text:
Whether you're getting ready to hit the dance floor or heading off to class, this convertible clutch/cross-body bag is the perfect fit. Just switch out the strap and you're ready to roll!
Shipping Options:
Orders are shipped using the following rate scale:
|Shipping Method
|Delivery Times
|5-7 Business Days
|Second Day*
|2 Business Days
|Next Day*
|1 Business Day
*For Second Day and Next day shipping, orders must be placed before 2:00 P.M. PST to be shipped the same day. Packages will be shipped and delivered Monday - Friday (excluding holidays).
Business days are limited to Monday through Friday, 6:00 A.M. to 5:00 P.M. PST. We do not ship on Saturdays, Sundays, or holidays and we do not ship to P.O. Boxes. Please allow an average of one additional business day for processing and note that your order may be shipped in multiple packages at no extra charge to you.
For complete details, click here.
Return Options:
While we take pride in all our GUESS products, if you are not satisfied with your online purchase we are happy to assist you with a return by mail or at a store location closest to you.
Please view our Return & Exchange policy here.


text:
40.0342 Procurement of money without petition.Cite as [A.S.C.A. § 40.0342]
(a) If the value of the estate of decedent does not exceed $1,000, the surviving spouse, or the children of the decedent if there is no surviving spouse, if entitled by inheritance or by the last will and testament of the decedent to any money of the decedent on deposit in the Development Bank of American Samoa, or to any money owing to the decedent by the government, may collect such money, not to exceed $300, without first procuring letters or filing a petition under this section, upon furnishing the Development Bank of American Samoa or the Treasurer of American Samoa, as the case may be, with an affidavit showing the right of the affiant or affiants to receive such money.
(b) The receipt of the affiant of affiants shall constitute sufficient acquittance for any payment by the Development Bank of American Samoa or the Government made pursuant to this section, and shall fully discharge the Development Bank of American Samoa or the government from any further liability to any person with reference thereto, without the necessity of the Development Bank of American Samoa or the Government making any further inquiry into the truth of the facts stated in the affidavit.
(c) Such payment shall not preclude administration when necessary to enforce payment of the debts of a decedent.History: 1962, PL7-21;1967, PL 10-16.

subset: commoncrawl


text:
SLEAFORD and District Aviation Society will be hosting a lecture by 617 Squadron historian Jim Shortland.
The talk will be at the Legionnaires Club, Watergate, on August 21 at 7.30pm for 8pm start.
His talk will be "Lancaster Firsts".
He is the founding vice-chairman of the aviation society too. He is the co-author of a new book, The Dambusters In Focus and has travelled around Europe and to Canada with his research over the years.


text:
Planet X PX-14 Apollo
Product Details
Apollo transforms from armored vehicle to robot and back! Includes blaster rifle and battle hammer accessory.
Ages 15 and up
IF CHOOSING THE DEPOSIT OPTION INVOICING IS DONE VIA PAYPAL AT THE START OF THE MONTH OF RELEASE. ALL BALANCE PAYMENTS DUE BY THE 24th OF THE MONTH OF RELEASE. PLEASE ONLY PLACE A DEPOSIT IF YOU HAVE A PAYPAL ACCOUNT. INVOICES WILL BE SENT TO THE EMAIL USED TO PLACE YOUR DEPOSIT. IF PICKING THE DEPOSIT OPTION POSTAGE IS AUTOMATICALLY ADDED AND WILL BE DEDUCTED FROM YOUR FINAL BALANCE.
Product Specifications
- Pre Order
- Filed under: Preorders, 3rd Party Transformers, PRE ORDERS and Planet X
- All items shipped from the UK
- FREE shipping on mainland UK orders over £100
- ! CHOKING HAZARD: This product may contain small parts. It is not a toy and only suitable for the persons over 15 years old
- Share?
UK: All items are dispatched via the method you choose at checkout, orders over £100 within mainland UK ship free of charge.
Europe: Orders to Belgium, Luxembourg, Netherlands cost £9.25
to France & Germany £9.75
to Austria, Czech Republic, Denmark, Hungary, Italy, Poland, Portugal, Republic of Ireland, Slovakia, Slovenia, Spain, Sweden £12.95
to Bosnia, Bulgaria, Canary Islands, Croatia, Estonia, Finland, Lithuania, Norway, Romania, Russia, Serbia, Switzerland £17
to Greece £22.95
USA: Sorry we have stopped delivering to the United States.
Customers ordering from other than those countries listed above need to email firstname.lastname@example.com for a quote.
Please note some large items shipping internationally may require an additional charge if they exceed our carriers dimensions and sizing restrictions.
When placing deposit or pre-orders you will be charged the postage at your chosen shipping methods rate. You will not be charged extra postage and packing on eligible items when paying the balance on release.


text:
The Bread and Puppet Theater on Route 122 in Glover presents Overtakelessness Circus and Pageant on Sunday, August 30, at 3 p.m. Museum tour at 1 p.m. and ding dongs at 2 p.m. Following the circus and pageant, Great Small Works will perform in the cathedral. Suggested donation is $10. For more information, call 525-3031 or visit www.breadandpuppet.org
Tag Archives: Bread and Puppet
Bread and Puppet Theater's museum turns 40
copyright the Chronicle June 10, 2015
by Nathalie Gagnon-Joseph
GLOVER — Visitors jammed the lanes around the Bread and Puppet Theater's grounds here with their cars on Sunday when they came for the museum's open house.
The theater celebrated the fortieth anniversary of its puppet museum on Sunday with shape note singing, harp music, and mini-plays scattered around the yard.
The smell of garlic from the aioli that was served with Bread and Puppet's signature sourdough bread permeated the museum.
Visitors could wander through over 40 years worth of big puppets and peruse and purchase posters, pamphlets, and books.
Burt Porter, a Glover poet and musician who has participated in opening the museum yearly since its inception, was given a wooden medal….To read the rest of this article, and all the Chronicle's stories, subscribe:
Print subscription
Annual online subscription
Short-term online subscription
(To find a particular article, search for the corresponding edition of the newspaper.)
contact Nathalie Gagnon-Joseph at [email protected]
Two handmade Shipley books honor writing and farming
copyright the Chronicle September 3, 2014
Adam's Mark: Writing from the Ox-House, published by Plowboy Press in Burke, with woodcuts by Mary Simpson. A limited edition hard cover version is available directly from the publisher for $250. A smaller softcover trade copy, 54 pages, is $12. First Do No Harm, by Honeybee Press in Burlington and New Orleans, Lousiana, 48 pages, softcover, $15. Both published in 2014, both written by Julia Shipley. Both available locally at the Galaxy Bookshop in Hardwick.
Reviewed by Bethany M. Dunbar
Wesley Langdell's barn and paddock are across the street from the Morrisville Price Chopper. He sold his southern hayfield in the early sixties to developers who built the Ames Plaza, Price Chopper and McDonald's. I gaze at his place from the parking lot where I shop because I cherish things that are about to vanish.
At Bread and Puppet: Fire revival for Gaza draws reflection, silence
copyright the Chronicle August 13, 2014
by David Dudley
GLOVER — Before the Bread and Puppet Theater's Friday night performance of Fire, Genevieve Yeuillaz rakes the dirt floor theater. Though the audience rarely acknowledges her effort, she carefully makes lines in the dirt before each performance. It's a way of making the space feel fresh. The raking is, perhaps for Ms. Yeuillaz, a meditation, a kind of prayer. She focuses her attentions on a seemingly small, repetitive task to rest her mind before the intense performance.
Vermont Vaudeville debuts in Barton to sold out crowd
copyright the Chronicle January 29, 2014
by Joseph Gresser
BARTON — Vermonters have always had a yen for local entertainment. Most towns, including Barton, boast theaters that once hosted traveling shows that toured the country.
Barton's Memorial Building will welcome a revival of that tradition Saturday night, when Vermont Vaudeville comes to town.
The group, made up of a four-person core and guest performers, has embarked on a nine-town tour of Vermont over the next six weeks as part of its campaign to revive locally produced and consumed entertainment.
Justin Lander, Rose Friedman and Brent and Maya McCoy started their troupe five years ago with an inaugural performance at the Orleans Municipal Building. Since then they have presented several sold-out shows at the Hardwick Town House every year.
In a conversation on an icy January evening at the East Hardwick home of Ms. Friedman and Mr. Lander, the performers reflected on their journey so far and their plans for the future.
Chronicle jack-o'-lantern contest winners speak
by Natalie Hormilla
"You have to look at the pumpkin, and see what it tells you," said Lila Winstead of Glover, about one of her rules of pumpkin carving.
Ms. Winstead is usually a winner at the Chronicle's annual jack-o'-lantern contest, and 2013 was no exception.
She was one of three winners in the adult category this year. She won with a smaller pumpkin that featured an intricately carved face.
"That's my fallback," she said. "Every year, I think, it should be a face."
There was also the matter of practicality in coming up with her idea.
"I was tired, and I couldn't think of a big project, and I do indeed have rules — I'm a classicist."
The jack-o'-lantern face is meant to sit by the front door of a house to keep away gremlins this time of year, Ms. Winstead said.
"In my heart of hearts, that's what I really believe, that the pumpkin is a face. Nice things should not be depicted on the face. Sweet things — that's not Halloween." Continue reading
Bread and Puppet celebrates half a century
by Natalie Hormilla
GLOVER — "The assessment is more important for the participants than for me."
This is what Peter Schumann answers when asked what he thinks of Bread and Puppet Theater turning half a century old this summer.
Mr. Schumann has been the artistic director, or whatever you want to call him, of the theater since he founded it in New York City in 1963.
Bread and Puppet is often referred to as political theater. The company, comprised of a small cast of core employees who are complemented by a large set of mostly seasonal volunteers, puts on shows with strong, political themes, usually in protest of capitalism, corporatism, and imperialism. These shows, which Bread and Puppet refers to as "the circus," happen here in Glover every Sunday for a couple months in summer. After each performance, audience members are treated to homemade bread, baked by Mr. Schumann himself.
Bread and Puppet also hosts a variety of other events at the Bread and Puppet farm — sometimes talks, sometimes shape-note sings, sometimes art exhibits — but it's the Sunday circuses for which they're best known.
Local people, even if they've never been to the circus, will recognize Bread and Puppet's trademark larger-than-life, papier-mâché puppets, some worn by people on stilts, which appear regularly in community parades. The company also tours around the world, appearing at events like festivals and rock concerts.
The Bread and Puppet Museum, housed in an old barn on the company's farm, has long been a site frequented by visitors and natives of the Northeast Kingdom. The museum displays many of the old puppets from shows past, and has a small area where Bread and Puppet's trademark posters, prints, and calendars may be purchased.
Bread and Puppet has been based here in Glover for most of its existence, but an eye to the whole world has informed its performances since the very beginning.
Mr. Schumann said he chooses the Bread and Puppet show themes using "things we're totally upset by. We don't choose them, they choose us."
He says he focuses on issues for which there are no other outlets.
"You meet people who are so frustrated with the state of the world," he said. "But there's no outlet for them."
He says the circus themes are the "result of the stupid New York Times, or whatever, these miserable news organs. What they don't print, or talk about, is what we do, or what they only mention — things that need more mentioning."
For an example, Mr. Schumann points to an edition of the New York Times from this past April. He says that the front page read something like, "Boston bomb outrage," and that a story about the destruction of an Afghan village by U.S. drones was buried on page 35. He said the village was seen as just "collateral damage."
Bread and Puppet circuses often refer to many different world incidents — the performance on July 28 paid respect to Operation Enduring Freedom, including the number of people killed, and a solo dance for Trayvon Martin, involving a black flag. Those acts were part of the "Total This and That Circus, Part One: This, Part Two: That," which is the theme for Bread and Puppet's fiftieth year.
"People come for obscure reasons, not the normal theater reasons, getting your money's worth of giggles and tears. We don't provide that. We don't feel obliged," Mr. Schumann said.
"It's bread and puppet, and we mean that. The puppetry is to create the situation to share the bread, because without that you couldn't persuade them, in a capitalist country, to come and eat bread. They'd be too skeptical.
"What we're trying to sell is zero value," he said, in reference to the free bread. "And that's hard to sell, so we must make puppetry. It's a trick."
A bit of history
"The bread came before the theater," said Elka Schumann, in an interview on the Bread and Puppet farm.
Ms. Schumann has been married to Mr. Schumann a long time, and is deeply involved in Bread and Puppet, and particularly in its music.
"Peter is the founder, the artist, and the director," she said. "I gave support and criticism, I've nagged, and done all those things wives are famous for."
Ms. Schumann said the famous Bread and Puppet bread is a Schumann family recipe.
"Peter learned it from his mom, sourdough rye. She baked it for the family until her death at over 100."
She said the original recipe is pure rye, sourdough, salt and water. The original, all-rye bread used to be served to members of the circus audience. "But Peter kept noticing bread in the garbage with one bite taken out."
So he created a recipe that is half rye berries and half whole-wheat flour.
"It's more generally liked," she said.
She said the rye berries are still ground by hand on the farm, using a mill from England.
The bread is baked in ovens built in a Quebecois style, with clay splashed on bent branches. "Sort of like a loosely woven basket," she said. "It's just a really simple, great place to bake over 100 loaves at a time."
She said that Mr. Schumann bakes bread about four times per week in the summer. The bread is served at the circuses, but it's also sold at some locations, and it is devoured by the puppeteers at the farm.
The Bread and Puppet bread is always served with aioli, which they started doing after encountering it while on tour in southern France. Ms. Schumann said the aioli is just mashed garlic with oil dribbled in.
But long before aioli and hundreds of loaves of bread at a time, came the puppet shows in New York City.
Mr. and Ms. Schumann lived in the Lower East Side in the early 1960s. They had a loft on Delancey Street, within walking distance of their home, and it was there that Mr. Schumann began his puppet career.
Ms. Schumann said that Mr. Schumann had dreamed up a new sort of dance as a high school student in his native Germany. The dance would include ordinary gestures, like walking and then stopping, done by a group of people all very focused on what they were doing.
"There was no interest in this in Germany, in the '50s, in something so strange," she said.
But then they came to New York.
"In New York City he met this whole world of avant-garde artists," Ms. Schumann said. "Then he went to a puppet festival of the Puppeteers of America, who had a very orthodox style. But there was a group there from Sicily with marionettes with simple technology, which Peter liked. Their plays were retellings of the Crusades. It put puppetry in a totally different light."
That was 1961.
Mr. Schumann would put on puppet shows for kids in his Delancey Street loft. Before long, he moved on to bigger puppets.
"And then right away he made huge masks, and had the puppeteers inside the whole figures, and then later they got so big they needed two people — one person manipulating and one inside," Ms. Schumann said.
"In the U.S., in the early '60s, there was a real openness in the air to strange kinds of theater," Ms. Schumann said. "There was an audience for those things."
"There were immediately volunteers who wanted to express political feelings, who wanted to do more than attend meetings and hold a sign."
Bread and Puppet became known for protest against the Vietnam War. Their first tour abroad was for the piece, "Fire," which was about three Americans who set themselves on fire in protest to the war. Bread and Puppet performed the piece in their loft and in a New York City church.
"A French talent scout saw it and invited Bread and Puppet to Nancy, France, in 1968, for a big festival," Ms. Schumann said.
"We were somehow riding this wave of protest, anti-war feelings, general turmoil of society. Things were moving away from talking head monologue in theater, to spectacle and audience participation."
Bread and Puppet's big puppets were a hit, and the company was invited to many big festivals from there. Ms. Schumann said that they traveled to Europe several times per year over the next decade to perform.
In the early '70s, Goddard College in Plainfield invited Bread and Puppet to be the school's theater in residence. The Schumanns stayed at a nearby farm, the Cate Farm, during the four-year appointment.
The invitation was a welcome one. The Schumanns had been living in New York City with their five children, and had been longing for the countryside.
"It felt so good to have a home in the country, and to have gardens," Ms. Schumann said.
Bread and Puppet's stop at Goddard was an important one. It was there, in 1974, that they performed the first of their annual "Our Domestic Resurrection Circus."
"That was the prototype," Ms. Schumann said.
Different versions of that circus would be performed from then on, every summer, until 1998.
But the circus would not live on in Plainfield. "We were there until the college politely implied that this was temporary faculty housing," Ms. Schumann said. They paid no rent and made no salary, "but had a beautiful facility," she said.
As luck would have it, Ms. Schumann's parents had recently bought the old Dopp farm in Glover. Restoration of old buildings turned out to be more than they bargained for, so they let their daughter and son-in-law move onto the farm with their family. It was there that the circus, which became a major two-day event, would continue.
The Domestic Resurrection circus was the result of two to four months of work each summer, Ms. Schumann said. The circuses were performed by the core company and many volunteers, sometimes off the street.
The Glover farm had a ready-made amphitheater in which the circuses were, and still are, performed. The space was originally a gravel pit.
"Scores of trucks would take gravel away, and it went to I-91," Ms. Schumann said. "It was supposed to be filled back in, but Peter said, 'don't touch a thing!' It was perfect for the circuses."
The first circus in Glover was in 1975, the same year the Bread and Puppet Museum opened.
Over the years, the Bread and Puppet circus, held in late August, would become a major attraction for people from all over the world.
The circus
The annual Our Domestic Resurrection Circus was something like an allegorical play dealing with good versus evil, involving giant papier-mâché puppets, stilts, and a big brass band.
It was a show where you would see Governor Madeline Kunin in the crowd, or Congressman Bernie Sanders in the performance itself, on election years.
The circus was a weekend event which drew crowds of tens of thousands to a town in which fewer than one thousand people resided.
This meant many cars, and many tents, stationed near the Bread and Puppet farm, located off Route 122.
A Chronicle article from August 17, 1983, reads that the circus "left a line of parked cars that stretched 11 miles along routes 122 and 16 in Glover, and filled several hayfields and gravel pits that were pressed into weekend service as parking lots. Because the circus is free, nobody knows how many people came. But Deputy Sheriff Ray Young of Glover measured the miles of cars, made some calculations, and estimated crowds of 15,000 on both Saturday and Sunday."
By 1998, the crowd estimate reached 30,000.
The people brought with them traffic, but they also brought business.
"Oh mister, talk about busy," said Jimmy Currier, who owns Currier's Quality Market on Route 16 in Glover, a short distance down the road from Bread and Puppet.
"That was the busiest day of the year, when the old circuses were on for a weekend, years ago. It was unreal.
"If a show was out, and you came into Currier's, all you could see was heads," he said. "And on the street there were so many people."
He said that Currier's would get a tractor-trailer of just ice for the show goers, along with plenty of beer, wine, fruit, and produce for salads.
"They weren't the bologna type."
"If I remember, the juice section would get wiped out, tons of water, cases of water. Sold it all. We would have somebody pumping gas," he said.
"The Busy Bee, the little diner across the street, Edna Chamberlain ran it, and she was right out straight," he said. "Course you got to remember there were a lot of food booths, but Edna was very busy."
Mr. Currier said that he liked the excitement the circus brought. Not everyone in town shared this sentiment.
"I do know there were some people in town that did not like it. I could hear grumbling," he said. "I never discussed it with anybody, but I could hear grumbling. Some did not like it. Flat out right."
Mr. Currier said he never had any issues in the store, even with so many strangers around.
"The Bread and Puppet people were really docile," he said. "Always courteous, never wise."
"I don't really think there was ever any trouble, ever, until the wrong people started coming," he said.
"It was always a very family-oriented environment, and even to the end, the environment on the farm itself was very family friendly," said Randy Williams, an EMT who was captain of the Glover Ambulance Squad when the big circuses were still around. "But the campgrounds did take on a life of their own."
"All the fields surrounding Bread and Puppet were camping areas," Mr. Williams said. "Even the gravel pit, Thompson's gravel pit, back behind Bread and Puppet, that was a big parking area."
Mr. Williams helped treat many people for a variety of issues during the circus weekends.
"We were getting like ten ambulance calls a day, which for us was overwhelming, and in fact we'd have to call in Barton ambulance to take some of the calls," he said. "We only had one ambulance, and we were being run ragged, because it was 24/7 with all the campers."
Eventually, the Glover Ambulance Squad set up a tent right in the Bread and Puppet field.
"Over a period of several years, this tent escalated in size, and we eventually put up an old army tent that was, I believe, 30 by 50 or something like that," he said. "It really for all intents and purposes was a MASH unit tent."
"And we got a lot of visits. Over the weekend, we would treat over 100 people," he said. "I mean most of it was just real benign stuff, like heat problems."
Mr. Williams even went around to all the campground areas and lined up landing zones for the Dartmouth-Hitchcock helicopter, in the event of a major emergency, like a big fire.
"We never had to use that service, but it just illustrates how elaborate our setup was."
Over the years, the number of people who showed up just to party grew. Some people would need to be treated for drinking too much, or overdosing on drugs.
"We had people that had never done LSD before, and somebody gave them some down at the campground and they came wandering up to the field and had no earthly idea where they were, and they got freaked out because they didn't understand what was happening to their body and their mind," he said. "We'd take them to the tent, let them lay down for a couple hours, and generally they'd be fine."
"Part of the reason that that evolved, we understand from talking to people that were doing this, was they saw Bread and Puppet as a fun thing to do between say a Phish concert in Boston and a Grateful Dead concert in Montreal. They would stop over for the weekend and party at Bread and Puppet, and many of them never even went up to see what Bread and Puppet was. They just paid their money and camped and partied, and they ended up dancing in the fires, and eating the local mushrooms which caused some major health issues, so it was a whole other scene when all that started to happen."
Mr. Williams said he had several patients who gave that explanation when asked why they were at Bread and Puppet.
"Peter had been concerned about it for years, that the traffic was bad, dogs were an issue, there were all kinds of things that started to progress," said Betsy Day, who is also an EMT who worked at the Bread and Puppet circuses. "And every year they tried to solve it in a different way, and every year the crowd got bigger."
The final weekend-long Our Domestic Resurrection Circus was held in 1998. That year, a man named Michael Sarazin died after having been punched in the head at one of the nearby campgrounds.
Some people blamed alcohol and drugs, some people blamed Phish, some people blamed bad luck, but one thing was for sure — it spelled the end of the major circus.
In an announcement in the Chronicle on August 19, 1998, Mr. Schumann said that Mr. Sarazin's death "makes the continuation of the event impossible."
Bread and Puppet would continue to give smaller shows throughout the ensuing summers.
"I've always thought very highly of Peter for calling it, because of that," said Mr. Williams. "Because you had to remember that the one weekend circus pageant was their major fund-raiser for the year. But it was obviously, philosophically, the right thing to do."
Mr. Williams also pointed out that many other people benefited financially from the circuses.
"It was a huge financial weekend for Jim Currier, the Busy Bee, and every business within a 20-mile radius probably," he said. "There were no places to stay other than the campgrounds, with what meager pickings there are here for lodging, but the farmers certainly made tons of money, and so when it went away of course that depleted that source of income as well."
"There were of course factions of people that were disgruntled about the whole thing, but there was no denying that it was an economic boon to the community," he said.
He also said the Glover fire department would make thousands of dollars each year through a roadside coin drop.
Mr. Williams said the Bread and Puppet circuses gave the members of the ambulance squad valuable experience.
"You got a volume of varied calls, and you had to use your training to deal with it, and we did a great job doing that," he said.
"It gave us, us on the ambulance squad, a lot of experience that we would not have had, and therefore a real sense of pride that we were able to get it done."
Bread and Puppet in the world
"The theater has given so much to the community," said Linda Wells, who has retired after 28 years as librarian of the Craftsbury Public Library.
She said Bread and Puppet helped when the library needed a new building. "Bread and Puppet did a big show in the high school gym, and all the proceeds went to building the Craftsbury library, which was very kind."
She said that Bread and Puppet works with Upward Bound, a college-preparatory program for kids who will be the first in their families to attend a university.
Bread and Puppet also performs for people in Independence Day parades, at Old Home days, and at libraries and nursing homes.
"The tradition of summer parades are a great chance to bring these puppets to people who wouldn't dream of coming to shows or the museum," Ms. Schumann said. "It's a way to bring theater to the community."
Ms. Wells also said that Bread and Puppet helps teach people how to be heard.
"When there's an issue we care about, or is disturbing to us, they will come and help us with parading and protest," she said. "They've taught us a lot about how to speak out. That can be very hard in a small community, to find a voice for that."
Ms. Wells has been involved with Bread and Puppet since 1977, "before the circuses were even big."
She used to perform in the big weekend circuses.
"It was fabulous. A little — what's the word? — nerve-wracking, in front of that many people, to get your cues right. You'd sleep for about two weeks after. It was intense."
Ms. Wells said that both her children were inspired to become musicians thanks to Bread and Puppet. "No question about it."
Her son played violin for a long time after seeing someone in Bread and Puppet with one; he's since moved on to guitar. Her daughter plays cello in a band called Anodyne Gearhart, based in Portland, Oregon. Her kids were involved with the Bread and Puppet Theater right until college.
"It's had a huge influence on us, in all aspects, and each one of us has been influenced strongly by the theater, in a good way."
She said her family has made friendships from all over the world through the theater.
"We started coming here because we felt very akin to what the stories were about, and things going on in the world."
Amy Trompetter of Rosendale, New York, has been involved with Bread and Puppet since 1968. She grew up in Ohio, attended Berkeley, and found Bread and Puppet in New York.
"It was exactly what I was looking for," she said.
She has a theater company in Rosendale called Redwing Blackbird which is "heavily influenced by building giant puppets, backdrops, and activism."
Ms. Trompetter said that Bread and Puppet is "a model for living outside the compromises of work life in the U.S. The corporate model is dominant. People spend their lives doing something they don't want to do. Bread and Puppet says it's possible to have integrity in what you do. To live simply, without needing."
Ms. Trompetter is one of the many puppeteers who arrange their lives to be able to live in Glover for the summer to perform with the theater.
"It's like my tribe," she said. "When I'm in Rosendale, I'm convincing people that what we're doing is effective and working. But when I'm here, we're all on the same track."
"The wish to live differently is embodied in doing the theater," she said. "It gives us spirit and happiness, which is the kind of life we're wanting."
The Bread and Puppet farm teems with activity in summer. Drop by on a random weekday, and you'll find a group of maybe 20 people singing shape-note songs beneath the shade of a tree. Some are out back behind the shed, painting signs or sculpting papier-mâché. Some are inside preparing the lunch that everyone will share at noon. Some are out in the print shop painting the iris and rose prints that adorn the houses of many, whether they've been to a Bread and Puppet show or not. Mr. Schumann can be found in the thick of it, working on a giant mask, and later, doling out bread to his volunteers.
Everybody is doing something, working on the same thing in different ways. And yet the energy is calm. There is no need to give orders. The schedule is scratched onto a chalkboard that sits near the lunch hut. The different hours of the day list tasks like "paper mache," "turkeys," "stilt rehearsal," and "outhouse gallery walk."
Ms. Schumann said that some people refer to the farm as "a bubble."
"We've been so enormously lucky to find this place and also the people who give creatively and who organize, which is very important," she said. "The days are so full."
Bread and Puppet has few year-round employees. The rest are either volunteers or seasonal employees, many of whom travel from all over the world to work in Glover for the summer.
Katherine Nook, a Utah native, is a Bread and Puppet staff member and lives on the Glover farm year-round. She is the resident puppeteer, which means she does everything from performing on tour to feeding the pigs on the farm in the morning.
She also helps organize the team of summer interns who descend upon Glover every summer. She said they get more and more letters every year from people from all over the world who want to be an intern at Bread and Puppet.
"One hundred and six people wrote letters to be interns this year. There were only 35 spots, though," she said.
Ms. Schumann said that, in summer, there are 40 to 60 people living on the Bread and Puppet farm for a couple months. They mostly stay in tents and defunct touring buses.
"They come for two months," she said. "They learn to do it all — print, wash dishes, mow the lawn, rehearse. We encourage people to do their own little shows before the big circus."
Ms. Schumann said that many people who have traveled to Glover to work with the theater have bought land in the area to live permanently.
Linda Elbow of West Glover, who is a native of New Jersey, began working with Bread and Puppet in the '70s. At the time, she was working in theater costuming at Goddard.
"When Bread and Puppet was based at Cate Farm, they would come into that theater to perform before going out on the road, and so I was spying on them," she said. "And I was also very interested in what Peter was talking about, like scale, depth, and sound. But I was totally terrified of getting to know those people, because they were like wild European hippies in my mind. But I just got to know them better, and I decided they weren't so wild after all."
These days, she's the business manager for the theater, which means she handles the money and books the shows on tour.
Bread and Puppet is one of the oldest nonprofit theaters in the country. It does not seek out grants of any type, which Ms. Elbow said is important.
"We just want to be free," she said. "We don't want to have any restrictions on what we're doing."
Ms. Elbow acknowledged that some Bread and Puppet performances most likely happen because of grant funding, which is sometimes from the government.
"When we perform at a local school here in Vermont, chances are they got their funding from a state council through the government, and that probably happens when we go to colleges, too," she said. "But we do not apply for these things directly at all."
Ms. Elbow said that a mix of donations, payments for touring shows, and sales from the print shop, along with countless volunteer hours, are what make it possible for Bread and Puppet to function.
"We do get donations throughout the year," she said. "Anything from $10 to like a $1,000. One family gives $10,000 each year. That helps."
"We try to be very low budget," she said. The paid puppeteers make very modest salaries, she said, and the theater company provides them with room and board.
Bread and Puppet also asks to be both housed and fed when invited on tour.
"We usually stay in local homes. I can remember sleeping on a church floor one time when I was touring with the company."
A single afternoon on the Bread and Puppet farm revealed several ways in which the company pinches pennies.
Mr. Schumann said that, not counting paint, Bread and Puppet has only spent about $30 on its papier-mâché supplies over the last 35 years.
The company has been using the same batch of cornstarch — "either a half a ton, or a ton," he couldn't remember — in its papier-mâché puppets for over 35 years, after buying a big load in the late '70s.
"It was a nice deal," Mr. Schumann said. "We share it with the mice."
He also said most of the cardboard used for papier-mâché is from a load of scraps he received in the late '70s from a friend who worked at a cardboard factory. Bread and Puppet continues to add to that supply, picking up cardboard from furniture and appliance stores for free.
"That's our religion — 'cheapicity,' it's called. I don't know which Gods," he said. "Dozens, probably."
Mr. Schumann acknowledged that volunteer work is a major force at Bread and Puppet.
"We can't afford to hire," he said.
Providing entertainment to everyone, even if they don't have any money, is a focus of the theater.
"We performed in a park in downtown Richmond, Virginia, and most of the audience lived in the park, homeless on benches," said Noah Harrell, who works with Bread and Puppet in summer. "And they went there for the bread, and they saw the show.
"They would stick around afterwards and eat bread and mingle with the other people who didn't live in the park," he said. "When would those two people spend time together? And share bread together?"
Mr. Harrell said that Bread and Puppet tours all over the world in a variety of venues. He said the theater did a show in Tuscany, Italy, last month, where Bread and Puppet was the highlight performer of a big festival. But the theater has also worked in Palestine, and in Haiti after the massive earthquake in 2010.
"Usually when we tour abroad it's organizations that have enough money to bring us. Unfortunately, that's the reality of it," he said. "Often the groups that would benefit most from the Bread and Puppet style of performance aren't necessarily the ones that could afford to bring us, so there are a lot of festivals, puppetry festivals, performance festivals, music festivals."
When he's not in Glover, Mr. Harrell runs a small theater company of his own in his native North Carolina called the Rural Academy Theater. He said Rural Academy provides horse-drawn theater that tours mostly in the southeast.
Mr. Harrell studied theater and has a master's degree in directing.
"I often say that to join Bread and Puppet, I had to unlearn that training," he said.
He said his time at Bread and Puppet has informed his company's work.
"It's hard not to see the influence," he said. "I've learned at Bread and Puppet not to make things too carefully, and that's not a criticism of Bread and Puppet at all. One of the strengths of Bread and Puppet is leaving something for the audience to do, not finishing a visual piece completely, giving a hint at something and letting the audience participate.
"It's not a polar opposite to traditional, Western theater," he said, of the Bread and Puppet style. "But there's a lot more emphasis on the group, and the strength of a group of performers, as opposed to individual performers."
He said it can sometimes be difficult for an actor to let go of the ego of being the solo performer, "but the effect can be powerful."
Bread and Puppet's work is well known in the arts world. The theater has received numerous awards, including the Obie Lifetime Achievement Award, in 1984, which is given by the New York City newspaper The Village Voice, for off-Broadway productions. That year Mr. Schumann also accepted the Erasmus Prize, a major arts award in Europe. Other past Erasmus winners include Charlie Chaplin, Ingmar Bergman, and Peter Sellars.
"Bread and Puppet has been around for 50 years, so the name is familiar enough and the style has become familiar enough to a lot of people that that reputation alone can sometimes be what brings us on tour," Mr. Harrell said. "But at the same time, in the U.S., even in New England, people have never seen us before, and that's exciting. Bread and Puppet isn't mainstream. There's a big following and a big family, but it's still somewhat under the radar."
"Some people come for the theater and get the bread, some people come for the bread and get the theater, and the message is somewhere in the middle in there," he said.
The future
Mr. Schumann will turn 80 years old next year. When asked if he envisions a future for Bread and Puppet beyond his own life, he surprised this reporter by giving a direct answer.
"We're talking about that a lot, naturally," he said. "It's complicated — the farm, the agriculture, the living situation, the print shop, the storage, which has way more than the museum."
"Some of Bread and Puppet is continuable, and some not," he said. "It's a problem. I have no answer for this."
As a member of the core company, Ms. Elbow has been working on the issue some.
"About five years ago, we created a new board, to talk about what's going to happen when Peter's not here," she said. "Do we want to tour? Perform here? Do we want to forget about it? No major decisions have been made."
Ms. Elbow said that Mr. Schumann is the company's artistic director. "And that's the only director we have.
"He thinks up these ideas. Sometimes he even comes down to us with a script or with a good outline of ideas. Other times he has vaguer ideas, like 'go out to the shed, find some stuff, start having some conversations, and tell me what you got,'" she said.
"Sometimes we're successful, sometimes we're not. Sometimes the best ideas have come up when we've broken for lunch. Sometimes it comes from fooling around and Peter says, 'yes, yes, that's a good idea,' so it depends on the resident company and all the interns we have."
She said that though Bread and Puppet's cast of workers all collaborate on the shows, Mr. Schumann is, ultimately, the decision maker.
"I've always thought of him as the big eyes and ears," she said.
For now, Mr. Schumann has ideas on how the circus should proceed. This year marks the beginning of a return to the old style, of just one complete show.
In years past, the Sunday shows have been divided into two parts: the circus, which takes place in the field, which is followed by a short break, then the pageant portion of the show, which happens uphill. Then comes the bread.
"It was too comfortable," Mr. Schumann said, of the two-part shows. "Now we make it so you have to come uphill to see the rest of it."
Mr. Schumann called this new form, which is really the old form, "a landscape piece."
He said it's "something that is an attempt to create what Greeks did, Chinese, Balinese, to make a total, complete whole, or an incomplete thing — a giant, arrogant idea. We're still chasing it, we're not done."
Bread and Puppet's Total This and That Circus will continue every Sunday, starting with smaller, side shows at 2 p.m., through August 25.
contact Natalie Hormilla at [email protected]
For more free articles from the Chronicle like this one, see our Featuring pages. For all the Chronicle's stories, pick up a print copy or subscribe, either for print or digital editions.
Glover Day honors a local vaudevillian
by Joseph Gresser
GLOVER — An annual community event with a weight of tradition always faces the risk of becoming stodgy. Glover Day, with its Chamberlain Run, bicycle race and puppet show re-enacting the story of Runaway Pond, could easily become a snooze. But the citizens of Glover are too resourceful to allow that to happen.
For the 2013 edition of the town celebration Glover mined a new vein of history and came up with a unique competition — the Johnnie Prindle lookalike and song contest. In the latter part of the nineteenth century Mr. Prindle was a successful vaudeville performer, who, when not touring the country, made his home in Glover.
Earlier this year a group of his descendants presented a collection of his papers to the Glover Historical Society. That was the inspiration for this year's contest, which brought out a group of talented performers each trying to outdo the others as they played and sang some of the songs that brought Mr. Prindle fame and some degree of fortune.
Glover Selectman Jack Sumberg served as the master of ceremonies for the contest, and introduced a novel mode of deciding its winner — the "silent clap-o-meter." Mr. Sumberg and his partner in judgment, Linda Elbow, claimed to be able to detect the enthusiasm felt by spectators as they thought about applauding for contestants in the lookalike competition. He did not reveal the method by which the judges reached their verdict on the best performance of a Johnnie Prindle song.
Mr. Prindle's songs were written in a wide variety of styles, and some were clearly not intended to be performed by him. One that was, though, was "I'm Not As Green As I Look," a piece used in his personation of Ruben Glue, a hayseed from Glover.
Bread and Puppet stalwart Jason Hicks, outfitted in a seersucker jacket and top hat, was backed by Lily Paulina on baritone horn and Hannah Temple on accordion. Mr. Hicks was progressively drenched by Erin Bell, in accord with the admonition repeated in the song's chorus — "Let's push it down into the brook."
When Mr. Hicks finished the song Ms. Bell threw him over her shoulder and ran off with him toward the Barton River. He returned, soaked to the skin, during the second act on the bill.
That was a winsome trio made up of Joan Alexander, Lynne Birdsall and Celia Latham vamping their way through "Ma's So 'Fraid We'll Get Stole." As they peered over their fans and flirted with the audience, Ma's fears appeared to be well founded.
Johnnie Prindle's attempt at topical satire was taken on by Geoff Goodhue. With accompaniment by Lindsay McCaw and bubbles provided by Maura Gahan, Mr. Goodhue sang about a series of impossibilities including police officers making a hundred dollars a day and women getting the vote.
These and other amazing eventualities were predicted to happen "Not this year, but some other year."
When Susie Perkins and Sophia Cannizzaro took the stage in tatterdemalion with dirt-smudged faces, the program took a sharp turn toward the pathetic. Accompanied by Ms. Cannizzaro's fiddle, Ms. Perkins shook a small tin with a few coins in it as the pair sang "The Little Waif."
Their rendition of the tear-jerker was affecting enough that members of the audience spontaneously left their seats to add coppers to Ms. Perkins small store of wealth, much to the performers' surprise. They pulled in enough over the course of the song for Ms. Cannizzaro to buy a refreshing ice cream cone.
Greg Corbino accompanied himself on accordion as he asked the musical question "Who Am I?" The enigmatic song was billed as Mr. Prindle's great specialty, but Mr. Corbino, who performed the chorus as a sing-along, failed to supply the answer.
The contest concluded as Lila Winstead sang a sad piano bench song to a lunch bucket. Ms. Winstead said Mr. Prindle wrote the many, many verses of
"The Little Tin Bucket" in an apparent attempt to capitalize on the market for sentimental ballads. She said she remains unsure whether the Glover tunesmith was copying the trend or satirizing it.
Mr. Sumberg's silent clap-o-meter determined that Mr. Goodhue was the person who bore the closest resemblance to Mr. Prindle and awarded him a set of sunglasses ornamented with a steel-cut engraving of the master.
Ms. Perkins and Ms. Cannizzaro took the golden Barbie trophy as best interpreter of Mr. Prindle's songs.
Other Glover Day novelties included the defeat of Tara Nelson for the title of fastest woman in the 5.5-mile Chamberlain Run. Ms. Nelson had held that distinction since 2005, but was outpaced this year by Leah Frost.
Ms. Frost is from Maine, but plans to remain in the area and has been engaged by North Country Union High School to coach its cross-country team.
Red Sky Trading Company attracted a big crowd as owner Cheri Safford played host to a celebration of local foods. Visitors were able to sample from a farm-to-table tasting menu featuring locally made cheeses and meats, along with produce from local farms. Bethany Dunbar also read from Kingdom's Bounty, her illustrated catalog of local food producers, to provide context for the meal.
contact Joseph Gresser at [email protected]
For more free articles from the Chronicle like this one, see our Featuring pages. For all the Chronicle's stories, pick up a print copy or subscribe, either for print or digital editions.
Reporter's notebook: Filmmaker finds his voice, unexpectedly
copyright the Chronicle 8-22-2012
by Joseph Gresser
GLOVER — Mark Utter knows that his inner life is vastly different than his outward appearance might suggest. He wants everyone else to realize that as well, and with the help of his friend, Emily Anderson, Mr. Utter is on his way to achieving his goal.
Mr. Utter visited Glover Thursday evening August 16 along with Ms. Anderson to give a presentation about I Am In Here, a film that he wrote, and with help from a successful Kickstarter campaign, has seen through filming. A big crowd filled the ballroom at the Bread and Puppet Theater's farm.
Ms. Anderson lived at the farm for years as a member of the theater, and during that time she and I became good friends and performed together frequently.
Since then, she has moved to Burlington where she works for VSA Arts, and directs the Awareness Theater Company, a group she describes as "a dynamic theatrical group composed of people with and without disabilities."
It was through that work that she first met Mr. Utter, and because of his persistent insistence, began working with him.
Mr. Utter does not speak easily and is prone to make broad and hard to interpret gestures. For much of his life he was not recognized as being the intelligent person he is.
Now, by using a computer keyboard and taking advantage of what is known as facilitated communication, he has proved a most eloquent advocate for himself and other overlooked people.
As Ms. Anderson gently holds his arm at the elbow, Mr. Utter, types out words slowly with one finger. His progress is not linear, he misses his aim often and has to go back and retype to get the word he wants.
Sometimes, he glances up at the screen and smiles at what he reads, before continuing his writing. Even a casual observer has to marvel at Mr. Utter's patience. It is very clear that his mind runs far more quickly than his slow hand can move.
Ms. Anderson afterwards said Mr. Utter has told her that her touch helps him focus and wards off his otherwise uncontrollable gestures. She said that she will gradually move her hand up his arm until it just rests on his back. In time, perhaps he will not need her help to communicate.
Already, he doesn't need the projector. He has an iPad configured so that his typing is rendered into audible speech.
As the audience entered the ballroom, Thursday, a short statement written by Mr. Utter was projected on the screen above his head.
"No so long ago people thought the most advanced way to deal with the dreadfully strange members of our society was to put them away. Twenty years ago Vermont closed its institution but Vermont, along with the rest of the world, is still adjusting to those wretches returning. The task at hand is for everyone to surrender their wishes for perfection and embrace our different ways of being human."
These paragraphs serve as a kind of manifesto for his current work, but do not define his ultimate ambition. Right now, Mr. Utter is concentrated on finishing his film which, in the form of a tantalizing snippet he previewed for the puppeteer audience.
In the one scene he showed, Mr. Utter goes to a film with a friend. As his companion orders two tickets to what from the title is a particularly gruesome horror film, snickers erupt behind the pair.
There stand a couple of snarky teenagers. The girl mocks Mr. Utter saying that he is a "retard" who should not be allowed to attend an R-rated film.
This is the kind of insult that Mr. Utter's difficulties with spoken language once forced him to endure. But in the world of the film, Mr. Utter has a secret weapon.
"A wonderful actor plays my mind," Mr. Utter types. And Paul Schnabel does present a wonderfully idealized portrait of Mr. Utter.
The two men stand together with crossed arms as Mr. Schnabel booms, in a way that Mr. Utter can only dream of doing, "You are wrong. I am old enough to be your father."
Mr. Utter found his voice unexpectedly. He had taken a class in facilitated communication and didn't see there was much in it for him.
Then he saw a film, Wretches and Jabberers, which portrayed the travels of Larry Bissonnette and his friend Tracy Thresher.
Mr. Utter knew both men and was interested to see that they used facilitate communication in their artistic endeavors. Ms. Anderson worked with Mr. Bissonnette, whom she had met while working with the GRACE program, and Mr. Utter decided he would like to work with her as well.
As Ms. Anderson recalls it, Mr. Utter "sort of inserted himself in my life."
"I asked her for so long I almost gave up," Mr. Utter said.
Knowing that he was not a speaker, Ms. Anderson asked Mr. Utter to write a couple of lines for a play she was producing for the Awareness Theater Company.
From there, Mr. Utter was on his way.
"I wrote short blurbs first and then decided to go through a day in my life and filled it with the real facts with some humor," he told the crowd at Bread and Puppet.
Much of the cost of the funds were raised through Kickstarter, a website that helps bring artistic projects to the attention of a wide audience, and allows people to make small contributions to help them succeed.
In the interest of full disclosure I was one of the many contributors to the project. Ms. Anderson and Mr. Utter are still looking for more people to contribute to the project.
The film is scheduled to premiere in Burlington this October.
After that? "My wish is to address love in my next movie," Mr. Utter said.
When asked by Ms. Anderson to expand on that comment, he said, "I feel love is a thing wanted by all and experienced by few and it need not be so."
After Mr. Utter's presentation I spoke with him for a few minutes. Ms. Anderson explained that I write for the Chronicle and asked if he had anything to say to the residents of Orleans county.
Mr. Utter thought for a moment and slowly typed out:
"Oh people of Orleans I look forward to sharing our movie with you and talking about all the ways we can effect changes in how people interact with each other."
contact Joseph Gresser at: [email protected]
Protesters stop Lowell turbine truck
copyright the Chronicle July 18, 2012
by Chris Braithwaite
LOWELL — Though it was billed as just a "rally" and an opportunity for opponents of the Lowell Mountain wind project to "greet the turbines" as they arrived, Monday's confrontation here turned into a brief but intense exercise in civil disobedience.
Gathering across Route 100 from the gate to the 21-turbine wind project at 9 a.m., protesters seemed content to wave signs and sing songs that condemned the project.
But when a truck hauling a long section of turbine tower finally appeared, a handful of protesters rushed into the road and stopped it. The quick arrest of two of them seemed only to draw others onto the highway in front of the idling truck.
Two Lamoille County deputies who had been hired by the project's owner, Green Mountain Power, tried to "walk" the truck through the protesters, pushing them aside as they encountered them. But that proved to be a futile exercise that one demonstrator described later as "herding an amoeba." Demonstrators flowed around the deputies to post themselves in front of the truck and bring it, once again, to a halt.
A group of Bread and Puppet performers had come to the scene in the Glover theater company's distinctly painted bus, and their banners and fiercely beating drums brought fresh resolve to the protesters. As the two deputies and uniformed security guards at the site stood by in frustration, the crowd chanted "Shame on you!" and "Turn it back!" at the bright red truck and its hapless driver.
It took some time for the first State Police officer to arrive. And when Corporal Dan Kerin stepped out of his cruiser he encountered the same tactic that had confounded the deputies. Each protester in turn yielded to the corporal's direct order to clear the road, then stepped back onto the pavement when he moved on to the next protester.
But State Police officers started to arrive in force, backed up by Orleans County deputies and officers with the U.S. Border Patrol, Fish and Wildlife and VTrans. Sets of hand restraints were brandished, and police dogs were sighted. An onlooker who scouted the area on his bicycle reported counting 22 law enforcement vehicles at the scene.
Lieutenant Kirk Cooper, commander of the State Police Derby barracks, stepped into the middle of the crowd of demonstrators and appealed for a peaceful conclusion.
"You're perfectly entitled to voice your non-support," he told the demonstrators. "But other people have to use this road. That's where we get in the middle.
"I'm not gong to give you a lot a crap," the lieutenant continued. If they didn't move, he told the demonstrators, "we're going to be forced to move you. I honestly don't want to do that."
The officer's plea was seconded by one of the Lowell project's most determined opponents, Don Nelson.
"We've made our point, boys," Mr. Nelson said. "It's time to back off."
Some protesters heeded that advice, but some did not. Police, gathered in a clump just beside the idling truck, seemed ready to move. But leaders of the group were clearly anxious to avoid the confrontation that seemed moments away.
Pat Sagui, Steve Wright and Stephanie Kaplan, a lawyer who worked with opponents of the Sheffield wind project, talked to Lieutenant Cooper and Lamoille County Sheriff Roger Marcoux.
The deal they struck was that protesters would clear the highway if the sheriff released his two captives. They were a key leader of the opposition, Ira Powsner, and his younger brother, Jacob.
After they were issued citations to appear in court on September 11 to answer charges of disorderly conduct, the brothers stepped out of the sheriff's vehicle to the cheers of protesters. They sang "Happy Birthday" to Ira Powsner on the occasion of his twenty-sixth birthday.
The protesters returned to the side of the highway, the officers lined up to keep them there, and the truck finally hauled its long, white load through the gates and onto the construction site.
Watching from just inside that site, Lowell Selectman Richard Pion was less than pleased by the compromise.
"They ought to take half those people to jail," he said. If police lacked the vehicles to get them there, he added, "they should go get a school bus."
"They can demonstrate, but there's no need of blocking traffic," Mr. Pion said. "I thought this was the land of democracy," he added, noting that a solid majority of Lowell citizens voted for the wind project.
Like most who tried to count the protesters, Mr. Pion estimated that there were about 100 of them. "That shows there's only a handful that's opposed to this," he said.
When traffic finally started to move past the Green Mountain Power gate, it consisted only of a handful of heavy trucks that had been held up in both directions, and one Army truck driven by what appeared to be a National Guardsman. Most traffic was apparently able to drive around the obstruction on Mink Farm Road, which loops to the west of Route 100.
While Green Mountain Power's chief executive, Mary Powell, was not visible at the scene, Vermont Electric Cooperative's CEO, David Hallquist, was on hand. His utility has agreed to buy a small share of the project's power, at cost.
Asked by a reporter if he was upset by the demonstration, Mr. Hallquist replied that he would have been disappointed if no one had shown up. Some of Mr. Hallquist's remarks were recorded on film by his son, Derek Hallquist. The younger Hallquist is working with the documentary filmmaker Aaron Woolf of New York State, whose best-known work is King Corn.
In the hard hat and safety vest provided by Green Mountain Power, Mr. Woolf and his crew were easy to mistake for employees of the utility.
Standing just inside the work site, facing the demonstrators across the road, Mr. Woolf noted that if people stood on his side of the road, they were pro-wind. People on the other side of the road were anti-wind, he continued.
"And if you stand in the middle of the road, you get run over."
The section of turbine tower had been held up on the highway for about two hours. And as demonstrators headed north on Route 100 after the rally, they quickly encountered a second section of tower on its way to the site, closely followed by a long, slender turbine blade.
contact Chris Braithwaite at [email protected]


text:
Facebook grabs all the glory when it comes to efficient operations, but eBay is working hard behind the scenes to produce a data center that consumes less power but still sustains $68 billion a year in transactions. It's the first major data center in the U.S. to employ fuel cells as its primary power source.
Data centers represent 2% of the electricity consumed in the U.S., a figure that is expected to go higher as a massive build-out occurs to provide cloud services, support more powerful websites and provide application services to millions of mobile phones. There's also a rivalry underway among major Web service providers to build the most efficient facility with the least environmental impact.
From a noxious gas point of view, the least polluting electricity production is hydro power. Amazon.com and Microsoft have built data centers in the Pacific Northwest that rely primarily on hydroelectric power. But not all data center builders have the option of locating there. eBay, now a mature Web services company, has introduced some new wrinkles in that competition.
EBay first established a more conventional unit in its Topaz data center, which opened in May 2010 on a 60-acre site outside Salt Lake City. In its second phase, dubbed Project Quicksilver, eBay implemented fuel cells as an onsite power source to generate six megawatts of electricity. It used the public utility grid as its backup power source, which allowed eBay to do away with the uninterruptible power supply and backup generators that are a standard and expensive part of traditional data centers' design.
[ Want more on how eBay measures efficient power use? See EBay Launches New Digital Service Efficiency Standard. ]
EBay put solar panels on the roof, but they contribute only a small amount of the total power needed: 924,013 kilowatt hours. Its 24-hour supply comes from the bank of 30 fuel cells that it's built about 100 feet from where its aisles of servers, storage and network switches stand ready to consume the power. The short distance between source and use means little energy is lost in transmission, while the grid typically loses 10-12% as it moves electricity from a generating plant over transmission lines to the consumer.
Fuel cells are what powered Apollo space craft missions on their way to the moon but, in general, they haven't proved practical for sustained power generation for a general purpose use. Earlier designs have required precious metals, corrosive acids and high temperatures to operate, producing small amounts of electricity reliably but at high cost.
EBay contracted with Bloom Energy to establish a different type of fuel cell in its Salt Lake City data center. Bloom has designed solid oxide fuel cellsas a sort of giant refrigerator-sized battery, using natural gas, steam, air and high operating temperatures to create an electrochemical process that produces electricity. Unlike a battery, it can do so without wearing out, as long as the right combination of elements is present.
In a solid oxide fuel cell, steam is combined with natural gas to produce "reformed fuel" loaded with simple methane molecules, which flow across the part of the cell that resembles a battery's anode. On the other side of the cell is the cathode, over which superheated air is flowing. No combustion occurs; instead, oxygen ions from the air combine with the methane in an electrochemical reaction to produce water and an outflow of electricity from the cell. A small amount of carbon dioxide is produced as well, but far less than would be produced by generating a similar amount of electricity from coal. The process also produces heat, which is used to keep the process going.
An animated diagram of the process can be seen at the Bloom Energywebsite.
In effect, Bloom's fuel cell is a battery that constantly recharges itself. Its anode and cathode are made from a ceramic electrolyte material coated with special inks. The parts cost less to manufacture than previous fuel cell designs, said Peter Gross, VP of mission critical systems at Bloom, during a session on data center design Thursday at GigaOm's Structureconference.
No combustion occurs in the fuel cell. It's not clear whether the process requires the heat of natural gas combustion outside the cell to get it going, in addition to using the gas as a chemical feed stock.
If eBay hadn't established the fuel cell generation at its plant, it could have gotten small amounts of electricity six hours a day from its solar cells on the roof. It would otherwise have been dependent on the public utility grid. In Utah and nearby Wyoming, where coal is surface strip-mined, 94% of the electricity on the grid comes from burning coal. "It's dirty and it's cheap," noted Dean Nelson, eBay's VP of global foundation services.
EBay has taken a page from Facebook's book. It's declared it will become a responsible, green corporation, reducing its carbon emissions in its operations. Its overall power usage effectiveness (PUE) rating on Topaz is 1.4, much better than the 2.0 for the typical enterprise data center. The PUE metric illustrates how efficiently a data center operator is using the electricity brought into its facility for computing purposes. A perfect PUE rating would be 1.0: all the energy brought goes to running compute devices.
Facebook, at its new Prineville, Ore., data center, is still the PUE leader. It claims it's achieved a PUE rating of 1.06-1.07, based primarily on its reliance on a passive cooling system rather than chillers (large air conditioning units). EBay relies on the cool ambient air around Salt Lake for part of the year, but still uses chillers during hot weather. A highly reliable Tier IV data center, as defined by the Uptime Institute, has yet to be built in the U.S. without chillers.


text:
Be the hottest girl by the water in Natori Swimwear fashions. You'll be the talk of the town as people stare at your beauty and fashion sense in your Natori womens swimwear fashions. The Natori Swimwear line is bright, beautiful and elegant. They boast its East meets West style to the pool. Natori Swimwear fashions include Natori's signature embellishments, exotic prints and detailed hardware. Yes, Natori Swimwear is sister to the many styles of Natori. With the same high quality fabrics and luxury, Natori Swimwear steps out into its own brand making a name for itself with swimwear attire. Bikinis, one pieces, cover ups and tankinis are found in the Natori Swimwear collections.
Natori Swimwear is designed by Josie Natori. Natori has put her name on many brands that include Natori, Josie Natori, Josie and N Natori. Natori herself came from the Philippines to the United States to attend college in New York. After taking a shirt to a seamstress, she was told to try to turn it into a nightshirt. After realizing a simple nightshirt could be luxurious, Natori began her fashion adventure. She not only designs clothing, but also home items, fragrance and eyewear. Natori is also a member of the CFDA (Council of Fashion Designers of America) and the Committee of 200. Giving back, she received the Fashion Group International's Humanitarian Award, for establishing facilities in the Philippines to handle 50% of all Natori production.
Natori Swimwear is known for their deep, vibrant colors and patterns. Nothing is boring. Yes, there are some solid colors, but they, too, are spectacular. The colors swirl together giving you an extravagant look. Beyond the look, you yourself look good. Natori Swimwear looks good on you, and shapes to the body to make you look even better. Goldtone ornaments adorn many bikini tops for a touch of luxury. Natori swimwear is made of soft, silky fabrics with lining for modesty included in all styles. Different levels of rise help you get the exact style and coverage you need to be confident in your swimwear. Styles of Natori swimwear tops are offered in bikinis, bandeaus, push-up and plunge. Many of the bandeau tops have removable straps for versatile styling. Swimwear made with polyamide/Lycra spandex is soft and moves along with you. Some of the cups have light foam padding for subtle cleavage boosting. Some swimwear styles even have chartreuse interior for a silky soft fit. Side boning on some swimwear styles gives women a bit more support. Women rave about the look and feel of all of the Natori Swimwear styles.
Ageless and classic, Natori Swimwear is for women of all types, sizes, shapes and ages. Natori Swimwear is known all-around for the signature prints and soft textures. Shop HerRoom for the latest styles by Natori Swimwear.


text:
Hi fax.
Woops! ... I should have read your message earlier. I went through the process of uninstalling and re-installing ZA Extreme 10, but did not use the IE cleaner. That step might be the key. Just for the record, the re-install this evening was successful, but the Site Check button was still disabled.
I will try your suggestion and run the IE cleaner when I do the uninstall/reinstall again. I'll do this later this week. Thanks for that tip.
I see others are having the same problems. Just wondering if it's just Win 7 x64 users having this problem?
Dirk, Canada


text:
Lama Tsultrim Allione, her family, and the Tara Mandala community regretfully announce the death of David C. Petit. He passed away on July 22, 2010, at the age of 55, due to a heart attack during the night. The cremation took place at the Stupa (a large, natural stone Buddhist reliquary symbolizing the path to enlightenment) which David built at Tara Mandala, in Pagosa Springs. Traditional Buddhist ceremonies will continue daily until Sept. 9.
David was born in Salem, Mass., to Margaret and Robert Petit, the third of six children. The family later moved to New Hampshire where he was raised. At the age of 16 he traveled alone to Europe and began studying in the Anthroposophic communities in England and Germany (founded by Rudolf Steiner, an Austrian philosopher, social thinker, and architect). David graduated from the Eurythemeum College in Stuggart, Germany, in 1981 where he studied Eurythmy (an expressive movement art), acting, choreography, directing, music, literature and philosophy. Altogether, he stayed in Europe for 13 years where he became a famous performer and directed plays that toured throughout Western Europe, East Germany and Poland. While living in Germany he also studied Waldorf Pedagogy and eventually taught high school theater. He returned to the United States in 1986.
In 1989, while working at the Green Meadow Waldorf School in Spring Valley, N.Y., as a Eurythmy and drama teacher, David met Tsultrim Allione, whose three children attended the school. David embraced the responsibilities of co-parenting Lama Tsultrim's children and shared her vision of creating a Buddhist retreat center where meditation could be practiced deeply as it is in Tibet. In 1993, they found the beautiful land in Pagosa Springs that became Tara Mandala, a 700-acre retreat center in Burns Canyon, southwest of Pagosa Springs. They were married on the Tara Mandala land in 1998.
Tara Mandala has become one of the most innovative and beautiful retreat centers in the Western world. David was the foundational guiding force behind all of the structures and buildings at Tara Mandala, from the Stupa and first yurts and teepees to the recently completed, incredible three-story Tara Temple. David's hands, heart and mind transformed the center from Lama Tsultrim's inspired vision to an earthly reality. He held an aesthetic and artistic standard which is reflected in everything at Tara Mandala from buildings to the landscaping and gardens. Throughout his life he maintained an interest in the arts, particularly painting. David was also an avid horseman who loved exploring the high country around Pagosa Springs. What many people did not know about David was that he was that he was a great yogi. His Tibetan teachers have confirmed an advanced level of realization through many signs at the time of his death.
David will be deeply missed by his wife, Lama Tsultrim Allione of Pagosa Springs, his siblings Jasma Petit, Lenard Petit, Bobbi Petit, Leo Petit, Chris Petit and his father Robert Petit. His loss will also be deeply felt by his step-children, Sherab Kloppenburg, Aloka Sands and Costanzo Allione, as well as his nieces, nephews and grandchild. Costanzo, who has spent more than three years in solitary retreat, speaks and reads fluent Tibetan. He apprenticed under David for many years, and will assume David's role of director of operations at Tara Mandala.
David's love of life, beauty, nature, family and the dedication he brought to all of his endeavors will be remembered through the people he touched and the amazing work he left behind. For those who would like to see David's legacy at Tara Mandala, a regular 10 a.m. Sunday service, with a Dharma talk and short meditation, is open to the public.
In lieu of flowers, please make offerings to Tara Mandala, P.O. Box 3040, Pagosa Springs, CO 81147, or online at www.taramandala.org.


text:
Brattleboro Selectboard approves skatepark design
The Brattleboro Selectboard voted 3-1 Tuesday night to approve the proposed design for a new skatepark at Crowell Lot.
The zoning administrator has confirmed that the design conforms to the plan that the Development Review Board approved in August 2011. The design, Zoning Administrator Brian Bannon said in a letter to Planning Director Rod Francis, also takes into consideration a mediated agreement that was reached between Barry Adams and the town.
The board's vote, as well as Bannon's decision to approve the design, takes supporters of the Crowell Lot skatepark one step closer to beginning construction on the 11,000-square-foot park.
Only board member Dora Bouboulis voted against the design, and David Gartenstein was not at Tuesday's meeting.
The Brattleboro Area Skatepark is Coming, or BASIC, committee still needs to raise more than $200,000 to begin construction, but the board's vote Tuesday was a very big step in Brattleboro's decade-long quest to get a skatepark built.
Before the board vote opponents continued asking the Selectboard to hold off on making a decision, saying that a complete public site evaluation was never held.
Spencer Crispe, however, said the town's skateboard committee did a "monumental amount of process, thinking and consideration," in developing the plan.
Brattleboro resident Dan Sontag, who said he has not been involved with the process from the start, said the skatepark would enhance the Crowell Lot, and the neighborhood, and he said he supported the plan.
Opponents continued raising questions about how the skatepark would affect the rest of the park.
Brandt Kurowski asked if the proposed design conforms to the mediated settlement that was reached between the town and Barry Adams, who appealed the DRB decision to the Environmental Court.
Kurowski asked about plans to address landscaping at the park.
Recreation and Parks Director Carol Lolatte said the town would address those issues later.
She said it was not the designer's responsibility, though she said the town would make sure the rest of the park is developed appropriately.
Mike McIntyre, a skatepark designer with ASD/Stantec, explained the public planning process that gave area residents a say in the layout and design of the proposed park. He said he did look at the whole park and consider setbacks and trees in areas away from the skatepark area.
No tree will be removed, McIntyre said.
Three public planning meetings were held in Brattleboro, and McIntyre said the plan changed and evolved as he and skateboard supporters walked around Crowell Lot and considered what would fit and what supporters could afford.
The design came in at around 11,000 square feet, though the final design might come in smaller depending on how the park is situated within the Crowell Lot.
Before the board voted, Selectboard member Ken Schneck asked McIntyre about the board's long list of requirements, including noise abatement, impact on trees, signage, sight lines and ongoing costs on the part of the town.
McIntrye addressed each of Schneck's concerns and Lolatte said other municipalities say skateparks costs less than $1,000 a year to maintain.
Lolatte also said she is continuing to work with Green Street School officials to find the best place to put the playground and backstop, which will both have to be moved to allow the skatepark in the site.
Before Tuesday's vote board member Dora Bouboulis continued to ask the board about the public process and said the Selectboard never worked with neighbors to make sure concerns were addressed.
Schneck disagreed, saying that every single meeting the Selectboard, the school board and DRB held, were public and all of the comments and input delivered at those meetings were on the record and part of the public process.
The Brattleboro School Board will likely consider the skatepark design at its next meeting.
If you'd like to leave a comment (or a tip or a question) about this story with the editors, please email us. We also welcome letters to the editor for publication; you can do that by filling out our letters form and submitting it to the newsroom.


text:
233 Nobscot Road, Sudbury
Home size: 3,489 square feet
Rooms: 2 bedrooms, 3.5 baths
Age restriction: Over-55 community
Year built: 2002
Annual taxes: $11,251 (2013)
Asking price: $739,000
Open house: Sunday, May 19, from noon to 2 p.m.
Elegance and charm abound in this eight-room townhouse with numerous upgrades located across from the grassy common in the Springhouse Pond Condominiums. The condo features a dramatic two-story great room with fireplace, dining room, study, master bedroom and gourmet kitchen on the first level, a guest bedroom, bath and loft office on the second and a spacious lower level with a large family room, two bonus rooms and a full bath. The over-55 development has a clubhouse, pool and walking trails through conservation land. Close to shopping, restaurants and commuter routes.
The townhouses at Springhouse Pond Condominiums in Sudbury are set among gently rolling lanes in a woodland setting. Neighbors often get together at the clubhouse and swimming pool, or enjoy a walk to nearby shops and restaurants along a private wooded path.
The over-55 community includes 39 units on 25 acres abutting conservation land. Designed with gables, dormers, covered porches and picket fences, these high-end condos are clustered around a green in a New England-style development.
The eight-room townhouse at number 233 Nobscot Road is one of three models available in the development, but includes custom details added by the homeowner, an award-winning interior designer. The townhouse was featured in Spectacular Homes of New England.
The 3,489-square-foot home is listed by Fern Firth of Coldwell Banker for $739,000.
"Here you also have a swimming pool and a clubhouse," said Firth. "There is also a sidewalk to a shopping center. That's a rarity in a suburban town, to be able to walk to all of those places."
The shopping center offers a major grocery store, a restaurant, a Starbucks, CVS and more.
Springhouse Pond is also convenient to major commuter routes.
The townhouse has both a public and private face. Its covered front porch has a view of the lush grassy common and makes a nice place to watch the world go by, while the serene deck in the back yard abuts acres of woodland and offers total privacy.
Shut the front door and the condo becomes a private sanctuary, large enough to spread out and not feel cramped, but small enough for those who want to trade in a big house for maintenance-free homeownership. The floor plan also offers flexibility for homeowners downsizing, but who may want to keep some furniture for a den or family room.
A white picket fence frames the house with its wide covered porch and curved brick path to the covered front entrance. Sliding doors from the kitchen dining area also open to the porch.
Flowering shrubs, container plantings and perennials add a welcoming burst of color.
A condo fee covers landscape maintenance outside the fence, as well as many other services, but homeowners can personalize the gardens immediately around their home.
"Making the transition from a house to a condo can be difficult, but here you have your own yard, and within the picket fence, you can do whatever you want," said Firth.
The front door opens to a foyer and a soaring two-story cathedral ceiling living room with a gas fireplace and magnificent floor-to-ceiling windows with transoms. There are double sliders to a deck from the 18-by-16 space, which provides additional space for outdoor entertaining. The room also has an entertainment center concealed in a custom cabinet.
The 15-by-13 dining area is a continuation of the living room and has an open feel due to a custom half wall with a column it shares with the foyer.
Gleaming hardwood floors are on the first floor and wall-to-wall carpeting on the second floor and basement level.
The staircase at the corner of the room is angled to create a hallway to a half bath and a serene master bedroom with two walk-in closets and a luxurious full bath with a whirlpool tub, glass-front shower, double vanity and a separate room with a toilet.
Double French doors from the foyer open to a den, a sunny, flexible 13-by-12 space.
The country kitchen has an open feel with its adjacent family room, another flexible 12-by-12 space that can be used as a dining area or den. It has double sliders that open to the covered front porch.
"This is a versatile floor plan because you could use the dining area as a den and still have space for a breakfast table," said Firth. "It has that flexibility."
The 20-by-13 kitchen has cherry cabinets with under-mount lighting, granite countertops, a center island with a trash compactor, double ovens and a gas cooktop. There's a good transition space with an oversize window between the kitchen and family/dining area that can accommodate a desk and shelves.
A mudroom/laundry room is off the kitchen and has access to a two-car garage.
The second floor has a bedroom, a full bath and a loft area that could make a nice office space or sitting room.
The finished, carpeted basement is pure bonus space with a 37-by-14 game room with a sauna, two guest rooms with closets and a full bath as well as a large storage area.
The townhouse has gas heat and central air conditioning.
For more information on 233 Nobscot Road, Sudbury, contact Fern Firth of Coldwell Banker at 508-383-0228. An open house takes place Sunday, May 19, from noon to 2 p.m. This house is also shown by appointment.


text:
LOOK what's in the current paper (published Friday December 21):
Christmas miracle! Toddler with killer illness looking forward to Santa
Hundreds of families facing a homeless Christmas
Christmas Noticeboard -- your guide to services and opening times over the festive season
Christmas Church Services -- a full guide to Christmas Eve and Christmas Day
Linby lights up for Christmas
Finance officer has 'grave concerns' over council 'bonus'
Shamed former mining union chief ordered to pay back thousands
Crisis-hit Hucknall Town face crucial Christmas fixtures
Subscribe and save money on thee price of the Dispatch
Police plea for a safe and violence-free Christmas
For the full stories, don't miss the current Dispatch! If you wish to subscribe each week, and make some great savings, call our subscriptions hotline on 0844 9916464.


text:
Shop Resort 2012 and Holiday 2011 New Arrivals
The New Online Arrivals We're Coveting This Week
The New Online Arrivals We're Coveting This Week
>> The best of the new arrivals, all in one place. With the flood of Resort 2012 pieces taking over stores, a few Spring 2012 items trickling in, and all the Holiday 2011 items still lingering about, the shopping options this time of year seem nearly endless. So, which of the just-in pieces are topping our list this week? Think ponyhair pumps from Alexander McQueen, a hyper-floral shift from Erdem, and drool-worthy handbags from 3.1 Phillip Lim — just to name a few. Shop all those, plus more, here in the slideshow.
0previous images
-11more images


text:
Has anyone traced, marked or printed a quilting design on to water soluble stabilser? If so how did it work and would a heavier weight stabiliser be better than a lightweight one? I want to machine quilt some 12" blocks (already in a quilt top) and have a quilting design in mind but don't have a stencil (only a picture) and the fabric colours would in any case make normal marking difficult to see.
Any advice will be very welcome. T.I.A.
Doris in the U.K.


text:
Note: The following is an excerpt from Dan Reiland's book, Amplified Leadership. Reiland is the executive pastor at 12Stone Church in Lawrenceville, Ga., and the former executive pastor at Skyline Church in San Diego, Calif. His passion is developing and empowering leaders who want to grow and who are willing to take risks to do so.
Cinderella Man is one of my favorite movies. In it Russell Crowe plays James J. Braddock, a prizefighter down on his luck during the Great Depression. Braddock was determined to provide for his family, so he returned to the ring at a time when most people thought his career was over. To everyone's surprise, Braddock scored win after win. Then he did the unthinkable.
On June 13, 1935, in Long Island City, New York, Braddock faced off against Max Baer, the heavyweight champion of the world. Baer was more than a fierce opponent; he was a dangerous fighter who had reportedly killed two men in the ring. But Braddock was fighting for more than a title. He was fighting for food to feed his kids, for dignity, and for the country he believed in. He was fighting for all the people who needed hope. For Braddock, the stakes were much higher than surviving fifteen rounds at Madison Square Garden.
I can relate a little to the Cinderella Man. I've been in the "ring" for nearly thirty years, giving it my best shot in ministry. Like Braddock's match, the fight we're in is much bigger than it appears. It's not just about one local church or ministry organization—yours or mine. It's about the global church and the hope it can give to a broken world. It's a fight for the church to experience its finest hour.
I know a church or ministry's success ultimately rests upon the kindness and favor of God, but I've learned something else in my years as a church leader and pastors' coach. I've found that the long-term potential of a church or ministry largely depends on a minister's ability to develop new and competent leaders. That is what compelled me to write this book.
This book isn't for the casual leader. It is for the strong and courageous. It is for those who have chosen not to sit in a spectator's chair, who are committed to stay in the ring fighting for a cause they believe in—the cause of Christ. Our opponent is daunting, but together we can win the fight. This book isn't a fable. It's not an allegory. And there is no clever ending. It's based on the real stories of dozens of churches and hundreds of ministry leaders who are willing to go one more round because the cause is worth it.
I love the body of Christ. I love the Bridegroom, who is our true Champion. I love all of you leaders who are in the ring, male and female, giving it everything you've got. I'm writing this book in hopes of helping you hit a little harder and last a lot longer. And I especially want to encourage young leaders who have only recently stepped into the ring. All great fighters need a trainer for coaching and instruction. And they need someone who believes in them, someone who is in their corner. I hope this book is all that for you.
Yes, you're the leader, but you can't do it all on your own. You must grow in your leadership role and develop other leaders around you. A good coach helps fighters strengthen their muscles, learn proper timing, and sharpen their instincts. I want to do something similar for you by offering five key leadership practices and ten corresponding skill sets that will help you go the distance.
Practical skills are only one of four dimensions of leadership.
There is also a spiritual dimension, a psychological dimension, and an organizational dimension. And all four components build on a foundation of relationship. I will touch upon all the dimensions of leadership in this book, and those leading any kind of ministry organization will be able to glean from this process. But because Amplified Leadership was born out of my years leading in local churches and coaching pastors, it focuses especially on the leadership skills needed for effective ministry in the local church.
Amplified Leadership is a relationally based process designed to intentionally cultivate new leaders. It is not merely a list of activities leaders engage in. It is a specific sequence of practical steps that lead to a strategic outcome—producing new leaders. This process acknowledges that the vast majority of ministry leaders, both staff and volunteer, will demonstrate their leadership through the relationships they create and sustain, not necessarily by casting vision from a platform.
Typically the senior leader is tasked with communicating the vision, especially within the context of a local church. But all leaders must establish relationships and mentor others if the church is to develop the large number of leaders needed to minister to those who are lost and hurting.
This book begins with the end in mind. It first teaches leaders how to connect relationally with a significant number of people, then to engage followers from those relationships. From the followers, the leaders learn to embrace team members, and from the team they select apprentice leaders to coach. Then, finally, the leader is able to mentor new leaders.
When a new leader is developed, he or she must repeat the process by establishing new relationships. I call this process Amplified Leadership because its purpose is to continually develop new leaders who will help increase and expand your ministry, resulting in more changed lives in Jesus's name.
Improve your life and ministry by learning something new. Our Ministry Leadership Bundle includes 3 Books: Amplified Leadership, Breaking Intimidation and The Power of Humility. View Offer!
Get our BEST DEAL on Ministry Today magazine. Get a full year for only $12! Yes-I want this deal.


text: About to switch frames for the first time in a VERY long time. I will have the new frames stripped and painted the minute they arrive, but my question is, what colour? I am thinking about sticking with what I use now which is 6 frames matt black, 6 frames cyan. I am tempted to go with matt black again, but with a gloss clear coat, although it seems a little boring. Open to something much brighter, but it must be a single colour. The racquet will have a white grip and black strings. The floor is open to you guys, what do you think?


text:
Episode 1
The Magnificent Seven
Sam and Dean realize they must hunt down hundreds of demons.
Rent, buy and watch the latest movies and TV shows online
TalkTalk TV Store has more of the latest movies and TV shows than our competitors.
No subscription, so you only pay when you rent or buy a movie or TV show, from just 99p.
TalkTalk TV Store is available on PC, Mac, mobile, tablets and Chromecast.
With their father gone, Sam and Dean are now facing an all-out demonic war. As they work to stem the rising tide of demonic activity, they continue to travel the country, battling the supernatural.
Action, Drama, Horror
Suitable only for 15 years and over
The Magnificent Seven
Sam and Dean realize they must hunt down hundreds of demons.
The Kids Are Alright
Dean pressures Sam into traveling to Indiana so he can visit an old flame.
Bad Day At Black Rock
Sam and Dean answer a call on their father's old cell phone.
Sin City
Sam and Dean investigate a rash of violent deaths in Ohio.
Bedtime Stories
Sam and Dean investigate a small town plagued by a number of strange murders.
Red Sky At Morning
Sam and Dean investigate the death of victims who drowned nowhere near water.
Fresh Blood
Sam and Dean capture a vampire who claims not to know how she became a vampire
A Very Supernatural Christmas
Sam and Dean investigate a series of murders at Christmas.
Malleus Maleficarum
Sam and Dean discover a coven of witches that has killed two people.
Dream A Little Dream Of Me
When Bobby falls into a coma, Sam and Dean race to his side.
Mystery Spot
Dean is shot and killed whilst investigating a man's disappearance.
Jus In Bello
Sam and Dean break into Bela's apartment in order to get the Colt back.
Sam and Dean star on a reality show called "Ghostfacers."
Long Distance Call
Dean gets a call from his dad; Sam's skeptical it is him.
Time Is On My Side
Dean and Bela battle it out for the last time.
No Rest For The Wicked
Dean's time is up; there is a battle to the death.
Own forever. Watch on up to 5 devices.
UltraViolet licence included with Buy SD options. Find out more
PC, Mac, Chromecast, iPad, iPhone, Android phones and tablets, Windows phones and tablets, Xbox, smart TVs, set-top boxes and Blu-ray players.
Download on iOS 8+, Android 4.0+ and Windows 8.1+ in app. Includes rentals.
Download this episode and watch on Windows Media Player*
*UK internet connection required to acquire licence Learn more.


text:
All User Comments for: Local Health Department Guide to Pandemic Influenza Planning (PDF)
Results 1 - 3 of 3 records. Page 1
|Title ▶
|Submitted By ▲
|Comments ▶
|Rating ▶
|Local Health Department Guide to Pandemic Influenz
|Useful overview for pandemic influenza planning, covers broad range of topics. Valuable for facilitating discussions and work groups.
|Pan Flu Guide
|Amanda Bogard
|This tool doesn't incorporate lessons learned from H1N1. What actions do health departments take if the strain is not as virulent as planned for?
|LHD Guide to Pandemic Influenza Planning
|Paula Anderson
|Much has been learned since this document was written through the nationwide experience with H1N1. This document seems historical and general at this point, although it could still serve as a very general guideline. It could be retained as such, but it really should be revised extensively and made more practical and applicable based on lessons learned from experiences with H1N1.
Results 1 - 3 of 3 records. Page 1