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Doctor Who: The Reign of Terror (UK - DVD R2)
The Wilson Bros try to keep their head as they examine this historical Who...
Doctor Who's first season was coming to a close when The Doctor, his granddaughter and their two semi-reluctant travelling companions touched-down in revolutionary France, whilst the original remit of Doctor Who (to entertain and educate in equal measure) was still being adhered to...
The year is 1794 and the TARDIS materialises in what appears to be England; Ian (William Russell) and Barbara (Jacqueline Hill) want to leave, but their plans to finally give up time-travelling with The Doctor (William Hartnell) and his granddaughter, Susan (Carole Ann Ford) are thwarted when they realise that they have landed in France at the height of the infamous Reign of Terror and the ensuing adventure sees the TARDIS crew imprisoned and coming face-to-face with the infamous Robespierre.
The opening of The Reign of Terror sees The Doctor and Susan getting ready to say their goodbyes, with our favourite Timelord showing a considerable amount of indignation at his time-travelling teaching assistants wanting to bail out now that they have apparently landed on present-day Earth. With The Doctor reluctant to even see them off, Ian and Barbara set about buttering up The Doctor, with Barbara almost draping herself over him (and Jacqueline Hill looking so cute doing so), almost trying to massage his ego to get him on-side, which was apparently the same approach that members of the cast and crew had to adopt when dealing with the often-grumpy Hartnell in real life.
Many Doctor Who fans site the period stories of the sixties (even though Troughton only really did one, The Highlanders) as the "dull historical ones"; it is pretty hard to deny that these history-based adventures have aged far better than their futuristic counterparts and the main cast preferred working on the historical stories, especially William Hartnell, who had something of a passion for history. It is understandable as to why the cast favoured historical stories over futuristic ones, as would be far easier to draw on their stage experience, particularly Shakespeare, and have a better handle on the drama, rather than playing a malevolent, xenophobic alien from the planet Zog.
The above is best demonstrated in a scene where The Doctor enters the establishment of a garment-seller and it consists of Hartnell trying to acquire a new set of clothes to masquerade as a high-ranking official; Hartnell's years of stage work comes to the fore here, as he seems to revel in something that harks back to his love of treading the boards, playing against John Barrard as the tailor who is suspicious of the mysterious would-be customer. The scene is humorous and well-played, with both actors bouncing off each other and Hartnell only fluffing a couple of times. He gives that particular duty to William Russell this time around...
That the Beeb does what it does best with The Reign of Terror, providing sumptuous costumes and sets augments the drama aspect, which in turn gets the cast to deliver their best - stick Hartnell in a hat, and he's happy. Dress Hill up in feathers and you have a revelation! Here, every costume worn by the cast has an authentic look to them, with Hartnell relishing the opportunity to wear period clothing. The sets are pretty impressive, ranging from the seedy country houses to squalid gaols to the luxurious residence of Robespierre, they all add to the rich atmosphere - although relatively cramped confines of the studio mean the safe-house that Susan and Barbara are sheltered in may very well have the smallest, yet most opulently decorated parlour in all of France.
You've got to feel sorry for Carole Ann Ford in this story; fresh from stretching her character a little - along with her acting skills - in The Sensorites, Susan is once again required to scream, get sick, twist her ankle at an inopportune moment, etc. There would be only two more stories to feature Susan and you have to wonder if the regressive creative steps her character has forced upon her in The Reign of Terror cemented her decision to leave. Susan started off as a mysterious and intriguing character in An Unearthly Child, but soon became a pain in the arse (or should that be ankle?) and more of a liability to the TARDIS crew, rather than a help; the fact that Susan spends a couple of episodes of The Reign of Terror afflicted with a nasty fever didn't do the character or the actress any favours.
As was the case with a number of sixties Doctor Who stories, the shooting happened to unfortunately coincide with one of the main members of the case, in this instance William Russell, being away on holiday; the potential absence of the show's action man was cleverly avoided by having William Russell shoot filmed inserts of his character to be used in the two episodes where he was not available. This action benefitted the look of the story, allowing for multiple set-ups and much snappier editing than it would have shooting these scenes on video - which would not have really been possible anyway...
Jacqueline Hill not only gets to look fabulous in period costume, but gets a couple of very strong scenes that show her skills as a dramatic actress, especially when Barbara is told of the demise of a man who is revealed to be traitor; Barbara enjoyed a brief moment of kinship with him prior to his premature departure from existence and the sound of anger and disbelief in her voice is powerful stuff, especially given that Ian had a hand in the traitor's death. Ms Hill had something of a raw deal as far as the original line-up was concerned, as you had William Hartnell as the lead, Carole Ann Ford as the young person the target audience could identify with, William Russell as the dashing go-getter and Jacqueline Hill was the other one. Ms Hill was given her chance to shine now and again (her commanding part in The Aztecs being a perfect example), but the role of Barbara was usually an understated one that never really got the respect it (or the actress for that matter) deserved.
As for the guest actors, future Rentaghost stalwart Edward Brayshaw materialises near the end of episode three and certainly makes his presence known, giving a performance - as the slimy Leon Colbert - that has most of the mannerisms and the cadence later seen in his appearance as The War Chief in The War Games, with that same measured, rhythmic vocal delivery and almost mechanical physical gestures. Jack Cunningham makes a good fist of his role as The Jailer - being the sort of contemptible, gruff plebeian who is probably secretly delighted by his own outward indifference to the suffering and misery being inflicted upon those who enter his jail. He's the sort of hissable villain who probably wasn't above gobbing into the food that he serves to the prisoners and Cunningham plays this character to the hilt, reminding the viewer of one of Peter Butterworth's earthier Carry On characters.
The story might be looked upon as being a little thin to spread over four episodes (the fact that the characters keep being captured and ending up in The Conciergerie is a good indicator), but things are kept bubbling away nicely, as writer Dennis Spooner always knew how to use humour to maintain interest during historical Doctor Who stories, with the scene that sees Hartnell roped into a chain-gang of tax-evaders being a good example, though The First Doctor still hadn't learned how to avoid whacking someone over the head in order to remedy a troubling situation.
One-shot Doctor Who director Henric Hirsch does a pretty good job of staging this story, but he suffered nervous exhaustion mid-way through, and was replaced - albeit uncredited - for episode three by John Gorrie (who had previously directed The Keys of Marinus); there aren't any radical stylistic differences between the five helmed by Hirsch and the one directed by Gorrie, so it all flows nicely. It's a pity that Hirsch didn't stay on and do more Doctor Who assignments, but it's more than likely that his mid-story meltdown seriously blotted his copybook with producer Verity Lambert, and shit-attacks like that really aren't tolerated in the television world.
The Animated episodes
This particular story suffered during the BBC's short-sighted purging of their archives during the seventies. Dupes of episodes one, two, three and six were returned to the BBC in the eighties from Cyprus (which had not screened the story, but had possession of copies that had came from Malta), and another copy of episode six had already been returned to the BBC by a private collector.
Episodes four and five, The Tyrant of France and A Bargain of Necessity, are still missing from the BBC's archives and these episodes have been animated for your viewing pleasure. This was a joint venture between Pup, Theta-Sigma and Big Finish, and the results are variable to say the least. Animating Doctor Who is always a subject that will be hotly debated amongst hardened fans; The animated episodes of The Invasion seriously divided opinions, with some of them enjoying the efforts, but with others seriously miffed at some of the liberties taken and some of the errors made (Zoe's incorrect outfit being the primary example).
Let's get the bad things out of the way - the most disconcerting thing about the animation style used here is that it in no way attempts to replicate the shooting style of the original episodes. Most of the shots are short, snappy and involve some sort of movement of the "camera", resulting in a blizzard of shots, many of which only seem to last a couple of seconds. It feels like the director in charge of organising the shots was on some sort of caffeine-fuelled Attention Deficit Hyperactivity Disorder bender. We appreciate that having shorter shots creatively makes it easier to break down tasks for multiple animators and get the work done quicker, but not when it begins to compromise the original stylistic vision of what was originally filmed.
It is a great pity that the opportunity to animate two episodes of an otherwise complete William Hartnell story has been soured by the insistence on using modern filmmaking/editing techniques that are anachronistic to sixties Doctor Who and also happen to make the animated episodes stick out like a sore thumb when viewed with the surrounding existing ones. The other main problem is the freaky "glassy-eyed" look that most of the characters seem to have - the attempt at injecting a little more realism by having objects reflected in the eyes of characters only serves to almost hypnotically draw the viewer toward the peepers and detract from the story.
William Hartnell's animated likeness isn't that great, and when he is speaking, it only seems to make things worse - all of the other character look fine, but they really seemed to miss Hartnell's essence, appearing like the quintessential Les Dawson quip about his mother-in-law looking like a "bulldog chewing a wasp".
Now we'll move onto what's good about the animation - the representations of the characters are pretty impressive, with the cast being recognisable, especially Barbara and Susan; some of the rotoscoping (taking live-action footage and essentially "tracing" over it) injects a degree of life into some of the characters and the backgrounds of the "sets" are most impressive.
Rumour has it that this joint animation venture has been set up to possibly churn out several other animated episodes in order to present "complete" stories; it's a pretty safe bet that episode four of The Tenth Planet will also be animated in this style - we can only hope that the ADHD editing will be a toned down a little.
Though all of the surviving episodes were recovered from the same source, the image quality of the episodes is not particularly consistent, with episodes one and two faring comparatively poorly; heavy grain and a general lack of image detail (The lines across William Hartnell's forehead disappear into a mess of video noise) are the most notable problems. Things take an upswing with episode three, with a sharper image, more fine detail and cleaner look to the visuals, more in keeping with the average look of a restored sixties Doctor Who episode.
The animated episodes look fabulous, with the all-digital source providing a wonderfully crisp and vibrant image. The occasional example of banding does little to detract from these lovely transfers.
The audio for the surviving episodes sound pretty good, in line with the usual quality of Doctor Who in the sixties. Stanley Meyers' incidental music, which slyly uses portions of La Marseillaise, sounds perfectly fine.
The soundtracks used for the animated episodes came from off-air recordings made by Doctor Who fans. The overall quality is certainly a step-down from the existing episodes, but audio wizard Mark Ayres has done his best to piece together the best quality audio from the different audio recordings available. Sure, there are moments when the fidelity of the dialogue will take a nosedive and switch to an inferior source, but this only happens once or twice and won't detract from your enjoyment.
Don't Lose Your Head: Well, it was fairly likely that somewhere in the extras, the title of a certain French Revolution-set Carry On film was going to be employed somewhere. Directed by the ever-dependable Chris Chapman, this 25 minute examination of this rather-maligned Doctor Who story has the participation of regulars William Russell and Carole Ann Ford, who have some amusing little nuggets of information to share, with both of them starting things off by saying how much they prefered the historical stories as opposed to "mad sci-fi", to quote Ms Ford. The latter half of this enjoyable documentary is centered upon director Henric Hersch's breakdown mid-way through the story; Hersch didn't particularly endear himself to the cast (the fact that Hartnell was not particularly tolerant of foreigners didn't help matters), but when he collapsed, people seemed to rally round to get the production and Hartnell even complied when told to back off a bit. Carole Ann Ford appears very knowledgable about the production of this story, and along with Production Assistant Tim Combe, a detailed account of Henric's stress-related collapse is given.
The vivid recollection of the participants, coupled with the amusing use of a guillotine graphic that literally slashes its way across the screen in order to cut to another interviewee or another section of the documentary, which adds a bit of zing to the proceedings, not to mention the jaunty Parisienne music, which injects a distinctly European flavour, make this a fascinating examination of the production of one of the more maligned stories to emerge during William Hartnell's time as The Doctor. We won't blow all of the goodies for you, as in a time where spoliers jump out at you from all corners, it's best an air of mystery be maintained in order to get the most out of it. Suffice to say that we have another winner on our hands from the guys.
Audio Commentary: There might only be four of the six episodes in full existence, but there are no half-measures when it comes to the stacked audio commentary to be found here. Toby Hadoke holds out collective hands through as he takes us through The Reign of Terror, along with a varied selection of participants to map out the way, with Carole Ann Ford Production Designer Tim(othy) Combe Neville Smith (D'Argenson) Jeffry Wickham (Webster) Caroline Hunt (Danielle) and Patrick Marley (Soldier) for the surviving episodes, and Ronald Pickup (Physician) Paul Vanezis and Phillip Morris for the animated sections.
Hadoke sets the tone well when he points out that they are watching The Reign of Terror forty-eight years after it originally went out, eliciting groans from some, followed by surprised reactions from everyone when Smith reveals his jobbing-actor credentials by saying that he'd never seen it before, "I was doing something else…" he bluntly states, "I was working on something else. Five-fifteen it went out… I think…" Wickham had never seen the finished show, either, but is rather blunt when assessing his work on it. "I'm terrible," the thespian confesses, "I don't think I'm very good, and I don't think I can say any more than that… I've been terribly bad quite often enough for that not to be an exception…"
Ever the anecdote-spewing scenery-chewer, Wickham also reveals the dangers of being unexpectedly called into the studio for a corpse-shot after a liquid lunch. "They said, would you mind coming back being dead,'" he recalls with a good dollop of relish. "So I went in, lay down on my bunk, they threw a sack over me, which they briefly pulled back, and then it was put back again… and some hours later, I woke in a darkened studio. I fumbled my way towards the green light over the exit, and thank God they hadn't locked the studio or I would have been there all night!"
The lovely Caroline joins the swollen ranks of those unnerved by their leading actor on the show, as she admits: "I was terrified of him… because he was very grumpy," Hunt recalls, presumably from behind the sofa; "That's what he seemed to be, very grumpy, and a bit scarifying, but I was pretty scared of everyone. I was a bit of a wuss, really". Ford later reveals that her onscreen grandfather: "…Needed his ego stroked. He was a lot less secure [in his work] than people think. He needed to be told he was good." Combe goes on to reveal a valuable tip that in order to make a grumpy Hartnell happy, all it required was sticking his name on the back of a bog-standard BBC chair. Has anyone though of trying the same technique with Christian Bale?
With a lot of actors not having that high opinion of the whole Doctor Who experience, it's really refreshing to hear a noted thespian like Pickup recalling his enthusiasm when he got it. Literally fresh out of RADA, he was offered the three-scene role and couldn't accept quick enough: "Of course I'd like to do it!" Pickup fondly remembers. "So, out of the blue I was suddenly employed literally a week after I left [RADA]… and I sat there like I'd died and gone to heaven… seeing all these famous faces, particularly William Hartnell, whom as a kid I'd grown up with, y'know, going to the movies, seeing him play Sergeant-Majors and cantankerous folk of different kinds". Surely many struggling stage-school grads are working on Voodoo dolls as we speak…
For the most of the missing instalments, we have two of the guys who have devoted their time putting right what once went wrong, and hoping each time that their next leap will be the leap home. Oh, bugger - wrong time-travelling TV show. Still, Paul Vanezis comes packing fascinating stories about the location of missing stories, with his Mediterranean mail-shot caper the standout. "I got two replies back from the about fifteen letters I wrote," the raider of the lost archive begins. "…and I got a reply back from Cyprus TV and they said 'yeah… we showed this in 1966, and we've got the following thirteen episodes' and it was three of four episodes of The Aztecs story, all six episodes of The Sensorites, and episodes one, two, three and six of The Reign of Terror." Vanezis might seem one of the selfless white knights of Doctor Who fandom, but he reveals that his motives weren't quite as noble as you'd think. "I'm not ashamed to say that I approached it in an entirely selfish way," he admits. "I wasn't interested in getting them back for the fans. I just wanted to get them back for me to watch." He points out [purely coincidentally] that the BBC had sent out telexes to various worldwide stations looking for them at about the same time, but that Vanezis' Greek heritage might have been what to the Cypriots to dig a little deeper into the archives. Fellow Doctor Who rescuer Phillip Morris is philosophical about the possibility of other lost Doctor Who stories being out there somewhere, and closes out his time offering us fans hope, with the words: "Everything that can be done, I can assure absolutely everyone out there, it is being done." There is some conflict about just who is responsible for bringing the episodes back from Cyprus, but Hadoke stress that "…Ian Levine's contribution must not be downplayed…" and we heartily agree, as any man who can rescue The Daleks from the BBC incinerator with the same tenacity as Windsor Davies saving abeach ball from a fire deserves all the recognition he's owed.
When brought on for the final instalment, Patrick Marley spends a lot of the time reminiscing about the majority of his career, with only a few instances from what he's watching. Given that he doesn't really do as much as the other cast members on this commentary, then we suppose it is almost understandable. In spite of remembering it well, working with Hartnell isn't something he vividly recalls for the track, and the closest we really get is his current take on the First Doctor when viewing the playback. "Watching this now," he musters about Hartnell's curious hat, "…one feels why doesn't someone say 'Hey, something awful's landed on your head'".
This is another thoroughly entertaining listen, with the addition of the guys out to save Doctor Who from the bad decisions of the BBC giving it an added dimension in time and space, and Hadoke is uniformly excellent in steering the conversations to keep them lively and informative. There aren't that many stories left for release now, so relish the time these guys have to leave their experiences on the show for posterity. Wickham probably sums things up best when he notes that: "It was quite a happy experience altogether, and quite an adventure". Surely many others would agree with him on that one.
Production Subtitles: Writing this review at around the time of the New Years' Honours List hitting the news, it makes us wonder about the nature of awards and how they are handed out. There are some who manage to attain excellence at something only once, with that singular, splashy win affording them an honour purely for propaganda purposes, whilst there are others that spend their lives bettering the understanding and knowledge of a chosen field, to better both themselves and others. If the accumulation of facts for the good of the people is fit to bestow no end of plaudits, then those compiling the average Doctor Who Production Subtitle Track really should get themselves bigger mantelpieces.
One of the biggest sniggers generated from the naturally wry sense of humour interlaced throughout these tracks is left to be found without the need for signposting. At the point where The Doctor distracts a yokel by point out that an eclipse was due any second, our faithful information stream amusing notes: "An African-American mathematician named Benjamin Banneker recently [to the era of The Reign of Terror] confounded astronomers and racists when he predicted the American solar eclipse of 14th April, 1879 with unprecedented accuracy". Now what would Eddie Booth have made of that…?
This isn't the mere series of dry facts and figures it would have been in lesser hands, as accurate criticisms are made at some of the areas where things were lacking, and not just lazily relying on comments about the fraught nature of the production. At one key juncture, the theatre director Henric Hirsch's choices generated through his unfamiliarity of television is brought to attention. "He found the business of drawing up each episodes' camera plan an unfamiliar and unhappy challenge, and his manner when speaking to the actors won him few friends among the cast… most problematic of all was Hirsch's relationship with William Hartnell [who] began to ignore Hirsch's wishes, enforcing his own will on the playing of various scenes". There's more tension to savour, including Hirsch's collapse!
The technical side of things is covered as thoroughly as the audience at the end of an episode of TISWAS, with fluffs noted for our delectation, be they left in or clumsily removed prior to transmission. Most notable in the latter category is the extraction of a few frames which were left black during the filming, probably due to a cross-cutting gaff in the gallery. With an eagle-eye on events, the track points out: "You will doubtless have noticed the male prisoner sharing the tumbrel with Barbara and Susan. He's David Banville, and extra, and in all the confusion he seems to have vanished from the tumbrel. However, if you rewind for another look, you can see him scarper a couple of seconds after the technical glitch". Accurate, informative and utilising the word "scarper" - do information tracks really get any better than this?
A look the anger generated within the Napoleon 1st Society by the fictitious plot which had the dictator plotting with others to overthrow Robespierre - Jesus, and people snipe at Doctor Who fan clubs - the rare scene where William Russell isn't his usual line-perfect self, the notation of every single camera-break, major revisions in the script, small changes in dialogue prior to recording, things like Peter Walker being noted as the first child actor to appear in the show and the expected Cliffs-Notes surrounding the historical events depicted in the programme, it's all here. You might even say that it's all predictable in its thoroughness.
We always look forward to the Production Subtitles on Doctor Who releases, and this is no exception. With the missing episodes causing headaches all over the shop for those putting this little number together, then being able to afford Reign of Terror as in-depth a look as would be given to a story with the full compliment of episodes is a real achievement. As such, we recommend Nicholas Pegg for the highest commendation possible, and with the theme of the show, it might be most appropriate to suggest that he be given the Legion d'Honneur for his services to bettering the understanding of a most beloved of television show. Watch, learn and enjoy.
Robespierre's Domain Set Tour: Now this is very interesting, as the animated nature of the missing stories affords a classic Doctor Who story something which could have never been given it otherwise. Yes, folks, it's a digital set tour of the models created for the reconstructions, and this gives us the chance to travel back in time and explore the production design in a way that is utterly unique. There is a dynamism to the "camera" pans which make you appreciate the work put into both the new work for the DVD and the original efforts of Roderick Laing et al. Accompanied by almost spectral sounds and echo-chamber enhanced dialogue from the show, there is an incredible atmosphere which is really disconcerting, and quite beguiling.
Photo Gallery: Many colour pictures we haven't seen before, as well as ones from the pages of Doctor Who Monthlies past to give a feeling of nostalgia so intense it's comparable to the rush of Diver's Delight. Divided into three rough sections, we get publicity stills, production photographs and set reference shots. It is of great interest that the vast majority of the publicity snaps are in glorious colour, making the most of the work put into the show, and we would hazard a guess that their prolific nature was so as to make it easier to sell the show to stations around the world. There is shot of the imprisoned Barbara and Susan where the photography, lighting and colours are so lush, the pose so suggestive that it really looks like some form of up-scale pornography!
Seeing Hartnell decked out in his outlandish garb without the constraints of monochrome is almost joyous, and we defy anyone to be anything other than knocked out by this excellent gallery. It's a wonderful collection of images which prove to any doubters that there was much more to the production design of Doctor Who than the grainy, monochrome footage which survives for posterity and taken at face value shows. Accompanied by a certain piece of patriotic French music (we won't say which, but it's the one that Clark W Griswald is certain that "Pate Foie Gras" is part of the lyrics) and you'll have a blast. Oh, and Google "Diver's Delight" when you have a minute…
Animation Gallery: Here is a collection of the materials used to create the animated episodes, including "character sheets," which is a set of various angles and expressions of the main cast to be use for particular emotions at dramatic points in the story. These provide an enticing look at the care taken to bring these episodes back from E-Space, the attic of a BBC technician or wherever the Hell they disappeared to, and are essentially a 2D version of the "turntable" models used in computer animation. We get a series of stills from the finished product, as well as some virtual set-photos. It's a nice inclusion, and can only sharpen your appreciation of the work put into the reconstructions.
PDF Materials: There is more to this set of Radio Times listings than the usual collection of delightful stuff we rightly expect, and who wouldn't want to read a small feature detailing the new story starting up? Said piece was clearly written when the show was still fresh and brimming with possibilities, with most of the previous tales of either highest quality or groundbreaking for UK TV, and you feel this from the prose used. Everyone was still intrigued about the whole premise and particularly the title character, described in this particular piece as: "…that strange old gentleman of uncertain age". It must have been so damned exciting not to have had everything laid out on a plate in front on you, leaving viewers to glean little bits and pieces over time, experiencing the joy of assembling them all together? As expected, you also the listings to all six episodes, as well as the final one containing the very nice, widely-seen photo of Hartnell in his famous hat - you know, the one which wasn't always around…
Coming Soon Trailer: Break out the bubbly - sorry, we meant the bubble-wrap, as The Ark in Space is coming back to DVD in a 2-disc special edition! The Fourth Doctor's classic story has a cool trailer that really gets you psyched-up to fork out for another copy of it.
Historical Doctor Who stories have had an unfairly bad reputation over the years; although The Reign of Terror was one of the last stories to be release on video and it is one of the last stories to be released on DVD, this does not mean that it is in any way a poor story. The Reign of Terror is an entertaining, at times exciting story that allows characters to breathe and the main cast are bolstered by an impressive supporting cast.
Whilst you have to applaud those responsible for including animated episodes to essentially complete the story, the animation style is going to seriously polarise Doctor Who fans.
Review by Wilson Bros
General viewing, but some scenes may be unsuitable for young children
Disc Details
Release Date: 28th January 2013
Discs: 1
Disc Type: Single side, dual layer
RCE: No
Video: PAL
Aspect: 1.33:1
Anamorphic: No
Colour: No
Audio: Dolby Digital 2.0 English
Subtitles: English
Extras: Audio Commentary, Don't Lose Your Head
Easter Egg: No
Feature Details
Director: Henric Hirsch
Cast: William Hartnell, Carole Ann Ford, William Russell, Jacqueline Hill
Genre: Sci-Fi
Length: 148 minutes
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Setting aside the budget to go to a conference like BlogWorld and New Media Expo can be a big decision for a solo brand, a small business or a department head. It's important to get a sense of where your money's going, and more importantly, where the return on investment is.
I was tasked to write about this mega social media conference. Here are 6 specific things that I took away from BlogWorld 2010.

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DePaul University Catalog > Degree Requirements > Graduate > College of Business > MBA Core Requirements
In addition to the required core courses, students in the Flexible MBA program have nine electives (36 credit hours) they can use to take courses in a specific area of interest. These electives are typically used by students to select one or more concentrations in the area(s) that offer the knowledge, skills, and abilities that best fit the student's educational needs and interests. Students with an undergraduate degree in a business subject area may have fewer required electives.
Students in the Evening Cohort MBA program have nine required electives (36 credit hours) that offer knowledge in the areas of Management as well as Economics, Finance and Marketing.
In addition to the required core courses, students in the Full-time Cohort MBA program will have seven electives (28 credit hours). Two of the required electives (MGT 584 and MGT 598) will be dedicated to a Vincentian service project. The five remaining electives can be used to take courses in a specific area of concentration or interest that offer the knowledge, skills, and abilities that best fit the student's educational needs and interests.
Core Courses may be waived, i.e., excused without additional course work required, if the student has previously completed equivalent course work with a grade of C or better. Professional experience may not be considered in meeting academic requirements. The interpretation, evaluation and final decision of course waivers are the prerogative of the Kellstadt Graduate School of Business.
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Many markets love this format for its tips for a happier, healthier, more productive life.
Q: Is it ever appropriate to kill off or maim a character in the first sentences of a short story? A: Conflict of this nature has the potential to sabotage a story. It can come off as forced, appealing only to the reader's sense of shock. It can also render the rest of the story anti-climatic. …


text: May weather is made for cycling in our region and Dallas Area Rapid Transit (DART) is celebrating cycling and National Bike to Work Day with four Bike Energizer Stations on Friday, May 17. Cycling enthusiasts and interested persons are invited to join DART, BikeDFW and the cities of Plano, Richardson, Garland and Dallas from 7 to 9:30 a.m. at DART's Downtown Garland, Akard or Arapaho rail stations, and at the Bluebonnet and Chisholm Trail intersection in Plano, near the Dog Park. The Bike Energizer Stations will have information about the host cities bike initiatives and offer bike promotional items, local vendor offerings, refreshments and tune-ups. In addition, visitors can learn about a planned June 1 celebration at Main Street Garden in Dallas to highlight the completion of Centralink. This new bicycle infrastructure through downtown Dallas connects Oak Cliff, the Katy Trail and the Santa Fe Trail. The June event is open to the public and includes a bike ride originating from the different trails, food, musical entertainment, special guests and free bike services. Biking to work is good for the environment, good for your health, and makes more sense than ever considering all of DART's bus and rail connections. Customers can ride their bike to any transit or rail station and use one of more than 140 bike lids to store their bicycle. They can also take advantage of bike racks on every bus and train to combine bicycles and transit. Bicycles are permitted on any DART vehicle and all Trinity Railway Express (TRE) trains. Learn more by visiting www.DART.org/bike.


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Bobbi Lane, named one of the Top Workshop Instructors by Photo District News, is an award-winning commercial photographer specializing in creative portraits on location and in the studio. Lane's multi-faceted approach to photography incorporates over 35 years of technical experience with innovative artistic interpretation. Lane shoots primarily people on location for editorial, corporate, and advertising accounts as well as photographing "real people" and travel for stock
As a dedicated photo educator, she brings insight and enthusiasm to her students in workshops held worldwide. Bobbi is known for teaching lighting techniques for portraits, both natural and strobe, and also for leading international photo travel workshops. Bobbi's excellent rapport and communication with her students inspires and motivates, while her straight-forward teaching style reaches students of many different skill levels. At APA National's 25th Anniversary, Bobbi was honored with a Special Recognition Award for Education.
My first impression is that the Fuji XT1 is the best mirrorless and light weight camera that I have experienced. I have been shooting with it for just over two weeks and it's an impressive piece of equipment. My goal always as a photographer is to use the tool that is appropriate to my vision, so whatever gear I need to get the job done, or complete the visual that I want to create, is the right tool. My cameras should be an extension of my hands, and I want to use them intuitively, not having to stop and think about the mechanics, but be comfortable with the controls so that I can adjust quickly and easily. I don't pamper my gear; I use it hard and expect it to perform. The XT1 so far is good, really good, far better than I expected from a small camera. I do have some concerns and I will address them a bit later. My intention in this letter is not to do a full review, but talk about what is important to me.
I've been a Nikon user my entire 40 year career, with the exception of my beginnings in digital, when I started with the Fuji S1, then S3, then S5, which I truly loved. I used the Fuji because I already had all the Nikon lenses and, as you know, the early Nikon sensors were not very good. When the agreement with Nikon and Fuji ended, I started using the Nikon D300, and since then I've owned or still own the Nikon D600, Nikon D7100, and Nikon D700. After being accustomed to the Fuji sensor and its great color and tone, the quality of color in the sensor of the Nikons was somewhat of a disappointment and I'm always working on getting the red out of the skin tone. As a portrait photographer, that's frustrating.
The other difficulty is that I've been carrying the weight of all that gear for 40 years, and quite frankly, I'm tired of lugging it around. I have been looking forward to the advent of the smaller, lighter mirrorless cameras. I've had several of the high end Panasonic Lumix, and loved them, but really only as "play" cameras, never used for a job or any serious work. I started shooting with the Fuji X100S in November and that was a huge leap for me. The Lumixs are gone, I won't touch them again. The X100S camera, the colors and tones, the ease of use, the sharpness, the speed, all have far surpassed any other small camera I've touched. I don't pamper it either and it has performed admirably.
I've researched what has been developing in the mirrorless cameras, and I've been aware of the higher end Fujis and seen excellent results. I was still hoping for a full frame, like the Sony A7, but Sony currently doesn't have a Nikon adapter, and their lenses are not that great and slow in being developed. Regardless, I don't really want to put my huge 70-200 f 2.8 on a little camera. I have been waiting and hoping for a small mirrorless camera that would give me the quality I need on every level. I am ready to chuck all the big cameras and lenses. The Fuji XT1 is well on the way to providing what I want.
Two of the great things about Fuji are the quality of lenses and the quality of the sensor for color and tone. Both of these are extremely important to me and Fuji provides them both. There already exists a good range of Fuji lenses and I know that several more, including the weather resistant ones, are on their way to being released this year. I bought my very first view camera lens, a Fujinon f 6.3 in 1974 because the specs were fantastic. I still have that lens! With the XT1, I'm so happy to be getting back to the color that I demand. The skin tones are so beautiful and accurate, not tainted with red. All colors are rendered beautifully and the tonal range and dynamic range are exquisite. Even in my early testing shootings, I photographed a dark skinned model in the studio and a pale skinned model in natural light. I opened up the jpegs and realized that I did not need to do any adjusting to the files! No color adjustment, exposure corrections, curves, etc. I don't remember the last time that happened. That was my first indication that this camera was what I have been looking for.
I've shot with the Fuji 56mm 1.2 and the 18-55 f 2.8-4. The medium zoom is a tremendous general lens, sharp, easy to work with, and a fast mid range zoom. It's the perfect walk around, street shooting lens when you want to cover anything from wide street scenes to closer portraits. The 56mm f 1.2, however is a fantastic and sharp lens. I shoot mostly portraits, anything from travel portraits to models to "real people", and a fast lens is extremely important to me. I like working in low light and I love the bokeh of the background wide open. This 56mm f 1.2 is perfect for the type of shooting that I do, both in the studio and with natural light. It's small, but so fast and sharp, amazing sharpness corner to corner. My fiancé, Lee Varis, has been shooting with the XPro1 and he has the 18, 35 and 60, so I have access to those lenses, too. I'm looking forward to the WRs that are coming out, as I do want a longer and fast zoom.
Here are my impressions of the camera, both pro and concerns.
The XT1 is so well built, durable, weather resistant, light, and comfortable in my hands that it will become my primary camera in many situations. As I mentioned before, I beat my gear, work it hard in difficult places like deserts, heat and humidity, and cold and rainy. The WR is very important to me. What's more important is that it fits well in my hands and it feels good, making my creative process smooth. As with any new gear, it does take a while to get used to the placement of settings and making it automatic. I can't say that in 2 ½ weeks that it's totally familiar yet, but it will be in time. I really love the dials and aperture ring. It's easy to change SS, f stop, shooting mode, exposure compensation, ISO, focus mode, etc, without having to stop and look at the camera. The size and weight are perfect. Even with the lightweight, it still feels solid and trustworthy, unlike some other cameras that feel like a cheap toy.
The sensor is fabulous, great color and tonal range, beautiful RAW files and fantastic jpegs. I don't normally shoot jpegs, but the quality is so high, and the ability to use the Fujifilm presets is awesome! I've enjoyed trying the various modes and they work beautifully. 16 MP is plenty large enough for a lot of my work. And the sharpness is terrific, too. My primary concern is achieving neutral and real skin tones, and here is where the Fuji XT1 performs about better than any other camera. It's a joy to be photographing people with a Fuji again! A couple of other things: I don't normally shoot auto white balance, but the XT1 does an amazing job of getting excellent color in odd situations. I like being able to fine tune my color and setting the Kelvin Temperature. Also the performance at high ISOs is extraordinary, rivaling many of the higher end DSLRs. And lastly, I normally shoot Manual exposure but I've found that using aperture priority gives me excellent exposure results, better than any other camera I've ever used. It handles tricky lighting situations easily. This totally rocks!
Although it's quick and easy to change the focus to back button AF-L just by setting the front dial to M, the button is small and hard to find. It's right above the thumb ridge and I found myself hitting the AE-L instead. The direction buttons that surround the Menu button are also small, are somewhat recessed and hard to find. I have to pull my eye away from the viewfinder to look at the buttons and that interferes with my flow in shooting.
I seem to be having problems focusing, both with the camera finding and holding the focus and also, the accuracy of the sharpness. Part of this might be my inexperience with the camera, but because of the way I shoot, especially wide open, this has been a concern. I always use the single point focus and I like that I can control the size of the focus point. I still need to get used to the direction buttons to easily and quickly move that point of focus, and that is just more practice on my part. However, I find that that focus searches more than I would expect. This happens a couple of ways. If I use the shutter button to focus, I will depress halfway and lock focus, then when I fully depress the shutter, the focus changes out and back and then shoots. So it's not always accurate when it does shoot, plus it keeps me from shooting at the moment I want. This is very frustrating and not workable for me. It doesn't happen all the time and I've not been able to determine yet exactly what circumstances it does this. If I use the back button focus, it happens occasionally, too, which shouldn't happen at all with the back button. Also, when it's says it's in focus, when I enlarge it, it's not sharp. I'm finding that I am losing a good amount of images due to bad focusing. This is again, frustrating and unacceptable. It's possible that I'm doing something wrong, but not sure yet if it's because I'm not practiced enough. Shooting in low light is very difficult as well with the camera searching for focus. That is understandable, but still hard for me.
Having said that, the EVF is fantastic! Looking through the viewfinder is a joy. It's bright and almost 3D. I have the focus peaking set and that works well on fully manual. The LCD screen is bright and clear and huge and having the tilting screen is helpful, too.
Overall, I'm very happy with the camera and lenses and battery grip. I'm finally getting the color and quality I want from a small camera and in many ways, it's surpassed my expectations. I am looking forward to really working with the XT1 and continuing to work with the X100s. Both are superb pieces of gear. I'm delighted to be working again with the quality and color of the Fuji sensor, which is so important to me for both my portrait work and also my travel images. The new lenses coming out will make the Fuji XT1 a complete system, from wide to telephoto, with the high quality of lenses and the speed. For me, this camera system is the dream I have been waiting to come true, a complete lightweight mirrorless system with a high quality sensor, sharp lenses, durable body and ease of use.


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Grae's Rating:
I'd rather balance my checkbook
Who's In It: Russell Brand, Helen Mirren, Jennifer Garner, Greta Gerwig, Luis Guzman, Geraldine James, Nick Nolte
The Basics: To answer your question, YES Arthur (Brand) is an alcoholic in this retooled version of the 1981 film. All the story beats are the same--Arthur is filthy rich, has no ambitions or motivation to make a mark on the world, drinks like a fish, and has to marry a rich woman he doesn't love (Garner) instead of his monetarily challenged soulmate (Gerwig). The original had all the elements of Screenwriting 101 (conflict, raised stakes, ticking clocks) but somehow was as loose as the cap on Arthur's scotch bottle. The new one tries to ratchet everything up but still doesn't change much.
What's The Deal: I walked into this refusing to compare this to the original. Although it's next to impossible to suffer from purposeful amnesia, from now on I am going to completely forget an original ever existed and just see if a movie works on its own (yes studios, you're welcome). So here is what I ascertained from this brand new film that I have never seen before: I've seen it before. Brand provides a measured amount of laughs and works well with Mirren, but ultimately, the movie is as hollow as his playboy lifestyle. Every character is a familiar archetype and the jokes are centered on Warner Bros-affiliated nostalgia. Could it be that we just don't know what to do with British talent? Ricky Gervais comes to mind as another hilarious actor from across the pond who keeps missing at the box office.
Listen To The Movie: A couple of times, Arthur's dialogue will tell you exactly what the studio is trying to make you believe. He explains to his poor love interest (who is like us in real life) that money is made to "create joy and excitement" (like this remake). Greta Gerwig, while eating her generic Spaghetti-Os, wasn't convinced, and neither am I. Although money can make things easier, it's not necessary if your heart is in the right place. The same applies to cinema. I enjoy shiny blockbusters, but have seen plenty of affecting, memorable movies done for little more than the cost of a Ford Taurus. This movie hits somewhere in the middle for me, not being glamorous and sparkly enough to get me excited, and not having enough emotional pull to really engage me.
Where The Heart Is: I loved watching Gerwig and Brand together onscreen. At night, they share a working-class dinner at her house, and that's when their electricity gets crackling. Brand finally drops his "Is he drunk or did he get dropped on his head as a child?" tone of voice and lets his specific brand of charm shine though, giving strong motivation for this very important plot point. I am infinitely glad to see more of Gerwig on the big screen just in general, because when I first saw her in House of the Devil and Greenberg, I remember being very taken with her. Unfortunately, every talented actor in this movie deserved a little more to sink their teeth into, but it's not completely without nice moments.
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Movies.com Critic
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36 out of 100 Metascore®
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Nothing mediocre about this medium.
Can't say "expendable" without "duh"
Valley of the Dolls with Firepower?
Just shy of a landslide.
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Protect your valuables and important documents in a safe deposit box at the bank. We have multiple sizes available at Vanceburg, Tollesboro, Maysville, Mt. Olivet, and Ripley locations.
The contents of Safe Deposit Boxes are not FDIC insurable.
Enjoy easy access to your valuables and important documents in a safe convenient location. We have two sizes available only at our Brooksville office.
The contents of Self-Storage Units are not FDIC insurable.


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U.S. stocks fell, extending a weekly drop, amid concern a political impasse over the federal budget will hurt the economy. Treasuries rose while the yen strengthened; metals led commodities higher.
The Standard & Poor's 500 Index fell 0.5% to 1,689.44 at 3:08 p.m. in New York while the rate on 10-year Treasury notes lost 2.5 basis points to 2.62%. The yen appreciated against all 16 major peers as Japan's finance minister damped speculation the government will cut the corporate tax rate. The pound advanced against most major currencies as Bank of England Governor Mark Carney told a U.K. newspaper he does not support increasing asset purchases. Italian bonds and European shares slid following a debt auction.
The U.S. Senate voted to finance the government through Nov. 15 after removing language to choke off funding for the health care law, putting pressure on the House to avoid a federal shutdown set to start Oct. 1. Britain, France, the U.S., Russia and China agreed on a resolution requiring Syria to give up its chemical weapons, which the full Security Council of the United Nations will discuss today.
"The data does seem to be seeing some improvement here, but with the overhang from Washington, that clouds the outlook for the immediate future," Derek Hamilton, a global economist at Waddell & Reed Financial Inc. in Overland Park, Kansas, said in a phone interview. His firm manages $114 billion. "If we do have an extended government shutdown, and more importantly, an inability to pass the debt ceiling raise, that will probably have a fairly significant impact on the stock market."
Data Watch
A Commerce Department report today showed consumer spending in the U.S. rose in August for a fourth consecutive month, climbing 0.3%. A separate report showed confidence among consumers declined to a five-month low in September as Americans' views on the economy dimmed. The Thomson Reuters/University of Michigan final index of sentiment decreased to 77.5 this month from 82.1 in August, compared with a median estimate for a drop to 78 seen by economists in a survey.
The vote in the Senate today sets up a weekend of negotiating and brinkmanship that could continue until spending authority expires on Sept. 30. House Republicans are insisting that the short-term spending bill include limits on the health- care law's reach, a demand that Democrats say they won't accept.
Among stocks moving in the U.S., J.C. Penney Co. slid 14% after the retailer began selling 84 million shares to raise cash. Nektar Therapeutics tumbled 20% after a study of the slow-release painkiller NKTR-181 failed to meet its goals. Nike Inc. surged 4.5% as fiscal first-quarter profit topped analysts' estimates.
Dollar, Pound
The U.S. Bloomberg Dollar Index slipped 0.2%. The pound rose 0.6% to $1.6136, near the eight month high of $1.6163 reached on Sept. 18.
"Given the recovery has strengthened and broadened, I don't see a case for quantitative easing and I have not supported it," Carney said, according to the Yorkshire Post.
Italian government bonds declined, extending a weekly loss, as the nation auctioned 6 billion euros ($8.1 billion) of debt maturing in 2018 and 2024. The yield on the country's 10-year securities climbed nine basis points to 4.42%. Italy's Rome-based Treasury sold 3 billion euros of the 2024 bonds at an average yield of 4.5%, more than the 4.46% at a previous auction on Aug. 29.
Italy's government bonds fell amid speculation that traders who deal directly with the Treasury had to hold on to most of the securities on offer at today's auction as political tension deterred other buyers.
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Graduating student information
Apply for graduation
To participate in the May 13, 2012 commencement ceremony, you must have have met all the academic requirements and submitted your application before the deadline. If you have questions about your graduation status, contact Graduation Services at 907-474-7523 or 907-474-6177, email firstname.lastname@example.com or stop by the office in 102 Signers' Hall.
Graduation Services
Office of Admissions and the Registrar
University of Alaska Fairbanks
PO Box 757495
Fairbanks, Alaska 99775-7495
Graduation fees
An application for graduation and non-refundable fee must be filed with the Office of Admissions and the Registrar during the semester you plan to graduate. If you file your application by the published deadline, the graduation application fee is $50. If you miss that deadline, you still may submit an application for graduation by the published late deadline. The late deadline fee is $80. Applications for graduation filed after the late deadline are processed for graduation the following semester. Students who apply for graduation and who do not complete degree/certificate requirements by the end of the semester must reapply for graduation and pay the fee again.
Caps, gowns and invitations are not included in the graduation fee and must be purchased separately. Contact the bookstore at 907-474-6859.
Spring 2012 commencement will find all students wearing caps and gowns made from 100% post-consumer recycled plastic bottles!
Fewer plastic bottles will be choking our landfills because for every UAF student walking at commencement, averages of 23 plastic bottles were used to manufacture their cap and gown. In the latest effort to go green on campus, the new line of graduation wear -- named GreenWeaver-- is made of fabric spun from molten plastic pellets. With some 60 million plastic bottles going into U.S. landfills every day, UAF is helping to turn trash into keepsakes.
Cap and gown orders can be placed online at http://www.oakhalli.com/college/universityofalaska/
Last day to place an order is April 5, 2012. You can pick up and pay for your regalia at your UAF bookstore.
To order announcements or to get additional information please contact the UAF bookstore
Tip: On graduation day you may need bobby pins and safety pins; be sure to bring a small supply.
Tip: How to wear the Academic Hood
Disability information
The University of Alaska Fairbanks strives to make its commencement ceremonies comfortable and accessible for all graduates and their guests regardless of physical needs.
Students or guests with special access needs, including an elevator, may park at the front of the Carlson Center.
If a graduating student or a member of the audience requires special seating, a large print program, an enhanced audio unit or other assistance at the commencement ceremony, please contact Mary Matthews, Disability Services, at 907-474-5655 or email@example.com. A sign interpreter will be seated onstage; inquire at a Carlson Center information table as to seating for best visibility.


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Christian Ringer shoots landscape with the XF8-16mmF2.8
German X-Photographer Christian Ringer visits Lofoten, Norway with the GF23mmF4.
A German landscape photographer full of passion. He was born in 1976 and loves to capture the perfect moments of life at the right time while being in the right place to simply press the shutter release at that exact second. He loves to travel to amazing venues all around the world and the adventures that come with it. His photographs have been reprinted in countless magazines and industry publications. He is the winner of multiple awards bestowed upon him by German, internationally highly acclaimed photography contests, such as the Trierenberg Super Circuit or the SONY World Photography Award. He is also an active member of the DVF – the German Photography Association. His travel companion: FUJIFILM Equipment.
When I first saw the housing of the new FUJIFILM X-Pro2, I was instantly in love and it made me even more eager to find out what was inside of the camera. I researched whatever sites I could find on the Internet to learn everything I could find out about this camera. My love for this fantastic camera grew and grew. I was absolutely amazed by all the things I read and saw, so I thought - FUJIFILM has created an absolute hit I have to have. It's a relatively small, understated rectangular black box – no camera mirrors, no bells and whistles – just a very powerful camera inside the housing that looks so very modest.
The feeling my X-Pro2 gives me is simply indescribable! But let's be honest – that's what makes the difference – the fun we have with what we do!


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Social Explorer is an online research tool designed to provide quick and easy access to current and historical census data and demographic information. Its contents include the entire U.S.Expand
Census from 1790 to 2010, annual updates from the American Community Survey, data on religious congregations for the United States for 2009 (including maps for counties and special census areas, as well as point maps of the actual congregation locations), decennial religious congregation data for 1980-2010, and carbon emissions data for 2002. Users can create reports and maps at various levels of geography, including counties, Census tracts, Census block groups, and ZIP Codes, depending on data availability.Walk in users: OK
Subjects: African American Studies, Economics, Education, Georgia, History US, Journalism, Political Science, Religion, Sociology, Statistics and Demography
Sunday Times Digital Archive, 1822-2006
Since 1822, The Sunday Times has provided thoughtful analysis and commentary on the week's news and society at large.**Advanced search by index types: Entire document, article title, author, page number, issue number, document number or keyword**Browse by issueExpand
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The U.S. Commodity Futures Trading Commission (CFTC) today announced that it obtained a federal court Order requiring Defendants Victor Yu of San Jose, Calif., and his company, VFRS, LLC (VFRS), to pay restitution of nearly $2.15 million, disgorgement of more than $270,000, and a civil monetary penalty of over $800,000. The Order also imposes permanent trading and registration bans against Yu and VFRS and permanently prohibits them from further violations of federal commodities law, as charged.
The Order for Default Judgment and Permanent Injunction was entered on March 26, 2013, by Judge Yvonne Gonzales Rogers of the U.S. District Court for the Northern District of California. The Order stems from a CFTC Complaint filed on July 26, 2012, that charged Yu and VFRS with defrauding clients in connection with off-exchange foreign currency (forex) trading and failing to register with the CFTC as a Commodity Trading Advisor (CTA) (see CFTC Press Release 6320-12, July 30, 2012).
The court's Order finds that the Defendants fraudulently induced more than 100 individuals to open forex trading accounts. In their client solicitations, the Defendants misrepresented that they had developed trading software that made forex trading "extremely safe" and that would prevent clients from ever reaching certain loss thresholds, the Order finds. The Defendants also misrepresented to some prospective clients that their trading software had shown positive returns on every trade it ever made and had successfully predicted activity in the currency markets back to the 1920s, according to the Order.
The Order further finds that, from 2009 to the present, the Defendants induced their clients to invest over $5 million in forex trading accounts, and clients lost almost $2.15 million during the same period. The Defendants received over $270,000 in service fees from those clients, the Order finds.
Once clients opened forex trading accounts, the Order finds that Yu and VFRS instructed them to give Defendants their log-in and password information so that the Defendants could place trades in their accounts. By this conduct, Yu acted as a CTA without being registered as such, according to the Order.
CFTC Division of Enforcement staff members responsible for this case are Robert Howell, Jennifer Smiley, Joseph Patrick, Susan Gradman, Scott Williamson, Rosemary Hollinger, and Richard Wagner.


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If you're new here, you should know that this site contains BDSM, kink, gender explorations, and explicit queer sex. All sex and kink acts depicted are between enthusiastically consenting adults. All posts and content are supported by the patreons of Patreon, support and you'll get even more behind-the-scenes goodies. You may want to follow me on Twitter, Facebook, or get the password for the personal posts. This warning will self-destruct.
from Mistress Justine Cross (@justineplays)


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Stark Bridge #37May 23. 2013 2:59PM
North Road
Stark, NH
The bridge was originally a simple Paddleford truss with a center pier. During the 1890's, high water removed the center pier and the bridge was washed downstream. It was brought back by men and oxen and set on new stone piers. Arches were added to strengthen the span and the center pier was removed. The bridge failed again in the 1940's and in 1954 was rehabilitated by removing the arch, adding steel, and building a center pier. The site is scenic and a popular location for photographers. The Stark Bridge was featured on the town of Stark's Bicentennial Medal in 1974.
Year of Construction: - 1862
Original Cost: - Unknown
Northwest of N.H. Route 110 on North Road in Stark Village over the Upper Ammonoosuc River.
Paddleford truss. The bridge is 134'1" long with two clear spans of 61'5" each. It has an overall width of 29'6" with a roadway width of 16'2", and a maximum vertical clearance of 11'9" in the middle of the portal (7'6" on the sides). It has sidewalks on each side. It is posted for ten tons.


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On Tuesday, John and Paul discussed what is to be made of the contrast between the sophisticated and highly effective data analysis and digital execution of the Obama campaign in 2012, and the utter technological failure of the Obamacare health exchanges that came on and crashed last week. Why didn't Obama hire the same tech-savvy people who designed his campaign's digital effort to design Obamacare? Did he somehow hire Romney's Project Orca team by mistake?
John and Paul are surely correct that Obama is indifferent to the practical management of government: here merely wants to rule, and doesn't much care about the details. But Paul is right that, as I'd put it, comparing the digital campaign to designing Obamacare's online exchanges is to compare apples to oranges.
I wrote a bit here back in February about the Obama campaign's digital operation, as did Scott before that. (So hey—the entire Power Line team is on to this story!) What I left out is that the Obama campaign's digital effort was not really new conceptually; it was merely an online version of a political organizing technique that has been around for several decades now in a more cumbersome form known as a "network analysis."
This was a technique first pioneered by political operatives on the left based on social science theories of the reciprocal influence of "power elites" sketched out by people like C. Wright Mills back in the 1950s. Essentially it represents figuring out the informal networks of social and political influence in a local area (but some efforts were statewide in scope in the 1970s), so that you can target your political efforts at the key individuals—or "nodes"—that can leverage a political effort more quietly and indirectly than you can through expensive and untargeted paid ads, or inefficient door-to-door canvassing. Put more simply, a network analysis aims to identify key individuals or civic organizations that sway their neighbors and fellow citizens, and then target them to help you get out your message and win your fight. Labor unions in particular used network analyses in unionization efforts in the Midwest back in the 1970s.
The only thing new about the Obama 2012 effort was the ability to do the "data mining" more efficiently and cheaply and on a much much larger scale. In the old days, the network analysis efforts I studied all required cumbersome and relatively expensive survey work, usually by telephone but also by written questionnaires (sometimes mailed) that all had to be collated and then analyzed with statistical algorithms the old-fashioned way with a calculator. Today, FaceBook and a laptop do it all for you. As I say, the left has always been better at using this technique in their organizing and campaign efforts than the right, which is one reason why the Romney campaign so badly lagged the Democrats last year.
Setting up the Obamacare exchanges is in a whole different league. By coincidence, I'm taking up Hayek once again in class this week, and beginning with Hayek's central insight from his seminal 1944 essay "The Use of Knowledge in Society," in which he essentially explains (or predicts) the unsolvable defect of any policy that depends on centralized command of a complex marketplace like health care. Here, once again, is the key paragraph:
The peculiar character of the problem of a rational economic order is determined precisely by the fact that the knowledge of the circumstances of which we must make use never exists in concentrated or integrated form but solely as the dispersed bits of incomplete and frequently contradictory knowledge which all the separate individuals possess. The economic problem of society is thus not merely a problem of how to allocate "given" resources—if "given" is taken to mean given to a single mind which deliberately solves the problem set by these "data." It is rather a problem of how to secure the best use of resources known to any of the members of society, for ends whose relative importance only these individuals know. Or, to put it briefly, it is a problem of the utilization of knowledge which is not given to anyone in its totality.
To paraphrase, the fundamental defect of Obamacare is that it is attempting to command and allocate health care information "in concentrated or integrated form." This isn't going to work, no matter how many fancy FaceBook and Google software geniuses you hire. And if you do figure out how to get it "working" temporarily, changes in the marketplace will quickly render the scheme obsolete and inefficient.
UPDATE: Jan Crawford of CBS News gives a straight up report on this problem:


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25 U.S. Code § 5 - Record of deeds by Indians requiring approval
The Commissioner of Indian Affairs is hereby empowered and directed to continue to make and keep a record of every deed executed by any Indian, his heirs, representatives, or assigns, which may require the approval of the President of the United States or of the Secretary of the Interior, whenever such approval shall have been given, and the deed so approved returned to said office.
For transfer of functions of other officers, employees, and agencies of Department of the Interior, with certain exceptions, to Secretary of the Interior, with power to delegate, see Reorg. Plan No. 3 of 1950, §§ 1, 2, eff. May 24, 1950, 15 F.R. 3174, 64 Stat. 1262, set out in the Appendix to Title 5, Government Organization and Employees.
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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Herringbone Floors in the Kitchen
There's something immediately arresting about herringbone floors, don't you think? A classic design, it goes well in both modern and traditional kitchens depending on the material used. Wood, tile, brick—we've seen it all, and it all works. What do you think?
Related: From Faux Bois to Stenciled and Striped: 10 Cool, Unusual Kitchen Floors
(Images: 1. Kobenhavns Mobelsnedkeri via Remodelista; 2. Michael Graydon for Tommy Smythe via House Tweaking; 3. Via DigsDigs; 4. Via DesignDump; 5. Made a mano tiles via Styl.in; 6. Birds of a Feather; 7. Houzz; 8. Via Apartment Therapy)


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Views: 782
We all want to live in a deterministic world where we know how to boil water, where things fall down instead of up and where if a bullet kills someone, we can count on striations on the bullet to determine the murder weapon and where we can establish through powder burns and a timeline who the likely murderer was.
We need determinism for a world that isn't totally chaotic.
The price we pay is that we ourselves are part of that world and can't claim to be exceptional, unless we want to invoke a soul. As atheists, we probably don't want to invoke spiritual entitities in order to rescue determinism.
The soul makes things happen in the physical world by occupying a physical body. Maybe. =^)
There is a deterministic model of prediction for human behavior. My entire career is based off this model. It is well researched in animals that you can create "histories," in controlled environments and then predict behavior. This has also been researched with human behavior in applied settings, and big surprise the same principles are holding to be true. Granted it is not on the large scale of being able to predict an individual's behavior in any given circumstance, but given the body of research thus far this is certainly plausible. That aside, once accurate data is collected, you can, with precision, predict the conditions under which an individual will engage in a behavior and manipulate the consequences to change this behavior.
I was focusing on the falsifiability of determinism in general. I agree that it is highly likely that most things in the universe, including myself and other people are governed by strict laws that direct our actions. However, not all things observed behave in a deterministic fashion and are better modeled using probability (at least as a tool of simplifying complexity), such as the movement of electrons through various orbital shells. This is not to say there isn't a specific underlining direct cause, just that it's difficult(impossible?) to observe one.
However random quantum events appear to be, they seem to follow certain probabilities, and the averaging of the large quantity of events manifests in emergent predictable events, resulting in laws and models.
.. I was about to go on a tirade about emergent properties, but that is probably better left to another day.
So, out the window goes the moral condemnation of "bad" people, for they can't really behave any other way. Even though I believe in determinism at all macro levels (not on subatomic levels), this means that each person is simply acting out their own personal nature, which they did not create. This takes a lot of the glow off saintly people as well. They can't help but be saintly. It's depressing, but the only real reason we can give for punishing "bad" people is that we can't do otherwise.
Another good reason to punish "bad" behavior and reward "good" behavior is that these consequences are what change the future frequency of that behavior. The only problem with blanket consequences based on the form of the behavior is that not everyone does everything for the same reason. I'm not necessarily arguing for individualized consequences on a societal level. My head starts to explode when I think of how to manage this, but certainly on a smaller scale and for those who seem to not work well within the confines of society.
Another good reason to punish "bad" behavior and reward "good" behavior is that these consequences are what change the future frequency of that behavior.
Stop bothering yourself. There's nothing to do. You see when you start talking about reasons you are talking as if there is free will, but if determinism applies, there is no freedom involved in what you decide. You will decide what is in your nature to decide. We all do what it is in our nature to do.
It is in people's nature to not want to be punished. (most anyways) Surely you don't think that being aware of the lack of free will exempt you from being punished for committing a crime?
Everything is a part of the deterministic system. Even thoughts about the system are a part of the system and they affect the system. There is nothing that is outside of the system or that is unable to influence the system.
By the way, reason is synonymous for cause. As in cause and effect, aka determinism.
"It is in people's nature to not want to be punished..." Well, what about masochists? What about people feeling guilty and wanting to be released from their guilt through punishment?
"Surely you don't think that being aware of the lack of free will exempt you from being punished for committing a crime?"
Whether I'm punished for "bad" deeds or praised for "good" deeds (or praised for "bad" deeds or punished for "good" ones) depends on the nature of others.
People whose nature is reasonability (in the sense of being logical) will normally be determined by their perception of what is most logical, because that is their nature. Some people resent the power of logic and do their best to be illogical, but that is because that is their nature.
Nobody can escape who they are.
Are you even reading the whole post before you reply to it?
I believe I did. Either way, I did what was in my nature to do, as do you.
I think it is worth considering what is meant by determinism. This may seem outrageous, but is anyone suggesting that every rain drop and gust of wind and every word I am typing now was encoded in the singularity prior to the Big Bang? Personally, if that is what anyone believes, I totally do not. I think reality is in a sense inventing itself as it goes, including in the fluctuations of our thoughts and feelings and decisions and actions. There are tendencies, just like with weather, but as with weather nothing really seems to be simple predictable causality. I believe that everything is in flux and that everything is shifting as it goes along and that nothing is set or fixed. As for chaos theory, there is a lot there to learn about. Anyway to each their own. I think I will exercise my free will and ponder whether this is worth pursuing indefinitely. =P


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Four of today's most talented figures in film, television and football are participating in a USO tour led by the Chairman of the Joint Chiefs of Staff, Admiral Mike Mullen. Special guests James Gandolfini, Rose McGowan, Tony Sirico, and Jon Stinchcomb will visit with Troops, sign autographs, and more on this weeklong tour.
Admiral Mullen had this to say about his experiences with the USO: "I am delighted to once again be traveling with the USO and a great group of entertainers and celebrities who only want to give back to the troops. It means a lot to me that they would take time out of their busy schedules to do this, but it means a great deal more to the men and women down range and in harm's way. It's going to be a great trip."
Their journey is everyone's responsibility. From the moment they enlist, through their assignments and deployments, and as they transition back to their communities, they can rely on your support.


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It's that time again:
The First event of the 2013 CCCX XC Series is now set for Satuday, January 26. RACE FLYER HERE.
The trails are in outstanding shape this year and the awesome off-road cycling that Monterey County has to offer will be in effect this coming Saturday in Ft. Ord. The first start is at 9:00 a.m. with the Cat. 3 group, then followed at 11:00 a.m. with the Cat. 1 & 2 fields.
Please remember to arrive early in order to check in at registration and have enough time to warm up and prepare for your ride. Also, please note that the CCCX XC Series is a USA Cycling sanctioned race.
The CCCX XC series runs through August 24th. More information at http://www.cccxcycling.com/2013XCPAGE.html.


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|2013-01-07, 00:05
|Link #5321
Senior Member
Join Date: Feb 2008
Another idea could be that Yabuki and Hasemi don't give a fuck and they just go with this as they please, without taking the plot seriously.
Yet another idea could be that Nemesis is letting Mea experience regular, peaceful human life only to have Mea's views on it tarnished later, make Mea hate all of that and have her become an assassin through and through. Nemesis did say she was fond mostly of fucking with people's minds. So, she may be planning on doing this with both Mea and Yami.
|2013-01-08, 02:13
|Link #5324
Senior Member
Join Date: Dec 2010
Location: Puerto Rico
Rin would be a good choice. I think it was Yabuki's mistake to add Saki to the harem since she loves Zastin, but it was probably just a small detail he probably forgot. Also, with Rin in the harem, that chalks up swords user (kinda) out of our Rito's harem bingo book.
|2013-01-08, 05:18
|Link #5325
|2013-01-08, 10:59
|Link #5326
Kana Hanazawa ♥
Join Date: Jun 2007
Location: France
Age: 31
Has anybody been able to get the pencil drawing of Tearju from volume 6? The raws I've come across are missing that page for some reason. It's also missing the Mikan panties chapters so I think it's incomplete.
|2013-01-08, 11:56
|Link #5328
Senior Member
Join Date: Sep 2008
well momo might not know that saki is interested in zastin... but rin might be candidate... since when saki gets together with a boyfriend she might lose her bodyguard status so she will have more free time for her own life...
and besides when rin talked with mikan...and she remembered rito groping her and squeezing she was "blushing" so it did had an impact on her...but she is kinda like kotegawa a tsun... she acts really cool and tough but inside she is really nice and wants some normal stuff to happen to her just like other girls have...
I guess if Rin saw ritos carying side without any echii stuff happen in meantime she could start to see him in a different light.... like why not make her see rito holding a sleeping celine in his arms (or him taking care of her or playing with her)
or make rito save her from fall while using his own body as suppression... only to see that rito isnt realyl ecchi but others couse those situation on him
but still I wonder if anyone remembers how rito was at the very beggining... unable to even talk to a girl... now he builds a harem... this is really a progress
|2013-01-08, 14:14
|Link #5330
Join Date: Jun 2006
Location: in the club
|2013-01-09, 12:28
|Link #5332
Join Date: Dec 2009
Saki was supposed to be in the harem since she appeared in that mental picture that Momo had, where Rito was in a "throne" among almost all the girls in the series.
There was a time when Rito helped Saki showing her his kindness. When Saki's father wanted to move to America Lala and him encouraged her to face him and tell him she wanted to stay in Japan with Aya and Rin. But most of this was made by Lala and Saki didn't have a second thought about it later.
So if Momo really wants to include Saki in the harem she will face a big challenge there.
|2013-01-09, 20:21
|Link #5335
Senior Member
Join Date: Feb 2012
Location: California
^ Well aside from Saki and Mikan, there really hasn't been much or no interaction between Rito and Aya, Kyouko, and Mio.
kyouko did however, say she was ok with being seen naked by him once and thought he was cute too. But she is a Run supporter, so the chances of her going after Rito or even joining the Harem are slim to none.
Last edited by sky black swordman; 2013-01-10 at 05:12.
|2013-01-09, 21:19
|Link #5336
Join Date: Dec 2009
So Saki's case is uncertain, but leaving that aside there are clear obstacles in the harem: (Sorry if I'm repeting something said before, I haven't had time to read the previous pages yet):
- Yui: "If you promise not to do ecchi things to other girls...". That being said, and having in mind her strict moral, it's clear that she would not accept the idea of the harem at least the way things are now.
- Run. She hates Lala and would never accept the idea of sharing Rito with her.
- Nana. She's falling in love with Rito, but the previous chapter showed that she doesn't agree with the idea of a harem even though she is a Devilukean.
|2013-01-09, 21:44
|Link #5337
Join Date: Mar 2012
Location: Hell
@sky agreed with everything lol
@zoofranz when did Run ever state that she hated lala? i thought she said she was a little jealous of lala since lala gets to spend every minute with rito but not that she hates her after all theyre childhood friends. Yui i think will need some persuading. and nana i could care less about i dont think she'll join either with her tsundere attitude towards rito but looks like momo is pressing the issue there.
|2013-01-09, 21:58
|Link #5338
Join Date: Jan 2007
Well, the thing with the Harem Project is that it's Momo's way of being Rito's lover even if she isn't the first or second choice. She loves Rito so much that she doesn't care if she's just a mistress because she knows that the other option is she doesn't get Rito at all.
Momo just has to make everyone love Rito to the point that they can't think about not being with him, even if they're not his first choice. This is probably doable with Nana and Run, and a bit more difficult for Yui, but not impossible.
|2013-01-09, 22:43
|Link #5339
Join Date: Dec 2009
What Nanaya says about the harem plan is right though. Having the skunk chapter I mentioned in mind, it could be doable in Run's case too, but not easy at all.
|2013-01-10, 03:04
|Link #5340
Senior Member
Join Date: Sep 2008
I guess Run never throught about harem option... so if she can get a hold of rito...or not have him at all... she would accept the harem option... maybe she would even drag in Kyoko so she would have a closest best friend next to her all the time at ritos side...
we forget that Run like Lala are royalty on their planets... so at runs planet harem option might exist too... and since she loves rito so much she is a given in the plan
as for momo...well she wants to get more girls in the harem so she could feel more secure in there... tha she isnt the 5th wheel there.... like rito will have lala and haruna so rito might not pay attention to momo at all as she is the youngest... so if there are more girls she can just exist in between them all and it wouldnt matter if she is younger from them or not... she is scared and unsure about herself... if she pushes too much foward rito might backoff and she would be left heartbroken...if she stays too much back rito might drop the idea at all and her feelings would never get to him...
so she must keep it in ballance...till rito himself admits that he does like momo...so it would secure momos worries a bit and she could get a little more foward to express her own feelings and why she wanted to start the plan in the fitst place.... but if he admits that he likes momo too... she might drop the concept and focus on her own feelings and relantionship as itwould be a sign that rito is ok with her now
|ecchi, harem, manga, nudity, romance, sci-fi, shounen
|Thread Tools


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The November noise offering at First Evangelical Lutheran Church of Lexington went to the Empty Stocking Fund as its charity for the month to help children during the holiday season.
The November noise offering at First Evangelical Lutheran Church of Lexington went to the Empty Stocking Fund as its charity for the month to help children during the holiday season.
Every third Sunday children go out into the congregation after the children's service with little tin buckets to collect change, said Tina Walker, church member and team leader of the outreach program. Whatever is donated by members, the church's endowment team matches it up to $100.
"The kids just love it," Walker said.
Walker said by the offering the church is able to send a donation to local organizations each month. The idea started from church member Billie Sue Hollar, Walker noted. She said the church's outreach team decides the destinations for the money each month.
"We have a wonderful group of people who help," she said.
In the past, they have donated to Kamp Kiwanis, the Salvation Army, Hospice of Davidson County, Positive Wellness Alliance and Crisis Ministry of Davidson County. The offering to the Empty Stocking Fund was $222.
"We are very aware of how fortunate our members are," she said. "We try to add somebody new each year."
Walker said with Christmas being around the corner, they wanted to select an organization that helped provide presents and assistance to children.
"We are happy to do it," Walker said. "It's a really good lesson for the kids to understand how fortunate they are, and everybody is not as fortunate. It's teaching good habits as far as learning to give to other people."
Donation forms for the Empty Stocking Fund run periodically in The Dispatch and can also be sent in on a sheet of paper. All donations should be mailed to The Dispatch, Empty Stocking Fund, P.O. Box 908, Lexington, NC 27293 or delivered to the office at 30 E. First Ave. Checks should be made out to the Empty Stocking Fund.
Please include the following information, typed or clearly written, with donation checks: donor's name, amount of donation and if the donation is in honor or in memory of someone. Donors can remain anonymous if they so choose.
Deneesha Edwards can be reached at 249-3981, ext. 213, or at firstname.lastname@example.com.
Empty Stocking Fund Donations:
In memory of Gray and Clara Crews by Carolyn and Winfred Everhart, $50
In memory of Frank and Mary Everhart by Carolyn and Winfred Everhart, $50
Bob and Cindy Stiff, $100
Jackie Farabee Bible Study Class of Pilgrim Reformed Church, $50
In honor of Lexington Library Employees by N. Wilkins, $100
Anonymous, $100
Total: $450
Total to Date: $ $14,696.60


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Waking Beauty
Apollo's Angels: A History of Ballet
Here is a book of immense ambition—a one-volume history of ballet—and of considerable accomplishment. Jennifer Homans, whom we know primarily as The New Republic's provocative dance critic, shows herself to be both dogged and graceful as a historian—a rare and welcome combination of qualities. She's also a passionate believer in the central importance of ballet as an art, seeing it as an expression of a way of life, a philosophy of life, not simply as an enjoyable and often moving entertainment. And she's a persuasive guide to the deep connections that from the beginning of its history have existed between ballet and the state:
Classical ballet grew up in Europe's courts; at its origins it was an aristocratic etiquette and political event as much as it was an art…. The steps were never just the steps; they were a set of beliefs, echoing as they did the self-image of a noble caste…. How ballet began and what it became is best appreciated in light of the political and intellectual upheavals of the past three hundred years. Ballet was shaped by the Renaissance and French Classicism, by revolutions and Romanticism, by Expressionism and Bolshevism, modernism and the Cold War.
Throughout her book she is loyal to this perspective, which underpins the narrative without becoming too assertive an agenda. And for the most part it doesn't narrow her story, since—however strong her impulse to see things through the prism of history—she is first and foremost a dance person, a dance critic, a dancer. Clearly she has flung herself into the available sources and has mastered what they have to tell us: I follow her gratefully through the centuries as she traces the progress of ballet from its beginnings. (I follow more cautiously when she arrives at what she considers to be ballet's imminent demise.)
If you have a smattering of dance history under your belt, you're aware that ballet essentially begins when Catherine de Medici, aged fourteen, arrives in Paris in 1533 to marry Henri II, bringing her Italian Renaissance outlook along with her. Within decades, Homans tells us, the Académie de Poésie et de Musique, founded by her son Charles IX, is proposing "an encyclopedic course of inquiry, including natural philosophy, languages, mathematics, music, painting, and the military arts." As for dance,
The Academicians saw in ballet a chance to take man's troublesome passions and physical desires and redirect them toward a transcendent love of God…. The movements of the body, disciplined with poetic rhythm and meter and brought into accord with musical and mathematical principles, could tune him to celestial harmonies.
And further: "It was this sense of perfect mathematical proportion that led the Abbé Mersenne, in a moment of high inspiration in 1636, to…
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|Episode Description
|Wednesday, Dec 12, 2012 - 3:30 AM
"Life's Databases"
All life on earth uses DNA as an information storage molecule. This program deals with the way that information is expressed in cellular growth and metabolism. It also examines how the tools that helped us understand the genetics of inheritance can be used to solve both environmental and health problems. D
Mountain Time
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Wearing Urban Decay 24/7 Glide-On Lip Pencil in Midnight Cowboy
So who's ready to go nude with me? Wait — button up those skinny jeans, ya perverts (although I applaud you for your willingness to let it all hang out!); I'm talking about the two newest additions to the Urban Decay 24/7 Glide-On Lip Pencil line ($18 each).
Waterproof, with a matte finish and a creamy texture that's smoother than my favorite werewolf's chest, rosy nude Illegal and plummy nude Midnight Cowboy live up to the long-lasting standard set by UD's pencil liners, staying put for about six to eight hours on my lips.
This morning I slipped into Illegal, and two big @ss bottles of water, a chai tea latte and a bowl of pumpkin soup later it still looked (almost) as good as new.
Illegal (left) and Midnight Cowboy (right)
Swatch of Illegal (left) and Midnight Cowboy (right)
Comparison swatches of a few Urban Decay 24/7 Glide-On Lip Pencils that I had on hand from left: Urban Decay Glide-On Lip Pencils from left: Naked, Paranoid, Wallflower, Illegal and Midnight Cowboy
Wearing Illegal
These also don't leave my lips flaky or dry like some of the other matte lip liners I've tried, perhaps due to the jojoba oil and vitamin E they contain.
Mostly I've worn them by themselves — just line, fill and go — but you could easily spruce 'em up by adding your favorite clear or nude gloss on top.
AVAILABILITY: Coming soon to Sephora, Ulta, Macy's and urbandecay.com
It's Monday Magazine Mania!!!
Last night, as the weekend wound to a close, I won't say I was dreading today, but I think it's fair to say I wasn't head-over-heels ecstatic about the idea of another Monday.
But then today arrived, and I gotta say — this particular Monday wasn't that bad at all. I told myself this morning that I was going to power through the day with a positive attitude, and lo and behold, it actually worked! Now I plan to reward myself with one uninterrupted hour on the couch with Vogue, O and Cosmo. 🙂
How was the rest of your day? Do you mind if I ask what's for dinner tonight? I'm hella hungry right now…
Your friendly neighborhood beauty addict,


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