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'Tis the season for prognostications on what the new year may bring. That makes it an especially perilous time for investors.
It would be tempting to hitch your investment strategy to one of the many 2014 forecasts that have been spilling out of Wall Street. But that might not be your best move. Financial markets are stubbornly tough to predict. They've frustrated the industry's best minds for generations, leaving many with a healthy dose of skepticism at this time of year.
"Ignore all forecasts that are based on people's opinions: where the stock market is going, where interest rates are headed, where gold is going to go," says Larry Swedroe, a principal at Buckingham Asset Management in St. Louis. Swedroe is the author of the book "Think, Act and Invest Like Warren Buffett: The Winning Strategy to Help You Achieve Your Financial and Life Goals."
Instead of betting on the hot sectors of the coming year, stick to what's worked. Maintain a thoughtful and diversified plan, and don't be distracted by fear, greed or people who are trying to sell you something.
"The average person should be in low-cost index funds. They are probably the best thing to jump into," says Matt Orsagh, a director of capital markets policy at the CFA Institute.
The CFA Institute, by the way, just released its Global Market Sentiment Survey 2014. The survey asks members of the CFA Institute about their expectations for the year.
Among the findings:
- Increasing numbers of investment professionals are confident that the economy will continue to grow. Sixty-three percent of CFA Institute members believe that global economic growth will expand – up from 40 percent last year.
- Nearly a third of those surveyed believe that an easing of the sovereign debt crisis will have the most impact on the global economy, while just over a quarter say that growth in emerging markets could have the biggest impact.
- Twenty-nine percent of CFA members believe that improved regulations are needed globally to bolster investor trust and preserve the integrity of capital markets.
Again, these are merely forecasts, and Orsagh cautions investors from giving them more influence than they're due. "This survey serves as one piece of the mosaic: just one of a number of data points you look at," he says.
Swedroe adds that long-term investors are usually best served by a diversified approach that takes into account their ability and willingness to bear risk. Investors should focus on the elements of their strategy that they can control, he says.
What are your investing plans for 2014?
Get more Investing News with our free weekly newsletter.
Follow me on Twitter: @SheynaSteiner.
Senior investing reporter Sheyna Steiner is a co-author of "Future Millionaires' Guidebook," an e-book written by Bankrate editors and reporters. It's available at all the major e-book retailers.


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Note: This message is displayed if (1) your browser is not standards-compliant or (2) you have you disabled CSS. Read our Policies for more information.
On Thursday, January 13, 2011, these budget recommendations were presented to the Indiana State Budget Committee.
Note: Files available on this page are in PDF format.
Many documents contain blank pages to facilitate two-sided printing.
HB 1001 - The Recommended/Introduced Budget Bill [124 pages, 1.8 MB]
The Full Budget Report [240 pages, 1.3 MB]
SBA Director's Presentation to the Budget Committee (January 13, 2011):
OPERATING and CONSTRUCTION BUDGET:

subset: commoncrawl


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/Healthcare/Homeopathic Medicine/Nux vom. 30C Tablets 125tab
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30C is ideal for active or acute over the counter (OTC) use. 30C remedies should be taken as a short course only, unless prescribed by a practitioner.
Please phone 0115 9448200 if you cannot find the ingredient, strength or form of homeopathic remedy you require.
Nux Vom 30C homeopathic potency on 100mg Lactose/Sucrose tablets
ADULTS 2 tablets, CHILDREN 1 tablet. Tablets to be sucked or chewed. Unless otherwise directed: take 1 dose every 2 hours for the first 6 doses. Thereafter take 1 dose when required. Stop with improvement. If symptoms worsen or persist for more than 7 days please consult your doctor.


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Hi there!
Welcome to my blog.
My name is Melanie and I'm the Reluctant Housewife. I enjoy fine dining and sunset walks on the beach. Well, that's not important right now, is it? Let's get right down to the details so that you can feel at home.
This is me:
Things you need to know about me: My blog is my personal playground. I use this tiny cyberspace to babble about whatever is on my mind or share whatever catches my eye. So one day I might be complaining about a pregnant woman I saw smoking, the next I might share pictures of my kids and the next you might find a funny video or a great song, or I might just play a silly game. Forrest Gump might liken this blog to a box of chocolates, if he really existed that is. Which he doesn't. Just so we're clear.
I also craft. I crocheted the blanket I'm sitting under in that picture and the hats my kids are wearing in the next picture. I also make bead earrings. You can see more of my craft stuff at my other blog Lulu's Hook, or at my Etsy shop which is also called Lulu's Hook.
I have two little boys. One of the other moms at the playground recently said to me, "God only gives two boys to women who can handle it". "Pfft," I say to that, I do. I call the boys Buddy and Monkey here in blogland. Buddy is seven and has scruffy blond hair, freckles and a gap in his bottom teeth where he recently lost his tooth. The gap increases his cuteness exponentially. Monkey is four and has big chocolate coloured eyes and non-scruffy brown hair. They both have quirky personalities. Read more about them (and me!) over there <--- on the left sidebar. Here are my boys:
I also have a husband. I like my husband. A lot. Like, I like like him, you know. Sqweeeee! And the, like, thing is that, like, I think he likes me too. Oh Mah Gawd!
If you'd like a giveaway to enter (a 3 item giveaway!) and my touching (but quick to read) blog story to read AND a funny rewrite of the lyrics to Jenny from the Block by J Lo called Melly from the Blog then head on over to my Blogoversary post.
Happy first day of Spring! And Party on, Ultimate style, yo!
Oops! I forgot to add that my top 3 choices from the prizes are:
1. USC 16 — $50 gift certificate to Kristen's Custom Creations. I love this shop. I already know what I'd buy. This. Love it!
2. USC 27 - Spanish language learning software from Life is Sweet. Hubs and I have been working on our Spanish language skills. Hubs has a knack for language and has picked it up fairly well. I can only say, "Qué passe, guapo?" and "Dos cafés con leche, por favor." and I'm not at all sure those are spelled correctly. So, as you can see, I could use some help.
3. USC 26 — $50.00 Gift Voucher to Hatley. What a cute shop! I love the rubber boots!


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|The Kindle Fire tablet
- A $79 Kindle with Special Offers (and keyboard)
- A $99 Kindle Touch with WiFi
- A $149 Kindle Touch with 3G
And a tablet:
The Kindle Fire for $199, featuring a 7" display, Amazon's own Silk web brower, and wireless syncing of books and movies -- you can pause a movie on your TV and start watching on your Kindle Fire.
Huge implications: B&N is going to be feeling the heat as these are compelling e-ink reader prices (per Mashable their stock dropped 9% after Amazon's announcement), Apple is going to be feeling some pressure as there is finally a viable device that undercuts the iPad on price, and having now crossed that magical sub-$100 price point, methinks this is going to be a huge holiday season for e-readers.
Four new devices, one big day. E-readers and tablets are getting more affordable, and it's going to open up e-readers to new audiences.
What do you think of the new Kindles and the new Kindle Fire? Are you going to get one? (Or more?!)


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REPORT: Kim and Kanye spent almost $1 million on gold-plated toilet seats
Listen to Kanye West on iHeartRadio
Kanye West and Kim Kardashian have been staying with Kim's mom, Kris Jenner, since Kim gave birth to daughter North, but it's only a matter of time before they move into their very own mega-mansion in Bel Air.
The couple is sparing no expense - shelling out millions to outfit the place they'll soon call home. London's The Sun reports that Kimye shelled out a whopping $750,000 on gold-plated toilets, $174,000 each on six special luxury beds from the same company that furnishes the Savoy Hotel in London, and another $750,000 on Electrolux appliances and a Swarovski-encrusted refrigerator-freezer for the kitchen.
A source told the newspaper, "They expect the interior to cost twice as much as the property. They're spending more than a million on a security system alone."
They may not be true royalty, but it's probably a good idea for the celebrity couple to have a super duper security system... after all, somebody's got to watch that [gold-plated] throne!
Photo: Getty Images


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BORDEN-CARLETON – A passenger was seriously injured and the driver of a tractor-trailer from Amherst, Nova Scotia, has been charged following a collision Monday that temporarily shutdown the Confederation Bridge.
RCMP received a call at 11:50 a.m. of an accident involving a street sweeper and a tractor-trailer on the 12.9-kilometre bridge that connects P.E.I. to the mainland. All travel across the bridge was suspended at that time.
"There was a street cleaner on the bridge and it was proceeding to the New Brunswick side at a very low speed when a tractor-trailer hit it from behind," an RCMP spokesman said. "The passenger in the tractor-trailer was seriously injured. He is stable and he is being transferred to Charlottetown. His injuries are not life threatening."
The driver of the bridge sweeper was also injured in the collision.
"He was badly shaken up and bruised," the Mountie said. "He didn't see it coming. He was struck pretty hard and didn't recall some things. He's been released from Prince County Hospital after being treated there."
The driver of the tractor-trailer has been charged under the provincial Highway Traffic Act for driving without due care and attention.
The bridge re-opened to traffic at 4:40 p.m.
Scott Danells from New Brunswick was travelling to P.E.I. when the accident occurred and was caught in the backlog of vehicles for nearly three hours.
"Both the transport truck and the sweeper were still there when I drove by," he said. "The sweeper was bent almost at a 90-degree angle so, whatever hit it, hit it at a pretty good speed, by the look of it, I would say."
Danells said the accident occurred about nine-kilometres in from the New Brunswick side.
Mike Cassidy, owner/operator of Maritime Bus said, bus service to and from the Island was not impacted very much by the closure of the bridge.
"We would have got our morning run in without any difficulty and we would have been affected around 2 p.m. which would have delayed us slightly," Cassidy said. "It was drastic enough to put our Charlottetown office on alert."
The Confederation Bridge is the only link from the Island to the mainland during the winter months, other than air travel.
The crash shut down the link for nearly five hours, prompting questions about would happen if a major incident occurred that closed the bridge for a lengthy period of time?
P.E.I. Transportation Minister Robert Vessey said accidents such as the one that happened on Monday are left to Strait Crossing Inc. and local police to handle.
"I believe there is a protocol in place for a longer period (of closure) with Transport Canada, playing a role." the minister said.
Officials with Transport Canada and Strait Crossing, operators of the nearly $1 billion bridge could not be reached for comment.


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Michael Jackson-Freddie Mercury duets to be released
A series of never-before-heard duets between Michael Jackson and Freddie Mercury will be released this fall. Britain's "Sunday Times" says Mercury's surviving Queen bandmates Brian May and Roger Taylor have been preparing the tracks for release, though it's still not clear how they will surface whether in the form of an album or otherwise. The songs were originally recorded in 1983 but were never fully completed over a reported dispute between Jackson and Mercury. A manager for the late Queen frontman tells the "Times," while the two got on well there was a time when Freddie called him up to complain that Michael had brought a llama to the recording studio. It was then that Mercury apparently said he had had enough and wanted to get out.
Mercury died in 1991 at the age of 45. Jackson died in 2009 at the age of 50.


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'Coach Lindy Ruff still isn't using injuries as an excuse: "You still have to find ways to win games. The work we've put in, to end up losing games is disappointing. We've definitely put the work in to win them. We haven't won them. Will Tim (Connolly) and Max (Afinogenov) help us? Definitely."'
The Sabres Report - January 23, 2008


text: This probably isn't the answer but have you ever used the stick to boot any other type of Linux? I have found some sticks don't boot so well and its not Backtrack thats the problem. It's just the stick itself, while others boot with no problems whatsoever. I would probably try to boot another system from it and see if I have problems with that as well. RIP Linux is another Slackware based live distro used for recovery. It's like 156mgs or something ridiculous. Point I am trying to make is I have a couple of old generic USB sticks that simply won't boot.


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Detroit, MI 48202
Steps for Success Saturday will be held Saturday, October 27, 2012. The event will offer a range of college preparation sessions for middle and high school students and their parents. The program covers preparing for college, researching financial aid and applying for scholarships, and offers guidance on finding the right college. Students and their parents will have the opportunity to take a guided walking tour of Wayne State University's campus, participate in a resource fair to learn about WSU's programs including University-sponsored programs open to middle school or high school students, and enjoy a complimentary lunch in the Towers Dining Hall. The event is free and open to the entire community. To register, visit www.waynestateS4S.eventbrite.com .
Steps for Success is sponored by the Hispanic Scholarship Fund and funded by the General Motors Foundation.


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J. Cole's 'Power Trip' certified platinum
Listen to J. Cole on iHeartRadio
J. Cole is seeing platinum due to the lead single from his second album Born Sinner. This week Cole's single "Power Trip" featuring Miguel was certified platinum by the Recording Industry Association of America.
The milestone comes five months after the single hit airwaves in February. The track peaked at number three on the Billboard Rap Songs chart. It also reached number 19 on the Billboard Hot 100 songs chart.
Meantime, Cole's "Born Sinner" is currently sitting at number three on the Billboard 200 chart.
*Warning: Explicit language
Photo Credit Getty Images


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SPIE journals publish peer-reviewed articles on applied research in optics and photonics. Available through the SPIE Digital Library, SPIE journals feature e-First rapid online publishing and extensive CrossRef linking features allowing researchers easy access to in-depth research.
Authors should read the General Guidelines and Policies for Journal Authors prior to submission. Links to detailed author information are provided on the landing page for each journal.
Journal of Applied Remote SensingThe Journal of Applied Remote Sensing (JARS) is an online-only journal that optimizes the communication of concepts, information, and progress within the remote sensing community to improve the societal benefit for monitoring and management of natural disasters, weather forecasting, agricultural and urban land-use planning, environmental quality monitoring, ecological restoration, and numerous other commercial and scientific applications.
Journal of Astronomical Telescopes, Instruments, and SystemsThe Journal of Astronomical Telescopes, Instruments, and Systems (JATIS) publishes peer-reviewed papers reporting on original research in the development, testing, and application of telescopes, instrumentation, techniques, and systems for ground- and space-based astronomy.
Journal of Biomedical OpticsThe Journal of Biomedical Optics (JBO) publishes peer-reviewed papers on the use of modern optical technology for improved health care and research.
Journal of Electronic ImagingThe Journal of Electronic Imaging (JEI), copublished with the Society for Imaging Science and Technology, publishes peer-reviewed papers that cover research and applications in all areas of electronic imaging science and technology.
Journal of Medical ImagingThe Journal of Medical Imaging (JMI) covers fundamental and translational research, as well as applications, focused on medical imaging, which continue to yield physical and biomedical advancements in early detection, diagnostics, and therapy of disease as well as in the understanding of normal.
Journal of Micro/Nanolithography, MEMS, and MOEMSThe Journal of Micro/Nanolithography, MEMS, and MOEMS (JM3) (formerly the Journal of Microlithography, Microfabrication, and Microsystems) publishes peer-reviewed papers on the development of lithographic, fabrication, packaging, and integration technologies to address the needs of the electronics, MEMS/MOEMS, and photonics industries.
Journal of NanophotonicsThe Journal of Nanophotonics (JNP) is an online-only journal that focuses on the fabrication and application of nanostructures that facilitate the generation, propagation, manipulation, and detection of light from the infrared to the ultraviolet regimes.
Journal of Photonics for EnergyThe Journal of Photonics for Energy (JPE) is an online-only journal that covers fundamental and applied research areas focused on the applications of photonics for renewable energy harvesting, conversion, storage, distribution, monitoring, consumption, and efficient usage.
Neurophotonics Neurophotonics covers advances in optical technology applicable to study of the brain and their impact on the basic and clinical neuroscience applications.
Optical Engineering Optical Engineering (OE) publishes peer-reviewed articles reporting on research, development, and applications of optics and photonics.
SPIE uses the CrossCheck plagiarism screening service to detect instances of overlapping and similar text in submitted manuscripts.


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About seven years ago, Donna Schilder was at a local Chamber of Commerce event where the speaker didn't show up.
In a pinch, the chamber organized the audience into something the Long Beach life and business coach had never done before - a speed networking session.
Under the gun, Schilder and other business people pitched their products or services, then moved to the next person when time ran out.
"That was one of the best networking events I ever went to," Schilder said. "I still utilize the services of people I met there and get referrals from people that I met there, and that made my business swell very quickly."
Made popular during the down economy of the early 2000s, the business version of speed dating has become a more mainstream alternative to traditional networking. Several social networking events have been popping up nationwide, including a noon event today at the Queen Mary and a breakfast speed session on Tuesday put on by the Cerritos Regional Chamber of Commerce at the Cerritos Library.
"You go to these networking events and maybe you only meet maybe two or three people, which is great, but this way you get to meet so many people and then sift through and figure out which ones you want to continue having a relationship with," said Schilder. "It gives you so many choices right off the bat."
Steve Sheldon, the Queen Mary director of Entertainment Events who is organizing today's speed networking event aboard the ship, likened it to being on a cruise.
"You spend a little bit of time in multiple destinations and then you go back and see where you want to spend a little bit more time," he said. "Business people can go through the room and get through 20 to 30 people in one networking session, and then have time afterward to reconnect."
But can a meaningful relationship be built from a 60-second impression?
"I think there's a difference between building relationships and starting relationships," Sheldon said. "Events like these and this event (on the Queen Mary) in particular, give people an opportunity to put their name and business out there and to let them know that it's right in their own backyard. Most of the people who are coming own and operate businesses here in Long Beach. It shines a spotlight on local businesses and gives them opportunities to connect with their neighbors."
firstname.lastname@example.com, 562-714-2088, twitter.com/KarenMeeksPT


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LONG BEACH — A Long Beach police officer already arrested for sexual offenses involving a minor is scheduled to be arraigned Friday on dozens more criminal counts for allegedly engaging in lewd acts with multiple underage girls dating back to 2008.
A total of 39 criminal counts, both felony and misdemeanor, were filed against Noe Yanez by the Los Angeles County District Attorney's Office on Monday, said Jane Robison, DA spokeswoman.
A warrant for Yanez's arrest was issued that same day, Robison said.
Yanez was picked up by Long Beach police Wednesday and booked into the Men's Central Jail in Downtown Los Angeles that afternoon, where he was being held Thursday in lieu of $950,000 bail, according to authorities.
According to the criminal complaint, Yanez engaged in sex-related acts with 13 girls, all of whom were under the age of 18, between January 2008 and April of this year. The complaint also charges Yanez had unlawful sexual intercourse, engaged in oral copulation, committed penetration with a foreign object and provided alcohol to one victim.
Seven counts of false imprisonment by violence were filed, including one girl who was allegedly held against her will last Christmas Eve.
The complaint includes dozens of counts of misdemeanor child molestation, felony contact with a minor for a sexual offense and meeting a minor for lewd purposes.
Yanez, a nine-year veteran of the force, was assigned to the Patrol Division at the time of the alleged crimes. Police and prosecutors haven't said if he met his victims through his job, citing the sensitive nature of the investigation.
Yanez was first arrested and booked on April 19 for possession of child pornography following an investigation into his alleged inappropriate contact with a girl, which, according to police, began with text messages and the solicitation of inappropriate photographs.
The LBPD launched its investigation after the girl reported the alleged conduct to a school resource officer in March. School resource officers are only assigned at high schools, authorities explained.
Yanez was suspended without pay following his initial arrest and remains on suspension pending the outcome of the internal and criminal investigations, police officials said.
He posted bond April 20, following his first arrest, and had been scheduled to be arraigned on that charge Friday at the Long Beach Superior Court.
However, due to the additional victims and the serious nature of the allegations, Yanez's case is now being handled by the DA's Public Integrity Division. He is scheduled to be arraigned on the new charge Friday at the Downtown Los Angeles Criminal Courts building Robison said.
The 39 criminal counts filed Monday include the original allegations for which he was arrested in April.
The investigation remains open and anyone with information is asked to call the Long Beach Police Department Sex Crimes Detail's Tip Line at 562-570-7878. Anonymous tips can be sent via text or email to www.tipsoft.com.
firstname.lastname@example.com, 562-714-2150, twitter.com/tmanzer


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By Rikki King Herald Writer
SNOHOMISH — The Snohomish Police Department plans a free citizens academy this fall, and people are encouraged to sign up.
It's the first citizens academy planned in Snohomish in recent memory, Police Chief John Flood said. People who take the class will learn about how local government works, including the police and fire departments.
Police hope the academy also will generate interest in the city's fledgling Neighborhood Watch program, especially in the northern parts of town, Flood said. About nine groups have signed up so far, mostly in the downtown area.
"We're trying to connect the various communities in the city," Flood said. "We need the public's help in order to make the neighborhoods safer."
Academy participants must be 18 and pass a background check. The schedule still is being worked out, but they can expect a commitment of several hours a week for about 13 weeks.
About 20 spots are available, with priority given to people who live in city limits.
The location is tentative. Applications are due by the end of July .
Snohomish police also are encouraging neighborhood groups to plan safety-themed block parties for National Night Out in August. Groups can register with the police department and get help with organizing their block parties, Flood said.
"We want to come by and say hi, as well as the fire department," he said.
For more information about the citizens academy, Neighborhood Watch or National Night Out in Snohomish, call the police department at 360-568-0888.
Rikki King: 425-339-3449; firstname.lastname@example.com.


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Canadian Pollution Prevention Information Clearinghouse
Welcome to the Canadian Pollution Prevention Information Clearinghouse (CPPIC), an online database and comprehensive resource that provides Canadians with the information they need to put pollution prevention (P2) into practice. Use the keyword search or sector search options to access 1800 pollution prevention resources, or click on one of the groups found below to discover the different features and attributes of this web site. Should you need assistance, either searching the database or navigating through this site, please visit the CPPIC User Guide.
- Date modified:


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Mars Hill, N.C. - The Tornados and Lions battled it out on Friday night in Burt Stanford Arena for the right to go to the 2009 Food Lion South Atlantic Conference Tournament. Brevard dropped the first two games, but rallied to win the next three to attain the last berth in the tournament, 20-25, 22-25, 25-18, 25-21, 15-11.
With the win, it makes it two years in a row that Brevard (14-14, 3-13 SAC) has come from behind to win in five sets and qualify for the SAC tournament, having done it last season against Tusculum College on November 5th.
Chelsea Larsen led the Tornados with 14 kills in the contest and achieved the double-double with 18 digs. Brooke Seaman added 13 kills to the attack and had a huge game at the net with eight blocks.
Rebecca Schoonover led the Tornados on defense with 37 digs, while Osby had nine blocks on the evening, including the game-winner in the fifth set.
Mars Hill (11-16, 2-14 SAC) was led by Evie Tafunai, Danielle Mason and Laura Ann Huskey who each had 10 kills, while Tafunai led the team with 25 digs.
The Lions took the lead in the first set, going up 15-13, forcing a Brevard timeout as Mehgen Flynn and Traci Teague each had three kills early to help the Mars Hill cause.
The Tornados came back, cutting the lead to within one at 19-18 on Larsen's fourth kill of the set, but Huskey came back with a pair of service aces to increase the lead back to 24-18.
Brevard recorded points from Osby and a service ace by Cori Emory to cut the lead back to 24-20, but a service error ended the first set in favor of Mars Hill.
Seaman had three kills in the early going in the second set as the Tornados clung to the slim 11-10 lead after a kill by Morrison, but the Lions came back using a 3-0 run to go up 15-13 capped by a kill by Teague.
Mars Hill threatened to pull away several times in the set, but kills by Larsen, Seaman, Osby and Atkinson kept the game within one at 21-20.
The Lions were able to close out the set as Tafunai put away the Sarah Paquette assists to give the hosts the 2-0 advantage.
The Tornados used a 4-0 run early in the third set to take the 4-2 lead as Seaman and Trojan had kills and Stevenson added a service ace.
The lead improved to 13-9 on Caroline Merrill's serve as the sophomore defensive specialist placed a service ace on the back line and two Mars Hill attack errors helped the Tornados build their lead and a pair of Trojan kills put the lead back at four at 17-13 later in the set.
Trojan continued to have the hot hand as she moved back to serve as the Tornados built a 22-15 lead as the senior outside hitter placed in an ace and a kill during the run.
Larsen closed out the set with an attack from the left side, landing just inside the line on the right to push the game to the fourth set, 25-18.
Brevard rode the momentum into the fourth set as the Tornados took a 6-0 lead as Stevenson placed in the first kill and Seaman combined with Atkinson and Trojan on a pair of blocks. A service ace by Stevenson led to a Mars Hill timeout.
Out of the timeout, kills by Atkinson and Trojan and a pair of aces by Stevenson increased the lead to 10-0.
A service error ended the Tornados run, and Mars Hill responded with a run of their own, cutting the lead back to four at 11-7 as a trio of blocks and a service ace by Flora brought the Lions back into the game.
Mars Hill brought the game the whole way back at 19 as Larsen's attack went into the net. The Lions took the next point on a block error but the Tornados scored the final six points as Larsen sent the game into the fifth set.
The Lions led at the crossover at 8-7, but the Tornados responded, scoring the next three points as a kill by Seaman and errors by Huskey and Teague put Brevard up 10-8.
The Tornados got the game to match point after Osby's kill at 14-11, and Osby's solo block on Tafunai's attempt clinched the match and the last tournament berth for Brevard.
Brevard finishes up the regular season tomorrow afternoon as the Tornados host Columbia (S.C.) College. The Tornados will also recognize their five seniors: Cori Emory, Megan Street, Brooke Seaman, Christin Johnston and Chelsey Trojan, after the game. First serve between the Tornados and Fighting Koalas is set for 2 p.m.


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International Research Experiences for Students (IRES)CONTACTS
|Maija M. Kukla
|(703) 292-8710
Solicitation 12-551
Important Information for Proposers
A revised version of the NSF Proposal & Award Policies & Procedures Guide (PAPPG) (NSF 17-1), is effective for proposals submitted, or due, on or after January 30, 2017. Please be advised that, depending on the specified due date, the guidelines contained in NSF 17-1 may apply to proposals submitted in response to this funding opportunity.
DUE DATESWaiting for New Publication
The International Research Experiences for Students (IRES) program supports development of globally-engaged U.S. science and engineering students capable of performing in an international research environment at the forefront of science and engineering. The IRES program supports active research participation by students enrolled as undergraduates or graduate students in any of the areas of research funded by the National Science Foundation. IRES projects involve students in meaningful ways in ongoing research programs or in research projects specifically designed for the IRES program.
What Has Been Funded (Recent Awards Made Through This Program, with Abstracts)
Map of Recent Awards Made Through This Program


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Only 10% of these forest habitats that once existed on much of Grand Isle still exist today.
The Sanctuary Group sponsors the Grand Isle Migratory Bird Celebration annually to correspond with peak bird migration in April. This event is hosted by Grand Isle Sanctuary Group and supported by the Barataria-Terrebonne National Estuary Program. The Grand Isle Community Development Team, as well as The Louisiana Nature Conservancy, are also major cosponsors for this event.
See songbirds in oak-hackberry woods, shorebirds and waders on beaches and in the marshes and raptors overhead. Grand Isle is an essential stop for songbirds during their spring and fall migrations across the Gulf of Mexico and is one of the best places in the world to see and study birds up close.
The Grand Isle Sanctuary Group invites you to join our Spring Celebration.
Toll Free: (800) 259-0869
Phone: (985) 447-0868
Fax: (985) 447-0870
BTNEP Office
320 Audubon Dr.
N. Babington Hall, Rm 105
Thibodaux LA 70301
P.O. Box 2663
Thibodaux LA 70310


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Already know your needs? Submit your RFP here and it'll be assigned to one of our destination experts.
3790 Las Vegas Blvd S
Las Vegas, NV 89109
Phone (Toll Free): (800) 693-6763
Phone (Local): (702) 740-6463
Live free. Dine Well. Drink good beer. Inspired by a group of extraordinary Irishmen who led lives of great adventure, Nine Fine Irishmen Pub is of epic proportions starring a grand Victorian-style bar, ornate cottage areas, shop-style snugs, and two levels of outdoor patio dining with a spectacular Las Vegas Strip view. As for food and drink, our chef feverishly worked to create tempting signature dishes made of only the freshest, natural Irish ingredients. Pair these with the finest stouts, ales, lagers, spirits, music, and entertainment by special guest artists and you've got yourself a little piece of the Emerald Isle in the heart of Las Vegas! This venue is available for private and semi-private events. Please contact the venue for more information on rental space, catering, and availability.


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We're excited to introduce a two-ingredient product that speaks to the purist in you who's looking for clean and simple snacks that are healthy AND taste delicious. That's it. fruit bars are made with literally two ingredients: fruit and fruit and that's it! You can't get any simpler than that!
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@SteveMBarnes We hope you had a great run @SteveMBarnes ! Sending you lots of fruity love on your runs. <3


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Solve your family photo mysteries with these books by Maureen A. Taylor:
Once I have an address for an ancestor, I often use sites like Zillow and Google Maps to locate places where my family lived.
Yvette also sent along a photograph of her grandmother, posed to show off her oversize coat, taken in 1921. It's a great fashion photo.
It's an intriguing photo due to the connection to prominent Philadelphia residents involved in the Underground Railroad, and because of that suit. Yvette is looking for a family with a son and a daughter that had a connection to her relatives.


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The Tacoma-Pierce County Economic Development Board's annual meeting at the Greater Tacoma Convention and Trade Center today highlighted the group's annual Top 10 list of notable projects capped by news that Amazon is working on a $100-million distribution facility in DuPont that will employ some 300 people when it opens this fall.
But there were other notables as well, including a $30 million Navy contract landed by Safe Boats International or news that Carlisle Construction Materials is siting a 400,000-square-foot manufacturing facility in Frederickson.
Former Congressman Norm Dicks received the EDB's Golden Shovel award for his long roster of supporting economic development in the region.
Kevin G. Hall, McClatchy's national economics and finance correspondent, served as the keynote speaker and talked about the federal cuts thanks to the failure of a deal to avoid the mandatory cuts under sequestration.
He equated the lack of a deal to a couple going out to dinner and fighting over who eats the bread instead of talking about who feeds on the steak since the proposed cuts or even the new revenue ideas don't tackle the issues of entitlements that are growing faster than the economy or new revenues.


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FRITZ!Box 7430 Service - Knowledge Base
AVM Content
Error message "Unidentified Network" in the Windows Network and Sharing Center
A Windows computer cannot connect to the Internet using the FRITZ!Box's Internet connection. The error message "Unidentified Network" is displayed in the Windows Network and Sharing Center.
Important:Some of the settings described here are only displayed if the advanced view is enabled in the user interface. The configuration procedure and notes on functions given in this guide refer to the latest FRITZ!OS.
Simply proceed as described below. After each measure, check whether the issue persists.
1 Enabling the FRITZ!Box's DHCP server
The FRITZ!Box is configured as a DHCP server in the factory settings. If you disabled the FRITZ!Box's DHCP server, configure the following settings:
- Click "Home Network" in the FRITZ!Box user interface.
- Click "Home Network Overview" in the "Home Network" menu.
- Click on the "Network Settings" tab.
- Click the "IPv4 Addresses" button.
- Enable the DHCP server and define the range from which the FRITZ!Box assigns IP addresses.
Note:The FRITZ!Box has the IP address 192.168.178.1 (subnet mask 255.255.255.0) and assigns IP addresses from xxx.20 to xxx.200 in the factory settings.
- Click "OK" to save the settings.
2 Configuring the computer as a DHCP client
To ensure that the computer always uses the correct IP settings, make sure that it is configured as a DHCP client (this is the standard setting for most operating systems):
- Configure the computer to automatically obtain IP settings (DHCP).
3 Configuring the computer's firewall
A firewall is preventing the computer from obtaining its IP settings from the FRITZ!Box's DHCP server:
- Configure the firewall on the computer so that it allows connections from the computer to the FRITZ!Box. Refer to the manufacturer of the firewall for information on how to set it up, for example consult the manual.


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Just in case any of u wish to install Dropbox without all those heavy gnome dependencies, just do this:
Download your flavour .tar.gz from the Dropbox page
Extract it so as to create a .dropbox-dist folder and move it to /root
Run the daemon: /root/.dropbox-dist/dropboxd
(First time run, it will ask u for your account and target folder). Your panel will show the icon now.
In order to load the daemon at startup just create a symlink:
cd /root/.kde3/Autostart
ln -s /root/.dropbox-dist/dropboxd dropbox
Take care


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Exeter NH Lifestyle
Last week while working out of our Exeter office I was able to take a nice noon time walk along the Squamscott river at Swasey Parkway. The day was sunny albeit a bit on the chilly side. I laced up my sneakers, turned my ipod on and walked down along Water Street down to the Swasey Parkway. Spring has had a late start in New Hampshire and Exeter is no exception. Even so, I could see flowers starting to sprout and grass turning green. The walk along the Swasey Parkway was peaceful and quiet with just a few other people out enjoying the weather. Exeter NH lifestyle includes parks, rivers, shops, night life and of course Phillips Exeter Academy.
From the Town of Exeter's website info on The Swasey Parkway
Swasey Parkway was a gift to the Town of Exeter from Ambrose Swasey in November 1931. The Parkway follows the Squamscott River and is lined with trees and park benches for all to enjoy.
A new performance Pavilion was completed on the Parkway in 2007. The Pavilion is used for the annual Parks and Recreation summer concerts and other events. The park is the perfect place for outdoor activity. Jogging, picnics, walking, or just enjoying the fresh air.
Exeter NH Lifestyle and Real Estate
Our Exeter office is located right on Water Street across from the famous Exeter Bandstand which by the way was also a gift to the town by Ambrose Swasey and no matter what season or time of year downtown Exeter is a bustling historic community.
If you're interested or know someone who is thinking of buying or selling in Exeter please give us a call at 603-944-9172. Real estate in Exeter is plentiful with many different styles of homes thus assuring something for every budget and we would love to help with all your Exeter NH real estate needs.
Squamscott River Swasey Parkway Video
$374,500 : 131 Court Street #7, Exeter2 beds, 4 baths
$224,500 : 30 Charter Street #13, Exeter2 beds, 2 baths
$729,000 : 20 Franklin Street, Exeter3 beds, 4 baths
$448,000 : 164 High Street, Exeter3 beds, 3 baths
$79,900 : 2 Lilac Street, Exeter2 beds, 2 baths
See all Real estate for sale in the town or city of Exeter.
(all data current as of 7/26/2017)
Listing information deemed reliable but not guaranteed. Read full disclaimer.


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|Map marking Walton County, Georgia
For the past half decade I have been fascinated and puzzled by an extraordinary annual event, a reenactment each late July of the horrific 1946 lynching of four young African Americans at Moore's Ford, near Monroe in Walton County, Georgia. Since 2005 hundreds of people have gathered at several sites in Walton County to watch amateur performers reenact the key events associated with the lynching. At the culminating moment, around 6:00 p.m., a sedan arrives at an isolated bridge, carrying the four African American victims and a driver playing the role of a local white farmer. Other reenactors playing Klansmen emerge from the woods and wrestle the screaming victims out of the automobile and down the embankment, where they are repeatedly shot in front of the audience.
In documenting and trying to understand the varied perspectives on this event, I have attended rehearsals and planning sessions, and have been taken into the confidence of supporters and opponents of the reenactment.1 I count among my dearest friends persons on all sides of controversies over the reenactment.2 I have been deeply torn, and seen my friends torn apart, by bitter arguments over the wisdom and impact of the performance. Does it call necessary attention to a long-suppressed crime? Does it encourage witnesses to come forth, bringing evidence that might contribute to successful prosecution of this six-decades-old cold case? Or does it undermine the work of racial healing and reconciliation undertaken by interracial organizations? Does it unintentionally feed cycles of hatred and retribution, raising the possibility of new acts of violence even as it polarizes those who ought to be in dialogue?
Those who organize and participate in the annual reenactment argue passionately among themselves: Should performers strive for historical verisimilitude by wearing period-appropriate dress and deploying period-appropriate artifacts, including a vintage automobile? Or should they strive only to evoke the "spirit" of the event, wearing regular street clothes and using objects associated with present day experience? What does it mean to reenact a human rights atrocity at the locale where it took place?
Considering Reenactment: Between Ritual, Mythos, and History
Before examining the annual Moore's Ford events in detail, it is helpful to locate them in the broad history of reenactment, perhaps the oldest genre of human performance, long preceding the emergence of theater. Our early ancestors presumably reenacted remembered movements of hunting and gathering and the foundational acts of ancestors and divinities. All ritual practice may be conceived of as a kind of reenactment, recreating prior ritual action as well as the putative activities of humans and sacral beings. Ritual dramas and masquerades organized by cultic associations in temple complexes and sacred landscapes were common throughout the ancient world, dynamically conjoining mythic pasts, seasonal cycles, and proximate experience.3 Pilgrimage, among the most ancient of human ritual dramas, is predicated on the recreation of prior sacred journeys (including the celestial tracks of the moon and planets) and is often modeled on mytho-historical acts of mobility. The great cycles of Medieval passion and mystery plays sought to reenact (or to anticipate) for the faithful the great events of scripture, from Genesis to Doomsday. Devotional crucifixions, reenacting in visceral form Jesus' agony on the cross, have been performed for generations in Mexico, New Mexico, and the Philippines.
Although present-day "living history" reenactments have foundations in ancient rituals, "reenactment" in its modern sense is more often understood as a secular phenomenon. The most prominent of all forms of modern reenactment, the staging of US Civil War battles, developed in the late 1950s and the early 1960s, as men dressed in Civil War uniforms joined with the North-South Skirmish Association to stage battles on the occasion of their centennials.4 Scores of Civil War reenactments are performed each year by thousands of reenactors, viewed by tens of thousands of audience members and supported by a considerable industry of artisans. Although most of the early reenactors were white, a number of African American reconstructed regiments, such as the Massachusetts 54th USCT, regularly participate in these events. The reenactment phenomenon has proliferated globally to include battles of the English Civil War, the American Revolutionary War, the War of 1812, World War I and World War II, as well as medieval and Viking combat and Royal Navy expeditions. Battle reenactors have been recruited, in turn, to re-perform events other than military conflict; in 2001, for example, the artist Jeremy Deller staged an elaborate reenactment of a violent clash between police and union activists associated with the 1984-5 strike of British miners.5
Although most reenactments tend to emphasize the heroic, there is a tendency to evoke tragic and horrific events, activities which often echo ancient ritual dramas. Although to my knowledge, Holocaust activists do not stage live costumed reenactments of the horrors of the death camps, solemn tours through the camps resonate with earlier practices of pilgrimage, placing visitors in visceral, intimate contact with sites of extermination and martyrdom. These experiences are mimetically evoked in some Holocaust museums, in which visitors move through or near a train box car of the sort that might have carried Jews to the camps; similarly several museum renditions of the Middle Passage move visitors through recreations of the holds of slave ships.6 Midway through the the National Museum of American History's celebrated "Field to Factory" exhibition of the African American Great Migration, visitors were forced to chose between passing through doors marked "White" or "Colored."7
"Living History" stagings at museum and heritage sites struggle over forms of legitimate authenticity when grappling with the "tough stuff" of memories of genocide, oppression, and structural violence. Costumed staff members at Colonial Williamsburg have reenacted slaves since 1979, but the violent treatment of enslaved persons, such as lashings or branding, is not depicted.8 Nonetheless, some visitors were initially left with the impression that modern African Americans were being held in bondage.9 In October 1994 Colonial Williamsburg presented a reenacted slave auction.10 Stirring national controversy, this event has not been repeated.
Less prominent auctions and events from the slave trade and slavery times continue to be reenacted around the country. In Selma, Alabama, community activist Afriye We-Kandodis takes tour groups, usually of students, through darkened sections of the Museum of Slavery and the Civil War. For much of the tour, participants are treated as slaves--yelled at with racial epithets, crammed into a reconstructed slave ship, and subjected to an auction in which families are torn apart. Activists have sometimes reenacted slave auctions and evoked lynchings in the context of political protests or educational projects.11 At the opening of an exhibition of lynching photography during Black History Month in February 2006, African American graduate students staged a didactic lynching reenactment on the UCLA campus.12
Lynchings were reenacted in the late nineteenth century for commercial purposes. In the 1890s several commercial audio recordings evidently were made of reenacted lynchings of African Americans, including spectacle lynching of Henry Smith of Paris, Texas, in 1893. Such recorded reenactments were not produced as works of protest, but, like hundreds of photographic postcards of spectacle lynchings, were made to satisfy white public voyeuristic curiosity.13
|Ellen Schattschneider, Reenacted beating, Moore's Ford, Georgia, 2009.
The Moore's Ford reenactment is emphatically understood by organizers and participants as an act of political and moral protest. It is not sponsored by a museum, historical society, or educational institution. It appears to be the only reenactment of a racial atrocity in the US South performed on an annual basis in front of substantial audiences.
Just as participants and erstwhile allies debate difficult questions about the reeanactment, external observers are often deeply perplexed. How do we begin to make sense of this event which so deeply moves participants and witnesses, infiltrating their dreams and nightmares?
Of the many explanations offered by participants, I am struck by a remark from a woman I shall call "Jane," who has several times played the role of Dorothy Dorsey.14 Jane observes, "this reenactment. . . lets us hold on. We're holding on to those who can't be held." What is being held onto through the performance? Ritual may never solve the underling contradictions and tensions at the heart of a social system, but it can recast those contradictions as paradoxes, so that we experience moments that are profoundly moving. The Moore's Ford reenactment is an avowedly anti-racist and multiracial event, closely allied with the Black church and the moral aesthetics of the civil rights movement. Participants are engaged in trying to work out, and at least partially resolve, a set of underlying conundrums such as the status of the dead in US society. In Symbolic Exchange and Death, Jean Baudrillard argues that one of the signal conditions of modernity is our diminished capacity to engage in meaningful, symbolic exchanges with the dead.15 Under the conditions of what Michel Foucault terms the "biopolitical," death has been so medicalized, neutralized, and disenchanted that we are deprived of being reciprocally linked to those who have passed away.16 And yet, Baudrillard suggests, we long for such reciprocity, to be bound in give and take with those who no longer dwell among us. Hence, our particular fascination with the victims of mass violence and catastrophe; the energies associated with the horrific conditions of their loss can be redirected towards new kinds of exchange relations among the living and the dead.
Jane's reference to "holding on to something that can't held" has multiple resonances. The Moore's Ford reenactment summons up tangible presences of the intangible dead. As the performers take on the persona of the martyred victims, they allow the dead to enter into reciprocal relations with the living. Beyond that, this ritualized event enacts the impossibility and the necessity of holding onto a stable sense of self when confronting the problem of human violence.
The Moore's Ford Lynching: Historical Background
|Photographer unknown, Burial of one of the four Moore's Ford Bridge lynching victims in Mt. Perry Baptist Church cemetery, July 1946. Copyright Atlanta Journal-Constitution. Courtesy of Georgia State University Library and the Atlanta Journal-Constitution.
The summer of 1946 saw extensive incidents of racial violence across the Deep South, much of it directed against returning African American servicemen, thought by white segregationists to pose a direct threat to Jim Crow. White-perpetrated violence was intense in Georgia, as a bitter gubernatorial election battle revolved around the US Supreme Court decision (Smith v. Allwright) authorizing black participation in the Democratic primary. During that summer, at least four lynchings took place in Georgia. (The only African American brave enough to vote in one district was shot to death.) Of these racial assaults, the most notorious were the killings at Moore's Ford, about sixty miles northeast of Atlanta. Walton County was Georgia's leading cotton producing county, where the hilly landscape discouraged mechanical cotton pickers and where direct white control over black farm labor remained vital. The Moore's Ford incident is consistent with the argument of historical sociologists Tolnay and Beck that lynching, in this time and place, can be understood as part of a system of labor control, strongly correlated with the intensity of cotton cultivation.17
The precise details of the Moore's Ford killings illustrate the webs of affiliation, opposition, resistance, and complicity that characterized racial politics.18 On July 14, 1946, Roger Malcom, a Walton County African American sharecropper and his employer, a white farmer named Barney Hester, had a violent altercation. Malcom suspected Hester of having an affair with Dorothy Dorsey, Malcom's lover (sometimes referred to as his common law wife) who like Roger had been working for the white farmer's family.19 Hester, some report, was attempting to whip Malcom for beating Dorothy. Malcom stabbed the white farmer with a knife and fled. He was apprehended by local whites. Hester eventually recovered from his wounds, but at the time it was widely expected that he would die. While Malcom was being held in the county jail in Monroe, local white supremacists, including prominent Klansman, laid plans to lynch him.
On July 25, Loy Harrison, a local white farmer and the employer of Dorothy's brother, George Dorsey, bailed Malcom out of jail, explaining that he was going to drive Malcolm to his farm where he could work off his bail. Harrison, like other wealthy white farmers, frequently employed coerced black laborers in this penal-agrarian system, which, as Douglas Blackmon has demonstrated, was in important respects a structural extension of plantation slavery.20
Also in the vehicle was Dorothy Dorsey, Dorothy's brother George, and George's companion Mae Murray. George Dorsey was a US Army veteran, recently returned from service in the Pacific. Harrison drove his car on a circuitous route before bringing it to the isolated bridge over the Apalachee River at Moore's Ford, on the border of Walton and Oconee counties. Twelve to fifteen armed white men stopped the car, violently removed the four African Americans, and hung a noose around Roger Malcom's neck. Within minutes all four had been dragged down the embankment and shot dead, their bodies pierced by scores of bullet holes. There is some evidence that the white murderers may have initially planned on killing only Roger Malcom, but when one of the African American women spoke to the white ringleader by name, the Klansman decided to kill all four.
|FBI Reward poster, 1946. Courtesy of the Federal Bureau of Investigation.
The lynchings attracted national attention, first in the black press and then in the mainstream white media. A large reward was offered for information. Disturbed that a returning serviceman had been killed, President Truman ordered an FBI investigation. He later asserted that the murder was the final factor leading to his order to desegregate the US Armed Forces.21 No indictments were ever brought and the case remains officially unsolved.
In 1991 a white witness came forth to describe the details in killing (although he did not identify any of the still living perpetrators). Largely as a result of Associated Press coverage, a multiracial local group formed. The Moore's Ford Memorial Committee sought both justice and reconciliation, and over the years has sponsored public hearings, scholarship banquets, and film screenings. Still no indictments have resulted.
The Moore's Ford Reenactments
In spring 2005, senior figures in the Southern Christian Leadership Conference proposed a reenactment of the Moore's Ford lynching. As one activist, whom I shall call "James," said, "We need some shock therapy to move things forward. White folks are just in a state of denial on this case, and this'll be something nobody can ignore." His friend Walter added, "white folks love their Civil War reenactments, which is mainly one big fantasy about the Lost Cause being so noble, so why not reenact some real history for a change?" Organizers hoped that a reenactment would encourage long-intimidated witnesses to come forward and identify the surviving killers.
Working with several African American politicians, local residents quickly organized a reenactment event, to take place that July on the fifty-ninth anniversary of the killings. The event was highly controversial within the Moore's Ford Memorial Committee, and members remain divided over its wisdom. Although organized hurriedly, the July 2005 reenactment captured national press attention, including a prominent article in the New York Times as well as CNN coverage.
In some respects this was the most dramatically interesting of all the reenactments; at the last minute, the white people who had volunteered to play the murdering Klansman backed out, so a group of African American men had to play the white killers. Some wore white cloth coverings over their heads, others wore store-bought white masks.
The daylong event began with a commemorative rally in the sanctuary of First African Baptist Church of Monroe, where civil rights activists including Rev. Joseph E. Lowry and Rev. Jesse Jackson spoke. The group drove by motorcade to the site of the Hester farm where the initial stabbing took place, then to the jail in downtown Monroe where Roger Malcolm was bailed out, and then to the Moore's Ford Bridge where the killings were staged. At each stop two African American organizers narrated the events via megaphone.
At the Moore's Ford Bridge, the Klansmen dragged the four African Americans down the embankment to the glade. There they were "shot" repeatedly, as fire crackers were lit, and fake blood poured over the prone bodies.
In contrast to Civil War reenactments, reenactors did not wear period dress or use period-appropriate automobiles. The most authentic thing about the first reenactment was the use of actual (empty) firearms by the men playing the Klansmen. In initial years, the Klansman wore signs or headbands saying KKK; in summer 2008 they simply wore white T-shirts. In 2009 they wore street clothes. From 2006 onwards white persons, many of them Atlanta-based peace and justice activists have played the Klansman.
African American residents of Walton County usually portray the victims (some of them distant kin). None of the performers have acting experience. Since recruiting white men has proven difficult, white women often portray Klansmen. For several years, a prominent white peace activist served as theatrical director. In 2009 and 2010, however, the event was under African American direction.
|Ellen Schattschneider, Volunteer performer reenacts gubernatorial campaign speech of the sort given by Eugene Talmadge in the summer of 1946, courthouse annex in Monroe, Georgia, July 25, 2009.
Other than journalists and scholars, very few white persons have attended the reenactments as audience members. (The white participants, who play Klansmen, gubernatorial candidate Eugene Talmadge, or Talmadge's cheering white supporters, usually come from Atlanta and Athens and are not Walton County residents.) Each year the reenactment generates a great deal of local press and television coverage, so most adult residents of Walton County are aware that it takes place, but very few local whites choose to attend. Opinion of the reenactment varies strongly among residents of Walton, Oconee and Clark counties. So far as I can tell, most local African Americans are supportive of it, and most local whites tend to express reservations about it. Yet there are significant exceptions. The white family on whose property the reenactments take place each year have been highly supportive of the event, and have made sure that a gate in their fence line allows audience members easy access to the lower clearing by the river when the firing squad is assembled. A local white business leader, who has given financial help to memorialize the killings and who quietly supports the reenactment, opines that his fellow white citizens "sometimes need to be hit by a two by four to pay attention to the real history of what was done to black people in this county." He has not, however, yet attended any of the performances.
As in previous years, the 2009 reenactment began with a commemorative event held in the sanctuary of the First African Baptist Church in Monroe, with civil rights leaders and community activists delivering speeches.22 The reenactors were presented and then headed off to their places of performance. A caravan traced the route: first out to the Hestertown farm where the initial stabbing occurred. (For several years the stabbing was reenacted at Hestertown, but in 2008 this episode was suspended out of concern of sparking renewed violence in a volatile setting.) The convoy then returned to the old Monroe jail to to witness the bailing out of Roger Malcolm. As costumed white women cheered, an incendiary racist speech by Eugene Talmadge, of the sort he gave during the violent summer of 1946, was reenacted near the jail. Roger was bailed out by the white farmer, and he and Dorothy embraced before getting into the automobile. The witnesses drove out to Moore's Ford Bridge, where they waited for the car. In previous years, the crowd had milled around chatting, but in 2009, an Atlanta pastor led the singing of freedom songs.
Around five o'clock the crowd parted as the car arrived. The lead Klansman marched across the bridge, pounded on the car hood and shouted, "We want that nigger!" Klansmen previously hidden in the woods rushed in. They wrestled out Roger, beat him, and placed a noose around his neck. They removed George Dorsey and beat him. Other Klansmen dragged a visibly pregnant Dorothy down the embankment. (In 2009 and 2010 one of the Klansman dragging Dorothy was played by an African American woman, wearing a blond wig.)
In the glade by the river the four victims were roped together. TV camera crews and videographers jostled for places. Ignoring the pleas of the four African Americans, the Klansmen aimed and shot, and the victims fell. They shot them again at close range as firecrackers simulated gunshots. Then Klansmen poured blood over the prone victims.
One of the most dramatic, and controversial moments in the reenactment came with the staged cutting out of a seven month old fetus from the abdomen of the actress playing Dorothy Dorsey. In 2007 the baby was triumphantly held up by a Klansman. In the audience, I heard someone say, "White man the devil." "Worse'n the devil," added another person. In 2008 and 2009, the display of the bloody fetus was performed in a more muted fashion, in part because of protests voiced by white feminist participants, who were worried that excessive focus on the fetus played into local anti-abortion politics, and out of concerns over the historical accuracy of the claim that Dorothy was pregnant at the time of her murder.
From 2006-09 the reenactment concluded as a local African American woman sang Thomas A. Dorsey's "Precious Lord," Dr. Martin Luther King, Jr.'s favorite hymn, over the prone bodies:
Precious Lord, take my hand
Lead me on, let me stand
I am tired, I am weak, I am worn
Through the storm, through the night
Lead me on to the light
Take my hand precious Lord, lead me home
|Ellen Schattschneider, Singing over the bodies, Moore's Ford, Georgia, 2009.
In 2007 she was asked by organizers to wear a white, angelic dress as she sang; in 2008 and 2009 she wore an 'ordinary' dress. As she sang, scores of onlookers rushed forward to photograph the "dead" bodies lying on the ground, in a moment that, to some troubled viewers, recalls the gruesome history of photography of spectacle lynchings from the 1880s onwards.23
In contrast to previous years, in 2009 as photographers photographed the bodies, a pastor recited a prayer into the megaphone. Finally, the victims stood and were comforted and cleaned by other performers and stage hands. There was a good deal of tearful embracing. In 2008, the reenactor playing George Dorsey remarked, somewhat wonderingly, "We come back to life, we come back to life."
After the "killings," participants and witnesses were invited to First African Baptist in Monroe for a meal and fellowship. Many gathered on the church's front steps where a man who had recently moved back into the area shared materials related to a lynching in his own family which he believes was captured in a photograph from the "Without Sanctuary" collection.
The July 2010 reenactment made a few alterations from previous years. None of the performers who had played lynching victims were willing to do so this year, so four young people were hurriedly recruited from Athens. Perhaps due to the heat, media fatigue, and confusion over the scheduling, attendance was much lower, and no television or radio journalists were present. At the last minute, the lead organizer, a Georgia state representative whom I will call "Thomas Boyd," decided that audience members should park about a quarter mile from the lynching site and walk en masse to the river singing freedom songs. He also decided that the audience should not assemble on the road near the bridge, but instead should gather on a grassy glade directly in front of the "firing squad" area. Rather to the performers' surprise, no audience members could witness the carefully rehearsed wrestling of the victims out of the car by the Klansmen. Audience members only heard the shouts of the Klansmen and screams of the victims echoing through the woods until the actors appeared in the glade where the shooting took place.
During rehearsal on the riverbank that morning, the two male victims, who had never attended the reenactment, were directed by a local activist, William Mason, who as a young man had been an Atlanta gang member. He told the two young men that as they were dragged to their deaths to devote their energies to "protecting their women." He also advised that they remain defiant to the end. "Shout out, 'You will not be forgiven for this!'" They followed his advice, sheltering the women from the Klansmen's blows and crying out resolutely as they fell.
Due to confusion, the scheduled singer of "Precious Lord," a male church elder, did not come out of the crowd to sing over the prone bodies. The lead organizer prevailed upon a young girl who sang the hymn, in a gentle, soft voice. No benediction was recited as spectators gathered around the bodies to take photographs.
Dreamscapes and Interpretation
My descriptions of the reenactment do not begin to convey the emotional complexity of this annual event. Participants and witnesses describe the experience of performing or seeing the reenactment as being in a kind of "dream," or as being trapped within a "nightmare." I have come to think of this ritual event as resting upon a vast and turbulent psychic geography of suffering and loss, an emotional cartography not easily articulated by those who traverse it, but hinted at by the dreams and visions reported by participants and witnesses.
Timothy, a white man in his fifties, played a Klansman in the 2007 reenactment. At the July 2008 rehearsal, when the director asked him to take the role of the lead Klansman who orders the actual killings Timothy turned to me and said, "Let me not drink from this cup," but reluctantly consented. An experienced marksmen and hunter, during the rehearsal he explained to the other white reenactors how to handle firearms convincingly. Timothy grew up some miles down the Apalachee River from the Moore's Ford site and has come to think that an uncle might have been one of the Moore's Ford killers.
On the afternoon of the reenactment and a few minutes before the car arrived, Timothy and his young "sidekick" James were chatting on the bridge. He seemed a man transformed, clutching his rifle. He bristled when my wife Ellen and I approached holding our video cameras. He seemed to have forgotten who we were and angrily ordered us off the bridge. A half hour later, after the event was concluded, he came to us to chat in his usually friendly manner. He explained that he couldn't recall what had happened throughout the reenactment. "It's a horrible thing to do," he said, "I was not there. I'd say it's a fugue state. I'm still a little bit in shock. It's not somewhere that you want to inhabit."
The night before the reenactment Timothy had a nightmare. He had been given an enormous writhing cobra and told to take care of it. The snake struck him, sinking its fangs deep into his right side. The spot he pointed to, it occurred to me, corresponded to the site where Jesus was lanced by the Roman soldier. Like a half dozen of the 2009 Klansmen, Timothy could not bring himself to participate in the subsequent year's reenactment.
A different kind of beast stalks the imagination and nightmares of Pamela, an African American woman in her fifties who is locally recognized as one of the closest family members of the lynching victims. Although active in Moore's Ford memorial activities over the years, Pamela has become disenchanted with the reenactments. She senses that an enduring force of rage and hate resides under the bridge compelling the re-staging of the event. "As blood cries out for blood," she says, "hate cries out for hate."
Like others, Pamela senses a brooding presence. Once, as she approached the bridge, an unusually large buck deer emerged slowly from the woods and stood on the road staring at her. She associated this deer with the unquiet, tortured soul of one of the victims, the legal husband of her mother. "He was," she says, "a mean and violent man." Pamela speculates that the malevolent power under the bridge has harmed African American and white residents of Walton County trapped in cycles of violence, drug addiction, and incarceration. From under the bridge, the beast of Pamela's visions reaches towards her own family members.
Pamela has been deeply moved by the work of the Atlanta-based, African American artist Kevin Sipp. Sipp notes that many of the young Atlanta gang members with whom he works are plagued by a persistent nightmare in which they are chased by an invisible mob intent on killing them in horrific ways. Sipp believes the gang members are reborn souls of those who were lynched, whose wounded spirits seek to inflict the very pain that killed them. A literal reenactment of violent death, Pamela fears, encourages cycles of violence, the "very dangers that are stalking our young black men." As an alternative to the reenactment, Pamela has contemplated a ceremony for healing the land at Moore's Ford, perhaps centered on the bottle trees sculpted by Sipp, bearing 'strange fruit,' that would provide a resting place for the murdered.
State representative Boyd, the principal reenactment sponsor, has his own dream visions. The week before the 2008 reenactment he reported a repeating dream in which he heard a voice, which he believed came from the Lord, telling him that the unborn Malcom baby boy needed a name. "And that name, I was told, was Justice. Justice Malcom." He passed along this story to the print media and on radio, and sermonized about it at the First African Baptist Church in Monroe on the day of the reenactment. "We now name this baby Justice, denied Justice in death, he is accorded Justice in the hereafter." Close family members, including Pamela, later took great exception to the naming of the baby by a non-family member and protested in the local media.
Representative Boyd finds in the reenactment a narrative of continuity with an emphasis on kinship bonds among men. In the face of the centuries of violence against black manhood, he receives a vision of a lost male child, returned to the living against all odds. Through the ritual process, the struggle for "Justice" gives birth to a male issue that bears its name. His personal vision promises the restoration of an idealized patriarchal African American family, delivering a posterity that had seemed to be violently truncated. Through his dream narrative Fatherhood and proper generational succession are restored. In the complex kinship dynamics in these narratives, conventional distinctions between victim and perpetrator, self and other, love and hate, fear and longing, are continually eroded.
The work of ritual upon these potent "dreamscapes" requires physical elements that can be transacted and manipulated. Two highly charged objects--the automobile in which the victims are transported, and the doll used to represent Dorothy Dorsey's unborn baby--help to mediate relations between the realms of the living and the non-living.
|Ellen Schattschneider, Arrival of car, Moore's Ford, Georgia, 2009.
Each year, the Atlanta-based sponsors of the reenactment, including prominent African American political figures in Georgia, insist that the automobile that carries the victims to their death should be a period-authentic vintage vehicle. Yet most years, the local African American organizers have quietly arranged for a locally-owned and well-loved vehicle, a 1977 Lincoln Town Car. The choice is challenging, since this particular car is mercurial and there's considerable anxiety each year over whether or not its engine will actually turn over at the crucial moment.
The Town Car belongs to William Mason, who in 2010 directed the rehearsal at the riverside. William has roots in Walton County, but grew up on the "rough streets" of Atlanta. He proudly explains that the year before the first reenactment he spied the 1977 car sitting up on blocks in the front yard of a local white man whom he gradually persuaded to sell it. "That white man never did think I'd ever get it running again. That's why I got it for practically nothing!. . . It belongs in the reenactment. That's why it came to me I think."
At the first reenactment in 2005, William played the role of the white farmer Lloyd Harrison, and drove the Town Car, with the four victims, to the bridge. In subsequent years, various white men have played the farmer, but in nearly all cases William's car has been used.
Come summer 2009, Representative Boyd insisted there would be a historically realistic car. "People need to see the way this really was. No ghetto cruisers that can barely start. . . . This is going to a vintage car, and I'll personally pay for renting one from any movie studio."
Initially, William, a long time member of the Moore's Ford Memorial Committee, agreed that his car shouldn't be used. Many of the organization's white members and some of its black ones were opposed to the reenactments, which they believe fundamentally undercut efforts at cross-racial reconciliation. William had hoped to maintain neutrality and peace in the group by not offering up his car.
Yet, the local Walton County organizers continued to show a deep attachment William's car and simply were not interested in period-specific verisimilitude. Nick, who has been researching the case since the 1960s and who serves as the leading local organizer, quietly visited William and prevailed on his long-time friend to lend his car. So the Lincoln again occupied pride of place in 2009. One of the organizers explained,
Well, [William], you see. He's one of us. . . . He has kin all over the county. People know him and they know that car of his. This thing, this lynching, it burned a hole right into the soul of this county. . . People see William's car, they just know this thing happened to real people, not somebody in the history books. It could happen again to anybody, if we don't hold together.
Local activists feel that historical verisimilitude is vital in all cinematic renditions of the lynching.24 They were concerned about the historical mistakes in the Moore's Ford episode of Keith Beauchamp's docudrama series "Murder in Black and White" which incorrectly depicted the victims riding in the back of a pickup truck. As one elderly community member insightfully remarked after a screening:
I understand Keith wanted to show, oh, black people had to ride in the back of the truck, like they were cattle or something. But you know it wasn't always that way, sometimes, so much of the time, there was something that seemed like kindness back then, you thought, all right, this man is going to take care of me, he's putting me right inside his car and just talking to me. . . . Of course, you never knew where he was taking you. That was the point about life back then, you never knew. . . . So I think the movie misses that part, somehow, by putting them in the back of the truck.
The organizers of the reenactment strive to avoid any appearance of distance between the 1946 tragedy and the present moment. As Alice, who sometimes plays one of the murdered women, states,
I can't tell you all the pain I feel inside of me, knowing what happened to those poor souls that day. When I'm lying down there in the mud by the bridge, its like no time has passed. This could happen to anyone, my brother, my son, my grandchildren. This thing, it happened then, but its still happening.
Similarly, Jane, who for the past two years has played the other murdered woman, the pregnant Dorothy Dorsey, explains that she does this to honor the memory of her own son, who was slain on the streets of Atlanta some years ago in a black-on-black drug-related shooting. "All this killing, this lynching, it haunts us still. That's why we need to be here, to bear witness, to remember. Otherwise the killing just keeps on going on."
Jane gives public lectures to African American youth on the dangers of black-on-black violence, pleading with young men to get themselves off the streets. She has encased Martin's bloodstained shirt in glass, along with his photographs, and carries this assemblage around to schools. For Jane and her friends the doll of the fetus is closely associated with her own lost son.25 Significantly, Jane uttered the evocative line--"this reenactment. . . lets us hold on. We're holding on to those who can't be held"--as she was cradling the doll in her arms.
|Ellen Schattschneider, Doll representing the fetus of Dorothy Dorsey, Moore's Ford, Georgia, 2009.
Many African American reenactors explain that they are motivated by an intense curiosity to "figure out" what motivated the perpetrators, to understand how a "man could behave in such a way" and to understand "just what the victims felt like on that day." William drove his car during the first reenactment, when all the Klansmen were played by local black men wearing white masks. "You know," he says, "I got that car off a white man. And driving the car that day I really had to think what a white man felt like, driving that car, taking our people to their deaths. Really made me think, you know?"
The Moore's Ford reenactors grapple each year with ethical challenges. They strive to honor the dead, to reveal unspeakable moments of terror, while at the same time acknowledging that the ultimate experience of terror, as known by victim and perpetrator, are beyond representation. As Nick remarks, "No one can know what they felt that day, only God can know that. But we have to try, we have to try." At the same time, the participants struggle with the mysteries of death and life, passing through horror each year, and finding a way back into the flow of everyday life.
Significantly, at the conclusion of the 2010 reenactment, after she and the other victims had been "restored to life," Jane placed the doll on the front seat of the car, facing front, so that photographers could have ready access to it. She did not place it in on the back seat, where the lynching victims had sat, but up front—oriented towards a new future.
"We come back to life now, we come back to life," said Richard in 2008, after playing George Dorsey. Those who had just been playing at being dead were alive again, re-integrated back into the world of the living.
For all the undeniable anguish and trauma experienced by the performers, they are powerfully re-enlivened by the reenactment. Its deep appeal rests in part on the way it allows for moving back and forth between the perspectives of victim and perpetrator, white and black, actor and acted upon, living and dead. A participant may simultaneously experience the suffering of an African American female victim facing the hour of her death, as well as the adrenaline rush of the violent white Klansmen.
In Camera Lucida, Roland Barthes ponders the mystery of a photograph of a condemned man on the eve of his execution: "he is dead, and he is going to die."26 Here perhaps is the enduring, seductive enigma of the Moore's Ford reenactment, which so viscerally engages both its friends and its foes. In this uncanny spectacle, we come to apprehend, in disturbing intimacy, those who are dead, and just about to die, those who murder and those who suffer, those who come back to life, and those forever consigned to the outer darkness. We are given a chance to move among the unspoken nightmare of our common history, and to be suspended somewhere, for an instant and an eternity, in that shadow zone that hovers between this home on earth and our dreamed-of eternal home--suspended between sleep, wakefulness and our buried lives.
I am grateful for the many persons in Walton County and environs who have shared their diverse perspectives on the Moore's Ford killings and the reenactment. I am especially grateful to the reenactment participants and organizers for their time and generosity. It is my hope that in this essay I honored the trust they have placed in me. Ellen Schattschneider assisted me in my research; the interpretations presented in this essay have emerged, in large measure, out of conversations with her. An earlier version of this paper was presented at the MARIAL Center on February 4, 2010; I acknowledge the thoughtful comments from the audience, especially from Bradd Shore, Lynn Linnemeier and Kevin Sipp and am grateful for insights into ritual and reenactment from Pete Richardson and Rick Parmentier. I also am grateful for careful readings by Allen Tullos, the Southern Spaces editorial staff, and the anonymous readers for Southern Spaces.
- 1. I attended and observed preparations for the Moore's Ford reenactments in 2007, 2008, 2009 and 2010. I have interviewed many participants in the 2005 and 2006 reenactments.
- 2. For an account of earlier memorial practices at Moore's Ford see Mark Auslander, "'Return to Sender:' Confronting Lynching and Our Haunted Landscapes." Southern Changes, Vol. 24, No. 1-2, 2002, pp. 4-7.
- 3. Inge Nielsen, Cultic Theatres and Ritual Drama: A Study in Regional Development and Religious Interchange between East and West in Antiquity (Aarhus, Denmark: Aaruhus University Press, 2002).
- 4. Rory Tuner, "Bloodless Battles: The Civil War Reenacted," The Drama Review, Vol. 24, no. 4 (1990).
- 5. Alice Correia, "Interpreting Jeremy Deller's The Battle of Orgreave," Visual Culture in Britain, Vol. 7, no. 2 (2006).
- 6. Oren Baruch Stier, "Different Trains: Holocaust Artifacts and the Ideologies of Remembrance," Holocaust and Genocide Studies, Vol. 19, no. 1 (2005).
- 7. Jo Blatti, "Field to Factory: Afro-American Migration, 1915-1940," Oral History Review, Vol. 16, no. 1 (1988). The exhibition was curated by Spencer Crew and designed by Jim Sims.
- 8. Handler and Gable report that white reenactors and staff at Colonial Williambsurg tend to minimize the cruelty of the slavery system. Richard Handler and Eric Gable, The New History in the Old Museum: Creating the Past at Colonial Williamsburg (Durham: Duke University Press, 2002): p.225.
- 9. James Oliver Horton, "Presenting Slavery: The Perils of Telling America's Racial Story," The Public Historian, Vol. 21, no. 4 (1999): p. 30.
- 10. The protests against the auction were organized primarily by the local NAACP and SCLC chapters. In her detailed analysis of this episode Lisa Woolfork argues that much of the local African American opposition to the auction was deeply gendered; senior male African American activists and civil rights leaders, she suggests, were offended that the auction was conceived of and planned by female African American professionals at Colonial Williamsburg. Lisa Woolfork, Embodying American Slavery in Contemporary Culture (Urbana: University of Illinois Press, 2009). See also James Oliver Horton, "Presenting Slavery: The Perils of Telling America's Racial Story," The Public Historian, Vol. 21, No. 4 (1999).
- 11. In spring 2010 a Lumpkin County, Georgia high school history teacher was placed on leave after her students, planning on creating an anti-racist film about lynching, walked through the school cafeteria wearing Klan robes. See: http://www.wsbtv.com/video/23666938/index.html (accessed October 10, 2010).
- 12. Amanda Seeman, "Panel, Art Show Address Suffering," Daily Bruin. Feb. 14, 2006. http://dailybruin.com/2006/02/14/panel-art-show-address-sufferi/ (accessed October 27, 2010).
- 13.
Gustavus Stadler, "Never Heard Such a Thing: Lynching and Phonographic Modernity," Social Text, Vol. 28, no. 1 102 (2010). On lynching photographs, see James Allen, Without Sanctuary: Lynching Photography in America (Sante Fe: Twin Palms Publishers, 2000); Amy Louis Wood, Lynching and Spectacle: Witnessing Racial Violence in America, 1890-1940 (Chapel Hill: University of North Carolina Press, 2009).
- 14. All living persons discussed in this paper are referred to by pseudonyms.
- 15. Jean Baudrillard, Symbolic Exchange and Death (London: Sage, 1993).
- 16. Michel Foucault, The History of Sexuality, Vol. 1: The Will to Knowledge (London: Penguin, 1988).
- 17. Stewart Tolnay and E.M. Beck, A Festival of Violence: An Analysis of Southern Lynchings, 1882-1930 (Urbana: University of Illinois Press, 1995).
- 18. In common parlance, "lynching" is sometimes spoken of as mob hanging. Many lynchings, however, were conducted through other means, including beatings and shootings. All lynchings are extrajudicial killings perpetrated by at least two persons. In this respect, the Moore's Ford killings, while larger in scale and later in time than the great majority of American lynchings, do conform to the accepted definition of "lynching."
- 19. The authoritative historical account of the Moore's Ford lynching is Laura Wexler, Fire in a Canebrake: The Last Mass Lynching in America (New York: Scribner, 2003).
- 20. Douglas A. Blackmon, Slavery by Another Name: The Re-Enslavement of Black People in America from the Civil War to World War II (New York: Doubleday, 2008).
- 21. Wexler, Fire in a Canebrake, 204.
- 22. I observed and videoed the entire proceedings of the 2007, 2008, 2009 and 2010 reenactments. I also attended organizing meetings, rehearsals, and community debriefings.
- 23. On spectacle lynching, see Amy Wood, "Lynching Photography and the Visual Reproduction of White Supremacy," American Nineteenth Century History, Vol. 6, no. 3 (2005): 373 – 399.
- 24. I wish to emphasize that local community disagreements with the urban-based organizers of the reenactments, over issues such as the age of the vehicle, were nuanced and low key. Nearly all local participants would be extremely reluctant to offer public critique of a figure such as Representative Boyd, whom is widely regarded in the Georgia African American community as a hero of the civil rights struggle.
- 25. It is interesting to note that in 2008 a friend of Jane's, one of the organizers of the performance, made the doll out of nylon pantyhose. So in that year the doll and Martin's shirt shared powerful affinities, both were articles of clothing stained with blood.
- 26. Roland Barthes, Camera Lucida, tr. Richard Howard (New York: Hill and Wang, 1981).


text:
Triple Treasure Bird Nest Oil Painting
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text:
All his promises will be up to us to fulfill by using our finger.
But Grayson has put his finger on the logic of the conservative approach to the issue.
Ornstein pointed the finger at Sen. Ted Cruz (R-TX), who's questioning of Hagel during the confirmation hearing raised hackles.
I finally made it to the cover in 2009, when she heard about my finger paintings of New York City done on an iPhone.
He wants to take the fingers, let them decompose, then take the bones and make a finger bone necklace out of it.
When a window is soiled you can write on it with your finger; then your finger becomes soiled.
There was no stopping a torrent with a finger; so out it came.
He hesitated, with his finger upon the switch-button of the weapon.
I admit it was ridiculous, but you wouldn't lift your finger to make it less so.
I urged him with my finger but still he refused to see the door.
Old English fingor, from Proto-Germanic *fingraz (cf. Old Saxon fingar, Old Frisian finger, Old Norse fingr, Dutch vinger, German Finger, Gothic figgrs), with no cognates outside Germanic; perhaps connected with PIE *penkwe-, the root meaning "five."
As a unit of measure (Middle English) it represents the breadth of a finger, about three-quarters of an inch. They generally are numbered from the thumb, and named index finger, fool's finger, leech- or physic-finger, and ear-finger.
finger fin·ger (fĭng'gər)
One of the five digits of the hand, especially one other than the thumb.
Related Terms
butterfingers, five fingers, give five fingers to, give someone the finger, not lay a glove on someone, play stinky-pinky, put one's finger on something, put the finger on someone, stand around with one's finger up one's ass


text:
On 13th of September, representatives of Harun Yahya held a conference about the Miracles of the Qur'an at Purdue University, which is a major research institution known for discoveries in science, technology, engineering, math and beyond.
The conference enjoyed the crowded audience involving many academics and students who paid great attention. Half of the audience consisted of non-Muslims.
After the conference, students' questions about Harun Yahya's works, his activities throughout the world and the theory of evolution were answered.
2012-09-24 21:25:47


text:
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text: Dear all The scenario is that I have a NFS exported filesystem mounted on all the compute nodes. I would like to have it as a consumable resource using advance reservation, i.e a user requests a certain amount of space for his job and if available it is reserved for his job for a given life time(=walltime specified). I tried setting in mom_priv/config - size[fs=/shared_partition].The partition is of 500GB.When a user submits a job requiring a space of 400GB , the job starts.But if some other user also requests a space of 400GB (and the previos job is still running, but not yet has used it's allocated disk space) the this job goes still.So there seems to be no advance reservation of shared storage in this case. Can somebody give me pointers on how to achieve this. -- Regards-- Rishi Pathak -------------- next part -------------- An HTML attachment was scrubbed... URL: http://www.supercluster.org/pipermail/torquedev/attachments/20071119/b0990a45/attachment.html