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For fifteen years there has existed in the United States, and in the United States alone, a form of entertainment which, seemingly with out sources in the past, restored to us a kind of laughter almost unheard in modern times. It came into being by accident,- it had no preten sions to art. For ten years or more it added an element of cheerful madness to the lives of mil lions and was despised and rejected by people of culture and intelligence. Suddenly-suddenly as it appeared to them-a great genius arose and the people of -culture conceded that in his case, but in his case alone, art existed in slap-stick com edy; they did not remove their non expedit from the form itself.
Perhaps only those of us who care for the rest know how good Charlie is. Perhaps only the inex pressive multitudes who have laughed and not wondered why they laughed can know how fine slap-stick is. For myself, I have had no greater entertainment than these dear and preposterous comedies, and all I can do is remember. The long, dark, narrow passage set out with uncomfortable chairs; the sharp almond odours, the sense o - f un certainty, and the questionable piano; and then upon the screen, in a drab grey and white, jiggling insecurely, something strange and wonderful occurred. It was mingled with dull and stupid
things; but it had a fire, a driving energy of its own-and it was funny! Against all our inhibitions and habits it played games with men and women; it made them ridiculous and mad; it seemed to have no connexion with the logic of human events, trusting to an undecipherable logic of its own. A few scholars found the commedia dell'arte living again; a few artists saw that the galvanic gestures and movements were creating fresh lines and interesting angles. And a nation cared for them intensely until the rem orseless hostility of the genteel began to corrupt the purity of slap-stick. That is where we are-now: too early to write an epitaph-late enough to pay a tribute.
LEST the year 1914 should be not otherwise distinguished in history, it may be recorded that it was then, or a year earlier, or possibly a year later, that the turning point came in the history of the American moving picture. The first of the great merger s arrived-an event not unforeseen in itself, a "logical development" the press agents called it-seeming to establish the picture as a definitely accepted form of entertainment. It was a moment when a good critic might have foretold the course of the movin g picture during the next decade, for at that time the Triangle of Fine Arts (D. W. Griffith), Kay-Bee (Thomas H. Ince), and Keystone (Mack Sennett) was formed. Two of these names were already known, and of the two one was to
become, for a time, the most notable name in the profession. the third was hidden behind the obscure symbol of the Keystone; it represented one who had acted in, and was now directing, the most despised, and by all odds the most interesting, films produce d in America. Mr Griffith was already entered on that road which has since ruined him as a director; he was producing Intolerance, and, if I may borrow a phrase from the Shuberts, his personal supervision was not always given to the Triangle-Fine Arts rel eases; Mr Ince was presently to meditate upon the possibility of joining the word "super" to the word "spectacle," thus creating the word "superspectacle"; and Mr Sennett--by a process of exclusion one always arrives at Mr Sennett. He is the Keystone the builders rejected.
I know nothing more doleful as a ' subject of conversation than the social-economics of the moving picture; what was remarkable about the Triangle was not its new method of distribution, its new hold on the timid exhibitor, or its capacity for making or l osing fortunes. The thing to note is that the two "serious" producers, and the hard-headed business men who invested money in their efforts, thought it well to associate with themselves the best producer of vulgar slap-stick comedy. More than that, they c ombined in a peculiar ratio for the scheme provided that there was to be released each week either a Fine Arts or an Ince picture; and that with each of these was to be
shown a Keystone comedy. So that those who were perpetually being caught in the rain, or missing the eleven-o'clock from Philadelphia to New York, saw twice as many Keystone comedies as (a) Fine Arts or (b) Kay-Bee releases. The recent all-hailing of Mr C haplin as an artist because of his work in The Kid, the bright young reputations of Harold Lloyd and Buster Keaton, indicate that most critics of the moving picture caught the train and missed the shower. They certainly missed the comedies; for the Fine A rts and Ince pictures were in their time the best pictures produced; and the Keystone comedies were consistently and almost without exception better.
This is not the place to discuss the shortcomings of the feature film; for the moment, let the dreadful opulent gentility of a Cecil De Mille production serve only to sharpen the saucy gaiety of the comic, the dulness of a Universal set off the revelry of slap-stick. There is one serious point which a good critic (Aristotle, for example) would have discovered when he regarded the screen as long ago as 1914 and became aware of the superiority of the comic films. He would have seen at once that while Mr Gri ffith and Mr Ince were both developing the technique of the moving picture, they were exploiting their discoveries with Materials equally or better suited to another medium: he stage or the dime novel or whatever. Whereas Mr Sennett was already so enamour ed of his craft that he was doing with the instruments of the moving
picture precisely those things which were best suited to it-those things which could not be done with any instrument but the camera, and could appear nowhere if not on the screen.
This does not mean that nothing but slap-stick comedy is proper to the cinema; it means only that everything in slap-stick is cinematographic; and since perceiving a delicate adjustment of means to end, or a proper relation between method and material, is a source of pleasure, Mr Sennett's developments were more capable of pleasing the judicious than those of either of his two fellow-workers. The highly logical humanist critic of the films could have foreseen in 1914-without the decade of trial and error which has intervened-what we see now: that the one field in which the picture would most notably declare itself a failure would be that of the drama (Elinor Glyn-Cecil De Mille-'Gilbert Parker, in short). Without a moment's hesitation he would have put hi s finger on those two elements in the cinema which, being theoretically sound, had a chance of practical success: the spectacle (including the spectacular melodrama) and the grotesque comedy. Several years later he would have added one word more, that gr otesque tragedy might conceivably succeed. For it is not only the fun in the Keystones which makes them successful: it is the method of presentation.
The rightness of the spectacle film is implicit
in its name: the screen is a place on which things can be seen, and so long as a film depends upon the eye it is right for the screen-and whether it is right in any other regard depends upon taste and judgment and skill. Omit as irrelevant the news reels, animated cartoons, educational and travel films--all of them good; omit equally those printed jokes and clippings from the Literary Digest which are at once the greatest trial and error of the screen. What remains! The feature film and The Cabinet of Dr Caligari. This-the only film of high fantasy I have ever seen-is the seeming exception which proves the rule, since it owes its success to the skilfully concealed exploitation of the materials and technique of the spectacle and of the comic film, and not to the dramatic quality of its story. The studio settings in distortion represent the spectacle; they are variations of scenery or- "location"; the chase over the roofs is a psychological parallel to the Keystone cops; and the weak moment of this superb picture is that in which the moving picture always fails, in the double revelation at the end, like that of Seven Keys to Baldpate, representing "drama." No. The drama film is almost always wrong, the slap-stick almost always right; and it is divinely just that the one great figure of the screen should have risen out of the Keystone studios. He came too early; Chaplin spoiled nearly everything else for us, and he is always used by those who dislike
slap-stick to prove their case. Their case, regrettably, is in. a fair way to be proved, for slap-stick is in danger. The hypothetical critic mentioned above has not yet occurred; Mr Bushnell Dimond, the best actual critic of the movies, is without sympat hy for Mack Sennett and calls him a Bourbon, in the sense of one who forgets nothing and learns less. What Mr Sennett has needed long since is encouragement and criticism; and stupid newspaper critics (who write half-columns about a new Gloria Swanson pic ture and add "the comedy which ends the bill is Down in the Sewer") have left slap-stick wholly without direction.' At the same time the tradition of gentility, the hope of being "refined," has touched the grotesque comedy; its directors have heard abuse a nd sly remarks about custard pies so long that they have begun to believe in them, and the madness which is a monstrous sanity in the movie 'Comedy is likely to die out. The moving picture is being prettified; the manufacturers and exhibitors are growing more and more pretentious, and the riot of slap-stick seems out of place in a "presentation" which begins with the overture to Tannhauser, and includes a baritone from the imperial opera house in Warsaw singing Indian Love Lyrics in front of an art cur ta in. In Paris there are one or two Chaplin films visible nearly every day; in New York the Rialto Theatre alone seems to make a habit of Chaplin
' Except that supplied by the professional journals-often excellent.
revivals and of putting its comic feature in the electric sign. The Capitol, the largest, and rapidly becoming the most genteel, of moving picture palaces (but who ever heard of an opera palace~) frequently announces a programme of seven or eight items wi thout a comedy among them; and you have to go to squalid streets and disreputable neighborhoods if you want to see Chaplin regularly. He could ask for no finer tribute, to be sure; but it is not much to our credit that the greatest mimic of our time has n o theatre named after him, that it was in Berlin, not in Chicago or New York, that the first Chaplin festival took place, and that Tillie's Punctured Romance, a film intensely important in his development, was last billed in a converted auction room on th e lower East Side of New York, where Broadway would find it vulgar.There were always elements in the Keystone which jeopardized its future-it lacked variety, it was often dull, its lapses of taste were serious. (I transfer the name of Keystone to the genre of which it was the most notable example; it was for long, and ma y still be, superior to most of the others.) But, while there is still time, its miraculously good qualities can be caught and possibly preserved. The ideal comedy of Mack Sennett is a fairly standardized article; too much so, perhaps, but the elements ar e sound. They include a simple, usually preposterous plot, frequently a burlesque of a serious play;
more important are the characters, grotesque in bulk, form, or make-up; and, finally, the events which have as little connexion with the plot as, say, a clog dance in a musical comedy. In the early days of the Keystone, it is said, the plot was almost non existent in advance, and developed out of the set and the props. The one which was called, in revival, The Pile Driver, must have been such a film, for its plot is that two men meet a pretty girl near a river and they find a huge mallet. It is a film full of impromptus--not very brilliant ones, as a matter of fact-in which Sennett and Chaplin and Mabel Normand each occasionally give flashes of their qualities. A few years later you see the same thing when the trick of working up a film from the material i n hand has become second nature. His Night Out presents Ben Turpin and Charlie Chaplin as equal comedians: two men on a drinking party, stumbling into a luxurious hotel, reverting automatically to the saloon from which they have been thrown, mutually assi sting and hindering each other in a serious effort to do something they cannot define, but which they feel to be of cosmic importance. Later, one finds a more sophisticated kind of comic. Bright Eyes has to do with a gawky young man, reputed rich, receive d into a wealthy family, engaged to the daughter, denounced as an impostor, reduced to the kitchen, flirting there with the maid, restored to favour, and, nobly refusing the daughter's hand,
marrying the maid. Here Ben Turpin had good moments, but much of the gaiety of the film depended upon Chester Conklin (or one who much resembles him) as another servant in the house, bundling himself up in furs like Peary in the Arctic, bidding farewell a t an imaginary outpost of civilization, and striding into-a huge refrigerator, to bring back a ham before the adoring eyes of the cook.
The comic film is by nature adventurous and romantic, and I think what endears it to us is that the adventure is picaresque and the romance wholly unsentimental-that is, both are pushed to the edge of burlesque. For the romance you have a love affair, fre quently running parallel to a parody of itself. The hero is marked by peculiarities of his own: the Chaplin feet, the Hank Mann bang and sombre eyes, the Turpin squint, the Arbuckle bulk; against these oddities and absurdities plays the serene, idle beaut y of a simple girl (Edna Purviance or Mabel Normand in her lovely early days), and only on occasions a comic in her own right like Louise Fazenda or Polly Moran. In some five hundred slap stick comedies I do not remember one single moment of sentimentalit y; and it seems to me that every look and gesture of false chivalry and exaggerated devotion has been parodied there. The characteristic moment, after all, is when the comedy is ended, and just as the hero is about to kiss the heroine he winks broadly and ironically at the spectators.
Our whole tradition of love is destroyed and outraged in these careless comedies; so also our tradition of heroism. And since the moving picture, quite naturally, began by importing the whole baggage of the romantic and sentimental novel and theatre, the moving-picture comedy has at last arrived at burlesquing its silly-serious half-sister. Two years before Merton of the Movies appeared, Mack Sennett, with the help of Ben Turpin's divinely crossed eyes, had consummated a burlesque of Messrs Griffith, Ince, and Lubitsch, in A Small Town Idol, far more destructively, be it said, than Chaplin in his Carmen, and with a vaster fun than Merton.
Everything incongruous and inconsequent has its place in the unrolling of the comic film: love and masquerade and treachery; coincidence and disguise; heroism and knavishness; all are distorted, burlesqued, exaggerated. And-here the camera enters-all are presented at an impossible rate; the culmination is in the inevitable struggle and the conventional pursuit, where trick photography enters and you see the immortal Keystone cops in their flivver, mowing down hundreds of telegraph poles without abating th eir speed, dashing through houses or losing their wheels and continuing, blown to bits and reassembled in midair; locomotives running wild, yet never destroying the cars they so miraculously send spinning before them; airplanes and submarines in and out ' Of their elements-everything capable of motion set
into motion; and at the height of the revel, the true catastrophe, the solution of the preposterous and forgotten drama, with the lovers united under the canopy of smashed motor cars, or the gay feet of Mr Chaplin gently twinkling down the irised street.
And all of this is done with the camera, through action presented to the eye. The secret of distortion is in the camera, and the secret of pace in the projector. Regard them for a moment, regard the slapstick as every moment explains itself, and then go t o the picture palace and spend one-third of your time reading the flamboyancies of C. Gardner Sullivan and another third watching the contortions of a fa mous actress as she "registers" an emotion which action and photography should present directly, and you will see why the comic film is superior. There is virtually no registering in the comedy, there is no senseless pantomime, and the titles are succinct and few. In Bright Eyes, as the marriage of convenience is about to take place, the mother sweeps in with these words, "Faint quick-he's dead broke." An absurd letter or telegram is introduced to set the play going; the rest is literally silence.
What I have said about Chaplin regards him as a typical slap-stick comedian.' The form would have succeeded without him and he has passed beyond the form entirely. The other practitioners of the art come out of his shadow, and some of them are excel-
' But there is more to say; a little of it occurs on page 41.
lent. What makes Chaplin great is that he has irony and pity, he knows that you must not have the one without the other; he has both piety and wit. Next to him, for his work in His Bread and Butter and a few other films, stands Hank Mann, who translates t he childlike gravity of Chaplin into a frightened innocence, a serious endeavour to understand the world which seems always hostile to him. He was trained, I have been told, as a tragic actor on the East Side of New York, and he seems always stricken with the cruelty and madness of an existence in which he alone is logical and sane. If he, walking backward to get a last glimpse of his beloved (after "A Waiter's Farewell," as the caption has it), steps on the running board of a motor instead of a street ca r, he is willing to pay the usual fare and let bygones be bygones. His black bang almost meets his eyes, and his eyes are mournful and piteous; his gesture is slow and rounded; a few of the ends of the world have come upon his head and the eyelids are a l ittle weary. He is the Wandering Jew misdirected into comic life by an unscrupulous fate.
His most notable opposite is Harold Lloyd, a man of no tenderness, of no philosophy, the em bodiment of American cheek and indefatigable en ergy. His movements are all direct, straight; the shortest distance between two points he will traverse impudently and persistently, even if he is knocked down at the end of each trip; there is no poetry
in him, his whole utterance being epigrammatic, without overtone or image. Yet once, at least, he too stepped into that lunatic Arcadia to which his spirit is alien; not in Grandma's Boy, which might just as well have been done by Charles Ray, but in A Sailor-made Man. Here the old frenzy fell upon him, the weakling won by guile, and instead of fighting one man he laid out a mob from behind; something excessive, topsy-turvy, riotous at last occurred in his ordered existence. He is funny; but he has no vulgarity; he is smart. He amuses me without making me laugh, and I figure him as a step toward gentility.
Ben Turpin has progressed, fortunately without taking that step. In Bright Eyes he was mildly absurd; in His Night Out, with Chaplin, he was tremendously funny; and what he learned there of the lesson of the master he imported into his private masterpiece, A Small Town Idol. Like Chaplin, he disarms you and endears himself; unlike him, and often to Turpin's advantage, he knows how to be ridiculous. One always sees Chaplin's impersonations as they see themselves. Is he a count or a pretender,or an English gentleman, or a policeman, or a tramp, the character is completely embodied; Chaplin never makes fun of himself. The process of identification is complete and, apart from the interest and the fun of the action, your chief pleasure is in awa iting the inevitable denunciation. Ben Turpin, who has only
a talent for Chaplin's genius, makes the most of it and lets you see through him. His exaggerations do more than reveal-they betray, and above all they betray the fact that Turpin is aware of the absurdities of his characters; you see them objectively, an d through him you see through them.
When he returns home as the Wild West screen hero, and his own picture is shown before those who so recently had despised him, his deprecating gesture before the screen on which his exploits are being shown is so broad, so simple-silly, that it is more th an a description of himself as he thinks it is, and lets us perceive his absurdity. He is exactly a zany.
Three other buffoons of the old Keystone days retain their capacity to be amusing: the galvanic, jack-in-the-box, Al St John; Mack Swain, and Chester Conklin; they are exactly as they were ten years ago, and one fancies they will never be great. The diffi cult person to be sure about is Buster Keaton, who came to the pictures from vaudeville, and has carried into his new medium his greatest asset, an enormous, incorruptible gravity. He never smiles, they say, and I have sat through some of his pictures--The Boat, for one--without seeing any reason why he should. It was a long mechanical contrivance with hardly any humour, and was considered a masterpiece; while The Paleface, in which Keaton played an entomologist captured by Indians, passed unnoticed. It ha d nearly everything a comic needs, and
there were certain movements en masse, certain crossings of the lines of action, which were quite perfect. Keaton's intense preoccupation and his hard sense of personality are excellent. In Cops he took a purely Keystone subject and multiplied and magnified it to its last degree of development: thousands of policemen rushed down one street; equal thousands rushed up another; and before them fled this small, serious figure, bent on self-justification.) caught in a series of absurd accidents, wholly law-abi ding, a little distracted. I do not think one will soon forget the exquisite close of that picture: the whole police force forming a phalanx, hurled as one body into the courtyard of the station-and then the little figure which, having been trapped within , seems doomed to arrest, coming out, itself accoutred in uniform, and quietly, quietly locking the huge doors behind it. It, yes; for by that time Keaton has become wholly impersonal. So affecting Larry Semon has never been; nor Clyde Cook; and behind th em, but longo intervallo, come the misguided creatures who make the kind of slapstick which most people think Sennett makes. I am sure there are other good comedians; but I am not trying to make a catalogue. No one, in any case, has been able to impose hi mself as these few have; and most of the others are so near in method and manner to these that they require nothing fresh to be said of them.
It seemed for a moment, in 1922, that if a con-
fessed murderer were set free by a jury, he or she went into the movies; but if a moving-picture actor was declared innocent, he was barred from the screen. The justice of this I cannot discuss; yet a protest can be made against the aesthetically high-min ded who said that the real reason for barring the films of "Fatty" Arbuckle was their vulgarity and their dulness. For "Fatty" had gone over to a comedy more refined than slap-stick long before 1922; and in 1914 he was neither stupid nor dull. Once indeed, in Fatty and Mabel Adrift (Mabel being Miss Normand) he came near to the best of slap-stick, and the same picture was as photography and printing, for sepia seascapes and light and shade, a superior thing entirely. The fatuous, ingratiating smile was i nnocent then, in all conscience, and as for vulgarity--
Let us, before we go to the heart of that question, look for a moment at the comedy which was always set against the slap-stick to condemn the custard pie school of fun-the comedy of which the best practitioners were indisputably Mr and Mrs Sidney Drew. I n them there was nothing offensive, except an enervating dulness. They pretended to be pleasant episodes in our common life, the life of courtship and marriage; they accepted all our conventions; and they were one and all exactly the sort of thing which t he junior class at high school acted when money was needed to buy a new set of erasers for Miss Struther's course in mechanical drawing. The husband stayed
out late at night or was seen kissing a stenographer; the wife had trouble with a maid or was extravagant at the best shops; occasionally arrived an ingenuity, such as the romantic attachment of the wife to anniversaries contrasted with her husband's negl igence--I seem to recall that to cure her he brought her a gift one day in memory of Washington's birthday. These things were little stories, not even smoking-room stories; they were acted entirely in the technique. of the amateur stage; they were incredi bly genteel, in the milieu where "When Baby Came" is genteel; neither in matter nor in manner did they employ what the camera and the projector had to give. And, apart from the agreeable manners of Mr and Mrs Sidney Drew, nothing made them successful exce pt the corrupt desire, on the part of the spectators, to be refined.
Nothing of the sort operated in the far better (feature film) comedies which Douglas Fairbanks made when he was with Fine Arts. To suit his physique, they were almost all adventurous; they were always entertaining. Flirting With Fate' presented a young man who had decided to die and gave "Automatic Joe," a gunman, his last fifty dollars to "bump him off" unexpectedly. Once the agreement was made, the tide of fortune turned for the young man, and, desiring earnestly to live, he felt the paid hand of the as sassin always upon his
' Scenario by the adroit Anita Loos.
shoulder. At the same time the gunman had reformed; his one object was to return the unearned fifty dollars. And the cross-purposes, the chase and flight, were within short distance of high farce. The comedies of Charles Ray were also unpretentious, and a lso used the camera. These and others were always perfectly decent; but none of them was refined.
And there, essentially, we are back at slap-stick; for the refined comedy was pretentious, and what is pretentious is vulgar in any definition of the word; while slap-stick never pretended to be anything but itself and could be disgusting or tasteless or dull, but it could not be vulgar. I consider vulgar the thing which offends against the canons of taste accepted by hone~t people, not by imitative people, not by snobs. It is equally bad taste, presumably, to throw custard pies and to commit adultery; bu t it is not bad taste to speak of these things. What is intolerable only is the pretense, and it was against pre tentiousness that the slap-stick comedy had its hardest fight. It showed a man sitting down on a lighted gas stove, and it did not hesitate to disclose the underwear charred at the buttocks which were the logical consequence of the action. There was never the slightest suggestion of sexual indecency, or of moral turpitude, in the Keystones; there was a fuller and freer use of gesture-gesture wi th all parts of the human frame-than we are accustomed to. The
laughter they evoked was broad and long; it was thoracic, abdominal; it shook us because it was really the earth trembling beneath our feet. The animal frankness and health of these pictures constituted the ground of their offense. And something more.
For the Keystone offended our sense of security in dull and business-like lives. Few of us imagined ourselves in the frenzy of action which they set before us; none of us remained unmoved at the free dom of fancy, the wildness of imagination, the roaring, destructive, careless energy which it set loose. It was an ecstasy of comic life, and in our unecstatic lives we fled from it to polite comedy, telling our selves that what we had seen was ugly and displeasing. Often it was. I am stating the case for sla pstick, but I do not wish to make myself responsible for the millions of feet of stupidity and ugliness which have been released as comic films. I have seen Ham and Bud and the imitators of Charlie Chaplin; I have seen an egg splattered over a man's face with such a degree of nauseous ugliness that it seemed I could never see a comic again. But as like as not, on the same bill was the James Young screen version of The Devil with George Arliss, or Geraldine Farrar in Carmen, or the "'Affairs of' Anatol." And when people who have seen these "artistic" films, or the barber-shop scene in a Hitchcock revue or Eddie Cantor in a dentist's chair, exclaim (falsely) that moving-picture comedians do nothing but throw pies,
I am moved to wonder what on earth they are expected to throw. They are using the eternal materials of their art, precisely as Aristophanes used them and Rabelais, with already far too many concessions to a debased and cowardly and artificial taste. At th e two extremes simple and sophisticated people have looked directly at the slap-stick screen and loved it for itself alone; in between are the people who can see nothing without the lorgnettes of prejudice provided by fashion and gentility. The simple one s discovered and prospered the slap-stick screen long before the sophisticated were aware of its ex istence; they took it for what it was and cared nothing for the fact that it was made by inartistic people and shown in reeking rooms for a nickel. For lon g the poison of culture was powerless to enter; but not long enough.
I feel moderately certain that the slap-stick comedy is a good thing for America to have; yet, being neither an apostle of pagan joy nor a reformer, I have to put my plea for slap-stick on personal grounds. It has given me immeasurable entertainment and I would like to see it saved; I would like to see a bit more of its impromptus, its unpremeditated laughter; I would like to do something to banish the bleak refinement which is setting in upon it.
Seven years ago, in an imaginary conversation, I made Mr David Wark Griffith announce that he would produce Helen of Troy, and I made him
defend the Keystone comedy. It seemed to me then as now that there is nothing incongruous in these subjects; properly made, they would be equally unrefined, but Helen of Troy, being in the grand manner, would be called "artistic." Mr Griffith has not made Helen of Troy, and the pre-eminent right to make it has passed from his hands. The Keystone, with its variations, needs still an authoritative de fender and an authoritative critic. It is one of the few places where the genteel tradition does not operate , where fantasy is liberated, where imagination is still riotous and healthy. In its economy and precision are two qualities of artistic presentation; it uses still everything commonest and simplest and nearest to hand; in terror of gentility, it has refr ained from using the broad farces of literature-Aristo phanes and Rabelais and Moliere-as material; it could become happily sophisticated, without being cultured. But there is no fault inherent in its nature, and its virtues are exceptional. For us to app reciate slap-stick may require a revolution in our way of looking at the arts; having taken thought on how we now look at the arts, I suggest that the revolution is not entirely undesirable.


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Although some Italian farmers are interested in the cultivation of GMO, the majority of consumers and farmers are opposed to GM crops and products. Consequently, many regions, provinces, and communes have decided to remain GM-free zones.
13 out of the 20 Italian regions have already declared themselves GM-free. More regions will follow in 2006. Most of these regions apply the precautionary principle, in order to prevent any risk to human health or the environment. The regions that already passed their anti-GMO legislation are Liguria, Alto Adige, Emilia-Romagna, Tuscany, Marche, Umbria, Latium, Abruzzo, Apulia, Basilicata, and Calabria. However, the most important maize producing regions (Lombardy, Veneto, and Friuli-Venezia Giulia) have not passed such legislation, and local farmers organisations in these regions have expressed favour towards allowing GM crop plantings.
The biotechnology industry demands that GM admixtures simply be considered "impurities".
Organic farmers are strictly opposed to the use of GM crops. The organic standard explicitly forbids the application of GMOs.
Prior to the installation of each law governing the use of GMOs, there have been consultation activities involving all relevant stakeholders.
Many environmentalist and consumers' groups lobby against GM plants in Italy. Among them are the Resistance against Frankenfood and Biopiracy (RFB), Greenpeace, and the WWF. The European Consumer Consultive Group (ECCG) has stated: "GM crops must be contained to prevent contamination of GM-free food. Italian people are proud of their food and don't want to eat GM."
13 regions, 37 provinces, and 2075 communes have declared themselves GM-free territories; further regions are considering joining them.

subset: commoncrawl


text:
3D Food Printer Could Sustain Long-Distance Space Explorers
May 22, 2013 5:00 AM PT
In space no one can hear you call out for pizza, but technology being developed in a NASA-funded project might let astronauts print one instead -- or any number of potentially delectable meals.
Systems and Materials Research Corporation received a US$125,000 grant from NASA to build a prototype device that prints food.
The project, led by mechanical engineer Anjan Contractor, is still quite a ways from the replicator technology of Star Trek, but it could be the next step in providing sustenance for those planning to leave the Earth's orbit.
"There is serious work being done on this end," said Chris Carberry, executive director of Explore Mars. "This is being developed very much to help get us to Mars. It certainly is one step that is necessary in getting there."
3D Printing of Food
The technology will utilize progressive 3D printing and inkjet technologies; SMRC will design, build and test a complete nutritional system for long-duration missions beyond low Earth orbit.
To illustrate the concept, Contractor has envisioned a test system that could print a pizza. For starters, the printer would create a layer of dough, which would be cooked while printed. Then tomato powder would be mixed with an oil and water solution to create the sauce. A topping could include a nondescript protein layer.
"Printing food this way could be a pretty big deal for long-term stays in space and Mars," said futurist Glen Hiemstra, "and also for us here on Earth."
3-Step Process
The process of getting NASA funding for the project is almost as complex as printing 3D food.
"We are in negotiations to sign a contract," said NASA spokesperson David Steitz. "The first step is to apply for the Small Business Innovation Program, which program has three stages. The first is the feasibility study, where we look at the proposal. ... We then award a contract to build a prototype -- and finally, the third part is to partner with a third party to build a business that can become a NASA contractor."
SMRC has passed the first milestone and has received a $125,000 grand for six months to deliver that feasibility study based on the concept. The company could then apply for a $750,000 grant, which would give it two years to develop a prototype and would lead to actually testing the food with astronauts.
Weight Savings
One of the biggest reasons for developing a printed food solution is weight -- not the type that's carried around waistlines, but the type filling spacecraft cargo holds.
"One of the challenges we face with deep space exploration is weight and mass in terms of the size of the craft and the fuel used," Steitz told TechNewsWorld. "It is one thing to go up to low Earth orbit, such as the International Space Station, where basic materials such as food can be resupplied. But this isn't the case with missions to Mars or the asteroids."
The important areas of research thus continue to be in human life support systems, including everything from air to water to food. Contractor is just one of many innovators addressing a big problem.
"We have some of the smartest minds in house working on food storage, but with all innovation required to get us out there, you can't just rely on your brightest minds alone," said Steitz.
3D Parts Printing
While this latest research could change the way people eat in space, 3D printing could have applications well beyond the table.
"In 2015, we'll bring a 3D printer to the space station, which will be the first time we'll even test added manufacturing in space," Steitz noted. "We've looked at this for spacecraft parts that in the past had been created by hand. So we have a lot of experience with added manufacturing and 3D printing technology."
NASA's goal is to eventually print a whole spacecraft -- and to do it in space rather than on Earth. This could allow for significant design changes.
Printing Money
Whether it's the spacecraft itself, its parts, or the food that astronauts eat, added manufacturing means money saved.
"Right now, it costs about (US)$10,000 per pound to take something just into low orbit," said Steitz.
"Therefore, on long missions, we have to improve the sustainability with air, water and food -- and 3D printing provides a great potential for that," he added.
"The potential benefits would be that the form and fit in the delivery system could be addressed, as well as the inclusion of critical nutrients such as protein," Steitz added. "There are obviously issues to be worked out, such as what it would taste like and what would it look like, but we'll get there."


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text:
The Universalis program contains two main views.
The text view shows the text of the page you want. It is described below.
The calendar view shows the calendar, listing days, dates and feasts. Read about it here.
You can have one or other view on the screen, or both together. A control at the bottom left of the Universalis window lets you choose the view you want; so does the View menu.
You will also want to read about preferences and special commands.
The button at the top left takes you directly to today's date after you have been viewing dates in the future or in the past. The menu command Date > Go to Today does the same thing.
The left and right buttons move you back and forward by one day. The Date menu has commands that do the same thing. The numbered button between the arrows will take you to the calendar view.
The control at the top right lets you move from one page to another. The Hour menu lets you do the same thing.
To change the size at which the text is displayed, use the View menu.
Here and there in some of the pages, you will see a pale blue arrow on the right-hand side. These arrows let you choose among various options within the page.
Universalis tries to be intelligent in remembering your choice. For instance, if you chose to have the Invitatory Psalm at Morning Prayer today, it will show it to you at Morning Prayer again tomorrow. Of course, if it has guessed wrong, you can use the blue arrow to correct it.
|This website © Copyright 1996-2013 Universalis Publishing Ltd (contact us)


text:
On a cool, clear day made for football, Art Modell was laid to rest. Just 12 hours after the Ravens won their opener, 44-13 over the Cincinnati Bengals, more than 400 people — including quarterback Joe Flacco, running back Ray Rice and linebacker Ray Lewis — gathered at Baltimore Hebrew Congregation to pay homage to Modell, the team's former owner, who died at 87 on Sept. 6.
"Art was a special guy who did so much for the game and community," said Flacco, adding that the Ravens were inspired by Modell's spirit Monday night. "He was having fun upstairs, no doubt."
Players, politicians and ordinary people dressed in purple, mostly neckties or dresses, took part in the 90-minute service, a heartfelt celebration of the life of the man who brought the Ravens to Baltimore in 1996, following the Colts' departure 12 years earlier.
"Art gave us back our pride," Gov. Martin O'Malley said. "When the Ravens won the Super Bowl [in 2001], we had the bounce back in our step again. I'll never forget that day at City Hall, when he held up the [Vince Lombardi] trophy and people, black and white, hugged each other on those cobblestones.
"We were back — and Art Modell did that for us."
Speakers included Roger Goodell, commissioner of the NFL, who called Modell "a legend, a visionary and an original" who, as owner of the Cleveland Browns, helped create Monday Night Football in 1970.
"Many owners were against it at the time," Goodell recalled. "Art convinced them it would work. He said, 'I'll take the first [Monday night game] and show you. Just give me Joe Namath [and the New York Jets] at home.
"That game drew the largest crowd in Cleveland history."
Goodell was among those who remembered Modell's puckish sense of humor. Once, he said, before a game between Cleveland and Pittsburgh, Steelers' owner Art Rooney — flanked by five priests — showed up at Modell's box to wish the Browns owner luck.
"As Rooney left, Art turned to his group and said, 'I need more rabbis.' "
Said Goodell, "We will miss him dearly, but with a smile on our face."
Lewis also spoke at the service, praising Modell's unabashed nature.
"This man used to grab me all the time, kiss me on my face and tell me how much he loved and cared for me," the Ravens' senior leader said. "This man lived a life that should make every person in this room smile and find a way to impact somebody along the way, because when all is settled, what will your legacy be? At the end [of Modell's life], we can say, 'well done.' "
Others in attendance: Steve Bisciotti, Jim Irsay and Jerry Jones, owners of the Ravens, Indianapolis Colts and Dallas Cowboys, respectively; John Harbaugh and Brian Billick, Baltimore's head coaches, present and past; and Jim Brown, Cleveland's Hall of Fame fullback.
Current Ravens players included receiver Torrey Smith and Haloti Ngata, the Pro Bowl defensive end who came "to support Art's family and to show my love for him."
Among the former Ravens and Colts were Hall of Famer Lenny Moore, Lydell Mitchell, Tom Matte, Matt Stover, Todd Heap, Jamie Sharper, Peter Boulware, Michael McCrary, Rob Burnett, Kyle Richardson, Bruce Laird and Toni Linhart.
John Modell acknowledged his father's repeated snub for inclusion in the Pro Football Hall of Fame.
"That recognition may come some day," he said. "But Art has already been enshrined in the hall that matters most — God's great hall. His bust already stands in the very front room of kindness, friendship, integrity, humility ... and love."
David Modell noted his father's benevolence, to groups and individuals.
"His name may be on buildings, but it's also etched in the hearts of those whose lives he quietly touched," Modell said.
He also recounted his father's last days, and how humor helped him cope.
"He was up to his old tricks at the [Johns Hopkins] hospital last week," Modell said. "Asked if he were comfortable, dad said, 'I make a living.' Asked how he slept, he said, 'Like a baby — I woke up every two hours, crying.' Asked how he felt, my father said, 'Like a 20-year-old, but where do you find one at this hour?'
"Even in his time of need, he had a smile for everyone who came into the room. When [a nurse] woke him up in the middle of the night to draw blood, Poppy looked at him and said, 'Thank you.' "
Before his dad died, David Modell said, "I was holding his hand. I told him, 'See, Poppy? Two grown men holding hands isn't so bad.' And he laughed. It was our last communication in this world, a laugh."
Art Modell, family and friends agreed, wouldn't have wanted otherwise.


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Five judges will be honored by the New York State Bar Association at an October 18 event that kicks off National Pro Bono Week (October 20–26, 2013). The event, "Recognizing Judges Who Support Pro Bono and Access to Justice Initiatives," will be held at the State Bar Center in Albany. "During National Pro Bono Week, we shine a light on attorneys who do the public good through their volunteer legal services for the poor. This year, we also recognize five judges who have facilitated the excellent work done by pro bono lawyers in bankruptcy cases, landlord/tenant matters and domestic violence disputes, " said State Bar President David M. Schraver of Rochester (Nixon Peabody). "I congratulate the judges for their efforts to ensure justice for all."The honorees are: Hon. George B. Ceresia, Jr., justice of the Supreme Court, Rensselaer County, is being honored for leading pro bono and access-to-justice initiatives while serving as the administrative judge for the Third Judicial District.Hon. Christine M. Clark, justice of the Supreme Court, Schenectady County, is being recognized for her willingness to refer domestic violence victims to The Legal Project for pro bono assistance and making the program's brochures available in her courtroom.Hon. Robert E. Littlefield, Jr., chief judge, U.S. Bankruptcy Court of the Northern District of New York, is being honored for strong support and encouragement of pro bono work by bankruptcy attorneys. Hon. George H. Lowe, retired, U.S. magistrate judge, is being recognized for his role as co-chair on the State Bar Association's President's Committee on Access to Justice and lifelong support of initiatives to expand access to justice.Hon. Gary F. Stiglmeier, Albany City Court, is being honored for his leadership role in establishing the Attorney–for-the-Day Program, which provides low-income tenants facing eviction a consultation with a pro bono attorney during their first appearance in Housing Court.The American Bar Association (ABA) established National Pro Bono Week in 2009 to support local efforts to expand the delivery of pro bono legal services, recognize the significant efforts of pro bono attorneys and showcase the tremendous difference that pro bono lawyers make to our system of justice, our communities and, most of all, to the clients they serve.The 76,000-member New York State Bar Association is the largest voluntary state bar association in the nation. It was founded in 1876.
-30-Contact: Brandon J. Vogel Media email@example.com


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INFLUENZA and ClonidinePatientsVille
INFLUENZA Symptoms and Causes
Flu is a respiratory infection caused by a number of viruses. The viruses pass through the air and enter your body through your nose or mouth. Between 5% and 20% of people in the U.S. get the flu each year. The flu can be serious or even deadly for elderly people, newborn babies, and people with certain chronic illnesses.
Symptoms of the flu come on suddenly and are worse than those of the common cold. They may include
Is it a cold or the flu? Colds rarely cause a fever or headaches. Flu almost never causes an upset stomach. And "stomach flu" isn't really flu at all, but gastroenteritis.
Most people with the flu recover on their own without medical care. People with mild cases of the flu should stay home and avoid contact with others, except to get medical care. If you get the flu, your health care provider may prescribe medicine to help your body fight the infection and lessen symptoms.
The main way to keep from getting the flu is to get a yearly flu vaccine. Good hygiene, including hand washing, can also help.
NIH: National Institute of Allergy and Infectious Diseases
Check out the latest treatments for INFLUENZA
➢ INFLUENZA treatment research studies
➢ Clonidine clinical trials, surveys and public health registries


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52 weeks, 52 things to do in 2013
Another year gone, another year in which you missed out on 95 percent of the cool things happening around the world.
No more excuses.
This list sets up your 2013 how it should be -- planned to the hilt with amazing, riotous, joyful, Facebookable things to do and photograph in as many countries as possible.
Now stop reading. Start planning.
1. Loony Dook
When: January 1
Where: South Queensferry, Scotland
Edinburgh's huge Hogmanay (New Year) shindig suggests the best way to be rid of the festive cobwebs is to throw yourself into the icy waters of the River Forth.
Surprisingly, quite a few people subscribe to this theory and the recently instituted event attracts masochists from around the world, many in fancy dress.
The name, derived from Scots for lunatic (loony) and swim (dook), is entirely apt.
Getting there: South Queensferry is a 20-minute train, car or bus ride from the Scottish capital Edinburgh; www.theloonydook.co.uk
2. Camel wrestling
When: January 13
Where: Selcuk, Turkey
Just as men have been getting hot under the collar about the fairer sex since time immemorial, so too have camels.
Tracing its origins to ancient Turkic tribes more than 2,400 years ago, the ancient sport of camel wrestling puts two bull camels together with a female camel in heat.
The two boys battle it out for her affection. If a male camel retreats, falls or screams, he loses.
Getting there: Selcuk is located on the Aegean coast of Turkey, 55 kilometers from the major hub of Izmir. Trains connect the towns.
3. Ati Atihan Festival
When: January 13-20
Where: Kalibo, Panay, Philippines
The Pinoy appetite for a good knees-up is legendary and this weeklong frenzy of tribal dance, music and costume is one of the country's best.
A fusion of ancient pagan beliefs and devout tribute to Santo Nino (the infant Jesus), the festival is nothing if not schizophrenic. The sheer exuberance of the celebrations drowns out the ambiguities.
Getting there: There are regular flights between Kalibo and Manila on Philippine Airways or Cebu Pacific; itsmorefuninthephilippines.com
4. Kumbh Mela
When: January 27-February 25
Where: Allahabad, Uttar Pradesh, India
Milling around with up to 70 million other souls with the purpose of taking a dip in a slightly unpleasant river might not be everyone's idea of festival fun.
For India's devout Hindus, however, the opportunity to purify sins by bathing in the holy Ganges is not to be passed up.
Dating back thousands of years, the Kumbh remains an awe-inspiring and humbling ritual.
5. Up Helly Aa
When: January 29
Where: Lerwick, Shetland Isles, Scotland
Winters in Shetland are no picnic. Long, dark and unforgiving, they demand the odd injection of rambunctious levity.
That's what this flamboyant fire festival delivers. A good humored and rather boozy way of marking the end of the Yule season, the festival involves a procession of up to a thousand torch-carrying participants in Lerwick.
The procession culminates with torches being thrown into a replica Viking longship. Then the party begins ...
Getting there: Fly to Lerwick from Edinburgh, Glasgow or Aberdeen; www.uphellyaa.org
6. Superbowl Sunday
When: February 3
Where: New Orleans, Louisiana, United States
Manna from heaven for couch-potato sports fans, the epically dimensioned culmination of the gridiron season is perhaps best observed from the comfort of a La-Z Boy with plentiful beer, nachos and friends.
The live experience, however, is never less than memorable and the fact that this year's installment takes place during Mardi Gras time in the Superdome adds extra incentive to get off the sofa.
Ticket prices might just put you off though.
Tickets from US$2,118; www.nfl.com
7. Cerro Abajo Urban Downhill Race
When: February 17
Where: Valparaiso, Chile
Downhill bike races are pretty mad affairs at the best of times and this one can stake a fair claim to being the world's most certifiable.
After pushing off high up in the barrios that cling to the mountains in Valparaiso, competitors navigate a course that weaves around stairs, inside buildings and through windows.
Lax crowd restrictions mean you can get to within a few feet of the action.
Getting there: Valparaiso is 111 kilometers north of Santiago and is well served by domestic transport links; www.valparaisocerroabajo.cl
8. Pingxi Sky Lantern Festival
When: February 24
Where: Pingxi, Taiwan
The first full moon after the lunar New Year sees Chinese in many cities across Asia light and release lanterns into the night sky.
One of the most spectacular celebrations is held in the mountain town of Pingxi in northern Taiwan, to which thousands of people trek each year.
Individuals buy lanterns, write their wishes inside and release them into the heavens simultaneously.
Getting there: Pingxi is not far from the Taiwanese capital Taipei. Be warned, however, the popularity of the festival means that buses and trains get jammed.
9. Sydney Mardi Gras
When: February 8-March 3
Where: Sydney
What started as a reaction by Sydney's gay community to harassment from Australian police has morphed into a major boon for the local economy.
The three-week extravaganza of parties, exhibitions and events attracts thousands of visitors -- gay and straight -- from around the world.
This year's spectacular conclusion, the Mardi Gras Parade and Party, takes place on Sunday, March 2, as the festival marks its 35th birthday.
Getting there: Events are held all over Sydney; www.mardigras.org.au
10. South By Southwest
When: March 8-17
Where: Austin, Texas, United States
What: While many music lovers find the idea of being cooped up at a festival constrictive, the jamboree that is SXSW tends to keep all comers happy.
A 10-day splurge of film, games and music, the festival turns already vibrant Austin into the world capital of music for its duration.
Past performers read like a roll call of the best bands of the past two decades. Credibility is far from uniform of course, but it's a pretty consistent thrill.
Getting there: Austin is well served by domestic flights from major cities in the United States. Registration for all strands of the festival -- film, music and interactive -- starts at US$1,350; sxsw.com
11. St Patrick's Day
Where: Dublin
When: March 17
It's the night that millions of people around the world pretend to have Irish lineage in the name of excessive alcohol consumption.
It figures that the annual shindig in honor of Ireland's patron saint is best marked in the Irish capital itself.
There are religious aspects to the day -- March 17 commemorates Christianity reaching Ireland -- but you won't be alone if you choose to toast "Saint Paddy" with several pints of Guinness instead.
12. Holi Festival of Color
When: March 27
Where: Varanasi, Uttar Pradesh, India
Holi commemorates the victory of good over evil in the shape of the destruction of the demoness Holika through unswerving devotion to Lord Vishnu.
It's Vishnu's more playful reincarnation, Lord Krishna, who inspired Holi's mischievous persona.
Just as Krishna liked to play pranks on village girls by drenching them in colorful water, so too do revelers today.
The multi-hued mélange of paint-soaked humanity in the streets of holy Varanasi is one of the world's amazing sights.
Getting there: Varanasi is in the north of India and well connected by air, bus and train to all of the country's major cities.
13. April Fools' Day Parade
When: April 1
Where: New York City
While many parades and processions wallow in pomp, this annual celebration cocks a pointed snook at the foolishness of mankind.
Thousands of participants march down Fifth Avenue from 59th Street to Washington Square Park, the heart of bohemian Greenwich Village.
The march concludes with the annual crowning of the King of Fools. There's a good chance the winner will hail from the political class.
Getting there: The march starts at the intersection of 59th and Fifth in Manhattan.
14. Songkran
When: April 13-15
Where: Bangkok
Mid-April wouldn't ordinarily be the ideal time to visit Bangkok. With the dry-season in its dog days, temperatures -- toasty at the best of times -- verge on unbearable.
Nevertheless, if it's a heady dose of authentic Thai sanuk (fun) you're after, Songkran (Thailand Water Festival) is a great time to be in the capital.
With the whole country on holiday the party spirit is in full swing and the streets are full of Thais and curious visitors armed with water guns and determined to dish out a good splashing.
15. World Ski and Snowboard Festival
When: April 12-21
Where: Whistler, Canada
It's not as if Whistler had a tame après ski vibe in the first place. Every winter the combination of visiting skiers and thousands of young transient workers -- mostly from Europe and Australia -- add up to solid months of partying interjected by the odd outing on the slopes.
The biggest party of them all comes with this April festival, a 10-day riot of concerts and DJs with some sport thrown in for good measure.
Getting there: Whistler is two and a half hours from Vancouver by road. It's also possible to take a train or fly from Vancouver. Tickets go on sale end of February; www.wssf.com
16. Cinco de Mayo
When: May 5
Where: Puebla, Mexico
If you think Cinco de Mayo is merely a wheeze by Mexican restaurant owners to sell more lime-infused beer and nachos, think again.
The citizens of Puebla -- where a Mexican army bested the country's French occupiers on May 5, 1862 -- still take the celebration seriously.
Revelers from all over come to the city to take part in parades, watch concerts by big name Latino stars and partake in authentic Mexican street food.
Getting there: Puebla is a two-hour drive from Mexico City and well linked by public transport.
17. Theatertreffen
When: May 4-21
Where: Berlin
Berlin's status as Gemany's cultural capital is well established. This celebration of German-language theater from around Europe is one of a string of cutting-edge events that dot the annual calendar.
The most outstanding contemporary plays from Germany, Austria and Switzerland are performed on the Berlin Festival stage and other theaters in the city.
More information: www.berlinerfestspiele.de
18. Bay to Breakers
When: May 19
Where: San Francisco
The longest consecutively run footrace in the world was started in 1912 as a way to lift the spirits of San Franciscans after the disastrous earthquake of 1906.
Although it's no longer the largest race in the world, it still attracts around 50,000 participants.
A rowdy, fun affair, Bay to Breakers is well known for participants wearing costumes. A bit of public nudity isn't uncommon.
More information: baytobreakers.com
19. Riga Go Blonde
When: May 24
Where: Riga, Latvia
As members of stag parties from other parts of Europe know, there's no shortage of blondes in this Baltic nation.
Therefore turnout is never a problem at this annual celebration of flaxen-haired beauty.
Inaugurated in 2009 when the Latvian economy was in crisis and the nation was in need of a pick-me-up, the event -- led by former Miss Universe Marika Gederte -- is unashamedly camp and features a strict white and pink dress code.
Getting there: Riga is linked to most European capitals as well as to New York by air; www.goblonde.lv
20. Redneck Games
When: June 1
Where: East Dublin, Georgia, United States
What started as a joke response to jibes about "rednecks" hosting the 1996 Atlanta Olympics has expanded into a minor phenomenon.
Every year around 5,000 people show up to watch competitors take part in a range of slack-jawed sports such as cigarette flipping, bobbing for pigs' feet and seed spitting.
It's all tongue-in-cheek and proceeds go to local charities.
Getting there: West Dublin is located midway between Atlanta and Savannah; tickets $5; summerredneckgames.com
21. El Colacho Baby Jumping Festival
When: June 2
Where: Castrillo de Murcia, Spain
It may be just a few years shy of its 400th birthday, but northern Spain's famous "baby-jumping" festival has lost none of its bizarre lustre with age.
Cute babies are laid out on the street on a row of fluffy mattresses. Men dressed in yellow and red "devil" costumes leap over the prone infants as a way of warding off evil spirits.
Getting there: Fly to Murcia/Alicante airport and get a train.
22. Yorkshire Pudding Boat Race
When: June 9
Where: Brawby, North Yorkshire, England
To many Brits, the Yorkshire pudding -- a delicious oven-baked treat traditionally used to mop up the gravy from a Sunday roast -- is a near obsession.
That's the case with Simon Thackray, who slipped into a flour and egg batter reverie when staring out of the window of his local pub on a Sunday and started imagining people rowing down the river in a giant Yorkshire pudding boat.
His dream has become a yearly reality as competitors row across Bob's Pond in Brawby in their varnish-coated doughy boats.
Getting there: Brawby is located between York and Scarborough in North Yorkshire. The nearest train station is Malton, eight miles away; www.theshed.co.uk
23. Festa De Santo Antonio
When: June 13
Where: Lisbon, Portugal
The good thing about religious festivals in southern Europe is that they don't tend to be all that pious.
This one, in Portugal's capital, is held in honor of the city's patron saint.
It attracts thousands of Catholics who believe in the saint's miraculous healing powers. It also attracts thousands more non-Catholics who believe in the saint's miraculous powers of giving the whole city an excuse to make merry with copious amounts of food and wine.
24. Edinburgh Film Festival
When: June 19-30
Where: Edinburgh, Scotland
Previously overshadowed by the ever-expanding beast that is the city's Fringe Festival (the two were previously held concurrently), the longest continually running film festival has come into its own since being shifted to an earlier date.
While there's an emphasis on new British films, the eclectic program covers all bases, from art house productions to big-budget movies.
More information: www.edfilmfest.org.uk
25. Electric Daisy Carnival
When: June 21-23
Where: Las Vegas
If you like your tribal gatherings small this might not be the best place for you.
The biggest dance music festival in North America is a gargantuan party with attendances reaching around 115,000 in a single night.
What it lacks in intimacy it makes up for in panache, with more than 150 musical acts, 500 theatrical performers and 12 large-scale interactive and flame-wielding art installations, along with nightly pyrotechnics displays.
Getting there: The event takes place at the Las Vegas Motor Speedway. Tickets go on sale January 9; www.electricdaisycarnival.com
26. Glastonbury Festival of Contemporary Performing Arts
When: June 26-30
Where: Worthy Farm, Pilton, Somerset, England
As is its wont, the world's most famous summer music festival has long since sold out.
So established it doesn't even have to hint at headliners to get fans scrambling for tickets -- The Rolling Stones are strongly tipped to be appearing -- "Glasto" remains preeminent. For good reason.
Despite the ever-present threat of dismal British weather, the all-encompassing lineup ensures everyone is kept happy.
Getting there: Shuttle buses and charter trains transport festival goers to Glastonbury from Britain's major cities. Tickets cost £205(US$333). There will be a resale of cancelled tickets in April. Register now! www.glastonburyfestivals.co.uk
27. Toronto Fringe Festival
When: July 3-14
Where: Toronto
Art in its raw form is on display at the 25th anniversary Toronto Fringe Festival, the city's largest theater fest.
With more than 155 productions at 25 venues, from one-woman improv shows to sassy stand-ups and kiddie theater, there's top amusement every night.
More info: Tickets from US$10; fringetoronto.com
28. Singapore Food Festival
When: July
Where: Singapore
You can down renowned chili crab, snack on otak-otak or upgrade your cooking skills with chef-run lessons at the Singapore Food Festival.
Known for showcasing local chefs and giving shout outs to Singapore's Chinese, Malay and Indian roots, this gastronomy fest takes care of all food and culture needs.
More info: Free cooking demos to US$150 for workshops; singaporefoodfestival.com
29. Just For Laughs Festival
When: June 12-July 28
Where: Montreal
Montreal's Just for Laughs festival is pretty much what it says it is. Funny.
English shows begin July 10, with show themes from Ethnic to Date Night. The Place des Arts has food truck fare, outdoor games and 20-foot stilt walkers parading to drum beats.
More info: Tickets from US$45; hahaha.com
30. Community Mosaic Mural Project
When: July
Where: Jacmel, Haiti
You might know Haiti for hardships, but artist Laurel True's Community Mosaic Mural Project restores beauty in the country.
Fifteen volunteers can join to create murals in Jacmel working alongside Haitian artists to make a personal and public memory.
More info: US$1,795 includes all but airfare; Globalmosaicproject.org
31. International Berlin Beer Festival
When: August 2-4
Where: Berlin
Two thousand varieties of beer. For brew lovers, the mile-long Karl Marx Allee at the International Berlin Beer Festival lined with the likes of honey beer made by nuns to crisp Kölsch and pierogies, caters to all tastes.
May your stein be ever overflowing.
More info: isitberlin.de
32. Safari
When: August
Where: Kruger National Park, South Africa
After a day scouting wildlife at Kruger National Park in South Africa, you can lay out in luxury at the Outpost safari lodge.
Poised on stilts overlooking the valley, private villas have three sides without walls, but you can lower electric blinds if the bush hyrax spooks you.
More info: From US$490 in offseason (December-September); seasonsinafrica.com
33. Canadian National Exhibition
When: August 16–September 2
Where: Toronto
Like ten festivals in one, the Canadian National Exhibition in Toronto includes everything from roller coaster rides to acrobatics and airshow stunt pilots, plus a chance to eat deep-fried anything, including Mars bars.
More info: Tickets from US$12; theex.com
34. Summer Sonic Festival
When: August 17, 18
Where: Tokyo and Osaka, Japan
Eclectic in its lineup, hosting Rihanna, Jamiroquai and Taku Takahashi in 2012, the Summer Sonic Festival in Tokyo and Osaka has grown into Japan's biggest summer music fest.
The mix of new and throwback artists keeps things fresh.
More info: Tickets from US$157/one day (Osaka); summersonic.com
35. Braderie de Lille
When: August 31-September 1
Where: Lille, France
The Braderie de Lille is a gargantuan flea market known for great antiques and occasional junk.
Here you can eat moules-frites (mussels with chips) from a restaurant with a massive mountain of mussel shells, then watch a newbie waitress get tossed into said mountain.
36. Bestival 2013
When: September 5-8
Where: Isle of Wight, England
Winner of UK Festival Awards 2012 "Best Major Festival," Bestival 2013 promises to be equally awesome.
This Isle of Wight boutique music fest features 350 live acts on 20 stages. Although the 2013 lineup wasn't announced as of publication date, the fest has recently hosted Stevie Wonder, Florence and the Machine and The Cure.
More info: Tickets from US$194, children 12 and under free; bestival.net
37. Art Istanbul International
When: September 14-17
Where: Istanbul
First times are special, which makes the launch of Art Istanbul International, a new modern and contemporary art fair, so intriguing.
Turkish and Middle Eastern art will be on display at Hasköy Wool Yarn Factory, where new and established collectors can explore Turkey's art scene and heritage.
More info: istanbulartinternational.com
38. Singapore F1
When: September 20-22
Where: Singapore
Nothing howls louder than a Formula One race car; night races at the Singapore Grand Prix are particularly electric.
You'll get as close to the action as you're willing to pay for or catch what you miss on giant screens.
Post-race music acts perform on designated stages.
More info: Tickets from US$40; singaporegp.sg
39. Mediterranean Tall Ships Regatta
When: September 21-24
Where: Barcelona, Spain
At the Mediterranean Tall Ships Regatta in Barcelona, visitors can board vessels for a look around and chat with sailors before watching them depart.
The regatta takes place simultaneously with the cultural celebration Nuestra Señora de la Merced, which has street parades and lots of food.
More info: fnob.org
40. Aruba Caribbean Sea Jazz Music Festival
When: October 4-5
Where: Aruba
Every country has its jazz fests, but Aruba Caribbean Sea Jazz Music Festival offers a taste of its assorted culture. Cool sea breeze flutters your hair as you listen to jazz, Latin, soul and blues before feasting on pastechi and heading for the many after-parties.
More info: Tickets from US$50; caribbeanseajazz.com
41. Oktoberfest
When: October 3-20
Where: Blumenau, Brazil
The world's second largest Oktoberfest takes place far from Munich in Blumenau (population 300,000) in southern Brazil.
You'll hear the same German music, see the same German getups, engage in the same copious beer consumption, but with a subtropical backdrop.
More info: Free if you wear German clothing
42. El Cervantino
When: October 9-27
Where: Guanajuato, Mexico
A feast of folklore, El Cervantino in Guanajuato brings dance, music, theater and literature to stages across the city, so you'll see it all.
Different countries from around the world are festival guests each year for added cultural variety.
More info: festivalcervantino.gob.mx
43. Abu Simbel illumination
When: October 22
Where: Abu Simbel, Egypt
Twice a year, sun shines into the temples of Abu Simbel in Egypt, illuminating statues of four gods and believed to be a "natural phenomena."
After dark there's a music and narration show detailing the history of the Nubian monument in Ramses the Great's time.
More info: en.egypt.travel
44. TaPalma Tapas Festival
When: October
Where: Mallorca, Spain
Tapas need love, too, and they get it at Mallorca's TaPalma Tapas Festival, a food fair dedicated entirely to the small Spanish dishes.
Visitors choose a trail of tapas bars to follow and sample codfish gratin with aioli, prawns in ketaffi and even secret mini-burgers -- all for €2 each.
More info: From US$2.60/tapa; seemallorca.com
45. Rijksmuseum opens again
When: November 2
Where: Amsterdam, the Netherlands
After a decade-long closure, Amsterdam's Rijksmuseum will reopen on April 13, in time to participate in November's Museumnacht (Museum Night), an evening when about 50 city museums open after dark for exhibits, performances and free tours.
The Stedelijk and Van Gogh museums will also be reopened in time for the event.
More info: Tickets from US$23; iamsterdam.com
46. Elephant Roundup
When: November 16-17
Where: Surin, Thailand
In Surin, elephants play soccer, but only during the Elephant Roundup festival held to honor them.
After a hearty breakfast collected while parading the streets alongside dancing children, 200 elephants display their talents playing tug-of-war against humans and participating in an ancient battle reenactment.
More info: tourismthailand.org
47. Barbados Food & Wine and Rum Festival
When: November 22-25
Where: Barbados
At the Barbados Food & Wine and Rum Festival you can try Bajan street cuisine, such as fish cakes and cou-cou, while listening to steel pan music.
You'll eat seaside and let the rum connoisseur teach you how to pair food with the island's favorite distilled beverage.
More info: Tickets from US$25; foodwinerum.com
48. New Wine and Cheese Festival
When: November 24-25
Where: Budapest, Hungary
At the New Wine and Cheese Festival local winemakers showcase new wines paired with local artisan cheeses.
The Vajdahunyad Castle setting is magical and tickets include entry into the Museum of Hungarian Agriculture.
More info: Tickets US$9/day pass; visitbudapest.travel
49. Chichibu Night Festival
When: December 2-3
Where: Chichibu, Japan
Feats of human strength are on display at Japan's Chichibu Night Festival as citizens pull 10-to-20-ton yatai floats through the streets where sake abounds.
Floats adorned with lanterns convert to stages for Kabuki performances before being hoisted up a hill to the insistent beating of drums. The night ends with fireworks.
More info: nto.go.jp
50. Tignes skiing
When: December
Where: Tignes, France
After making the most of 2013, it's nice to drink a spiked hot cocoa at a chalet in Tignes and relax.
A Mark Warner ski holiday at Chalet Hotel Hauts de Toviere offers three-course dinners with wine, ski school and daycare for children. Bookings beginning on a Sunday in December get a 15 percent discount.
More info: From US$1,370 all-inclusive; markwarner.co.uk
51. Christmas shopping
When: Late November-early January
Where: Prague, Czech Republic
Prague Christmas markets have that perfect Christmassy way of making holiday shopping painless. The well-priced selection of gifts and treats doesn't hurt.
Staple items include handcrafted wooden puppets and communist-era flasks.
The preferred warming agent is medovina, a warm honey liquor.
More info: myczechrepublic.com
52. Reykjavik Christmas
When: December
Where: Reykjavik, Iceland
It's a popular week for holiday travel, but Reykjavik is a worthy place to cap off 2013.
The city teems with Christmas, hosting a Christmas of yesteryear exhibit at the City Museum, ice skating around the Laugardalur Christmas tree, plus the best holiday light display: aurora borealis.
More info: christmas.visitreykjavik.is


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Make It Work: Old School Tile in the Bath
You might not think it, but there's a lot of controversy in home decor. Animal hides. Naked pictures in the bedroom. Organizing books by color. They all have their proponents and detractors, but the one topic that gets people truly riled up is the pink tile.
Pink tile: 50's dream, modern nightmare?
For every person who feels a little murderous upon glimpsing an avocado bathtub, there's someone else starting a campaign to save the pink tile. But love it or hate it, sometimes you just have to deal with it.
Maybe you're renting. Maybe you can't afford to remodel just yet. Maybe you're an old-school tile apologist (and take heart, you are not alone!). Whatever your situation, here's a way to lessen the awfulness (or embrace the glory) of the old school tile.
Go ahead. Hang photos and paintings in the bathroom. Get a punchy shower curtain. Giving yourself something else to look at takes some of the attention away from the tile and makes everything a little more modern.
1. Okay, so your tile bath may only aspire to this kind of lighting or proportions, but you can still recreate the vintagey, hanging-photos look. The Irish Country House via The Adventures of Tartanscot.
2. Joshua's bath has great natural light. he's dressed it up with a shower curtain and some personal mementos that complement, and don't compete with, the tile. (Click here to see the full tour of his lovely Spanish-style LA home.)
3. The shower curtain and lighting fixtures in this bathroom from Design*Sponge complement the vintage tile.
4. Blogger Victoria of SF Girl by Bay calls her blue-and-pink tiled bathroom 'hideous', but we think she's totally making it work.
5. Similarly, Apartment Therapy house tour hostess Zeinab describes her bathroom as her 'biggest embarrassment' — but we think she's made it really lovely. (Click here to see the rest of Zeinab's Beachwood Canyon apartment.)
If you're feeling a little more daring (and your landlord will let you), the next step to really working the old school tile is to paint your bathroom. You can choose a color that complements the tile — above, black blends seamlessly with the accent tiles in this DC apartment, while also addding a little bit of dark drama.
Or you can make like blogger Joanna Goddard of A Cup of Jo, and pick a color that really pops. I love this bathroom's nautical vibe. And the Componibili, of course.
Punch it up with some badass wallpaper.
This is the go-to option if you are really bold. And probably you own your place. It's not a quick fix, by any stretch, but it's a good one. The thing about the pink tile (or any other kind of vintage tile) is that it's so attention-getting. 'Look at me! I am pink tile!' Once you've added a really great wallpaper, that's all anybody will be looking at.
1. This eye-popping wallpaper (seen in a bathroom from The Glitter Guide) steals the show.
2. Silhouettes of birds? Been done. Silhouettes of dogs? Feels yummy and fresh. Bathroom from Urban Grace.
3. Lovely wallpaper in a vintage tile bath from Lonny.
(Images: 1. Lonny, 2. Better Homes & Gardens Decorating Book, 1956 edition, via Hooked on Houses, all others: as credited above)


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The 2018 Hyundai Santa Fe Sport's nimble nature on the road inspires confidence. Its innovative safety and convenience features give you a comfortable and secure experience en route to any destination. Just scroll to learn the details. Santa Fe Sport's interior space can seat up to five with plenty of room to stretch out. The 40/20/40 split-folding rear seatbacks can slide and recline for passengers or be folded completely flat for maximum load-space so you have plenty of options for carrying people and cargo. Good thing the standard seats in a Santa Fe Sport are covered in YES Essentials premium cloth. It's stain resistant to make cleanup easier. Plus, this material has an antibacterial feature to help control odors and anti-static technology to help disperse the electrostatic charge that builds up as you enter and exit the vehicle. Four cameras offer a 360-degree view around Santa Fe Sport so it can help you see people and objects right on the touchscreen display. While rear parking sensors can help you safely back up in crowded parking lots. Automatic Emergency Braking is just one of a suite of available advanced safety features designed to actively make drivers aware of the seemingly endless developments and movement of traffic around your vehicle.
You agree to Best Car Finder's Terms of Use & Privacy Policy and consent to be contacted by our staff or third parties regarding this vehicle including by phone, text messages, automatic dialing system and/or pre-recorded calls.


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- Family Seach - Discover your family history with the help of this organization that has been gathering its data for over 100 years.
- Illinois School Report Cards
- North Berwyn School District
- South Berwyn School District
- Accredited Online Colleges in Illinois
- Acredited Schools Online
- Affordable Degrees Online
- Best Colleges
- Best Online Colleges of 2015
- The Best Colleges
Study Resources
- History of the Great Lakes States
- Human Body Maps - for Anatomy projects
- Coursea - free online courses
- Khan Academy - free online video instruction on many different topics
- MIT Open Courseware - a web-based publication of virtually all MIT course content.
Basic Computer Skills
- Using a Mouse - complete instruction for an inexperienced user
- Learn to Type - Instruction builds muscle memory and encourages touch typing
- 125+ Free Tutorials - Navigate your computer's operating system, decipher internet browsing, or practice Microsoft Office skills.
Career Development
- Career One Stop - for careers and resumes
- Occupational Outlook Handbook - career information about hundreds of occupations from the U.S. Department of Labor Bureau of Labor Statistics.
- OWL - Resume writing from Purdue University's Online Writing Lab
- Medical Assistant Certification - Education guide and career development
- City of Berwyn
- Cook County Clerk - Voter information
- Cook County Assessor - Property tax information
- Crime Reports - for Berwyn
Income Tax Filing Preparation
Stop in and ask at the Reference Desk -- your librarians will help you print your income tax forms, and may even provide a free copy of a requested form.
- Federal Forms
- State Forms
- Locate an IRS free tax preparation location - for people who earn $51,000 or less; no appointment required
- AARP Foundation Tax-Aide offers free, individualized tax preparation for low-to moderate income taxpayers - especially those 60 and older; appointment required
- Tax Help - find a certified and reputable local accountant or answers to common tax questions
Voter Information
Are you 18 years old or more, a legal U.S. resident living in Suburan Cook County, and want to vote - but you're not registered? The library has people on staff who can register you to vote, and it only takes a few minutes.
- Cook County Clerk - Chief election authority for Suburban Cook County. Verify your voter registration, find your polling place, see your sample ballot (when available), see a list of your elected officials and their contact information, or check your absentee ballot status.
- Better Government Association - Non-partisan organization that fights waste, fraud and corruption in city, county, suburban and state government.
- Fact Check - Non-partisan, non-profit "consumer advocate' for voters. The site monitors the factual accuracy of public statements made by major U.S. politicians.
- Illinois League of Woman Voters - Non-partisan political organization that encourages informed and active participation in government and increased understanding of major public policy issues.
- State of Illinois Election Board - Find your voter information including how to register to vote, where to register and includes information on the candidates.
- District Locator - Find out who the candidates are from your district. Gives voters the ability to search for information by district, office or address.
- Berwyn Township Map
- BigCharts - For stock quotes
- Guide to Investing - Getting started
General Information
- USPS Zip Code Finder - quick and easy zip codes
- Mapquest - for driving directions
- 411 - for directory information
- Switchboard.com - for phone numbers and reverse searches
- Consumer Affairs - product and company reviews


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Web Services Architecture Requirements - W3C Working Draft 11 October 2002 Comments from Paul Meurisse,drs.ir.lic, Managing Director. Veritas I.T. Management (www.veritasitmanagement.com) I. Context : In order to be complete while at the same time avoiding contradictions, ambiguity and non interoperability, the WSA CSF (critical success factor) hierarchies as defined in above mentioned document http://www.w3.org/TR/2002/WD-wsa-reqs-20021011 should be amended in several places. The terminology should also be extended with : - Context, - choreography of messages = ordered sequence of messages with propagation of context (see above), - business process = choreography of web services using a choreography of messages (see above) to communicate between those web services within and across trust boundaries. II. My comments (proposed amendments) : Comment 1 (amendment) : The WSA CSF hierarchies in the above requirements document should describe the lifecycle of a the web service which includes its persistence and re-activation. Comment 2 (amendment) : The WSA CSF hierarchies in the above requirements document should describe how a web service context can be created, initialised and propagated. Comment 3 (amendment) : The WSA CSF hierarchies in the above requirements document should describe the nesting (and dynamic iteration) of web services with initialisation of a context at the highest level and then the propagation of context downwards and propagation of error conditions upwards the nesting hierarchy. Comment 4 (amendment) : The WSA CSF hierarchies in the above requirements document should contain CSF hierarchies for the business processes as an orchestration of web services (using also an orchestration of messages). Indeed, business processes are web services on their own and can be used in higher business processes which are again web services. See also nesting above. Comment 5 (amendment) : WSA CSF hierarchies in the above requirements document should contain CSF hierarchies for long lived web service transactions and long lived business processes (as defined as an orchestration of web services using a choreography of messages) transactions. III. Motivations for the above comments based upon the goals and CSF hierarchies of the WSA requirements document itself. As such it contributes to the overall conceptual integrity of the requirements document (AC002.1). III.1. Motivation1 : AC017 mentions that the WSA must support (in order to allow the EDI users to evolve towards web services) interactions which are : - long running - stateful - choreographed within and across trust boundaries. But once a web service has a state (because it is a stateful interaction as mentioned in AC017 or because it is long running interaction as mentioned in AC017 with persistence of the state in order to guarantee consistency) it has to create a context to describe the state. This context can thus be used for security and transactions too. Also this context must be propagated within nested web services and communicated to other peer web services using part of the message with inter operability in mind. It also means that the WSA must define how a context is created, initialised, persisted but also what can be put in this context (structure of the context with extensibility in mind). The XML schema of this new artifact = context could have elements for : - state of the web service itself, - nesting degree - state of the higher level business process of which it is part, - security, - local and extended transactional behaviour The - context - should be propagated in the header of the SOAP header, all this defined in such a way that there is interoperability. Also when web services are choreographed we need an overall context for this choreography and this can be seen as the business process context where the business process is defined as a choreography of web services. When we talk about a choreography of web services and a choreography of messages, we have both the private view of this message choreography and the public view of it. Both need to match (means have to be defined in order to guarantee this match) because there private and public view are complementary views of the same message choreography and the business process (= web service choreography) context must be propagated by the message choreography. III.2. Motivation 2 : AC002.1 provides conceptual integrity, i.e. a unified theme rather than a set of disjoint ideas, which generally characterizes designs that are easy to understand and implement. AC002.1.1 reduces complexity by decomposition of the component's functionality and its position within the architecture AC002.1.2 eases development and maintenance of implementations of the architecture by defining architectural components that are logical, consistent, and thus easy to understand. Conform AC002.1, AC002.1.1 and AC002.1.2 it seems an absolute must to define, in addition of the - context- as mentioned in motivation 1, the orchestration of web services as a business process. I propose not only to add the necessary CSF hierarchy but also to add the new term - business process - to the general terminology and to define it as an orchestration of web services where the web services interact through a sequenced choreography of messages which are propagating the business process context. III.3. Motivation 3 : AC024 must enable peer to peer interacting web services. For me this is a simple use case for web service orchestration. III.4. Motivation 4 : AC002 provides for modular web services architecture components, with each at a level of granularity appropriate (for me granularity includes nesting of web services and business processes - defined as an orchestration of web services - which are web service again ) to meet the other goals. III.5. Motivation 5 : AC003 : is sufficiently extensible to allow for future evolution of technology and of business goals. For me this means that - context- must be defined in a formal and extensible way with interoperability in mind while being propagated through a message choreography. III.6. Motivation 6 : AR003.3 technologies following this architecture should not impede the development of complex interaction scenarios. For me complex interaction scenarios can be defined as a choreography of web services using a choreography of messages. III.7. Motivation 7 : AR003.5 systems must not be precluded from quoting, either unmodified or modified, messages within other messages, to an arbitrary depth. This should be combined with the nesting of web services and the choreography of web services.Received on Thursday, 14 November 2002 10:32:36 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 6 January 2015 19:40:41 UTC


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Course Details
EQU391 Horse Management Practicum
An applied management course emphasizing the day to day care of horses. All aspects of the daily care, health management, and show grooming of a string of horses will be practiced. (Required grade of C or higher to satisfy major requirements - must be taken before student accumulates 90 credit hours.)
Credit Hours: 4
Prerequisites: EQU 201; passed with C grade or higher.


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Ayala Land signed last October 2009 an agreement with the Subic Bay Metropolitan Authority (SBMA), for the development of a 7.5-hectare property along Rizal Highway within the Subic Bay Freeport Zone, straddling the boundary between the Subic Bay Free Port and Olongapo City near the free port's main gate.
With its proven track record of building world-class real estate projects, ALI envisions the development of an integrated mixed-use master-planned community which will include a shopping mall, Business Process Outsourcing office building, and hotel that will rise in the heart of Subic 's Central Business District. This development is part of the company's strategy to establish mixed-use master-planned growth centers in various parts of the country.
Part of the masterplan is the construction of Harbor Point, the pioneer Ayala Mall in Subic Bay Freeport Zone. The mall will offer basic conveniences that will address the everyday needs of Subic and Olongapo, as well as unique concepts that will serve not only the immediate communities but also the tourists and transients.
ALI's development will be a catalyst for growth in the Subic-Olongapo corridor and will be a major mixed use project in the Subic Freeport Zone that is well-planned, integrated and environmentally sustainable.
LOCATION: Rizal Avenue
GROSS LEASABLE AREA: 38,000 sqm
BASIC FEATURES: Al-fresco Dining Area, Parks facing the water channel, 4 Cinemas, activity center
Most importantly, the mall will be able to serve the residents and members of Anvaya Cove, Ayala Land Premier's first venture in leisure development. Only 20 minutes away from the Subic Bay Freeport Zone, Anvaya Cove is a growing community with close to 50 residents. And with the recent launch of the Golf & Sports Club to complement the existing Beach & Nature Club, more and more Club Members can also get to enjoy the convenience of having an Ayala Mall close by.
For Inquiries, Please Call JP, Tony or Vicky Reyes at 9307635, 2152364 or 0917865689 | APReyes Realty Investment | Feel free to ask us questions about Anvaya Cove Lots, Condos, Golf and Sports Club Shares, we will be happy to answer them for you. Please contact only the undersigned for viewing appointments or site tripping. Or Inquire via the form on the right side of this page.


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No. 2 Wichita State improves to 32-0 after beating Evansville
ST. LOUIS — No. 2 Wichita State is still perfect. Calm and collected, too, in a 32nd straight win.
The top-seeded Shockers stayed unbeaten with an 80-58 romp over Evansville in the quarterfinals of the Missouri Valley tournament Friday.
"I love how this team goes about their business, their approach and how resolute they are," coach Gregg Marshall said. "They're really, really focused and locked in to the next challenge, and that's how you win 32 in a row."
If they're feeling pressure because of the streak, their opponents never noticed.
"Fantastic to see what they're doing," Evansville guard D.J. Balentine said after scoring 31 points. "If people say they don't deserve a No. 1 seed, that's silly."
Cleanthony Early and Ron Baker scored 17 points apiece and Wichita State set a tournament record with 11 blocked shots, shot 51 percent and held Evansville to 37 percent.
"Got to have some erasers back there," point guard Fred VanVleet said.
It was intimidating on both ends, with everyone sharing in the success and no one taking more than 11 shots. Just how Marshall drew it up.
"This team is very unselfish," Baker said. "If we continue to play like that, I like our chances."
Balentine made seven 3-pointers for ninth-seeded Evansville (14-19), which lost twice by an average of 15 points to Wichita State (32-0) in the regular season. The Purple Aces led 20-19 midway through the first half before Wichita State started pulling away.
"It's hard for us to just make passes from A to B," coach Marty Simmons said. "They play hard. They challenge every catch. Their intensity is outstanding."
Kadeem Coleby had six of the blocks for the Shockers, who are two victories shy of matching the NCAA record of 34 wins to start a season by UNLV in 1990-91. UNLV was perfect before losing in the NCAA semifinals to Duke that season.
Wichita State beat every Valley school twice in the regular season and takes on the Missouri State-Illinois State winner in the semifinals Saturday. Missouri State has come the closest to beating the Shockers, losing by three in overtime at home in January after blowing a 19-point lead.
This is rarified air for the Shockers, who haven't been ranked this high since 1981, when they were also No. 2. They went to the Final Four last year as a No. 9 seed and are two wins away from a first Valley title since 1987 and a likely No. 1 seed.
"They're disciplined in everything they do," Simmons said. "They're well-schooled. They're well-taught. They don't beat themselves."
Balentine was 7 for 14 from 3-point range, falling one short of the school record while slowed at the finish by a hip injury. He led the Valley with a 22.5-point average and scored 30 points in the play-in game victory over eighth-seeded Drake on Thursday.
"I thought once we got Balentine to miss a couple shots, we were in much better shape," Marshall said. "He was incredible."
Egidiju Mockevicius added 11 points and 11 rebounds for Evansville.
Early had a four-point play and a three-point play and ran down Blake Simmons to swat away a layup late in the first half. Baker had five points in a 17-5 run that made it 40-27 with 1:34 left in the first half.
"We don't get any foul calls in practice," Early said. "It's like I'm trying to make the basket regardless because I feel like I might not get the foul call."
The Shockers were just as relentless in the second half. A 15-5 run put them up 20 points with just under 12 minutes to go.
Baker was 4 for 6 from 3-point range and Tekele Cotton was 3 for 5. VanVleet, the Valley Player of the Year, had nine points, five assists and four steals. Chadrack Lufile had 11 points and seven rebounds, and Early added six rebounds and two blocks.
"I don't tell good players to pass on good shots," Marshall said. "When it's your turn to shoot and you're open, I want you to shoot it, and, in fact, I get upset with them when they don't.
"I think they've got character, for sure."