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Yale Rallies In Fifth Set To Advance Past Ohio
Dec. 5, 2008
Courtesy Yale Athletics
UNIVERSITY PARK, Pa. - The Yale volleyball team battled the Ohio University Bobcats for nearly two and a half hours at Penn State University on Friday afternoon in the first round of the NCAA Tournament. The Bulldogs and Bobcats played to a dead heat for much of the match but, when the final whistle blew, it was Yale capturing its second NCAA Tournament win in program history with a 25-19, 23-25, 25-23, 17-25 and 16-14.
With the win, the Bulldogs improve to 21-5 and advance to play No. 1 nationally-ranked Penn State on Saturday afternoon at 4 p.m. The 2008 squad matches the 2004 Bulldogs as the only two Ivy League teams ever to win an NCAA Tournament match. The Mid-American Conference Tournament Champion Bobcats end their season at 24-8.
"I am so proud of the way we played tonight," said Yale Head Coach Erin Appleman. "We absolutely refused to lose this match."
Junior Cat Dailey, the unanimous Ivy League Player of the Year, tallied her 14th double-double of the season with 15 digs and a team-best 20 kills. Unanimous first team All-Ivy junior Alexis Crusey also notched a double-double, her 15th of the season, with 14 kills and 16 digs. Senior setter Ally Mendenhall, also a first team All-Ivy honoree, dished out 36 assists and led the Bulldogs with 18 digs. All-Ivy honorable mention libero Kelly Ozurovich was the fourth Yale player with double-figure digs at 14. Freshman Bridget Hearst flirted with a double-double of her own, recording nine kills and a career-best eight assists.
Yale never trailed in the first set, though the Bulldogs would not grab a commanding lead until a 10-5 edge forced Ohio Head Coach Ryan Theis to call his first timeout. Yale maintained the momentum coming out of the stoppage, however, and Theis soon found himself burning another timeout trailing by seven points at 19-12. The Bobcats responded to the second timeout, as they fired off a 5-2 run over the next stretch of action that forced Coach Appleman to take a timeout of her own with the Yale lead trimmed to four points at 21-17. The Bulldogs put the set away after the stoppage, expanding their lead to six points en route to a 25-19 set one victory.
The Bobcats responded early in the second frame, breaking a 4-4 tie with a 7-3 spurt to claim an 11-7 lead. Yale hung tough with Ohio throughout the set, shrinking the lead to one point on three occasions before finally pushing the score to a deadlock at 21-21. The stalemate held up to 23-23, at which point Ohio notched the next two points to knot the match at 1-1 with a 25-23 win.
The pivotal third set was much more of a back-and-forth affair, with the two teams splitting the first 20 points of the stanza to a 10-10 tie. The Bobcats broke out with a 5-2 run at that point, however, running the score to 15-12. At that point, it was Yale's turn to make a run. The Bulldogs battled to tie the score at 16-16. The deadlock stuck until a Crusey kill followed by a block from Mendenhall and junior Laurel Johnson pushed Yale to set point with a 24-22 lead. The Bobcats fought off the Bulldogs' first attempt to close out the frame, but could not squash the second, as Yale claimed the set 25-23 and took a 2-1 lead in the match.
With the 2008 season now on life support, Ohio played the fourth set like a team not ready to go home. The Bobcats jumped out to a 6-1 lead to force an Appleman timeout, and kept the pressure on up to a 17-10 advantage, at which point the Yale head coach called her second timeout of the set. All told, the Bobcats led by as many as eight points as they coasted to a 25-17 win to force a deciding fifth set.
Ohio carried its momentum into the fifth frame, as they claimed the first two points en route to holding an 8-6 lead at the intermission. The Bulldogs, however, notched the first three points out of the media timeout to claim a 9-8 lead. At that point, a 5-2 run by Ohio gave them control of the match at 13-11. With thoughts of the second NCAA Tournament win in program history slipping away, Yale rallied to win the next two points and tie the score. A kill by Ohio's Amanda Andersen gave the Bobcats a match point opportunity, by a big block by Mendenhall and Johnson knotted the score at 14-14. An attack error by the Bobcats on the ensuing point gave Yale a chance for match point, and a spectacular cross shot by Crusey gave the Bulldogs a hard-fought 16-14 win and pushed them into the second round.
Ohio outhit the Bulldogs .251 (69-25-175) to .156 (55-27-180), outdug them 76-74 and outblocked them 11-10. But 20 service errors by the Bobcats, compared to just five by their opponents, kept the Bulldogs in the match. Ellen Herman, the MAC Player of Year, led all players with a career-high 32 kills. She added 13 digs to complete a double-double.
Yale will face Penn State, who swept Long Island 25-14, 25-15, 25-15, tomorrow at 4 p.m. The winner advances to the NCAA Regional held at University Park, Pa. on December 12-13.


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Alicia Keys, the Black Eyed Peas and Bobby Brown helped to raise $3.3 million for rapper will.i.am's Los Angeles charity on Thursday (07Feb13) by performing at his second annual benefit show.
The Black Eyed Peas headlined the TRANS4M gig at The Avalon Hollywood club and recruited Keys to fill in for absent bandmate Fergie on a rendition of Where Is the Love?, while British singer Estelle joined the group for The Time (Dirty Bit).
Peas stars will.i.am and Taboo also raised laughs as back-up dancers for Brown as the R&B star sang his hits Every Little Step and Tenderoni.
Rapper Ludacris also performed, while Keys staged a solo set and belted out her tracks Try Sleeping With A Broken Heart and Girl On Fire for guests including socialite Paris Hilton, MC Hammer and embattled comedian Katt Williams.
The concert proved to be a huge success for will.i.am and his i.am.angel Foundation, which gathers funds for organisations in his native Boyle Heights in East Los Angeles.

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Reviewed By Tamas H (FOSTER CITY, CA) Reviewed for a 2004 Toyota Sienna —5/12/2016 12:36 PM
The film is very thick and it appears to protect the headlight well. This should last a good while and prevent damage / yellowing. However on large, curved headlights the installation is not easy. Due to the thickness of the material, it is almost impossible to put the film on without air bubbles. I found that instead of the included squeegee, it is much better to work using just your hands. Start in the middle, work your way outwards, and form the material to the curvature of the lens.


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Several years ago, a well-known international artist gave a talk at at a major Dallas museum about his work. It was in a big auditorium and well-attended, and it seemed that the people in the first four or five rows were there to be dazzled. Others of us in the audience, especially some artists in the group, were a harder sell—not entirely convinced about his work—but there to hear his side of it.
The artist had the swagger and projection of an entrepreneur at a venture capital pitch meeting. His machine-gun paced, Wikipedia-fied version of art history and how it related to his work was rehearsed and charming. (Clearly I am not writing about Matthew Barney, pictured above.) The museum members in the front rows beamed up at him; artists can sell themselves to those who want to believe. But a few of us elsewhere in the room listened to him with increasing fatigue.
By saying everything under the sun, he wasn't saying anything with any real traction about his work or where it came from, which made us suspect that his entire career was a bit of a gimmick. It was increasingly clear to some of us that he made work that looked cool—i.e. design—then in hindsight came up with a pitch to make people believe there was something profound in it. Toward the end of his talk, it was all we could do to not cough-yell "bullshit!" under our breath, Top Gun-style. (We did not). But really, I would bet that 97% of the audience bought it.
(I am not going to name the artist other than to say it's not Liam Gillick. The way he talks about the work is his work, mostly. Which is totally fine.)
An artist's ability to give a Big Talk has been part of the job of the professional artist for years. There are a lot of ways an artist can shape this talk—this overview of his work—or willfully avoid shaping it, even as a near-affectation. But when did we decide that artists have to be able to talk—preferably abstractly and rationally (and magnetically)—about their work in order to justify the work's value, or its existence? Woe be to the authentic artist who started making visual art because that was the way they could actually communicate with the world, and that language leaves them a little stranded.
This demand on artists-as-performers has attracted would-be artists who don't make art so much as they've found a system they can game. At this point, all the beaten-to-death art tropes lend themselves to a kind of Ikea version of 'art'-making that's digestible, art-fair ready, and is really just a kind of design. This work may not be selling as briskly as it was a few years ago, but the MFA programs are still flooded with kids who are quite astonishingly and confidently compelled to not only verbally 'deconstruct' their own work, but also to make work that's pre-deconstructed for this purpose—bits and pieces of other artists' original ideas. I'm not referring to time-honored appropriation or homage or referencing. I'm pointing out a kind of nascent bubble careerism where if everything you make is comfortably familiar and everything you say is right on, you may just step into the market. In this era, talking the talk—self branding—is a big part of that game. And that alone may be enough to turn off a promising artist who doesn't want to play that game.
Good artists can inadvertently unsell themselves by attempting the confident and polished 'performance' when they would have been better off grunting for an hour. I've watched audience members stroll out of evening lectures at the Fort Worth Modern pretty disillusioned by what an artist had to say about the work. Prior to the evening, these artists' work maybe seemed ineffable or magically rock-and-roll, but after the talk the work suddenly looks flat-footed, or didactic, or too obvious. Language was the beast that got in the way.
This is when a young artist who's worried about never having Liam Gillick's verbal chops—or Glenn Ligon's, or Kara Walker's, or Richard Wentworth's—might want to look to artists like Martin Creed, or Mark Grotjahn, or Isa Genzken, who don't interview smoothly but are doing just fine, career-wise. One of my favorite artists in Texas is so paralyzed by giving talks that his social anxiety, when he does succumb to giving a rare one, leads to a kind of transcendent moment for the audience, like watching a rare albino tiger pacing silently and menacingly behind glass. People are transfixed, and the artist's work's mystique is intact because of it.
But many MFA programs are premised on peer and advisor committee critiques that can feel like kangaroo trials and may work to destroy a promising but inarticulate student artist. I've worked in these rooms, and watched it happen in real time. I don't think making students learn to talk about their work is inherently useless or evil; I think it can help them find coherence where there might not have been before. But the knives-out agendas and egos of faculty (often battling one another) and fellow students isn't creating a real-world exercise for an artist who's either really bad or really good.
On the other hand, the most gifted student with the most original ideas and the most confidence in the work may shrug off attacks, and end up shaping that Noble Savage or Savant or Cantankerous Eccentric persona that acts as an effective extension of the work. (This tactic doesn't work unless the work is undeniable; as Dave Hickey once said, "That artist isn't good enough to be such an asshole.") And there's still a risk—an increasing one in this social-media age—that an artist's antisocial approach will ultimately limit his reach, especially as fewer dealers are in a position to do the heavy lifting of interpreting and communicating the work on behalf of their artists.
The promising artist who has some good ideas and could use some space for trial and error to figure things out isn't always given the time to find workarounds, and you'd think this is what grad school should offer. A good, still-young artist I know with a growing career and an instinctive distaste for overly analyzing her highly instinctive work recently confessed to me that during her grad-school years, she self-limited her range and even devolved into rank academia (the new sort), in order to get through critiques with her professors and fellow students—to convince them she was the 'right kind' of artist and thinker. She was getting her MFA in order to land a tenure-track job (which she now has) and didn't mind bullshitting her way through grad school in order to reduce friction. As soon as she was out of school, she went back to making the work she wanted to make, and talking about it as little as possible.
35 Responses
As a high school art teacher I hated having to make my students justify their work and so I quit as an artist I also hate having to talk crap especially when every competition requires artist statements my work developed and talks to to me it is a work the has my soul embed into it why should I explain my personal conversAtion the finished work should speak for itself you either appreciate it or you don't . Look at Van Gogh he doesn't have to explain or justify . Too many fake artists are held up as masters now they just talk the talk bad.
You'd sincerely Michele L
Michele firstname.lastname@example.com
Great read and question. I have spent entire evenings on this topic over many beers with many of my peers.
A good artist should be able to unleash a novels worth of words in a single image, void from the aid of text and words.
I truly enjoy talking about what an individual piece of my work means to me and why and how I made it. However, I have observed and been advised a "only speak when spoken to" rule of thumb unfortunately seems to be most preferred.
I think that yes, artist should be able to speak about their work. I taught a special topics class this semester in which I had the students first write a proposal on what kind of series that would create for the semester, had them attend an artist talk, write rough drafts and revisions of their own artist statement and then do an artist talk about the work they created during the semester. Doing all of this made them more conscious and aware of what their work was about, whether it be focused on formal , expressive, narrative or societal issues. More than one student told me that the experience of having to clearly articulate what it was they were doing made them a better artist.
I recommend riding in on a pony while sipping martinis accompanied by an accordionist. That's when Kazoo the Orange Dragon begins the audience activation portion using fireworks and toilet paper. Scantily clad women (and/or men) help pawn your swag most effectively thereby garnering some quick cash for more drinks later. Show your generosity by ordering pizza to be delivered and shared with everyone, loaves and fishes style. Door prizes prove to everyone that you put your money where your mouth is. When all else fails, show off your golfing skills by whacking bags of white bread out into the crowd. That always gets 'em going.
Best by test.
The more art talks I give the more conflicted the process becomes: I am selling myself, with the art as a proxy. My ideas and cited sources act as affirmations of academic seriousness, enhancing the prospect that I am a good investment, someone who has bought in. However, I have been told about my art "your intentions don't matter," so why should I reveal them? ~ The sharing of ideas and self feels like a trap with catastrophically more downside than potential benefit.
I haven't even read this entire article, but I'm already bothered about one term you keep using without seeming to have an understanding of it: design. You keep using the word design as a term that is synonymous with the idea of a-conceptual aesthetics divorced from meaning. In reality the word "design" in no way describes this. Actual design, while very different from fine art in both intention and conception is actually incredibly conceptual. The difference is that it stems from a collaboration with a client as opposed to being the designers' personal contention. Anyway, this just bothers me, so I thought I would point it out. It's just a misnomer that for me discredits the rest of the article before I have read 3 paragraphs. Funny enough though, I used to sling the term around as well before I studied design (I have masters in both disciplines), so I understand where the idea is coming from. My two cents.
Talking about one's own work is sometimes impossible if the work comes from a place of non-language. That's why it's visual and not linguistic. I do say I admire those who can get up in front of an audience and piece together a semblance of thought and sentence with punctuation and presence when describing their practice, but I do agree that often some artists come off as polished TED talk presentations with visual aids and bells and whistles and strategic pauses for emotional impact. I love hearing about another artist's work because for me it often sheds a small light on work that I haven't a clue about what they are attempting to do. So for that a talk is good. But I do wonder how much it really matters to the audience or a patron and how much of it has become yet another reason to gather and socialize around a cultural event. We don't go to bars or each others studios and drink and discuss art anymore (well some of y'all might- I don't know), we instead go to artists talks where we are presented information and see our artistic compatriots and can ask polite questions… Personally I am getting to an attitude of if we have to do a dog and pony show to explain what the fuck I am doing and what the hell is behind my work then I'm either doing things completely right or completely wrong. But Christina- I'm on board with you here.
wish I knew who the artist was in the third paragraph, several guesses come to mind.
Wealthy; probably yes, inventive probably not, pretty work probably; … many studio assistants..probably…..Ditzy and featherlike yes. Fondling the wealthy and influential more than likely…. Desire to have a cocktail with….never. shit load of them out there with several ringleaders. go ahead and yell "bullshit"
Hello all….I'm paying someone (not nearly enough!) to speak about my work at my opening at Moody Gallery in Houston in May. Caleb Bell has visited my studio many times and seems to be able to pick the best works I've ever made to include in shows… and he does this all without making me feel small or horrible for the behavior of my dogs or the dirtiness of my home/studio or my window AC units. In other words, I trust him to speak about my work better than I can. I don't think he'll speak better than work itself, but he'll certainly speak better than me, and do so without crying…I hope.
MG, I'd like to ride in on a Buffalo, like in that old Jeep commercial. But I'm pretty sure that was animal cruelty .
I agree with Ms. Secor, thinking about and talking about their work helps artists figure out what the hell they are doing, and I appreciate a well thought out, coherent artist talk that leaves me with a better understanding of an artist's work and an idea of what inspired it. And call me a Pollyanna but I like artist talks to be honest and heartfelt without using a bunch of jargon and ten dollar words, unless of course that's what inspired their work. Artists also shouldn't be expected to be slick performers, many of them, myself included, are introverts and just want to hide out in the studio, but they do need to at least think of what they are going to say ahead of time. You know, like so, like, this work, like, so I don't know, I've just been working on this, and you know, so, yeah. You get the picture.
"Words are a concealment"………I have sat through many a great artist giving a painfully awkward presentation and far too many more mediocre individuals representing their third rate creations with the enthusiasm and energy of the most ardent television evangelist and / or master salesperson……..In the end it should be the work that actually matters…not the hype………but recorded representation either verbal or in written or other media form may be the key to the works surviving the passage of time its flights of fashion…
In most cases, the clearer one speaks about the work, the clearer one thinks about it. The clearer one thinks about it, the clear one tends to execute it. This article alludes to the insincere and the inarticulate, mentioning problems with the system and politics within bureaucracies. A great topic for an article would be the behavior of the MFA factory and the art market and how that could be changed.
Convenient that the art writer wants artists to talk less about their work… 😉
But in all seriousness, this article hits home. And I'm one of those artists who is probably dealing in the BS "design" (meaning, "hotel art but an original so it's safe for rich people to buy to affirm their good taste") realm, and I'm totally at home in academia, but YES- the second I finished my MFA I started making work that was more interesting, at least to me. The funny thing is, it's "safer" work, on nice, small panels. Not those stupid, slouching-off-the-wall-to-talk-about-what-painting-IS-because-I'm-a-serious-grad-student type things I was doing. I'm just painting. About stuff I want to, without rationalizing it. I guess I can thank having hardly any mental space to overanalyze what I'm doing and am just scrambling to do it, because of baby, job, etc.
This article is a good reminder to artists to just make good work. But also a sort of coal-mine-canary to the de-authenticating of what it is to do something. Tangental, but this article reminds me of something I just read about #vanlife (http://www.newyorker.com/magazine/2017/04/24/vanlife-the-bohemian-social-media-movement). Writing that chills me a bit.
Thank you, Christina, you are an inspiration of what it is to be concise, if not in a tidy package, when it comes to talking about art. 🙂
I love Love LOVE tidy packages…I wish I remembered Christina… I believe I read somewhere that she was in one of my design classes at UNT… but sadly… I don't her… I do remember that I had a female student once offer me a sexual encounter, drugs and/or cash for a passing grade in a freshman design class. I also had a student make a bomb.I thought it was a smashing success and he received an 'A' on that particular project. I found out a good bit later that he was arrested for stealing the actual lights off a parked police car. I hope he is doing well all these years later. I hope he isn't an artist. Who will ever know these stories? I wasn't suited for teaching.
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Inane Artist Talks 22 comments (so far)
Fucking seriously? Wow … (slashing my wrists to the bone, No – I don't need help, I got it)
According to BFA artist / college professor, Kerry James Marshall: "The MFA program is a scam". He goes on to say that "Kryspy Kreme doughnuts are sugar and air" , I must add: fried in a pool of Hot Oil. The top ten richest people are all college dropouts; a Jean-Michel Basquiat graffiti painting just sold for $110 million …he was a High School dropout.
Artists often talk about their work because no one else is. We need more critics like Christina Rees to respond to exhibitions and help the public form a feeling for the results of long years of artistic struggle in a silent (except for the books and music) studio. Writing constructive criticism is difficult and very much appreciated by the public. The public just wants to know more about how art comes into being, and (in my experience) truly responds to unaffected and unpretentious efforts to do just that.
Perhaps the biggest cause for the requirement of the Artist Talk, is that much of today's art is made in the age of the internet posting of minutiae and intimacy to strangers– where nothing is private, everything is expected to be revealed, and self hype supersedes whether the work as any value. More importantly, today's standard is that everyone is ok, everything is equal–because there is no universal sense of value and a great lack of the artist self editorializing. How can you edit your quality when a retrospective happens by age 35? For better or worse, the Salon had a system of what was 'value' based on art, not the artist. And while the Salon as "credibility" seems stilted today, perhaps it reveals another truth—that like 90% of the old salon artists who are lost to obscurity, today's work probably will obtain the same 10% of works with lasting relevance. As one cartoon (sadly found online) said: " I think the work is good, but I'll have to wait until I read the artist resume and hear the artist talk to be sure" .
Beth Secor, Howard Sherman and Barnaby Fitzgerald have it right, right, and right.
Having a studio in a building with frequent public open houses has forced me to talk about my work whether I wanted to or not (not to mention to curate it more precisely), and in the past 14 months of trying to explain it to strangers, I have learned far more about my own work than I did during the previous 5 or 6 years that I was creating it.
When I tell people the "story" of my work, and how one body of my seemingly-disjointed practice relates to another body, they look at me like, "well duh, of course, that's so obvious," but I'm like, "it took me ten years to actually figure that out!!!!"
And to Barnaby's point: I can't tell you how many visitors walk into my studio in confusion, but when I catch up to them and talk to them, ever so briefly, you can actually see the lightbulbs going off.
Talking about one's work is important all the way around.
After re-reading your article in light of the ensuing discussion, I wonder if your argument is against the need to talk, or agains the audience(s) they are required to address.
All of us in the "yes we do" camp seem to be keying off your opinion that artists should be given space to work out their ideas. Maybe your argument is not that artists shouldn't be expected to talk, but that artists should be somehow held to a more scrutable standard.
I'm having a hard time fleshing out my thoughts on this.
I came to the arts from another industry, and gave myself the space to work out my ideas to both the audience I wanted to reach (fine art connaisseurs) and the audience I was forced to face every week (the ones with the big walls over the sofas). I never had a thesis committee or a series of over-fashionable trustees rating me. So I can't really respond to the argument(s) I think you're trying to make.
But I have a feeling the audience and the prevailing standard is the problem more so than the need for self-understanding and expression. Sorry to ramble….
I have no problem talking about art, my art or anyone else's. In conversation words have ephemerality, there's space for debate and contradiction, to figure things out together, in written form, they take on a kind of permanence. That's uncomfortable for me as I am full of contradictions and am in a constant state of change, as is every human. Everything is subjective, even with the most conceptual art, it is alway in the eye of the beholder. As much as I have written and spoken about my work throughout the pas twenty years, I still am a total failure at summing up myself in a page statement- me doing that would be a false statement. I end up in a conundrum. So in the end, is it important for an artist to be able to talk about their work? I don't think so. It feels elitist, especially for someone who like myself dropped out of high school at 16 and wasn't given much opportunity and space for schooling, I had to work. For the people who are creating something, where that force is driving through them, and they are producing good work, no, great work, and prolific, does it devalue their result because they are unable to explain it to you? They've already worked themselves to the bone making it for you… Hearing how others interpret it, I believe is more important for the artists these days, especially those who are lacking in community.
Whatever happened to walking into a local gallery, seeing a piece you like and buying it? It seems our lives now are so inundated with 'factoids' that we no longer trust ourselves to make credible value judgments. I see work I like; I see work I do not. I also see work that isn't work at all. I study and learn from the work I like; I do the same with the work I don't. There's nothing to glean from work that isn't. Enjoy what you enjoy—even if others don't. Maybe especially if they don't. But don't expect history to validate your choices. Time and humanity are too fickle and unpredictable. Unless you are a writer or a poet, I'd rather you (the artist) not pollute the proceedings with your sonic meanderings. Ever hear an athlete talk about what he does? In my opinion, the artist is just as effective as the athlete in conveying the truth of his or her art. Artists who think they do aren't artists, they are publicists.


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text: First Investigation of Recently-Discovered Cold-Water Coral Ecosystems in the Deep Coral Triangle SHARE THIS: DOEI Funded Research: 2010AbstractFrom June to August 2010, an international team led by scientists from the United States and Indonesia are collaborating to explore the depths of Indonesian waters in the heart of the coral triangle. The expedition, Indonesia-USA Deep-Sea Exploration of the Sangihe Talaud Region (INDEX 2010), features a number of firsts including: the maiden voyage of NOAA ship Okeanos Explorer; the first joint Indonesia-USA ocean exploration expedition; and the first joint international mission with two ships sending live video to scientists in Exploration Command Centers ashore. As part of this new paradigm of exploration, NOAA OE's goals are to provide scientists with sufficient exploratory characterization of deep-sea regions, sites, geological, chemical and biological information to conduct successful NSF-sponsored research. In the first 12 ROV dives (half of the program), we have found what we think is the highest diversity and abundance of deep-water corals in the world. We've also documented dramatically different suites of coral species on different seamounts and depths, suggesting high seamount endemism and important issues of connectivity and physical transport of larvae. We request support for one semester of a student to analyze the high-definition video recorded by the ROV Lil' Hercules, and to conduct literature searches to comparisons of this diversity to other shallow and deep-water ecosystems. Through support from DOEI, we will conduct this video analysis of species composition and diversity by site. We will make estimates of diversity, compare seamount fauna to those on inactive ridges and even an active vent site also discovered during this first half of the program. With this characterization, we will immediately submit a high-impact news-worthy publication (to Science or Nature) as well as a follow on highly-competitive NSF proposal to return to the area to examine hypotheses central to deep-water ecology and evolution.


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Suffolk, ss. Division of Administrative Law Appeals
John McDonough,
v. Docket No. CR-07-577
Taunton Retirement Board,
Appearance for Petitioner:
Judith B. Gray, Esq.
122 Dean St.
Taunton, Ma 02780
Appearance for Respondent:
Nan O'Neill, Esq.
Murphy, Hesse, Toomey & Lehane, LLP
300 Crown Colony Dr.
Quincy, MA 02169
Administrative Magistrate:
Bonney Cashin
Medical panel did not lack pertinent facts or apply an erroneous standard when it determined that the petitioner was not incapable of performing his essential duties as a maintenance repairman at a power plant. The medical panel properly assessed his job duties and ascertained the nature of his symptoms.
Pursuant to G.L. c. 32, § 16 (4), John McDonough appeals the decision of the Taunton Retirement Board issued on July 27, 2007 to deny him accidental disability retirement benefits. The Board's decision was based on a determination by a medical panel that Mr. McDonough was not incapable of performing the essential duties of his position as a mechanical equipment maintenance repairman. Mr. McDonough argues that the medical panel committed an error of law when it issued a certificate finding that McDonough was not incapacitated because the panel failed to properly assess his job duties and to thoroughly ascertain the nature of his symptoms.
I held a hearing on December 18, 2008. Mr. McDonough was the only witness. The parties stipulated to the admissibility of twenty-three exhibits. The hearing was recorded on one tape.
Based on the evidence presented, I find the following:
1. Mr. McDonough was born on October 10, 1946. (Exh. 1).
2. Mr. McDonough was employed by the City of Taunton Municipal Light Plant as a mechanical equipment maintenance repairman from June 23, 1986 until April 7, 2006, except for a brief time when he worked as a meter reader. (Exh. 1; McDonough Test.).
3. Mr. McDonough worked until August 22, 2005. (Exh. 2; McDonough Test.).
4. Mr. McDonough's job duties included: machine tooling and setup; installing, maintaining, repairing, testing, overhauling and modifying power plant equipment such as pumps, compressors, and turbines; adjusting equipment; periodic maintenance; operating machine tools and power tools; millwright welding; maintaining equipment history records; and driving motor vehicles. (Exh. 3; McDonough Test.).
5. On January 4, 1999, Mr. McDonough suffered a myocardial infarction (heart attack) while repairing and replacing part of a large boiler that was still operating. (Exhs. 1, 13; McDonough Test.).
6. On January 12, 1999, Mr. McDonough underwent cardiac catheterization; given the location of the damaged muscle his cardiologist, George J. Chilazi, M.D., placed him on a medical therapy regime rather than performing an angioplasty. (Exhs. 7, 13; McDonough Test.).
7. In April, 1999, Mr. McDonough returned to work as a meter reader, but found the work more physically demanding and stressful than he anticipated it would be. (McDonough Test.).
8. He subsequently returned to his former position. (Exh. 17; McDonough Test.).
9. Mr. McDonough continued to experience chest pain and shortness of breath periodically after he returned to his former position; in response he would slow down and take deep breaths. (Exh. 7; McDonough Test.).
10. Mr. McDonough reported these symptoms to Dr. Chilazi, who documented them in his office notes, but who did not recommend that Mr. McDonough stop working. (Exh. 18; McDonough Test.).
11. He did not report these incidents to his supervisor because "they knew," nor did he leave work early or otherwise use sick leave in response to his symptoms. (McDonough Test.).
12. Co-workers would help Mr. McDonough carry heavy equipment and tools. (McDonough Test.).
13. Lawrence Baker, M.D. evaluated Mr. McDonough on June 7, 1999 and concluded that Mr. McDonough's exertion at work on January 4, 1999, superimposed on his undiagnosed coronary atherosclerosis, was the major contributing factor in his heart attack. (Exh. 15).
14. Dr. Baker further opined that Mr. McDonough is totally and permanently disabled from his work as a power plant repairman. (Exh. 15).
15. Michael J. Meuth, M.D. evaluated Mr. McDonough on November 5, 1999 and concluded that his coronary disease had been present for some time and that his heart attack was brought on by an acute plaque rupture of unknown cause. (Exh. 16).
16. Thomas Sbarra, M.D. evaluated Mr. McDonough on February 8, 2000 and concluded that his heart attack was work-related. (Exh. 17).
17. Dr. Sbarra further concluded that Mr. McDonough had fully recovered and had no significant physical limitations. (Exh. 17).
18. Timothy Alikakos, M.D. reviewed Mr. McDonough's medical record and issued a report dated June 16, 2003, in which he opined primarily on the issue of causality. (Exh. 19).
19. On August 25, 2005, Mr. McDonough had a cardiolite stress test that was limited by chest pain and shortness of breath. (Exhs. 7, 18).
20. On September 2, 2005, as a result of the stress test, Mr. McDonough underwent a cardiac catheterization, angioplasty, and the placement of two drug-eluting stents in the right coronary artery. (Exhs. 18, 20; McDonough Test.).
21. Mr. McDonough filed an application for accidental disability retirement on November 20, 2006. (Exh. 1).
22. In his application, when asked to describe the duties he was unable to perform as a result of his disability, Mr. McDonough stated that he could not lift heavy objects, which is necessary on a daily basis, and that the pressures of the job increase his stress and cause anxiety. (Exh. 1).
23. The Board denied Mr. McDonough's application on July 30, 2007. (Exh. 9).
24. Mr. McDonough filed an appeal postmarked on August 8, 2007 and received on August 3, 2007. (Appeal).
25. Dr. Chilazi, who has treated Mr. McDonough since 1999, concluded in 2006 that he is permanently disabled as a result of his heart attack in 1999. (Exh. 7).
26. In letters dated March 15, 2006 and July 25, 2006, Dr. Chilazi stated that Mr. McDonough continued to have angina class III and continued to have "limited functional capacity limited by dyspnea, fatigue and chest discomfort." (Exh. 7).
27. Dr. Chilazi's office note dated November 15, 2005 reports slight shortness of breath and a question of palpitations, the note dated January 23, 2006 reports some shortness of breath and arrhythmia with palpitations, and the final note provided, which is dated August 23, 2006, reports negative for shortness of breath and chest pain and concludes "stable at this point." (Exh. 18.)
28. A regional medical panel, comprised of Michael Johnstone, M.D., a cardiologist, Mark S. Lebovits, M.D., an internist, and Richard S. Fraser, M.D., an internist, examined Mr. McDonough on May 8, 2007. (Exh. 8).
29. The panel members also reviewed Mr. McDonough's medical records, which included the reports of the physicians described in paragraphs 13-18 and 25-27 above and his job description. (Exhs. 3, 8).
30. The panel members unanimously concluded that Mr. McDonough was not incapable of performing the essential duties of his job as described in the current job description based upon findings of stable coronary artery disease, no symptoms of clinical congestive heart failure, and no evidence of coronary ischemia given his lack of symptoms. (Exh. 8.)
31. In its report, the medical panel stated that Mr. McDonough denied cardiac symptoms since the placement of the stents in 2005, specifically he denied "exertional or resting chest pain … orthopnea, paroxysmal nocturnal dyspnea, peripheral edema or claudication." (Exh. 8).
32. In its report, the panel noted that Mr. McDonough had difficulty identifying his reasons for not being able to return to work. (Exh. 8).
33. Mr. McDonough stated that no one asked him any questions about his job duties, when he tried to tell the panel members about his symptoms, they would not listen, and in his view the process was like a "kangaroo court." (Exh. 23; McDonough Test.).
34. Following the Board's action on Mr. McDonough's application, David Maguire, M.D. evaluated Mr. McDonough on December 6, 2007 and noted that Mr. McDonough continued to experience shortness of breath on exertion and limited physical endurance following his angioplasty in 2005; thus he opined that the angioplasty had not improved Mr. McDonough's functional status. (Exh. 22).
35. Dr. Maguire further concluded that Mr. McDonough is disabled in spite of medication and interventional cardiology and is unable to return to his employment. (Exh. 22).
Mr. McDonough's appeal was filed five days after the date on which the Board acted, and, thus, well within the fifteen day appeal period. G.L. c. 32, § 16 (4). His appeal, thus, is timely.
Mr. McDonough is not entitled to a new medical panel. He failed to show that the medical panel that examined him was deprived of pertinent facts or applied an erroneous standard. Kelley v. Contributory Retirement Appeal Bd., 341 Mass. 611, 617-618, 171 N.E.2d 277, 281-282 (1961).
In order for Mr. McDonough to obtain accidental disability benefits he must show that he is "unable to perform the essential duties of his job And that such inability is likely to be permanent… ." G.L. c. 32, § 7 (1). A condition precedent to an accidental disability retirement allowance is a certification by a medical panel of the total and permanent disability. Quincy Retirement Bd. v. Contributory Retirement Appeal Bd., 340 Mass. 56, 60, 162 N.E. 2d 802, 805 (1959). The medical panel must answer three questions: (1) is the applicant mentally or physically incapable of performing the essential duties of his or her job as described in the current job description; (2) is such incapacity likely to be permanent; and (3) is the disability such as might be the natural and proximate result of the injury or hazard undergone that forms the basis of the relevant claim. As noted in the medical panel certificate, once the medical panel answers "no" to one of the three questions, it need not answer the question or questions that follow.
In this case the medical panel answered the first question in the negative. Accordingly, the panel did not reach any issue beyond whether Mr. McDonough is unable to perform the essential duties of his job as described in his job description. While the Board argued that it looked at Mr. McDonough's application as presenting an issue about causation, I need not reach that issue.
Mr. McDonough argues that the medical panel failed to take a proper and complete history and as a result erroneously concluded that he did not have symptoms of congestive heart failure or coronary ischemia. The findings above belie his view.
The medical panel certified that it reviewed Mr. McDonough's job description. It accurately summarized that job description in its certificate. The information before the panel included a detailed functional job description that described the task involved, the frequency of the activity, the physical demand of the activity, and identified whether it was essential, that is, whether it was a mandatory requirement for performing the particular job.
In his application, Mr. McDonough stated that he could not lift heavy objects, which is necessary on a daily basis. He further stated that the job was stressful. He testified, however, that co-workers would help carry heavy equipment for him after his heart attack in 1999. He was able to work, thus, with this accommodation. That the medical panel did not ask him questions about his job description, or described it in less detail than Mr. McDonough would have done does not equate to a lack of pertinent information or the application of an erroneous standard. McCarthy v. Contributory Retirement Appeal Bd., 2003 WL 21500543 *5 (Mass. Super. 2003).
The medical panel's report indicates that the panel members did question Mr. McDonough about his symptoms following the placement of the stents in 2005. Mr. McDonough specifically denied "exertional or resting chest pain … orthopnea, paroxysmal nocturnal dyspnea, peripheral edema or claudication." (Exh. 8). These symptoms were those that the panel members, no doubt, felt were relevant to their assessment of his condition. Moreover, Mr. McDonough's responses are not necessarily inconsistent with the evidence of Dr. Chilazi. The chest pain and shortness of breath that Mr. McDonough testified to occurred prior to the placement of the stents. According to Dr. Chilazi, the symptoms reported by Mr. McDonough after the placement of the stents included some shortness of breath, fatigue, and chest discomfort. To the extent Dr. Maguire's opinion differs, it was not before the panel and, thus, could not form a basis for the panel's findings.
The dispute here arises from different views on the severity of Mr. McDonough's symptoms. Mr. McDonough denied chest pain to both Dr. Chilazi and the panel members. The symptoms of concern to the panel members, based upon their definitions in Stedman's Medical Dictionary (Williams and Wilkins 24th ed. 1982), are indicative of a more severe heart condition. It is within the panel's expertise to consider these symptoms to be those relevant to an opinion on disability and to have relied on Mr. McDonough's negative response.
Consequently, I conclude that the panel did not lack pertinent information about Mr. McDonough's job duties or his symptoms or apply an erroneous standard. The Board correctly determined that his application for accidental disability retirement should be denied.
/s/ Bonney Cashin
Administrative Magistrate
Dated: March 12, 2009


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For a complete listing of available hall dates for Community Activities (Dancing, Fighting, A&S, Bardic, etc), Taverns, please check out our Facebook page at https://www.facebook.com/groups/28803108031/?ref=group_header
- 1717.March.Tuesday
Baronial Bardic Practice7923 150 Avenue Northwest, Edmonton, AB, Canada
Third Tuesday of every month.
7-10 p.m.
7923-150 Avenue NW
We will read Shakespeare scenes from a variety of plays and then sing or whatever we feel like in the last hour. No prep is necessary.
Coordinator: HE Maraigha
- 2525.March.Wednesday
Borealis Community Night - WednesdayAlberta Avenue Community Centre9218 118 Avenue Northwest, Edmonton, AB, Canada
Borealis Community Night
When – Every Wednesday
(except for the 1st Wednesday of each month),
7:00 – 10:00 pm
What – Heavy Fighting and Rapier Practice
Arts and Sciences and/or other events may also run concurrently
Where – Alberta Avenue Community Center,
at the corner 118 Ave and 92nd Street
(9218-118th Avenue, Edmonton, Alberta)
Cost – $5.00


text: Alumni Profiles Larry Pope '67Former United States Ambassador Larry Pope '67Former United States Ambassador Former United States Ambassador This profile originally appeared in Bowdoin magazine, Vol. 74, No. 3, Spring 2003 In a letter to Bowdoin senior profiler Lauren Whaley, Larry Pope shares his chronology of career, politics, and life. The Bowdoin I attended from 1963-1967 was all male and dominated by the fraternity system. It's a better institution today. I wasn't a good student. I saw Professor Bill Geohegan at a recent talk I gave on the campus. He was as kind as ever, but it's an awful thing to be confronted thirty-five years later with a twenty-two year self. I had passed the examination for entry into the Foreign Service when I was a senior. My conventional opposition to the war in Vietnam probably didn't hurt with the examiners, and I went off to the Peace Corps for two years, first to Gabon, then to Tunisia, while waiting for an appointment. Over the next thirty-one years I was a diplomat, half in Washington, half overseas, working mostly on the Middle East. It's an honorable profession, and Couve de Murville was quite unfair when he said that "to be a successful diplomat, it's not enough to be a damn fool; good manners are important too". Betsy and I were married in 1975. She's a journalist and writer (www.elizabethpope.com). We have two daughters, Eleanor, a 2002 graduate of Macalester College, and Lizzie, a first year student at Columbia. In 1993, President Clinton appointed me Ambassador to Chad. My instructions called for the promotion of fair elections, but the dictator who was in power when I arrived is still in power today. Down on my luck, having annoyed the senior leadership of the State Department with an overly colorful telegram about the shortcomings of our foreign aid bureaucracy which fell into the wrong hands, I took a job as political advisor with General Tony Zinni, the new head of the U.S. Central Command. I told him I would stay for two years, and ended up staying for three. We rarely ran out of things to talk about during long flights to the Persian Gulf. He remains a close friend. In February of 2000, President Clinton nominated me as Ambassador to Kuwait, but presidents propose, and the Senate disposes. Senators Helms and Lott were furious at Zinni for his outspoken criticism of the Iraq Liberation Act, and they offered me a deal if I would rat him out. Betsy and retired I to Portland instead. For a while in 2001 I was staff director in Jerusalem for Senator Mitchell's Middle East fact-finding committee, an international effort which produced a sensible report on the Israeli-Palestinian conflict to which the Bush administration paid lip service. I went back to work at the U.S. Mission to the UN for a few months after September 11. These days most of my consulting with various beltway agencies involves Iraq, but it gets harder and harder to do this sensibly. I think John Quincy Adams was right to warn that America "might become the dictatress of the whole world. She would no longer be the ruler of her own spirit." I also do some honest work. François de Calličres (1645-1717) served Louis XIV as a negotiator at a time when the modern system of resident diplomatic missions was being put in place, and I'm trying to turn the manuscript of some unpublished letters of his into a book. They deserve a wider audience. Story posted on January 25, 2005 « Back | More Alumni Profiles | Go to News Home


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It's not just your mood that benefits from your active toddler taking his daily afternoon snooze. A new study found that toddlers who don't nap exhibit more anxiety, less joy, and decreased ability to solve problems. "This study shows insufficient sleep in the form of missing a nap taxes the way toddlers express different feelings, and, over time, may shape their developing emotional brains and put them at risk for lifelong, mood-related problems," says study leader Monique LeBourgeois, Ph.D. from University of Colorado Boulder, on psychcentral.com.
Plus: 10 Bedtime Story Starters
The study gauged the emotional expressions of nap-deprived but otherwise healthy toddlers one hour after their usual nap time, and tested them again on another day after they'd napped. Facial expressions were assigned emotions—anxiety, joy, confusion, etc—on a second-by-second basis. Researchers found a 34 percent decrease in positive emotional responses among napless toddlers as they worked on a puzzle as compared to the same children completing similar puzzles after their usual nap. The study also showed a 31 percent increase in negative emotional responses of nap-deprived toddlers when they attempted to complete unsolvable puzzles when compared with puzzle-solving attempts after they had napped.
Plus: 9 Happy Bedtime Rituals
At what age did your child drop his or her nap?


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Saint Clairsville Ohio Tax Planning Courses
Take a few moments to browse Saint Clairsville, OH tax planning courses options. It's a smart idea to compare all available schools in your target area, as well as consider taking some of your elective courses online. Check with each business school below for assistance with income taxation program prerequisites, degree requirements, and class registration. You may request Saint Clairsville, Ohio tax planning courses information from several different schools below, without making a commitment.
Think about what career is best suited for you, and where you want to study. Request more information now.
Think about what career is best suited for you, and where you want to study. Request more information now.
Think about what career is best suited for you, and where you want to study. Request more information now.
Find info concerning Belmont Technical College tax planning courses, and registering for elective discussion sections and seminars. Which college degrees give you the best chances of finding employment after graduation? Locate accredited business management programs online. Combined with a brief internship or prior office experience, you can expect a great return on your business education. Concentrating on Belmont Technical College tax planning courses, for example, may give you an advantage in job recruiting on-campus. Check with the business administration department for course registration deadlines, and taxation program requirements. Please use the form above to request admissions info for Belmont Technical College.
The Internal Revenue Service (IRS) is a bureau of the Department of the Treasury. In the 2017 fiscal year, the IRS processed 240 million tax returns and collected roughly $3.7 trillion in revenue. Income tax credits are available to help with tax planning. The Earned Income Tax Credit (EITC or EIC) provides a subsidy for low-income, working families. The EITC is a refundable credit, which means that it can reduce your tax liability beyond zero and pay out the remaining amount as a tax refund.
Although the IRS prefers that you find a way to pay your taxes in full, if you are unable to pay on time, you may wish to consult a tax planner so as not to trigger a tax audit. With an installment agreement, you gradually pay off your tax liability by making monthly payments. An offer in compromise (OIC) allows you to settle your IRS tax debt for less than the full amount owed. With an OIC, you offer to pay a portion of your taxes right away and the IRS agrees to drop the remaining balance. Beyond degree major requirements, you may consider Aims Community College academic advising as a complementary elective.


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Questions about Colonial Bronze - 266T-12-M10
The plumbing professionals at Dallas North Builders Hardware Inc. are available to assist you with your selection of Colonial Bronze products.
9350 Pasadena Dr, Suite 100
Frisco , TX, 75033
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|Open today until 5:00 PM CST
6709 Levelland Rd
Dallas, TX, 75252
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|Matte Satin Bronze
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Dallas North Builders Hardware Inc. is proud to present this matte satin bronze finished item, by Colonial Bronze. The 266T-12-M10 is made from premium materials, this Item offers great function and value for your home. This fixture is part of Colonial Bronze's decorative Collection, so make sure to check out other styles of fixtures to accessorize your room.
In 1927, Swiss Immigrant brothers, Maximillian F. Ruefli and Joseph A. Ruefli, opened their first shop on Jerome Avenue in the Bronx.


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Life Span:between 10 and 12 years.
Litter Size:between 2 and 5 puppies.
Recognized By:CKC, FCI, AKC, UKC, ANKC, NKC, NZKC, APRI, ACR
Color:fawn, apricot, or brindle
Hair Length:Short
Size:Extra Large
Shedding:Heavy Shed
Male Height:30 inches
Male Weight:175-200 pounds
Female Height: 27 1/2 inches
Female Weight:175-200 pounds
Living Area:The Mastiff does need a minimal amount of exercise. A small fenced yard is sufficient. They are relatively inactive indoors and therefore a small living space is fine. However, they are large animals and the comfort of both the dog and the family should be taken into consideration. A larger living space may be more comfortable for both. It is really preference for the owner. If there is no yard for the animal, they should be exercised daily. Another thing to consider with the Mastiff is that they do slobber excessively after eating and drinking and also just throughout the day. They will shake their heads and the slobber will go flying. This can make for an untidy living space where furniture, walls, and clothing are constantly being covered in drool.This dog can live outdoors in temperate climate, but does prefer to be indoors with the family. They do not do well in warm, hot, or humid climates. They prefer cooler weather. This makes them excellent dogs for locations that temperatures do not fluctuate much and remain moderately cool to warm.
Energy Level:
Exercise Needs:
Other Dogs:
Cold Weather:
Hot Weather:
The Mastiff is a large, massive breed with a symmetrical well knit frame. Their stature gives off the impression of dignity and grandeur. The dog should be slightly longer in body than it stands in height and should come from depth of body and not length in leg. They are to be heavy boned with a well developed muscular structure. The slightly arched neck is extremely muscular and powerful. It should be of medium length. The well rounded chest is to be deep and wide and let down between the forelegs. The shoulders also display the strong muscular stature and should be moderately sloping. The forelegs are straight and strong and set wide apart. The hind legs are broad and muscular with well developed second thighs.The eyes are set wide apart and are of medium size. They are never to be too prominent. The ears are small, rounded, and v-shaped at the tip. The ears are proportionally small for the head. They should be set widely apart on the highest part of the head. The skull is to be broad and somewhat flattened between the ears. The forehead is slightly curved which shows off the marked wrinkles. These wrinkles become very distinct when the Mastiff is at attention. The muscles of the temples are well developed and the muscles of the cheeks are extremely powerful.The muzzle should be half the length of the skull dividing the head in to three parts. There is one for the foreface and two for the skull. The nose is broad and is always dark in color. The nostrils should be spread flat and never be turned up or pointed. The lips should diverge at obtuse angles.The gait of the Mastiff is one that demonstrates extreme power and strength. The forelegs should have smooth reach while the hind legs should have drive. The legs are to move straight forward. To maintain balance as the dog increases speed from a walk to a trot, the legs will converge in towards a centre line. This allows for the maintenance of proper balance.
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The outer coat of the Mastiff is course and straight and of a moderately short length. The undercoat is dense, short, and close-lying. The coat should not be long enough to create any fringe on the belly, tail, or legs. A long or wavy coat is considered to be a fault.The acceptable colors of Mastiff are fawn, apricot, or brindle. Brindle colored Mastiffs should have fawn or apricot as a background color and should be completely covered in very dark stripes. The muzzle, ears, and nose should be very dark in color, the blacker the better. A similarly dark color should be around the eye orbits and extend between them. A white patch on the chest is permitted.
The Pugnaces Britanniae was the progenitor to the Mastiff, however it is extinct now. The Mastiff name was probably came from the Anglo-Saxon word "masty" meaning "powerful." It is recognized as the oldest English breed. It is descended from the Molosser and the Alaunt. It is said to have been brought to Britain in the 6th century B.C. It was used for the blood sports of: bear-baiting, bull-baiting, dog fighting, and lion baiting. Throughout the history of the Mastiff, it has contributed to the development of several other breeds.There is some evidence that the Mastiff came to America on the Mayflower. However, documentation of the breed's existence in America was not until the late 1800's. However, in 1835 the Cruelty to Animals Act was passed in the United Kingdom and baiting of animals was prohibited. As a result, the Mastiff lost its popularity.There is a story about the Mastiff that proves its character. It is said that when Sir Peers Legh was wounded in the Battle of Agincourt that his Mastiff stood over him and protected him through the many hours of the battle.
Despite its origin as a fighting dog the Mastiff that is common today is a gentle giant. This breed is highly intelligent and self confident. They are watchful and have the nature to protect and defend their families. They are highly dignified and coupled with a calm and docile personality, they make excellent family pets. The Mastiff is a breed that rarely barks. However, they do snore loudly and excessively drool. They are typically very well behaved with children, although because of their massive size, it is not recommended for them to be around toddlers. They are extremely good natured but quite large in size. They are eager to please and desire plenty of human companionship. They are not playful dogs but are quite happy just being close to the family.They respond very well to gentle and patient training. They respond very poorly to fierce or physical punishment. It has been said that if you hit a Mastiff, you are asking for it. They can be aloof around strangers and other animals, so socialization from a young age is very important. They are highly protective of house, car, and family and they need to be shown that someone is safe before they allow them access to their family. When strangers are around, the Mastiff is known to stand between them and their family until they are shown that this person is safe. They are not known to attack strangers or intruders, but rather keep them at bay. Their level of suspiciousness can be minimized if there is proper and constant socialization during their puppyhood.
Grooming for the Mastiff is quite minimal, however can be somewhat difficult due to its large size. Frequent brushing and occasional wiping down with a towel is recommended. Brushing is necessary daily because the Mastiff is a very heavy shedder. Their hair is coarse and short and often will come off in your hands as you are petting the dog. The hair also sticks to carpet, upholstery, and clothing.The dog should be bathed only when necessary. When bathing a specialty dog shampoo should be used. Human shampoo or liquid soap can cause skin irritation. It is also essential that the soap is rinsed thoroughly to reduce the chances of dryness and irritation. The Mastiff is a large dog and may be very difficult to bathe at home depending on how large the living space is. There are a couple of solutions for this. The dog can either be taken to a professional and they can be groomed and bathed there. The other option is that a waterless shampoo can be used to wash the dog and therefore you do not have to struggle with trying to get the dog into a small bath tub or shower.It is also essential that the dog's ears, eyes, and nails are also maintained. The ears should be cleaned on a regular basis to prevent ear mites and other infections. The eyes should be cleaned as well. The nails should be clipped when necessary. Be careful to not cut the quick as this can cause bleeding and is somewhat painful. To make grooming easier for this massive breed it is important to start getting them used to it as young puppies. Make the dog stand while you brush and clip the nails. It may be a challenge to begin with but the dog should adjust to the grooming becoming a natural thing. It is important not to use force with this dog, but be patient. It may take longer, but it is important that the dog does not view these things as scary. Do no rush, it is alright to let the dog take some time to get used to things.
The Mastiff is generally a lazy animal, but will be happier and healthier when exercised regularly. They should always be kept on a leash. They are not a very playful breed and this combined with the breed's laziness can make it difficult to find activities for the owner and dog to do together. This is a great dog for a relatively inactive person as a walk through the park or neighborhood is considered sufficient exercise. They do not do well in the heat and so it is important that the dog is not over exercised when the weather is warmer.Exercise for young puppies is important. It is hard to find the right balance though. It is essential that they are exercised to keep their weight down and develop a lean and health dog. However, if they are over exercised it can be very damaging to their soft growing joints, ligaments, and joints. As adults they require a little more exercise and the concern for the joints and ligaments will have been reduced or eliminated. Larger breeds are always more difficult to balance the proper amount of exercise.
Training the Mastiff can be a somewhat difficult process. They do tend to have a mind of their own and will try to dominate the process. Therefore it is essential to prove to the dog early on that you are the boss and that you mean the things that you say. This is done best through patient, consistent, but firm training.One of the most essential elements for training the Mastiff is socialization. They are excellent watchdogs and guard dogs and therefore become very protective of their owners or families. It is essential that the dog is socialized from a very young age to try and reduce the tendency to become overly protective against strangers. This can be done by taking the dog to new places and meeting new people. It is essential for the owner to show the dog that the other person is safe and acceptable by being friendly and welcoming.The Mastiff can be a very dominant dog around other animals, especially dogs of their same sex. However, this too can be minimized through socialization. They are gentle-giants today, but were originally bred to be fighting dogs and therefore those tendencies may come out every now and again. The Mastiff is not an agility dog and does not really like to be playful. However, they do follow obedience training moderately well. Despite their ability to pick up on obedience training, they have a very low to moderate ability for problem solving.
Grooming Your Mastiff
Health Care For The Mastiff
Life With A Mastiff
Mastiff: Weird Facts Did You Know?
View other 6 articles


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Chocolate, Pecan and Ginger TartKarin Lazarus | Delicious Living
- Serves: 16 people
- Calories per serving: 546
For those who think dessert isn't dessert without chocolate, serve this gluten-free delight with a dollop of unsweetened whipped cream and bask in the oohs and aahs. May be made up to three days in advance.
Gluten Free
- Make crust: Place flour, powdered sugar, and salt in a food processor; pulse to blend. Add butter and pulse until crumbly. Add ½ egg and process until mixture clings together. Press onto bottom and sides of a greased 9-inch tart pan with removable sides. Freeze for at least ½ hour. (Wrapped tightly, this can be prepared up to a month in advance.)
- Preheat oven to 375°. Thoroughly coat a piece of aluminum foil with cooking spray. Press into frozen tart shell. Bake for 20 minutes. Remove from oven, remove foil, return crust to oven, and bake 15–20 minutes more, until golden. (If edges become dark before inside is done, cover with foil or a pie guard.)
- Reduce temperature to 350°. Place tart pan onto a baking sheet. In a large mixing bowl, whisk together eggs, sugar, agave, vanilla, oil, and chocolate. Stir in ginger. Spread toasted pecan halves in an even layer in tart shell. Pour filling over pecans. Bake 15–20 minutes or until filling is solid and no longer jiggles. Remove from oven and let cool completely. Remove pan sides, using a knife to loosen if necessary. Garnish with candied ginger.
PER SERVING: 546 cal, 17g fat (7g mono, 4g poly, 6g sat), 60mg chol, 6g protein, 81g carb, 8g fiber, 65mg sodium


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By Doug Palmer and Paul Eckert
WASHINGTON (Reuters) - After a year of clashes on trade and investment issues, senior U.S. and Chinese officials touted progress on Wednesday on a number of commercial irritants as a sign of the commitment both countries have to building a stronger relationship.
China agreed to take further steps to address U.S. concerns about widespread piracy and counterfeiting of American-made goods by strengthening enforcement of intellectual property rights and promoting the use of legal software by state-owned banks and state-owned enterprises, Chinese Commerce Minister Chen Deming told reporters after the meeting.
Such recycled pledges are a staple of the annual U.S.-China Joint Commission on Commerce and Trade (JCCT), but U.S. officials said it was important to keep up pressure on the issue because of the big potential payoff for U.S. firms.
"Some of these issues may seem a bit esoteric, but they can make the difference between millions, billions of dollars of new exports and jobs being retained here at home," U.S. Trade Representative Ron Kirk told reporters.
The past year has been a particularly bumpy one for the U.S.-China trade relationship, with the United States initiating a number of trade complaints against China at the World Trade Organization and slapping duties on high-value Chinese exports such as solar cells and wind turbine towers.
During the recent U.S. presidential campaign, both President Barack Obama and his Republican rival Mitt Romney also argued about who would do a better job of standing up to Beijing and fighting for U.S. jobs.
Chen said the United States made commitments in Wednesday's meeting to promote exports of high-technology goods to China and promised Chinese companies fair treatment when their plans to invest in the United States are reviewed for national security purposes.
China has long pressed the United States to ease its restrictions on exports of high-technology goods, and the Obama administration is in the process of a comprehensive reform effort that is expected to make it easier for many countries, including China, to buy those items from American firms.
However, acting Commerce Secretary Rebecca Blank said that would not apply to items on the U.S. munitions list because the United States does not allow arms exports to China.
The JCCT is an annual forum launched in 1983 for the two countries to address trade and investment concerns.
Some recent high-profile Chinese investments in the United States have been rejected on national security grounds, although U.S. officials say most projects are welcomed with open arms as a source of new jobs and economic growth.
The head of the Chinese delegation, Vice Premier Wang Qishan, took a shot at U.S. suspicions of Chinese state-owned enterprises that dominate China's economy and the important but often unclear role of the ruling Communist Party in those firms.
"You can't deny the fact that some Americans lack understanding of China and have stereotypes about China," he said in remarks at a dinner of officials and business leaders of the two countries on Wednesday night.
Wang said he asked U.S. counterparts, "Can you conduct a security check without doing a political background check? Do you normally ask Americans what party they belong to?"
Kirk estimated total Chinese investment in the United States at about $9 billion, up "over 600 percent" in last three years.
The U.S. trade deficit with China hit a record $295 billion in 2011 and is expected to set a new record this year when final figures are announced in February.
Chen said China also pledged not to force U.S. companies to transfer technology as a condition for doing business in China and negotiate "as quickly as possible" to join the WTO's agreement on government procurement.
However, both U.S. and Chinese officials said China and other WTO members remained far apart on the definition of public works projects that would be covered in any market-opening agreement.
China also agreed to delay a proposed regulation that could impede U.S. auto exports until the United States has a fuller opportunity to express its concerns, officials on both sides said.
U.S. Chamber of Commerce official Jamie Waterman said agriculture was another key concern for this year's talks.
In agriculture, "the absence of product approvals for roughly a year is a serious concern and has the potential to create real challenges for China," he said.
With ongoing leadership transitions in Beijing and Washington it was important that working-level officials hold up "the JCCT as one of the pillars of stability in this relationship," said Kirk.
"The true success of this plenary will be judged by those who rely on the JCCT to deliver measurable results that help stabilize and enhance our trade and investment relationships," he said.
Obama is expected to bring in a new economic team for his second term, which begins in January.
Meanwhile, Chinese Vice President Xi Jinping took over the leadership of the Chinese Communist Party in November and will become head of state at March at the annual parliament meeting.
(Editing by Christopher Wilson)


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Pics: John Wall Makes it Rain on Keyshia Dior at King of Diamonds in Miami
I know what you think I am going to say, but you would be wrong, I have no issues with John Wall making it thunderstorm at King of Diamonds strip club in Miami.
He just turned 21, he has a ton of money, a lot of famous friends and twodels at his disposal.
He is having a good time no crime in that, nothing to get up in arms about.
Just be careful and always KEEP YA VEST ON, especially around ladies and yes men whose only goal is to make you the next contestant on the MediaTakeOut screen or is this case take a couple of dollars off his hands.
As you can see while Wall was chatting up with Keyshia Dior, someone was snapping pics with the sole intention of leaking them to make a quick buck.
Always keep your eyes open and you wallet (or $1s in this case) in your front pocket.


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Featured News - Current News - Archived News - News Categories
Post No. 9249 donates to Disaster Relief Fund
Pfc. Charles N. DeGlopper Memorial Veterans of Foreign Wars Post No. 9249 is coming to the aid of downstate veterans who suffered losses due to the impact of Hurricane Sunday.
Tuesday at the post, Mike Mehltretter, left, commander, and Rich Lozo, right, quartermaster, of Post No. 9249, presented a check for $700 to the Department of New York Veterans of Foreign Wars Disaster Relief Fund, earmarked for veterans and families, some of whom lost everything they have in late October from storm damage. Dan McMahon, membership chairman for Department of New York VFW, accepted the check on behalf of James Durkin, commander of the Department of New York VFW.
The money was raised at the post through various fundraisers, including the post's annual Independence Day celebration.


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HOOVER,— Alabama's attorney general said Monday raiding illegal gambling halls is not enough to keep them closed. He is asking the Legislature to increase the penalties to make the big profits less attractive.
HOOVER,— Alabama's attorney general said Monday raiding illegal gambling halls is not enough to keep them closed. He is asking the Legislature to increase the penalties to make the big profits less attractive.
Current law makes possession of an illegal gambling machine a misdemeanor punishable by up to one year in jail. Attorney General Luther Strange said he will ask the Legislature next month to increase the penalty to a felony carrying one to 10 years in prison.
"There is so much money involved in these gambling operations and the penalties are so small compared to the amount of money that can be made, there is a real incentive for these people to just put these fly-by-night facilities up. ... They operate until they are shut down. They face a misdemeanor charge — a slap on the wrist," he said in an interview.
The Republican attorney general was in Hoover on Monday to talk with members of the House and Senate judiciaries committees about his goals for the legislative session starting Feb. 5.
Gov. Robert Bentley turned over the governor's gambling task force to Strange in 2011. Since then, Strange has organized raids on gambling halls, including Center Stage in Dothan and Southern Star in White Hall. The operators maintained they had legal electronic bingo, but Strange labeled them illegal. Center Stage opened in what used to be Country Crossing casino, which was forced to close in 2010. Southern Star opened after a nearby casino, White Hall Entertainment Center, was raided and closed.
In both cases, Strange's staff seized machines and cash, including $283,657 in Dothan, but they made no arrests. With the current law, going after the machines and money is more of a deterrent than a short jail sentence, he said.
"If we had the ability to charge them with a felony, I think we'd put an end to this foolishness," Strange said.
Strange tried to get the Legislature to increase the penalties for possessing illegal gambling machines in 2011 and 2012 without success.
"There are enough people in the Legislature who have enough interest in maintaining facilities in their jurisdictions that they are not interested in increasing the penalties. It's unfortunate," the attorney general said.
A member of the Senate Judiciary Committee, Republican Bryan Taylor of Prattville, sponsored Strange's legislation. He said the Senate never took up the bill last year because some opponents threatened to block other bills if the gambling legislation came up for debate.
The chairman of the Senate Judiciary Committee, Republican Cam Ward of Alabaster, said some legislators want the state courts to issue a definitive ruling on what constitutes an illegal machine before they change any penalties.
"Right now, there is not enough clarity about what is an illegal machine and what's not," he said.
Before talking to the legislators, the attorney general told reporters that he won't propose any legislation stemming from the mass shootings in Colorado and Connecticut, but is ready to help legislators and the governor if they want to develop legislation.
"I will work with the Legislature to make sure we protect our Second Amendment rights, but we also want to protect our students and citizens," he said.
Some legislators have talked about possibly arming school employees who go through special training. "Law enforcement needs to study that suggestion carefully before we go down that path," Strange said.


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Download here: Episode 10 - Warehouse Robots
In this episode we sit down with Raffaello D'Andrea, professor at the Swiss Federal Institute of Technology in Zurich (ETHZ) and founding member of Kiva Systems, to speak about their Kiva robotic warehouse system. We then continue with the second quarter of Jack Graham's sci-fi story, Selkies.
Raffaello D'Andrea
Prof. Raffaello D'Andrea is an expert in multi-robot systems, leading the Cornell Robot Soccer Team to four world championship wins at the international RoboCup competition. After ten years of assistant and then associate professorship at Cornell University, D'Andrea crossed the lake to take a position as full professor at ETHZ in Zurich.
Not satisfied with research however, D'Andrea has applied his knowledge to industry, and is co-founder and Engineering Fellow at Kiva Systems. He describes for us Kiva's Mobile Fulfillment System, a revolutionary robotic warehouse concept that uses hundreds of mobile robots to fetch items for workers, increasing efficiency and looking really cool in the process!
Besides creating robots for research or industry, D'Andrea is also a creator of dynamic sculpture. His robotic art has appeared at various international venues, including the National Gallery of Canada and the Venice Biennale. In an attempt to spread his passion and get students thinking about robotics outside the laboratory, D'Andrea is teaching a project course at ETHZ in which students design and build a dynamic sculpture purely for public display.
Science Fiction author, Jack Graham from lonesomerobot.com treats us to the second quarter of his story "Selkies". As a flash back, the first episode introduced roboticist Mangan, his sea-lion pet Cato and the team of seal-like robots called selkies which work in the depths of the ocean to clean up waste. In this episode, Jack, further pushes us into the ambiance of his futuristic world where unexpected visits and disappearing selkies create the intrigue.


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I would say maturing to a man has nothing to do with playing games. I think its about responsiblity. WHen a guy grows up to adulthood, if he takes responsibility to heart he could still be a gamer. As long as he works, pays the bills, has food on the table, a roof overhead, and utilities paid, taken care of family if there is one and other things first, there is no reason he can not play video games...but there are other games too. I even play video games sometimes. Does that mean I am immature? I am also a MOM.
When does a boy mature and stop playing games?
Some NEVER stop. There are MANY adult male gamers. IT is a lucrative business and you can get a college degree in gaming and gaming related career opportunities. Welcome to the new Generation of technology, but tread lightly. New research shows gaming addicts. Losing jobs, families, money and ending up in Rehab for it!
who says the two are inclusive? I am a 27 year old gamer mom myself. I do homework with my daughter, cook dinner, go to school functions, and arrange play dates like any other mom. I also happen to enjoy playing video games like Dragon Age, Bioshock, etc. I also have been a member of a weekly table top gaming group. Maturity has nothing to do with it. It is something I enjoy in a way that some women enjoy going to the spa. for me it is relaxing. I even let my 7 yr old play Sims 2 pets on out PlayStation 2 and she loved it. Gaming is a fantastic culture and I couldn't be happier to be a part of it!
What does maturity have to do with playing games. My husband is 47, his dad is 75 and they still play all sorts of games.. From on line rpgs to card games to board games..
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