recurring fever or profuse night sweats
- Extreme and unexplained tiredness
- Prolonged swelling of the lymph glands in the armpits, groin, or neck
- Diarrhea that lasts for more than a week
- Sores of the mouth, anus, or genitals
- Pneumonia
- Red, brown, pink, or purplish blotches on or under the skin or inside the mouth, nose, or eyelids
- Memory loss, depression, and other neurologic disorders.
Each of these symptoms can be related to other illnesses. So, as noted above, the only way to know for sure if you are infected with HIV is to get tested.
Many of the severe symptoms and illnesses of HIV disease come from the opportunistic infections that occur because your body's immune system has been damaged. (Read more about opportunistic illnesses.)
For more information, see the National Library of Medicine's AIDS.
792 total views, 1 today


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This video was filmed at the dojo a few days ago while we were practicing both the common uppercut and "age-zuki". While I feel it is important to learn both punches, the age-zuki does have some advantage when fighting with bare fists. One advantage is that impact is more likely to be made with the large knuckles as opposed to the joints of the fingers. It should be understood that one of the key reasons the common uppercut is performed as it is because the rules of boxing only recognise blows delivered with the front of the fist. Outside of the boxing ring, there is no reason why we should not also practise rising strikes that make contact with the back on the knuckles too; as we find in kata such as Enpi / Wanshu, Seishan / Hangetsu, etc. The common uppercut still needs to be part of practise though as it becomes very useful when extremely close. So it's not a case of one or the other, but making use of both. I hope you enjoy this quick clip and I'll be back with more soon.
All the best,
PS If you'd prefer to watch this video on YouTube, please click HERE
- 5668 reads


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[Admin note: This is not about poaching, per se, but No Animal Poaching supports this effort.\
On September 20, 2011, the U.S. Postal Service launched the Save Vanishing Species Stamp, with a beautiful drawing of an Amur tiger cub, by artist Nancy Stahl.
The image of the Amur tiger cub is perhaps an example that best illustrates the problem and solutions that we have at hand: 60 years ago, the total number of the Amur tigers, the world's largest known cat, was down to about 50. Some of the causes for this are Illegal logging and fires that destroy tiger habitat (deforestation) and illegal poaching for use in traditional medicine, and illegal trade. Conservation efforts have stemmed this decline. Today the estimated population in the wild is 400 Amur tigers.
The Save Vanishing Species stamp was created to raise public awareness and garner support for critically important global conservation efforts. Proceeds from this stamp will directly benefit the US Fish and Wildlife Service's Wildlife Without Borders - Multinational Species Conservation Funds, which have funded more than 1,800 grants for tigers, elephants, great apes, rhinos, gorillas, chimpanzees, and sea turtles.
The stamp sells for 55 cents each (only 10 cents more than an individual First-Class stamp), and $11 per sheet of 20 stamps. The proceeds from the stamp are used to save endangered animals in the wild. Ten million stamps were printed initially and it will be reprinted based on demand. In just about a year, 16.5 million stamps have been purchased. It has raised a total of $1.7 million for the five Multinational Species Conservation Funds.
This stamp is also a celebration of a diverse and fantastic coalition of conservation organizations, private sector, and bipartisan support from members of congress. Much effort and hard work was put into the creation of this monumental stamp. This initiative would not have been possible without the 31 member organizations of the Multinational Species Coalition, a group representing over 231 million people who are truly dedicated to the vital importance of wildlife conservation. Busch Gardens and SeaWorld has declared this their official stamp. Retired Congressman Henry Brown of South Carolina and the Staff Director for Fisheries, Wildlife, Oceans and Insular Subcommittee of the House Natural Resource Committee, Harry Burroughs have been champions in Congress. More....


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Dr. Angell is a Rangeland Scientist with the U.S. Department of Agriculture, Agricultural Research Service in Burns, Oregon. He received his BS (1974) in Wildlife and Fisheries Management and MS (1978) in Agronomy from Kansas State University, and PhD (1983) in Rangeland Ecology and Management from Texas A&M University. He joined the research group at the Eastern Oregon Agricultural Research Center in 1982. His current research interest is focused in two general areas; grazing and fertility management on native meadows, and the response of plants to environmental change and anthropogenic disturbances.
The current focus of Dr. Angell's research includes the study of carbon flux dynamics on sagebrush steppe rangeland as influenced by annual climatic variation and managerial inputs. Prescribed burning, responses of plants to altered precipitation distribution, grazing influences on meadow vegetation and plant fertilization are topics included in his research.
Published Research by Dr. Angell:
The Influence of Precipitation Timing on Sagebrush Steppe Ecosystem
For more information phone or email Dr. Angell at:
(541) 573-8936 or Raymond Angell


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I have enabled Preloading for my Watch Later playlist. This currently contains 23 hour-long Google IO videos but YouTube seems to only ever preload up to 2 of them, never any more.
I have an HTC One X with over 24GB of space - I have to remove a video from the playlist that has been downloaded to allow another to begin.
Everywhere I search gives no details about limits on how much you can preload so I was wondering if anyone else knows anything about this or has seen anything similar?


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In 100% sheepskin our Northern Lights boots are both stylish yet warm and comfortable, they would fit back with long country walks or equally for strolling around town. The striking image of the Northern lights is captured in the unique feature of the moulded soles, the distinctive green flash representing the lights.
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Baharat roasted potatoes with aubergine and spinach
The lines between 'going back' and going on holiday have blurred now, after this many visits to the UAE. My three year old has made three trips out there and now has a collection of memories and a definite sense of identification with some of our regular haunts. Neither me nor my husband are from the UAE or have family there but to be honest almost all of the people I talk to in Dubai are ex-pats.
Whilst in Oman, Muscat I reminisced about our honeymoon in Thailand because the mountainous back group and still waters evoked those entire serene and tranquil honeymoon images in my mind. Except this time, the people we made passing conversation with were a whole world away. We met an Australian family in the kid's club and I remarked to my husband that it was they, not a nanny with their two young daughters. Most of the other children in the kids club were accompanied by a nanny that had joined their family to the resort. Australian dad now worked in Qatar and Australian mum was fond of truffles. She emphatically told me about the school her daughters attended and how her children didn't see race or colour because their friends were of all origins; Indian, French, Japanese. She told me several times over, which I found curious.
People like to guess where you are from when on holiday don't they? Most of the time people assume that I am from Arabic origin, in fact this happened to me at college and university too but it's only in the UAE that people never assume that. The entertainer in the kids club remarked on my Indian eyes and English accent and asked if I was a full time mum, for again, I was the only mum in attendance there. An Indian (as in, from India) dad dropped his two smartly dressed children who were also decorated in 24ct gold jewellery, with entertaining lady and after he left she told me that he holds a very high position in the hotel and has since moved to LA to head up operations there. She herself is from a family of 7 sisters and 1 brother in the Philippines.
My little boy likes trains, unsurprisingly and the ones in Dubai are much less congested so this made for fervent and endearing conversation. Indian chap quipped that he should be on YouTube, not the head of a leading bank like he was. My boy replied, 'maybe when I am 17 I will.'
So, as we stood at the floor to wall screens leading into the aquarium, for shark and stingray viewing my boy patted the screen guardedly inviting the sometimes smiling and sometimes frowning creatures to swim past him. Whilst he pressed his forehead against the cold glass and chattered away about what the fish must be doing, thinking, eating and travelling from a very pink, vivacious blonde haired little girl grabbed the arm of 'Shanti' as she explained where she saw similar looking coral. Shanti had a really peaceful demeanour and very smooth and very dark skin on a red-green-gold simple sari so I wondered if she was from southern India. Blonde mummy tried to join in the conversation but those wide eyes were mirroring only Shanti's imperturbable smile. I wondered if this is what happens if you get caught up in the mode of, 'because I can have hired help I will'. Or was shanti a friend? Was she the nanny?
'Come…' called Shanti and held the little blond girl close as she scooped her up, posing and prompting the parents to take pictures. I don't know if Shanti heard, but I certainly did when they said, 'just get her in there on her own, and hold it, that's it…'
I picked up some freshly ground Baharat spice mix at the same supermarket that I go to each time that I am in Dubai and I know there must be more authentic places but you know, it was there in a big and inviting mound of freshness. A Lebanese lady next to me told me that she uses it in rice dishes and I wondered which other medley of dishes I could use them because the key ingredients are; cardamom, cassia bark, cloves, coriander, nutmeg, all spice, peppercorns, chilies or paprika. For whatever reasons the smoky aubergine, crisp potato and smooth spinach all work with this spice for a healthy vegetarian meal. Although I picked the blend up from Dubai with lasting effect in the suitcase, the spice blend is available in UK supermarkets too.
Ingredients to serve two
3 medium potatoes suitable for roasting
1 tbsp. rapeseed oil
Two medium aubergines
One tin of chopped tomatoes
4 dessert spoons of finely chopped spinach
One large red chilli
Salt to taste
2 tsp. Za'atar spice
3 tsp. Baharat spice
150g fresh mozzarella cheese
A handful of cherry or plum tomatoes, quartered
- Cut the potatoes into even sized cubes and boil them for 7-8 minutes before draining them and letting them dry completely. Then toss them in salt and the oil before roasting them in the oven at 190 degrees for approximately 25 minutes.
- Roast the aubergines whole at 180 degrees for approximately 30 minutes or until the inside is soft and then allow them to cool before scraping away the skins.
- Mix the tinned tomatoes with the chopped chilli, salt, pinch of pepper and spread them onto an oven proof dish.
- Combine the aubergine pulp with the Za'atar spice and a pinch of salt.
- Now layer on the spinach and the roasted aubergine on top of the tinned tomatoes.
- Once the potatoes have caught a golden colour, toss them in the Baharat spice mix before adding them on top of the spinach and aubergine.
- Tear the aubergine and add them to the top with the tomatoes before returning the tray to the oven for approximately ten minutes.


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Engine Paints 20 oz. can size; 15 oz. net wt. (1509150 20 oz. can size; 16 oz. net wt.) Available in package quantities of 1, 3 and 12
Heat-resistant up to 250°F (121°C); engine paints up to 350°F (177°C); high-temperature up to 1,200°F (649°C)
For automotive/truck engine rebuilding, repair and restoration, fleet maintenance and high-performance automotive applications.
NOTE: Actual colors may vary in shade from colors shown here, since these are ink reproductions.
Play it Safe! Wear safety glasses whenever spray painting.


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|"be consistent"
Re: What operator should perl5porters use for safe dereferencing?by BrowserUk (Pope)
|on May 29, 2012 at 14:01 UTC ( #973029=note: print w/replies, xml )
|Need Help??
I voted for the first option because I think it is mnemonic, but some of the others are also
With ->? it looks like the test comes after the deref.
+> & !> just look like typos.
->-> looks like a double deref, rather than a single conditional one.
I find all those using & anti-mnemonic in that elsewhere it takes a reference, rather than dereferences one.
And those containing = look much too much like a fat comma. The parser may be able to distinguish them, but I don't think my brain would.
With the rise and rise of 'Social' network sites: 'Computers are making people easier to use everyday'
Examine what is said, not who speaks -- Silence betokens consent -- Love the truth but pardon error.
"Science is about questioning the status quo. Questioning authority".
In the absence of evidence, opinion is indistinguishable from prejudice.
In Section Past Polls


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I'm not sure whether Spring or Summer has arrived here in STL. The last 3 weeks have been over 80 degrees. Yeah, I know, so strange. But hey, I'll take it.
With the warm weather brings my love of cooking outside. A few weeks ago we went to a co-workers impromptu dinner. They had a yummy dessert that I thought I would try.
I was late coming home after a much needed kid shoe shopping trip. The kids are going through shoes like a baby goes through diapers. I'm not kidding. It's crazy. But anyway I had a coupon for 20% off so I took advantage and took all 4 babies for shoes. Ziggy recognized 2 shoes sharing the names of 2 of our children, quite unique and funny, if you ask me.
Since we were late Zeus started the chops on the grill. I wanted to try the new dessert. OF course, everyone was skeptical but it didn't last long.
Fresh Pineapple sliced and skin removed. Then you sprinkle cinnamon on top, don't skimp on the cinnamon. Then grill flipping about 3-5 minutes in. The finished product is super scrumptious and very healthy for a summer or spring, in this case, dessert.


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Pic Astro and Pic Programming
by admin on Nov.26, 2012, under Astronomy, Microcontrôleurs
I had some issues with « PicAstro ».
Suddenly no response on PC side (Serial) nor on motor side.
The beast is dead.
So, first I checked what's going on at microcontroller level. No live signals, no response on any Input, simply the clock was running, nothing else.
So I decide to verify if I can reprogram the bootloader.
But I have no PIC programmer.
No problem I will built a cheap one based on JDM (on internet) but reduced to the strict minimum.
The programmer is built, but the PIC does not answer, dead.
I buy a new PIC (waiting is horrible in these cases) and try. It works.
I put the brand new programmed PIC in the socket, start the PicAstro and I am able to connect with "Tinybld" and so to flash the application hex file.
Flashing is successful and then surprise, the DE motor runs as expected, but the AD motor does not.
It seems there is a roughly 1 Hz pulse in the background and when I make the motor turning with the PAD the motion is not smooth at all and even there is no torque.
For me it is clear, suspect number one is the L298 driver …
I decide to just modify the Logic to Power interconnection to use the (supposed) sane DE circuit but with the AD signals.
Same result, so error does not come from the Motor Driver circuit.
I test of all the signals with the scope and I find out that when I test the RB5 output the PIC stops …
Why, RB5 is supposed to be an output, why does it influence the PIC software?
After multiple other checks (is my programmer ok ???) I discovered that the new PIC comes with the LVP (Low Voltage Programming) bit set which has as a consequence that RB5 cannot be used as general purpose I/O …
So I decided to modify the programmer in order to program the PIC in High Voltage Mode so that I can overwrite the LVP bit.
After that everything works and I even discovered that the original PIC was not dead, simply the LVP bit was already reset so not recognized by the LVP programmer.
Moral of the Story … Do not trust to LVP, go directly to HVP so everything can be done without restriction and … frustration
See programmer sketch hereunder.
See Kicad 3D view:
Complete Kicad Files:


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<Title>THE SPORTS DOCTOR- Private life no more: Tiger owes us an explanation
One would think Tiger Woods' Thanksgiving night dust-up with a fire hydrant would be old news by now, but it's anything but. Everyday brings some new snippet of information regarding that fateful night, and people are eager to hear it, no matter how small or insignificant. What began as a mere (please use the French pronunciation here) scandal quickly degenerated into an all-out war.
Last Thursday on the Dan Patrick Show, Jason Whitlock, Kansas City Star and Fox Sports columnist, was more than eager to distill the entire issue into the opportunity white media has been waiting for. According to Whitlock, in the eyes of white America, the only thing Woods did wrong was betray a "white blonde woman." Whitlock claimed the word among black journalists was "Some of this smells like 'Don't you be O.J.'"
Really? Is that where we're going with this?
Some people claim that knowing even the slightest detail about Tiger's foray into the world of imperfection is not anyone's business but his own. Gene Wojciechowski, longtime columnist for ESPN, wrote that no matter what happened Thanksgiving night, "I don't care."
Such a dismissive attitude is really no surprise coming from Wojciechowski since he named Woods the "Greatest Athlete of All Time" back in 2006, a myth he continues to promote. Wojciechowski writes that even though Woods is "perhaps the planet's most recognizable athlete... Woods owes us nothing, especially an explanation." Among sports writers and golf lovers, that seems to be a common, though utterly ridiculous view.
On the other hand, news outlets all over the country are digging through Woods' garbage, trying to find the smoking gun that will discredit him in the eyes of even his most loyal fans. The New York Daily News reported Monday that a porn star is the seventh woman to allege intimate relations with Woods, and that the golfer dallied with an Orlando waitress while his wife was pregnant. Even CBS' The Early Show is insinuating that prescription opiates may have played a part in Woods' accident and that "Someone familiar with Tiger's medical treatment, back at the end of 2007... had a person personal talk with Tiger to ramp down the dosing."
Can we all just calm down a minute? This entire situation has gotten out of hand. Why the armed camps? Why is news of Tiger's alleged infidelities so polarizing? Woods is certainly not the first American hero to fall from grace. Why does no one care one way or the other when Bruce Springsteen is named as the other man in a divorce case, but Woods has the capacity to turn best friends into enemies?
Misguided though he might be in believing that golf is actually a sport and not just a game, Wojciechowski offers insight into people's responses to the Tiger debacle– and the explanation is not nearly as complicated as one might think.
For Wojciechowski and the many people like him, Woods belongs less on the cover of Sports Illustrated than the cover of Tiger Beat. It's that old black magic, the man-crush, not racism or an intrusive public, that's at fault here. Blind love and adoration— that's the answer to the puzzle.
It's no secret Woods has lived in a bubble ever since he won his first major in 1997. By his own choice, Tiger's life was exclusively his own, even after he married and had children. His demand for privacy was so great that it was literally fatal for any sports agency to attempt to scale the wall.
Unfortunately for Tiger, he's been far luckier than most famous people. Years of denying interviews and accosting cameramen while manipulating the media for his own gain have finally backfired. No matter what one may think of his golf game, Woods owes everyone an explanation. We're the ones who genuflected to him, and that makes us complicit. His privacy was a gift of public trust, and it's that love affair he's truly responsible for.
Juanita Giles lives in Keysville where she makes videos and updates her Sports Doctor site.