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Koch, Edward Irving
Koch, Edward Irving kŏch [key], 1924–2013, U.S. politician, mayor of New York City (1977–89), b. New York City. After receiving his law degree (New York Univ., 1948), he practiced as a lawyer, became active in reform Democratic politics, and later served on the New York city council (1967–68) and in the U.S. House of Representatives (1969–77). He came to political prominence as an opponent of Tammany Hall and later became a critic of the Vietnam War . In 1977 he became mayor of New York City. With the support of the municipal labor unions and the creation of the Municipal Assistance Corporation, Koch is credited with avoiding the city's bankruptcy during the financial crisis of the mid-1970s. He was reelected in 1981 and 1985. As mayor, his style was brash, forceful, and outspoken. In political philosophy, he moved from classic New York liberal in his early days to independent conservative in his later years. In 1982 he lost a bid for the Democratic nomination for governor of New York. He sought an unprecedented fourth term as mayor in 1989 but was defeated in the Democratic primary by David N. Dinkins , who was then elected mayor. With William Rauch, Koch wrote Mayor (1984), one of his 17 books. After leaving office, he remained active in politics, practiced law, lectured, wrote, and appeared frequently on television.
See his autobiography, Citizen Koch (1992) J. Soffer, Ed Koch and the Rebuilding of New York (2010) Neil Barsky, dir., Koch (documentary, 2013).
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While students will still be required to take the Keystone Exams, they will not be barred from graduation if they don't pass, thanks to a bill signed into law in February 2016. The requirement that they pass has been postponed until the 2018-19 academic year to give the state time to study whether the tests should be given at all and to develop alternatives to evaluate proficiency.
Some school districts and other groups across the state opposed the tests, which include science, math and literature. The superintendent of the West Chester Area School District indicated that some struggling students might even give up on graduating and simply drop out.
"Our members know from solid research and from our own classroom experience that forcing kids to take too many high-stakes standardized tests takes time away from actual teaching and real learning," noted PSEA president Jerry Oleksiak.
CAPS applauds the leadership in Harrisburg that recognizes that high-stakes tests are inherently flawed and looks forward to a discussion about other ways to assess achievement and readiness for graduation.

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Shakhtar Donetsk playmaker Bernard looks set to leave on loan - putting Arsenal back in the picture once again.
Shakhtar Donetsk have a strong connection with Brazil, having signed the likes of Elano, Fernandinho and Willian in recent years before sending them off to the Premier League for a huge profit. The latest influx of Brazilian talent has seen Wellington Nem, Fred, Marlos, Fernando, Taison and Marcio Azevedo arrive at the Donbass Arena, but one of them could be leaving amidst the political unrest in Ukraine.
Violent scenes have been on display in Donetsk for some time now, and the conflict has driven some players away from the club already. The likes of Douglas Costa, Alex Teixeira, Dentinho and Fred all went into hiding in France after a pre-season friendly, refusing to return to the club until the anarchy had died down - and they're not the only ones affected.
Playmaker Bernard was the club's big money signing last summer, joining the club for around €25m having starred during Atletico Mineiro's run to the Copa Libertadores title. The Ukrainian giants beat the likes of Borussia Dortmund, Spurs and Arsenal to the diminutive playmaker's signature - but after an underwhelming World Cup campaign with Brazil, Bernard is reportedly seeking a move away from the club.
"It is necessary to seek a compromise," a Shakhtar source said. "It is obvious the Brazilian does not want to stay in Ukraine, where he will only complain and spoil the atmosphere in the team. But to let him go for free or for pennies won't work. The club will not allow it."
"In such a situation it is better to give the Brazilian a one year loan. If Bernard is able to establish himself well [at another club] Shaktar will then be in a better position to negotiate a subsequent sale."
His availability on loan could well rekindle Arsenal's interest in Bernard even after Alexis Sanchez's arrival. The Chilean's future could be seen as a centre forward, and if that's the case then playing 21-year-old Bernard out wide could be a wise and cost-effective move despite repeated talk of moves for Eduardo Vargas or Angel di Maria.
With a deal now as likely as it's ever been, Arsenal must at least enquire about their former target, and a season-long loan would put them in a great position to land him permanently next summer, with Bernard's abilities perfectly suited for Arsene Wenger's style of football.


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Hellz Bellz dropped a preview of their Spring 2007 collection online. Lanie does a great job of creating edgy graphics with a feminine twist. It's been exciting watching her line develop and I think this is the best one yet. Here are some of my favorites . . . you can see the whole collection here.
More images after the jump . . .
Similar Posts:
- M.I.S.S. Vegas Review: Hellz Bellz at Project
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Movie News Weekly June 19-25, 2016. Movie News Weekly is a weekly videocast on the previous week's film industry frivolities. Movie News Weekly is hosted by FilmBook, created and narrated by FilmBook author Mathieu Brunet.
In this edition, Movie News Weekly covers:
- Finding Dory is still topping the weekend box office, even over Independence Day: Resurgence
- Anton Yelchin (1989-2016)
- Bryan Cranston will play as Zordon in the film adaptation of Power Rangers
- Roland Emmerich has signed on with Universal to work on Moonfall
- James Earl Jones will return to voice Darth Vader in Rogue One: A Star Wars Story
Watch this week's edition of Movie News Weekly and leave your thoughts on it below in the comments section. For more Movie News Weekly, visit our Movie News Weekly Page, and consider subscribing to us by Email, "following" us on Twitter, Tumblr, Google+, or "liking" us on Facebook for quick updates.


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The sound of footfalls on a creaky, old, wood floor
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There are many ways you can help LMHS, see below to find out how you can volunteer your time, make a donation or get involved in other ways.
How to Volunteer
There are a number of opportunities to volunteer with Lady Margaret Hall Settlement. We want volunteers to be enriched by the experience of volunteering with us and are able to tailor volunteer experiences to suit the individual's interests and skills, thanks to working with a broad range of partners in the south London area.
Please contact Alessandra Satta at email@example.com to discuss volunteer opportunities.
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LMHS, like any small charity, struggles to fund the projects it would like to do and pay the core staff it needs to carry out its work.
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Date: Friday, February 10, 2017
Time: 5:00 pm - 8:00 pm
Phone: (415) 451-8119
Art galleries, open studios, live music, refreshments, inspiration, and more at Art Works Downtown. Enjoy galleries, open studios, art exhibits, live music and refreshments as you stroll in downtown San Rafael. Anchored by Art Works Downtown galleries and artist studios, the 2nd Friday Art Walk links venues along downtown Fourth Street the second Friday of each month. Wine purchased at venues with wine glass symbol is returned to AWD to assist with costs of promoting the event each month.
Collage & Wine Workshop during 2nd Friday Art Walk
2016 Dates: April 8, June 10, July 8, August 12, September 9, October 14, November 11, December 9
Special Notes
The Art Walk is a free event and located in downtown San Rafael at 337 Fourth Street.


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Bayer CropScience LP and Monsanto Company have entered into an exclusive agreement on a new fungicide seed treatment for corn.
The treatment, expected to be commercialized in conjunction with the planned launch of Monsanto's SmartStax seed offering in 2010, will provide corn farmers better early-season protection against seedling diseases and insects.
"We're pleased to be partnering with Bayer CropScience to deliver new seed-based technology to corn farmers," said Carl Casale, executive vice-president for Monsanto. "We feel the product will be the best seed treatment package available to match with our corn trait offerings, like SmartStax."
"We look forward to this opportunity to provide growers with advanced technology that combines Bayer CropScience innovation in seed treatment with Monsanto innovation in seed," said Bill Buckner, president and chief executive officer of Bayer CropScience LP. "This combination will help ensure corn growers have access to the increased options they seek to best control pests, weeds and disease and maximize yields."
The new seed treatment will be based on the Bayer CropScience product Vortex, a new fungicide providing broad spectrum disease control and seed safety for corn seed.
SmartStax combines eight different herbicide tolerance and insect-protection genes into top-performing hybrids for the most complete control ever available to farmers. The improved disease control provided by the new fungicide technology from Bayer CropScience further expands the benefits of the Monsanto hybrids for corn growers.
Under the agreement, Monsanto will have exclusive rights to commercialize the new seed treatment offering under its industry-leading corn brand DeKalb and the regional brands of American Seeds Inc., as well as to license the product through its business which serves more than 180 corn seed companies throughout the United States and Canada.
Vortex will be used in conjunction with Bayer CropScience's seed treatment insecticide Poncho, as well as other novel fungicide formulations, to deliver breakthrough seed treatment solutions.


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Education by Poetry by Robert Frost
- Terence Kelly
- 3 years ago
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1 Education by Poetry by Robert Frost "Education by Poetry" was a talk delivered at Amherst College and subsequently revised for publication in the Amherst Graduates Quarterly of February It is from the conclusion of this piece that Mr. Frost once extracted the text separately printed under the title The Four Beliefs. I am going to urge nothing in my talk. I am not an advocate. I am going to consider a matter, and commit a description. And I am going to describe other colleges than Amherst. Or, rather say all that is good can be taken as about Amherst; all that is bad will be about other colleges. I know whole colleges where all American poetry is barred whole colleges. I know whole colleges where all contemporary poetry is barred. I once heard of a minister who turned his daughter his poetry-writing daughter out on the street to earn a living, because he said there should be no more books written; God wrote one book, and that was enough. (My friend George Russell, "Æ", has read no literature, lie protests, since just before Chaucer.) That all seems sufficiently safe, and you can say one thing for it. It takes the onus off the poetry of having to be used to teach children anything. It comes pretty hard on poetry, I sometimes think, what it has to bear in the teaching process. Then I know whole colleges where, though they let in older poetry, they manage to bar all that is poetical in it by treating it as something other than poetry. It is not so hard to do that. Their reason I have often hunted for. It may be that these people act from a kind of modesty. Who are professors that they should attempt to deal with a thing as high and as fine as poetry? Who are they? There is a certain manly modesty in that. That is the best general way of settling the problem; treat all poetry as if it were something else than poetry, as if it were syntax, language, science. Then you can even come down into the American and into the contemporary without any special risk. There is another reason they have, and that is that they arc, first and foremost in life, markers. They have the marking problem to consider. Now, I stand here a teacher of many years experience and I have never complained of having had to mark. I had rather mark anyone for anything for his looks, carriage, his ideas, his correctness, his exactness, anything you please, I would rather give him a mark in terms of letters, A, B, C, D than have to use adjectives on him. We are all being marked by each other all the time, classified, ranked, put in our place, and I see no escape from that. I am no sentimentalist. You have got to mark, and you have got to mark, first of all, for accuracy, for correctness. But if I am going to give a mark, that is the least part of my marking. Thc hard part is the part beyond that, the part where the adventure begins. One other way to rid the curriculum of the poetry nuisance has been considered. More merciful than the others it would neither abolish nor denature the poetry, but only turn it out to disport itself, with the plays and games in no wise discredited, though given no credit for. Any one who liked to teach poetically could take his subject, whether English, Latin, Greek or French, out into the nowhere along with the poetry. One side of a sharp line would be left to the rigorous and righteous; the other side would be assigned to the flowery where they would know what could be expected of them. Grade marks where more easily given, of course, in the courses concentrating on correctness and exactness as the only forms of honesty recognized by plain people; a general indefinite mark of X in the courses that scatter brains over taste and opinion. On inquiry I have found no teacher willing to take position on either side of the line, either among the rigors or among the flowers. No one is willing to admit that his discipline is not partly in exactness. No one is willing to admit that his discipline is not partly in taste and enthusiasm.
2 How shall a man go through college without having been marked for taste and judgment? What will become of him? What will his end be? He will have to take continuation courses for college graduates. He will have to go to night schools. They are having night schools now, you know, for college graduates. Why? Because they have not been educated enough to find their way around in contemporary literature. They don t know what they may safely like in the libraries and galleries. They don t know how to judge an editorial when they see one. They don t know how to judge a political campaign. They don t know when they are being fooled by a metaphor, an analogy, a parable. And metaphor is, of course, what we are talking about. Education by poetry is education by metaphor. Suppose we stop short of imagination, initiative, enthusiasm, inspiration and originality dread words. Suppose we don t mark in such things at all. There are still two minimal things, that we have got to take care of, taste and judgment. Americans are supposed to have more judgment than taste, but taste is there to be dealt with. That is what poetry, the only art in the colleges of arts, is there for. I for my part would not be afraid to go in for enthusiasm. There is the enthusiasm like a blinding light, or the enthusiasm of the deafening shout, the crude enthusiasm that you get uneducated by poetry, outside of poetry. It is exemplified in what I might call "sunset raving." You look westward toward the sunset, or if you get up early enough, eastward toward the sunrise, and you rave. It is oh s and ah s with you and no more. But the enthusiasm I mean is taken through the prism of the intellect and spread on the screen in a color, all the way from hyperbole at one end or overstatement, at one end to understatement at the other end. It is a long strip of dark lines and many colors. Such enthusiasm is one object of all teaching in poetry. I heard wonderful things said about Virgil yesterday, and many of them seemed to me crude enthusiasm, more like a deafening shout, many of them. But one speech had range, something of overstatement, something of statement, and something of understatement. It had all the colors of an enthusiasm passed through an idea. I would be willing to throw away everything else but that: enthusiasm tamed by metaphor. Let me rest the case there. Enthusiasm tamed to metaphor, tamed to that much of it. I do not think anybody ever knows the discreet use of metaphor, his own and other people s, the discreet handling of metaphor, unless he has been properly educated in poetry. Poetry begins in trivial metaphors, pretty metaphors, "grace" metaphors, and goes on to the profoundest thinking that we have. Poetry provides the one permissible way of saying one thing and meaning another. People say, "Why don t you say what you mean?" We never do that, do we, being all of us too much poets. We like to talk in parables and in hints and in indirections whether from diffidence or some other instinct. I have wanted in late years to go further and further in making metaphor the whole of thinking. I find some one now and then to agree with me that all thinking, except mathematical thinking, is metaphorical, or all thinking except scientific thinking. The mathematical might be difficult for me to bring in, but the scientific is easy enough. Once on a time all the Greeks were busy telling each other what the All was or was like unto. All was three elements, air, earth, and water (we once thought it was ninety elements; now we think it is only one). All was substance, said another. All was change, said a third. But best and most fruitful was Pythagoras comparison of the universe with number. Number of what? number of feet, pounds, and seconds was the answer, and we had science and all that has followed in science. The metaphor has held and held, breaking down only when it came to the spiritual and psychological or the out of the way places of the physical. The other day we had a visitor here, a noted scientist, whose latest word to the world has been that the more accurately you know where a thing is, the less accurately you are able to state how fast it is moving. You can see why that would be so, without going back to Zeno s problem of the arrow s flight. In carrying numbers into the realm of space and at the same time into the realm of time you are mixing metaphors, that is all, and you are in trouble. They won t mix. The two don t go together.
3 Let s take two or three more of the metaphors now in use to live by. I have just spoken of one of the new ones, a charming mixed metaphor right in the realm of higher mathematics and higher physics: that the more accurately you state where a thing is, the less accurately you will be able to tell how fast it is moving. And, of course, everything is moving. Everything is an event now. Another metaphor. A thing, they say, is all event. Do you believe it is? Not quite. I believe it is almost all event. But I like the comparison of a thing with art event. I notice another from the same quarter. "In the neighborhood of matter space is something like curved." Isn t that a good one! It seems to me that that is simply and utterly charming to say that space is something like curved in the neighborhood of matter. "Something like." Another amusing one is from what is the book? I can t say it now; but here is the metaphor. Its aim is to restore you to your ideas of free will. It wants to give you back your freedom of will. All right, here it is on a platter. You know that you can t tell by name what persons in a certain class will be dead ten years after graduation, but you can tell actuarially how many will be dead. Now, just so this scientist says of the particles of matter flying at a screen, striking a screen; you can t tell what individual particles will collide, but you can say in general that a certain number will strike in a given time. It shows, you see, that the individual particle can come freely. I asked Bohr about that particularly, and he said, "Yes, It is so. It can come when it wills and as it wills; and the action of the individual particle is unpredictable. But it is not so of the action of the mass. There you can predict." He says, "That gives the individual atom its freedom, but the mass its necessity. Another metaphor that has interested us in our time and has done all our thinking for us is the metaphor of evolution. Never mind going into the Latin word. The metaphor is simply the metaphor of the growing plant or of the growing thing. And somebody very brilliantly, quite a while ago, said that the whole universe, the whole of everything, was like unto a growing thing. That is all. I know the metaphor will break down at some point, but it has not failed everywhere. It is a very brilliant metaphor, I acknowledge, though I myself get too tired of the kind of essay that talks about the evolution of candy, we will say, or the evolution of elevators the evolution of this, that, and the other. Everything is evolution. I emancipate myself by simply saying that I didn t get up the metaphor and so am not much interested in it. What I am pointing out is that unless you are at home in the metaphor, unless you have had your proper poetical education in the metaphor, you are not safe anywhere. Because you are not at ease with figurative values: you don t know the metaphor in its strength and its weakness. You don t know how far you may expect to ride it and when it may break down with you. You are not safe with science; you are not safe in history. In history, for instance to show that [it] is the same in history as elsewhere I heard somebody say yesterday that Aeneas was to be likened unto (those words, "likened unto"!) George Washington. He was that type of national hero, the middle-class man, not thinking of being a hero at all, bent on building the future, bent on his children, his descendents. A good metaphor, as far as it goes, and you must know how far. And then he added that Odysseus should be likened unto Theodore Roosevelt. I don t think that is so good. Someone visiting Gibbon at the point of death, said he was the same Gibbon as of old, still at his parallels. Take the way we have been led into our present position morally, the world over. It is by a sort of metaphorical gradient. There is a kind of thinking to speak metaphorically there is a kind of thinking you might say was endemic in the brothel. It was always there. And every now and then in some mysterious way it becomes epidemic in the world. And how does it do so? By suing all the good words that virtue has invented to maintain virtue. It uses honesty, first, frankness, sincerity those words; picks them up, uses them. "In the name of honesty, lust us see what we are." You know. And then it picks up the word joy. "Let us in the name of joy, which is the enemy of our ancestors, the Puritans... Let us in the name of joy, which is the enemy of the kill-joy Puritan..." You see. "Let us," and so on. And then, "In the name of health..." Health is another good word. And that is the metaphor Freudianism trades on, mental health. And the first thing we know, it has us all in up to the top knot. I
4 suppose we may blame the artists a good deal, because they are great people to spread by metaphor. The stage too the stage is always a good intermediary between the two worlds, the under and the upper, if I may say so without personal prejudice to the stage. In all this I have only been saying that the devil can quote Scripture, which simply means that the good words you have lying around the devil can use for his purposes as well as anybody else. Never mind about my morality. I am not here to urge anything. I don t care whether the world is good or bad not on any particular day. Let me ask you to watch a metaphor breaking down here before you. Somebody said to me a little while ago, "It is easy enough for me to think of the universe as a machine, as a mechanism." I said, "You mean the universe is like a machine?" He said, "No. I think it is one... Well, it is like..." "I think you mean the universe is like a machine." "All right. Let it go at that." I asked him, "Did you ever see a machine without a pedal for the foot, or a lever for the hand, or a button for the finger?" He said, "No no." I said, "All right. Is the universe like that?" And he said, "No. I mean it is like a machine, only..." "... it is different from a machine," I said. He wanted to go just that far with that metaphor and no further. And so do we all. All metaphor breaks down somewhere. That is the beauty of it. It is touch and go with the metaphor, and until you have lived with it long enough you don t know when it is going. You don t know how much you can get out of it and when it will cease to yield. It is a very living thing. It is as life itself. I have heard this ever since I can remember, and ever since I have taught: the teacher must teach the pupil to think. I saw a teacher once going around in a great school and snapping pupils heads with thumb and finger and saying, "Think." That was when thinking was becoming the fashion. The fashion hasn t yet quite gone out. We still ask boys in college to think, as in the nineties, but we seldom tell them what thinking means; we seldom tell them it is just putting this and that together; it is just saying one thing in terms of another. To tell them is to set their feet on the first rung of a ladder the top of which sticks through the sky. Greatest of all attempts to say one thing in terms of another is the philosophical attempt to say matter in terms of spirit, or spirit in terms of matter, to make the final unity. That is the greatest attempt that ever failed. We stop just short there. But it is the height of poetry, the height of all thinking, the height of all poetic thinking, that attempt to say matter in terms of spirit and spirit in terms of matter. It is wrong to anybody a materialist simply because he tries to say spirit in terms of matter, as if that were a sin. Materialism is not the attempt to say all in terms of matter. The only materialist be he poet, teacher, scientist, politician, or statesman is the man who gets lost in his material without a gathering metaphor to throw it into shape and order. He is the lost soul. We ask people to think, and we don t show them what thinking is. Somebody says we don t need to show them how to think; bye and bye they will think. We will give them the forms of sentences and, if they have any ideas, their they will know how to write them. But that is preposterous. All there is to writing is having ideas. To learn to write is to learn to have ideas. The first little metaphor... Take some of the trivial ones. I would rather have trivial ones of my own to live by than the big ones of other people. I remember a boy saying, "He is the kind of person that wounds with his shield." That may be a slender one, of course. It goes a good way in character description. It has poetic grace. "He is the kind that wounds with his shield."
5 The shield reminds me just to linger a minute the shield reminds me of the inverted shield spoken of in one of the books of the "Odyssey," the book that tells about the longest swim on record. I forget how long it lasted several days, was it? but at last as Odysseus came near the coast of Phaeacia, he saw it on the horizon "like an inverted shield." There is a better metaphor in the same book. In the end Odysseus comes ashore and crawls up the beach to spend the night under a double olive tree, and it says, as in a lonely farmhouse where it is hard to get fire I am not quoting exactly where it is hard to start the fire again if it goes out, they cover the seeds of fire with ashes to preserve it for the night, so Odysseus covered himself with the leaves around him and went to sleep. There you have something that gives you character, something of Odysseus himself. "Seeds of fire." So Odysseus covered the seeds of fire in himself. You get the greatness of his nature. But these are slighter metaphors than the ones we live by. They have their charm, their passing charm. They are as it were the first steps toward the great thoughts, grave thoughts, thoughts lasting to the end. The metaphor whose manage we are best taught in poetry that is all there is of thinking. It may not seem far for the mind to go but it is the mind s furthest. The richest accumulation of the ages is the noble metaphors we have rolled tip. I want to add one thing more that the experience of poetry is to anyone who comes close to poetry. There are two ways of coming close to poetry. One is by writing poetry. And some people think I want people to write poetry, but I don t; that is, I don t necessarily. I only want people to write poetry If they want to write poetry. I have never encouraged anybody to write poetry that did not want to write it, and I have not always encouraged those who did want to write it. That ought to be one s own funeral. It is a hard, hard life, is they say. (I have just been to a city in the West, a city full of poets, a city they have made safe for poets. The whole city is so lovely that you do not have to write it up to make it poetry; it is ready-made for you. But, I don t know the poetry written in that city might not seem like poetry if read outside the city. It would be like the jokes made when you were drunk; you have to get drunk again to appreciate them.) But as I say, there is another way to come close to poetry, fortunately, and that is in the reading of it, not as linguistics, not as history, not as anything but poetry. It is one of the hard things for a teacher to know how close a man has come in reading poetry. How do I know whether a man has come close to Keats in reading Keats? It is hard for me to know. I have lived with some boys a whole year over some of the poets and have not felt sure whether they have come near what it was all about. One remark sometimes told me. One remark was their mark for the year; had to be it was all I got that told me what I wanted to know. And that is enough, if it was the right remark, if it came close enough. I think a man might make twenty fool remarks if he made one good one some time in the year. His mark would depend on that good remark. The closeness everything depends on the closeness with which you come, and you ought to be marked for the closeness, for nothing else. And that will have to be estimated by chance remarks, not by question and answer. It is only by accident that you know some day how near a person has come. The person who gets close enough to poetry, he is going to know more about the word belief than anybody else knows, even in religion nowadays. There are two or three places where we know belief outside of religion. One of them is at the age of fifteen to twenty, in our self-belief. A young man knows more about himself than he is able to prove to anyone. He has no knowledge that anybody else will accept as knowledge. In his foreknowledge he has something that is going to believe itself into fulfilment, into acceptance. There is another belief like that, the belief in someone else, a relationship of two that is going to be believed into fulfilment. That is what we are talking about in our novels, the belief of love. And the
6 disillusionment that the novels are full of is simply the disillusionment from disappointment in that belief. That belief can fail, of course. Then there is a literary belief. Every time a poem is written, every time a short story is written, it is written not by cunning, but by belief. The beauty, the something, the little charm of the thing to be, is more felt than known. There is a common jest, one that always annoys me, on the writers, that they write the last end first, and then work up to it; that they lay a train toward one sentence that they think is pretty nice and have all fixed up to set like a trap to close with. No, it should not be that way at all. No one who has ever come close to the arts has failed to see the difference between things written that way, with cunning and device, and the kind that are believed into existence, that begin in something more felt than known. This you call realize quite as well not quite as well, perhaps, but nearly as well in reading as you can in writing. I would undertake to separate short stories on that principle; stories that have been believed into existence and stories that have been cunningly devised. And I could separate the poems still more easily. Now I think I happen to think that those three beliefs that I speak of, the self-belief, the love-belief, and the art-belief, are all closely related to the God-belief, that the belief in God is a relationship you enter into with Him to bring about the future. There is a national belief like that, too. One feels it. I have been where I came near getting up and walking out on the people who thought that they had to talk against nations, against nationalism, in order to curry favor with internationalism. Their metaphors are all mixed up. They think that because a Frenchman and an American and an Englishman can all sit down on the same platform and receive honors together, it must be that there is no such thing as nations. That kind of bad thinking springs from a source we all know. I should want to say to anyone like that: "Look! First I want to be a person. And I want you to be a person, and then we can be as interpersonal as you please. We can pull each other s noses do all sorts of things. But, first of all, you have got to have the personality. First of all, you have got to have the nations and then they can be as international as they please with each other." I should like to use another metaphor on them. I want my palette, if I am a painter, I want my palette on my thumb or on my chair, all clean, pure, separate colors. Then I will do the mixing on the canvas. the canvas where the work of art is, where we make the conquest. But we want the nations all separate, pure, distinct, things as separate as we can make them; and then in our thoughts, in our arts, and so on, we can do what we please about it. But I go back. There are four beliefs that I know more about from having lived with poetry. One is the personal belief, which is a knowledge that you don t want to tell other people about because you cannot prove that you know. You are saying nothing about it till you see. The love belief, just the same, has that same shyness. It knows it cannot tell; only the outcome can tell. And the national belief we enter into socially with each other, all together, party of the first part, party of the second part, we enter into that to bring the future of the country. We cannot tell some people what it is we believe, partly, because they are too stupid to understand and partly because we are too proudly vague to explain. And anyway it has got to be fulfilled, and we are not talking until we know more, until we have something to show. And then the literary one in every work of art, not of cunning and craft, mind you, but of real art; that believing the thing into existence, saying as you go more than you even hoped you were going to be able to say, and coming with surprise to an end that you foreknew only with some sort of emotion. And then finally the relationship we enter into with God to believe the future in to believe the hereafter in. (Frost, Robert. Education by Poetry. 14 May <
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Area 48 LED 1 Light Padded Nylon Carrying Case stores and protect 1 light fixture and accessories inside. Carry your case with the dual straps, which feature a touch-fastening connector for added comfort and stability. A versatile case, it may also be carried with the removable, padded shoulder strap. To help prevent annoying strap twists the shoulder strap attaches with swiveling snap-hooks. Access and store your gear with the case's zipper. Made of ballistic nylon, your case is both strong and durable.


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Rose Marie Klaus passed away on May 2, 2016 in Broken Arrow, Oklahoma.
She was born in Chicago, Illinois March 5, 1920 to John and Mary Ciofalo.
Rose was a homemaker.
Rose is survived by her daughter, Diane Searle and her husband, Mark; step-son,
Ronald Klaus; grandchildren, Zach, Paige, Jordan, Jillian, Natalie, Gary
III, AnnaMarie, Gregory, Joe and Nicole.
She is preceded in death by her husband, Gary Klaus, Sr., step-son, Gary
Klaus, Jr.; siblings, Phil, Morrie, John, Francis, Therese and Lillian.
A memorial service will be held 10:00am, Friday, May 27, 2016 at the Cremation
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Eeek I loooove senior girls. They're so much fun to chit chat all things girly with! Plus, they love a good social media shout out as much as the next girl ;) Tyra was so beautiful and getting to know her was so much fun. She's fearless and ready for my weird requests with posing.
Tyra was so kind, she came with some amazing outfit choices and I was so excited that she wanted some of the same fun, colorful country shots that I had in mind. She was so sweet and super stylish. Her mom came and we chatted about all the fun experiences with volleyball. I loved hearing how their season is going and I can't wait to follow her and hopefully hear about a successful season this year!
Thanks again Tyra for coming down from Lincoln to the farm. It was so much fun hanging out with you and you are such a kind person! Good luck this year with volleyball!
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Just to catch up, last night, I went and saw the Dark Crystal with AMY! (haha) It was amazing; I had never seen it before. The Palace was showing it 'fo CHEAP. Cult classic night with AAAAMMMYYY!!
EDIT: I totally forgot to even explain this tattoo!!! It's my Grandma Genny's signature coming out of a spool of thread. She sewed for Threads of Love, a group that sewed for premature babies at our church in San Antonio. I used to go with her every Tuesday morning to help out. She passed away five years ago, this week, the morning that she was getting ready to leave to go to Threads of Love.


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Undertoad Saturday Feb 5 10:31 PM
Feb 5, 2011: Egypt thanks social media
Wombat Sunday Feb 6 06:19 AM
The middle one is very clever. All of them make a good point.
Griff Sunday Feb 6 08:50 AM
Soon they'll have their government figured out and macebook can go back to its primary tasks of serving stalkers and selling info.
Trilby Sunday Feb 6 09:05 AM
very cool! I love it!
newtimer Sunday Feb 6 12:43 PM
These look more like advertising campaigns than real protests. How come their signs are written in English, not Egyptian? Let's see some hieroglyphs from real Egyptians!
lupin..the..3rd Sunday Feb 6 01:11 PM


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We have worked with some of our favorite artists on limited edition collections. Each design is typically printed in runs of 1000, 2000, or 3000. They are FREE at all events and FREE with every Stereotype Co purchase. We have donated 23,000 bookmarks globally since handcrafting our first bookmark in 2010.
2nd Editions - Foam Editions
The backround is from a photo from a mural he painted at Miami Art Basel 2016
Like what we're doing? Consider donating to Stereotype Co so we can continue to give out free bookmarks and bucketlists to kids around the country encouraging them to never stop dreaming.


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Trish Douglas :: Howard Anderson Upholstery
We had many approaches from companies all over New Zealand and around the world wanting to set up a website for us and had in fact met with a couple and got fairly comprehensive information from one of them. We hadn't proceeded further than that with any of the approaches for various reasons including price, timing, and how busy (or quiet) the business was.
However, when Gaylene (Sales Consultant) from Turboweb contacted Stephen, things fell into place. The fact that she was from Gore and that Turboweb was based in Dunedin helped (we didn't really want to deal with Auckland let alone China), as well as the excellent sales pitch from Gaylene.
Once we decided to go ahead we had lots of help getting the website ready to go live and not long after that, we were invited to attend a training workshop in Search Engine Optimisation which Turboweb generously provided in Invercargill.
Gaylene still makes regular contact with us and now Allison, (Client Support Champion) is often in touch providing information and encouragement to keep our website up to date. We get regular newsletters and still more training via YouTube video - all to help us display our business in the best possible light.
We wouldn't hesitate to recommend Turboweb to anyone looking to set up a website in Southland.
Trish Douglas


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Some signs of attention deficit hyperactivity disorder in children are hyperactivity, impulsiveness, inattention and trouble concentrating. Children with ADHD often have more trouble with concepts such as sharing, taking turns, letting others talk and remembering homework, according to WebMD.
Although most children struggle with these tasks, children with ADHD struggle with them to an extreme degree. The only way to know for sure if a child has ADHD is from a doctor's comprehensive assessment. Not all children with ADHD exhibit every possible symptom. A child who exhibits most symptoms for at least six months that are affecting his life may have ADHD, says WebMD.
Many children with ADHD do not exhibit hyperactivity. Some children with ADHD are quiet and may even do well in school, but they are unable to pay attention, says the National Institute for Mental Health. This inattentive type of ADHD often goes overlooked. Sometimes ADHD co-exists with anxiety and depression. Oftentimes ADHD treatment helps decrease these symptoms, which may exist because of the stress of undiagnosed ADHD, says the National Institute of Mental Health.
ADHD in children is treated with behavior modification therapy, medicine or a combination of both. There is no one-size-fits-all approach to treatment, and children and parents may have to try different medications and treatments before they find the right one, says the National Institute for Mental Health.


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Stuck in the middle with you
Because fancy practices like sub-prime lending in banking have got us into such a sorry state, the Irish public has become averse to any form of innovation, says Will Hanafin. And so, these days, we like our entertainment simple, old fashioned and traditional, from Brendan O'Carroll to the 'All Ireland Talent Show'
Ronnie Reagan once said that recession was when your neighbour lost his job and depression was when you lost yours. In Ireland, recession is when your neighbour loses his reason and turns to middle-of-the-road entertainment like foul-mouthed cross-dressers and musicals to cheer him up, and depression is when you do.
Our economic crash is having some terrifying consequences. Just when you thought you'd suffered enough, resurgent recession-era acts include Brendan O'Carroll, high-camp rock musicals, talent shows and Katherine Lynch.
Recently I got panicky texts from people who'd just seen the Mrs Brown's Boys pilot on RTE One. This sitcom was an RTE/BBC co-production about the hackneyed oul' one with six kids played by Brendan O'Carroll in drag. Once the BBC screens the pilot, RTE is to decide if a full series will be inflicted on us.
The guys I got texts from about Mrs Brown are the kinds who have practically taken vows to watch only channels with 4 in the title, such as Channel 4, More4 or 4Bore. But having watched Brendan O'Carroll's sitcom, the gist of their texts was: 'Is it really bad to watch Mrs Brown's Boys and find it sort of funny?' I had strange visions of guys who watch The View flagellating themselves like the albino monk in The Da Vinci Code when they find themselves sniggering at Mrs Brown's gags about vibrators that run on diesel.
The 'Mrs Brown is kind of funny!' shockwaves were felt everywhere. On bulletin boards, even moany bloggers were forced to reach within themselves and write reviews that didn't include the words "pathetic" and "typical RTE crap". It had to be hard for Mother of Sorrows types whose posts about Irish comedy shows usually consist of: "Is this what Irish comedy has become? Sigh!" Some even attempted comedy blasphemy by saying Mrs Brown's Boys was better than Tommy Tiernan.
Mrs Brown is an unlikely forces' sweetheart during our darkest economic hour -- not quite Vera Lynn singing We'll Meet Again, more like 'We'll fucking meet again, and I don't give a shite where'.
The one-liners on Mrs Brown's Boys are rammed down the viewer's throat with the same force as the rectal thermometer that Grandad sat on in one of its scenes. It's ironic that when you want to view Mrs Brown's Boys on the RTE Player you need to tick a box stating you're over 18 before you can watch it, as a pop-up says it's aimed at a mature audience. I really think an immature audience would be better suited to double entendres about bananas looking like willies, and Mrs Brown's husband coming late.
The fact that Eighties humour is back with a bang is a big change for RTE's commissioning editors. Edgier comedy formats such as The Panel have been scrapped, while Mrs Brown is being lined up for a series. Recession-era RTE is like the woman who walks in to the bar looking for a double entendre and the barman gives her one. RTE is looking for a comedy to suit current tastes, and Brendan O'Carroll is giving them one -- so to speak.
It was time to see if some old-fashioned effing and blinding middle-aged Irish bloke dressed as an oul' one could lift my recession blues and get me to crack a smile. Had my recession really turned into a depression? Brendan O'Carroll was staging a small run of How Now Brown Cow in Dublin's Olympia Theatre after the success of Mrs Brown's Boys on the telly, and I had to go.
The thing I notice about live Irish audiences during the recession is that they really, really want to be entertained, and the one person who won't be laughing if they're not entertained is the entertainer. After years of dangerously high doses of Eddie Hobbs, Liveline, and now unemployment and belt-tightening, the mood at most gigs before kick-off is like the cheap seats at the gladiatorial games in the Coliseum.
I managed to buy probably the last ticket for the final night of the run, wedged in the middle of a row high up in the circle. I got to the Olympia about 10 minutes before showtime and the curtain was still down. An excitable gang sat down behind me. Suddenly one of the blokes got quite irate. "There's no way we can see the bleeding stage from here! I can't see the bottom at all. I want to move! Now!" he shouted. "The stage is way back . . . behind the bleeding curtain, ya eejit! Will you calm down?" answered his missus.
As well as being edgy about getting value for money, Mrs Brown's fans are fiercely loyal. A middle-aged woman in a leather jacket sitting beside me leaned in before the show started and said: "He's very funny, you know." It was like that Al Pacino line from Godfather II when his sister says she wants to get married: "You disappoint me!" The implication from my neighbour was that we were all going to laugh like hyenas for the next two hours, even if this particular performance turned out to be the worst thing to ever grace an Irish stage -- because we were all there to have a good time, OK?
The show was packed with gangs of families -- several generations from teens up to grannies and grandads. Clearly Brendan O'Carroll cleverly crammed every possible character type from a typical family into his show. That means Granny is dragged along because she reminds her family of Mrs Brown, while Grandad is just like Mrs Brown's father-in-law, etc.
Getting through the How Now Brown Cow show is a lot like real life. After the first 'fuck' is out of the way you get used to it and it gets better. There are lots of similarities to the TV show, with several of the lines being used in both. There are Taser guns that are mistaken for telephones, sons dressed as giant penguins, and more F-words than a Paul Gogarty Dail speech. At the interval in the bar, and outside in the smoking area, it's commented several times, "He's very funny, isn't he?" Mrs Brown did cheer me up, but it's like being held down and tickled -- you're only laughing because you're being forced to by the constant stream of swear words, one-liners and physical comedy. But desperate times do need desperate measures. This is no time for subtlety.
Being challenged by an old stager like Brendan O'Carroll is certainly different for the poster boys of boom time stand-up comedy. During the Celtic Tiger, comedians made it big by being loud, rural and able to riff about religion, pubs in Offaly, or central-heating systems. Once they were on the primrose path, comics only needed to block-book Vicar Street occasionally, churn out DVDs and make de rigueur TV appearances mocking some sacred cow to keep the show on the road.
If those DVD sales are anything to go by, the More4 types are being elbowed out by MOR comedy fans. If you look at Irma's Top 100 DVDs for 2009, it's no laughing matter for stand-up comedians. Des Bishop's DVD sold the most and he still only charted in 63rd position. The DVD of RTE's nostalgic clips show Reeling in the 90s easily beat him, while among other stand-ups, Neil Delamere came in at 95th and PJ Gallagher at 97th. The craving for comforting and reassuring comedy was illustrated by strong sales of The Van and The Snapper in the DVD charts. Both were top-20 best-sellers last year, in fourth and 14th positions respectively.
Cliches are very important when dealing with the recession. Besides "the country's banjaxed", the one most frequently uttered must be: "Where's Roddy Doyle when you need him?" People must think Roddy Doyle is a brooding, Batman-like figure, standing on Dublin's rooftops waiting until our debt-to-GDP ratio dips dangerously: when the time is right he'll bang out a 100,000-word novel crammed with plucky sorts who swear freely and who beat the credit crunch with their indomitable spirit.
Novels about chip vans set in 2010 could end up being seriously unfunny when you've got to deal with 30kmh speed limits, catering licences, the obesity crisis and the lack of an Irish team in this year's World Cup. Hence Roddy's got better things to be doing with himself.
Another overachieving DVD in the top 100 that is perfect for these straitened times is Katherine Lynch Live (The Diddy Diddy Dongo Tour). Remember, Twink practically got us through the Eighties with her big personality and ready access to the RTE wardrobe department. Katherine Lynch's DVD nearly outsold Des Bishop and easily outperformed Neil Delamere's and PJ Gallagher's DVDs. Her TV show, Katherine Lynch's Single Ladies, also won massive audiences for RTE Two late on Tuesday nights. Lynch clearly knows there's a gap in the market for over-the-top, wild-haired women from the country to cheer up lonely single chaps since Blathnaid left The Afternoon Show, and she fills that . . . ahem . . . gap with great gusto. RTE, in fairness, tried to give Katherine's show a respectable, politically correct gloss in the programme description by saying it "delves deep into the world of women living life on the cusp". It's a brave move, trying to pass it off as a sort of Open University Sociology 101 course, when the show's real appeal is characters such as her burlesque Traveller who climaxes on trapezes.
It's not just comedy that has gone back to basics, as the current musical offerings have also gone resolutely MOR. Back in the Noughties, to make it big as an Irish singer all you needed was an itchy yak-wool jumper, scratchy stubble and an acoustic guitar. After a few below-the-radar gigs in Galway or Cork to an exclusively female audience of under 30s whom you subjected to a sheaf of introspective songs about your pet dog's death, your career was up and running. Then it was a waiting game until some reviewer called your stuff "beautiful and poignant"; the album deal followed and soon one of your wearisome songs was being featured as the musical backdrop to Grey's Anatomy or The OC.
Unfortunately, most Irish people under 30 are now either on the dole or in Canada or Australia, so the chill winds of entertainment orthodoxy are back. Nowadays, the best bet for some scruffy guy in a check shirt who can sing would be to go for a part in some rock opera such as Jesus Christ Superstar. That, or hopefully your local surf shop is hiring.
The need for Z-list rib-ticklers when the chips are down is embedded in our DNA. And without fail, when we plunge into recession we grab the comfort blanket of unchallenging music. It certainly happened in the Eighties. If you look through the 1981 Irish charts you'll find perfectly respectable songs at No 1 by John Lennon, the Police and . . . Foster and Allen. With 20 per cent of the workforce unemployed in the early Eighties, cool songs were quickly jettisoned in favour of two lads in leprechaun outfits warning unsuspecting maidens to keep their garden fair, warbling A Bunch of Thyme.
When the Irish economy was still ticking over in 1979, the Boomtown Rats, U2 and Pink Floyd held sway. But finding ourselves washed up and on the dole in the Eighties, it was the likes of Brendan Shine singing Do You Want Your Old Lobby Washed Down? that we turned to. MOR entertainment is a portent of true recession. It's like hearing the wail of a banshee, or spotting that scary spectre from the Richard Gere movie The Mothman Prophecies, who appeared before disasters. This new status quo is clear in the All Ireland Talent Show when Grainne talks about the pride of the parish. We've closed ranks and decided that a couple of people who're able to stand on each others' shoulders or play the tin whistle with their nostril will do us grand. Any notions of appealing to an audience outside Ireland have now been completely banished.
Because fancy practices such as sub-prime lending in banking got us into such a sorry state, the Irish public has become averse to any form of innovation. It's like the Mrs Brown audience who just want a good seat and a good show: punters have enough worries and they want to stay firmly in their comfort zone with no challenging stuff thank you very much . . . Just ask Yusuf Islam.
The artist formerly known as Cat Stevens took his show to The O2 last November, expecting a decent reception from the crowd as he hasn't played live since the mid-Seventies. Unfortunately, he hadn't factored in the unpredictable nature of a recession-hardened Irish audience. It all went well until he decided to preview a musical of his songs called Moonshadow about one-third of the way through the show. The poor innocent, who has led a quiet life of Islamic contemplation for years, said later that he thought he was giving the audience "a show and a half". In fact, he was giving them half a chance to be spectacularly ungrateful. He really thought he was giving them what they wanted when Ronan Keating was brought on for a duet. But the inevitable consequence of all this was moaning, walkouts and a queue to talk to Joe on Liveline on Monday.
Despite the negative reaction to Cat Stevens's Moonshadow, there's a veritable invasion of musicals right now, including Evita, Mamma Mia and Chitty Chitty Bang Bang. Some have been and gone already, including the much-hyped We Will Rock You, which was on at The O2 in January.
Like extremist politics and rickets, musicals tend to be spawned by recessions. Americans reacted to the Thirties Depression by embracing The Wizard of Oz. I suppose there's nothing like a few dancing Munchkins to cheer a body up.
Musicals have been difficult for me to attend since I was dragged along as an Eighties-recession kid to see The King and I being murdered. That and being brought along to Danny La Rue in the Cork Opera House killed my fascination with sequins and songs at a young age. But again, I was surprised to be told by people I thought I knew that they'd been to the Queen musical and it was great. I'd seen the cast on The Late Late Show and it looked like bad Tops of the Town, complete with ex-Coronation Street star Curly Watts looking like Worzel Gummidge. Clearly it was time for another cheering-up expedition.
You really know people are looking for hope when you walk into The O2 auditorium on a Sunday afternoon to see 9,000 patrons watching Curly Watts trying to sing, and waving a sea of green glow sticks at him. It shows you more than any economic forecast how much our spirit has been broken in the past two years. All these people had paid good money to listen to former X Factor and soap stars belting out 30-year-old songs while clad in spandex and tricolour knickers. All that and a ridiculous storyline about a malign corporation that has banned live music from the planet.
But then they sang We Are the Champions and I took in the lines. "We are the champions, my friends/And we'll keep on fighting -- till the end/We are the champions /We are the champions/No time for losers/'Cause we are the champions -- of the world."
Those rockers had reeled me in! It had happened. I was on my feet, swaying from side to side, surrounded by gay couples, mums with surly teenagers, girlfriends with long-suffering boyfriends waving their green lights, all singing at the top of our lungs about keeping on fighting till the end. It wasn't a recession, it was a depression. I'd reached rock bottom.
My memory banks were emptied of Arcade Fire and Kings of Leon lyrics. Musical discernment was gone. I just wanted to sing something stupid and hackneyed to feel like there was some hope. I didn't even need Brian May to come on and do the Bohemian Rhapsody finale.
A few days later I realised why we're now all frequenting rock operas, looking at buxom women pretending to be Travellers or laughing at some cross-dresser Tasering himself. The Taoiseach, Brian Cowen, decided to treat us to a rousing speech telling us that there's light at the end of the tunnel. Unfortunately, it'll be in 2016 -- he thinks.
As Queen said, this is "no time for losers" but that's all we've got right now -- that and MOR entertainment.
Sunday Independent


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In January of 1972, Hewlett-Packard made a lot of engineers' pockets happy.
On January 4, 1972, the first scientific pocket calculator, called the HP-35, was introduced by Hewlett-Packard. It would prove to be an historic debut.
Although a few hand-held calculators were introduced in 1971, the HP-35 could handle higher functions, including logarithms and trigonometric functions. The HP-35 was the first to use a four-register operational memory stack to store and retrieve intermediate answers, the first to provide stack control keys in order to display those intermediate results for further processing, and the first to employ reverse Polish notation for entering data into a calculator. The HP-35 was delivered with an addressable memory register so that constants could be entered and used on demand.
The HP-35 actually outperformed the mainframe computers of its day. Its calculations offered greater mathematical precision and were performed more quickly than calculations on the IBM 360.
HP Gets Giddy
The HP-35 was so successful that in just six months the June 1972 edition of the HP monthly magazine reported the following:
"For a company that has always dealt soberly with the business of its business, albeit with style and invention, Hewlett-Packard has discovered a whole new giddy interface, thanks to the Model 35. For not only is the 35 a runaway best seller (a slight misnomer because as yet, there are no real competitors on the scene), but it is also a novel experience in terms of marketing and selling.
"Consider this situation: When the marketing strategy for the 35 was conceived last year, it was decided that the main tactic would be a direct-mail program. Makes sense. But except for a small test mailing, that program has not been put into effect—because, so far it has not been needed. In fact, from the moment the super slide rule was introduced on January 4, the world has beaten a path to its door."
Although the article doesn't mention this fact, the marketing strategy expected that the company would sell 10,000 units in its first year. Instead, for the first time in the company's history, it had to backorder shipments, as demand was ten times greater than expected. The magazine article goes on to say, however, that:
"What no one could possibly have known in advance was the degree to which the Model 35 has taken on star status. To the realist it may be just a super electronic slide rule; but to others it is a technological status symbol, an instrument with soul, a science-fiction dream come true. In addition, there are evidently far more teachers and students—not to mention business and professional people of all kinds—able and very willing to pay the $395 (plus handling) than anyone had reason to expect."
In great measure, the HP-35 and its success were a result of the company's co-founder Bill Hewlett. He and David Packard founded the company in January 1939. From the start, since the two founders were engineering students at Stanford, HP's products were designed to be used by engineers. Hewlett-Packard began as a partnership, then, after World War II, incorporated, and finally went public in 1957. Hewlett became CEO in 1968.
So why was the HP-35 such a runaway success? The answer is that it truly was a revolutionary product.
In 1970, HP was selling the HP9100, a desktop electronic calculator that weighed over 40 pounds. Hewlett was determined to shrink the 9100 to something that could fit in an engineer's shirt pocket and offer the same functions as a slide rule. He commissioned a marketing study of this engineer's dream, and was given an estimate of a total market of 50,000 units selling no more than 10,000 per year. In spite of this lackluster projection, Hewlett challenged his product design and engineering teams to build it. He told them he wanted a calculator that weighed less than 2 pounds and cost less than $500. They did it in less than a year.
We justly celebrate the personal computer pioneers, but the HP-35 was the first product that placed real computing power into the hands of the general public.
William Hewlett died in January 2001. The February 2001 edition of IT World concluded its eulogy to him by saying:
"Silicon Valley has since spawned wealthier people, with higher profiles and greater fame. Hewlett never showed much interest in being a celebrity. Throughout his life he remained, at heart, an engineer.
"An engineer in the best sense of the word."
It began forty years ago—and that's when it happened.
Dan Wohlbruck has over 30 years of experience with computers, with over 25 years of business and project management experience in the life and health insurance industry. He has written articles for a variety of trade magazines and websites. He is currently hard at work on a book on the history of data processing.
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Election to offer contested races
The upcoming April municipal and school board elections have attracted seven new candidates. A pair of municipalities and one local school board will hold contested races.
Cassville voters will have the opportunity to decide one of the local contested municipal races this spring. Current Mayor Bill Shiveley will be challenged by Tracy Lannum. North Ward Alderman Ann Hennigan has also filed for re-election. She is running unopposed.
The other contested municipal race will be held in Seligman, where current Mayor Jason Raucstadt will face off against former Mayor Jerry Montgomery and newcomer Roy Carrothers.
Eric Freeman, west ward alderman, has also filed for a new two-year term on the council. He will not face a challenger in April.
Ward Two Alderman Wayne Rupp has also filed for a new term on the Purdy City Council. Newcomer Robert Moser will join Rupp on the council. Moser has filed for one of two open ward one alderman seats. Neither Steve Roden nor Sean Priest filed for re-election and will therefore be leaving the council.
The Washburn, Butterfield, Wheaton and Exeter municipal elections will feature only unopposed incumbents.
Washburn Mayor John Tiedeman and East Ward Aldermen Mary Roller and Amanda Crim have all filed for re-election.
Mark Thomas, east ward alderman, and Guadalupe Meza, west ward alderman, have filed for new two-year terms on the Butterfield Council.
Incumbents Donnie Powell, Wheaton mayor, Naomi Young, Wheaton west ward alderman, and David Shockley, Wheaton east ward alderman, are seeking new terms.
Exeter Mayor Rusty Reed, South Ward Alderman Rhonda Scott and North Ward Alderman Jim Morse are also seeking re-election.
School board elections
New candidates have filed for seats on three local school boards. Only unopposed incumbents have filed for seats on the other four school boards.
Cassville School Board incumbents Greg Allen and Hal Smith will be challenged by one new candidate, Wade Hermansen.
Incumbents Ed Mareth, Purdy School Board, and Bobby Stephens, Southwest School Board, will be joined by new candidates Todd Schallert and Brian Robbins, who have filed for the Purdy and Southwest boards respectively.
The Exeter, Wheaton and Shell Knob school board elections will feature only unopposed incumbents.
Eric O'Neill and Brad Porter have filed for new terms on the Exeter R-6 School Board, and Dan Goostree and Kendall Haynes, have re-filed for the Wheaton R-3 School Board.
Shell Knob School Board members Rusty Rickard and Johnathan Gray have also filed for new two-year terms.
The municipal and school board elections will be held on Tuesday, April 2.
Late filings: Late Tuesday afternoon, Jan Anthony filed for the Cassville south ward alderman seat that will be vacated by Jeff Parsons in April. Parsons did not file for re-election.
There were also two late filings for the Purdy municipal election. Steve Roden, who previously served as a ward one alderman, has filed for the position of mayor, and Larry Rickman has filed for the ward one alderman seat that will be vacated by Roden.