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First Published backstage.com Oct. 30, 2014
I was a student in graduate school at the University of Illinois. It was the first year of its master's program in acting and, consequently, they didn't have a handle on who would teach what. They lassoed in a woman in her late 70s or early 80s to teach acting.
Mary Arbenz was an actor from a long-gone era. She arrived in New York in 1927 and was almost immediately cast in the world premiere of Eugene O'Neill's Mourning Becomes Electra. As students in 1976, acting meant Marlon Brando and the Actors Studio, not Mary Arbenz and her performance tips from the Pleistocene Epoch. Unfortunately, as a group we didn't take her class very seriously.
That was almost 40 years ago. Mary would be happy to know that some of her advice landed in fertile soil. Mary said one of the best exercises for the actor can be done when you are not working: reading plays. Read the great plays. Shakespeare, Chekhov, Ibsen, Shaw, and of course O'Neill.
Mary said she used to invite her actor friends over to her apartment for a "reading party." She would open a bottle of wine, people would bring over a copy of the play for the evening, and they would read.
But there was a catch.
No one played a part. You went around the circle, in order, reading whatever speech was next. That way everyone had a turn playing Othello, Iago, or Lodovico. Men read Desdemona. Women played Cassio.
We learn in many ways. Speaking and listening use different parts of the brain. Using Mary's method, you absorb a play in a completely new and comprehensive way.
We tried it with Henry IV, Part 1. Everyone had the best time taking a crack at Falstaff and Hotspur. Everyone played extras. Actors who never got a chance to play leads got to read Hal. The play flew by. (The wine may have helped.) Tuesday night became play-reading night. We took on new plays by Pinter. We read Sophocles and Euripides.
Our readings uncovered larger patterns. We began to understand the elements of storytelling, a critical skill for all directors and writers. By moving through plays of different eras, we got a historical perspective on structure and we saw the transforming views on morality. On man's desire for freedom. What changed. What stayed the same. It became a tutorial on civilization.
We learned different approaches to comedy and drama. We saw how great writers created suspense and delivered exposition, which became a critical skill in improvisation. We learned all of this in ways you cannot learn in an acting class or even doing eight shows a week on Broadway.
And you do it all while drinking wine!
One of the hardest parts of being an actor is how to manage your time when you are not working. Mary Arbenz would say never turn your back on your creative self. Always be a student. Keep learning. Keep taking steps forward. Revelation may come in a moment, but it doesn't come overnight.
The first challenge involved with Big Time in Hollywood, FL was that the creators, Dan Schimpf and Alex Anfanger, conceived the show as ten episodes telling one story. In other words, it is a serial. That seems like a simple choice of exposition. It is not. It means Big Time is like one very long movie. Perfect for binge watching, difficult to shoot. The writers have to understand the whole. The actors have to know their entire arc.
Even though Aristotle wrote over two thousand years ago, his ideas from the Poetics are still very much with us today – even in television. Stories are unified by time, place, and action.
Most comedies manage this by having a cast of "regulars." In the lingo of an actor, this means you get paid – a lot. After you are a regular on a series for a few years you can spend the rest of your life participating in Pro-Am golf tournaments. Having regulars on a sit-com creates the illusion you are telling the same story. Episodes on regular comedy shows don't have to truly be unified by action. Cause does not have to have an effect. Whatever you do in Episode One does not have to change what happens in Episode Six.
That is not the case when you tell one story. The motivating factor in Big Time becomes the same as we have in life: consequences. Consequences drive us through our day, enroll us in exercise classes, make us decide if we are going to eat that donut, make us decide to lie or tell the truth.
The advantage this gives Big Time in Hollywood, FL is that even though the plot may seem to be a giant construct always on the verge of spinning out of control, the motivation is simplicity itself. It is one lie. One lie told in the first episode that creates the horrific and hilarious twists and turns throughout the entire series.
The delightful side effect of this is that no matter how chaotic the show gets, on some level we sense it is true. Our lives spin out of control the same way: one trip to the store to get a mango, one dog we discover in our back yard, one conversation with a friend about tomatoes—and everything changes.
The second challenge Big Time in Hollywood, FL presented was a practical one. How do you shoot it? Television shows never have the time or money to do what they need to do. When they do get the money they need, like on Deadwood, they're usually cancelled.
To accommodate the physical limits of the series we had to cross-board the show. "Cross-boarding" means you don't shoot the episodes in order. You shoot everything that takes place in the living room today. Everything in the bedroom tomorrow regardless as to what episode it is.
Dan directed almost the whole series so he took on the job of keeping the narrative straight for us. Before each scene he would remind us – this is after a car wreck, this before the knife fight, this is after you get the phone call…and on and on.
As actors our job was different than usual. We didn't just have to be aware of what we were about to shoot, but we looked ahead to future episodes to see if there were any lasting effects of this scene that would pop up. We also were constantly reviewing what we did weeks before to make sure what we were doing made sense.
In the end Dan and Alex had a giant jigsaw puzzle to assemble. It took months. From what I have seen the results are remarkably seamless. It is almost impossible to see that the beginning and end of a scene may have been shot weeks apart.
Despite living in a state of constant low-level confusion for almost four months, this was an actor's dream. Many acting teachers speak of the necessity of "knowing your subtext." That means know what various events in a scene mean to you in all ways: conscious and unconscious. Know their history. Know the fears and hopes you have surrounding an event. In Big Time, the odds were we just had a scene about the conscious and the unconscious before lunch.
You never know in any acting venture if you will achieve success, either artistically or commercially. So what do you hope for? You hope to learn something new. You hope to end up with a good story. And as actors you hope to have a chance to tell the truth. Whether you do it for one moment, or you do it for seven years, depends on luck. If you do it with people you care for and respect, that's all the luck you need.
Photo from The Hollywood Reporter.
Alex Anfanger and Dan Schimpf asked me to be a part of Big Time in Hollywood, FL, a new program on Comedy Central. I had no idea what the show was. I asked around, no one knew. The one tangible clue I got was that Alex and Dan were the guys who created Next Time on Lonny – which I also never heard of.
It was easy to find Lonny. It's called Google. I watched a couple of episodes. Very funny. I watched a couple more. Hilarious. And more.
There was something remarkable in watching Lonny over the two seasons. It evolved. Rapidly. Like a science fiction movie where the one guy in the lab coat says, "I think you need to see this!" Lonny went from being a very funny web series to Lawrence of Arabia, complete with special effects, wide screen, and panoramic dolly shots. The comedy remained intact.
The show caught the attention of the NY Times.
As the show went into a second season, it was clear that Alex and Dan were developing a comedic language able to hold up over time.
The AV Club is superb at defining social trends. They took a look at Lonny and put it into perspective.
I began to sense there was something special about Dan and Alex. Call it talent. Call it vision. Probably both. I am never first to the party, but I began to sense a paradigm shift. This was a "from-the-ground-up" comedic creation.
Since I have been in Los Angeles (almost 40 years – gulp), comedy came from above. And by above, I mean the studios. There was a period where successful stand-ups were plucked from the clubs and put on television in their own series – like Roseanne. But even then, the comedy came from above. The comic was the lead. The writers' room and studio shaped the rest.
Lonny was a couple of guys, with no money (at least until Ben Stiller took over as producer), who turned their vision into something real.
There is a theory in Political Science that the periods of greatest human freedom and expansion have come when the common man possessed the most powerful weapon of that era. Robin Hood ruled when everyone had a bow and arrow. The Wild West became America when everyone had a six-shooter.
For years the most powerful weapon was considered the nuclear bomb. Only governments had those and human freedom became more and more restricted.
I would argue, that now, the most powerful weapon of the age is the computer. Look at the cyber warfare that is already waging, criminal hacking affecting millions of lives, identity theft, and INTERNET COMEDY!
Lonny is the success story that so many are trying to achieve. The brain-blood barrier for comedy is usually money. It can kill you. The comedic vision of Dan and Alex survived the test in Big Time in Hollywood, FL.
It wasn't until I got on the set that I began to understand what these guys do. Alex and Dan mix incredible comic technique, scripted and visual, with absolutely random improvisation. It creates an electric environment where anything can happen. As Ben Stiller said when he saw the show come together – "…people are going to look at this and say 'What the hell are they doing?' "
Sounds like comedy to me.
Originally published backstage.com Oct. 2, 2014.
I was working on Big Time in Hollywood, FL, a very funny new show for Comedy Central (premieres March 25). We were on break and I asked director-sometimes-writer-always-executive-producer Dan Schimpf, "How many times do you get to the set and find that you have to change your game plan?"
Dan laughed and said, "Seriously?"
I said, "Very seriously."
Dan said, "Well, speaking very seriously, I would say 100 percent of the time."
"It never goes according to plan?"
"Never. But think about it. How could it? Each scene will have unexpected technical problems. The actors will have different levels of comfort. We could be running out of time. All sorts of things. A big part of directing is adaptation."
In 60 seconds, Dan unraveled one of the great chasms in actor training. And it's not working on the part; we study that all of the time. It's the curve balls you have to deal with before you start to work.
In school, actors learn various methods with which to bring a character to life. This usually involves sense memory, hours of rehearsal, and selecting the right shoes. In the real world, this doesn't happen.
I just got a part 48 hours before I had to shoot it. In the "real world," this is code that the producer's first and probably second choices were unavailable. It also means there was no time to prepare.
My scenes were shot on a yacht. Some may hear those words and think, He's livin' the dream. I hear them and think, Dramamine.
I was right. But even then, I didn't comprehend the difficulty of acting on the high seas. When you shoot on the water, it is hard to walk. It is difficult to hit your marks. A lot of your focus is on not falling overboard. You have to adapt your approach to the character. I always kept a drink in my hand. Any swaying would look like I was just enjoying the party. A lot.
On Big Time, the entire series was cross-boarded. This is when you don't shoot an individual episode and move on to the next. You shoot bits and pieces of the whole series based on location. As an actor, you have to reset your focus and imagine you are shooting a 300-page motion picture. This takes a completely different type of preparation. You have to read and reread all of the episodes to keep your character's arc in your head.
In 1967, Marshall McLuhan wrote the cult classic The Medium Is the Massage. The thesis of the book was that the way an idea is presented affects the way we understand the idea. The book's premise could not have found a more perfect application than in acting today.
Most actor training evolved as if our sole destination was the proscenium stage of the Moscow Art Theatre. Those days are gone. Your only security is in knowing your part as well as time allows, keeping an open mind, and preparing to roll with the punches. You might as well enjoy it. The unexpected happens, as they say, 100 percent of the time.
(P.S. For more about Big Time in Hollywood, FL, check here.)
Originally published backstage.com Sept. 4, 2014.
Photo from Kayatana Stamps.
When one thinks of comedy, one rarely thinks of Henri Bergson—quite possibly because one has never heard of Henri Bergson. I was surprised to learn not too many years ago that Bergson was considered the greatest thinker on the planet…at least according to another great thinker, Bertrand Russell.
At the end of the 19th century, Bergson lectured in sold-out venues around the world. He probed the nature of man and the human soul. He examined life from the viewpoint of a poet and a scientist and then, quite surprisingly, turned his attention to comedy.
His lectures on comedy have been collected in an essay called "Laughter." To summarize very briefly: Man is torn between two forces. The desire to organize, prioritize, mechanize, and create rules to handle the obstacles of life—and an equally powerful, opposing desire to throw caution to the winds and be flexible to deal with situations that aren't easily handled by sticking to the rules.
There you have it.
Bergson observed that comedy is created when a character is stuck in one of these two positions. The closer man resembles a machine the funnier he becomes. This rigidity can be physical, like Charlie Chaplin's walk or Peter Sellers' uncontrollable Nazi salute in "Dr. Strangelove." The mechanization can also be emotional, like Rainn Wilson's hilariously inflexible Dwight Schrute on "The Office."
The opposite is true as well. Bergson notes that characters with no ability to organize or act appropriately are also funny. This is a comedic motif used by Woody Allen in many of his comedies. "Bananas" and "Sleeper" come to mind.
In one of television's classic comedy sketches, the brilliant Lucille Ball demonstrated the entirety of Bergson's comedic theory with the candy assembly line. Need I say more? Lucy and Ethel begin as "part of the machine" wrapping candies; they end in a disorganized mess as the assembly line speeds up. Both ends of the spectrum create tension, which is released in our laughter.
Bergson took on Shakespeare. His insights were thought-provoking. He said the monologues in the tragedies should always be performed standing. He said if Hamlet sits onstage when he delivers "To be or not to be…" the energy becomes comedic. Sitting is an indication that a character is affected by gravity. They are weary in some way and need to rest. This turns their noble and even desperate sentiments into something more trivial, and in danger of looking like kvetching.
Bergson saw the modern comic spirit as the individual who has substituted the jargon of his profession for his humanity—like when someone at a bank explains why you were charged fees on your "no fees" checking plan. The classic comedy "No Time for Sergeants" has several examples of this type of Bergson comedy. The one-size-fits-all structure of the military is a perfect setting for showing the human desire to strictly follow and/or break rules.
We laugh because, as in the best comedies, it points to a larger truth: We are close to the angels, but we're not there yet.
Originally published August 7, 2014 backstage.com
Photo source: Backstage, Clay Rodery.
I was teaching my comedy class at Kalmenson & Kalmenson when I discovered one of my students was very adept at improvisation. I asked what her background was. She said she was a writer and an acrobat.
An acrobat?
Yes. She was studying aerial acrobatics, à la Cirque du Soleil. I asked what that was like. She said it was a rush to perform 40 feet off the ground. (I let that comment pass as part of the foolishness of youth.) I asked her how you learn something like that. She said her teacher told her that the critical moments in any acrobatic move were the transitions from various planes, from the horizontal (on the ground) to the vertical (going into the air) and to the horizontal once again when you reach your final position above the arena. She said the essence of acrobatics is the transition between horizontal to vertical. Doing it in a seamless way. Doing it in a beautiful way.
Her remarkable passion explained one of the primary tools of script analysis: Find the transitions.
There is a tendency to get lost in a script, in a role, in a single speech. The words become the forest that keeps us from seeing the trees.
On a macro scale, look for the moments that change the direction of your character. On a micro scale, look for the moments in each line where there is a transition. Where is the place you learned something you didn't know before? What is the one piece of information in a line that makes that line necessary?
There is something else I found curious in my student's acrobatic dramaturgy: It was laid out in three acts. It started on the ground. There was literal "rising action," followed by a conclusion. This is the same dramatic formula offered by Aristotle in "Poetics." Although it is about 2,500 years old, it is still a good tool to use.
Finding the "acts" in a script, in a part, even in a single line, will usually lead you to the important, playable transitions. These transitions are not set in stone. They can move around. That is exciting, too. By playing with where the "act breaks" are in a line, you may find alternate readings and new ideas. For example, we all know:
To be, or not to be—that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles,
And by opposing end them.
By changing where you want to break this small part of Hamlet's monologue into "acts," you can find very playable specifics. For example, you could start Act 3 of this section on the word "or" in the next-to-last line. Alternately, you could start it on the word "and" in the final line. Either way will create an interesting performance choice.
The transitions in acting are the ways we discuss physics. They are the changes of direction, the energy of a new idea that can lead us to the truth we long to uncover.
Originally published July 10, 2014
One of my favorite classes in college was art history. Our teacher introduced us to a concept that sounded like something from a science fiction movie: "horror vacui." She explained it meant fear of open space. The Egyptians were afflicted with it. In their art, they had the need to fill every blank surface. Their massive sculptures were covered with hieroglyphics. When that didn't seem to do the trick, they painted them as well. Horror vacui was one of the dominant influences in some of the more famous illustrated manuscripts from the Middle Ages. There seemed to be the literal need to fill in all the 0s.
Not all horror vacui is bad. As parents, we have come to rely on "Where's Waldo?" books for a few minutes of peace and quiet.
However, horror vacui is a force that hurts our acting. There is a tangible urge to fill any silence. I have seen clean, dramatic moments muddied by randomly adding words, gestures, or ever-evolving facial expressions. I have seen great comedic lines not "land" because of what my acting teachers used to call "nervous energy."
Is that what it is? My teachers always pointed to the great insights of Stanislavsky. Actors need relaxation onstage. We did endless relaxation exercises in college. Some were so effective I fell asleep, but for some reason I still twitched onstage.
I think Stanislavsky has a good explanation for horror vacui, but it was in a different part of his book. In "An Actor Prepares," he notes, "The very worst fact is that clichés will fill up every empty spot in a role, which is not already solid with living feeling."
My takeaway from this is not to add more feeling but to investigate the "empty spots" of a role.
I look to another discipline for guidance—chemistry. Electrons will always seek the lowest level of energy. It is the same with acting. We feel most comfortable at the lowest level of energy. This doesn't lead to too little feeling, it leads to too many unexplored questions. That leads to holes in our characterizations, which leads to horror vacui and the desire to fill in the gaps with randomness.
I have a series of questions I ask when I start working on a scene. They help me get grounded in the truth.
Is the situation I am in new or old?
Am I telling the truth? All of the time? If not, why am I lying?
What was I doing before the scene started?
Where am I going afterward?
Did the events of this scene change the course of my day? Why?
These are just a few. They always jump-start the search for specific truths. As Stanislavsky wrote, "You may play well or you may play badly; the important thing is that you should play truly."
Silence and relaxation happen when we are confident we are telling the truth. Our horror vacui becomes a wonderful barometer that tells us we still have questions that need answers.


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Lost Films
All films cost $2 for students and $4 for guests.
Me and Earl and the Dying Girl
High schooler Greg, who spends most of his time making parodies of classic movies with his co-worker Earl, finds his outlook forever altered after befriending a classmate who has just been diagnosed with cancer.
Lost Films is SAB's weekly film series, bringing everything from blockbusters to indie movies to campus for five showings every weekend. Lost Films helps to fulfill SAB's mission to explore the intersections of faith, education, and popular culture. Showtimes for all films are Friday at 6:00 PM and 9:00 PM and Saturday at 3:00 PM, 6:00 PM, and 9:00 PM. Tickets are only available at the door before each showing. All films are shown in Parmer Cinema, located in Boyer Hall, which seats 125 and features state of the art acoustics and projection.
If you would like more information, or are interested in joining the Lost Films Committee, contact Chris Boggess.

subset: commoncrawl


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This is the estimated average annual insurance premium being charged in your state. The premium has been determined based on annual premium data for defined coverages (liability, comprehensive and collision) from a major insurer.
While this information is specific to vehicle make, model, model year and body type, your personal information is not taken into consideration and could greatly alter the actual premium quoted by an insurer. Factors that will affect your rate include your age, marital status, credit history, driving record, and the garaging address of your vehicle.
The Edmunds TCO®
monthly insurance payment for a 2014 Toyota Corolla Sedan
in VA is:
Build your car and see the Edmunds True Market Value® (TMV®) - the average price paid for this car in your area.
The redesigned 2014 Toyota Corolla looks to regain stature in the compact sedan class. Crisper styling, better fuel economy, more rear-seat room and a highly functional interior design should help it remain a big seller.
Roomy rear seat; comfortable ride; simple controls; extra fuel-efficient LE Eco model.
Modest horsepower and acceleration; usefulness of available Entune system is diminished by a cumbersome setup process.
The 2014 Toyota Corolla is fully redesigned.
The Corolla does exactly what it is supposed to do. It is economical and yet does not look or feel or behave as a "cheap" car.
I have been a Toyota owner for the last five years. My family has owned multiple Toyota cars in the past years, hence, the reason why my family decided to purchase a Toyota vehicle. Since the ownership of my Toyota Corolla, which was bought brand new, I have had multiple issues with the vehicle, i.e., temperature gauge had gone bad two-years after purchasing the vehicle, driver's window stuck in down position, and the vehicle began to shake vigorously at around 40,000 miles and then again at 78,000 miles (when my children under the age of 5 were present during both incidents). I have been getting the vehicle serviced and maintained on time from a Toyota authorized service dealership. I have been completely unsatisfied with the level of care and commitment Toyota has provided. For a company that strives on "innovation, quality and reliability," Toyota has failedto comply with their standards and level of concern.
I had registered a complaint with the Toyota Customer Experience Center, who disregard my complaint and faulted me atthe vehicle?s condition. The Executives that I had dealt with repeatedly continued to say that the engine failing is not Toyota's problem, even though I am able to prove that my maintenance was done on a timely basis. The Customer Care team members are rude and beyond help, with no sense of professionalism or mannerism. I have an $8,000.00 expense at the cost of Toyota?s faults and oversight. I am appalled to learn that Toyota knew about such faulty engines and issues but chose not take any action to fix such vehicles, given the fact they claim they have the most reliable cars ? I think that is an understatement. Now, I will think twice before going back to a Toyota and never recommend anyone to purchase a vehicle from Toyota until they are able to accept responsibly and value their vehicles and customers.
I drive about 30k mi a year. Was buying my first new car & needed a safe & reliable vehicle for my 70 mile commute plus driving obscene distances working as a Child Protective Services Worker. I got the S Plus with nav, smart key & sunroof. Car started rattling 1 month in. Couldn't replicate noise so no fix. Nav screen starts zooming out on its own...something got stuck between screen & frame. Bent a rim. Tire & Rim Warranty won't replace. Brought car in for 30k mile service & because I was hearing a whining noise...Toyota replaces entire transmission! Extremely alarming. The car drives fine. Does what I need it to do and more. Currently at 34k miles & plan to drive it into the ground.
Bought 2014 LE Eco Plus in September of 2013. At 13,300 miles, Code registered for fuel/air imbalance. Service Bulletin said cylinder head and 4 valves to be replaced under warranty. Major repair for a young car. Very disappointed. Toyota will not at this point extend drive train warranty for free because they have "fixed" it. Other than that, car runs smoothly, nice and heavy for a little car. The gray seat fabric stains very easily, even a wet gym bag or wet work bag if left on the seat too long leave pronounced stain, even with the Stain Guard extra they sell you at time of purchase. This is a hassle, worrying about everything that touches the seats. Average 32MPG.
I've had my '14 corolla s plus for 7 months. I haven't had one issue with it. It gets great gas mileage. Probably my favorite feature is the led headlights. They are amazing! Your night vision can't be beat by any of the competition right now. It's really impressive how well they work. there's plenty of room in the back seat for passengers, the front seats are comfortable as well. Nice dash display. the cvt is fine. It's different than what you'd be used to at first but it tries to act like a regular automatic with shift points. Not a race car, but a gas sipping sedan with style. I might end up buying it after the lease is up. Leds are a huge plus!
*Starting the car: You have to have the clutch pushed very hard, all the way to the ground and make sure to hold the button in long enough. My fiance�s car is a 6 speed with a push start and I�ve never had any trouble with his car.
I have driven a stick shift for over 15 years. This clutch is very picky and after a lot of time spent stranded, sitting in my car, I have finally realized that I need to ride the clutch, unfortunately. That's the only way I can get it to get up and go without stalling. I'm always super nervous while driving it for this reason and feel unsafe. My fianc� also refuses to drive my car for this reason.
*Where is the sound proofing?? When driving in the rain/snow...
Without a doubt, the biggest and most significant new Toyota this year is the 2014 Toyota Corolla. Although it was always a strong seller, the previous-generation Corolla was outclassed by more stylish, more fuel-efficient and better-performing rivals in the compact sedan segment. The upshot is that it has been many years since the Corolla was a no-brainer pick for a small, affordably priced sedan.
Slightly longer, lower and wider than last year's model, the 2014 Corolla has a more aggressive-looking exterior. The exaggerated front-end design will likely polarize consumers (those who care about styling anyway), but at least it's edgier and more interesting than the forgettable forms of the past. In addition, all 2014 Toyota Corollas come standard with LED low-beam headlights, an unexpected feature in this segment.
If you're expecting an exciting driving experience to accompany this extroverted styling, you're probably going to be disappointed. Toyota kept the Corolla's easygoing personality intact. But the new Corolla does offer decent performance, a comfortable ride, good gas mileage, user-friendly features and solid reliability, all things that have made it so popular through the decades.
One key improvement this year is fuel economy. Any Corolla you look at will sip less gas than last year thanks to a variety of tweaks and a new continuously variable transmission (CVT), which takes the place of a conventional automatic transmission on some versions. Also, there's a new fuel economy-themed trim level called the LE Eco. Equipped with a revised version of the standard Corolla's 1.8-liter engine, the Corolla LE Eco earns best-in-class mpg numbers (for gasoline-fueled, automatic transmission-equipped compacts), achieving an EPA combined rating of 35 mpg along with a highway rating of 42 mpg.
Another functional upgrade on the 2014 Corolla is roomier seating. Rear passengers, in particular, enjoy nearly 5 inches more rear legroom, which will also make it easier to fit rear-facing child safety seats. Toyota has also restyled the instrument panel to impart a more contemporary feel. The company also used higher-quality interior materials and added a few new features, including keyless ignition/entry.
Although the 2014 Toyota Corolla is significantly better than the outgoing model, it isn't a slam dunk, as the small sedan segment has plenty of strong choices. The Corolla's perennial archrival, the Honda Civic, has rebounded from its own design missteps to lead this class, while the Mazda 3 and Ford Focus remain well-stocked drivers' favorites. Nor can the nicely equipped Hyundai Elantra and Kia Forte be ignored. That said, the Corolla is far more competitive than before, and this should bolster its already strong sales.
The 2014 Toyota Corolla is a five-passenger compact sedan available in four main trim levels: L, LE, LE Eco and S. All but the L are further offered in Plus and Premium sub-trims.
Standard features on the base L model include 15-inch steel wheels, LED headlights (low beams only), power windows and mirrors, air-conditioning, a tilt-and-telescoping steering wheel, a height-adjustable driver seat, a 60/40-split-folding rear seat, Bluetooth phone connectivity, steering wheel audio controls and a four-speaker sound system with a CD player, a USB/iPod interface and an auxiliary audio jack.
The LE adds 16-inch steel wheels, heated mirrors, variable intermittent wipers, keyless entry, metallic cabin accents, cruise control, power door locks, automatic climate control, a rearview camera, a six-speaker sound system with a 6-inch touchscreen display, and Bluetooth audio connectivity and phonebook download capability. The LE Plus adds alloy wheels and foglights, while the LE Premium further adds premium vinyl upholstery.
The LE Eco includes the LE features and adds specific engine and transmission tuning, low-rolling-resistance tires, a rear spoiler and enhanced aerodynamics. The LE Eco Plus adds alloy wheels, foglights, chrome beltline trim and an Eco driving mode, while the LE Eco Premium adds premium vinyl upholstery.
The S includes the LE features and adds a chrome grille frame, foglights, color-keyed mirrors with signal repeaters, a rear spoiler, front sport seats, a leather-wrapped steering wheel, upgraded instrumentation, a trip computer and piano black accents. The S Plus adds 17-inch alloy wheels, firmer suspension tuning and rear disc brakes, while the S Premium gets premium vinyl upholstery.
Key options for the Plus and Premium trims include a sunroof and a Driver Convenience package that includes keyless ignition/entry, smartphone app integration, satellite radio, HD radio and a navigation system.
Every 2014 Toyota Corolla is powered by a 1.8-liter four-cylinder engine. On every model except the LE Eco, it produces 132 horsepower and 128 pound-feet of torque. For the LE Eco, an enhanced, more efficient version of this engine is used; it's rated at 140 hp and 126 lb-ft of torque.
A six-speed manual transmission is standard on the L and S trims. Optional on the L is a four-speed automatic transmission, while a CVT is optional on the S and standard on the LE and LE Eco. When equipped with the CVT, the S model features steering-wheel-mounted paddle shifters as well as a Sport mode that sharpens transmission and steering response.
EPA-estimated fuel economy is 31 mpg combined (28 mpg city/37 mpg highway) with the six-speed manual and essentially the same with the L's four-speed automatic. With the CVT, you'll get a slightly better 32 mpg combined (29 city/38 highway for the LE, 29/37 for the S). Finally, the LE Eco, thanks to its special engine and fuel efficiency tweaks, earns an estimated 35 mpg combined (30 city/42 highway).
Standard Toyota Corolla safety features include stability and traction control, antilock brakes (front discs/rear drums for all, rear discs available on the S trim), front side airbags, side curtain airbags, a driver knee airbag and a passenger seat cushion airbag. A rearview camera is standard on all versions except the base L.
The 2014 Corolla's cabin is not exactly exciting, but controls are easy to find and use. The radio features tried-and-true volume and tuning knobs, for example, while the climate control has large knobs and buttons. The upgraded audio system and navigation systems boast a touchscreen with similarly large virtual buttons and simple, clear graphics. Materials quality is average, and overall, the interior of the Corolla doesn't look or feel as expensive as the cabins of the Ford Focus and Kia Forte.
The Corolla's optional suite of smartphone-connected services includes the Bing search engine, Pandora streaming radio, traffic data, and sports and stock information. Getting started with Entune can be a hassle, though, since you have to install an app on your phone and register for an account; plus, you always need an active data connection to use Entune. The touchscreen interface has straightforward menus, but it's sometimes unresponsive to user touch.
As with most Toyotas, the front seats are soft and comfy, while those in the S version are firmer and have more pronounced side bolsters. There is plenty of space here, even for taller drivers, and the backseat also boasts impressive space. Indeed, at 41.4 inches, rear legroom bests that of most midsize sedans.
The Corolla's trunk capacity is average at 13 cubic feet, but the wide opening eases loading and unloading. If more space is needed, the rear seat splits and folds to increase capacity.
We've only had a short amount of time behind the wheel of the 2014 Toyota Corolla. So far, the Corolla has struck us as an agreeable, if uninspired, small sedan to drive. The new CVT works well by the standards of CVTs. There's some drone during acceleration, but it's not particularly irritating. Ultimately, the latest Corolla drives much like the previous one. That means the steering is precise but rather numb (and not the least bit sporty), while the suspension provides a comfortable ride, though you'd never describe it as luxurious or coddling. Similarly, the four-cylinder engine tries hard but begins to feel winded during aggressive passing maneuvers or when climbing mountain grades.
The best thing about the new Toyota Corolla is that it never feels as if it's straining to keep up with traffic or unable to deal with the unexpected. In place of inspiring performance, the redesigned Corolla offers unpretentiousness that expresses itself as character, and that coupled with its legendary reputation for reliability should ensure that the latest version of Toyota's compact sedan finds a home in plenty of garages.
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Are you Hanne Helfrich?Claim your profile
Publications (3)23.77 Total impact
Article: DNA damage-induced transcriptional program in CLL: Biological and diagnostic implications for functional p53 testing[Show abstract] [Hide abstract]
ABSTRACT: The DNA damage pathway plays a central role in chemoresistance in chronic lymphocytic leukemia (CLL), as indicated by the prognostic impact of TP53 and ATM loss/mutations. We investigated the function of the p53 axis in primary CLL samples by studying p53 and p21 responses to irradiation by FACS and RT-PCR. We observed a distinct response pattern for most cases with a 17p deletion (n = 16) or a sole TP53 mutation (n = 8), but not all cases with a p53 aberration were detected based on a number of different assays used. Samples with a small clone with a TP53 mutation remained undetected in all assays. Only 1 of 123 cases showed high expression of p53, which is suggestive of p53 aberration without proof of mutation of TP53. Samples with an 11q deletion showed a heterogeneous response, with only 13 of 30 showing an abnormal response based on cutoff. Nevertheless, the overall induction of p53 and p21 was impaired, suggesting a gene-dosage effect for ATM in the 11q-deleted samples. The detectability of p53 defects is influenced by clonal heterogeneity and sample purity. Functional assays of p53 defects will detect a small number of cases not detectable by FISH or TP53 mutational analysis. The clinical utility of functional p53 testing will need to be derived from clinical trials.Blood 02/2011; 117(5):1622-32. DOI:10.1182/blood-2010-08-300160 · 10.45 Impact Factor
Article: TP53 mutation profile in chronic lymphocytic leukemia: Evidence for a disease specific profile from a comprehensive analysis of 268 mutations[Show abstract] [Hide abstract]
ABSTRACT: The TP53 mutation profile in chronic lymphocytic leukemia (CLL) and the correlation of TP53 mutations with allele status or associated molecular genetics are currently unknown. We performed a large mutation analysis of TP53 at four centers and characterized the pattern of TP53 mutations in CLL. We report on 268 mutations in 254 patients with CLL. Missense mutations appeared in 74% of cases compared with deletions and insertions (20%), nonsense (4%) and splice site (2%) mutations. The majority (243 of 268) of mutations were located in the DNA-binding domain. Transitions were found in 131 of 268 mutations, with only 41 occurring at methylated CpG sites (15%), suggesting that transitions at CpGs are uncommon. The codons most frequently mutated were at positions 175, 179, 248 and 273; in addition, we detected a common 2-nt deletion in the codon 209. Most mutations (199 of 259) were accompanied by deletion of the other allele (17p-). Interestingly, trisomy 12 (without 17p-) was only found in one of 60 cases with TP53 mutation (without 17p-) compared with 60 of 16 in the cohort without mutation (P=0.006). The mutational profile was not different in the cohorts with and without previous therapy, suggesting that the mechanism underlying the development of mutations may be similar, independent of treatment.Leukemia: official journal of the Leukemia Society of America, Leukemia Research Fund, U.K 12/2010; 24(12):2072-9. DOI:10.1038/leu.2010.208 · 10.43 Impact Factor
- [Show abstract] [Hide abstract]
ABSTRACT: The importance of studying p53 pathway defects in chronic lymphocytic leukemia (CLL) has been promoted by the demonstration of the fundamentally different clinical course of patients with 17p deletion. The observation of resistance to chemotherapy and mutation of the remaining TP53 allele explain the clinical presentation of CLL with 17p deletion. Here we review recent evidence that cases with TP53 mutation in the absence of the deletion of 17p have a similar clinical and biological course as cases carrying the deletion 17p. In addition, other principal components of the DNA damage pathway reportedly are de-regulated by mutation (ATM), deletion (ATM) or potentially more complex down-regulation (miR-34a) in CLL. Nonetheless, challenges remain because we can only explain resistance in a proportion of the cases that are resistant to first line treatment. This is of particular practical interest because our armamentarium of drugs in clinical use that acts independent of the DNA damage pathway is growing, for example antibody-based treatment (alemtuzumab), immuno-modulating drugs (lenalidomide), CDK inhibitors (flavopiridol) and steroids.Leukemia & lymphoma 04/2009; 50(3):510-3. DOI:10.1080/10428190902763533 · 2.89 Impact Factor
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Universität Ulm
Ulm, Baden-Württemberg, Germany
- Department of Internal Medicine


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BlackRock, the largest money manager in the world, chose Morgan Stanley as a swaps-clearing broker as regulators require more trades to be routed through a clearinghouse. "We believe that [over-the-counter] clearing can help to reduce systemic risk and serve as an important mechanism to manage and reduce counterparty exposure for our clients," said Supurna VedBrat, co-head of market structure and electronic trading at BlackRock.
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Jennifer Hammock commented on "EOL Curators":
There are four hours remaining to register your preferences for research ideas for next week's RFP. Please visit I Wish to rate the candidates.
Cyndy Parr added "Image of Ctenophora pectinicornis" to the collection "Misplaced EOL Content".
Ali Dobbe joined the community "EOL Learning and Education Community".
Katja Schulz commented on "Help needed":
@Michael Wunderli: You are now a manager of the Rapid Response Team and should be able to add items to the Help Needed collection.
Katja Schulz added "Michael Wunderli" as a manager of the community "Rapid Response team".
Michael Wunderli commented on "Help needed":
can you make me a manager please?
Cyndy Parr added "Jabiru mycteria" to the collection "Help needed".
Katja Schulz marked the classification from "Avibase - IOC World Bird Names (2011)" as preferred for "Vermivora peregrina (A. Wilson, 1811)".
Michael Caterino commented on "EOL Curators":
@Bob Corrigan - Entomologists, at least, tend to specialize at the family level, and catalogs are most frequently issued at that level, although some smaller Orders may also be cataloged at once.
Katja Schulz commented on "EOL Curators":
@Michael Wunderli: We do not yet import content from the German Wikipedia. Harvesting Wikipedia in multiple languages is on our list of things to do, but we don't have an estimate yet when this task can be tackled. For the time being, you'd have to copy and past the content into EOL manually. For more information, see Reusing Wikipedia content.
Bob Corrigan commented on "EOL Curators":
@Michael Caterino: Michael, what would be the highest "level" (e.g., order, family, genus) would you want to set a preferred classification and see it propagate "down" from? I'd like to calibrate the requirement a little better.
Michael Wunderli commented on "EOL Curators":
i was just curating this page: http://eol.org/pages/5095/overview, and there is no summary in german. the wikipediapage in german for this taxon is very good. can i link this two things somehow?
Michael Wunderli commented on "EOL Discussion Group":
@Cyndy Parr: The amount of audiofiles jumped up very high!
Michael Wunderli joined the community "Rapid Response team".
Michael Wunderli left the community "Rapid Response team".
Michael Wunderli joined the community "Rapid Response team".
Michael Wunderli commented on "Misplaced EOL Content":
@Katja Schulz: Ok, i will add stuff there in the future. thanks!
Jeff Danielian commented on "Caretta caretta (Linnaeus, 1758)":
@Kathryn Tumber: Great!
Katja Schulz commented on "Misplaced EOL Content":
@Michael Wunderli: This collection targets contamination issues in media galleries, i.e., images that show up on the wrong taxon page. If you find empty media galleries for organisms that should be well documented, the best place to draw attention to these problems is the Help Needed collection, which is managed by the Rapid Response team. I have sent you an invite to the community.
Katja Schulz commented on "EOL Curators":
@Michael Caterino: At the moment, there's no inheritance of the preferred classification for subordinate taxa, but it's on our list of things to implement in the future. As you noted, this will not be a trivial thing.


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This morning, my new friend from last night (who i have on Facebook but for the life of me I cannot find him and can't spell his name properly because i suck at this) and i did a bike tour around Rotterdam.
It was really cool actually! We were the only people on the tour which meant we got a few extra tips and a more personalised experience because the guide got to know what we liked and stuff like that.
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Rotterdam- Week 13
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Living in a space age pod
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Day 13 - Rotterdam
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Sunday Game Thread: Cubs (5-11) v. Brewers (8-8)
The Brewers go for the series sweep, their 7th win in a row overall, and their 17th win in the last 22 meetings with the Cubs.
Is that depressing enough for you?
Cubs v. Wily Peralta (0-1, 6.19; pitched well but took an ND in 4/9 game at Wrigley which the Cubs eventually won against the Brewer bullpen): DeJesus 8, Castro 6, Rizzo 3, Soriano 7, Schierholtz 9, Castillo 2, Valbuena 5, Barney 4, Feldman 1.
Brewers v. Scott Feldman (0-2, 6.00; pitching for the first time since a loss to the Giants 10 days ago): Aoki 9, Segura 6, Braun 7, Weeks 4, Maldonado 2, Gonzalez 3, Gomez 8, Betancourt 5, Peralta 1.
scott failedman...sigh.
scott failedman...sigh.
Rulemasters: as per a play in
Rulemasters: as per a play in the TB/OAK game. Pitcher A gets two outs and puts two batters on base. Pitcher B comes in and throws a wild pitch, scoring a run. The run is then credited to pitcher A because it is still his batter. Correct?
THE JOE: Correct.
THE JOE: Correct.
Just now catching up on my
Just now catching up on my reading. Thanks Phil, I figured as much, just didn't like it.
cubs are 5-12.
cubs are 5-12.
is it
2014 2015 2016 yet?
Theo can probably extend
Theo can probably extend Feldman's contract on the cheap right now.
Give him 8/40 so he doesn't
Give him 8/40 so he doesn't burn Theo on the Free Agent Market
$8 million over 40 years?
$8 million over 40 years?
Bobby Bonilla Mets special
Bobby Bonilla Mets special
...make your move...
...make your move...
Well, maybe they could do a
Well, maybe they could do a 20 year contract, since everyone is going big these days.
So, are we back to having a
So, are we back to having a manager who semi-bashes the most talented and valuable young players on the team and makes empty threats about calling up the totally non-existent AAA reserves? Because I'm opposed to that.
Why isn't the answer to questions about Castro's defense always simply, "We're working together with him daily to help him perform as well as he possibly can in every area of the game. He's still a very young player, but we'll see more payoffs to his consistent hard work soon." ? Then if you want to yell at him and scare him because you think that will motivate him (I'm skeptical, but OK), do that in private in the manager's office when there are no reporters admitted.
It might be different if Baez were rocking AAA or AA and could realistically put pressure on Castro, though if all else were as it is now that would only mean that either Castro or Baez would be manning 3B soon.
Isn't that what they have
Isn't that what they have been doing for the past two years?
Can't say I am really surprised with the frustration, but I am sure Dale regrets the comments.
If the Cubs decide to move Castro to second, is this something that can be done during the season, or are they better off waiting?
It's a dumb comment by Sveum.
It's a dumb comment by Sveum. What did he expect when he signed on with the Cubs? Help these kids grow instead of bashing them in the face. They're gonna send down Rizzo? Is that the threat? How idiotic is that? The guy has bungled a few ground balls in April and is off to a slow start but still leads the team in RBI. I expect Sveum to just do his job and work with the youngsters. When he proves his managerial mettle he can go work on a club with established veterans who don't screw up as much.
This is a tough thing. The
This is a tough thing. The kid has been here full time since 2010. He's had 27, 29, and 27 errors in the last three years. Arguably THE most important position. MOST players show improvement. He does not. He's got 4 errors so far, as well as several mis-plays that were not scored errors. On a team where ANY mistake is too much. For $60MM.No doubt Castro will break the 30-error plateau this year. And - he has demonstrated, O & B, it doesn't matter what Month of the year it is. Stop with the excuses.
IMO, he is playing out of position. But, unfortunately, this will not get addressed this year.
OR - I also believe it is not an impossibility that Theo will trade him for "his" kind of players - including young pitching.
He can hit, which is great, but at his position you need more than that.
I really don't have an
I really don't have an objection to the frustration. I just think it's very unprofessional to call out any of your players in public. I see no reason to do that in any situation. All player and team issues should be addressed behind closed doors. As the manager, it's part of your job to keep up your professionalism every day even though the press is constantly hounding you (and everyone else) for something juicier.
I, too, would like to see Castro take more strides defensively. And I too wonder if he won't end up at 2nd base should another Cub prospect emerge as a better defensive shortstop, or should the Cubs have the opportunity to acquire a short stop in a favorable transaction. It's hardly pressing, though, considering the Cubs are going to suck big time either way. Without the carrot of the postseason, I don't see a reason do anything but keep working with him to see if he can improve. 23 is still young, even if he's going on his 4th year of MLB time.
The only reason I can think
The only reason I can think of is he would have better trade value if he could show the ability to play a defensive position at an acceptable major league level. Maybe that's second or third.
But your points are correct, Dale's comments were silly (and I am sure he regrets them) and there is no pressing need to move Castro now.
After reading your guy's
After reading your guy's posts again, it is an excellent point that we all want to be yelled at by our managers with the door closed in their offices.
I can't imagine, however, my current manager trying to manage multi-millionaires that have made the same mistakes on the job, relentlessly, for 3+ years.
It is a unique position and I get that Sveum is deserving more. Maybe he should just do this out of the press.
I'd say if we're going to
I'd say if we're going to look at it from that point, they were hasty in giving such a large contract so soon to a guy who still is a bit shaky out there. The mistakes Castro makes are often just dumb things that suggest a lack of concentration. That is where Sveum comes in. He should be making him take grounders till his hands hurt every day, not bashing him in the press, and honestly, maybe having him looked at for ADHD or even a 420 issue, or something, since the problem really seems to have something to do with him being a bit of a spacey dude, as we called them when I was young.
It's not just Castro, Rizzo was also the target of Sveum's whining, and it's just a dumb way to go. Sveum got hired to manage a young team. He needs to suck it up and manage them, and not go to the press with his complaints about their flaws.
Is "having potential" all it
Is "having potential" all it takes to play in the big leagues?
For the Chicago Cubs, apparently that's all it takes. This isn't little league, it's the big leagues. Players are expected to already know how to catch and throw the ball and do it reliably. Batting average.. meh, he can go hit a 400 average in Iowa for all I care. The thing about baseball is you have to catch and throw the ball.
Normally, I'm not terribly concerned about a manager riding a player, even publicly (if riding him privately doesn't work), but for the Cubs, it's different. Sveum must realize how quickly and how dramatically the fans can turn on a player like Castro because of poor play and he'll have to balance that along with all the other stuff he deals with.
One other problem I have with the comment is this- of all the things to complain about, shitty pitching, shitty bullpen, shitty everything, why single out Castro? Yes, Castro is a shitty defender, but let's not single him out. It's a shit storm.
Appel or Gray?
Appel or Gray?
Gray. But I'll take Appel if
Gray. But I'll take Appel if Houston takes Gray.
The other thing I am dismayed
The other thing I am dismayed about is this "Cubs Way" bullshit.
The EXACT negative things that move the team in the correct direction are still occurring at the same frequency as they have been.Fielding, OBP, RISP failures.
One thing that just burns me where the win margin is microscopic for the Cubs, is the Cubs' pitcher just being able to field their position or do "usual things" to save them from needless arm-wear and losses. Feldman is a case in point for TWO of his three starts! Just wait 'til Garza comes back. Even Samarj. fucked up so far. I mean for fuck's sake - they have been involved with baseball since grade school. And they are learning the Cubs'Way....Oh wait...
I don't know how the minor
I don't know how the minor league players have looked from a fundamentals angle, but that is where you will probably start seeing some improvement with this whole Cubs Way thing. If I remember right, AZ Phil was reporting on some impressive walk numbers among the lower level guys. So if that is continuing, and the error rates are down, and the general play on the field at the lower levels is high, then things may improve. Right now, the major league play is crap, and, sorry to say, that reflects directly on Sveum, whether he likes it or not. I obviously don't know a damn thing about managing a team, so I don't know where it happens when I see a team play good fundamental baseball, but I do see it, almost every time I see another team not named the Cubs play. Does it happen because of good spring training routines? Or is it part of the daily routine every day before a game? I have no idea. Whatever it is, Sveum has not accomplished his task of getting a team out there with solid fundamentals, at least not yet. It's early, but so far, this is a very bad baseball team. Sveum himself said it was very important that they start the year off well. Whoops. What's plan B?
When a team is at the top of the charts two years in a row for errors, this is a problem with the manager. Although, to be fair, it's obviously really early in the year. These guys have all played the game long enough that their skill level at fielding their positions should all be about the same, aside from the standouts. I look at a guy like Rizzo and think to myself that he looks like a natural out there sometimes, and then he just nearly does a somersault as he bounds about making a bone head play. It's baffling.
Hell, E-Man, Garza alone is going to double the Cubs's errors. So it's not looking to get any better anytime soon.
The Cubs way, I believe, is
The Cubs way, I believe, is about how the organization is planning to develop their farm system. What some are forgetting is that Castro was already in the big leagues when Theo took over. I don't think it was ever really an option to send him back down. That said, I don't think Theo would have promoted Castro when Hendry did. He likely would have spent more time in the minors refining his approach and defense. He's been rewarded for doing what the previous regime wanted, and that's hitting the ball without regard for a specific approach or stellar defense. Maybe he wouldn't have come out any different under Theo's direction, but I think it's a mistake to blame the problems of the current Cubs on the failure of the Cub Way
I agree with that pretty much
I agree with that pretty much but Theo did give Castro the mega contract. I think a lot of people agreed with his doing it. I know I did - seemed smart to wrap him up ASAP, given his age and early numbers. I still think he's really not at his ceiling yet, and one of the reasons the club hasn't made a lot of noise about moving him from short is that he has made some pretty amazing plays from deep in the hole. My biggest complaint about all this is Sveum and his public badgering of players. I've managed a lot of people and I would never consider going Glengarry Glen Ross all over them in a meeting if they have some kind of performance issues. Doors have hinges on them for a reason.
$42M over 6 years for a young
$42M over 6 years for a young player's age 23-28 seasons? Even with the player-friendly team option for age 29, it's not a "mega contract" ... it's a hell of a good bargain. All that contract says about Castro is that the Cubs think he's a solid MLB player (doesn't take a genius to figure that one out). He got $78 million less guaranteed dollars than Elvis Andrus did on his extension.
You stop bringing logic into
You stop bringing logic into this. Next you're gonna tell us that Theo was very explicit that the Cubs were going to work from the bottom up, teaching all the young kids the Cubs way and then spending money on FAs. And that he never promised we were going to compete these first years.
I tell you what, a GM telling us his plan and then actually working on it. What is this world coming too.
Re: The new Cub Way: Javy
Re: The new Cub Way: Javy Baez, at Daytona: .234 BA, 24K, 2BB. To repeat: 24K, 2BB. At Single A. Seems vaguely familiar.
Success or fail, that's
Success or fail, that's Hendry's guy, even though I'm sure the new regime hopes it works out. Baez started cold but seems to be swinging a little better the last 10 days.
Of course Hendry drafted Baez
Of course Hendry drafted Baez, and I expect that he will remain at Daytona until he sorts things out.
1 pitch...cubs lead.
1 pitch...cubs lead.
the quest for
.500 .400 .300 gets stronger.
t.wood gives up his 1st HR of
t.wood gives up his 1st HR of the year...after 25.2 ip on the season. keep it up, guy.
cubs lead 2-1 in the bottom 7...throwing another great game tonight.
...and it takes 2 relievers
...and it takes 2 relievers to blow the win for t.wood (who was removed after 1 out and a single...81 pitches...wtf?)
tie game.
marmol throws a 10 pitch, 1K,
marmol throws a 10 pitch, 1K, 1-2-3 outing.
his last 6 outings...
6ip 2h 2bb 6k 0er
marmol going 2 innings
marmol going 2 innings tonight with no backup...odd
no one up in the pen.
he got an out...and has thrown 5 straight balls, walking 1.
make that 6 straight, and the runner stealing 2nd...and ibb on choo to put the double play back in play.
d.barney bobbles what would
d.barney bobbles what would be a double play ball, but gets the out at 1st. sigh.
...and they're not gonna ibb votto (1-14 vs marmol).
make that 1-15...with another
make that 1-15...with another K.
to the 11th!
to the 13th...
to the 13th...
...and the past 4-5 innings has been full of CIN rednecks going "WOOOOOOO!" back and forth to each other in a near-empty stadium because rednecks love to hear themselves be loud. at least it's not the ATL "tommy hawk chawp" i guess.
omg...valbuena 2r HR...hell
valbuena 2r HR...hell yeah.
4-2 chc/cin
no one up in the cubs pen...looks like bowden is gonna go 2ip.
tie game. my god...
tie game.
my god...
...and cesar f'n izturis wins
...and cesar f'n izturis wins it with a RBI single.
There are very few ex-Cubs I
There are very few ex-Cubs I dislike more than Cesar Izturis. It had to be him?
Oh shit Sleepaway Camp is in
Oh shit Sleepaway Camp is in
lulz. classic.
lulz. classic.
Don't let them walk you
Don't let them walk you Starlin
Yeah, this team is 5-13, but
Yeah, this team is 5-13, but its Pythag is 7-11!
Just to complain a little bit
Just to complain a little bit more about a guy who doesn't take the field on a 100+ loss team, a guy who in many other respects is a big improvement over past iterations (Quade, Piniella, etc.), what the hell was going on when Sveum took out Wood? He's seen our bullpen, right? I mean, they did well yesterday until Bowden's second inning, but there wasn't any reason to anticipate those several innings of success.
The manager is the least of
The manager is the least of the Cub's concerns.
Recent comments
based on what SF has been doing every other year lately, getting access to the postseason playoffs seems to be what's important. bring on dat short series!
that said, skipping the sudden death 1-game WC would be nice from here on out.
I know what you are saying, but I feel compelled to point out that there's no such thing as luck, curses, etc. The Cubs this year have as good as a chance as the Pirates to move on to the next round. If the Cubs proceed to the next round or not tomorrow, it will not be because of luck, but because one team outlasted the other. When/if the Cubs are lucky enough to make it to the league series, that's where they may find their biggest challenge. The Dodgers have a good, deep pitching staff.
debuting the new format 1 game "sudden death" WC matchup at yankee stadium does a perfect job of showing the intense emotion and drama this game can be.
that said, i'm ready to not see yankee stadium or hear fans at yankee stadium for another 5 and 1/2 months. at least i don't have to sit through the braves with their "tommy hawk chawp" this postseason.
i'd like to know why the mlb.tv internet radio feed of the game (which is always delayed by a few seconds at best) is almost a minute faster than the ESPN cable TV coverage. wtf?
i dont know what order they'll be in, but i pretty much expect fowler/schwarb/rizzo/bryant/montero/castro/lastella/arrieta. any change at all (aside from the first 4 guys) wouldn't shock me, though. coghlan is still a wildcard in the lineup equation...plus joe could always march d.ross out there with very slow arrieta pitching.
Yup. Have to agree. Baseball, like golf, certainly has that psych component for the player. There is no real reason why a fielding position should affect a batting average. The Cubs are 106 years over due for a little luck. Don't you guys think so? Maybe the rookies can bring some dumb luck on.
probably stacking capable lefties vs cole while keeping the "hot" castro in the game. fwiw, he's 1-6 lifetime with 0 bb/k vs cole (double).
i chalk bryant's issues at the plate while playing OF up to coincidence so far.
I will call your dead horse, "Trigger".
In one game, when anything is possble, I am glad that Joe Maddon is our Manager.
He knows the stats better than all of us. It would seem, IF La Stella gets the start at 3B, it will be only up to the point that they were to get the lead (crosses fingers). From everything I have read, the game will be managed like a hoops game: offense/defense. So expect La Stella to be out of the game by the 5th. This team is incredibly deep which is so surprising. We never woulda thunk it.
i don't know what their roster plans are, but j.herrera is out there practicing with the team.
i can't imagine him making any roster, though. dude had 4 PA the entire month of sept. him being a good dude to be around while keeping the clubhouse loose seems to be his main role at this point.
I know it's my own personal dead horse to beat --but Bryant has been a lousy hitter when playing the OF this year. Given that it's his first playoff game, I really hope they keep him in his natural position and don't mess with his routine.
Lousy as in 8-for-45 with one XBH and no HR. Small sample and all that -- but why take the chance?
hard to tell what's up given they'll probably want to stack as many good lefties into the lineup as possible.
castro being a bit hot doesn't help things. if he was still cool they'd probably stick la stella at 2nd and call it a day.
Madden won't announce lineups but Stella is practicing at 3rd and Bryant in LF today. I'd rather see Bryant at 3rd but I guess Stella has been hotter than Coghlan.
/edit. Though I guess they could be practicing this with the idea Stella would come in as a PH then double switch him to 3rd base and Bryant to LF. Hope that's the plan instead
I really like the sound of that idea about expanding the AFL to ten teams. Each org. gets to field more players.
They should do that anyway, regardless of Adv. Instructs.
Dallas Beeler, Corey Black, David Garner, Pierce Johnson, Steve Perakslis, James Pugliese, Duane Underwood Jr, and Rob Zastryzny threw early-morning bullpen side-sessions at Riverview yesterday.
Underwood threw last, and received specific one-on-one instruction from pitching coach Mike Mason.
HAGSAG: There are only five advanced instructs squads left, and presently the only "co-op" team operating is the Angels/Cubs.
The league was originally established as a "parallel" league to the AFL (a sort of "junior AFL"), for players too advanced for traditional ("basic") instructs but who were unable to get placed on AFL rosters due to AFL player-limits.
He is but I would think it'd be better to start out with offense and then bring in Jackson and LaStella once they have a lead. Stella has very good PH #s too.


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Age 55, passed away on Sunday, December 30, 2012. Wheldon was born March 4, 1957 in North Carolina to Wheldon Floyd Glass Sr. He was diagnosed with lung cancer at the end of November 2012. It took him from us in less than a month. He was preceded in death by his father and very recent his nephew. Weldon loved to hunt, fish, ride his Harley, and ride his quad on the dunes. He served in the Marine Corp for 11 years as a computer technician. He then became a long-haul truck driver for many years, getting to see much of the country. Wheldon Jr. was a wonderful father, son, brother, uncle, grandpa, and friend to all! He will be deeply missed by many.
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Upon completing Albertine Sarrazin's Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had in our 20s, while still bearing a literary feel that is more thought provoking than The Catcher in the Rye. Perhaps this is why Patti Smith, as described in the introduction, carried around the work in her travels for so many years.
Astragal begins in a disruptive and disjointed style, evolving into a tragic love story and ending with the empowering breakup. The anti-heroine, Anne, escapes from prison only to injure her ankle after jumping from the prison wall. From there she crawls to the road, where she is picked up by a criminal, Julien, and taken to a defunct brothel on the outskirts of Paris run by Nini and Nini's boyfriend, partners in crime. The longer Anne is in hiding the more necrotic her leg becomes, until she is eventually taken to the hospital by Nini, who poses as Anne's sister to prevent recognition of Anne as the escapee. After numerous surgeries, Anne's ankle bones are fused together resulting in a painful recovery and a permanent limp. This ankle injury, as you likely guessed, is a subtext for the innocence and often forgotten things in life that can cause inflated problems in our lives, i.e., prison, but once we overcome or move past them, they revert back to their innocent state—except now there is a residual existence manifested through memory and paranoia of their return.
Of course Anne falls in love with Julien, who, of course, leaves often without any notice or indication of when he will return. The reader quickly gets a sense that Julien is involved in some form of smuggling and burglary, but always wins women through lascivious gifts so they will overlook the details of his existence.
Anne, as expected, waits around a little too long and cares a little too much about Julien, causing her to withstand the prison-like conditions Julien has placed her in. That is, Anne has broken out of one prison only to willingly admit herself into a second created by Julien. To add fuel to the fire, the people she imposes on are only deferential when Julien is away or when Anne provides money. As Anne describes,
I realize that my hosts feel a greedy sort of servility toward him, hidden under their friendly tone of complicity, poised between the two extremes of respect for the guy who knows how to steal, and condescension for the guy you're doing a favor for.
Eventually Julien is apprehended by the law and Anne is able to rediscover freedom, although through a man she is not attracted to and which she uses to hide the fruits of her own resorts to burglary.
You have probably encountered slightly different versions of this story before, but Astragal is worth the re-exploration for Sarrazin's frank yet poetical prose and lens of a life that cannot be led by the faint of heart. Astragal would not exist if it were not for Sarrazin's tumultuous life. Like the characters, she was young, imprisoned, and died at 29 due to a botched surgery. (Is anyone reminded of Clarice?)
As Patty Smith explains in her introduction, Astragal easily becomes a travel companion not only for its familiar love story, but also for its honesty on the daily life of someone hypersensitive to their relationship and also to physical pain, and who is now only identified by that relationship or pain.
Due to the focus on slightly seedy characters living under the radar of the law, there is also something scandalous and addictive about Astragal. The reader is left to wonder why Anne never tries to escape from Julien's arranged prisons or his life of crime. However, Sarrazin counters these feelings by leading the reader through Anne's growth and maturation—"Little by little, I get organized, I have a steady income, shopping lists . . ." Despite maturity, Astragal leaves us to wonder whether we are all imprisoned through our loves and relationships.
Originally published in French in 2007, We're Not Here to Disappear (On n'est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls "little literary objects," it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai's French Concession, a novel of colonial-era Shanghai's spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It's easy to see why: the novel's two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann's The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman's Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans's most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you're reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .


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Dec 5, 2012
Chile's Sonda closed books Tuesday and was due to release the price this morning for an equity follow on targeting more than $150m. The information technology firm is selling 53m shares, indicating a CLP77.96bn ($162m) deal at Tuesday's CLP1,471 closing price. Sonda had been authorized to sell up...
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Greenlight, will take to the main stage at Travel Technology Europe 2014, Europe's largest travel-related technology and marketing event, being held at Earls Court 2 in London on 4 - 5 February, 2014. The two day conference will feature thought-provoking speeches, industry panel debates and practical case studies, alongside an exhibition. Greeenlight will be joined by Google and Yahoo.
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Why a multi-device strategy is critical if you are going to grow in search
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Presentation by Hannah Kimuyu given at On The Edge Digital Conference, Birmingham, 19 September 2013. Key takeaways: •Growth of multi-device •The challenges & opportunities •How to get ready •Success story. Learn about the five steps for finding success with mobile


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Eola Hills Cabernet Sauvignon Oregon 2006
Region: USA » Oregon » Willamette Valley » Eola Hills
Winery: Eola Hills Wine Cellars
Color: Red
Varietal: Cabernet Sauvignon
Eola Hills Wine Cellars:
Tom Huggins, founder and general manager of Eola Hills, had a dream rooted in facts. He knew that great wines could only come from great vineyards, and through his former occupation as a agricultural insurance expert, he knew where that precious vineyard land was located. This knowledge enabled him to purchase some of the prime sites for his own vineyards in the rolling terrain of the Northwest... Read more
Tom Huggins, founder and general manager of Eola Hills, had a dream rooted in facts. He knew that great wines could only come from great vineyards, and through his former occupation as a agricultural insurance expert, he knew where that precious vineyard land was located. This knowledge enabled him to purchase some of the prime sites for his own vineyards in the rolling terrain of the Northwest Willamette Valley in Oregon wine country, and to fulfill a dream of creating his own wine. Situated in a natural weather shadow of the Coast Range, which shunts storms from the Pacific Ocean north to Portland and south below Salem, the Eola Hills vineyards are protected from weather extremes. Yet in summer, a gorge carved by ancient glaciers draws in maritime air to provide ideal cooling for sensitive varietals in those warmer months. In 1986 the first crop was harvested and transformed into wine by a nearby winery. The wine's quality provided ample proof of the vineyards' great potential. Therefore, in 1987, Eola Hills Wine Cellars was constructed at Rickreall, 10 miles west of Salem. This location is central to the vineyard holdings as well as other prime vineyards searched out and placed under contract to Eola Hills. With these extensive holdings, the winery is able to control quality throughout the grape growing and wine making processes. This enables Eola Hills to offer the public consumer friendly wines at irresistible prices. For the most sophisticated palates, the winery also produces in very limited quantity, certain Reserve and Late Harvest bottlings, hand-crafted and extensively aged. Always, however, all wines are created to enhance food and ultimate dining pleasure and so are particularly suited to fine restaurants. The Eola Hills premium varietals are aged in a variety of oak barrels, mostly French, to provide subtle complexity to the wines. Several yeast strains are utilized during fermentation to develop appropriate nuances in the various wines. Such attention to detail is also reflected in the vineyards by the hand removal of leaves around each grape cluster to admit maximum sunlight. Eola Hills also produces a number of private label wines for many prestigious restaurants, resorts, hotels and other clients. These wines are identical to those produced under Eola Hills' own label. "Our name," says Tom Huggins, "is on the label as well as the patron's. Both should reap the reputation of serving the very best." Read less
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4.50 505/21/2011
Four and a half glasses
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