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|2012-12-23, 20:35
|Link #3481
:Still Yayoi's Onii~chan:
Join Date: May 2007
Location: in a world of delusions & illusions
Currently Playing:
ONEPIECE Kaizoku Musou/Pirate Warriors. Trying to finish the trophy collection for this one seeing as "2" is in the works.
Currently waiting on:
Catherine. The JP version finally made it into "THE BEST" selection so I picked it up. It's got quite the VA cast.LD
Looking forward to:
-Fate/EXTRA CCC (PSP) (Feb 2013)
-Hatsune Miku Project Diva F (PS3) (Mar 2013)
-7th Dragon 2020-II (PSP) (Q1 2013)
...depending how things turn out for the holidays I might consider getting a PSVita...and/or a 3DS. So many games...
|2012-12-25, 21:12
|Link #3484
IT Support
Join Date: Feb 2009
Location: Pennsylvania , United States
Age: 29
I got my Nintendo Wii U as a shared Christmas present with my sister and played a bit of New Super Mario Bros. Wii U, but I haven't touch other games yet.
Also, played a bit of Little Busters Converted Version on the Vita, still on May 15th though. :/
|2012-12-25, 22:58
|Link #3485
Goat Herder
Join Date: Jun 2008
Age: 31
I read The Slab recently, so I'm now running through Gears of War currently. Got done with Gears of War last night, and am currently running through Gears of War 2, to be followed by Gears of War 3 and RAAM's Shadow after it.
|2012-12-28, 20:42
|Link #3486
IT Support
Join Date: Feb 2009
Location: Pennsylvania , United States
Age: 29
Actually started playing some Tales of Graces f and I have to say, it's actually good unlike Symphonia 2. At least the main hero is actually strong and not so whiny. But still, I do find it strange that they start off in the childhood arc in the prologue before jumping 7 years later and have the actual story begin as I never played a Japanese RPG that does that before. Either way, I'm on the second chapter.
Also played some Nintendo Land... Beaten my sister at the Yoshi attraction.
|2012-12-28, 23:56
|Link #3487
:Still Yayoi's Onii~chan:
Join Date: May 2007
Location: in a world of delusions & illusions
Started playing Catherine(PS3)...though starting it at 3:00am alone in the dark probably wasn't a good idea.
I bought it only knowing that it was a "puzzle" game with a pretty damn gorgeous JP VA cast, didn't expect it to be...so...But still, it's quite interesting. Currently on Day 3. Though there was one important thing I forgot...I SUCK at puzzle games. I'm the type of person that relies on "instinct" so...not the best playing method for puzzle games.
Also picked up Final Fantasy IX for the 25th FF series anniversary sale on the JP PSN. I spent about an hour trying to decide between getting VII, VIII, and IX. I could've gone with VII but I put in SOOOOO much time on the original PS version that I still remember things quite vividly so I passed on it. VIII...was good but I found the "Draw" system to be a pain, not to mention junctioning 100 Death spells to your weapons took the fun out of things.
Then I remembered IX had quite a lot of sidequests and mini-games to do so. I also want to try for acquiring Excalibur II this time. If I remember correctly you had to reach the Lich area in the final dungeon by 13hrs play time.
Also playing the demo version of Conception (PSP). It's actually a pretty solid game. Guess you can't judge games by their title
|2012-12-29, 01:08
|Link #3488
Onani Master
After so much DayZ, I've decided to fall back upon ArmAII itself and have been playing a lot of different missions both offline and online.
Currently I just started the Namalsk Crisis which is a STALKER inspired mod. I already know the island pretty well thanks to the DayZ version but the campaign still manages to get under my skin.
The combination of ArmA's unforgiving combat with Russian Army AI, numerous and fearless zombies to the dreaded Bloodsuckers makes for a very tense game.
I was quite proud before after relieving a Spetz Natz operator of his satchel charges I ambushed a two BTR convoy on the outskirts of Vorkuta before rushing back into the darkness of the forests and completing the mission.
But oh so many times I've just been shot out of no where by some sneaky Spetz Natz sniper... Playing the game with The JSRS sound mod makes the game a completely different beast.
Fire fights sound as unforgiving as they play out and the improved vehicle sounds really send that sense of dread down your spine as they approach.
Great stuff.
|2012-12-31, 21:50
|Link #3493
IT Support
Join Date: Feb 2009
Location: Pennsylvania , United States
Age: 29
Been playing games since there is nothing to watch at the moment.
Playstation 3
Tales of Graces f - I don't know what chapter I was on, but beating Richard (first battle) was pain in the butt. I kept dying at least three times and wasting a lot of life bottles to stay alive. It's all because I couldn't execute the Mystic Artes needed to deliver the final blow, but I managed it on the fourth try after realizing that you press the button in a middle of a combo. But yes, I'm at last 12+ hours into the game, no where close to finishing
Atelier Meruru - Not much going on here except more quests, development and making stuff. Given that Atelier Totori Plus is very similar in gameplay, I don't think I won't have much problems playing that, even though it's in Japanese and I have to translate all the text manually. Hey, it's good language practice.
Nintendo 3DS
Paper Mario Sticker Star: Finished the first chapter and now on the second. This game is pretty easy compared to previous Paper Mario games.
|2013-01-01, 00:38
|Link #3495
Senior Member
Join Date: Jan 2009
Location: NY, USA
Age: 28
Got a whole bunch of Steam games downloading right now thanks to the sale.
Mark of the Ninja
Binding of Isaac
Orcs Must Die series
Dungeon Defenders
Legend of Grimrock
Deus Ex: HR
Going to be a busy New Years'
|2013-01-01, 02:05
|Link #3496
User of the "Fast Draw"
Currently playing Persona 4 Golden (Vita).
It's been tough to be able to say anything other than that lately. Even after my first playthrough this game keeps calling me back . Definitely added some nice improvements to the original game. Feels like a more complete experience and definitely cements it as one of my favorite games period.
|2013-01-03, 01:34
|Link #3498
:Still Yayoi's Onii~chan:
Join Date: May 2007
Location: in a world of delusions & illusions
Still playing Catherine. FINALLY made it to Day 6. This game is difficult as it is amusing. I've never been much of a puzzle gamer but this game is forcing me to play so that I can see the story through to the end. And it'll give me plenty to do with the nine(?) endings it has.
Also started up disc 3 of Final Fantasy IX. It's been a few years since the last time I've played it and I forgot how good it was. I only remembered the gist of the main story when I started but as the story progressed I remembered more and more...my eyes got all teary when I got to the Black Mage Village. (T_T) I've been spending a good portion of my timed doing side quests and mini-games. Chocobo Treasure Hunting and the Mognet...I forgot how annoying the Moogles get after playing this game for a while kupo!.
...it was also frustrating how often the party members changed early on the game. Especially Quina, he...no, she? Whatever, (s)he leaves the party too often. But the characters in this game are so amusing so it's ok.
|2013-01-03, 20:28
|Link #3500
Join Date: Apr 2010
Location: Ontario, CA
Age: 28
Snagged Terraria, Tropico 4, and King's Bounty: Warriors of the North off the steam sales (I shoulda waited on Tropico 4 for a flash sale or something =/).
Currently playing:
King's Bounty - so fun! Tbh, it looks kind of a spin off (or rip off depending on how you see it xD) of HoMM (which was also a fun turn based game) but it's still pretty good. Could have been made a lot better, but for it's sale price it was worth it (I think I got it for 10 or 15). I'm not a major fan of turn based games, but once in a few years is good. Shoulda picked up HoMM VI while it was on sale, hopefully it'll pop up on the flash sales by the end of the 5th.
Aion - still playing retail, I should be hitting 50 tomorrow on my gladiator. Hoping to run a few Dark Poeta runs for some better gear.
Shogun 2 Total War - I do occasional battles here and there but it gets tiring just after one 45 minute epic battle. My most recent battle involved me defending against the siege of Kyoto with about 6000 gunpowder units (1 reinforcing army) while the opponent about 18000 units (2 reinforcing armies). Yes, 6000 + 18000 units on the map, was freaking epic. I expected to lose horribly but I actually won haha
|Thread Tools


text:
18 U.S. Code § 243 - Exclusion of jurors on account of race or color
No citizen possessing all other qualifications which are or may be prescribed by law shall be disqualified for service as grand or petit juror in any court of the United States, or of any State on account of race, color, or previous condition of servitude; and whoever, being an officer or other person charged with any duty in the selection or summoning of jurors, excludes or fails to summon any citizen for such cause, shall be fined not more than $5,000.
Based on section 44 of title 8, U.S.C., 1940 ed., Aliens and Nationality (Mar. 1, 1875, ch. 114, § 4, 18 Stat. 336).
Words "be deemed guilty of a misdemeanor, and" were deleted as unnecessary in view of definition of misdemeanor in section 1 of this title.
Words "on conviction thereof" were omitted as unnecessary, since punishment follows only after conviction.
Minimum punishment provisions were omitted. (See reviser's note under section 203 of this title.)
Minor changes in phraseology were made.
LII has no control over and does not endorse any external Internet site that contains links to or references LII.

subset: commoncrawl


text:
Anthony scores 40 as Knicks down Hawks for 10th straight win
Atlanta, GA – After matching his career-high with 50 points on Tuesday, Carmelo Anthony poured in 40 points to lead the New York Knicks to a 95-82 win over the Atlanta Hawks on Wednesday.
Anthony was 17-for-27 from the field, and has gone a combined 35-for-53 over his last two games.
"As long as I just take my time and take advantage of what they gave me I can score," Anthony said. "(If) they are going to play me one-on-one I'll take advantage of that. If they double, we get shots. I just have to stay focused."
J.R. Smith added 19 points and Raymond Felton finished with 14 points for the Knicks, who have won 10 straight. With the win, New York leads the Indiana Pacers by one-half game for second place in the Eastern Conference standings.
Kyle Korver poured in 25 points on 6-of-10 shooting from 3-point range and Jeff Teague added 15 points and nine assists for the Hawks, who lead the Chicago Bulls by one-half game for the fifth spot in the East.
"We played a very hot basketball team. Carmelo is playing at a very high level right now. He's shooting the ball extremely well," Hawks coach Larry Drew said. "I thought there were times that we did defend him well, but he still made shots."
Anthony was hot from the get-go, knocking down five of his first eight shots to help the Knicks build 23-18 lead after the first 12 minutes. He finished with 13 points for the quarter.
Anthony added 11 more in the second, going 4-for-5 from the field. New York shot 50 percent from the floor as a team in the quarter and led 47-40 at the break.
Atlanta managed to take its first lead since the first quarter with just over four minutes to go in the third following a Teague layup and the teams went into the final frame knotted up at 68-68.
The Knicks clamped down defensively in the final quarter, forcing seven turnovers over the final 12 minutes which led to 12 points. Anthony scored just four points in the quarter, but Felton and Smith finished with 10 apiece.
The Hawks were held to just 14 points in the final stanza.
Game Notes
The Knicks will host the Milwaukee Bucks on Friday ... New York scored 22 points off 16 Atlanta turnovers ... The Knicks shot 51.9 percent (40-for-77) from the field ... Josh Smith finished with 10 points and eight rebounds for the Hawks.


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I remember that after 9/11 at a prayer service at the Greek parish in town, we of course prayed for the victims and their families--but not specifically by name. Most of those of course would not be Orthodox. Maybe it wasn't the canonical thing to do??? However, I do think it was the Christian thing to do.
On the sign up sheet at the narthex of the church, we have a list to put people's names on for prayer during the liturgy. The people who sign up are supposed to put an asterisk next to people who aren't Orthodox so that Father does not mention them out loud. I don't know if he mentions them silently or not. I will have to ask.
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The Drama to 1642, Part Two
Middleton and Rowley
> His realism
His farcical Comedies: their character and material
Fluency and naturalness of his work
The Cambridge History of English and American Literature in 18 Volumes
Volume VI. The Drama to 1642, Part Two.
Middleton and Rowley
§ 7. His realism.
If we seek a reason for the almost universal choice of brothels and taverns as favourite scenes of Elizabethan comedy, we shall find it partly in a theory, taken over from Latin and Italian drama, that this was the proper province of the comic muse. The accidents of a players or professional writers life gave opportunities for knowledge of just that world into which he was naturally thrust. The Elizabethan audience was accustomed from the first to the two extremes of noble tragedy and brutal comedy. This violent contrast appealed to a taste always hungering and thirsting for strong meat and strong drink. Puritan limits had not yet fixed themselves; they were but divined as a thing one could be aware of and mock at. At the same time, the stage was not exactly respected; it had no character to keep up. Thus, the dramatist, being as free as a modern French caricaturist to make his appeal in the most direct way, to the animal through the animal, had no hesitation in using the gross material at hand grossly. In the more serious dramatists, we get no more than painful attempts to please a taste which Middleton must have found it easy to gratify. He was no dreamer; he was not a poet in the instinctive irrepressible sense in which Dekker, for instance, was a poet; and he shared a love which was common to Dekker and to others at that time, for mean adventures of loose people in cities, knaves who gulled and fools who were gulled, sharpers and, outside cities, highwaymen and gipsies. His eyes were open to every folly of fashion or freak of religion; he knew his law and his lawyers, and he saw their capabilities for entertainment; he had all the terms of astrological and other cant at his fingers ends, and realised the savour of the oddities of popular speech. It was easy for him to set these people talking as they would really talk, or with just that heightening which his sense of pungent and appropriate words gave him; and he could set scene after scene galloping across the stage, without taking more trouble than his public demanded as to making his plots consistent or probable, so long as they went at full speed along familiar ways; not caring, most of the time, to create individual characters, but relying upon the effect of vividly realised moods, or people very much alive for a given moment. A character so ripely developed as Sir Bounteous Progress in
A Mad World, My Masters
is rare among these nimble types and instances of fixed follies or ascertained humours.
We remember Midldetons comedies, not for their separate characters, but for their brace of gallants, their school of wantons, their clash of cozener with cozener, their ingenuities of deceit the heat of fury of their entangled action. We remember single scenes, of a marvellous and sometimes cruelly comic reality, like the deathbed of Dampit the drunkard in
A Trick to catch the Old-one,
or that other death scene in
A Chast Mayd in Cheape-side,
where an old sinner makes his exit in grotesque and frightened repentance, while the man and woman whom he may be supposed to have most wronged remember the fact for the first time, as they foresee the stopping of their shameful revenue. Here, as often in Middleton, irony comes out of the mere faithfulness with which he sets before us exactly what would happen at such a moment. His plays are full of these paradoxes of event, which it is the custom to call unpleasantand which, sometimes, certainly are unpleasant, when the playwright seems to be unaware that some hideous piece of villainy is being set to rights (so far as relative justice is concerned) by a trick of virtue hardly less pardonable.
If Bullen is right in his conjecture that
The Widdow
(a play published in 1652 as a lively piece, drawn by the art of Jonson, Fletcher, and Middleton) belongs to about this date, though revised later, it would seem to be curiously innocent, for a play by Middleton, notwithstanding all its vivid banter and thieves foolery. In how many plays of this period could the characters say to one another at the close, without irony, Be good and Be honest, as two of the characters do in this? Jonson is for nothing in it, unless as a passing influence; but it is hard to see why Fletcher might not have been the reviser, as well as the writer of one or two of the songs. But the main part, unmistakably, is Middletons, and it is, perhaps, in this play that the romantic element first shows itself among the incidents and actualities of knavery.
It took Middleton a long time to recognise, as a dramatist, that there was such a thing as honour, even in transactions which he felt it his business to watch from the knaves point of view because that view was the one which would best entertain his audience. He chose stories, persons and surroundings for their immediate stage effect making them as real and amusing as he could, scene by scene; and it was so rarely that it occurred to him to temper the trickeries of his plots by some honest motive that we find him confusing moral values without due indication of his being aware of it. There is no doubt that he wrote hastily, and with ease, and a man who writes hastily and with ease for the stage will readily sacrifice a point of conscience to a theatrical solution. Once, in
The Roaring Girle,
some frank and convincing honesty comes into the bad company, and has the best of it there. But how much of what gives a pleasant quality to that play is Middletons, though the play is not less astir than the others with his usual crew and company?
Though the work of each overlaps occasionally, there can be little doubt of the main shares of Middleton and Dekker in
The Roaring Girle.
It was Dekker, undoubtedly, who created, and mainly set in action, the good honest hoyden who masquerades through the play in the name of Moll Cutpursea creature of another colour, if we can believe contemporary records. Worse things I must needs confess, says Middleton in his preface To the Comic Play-Readers, the world has taxed her for than has been written of her; butt is the excellency of a writer to leave things better than they are. To paint a woman who asks justly,
must you have
A black ill name, because ill things you know?
and to show her talking thieves slang among thieves with an easy familiarity, and yet going through this evil company like a knight-errant, helping honest lovers and putting down knaves, was a task more within the power of Dekker than of Middleton, whose metre and manner come and go with the gallipots and rattling roguish shopkeepers who cry their wares and carry on their complicated private doings through the whole underplot of the play. But little of the really significant speech of Moll can be attributed to Middleton, and, though much of the business and movement of the play is his, and much of the manners, Dekker, too, is responsible for the fifth act with its almost too liberal local colour of canting. The play is untidy, but very much alive; and Dekker seems to bring fresh air into musty rooms, not only by the presence of this vital woman, not to be paralleled elsewhere in his associates comedies, but by a way of writing which is more a poets way than Middletons. The very sound of the lines has a lilt and spring in them, as in a casual image of this kind:
my thoughts must run,
As a horse runs thats blind round in a mill,
Out every step, yet keeping one path still.
Middletons verse, for all its sinews, could not have given just that turn to a line; and Dekker brings with him that beauty which was always a natural accident in his speech.
Note 3
. For the view, according to which the larger part of this play was Middletons, see
Chap. II.
His farcical Comedies: their character and material
Fluency and naturalness of his work
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NASHVILLE, Tenn., Nov. 22, 2013 /PRNewswire/ — In a move to enhance performance across key areas within its North American operations, Nissan today announced a number of leadership changes effective Dec. 1, unless otherwise noted.
(Logo: http://photos.prnewswire.com/prnh/20080506/NISSANWORDMARKLOGO )
"These moves will help us achieve the objectives of Nissan's Power 88 mid-term business plan in the newly announced North America region. The Nissan team is continuing to strengthen its focus on ensuring high product quality and customer satisfaction while improving both brand and franchise value with our dealer network," said Jose Munoz, who recently was named chairman of Nissan North America (NNA), effective Jan. 1.
Fred Diaz, currently divisional vice president, Sales Marketing, Parts Service, Nissan U.S.A., is appointed senior vice president, Sales Marketing, Parts Service, U.S.A., effective Jan. 1. Diaz will report to Munoz, and his current position will not be replaced.
Airton Cousseau, currently regional vice president, Nissan Mexicana (NMEX), is promoted to managing director, NMEX, succeeding Jose Valls who recently was promoted to chairman of Latin America and Brazil. Cousseau will assume his role on Jan. 1, and will report to Munoz.
Jon Brancheau, currently vice president, Nissan Marketing, fills the newly created position of vice president, Nissan Marketing Communications Media, reporting to Diaz.
Dan Mohnke, currently director, Marketing Operations, is promoted to the newly created position of vice president, Nissan Chief Marketing Manager (CMM) Marketing Operations, reporting to Diaz.
Scott Shirley, currently director, CMM, succeeds Dan Mohnke as director, Marketing Operations, and will report to Mohnke.
Phil O'Connor, currently senior manager, Marketing Media, is promoted to director, CMM, succeeding Shirley and reporting to Mohnke.
Mayra Gonzalez, currently director, Customer Quality and Dealer Network Development (CQ DND) Strategy, succeeds Cousseau as regional vice president, NMEX, effective Jan. 1. In this role, she reports to Cousseau, and her current responsibilities within CQ/DND report to Leon Dorssers, vice president, CQ/DND.
Matt Burhart, currently director, Nissan Sales Operations, becomes director, Light Commercial Vehicles (LCV) Sales Marketing, reporting to Joe Castelli, Vice President, LCV.
Anne Corrao, currently director, CQ DND, succeeds Matt Burhart as director, Nissan Sales Operations, effective Jan. 1. She will report to Diaz.
Jose Luis Montiel, currently director, Infiniti Operations, NMEX and Nissan Latin America and the Caribbean (NLAC), becomes director, CQ DND, NLAC, reporting to Dorssers and Jose Roman, vice president managing director, NLAC.
Paul O'Brien, currently senior manager, Human Resources Business Partner, Smyrna Manufacturing, is promoted to director, Human Resources, RD, Total Customer Satisfaction, Manufacturing Engineering and Purchasing position reporting to Mark Stout, vice president, Human Resources and Carla Bailo, senior vice president, RD.
Additionally, Nissan Motor Co., Ltd. announced the following senior management appointments earlier today:
Bill Krueger, currently senior vice president, Manufacturing, Supply Chain Management (SCM) and Purchasing, NNA, is appointed executive vice president of Nissan subsidiary, JATCO (Japanese Automatic Transmission Company), in charge of the Americas region.
John Martin, currently senior vice president, Manufacturing, Purchasing SCM—Europe, assumes the role of senior vice president, Manufacturing, SCM and Purchasing, NNA, replacing Krueger. Martin will be based in Nashville, Tenn., and will report to Munoz.
About Nissan North America
In North America, Nissan's operations include automotive styling, engineering, consumer and corporate financing, sales and marketing, distribution and manufacturing. Nissan is dedicated to improving the environment under the Nissan Green Program and has been recognized as an ENERGY STAR® Partner of the Year in 2010, 2011, 2012 and 2013 by the U.S Environmental Protection Agency. More information on Nissan in North America and the complete line of Nissan and Infiniti vehicles can be found online at www.NissanUSA.com and www.InfinitiUSA.com, or visit the Americas media sites NissanNews.com and InfinitiNews.com.
About Nissan
Nissan Motor Co., Ltd., Japan's second-largest automotive company, is headquartered in Yokohama, Japan, and is part of the Renault-Nissan Alliance. Operating with more than 236,000 employees globally, Nissan sold more than 4.9 million vehicles and generated revenue of 9.6 trillion yen (USD 116.16 billion) in fiscal 2012. Nissan delivers a comprehensive range of over 60 models under the Nissan and Infiniti brands. In 2010, Nissan introduced the Nissan LEAF, and continues to lead in zero-emission mobility. The LEAF, the first mass-market, pure-electric vehicle launched globally, is now the best-selling EV in history.
For more information on our products, services and commitment to sustainable mobility, visit our website at http://www.nissan-global.com/EN/.


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The Olsen Twins: Bright Lights Bunch
Mary-Kate and Ashley Olsen look ferosh at The Art of Elysium's second annual Bright Lights charity event held at NYC's Milk Studios on Friday (April 30).
The event was presented by with VERSUS by Donatella Versace and designer Christopher Kane. Hosts included Joy Bryant, Sara Moonves, Bee Shaffer and Nicole Vecchiarelli.
At the Belvedere Vodka-sponsored soiree, celebs joined PSIMadeThis in designing green-colored hats to celebrate the new 100% recyclable Dasani PlantBottle plastic bottle packaging (made from up to 30% plant materials).
Other attendees: Estelle (she rocked the house during her performance), hip-hop mogul Russell Simmons, Vogue's Anna Wintour, Janet Jackson, Christian Siriano, Just Jared, model Karolina Kurkova, Benji Madden, Veronica Webb, Alexa Chung, Joy Bryant, Naomi Campbell, Michelle Trachtenburg, Olivia Palermo, and 90210's Tristan Wilds.
FYI: Ashley wore vintage Commes De Garcon, The Row leather jacket, Balenciaga shoes and a vintage clutch. MK wore a Proenza Schouler shirt dress, vintage leopard coat, Nicholas Kirkwood booties and a vintage bag.
15+ pictures inside of the Bright Lights bash…


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Jacobsen Architecture makes the list in this year's Architectural Digest AD100.
JACOBSEN ARCHITECTURE WINS 2018 American Institute of Architects-Washington Chapter Merit Award in Interior Architecture for "Spy House."
January 25, 2018
Simon Jacobsen will be speaking to students and faculty at The Maryland Institute College of Art in Baltimore.
Time 12:15pm
Jacobsen Book IV in development...
The firm is wrapping up and shooting the remaining projects that will be the fourth book on the firm's latest work entitled "Jacobsen Architecture, 2007-2018".
The monograph will consist of 15 projects from Florida, Maine, Martha's Vineyard, Washington, Virginia, New York, Colorado, Nantucket, Vermont and Pennsylvania.
A quote from Hugh Jacobsen in the Times Record:
"Architect Hugh Newell Jacobsen once wrote, "Picasso said that no one has to explain a daffodil. Good design is understandable in everybody. You never have to ask why."
Appointments: Greg Thomas, AIA Senior Project Architect
Lindsay Clark, Interior Design Coordinator.
The Washington Post writes a nice story about Hugh Newell Jacobsen returning to the first house he ever designed.
Simon Jacobsen will be speaking at the Architectural Digest Design Show.
Pier 94, 55th Street and 12th Avenue, New York City.Time and specific location : TBA
Architectural Digest publishes a small country cottage by Simon Jacobsen.
From Architectural Digest August 5, 2016
"Minimalism in architecture is a movement. Maximalism is a lifestyle of living in an unimprovable space that can't be altered structurally so one must overwhelm the senses with objects, pillows, and color. True minimalism uses the refinement of materials and the poetry of intersecting planes with the relationship of objects and their proximity to each other. Maximalism is hedonistic and bohemian in its message. If you can't hide it, paint it red." —Simon Townsend Jacobsen of Jacobsen Architecture
The Hugh Newell Jacobsen Dream House 2.0 is ready and taking orders.
Contact The Herring Bay Holding Company to place your order.
Out in April 2016:
Jacobsen Architecture will be featured in H&D's book "100 Top Designers".
The Wall Street Journal writes about a Simon Jacobsen project in Maine that renovates and encapsulates one of America's oldest houses.
"Rediscovering the Campus-Style Family Home
"For Bray House, managing design partner Simon Jacobsen envisioned a series of minimalist white pavilions that he felt would fit into the architecture of New England. Set back slightly behind the original house, he said, the single-level structures would also ensure that Bray House, believed to have been built in 1662, would remain "the belle of the ball..."
JA wins Best of Houzz" award for 2016.
32 Million subscribers voted us as their favorite design firm.
Jacobsen Architecture makes the list in this year's Architectural Digest AD100.


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Jodie Foster reveals she's gay
Jodie Foster came out without really coming out, and suggested she was retiring from acting without exactly saying so, in a long, breathless and rambling speech at Sunday night's Golden Globe Awards.
Views: 238
I tend to agree with Michelangelo Signorile on that one - It's a complicated piece that's too nuanced for me to try to summarize. If she came out without coming out, it doesn't sound to me like she really came out. Unless she came out.
She did come out, but she did also ramble and said that she had been out for a long time. she also talked about privacy. I think if you want privacy you become an accountant. Publicity and your life being under the microscope is what acting and Hoolywood are all about. If being gay is to be "private" that indicates that there is something of which to be ashamed. I realize that things were different years ago, but we are living in a time when actors are coming out all of the time and still getting work.
Now waiting for John Travolta and Tom Cruise to come out together and tell us they have been in love with each other for decades and out for a long time. TomJohn - or is it Cruisolta? - will be in the headlines for hours!
Glad she came out.
As an out gay, I found the whole thing irritating. She needs to get over herself.
Dr. K,
I only watched a bit of the speech, on the web. It seemed both spacey and smug. Plus, I also wanted to say, get over it. This was like, say, me coming out as Caucasian. What, she didn't know that everyone already knew?
Smug is correct. I was not at all impressed. She must think she is pretty clever.
Hasn't she been out since at least 2002, at least quietly?
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For players to be eligible for the postseason roster, they have to be on the active roster before 9 p.m. on Aug. 31. This also includes players on the disabled list.
Update (Aug. 17, 4 p.m.): I'm dumb sometimes. Thanks to Eric Stephen of True Blue LA for pointing it out. Anyone in the organization by Aug. 31 (let's say, Butera) can replace an injured player come postseason time. So, Butera wouldn't need to be recalled before the end of the month. However, the initial playoff roster has to come from those on the 25-man roster (and disabled list) before the Aug. 31 deadline. Sorry for the confusion.
Update (Aug. 17, 4 p.m.): I'm dumb sometimes. Thanks to Eric Stephen of True Blue LA for pointing it out. Anyone in the organization by Aug. 31 (let's say, Butera) can replace an injured player come postseason time. So, Butera wouldn't need to be recalled before the end of the month. However, the initial playoff roster has to come from those on the 25-man roster (and disabled list) before the Aug. 31 deadline. Sorry for the confusion.
Brian Wilson is likely going to be promoted to the Major League roster on Friday, meaning the Dodgers have a little roster shuffling in their future.
Chris Withrow is the pitcher likely to be impacted most. He has options remaining and could be sent back to Triple-A despite a 2.21 ERA, 0.93 WHIP, a surprising 3.1 BB/9 and a stellar 10.6 K/9. The 24-year-old flamethrower has been a pleasant surprise this season and should be a viable relief option come October. Perhaps a phantom DL stint for he or Carlos Marmol is in the Dodgers' future plans.
Speaking of Marmol, he's probably the "best" option to go in place of Wilson, but his effectiveness in recent outings has the Dodgers seeing the Marmol of old with tons of swing-and-miss potential.
Dee Gordon is currently eligible, but if Withrow or Marmol aren't jettisoned for Wilson, Gordon could be, especially with Hanley Ramirez back in the fold.
Here are some Dodgers on the disabled list right now.
15-day DL
60-day DL
Beckett and Billingsley aren't going to pitch again this season.
Dominguez, Kemp and Tolleson will remain on the DL -- regardless of their health -- until after Sept. 1, because it allows the Dodgers to use the injury loophole to make the most guys eligible for the postseason. This also allows Dominguez and Tolleson, who are in the same boat as Withrow in terms of options, to be postseason-eligible.
Stephen Fife, who has been fantastic this season. Unfortunately for him, the Dodgers don't need a fifth (or in this case, sixth) starter in the playoffs. It's unknown how he'd perform out of the bullpen, but he got roughed up in his most recent outing in Triple-A. Chris Capuano was roughed up last night and could use a late-season vacation, I'd say.
One would think the Dodgers should have a third catcher to be playoff-eligible, meaning Drew Butera would need to be promoted from Albuquerque. This could come in the form of a disabled list stint for either A.J. Ellis or Tim Federowicz.
Whatever happens, the Dodgers need to make sure Scott Van Slyke is eligible. His right-handed pop off the bench could be a valuable asset if the Braves throw Luis Avilan or Alex Wood; or the Pirates throw Tony Watson or Justin Wilson; or the Cardinals throw Randy Choate, Kevin Siegrist or Sam Freeman at the Dodgers in a late-inning situation.
There's also Onelki Garcia, who I suspect has a good chance to be more than just a September call-up. So, General Manager Ned Colletti has a lot of work to do in the next couple of weeks. This doesn't include any potential waiver-wire deals the Dodgers could make (but I'm not expecting any).
The position players are pretty much set, outside of Kemp and Van Slyke. Perhaps Jerry Hairston could use a couple weeks off starting rather soon. And this whole "four full-time outfielders" issue is going to be moot come the World Series when Andre Ethier is DH'ing for the Dodgers.
Here's my prediction for all postseason-eligible players
Pitchers (16)
Chris Capuano
Jose Dominguez
Stephen Fife
Carlos Marmol
Shawn Tolleson
Brian Wilson
Chris Withrow
Catchers (3)
Drew Butera
A.J. Ellis
Tim Federowicz
Infielders (7)
Jerry Hairston
Hanley Ramirez
Outfielders (5)
Andre Ethier
Matt Kemp
For all these guys to be eligible, the following players who aren't currently on the 25-man roster would have to be before the deadline: Butera, Fife, Van Slyke and Wilson. Here's how it happens:
- Ellis or Federowicz to the DL for Butera
- Capuano to the DL for Fife
- Hairston to the DL for Van Slyke
- Gordon to Triple-A for Wilson
Of all the players unsure to be postseason-eligible, Withrow is the one I want most. His control and command have been much better than expected and his mid-to-upper-90s fastball would be quite the weapon in the playoffs.
We'll see what happens in the next couple weeks. Here's hoping the Dodgers make some smart decisions.
Photo credits: Dustin Nosler, Feelin' Kinda Blue


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VANCOUVER, B.C. – The LA Galaxy may not have picked up a victory against Vancouver Whitecaps FC on Saturday night at BC Place, losing 3-1. But despite the result, the match may be remembered as the start of something great for LA.
MATCH RECAP: Vancouver Whitecaps 3, LA Galaxy 1
WATCH: Zardes scores first MLS goal
Homegrown forward Gyasi Zardes bagged his first professional goal in the 86th minute of the loss, briefly getting back into the game at 2-1. The goal wasn't a highlight reel strike as Zardes nodded a Jose Villarreal cross into the left corner of Whitecaps goalkeeper Joe Cannon's net, but it didn't make the goal any less meaningful.
"To be honest, it definitely felt like a blessing. It definitely felt good getting that goal. The score was definitely unfortunate, but it was definitely a blessing," Zardes said. "There are going to be more goals in the future to celebrate, but it was great."
Immediately upon coming into the match in the 67th minute, Zardes' speed tested the Whitecaps defense as he quickly went after Vancouver center back Andy O'Brien. It wasn't always easy, however, as Zardes suffered a knock on his ankle after winning a free kick against O'Brien just two minutes before his goal.
That Zardes' first career goal came from a Villarreal was fitting as Villarreal's own first professional goal came during the Galaxy's last trip to BC Place last July. One member of the Galaxy admitted that he was pleased for Zardes to get his first career goal under his belt.
"It's always good to get your first goal. I remember mine like it was yesterday," said Mike Magee, whose own first career MLS goal came on April 26, 2003 in a win for the MetroStars over the Columbus Crew. "He's a guy that could play a pretty important role for us this year so I think that it's great for him to get the first goal because that is usually the hardest."
Magee wasn't alone in tabbing Zardes for big things in the future.
"It was a good goal for him. A great ball by Jose and it got us back in the game. If we were a little better then maybe we tie the game. I'm very happy for him," said Landon Donovan. "He's worked hard coming back from his injury early on and we think that he's going to be someone that will help us."
With the Galaxy looking to kick start their attack and end their two-game slide, Zardes is an option to slide into LA's starting XI in Wednesday's match against the Philadelphia Union.
"Who knows? I'm just going to keep it in my mind to keep working hard," the 21-year-old said. "I'm going to let the coaches do their job and I'm just going to do mine."
Adam Serrano is the LA Galaxy Insider. Read his blog at LAGalaxy.com/insider and contact him at firstname.lastname@example.com


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Nats bring back Chris Young on minor league deal
Washington, D.C. – The Washington Nationals signed right- handed pitcher Chris Young to a minor league deal on Thursday.
Young rejoins the Nationals after signing a minor league contract with them on Feb. 21. He went 1-0 with a 2.25 ERA in four spring training starts before being released on March 26.
The right-hander spent the past two seasons with the New York Mets. Over 20 starts in 2012, the 6-foot-10 hurler posted a 4-9 record with a 4.15 ERA.
Over 159 career starts with Texas, San Diego and the Mets, Young has pitched to a 53-43 record with a 3.79 ERA and 755 strikeouts.


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Don't rush off to pack just yet, as Margaret, who blogs at Permanent Magenta, is kindly offering a Pretty Far West reader one of her Moroccan paintings to celebrate finalising the arrangements for the trip. My favourite is the tranquil and exotic Breakfast in Marrakesh below, but the winner will get to choose his or her own preferred painting from Margaret's vivid Moroccan series.
Click here to see the paintings currently available to choose from in her shop.
To enter the giveaway, leave a comment here. For a second entry, post about the giveaway on your own blog or website, and comment again to say you have done so.
Margaret tells me in passing that she has recently learned how to count up to ten in Irish. A haon, a dó, a trí, a ceathair, a cúig, a sé, a seacht, a hocht, a naoi, a deich. For a third entry, marvel suitably at this.


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One year after proposing a parenting and mentoring program to benefit at-risk youth in the Houma area, the Christian Coalition Against Gang Violence may be on the verge of making a much larger commitment to provide them with increased opportunity.
One year after proposing a parenting and mentoring program to benefit at-risk youth in the Houma area, the Christian Coalition Against Gang Violence may be on the verge of making a much larger commitment to provide them with increased opportunity.
If the agency can satisfactorily submit a five-year budget, an investor is prepared to make a $70 million contribution that would allow the organization to establish the foundation for a television and radio broadcasting station and create an aviation curriculum that could be implemented in area public schools, according to the coalition's executive director, the Rev. Huey Jones Jr.
"Plans are there. It's just making sure we implement it," Jones said. "It's in the making."
Jones met with a group of board members and consultants Tuesday night in a conference room at the Terrebonne Parish Main Library. At the table there was an aviation specialist and a production specialist whom Jones has tasked with the creation of the two programs.
Just one year ago, the program was in the infancy of plans to put together a parenting and mentoring program as phase one of its efforts to provide youth opportunities designed to raise self-esteem and dissuade gang membership. That program has now been operating for several months in cooperation with Hope Restore for Life and the Terrebonne Housing Authority, and meets on Thursday nights at Senator Circle in Houma.
Terrance Conrad, who is heading up the aviation curriculum push, said the idea is to use existing classroom resources to create a vocational training program in local schools.
"It offers a unique challenge and prepares kids for life," Conrad said. "Upon completion they would have a chance to begin a career."
The challenge ahead for the coalition is to make a dizzying array of arrangements in a short period of time. Discussions include opening a building for the coalition's headquarters and buying planes for the aviation program.
Getting local schools to adopt an aviation curriculum will alone provide a mounting challenge for the 3-year-old group to overcome. Jones believes the numbers and evidence are on his side.
"It has been shown numerous times that aviation has psychological, financial, spiritual benefits," he said. "We're hoping we're going to sell the idea. It's not like we're asking them to buy planes for the kids. We would eventually like to be able to do that."
RR Production Studio, which is working alongside the coalition to establish a broadcast station, has already secured Federal Communications Commission licensing to begin operating a broadcasting station.
The pie in the sky for the coalition seems to be rising fast. Jones looked over a logo proposal in front of the group on Tuesday and instructed Ronnie Robertson, who is implementing branding and logo design for the group, to consider adding a globe.
Other points of Tuesday's meeting were the creation of a website and securing of the organizations 501 nonprofit status, which would allow the organization to take tax-exempt donations.
"We are going to do huge things for this community. We want this city of Houma to know how much this could mean," Jones said.
And if the group's aspirations come to fruition, a host of jobs could be created as well.
"There will be jobs coming, if this happens the way we want it to," said board member Jeanie Calder. "We want to employ people in this community to do something that makes a difference."


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Well, i sometimes used BandSport ( a brasilian paid Tv) trough www.live-foot.com but they have change domain and ever since it has been unavailable. I don´t know if permanentely or just temporarely. But i´m sure that some of our most distinguished users will be delighted to help you on this obviously important task... :wink:
Watching Sporting ONLINE
0 Membros e 1 Visitante estão a ver este tópico.


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Rauschenberg Research Project
Robert Rauschenberg at work in his Lafayette Street studio, New York, 1968. Courtesy the Roy Lichtenstein Foundation; photo: Shunk-Kender; © the Roy Lichtenstein Foundation
The Rauschenberg Research Project provides free worldwide access to a wealth of scholarly research and documentation relating to artworks by Robert Rauschenberg in SFMOMA's permanent collection. The museum's holdings span the artist's career from 1949 to 1998 and include Combines, sculptures, paintings, photographs, and prints and other works on paper. A rich range of materials surrounds the featured works, including newly commissioned essays, numerous images, interview footage, artist's statements, conservation reports, and archival materials, which together provide new insights into the artist's work. These resources may be accessed through the orientation points below. The Rauschenberg Research Project was produced by SFMOMA under the auspices of the Getty Foundation's Online Scholarly Catalogue Initiative, with the support of the Robert Rauschenberg Foundation.
Leadership support for the Rauschenberg Research Project is provided by The Getty Foundation.
Generous support is provided by the Robert Rauschenberg Foundation.
About the Project
What's in This Catalogue?
Why Rauschenberg?
Citations and Downloads
More Links and Info
Contributing Authors
Sarah Roberts
Nicholas Cullinan
Susan Davidson
Roni Feinstein
Gary Garrels
Caitlin Haskell
Branden W. Joseph
Robert S. Mattison
Jeffrey Saletnik
James Merle Thomas
Meredith George Van Dyke
Rauschenberg Research Project
Works in the Rauschenberg Research Project
What's in This Catalogue?
The Rauschenberg Research Project catalogs more than eighty-five artworks by Robert Rauschenberg from SFMOMA's permanent collection. The featured works are indexed on the Rauschenberg Research Project home page, which acts as an orientation point for the materials assembled in this publication.
The project originally launched in July 2013. The October 2015 relaunch of SFMOMA's redesigned website precipitated the Rauschenberg Research Project relaunch in February 2016. The contents of the catalogue remain the same. Navigation has been simplified and legacy URLs from the previous design have been preserved and will be supported through all future iterations of the museum's website to maintain the continuity and permanence of the project. Artwork titles and dates reflect the most recent research undertaken by SFMOMA staff and the Robert Rauschenberg Foundation, and follow the Foundation's accepted conventions as of July 2013. A full list of preferred titles is available in the More Links and Info section.
When you are navigating within the project, a "Rauschenberg Research Project" link will be visible at the top of each page. Clicking on that link will take you back to the project home page.
Every artwork included in the project is documented with an Artwork Information page. Nineteen works have also been treated in scholarly essays commissioned for this publication, which may be found on the Essay pages.
Artwork Information
On each Artwork Information page you will find a brief text and expandable sections containing ownership, exhibition, and publication histories; marks and inscriptions; and research materials (views of the artwork, commentary and interviews, and museum files).
Publication histories are organized chronologically. For prints, these listings document general discussions of the related series or portfolio, rather than specific references to the SFMOMA edition. Exhibition histories are also organized chronologically, with the exception of permanent collection rotations, which are noted by year at the end of the listing rather than integrated according to their full exhibition dates, because works are occasionally moved during these presentations. Except in the case of prints, whose exhibition histories have not been documented, all exhibition and publication details have been confirmed with primary documentation.
The current exhibition and publication histories are complete as of August 31, 2016, and will be updated regularly. Notes at the bottom of these histories indicate when each one was last reviewed and whether or not it has been updated since the launch of the Rauschenberg Research Project in July 2013.
Research Materials gathered for each artwork may include additional images, commentary, curatorial reference documents, and conservation notes and reports related to a given work, when available. All materials in this section were prepared as part of the Rauschenberg Research Project. Video interviews prepared as part of this project are always presented on pages that include a "part of the Rauschenberg Research Project" link and are accompanied by searchable transcriptions that are also available as downloadable PDFs.
As of February 1, 2016, the project includes the following essays:
- "Automobile Tire Print," by Sarah Roberts
- "Catastrophe (Arcadian Retreat)," by Roni Feinstein
- "Collection," by Sarah Roberts
- "Cy + Roman Steps (I-V)," by Nicholas Cullinan
- "Erased de Kooning Drawing," by Sarah Roberts
- "Hiccups," by James Merle Thomas
- "Mother of God," by Susan Davidson
- "Port of Entry [Anagram (A Pun)]," by Roni Feinstein
- "Postcard Self-Portrait, Black Mountain (II)," by Branden W. Joseph
- "Pyramid Series," by Robert S. Mattison
- "Scanning," by Roni Feinstein
- "Sleep for Yvonne Rainer," by Robert S. Mattison
- "Trophy IV (for John Cage)," by Jeffrey Saletnik
- "Untitled [glossy black painting]," by Caitlin Haskell
- "Untitled [black painting with portal form]," by James Merle Thomas
- "Untitled (Elemental Sculpture) [steel flange and stone]," by Sarah Roberts
- "Untitled, ca. 1955," by Sarah Roberts
- "Untitled, 1973," by Gary Garrels
- "White Painting [three panel]," by Sarah Roberts
Why Rauschenberg?
Robert Rauschenberg in the SFMOMA galleries with Phyllis Wattis during the exhibition Robert Rauschenberg, May 7–September 7, 1999. Photo: Sidney B. Felsen
SFMOMA has one of the foremost collections of Robert Rauschenberg's artwork, with holdings comprising more than eighty-five individual Combines, sculptures, paintings, photographs, prints, and other works on paper made over the course of the artist's career. Dating from 1949 to 1998, these works represent Rauschenberg's cross-disciplinary approach and the breadth of his appetite for experimentation. Fittingly, the museum has a rich history of exhibiting Rauschenberg's work. Since 1971 SFMOMA has organized or hosted seven solo shows and served as the only West Coast venue for the artist's 1976 retrospective and the groundbreaking 1991 survey Robert Rauschenberg: The Early 1950s.
Collection (1954/1955) holds a special place in this history, having come to SFMOMA as a gift from Harry W. and Mary Margaret Anderson in 1972, at a time when the museum sought to raise the ambitions and broaden the scope of its collection. This critical early Combine painting has anchored the museum's gallery presentations of mid-century American art and served as a center of gravity for the growth of the Rauschenberg holdings for more than forty years. In 1998, SFMOMA acquired fourteen works directly from the artist. This landmark purchase was made possible through the extraordinary support of Phyllis Wattis, with additional support from two other SFMOMA trustees. Among the works included in that acquisition were two icons of twentieth-century art—Erased de Kooning Drawing and Automobile Tire Print (both 1953)—as well as other breakthrough pieces from the early 1950s, such as White Painting [three panel] (1951), Untitled [glossy black painting] (ca. 1951), and Mother of God (ca. 1951), one of the artist's earliest surviving paintings. This concentration of important early works by Rauschenberg is unmatched anywhere in the world. The Rauschenberg Research Project represents the culmination of SFMOMA's efforts to study and provide access to these works, a commitment to the artist that we have sought to honor since the time of the 1998 acquisitions.
Citations and Downloads
The Essay pages include a citation tool that will generate the preferred citation for a selected passage of text. To activate the tool, highlight the area you would like to cite and click the "Create Citation" button that will appear along the right side of the page.
When citing full essays or other pages within the Rauschenberg Research Project, please refer to the examples below. The publication date for most materials is 2013. Where applicable, exceptions are noted in the citations provided on the essay pages or in related downloadable materials.
- Essay citations should include the following components: Author's name, "Artwork Title," Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, URL. Paragraph #.
Sarah Roberts, "Collection," Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, https://www.sfmoma.org/artwork/72.26/essay/collection/. Paragraph 1.
- Citations for artwork overview texts; Ownership, Exhibition, and Publication Histories; and Marks and Inscriptions should include the following components: "Artwork Title: section name," Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, URL. For histories with entries that postdate 2013, a revision date may be added (e.g., July 2013, rev. 2014).
"Collection: Overview," Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, https://www.sfmoma.org/artwork/72.26.
- Citations for Research Materials should include the following components: "Asset Title," Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, URL.
"Conservation reports relating to Robert Rauschenberg's Collection, 1972-1991," Rauschenberg Research Project, July 2013. San Francisco Museum of Modern Art, https://www.sfmoma.org/artwork/72.26/research-materials/document/COLL_72.26_101/.
Downloading Catalogue Materials
To download a zipped folder containing all of the materials related to a specific artwork, visit the work's Artwork Information page, navigate to "Downloads" and select "All Downloads."
Low-resolution versions of the images included in the Rauschenberg Research Project are available for download in a file size suitable for PowerPoint presentations. These images are for educational and reference purposes only. Please see our Terms of Use for details regarding permitted uses and restrictions. All archival images, unless otherwise specified, are courtesy the Robert Rauschenberg Foundation. Copyright for artworks by Robert Rauschenberg is held by the Robert Rauschenberg Foundation and licensed by VAGA, New York, NY. In cases where copyright to the image or represented artwork is not held by the Robert Rauschenberg Foundation, details about the rights holder(s) are noted in the accompanying image captions.
Leadership support for the Rauschenberg Research Project is provided by The Getty Foundation. Generous support is provided by the Robert Rauschenberg Foundation.
The Getty Foundation conceived of the Online Scholarly Catalogue Initiative (OSCI) at a moment when museums perceived the vast opportunities of digital publishing and were searching for avenues to move forward. The Foundation's extraordinary generosity provided much-needed momentum and instrumental support for the Rauschenberg Research Project. The OSCI project staff at SFMOMA extends sincere gratitude to current and former Foundation staff members Deborah Marrow, Joan Weinstein, Anne Helmreich, Kristin Kelly, Nancy Micklewright, Hilary Walter, and Christina Lopez, as well as to former program officer Tina Olsen, who planted the seeds of the initiative. SFMOMA's team also benefited greatly from dialogue with our fellow OSCI institutions. We appreciate the Getty Foundation's successful efforts to regularly convene all nine museums, and we thank our OSCI colleagues for the rich discourse that unfolded in all our meetings.
I offer my deepest thanks to the staff and Board of the Robert Rauschenberg Foundation for their enthusiastic embrace of the project. I am greatly indebted to the Foundation's Executive Director, Christy MacLear, and to Christopher Rauschenberg, President and Chairperson of the Board of Directors, for supporting online access to the artist's work through our publication. I extend warm gratitude to David White, Susan Davidson, and Gina Guy for opening the Foundation's essential archival resources, and for answering endless questions with patience and good cheer. Additional thanks to Rauschenberg Foundation and Rauschenberg studio staff members present and past who have been indispensable to our research: Julia Blaut, Thomas Buehler, Laurence Getford, Bradley Jeffries, Kayla Jenkins, Shanna Kudowitz, Matt Magee, Pedro Sanchez, Amanda Sroka, Lawrence Voytek, and Lawrence Wright.
An extraordinary number of individuals and institutions have given their time and assistance to the Rauschenberg Research Project over the nearly five years that have passed from inception to publication. SFMOMA Director Neal Benezra, and Ruth Berson, Deputy Museum Director, Curatorial Affairs, were steadfastly committed to this project from the very start, ensuring its realization during a period of unprecedented growth and change within the institution. Elise S. Haas Senior Curator of Painting and Sculpture Gary Garrels provided curatorial leadership and unwavering support. Special thanks are owed to Director of Collections and Conservation Jill Sterrett for immediately grasping the wide-ranging impact and potential of the project and for being a mentor and advocate of the highest order.
The project benefited from the generosity of many individuals who knew and worked with Robert Rauschenberg, and who contributed their memories and insights: Brigid Berlin, Carolyn Brown, Jasper Johns, Brice Marden, Knox Martin, David Myers, Robert Petersen, David Prentice, Yvonne Rainer, Dorothea Rockburne, Rachel Rosenthal, Calvin Tomkins, Charles Yoder, and Susan Weil. Especially warm thanks to Darryl Pottorf and Mark Pace for welcoming me to Captiva Island, Florida, and opening the artist's home and studio. I also appreciate the contributions of Richard Cándida Smith and his team at the Regional Oral History Office, The Bancroft Library, University of California, Berkeley, for guiding me through our early interview with David White, and for imparting model interview practices.
I offer sincere gratitude to the scholars who contributed essays to the catalogue; their insightful perspectives amplify our understanding of this rich body of work and of Rauschenberg's contributions to the field of art. For their time and thoughtful writing, I thank Nicholas Cullinan, Susan Davidson, Roni Feinstein, Gary Garrels, Caitlin Haskell, Branden W. Joseph, Robert S. Mattison, Jeffrey Saletnik, and James Merle Thomas.
The project has been enriched greatly by the scholarship of others, and I am grateful for the counsel of Amy Schichtel, Roger Anthony, and Jennifer Field, Willem de Kooning Foundation; Roberta Bernstein, Jasper Johns Catalogue Raisonné; Julie Barten, Solomon R. Guggenheim Museum; Carlos Basualdo, Philadelphia Museum of Art; Clifford A. Lynch, Coalition for Networked Information; Kirk Nickel, doctoral program, Department of the History of Art, University of Pennsylvania; and Jeffrey Saletnik, Indiana University. I also thank my curatorial colleagues at SFMOMA: Janet Bishop, Gary Garrels, Caitlin Haskell, Corey Keller, and Erin O'Toole read early drafts of my essays; and Peter Samis shared his wealth of insight on digital publishing early in the project.
For aiding the catalogue team's research, I thank Marisa Bourgoin, Archives of American Art, Smithsonian Institution; Michelle Harvey, Museum of Modern Art Archives, New York; Geri Aramanda, Menil Archives, The Menil Collection; Francine Snyder, Library and Archives, Solomon R. Guggenheim Museum; Ann Brandwein, Wadsworth Atheneum; Leslie Calmes, Center for Creative Photography, University of Arizona; Diane Mullin, Weisman Art Museum, University of Minnesota; Anne Halpern, National Gallery of Art, Washington, D.C.; Valerie Fletcher and Melissa Ho, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution; David Vaughan, Merce Cunningham Foundation; Shelley Lee, Roy Lichtenstein Foundation; D. J. Hoek, Northwestern University Music Library; Daniel Fink, Newberry Library; Jessica McIntyre, Minneapolis Institute of Arts; Susan Snyder and Lori Hines, The Bancroft Library, University of California, Berkeley; and the staff of the Getty Research Institute Library. For facilitating access to works for study, warm thanks go to Doris Fisher; Mimi Haas; Helen and Charles Schwab; Laura Satersmoen, Gap, Inc.; Mary Zlot and Maria Sullivan at Zlot Buell + Associates; Ed Schad at The Broad Art Foundation; Billie Milam Weisman and Mary-Ellen Powell of the Frederick R. Weisman Art Foundation; and Dana Miller, Whitney Museum of American Art.
The design of the catalogue benefited tremendously from advance research conducted by Renee Anderson, user-experience consultant (formerly at Hot Studio), and her interviewees, who looked at prototypes and discussed their research practices with us: Thomas Crow, New York University; Branden W. Joseph, Columbia University; Jeffrey Saletnik; independent scholars Roni Feinstein and Kathleen Campagnolo; curators Gary Garrels, Erin O'Toole, and Tanya Zimbardo and conservator Michelle Barger at SFMOMA; Nicholas Cullinan, Metropolitan Museum of Art, New York; and Joshua Shirkey and Will Smith, both doctoral students at New York University when interviewed. We are grateful to Gavin Jones, Peter Blank, Anna Fishaut, Katie Keller, David Platt, Amber Ruiz, Huey-Ning Tan, and Glen Worthey at Stanford University, whose conversations with Renee about digital research and digital humanities informed thinking on the project.
Thanks are due to Hot Studio for undertaking the website design and to Carbon Five for technical implementation. Ben Blackwell, Ian Reeves, and Robin D. Myers contributed beautiful artwork photography and digital processing. Tony Manzella and his team at Echelon Color worked digital magic to breathe life into some unusually challenging color images. Thanks to Henrik Kam, K. C. Smith, and Jim Granato for capturing video of artworks in motion and museum work in progress. Richard Robertson, video editor, transformed footage into stories. Lars Nordström provided a thoughtful and thorough Swedish to English translation. Denise Rohlfs transcribed hours of interview footage with grace, efficiency, and speed.
This project touched nearly every department in the museum, often requiring people to step out of their accustomed roles and routines to tackle thorny problems. I thank all my colleagues who have jumped in with a willingness to try something new. Chad Coerver was a much-appreciated partner and interlocutor; his valuable perspectives on the implications of the project for all areas of the website and the museum's long-term vision for digital publishing greatly enriched the end result. I am deeply thankful to Leo Ballate, Andrew Delaney, Dana Mitroff Silvers, and Layna White—the core contributors to the project's technological requirements—whose sharp intellects and world-class senses of humor sustained the team through many long meetings and produced elegant solutions to convoluted problems of information architecture.
I extend special thanks to Paula De Cristofaro and Amanda Hunter Johnson, my colleagues in the Elise S. Haas Conservation Studio, for sharing their insights on the material construction of Rauschenberg's work over the past four years and contributing treatment notes and reports. Thanks also go to Michelle Barger and James Gouldthorpe for their support throughout the project. I could not be more grateful for the assistance of Barbara Rominski and the staff of the SFMOMA Library and Archives for sourcing books and articles and calling in favors worldwide to gain access to rare publications. Brandon Larson, Jess Kreglow, and the members of the installation team squeezed photography and examination sessions into their very busy exhibition schedule. Tina Garfinkel and her team of registrars made access to works possible, despite similarly difficult scheduling demands. Layna White's team in Collections Information and Access faced the project's challenges with aplomb. Susan Backman coordinated photography scheduling, and Don Ross created beautiful new images and video of many artworks; Marla Misunas and Margaret Kendrick attended to the intricacies of our collections information system; and Sriba Kwadjovie made valuable contributions to conversations about image licensing. John Morris helped us navigate the landscape of digital asset management and skillfully and graciously handled many last-minute image adjustments. Interns Natalie McCann, Dana Ospina, and Emily Rhoads performed research, checked references, and took on Photoshop tasks, providing essential support at different phases of the project.
In the Marketing and Communications office, Katie Tamony and her team thoughtfully brought the project to the attention of the public. Particular thanks are due to Christine Choi, Jennifer Knox White, Willa Koerner, and Lisa Macabasco. Under the leadership of Jonathan Peterson in the Development department, Andrea Morgan and Misty Youmans provided guidance informed by experience, and I'm grateful for their ongoing efforts on the museum's behalf. In Content Strategy and Digital Engagement, Morgan Levey stepped in at a critical moment to manage video editing and produced wonderful results. Jennifer Sonderby, Sophine Lim, and James Provenza offered design guidance on vital visual components of the catalogue. Judy Bloch offered ongoing editorial support and went above and beyond in the project's final weeks to play a key role in the proofreading process. Thanks are also due to Juliet Clark and Victoria Gannon for their proofreading assistance. For her formidable diligence, the project team extends wholehearted thanks to copy editor Jennifer Boynton, whose meticulous fact-checking and proofreading brought precision to every facet of the text.
My most profound thanks go Bridget Carberry, Amanda Glesmann, and Meredith Van Dyke, whose superhuman efforts not only got the catalogue completed on schedule but also raised the finished product above all hopes and expectations. Bridget saw the project through the final stages of CMS development and content loading, working with such efficiency and intelligence that she made it look easy. Meredith has been the bedrock of the research efforts, and her attention to detail, capacity for managing monumental amounts of information, and gracious spirit make her a pleasure to work with. Amanda's phenomenal ability to simultaneously see the big picture and manage thousands of tiny moving parts is unsurpassed, as is her capacity to take on colossal amounts of work and laugh in the face of any crisis. Without the commitment of these three, this catalogue simply could not have been brought to fruition.
Finally, I give heartfelt thanks to my family—Keith, Jackson, Ellie, and Merry Roberts, and Susan Rehm—whose warmth and humor provided much-appreciated balance, support, and perspective.
Sarah Roberts
Andrew W. Mellon Associate Curator of Painting and Sculpture
July 2013
More Links and Info
This page provides supporting documents and complementary resources from both inside and outside SFMOMA. The "From SFMOMA" section links to the full versions of documents cited or excerpted in various areas of the project website and a publication that discusses SFMOMA's Rauschenberg holdings more generally. The "Around the Internet" section links to external sites that offer useful information or further reading about Rauschenberg and his circle.
From SFMOMA
- "Robert Rauschenberg and the Agility of Images," a colloquium gathering scholars, curators, and artists to consider Rauschenberg's engagement with photography throughout the course of his career (San Francisco Museum of Modern Art, February 10, 2018)
- Unpublished transcript of an interview with Robert Rauschenberg conducted by David A. Ross, Walter Hopps, Gary Garrels, and Peter Samis at SFMOMA, May 6, 1999
- Roni Feinstein, "Robert Rauschenberg: Engaging the Everyday," in San Francisco Museum of Modern Art: 75 Years of Looking Forward (San Francisco: San Francisco Museum of Modern Art, 2009)
- Artist statement and press release issued by SFMOMA on the occasion of the museum's 1998 acquisition of fourteen works by Robert Rauschenberg
- Transcript of an oral history interview with David White conducted by Richard Cándida Smith, Sarah Roberts, Peter Samis, and Jill Sterrett, 2009. Regional Oral History Office, The Bancroft Library, University of California, Berkeley
- List of preferred titles for the artworks featured in the Rauschenberg Research Project
External Links
- Robert Rauschenberg Foundation
- Robert Rauschenberg: A Retrospective, 1997. Catalogue by the Solomon R. Guggenheim Museum, New York, digitized by the Internet Archive
- Oral history interview with Robert Rauschenberg, December 21, 1965. Archives of American Art, Smithsonian Institution, Washington, D.C.
- Gemini G.E.L. Online Catalogue Raisonné at the National Gallery of Art
- Black Mountain College Project
- Black Mountain College Museum and Arts Center
- Inside New York's Art World: Robert Rauschenberg and Leo Castelli, 1977. Video from the Duke University Libraries, Digital Collections
- John Cage reading On Robert Rauschenberg, Artist, and His Work at the Los Angeles County Museum of Art in 1965, via Archive.org
- The John Cage Trust
- PBS American Masters: Robert Rauschenberg
Locations of Robert Rauschenberg's New York City studios and apartments
View Rauschenberg in New York in a larger map


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Did Qualcomm use GOP oppo research against Apple?
Jacobs family has long local history of deploying cash for political gains
Matt Potter 2:08 p.m., Nov. 16
The cultural dichotomy of my neighborhood is one that leaves me with polarized feelings of appreciation and resentment. Though my apartment building is technically located in Talmadge, it has more resemblance to City Heights. For all of the San Diego transplants, I'll explain each. City Heights is one of the most ethnically diverse communities in the United States. It is located in central San Diego, in which the residents are mainly poor and "working poor". Talmadge is adjacent to City Heights, and is a predominantly white, middle/upper-middle class suburb. Within Talmadge, there is a noticeable divide in which south of Madison Ave. resembles City Heights, more so than Talmadge. When I cross my street to the north, I literally go from Boyz N The Hood to Leave It To Beaver.
I've lived in this community for 6 years. I can afford some of the cheaper housing in the area, while enjoying the view of green lawns and eclectic homes during walks with my son. As a pre-licensed marriage and family therapist, and part-time college lecturer, I consider myself close to being on the verge of success. After three decades of poverty and struggle, I look forward to owning one of those homes that I mentioned. My sentiments towards Talmadge changed a bit after an incident that took place on the night of May 4th 2008.
It happened at approximately 10:00pm. After an intense argument with my lovely wife (ex-wife), I decided to use one of the anger management skills that I teach to troubled youth. I left my apartment and started walking. I had no destination, just needed to do something physical and get fresh air. Walking north of Madison Avenue, I called a close friend on my cell phone. About 10 minutes into my walk through the peaceful, quiet, and lit streets of Talmadge, I was startled by the headlights of a vehicle pulling up behind me. My heart took a brief recess, as I spun around, barely able to get the words "what the…" out of my mouth. The vehicle behind me was a white van with the words Talmadge Neighborhood Watch on the side. I made sure to stay on the phone, so that my friend could witness whatever was about to go down. The driver was a retirement aged white male and the passenger a white lady in her 40's. My heart clocked back in to work (but at a vigorous pace), as the passenger asked me a series of questions:
"Where are you going", "Where do you live", and "What is your name", etc…
By this time, a brief moment of fear had turned into anger. The lady claimed that residents in the area reported a suspicious looking man wondering through the neighborhood. She asked me if I was with the "two Hispanic women seen sitting in their car up the street". My answers to her question were:
"Don't worry about where I'm going", "I live on Winona Ave.", "You don't need to know my name", and "No, I'm not with them".
Of course my answers also contained a few expletives. I refused to answer anymore of her questions, and continued walking and talking on my phone. About 5 minutes and a two blocks later, I noticed the van trailing a half block behind me. I stopped, waited for them to approach, and asked what the problem was. She continued to ask questions, almost inviting me to cuss her out. I told her to stop harassing me, and to call the police if I did something wrong. She replied:
"I already called them, they are on their way".
I also told her that I have a right to walk in my neighborhood without being harassed. If I was a criminal, she would've been my very first victim! Besides, who burglarizes homes at night wearing a white t-shirt, grey sweats, and running shoes? I guess a crack head or a tweeker would…but I digress. I demanded the information to the next neighborhood watch meeting, so I could give them the business. She fumbled her words, while trying to quickly think of the false information that she gave me. I continued walking, and as I got closer to my apartment I spotted two police cars coming my way. They pulled over and I put my phone in my pocket without hanging up. Hopefully, I'd have a witness to my potential ass whoopin' by America's Finest. As one of the cops interviewed me and took my information, a third cop car pulled up. All of this for a suspicious wanderer! I'm sure that someone on the other side of El Cajon Boulevard was being stabbed or robbed, while they were shaking me down. However, the cop was a nice guy, and after he realized that the call was bullshit, he told me to have a good night. When I arrived at home, I took a shot of something warm, and watched ESPN Sportscenter. I had forgotten about the initial argument with my wife…it was irrelevant.
I found out the correct information for the neighborhood watch meeting from the Mid-City Police Department. Two weeks later, I went to the meeting and told them what happened. The "neighborhood zealot" was present and on the defense. She accused me of being belligerent and aggressive. Of course I was belligerent! She scared the mess out of me and then interrogated me! The end result was an apology by their person in charge, and an invitation to be a part of the neighborhood watch. No thanks!
Since then, I've moved a couple of blocks away, but still on the more affordable side of Talmadge. There is an alley behind my apartment building, where some shady activities occur sometimes. I often wonder, "Where was that 'neighborhood zealot' when someone knocked down my patio fence running from the police?" Where were they when a suspected pimp beat the mess out of a lady right in front of my bedroom window? Or, when someone stole my grandpa's fishing poles out of my patio? Would she have pulled up behind that pimp, driving the Talmadge-mobile and asked him where he lived? I doubt that. I also realize that if the over-zealous patrol woman was armed, it could've easily turned into a Travon Martin incident. Vigilantes are often more dangerous than the police.
Despite all of this, I continue to enjoy walks with my son through the "Mayfield" side of the neighborhood. In the daytime, the people of Talmadge are nice and friendly. At night however, they are vigilant and suspicious of those who look different. How could a counselor, educator, and law abiding citizen turn into the boogie man within a few hours? Regardless of the answer, I got their message loud and clear. If I need to take a night-time walk, I'm better off walking down El Cajon Blvd. where I blend in.
I may not need that Ambien after all...
"When I cross my street to the north, I literally go from Boyz N The Hood to Leave It To Beaver." Not being very familiar with Talmadge, I enjoyed this insider overview!
So did I... except for the stupid modern use of "literally." Note to everybody: look up the meaning of literally before you (mis)use it again.
thank you so much for taking the time to edit my blog post. you must do this for a living. sorry, i should've used "figuratively", instead of "literally". i wish that i could be a professional writer like you.
how patronizing can you be? short on the positive feedback, and long on the negative. nice. and a little pathetic.
maria52 stop causing trouble.
really, pup? causing trouble for sticking up for this writer that you so rudely dissed...you and the rest of your band? as usual you make no sense. read the reply from author concerning joaquin's critique...if he was genuinely thanking joaquin for correcting his use of "literally" i will be dismayed. author has too much passion to listen to nitpicking shit...what?do you all just like to attack newcomers that don't subscribe to what i've extrapolated from reading previous posts, your conservative far right agendas? and your lack of empathy? if that's causing trouble, i'm proud to be a troublemaker.
LOL...I had a feeling that would cause a maria meltdown......this is too easy.....it was sarcastic !!!!!!!
what was sarcastic? the author thanking joaquin? that is what i meant. i hope he was being sarcastic. and honnney, i am not having a meltdown. i am slightly amused and that is it. why would i have a meltdown? about what? i couldn't care less what you're political or moral leanings are.
The reality of racial profiling and it's potential deadly effect on my three year old sons has become a reoccurring nightmare. I wish I could sleep as well as you Mindy. Still, I pray that Jermaine's courage to write the experience of the voiceless and the murdered will be heard by the countless vigilantes whom parallel criminality with Blackness.
This was a wonderful article. Very well-written, thought-provoking and dynamic. Like the narrative. A very honest and deadly accurate account of what goes on with these ridiculous people. Glad you brought it to our attention--these disenfranchising people doing more harm than good. Good for you for sticking up for yourself and the all the rest of us as well. I hope you were being sarcastic with your reply from Joaquin. As talented and smart as you are, I'm sure you were. You may not be a professional writer, but you write professionally. And I can see through your article that you don't enjoy being patronized. You are a strong man.
If that busy body wannabe tried that shit with me, on a public street, she would get a few hundred F-bombs lobed her way, and I have in fact done just that.
Of course it is much funner when some dorky cop pulls this shit-and they end up in a big lawsuit.,... nothing is funner than dragging a dirty cop around the courtroom by the nose until they cry uncle- and pay up.
You're a classy guy, surfpuppy, classy guy.
Hey, whats a few F-Bombs between friends..........the fact is if you do NOTHING it encourages this kind of over the top, over zealous conduct, and it usually comes from untrained morons (like here), who desperately want to try to use some sort of "power' to control others who have done nothing wrong. That is not what this country is about, never has been. Luckily the cops, the real cops, don't do it too often. The first reaction i thought of when reading this article was Trayvon Martin and George Zimmerman, where a kid just walking down the street is confronted by an untrained, overzealous and ARMED wannabe rent-a-cop/neighborhood volunteer, under identical circumstances as here, and ends up dead....... for what??? B/C some idiot tried to play cowboy.......BTW TJ it is very easy to make the "classy guy" comments when you have never been subject to police, gov or "neighborhood watch" misconduct. You get falsely arrested or harassed by a dirty cop and I guarantee your tude would be different. Maybe then you would appreciate the 1st Amendment and the right to speak freely, no matter what the content.
surfpuppy619, I was involved with the antiwar movement while I was at Berkeley, late 60's and early 70's. Very involved. I can guarantee you that I was subjected to more " police, gov or "neighborhood watch" misconduct ", including physical, than you could fathom... I don't know about that.......I can fathom quite a lot....
I cannot recall the class act quote form Dirty Harry, only the "..do you feel lucky, will do ya punk", and" Make my day".
Oh I can imagine that you do; You have quite the vivid, and active, imagination. The quote wasn't from Dirty Harry. It was from ADA D'Ambrosia, played by Carmen Argenziano. Sudden Impact, elevator scene, beginning of the movie somewhere around 8-10 minutes into it. I know what a busy camper you are, so I'd look up the exact time for you, but we're not at in town, so I don't have access to the DVD right now. HAHAHA.
BTW, you were what, about 7 or 8 when I started college? Unless your were actually there and participated you really can't fathom what it was actually like.
okay, now you're saying something substantive, here, pup. good on you!
Thanks, I trying hard.
must say you are quite the individual. been reading your posts...very entertaining...you have to be an independent thinker...intractable in your beliefs, not afraid to say what is on your mind, and not influenced by dogma. now that i can admire...even if i don't agree with your stances all the time.
what fun would it be if everyone agreed with everyone else all the time? too much happy happy, joy joy for me, I'll tell you that much. Now surfpuppy619, he's an incredibly sensitive man, who inspires joy-joy feelings in all those around him.
You may not be a professional writer, but you write professionally. And I can see through your article that you don't enjoy being patronized. You are a strong man.
.............OK, please tell me you didn't write that on your own.
For those who care, this kind of thing happens to me - and many other homeless people all of the time.


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Keys to Local Wind Energy Development Success
January 3, 2012
Audio with Rich VanderVeen, Mackinaw Power, LLC president (MP3 2.0 MB) Download Windows Media Player. Time: 00:02:10
Perhaps you've thought about the environmental, financial, and energy benefits of producing wind energy in the U.S., but Rich VanderVeen says there are big agricultural benefits as well.
VanderVeen, the president of Mackinaw Power, LLC in Michigan, has seen how wind energy development can save farmland for future generations.
"Example, our 35,000 acres under one set of easements with 250 families and 133 wind turbines in Gratiot County, guarantees that that 35,000 acres will not be subject to sprawling America, not subject to forms of degradation of the countryside, but rather kept intact for the next 30 to 50 years. That farmland will still be farmland, for the children, grandchildren, and great-grandchildren of the people who are signing the easements in 2011."
VanderVeen says the Gratiot (grash-it) County wind project did not face much opposition. He says that's because of the way they approached the project. He says his golden rules of development could be utilized by any community across the country to garner support for local wind energy production.
"Earn the trust and confidence of the local community. That takes a lot of engagement of the public, and informing the public, and education, education, education. Involving people, allowing them to make sure that their questions are asked and answered. That's number one. Number two. Of course you have to spend a lot of time and energy and money investing in wind studies. Number three, you must of course have the transmission available to bring the project forward. You must then utilize the trust and confidence of the local community, the state and federal government to secure local, state, and federal permits and approvals. And finally, of course, you have to sell the power."
From there, VanderVeen says it's time to negotiate a wind turbine supply agreement and construction contract. Then he says it's important to assure the project is built safely, on time and on budge, and that it is run efficiently. Finally, he says all promises made to the landowners and community must be kept.
—Julie Jones


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You are here: Root > Programming Languages > PrologView the dependency graph for this library
An update of Peter Norvig's "Prolog in Common Lisp".
|Web site
|Mailing list
|OS compatibility
|ASDF installable
|Official Download
|Mirrored Download
|Source code repository
The original engine has been updated to conform to ISO prolog semantics, including slightly complex cases involving the cut. The obscure bugs (mostly involving the behaviour of the cut in conjunction and disjunction) are fixed. There are some relatively non-obscure bugs remaining, in mismatches between the CL and Prolog stream concepts, in bagof and setof, and in the non-ISO equivalence of functorial and list expressions.
Peter Norvig | Christophe Rhodes
Paradigms of Artificial Intelligence Programming
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Tony Bennett (b. 1926) is a celebrated jazz interpreter of traditional pop songs. He was discovered in 1950 by Bob Hope, after Pearl Bailey had asked him to open for her show. His recordings of "Because of You," "Cold, Cold Heart" and "Rags to Riches" reached #1 on the Billboard charts during the early 1950s, and he also became well known for "I Left My Heart in San Francisco."
Bennett taped an appearance for Sesame Street in 1995, singing a remake of "Little Things" with Lexine. The recording was later released on the Songs from the Street anniversary boxed set.
In 1996, he guest starred on Muppets Tonight in episode 106. His duet with Kermit the Frog singing "Firefly" led to Kermit's appearance on Bennett's 1998 album, The Playground.
For Sesame Street's 29th season, he sang a parody of "Fly Me to the Moon" called "Slimey to the Moon," to commemorate Slimey the Worm's trip to the Moon. The same year, he could be seen in archive footage used in Elmopalooza as one of many celebrity guests arriving at Radio City Music Hall in New York City.
In 2002, he performed "If I Ruled the World" at the Party at the Palace commemorating the Golden Jubilee for Queen Elizabeth II alongside Kermit the Frog.
In 2003, he appeared at the first Annual Sesame Workshop Benefit Gala, performing with Elmo and Bob.
Tony Bennett and Bob


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24649 Cross LnOrange Beach, AL 36561
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Geoff Martyn says sE's Gemini is the best vocal mic
Geoff Martyn is sure about one thing: "sE's Gemini is the best vocal mic out there!"
Geoff Martyn: "I've really embraced the sE sound. When it comes to recording acoustic guitars and vocals there's just no competition."
With so many mics to choose from, it's easy to lose sight of your goals. If your goal is to capture great recordings every time, then there can be only one…
Singer/songwriting Geoff Martyn lives and breathes music production, so when he recommends a mic you know he's talking from experience. For one so young he's already racked up an impressive resume – the one-time member of Travis has written with some of the best in the business, including Wet Wet Wet's Marti Pellow, Adam Levy (The Norah Jones Band) and Chris Difford (Squeeze).
But from an early age a passion for music production steered him into the control room, recording and producing not just his own material but also a diverse roster of bands and solo artists.
It was while recording in another studio, however, that Geoff first heard that Gemini sound. He instantly realised that sE was the way forward.
"As soon as I heard the results coming through the monitors I just knew that I had to have that sound. And when I asked the engineer a few questions about the mic I realised I could easily achieve the same sound in my studio."
"Shortly after that I was recording in a studio in London, and we had a Neumann, an AKG and the Gemini set up for the session, but it didn't take long for the other two mics to fall by the wayside. The Gemini won hands down, there was just no doubt that it gave the fullest, richest reproduction of the vocalist's voice."
"So that was a year ago, and since then I've really embraced the sE sound – in my studio I'm now the proud owner of a Reflexion Filter, the sE 2200a, the sE4 Stereo Pair, and, of course, the Gemini II. When it comes to recording acoustic guitars and vocals there's just no competition."
"The sound of a mic is obviously very important, but with sE gear I love that you get everything you need right out of the box. Many mic manufacturers will happily sell you a mic, but then you realise you need to pay extra for a case, a shockmount and whatever else you might need. With sE you know that they'll include everything you need at a great price."
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1964 Duke Snider Pro-Model Bat - Documented Final Season
Starting Bid - $1,500, Sold For - $3,525
Duke Snider H&B signature model "O16" bat dating from the 1960-1964 manufacturing period. Graded A9 by MEARS; one of two graded at this level, with only one graded higher. Ideally, factory records allow us to definitively date this bat to 1964, which was Snider's final Major League season. Factory records indicate two shipments of model "O16" bats, matching this bat's specifications, to Snider in 1964. The first order of six bats occurred on 4/17/64, while the second order, also for six bats, was shipped on 6/2/64. The bat displays significant use including deeply embedded ball and stitch marks, cleat marks, deadwood on the back of the barrel, and a ten-inch crack in the handle. Most important, the bat displays Snider's characteristic "crisscross" tape wrapping along the handle. That distinct and unique pattern, which is the one trait most often looked for by collectors of Snider bats, is well documented and greatly adds both to the aesthetics of the bat and its provenance. Snider appeared in ninety-one games with the San Francisco Giants in 1964. He closed out his career by batting .210 with 4 home runs and 17 RBI. Snider was one of the top sluggers in baseball during the 1950s, hitting forty or more home runs for five consecutive years. In fact, his total of 326 home runs was the most hit by any player in that decade. He finished his career with 407 home runs, 1,333 RBI, and a .295 lifetime average. He was elected to the Hall of Fame in 1980. This bat is perfect in all respects and the fact that it could conceivably have been the very last bat ever used by Snider, or the bat that launched his final career home run, only adds to its great significance and appeal. Length: 34.875 inches. Weight: 35 ounces. Graded A9 by MEARS (base grade of 5, plus 3 points for use and 2 points for displaying Snider's personal-player traits, but minus a half point each for the crack in the handle and the deadwood on the back of the barrel). Duke Snider game bats are particularly rare even though he was a star player of his era and had a career spanning eighteen seasons. This is one of only eight Duke Snider pro-model bats listed in the MEARS census. LOA from Troy Kinunen/MEARS. Estimate $1,500. Reserve $3,000/$5,000. SOLD FOR $3,525
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