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The OlympicsThe very best posts from KUMB over the years ...
Moderator: Gnome
The Olympics
Now we have 100 days to go.
I hope i may be a bit more interested when starts but at the moment i just think it will be a nightmare living in London.
Is anyone looking forward to this.
Re: The Olympics
No. Nothing about them excites me, the massive influx of tourists, the fact that the tube will be rammed, the fact that half of the roads that we as the tax paying public pay to maintain will be closed and therefore will be jammed solid for 2 months or so, or the fact that we as tax payers paid to build all these arenas that will probably be used for a few months and then either fall into disrepair or being propped at more expense to avoid the government losing face so that a few swimmers and cyclists can use a "world class venue" to practise in.
We wont win it anyway, the yanks or the chinese will.
Re: The Olympics
No. I winced when we got it instead of the French and nothings changed my mind on it since. I'll blot it out as if it's not happening and it shouldn't affect me where I live.
Re: The Olympics
Wow, you two are a bundle of laughs. Biggest sporting event in the World not only coming to my City but coming to my part of that City..fantastic. Can anyone deny the improvements that have been made in what was always the arse hole of London?...Come on East London, its our Olympics, lets show the World what we can do. Greatest City in the World.
Re: The Olympics
I'm excited for the event, but deeply worried that it's going to be a month of having the elitism of the corporate world shoved down my throat. I turned down a gamesmaker post for that reason.
Re: The Olympics
funny, you get people on here moaning about "Tax payers money" and others about "corporate involvement"...im afraid you cant have it both ways, someone has to pay for it.
Re: The Olympics
Yes, can't wait.
So there's going to be a bit of inconvenience for some for a few weeks, something the magnitude of which is unlikely to happen again in any of our lifetimes in our city.
I went to the Athens Olympics and it was an amazing event. Those who weren't bothered about it got pretty swept up in the atmosphere...although of course the guaranteed great weather helped, as was the availability of tickets.
With one obviously big exception the legacy of most of the venues is assured, and clever use has been made of existing iconic venues which will add to the spectacle of the games that much better as well as not having unused stadiums left over as was the case with many past games.
The things that could put a downer on it for me:
- Corporate ticket holders not taking their seats so venues will look half-empty despite there being such high demand from the public
- Terrorism - either an actual attempt or overbearing security
- Too much pressure on UK athletes to perform so too many disappointments
Re: The Olympics
I was ambivalent until I had to work on the promotion of alternative working patterns; methods of transport; alternate sites etc for our Head Office.
After publishing monthly newsletters (which have been neutered and resemble corporate bo**ox now rather than the fun, interesting view of the Olympics before) and various leaflets and maps to go on the permanent stands; answering hundreds of questions, many of them quite stupid ones; being threatened by LOCOG with legal action (not me personally, but my department) for using the London 2012 logo even though we are a Government Department and have provided sites and personnel for them to use during the Games; I f**king hate the Olympics and can't wait to get them over and done with.
Re: The Olympics
No they don't. Either:
a) don't have it, my preferred option, or
b) use existing infrastructure, no need to spend billions building new stadia.
Just an idea, given all the cuts we've had to make to services up and down the country.
As for corporate involvement, the issue isn't that there are corporate tickets, it's that there are so many of them, particularly when as sponsors they are getting their money back through advertisement, not through free tickets.
Re: The Olympics
To be fair, no one saw the banking crisis, credit crunch, recession coming back in 2005 when we won the bid, and we couldn't exactly back out of what we committed to spend/build...
Re: The Olympics
Me personally, not really bothered.
For the millions that appear to be going Olympic mad and have booked tickets, taking time off work then I hope they enjoy the experience, as I'm sure it will be a cracking atmosphere in the City at that time.
I also think it has given the country a lift and certainly East London a lift in many ways, as long as no nutters make a statement the positives far outweigh the negatives in my humble.
Re: The Olympics
I very rarely agree with Jeremy Clarkson, but a few years ago he posted about the right for the Country to "have fun". The general gist was that whenever money is spent on sport, the Arts, etc etc, there is always the "well that would have paid for X number of hospital beds". Sometimes, as a collective, we just need to let our hair down and enjoy something...and to hell with the cost.
Even if FIFA was cleared of corruption, we are not going to get a World Cup in many of our lifetimes, and we will certainly not get another Olympic games in this period. It may be a pain, it may cost money, but like the Queen's Jubilee, I am going to enjoy a little respite from the **** which is life.
Re: The Olympics
I'm of the opinion that being as we've paid for it and it's going to happen regardless we may as well get behind it and enjoy it. However the problems are starting, part of my job is delivering and collecting vehicles from Woolwich, this now has to be done either before 7 am or after 7pm as they're having a shoot up on the newly opened range down there.......
Re: The Olympics
corporate involvement is one thing - an entire populous becoming second class citizens so that McDonalds et al CEO's can be ferried from one part of the city to another without delay is something else.
There is also (shock, horror) the idea of speding what you can actually afford on the games rather than whoring it out to companies with dodgy morals and murky aims.
Re: The Olympics
I'm pretty up for the usual big events - athletics, boxing, judo, gymnastics etc. But I don't imagine I'll find swimming, road cycling, 50k walk or the other suspect events any less boring than I normally do, just because they're being held up the road.
Re: The Olympics
The tube in summer is always a nightmare. Its going to be ****ing torture for the olympics.
I like the olympics, happy they are in London, but I know I will suffer for it on my commute.
Re: The Olympics
Already puffing up my favourite pillows and adjusting TV distances for optimum Olympic viewing....
Re: The Olympics
The Bulgarian weight lifters are in London already ...or is it the Chinese swimmers or the locals with their guns
Re: The Olympics
Effectively been told to work from home for the whole thing. All my clients are pretty much shutting down and doing the same. Hopefully it'll be nice weather, so I can sit in the boozer.
Re: The Olympics
100 days to go? Better start queuing up for the tube now....
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Last Season: 4-12, 2-4 division Playoffs: Missed the postseason Stat Leaders: QB Carson Palmer (4,018 YDS, 22 TDS, 14 INTS); RB Darren McFadden (707 YDS, 2 TDS); WR Brandon Myers (806 YDS, 4 TDS); LB Philip Wheeler (109 TACKLES, 3 SACKS) The Buzz: Carson Palmer delivered one solid season running the offense, but he has moved on to Arizona, and the Raiders are stuck once again searching for a strong offensive leader. It seems unlikely quarterback Matt Flynn will be a true game-changer for Oakland. Darren McFadden is a promising running back, but injury problems have slowed him down in the past and it's unclear whether he¿ll be able to avoid them in the future. FSU's Sebastian Janikowski is still a strong kicker who can connect from long range. Oakland's defense has the best chance to inspire cheers from fans. The Raiders finished in the middle of the NFL pack in yards allowed per game last season and aggressively sought new players, adding as many as 10 potential new starters to bolster the lineup. Luck Factor: The Raiders desperately need a dose of good, especially at the cursed quarterback position.
Brian Bahr, Getty Images
Copyright © 2019, Chicago Tribune

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When PLAYBOY interviewed Quentin Tarantino in 2003, it had been six years since the release ofJackie Brown, and as he prepared for the release of Kill Bill, the question loomed: Could Tarantino, who had broken all the rules, changed the crime genre with Reservoir Dogs and the Oscar-winning Pulp Fiction and spawned a legion of imitators, keep it up?
By the time Uma Thurman sliced and diced her way to vengeance for the massacre at her wedding, the clear answer was yes. Nine years later, nobody questions Tarantino's staying power anymore. His patented formula: reinventing established genres, mining his encyclopedic knowledge of film, writing dialogue that attracts big stars and injecting his unique sensibility and skewed worldview into otherwise predictable events. The result is an original blend that, along with his outsize personality, has transformed him into one of the few directors whose name means something at the box office. With a deal that gives him final cut, a large percentage of gross and the kind of autonomy most directors can only dream of, Tarantino writes his own rules. With the exception of Grindhouse—the B-movie homage he made with his From Dusk Till Dawn collaborator Robert Rodriguez—Tarantino's movies have all made money.
After Kill Bill, Tarantino even rewrote history, killing Hitler and his Third Reich cronies inInglourious Basterds, a violent wish-fulfillment fantasy. The film garnered eight Oscar nominations (and a best supporting actor trophy for Christoph Waltz) and became Tarantino's most financially successful film to date, with $321 million in worldwide ticket sales. Now Tarantino is back withDjango Unchained. Just as Inglourious Basterds started out as a Dirty Dozen–style mission movie, Tarantino began with the goal of writing a spaghetti Western. Only he set it in the antebellum South, and its protagonist is a slave (Jamie Foxx) who is freed by a bounty hunter–dentist (Waltz) and taught the bounty-hunting trade. Django is on a collision course with a plantation owner (Leonardo DiCaprio) who has consigned Django's wife, Broomhilda (Kerry Washington), to sexual servitude. The depiction of female slaves forced to engage in sex with their masters and males pitted against one another in brutal to-the-death brawls is sure to raise controversy, but subtlety has never been Tarantino's favorite technique.
We sent writer Michael Fleming (who conducted the interview with Tarantino in 2003) to catch up with the writer-director. Fleming reports: "Quentin, now 49, has certainly matured from the filmmaker who told raucous tales of brawling with cabdrivers and taking ecstasy at the Great Wall of China while filming Kill Bill. We met at his house high in the hills of Los Angeles, a home that sports a great view of the Valley. The first thing I noticed when I drove up was the gaudily painted Pussy Wagon, the bright yellow Chevy Silverado SS that Uma Thurman drives in Kill Bill. Above that is a drive-in movie theater sign, a prop from Grindhouse.
"His house is filled with movie memorabilia. Posters for unexpected films—Children Shouldn't Play With Dead Things, for example—hang on one wall, and I think I spotted oversize green Hulk hands. You can tell Tarantino is still single and able to indulge his voracious appetite for all things movies, because no wife would put up with it."
PLAYBOY: Is that the real Pussy Wagon in the driveway, the one the Bride drives in Kill Bill?
TARANTINO: Oh, yeah.
PLAYBOY: Do you actually drive it?
TARANTINO: I haven't in a little bit. It was kind of fucked-up because it just sat there for a long time while I was off filming. We just got it looking nice again.
PLAYBOY: It's probably not the best car for Quentin Tarantino to be driving if discretion is the goal.
TARANTINO: No, but it's fun to do the opposite sometimes, to cruise with the windows down. You take the big, long Malibu drive and everybody is like, "Hey, it's Quentin." That's fun.
PLAYBOY: You killed Hitler in Inglourious Basterds, with Jewish soldiers scalping Nazis. In DjangoUnchained you have a liberated slave turned bounty hunter who takes on the slave masters who turned his wife into a prostitute. Hollywood is recycling fairy tales, from Alice in Wonderland toThe Wizard of Oz. Are you doing a more creative version by crafting revisionist-history fables that allow victims of loathsome events to rise up and have their day?
TARANTINO: It's in the eye of the beholder to say if it's more creative or not, but that is what I'm doing, partly because I would just like to see it. You turn on a movie and know how things are going to go in most films. Every once in a while films don't play by the rules. It's liberating when you don't know what's happening next. Most of the movies that have done that did it accidentally, like they punched into a contraband area they hadn't quite thought all the way through. But for that moment in the film, it is liberating. I thought, What about telling these kinds of stories my way—rough and tough but gratifying at the end?
PLAYBOY: What movie sparked this idea?
TARANTINO: When it came to Inglourious Basterds, there was a movie done in 1942, Hitler—Dead or Alive. It was just as America had entered the war. A rich guy offers a million-dollar bounty on Hitler's life. Three gangsters come up with a plan to kill Hitler. They parachute into Berlin and work their way to where Hitler is. It's a wacky movie that goes from being serious to very funny. The gangsters get Hitler, and when they start beating the fuck out of him, it is just so enjoyable. They shave his mustache off, cut off that lock of hair and take his shit off so he looks like a regular guy. The Nazis show up, and Hitler, who doesn't look like Hitler anymore, is like, "Hey, it's me!" And they beat the shit out of him. I thought, Wow, this is fucking hysterical.
PLAYBOY: When viewers get to the end of Inglourious Basterds, the common reaction is, Wait, is Tarantino allowed to change history like this?
TARANTINO: That wasn't the jumping-off point for the film—it didn't come to me till just a little bit before I wrote it. I'd written all day and was meditating about what the next day's work was going to be. I was listening to music, pacing around, and finally I just grabbed a pen, went over to a piece of paper and wrote, "Just fucking kill him." I put it near my bedside table so I would see it when I woke up the next morning and could decide after a night's sleep if it was still a good idea. I saw it, paced around awhile and said, "Yeah, that's a good idea." I went out on the balcony and started writing. And I just fucking killed him. [laughs]
PLAYBOY: You've also mixed history with fiction in Django Unchained. Did you study films or history to capture pre–Civil War life in the Deep South?
TARANTINO: You could make a case for watching World War II movies, if only to learn the clichés that help storytelling by giving the audience what they're used to. There are only a handful of real slave movies. To me this is a Western but set in the Deep South. What I was interested in as far as slavery was the business aspect: Humans as chattel—how did that work? How much did they cost? How many slaves did an average person in Mississippi have? How did auction houses work? What were the social strata inside a plantation?
PLAYBOY: What do you mean?
TARANTINO: In the case of Django Unchained, Leonardo DiCaprio's character, Calvin Candie, is a plantation owner who has 65 square miles of land. He's like Bonanza's Ben Cartwright but in the South, one of a handful of cotton families in Mississippi. Anybody in that position is like a king in their own kingdom. All the poor whites who work for them and all the slaves are their subjects. They own everything as far as they can see, and the plantation is completely self-contained as a moneymaking entity. Candie is born into this, which means he doesn't have to give a fuck about the business anymore; it takes care of itself. It's a weird perversion of European aristocracy. That was a fascinating perspective to use with the whole story and with how Candie chooses to spend his time.
PLAYBOY: In the movie, slaves are raped and men fight against each other like pit bulls. When you made Jackie Brown and Pulp Fiction, you were criticized for liberal use of the N word. There's plenty of that here. Are you sitting on a powder keg?
TARANTINO: Now I'm picturing myself sitting on a keg of TNT like a Looney Tunes cartoon. It remains to be seen, I guess. If we are, it's not because I'm trying to be inflammatory. I'm just telling my story the way I'm telling it. I'm putting it in a spaghetti Western framework and highlighting the surreal qualities inherent in the material. I'm highlighting them mythically and operatically, and in terms of violence and gruesomeness, with pitch-black humor. That's all part of the spaghetti Western genre, but I'm doing it about a section of history that couldn't be more surreal, bizarre, cruel or perversely comedic when looked at from a certain view. They go hand in hand.
PLAYBOY: But the idea of portraying these slave women as prostitutes—
TARANTINO: Well, they're not 100 percent prostitutes. The Cleopatra Club in the film is not a brothel. It's a gentlemen's club, a bring-your-own-bottle kind of place. There it's bring your own pony, and you can have dinner with her.
PLAYBOY:Pony is the term for an attractive slave woman?
TARANTINO: Yeah.
PLAYBOY: And that really existed?
TARANTINO: Oh yeah, absolutely. I think it's the cornerstone of slavery, or one of the things that made it work. Aside from the labor force, it was the sex on demand. The minute people own other people, we all know that's definitely part of it. Did they do that back then? Yes. They do that right now—go to Bangkok. The thing about the Cleopatra Club is, if you like your slave girl you can take her there. You can have dinner. You can socialize. If you are a guy who wants to take your pony and just fuck her for a night on the town, okay, you can do that. But maybe you actually love your girl and she's kind of your de facto wife. This is a way to take her out and show her a good time.
PLAYBOY: You originally wanted Will Smith to play Django. How close did you come to getting him?
TARANTINO: We spent quite a few hours together over a weekend when he was in New York doing Men in Black 3. We went over the script and talked it out. I had a good time—he's a smart, cool guy. I think half the process was an excuse for us to hang out and spend time with one another. I had just finished the script. It was cool to talk to someone who wasn't guarded about what he was saying.
PLAYBOY: What did he have to say?
TARANTINO: That's private stuff between us, but nothing negative.
PLAYBOY: He has to evaluate material partly based on his status as arguably the world's biggest star and certainly its biggest African American star.
TARANTINO: Yeah, I know. But he didn't walk away from it because he was scared of the material.
PLAYBOY: Why then?
TARANTINO: It just wasn't 100 percent right, and we didn't have time to try to make it that way. We left with me saying, "Look, I'm going to see other people." He said, "Let me just see how I feel, and if you don't find anybody, let's talk again." And then I found my guy.
PLAYBOY: Why Jamie Foxx?
TARANTINO: There are a lot of reasons I could say, but the gigantic one is that he was the cowboy. I met six different actors and had extensive meetings with all of them, and I went in-depth on all their work.
PLAYBOY: Who?
TARANTINO: Idris Elba. I got together with Chris Tucker, Terrence Howard, M.K. Williams.
PLAYBOY: Williams, from The Wire and Boardwalk Empire?
TARANTINO: Yes. I talked with Tyrese. They all appreciated the material, and I was going to put them through the paces, make them go off against one another and kind of put up an obstacle course. And then I met Jamie and realized I didn't need to do that. Jamie understood the material. But mostly he was the cowboy. Forget the fact that he has his own horse—and that is actually his horse in the movie. He's from Texas; he understands. We sat there talking, and I realized, Wow, if this were the 1960s and I was casting a Django Western TV show and they had black guys as stars of those in the 1960s, I could see Jamie on one of those. And that's what I was looking for, a Clint Eastwood.
PLAYBOY: When Playboy interviewed Foxx several years ago, he talked about growing up in Texas. Even though he was the football team's star quarterback, he was regularly called racist names and treated badly. How did that inform his performance?
TARANTINO: He understood what it's like to be thought of as an "other." Even though he's on the football team, one of the stars, when he goes out with the pretty white girl in the school, everyone loses their minds. He understood what it's like to be hired as a piano player in a big white Texas home. When you're the black piano player at a cocktail party, you're furniture. You don't talk to nobody. No one talks to you. They're not supposed to even think about you. They should be able to say anything they want to say because you are furniture.
PLAYBOY: So they can say something racist if they want.
TARANTINO: And they did.
PLAYBOY: And you're invisible.
TARANTINO: That's exactly it. He told me many stories like that, how the lady of the house is paying him, saying, "Look, I'm sorry about the things that some of the guests and my husband said. They didn't mean anything by it. Here's some cash." He told me that once he showed up and they said, "Whoa, whoa, you need a jacket to come in here." He said, "Oh, well, I would've brought one, but nobody told me." And they said, "That's okay. We got an extra jacket up there. I'll get it for you." They give him a jacket, he does his thing, and he's getting ready to leave. "Okay, here's your jacket." They're like, "Whoa, hey, that's your jacket now, buddy. I don't want that jacket." They said that to his face.
PLAYBOY: How are you when actors ask you to change material?
TARANTINO: Well, somebody can actually have a good idea and come up with a neat "Hey, well, what if this happens?" Sometimes it's "Oh, wow, that's a good idea. Let me think about it." People have given me good ideas. But it's not like I hand in a script and get notes back. I'll get notes back on the cut of the movie, but if people have a problem with the script, we're probably not making the movie together. The studios that made Django also did Inglourious Basterds, and they were all happy. It was never an issue with all the subtitles in that film. Nobody said, "Can we try it in English?" They just knew it wasn't the deal. The way it has worked with me since the beginning is, it's all in the script. I might change something, but if you read and liked the script, you'll probably like the movie.
PLAYBOY: When you shoot a slave movie in the Deep South, how does the community react?
TARANTINO: Sociologically one of the most interesting things went down when we were on the Don Johnson character's plantation, Bennet Manor. He has cotton fields there, and he has cotton pickers—girls, men, children, old people. But he also has ponies, and he's the one who sells pretty girls. That's his big stock: He is a plantation pimp, and people come from far and wide to his plantation to buy one of his pretty girls. We had a bunch of extras from the community, St. John the Baptist Parish. It was cool, re-creating this history with black Southern extras whose families have lived there forever. They knew what went on back then. Then there was a social-dividing issue between the extras that mirrored the ones between their slave characters in the movie. The ponies were pretty, and they looked down on the extras playing cotton-picker slaves. They thought they were better than them. And the people playing the house servants looked down on the people playing the cotton pickers. And the cotton pickers thought the people playing the house servants and the ponies were stuck-up bitches. Then there was a fourth breakdown, between the darker skinned and the lighter skinned. Obviously not for everybody, and it wasn't a gigantic problem, but it was something you noticed. They started mirroring the social situations of their characters, being on this plantation for a few weeks.
PLAYBOY: What about the local whites? Were they resentful?
TARANTINO: Well, frankly, there weren't that many whites in the area on our set. We had local crew for sure, but there was no reason for whites in the area to be hanging around.
PLAYBOY: Leonardo DiCaprio was initially mentioned for the Hans Landa role that won Christoph Waltz an Academy Award in Inglourious Basterds. DiCaprio's your new villain now.
TARANTINO: Leo and I never actually got together and talked about Inglourious Basterds. He was curious about playing the role, but I knew I needed somebody with all those linguistic skills. Leo can actually speak good German, but Landa spoke French in the movie more than German. So it was never in the cards. But Leo and I have hung out over the course of 15 years, and he likes my writing and makes sure he gets a copy of scripts I finish to see if there's anything that might float his boat. He got this one and really liked Calvin Candie.
PLAYBOY: He called you?
TARANTINO: Yeah.
PLAYBOY: When you wrote Candie, did you have anyone in mind?
TARANTINO: I did, but I don't want to say who, simply because when I finished the script I realized they were a little older than I wanted the character to be. That's a problem I have. I'll be thinking about somebody and not take into account that I'm thinking of them from 20 years ago. Leo was younger than I had initially written, but I read it again and could see no reason why the character couldn't be younger. And since I'm hitting hard this notion of the American South re-creating European aristocracy in this amateur make-it-up-as-you-go-along fashion, the notion of him as the boy emperor was cool. His daddy was a cotton man, his daddy's daddy was a cotton man and so was his father before him. So Candie doesn't have to do anything. It's all set up, and he can be the petulant ruler with other interests. His passion is not cotton. It's Mandingo fighting.
PLAYBOY: Is he a classic Tarantino villain?
TARANTINO: He's the first villain I've ever written that I didn't like. I hated Candie, and I normally like my villains no matter how bad they are. I see their point of view. I could see his point of view, but I hated it so much. For the first time as a writer, I just fucking hated this guy.
PLAYBOY: Why?
TARANTINO: He is master of the institution of slavery, and my despising that is why I wrote this whole thing. He's the bedrock of it all. So I thought, Wow, I got Leo, and he doesn't know that it's a lot of smoke and mirrors and not as good as some of these other parts. But working with Leo, we ended up making it as good as all those other parts. The whole petulant boy emperor idea solidified as opposed to the older plantation big-daddy fellow. Leo formed a new character, and he was direct about what he wanted to do. Just as I have an agenda about history that I want to get across in this movie, so does he, and he brought all this research into his character. Leo had a nice monologue, talking about being a boy and his father doing this and being surrounded by black faces growing up. How could he ever be anything other than what he is? He was born into this. Is a prince going to deny the throne, his kingdom? I still blame him, but what chance did he have?
PLAYBOY: You write terrific villains. Who set the bar highest for bad guys for you?
TARANTINO: Lee Van Cleef is one of my favorite actors. I love him in The Good, the Bad and the Ugly.
PLAYBOY: What makes a good bad guy?
TARANTINO: You can point at a movie like Schindler's List and there's Ralph Fiennes. And there'sNo Country for Old Men and Javier Bardem, and Inglourious Basterds and Christoph Waltz. The last time I watched a regular genre movie and the bad guy showed up and blew me away was Alan Rickman in Die Hard. It was the way he took over the film. It's definitely fun to write characters like that. But what I'm always trying to do, even in the case of Reservoir Dogs, is get you to kind of like these guys, despite on-screen evidence that you shouldn't. Despite the things they do and say and despite their agenda. I also like making people laugh at fucked-up shit.
PLAYBOY: The last time you did a Playboy Interview you described being propositioned by women mailing you photos and things. What does the mail look like now?
TARANTINO: If I'm at a film festival, out and about in town or in a bar, I can chat a gal up and it's still all good. I don't keep up with mail anymore. When I went to the Venice Film Festival and was the head of the jury, I couldn't do anything because everyone knew I was there. You go down to the bar, where it was always cool to drink with some of the other jury members, but it was a constant bum's rush.
PLAYBOY: You took ecstasy at the Great Wall to let off steam while you were making Kill Bill. When you shoot a tense slave drama in the Deep South, how do you let loose?
TARANTINO: This movie was so hard. I thought about it in terms of Kill Bill, and I was like, Okay, I am not partying like I did on that one. We had the weekends off, and sometimes I found myself sleeping all Saturday and maybe every once in a while going out to dinner.
PLAYBOY: You told Howard Stern that Brad Pitt cut you a hunk from a hash brick while you were talking about Inglourious Basterds. What kind of trouble did you get in from Brad, or from Angelina Jolie?
TARANTINO: Oh no, that time I was okay. Brad fucking started it. He mentioned it at a fucking press conference. I'd mentioned it earlier, but he made it official. Maybe he doesn't realize he's the one who officially started it, but he did. But it was all good. It got picked up on a zillion sites: "Quentin gets Brad high to say yes to Basterds." And then 996 related articles. [laughs]
PLAYBOY: Do drugs have a positive impact on your creative process while you're writing or directing?
TARANTINO: Well, no. I wouldn't do anything impaired while making a movie. I don't so much write high, but say you're thinking about a musical sequence. You smoke a joint, you put on some music, you listen to it and you come up with some good ideas. Or maybe you're chilling out at the end of the day and you smoke some pot, and all of a sudden you're spinning a web about what you've just done. Maybe you come up with a good idea. Maybe it just seems like a good idea because you're stoned, but you write it down and look at it the next day. Sometimes it's fucking awesome. I don't need pot to write, but it's kind of cool. Making this movie was really hard. The weekend comes and all I want to do is smoke out to veg. It's just shutting down. My blowout on Django was always Friday night. In New Orleans, me and the crew would go out to some bar. There were tons of bars, and some of them were pretty wild. We would be out till six or seven in the morning and then just sleep all day, recuperate Sunday, maybe show a movie and be back at it Monday.
PLAYBOY: Do you have a medicinal marijuana prescription, which allows everybody in Hollywood to get pot legally?
TARANTINO: I might be the only guy here who doesn't have that.
PLAYBOY: You turn 50 next year. Do you think about getting married and having kids?
TARANTINO: We'll see. I've had things that have almost worked out but haven't, where I thought I'd get married and have kids. I'm not necessarily against it anymore. I was into it, but then I got over it. I had a little baby fever for a while but got over it.
PLAYBOY: Did you spend quality time around a little kid?
TARANTINO: No, no, no. The movie I'm working on is my baby. But I'm in an open time in my life right now, and I'm kind of interested to see what's going to happen next.
PLAYBOY: Is any of that because you're about to turn 50?
TARANTINO: I don't think so, because I don't think about it like that. I think you're the first person to keep referring to my turning 50. [laughs] Yeah, I'm still hanging on to my 49. I have a little while yet. All this 50 talk? It's just mean.
PLAYBOY: It's pissing you off?
TARANTINO: Yeah. [laughs] I could be open right now to meeting a cool girl, getting along with her, taking it to the next step and, if that's good, taking it to the next step. And let's just see what the deal is.
PLAYBOY: You're going to be one of those 65-year-old guys chasing kids around the house, aren't you?
TARANTINO: Frankly, I wouldn't have a problem with that at all. I mean, a little ego in me would like to be younger when I have kids, but fucking kids don't give a shit. And there is that aspect of being older now and having time with them. You don't have better shit to do. The kid doesn't care.
PLAYBOY: What's the most appealing thing about living a single man's life?
TARANTINO: I have the freedom to do what I want. I can make the day whatever I want to make it. People with families have responsibilities to their team. I'm sure there are negative aspects to my bohemian lifestyle, to be sure.
PLAYBOY: Like what?
TARANTINO: I don't know. I'm just talking the most mundane stuff.
PLAYBOY: You can't think of a single thing, can you?
TARANTINO: Yeah. If I had a wife, I would probably be more polite. She would make me write thank-you notes. When people do something nice for me, she would make me do something back—a note or a phone call—which I won't do on my own. [laughs] That would be a nice part of the bargain. I wouldn't be such a caveman. I might be a little less remote. Having said that, though, with the artistic, almost academic way I like to live my life when it comes to the movies I make and the research I do on them, I've got it pretty great. If I wanted to live in Paris for a year, what the fuck? I can. I don't have to arrange anything; I can just do it. If there is an actor or a director I want to get obsessed with and study their films for the next 12 days, I can do that. The perfect person would be a Playmate who would enjoy that.
PLAYBOY: Well, they're out here.
TARANTINO: I know, and that's why I say it's not impossible.
PLAYBOY: We could probably throw a rock from your house here and hit one.
TARANTINO: Well, they have to be legitimately Playmate on that. They have to dig it. They have to be down with a J. Lee Thompson film festival.
PLAYBOY: How do you know if women you meet are into Quentin the guy and not Quentin the filmmaker? Does it matter?
TARANTINO: Well, I'm not Quentin the average guy. Expecting her to like me the way she would like me if I were a plumber or if I worked at Why Not a Burger is not realistic. And why would you want that? Part of me is me and my life, and part of me is me and my artistic journey. That's all part of it.
PLAYBOY: Does that mean the woman should be a fan?
TARANTINO: No, it just means that if you like my work or respect what I do, it's conceivable that could be an attractive element if you meet me. And if you like me and I'm charming and sexy or whatever things you could be attracted to, that could be a plus. You can date this girl and that girl, but if you're going to get together and try to be girlfriend and boyfriend, me and my life and my artistic journey are part of the deal. And part of my life is my artistic journey. At a certain point it becomes overwhelming when you're doing a film. A girl needs her own life too.
PLAYBOY: But she has to understand your artistic journey comes first.
TARANTINO: Yeah.
PLAYBOY: You've threatened to retire at 60. Why put a timetable on it?
TARANTINO: Who knows what I'll do? I just don't want to be an old-man filmmaker. I want to stop at a certain point.
PLAYBOY: Why?
TARANTINO: Directors don't get better as they get older. Usually the worst films in their filmography are those last four at the end. I am all about my filmography, and one bad film fucks up three good ones. I don't want that bad out-of-touch comedy in my filmography, the movie that makes people think, Oh man, he still thinks it's 20 years ago. When directors get out-of-date, it's not pretty.
PLAYBOY: Stanley Kubrick was viable in his later years. Scorsese and Spielberg have made good movies in their 60s, and Woody Allen made Midnight in Paris in his 70s. Won't fans want to see what's on your mind as you continue to develop as a man?
TARANTINO: Maybe. If I have something to say, I'll do it. I haven't made any gigantic declarative statements. I just don't want to be an old filmmaker. I'm on a journey that needs to have an end and not be about me trying to get another job. Even if it's old and I'm washed up, I'd still want to do it. I want this artistic journey to have a climax. I want to work toward something.
PLAYBOY: When a director jumps the shark, doesn't it have more to do with him getting fat and happy and losing his edge or not listening?
TARANTINO: Could be, but it's also age. [laughs] The directorial histories don't lie for the most part, but I'll concentrate on a unique example: I hadn't thought about how old Tony Scott was until he checked out. And I knew him. I thought, Wow, Tony was close to 70?
PLAYBOY: As a director, how will you know when you're not capable of that anymore?
TARANTINO: Well, I guess that's what I'm trying to figure out.
PLAYBOY: You don't turn these things out once a year. How many films do you have left in you?
TARANTINO: You stop when you stop, but in a fanciful world, 10 movies in my filmography would be nice. I've made seven. If I have a change of heart, if I come up with a new story, I could come back. But if I stop at 10, that would be okay as an artistic statement.
PLAYBOY: When we did the interview last time—
TARANTINO: I reread that interview not long ago. Literally the next day I was asked, "Do you want to do another one?" The thing that was cool about that first interview was that you made a big deal about me doing Pulp Fiction and then coming back with Kill Bill. So is he the real deal or not the real deal? And I thought, Well, if Playboy's coming back, then I guess I passed the real-deal test.
PLAYBOY: You certainly have passed that test. Last time, you said you felt you could become a fine actor if that were your priority. Why did it stop being important to you?
TARANTINO: I just lost the bug. I think I got the bug from a combination of two things. I'd had a good experience doing From Dusk Till Dawn, and I started going out with Mira Sorvino. She's an actor and so is her father, Paul, and they talk about acting a lot. I got all into that. And there were old dreams and desires from when I was a little boy. Now it's the opposite. If I write a part for myself, I cut it down to nothing. Actors have said that now that I'm over myself, I can get down to doing good work. But it's more about the fact that when I did Kill Bill, I was going to play Pai Mei, and it was so hard—
PLAYBOY: Pai Mei is the teacher Daryl Hannah poisons.
TARANTINO: Yes. I was going to play him. I'd trained to do the fights and everything, but it was such a big-deal movie that it needed all my attention directing. When I was done with it, I decided that if I'm going to be on a set, I want it to be my set, with me directing. I don't want to be an actor in somebody else's movie. I don't want people faxing call sheets to my house, and I don't want to get up in the morning for somebody else's movie.
PLAYBOY: The tragedy in Aurora, Colorado, where a gunman massacred moviegoers at a Dark Knight Rises midnight screening, led some filmmakers to do some soul-searching about how they depict on-screen violence. Did you?
TARANTINO: No, because I think that guy was a nut. He went in there to kill a bunch of people because he knew there would be a lot of people there and he'd make a tremendous amount of news doing it. That's no different from a guy going into a McDonald's and shooting up people at lunchtime because he knows a lot of people will be there.
PLAYBOY: When people point to movies for glorifying violence, what do you say?
TARANTINO: Well, I never get into this argument because no one has this argument with me.[laughs] They know where I'm coming from. I make violent movies. I like violent movies. I'm on record about how I feel there is no correlation between art and life in that way.
PLAYBOY: After Reservoir Dogs and Pulp Fiction, you were this raging, rule-breaking outsider who redefined the gangster-movie genre and spawned imitators. How do you see yourself now?
TARANTINO:Bob Dylan going into the 1970s; De Palma, Scorsese, Kubrick and Spielberg going into the 1980s. I would like to be thought of as one of the premier directors of his time, at the height of his powers, with his talents at his fingertips, with something to say, something to prove, just trying to be the best he can be.
PLAYBOY: No longer an outsider?
TARANTINO: Yeah. That's one thing that's actually kind of nice. I'm not a Hollywood outsider anymore. I know a lot of people. I like them. They like me. I think I'm a pretty good member of this community, both as a person and as far as my job and contributions are concerned. Back in 1994 I think they were all pretty impressed with me, and that was cool, but I felt like an outsider, a maverick punk, and I was hoping I wouldn't fuck it up. I still do things my own way, but I didn't go away either. I still kind of feel like I'm always trying to prove I belong here.
PLAYBOY: When J.D. Salinger died, it was clear what a burden his early success had been. After Pulp Fiction, do you give a big sigh of relief when you make a movie and feel you have risen to the level of your earlier work?
TARANTINO: No. I like people to be excited and think my best work's in front of me. That means you're trying to top yourself to one degree or another. I take that seriously. It's a subjective thing, but you are trying to make a big, bold, vital work that moves your artistic journey forward. I wouldn't have it any other way. I want there to be anticipation. I was actually quite proud when I read that Django is one of the most anticipated movies coming out this year. It's a black Western. Where's the anticipation coming from? I guess a lot of it is me. That's pretty fucking awesome.


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International Congress on Modelling and Simulation
Advances and Applications for Management and Decision Making
The congress theme of "Advances and Applications for Management and Decision Making" was selected to reinforce the importance of modelling and simulation developments for management and decision making, particularly those which have not been present at recent MODSIM conferences. There was also a focus on the application of modelling and simulation techniques to a broad range of real-world problems.
Editors: Andre Zerger and Robert M. Argent
CSIRO Sustainable Ecosystems, Canberra, Australia
Department of Civil and Environmental Engineering, The University of Melbourne, Australia
Citing Papers in Proceedings
Papers from these online proceedings should be cited using this format:
Ascough II, J.C., G.H. Dunn, G.S. McMaster, L.R. Ahuja, and A.A. Andales (2005) Producers, Decision Support Systems and GPFARM: Lessons Learned From a Decade of Development. In Zerger, A. and Argent, R.M. (eds) MODSIM 2005 International Congress on Modelling and Simulation. Modelling and Simulation Society of Australia and New Zealand, December 2005, pp. 170-176. ISBN: 0-9758400-2-9. http://www.mssanz.org.au/modsim05/papers/ascough_1.pdf
All papers in this volume were refereed by two independent peer reviewers.
ISBN for the book of printed abstracts is 0-9758400-0-2.
Responsibility for the contents of these papers rests upon the authors and not on the Modelling and Simulation Society of Australia and New Zealand Inc.


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September 24, 2011
Gareth Bain
Theme: None, it's Sa…. wait, what? Hey! There's a theme on Saturday! — And it has to do with cookies!
Theme answers:
- 16A: Common closer (TWIST TIE).
- 36A: Superficial, uncaring effort (LICK AND A PROMISE).
- 56A: Carnival game in which a suit is worn (DUNK TANK).
- 50D: Food associated with the starts of 16-, 36- and 56-Across (OREO).
Couple things I didn't know. I've probably seen Pulitzer-winning poet Conrad AIKEN's name before, but it sure didn't come to me. And CAUSERIE totally doesn't look like it should mean [60A: Informal essay], does it? Overall, an enjoyable solve. Let's just get into a few details and then call it a day.
- 8A: "Superbad" co-screenwriter Seth (ROGEN). I'm including a video here of the song that immediatley came into my head upon reading this clue. I apologize in advance.
- 39A: "Go ahead" ("FEEL FREE"). Nice colloquial phrase. You know I love those.
- 46A: Name meaning "gift of Isis" (ISADOR). I tried ISABEL first.
- 61A: Gifted one? (DONEE). I think people were talking about this yesterday. No, it's not a word people use every day, but I've seen it quite a bit in legal documents.
- 62A: Spot checker? (VET). As in VETerinarian. As in, what Gareth Bain is studying to be.
- 3D: "See you next fall!" elicitor (TRIP). HAha! I'm going to explain this one, because I'm sure it confused some people. I have no idea how this started, but I've seen it in practice: a person is walking along and trips over something, the person's "friends" then exclaim, "Have a nice trip! See you next fall!"
- 19D: Rembrandt van __ (RYN). There's always a debate about how Rembrandt's name is spelled, but I think we all just need to accept the fact that it varies.
- 31D: Smackeroo (CLAM). Both are slang terms for a dollar.
- 32D: Hall & Oates's first Top 10 hit (SARA SMILE). And now I'll make up for the video I posted earlier. Pretty sure I've used this one in the past, but it's definitely worth repeating.
- 1A: Aleutian island (ATTU).
- 23A: Folkie DiFranco (ANI).
- 52A: Brewery equipment (OASTS).
- 14D: Words indicating betrayal (ET TU).
- 30D: "The Mikado" weapon, briefly (SNEE).
- 53D: South Seas staple (TARO).
- 57D: Country that incl. Sharjah (UAE).
Everything — 1A: Aleutian island (ATTU); 5A: Upheaval (ADO); 8A: "Superbad" co-screenwriter Seth (ROGEN); 13A: In a bind? (CORSETED); 15A: Prison break? (PAROLE); 16A: Common closer (TWIST TIE); 17A: "Yea, verily" ("IT IS SO"); 18A: Rash (SPATE); 19A: Calms (REPOSES); 20A: Nuttiness (LUNACY); 23A: Folkie DiFranco (ANI); 24A: Training gear? (BRA); 26A: Art able to (CANST); 28A: Troopers' gps. (PD'S); 31A: Goalpost component (CROSSBAR); 34A: Its state fish is the chinook salmon (OREGON); 36A: Superficial, uncaring effort (LICK AND A PROMISE); 38A: City known for wool (ANKARA); 39A: "Go ahead" ("FEEL FREE"); 40A: Tiny part of a hard drive (MEG); 41A: Pulitzer-winning poet Conrad __ (AIKEN); 43A: Aged (OLD); 44A: Wee hrs. (AM'S); 46A: Name meaning "gift of Isis" (ISADOR); 49A: Verdict readers (FOREMEN); 52A: Brewery equipment (OASTS); 55A: Give holy orders to (ORDAIN); 56A: Carnival game in which a suit is worn (DUNK TANK); 59A: Tease (NEEDLE); 60A: Informal essay (CAUSERIE); 61A: Gifted one? (DONEE); 62A: Spot checker? (VET); 63A: Forming strands (ROPY); 1D: Spiel, e.g. (ACT); 2D: Helps to water-ski (TOWS); 3D: "See you next fall!" elicitor (TRIP); 4D: WWII battlecruiser in the Pacific (USS ALASKA); 5D: Where unison countdowns usually begin (AT TEN); 6D: Agnus __ (DEI); 7D: Lofty lines (ODE); 8D: With "The," 1960s series set in the North African desert during WWII (RAT PATROL); 9D: Hunter killed by Artemis, in some accounts (ORION); 10D: TV drama narrated by a teen blogger (GOSSIP GIRL); 11D: If not (ELSE); 12D: Revivalists (NEOS); 14D: Words indicating betrayal (ET TU); 15D: Trivial Pursuit symbol (PIE); 19D: Rembrandt van __ (RYN); 21D: Phillips, e.g.: Abbr. (ACAD.); 22D: Wine orders (CARAFES); 24D: Tuna preserver (BRINE); 25D: Common Zen temple feature (ROCK GARDEN); 27D: Nursing a grudge (SORE); 29D: Gave two tablets to, say (DOSED); 30D: "The Mikado" weapon, briefly (SNEE); 31D: Smackeroo (CLAM); 32D: Hall & Oates's first Top 10 hit (SARA SMILE); 33D: __ B'rith (B'NAI); 35D: "Howards End" author (E.M. FORSTER); 37D: Transportation secretary under Clinton (PEÑA); 42D: Cousin, for one (KIN); 45D: Gettysburg general (MEADE); 47D: Sweet ring (DONUT); 48D: Cork sources (OAKS); 49D: Attracted to, with "of" (FOND); 50D: Food associated with the starts of 16-, 36- and 56-Across (OREO); 51D: Hydrocarbon suffix (-ENE); 53D: South Seas staple (TARO); 54D: Tonsorial sound (SNIP); 56D: V x XI x XI (DCV); 57D: Country that incl. Sharjah (UAE); 58D: Map feature (KEY).


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COLUMBIA — An agency-wide salary study and a variety of ways to improve customer service at the S.C. Department of Natural Resources are among the objectives of a draft 100-day plan.
The draft also calls for officials to consider whether any of the agency's various advisory boards should be eliminated. It also says staff should ramp up public outreach efforts to help residents address nuisance animals, and begin the process of raising the cost of hunting and fishing licenses so that they are closer to the Southeastern states' average fees. The cost increases would be submitted to the General Assembly.
As for the proposed salary study, the plan suggests it may lead to raises.
"As funds are available, correct salary inequities," states the plan, which says the study will be complete by the end of February.
A Moore School of Business report that the state's natural resources are the source of nearly $8 billion in income,
$30 billion in economic impact, and 236,000 jobs.
The 100-day plan was undertaken at the direction of Republican Gov. Nikki Haley, who was elected in November.
Other priorities of the 100-day plan include:
• Increasing the DNR's use of social media, including "How To" video clips, as well as making public-education submissions to local media outlets.
• Consolidating office space for the Land, Water and Conservation division, which has seen employee reductions.
• Drafting a plan to address the effects of climate change on the state's natural resources. A document could be posted on the agency website as early as next for public comment.
• Providing live-streaming video of DNR Board meetings.
• Focusing courtesy boat inspections in order to boost customer service.
• Initiating negotiations with Georgia and North Carolina for an interstate boaters compact Offering expanded Saturday hours for the public to purchase licenses in Columbia. The draft says a customer service pilot project found that it was not cost effective, after factoring in air-conditioning and staff salaries.
• Beginning discussions about creating boating speed limits for reservoirs.


text:
Personal "stuff" from Joseph Horton
links to My Pinterest & more….
Responsive Menu
About Me
My Artsy Stuff
Ghost of Owl
Sunset Birds
Blue Eyes
Crystal Forming
Park City
Creepy Cool
Rocky Shoreline Russert Oil
Sunset Girl Blue Oil
Backyard Snow Frac Oil
Electric Flower
Horton Family Tree
Ski Trips
Dad's Hiking and Kayaking Trip
Western Hiking Trip – kayaking in Arizona
Western Hiking Trip April 2017 – Bryce
Western Hiking Trip – Valley of Fire in Nevada
Western Hiking Trip April 2017 – Zion
Best Music
Best Television
Best Movies
Brazil Cuts
Best Books
Favorite Online Videos
Honest Movie Trailers
Cirque du Soleil – Totem and Training
Commando Cody and the Hatless Planet
Radar Men from the Moon – Commando Cody
Miracle League
Quantitative Easing Video – 2010
IT Videos
Wealth Inequality in America
Sequester this!
Orangutang and Dog
Nina Conti
America is no longer #1
Ron Swanson Man versus Food
Chipotle Scarecrow
Ultimate Golf Backyard
Turtle Ball
Carl Sagan on the Tenacity of Human Religion
George Carlin – text and videos
George Carlin – Life is not that difficult
George Carlin Views on Aging
George Carlin: how does our economic system work?
from George – about Politicians and Language
Contact Me
Carl Sagan on the Tenacity of Human Religion
It's just an odds thing!


text:
WDN ScholarshipsJanuary 11, 2007
I'd like to draw your attention over toward the Web Directions site, where we've (finally) announced our scholarship program.
If you're a full time student in a field related to the web industry and not currently employed with a related company, have we got a deal for you. For $195, you can attend two days of the Web Directions North conference if you act quickly. We've only been able to open this offer up to 30 individuals, and they won't last long. (Please ensure to read the full details before registering, however.)
Why are we doing this? The four of us organizing Web Directions have been speakers and attendees at many conferences ourselves, so we're well aware of what a positive impact that going to one can have on your career. The inspiration, the ideas, the general vibe can all go a long way to refreshing your own work. But the price for a top notch conference is usually well out of range of students, who could benefit most from it. We believe today's students are tomorrow's leaders, and so we feel it's important to provide opportunities where they can be exposed to today's brightest thinkers.
This is something we've wanted to do for a while but weren't quite sure we'd be able to, then finally decided in the end to make it happen however we could. We were hoping for sponsorship to help cover our costs, but the timing and logistics didn't make that possible. So we're going ahead anyway and doing it on our own. (If your company is interested in sponsoring this program however, we sure would love to hear from you.)
I'll let the official announcement explain the fine details, but suffice it to say, we think this is going to be a huge boost to the careers of 30 lucky students. It may just be a first for our industry, but we sure hope it's not a last.


text:
Survivors mill around the former roll call area in the Ebensee concentration camp. The snow-capped peaks of the Alps Mountains loom in the distance.
Photo credit: Austrian National Archives
A Teacher's Guide to the Holocaust
Produced by the Florida Center for Instructional Technology,
College of Education, University of South Florida © 1997-2013.


text:
We have 2 private boards, one for religion and one for gender. Modify Profile>Group Membership to request access
0 Members and 1 Guest are viewing this topic.
Your artwork is quite amazing. You express emotions very well. One can find everything about a subject by looking at your art. And such can only be done by one heck of an artist.
Thats so good I love the expression, pose, colors, etc. Aaaaaaa Keep up the great work
A ref sheet request I drew for someone. They have such a nicely designed character, don't you think?https://www.furaffinity.net/view/23804443/
I'm a little late but that's really cute ^^ I love the flower crown.
Duuuuuuuuuuude that drawing of Baby is really coolAlso that new character is super cute!
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Welcome to the CRG Discussion Forum!Forum registration problems: Make sure you enter your email correctly and you check your spam box first. *Then* email KurtS2@gmail for help.Classified ads are not allowed on the forum.
Must be the homeless who occupied the vacant structure took good care of the car---usually what you find in these places ,and met labs--low mileage 69 Z's are rare indeed. Rear quarters and underneath are pretty clean for an old drag car. Funny mine had stone chips and a sheen of burnt rubber..
Im not saying its bs or legit. But there are certainly several things about the car that raises an eyebrow. Its obvious things were added and changed out, freshened up etc. Car has also been repainted or touched up. You can see over spray or sanding dust in the trunk on the corner marker lights and wheel well humps.
....I want to comment on the build date, 3E. This must have been a time when parts shortages where prevalent. I say this because I, too, have a 3E car (Yellow). 1st, according to the CRG production # by month chart, the last March car was 623587. This car (Ebay) is 1576 past that #, my car is almost 5000 units past that #! This illustrates, just because your tag has a certain date, it does not always correlate with the calendar date exactly(I believe it says this in the CRG report). 2nd, the drivetrain components,their dates are very close to car's build date(I am not trying to say anything is right or wrong, just an observation). Eng= 3/28, Rear = 3/31, whereas my car's rear is 4/07!! Think about how close these components are compared to the trim tags and Vin next time you're questioning whether an axle or whatever can be that close to the build date. 3rd, and last, I wonder why sell date (7-3) is almost 3 months after build date, could have been a sales demo? Just an observation. .... other portions deleted..


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Tyler Maloney, a Corona del Mar High senior, will be featured in Sports Illustrated's "Faces In The Crowd," section in the Dec. 24 issue of the magazine for his stellar play in hockey.
Maloney, who also plays on the CdM baseball team, recorded his second hat trick of the season to pace CdM, known as the Ice Kings, in its 6-1 win over Servite. According to the magazine, Maloney is competing in the first year of interscholastic hockey at CdM. He leads the Anaheim Ducks High School Hockey League (the first high school hockey league in Orange County, established by the NHL Ducks in 2008) in scoring with 18 goals and six assists in nine games, according to the magazine. He also leads his Junior Ducks Midget 18AA travel team in scoring (14 points).
— Steve Virgen


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Toulouse, 12 December 2008 – The IGE+XAO Group announces:
Over the 1st quarter 2008/2009, IGE+XAO showed a 7.1% increase in turnover compared with 5.3% and 2.6% respectively in 2007/2008 and 2006/2007. This increase is all the more significant as it was registered in the context of a tense economic situation.
In trading terms the quarter was marked by the announcement of the signing of a major contract relating to the Group's Electric PLM (Product Lifecycle Management) solutions, which will have consequences for this financial year and the next.
In research and development, IGE+XAO increased its software design and development abilities with, among other things, the operational launch of two subsidiaries situated in Morocco and Tunisia respectively.
In addition, the Group has strong fundamentals with equity capital of 16.6 million Euros, virtually no bank debt and cash of nearly 13 million Euros at 31 July 2008.
Over the financial year IGE+XAO Group plans to continue its market strategy aimed at increasing turnover while retaining a high level of profitability.
Finally, and in accordance with IGE+XAO policy, the Board of Directors reminds that at the Annual General Meeting on 30 January 2009 it will recommend increasing the payment of dividends to 0.26 € gross per share compared with 0.22 € gross the year before.
Turnover for the first quarter of 2008/2009 (in IFRS norms)
Toulouse, 12 December 2008 – The IGE+XAO Group announces:


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ONU to host estate-planning seminar
Ohio Northern University will host its 17th annual estate business and financial planning seminar at the Pettit College of Law on Nov. 9 from 9 a.m. to 4:30 p.m.
The one-day event, "Staying Atop the Shifting Sands: Estate planning in today's uncertain climate," will be presented by Samuel A. Donaldson, J.D., LL.M., from the University of Washington School of Law, and ONU alumnus Laird A. Lile, J.D., LL.M., CPA, from Naples, Fla.
Topics for the seminar will include a federal tax update including current cases, rulings and legislation from the past 12 months; electing out-of-estate tax and allocating basis under the new form 8939; a portable guide to the Portability Election; and the $5 million exclusion state law considerations for the migrating client.
Continuing education credit has been approved by the Supreme Court of Ohio, Ohio Department of Insurance, Accountancy Board of Ohio, CFP Board of Standards and PACE.
This seminar is sponsored by ONU's Office of Gift Planning and the Pettit College of Law. To learn more, or to register, contact Sharon MacKenzie at 419-772-2231.


text:
Download detailed specifications for this productDownload PDF
X72A is an ON-OFF controller. It can be factory-programmed for either of two input groups. Group 1 contains 8 types of thermocouples (B, E, J, K, N, R, S, T), Pt100 RTDs and 0/4-20 mA and 0-50 mV linear inputs. Group 2 contains 11 types of thermocouples (B, C, D, E, G, J, K, N, R, S, T), Pt100 and Cu53 RTDs, 0/4-20 mA and 0-50 mV linear inputs. A large LED dual-display on the front of the controller shows the difference in values of the setpoint and process value while 6 additional LEDs indicate the state of up to 4 relays, setpoints and Auto/Manual status. Operators to easily program up to 4 setpoints via membrane buttons on the front of X72A. With an error of only 0.1% of the full-scale, this is a process controller of superior accuracy. X72A's electromagnetic relays trigger heating, cooling or any of 6 types of alarms - full-scale high/low, deviation high/low, inband and outband. It also retransmits an isolated 0/4-20 mA or 0-10 V DC output signal to other devices such as a Programmable Logic Controller (PLC) or Solid-State Relay (SSR). Signal isolation protects your devices and machines downstream of our instruments from damaging fluctuations in the input signal. By including input terminals in the excitation loop, X72A provides power for 2-wire 4-20 mA transmitters.
Please choose from our customization options and enter under comments while inquiring about this product`


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Showtime Speedway Pro Truck Rules 2018 $1500 FOR POINT CHAMPION
Rules Addendum: (07/14/2018
Ford rear gears must be as close to GM as Possible. Example 410GM 411 Ford. Weight:
All trucks with sealed create engine will weight 2800 Lbs. with max 57% left side.
All other Motors 2900lbs
*** These weights, can be adjusted at the series discretion to equalize the competition, with written notice
.Addendum: (12/26/2016) – MSD box with chip capability – mandatory. (Chips are being used at this time, 6300 RPM all crate engines, 7000 RPM for Chevy 305 and Ford 302) Track can adjust chips for competition at any time. No crank triggers, No magnetos.
Ball joint change
Upper and Lower ball joints may be any bolt on or screw in type ball joints
General Rules
Competitors are responsible for the actions of themselves, crew members, family and friends. Anyone who is deemed to have crossed the line in conduct, abuse toward a speedway official, other driver, owner or crew can be fined, disqualified or suspended.
Track Management will make the ruling on this and it will be communicated to the person deemed to have violated. You may not consume any alcoholic beverages during the racing event. You may not go to stands and drink and return to the pits. No drinking is allowed until after all racing is completed. No drinking in the tech area, if you act unprofessional your truck can be disqualified for your action of drinking and becoming uncontrollable. Fines and suspensions can be given as well.
Please maintain safe speed and control on any vehicles in the pits including racecar, tow vehicle, golf cart, truck, 4 wheeler, etc.
a. You must be in top 10 and on lead lap to protest.
b. Must be made in writing specifying the rule(s) considered to have been violated.
c. All protests must be filed within 10 minutes of checker flag.
d. Protest must be specific.
e. If the truck is found to conform to the rules and the protest is disallowed, the protest fee will go to the protested truck. If the truck is found to be in violation of the rules and the protest is allowed, the protest fee will be returned to the protestor.
f. All protest fees must be paid in cash. P&G, Carburetor inspection $50, Whisler check $150 Track retains $50, Top end tear down $500, Track retains $75. Scope check of the crank area $150 Track retains $50. Complete Motor Tear down $1,000, Track retains $150.
g. Only the protested truck's owner or driver, two crew, the protesting driver or owner who competed in the race, 1 crew member and Track officials in the tech area for the protest tech.
h. More than one driver may protest any one truck if they meet the protest time and fee procedure, and the specific rule they are protesting.
i. Visual protests are to be honored any time before the race and does not have to be in written form, but need to be brought to tech or Track official. The infraction must be either corrected or tech may use a weight penalty for that race if not able to fixed that day. Amount of weight is at the Tech Official's discretion.
j. Excessive protesting will not be tolerated and can result in disqualification, loss of points and possible disqualification. Track officials will determine this.
k. Do not remove or alter any casting or Truck part numbers.
i. Confiscation – Track officials reserve the right to retain or confiscate any illegal part or parts and engine on any racing vehicle at any time it is deemed in violation or question.
m. Tech reserves the right to check any truck in the field at any time, in any finishing order if he chooses to. They must conform to rules, or face disqualification. Protest or tech tear down refusal: (includes engine, drive train etc.)
1. Any truck owner/driver refusing any protest or tear down for any reason will lose all money, points, awards, trophies earned for that race date.
2. The next race that truck will be inspected after race regardless of where it finishes.
3. If the owner/driver refuses a second time they lose points and money for the night and any class points that have been earned year to date.
Qualifying Procedures:
1. The driver that qualifies the truck must start the race in the truck. If a driver change is made the truck must start at tail of the field.
2. Tires you qualify must be the tires you race on. Only tire changes allowed is due to a flat, with Track Official approval.
3. Tech will decide how many to tech after qualifying. This does not have to be announced prior to qualifying.
4. A driver late for qualifying without having notified a Track Official will receive only 1 lap of time. Normal Qualifying will be two laps of time.
5. Fast qualifier will draw a pill for inversion.
6. In the event of a tie in qualifying the driver going first will get the time.
7. You may tape up for qualifying.
***In the event that rain cancels qualifying – the lineup will be according to year-to-date points, and those without points will be placed in the order pill draw.
Race Procedures:
1. Starts will be side by side at a designated spot given at driver meeting at each track, the flagman starts the race. No passes to the inside until you have crossed the start finish line.
2. If a driver causes a false start, the driver will be sent to the rear.
3. When a caution is displayed lineup is determined by the last lap completed scoring.
4. Restarts will be double file, leader will fire at designated spot given in driver's meeting at that track. No passings on the inside until you have passed the restart line.
5. If you go to the outside before green is displayed you are jumping, you will be penalized spots per truck jumped at next caution or at end of the race. If you realize it and give the spot back you will not be penalized.
6. Races will be all green flag laps unless otherwise announced at an event. In case of inclement weather, Track Officials can call a race complete at their discretion.
7. When caution is displayed remain in single file order. If unsure of spot pull to outside of questioned spot officials will check and place you where you go.
8. Any Truck (or trucks) deemed involved in a caution, at the discretion of the Track Officials, will be placed at the rear of the lead lap. If you stop on the track to bring out the caution and it is believed that it was intentional, you will be penalized to the end of the lead lap.
9. NO track officials can work on your truck for any reason except a safety issue. You must go to the pits for work.
10. If you have a flat we will give you three (3) courtesy laps to change it. This must be done in the designated "HOT PIT AREA", if you go back to your pit area, we will go back green.
Driver Safety Rules:
1. You must have proper rated 2010 or newer Snell approved helmet.
2. A type of head and neck restraint is mandatory.
3. Complete firesuits, gloves, and shoes are mandatory. All equipment must be in good condition. (No holes, etc.)
4. Driver's window net must have quick release, with latch at top left. Cannot be a string type window net and must be 22" wide and 16" high. When latched must fit tight.
5. Commercially made aluminum racing seats with rubber pads mandatory. Dual right and left side head restraints are highly recommended.
6. Safety Harness 5 point minimum must be no older tan 3 years old and be in good shape.
7. Proper resilient padding for roll bar use must be installed on roll cage around driver.
8. Steering Wheel must be padded.
9. Fully Charged fire extinguisher mandatory. On Board fire system is highly recommended.
10. Spotters are mandatory for each truck, spotters must have a "RACECEIVER" for race control using default channel 454.0000.
10. A battery disconnect switch is mandatory and must be easily accessible to the safety crew and driver, must be clearly marked with "on" and "off" and be readable by safety crew outside the truck.
11. No truck to truck radios.
Truck Safety Rules:
1. Drive shaft loops are mandatory within 12" of the ends.
2. Exhaust exiting door must be flush, not extending past the body.
3. Must have fluid catch can for radiator over-flow, no antifreeze.
4. Battery and connection must be minimum 18" away from fuel cell.
5. Roll cages must be built of 1 ¾ " .095 thickness tubing minimum.
6. Cages must be attached properly in at least 8 spots on the chassis.
7. Minimum of 4 door bars on the left side, plated with 1/8 inch steel.
8. All roll bars around driver must be padded.
9. All joints must be welded properly, no cracks or gaps.
10. Fuel cell must be between frame rails, with a maximum 22 gallon capacity.
11. Must have a check valve.
12. Fuel cell minimum ground clearance 7".
13. Fuel cell protection bar mandatory, minimum of 1" .095 thickness tubing.
14. Fuel cell must have minimum of 2 straps, 1" wide surrounding entire fuel cell.
15. No fuel cooling / altering devices allowed, Fuel must go straight from cell to carb.
16. No electric fuel pumps.
17. No fuel additives, at the track's discretion, fuel can be tested at anytime.
18. All weight added on truck must be bolted in with minimum ½ bolts, with locking nuts. There is a minimum of two bolts per 50 pounds of weight. Minimum 5 Lb blocks.
19. All weights must be painted white, and have truck number on them.
20. No weights allowed inside the driver compartment.
Pro-Truck Rules
a. Only GM Metric frame 1978-1987 may be used.
b. Must be original 108" wheelbase and be the same measurement on both sides, 1⁄2 " tolerance.
c. Tread Width 64" front and rear. Spacers permitted, no more than 64 inches, measured on our Referee.
d. Chassis must remain stock unless otherwise specifically noted in rules.
e. Frame may be fabricated from 6" forward of the centerline of the rear axle and from front sway bar forward.
f. Frame can be X"d
g. 6" minimum ride height on chassis.
h. Cross member must remain stock and in stock location, it may be notched for oil pan clearance only. Must be boxed with 1/8 inch steel.
i. All pick up points must remain stock in stock locations. Front Lower arms and rear trailing arms. No modifications to arms, holes, no drilling and lightening allowed.
a. Front suspension components must remain stock, unless otherwise noted in another rule.
b. Heavy-duty steel or Aluminum aftermarket hubs & rotors are required on the right front wheel .
c. Springs must mount in stock location. Top of frame may be changed to add wedge bolts or to allow for spring removal.
d. Shocks must be mounted directly to the lower A arm.
e. Pitman arm and steering arm may be changed, aftermarket center link is permitted.
f. Stock inner tie rod, Outer tie rod may be a heim joint.
g. Aftermarket tubular upper A arms ok. Lower control arms must be stock. Both must be in stock location.
h. No adjustable ball joints. Ball joint change Upper and Lower ball joints may be any bolt on or screw in type ball joints.
i. Coil spring rubber inserts are permitted, no leaf springs or torsion bars permitted.
j. Steel, poly or monoball bushings ok, no offset or eccentric bushings.
k. Sway bar must be 1 piece stock 1 3/8" maximum diameter.
l. ****No rear panard or sway bars.
m. Steering: Stock OEM steering box in stock location. Universal joints, up to three, can be put on steering shaft as well as heim joints. Aftermarket power steering kits or steering quickener kits ok. Must be driven off the crankshaft.
n. Spindles, bearings and hubs, Stock HD steel aftermarket hubs and rotors ok. Spindle savers are recommended.
o. Distance between the centers of the bolts on the upper arms should be no less than 10 1⁄4 ". Must use stock OEM factory control arms, bushings at both the front and rear of the trailing arms must be original rubber or polyurethane.
p. rear lower trailing arms must be factory OEM and remain stock, no modifications, extra wholes, etc. bushings at both front and rear of the trailing arms must be stock style rubber or polyurethane. All rear trailing arms must remain Stock.
q. no coil over springs can be used on truck, rear springs must mount on top of axle tube, Must be standard diameter rear springs. Shocks mount in stock location.
STEEL BODY SHOCKS Rebuildable may have Schrader valve, non adjustable and no base valves allowed.
l. Only 1 shock per wheel permitted. All shocks must be steel non adjustable. Shocks can be claimed for $150.00 each. Refusal to sell is a DQ, loss of money and points and a $400.00 fine. Rear mount location optional on the rear axle.
Body :
a. Refer to Joey Coulter Pro Truck Series rule book. copy can be found at carsevents.com
b. Approved Series Truck body manufacturers are : ARP, Speedway Racing Bodies, Lightning Lite, Five Star. May make own aluminum body pieces, but must be approved by series, and fit templates.
c. Series approved bodies are :
1997 – 2009 Chevy C-10/C1500 Silverado, 1997 – 2009 Ford F150, 1997 – 2009 Dodge Ram, 2004-2009 Toyota. NO carbon fiber.
d. Body must be entered in the center of the frame with wheels in center of wheel wells with 2" tolerance. All body parts must be attached firmly to cage or frame and is subject to approval.
e. Body ground clearance is a minimum of 4 inches measured anywhere.
f. All body support brackets must be solid and located inside the body structure.
g. Nose Width is 81" max.
h. Front air dams must maintain their original configuration.
i. Maximum rake for roof is 1".
j. Minimum side window opening must be at least 16".
k. Front and Rear windows must be full six 1/8" lexan.
l. Front windshield brace is mandatory, 35 degree angle on windshield 1 degree tolerance.
m. Both side windows may have 1/8" lexan vents only, 9"high, 12" length max.
n. Hoods to remain stock with the following changes allowed: An opening of 2.5" x 20" may be cut in the rear of the hood, centered behind air filter which will allow air intake. A 1.5" x 1.5" X 20" heat deflector may be installed on the fire wall at this opening.
o. Rear Deck lids are mandatory, must be able to open for technical inspections.
p. Rear deck lids can be fiberglass, sheet metal or aluminum. Must be flush with quarter panels.
q. 6" x 60" solid rear spoiler is mandatory. May have approved braces front side or back side, not on both sides. 55 Degree Minimum angle
r. Stock rear bumper cover is mandatory. Must be complete and unmodified. Must have full 90 degree flap on the bottom edge, no cutting.
s. 1 inch square tubing may be used for rub rails, bolts cannot protrude outward.
t. Rear deck height minimum 36", max 40". ***different from body template sheet.
a. Vehicle interior must be complete and shield driver from the ground, engine compartment and fuel cell area.
b. Floors must be steel and the rest of the compartment can be from steel or aluminum, but must be fully enclosed and extend from left to right side of truck.
c. Truck must have a rear firewall of steel to separate driver from fuel tank. Firewall may be welded, riveted or bolted.
d. May have installed dash panels, no digital gauges.
a. Rear differential housing must be stock steel 7.5" – 10 bolt GM or 9" Ford housing.
b. Brackets for mounting trailing arms must be in stock location with stock mounts.
c. Rear spring perch must remain on the top of the axle tube.
d. Ring gear and pinion must be stock and mount directly in housing.
e. Only stock ring and pinion, off the shelf available gears allowed. No custom ground or lightened gears allowed. GM 273-456 gears, Ford 300-456 gears.
f. C Clip eliminators are optional.
g. Welded spider gears and steel mini-spools ok. Full steel spool ok on Fords
h. Any stock fitting differential cover ok.
i. Moser 26 spline axle mandatory on the right side.
j. No posi- traction units or locker type rear spider.
k. Only stock steel/cast carrier allowed.
l. Solid steel axles only.
m. All rearend parts must be magnetic / steel / No aluminum or light weight parts. Must make a place in the covers to insert a magnet or a scope
Tires and Wheels:
a. 8" steel racing wheels with any offset, no wheel weights.
b. Hubs must have 5/8" wheel studs.
c. Tires must be official series approved tires only.
d. No bleeders.
e. No tire prep what so ever
*** Track approved tires only. Hoosier R750 – NO SOAKING TIRES !
Brakes: a. You must use GM stock single piston calipers, single piston Howe is allowed, must be steel or OEM aluminum replace single Piston.
b. All four brakes must be in full working condition.
c. Rear disc brakes are mandatory.
d. Rotors must be steel or cast iron and brake hats may be steel or aluminum. No light weight Rotor's. No scalloped rotors.
a. Only GM Turbo 350, Ford C4 or C6, and Chrysler 904 or 727 automatic transmissions allowed with following exceptions. No drilling or lightening on the transmission or interior parts except the following items for oiling purposes. Front Planetary Reaction Gear per spec – see tech for spec sheet.Sun shell cover (must be a solid stock type) may be drilled at back per spec – see tech for spec sheet. ( No big hole sun shells allowed).
b. Must have all forward and reverse gears working. No modifications.
c. GM Turbo 350 may use 2.75 low gear – 1.57 second gear option. No turbo 200/250 parts may be used in 350 transmission.
d. Replacing thrust washers with bearings ok.
e. No aluminum or billet parts allowed in transmission.
f. Removal of Governor ok.
g. Manual shift valve body permitted.
h. Reverse shift pattern ok.
i. Torque convertor must be minimum diameter of 10" and working.
j. Transmission coolers with fans ok. All cooling lines must be steel braided with screw on fittings.
k. Safety Bell Housing and/or flexplate shield ok.
l. Solid output shafts only, no drilled, hollowed shafts. Hollowed shafts are no longer allowed.
m. JW Transmissions,TCI Transmissions or others allowed as long as they meet these rules.
n. Drive shaft: Steel only, must be painted white with truck number on it.
Standard Transmission (add 75 lb)
1. Standard steel or aluminum 3-speed or 4-speed OEM or OEM style synchronized manual transmissions with non-splined clusters allowed. No magnesium permitted.
2. No 2-speed transmission will be permitted.
3. No gun-drilled main shafts.
4. No internal clutch-type transmissions allowed. Must have external clutch, pressure plate, and flywheel assembly.
5. Transmission must have at minimum two (2) forward and one (1) working reverse gear.
6. Two lever shifter or H-pattern shifter only.
7. No overdrive or under driven transmissions permitted. High gear must be 1 to 1 and no other gear may have a ratio higher than 1.20 to 1.
8. No Rankin-type or cluster-disconnect transmissions allowed.
9. All manual transmissions must have helical gears only. No straight-cut gears allowed.
10. No quick change type transmissions allowed.
Clutch & Flywheel:
1. Standard OEM or OEM-type and size clutch, pressure plate, steel flywheel, and throw-out bearing permitted.
2. Stock Clutch minimum 10" Solid hub clutch ok. Must have full circle Disc.
3. May use heavy-duty replacement pressure plate and disk. No aluminum allowed.
4. No Light Weight Parts: 10,000 RPM etc…
5. All flywheels will be weighed on Track scales. Fly wheel weigh minimum of 14 pounds.
6.Standard transmission must use shatter proof bell housing.
7. After market shifters permitted.
8. 2" hole in bell housing for inspection.
9. 2 drive-shaft safety loops mandatory. Within 15" of front U Joint.
10. Drive shaft must be painted white, add car number. No Aluminum Drive Shafts Allowed. No carbon fiber.
11. May use hydraulic release bearing and push pull slave cylinder.
Engines :
Vacuum Rules
Each truck must have a vacuum port and fitting to check
ZZ4 Crate – 18 Minimum @ 950 rpm
602 Crate – 18 Minimum @ 950 rpm
347Jr Ford – 19 Minimum @ 950 rpm
351 Ford – 13 Minimum @ 950 rpm
360 Dodge – 11 Minimum @ 950 rpm
318 Dodge – 12 Minimum @ 950 rpm
305 Chevy – Check Cam Lift – 474-510
Anything below these vacuums is wrong.
We will check with cam doctor.
Engines Built type:
1. Stock cast iron production blocks only. Gm 305, Ford 302,Dodge 318
2. Any questions/concerns regarding the legality of internal parts should be directed to the tech director, prior to racing.
3. Track reserves the right to use weight to penalize violations, equal competition and will do so at their discretion with fairness in mind.
4. Blocks
5. May be studded in mains only, no aftermarket caps, may be four bolt if that was available.
6. Maximum of .060 + .010 wear, no sleeve down blocks
7. All factory casting numbers must remain, may add oil screens and paint block.
8. Minimum deck height on all are .000. That means no part of the piston may come past deck surface.
9. No altering of lifter bore.
10. Blocks must maintain OEM type bearings in the main and cam journals.
11. Must maintain 10.1 to 0 Compression Ratio.
Heads: For all brands NON-CRATE
Only factory production, cast iron heads that are OEM for the engine type being used and that produce the factory specified volumes, are permitted.
1. Minimum combustion chamber volumes: Chevy 52cc, Ford 52cc, and Dodge 56cc.
2. No porting, port matching, excessive decking beyond the chamber minimum volume, angle milling, chamber polishing, or grinding allowed.
3. Stainless steel valves are legal.
4. Three angle valve jobs allowed.
5. Any type guide material may be used. The valve guides must be in the stock factory location, angle, and spacing.
6. Valve springs must be of the stock type. No triple, conical, beehives, or progressive springs allowed.
7. Valve stems must be stock height only.
8. Retainers must be steel or chrome-molly steel only. Valve spring retainers must be stock type only. Plus or minus height retainers are allowed.
9. Valve spring keepers must be stock type only. Seven or ten degree locks may be used. No spring cups.
10. All heads must have visible and unaltered casting numbers.
1. Any stock 305 head # 12558059,#12529180 also allowed. Part number 1023906 head not permitted. Engine quest CH305b allowed.
2. 52 cc minimum
3. Stock valve 1.84 intake/1.50 exhaust. Stainless steel replacement valves permitted.
4. No interior deburring, polishing or hand blending permitted.
5. Studs may be pinned or screw in studs and guide plates ok.
6. Stud girdles ok
7. 1.5 roller rockers ok.
1. Dodge Magnum heads up to 97 are ok.
2. Stock 318 heads ok.
3. 56cc minimum
4. 1.84 intake,1.54 exhaust valve size on 318 heads w/ 1.5 roller rockers
5. 1.94 intake,1.54 exhaust valve size on magnum heads w/1.6 roller rockers
6. No interior deburring, polishing or hand blending permitted.
7. Studs may be pinned or screw in studs and guide plates ok.
8. Stud girdles ok
1. The Ford GT-40, GTP 40 heads or 302 heads ok.
2. 52cc minimum
3. Stock valve 1.84 intake/1.50 exhaust. Stainless steel replacement valves permitted.
4. No interior deburring, polishing or hand blending permitted.
5. Studs may be pinned or screw in studs and guide plates ok.
6. Stud girdles ok
7. 1.6 roller rockers ok.
1. Chevy # 7101,7116,2116 / Ford # 7121 / Dodge # 7176
2. No porting , polishing or coatings in runners.
3. No milling.
4. Dodge # 7176 may be modified to fit magnum heads.
5. No laser treating or micro holes allowed in intake.
6. Must have vacuum port to hook up vacuum gauge for testing.
1. Rod length Chevrolet 5.700, Ford 5.090, Chrysler 6.125.
2. No lightening, beam polishing, or exterior machine work allowed on rods, except slight bob weight removal for balancing.
3. OEM or OEM appearing after-market rods permitted, may be floated or press fit pin's.
4. No aluminum or titanium rod's.
5. Fasteners engine builders option.
1. Flat top or dished top pistons. No reverse dome or D cup allowed.
2. Wrist pin must remain in OEM position.
3. Cast, forged or hypereutectic ok.
4. No lightweight pin's
1. Only OEM or stock replacement Chevy, Dodge, and Ford cast iron or steel crankshafts are legal with OEM stroke.
2. No O.D. turning, lightening, knife edging, weight polishing, or cross-drilling for weight removal will be allowed, except for "Mallory Metal", or minimal metal removal for balancing.
3. Any type harmonic dampener or flywheel may be used, SFI approved units encouraged.
4. Minimum weights- Ford 32lbs, Chevy 48lbs, & Dodge 48lbs.
1. Flat tappet or hydraulic cam, maximum lift .474/.510 duration engine builders option.
2. Lifters stock size hydraulic , anti-pump up or solid.
3. No lightweight push rods allowed. Push rods may be sized to length to fit geometry. No rev-kits, offset rocker arms, roller lifters, light weight lifters, coated lifters, mushroom lifters, or oversize lifters are permitted.
4. Stock or roller timing chains are allowed Torrington Thrust Bearings, to prevent block wear, are legal. No gear to gear or belt drives allowed. Cam thrust-buttons are allowed. Camshaft Degree optional.
602 with Holley 650 4150-80541 allowed
603 (ZZ4) runs 500 cfm old style 4412 Carb only
603 & 602 Crate engine must follow the Gm Performance parts Technical Manual. If it is not listed don't do it unless you have spoken to tech and have your rule book signed and carry with you to tech. A tech bulletin will then follow for all racers to see the clarification or change.
602 & 603 is totally by the GM manual, repairs etc. no exceptions
1. Option valve springs stock diameter , no double springs max 130 lbs. Comp # 941 is a valid spring.
2. NO 1.6 ROCKERS, Self aligning Stamp Rocker an 1.5 Roller rockers ok but no changing of pushrods.
5. Deck height .014 minimum
6. MUST MAINTAIN 9.1:1 COMPRESSION RATIO. On 602 & 603 is 10.2:1
7. Must use factory intake gasket ,other gaskets engine builders choice , but must maintain compression ratio.
8. May use Clevite bearings , cannot be coated bearings nor-use undersized bearings. Must be direct replacement bearings
9. All hard parts must be factory GM parts.
10. Fasteners rod,main bolts must be same crate motor type as shipped. Other fasteners option of engine builder except if they were a bolt must remain as a bolt.
11. MAX overbore .030 + .010 for wear. No tolerance over those numbers.
12. Push rods MUST MEASURE STOCK PERIOD.
13. Again follow the Gm manual.
14. Camshaft must be a stock out of the box camshaft from Gm if you decide to regrind it is wrong.
Cam doctor will be used at any time when the series feels it needs to.
1. M6007S347JR MAY USE M6513-BH valve springs this is a beehive spring.
2. This engine must follow the Ford Racing Technical Manual.
3. Must maintain 10.1:1 compression ratio (according to new Manual)
4. Mininum deck height .010 +/- .0050
5. Max overbore .040+.010 for wear
6. Fasteners rod,main bolts must be same crate motor type as shipped. Other fasteners option of engine builder except if they were a bolt must remain as a bolt.
1. May use m6513-bh bearings.
2. Intake to be used must be a Ford m-9024-7351 or performer # 7181 only.
3. 52cc minimum on heads
4. Must maintain 9.1:1 compression ratio
5. Fasteners rod,main bolts must be same crate motor type as shipped. Other fasteners option of engine builder except if they were a bolt must remain as a bolt.
6. Due to several cam combo's these are the numbers that are legal. M6250-e303 , m6250-x303 and m6250-z3003.
7. Minimum deck height .014
8. Refer to Ford Performance Manual for any other details.
9. Max overbore .030 + .010 for wear
Dodge 318
(Reverts to old FASTRUCK type motor rules)
Dodge 360
1. Refer to Mopar Performance for any other details.
2. Intake manifold p5007381 casting number p4510018
3. 50cc minimum on cylinder heads
4. Must maintain 9.1:1 compression ratio.
5. Minimum deck height 9.56 +/- .005
6. Max overbore .040+.010 wear
7. Magnum heads use 1.7 rocker ratio 360 heads use 1.6 rockers
8. Fasteners rod,main bolts must be same crate motor type as shipped. Other fasteners option of engine builder except if they were a bolt must remain as a bolt.
Misc All engines:
**** All engines, must have an inspection hole w/plug (minimum 1″) for use of a scope to check crank area. Speak with tech man, for right location. Must be able to get by windage tray.
1. Carburetor- Holley old style 4412, 500 cfm with a maximum 1.065 spacer/adapter between intake and carburetor. Changing of jets ,power valve, drilling holes in butterflies permitted.
2. Choke horn may be removed.
3. Venturi area must not be altered or reshaped in any way. The casting ring may not be removed. Must remain as produced by the manufacturer.
4. Base plate must not be altered in any way. All openings must be permanently plugged.
5. No additional air to be picked up below the openings of the venturi such as altered gaskets, base plate, or holes drilled into the carburetor.
6. Carburetor Booster: Booster type may not be changed. Booster size and shape must not be altered. Height and location of the booster must remain as manufactured.
7. Throttle shaft must remain stock and may not be thinned or cut in any manner. Screws may be flush with shaft. No other work to screws.
8. 602 Crate can run a Holley 650 HP 4150-80541 gauge legal four barrel. No alterations or modifications, with a maximum 1.065 spacer/seal between intake and carburetor.
Air cleaner
Please be sure you have read and understand all these rules, if you do not please be sure to ask a Track Official for clarification. Not understanding the rules is not an excuse to break them. The word stock, used within the rules, means as originally produced by the manufacturer for that make/model/ and/or year of the truck. It is stock with no altering or modifications. Aftermarket parts must be same dimensions, weight, and/or volume as the OEM part. Determination of whether anything is legal will be the tech and Track Officials decision. No Carbon Fiber or Titanium permitted anywhere in the truck. No Traction control devices of any kind allowed. If it does not say you can do it, you probably can't. Talk to the Tech Director if you have any questions. Do not assume anything.
These weights can be adjusted at the Tech Director and Track Management's discretion to equalize the competition, with notice.
All Engine Builders must supply to the Tech Director a build sheet on their motors Management. for reference. These will be kept only by the Tech Director and Track Management.


text:
SHREWSBURY — A 58-year-old bicyclist was injured when his bike and a car collided at Main Street and Main Circle just after 2:20 p.m. Sunday.
The accident occurred in traffic just after the Spirit of Shrewsbury parade.
David Roy of Shrewsbury was taken to the UMass Memorial Medical Center — University Campus in Worcester. The extent of his injuries was not available Sunday night.
According to a witness, a Honda sport utility vehicle was headed west on Main Street, turning left onto Main Circle when it collided with a bicycle. Police later confirmed that account. The bicyclist, headed east on Main Street, struck the car on the passenger side front corner. The bicyclist landed on the car's windshield, smashing it, a witness said.
Police said the driver of the 2010 Honda CRV was Suresh Srinivasan, 47, of Shrewsbury.
Shrewsbury police spent two hours investigating at the scene. The accident remains under investigation by Officer Patricia Babin and Sergeant Michael A. O'Connor of the Shrewsbury Police Accident Reconstruction Unit.
Contact George Barnes at email@example.com. Follow him on Twitter @georgebarnesTG


text:
Completed: Summer '08
Lenton Company promises to treat your home as if it were our own. We will keep the project site safe and clean, and will pay impeccable attention to the schedule and budget to ensure your dream space is delivered as expected.
Copyright © 2016 Lenton Company, Inc. | License #568387


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Seattle's International Schools provide students with linguistic skills, higher-order thinking skills, and a global perspective that will help them to contribute to, and succeed in, a 21st century world.
International Schools help students engage in intellectually rigorous schoolwork and prepare them for college, career and life. International Schools help close both the academic achievement gap as well as the "global achievement gap."
For news updates, subscribe to our newsletter Global Talk. Find out more about the International Education / Dual Language Immersion Task Force.
Announcement: Check the Dual Language Immersion web page for information about the 2019-2020 Dual Language Immersion (DLI) High School Pathways.
Our vision is to prepare students, in partnership with families and community, for global citizenship in an increasingly interdependent world.
Michele Aoki
International Education Administrator
For more info visit:
SPS Enrollment
John Stanford International School
McDonald International School
Hamilton International Middle School
Ingraham High School - an International School
Note: Lincoln High School will become the designated DLI pathway in 2019-2020.
Concord International School
Denny International Middle School
Chief Sealth International High School
Beacon Hill International School
Dearborn Park International School
Mercer International Middle School
For 2018-2019:
Chief Sealth International High School
Note: A Southeast high school will be designated as the DLI pathway in 2019-2020.
Elementary Dual Language Immersion Guidelines
DLI Program Models


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Positive Experience When Pitching to Ravi Mhate
Fund: Lightspeed Venture Partners
Posted by playnogames on 2007-05-05
When we pitched to Ravi, he was very engaged and efficiently came up to speed with our technology. Our technology and market is not obvious, but by the second meeting I clearly feel he understands our space by way of his follow-on intense and engaging questions. I know people have different opinions of people, but I have to honestly say that working with Ravi has been a very positive experience for me and one of the best I have had.PRIVATE: Members Only (302 Characters)


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surf travel necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 127 diseños de 28 diseñadores freelance.
Check out http://www.pacificsurf.org to see the current design. We are looking for the best FRESH design (not based on other sites) to encourage the end user to book surf lessons and attend the surf camp. This site is going to add 4 additional locations "Hawaii, Los Angeles, Costa Rica, and Bali." Easy navigation with bold call to action on the home page.
First Place - $600(As outlined)
Second Place - $300 (PayPal or Check)
Third Place - $150 (PayPal or Check)
Fourth place $ 100 (paypal or check)
Fifth place $ 50 (paypal or check)
One person can win multiple prizes if the designs are completely different and not derivatives of one another. Good Luck!!!
Pacific Surf school
This design is 7 years old and we are expanding. I need some a design that will first sell our services and secondly allow for continued growth. Easy and intuitive navigation is a must. The site must encompass a fun and happy feeling while remaining professional. The end user is an active group inclusive of locals and vacationers, inexperienced and experienced and spans all ages. The design must help the end user to emotionally connect and drive them to book an appointment. The services that we provide are surf lessons, surf camp , overnight surf camp, surf trip (i.e. to Mexico or Bali), and stand up surfing.
First Place - $600(As outlined)
Second Place - $300 (PayPal or Check)
Third Place - $150 (PayPal or Check)
Fourth place $ 100 (paypal or check)
Fifth place $ 50 (paypal or check
there are 5 prizes.
Pacificsurf.org has several locations and you can use that as a model. http://www.pacificsurf.org
Hawaii, Los Angeles, Costa Rica, and Bali
Or you can design a website that is location specific similar to San Diego Surf Lessons http://www.sandiegosurflesson.com or http://www.hawaiisurflessons101.com
Hawaii, Los Angeles, Costa Rica, and Bali
We have some logos that were designed for these sites that you can adapt into your design. You can view them here.
What we want designed is the homepage and two tier pages. Once the contest is done the designed files will need to be submitted in Photoshop form.
- Easy navigation
- Fun
- Professional
- All ages
- Videos
- Testimonials possibly flash that goes through multiple clients.
- Call to action on front page.
- Newsletter Sign up
- no maps
- Nothing childish