text:
TCM Archive Materials VIEW ALL ARCHIVES (4)
Recent DVDs
Guilty By Suspicion ... A witch hunt has begun. Not one of roving mobs prowling by torchlight. The... more info $14.95was $17.99 Buy Now
Flawless ... When the once highly decorated police officer Walter Koontz (Robert de Niro,... more info $15.95was $24.95 Buy Now
Duets: The Making of An... Tony Bennett's most recent album Duets: An American Classic featured Bennett... more info $10.95was $11.98 Buy Now
The Intern ... In The Intern, de Niro stars as Ben Whittaker, a 70-year-old widower who has... more info $13.95was $19.98 Buy Now
|Also Known As:
|Robert Mario De Niro Jr., Robert Deniro
|August 17, 1943
|Cause of Death:
|Birth Place:
|New York City, New York, USA
|actor, producer, director, restaurateur
Biography CLOSE THE FULL BIOGRAPHY
Often regarded as one of the greatest actors of all time, Robert De Niro was also one of the most enigmatic and remained famously tight-lipped about his personal life throughout his career. After gaining attention in "Bang the Drum Slowly" (1973), De Niro exploded onto the public's consciousness as the reckless Johnny Boy in "Mean Streets" (1973), which commenced his partnership with Martin Scorsese, one of the greatest actor-director combos of all time. He earned his first Academy Award as a young Vito Corleone in "The Godfather Part II" (1974) and delivered his most iconic performance as would-be vigilante Travis Bickle in "Taxi Driver" (1976). De Niro offered a haunting turn as a Vietnam veteran in "The Deer Hunter" (1978), before gaining 60 pounds to play boxer Jake La Motta in "Raging Bull" (1980). From there, he delivered great performances in "The King of Comedy" (1983), "Once Upon a Time in America" (1984), "The Untouchables" (1987) and "Awakenings" (1990). He reunited with Scorsese for "Goodfellas" (1990) and "Casino" (1995), and starred opposite Al Pacino in "Heat" (1995), but took a surprising turn to comedy in "Analyze This" (1999) and "Meet the Parents" (2000), both commercial hits that...
Often regarded as one of the greatest actors of all time, Robert De Niro was also one of the most enigmatic and remained famously tight-lipped about his personal life throughout his career. After gaining attention in "Bang the Drum Slowly" (1973), De Niro exploded onto the public's consciousness as the reckless Johnny Boy in "Mean Streets" (1973), which commenced his partnership with Martin Scorsese, one of the greatest actor-director combos of all time. He earned his first Academy Award as a young Vito Corleone in "The Godfather Part II" (1974) and delivered his most iconic performance as would-be vigilante Travis Bickle in "Taxi Driver" (1976). De Niro offered a haunting turn as a Vietnam veteran in "The Deer Hunter" (1978), before gaining 60 pounds to play boxer Jake La Motta in "Raging Bull" (1980). From there, he delivered great performances in "The King of Comedy" (1983), "Once Upon a Time in America" (1984), "The Untouchables" (1987) and "Awakenings" (1990). He reunited with Scorsese for "Goodfellas" (1990) and "Casino" (1995), and starred opposite Al Pacino in "Heat" (1995), but took a surprising turn to comedy in "Analyze This" (1999) and "Meet the Parents" (2000), both commercial hits that opened him up to criticism that he had sold out. After decades of being seen as a Very Serious actor, De Niro displayed his sense of humor in a further string of successful films, including sequels to both of those comedies, "Everybody's Fine" (2009), David O. Russell's "Silver Linings Playbook" (2012), and the self-explanatory "Dirty Grandpa" (2016), as well as multiple appearances on "Saturday Night Live" (NBC 1975- ), including a stint playing Robert Mueller, the special counsel investigating President Donald Trump beginning in 2017. Despite calls that he was past his prime, there was never any doubt as to where De Niro stood in the history of acting - he was a towering figure with an amazing body of work unmatched by most actors of any generation.
Born on Aug. 17, 1943 in the Greenwich Village neighborhood of Manhattan, De Niro was left at two years old without his father, Robert, a painter who traveled to Europe to work when he and his wife divorced. When he was 10 years old, De Niro had his first taste of acting playing the Cowardly Lion in a school production of "The Wizard of Oz." His mom, Virginia Admiral, worked as a typist at the Dramatic Workshop where De Niro began his training. He quit, however, when he was 16, around this time, he briefly ran with a local street gang who affectionately knew him as Bobby Milk. When he was 18, De Niro returned to his training after being taken under the wing of actress Shelley Winters; this time with Stella Adler at the famed Actors Studio. One of his earliest appearances onscreen was a brief walk-on in "Trois Chambres A Manhattan" (1965), a romantic drama set in New York by French director Marcel Carne. Meanwhile, De Niro went around town looking for work with a composite headshot of him in numerous guises - cab driver, old man, business executive - to avoid being typecast in ethnic Italian roles.
De Niro began his feature acting career in earnest when he appeared in a few low-budget films by director Brian De Palma, who paid the actor fifty bucks a role. They first worked together on "The Wedding Party" (1967), a comedy of errors about a couple nervously preparing for their pending nuptials. Shot in 1967, the film was released two years after De Niro was seen in "Greetings" (1968), playing a voyeuristic film enthusiast who tries to help a friend avoid the Vietnam War. After landing the lead role in "Sam's Song" (1969), a low-budget indie about a New York film buff who makes a documentary about Richard Nixon, De Niro rejoined De Palma for "Hi, Mom!" (1970), a counterculture satire about a returning Vietnam vet who tries to make it as an aspiring pornographer. He learned to speak fluent Sicilian in making his first foray into the Mafia world with "The Gang That Couldn't Shoot Straight" (1971), a disastrous comedy that De Niro said he would rather forget. De Niro followed with supporting roles in the equally forgettable "Born to Win" (1971) and "Jennifer on My Mind" (1971).
Up to that point, De Niro's career had been merely a proving ground for the young actor, who suddenly found himself earning vast critical praise with his performance in "Bang the Drum Slowly" (1973). As a dimwitted baseball player who finds himself dying young from Hodgkin's disease, De Niro delivered a tear-jerking performance that propelled him into the limelight and earned him a Best Supporting Actor award from the New York Film Critics Circle. In stark contrast to his gentle portrayal of a simple Southern boy, he exploded onscreen as Johnny Boy in "Mean Streets" (1973), his first of many landmark collaborations with director Martin Scorsese. His portrayal of the hot-headed street thug, whose best friend (Harvey Keitel) tries to save his neck from a local loan shark while struggling with his Catholic guilt, was the stuff of legend. Meanwhile, he earned critical kudos from all corners and a Best Supporting Actor award from the National Society of Film Critics. De Niro's performance as Johnny Boy remained arguably one of the finest and most revered breakthrough performances in cinema history.
De Niro cemented his stature as the best actor of his generation with "The Godfather, Part II" (1974), starring as a young Vito Corleone (Marlon Brando) who is sent as a child to America to escape the Mafia in Sicily. Told in flashback, young Vito's turn-of-the-century rise to power in New York's Lower East Side is paralleled by a paranoid and increasingly malevolent Michael (Al Pacino), whose ambition to expand the family business in the 1950s ultimately destroys his marriage to Kay (Diane Keaton) and leads him to kill his own brother (John Cazale). Despite playing a younger version of Vito Corleone, by no means did De Niro simply regurgitate Brando's performance. He instead made the young Vito his own and presaged the wise, Machiavellian Mafia head by portraying him as a quiet, but fearless family man determined to make a life in his new country on his own terms. De Niro's brilliant performance turned him into an international star and earned him an Academy Award for Best Supporting Actor.
Following on the heels of "The Godfather, Part II" was another seminal performance, one that forever scarred the memories of audiences both young and old. In "Taxi Driver" (1976), perhaps one of the most chilling, but ultimately redeeming character studies ever made, De Niro played Travis Bickle, a lone New York City cab driver whose revulsion for the scumbags, whores and other degenerates stalking the night leads him to unleash bloody carnage in order to save a young prostitute (Jodie Foster) from her pimp (Harvey Keitel). De Niro's disturbing portrayal of a lonely man on the fringes and about to crack from the pressures of a decaying society was long remembered for being one of his finest, thanks in large part to the infamous improvisation where Bickle - armed to the teeth and descending into madness - stares himself down in a mirror and demands to know, "You talkin' to me?" De Niro earned the adulation of critics and audiences the world over, while securing several critic awards. He also earned an Oscar nomination for Best Actor, but lost out to Peter Finch's even more insane Howard Beale in "Network" (1976).
After playing two of the most seminal characters in American cinematic history, it was no surprise that De Niro's next film, "The Last Tycoon" (1976), failed to reach previous heights. A thinly-guised portrait of Hollywood mogul Irving Thalberg, "The Last Tycoon" - the final film directed by legendary director Elia Kazan - suffered from a slow pace and muddled storyline, even as it benefited from De Niro's strong portrayal of a studio head who coolly maneuvers through the chaos of Hollywood. He next starred in Bernardo Bertolucci's little-known, but exceptional five-hour epic "1900" (1976). Set in the countryside of the Province of Emilia in Italy, "1900" told the story of two men - one, a bastard born into a family of farm workers (Gerard Depardieu); the other, the heir to wealthy landowners (De Niro) - both of whom are bound by the coincidence of being born on the same day as the death of famed composer Giuseppe Verdi. Despite the gargantuan scale, both in terms of scope and screen time, the film was released in a small amount of American theaters. Nonetheless, De Niro gave one of his more moving and vulnerable performances as a man torn between duty and friendship.
Joining forces with Scorsese for a third time, De Niro starred in "New York, New York" (1977), playing a jazz saxophonist struggling to make it in the Manhattan music scene of the 1940s with his singer wife (Liza Minnelli). Despite making beautiful music together on stage, the marriage suffers and they eventually split. Both become successful once on their own, but meet again years later and decide whether or not to give their relationship another shot. Despite learning to play a tenor sax, De Niro gave one of his lesser performances - at least in terms of critical reception - which was largely ambivalent at best. But De Niro's greatness would not be denied for long. He again delivered another landmark performance, this time in Michael Cimino's intimate anti-war epic, "The Deer Hunter" (1978). As Mike, a steelworker and avid deer hunter who g s off to fight in Vietnam with his hometown buddies (Christopher Walken and John Savage), De Niro was in top form, playing a man devastated by the horrors he faced in war, namely being forced to play Russian roulette while a prisoner of the Viet Cong. De Niro earned another nod at the Academy Awards for Best Leading Actor.
Perhaps no other collaboration between De Niro and Scorsese was more admonished and admired at the same time than "Raging Bull" (1980). A critical darling, but financial disaster upon release, "Raging Bull" had, over the years, become a seminal classic that ranked high on many lists as being one of the greatest films of all time. In Scorsese's brutal look at a man consumed by violence, "Raging Bull" depicted the public and private life of former middleweight boxer Jake La Motta, a Bronx-born, street-tough brawler who became champion in 1948, only to lose everything, including his wife (Cathy Moriarty), his title and eventually his self-respect after collaborating with the mob to throw a fight. For an entire year prior to production, De Niro trained as a boxer with La Motta, who molded the actor into what he thought would translate onscreen as a top middleweight contender. On the flipside, Scorsese stopped production for four months so De Niro could go to France and eat his way to gaining 60-odd pounds. In the end, De Niro delivered a visceral portrayal of a man who can only use animalistic violence to deal with complex human emotions, earning his first Academy Award for Best Leading Actor.
To follow "Raging Bull" with anything that attempted to achieve such greatness again would have been an exercise in futility. So instead, De Niro starred alongside Robert Duvall in "True Confessions" (1981), a rather predictable send-up of film noir that centered on two brothers - one, a detective; the other, a young priest tasked with finding a prostitute's killer. Then in his fifth collaboration with Scorsese, De Niro gave one of his finer, but less-appreciated performances in "The King of Comedy" (1983), playing Rupert Pupkin, a wannabe stand-up comic living in his mother's basement who becomes so desperate for a break that he hatches a plan to kidnap a famous late-night talk show host (a surprisingly subdued Jerry Lewis) in order to get a spot on his show. Though not nearly as chilling as his performance in "Taxi Driver," De Niro's portrayal of Pupkin was no less obsessive - sort of an overeager Travis Bickle in a bad suit. Technically a financial disaster - the second in a row for De Niro and Scorsese - "The King of Comedy" nonetheless remained one of his most remembered and revered performances.
Though it was rare for De Niro to be overshadowed by a film, "Once Upon a Time in America" (1984), Sergio Leone's sprawling epic about four Jewish mobsters in New York, happened to be one of those instances. Clocking in at close to four hours, Leone's stunning, non-linear masterwork chronicled David "Noodles" Aaronson (De Niro) and his three Lower East Side friends who grow up to become ruthless gangsters running rampant throughout the 1920s and 1930s, only to suffer the sad fate of many living a life of crime and violence. Moving fluidly through four decades with flashbacks, dream sequences and opium-induced visions, "Once Upon a Time in America" was ultimately a commentary on the mythology of gang violence in America that displayed an intellectual depth and emotional resonance unsurpassed by other crime dramas. It was a larger-than-life masterpiece that aspired to be much more than the sum of its parts.
De Niro spent the rest of the 1980s resting on his laurels, with a few occasional bright moments. After starring opposite Meryl Streep in the tepid romance "Falling in Love" (1984), De Niro had an amusing cameo as a heating-and-air conditioning repairman in Terry Gilliam's futuristic satire "Brazil" (1985). He did as much as he could in "The Mission" (1986), a sweeping, but ultimately uninspiring historical epic about a former slave trader (De Niro) seeking redemption in 18th century South America after killing his brother (Aidan Quinn). De Niro followed with a brief, but memorable portrayal of famed Chicago gangster Al Capone in Brian De Palma's "The Untouchables" (1987), then played the mysterious and malevolent client of a seedy private detective (Mickey Rourke) looking for a singer who owes him a debt in the controversial crime thriller, "Angel Heart" (1987). With "Midnight Run" (1988), De Niro made his first foray into mainstream comedy, effectively playing a hard-nosed bounty hunter bringing an embezzler (Charles Grodin) to justice, only to learn that the criminal owes the mob money and has been targeted for assassination. Despite the clever script and deft direction on display in "Midnight Run," one could not help feeling that De Niro had stepped onto a slippery-slope of appearing in audience-pleasing films that began to diminish his previous accomplishments.
In perhaps his first serious lack of judgment, De Niro starred alongside Sean Penn in "We're No Angels" (1989), an insipid remake of the 1955 comedy about two prisoners escaped from Death Row who disguise themselves as priests to avoid capture, only to be confronted with all manner of problems from their newfound path. He next starred in what could best be described as his least remembered film, "Jacknife" (1989), playing a former Vietnam veteran prone to wild outbursts who visits an army buddy (Ed Harris) drowning himself in a bottle in order to deal with his painful memories of the war. Despite an unpredictable story and good performances all around, "Jacknife" failed to capture the public's attention and quickly disappeared. De Niro made another foray into romantic drama territory with "Stanley and Iris" (1990), playing an illiterate man fired from his factory job who falls in love with a coworker (Jane Fonda) while she teaches him how to read. Touching to a fault, "Stanley and Iris" capped a long stretch of mediocre films for De Niro.
The string of unchallenging material came to an end with his next film, "Goodfellas" (1990), a long-awaited and most-welcomed reunion with Martin Scorsese. In what many felt was the director's best work, De Niro had a supporting role as Jimmy Conway, a mid-level mobster who takes a young, half-Irish kid (Ray Liotta) under his wing and shows him the gangster life. Along with a hot-tempered Sicilian (Joe Pesci) quick to pull the trigger, the three embark on a decades-long spree of robbing and killing that eventually leads to a breakdown of their once strictly-held moral code to each other and their bosses. Though the focus was clearly centered on Liotta's character, a fictionalized version of real-life mobster-turned-FBI informant Henry Hill, De Niro was nonetheless engaging and powerful as the elder mobster who undyingly follows orders, even when having to turn on those he trusts and loves most. What was unprecedented about "Goodfellas," however, was the ability of Pesci to actually steal the show from all involved; his Academy Award-winning performance was the rare instance where an exceptional De Niro was actually upstaged. Because the two became close friends off-screen, perhaps the sting of scene-stealing was lessened.
Ever since "Raging Bull," De Niro had become less selective with his projects in order to make a bigger payday and finance his own projects through TriBeCa Films, which he formed back in 1988. Meanwhile, he earned another Academy Award nomination for Best Supporting Actor for "Awakenings" (1990), which saw him play a man brought back from a coma through the tireless efforts of a passionate and somewhat unorthodox doctor (Robin Williams). De Niro elevated otherwise mediocre material in "Guilty By Suspicion" (1991), playing a Hollywood director blacklisted during the Communist witch hunts in the early 1950s, only to be driven to testify after failing to resuscitate his career. After giving a strong performance as an arson investigator in Ron Howard's well-crafted "Backdraft" (1991), De Niro joined forces with Scorsese a seventh time for a remake of the 1962 thriller, "Cape Fear" (1991). De Niro played Max Cady, a deranged ex-convict who seeks revenge on Sam Bowden, (Nick Nolte), the attorney who improperly defended him in a sexual assault case. Cady begins harassing the family; first by trying to seduce Bowden's teenage daughter (Juliette Lewis), followed by more violent means. For his electric, if sometimes over-the-top performance, De Niro earned another Oscar nod for Best Actor in a Leading Role.
Although the early 1990s were challenging for his career - he made a series of films that made little impact with the press or public - he did become more actively involved as a filmmaker, chiefly as a producer and director. De Niro enhanced his reputation as a champion of New York film with his TriBeCa Film Center, home to TriBeCa Films, which became a hub of the city's resurgent production community. He produced actor Barry Primus' low-budget directorial debut "Mistress" (1992), as well as Michael Apted's more ambitious "Thunderheart" (1992). The first, which saw De Niro portray an urbane film financier trying to help a once-promising filmmaker (Robert Wuhl) get his first movie off the ground, was easily dismissed as a poor man's version of "The Player" (1992). De Niro stayed behind the camera for "Thunderheart," producing the well-received story of a Native American FBI agent (Val Kilmer) grappling with his identity while working on a culturally sensitive case. De Niro segued into television production as the executive producer of "Tribeca" (Fox, 1992-93), a short-lived dramatic anthology about life in the famous Manhattan neighborhood.
After playing an ambulance chaser who tries to make it as a boxing promoter in "Night and the City" (1992), De Niro made his directing debut with "A Bronx Tale" (1993), an affectionate and understated coming-of-age drama set in the 1960s about an adolescent boy (Francis Capra/Lillo Brancato) torn between his honest, hard-working father (an endearing De Niro) and a violent, but charismatic neighborhood crime boss (Chazz Palminteri). De Niro received warm praise for his first effort, though the film ultimately failed to find much of an audience at the box office. He co-starred as a seemingly nice stepfather-to-be who turns out to abuse the son (Leonardo DiCaprio) of his fiancé (Ellen Barkin) in "This Boy's Life" (1993), then played a neurotic police photographer in the underrated comedy "Mad Dog and Glory" (1993). De Niro made another questionable career move when he starred as the fearsome creature in Kenneth Branagh's faithful adaptation of "Mary Shelley's Frankenstein" (1994). Too convoluted and confusing for critics, "Frankenstein" disappointed audiences and failed to make much of a dent at the box office, while the Academy Award-nominated makeup effects nonetheless did little to hide De Niro's distinct mannerisms.
Despite rumblings from the film buff set about whether or not he had reached the nadir of his creative efforts - though remaining a top box office draw - De Niro still managed to generate excitement for a few of his endeavors. In one of the most highly anticipated onscreen pairings of all time, De Niro starred opposite Al Pacino in Michael Mann's excellent crime thriller, "Heat" (1995), playing a master thief determined never to go back to prison, who leads his highly-professional crew on one last heist, only to meet his match in the form of a relentless LAPD lieutenant (Pacino) determined to track him down. Though the two only appeared onscreen together for less than 10 minutes, fans of both were finally satisfied seeing two masters at the top of their game square off against one another, since the two had never appeared onscreen together in "Godfather, Part II." Then for the eighth time, he teamed with Scorsese for "Casino" (1995), a vibrant, though uneven look at a corrupt Las Vegas casino owner (De Niro) who lives and breathes the odds for gambling, but has trouble figuring out his hustler wife (Sharon Stone) and trusting his best friend (J Pesci). In the end, too many critics and fans compared the film to "Goodfellas."
After a small supporting role as the physician to a woman (Diane Keaton) carrying for her chronically ill father (Hume Cronyn) in "Marvin's Room" (1996), De Niro stood out as a conflicted neighborhood priest who helps four childhood friends retaliate against a sadistic guard (Kevin Bacon) for abusing and raping them in Barry Levinson's coming-of-age drama, "Sleepers" (1996). De Niro had grave trouble trying to elevate Tony Scott's dreadful thriller, "The Fan" (1996), doing his best to play an obsessive baseball fan who inserts himself into the everyday life of his favorite player (Wesley Snipes). He was compelling, however, as an internal affairs officer using a put-upon sheriff (Sylvester Stallone) to take down a crew of corrupt cops in "Cop Land" (1997). The actor then gave a hilarious performance in an atypical role, playing a stoned-out ex-con planning a robbery with a ruthless arms dealer (Samuel L. Jackson) and his equally stoned-out beach bunny girlfriend (Bridget Fonda), only to be set up in a double cross by an airline stewardess (Pam Grier) looking to avoid prison in "Jackie Brown" (1997). De Niro rounded out a productive and interesting year playing a Washington spin doctor who enlists a Hollywood producer (Dustin Hoffman) to help him create a phony war in order to avoid a sex scandal involving the president in "Wag the Dog" (1997).
De Niro continued his string of unusual supporting roles with "Great Expectations" (1998), playing Lustig in Alfonso Curon's modern-day retelling of Charles Dickens' classic novel. Taking a turn into the world of post-Cold War espionage, De Niro starred in John Frankenheimer's solid thriller "Ronin" (1998), playing a CIA agent who infiltrates a group of European criminals hired to nab a mysterious briefcase from another group of crooks. Then in what some considered a bizarre change of course, De Niro made the broad comedy, "Analyze This" (1999), in which he gave a comical send-up of former onscreen mobsters as a New York gang boss who seeks help for his anxiety attacks from a nebbish psychologist (Billy Crystal). Not too surprisingly, De Niro received a Golden Globe nomination for Best Actor in a Musical or Comedy. He took a drastic step backwards with his next project, however, playing a homophobic stroke victim who tries to regain his power of speech by learning how to sing with the help of a drag queen (Philip Seymour Hoffman) in Joel Schumacher's melodrama "Flawless" (1999). Luckily, the film was a low-profile indie which generated little attention. The same, however, could not be said of the tent pole disaster, "The Adventures of Rocky and Bullwinkle" (2000), which saw De Niro's painful portrayal of the Fearless Leader.
Returning to high-profile broad comedy, De Niro scored another major hit with "Meet the Parents" (2000), playing a former CIA agent who takes an instant disliking to his potential son-in-law (Ben Stiller) and puts him through intense scrutiny - and the occasional lie-detector test - to make sure he is right for his first-born daughter (Teri Polo). De Niro again was rewarded for his unusually comic efforts with another Golden Globe nomination for Best Actor in a Motion Picture - Musical or Comedy. He rounded out the year with a strong performance as a formidable Master Chief Navy Diver who helps a young man (Cuba Gooding, Jr.) become the Navy's first African-American Master Diver in the well-received, but overlooked true-life tale, "Men of Honor" (2000). After phoning it in as a criminal ready to make one last heist before he retires in "The Score" (2001), he was easily dismissed as a New York homicide detective who enlists the help of a young arson investigator (Ed Burns) in tracking down a pair of Eastern European psychos embarked on a killing rampage in "15 Minutes" (2001).
The string of lackluster films continued when he appeared opposite Eddie Murphy in the limp comedy "Showtime" (2002), playing an LAPD detective roped into starring in a reality show after an on-camera mishap attracts a television producer (Rene Russo). After playing yet another homicide detective in the bleak crime thriller "City by the Sea" (2002), De Niro revived paranoid mob boss Paul Vitti for "Analyze That" (2002), a box office dud that generated enough enmity to avert a third installment. Meanwhile, inspired by the terrorist attacks on New York City on Sept. 11, 2001, De Niro and producing partner Jane Rosenthal started the TriBeCa Film Festival, which sought to revitalize and celebrate the city as a major filmmaking center. The first festival took place in 2002 and was a resounding success for the local community, which saw upwards of 150,000 people descend upon lower Manhattan and generated over $10 million in revenue for local businesses. As the festival grew over the years, attracting more widely-recognized talent, some criticized the lack of local representation and complained that it was merely a launching point for Hollywood vanity projects. Despite the criticism, TriBeCa remained a well-regarded staple on the festival circuit.
Back on the big screen, De Niro struck gold with the animated adventure "Shark Tale" (2004), voicing Don Lino, the head of a family of sharks chasing after a small fish (voiced by Will Smith) who may have accidentally killed another shark (voiced by Michael Imperioli). After another late-career misfire with "Godsend" (2004), a forgettable supernatural thriller about human cloning, De Niro revived angry father and ex-CIA agent Jack Byrnes for the mega-successful, but unfunny sequel "Meet the Fockers" (2004). He then starred opposite kid phenom Dakota Fanning in the rather routine thriller, "Hide and Seek" (2005), perhaps confirmation that his career was indeed on the wane, creatively speaking. De Niro next journeyed to Spain to film the foreign-made period drama, "The Bridge of San Luis Rey" (2005), a poignant adaptation of Thorton Wilder's novel about the Archbishop of Lima (De Niro) tasked with finding out why God chose to allow five people to perish in a bridge collapse.
After nearly 15 years, De Niro decided to step back behind the camera and direct "The Good Shepherd" (2007), a sprawling historical look at the creation of the CIA through the eyes of an intelligence officer (Matt Damon) struggling to keep his secret life away from his frustrated wife (Angelina Jolie). De Niro had a small role as the former head of the Office of Strategic Services, the precursor agency to the CIA. Despite sharp attention to period details, a strong cast and sweeping scope, "The Good Shepherd" suffered from flat pacing, convoluted storylines and few twists, turning what could have been an intriguing study into an overlong bore. After returning to animated features with a small voice role as The King in "Arthur and the Invisibles" (2006), De Niro chewed up the scenery as a brute pirate looking to unleash his inner queen in the comic fantasy, "Stardust" (2007). After an amusing, though brief cameo as himself on "Extras" (HBO, 2005-07), De Niro starred alongside Al Pacino for a decidedly longer period of time in the crime thriller "Righteous Kill" (2008). Turning to Hollywood satire, De Niro was the focus of "What Just Happened?" (2008), playing a middle-aged producer struggling to grab hold of his flailing career while trying desperately to deal with his spiteful ex-wife (Robin Wright Penn) and his suddenly grown-up daughter (Kristen Stewart). After playing a widower who reunites with his children in "Everybody's Fine" (2009), he had a supporting role as a corrupt Texas senator in "Machete" (2010), before playing portraying an officer in "Stone" (2010) and reprising Jack Byrnes for the second sequel "Meet the Fockers" (2010). De Niro next joined Jason Stratham and Clive Owen for the critically maligned action thriller "Killer Elite" (2011) and played a powerful tycoon who opens new worlds for a struggling writer (Bradley Cooper) with an experimental drug in the underwhelming thriller "Limitless" (2011).
De Niro closed out yet another exceptionally busy year with a small turn in one of the many vignettes that comprised director Gary Marshall's "New Year's Eve" (2011), the uninspired sequel to his earlier holiday-themed romantic comedy hit. Continuing to work at a notoriously relentless pace, the veteran actor took leading roles in a pair of modestly-budgeted thrillers the following year. Opposite Sigourney Weaver and Cillian Murphy, De Niro played an enigmatic psychic in "Red Lights" (2012), while in "Freelancers" (2012) he portrayed the leader of a rogue police task force. Also seen in limited release was the biographical drama "Being Flynn" (2012), in which the versatile performer was seen as Jonathan Flynn, a failed writer and estranged father of Nick (Paul Dano), himself an emerging author, whose life Jonathan abruptly reenters. While "Being Flynn" earned De Niro some of the best critical praise he had received in years, the film as a whole failed to excite most reviewers. His next effort, however, would score on both fronts. In writer-director David O. Russell's romantic comedy-drama "Silver Linings Playbook" (2012), De Niro delivered a perfectly nuanced performance as an out-of-work aspiring restaurateur and father of a son (Bradley Cooper) struggling with mental health issues after being released from a treatment facility. For his work in the critically-hailed charmer, De Niro was nominated for both a SAG award and an Academy Award for Best Supporting Actor. After appearing in the ensemble romantic comedy "The Big Wedding" (2013), De Niro reteamed with Russell for a role in "American Hustle" (2013). De Niro teamed with Anne Hathaway for the workplace comedy "The Intern" (2015) by writer-director Nancy Meyers, played a retired widower who becomes an intern at a growing corporation. De Niro rejoined Russell again in the comedy-drama biopic "Joy" (2015) before appearing as the title character in the broad comedy "Dirty Grandpa" (2016) and taking a supporting role in boxing drama "Hands of Stone" (2016). The following year, De Niro starred in Taylor Hackford's comedy-drama "The Comedian" (2016), playing a past-his-prime nightclub comic. During this period, De Niro began a series of unannounced walk-ons on "Saturday Night Live" (NBC 1975- ), playing special consel Robert S. Mueller III, the nemesis of President Donald Trump (Alec Baldwin), in the style of his "Meet the Parents" comic heavy.
Filmographyclose complete filmography
CAST: (feature film)
Milestones close milestones
Please support TCMDB by adding to this information.Click here to contribute


text:
You can tune into a digital TV signal in a variety of ways - either directly through the tuner in your TV, through a set-top box or recorder with a digital tuner, or some combination of these. Your kit choices may be limited depending on how you choose to receive your signal - by aerial, cable, phone line or satellite - and whether you want a free or subscription service. So, if you have not already done so, we recommend that you read our summary of digital TV options before continuing on this page.
In the lead-up to the digital switchover, Rica tested hundreds of digital products. And although we are no longer conducting tests of products, you can use the knowledge we gained about what makes for good digital boxes, recorders and TVs to help you decide which is the best digital kit for you.
Here are your main kit options for receiving digital broadcasts (and recording them):
We also tested dozens of indoor aerials. If you get a good signal indoors, see our indoor aerial test reports for our recommended aerials.
If you are looking for something that's easy to use, there are three key things to think about: remote controls, on-screen TV guides (EPG) and accessibility services. For Rica's advice on the features that make these digital products easier to use, plus buying tips, watch our video:
General features to look for in digital TV equipment
Whether you've decided on a set-top box, digital TV recorder or a digital TV, there are certain features worth looking out for. In broad terms, bear in mind the most essential things that we considered during our testing of products:
- how easy the product is to use
- what features each model has, and how well it works
- that the quality of picture and sound is satisfactory
- how well the product works with other equipment
Some models are definitely easier to use than others and some are more versatile and convenient. All the digital boxes and TVs will display an on-screen TV guide (EPG) - have a look at the differences in the shop before you buy. And the remote controls you get with them vary a lot in how easy they are to use, so try those out as well.
So what else is important? The following features are worth considering for any piece of digital equipment. For additional features to look out for, see our separate pages about digital recorders, set-top boxes and digital TVs.
- With so many channels to choose from, a system that allows you to delete unwanted channels or, better still, to set up your own favourites list, is worth having.
- Look for a card slot so you can receive additional pay TV channels if you want these. By law, all digital TVs should have a connection port where a card slot can be fitted but many set-top boxes and digital TV recorders do not have this facility.
- If you have a very old TV with no SCART sockets, choose a digital box that incorporates a modulator, so it can be connected to your TV's aerial socket.
- A front-panel display is handy if you listen to digital radio through a separate hi-fi system - it shows the stations without having to have the TV on. But you will need a digital audio output.
- Take better care of the environment and save some money on energy bills by having a digital box that consumes less power. Check out the standby power figures in the product specs.
- With improvements and changes in the pipeline, it's worth having a box that does automatic updating rather than requiring manual retuning and updating.
- Consider buying a digital TV or set-top box that has internet connection, and check the range of services this can access (e.g. BBC iPlayer, YouTube, etc)
- To be future-proof, buy one that receives high-definition (HD) channels. Note that if you buy an 'HD ready' TV, you'll need to buy a separate set-top box or recorder if you want to watch HD channels.
- If you live in Northern Ireland, consider one that can recieve channels from Eire broadcast by Freeview's equivalent, Saorview.
Last updated: July 2013
Previous: Accessibility services | Choosing your kit | Next: Indoor aerials

subset: commoncrawl


text:
Time to man up and pick these playoff games. Be sure, when making your picks, to make it sound like you know what you're talking about! That way, people will totally think you know lots and lots about football, even though after kickoff you'll be proven hilariously wrong. Okay, off we go.
Saints/49ers. Nothing at stake here, folks, except THE SOUL OF THE NFL. Here you have arguably the NFL's finest defense going up against the NFL's hottest offense. And if the Saints win this game by 42 points, it's gonna be hard not to wonder if defense really matters anymore. Seriously, if the league's best defense is helpless in the face of a prolific passing attack that's been artificially boosted by ticky tack penalties, then what's the point of having a good defense? Why not invest heavily in having an offense that scores 50 points a game and make defense a low priority? Call me a pollyanna, but I think the Niners' defense stands up for all defenses and at least keeps the Saints honest. SAINTS 20, NINERS 19.
Broncos/Patriots. Yeah, no. I'm not picking against Tim Tebow this time around. I know how you work, Tebow. You wait for everyone to hate you and make fun of your throwing style, and then you go and make everyone look bad. I get it. I ain't falling for it. I'm gonna pick YOU instead. I'm gonna expect you to keep up with Tom Brady, and then watch you fail to live up to your performance of a week ago. It's the only way to slow you down. Tebow runs on pure karma. BRONCOS 30, PATRIOTS 28.
Ravens/Texans. Normally, the most underwhelming matchup of the weekend produces the best game. But I'm not so certain this time around, because TJ Yates will be playing on the road, and because Ray Rice can win a playoff game all by himself. If the Ravens defense forces Yates to turn the ball over early, that's the end of it. RAVENS 34, TEXANS 7.
Packers/Giants. I don't actually think the Giants are going to win this game. I think the Packers were more than happy to cede the spotlight to New Orleans for the second half of the season, and will now blast through the playoffs and assert their dominance. The problem is that everything I think is WRONG. I went 0-4 against the spread last week. Nothing I say matters. It's all hopelessly misguided. So Giants it is. GIANTS 19, PACKERS 16.


text:
Item #: CF6402
All Products
(8 Total)
View by Size:
Getting , please wait.
8 x 10 B&W Photo #1 $3.99
8 x 10 B&W Photo #2 $3.99
8 x 10 B&W Photo #4 $3.99
8 x 10 B&W Photo #1 $3.99
8 x 10 B&W Photo #2 $3.99
8 x 10 B&W Photo #4 $3.99
|A chauvinist louse, slain by the girlfriends he misused, is sent back to Earth as an alluring female to learn the other side's point of view. The plot may lack urgency, but this is a sparkling adult comedy that scores as it pursues the gimmicky concept to a logical, outrageous and touching conclusion. Barkin's act as swaggering male stuck in a woman's body is a masterwork of physical humor.
|Directed by:
|Blake Edwards
|Tony Adams, HBO, Warner Bros.
|Ellen Barkin, Jimmy Smits, JoBeth Williams, Lorraine Bracco, Perry King, Bruce Payne, Tony Roberts


text:
The rules file must have the following attributes:
The rules file can contain any of the following:
Commented text
Any text that is included after the # symbol on a line is treated by JumpStart as commented text. If a line begins with the # symbol, the entire line is treated as a comment.
One or more blank lines
One or more multiline rules
To continue a single rule onto a new line, include a backslash character (\) just before pressing Return.


text:
Find Offices & Recruiters
Sign In
Need help? Call 800-298-6440
The Standard in Attorney Search and Placement
Welcome to the jobs section of the BCG Attorney Search Web site. We are constantly updating our jobs seven days a week. As a firm dedicated to research, our ability to forge strong relationships with law firms allows us to offer our candidates a breadth of opportunities that we believe is unrivaled anywhere.
Back to Attorney Job Search results
New Hampshire - Concord
United States
Concord office of our client seeks lateral employee benefits attorney with relevant experience.
This reputed law firm is headquartered in New Hampshire and focuses on all aspects of business law and litigation. It is comprised of a sizable team of highly skilled attorneys and represents clients across the U.S. Some of the firm's main areas of practice are corporate-securities, entertainment law, and real estate development. An equal opportunity employer, this firm encourages diversity and inclusion at the workplace.
ERISA/Executive Compensation
New York
125 Park Avenue, 25th floorNew York,New York 10017
Phone(212) 232-0277 | Fax (213) 895-7306
Email firstname.lastname@example.com
BCG Attorney Search Reviews New York
Submit Resume
Email a Colleague
Printable Version
Share of Facebook
Share of Twitter
Call 800-298-6440
Social Share
Download Apps


text:
Home UGC NET December 1999 UGC NET DECEMBER 1999 (1-10)
Comment Policy: Please write your comments according to the topic of this page posting. Comments containing a link will not be displayed before approval.
Open Comment
Close Comments
Adsense Left Sidebar
Popular Posts
- Free Library Science MCQ and Descriptive ebook[PDF] by Dr. Kanchan Kamila
- UGC NET July 2019 Paper 2 Library Science Question Paper with NTA Key
- Useful Quizzes for NVS Examination
- NVS Recruitment 2019 - Expected Cutoff Updated Upto 10/10/2019 10 AM
- Library and Information Science Question and Answers from IGNOU Study Material


text:
Police searching for missing seven-year-old Conley Thompson, from Barnsley, have found the body of a child on a construction site, South Yorkshire Police said.
Detectives believe the body to be that of Conley, who was last seen on Sunday evening playing with friends a mile away from the construction site on Bank End Road in Worsbrough.
Police said the body was found at approximately 8.30am. Conley's family have been informed.
Det Insp Victoria Short, who is leading the investigation, said: "We deployed our full resources with officers searching throughout the night to find Conley and we are deeply saddened by this tragic development.
"While it is early in the investigation, the death is being treated as unexplained and a post-mortem examination will take place in due course.
"Our thoughts remain with Conley's family and friends at this very difficult time."
Conley Thompson, from Underwood Avenue, Worsbrough, had been playing in Locke Park in Barnsley with his friends when he vanished.
He is believed to have left the park at 8pm to return home but never arrived.
The youngster was reported missing a short time later.
This morning, police officers cordoned off Bank End Road, Worsbrough, with police activity centred around the building site.
A police car is parked outside Conley's family home and earlier this morning the police helicopter was circling the area scouring the ground from above.
One of Conley's neighbour's this morning said: "He is a nice lad and has been enjoying the summer holidays."


text:
Academy Tuesday
A weekly showcase of our various performance classes and faculty members of the Bad Dog Theatre Company at The Bad Dog Comedy Theatre (875 Bloor St. W.) at 8:00pm!
Join us beforehand 7:00pm on Tuesdays for our No Experience Necessary Drop-In class!
Around on Tuesdays? Sign up with some fellow students for a slot in our 9:30pm All Play show!
Join our Academy Facebook page to find out about drop-ins, weekly updates, student deals, and more!


text:
Strand Woven
For both contemporary and traditional home decor, strand woven floors create long lasting impressions for comfort and style. These floors present elegant intricate patterns that are achieved through an extensive meshing and carbonizing process. Our strand woven floors are exceptionally durable, and possess designs that are both rare and unique for modern interiors. These floors can be installed on grade and above grade in the home, and are available in a diverse assortment of colors and finishes.
Strand Woven Hand-Scraped Bamboo CotiaraCall for Pricing


text:
Is there a need for copyright registration?
In general, copyright registration is a simple formality intended to make a record of the basic facts of a particular copyright. However, registration is not a condition of copyright protection. Even though registration is not a requirement for protection, the copyright law provides several inducements or advantages to encourage copyright owners to make registration.
What is not protected by copyright ?
Several categories of material are generally not eligible for copyright protection. These include among others:
- Works that have not been fixed in a tangible form of expression (for example, choreographic works that have not been notated or recorded, or improvisational speeches or performances that have not been written or recorded)
- Titles, names, short phrases, and slogans; familiar symbols or designs; mere variations of typographic ornamentation, lettering, or colouring; mere listings of ingredients or contents
- Ideas, procedures, methods, systems, processes, concepts, principles, discoveries, or devices, as distinguished from a description, explanation, or illustration
- Works consisting entirely of information that is common property and containing no original authorship (for example: standard calendars, height and weight charts, tape measures and rulers, and lists or tables taken from public documents or other common sources)
More About Copyright
Today's technological innovations present almost limitless opportunities for the worldwide distribution of copyrighted works. But these same technologies make it possible for anyone to pirate works with a single keystroke.
Unauthorised publishing, broadcasting or copying even a small part of a song or piece of music will undoubtedly deny the original creators of all the revenue and recognition that is normally generated by a successful composition. Click here to learn about Copyright and Music
Copyright gives the creators of a wide range of material, such as literature, art, music, sound recordings, films and broadcasts, economic rights enabling them to control use of their material in a number of ways, such as by making copies, issuing copies to the public, performing in public, broadcasting and use on-line. It also gives moral rights to be identified as the creator of certain kinds of material, and to object to distortion or mutilation of it. (Material protected by copyright is termed a "work".)
The purpose of copyright is to allow creators to gain economic rewards for their efforts and so encourage future creativity and the development of new material which benefits us all. Copyright material is usually the result of creative skill and/or significant labour and/or investment, and without protection, it would often be very easy for others to exploit material without paying the creator.
How to secure a copyright
The way in which copyright protection is secured is frequently misunderstood. No publication or registration or other action in the Copyright Office is required to secure copyright. There are, however, certain definite advantages to registration.
Copyright is secured automatically when the work is created, and a work is "created" when it is fixed in a copy or phonorecord for the first time. "Copies" are material objects from which a work can be read or visually perceived either directly or with the aid of a machine or device, such as books, manuscripts, sheet music, film, videotape, or microfilm. "Phonorecords" are material objects embodying fixations of sounds (excluding, by statutory definition, motion picture soundtracks), such as cassette tapes, CDs, or LP's. Thus, for example, a song (the "work") can be fixed in sheet music ("copies") or in phonograph disks (" phonorecords"), or both. .
If a work is prepared over a period of time, the part of the work that is fixed on a particular date constitutes the created work as of that date.
Registration may be made at any time within the life of the copyright. Unlike the law before 1978, when a work has been registered in unpublished form, it is not necessary to make another registration when the work becomes published, although the copyright owner may register the published edition, if desired
About Poor Man's Copyright
The practice of sending a copy of your own work to yourself in a sealed envelope or package is often referred to as a "poor man's copyright." There is no provision in the text of international copyright law that recognises this as a reliable alternative to registration. Therefore the process of placing reliance on the "poor man's copyright" is not a viable substitute for registration.
Copyright Registration
To register copyright ownership of all original works, please visit our sponsor and see how easy and cost effective it is to register the copyright ownership of your songs, music, lyrics, poems etc. We can register the copyrights of intellectual property and all original works from single compositions to complete albums.Visit Songrite Copyright Registration Office
About the information given on this web site
Please note. The intention of this web site is to make available wide-ranging copyright information while offering basic copyright education to our visitors. Many of your questions and queries on the subject of copyright may be answered within this web site or through the recommended links and resources provided on our links page.The information contained within this site is offered as a consideration to visitors and at no time should the information be construed as legal advice; for all legal matters, we encourage our visitors to seek the assistance of an attorney.
Copyright Law, Treaties and Advice 2007 All rights reserved


text: UFDC Home | Help | RSS TABLE OF CONTENTS HIDE Front Cover Frontispiece Dreams, Dances, and Disappoint... Back Cover Title: Dreams, dances, and disappointments CITATION PAGE TURNER PAGE IMAGE Full Citation STANDARD VIEW MARC VIEW Permanent Link: http://ufdc.ufl.edu/UF00025330/00001 Material Information Title: Dreams, dances, and disappointments Physical Description: 31 p. : ill. ; 24 cm. Language: English Creator: Konstam, Gertrude ACasella, E ( Ella ) ( Illustrator )Casella, N ( Nelia ) ( Illustrator )Thomas De La Rue & Company ( Publisher ) Publisher: Thos. de la Rue & Co Place of Publication: London Publication Date: [ca. 1880] Subjects Subject: Children's poetry -- 1880 ( lcsh )Publishers' advertisements -- 1880 ( rbgenr )Bldn -- 1880 Genre: Children's poetry ( lcsh )Publishers' advertisements ( rbgenr )poetry ( marcgt ) Spatial Coverage: England -- London Notes Statement of Responsibility: by Gertrude A. Konstam, and Ella and Nelia Casella. General Note: Title from cover. General Note: Includes publisher's advertisement. Funding: Preservation and Access for American and British Children's Literature, 1870-1889 (NEH PA-50860-00). Record Information Bibliographic ID: UF00025330 Volume ID: VID00001 Source Institution: University of Florida Holding Location: Baldwin Library of Historical Children's Literature in the Department of Special Collections and Area Studies, George A. Smathers Libraries, University of Florida Rights Management: All rights reserved, Board of Trustees of the University of Florida. Resource Identifier: aleph - 001862337oclc - 28876975notis - AJT6804 Related Items Other version: Alternate version (PALMM)PALMM Version Table of Contents Front Cover Page 1 Frontispiece Page 2 Dreams, Dances, and Disappointments Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Back Cover Page 32 Full Text 41STAMELLAonAND", E LLA'THOS. DE LA RUE & CO. LON-DON. fijIFrfi2 ;IThe Baldwin Library^m^1l1.1J nod DREAMS, DANCES, AND DISAPPOINTMENTS.BYGERTRUDE A. KONSTAM,ANDELLA AND NELIA CASELLA.I.DREAMS.FOUR rose-trees grew in a garden,Two white, a pink, and a red;Each rose unfolded her petals,And nodded a stately head.For the Rose of roses was comingAdown the trim garden walk;The bees saluted her-humming-This Rose on a slender stalk.In one of her hands she carriedA watering-can of green,From which the bright drops scattered,And fell to the ground unseen.'3 it*^- "T~I.I -4I-s?;*?yl1~^ For the other hand clasped a treasureSo prized, so new, and so sweet,That it made her forget her flowers,Thirsty and parch'd in the heat.Under the shade of her bonnet,Safe from the rays of the sun,She dreamed of her first great party,And how she'd enjoy the fun!Again and again she openedThe small pink note from the Hall,Which invited the joyous maidenTo her very first big ball!5 ib;;Zb ::Or""?U" ICu3'ir I ;i:I/iiiiI/Bi--i .P Ji i i bl_...r.__i I:?ai ,a_:ii ,,iii h: i li ir' dI 'iiiii -ri;Irli )I I, I i \ ii Bi'ili:: ::, jl i C ai;ia iP-R,;s-C: inil 3i; 1 li a iL1%; ii:Si1-i :i a :.t .n i" Sci B :, j r : a-r.l;iJ di-. "I must go in white," she murmured:"I must have a brand-new gown,Of that muslin soft from India,I 've seen in shops in the town:And creamy ribbons to match it,Though I've no money to spare;And I'll wear Aunt Debbie's corals,And a nosegay of you in my hair."7 1:::r:FLa /.ILi5:.W 1 se ;I ;" ii.iB;_.: ..;i : x;r: nrli" ib i i h? '; Uz" i'r' /i'1i'"1 '". iI II b .. (I I b:,iI I! J;r, i it: ,: : ii ii:iii. %-U "i I II..i iii !'""f : tr- n -tw;:: ":1,UP She stooped, and remember'd the roses,Thirsty and parch'd in the heat;But her garden-can had emptied,And soaked her dainty feet.So back she went, tripping and dancing,Adown the trim path once more;Blushing, and smiling, and dreaming,She stood by the garden door:" How, when I cross the ball-roomPast the ladies from the town,The city beaux will whisper,And all the belles will frown!"A crowd and a crush around me,All asking for a dance;Harry has asked me already,But he won't have a chance !"9 i-j ;iil :: :1-$i_:B'L : '."-' "-ii" i Wab b::R11-'il :::i;- -_-:sscffi: -"niia i .;a :IIIJli *Ii! ib U%"i"r i I;" ; b !ii:lli:I :iff i; eji; iiII a--,;rips i p;s-II ':(5 z"s10 I I.DANCES.M UUSLINS, and ribands, and flowers,Whirl minutes and hours away;And the dress was just completedOn the morn of the very day.Then there was frilling and curling,And lacing and fitting, full long;It took more time, I can tell you,Than it takes to tell in song.The chairs now wait in the garden,To take them on to the dance;But dimpled cheeks and shouldersDeserve one long last glance.A nosegay of nodding roses,Fresh cull'd in the morning air,With the freshness of dawn upon them,Smiled 'mid the waves of her hair.II LllA AAA,I :Iii:i11 Rosebud had heard it was fashionNot to be first at the fun;So before the chairs had brought them,The dancing had long begun.They made their bows to the hostess,Then found a seat by the wall;For the lady was much too busyTo think of our maid at all.In her muslin soft and roses,She sat by Aunt Debbie's side,Watching the maze of the dancers-The coupee, the step, and the glide.And the ladies all were painted,And they all had gems in their hair,And each was known to the other,Of the gallants and ladies there.13 ';jIhiiii,,i ;i -IiP~~I i/fiji f~I1IS i~/1/I' 'ii/<7' / K' ''4 At last a partner stepped forward,And begged for a dance, bowing low;For beauty, however rustic,Has claims on a city beau.Away they whirl with the dancers,'Smooth floor and merry tune;Alas like all earth's pleasures,It came to an end too soon!Rosy and smiling and breathless,Back to Aunt Debbie once more;But she had gone to the card-room,To make up a rubber of four.Said he, " We will not find her,For then we can dance all night!'Tis better for youths and maidensWhen guardians are out of sight."15 II'Ii/~ :":ii:;:' ;y1-; :1, 6 /- .;i: i'1 Ii \' IIi:,ilI 'I~ 'xb17V' :rBi~-~:~I: \\\:i*"'i~' >Irr l 'U Nii ?~-'7 Through the mazes of old Sir Roger,And the minuet's stately glide,The maid in her dainty muslinDanced with the beau by her side.But while she was smiling proudly,She saw a sight of gloom-Poor Harry, her old love, frowning,As he turned and left the room.Then a gorgeous lady in satinTapped her beau with taper fan:"D' you know that you've not been near meAll the night, you faithless man ?"He turned to the maid in muslin,Whispering low in her ear:"I'm grieved I must dance with this lady;But do you wait for me here !"18 \ ~iI /19 He found her a quiet corner,And left her with "Not for long!"Poor Rosebud felt hot and angry,And cross, which she knew was wrong.She sat for long unheeded,There was no one there she knew;Her aunt was in the card-room"Why, even Harry would do !"Harry had left her-offendedShe had seen it at a glance:"He knows I could not help it,He never came for a dance !"The dancers began to slacken,Rumours of supper there were;The rooms would quickly be empty-Yet nobody came for her!20 LIU,-i;a I~i; ;~i:: i:21 "I shall have to wait for Aunt Debbie !"Stopping the tears that would rise;Tired, excited, and angry,She leant back and closed her eyes.A rustle of lace and satin,A gentle touch on the arm-She screamed, and started forward,Then blushed at her own alarm:"I thought you were never coming!"She sighed, as he led her down:"I love wild flowers," he answered,"And they don't grow in the town."He brought her cakes and dainties,And served her like a queen,With such scented wines, and sparkling,As she ne'er before had seen.22 ( i~//323 Gaily he chatted and gossiped,Telling her who was who;And when the toasts were being sung,He bowed and sung them too.When the guests all rose from supper,Aunt Debbie fetched her away,In spite of prayers and entreatiesJust for one more dance to stay!He wrapp'd her shawls close round her,And handed her out to her chair,Whispering very softly,He begged a rose from her hair:"I know the rose-grown cottageOn the old coach-road to townAt early morning I'll be there,By the gate, before you're down!"24 4 r,- .>1 rI-i III.DISAPPOINTMENTS.FOUR rose-trees grew in a garden,Two white, a pink, and a red;Each rose shut up her petals,And drooped a mournful head.For the Rose of roses was waitingDown by the garden gate;And her eyes were full of trouble-Time went-it was getting late!Hark what was it broke the silence ?The rolling of distant wheels:Four horses come round the corner,A cloud of dust at their heels!Quick as the coach swings by her,Rosebud, first red-then white-Sees her hero sweetly smilingOn her rival of last night!26 6'27 Then her eyes grew dim with tear-drops:"He promised to come!" said she-"'At early morning I'll be there!'-Yet he never looked at me !""Good-morrow, my lovely Rosebud,Though you look so tired to-day-More like the last flower of Autumn,Than the youngest rose of May !"28 '229 And Harry kisses the tear-dropsThat lie on her cheek like dew:"Oh, flattering lips are plenty,But, true-love hearts are few!" Give me your hand, my Rosebud-Though beaux are good at a ball,You'll surely own next morningYour old love is worth them all !"30 I 1 ', III ''L 4, ,4 'K''4 I3' i i931i LISHED BY THOS. DE LA RUE & CO. BUNHILL ROW, LONDON.: ILLUSTRATED CHILDREN'S BOOK.Royal 4to. Cloth, extra gilt. Price 6s.A IN ATTRACTIVE COVER, RICHLY ORNAMENTED WITH SPECIAL DESIGN IN GOLD AND BLACK.THE STORY OFPCNCE HILDEBRAND AND THE PRINCESS IDA.By MAJOR T. S. SECCOMBE.WITH UPWARDS OF 110 ILLUSTRATIONS BY THE AUTHOR.AN INGENIOUS AND INTERESTING PASTIME FOR OLD AND YOUNG.Sr CASSE-T1 TE.THREE PUZZLES IN ONE-CHINESE, RUSSIAN, AND FRENCH.By "CAVENDISH,"Author of the "LAWS AND PRINCIPLES OF WHIST," etc.WITH A HUNDRED AND FIFTY DIAGRAMS AND SOLUTIONS.The above work is sent out in an Ornamental Cardboard Box, containing the pieces required for thesolution of the Diagrams.PRICE, TWO SHILLNJG A ^ID .S T Contact Us | Permissions | Preferences | Technical Aspects | Statistics | Internal | Privacy Policy © 2004 - 2010 University of Florida George A. Smathers Libraries.All rights reserved. Acceptable Use, Copyright, and Disclaimer Statement Last updated October 10, 2010 - - mvs


text:
Use the form on the right to contact us.
West Buildings, Osberton Grange,
Worksop, Nottinghamshire, S81 0UF
United Kingdom
The home of Osberton Nurseries, grower of top quality Rhododendrons in the heart of Nottinghamshire, England
Tiny red flowers mass across this gorgeous plant
Flowers late April to late May
Grows to 1m
The flowers on evergreen azaleas vary from small to mid-sized and to larger. The smaller ones have a more traditional Oriental look while the larger ones are more modern and dramatic. All evergreen azaleas are great for pots.
Our evergreen azaleas are mature plants with one plant per pot. We do not offer inferior plants where three cuttings are put in a pot to enable growers to sell more immature plants as if they were full grown ones.


text:
300 – The Bloody Tale continues
It's a little too early to realease a full length trailer if you ask me, but it looks really good.
Published by simondaniel27
I was born in Germany, but love made me decide to go to college in the United States. I was born in 1986 and appreciate movies that don't rely on JUST gore. I write short stories, lyrics, books, and I watch movies. I have a complete training and worked in the Hospitality industry for many years. My dream is to own a luxury hotel one day. View all posts by simondaniel27


text:
Whether you are deciding to make your new curtain rods as a do-it-yourself project, or select from the various variations available on the market, it is important to recognize which type of curtain rod you will need to fit your decor Cafe Curtain.
1. One variety, called cafe rods, can be used with or without rings. These are generally used for hand-drawn curtains or tie-tab curtains, and are available in several different finishes.
2. Vast curtain rods are mainly used for corner and bay windows since the corner connectors make these suitable for this type of window.
3. Sash rods are often used for stretched curtains on doors and to allow the curtains to hang closer to the glass surface. They attach at both top and bottom.
4. Narrow curtain rods are often used where the curtain fabric is very absolute. Choosing a rod which can be clear or translucent is a good idea for these.
Picture of Cafe Curtain is awesome for your furniture design idea at home. The image Resolution 984 x 1442 px and the image size only 145 kb. Our Readers select this photos as favourite in Curtain Category.
Sponsored Link:


text:
For the ultimate tasty blow job. Never let your gag reflex stop you from deep throating again! Includes mystical mint, juicy passion fruit, sweet strawberry, sexy cinnamon, and wild cherry.
Ships Everywhere.
They're not fibbing when they say you'll be able to go lips to the balls deep when using this product. I haven't been able to deep throat to my lovers huge disappointment, but for some strange reason i was able to this time. I think it was because it made his dick extra slippery and the taste was to die for.Anonymous - October 27 2014


text:
Who: Sergio Santos, No. 21. Right-handed relief pitcher. 6'2", 230 LBS. 28 years old.
Provenance: Bellflower, California. Drafted as a high school senior by Arizona in the first round (27th overall) of the 2002 draft. Acquired by the Blue Jays on December 6, 2011, for minor-leaguer Nestor Molina.
In Another Life: Was ranked the #37 prospect in the game by Baseball America in 2004 as a shortstop in the Diamondbacks' system. Traded to Toronto as part of the Troy Glaus trade in December of 2005. Spent two seasons and a few months with Jays before being selected off waivers by the Twins.
Contract Status: Signed three-year, $8.25 million extension with the White Sox in September of 2011. Deal also includes three club options for the years 2015 through 2017, with a $750,000 buyout on each.
Career Stats: 3.29 ERA and 1.296 WHIP in 119 relief outings over two seasons with the White Sox. In 115.0 innings pitched, has struck out 148 batters (11.6 K/ 9), walked 55 (4.3 BB/9). 31 saves.
2011 Stats: 3.55 ERA, 1.11 WHIP, 92 strikeouts (13.1 K/9) and 29 walks in 63 innings. 30 saves.
Looking Back: It doesn't feel like all that long ago that we were watching Sergio Santos take ground balls at third base for the then-SkyChiefs of Syracuse. Our impression of him back then was that we was an impressive physical specimen, but he was not much of a bat, even against some fairly tepid Triple-A pitching.
So it was an odd bit of news two years ago when we started to see his name listed among the depth arms in the White Sox system. It was more of a curiosity until we got out first look at his 2009 minor league numbers, and saw the impressive strikeout totals he posted as he rocketed through the White Sox system. In that season, Santos leapt through four levels in 26 games, and while his cumulative ERA was 8.16, he showed enough of an ability to miss bats to make him an intriguing project.
His ascent to the White Sox in 2010 and subsequent move to the closer role last season followed as he began to find enough control over his pitches to make himself an imposing late game option. Santos averages north of 95 M.P.H. with his fastball, and mixes in a hard slider that elicits futile swings, along with the occasional changeup.
All of which makes it rather strange that the White Sox would ship him out of town after signing him to a very club-friendly deal that could have wrapped him up for six seasons.
Looking Forward: Santos enters the season as the undisputed closer, marking the first time since B.J. Ryan's career-ending implosion that the Jays have had such clarity about the role in March. And given the unsatisfactory performances of the bullpen last year and the season before, Santos will find himself pitching before a fanbase with little or no tolerance for failure from someone in that vaunted role.
Having had a chance to see Santos this weekend, we wondered if those fans are ready to see a pitcher who is still somewhat raw. With a walk rate over four per nine innings, Santos will launch some of those mighty throws into the dirt and on to the backstop with the game on the line. He's a power arm, and will throw harder than any Blue Jay closer since Billy Koch, but it won't always be with pinpoint accuracy.
2012 Expectations: It seems like a bit too much to ask for Santos to repeat last season's strikeout bonanza, and against patient teams like the Yankees, Red Sox and Rays, it will take more than stuff to get through closing assignments. Still, if he can post a K/9 in the range of nine or above, and keep his walks per nine below four, the Jays will have found that elusive bullpen ace.
And if it plays out that well, Santos could be among the most exciting additions to the franchise in some time.
Monday, March 26, 2012
30 Jays in 30 Days - Sergio Santos Has a Scary Arm
3 comments:
I've read he's been working hard on his changeup this spring...like all good BlueJays pitchers do. I'm pretty excited about Santos. I'm looking forward to seeing him throw.
- March 26, 2012 at 2:46 PM
I've read he's been working hard on his changeup this spring...like all good BlueJays pitchers do. I'm pretty excited about Santos. I'm looking forward to seeing him throw.
- March 26, 2012 at 2:46 PM
I agree about questioning why the Sox traded him. But they got a projected starter back for a reliever, usually an automatic win for the guys getting the starter. Too bad Molina has been optioned out...or am I thinking of Stewart?
- March 26, 2012 at 11:16 PM
Subscribe to: Post Comments (Atom)


text:
We're starting the week with the fifth installment of the Translator's Diary, a column by Vincent Kling, winner of the 2013
Abstraction Meets Craft: My dateline this month is Ghent, New York, where I am writing from the idyllic Ledig House at the Omi International Arts Center. Ten translators, five from English to German and five from German to English, are presenting work in progress during a week of close reading and feedback. I'm grateful for the practical comments about the part of Strudlhofstiege I presented, especially suggestions for bringing out more fully the playfully interwoven levels of the narrator's voice. That's crucial, because he's not only the main event, he's the only event, the sole governing sensibility, digressing and freely associating as eccentrically as the narrator of Tristram Shandy. He loves the drollery and irony of shifting registers, creating variety by deft incongruities in elevating or lowering the diction. An example: two characters challenge a third character's plan, because they know from experience it will miscarry. The passage I brought to the workshop said that they were "stubbornly resistant," but the native German speakers found my rendering one level too high. I had mistakenly retained the narrator's formality from the beginning of the sentence to the end, even after he had adroitly switched gears. We entertained "they nixed the plan" or "they put the kibosh on the plan"—both now a level too low, we agreed—until I settled on "they balked" or "they dug in their heels." General endorsement; on to the next refinement.
Meanwhile, my efforts in earlier posts to trace the ancestry of that narrating voice as an aid to grasping its full scope and range—thank you, readers, for not logging off—made me afraid I was straying too far from the practicality of craft. However, the group showed me how a seemingly abstract concern, which I feared might be taking me away from the text, was in fact leading me back to it, since understanding narrative structures in their historical context has a direct impact on a translator's word choice, tone, and register of diction.
"Learned Wit," Scholastic Universality, Baroque Elaboration: One participant ratified my search by encouraging me to read Albert Vigoleis Thelen's German novel The Island of Second Sight (published 1953, translated into English by Donald O. White in 2010). It's a wonderful discovery in itself and eye-opening in its kinship with Doderer. Thelen subtitles his book a volume of "applied recollections," a term applicable in moderation to Strudlhofstiege as well, since the narrator is likewise the sole presence and presents a mammoth set of memories that lie decades in the past. Vigoleis, Thelen's alter ego, similarly glories in asides, digressions, parentheses, addresses to the reader, convoluted backtracking and remote tangents, filigree, pyrotechnics, set-piece lyric rhapsodies, and meta fiction, proclaiming his joy at leading us on wild goose chases and detours around the mulberry bush. These narrators even digress to explain why they're digressing! Same associative approach, then, but Thelen hews closer to linearity than his Doderer "cousin," who reconfigures the narrative line into curlicues and zigzags of the kind Sterne draws in Tristram Shandy. Thelen develops from the base line of a story in straight chronological order; Doderer skillfully blends and blurs two time periods, 1908–1910 and 1923–1925. In both cases, the distance in time between the incidents themselves and their accounts creates reflective irony as the basic mode of observation.


text:
I have always loved art and enjoyed creating things. It makes me happy . . . puts a skip in my step. My interest in photography started in high school, but really expanded once I had children. I now have 3 little ones of my own and I feel compelled to document their unique characteristics and personality traits with the camera. I like to capture moments, looks, glances, smiles, belly laughs, the beauty within them . . . everything about them I want to remember. My goal is to capture real moments and interactions. It is no different when I am at a session. I want to capture all of these things for you too.
People have described me as creative and passionate. I put both of these qualities to work in every session. I want you to love your images as much as I do.
I also enjoy getting to know people and listening to their stories. That's why photography is such a good match for me. It brings my creative passion together with my love for people. I look forward to meeting you and hearing your story as I document your unique characteristics with my camera.


text:
Developments in biotechnology continue to change the way people live—sometimes with positive results, sometimes with negative repercussions, and sometimes unclear consequences. Discoveries in medicine, genetics and agriculture can transform expectations and possibilities in health care, food security and more. For the January 2012 issue of Anthropology News, we invite proposals for essays exploring biotechnology and anthropology.
Possible starting questions include, but are not limited to:
- How are people adopting biotechnological innovations?
- What are the relationships between the uses and consequences of particular developments?
- What more can be done to help address humanity's most urgent needs, such as the lack of food security?
- What ethical implications arise from certain developments?
To participate, email a 300-word abstract and 50–100-word biosketch to AN Managing Editor Amy Goldenberg. We welcome proposals from current AAA members for In Focus commentaries, Teaching Strategies articles, Field Notes pieces, photo essays, photo features, news stories, interviews and more. Proposals for photo essays should also include up to five high resolution photographs (tiff or jpg), each with a caption and credit. Multimedia submissions are encouraged for online publication on the new AN website (which goes live September 1). Contributions selected as exclusive online content for http://www.anthropology-news.org can be up to 1,500 words, with flexible space for supplemental artwork and other supporting files. Final contributions for print AN will be 1,100–1,300 words in length for commentaries and shorter for other contribution types.
Proposals are due September 12.


text:
2012 Daktronics-NAIA Men's Cross Country Scholar-Athletes
By Travis Rae, Communications and Sports Information Intern
VANCOUVER, Wash. - The National Association of Intercollegiate Athletics (NAIA) has announced that 203 men's cross country student-athletes have been named 2012 Daktronics-NAIA Scholar-Athletes. Concordia (Neb.), Olivet Nazarene (Ill.) and St. Ambrose (Iowa) lead all institutions with six individuals on the list.
In order to be nominated by an institution's head coach or sports information director, a student-athlete must maintain a minimum grade point average of 3.5 on a 4.0 scale and must have achieved a junior academic status to qualify for this honor.
To learn more about the Daktronics-NAIA Scholar-Athlete award, click here.
2012 Daktronics-NAIA Men's Cross Country Scholar-Athletes - PDF


text:
HANDSFREE publications present
Delivering the highest caliber in news and reporting from esteemed syndicated columnists such as Mr. Potato Nose and Ye Olde Peglegger, HANDSFREE's coverage of local and global issues has become the go to source for credible news reporting. Covering an eclectic range of topics including pig's milk, sports, porn life, child birth do's and don'ts, Steven Tyler, pre-ski workouts, and much more. Come peruse all the issues including the new full color edition now with spell check! Oh yeah and FREE WAFFLES. Seriously. FREE WAFFLES. Featuring work by Ben Smith, Brad Rogers, Pete Sutfin, Tim Armour, Bart Jones, Rick Davenger, Chris Fetter and more! Plus-ALL YOU CAN EAT FREE WAFFLES ya Peepee face. BYOB.
Opening Reception: Saturday, June 26, 7-11pm


text:
"Art" is a bullshit concept invented by French faggots around 394 BC because they were so fucking bored with sitting around brushing their handlebar mustaches all day. Oh, and if you want a sig, use the sig workshop.
FF7 stick figurines
Use this control to limit the display of threads to those newer than the specified time frame.
Allows you to choose the data by which the thread list will be sorted.
Order threads in...
Note: when sorting by date, 'descending order' will show the newest results first.
Forum Rules


text:
|Site Feedback
|Site announcements, requests for features, bug reports about the software of the service.
|Post details
|Post (Contract pics)
2018-06-23 16:05:03
OutageContext of comment:Members - MountainViews failed yesterday 23rd June 2018 . The cause was a problem at our hosting company which was resolved in late afternoon.
Additional points:Let us know if the issue returns.
2018-06-07 11:11:26
illegal update actionContext of comment:This error sometimes occurs when the user is adding a comment to a forum or to a summit.
It has proved elusive to find and does not always happen.
If you notice it please copy the exact error message
Message:If you notice it please copy the exact error message and contact firstname.lastname@example.com
2018-06-06 12:03:27
Odd things on the website, excessive emailsContext of comment:We are investigating a curious error in the software that powers the website. Unfortunately it only seems to manifest itself on the public webserver. The testing required is throwing up some odd activity like old items reappearing in the Recent Items list and excessive emails notifying changes.
Message:Please ignore this activity and note that no permanent changes to the main data of the website is occurring.
Additional points:If you see a message "illegal update action ..." let us know at firstname.lastname@example.com
2018-05-08 21:09:49
Waterford & Wexford Coastal Hills added.Context of comment:We are glad to announce that we have added 14 further coastal hills this time for the counties Waterford and Wexford. The new hills include Knockavelish 124m just south of Waterford town which is the highest of the new additions.
Additional points:As usual we would say it is likely there are errors in the new data. Position for example or names. We are also interested in finding Irish names.
2018-03-27 23:39:41
Introduction and HelpContext of comment:Simon, you have asked for feedback ref the new website feature and here's my twopence worth.
First you note that new users find the site hard to get into. It's no easier for the rest of us: it's just that we've got used to its ..... idiosyncrasies
I promote it to any poor soul backed on to an arete and have done so for all the years I have been on board; and to a man/woman, they revert to me with how very good the concept and info are but also how very user unfriendly it is.
It certainly doesn't have the slick urgency of high end perfume advertising or cars or exotic hols - but maybe that's not what you want.
On both your and my experience of feedback it is definitely high time there was an "intro page" at very least and with the basic offerings on show - and that's what we now have.
So initiative 100%, concept 100%, direction 100% - but application ... ?
The new menus came to me as an overlay to an already very busy and complicated page - and made me reach for the Annadin. Frustration more than migraine - because really all it needs is for the site to open on a simple still background of some mountain icon with these overlays on it.
A welcome to mountainviews before you go burrowing into its entrails.
So in conclusion, albeit just mine, a very good thing but realised to its full potential perhaps with some tweaking.
Lastly - not sure about your observation that the experienced user does "not always realise there are easier ways to do things".
It is my long experience in the communication industry that if the target doesn't get it, it's not because the target is dumb; it's because one hasn't communicated it as effectively as one could.
2018-03-27 09:24:02
Introduction and help.Context of comment:.
Hi, you will find a new feature shortly which Introduces and explains MountainViews.
It appears automatically when you start using the website and hopefully will shed light on how to get the best out the system.
A. If you are an experienced user.
Experience has taught us that even people who have been using MV for years do not always realise there are easier ways to do things. Have a look at the explanations and the detailed tutorials. You can close the introduction with a single keystroke If you are logged in you can close the introduction for 30 days at a time.
Let us know if the tutorial can be improved.
First time users have often told us the website is hard to get into. We hope this introduction will make it easier. There are short introductions to the main things you can do on this website and some longer tutorials.
You can close the introduction with a single keystroke. We would welcome feedback. You will need to create an account (very easy), login and post your suggestions in this forum.
Restarting Introduction
Click on Home => Display INTRODUCTION
Thanks to magicstep for work on this introduction.
Correction made
If you used this feature and found that the "Close Introduction for 30 days." didn't seem to work, then note: it's fixed now.
2018-02-09 12:48:08
donalhunt - track markersContext of comment:If you type the grid reference the track markers(Point A etc.) will be added automatically.
2018-01-07 17:55:20
Track markersContext of comment:Adding markers to descriptions
Message:In some track descriptions, I see reference to locations that appear on the map as markers (e.g. park at point A, ascent to point B, head towards point C). Is there a summary of how to specify these when writing descriptions (my attempts are failing)?? Thanks!
2017-11-13 09:27:22
Splitting a track into more than one.Context of comment:jgfitz has pointed out that track/1779 had wildly inaccurate figures and probably represented a corrupted file.
This .gpx file was originally uploaded by me in Jun 2012, the early days of MV's track sharing system. There was some error in the gpx file causing a long red line, however the main issue here is that the uploaded file included three distinct summits. A better representation would so show the three visits to summits as separate tracks.
Message:Splitting a track
As announced in October 2017 there is now a means of editing a shared track, either a new one or an old one as in this case. As explained in https://mountainviews.ie/motleyviews/suggestions/comment/7993/ you can trim a track. To split a track into more than one piece the procedure is to upload it as many times as necessary and remove the bits before and after the wanted bit.
So we need to get the original track again. You may have the track as you got it from the GPS or you can export it from MountainViews. Taking the export option and using track/1779 as an example:
Step 1: Export the track to a text file on your PC. This is done by using the "Export Data" option under a track. Select the "Obtain all stored track .." option.
Step 2: For the example track/1779 do Tracks, Walks=>Upload a track. For a walking track that includes a lot of driving as this one did, Specify main activity as Walking, browse to the saved .gpx file and upload.
Step 3. The example track/1779 included walks up three hills Cullenagh, Clogrennan and Tinoran. Trim the track: Edit Description=>Optional: Refine start, end & activity Mark the Start and End of the track for each of the hills by dragging the Start and End arrows to the map and following the steps that appear.
Step 4: Repeat steps 2 and 3 for each of the hills.
For the example track I ended up with
track/1779 Cullenagh
track/3646 Clogrennan
track/3648 Tinoran
Which deals with the original point from jgfitz and turns the original into routes for the three hills, discarding all the driving between them.
Additional points:Do please have a go at the "Optional: Refine start, end & activity" feature if you are uploading new tracks or want to revise old tracks.
VOLUNTEER OPPORTUNITY MountainViews track sharing feature has been an enormous success since its inception in 2012, with 2000 tracks shared. However we could use voluntary effort to improve tracks, remove duplicates, split some as described here etc. Contact admin - at - mountainviews.ie if you would like to help.
2017-11-13 01:00:00
Tinoran Hill - Trk 1779Context of comment:Bug report
Message:This hike is described as being 11.4 km. When downloaded as GPX file, it is 77.25 km. The downloaded version looks unusual, so the uploaded file must have been corrupted in some way.


text:
Does my street on Oahu have any condos for sale?
Click on the menu items below because they will instantly show the latest MLS listings for free.
Contact Request
By submitting any form on this site with your contact information including your name, telephone number, fax number, address and/or e-mail address, you are consenting for Sachiko Trillo or her authorized representatives to contact you even if your name is on the Federal or State "Do Not Call Lists". Your information will be kept strictly confidential and will never be sold, traded, or bartered.


text:
Hello Everyone
This is my last post for 2015. Whew what a rollercoaster year this has been!!!! I am pleased to say that it has been a good year mostly and it ends on a good note too! I look forward to 2016 with much anticipation and hope.
I wish you all a fabulous and awesome 2016 too! I really do hope it is a good year for us all ;-)
I recently had a post up on the BoBunny blog and it is a Misc. Me album which I started for my son Joe's school years. Here's the cover, but please would you pop along and have a look at the rest of the album! I would really appreciate it! ;-)
Well I hope you enjoy the last day of 2015! ;-)
See you back next year! ;-))))
Denise x


text:
Securely processed by Sagepay
Self sealing stop end due to smart construction and EPDM rubber.
Diameter : 100mm.
When it comes to creating beautiful, environmentally friendly and maintenance free buildings, using the right materials is everything. The Lindab Rainline™ Steel Rainwater system uses the very best in lightweight galvanised steel to create a contemporary, cost effective and eco-friendly guttering system that won't shrink,
split or leak – and looks great too.
Each piece of core steel is coated with 275g zinc per square metre, a naturally self-healing coating that won't discolour or rust. The coating on both our High Build Polyester and Aluzinc guttering systems, are guaranteed for 15 years with a life expectancy in excess of 70 years.
Rainline is ideal for modern and traditional buildings for both refurbishments and new build projects. Gutters and downpipes simply push together without the need for any special tools or sealants.
Steel is the ultimate material for roof-drainage systems.
It is much lighter than cast iron, is easier to handle than aluminium and offers minimal thermal movement compared to plastic (which can move and crack causing leaks).
Lindab's steel also has the lowest CO2 impact of any competitor.
Low maintenance
The only maintenance required is an occasional wipe or wash down.
Easy assembly and installation guarantee a long service life.
Vandal resistant
Highly resistant to attack from vandals – can be fixed flush to a wall to prevent anyone climbing up the downpipe
Minimum environmental impact
Tests have proven that Rainline steel systems reflect the lowest cradle-to-grave impact by minimizing the use of raw materials, components, energy, packaging and transport.
Cost-effective solution
Competitively priced against leading plastic systems and inexpensive compared with aluminium and cast iron.
All delivery charges are included in the final shopping basket and are dependent on the products Scottish Highlands & the Islands where additional shipping charges will apply.
Please note that not all products will incur an additional delivery charge to the Scottish Highlands & the Islands – this is based on the costs from the manufacturer, distributor or courier providing shipping on our behalf. If your delivery address is in the Scottish Highlandsand Islands, a member of our helpline team will contact you prior to processing your ordershould an additional delivery charge apply.
While we make every effort to ensure orders are delivered by the date required, we cannot guarantee availability from the manufacturer or the manufacturer's delivery schedules.
Any variation to web delivery date given will be advised to you by email or telephone. If we are unable to make delivery because access is not possible, we reserve the right to make a failed delivery charge.
Use our product Q&A form to have your questions answered by our drainage experts. If you're looking for a product quote please click here.
We will beat any current genuine advertised price on this product. Please fill in the form below with a link to the product on the site you have found it cheaper on, or provide photographic evidence and one of our sales team will contact you regarding your order.
Please Note:
It seems you are running an older version of Internet Explorer. Our site does not support these old browsers as they do not house the technology that allows our site to be safe and secure.
If you wish to access our site please either upgrade your browser or download an alternative.


text:
Profitability Accounting
Is Versatile . . .
companies ranging in annual sales
volume from less than Vz million
to 100 million hare used profitability
accounting successfully.
They include . . .
T\ Station
Paint Manufacturing
Luggage Man u facta ring
Electronic Components
Automotive Parts Supplier
Structural Steel Fabricator
Tool and Die Manufacturer
Metal Extrusions Company
Shoe Manufacturer
Women's Clothing Manufacturer
Heavy Machinery Manufacturer
Manufacturer for Government
lYTe are all aware that the roots
' ' and customs of accounting go
back many centuries. Much of what
we now call accounting, however,
has been developed step by step over
only a couple of generations.
Accounting in the very early days
was concerned primarily with the
listing of transactions — a diary of
notations which could be referred to
at a future time. Accounts were also
set up quite early to record business
transactions between a buyer and a
seller. Double entry bookkeeping
gradually developed and the more
sophisticated concepts of what we
now call custodial accounting
Robert Beyer
Paul E. Hamman
*y THE QUARTERLY


text:
Rumblefish CEO: Claiming Copyright On Your Incidental Recordings Of Birds Was Merely A Series Of Unfortunate Errors
from the that-just-happen-to-profit-us deptFollowing Rumblefish claiming copyright via YouTube's ContentID system (and putting ads on the video to monetize it) of a guy's nature video because the birds singing in the background sounded too much like a Rumblefish-licensed track, Rumblefish's CEO has gone into PR crisis mode, setting up an AMA (ask me anything) on Reddit to address the story. While he gets a smidgen of kudos for the funny title of it:
I'm the CEO of Rumblefish, I guess we're the newest up and coming bird music licensing company - I'm also a copyright, music licensing, entrepreneur guy. Ask me anything.the details aren't leaving many satisfied. The key explanation is basically that it was a "series of unfortunate errors":
Here's what happened. YT ID'd a song in our catalog improperly, it was disputed, one of our content ID reps re-instated the claim mistakenly. The issue was brought to our attention b/c of a post tonight. We reviewed the video, I watched it myself, and it was clearly a mistake. We released the claim on Sunday eve a few hours after our mistake came to our attention. That's what happened.This is, almost certainly, an accurate reflection of the specific events, but hardly touches on the key error. That the Rumblefish rep re-instated the video "mistakenly." Remember, this was a nature video. There was no music. No one who watched the actual video would think that it involved someone taking "bird songs" off of some Rumblefish licensed track and placing it on the video.
We review a substantial amount of claims every day and the number is increasing significantly. It's been rather challenging. We have millions of videos now using our songs as soundtracks and keeping up is getting harder and harder.
Separately, this highlights an ongoing problem that we've discussed concerning YouTube's ContentID program. While it has been a great way to enable copyright holders to make money from content uploaded by others, it also can (and often is) abused to either take down content or to monetize someone else's content.
Filed Under: birds, content id, copyright
Companies: google, rumblefish, youtube


text:
Before seeing Wingware's Wing IDE in action at PyCon 2008, I was familiar with it in name only. However, the demonstration I saw was so much more than I expected that I asked Stephan Deibel, one of the company's co-founders, to contact me once the latest version was available -- which he did with the recent release of Wing IDE 3.1.1.
I suspect my initial take on software like Wing IDE is similar to that of other Python developers: Why would I need an IDE for Python development? Hardcore Python coders already use text editors like vi or emacs, and most Python distributions ship with IDLE for those who prefer GUI-based development. Still others have bolted on features to the Eclipse IDE to work with Python and other commercial alternatives (like ActiveState's Komodo IDE) offer superb scripting language support for languages like Python.
So what does Wing IDE have that these others do not? Perhaps the most obvious answer to this question is also the best -- the Wing IDE was made for Python developers by Python developers. Anyone who has coded in Python beyond a couple simple utility or sysadmin scripts and has run the demo version of Wing IDE will quickly identify the product's well-tailored fit. Just as Perl and Ruby on Rails developers gravitate toward a particular authoring tool due to some indescribable essence that is woven into the preferred editor's execution, the Wing IDE just feels right from a Python perspective.
Beyond the subjective comfort level, Wingware has all the bells-and-whistles you'd expect from a polished commercial IDE, especially with one with as long and solid as Wing IDE (Wingware has been in business for nearly 10 years). Given the lengthy list of capabilities, Wingware did a terrific job of keeping them from getting in the way of doing real work. Not once did I feel I was fighting against the IDE, nor did I have any difficulty finding, figuring out, and employing the multitude of features in the software.
Like most modern IDEs, Wing IDE features code intelligence in the form of auto-completion, a class/module browser, function/keyword source assistance, and the expected bracket matching, auto-indenting, syntax auto-checking, and bookmarking. The IDE's gold lies in its extensive local and remote debugging capabilities, including it's ability to set probes and watch values, display stack, and exception data and hooks to debug I/O including live keyboard input during the debug process. This feature alone made my life much easier while developing what was supposed to be a simple Django application. Speaking of web development, the Wing IDE is well-suited for Django, Turbogears, and Zope/Plone-based web development, and the Wingware site provides documented Howto's for those developers seeking optimal code environment configuration for those frameworks.
Other features such as an entirely flexible UI allows placement of window panes and toolbars. Text searches can spider currently open, associated project and anywhere on the disk for basic and Regex-style query string identification. Source version control support for both CVS and Subversion-based repositories help you rest easier, as does the product's unit testing capabilities in the form of unittest, doctest, and nose-style test support.
Wingware publishes the clearly written Wing IDE manual on its website in HTML format for both existing and future customers to reference. The site also points to a handful of Flash-based video demonstrations recorded and hosted by the online tutorial/demo site showmedo.com. The IDE clearly has numerous strengths, but like any commercial offering, it has a few irritations as well. The first is the company's choice to employ the still somewhat controversial approach to licensing, limiting licensed customers the ability to activate the product a maximum of three times. While I can rationalize the company's reasons and certainly their prerogative to do so, it nevertheless comes across as a bit heavy-handed. While Wingware insists it is not collecting any privacy-sensitive information during its online activation process, I can't help but feel uneasy when they a product is not completely transparent in showing exactly what meaningful data is being transacted with their servers during the activation process.