text:
Gerwig, Baumbach Poke At Post-College Pangs.
In Frances Ha, a 27-year-old (Greta Gerwig) navigates New York City — and the transition from prolonged adolescence to proper adulthood. Gerwig and director Noah Baumbach co-wrote the script; they join Fresh Air's Terry Gross to talk about the project.
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Other segments from the episode on May 14, 2013
May 14, 2013
Guests: Greta Gerwig & Noah Baumbach
TERRY GROSS, HOST:This is FRESH AIR. I'm Terry Gross. You may have gone through a period in your life similar to the one described in the new film "Frances Ha." It stars Greta Gerwig as Frances, a 27-year-old single woman who graduated from college a few years earlier, but still doesn't act or feel like an adult. The film was co-written by Gerwig and Noah Baumbach, who also directed the film. They're both my guests.
They previously worked together on the film "Greenberg," which Baumbach directed and co-wrote, and Gerwig starred in opposite Ben Stiller. Gerwig's other films include "To Rome with Love," "Damsels in Distress" and "Baghead." Baumbach also directed "Kicking and Screaming," "The Squid and the Whale" and "Margot at the Wedding."
When "Frances Ha" begins, Frances is living with her best friend from college, Sophie. Frances wants to be a dancer, but she's not progressing at the company where she's an apprentice. Sophie works in publishing. In this scene, Frances asks Sophie to retell what they call the story of us.
GRETA GERWIG: (As Frances) Tell me the story of us.
MICKEY SUMNER: (As Sophie) Again? All right, Frances. We are going to take over the world.
GERWIG: (As Frances) You'll be this awesomely bitchy publishing mogul.
SUMNER: (As Sophie) And you'll be this famous modern dancer, and I'll publish a really expensive book about you.
GERWIG: (As Frances) The D-bags we make fun of will put on their coffee tables.
SUMNER: (As Sophie) And we'll co-own a vacation apartment in Paris.
GERWIG: (As Frances) And we'll have lovers.
SUMNER: (As Sophie) And no children.
GERWIG: (As Frances) And we'll speak at college graduations.
SUMNER: (As Sophie) And honorary degrees.
GERWIG: (As Frances) So many honorary degrees.
GROSS: Frances and Sophie are so close, Frances says we're like an old lesbian couple that doesn't have sex anymore. When Frances' boyfriend Dan suggests that she move in with him, Frances insists she has to stay with Sophie, with whom she shares the lease to their apartment. Frances breaks up with her boyfriend, but soon after, she's stunned when Sophie tells her she's moving to another apartment.
SUMNER: (As Sophie) Are you OK with it? I really don't want to do it if you're not OK with it.
GERWIG: (As Frances) I kind of thought that we were going to renew our lease.
SUMNER: (As Sophie) Yeah, but we never talked about it.
GERWIG: (As Frances) I could have moved in with Dan.
SUMNER: (As Sophie) Not if you broke up.
GERWIG: (As Frances) That's why we broke up.
SUMNER: (As Sophie) Really?
GERWIG: (As Frances) No.
SUMNER: (As Sophie) We could always look for a place together, if you want, you know, but it's really hard to find stuff in Tribeca.
GERWIG: (As Frances) I can't afford Tribeca.
SUMNER: (As Sophie) I'm not leaving you. I'm just moving neighborhoods.
GROSS: That's a scene from "Frances Ha." Noah Baumbach, Greta Gerwig, welcome to FRESH AIR. The movie is about that transitional period after college, before you really feel like an adult, before you have an income, a profession, a home, maybe a family. But you're probably approaching this from different perspectives. Greta Gerwig, let me start with you.
You're about the same age as the character, in your late 20s. What are some of the complications of that period of life that you've experienced, that you wanted to portray in the film?
GERWIG: Well, I think for me, the period of life right after college, there's kind of a grace period where being a mess is charming and interesting. And then I think when you hit around 27, it stops being charming and interesting, and it starts being kind of pathological. And you have to find a new way of life, otherwise, you're going to be in a place where the rest of your peers have been moving on, and you're stuck. But...
GROSS: But you've been making movies for several years. So I'm thinking, like, how bumpy could that ride have been for you?
GERWIG: Well, I think that anybody who does anything in the arts feels very close to failure, because it seems like it's so possible to not be doing it, because even when things are going well, it feels like they're always about to fall apart and about to not work. And so I don't ever feel - it's not like I spent my 20s feeling like everything's going great, and aren't I successful.
But I think I also - it's also she's in an emotional place where I think I definitely went through, where she's realizing her friends aren't her family, which is difficult.
GROSS: Can you just say a few words about what that was like? I think a lot of people go through that, thinking that their friends are their family, and their friends understand them better, or their friends understand things nd ttheir family, and they
GERWIG: Yeah. I mean, I think when you're in college, particularly, there's not a lot of boundaries. And you leave your family, and then you go instantly form a new family of friends, and then that carries on into your early and mid-20s. And then, suddenly, when people start coupling off in a very serious way or choosing - rightly choosing selfish things over groupthink at that point in life, if you're not there yet, it's traumatic, because you're watching these people around you make decisions for themselves and what they need, as opposed to what is the group doing.
And I think that that's really - I think high school students - I'm not saying college students don't understand this movie, but I think high school students get it, and I think adults get it. But I think what's interesting is when you show it to college students, none of them really believe that's going to happen to them. They think that their friends and their lives will be the exception to this rule, and that they will stay as close as they are, and it'll never happen to them. And I feel like they're almost incapable of seeing into the future and realizing that, like, you will love each other, but it will not be in the same way.
GROSS: Would you have been in that category in college?
GERWIG: Completely. I mean, I would have been in that category way after college.
GERWIG: I really - I extended that period of thinking we would all live in a house for far too long.
GROSS: And just one other question I want to ask you, Greta, before bringing Noah into the conversation. Your character has a line where she's apologizing for not having a functioning credit card after offering to pick up the tab.
GERWIG: Right.
GROSS: And she says: I'm embarrassed I'm not a real person yet. Is that how you felt until recently? Did you write that line?
GERWIG: I don't know who wrote that line. I think I - did I write that line?
NOAH BAUMBACH: You probably wrote it.
GERWIG: I probably wrote it. I think that the changeover point for me was actually - it sounds like I'm making a joke, but I'm not - having health insurance made me feel like a real person. Up until then, it felt like I was getting away with something, and that if three things went wrong, it would all fall apart. And so when I got health insurance a few years ago, I felt like a real person, but before then, I felt like I was pretending.
GROSS: Why did health insurance do it?
GERWIG: I don't know. It was - I mean, it went along with being - becoming a member of SAG, which I...
GROSS: The Screen Actors Guild.
GERWIG: Yeah, Screen Actors Guild. And I think it was a big moment for me, because it made me feel like I had a trade. It's just a guild, and it shouldn't make you feel affirmed as a person, but for me, getting a card in the mail that I could carry in my wallet that said you're a member of the guild made me feel like I was a - like I had a place in the world.
And my parents kept me on their insurance for as long as they could, but it was scary. It was, like, if I broke my arm, I don't really know how I'm going to pay for it. But that's a very real feeling when you're in that place.
GROSS: Mm-hmm. No, absolutely. Noah Baumbach, let me bring you into the conversation. You're approaching the characters in the movie from different generations and from different genders. Noah, you're in your 40s. Greta, you're in your 20s. Noah, you're a man, and Greta, you're a woman.
GROSS: And Noah, this is the third time you've made a movie that relates to that transitional period in a young person's life. Your first two films, "Kicking and Screaming" and "Mr. Jealousy" were about people in that period. In fact, what I want to do is play a clip of an interview you and I did in 1998 after "Mr. Jealousy." And so here's an excerpt of that interview. So this is me and Noah Baumbach in 1998.
GROSS: Your first two films, "Kicking and Screaming" and "Mr. Jealousy," are about that period of almost limbo after college, or at the tail end of college when you're not quite a fully formed adult yet. You don't have, like, a full life of your own yet, but you're not really a student anymore, either.
BAUMBACH: Right.
GROSS: So it's that in-between period where you don't know exactly what you're going to become. You don't know if you'll be successful at pursuing the thing that you want to pursue, if you're lucky enough to know what it is you want to pursue yet. Why does that particular transitional period interest you? I guess it's in part because of your age, still being in your 20s, yes?
BAUMBACH: Right, 28. I'm interested in how, sort of, friendships or relationships that have developed over a long period of time, when people go through times of sort of individual change - in "Kicking and Screaming," it's a group dynamic - how that group dynamic changes when each of them individually have to sort of move on.
Do they end the friendships? Do - how do the friendships change? And that was sort of a big thing interested me in that movie. With "Kicking and Screaming," it was people who had graduated college, and they just didn't want life to happen to them. They wanted no experience. They wanted to stay where they were.
And with "Mr. Jealousy," it's people who now have had some experience, and I think now they're afraid that nothing will happen to them. And they want as much experience as possible, so they create these kind of, sort of, neurotic adventures for themselves to somehow inject adventure into their lives.
GROSS: OK, so that was Noah Baumbach, recorded in 1998. And now Noah Baumbach, with my other guest Greta Gerwig, has co-written and he's directed the new film "Frances Ha," which has a similar theme. So, Noah, how has your take on that period of life in your 20s, after college, before you found who it is you are as an adult and what you're going to be doing professionally, if you're lucky enough to be doing something professionally, how has your take on that changed?
BAUMBACH: Well, I've stopped using the phrase inject adventure.
BAUMBACH: Other than that, I was OK with how I sounded.
BAUMBACH: Well, it's interesting, because what I didn't exactly know then, although - is that I think I was really going through a lot of - I was not injecting enough adventure into my life at the time, or too much adventure. I was just - I was about to sort of go into a period of my life that was of kind of, I think, vast individual change, you know, that I was alluding to.
And it was a long period after "Mr. Jealousy" and my next movie, and so when I hear that clip, that's what I'm thinking about, is sort of a - I was sort of about to begin that, and I think change a lot personally, and also change as a filmmaker.
But, all that said, here we are talking about the same time in life in another movie, and I think - you know, I mean, I was interested in making this movie because of Greta, and I wanted to make another movie with Greta. So I was shoehorned into the age of 27, because that's what she is.
But, you know, I - even the movies I've made that aren't about people in their late 20s, in "The Squid and the Whale" and "Greenberg" and "Margot at the Wedding," I think all are sort of essentially about transition and about squaring who you want to be with who you actually are. And so, I don't know, I keep coming back to this.
GROSS: My guests are Noah Baumbach and Greta Gerwig. They co-wrote the film "Frances Ha," which she stars in and he directed. We'll talk more after a break. This is FRESH AIR.
My guests are Greta Gerwig and Noah Baumbach. They co-wrote the film "Frances Ha," which she stars in and he directed. Gerwig plays Frances, a 27-year-old who still doesn't act or feel like an adult. She's been sharing an apartment with her best friend from college, Sophie.
Frances is actually kind of in love with her girlfriend Sophie, but probably not in a sexual way. They do everything together. They have their private jokes. They lay in bed together side by side, talking and laughing. And Frances, your character says we're like the old lesbian couple that stopped having sex.
GERWIG: Yeah.
GROSS: And so she feels really betrayed and lost when Sophie decides to move into a better apartment with another girl, and then things only get worse because Sophie has a boyfriend that she's getting serious about. And then Frances moves into an apartment with two young men, one of whom is played Adam Driver, who's also in "Girls."
And Frances and the other guy who lives here, played by Michael Zegen, have a similar relationship to the one that she had with Sophie. They have their private jokes. They laugh. They can lie in bed together and joke and laugh, and it kind of makes you think about how ambiguous and open-ended all relationships have the potential of now.
Like, her relationship with Sophie has the potential of being sexual. It won't be, probably, but it has that potential. At the same time, her relationship with this, you know, young man, Michael, has the potential of being sexual, but it probably won't. They're probably just going to be good friends, and that's OK. They can be good friends, even though he's a man and she's a woman, and neither of them are gay.
So I'm just interested in both of your thoughts about that ambiguous, open-ended nature of so many relationships now that could have a sexual outcome, but, you know, probably won't, but you can't rule it out.
BAUMBACH: Yeah, that's interesting because going to your previous question to me, I think that may be something that I found different about this generation than maybe when I was in my 20s. I certainly didn't think that way. I was more clear, I think, about whether this was going to be a friendship or a romantic relationship.
And I - that was something, I think, when we were working on the script, and I was - I don't even know if we really talked about it so much, but I kind of picked up on it and went with it, because I really, I found that very interesting, that idea.
Even Frances goes on a date with Lev, Adam Driver's character, and then comes back to his apartment. And then in one quick move, he puts his hand on her shoulder, she reacts in a strange way, then Benji comes home. And it's now, it's automatically switched from possible romance to friendship, to now she's going to actually just move in and be their roommate.
And I liked very much, narratively and also character-wise, how that was possible in this movie, that that could just change. And I think the way you've described it is true. I think that's - like I said, I don't think we talked about it or really articulated that, but I think I kind of picked up on that, in some way. I was sort of aware that that was - felt true for these people.
GROSS: I think a lot of people will have experienced the awkwardness of this moment that you portray in the film, where Frances is living with two men in their 20s, and then one of them keeps bringing dates home and taking, you know, the woman he's brought home into his bedroom. And she's, like, she's the girl living in this house with two guys.
So it's - there's something just so inherently awkward about that for her.
GERWIG: Yeah. I mean, really that - it's not emphasized in the movie, but Noah and I talked about when we were writing that section, like, when is the last time in life that you can ask someone: Do you want to see my room?
GERWIG: And we thought that that was funny, because it's so childlike to tell someone: You want to see my room? And you start saying it maybe when you're four, and, like, you should stop saying it by the time you're 27. And that was kind of, like, we thought - I don't know that anybody even notices that joke.
But I think a lot of the movie involves like that when is the - like, that you don't know when the last time of something happening is. You just know when it's over. Like, the opening sequence is this, like, glorious day between her and Sophie and this idea of, like, you don't know what the last great day you'll spend with your best friend is. You just know when you've never had that day again.
And that - anyway, the bringing the girls into the room was, like, about that sort of - I mean, it's terribly awkward, and - but I - like, I sort of liked the way Frances dealt with it, which was that in her - I think I always thought that she decided in her mind that she would be the cool, friendly, lady roommate who would be really cool with all these girls coming over and shake their hands and learn their names, and that she would be the hip girl on the inside who doesn't have to have a sexual relationship with these guys, and that she's going to be magnanimous to the women coming in and out of this apartment.
GROSS: Were you ever in that position?
GERWIG: I might have been.
GERWIG: I have a lot of male friends who I really like, and I've always enjoyed the feeling of, like, this sounds probably really - I've always enjoyed the feeling of, like, I'll never sleep with you. And I - you'll never have that power over me, and we'll never have that relationship .And I get to meet all the people who have to deal with what you cry about at night, and I will never have to do that.
GROSS: And I can tell those girls, oh, you're really pretty.
GERWIG: Yeah, it's, like - or I can feel like I can - it's like I - I think I didn't have - I was not a cool girl in junior high or high school who had friends who were boys. And I think I figured it out when I was in college, and I - for some reason, that's been a hobby of mine ever since. But I was - in junior high and high school, I couldn't figure it out. And then it clicked all of a sudden, and I was, like, you just have to be really nice to them.
GERWIG: And then - and you have to tell them they're right about stuff, and that their thoughts are really smart and just treat them like they're the best ones in the room, and they'll really like you.
GROSS: So have you had girlfriends who you were as close to as Frances is to Sophie?
GERWIG: Yeah. I had - I went to a women's college. I went to Barnard. So that's kind of a breeding ground for beautiful, messed-up female friendships.
GERWIG: And so I had a lot of them. I mean, I had a real group of girls that I was very much - there were six of us, but - so it wasn't - it wasn't like I just had one. But I loved them a lot, and we lived together after college for a few years.
GROSS: So this was your alternate family?
GERWIG: This is my alternate family, and we really did. I had a fantasy that we were going to start a checking account for a fund that we would all buy a house together. This was my fantasy. And it never happened. We never started a fund for a house together. But, I don't know, I guess I've always felt like if there's a way to live as a family with your friends, that that would be the good thing to do. But I don't think anybody else feels that way.
GROSS: Greta Gerwig and Noah Baumbach will be back in the second half of the show. They co-wrote the new film "Frances Ha." Gerwig is the star. Baumbach directed it. I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross back with Greta Gerwig and Noah Baumbach. They co-wrote the new film "Frances Ha." He directed it and she stars as Frances, a 27-year-old single woman who's still having problems making the transition from college into adulthood.
Greta Gerwig, your character of Frances is a dancer. Do you dance? Do you have against background?
GERWIG: Yeah. I grew up dancing. I did a lot of ballet. I loved ballet. Then I did other kinds of dance as well. But I never was a dancer. I was never professional.
GROSS: I read that you fenced also.
GERWIG: Yeah.
GROSS: Was that in college?
GERWIG: No. I actually fenced in high school after - junior high and high school after I - I had kind of a painful experience with ballet. I think that a lot of girls do that are not quite right for it, and my body wasn't quite right for it, but I loved it so intensely and I was so heartbroken when it seemed like I would never really be a professional ballet dancer. But there was actually a fencing place in Sacramento that had opened up right after I stopped dancing. And my mom read in the newspaper, the Sacramento Bee, that dancers make good fencers because they have quick feet. And so I started, she signed me up and I just, I loved it instantly and I competed a lot and I was pretty good, mainly because I was just insanely competitive and really tall. So those things help with fencing.
GROSS: It's funny. I was going to make a joke about how not useful fencing is. But if this was a few decades ago and you had just signed on to the MGM Studio, they'd be teaching you how to fence, if you were a guy anyways. I'm not sure if you were a girl if they would be teaching you how to fence.
GERWIG: I mean looking back at my childhood, I never - I didn't have a thing of like I'm going to be an actor. But looking at all of the activities that I took on, they all had a theatrical component to them that I really - I mean I loved fencing so much and then I had my birthday - my 15th birthday at the Renaissance Pleasure Fair and I made my friends dress up in Renaissance clothes and then watch me fence. It was really weird but it was really sweet. And my mom got all these costumes for everyone because, it was - but, yeah, there were all these theatrical things I was doing even though they weren't directly theater or acting.
GROSS: The movie "Frances Ha" is in black and white. Noah, why did you want to shoot in black and white?
BAUMBACH: Well, the last movie I had made, "Greenberg," was in Los Angeles and I wanted to shoot in New York again, and I had the idea of doing it in black and white. And I didn't really articulate a reason beyond that except that I think shooting that way in New York helped me kind of see. I mean I grew up in Brooklyn and I've lived in New York my - for most of my adult life and it helped me to sort of see the city with new eyes, I think. I think also there was something about black and white which makes the movie almost immediately nostalgic.
It's a very contemporary story, and Frances is such a contemporary character that it makes it sort of - this goes to what Greta was saying earlier, I think about this time in your life, and that it's, you never know that moment when it's over, and I think the black and white in some ways kind of underscores that. It adds this sort of sense of past to something that's, you know, happening very much in the present.
GROSS: If you're just joining us, my guests are Noah Baumbach and Greta Gerwig, and they collaborated on the new film "Frances Ha." And now you also worked together on "Greenberg," which Noah, you wrote and directed, and Greta Gerwig, you starred with Ben Stiller. Let's hear a scene from "Greenberg." And the film is about, you know, Ben Stiller plays a guy in his 40s who has had a nervous breakdown, has just gotten out of a psychiatric institution and is going from New York to LA to basically housesit for his brother and sister-in-law. And Greta Gerwig plays this couple's personal assistant. So Ben Stiller and Greta Gerwig, you know, end up meeting and spending time together at the brother's house. And then he goes over to her place for a drink; they start awkwardly kissing and then she kind of puts the stops to things. And here's how it goes.
GERWIG: (as Florence Marr) Can we take it slow? I'm sorry. It's just that I just got out of a long relationship and I don't want to go from just having sex to just having sex to just having sex.
BEN STILLER: (as Roger Greenberg) Who's the third just having sex?
GERWIG: (as Florence Marr) You, if we had sex.
STILLER: (as Roger Greenberg) OK. Then who's the second?
GERWIG: (as Florence Marr) A guy I met at this gallery thing.
STILLER: (as Roger Greenberg) You slept with him?
GERWIG: (as Florence Marr) Yeah, I did.
STILLER: (as Roger Greenberg) How did that go?
GERWIG: (as Florence Marr) What do you mean? The sex?
STILLER: (as Roger Greenberg) Yeah. Well...
GERWIG: (as Florence Marr) It was pretty awkward.
GROSS: A short scene from "Greenberg." Was that all written or was some of that improvised?
BAUMBACH: That was all written.
GROSS: Greta, your character of Florence in "Greenberg" is so unsure of herself and unsure what she wants for herself. And it's so interesting, like you've described yourself back when you were a competitive fencer in high school as being like super competitive.
GERWIG: Right. Yeah.
GROSS: And, you know, the character you play in that is just the opposite of that. Like she doesn't really usually know how to push back or what she wants, a little directionless.
GERWIG: Right. Yeah. Yeah. Florence was really hard. I mean I loved Florence and I felt like when I read the script I instantly understood her and even how she held herself or how she drove a car. I felt like I understood the parts of her body that she didn't like. And, I don't know, there was something about her that I just I felt instantly this deep empathy with her. But playing her, I didn't purposely try to Method act or anything, but I think characters get under my skin and I felt very vulnerable the whole time we were making the movie and very unable to stand up for myself, and very, it was like I was having trouble finding my fire sometime after that too because I didn't have another project to go into so I didn't have a way of getting her out of my system, and it was a hard time because she's so exposed. She's like a bug without a shell or something. She doesn't have anything to protect herself, and that's how I felt.
GROSS: It's interesting that you said you knew the parts of her body that she didn't like. I bet that's not in the script, but how did, like what parts of her body didn't she like and how did that help you knowing that?
GERWIG: I felt like she had skirts that were too small and she could feel her thighs rubbing together when she walked. I just knew that. I don't know how I knew that but I knew - and I knew that she was too tired to really do anything about - I'm actually, as I'm talking about it, I get emotional about her. I just, I could feel her not looking at herself in the mirror because she wouldn't, she would know it would make her sad. And there's something about that that I understood and I just - I felt like it would make her tuck herself in in a way to try to protect herself but she can't.
GROSS: You're saying that as if you really understand what it's like to have those kind of body issues, but I wouldn't think that you would have had them yourself.
GERWIG: I don't know that any woman gets out of life without having some body issues. I mean I had - I had the - I think a lot of teenage girls go through this, as you gain, when you turn about 15 you gain weight in ways that you didn't know was possible suddenly because you're going through puberty. And I, I never was overweight but I went through a period of time where I was bigger. And then when I was in college, right before my senior year, I lost an incredible amount of weight due to chain smoking and really poor personal behavior. And it felt so wonderful and I wished it didn't feel as wonderful as it does and it felt like liberating and I felt great about myself and people asked me, did you get a haircut, and I was like no, I lost 25 pounds, you idiot. But I felt, and then there was something about when I read Florence that - I mean I think it also gave me the confidence to kind of go make these movies and do all this stuff because I felt like I was high on some kind of thinness. And then when I read the part of Florence, I almost felt ashamed because I felt like I had been trying to run away from being that person because I thought that that's what I had to do to make movies. And then when I read that part, I gained 15, 17, 20 pounds for the part because I knew that was right and I've never really lost it after that. I just kind of stayed that weight. But I think there was - it was like when I read the script, I understood it and I also felt like, oh, you didn't have to try to be another person to make art or to be an actress. You can be this person and someone will want to tell that story.
GROSS: If you're just joining us, my guests are Noah Baumbach and Greta Gerwig, and they collaborated on the new film "Frances Ha." Noah Baumbach directed it. Greta and Noah co-wrote it and Greta Gerwig stars in it as Frances.
Let's take a short break here, then we'll talk some more. This is FRESH AIR.
GROSS: If you're just joining us, my guests are Greta Gerwig and Noah Baumbach. They collaborated on the new film "Frances Ha." Greta Gerwig co-wrote the movie with Noah Baumbach. She stars in it and he directed it.
So I want to ask you both just briefly about Woody Allen, 'cause I know, Noah Baumbach, he's been an influence on your work - perhaps even shooting your movie set in Manhattan in black and white is inspired in part by Woody Allen's "Manhattan," which is shot in black and white. And Greta Gerwig, you acted in Woody Allen's recent movie, "When in Rome." So can you each talk a little bit about his influence on you? And Greta, if you could talk about, you know, what you learned working with him?
BAUMBACH: Well, when I was in high school, I guess, and I was growing up in Brooklyn, and I actually was going to Midwood High School, which I knew that Woody Allen had gone to as well - and I was just starting to write funny short stories. And somebody gave me a Woody Allen - or a teacher, actually, I think, wrote a comment saying, this is like a Woody Allen short story, and I had seen Woody Allen movies, but I sort of didn't know he had written these funny things.
And I think my parents had "Getting Even," which was one of his collections, and I - when I read it it was like I couldn't believe it. I thought they were the funniest things that I had ever read, but I also felt like - this is the thing they say about great poetry or something - it's like your own thoughts brought back to you with added majesty or something. It's like that was like my own funny ideas brought back, and he just seemed so smart and funny, and - but I just felt so connected to it and from that point forward I think I was, you know, then I just kind of devoured the movies and, you know, he was so much a part of my growing up, really. And I think at a certain point when I got a little older, I almost had to - it was almost like a drug I had to kick. I had to like get off Woody Allen, because like I was imitating him too much. I remember being on a date with a girl in college and realizing I was just like acting like Woody Allen in a movie. And...
GERWIG: That's so funny because I felt like I spent most of my adolescence trying to act like Diane Keaton.
BAUMBACH: Well, we should have met then. I...
GROSS: Yeah. It wouldn't have gone well. No.
BAUMBACH: No. No.
GERWIG: We would've broken - yeah.
BAUMBACH: Yeah. I'd say, Greta, you have a losing personality.
GERWIG: Ouch. Gosh.
BAUMBACH: But...
GERWIG: La dee da.
BAUMBACH: But in some ways, coming back to "Frances," I think I was sort of at a point where I was ready to embrace it again. And of course we were shooting a movie in New York in black and white, and you know, I was thinking about "Manhattan" and "Broadway Danny Rose" and "Stardust Memories," the ones he did that Gordon Willis photographed, and there's such majesty in the photography. And those movies are sort of, you know, they're intimate stories, they're people sort of working out their own stuff, and - but the photography and often the music in those movies treats it like a grand cinematic experience. And I think, you know, that's how I, you know, ultimately feel about those little things and, you know, about intimate stories. I think they are cinematic and grand, and that's how "Frances" felt to me. That, you know, this, you know, watching this woman decide whether or not to pay a surcharge at an ATM machine when she's in a rush and broke, to me felt like it could be big cinema. And so I went about shooting it that way.
And scoring it that way. And I think a lot of that sort of came from seeing how he treated this material. The other thing I think about Woody Allen, that - I mean, there's very many things, but another thing is I think the blocking in his movies is really remarkable. I mean it's connected, I think, to, like, '30s and '40s screwball comedies and Ernst Lubitsch movies or, you know, Howard Hawks or George Cukor.
I mean this sort of - he sets frames where actors move in and out and go in and out of doors. And when the camera does move it's always the right move. You're always going with the right - following the right actor, the right character, at that right moment. And that was something that I thought a lot about in "Frances" was blocking. And, you know, we shot a lot of long takes and a lot of takes of these scenes.
And I'm always interested in how much of the story can you tell in one shot before you need to cut. And I think that's something I was learning from his movies even when I didn't know I was learning that from his movies.
GROSS: Greta? What was it like to work with him?
GERWIG: Surreal. I mean, I, like, the whole - it was surreal to work with him because I - he's, you know, he's the whole reason I, like, moved to New York and love New York and will stay here forever. His movies and the way he portrayed New York City and what was possible here. So to get to actually just even audition for him was sort of - felt like if it doesn't go beyond this, I'm OK with that.
I got to stand in a room with him. Actually, we just literally stood. Nobody was sitting down. I walked into a room and he was standing and his casting director was standing. And then I stood there for probably 45 seconds. And then he said thank you. Thank you for coming here. And then I left and I was...
GROSS: That was it? That was the audition?
BAUMBACH: That was it. Yeah. I stood in a room.
Nailed it.
GERWIG: Nailed it.
GERWIG: No. I made one joke that sort of made him laugh and then I made another joke that did not make him laugh. And then it was over. And so I - but then anyway, I got the part and it was amazing. But it's also, you know, whenever you work with someone who you idolize you realize they're - I mean, it's so - they're just - he's just a person trying to make a movie as best he knows how.
And that doesn't look so different from other people trying to do the same thing. And he's, you know, wildly smart and brilliant and funny but it's movie making. And there's something kind of democratic about how difficult it is, because everybody, whether you're Woody Allen or Noah or, you know, P.T. Anderson, it's hard. Making movies is a hard thing. And it's slow. And you can glorify the product but the process is difficult no matter who you are.
GROSS: So we only have a few seconds left, but can you tell us either the joke Woody Allen liked or the one that he didn't?
GERWIG: I told him - the one that he liked was I told him I - I lived in Chinatown. And he said why do you live in Chinatown? And I said I know a guy. Which, I don't know why I said that.
GERWIG: But he sort of laughed. And then I made a joke about texting, which I said something like my dad - I don't know what it was, but it didn't work. And then he was like, well, thank you for coming in. And I was like OK. Texting jokes, not - didn't fly. So.
GROSS: OK. Well, I want to thank you both for joining us so much. Greta Gerwig, Noah Baumbach, thank you both so much.
BAUMBACH: Thank you.
GROSS: Greta Gerwig and Noah Baumbach co-wrote the new film "Frances Ha." She stars in it; he directed it.
The rock band Dawes has just released its third album called "Stories Don't End." It's currently on tour and on some dates is opening for Bob Dylan. The band has cited Neil Young and Crosby, Stills, and Nash among its influences. Rock critic Ken Tucker says the new Dawes album illustrates the band's link to an earlier era of rock. Here's his review.
DAWES: (singing) Have you ever bought your little girl Glamour Shots and the events of that whole day spent at the mall? Because it may be a part of you, you didn't know you were clinging to. As if that's where the secret had taken a toll most of all. Like a feather that finds its invisible path as it falls. Just beneath the surface...
KEN TUCKER, BYLINE: If you heard that song and said somebody's been listening to their old Jackson Browne albums, you're not exactly insulting Dawes. The band has actually backed Browne on tour - and Browne has sung backup on at least one of their songs. So you could say that Dawes comes by their riffs, licks, and phrasing honestly.
You could, that is, if you want to pigeonhole this quartet as a throwback to the Southern California '70s soft-rock, which would be a mistake. Why, in the very next track on the new album "Stories Don't End," they sound like East Coast '70s soft-rock, on the Steely Dan-ish "From a Window Seat."
DAWES: (singing) I buckle in my seatbelt and plug my headset in a chair. And to the music I watch flight attendants move. They are pointing out the exits but it looks more like a prayer or an ancient dance that bloodline reaches through. These planes are good for sifting through the warriors from the men. I get time to sit and watch them for a while. You could see everywhere they're going and everywhere they've been.
(singing) And how they look out at the clouds each time they smile. And I think maybe he's in town for someone's birthday...
TUCKER: I kid Dawes about their influences. I kid because I like the way these boys carry those influences with their own good humor, and with a loose assurance that their distinctiveness will shine through. On the lovely title song "Stories Don't End," singer-songwriter-guitarist Taylor Goldsmith talks about the ineffectiveness of talk.
How words cannot express all that he wants to say about the woman he's describing, the feelings he has for her. For that, he requires not only words, but the slightly fuzzy timbre of his voice and the gentle drumming of his brother Griffin Goldsmith.
He gets closer, in this way, to suggesting how complex a story one song can tell, because as the title reminds us, the stories of a relationship, once launched, don't end. We impose a narrative - a beginning, middle and end - upon them.
DAWES: (singing) From a paper umbrella in both of our drinks to the shadows that walk without us. My account of the details is as clear as you'd think, kept up by friends that still ask about us. If our lives were a movie, if our lives were a book, they'd be longer than I'd recommend. 'Cause if you're telling a story at some point you stop but stories don't end.
TUCKER: For Taylor Goldsmith, communication - connection - is always elusive. This album is loaded with lyrics about how people don't hear the sentiments beneath a conversation, how the person to whom Taylor Goldsmith most wants to express his affection is ignoring him, or is looking for love from someone else.
A key lyric in the song "Most People" is: Most people don't talk enough about how lucky they are. And in another tune, "Someone Will," the music that surrounds his words is frequently spare, but it's also music that can rise up and around the verses to breathe additional life into the singer's fading romantic hopes.
DAWES: (singing) Grab your cigarettes and follow me out of the living room. And I'll get drunk enough to tell you how I feel about the men you love and how they are seem to get the best of you. 'Cause if I don't say these things you know someone will. If that look in your eyes...
TUCKER: Taylor Goldsmith is also a member of the part-time, semi-supergroup Middle Brother, whose debut album was in my 2011 Top Ten. That music was generally more rough, more intentionally unfinished, than the music Goldsmith makes with his own group.
I admire bands that can capture not just big, universal emotions and ideas, but also little, specific, tricky ones. Dawes crafts songs about the shifts of mood and attitude between two people by approaching them from different angles; by doing the musical equivalent of sidling up to them and eavesdropping, and then transforming that found material into their art. That's what Dawes manages on the frequent best moments of "Stories Don't End."
GROSS: Ken Tucker is FRESH AIR's rock critic. You can download podcasts of our show on our website freshair.npr.org and you can follow us on Twitter at nprfreshair and on Tumblr at nprfreshair.tumblr.com.
Transcripts are created on a rush deadline, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of Fresh Air interviews and reviews are the audio recordings of each segment.


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Eric Milton (0-0, 4.50) vs. Aaron Cook (3-1, 4.68).
SoSG Sax: Hi, Eric. What's happening? We need to talk about your ERA reports.
Eric Milton: Yeah. My last start. I know, I know. Uh, Joe talked to me about it.
SoSG Sax: Yeah. Did you get that memo?
Eric Milton: Yeah. I got the memo. And I understand the policy, I need to last more than four innings and not give up the lead twice when I start a game. And the problem is just that I forgot the one time (which was my first start in two years following Tommy John surgery). And sure, you're starting me at Coors Field against a guy who pitched a four-hit shutout in his last start, but it's okay. I've already taken care of it, working out the kinks in my delivery and all, so it's not even really a problem anymore.
SoSG Sax: Uh,......yeah. It's just we're expecting better results on all of our ERA reports from our starting pitchers. So if you could go ahead and try to remember to last longer than four innings from now on, that'd be great. Or it's back to a windowless room in the basement for you, Milton--without your red stapler this time. All right!

subset: commoncrawl


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Defective, damaged or mis-shipped items are eligible for a full refund. When requesting your refund, please be ready to provide Customer Service with photographs clearly showing the problem with the items. If you believe your items were damaged during shipping, Customer Service will need photographs showing the damaged packaging as well as "Proof of Damage" documentation from your delivery carrier in order to process your refund.
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Should your item size differ from the specifications of your order by more than one inch, we encourage you to find a local tailor to make adjustments, and we will gladly reimburse you for up to 100% of the product price in tailoring costs. If you choose this option, please remember to request a receipt from your tailor as a copy of it must be provided when requesting reimbursement.
-Your item is the size you ordered but does not fit
Clothes that do not fit properly but fit the specifications you ordered cannot be returned or exchanged. You can make minor adjustments at a local tailor, at your own cost.
Please note: if your order specifications differ too greatly from the final sizing request, resizing may not be possible.
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The settings of your computer screen may alter the color of the pictures shown. Slight color mismatches between the color of your item and the color shown on screen may not mean that the item is defective or mis-shipped. However, if you are confident that you have received the item in a wrong color, please contact Customer Service to see if a return or refund is possible.
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This guy was very fast paying for the intelliframe I sold him. Quick on the PM's for a fast sale and would do business with again in the future.
This guy was very fast paying for the intelliframe I sold him. Quick on the PM's for a fast sale and would do business with again in the future.
feedback is appreciated.
A+ - good seller, no surprises, would do business with again. Good communications and product (minimag body) was as described. Thanks!
Thanks, Brent "RamboPreacher" Hoefling, CPPA founder
Here is my user feedback thread. and my online jottings
Good guy! Smooth trade! Thanks!
-For to me, to live is Christ, and to die is gain. Philipians 1:21
-Don't try to use your fancy smancy "logic" on me! It won't work!
-It is better to stay silent, and be thought a fool, than to open your mouth and remove all doubt.
great guy fast payment everything went really smooth
"The Few Who Do Are The Envy Of The Many Who Only Stand And Watch"
Alway Remember *343*
Si vis pacem, para bellum
This guy is great. He's fast, fun to talk to, and will not give you any problems at all in a trade.
My Trading Feedback Thread Great traders: PaInTbAlLeR476, Shrapnel, Magdude, I <3 Mags.
Polished Minimag Body
Retro Valve
Level 10
AGD clear Warp feed
12v Revvy
I traded with him several months ago (12V Revy for Retro Mag). Great guy, great trader.
Fast good communication, item was just as described. GOOD TRADER!
Captain of
Team Sleeper
My setup:
Black P/F EMAG-LVL10, Freak, EVO II
Originally posted by -Carnifex- "I tell people, You know what would make that Angel better? Me using it."
My Feedback:
I love this guy! Talk about fast payment! A genuine pleasure to deal with, and no problems what so ever. Wish more folks could be like Shrapnel!
Had to hassle for payment at first, but then it came super fast priority, A++
Payment was sent quickly, smooth transaction, A+ buyer!
Fast Payment. Great Communicator. Awesome Guy A+++ Highley recommended.
great seller. got an awesome deal on an egg. it was just as it was described. real fast shipping. definately recomend. A+++
owner of:
bushy & cocker
email- firstname.lastname@example.com
My Feedback
made a barrel trade with him. Deal went very smooth, shipping done simultaneously, both supplied delivery confirm #'s, and the barrel was received quickly as promised!
Thanks for the trade! I think we both got what we were looking for!
My Feedback here on AO
Fast payment and great communication!! Easy transaction with no problems at all. A real pleasure doing business with.
great trader, biught a barrel. he set it out quickly.
Great to deal with....
Communications, shipping, item quality, all great...
I would recommend him, and happily buy from again....
When you wrap-up the day with beer and Bengay.
Great price fast shipping A+
If God was a fly would you kill it.
Great buyer A+++
Bought some parts off of me. Payed with MO and I thought it would take some time. Not at all. Extremely fast and great to work with! A+
Thank You shrapnel. Great Deal, Great to deal with relliott
excellent transaction
Bought a ule body off of me and paid fast, and left feedback Thanks Looking foward to our next trade.
Great buyer, we worked out a deal and everything went smooth. Lets do it again.
Great buyer. Paid fast and kept good communication.
Another GREAT transaction.
Thanks again for a smooth sale.
Bought exile body from him. Great seller and very quick send. Thanks again
Bought an Intelliframe from shrapnel. Shipped quick with no issues. Thanks again.
I baught a black ule body off him Long story,[becuase of mailing system] But threw out the whole thing, he kept in contact through phone and email and was very help full about it.All i can say is that this guy is THE REAL DEAL.Package very well,fast to respond.I WOULD BE MORE THAN HAPPY TO DO BUISNNESS WITH HIM AGAIN.Thanks again and take care
Purchased a frame from him. Came in quickly and in decent shape. A+


text:
2013 Georgia Jewel
I decided to take pictures of this 100-mile race again this year. I wanted to get sunrise pics on top of the mountain, but it was raining buckets at sunrise and that didn't work out. This was at about mile 30 later in the morning. Still pouring rain, so I had to park the truck where I could take pictures from inside. This was the best spot I could find. They had the 50 milers coming from the opposite direction so at first all I saw were the backs of people. Those are the 50 milers. Anyway, I hope they all finished safely! They're crazy, but they're awesome!Read More
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Even though we are weathering a few heavy March snows in Durango, spring is definitely in the air. One day it suddenly hits us that the chill is gone.
Of course, that means we have mud season to look forward to until real spring arrives, but it is the time of year where even a big snow won't stay on the ground for more than a day. Bluebirds and swallows are returning, and soon crocuses will be lifting their heads.
At the Nature Center, March is as muddy as can be expected. We have had it closed since November to rejuvenate. The end of March is when we open it for our spring volunteer training and spring school programs.
However, before we get there, other inhabitants are stirring. Kids who visit the Nature Center in the spring and summer look forward to being greeted by our renters, a colony of prairie dogs that inhabit the land leading up to the entrance. As cars and buses drive into the center, prairie dogs standing and barking along the sides of the roads welcome them. March is the month that prairie dogs give birth, and by the end of the month, young prairie dogs will be running around celebrating the real arrival of spring.
Prairie dogs are burrowing rodents that are very social. They are one of the most interesting species to watch because they are very affectionate and playful with each other. They also have many different sounds for communicating, including what looks like a kiss as a form of identifying each other.
Prairie dogs form towns, or colonies, underground with as little as 10 members or as many as hundreds. Connected burrows are up to 7 feet deep and 16 feet long and usually consist of a male, several females and their offspring. They consist of different rooms, including nurseries, listening posts and even bathrooms. Several volcano-shaped entrances exist around a colony, which are formed to shed water and catch wind for ventilation.
Prairie dogs are very efficient diggers. In fact, using their heads and shoulders, they can displace as much as 480 pounds of dirt when they form a new colony. Because of this, they are controversial in Colorado. They eat grass and disrupt farmland and ranchland; therefore, many colonies have been destroyed through poisoning or bulldozing. It is now thought that prairie dogs occupy only 5 percent of their original habitat in Colorado, although they are resilient and resourceful and continue to survive.
It is also thought by many that they are a "keystone species" because their colonies create islands of habitat that benefit approximately 150 other species including coyotes, eagles, badgers and the critically endangered black-footed ferret. They even help aerate and fertilize the soil, allowing greater diversity of plants and insects. Additionally, colonies funnel rainwater into the water table, which helps prevent erosion.
Given that we run a Nature Center, we look at them as a good omen to greet visitors. Perhaps the Nature Center has a greater variety of animal life because of our prairie dog colony, which in their playful way, reminds us of the kids who spend their time there. Like the prairie dogs that are emerging from the ground and bringing new life, soon students and campers will be flocking to the Nature Center, reminding us that it is spring.
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text: cannabisnews.com: Victory Celebration After Legalization of Pot function share_this(num) { tit=encodeURIComponent('Victory Celebration After Legalization of Pot '); url=encodeURIComponent('http://www.cannabisnews.com/news/27/thread27586.shtml'); site = new Array(5); site[0]='http://www.facebook.com/sharer.php?u='+url+'&title='+tit; site[1]='http://www.stumbleupon.com/submit.php?url='+url+'&title='+tit; site[2]='http://digg.com/submit?topic=political_opinion&media=video&url='+url+'&title='+tit; site[3]='http://reddit.com/submit?url='+url+'&title='+tit; site[4]='http://del.icio.us/post?v=4&noui&jump=close&url='+url+'&title='+tit; window.open(site[num],'sharer','toolbar=0,status=0,width=620,height=500'); return false; } Victory Celebration After Legalization of Pot Posted by CN Staff on August 17, 2013 at 10:35:06 PT By The Associated Press Source: Associated Press Seattle -- Thousands streamed into a Seattle waterfront park Friday for the opening of a three-day marijuana festival — an event that is part party, part protest and part victory celebration after the legalization of pot in Washington and Colorado last fall. "This is going to be the biggest year for Hempfest," said Jack Beattie, an 18-year-old Seattle University student, as he shared a joint with two friends. "In past years, people were a little bit sketched out about smoking in public. Now, there's going to be a lot more." The free, annual event was expected to draw as many as 85,000 people per day. On Friday, many strolled by vendor stands, joints in hand as they checked out colorful glass pipes, tie-dyed clothing, bags of "ideal cultivation soil," and hemp wares, including purses and necklaces.Others sprawled on the grass in the steamy sunshine, listening to bands and speeches, or lit bongs on the beach and watched ferries cross Elliott Bay.Hempfest is in its 22nd year of advocating for the legalization of marijuana, and this is the first time it's been held since last fall, when Washington's voters approved Initiative 502 and Colorado's passed Amendment 64, legalizing the possession of up to an ounce of pot by adults over 21. Both states are developing systems of state-licensed growers and processors, along with stores where taxed, regulated weed will be sold.Vivian McPeak, Hempfest's executive director, said this year's event was dedicated to reforming federal marijuana laws — specifically, the removal of marijuana as a Schedule 1 drug, meaning a drug that has no medical benefit and a high likelihood of abuse. He asked festival-goers to make a voluntary $10 contribution to help offset the rally's $800,000 cost."When we started Hempfest in 1991, many people thought we were jousting in the wind," McPeak said. "What we've seen with the historic passage of I-502 and measure 62 in Colorado is that change is definitely in the wind."That was a sentiment shared by 21-year-old Giovanni Pelligrino and three friends as they sat on a driftwood log getting stoned."This year, it's not really for us anymore," he said. "It's for everyone else, all the other states.""As long as it's illegal federally it's not really legal anywhere," added one of his companions, Dean Bakeberg, also 21.Technically, public use of marijuana remains illegal under Washington's new law, punishable by a $103 ticket. But Seattle police have only been giving people warnings since the law passed, and they had no plans to write anyone up at Hempfest.In fact, the cops planned to hand out Doritos on Saturday morning, said Sgt. Sean Whitcomb. In what they were calling "Operation Orange Fingers," officers had about 1,000 bags of the nacho-cheese-flavored chips — which they affixed with labels reminding people of some of the nuances of Washington's legal pot law.Though it's a huge party, Hempfest remains an important political event for many attendees, including Carole Defillo, of Monroe, and her son Collin Berry, 29, who said medical marijuana — in the form of a cannabis oil capsule twice a day — has made a world of difference for him since ulcerative colitis forced doctors to remove his large intestine in 2008. Since he started using the oil, he said, he has stopped taking any other painkillers and finds it much easier to walk around."It's always good to have a good time, but there's people who are sick and who need it as medicine," said Berry, lifting his shirt to reveal a gnarly scar on his abdomen. "That's why I come to Hempfest. I don't have a lot of money to donate, but I can bring my presence."Source: Associated Press (Wire)Published: August 16, 2013Copyright: 2013 The Associated PressCannabisNews -- Cannabis Archiveshttp://cannabisnews.com/news/list/cannabis.shtml Home Comment Email Register Recent Comments Help Comment #3 posted by FoM on August 17, 2013 at 13:31:39 PT Pictures: Hempfest Lives, Breathes URL: http://seattletimes.com/html/picturethis/2018948161_hempfestlivesbreathes.html [ Post Comment ] Comment #2 posted by FoM on August 17, 2013 at 11:20:12 PT HempWorld I'll second that!!! [ Post Comment ] Comment #1 posted by HempWorld on August 17, 2013 at 10:42:08 PT Victory! A big thank you all who made this possible! [ Post Comment ] Post Comment


text:
By Patty Donovan, The Open Group
Over 300 tweets were posted during The Open Group's initial tweet jam, which took place this week on Tuesday morning! The hour of spirited conversation included our expert panel, as well as other participants who joined in the spirited discussion including:
- Bob Blakley (@bobblakley)
- Geoff Brunkhorst (@gbrunkhorst)
- Allen Brown, The Open Group (@allenbrownopen)
- Ericka Chickowski, Dark Reading (@ErickaChick)
- Andy Ellis, Akamai (@csoandy)
- John Fontana, ZDNet – Identity Matters (@johnfontana)
- Dana Gardner, ZDNet – BriefingsDirect (@dana_gardner)
- Dazza Greenwood, MIT (@dazzagreenwood)
- Jim Hietala, The Open Group (@jim_hietala)
- Dave Lounsbury, The Open Group (@technodad)
- E. G. Nadhan, HP (@NadhanAtHP)
- Wendy Nather, The 451 Group (@451wendy)
- Paul Simmonds, Jericho Forum (@simmonds_paul)
- Mike Simons, Computerworld UK/Techworld.com (@ITjournalist)
- Gene Spafford, Purdue University/CERIAS/CSSCS/USACM (@TheRealSpaf)
- Eric A. Stephens, Oracle (@EricStephens)
- Nick Owen, WiKID Systems (@wikidsystems)
If you missed the event this time, here's a snapshot of how the discussion went:
Q1: What are the biggest challenges of #idM today? #ogChat
Many agreed that regulations at the federal and business levels are inadequate today. Other big challenges include the lack of funding, managing people not affiliated to an organization and the various contexts surrounding the issue. Here's a sampling of some of the tweets that drove the discussion:
- @jim_hietala: For users, managing multiple identities with strong auth credentials across myriad systems #ogChat
- @ErickaChick: Q1 Even when someone writes a check, no one usually measures effectiveness of the spend #ogChat
- @dazzagreenwood: #ogchat biggest challenges of #IdM are complexity of SSO, and especially legal and business aspects. #NSTIC approach can help.
- @EricStephens: @theopengroup q1: it can be challenging for orgs to get the funding to fully blueprint and impl their #idm architectures. #ogchat
- @Dana_Gardner: Biggest challenges of ID mgmt today are same ones as 10 years ago, that's the problem. #ogchat #IdM
Although our participants agreed that governments should have a central role in creating standards, questions about boundaries, members and willingness to adopt emerged. Dana Gardner pointed out the need for a neutral hub, but will competitors be willing to share identities with rival providers?
- @JohnFontana: Q2 NISTIC is 1 example of how it might work. They intend to facilitate, then give way to private sector. Will it work? #ogchat
- @Dana_Gardner: This is clearly a government role, but they dropped the ball. And now the climate is anti-regulation. So too late? #ogChat #IdM
- @simmonds_paul: @Dana_Gardner Ever tried entering country with your corp. ID? (other than Canada) – Standards (such as your Passport) need to exist #ogchat
- @Technodad: @simmonds_paul @dana_gardner Agree. Evidence that problem isn't tech, but regulatory and business. #ogChat #idm
- @gbrunkhorst: Corps have the ability to span geopolitical boundaries. any solution has to both allow this, and 'respect borders' (mutually Excl?)
The panelists opposed the idea of creating a single identity ecosystem, but the key issues to developing one rest on trust and assurance between provider and user. Paul Simmonds from the Jericho Forum noted that there are no intersections between the providers of identity management (providers, governments and vendors).
- @ErickaChick: Q3 So many IT pros forget that #IdM isn't a tech prob, it's a biz process prob #ogChat
- @wikidsystems: @NadhanAtHP I have more than one personality online. #ogChat #idM
- Response from @NadhanAtHP: @wikidsystems Just curious why you "want" multiple ecosystems? What is wrong if we have one even though it may be idealist? #ogChat #idM
- Response from @wikidsystems: Q3 to be clear, I don't want one identity eco system, I want many, at least some of which I control (consumer). #ogChat
- @EricStephens: @theopengroup Q3 time, time. #idm experts within companies are consumed with operational concerns. Need time to architect it #ogchat
- @451wendy: Q3 Context validation for identity attributes. We all use the Internet as citizens, customers, employees, parents, students etc. #ogChat
- @451wendy: '@TheRealSpaf: regulation of minimal standards for interoperability and (sometimes) safety are reasonable. Think NIST vs Congress." #ogChat
- Response from @csoandy: "@451wendy @TheRealSpaf have you read some of the requirements in NIST 800-53? They're not really "reasonable" #ogChat
Q4: Identity attributes may be valuable and subject to monetization. How will this play out? #ogChat
The issue of trust continued in the discussion, along with the idea that many consumers are unaware that the monetization of identity attributes occurs.
- @ErickaChick: @theopengroup Q4 This seems like a privacy nightmare to me #ogChat
- Response from @JohnFontana: Q4 @ErickaChick depends on who you trust with your attributes #ogchat #exostar #covisint
- @Technodad: Q4: How about portability? Should I be able to pick up my identity and move to another #idm provider, like I can move my phone num? #ogchat
- @NadhanAtHP: Q4 Identify attributes along with information analytics & context will allow for prediction and handling of security violations #idM #ogChat
- @JohnFontana: Q4. @Dana_Gardner the password is a dead man walking. #ogchat
Q5: How secure are single sign-on (#SSO) schemes through Web service providers such as #Google and #Facebook? #ogChat
There was an almost unanimous agreement on the insecurity of these providers, but other questions were also raised.
- @simmonds_paul: Q5. Wrong question, instead ask why you should trust a self-asserted identity? #ogchat
- @dazzagreenwood: Q5 #ogchat The real question is not about FB and Google, but how mass-market sso could work with OpenID Connect with *any* provider
- @Dana_Garnder: Q5. Issue isn't security, it's being locked in, and then them using your meta data against you…and no alternatives. #SSO #ogChat #IdM
- @JohnFontana: Q5. @simmonds_paul agreed. But prob. now is in some contexts right now I can also prove I am you. #ogchat
- Response from @allenbrownopen: @JohnFontana wouldn't suggest you try that at immigration
- @NadhanAtHP: Q5 Tracking liability for security violations is a challenge with #SSO schemes across Web Service Providers #idM #ogChat
Q6: Is #idM more or less secure on #mobile devices (for users, businesses and identity providers)? #ogChat
Even though time edged its way in and we could not devote the same amount of attention to the final question, our participants painted interesting perspectives on how we actually feel about mobile security.
- @jim_hietala: Q6. Mobile device (in)security is scary, period, add in identity credentials buried in phones, bad news indeed #ogChat
- @simmonds_paul: Q6. I lose my SecureID card I worry in a week, I lose Cell Phone I may worry in an hour (mins if under 25) – which is more secure? #ogchat
- @dazzagreenwood: Q6 #ogchat Mobile can be more OR less secure for #ID – depends on 1) implementation, 2) applicable trust framework(s).
- @Technodad: @jim_hietala Q6: Mobile might make it better through physical control – similar to passport. #ogChat
Thank you to all the participants who made this a possibility, and please stay tuned for our next tweet jam!
Patricia Donovan is Vice President, Membership & Events, at The Open Group and a member of its executive management team. In this role she is involved in determining the company's strategic direction and policy as well as the overall management of that business area. Patricia joined The Open Group in 1988 and has played a key role in the organization's evolution, development and growth since then. She also oversees the company's marketing, conferences and member meetings. She is based in the U.S.


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the vestThursday, October 18, 2007
Vests are just the best. I love not having to make sleeves! Pattern: I didn't have one.
Yarn: Classic Elite Skye tweed. 2 balls main color, 3 balls of contrasting colors.
Needles: Size 7
For: Libby, age 9.
Notes: Really, anyone can make this. I got the gauge off of Charlie's sweater (same yarn). Decided how big I wanted it. Cast on with contrasting color, changed to main color, joined, and did a 2x1 rib for 3 inches.
I knit in the round until the underarms. Then following my "drawn pattern", decreased for the armholes and neck. After sewing the shoulder seams, I picked up around the arm and neck and did the same 2x1 rib, finishing by binding off in the contrasting color.
83 comments
So cool - I am in awe of your knitting talent! Lovely photos as wellReplyDelete
Wow! So impressive! I LOVE it! Her whole outfit rocks!ReplyDelete
Very, very, good job! Great photography too!
What a beautiful vest you have made.ReplyDelete
It is gorgeous but mostly I love your attitude and approach to the vest.ReplyDelete
Love it!!!ReplyDelete
if she sees it, my daughter's gonna ask for one like this.ReplyDelete
this is gorgeous - i love it !
The vest looks great and will coordinate nicely with her brothers' sweaters. I love the pop of pink too.ReplyDelete
You make it all sound so simple; you are amazing!
C'est magnifique! Beautiful!ReplyDelete
You're a knitting genius! Did i spell genius wrong? lol..
YOU might wanna check the FreckledNest.com contest results ;)
Love Leigh-Ann :)
Well, that is perfect! I love the design as you go way you did this too. It looks really great!ReplyDelete
Very, very nice!ReplyDelete
Wow! Looks like the recipient likes it as much as I do :)ReplyDelete
The vest if beautiful and it looks like a perfect fit too. I love the colors and patterning.ReplyDelete
That's gorgeous! I love the color combinations you used!ReplyDelete
It's sooo great! I love the colors and the fairisleing (is that a word?)ReplyDelete
What a great garment! It's the key ingredient to an awesome outfit. She looks cool and retro all at the same time. And I also love to see girls this age dressed in an age-appropriate way.ReplyDelete
Congratulations on doing your own thing. The pattern/colour balance is excellent. So is the fit.
Having just finished a fair-isle vest of my own, I can attest to the joys of not being "stranded" on sleeve island!
nice. everything about the vest is so, so great!ReplyDelete
What one minute...you didn't have a pattern? You must be a knitting prodigy! That sweater is tooo cute.ReplyDelete
it's absolutely gorgeous! i love the color combo. and as simple as you make it sound, fair aisle still scares the *bleep* outta me.ReplyDelete
You are so clever! I aspire to be even close to clever in my knitting!ReplyDelete
Do you put labels in your handknit goodies?
It's official: Libby is far more fashionable than I was at her age. Did you make the skirt she's wearing too?ReplyDelete
adorable vest. i love the colors you used!ReplyDelete
So great, Leslie! The vest is amazing and looks so cute on Libby. You should go into pattern writting.ReplyDelete
It come out just lovely! And like there are no sleeves to fuss over either! Great photos! So "fally"ReplyDelete
It turned out awesome. I wished I could see the holiday photo upon completion. How exciting!ReplyDelete
It came out BEAUTIFULLY!!!ReplyDelete
Cute vest! I can't believe how fast you knit!ReplyDelete
anyone can do it? ha! you rock lady! it is absolutely gorgeous.ReplyDelete
you are amazing. I would have to disagree that anyone could make one, though. :)ReplyDelete
the vest turned out beautifully and I love it paired with the skirt.
Wow, nice work! The vest is perfect, and the whole outfit is super cute.ReplyDelete
You're an amazing woman.ReplyDelete
[I now fully understand the comment you left me a while ago - about how you don't want to hear the word wrestling associated with knitting on my blog. I understood it then, but totally appreciate it now.]
The vest is superb - especially considering that it was essentially freeform. Tres cool!ReplyDelete
And did someone mention the easy style inhabiting the body of your 9 y.o.? Perfect!
Wow, great vest! Currently completely coveting the entire outfit actually. Can I be 9 again? Or can 34 year-olds wear that too? Hmmmmmmm............ReplyDelete
That is such a beautiful vest. It fits your daughter so well.ReplyDelete
Beautiful work! I love your color choices!ReplyDelete
I made your Apple Cinnamon Cake today and it turned out perfectly and is heavenly! Thanks for sharing the recipe.
This comment has been removed by the author.ReplyDelete
Great vest, Les. The whole outfit looks adorable. You are so non chalant about knitting...I can't believe you turn out your projects so quickly and beautifully... amazing!!ReplyDelete
Looks great!ReplyDelete
awesome!!! another fantastic design springs to life! the vest looks great and i cannot wait to see the next one...ReplyDelete
Love the vest! it came out so great. I want her boots! :)ReplyDelete
OMgosh - what a great little fashionsta! Love the vest - great job, mama! I love the whole ensemble!ReplyDelete
Wow, I think you are the best!! It's just lovely - the colours, patterns and I love that it's a vest. I actually get the whole 'make it up as you go along'. It's how I approach my sewing most times and you can make some great discoveries and fit things exactly how you want them! You really should write knitting patterns though - there is definitely a waiting market for them!!ReplyDelete
i could just start cutting and pasting my comments on your knitting blog. as always, you've made something gorgeous very special in a simply simple way. hats off to you.ReplyDelete
What a fantastic vest, you are a wonder!!ReplyDelete
I am so blown away by the vest! Very beautiful and looks perfect on her.ReplyDelete
For the umpteenth time, you are such a great creative knitter!
The vest is great! And it looks so cute with Libby's skirt.ReplyDelete
Wow, it's so beautiful and you made it sound so simple :) She wears it so well too, that girl's got style!ReplyDelete
It's so nice how you said "really anyone could make this." I am officially NOT really anyone!! It is so beautiful and your description sounds effortless and a little bit like a foreign language to me (I guess because I have only been knitting about 6 months, right??).ReplyDelete
Anyway, the vest is fabulous, thanks for sharing
I love the vestReplyDelete
I love the skirt
I love the boots and of course
you gotta love the girl!
Too cool!
Awesome !ReplyDelete
- Anonymous10/19/2007
I love the whole entire outfit! She's really rockin' it. Fantastic job!ReplyDelete
It's beautiful - lovely colours!!ReplyDelete
Have a great weekend :)
Beautiful!!!!!!! Your knitting is stunning, as usual. You knit fast, my dear.ReplyDelete
You need to submit that one to Knitty.com for the winter issue. I love it, looks gorgeous on her. The colors are so fall. Your such a talented chickee!ReplyDelete
love it!!ReplyDelete
Dang woman..... 55 comments already! You're like all famous!ReplyDelete
I saw this on Flickr yesterday and gasped at it's beauty!
Oh my gosh, that is adorable! I love the boots with it. So cute!ReplyDelete
- Anonymous10/19/2007
I 've found out your blog adress two weeks ago and I love your creations , your photos and also your recipes !ReplyDelete
This vest is very beautiful , and even more because you designed it .
Helene (from France )
Ok, you just blew my mind. I love it! I am sa sucker for the little details like how you trimmed it with the grey yarn. Dang, I guess I lost out on the zucchini bread bet: She looks simple stunning in the whole outfit!ReplyDelete
Fabulous vest, I bet she loves it!ReplyDelete
Leslie, I've said it once, I'll say it again, you never cease to amaze me. I want to nominate you for some type of award, maybe I'll have to make one...ReplyDelete
i love it.ReplyDelete
your wrong not everyone can do it. I couldn't
Love the vest! I'm so impressed that you designed that yourself. I can't wait to see the third sweater:)ReplyDelete
I love it!! It's gorgeous....ReplyDelete
Gorgeous!! I love it! I wish my daughter would wear such a vest!!ReplyDelete
The vest is Totally Awesome...not to mention your Fabulous Photography! Love your blog site.ReplyDelete
That is an awesome vest, and I can't believe you had no pattern, it's just gorgeous. Well done you! I love the colors in it, I bet your daughter is thrilled with it.ReplyDelete
Wow--that turned out just beautiful! And the lovely model has great attitude, too.ReplyDelete
you are the best mom -- that is such a stylish, beautiful vest. you never cease to amaze!ReplyDelete
Fantastic!!! Great photos as usual!!ReplyDelete
What an awesome vest! The entire outfit is adorable.ReplyDelete
Lovvvvvvvvvvvve It. Speaking of graph paper... I'd gone to 3 stores... why didn't they have graph paper...lol.ReplyDelete
- Anonymous10/20/2007
This is beautiful. This is the kind of handiwork that has me really working on learning how to knit. It's gorgeous. Wow. I'll be back again for another visit for sure.ReplyDelete
Wow! It came out lovely!ReplyDelete
Vraiment superbe !ReplyDelete
I've been wanting a vest like that, but wasn't sure about decreasing for the armholes and have been looking for a pattern that does exactly what I want. And you just go and draw the pattern on a paper bag and measure as you go. That's brilliant. You've totally inspired me!ReplyDelete
that is beautiful - wonderful job!ReplyDelete
- Anonymous10/22/2007
amazing. I wish I could. Maybe one day... eh?ReplyDelete
I totally love it! Great job! :)ReplyDelete
- Anonymous10/23/2007
YOU DID A FANTASTIC JOB. THE VEST TURNED OUT REALY,REALY BEAUTIFUL.YOU HAVE PASSED ME BY !.tHAT IS GREAT.IT LOOKS ADORABLE ON THE PUNKIN.LOVE YOUReplyDelete
Beautiful! I love the colours, the design and think you're mighty talented. I bet your daughter will be wearing this gorgeous vest lots.ReplyDelete
totally speechless! that's one rock'n outfitReplyDelete
Oh my, I think you are a genius, no pattern would terrify me. It is really beautiful, she looks so very stylish and you have put the colours together so well. You should really write up the pattern, hint, hint.... I would love to make one.ReplyDelete


text:
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Marthalynn said... 102
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February 27, 2012 11:49 AM
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Please register or login to enroll in this course.
Try this free demo BB and BSCS model test
Total questions: 15
Duration: 10 minutes
Please note, this is just a free demo exam to give you an idea.
1 / 15
Which of the following describes all values of x for
which 1 – x
≥ 0 ?
2 / 15
During a special promotion, a certain filling station is
offering a 10% discount on gas purchased after the first
10 gallons. If Kim purchased 20 gallons of gas, and Zeni
purchased 25 gallons of gas, then Zeni's total per-gallon
discount is what percent of Kim's total per-gallon
3 / 15
Which country known as the sugar bowl of the world?
4 / 15
To move to the bottom of a document press
5 / 15
Each IP packet must contain-
6 / 15
The Operator was commended for his dexterity
7 / 15
ষত্ব বিধান অনুযায়ী নিচের কোন বানানটি ভুল?
8 / 15
The student's feelings about presenting the
commencement address were -------; although visibly
happy to have been chosen, he was nonetheless -------
about speaking in public.
9 / 15
10 / 15
মধ্যযুগের প্রধান ছন্দ কোনটি?
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The first woman prime Minister of Britain was
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The author of the book "Wings of Fire" is-
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For over two centuries, no one had been able to make Damascus blades - blades with a distinctive serpentine surface pattern - but a contemporary sword maker may just have rediscovered how. Using iron with trace impurities that precisely matched those present in the iron used in historic Damascus blades, this contemporary sword maker seems to have finally hit on an intricate process by which he can produce a blade indistinguishable from a true Damascus blade.
Which of the following, if true, provides the strongest support for the hypothesis that trace impurities in the iron are essential for the production of Damascus blades?
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In order to tell Excell that we are entering a formula in cell, we must begin with an operator such as
Your score is
The average score is 27%
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Free Shipping on selected Barrels and Parts
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Gun Barrel Stock:
6061 high-quality aircraft aluminum
Barrel Length:
16.5" 18.5" 20" & 22" barrels with threaded muzzle ends. Rifle liner runs the full length in barrels.
Standard Features:
Barrel flutes (long one on top, 2 smaller ones on the sides and one on the bottom). 1/2" x 28 TPI threads with threaded protective cap.
.920 Bull Barrel Style
Shank Size:
.001 Oversized (may require minor hand fitting)
.22 LR Bentz Chamber - can use standard or match grade ammunition. Hyper-velocity ammo, such as CCI Stingers are not recommended.
4140 Steel - Button rifled
.050 Thickness on LR & WMR (Magnum) liner, 6 groove
Rate of Twist:
1:16 - 22LR and WMR
1:9 - 22LR Sub-Sonic (40, 50, 60 grain ammo / accuracy range 25-50 yds.)
Caliber: .
22 Long Rifle
.22 WMR Magnum available on a custom order basis. Email a Contact Form Submission
Approximately 1 oz. per inch per length of the barrel
This is an electrochemical process that chemically infuses the color into the aluminum and will not chip, peel or scratch.
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