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Serius Sweater
Nicholas K
Nicholas K
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- Acrylic blend
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- Revolve Style No. NICH-WK14
- Manufacturer Style No. SW 289
- Modeled in size M.
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Founded in 2003 by siblings Nicholas and Christopher Kunz, Nicholas K embodies sophistication of modernized classics fused with a downtown edge. Offering the full spectrum of a Ready to Wear collection, Nicholas K strives to provide their customer with forward pieces that become wardrobe staples. Sold throughout specialty boutiques in both the US and Japan, Nicholas K is a lifestyle collection that continues to exceed anyones expectations.
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United States Army Files Trademark Claim Against Las Vegas Golden Knights
The United States Army is going after the newest NHL team, the Las Vegas Golden Knights. Sports Illustrated reports that the Army filed a formal Notice of Opposition with the U.S. Trademark Trial and Appeal Board claiming that "the distinctive quality of the Army's Golden Knights mark will be diluted and consumers of sporting events will be confused" unless they refuse to register the trademark.
The Army claims they have been using the nickname Golden Knights since 1962 to refer to their official parachute team. That team has performed over 16,000 shows all around the world, including sporting events.
The Army also highlighted comments by team officials who admitted the team was named in honor of the military.
Golden Knights general manager George McPhee revealed to The Washington Post's Aaron Torres that the Golden Knights' color scheme of black, gold, yellow and white was intentionally selected for its similarity to a color scheme used by the Army at West Point.
The owner of the team, Bill Foley, attended West Point, and has a strong connection to the military academy.
The team issued a statement disputing the claims made by the Army:
We strongly dispute the Army's allegations that confusion is likely between the Army Golden Knights parachute team and the Vegas Golden Knights major-league hockey team. Indeed, the two entities have been coexisting without any issues for over a year (along with several other Golden Knights trademark owners) and we are not aware of a single complaint from anyone attending our games that they were expecting to see the parachute team and not a professional hockey game. That said, in light of the pending trademark opposition proceedings, we will have no further comment at this time and will address the Army's opposition in the relevant legal forums.
The team has until February 19th to formally respond to the complaint.
Photo: Getty Images

subset: commoncrawl


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Canadian literature
Canadian literature, the body of written works produced by Canadians. Reflecting the country's dual origin and its official bilingualism, the literature of Canada can be split into two major divisions: English and French. This article provides a brief historical account of each of these literatures.
Canadian literature in English
Prose and poetry
From settlement to 1900
The first writers of English in Canada were visitors—explorers, travelers, and British officers and their wives—who recorded their impressions of British North America in charts, diaries, journals, and letters. These foundational documents of journeys and settlements presage the documentary tradition in Canadian literature in which geography, history, and arduous voyages of exploration and discovery represent the quest for a myth of origins and for a personal and national identity. As the critic Northrop Frye observed, Canadian literature is haunted by the overriding question "Where is here?"; thus, metaphoric mappings of peoples and places became central to the evolution of the Canadian literary imagination.
The earliest documents were unadorned narratives of travel and exploration. Written in plain language, these accounts document heroic journeys to the vast, unknown west and north and encounters with Inuit and other native peoples (called First Nations in Canada), often on behalf of the Hudson's Bay Company and the North West Company, the great fur-trading companies. The explorer Samuel Hearne wrote A Journey from Prince of Wales's Fort in Hudson's Bay to the Northern Ocean (1795), and Sir Alexander Mackenzie, an explorer and fur trader, described his travels in Voyages from Montreal…Through the Continent of North America, to the Frozen and Pacific Oceans (1801). Simon Fraser recorded details of his 1808 trip west to Fraser Canyon (The Letters and Journals of Simon Fraser, 1806–1808, 1960). Captain John Franklin's published account of a British naval expedition to the Arctic, Narrative of a Journey to the Shores of the Polar Sea (1823), and his mysterious disappearance during a subsequent journey reemerged in the 20th century in the writing of authors Margaret Atwood and Rudy Wiebe. A Narrative of the Adventures and Sufferings of John R. Jewitt (1815) is a captivity narrative that describes Jewitt's experience as a prisoner of the Nootka (Nuu-chah-nulth) chief Maquinna after Jewitt was shipwrecked off Canada's west coast; on the whole, it presents a sympathetic ethnography of the Nuu-chah-nulth people. The Diary of Mrs. John Graves Simcoe (1911) records the everyday life in 1792–96 of the wife of the first lieutenant governor of Upper Canada (now Ontario). In 1838 Anna Jameson published Winter Studies and Summer Rambles in Canada, an account of her travels in the New World.
Frances Brooke, the wife of a visiting British military chaplain in the conquered French garrison of Quebec, wrote the first published novel with a Canadian setting. Her History of Emily Montague (1769) is an epistolary romance describing the sparkling winter scenery of Quebec and the life and manners of its residents.
Halifax, in the colony of Nova Scotia, and New Brunswick's Fredericton were the scenes of the earliest literary flowering in Canada. The first literary journal, the Nova-Scotia Magazine, was published in Halifax in 1789. The town's literary activity was invigorated by an influx of loyalists during the American Revolution and by the energetic Joseph Howe, a journalist, a poet, and the first premier of Nova Scotia. Two of the most potent influences on literary development were in evidence by the end of the 18th century: literary magazines and presses and a strong sense of regionalism. By satirizing the dialect, habits, and foibles of Nova Scotians, or Bluenoses, Thomas McCulloch, in his serialized Letters of Mephibosheth Stepsure (1821–22), and Thomas Chandler Haliburton, in The Clockmaker (1835–36), featuring the brash Yankee peddler Sam Slick, adroitly brought their region to life and helped found the genre of folk humour.
Most of the earliest poems were patriotic songs and hymns (The Loyal Verses of Joseph Stansbury and Doctor Jonathan Odell, 1860) or topographical narratives, reflecting the first visitors' concern with discovering and naming the new land and its inhabitants. In The Rising Village (1825), native-born Oliver Goldsmith used heroic couplets to celebrate pioneer life and the growth of Nova Scotia, which, in his words, promised to be "the wonder of the Western Skies." His optimistic tones were a direct response to the melancholy poem written by his Anglo-Irish granduncle, Oliver Goldsmith, whose The Deserted Village (1770) concludes with the forced emigration of dispossessed villagers.
Immigrants, dreaming of a new Eden but encountering instead the realities of unpredictable native peoples, a fierce climate, unfamiliar wildlife, and physical and cultural deprivation, were the subject of prose sketches by the Strickland sisters, Susanna Strickland Moodie and Catherine Parr Strickland Traill. Moodie's harsh, yet at times comical, Roughing It in the Bush (1852) was written to discourage prospective emigrants, but Traill's Backwoods of Canada (1836) presents a more favourable picture of the New World.
The Dominion of Canada, created in 1867 by the confederation of Nova Scotia, New Brunswick, Upper Canada, and Lower Canada (now Quebec), precipitated a flurry of patriotic and literary activity. The so-called Confederation poets turned to the landscape in their search for a truly native verse. Unlike their predecessors, they no longer merely described or moralized nature but attempted to capture what the Ottawa poet Archibald Lampman called the "answering harmony between the soul of the poet and the spirit and mystery of nature." New Brunswick poet Charles G.D. Roberts inspired his cousin, the prolific and vagabond Bliss Carman, as well as Lampman and Duncan Campbell Scott, also an Ottawa poet, to begin writing verse. Lampman is known for his meditations on the landscape. Scott, who was a government administrator, has become better known for advocating the assimilation of First Nation peoples than for his poetry's depiction of Canada's northern wilderness. Perhaps the most original poet of this period was Isabella Valancy Crawford, whose colourful mythopoeic verse, with its images drawn from the lore of native peoples, pioneer life, mythology, and a symbolic animated nature, was published as Old Spookses' Pass, Malcolm's Katie, and Other Poems in 1884.
The historical romance was the most popular form of novel. Seigneurial life in New France provided the setting for Julia Catherine Beckwith Hart's melodramatic St. Ursula's Convent; or, The Nun of Canada (1824) and William Kirby's gothic tale The Golden Dog (1877), while Rosanna Leprohon's romance Antoinette de Mirecourt; or, Secret Marrying and Secret Sorrowing (1864) depicted life in Quebec after the English conquest in 1759. In Wacousta; or, The Prophecy (1832), John Richardson portrayed the 1763 uprising led by Pontiac, chief of the Ottawa Indians, at Fort Detroit. However, James De Mille's satiric travel fantasy A Strange Manuscript Found in a Copper Cylinder (1888) and Roberts's renowned quasi-documentary animal stories (Earth's Enigmas, 1896; The Kindred of the Wild, 1902) represented different and original fictional forms.
Modern period, 1900–60
In the early 20th century, popular poets responding to the interest in local colour depicted French Canadian customs and dialect (W.H. Drummond, The Habitant and Other French-Canadian Poems, 1897), the Mohawk tribe and rituals (E. Pauline Johnson, Legends of Vancouver, 1911; Flint and Feather, 1912), and the freedom and romance of the north (Robert Service, Songs of a Sourdough, 1907). John McCrae's account of World War I, "In Flanders Fields" (1915), remains Canada's best-known poem. Slowly a reaction against sentimental, patriotic, and derivative Victorian verse set in. E.J. Pratt created a distinctive style both in lyric poems of seabound Newfoundland life (Newfoundland Verse, 1923) and in the epic narratives The Titanic (1935), Brébeuf and His Brethren (1940), and Towards the Last Spike (1952), which through their reliance on accurate detail participate in the documentary tradition. Influenced by Pratt, Earle Birney, another innovative and experimental poet, published the frequently anthologized tragic narrative "David" (1942), the first of many audacious, technically varied poems exploring the troubling nature of humanity and the cosmos. His publications include the verse play Trial of a City and Other Verse (1952) and poetic collections such as Rag & Bone Shop (1971) and Ghost in the Wheels (1977).
Toronto's Canadian Forum (founded in 1920), which Birney edited from 1936 to 1940, and Montreal's McGill Fortnightly Review (1925–27) provided an outlet for the "new poetry" and the emergence of Modernism. Here and in their anthology New Provinces (1936), A.J.M. Smith, F.R. Scott, and A.M. Klein began their long literary careers. Emphasizing concrete images, open language, and free verse, these modernists felt that the poet's task was to identify, name, and take possession of the land. Klein wrote in "Portrait of the Poet as Landscape" (1948) that the poet is "the nth Adam taking a green inventory / in a world but scarcely uttered, naming, praising." The bonds of a colonial frame of mind characterized by fear of the unknown, reliance on convention, a puritan consciousness—what Frye, in the "Conclusion" written for the first edition of the Literary History of Canada (1965), called the "garrison mentality"—were being broken and cast off.
Strong reaction to the Great Depression, the rise of fascism, and World War II dominated the poems of the 1930s and '40s. Using the documentary mode, Dorothy Livesay condemned the exploitation of workers in Day and Night (1944), while her lyric poems spoke frankly of sexual love (Signpost, 1932). In opposition to the cosmopolitan and metaphysical verse promoted by Smith and the literary magazine Preview (1942–45), Irving Layton, Louis Dudek, and Raymond Souster—through their little magazine Contact (1952–54) and their publishing house, the Contact Press (1952–67)—urged poets to focus on realism and the local North American context. P.K. Page, one of Canada's most intellectually rigorous poets, was associated with the Preview group in the '40s when she published her first collection, As Ten as Twenty (1946), which includes the evocative renowned poem "Stories of Snow." Page's later work increasingly reflected her interest in esoteric places, forms, and religions, from Sufism (Evening Dance of the Grey Flies, 1981) to the glosa, a Spanish poetic form (Hologram: A Book of Glosas, 1994).
By 1900 novels of local colour were beginning to overshadow historical romances. Lucy Maud Montgomery's beloved children's book Anne of Green Gables (1908) and its sequels were set in Prince Edward Island. Ontario towns and their "garrison mentality" provided the setting for Sara Jeannette Duncan's portrayal of political life in The Imperialist (1904), Ralph Connor's The Man from Glengarry (1901), Stephen Leacock's satiric stories Sunshine Sketches of a Little Town (1912), and Mazo de la Roche's best-selling Jalna series (1927–60). Out of the Prairies emerged the novel of social realism, which documented the small, often narrow-minded farming communities pitted against an implacable nature. Martha Ostenso's Wild Geese (1925), a tale of a strong young girl in thrall to her cruel father, and Frederick Philip Grove's Settlers of the Marsh (1925) and Fruits of the Earth (1933), depicting man's struggle for mastery of himself and his land, are moving testaments to the courage of farmers. Painter Emily Carr wrote stories about her childhood and her visits to First Nations sites in British Columbia (Klee Wyck, 1941).
A tentativeness in form and subject matter pervades the novels published during the 1940s and '50s and is reflected in their protagonists, most of whom are sensitive, restless children or artists. In this category fall the Prairie novels As for Me and My House (1941) by Sinclair Ross, Who Has Seen the Wind (1947) by W.O. Mitchell, and The Mountain and the Valley (1952) by Ernest Buckler, set in Nova Scotia's Annapolis valley. These novels strain the bonds of conventional narrative structures as they shift from social realism toward lyricism. In the panoramic Two Solitudes (1945) and The Watch That Ends the Night (1959), framed against the backdrop of the two world wars, Hugh MacLennan attempted to capture moral, social, and religious conflicts that rent individuals, families, and the French and English communities in Quebec. Sheila Watson's enigmatic and mythic The Double Hook (1959) and Ethel Wilson's Swamp Angel (1954), about a Vancouver housewife's bid for personal freedom, present quest journeys against the striking backdrop of British Columbia's interior. Elizabeth Smart's incantatory novel By Grand Central Station I Sat Down and Wept (1945) is a frank and poetic account of obsessive love.
1960 and beyond
After the 1950s this tentativeness in fiction either became itself the subject of the novel or was dissipated in more confident forms of writing. Robertson Davies' popular Deptford trilogy (Fifth Business, 1970; The Manticore, 1972; World of Wonders, 1975) examines the growth of its protagonists into maturity within a Jungian paradigm. Exploration of Canadian identity and of the world of art form much of the interest of Davies' Cornish trilogy (The Rebel Angels, 1981; What's Bred in the Bone, 1985; The Lyre of Orpheus, 1988) and Murther & Walking Spirits (1991). Alice Munro in Lives of Girls and Women (1971), set in southwestern Ontario, and Margaret Laurence in her Manawaka novels (The Stone Angel, 1964; A Jest of God, 1966; The Diviners, 1974) explored their heroines' rebellion against a constricting small-town heritage. Munro's short stories—in collections ranging from Dance of the Happy Shades (1968) to The View from Castle Rock (2006)—depict the domestic lives and relationships of women in Toronto, small-town Ontario, and British Columbia in an increasingly enigmatic style. Leonard Cohen's Beautiful Losers (1966) probes the relationship between sainthood, violence, eroticism, and artistic creativity. Mavis Gallant's stories depict isolated characters whose fragile worlds of illusion are shattered (The Selected Stories of Mavis Gallant, 1996). In her collection of stories Across the Bridge (1993), she probes the thin line between good and evil in the lives of ordinary people.
With trenchant irony, Margaret Atwood dissected contemporary urban life and sexual politics in The Edible Woman (1969), Lady Oracle (1976), and The Robber Bride (1993). Bodily Harm (1981), The Handmaid's Tale (1985), and the speculative Oryx and Crake (2003) are cautionary tales of political violence and dystopia, while Alias Grace (1996) and The Blind Assassin (2000), winner of the Booker Prize, are situated in a meticulously researched historical Ontario and expose the secret worlds of women and the ambiguous nature of truth and justice. Set in Montreal, London, and Paris, Mordecai Richler's novels The Apprenticeship of Duddy Kravitz (1959), St. Urbain's Horseman (1971), Joshua Then and Now (1980), Solomon Gursky Was Here (1989), and Barney's Version (1997) satirize the condition and hypocrisy of modern society through black humour.
Many writers publishing in the 1960s and '70s subverted the traditional conventions of fiction, shifting from realist to surrealist, self-reflexive, feminist, or parodic modes. Although historical events and the investigation of place as an imaginative source remained the most common subject matters, the narrative forms were experimental and playful. During the 1980s and '90s, writers also renegotiated ideas of self and nation and of belonging and loss while breaking down traditional boundaries of both gender and genre. Robert Kroetsch's trilogy The Words of My Roaring (1966), The Studhorse Man (1969), and Gone Indian (1973) transformed the realism of Prairie fiction into postmodern parodies of the quest journey. In The Temptations of Big Bear (1973), The Scorched-Wood People (1977), and A Discovery of Strangers (1994), Rudy Wiebe constructed fictional and spiritual epics based on historical events in the west and the precarious relations between First Nations and European explorers and settlers. In The Wars (1977), Timothy Findley's narrator, through letters, clippings, and photographs, re-creates the effects of World War I on his hero. Famous Last Words (1981) and Not Wanted on the Voyage (1984), the latter a retelling of the voyage of Noah's ark, are also historical metafictions that point to dangerous fascistic tendencies in the modern state.
George Bowering's Burning Water (1980), which focuses on the 18th-century explorer George Vancouver, and Michael Ondaatje's Coming Through Slaughter (1976), the story of the jazz musician Buddy Bolden, mingle history with autobiography in self-reflexive narratives that enact the process of writing. Ranging from 1920s Toronto (In the Skin of a Lion, 1987) to Italy during World War II (The English Patient, 1992; Booker Prize) and Sri Lanka wracked by civil war (Anil's Ghost, 2000), Ondaatje's lyrical, elliptical narratives spotlight a small coterie of people drawn together by a mystery that shapes the story and governs their lives.
Carol Shields's novels, stories, and plays present the lives of ordinary women and men in a luminous, often gently satiric style. The Stone Diaries (1993), which won a Pulitzer Prize, begins in early 20th-century Manitoba and follows the life of Daisy from birth to death in a variety of voices and textual strategies, while in Unless (2002) a middle-aged professional woman confronts the nature of goodness and the disintegration of a comfortable family life. Audrey Thomas reveals the dilemmas confronting women in innovative short stories (Real Mothers [1981]) and novels (Intertidal Life, 1984; Graven Images, 1993; Isobel Gunn, 1999). Jack Hodgins maps a surreal island world in The Invention of the World (1977) and The Macken Charm (1995), mock-epics that both feature larger-than-life, eccentric characters and tell a colourful history of Vancouver Island. Fascinated by the imprint of the past on present lives, Jane Urquhart uses the symbol of the whirlpool to weave together stories of Canadians in 19th-century Ontario in The Whirlpool (1986); Away (1993), a lyrical saga, recounts in retrospect the life of a woman who emigrated from Ireland to Canada in the 1840s, and A Map of Glass (2005) depicts a reclusive heroine seeking answers to her lover's disappearance. Traces of history also haunt Anne Michaels's lyrical novel Fugitive Pieces (1996), in which the story of an émigré Polish poet in Toronto, rescued as a boy from the Nazis, intersects with that of a young professor, a child of Holocaust survivors. Daphne Marlatt radically revises family and colonial history, narrative, and sexuality in Ana Historic (1988) and Taken (1996). Douglas Glover's Rabelaisian Elle (2003) chronicles the adventures of a young French woman marooned during Jacques Cartier's 1541–42 voyage to Canada. Douglas Coupland spawned a new vocabulary with Generation X: Tales for an Accelerated Culture (1991).
Although the subject of history exerts a powerful influence on all forms of Canadian writing, the tradition of regional fiction has not lost its momentum. David Adams Richards's novels depict the bleakness of New Brunswick communities (Lives of Short Duration, 1981; Nights Below Station Street, 1988; Mercy Among the Children, 2000), while Guy Vanderhaeghe's fiction has its roots in the Prairies (The Englishman's Boy, 1996). In Clara Callan (2001), Richard B. Wright portrays quiet lives in small-town Ontario. Ann-Marie MacDonald's Fall on Your Knees (1996) and Alistair MacLeod's No Great Mischief (1999) recount family sagas set on Cape Breton Island. Wayne Johnston depicts Newfoundland's history in The Colony of Unrequited Dreams (1998), a novel based on the life of Joey Smallwood, the province's dynamic first premier. In River Thieves (2001), Michael Crummey describes the extinction of the Beothuk, an indigenous people of Newfoundland, and Lisa Moore's Alligator (2005) dissects lives in contemporary St. John's, the capital of Newfoundland and Labrador province.
During the 1980s and '90s, increasing attention was also paid to the plurality and diversity of voices across the country. This period saw the emergence of numerous First Nations, Métis, and Inuit writers. Resisting the imposition of Western concepts of history, land, nation, society, and narrative, many of these writers explored their oral traditions, myths, and cultural practices. A recurring theme is the individual's painful trajectory as that individual negotiates between cultures, combats racial prejudice, and copes with shattered families and kinship groups; these concerns are also rendered in playful or parodic modes, as protest literature, or as alternatives to frenetic urban consumer cultures. Works that engage these concerns include novels and stories by Jeannette Armstrong (Slash, 1985, rev. ed. 1988; Whispering in Shadows, 2000), Beatrice Culleton (In Search of April Raintree, 1983), Tomson Highway (Kiss of the Fur Queen, 1998), Thomas King (Medicine River, 1990; Green Grass, Running Water, 1993), and Eden Robinson (Monkey Beach, 1999; Blood Sports, 2006). Autobiography and memoir—Maria Campbell's Half-Breed (1973) and Lee Maracle's Bobbi Lee, Indian Rebel (1975, rev. ed. 1990), for example—are key genres in First Nations witnessing and testimony. These genres are also a part of the life writing (which also includes biography, biofiction, letters, and diaries) that dominates the field of Canadian literature and resonates with the tradition of documentary writing; examples include Ondaatje's Running in the Family (1982), John Glassco's Memoirs of Montparnasse (1970), Aritha van Herk's Places Far from Ellesmere (1990), Wayson Choy's Paper Shadows: A Chinatown Childhood (1999), Dionne Brand's A Map to the Door of No Return (2001), and Wiebe and Yvonne Johnson's Stolen Life: The Journey of a Cree Woman (1998).
Other perspectives tackle the experiences of immigrants—their interrogation of the meaning of home and belonging, their feelings of cultural assimilation and estrangement, and their intergenerational struggles. Nino Ricci, a Canadian of Italian descent, portrays the long journey from Italy to Canada in his trilogy Lives of the Saints (1990), In a Glass House (1993), and Where She Has Gone (1997). In her lyrical and meditative novels Plainsong (1993), The Mark of the Angel (1999), and Prodigy (2000), Nancy Huston, an expatriate in Paris, reflects on dislocation and exile. Yann Martel's Life of Pi (2001), winner of the Booker Prize, depicts the fantastic voyage of 16-year-old Pi, who, en route to Canada from India, is shipwrecked and left adrift on the Pacific with several zoo animals.
Asian Canadian writing has emerged as a powerful and innovative force. Joy Kogawa's Obasan (1981) is a skillful "docufiction" describing the internment of Japanese Canadians during World War II; in Chorus of Mushrooms (1994), Hiromi Goto examines the relations between three generations of women in rural Alberta. Chinese Canadian perspectives are presented in Choy's The Jade Peony (1995), set in Vancouver's Chinatown; Larissa Lai's multilayered exploration of lesbian awakening, When Fox Is a Thousand (1995); and Sky Lee's Disappearing Moon Café (1990). Rohinton Mistry's Tales from Firozsha Baag (1987), Such a Long Journey (1991), A Fine Balance (1995), and Family Matters (2001) are set mostly in Bombay (now Mumbai) among the Parsi community, while Anita Rau Badami's novels Tamarind Mem (1996) and The Hero's Walk (2000) portray the cross-cultural effect on Indian families in India and Canada.
The poetry and fiction of George Elliott Clarke uncover the forgotten history of Canadian blacks, and Dionne Brand's At the Full and Change of the Moon (1999) and Makeda Silvera's The Heart Does Not Bend (2002) construct generational sagas of the African and Caribbean slave diaspora and immigrant life in Canada. Like Brand and Silvera, Shani Mootoo, whose Cereus Blooms at Night (1996) and He Drown She in the Sea (2005) unfold on a lush fictional Caribbean island, commemorates strong, disturbing matriarchal figures.
Poetry and poetics
Fueled by fervent literary nationalism and anti-Americanism, by the expansion of new presses and literary magazines, and by the beckoning of avant-garde forms, poetry blossomed after 1960. Prolific, ribald, and iconoclastic, Irving Layton published 48 volumes of poetry celebrating life in memorable lyric lines and lambasting Canadian sexual puritanism and social and political cowardice. Much admired for his The Martyrology (books 1–9, 1972–93), an investigation into language and the self, bp Nichol (Barrie Phillip Nichol) explored concrete and sound poetry, as did bill bissett and Steve McCaffery. Many of Canada's novelists—including Margaret Atwood, Michael Ondaatje, George Bowering, Leonard Cohen, and Dionne Brand—were poets first. Atwood's The Circle Game (1966), Power Politics (1971), and Two-Headed Poems (1978) are laconic, ironic commentaries on contemporary mores and sexual politics: "you fit into me / like a hook into an eye / a fish hook / an open eye." In The Journals of Susanna Moodie (1970), Atwood translated the 19th-century author of Roughing It in the Bush into a modern figure of alienation. Her Morning in the Burned House (1995) invokes popular and classical myths, the elegy, history, and the personal lyric. Ondaatje also turned to historical personae in his collage The Collected Works of Billy the Kid (1970), as did Bowering in his long poem George, Vancouver (1970). Daphne Marlatt reinvented a fishing and canning town's past in Steveston (1974), and Robert Kroetsch explored his Prairie roots in Field Notes (1981)—both important examples, along with Bowering's Kerrisdale Elegies (1984), of the serial long poem, another variation on the documentary mode. In Handwriting (1998) Ondaatje returned to his birthplace, Sri Lanka. Fascination with place and history also permeates Al Purdy's poems about the country north of Belleville, Ont., and about his travels west and to the Arctic (Being Alive, 1978) and to the Soviet Union (Piling Blood, 1984; The Collected Poems of Al Purdy, 1986). The landscape of southwestern Saskatchewan figures centrally in the poetry of Lorna Crozier (Angels of Flesh, Angels of Silence, 1988; What the Living Won't Let Go, 1999). Also from Saskatchewan, Karen Solie (Short Haul Engine, 2001; Modern and Normal, 2005) is intrigued by physics, fractals, and the landscape. Fred Wah, one of the founders (along with Bowering and Frank Davey) of the Vancouver poetry magazine Tish, explored his roots in the Kootenays in Pictograms from the Interior of B.C. (1975), later turning to his mixed heritage and Chinese background in Rooftops (1988) and So Far (1991). David Zieroth (who has also published as Dale Zieroth) recalled his childhood on a Manitoba farm in When the Stones Fly Up (1985) and The Village of Sliding Time (2006) and meditated on everyday moments in Crows Do Not Have Retirement (2001).
Margaret Avison (Winter Sun/The Dumbfounding, 1982), Anne Wilkinson (The Collected Poems of Anne Wilkinson, 1968), Gwendolyn MacEwen (The Poetry of Gwendolyn MacEwen, 1994), Phyllis Webb (Selected Poems: The Vision Tree, 1982), D.G. Jones (A Throw of Particles, 1983; Grounding Sight, 1999), E.D. Blodgett (Apostrophes series), and Don Coles (Forests of the Medieval World, 1993; Kurgan, 2000) grapple with metaphysical and mystical concerns through images drawn from places, travel, mythology, and nature. Sharon Thesen (The Beginning of the Long Dash, 1987; Aurora, 1995; A Pair of Scissors, 2001) and Don McKay (Field Marks, 2006) spin evocative poems out of historical events, key personages, the natural world, and the quotidian. The desire of women to express their distinctive voices and experiences in nonconventional forms also resulted in a surge of feminist literary journals (Room of One's Own, Atlantis, Tessera, Fireweed) and presses. Collections by Marlatt (Touch to My Tongue, 1984; This Tremor Love Is, 2001) and Di Brandt (Questions I Asked My Mother, 1987; Jerusalem, Beloved, 1995) reenvision language, sexuality, and subjectivity through a feminist, lesbian, and theoretical lens. Anne Carson writes playful poems that interweave contemporary and past voices. In Autobiography of Red (1998)—the story of the winged red monster Geryon and his doomed love for Herakles—she draws on the Greek poet Stesichoros, while in The Beauty of the Husband: A Fictional Essay in 29 Tangos (2001) she invokes English poet John Keats. A classics scholar, Carson has also translated Euripides' plays (Grief Lessons, 2006) and Sappho's poems (If Not, Winter, 2002). Poets who engage in virtuoso and highly experimental probings of language include Lisa Robertson (XEclogue, 1993, rev. ed. 1999; The Weather, 2001) and Christian Bök (Eunoia, 2001). In Sheep's Vigil by a Fervent Person (2001) and Little Theatres; or, Aturuxos Calados (2005), Erin Mouré offers inventive translations of Portuguese and Galician authors as she explores ideas of local and global citizenship and community.
Inflected by anger and sorrow, Marie Annharte Baker (Being on the Moon, 1990), Chrystos (Fire Power, 1995), Beth Brant (Mohawk Trail, 1985), and Marilyn Dumont (A Really Good Brown Girl, 1996) protest stereotypes of First Nations and Métis. Dionne Brand's No Language Is Neutral (1990) and Marlene Nourbese Philip's She Tries Her Tongue, Her Silence Softly Breaks (1988) challenge the colonization, sexism, and racism of the English language, while George Elliott Clarke's collage Whylah Falls (1990) uncovers the life of Canadian blacks in a 1930s Nova Scotia village. In mapping arrivals and departures through an increasing diversity of voices and selves, celebrating and mourning differences, and protesting coercion, constraint, and smugness in a bountiful array of forms from sonnet to ghazal to documentary long poem, Canadian poets have opened the country of the mind and the minds of the country.
Like the poets and novelists, Canadian dramatists in their quest for a myth of origins have often turned to historical incidents. The earliest forms of dramatic writing, Charles Mair's Tecumseh (1886) and Sarah Anne Curzon's Laura Secord, the Heroine of 1812 (1887), both based on the War of 1812, were in verse. In the 1920s and '30s Merrill Denison, Gwen Pharis Ringwood, and Herman Voaden struggled to establish Canadian drama, relying on the amateur little theatres for support. By the 1950s and '60s several professional theatres had been successfully established, producing a more sophisticated milieu for dramatists such as John Coulter, whose Riel (1962) creates a heroic figure of Louis Riel, the leader of the Métis rebellion in 1885. As regional and experimental theatres multiplied, increasingly innovative and daring productions were mounted, such as John Herbert's Fortune and Men's Eyes (1967), on homosexuality in prison; George Ryga's The Ecstasy of Rita Joe (1971), about an indigenous woman who is a prostitute; and James Reaney's Donnelly trilogy (1976–77), about the feuds and the massacre of an Irish immigrant family in southern Ontario.
During the 1970s, groups such as Toronto's Theatre Passe Muraille experimented with collective productions in which actors participated in script writing and which were performed in nontraditional venues (e.g., barns). Collective creation resulted in The Farm Show (1976), Paper Wheat (1978), 1837 (1976), and Les Canadiens (1977); all exhibit a strong sense of locality, history, and issues of identity and nation. Stark realism shaped David Freeman's Creeps (1972), David French's Leaving Home (1977), David Fennario's On the Job (1976), and Michael Cook's The Head, Guts, and Sound Bone Dance (1974). Women's lives in the past are the focus of Carol Bolt's Red Emma (1974), the story of the anarchist Emma Goldman; Sharon Pollock's Blood Relations (1981), a powerful drama about the accused murderer Lizzie Borden; and Betty Lambert's Jennie's Story (1984). Joanna Glass's plays, ranging from Artichoke (1975) to Trying (2005), explore intergenerational conflicts and women's issues. The plays of Judith Thompson, which gain their shape from dreams and the effects of dreams, are visually exciting explorations of the evil force in the human subconscious (The Crackwalker, 1980; Lion in the Streets, 1990). In Billy Bishop Goes to War (1981), John Gray created a very popular musical from the story of a well-known World War I fighter pilot. Green Thumb Theatre, founded in 1975, pioneered plays for young audiences on such issues as bullying, divorce, and immigrants.
Influenced by film and questioning conventional forms and their attendant ideologies, George Walker produced an impressive body of work, including Nothing Sacred (1988), an adaptation of Turgenev's Father and Sons; Criminals in Love (1985), set in Toronto's working-class east end; and Suburban Motel (1997), a cycle of six plays set in a motel room. Playwright and actor Morris Panych achieved renown for the nonverbal The Overcoat (1997), 7 Stories (1990), and Girl in the Goldfish Bowl (2003). Michael Healey's critically acclaimed The Drawer Boy (1999), set in 1972, depicts the turbulent relationship between two farmers and a young actor researching rural life for the creation of The Farm Show. First Nations writers began to make a strong impact following the success of Tomson Highway's The Rez Sisters (1988), which he later followed with Dry Lips Oughta Move to Kapuskasing (1989) and Ernestine Shuswap Gets Her Trout (2005). Marie Clements (The Unnatural and Accidental Women, 2005), Margo Kane (Confessions of an Indian Cowboy, 2001), Monique Mojica (Princess Pocahontas and the Blue Spots, 1991), Daniel David Moses (The Indian Medicine Shows, 1995), and Drew Hayden Taylor (Toronto at Dreamer's Rock, 1990; In a World Created by a Drunken God, 2006) expose the stereotypes and dilemmas of different First Nations peoples and their troubled relation to the dominant culture, often making effective and comic use of indigenous languages and myths.
Joan MacLeod's Amigo's Blue Guitar (1990) explores the effect of a Salvadorean refugee on a Canadian family. Ann-Marie MacDonald's Goodnight Desdemona (Good Morning Juliet) (1990), which juxtaposes a contemporary academic with Shakespeare's Othello, Romeo, and Juliet, has been produced across Canada and worldwide. Brad Fraser's quirky Unidentified Human Remains and the True Nature of Love (1990) presents seven disturbing characters communicating through an answering machine. Norm Foster, with more than 30 light comedies (e.g., The Melville Boys, 1986), has become the country's most successful dramatist. The voices of other Canadian communities were increasingly heard in the late 20th century: African (George Elliott Clarke, Beatrice Chancy, 1999), South Asian (Rahul Varma, No Man's Land [published in Canadian Mosaic: 6 Plays, 1995]), Japanese (R.A. Shiomi, Yellow Fever, 1984), and Chinese (Marty Chan, Mom, Dad, I'm Living with a White Girl, first performed 1995).
At the beginning of the 21st century, several collective and multimedia companies emphasized physical and visual experimentation akin to the avant-garde traditions in contemporary Quebec productions, including One Yellow Rabbit in Calgary, Necessary Angel, da da kamera, Theatre Smith-Gilmour, and Theatre Columbus in Toronto, and Electric Company and Boca del Lupo in Vancouver.Kathy Mezei


text: In 2005, the SAT implemented major revisions, including: New reading sections, Analogies removed, Multiple-Choice Grammar and Usage Questions, Modified Reading Questions. Vocabulary Power Plus for the New SAT addresses all of the revisions in the test without vocabulary studies. Students will benefit from: Focused prefix, suffix, and root practice. Challenging inference exercises, Detailed critical reading exercises, New SAT-style writing and grammar exercises. Recommended for grade 10. This book is a classroom student edition.


text:
Louise Meintjes
Associate Professor of Music
- Ph.D., University of Texas at Austin 1997
- M.Mus., University of Texas at Austin 1988
- B.Mus., University of Stellenbosch (South Africa) 1982
Meintjes, L. Dust of the Zulu: Ngoma Aesthetics after Apartheid (Accepted). Durham: Duke University Press Books, August 11, 2017. (Monograph)
Meintjes, L. Sound of Africa!: Making Music Zulu in a South African Studio. Duke University Press, January 2003.
Meintjes, L, Meintjes, L, Ochoa, AM, Porcello, T, and Samuels, DW. "Ethnomusicology." Oxford Bibliographies in Anthropology. Ed. J Jackson. Oxford University Press, 2012.
Meintjes, L. "The Recording Studio as Fetish." The Sound Studies Reader. Ed. J Sterne. Routledge, 2012.
Meintjes, L. "The Politics of the Recording Studio: A Case Study from South Africa." The Cambridge Companion to Recorded Music. Ed. N Cook, E Clarke, D Leech-Wilkinson, and J Rink. Cambridge University Press, 2009.
Meintjes, L. ""Reaching Overseas: South African Sound Engineers, Technology and Tradition"." Wired for Sound: Engineering and Technologies in Sonic Cultures. Ed. P Greene and T Porcello. Middletown: Wesleyan University Press, 2004. 23-48.
Meintjes, L. "Entries on DownTown Studios and EMI(South Africa)." Encyclopedia of Popular Music of the World, Volume One: Media, Culture and the Industry. Ed. Shepherd and Laing. Cassell: London, 2002.
Meintjes, L. ""Hugh Masekela", and "Abdullah Ibrahim"." The New Groves Dictionary of Music and Musicians. 2001.
Meintjes, L. ""John Lindemann" and "West Nkosi"." The Rough Guide to World Music. Ed. EEA Broughton. The Rough Guides: London, 1994.
Samuels, DW, Meintjes, L, Ochoa, AM, and Porcello, T. "Soundscapes: Toward a sounded anthropology." Annual Review of Anthropology 39 (October 21, 2010): 329-345. Full Text Open Access Copy
Porcello, T, Meintjes, L, Ochoa, AM, and Samuels, DW. "The reorganization of the sensory world." Annual Review of Anthropology 39 (October 21, 2010): 51-66. Full Text Open Access Copy
Meintjes, L. "The World of South African Music: A Reader edited by C. Lucia (Newcastle, Cambridge Scholars Press, 2005)." Journal of Southern African Studies 34 (2008): 234-236. (Academic Article)
Meintjes, L. "Representing African Music: Postcolonial Notes, Queries, Positions by Kofi Agawu (Routledge, 2003)." Journal of the American Musicological Society 59 (2007): 769-777. (Academic Article)
Meintjes, L. "Dispare al Sargento, Derrumbe la Montaña: La Producción de la Masculinidad por medio del canto y baile Zulú "Ngoma" en la Suráfrica Post-Apartheid." Trans. S Cruz and AM Ochoa Gautier. Trans: Revista Transcultural de Música/Transcultural Music Review 10 (2006).
Meintjes, L. "O sentimento da política: produzindo 'zuluidade' em um estúdio de gravação sul-africano. [The Feeling of Politics: Producing Zuluness in a South African Studio.]." Debates 8 (2005): 78-92. (Academic Article)
Meintjes, L. "Shoot the Sergeant, Shatter the Mountain: The production of masculinity in Zulu Ngoma Song and Dance in post Apartheid South Africa." Ethnomusicology Forum 13.2 (2004): 173-201. (Academic Article)
Meintjes, L. ""Heritage and Politics: An Ethnomusicological Perspective on Nation Building and Construction of the Past"." (May 2003). (Academic Article)
MEINTJES, LOUISE. "In the Time of Cannibals: The Word Music of South Africa's Basotho Migrants . DAVID B. COPLAN." American Ethnologist 23.3 (August 1996): 648-648. Full Text
Meintjes, L. "Marabi Nights: Early South African Jazz and Vaudeville by C. Ballantine (Ravan Press, 1993)." Popular Music 15 (1996): 245-247. (Academic Article)
Symposium: "Enchantings: Modernity, Culture, and the State in Postcolonial Africa.". December 14, 2012
Seminar participation: Contemporary Soundspaces: Sound, Agency, and the Politics of Value. November 19, 2010
Oswenka: Zulu swankers' dress competition. Curator. (2004)
A collaborative sound-sight exhibition featuring the photography of TJ Lemon with a sound installation by John Bower using the field recordings of Louise Meintjes. Collaboration co-ordinated by Louise Meintjes. John Hope Franklin Center, Duke University.
Afropop Worldwide: The Zulu Factor. Consultant. Zulu Factor (2008)
Broadcast internationally and available on the web.
Finalist, best research in recorded popular music, for Sound of Africa! Making Music Zulu in a South African Studio (Duke University Press, 2003).. Association for Recorded Sound Collections Awards of Excellence . 2004
Selected Grants
Doctoral Dissertation Research: Sounding the City: Noise Regulation and Everyday Rhythms in Gulu, Uganda awarded by National Science Foundation (Principal Investigator). 2017 to 2018


text: @xlizellx -BTW, there are groups that rely on volunteers (as opposed to paid staff) to address violence.One is the PeaceKeepers. Although nondenominational, I believe their membership is drawn mostly from christian churches. Here are lots of photos of their Brooklyn members:It would not surprise me if some of their members were working and living in E Flatbush.


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SAN SEBASTIAN, Spain — Some cultures take their food more seriously than others, but the Spanish may be leaders of the pack. Travelers have been coming here for the last 25 years to experience not only the growing sophistication of regional cuisine but also the miracle of molecular gastronomy.
When my daughter, Madeline, announced that she wanted to spend a college semester in Madrid, I needed no more excuse to research a trip to northern Spain's Basque country, where even fare at local bars is haute and Michelin-starred restaurants inspire gushing coverage among global media.
As we shuttled between Bilbao and San Sebastian, my husband, Steve, our daughter and I attempted to deny our American instincts — speedy, efficient consumption of sugar, salt and fat — and immerse ourselves in a culture in which cooking and eating fall somewhere on the spectrum between art and sport.
We snacked at a museum cafe, consumed a 13-course meal over the course of four hours, gorged on sweets from a chocolate shop and marveled at the elegance of a hamburger as interpreted in a tiny bar. Each techno-infused starter, each multifaceted entree, each whimsical dessert was thoughtfully prepared and presented. After a few days of feasting, our expectations of what restaurant fare could be — and should be — were inextricably altered.
What follows is a diary of sorts that chronicles our efforts to consume a lifetime's worth of calories in a matter of days.
After a train ride from Madrid to Bilbao, we bungled our way through city streets to reach the Guggenheim Museum. Outside, we greeted Jeffrey Koons' flower-bedecked "Puppy" and "Maman," Louise Bourgeois' enormous bronze spider, but we needed sustenance before we plunged inside.
Our expectations of the museum cafe were modest, but the pintxos — the Basque answer to tapas — were the first of many revelations on the trip. (Once we read that legendary chef Martin Berasategui had consulted on the food at the Guggenheim, it all made sense.) We took our gazpacho, chunks of potato omelet (tortilla Española), cod balls and bread to the terrace and marveled at the brilliance of our selections.
Our impromptu picnic fueled a two-hour exploration of the museum's permanent collection. We wanted to linger, but we had a date in the nearby seaside resort city of San Sebastian.
The drive from Bilbao took about 80 minutes on easy stretches of well-maintained highways, and we arrived at the Hotel Londres with a couple of hours to prepare for the big event. Our large-by-European-standards room, with a king-size bed and a couple of armchairs, allowed for some quiet contemplation of what awaited us at 8:30 p.m.
We had reserved a table at Arzak, a temple of high-tech cuisine, where common (and some not-so-common) ingredients are assembled in highly unusual ways. One dessert, called Golden Footprint and Ladybird, included caramelized fruits served with black sesame bread (the "footprint") and included a "licorice ladybird (or ladybug) filled with yogurt and olive oil crystal."
Los Angeles Times restaurant critic Jonathan Gold had recommended Arzak, a restaurant graced with three Michelin stars, emphasizing the influence and import of this 116-year-old institution and its pioneering chefs, Juan Mari Arzak and his daughter Elena. But the novices were not prepared for the experience that was to come.
We were seated in a small dining room that provided our first glimpse of Arzak craftsmanship: The decor, in shades of gray and mauve, was soothing; the wall panels with embedded eating utensils, inspired; the lighting behind opaque panels, optimal.
We studied the menu, slightly overwhelmed and unable to commit. Then Steve said, "Let's do the tasting menu."
Extraordinary? Yes. But it was also a bit of an endurance contest, and for anyone considering entering the race, a few words of advice from one of the rubes: Pace yourself.
Dinner included kabrarroka pudding with kataifi (a fish terrine of sorts wrapped with a phyllo-like pastry that looks like shredded wheat); crispy manioc (cassava) hydrated with huitlacoche (corn fungus) and stuffed with a preparation of onion, green tea and foie gras; and poached lobster served with edible "clothespins" made from lobster stock and gelatin.
At different points in the evening, Juan Mari and Elena greeted customers and asked where they were from. When we said, "Los Angeles," Juan Mari then smiled and mentioned a recent visit to L.A. "Lakers," he said, nodding sagely. "Pau."
The dinner continued: white sole, lamb with fried grapes and longan, Kobe's Beer (a meat lollipop, served with a licorice bark bone). I was crawling to the finish line, managing to taste only a bite of each of the final courses. Restaurant personnel appeared at my side to ask whether something was wrong. Did I require something else? (Only an ability to increase the size of my stomach.)
During the dessert course (I chose Playing Marbles With Chocolate — liquid-filled chocolate balls served with amaranth and oregano sauce), we noticed that it was midnight and that the other patrons had departed. At 12:30 a.m., after we signed a credit card slip that was about a third of our monthly mortgage, we started to make our way outside. Juan Mari and Elena hugged us, listening to Steve's story of lost luggage and counseling him on his next moves.
Steve was smiling as we climbed into a cab. "I think they liked talking to us," he said. Perhaps. My guess is that they were smiling at the anticipation of our departure.
The next morning, we passed on a formal breakfast and dined on coffee and crackers. We vowed to spend the day fasting or eating raw vegetables, yogurt and hummus.
We broke our vows at lunchtime.
The three of us walked into the Gandarias restaurant in the heart of San Sebastian's old city. We signaled our outsider status in many ways, but primarily because we entered at 12:30 p.m., an hour or two before locals eat.
But we were ravenous, so we asked the barman for plates and loaded up on pintxos: lamb brochettes, slices of tortilla, Iberian ham on baguettes with skewers of mushrooms, fried prawns, spider crab pie, wild mushroom croquettes, olives, goat cheese with bacon.
Just as we were preparing to leave, the restaurant began to fill with happy — no, make that boisterous — patrons. They were communing with friends, drinking, smoking, and probably paying, like us, about $15 to $20 apiece
Madeline and I walked Steve back to the hotel and then returned to the streets to explore a handful of pastry and chocolate shops. Eventually, we settled on Oiartzun, which showcased rack after rack of confections such as lemon and fruit tarts, chocolate truffles, sponge cake and eclairs. We assured ourselves that our purchases were not for immediate consumption, but for emergency hunger pangs.
There was some truth to that, although the lemon tart didn't last long.
About 8 p.m., we began the hunt for food again. The Arzak reservation had been made weeks in advance, but on this night we wanted to walk until we encountered some minimalist fare. We couldn't plow our way through another tasting menu. At least, that's what we told ourselves until we encountered A Fuego Negro.
It's a small space, with exposed pipes, a few tables and room for a clutch of customers at the bar. If Arzak is elegance, Fuego Negro is funk. The walls are covered with posters celebrating African American culture and graphics that announce: "A Fuego Negro: Klassics Never Die" and "Black Brooklyn Basques."
The mood was upbeat, largely because of a table of rowdy Irishmen and our pixie-like waitress, who encouraged us to go big or go home. (That was our interpretation.) So we agreed to a menu-less tasting menu, pledging our faith in the potential of surprise.
Among our courses: "chestnuts" made from pureed turnips and celery, pickled pork with tomato mole ice cream, octopus salad with spinach, black and white quinoa on a bed of greens, a burger with a ketchup-infused bun and plantain chips, and long, slender "peppers" made of white chocolate.
The next morning, we drove back to Bilbao and wandered the Casco Viejo, or Old Quarter, a part of the city that is not jammed with out-of-towners. We had an opportunity to inspect St. James Cathedral, whose origins date to the 14th century, and the Basque Museum, and to observe the clutches of old men in berets and a series of ETA flags — symbols of the Basque separatist movement — draped on balconies.
At 2:30 p.m., we surrendered to hunger and stepped into the nearest restaurant: Hatari Urban Kitchen & Bar. The pinxtos were fine, but Steve ordered a hamburguesa de Dijon that stopped us in our tracks, a tower of food with greens and cooked peppers, fried goat cheese, duck ham, a patty of ground meat and a slab of bread used as a base, a final reminder of how artistry can elevate the commonplace.


text:
Mama's Snack Stop
Satisfy your craving for a quick meal or savory snack at this quick-service poolside eatery.
The ExperienceWork up an appetite frolicking in the nearby Waikolohe Valley pool area then head to Mama's Snack Stop for a delicious fish dish, savory snack or a little something to satisfy your sweet tooth. There's also a keiki menu for smaller appetites.
Mama's Snack Stop is located in the Waikolohe Valley pool area, adjacent to Rainbow Reef.
Menu HighlightsFind the perfect meal or snack to satisfy your appetite and energize you for more fun-in-the-sun frolicking.
Menu options include:
Find the perfect meal or snack to satisfy your appetite and energize you for more fun-in-the-sun frolicking.
- Meals like Fish and Chips, Ono Sandwich, Coconut-Breaded Shrimp and Chicken Tenders
- Keiki Menu items offer smaller versions of our meals, including fish and chips, chicken tenders and a peanut butter and jelly sandwich
- Snacks like apple fries, cole slaw, French fries, potato chips and fruit cups are also available
- Dessert is a macadamia nut and pineapple cupcake with butter cream frosting
Hours and menu are subject to change without notice. Menu is for example only.


text:
Latest news
Government of Canada and public service unions announce compensation for federal employees impacted
Canada's public servants deserve to be paid properly for their important work and the Government of Canada continues to take action on all fronts to resolve Phoenix pay issues.[ ...More ]
Publication date : 2019-05-03
PSAC rejects compensation offer for Phoenix pay fiasco, other groups accept
The federal government says it has reached a tentative deal with some groups on compensation for workers affected by problems with the Phoenix pay system. But the Public Service Alliance of Canada, which represents the majority of federal employees, has rejected the offer.[ ...More ]
Publication date : 2019-05-03
Applying the Jordan framework: Are courts placing too much of the burden on the defence?
In R v. Jordan, the Supreme Court put a hard cap on the duration of criminal trials — sending a thrill of panic through the justice system in the process. The ruling is roughly two and a half years old now. Time for the training wheels to come off.Now, that backlog of pre-Jordan charges has been largely cleared — the transitional period is over. But Crown and defence lawyers alike report that trial times aren't speeding up; statistics cited in a recent Law Times article show that in the Ontario Court of Justice, average times to disposition and the number of court appearances have not diminished since Jordan. If the SCC intended the ruling as a salutary shock to the system, it didn't work.So what happens now?[ ...More ]
Publication date : 2018-12-18
RCMP's forensic firearm testing backlog adding delays to justice system
The RCMP's forensics labs are taking nearly four times longer to analyze firearms than they did just four years ago, adding delays to a criminal justice system under pressure to speed up after a recent Supreme Court decision.[ ...More ]
Publication date : 2018-12-16
Court delays persist, despite Jordan
The Supreme Court of Canada decision in Jordanand the problems it tried to address are still top of mind in the criminal courts in Ontario nearly two-and-a-half years after it was released.[ ...More ]
Publication date : 2018-12-03
The performance pay saga reaches a settlement
The issue is the prorating of performance pay in relation to pre-promotion period for the year in which lawyers are promoted. If a lawyer was eligible for performance pay and was promoted during the year, the Employer, rather than pay out a prorated performance pay for the period pre-promotion, paid out nothing at all regardless of your performance rating for the year. The AJC originally filed a grievance in 2011 and in response to that grievance, TB had conceded in the context of the adjudication hearing that pre-promotion service should be recognized. Unfortunately, the adjudicator originally disregarded TB's concession in his decision of 2015, requiring the AJC to file an application for judicial review, which eventually resulted on December 22, 2016 in a remedy limited to the right to pre-promotion performance pay for the year 2010-2011. Thus, the AJC filed another policy grievance on July 27th 2016. The hearing was scheduled for October 2018. We are pleased to announce that we now have a signed Memorandum of Settlement on this matter with TB.[ ...More ]
Publication date : 2018-10-30
<-- Back to archived news
Public sector lawyers begin general strike
A man sits on a bench outside Montreal's courthouse on June 14, 2016 (CTV Montreal/Pedro Querido)
Public sector lawyers and notaries start their unlimited general strike Monday with demonstrations outside courthouses throughout the province.
Quebec's 1,100 government lawyers have been without a contract for more than a year and a half.
The strike could delay the drafting of new legislation and slow court proceedings. The law professionals represent Quebec in civil, administrative and criminal proceedings.
They want to draw attention to the importance of their jobs, said Francois Desroches-Lapointe of Lawyers and Notaries of Quebec.
"Most of the time we work in the shadows, but we are the first defence for the rights of individuals, because we are the ones counselling the government before they go to a judge of private lawyer, the government asks our advice with respect to rights," he said.
Legal aid is not affected by the strike, and anyone with a case involving the government – a tax-related hearing, for example – is expected to show up. Essential services are being maintained.


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FRIDAY, Feb. 17 (HealthDay News) -- Knees with osteoarthritis are in a constant state of self-repair, but arthritic hip joints are not, researchers say.
The discovery was a surprise, said study author Dr. Virginia Kraus, a professor of rheumatology and immunology at Duke University Medical Center in Durham, N.C.
The finding "suggests the knee has capacity for repair we didn't know about and the main treatment strategy probably would need to focus on turning off the breakdown of knee tissue," she said in a Duke news release.
Knee and hip osteoarthritis may require different treatment approaches, Kraus said. If joint breakdown could be halted, the natural repair response in the knee might be sufficient to stop or reverse the arthritis process.
"At least with the knee you've got an ongoing repair response that we didn't appreciate until now," Kraus said. "If you could capitalize on that and turn off the degradative (breakdown) processing you might have some good effects."
However, stopping the degenerative process in hips with osteoarthritis may not be enough. The hips would also require a treatment to stimulate factors to help begin repair.
In their study, Kraus and her colleagues identified an indicator of hip-joint breakdown, specifically an altered protein called D-COMP. In the circulation, it signals hip degeneration. In cartilage, it provides insight into the repair response of joint tissues.
It's the first such "biomarker" specific to a particular joint site and it may be possible to develop it into a tool for monitoring hip-joint breakdown, Kraus said.
The study was published Feb. 10 in the Journal of Biological Chemistry.
Osteoarthritis, the most common form of arthritis, typically causes pain, swelling and restricted motion in the joints.
More information
The U.S. National Institute of Arthritis and Musculoskeletal and Skin Diseases has more about osteoarthritis.


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Dr. James Jeffery Womack
Department of Visual and Performing Arts
- 325-486-6040
- firstname.lastname@example.com
- Carr Education-Fine Arts Building, 216
- D.M.A., Louisiana State University
- M.M., Illinois State University
- B.A., Berea College
- Double reeds and music history
Dr. Jeff Womack is Associate Professor of Music at Angelo State University specializing in Double Reeds and Music History. Prior to coming to ASU, he was the Director of Woodwind Studies at Dickinson State University where he also taught music history and music theory.
Additionally, he has served on the faculty at Northern Arizona University. He holds a Bachelor's Degree from Berea College, a Master of Music Degree from Illinois State, and a Doctor of Musical Arts Degree from Louisiana State University.
In addition to his teaching duties at Angelo State, Dr. Womack maintains an active performance schedule as bassoonist in The Mesquite Trio, principal bassoon of the San Angelo Symphony, where he has been called upon to play principal oboe as well, and substitute bassoon with the San Antonio Symphony. Prior to coming to ASU, he served as second bassoon with the Bismarck-Mandan Symphony Orchestra. In the BMSO, he also filled the principal oboe chair on occasion as well as solo English horn. In addition, he was the principal bassoonist with the Flagstaff Symphony Orchestra and performed with the Kokopelli Wind Quintet while at Northern Arizona University. Active nationally and internationally on the bassoon, in April of 2005, Dr. Womack traveled to Cork, Ireland as a guest lecturer at the Cork Institute of Music. While there, he taught a bassoon masterclass, coached chamber music and gave a recital featuring contemporary American music. Dr. Womack has presented masterclasses at Kansas State University the University of Kentucky, and most recently at the University of Tennessee.
Dr. Womack has performed at Conferences of the International Double Reed Society in 2000, 2003, 2006, 2007, 2010, 2012 and most recently at the 2014 IDRS conference in New York City. At the 2010 conference in Norman, OK, his own composition Rustic Celebration for woodwind trio was premiered. The work is currently in print with Prairie Dawg Press. He is also a founding member of the bassoon quartet Depraved Indifference whose goal is to increase the repertoire for multiple bassoon ensembles.
Aside from the multiple performance outlets in which Dr. Womack engages, he is thoroughly committed to his students' education as future educator/musicians as is proven by the successes of his students. He has been called upon to act as a clinician state-wide and as an adjudicator for regional and state music contests. In addition, Dr. Womack maintains a private studio outside of his university duties.


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Since 2001, Ed Usset has been writing and executing marketing plans for his mythical farms; a corn and soybean operation in Southwestern Minnesota and a wheat farm in the Red River Valley of Northwestern Minnesota.
These marketing plans are not intended to represent the "perfect" plan - Ed submits to you that there is no perfect plan. Rather, they are intended as a teaching tool, to show producers what a solid plan looks like and the process of implementing that plan.
Corn Pre-harvest | Post-harvest | Baseline Prices
Soybeans Pre-harvest | Post-harvest | Baseline Prices
Spring Wheat Pre-harvest | Post-harvest | Baseline Prices
Since 2001, Ed has been writing pre and post harvest marketing plans for corn, soybeans and spring wheat
Ed uses celebrity producers to illustrate the good, bad and ugly of different marketing approaches
Check out marketing topics covered by Ed in his visits with grain producers throughout the country
These award winning and fun workshops offer valuable lessons on grain marketing
Read Ed's blog! Grain Marketing insights, tips, videos, and just enough humor that it's not work
Templates to help you write your own marketing plans and more


text:
What a dream.
I have a fantasy I would like to share with you. I would like to tell it as if it is actually happening as it seems better when you can actually picture it. This fantasy I would love to actually do and would not pass up the opportunity.
You and I are at the beach alone with a nice condo and a beautiful beach. The weather is perfect, not a cloud in the sky, and nicely warm. After a day on the beach we go to dinner at a small restaurant. We have a perfect steak and a couple of glasses of wine and are feeling warm and sensuous. The restaurant is right on the beach and has a bar out on it. We move to some recliners at the beach bar and order a couple of drinks. There is a dance floor next to the bar and two other couples in recliners and a man by himself at the bar.
I ask you if you would like to dance and you answer me by grabbing my hand pulling me over to the dance floor. We dance to a couple of songs and then go back to our recliners. While we were sitting and drinking our drinks, the man by himself comes over. He is about my height and looks very fit and clean cut. He is slightly muscular but not overly so. He is dressed in slacks and a linen shirt that is kind of see through. His hair is dark with a sprinkling of gray and clean shaven. When he gets to us he introduces himself as Jim and asks me if he could impose a dance with you. You look at me and ask if it's ok. I tell you to both enjoy while I go to the restroom.
I watch as Jim leads you to the dance floor as a sensuous song comes on with a deep beating rhythm. I get up to go to the restroom and I can tell you are enjoying dancing. When I return you and Jim are still on the dance floor dancing to a slower song but with still a deep strong rhythm. He has pulled you closer to him and is pressing up against you. Soon the song ends and you both return to our recliners. You excuse yourself to the restroom and he asks me what we are drinking and I tell him I think you would like a shot of tequila and I would like a crown and seven. He has the bartender bring you a double shot, me a strong drink and one like mine for him. When you return from the restroom you smile at me and thank me for the drink. I tell you it's from Jim and wink at you.
Soon the drinks are hitting us, you are happy and flirty and I am feeling tipsy as well. He orders us another round and asks you to dance again. I tell him to take you out on the dance floor and make it hot. A few minutes later Jim is grinding his leg between yours and you are sliding up and down his leg. When the song is over you say you need to go to our room and lay down as the drinks are hitting you really hard. We say our good byes and start for our room but you are having a hard time standing up. Jim asks if I need help with you and I tell him it couldn't hurt. We lead you to the room with one of your arms around each of our necks. As we are leading you I can see quite a bulge in the front of his pants.
When we get to the room you tell us to put you on the bed and let you rest. Jim and I go into the other room and fix something to drink and bring you water. You, not realizing he is still there tell me thanks for taking you dancing and smile dreamily at me. Then you tell me that you could feel his hard cock grinding into you when you and he were dancing and it turned you on. You tell me to come to bed soon and close your eyes. I go back into the other room and sip a coke with Jim. After a few minutes Jim says we should go check on you. When I enter the room you are laying on your back, eyes closed, trying to get your top off and skirt down. Your top is unbuttoned and your skirt is unzipped. You ask me to help you finish getting undressed.
I left the door open and Jim is standing at the door. I ask him to help me and he enters the room. We kind of sit you up and remove your top and bra. We lower you back down and you lift your bottom for me to remove your skirt. When you were completely naked I tell Jim to kiss your nipple on his side. When he kisses your nipple you reach up and hold his head there. I then reach down and kiss the other nipple, you reach up and grab my head holding it tight and slightly open your eyes enough to see that you have Jim on one side and me on the other sucking and caressing both of your breasts. I look at you and say "relax and enjoy". With that, you close your eyes again and hold our heads tightly to your breasts and moan as we lick and suck your nipples while caressing your breasts.
As we were sucking and licking your nipples you hold our heads to you tightly, moaning and breathing deeply. Jim and I each take turns getting out of our clothes only to return and press our naked bodies tightly against you. Both of us have very hard cocks and we press them against you, you reach down and wrap your fingers around them. Jims cock is a little longer and larger around than mine. It has a nice upward curve and large head with a strong ridge around it. As you touch his cock you ask me if I want you to do this. I tell you "absolutely, I encourage it and want you to enjoy all we have to offer".
I reach my hand down to your pussy and find that Jim is already caressing your pussy. You let out a slow moan and your hips rise as he pushes a finger into you and rubs his thumb across your clit. You pull my head up and kiss me passionately and deeply, our tongues darting in and out of each other's mouths. While you and I were kissing Jim kisses his way down your body to your pussy. I could tell when his tongue touched your clit because it caused you to gasp. You pull me closer to you kissing me even deeper. Jim moves between your legs and begins to lick and suck on your pussy making you moan.
You arch your back, grinding your pussy to his face as he continues to lick and suck your lips and clit. You reach a hand down to his head, running your fingers through his hair as you hold him firmly to your pussy. You reach your other hand down and wrap your fingers around my hard cock, letting out a deep moan as Jim hits a good spot. You pull me up so that my cock is next to your face and suck my cock deep into your mouth. I start moving my cock in and out of your mouth and you reach your arm between my legs, grabbing my ass and pulling me deeper and moaning around my cock.
After a few minutes, Jim moves up across from me, his cock inches from your mouth. You turn your head and place your lips around the head of his cock sucking him deep in your mouth. I move down to watch you suck his cock and play with your clit with my fingers. My face is next to yours and you turn and kiss me. While you are kissing me Jim pushes his cock closer and we both turn and his cock is right at our mouths. You tell me to taste him and I reach my tongue out to taste his precum. As my tongue flicks across his head he pushes toward my face thinking it is you. I let the head of his cock into my mouth giving it a gentle suck. He realizes it is my mouth and starts to pull back a little. I increase to suction a little letting him know I want to, if he wants me to. Jim pushes his cock back towards me when he realizes it is ok. Your lips then meet mine and we kiss around his cock. I can feel his heart beating in his cock between our lips. We then take turns taking his cock deep into our mouths, sucking him deeper each stroke.
I then move down and place my mouth over your pussy and suck your lips and clit into my mouth letting my tongue flick your clit and then push it as far into you as I can. Your hips buck and you grab my head and hold me there. I look up to see Jims cock deep in your mouth and I hear you moaning around it. You pull hard against my head as an orgasm sweeps through you. Your hips lift up and strain to hold your pussy tight against my mouth. I slide a finger into you and hit your G spot. I rub my finger over it again and again increasing the depth of your orgasm. You release Jims cock from your mouth and say "I want one of you in me now".
I motion for Jim to be the first inside you and we switch places. Jim pushes his cock into you and the head of his cock hits your G spot as he gets his cock deep in you. You reach out for my cock and pull me toward your mouth. Jim begins to stroke his cock in and out of you, hitting your G spot each time. Your hips rise to meet his thrusts and you suck my cock hard and deep with each thrust. Your moans have become almost constant as if you were in a constant orgasm. Jim pushes deep into you and groans pushing harder and harder as he shoots his come deep into you. You feel his come shooting into you and suck my cock hard and deep holding me deep in your throat.
Jim pulls his cock out of you and rolls to the side and lies beside us. You release my cock from your mouth and I move between your legs. Jims come is oozing out of you as I push my cock deep into you. Your pussy is so wet and hot. I am so turned on by what we are doing my cock feels like it's made of steel. I thrust my cock in and out of you with long slow strokes. Jim turns to watch us and his still semi-erect cock is still wet from your juices and his come. Jim reaches over and begins to suck on your nipple. You moan and hold his head to your breast as I stroke my cock in and out of you. Your hips rise and fall to my thrusts as an orgasm builds and then floods through you. Your pussy gets wetter and hotter and as your orgasm hits I feel your pussy pulsing. I can't hold off any longer and with a loud groan I too pump my come deep into you. I come what seems like more than I have in my life. My cock shoots pulse after pulse into your pussy, filling you up with my come.
When my orgasm subsides I lay on the other side of you from Jim, he is now facing you and his cock is again fully hard. You reach over and touch his cock and tell him it's good to see that kind of reaction. Jim then turns you over and pulls you up to your hands and knees. You tell him to wait and motion for me to get under you in a sixty nine. I have a great view of your pussy as Jim begins to push his cock into you. As he is pushing his cock into you come begins to drip out of you and into my mouth. I reach up and lick your pussy and his cock as it slides in and out of you. When you feel my tongue touch you an orgasm hits you. You were just beginning to take my cock in your mouth when it hit. As it hits you suck my cock deep and hard, so hard Jims cock comes out of you and lands on my lips. I open my mouth and suck him deep and then place the head of his cock back at the entrance of your pussy. He pushes hard into you causing you to take my cock all the way into your throat. After a few more thrusts you tell him you want to change positions.
When he pulls out of you his cock again lands on my lips. I put my lips around his cock and he pushes it deep into my mouth as you move off of me. You turn and look as he fucks my mouth slowly and I hear you gasp "that is so hot". You motion for him to lie down and you straddle him facing his feet. I watch as you sit down hard on his cock. Once he is buried deep in your pussy you tell me come lick your pussy. I move between your legs and begin to lick and suck your clit and lips as he pumps into you from below. Your pussy and his cock are coated with our come as it gushes out of your pussy. I use my tongue to lick where his cock and your pussy are sliding together. When I suck your lips and clit into my mouth you push down hard on him and grab my head as another orgasm hits you. He pumps into you hard two more thrusts and I see his cock begin to pulse as he begins to shoot his come into you. You then lift your pussy up and slide my mouth over his shooting cock just as a large spray of sperm is coming out. I feel it shoot against the back of my throat and swallow. You hold my head down on his cock until he shoots another squirt into my throat. Then you move my head and slide your pussy back down on him until he is finished coming.
When he is finished coming you lift off of him, turn around and move up and place your pussy on his mouth. His tongue flicks out, licks from the back of your pussy to the front. Then he sucks your lips and clit into his mouth and licks and sucks your pussy causing you to grind your pussy down on his mouth. While you are sitting on his mouth I begin to lick and suck his cock trying to get him hard again. His tongue is making your hips buck as he brings you to another orgasm. I feel his cock swell in my mouth as I suck him deep and hard. I can feel him push his cock up and farther into my mouth. I can tell I am doing something right as his cock is now hard again.
You move off of his mouth and tell me to lay across the bed with my ass on the edge. You whisper something to him and reach for the K-Y jelly on your night stand. You hand him the K-Y and then straddle my head facing my feet. As you push your pussy down to my mouth I feel my legs being lifted and then lubricant being put on my ass. My legs are lifted higher and I feel pressure against the opening of my ass. Jim begins to push his cock into my ass slowly with you guiding it in. He slowly pushes into me until he is completely in me. I suck your pussy for all I'm worth, tasting our sperm and your juices together. I am so turned on feeling his cock in my ass and licking our come out of you I shudder. He begins to pick up speed, stroking in and out as far as he can and pushing in with more force. I feel a hand on my cock, it slowly strokes it and I hear him tell you to suck it.
When your mouth closes around my cock I gasp and suck your pussy tighter to my lips pushing my tongue deeper into you and sucking out the come that fills you. I feel him make stronger thrusts and then push hard into me. I feel his cock pulse in my ass and then feel the jets of sperm that he is shooting in me. When I feel him shooting in me it triggers my orgasm, I suck onto your pussy hard and start shooting jets of my sperm in your mouth. You sense he is coming in me and my orgasm shooting in your mouth triggering your own orgasm. You push your pussy hard down on my mouth, pushing the sperm and your juices into my mouth as I am shooting in yours and he is shooting in me.
We all three collapse on the bed and drift to sleep with you spooning him and me spooning you with my cock nestled between your legs. You and I wake up the next morning and Jim is already gone. I roll you over and kiss you deeply. I run my fingers through your hair and press my body tightly against you. My cock is hard by this point and I move over you and enter you slowly and when I am deep inside you I stay there kissing you and caressing your hair. I move slowly in and out of you and as I kiss you, our tongues dancing with each other, I can't hold back and come deep inside you once again.
I hope you enjoyed reading my first erotic story. I hope it has a good effect on you and lets you know whatever we do I will always love you and you turn me on like crazy.
What a Dream
What a dream.


text: I may be out of place saying this, and I by no means intend to start any sort of flame war, BUT, I feel that you have done Robert Brown a great disservice in your attack below. He has been a consistent and excellent contributer to this forum, and I doubt he intended any "supercomputer elitism." He is far more likely to abhor such elitism. I believe the intent of his statement, is that beowulfs focus on computational performance - rather then high-availability. (That is not to say that the two focal areas do not over-lap.) IIRC, RB has even championed the single-image cluster at various points in time. His comment does not slight data and web server clusters - just points out a different focus. Most beowulfs, due to budget constraints, etc., do not provide for redundant power, high perf. RAID arrays, etc. that would typically be desirable for production data/web serving clusters. -john marquart On Wed, 6 Dec 2000, Bruce Janson wrote: > And to you Robert Brown: speak for yourself please when you say > (in your message of Sun, 3 Dec 2000 16:03:39 -0500 (EST)): > > A beowulf is a high performance computing > cluster, not a data or web server cluster. > > This kind of supercomputer elitism, this fascination with fine- > grained parallelism and linear speed-up has held back the progress > of single system image multicomputing for long enough. I disagree > with your claim, so much so that I wouldn't even fight for your > right to make it (well, not with much conviction). John "Jamie" Marquart | This message posted 100% MS free. Digital Library SysAdmin | Work: 812-856-5174 Pager: 812-334-6018 Indiana University Libraries | ICQ: 1131494 D'net Team: 6265


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Vulture Ranks All 28 Steven Spielberg Films, Manages to Get Things All Wrong
Next month, Steven Spielberg will turn 66, and in January he almost certainly will receive his seventh Best Director Oscar nomination for Lincoln, his terrific new drama that has earned him some of his best reviews of the last decade. (Our esteemed David Edelstein called the movie "splendid," among other things.) Because of his enduring mainstream popularity (not to mention the amount of blockbuster filmmakers whose careers he's inspired), Spielberg doesn't always receive his due, dismissed in some quarters as merely a "commercial" moviemaker who lacks the soul of a true artist. That's nonsense. While he's had his share of duds, the man has continued to challenge himself, tackling different genres and subject matters along the way. Here's our ranking of all 28 of Spielberg's feature films.
28. Indiana Jones and the Kingdom of the Crystal Skull (2008): After four decades cultivating a distinguished and rewarding career, Spielberg decided to sign up for another Indy sequel despite ending the trilogy with its hero literally riding into the sunset. What was the draw? Four years later, the answer still isn't clear. Crystal Skull is easily Spielberg's laziest, sloppiest work — even the action sequences seem phoned-in — and it's filled with unforgivable howlers: Shia LaBeouf's limp attempt at being a bad boy, Cate Blanchett's hammy villain, the goddamn fridge scene. No wonder Spielberg has spent every opportunity since then apologizing.
27. Hook (1991): In some ways, Hook was ahead of its time, pre-dating Hollywood's current obsession with rebooting and reimagining already existing properties. But that doesn't make this cringe-worthy film, which tells the story of a grown-up Peter Pan (Robin Williams in wounded-manchild mode) who has forgotten his true identity and become a cold, heartless lawyer, any more tolerable. Dustin Hoffman's portrayal of Captain Hook comes from the Dick Tracy school of blockbuster overacting, and the film's unbearably long at almost two-and-a-half hours. We get it, we get it: We need to hold on to our inner child. Leave us alone.
26. 1941 (1979): Spielberg's comedic instincts tend more towards the visual than the verbal, a fact that is apparent in this misfire. The movie looks great, but it's shockingly drawn out for a comedy and keeps buckling under its own weight. It's like Spielberg wanted to make a comedy but was also trying to be an Important Filmmaker and just couldn't figure out how to balance the two. Spielberg would later joke that the film should have been a musical. All told, that might not have been the worst idea.
The rest at Vulture!
Idek where to begin. I'll give them one through five, but lol at Jurassic Park not being in the top 10. Lego Mona Lisa is not amused.


text: Here's a chart showing the year-over-year change in initial weekly jobless claims. That is a serious spike up the last two weeks. We hope it's all due to Hurricane Sandy and that we'll quickly revert to our trend of year-over-year claims declining by about 10%. If it's not, then there might be another issue.


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Schools with an asterisk (*) in the select box have data for the screen you are currently viewing. If the school you search for does not have the same data you are currently viewing, you will be taken to the first data screen for that school.
Research Description By Graduate Engineering Department
Research Description By Engineering Research Center


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South Street Bridge, Commissioners for the Erection of the[Record group 163]
Agency Function
- This Commission has ceased to function.
- Agency History
- Created by an Act of Assembly of April 5, 1866 which empowered the Commissioners to erect the bridge and finance the project by creating a loan of $600, 000 for which the City was to be responsible, after the City had refused to comply with an Act of 1861 requiring that it build the bridge with the proceeds of a loan of $250,000 which the Act also directed be made. An Act of April 5, 1867 added the Mayor, Presidents of Select and Common Councils, and seven other citizens to the originally-named twenty-member board, directed the Chief Engineer and Surveyor of the City to supervise the construction of the bridge, and ordered the creation of a loan of an additional $200,000. The bridge was completed in February of 1876. It collapsed in February 1878 and was replaced by a temporary wooden structure. The present bridge was constructed by the City in 1922. No provision appears to have been made for the abolition of the Commission. Their last extant minutes are dated November 29, 1876.
- Archival Records
- 163.1 Minutes (1874-1876)
163.2 Papers (1867-1878)
163.3 Committee on Construction. Minutes (1869-1876)
163.4 Finance Committee. Minutes (1870-1876)
163.5 Expenditure Journal, Appropriation Ledger (1867-1876)
163.6 Warrant Stubs (1870-1876)
Click on a folder or file to return to that level...
PhILS Home
City Agencies
Current Agency Information Sheet. (Text-only version of this page)
Send your comments to firstname.lastname@example.com
Last updated on November 8, 2000


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Baylor kept bond to Angels through charity
ANAHEIM -- Thirty-one years had elapsed and 13 stops had been made since the last time Don Baylor wore an Angels uniform.
After serving as their designated hitter for the last time in 1982, and before becoming their hitting coach last month, Baylor went to New York, Boston, Minnesota and Oakland to finish out his playing career and traveled through Milwaukee, St. Louis, Colorado, Atlanta, Chicago, Queens, Seattle, Colorado again and Arizona in an exhaustive trek as a manager and coach.
ANAHEIM -- Thirty-one years had elapsed and 13 stops had been made since the last time Don Baylor wore an Angels uniform.
After serving as their designated hitter for the last time in 1982, and before becoming their hitting coach last month, Baylor went to New York, Boston, Minnesota and Oakland to finish out his playing career and traveled through Milwaukee, St. Louis, Colorado, Atlanta, Chicago, Queens, Seattle, Colorado again and Arizona in an exhaustive trek as a manager and coach.
But through it all, there's been one constant: the charitable golf tournament he's maintained in Southern California for the last 35 years, a platform that has helped him raise more than $5 million in the fight against cystic fibrosis.
It's why leaving the D-backs for the Angels was such an easy decision, even if it wasn't for a promotion.
It's why his ties here are so strong, regardless of the other places he's been.
"It's all encompassed," Baylor said. "The fans, they were great to me. They kind of put me on the map early, when I became a member of the first two championship teams in '79 and '82, won the MVP there. It's all together. The charity work is a big part of it. That means I have to do a lot more now, because I'm there now. I'm not long distance. But that's OK."
Baylor welcomes it. Charity work is something he's long embraced.
"I kind of grew up that way," he said. "My mom was a church worker, my dad was a deacon. We've always given back. That's kind of all I knew, really."
Baylor admits he didn't even know how to pronounce cystic fibrosis when he first got involved in 1978, at the urging of his dentist.
The very next year, Baylor was named the American League's Most Valuable Player, becoming the first in franchise history to win the award, and the Angels marched to their first division title under the motto "Yes We Can." Baylor took that phrase and spun it towards finding a cure for cystic fibrosis:
"Yes You Can," until they can finally say, "Yes We Did."
Sixty-five businessmen pledged $10 for each home run the Angels hit up to 100, then $1 for every additional one. (They hit 164 that year, tied for fifth most in the Majors.) President Richard Nixon personally wrote checks, the Yankees and Rangers also got involved, "And then the next thing you know, it kind of exploded all over Major League Baseball," Baylor said. "Everybody wanted to be a part of that cystic fibrosis 65 Roses Club."
The name "65 Roses" came from his doctor friend, who used the term to help children pronounce the disease they were born with.
When Baylor first heard about the genetic disorder, which most critically affects the lungs and digestive system, he thought about his own son, Donnie, who was 8 at the time. And when it first hit home, he was at an overnight camp for kids around Donnie's age, listening to them talk about the troubles they faced with cystic fibrosis.
The golf tournament would become Baylor's answer. It grew bigger every year, and Baylor made it a point to attend no matter where his career had taken him. He missed it while playing in the World Series each year from 1986-88 -- with the Red Sox, Twins and A's, respectively -- so he then pushed it back to the first week of November.
Through the years, several Angels luminaries have taken an active role, from Bobby Grich to Wally Joyner to Marcel Lachemann to the current co-host, manager Mike Scioscia.
"He's a great auctioneer," Baylor said of the man he'll now work under. "I'm the straight guy, and he's the guy that slams them over the head and gets the money."
This year's tournament in Buena Park, Calif., raised over $250,000 and came immediately after the three-day Ultimate Golf Experience in Newport Beach, Calif., which brought in more than $600,000. Since Baylor got involved, life expectancy for the disease has gone from 8 years old to 41. Eradicating it entirely, he says, "is coming close."
This Thanksgiving will be Baylor's first without his father, who passed away in April. More than 60 family members will gather in his hometown of Austin, Texas, to give thanks, and Baylor will look forward to the start of Spring Training three months later. He's already touched base with several of his new hitters, including Josh Hamilton, his most important project.
"I told him I kind of know what you've gone through, because I had to go through the same thing my first year in Anaheim," Baylor recalled. "I said, 'You've gone through the hardest part. Now you can relax and be who you are.' I expect him to be that."
Baylor came to the Angels as a heralded free agent in November 1976 and batted .220 in his first three months, hearing boos while suffering through a losing season. But then he turned it around, built a sparkling five-year career in Anaheim and, along the way, established the life-changing foundation that has always been at the forefront.
Now he's back in the place he considers his second home.
"I never really left the Angels in my heart," Baylor said. "It was always there. I might have been gone for a while, but I always watched what the Angels did. When they won the championship [in 2002], I said, 'I wish I was there.'"
Alden Gonzalez is a reporter for MLB.com. Read his blog, Gonzo and "The Show", and follow him on Twitter @Alden_Gonzalez.


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Trends in Librarianship as a Career
From Emerging Leaders
Revision as of 15:35, 8 May 2007 by 188.8.131.52 (Talk) (→Overview)
Return to ACRL Recruitment and Retention Wiki Homepage
(Brief description of the trends as they relate to recruitment and retention)
DRAFT: This section is devoted to identifying trends relevant to careers in academic librarianship. While the section is largely focused on issues and resources relevant to early career librarians, those in hiring/management positions and other interested parties will find the information included here helpful as it underscores issues related to career development encountered by most academic librarians at some point in their careers.
Specific Issues
Shortage of Librarians
- Anthony, Paul L. and Jill A. Garbs (2005). A Scarce Resource? A Study of Academic Cataloger Recruitment. Cataloging & Classification Quarterly, 41(1): 45-62. Retrieved April 3, 2007 from Library, Information Science & Technology Abstracts.
- Hewitt, Joe A., Barbara B. Moran, and Mari E. Marsh. "Finding Our Replacements: One Institution's Approach to Recruiting Academic Librarians." (2003) portal: Libraries and the Academy. 3.2: 179-189. Retrieved May 8, 2007 from Project Muse.
Generational Issues
- Arsenault, Paul M. "Validating generational differences: A legitimate diversity and leadership issue." (Mar 2004) Leadership & Organization Development Journal 25.2 p. 124-141. Accessed via Emerald.
- Davis, Kate. (Dec 2006) whY Generation: the Millennial Librarian, of the Future of Library Management. Pathways and Possibilities Conference.
- Lenzini, Rebecca T. (July/August 2002) The Graying of the Library Profession: A Survey of Our Professional Association and Their Responses. Searcher v 10 n7.
- Mosley, Pixey Anne. (2002) "Shedding the Stereotypes: Librarians in the 21st Century." Reference Librarian, n78 p167-76.
- Pankl, Robert R. (2004) "Baby Boom Generation Librarians." Library Management, v 25 n4/5 p 215-222.
- Schulman, Sarah. (2007) "Crossing the generational divide: engaging "young" employees in your organization." Development and Learning in Organizations, 21.2, p7-9. Accessed via Emerald.
- Singer Gordon, Rachel. (2006) The NextGen Librarian's Survival Guide. Medford, NJ: Information Today, Inc. 208p. ISBN 1-57387-256-3
Is the MLIS Necessary?
- Knowlton, Sean Patrick and Becky Imamoto. (2006). Recruiting Non-MLS Graduate Students to Academic Librarianship. College & Research Libraries, 67(6): 561-570. Retrieved April 3, 2007 from Library, Information Science & Technology Abstracts.
- Miller, Lisa K. (2006) On My Mind: A Fight to Our Death. American Libraries, 37(4): 27.
- Henriques, Paul. (2006) What's Wrong with LIS?. Library Journal, 131(20): 84.
The value of additional subject degree(s)
- Jones, Phillip J.; Mitchell, W. Bede; Major, Jean A. (1998) Academic graduate work in academic librarianship: Historicizing ACRL's terminal degree statement. Journal of Academic Librarianship, 24(6): 437-448.
Academic Librarians and faculty status
New Librarians and Management
- Matheson, Heather (2007). Promoting (for) Change: New Academic Librarians in Managerial Roles. Feliciter, 53(2): 70-72.
- Gordon, Rachel Singer (2004). Move Mountains. Library Journal, 129(15): 42.
- Gordon, Rachel Singer. The Accidental Library Manager. Medford, NJ: Information Today, Inc., 2005.


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Harwood Dirt Track
The Harwood dirt track is a dirt track in Grand Theft Auto: Liberty City Stories.
Located on what is a flat, vacant field in the Grand Theft Auto III and Grand Theft Auto Advance renditions of Harwood, Portland in Liberty City, the track was included into GTA Liberty City Stories for use in the "Bumps and Grinds" time trials.
As one would expect, the dirt track is clearly intended for rough riding, featuring multiple mounds and ramps. The track is also designed with multiple sets of dirt paths, allowing the track to be reused for different routes for each lap design.
- Body Armor, on the Portland El tracks that go over the dirt track.
- One Hidden Package, underneath the Portland El tracks where it goes over a big mound near the Body Armor