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Where white sand beaches and the glimmering, blue Pacific meet green, lush, volcanic peaks sits Kapalua, Maui. Located on Maui's northwest shore, Kapalua is exclusive, sophisticated and relaxing with activities like golf, tennis, water sports and tropical life that soothe the senses and the soul. Rent from a selection of beachfront cottages, family homes or more modern condominiums. Everyone from couples to families can be easily and economically accommodated; there is something for everyone!
Host to the renowned Kapalua Wine & Food Festival, nestled amongst Cook pines and surrounded by acres of pineapple, is the perfect getaway. Access to breathtaking nature, outdoor activities and beach-life are why visitors love their Kapalua, Maui holiday rental.
Your beach rental is close to any one Kapalua's five bays and its three pristine beaches, perfect for tanning, snorkelling, jet skiing and sailing. Just step out your door to take a morning swim or bask in the sweet fragrance of your tropical garden.
After a day in the sun, experience an authentic Hawaiian Luau. Feast on traditional foods such as succulent kalua pig cooked in an earthen oven, poi or haupia (coconut pudding). Steep in Hawaiian tradition as you enjoy this long-lived Hawaiian festivity which includes time-honored Hawaiian music, hula dancing and fire dancing.
From your beachfront rental, plan a trip to the Haleakala Volcano; explore the lush vegetation, birds and animals in this protected marine-life conservation district. Follow a walking trail through the paths of ancient lava rivers that have long since cooled And visit the caves, marveling at the stalactites, stalagmites and flowstone. Walking the winding trails of this ancient subterranean river of lava is safe and easy and an enjoyable activity for the entire family. Climb to the peak of the Haleakala volcano and take in the spectacular view of the crater from the rim, or be adventurous and climb down into the crater on foot or on horseback.
Indulge in the ultimate luxury of a spa close to your holiday cottage, dine at an award-winning restaurant, shop in a selection of exclusive boutiques, or take a relaxing stroll on the walking paths with magnificent views. Play a round of world-class golf, The Bay and The Plantation, are recognised by Travel + Leisure Golf Magazine, as #1 in Hawaii for Best Golf. Your Kapalua holiday home rental may be one of the most economical and brilliant decisions you've ever made, in addition to being one of the most beautiful places on Earth.
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Expert Residential Roofing Contractor
Deerehawk Blog
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Service Areas
Roofers Gig Harbor, WA
Roofers Fox Island, WA
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Shingle Roofing
The most common type of roofing in the nation is shingle roofing systems
Metal Roofing
We are experienced, expert metal roofing installation technicians.
Roofing Contractor for
University Place, WA
Serving the University Place community with
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We are a licensed, bonded, and insured
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With nearly three decades of industry experience you can put your trust in the experienced hands of Deere Hawk Roofing and Construction, LLC with confidence. We offer a variety of different services from metal to shingle roofing, we are experts who can advice you on what is the best choice for your home. Experienced technicians plus the highest quality products the industry offers equals a reputation for our company as one of the most trusted roofing contractors in the Tacoma area and beyond.
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Interested in Deere Hawk Roofing and Construction LLC
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Call us today at (253) 649-4538 or click below to receive a free estimate today!
Check out Deere Hawk's Project Gallery
Project Gallery
We are a family owned and operated roofing contractor. Our founders have been in the roofing industry for over 30 years and have installed 100's of roofs. We focus one installing quality roofing systems one customer at a time.
We are a certifed roofing contractor that installs lifetime warranted roofing systems. Imagine a 50 year roofing system that you do not have to worry about for decades protecting your home and family.


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Link to Manufacturer's Website: Enter link to the external review
Are you looking for a reliable and high-quality stand case for your iPad Mini 4? Do you like precise craftsmanship and modern design? If so, then this unconventional Moshi stand case could be the right product for you. Made of non-toxic synthetic leather, the case is both beautiful and environmentally friendly. In addition to protecting your device from damage, this unique folding cover doubles as a practical stand, providing perfect comfort for typing, web browsing, or watching movies.
The case is made of soft microfiber that protects the screen from scratches, dust, or grease. The case can even withstand physical shocks, thus adding an extra layer of protection. The plastic backside cover holds the iPad firmly in place and the case is equipped with accurate cutouts for all the buttons, connectors, and the camera.
Specifications can be changed without notice. Images are for illustrative purposes only. Retail Price (MSRP) means the manufacturer's/supplier's suggested retail price.
Link to Manufacturer's Website: Enter link to the external review


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Liquid Metal Watch Black
- $299,00
Options disponibles
Sold Out
The Liquid Metal Watch is a world first. Using a material called Metallium, developed over years of research, the time is displayed with drops of liquid metal. Inspired in part by the Terminator movies, this unique, cutting-edge time piece is unlike any other.
Click this link to see the Liquid Metal Watch Silver.
A Futuristic Watch With A Unique Time Display
Futuristic in appearance, the colored metallic liquid floats freely inside the face of the watch like molten metal when you move your wrist.
Two small drops of liquid metal remain in a fixed position to indicate the hour on the outside and the approximate minutes on the inside. There's also a larger drop of floating liquid metal that moves freely for effect.
Take a look at the diagram below. It's as easy to read as a regular watch with hands!
Cutting Edge Watch Design From Japan
Designed in Japan, the Liquid Metal Watch case is made of stainless steel and has a hairline brushed finish. The watch comes in silver or black with the choice of a stainless steel or leather strap. You can choose from black, silver, red or blue liquid metal.
One of the most striking features of the Liquid Metal Watch is the contrast between the bright mirrored dial and the metallic liquid floating on top.
Finished with a mineral crystal lens, the surrounding bezel features selected engraved numbers which are a design element but also act as a guide for reading the time.
An Analog Watch With A Difference
Unconventional in many ways, the Liquid Metal Watch functions just like a normal analog watch. To set the time, pull out the crown and turn it clockwise or counter clockwise. The two liquid metal drops will move to the desired time. The watch uses a standard watch battery.
The Liquid Metal Watch - First Look
Technical Specifications
|Case & Strap
|Stainless Steel / Stainless Steel or Leather
|Stainless Steel Clasp / Buckle
|Brushed Stainless Steel / Brushed IP Black
|Minimum Wrist Size
|100 mm (approx.)
|Maximum Wrist Size
|210 mm (approx.)
|Case Back
|Stainless Steel Press-On Case Back
|Case Dimensions
|41 mm x 41 mm x 12 mm
|100 grams
|SR626SW replaceable watch battery
|Water Resistance
|One Year Warranty
|Watch Attributes
|Strap Material
|Stainless Steel/Leather
|Case Material
|Stainless Steel
|Stainless Steel


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Inexpensive. Built-in Wi-Fi. Bright picture. Comes with 4 pairs of 3D glasses.
Weak off-angle viewing including heavy crosstalk. Disappointing shadow detail.
Bottom Line
The Panasonic ET5 series offers integrated Wi-Fi and passive 3D with included glasses in an affordable LED HDTV, but its picture isn't quite up to snuff unless you look at the screen straight on.
Passive 3D is a convenient, inexpensive way to watch 3D movies on an HDTV. While active 3D often offers the better picture, passive 3D doesn't require expensive, battery-powered glasses. Each 3D technology comes with trade-offs. The majority of the sets Panasonic sells are active 3D, but the company is joining Vizio and LG in the ranks of manufacturers offering passive 3D models. The ET5 series is the company's first passive 3D LED model, and at $1,099.99 (direct) for the 42-inch TC-L42ET5 version we tested, it's an affordable HDTV. But its picture quality doesn't measure up to Vizio's or LG's passive 3D screens, and doesn't come close to matching active 3D HDTVs. Still, the set's price and feature set helps make up for its picture failings, and if you want an affordable HDTV that does a lot, it's a solid choice.
Similar Products
Editor's Note: This review is based on tests performed on the TC-L42ET5, the 42-inch version of the series. Besides the screen size difference, the $1,899.99 55-inch TC-L55ET5 is identical in features, and while we didn't perform lab tests on this specific model, we expect similar performance.
Very basic looking, the set's bezel is flat and plain, framed by clear acrylic edging to give it a little bit of flair. The base is black, rectangular, and sturdy, but doesn't turn or pivot in any direction. Power, Volume Up/Down, Channel Up/Down, and Menu buttons sit tucked just behind the right edge of the screen. On the opposite side, four HDMI inputs and two USB ports sit conveniently facing to the left. The remaining component and composite video (a pair of connectors that use an adapter), VGA, cable, Ethernet, and optical audio ports face down from a recessed portion of the back panel.
The 8.9-inch remote is large, backlit, and comfortable. The big buttons are easily identifiable, and the number pad, volume/channel controls, and navigation pad all feel different enough under your thumb that you can easily use the remote blindly. A dedicated Internet button accesses Viera Connect services and a 3D button summons 3D options, but the remote doesn't have dedicated Netflix or Skype buttons like Panasonic's connected Blu-ray players like the DMP-BDT220 ($114.99, 4 stars). Panasonic also offers a smartphone app that turns your iPhone or Android smartphone into a remote control. It also has touchpad and gamepad modes for browsing the Web and playing games on Viera Connect apps on the HDTV.
You can use built-in Wi-Fi or an Ethernet connection to hook up the TV to the Internet and Panasonic's Viera Connect service. It comes with several apps and online services installed, including Netflix, Hulu Plus, Amazon Instant Video, YouTube, and a Web browser. Web browsing is awkward with the remote, but you can use Panasonic's Viera Remote app to turn your iPhone or Android smartphone into a touchpad for better cursor control. You can download additional apps and services to the HDTV through the Viera Connect Market, which also lets you order physical products like optional gamepads and Webcams for use with certain apps.
We test HDTVs with DisplayMate test patterns, a Konica-Minolta CS-200 ChromaMeter, and Spectracal's CalMAN software. After setting the color temperature to Warm and performing a basic brightness and contrast calibration, the L42ET5 reached a peak brightness of 292.50 cd/m2 and a peak black level of 0.03 cd/m2, for an effective contrast ratio of 9,750:1. Colors were very accurate, with greens registering as just slightly warm. The chart below shows the screen's values compared with the CIE standards, represented respectively by the colored dots and boxes.
Despite good numbers, the L42ET5's picture has some quirks. Off-axis viewing distorts color, causing the picture to look pale and indistinct if you look at it from any view wider than about 45 degrees from the center. While the HDTV has a dark enhancement mode, we recommend turning it off and setting black levels to "light," because the mode severely clips shadow detail and makes very dark objects disappear. It showed no noticeable clipping in highlights, though.
I watched Piranha on Blu-ray on the L42ET5, and the picture was bright and colorful. The sunny, alcohol-fueled party segments were eye-catching and vivid, though skin tones looked slightly muted. Under the water, the picture wasn't quite as good, as the shadows and dark objects in the murk became muddled. Despite a good contrast ratio, the L42ET5 doesn't excel at shadow details.
Passive 3D
Unlike other Panasonic 3D HDTVs, the ET5 uses passive 3D instead of active 3D technology. This means it uses inexpensive filtered glasses instead of electronic shutter glasses, and comes with four pairs in the box. The 3D effect is very good if you look at it straight on, and even passable if you look at it from the sides. If you move higher or lower than the screen, however, crosstalk becomes heavy, making the picture look little different than if you weren't wearing glasses at all. I watched Sharks 3D on Blu-ray, and the schools of fish popped out of the dark blue of the ocean when I sat directly in front of the screen with my head at its level. When I stood up, the number of fish doubled and the picture gave me a headache. This can be a problem if you want to wall-mount the HDTV and sit on a couch to watch a 3D movie.
The L42ET5 doesn't have many energy saving settings, but it's still relatively efficient. A single Energy Saving mode slightly dims the screen but keeps it very watchable. With the mode turned off, the L42ET5 consumes an average of 82 watts under standard viewing conditions. With the mode turned on, that number drops to 70 watts.
The Panasonic TC-L42ET5 is an inexpensive 3D HDTV with a good picture if you look at it straight on. While its passive 3D technology is convenient and economical with the included glasses, it suffers from distinct crosstalk and poor viewing angles. This means in a large group, a few viewers will be disappointed. For a budget 3D HDTV, the 55-inch Vizio M3D550KD ($1,429.99, 4 stars) remains our top pick. The 55-inch Panasonic TC-P55ST50 ($1,699.99, 4 stars) is a larger, more expensive plasma screen that doesn't come with the active 3D glasses it needs to show 3D movies, but it offers a superior picture to Panasonic's passive LED screen. Even so, if you're on a budget and want a connected 3D TV, the ET5 is worth considering for its solid feature set and low price.


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Mens Swimwear
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HOLIDAY SHIPPING INFO: The last day to take advantage of $5 3-Day Shipping is Monday Dec 16th. Please note 3 day shipping arrives in 3 business days and is only available in the lower 48 states.
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To receive 25% Off Sale Styles w/ No Minimum purchase, place selected sale and/or clearance items into the shopping cart and enter code: DEC25 into the 'apply discount code' box on the Shopping Cart page or at the very bottom of the Checkout page.
Offer ends at Midnight CST on 12-24-19.
Promotion cannot be applied to previous orders or combined with additional promotions or coupon codes.
Free standard shipping offer applies only to SALE items and is available only in the U.S. and its territories.
Please call with any questions 1-800-926-6509.
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text: Coupon codes > Coupons Magazineline Coupons & offers Currently 0 active coupons Sorry, we do not have any offers right now, but they will be here soon! Related Coupons and Offers $30 OFFVerifiedEcho: Buy Two & Save $30Buy 2 and save $30 on echo with the Amazon deals. Use Amazon offers to avail this discount. Grab these wonderful offers while shopping from the app or the web. Grab the offer now.Click to Get OfferView all Amazon Coupons $10 OFFVerifiedGet $10 OFF On Orders Over $40Shop now & get $10 OFF on orders over $40 by using Kohl's coupons. Use this coupon code to avail this offer. You can shop for the clothing, bed and bath and more. Start your shopping now through the mobile or the web. Hurry Up!!!Click to see codeView all Kohls Coupons 20% OFFVerifiedGet 20% OFF On Rugs Over $100Shop now and get 20% OFF On Rugs Over $100 with IKEA offers. Click the link to get the offer page at discounted prices and save your money. Hurry!!.Click to Get OfferView all IKEA Coupons 50% OFFVerifiedMen's Designer Clothing: Extra 50% OFFShop now & Get Extra 50% OFF on Men's Designer Clothing using Barneys New York Deals. The Clothing Collection like Tonal-Striped Mixed-Stitch Wool-Silk Necktie and more. Place an order through mobile or the web. Grab the offer now. Click to Get OfferView all Barneys NewYork Coupons Filter Type Coupons Deals Expired coupons and deal About Magazineline Shop Magazineline Stores You Would Like to SeeAmazon couponsKohls couponsHotels.com couponsIKEA couponsBarneys NewYork couponsPopular Stores AmazonEbayMacys6PMHome DepotTargetBest BuyLowesNikeKohlsEtsyBuy Buy BabyBarneys New YorkIkeaInterServerAloft Hotels


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Build a #YUMOVEMENT with a Microgrant from Year Up.
Do you want to create change in your community? The Year Up National Alumni Relations Team is accepting proposals for microgrants of up to $1,000 to fund alumni service projects. So much great service is already happening across the alumni network, and the National Summer of Service is a time to elevate and celebrate the #YUMOVEMENT.
Together, we can close the Opportunity Divide
When you graduate from Year Up, you join a nationwide alumni network called the National Alumni Association (NAA) – all Year Up graduates are members of the NAA. The NAA is made up of leaders committed to lift while they climb and change the narrative of young adults in America. The alumni vision is a collaborative partnership between Year Up alumni and staff, focused across three key areas:
- Advancing Careers and Education
- Actively Contributing to Year Up's Success
- Taking Action in the Opportunity Movement
Stay connected
Drive the alumni movement and engage with the NAA on LinkedIn, Facebook, and Twitter.
We're (still) here for you
Year Up is still here to help you reach your potential – no matter how long ago (or how recently) you graduated. As the National Alumni Association (NAA) grows, Year Up is growing to better help the NAA, too!
Year Up Professional Resources (YUPRO), a Public Benefit Corporation focused exclusively on providing career support for the NAA, launched in 2014. While they're still expanding to meet alumni needs, this new resource can help connect you with career advancing placements and professional development, like individual coaching, mock interviews, and resume and cover letter reviews. Contact YUPRO and start working toward your new job or promotion!
The Year Up National Alumni Relations Team is a Year Up staff team that is dedicated to supporting alumni. Along with the NAA Board, we are working to launch resources and initiatives that broadly benefit alumni, and we are excited to give alumni a strong voice and to support the success of the growing alumni movement. Join the Alumni Relations Team on Twitter.
The National Alumni Association Board (NAA Board) is made up entirely of dedicated alumni leaders representing Year Up graduates. They play a key role in Year Up's vision of alumni taking on increased responsibility of the Year Up alumni experience and strategy.
Your Local Alumni Board works in conjunction with the NAA Board and Year Up staff to help build up the NAA by bringing you speakers, events, and professional development opportunities.
Help others cross the Opportunity Divide
Who better to guide a young adult towards opportunity than a successful professional who was once in the same shoes? Get in touch with your local Alumni Association to learn how you can help others reach their potential.


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The Democratic Progressive Party (DPP) yesterday condemned the Special Investigation Division's (SID) reported political surveillance of the party and several individuals, saying that President Ma Ying-jeou (馬英九) and officials in charge should be held accountable.
The latest edition of the Chinese-language weekly Next Magazine yesterday reported that the division carried out political surveillance of Legislative Speaker Wang Jin-pyng (王金平), the DPP and a publisher who has voiced opposition to the cross-strait service trade agreement.
In a report that Prosecutor-General Huang Shih-ming (黃世銘) submitted to Ma briefing the president on Wang's alleged involvement in improper lobbying for DPP caucus whip Ker Chien-ming (柯建銘), the SID attached information unrelated to the case, Next said.
Huang's report and his meetings with Ma on Aug. 31 and Sept. 1 were the precursor to a crisis that came to be labeled the "September Strife," in which Ma is alleged to have conpired to remove Wang as speaker.
The magazine said the additional information included in the report provided a detailed account of Wang's public and private itineraries, and the people he met with.
Next said the division had wiretapped a telephone conversation between Ker and DPP Chairman Su Tseng-chang (蘇貞昌) about the party's strategy toward the Taiwan Solidarity Union's (TSU) initiative to recall Ma, as well as the conversation between Ker and publisher Rex How (郝明義) about How's plan to speak out against the trade service pact on June 19, one day before it was to be signed.
If the Next story is true, it means that thanks to the division's wiretaps, Ma knew that the DPP was not going to support the TSU's recall campaign and its collaboration with How on opposing the trade pact.
The magazine said the SID had crossed the "red line of any democratic government" to become a political tool for Ma.
"The [Next] report shows that our suspicion that Ma is monitoring his rivals is legitimate. Ma is obligated to offer a clear explanation about the allegations and the government officials involved in the surveillance should step down," Su said yesterday.
The Chinese Nationalist Party (KMT) was known for monitoring democracy advocates during the authoritarian era, but what is surprising is that such surveillance has been "a hard habit to break" for the party since it returned to power in 2008, he said.
However, SID spokesman John Chang (張進豐) said that Wang's schedules on June 28 and June 29 were public information that investigators gathered by searching Google.
The investigators wanted to compare Wang's schedule for those two days with his actual whereabouts — as identified by mobile phone base stations — to find out if Wang had met then-minister of justice Tseng Yung-fu (曾勇夫) and Ker to discuss a legal case involving Ker, he said.
The division denied conducting any politically motivated monitoring for Ma, saying that its wiretapping of Ker's phones and recording of the conversations had been authorized by the Taipei District Court.
Meanwhile, during the KMT Central Standing Committee's meeting yesterday, Ma, who doubles as KMT chairman, denied ordering the SID to compile Wang's schedule as part of the probe into his alleged improper lobbying.
"I would never conduct a political investigation [against Wang]. The special report Huang presented to me is in the hands of the prosecutors, and the answer is in the prosecutors' office," he said.


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2016 Seattle Valentine's Day Weekend Events:
The 2016 Valentine's Day weekend is here and there are many great events in Seattle, Bellevue, Tacoma, and more. Below is the weekend list from Seattle Pipeline + over $750 in Giveaways!
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Measuring gas flow is more fraught with problems traditionally than measuring liquid flow, primarily because gas can be compressed. Changing gas pressure and temperature has a direct effect on its volume, which is why a gas volume measurement has to be qualified with pressure and temperature assumptions. In the U.S., we use standard cubic feet (SCF) and the corresponding metric measurement is normal cubic meters (Nm3). Both have underlying conditions specified. If you understand those specifications, you can convert the volumetric value to other conditions more relevant to your needs, or a mass value. In any case, when dealing with a gas flow, you have to be clear what you're talking about. For example, an air compressor's output can be rated in SCFM, or CFM at a specific pressure and temperature such as 100 psi and 70 °F.
Measuring gas flow using a volume-based approach such as a rotameter or variable area flowmeter is tricky if you don't understand how it works. Such units have a direct reading scale, but it only gives you a correct value under very specific operating conditions. If you are operating at a different pressure for example, you can correct the value, but you have to know or measure all the relevant data. If you need a reading from the device in a situation where the conditions don't change, most rotameter manufacturers can provide you with a unit scaled specifically for those conditions. However, you can't use that device for anything else without corrections.
The best way to avoid all this is to use a mass-based approach. A pound of gas is still a pound at any pressure or temperature. For many applications, a Coriolis flowmeter is best for gas, but these are typically expensive. There are alternatives, and one of those is thermal mass technology.
Thermal mass flowmeters are based on the understanding that a given mass of fluid will remove a known amount of heat from a given body. In basic terms, the sensor uses a heating element and at least two temperature sensors. The first measures the temperature of the process fluid stream. The second measures the heating element. There are two approaches for using the measurements: one feeds a specific amount of current into the heating element and calculates flow by measuring how much lower the actual temperature is than it should be for the amount of current. The other heats the element to a specific temperature, and calculates flow by measuring how much current it takes to maintain that temperature. Both compare the heater temperature to the incoming fluid. The current levels and temperature differences provide the data to calculate mass flow.
When designing flowmeters, the technology can be used in two ways. Inline flowmeters wrap the heater around a section of pipe and heat the wall from the outside. These are typically used in smaller designs. Insertion sensors put the heater and temperature sensor on a probe and place it in the gas stream. These are more suitable for larger pipe sizes where a probe won't cause too much of an internal flow obstruction.
The video demonstration uses an insertion approach, attaching a thermocouple to a 25 W soldering iron. When air moves through the duct, it carries away heat from the soldering iron. Since the wattage of the heating element is fixed, it simply gets cooler as more air moves through the pipe. In a more sophisticated application, the heater temperature would be compared to the incoming gas. The demonstration doesn't calibrate the reading, however, it does use a simultaneous differential pressure reading to confirm a change in flow.
If you're evaluating an actual installation, there are some practical considerations. The effects of these vary between manufacturers so check the specifics with your potential suppliers.
Since the design uses a heating element, it operates continuously (or at least with long on periods) at high power levels to keep the temperature stable, so battery powering probably isn't a practical option.
Probes can be made in many sizes and for many pipe diameters, so they are scalable and can minimize duct obstruction.
Using a probe for measurement means that it may only be reading a small section of the gas stream. The normal practice is to place the sensing point in the center of the pipe and the final flow calculation is based on characteristic velocity profiles for that pipe size. This means that the probe length has to be adjustable or fixed for a specific pipe size. It also means that turbulence has to be minimal, which calls for flow stabilizers or long sections of straight pipe up and downstream.
For large ducts or where turbulence is unavoidable, some probes have multiple sensing points across the full diameter, reading the flow profile to correct for poor gas distribution.
Dirty and corrosive gas streams can leave deposits on critical surfaces and interfere with measurements or damage fragile sensing points.
Consult with your instrumentation suppliers to work though these variables. The end result can be an economical and practical way to measure gas flow without having to work around complex corrections.
—Peter Welander,
Control Engineering
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The iconic director Hal Needham has died at the age of 82 from cancer. In 1977 the former stuntman and his pals Burt Reynolds, Sally Field and Jackie Gleason invented a new genre of movie. Smokey and the Bandit may not seem earth-shattering now, but it changed Hollywood forever. To remember Hal, we're reprinting our March 2013 feature on the origin of the brand of cinema he created. Enjoy the story in its entirety, and to read every article the magazine has ever published—from 1953 until today—visit the complete archive at iplayboy.com.
This past December, during a fancy all-duded-up Governors Awards ceremony at the Ray Dolby Ballroom in Los Angeles, Hal Needham, the legendary stuntman and director of Smokey and the Bandit and The Cannonball Run, stepped up to the podium to claim his honorary Oscar. The daredevil, square-jawed veteran of hair-raising stunts in more than 300 feature films—in which he broke 56 bones, twice broke his back, fractured a collarbone, punctured a lung and lost several teeth—Needham, 81, has earned the slight hitch in his giddyup that now dents his famed swagger. Besides, he probably never expected the film industry to salute him for his life's work—particularly if he flashed back to May 19, 1977, the Thursday night his debut movie turned America's grandest, most popular movie showplace, New York City's 6,000-seat Radio City Music Hall, into an outsize art deco ghost town.
On that white-knuckle night, not even the allure of 100 leggy Rockettes high-kicking in slinky military precision managed to draw flies to the world premiere of Needham's directing debut, Smokey and the Bandit. For the uninitiated or those who may need a reminder, the twangy barnstormer is 96 minutes of pedal-to-the-metal, Southern-fried, grinning-ear-to-ear car chases and badassery featuring a runaway bride, a scene-stealing hound and the even bigger scene-stealing Jackie Gleason as a short-fused, potty-mouthed sheriff—not to mention the plot: To win an $80,000 bet, ultracool outlaw Burt Reynolds, driving a black Pontiac Firebird Trans Am, and ace trucker Jerry Reed, behind the wheel of a souped-up semi, have to haul 400 cases of contraband Coors 1,800 miles in under 28 hours.
But back in 1977, Manhattan wasn't cottoning to Needham's raucous, randy good-old-boy salute to hot cars, 18-wheelers, open throttles and two-lane blacktops. The release of Smokey and the Bandit wasn't trumpeted in high-profile Burt Reynolds interviews, there was no red-carpet opening, and Needham hadn't been flown out to publicize the flick. Not surprisingly, the New York film critics were short on Northern hospitality. The New York Times deemed the movie fit only for "audiences capable of slavering all over a Pontiac Trans Am, 18-wheel tractor-trailer rigs and dismembered police cruisers and motorcycles." Other reviewers found it "thoroughly unimaginative" and an "unfortunate waste of talent." Nobody involved in the making of Smokey was naive enough to think they had created another Lawrence of Arabia, but what really got the suits sweating at Universal Pictures, the studio newly cash-rich from nervy, small-risk movies like American Graffiti and Jaws, was the opening-night view from the rear of the theater: aisles of posh velvet seats, mostly empty.
At Radio City Music Hall, where hit movies might be held over for months, Smokey and the Bandit got the boot after one short week.
From the vantage point of more than 30 years, Needham—who had been Hollywood's highest-paid stuntman, working in signature films directed by Roman Polanski (Chinatown) and Mel Brooks (Blazing Saddles) and as an action double for John Wayne, James Stewart, Kirk Douglas, Steve McQueen and Burt Reynolds—says, "I'd warned Universal about opening the movie at the Music Hall: 'We won't make enough money to pay the damn Rockettes.' " The studio should have listened. Needham not only knew his audience, he also never forgot where he came from. The charismatic Memphis-born sharecropper's son, ex-logger, Korean War paratrooper, billboard cigarette model and sometime actor had cemented his hairy-chested gonzo rep by leaping off a runaway stagecoach and jumping from horse to horse for Little Big Man, driving a car off a dock and landing on a moving ferry 80 feet away for White Lightning and scoring a world record by jumping a boat 138 feet over a swamp for Gator.
Famed also for his four-letter vocabulary and for having lived with his buddy Burt Reynolds for well over a decade, Needham was summoned by the Universal brass to a post–Music Hall postmortem. Recalls Needham, "They started saying stuff like 'Should we cut the movie? Is it too this, too that?' It got drastic. It got heated. I said, 'Wait a minute, folks. I didn't make Smokey for big-city audiences. I made it for the South, the Midwest and Northwest. Those are my people.' "
As a sop to Needham's people, the same people who composed Reynolds's fan base, Universal booked the flick in a handful of Southern theaters and drive-ins. Needham, Reynolds, country music favorite Reed, Reynolds's friend and protégé Alfie Wise and other celebrities rode tractor-trailers through downtown Atlanta for a down-home-style second "premiere." Says Reynolds, "If you want to know if something's going to be a hit, ask a kid. There were lines of kids around the block. It looked like a riot was going on." Universal played up the movie's huge success in Southern states and reopened it in New York, the rest of the East and the Midwest. Says Needham, "Everywhere it played, it went bananas. All the bad reviews I got, the ones saying Burt walked through the movie and Jackie Gleason was a buffoon? Didn't matter. People told each other how funny the movie was, and word of mouth spread. I finally had to think, Maybe it is a movie for everybody."
By late June the flick had hauled in an impressive $12 million. By year's end, only Star Wars topped it as 1977's biggest moneymaker. Today, Smokey and the Bandit is estimated to have grossed in the neighborhood of $365 million worldwide.
In hindsight, the signposts for the movie's big breakthrough look as big and broad as a barn door. Four months before the film stormed theaters, newly sworn-in president Jimmy Carter and first lady Rosalynn had begun to bring a touch of the New South to the Beltway. The CB-radio craze had millions zooming the highways, swapping tips on ways to outfox cops enforcing the 55-mile-per-hour speed limit imposed in 1974. C.W. McCall's 1975 ditty "Convoy"—about a cross-country trucker rebellion—held the number one position on the country charts for six weeks. Truckers were celebrated as modern-day cowboys. Country artists had plucked and twanged their way into the mainstream thanks to million-selling hits from Waylon Jennings, Dolly Parton, George Jones and Willie Nelson, among others. Movies came down with a case of country fever too, with such low-budget, high-octane material as Macon County Line, The Great Texas Dynamite Chase and Eat My Dust flexing blue-collar muscle at the box office. But Smokey and the Bandit put an openhearted, irreverent, multiracial face on the emerging South. As actor-director Billy Bob Thornton put it, "To the rest of the country, Smokey and the Bandit was just a movie. Here in Arkansas, it was a documentary."
Fittingly, the movie's origins were of the "just plain folks" variety. Needham, at the age of 45 in 1976, was becoming tired after two decades of stunting. On location he was fascinated that a maid kept raiding his hotel minibar for bottles of Coors. "It shocked me that it was illegal at the time to sell Coors east of the Mississippi River," he remembers. "When I heard that, my mind went crazy. Everything in Smokey came from the simple idea of cases of Coors everyone east of the Mississippi wanted to get their hands on. I liked that it wasn't about killing or hurting people, but it was action and about doing something illegal. I thought, What if someone were driving a truck full of beer and there were lots of fast cars and a lot of cops chasing him? My idea was to make it funny for anybody who has ever driven fast, gotten a ticket and driven away saying, 'Goddamn cops.' "
Needham figured his best shot at getting to direct the movie himself was to pitch it as a quick and dirty Roger Corman–style project costing $1 million or less. He tapped his wild-man friend Jerry Reed to star as an ace driver and ladies' man nicknamed the Bandit. Reed, then 39, a ferocious guitar player, session musician and songwriter for Elvis Presley and Dean Martin, was also known for warbling toe-tapping hits such as "When You're Hot, You're Hot." Invited to appear in movies in 1975 by his friend Burt Reynolds, Reed expanded his audience via Reynolds vehicles, playing a musician in 1975's W.W. and the Dixie Dancekings and a vicious crime boss in 1976's Gator.
Needham scrawled the entire Smokey script in longhand and slipped it to Reynolds, the former college halfback and smoldering Brando look-alike who, starting in the late 1950s, spent more than a decade doing stunt work and acting on TV Westerns and detective series before taking his friend Clint Eastwood's advice to head to Italy, where Reynolds was cast in the 1966 spaghetti Western Navajo Joe. Reynolds and Needham had become friends in 1959 when Needham stunted for the actor on the period adventure TV series Riverboat. Recalls Reynolds, "I told Hal I'd do his movie, but I also said, 'This is the worst script I've ever read in my fucking life'—and he was so cheap that he still only had it in his own handwriting on a legal pad. I told him to hire a typist and some writers to make it better. Hal couldn't have gotten his movie made without me, unless he did it on a $50 budget."
Needham moved Reed to the sidekick role and got screenwriter pal James Lee Barrett (Shenandoah) to tinker with the script. Needham says, "I had a pretty good reputation for doing action and second-unit direction. The script had comedy and action, and having Burt Reynolds in my ass pocket, I thought, This is going to be a slam dunk." Despite having an increasingly bankable movie star onboard, Needham was thrown out of some of the best studio offices in town. But if Hollywood executives balked at Needham directing the movie, Reynolds says, "You only had to be around Hal to get it. He was ready, a guy who came up fast in TV and stunts and, more than that, a guy who could be in charge. He was like the first Marlboro Man, and he had the balls of fucking King Kong."
With his options dwindling, Needham grabbed the attention of producer Mort Engelberg, who had easy access to hit-making movie executive Ray Stark (The Way We Were, The Sunshine Boys). Engelberg helped set up the show at Universal with a lowball budget of $5.3 million, $1 million of which went to Reynolds. Universal president Ned Tanen was, according to Engelberg, the only Hollywood honcho willing to roll the dice, as he had done earlier with the offbeat low-budget, high-profit movies American Graffiti and Car Wash. Says Needham, "They didn't have to tell me that they were making the movie because of Burt. They figured if it was going to go in the toilet, with Burt as the star at least they had a pretty good chance of getting their money back."
According to Sean Daniel, then a rising young film executive who later became Universal's president of production, a few studio bosses might have sensed the zeitgeist and seen Smokey and the Bandit as a lighter country cousin of angry, antiestablishment, era-defining material such as Dog Day Afternoon and Five Easy Pieces. "There was this great wave of antiauthoritarian movies in the 1970s, movies that mostly came out of New York and Los Angeles and were part of the new direction in American cinema," Daniel says. "Smokey and the Bandit had its own version of rebellious, antiauthoritarian characters. It came from a different place, but it tapped into a similar American mind-set and spoke most directly to an audience waiting for movies made for them."
To punch up the screenplay, Universal hired writers including Robert L. Levy (who later produced Wedding Crashers), Charles Shyer (who later wrote and produced Private Benjamin) and Alan Mandel (who later wrote for Who's the Boss?). Needham recalls, "I told them, 'Don't change the title, the names of the characters or the action. Just jazz up the jokes.' They came back to my office about a week later, and I was so angry when I saw that the title was changed and Burt's character had a new name that I yanked a toothpick out of my mouth, threw the script in the wastebasket, picked up the tooth cap that I'd pulled out along with the toothpick and told them, 'You're fired.' "
With the script in limbo, Reynolds took the lead in pursuing Sally Field to co-star as a bride who flees her wedding to the handsome but doltish son of a small-town sheriff. Field had been struggling to shuck her perky, sexless image as star of TV sitcoms Gidget and The Flying Nun, finally startling audiences with an Emmy-winning performance as a woman combating multiple personality disorder in Sybil. Says Reynolds, "Universal asked, 'Why do you want the goddamn Flying Nun or Sybil?' They wanted someone who would have been all wrong for the picture. I told the studio, 'You guys don't get what sexy is. Sexy is talent. Sally is sexy.' Anytime I had any problems with the studio assholes, I'd go to [MCA/Universal chairman] Lew Wasserman, the smartest, most brilliant man, so I never had to bother with those numb-nuts. For Sally, I went to Lew, and he just fixed it."
Reynolds had reason to second-guess the project himself. "All, and I mean all, my advisors and friends went down on their knees, begging me in tears not to make Smokey," he recalls. "Later, those same people said things like 'Boy, I'm glad I kept after you to do that picture.' " Whether or not those same advisors and friends also convinced him to turn down M*A*S*H, Star Wars and One Flew Over the Cuckoo's Nest, among other films, Reynolds remained loyal to Needham. He also continued to exercise his smarts and star muscle when it came to casting the role of Sheriff Buford T. Justice, the racist, explosive, good-old-boy cop who chases the Bandit. "I told Hal that the character should be dangerous, totally unpredictable, insane and, most of all, funny," says Reynolds. "I basically told them that if the great Jackie Gleason didn't play Buford, I wasn't doing the movie. My father was chief of police in Jupiter, Florida; he knew a cop named Buford T. Justice and also said sumbitch all the time. The studio assholes wanted Richard Boone, an actor I loved but not for this role. Of course, Lew Wasserman loved the idea of Jackie Gleason, and his marketing brain kicked into gear immediately, saying, 'I see 8 million Jackie Gleason sheriff dolls.' "
Gleason, the burly, acid-tongued comedian-musician dubbed the Great One by Orson Welles, had been hugely popular on TV in the 1950s with The Jackie Gleason Show and The Honeymooners, followed by less successful 1960s movie roles. Happily, Gleason's Oscar-nominated turn in The Hustler helped the public forget his critical and box-office duds Gigot and Papa's Delicate Condition. By the mid-1970s, Gleason had lived large, gambled, womanized and boozed; his health and fortunes needed a boost. Needham went into courtship mode. Says Needham, "I called Gleason and he asked, 'What makes you think I would do this?' I said, 'Well, Mr. Gleason, I am a big fan, and I've seen every Honeymooners and many other shows and movies you made. I wrote this script and I'm going to direct it, so nothing's etched in stone. If you play this character, I can see that you would be very, very funny.' The shorthand version of it is that he said, 'I'll do the movie.' "
To find someone to play Big Enos Burdette, the puffed-up millionaire who wagers $80,000 that the Bandit can't run the bootleg beer across state lines in 28 hours, Reynolds helped Needham by pursuing mountain-size Pat McCormick. A top comedy writer for Don Rickles, Red Skelton and Phyllis Diller, McCormick spent 12 years crafting some of Johnny Carson's best Tonight Show monologues. His rep as a gonzo wit was matched by his renown as a carousing eccentric. Songwriter, composer, actor and frequent Tonight Show guest Paul Williams (McCormick's junior by only 13 years but cast as his frustrated, vertically challenged offspring, Little Enos) recalls, "My first conscious memory of this strange, funny man is the two of us coming into the blinding light out of a bar across from NBC in Burbank after we'd been there all night drinking. I'm five-foot-two and he's six-foot-seven. He looked down at me and said, 'Jesus, you look like an aerial photograph of a human being.' Burt thought we'd be funny together, so we did Smokey and the Bandit, Smokey and the Bandit II and even worse."
Needham himself made one of the single shrewdest casting decisions of the entire movie when he chose as the Bandit's car a 1977 black Pontiac Firebird Trans Am Special Edition sporting the "screaming chicken" eagle decal. "When I saw a picture of it in a magazine, I said, 'That's the car I want to put the Bandit in,' " Needham says. "I called Pontiac, where nobody had heard of me, of course, and said, 'I'd like some Trans Ams for Burt and three LeManses for the sheriff's car.' There was some back-and-forth, and they gave me four Trans Ams and two LeManses. After the movie came out, though, you had to be on a waiting list for six months to even get a Trans Am." Devised as Pontiac's answer to Ford's 1964 breakaway hit Mustang, the Trans Am saw sales jump by 20,000 units after the movie made the pony car a regular guy's equivalent to 007's Aston Martin.
Cast and crew corralled, the movie kicked off filming during the summer of 1976 in West Palm Beach, Florida; Ojai, California; and Georgia locations including Jonesboro, Cumming, McDonough, Redan and Atlanta. Two days before production began, a Universal hatchet man descended on Atlanta to shave Needham's budget by $1 million, reducing it to $3.3 million after Reynolds's salary. Reynolds, the movie's million-dollar man, proved he was all too human. Says Alfie Wise, memorably cast in the movie as a state trooper, "Burt would be riding high and then have deep fatigue. A medical checkup found that his blood sugar was too low; he had hypoglycemia." Explains Needham, "It meant he might be able to work three, four hours at most. Well, so much for Burt covering my ass and protecting me from Universal. I had to rearrange the entire shooting schedule and on a reduced budget, but it showed them that I could handle things."
Collaborators on Smokey and the Bandit and subsequent Needham-Reynolds movies describe the on-set vibe as "fun and games," "summer camp" and "testosterone city." Reynolds credits Needham with setting the tone: "Hal would break every day at five o'clock. The guys would be in the bars drinking by 5:20. Everybody would be shit-faced by 11 p.m. There was this local bar where Gleason would perform and Jerry Reed would sing about 500 country songs. We had so much fun every single night. By five a.m. the next day, everybody would be ready to go again, in good shape."
Well, more or less. Recalls Reynolds, "Gleason had this assistant named Mal who had been working for him for decades. Gleason would yell, 'Mal? Hamburger!' and Mal would rush over with a glass of vodka and a sandwich. Gleason would start eating 'hamburgers' around nine a.m." Production manager Peter Burrell, who would go on to work on Smokey and the Bandit II, says, "Any scene requiring Jackie to stand upright we usually found was better to shoot in the morning." Paul Williams, who gained his sobriety in 1991, says, "Every day Gleason would have this predictable arc where he'd go from being a little quiet around 10 a.m. to a little funnier, then to even funnier, to being in a great mood, and then you'd have the beginnings of his going to a dark place." Adds Burrell, "He was a brilliant comedian, and when you had him from 'even funnier' to 'in a great mood,' he had so many ad-libs, we had to bite our lips to keep from ruining takes."
Early on, Gleason had made it clear to newbie director Needham what he was in for. "The Sunday night before we were to begin our first day of shooting, Jackie called and asked if I'd go over to his hotel to talk about the script," Needham says. "At this point, we hadn't actually met in person, and I thought, Uh-oh, but I went over and he invited me in wearing exactly what you'd expect he would—slacks and a sports jacket with a red carnation in the lapel. He fixed drinks; we toasted to a good shoot, got completely plowed and never once talked about the damned script. The next day I found him on the set sitting in his chair wearing his clothes from the night before, except that his shoes were on the wrong feet. He raised his cup in salute, leaned back in his tall chair, lost his balance and rolled all the way down a 12-foot incline." Says Reynolds, "We all ran toward him and I said, 'Jackie, are you all right?' He got right back up and said, 'Never spilled a drop.' "
Although Gleason's comic gifts had his co-workers in hysterics, his work methods challenged the film editors. Says Reynolds, "He was so wonderfully inventive, he never did the same thing twice when the camera was on him."
Recalls Needham, "Seventy-five percent of Jackie Gleason's dialogue Gleason wrote himself, like calling Mike Henry [the former Tarzan actor who plays his doofus son] 'tick turd' and telling him, 'There's no way, no way, that you came from my loins. Soon as I get home, first thing I'm gonna do is punch your mama in the mouth.' I mean, who could improve on that?"
According to Needham and fellow crew members, the high-spirited Jerry Reed was a blast of white lightning. During the first week's shooting, Reed asked Needham to have a listen as he tore into a snappy new tune he'd written called "East Bound and Down." Says the director, "It was getting-down-the-road-truckin' music and told the story just right. After he finished, I was quiet because I was blown away. Jerry blurted out, 'Okay, you don't like it. Let me come up with another song.' I said, 'Jerry, change one thing about that song and I'll fuckin' kill you.' " After the movie came out, the song became a number one hit and Reed's most requested song in concert.
Although his five-year reign as the country's number one box-office attraction began a year after the filming of Smokey, Reynolds's good looks and laid-back charm—not to mention his 1972 nude centerfold in Cosmopolitan—had already made him a much-written-about sex god reputed to have enjoyed the charms of actresses Mamie Van Doren, Inger Stevens and Catherine Deneuve, among others. Wise, who frequently worked and traveled with Reynolds, recalls routinely scouring the star's hotel suites in advance of his arrival, sometimes finding amorous female fans hidden in closets and under beds. Says Paul Williams, "Why do you think we all hung so close around Burt? You could get raped just by standing close to him. If your clothing was just a little bit loose, you could experience an accidental fondling. Burt has always attracted a rather extensive crowd of attractive, free-spirited ladies." But few failed to notice the attraction between Reynolds and his appealing co-star Field. "The audience actually saw Burt and Sally falling in love on screen," Needham says. "That added so much to the fun of the movie and spoke volumes for their characters' relationship in the movie too. They were complete professionals about it."
Smokey collaborators say the bond between Reynolds and Needham, also a magnet for women, was tight. Says Wise, "In a closed town like Hollywood, Burt opened a lot of doors for Hal. They're like brothers." The relationship caused much chatter and head-scratching around gossipy Hollywood. Reynolds explains, "Hal knew everything about cowboying, horses and action, and I was a Broadway actor who had been at the Actors Studio and gone through all kinds of bullshit for looking too much like Marlon Brando when I was trying so hard not to. I knew that I could do comedy, and that's why I did so much comedy guesting on The Tonight Show. By the time of Smokey, I was ready. Hal encouraged that." Longtime friend Marilu Henner, Reynolds's co-star in 1983's The Man Who Loved Women and 1984's Cannonball Run II, says that Reynolds and Needham "spoke the same language and had that hard-drinkin', hard-lovin', real-guy mentality." Jamie Farr, who co-starred in Needham and Reynolds's two Cannonball Run movies, remembers, "Hal looked out for Burt. They worked in tandem. Burt would make suggestions, and Hal always listened."
But the director needed no advice when it came to staging blowout chases, fender benders and vehicle crushers. Working with a trusted crew on a tight budget, Smokey alumni recall one of Needham's big stunts nearly spinning out of control during a scene in which Field's character hurtles the Trans Am over a fence and crashes onto an athletic field, sending child and adult extras scrambling every which way. "Just talking about this out loud scares the shit out of me," says Reynolds. "Everybody was convinced that the stunt double for Sally had done major stunts before because she was living with well-known stuntman Bobby Bass. She hadn't. The car jumped the fence fine, but she jammed her foot on the accelerator. Bobby Bass was in the car with her and only had to deck her with one punch, but he couldn't pry her fingers off the wheel or pry her foot off the accelerator. In the movie, you see children looking terrified in front of the car coming right toward them. Some of the women in the stands fainted, and Sally, Hal and I went over to them to make sure everybody was all right. The kids, of course, were laughing, saying that they wanted to do it again. But it was insane to do that."
Needham says, "It wasn't that the scene was ill planned or anything, but we didn't take into consideration that the field would be so slick. I had a camera in the car, and I thought we had killed a kid for sure. My heart was pumping so hard. It was so dangerous, but it looked so good I said, 'Shit, I've got to have the extra shot.' We built the back of a dugout out of boards and things and had the car just come crashing right through it. That scene killed that particular Trans Am."
Another Trans Am wrecker was the police car chase that ends with the Bandit's muscle car jumping a rotted-out bridge. Needham explains, "The approach to the bridge was short, so I had replaced the stock engine with one of my NASCAR 800-horsepower race car engines. We pretty much shot the other car by bouncing on curbs, racing through ditches and going down embankments. To finish the movie with our last car, we had to use parts from the other cars that wouldn't run anymore. For the last scene in the movie, the only car we had left wouldn't start, so we had to have another car push it into the shot. Considering the wear, tear and abuse we put those cars through, I'm surprised they lasted as long as they did."
Two years after Smokey and the Bandit completed its initial theatrical release, it nailed down the number 12 position on Variety's list of the biggest movie moneymakers of all time. Needham (whose first Smokey percentage check reportedly came to $400,000, about $1.5 million in today's currency) became overnight a go-to action director. Reynolds rocketed to America's number one box-office attraction in 1978 and stayed there through 1982. Field's best actress Oscar for 1979's Norma Rae vaulted her into a whole new stratosphere. The Pontiac Firebird Trans Am became the American ride, NASCAR edged out Formula One as the country's favorite form of racing, and countless tail-chasing movies and TV shows such as The Dukes of Hazzard were spawned.
Needham, Reynolds and Field stuck together for 1978's middling financial success Hooper, a semiautobiographical action flick about an aging stuntman attempting one last stunt in a rocket car, before succumbing in 1980 to pressure for more Smokey. Needham was more gung ho about the prospect than Reynolds, who wanted to team with his friend and director in something grander. Says Reynolds, "I wanted to star in a remake of the 1930s movie Captain Blood, something where I could swing from ropes doing that Errol Flynn pirate shit. I wanted to show that I had chops. They wanted another Smokey."
With the sequel's budget upped to $10 million and Reynolds's take now at $3 million, Reynolds again helped Needham fill out the cast of the project—variously called Smokey and the Bandit Have a Baby, Smokey and the Bandit Ride Again and Smokey and the Bandit 10-4—this time with close friend Dom DeLuise, who had made a splash in Blazing Saddles. The Pittsburgh Steelers' Terry Bradshaw and Charles Edward Greene (a.k.a. football star "Mean Joe" Greene) also joined the cast. This time around Pontiac filled Needham's order for 10 black Trans Ams, 25 red Bonnevilles and 25 white Bonnevilles. With the tabloids hotly reporting the ups and downs of the Reynolds-Field relationship, rumors emerged that Reynolds was considering replacing Field with Julie Kavner, best known today for voicing Marge Simpson. In the end, Field did the film.
On its August 15, 1980 release, Smokey and the Bandit II scored what was then the second-highest box-office debut in movie history and eventually grossed more than $66 million. But the charm, heart and pea-pickin' good-time funkiness of its predecessor were missing—especially considering how Reynolds's character had morphed into an arrogant, wasted, falling-down drunk whom Field's character actually accuses of being a "fame junkie" who feeds intravenously on People magazine and National Enquirer headlines. The sour barbs prompted a San Francisco movie reviewer to observe that the stars "seem to be airing private beefs." Reynolds admits today, "We were fighting at the time. Sally would say something pretty strong to me and I'd say, 'Write down all of that,' and she wrote all that dialogue. We did that arguing scene in one take, and she really cried. I told Hal, 'You're going to print that version. I don't think there'll be a second one.' She was fucking amazing. That's what the movie needed more of." Needham recalls Reynolds calling him into his trailer two days before the film wrapped to announce that he and Field were calling it quits.
The critics were so brutal (the Philadelphia Evening Bulletin called suicide "a pleasurable alternative") that Needham flipped them off by taking out trade-paper ads featuring caustic reviews alongside a photo of him outside a bank with a wheelbarrow overflowing with cash—gangsta style before the term was coined. Recalling that ad today, Needham says with a hearty laugh, "Wasn't that cute? So many producers and directors congratulated me for having the balls to say 'Fuck the critics.' Burt and I were going to do that ad together, but finally he said, 'You know, Hal, you may not give a shit, but I've got a career I've got to watch.' "
When the studio suggested a third Smokey, Needham decided that he too had a career to watch. Both he and Reynolds flipped off Universal. Needham's lack of enthusiasm could not have been helped by a $3 million lawsuit filed in 1977 by Michael T. Montgomery charging him and others with plagiarizing both a 1975 treatment and full screenplay. The Los Angeles Times reported in July 1983 that a jury vote of 11 to one had called for a settlement. Explains Needham, "When I was looking for somebody to rewrite and build it up, some schmuck I met one time said it was all his idea. It cost the insurance company $100,000 and he went away. I hope to hell he choked on the money."
Reynolds and Needham hooked up again for the dismal NASCAR comedy Stroker Ace, a reject with audiences and critics. Meanwhile, Universal announced in the fall of 1982 that production was soon to begin on Smokey Is the Bandit, starring Jackie Gleason in dual roles and with TV director Dick Lowry at the helm. In an April 27, 1983 article, venerable Variety reporter Army Archerd wrote that sneak-preview audiences had been so baffled by Gleason's playing both the sheriff and the Bandit that Universal hastily arranged reshoots with Jerry Reed playing the Bandit. But even with a brief cameo by Reynolds (who donated his fee to charity), fans smelled trouble, and the flick released as Smokey and the Bandit Part 3 stalled after making only $7 million.
Since the glory days of Smokey and the Bandit, it's easy to see the cultural skid marks the movie left on car-crazy successors such as The Fast and the Furious and the self-conscious Gone in Sixty Seconds remake. In 2007's Death Proof, Eli Roth croons "East Bound and Down," and HBO paid homage with Danny McBride's series of the same name. Smokey and the Bandit references mark everything from episodes of Two and a Half Men to the videos for Kid Rock's "Cowboy" and Nelly's "Ride Wit Me" to Jeffrey Dean Morgan's performance in Watchmen. Smokey fans included movie suspense maestro Alfred Hitchcock (who considered Burt Reynolds for several film projects), as well as My Name Is Earl star Jason Lee, who says, "I saw it as a kid, and it was badass—the car, Burt's clothes. Sally was hot, and it was full of action. We liked going on the ride with them. As an adult, Smokey reminds us how much better shit was when movies weren't all cheesy, super tough guy, full of CGI and bad one-liners."
For some true believers and diehards, the movie is—and has always been—about hot wheels. There's Georgia-based Tyler Hambrick, for instance, whose 1979 Kenworth 900W truck and 40-foot trailer are painted to replicate the semi Reed drives in the film. Hambrick's rig has helped raise funds for the Wounded Warrior Project, which helps veterans. Hambrick, who leads Smokey location tours, has also participated in every weeklong Bandit Run, an annual event in which Smokey buffs—many in restored Trans Ams and from as far away as Europe and Canada—cruise a predetermined route through the South, with pit stops at museums, automobile factories and local car shows. Says Bandit Run organizer and sponsor Dave Hall, a former computer-software designer whose Lincoln, Nebraska garage Restore a Muscle Car is a haven for owners willing to spend as much as $100,000 to restore their Smokey Trans Ams: "Mention a Trans Am and people know it as the Smokey car, so the demand for these cars is always there. Pull into a gas station in one of those cars and everyone wants to talk to you. You become someone you're probably not when you're driving your minivan."
North Carolina resident Debbie Ciepiela, who publicizes the Bandit Run, laughingly says she must compete with her husband's "motorized mistress"—a fully restored Bandit car he bought in 1976. Says Ciepiela, "Smokey and the Bandit is a fun, feel-good piece of Americana that I've probably seen at least 100 times. The Bandit Run attracts CEOs, college students, construction workers, mechanics and other unexpected types. When we drive through these small towns and people see our cars, they yell and cheer. You can't help but get caught up in the excitement." Comments Reynolds, who organizers hope will attend the 2013 Bandit Run, which this July will travel from Lincoln, Nebraska to Golden, Colorado, "I've had five big, tough, burly guys show me all across their backs these incredible tattoos of me as the Bandit. After I said 'Wow'—what else can you say?—these big guys were actually blushing. It was so sweet."
After Smokey and the Bandit II, Reynolds and Needham created yet another car-cult franchise when they reunited in 1981 and then 1984 for the free-for-alls The Cannonball Run and Cannonball Run II. About an illegal, secret cross-country race, the films feature some of the biggest stars of the day: Roger Moore, Farrah Fawcett, Telly Savalas and fabled Rat Packers Frank Sinatra, Dean Martin, Sammy Davis Jr. and Shirley MacLaine. Reynolds remembers throwing parties in his hotel every night while filming. The movies would later inspire everything from a short-lived 2001 reality-TV series to the Cannonball Rat Race, a six-day New York to California road race and treasure hunt with an $8,995 entry fee that kicked off in New York on September 3, 2011. But Cannonball Run II star Marilu Henner says some experiences can't be duplicated at any price: "Burt and Hal liked to have a good time and made sure the rest of us had one too. The real party was hanging out in the bar at the Arizona Inn in Tucson with idols like Frank Sinatra, Sammy Davis Jr., Dean Martin, Shirley MacLaine—and to have Sammy Davis Jr. suddenly break out in song? Secretly, I was pinching myself."
The 1970s and 1980s are long gone, but fever for the revved-up Needham-Reynolds movies rages on. "I know the movies are always showing somewhere," says Needham, "because we all get residual checks from the U.S., Finland, Australia, New Zealand." The director, who in 2011 published his autobiography Stuntman! and tools around town these days in a Mini Cooper, looks back on it all, saying, "My movies weren't artistic. I kept the jokes funny, I made the action fast, and I never killed anybody. Who knows? Maybe it's time we did another truck movie." Needham has an Oscar now. Maybe he's right.
Photography by Scott Dukes (car); Courtesy Richard Harbaugh/(C) A.M.P.A.S. (Needham)
Car by Carl Steuer of Blackhorse Motors, Los Angeles


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Bama sucks. They are tied at leg at with the worst record of any team (including all thosse teams that get eliminated from leg 8 to leg 12).
I would hate if Bama wins. That would make it the worst ending ever in my book.
How does it look, placement-wise, for Rob/Kim and Tyler/James? None of these teams have really dominated this season, but I assume they are better than Bama.I would hate if Bama wins. That would make it the worst ending ever in my book.
Just don't want Karlyn to win (actually don't have much problem with Lyn)--I want my winners to have enjoyed the race--not run it with a pickle face'd sense of entitlement!
Karlyn looks more piss-faced than Lyn, but I wouldn't give Lyn a million either. They are both miserable people.Thanks mswood for the statistics. Too bad we won't see a final with T/J, R/K and D/K. That would have rocked...
Hey Mswood, I'm getting curious about all these stats you are making for the teams. I always wanted to have some such form of information. But I never got around to putting it together. What I am wondering about is what is the algorithm you have for the calculation?I suspect it is some way of averaging finish positions but my mind starts going to different directions thinking about how to deal with diminishing number of teams as the race goes on and on how the competition starts to get stiffer as the race goes on.Is there some way to re-normalize the averages to build in a component of excellence for racing against high-powered competitors?
"In a season of twists, we saved the biggest one for last.. Tune in next week to see the final TEAM race to the finish line!"Nah.
Kentucky/Cho's/ BQ's to race to the finish and in a surprise twist Rob/Kim , Bama's and Tyler/James are eliminated?"
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Lifestyle, neighborhood, and school data ("Supplemental Data") is provided by the operator of this website as a convenience to users. This Supplemental Data is not provided or reviewed by Smart MLS, Inc.. The operator of this website updates the Supplemental Data from time to time, but it does not represent, warrant or otherwise promise that the Supplemental Data is current, free from defects, or error-free. All Supplemental Data is provided AS IS with all faults. Users are encouraged to consult their own data sources to confirm the accuracy of all Supplemental Data before using the Supplemental Data as a basis for any decision. Complete list of data sources.


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If you have a young child who attends daycare or if you work as a childcare provider, you know how easily illness can spread. Hepatitis A is a viral infection that is easily spread in childcare settings. Learn more about hepatitis A and how it can be prevented.
What Is Hepatitis A?
Hepatitis A is an infection of the liver caused by the hepatitis A virus. It can cause:
- Yellowing of skin and/or eyes—jaundice
- Fever
- Tiredness
- Loss of appetite
- Nausea and vomiting
- Abdominal pain
- Dark urine
- Clay-colored bowel movements
- Joint pain
Hepatitis A is often not serious, especially in young children. Symptoms can last for 2-6 months. In rare cases, the virus can cause liver failure and death. This is more common in people older than 50 years of age.
How Is Hepatitis A Spread?
Hepatitis A is spread when the virus is taken in by mouth from contact with objects or foods that have been contaminated by the stool of an infected person. In childcare settings, this can happen easily, especially when hands are not washed after changing a soiled diaper.
Young children can have hepatitis A but show only mild symptoms or none at all. Hepatitis A is much more likely to cause symptoms in adults and older children. Because of this, outbreaks of hepatitis A may not be discovered until caregivers begin to show symptoms.
How Is Hepatitis A Treated?
Mild, flu-like symptoms are treated with rest, a balanced diet, and lots of fluids. If you or your child gets hepatitis A, talk to your doctor before taking any medications, including over-the-counter medications or supplements. Some medications, like acetaminophen, could damage the liver if taken while infected with hepatitis A.
How Can I Keep My Child Free From Hepatitis A?
If your child goes to daycare, you may be wondering how you can avoid hepatitis A. The best way to do this is to have your child vaccinated. The hepatitis A vaccine is recommended for all children over 12 months of age and is almost completely protective against this infection.
Another way to prevent the spread of hepatitis A is by practicing good hand hygiene. In addition, follow these steps:
- Always wash your hands with soap and water after using the bathroom or changing a child's diaper.
- If your child is potty-trained, teach handwashing practices, especially after using the bathroom.
- Talk to the staff at the daycare. Ask about their policies for hand washing, food preparation, and diaper changes.
- Carefully dispose of soiled diapers.
What If There is an Outbreak at My Child's Daycare?
If your child is exposed to hepatitis A, take these steps to minimize symptoms and to prevent the virus from spreading to others:
- If recommended by the doctor, have your child receive an injection of immune globulin. This must be given within 2 weeks of exposure. It can provide temporary immunity for your child.
- If your child is over 1 year of age and has not been vaccinated, talk to your child's doctor about the hepatitis A vaccine. Since your child could expose you to infection even without showing signs of illness, consider immunization for yourself and other family members, as well.
- Do not transfer your child to another daycare. This could spread the disease to others.
Ask your child's doctor when they can safely return to daycare. Talk to the daycare center about their policy.
No parent ever likes to see their child sick. And working parents know how difficult it can be to find childcare at the last minute when your child cannot go to their usual daycare because of illness. Follow the tips above for good hand hygiene and make sure your daycare does, too!
Revision Information
- Reviewer: Michael Woods, MD, FAAP
- Review Date: 07/2017 -
- Update Date: 07/24/2015 -


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FRC C++ Programming
Setting up the Development Environment
Creating and Running Robot Programs
FRC C++ References
FRC C++ Basics
Basic WPILib Programming features
Using actuators (motors, servos, and relays)
- Actuator Overview
- Driving motors with PWM speed controller objects
- WPILib Drive classes: Conventions and Defaults
- Driving a robot using Differential Drive
- Driving a robot using Mecanum drive
- Repeatable Low Power Movement - Controlling Servos with WPILib
- Using the motor safety feature
- On/Off control of motors and other mechanisms - Relays
- Operating a compressor for pneumatics
- Operating pneumatic cylinders - Solenoids
Using CAN Devices
WPILib sensors
- WPILib Sensor Overview
- Switches - Using limit switches to control behavior
- How do I do _______? - Selecting the right sensor for the job
- Accelerometers - measuring acceleration and tilt
- Gyros - Measuring rotation and controlling robot driving direction
- Ultrasonic Sensors - Measuring robot distance to a surface
- Counters - Measuring rotation, counting pulses and more
- Encoders - Measuring rotation of a wheel or other shaft
- Analog inputs
- Potentiometers - Measuring joint angle or linear motion
- Analog triggers
- Operating the robot with feedback from sensors (PID control)
Driver Station Inputs and Feedback
Command based programming
- What is Command based programming?
- Creating a robot project
- Adding Commands and Subsystems to the project
- Simple subsystems
- PIDSubsystems for built-in PID control
- Creating Simple Commands
- Creating groups of commands
- Running commands on Joystick input
- Running commands during the autonomous period
- Converting a Simple Autonomous program to a Command based autonomous program
- Default Commands
- Synchronizing two commands
- Using limit switches to control behavior
- Scheduling commands
- Creating more robust commands with timeouts


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How to Translate Cele
There are English phrases throughout Cele. This tutorial will show you how to translate these phrases to another language.
- Download Poedit
- Download a copy of Cele from wordpress.org
- Unzip the cele.zip file you just downloaded
- In the unzipped "cele" folder, locate the "cele.pot" file in the languages folder
- Open Poedit, click the Create new translation option, and select the cele.pot file
Once you have the cele.pot file opened in Poedit, you can navigate through the English phrases in the theme, and translate them one-by-one.
How to Create the Translation Files
You can translate as much or as little as you'd like. When you are finished translating, follow these steps to export your translation files from Poedit:
- Open the File menu
- Select the Save option to create the .po file
- Reopen the File menu
- Select the Complile to MO option to create the .mo file
At this point, you now have the .po and .mo files that WordPress needs to use your translation.
How to Add the Translations to Your Site
The final step is to add these files to your server, and they will automatically take affect on your site. To upload them to your server:
- Connect to your server via FTP
- Locate the languages folder (wordpress/wp-content/themes/cele/languages)
- Upload both the ".po" and ".mo" files
The translations should now take affect on your site.
Please consider emailing us your translations. If you send the ".po" and ".mo" files to , we will include them in Cele. This means you won't need to upload them every time you update Cele, and other users around the world will be able to benefit from your translation.
Common Questions
My translation aren't working. What's wrong?
If your translation files aren't working, first double-check that they have been uploaded to the languages folder in the cele folder on your server.
Next, make sure you have set your language via the Site Language option in the Settings menu.
If the translation still isn't working then the names of your .mo and .po files are likely not in a supported dialect.
For example, Poedit will allow you to translate in the Ecuadorian Spanish dialect, and your files will be exported as es_EC.po and es_EC.mo. However, WordPress does not currently support this dialect. You can find a full list of the supported languages and locale codes here: https://make.wordpress.org/polyglots/teams/
To get your translation working right away, switch the filenames to match a similar, supported dialect (es_EC.po => es_ES.po).
Additional Resources
- Cele WordPress Theme
Download a copy of the latest version of Cele.
- Support forum
Ask questions and find existing solutions in the support forum.
- Changelog
Review recent and past updates to Cele.
- Cele on Github
Review Cele's commit history and project files on Github.
- WordPress Resources
Check our recommended resources to find great plugins and solutions for your site.
- Codeable.io
We can help you with minor changes on your site, but if you need a highly customized version of Cele, we recommend finding help through Codeable.
- WordPress Tutorials
We've published nearly 100 tutorials for using WordPress. Head over to the blog and search for any WP-related topic you need help with.
- Create Your Site
If you've never made a WordPress site before, follow along with our step-by-step guide for creating, customizing, and launching your first website.


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Tigers brave the elements in chilly Minneapolis
MINNEAPOLIS -- The good news for the Tigers as they dealt with the cold weather in the Twin Cities on Monday was that the visiting dugout at Target Field features heated benches. For those on the bench, or for hitters waiting their turn in the top half of the inning, it was nice and toasty.
Other than that, well, it was still cold.
"I know [Opening Day starter Justin] Verlander was talking yesterday how he likes to pitch in short sleeves," manager Jim Leyland said on Monday. "He was debating yesterday whether to wear long sleeves or not. I'm going to have long sleeves on myself."
With game-time temperature at 34 degrees, Verlander did end up wearing long sleeves. So did the vast majority of Tigers players, some of whom also sported cold-weather headgear. The notable exception was designated hitter Victor Martinez, who wore short sleeves. Of course, he could go into the clubhouse between at-bats.
"I was sitting in short sleeves until about 10 minutes before the game, and I asked a couple guys after they came in from BP," Verlander said. "Once I went out and warmed up, though, when I was warming up in the sun, I was like, "You know, I could've come out in short sleeves. This isn't that bad.' As soon as the shade came in, it was a totally different ballgame. It was miserable."
It was a potentially tougher situation for relievers in the bullpen, where there isn't a dugout. The bullpen location in left-center means there was at least some sunshine through the early innings, but the pitchers were still out in the elements.
"We're going to have to pull the sun a little farther down," Joaquin Benoit said.
While first-base coach Rafael Belliard had his head covered, third-base coach Tom Brookens wasn't sweating it, having learned a long time ago just to dress in layers.
"It's like hunting weather," Brookens said.
Reliever Phil Coke was only hunting for his hotel room. "I was very cold out there. Everybody who threw or played in the game is probably going to pass out when they go back to the hotel," said Coke. Asked how he kept warm in the bullpen, Coke replied, ""Happy thoughts. Warm, happy thoughts."


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IYA2009 and astronomy making headlines in Iberian Peninsula
18 July 2009
Astronomy is a popular topic with the media, and with the additional publicity afforded by IYA2009, it is good to see prominent newspapers increasing their coverage.
El Pais is a national newspaper in Spain, and has a permanent astronomy section on its website, proudly displaying the IYA2009 logo on its banner: http://www.elpais.com/especial/astronomia/
Publico is a well recognised national newspaper in Portugal and has announced today a permanent section on its website dedicated to IYA2009: http://astronomia.publico.pt/
And now another national Spanish paper, El Mundo, has launched a special astronomy page which will be online throughout IYA2009: http://www.elmundo.es/especiales/2009/06/ciencia/astronomia/
Also, the widely distributed weekly newspaper Expresso keeps a permanent astronomy section, gathering space science and IYA2009 news: http://aeiou.expresso.pt/gen.pl?sid=ex.sections/25056&p=arquivo
Media coverage of IYA2009 is an important tool to increase public awareness of astronomy, so these are valuable steps toward achieving the Year's aims.
Search IYA2009 Updates
National Nodes: 148
Organisational Nodes: 40
Organisational Associates:33
National Websites: 111
Cornerstone Projects: 12
Special Task Groups: 11
Special Projects:16
Official Products:8
Media Partners:22


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And we're live, folks.
After numerous blind auditions, battle rounds and knockout rounds, the fate of each team's singers on "The Voice" are finally up to you. Tonight's episode kicked off the beginning of live playoffs with Adam Levine and Blake Shelton's teams going up first.
But not before joining together and singing a little number to show that they're all one big happy family. Cute.
2012 Fall TV Awards: Vote for the best and worst reality shows!
Team Adam
Joselyn Rivera took on Demi Lovato's "Give Your Heart a Break" to show her range, and that was exactly what she did. "You just look good on a big stage like this," Shelton told her. Christina Aguilera also enjoyed the performance but would love to see Rivera take on a ballad next time.
Someone wore her sassy pants tonight. Melanie Martinez gave a pretty awesome rendition of "Hit the Road Jack" by Ray Charles. And with his constant smiles and head sways, it was very clear that Levine was a fan of what she did with the song.
The only guy on Adam's team, Bryan Keith, showed off his vocal strengths with Goo Goo Dolls' "Iris." Christina told Keith, "You really owned it. I could really tell that you were loving what you were singing."
Wedding singer Loren Allred wowed the judges during Knockout Rounds, but when she sang "All Around the World" by Lisa Stansfield, it wasn't the same response. It wasn't bad, but it didn't give anything special, either, until the very end. And that's what they want to hear more of.
Amanda Brown never seizes to amaze, and tonight she ended the episode on a high note (literally). Her performance of "Dream On" by Aerosmith was phenomenal and it would be criminal if she got eliminated any time soon. Levine says she "obliterated" the notion that she could do only one thing with her performance tonight, calling it the "true" best performance of the night.
Adam Levine promotes Sandy relief
Team Blake
Scottish singer Terry McDermott sang the classic "Don't Stop Believin'" by Journey, which he said would be a challenge for him, but he didn't seem to show it during the performance. "You're always dead-on, you hit those high notes so well," Aguilera told him.
The only country artist in the competition, Liz Davis, made us all feel extra patriotic when she sang "Independence Day" by Martina McBride. "It made me proud to be in America, where at least I know I'm free," Cee Lo Green said, while Blake thanked her for being the right country artist to bring into the live playoffs.
Former rock band lead singer Cassadee Pope performed Avril Lavigne's "My Happy Ending." She was worried it would be predictable, and well, it was, but she really gave Lavigne a run for her money. Yeah, it was that good. Pope even got a standing ovation from Shelton.
Michaela Paige, the youngest competitor on the show, rocked out to "Everybody Talks" by Neon Trees, and from her outfit to her sky-high mohawk and solid vocals, Paige kept our attention throughout the whole performance. Even Cee Lo called it the best of the night.
Regardless of whether or not you understand Spanish, you enjoy listening to Julio Cesar Castillo who sang "El Rey" by Jose Alfredo Jimenez. It was smooth and entrancing (yeah, we said it). Castillo got the first standing ovation from the audience for the night.
Who do you hope to see in the top 12?
Look at all these musical memories from "The Voice"


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It's a pretty cool job when you can hang with Leonard Wood for a little while
One of the perks of this job is that my staff and I get the opportunity to meet some bona-fide legends of motorsports. I'm not saying that to be boastful in any way, shape, or form. It just happens that the job requires us to appear in places which are often accessible only with special passes, permission, clearance, and so on. The reason could be both editorial or advertiser driven but regardless, our presence in these spots often result in some pretty cool experiences.
One such experience happened this past Saturday night. Well, it was this past Saturday night when I am writing this on July 8. Don't you just love magazine lead times? I know I do. Anyway, I was at the Coke Zero 400 at Daytona International Speedway roaming up and down the starting grid when I ran into John Moore (he's the photographer who shot the Aug. '13 cover of Circle Track). Moore asked me if I had ever met Leonard Wood, who unbeknownst to me was standing right behind me. I had not so John introduced us. Leonard is, of course, one half of the renowned Wood Brothers Racing team, a team that has been winning NASCAR Cup races since its inception more than 60 years ago.
After the traditional how-do-you-dos, the conversation, not surprisingly, turned technical in nature. After all, there I was talking to one of NASCAR's most innovative crew chief/mechanics. He told me how, years ago, he modified an Edelbrock intake by literally cutting it into quarters, porting what he deemed needed porting and then welding everything back together. After some slick re-dressing and bolting it back to the engine, it looked bone stock. Interestingly the company had told Wood that the fixes he wanted to perform were impossible to accomplish using conventional porting tools. Yet he found a way.
Turns out, Wood was particularly adept at modifying intakes. He went onto explain how the old Ford intakes had a dogleg in one of the runners to accommodate the distributor, which of course was on the front of the engine. This impeded the flow so his solution was to fabricate a longer distributor shaft, then straighten and shape the runner to his desired requirements. The distributor would then sit up above the runner.
In addition to some back in the day stories, Leonard gave me some insight into his latest little project. He's building a replica of a vintage Lotus Indycar. But get this, it's going to be small scale…about the size of a golf cart so that kids can drive them around. I told him to keep me posted as to its progress and we'll do a little piece on it in Circle Track. While he didn't give me a completion date he promised to keep us in the loop. Good thing too because I want one to drive around the office parking lot!
Until next time,
Go fast and turn left.


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ROCHESTER — The man accused of putting a city police officer in a head lock in June will not be prosecuted.
Aaron Bickford, 24, of 183 Brackett Road in New Durham, was arrested on a misdemeanor simple assault charge after he allegedly assaulted a police officer who was trying to break up a fight in the parking lot of Gary's Sports Bar on June 17.
The fight, between Bickford and another male, was taking place in the far side of the lower parking lot, at 1 in the morning.
Police Detective Steve Gahan, who works in the prosecution unit, said because it was dark at the time, and the officer did not identify himself before intervening in the fight, Bickford's charge was nolle prossed, meaning that he will not be prosecuted.
Gahan said that during trial, the prosecution would have to prove that Bickford knew he was assaulting a police officer, as opposed to another person who may have been joining in the fight. Because of the dark, and the fact that the officer didn't identify himself, the defense would be able to make a valid argument that Bickford didn't see the officer's uniform and didn't realize it was police intervening in the fight.
After the alleged assault, the officer managed to get himself out of the head lock and take Bickford to the ground, before eventually handcuffing him, according to police.
Neither Bickford nor the officer were injured in the incident.
Gahan said that while it's good practice for police officers to identify themselves before intervening in a scuffle, he also said the officer did the right thing by taking steps to stop the ongoing fight, from a law enforcement standpoint, even if he didn't announce he was a police officer before doing so.
Police were initially on scene at Gary's Sports Bar, on Milton Road, after a report of an unwanted person who would not leave the bar. Officers issued a trespass notice to the patron, who was escorted out of the bar.
Police officers saw the fight between Bickford and another male after leaving the call for service at the bar. Bickford's fight was an incident separate from the unwanted person incident.
No prosecution of man who had Rochester officer in head lock
ROCHESTER — The man accused of putting a city police officer in a head lock in June will not be prosecuted.


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The core of the platform is the multi award winning IOT AEP middleware by Davra Networks but it is our partner ecosystem that makes ConnecThing.io one of the leading IOT Platforms as recognised by No.1 IT Partner Channel News Network CRN.
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ELSYS was formed 2005 in Umea in the northern part of Sweden. ELSYS is a leading provider of sensors, connected devices and network solutions. ELSYS currently provides their own products in connected vehicles, logistics and LoRaWAN™ for the professional market, with products deployed in many countries around the world.
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Welltek Software
Here at WellTek Software we strive to provide you with the highest quality software and service possible. Thats why when you do business with WellTek Software you are not only receiving quality products, but you are also getting a life-time of technical support. Any difficulties you might run across when using our software we are dedicated to helping you resolve, regardless of whether or not your problem is related to our software.
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