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The weirdest thing happened to me, so I want to talk about it. I've been writing this column every week for over six years. My topics vary greatly, but they're all things going on in my life or observed by me in my life. A few weeks ago, I wrote a column declaring that the world was not going to end December 21, 2012, and had it published in the Saturday, December 15th Gilmer Mirror. As usual, the column followed in the online version of the Gilmer Mirror on Sunday, December 16th. That's when it happened.
I opened the Gilmer Mirror online site about noon on Sunday, December 16th, and did one of those Scooby Doo like head shakes, as if I could not believe what I saw. There were already over 25,000 views of the online version of the column, and it had been up only a few hours. Typically, the online version of my column draws between 800 and 1500 views, with spikes higher now and then.
The Gilmer publisher asked me what my secret was for drawing all that attention, and I could not tell him, but went hunting to figure it out. As nearly as I could tell by using search engines, some media outlets had picked up my column that morning and linked it from their sites. Apparently, having that date in my column headline just six days before that date was the key.
Before the week was over, the total views were above 37,000. You might think I would welcome such an event, but I don't. The idea of strangers reading my column, outside of East Texas, makes me feel kind of weird. When I write my column, I'm having a conversation with people from my region about things that are on my mind. I don't pretend it is anything but my personal opinion on any of these topics, and your opinion is as good as mine. I just happen to be writing about mine.
I constantly have mixed emotions about writing this column. I'm a hermit at heart, and I'm not really into a lot of personal interaction. I like a few hours a day with others, but I spend far more time alone than with anyone else present.
I like having readers, but I want to earn them, not happen into them. It's a simple question. Is my column worth reading the five minutes it will take a reader? That is the only test which matters. Each person votes with their eyes and their mind.
My follow up column to "the world is not ending December 21st" was about Christmas season, and garnered over 1200 online views. The next week's column about Auld Lang Syne got about double that. Those are numbers I can live with. Those are actual readers, not people following a link which happened to be put up somewhere on the internet.
Thanks for reading. I know you have other things to do with your time, so if you read my words, you honor me.
© 2013, Jim "Pappy" Moore,
All Rights Reserved.
Jim "Pappy" Moore is a native son of East Texas who still makes the piney woods his home. email@example.com


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Plugin Information
A full-featured newsletter plugin for WordPress which fulfils all subscribers, emails, marketing and newsletter related needs for both personal and business environments.
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subset: commoncrawl


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Vulture Predicts What Shenanigans Homeland's Nick Brody Will Get Into (and Out of) Next
He's like Houdini, if Houdini were a congressman who secretly was a terrorist.
Nick Brody is sure getting himself into some sticky situations these days. He stole coordinates from Estes's safe, texted Nazir while surrounded by the joint chiefs of staff, and was forced to drive to Gettysburg to "transport" the bomb-maker, all in broad daylight. Somehow, however, he hasn't gotten caught, despite being basically famous. He's a much-publicized prisoner of war, a congressman, and the vice-president's potential running mate. So it stands to reason that people should recognize him during public gas station showers. There are nine episodes left in the season, so we predicted exactly what he will get into next and how he'll miraculously get out of it.
Episode Four: After realizing Saul is on to him, Brody is asked to plant a bug on the CIA officer. However, Saul is always on the move and switching phones based on which country he's in, so Brody sneaks a bug into the deep folds of Saul's beard. But how does he get so close? Brody schedules a debriefing with Saul, and when they're together, he kisses him right on the mouth. He explains that he wants to be a very "European" vice-president, if he gets the nomination. In order to maintain that fiction, Brody's character must now kiss everyone.
Episode Five: Brody is voting on an anti-terrorism bill in Congress that Abu Nazir wants blocked, or at least stalled for a while. Brody hatches a plan to sneak into the Capitol building's kitchen and dump a bunch of ipecac into the chili. The problem is he is a congressman, so his attempt to pose as a chili-seasoning delivery man ends before it really begins. Instead, he pretends to want cooking lessons from the kitchen staff in order to surprise his wife. When they aren't looking, he completes his mission.
Episode Six: Brody is asked to do the coin toss at a Redskins game. When Abu Nazir finds out, he asks Brody to flip an Afghan afghani instead of the NFL regulation coin as a sign of loyalty. Knowing that he won't be able to inconspicuously reach into his pocket on national television, Brody dedicates dozens of hours to master slight of hand. When he does flip the afghani, he must act surprised when it is seen. A press conference is held, and he claims that a terrorist element has infiltrated the ranks of the NFL referees. Everyone generally hates refs so much that this is bought without question.
Episode Seven: Brody is asked to throw a party for the vice-president. The only problem is he already had a terrorist party scheduled for the same night! Brody runs back and forth between the parties, but as the night wears on, he starts forgetting which is which. The big blunder comes when he gives a speech about the veep in Arabic. He covers himself by saying, "And if we don't elect vice-president Walden as the next president of the United States, that is how we'll all talk one day."
Episode Eight: Vice-President Walden officially names Brody his running mate. Despite the constant media attention, Abu Nazir asks Brody to pick up the dry cleaning he had left in the U.S. many years ago. Brody protests, but Nazir informs Brody that he might have left either a birthday card from Issa or $20 in one of the pockets. When he picks up the coat, a policeman who happens to be nearby questions Brody on why his jacket was so small. Brody does the "fat guy in a little coat" routine from Tommy Boy until the cop changes the subject.
Episode Nine: It's the morning before the Republican National Convention. Abu Nazir wants Brody to work a list of safe houses into his speech so 25 terrorists know where to go. The episode ends with a speech that is both passionate and includes lines like, "We are going to protect every American from 2552 Jones St., Pittsfield, Massachusetts, to 64 Birch Ave., Tucson, Arizona."
Episode Ten: While on a campaign visit to Wisconsin, Brody is asked to smuggle terrorists over from Canada. He is stopped at the border but given a quick pass because the Border Control officer is a Republican. There isn't enough time to drop them off in the safe house before the rally, so Brody dresses them up in local clothes. A cheese hat is the ultimate disguise.
Episode Eleven: It's the vice-presidential debate. If that weren't stressful enough, Brody — to again prove his allegiance to Abu Nazir — promises to hold up a sign that reads, "I am a terrorist." He puts the message on the back of his notepad and shows it to the world as planned. When questioned about it after the debate, he slyly responds, "Oh, haha. You thought I meant like a terrorist terrorist? No, I just have really bad wrists. I am a member of a support group for people with terrible wrists called 'Terrowrist.' Get it? See you guys later. As-salam alayk — I mean, BYE."
Episode Twelve: This episode is entitled "The Choice" because America has a choice to make, as it's Election Day, and Brody has a choice to make, as he is asked to kill the president-elect. Not only kill him, but kill him right in the middle of his acceptance speech. Considering they're both being watched like hawks, Brody decides to get him where he's most vulnerable: his American-flag pin. Brody rigs a pin to release a poisonous chemical and gives it as a gift to the soon-to-be-president. The moment comes when Brody needs to press the button that releases the chemical and ... nothing happens. Confused, Brody walks by a trash can and smells poison. He realizes Walden threw his gift away for being too gaudy. Brody sulks. Also, he is now vice-president.


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Some of you may have heard about the IPhone App MapMyRUN. Well, after walking backwards every day from one side of campus to the other and back, I was curious as to how far I was walking. The solution to my problem was simple: instead of mapping my run, I would map my tour. When I got back to the admissions office, I was shocked and pleased at the statistics on my phone. Don't be intimidated by them, though. You must keep in mind that we meander through campus. This is not how much you have to walk to get to class. So the stats are as follows:
Every tour is 2.52 miles of walking, forward for all of you, backwards for us tour guides.
We gain an elevation of 55 feet.
We burn 259 calories.
That is one impressive tour, if I do say so myself. So come and join us for a brisk walk through campus, and you can work off that milkshake you ate last night (or at least I can).


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TUSCALOOSA | The Tuscaloosa City Board of Education Thursday reviewed three calendar options for next school year.
TUSCALOOSA | The Tuscaloosa City Board of Education Thursday reviewed three calendar options for next school year.
All three calendars for the 2013-14 school year have evenly divided semesters, offer the required 180 school days for students and start school on Aug. 19. But the last day of school for students, as well as vacation days, vary on each calendar.
In calendar option No. 1, students get out of school June 4, which is the latest end of the school year of all three calendars. However, calendar No. 1 also provides students with the most off days during the year.
Students are off on Labor Day, Oct. 18 for employee professional development, Veterans Day, five days for Thanksgiving, 11 days for Christmas and New Year's Day, Martin Luther King Jr. Day, Presidents Day, five days for spring break, April 25 for spring holiday and Memorial Day.
Calendar option No. 2 ends the school year for students May 29, nearly two weeks before school ends on calendar No. 1. But it shortens Thanksgiving break to three days instead of five.
Other off days for students are Labor Day, Veterans Day, 11 days for Christmas and New Year, Martin Luther King Jr. Day, five days for spring break and April 25 for spring holiday.
Calendar option No. 3 ends school on May 30 and offers a full 11 days for Christmas break and five full days off for Thanksgiving and spring break, but students have fewer off days on other holidays.
The only additional off days students get are Labor Day, Veterans Day and Martin Luther King Jr. Day.
In a survey on which calendar is best that was given to school system employees and PTA members, 58.8 percent of the 814 people surveyed chose calendar No. 3. Calendar No. 1 came in second, with 25.2 percent of the vote.
Mike Daria, assistant superintendent of general administration, said Superintendent Paul McKendrick will recommend that school board approve calendar No. 3 at the board's Feb. 26 meeting.
Daria said that if state lawmakers make changes to the Flexible School Calendar Act, which would allow school systems to opt out of starting school on Aug. 19, the calendar options may need to change.
Reach Jamon Smith at email@example.com or 205-722-0204.


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Hip-hop's best and brightest crews flooded the airwaves last night (Oct. 15), as the 2013 BET Hip-Hop Awards delivered some of the most tweeted about moments. Hosted by West Coast OG Snoop Lion, the annual celebration found the rap game taking notice of Top Dawg Entertainment's stance as the No. 1 crew in hip-hop, Lil' Kim's newest protégé, and MC Lyte awarded for paving the way for the culture.
All highlights and gritty black-and-white cyphers aside, the 2013 BET Hip-Hop Awards was full of levity, crazy pyrotechnics and dead serious spit sessions. That said, the tweets were alive and clicking. Check out the 15 best from last night's ceremony.


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26 February 2013
So many blogs, too little time -- what is a genealogist and family historian to do?
|source: http://chinadivide.com/wp-content/uploads/2010/05/too-many-china-blogs-530x353.jpg
Every day I see Thomas MacEntee (via his FB page) post about new genealogy-related blogs and also about the anniversaries of existing blogs and know that I will probably never read most of them (guilt aside there are only so many hours in the day). Geneabloggers itself has a roll of over 3000 (and counting) genealogy and family history-related blogs!
Needless to say, there is no way any one person can read all of these blogs or even a fraction of them. And, the above list doesn't even include the non-genealogy blogs you also subscribe to. After all, you do have a life beyond genealogy, right?
One series of techniques that I use is ...
- I either sign up to get e-mails as a blog entry is posted (ideally I can sign up for a digest mode where I get one e-mail a day regardless of how many posts) or I use a service like Yahoo!Alerts (previously mentioned in an Upfront with NGS post), or, I see if this particular blog has a Facebook (FB) presence. For the latter, for example, I see all of Thomas MacEntee and Dear Myrtle's posts via FB. If something strikes my fancy, I then e-mail myself what they posted with a headline that will be picked up by my e-mail rules tool (see below).
- Once I had "all" the blog feeds that interest me set up to be e-mailed to me, my next step was to create "rules" in my e-mail software (I use Outlook). I flagged both specific e-mail address, keywords, etc and created a rule where any genealogy-related newsletter or blog post feed ended up in a folder called "Genealogy Newsletters."
- Oncee a day (well, sometimes once a week), I then go into that folder and I sort the entries by "author" and then chronologically. This way I will see say all of Dick Eastman's blog posts together and in order, Kimberly Powells About.com posts, etc. I do this because a certain amount of news is repeated by several sources in any given day. It's pretty easy to spot which "stories" were posted across several blogs and then I will ignore subsequent references to that topic.
- Periodically, I realize that the posts I get from source B are repeating the information I get from source A and I will then unsubscribe (or delete my Yahoo!Alert) source B. Other times, I learn about a new blog and then subscribe to its feed.
This is one way that I try to keep some "control" over so many blogs and so little time to read them.
Want more ideas or just to feel good about what you don't end up reading, check-out I Read Too Many Blogs; How Can I Get Through Them All? on lifehacker.
Do you have a tip to share on how you manage what, when and how you read from blogs?
copyright © National Ge
nealogical Society, 3108
Columbia Pike, Suite 300, Arlington, Virginia 22204-4370. http://www.ngsgenealogy.org.
Want to learn more about interacting with the blog, please read Hyperlinks, Subscribing and Comments -- How to Interact with Upfront with NGS Blog posts!
NGS does not imply endorsement of any outside advertiser or other vendors appearing in this blog.
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Posted by Diane L Richard at Tuesday, February 26, 2013
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CARSON CITY, Nev. (AP) — It's no longer OK to fire someone in Nevada just because they're a Communist.
Republican Gov. Brian Sandoval signed a bill Wednesday striking down language in an archaic Nevada law that dates back to the Red Scare.
The measure, SB506, is part of an ongoing effort by legislative staff to scratch out obsolete laws still on the books.
Before Wednesday, it was legal for employers to take action against a person who's a member of the Communist Party or any other organization required to register with the Subversive Activities Control Board.
The board was created by a 1950 federal law sponsored by former U.S. Sen. Pat McCarran, a Nevada Democrat. It investigated people suspected of promoting totalitarian dictatorships in the U.S.
Organizations haven't been required to register with the board since 1968.


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At University Hospital, we offer rehabilitation for patients recovering from a burn, in the Clark Burn Center and in the Rehabilitation Unit. All patients will be evaluated by our physical and occupational therapists to determine their current level of function.
The therapy team will aim to maximize independence by improving range of motion, functional mobility, ambulation, and the patient's ability to perform daily activities such as dressing and bathing. Our therapy staff works closely with physicians, nursing, and other staff members to ensure patients are receiving comprehensive care during the inpatient stay.
Our program includes the following:
Patients are able to continue in our outpatient program once discharged from the University Hospital or the Rehabilitation Unit.
The Physical Medicine and Rehabilitation Department at University Hospital offers a comprehensive therapy program for individuals who have an injury from a burn, once discharged from hospital care. This program provides services for both adults and children. Individualized treatment programs include the following:
Our staff of therapists works closely as part of the Clark Burn Center team.
A physician's referral is required for examination and treatment within this program.
Meets 1st Thursday of every month
5-7 pm
University Hospital, Room 6408
Contact 464-6083 for more information regarding Burn Support Services.
Early Mobilization in the ICU. Treatment and Care for Burn Patients.
Burn Rehabilitation. Cardiopulmonary Rehabitation. Trauma. Amputee Rehabilitation.
Burn Rehabilitation. Cardiopulmonary Rehabitation. Trauma. Amputee Rehabilitation.
Burns, SCI, Trauma, TBI, General Medicine
Burns, SCI, Trauma, TBI, General Medicine
Burns, SCI, Trauma, TBI, General Medicine
Clinical Coordinator for OT, Speech Therapy and Therapeutic Recreation students
Hand Therapy, Burn Rehabilitaion, ALS, Concussion program


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This interview was originally broadcast on May 29, 2012.
Director Wes Anderson has many credits to his name — The Royal Tenenbaums, The Darjeeling Limited, Bottle Rocket and Fantastic Mr. Fox among them — but Moonrise Kingdom was his first film to open the prestigious Cannes Film Festival.
Starring Bill Murray, Tilda Swinton, Bruce Willis and Edward Norton, the quirky independent picture tells the story of a 12-year-old girl and boy who fall in love and then make a pact to run off into the woods together.
Anderson tells Fresh Air's Terry Gross that the movie, set on a remote (and fictional) island off the coast of New England, is what he calls "a memory of a fantasy."
"I remember the emotion of feeling like I was falling in love at that age, and how powerful it was and sudden and inexplicable," he says. "And nothing happened in my case, but I think it's a fantasy I would have had at that age — would have envisioned. ... These two characters are hit by a thunderbolt and determined to act on it."
Kara Hayward and Jared Gilman, who play the preteens Suzy and Sam, were cast after an extensive search, says Anderson.
"My experience with casting children is that ... the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear," he says. "After we saw [Kara and Jared], we shut down the search, and they're the ones who are in the movie. And they define the characters more than the script does, I think."
In the script, Sam and Suzy are separated by distance — Suzy is at home in her beach house, and Sam is away at scout camp — so they must traverse the woods to eventually find each other.
Anderson himself was a scout for a short time as a child. He drew on those experiences while crafting the plot of Moonrise Kingdom, which stars Willis as a sheriff, Frances McDormand and Murray as absent-minded parents, and Norton as a hapless scoutmaster in charge of finding his missing camper.
"Edward Norton was someone who I corresponded with over the years, and he was somebody who I thought of as a scoutmaster," says Anderson. "He looks like he has been painted by Norman Rockwell."
Anderson says he drew on Rockwell, as well as his other films, while designing how Moonrise Kingdom would look.
"I have a way of filming things and staging them and designing sets," he says. "There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting. That's just sort of my way."
Interview Highlights
On theater
"I have always wanted to work in the theater. I've always felt the glamour of being backstage and that excitement, but I've never actually done it — not since I was in 5th grade, really. But I've had many plays in my films. I feel like maybe theater is a part of my movie work."
On Suzy's house in the movie
"We took details from all of these [houses] that we had visited, and then we made the place in a Linens 'N' Things outside of Newport, R.I. There's not much that takes place in the house, but there are key scenes in the beginning, and it was all constructed to the shots."
On what he tells his actors
"I usually just want them to be as authentic and natural as possible, but I'm oftentimes giving them a scene that is nothing like they would have said it. Usually what's written is a bit odd. It's not my intention that it be odd. But what interests me as a writer is a sentence that's got a surprise in the way it's put together. And so usually I think they're doing something that doesn't feel perfectly natural to them, and then it's combined with the visuals and the movements that I'm drawn to. ... When I see the first dailies on any movie, I usually feel that I had no idea how this combination of ingredients was going to mix together, what it was going to produce."
On casting Bruce Willis as a sheriff
"We had this policeman who is lonely and insecure, and yet, when I was thinking about who could play this, I wanted somebody where, as you got to know his personality and see what a sad character he was, you would get that thing that you sort of get with real police. You can tell when somebody's a cop. There is something that's often projected from an actual policeman, and Bruce Willis has this cop authority, where even if he's playing something away from what he normally plays, you would never question whether Bruce Willis is the police."
This is FRESH AIR. I'm David Bianculli sitting in for Terry Gross.
BRUCE WILLIS: (as Captain Sharp) All right. We know they're together. We know they're within a certain radius of this spot. I'm declaring a case with the county right now. Until help arrives, I'm deputizing the little guy, the skinny one, and the boy with the patch on his eye to come with me in the station wagon. Randy, you drop in and head upriver with the rest of your troops and split up on foot. Becky, call Jed, tell him to circle over this end of the island and fly low.
BIANCULLI: That's Bruce Willis as a lonely cop in a small town organizing a search party for a 12-year-old boy who's run away from scouting camp with a 12-year-old girl. It's a scene from "Moonrise Kingdom," which is nominated for an Academy award in the Best Original Screenplay category. It was directed by our next guest, Wes Anderson, who co-wrote the screenplay with Roman Coppola. Anderson also made the films "Rushmore," "The Royal Tenenbaums," "The Darjeeling Limited" and "Fantastic Mr. Fox." Terry spoke with Wes Anderson last year.
"Moonrise Kingdom" is about 12-year-old Sam and Suzy, who feel fated to be together the moment they meet. They make a pact to run off together. He runs away from the Khaki Scouts Camp Ivanhoe. She runs away from her home, where her parents - played by Bill Murray and Frances McDormand - seem to have stopped caring about each other.
Just as Sam and Suzy want to create their own world on their New England island, Wes Anderson creates his own world in the film. The movie looks like a hand-painted storybook with real actors. The music is an integral part of the storytelling. Sam and Suzy meet at a rehearsal for a church production of Benjamin Britten's opera "Noah's Flood." The opera will figure into the story again later, and a real storm is on the way. Here's a passage from "Noah's Flood."
UNIDENTIFIED MAN #1: (as Noah) Forty days and 40 nights, rain shall fall for their unrights; And that I have made through my mights. Now think I to destroy. Have done, you men and women all. Hie you lest this water fall, that each beast were in his stall, and into the ship brought. The flood is nigh, well may we see; therefore tarry you nought. Tarry you not. Tarry you, tarry you not. Tarry not.
UNIDENTIFIED CHILD: (as character) : (Singing) Sir, here are lion Kopards in, horses, mares, pawn; and swine; Goats, calves, sheep, and kine, here sitten tho may see.
UNIDENTIFIED GROUP: (as character) (Singing) Kyrie, kyrie eleison. Kyrie, kyrie eleison. Kyrie, kyrie, kyrie eleison.
Wes Anderson, welcome back to FRESH AIR. Now, I've read that the first germ of the idea for "Moonrise Kingdom" was in the recording of Benjamin Britten's "Noye's Fludde," which translates to "Noah's Flood." What's the connection between this music and the concept of "Moonrise Kingdom"?
WES ANDERSON: Well, I don't know Benjamin Britten's work that well, but I have always had a particular affection for it, because this play, "Noye's Fludde," or however you say it, he wrote to be performed by mostly amateur church groups, with a couple of professionals thrown into the mix. And it's meant to be performed in churches, rather than auditoriums or opera houses or anything else. So anyway, I was in a production of it, along with my older brother, when I was 10 or 11 years old.
GROSS: Yes. And it's introducing - in your movie, it's like this music is introducing the children to the repertoire of classical music, but it's also, like, a metaphor for introducing children to adult life, to the larger world, which is kind of what your movie's about.
You know, the movie - there's two 12-year-olds, Sam and Suzy who meet and bond in the dressing room while preparing for a performance of "Noah's Flood." And like a lot of lovers in movies, they seem to know that they're fated to meet. But it's not Humphrey Bogart and Lauren Bacall. It's, like, two 12-year-olds. How did you get the idea of two 12-year-olds falling in love in this fated-to-meet kind of way?
ANDERSON: Well, I remember - you know, someone asked me in the past week, in Cannes - I don't - I can't even remember who it was that asked me this, a reporter. I wish I had noted him, because he asked me something that made me kind of realize what I had wanted to do. He asked if the movie was a memory of a fantasy.
At first I wasn't quite sure what that meant. Then I realized that that is sort of exactly what the movie is. It's - I remember the emotion of feeling like I was falling in love at that age, 12 years old, and how powerful it was and sudden, and kind of inexplicable. And yet in this - you know, I - nothing happened in my case.
But the - so the fantasy - so I think it's a fantasy that I would have had at that age, would have envisioned. And these two characters, they are hit by the same sort of thunderbolt but they're determined to act on it and see it through.
GROSS: Who did you fall in love with?
ANDERSON: I don't know if I want to even say the name, because it's a, you know, a real person who very likely won't be listening to this, but maybe would be. You know, a girl two rows over and three seats up who was in my class for years, and I never really had much of a conversation with her.
GROSS: You know, in a lot of romantic movies you know who's going to fall in love 'cause it's the most beautiful actress and the most handsome actor. And because they both look the best, they're the ones who are going to fall in love. But in this case it's like a 12-year-old girl is like taller than the boy is, she looks older than he does, and that so often the way it is when you're that age. I mean I remember when I was that age, so many of the girls I knew had, like, you know, boyfriends who were, like, shorter than they were, you know. And that never happened to me 'cause I'm so short it would be hard to be shorter than I am. But, so you were comfortable with that 'cause that's how it often is at that age, right?
ANDERSON: Well, yeah. Well, in fact, we had, in the script we had described her being slightly taller than he is. And we had written her character to be a bit more grown-up than the boy. But she was - first, she is, she was taller than him, now he's actually gone past her. But she was those things. So the way we had written it is reflected in her, but the specifics of it really ended up being her version of that. The way they were as actors when they had to kind of become professionals, you know, leave their middle schools and, you know, become like adults, and she was very ready for that and he was into it but with a great childlike enthusiasm, whereas she sort of became a professional actress right in front of our eyes in within a, you know, within the first days of the movie.
GROSS: After the to 12-year-olds fall in love they decide to - they make a pact to run away together. And for him that means running away from Khaki Scout Camp, which is the movie's version of Boy Scout camp. And for her and means running away from home, from her parents and siblings. So he takes with him his scouting gear and they're going to be running away basically into the woods on an island. And she takes with her a yellow suitcase, a basket with her kitten in it, a portable battery-operated record player, her favorite record, binoculars, lucky scissors, a toothbrush, storybooks, a kind of unrealistic set of things to run away into the woods with.
GROSS: How did you pack for her?
ANDERSON: Yes. Interesting. Yes. At one point they actually take an inventory in front of us so you can see all the ingredients. Yeah. You know, in fact, I remember that we were, we, Roman and I were working and we sort of said I think she's got a suitcase. Let's figure out what's in it. And we decided what is in it is - the thing we thought about her character is that she is a big reader and we were seeing a certain kind of 12-year-old girl we felt we had known. And so we decided to fill it with library books, which end up being stolen, you know, she's stolen library books. But we then made the books. You know, I sort of wrote a little paragraph of text that from each book because she reads them and then we had different artists draw the covers and we sort of invented this little series of books that she's caring around. And over the course of that I sort of started thinking that the movie ought to feel like it could be in that suitcase and could be one of these young adult fantasy books.
It's not, the magic in them, you know, the movie doesn't have actual magic the way the books do, but the atmosphere of it we started feeling like ought to be like that and it kind of, you know, sort of set the tone for the whole thing, I think.
GROSS: So the boy is in Scouts camp, and it's that part of the movie is almost like a kid cavalry movie. It seems to me it was almost it was like a John Wayne cavalry movie but it was all like children and Scout camp, instead of like men in the cavalry. It might look something like that.
ANDERSON: Yes. Yeah. Yes.
GROSS: Were you thinking of those movies?
ANDERSON: Yeah. In fact I looked, there's one "Fort Apache." There's a scene where one of the little Scouts scolds the rest of the troop and then tries to rally them around the underdog who needs their help. We're not the first to play that scene. We just happen to have a particularly young, you know, soldier who's playing it.
GROSS: But why did you want to draw on that for the film?
ANDERSON: I had this idea that maybe we would be doing a sort of Norman Rockwell version of America. That we would, that at least the surfaces might be sort of like that and that's part of why I thought Edward Norton, you know, Edward Norton is someone who I kind of corresponded with over the years and wanted to work with, and I thought he might be a kind of great scoutmaster. He looks like he has been painted by Norman Rockwell. Yeah, there's something that, something about that that felt interesting to me.
GROSS: It's funny you should mention Norman Rockwell in the sense that there are scenes that look explicitly two dimensional. I mean I think filmmakers are always trying to get their movies to look like 3-D even if they're not actually high-tech 3-D movies. But there's times when you seemed to really be going for a storybook illustrated two dimensional look. Flat.
ANDERSON: Yes. Flat. Yes. Well, you know, in this movie I was deliberately wanting to make it feel like a sort of fable and something in the visuals I did, you know, I did want to have a sort of storybook feeling. But I also think - I have always wanted to work in the theater but I've never actually done it, not since I was in fifth grade. But I've had many plays in my films. In this new one there's a theatrical presentation in the middle of the movie. Maybe theater is a part of my movie work and that is part of what I think you're describing, is something to do with that, wherever it comes from.
BIANCULLI: Wes Anderson, speaking to Terry Gross in 2012. He directed and co-wrote the film "Moonrise Kingdom," which is up for an Oscar for best original screenplay.
More after a break. This is FRESH AIR.
BIANCULLI: Let's get back to Terry's 2012 interview with filmmaker Wes Anderson. His movie "Moonrise Kingdom," which he co-wrote with Roman Coppola, is up for an Academy Award for Best Original Screenplay.
GROSS: So watching "Moonrise Kingdom," I kept thinking you must've learned so much doing "Fantastic Mister Fox," which is stop motion animation, because there are so many things in "Moonrise Kingdom" that are life-size but look like miniatures, like the kind of thing you have to do for the stop-motion animation in "Mr. Fox." And there is that kind of storybook look to it. And even, like the houses that are actual full-scale and you couldn't have made out of cardboard, they're painted as if they were maybe made out of cardboard.
ANDERSON: Yeah.
GROSS: Can you talk a little bit about creating like an adult-size storybook look?
ANDERSON: Yes. Yes. You know, I loved doing "Fantastic Mr. Fox." And it was a very long process and it sort of just took over my whole life for a few years. And when you're making an animated film, you have to - you have no choice but to build everything. If you want a pencil in the scene or a cup of coffee, or if you want a tree or grass, you have to make it and somebody's going to choose how it's made. And so you have the opportunity to design everything, you know, including the clouds.
So after spending all this time doing "Fantastic Mr. Fox" and enjoying it very much, when I started this movie I planned it and sort of executed the planning process for many of the scenes in the same way we had on the animated movie, which I had not done before, and I also built more sets. You know, we, the house where the girl in the story lives, we went to a house in Cumberland Island in Georgia and we went to a house in the Thousand Islands on the border between New York and Canada, and we went to various houses around New England. But we ended up ultimately, the way I had planned the thing and wanted to shoot it, the only way to really do the same the way I envisioned it was to build it. You couldn't shoot it that way otherwise. So we took details from all of these places and, in fact, we even got paintings and furniture and things from these places we had found over the course of this process and we made the place in a Linens N' Things outside of Newport, Rhode Island, and that's something I just would not have done. There's not much that takes place in the house, but it's some key scenes especially the beginning, and it was all constructed to the shots.
GROSS: In that opening scene there's a tracking shot of every room in the house, so in order to do that that house has to not have a wall so that you can...
ANDERSON: Exactly. Yes.
GROSS: ...can see from outside into the house. So I could see how I guess you would have to have built it since houses have walls.
ANDERSON: Either you build it, or you buy the place and chop it in half.
GROSS: So you said something about a Linens N' Things?
ANDERSON: Yes. Our sound stage was a Linens N' Things, an abandoned Linens N' Things, a former Linens N' Things. The Petco next door was still operational, but the Linens N' Things was us.
GROSS: The film opens with this beautiful tracking shot showing, you know, all the rooms in the house and all the people in the rooms. So you get an overview of the family and the house and the look of the movie. You love those tracking shots and you are so good at choreographing them.
There are some shots in the movie that are so perfectly synchronized, where things are moving in and out of the frame at exactly the right time. First, I'd like to know why you love that kind of shot so much, that kind of shot that you've become famous for.
ANDERSON: Well, I have always been drawn to long takes in films. You know, I like the experience of seeing the actors play the scene through, and maybe that's like the theater a bit - not having cuts. There's something - it gives a tension, and for me, a kind of excitement.
I don't know if this - I don't know if this could be considered a positive thing or not, but I like having a cast do something difficult in a shot. I enjoy it when there's a challenging blocking and, you know, actors that I've worked with, like Jason Schwartzman, for instance, who's worked with me for a long time, or Bill Murray, these guys are - they've done lots of shots like that with me and it's fun.
Gene Hackman, when we did "The Royal Tenenbaums," he was happiest when he was doing a hard shot, because he's such a good actor, he can do anything. And he sort of likes a chance to, you know, stretch his legs and say we've got to do this all in one, and there's a lot that has to happen exactly right.
GROSS: I love the casting in "Moonrise Kingdom." And one of the really interesting choices you made is to cast Bruce Willis, who usually plays this kind of, you know, tough guy, superhero, I can do anything, I can blow up anything, I'm invincible, I can shoot anybody, nobody is going to shoot me kind of guy.
ANDERSON: Yeah.
GROSS: And in this, he's just this melancholy, small-town sheriff who is, you know, trying to be responsible, is kind of helpless about a lot of things. It's really casting against type. It's a really nice performance. Why did you think of him?
ANDERSON: Well, I thought of him because I, you know, I mean, we had this policeman who is so kind of lonely and insecure, and yet when I was thinking about, well, who could play this, I was kind of picturing - I wanted somebody where, as you got to know his personality and could see how sort of what a sad character he was, you would still get that thing that you sort of get with real police.
Which is you can tell when somebody's a cop. I mean, I don't know if I can always tell if somebody's a cop. But there is something that is kind of often projected from an actual policeman, from what they do every day. And Bruce Willis has this sort of cop authority that even if he's playing something that's so against what he normally plays, you still would never question whether Bruce Willis is the police.
I mean, he's been the police so many times and has done it very believably. So I sort of thought - I don't normally really think about somebody's persona in other movies in relation to what I want to do. Usually, I mean, I've watched their performance to see what I - you know, I've loved all these actors' work in movies. But in this case, I did feel like we were sort of using a bit of Bruce's whole, you know, movie persona against this role.
GROSS: Did you have to talk him into it, or was he onboard immediately?
ANDERSON: He was very - that's a nice thing and that's a kind of rare thing with actors. I've always felt one of the best ways to get an actor to not be interested in your movie is to offer them the role. That usually - the first thing that you get when you offer somebody a part is for them to start second-guessing it. Better if their agent says, you know, you should read this. I mean, if we could get you in on this thing.
But in the case of Bruce, he read it and instantly, I mean, he immediately got back to me, you know, within a couple of days and said yes, and told me right off the bat how he saw the character and what he wanted to do, and it is what he did.
BIANCULLI: Wes Anderson, speaking to Terry Gross in 2012. He directed and co-wrote the film "Moonrise Kingdom," which is up for an Oscar for Best Original Screenplay. More after a break. This is FRESH AIR.
BIANCULLI: Let's get back to Terry's 2012 interview with filmmaker Wes Anderson. His movie, "Moonrise Kingdom" which he co-wrote with Roman Coppola, is up for an Academy Award for Best Original Screenplay.
GROSS: So you have a very strong visual tone in the movie. And you have a color scheme too, and most of the colors in the movie they are very autumnal. It's reds and yellows and oranges, dark greens, browns. And, you know, you have this storybook kind of look.
And you needed the actors, I think, to fit with the look of the film and there's something very storybook about their acting. It's not quite realistic acting. It's like a notch different than that. How did you describe the type of performance you wanted from the actors?
ANDERSON: Well, my thing about the acting is I usually just want them to be as authentic and natural as possible, but I'm almost always giving them a scene that is nothing like how they would have said it. You know, usually what's written is a bit odd. It's not my intention that it be odd. But the thing that, what interests me as a writer is usually a sentence that's got a surprise in the way it's put together.
GROSS: So let me play a short scene here and we'll hear how some of the dialogue sounds. So...
ANDERSON: We'll see if I'm right. OK.
GROSS: Yes. I don't know is this is an example of what you're talking about, but we're limited to what's on the clip reel, so.
ANDERSON: Yes.
GROSS: On the clip reel this might be the best illustration. So this is a scene with Jason Schwartzman and he's the - well, he's the cousin of the Ed Norton character? He is the cousin of the scoutmaster?
ANDERSON: He is the cousin of another - of one of the scouts. What is that scout called? He's played by a kid named Gabriel Rush and he is called Skotak. He is the cousin of Skotak. Jason's character is Cousin Ben.
GROSS: Right. OK. So the kids want to - the two 12-year-olds, they want to get married. And they asked him to marry them and he explains that he can't do it legally, and he also wants their money.
ANDERSON: Yes. A small fee.
GROSS: In exchange for the ceremony. So he's got his own ulterior motive for going through with this. But this is him explaining to the two 12-year-olds why they can't legally get married, but why he can perform a ceremony anyways.
JASON SCHWARZTMAN: (as Cousin Ben) I can't offer you a legally binding union. It won't hold up in the state, the county or, frankly, any court in the world, due to your age, lack of a license and failure to get parental consent. But the ritual does carry a very important moral weight within yourselves. You can't enter into this lightly. Look into my eyes. Do you love each other?
KARA HAYWARD: (as Suzy) Yes, we do.
SCHWARZTMAN: (as Cousin Ben) But think about what I'm saying. Are you sure you're ready for this?
HAYWARD: (as Suzy) Yes we are.
SCHWARZTMAN: (as Cousin Ben) You're not listening to me. Let me rephrase it.
HAYWARD: (as Suzy) We're in a hurry.
SCHWARZTMAN: (as Cousin Ben) Are you chewing - spit out the gum, sister. In fact, everybody. I don't like the snappy attitude. This is the most important decision you've made in your lives. Now go over by that trampoline and talk it through before you give me another quick answer.
GROSS: I love that.
GROSS: First, of all when he says look into my eyes, he's wearing these really dark sunglasses so.
ANDERSON: That's true.
GROSS: They couldn't possibly look into his eyes. Now, the other great thing about that scene is that in some ways it sums up the movie. Because here's two 12-year-olds feeling these really adult feelings of, you know, they're feeling the children's version of adult feelings. They're feeling this great and meaningful love for each other. At the same time they really are 12 years old. Who were you when you were 12?
ANDERSON: Well, you know, I don't really remember that well. In a way my way of remembering what I was like then is by how other people acted towards me, things I remember about how people acted towards me. I know I had - there's a thing in the movie where the girl finds this pamphlet on top of the refrigerator in her house.
And the pamphlet says Coping with the Very Troubled Child. And she gathers that that's her. Well, I found that pamphlet, in fact, at about that same age and when I saw it - and it was literally on top of the refrigerator - and if either of my brothers had found that pamphlet they both would've known it was me. They were never going to make a mistake and think it was themselves. I knew it was me. They would've known it was me.
And the other thing I remember from that age is my fourth grade teacher - maybe this is a little younger, but I must've been some kind of troublemaker, because she made this arrangement with me that each week that I did not get in a certain amount of trouble she was giving me some points.
And when I added up enough points, she let me put on a play in our school because she knew I'd written this one little short play that we had done in our class. And she let me kind of become a little theater person at that age. And I did many of these five-minute plays over, you know, over that year. And I feel like in a way what I do now is vaguely, you know, continuing something from then that she kind of got me going on.
GROSS: That such a brilliant idea, to have the art, to have the theater be the reward, the gift, you know.
ANDERSON: Yes. I remember on my folder she would put little stars and things. And then every now and then it said: Time for a new play, with exclamation points after and it was always like I was so excited when I would see that on the folder.
GROSS: Wes Anderson, thank you so much for joining us and thank you for making the movie.
ANDERSON: Thank you, Terry. It's such a pleasure to be back with you again.
BIANCULLI: Wes Anderson, speaking to Terry Gross in 2012. He and co-writer Roman Coppola are up for a Best Original Screenplay Oscar for their collaboration on "Moonrise Kingdom." Transcript provided by NPR, Copyright NPR.


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Please note: You are viewing an archived Bucknell University news story. It is possible that information found on this page has become outdated or inaccurate, and links and images contained within are not guaranteed to function correctly.
A documentary film produced by a team of Bucknell students is now getting the documentary treatment itself.
PBS affiliate WVIA-TV will feature a 16-minute documentary created by Professor Eric Faden's film/media production clinic on its State of Pennsylvania program, which will air Thursday, April 17 at 7 p.m. Encore presentations will air Friday, April 18 at 7 p.m.; Sunday, April 20 at 1 p.m.; Thursday, May 15 at 7 p.m.; and Friday, May 16 at 7 p.m.
Titled "Coming Home: The CARE Program," the documentary examines a fledgling re-entry program for federal inmates sentenced through the U.S. District Court for the Middle District of Pennsylvania. The Court-Assisted Re-Entry (CARE) Program aims to reduce criminal recidivism by inviting judges, probation officers and community volunteers to work side-by-side with individuals on probation in adjusting to life outside prison. Participants successfully completing the program can have their time on probation reduced.
In the spring of 2013, a class of five Bucknell students and Faden conducted more than a dozen interviews with current and former CARE Program participants; federal judges, probation officers and prison wardens; and community volunteers, condensing the resulting 26 hours of video into the documentary short. The project took the class inside the walls of the Federal Correctional Institute-Schuylkill in Minersville, Pa., and to federal courthouses in Harrisburg, Scranton and Williamsport.
"The participants were some of the most empowering interviews that we did," said Caitlin Falco '13. "They were willing to go back to the day that they were arrested and to share those feelings and experiences with us, which is what was going to make the film effective and powerful, and you really saw how the CARE Program changed their lives."
In October 2013 the program's founder, Federal District Chief Judge Yvette Kane, honored Faden and his students with an award for their work.
"I'm proud of the class because most viewers assume it was made by a professional film crew," said Faden. "Student films are often stigmatized as amateurish. We want to show that students can produce broadcast-quality work given a good mission and the support to produce it."
WVIA's hour-long program will include a panel discussion with Faden; video production specialist Brianna Derr, who worked on the film as a graduate student; and Eric Noll, Deputy Chief U.S. Probation Officer for the Middle District of Pennsylvania. The station will also air the students' documentary in full at the start of the show.
For a preview of the special, watch below:


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Happy Endings' Eliza Coupe Getting a USA Sitcom
About a lawyer.
Happy Endings' Eliza Coupe will star in a new sitcom for USA, the network announced today. Benched, created and written by Michaela Watkins (currently killing it on Trophy Wife) and Damon Jones, is about a high-end corporate lawyer who has a public meltdown after she's passed over for a promotion and winds up working as a public defender. Party Down's John Enbom will serve as showrunner, and the rest of us here in the peanut gallery will serve as the cautiously hopeful public, because this sounds promising.


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You are here: Home : Topics A-Z : Disclosure
CEOs, CFOs Should Oversee Risk Management: Survey
Risk management is a higher priority, and it's CEOs and CFOs, not chief risk officers, who are ultimately accountable, says a new survey.
June 29, 2012
Organizational risks are increasingly on the radar of top executives, and it's chief financial officers and CEOs - not chief risk officers - who should ultimately bear the responsibility for risk management, according to a survey released Wednesday. Read more...
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A New Risk Factor: The JOBS Act
The new law, which loosens reporting requirements for smaller businesses, has prompted some companies to actually add information to their regulatory filings. May 15, 2012
Outcry over Proposed Human Capital Metrics Disclosure
Criticisms are abundant, but the effort is finding enough supporters to give it a fighting chance. May 2, 2012
FASB Disclosure Project Crawls Forward
FASB is making progress on a project that will likely reduce the number of notes companies include in their financial statements. April 25, 2012
Proposed Standard Calls for Human Capital Disclosure
"A significant portion of the value of organizations remains unaccounted for in investment communications," advocates of the proposal contend. April 10, 2012
Under Heat from Congress, SEC Still Seeks 18.5% Raise
A congressional appropriations committee expresses misgivings about allowing the securities regulator to spend more money next year. March 6, 2012
Shareholders Asking Companies to Reveal Political Outlays
Commissioner Aguilar urges the SEC to require disclosures of lobbying and campaign costs. February 28, 2012
New Rules Wreak Havoc for Retirement-Plan Sponsors
Come July, newly required disclosures by plan service providers could translate to headaches for CFOs. February 21, 2012
Say It Ain't So, Mr. CFO
In his first column, CFO Online's editor-in-chief recalls Diamond Foods's just-deposed finance chief during happier times. February 10, 2012
A Reason to Revisit Your Cybersecurity Risk
New guidance from the SEC nudges public companies to consider how forthcoming they should get about the costs and overall effects of potential and actual IT breaches. November 3, 2011
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Powerball jackpot boosted again to $550M
The record Powerball jackpot just keeps rising. It now stands at $550 million after officials say brisk sales keep driving up the payout amount.
The jackpot was boosted to $500 million on Tuesday and raised again Wednesday morning to $550 million.
The numbers are an estimate and could be increased again as the drawing nears.
Powerball officials say they now believe there is a 75 percent chance that the winning combination of numbers will be drawn Wednesday night. Financial planners, meanwhile, are urging potential winners to use restraint.
So perhaps buying an island isn't the most sound financial decision to make in the wake of winning a $550 million Powerball jackpot.
"That's right up there with squandering it," said Bill Keffer, a financial planner in Wheaton. "Actually, that's worse because I do recommend people squander a little bit of it to get it out of their system."
Island-buying was just one of the many extravagances mentioned by suburban residents lining up to buy tickets for tonight's Powerball drawing. Private planes, new homes and yachts also figured high on wish lists, all of which essentially had personal wealth experts wagging their fingers.
Eliminating all debt should be the first move in financial planning after a lottery windfall, Keffer advised.
Among suburban financial planners, Keffer isn't the only buzz kill when it comes to splurging after winning the massive Powerball jackpot, currently the second largest American lottery payout ever and the richest prize in Powerball history.
"Don't make any quick decisions," advised Cheryl Krueger, a financial planner at Schaumburg's Growing Fortunes Financial Planning. "It's really about building around a plan for the future, so if someone came to me and said they had that much money, we would look at their dreams and what they wanted to accomplish."
The financial planning experts all say lottery winners should make a plan for how they want to live their lives before they start spending money. Besides hiring a financial planner, they advise hiring an attorney and an accountant, as well. Some also suggest a private investigator and someone to answer the phone.
"You have to make sure you and your family are set up longer term instead of having fun now and going bankrupt later," said Ken Pawula, an Arlington Heights financial planner. "Don't binge. People have won the lottery and then a few years down the road they go bankrupt."
They all say to invest the lion's share of the newfound fortune. But managing the investments with a fortune of that size can also be tricky.
"At that level of wealth, there's a whole different world of investing available that has potential for higher rates of returns, but greater risk of loss as well," Keffer said.
Age, dependents, lifestyle and a number of other factors need to be taken into account when making a financial plan, the experts agree. Investment plans would differ widely between someone who won the lottery at age 25 versus someone who was a winner at age 65.
"If you're that young when you win the lottery you're obviously not going to work another day in your life," Pawula said. "You not only have to have this money last you until retirement age, but throughout your entire life."
But there should be room for frivolity -- something high on the lists of suburban Powerball players.
"Live happily, that would be definite, for sure," said Bryan Husch of Fox Lake. "My wife and I would be traveling a lot. All the kids would be set for college and houses and everything they ever needed. I'd buy a 40-foot boat. I'd let my wife name it."
Krueger said winners of a lottery payout this big should be able to have flights of fancy without risking a lifetime of misfortune.
"Live your dream," she said. "As long as you can afford it."
Keffer agreed. "If you have that level of wealth come to you, you should carve out a piece to tickle some fancies you may have."
Besides buying islands, which Pawula called a "terrible idea," fancy cars and big houses were common themes among suburban lottery winner hopefuls. "Cars only if you need one," Pawula said. "Condos only if you're going to use them, and houses depend on what you think is going to happen to the market."
Blake Johnson, a 10-year-old from Arlington Heights who would have to rely on his parents to win the lottery, wants his own soccer field.
"I'd get a huge house," he said, emphasizing the adjective. "With a big basement so then I can play sports and stuff in there. I'd have a whole soccer field."
There are also many altruistic and philanthropic potential lottery winners.
"That's a crazy amount," said Igor Dimovski of Streamwood. "I don't know that I could spend it all in my lifetime. I'd give 70 percent to charity and the rest I'd spend and take care of my family."
The financial planners are keen on the idea of starting a charity. That's because it provides an outlet for the lottery winners to remain actively involved in their finances and actively working.
"I like this," Krueger said. "Especially if it's charity work that's not being done somewhere else and they feel motivated to do something."
With the Powerball hype competing for attention with the ongoing "fiscal cliff" crisis playing out in Congress, some potential winners have suggested using the money for the good of the country. However, the financial planners don't believe it would make much of a dent.
"It would probably keep Big Bird going if you gave it to the government," Krueger said. "But why do it? You're going to be giving a lot toward the fiscal cliff anyway."
That's because almost half of the jackpot will be eaten up by taxes.


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Story posted January 01, 2012
Students in Scott MacEachern's Essentials of Archaeology course are hoping they will become privy to secrets of 19th century life buried underground at the Joshua Lawrence Chamberlain House. In fact, the student archaeologists would like to find the remains of the privy itself.
An outhouse is where unusual objects often end up, says MacEachern. "When you want to get rid of the evidence of what you've been doing, then you toss it down the privy," he chuckles. "That's a basic of historical archaeology wherever you work."
Excavation of the grounds of the Chamberlain House is the latest in a series of digs that have taken place on and around the Bowdoin campus for over a decade, as building projects have opened up opportunities for fieldwork by Bowdoin faculty and students.
Today, students have been dispatched into groups around four test pits, where they are learning how to excavate, bag and tag samples, then clean and catalog findings in the laboratory.
"Fieldwork is so central to the discipline," notes Professor of Anthropology MacEachern, an archaeologist who recently completed the largest archaeological survey ever undertaken in central Africa. "The students will end up with a much more immediate sense of what archaeology involves."
Fieldwork is offset by classroom instruction on subjects including site location, remote sensing techniques, radiocarbon dating, and lab techniques.
Civil War hero Joshua Lawrence Chamberlain, Class of 1852, was Governor of Maine and Bowdoin College's sixth president. The Joshua Lawrence Chamberlain House is owned and maintained by the Pejepscot Historical Society.
Fieldwork is offset by classroom instruction on subjects including site location, remote sensing techniques, radiocarbon dating, and lab techniques.
— Professor Scott MacEachern


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Vincent Kartheiser has a face that's launched a thousand GIFs.
As smarmy Pete Campbell on AMC's "Mad Men," the 34-year-old actor has presented no shortage of brilliant verbalization, fumbles, and foot coordination for those with a hankering for the animated image format.
Now the man with the smug face (that does well with a punch), has opted to hide it for another form of animation: cartoons. Kartheiser lends his voice to "Axe Cop" and "High School U.S.A.," two shows launching Fox's Animation Domination High-Def (ADHD) block July 27, a companion of sorts to its Animation Domination lineup on Sundays. ADHD's multi-platform initiative will fill up the network's late-night block on Saturdays with 15-minute shows, as well as generate GIFs, shorts and other digital content for the Web.
PHOTOS: Hollywood Backlot moments
We caught up with the actor on his day off from starring as Mr. Darcy in the Guthrie Theater's production of "Pride and Prejudice," which wrapped previews and has its official opening night Friday in Minnesota.
Read on for his thoughts on whether his portrayal of Mr. Darcy will merit a statue, getting away from Pete Campbell, and missing out on Bob Benson's fish shorts.
Thanks for taking time on your day off. That's an iconic role, that Mr. Darcy.
That's what everyone keeps telling me. I try not to hear it. I'm just trying to discover it on my own. I don't want that pressure, you know?
I get it. I mean, did you hear how there's now a statue of Colin Firth as Mr. Darcy in the middle of London's Serpentine Lake?
Now you're just making me feel bad.
Stop! It's only a matter of time before there's one of you in Minnesota.
I think it's a matter of eons! That's what I think.
PHOTOS: Fashion of 'Mad Men' Season six
Were you one of those guys that shied away from reading "Pride & Prejudice" growing up — I know it often gets pegged as a female reading material.
I love the book. I don't think it's very girly. I think it's just a human story. And I wear tights.
Let's talk about your involvement with ADHD — how did that sort of come about?
It came about because they had this show called "Axe Cop" and they thought I would have a good voice for a guest-starring character who is Bat Warthog Man, and so I came into their office, which at the time was just a tiny little garage of a house in Los Feliz. It was in this little room where we had to turn the air conditioner off to record because it made too much noise. And there was seven writers, two producers and me all in this tiny room and I did the voice for Bat Warthog Man and we had a lot of fun. And they said, 'You know, while you're here, do you want to audition for this other role on 'High School U.S.A.' and I said, 'Sure.' It kind of just took off from there. I was just going in, and doing table reads, and recording every other week. It's just a fun experience getting in that room and improv-ing some stuff.
What makes Pete Campbell so memorable are his expressions and mannerisms — particularly when he's upset. Is it fun to be in that voice booth and be more focused on your voice or is it all the same — I know you've done voice over work before.
Yeah, mannerisms and that other stuff will be added, and so you can still do them. Most of the time, I'm still acting the same as I would on "Mad Men" in terms of how I deliver my part. But the idea that you're not acting with someone is a different kind of challenge that I'm not used to. When I need it, they'll jump in and run lines with me, especially [creator and writer] Dino Stamatopoulos. He's good with kind of cuing me to get the right intensity and emotion. But, yeah, I grew up in Minnesota and I used to do a ton of radio commercials here, voice overs. I was actually a radio disc jockey for two years when I was 11 and 12. So I have some experience in the studio working with my voice, but not much in the last 10 years — with the exception of "Rango."
BUZZMETER: Emmy 2013 pundit's picks
I just hope they keep making more projects and hiring me.
Are you an animation guy?
Yeah, I love Adult Swim. I love lots of these guys and the shows that they've created like "Moral Orel" and "The Boondocks" — those kind of shows, I really love. And, hello, of course "South Park" and "The Simpsons." "The Simpsons" is kind of the gold standard. But I love the short-form, 12-minute stuff, too. I think it's cool that we're doing that.
There's never a dull moment playing Pete Campbell. But it must be a nice departure.
Oh, yeah, absolutely. Marsh, the character I play on "High School U.S.A.," is so optimistic — even when he's delivering bad news, he does so in a cheerful way. It is sort of a detox from Pete Campbell, emotionally, especially when I was doing both at the same time, it was a nice break.
And Bat Warthog Man -- I mean, come on. He's a Bat Warthog Man.
Do you think you'll get your "Mad Men" co-stars to do some guest voice gigs for the shows?
Oh, I think if ADHD asked me to, I would ask them, sure.
RELATED: Women of 'Mad Men' talk Don, story rumors and the end
Who do you think would show the most skills at this?
I think they would all be great. All those people use their voices so well — people are buying Mercedes because of Jon Hamm's voice! Any one of them can jump in and do a great job. I'd be nervous if they came in and stole my job, though.
We should resurrect Mrs. Blankenship!
Ha! I think several people would like that. Let's get Mrs. Blankenship doing some ADHD.
Oh, Ms. Blankenship, she had a rough ending.
Hello, they put me through the ringer, as always.
Ah, yes. Pete was on a roller coaster ride this season. And the hair looked more slick and stiff than ever.
I don't know if I had more hair product. Usually, that part of the day is early in the morning or late at night when I'm in the hair chair, so … generally, I'm focused on what I'm supposed to be doing in the scene. I literally just let them do it, then I look up and say, 'That looks like Pete Campbell.'
Are you familiar with your GIFs? You must be, at this point.
Yeah, mostly because my friend works at Tumblr and he introduced me to Pete Campbell's Bitchface — that has a lot of GIFs of me looking attractive. That's sarcasm. Let your readers know that's sarcasm, Yvonne.
None got more Web devotion this season than the GIF of Pete falling down the stairs.
Yeah, I like that one. You like that one?
PHOTOS: Celebrities by The Times
My favorite is when Bob Benson's knee touches Pete's knee.
I haven't see that one. It was fun doing scenes with James Wolk. That guy is a good actor.
Do you have thoughts on the Bob Benson fish shorts?
Fish shorts?
He wore these shorts with a fish pattern that had the Internet talking.
Oh, really. He didn't wear them in a scene with me. I would have remembered that.
Yeah, Joan got the pleasure.
I haven't see that episode yet. I don't know what to think of them. I'm behind schedule on all that. Once the play gets done, I'm going to hunker down and watch them all.
Do you like all this time traveling you get to do? First the '60s, now the 19th century.
It is fun to go back into that era in the costume and way they talk. I wear tights! … which is fun. That's a manly thing: looking in the mirror with your shirt tucked into your tights, pulled up to your nipples. That's a confidence booster. That gets you jazzed, you know what I mean, Yvonne?
And there will be dancing, yes?
Yeah, yeah. There's no Charleston, but we dance. It's like English country dancing. It's fun. Although, they keep editing mine down for some reason — I don't know why! It has nothing to do with my lack of grace and coordination, I can guarantee it. In the group dances, they stick me in the back.
Oh no!
I don't blame them! I don't blame them, Yvonne! I stuck myself back there to begin with. They just kept me there.
I need to fly out there to see this all go down.
You better hurry up!
PHOTOS: TV shows and their spinoffs
Overrated/Underrated 2014
PHOTOS: 101 best-written TV shows of all time


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SANTANA TO PERFORM AT A STAR-STUDDED CONCERT IN GUADALAJARA, MEXICOON DECEMBER 14TH AT THE VINCENTE FERNANDEZ ARENAHONORING HIS LATIN MUSIC HERITAGE COLLABORATING WITH THE BIGGEST NAMES IN LATIN MUSICON A FORTHCOMING STUDIO ALBUM CORAZÓNDUE OUT EARLY 2014 ON RCA/ SONY LATIN IBERIAConfirmed celebrity performances at the concert include Chocquibtown, Gloria Estefan, Juanes, Fher Olvera, Lila Downs, Miguel, Niña Pastori, Samuel Rosa of Skank, Salvador Santana, Soledad, Diego Torres, among others. Other superstar performances on the forthcoming album CORAZÓN include Lila Downs (Mexico), Ziggy Marley (Jamaica), and Romeo Santos (Dominican Republic) Ten time GRAMMY®-Award winning rock icon and Rock and Roll Hall of Famer, Carlos Santana announces today that he and his band SANTANA will be performing at a once in a lifetime concert event in Guadalajara, Mexico (in his native state of Jalisco) on December 14th at the Vicente Fernandez Arena, with a star-studded cast of musicians, all celebrating their Latin music heritage. Confirmed celebrity performances at the concert include Chocquibtown, Gloria Estefan,uanes, Miguel,Niña Pastori, Samuel Rosa of Skank, Salvador Santana, Soledad, Diego Torres, among others. More celebrity performances will be announced soon. This concert is a homecoming for Carlos and a festive kickoff event to mark his forthcoming album project close to his heart entitled CORAZÓN. In addition to the superstars performing at the December 14th show, Lila Downs, Ziggy Marley, and Romeo Santos will also be joining Santana on this star-studded album project CORAZÓN,release date to be announced soon. CORAZÓN, the concert and album project brings Carlos back to his birthplace, in the city of Autlan, just south of Guadalajara and celebrates Carlos' love of his musical heritage, as well as showcases Carlos' own personal influence on Latin music and on today's generation of Latin superstars. Many genres of Latin music are represented in these collaborations including pop, rock, salsa, hip-hop, folk, reggae, traditional and bachata.
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Solid Oak Seattle Surround £599.00
Fire Surround Dimensions
Hearth Dimensions
Rebate: 1 inch removable to 3 inches; click here to find out about rebates.
Measurement 'D': This is always from the bottom of the leg to the corner of the opening.
Product Description
The Solid Oak Seattle is one of a kind; the Seattle has a distinctive Macintosh appearance across the leg and fascia. This is completed with black inserts across the lattice design.
This fire surround can be, made to measure so that it perfectly fits your room, you can also have either Halogen or LED downlights installed for added ambience.
To select a veneered hearth and back panel, use the drop-down menu and add your colour preference at the checkout; alternatively Click Here to select your colour. To view our selection of Hearths and backs, Click Here.
We recommend that you take advantage of our colour sample service as colours on monitors often do not match the finished product. Click Here to have some samples sent to you.
This surround is shown here in Clear Oak with Smooth Black inserts.
Range Description
Solid Oak Fire SurroundsThe solid Oak range of Fire Surrounds is our premier range of mantlepieces.
Oak is known as the King of Woods due to its unique character and strength; our European Oak is well seasoned and easily identifiable by its beautiful natural grains and unique persona.
Manufactured by skilled craftsmen from solid Oak, each surround has a unique appearance; no two are ever the same.
Solid Oak gives a richness and greater depth in the grain of the wood when compared to a wood veneered surround. Each Solid Oak surround is truly individual, displaying the real and natural consistency of wood; these surrounds will be a real focal point in your room.
Hearth & Back Dimensions
|37" or 40"
|37" or 40"
|48", 54" or 60"
|15" or 18"
Hearth Footprint
We would always suggest that you take delivery of your hearth before cutting your carpet. The sizes given are for the top of your hearth, the footprint is usually around 0.5" on both sides and front.
Bespoke Sizes
We can alter the size of your hearth, in both width and depth. Please call us for a quotation.
Standard Sizes
The standard sizes for hearths are:
|48", 54" or 60"
|15" or 18"
The back panel standard sizes are:
|37" x 37"
|40" x 40"
If your require a hearth that is not an option on your chosen fire surround, please order from our Hearth & Backs section.
All our fire surrounds can be upgraded to be used with an open fires, Solid Fuel Stoves or Gas HE Fires.
You must follow your manufacturers and Hetas guidelines as we do not make the surrounds fire proof. We are ensuring they won't warp or peel if fitted correctly.
You should always ensure that your installer is registered with Hetas, and always ask your installer for identification; they will be able to produce a HETAS ID card with their registration competence on the reverse.
If you do not have an installer then visit the HETAS website (www.hetas.co.uk) and using their search, you will be able to find an installer in your location.
Please call a Hetas engineer for installation advice.
Our surrounds can be used with any gas fire with an output of 4Kw or less. For greater output select the solid fuel upgrade
Gas fires must be fitted per distances from combustible materials, as specified in your instruction manual. Any HE or glass fronted fire must have the solid fuel upgrade. HE & glass fronted fires can only be used with Granite Hearth and Backs.
If you visit www.gassaferegister.co.uk, you will find a list of engineers in your location.
You must use a Gas Safe Engineer if you are having a gas fire fitted, they can generally fit your entire fire surround and will supply you with a safety certificate.
Please call a Gas Safe engineer for installation advice.
All our surrounds can be used with electric fires; you do not need a qualified electrician as they come fitted with standard plugs.
If you are fitting your fire surround against a wall without a hole, then you need to ensure that you have the correct surround rebate. If you have a chimney, this needs a cowel or to be sealed to stop the fire overheating and becoming noisy.
If you are moving a socket, then you need to use a qualified electrician. Once the work has been carried out, you will receive a Part P certificate from the electrician.
If you are looking for a qualified electrician, then a good website to visit is www.electricalsafetyfirst.org.uk.
Call us if you require help with rebates.


text:
The phrase "four-letter word" has a bad reputation, for obvious reasons. But there are
The phrase "four-letter word" has a bad reputation, for obvious reasons. But there are good four-letter words, too. Here are a few four-letter verbs for outdoor lovers to keep in mind as fall begins.
Shorter, cooler days mean a variety of hunting seasons are about to open. Waterfowl, small game and white-tailed deer keep hunters busy until the end of the year.
But it's not just about the actual hunts. Many hunters "shop" in the fall. It's a time for new guns, scopes and tree stands. Outdoor stores such as Cabela's love the fall. Parking lots become seas of SUVs and pickup trucks as business booms.
And between shopping trips and actual hunting, hunters "plan." They scout their favorite locations looking for signs of wildlife activity.
Their ultimate goal is to "fill" the freezer with fresh meat.
Though some may consider fishing a warm weather activity, many anglers enjoy their passion year-round. A trip to the east coast finds that many charter captains make daily offshore trips. The Great Lakes remain busy even in midwinter after the water freezes. Ice-fishing is not for everyone, but for some, it's almost a way of life. And as long as mild weather persists, streams and smaller lakes get plenty of visitors.
Fall migration is second only to spring migration for those who like to bird. In recent weeks, flocks of nighthawks filled the sky as they foraged to food to fuel their southbound journeys.
Skeins of ducks and geese head south in familiar "V" formations. And hawk watches at places such as Cape May, N.J., and Hawk Mountain, Pa., have become annual rites of passage for many.
It may seem odd to suggest swimming as a fall activity, but large bodies of water are heat sinks. Water cools slowly, so when air temperatures cool, water is often a warmer place to be.
I'm writing this from the Jersey shore, where the ocean temperature is warmer than the air.
Just be sure to keep a towel handy because the ever-present sea breeze quickly chills a wet body.
If swimming in the fall seems a bit extreme, wading can be just as fun. Just yesterday, as I waded in the surf at Sea Isle City, I watched an osprey fish for about 30 minutes and identified four species of gulls (laughing, ring-billed, herring and greater black-back), two shore birds (a semipalmated plover and sanderlings) and a common tern.
And as I birded while wading, a few brave souls "surfed."
Fall also is a great time to boat in a canoe or kayak.
Wildlife is usually more tolerant of watchers on the water than watchers on land. Just be sure that everyone always wears a PFD (personal flotation device).
Against a backdrop of fall colors, it's hard to beat a brisk walk in the woods. You invariably get a peek or two at some interesting wildlife, and if you do it with a purpose, call it a "hike."
One of my favorite fall activities is to camp by a fire in our hayfield and gaze at the night sky. When our daughters were little girls, my wife and I did this at least a few times each fall.
We'd roast hot dogs and marshmallows, watch for shooting stars, learn a few constellations, and tell scary stories.
Before we fell asleep, we'd often hear a hooting great horned owl and maybe a few yipping coyotes.
These remain some of my favorite family memories.
Finally, fall can be a great time to plan for the future.
Where to spend the upcoming holidays always is an important decision.
Do the girls come home or do we travel to them?
My wife and I also like to plan our next big trip. We have several long road trips under our belts, and we're itching to do another. Our first was Pennsylvania to Arizona, then Michigan to British Columbia, and West Virginia to North Dakota. We reminisce about these trips often, so it's time to plan another. Maybe we'll hit the road in 2013.
To outdoor enthusiasts, it's four-letter words that can make life worth living.
Send questions and comments to Dr. Scott Shalaway, RD 5, Cameron, WV 26033 or by email via my website, http://scottshalaway.googlepages.com.
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Hyundai Tucson 1.7 Crdi Blue Drive Premium 5Dr 2Wd Diesel Estate
Mileage: 3,005
Trans: Manual
Body: Estate Year: 18/18
Colour: Ara blue - Metallic
Fuel Type: Diesel
Quote Reference Number: OE2-507751
Call our Sales Advisors: 0330 096 7479
- Insurance Group12E
- Performance (BHP)116
- Number of Seats5
- CO2 (g/km)119
- Road Tax£140
|Body Glass
|Intermittent front wipe with adjustable delay
|Rain sensor windscreen wipers
|Front windscreen de-icer
|Rear wash/wipe with intermittent wipe setting
|Rear privacy glass
|Electric front/rear windows with drivers one touch/anti-trap
|Solar glass with windscreen shade band
|Windscreen wiper de-icer
|Automatic defog system
|Traction control
|Emergency brake assist
|Downhill Assist Control (DAC)
|Trailer stability assist
|Emergency stop signal system
|Hill start assist control (HAC)
|Brake assist
|Vehicle Stability Control (VSC)
|Bluetooth system
|Driver Aids
|Cruise control + speed limiter
|Lane keep assist
|Front and rear parking sensors
|Blind spot monitoring
|Flex Steer variable steering settings
|Rear cross traffic alert
|Reversing camera
|Speed limit information function
|Lane departure warning system
|Driver Information
|Trip computer
|Rev counter
|Digital clock
|Trip odometer
|Water temperature gauge
|Tailgate open warning light
|Supervision cluster
|8" touchscreen DVD colour navigation
|Windscreen washer level indicator
|Driving Mirrors
|Folding door mirrors
|Electric heated door mirrors
|Auto dimming rear view mirror with compass
|Body coloured door mirrors
|Embellishment Trims
|Metal grain centre console
|6 speakers
|USB/aux input socket
|Steering wheel mounted audio/phone controls
|DAB Radio/CD + MP3
|DAB Digital radio
|Exterior Body Features
|Mudflaps front and rear
|Body colour bumpers
|Integrated rear spoiler
|Chrome beltline
|Chrome radiator grille and surround
|Silver bodyside mouldings
|Body colour door handles
|Silver roof rails
|Front skid plate - silver
|Exterior Lights
|Front fog lights
|Rear fog lamps
|LED brake lights
|Follow me home headlights
|Puddle lights
|Automatic headlights with dusk sensor
|LED daytime running lights
|LED rear lights
|LED headlights
|Dual zone climate control
|Interior Features
|Leather upholstery
|Luggage net
|Cigar lighter
|Front and rear door pockets
|Luggage hooks
|Height/reach adjustable steering column
|Overhead console with sunglasses holder
|Height adjustable front armrest with stowage
|Leather steering wheel and gear knob
|Knee bolster - driver only
|Lockable/illuminated air conditioned glovebox
|Luggage area underfloor compartment
|Cupholders in centre and rear console
|12V socket in luggage compartment
|Retractable load cover
|Rear armrest with cupholder
|Driver and passenger front seat pockets
|Chrome interior door handles
|12v Socket in centre console
|Interior Lights
|Front map reading lights
|Door courtesy lamps
|Luggage compartment lighting
|Driver and passenger airbags
|Height adjustable front seatbelts
|Seatbelt warning
|'Childproof' rear door locks
|Passenger airbag deactivate switch
|Seatbelt pretensioners with load limiters
|Front side airbags + full size curtain airbags
|Tyre pressure monitoring system
|Drivers knee airbag
|3x3 point rear seatbelts
|Active bonnet
|Autonomous emergency braking
|Heated front seats
|Heated rear seats
|Front/rear adjustable head restraints
|Isofix rear child seat preparation
|60/40 split and double folding seats (flat to floor)
|Electric adjustable front seats including height adjust
|Reclining rear seats
|Driver's electric adjustable lumbar support
|Engine immobiliser
|Locking wheel nuts
|Alarm and remote central locking
|Speed sensitive auto door locking
|Vanity Mirrors
|Driver/passenger sunvisors with ticket holders + illuminated vanity mirrors
|Wheels - Alloy
|17" alloy wheels
|Wheels - Spare
|Full size alloy spare wheel
The specification listed for this vehicle was standard when purchased new. The actual specification may vary, for confirmation, please contact our sales department.
"Demonstrator- Enquire Today!!!!Demonstrator- Enquire today Our Demonstrator Vehicles offer a fantastic opportunity to make a massive saving against the New Car List Price. These cars also come with the balance of Hyundai's * 5 Year Unlimited Mileage Warranty* Available to view and test drive today. Please confirm actual mileage of vehicle with your sales advisor at time of purchase."
Stuart Macphail, Branch Manager
Key Features
- Air Conditioning
- Climate Control
- Metallic Paint
- Cruise Control
- Satellite Navigation
- Alloy Wheels
- DAB Radio
- Bluetooth
- Parking Sensors
- Low Mileage
- 1 Owner
- Full Service History
Intermittent front wipe with adjustable delay, Traction control, Vehicle Stability Control (VSC), Bluetooth system, PAS, Trip computer, Folding door mirrors, Metal grain centre console, 6 speakers, Mudflaps front and rear...
|0 to 60 mph (secs)
|0 to 62 mph (secs)
|Engine Power - BHP
|Engine Power - KW
|Engine Power - PS
|Engine Power - RPM
|Engine Torque - LBS.FT
|Engine Torque - MKG
|Engine Torque - NM
|Engine Torque - RPM
|Top Speed
Go Green
|Emissions - ICE
|CO2 (g/km)
|119 (g/km)
|Standard Euro Emissions
|Fuel Consumption - ICE
|EC Combined (mpg)
|EC Directive 1999/100/EC Applies
|EC Extra Urban (mpg)
|EC Urban (mpg)
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Opening times: 8.45am-9pm Monday to Friday, 9am-5pm Saturday & 10am-5pm Sunday
Terms & Conditions: Every effort has been made to ensure the accuracy of the information shown. However, errors do sometimes occur. The specification of each vehicle listed on the Vertu Honda website is provided by "CAP". Please note that the Images of each vehicle are range shots, these can include images which do not reflect the precise details of the vehicle you are looking at and are purely used for illustrative purposes. The inclusion of such data does not imply any endorsement of any of its content nor any representation as to its accuracy.


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General Information
This section contains current information regarding Certificated, Classified, and Substitute opportunities. Positions will be posted as they become available and will be removed once a candidate has been selected.
If you have any questions about the application process or about a particular position, please contact Brandy Hennefer via email or by calling (925) 927-3507.
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