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System Administration Offices
Office of the Board of Regents
The Office of the Board of Regents provides support to the Regents, which consists of nine members serving staggered six-year terms, one elected from each of Colorado's seven congressional districts and two from the state at-large. The board is charged constitutionally with the general supervision of the university and the exclusive control and direction of all funds of and appropriations to the university, unless otherwise provided by law.
In addition to the Office of the Board of Regents, the University of Colorado's System Administration consists of 19 units that serve the entire CU system. These units, which provide critical support services to CU's campuses in Aurora, Boulder, Colorado Springs and Denver, as well as the Office of the President in Denver, include:
Office of the President
The president is the principal executive officer of the university, a member of the faculty and carries out the policies and programs established by the Board of Regents. The president is responsible for the administration of the university and for compliance of university matters with applicable Regents laws and policies, and state and federal constitutions, laws, and regulations. The president is the chief lobbyist and fundraiser for the university.
The advancement operation provides the management and coordination of the back office functions to support the campus-based fundraising field staff. These include research, marketing and communications, gift processing, data base management, estate gift planning, and other services. These central services produce economies of scale by eliminating the need for these back office functions to be duplicated on each of the four campuses. They also place the institution in an optimal position to attract substantial support from the philanthropic sector.
Academic Affairs
The Office of Academic Affairs performs universitywide leadership and coordination of CU's academic and research programs. In collaboration with campus executives, the office coordinates the development and review of academic programs for board and state agency approval and serves as liaison to faculty governance groups.
Budget and Finance
The Office for the Vice President for Budget and Finance and the Chief Financial Officer has the primary responsibility of planning and coordinating the universitywide budget and capital construction process. In addition to working closely with the campus budget offices, the office works with communication offices, faculty budget committees, the CCHE, and the state legislature, in particular the Joint Budget Committee and the Capital Development Committee. The office also produces and maintains the CU Compensation Database.
Coleman Institute for Cognitive Disabilities
The Coleman Institute's mission is to catalyze and integrate advances in science, engineering and technology to promote the quality of life and independent living of people with cognitive disabilities.
Employee Services
Employee Services provides the CU community with services from recruitment to retirement. The office provides technical expertise while administering benefits, professional development, payroll, individual tax management, and strategic HR programs. The functional areas of Employee Services include payroll, technologies, benefits, retirement, financial education, learning and development, international tax and human resources.
Government Relations
The Office of State and Federal Government Relations is charged with developing and implementing a public affairs strategy to address the legislative goals of the university.
Information Security
The Chief Information Security Officer and the campus Information Security Officers jointly oversee the University of Colorado's efforts to protect its computing and information assets and to comply with information-related privacy and security laws and regulations.
Institutional Research
Institutional Research provides responses to a variety of information and data requests from internal and external sources (e.g., the Board of Regents, system administration, the four campuses, peer institutions, and state and federal regulatory agencies).
Internal Audit
Internal Audit reports directly to the Board of Regents, and contributes to the university's objectives by helping the CU community understand and apply sound business practices, through independent examination and evaluation of current processes and internal controls, and providing counsel and education to those responsible for them.
Policy and Efficiency (OPE)
The Office of Policy and Efficiency develops, oversees and maintains the university's system-wide policymaking process by partnering with system and campus policy managers to create, revise, and distribute university-wide policies; and acts as the official repository and point-of-contact regarding university-wide policies. OPE also supports efforts and initiatives to increase efficiency and effectiveness at the university.
Procurement Service Center (PSC)
The Procurement Service Center (PSC) provides leadership to the University of Colorado in the procurement of goods and services and in paying debts to vendors and travelers by combining sound business controls with efficient and timely service. The functional areas of the PSC include Purchasing Services, Strategic Sourcing, Supplier Relationship Management, Payable Services, Commercial Card Program, Travel Program, Small Business Program, Contract Services, and Procurement Systems. PSC is the system owner of CU Marketplace and Concur Travel and Expense.
Technology Transfer
The Technology Transfer Office pursues, protects, packages and licenses the intellectual property generated from CU's research enterprise and serves faculty, staff and students seeking to create such intellectual property.
The Treasurer's Office has a dual report to the Board of Regents and the Vice President for Budget and Finance and is responsible for overall cash management, debt management and property management. It provides support and assistance to the campuses on financing strategies, real estate issues, banking relationships, and other investment-related issues.
University Controller
The Office of University Controller (OUC) is responsible for managing the university's system of record – the Financial System – and its interfaces with purchasing, payables, human resources, and other subsystems, including the Cognos Reporting System. It works closely with the campus controllers, the state controller, and the state auditor's office to ensure that fiscal practices comply with external and internal rules and regulations and generally accepted accounting principles. The OUC communicates fiscal policies and procedures to the university community through its news blog, website, and training programs, and provides direct assistance to faculty, staff, and other individuals through the Finance & Procurement Help Desk. The office also administers a Continuing Professional Education program and the CU Shared Practices (CUSP) employee recognition program.
University Counsel
University Counsel has a dual report to the Board of Regents and the President of the University and includes several legal functions that provide an array of services to the University of Colorado system. The Office of the University Counsel provides legal advice to the Board of Regents, the president, system administration and the campuses.
University Information Systems (UIS)
University Information Systems provides technical services and enterprise applications to the University of Colorado campuses and the Office of the President. UIS is committed to excellence in customer service and technical expertise. Through the development of enterprise applications, UIS supports the University as a whole with systems used by students, faculty, human resources employees, finance employees, and others.
University Relations
The Office of University Relations is responsible for all official public communication regarding the Office of the President, which includes responding to requests from the news media for information, interviews and official statements. The office also directs the president's community tours and outreach, manages the president's regional business and community councils, the CU Advocates program and oversees the university's special events and outreach with targeted communities. University Relations also produces the weekly CU Connections, news and information for CU Faculty and Staff, and oversees the system-wide branding initiative and the implementation of an online alumni communications tool, among many other print, Web and social media projects.
University Risk Management
The Office of University Risk Management is responsible for affirmative control and minimization of risk, promoting a strong proactive loss prevention program, and using aggressive leading edge concepts to insure the safety of students, employees and others as well as protecting the assets and income of each system campus.


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(CMT/CMT.com Editorial Director Chet Flippo is taking a few days off this week. In his absence, we're revisiting
his Nashville Skyline column which first ran on Oct. 29, 2009.)
I've always maintained that country music
more or less has run in 10-year cycles since its beginnings, which most historians agree lie with its first commercial recordings
in 1927. The problem has always been that it's not completely feasible to look at its history in neat 10-year blocks.
one thing, events don't tend to be orderly and measured and to follow neat calendar blocks. For another, musical artists and
songwriters and record labels and radio stations and all of their ilk don't either. Nor does the listening and buying audience.
No one wakes up one morning and says, "Eureka! A new decade is dawning. It's time to forge a new musical sound!" Change is
mostly organic. So you can't just sort it all out in orderly little decade-long files.
Then the other day, I was reading
about an economic theory that is based on pi, the mathematical constant. That theory — simply stated — posits that all events
in the money market (and, by inference, all happenings in nature and the universe and in human behavior and in everything
else) are governed by a universal cycle that is based on pi. Which — and this begs your imagination a bit — shows that everything
runs in cycles of 8.6 years. That time span equals 3,141 days — or the number pi multiplied by 1,000. The theory has gained
quite a bit of credibility. It has shown that cycles in the financial market pretty much follow the 8.6 pattern. And obviously
pi is the model in the natural world. Therefore, the assumption goes, a geometric pattern governs everything. A universal
rhythm — emanating from somewhere — controls all.
If you look at country music history — beginning in 1927 in blocks
lasting roughly in a rhythm of 8.6 years instead of in blocks of 10 years — based on the pi principle, it begins to make
a little more sense:
In 1927, there was the Big Bang creation of country music with Jimmie
Rodgers and the Carter Family in the first commercial recording sessions.
Circa 1935: Bob Wills and Western swing music rose to prominence.
Circa 1943-44:
The emergence of Ernest Tubb and his newly-electrified honky-tonk brand of music.
Circa 1952-53: Hank Williams and his music rule the roost.
Circa 1961-62:
Patsy Cline and the country pop sound take over country music.
Circa 1970-71:
Songs become the star and trump artists: "The Fightin' Side of Me," "Sunday
Morning Coming Down," "Coal Miner's Daughter," "Rose Garden," "For
the Good Times," "Help
Me Make It Through the Night," "Kiss an Angel Good Morning," "My Woman, My Woman, My Wife."
Circa 1979-80:
Songs still trump, but they edge back towards country pop: "Tulsa Time," "Every Which Way but Loose," "Amanda," "She Believes
in Me," "You Decorated My Life," "All the Gold in California," "Coward of the County," "Lady," "Smoky Mountain Rain."
Circa 1989-90: Enter Garth Brooks.
Circa 1998-99: The Dixie
Chicks hit with a new sound and their first No. 1 single, "There's Your Trouble," about the time of Shania
Twain's last No. 1 country hit ("You're Still the One")
and Garth Brooks' last No. 1 hit of his active era ("To Make You Feel My Love").
Circa 2007-08: Taylor
Swift begins to dominate.
So what does this portend as to what's next? Good question, and one that's impossible
to answer. There will likely not be Taylor Swift Twos and Threes and Fours because the original Taylor pretty much Hoovered
up the market for teen girl angst songs by a peer group singer-songwriter. It was a brilliant move, one of the smartest ever
by a shrewd music artist, and it will not likely be repeated. Certainly not by Taylor, who — by the time you read this —
may well have signed her first major movie deal. Or her first something-else major deal. It's hard to imagine her moving on
to writing and singing heartfelt songs about being twentysomething, which she will soon be.
But — and I think this
is very important — Taylor is leaving a message to a huge audience of young female fans, ranging in age from 7 or so and
up throughout their teens and into their early 20s, that they are individuals, that they are important, that they have their
own identity, that they can be their own persons and that they don't have to take crap. I don't see anyone else stepping up
with a similar message for this audience.
There are now a lot of young chick singers — for want of a better term —
who are vamping for the next star slot on the center stage in country music, but most of them are doing it wearing short jean
skirts and tight tops and even tighter jeans and sending a transparent message that sex is what sells. So what? Everybody
knows that. Taylor has had a genuine message, not a sales pitch. She had songs. Look at those who came before her who hit
it big in country. They had songs to offer, not sales pitches or tight whatevers. People seek songs.
There was no Hank
Williams successor, there was no Patsy Cline successor, no Elvis Presley successor,
no Johnny Cash successor, no Garth Brooks successor, no Shania Twain successor. No successor
to any of country music's blockbusters. And there will be no Taylor Swift successor, no one just like her. Such phenomena
cannot be credibly replicated in popular music. They are, by their very nature, unique and fresh and thus appealing and desirable.
And if the pi theory is correct, the cycle will turn for another 8.6 years. But there will be something else new in the music,
there will be someone new. Because there always is. Nature, as well as the human audience, does not like a vacuum.

subset: commoncrawl


text:
Practice - International Litigation- International Arbitration - International Insolvency- Commercial Litigation Education - J.D., University of Miami School of Law, 1978 - B.A., University of Miami, 1975
Bar Admissions - Florida
Described by Chambers' Global Guide to the World's Leading Lawyers as "a major figure for Latin American litigation and arbitration [who] represents large U.S., European and South American corporations," José Astigarraga focuses his practice on international arbitration and litigation.
With roots as a commercial litigator in U.S. courts and over 30 years of experience, he defends and prosecutes substantial business disputes in state and federal courts in the U.S. Results achieved include the leading case of Paramedics Electromedicina Comercial, Ltda. v. GE Medical Information Technologies, Inc., 369 F. 3d 645 (2d Cir. 2004), which upheld an anti-suit injunction barring a Brazilian distributor from pursuing litigation in Brazil in violation of an arbitral covenant. Astigarraga argued the petition before the Florida Supreme Court that opened the way for non-Florida lawyers to handle international arbitrations in Florida. He has served as an officer of the Civil Procedure Rules Committee of the Florida Bar, and has lectured extensively on U.S. litigation issues, including to foreign lawyers, such as the corporate counsel section of the Law Society of England.
He is one of only five lawyers worldwide ranked in Chambers' top band of leading arbitration practitioners for Latin American business disputes. Astigarraga was one of 10 Americans initially appointed by the U.S. Government to advise the NAFTA Commission on international arbitration and dispute resolution.
Results achieved include a $52.6 Million award against a major shoe manufacturer arising out of a licensing dispute in the Mercosur territories, and an arbitral award on behalf of a Mexican cable network against a television content provider, which he then successfully defended in U.S. courts.
His practice extends beyond Latin American disputes. He is a Vice President of the London Court of International Arbitration, has chaired the International Bar Association's worldwide Task Force on the Guidelines for Arbitrator Conflicts of Interest, and has lectured across the globe on arbitration topics, including in Europe and China. He serves on the Rules Advisory Committee of the International Center for Dispute Resolution and on the International Chamber of Commerce's Latin American Arbitration Group.
With his intimate knowledge of Latin American systems, rules, and culture, he frequently handles complex business disputes that have sensitive political, criminal and regulatory ramifications. He is regularly engaged to oversee local counsel in foreign jurisdictions, devising the overall strategy in such cases. He was designated by the U.S. Department of State to represent the United States as an expert at the Organization of American States' past conference on Private International Law. As a consultant to the World Bank, Astigarraga co-authored An Assessment of Latin American Insolvency Systems.
Astigarraga has lectured abroad on a variety of topics, including the "Impact of Culture on the Resolution of Disputes." The University of Miami School of Law's Inter-American Law Review recently honored him for his significant contributions in the field of international law, awarding him its "Lawyer of the Americas" Award. He is featured in Best Lawyers of America. As Vice Chairman of the Board of the National Law Center for Interamerican Free Trade, he is active in efforts to promote commercial law reform and modernization in the Americas.
Astigarraga Davis | 1001 Brickell Bay Drive, 9th Floor | Miami, Florida 33131 Tel: 305-372-8282 | Fax: 305-372-8202 | www.astidavis.com


text:
Third-Year GM Gets New Multi-Year Deal
November 16, 2012
The New Orleans Hornets announced today that they have signed general manager Dell Demps to a new multi-year contract extension. Per team policy, terms of the contract were not released.
"Dell has a bright future ahead as the GM of our team and Mr. Benson and I couldn't be more impressed with the track this team is on and are excited about the future," said Hornets Executive Vice President Mickey Loomis. "He has helped shape this organization with the current team of young, talented players and we look forward to seeing the growth of the franchise during this exciting time for the franchise."
Demps, hired by the Hornets on July 27, 2010 as the seventh general manager in franchise history, is in his third season with the team. In Demps' first season with the Hornets, the team made the 2011 playoffs after missing the postseason the year prior. In his two-plus seasons at the helm, Demps has completely turned-over the roster he inherited in the summer of 2010 and has built a young nucleus of players, none of whom are older than 25 years. This past season, the team garnered the 1st and 10th overall picks in the 2012 NBA Draft, selecting Anthony Davis first overall and Austin Rivers 10th. Demps also orchestrated two crucial trades this offseason, bringing Ryan Anderson, the 2011-12 NBA's Most Improved Player, and Robin Lopez, the team's starting center, to New Orleans. The Hornets are one of the youngest teams in the league, with their average age being just 24 years old.
"I would like to thank Mr. Benson, his family and Mickey Loomis for their faith and confidence in me with this great commitment," said Demps. "I love the city of New Orleans and am fortunate enough to be surrounded by great people that make us a great organization. I look forward to working with Coach Monty Williams and producing a team to make the people of New Orleans proud to call their own."
Demps, born in Long Beach, Calif., had a three-year NBA career with Golden State, Orlando and San Antonio. Demps also spent time playing in the Philippines, France, Greece, Turkey, Croatia and the minor leagues in the United States during his 10-year professional career.
Once his playing days were done, Demps paid his dues starting as an assistant coach in the NBA D-League for two seasons before he joined the New York Knicks as a scout where he was later promoted to Director of Pro Player Personnel. Demps joined the San Antonio Spurs in the fall of 2005 as their Director of Pro Player Personnel and was promoted to Vice President of Basketball Operations in 2010. With the Spurs, Demps won an NBA Championship (2007) and also served three years as the General Manager of the Spurs' NBA Developmental League affiliate, the Austin Toros.
Demps, 42, was a four-year starter at University of the Pacific, earning All-Big West honors three times. He earned both his bachelor and master's degrees in business administration from Pacific and is a current member of Pacific's School of Business Advisory Board.


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Greek island adventurer July 20 2013
15 Nov 2012 Ellilee asked
I'm doing the Greek island adventurer tour on July 20 2013!
I'm so excited!
Is anyone else???
- 1 person likes this
- Answer this question 4 answers so far
16 Nov 2012 Zowie88 said
hey, im doing the 15th but cant wait, im going on my own, but everyone does, cant wait? are you doing any other tours?
- 0 people like this
16 Nov 2012 Ellilee said
I'm going on my own too :) one of my friends might decide to come though. I'm also doing a top desk tour called European getaway on June 25th-july14 :)
Are u doing any other tours? - 0 people like this
17 Nov 2012 Zowie88 said
yeah European Impressions on the 20th June till 7th july, some friends will be around so hopefully i cross paths with them, sounds awesome :)
- 0 people like this
25 Nov 2012 RichieRich said
hi im starting my tour on 25th july after road to athens connecting tour cant wait!!! heard its awesome
- 0 people like this
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text:
Ohio Jewish Chronicle. (Columbus, Ohio), 1971-09-02, page 01 |
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-'-iWTP'-':-'i'T-'^'^-w-H ¦ t y,:'r-r-'-'—--l>:'---'iii'4--' .i»!l".-rv;-*;h.!:vivi?-;>.«;^;'5"£'^'::5!»ra ^f\7/ Serving Columbus, "Central" and Southwestern Ohio \^AK VOL 4<l NO U SEPTEMBER 2, Klul 12 Bt«»1t4 U Anciiian •mi ttMiih IJtak »i'^'' A* fif 3 in. ."^f*^ NEW YORK (WNS)—The American Jewish Con¬ ference on Soviet Jewry reported that Jews in the city o( Tashkent, Uzbekistan, in. Spviet Centra) Asia, are being prevented from buUding a new synagogue witliin walking distance of observant members of the city's Jewish community. The old.siynagogue was destroyed by ah earUiqtiake. Tashkent authorities have suggested the synagogue be built on the outskirts of Uie city.'The local Jewish community has appealed to Moscow for a change.in.the decision.; NEW YORK (WNS)—Mayor John V. Lindsay, who recently switched party aiffiliations from Republican to Democrat, went on a waUcihg tour of Borough Park, the city's largest JewishL neighborhood. Lindsay, who lost the area by a margin of more than 3-1 when he ran for his second term as Mayor in 1969, was greeted by enthusiastic crciwds, including many rabbis. The tour. ended in, the private chambers of Grand Rabbi Halberstam,'the Bobover Rebbe, who told the mayor "it does hot matter which party you belong to, I lUce you as a person and give you my support and blessings for reaching hi^er office." TEL AVIV (WNS)—U.S. youUis, 18 and under, won most of the medals in the sports segments of the ' Se(:ond Intemational IsraeU Youth Festival held in Beit Berl, on the outskirts of this city. In addition to individual championships, the U.S. contingent Won the team competition in track and field, swimming, tennis and boys basketbaU. Slate Deparlment Refuses Endorsemeiil On Emigration Bill Before Congress WASHINGTON, (JTA) - The State Department has refused to endorse Uie biUs in both branches of Congress to provide 30,000 emergencjy visas for:Jewish citizens of; the Soviet Union who wish td leiave that country andsetUe in the United States, it was disclosed here. The State Department claims that the U.S. Attorney General has Uie authority to admit "a substantial number of Soviet Jews" and "there is therefore little technical need" for the proposed legislatipn. "The Depart¬ ment's position was revealed in a lietter to Rep. Emanuel Celler, Democrat of New York and chairman of the House Judiciary Committee, wKose office made It public. The Congressman, who was traveling in Europe, was Informed about it In Oslo. David M. Abshire, Assistant Secretary of State for Congressional Relations, signed the Department's letter to Celler. While "deeply sympathetic to the humanitarian aims of the proposed legislation," Ab¬ shire said, the Attorney General, has acted in a number of emergency refugee situations to take refugees into the U.S. when Miff-East Statements Summarize Tbe Current Political Situation (Copyright, 1971, JTA. Inc.) JERUSALEM (JTA)-The Foreign Ministry charged Aug. 24 - tiiat Uie United Hebre^ SehoQl Fall TermSSf r^'^S IMfiil Beslln Septennber 12 The FaU term of the Columbus Hebrew School wiU begin Sunday, Sept. 12, at the religious schools; Agudas Achim and Beth Jacob. Students wiU attend regular classes twice a week at the Jewish Center, starting Monday, Sept. 13, 4 to 6 p.m. Letters will be mailed to all parents; indicating the days the students will attend. Pupils who attended scihool last year are automatically enrolled. EAST-SIDE BRANCH Classes at the East^side Branch will begin oh Tuesday, Sept. 14. At the present time instruction will i>e given there twice a week; Tuesday and lliursday; from 4 to, 6 p.m. An additional period of Hebrew instruction for students affiliated with Temple Israel will be given on Sunday, beginning Sept. 19. Pupils attending the East- side Branch during the week, wlU attend on Sunday tlie religious school of their famUy congregation af¬ filiation and will participate there In the Hebrew School share-time program. NORTH-SIDE BRANCH Students of the Northrside • Hebrew School wiU attend classes twice 'a .'week, Mpnday and Wednesday, beginning Sept. 13, from 4 to (CONTINUED ON PAGE 11) JDL Prolesls Indifference To Jewish Poverty In N. Y. NEW YORK (JTA)- Thirty-five members of the Jewish Defense League, including national chairman Rabbi Meir Kahane, arrived unannounced at the office pf the city's Human Resources Administration to protest city "indifference to Jewish poverty.'" HRA officials conferred with a lO-member JDL delegation and agreed to initiate a series of meetings on the problem. Tliefirstmeeting will be held next Tuesday. Joseph Aguayo, special assistant to Jules Suganhan, head of the HRA and Commissioner of Social Services, told the Jewish Telegraphic: Agency Uiat although the JDL'ers had arrived unannounced, there was "no disturbance of any kind." He called the meeting with the JDL delegation . a "highly, .productive" consideration of "valid issues ... . very, very critical concerns." He said there was "no pressure or anything." The JDL charged that- Jews represent 12 percent of New York's poor biit receive less than 2 percent of anti- poverty funds; that 15 of the 26 official anti-poverty areas of Uie city have "sizeable" . Jewish populations but only two have "proper Jewish representations on local' comm unity corporation boards," and that some "pockets of Jewish poverty"' are denied anti-poverty funds. The JDL relected "Establishment Control" of local Jewish community groups, and demanded thaf the HRA report on the problem be made puUic. Aguayo told Uie JTA that he agreed with Rabbi Kahane that the problem, existed and that there was not enough KONllNlir nONP/VGB 111. in Defense Minister Moshe Dayan's tallc of a "per¬ manent" Israeli regime in the occupied Arab territories with the statement by Egypt, Libya and Syria liarring negotiations and peace with Israel. State Department spokesman Robert J. Mc¬ Closkey had said Aug. 23' in ^yashihgton that the Arab Federation statement was "equally unfortunate in the same sense about which we commented about Minister Dayan's statement last Friday.'' Foreign Ministry spokesman Avraham Avidar said "We are sorry to say that these statements (by McCloskey) create the wrong, impression." He explained: "The speech by the Defense Minister to which the State Department spokesman referred was an evaluation of the situation and expression of a point of view not meant to change the decisions of the Cabinet. In contrast, the Damascus statement is an official announcement by three Arab Presidents which confirms the draft Constitution of the future Federation. The Damascus statement details poUtical principles and goals' of the Federation, and therefore it is a grave matter that it emphasizes there will be no peace and no negotiations with Israel." Avidar stated further that McCloskey had in fact not taken into account Dayan's clarification of his speech in a radio address Aug. 24. Dayan said then that he had not proposed annexation of the administered areas but did feel that certain projects should. hot be delayed or cancelled pending a Middle East settlement. Dayan stressed that the Israeli government had not changed its viewdn Uiis matter. "The second. State Department statement disregards, for some reason,' these clarifications," Avidar protested. The Jewish Telegraphic Agency learned that the text of Avidar's complaint has been submitted to the American • charge d'affairs here, Owen Zurhellen. In addition, Israel's grave view of the Damascus statement is being conveyed to Israeli ambassadors aroUnd the world. In Washington, Nikon Administration experts on the Middle East appeared to be uncertain as to whether the new Arab Federation's unity statement, barring peace talks with Israel, constituted rhetoric designed for local con¬ sumption or represented agreement by Egypt,. Syria and Lilly a on a firm-policy. The issue arose when Mc¬ Closkey was asked whether the department had any information from any source aS loWhether the statement, circulated in Damascus on Aug. 20 after the Presidents of the three Arab nations signed the charter of I (f-ONIINUFb ON.PAGE 11) "existing machinery and visa and conditional-entry numbers were insufficient to meet thedemand." Abshire elabcirated: "This means was used to assist large numbers of Hungarian refugees after the 1956 uprising in Hungary, and Is presenUy being used for large numbers of Cuban refugees. You may be cer¬ tain that in a similar situation the Department would strongly support the use pf parole-by the Attorney General for a substantial number oif Soviet Jews." One hundred and 18 Representatives have co- sponsored the visa measure Introduced by Rep. Edward I. Koch, Democrat of N.Y. on Mar. 4. "Thirty-five Senators support the upper house version. The Jewish leadership in the U.S. has split on the issue. Such leaders as Rabbi Bernard A. Poupko, president of the Religious Zionists of America, and Rabbi Abraham^Gross, president of . the Rabbinical Alliance, have argued for the legislation. Herman L. Weisman, president of the Zionist Organization of America, has asserted that "at thc present time It is neither realistic nor productive to support un- proven propositions which serve only to divert attention from the basic issue—aliya (to Israel) for Soviet Jewry. "Political observers here believe . that the State Department's opposition to the visa bills, as well as to the proposal for Yiddish and Hebrew broadcasts Into Russia on the Voice of America, is based on a desire not to offend the (CONTINUED ON PACE 4) Campaign Leadership To Be Honored Al UJFC Meeting Recognition and Awards wiU be presented to the leaders of the highly suc¬ cessful 1971 Campaign by Ben Goodman, General Chairman, at the annual meeting of the Uijited Jewish FundandCouncil, on Siinday evening, Sept. 12. Reser¬ vations received to date Indicate a capacity at¬ tendance at Temple Israel for this outstanding com¬ munity event. Mr. Goodman wUl receive a special award for his ef¬ forts In behalf of the Cam¬ paign. The following Chairmen will be honored: Gordon B. Zacks, Advance Gifts; Martin Hoffman, Trades & Professions, Mrs. Melvin N. Furman, Wonien's Division; Dpnald Katz, Young Men; Mrs. Gerald Swedlow, Young Matrons; Carl Erkes, Junior Division; Jeff Glassman, Ohio State University ^udents Cam¬ paign; and the Hillel BEN GOODMAN Foundation at Ohio University for its par¬ ticipation in the Campaign. Mrs. Raymond Kahn, Chairnian of the Planning Committee, has appointed Mrs. Alvin GlUitz to head the large committee which is now calling'" to secure reservations for the affair. Assisting Mrs; Gitlitz are Mrs. Martin Gold, Co- Chairman, and the following (CONTINUED ON PAGE Ul Religious Emphasis Week To Examine Womens Lib Second Vigil For Soviet Jewry To Be Held As our thoughts turn toward the end of Summer and the beginning of FaU, we are mindful that another New Year on the Jewish calendar draws near. With the coming of the High Holy Days at Uie Betti Ja'cob Synagogue,; our thmights automaticaUy turn to the stimulating and^ in¬ spiring days of R. E. W., Religious Emphasis Week. For the past 12 years Rabbi David Stavsky has brought to Columbus many intellectually prominent and spiritually uplifting scholars and rabbis who have spoken On a variety of subjects. We have listened to thoughts on "Prayer, Charity and Repentance," "Jewish Identity - Bond or Shackle," "Religion and Rebellion" and many other thought provoking and religiously awakening topics. Mr. Irvin Flox, this year's Chairman for R.E.W. has: announced that the theme for the thirteenth con¬ secutive year Pf R.E.W. wlU be "Torah Judaism Looks at Women's Lib." Speakers will discuss and answer such questions as "What Is Happening to. the . Jewish Woman Today," and "The Relationship of Women's Lib to the Jewish Woman." <> Religious Emphasis Week will take place this year at the Beth Jacob Synagogue between Wednesday, Sept. 22 and Sunday, Sept. 26. The Beth Jacob Youth Group wiU start the series off by having Its second Vigil for Russian Jewry at City HaU on Wednesday evening, Sept. 22. The entire Jewish teenage community Is in¬ vited to participate. A special luncheon program will be prepared by the Sisterhood on Thursday, Sept. 23, followed by the first Keynote Speaker on Thur¬ sday evening. Sunday morning there will .be a special Talis and Teffilin Club session and the final Keynote address is scheduled for Sunday (CONTINUED ON PAGE 11)
Object Description
Title | Ohio Jewish chronicle. (Columbus, Ohio), 1971-09-02 |
Subject | Jews -- Ohio -- Periodicals |
Place |
Columbus (Ohio) Franklin County (Ohio) |
Creator | The Chronicle Printing and Publishing Co. |
Collection | Ohio Jewish Chronicle |
Submitting Institution | Columbus Jewish Historical Society |
Rights | For rights and reproduction requests, go to the Ohio Historical Society's Audiovisual and Graphic Reproduction Services page at http://www.ohiohistory.org/resource/audiovis/photodup.html; Online access is provided for research purposes only. For rights and reproduction requests or more information, go to http://www.ohiohistory.org/images/information |
Type | Text |
File Name | index.cpd |
Image Height | Not Available |
Image Width | Not Available |
Searchable Date | 1971-09-02 |
Format | newspapers |
LCCN | sn78005600 |
Date created | 2016-11-02 |
Title | Ohio Jewish Chronicle. (Columbus, Ohio), 1971-09-02, page 01 |
Subject | Jews -- Ohio -- Periodicals |
Place |
Columbus (Ohio) Franklin County (Ohio) |
Creator | Ohio Jewish Chronicle |
Collection | Ohio Jewish Chronicle |
Submitting Institution | Columbus Jewish Historical Society |
Rights | For rights and reproduction requests, go to the Ohio Historical Society's Audiovisual and Graphic Reproduction Services page at http://www.ohiohistory.org/resource/audiovis/photodup.html; Online access is provided for research purposes only. For rights and reproduction requests or more information, go to http://www.ohiohistory.org/images/information |
Type | Text |
File Name | Ohio Jewish Chronicle, 1971-09-02, page 01.tif |
Image Height | 4855 |
Image Width | 3226 |
File Size | 2368.485 KB |
Searchable Date | 1971-09-02 |
Full Text |
¦ t y,:'r-r-'-'—--l>:'---'iii'4--'
^f\7/ Serving Columbus, "Central" and Southwestern Ohio \^AK
Format | newspapers |
Date created | 2009-01-09 |


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My current job (and absolutely the most important one I've ever had) is Mom. I have three wonderful children; an almost 10 year old daughter and six year old identical twin sons. This is by far the most challenging job I've ever held, but it is also the most rewarding. In my past pre-kid life I have been a librarian, a felony intake clerk, a bank teller, a career counselor, an event manager and a marketing/advertising exec. As eclectic as my resume is I have used pieces of that past knowledge in my current position already and I'm sure I will have the opportunity to do so again.
I sometimes get grief from well-intentioned busybodies who say I have too much education to stay home. (I have Bachelor's degrees in Psychology and Communication w/ a focus on Publication and a Master's Degree in Business Administration in Aviation.) Yep, that means I'm qualified to run the marketing department of any major airport, but instead I'm sitting home waiting for the bus to bring my darlings back so that I can help them navigate kindergarten and 4th grade homework and I AM TOTALLY GOOD WITH THAT! (and really as long as DH is too who else has the right to share their opinion?!)
If I had to go back and get a real job I would want to be a college professor. DH thinks it's just 'cause I would stay in college forever if I could and while there may be some truth to that I don't think that is the real reason. I had several awesome professors at Flagler College that made their jobs seem like the best in the world (and they had families too) so I think that's why it appeals so much. Plus my mom was a teacher and I know that I lack the patience to deal with elementary school, middle or most likely even high school so that leaves college as my only option. Who knows, I might not have the patience for that either, but I like to think that I have at least a tiny bit of patience so maybe.
The things I like to do best are read, write, shop, spend time with my family and plan parties so that is a lot of what I will blog about. Hopefully you will find at least some of it interesting and entertaining.
Welcome to my world. Feel free to hang out awhile.


text:
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text:
Difference between revisions of "Diving inland in South Africa/Miracle Waters"
Revision as of 06:07, 20 February 2013The dive site Miracle Waters is an inland dive site in the (locality name) area on the (topographical feature), near Brits in the North West Province of South Africa. The site is fresh water in an abandoned mine at high altitude (?m) ContentsUnderstandThis lake is used primarily as a training location for Johannesburg-based Open Water diver training schools, along with Bass Lake, however it is also a popular recreational diving destination for those who live within a few hours' drive. An entrance fee is charged to divers. PositionMiracle Waters is located at 25°40'37.94"S, 27°45'27.76"E. 10km NW of Hartebeespoort Dam, about 90km NW of Johannesburg
DepthMaximum depth is 33m. VisibilityVisibility is moderate, from 10 metres down to 5 or less after much diving during the day when divers kick up the silt. Visibility may be better in winter when there is less diving activity.
TopographyMiracle Waters is a flooded chromium mine with approximately 6 hectare surface area.
ConditionsThis is an inland site and not greatly affected by weather and season. Water is fairly warm (up to 24°:C in summer), however there are several noticeable thermoclines at approximately 12, 17, and 21 metres. In winter the water will be colder. The water is very still, with no waves. Air temperatures may drop below 0°C at night in winter, and may reach 38°C during the day in summer Facilities
Get inShore access dive.
From Pretoria:
SeeAquatic lifeBass and Kurper, and a freshwater crab may be seen FeaturesWrecks
PhotographySuggested RoutesStay safeHazardsThis site is at high altitude. You must set your decompression computer to the correct altitude range or use altitude tables to avoid increased risk of decompression sickness. SkillsNo special skills are required, the site is suitable for entry level diver training. EquipmentNo special equipment is required. Back to Diving inland in South Africa


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Dan (Penn Badgley) is torn between two girls when his childhood friend, Vanessa (Jessica Szohr), returns home and declares her feelings for him, just as he and Serena (Blake Lively) are trying to figure out what they mean to each other. At the infamous masked ball, Blair (Leighton Meester) sends Nate (Chace Crawford) on a scavenger hunt, but Nate is ultimately still distracted by his feelings for Serena. Although Blair makes it perfectly clear that outsiders are not welcome, a disguised Jenny (Taylor Momsen) and Dan sneak into the ball.
Finally, Lily (Kelly Rutherford) asks Rufus (Matthew Settle) to accompany her to an Eleanor Waldorf (Margaret Colin) event in order to make Bart Bass (Robert John Burke) jealous. "America's Next Top Model" winner CariDee English makes a cameo as Bart Bass' date.


text: Seriously, You Should Be Very Honored, MountainersLeitch3/30/07 12:45pmFiled to: College BasketballNITWest Virginia Mountaineers48EditPromoteShare to KinjaToggle Conversation toolsGo to permalinkWe'd like to congratulate the West Virginia Mountaineers on their NIT championship last night; that's something that can never be taken away from them. In fact, fans can buy the officially licensed T-shirt above. Truly, it's quite an honor.Advertisement**PLEASE NOTE: In our rush to put up a graphic immediately after the closing buzzer, we inadvertently used in incorrect image. We apologize for the error. The correct Championship Tee Shirts will ship, not the "misspelled" shirt! Thank You!Honestly, we'd rather have the misspelled one.AdvertisementCongratulations, West Virgina, NIT Champions [The Fanhouse]Reply48 repliesLeave a reply


text:
VGA Trailer
Despair Trailer
12 Minute Gameplay Demo
Footage AnalysisQ & A Summary
Q: What gameplay elements carry over?
A: Bonfires, Estus flasks, and many other stuff you will be comfortable
Q: Lots of dragons
A: yes dragons are key element of story
Q: Storytelling style changes?
A: Will still have the dark souls spirit that is the way we tell stories, look into small details and imagine story yourself
Q: better grfx, wind effects etc
A: wanted to bring life to the game, dive deep into the world
Q: Accessibility vs. old fans
A: sense of satisfaction and overcoming difficulties, loose connection with other players underlying concepts for DS series. Other franchises add on for new games, but we want to emphasise the core concepts and express them to new players. Not more accessible but more clear.
Q: HUD changes
A: Still in development, improvements in usability based on user feedback
Q: How much do you listen to fans
A: want to hear want fans want
Q: Combat changes
A: Underlying base same as DS1, focus on expression of motion, more motion capture, more realistic motions, more natural feel.
Q: Looks fantastic, when is it out
A: still in development trying to make the best game they can.
Info (Tranlated articles on NeoGaf)
Dark Souls II leads on PC, confirmed 60fps, 30fps on consoles "no drops", new engine
Facebook shield design contest going on now.
I cant directly link since i do not have facebook but here is a article about it giving the facebook link.
Die hard: From Software talks Dark Souls 2
Results 1 to 25 of 40
04-10-2013 #1
Dark Souls II 12 Minute Gameplay Demo and Screenshots
Last edited by HellsJester; 04-16-2013 at 03:03.
Shibby, DarkVincent07 likes this post
04-10-2013 #2
There, I said it.
04-10-2013 #3
04-10-2013 #4
Yeah, it unfortunately sounds like they are a bit away from release. The demo was awesome. Love the different variations of death. Love the idea to deflect giant axes with a giant sword. The concept of using a torch for light tells me an entire area (i.e. tomb of giants) will probably be in the game. Oh I $#@!ing hated that tomb.
Stoked for this game. Day one for sure.
04-10-2013 #5
$#@!ing awesome love it, great way to reveal the game properly. The lighting looks so much better and it just looks like a generally evolved Souls game with the same core aspects.
I spose that was running on a PC. It will surely come out on PS4 around the same time or shortly after and will be one of those cross gen games I'm not sure when to get or for what platform
04-10-2013 #6
Screenshot of possible boss
04-10-2013 #7
$#@! yea. I loved the death cameos at the end lol.
The game looks fantastic as expected, the lighting is a clear upgrade in what we saw in DkS. Some of the environments they showed looked better than anything in DS/DkS which is some accomplishment! So glad they reassured us that they will not be dumbing down the game experience as that is often a lure the more popular a franchise gets.
[email protected] flasks <3
Btw they haven't mentioned it as a PS4 title but it would be nice considering the FPS didn't look too hot in the video. Expecting a few blighttown areas in this one lol
04-10-2013 #8
Some speculation on Gaf was that since the original director of Demons/Dark Souls isnt working on Dark Souls II he is possibly working on Demons Souls II for PS4. Since Sony owns the Demons Souls IP that would mean it would be exclusive and Xbox owners wouldnt get a taste of Souls next gen until Dark Souls III. That would be quite the megaton if true but dont count on it.
04-10-2013 #9
04-10-2013 #10
04-10-2013 #11
Whatever does happen though, I hope Sony doesn't let the Demon's Souls IP just die. It'd be an exclusive and is surely money on the table considering the love the Souls games generally get
Thinking about it again though, it would make sense for there to be a PS4 version of DkS II. If it is indeed out in 2014 I'm sure there will be a lot of people preferring to play it on next gen hardware.
Watched the gameplay video again. In the mood for DkS now lol
04-10-2013 #12
- Join Date
- Nov 2006
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Unless they add a "Don't want to kill yourself or hate gaming forever?" mode. And yes I am "what's wrong with gaming high horse bladdyblah blah blah" - but I actually prefer to get a challenge AND to have fun with my games.Be Together - Not the same.
04-10-2013 #13
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This and Beyond Two Souls are without question Day 1 buys for me.
04-10-2013 #14
04-10-2013 #15
04-10-2013 #16
I found that the game eases up considerably once you just get to grips with it. You reach this kind of eureka moment and from there on out you stop thinking of the game as hard or difficult, rather it's you that just needs to adapt with what your faced with. Despite being a serious test of your patience, the game is incredibly fair!
You have played demons souls though so you definitely know what is up. But for those that are put off just by how hard the game seemingly is, don't be
04-10-2013 #17
04-11-2013 #18
Not going to be on the PS4?
04-11-2013 #19
That is a better description of Demon's Souls than Dark Souls I think. Dark Souls is very unfair at certain points, it likes to pull the dick move on you. But it's also a lot less difficult than Demon's and the nature of the save points is way more forgiving. I'd like DkS 2 to be closer to Demon's.
04-11-2013 #20
I cant wait for EpicNameBros analysis.
Sucks hes at work right now.
04-11-2013 #21
3 more gifs for you guys
04-11-2013 #22
Looks incredible. Day one for sure. God I $#@!ing love the Souls games. They will forever be two of the greatest RPGs IMO.
04-11-2013 #23
04-11-2013 #24
04-11-2013 #25
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- Aug 2007
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- Ontario, Canada
- Faenix1
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Like I did with Dark Souls, and regret that I didnt do with Demon's Souls, I will preorder this ASAP. Hopefully this time we get a steelbook, and not a steeltin.
Also, about Demon's Souls servers:
Demon's Souls will not be denied as publisher Atlus announced today that it will support the game's online features for the "foreseeable future."SouthParkFBWFF12GodofWarKingdomHearts3DaysGone
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text:
Last we heard, Jennie Garth was dating musician Jeremy Salken. Well, Jeremy's yesterday's news. Here's Jennie with her new guy, internet executive Michael Shimbo.
The couple hung out to watch Jennie's daughters' soccer games yesterday. It looks like Michael's been dating Jennie for a while. At least, he seems very comfortable with her daughters as well as Jennie. Go Jennie! It's not easy to date with kids, but she's doing well post-divorce.
Photos by Dmac/CPR/FAMEFLYNET


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Anyone here who has experienced the music quality of Samsung HS3000 ? It comes with APT-X support. But this works only if the transmitter has support for the codec. What if I am using a phone with Bluetooth 2.1 with EDR. Hows the sound quality then ? Also, I read in other places that there are problems with swapping between music mode and call mode. That is, when listening to music, if a call is received, the voice comes from smartphone itself instead of the device. Is it so ?
I want to buy a bluetooth device in the same price range. I was also looking into Sony MW 600. Please pour in your suggestions.


text:
I was just thinking. Wouldn't it be cool if Lucas made a movie about the Sith War? You know, when both Jedi and Sith members were in the thousands. I think that it would be cool, and there could be some really cool fight scenes.
It won't have to be a trilogy, well, unless that is what George Lucas would want to do. I think it would be cool just to see a bunch of Sith battle a bunch of Jedi.
Oh, BTW. Are there any Star Wars novels written about the Sith Wars? I am interested in them. Stupid backstabers, hahaha.


text:
Linked by Kroc Camen on Thu 6th May 2010 07:54 UTC
In 2009 ARM showed off prototype netbooks "capable of driving HD content, can surf the web for 8 hours, and will cost round and about 250 USD". Yet still, none have made it to the market. Why do you think this is so? Because ARM signed a deal with Adobe in 2008 to bring Flash and AIR to the ARM architecture, a promise they will finally deliver later this year. And you wonder why Apple won't have Flash on the iPhone when it can hold back an entire product category for two years.
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I think the problem is just "normal" users who might not understand, and then bad mouthing it long after the issue is resolved. It is stupid, sell it to non-normal users until it's ready for normal users! The non-normal users might even help you in getting it ready for normal users. I just don't get why these things didn't come out years ago.


text:
Untangling California
For years, a shifting alliance of activists here in California has been pressing the idea of calling a constitutional convention to try and cut through the partisan tangle in Sacramento. Unfortunately, since only the legislature can call a constitutional convention, the partisan tangle in Sacramento stands in the way of cutting through the partisan tangle in Sacramento.
But the effort has picked up steam lately, with a couple of ballot initiatives being filed that would (a) allow the people to call for a convention and (b) call a convention. If backers can get a million signatures for these initiatives, they'll be on the ballot next November. Unfortunately, the public isn't yet on their side:
Backers of an overhaul of California's government, who hope to leverage disgust with Sacramento into support for changing how the state raises taxes and spends money, have a difficult path ahead, according to a new poll of California voters.
....Voters don't want the tax code overhauled in the ways that many fiscal experts promise would tamp down the wild revenue swings that have led to a constant state of budget crisis in California. They don't want the Constitution changed to allow a simple majority of lawmakers to push a budget onto the governor's desk, as most other large states allow. And they don't want the state to touch Proposition 13 property tax restrictions, even if residential property taxes would remain strictly limited.
The problem is that the partisan tangle in Sacramento is basically a reflection of California itself. My fellow residents have no desire to pay higher taxes and no desire to cut services in any significant way, and they're apparently willing to destroy the state before finally admitting that they can't have both. But we haven't quite reached that point yet, and the purpose of a constitutional convention is simply too clear to be covered up: backers want the legislature to have the power to raise taxes. The anti forces will have absolutely no trouble making that clear, and that in turn means that these two initiatives are almost certainly doomed.
But we'll see. It's possible — unlikely but possible — that things will deteriorate enough in the next year to make Californians realize that they don't have many choices left. There's not much left to be squeezed out of higher education without simply abandoning it completely; K-12 is inviolate; nobody seems willing to get rid of our insane sentencing laws and fantastic prison population; public employee unions have no intention of moderating their pension demands; and taxing marijuana isn't going to get the job done. All those things have been true for years, though, and the battle lines are pretty much the same today as they were a decade ago.
So what's left? Beats me. But unless some kind of catastrophe drives home the scope of our problems to 50% + 1 of our citizens next November, it's hard to see how anything changes. Maybe the initiative backers need to hire Roland Emmerich to produce a few ads for them.


text:
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Micturition (or post-micturition) syncope is fainting during or, more commonly, immediately after urination due to a severe drop in blood pressure. Micturition syncope is most common in older men and usually occurs at night after a deep sleep.
The exact cause of micturition syncope isn't fully understood. But it may be related to opening (vasodilation) of the blood vessels that occurs when getting up and standing at the toilet or that occurs at the rapid emptying of a full bladder. This is thought to result in a sudden drop in blood pressure.
Other factors that may play a role in micturition syncope include:
Micturition syncope is uncommon and should be evaluated by a doctor because it may indicate an underlying medical condition. Prevention of micturition syncope depends on recognizing the factors that contribute to micturition syncope and avoiding them.
Some strategies you might suggest to your husband to avoid micturition syncope and possible resulting injury are:
As much as possible, ensuring the floor from your bed to the bathroom is carpeted or padded also is a good strategy for avoiding injury from a potential fall.
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text: Spray Painting with a Skateboard Is Just As Fun As It SoundsCasey Chan7/06/11 11:00amFiled to: ArtSpray paint skateboardingspraypaintspraypaintingTaggingGraffitiSkateboardingSkatingskaterSkate spraypaintingPoolSkatepoolPoolskate22EditPromoteShare to KinjaToggle Conversation toolsGo to permalink These skaters attached a remote control spray paint can to the bottom of their skateboards. That way, whenever they would skate, a trail of paint would follow their path. It all makes for chaotically colorful artwork.AdvertisementIngeniously, the skaters chose to tag up an empty pool. Given the constant loopy back and forths that are necessary to ride a pool, the painting began to almost look like a spirograph. Look at all those circles! Oh, the colors! I just love the idea of amazing art being a byproduct of what people, or skaters, normally do. [YouTube via Neatorama]Reply22 repliesLeave a reply


text:
A Conversation With Allen Daviau, ASC
October 16, 2006
What sparked your original interest in filmmaking? I was born in New Orleans and grew up in Los Angeles during the 1940s and 50s. I saw films in neighborhood theaters and my parents began taking me to downtown movie palaces when I was approximately 3 years old. When I was 12, I saw a demonstration of color television at a local appliance store. It was an NBC opera theater production of Mozart's Abduction from the Seraglio. It was absolutely stunning experience. I had to find out how it worked, so I went to my neighborhood public library the next day. After exhausting their resources, they referred me to the main library downtown. In high school, my good friend John Stachowiak knew someone connected with a TV show that was produced at NBC Studios in Burbank. We got into the control booth during a live show done with color cameras. I could see the impact of the lighting. That experience started me on a career of gate-crashing at different television and film studios. CBS TV City was one of the toughest. I'd wait for the coffee truck to pull in after 10 a.m. and walk to the back of the truck when the guard and other employees got their coffee. I'd slip into that crowd and walk into the studio with them. By the time I was 16, I had figured out how to talk my way past gate guards and get onto studio movie sets. One time, I watched Charles Lang Jr. (ASC) light a close-up of Shirley Booth for a film called The Matchmaker. It was fascinating. Another time, I got on a stage at Paramount, where Charlie was shooting the hacienda scene for One-Eyed Jacks. It was Marlon Brando's debut as a director. I could see that Charlie was really enjoying himself. He would quietly talk with Brando about how things were working and what they could change. I thought that he must have the best job in the world. I think that's when I decided I wanted to be a cinematographer. Were you able to get any practical experience at that stage? I started doing lighting for stage plays in high school. That taught me how light enhances drama in real time. You are on that dimmer board making allowances when an actor changes their performance. If something goes longer or shorter, you're making decisions to hold or cut the light, in part, depending upon the reactions of the audience. You have to be in total sync with the performers and you also have to understand how the set works. That's when I learned how light can affect emotions and draw an audience into a story. I could tell the difference in applause and audience reactions when I missed. What lessons did that experience teach you? It really helped me appreciate actors. I learned that I had to understand what they were trying to achieve and figure out how to help them. I also learned about the importance of creating motif lighting for characters. Did you do any photography during that period of your life? I started taking still pictures when I was 14. I took pictures of everything in my world. I also enjoyed playing with the film in the darkroom. What did you do after high school? I visited the camera guild office and asked about becoming a member. They told me to forget about it, that I didn't belong there. I didn't have the grades for admission to UCLA, or the money for tuition at USC or NYU, so I found jobs in camera stores and still film labs. Around the time of my 20th birthday, my parents moved to Fresno, California. I was working the graveyard shift at a large consumer photo lab and got laid off. I wanted to save money to buy a 16 mm camera, so I asked my parents if I could live with them for a year. I wound up working in a film processing lab and a discount department store in Fresno six-and-a-half-days a week. I got to meet a lot of people who were interested in photography. I also got involved with the Fresno Community Theater and Civic Light Opera as a lighting designer. There were two radio stations engaged in a battle for audiences. I called one of those stations and told the general manager I was interested in the promotional end of the business. I said I could do still and motion picture photography, and I could light stage productions. Through him I got to speak with Ron Jacobs, the program director. We became good friends, and later, he got me my first job shooting a motion picture film. How did that happen? I went back to Los Angeles during the spring of 1964 and got a job in a camera store. Soon afterwards, Ron Jacobs became program director at KHJ, a rock 'n' roll radio station in Los Angeles. They asked him to handle a live music program on KHJ-TV that aired from 6-7 p.m. on Saturdays. He hired Peter Gardiner to produce the show. It was a live television show, but Peter was planning to use a lot of film. He was from New York, so he asked Ron to recommend a cinematographer. By then, I had saved enough money to buy a 16 mm Beaulieu camera and three Angenieux prime lenses. I was shooting short, promotional films for the radio station that ran on the Sam Riddle dance party on KHJ-TV. I showed that film to Peter, but it wasn't enough to convince him. Luckily that summer I had shot a 16 mm film for Nick Frangakis, who was a student at UCLA. It was a music video edited to Stravinsky's Symphony of the Psalms, the Laudaute. It was a very emotional piece that wound up running at the New York Film Festival. I showed it to Peter who told me to tell the camera store I was leaving to work for KHJ-TV. I had to take a pay cut. I was making $150 a week at the camera store, and the television job only paid $100 a week, but I was shooting and editing film. In retrospect, in addition to the practical experience you gained as a cinematographer, what did you learn from that experience? It gave me an appreciation for what editors do and what they need from cinematographers. We had an editing room located in the Sherman Grinberg Film Library upstairs from the best 16 mm lab in the city. It was called American Color Lab. I shot several three- to three-and-a-half minute spots for every program during the 13-week run of the show, including the initial promotion for The Monkees TV show. We called them rock 'n' roll promos. They were the same visual language as the music videos that were coming into use. Looking back, I learned some important lessons, including how to shoot film, work with a lab, edit a work print, and convince the TV engineers to show it the way it was meant to be seen. What happened after the run of the show? Peter formed a company called Charlatan Productions that created rock 'n' roll promo films for record companies. Our model was Richard Lester's films, Hard Day's Night and Help. In those films, Lester invented the idea of visually interpreting music and lyrics. We shot films with The Animals, Jimi Hendrix, The Rascals and many others. I had my Beaulieu camera and one battery that I kept on trickle charge because I couldn't afford a second one. We were shooting with Ektachrome film rated for an exposure of 25 in tungsten light and 16 in daylight with an 85 filter on the lens. I also used some Ektachrome news film, which was rated for 125 in tungsten light, but not very often, because it was more expensive. We found a lab that would do post-flashing and pre-flashing that gave the news film a softer image, so we could intercut it with Ektachrome ECO film. We made about 40 prints of each promo, or whatever the record company ordered, and bicycled them to TV stations, usually in conjunction with a tour by the group or artist. A lot of local stations used the promos to do half-hour shows leading into Dick Clark's Dance Party. They loved our films because it gave them something to put on the screen besides the same group of kids dancing. After a while, we began traveling to different cities to shoot our films. Once I made three trips to New York in eight days. When did you start shooting other films? Around 1967, I started shooting some commercials. The production office was still in the Grinberg Library. I met Ralph Burris who was the producer for a young man named Steven Spielberg. They were looking for a cinematographer to shoot a short 35 mm film. They visited me in our little editing room, and I showed them my rock 'n' roll films. Steven asked me a lot of questions. He had a great idea for a film about a European-style bicycle racing league in Los Angeles. Tony Bill was one of the stars. I told him I had only shot 35 mm once and didn't really know the equipment. I introduced him to Serge Haginere, who had a lot of 35 mm experience. I was the B camera operator. I shot with a beat-up ARRI camera and a 1000 mm lens. We shot as the sun was rising on Saturday and Sunday mornings. They ran out of money, and never finished that film, but a year later Steven asked me to shoot Amblin. Tell us a bit about your memories of Amblin. It was an idyllic story about a boy and a girl who meet while hitchhiking in the desert. We shot in the Pearblossom (California) area for 10 straight days. It was July and about 105 degrees every day with no breeze. We started at sunrise and finished at sunset every day and made an amazing 26-minute film with no dialogue or sync sound. It was images, music and some sound effects. That was the film that got Steven his first contract directing for Universal Studios. He tried to bring me with him, but I couldn't get into the camera guild. Sometimes I would help him steal scenes on weekends. That was in 1969. What did you do next? I started ringing doorbells at the commercial production companies. John Ury advised me to join NABET. My first national commercial was for Goodyear tires. I filmed the live-action footage at the end of an animatic spot that was made with still cameras. My second commercial was for Chrysler. That led to other work. Did you try to do narrative films? I shot my first low-budget feature in 1969. We had a $265,000 budget, some very good actors, and a wonderful production manager. The director was Richard Erdman, an actor you would recognize from films in the '40s, '50s and '60s. We shot it in Salt Lake City in 18 days. Half of the roles were people from the local community theater and everyone on the crew was under 30. The local actors let us use their homes for locations. It was a great experience, but the film only played on a few theaters in the Midwest and South. What other kinds of other work were you doing during that period? I was shooting 16 mm industrial films, and educational movies for the Franciscan Center in Los Angeles. I also worked on David Wolper documentaries for about a year and a half. It started when I got a call from Andy Babbish, the production manager I knew, who was on a CBS sports show called The Killy Challenge. This was during the winter of 1970. Jean-Claude Killy was going to be competing in a different skiing area every week. I got called in because one of the cameramen had gotten pneumonia, and Andy knew me from the low-budget feature in Salt Lake. I went to a surplus store and bought a parka, gloves and boots. Then, I flew to Denver. Every morning we would haul our equipment up to the top of a hill and set it up just in time to catch the skiers racing by. United Airlines also wanted to do a promotional film about Killy and the Western ski areas they serviced. I was shooting the sports documentary footage in the mornings. I would go off with Killy in the afternoons and film him in recreational areas, doing everything from swimming in an indoor pool to sledding. I shot an interesting feature documentary with a producer named Mel Ferber. We filmed everything from junkies shooting up and talking about shoplifting, to cops making arrests, and a botany professor at UCLA lecturing on the drugs people grow in their gardens. Unfortunately, the program never aired. When did you get into the camera guild, and what was your first film? I finally got onto the union roster at the end of 1978. The timing was perfect. Jerry Freedman was getting ready to direct a television movie. He took me to meet the producers at Mary Tyler Moore Enterprises. He told them, you have never heard of this guy, but he's going to do a great job for us. He's going to work very quickly, or I will shoot him. Abby Singer interviewed and hired me and made my deal to shoot The Boy Who Drank Too Much. We shot more than half of it in Madison, Wisconsin, where we used a small hockey stadium as a location. Later, I shot two other television films with Jerry. They were called Streets of L.A. with Joanne Woodward, and Legs about The Rockettes, the famous dancers at Radio City Music Hall in Manhattan. What was your first feature after you got into the union? I shot a a small Western feature called Harry Tracy with (director) Billy Graham. That was in 1980. It starred Bruce Dern, Helen Shaver, Michael Gwynne and Gordon Lightfoot. It was a Canadian Film Development Corporation picture. Some of the best film that I've ever shot was in that picture. How did you get to shoot E.T. the Extra-Terrestrial? Steven ran into Jerry Freedman who told him I was in the union. Steven called and asked me to shoot a sequence for the new edition of Close Encounters of the Third Kind. It was supposed to be in the Gobi Desert, but we shot it in Baker, California. He promised Columbia Pictures we would do it in two days. We got up at 4 a.m. and shot at sunrise. Right afterwards, he went to England to do Raiders of the Lost Ark. He had a film in development at Columbia that was going to be called Night Skies. It was a story about a farm family out in Oklahoma or Kansas. One day a spaceship comes out of the sky, lands and these strange creatures climb out. They cut the phone and power lines, slaughter farm animals and carry them onto the spaceship. A little boy is watching them through a window. An extraterrestrial comes up to the window and telepathically tells the boy, Don't worry. I won't let them hurt you. With screenwriter Melissa Mathison, the concept for Night Skies turned into E.T. the Extra-Terrestrial. Kathy Kennedy was Steven's assistant at that time, and he basically threw her into deep end of the pool as producer. They took the idea to Universal Studios. When they asked Steven how much it was going to cost, he said $10 million. They agreed to finance the small-budget film and gave him the complete freedom that he wanted. When did he ask you to shoot E.T.? I was very lucky. Steven actually called my agent because he wanted to see another cinematographer's reel. My agent sent him that reel, but he also suggested that he look at my work. I was shooting a commercial in Arizona, when my agent called and asked what I wanted to show Steven. I wanted to show him Harry Tracy, but it was being edited, so I picked The Boy Who Drank Too Much, because it had a lot of moody lighting and it was about kids, so he would watch it. My agent called in a favor and got the only print from a friend at CBS. He drove to Steven's house on a Sunday afternoon and personally delivered the film. I had just gotten back from San Francisco, where I was shooting another commercial, when the phone rang at about seven that night. It was Steven. He said he was watching the third reel of my film, and asked if I wanted to read a script. Oh boy. I met him the next morning. Tell us about the house where Eliot, the little boy, and E.T. meet. They found the house they wanted at the end of a cul-de-sac in Sunland/Tujunga on the outskirts of Los Angeles. We played it as a low-key interior even in the daytime, so we could keep E.T. in the dark. That was Steven's vision. The less the audience saw of E.T., the more they imagined. We had Venetian blinds in Elliot's room that allowed him to make the room dark for E.T. even in the daytime. The rest of the night exterior scenes were shot at the very end of the schedule near the Oregon border in Crescent City, California. It was a nice location with lots of Redwood trees. E.T. seemed like a flesh and blood character. There were several animatronic E.T.s. One model had arms attached. I think it was only in one scene at the end of the movie where he's reaching up with his arms and letting out that cry. The rest of the time, the arms were provided by a mime named Caprice Roth. She was amazing. Every time you see a shot of E.T. sitting at a table, she was lying on the ground underneath the animatronic with her arms in the air. She had a video monitor, so she could see E.T. and move her arms accordingly. There's a scene where the kids are in Elliot's room, and E.T. is sitting at a table. He is eating watermelon and gets a little piece on his lip. Caprice reached up and flicked it off. That gesture did more to make E.T. seem real than anything we could ever imagine. She was so believable that we forgot she was there. The main E.T. was mechanical. There were 11 people simultaneously operating him. They had to work in incredible unison. Some important establishing scenes with E.T. were in a bedroom closet. I remember telling (production designer) Jim Bissel and Steven I had a closet at home that had a window in it. That would give us a believable way to motivate light. I think it was Bissel who suggested making it a stained glass window with orange, yellow and white elements. That gave the light some colors. The other rooms were on the same stage, so we could shoot on all of those sets in continuity. E.T. was always back-lit. One of my favorite scenes is when he comes out of the closet and Elliot has got the shades drawn. He is showing him around the room, and E.T. is discovering this whole other world. I threw light on a fish tank and got a glow reflected from that into E.T.'s eyes. That set the pattern for motivating with the least amount of light I could put on him. Do you have any other memories to share about E.T.? Our only out of town scouting trip was to Crescent City, California, which is right on the Oregon border next to the Redwood forest. That's where we shot the opening and the ending of E.T. We flew from Los Angeles to San Francisco on a commercial airliner. Eleanore King Kalmussat down next to me. She saw the script in my hand and said you must be working on a movie. We spoke for a while. She was the widow of Dr. Kalmus, the founder of Technicolor. Later, she sent me a note about E.T. and two copies of a book that she wrote about Dr. Kalmus. I took it as a good omen. One of your next projects was Twilight Zone: The Movie. I shot two of the four segments. The other two parts were filmed by John Hora (ASC) and Stevan Larner (ASC), so I was in very good company. I shot one segment directed by Steven Spielberg and the other with George Miller. In one segment, John Lithgow played a very nervous passenger who was looking out of the airplane window. He saw a creature on the wing and told the stewardess. Eventually he saw it again with its face pressed against the window. It was a scary scene because the airplane was in trouble, so we did a lot of bouncing around with the camera to amplify that feeling. There were only a few dolly shots. Everything else was handheld camera or Steadicam shots. Garrett Brown operated the Steadicam and John Toll (ASC) did the handheld shots. One of your next films was The Falcon and the Snowman. The director was John Schlesinger. He said at the beginning that he didn't want the color red in the film. If a traffic light was red, we weren't going to shoot until it turned green. That affected everything from costumes to production design, and which determined how we lit and shot the film. That's why you light—to set the mood. Your second Oscar nomination was in 1985 for The Color Purple. Steven was the director. It was Whoopi Goldberg's and Oprah Winfrey's first film performances. We shot interiors at Universal Studios, and went to North Carolina to shoot exterior and interior scenes on location. The cast was almost entirely black. I asked Michael Riva, the production designer, to make the walls as dark as he dared. We used arc lamps to drive tremendous amounts of light through plastic diffusers on the windows. We felt that helped to create the environment for the moods of interior scenes. How about Empire of the Sun? We shot that film just after China opened up and before Tiananmen Square. The Chinese were really happy to have Steven Spielberg doing a movie there. It was a period film seen through the eyes of an English boy who had spent his entire life in China. The story was set in Shanghai before and during World War II when the Japanese army occupied the city. Shanghai mostly looked just like it did in 1940. We shot for three weeks in China and the rest of the film was made in England and Spain. You got another Oscar nomination for Avalon. It took me two years to find another film that I really wanted to do after Empire of the Sun. I had met the producer, Mark Johnson, and Barry Levinson when they visited Steven (Spielberg) on the set of The Color Purple. It was a family story that Barry felt very deeply about. We shot at real locations except for one small stage. The vast majority of the modern day story was set from 1948 to around 1952. We had flashbacks to young Sam's coming to America in 1914, and other scenes in 1917, 1923, and one segment in the 1930s. We spoke about giving each period a visual motif to separate them. Most of the flashbacks occurred in what we would call silent film time. In 1980, I shot a commercial for a bank on some little Western town set. I had suggested shooting it at silent film speed, 16 frames per second and print every other frame twice to get 24 images per second. The director loved the idea, but the agency was concerned, and someone at an optical house talked them out of it. I remembered that idea when I was reading the script for Avalon. I shot one test at both 24 and 16 frames per second. We looked at the dailies in a local theater while we were scouting locations in Baltimore. I told Barry that I thought it would be a great way to shoot the flashbacks, and he agreed. You got another Oscar nomination for Bugsy, which was directed by Barry Levinson. How about sharing a memory from that film? I went almost directly from Avalon to Bugsy. It was about Bugsy Siegel, a real-life, big-time Mafia gangster set in the 1950s. The real Bugsy was like a movie star when I was growing up in Los Angeles. He was in the newspapers all the time. Warren Beatty played Bugsy. He and Barry envisioned an impressionistic 1940s and '50s look that grew out of the locations and sets on stages where we shot. Bugsy was the first film that I used a lot of hard light on. We felt that look was right for the period and the emotions of the story. I have a vivid memory of a scene where Bugsy was visiting a movie set for the first time. He was watching George Raft and Marlene Dietrich perform in Manpower. I used the stylized black-and-white lighting that was common when Manpower was shot. It was just one thread in the fabric of the film, but it helped to set the tone. Tell us a story about one other memorable film of your choice. I loved working on Fearless. It was a great experience for everyone. When Peter Weir directs a film, actors from around the world want to be in it. When you are on the set, you see why. Peter was there on the set with the actors talking about the story, the depth of their characters and their backgrounds. The actors adored him. There was a video village, but Peter stood right by the camera while we were shooting. When he said cut, the actors immediately looked at his face to see how he reacted to the performances. Every day was an adventure. He is a remarkable artist and a gentleman. Can you share another memory about Fearless? I noticed that there was perfect natural lighting for a partially dramatic scene in a small bedroom when the sun was at a high angle in-between two buildings. The sunlight coming through the window bounced off the carpet and lit the faces of the two characters. It was perfect. The problem was that the sun was only in that position for about 15 minutes. We rigged an 18 K HMI light on a crane outside the window, looking down at the right angle to bounce off the carpet in exactly the right spot. What's the scariest thing about being a cinematographer? I think the scariest thing is handling a large night exterior for the first time. But, it's a good thing to be frightened. In fact, you should be scared every day you go to work. There should be something that is daunting to you that you haven't eliminated all doubts about. There should be something that keeps you awake at night. We want to ask you about Van Helsing, a modern day monster film that you shot a few years ago. Was that your first experience with digital intermediate technology? My first experience with digital intermediate technology was actually on Fearless. We had a dramatic scene where Max (a main character) was asleep on an airplane. He was dreaming. We came in for a tight shot of his face, while the audience hears the sounds of the plane like it is struggling to survive. You can see rapid eye movements behind his clenched lids. For that isolated moment, you could see what was inside his mind. The problem was that when we saw the film, one of his ears was noticeably more orange than the rest of his face. Kodak had opened Cinesite, which was providing digital film restoration and visual effects services. I had them scan the frames of the close-ups of his face, isolate his ear and match the color to the rest of his face. Van Helsing was my first digital intermediate on an entire film. What was your impression of the use of that technology? It can be an extension of what we do as cinematographers. Sometimes, you can get nuances that you just can't get in any other way. I'll give you an example. I decided to frame a high angle shot, where it was impractical to flag a light off a building in the background. I knew that we could darken it in DI. That was important, because the eye automatically goes to the brightest part of the frame. There were other times when I chose not to put filters on camera lenses while we were shooting at very low light levels. That allowed me to use a deeper stop. I put final touches on the look in DI. You have played a leadership role in representing cinematographers in discussions about the need to preserve films that are part of our cultural heritage. Then, you had an opportunity to re-visit your past a few years ago when you supervised the restoration of E.T. the Extra-Terrestrial. How about sharing your thoughts? Universal Studios re-released E.T. and a DVD with extended content to commemorate the 20th anniversary of the original release of the film. The negative and other elements were in excellent condition, because of careful handling by the lab, and the foresight of the studio, which archived the film in an environmentally controlled vault. There was no color dye fading, shrinkage, deterioration or physical damage to any of the negative. I timed a new duplicate negative with scene-to-scene color correction with Bob Raring, who had timed the original film with me at Technicolor. The DVD has some behind the scenes material that had never been scene before. They were shot by John Toll (ASC). My favorite is an incredible shot with Steven (Spielberg) and John Williams at a piano working on the score. You obviously believe it is important for cinematographers to be involved. I do believe that it is important for cinematographers to supervise restoration projects. We're not only bringing our memories … we are bringing our enthusiasm. How do you find a balance between movies and commercial work? I think commercials are in many ways the best friend of the cinematographer. It's a different medium that doesn't give you the same satisfaction as following the arc of a wonderful script where you have to use every area of your brain. But, I have learned so many things by shooting commercials. I also get to work with a lot of different directors, and all of them want me to do something challenging and new. I have learned things shooting commercials that I've later used in films. I've mentioned a few examples. Commercials also give you the freedom to wait for the right film. How do you know when a film is right for you? You better believe in a film and the director before you commit to it, otherwise the passion isn't going to be there. I have spent a lot of time waiting for films that never happened. There have been some disappointments, but I consider myself lucky, because I have had opportunities to work on so many successful projects with so many wonderful people. If you could go back in time and work with any director, who would it be? That's an almost impossible question to answer, because there were so many great directors. Off the top of my head, I regret that I wasn't working when Preston Sturges was directing. I would have loved to work with him. |


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This charming traditional home in the Cold Spring school district offers 3 bedrooms and 2 baths, an extra-deep sunny lot, French doors and wood floors. Updating and cosmetics will make the great bones of this home shine. The garden is large and private, with a sprawling lawn and mature plantings.