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Wednesday, August 03, 2011
Our Beautiful Palestine in Art
Whispers of Palestine
Tuesday, August 02, 2011
In Praise of the Israeli Spring
Not to be outdone by the Tunisians or the Egyptians, 120,000 Israelis are marching in the streets because of the high cost of housing and groceries. It's even being referred to as #J14, i.e., July 14, reminiscent of the dates attached to the Tunisian and Egyptian people's uprisings.
Remi Kanazi
Imagine how high housing prices would be if someone actually paid for the land?
Monday, August 01, 2011
Israeli Army Kills Aspiring Journalist Mutassim Issa Udwan
Monday, June 07, 2010
Plain Speaking from Helen Thomas, Dean of White House Press Corps
The Diab family. Three generations of Palestinian refugees, their village was depopulated in 1948 and its buildings destroyed. Israel has ruled out any repatriation of the millions of Palestinians in the Diabs' position because that would jeopardise the Jewish majority in the world's only Jewish state.
Avigdor Lieberman. He's from Moldova. He came to Palestine in 1978. If you are a former bouncer from Soviet Moldova, welcome to Palestine.
And this lady is from LA. She plans to join the Israeli Defense Forces in October.
Helen Thomas is vilified for speaking plainly and truthfully, as so many Palestinians and their supporters have been since the artificial imposition of a "Jewish" state in Palestine.
"Tell them to get the hell out of Palestine. These people are occupied.
"Go home. Poland Germany and America and everywhere else."
Helen Thomas, American-Arab, Dean of White House Press Corps
Saturday, May 15, 2010
Big Deal Over Edward Said on AP Lit Test
"Palestinian American literary theorist and cultural critic Edward Said has written that "Exile is strangely compelling to think about but terrible to experience. It is the unhealable rift forced between a human being and a native place, between the self and its true home: its essential sadness can never be surmounted." Yet, Said has also said that exile can become "a potent, even enriching" experience.
Select a novel, play, or epic in which a character experiences such a rift and becomes cut off from "home," whether that home is a character's birthplace, family, homeland, or other special place. Then write an essay in which you analyze how that character's experience with exile is both alienating and enriching, and how this experience illuminates the meaning of the work as a whole. You may choose a work from the list below or one of comparable literary merit. Do not merely summarize the plot.
The American
Angle of Repose
Another Country
As You Like It
Brave New World
Crime and Punishment
Doctor Zhivago
Heart of Darkness
Invisible Man
Jane Eyre
Jude the Obscure
King Lear
The Little Foxes
Madame Bovary
The Mayor of Casterbridge
My Ántonia
The Odyssey
One Day in the Life of Ivan Denisovich
The Other
Paradise Lost
The Poisonwood Bible
A Portrait of the Artist as a Young Man
The Road
Robinson Crusoe
Rosencrantz and Guildenstern Are Dead
Sister Carrie"
My message to the AP Literature Listserv:
I have taught AP Literature and Composition for 17 years, and I am also a Palestinian-American; my father immigrated to the United States in 1951. This is my first time to comment on this board.
About a year ago, when I read that Edward Said was a recommended non-fiction writer in the AP Literature and Compostion Course description, I felt elation, affirmation and a bit less "exiled."
My students took Form B, and until I saw Form A on the College Board website last Thursday, I didn't know that a prompt inspired by Edward Said was used. I was excited, overjoyed and incredulous when I read the prompt.
Edward Said is Palestinian; Edward Said experienced exile, and Edward Said is a brilliant thinker and considered by many in academia to be one of the great intellects of the twentieth century. He is revered and respected not only by Palestinians, but also by many, many others.
The initial responses on this board on May 8 were rational and ones I would expect from teachers of literature. Much of what ensued later was mere obfuscation and noise. Dixie Dellinger, in her post in regard to "prejudice" gets to the heart of the matter.
"I don't want to be in this fray either, since it arose because of The Test, but I see it as pretty simple at the core. It's a matter of prejudice, one of the most emotional and least rational of mental constructs . . .
"We do not indulge that prejudice because of the students' feelings. We acknowledge them, but we do not validate or legitimize them. "
Thursday, December 24, 2009
Christmas Eve Morning
Monday, December 21, 2009
Anti-Apartheid Wall Campaign: Jamal Juma', coordinator of the Stop the Wall Campaign, in Israeli jail
Thursday, September 10, 2009
What Would Jesus Say (to a Zio-Christian)?
Monday, August 17, 2009
Why Do We Embrace Zionists Like Uri Avnery?
"You, Dov, have invested in this state much too much to turn your back on it in a gesture of anger and despair. The most hackneyed and worn-out slogan in Israel is also true: 'We don't have another state!'
"Other states in the world have sunk to the depths of depravity and committed unspeakable crimes, far beyond our worst sins, and still brought themselves back to the family of nations and redeemed their souls."
Would that Avnery was concerned for the Palestinian refugees he and his fellow European Jews have supplanted rather than bringing an ex-Zionist back into the fold.
Cobban's story
Thursday, August 13, 2009
Why Don't You Go Back From Where You Came?
Saturday, August 01, 2009
David Letterman, Get A Clue
Promoting the film recently on the David Letterman talkshow in the US,
Baron Cohen explained that finding a "terrorist" to interview for the movie took
several months and some help from a CIA contact. He described the secular
Martyrs Brigades, most of whom signed an amnesty deal with Israel in 2007, as "the number one suicide bombers out there".
Abu Aita said: "My file is clear with the Americans. I was in the states
twice and I travel all the time." He is a Christian Fatah representative – of
the movement's political wing, he stresses – for Bethlehem district. He is also
a member of the board of the Holy Land trust, a non-profit organisation that
works on Palestinian community-building. "I am a non-violent activist and I am
not ashamed of that," he says.
Henry Louis Gates Should Know Better
"'The Case for Israel' is indispensable reading for those of us who are deeply disturbed by the rise of anti-Semitism in American society, even on college campuses." -Henry Louis Gates, Jr., Chairman, Department of African and African-American Studies at Harvard
"On one of his many visits to Israel, Dershowitz analyzed the Israeli government's program of collective punishment against the Palestinians – demolishing the homes of innocent relatives of those involved in suicide bombing. It is a practice outlawed under international law," writes Bamford.
"Nevertheless, Dershowitz decided to recommend a more effective policy – leveling the buildings in entire villages. 'The next time the terrorists attack,' he said, 'the village's residents would be given twenty-four hours to leave, and then Israeli troops would bulldoze the houses.'"
Tuesday, July 14, 2009
Leonard Cohen is not playing in Ramallah
Occupied Ramallah, 12 July 2009
PACBI has been heartened by the untiring efforts of BDS activists in the US and UK in organizing demonstrations and pickets at Leonard Cohen's performances in advance of his planned concert in Tel Aviv later this summer. The call, "don't Play Israel !" has been heard loud and clear.
After exhausting all attempts to convince Cohen to apply his avowed humanistic principles in a morally consistent way by refusing to entertain Israeli apartheid and whitewash its crimes, we called on all supporters of a just peace in our region to shun Cohen's concerts and CDs and to protest his appearances everywhere. In an open letter to Cohen in May, we warned that we considered his performance in Israel a form of complicity in its grave violations of international law; we reminded him that by violating the Palestinian boycott against Israel he would bring back the ugly memory of artists who violated the boycott against apartheid South Africa and insisted to perform at Sun City, drawing condemnation and revulsion by people of conscience the world over [1].
We are now pleased to announce that we have received confirmation from the Palestinian Prisoners' Club Society that they will not be hosting Leonard Cohen in Ramallah. A strong consensus has emerged among all parties concerned that Cohen is not welcome in Ramallah as long as he insists on performing in Tel Aviv, even though it had been claimed that Cohen would dedicate his concert in Palestine to the cause of Palestinian prisoners. Ramallah will not receive Cohen as long as he is intent on whitewashing Israel's colonial apartheid regime by performing in Israel.
PACBI has always rejected any attempt to "balance" concerts or other artistic events in Israel--conscious acts of complicity in Israel's violation of international law and human rights--with token events in the occupied Palestinian territory. Such attempts at "parity" not only immorally equate the oppressor with the oppressed, taking a neutral position on the oppression (thereby siding with the oppressor, as Desmond Tutu famously said); they also are an insult to the Palestinian people, as they assume that we are naive enough to accept such token shows of "solidarity" that are solely intended to cover up grave acts of collusion in whitewashing Israel's crimes. Those sincerely interested in defending Palestinian rights and taking a moral and courageous stance against the Israeli occupation and apartheid should not play Israel , period. That is the minimum form of solidarity Palestinian civil society has called for.
We feel that this is an occasion to reaffirm our position first articulated two years ago in relation to visits to the occupied Palestinian territory by artists, performers, and academics who wish to show solidarity with Palestinians while primarily coming to Israel to perform or participate in academic or artistic activities. As we noted then, Palestinians have always warmly welcomed solidarity visits by international visitors; however, most Palestinians firmly believe that such solidarity visits should not be used as an occasion to organize performances, film screenings or exhibits in mainstream Israeli venues or to give lectures at Israeli universities ; collaborate in any way with Israeli political, cultural or academic institutions; or participate in activities sponsored or supported -- directly or indirectly -- by the Israeli government or any of its agencies [2].
The Cohen team's motives may not be so innocent, however. We believe that the plan for Cohen to perform for Palestinians is an effort to defuse the bad publicity and animated demonstrations by BDS activists at performance venues in several cities. Cohen's managers probably felt that by adding a Ramallah gig at the last minute, they could deflate the growing protest and the PACBI call for boycott against the tour. While this is a reflection of the positive effect the boycott call has generated, it also shows that Tel Aviv is still on the tour agenda. More protests and more publicity about the boycott are needed, and this is why the demonstrations and pickets in London , Liverpool and elsewhere are so welcome.
[1] http://www.pacbi.org/etemplate.php?id=1006
[2] http://www.pacbi.org/etemplate.php?id=539
Saturday, June 20, 2009
On the Occasion of World Refugee Day
Friday, June 05, 2009
More Comments
05 Jun 09, 1:26pm (about 8 hours ago)
I'd be more than happy too talk about the partition:
Partition was seen by the Palestinians as imposing unilateral and intolerable sacrifices on themselves . . . The area of the Jewish state according to the UN plan would actually be larger than that of the proposed Palestinian state (5,500 square miles as compared with 4,500 square miles) at a time when the Jews constituted no more than 35 percent of the population and owned less than 7 percent of the land. Within the proposed Jewish state, Jewish land ownership did not in fact exceed 600 square miles out of the total area of 5,500 square miles. Nearly all the citrus land (equally divided in ownership between Jews and Palestinians), 80 percent of the cereal land (entirely Palestinian-owned), and 40 percent of Palestinian industry would fall within the borders of the proposed Jewish state. Jaffa, the Palestinian state's major port on the Mediterranean, would be altogether cut off from its hinterland, and Gaza would lose its traditional links with the wheatlands of the Negev.
Hundreds of villages would be separated from communal fields and pastures. The Palestinian state would lose direct access both to the Red Sea and to Syria. The economic union between the two states, on which partition had been postulated, was know beforehand to be impracticable. The patchwork of subunits into which partition would divide the country bore little relationship to the human and social realities on the ground.
Khalidi, Walid. Before Their Diaspora: A Photographic History of the Palestinians 1876-1948.Washington DC: Institute For Palestine Studies, 1991.
In response to Berchmans
05 Jun 09, 3:07pm (about 7 hours ago)
## What effrontery. To insist that Palestinians recognize the "right" of of European and American Jews to dispossess them. Like these, who forgot to put their make-up on: http://www.youtube.com/watch?v=Uxt9HwfPwPo ##
The link was horrific. Shocking...I hope this is not what young Israelis in general are like ..I hope they were completely drunk and not like that when they get back into uniform. They really think they are about to die. WTF? They seem to live in a parallel world...WTF is the news there like? No wonder so many Israelis come to CIF ! :)
The maker of the video writes:
As a resident of Jerusalem, I can say that the people represented in this video are not members of a fringe group or simply drunk college kids. These people reflect the sentiments shared by many people in this country and this city. These people and their families are the core of the opposition to meaningful peace between Israel and her neighbors. This is what Obama is up against.
But really, no more shocking than destroying more than five hundred villages and ethnically cleansing more than half of those who became refugees before any Arab army entered Palestine . . . no more shocking than Petra's pretty, polished propaganda. No more shocking than the hysterical rants of those here who divert from the issue, no more shocking than the majority of Israelis who sneer at Obama's very own words:
"Given our interdependence, any world order that elevates one nation or group of people over another will inevitably fail."
No more shocking than denying those people who were born in Palestine and their descendents from stepping foot in their homeland. No more shocking than demonising an entire group. Why do you think a tiny faction of Palestinians engage in violence? Because it is inherent in our nature? Or because of the massive injustice that has been perpetuated on Palestinians? I am not Hamas; I am not Fatah; I am the daughter of a man who had to leave Ramallah in 1951 because his economic prospects were next to nil after Palestine had been truncated in 1948. I would take a bullet before I would acknowledge the "right" of Israel to exist. I am not an extremist. I have the God given right to move freely in the land from which my father and ancestors came, and I will never renounce that right.
05 Jun 09, 5:14pm (about 5 hours ago)
Another Palestinian protesting the theft of his land killed today:
The slain Palestinian was identified as Yousef Aqel Sadiq Srour, 36, who was shot in the chest with live fire, according to medics at the scene.
And par for the course, the Israelis fired on an ambulance:
A Palestinian ambulance was also fired upon, injuring one of its medics, witnesses said.
In response to Zionist diversion:
05 Jun 09, 6:13pm (about 4 hours ago)
I did not say my father was a refugee, but he was a victim of the truncation of his land. Jaffa was a place where many people from Ramallah did business. Once again, the Palestinians are not responsible for what happened to the Jews in Iraq. Many reject the title "refugee," as they were "proud Zionists" who came of their own free will. This is documented in "Hitching A Ride on A Magic Carpet." There were also black ops on the part of the Zionists facilitating the exodus from Iraq. There is no moral equivalence here, but we know that marching orders of Zionists are to mention Jewish refugeees every time Palestine's refugeees are mentioned. This is a bill that came up in the US Congress. Zionism is the root cause of the problem. All else is diversion.
Further Zionists attempts to divert and dissemble and claim that the Palestinians opposed to partition were Nazis (I'm not including their comments):
05 Jun 09, 6:44pm (about 3 hours ago)
Your claim "and starting in the mid-1920s, the development of the land, exclusively due to Jewish immigrants' efforts (as all historical sources agree) attracted a lot of Arab immigrants" is disgraceful. Any fool can check out the photographs at Palestineremembered.com to disprove your disingenous and egregious denial of the Palestinian presence on the land. And anyone may leaf through the photos of numerous books including Before Their Diaspora by Walid Khalidi to see the Palestinian farmers, potters, businessmen, etc. who were thriving prior to the European Jewish immigration. We were not primitives, but had a well developed agrarian and cosmopolitan society.
The Mufti is another diversion; the term Nakba isn't employed because the truncation of Palestine was considered a picnic by Palestinians.
05 Jun 09, 7:20pm (about 3 hours ago)
I never claimed that my father was a refugee; for the second time a Zionist says I claimed something I didn't say in order to discredit me. Then you make some claim about my father, whom you know nothing about.
And if the Zionists did so well with the land, why don't you read Raja Shehadeh's Palestinian Walks. He does a great job of claiming how the hills around Ramallah were decimated by the people who claim to love the land so much.
You continue to go out of your way to deny Palestinians rights on their own lands. It's really rich that a German immigrant calls me an extremist for insisting that Palestinians have the right to live on their own land. You are the extremist, Petra, bringing up other situations in order to justify Israel's continuing oppression of Palestinians.
05 Jun 09, 7:34pm (about 2 hours ago)
Typical Zionist tactic, Petra, throwing up a lot of bs in order to mislead.
I said Palestine was an agrarian and cosmopolitan society; where do I mention the fellahin?
I didn't say anything about the Mufti other than throwing him up is another Zionist diversionary tactic, and I didn't say anything about Jews in Arab lands, which has nothing to do with Palestinians, other than some left of their own accord and some left because of Zionist black op operations.
And Petra, destroying hundreds of villages is wrong. And ethnically cleansing a civilian population is wrong. And trying to justify it is also wrong.
Let me quote Salman Abu Sitta's words to Gershon Baskin:
The Palestinians, and most of the world with them, are determined to pursue justice, eradicate racism and Apartheid. Just as South Africa did. They have no intention of disappearing.
Baskin, true friendship should go to the Israelis to help shake them off their collective amnesia about what they have done and are doing to the Palestinians and to advise them that their salvation lies in shedding racism fully and forever. They have to amend their ways, reverse ethnic cleansing and make reparations.
For it is clear that the history of Jews will ultimately be marked indelibly, and above all other historical events, by what they have done in Palestine.
05 Jun 09, 8:13pm (about 2 hours ago)
It's hypocritical for Zionist apologists to hold Palestinians responsible for the actions of one man, considering the alliance made between the Stern Gang and Nazis.
And this really has nothing to do with the ongoing oppression of the Palestinians.
05 Jun 09, 8:19pm (about 2 hours ago)
Dr. Abu Sitta has a very pragmatic approach.
The Right of Return is Feasible.
And no, Ehad, Palestinians did not immigrate to Palestine and steal the land and dispossess the people; we were there; Jewish immigrants from all over the world did this. And there are no excuses for what the Zionists did to Palestine and what they continue to do.


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subset: commoncrawl


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British actor Nigel Davenport, who appeared in Oscar Best Picture winners A Man for All Seasons and Chariots of Fire, died on...
British actor Nigel Davenport, who appeared in Oscar Best Picture winners A Man for All Seasons and Chariots of Fire, died on Oct. 25, U.K. newspaper The Telegraph reports. He was 85.
Davenport was known particularly for his gravelly voice and — as he called them — "dodgy eyes" that came from a lazy right eye. Born Arthur Nigel Davenport, he got his start in theater as part of the English Stage Company at the Royal Court Theatre in the 1960s. During this time, he also landed small roles on the TV show The Adventures of Robin Hood and in films like Peeping Tom and The Entertainer.
Remember more celebrities we lost this year
One of his first breakout roles was as the 3rd Duke of Norfolk in 1966's A Man for All Seasons, followed by a memorable turn as Lord Bothwell in Mary, Queen of Scots (1971). He went on to star in The Virgin Soldiers, Play Dirty, Living Free and The Island of Dr. Moreau, among others. He also played King George II in the 1979 TV miniseries Prince Regent.
In 1981, Davenport played a member of the British Olympic Committee, Lord Birkenhead, in the inspirational sports drama Chariots of Fire, set during the 1924 Summer Olympics.
Our favorite TV & movie witches
In addition to his work on-screen, Davenport also served as president of the trade union then known as the British Actors' Equity Association. Davenport retired from acting at the turn of the 21st century in part because he could no longer memorize lines.
Davenport is survived by three children, including Pirates of the Caribbean and Smash star Jack Davenport. Pirates executive producer Jerry Bruckheimer, said Jack was cast in the film in part due to his father's involvement in the 1965 pirate film High Wind in Jamaica.


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Ubisoft not ruling out PC release for Tom Clancy's The Division
When Ubisoft first showed off Tom Clancy's The Division at E3, the publisher announced that the game would be coming to Xbox One and PS4; however, in speaking with IGN, the team stressed that they are not ruling out other platforms -- most notably, the PC.
"It's set for release in winter 2014 on the PlayStation 4 and Xbox One," said The Division's Ryan Barnard, "but we're not ruling out other platforms because we do also read the internet." Barnard was likely referring to the online petition for Ubisoft to bring The Division to PC; it currently sits at 110,512 supporters. Whether or not that will convince Ubisoft to explore this option further remains to be seen, but Barnard did say that "Ubisoft as a company considers... maximizing the potential for a game, so if the audience is there and the desire is there."
Tom Clancy's The Division is set three weeks after Black Friday; a virus has been spread across New York City via tainted dollar bills, and players -- part of the Division task force created by George Bush signing Directive 51 -- are sent in to mop up the mess.


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Pregnant Maylasian Olympian Finishes 34th in Air Rifle Competition
Despite being eight months pregnant, Nur Suryani Mohammed Taibi of Maylasia finished 34th among the competitors in the women's 10-meter air rifle event at the Summer Olympics in London on Saturday. Taibi, 29, entered the London Games ranked 47th in the world in the 10-meter air rifle.
Taibi's due date is scheduled to fall within a few weeks after the close of the London Games. The baby girl, which will be named Dayana Widyan, kicked several times as Taibi shot at targets on the rifle range on Saturday.
"I felt her [the baby] kick three or four times during the competition, but I just told her to be calm, to be quiet," Taibi said.
Though she was aware of the nearness of the timing of her due date to the Olympics, Taibi, 29, still opted to compete in London. Taibi's husband, Marhazli B. Mhotar, also flew to London to be with his wife. Mhotar and Maylasian coaches raised concerns about Taibi making the long trip to the Summer Olympics, but her doctors approved the idea.
[Via Yahoo! and The Guardian]


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WebNews is a facility for monitoring news feeds on the internet whilst you are working. Instead of having to switch from CRiSP to a web browser and then seeing what sites have changed, you can avoid the switch and keep a constant eye on changing news as it happens.
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- Google News groups
- eBay auction items
The WebNews facility in CRSP is made available as a pane of the Contents window, i.e. it is displayed at the left of the editing area and provides two views – a scrolling tabular view, or a tree view so you can see what each site is doing. WebNews works by polling the remote sites, and each site is configurable in the delay between polls. For example, some sites might only update once a day, others, such as major news feeds may update every 15 minutes or so. You can control the amount of polling, e.g. to reduce network bandwidth and delays in CRiSP whilst downloading and updating news.
Table View
The table view gives you a scrolling list of latest headlines. Every time a site is visited for updates, these are added to the bottom of the view. CRiSP is intelligent enough to filter out headlines which already appear in the table, so you get to see only new news.
This view is probably the ideal view for occasionally monitoring of new items.
CRiSP color codes items so you can easily distinguish news items and the sites they came from. It also date stamps the news, so that for example, when returning to CRiSP in the morning, you can distinguish yesterdays news from today's updates.
Each news item includes a time stamp, and details of the URL to access the item. Double clicking on the item will cause the item to be loaded into your configured browser. (See the WWW Options settings in the Options menu to configure a non-default browser).
The table view supports tooltips – if a news item isn't completely visible because the headline is too wide to fit in the available space, then hovering the mouse over the item will show a tip with the complete item in it, avoiding having to change the width of the table or having to use the scrollbar to sideways scroll.
CRiSP even includes a Mark Position command so you can underline news you have read, making it easier to distinguish items you have scanned versus new items appearing after your last visual check.
Tree View
The tree view organises incoming news as a tree, sorted by topic and site. You will be able to see all the news for a site. Unlike the table view, you will be able to see all the current news, rather than the incremental changes, making it ideal for scanning by site rather than age of item. Plus you can collapse and expand trees of sites or topics, so you can hide less interesting news.
CRiSP uses color-coding within the tree view to attempt to indicate the oldness of entries. By default, entries less than 1 hour old are coded red to indicate news alerts. Older items are colored green – making it much easier to see what has changed recently.
Double clicking on a news item will launch the item into your default browser.
Alerts View
The alerts view is designed to provide a way to filter down the amount of headlines in order to watch for specific items. With the default sites available in CRiSP you might see 100 headlines or more per hour. If you disappear from your computer for a while and come back you may miss something of interest. The Alerts view lets you do keyword searches on headlines and provides a way to see just those headlines matching specific keywords. For example, you might be interested In news on specific items ("LCD displays", "US State Governor", etc). Every time a matching headline appears, it is shown in the Alerts window as well as the main Table view.
You configure the words to search for from the Options dialog.
Multiple Views
Not only do you have a choice of views on the items, but because CRiSP supports multiple contents windows (either as dialogs or as MDI windows), you can simply create a new Contents window to solely display news, without interrupting your preferred project view of files and buffers.
Context Menu
Not only do you have a choice of views on the items, but because CRiSP supports multiple contents windows (either as dialogs or as MDI windows), you can simply create a new Contents window to solely display news, without interrupting your preferred project view of files and buffers.
You can access various commands by right clicking on a news item:
Properties This will popup a dialog showing details of the site and/or news item, including the URL. You can then proceed to make changes.
Pause This will pause further downloads, e.g. to avoid overloading your LAN link or because you are taking a break and don't want any updates whilst you are away. This item will change to Resume if paused. When pausing, a reminder is added to the bottom of the table view so that you can know you need to re-enable the command.
Options Pops up the options dialog where you can make various settings changes and edit/view the list of configured sites.
Clear Clears the table or tree view so you can avoid clutter from older news items.
Mark Position Used on the table view to add an annotation at the bottom of the table. This is useful when you have a continual stream of news updates and its difficult to remember where you had gotten to when browsing the items.
Collapse all (Tree view only) Collapses all sites to hide the news. Newly added news items will re-expand the tree making it easier to see what is new and recent.
Kick off Use this to force the currently selected site to be refreshed from the remote site. Normally CRiSP will wait til the refresh time period has expired. Use this to force an update now.
Refresh all Causes the timer for each site to be reset, forcing a refresh from the sites immediately.
Enable site If a site has been disabled (either explicitly by you or due to an HTTP request error).
Help Displays this help window.
Status Shows the current internal operation status. Mainly used for debugging of the webnews interface.
View feed This will load the selected sites web page into CRiSP for viewing. Mainly used for diagnosing parsing errors on pages or to manually look for errors regarding URLs, e.g. pages being redirected.
Many sites seems to publish bogus news URLs. Sometimes viewing the page which was downloaded can help you to identify the real address.
Some sites may use dynamically changing URLs, e.g. on a day to day basis. These sites make it difficult to use webnews against. Viewing the downloaded page may help you to identify the reason for the lack of updates for that site.


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MAC Give Me Liberty of London Collection + Added Photos
MAC Give Me Liberty of London Collection
U.S. Launch Date: March 11, 2010
International Launch Date: April 2010
Edit #1: Now with a few images! 🙂 Not everything, but at least you get an idea about the packaging — which I think looks phenomenal. They don't look like stickers, and as long as they're not, this may be some of the best packaging MAC has put out in awhile. (1/6/2010)
Edit #2: Now with a few MORE images — including an image of the very richly priced scarf. (1/7/2010)
The very latest in a series of famous M·A·Coll aborations, it was only a matter of time before the demure-to-daring kaleidoscopic prints of Liberty of London coloured our world with Brit wit and bohemian chic. From the unstudied, Sienna Miller style of Spitalfields Market to the grit-and-glamour of Portobello Road, the swinging London girl has always been an unstoppable M·A·C makeup force! Spring 2010 insists on the ultimate flower fusion, with M·A·C joining forces with Liberty, creating cool Britannia compacts and Lipsticks, Eye Shadows, Powder, Blush, Nail Lacquers and, of course – blushing, bountiful, quite British accessories.
Beauty Powder ($25.00 U.S. / $30.00 CDN)
The luxurious, soft pearl finish of M·A·C Beauty Powder packaged in a glossssy white compact. Lid is decorated with an exclusively created flower and bird pattern for the Give Me Liberty of London collection. Limited edition.
- Shell Pearl Pale peach with gold pearl (Limited Edition) (Repromote)
- Summer Rose Soft violet pink with pearl (Limited Edition) (Repromote?)
Eyeshadow ($14.50 U.S. / $17.50 CDN)
- Give Me Liberty of London Flat creamy pink (Matte) (Limited Edition)
- Free to Be Creamy true coral (Matte) (Limited Edition)
- Dame's Desire Frosty mid-tone reddish purple (Frost) (Limited Edition) (Repromote)
- Birds & Berries Frosted dark green blue (Veluxe Pearl) (Limited Edition)
- Bough Grey Mid-tone bluish grey (Satin) (Limited Edition)
Lipstick ($14.00 U.S. / $16.50 CDN)
- Ever Hip Creamy light coral (Cremesheen) (Limited Edition)
- Peachstock Neutral peach (Satin) (PRO)
- Petals & Peacocks Creamy bright magenta pink (Amplified) (Limited Edition)
- Blooming Lovely Creamy greyed lilac mauve (Amplified) (Limited Edition)
Lipglass ($14.00 U.S. / $16.50 CDN)
- Frankly Fresh Neutral pink beige with soft pearl (Limited Edition)
- Perennial High Style Creamy bright pink coral (Limited Edition)
- English Accents Creamy mid-tone blue pink (Limited Edition)
- A Different Groove Deep purple brown with pearl (Limited Edition)
Blush ($18.50 U.S. / $22.00 CDN)
- Dirty Plum Sheer dark plum (Limited Edition)
- Prim & Proper Neutral nude (Limited Edition)
Nail Lacquer ($12.00 U.S. / $14.50 CDN)
- Vestral White Creamy white (Cream) (Limited Edition) (Repromote)
- Blue India Dark green blue with pearl (Cream) (Limited Edition)
Liberty of London Makeup Bags
- Small A limited-edition laminated makeup bag decorated with an exclusively created flower and bird pattern for the Give Me Liberty of London collection. Zip closure boasts a fabulously outsize floral pull. Measures 8″ x 2.75″ x 3.5″. ($22.00 U.S. / $26.50 CDN)
- Medium A limited-edition laminated makeup bag decorated with an exclusively created flower and bird pattern for the Give Me Liberty of London collection. Zip closure boasts a fabulously outsize floral pull. Measures 8″ x 2.75″ x 5″. ($25.00 U.S. / $31.00 CDN)
Liberty of London Scarf ($95.00 U.S. / $115.00 CDN)
A limited-edition scarf designed with an exclusively created floral pattern for the Give Me Liberty of London collection. Rows of coral, orange, yellow and blue flowers form a repeating pattern on a white background. The fabric is a soft wool/viscose blend. Made in Italy. Measures 27″ x 82″.
See more photos!


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Stay stylish and sport-ready by swapping out your Forerunner watch band for a new color on compatible models. Simply remove your current watch band and screw on the new band for a comfortable and enhanced fit. Band, pins and pin removal tools included. Individual colors sold separately
Compatibility: Garmin Forerunner 935, Forerunner 945 and Forerunner 945 LTE


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Chevrolet, a division of General Motors, is a brand of automobiles characterized by its long history and by marketing campaigns that place it at the heart of American culture. Chevrolet, commonly known as Chevy, produces a wide variety of cars, trucks, and SUVs and therefore appeals to a wide customer base. With a host of best-sellers like the Malibu, Equinox, Silverado, and Cruze, Chevrolet is a classic American brand known to be reliable and versatile. With a style philosophy that focuses on modern design cues and the use of tried-and-true yet innovative technology, Chevrolet ensures that its vehicles are timeless and dependable. If you're looking to buy a new car and you think Chevy has some great options, explore CarQuotes.com and utilize our advanced vehicle research tools to make the process as simple as possible. Easily compare new car prices and browse through Chevrolet photos and specs. We'll give you a Car Quote – an instant, free report on Chevrolet prices – and connect you with a certified dealer so you can buy a new Chevrolet today.
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Garcia goes 1 up on Tiger at Players
AP Golf Writer
PONTE VEDRA BEACH, Fla. — The Players Championship already provides plenty of theater because of its thrill-a-minute golf course. Making it even more compelling is the star attraction of Sergio Garcia and Tiger Woods, playing in the final group on the weekend for the first time in nearly seven years.
Garcia made seven straight putts — six of them for birdie — on his way to a 7-under 65 to match his best score on the TPC Sawgrass. That gave him a one-shot lead over Woods, who again made short work of the par 5s and posted his second straight 67. Woods broke his own 36-hole record at Sawgrass by six shots and can't find much wrong with his game at the moment.
It's hard to call it a rivalry because it's so one-sided.
Not only does Woods have a 77-8 margin in PGA Tour victories (and 14-0 in the majors), in the previous five times they were in the final group on the weekend on the PGA Tour, Woods has gone on to win all five times.
Asked about the possibility of playing with Woods on Saturday, Garcia said he wouldn't see it as anything but another round of golf.
"I don't have to measure myself against anybody," Garcia said. "I know what I want to try to do, and any given day I can shoot a round like this and any other day he can shoot a good round and beat me. Like we always say, it's not a sprint, it's a marathon. So there are going to be good days and not so good days, so just got to enjoy the good ones as much as possible."
This was a good day.
Garcia ran off five straight birdies, ending the streak with putts from 20 feet and 25 feet, and then he added a 40-foot birdie putt on the par-3 eighth. Garcia, who won The Players in 2008, was at 11-under 133.
Woods looks like he's having a good time on the course that has vexed him more than any other on the PGA Tour, and he could be the greater threat on the weekend. He now is 8-under on the par 5s this week, including a 20-foot eagle putt on No. 2 that gave him a share of lead. Woods took the outright lead with a short birdie putt on No. 4 until Garcia blazed by him with his string of birdies.
Woods was asked if there was any part of his game that made him unhappy.
"No, I'm pretty pleased with where it's at right now," Woods replied.
The reporter looked at him, waiting for more. Woods looked back and finally added with a grin, "Did I answer that?"
Woods and Garcia have played together on big stages — Bethpage Black, Royal Liverpool — with a big edge for Woods. They first were linked when the Spaniard was 19 and gave Woods all he could handle at Medinah in the 1999 PGA Championship. They were paired in the final round of the 2002 U.S. Open and 2006 British Open, the year Garcia dressed all in yellow.
But with the tournament only halfway over, this is far more than a duel between Woods and Garcia.
The 18 players within five shots of the lead include three current major champions — Adam Scott, Webb Simpson and Rory McIlroy — along with Lee Westwood, Henrik Stenson, Steve Stricker, Hunter Mahan and Zach Johnson.
Westwood chipped in from 100 feet for eagle on the 11th hole and was atop the leaderboard until making pars on his last eight holes. He had a 66 and was two shots behind, along with Kevin Chappell (66) and Stenson, who had two eagles on the front nine in his round of 67.
Ryan Palmer, who learned Thursday night that one of his best friends died in a car accident in San Antonio, had two eagles in a round of 69 and was three shots behind. Defending champion Matt Kuchar birdied three of his last four holes for a 66 and was at 7-under 137, along with Scott, Mahan and Johnson.
McIlroy was coming off back-to-back bogeys when he chose to go for the green in two at the par-5 ninth — he had planned to lay up each day. He hit the trees and got into a mess, and McIlroy made his third straight bogey. He rallied on the back for a 72 and was in the group at 6-under 138.
"I've made the cut, which I'm delighted about," said McIlroy, who had missed the weekend his three previous times. "But I am in there with a chance."
Woods won The Players in 2001, highlighted by that 60-foot putt on the island green described by NBC Sports analyst Gary Koch as "better than most." But he has only seriously contended twice, and he has failed to crack the top 20 eight times in 15 appearances.
Woods is accentuating only the positive.
"Even though I haven't played well in the past, I've still won here," he said. "Actually, I've won here twice, technically."
He was referring to the U.S. Amateur in 1994, the first of his three straight titles.
"I haven't played my best here, but I've always felt that courses, even though it's been a while I've won on them, I've still won on them," Woods said. "I know how to get around this golf course. This course, more than most, really tests every facet of your game. You have to drive the ball well. You have to hit your irons in the correct spots, and if you don't hit your irons in the correct spots, you're going to have some really funky up-and-downs.
"It's trying to manage the ball in the correct spots, and I've done that the first two days."
Woods twice made bogey, both times missing the fairway to the right on No. 14 and No. 7. He finished with a 20-foot birdie putt.
Garcia, for two hours, looked like he couldn't miss.
His streak began with a 15-foot birdie putt on the par-5 second. He stuffed his tee shot into 6 feet on the third, and hit wedge to 8 feet on the fourth. He followed that with his two long birdie putts, made a putt just inside 15 feet for par on the seventh and ended his big run with the 40-footer on No. 8.
Garcia also is a past champion, winning a playoff in 2008.
"Fortunately for me, I've managed to play quite decent on this golf course," Garcia said. "So any good thing that you can get in your head, it's obviously positive and those kind of things always help. But it's a different year. We'll see if we can manage to do something similar."
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Bruno Sanfilippo - Urbs
Artist: Bruno Sanfilippo
Title: Urbs
Label: Hypnos (digipak CD)
Bruno Sanfilippo is a classically trained musician and composer, resident of Barcelona, Spain, and cofounder of the ad21 label. He has collaborated with such notable artists as Mathias Grassow, Byron Metcalf, Max Corbacho and Alio Die.
Sanfilippo's work ranges from more melodic and structured to ambient drones with more a subtle and subdued musical component. Urbs, Sanfilippo's first project released with Hypnos Recordings, falls nicely in the middle ground among the artist's previous work. It's an intriguing combination of ambient textures with location sound recordings, along the lines of the classic Hypnos releases Sonic Continuum (Modell and Mantra) and Silence Speaks in Shadow (Paul Vnuk Jr.), but with more of an urban or cityscape flavor.
The title Urbs derives from the prominent incorporation urban sound environments, recorded by Sanfilippo in urban environments such as train stations, streets, bars and other public areas to explore the boundaries between the textural sounds which surround all of us day to day, and the nature of composed sound art such as music. These "real world" sound textures merge with more traditional electronics such as synthesizers and samplers, leaving no doubt as to the composed and "intentional" nature of these soundscapes.
Gentle and evocative, subtly textural and transporting, Urbs is something we genuinely expect to become a long-term favorite among Hypnos releases.
Track listing with MP3 samples:
Purchase for $12.99 on Hypnos Online Store
Purchase for $12.99 on Hypnos Online Store
Reviews"Experimental ambient and expressive field recordings.
STYLE This deeply evocative album centres upon carefully selected urban field recordings gathered by Bruno Sanfilippo from such diverse locations as churches, train stations, subway platforms, streets and bars. Apart from sounds of Grand Central Station in New York, the recordings were obtained within the cities of Europe using just an iPod Touch. Not just textures to add interest to the more crafted sounds of music; these ghostly audio presences are the main forms within these blurry ethereal soundscapes. The opening track blends intriguing noise and dream-like musical abstraction from the very start: delicate tonal swells, twinkles and electronic burbles harmonise with soft footfalls, percussive disturbances, metallic clatter and echoing human hubbub. The second track The City Reflected has a somewhat harsher sound for the first fourteen minutes or so than its predecessor - distant voice fragments and turbulent movements hang among dissonant bell tones and uneasy synth pads. The conclusion softens into hypnotic harmony and leads comfortably into Chaotic Order a twenty-five-and-a-half minute nocturne of welling beauty and environmental sounds presented as if refracted through a heavy veil of sleep. The relatively brief end piece drifts in elegant meandering half slumber - muted chimes and far-off social interactions beclouded by sonic fog.
ARTWORK This glossy two-panel digipack follows the current Hypnos format: broad black upper border with expressive photo-imagery below. Ambiguous urban abstracts of turquoise and red light patterns fill both inside and outside spreads. Repeating fluid swirls pool and flow in and out of shadow like a night-time city in the drenched in rain. Cover notes reveal that the imagery was "captured inside a bus in Berlin City." The rear cover lists the four tracks against their respective times with a quotation from Aristotle musing upon the relationship of an individual to society. Inside, the right panel supports the disc in a clear plastic grip; the left delivers recording information; thoughts on the nature of the music and relevant contact details.
OVERALL Bruno Sanfilippo plunges further and further into the abstruse depths of ambient experimentation with this new release - leaving his more melodic new age origins far behind. This is the first release by the Spanish musician on the renowned Hypnos label and a mighty introduction it is: bold, confident, luxurious and expansive. Here Bruno Sanfilippo has softened his sound palette into such subtle tones that it is pleasingly difficult to define "the boundary between [musical] sound and noise." The usually inexpressive noise of the city becomes another instrument in the arsenal of this skilled audio-sculptor. The four tracks are of fourteen minutes forty-one; twenty minutes twenty seconds; twenty-five twenty-nine and six minutes fifty-eight seconds respectively. You can explore the music at Hypnos or the official Bruno Sanfilippo website."
--Review by Electronic Music Mall
"On Urbs, Bruno Sanfilippo introduces the listener in the amazing world of city soundscapes and its vast array of noises. Bruno tried to merge this mysterious alchemy from a punctual approach, discrete in elements and discourses.
Urbs offers a spacious, mysterious and above all hypnotizing sonic ride through the multiple dimensions of inner city life in four lengthy tracks. Dont think this is kind of background music as the gliding and gradually shifting effect of noises and field recordings melted together demands focussed listening.
Im personally not too amused by the occasional, slightly distracting experimental cracks and noises as employed in Chaotic Order (with its 25-minute duration the longest track on the album).
Fortunately, a sense of harmony and stillness slides back on The Gray Umbrella, in a way slightly approaching Vangelis Bladerunner atmosphere.
All in all, Urbs makes an intense listening experience."
--Review by Bert Strolenberg, sonicimmersion.org
"Field recordings are the key elements of "Urbs" and "BIOMA", the last two albums of Bruno Sanfilippo (on "BIOMA" he was joined by his fellow soundscaper, Max Corbacho). While on "BIOMA" documenting the life of a nature, on "Urbs" Bruno has decided to focus on everyday's life of a city, when collecting location recordings from various European metropoles plus New York by mapping surrounding environments like train or subway stations, streets, bars, churches... This brand new album, Bruno's 16th when counting also his collaborations with Mathias Grassow or above mentioned Max Corbacho, is not only his premiere work for renowned Hypnos label, but also a quite radical departure from all his previous works that are spanning from rather ambient/new age oriented, through deeper organic or cinematic ambience to modern classical influenced. Bruno Sanfilippo is now venturing with "Urbs" into more minimal soundscaping with gently portrayed pulsing life of the city. To be honest, without knowing the name of the artist who is behind "Urbs", I would never connect it to Bruno Sanfilippo. But don't be afraid, because this chameleonic change is not only totally adventurous, but also proving the unlimited creativity and considerable talent of this sound architect (born in Buenos Aires, Argentina, but residing in Barcelona, Spain). "Urban Flow" is perfectly chosen name for opening piece, with dominating colder on-site recordings of various rumblings, noises, buzzes, creaks or squeaks, all wrapped by hazed nocturnal atmosphere and masterfully merged with deeply evocative drones and assorted mesmerizingly or mysteriously emerging voice and choir samples. Wow, this is absolutely phenomenal, nearly 15-minute intro!!! Grandioso & mágico, Bruno!!! Voice transmissions unfold the next piece, "The City Reflected", clocking over 20 minutes. Deep, nearly ear-bending echoes, various rumblings, mysteriously odd voices enter the stage as well, everything harmoniously crafted and bridged, and superbly evoking a place similar to some underground lively corridor. Cascading sonic palette is minimal, but intense and maximally effective. "Chaotic Order", a 25 and half minutes long opus reveals with deeper drones, again enriched by distant conversations and various street rumblings, serenely drifting before entering during the second third into slightly more active areas with glitchy and hissy elements invading. The last third returns to more mysterious and droning course with assorted noises, breathings and voices on the back. Definitely another deeply absorbing masterpiece!!! The closing piece, 7-minute "The Gray Umbrella", is colored by various voice recordings, possibly the most textured sonic escapade slowly moving towards the end into minimal and quieter, nearly meditative outro. "Urbs" is stirringly challenging and refreshing, carefully sculpted and fused into amazingly homogeneous structure, with strong attention paid to every detail. This album delivers enormous amount of spectacular listening moments and transports each listener into magnificently immersing urban environments. Bravo to Bruno Sanfilippo, bravo to Hypnos!!!"
--review by Richard Gurtler, here
"The debut CD on Hypnos by Spanish ambient maestro Bruno Sanfilippo could not possibly be any more impressive. In fact, to these ears it is one of the finest discs Hypnos has released in the last 15 years. "Urbs", a strange title which makes sense when you discover the urban theme of the music, plays like an alternative, and more ambient, soundtrack to Ridley Scott's 1982 masterpiece "Blade Runner." The striking cover imagery of a photo of Berlin taken through a bus window gives a hint of the surreal soundscapes contained within, which could describe both an urban city and all its stories and emotions, or simultaneously the landing of a spacecraft on a barren and undisturbed extra-solar planet. Sanfilippo utilized only the Korg Radias synthesizer, samplers, and field recordings (of churches, cityscapes, subways, and bars), focusing on the "less is more" approach to sound design, making the music feel open, spacious, and uncluttered. And seemingly, not a sound is out of place as the music unfolds like a radiant dream, a dream which you never want to end. The album is broken up into four tracks but plays like one long track, the first three averaging 20 minutes a piece. This kind of urban environmental ambient has been done before by other artists--check out Paul Vnuk's "Silence Speaks in Shadow" on Hypnos, or Pete Namlook and Charles Edwards' "Create" series on Fax--but "Urbs" never sounds derivative of those or cliched in any way. And that's probably because the sounds employed on the album are just so jaw-droppingly, viscerally ethereal and beautiful that "Urbs" actually should have been the album to inspire those works. The first two pieces, "Urban Flow" and "The City Reflected," set the stage with gritty, shadowy (but not dark) sound design; "The City Reflected" then morphs into some melodic synth motifs that are incredibly pastoral and calming (I am reminded here of Namlook/Inoue's classic "2350 Broadway" album, which explored similar urban themes). The third piece, "Chaotic Order," the longest, at over 25 minutes, begins with lush, beautiful melodic sine waves over city soundscapes of streets, voices, etc; here I'm reminded of Steve Roach's classic "Structures from Silence." Slowly, some ultra-ethereal blips echo in and out (Tetsu Inoue fans take note) as the track continues its majestic path, pulling you from downtown to the Moon and back again. Later in the piece, some glitchy sounds add some grittiness to the rainy streets. The final 7-minute piece, "The Gray Umbrella," opens with heavily reverberated field recordings of voices in a train station, followed by some incredible metallic sounding synth tones that continue the pastoral feel of the album and create a perfect close. What a phenomenal album! "Urbs" has my highest recommendation, and is easily the best ambient album I have heard so far in 2012. Congratulations Bruno Sanfilippo on an instant classic and unforgettable masterpiece."
--review by Hypnos Forum member Drone On, here
"It looks like Hypnos hit the bullseye with this splendid release. It's already among my top favorites. Bruno's best by far IMHO.... This music deserves a mountain of praise. Congrats to Hypnos for such a memorable release."
--comment from customer Joe Pe via email


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|DVD Satin
Run time: 84 min
Rating: 4.2
Genres: Comedy | Drama | Music
Director: Christopher Olness
Writers: Christopher Olness, Hamilton von Watts
Stars: Hamilton von Watts, Melissa Joan Hart, Michael Cudlitz
A washed up Vegas lounge singer, Jack Satin (Hamilton von Watts), has no money, no job, and delusional aspirations of fame. When Jack is forced to leave Vegas, he packs up his old Cadillac and hits the road for Atlantic City. But his car dies in the desert and Jack is left stranded in the small town of Lost Springs. There, Jack meets jazz legend turned mechanic, Doc Bishop (Robert Guillaume), who helps him with his car trouble. Although Jack is far from the stage, he begins to find himself feeling at home in the small town. When he meets dreamy eyed bartender, Lauren Wells (Melissa Joan Hart), Jack starts to see there is more to life than chasing fame and fortune. Doc encourages Jack to explore his true love of music, while Lauren provides the audience he has always wanted. But as Jack realizes this town has more to offer him than the bright lights of the big city, his Vegas past catches up with him — what unfolds is comedy at the crossroads of life. Written by Anonymous
|Plot Keywords: car, small town, desert, legend, stage
Country: USA
Release Date: March 2011 (USA)
|Box Office
Budget: $1,500,000 (estimated)
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Chapter 22
It was six o'clock already, and so, in order to be there quickly, and at the same time not to drive with his own horses, known to everyone, Vronsky got into Yashvin's hired fly, and told the driver to drive as quickly as possible. It was a roomy, old-fashioned fly, with seats for four. He sat in one corner, stretched his legs out on the front seat, and sank into meditation.
A vague sense of the order into which his affairs had been brought, a vague recollection of the friendliness and flattery of Serpuhovskoy, who had considered him a man that was needed, and most of all, the anticipation of the interview before him--all blended into a general, joyous sense of life. This feeling was so strong that he could not help smiling. He dropped his legs, crossed one leg over the other knee, and taking it in his hand, felt the springy muscle of the calf, where it had been grazed the day before by his fall, and leaning back he drew several deep breaths.
"I'm happy, very happy!" he said to himself. He had often before had this sense of physical joy in his own body, but he had never felt so fond of himself, of his own body, as at that moment. He enjoyed the slight ache in his strong leg, he enjoyed the muscular sensation of movement in his chest as he breathed. The bright, cold August day, which had made Anna feel so hopeless, seemed to him keenly stimulating, and refreshed his face and neck that still tingled from the cold water. The scent of brilliantine on his whiskers struck him as particularly pleasant in the fresh air. Everything he saw from the carriage window, everything in that cold pure air, in the pale light of the sunset, was as fresh, and gay, and strong as he was himself: the roofs of the houses shining in the rays of the setting sun, the sharp outlines of fences and angles of buildings, the figures of passers-by, the carriages that met him now and then, the motionless green of the trees and grass, the fields with evenly drawn furrows of potatoes, and the slanting shadows that fell from the houses, and trees, and bushes, and even from the rows of potatoes--everything was bright like a pretty landscape just finished and freshly varnished.
"Get on, get on!" he said to the driver, putting his head out of the window, and pulling a three-rouble note out of his pocket he handed it to the man as he looked round. The driver's hand fumbled with something at the lamp, the whip cracked, and the carriage rolled rapidly along the smooth highroad.
"I want nothing, nothing but this happiness," he thought, staring at the bone button of the bell in the space between the windows, and picturing to himself Anna just as he had seen her last time. "And as I go on, I love her more and more. Here's the garden of the Vrede Villa. Whereabouts will she be? Where? How? Why did she fix on this place to meet me, and why does she write in Betsy's letter?" he thought, wondering now for the first time at it. But there was now no time for wonder. He called to the driver to stop before reaching the avenue, and opening the door, jumped out of the carriage as it was moving, and went into the avenue that led up to the house. There was no one in the avenue; but looking round to the right he caught sight of her. Her face was hidden by a veil, but he drank in with glad eyes the special movement in walking, peculiar to her alone, the slope of the shoulders, and the setting of the head, and at once a sort of electric shock ran all over him. With fresh force, he felt conscious of himself from the springy motions of his legs to the movements of his lungs as he breathed, and something set his lips twitching.
Joining him, she pressed his hand tightly.
"You're not angry that I sent for you? I absolutely had to see you," she said; and the serious and set line of her lips, which he saw under the veil, transformed his mood at once.
"I angry! But how have you come, where from?"
"Never mind," she said, laying her hand on his, "come along, I must talk to you."
He saw that something had happened, and that the interview would not be a joyous one. In her presence he had no will of his own: without knowing the grounds of her distress, he already felt the same distress unconsciously passing over him.
"What is it? what?" he asked her, squeezing her hand with his elbow, and trying to read her thoughts in her face.
She walked on a few steps in silence, gathering up her courage; then suddenly she stopped.
"I did not tell you yesterday," she began, breathing quickly and painfully, "that coming home with Alexey Alexandrovitch I told him everything...told him I could not be his wife, that...and told him everything."
He heard her, unconsciously bending his whole figure down to her as though hoping in this way to soften the hardness of her position for her. But directly she had said this he suddenly drew himself up, and a proud and hard expression came over his face.
"Yes, yes, that's better, a thousand times better! I know how painful it was," he said. But she was not listening to his words, she was reading his thoughts from the expression of his face. She could not guess that that expression arose from the first idea that presented itself to Vronsky--that a duel was now inevitable. The idea of a duel had never crossed her mind, and so she put a different interpretation on this passing expression of hardness.
When she got her husband's letter, she knew then at the bottom of her heart that everything would go on in the old way, that she would not have the strength of will to forego her position, to abandon her son, and to join her lover. The morning spent at Princess Tverskaya's had confirmed her still more in this. But this interview was still of the utmost gravity for her. She hoped that this interview would transform her position, and save her. If on hearing this news he were to say to her resolutely, passionately, without an instant's wavering: "Throw up everything and come with me!" she would give up her son and go away with him. But this news had not produced what she had expected in him; he simply seemed as though he were resenting some affront.
"It was not in the least painful to me. It happened of itself," she said irritably; "and see..." she pulled her husband's letter out of her glove.
"I understand, I understand," he interrupted her, taking the letter, but not reading it, and trying to soothe her. "The one thing I longed for, the one thing I prayed for, was to cut short this position, so as to devote my life to your happiness."
"Why do you tell me that?" she said. "Do you suppose I can doubt it? If I doubted..."
"Who's that coming?" said Vronsky suddenly, pointing to two ladies walking towards them. "Perhaps they know us!" and he hurriedly turned off, drawing her after him into a side path.
"Oh, I don't care!" she said. Her lips were quivering. And he fancied that her eyes looked with strange fury at him from under the veil. "I tell you that's not the point--I can't doubt that; but see what he writes to me. Read it." She stood still again.
Again, just as at the first moment of hearing of her rupture with her husband, Vronsky, on reading the letter, was unconsciously carried away by the natural sensation aroused in him by his own relation to the betrayed husband. Now while he held his letter in his hands, he could not help picturing the challenge, which he would most likely find at home today or tomorrow, and the duel itself in which, with the same cold and haughty expression that his face was assuming at this moment he would await the injured husband's shot, after having himself fired into the air. And at that instant there flashed across his mind the thought of what Serpuhovskoy had just said to him, and what he had himself been thinking in the morning--that it was better not to bind himself --and he knew that this thought he could not tell her.
Having read the letter, he raised his eyes to her, and there was no determination in them. She saw at once that he had been thinking about it before by himself. She knew that whatever he might say to her, he would not say all he thought. And she knew that her last hope had failed her. This was not what she had been reckoning on.
"You see the sort of man he is," she said, with a shaking voice; "he..."
"Forgive me, but I rejoice at it," Vronsky interrupted. "For God's sake, let me finish!" he added, his eyes imploring her to give him time to explain his words. "I rejoice, because things cannot, cannot possibly remain as he supposes."
"Why can't they?" Anna said, restraining her tears, and obviously attaching no sort of consequence to what he said. She felt that her fate was sealed.
Vronsky meant that after the duel--inevitable, he thought-- things could not go on as before, but he said something different.
"It can't go on. I hope that now you will leave him. I hope"-- he was confused, and reddened--"that you will let me arrange and plan our life. Tomorrow..." he was beginning.
She did not let him go on.
"But my child!" she shrieked. "You see what he writes! I should have to leave him, and I can't and won't do that."
"But, for God's sake, which is better?--leave your child, or keep up this degrading position?"
"To whom is it degrading?"
"To all, and most of all to you."
"You say degrading...don't say that. Those words have no meaning for me," she said in a shaking voice. She did not want him now to say what was untrue. She had nothing left her but his love, and she wanted to love him. "Don't you understand that from the day I loved you everything has changed for me? For me there is one thing, and one thing only--your love. If that's mine, I feel so exalted, so strong, that nothing can be humiliating to me. I am proud of my position, because...proud of being... proud...." She could not say what she was proud of. Tears of shame and despair choked her utterance. She stood still and sobbed.
He felt, too, something swelling in his throat and twitching in his nose, and for the first time in his life he felt on the point of weeping. He could not have said exactly what it was touched him so. He felt sorry for her, and he felt he could not help her, and with that he knew that he was to blame for her wretchedness, and that he had done something wrong.
"Is not a divorce possible?" he said feebly. She shook her head, not answering. "Couldn't you take your son, and still leave him?"
"Yes; but it all depends on him. Now I must go to him," she said shortly. Her presentiment that all would again go on in the old way had not deceived her.
"On Tuesday I shall be in Petersburg, and everything can be settled."
"Yes," she said. "But don't let us talk any more of it."
Anna's carriage, which she had sent away, and ordered to come back to the little gate of the Vrede garden, drove up. Anna said good-bye to Vronsky, and drove home.
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Ties and Cuff Links Holder
Elegant and practical, this tie holder in leather protects your ties and cuff links perfectly during your travels. An absolute best-seller specially among those who are often on the move, this leather ties holder comes with a zip closure and can carry 2 ties (1 on each side), which are held by 2 loops with snap button closure. There are also two functional leather bands with slits to fit in 3 pairs of cuff links.
Dimensions, Open: 10.2 x 17.3 inches
Dimensions, Closed: 4.7 x 17.3 inches
Thickness: 1.4 inches


text:
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text:
Sunday, December 18, 2011
Dinner at Trace + $100 Serve Giveaway
Before we even arrived, I knew I wanted to start with oysters and a glass of something bubbly. Since Gulf oysters aren't currently available due to the red tide algae bloom, they were serving Sunberry Point oysters from Canada. They were a nice, small size, fresh and briny, and delicious with the mignonette.
Another one of my favorite things on their menu is the chickpea fries. It's such a simple thing really, but every time I taste them, I have no idea how they get the texture just right. They're thick sticks of chickpea batter that are just slightly crisped on the surface. Inside, they're less dense than you'd expect, and with a little lemon squeezed over them, they become a completely addictive snack. They're also served with a romesco sauce, and I alternate each bite between just lemon and then with some sauce. I think I could happily live on these alone for days. Also on the menu right now is a cauliflower soup made with smoked scallops and house-cured lomo. It's a rich, smooth soup brightened with lemon and a garnish of chives.
The chestnut and toasted barley risotto was a surprisingly hearty dish. With rutabaga, sunchokes, and sweet potatoes, it was fresh-tasting and very filling. The ricotta salata added a nice saltiness to the fall vegetables and barley. It was exactly the right comfort food dish for this time of year.
A perfectly cooked strip steak from Niman Ranch was served with house-made steak sauce and a braised organic rainbow chard bread pudding. That bread pudding could easily put all other dressings and stuffings out of business. I'm wishing I could find out how they make it so it could become a part of all of my future holiday menus.
Of course, a couple of desserts were shared. The dark chocolate pot de creme is composed of Baileys ice cream, a fried chocolate truffle, roasted bananas, and toasted banana marshmallow that's displayed on the rim of the bowl. The chocolate and banana combination was divine.
For me, no visit to Trace would be complete without the drunkin' doughnuts. Perfect, pillowy, sugared doughnuts are served with vodka whipped cream, tequila chile fudge sauce, and bourbon dulce de leche. And, yes, I manage to get a little of all three toppings onto each bite of doughnut. Trust me when I tell you that the whipped cream is barely sweetened if at all, the fudge sauce is made with dark chocolate and is infused with chiles, and the booze in all the toppings works its magic to cut the sweetness. It's a fun and delicious way to end a meal.
Later, we settled who owed what from the check by using the Serve mobile app. Creating the account online was extremely straightforward, and the mobile app was possibly even easier to use. It includes options for splitting a bill evenly between however many people are involved and for easily sending money to one or more recipients in any amount. You can add money to your Serve account, and you can link back-up sources such as bank accounts and credit cards. It occurred to me how convenient a cash-free existence would be. If you could simply use an app to send money to your babysitter or catsitter or the neighbor boy who mows your lawn, you'd never have to worry about having the right bills on hand. I like this as a hassle-free payment option.
As part of the Foodbuzz Tastemaker Program, I received a $250 stipend to try Serve from American Express. Sign up for Serve and receive $10 credit towards your first use. Comment below within the next seven days for your chance to win an extra $100 credit to your account! Official sweepstakes rules and regulations may be found here: http://www.foodbuzz.com/blogs/4622317-win-serve-dollars-giveaway-official-rules This contest is open only to US residents.
Posted by lisa is cooking at Sunday, December 18, 2011
30 comments:
A delightful meal!ReplyDelete
The whole menu looks amazing! Thank you for sharing!ReplyDelete
- AnonymousDecember 18, 2011 at 9:46 PM
What a lovely meal! I would especially love to try those drunkin' doughnuts!ReplyDelete
I have chickpea flour at home, it would be interesting to try to make chickpea fries with them. The donuts sound great, a fun children/adult combinationReplyDelete
Austin is my hometown! I was just up there last night!ReplyDelete
I love it when restaurants really try to source their ingredients from good places...it makes all the difference. What a delicious dinner!ReplyDelete
This restaurant sounds exceptional. I'm intrigued by the chickpea fries and the chestnut risotto, it all sounds so delicious.ReplyDelete
Doughnuts look great!ReplyDelete
What a lovely meal. I am intrigued by those chick pea fries. Unique.ReplyDelete
Those chickpea fries do look terrific! As does everything else- now I'm really looking forward to our Christmas meal at Trace!ReplyDelete
Everything looks so good! My attention was drawn to the chickpea fries because they look like yummy polenta chips :) Those baby doughnuts look very mourish....ReplyDelete
- AnonymousDecember 19, 2011 at 7:55 PM
Mmmm! What a gorgeous account of what looks to be a delicious dinner! I just signed up for serve and am hoping to win some holiday cash!ReplyDelete
Typod (at) frontier (dot) com
- AnonymousDecember 19, 2011 at 8:43 PM
Hi, I signed up with Serve. Thanks so much for the giveaway!ReplyDelete
mmichelleb {at} comcast (dot) net
i need to try Trace!ReplyDelete
MMMmmmmmm... delish!ReplyDelete
I've signed up! :)ReplyDelete
i signed up for serve and can't wait to try itReplyDelete
susansmoaks at gmail dot com
The food there looks really delicious. I would love to try the chestnut and barley risotto.ReplyDelete
I signed up for a Serve account! email@example.com
I signed up with Serve.ReplyDelete
I signed up for a Serve account!ReplyDelete
purple_lover_04 at msn dot com
All that food looks delicious!ReplyDelete
Looks awesome.ReplyDelete
What a great blog!!ReplyDelete
Serve is a great idea! I signed up through FB & my email address ~ email@example.com.
Have a great Christmas & New Years! :-)
I think I could make a meal out of just that fabulous swiss chard bread pudding. Well, that and a few of the doughnuts. ;)ReplyDelete
Happy holidays!
- anna pryDecember 23, 2011 at 10:02 PM
I have a serve accountReplyDelete
Yum! Sounds like a delicious meal!ReplyDelete
larkspurpurple (at) gmail.com
That looks absolutely delicious.ReplyDelete
cthompson1477 @ gmail dot com
- AnonymousDecember 27, 2011 at 5:32 PM
You had me at the doughnuts and whipped cream. I am in love. firstname.lastname@example.com
I have an acct with Serve.ReplyDelete
The acct is under ryanac32 at yahoo dot com


text:
The greeting How are you? is asking How are you doing in general?
How are you?
I'm well. [Misunderstood the question.]
because well as an adjective which means:
in good health especially after having suffered illness or injury
This would be an answer to How are you doing physically, how is your health?
How are you?
I'm good. [Misunderstood the question.]
because good as an adjective means:
having moral excellence or admirableness
This would be an answer to
How would you describe your character, superman? I'm good.
How are you?
I'm doing good. [Grammatically incorrect.]
because good is an adjective, not an adverb.
How are you?
I'm doing well. [Correct.]
because well is an adverb describing how you are doing.
How are you?
I'm doing fine. [Correct.]
because fine is an adjective which means:
being satisfactory or in satisfactory condition
Why do so many people say one of the first three responses?


text:
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text:
Research is an unpredictable process. Sometimes you end up making a really cool discovery that you didn't see coming. I recently uncovered a fundamental property of lightsabers (that's right—the awesome weapons from Star Wars) while doing my regular plasma physics research. I found that, while it is in theory possible to build a lightsaber, it's likely it would be the most dangerous weapon ever created—both for the perpetrator and the victim.
With Star Wars: The Force Awakens being released on DVD after breaking all kinds of records at the box office, I figured it was a good time to share the news.
Despite the name, it has been established in Star Wars canon that these ancient weapons of the Jedi are, in fact, not laser swords but blades of plasma. Plasma is often known as the "fourth state of matter" in addition to the solids, liquid, and gases that we're all familiar with here on Earth. However, plasmas are by far the most common state of all visible matter in the universe (excluding the mysterious "dark matter" or "dark energy"), comprising some 99%.
The thing that makes plasmas different from the other states is that they are composed of electrically charged particles—loose electrons (negatively charged) and atoms that have lost electrons (positively charged)—despite plasmas having no overall charge. Any moving electric charge, such as those inside a plasma, creates magnetic fields and can also be manipulated using magnetic or electric fields, unlike with a neutral gas.
Magnetic fields are the key to containing the plasma in a blade—they can counteract the pressure of the hot plasma trying to expand into its surroundings. This is exactly one of the approaches that have been developed in trying to harness nuclear fusion power, in which atomic nuclei (atoms that have no electrons) collide to form a new nucleus while releasing huge amounts of energy.
Fusion requires incredible temperatures so that the positively-charged atomic nuclei can overcome their tendency to repel each other. We create these hot plasmas in doughnut-shaped fusion reactors ("tokamaks") which use strong electromagnets in the reactor walls to keep this plasma at bay. The largest of these such experimental reactors will be ITER (International Thermonuclear Experimental Reactor)—construction of which will finish in 2019. ITER aims to finally be able to produce more energy via fusion than is put in to create, sustain, and control the plasma itself.
Mysterious glow
There are two ways plasmas can emit light. The first is by being incredibly hot. The sun, for instance, is a ball of hot plasmas whose heat source comes from the fusion taking place in its core. All hot objects emit electromagnetic radiation with specific wavelengths. Their perceived color depends solely on their temperature, going from red for lower temperatures to blue for higher temperatures. This is likely the source of a lightsaber's glow—if you want a really dangerous lightsaber, you need a blue one.
The other way plasmas may glow is very similar to how a fluorescent bulb works. By running an electrical current through a plasma, electrons can collide with the positively-charged atoms (dubbed ions), which raises their energy. It's similar to picking up a ball off the ground and putting it on one of many shelves—this raises the ball's potential energy, whereby the shelves represent the energy levels of the ions. But nature is inherently lazy and will always strive to go back to the lowest possible state of energy. Eventually the ball will roll off of the shelf, falling back to the ground. The ions do this by releasing their excess energy as light—which could create the lightsaber glow. This light will be of a specific color depending on the composition of the plasma.
While lightsabers do seem feasible from a physics point of view, the power requirements for such a device would be immense, especially given that it needs to be contained within the small lightsaber hilt. Huge advances in technology would be required to make lightsabers a reality. But there's an even bigger problem which would come about if you were to ever have a lightsaber duel like in the movies.
Powerful magnetic effects
Magnetic reconnection is a fundamental plasma physics process which can occur when plasmas with different magnetic fields collide. As the magnetic fields of each plasma get close to each other, the entire pattern of magnetic field lines changes, and everything realigns into a new magnetic configuration—releasing huge amounts of energy.
This is what essentially fuels the aurora or northern lights—energy from the solar wind is released when these particles collide with plasma inside Earth's magnetic field under a specific set of conditions.
It's from our studies of the conditions under which reconnection can occur in space that I was able to realize the problem with lightsaber battles. When two plasma blades clash, it is almost impossible to avoid magnetic reconnection, with the results being an explosive release of the plasma contained in both sabers. This would mean that, if you were in a lightsaber duel, both you and your opponent would have body parts vaporized in a single clash!
Perhaps the makers of the coming two Star Wars films should make a note… then again who knows how The Force really works?