text:
As Prepared for Delivery —
Hello, Cleveland! It's great to be back in Ohio. And it's great to be here at Shaker Heights, home of the Red Raiders. I want to thank your mayor, Earl Leiken, for hosting us today. I also want to thank your superintendent, Mark Freeman, and your principal, Mike Griffith, for everything they do. I heard you have some pretty good basketball teams this season – boys and girls. It makes me wish I had some eligibility left.
Finally, I want to wish everyone a Happy New Year. One of my resolutions is to make sure I get out of Washington enough and spend more time with people like you. Because folks here in Ohio and across the country – you're the reason why I ran for this office in the first place. And on days like today, you remind me what we're still fighting for. An America where hard work and responsibility pays off. An America where anyone who puts in the effort and plays by the rules can get ahead.
That's the America you deserve. That's the America we're working to build. And that's why I told Congress they couldn't leave for vacation last month until we made sure 160 million working Americans wouldn't get hit by a tax hike on January 1st. It wasn't easy. And it should have been. But in the end, we got members of both parties to come together and make sure that you could keep more money in your paychecks this month. You're keeping that extra $40 in every paycheck. That means more security for your families, and a boost for our economy at a time when we need to do everything we can to keep it growing. More money spent by more Americans means more businesses hiring more workers. And when Congress returns, I urge them to extend this tax cut for all of 2012, without drama or delay. It's the right thing to do. It's a no-brainer. Let's get it done. Pass these tax cuts.
But we still need to do more. So today, we're taking another important step – one that will bring us closer to an economy where everyone plays by the same rules. And to help us do that, I'm joined by someone you might recognize: Richard Cordray.
Today I'm appointing Richard as America's consumer watchdog. That means he'll be in charge of one thing: looking out for the best interests of American consumers. His job will be to protect families like yours from the abuses of the financial industry. His job will be to make sure you've got all the information you need to make important financial decisions. Right away, he'll start working to make sure millions of Americans are treated fairly by mortgage brokers, payday lenders and debt collectors. In fact, just this week, his agency is opening up a simple, 1-800 number you can call to make sure you're getting a fair deal on your mortgage, and hold banks and brokers accountable if you're not.
I nominated Richard for this job last summer. And yet, for almost half a year, Republicans in the Senate have blocked his confirmation. They've refused to even give Richard and up-or-down vote. It's not because he's unqualified. There is no question that Richard is the right person for this job. He's got support from Democrats and Republicans. A majority of Attorneys General from both parties across the country have called for Richard to be confirmed. Your local Members of Congress who are here today – they support him. He has the support of a majority in the Senate. Everyone agrees that he's more than qualified.
The only reason Republicans in the Senate have blocked Richard is because they don't agree with the law setting up the consumer watchdog. They want to weaken it. Well that makes no sense at all. Does anyone think the reason we got in such a financial mess was because of too much oversight? Of course not. We shouldn't be weakening oversight and accountability. We should be strengthening it – especially when it comes to looking out for families like yours. Financial firms have armies of lobbyists in Washington looking out for their interests. It's time someone fought for you, too.
This is a fight that Richard has been waging here in Ohio for the better part of two decades. As your Attorney General, he helped recover billions of dollars in things like pension funds on behalf of retirees, and protected consumers from dishonest lending practices. Before that, Richard was the State Treasurer, where he earned a reputation for working with folks from across the spectrum – Democrats, Republicans; bankers and consumer advocates.
Cleveland, you've seen the difference that Richard can make for consumers. I have too. And that's why I want Richard to keep standing up for you – not just here in Ohio, but all across the country.
Every day that Richard waited to be confirmed was another day when millions of Americans are left unprotected. Without a Director in place, the consumer watchdog agency we've set up is left without the tools it needs to prevent dishonest mortgage brokers, payday lenders and debt collectors from taking advantage of consumers. That's inexcusable. It's wrong. And I refuse to take "no" for an answer.
I've said before that I will continue to look for every opportunity to work with Congress to move this country forward and create jobs. That means putting construction workers back on the job repairing our roads and bridges. That means keeping teachers in the classrooms and cops and firefighters on the streets. That means helping small businesses get ahead. These are ideas that have support from Democrats, Republicans and Independents. And I want to work with Congress to get them done.
But when Congress refuses to act and as a result hurts our economy and puts people at risk, I have an obligation as President to do what I can without them. I have an obligation to act on behalf of the American people. I will not stand by while a minority in the Senate puts party ideology ahead of the people they were elected to serve. Not when so much is at stake. Not at this make-or-break moment for the middle class.
For too long, we've had a financial system that stacked the deck against ordinary Americans. Banks on Wall Street played by different rules than businesses on Main Street – or a lot of community banks. Hidden fees and fine print led consumers to make financial decisions they didn't always understand. And all that risky behavior led to an economic crisis that we're still digging ourselves out of.
That's why, last year, we put in place new rules of the road to make sure that a few bad apples in the financial sector can't break the law, cheat consumers, and put our entire economy in danger. Many of these provisions are already starting to make a difference. And for the first time in history, we put in place a consumer watchdog – someone whose only job is to look out for the interests of everyday Americans.
Richard is the right man for this job. If you're a student, his job will be to protect you from dishonest lending practices and make sure you have all the information you need on student loans. If you're a veteran, he'll help make sure you aren't taken advantage of when you come home from serving our country. And if you're a senior, he'll help make sure you don't lose your home or your retirement because someone saw you as an easy target.
Earlier today, I met Endia and William Eason. Endia is 91 years old, and she's known for making some of the best pies in Cleveland. William is a former Marine who now lives in a nursing home nearby. Ten years ago, the Easons were approached by a broker who offered to help them take out loans and make some much-needed repairs to their house. The broker made everything sound easy, so the Easons agreed. But before they knew it, the broker had disappeared with their money – leaving the Easons almost $80,000 in debt and in danger of losing their home.
Endia and William Eason are good people. They worked hard, they saved their money, and they earned the right to retire with dignity. They shouldn't have to worry about being tricked by someone trying to make a quick buck.
The Easons need someone who will stand up for them. Millions of Americans need someone who will look out for their interests. They need someone like Richard.
We know what would happen if Republicans in Congress were allowed to keep holding Richard's nomination hostage. More of our loved ones could be tricked into making bad financial decisions. More dishonest lenders could take advantage of the most vulnerable among us. And the vast majority of financial firms who do the right thing could be undercut by those who don't.
We can't let that happen. Now is not the time to play politics while people's livelihoods are at stake. Now is the time to do everything we can to protect consumers and prevent a financial crisis like the one we've been through from ever happening again. And that starts with letting Richard Cordray do his job.
Cleveland, I know you're hearing a lot of promises from a lot of politicians lately. But today, you're only going to hear one from me. As long as I have the privilege of serving as your president, I promise to do everything I can, every day, to make this country a place where hard work and responsibility mean something – where everyone can get ahead, not just those at the very top or those who know how to work the system. That's what America has always been about. That's what today is all about. And with the help of people like Richard, that's the country I believe we can be once again.
Thank you, God bless you, and God bless the United States of America.


text:
Positive Feedback on Dolphin's Educational Courses
Dear Dolphin,
I attended the Dolphin music two day training course in Liverpool last week. I would just like to let you know how good it was.
Everything about the course was brilliant.
The Champion Learning Centre was extremely warming and the food they put on for lunch was gorgeous.
I am a adequate user of Cubase and Reason but I still learnt so much, Greg's knowledge and teaching style meant that all the students were catered for and didn't feel left out. We also had a laugh, which makes it all that more enjoyable!
The main point I'd like to make is that we were given a full copy of Reason 3 and Cubase to keep. This I thought was excellent value for money and meant that we could carry on getting to know the program at home.
I thank you Dolphin for a great couple of days and would also like to ask if you could do me a deal. I need a new midi controller so I can get the most out of my new software?
Many thanks,

subset: commoncrawl


text: Edit 1/20/05: fixing pics I've been meaning to do this for a very long time and I'm sure most of you have already finished your beads ... But, for those of you who haven't, here is a great way to weather your beads: * I found the 3/8" beads here locally at ACE hardware. They have them on a spool that is probably 100 feet long. Cut off a 75 bead chain. If you can't find the beads, I can pick some up for you for cost. * Pick up a bottle of Birchwood Casey Perma Blue Liquid Gun Blue. You can search online for it. I have tried a couple different brands of gun blue and so far, this is the best brand I've used. Other brands leave the beads way too black or rusty looking. * Find a small container. I use a very small rubbermaid container. Fill it with the gun blue and put your beads in there. Stir them a little so that the liquid touches all of the beads. This takes less than a minute. They'll turn black and pull them out. * Rinse them off really well under the tap. Scrub them with your fingers to clean off the excess tarnish. * I take them outside and swing them around to get most of the water out. * The key to not getting rust on your beads is to lay them flat on a paper towel for a day...or two if it's humid. This leaves excess water inside the beads to evaporate. Notice in the picture that some of the beads are touching. Try to stretch them out the best you can! If the rod piece in between the beads stays inside the bead with the water, it might rust. I initially hung the beads up and if you do this, the water drips down the rods in between the beads and causes some rust. If you lay them flat, you shouldn't have a problem have fun enjoy


text:
'Melo leads Knicks into road bout with Cavs
Carmelo Anthony doesn't care that the Chicago Bulls just swept the New York Knicks in the regular season and snapped their 13-game win streak.
"They can have it, they can have it," Anthony said of the Bulls sweeping the season series. "They can have the regular season wins. They did a good job at beating us four times. We're not worried about them at this point."
Anthony is more concerned with his Knicks, who will try to start a new streak Friday night in a visit with the Cleveland Cavaliers at Quicken Loans Arena.
The Knicks dropped a 118-111 overtime decision Thursday to a Bulls squad that ended Miami's 27-game winning streak at the United Center last month. Anthony had a good shot at the end of regulation and felt it was going in. He said he didn't want to go to overtime, where Chicago scored 13 of the 19 points.
"In that overtime I thought we just gassed out," Anthony said. "We ran out of gas in overtime."
Anthony finished with 36 points for a third straight game and hauled in a season-high 19 rebounds. Despite making 13-of-34 shots, Anthony, the NBA's leading scorer, is averaging 39.8 ppg in his last six. J.R. Smith scored 28 points off the bench, Raymond Felton had 19 and Chris Copeland had 14 for New York, which lost for the first time since March 17 and had won six in a row on the road. The Knicks blew an early 17-point lead, too.
It was the Knicks' longest winning streak since a 15-gamer from March 1 to April 2, 1994.
"There is no shame in losing a streak like that," Knicks coach Mike Woodson said.
While Woodson said a few days ago that the No. 2 seed is still within striking distance, Anthony noted after Thursday's loss he would take into consideration resting following a trip to Cleveland. That may not happen soon because the Knicks host the Indiana Pacers on Sunday and have a two-game lead on them for the second spot in the East.
Anthony leads the NBA with 28.7 ppg, just ahead of Kevin Durant (28.3 ppg).
The Atlantic Division-champion Knicks are 22-17 on the road. They were without Tyson Chandler (back), Kenyon Martin (ankle) and Marcus Camby (foot) against the Bulls and a timetable for their return is unknown.
Cleveland is coming off Wednesday's 111-104 loss to the Detroit Pistons and was led by Kyrie Irving's 27 points and nine assists. Irving, who tied the game at 103-103 on a layup with 44 seconds left, had two costly turnovers late in the game and missed a free throw in the waning seconds. He was playing a back-to-back for the first time since returning from a shoulder injury.
"I was obviously a little fatigued just like everyone else on the floor, but that's no excuse for not executing," Irving said.
Tristan Thompson recorded 19 points and eight rebounds for the Cavs, who are playing out the string and lost for the 12th time in 14 tries. Thompson is averaging 18.3 points and 12.0 rebounds in his last four games.
The Cavaliers are 14-25 at home and hope to have guards Daniel Gibson (elbow) and C.J. Miles (concussion) Friday versus the Knicks. Both players are listed as questionable.
Cleveland has lost both meetings with New York this season, but is 10-1 in the past 11 meetings at Quicken Loans Arena. The Knicks have lost 18 of the past 22 trips to the Forest City.


text:
The first 3 seconds are said to decide your impression of someone, but I'll go for the first 5 minutes.
As the topic description said, i want to know what provoces your immediate sympathy/anthipathy - apart from the subconscious stuff like someone's body odor, which is said to decide until a certain extend if you'll find someone sympathetic or not.
So I'm only interested in stuff you realize you immediately like/dislike about someone. Which can be anything, voice, hand shake, physiognomy, sense of style etc.
As for me, I don't like small, thin lips, because they give me the impression of small-mindedness and/or a malevolent character. I don't like women in polka dotted clothes on first glance either, because it bores my eyes. A dull facial expression is unlikely to suggest anything positive to me. I find a solid hand shake more sympathetic than a weak one and so on.
Of course this is completely subjective and not to be taken serious, of course there are thin-lipped people with great personalities as they are huge.mouthed Nazis .
Hope there's no similar topic yet.
heh, im just too apathetic in real life to scrutinize others. Unless you greet me with a fist, i could care less about physical appearances.
Well Im with cbisram a bit. I care more about what someones saying, and don't really give a shit if they are not looking me in the eye or whatever as long as they seem sincere and know what they are doing, who would have guessed. But as far as physical things the proper smile for situation and just being cheerful gets me pretty well.
On another point, admit it gals, you like the tall guys.
"That means that a person who is six feet tall, but who is otherwise identical to someone who is five foot five, will make on average $5,525 more per year. As Timothy Judge, one of the authors of the study, points out: 'If you take this over the course of a 30-year career and compound it, we're talking about a tall person enjoying literally hundreds of thousands of dollars of earnings advantage.'"
ref: http://www.gladwell.com/blink/blink_excerpt2.html
^Lol, why gals? I think most employers are men
I think he was pointing out the fact that gals like tall, rich men.
Sebastian For Pres!
I'd have to say physical appearance isn't exactly where i get pushy about, so to speak.
I go more for what they say like Eros. If they are telling me some pretty harsh stuff or if it's
something that i just don't care about i'll end up either walking away or try to be polite as i
ask them to stop.
Though if on first glance they gave me a nasty look i'd never speak to them. That's
about it on what i'd do though.
Waiting for the newest nightmare victims...
well read the article referenced, it explains it better.
try some implicit prejudice tests:
Here you go ollie: "Your data suggest a slight automatic preference for Straight People compared to Gay People."
I read it. Are you referring to this part:
"Most of us, in ways that we are not entirely aware of, automatically associate leadership ability with imposing physical stature. We have a sense, in our minds, of what a leader is supposed to look like, and that stereotype is so powerful that when someone fits it, we simply become blind to other considerations."
Like women dig tall men for similar reasons? I'd say tall men have to bend down a little to talk to smaller women, so that has something protective about it.
Oh and some mod, please fix the title, I made a mistake. It say firts impressions now
I agree with eros about the height thing. I'm tall, but I know short dudes that just can't get a break with women. I think women have a built in attraction to tall men through evolution. Nowadays the whole 'man provides security for women' notion is tripe, but I guess having male partner who is physically larger provides some sort of unconscious psychological feeling of support. It would be nice to have that idea done away with though, so that when there is a bump in the night a wife doesn't have to wake up her husband to go check downstairs, but can go by herself with confidence.
Actually appearance doesn't have much to do w/ my first impression of someone. It's about what they're actually saying.
First, you spelled first wrong. Second, the girl has to be clean and pretty. My own definitions of this apply. Then, I'll talk to her and if she's stupid it's over from there. I'm not asking for a genius but a dummy is a no-no.
Just came back... The nostalgia!
^Yeah, I've already asked a mod to fix it Thanks anyway. It's not about the opposite sex in particular, just general stuff...
I try not to judge someone really quickly ............... unless they're glareing at me or something
I'm not particularly impressed with people who talk crude as a normal speech, however I do like people who talk in a "rural" manner as a way to hold up light banter. (as I do a lot in this forum)
I hate people who stand so close. I don't like it when someone takes a preacher's voice (i.e. Al Sharpton) to me. It feels degrading.
I point out hates because I generally start off slightly withdrawn when meeting people. I over analyze people and situations, so I don't reveal much of myself. I'm not a very social person. It doesn't take much for me to dislike you on first meeting, but I'm easy to sway once I see your worth respect.
But I enjoy meeting someone with an open mind with a sense of humor. I'll drop hints of carnage at some people to see how they react (I remember someone who my dad knew who asked me how my dad was, where I dropped a comment about having been as fun as drop-kicking a baby through a window)
Big Brother is Watching You.
clothing...i know, wow, very mature. but i instantly dislike a person by the way they dressed. not going to judge on how expensive something is, more like how revailing. if i feel like i might not like you, i won't even bother to be your friend. i'll still be nice and smile but it goes no further.
also how a person carrys themselves. i hate arrogant people, no matter how handsome or beautiful.
i do try to make friends though and not judge people by apperance but anyone who says they don't judge aren't being truthful. we all judge, just a matter of degree.


text:
Originally from New Jersey, Jay arrived on the West Coast in 1995 and has been performing locally with his band since 2001, releasing five albums and becoming a mainstay of beach-area clubs with his occasionally quirky but always compelling tunes.
A sixth album, "Hallelujah Expressway," is currently in the process of being recorded. However, where Jay has really made an impact is in hosting events that allow others to shine. Besides the more typical rock-show events, Jay now hosts an open-mic night at Winston's Beach Club each Wednesday night from 6 to 9 p.m., immediately following the OB Farmers Market. Meanwhile, he is also the man behind the popular Acoustic Evenings music series held at La Jolla's Athenaeum.
Unlike many other hosts of similar events, Jay takes a back seat to the other performers. Yes, he performs the occasional song, introduces the other artists and even tells a few jokes. But he said it's not about him.
"It goes back to the way I was raised," he said. "From the beginning, for me, if we all work together and help each other, build each other up, it's a more gratifying, fully enjoyable experience. It's what feels most right to me."
He said hopes to make each event a showcase.
"I want it to be a high moment of the week for the performers. I really try to make a big moment for whoever is on stage," he said. "Not everyone has a band or plays other shows, so through these events, I try to give them their big moment in the sun."
While he has staged open-mics at other San Diego venues, Jay has a special place in his heart for Winston's and the residents of OB.
"The venue itself is so professionally run," he said. "And they are so friendly. But that's just the way people are in OB. It's a great place to hear music and it has great beach proximity," he said. "It's like the show 'Cheers.' It's a place where everybody knows your name."
Upcoming projects for Jay include that sixth album, "Hallelujah Expressway," for which he's also working on a musical. "It's kind of an ambitious project," he laughed. "I was walking home last night, and I was asking myself what I really want to go with my life and I realized that the things I wanted to do, such as have a creative outlet, express myself, be part of a community and help people where I can, I realized that I was already doing all these things. And I was pretty happy about it. I mean, we can always do more or try a different approach, but it's nice to know that as long as you stay active and keep putting lines in the water, eventually something will happen, something will bite."
For now, Jay is happy to keep running full speed ahead with his open-mic night. "I really try to make it like a variety show," he said. "If you're an attendee, you'll hear a real mix of things; there is a lot of talent in San Diego. The night can include a little bit of everything. We even have one gentleman who does a bit of spoken word where he riffs on current news." He notes not all taking part are "professional" musicians, but he adds that it's all part of the evening's charm. "Some of the performers are still trying to find their sea legs," he remarked. "But anyone who takes in one of these shows will be thoroughly entertained."
• JEFFERSON JAY'S OPEN-MIC: Wednesdays at WINSTON'S BEACH CLUB, 1921 Bacon St. 6 to 9 p.m. 21 and up. www.winstonsob.com.


text:
|2009-09-24, 20:00
|Link #101
33million Humming Brook
Join Date: Aug 2006
Location: Ask me no questions and ill tell u no lies
Age: 25
Oh and lol at Mihawk's "At this point it's not really surprising"
|2009-09-24, 20:03
|Link #102
da big boss
Join Date: Jul 2006
|2009-09-24, 20:04
|Link #103
Senior Member
Join Date: Dec 2007
I just read this chapter and I thought it was handled very well. Oda's approach as to how Luffy would attempt to rescue Ace was smart. We all knew that Luffy could not hope to compete with the superpowers that are present at this war, so what Oda does is he has Marco (one of the elites) vow to protect Luffy at all costs. Now, the possibility of Luffy rescuing Ace is not far fetched at all since he has a great back up. Although, I'm still hoping that Whitebeard will be the one to save Ace. He's going to die anyway, so he should go out while doing some truly impressive feats.
Also, Ace took the words right out of my mouth in this chapter. Luffy is such a weakling in comparison to these monsters. I figured Ace would be upset at having little brother stick his nose in business where it doesn't belong.
Moria, being the absolute nuisance/annoyance he is, was hilarious in this chapter. It's funny how Jimbei quickly disposed of the zombies by throwing a big wave of sea water at them. He is the worst possible match up they could have faced. I wonder if Moria and Jimbei will square off in the subsequent chapters to come....
|2009-09-24, 20:35
|Link #105
Join Date: Nov 2006
Location: LA CA
|2009-09-24, 21:13
|Link #106
Senior Member
Join Date: Dec 2005
Though still, bait and switch is very possible...
it's HIGHLY unlikely that they would leave them out of the fight, and we do have new orders being executed via code... not hard to believe that one such order would be to have Kuma clones start moving in... have them move in from different parts of the battlefield and the pirates won't even notice that there are fakes; they will think they are real and many will panic at the sight of him... and anyone strong enough to beat one will find their hopes crushed when they come upon a second Kuma
|2009-09-24, 21:28
|Link #107
da big boss
Join Date: Jul 2006
|2009-09-24, 21:38
|Link #109
Is Your Daddy & Its True
Join Date: Jul 2009
Location: In the Sky with the Birds
Everything that needs to be said has been said. I can't wait till the battle really starts to kick off and have Luffy in his "WTF" moment, making him realize how much further he has to go. I really like how Oda is doing his flashbacks. Its not some long dragged out Flashback that happens for every fight. but just lil snippets here n there.
|2009-09-24, 21:51
|Link #110
I find it hilarious that all these One Piece fanboys get mad and start to flame and lose their minds when someone says that a One Piece chapter is garbage with good reason. Instead of being whiny Odatards how about actually ADDRESSING the posts that hurt your feelings instead of calling someone who disagrees with your views on certain chapters a "troll."
|2009-09-24, 22:33
|Link #111
Senior Member
Join Date: Dec 2007
And you're right, the Whitebeard pirates don't need him to save Ace, but they are ensuring his safety just for the fact that he's Ace's brother. It's as if they feel Luffy too has an obligation to save Ace because of the bond they share.
|2009-09-24, 22:33
|Link #112
And this is the biggest event ever to have happened in the OP world.
|2009-09-24, 22:39
|Link #113
da big boss
Join Date: Jul 2006
Judging from your comments, your issue is that Luffy shouldn't have all the respect of these big name guys. News flash, Luffy already knew or was affiliated in some way with half of those guys so it's only natural that people would notice him. Secondly, even though he's not as strong as the big name pirates and marines, he is at least as famous as they are or nearly as famous considering how much he's accomplished. Thirdly, it's not like he obtained this over the course of five or ten chapters, it's been well over five hundred chapters. Luffy has been long past due for some recognition. And it seems that you've forgotten how disrespected he was in the five hundred chapters previous to this (i.e. Buggy, Smoker, Crocodile, Bellamy). Most of us felt that this was a nice change of pace from the "your a rookie who's in way over his head" plot, but apparently you felt these two chapters of moderate respect trumps the 500+ chapters of blatant disrespect that preceded it.
Last edited by cheese4u; 2009-09-24 at 23:03.
|2009-09-24, 22:48
|Link #114
Join Date: Nov 2006
Location: LA CA
On topic.
So I guess the big/real fights of this war will happen when Balckbeard and crew get involved.
|2009-09-24, 22:51
|Link #115
Senior Member
Join Date: Feb 2008
On the viewpoint of people on the battle field: two shichibukai and a notorious rebel appeared out of no where. And Luffy himself is VERY famous also. What do you think the newspapers cover, if not news about the rookies? You think they would come to the Emperors and do some quick interviews, huh?
On the viewpoint of the escape prisoners: obviously Luffy stands on the spotlight.
And for godsake, how long has LUFFY been standing on the spotlight? 1 minutes, since the Dragon name was mentioned. Before that, was he ever on the spotlight? The familiar faces mentioned his name, that's all. Do you want Oda to show every single characters saying: "Oh, that's jinbei. And that's Croc. And Iva also! Wtf happened at ID? Oh, and isn't that Strawhat Luffy. You have been such a bother, rookie." Sorry, but that's retard.
Battle-wise, the one most flashy gonna catch the biggest attention. And if Luffy uses gear third, he's gonna be flashy (when your "bignames" are so lazy to even move their asses to steal the spotlight). Chapters ago, you were saying that it was so fail with all the wasted large panels, didn't you.
If Oda does A, he fails. If Oda does B, he fails. If he does something middle of A and B, he still fails. It's hard to argue with that ignorance.
Sorry everyone, I was so itch with him.
|2009-09-24, 23:35
|Link #116
|2009-09-24, 23:56
|Link #117
Annie Leonhart
Join Date: Jul 2007
Location: Indiana
This was another good chapter. In my opinion Oda has the best storyline wise in any manga i have ever read.
Luffy is really getting a lot of help from the big players. Thats expected for a low power player like Luffy. But his will to inspire others turn the tide of the war. I don't know what the hell Garb is doing but he looks like he is about to do something in the next couple of chapters.
Its a shame Ore Jr. didn't get this kind of support because Luffy doing the same thing but big players are helping. My biggest question is who is going to take on the other Shichibukai? I know Hancock won't attack Luffy. That leaves only Doflamingo, Kuma, Mihawk and Black Beard ( If he shows up).
I can't wait to see what powers Dragon and Shanks have when they play there parts in the series.
Does any one think Croc going to get his Shichibukai status back? I do becuase it make sense since Jimbei gave his up and croc has a vendetta against Whitebeard.
I have been thinking about this for some time and this is just my opinion but i think the marines and the WG have a bigger plan then just getting White beard or any of the other big players. There main objective is to destroy the....
Spoiler for The story plot:
Yes that right, the "Will of Gold D. Rogers" was the Great age of Pirates that sprang from his death. His death was the inspiration that gave all pirates the meaning and purpose. If the marine can destroy this they will destroy purpose and meaning for all pirates and win the war. After all war is about destroying your opponents will to fight. Gold D. Rogers was right when he said he wasn't going to die. He lives forever becasue of what he started. The marines never thought this would happen and now when ever they fight pirates they fight Gold D. Rogers in away.
If this story is like the other arcs in the One Piece series, Pirates will loose ground in this battle, the war will look like the marines will win, and White Beard will fall but in White Beard's last moment Luffy will inspire all pirates and revive that flame that Gold D. Rogers started. The "Will of Gold D. Roger's" will be renewed in the hearts of all pirates watching the battle on TV around the world. This will be another tearful moment in One Piece probably so get some kleenex. Even though Luffy not as powerful as other in this war White Beard will acknowledge Luffy for his will and his determination, same will and determination that put his crew together and started journey to be King of the Pirates. White Beard will also see a flash back of Gold D. Rogers and say the kid reminds of my old bastard. Then in a big laugh White Beard will show why he was a rival to the Pirate King and both sides and the world will be a witness to the powers of a Yonkou. It will Deal a big blow to the marines, it won't be defeat for the marines, but it will change the way the WG and the Marines do things forever. This war will be the birth of the second age of pirates. The war will have no winning sides. Big Players on both sides will be killed or changed forever. The old will die, alliances will change, and the new generations of Marines and Pirates will step forward to take up the challenges and responsibility that was put in front of them. Then the time skip will happen and then the crew will reunite to begin the adventures into the new world. At least this is my version of how this battle will go.
Here hoping that Luffy and his crew will get a new make over when they come back from the time skip or whatever going happen after this war.
Last edited by grey_1960; 2009-09-25 at 00:44. Reason: Forgot to add a thought
|2009-09-25, 00:08
|Link #118
da big boss
Join Date: Jul 2006
Just so there won't be any misconceptions let me quote you directly this time.
You said:
You know Oars is clearly not as strong as the "big shots" in One Piece but he had an entire chapter dedicated to him. Akainu had his chapter and Jozu and Marco had there moment as well. Nothing has suggested that Oda is going to have Luffy "[steal] the spotlight" he's just making his rounds. It's hard to give everyone attention all at once ,especially since there's so many people there, and like I said Luffy is the main character it's only natural that he should get the most facetime.
|2009-09-25, 00:17
|Link #119
Senior Member
Join Date: Feb 2008
If Whitebeard jumped in right off the bat, it would just gonna become a giant brawl between him, the shichibukai, the admirals, and his captains. Or is that what you are suggesting?
Not to mention having the boss riskily going in-fight right away in such a big war is not very smart...Luckily he didn't do that "badass" act, cause someone here would start flaming him "stupid Whitebeard" instead
You are very smart.
How smart
Most top shots look at him with half an eye. He was saved once this chapter, and may be several on the next. He's having difficulty and the strong are laughing at him. Until he uses a flashy move to take out a flashy fodder giant and have the fodder crown cheer on him.
What do you suggest? Luffy going after Ace, not by himself, but WITH OTHERS, so that they aren't seen as "backing him up?" lol.
Or having Luffy going after Ace by himself, not having any "backup," and rolls over and dies?
Or having Luffy going after Ace by himself, not having any "backup," and pawns the asshole out of everyone?
Or having Luffy going after not Ace, but...Kizaru? lol..
Or having Luffy begging Whitebeard: please send me some BACKUP. lol.
Or having Garp attack Sengoku and rescue Ace so that Luffy would not sink futher?
Or...Oh, wait, how about having Luffy RUN AWAY!
Very, very smart
I proved Luffy has only been on the spot light for a minute, and it happens very naturally and logically and cool.
May be you are smart. And intelligent, huh?
The godlike plan E Phenomenal is holding in secret. Talk it out. Otherwise all you are saying is that OP is instant fail no matter what Oda does and he should just do plan F which is stop making OP for good.
Which will tell how intelligent, and smart you are
Last edited by Cinocard; 2009-09-25 at 00:49.
|2009-09-25, 00:36
|Link #120
I Like Anime
Join Date: Sep 2004
Cool chapter. It sounds like Dragon is attacking, or otherwise causing trouble on the Shabondy Archipelago.
My favorite frame in the chapter was the big panel on page 15. Luffy doing gear 3rd, and he looks like a tiny speck.
Can't wait for 559!
|Thread Tools


text:
Last month, Meg approached us with a brilliant idea: could she try to create a coworking librarian position at CoCo?
There was only one possible answer: "How soon can you start?"
You may know Meg as DotMeg or even as Meg Canada. She's got a new mini-gig which she's blogging about thanks, in part, to the support (though not financial) of her employer Hennepin County Library. Read more about her in her Mover and Shaker profile. Also check out this beautiful space (the St. Paul location is just as lovely but not as classic). [thanks joe!]


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Tipping is not mandatory, though it is customary. Guides, drivers, waiters and hotel staff can be tipped at your discretion and the amount should be based on service received. Tips can be given in the local currency or US dollars. In camp or at your lodge, you'll often find a box for tips. Tips given here will generally be divided among the staff.
Below is a guideline to assist you:
Safari guide: $10 per day, per person
Trackers: $5 per day, per person
Camp staff: $5 – $10 per day, per person (this typically goes into a communal box or is given to the camp manager)
Transfer drivers: $2-$5
Porters at hotels: $1 -$2
Restaurants: 10%
The Safari Experience
Going on safari is a truly special experience. It's also a unique experience schedule-wise, The rhythm of the day is designed to provide you with the best game-viewing opportunities, and thus is based on the patterns of the animals' behavior.
Your experience will differ somewhat depending on whether you are on a mobile safari or staying at a permanent tented camp/lodge, and whether you are staying in a private concession area or in a national park. However, there tends to be some similarities to the schedule.
Typically you will:
- Go on an early morning game drive while the animals are still active. They tend to find shade and sleep during the day, especially when it's hot. This means an early morning wakeup (about 5:00 or 5:30 a.m., earlier in summer and later in winter). A light breakfast is generally available before departing camp or a light snack is provided during the game drive.
- Game drives can last 3-4 hours, depending on what is happening in the bush
- A full breakfast/brunch tends to be served when you return to camp; some camps also provide lunch, depending on their particular schedule
- Relax at camp during mid-day
- Afternoon tea is often served around 3pm
- Late afternoon game drive: These typically leave camp around 4 p.m.. In national parks, you need to be back to camp by sundown; in private concessions, you're often allowed to stay out in the evening, so afternoon game drives typically range from 2-4 hours.
- Dinner: In private concession areas, dinners can be quite late, especially if the sightings are good on the game drive and those in the vehicle are enthusiastic to follow the activity into the night!
If you have want to know more about what to expect schedule wise with your particular itinerary, just contact us.
Note about Game Drives
The type of vehicle used for game drives is often dependent on the country you are visiting and whether you're on private concession areas or national parks. In the national parks in East Africa, mini-vans with pop up roofs are typically used, while in Southern Africa, 4×4 open-sided vehicles are commonly used.
Unless you've ordered a private vehicle or have enough in your party to fill up a vehicle, you will generally go out on game drives with others at the camp. It can be quite fun to share in this experience with others from the camp. With this comes some compromise on how long to stay out, whether or not to follow one animal for some time or try to see more animals, etc. If you feel having the flexibility of having your own vehicle is important to you, contact us and we'll be happy to let you know how much the camp/lodge charges for private vehicles.
It can be quite chilly, if not downright cold, on the early morning and evening game drives, especially in the winter months. Prepare yourself for this by packing layers (see packing list) and having a sweater/fleece and a light, wind-resistant jacket. Some camps even provide blankets and water bottles in the winter. Once the sun rises in the sky and you don't have the wind from the vehicle, you'll generally be quite happy in a t-shirt in both summer and winter, so layering is key!
Always remember that the animals you are viewing are WILD. Be sure to follow the safety precautions in each camp and when out on a drive or walk. Safety precautions need to be taken seriously and followed.
Don't ask your guide to get closer to the wildlife. They know what is appropriate and it is not worth risking your safety along with those with you to get a better photo or view … as tempting as it may seem. The behavior of wild animals can be unpredictable, especially when they are frightened. A vehicle too close to the wildlife can hinder a hunt or cause animals to abandon a hard-earned meal. Observe animals silently and with a minimum of disturbance to their natural activities.


text:
The Zamir Chorale of Boston will get into some golden oldies on June 14 at Temple Emanuel in Newton when the group's founder and artistic director Joshua Jacobson conducts the 55-voice choir and a 20-piece orchestra in a program of biblical psalms, cleverly titled "awePsalm."
Speaking from his home in Newton, Jacobson, who created the Boston chapter of Zamir in 1969, and was recently honored with the Alfred Nash Patterson Lifetime Achievement Award by Choral Arts New England, gave some historical background on the biblical psalms, then explained how this concert came about.
"It's a book of 150 sacred songs that were written in ancient Israel, probably sometime between 3,000 and 2,500 years ago," he said of the Book of Psalms. "They cover many different topics, many different emotions: expressions of joy and gratitude, petitions for help in a time of distress. Tradition attributes them to David, the king of Israel, who was known to have been a musician, a harpist. I think 73 of them bear a title, in Hebrew, that translates as 'by David' or 'to David' or 'for David.' It's possible that other people wrote some of these, but they thought, 'If I want to get this in the Bible, I should put David's name on it.' "
This concert is a follow-up to a program Zamir did last November, but with a different twist.
"That one featured Psalms 113 to 118, which is known as the Hallel, psalms that are sung in the synagogue on holidays," said Jacobson, "and it was all 19th century settings of the psalms. But I thought, let's do another program that opens it up to psalms from all the different periods."
And was Jacobson responsible for the title "awePsalm?"
"Guilty as charged," he said, laughing. "I wanted to come up with a catchy name, and the muse struck me, I guess."
The two-hour concert will feature the text of the psalms presented in a variety of musical styles, ranging from classical to jazz, from world renowned composers including Claude Debussy and Leonard Bernstein to locals Jeremiah Klarman and Robert Snyder. The event is honoring Snyder, Zamir's chairman, who is stepping down from that position, but is a jazz pianist and composer, so was asked by Jacobson to try his hand at creating a new piece for this concert.
"I told him that the lyrics had to be from the Psalms," said Jacobson, "then said write what works for you. He originally wrote it for piano and voice, then I worked with him to chorustrate it. It's called 'Psalm 1,' or you can take the first few words and call it 'Happy Is the Man.' It's a very cool piece."
Asked how he managed to whittle down the huge number of psalms he could choose from, Jacobson said, "You have to make a concert that has shape, that has progression. It's like a composer takes notes, and out of those notes, creates a composition. I take shorter compositions, and put them together to make a concert. But the concert has to have drama and tension and release."
Asked to pick a couple of favorites aside from the Snyder piece, he said, " 'Psalm 90' by Charles Ives is one of my desert island pieces. I didn't really understand the text of that psalm until I heard the music. The music becomes an elaboration, an interpretation of the text, and makes the text come alive. It asks what do we do with our lives? What do we make of our lives? When times are bad how do we emerge from that, out of the darkness and into the light? And in the middle of the piece it turns around, it becomes a mirror image; it reverses itself and the shortness becomes the length of life, and our troubles become our happiness."
Then there's Bernstein's "Chichester Psalms," which was written in 1965, and which Zamir has been performing since 1971.
"It's a great piece of music," said Jacobson. "When Bernstein wrote it, he was drawing on music that he had written for other pieces. There's music in it that was scheduled for the prelude of 'West Side Story' that was dropped. He was working on a musical based on Thornton Wilder's 'The Skin of Our Teeth' that never came to fruition, but he had sketches and songs from that, and a lot of those are included in this piece. And there's a theatricality to it. The first movement really dances rhythmically. The second movement starts with a song of innocence which is interrupted by the sounds of violence and war. The third movement begins with Bernstein struggling with himself and trying to come to grips with these questions of good and evil. It's very dissonant, but it eventually smooths out and you get this hymn to humility, ending with the Psalm 133: how wonderful it is when folks get together peacefully. The drama and progression of the piece is fantastic."
Above all, Jacobson wanted to have something for everyone at the concert.
"One piece is in French, some are in English, some are in a combination of English and Hebrew," he said. "There's Jewish and non-Jewish. There's contemporary and ancient. I purposely tried to mix together a variety."
The Zamir Chorale of Boston presents "awePsalm" at Temple Emanuel, 385 Ward St., Newton, on June 14 at 7:30 p.m. Tickets: $25-$54; students, $10. Info: www.zamir.org.
Upcoming concerts and club dates
June 10:
Australian moody-rockers Nick Cave & the Bad Seeds perform songs from their most recent album "Skeleton Tree" at the Wang Theatre in Boston. (8 p.m.)
Singer-songwriter Laura Vecchione does a full band show at Ryles in Cambridge. Maureen Murphy opens. (9 p.m.)
Canadian singer-songwriter-trumpeter Bria Skonberg blends pop and jazz at the Regattabar in Cambridge (7:30 p.m.)
Birds of Chicago put a contemporary spin on Gospel sounds at Club Passim in Cambridge. Rachel Sumner opens. (5 & 8 p.m.)
Indie folk group The Pines celebrate their new album "Above the Prairie" at Lizard Lounge in Cambridge. (8 p.m.)
June 11:
The Boston-based Tarbox Ramblers mix together blues, rock, and traditional folk sounds at Atwood's Tavern in Cambridge. (4 p.m.)
June 13:
Americana singer Mary Bragg performs selections from her new album "Lucky Strike" at Club Passim in Cambridge. Rachel Sage opens. (8 p.m.)
June 15:
Rocker Chuck Prophet, backed by a string quartet, plays songs from his new album "Bobby Fuller Died for Your Sins" at Lizard Lounge in Cambridge. (9 p.m.)
June 16:
Scottish troubadour Archie Fisher visits Amazing Things Arts Center in Framingham. Ric Allendorf opens. (8 p.m.)
Patrice Monahan sings and tap dances with Shufflin' Time at Ryles in Cambridge. (8:30 p.m.)
Ed Symkus can be reached at email@example.com.


text:
When a person goes to a vending machine intending to buy an item and that item is barely hanging on to the barricade that prevents it from falling. The person then buys the item and two items fall from the same row.
Dude, I went to go buy some sour patch kids and the idiot before me only had a dollar and his sour patch kids got stuck. I got to buy one vend one free.
by platypus72 October 07, 2009
buy the domain for your travel blog


text:
Great Yarmouth and Great Beds Great Yarmouth offers many great things. The 'Great' part about Great Yarmouth in my opinion is the diversity of our town's attractions. Joyland at the end of our famous Regent Road started in 1949, the brightly adorned snails going up and down and around the metal track were always a source of delight when I… Read more →
Tag: latex mattress
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Investment in Your Mattress For $175,000
Another fantastic article on my perfect bed! Investment into your sleep – It seems there is no end of newsworthy and 'blog worthy' bed sourced stories, which is great for me to find, but it does make me think just how much sleep touches upon our entire lives. Sleep is so important, and the mattress we sleep on has to… Read more →
Clean the Brain of Toxins with Sleep
Clean the brain with sleep! some of you may have read a recent report about how sleep cleans the brain.This was reported by James Gallagher who is a Health and Science reporter for the BBC News. The United States of America have a Journal of Science and they believe the 'waste removal system' is one of the fundamental reasons for… Read more →
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Good Nights Sleep – What's that!
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Better Memory From a Good Nights Sleep… How? Get a Good Nights Sleep – Everybody has suffered from a bad nights sleep where you are tossing and turning ALL night. Just when you start drifting off to sleep something outside disturbs you or just a random thought comes into your head. A task you may have to sort out tomorrow enters… Read more →
Getting to Sleep in this Heat!
Getting to sleep can be difficult for some people rather too often and we are experiencing an unusual heat here in Norfolk and most parts of the country at present. 'Mustn't complain' is what we all keep hearing and it seems we can always manage to get cooler in the daytime. Getting to sleep in this heat? The nights being hot… Read more →
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text:
Consensus Report
Catalysis for Energy: Fundamental Science and Long-Term Impacts of the U.S. Department of Energy Basic Energy Sciences Catalysis Science Program (2009)Board on Chemical Sciences and Technology
Each report is produced by a committee of experts selected by the Academy to address a particular statement of task and is subject to a rigorous, independent peer review; while the reports represent views of the committee, they also are endorsed by the Academy. Learn more on our expert consensus reports.
Catalysis, the process by which a substance (a catalyst) increases the rate of a chemical reaction, is essential to the ability to control chemical reactions, including those involved in energy transformations. Catalysis is therefore integral to current and future energy solutions, for example, developing environmentally benign energy sources such as biomass and solar energy, and developing efficient energy systems such as fuel cells. This report presents an in-depth analysis of the investment in catalysis basic research by the U.S. Department of Energy Office of Basic Energy Sciences Catalysis Science Program. On the basis of the information that was evaluated, the report concludes that the program has invested well in catalysis basic research. The program's success can be attributed to key management decisions over the past eight years that have led to a current funding distribution that advances catalysis science in general and keeps the development of energy-related technologies as a long-term goal. The program has maintained support for many well-established and world-renowned leaders in catalysis and, at the same time, has brought in many new researchers. The DOE Catalysis Science Initiative has been a particularly effective mechanism for bringing to the program new funds, new researchers, and innovative research topics -- especially in heterogeneous catalysis. However, there are variations in the quality and relevance of the research in the program's portfolio, which are discussed in detail in the report.
Key Messages
- Biorelated grants. Biological processes provide understanding of important catalytic reactions such as C-H functionalization.
- C-H Activation and Functionalization. The ultimate goal of research in C-H activation catalysis is to find catalysts that will incorporate C-H activation into hydrocarbon-conversion technology.
- Catalysis Science Initiative (CSI) grants were first awarded in 2003 and were given to multi-investigator, multidisciplinary teams mainly involved in heterogeneous catalysis research. Few grants have been awarded for research in homogeneous catalysis or biocatalysis
- Homogeneous Catalysis in Organic Synthesis grants. The selectivity of these catalysts presents the potential to conserve resources, increase energy efficiency, and reduce waste
- Hydrogen Fuel Initiative (HFI) grants focus on hydrogen production, storage, and use and mainly involve electrocatalysis.
- Nanoscience grants focus on emergent catalytic properties at the nanometer scale.
- Single-Site Polymerization grants have made significant contributions to the understanding of fundamental catalysis.
- Surface Science grants focus on achieving a better understanding of heterogeneous catalytic surfaces.
- Theory grants focus on theory, modeling, and simulation. The catalysis theory portfolio is considered to be of a high international standard.
- Traditional Heterogeneous Catalysis grants. The portfolio is highly important to research on the energy efficiency of current chemical transformation processes and on alternative energy solutions.


text:
BETHEL TWP, Pa. (AP) - November 11, 2012 --The Delaware County medical examiner says an elderly woman was killed several days ago after her clothing caught fire in a kitchen.
Police and firefighters in Delaware County responded to a Bethel Township home at about 2:40 p.m. Thursday, where they found the fire already extinguished.
The medical examiner's office says 83-year-old Shirley McGinniss of Garnet Valley was an "inadvertent victim of clothing ignited within kitchen."
Medical Examiner Fredric Hellman said McGinniss died of "soot and smoke inhalation and extensive thermal burns." He ruled her death accidental.
He said Saturday that coronary artery disease complicated by rheumatic heart disease contributed to her death.


text:
System Optimization and PC Performance
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James Abbott McNeill Whistler, American, Lowell, Massachusetts 1834 - 1903 London
Little Venice (plate 1 , Venice. Whistler. Twelve Etchings ["First Venice Set"], 1881)
Mansfield 180; Kennedy 183 (only state), 1880
Signed in plate with butterfly monogram1
Plate: 7 1/4 x 10 1/2 in. (18.4 x 26.6 cm)
sheet: 9 5/8 x 13 3/16 in. (24.5 x 33.4 cm)
Gift of Mrs. F. F. Prentiss, 1944
Whistler sketched this evocative view of Venice on the copper etching plate from a vantage point on an island in the lagoon. A minimum of perfectly placed marks and selectively wiped plate tone transform the city into a delicate mirage floating in a sea of light.
In 1879, the Fine Art Society, a London gallery, commissioned Whistler to produce a set of twelve etched views of Venice, and advanced him the funds for a three-month trip to the city. Whistler left for Venice in September 1879 with his mistress Maud Franklin, and returned to London in November 1880, with fifty etchings, around one hundred pastels, and several paintings. In December 1880, twelve of these etchings were exhibited at the Fine Art Society under the title Venice. Whistler. Twelve Etchings. This group of prints became known as the "First Venice Set."2
Drawn to Venice by his love of Turner's Venetian paintings (see View of Venice: The Ducal Palace, Dogana, and Part of San Giorgio, AMAM inv. 44.54) and John Ruskin's Stones of Venice (1851-53), Whistler was challenged by the desire to do something original with what was, by 1880, a much-worked subject of both great iconic images and hackneyed tourist art. He soon wrote back to his sponsors in London that he had come "to know a Venice in Venice that the others never seem to have perceived..."3 Many of the prints in the First Venice Set depict unexpected views of backwater canals and anonymous doorways and balconies (The Doorway, Kennedy 188); others present the familiar monuments within an oblique focus on the living crowds surrounding them (The Piazzetta, Kennedy 189, AMAM inv. 79.19).
A third group of images is comprised of daylight 4 and nocturnal 5 views in which the city seems to float on the water. Little Venice, the most successful of the daytime views, includes such famous and recognizable sites as the Public Gardens on the left, Santa Maria della Salute, and the campanile and dome of San Giorgio Maggiore. Yet the scene is presented in reverse--Whistler drew what he saw directly on the plate; in printing the image is reversed--and the buildings are reduced to vertical punctuation marks on a narrow horizontal strip. The real subject of the image is the light-filled Venetian sky and the watery expanse between Venice and the island on which Whistler stood. Above and below the city the sheet is ostensibly empty, except for lightly indicated, exquisitely placed pilings, gondolas, building reflections, and, most prominently, the Whistler butterfly signature, in the water; and a few scribbled clouds in the sky.
Although Whistler selected Little Venice as the first plate in the set exhibited in 1880, the print was actually one of the last to be etched and printed. As with all the prints in the set, Whistler drew on the prepared plate with an etching needle directly from nature, this time going by steamer to one of the small islands in the lagoon.6 However, he did not actually etch the plate until after his return to London in November 1880.7
Whistler himself printed all impressions of Little Venice.8 The Oberlin impression is an early proof,9 printed on what appears to be ledger paper (see Technical Data). It does not have the butterfly tab, nor is it cut to the platemark in the manner Whistler devised with the First Venice Set (as in the AMAM impression of The Piazzetta).10 The plate tone is heaviest at the extreme top and bottom of the image, and there are even fingerprints visible in the ink residue. Another early proof impression of Little Venice (Hunterian Art Gallery, University of Glasgow)11 uses plate tone along the sides and corners to frame the view, while the plate tone in other impressions printed by the artist ranges from minimal, to thin and luminous overall, to rich and dark.
The emptiness of Little Venice, as in all Whistler's panoramic Venetian views, derives from reductive compositions first explored in his painted Nocturnes of the 1870s, and possibly even earlier in an etching (Opposite the Inn, Purfleet, ca. 1869) by his brother-in-law, the printmaker Francis Seymour Haden.12 Although wiped in a different manner, Nocturne (the first print Whistler made in Venice) already includes the same narrow horizontal band between sky and water.13 Frederick Wedmore has also compared the "artistic motive" of Little Venice to that of View of Amsterdam (B. 210), by Rembrandt, an etcher greatly admired and much studied by Whistler.14
The simplified compositions and unique views, as well as the etching and printing techniques, of Whistler's Venetain etchings had enormous impact on later printmakers, painters, and photographers in Europe and America (see Stieglitz's A Bit of Venice).
J. S. Wilker
Whistler was born in Lowell, Massachusetts on 11 July 1834. From ages nine to fourteen, he lived in St. Petersburg, Russia, where his father was working as a civil engineer; he began his art studies there at the Imperial Academy of Fine Arts. After the death of his father in 1849, the family moved back to America. Whistler attended the United States Military Academy at West Point in 1852-54 and then worked briefly for the US Coast and Geodetic Survey, in Washington, D.C., where he learned to etch maps and topographical plans.
In 1855 Whistler went to Paris, where he studied at the Ecole Impériale Spéciale de Dessin, entered the studio of Charles Gleyre (1808-1874) in 1856, and copied paintings in the Louvre and Luxembourg museums. Forming many friendships with modern painters in both Paris and London, where he moved in 1859, Whistler's painting style was influenced by the realist work of Courbet and Manet, and the narrative painting of the Pre-Raphaelites, as well as the paintings of Vélasquez, Japanese decorative art and woodblock prints, and current optical theories. Whistler's paintings--small seascapes, landscapes, cityscapes, interiors, and mostly large-scale portraits--distill these varied influences into Nocturnes and Arrangements, luminous works whose subject lies primarily in the harmonious relationships of tone and color, rather than realistic description.
Whistler first became interested in printmaking when he encountered the prints of Hogarth and Rembrandt as a child in the home of his brother-in-law Francis Seymour Haden. His own oeuvre as a printmaker is large, innovative, and highly influential. His first published portfolio of etchings--Twelve Etchings from Nature (the so-called "French Set," published in Paris in 1858 and in London in 1859) includes a somewhat eclectic group of images executed in London and rural France, as well as scenes of Parisian life. The next, more coherent set--A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects (the so-called "Thames Set")--is a rich portrait of the docks of the Thames as they existed in 1859. After making a few individual etchings in the early 1860s, Whistler stopped making prints until after the 1871 publication of the Thames Set. When he returned to etching, it was with a new-found sense of pictorial structure and tonalist vision, rather than the earlier attention to descriptive detail. The two Venice sets (drawn on the plates in 1879-80, see Main Text) that resulted are the apex of his printed oeuvre. Whistler went on to etch many individual prints in addition to the "Amsterdam Set" of 1889. He also learned lithography, making a series of lithotints in the 1870s and several sketchlike litho transfer prints (see Mother and Child, AMAM inv. 53.211) in the 1890s, including five ambitious color prints.
Whistler died in London on 17 December 1903.
General References (see also Catalogues Raisonnés in Literature)
Getscher, Robert H. "Whistler and Venice." Ph.D. diss., Case Western Reserve University, 1970.
Getscher, Robert H. The Stamp of Whistler. Exh. cat., Allen Memorial Art Museum, Oberlin, 1977.
Young, Andrew McLaren, Margaret F. MacDonald, Robin Spencer, and Hamish Miles. The Paintings of James McNeill Whistler. 2 vols. New Haven and London, 1980.
Lochnan, Katharine A. The Etchings of James McNeill Whistler. New Haven and London, 1994.
Dorment, Richard, and Margaret F. MacDonald. James McNeill Whistler. Exh. cat., The Tate Gallery, London; Musée d'Orsay, Paris; and National Gallery of Art, Washington, D.C, 1995.
Collection Mrs. F. F. Prentiss, by whom bequeathed in 1944
This impression
Catalogues Raisonnés
Mansfield, Howard. A Descriptive Catalogue of the Etchings and Dry-Points of James Abbott McNeill Whistler. Chicago, 1909, no. 180.
Kennedy, Edward G. The Etched Work of Whistler. New York, 1910, no. 183, only state.
General Literature (mentioning print but not this impression)
Getscher, Robert H. The Stamp of Whistler. Exh. cat., Allen Memorial Art Museum, Oberlin, 1977, pp. 75-76, cat. no. 44.
Siewert, John. In Carole McNamara and John Siewert, Whistler: Prosaic Views, Poetic Visions. Exh. cat., The University of Michigan Museum of Art, Ann Arbor, 1994, pp. 90-91, cat. no. 33.
Technical Data
This etching was printed in sepia-colored ink on ivory laid paper (watermark is D & C B L A U W (as in Churchill 82, 168, and 329, or Heawood 1828).15 There are faint brown ruled lines along the top and bottom margins, and on both sides of the sheet, unrelated to the print; it seems possible the sheet was taken from a ledger. The plate was horizontally wiped to produce an uneven plate tone, which is most pronounced at top and bottom. There are a few fingerprints in the tone along the bottom edge. There is an old fill in the top right corner of the sheet and along the upper margin. The sheet was cleaned and bleached in 1975. There are no collectors' marks or stamps.
1. Inscribed in graphite on the recto top left: 7; and on the verso: Little Venice/ Early trial proof of beautiful quality/perhaps the only one printed in this manner/with lines in the sky and foreground.
2. These twelve etchings were exhibited again, with Little Venice as number 20, along with twenty-six additional etchings (the "Second Venice Set"), at the Fine Art Society in 1883, under the title Etchings and Dry-points. Venice. Second Series. For a succinct review of the early exhibition and publication history of the two Venice sets, see Robert H. Getscher, The Stamp of Whistler (exh. cat., Allen Memorial Art Museum, Oberlin, 1977), pp. 20-21.
3. From a letter to Marcus Huish of the Fine Art Society, January 1880 (in the Glasgow University Library); quoted in Katharine A. Lochnan, The Etchings of James McNeill Whistler (New Haven and London, 1984), p. 184.
4. Besides Little Venice, Whistler included three daytime Venice views in the first exhibition: Long Lagoon (Kennedy 203), La Salute: Dawn (Kennedy 215), and Islands (Kennedy 222). He etched seven others, which were included in the second set: Little Lagoon (Kennedy 186), San Giorgio (Kennedy 201), Upright Venice (Kennedy 205), Long Venice (Kenney 212), Little Salute (Kennedy 220), Shipping Venice (Kennedy 229), and Venice (Kennedy 231).
5. The Venice night views include Nocturne (Kennedy 184) and Nocturne: Palaces (Kennedy 202), both in the First Venice Set. The varied inkings of these plates essentially resulted in a series of unique monotypes; see Katharine A. Lochnan, The Etchings of James McNeill Whistler (New Haven and London, 1994), pp/ 196-211.
6. The printmaker Otto Bacher worked with Whistler and recorded his etching technique in detail; see Otto Bacher, With Whistler in Venice (New York, 1908). The key text is reprinted in Robin Spencer, ed., Whistler: A Retrospective (New York, 1989), pp. 153-72.
7. Thomas R. Way, Memories of James McNeil Whistler (London, 1912), p. 45.
8. Whistler experimented with the aesthetic effects he could achieve by the way he inked and wiped the plates. His careful printing of the hundred sets originally commissioned by the Fine Art Society continued until 1901. The final proofs were pulled after his death by Frederick Goulding. See Katharine A. Lochnan, The Etchings of James McNeill Whistler (New Haven and London, 1984), p. 221; and Carole McNamara and John Siewert, Whistler: Prosaic Views, Poetic Visions (exh. cat., The University of Michigan Museum of Art, Ann Arbor, 1994), p. 91, cat. no. 33, n. 6.
9. An inscription to this effect is written in an unknown (dealer's?) hand on the back of the sheet (see note 1 above).
10. This practice is described by John Siewert, in his catalogue entry in Carole McNamara and John Siewert, Whistler: Prosaic Views, Poetic Visions (exh. cat., The University of Michigan Museum of Art, Ann Arbor, 1994), p. 91, cat. no. 33, and is illustrated in the Michigan impression of the print (inv. L122).
11. Reproduced in Carole McNamara and John Siewert, Whistler: Prosaic Views, Potetic Visions (exh. cat., The University of Michigan Museum of Art, Ann Arbor 1994), p. 91, under cat. no. 33, fig. 33a.
12. Noted by Robert H. Getscher, The Stamp of Whistler (exh. cat., Allen Memorial Art Museum, Oberlin, 1977), p. 75.
13. Noted by Robert H. Getscher, The Stamp of Whistler (exh. cat., Allen Memorial Art Museum, Oberlin, 1977), p. 95.
14. Reference noted by John Siewert, in Carole McNamara and John Siewert, Whistler: Prosaic Views, Poetic Visions (exh. cat., The University of Michigan Museum of Art, Ann Arbor, 1994), p. 91, cat. no. 33, n. 4; Frederick Wedmore, Whistler's Etchings: A Study and a Catalogue, 2d ed. (London, 1899), p. 70.
15. W. A. Churchill, Watermarks in Paper in Holland, England, France, etc., in the XVII and XVIII Centuries and their Interconnection (Amsterdam, 1935); and Edward Heawood. Watermarks, Mainly of the 17th and 18th Centuries (London, 1950).


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Samantha's Art Project
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As a young collector, I steer away from procuring art of a certain theme or genre; I purchase what I like. After all, I'm the one that has to live with it! The furniture was sourced at local antique fairs, vintage outlets and design showrooms…Ikea for the staples.


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RVAA Annual Conference Begins Wednesday
August 23, 2010 by Bob Ashley · Comments Off on RVAA Annual Conference Begins Wednesday
Some 210 people will represent 100 aftermarket suppliers, distributors and agents at the annual Recreation Vehicle Aftermarket Association's (RVAA) conference Wednesday (Aug. 25) through Friday at the Hyatt Huntington Beach in Huntington, Beach, Calif., where the focus will again be on establishing best practices.
"We have come up with 12 best practices divided into three categories," said Karl Etshied, executive director of the 110-member association headquartered in Camp Hill, Pa. "We introduced our best practices program based on the work of the Go RVing Committee on Excellence last year, but we are trying to push it forward this year. We know a lot of work went into that."
RVAA has developed a series of best practices in the areas of sales, education and parts. Chief among them is providing numbers for parts and establishing standardized ordering.
"That's so that suppliers can use one ordering sheet instead of having to deal with 25 different sheets," says Etshied.
Following the traditional format, distributors and suppliers will participate in one-on-one meetings "to decide what they are going to do for the next year," he said.
"We give suppliers a chance to come into a room and answer a series of questions," he added. "We have moderators who work with them to determine what best practices they are using. We want to get our suppliers up to the highest level."
After a decline in attendance over the last two years, individual registrations for the annual meeting are up 20% and company registrations up 10% over last year.
RVAA also will elect members to its board of directors and present its President's Award for service to the association and a Supplier Performance Award based on a survey of distributors.


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Joung Hoon Song began his violin studies at the age of ten in South Korea. After winning the Seoul Philharmonic Concerto Soloist Competition, he made his debut with the orchestra at the age of 15 in a televised concert broadcast nationwide. Since then, he has performed extensively in the United States, Germany, Italy, Poland, Hong Kong, Iceland, and South Korea. His concerts as a soloist with orchestras include appearances with the Budapest Radio Symphony, Seoul Philharmonic, Korean Symphony Orchestra, and the Aspen Baroque Chamber Orchestra. His major recitals and chamber music appearances have been in Carnegie Hall, Weill Recital Hall, Alice Tully Hall, and Michael C. Paul Hall at Lincoln Center. Song has also been a featured artist on Classical Music, the CBS radio program in New York.
In January of 1987, Song traveled from South Korea to New York in order to enter the Pre-college Division at the Juilliard School. He continued his studies there and received his Bachelor's degree from Juilliard in 1993, where he studied with Dorothy DeLay, Hyo Kang, and assisted Eugene Becker. He also served as a faculty member at Juilliard for the Iceland Youth Symphony Exchange Program. He completed his Master of Music and Artist Diploma degrees in 1996 at Yale University on a full scholarship. During his time at Yale, he taught and assisted under the guidance of Erick Friedman. Most recently, Song completed two Doctorate degrees (D.M.A), in violin and viola, at Boston University.
His dissertation for the B.U. degrees focused on the legendary violinist and composer, Henri Vieuxtemps. He has the honor of performing with Vieuxtemps' violin, a 1789 Lorenzo Storioni, in concert today.
B.M., The Juilliard School); M.M. and Artist Diploma, Yale University; D.M.A violin and viola, Boston University.


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Catering during official school breaks: Please provide a minimum of two weeks notice prior to the beginning of all school breaks, to assess the feasibility of providing services during those times. Please note that additional food and labor costs may have to be added during breaks to meet the needs of your event.
Catering Supplies: As a part of our ongoing partnership, we ask that you please not remove any catering supplies i.e. platters, serving utensils, beverage containers, linen, sign holders, decorations, cups, plates, spoons, excess sugars, excess creamers, excess tea packets and the like from your event or any event you may be attending . Removal of such supplies will result in additional costs to the event. Thank you for your cooperation.For any catering questions please contact Justin McArthur at 440 449 5258 or email@example.com.


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Vivienne Westwood Opio Saffiano 13698 Mini Bucket Bag in black. Vivienne Westwood's chic Opio Saffiano accessories collection has been updated for the new season. In timeless black leather, the smaller bucket bag has a tough saffiano finish and is finished with a rose gold hardware and plaque fastening with squiggle detail. The bag securely closes with a clasp and drawstring fastening, opening to reveal the main compartment lined in red squiggle fabric, two card slots and an open pouch for extra storage. The adjustable shoulder strap can be detached, allowing you to use the bag as a clutch.
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Just how deep is the U.S. ferrous scrap reservoir? Truth is, no one knows with any certainty how deep.
A study by consultancy Robert R. Nathan Associates Inc. in the late 1970s said, in brief, that there were millions and millions of tons of iron and steel scrap out there. Not to worry.
The study was done a year or so after the now-deceased Father William T. Hogan, an economics professor and steel industry analyst, had issued his own report predicting a severe ferrous scrap shortage in the 1980s. Too bad Hogan didn't live long enough to see the current ferrous scrap market—it might have reassured him of his earlier prediction. But at the same time, it might have undermined it.
In the first half of the past century, purchased ferrous scrap was a commodity that steelmakers used at will. If the price was cheap enough, they tossed it into their open-hearth furnaces with their home scrap and iron. Electric and cupola furnaces, which use mainly scrap, were the realm of specialty steelmakers and foundries. When basic oxygen furnaces (BOFs) became the operating standard for carbon steelmaking in the 1950s and 1960s, obsolete ferrous scrap got short shrift. The BOF shops wanted the auto bundles and heavier demolition scrap like plate and structural beams.
Our obsolete scrap reservoir grew and helped pave the way for a new and innovative segment in the steel industry the electric-arc furnace mini-mills. The scrap was here, it was readily available from local suppliers and it was cheap enough .?.?. and, after all, the nonferrous industries had been recovering and reusing their metals for decades, if not centuries.
At first it was just reinforcing bar and other construction products. Later, as the mini-mills moved into the sheet steel markets in the 1980s, chemistries and specifications got tougher and required more of the best-quality steel scrap. The auto industry's factory bundles and similar prompt industrial steel scrap, once sold mainly to integrated steel mills, became a highly desirable commodity. Both BOF shops and the flat-rolled mini-mills want them. The name itself—prompt industrial scrap—indicates that there are few, if any, reservoirs of that scrap. It comes to market almost as soon as it is generated.
A glance at the $300-a-ton differential in the price paid for No. 1 busheling and shredded and heavy melt indicates where the pricing battle has been the most fierce. In the past there was rarely more than a $10- to $20-a-ton premium in the price paid for No. 1 bundles and No. 1 busheling over shredded scrap. Consuming steel mills and foundries have compensated by adopting scrap surcharges to offset higher costs. Those have been in place for several years now, the consequence—not the cause—of the spike in steel scrap prices.
Obsolete scrap like No. 1 heavy melt drawn from demolition work and shredded autos still have some attraction to rebar makers and foundries, but it also has been a staple of the export market for decades.
The dollar might be weak now and drawing more scrap offshore, but the dollar has had its ups and downs before. When it drops, as it has in the past few years, new opportunities are created for U.S. manufacturers to take advantage of the comparative trade advantage that the cheap dollar affords. Scrap metal is one of those manufactured products that is among the first to reap the benefits of a weak dollar.
Some might argue that scrap isn't a true manufactured product. They probably haven't seen a shredder or a baler in action—nor have they seen the bills, permits and other preparations required to set up such machinery. Also, the weak dollar doesn't make scrap cheaper per se. It still costs a scrapyard money to acquire the junk vehicles and old refrigerators that are fed into the shredders, and junkyards and other scrap peddlers that supply that feedstock expect to be paid more if the scrap processor is getting a higher price from mills.
But the cheap dollar has made U.S. obsolete scrap more attractive to overseas steelmakers and foundries when compared with the price of scrap from other regions and alternative raw materials. More than 2.4 million tons of ferrous scrap left U.S. ports in May and nearly as much in June.
But how long will this buying binge last? By July, the dollar was on something of a rebound, Turkey's steel producers weren't selling as much rebar to construction companies in the Middle East and Taiwanese scrap buyers told suppliers that production would be cut back in order to reduce electric power consumption during the summer.
As sudden as the price spike of the first half was, the price decline at the start of the second half was far worse. In July, prices at the coastal terminals started to drop like a lead-weighted anchor—down by $100 a ton in a matter of weeks and still sliding as this was being written.
Such steep declines would normally shut off the scrap flow to the docks. That wasn't the case, however. If anything, the opposite reaction occurred, at least for the first few weeks. Dealers who had been selling to export yards didn't suddenly cut them off. Instead they shipped more scrap, hoping that it would cross the scales before the next price drop. Outside some yards, trucks loaded with scrap were lined up bumper to bumper and waited for an hour or more to unload.
The simple fact is that we are a scrap-rich nation. On its surface, that might not seem like an attribute to brag about, but it is—it says a lot about the wealth, the comfort and the many products we enjoy. You don't see central air-conditioning units outside tin shacks in Third World nations.
So how deep is our ferrous scrap reservoir? I don't know, but I doubt that anyone has yet seen the bottom.
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Christmas Jigsaw Puzzle
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Size: 20.3 cm x 25.4 cm Puzzle with Gift Box, 110 Pieces
Turn designs, photos, and text into a great game with customisable puzzles! Made of sturdy cardboard and mounted on chipboard, these puzzles are printed in vivid and full colour. For hours of puzzle enjoyment, give a custom puzzle as a gift today!
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Christmas Jigsaw Puzzle
Decorative Jigsaw Puzzle Puzzles Something for everyone offers customised personalised tapestries especially for you. While you are here already you may want to view other related bathroom items such as, t-shirts, shower curtain liners, soap dispensers, bath mats, bath sets, colourful children's shower curtains, bath scales, man cave shower curtains, bathroom accessories, soap dish and teenagers hottest shower curtains. Thank you for shopping at something for everyone! Something for everyone, Maria lurdis afonso, https://www.zazzle.com/succeedinbeautybarb
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