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Iron Man 3 (2D) (US - BD RA)
Gabe watches Shane Black battle the curse of the second sequel...
When Tony Stark (Robert Downey Jr.) finds his personal world destroyed at his enemy's hands, he embarks on a harrowing quest to find those responsible. This journey, at every turn, will test his mettle. With his back against the wall, Stark is left to survive by his own devices, relying on his ingenuity and instincts to protect those closest to him. As he fights his way back, Stark discovers the answer to the question that has secretly haunted him: Does the man make the suit or does the suit make the man? (From Marvel's original synopsis)
The third film in a studio-driven, blockbuster series – especially a superhero franchise – is always a hard one. Years ago, sequels were generally reserved for B-movies and they would generally be copies of the original films. If a series made it to a second sequel, it was usually not a sign of creative/artistic quality. In the '80s, movies like The Empire Strikes Back and The Wrath of Khan changed the rules and the second film became a viable storytelling option. In this modern era of superhero origin stories, the first film in a franchise has become proof of product and, quite often, with that awkward origin out of the way, the sequel ends up being the better movie. But, following that second movie, creative forces find themselves at war with studio mandates. For example, Bryan Singer wanted a break from the X-Men to make a Superman movie. Seemingly offended, Fox dropped him from the property altogether and pushed a substandard X-Men 3 out into theaters to compete with Superman Returns. Studios are also sort of obsessed with the closure of a capped trilogy and they force everything and the kitchen sink into a single film. This is what happened to Sam Raimi when he made Spider-Man 3 and was made to cram two movies – the one he wanted to make and the one Sony wanted to make – into a two and a half hour mess (I mess I happen to enjoy, but a mess nonetheless). Other times, the creative lead(s) is/are spent and has/have no interest in making a third movie. When Warner Bros. paid a dispassionate Chris Nolan enough money to make him commit to The Dark Knight Rises, he made the least Batmany Batman movie ever made.
Perhaps without even intending to do it, Marvel set up a system that avoided the second sequel problem for their flagship franchise. The Avengers was, effectively, Iron Man 3 or at least Iron Man 2.5. Tony Stark was about as central as any character can get in an ensemble superhero movie. In turn, Iron Man 3 is more like Iron Man 3.5 and doesn't carry the same baggage a second sequel normally would. Marvel also avoided the 'tired creative team' problem when Jon Favreau chose to step down (though he still acted as executive-producer and appeared as Happy Hogan) and was replaced by Robert Downey Jr.'s Kiss Kiss Bang Bang director, Shane Black. Over five years and seven movies Marvel's directing staff has gone from predictable (Favreau, Louis Leterrier) to interesting (Kenneth Branagh, Joe Johnston), eventually culminating in the brilliant hiring of Joss Whedon for The Avengers. Following their success with Whedon, the studio started taking chances on writer/directors with cult followings and unique voices, specifically James Gunn ( Guardians of the Galaxy), Edgar Wright ( Ant-Man) and, of course, Shane Black (the jury is still out on Alan Taylor and Anthony & Joe Russo).
Like Whedon and Gunn, Black spent most of his career as a famous writer, rather than a famous director and his name signifies an uncommon storytelling style. Black was joined by co-writer Drew Pearce, who was reportedly brought on for his familiarity with the Marvel universe (Pearce was initially hired to write a Runaways movie, which reminds me, why hasn't Marvel made a damn Runaways movie yet?). Pearce appears to have deferred to his co-writer in most cases though, because Iron Man 3 feels every inch a Shane Black superhero movie – from the savvy kid sidekick to its kidnapping subplot, its disillusioned henchmen ('honestly, I hate working here, they are so weird'), and the Christmas time setting. Black even does his best to develop a Murtaugh and Riggs-like relationship between Tony and Col. Rhodes (Don Cheadle), though there just isn't enough time for Rhodes to be anything but a secondary character (though he is a first-rate MacGuffin).
It's understandable that some people would be suspicious when producer Kevin Feige hired a guy that had only directed one, extensively smaller action/comedy back in 2005. The scale required of a post- Avengers Marvel movie is certainly imposing. Thankfully, these valid concerns quickly evaporated as Black demonstrates he's a more confident director than Favreau ever was. Despite oodles of state-of-the-art special effects, Iron Man 3 gives the impression of a late-'80s/early-'90s action flick, the kind that Black had a hand in creating. He takes inspiration from the best of Richard Donner, John McTiernan, and Renny Harlin to make Iron Man 3 into a briskly-paced, smoothly-edited film that deftly balances levity and pathos, and doesn't lean too heavily on handheld camerawork. More importantly for the blockbuster crowd, Black creates two of the best action scenes of the entire summer – namely, the mournful destruction of Tony's Malibu mansion and the joyous rescue of Air Force One's flight crew (or, if you prefer, the 'barrel of monkeys' scene). Even the slightly less sublime action set-pieces offer a lot of stylistic texture. The battles include a wide range of colossal, CG-assisted smack-downs and old-fashioned, analogue fisticuffs. It doesn't necessarily relate to Iron Man 3, but I think it's still interesting to note that Whedon had also only directed a single movie before The Avengers, Serenity, and it was also a financial disappointment when released.
Black's relative detachment from the source material and his creative need to be subversive leads him to take some huge chances with the film's tone and narrative. The audience expects a lot from an Iron Man movie and it is Black's risks that turn an acceptable sequel into the best in the series and possibly even the second best movie in the entire Marvel movie franchise. The people in charge at Marvel understand that you don't make great films by trying to please everyone, especially not when you're dealing with the fourth appearance of a popular character. The first film was a risk by definition – it was a multi-million dollar adaptation of a (then) B-list character (from the general public's point-of-view) that stared an actor who was trying to rebuild his career after a very public fall from grace. The second film was a risk, because it was the studio's first attempt at interlocking the franchises (aside from the brief, last minute cameos in Iron Man and Incredible Hulk). Avengers was a risk because it was the culmination of those interlocking franchises. There were no inherent risks in Iron Man 3 – it was set to be a financial slam-dunk the second Avengers had a record-breaking opening weekend.
Huge spoilers follow for the rest of the feature section of this review.
Of course, risks are called risks for a reason and, if website forums are any indication, not everyone was happy with some of Black and Pearce's choices, chiefly one concerning the main villain (according to Black, who may be trying to avoid being stabbed to death by zealous fans, this was originally Pearce's idea). The Mandarin, as played by Ben Kingsley, is introduced as a frightening amalgamation of every terrorist leader since WWII. He represents the black & white supervillain Tony wants to react to, following the space magic that challenged him in The Avengers and, in his distressed state, he decides that it's his 'duty' to confront this evil. He is overwhelmed in his hubris and easily defeated. Then, after finally pulling himself together and realizing he doesn't need the armor to be a hero, a de-suited Tony infiltrates The Mandarin's compound to find that Kingsley is actually playing Trevor Slattery – a drunken, out-of-work actor that the real villain, Aldrich Killian (Guy Pearce), hired to be his generic, catchall terrorist figure-head. Trevor is introduced coming out of the bathroom where he announces he has just taken a particularly smelly dump. Some fans may argue that he took that dump all over the memory of one of their favourite comic book antagonists.
I admit that my initial reaction to the twist was to be disappointed. Like most people, I wanted to see Iron Man involved in an epic throw-down with his archenemy and I was looking forward to an interpretation of the comic's technology vs. magic motifs. But this is a modern adaptation of a character that was born out of the post-Korean War/Vietnam War era's Yellow Peril stereotypes. He has since been used in less one-dimensional, less racist capacities over the years, but doesn't work with this franchise, not ethnically (hence his non-racially specific false appearance), not socially (a $200 million movie can afford to alienate some of its core fanbase, but it can't afford to alienate entire countries of viewers), and not thematically (the Iron Man movies have been science fiction and military thriller-based since the first film). Besides, a megalomaniacal, super-powered puppet-master is still the film's chief villain – he just usually operates under his given name 'Aldrich Killian.' I'm not sure why so many people missed the part where Killian implicitly states that he is The Mandarin. I also wonder where all these people were when Christopher Nolan turned Bane from a Latin Luchador with a steroid addiction into an ethnically vague economic terrorist – who also happens to be a mere tool for the 'real villain' – in The Dark Knight Rises. There must be rules to fandom-based, pedantic outrage that I just don't understand (please note that I don't care about the Bane change either – I'm using it as a glib example). Again, comic lore aside, the 'villain behind the villain' motif has been a common one throughout the Iron Man series and the James Bond movies the series seems to have been emulating all along.
The issue with the twist isn't that they've 'ruined the Mandarin,' it's that Killian is so similar to the other villains in the series. The news that he's been behind just about every evil event in the movie (possibly even the series) is awfully similar to the mid-film reveal in the first Iron Man, where we discover that Obadiah Stane was the architect of Stark's original capture. He also has a little in common with Iron Man 2's two villains, Justin Hammer and Ivan Vanko – all three are Tony Stark doppelgangers. Funnily enough, Killian actually represents several different Marvel Universe villains. A character named Aldrich Killian does create the Extremis virus alongside Maya Hansen (played by Rebecca Hall in this movie), but, in the comic, he also feels so guilty about selling it to terrorists that he kills himself. The movie version of Killian has less in common with his comic counterpart and The Mandarin than he does with an A.I.M. Scientist Supreme. One of the Scientist Supremes was George Tarleton, who eventually transformed into M.O.D.O.K. – a bizarre, giant-headed Mental Organism Designed Only for Killing (I've since discovered that Killian does become M.O.D.O.K. in the Iron Man 3 video game). Black has also verified that Killian's dragon tattoo and a brief gag where he breathes fire were nods to Fing Fang Foom – the giant, purple-pant-wearing dragon that Iron Man occasionally faces off against. On a meta-textual level, the fake Mandarin is also a provocative satire of the new Hollywood tradition of hiring award-winning actors to play comic book villains. Kingsley even puts on a strange accent and intonation, mocking the trademark voices other actors have brought to more 'serious' villain roles.
The other big change the writers make might be the more contentious one, because it fundamentally changes the physical definition of main character and because the information is delivered in passing at the very end of the film. Those that left the theater to beat the traffic when they felt things wrapping up might have missed the fact that Tony removes the arc reactor from his chest. There's a part of me that doesn't like changes to the essential ingredients of a decades-old character, but there are also already three films that have paid thorough homage to the character's tradition. Movies aren't comics – they require closure and, Marvel's ongoing franchise blueprints aside, I like the closure this third film offers. Not to mention that Downey Jr.'s contract was up and there was no guarantee that he would be back to play the character ever again (it's still possible that this is his last solo Iron Man movie). Tony Stark has taken a four-film journey beyond his materialism, over his daddy issues, into the committed relationship he'd been skating for years, and even found emotional security in being a superhero. Not all franchise films have to end on a 'to be continued' note – as evident in Iron Man 3's post-credit gag that pokes fun at the Marvel's continued 'tease the next movie' formula.
For all of their surprises, Black and Pearce still make some mistakes, most of which are common second sequel follies. The basic plot is built around the same skeleton as the first film. The writers often use this to their advantage, playing on our expectations to invert them and creating thematic symmetry between the trilogy's bookends, but there are definitely some moments where I wish that they'd stepped away from the superhero movie sequel prototype. Once Killian's plan is revealed, the film loses a lot of its narrative steam as it builds to the typical action climax. This particular climax still serves the greater story – there's plenty of character development advancement and elegant exposition – it just gets away from the director in terms of arbitrary background mayhem. The action is noisy and the sequence is overlong, robbing it of some of its emotional impact. Still, occasional imbalances aside, Iron Man 3 is probably the most solidly-structured, three-act movie Marvel has ever made. I imagine that this will become a trend now that we're well into sequels and can avoid the awkward halving of movies between origin stories and confrontations with arch villains (though I suspect that further Avengers movies will always have an extended first-act issues while bringing the team back together).
Tony's arc is the film's central focus, but I also think Black and Pearce deserve some credit for their treatment of Pepper Potts (Gwyneth Paltrow). The original trailers implied that Pepper might not make it through this movie and that her death would motivate Tony. This wouldn't have been unexpected (Paltrow has got to be an expensive supporting player at this point), but it would've been incredibly lazy, not to mention particularly damaging to Pepper as a character. Favreau found awkward ways to shoehorn her into minor heroism in his films, but she was never far from a typical damsel in distress – a fine line the Marvel movies have been walking all along (I'm not sure if any of these films pass the Bechel Test, despite a cadre of strong female characters). Black and Pearce clearly understand this problem and even exploit it during the final act, where Pepper is captured and experimented on by Killian, who, in proper misogynistic comic book villain tradition, sees her as his trophy. Black shifts the entire tone of these final scenes to all but verify that she is, indeed, going to die, because he needs to condition us for the surprise we would've otherwise seen coming a million miles away – she doesn't only survive, she save Tony and vanquishes the villain. It might not be a giant leap for gender equality in Marvel's cinematic universe, but it feels a lot like the first baby steps to a lady-led superhero flick.
Iron Man 3 was shot in digital HD using Arri Alexa and Phantom Flex cameras. It was post-converted for its 3D release and blown up for IMAX releases (no scenes were shot using IMAX cameras). This 1080p, 2.40:1, 2D Blu-ray meets all the expectations set by similar blockbuster Hollywood fare shot using the Alexa system. Black and cinematographer John Toll treat the digital photography like they would standard film, for the most part. It's not like they attempt to disguise the digital source, they just avoid the weird smoothing and hue blending effects that similarly shot movies tend to embrace. The look is very clean, but not unnaturally so. The images here are mostly divided between the gleam of the tech world and the crust of the regular world. The tech world is all sleek and shiny, without only a hint of digital noise to sully its clarity, and the regular world is brimming with texture and complex patterns, none of which feature any notable edge haloes. The colour palette isn't super-themed like other digital releases, though the hues are solid, tight, and a bit more evenly graded than 35mm. The warmer hues are pumped up a bit and the cooler hues have a tidy glowing quality. The highlight colours, many of which are Christmas themed, are quite vivid. There's a sort of overcast throughout most of the film that keeps the image pretty dark, but this is rarely at the risk of the crisp details or colour separation. As a matter of fact, the darkest scenes are often the most impressive, especially the finer highlights that would go missing on a DVD version. The blacks are occasionally a bit light, but the differentiations in shades are strong. The only problem I can see here are some low level noise/macro blocking issues in the out of focus background shapes.
Iron Man 3 is one of those Blu-rays you just assume will be brimming with demo-worthy material. It's a big-budget, sci-fi action film and, like all big-budget, sci-fi action films, a lot of effort has been put into its intricate and dynamic sound design. This disc features a DTS-HD Master Audio 7.1 mix that delivers thoroughly upon all assumptions. The early parts of the film are subtle and fill out the stereo and surround channels with general ambience that doesn't overwhelm the clean, centered dialogue. This 'light touch' approach helps set up the dynamic range for the film's first big action set-piece – the assault on the Malibu house. This one sequence has every bit of directional enhancement and LFE punch you could ever want in a demo disc. Missiles and large calibre bullets zip through the channels as the entire structure of the mansion crumbles into the water. Like I said in the feature part of the review, Black's action scenes are tonally different from each other and, as a result, feature varied sound designs, so if explosions and crumbling mansions don't do it for you, there's a lot of fiery, crackling Extremis soldiers, low-tech fisticuffs, and even a huge airplane disaster to give texture to your sound system. This time around, the musical score was composed by Brian Tyler, who is the third Iron Man composer in as many films (Ramin Djawadi scored Iron Man and John Debney scored Iron Man 2). Tyler has rode a long trail of underappreciated B-horror/thriller/action scores to take a part in A-list Hollywood pictures. This might actually be his best score. It's definitely the best Iron Man score and among the top Marvel scores period (at this point, I'd rank it just behind Alan Silvestri's Captain America and Avengers compositions). The music is big and brassy, like a good John Barry score, but also features all the electronic embellishments a modern superhero score requires.
The extras begin with a commentary from Black and his co-writer Pearce. The commentators are expectedly good-natured, flippant and don't waste too much time in describing the behind-the-scenes processes. The focus is occasionally split, but the majority of discussion surrounds the construction of the film on a story level, which isn't surprising, considering that Black and Pearce had spent months together writing the film. This includes in-depth illustrations of alternative sequences (lots of different beginnings), themes that were eventually lost in story editing (Extremis people are good-looking for evolutionary purposes), and notes of what lines the actors made up themselves. It is a lesson in solid screenwriting practices, which they jokingly refer to as a 'master class.' I'm not sure if they realize how close they are to the truth with this statement, though. Black catches himself not talking about the non-thematic issues on several occasions and tries to paint a nice picture of the actors and basic on-set mechanisms, but he and Pearce are both much more comfortable talking about storytelling and, as such, this track is best when their attention is centered on screenwriting. For those that care, there's very little discussion concerning the film's more controversial moments, because the film hadn't yet been released stateside and the complaints hadn't quite escaped.
Up next is Marvel One-Shot: Agent Carter (15:30, HD, DTS-HD MA), a much appreciated short film that covers Peggy Carter's (Hayley Atwell) post- Captain America adventures with the Strategic Scientific Reserve. This mini-movie, which was directed by Louis D'Esposito, sees Carter and the SSR in search of 'Zodiac' – a criminal organization from the original Marvel comics comprised of villains with Zodiac-themed names. Word on the street is that Marvel is considering Carter for an ongoing television series, which makes sense, now that former Marvel One-Shot star, Agent Coulson, heads ABC's Agents of S.H.I.E.L.D. show.
The featurettes begin with Iron Man 3: Unmasked (11:00, HD), a generalized look behind-the-scenes with cast and crew interviews and raw on-set footage. This is, as the promotional material puts it, a 'crash course' on the production of all the major set-pieces and footage from the premiere. Deconstructing The Scene: Attack On Air Force One (8:40, HD) covers the making of the film's most enjoyable action scene, which involved a lot more in-camera stunt performance than you'd usually expect from a modern special effects blockbuster (though that raw footage was digitally augmented). The final 'featurette' is really an extended trailer for Thor: The Dark World (1:50, HD), plus some cast interviews. Interviews in these featurettes include Black, producers Kevin Feige, Louis D'Esposito, Stephen Broussard, and Victoria Alanzo, stunt coordinator Markos Rounthwaite, VFX supervisors Christopher Townsend and Mark Soper, production designer Bill Brzeski, stunt double Trevor Habberstad, 2nd unit director Jim Churchman, production supervisor Jason Tamez, and cast members Robert Downey Jr., Gwyneth Paltrow, Stephanie Szostak, James Badge Dale, and Guy Pearce.
The extras also include ten deleted/extended/alternate scenes (16:20, HD), including longer versions of the faux-TV shows, improv outtakes, and an extended death for Maya (note that none of the scenes shot for the Chinese release are included), a gag reel (mostly more outtakes, 5:10, HD), and trailers.
Iron Man 3 (or Iron Man Three, if you'd prefer) doesn't only overcome the curse of being the third (or third and a half) movie in a superhero series – it ends up being a strong standalone feature and, against all odds, it's probably my favourite film in the series. It might even be my second favourite Marvel universe movie, just behind Joss Whedon's messier, but more triumphant The Avengers. I understand the complaints some fans have, especially those based on the supposed betrayal of the comic franchise's original characters and concepts, but I don't agree with them, especially not when we're judging the film on the merits of the movie universe alone. I also know that, if Marvel wasn't willing to take chances with their material, these films would grow stale very quickly. I hope that Iron Man 3 is an indication of the surprises we're in for throughout the rest of the 'Stage 2' build-up to Avengers: Age of Ultron. This 2D Blu-ray features predictably perfect video and audio qualities, but, aside from a fantastic director/co-writer commentary track, the extras are pretty disappointing.
* Note: The images on this page were taken from the Blu-ray disc, but because of .jpg compression may not be representative of its true high definition quality.
Review by Gabriel Powers
Some material may be inappropriate for children under 13
Disc Details
Release Date: 24th September 2013
Discs: 2
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.40:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 7.1 English and French, Dolby Digital 5.1 Spanish
Subtitles: English SDH, French, Spanish
Extras: Director and Co-Writer Commentary, Marvel One-Shot: Agent Carter, Iron Man 3: Unmasked, Deconstructing The Scene: Attack On Air Force One, Behind-the-Scenes Look at Thor: The Dark World, Deleted Scenes, Gag Reel, Trailers, DVD Copy, Digital Copy
Easter Egg: No
Feature Details
Director: Shane Black
Cast: Robert Downey, Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Ben Kingsley
Genre: Action, Adventure, Comedy and Sci-Fi
Length: 130 minutes
8Review Guide
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My Favorite Flirts is a feature that lets you reach your favorite Flirts easily from My Account or on 1-800-TO-FLIRT.Manage My Favorites
(0 Reviews)
I'm one of those women who
enjoys a good cigar once in a while and a good fuck anytime. I
like sex and I'm not ashamed to say that, or to tell you
exactly what makes a fuck good for me, either. I'm not a bit
shy. With a body like this, why should I be?
I'll tell you a secret. There is nothing
hotter to me than mutual masturbation, you hearing me moaning
and panting as I get closer and closer, me hearing you,
hearing that groan in your voice as your orgasm gets closer,
as I tell you what I want you to do, what I'm doing to myself.
I don't have to fake cumming because it turns me on so much to
know that you're as turned on as I am.
So, give me a call. We can talk about whatever you want,
whatever kind of sex appeals. So long as I get to cum, as long
as I get to hear you cum, we can talk about anything you want.

subset: commoncrawl


text:
Linked by Thom Holwerda on Wed 13th Aug 2008 00:19 UTC, submitted by matej
You thought Tcl/Tk stands for 'obsolete GUI'? You define the looks of Tk as 'prehistoric'? Or do you visualize ugly interfaces when reading this? I certainly do. Mats Bengtsson writes: "Tcl's windowing toolkit, Tk, has been 'known' to be ugly and outdated. With the 8.5 release last December the tile package, now named ttk (Themed Tk), is included in the core which brings true native widgets on Windows (yes, Vista too) and Mac." But what about Linux? Mats points at tileqt and the new tilegtk and notes: "Imagine that you can switch theme, and toolkits, on the fly without any program restart." Finally, he mentions progresses in both tkpath and support for WebKit. He concludes: "When all this comes together it will make Tk a very competitive toolkit."
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RE[4]: Beautification of amsn
by Jezza on Wed 13th Aug 2008 16:41 UTC in reply to "RE[3]: Beautification of amsn"


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DURHAM – New Hampshire students, faculty and staff are invited to "Issues and Ice Cream," the first in a series of discussions sponsored by UNH Cooperative Extension to build collaborations for research and activities vital to the state of New Hampshire and beyond.
The first topic, set for Nov. 6 from 12:30-2:30 p.m. in the Alumni Room at New Hampshire Hall, will focus on understanding bullying and bystanding; promoting empathy and civility while highlighting research and programming from across campus.
You're invited to share research, experiences and ideas about bullying, meanness, empathy and civility, while enjoying some ice cream from the UNH Dairy Bar.
Among the research from across the UNH community that will be showcased will be Cooperative Extension's Courage to Care Program, as well as programs developed by UNH Multicultural Affairs, the UNH Browne Center for Innovative Learning, the UNH Prevention Innovations Programs, the Department of Education, the Institute on Disabilities, and other campus programs.
This Issues and Ice Cream forum will give faculty, staff and students a chance to engage with researchers and programs on campus that are designed to increase civility and reduce bullying, peer victimization, and meanness in a relaxed and friendly give and take setting.
In the near future, other areas of Extension's wide range of collaborative programming will be featured in campus forums including our work in Community Development, Food and Agriculture, Natural Resources as well as positive youth development.
Issues and Ice Cream Series opens Nov. 6 with focus on bullying
Nov 6, 2012 at 3:15 AM


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tribade is a valid word in this word list. For a definition, see the external dictionary links below.
The word "tribade" uses 7 letters: A B D E I R T.
Direct anagrams of tribade:
Words formed by adding one letter before or after tribade (in bold), or to abdeirt in any order:
b - rabbited e - rebaited i - diatribe l - librated p - biparted s - redbaits tribades v - vibrated
Shorter words found within tribade:
ab abed abet abide abider abri ad adit ae ai aid aide aider air aired airt airted ait ar arb ardeb are arid art at ate ba bad bade bait baited baiter bar bard barde bare bared barite bat bate bated be bead bear beard beat bed bet beta bi bid bide bider bidet bier bird bit bite biter bra brad brae braid brat bread bred bride brie brit dab darb dare dart date dater de deair dear deb debar debit debt derat dib die diet dire dirt dit dita dite drab drat drib ear eat ed edit er era et eta id idea irade irate ire ired it rabid rad raid rat rate rated re read reb rebait rebid red redia rei ret retia ria rib rid ride rite ta tab taber tabid tad tae tar tare tared tea tear ted terai terbia ti tide tie tied tier tirade tire tired trad trade tread triad tribe tried
List shorter words within tribade, sorted by length
Words formed from any letters in tribade, plus an optional blank or existing letter
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Other words with the same letter pairs: tr ri ib ba ad de
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Some random words: orismological kiang nth imbibe lea de duad
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I love this movie, it had a great story line. It showed that love can out shine anything. Great acting by all.
I Iove Taraji P. Henson, She's a really good actress. Taraji P. Henson looked fantastic in this movie.
About the 5th time I saw basically the same story line. The same concept was actually better on "Hill Street Blues." Save your money. Don't bother with this one. So lame, it's only an hour 40 minutes long.
Taraji is the bomb! Great acting!
I loved this movie. Saw twice. Must see
I truly enjoyed this movie. Taraji totally owned and became the "Proud Mary" character. One of my favorite parts of the movie was when the young boy asked Taraji if she wanted him to leave and she replies: "Did I say that?" - and then grabs him and gives him a hug.
This scene revealed the vunerable side of Mary and allowed the audience to see that she needed the young boy in her life, as much as he needed her. Overall, a great movie and a great performance by all. Truly a must see film.
Don't mess with Taraji!
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Yeah, they don't believe in reincarnation because it's a very dangerous idea. If one could come back one life after another, what would be the point of the Judgement Day? What would be the point of believing in Jesus as a savior? Etc.Rach wrote: For example, they believed everybody can achieve resurrection, very heretic for itself;-). Or they teached that everybody is able to contact Him, no priests needed;-), what a dreadful thought for every church. A proverb of the scrolls that I remember: "The house of God is not made of stone". I really love that one;-).
I remember when I was a little kid and started to learn how to read. I would read anything I found in my house. At that time, my family and my cousin's family were living together. My aunt and uncle had a whole bookcase of books about Christianity, ranging from children level to adult level. I loved reading those children books because they had cute pictures, especially the Old Testament book with its cute pictures.
I remember the first part of the Old Testament had pictures of humans getting punished for worshipping cows, objects, building skycrapers up to the sky, etc. As I grew older, I realized it was people of different religions who got punished in that Old Testament. How ironic! Getting punished because of worshipping different religions.


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With her movie star glamour and love of the luxe life, Elizabeth Taylor gave meaning to the phrase "diamonds are a girl's best friend." Her passing on March 23 left a palpable vacuum: Who can possibly assume such a glittering mantle?
Now that Ms. Taylor's treasured collection of pricey baubles is on a world tour with Christie's, destined for their New York auction on December 13 and 14, the opportunity exists for some tastemaker to spring for jewels that are almost as famous as the woman who wore them.
The thing is, many of today's celebrities borrow their jewels for red carpet events like the Academy Awards. For the most part, they don't swan around in their own diamonds, opting instead to adorn themselves with loaned Harry Winston rocks.
A notable exception is Kim Kardashian, who received a 20.5 carat diamond engagement ring from Kris Humphries worth $2.1 million and affects an extremely high maintenance appearance when out in public. Perhaps her new husband will gift her with one of Taylor's choice pieces, such as 'La Peregrina,' an early 16th century pearl, diamond, and ruby necklace worn by European queens. Now worth $3 million, the necklace cost Richard Burton $37,000 when he bought it at a Sotheby's auction and gave it to Taylor for Valentine's day.
Investors, take note. The rising price of gold has made jewelry an attractive investment.
Perhaps rap star Jay-Z, who bestowed an 18 carat diamond engagement ring upon singer Beyoncé, will think Taylor's fabulous emerald and diamond Bulgari suite would suit her as well. Or maybe sentimental Prince William will buy one of the romantic pieces for his wife Kate; in a moving gesture, he gave her his mother Diana's 18 carat sapphire engagement ring for their engagement.
Businesswoman Ivanka Trump certainly has a flamboyant style sensibility like Ms. Taylor, but at a significantly lower price point. Her Ivanka Trump Collection sells a showstopper of an emerald cut rock crystal cocktail ring with diamond band for a mere $3,650. Does it have the same impact as 'The Elizabeth Taylor Diamond," a 33.19 carat ring that was gift from Richard Burton and is expected to fetch up to $3.5 million at the Christie's auction? Probably not. All the more reason for Ms. Trump to buy such a potent status symbol.
If the late Harry Winston were around, he might snap up the entire Taylor jewelry collection, as he did that of socialite Evelyn Walsh McLean in 1949. Included was the legendary deep blue 45.52-carat Hope Diamond, now on display at the Smithsonian.
Taylor's historically significant gems may end up in the collection of a billionaire such as Liu Yiquian of China. Some of the most expensive jewels in the world have been bought by private collectors in Asia.
The Elizabeth Taylor AIDS Foundation will be the beneficiary of some of the proceeds from the exhibition and publications about the jewelry. The auction's proceeds will go to Taylor's estate.


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Contact Information
State Board of Law Examiners
Judicial Wing, 1st Floor
600 E. Boulevard Ave.
Bismarck, ND 58505-0530
Fax 701-328-4480
General Information
In 1905, the State Board of Law Examiners (formerly State Bar Board) was established by the North Dakota legislature. The statutes relevant to the Board can be found in Chapter 27-11 of the North Dakota Century Code. The procedural rules for the Board can be found in the Admission to Practice Rules, which are adopted by the North Dakota Supreme Court.
The Board consists of three resident licensed members of the North Dakota Bar appointed by the Supreme Court, and the Clerk of the Supreme Court, who serves as ex-officio Secretary-Treasurer.


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Barcelona defender Gerard Pique claims the news that he was allegedly followed by detectives on the orders of Pep Guardiola did not surprise him.
The former Blaugrana boss led his side to 12 trophies, two of which were Champions League titles, during a four-year tenure. However, since leaving the club last summer, rumours have surfaced that Guardiola hired a surveillance team to keep tabs on Ronaldinho, Deco, Samuel Eto'o and Pique.
The Spain international has now revealed that he already had his suspicions something was going on.
"The truth is that I sensed that something was going on back in 2010, so it's not come as a complete shock now that this has come to light. I knew something was up," Pique told Terra.
"It's not nice, but it's water under the bridge: different people run the club now. I'm too excited by what's in store over the next two months to dwell on that stuff."
Guardiola embarked on a 12-month sabbatical from football last summer but will resume his coaching career with Bayern Munich next season.


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Recombinant DNA - IBC
All projects involving recombinant DNA, regardless of funding, must be reviewed by the UT Arlington Institutional Biosafety Committee (IBC) prior to initiation.
The University of Texas at Arlington complies with the NIH Guidelines for Research Involving Recombinant DNA Molecules, effective June 24, 1994, published in Federal Register July 5, 1994, (59 FR 34496) and all subsequent amendments issued by the NIH Director. In addition, UT Arlington follows the guidance found in Biosafety in Microbiological and Biomedical Laboratories, CDC/NIH, Fifth Edition, February 2007.
Recombinant DNA molecules are defined as either: (i) molecules that are constructed outside living cells by joining natural or synthetic DNA segments to DNA molecules that can replicate in a living cell, or (ii) molecules that result from the replication of those described in (i) above.
Synthetic DNA segments which are likely to yield a potentially harmful polynucleotide or polypeptide (e.g., a toxin or a pharmacologically active agent) are considered as equivalent to their natural DNA counterpart.
Genomic DNA of plants and bacteria that have acquired a transposable element, even if the latter was donated from a recombinant vector no longer present, are not subject to the NIH Guidelines unless the transposon itself contains recombinant DNA.
For assistance or additional information, including meeting times and locations, contact the Office of Regulatory Services: 817-272-3723 or firstname.lastname@example.com


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Vols' Vereen ready to play, Maggitt sidelined
September 19, 2013
KNOXVILLE, Tenn. (AP) — Tennessee freshman defensive end Corey Vereen is expected to make his collegiate debut Saturday at No. 19 Florida.
Linebacker Curt Maggitt remains sidelined as he recovers from a torn anterior cruciate ligament.
Volunteers coach Butch Jones updated the status of both players on his radio show Wednesday.
Vereen missed Tennessee's first three games after spraining the medial collateral ligament in his right knee during training camp.
Maggitt, a starter each of the past two years, tore the ACL in his right knee last November in a loss to Missouri. Maggitt hasn't played since, and Jones has declared him out for the Florida game.


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Pumping....guys are actually usually really cool with it. Think about snappy comebacks if they are the type to tease, like, "So, making milk is my superpower, what is yours?" or something. Or if there is one you are cool with, tell him you are feeling self-concious about it and have him tell the rest of the guys to shut up about it. That is if they are the type to tease. Most are not, and honestly, most men are either just fine with breastfeeding and pumping, or they are too embarrassed to think about it. Or they are too self-absorbed to really care.
You can try muting your pump with a pillow over it. Some pumps are quieter than others. Much as I liked my Freestyle, it was really loud with a very distinctive moo sound. The Symphony, a rental, and the Limerick, a hospital grade pump I own, are much quieter.
Some moms even go pump in the car. That won't work where I live for too much longer because it will get too hot, but some moms do that for privacy.
Worst comes to worst, your right to pump is protected by law, and if they hassle you over it, it could be considered a form of sexual harrassment. It doesn't sound like that things would come to that though.


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Gluten freee menu and Dairy-free Pesto Green Bean Pasta Salad Recipe
I recently attended Blogher Food '09 and the DH brought baby to join me for the cocktail after-party. All my new gluten-free blogger friends got to meet baby Yum.. . but that's a whole different blog post! Isn't Baby Yum getting big? Speaking of Baby Yum, it seems she still is sensitive to something in my diet, so in the interest of hypo-allergenic diets, I'm going temporarily vegan and cutting egg out of my diet. I'm sure those of you who are egg-sensitive will be happy to hear that!
As always, you can find the gluten-free menu headquarters with Cheryl at GF Goodness. Asparagus Thin is hosting this week's gluten-free menu swap with a challenge to readers to incorporate 10 super foods into our menu! She lists the following as super foods (those in bold are those I plan to enjoy this week): Avocados, Berries, Beans/ Lentils/ Pulses (and how), Cacao, Cinnamon, Dark Leafy Greens, Eggs, Eggplant, Flaxseeds, Garlic, Kiwi, Mushrooms, Nuts (Almonds and walnuts specifically), Oranges (in my sweet potato), Pumpkin, Red Wine, Non-veg bits, Sea Vegetables, Soy, Sweet potatoes, Tomatoes, Tea, Whole Grains, Yogurt.
I would personally include beets and broccoli in there as well… What can I say, I'm a b-vegetable kind of girl. Below is my menu, but don't forget to check out more menus at Org Junkie.
Sunday: Middle Eastern
Baked Falafel, Bette Hagman's recipe for Gluten-free Pita Bread, baba ghanoush, tahini sauce, roasted green beans
Monday: Vegan
Lentil soup and roasted organic white yams and broccoli
Tuesday: Mexican
Refried Bean fresh tortilla rollups, dairy free tomato cumin soup
Wednesday: Vegan
Bette Hagman crumpets with pinto bean un-tuna salad
Thursday: Calcium happy
Wild rice quinoa salad
Stuffed collard greens
Friday: Vegan
Roasted chickpeas
Sweet potato cinnamon boats
*Many of these recipes are based on recipes from an interesting book called "Calciyum" (pictured) that has recipes with high Calcium content WITHOUT dairy. I'll keep you posted on how they turn out!
This week I'm sharing a delicious and fresh gluten-free pasta salad I made recently. I love whipping up an easy batch of dairy-free pesto for pasta. This time I made it with spinach for extra nutrients. It went beautifully with perfectly crispy fresh green beans from the farmer's market. Hope you enjoy!
Dairy-free Pesto Green Bean Pasta Salad
Dairy-free Pesto:
1 cup fresh basil
1 cup fresh spinach
1/2 cup toasted pecans
salt to taste
1 tbsp. nutritional yeast (optional)
olive oil
1 lb. fresh green beans
Combine basil, spinach, seasonings and pecans in a food processor. Drizzle in enough olive oil to make a paste. If you are watching your calories, use a little olive oil and supplement with water. Taste and add additional salt if needed.
Prepare pasta until al dente and rinse in cool water to remove excess starch. Blanch green beans (i.e. drop in boiling water and then rinse in cold water when crisp tender.) Cooking time depends on the bean- I used fresh ones from the farmers market and they cooked quickly but older, tougher beans like those at Trader Joes will take more time.
Toast pecans in pan on stove on low heat, sprinkling with salt and sugar as they start to warm. Continue toasting and remove from heat before they burn.
Mix pesto into the green beans. (You may have extra for the pasta or for another use). Fold into the pasta, and add your olives and sugared pecans.
Serve and enjoy!
The fresher your green beans, the better this will be!
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Anderson, the chairperson of the local volunteer-based community group Town Square, started Pumpkin Day in McCarren Park in 2007 with just 30 pumpkins.
This year, the group created an urban pumpkin patch in the park with nearly 1,000 pumpkins trucked in from a farm in upstate New York. For kids and their families, it has since become a place to pick and decorate their own pumpkins and come together for a little family bonding.
"They get to pick a pumpkin of their own choice and leave with a trick-or-treat bag with decorative arts-and-crafts activities," Anderson said.
The event was supported by Greenpoint's American Deli and Franklin Pizza, which provided food, and First Unitarian Universalist congregation's Original Blessings and Close Encounters, a group aimed at bringing local music and artists together for community events.
M.S. 126 also helped out with the face painting, while Cub Scout Pack 7 provided manpower. Proceeds from Pumpkin Day support Town Square and Cub Scout Pack 7.
"We're big on partnerships," Anderson said. "As we build our programming, we love it that we can have more partners."
Eunice Cuevas is with Big Brothers Big Sisters, and came to Pumpkin Day with her recently matched eight-year-old sister Guadalupe.
"Fall, Halloween and Thanksgiving is my favorite time of year, and I think it's a fun time for the kids," Cuevas said, while Guadalupe painted a pumpkin at the decoration table. "I thought it would be fun for her to pick a pumpkin and do some arts and crafts."
Marianne Thomas and her family picked out a pumpkin in the urban pumpkin patch to take home and decorate for Halloween.
"What a great vibe," she said. "This, for us, is Brooklyn; great neighbors coming together, older and younger people and lots of families."


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Introduction by Claudia Calirman and Susan Hoeltzel
Recent contemporary artists such as Andrea Zittel, Jorge Pardo, Rachel Whiteread, Doris Salcedo, Cornelia Parker, Richard Artschwager, Mona Hatoum, Louise Bourgeois, among others continue to investigate the social as well as aesthetic relationships implied in the many possible uses of furniture. Precursors range from Vito Acconci's body conscious furniture/sculpture to Gordon Matta Clark's transformation and reconfiguring of the urban landscape with its cultural narratives. Doris Salcedo uses chairs and tables as a metaphor for trauma and mourning of the civil war victims in Colombia. Rachel Whiteread explores the negative spaces of domestic objects to evoke absence and memory implied in the void. Louise Bourgeois' use of domestic objects in her sculptural installations reflects painful memories from her childhood. Andrea Zittel's domestic and social environments blur the lines between art and life and the distinctions between art, architecture, and furniture design.
Pieces of furniture are meant to be movable as their names in Spanish "muebles" and in French "meubles" attest. Anatomically-based or sometimes anthropomorphically-oriented, they are designed to accommodate the human body. Informed by Function shows artists mostly dealing with the non-functional aspect of these objects. They make pieces that are sometimes abstract, flat, or even attached to the wall transforming them into unexpected forms with a myriad of new meanings and associations. The mediums are diverse as Formica, stainless steel, fiber epoxy, carpet, wood, glass, mirror, cardboard and bronze.
The exhibition includes Alexandre Arrechea's Secret Meeting (2006), a lounge chair made of green, transparent Plexiglas from which a battleship emerges. The wavy shapes of the Plexiglasgive the feeling of a boat at sea. Private space as opposed to public arena, secrecy versus transparency, revelation and concealment, conspiracy and openness, are key elements involved in Arrechea's work. War and politics cross the space of domestic privacy violating its safety. The intrusion of public matters and surveillance into our personal lives are constantly under scrutiny in his work. Arrechea was part of the Havana-based collective Los Carpinteros—known for working between the lines of the familiar and the uncanny, and creating humorous, dysfunctional, hybrid objects out of utilitarian pieces of finely crafted carpentry.
Utilitarian forms—chairs, ladders, doorways, and chimneys—give minimalist shape to Iván Navarro's luminous neon sculptures. Concealed behind a curtain in a room that has been painted black, Navarro's Black Electric Chair (2006) obliquely references intimidation, torture, and capital punishment with metaphor and double entendre. Navarro grew up in Chile during the military dictatorship of Augusto Pinochet. The work presents an intricate blend of meanings through language, visual elements, historical reference, and sound. The chair, based on Marcel Breuer's 1925 Wassily chair, appears to hover in midair in the darkened room. There is the buzz of the electrical transformer. "Black light" bathes the viewer including them in the installation. On one level the work is a formal object—non-threatening and familiar through a surfeit of modernist furniture knockoffs—yet there is the darkened, isolated room and that persistent electrical buzz suggesting both torture and the electric chair.
Francis Cape's work mixes an understated minimalism with the quiet intimacy of domestic architecture. Ama (2003) presents two walls at right angles and reveals the skills of an experienced cabinetmaker—Cape was apprenticed to a woodworker for five years. One side of the structure, wainscoted and painted a vivid colonial blue, has a paneled surface of varying proportions. On the other side, the exposed studs are a reminder of the construction process and what lays hidden behind walls. A pew-like bench nested inside, comes as a surprise as one rounds the corner of the work. The bench and its placement suggest seclusion, solitude, possibly a confessional. Cape's proportions are systematically derived. Using Fibonacci's sequence and, in this instance, Corbusier's Modulor (also based on Fibonacci) the proportions represent a mathematical relationship between the structure and the space for which it was originally designed. The title Ama is a pun, a contraction of "I am a......."
William Stone's Corrected Chairs (2008) are funny and witty. His triple wooden chairs are mounted one on top of the other. The bottom chair is the oldest and shabbiest one and its back legs are cut short. The three chairs seem to be falling down in sequence, in a reference to Marcel Duchamp's Nude Descending a Staircase (1912). The implied movement also makes them look like they are moving forward in space in an uncomfortable and unstable manner. The notion of rest and security that one might associate with chairs is shattered and challenged by a conceptual twist in which the imminent collapse of these objects is always present. In Mixed Metaphors (2000), Stone metamorphoses a ladder into a stair, creating a visual conflict out of the fusion of these two elements. Finally, the stair once more gives way to the ladder making fun of "social climbers" in society.
Jean Blackburn reinvents familiar domestic objects – chairs, sofas, beds, dinnerware, rugs—by taking apart and reconfiguring them as well as subverting their function. Serviette (2002) humorously named for the napkin folded over an exposed plywood armature, is a deconstructed wing chair that has been reassembled with its insides out and vice versa. Her technique draws on the strategies of furniture-making and upholstery. A lacy doily becomes part of the exterior covering, webbing is added to a side panel and the inner springs are visible. Holes penetrate the structure. The rough wooden supports are exposed and contrast with the polished finish of the chair's legs. Serviette offers a quirky take on an American classic.
Known for work that hovers between sculpture and furniture, Forrest Myers's Parker (2006) is a tangle of wire that inhabits the form of chair. The work looks like an armchair with asymmetrical arms that appears to be rendered in the animated line of a "gesture drawing." It is at once comic while, at the same time presents an object with compelling formal elements. While one could argue that the work could actually be used for sitting, comfort would not be among the qualities attributed to this seat.
Natural forms have long been a part of the furniture and design tradition with lion claws, eagle talons, and acanthus leaves. Pedro Cruz-Castro's work mixes natural/zoomorphic forms with the manmade. He carries this idiom to its literal conclusion in Hybrid III (2006) in which a small cabinet is supported by the legs and feet of an actual deer. The legs do not stand in a symmetrically repeated position on each side of the cabinet but instead, appear to dance, giving the impression that the cabinet is scampering away.
Constructed from discarded wooden chairs, Marc Andre Robinson's large-scale work Throne for the Songs That Will Come by Themselves and of Themselves (2008) was developed with the architectural space of the gallery in mind. Fifteen feet in diameter, this colossal circle reminiscent of a Ferris wheel, is a fanciful configuration created from twenty-three "found objects." With cushions removed from the back and seat, the structural forms of the chairs appear to arch backwards to create the circle. Each comes with a past and the wear and tear of use. The chairs have been joined together using traditional cabinetry techniques—glue and pegs—and spiky dowels punctuate the new incarnation.
Colorful abstract forms created from cardboard appear to evolve from small tables in Carlos Bunga's constructions. They transform the familiar and give a suggestion of the large-scale, architecturally-based interventions for which he is known. Bunga's constructions are in many ways akin to Kurt Schwitters' Merz projects. Part of the Dada movement in Germany, Schwitters is known for his collages made out of scraps of refuse combining pure geometric forms with natural shapes. Bunga, however, focuses more on the transformation that takes place after the work is constructed. Model 36 (2008) is free standing while Model 34 (2008) and Model 35 (2008)are installed in the corners of the gallery next to electrical outlets and overlapping a louvered closet door. The placement of the latter works emphasizes their relationship to the architecture of the room. The fragility of the cardboard underscores the simplicity of means in their construction and emphasizes the transience of the work.
Courtney Smith's sculptures are like puzzles based on games of building blocks with no pre-fixed configuration. She creates structures that vary from recognizable pieces of furniture to totally conceptual abstract forms. Polly Blue Pell Mell (2005) is made out of a mid-century Brazilian chest of drawers with etched mirror and two side tables. In this piece, Smith combines organic and industrial materials. She cuts-up into pieces the original wooden furniture and incorporates them into geometrically-arranged shapes of Formica and plywood. Polly Blue Pell Mell is fully mounted as a dresser for this exhibition, but it can also be entirely deconstructed and spread out as one of the multiple possible configurations for the piece. In Sim ou Não (2004) Smith dissects a rosewood armchair into 16 random pieces. Each segment is incorporated into a plywood block. An abstract, two-dimensional configuration is laid out on the floor and, here, it becomes no longer possible to rebuild the original piece of furniture. Island (2007/2008) is an installation made of a series of isosceles triangles that can be grouped together in any given manner. They may be perceived as minimalist sculptures or geometric abstract blocks with no designated function, but they are, however, all ergonomically-informed and can be used as real pieces of furniture.
David Baumflek's Still Life (2007) is made out of white tables piled up on top of each other forming a long-vertical pyramid that rises to a height just short of the ceiling. At the top of the assembled tables there is a bowl filled with plastic fruits. Hanging from the ceiling, there is a mirror reflecting the unattainable fruits. The work plays with ideas of display and consumption and with the longing for unfulfilled desire. Baumflek appropriates the classical genre of still-life to make a social comment on contemporary issues related to commodification, spectacle, luxury and excess in society.
Marcia Grostein's chairs are like anthropomorphic beings moving in space. The presence of an androgynous body is implied in the contour of She (1993) made out of fiber epoxy. Her anatomically-oriented sculptures are elegant and poised, and when juxtaposed with each other, in pieces such as You and Me (1993)—which are made out of fiber epoxy and painted bronze—they seem like organic shapes engaged in a modern choreography. A push and pull dance involving attraction and repulsion, sexuality, violence, and reconciliation emanates from her pieces, which seem to be in a permanent state of change and mutability as they interact with the space surrounding them.
The body and its relationship to clothing are also implied in Michelle Jaffe's Maillot Maillol (2004). Her sculpture is playful and whimsical, collapsing the shape of a chaise lounge with the one of a female bathing suit. Uncannily, body and suit are in unison. The stainless steel chair looks like an armor that shelters an implied reclining figure. The title Maillot Maillol refers to the recumbent female figures created by Aristide Maillol (1861-1944), and his emphasis on the heavy, robust, elegant, and stable forms.
Madeline Weinrib's Persian Illusion (2008) is a carpet made out of mirror and gouache. It is inspired by the style of traditional Persian carpet combining classical motifs rooted in nature and organic shapes with modern patterns of abstraction. Weinrib fuses past and present, revamping an antique tradition with a fresh look. The tree of life, center medallion and borders are re-contextualized, creating a fragile object that, unlike a carpet, cannot be stepped on. Its life comes from its reflection on the wall. In Persian Illusion, Weinrib combines her practice as a carpet and textile designer with her training in painting and drawing, breaking the boundaries between art and design.
Hisae Ikenaga's Untitled (2007) is a 12' bas-relief made out of synthetic carpet cut-outs in the shape of recognizable pieces of furniture such as chairs, tables, and armoires. They are two-dimensional, malleable forms attached to the wall with pins. The linear, unstructured, and flat aspects of her piece contradict the very notion of furniture as a three-dimensional, volumetric and sculptural object. Its soft forms hover 2" from the wall, creating shadows as they spill onto the floor. Her work plays with the concept of affordable furniture, the "assemble-it–yourself" pieces found in chain stores like IKEA as they come with their own instructions on how to mount them. Here, however, the instructions sent by Ikenaga in how to install her work lead to drawings in space, undermining volume and function. The illusion of three-dimensional objects attached to the wall reminds one of the flat surfaces inspired by furniture created by Richard Artschwager.
Where in the world are you now (2007) by Friedrich Kunath is shown as both a discrete object and as a part of the larger installation Twilight. The latter is marked by the coupling of improbable objects and quirky juxtapositions—like the convergence of images when one is on the edge of sleep. They are playful and sometimes surreal with humor and absurdity just on the periphery. Where in the world are you now presents half an upright piano that is made whole by an image reflected in a mirror. It reflects the surrounding space incorporating the viewer. As one moves around the work, the illusion vanishes as easily as it was formed. The piano keys strike notes of Glenn Gould's performance of Bach's "Goldberg Variations."
Function, whether sublimated to form or wedded to intent, shapes each work in this exhibition. Some works may actually accomplish a utilitarian goal, however it is the aesthetic intention that resonates here. While bits and pieces of the real world make their appearance in stairs, tables, a chest of drawers, carpets, dressers, or chairs, it is their unusual and sometime incongruous configurations and juxtapositions that make us look again, understanding the familiar in new ways.


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Welcome to Sammamish Family Dental
Great Dental Care for Beautiful Smiles!
Since 2000, Dr. Robert Humble and his talented staff have helped Sammamish families smile bright with their comprehensive dental services. Sammamish Family Dental is a warm and comforting office where patients of all ages can expect personalized treatments that were designed just for them.
From cleanings and fillings to cosmetic procedures like crowns, bridges and teeth whitening, you can rest assured Dr. Humble will always provide the highest quality care. Our team takes the time to know you personally, listening to your needs and goals for dental treatment. You will receive customized care centered on your lifestyle and any health issues that may arise.
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Radish Me: More Valentines for Food-Lovers from Etsy
Last year these V-Day cards for food lovers were a big hit. After all, who wouldn't like to know that their lover loves them more than avocados? Or sushi? For some of us, that's really saying something.
This year, we went hunting on Etsy for more food-themed Valentine's cards. From lusty to sincere to silly, here's a collection of ten Valentines for your foodie-love.
• you are the cheese to my macaroni - $5 at jujuisgoodluck's Etsy shop.
• you taste like a burger - Also 5 at jujuisgoodluck shop's Etsy shop.
• I love you like I love steamed rice. - A favorite from last year. Also comes in sushi, fish taco, and avocado. $5 at uccellocurioso's Etsy shop.
• better together. - Like milk and cookies. Awwww. $3.50 at Earmark's Etsy shop.
• you may be corny, but I still love you. - Double awww. $4 at Earmark's Etsy shop.
• Radish me. - Yes please. $3 at ranunculae's Etsy shop.
• You're my sweet tooth. - $3 at maydaystudio's Etsy shop.
• You are one gorgeous hunk of meat. - A carnivorous love note. $5 at maybeyoushoulddie's Etsy shop.
• I pick you. One in a million. $3.50 at smashgirlcards's Etsy shop.
• You're the PB to my J - Our personal favorite (don't peek, Valentine!). Beautifully letterpressed. $4.50 at SarahMarieDesigns's Etsy shop.


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May I know what kind of production helpShe received?
It was on the feeds, there was more than one time. But the biggest one the HoH she won the second time where they had to guess how many olives, etc...Dani had been in the DR a long, long time. When she came out, Dani told Porsche she had been reading and memorizing. she said the comp coming up was questions and that she had the answers... It went to Palms.
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Anselm Kiefer
1945, Donaueschingen, Germany
Anselm Kiefer grew up in postwar West Germany amid the rubble of World War II. His newly divided country was in a state of identity crisis, lacking foundational myths or symbols untainted by the Nazis' pathological nationalism. Kiefer initially studied law to learn about codes of human behavior, fully intending to become an artist. By the 1970s, he began to develop his best-known works: massive, heavily encrusted paintings of shattered landscapes devoid of people. His art draws upon a range of traditions —including ancient Egyptian mythology, biblical stories, Jewish mysticism, and modern astronomy — in the attempt to construct a new symbolic system with broad human relevance. Kiefer is currently active in the south of France, where he has lived since 1993.


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Concur's travel and expense management solutions (Concur Services) in scope for this SOC 1 Audit are:
- Concur Standard/Professional/Premium Editions, including Travel, Expense, and Invoice,
- Concur Small Business Edition (formerly Breeze),
- Concur's mobile app (including both Standard/Professional/Premium and Small Business)
These applications consist of services and software for automating the travel and expense management processes. The products are primarily sold as a subscription service. Concur markets and sells Concur Standard/Professional/Premium (including Travel, Expense, and Invoice), Concur Small Business, Concur's mobile app, TripIt, and UlysseTravel solutions worldwide through a direct sales organization and indirect distribution channels such as strategic resellers. SAP Concur has deployed in co-locations Lynnwood,WA (USA) and Allen, TX (USA), and Amsterdam (EMEA) and Paris (EMEA).
There are separate SOC 1 reports available for the United States and for the EMEA region.
Concur's travel and expense management solutions, and supporting services such as Imaging or Analytics automate each step of the travel and expense management process, from travel booking and expense report preparation and approval to business policy compliance, reimbursement, and data analysis. Concur provides the automation and information for management to reduce manual processing, improve internal controls, increase business policy compliance, speed up reimbursement, and increase expense report accuracy.
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Chapter 7 - The River
This chapter begins on a riverbank. Ahead of you, floating in the treetops, there's a Maximum Odinforce upgrade. Knock it down with a toss of your hammer and collect it, but pay attention to the enemies nearby. There are some trolls and Skraelings. Defeat them carefully, as your life meter may not be in the best of shape, then look to the next stream bank.
Above Left: Deflect powerful blasts to defeat the monsters riding on the skiff. Above Right: Push the sea life into the water and the skiff will move closer to shore.
Along the next stream, you'll see a Mire Giant pulling a skiff with Skraelings riding it. They have cannons and will fire shots in your direction. Deflect the large shots to kill them while avoiding or blocking the weaker shots. You can also move in close and toss your hammer to harm some of them.
Once you have destroyed all of the Skraelings on the skiff, head to the left along the shore and you'll find what looks like a giant squid washed onto the bank. Hold the button indicated on-screen to push it into the water. That will cause a scene and the skiff will move closer to the shore so that you can leap onto it. When you make the leap and land on the skiff (an air dash is in order), your progress will automatically be saved.
Head to the front of the skiff and step onto the steering platform. Thus begins a ride down the river.
Above Left: Throw your hammer to destroy enemies on the bank, and also huts and other obstructions. Above Right: Make sure that you're prompt about taking out the sheltered gunner.
The game will explain the controls for this segment of the stage. Pay close attention to them. Once you have started the skiff to moving, it won't stop. It will move either at standard speed or a more accelerated speed. As you start down the river, you mostly want to move at standard speed. Enemies will appear from brush on the bank (mostly on the left side at first) and you can toss your hammer to destroy them. Your hammer can also destroy larger objects that you find along the way, including power cell clusters and huts. You want to destroy as many of those items as possible, and you want to hit any enemies that appear as quickly as you can so that they don't have the chance to inflict serious harm.
As you advance along the river, you periodically will come across barriers. The first two of those look like glass walls spanning the water. Shortly ahead of each of those, you can use lightning magic to speed up the beast that is hauling the skiff. That will allow it to crash through the barrier so that you can continue your advance.
After breaking through the second barrier, look to the bank to the right. There will be numerous enemies along ground level, as well as a more dangerous creature atop what looks like a pyramid. He has a cannon at his disposal, so make sure that you take him out first and then sweep the bank for any stragglers. Beyond that, you can charge through several logs that have fallen across the stream. Then you should watch for the left bank. You'll come across another Skraeling settlement. Destroy the huts near the shore and make sure that you take out the bridge as soon as it comes within range. There are power cells you can destroy along the way, as well.
Above Left: Toss your hammer at the approaching Skraeling skiffs to eliminate your enemies before they can get close enough to ram you with explosives. Above Right: Don't let the approaching enemies in the water catch you by surprise!
When you advance past that point, there will be a scene as a bunch of Skraelings rush down to the nearby shore and jump into skiffs of their own. Your progress forward will be slowed now and you'll have to defend yourself from an onslaught as the Skraelings rush you and try to take you out with explosives on their boats. You can take them out as they approach. Remember not to bother tossing your hammer until you see red targeting reticules, or you'll just waste a precious second or two before you can fire again.
You'll have to defend yourself against quite a few of the suicidal Skraelings. Then you'll start advancing along the river again. After the last of the skiffs, you'll come across another settlement. This one is on the bank to the right. There are some destructible buildings along the lower level, so make sure that you focus most of your energy there and you'll also find some bonus energy.
Past that settlement, you'll find a few more skiffs and then you'll come upon a much larger settlement. This one has a massive gate ahead of it and high walls. Clan Trolls, a new type of enemy, will appear along the ramparts and will knock large balls down into the water. As you continue your slow advance, enemies will start quickly toward you. They're underwater, but you can still target them. Wait until you see the red reticles, then take the enemies out with your hammer. Once the more immediate threat is eliminated, turn your attention to the shore. You can toss your hammer to take out the Clan Trolls. A grapple point will appear. Use it to reach the bank, then take out any waiting enemies. There's a save station, so make use of it and then turn your attention to the nearby door.
Above Left: You will need to set a series of balls floating along the river or you'll never be able to use them to blast open the obstruction further downstream. Above Right: Destroy the floating mines before they have the chance to collide with your vessel.
You'll find that it's not possible to go through the door because it is malfunctioning. The material from which it is made is too stout for your attacks to do any good, so start toward the edge of the platform in the direction where you left your skiff. Toward the left, there's a malfunctioning metal cover. Stand over it and use your magic to repair it. A huge metal ball of explosives will appear. You can kick it out into the water and it will float and start toward a distant gate. The idea is that you need to blast the explosives with your hammer to open the gate, but you have to wait until the explosives are within range of the gate before you throw your hammer. The problem is that the gate is further away than your hammer will reach.
To solve the puzzle, kick loose a series of several of the explosives balls. Then detonate the nearest one to set off a chain reaction of explosions. If you did things properly, the gate in the distance will be blasted open. Now you can use the grappling point over the skiff to return to your ride down the river. Let the skiff carry you through the newly opened gate.
Through the gate, you'll find another gate that opens more willingly. Past that gate, there's a series of enemies that will attack you on skiffs and then you'll face a more dangerous obstacle: enemies from the canyon high above the river fire upon you with mortars. Explosive mines land in the river and float toward you in sufficient quantity that it's difficult to aim your hammer tosses and destroy all of them before some collide with your skiff. It's okay if a few brush against you and explode, but you do have limited armor and defense so you want to keep as many from striking against your ride as possible.
Above Left: There are too many Skraeling enemies to deal with here, so battle only until your Fury Meter is full and then unleash it to destroy the mortar. Above Right: You'll have to use similar methods to defeat more enemy groups with stronger members.
After you survive the minefield, your skiff will come to rest near a bank. You can air dash from the skiff to the bank, then head right along it to find a high ledge. Leap up the ledge. As you start along the ledge, a scene follows. An enemy drops some food into the water and the beast pulling your skiff ditches you as it rushes for the tasty treat. Your enemies will start firing explosives at your beast now, so you need to stop them before they can do too much harm and leave you stranded.
Rush along the bank and make your way to a higher ledge, where you'll find yourself facing a horde of Skraelings. They'll keep coming as you hack your way through them, so you need to be smart about the fight. Instead of trying to defeat the Skraelings, use them as fodder to quickly fill up your Fury Meter. Just take out a few of the enemies with normal lightning strikes or whatever you prefer, then when your meter fills you can unleash it to destroy the shielded mortar on the bank.
Now head through the new opening and drop off the ledge. Head right past a torch, then head left through some brush and along a massive limb that you can use to cross to the other side of the river. There, climb up another mossy bank and you'll meet another group of enemies. There's a troll among them, so this second group of enemies is more dangerous than the first. Your strategy for taking care of them (along with the mortar on the bank) has not changed, however.
Destroy the second mortar machine, then look for the third one. Just head through the new opening that appeared when you destroyed the second mortar, then grapple over to a distant point on the far side of the bank. Head along the rocky ledge while dealing with Skraelings on patrol. There are around four of them. Throw your hammer to deal with them from a distance before they can shoot you. Then find a third group of enemies on a higher ledge. To the right of those enemies is an item that you can pick up to quickly fill your meters so that it's easier to dispatch of your foes. Take them out as you did the previous two groups, then grapple over to a final ledge. When you arrive there, you can take out a last group of enemies and a mortar to cause a wall to burst apart. There are a few enemies waiting there, so move in quickly and take care of them as you see fit.
When those enemies are toast, you can head through a new opening and save your progress. Then you can walk along the ledge until you come near your waiting skiff. Leap out onto it to complete the chapter.
Grand Theft Auto IV: The Ballad of Gay Tony Cheats
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text:
BATS: 'System Issue' Cause of Pricing Errors
BATS Global Markets Inc. said a "system issue" has allowed hundreds of thousands of transactions to be executed at prices that weren't the regulator-required best available at the time. Dow Jones' Michael Driscoll reports. Photo: Getty Images.
This transcript has been automatically generated and may not be 100% accurate.
... the the ... this like a Electronic meal ... yet the third-largest exchange the twenty year ... NYSE and Nasdaq and that's that's a pretty big operations ... major one ... and Annie's been revealed a a a three story ... the results of for ... for all the EPS grew up in a calm in quotes Yemin's most running short selling ... twenty short sell short selling ... is when someone is betting against the stock can basically you borrow shares and sell many of the price is going to go down you can buy em back of cheaper price and in you pocket the difference that some ... of the Proms that the teeth out last night bombing short sales ... some of the more involving these other sort of arcane orders to the law to high frequency traders use and so this isn't a problem that we see ... a likely affecting a lot of mom and pop investors but it is just another sign of ... this story myriad problems of Hispanics now I mean that this is this is the problem is that this will all trades involved in this the one thing I know Bacile some ideas that make the stock price has to go off ... before you can sell to a new console when it's fully Yukon just to pile on some well that's the rules kick in the yard that we have to try and control and sort of what you're talking about earlier ... and so ... the airline ... to so to control what happens with the stocks of people can push it down too much alarm was about that and ... what appears to happen is that says some orders one and it didn't follow those rules and ... that's a bit from the SEC's mandates these things and ... they said that it could affect U knows more than four hundred thousand dollars going back more than four hundred thousand dollars to the subtitle elected as an eight year ... and I still haven't fixed the problem is that it's can be a few weeks ... so what what what we say mostly small investors still very shy all the stock market for many good reasons ... this is yet another reason to thank ... you and books that they don't eat well it's just another headline of ECB so to scratch your head in the wee people who fall misstated de have to sift through the scenes to try and make sense of it in ... the the idea that sort of ... an everyday investors looking at there for one K ordered stocks themselves ... can understand what's happening here and what the


text:
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The Social Media Dance
22 March 2013
How the dance world is developing digitally
As a hugely vibrant and diverse medium, dance lends itself easily to the world of technology and social media. Perhaps most importantly, it's something that everyone can take part in, watch and appreciate whatever their age, location or background.
Emilia Spitz and Linda Uruchurtu, joint founders of website The Ballet Bag and creative studio Lume Labs, have been named among the '100 Best Arts Tweeters' by The Times. They told us, "Dance is an amazing medium, not only because of the rich pool of content out there, but also for its potential for true audience engagement. Most of the work we've been doing in arts consultancy has been targeted at dance organisations and dance individuals to help them connect with audiences through social media, and we're always amazed at the synergies between dance and creative technology."
There are many examples of how dance companies and individual dancers and choreographers have embraced online outlets such as Twitter, blogging and YouTube, from Sergei Polunin's tweets last year about his sudden exit from The Royal Ballet, to Diablo Ballet's mission to create a Ballet via social media with The Web Ballet (more recently christened Flight of the Dodo). Diablo Ballet has also adopted the growing enthusiasm among US performance venues for 'tweet seats' by introducing live tweet nights at performances.
The Providence Performing Arts Center says the goal of its tweet seats is to "engage theatergoers on social media, and build extra excitement for shows," while the Guthrie Theater in Minneapolis aims to encourage deeper interaction with their performances. A flurry of social media activity can also help with ticket sales, as Andrew Goldberg from the Adrienne Arsht Center says, "If you get a Tweet from a friend, 'You've got to check this out!' you're more likely to go check it out than if we tell you."1
"Organisations will continue to need to adapt and incorporate digital technologies into their programming"
The trend may be catching on in the UK with Norwich venue, The Garage, announcing in February this year that it has designated a section in its gallery for tweeters. However, just 10% of participants in an online poll by The Guardian in March 2012 indicated an acceptance of live tweeting at the theatre.2 With the urge to instantly share experiences with the wider world just too urgent for some to wait until the interval, perhaps tweet seats are inevitable and do, at least, help to minimize disturbance to other theater-goers by herding the tweeters together. Although it doesn't intend to introduce an area for live tweeting, Boston's Huffington Theater is planning to introduce a 'Twittermission' where the performers and production team conduct a Q&A during the interval and the responses are projected onto screens in the lobby.
As a visual medium, dance is particularly suited to YouTube and other video sharing sites, as well as Pinterest where a quick search for 'dance' brings up an amazing array of images. More than 250m photos are uploaded to Facebook every day and over 829,000 videos are uploaded daily to YouTube.3 As a specialist dance channel, DSI-London.TV allows online viewers to see exclusive videos of Ballroom and Latin events with interviews and profiles of leading lights in the world of Dancesport. In March last year, the Royal Opera House in London first streamed Royal Ballet Live, offering a live fly-on-the-wall view of a full working day with their dancers. It was shown on their YouTube channel and The Guardian website and garnered 200,000 views.
A behind-the-scenes aspect can be a key element of a company's social media profile, allowing them to increase the range of information they push out online. Rather than a straight sales offering when tickets for a show go on sale, anticipation builds through interviews with principals in rehearsal, the latest photos of costumes, and the public are able to gain previously unheard of access to the key players. Citing backstage tweets by New York City Ballet's Ashley Bouder in the New York Times, Gia Kourlas argues that Twitter is "starting to change the public face of ballet (…) making ballet dancers human."4
Tapping effectively into social media can also bring dancers to a massive potential audience, many of whom they would not be able to reach through traditional methods. San Francisco Ballet's principal dancer, Maria Kochetkova has more than 187,000 followers on Twitter and the company estimates that 11% of their website traffic comes via the 300,000 people who follow them on social platforms.
Marrying dance and technology even further are DanceDigital, a UK-based company that seeks to "catalyse the development of new choreographies in digital environments" and offers support to artists and technologists to create and develop new performance work, and Movement Media, a New York-based agency that helps dance artists integrate digital technology and create works for the screen.
Although resources need to be effectively allocated to the use and expansion of social media, outlets like Twitter and Facebook are free and there are many sharing and tracking tools that can help you make the most out of your online activities. However, a recent survey from the Pew Internet and American Life Project recognised the all-important need for arts organisations to allocate resources to digital strategies, stating that, "Organizations will continue to need to adapt and incorporate digital technologies into their programming."5
This underlines the increasing tendency for dance companies to do much more with social media than just post news about ticket offers or add a video preview to YouTube. A growing desire to creatively merge digital with dance has already revealed huge possibilities and, with so many companies jumping on board, it will be interesting to see what the future holds.
Sarah Clarke
1.'"Tweet Seats" in Theaters Spark Battle Between Technology and Tradition' by Christine Dimattei, WLRN.org, 1st March 2013.
2.'Would you welcome 'tweet seats' in theatres?' The Guardian, 6th March 2012.
3.48 Significant Social Media Facts, Figures and Statistics, www.jeffbullas.com
4.'Ballet Stars Now Tweet as Well as Flutter' by Gia Kourlas, New York Times, 29th March 2010.
5.'5 Things the Dance Field Should Be Talking About' by Marc Kirschner, Huffington Post, 10th January 2013.
Twitter Tip
'MT' at the start of a tweet does not mean that someone has tried to type 'RT' too quickly! It means 'modified tweet' and can be used if you want to tweak something in the tweet – perhaps you want to add another hashtag or use a link that you've created to track click-throughs. It can be a good way to share a tweet that lets you add a little something of your own while still acknowledging the original authorship.
Don't forget to follow us on Twitter! @ISTDdance


text:
The Character featured on Chapelles's show skit "The mad real world", who had sex with the only white character's girlfriend, Katie.
by annonymous8 May 05, 2005
An arosol drug, used commonly by the poorer class (esp. Aboriginals) used in conjuntion with wonder bread for a mountian fresh high
The unconcious nitchie lie in a bed of lysol cans and wonderbread bags.
by Ox May 29, 2003
What women used to use as a douche. Lysol (the original liquid concentrate, not the spray) was actually marketed as a feminine hygiene product by Lehn and Fink, and ads actually appeared in women's magazines from the turn of the century up until the early 1960's. Instructions for making douche solution was actually on the Lysol bottle's labels. (one teaspoon Lysol, added to one quart warm water, mix in a separate container before pouring into douche bag). Also, after many lawsuits, mainly from women who had their vaginas irritated by Lysol, Lehn and Fink (now Reckitt Benckiser) stopped marketing Lysol concentrate as a douche. And the introduction of the disinfectant solution into a vagina made odor worse, not better, since it affected the vagina's natural pH balance. More about Lysol douche at the Museum of Menstrual and Feminine Health http://www.mum.org
The mother called her daughter a whore, and made her douche with Lysol.
by Genuine Nerd October 01, 2006
by John May 28, 2003
somthing that smells like shit if u spray to much of it and it acts like a flamethrower if you burn it
"dude y tha fuck did u fart get tha lysol out"
"im gonna burn tha hell out of you with the LYSOL flamethrower"
"im gonna burn tha hell out of you with the LYSOL flamethrower"
by dkcsdkvcsdo ids October 05, 2006
One of the leetest Java programmers RuneScape cheating ever saw.
by The one Lysol March 30, 2006
The single most innovative rapper to walk the earth
Are you ready for the new LySøl album?
by LySøl April 04, 2010


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Eloise, what a beautiful and gorgeous girl you are. Such amazing and fabulous golden eyes, and what striking whiskers! It is obvious that nothing would escape your intelligent attention. Thank you for sharing your wonderful self, and congratulations on being COTD!
Hope your persons give you all the extra treats and pets you deserve on your special day. (Many pets for your siblings too.) How good to be in your forever home, where you are properly appreciated for the exceptional kit you are.


text:
Wapakoneta looks to keep St. Marys winless
Sports Editor
Doug Frye can be counted as one who is surprised the St. Marys Roughriders are still winless this season.
The fourth-year Wapakoneta Redskins varsity football coach says his former team is much better this season than last season's 0-10 St. Marys squad.
"This is a good football team," Frye said of St. Marys. "Easily this team could have three or four wins at this point in the season.
"I think they're much improved from last season," he said. "That's not coach-speak. That's an honest opinion. They're much better than a year ago."
Defiance Bulldogs varsity coach Jerry Buti, after the Bulldogs recorded a 27-23 come-from-behind win last Friday over St. Marys, said he was stunned St. Marys was still winless as well.
"They are unexplainable how they're 0-7," Buti said last Friday. "You turn on the tape and you don't think St. Marys is 0-7. I give them all the credit in the world and their coaches all the credit in the world for getting them to play that hard. It's amazing."
St. Marys varsity coach Greg Phillips has a hard time explaining how his team is 0-7.
The Roughriders had legitimate — or even probable in a few cases — chances to win in five of their seven losses.
"I've been doing this almost 30 years and I don't have an explanation," Phillips said. "Our kids play hard. We have a good game plan.
"I've talked to some guys who have been doing this longer than me and asked what we're doing wrong and don't get a good answer," he said. "It's my job to figure it out."
Wapak and St. Marys will meet Friday in a Western Buckeye League contest in the two Auglaize County rivals' annual game.
This will be Frye's 15th game in the rivalry.
He was 9-2 with St. Marys and is 3-0 with Wapakoneta.
The Redskins (6-1) will seek their sixth straight win in order to continue their pursuit of a playoff berth.
Wapak was first overall in Division III, Region 10, in the computer ratings Tuesday, needing a top-eight finish in the region to qualify for the playoffs.
St. Marys is looking for its first win of the season and first since Week 9 of the 2011 season.
The Roughriders have lost four games by a total of 14 points this season.
The Week 7 loss to Defiance was perhaps the most painful. St. Marys led by 17 points late into the third quarter, only to watch Defiance score three touchdowns in the game's final 14 minutes to stun the Riders 27-23 on Friday night at Skip Baughman Stadium.
St. Marys was a catch in the end zone in the final minute away from winning its opener at Sidney.
The Riders then lost to Shawnee by one point. St. Marys outgained both Bath and Celina in total yards in Weeks 5 and 6, only to have turnovers undermine the strong offensive efforts.
Wapak and St. Marys each run the wing-T offense.
Frye observed that the Roughriders aim to push the ball to the outside in some of their offensive sets.
"They're a wing-T team, very similar to us," Frye said. "They run a lot more one-back wing-T and try to utilize their speed to the perimeter. That's probably the biggest difference than what we do."
Wapakoneta typically exhibits at least two running backs in the offensive backfield in its wing-T formations.
The Roughriders have nearly all one-way starters.
"They're two platoon, which has allowed them to improve immensely," Frye said.
The exception is senior running back and safety Jared Knous (5-foot-9, 155 pounds).
"Knous is the best football player on the team," Frye said. "You'll see him on both sides of the ball. He returns kickoffs and returns punts. They'll try to get the ball in his hands a great deal."
Knous ran for 119 yards last Friday and has 298 yards rushing this season.
Knous leads the Roughriders with 47 tackles, five interceptions and seven pass break-ups.
Trent Wale (6-0, 220) leads the way on the ground with 521 yards rushing with four touchdowns.
"Wale, their fullback, is a good player," Frye said. "Their lines, both ways, do a great job for them."
The Evening Leader Sports Editor Brian Smith contributed to this story.


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