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NOTE: This is a completely spoiler-free recap of The Dark Knight Rises IMAX Prologue
With The Dark Knight Rises IMAX Prologue hitting theaters next week in front of Mission Impossible 4, Warner Bros. decided to world premiere the footage tonight at the IMAX theater at Universal Citywalk in Hollywood. As you might imagine, the theater was filled with journalists from around the world, as well as some of the Dark Knight filmmakers like director Christopher Nolan, producer Charles Roven, Jonathan Nolan (Chris' brother and a screenwriter on the film) and producer Emma Thomas.
As the lights went down and the film started to play, you could feel the energy in the room rise as we were treated to the first look at the opening six minutes of The Dark Knight Rises and a montage of short clips from the rest of the film. So you're probably wondering what I thought….it was fucking awesome. Hit the jump for more including a video blog recap.
Before going any further, it's important to note that WB asked all the reporters to refrain from writing a blow by blow account of the footage. They really want everyone to walk into the theater next week knowing as little as possible. Like we did tonight.
All I can say is…I'm so happy I went in cold, and if you're smart you will avoid any article that reveals the specifics of the footage. That way you're enjoying the footage exactly the way Christopher Nolan wants you to.
While I won't write anything specific about what we saw, I will say a little….if you were wondering if Tom Hardy could pull off Bane, any doubts will be erased after you see the footage. If you were nervous the Nolan's couldn't raise the bar any higher after The Dark Knight, trust me, they have, and your jaw will hit the ground a few times while watching the footage.
While I only got to see about six minutes of film plus a minute or so of clips from the rest of the movie, the IMAX footage left me breathless and beyond excited for The Dark Knight Rises. I really cannot wait for next summer when I'll get to see the rest of it.
Anyway, shortly after the presentation ended I recorded a video blog with Peter from /Film and Alex from FirstShowing. It's totally spoiler free. If you want to see 3 nerds geek out over The Dark Knight Rises, you're in the right place. Further down the page is 10 Things to Know from tonight's world premiere.
Here's 10 Things to Know from Tonight's World Premiere
- Before the IMAX presentation for the journalists from around the world, a number of famous filmmakers were given a look at the footage. When I arrived at the theater, I ran into Eli Roth, Edgar Wright, Bryan Singer, and heard that Duncan Jones, Michael Bay, Jon Favreau, and more than a few other big name directors saw the footage about an hour before us. The filmmakers I ran into were all smiles.
- Before the presentation began, Nolan addressed the crowd and explained why IMAX means so much to him and what he hopes to accomplish with the IMAX-only prologue. He explained that he considers IMAX to be the best film format and called it an "incredibly immersive way to tell a story." He went on to say that he really wants the fans to find the IMAX format for the movie, which is the purpose behind "the premiere road show engagement" wherein the prologue is only being shown at selected IMAX film theaters across the country.
- Producer Emma Thomas told me that The Dark Knight Rises will have a lot more IMAX footage than The Dark Knight. While it's still too early to tell the exact number, she thinks it could be between 40-50 minutes. Again, let me stress that number could change.
- I also asked Thomas about all the images and video that leaked from the set while they were filming on the streets around the world. She told me that while a number of pictures have been shot from the set, there is "an awful lot people have not seen." She explained that a good deal of the sequences were filmed on soundstages, for which no set photos or leaks have emerged.
- Regarding next summer's Comic-Con (which takes place before The Dark Knight Rises opens), I mentioned that fans have been waiting for many years for the Nolan's to visit San Diego and show some footage. She took my words under advisement, but wouldn't say either way if they will be there next summer.
- Nolan revealed they have NOT started to edit the rest of the movie yet. They just finished the prologue – which needed to get done first.
- The montage of footage after the opening six minutes showed new looks at Batman, Bane, Catwoman, Joseph Gordon Levitt, and some awesome new weapons and vehicles.
- While Bane was a mighty presence on screen, the same cannot be said for his voice, which I struggled to understand at certain points in the film. It remains to be seen if this was the final version of his voice or if it's still a work in progress. I asked producer Charles Roven about the voice and he wouldn't say if it's the final mix or still a work in progress.
- Next Friday the first full trailer for The Dark Knight Rises will be released on the same day the IMAX prologue hits theaters. However, don't look for it online, as the Nolan's like people to see their trailers for the first time in theaters, so I'd wager it will be officially released the following week on Yahoo or Apple.
- Towards the end of the night I got to speak with Jonathan Nolan. While we spoke a lot about his hit CBS show Person of Interest, I asked about the status of his sci-fi movie Interstellar. He said he's still developing it and hopes to be behind the camera soon. He also said he's working on some other features but wouldn't get specific.
Final Worlds
I was completely blown away by the IMAX footage tonight. If you live near an IMAX theater playing The Dark Knight Rises footage in front of Mission Impossible 4, do yourself a favor and see it. You will be VERY impressed.
Finally, for those that want to know a bit more…you can check out The Dark Knight Rises viral campaign that just started. Perhaps it ties into the IMAX footage….


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Lighting for the Home offers a wide selection of wall sconces which are great for decorating one's living room, dining room, hallway, and bathrooms. View our collection of picture lights, swing arm wall sconces, cabinet & task lights, vanity & bathroom lamps, canopies and replacement shades. Ranging from contemporary, traditional, transitional to modern; we are guaranteed to have the wall sconce of your choice!
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subset: commoncrawl


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CAMBRIDGE, Mass.—Senior Alex Killorn and junior Danny Biega of the Harvard men's hockey team have been named to the New England Hockey Writers Division I All-Star team, which was released Tuesday, after voting by New England coaches and media members.
Biega ranks second nationally among defensemen with 1.06 points per game, thanks to his 10 goals and 25 assists for 35 points, and was previously named to the ECAC Hockey All-League first team, All-Ivy League first team and ECAC Hockey All-Tournament squad. He was the runner-up for ECAC Hockey Player of the Year and was named the league's Best Defensive Defenseman.
Also a first-team ECAC Hockey All-League, first-team All-Ivy and ECAC Hockey All-Tournament pick, Killorn led Harvard with 23 goals and 46 points. He ranks fourth nationally with 0.68 goals per game and fifth with 1.35 points per contest. He helped lead the Crimson to the title game in the ECAC Hockey Championship by totaling a league-high 10 points on five goals and five assists in five playoff games.
A Montreal native like Biega, Killorn registered 10 goals and 14 assists in 22 league games to rank fifth in ECAC Hockey with 24 league points. He was twice named ECAC Hockey Player of the Week during the season and paced Harvard forwards with a +12 rating. Killorn led the Crimson with four game-winning goals tied for ninth nationally with nine power-play goals.
New England Men's Division I All-Stars
Joe Cannata, Sr. (Merrimack)
Doug Carr, So. (UMass Lowell)
Danny Biega, Jr. (Harvard)
Adam Clendending, So. (Boston University)
Brian Dumoulin, Jr. (Boston College)
Will O'Neill, Sr. (Maine)
Spencer Abbott, Sr. (Maine)
Joey Diamond, Jr. (Maine)
Brian Flynn, Sr. (Maine)
Chris Kreider, Jr. (BC)
Alex Killorn, Sr. (Harvard)
Brian O'Neill, Sr. (Yale)
2011-12 New England Hockey Awards
Clark Hodder Award – Division I Coach of the Year
Norm Bazin (UMass Lowell)
Leonard Fowle Award – Most Valuable Player
Spencer Abbott, Sr., F (Maine)
George C. Carens Award – Rookie of the Year
Scott Wilson, Fr., F (UMass Lowell)
Herb Gallagher Award – Best Forward
Spencer Abbott, Sr., F (Maine)
Bob Monahan Award – Best Defenseman
Brian Dumoulin. Jr., D (Boston College)
Paul Hines Award – Most Improved Player
Doug Carr, So., G (UMass Lowell)
Frank Jones Award – Best Defensive Forward
Chris Connolly, Sr., F (Boston University)
Joe Tomasello Award - Unsung Hero Award
Bobby Farnham , Sr., F (Brown)
Parker/York Award – Contribution to New England Hockey
John 'Jocko' Connolly (Boston Herald)


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Apparently in reaction to gamer-centric convention E For All's news today that Jonathan "Fatal1ty" Wendel will be the face of their show, Penny Arcade announced that Fatal1ty won't be the face of theirs.... or even welcome.
World's Top Gamer "Fatal1ty" will not be at the Penny Arcade Expo (PAX) PAX is proud to announce that they will not be welcoming E-sportsman Johnathan "Fatal1ty" Wendel to the event. "There is no one else in the video game industry quite like Fatal1ty and we're thrilled that he won't be attending our show" said Gabe, Chief Executive Officer of the Penny Arcade Expo, the greatest video game festival in the universe. "Seriously, if he even tries to come we'll kick him out."
Fantastic news! Hey, I wonder if Gabe and Tycho will let me submit a list of other people who won't be welcome at PAX... let's see... Penny Arcade


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13 Easy, Everyday Ways to Get Your Body Back After Baby
When you have 30 minutes to yourself...
Practice yoga.
Minardi is a big proponent of yoga for full-body strengthening and relaxation -- which is exactly what a new mom needs. And there's no need to leave the house and hit a studio. "There are an abundance of Yoga YouTube sites that have a great home practice that are about 30 minutes long," he says. "It's a great way to get in tune with your body and keep the body moving." Try Tara Stiles or Yoga by Candace.


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Mountain forests on the outskirts of Manokwari, Papua, Indoneisa. Greenpeace is in Indonesia to to document one of the worlds most biodiverse and threatened environments and to call for urgent action to ensure that the country's oceans and forests are protected.
© Paul Hilton / Greenpeace
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LONDON (Reuters) - European scientists and health authorities are facing angry questions about why H1N1 flu has not caused death and destruction on the scale first feared, and they need to respond deftly to ensure public support.
Accusations are flying in British and French media that the pandemic has been "hyped" by medical researchers to further their own cause, boost research grants and line the pockets of drug companies.
Britain's Independent newspaper this week asked "Pandemic? What Pandemic?."
In their response, scientists are walking a fine line.
They say that although the virus is mild, it can still kill, and that the relatively low fatalities in Europe are in part the result of official response to their advice.
On suggestions of "hyping" the threat to boost research funding, they point out that while we know enough to start to protect the vulnerable, we need to know a lot more to conquer the virus, and funding for new research and drugs is vital to be equipped for future pandemics.
H1N1 is hitting a younger population — adults in their 20s and 30s and children — and the global death count so far is more than 6,000, according to the WHO.
While seasonal flu attacks about 20 percent of the population in an average year, experts estimate that even in Britain — the worst-hit country in Europe so far — fewer than 10 percent of people have had H1N1 swine flu.
Fred Hayden, influenza research co-ordinator at the Wellcome Trust and a former World Health Organization (WHO) expert, said early planning is paying off, but added:
"I wouldn't characterize this as a "mild" pandemic at all. We are seeing some very unfortunate loss of life. I think it a bit early to make that judgment."
Yet the word "mild" is used so often to describe H1N1's impact in most people that it is prompting skeptical publics to ask what all the fuss is about. Why they should care? And why take a vaccine?
France's Le Parisien newspaper ran the headline: "Swine flu: why the French distrust the vaccine" and noted a gap between the predicted impact of H1N1 and the less dramatic reality.
"Although some 30-odd people have died....the disease is not really frightening," it said. "Dangerous liaisons between certain experts, the labs and the government, the obscurity of the contracts between the state and the pharma firms have added to the doubt."
In Britain, health authorities' original worst-case scenario — which said as many as 65,000 could die from H1N1 — has twice been revised down and the prediction is now for around 1,000 deaths, way below the average annual toll of 4,000 to 8,000 deaths from seasonal winter flu.
A group of eminent scientists who called a media briefing in London this week to announce 7.5 million pounds ($12.4 million) of new funding for British research into H1N1 found their plans hijacked by reporters asking why the pandemic was so weak.
Scientists say the truth is they can't win.
The WHO has been urging countries to prepare for a flu pandemic since 1997, when H5N1 avian flu infected 18 people in Hong Kong and was stopped only after a mass slaughter of birds. The re-emergence of H5N1 in China and South Korea in 2003 fueled the urgency to get ready.
Now that it has arrived, the apparently low impact of the H1N1 pandemic so far may show that the planning is paying off, the Wellcome Trust's Hayden said.
British officials repeatedly said the nation was well-prepared for a flu pandemic. It had high stocks of antivirals and orders for enough vaccines to cover its population in place very early.
Hayden said comparisons with earlier flu pandemics like the one in 1918, which killed an estimated 230,000 people in Britain and up to 50 million worldwide, were skewed by the fact that there were so few effective treatments at that time.
"We didn't have antivirals then, and we didn't have antibiotics for the high frequency of bacterial complications," he said. "We have these kinds of interventions now and they are making a difference."
At the funding briefing, Peter Openshaw, director of the center for respiratory infection at Imperial College London, dismissed suggestions that scientists were enjoying the fruits of a pandemic in the form of big grants to keep them in work.
"This is not something that we are licking our lips and welcoming," he said. "But there is certainly an enormous outbreak of scientific information that has greatly enriched our understanding of flu."
(Additional reporting by Sophie Hardach in Paris and Maggie Fox in Washington, editing by Sonya Hepinstall)
$1=.6033 Pound


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According to information recently released jointly by the California Highway Patrol, National Weather Service, and Caltrans:
The winter season brings the threat of small hail showers to Northwest California. Accumulating hail on roadways can result in very slick driving conditions. In fact, driving on a hail covered road is very similar to driving on a sheet of ice. Motorists can easily lose control of their vehicle resulting in a collision.
Here are some small hail weather event driver's safety tips:
- Dark clouds ahead signal the potential for hail.
- Slow down and use your seatbelts. Small hail will make roads icy. Keep a constant watch for other vehicles.
- Turn on your headlights. Anytime your windshield wipers are on, your headlights are required to be on – it's the law.
- Turn off cruise control. This will allow you to better react to sudden weather changes.
- Don't panic. If you begin to slide on a hail covered roadway, slowly take your foot off the gas pedal. And remember, don't slam on the brakes or make any sudden steering adjustments.
"Small hail on north coast roadways can make for extremely hazardous driving conditions and has been a factor in far too many traffic collisions causing injuries and claiming lives. A small hail event can come in an instant and without prior notice. The CHP's hope is that partnering with Caltrans District 1 and the National Weather Service in Eureka to launch this campaign will reduce the amount of weather related traffic collisions and ultimately save lives," said Garberville Area CHP Lieutenant Commander Adam Jager.
"Small hail showers occur most often in the winter and early spring, but can occur in the fall as well," said Nancy Dean, Meteorologist in Charge, National Weather Service Eureka. "Motorists should be on the lookout for dark, stormy clouds ahead and/or very heavy rainfall. Both can indicate the potential for small hail on the road just ahead."
"Weather conditions can change quickly on the north coast. Most winter accidents are the result of driving too fast for the conditions. Slow down, use your seat belt and arrive safely to your destination," said Charlie Fielder, Caltrans District 1 Director.
Please drive safely this winter season!
Photo: (From left to right) Charlie Fielder, Caltrans District 1 Director; Nancy Dean, Meteorologist in Charge, National Weather Service Eureka; and Garberville Area CHP Lieutenant Commander Adam Jager join to raise awareness about small hail on area roadways.


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Follow RFF News on your cell phone. Text follow rff to 40404 you will receive txt messages with RFF News
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I like her.
Quote from: Дussie Бabushka on January 18, 2012, 11:47:08 PMI like her.
Don't make fun of me or my old lady fetish
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Consumers and businesses in Wisconsin will receive about $16.8 million in rebates from health insurance companies that spent more on administrative expenses and profits than allowed by the federal health care reform Affordable Care Act, according to an analysis by the Menlo, Calif.-based Henry J. Kaiser Family Foundation.
Insures will have to pay a total of $1.3 billion in rebates nationwide, according to the report.
Beginning this year the Affordable Care Act requires insurance plans to pay out a minimum percentage of premium dollars towards health care expenses and quality improvement activities, limiting the amount spent on administrative and marketing costs and profit. Under the law, large group plans are required to spend at least 85 percent of premium dollars on health care and quality improvement. Small group plans must spend at least 80 percent.
In Wisconsin $2.59 million in rebates will be paid to 31,763 individuals who bought their own health insurance, $4.74 million in rebates will be paid to employers in the small group market with a total 167,008 people enrolled in their plans and $9.49 million in rebates will be paid to employers in the large group market with a total of 166,624 people enrolled in their plans.
Rebates in the group market will generally be provided to employers, and in some cases be passed on to employees as well. Employers may be obligated to use some or all of the rebate for the benefit of enrollees. Requirements vary under the Affordable Care Act.
"This study shows that asking insurance companies to put more of their premium dollar towards patient care rather than administration and profits is not only popular but also effective," said Kaiser Foundation president and chief executive officer Drew Altman. "There are tangible benefits for consumers and employers."
But, according to a Gannett report, the industry group America's Health Insurance Plans said that "coverage disruptions and other unintended consequences" of the new Affordable Care Act spending requirement will outweigh any benefits to consumers. The group also said that other parts of the law, including new benefits insurers will be required to provide, will cause premiums to rise more than the required rebates will lower them.
Editor's note: Additional information about the logistics of the rebates and how they will be paid was not immediately available from federal or state officials. BizTimes plans further coverage about the rebates next week.


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Day's Worst: Florida sinkhole swallows man in his bed
Tragic and weird news out of Florida is nothing new, but the sinkhole that opened near Tampa and sucked a man in bed into the earth was bizarre even by Florida standards.
Jeff Bush, 36, is thought to have died in the abyss that opened beneath him in the middle of the night.
The sinkhole, which was 20 feet by 20 feet at the surface, consumed part of the interior of the Seffner home but left the exterior strangely unscathed. Authorities estimate that underground it is far larger, perhaps 100 feet across.
The man's brother, Jeremy Bush, tried to save his sibling but couldn't, and had to be pulled from the gaping hole by emergency workers.
Sinkholes are common in Florida, and caused by a collapse of the porous limestone that lies beneath top soil in much of the state. Sometimes they suck down roads or even houses, but usually there is enough time for people to realize what's going on and get out of the way.
Unfortunately, that wasn't the case this time.


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Live from E3: Sony hits Microsoft with a one-two punch, but is it a knockout?
The Denver Post and Game On will be at E3 in Los Angeles this week, covering the latest in video games from June 10-13.
The day started out calmly enough. Microsoft began its media briefing Monday with a bang by showing Metal Gear Solid 5: The Phantom Pain, a new take on the long-running video game franchise that puts Snake and the crew in an open world.
Microsoft needed a strong start. When the Xbox One was revealed on May 21, hardcore gamers were a bit disappointed that gaming wasn't the focus of the press conference. Instead, the company showcased the Xbox One's entertainment capabilities with television and partnerships with the NFL and Skype — with very little about games.
Along with the very unpopular used game and licensing policy, and the requirement to be connected to the Internet at least once every 24 hours, announced shortly after the reveal, Microsoft desperately needed to win back gamers.


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Measurements: 12.5 mm (1/2") x 39 mm (1-1/2")
Unlike the slightly domed "handmade" version, these are completely flat on the front and only available in shiny nickel and antique brass. The statement "made for me" is perfect for bags made for yourself, bags gifted to others, or bags intended for selling. These are gorgeous, and very professional looking! The photo doesn't quite show how shiny the nickel ones are though. Trust me! The black ink in the lettering and border is easy to see and very striking. These will look great on any bag, tote, lunch kit, or other handmade project.
*Attaches with two prongs on the back that fold over a metal washer.
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Medical Devices Expert Witnesses and Consultants
Narrow Results by State:
Experts by Topic
Experts in evaluation of medical devices and equipment, providing medical equipment testing and incident analysis.
The listings below are all Medical Devices expert witnesses and consultants.
Featured ListingsCore Devices Inc.
John Izuchukwu
Saint Louis, MO
Dr. Izuchukwu is an expert in product liability and patent infringement cases. His areas of expertise include endoscopic surgical staplers, skin staplers, ligation devices, clip appliers, linear and circular cutters, graspers, suturing devices, respiratory devices, respiratory masks, anesthesia machines, drug delivery devices, compressed gas containers, surgical staplers, pressure regulators, oxygen conservers, oxygen concentrators, cryogenic oxygen devices, compressed oxygen cylinders breathing circuits, endoscopic devices liquid oxygen systems, breathing tubes, sleep diagnosis and monitoring devices, sleep apnea products, sleep masks and sleep therapy devices, such as CPAP machines, CPAP devices, BPAP machines, BPAP devices and portable ventilators. During his industry career, he designed more than two dozen commercially successful medical devices, manufacturing process and quality control procedures, in compliance with FDA and CE Quality Systems Regulations. With 19 utility patents issued to him, Dr. Izuchukwu has successfully testified as an expert witness on product liability prosecution and defense cases, and has served as a consultant as well as expert on patent litigation cases. His forensic skills includes ability to pin-point causes of device and equipment failures, whether attributable to design or manufacturing defects, operator misuse or error. Attorneys have found Dr. Izuchukwus unique educational, professional and life experience to be useful, when arguing their cases. In fact his expert testimony has led to several uncontested positive conclusions.
Expert ListingsHealthCare Technology Consulting LLC
Alan Lipschultz
North Bethesda, MD
As an expert witness, I represent both defendants and plaintiffs. 37 years experience as Director of Clinical Engineering at two major medical centers. ■Board of Directors, American College of Clinical Engineering ■Member, AAMI Electrical Safety Committee ■Member, AAMI Infusion Devices Committee ■Member, AAMI Medical Device Alarm Committee
Materials Science Associates, LLC
John Jarrell
Coventry, RI
Dr. John D. Jarrell, PhD, PE, is an experienced
multi-discipline engineer and doctor of medical
science specializing in consultation and expert
opinions related to design, legal cases, product
intellectual property, accidents and personal
injuries. His expertise includes the analysis of
complex systems, designs and failures
involving materials, mechanical and medical
systems. Experience includes appointments at Brown
University, Medical School and the Weiss
Center for Orthopaedic Trauma Research.
Bay West Endocrinology
Dr. Philip Levin
Baltimore, MD
Endocrinologist- Board Certified Internal Medicine - Board Certified, Asst. Professor Johns Hopkins University School of Medicine. Experienced Medical Expert Witness, Expertise in Diabetes, Hypoglycemia, Thyroid cancer and diseases adrenal -steroids, testosterone, weight loss programs, nursing home endocrine, workplace diabetes.
RnDDx Solutions, LLC
Gary D Fletcher, PhD
Media, PA
Dr. Fletcher has broad science (Yale Physics Ph.D.) and medical device product development experience. As expert witness in medical device litigation, he clarifies science for litigators, judges, and juries, with focus in blood collection and preparation for diagnostics and therapies. He holds 12 patents in point of care testing and blood collection.
Adrian Lobontiu, MD, FACS--General Surgeon
Adrian Lobontiu, MD, FACS - General Surgeon
San Jose, CA
Dr. Lobontiu has more than 18 years experience in surgical practice and 15 years experience in the medical device industry. He is a Fellow of the American College of Surgeons (FACS), a member of the Society of American Gastrointestinal Surgeon
River Sonic Solutions LLC
Dr. Christopher Daft
San Francisco, CA
Award winning, Oxford Educated scientist with experience in patent infringement, product liability, source code analysis and medical devices. Dr Daft has deposition and trial testimony experience. Completed more than 84 hours of SEAK Expert Witness Training Seminars, including patent-specific training. Industry experience includes medical devices, imaging, consumer electronics, biometric security and electrical power delivery. Litigation experience includes medical devices and wearable electronics in medical malpractice, patent and product liability cases.
Biomechanics International
Richard Collins, Ph.D., M.Sc., B.Sc.
Cranberry Township, PA
Accurate research & scientific analysis in mechanical and biomedical engineering & regulatory assessments. Litigation support in: Accident reconstruction, Injury biomechanics and Medical device product liability. Consultation in Biomedical & Human Factors Engineering; Former Professor of Medicine; Professor of Mechanical/Aerospace Engineering.
One Way Consultants, LLC FDA Regulatory Experts
J. Lawrence Stevens, RAC
East Alton, IL
Serve as an expert witness for cases involving FDA regulation compliance for medical devices. Over 20 years of FDA experience encompassing virtually all of the FDA field positions. Also eighteen years of industry experience as a mid-level manager and senior executive in clinical regulatory and quality in the medical device industry.
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JimDrew wrote:Well, apparently I uploaded the corrected file spec to the wrong folder on our website. DrCoolZic pointed that out this morning and so I fixed it.
DrCoolZic send me some SCP to tests this morning. Thanks to this, i managed to finish the loader & writer
Here is these SCP files running on the real hardware :


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"No one showboats anymore," Elia Kazan told Warner Bros. executives in 1956, when he was in the process of erecting a Times Square billboard the size of the Statue of Liberty to advertise his latest film, "Baby Doll." (The painted sign, which featured Carroll Baker as a thumb-sucking Southern woman-child sprawled across a crib, was then the largest in the world.) "Trust my instinct," Kazan added. "I'm known as the Greek Barnum."
For Kazan, however, the greatest show on earth was the show of human emotions. "If you can stir up the real emotion—whether of anger or love or desire . . . if you can stir it up and use it, now you have something that's unique or unusual," he said. "That's what drama is." Between 1945 and 1962, onstage and on the screen, Kazan was, by his own admission, "the most successful director at work in America." A sort of entrepreneur of emotional complexity, he had a gift for releasing the articulate energy of actors and for turning psychology into behavior. James Dean, Warren Beatty, and Lee Remick all made their screen débuts in Kazan's films *, which have just been released in an eighteen-DVD set, "The Elia Kazan Collection."
The boxed set, which also includes Martin Scorsese's artful and heartfelt recent documentary homage, "A Letter to Elia," charts Kazan's transition from journeyman to studio director and then to filmmaker. More important, the movies are a treasure trove of defining cultural moments, among them a revolution in screen acting (Brando); the finest filmed version of an American drama (Tennessee Williams's "A Streetcar Named Desire," whose Broadway première Kazan also directed); an iconic representation of teen-age rebellion ("East of Eden"); and the first compelling onscreen account of the immigrant's journey to the New World ("America, America"). Taken together, the movies, which also include "On the Waterfront," "A Face in the Crowd," "Wild River," and "Splendor in the Grass," form a kind of flowchart of the mid-century's influence on the psyche of its citizens. Kazan introduced into cinema the faces and the vibrancy of the unseen American mongrel gallery: Mexican peasants, Italian longshoremen, Appalachian yeomen, black sharecroppers, Anatolian immigrants. His stories were a celluloid witness to his "lover's quarrel with his country"—its passion for distraction, its punishing Puritanism, its racism, its bewildered pursuit of happiness. These movies brought vexed and paradoxical news about America. Perhaps the most startling news of all is that little of this enormous contribution to culture would have existed if Kazan had not testified, in 1952, as a friendly witness before the House Un-American Activities Committee.
On April 10, 1952—a day that marked him for the rest of his life—Kazan made his second appearance before a public session of HUAC. In his first appearance, in January, he had refused to name names. In his second, he performed a volte-face, naming a handful of Party officials he'd known seventeen years earlier, and eight members of the Group Theatre, where he had been an actor and a director in the thirties, one of whom was dead and most of whom were already known to the committee. Although at least seventy-three people appeared before the committee as friendly witnesses, Kazan, because of his preëminence both as a director and as a vocal left-winger (he'd joined the Communist Party in 1935, but had been kicked out, eighteen months later, for refusing to call a strike at the Group), is remembered as the HUAC apostate.
Before testifying, Kazan took a walk in the woods behind his Connecticut home with Arthur Miller to explain his decision: if he refused to testify, he told Miller, he would say to himself, "What the hell am I giving all this up for? To defend a secrecy I didn't think right and to defend people who'd already been named or would soon be by someone else?" In his diary, he wrote, "I'd hated the Communists for many years and didn't feel right about giving up my career to defend them." Miller noted, in his memoir, "Timebends," "There was a certain gloomy logic in what he was saying. Unless he came clean he could never hope . . . to make another film in America, and he would probably not be given a passport to work abroad either. . . . He had been told in so many words by his old boss and friend Spyros Skouras, president of Twentieth Century Fox, that the company would not employ him unless he satisfied the Committee."
During the dark time that followed Kazan's testimony, Tennessee Williams was his most understanding friend; he refused to condemn Kazan's pragmatic choice, because, he said, "human venality is something I always expect and forgive." But most of Kazan's friends were not so charitable. He was threatened, abused, and shunned. He changed his telephone number and hired a bodyguard for his wife and children. "I seemed to have crossed some fundamental and incontrovertible line of tolerance for human error and sin," he wrote. The almost magical esteem in which he was held by the acting community fed the rage, which verged on the Oedipal. "There is no forgiveness," Rod Steiger said. "He was our father and he fucked us." Kazan was, he wrote, "on a great social griddle and frying."
"The largest harm Kazan did was to himself," Richard Schickel points out in "Elia Kazan: A Biography." Kazan chose his art over his ideology. "I did what I did because it was the more tolerable of two alternatives that were either way painful, even disastrous," he is quoted as saying, in "A Letter to Elia." Even four decades later, as the brouhaha over his 1999 Academy Award for Lifetime Achievement demonstrated, Kazan was not entirely forgiven in Hollywood. How long after testifying, a National Public Radio reporter asked the ninety-year-old director, "did it take you to have a good night's sleep?"
Kazan's HUAC appearance was what his father would have called bot-tuh-muz gune—Turkish for "the day of my ruination." In the Anatolian world view, catastrophe was always imminent. Kazan, who had immigrated from Turkey as a child, kept a suitcase packed for a quick escape; he set up small bank accounts in Athens, Paris, and Zurich. "I've lived my life on the edge of a crumbling cliff, alert to detect the first rattle of pebbles announcing the avalanche," he wrote, adding, "You American-borns expect the good times to continue, but they won't; take it from an Anatolian. Disaster hurts less when you expect it." In the aftermath of his testimony, Kazan was thrown back on his roots in a way that was defining. He took up permanent residence behind his Anatolian smile—a masquerade of equanimity—and, for the rest of his life, he let the power of his films and plays face down the personal animosity that was directed at him. "I am happy when a number of people are angry at me," he said, in "Kazan on Kazan," a series of interviews with the French critic Michel Ciment. "And happier when they are angry but still, in spite of themselves, a little admiring. That means I have touched them under the skin, at the place I was aiming." Before his HUAC testimony, Kazan (who wrote his first original screenplay in 1963, at the age of fifty-three) had been an incredible collaborator. "I was many men, but none of them was me," he said. In the decade following the hearing, he became his own man, his own artist.
The first words of "America, America" (1963), the most autobiographical of Kazan's films, are spoken by Kazan himself: "I am a Greek by blood, a Turk by birth, and an American because my uncle made a journey." When Kazan was four years old, he left Constantinople for New York, the eldest of four sons of George Kazanjioglou, a rug dealer, and Athena, his more cultured, younger wife, with whom he had an arranged marriage. "I can't remember my father ever reading a book," Kazan, who shared both his mother's passion for literature and her displeasure with her husband, said. George Kazan was an Old World patriarch, oblivious of the needs of others; he was also a frustrated man, full of violence that he dared to express only in brutalizing outbursts at home. He showed a volatile ambivalence toward his oldest son, whom he dubbed Good-for-nothing. Kazan, who felt that "my father disapproved of me all my life," grew up with a humiliated heart. "The first thing I learned was to shut up," he told Ciment. "My father used to tell us: 'Say nothing, don't mix in, don't mix in other people's business, stay out of trouble.' " Although his adult life was spent strategically playing with others, Kazan did not play with children his own age until he was eleven. "I was kept segregated," he said. "It's the segregation a minority imposes on itself. I suppose it was meant to keep things pure, but really it was the result of terror." When he graduated from New Rochelle High School, in 1926, there were no activities listed beside his yearbook picture. "I was known for not being knowable," he said.
Through his teen-age years, Kazan wrote in his autobiography, "A Life," published in 1988, he had "one enduring friend," his mother. He was Athena's "special child" and her confidant. "We entered a secret life together, which Father never breached," he wrote. "That is where the conspiracy began. Perhaps I represented what she thought she might have been if she'd not been swallowed alive by a marriage." Unbeknownst to George Kazan, who wanted his son to enter the family business, Kazan was encouraged by his mother and a middle-school teacher to take up the liberal arts. When Athena notified her husband that Elia had been accepted by the prestigious Williams College, he knocked her to the ground. After graduating from Williams cum laude, Kazan told his father that he wanted to become an actor. "Didn't you look in the mirror?" his father replied.
Kazan was not handsome: he had a scrawny body, a long nose, and a craggy face that marked him as foreign. At Williams, his otherness fuelled both his sense of inferiority and his tenacity. "I was what you would now call a freak, someone who is out of things," he said. He walked around the campus with his eyes down, speaking only when spoken to, and he washed dishes and waited on tables at the fraternities, which he was not invited to join. "Baby, you're a nigger, too," his friend James Baldwin once told him. An outsider in a Wasp enclave, Kazan developed an appetite for revenge and its corollary, vindictive triumph. "I . . . wanted what they had: their style, their looks, their clothes, their cars, their money, the jobs they had waiting for them," he wrote in "A Life." "I wanted all that, and I wanted it soon."
The best defense against envy is to become the envied. Kazan completed an M.F.A. at Yale Drama School in 1932. That same year, he took his first step toward reversing his destiny: he married the playwright Molly Day Thacher, a blond Vassar graduate who had cast him in one of her plays. Thacher's patrician ancestry included a former president of Yale. (After the marriage, her name was promptly struck from the Social Register.) Thacher exuded an uncompromising Puritan rigor. "A passionate absolutist" is how Kazan described her. She was certainly absolute in her belief in Kazan's talent. She not only stood behind her husband; she pushed him forward. She was, Kazan said, "my cure," "my drug of reassurance." Over time, in addition to bearing his four children, Thacher served as Kazan's in-house dramaturge. If he was expert at reading people, she was expert at reading plays. In 1939, as a reader for the Group Theatre, she discovered Tennessee Williams and awarded him a hundred-dollar prize that launched his career. Thacher brought to her articulate opinions an element of the emotional terrorist. "She was a tough goddamn judge," Budd Schulberg, who wrote the screenplays for "On the Waterfront" and "A Face in the Crowd," said. "She could drive you bloody crazy." (Three days before Kazan began shooting "On the Waterfront," for instance, Thacher went behind his back to tell the producer that the script wasn't ready.) "Molly, to all intents and purposes, was smarter than Elia," their son the screenwriter Nick Kazan told me. "It was one of the reasons that he respected her and one of the ways they kept their marriage together. At some gut level, Elia worked and lived out of his heart and groin; Molly lived in her head."
Kazan considered Thacher "a talisman of success." The year they married, he joined the Group Theatre, which was the making of him. Although the Group's initial assessment of his acting was tepid—"Kazan has a great deal of energy but no actor's emotion"—he studiously pressed on. In 1935, the Group was carried to international celebrity overnight by Clifford Odets's agit-prop one-act play "Waiting for Lefty," and it was Kazan, newly promoted from stage manager to actor, who shouted the play's famous last lines—"Strike! Strike!! Strike!!!—which became the battle cry of the thirties. (Within a few years, Kazan, who sported a cloth cap with a rabbit's foot pinned under its brim, found himself a cult actor on Broadway, where his chippy charisma lent itself well to the portrayal of gangsters. Both onstage and off, he used to mutter to himself, "Fuck you all, big and small.") In the thirties, while he was teaching, directing, stage-managing, and trying to write his own plays, Kazan formed a close friendship with Odets, who drew on Kazan's paradoxical nature—tough yet intuitive, forthright yet slippery, arrogant yet emollient—when creating the secretive gangster Kewpie in his play "Paradise Lost" (1935) and the ambitious, driven boxer Joe Bonaparte in "The Golden Boy" (1937). (Kazan subsequently played both roles.) The actor Lee J. Cobb said of Kazan in those days that he, "like Bonaparte, was always trying to get somewhere, and it seemed to many of us in the Group he would do anything, really, anything to get there."
"I had the energy of the era and the intensity of my neuroses," Kazan recalled in his autobiography. Acting provided him with one way to engage with the world; sex provided another. "Acting is a sexual act," he wrote in "A Life." "An actor as much as an actress is presenting himself for desire. 'I'm powerful,' he is saying. . . . He's also saying, 'I'm potent.' Acting had given me what I'd never had before, a sense of that kind of power." Kazan remained married to Thacher until her death, in 1963; from the late thirties, however, he insisted that "promiscuity for an artist is an education, a great source of confidence and a spur to work." A cocksman of note—Kazan introduced Arthur Miller to Marilyn Monroe, whom they shared for a while—he felt that his sexual adventures were what allowed him, onstage and in film, to redefine the landscape of twentieth-century desire.
When the Group Theatre collapsed, in 1941, Kazan decided that his eight-year run as an actor was over. Without the Group's radical, idealistic ambitions, "being an actor . . . was a humiliating profession," he said. (His disillusion was reinforced by a hapless eight-week foray into Hollywood, where he acquired an agent, got career advice—get a nose job, change your name to "Elliot Cézanne"—and made a cameo appearance in the movie "City for Conquest.") By then, Kazan had directed a documentary and assisted the director Lewis Milestone; he had also cut his teeth as the director of two plays for the Group: Irwin Shaw's "Quiet City" and Robert Ardrey's "Thunder Rock."** Directing became his focus, and soon he was in high demand.
"Kazan, Kazan / The miracle man / Call him in / As soon as you can" went a jingle on Broadway. As a director, "I was where I wanted to be, the source of everything," he wrote. In 1947, he co-founded the Actors Studio "to get actors out of the goddamned Walgreen's drugstore" and give them a place to develop their craft. The Studio's emphasis on the Method approach to acting coaxed the inner life of the actor out into the open and brought nuance to the histrionics of American drama. Not coincidentally, the Actors Studio functioned for Kazan as a kind of farm for his stage and screen enterprises. "I was raising new products that I would use," he told Ciment.
At work, Kazan became the receptive, supportive, intimate, authoritative father he'd never had. "I've never seen a director who became as deeply and emotionally involved in a scene," Marlon Brando wrote in his autobiography, "Songs My Mother Taught Me." "Kazan was the best actors' director by far of any I've worked for. [He] got into a part with me and virtually acted it with me." Arthur Miller wrote, in "Timebends," "Life in a Kazan production had that hushed air of conspiracy. A conspiracy not only against the existing theatre, but society, capitalism—in fact everybody who was not part of the production." Kazan didn't razzle-dazzle his actors with talk. Instinctively, when he had something important to tell an actor, he would huddle with him privately, rather than instruct in front of the others. He sensed that "anything that really penetrates is always to some degree an embarrassment," Miller noted, adding, "A mystery grew up around what he might be thinking, and this threw the actor back on himself." Kazan, who was no stranger to psychoanalysis, operated on the analytic principle of insinuation, not command. He believed that, for an interpretation to be owned by an actor, the actor had to find it in himself. "He would send one actor to listen to a particular piece of jazz, another to a certain novel, another to see a psychiatrist, another he would simply kiss," Miller recalled. Kazan's trick was to make the actors feel as though his ideas were actually their own revelations.
Kazan's ability to submerge himself in a story served writers as creatively as it did actors. "I tried to think and feel like the author so that the play would be in the scale and in the mood, in the tempo and feeling of each author," he said. "I tried to be the author." Kazan is remembered primarily as a director, but his invisible contribution to writers is equally important. Blanche DuBois, Stanley Kowalski, Willy Loman, Big Daddy, Brick, Maggie the Cat, Chance Wayne—defining figures in the folklore of the twentieth century—all bear the marks of Kazan's shaping hand. Of the many playwrights with whom he collaborated—William Inge, Arthur Miller, Archibald MacLeish,*** Thornton Wilder—he had no partnership that was more intimate or influential than his work with Tennessee Williams. "It was a mysterious harmony," Kazan wrote. "Our union, immediate on first encounter, was close. . . . Possibly because we were both freaks." Kazan and Williams also had in common an oppressive father, a doting mother, a faith in sexual chaos as a path to knowledge, and a voracious appetite for success.
Almost all of Williams's famous works of the fifties—including "Rose Tattoo," which Kazan didn't direct but whose final form was dictated largely by his script suggestions—owe their theatrical success to Kazan. Without his bracing and forensic gift for story structure, Williams would have been a two-hit wonder. Kazan attacked a script like a hot meal. When Williams first sent Kazan "Cat on a Hot Tin Roof" (the play that eventually won him his second Pulitzer Prize), for immediate production, he hadn't thought to give Brick, Maggie's permanently drunk and indifferent husband, a dramatic trajectory, or to make Big Daddy, the dying family patriarch, a presence in Act III. Kazan didn't mince words about the play's dramaturgical errors. He wrote, in an unpublished letter:
This play is about what the second act is about.
The first act needs work, yes. But it's not the crucial problem.
The third act just plain loses me. . . .
What is the hurry? A guy with talent the size of yours shouldn't put out something half-baked. You have a super superb second act. I know, I just know the third act is not right. I don't know what it should be. . . .
Please don't satisfy me. Take time to satisfy yourself. Are YOU really satisfied with this play? . . . Tenn, this play is just not ready to have conferences about yet. That's the plain plain plain truth.
Kazan's prowess offered Williams a safety net, which emboldened the fearful playwright to write beyond himself. Kazan's straight talk cajoled, provoked, cudgelled; it kept Williams on narrative track and reigned in his lyrical excess. Sometimes Kazan even spitballed dialogue. For "Camino Real," Williams's experimental response to the right-wing demagoguery of the McCarthy period, for instance, Kazan, in another unpublished letter, requested a speech in praise of bohemianism:
A dying race call them what you will: romantics, eccentrics, rebels, Bohemians, freaks, harum-scarum, bob-tail, Punchinellos, odd-ducks, the out-of-steps, the queers, double-gated, lechers, secret livers, dreamers, left-handed pitchers, defrocked bishops . . . the artists, the near artists, the would-be artists, the wanderers, the would-be wanderers, the secret wanderers, the foggy-minded, the asleep on the job, the loafers, the out-and-out hobos, the down and out, the grifters and drifters, the winos and boozers, the old maids who don't venture to the other side of their windows, the good for nothings, the unfenceables, the rebels inside, the rebels manifest.
Williams took the idea and the rhythms, and placed them exactly where Kazan had instructed. The result was Esmeralda's Prayer, one of Williams's most famous soliloquies:
God bless all con men and hustlers and pitchmen who hawk their hearts on the street, all two-time losers who're likely to lose once more, the courtesan who made the mistake of love, the greatest of lovers crowned with the longest horns, the poet who wandered far from his heart's green country and possibly will and possibly won't be able to find his way back, look down with a smile tonight on the last cavaliers, the ones with the rusty armor and soiled white plumes, and visit with understanding and something that's almost tender those fading legends that come and go in this plaza like songs not clearly remembered.
Kazan didn't just set Williams's boundaries; he pulled the playwright out of his creative sump and showed him the way. On the opening night of "Sweet Bird of Youth" (1959)—a play that Kazan had to fight to keep the spooked Williams from closing out of town—Williams wrote to Kazan, "Some day you will know how much I value the great things you did with my work, how you lifted it above its measure by your great gift."
"I remember most sharply when you got out of the bathtub in 74th St. and handed me the subpoena," Thacher wrote to her husband after his HUAC testimony. "I said to myself, 'Nothing's ever going to be the same again.' . . . But it didn't occur to me then that things would be better." After the hearing, Kazan took refuge in work. "I just worked harder than anyone else, never asking for sympathy or for understanding, never giving myself the relief of expressing how I felt, just a silent human motor pushing its load," he wrote.
"Be bold!" Kazan exhorted his cameramen. His hard choice, and the public odium that followed it, ironically made him bolder, too; it gave him new sinew and a new sense of himself. Stripped of his prestige and of much of his collegial support, he had nothing left to lose. "On the Waterfront" (1954), a defiant response to his critics, was the first movie that Kazan directed after the testimony and the first to put him powerfully in touch with his own feelings. The film tells the story of Terry Malloy, a dockworker who breaks with his union brothers and informs against the corrupt mob; it brilliantly dramatizes Kazan's staunch insistence that he had not betrayed his soul. "I been ratting on myself all them years, and I didn't know it," Malloy says. "I'm glad I done what I done." "On the Waterfront" won Kazan a second Academy Award. (His first, in 1948, was for "Gentleman's Agreement.") Although he avoided public talk about his testimony, he continued to send messages in his films. In "America, America," for instance, Kazan's stand-in, the tenacious hero, Stavros (Stathis Giallelis), who is hellbent on fleeing the oppression of Turkish life, says, "I've always kept my honor safe inside me. We're still living. After a while you don't feel the shame."
The process of artistic transformation in Kazan had begun in 1950, when, in an admittedly eccentric move, he hitchhiked to the Southwest and went walkabout with a notebook in hand. His encounters there provoked a change of cinematic course. "The sounds were poetry, the scale enormous, the effect exotic," he wrote in "A Life." "This is what movies are, I thought: environment, scope, size. Out of doors!" That year, while shooting "Panic in the Streets," Kazan took his cameras off the studio lots and used New Orleans and its harbor life as a stage for the drama. "I had made up my mind not to be bound by the script," he told Ciment. This approach played to the strength of his documentary eye. His vivid frames are filled with an acute sensitivity to place and atmosphere—"the unnoticed poetry that's all around us," as he called it. They tease an edgy and exciting beauty out of the ordinary. In his scenes, the faces of his characters, whether Turkish prostitutes, Ellis Island immigrants, Mexican peasants, or well-chosen stars, became dramatic landscapes in themselves. In "A Letter to Elia," Scorsese celebrates the shock of first encountering this democratic style in "On the Waterfront." "Faces and bodies, and the way they moved, the voices and the way they sounded—these were people like the people I saw every day," he says. "It was as if the people that I knew mattered."
In the theatre, Kazan had sometimes been accused of a kind of imperialism—of overpowering the playwright's vision with his own energy. In time, he pleaded guilty to this: he came to see his growing impatience with the theatre as symptomatic of a need to express himself, instead of playing handmaiden to playwrights. For his films of the fifties, Kazan developed a cinematic language of his own, to tell stories that reflected his own experience. "East of Eden" (1955), for instance, was even more personal than "On the Waterfront." In James Dean's character, Kazan created a sensational simulacrum of himself, a sullen teen-ager—or, as he described his younger self, "a frozen wolf"—involved in a heartbreaking, fruitless attempt to win his father's attention. " 'East of Eden' was for me a kind of self-defense," Kazan said in one interview. "It was about people not understanding me. It was about my relationship with my father, how he disapproved of me all the time. . . . It also proved to be prophetic because a few years later, shortly before my father died, for the first time in my life, I got friendly with him, just as Cal gets friendly with his father."
"Splendor in the Grass" (1961), Kazan's last real hit, which he called "a soap opera turned tragic," dealt again with the abiding issues of his own life: sexual hypocrisy and a destructive father-son struggle. Two teen-age lovers, Bud (Warren Beatty) and Wilma (Natalie Wood), are put under extreme pressure by their well-meaning parents—Bud to succeed and Wilma to remain a virgin. In both cases, the pressure proves lethal—they destroy "a rare and fine thing . . . romantic love . . . and they do it . . . in the name of the Eisenhower virtues," Kazan wrote in his notes. He projected his own father's single-minded avidity and overweening materialism into Bud's father. Through the lovers' predicament, he also gently indicted the smugness of the bourgeoisie. "I think the whole middle class of America is spoiled," he said, in "A Life." "They don't appreciate their good fortune."
Even in Kazan's best work, the artist and the showman were often at odds. Kazan's technique with actors was to get them to express their needs. "The asset of that is that all my actors come on strong, they're all alive, they're all dynamic," he explained to Ciment. "The danger of the thing may be a frenzied feeling to my work, which is unrelieved and monotonous." He never quite lost the habit of staging what he called "violent physical action and strong unequivocal events." For all the ambition in his films, there is also a fair quotient of melodramatic sap: Jean Peters as Josefa Zapata clinging to the saddle as her husband (Brando) rides off to his doom in "Viva Zapata!" (1952); Andy Griffith as an exposed populist, abandoned by the bigwigs and screaming into the night, in "A Face in the Crowd" (1957); the wavering and weak-willed Chuck (Montgomery Clift) proposing to Carol (Lee Remick), the war widow who loves him, as they lie face down in the mud after being drubbed nearly senseless by a racist thug, in "Wild River" (1960). "All my pictures are corn," Kazan said. "But the best of them, through it, come out deep." Still, sometimes, as with "Baby Doll" (1956) and "A Face in the Crowd," they just came out corny. "You say that whenever I am in trouble I go poetic," Williams wrote to Kazan. "I say whenever you are in trouble, you start building up to a SMASH! finish.—As if you didn't really trust the story."
Kazan's movies never quite lose their theatrical staginess; it's in the groupings, the overly explicit declamatory dialogue, the creakiness of certain scenes. ("I was essentially a stage director," he said of his films pre-1950.) But the black-and-white "America, America" transcends this dramaturgical gaucherie by the sheer force of its visual daring. In one scene, as the boater-hatted Stavros awaits his fate on Ellis Island, amid a crush of straining, bewildered faces, Kazan films the immigration officers striding like Roman consuls past the fenced-in throng and into the cavernous great hall. He thought that this spectacular entrance, with the drama of the bedraggled émigrés around it, was the greatest shot he'd ever made—and it was. Nowadays, though, with a few exceptions, what stays with us in a Kazan film is not the staging or the revelation of the story but the ineffable subtlety of the performances: the tenderness and trepidation of Brando and Eva Marie Saint as a young couple finding love in "On the Waterfront"; the hate and hurt in James Dean's eyes as his character's gift of money to his ruined father is declined; the love and rejection conveyed when Stavros warns his fiancée not to trust him, in "America, America."
The boxed set of Kazan's DVDs contains a welter of well-told tales; none of them, however, are more powerful than the story of Kazan's own mutation from gifted journeyman to independent master, speaking in his own voice instead of through others. Kazan once described Dostoyevsky as "a torrent of talent." That image—of flow, formlessness, and force—applies equally well to Kazan himself. By 1963, the size of his reputation as a filmmaker—the opening of a new Kazan movie was always an event—was matched by the quantity of red ink on the studio books. "Out of my last eight pictures, I had six colossal disasters"—"A Face in the Crowd," "Wild River," and "Baby Doll" among them—"so what do you expect [the studios] to feel about me?" Kazan told Ciment. As filmmaking became a less viable option, Kazan fell back on himself. Between 1967 and 1982, he produced five novels, the first of which, "The Arrangement," was No. 1 on the Times best-seller list for thirty-seven weeks.**** In 1988, he published "A Life," which, in my opinion, stands, in its scope, detail, and frankness, as the best volume ever written about American show business. "Wonder is our need today, not information," Kazan wrote. Wonder was the gift that he bequeathed to his time and to ours. ♦
CORRECTIONS, February 11, 2011:
*The original article stated that Marlon Brando made his screen début in a Kazan film; he did not.
**Robert Ardrey's name was misspelled in the original article.
***Archibald MacLeish's name was misspelled in the original article.
****"The Arrangement," Kazan's first novel, was published in 1967, not 1972, as originally stated.


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There was plenty to celebrate when the Howard County Arts Council held its 16th annual Celebration of the Arts. Besides the awards handed out in various categories, there was an announcement that wasn't on the scheduled program for this festive event held Saturday, March 23 at Howard Community College's Smith Theatre.
Addressing the well-dressed crowd of arts advocates, Howard County Executive Ken Ulman said: "It's time to have a wonderful, state of the art, 21st-century arts center here in Howard County."
Ulman's announcement flowed from his remarks about the redesign of Symphony Woods and other arts-oriented plans for downtown Columbia. Although he added that there are "no exact plans yet" for the proposed arts complex, he said to expect funding in the next budget he submits to the County Council.
It was hardly the only time the audience applauded during the evening. Much of the applause was for the 10 contestants in the annual Rising Star Emerging Performing Artist Award Competition. Open to contestants between the ages of 18 and 35, this competition required each of them to give a three-minute performance at the public program. The audience filled out ballots that were tabulated at the end of the evening, with the winner receiving a cash prize of $5,000.
Judging from the enthusiastic applause that greeted her solo ballet performance, it was no great surprise that this year's winner was Margaret Kudirka. She performed to her own contemporary ballet choreography for "No Regrets," which was danced to Edith Piaf's famous song. Kudirka's gracefully angular movement across the stage really went over well with the audience.
Near tears when her name was announced as the winner, Kudirka was still breathless as she greeted people in the lobby after the program.
"I'm shocked. It's hard to breathe," the beautifully smiling and elegantly gowned Ellicott City resident said.
Kudirka, who is a 22-year-old senior at Towson University, certainly had nothing to regret about her crowd-pleasing performance. Having previously done "No Regrets" for the 2012 American College Dance Festival Gala Concert, she has been able to tweak its choreography over time.
"I don't know when I'll perform it again, but I have it in the back pocket if there's an opportunity," she noted.
Currently making regular trips to New York City in order to audition for major dance companies, she'll doubtless have no regrets about a $5,000 prize to help with expenses.
The other Rising Star finalists, who also all performed during the Smith Theatre program, were James Ginnever for musical theater, MaryLee Adams for musical theater, Rebecca Hargrove for opera, Woobin Park for classical piano, Margot Seibert for musical theater, Shawn Naar for theatrical monologue, Yuri Shadrin and Tian Lu for a classical piano duo, Jennifer Sung for opera, and the Dahlia Flute Duo comprised of Mary Matthews and Melissa Wertheimer.
Their performances definitely provided a youthful spark for the sponsoring Howard County Arts Council. This year's fundraising event had a head count of 530 guests and 60 volunteer event workers, according to arts council executive director Coleen West.
Her own head fashionably adorned with a black lace veil known as a fascinator, West greeted guests during a pre-performance reception at which local restaurants went out of their way to wow people with tasty treats. West said she felt "relief and enjoyment" that the months of event planning now allowed her to have fun at the party.
Also in a party mood were recipients of the previously announced Howie Awards, bestowed in several categories.
The husband and wife recipients of the Legacy in the Arts Award, Elkridge residents Pat and Steve Teller, are former community theater actors who now prefer to volunteer off-stage with ticket sales and house management duties for the plays done by Silhouette Stages at Slayton House Theatre. They're a familiar presence in the Slayton House lobby, but this night would entail walking onto the Smith Theatre stage to accept a Howie Award.
"This is my first time ever to wear a tux," Steve observed in the Smith Theatre lobby prior to the awards program. His spiffy appearance in a formal tuxedo was in contrast to the casual attire he prefers when he's helping with the technical aspects of the shows for Silhouette Stages.
However, that theater company's regulars know that Steve always wears a humorously designed, tuxedo-themed T-shirt for Silhouette Stages' opening night performances.
Glancing around the Smith Theatre lobby on what amounted to a night off from his usual tech duties a half-mile away at Slayton House, Steve joked that "I'm still looking around at the lighting" to make sure everything was as it should be.
During their jointly delivered Howie acceptance speech, which was done with the practiced ease of a vaudeville duo, Pat remarked that interacting with the public through ticket sales at Silhouette Stages enabled her to "become a voice of the group."
The other recipients of Howie Awards were actor Bruce Nelson, an Everyman Theatre company member who gained much of his early experience with Rep Stage, for Outstanding Artist; Shawn Costello, who teaches at Lisbon Elementary School, for Outstanding Arts Educator; and attorney Kevin Kelehan, whose activities include representing the Columbia Festival of the Arts, for Outstanding Community Supporter of the Arts.
Latest Columbia
Entertainment for the awards program included the Columbia-based Misako Ballet Company, which was joined by guest dancer Lester Holmes for a piece choreographed by Eva Anderson. Pianist Brant Challacombe played during several segments of the program. Additional entertainers and an art auction also contributed to the celebratory mood.


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User Reviews
Displaying all 2 1988 Mitsubishi Pajero reviews.
CarGurus https://www.cargurus.com
1988 Mitsubishi PajeroReview
The Pajero — it has a regular 6 cylinder straight engine that can give out a fare bit off horse power for a regular 4x4 build quality is a bit off because of sheet metal body but s tough because its used for off-roading.its good for off roading because its very stable and pretty powerful. :):):):)
Primary Use: Sport/fun (spirited driving, track racing, off-roading, etc.)
Pros: its awesome cuz its good for off roading
Cons: its pretty low for a 4x4
Looking for a Used Pajero in your area?
CarGurus has thousands of nationwide listings and the tools to find you a great deal.
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1988 Mitsubishi PajeroReview
1st Gen Pajero Rocks !!!! — A basic, simple car that has underrated offroad performance. I have been driving where LandCruisers had to use a winch, and they are supposed to be better than a 1st gen Pajero in every aspect, yeah right !!! I love it !!
Primary Use: Sport/fun (spirited driving, track racing, off-roading, etc.)
Pros: Offroad capability
Cons: IFS
Displaying all 2 1988 Mitsubishi Pajero reviews.
Reviews From Other Years
2007 Mitsubishi Pajero Reviews
Suvs King
pajero is known as d king of suvs. it can cruise around any kind of road. and the comfort is really awesome its a bit expensive wen compared 2 fortuner but trust me its worth buyin tis.. i love drivi... Read More
Is A Nice Car
the pajero is a very good car its have nice acceleration and have a very good braking and handling and the both interior and the exterior styling is very nice and the car is very fun to drive thank y... Read More
2005 Mitsubishi Pajero Reviews
Pajero-clearance King
Good Car...though not my best choice, very efficient in my opinion. Very good Ground clearance for our muddy roads. Good performance with four passengers. I love it most because it is a stick shif... Read More
Get One, You Will Not Be Dissapointed.
Brilliant piece of kit, good on and off the road, long or short distance. Comfy, reliable, spares available for aftermarket to keep costs down. Whats not to like? The shape is one of the best for a fo... Read More
2004 Mitsubishi Pajero Reviews
Good Car
its a very good car off-roadin is a great car it contains a good speakers and x-zenon lights with a fully 4x4 gear its fun to drive cuz its a big car but it uses alot of gas and its not too costy and ... Read More
2005 Mitsubishi Pajero Montero
The Mitsubishi Pajero 3.2 Liter diesel engine'd SUV is an incredible workhorse. It has style, practicality and best of all 99% of reliability. The car physically seems to look very nice but there is a... Read More
2003 Mitsubishi Pajero Reviews
King Desert Safari
It has all I need in an SUV, just a bit heavy on turns I mean comparing it to a car. lolz! But all SUV's I suppose are the same. Pajero is still the champion in dessert safari, top notch SUV. Read More
Not My Evo But A Mitsi All The Same
Sold the Evo and got this (pictures to follow) as we now have 2 Siberian Husky pups to ferry around and not to mention when the kids come along. Its also nice that it can take 7 people comfortably so... Read More
2002 Mitsubishi Pajero Reviews
It's a great all round car, smooth and quiet ride on highway then handles well in town for its size and height with very little body roll, it has good acceleration and breaking for a 2 tone car. Can... Read More
Powerfull, Comfortable And Utility.
The Pajero have a powerfull engine (165 HP) with excellent gear box, 4X4 with low range and very good off-road ability. It's has luxuries and style, and it's very comfort. Read More


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Aaron Hernandez has been charged with murder in the death of Odin Lloyd and the big break in the case may have been bubble gum.
If the prosecution is correct, Hernandez will prove to be a pretty dumb criminal.
At 2:10 a.m., prosecutors say they have evidence that Hernandez stopped at a gas station and purchased several items including Bubbalicious blue cotton candy gum.
Later, prosecuters claim to have found a piece of Bubbalicious blue cotton candy gum in a dumpster that was used to clean the rental car, according to Jenny Wilson of the Hartford Courant. Prosecutors claim the gum was originally discovered under a seat in the car next to a shell casing. The shell casing, a .44 caliber, matched five casings found at the crime scene.
Presumably, DNA testing can be performed to match the gum to Hernandez and place him in the vehicle.
Earlier in the evening, at approximately 10:30 pm, prosecuters claim Hernandez was seen on surveillance video with a gun and made a statement that "he can't trust anybody anymore."
Lloyd's sister saw her brother get into a silver Nissan Altima at 2:30 am. Prosecuters say Hernandez had been renting a silver Altima.
The prosecution says they have evidence that Lloyd sent a series of texts to his sister indicating that he is with somebody he referred to as "NFL." The last text was received just minutes before workers at a plant near the crime scene heard gunshots.
Several minutes after that, prosecuters claim Hernandez is seen on surveillance video returning to his house which is only "a two minute drive" from where Lloyd's body was found.
At that point, the prosecution says surveillance video shows somebody walking into Hernandez's house holding what appeared to be a gun. Shortly after that, the surveillance video stops.
In addition, investigators found keys in one of Lloyd's pockets. Those keys were traced back to a car that was rented by Hernandez.
The defense claims the case is based on circumstantial evidence. But if the prosecution can prove these points, it paints an ugly picture for Hernandez.


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There's a sophisticated pushback against corporate power in the works.
November 23, 2012 |
It didn't look like the movie Lincoln, which opened the same weekend. Instead of crusty men in musty rooms, half the speakers were women and the setting was a bright modern law school auditorium. But the challenge at hand was equally great. In Lincoln's day, it was the 13th Amendment to end slavery. Today, it's repairing American democracy for the 21st century.
Last Saturday in Los Angeles saw the most detailed, ambitious and encouraging discussion of exactly how to approach campaign finance and lobbying reform that I've seen in two decades of reporting on the decline of American democracy. There were constitutional solutions—not one but several—for the problems created by the Supreme Court. There was a long list of what Congress, the White House, federal agencies and state legislatures could do now. And there was growing evidence that millions of Americans of all political stripes want a renewed democracy—as surely as those multitudes who waited hours to vote on November 6.
A century ago, Progressive reformers reshaped American democracy by using every avenue available to them to take away power from that era's robber barons and political insiders. Today, after the most expensive American election ever, democracy advocates have launched a modern counterpart with a bold agenda, new strategies, new coalitions and a growing grassroots base dedicated to unwinding political corruption's many facets.
"A cancer does not cure itself. And this won't be cured by dinky little reforms, tiny little ideas, tinkering, crumbs at the table, who are being proposed by people who think if we just do a little switch we will magically change this system," said Harvard Law School's Larry Lessig, opening A 28th Amendment? conference at UCLA Law School. "What it needs is a movement unlike any we've seen since the Civil Rights Movement or the Progressive Movement, taking on a corruption greater than anything we have seen since we ousted George III."
"It's not just money in politics—that's one thing we have to fix—no question; we will not survive as a democracy, as a republic if we don't fix that," said Jeffrey Clement, co-founder of FreeSpeechForPeople. "But we will not survive as an Earth, as a democracy, as a republic, if we don't figure out how to make corporations work for the people and be able to democratically, small 'd,' decide on the powers, rights, duties and privileges that these massive global empires, which is what they are now, have in our democracy."
What was most striking about the UCLA gathering was how participants took the two rallying cries that have fueled nationwide protests, "Money is not speech" and "Corporations are not people," and analyzed and turned them into a deepening array of constitutional and other remedies that not only target democracy's building blocks, but are backed up by public pressure. That grassroots resolve includes 300 municipalities and nine legislatures passing resolutions since 2010 calling for a constitutional amendment, followed this month by super-majorities of Montana and Colorado voters backing it.
The thread uniting these efforts is excising the "cancer" that Lessig refers to, which is the many ways that private money (from individuals or business entities) corrupts elections, lawmaking and political life. This is not a new story and is how the system corrupts decent people. That dynamic starts with how candidates must raise private money to run for public office. It affects who they talk to, what they say or avoid in campaigns, and how winners interact with their patrons afterward—especially, as seen in what laws they back or block. Americans know what's going on, the Gallup poll found this July, when 87 percent replied that "reducing corruption in federal government" was their second top concern. Tellingly, both major party presidential candidates avoided democractic reforms, just as they did with climate change, cited by 52 percent of Americans.


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The Crimson, unbeaten all-time against Quinnipiac, will play its final non-conference game Tuesday against the Bobcats (Gil Talbot).
The Storyline
The Harvard men's lacrosse team will step away from conference play for the final time in 2013 as it travels to Quinnipiac Tuesday, April 13 for a 4 p.m. face off.
Last Time Out
The Harvard men's lacrosse team took a 12-9 lead over No. 2/2 Cornell with 9:48 remaining but succumbed to a late rally as the Big Red stormed back for a 14-12 victory Saturday afternoon in front of 3,043 fans at Harvard Stadium.
Cornell ended the day on a 5-0 run to overcome its deficit and remain unbeaten in Ivy League play. Conor Buczek and Rob Pannell began the flurry which was finished by Max Van Bourgondien who scored three straight goals in 1:46 to steal the win.
Devin Dwyer turned in a five-point performance to lead the Harvard (4-6, 1-2 Ivy League) attack with two goals and three assists. The freshmen added two ground balls and caused one turnover. Peter Schwartz netted three goals for his second hat trick of the year and added one assist, as Alex White and Murphy Vandervelde chipped in two goals apiece. Harry Krieger came away with 15 saves in goal, and Rick Molé went 16-of-27 at the X and picked up a career-high nine ground balls to help Harvard to a 17-29 advantage on face offs.
Scouting Quinnipiac
The Bobcats picked up a 12-8 win over Mount St. Mary's on Saturday to end a five game skid and improve to 4-5 overall and 1-1 in North Eastern Conference play.
Michael Sagl leads the Quinnipiac attack with 31 points on 15 goals and 16 assists. Pat Corcoran (11g, 6a), Basil Kostaras (13g, 4a) and Brendan Wilbur (12g, 5a) have each added 17 points. Dylan Webster serves as the team's face off specialist and is 79-of-160 at the X with a team leading 65 ground balls.
Gill Conners has started all nine games in goal and owns a 4-5 record. Conners has allowed 10.55 goals per game while saving 57.1 percent of shots. Greg Pendergast and Jay Binkowski have each caused nine turnovers while picking up 17 ground balls and 11 ground balls, respectively.
Inside the Series
Harvard is undefeated in four meetings all-time against Quinnipiac. The Crimson defeated the Bobcats 18-4 last season in Cambridge behind a five-point effort from Will Walker (4g, 1a). Daniel Eipp (2g, 2a) added four points as 11 Crimson found the back of the net. Jake Gambitsky, meanwhile, made three saves while playing 43:11 in goal to record the win.
Up Next
The Crimson returns home to Harvard Stadium Saturday, April 13 to face Penn at 1 p.m.
CLASS Act
Captain Jason Gonos was one of 10 NCAA lacrosse student-athletes selected as a finalist for the 2013 Senior CLASS Award® in collegiate men's lacrosse. An acronym for Celebrating Loyalty and Achievement for Staying in School®, the Senior CLASS Award focuses on the total student-athlete and encourages students to use their platform in athletics to make a positive impact as leaders in their communities.
Gonos has anchored Harvard's defensive unit for the last four years, but even more impressive than his play on the field has been his work within the community. In November, he organized the Crimson's involvement in Lacrosse Mustache Madness which raised $6,979 for the HEADstrong Foundation, a non-profit organization dedicated to the fight against blood cancer. Gonos has also spent time working with Happy Helpers for the Homeless in his home state of Maryland, helping to feed and clothe the homeless in Glen Burnie, Md.
Fans are encouraged to vote on the Senior CLASS Award website or on the Senior CLASS Award Facebook fan page through May 13. Fan votes will be combined with media and Division I head coaches' votes to determine the winner.
Taking Advantage
Harvard leads the Ivy League with 16 goals on the man-advantage while converting on 38.1 percent of its opportunities, third best in the conference. The Crimson has scored 10 man-up goals in its last three games, including four against No. 2/2 Cornell.
Young Gun
Freshman Devin Dwyer opened his career scoring in seven straight games, including a streak of five games in which he tallied multiple points, and has scored in nine of Harvard's 10 contests this year. He currently leads the team with 29 points and 16 assists, while his 13 goals rank third.
Dwyer has been named to the Ivy League's Honor Roll three times, most among the Crimson, while vying to become the first freshman to lead Harvard in scoring since Jeff Cohen '12 in 2009. Cohen tallied 41 points that season on 34 goals and seven assists.
Step Your Game Up
Sophomore Murphy Vandervelde, who had totaled zero goals in the first seven appearances of his career, has scored nine goals over the team's last four outings including a pair of hat tricks last week against Albany and No. 12/10 Duke. Vandervelde notched his first career tally in a 9-6 win at Dartmouth before recording three goals in back-to-back games against the Great Danes and Blue Devils.
Player of the Week
Goalkeeper Harry Krieger has earned a pair of player of the week honors this season, most recently receiving the award from the Ivy League on March 25. The senior turned away 28 shots while allowing just 11 goals as the Crimson defeated both Bryant and Dartmouth, finishing the week with a .718 save percentage and a 5.50 goals against average. Krieger was also named the NEILA Player of the Week on March 11 after recording 12 saves in Harvard's 8-6 win over Georgetown.
Krieger entered last week ranked 28th in the NCAA with a 9.46 goals against average. His .548 save percentage was 24th best in the country while his 11.33 saves per game paced the conference and ranked 19th nationally.
The Crimson won two straight games and three of four between March 9 and March 23. Harvard last won three straight games in 2011 when it defeated Princeton, Yale and Penn to reach the Ivy League Tournament finals.
Getting Defensive
Freshmen Robert Duvnjak has started nine games for the Crimson on defense and currently leads the team with 13 caused turnovers while ranking fourth with 20 ground balls. Duvnjak made his collegiate debut against UMass and registered four caused turnovers, then added four more as Harvard defeated Georgetown.
White Hot
Senior Alex White registered a hat trick in each of the Crimson's first two games and he enters the week with a team-high 17 goals and ranked third overall on the squad with 21 points (17g, 4a) from the midfield. White entered the season with 31 career points (19g, 12a) after having played in 41 of Harvard's 42 games over the previous three seasons.
Facing Off
Senior Rick Molé had a career day at the face off X against Brown, winning 15-of-20 draws while collecting four ground balls. Molé, who entered the year having taken just 32 face offs in his career, boasts a .515 winning percentage at the X this season and ranks third in the Ivy League with 84 face offs won.
Staying Grounded
Junior Gabriel Mendola set a career-high with 10 ground balls at Brown. He is the first Crimson to recorded double-digit ground balls since Keegan Michel did so on April 10 of last season with 10 against Quinnipiac.
Sharing the Wealth
17 different members of the Crimson have combined to score 90 goals this season. Alex White leads the way with 17 tallies on the year, while Peter Schwartz and Devin Dwyer have added 14 goals and 13 goals, respectively.
Home Field Advantage
Harvard is 14-8 at home under Chris Wojcik '96, The Frisbie Family Head Coach for Harvard Men's Lacrosse, including a 3-4 mark in 2013. The Crimson boasts a 6-6 mark in Harvard Stadium and an 8-2 record at Soldiers Field Lacrosse Stadium.
Hats Off
2013 Hat Tricks
Career Hat Tricks
In the Spotlight
The Crimson will play twice in front of a national television audience in 2013 beginning with its March 30 meeting with Duke. The game, which will be aired live on NBC Sports Network, will be played under the lights of Harvard Stadium at 7 p.m. The Crimson will also be featured on ESPNU when it takes the field at Princeton Friday, April 19 at 6 p.m.
Watch Live Online
Harvard has announced that for the first time ever, each of the Crimson's nine home games will be available either through live or on-demand streaming. Eight of the nine will streamed live through GoCrimson.com while the Crimson's nationally televised matchup with No. 13/14 Duke will be available for on-demand viewing shortly after its completion.
A full season pass can be purchased for $59.95 while single event subscriptions will be offered for $9.95. The full season pass will give fans access to each of the eight games streamed live as well as access to the on-demand archive for all nine home contests.
Click here to purchase your subscription today.


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Iphone vs Android Web Service Usage
February 7, 2011
Did you ever wonder where GeoNames webservices are called from? We have analyzed 470M reverse geocoding calls from January 2011 and created some heat maps.
Smartphones make about half of the calls. While Android with 150M reverse geocoding calls is leading ahead of the iPhone with 100M calls, the iPhone covers a larger area.
Comparing Android vs iPhone we have found that Andoid is leading in Northern Europe, the United States and India. The iPhone is extremly popular on the Arabian peninsula and many megacities.
Thanks to our sponsors:
One Response to "Iphone vs Android Web Service Usage"
May 18, 2011 at 11:26 am
Hello, thought you might like to know the London Android user group are organising a hackathon which will likely attract around 70/90 professional Android developers and attract lots of community attention. We're looking for APIs to speak at the start of the event and take part with helping developers adopt their services. Please let us know if you are interested or could forward us on to someone who would be.
We'll be giving tablets to all the attendees to develop upon during the event and awarding tablets to some winners.
The event will be run on Friday 27th till 3pm on Saturday the 28th of May.
More details: http://meetu.ps/Wvnk


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How to Get a Workout in the Garden
Gardening is hard work, and you probably have the blisters and sore muscles to prove it. However, digging, lifting, raking and weeding can also be a fun way to get fit and healthy.
One of the most important things to keep in mind while gardening is your posture. Bad posture can leave you sore, but not in a good way. By changing your posture, you can target specific muscles and work certain areas of your body.
Sitting with a bent back for long periods of time while weeding can cause back injuries. Instead, try squatting for short periods of time to work your glutes. You'll also be working your arms and shoulders while pulling weeds and digging. Activities like raking, mowing and fertilizing your lawn are also great for cardio.
If all the heavy lifting and digging isn't your thing, there are still other workout options for you. Do some yoga or meditation poses in the soft grass or on an exercise mat in the middle of your yard. You'll still get the benefits of fresh air and being outdoors.
Always remember to stretch before starting your garden workout. It's also a good idea to consult your doctor before starting any new physical activity.


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Get started here to search for legal employers! The NALP Directory of Legal Employers has long been the most trusted legal career resource, and with this redesign the NALP Directory is even better than ever. Use the search area to the right to begin your job search.
The NALP Directory of Legal Employers provides a comprehensive and free solution for researching legal employers throughout the US. The NALP Directory provides specific information on law firms, government agencies, public interest organizations, and corporations, including lawyer demographics, practice areas, compensation and benefits, diversity and inclusion practices, and other valuable information about legal employers.
Log in to manage your organization's forms, organization profile, and Premium Account features.


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DAHLONEGA, Ga. -- Augusta State's Ryan Weems matched his career high with 27 points Saturday afternoon, but it wasn't enough as North Georgia edged the Jaguars 82-78 in a Peach Belt Conference matchup at Memorial Hall.
The loss snapped ASU's six-game winning streak in the series with UNG and dropped the Jags to 8-5 overall, 4-3 in the in the PBC. The Saints improved to 10-4 on the year and 5-2 in the league.
Weems drained five 3-pointers, connecting on 9-of-18 field-goal attempts, and grabbed seven rebounds. Devon Wright-Nelson booked his third double-double with 22 points and 11 rebounds, while Devonte Thomas netted 12 points and six boards. D'Angelo Boyce tallied 10 points and six assists.
Chris Tanzy paced the Saints with 19 points and 11 assists. Lamar Richardson canned six 3-pointers for 18 points and Scott Windom booked 16 points.
ASU shot 45.0 percent for the game and hit seven 3-pointers. North Georgia posted a 46.7 shooting percentage from the field and drained 11 treys. The UNG bench outscored the Jags 47-14.
The Jags trailed by as much as 11 in the second half at the 11:37 mark before Thomas and Weems drilled treys on back-to-back possessions. The Saints pushed their lead back out to 10 before the Jags countered with a 13-3 run. When Boyce's floater in the lane dropped, ASU had pulled even at 72-all at the 4:00 mark.
UNG answered with six straight for a 78-72 lead with 1:51 left. Weems swished a pair of free throws at the 1:39 mark and after a Saints' free throw, Thomas registered a rare 4-point play with 1:18 left when he was fouled while sinking a trey from the right wing. North Georgia hit 3-of-4 free throws and the Jags missed their last three attempts from the field.
ASU takes on Georgia College in the third annual "Battle Of The Cats" on Monday, Jan. 21 at 7:30 p.m., in Christenberry Fieldhouse.


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Being able to properly configure your .htaccess file very useful if you work with websites. With this single file, you have the power to redirect users to different domains or pages. You can fix multiple 404 error pages, so that whey redirect to a single useful page or perhaps just your homepage.
Speaking of your 404 page, you can customize this page very easily by writing some lines in the .htaccess file.
Here I present to you 5 great resources to get you started learning all about the .htaccess file:
- Redirection at moz.com – this is a fantastic post about redirecting pages. Read it and you'll be a master at redirecting the proper way.
- .htaccesseditor.com – A great tool where you can input some values into this handy tool and it will output what you need to write
- Create your custom 404 page – A great post about creating your custom 404 page
- Have a look at this huge collection of great custom 404 pages on Smashing Magazine
- Master RegEx in combination with .htaccess to really same some time – check this post for an intro to RegEx