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Mark Rance
Who better to give the inside word on DVD production than a man placed right in the middle. Producer Mark Rance shares his thought...
Mark Rance, producer of the I, Robot set which is due out in the US shortly, has gladly entered into a discussion with us on the inner workings of the DVD industry. It's a rare occurrence that we have someone who can fill us in on exactly how things are constructed behind the scenes, so we've welcomed the chance to give everyone the inside word. Read on.
DVDActive: Describe yourself as a worker in the industry. How did you become involved in DVD production?
Mark Rance: I started producing special edition laserdiscs at Criterion in 1991. In 1997, New Line Home Video, which at that time had a close relationship with Criterion, invited me to be their exclusive DVD producer. I did most, if not all, the Platinum series DVDs up through 2000. In 1999 I formed my own company, Three Legged Cat Productions. We continued to work for New Line but as New Line began to hire more DVD producers we began to work for other studios, notably Disney, Warner Brothers, Twentieth Century Fox, MGM, Paramount, Artisan (now Lions Gate Films) and HBO.
Three Legged Cat currently is:
Mark Rance, Executive Producer, Producer, Writer, Director
Francois Maurin, Post-Production Supervisor, Producer, Graphics
Dana Kinonen, Project Management, Clearances
Mike Frost, Editor
On I, Robot we were joined by:
David Schow, Co-Producer, Camera Day Out of Days
Eric Saks, Co-Producer Sentient Machines
Kwesi Thompson, Camera Day out of Days
Andrew Sachs, Camera
Adam Harding, Assistant editor, Editor
Seaton Lin, Graphic Design
…and a few more friends helped us out with logging and kibitzing
DVDActive: Take us through what is involved in designing, creating and producing a DVD. When do you start? How much collaboration is involved with various people?
MR: First and foremost, like laserdiscs before it, DVDs perform a unique service by preserving some record of the filmmaker's efforts. The disc can be an archive. The film is transferred to the best available format (in most cases); supplements show the making of the film and explore the themes and inner workings of the movie. Filmmaking has to be one of the least documented art forms. Negative is easily lost or destroyed. A good DVD producer is a film historian.
One advantage Criterion has had is that all their titles ( well, most – Ed) are many years old. Coming in as documentarians and commentators on a film that has aged allows the producer to more easily create a thoughtful presentation. But DVD producers working for the studios are also asked to perform certain tasks for the marketing of the film.
Brand new films present a very different set of issues to the DVD producer. I think it is very difficult to see the character and uniqueness of the film from the inside when it is so young, but the goal is to do just that and document its coming into being. But the DVD is also a significant part if the film's early life. Maybe there has to be many different versions of a Special Edition, perhaps.
Ideally the DVD producer is brought in somewhere near the green-light stage, when only a screenplay and some casting are in place. More often we are brought in as editing and post are closing down, and occasionally we are brought in way after that.
Collaboration is key to a good disc. You need an excellent relationship with the director and all the departments as well as the cast. You need to stay on top of the editing process and flag scenes and elements that could be used to tell the story of the film. It is easiest to shoot production, but these days so much happens in post, so you have to figure out ways to show the tedious work that goes into rendering the details in the film. Of course not every film these days, thank goodness, is post-heavy with loads of CGI, so the making-of from the set can be all you need. Lost In Translation has a marvellous documentary (by Spike Jones and others) about shooting that film. It renders commentary unnecessary.
So the answer to this question is the obvious: every situation is different.
What I hope develops over the next year is that DVD is brought in like departments and that department coordinates the EPK crew, marketing needs, broadcast specials, and DVD content creation. Ideally this thinking would extend into archiving materials for that special edition 10-20 years from now. That does not happen much at the moment, but who knows.
DVDActive: How much ownership do you get when authoring each disc? Is there a certain amount of pressure from studios to do it their way or do they trust you with creative license?
MR: I am lucky to be able to say that we have had an enormous freedom at almost all the studios. New Line, Fox and Artisan have all trusted us with new authoring ideas. Chris Nolan's commentary on Insomnia and the spot-commentary on Gettysburg were very experimental at the time, they hadn't been done, and Warners was very happy to let us try them out. Some studios insist on a house style, but we have encountered very little of that.
DVDActive: We'd probably have different opinions on the standards of DVD production, particularly the menus. Issues such as usability, design and overall theme come to mind as incredibly important to the make-up of the menu. Your views?
MR: We share the same goals, but I think we have different solutions to the issues.
In terms of production standards, I have had a strong belief that DVD features must look and feel different from broadcast and must never be the EPK (Electronic Press Kit) or marketing features used to sell the film before its release. My ideal is to present those materials (HBO segments, cast interviews on set, posters and trailers) as marketing ephemera under a "Marketing" chapter of the disc.
I mean, that is what they are when the disc is released. I hope there is a growing awareness on the part of viewers that EPK materials are not making-ofs. They are not documentaries. They are generally polite interviews done to sell the film and they feature footage of the work usually shot over very few days of the production. Interestingly, as many times as I have tried to do this, putting marketing in its own chapter has never worked out. And getting interviews with marketing executives at the studios turn out to be the hardest interviews to get.
So, back to the look and feel of DVD. I chose to shoot in a cinema verite style as much as possible; not to overlight, to make everything feel intimate and off the cuff. I had varying success with this approach. Frankly, I think it drove some people (particularly by-the-book, desk-jockey QC types) at some studios mad.
I am not a fan of two shooting techniques that are now de rigour on DVD: the interview on a dressed set that we now see almost everywhere, nor the use of green screen to create that same effect in compositing (a technique we saw a lot of in 2002-2003). It dulls the disc for me. But they both solve the horrendous legal issues of shooting in the real world and I have had to do it and do it a lot. [I am gritting my teeth here.]
Legal clearances for DVD have become a nightmare! In the Criterion days of yore, a release form for a commentary was one sentence long! On another front, I once did an interview with a guy in his home and on the desk behind him, in the lower corner of the frame was a statuette of Marv, one of Frank Miller's creations. The interview was hand held. Legal said, lose Marv or cut the interview. We spent a week rotoscoping poor Marv out. All I see these days is the little black blob on the guy's desk.
So why CV (cinema verite)? Why handheld? Why not on a set, "properly" lit? Because people in their own world, interviewed intimately, even sloppily, shows you so much more about who makes the film, what they believe, how they work…it's always more revealing. Because of legal we are more and more having to listen to people talking rather than seeing what they do, how they live. That said, I am bending to legal requirements and using CV now only when I think the filmmakers would prefer it and I have time to animate out all the legal red flags.
DVDActive: And your opinion on DVD menus, specifically?
MR: The Criterion lasers were Adobe Photoshop and After Effects (it was called TK at the time) heavy. It seemed to me at the time that no one (in the office) really listened to the commentaries nor watched the features. So, as a producer whose motto is "It's the content stupid!" I developed a prejudice against over-produced menus.
When you have menus with umpteen doors you have to go through to get to a feature, or when you have to sit through some silly prompt spoken on the menu, "Which door has the tiger? Which door has the lady?" or even having to listen to some dreadful audio loop ad nauseam, I mean really, how many times do you want to do that?
In the early days of DVD, when sci-fi and action film lovers drove sales, this kind of menu was an extension of their game-playing experience. And I think it is that game's mentality that lives on today in many menu systems. This kind of menuing is all about the menu vendor and often takes the filmmaking down a peg.
Films do not belong in gaming environments.
Certainly there are DVDs out there that boast game playing as part of their experience. Game playing was an early selling point for DVD. I think it was inherited from all the failed gaming companies of the mid-90s. I think it's interesting that while the studios adopted the Criterion model for special editions wholesale, they did not look at what Voyager, the more innovative side of the company, was doing. There Bob Stein was exploring CD-ROM programming to re-imagine books on disc. If the Criterion model is essentially built on the book metaphor (the original logo for Criterion was a laserdisc turning into the pages of a book), then Voyager was working to extend that through hypertext into the next stage. The DVD spec is not that robust yet. The HD-DVD and Blu-Ray specs promise improvement, but I wonder if producers will be adapting the current one-dimensional models instead of re-thinking the whole thing.
For a time, the lack of robust programming on the desktop side of DVD forced game-oriented menuing and features over to the ROM side. Unfortunately, that is now returning to the desktop side. I think on the desktop side things need to be way more elegant to be useful. What you want is for the user to return time and again to the disc. Waiting to get from here to there should be minimal. Likewise, if you forget where stuff is it should be easy to find.
Rather than merely throwing down features just to pack the disc the producer should plan the authoring to enable the viewer to follow a path through the disc experience – and this should extend the film watching experience. In other words, we should be creating a narrative out of many pieces.
By the time DVD had its first big toehold on the public, approximately 2000-2001, the many new users forced DVD menus to simplify and standardize. Since the menu greets the user it has to be entertaining to a degree, but super-clear about how to open up the disc.
I think in this and a desire to keep menu costs down, menus are sometimes carelessly constructed. There are enough bad menu systems out there that we can mistake them for the norm.
COMMON MISTAKE CONSIDERED NORMAL: hiding commentary in the audio set-up menu. This use of menu language is confusing. I myself wouldn't know to look there! Audio set-up means stereo, 5.1, and maybe language set-up, etc. That's all. And you are often more than three clicks away from this choice. The same people who make this mistake often compound this and lock you out from surfing back to the feature from the commentary track. You are forced to go out and come in again. What is that about anyway? I think it is a misinterpretation of film presentation purity.
SOLUTION: Main Menu - Special Features - Commentaries - (Optional additional pages if more than 1 commentary). Audio channel surfing allowed. Let me explore the scene with and without commentary as I see fit.
DVDActive: And your new discs are obviously constructed with those theories in mind?
MR: Let's use I, Robot as an example. What are the theories behind the design of the menu and the structure of the content within it?
The design of the disc should be transparent. I believe that menus should be intuitive and integrated into the experience of the disc.
1. Never more than 3 clicks from home.
Many menu systems today force the viewer to cycle back through 1-4 or so key menus and a number of sub-menus. The effect is to wear out the welcome of these essential pages, while simultaneously confusing the viewer. The menus seldom offer a reason for choosing one item over another.
2. Make the menus part of the content.
I, Robot employed Progressive Menus. Except for the main page, "home", no one menu page is more central than another. As a result, the viewer is seldom more than three clicks from home (the main page) and the disc is authored to progress through the features and in this progression add to the viewers' knowledge about the making of the film, its sources and themes in a way that creates a narrative. Show the viewer this thinking. Use footage from the documentaries or create a graphic system that extends the information in the features. Create match cuts from the menus to the features.
3. The disc tells a story. Organize that story through the menus.
When the viewer is faced with 3 hours plus of material, there needs to be a sense of it all coming together. The disc is always in Play All. The disc with all the features on it is organically constructed.
4. Authoring should allow the viewer to quickly return to their place in the disc.
DVD players cannot yet remember where you were once you eject the disc or turn off the machine. That may change, but in the meantime, the menu system should reveal a structure. It doesn't have to lay out everything all at once, but it should indicate that there is purpose and direction. I use time-outs to let the viewer know that if they make no choice, the disc will make one for them. At least they are lead through a major part of the disc.
5. DVDs are movie theatres, not games.
Let's not forget that watching movies is not the same as playing games in one crucial way: it is by-and-large a passive experience. Play All is the passive viewers cry for "Tell me a story!" The Progressive Menu system assumes that wish and allows for that choice as well as a more interactive approach. This use of time-outs encourages the viewer to develop an intuitive map of the disc.
DVDActive: There has been criticism from reviewing circles (including DVDActive) of the menu configuration on the I, Robot discs. Have viewers just misunderstood its makeup or is it a case of possibly missing the mark during the production on that one?
MR: I am not totally happy with the look of the menus. We are correcting some things on the US Region 1 2-disc release. But I am very pleased with the way they are authored. I think the fact that the disc pretty much plays itself is lost on viewers used to the more typical carpel tunnel menu systems that abound these days. It was my hope that offering up the features in chunks as footnotes would be a good way of creating a progression of information that would be like a narrative, allowing a stop-start use because you know where you are on the disc. Using this system I think it is more likely viewers will watch everything but in their own time.
Also, there are two distinct menu systems on I, Robot. One is the Progressive Menu system. The other is a traditional Index that is thorough, well organized and features play all buttons for every feature. If you do the progressive menus once you can always use the index to scoot around or go directly to one thing.
Maybe where we fail is in creating whole linear pieces that do not fall apart as well as I would like. What I mean is that maybe they play less well in pieces than I had hoped. So the effect of information progressing is dampened. I will be curious to see what kind of reviews my other use of Progressive Menus will get. Lilo & Stitch is out in Italy and I think there is a review of the disc on a UK web site.
DVDActive: With the advent of the Internet basically anyone can become a critic. Do you tend to listen to the criticism from rank-and-file reviewers?
MR: Movies and movie going are changing. We are all part of this change. From Voyager/Criterion days onwards, critics have played an important role for me in developing approaches, rethinking disc structures and answering wish lists for features. I will read as many reviews from every source that I can find. I used to have a policy of not responding to reviews. Now I do (respond). I think the dialog is a necessary part of the evolution of the format. Critics and producers are weighing in from the trenches, and I think that's really important. Let's fight it out in the open!
Also I am an advocate of visiting stores to see how titles are presented on the shelves. It is a clue as to how the viewer first comes into contact with a title. This is especially important with less well-known films. The dialog has to extend beyond presenting the product and waiting to see what sticks.
DVDActive: Do you think there are many misconceptions when it comes to the general public's view on DVDs? The time restriction on featurettes including actors, for example?
MR: Some of the issues for producers that viewers and critics may not be aware of are the restrictions under which we work. There are guild agreements in place that require an interview with the screenwriter be offered if the director is interviewed. If clips from a film are used in a documentary, the documentary cannot be longer than 30 minutes, so we often make many little documentaries that progress through the story of the disc (there is no Play All option for the Day Out of Days diaries on I, Robot for legal reasons). The DVD is perceived by some at the studio as additional marketing of the film as opposed to a continuation of the film (this is a subtle but extremely important difference in approach to the disc, like the EPK argument above).
So, before you complain about no Play All options or why every feature is short or why someone is missing from the disc, please consider there might be a very good reason for any one of these decisions.
DVDActive: Something we all bemoan is the difference in extras across different regions, or merely the lack of any supplements at all. How accommodating are the studios when it comes to collecting special features?
MR: This is a decision making process I do not know enough about. I believe our special edition of Seven was one of the first DVDs to be exported with all its special features intact. Our recent special edition of Reservoir Dogs, on the other hand, came over incomplete. Missing are the disc one features, including the critical commentaries. These were unique, jump all over the movie commentaries. I loved them because like our Chris Nolan commentary on Insomnia they re-sequenced the feature to fit the speaker's argument. Too bad they did not come over. I liked them a lot.
On the other hand, I, ROBOT has all its special features everywhere except the US! That's coming. Clearly DVD has the capacity to go "day & date" worldwide. As it should. I think the studios are still experimenting with release patterns. And I think the attitudes in various territories toward special features have been in conflict.
DVDActive: With a lot of the marketing of films now also focused on the eventual DVD release, how important is it that producers and collaborators on the DVD have some sort of a cinema/filmmaking background?
MR: Very. DVD producers should look at themselves as departments related to creating the film with the filmmaker's guidance and extending the life of the film through thoughtful presentation. A film's theatrical life can be as short as seven days; its DVD shelf life can be seven years or more (Criterion ports old laserdiscs to DVD, that makes my special edition of Lord Of The Flies about 15 years old – not bad for a small, experimental narrative!)
DVDActive: I must admit to being a huge fan of the Magnolia diary on the DVD release. Do you have a favourite disc that you've produced? A favourite particular special feature?
MR: Thank you. That Moment – The Magnolia Diaries is probably my favourite feature that I have done until now. It just won the top award at a French festival dedicated to making-of productions. We don't know who walked off with the prize money, but it certainly wasn't me!
These days I would add to it all the work on I, Robot and a small Warner Independent Pictures title, Around The Bend, that streets in February 2005. I love commentaries and I think I have made some very good ones. The tracks for Lord Of The Flies, Naked and The Silence Of The Lambs, all for Criterion, lead directly to those on Boogie Nights (a great track, all Paul) and Blade.
I am extremely proud of all four tracks on Seven. We worked very hard to make sure there is no redundancy on the four tracks. Fincher's wonderful – this was my second track with him and we did it without watching the film, just talking for about 4 hours!. I think both tracks on Dark City and the unpublished track for The Crow, Mike Leigh and David Thewlis with the late Caitlin Cartlidge on Naked, Lars von Trier and others on Dancer In The Dark, Chris Nolan on Insomnia, Randy Newman on Pleasantville, Lalo Shiffrin on Rush Hour and on The Corruptor James Foley (so good we made an additional set of commentary chapters for him to cover about 1.5 times the film) and Carter Burwell are both worth a listen.
When it comes to features (featurettes if you want, still called supplements in my book) I am very proud of the Criterion laserdiscs (some that made it as short lived DVDs) of The Silence Of The Lambs with its look at serial killers, This Is Spinal Tap with the first legal presentation of the outtakes, Lord Of The Flies with its piece on shooting the film, Naked's a terrific look at scenes from Leigh's prior work with a good commentary from him about how he works), Robinson Crusoe On Mars, featuring excerpts from the original screenplay by Ib Melchior and El Cid, which features a too-short look at director Anthony Mann.
The one project at Criterion that was a true labour of love, and for which I was almost fired was Andrei Rublev. I had the film completely re-subtitled and did that without permission because I knew they wouldn't do it otherwise. I still like to believe that the Criterion "Scorcese" version is the director's cut and it is the only edition properly subtitled. Andrei Rublev has clips of a lost documentary about Tarkovsky that's recently been found, plus an innovative commentary for laserdisc by Vlada Petric.
Also while at Voyager/Criterion I love the editions I made of Hardboiled, The Rock (yes I like this film and I think the commentaries and special features are solid), Tokyo Drifted and Branded To Kill (I brought Suzuki to Criterion and HVE). The interviews I did with Seijun are some of my favourites if only because he is so playful.
More recent favourites include Blade, Reservoir Dogs, Insomnia (the Chris Nolan version), and the A Nightmare On Elm Street Box Set is pretty solid, Dancer In The Dark has some terrific stuff on it. I wish there was more of the material we had prepared with Lars von Trier though. That's a long story…
The comic book documentary Unbreakable is a favorite if only because you get the gamut from Will Eisner to Frank Miller. All the documentaries on Cast Away are good. I wish I could say we shot them. But the 2-disc edition of Lilo & Stitch recently released in Italy has to be one of the best discs we have ever made, period.
DVDActive: Do you tend to stick with certain filmmakers over the course of their careers at some point?
MR: I have been lucky to be part of five filmmaking "families": I love working with David Fincher and his cohorts. The Game and Seven are two outstanding discs. We have also now done a few things with David Lynch. I wish we had been chosen to do more. But I am very proud of Twin Peaks: Season One and all the features in Tibet. I think our version of Fire Walk With Me is a misfire. We are currently helping out the producers of the second season of Twin Peaks.
I have done all of John Waters laserdiscs and DVDs. Polyester was the first. I recreated the Odorama card to scale (this was repeated by New Line in miniature for the DVD release. I love the two newest titles we have done for him, A Dirty Shame from New Line and Cry Baby for Universal. And finally I am so grateful that Alex and Topher to have let me in a few times and that we have done good work on Dark City, The Crow[/i] (our version never made it to the street …but that's a really long story), and now I, Robot. God, I hope there are more.
After looking back on all this, I am most fond of That Moment. Magnolia is an amazing film. What a great set it was. My documentary barely scratches the surface of what went into it, but at least I got the chance to try.
DVDActive: The advent and popularity of DVD has arguably changed our viewing habits to the point where the cinema experience is reserved for bigger budget releases. Is there a certain degree of satisfaction in authoring a smaller-scale production that can find its niche on DVD? The Dreamers, for example.
MR: This is something I want to explore even more. It has been my experience that titles can be re-invented and rephrased for the market when they get to DVD. I am very interested in titles that go straight to DVD. Where is the modern theatre? It has situated itself in many places at the same time and no one place is more important at the moment. You may enjoy a film as much in the theatre as you might at a friend's house with 20 friends or just by yourself on your laptop while flying home.
The theatrical presentation of films is becoming a metaphor for presenting films. As I have said above, this is what should guide the design of DVDs. If the menus are the curtains that part to reveal coming attractions, followed by the feature film…well, you get the idea. We still need to explore and expand on the book metaphor that gives us chapters, footnotes (supplements), and a parallel version of the "book" with commentary on the main text.
DVDActive: How do you see the future of DVD production? Is there scope for new techniques and standards or do you think it will taper off a little since DVD has become so mainstream?
MR: I think we are in a rut at the moment especially on big A titles – you can't tell one producer from the other. DVD special features now feel like wedding videos to me: there's the making-of, the CGI doc, the gag reel. Hey, I am guilty of this. The danger is that they all look alike. I, Robot is distinguished only by its menu system and maybe by its organic approach to the entire disc, but much of the content could appear on any big-budget disc.
DVDActive: Can you clue us in on what is coming up from Three Legged Cat? Any of your work DVD fans should be on the lookout for?
MR: I am interested in taking this menu idea further but by working more closely with the filmmakers. The disc should be an extension of the vision of the film. We have a lovely disc coming out about a first time filmmaker getting to make his labor of love after 10 years, Around The Bend. I mentioned it in passing above. It's a very simple disc for WIP. I hope the making-of and the commentary combine to give viewers an insight into the real heartbreak of filmmaking as well as what it takes to get through your first feature. I also want to explore straight to disc titles. I think here could be a whole bevy of issues that ask to re-think DVD. Maybe we can argue over this when we do one.
Finally, thanks Pete for this opportunity.
No, thank you Mark. It's been great to have a really good insight into the theories and workings of a DVD, in particular the menu system and its structure. So often we tend to take things for granted in terms of what we expect from those shiny round discs, but maybe this interview might lower our expectations on those actually producing the content and lay it on the studios to get more creative with their thinking for the home video format.
And finally, there's no need to defend your love for The Rock on this site mate, that's for sure.
Editorial by Pete Roberts
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New director general Tony Hall: BBC can overcome crisis
Tony Hall, the new director general of the BBC, has said he is confident the corporation can get through a "really tough few weeks".
Lord Hall, chief executive of the Royal Opera House and the BBC's former director of news, said he cared passionately about the organisation.
"I am absolutely committed to our news operation as a world-beater," he said.
His appointment follows the resignation of George Entwistle in the wake of the Newsnight Lord McAlpine row.
Speaking at a news conference at the BBC's headquarters in central London, Lord Hall said: "It takes a lot to drag me away from the Royal Opera House Covent Garden, a place I love hugely.
"The reason I'm standing before you today is because I care passionately about the BBC, about what it can do, its programme makers and the impact we have in all sorts of different ways.
"It's one of those extraordinary organisations which is an absolutely essential part of the UK, of Britain, of who we are, but also has this incredible impact around the world too."
He said he wanted "to build a world-class team for this world-class organisation".
'The right person'
Sixty-one-year-old Lord Hall is due to take over the role - currently occupied by acting director general Tim Davie - in early March, on a salary of £450,000 a year.
Lord Hall joined the BBC as a news trainee in 1973 and during his 28-year career at the corporation oversaw the launch of Radio 5 live, the BBC News Channel, the BBC News website and BBC Parliament.
He is believed to have been on the final shortlist for the director general post in 1999 when Greg Dyke was appointed.
BBC Trust chairman Lord Patten said Lord Hall was "the right person to lead the BBC out of its current crisis" and the "out-and-out outstanding candidate".
Introducing Lord Hall at the news conference, he confirmed the Trust had approached him directly.
"We might have considered going through the whole lengthy recruitment process again...
"But I believe the approach we have taken is ultimately in the interests of the BBC and, most importantly, licence fee-payers as we have got the best candidate and he will help the organisation quickly get back on an even keel."
He added: "We had a process with Tony where we interviewed him and he interviewed us and asked some pretty good questions about the BBC."
"If you appoint the outstanding candidate it does seem that arguments about the process are somewhat by and by."
He said was "delighted" Lord Hall will spearhead the task of rebuilding trust in BBC journalism.
He said: "Tony has a formidable reputation, first of all in almost three decades at the BBC. He's had an equally distinguished record as leader of one of the great cultural organisations in the UK."
Mr Entwistle quit on 10 November - 54 days after starting - saying that as editor-in chief he had to take "ultimate responsibility" for a Newsnight investigation that had led to the former Conservative Party treasurer, Lord McAlpine, being wrongly accused of child abuse.
It came after the BBC had already spent several weeks at the centre of a scandal over alleged sexual abuse carried out by the late DJ and TV presenter Jimmy Savile - some of it on BBC premises.
The corporation has launched several inquiries.
The BBC's arts editor, Will Gompertz, said Lord Hall had been an innovative manager after leaving the BBC in 2001 for the Royal Opera House and had transformed it as a business.
But he said the BBC was now a much different place, and in a "changed" media landscape Lord Hall would face challenges in taking it forward.
Former BSkyB and ITV executive David Elstein said he found Lord Hall's appointment puzzling.
"Tony's an excellent person, who was turned down for the job in 1999, when Greg Dyke was selected and who couldn't be bothered to apply for the job last time," he said.
However, Lord Patten told reporters that Lord Hall had been approached but had been involved in the London 2012 arts festival, the Cultural Olympiad at the time.
"He said he'd loved his time at the BBC but maybe a younger person should do the job. Clearly by this November things had changed substantially."
Culture Secretary Maria Miller said Lord Hall had "a very strong track record in successfully leading iconic organisations" but added: "It is important now that Tony Hall gets to grips quickly - to provide the stability and certainty that the BBC needs, and restore public confidence."
Labour leader Ed Miliband said Tony Hall was an "excellent choice" but must restore confidence and trust in the BBC.

subset: commoncrawl


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Kurtley Beale confirms one-year Super Rugby deal with Waratahs
As expected, utility back Kurtley Beale has confirmed he will return to the Waratahs next season after a turbulent two years at Super Rugby rivals the Melbourne Rebels.
But perhaps not as predictable was the 24-year-old announcing on Thursday night that he had signed only a one-year contract to remain in Australian rugby.
Beale, who spent two weeks this season in a rehabilitation clinic for alcohol-related issues, made it clear he was keen on a return to Sydney to be closer to family and friends.
"I feel at home in Sydney; it's where my family is," said Beale, who has often stated he would like to test himself in the NRL one day after playing rugby league as a youngster.
"I'm really looking forward to playing some good, consistent rugby.
"I hope next year will be a big one for me."
Beale's attacking spark and versatility would be regarded as central to the Wallabies' hopes at the 2015 World Cup in England, but will need to impress on and off the field if he is to re-sign with the Australian Rugby Union and play at the tournament.
I'm really looking forward to playing some good, consistent rugby. I hope next year will be a big one for me.Kurtley Beale
"I'm excited by the Rugby World Cup on the horizon," said Beale.
"And I'm just looking forward to getting back to playing really good rugby, having a big year for the Waratahs and hopefully getting selected for the Wallabies."
Beale joined the Rebels last year but a series of off-field incidents, including a punch-up with two team-mates in South Africa, led to him leaving the Victorian capital.
Beale signed with the Waratahs in 2007 straight out of school and became one of Australia's most exciting backs over five seasons at the franchise.
Back in Sydney, he will be hoping to return to the form that resulted in him being nominated for IRB Player of the Year in 2010, while he was named the John Eales Medal winner in 2011.
Although he played at full-back for the Wallabies in the recent series loss to the British and Irish Lions, Beale has stated he would like to start at five-eighth for the Waratahs.
Beale had shoulder surgery after the third Test loss to the Lions in Sydney in July and will be sidelined for the rest of the year.
"It's really good news for Australian Rugby and great news for the Waratahs - he's a high quality player," Wallabies coach Ewen McKenzie said.
"Given the Waratahs' brand of football, he'll really add to the mix there.
"I'm looking forward to having him back playing his best footy; that's obviously a good thing for the Wallabies."
Topics: super-rugby, rugby-union, sport, sydney-2000, melbourne-3000, vic, nsw, australia
First posted


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Louisiana Department of Wildlife and Fisheries Enforcement Division agents cited a Belle Chase man for allegedly driving or operating a vessel while intoxicated (DWI) on Aug. 27.
Agents performed a boating safety inspection of a personal watercraft (PWC) being operated by Kevin Hoots, 40, in the Intracoastal Waterway near Lafitte. During the inspection, agents detected an odor of an alcoholic beverage on Hoots' breath.
During the standard field sobriety test, agents determined Hoots was impaired. Hoots also registered a blood alcohol content over the legal limit of .08 after agreeing to take a Breathalyzer test. Agents booked Hoots into the Gretna Correctional Facility for a first offense DWI.
First offense DWI brings a fine between $300 and $1,000, up to six months in jail or both.
Alcohol can impair a boater's judgment, balance, vision and reaction time. It can increase fatigue and susceptibility to the effects of cold-water immersion. Sun, wind, noise, vibration and motion intensify the side effects of alcohol, drugs and some prescription medications.
In Louisiana, a DWI on the water carries the same penalties and fines as on the road and includes jail time, fines and loss of driving and boating operator privileges. Also, each offense of operating a vehicle or vessel while intoxicated counts toward the total number of DWI crimes whether they happened on the water or road.
Agents participating in the case were Senior Agent Doug Danna and Agent Jared Taylor.
For more information, contact Adam Einck at email@example.com.


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9. Please Please Please10. Red Red Red
Quote from: modage9. Please Please Please10. Red Red Redworst two song titles in a row ever.
1. Ch-Check It Out 2. Right Right Now Now 3. 3 The Hard Way 4. Time To Build 5. Rhyme The Rhyme Well 6. Triple Trouble 7. Hey F*?# You 8. Oh Word? 9. That's It That's All 10. All Life Styles 11. Shazam! 12. An Open Letter To NYC 13. Crawlspace 14. The Brouhaha 15. We Got The


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Str8 Boys BarebackFavorites [+]
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Running Time: 93 minutes
Studio Name: Dallas Reeves
Director: Dallas Reeves
Description: We believe every str8 guy is a little bit curious about what it feels like to suck and fuck with another man. These guys take that curiosity further for a bareback experience with Dallas Reeves!
5 Scenes from Str8 Boys Bareback
Str8 Boys Bareback: Scene 1
Starring: Dalton Pierce Maxx Fitch ... More Details
Stars: Dalton Pierce, Maxx Fitch
Sex Acts: Oral Sex, Masturbation, Anal Sex
Positions: Standing Doggy Style, Sitting, Standing, Standing Missionary
Settings: Office
Str8 Boys Bareback: Scene 2
Starring: Jack King Milo Fisher ... More Details
Stars: Jack King, Milo Fisher
Sex Acts: Oral Sex, Masturbation, Anal Sex
Positions: Laying, Missionary, Reverse Cowgirl, Side Saddle, Spoons position
Settings: Bedroom
Str8 Boys Bareback: Scene 3
Starring: Robbie Rivers Maxx Fitch ... More Details
Stars: Robbie Rivers, Maxx Fitch
Sex Acts: Oral Sex, Handjob, Masturbation, Anal Sex
Positions: Doggy Style, Kneeling, Laying, Missionary, Reverse Cowgirl
Settings: Bedroom
Str8 Boys Bareback: Scene 4
Starring: Dylan Drive Milo Fisher ... More Details
Stars: Dylan Drive, Milo Fisher
Sex Acts: Oral Sex, Male On Male Action, Anal Sex
Positions: Reverse Cowgirl, Sitting, Standing, Standing Missionary, Standing Doggy Style
Str8 Boys Bareback: Scene 5
Starring: Nicoli Cole Zane Anders ... More Details
Stars: Nicoli Cole, Zane Anders
Sex Acts: Oral Sex, Deep Throating, Handjob, Anal Sex, Rim Job
Settings: Dining Room
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text: Seller: sarmat1968 (1,465) 100%, Location: Europe, Ships to: Worldwide, Item: 132196714700 Sarmat1968 Store Новый Документ Dear buyers! I present Gorgeous RARE Medieval Glass Stones PENDANT CROSS 16-17 century AD. 100% authentic very rare item 16-17 AD period. White glass stones. Material: copper alloy, glass stones. Unrestored, cleaned. Condition: very good for this age, wearable, see pictures. Perfect item for collection. I accept PAYPAL I send parcels within 24 hours. Delivery time to Europe makes 8-10 days, USA and South America 12-15 days, Japan and Asia countrys 8-10 days. Thanks for attention and good purchases You can write at any time and I will answer all your questions.


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VIDEO: Horford's Game Winner
ALL BALL NERVE CENTER — It's a good thing we put the Horry Scale on wheels a few months ago, because we've now had to break it out two weekends in a row. Tonight, Al Horford answered his former Hawks teammate Joe Johnson's overtime game-winner from a few weeks back with an overtime GWBB of his own.
Before we get too far into this, we should stop and explain: What is the Horry Scale? For those who are new around these parts, the Horry Scale examines a game-winning buzzer-beater (GWBB) in the categories of difficulty, game situation (was the team tied or behind at the time?), importance (playoff game or garden-variety Kings-Pistons game?) and celebration (is it over the top or too chill? Just the right panache or needs more sauce?). Then we give it an overall grade on a scale of 1-5 Robert Horrys, the patron saint of last-second daggers.
With the rules in place, Today we turn our tired eyes to my dear departed hometown, the ATL shawty, and let's check out tonight's game-winner from Al Horford…
I think this was supposed to be a play for Hawks sharpshooter Kyle Korver, who ran off three screens on the wing but couldn't find room to get the ball. (A Hawks source told me they hadn't seen the Hawks use that set all season.) With Korver covered, Horford cut toward the basket, and Hawks big man Pero Antic lobbed it high and far. Horford made a terrific play creating space by keeping Washington's Trevor Booker an arm's length away as he drifted back, like a wide receiver making space to catch a pass. Once he made the catch, the shot itself wasn't all that difficult — the kind of jumper Horford hits with regularity. As a rookie, Horford was consistently left open for shots like this because he wasn't nearly as good a shooter as he's developed into. These days Horford is essentially money out to 17 feet — as long as he has room to get the shot off — banging in those flat-footed jumpers.
The Hawks led throughout the second half and were up by 15 in the fourth before finding themselves down two with seconds to play in regulation. Horford made two free throws with 5.5. seconds remaining in order to tie the game and prep it for overtime. When Horford hit the game-winner, the score was tied at 99 and the clock racing to zero. But the 1.8 second left when Horford made the catch gave him plenty of time to get the shot off, and just a short enough time frame to not allow the Wizards a touch once the ball went through the net. (Which also required me to write this post at 1:13 AM. Thanks Al!)
The more Horry Scale posts I've penned, the more GWBB I've examined, the more I've realized that when it comes to celebration, it's not always only about the players celebrating. Yes, the Hawks players are pumped up and they respond to Horford's shot with the requisite jumping around, but what elevates the celebration — any celebration, really — is the participation of those uninvolved with the actual game. In this case, I loved seeing Harry the Hawk sprinting down the court to get involved, and in a few camera angles you see several fans along the sideline leaping up and down.
The more I think about these GWBB, I'm not sure how I would ever give a game-winning shot a one or two rating. These are big moments, big shots, and I don't feel like we can rate anyone's big shot as less than average. That said, I'm going with three on this shot. It wasn't much of a shot from a technical standpoint, but the celebration helps, as does the game being in overtime. So I say three.
What say you? How many Horrys would you give Al Horford's game-winning buzzer beater?


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PRINCETON, N.J.—SightLogix, a supplier of intelligent video systems for outdoor areas and perimeter security, on Jan. 25 announced the appointment of Tim Fagin as its new director of support services. Fagin will be responsible for developing and implementing channel training, best practices and support programs.
Fagin joins SightLogix following five years with Tech Electronics, a security integration firm, where he led all aspects of technical service delivery including responsibility for sales, field technicians, system inspections and technical help desk.
© 2018 United Publications Inc. ALL RIGHTS RESERVED.


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March 1, 2008
BOSTON, Mass. - With only a handful of athletes representing, MIT enjoyed little movement in its national qualifying picture at the all-divisional New England Intercollegiate Indoor Track and Field Championships.
Omari Stephens authored the best placement during the weekend, finishing in a three-way tie for ninth in the pole vault after a top clear of 14'9". Stephens also finished 19th in the trials of the 55-meter hurdles with a time of 8.09.
Anthony Teixeira delivered the strongest effort against an incredibly competitive field, as he finished 12th overall in both the 55-meter hurdles and the triple jump. Tex reeled off a season-best 7.89 in the hurdle finals while he posted a mark of 43'5.75" in the long jump.
Outside of the hurdles, MIT didn't produce any notable performances on the track. Rookie John Granata finished 13th in the 800m behind a solid clip of 1:55.33 while Gihan Amarasiriwardena finished with an 8:54.41 in the 3000-meter run.


text: We had a wonderful time and enjoyed staying hillside in the Villa. I was shocked by how amazing the views were. The only complaint we had was Italian night. It was poorly displayed and the food was just okay. The BBQ night was a complete turnaround and everything was presented just as it should have been. The only issue is... More


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Carolina Watchman
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the carolina watchman l xix.-third series salisbury n c thursday september 6 1888 , a1«k '-• n - clkmen1 craige & clement < v nri:y n c '-«"■•'"■"' -.~ \ 3 irjnctll m d iro fcssiwnal servi<-e t«i thf - nid surroumlinj coniinuni 7 " v iptly uttcmled da | ; , v i lee nr lh prup il euniss llespeet fully ' i i cotncil m l ,- 1 . j the hcilig buildings 2iul ■'' .. ■• mm ls:'cn j?30 livivl n : and ins al sllp-iinn f.r v r i uhuimi i i mil i ii to tin •■rlc . ]■■(•. iiiii'i'in expected encases d(ln>.«9 slu - ' ma a v '■■•>. montclu ua j i mmfk m';i oinl«*rs exist in tlif.n ytt • -■':''> ■>■-■'''" l ' ' '■' ! '' ' l kl ■i -,!,,. w j k tlmt en i e i in ilalhtt & co pnrt hii curn n , , ,-, h rover rte«l k all succeed unfailing specific for liver disease 5vefldyarfiqi bitter r bad taste in jb l«r i j:,71o ■month tongue coated white or eo ercd with i brown fur pain in the back sides or joints often mistaken lor llh iim;ilisiii ; kout stomach loss t>f appetite nausea and water ir;i-i ■u : flatulency iind acid eructation : howols alternately costive ami lax : headache lossol memory with e p:iii.i .: i-i-ii uti hi ol liaviiif failed to lo pom i tli tig whl rhousht to have been done • l.biiilj ; low spirits a t lii.'ic yi-iiou ap ;. • anci ■■i skin nrnl ryps :; fe-y : iev r re alessm :~^ : the urine i and iiivli i-dlcircil and if allowed to simons liy:m li^aijlatoe purely vegetable is icaboriiij used in the south to arouse the toi pid liver to a healthy action it arfi with extraordinary efficacy on th i _^ and bowels an effectual specific tor blalarta bowel complaints dyspepsia sick hiii<lu.oli ( onhtipation uiiioasuesh f kidney aflvciions jaundice mental ueprvesion < ic 1 : ••' ■■•■- f if millions i ' the best fa^ilv for children i r aduhs an i ful 1 only genuine ' hr oui z 5tarap in : i n fi nt ol wn | , -/ ft 7eilin & co..philadelnh i per caot reducvo ff on sllyewabe ! i k next six^j d jjs a bargain to earlv callers respectfully m refsneb licaciinof je^veler ie company , a . string com 3 any \ ' — * - i king ■~ *• ■prompt ! * .'- ' •■•■' ■' .' !! : f ; ides browxe ■yg3nts \. . p itrsacnt vli.!.l j ('. i , ; i r outh sffutarn otal assets - - 75o,ooo oo i vllen brown evident zlgent sali burv n c forty vlv%k i ■itikls fiiuitb y0u my k nd reader ■you ] lanted n bounteous supply ' • n v j >] il e ■; ince the .. r d -:; -. [| not « lij not send in \ our - great bb ssings . ii i tic i line h cedar cove nurseries about n , million trees vines and plants . including nearly three icclimated . id at rock h ittom ; u at \ our nearest railroad h .■_•"■■- paid lean wants to i 1 1 a ra i titionafcto uids and il ♦ ■a . wt^pkease you ■nil slo-ky ad . n w craft prop - re y.id ve are deceiving ou ' t : r \] i vri \ ! [\\{{ is the king of glory , life of chiust kveii ■/, ; i r ■nii'l heaiitifully ■, low pi let - tncl v isi sales . bk1oi.k whkn voucan be ma kim from t'.o.n > to 1 in p t montn : i ji oa the american market that sells j 0 ■- r li i s ild looo | [) ■■,:■> u ,■sir 1 r <■;■■ing r - - pi ;■-. ■v i w|v ■■! ■■'' -. . . ■, if vivi l luierusi . i en lur-i-<i b i lie erf tii s in li one a mi li i contr 10 li ss tii hi a y<-ar keuij i ij uiij illusi r.iti'il ' ireulor 01 hie i">o 1 1 = > ■■>. we give it ii ru includiii , ■• :. -' i'm ling -. soi i iiw estekn i'cb house r spi p r n.i-'i illo tenn i vi ire lui oliu'staml lar^esi subs riptlon s mi li i m;r line of hi > ■l • — ure issed ; ' ; : ' ai - health i yfeal i a s tt'-tlew discovery great southern remedy having been from childhood i jrreat : suftvnu the result of protracted chills lifiit ' < miniating in diseases i nf l'jvorj ivi-iiits and l"riuar orsrans and inivinij tried iiuinv remedies known it h only temporary ualh succeeded in diseov erinn'it combination of vegetable reme ,:;,, which combination has proven i remerfv fbr diseases of all the internal organs superior to any kniwii iif a life if suli'eiin{i iind iraetice of nearly fifty r years » i'ajj by ii i have been restored v ■■ill ; a rttdpfcemcd to be inevitable de;»th to perfect health without takinji a dose ul any oi :. ! ■:• : >■ilicine in nearly two ast y.or fm.tb.ei jwrticulars api»h to your gistj or jxo f foari m i >. olin ircdcll county x (.'. july '.'. 1 3m ss el inm^i 1 clem philadelphia his paper^s r-m ' av rvki'5 son ■' nsc-3 reuu music nf the sea far nil hear the ocean ruiir far off the waves beat on the shore ] hear the music of the sea its hymn and dirge and jubilee | , i hear the moanin<r of the tide i see the wild waves triumphant ride and strike the rocks w itli giant blows as if the land and sea were foes p>ut as i listen to the sea i hear a soul of unity and feel beneath all'storms and strife ocean and shore lead love-locked life sounding amid old ocean's roll i bear the murmur of the soul it sobs it sighs it ebbs it moans tin song of life in diverse tottfcs the spirit voice within me sinir i'ii til frail faith finds form and wings until discordant miserj . and mill and in sad miustcelsy are lost ii inu.-ie rich and sweet re-sung in harmony complete sin on 0 soul sinir on (> sea sing life's divinest sj inphorijh frank phtlen in hoston trommal baby's epitaph april made me winter laid me here j away asleep : bright as may time was my daytime i night is soft and deep though the morrow bring forth sorrow well are ye that weep vc that held me dear beheld not a ! twelvemonth long all the while ye saw me smile ye knew not whence the soiig came that made me smile and laid me i here and wrought you wrong angels calling from your brawling one undeliled homeward bade me and forbade me here to rest beguiled : ; here i sleep not pass and weep not here ui)on your child - * al.fikknun swinkbikn e deifie man written for the washington post 1 nothing am can nothing be except a part <> uod of thee from thee ! come to thee i go how we are one i do not know as stars that shine by single sun so life in each is lite from one each is for all and all for each in ways no finite thought can reach ; but space is here and space is there and space is one and everywhere and lime is day and time is night ; one side the shadow one the light ' time was and is and e'er shall be the dial of eternity ' when death unveils this segment soul i insevcred part of cod the whole ; with god in christ and christ in man the circle ends where it began w ii i'l att agricultural experiment station the farmers of the st.rfe will doubt less find it largely to their interest io give more attention to the work being done in the agricultural rffcition iind with the view of eliciting the utten | tion f those who may see this paper wo copy the subjoined statement show : uig the sco f the work to which the ■. station is devoted special noti't l'or the work enumerate below ■much time must necessarily boconsnm ! ed the lines of proposed investi«ja ! tion will ivij'.iiiv nin.-!i labor ireful ' scientific work is very slow mid if well . performed will occupy months before results of value can *■■•' reuetowl \\ > caution our friends therefore to be patient and not expect too much ii the meantime we wish all who take in terest in the work of hi • exp rimonf station all farm ■•:■;' organiz-itions and oihers to disc-nss the matters mention ed nn the following payc and suggest to us jiny c.-pi'cia line of investigation which will b of benefit no t .» a few but t tlie whole section wlieiv they are located the expenmeni st;rtirm was estab lished for the benefit of the farmers of the state they should t;ik the live liest interest in its welfare and espe cially in irs present and future work ings by keppinga constant communi cation with it the station will be able to receive and impnrt many hint and srt&gostjoii that will be mutually valu able the director regards the correspond ence of the station is one of the most important nf its duties and as such if will receive his closest and p'rompt > at tention often however letters to the station fail to reach it owing to some fiiull of the mails direction v for which the mails only are to be respon sible t north carolina-a^rieiirttrral ex periment and fertilizer control sta tain.established in ls77 iuis for its scope /. cirmicil mi.-rom-opical il'or includ j in^r i the analj-sis of all fertilizers legally | on sale in the state •_'. the aiinaly-sis of auriciiltural chem icals of coin posts and home made ferti zei-s and all materials from which they can be made :?. the analysis of soils marls and mucks 4 the analysis of feeding stuffs •"». the analysis of i tahle and mineral j waters ii the examination of seeds with re j ference to their purity and capacity to germinate ' . ",_.,", v /.. 7 the examination of gvakse and j weeds • .. l 5 the study of insects injjuious ip \ vegetation .. . - - . ■_ - . . , t j tiie analysis of milk 1 : butter aud other dairy products 10 such other chemical and mjf.rpscq pie,;i investigation an is demanded in the i-xpe iimntal worl of '.''" tntion .// experimental work in the field sta '; we n<1 laboratory to included 1 the effect of different fertilizers on various soils of the state 2 the study of improved methods for ultivatiob of staple crops '■',. the study of the best treatment for worn-out lauds 4 the study of the best system for the rotation of crops .">. chemical investigation with prac i iie.ii experiments with cattle on the value of the various forage crops g investigation on the growth of new crops for this climate in comparison with ! those we now have 7 the construction of the silo and val i ue of ensilage s the study of the grew li of < attle us j ing the different feeding stuffs !». investigation in tha production of milk and butter urider different condi tions and with various implements lo digestion experiments with stock to ascertain the value of various food j stuffs 1 1 experiments with the various feeding rations to ascertain how far the ! feeding standards ran be relied on 12 such other work from time to time ! as may be deemed advisable for the inter est of the agriculture of the state ///. the collection and distribution oj meteorogicai ' data t such as will direely aid the various agrieultiial industries of the state this is done through the mi d iura of the state weather service which is now and has been a parl of the station acting in conjunction with the uuited states signal se.vu-e l tie work is <\ peeled to lie of benefit in 1 a foreknowledge of coming of cold \ waves protecting fruit and tobacco inter j ests | 2 a foreknowledge of the coining of frosts to be of beuetit in the same way 3 the distribution of telegrams oi weather indications transmitted in ad \ ance 4 the collection of various meteoro logical data in obtaining a more perfect i idea of the various climatic changes and thus in extending the crops now found useful in one section to other portion of the state 5 the collection and distribution of report showing the eti el of the weather on the crops during successive periods of their growth //'. a bureau of information for all sub jects connected with the agricultural in dustries of the state information of i this character given as promptly and careful as possible samples for examination will be ac cepted and analyzed 1 if they are taked strictly according to our printed forms which must be ob ained 2 if they are of su'fi rient public inter est . ". if the sta ion is free to publish the results visitors will be g'a lly welcomed at 1 unices laboratories and weather station in the agricultural building one block north of the state capitol j farm experimental stables and | dairy and plant bouse on the hillsboro ] road h miles west of the state oap ! itol and adjoining the grounds of the state agricultural society and of the agricultural and mechanical college both the laboratories and the farm have telephonic communication publication will be sent to any address upon application address dr 11 b battle director kaleich n c cotton seed oil a writer who discards lard for fry ing purposes on account of the uncer tainty of the character of that found in the markets declines butter as too expensive and too easily burned aid i-ejefts beef drippings as unpalatable to many proposes cotton seed oil as fol lows you don't like the taste of oil do von like the delicate flavor of flesh sweet chicken tat ? the tastes are al most identical the cost is less than that of lard a kettleful may be used time and again it will cook at a much higher temperature than either butter or lard it being purely vege table can carry no trichinae no form of scrofula into the human system it takes up in cooking less thin lard its merits have long been known to foreign chefs and are proclaimed aloud in cooking schools though some times disguised under the name of olive oil they who have used it the longest are its warmest friend and krmest adherents houssholl hints never send to the table the same food for three meals i;i succession un less varied m some way half a teasp ton of common table salt dissolved in a little cold wafer and drank will instantly relieve heartburn one pound and a half of copperas dissolved in a gallon uf water makes an excellent disinfectant for the kitchen sink scraps are a regular savings bank for the good co.k the greatest pos sible variety of good things can be made out of them a good cook throws aw.iy nothing every piece of bread every inch of m at every particle of vegetable can be turned into something p datable when you boil a cabbage tie a piece of dry bread in a b.tg and put it in the kettle freheh co ks siv that the*m plea ant o lor will b absorbed by the bread k lle w.is rich aild ignorant an 1 when tja consulted a builder concerning i new hoii.se hesaid " i w tut a wide pia.ir.ro o:i three sides where tlie chii ttetw-'ain ri le th dr little cyclopidas and enjoy the n i'.'lves ix-troitfrecpn s how the manufacturer show3 his love for the laborers from tharman's big speech it port fu ron now ray friends there is another ! thins t which i wish to c;ill vour tit : tention they say all ut once i sat ; all at once for it is a very late doo i trine these advocates of protection are seized with wonderful solicitude for the laboring man of the comitry j and they want a high protective tariff not to benefit the capitalist not to ben efit the monopolist not to ijenefit the inqnufacturer according to their state ; nienf but io benefit the laboring man he is the man they seek to protect and bow are they going to protects him why they say that a high pro j tective tariff will better his condition i give him more wages higher i would i like to know how that can lie i would j like to know how taxing a laboring man on everything from the crown of i his head to the soles of his feet u go ing tu enrich him | laughter and ap plause | yet this is exactly what this i tariff tax does it taxes him on the hat that he wears on that cap that i put on ray head to keep it warm j applause and laughter | it taxes him on his shirt on his necktie on his un derclothes on u coat on his vest on his breeches mi his stockings on his hoots on everything | llenewedcheer ing | it rai-es the price and tux shim until the poor man can hardly live it taxes him until he can hardly make i enough money to support himself and family if he has one and yet they say this is for the benefit of the labor ing man my friends that is a very bald-faced statement if there ever was one in the world but there is anoth er tiling about it how is in to get high wages why he is to get them because his employer the capitalist or monopolist will in ike more mon v and therefore can afford to pay his em ployes or hired men higher wages than he paid i hem before i agree that he could i agree that it increases his pro tits i agree that he might having these increased profits pay his laboring men more than thev were paid before bui does he do it ' that is the ques tion applause and cries of no no l)id you ever know him to do it | cries of no no j the tariff has been raised again and again and again it was immensely raise by the tariff of 1sc.1 or 02 i forgot which of these years it was it was raised in a few years again and it has been r is ed again and again and again and yet in all that time 1 never have been able to find the manufacturer or eapitali t who upon tin raising of the tariff has increased the price paid to his laborers if there was such a case it has esc lped the attention of averybody even of the diligent newspaper men who gither up all the news and s u:e':iines a greai deal that is no news at ali | merri ment i tat they have never been able to find that manufacturing man who increased the price paid his laborers be cause the tariff was increased hut my friends we have had for twenty seven year n any the highest tariff that this country ever knew fully on an average twice as high as it was before the war we have had that high tariff all this time now if that high tariff is so much for tin benefit of the laboring men why h ive not the laboring men in these twenty seven years grown rich i should like to know havethey cries of no no j if thev have they are v unreasonable m sn for not a year pass es over our heads thai we do not hear of strikes ol the laborers because they demand more wages and say they cati uot live on what they receiv again and again we hear of what are called lockouts that is where the employers suspend the operations of their mills and lock them up because they say they cannot afford to pay any more wages than they did p lv why are th i se strike " why are these lockouts why are there such institutions as la bor unions so as to secure better wa fjr es why is there urh an insti tution as the knights of labor prevent laboring men from being^'irifi ji i.rd up m and to increase their com pensation why is there a necessity tor all these thing and all these ex tensive and wort-hy organizations if a higher tariff givtsstiigher wages to the laborer nff'iriiu cai answer thai question satisfactorily even to himself if what these ni'*n say is true about high tariff an*d their effect upon wages wnv then genllenien all these labor unions all these knights of libor and everybody else who is engaged in that kind of business arc simply wasting their tim for the tariff nicely solves i he pr b!em for them j !> ingh ter and applause | yes but not in the way kiev like [ ken wed laughter ] jsot precisely i;i tne way that they feel as if tiie v ere benefited an i i h ■;•■■: rt they have to resort to ol her me i s to i'vt those wages which the einpl yer are not willing to pay but \\ bile i tni o.i this subject of the laboring m in let me add they s tv that the tariff das not raiss i.he price if it doesn't raise prices i would like t i know whv the in mufaeturers o so many of t teni are in favor of it 1 ■. ji >\ w.l it a in i i triff in ord r to low r the prices not many of thorn i think when t wo p i - - ms are too modest to speak of th i o.a n greutnes it may be accomplished by flattering e •.(•'.: other an essay on man written frqll tkk os a student ok vassar comikftb men nre poculiar they jfipaic no 10 brtots and shoos this is what rmflces ' it easy t6 recoofhi^e a man when yon i see one men wear hats they are care ' ful of and earn umbrellas they are not ! careful of wlim not ln-in them thoy are always poking them into some boiy's eye m>n dmt f*o5tp b:t ' they do go to their clubs nnrvtalk over the iiews men don"t paint ! powder often but they faw ! whi^kersthat makes them look tike ; seot.-h fern'ersj and coui the little'hair i moles to grow on their cfhns men afrfi hot vain but they never like the ybnrlg lady who savs thev arc iir t ' liandsorno men are con>isteiit they like to ' s-othc dress of a lady plain and sensi j ble hate furbelows and fltnnmerv i but let a lady in a plain sensible dress ! enter a oar where these men are seated ' and she may stand an hour and not i one of them offer her a seat but when a lady enters arrayed in the height of fashion every one of them will spring to his feet and glory in tho honm of standing for het sake or ratiief for the sake of her clothes men never find fault with themselves not if they ran help it adam showed them how they have profited by his instruction men take cold and think they are going to die and when you cany them a bowl of herh tea they turn pale and a>k von if it is bitter and if you don't lip:i >-■it would do just a well to take it noxi week ji'ii don't lead around a po>>dle dog with blue riobon but they chew tobacco and perfume their ehutbes wiih a pipe men are always wanting a clean shirt and when they get one they are always ready to swar that there is not a button on it when all the time t he button will be there only they can't lind them men can never find anything tjiey pull off their boots and forget where the put them and pretend they rein l inher just al about it and after they have ruinmau ed around and turned everything up side down aa i looke \ on all tho sii •;•. es in the p m try in mes swin n i ■. i ■drawer upsi your work basket s;t doivn and re'narli tiatthis edeifce f a house a fellow never knows when he gets out of a thing when h ; i's goiiil r to set eve on it again and wlu-a you bring his boots that you have f in i right where he*left thein ho lfands'yon iih slippers an 1 tahw lo k;hw if you can't jab them into some out of mie way corner where the old scratch would never look for em men think they know a lo and they do sometim •-. men are a trou'i'e but they are handy to haw in the house in a thunder shower or when the winds blow and they are act afraid of mice i know this i true because i omc saw two men chase a mouse arou id the room for an horn ( rarvre br less and neither appeared to be in the least alarmed toward the closj of the chase one of the men stopped to wipe his brow and rein irke i tint it was warm an exceedingly cold obser vation in mv opinion as it was cold and uncomfortable up oil fw flffll i of the lonirge where i wa ■-- iv^vr sf;i denf in home j<>uru<d -»«»•■- exparimani scatioa raleijli n c tm-'outaxr to faii-.r the experiment station hulletiii no •">;, v h 13 r:\tt1e dire.-l-r ins been received it is the tirst to i ( > printed in the preaent sliape an i will retain its convenient iorni o-tavo page in future issues in the introductory n'olico it is stated tint t 1 ::-^ series of rep rts of rogres.s uf the brpenttteirt station are in lilt main mieude-l ior liie people of i i c iro.inu and clu.irue oi s tyl(jj plainness f statement anl freedym from is ratlvr to be sought after tllot^ihvly s-'-if-ifi'i • hi 1 theoretical diswitesitjhs v!in-!i wo*w interest ojily tii^e ol soi»mititio trun ihg r . i arfc&fe 1 fc o i rii • v il i • aii'l i<'."(if m i-elm'!:^er'ru-nf in which ii explained : ii di*hc i!tv e ninecfc t'wrhi chemical auulvsea of ike soh an i state that ex^ejameuung in the ji-ni i hie only trusuyorthv method t 1 a..iiy ng iii ■sf)il an i obt linl ig ta m >< trust'.vorthv r--.iits this ir ;<■!•■pn f.iee.s a series of future rep ■' ■"'_ tield - expsr«|reii^<«ow in p e.,n i oli by practical tifuu<m under the diree tion of tbe expe*i"iuient station j;i v rj rioi]i counties uj liie tale o:i diffen us crop j cotton cui'ii i i.;"o ■-. a :<:-.. etc wliir-'i proiuis f j })_• v -._> i esting nd in-trif-tiv owing to the i aet tii it th e i periineat station r-c-iv :■> a t m enact uient of the i "_-:-:. ii •:■; eti - oi funds iv m tut il t:a nc . . • , ip t.itious have lx j en in larged and m • scope r ior t e wreath :•■•-■■■• '• in addition to k nar il m ai.-e,;uv b ii and is n > a ij^iutf u i : aji ( •• ir . which o ir pe ■[>'■■■are tjb ■..- i i icr ; mi inte 1 work is \? ! h ; . g to w ird the c u ■;:■ictiou of e •■; ... sta l's and cl r'i \ inv •:■■,' rtioti wiil ue can-ie'i hi r :^ pmdtreh h t m 1 ; and barter m the gro*i i oi tie the valae of liuei^ni fupd-atuffs tii value of ensil ige.et -. tne isiati n bas faciiilies also i r tli ■ex miin o f crmsses fco as ert lin wh ither they are benehcinl or injn ' ■is in growth in i special notice fhe director rails attention to the slowness of all scien tific investigation where nemtuey is desired and cautious the people fcot to expert too much nor fo oxj>ect it too m'li.-kk h is>t;,r.'.i that the comv pomfcnre of the station is regarded aa one of the must iittportant of its duties nml as siicli will receive the closest and prompts att.n.ion the fanners of the state for vvhosj lent-fit t he statiou waspst-ihliv nre'e'iirnestlv requested tiintpirst themselves in the workings of th stiitii'ii as well as to sifaffest any inv.xti-.ai.^^^hicl may bltact their sections r phe publications if lie station are free to those who re^u-m them what sc:e:i:?ha3 jo53 for farming i-rof pftf mi ; i mm vmm k\rr.k i ill nt maiita tue gist n'apoleon deolawd thai a^r^-ultare was the li:mig of a li naiiyn ul prosperity lwni.u:ly know.s that : ui'cn ho set mfib i.ooo.p(it mile's as i uiujntenance of six experiment stations j for the development of t h beer-sugar j industry aloue.he laid the t on n«i;it ic»ti of an uidustrv which to-day controls the markets of the world in thisimpor tant commodity and which has rcduml the cost of i et->ugar from forty tn less than thnc i entt«per pound kvery j body knows that it was the ambition of • frederick the gmrf to make his realm liif torenio-t power in lvuope one nmided yea is ago his agacitv led him to appropriat ■>■:{•.>.( m li nnit a vvar for th devolopiiient of the aijriciiltiir.il rt'soiir i 1 - oftrhssia and this too when his kingdom was miiili and impoverished : hverv new iii aster was met by some expedient forstipngtheningthe produc tive resources of t in coniitrv jnst nt j fer the i > ; 1 1 1 1 • - of lena when the terri ; tory of prussia had been reduced to '■altout hall its former area the famous schsol of sleoghn was founded after tin 1 ivvol in 1 lm,s t 10 department uf agii nit ure was placed under a spe cial minister after he battle of sad owa the ayrii ultural eollegfc of jioipsic was established ami h.00o was given to pro iil scientific uistrmfients and the appliance ni instruction alone , t - , liaj ; weutf'ptufessors in this institution devote 1 heir e;iiii ( . time to matters per taining to ii^iicukure what are tho results a century o much of prus sia was liaif.ii | ■i ; 1 1 1 1 .- oi suud wild and iibsokitelj unproductive more of it was . vamps and rn brasses ' v holly givin over to wolves mm bears to-day fcho.se sandv'pli-ns - iw \ those traektars swamps are the g«n;deusof kurope in the < ierni in empire aloue tiiei-e are now 1m agricultural experiment stations wholiv devo'tei t i file de.ve|i>pc:ur>nt of what washington trulv declared to be th ■iol)!e.-t occupation of man . in england oae m m established and for fort v-live veal's has maintained with a permanent endowment of s?rii)o.o(vt ' an agru-iiitur.il experiment stati m at iiothamste 1 it would hike a day tirr : recount the valuable service which tms institution has rendered to english ag jv ri u'.ture in brief it may be said thut . '[ within the past thirty years the avt;r .'" age yield of ci'ojis in ehglaris lns-beoii nl most ti-l'blh ' ■' ' to-jav tfieh i-i not areasdbah'e ■do'ilit bill that with no increase of 1 ■bor but siiuplv with increased iiitelh tiie isricultnrul pnxlucts of the * empire s^tatn nny be dcwiweil witlr'n tea ea:-s and tile profits increased ten fold liy the infelli^eut application of flie wor'c t itr a^nciiltural experiment station it tliev are liberally support ed lov^..soa : of the prairie lark as the fill priti ti'ii f»rnr an the number of flies short chants is rreal i \ nj ■■1 while their prolonga : sons alifi variations are without lium ix.y i m-i -■■hi it o ■! n's evident to the m t mow bl u!j:ei v.-r t'.iit tne love-iires ar kiniiiin ami thai earn musician j li i i i4 ' ■i i • ntrii ><\ of his po'wers . v '>\\. l ritals nid win the ladv 1 ; ' - .•:■,'.!,('. o.i one occasion an 1 i ! ,\ ; i i lie ir a fence three larks ea i • *•*)! nii r uver i • plain they aim '.:<■■{ ■•■'. ii m >> !• ■■■■• } i»r«i of me and v,v , ... burst rrtto song sorhc t'.mc i j h-r and somptiiiks 1 alter :', f hut the third w is silent ! vvlfmi rt i m ;.' ■•• ii ■■•• up i noticed . ; - ...... l uae ii 1 one of the srn**fgs ' i :•-■lie i had been viuje i •; rnttsicm tournament . . n id won h bride — t 1 .-; coc^a ba^^ms diificalty a lilujiuufl k * iiri ~ ei1 '" tu *- j uatter of ',- ; i . j i r b ding purpo - - f.»r t-rtttoii :.. ' .: ■i'aet tli it in-iiir . i , u . in m :■•!' ■■'■' insnrn cotton so -• • .■in eoii^fjuenre i>i l i uin presented at the wil .,. m)i i m-r wa ; not uu-rcliautiiblfe ,. viiv b led with white ; i . • .; . .:' tbe -: in lard jute .<'_., _•. th • buyers are afraid to . j.u in • ■t on ii cu;isef|iioiire of ,,...- v ' ) ire 1 lie failli ■il 1 iy a problem ,. . lir . v.i - ilve.it in tiiu u'lunjji ij ik ■". l r those who can ip their c ops do so a way out be made for them there i no i i i that much of tin niori ilitv am mg swine ia caused by tl \\\\ . ■■■s no 46
Object Description
|Carolina Watchman
|The Carolina Watchman
|Technical Metadata
|Image was scanned by OCLC at the Preservation Service Center in Bethlehem, PA. Archivial image is an 8-bit greyscale tiff that was scanned from microfilm at 400 dpi. The original file size was
|[J. J. Bruner and T. K. Bruner]
|Date Digital
|[J. J. Bruner and T. K. Bruner]
|United States, North Carolina, Rowan County, Salisbury
|Digital Format
|Project Subject
|State Archives of North Carolina Historic Newspaper Archive
|The Thursday, September 6, 1888 issue of the Carolina Watchman a weekly newspaper from Salisbury, North Carolina
|The SA of NC considers this item in the public domain by U.S. law but responsibility for permissions rests with researchers.
|OCLC number
|Carolina Watchman
|The Carolina Watchman
|Technical Metadata
|Image was scanned by OCLC at the Preservation Service Center in Bethlehem, PA. Archivial image is an 8-bit greyscale tiff that was scanned from microfilm at 400 dpi. The original file size was 5300933 Bytes
|Date Digital
|Hamilton C. Jones
|United States, North Carolina, Rowan County, Salisbury
|Digital Format
|Project Subject
|State Archives of North Carolina Historic Newspaper Archive
|An archive of the Carolina Watchman a weekly and semi weekly newspaper from Salisbury, North Carolina
|The SA of NC considers this item in the public domain by U.S. law but responsibility for permissions rests with researchers.
the carolina watchman l xix.-third series salisbury n c thursday september 6 1888 , a1«k '-• n - clkmen1 craige & clement < v nri:y n c '-«"■•'"■"' -.~ \ 3 irjnctll m d iro fcssiwnal servi<-e t«i thf - nid surroumlinj coniinuni 7 " v iptly uttcmled da | ; , v i lee nr lh prup il euniss llespeet fully ' i i cotncil m l ,- 1 . j the hcilig buildings 2iul ■'' .. ■• mm ls:'cn j?30 livivl n : and ins al sllp-iinn f.r v r i uhuimi i i mil i ii to tin •■rlc . ]■■(•. iiiii'i'in expected encases d(ln>.«9 slu - ' ma a v '■■•>. montclu ua j i mmfk m';i oinl«*rs exist in tlif.n ytt • -■':''> ■>■-■'''" l ' ' '■' ! '' ' l kl ■i -,!,,. w j k tlmt en i e i in ilalhtt & co pnrt hii curn n , , ,-, h rover rte«l k all succeed unfailing specific for liver disease 5vefldyarfiqi bitter r bad taste in jb l«r i j:,71o ■month tongue coated white or eo ercd with i brown fur pain in the back sides or joints often mistaken lor llh iim;ilisiii ; kout stomach loss t>f appetite nausea and water ir;i-i ■u : flatulency iind acid eructation : howols alternately costive ami lax : headache lossol memory with e p:iii.i .: i-i-ii uti hi ol liaviiif failed to lo pom i tli tig whl rhousht to have been done • l.biiilj ; low spirits a t lii.'ic yi-iiou ap ;. • anci ■■i skin nrnl ryps :; fe-y : iev r re alessm :~^ : the urine i and iiivli i-dlcircil and if allowed to simons liy:m li^aijlatoe purely vegetable is icaboriiij used in the south to arouse the toi pid liver to a healthy action it arfi with extraordinary efficacy on th i _^ and bowels an effectual specific tor blalarta bowel complaints dyspepsia sick hiii


text:
President Obama may soon have to come to grips with what it means to issue a "red line" to a foreign government.
On Tuesday, Israeli military officials said they have evidence and are "nearly 100 percent certain" that forces of Syria's Bashar al-Assad regime have used chemical weapons – a step Mr. Obama said would be a game changer for the United States in its policies toward Syria and the civil war raging there. Last August, Obama declared that any use or even "moving around" of Syria's substantial chemical weapons stockpile would constitute a "red line" for the US – any crossing of which "would change my calculus … change my equation."
With the closest US ally in the region now asserting that chemical weapons have been used, Obama will come under more pressure to demonstrate – possibly through the use of American force – that his "red line" was not a hollow threat, US foreign-policy analysts say.
"If you make a flat statement like that and you don't follow it up, then you undermine your credibility," says Lawrence Korb, a former Pentagon official who is now a national security analyst at the Center for American Progress (CAP) in Washington.
Obama has been reluctant to deepen US involvement in Syria's war, limiting US assistance to food and supplies for refugees and internally displaced Syrian civilians, and to nonlethal material for the rebel fighters the US supports. But use of chemical weapons by Mr. Assad's forces could prompt a more interventionist approach, some analysts say: for example, direct measures by US forces to destroy or safeguard Assad's chemical weapons. Obama could also cite a crossed red line as justification for arming the rebels or taking other, more robust measures to protect Syrian civilians.
Such measures might include establishing a no-fly zone over northern Syria, a step that already has bipartisan support in Congress, or creating "humanitarian corridors" for refugees to move along and for getting food and other supplies to the civilian population.
Probably a last resort, Mr. Korb says, would be "to send in special forces to grab the chemical weapons."
Pentagon officials said last month they were preparing a list of calibrated measures that the president could order in the event that chemical weapons are used. In response to the Israeli claims Tuesday, Pentagon spokesman George Little said the US "continues to assess reports of chemical weapons use in Syria."
Last week Britain and France sent a letter to United Nations Secretary-General Ban Ki-moon, in which they claim to have credible evidence that Syria had used chemical weapons more than once since December. The UN has assembled a team of experts that is awaiting permission from Assad to enter the country to investigate charges of chemical weapons use.
Calling any such use "entirely unacceptable," Mr. Little said, "We reiterate in the strongest possible terms the obligations of the Syrian regime to safeguard its chemical weapons stockpiles, and not to use or transfer such weapons to terrorist groups like Hezbollah."
The reference to Hezbollah, the radical Muslim organization in Lebanon known to be aiding Assad in his fight with the armed Syrian opposition, appeared to be a tip of the hat to Israel, which considers Assad's possible transfer of chemical weapons to enemies of Israel one of its greatest concerns.
Israel's assertion of chemical weapons use in Syria Tuesday came from Brig. Gen. Itai Brun, Israel's top military intelligence analyst. He said evidence from attacks on March 19 near Aleppo and Damascus, including photos of victims foaming at the mouth and exhibiting constricted pupils, suggested that a sarin-based nerve agent had been used.
Speaking at an international conference in Tel Aviv, Brun said it is disturbing that the chemical weapons use had not resulted in "any appropriate reaction" from the international community, "because it might signal that [such use] is legitimate."
US Defense Secretary Chuck Hagel, who is wrapping up a three-day visit to Israel Tuesday, has said the evidence of chemical weapons use so far is "inconclusive."
The US will continue trying to determine if chemical weapons were indeed used, and if so, what type and to what degree. But experts like CAP's Korb say that after the US drew a blanket "red line," any hedging over technicalities risks sounding like "an excuse" not to follow through.
"Generally when we think about the use of chemical weapons, we think about the cases of thousands of people dying," Korb says – such as in attacks on restive communities by Assad's father, Hafez al-Assad, in 1982, and by Iraq's Saddam Hussein in 1988.
"It doesn't appear from anything we know right now that this is what the Israelis and French and British are talking about," he adds.
Korb notes, however, that Obama never qualified his red line by saying, for example, that it would take "massive" use to cross it. "It's a reminder," he says, "that you have to be careful about what you say."


text:
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http://www.youtube.com/watch?v=o0ZS9o6NLnM&feature=shareFilm posted by 88Devin12 on fb.
The Episcopallian road is easy and wide, for many go through it to find destruction. lol sorry channeling Isa.
Quote from: Michał Kalina on April 24, 2011, 03:03:36 PMhttp://www.youtube.com/watch?v=o0ZS9o6NLnM&feature=shareFilm posted by 88Devin12 on fb.That was cute.
Christ is Risen! Xristos anesti! Xristos voskrese! Si Kristo ay nabuhay! Si Kristo nabanhaw!http://www.youtube.com/watch?v=XJTMtYlDcUY&feature=youtu.beThis is a video of our humble Paschal liturgy. A great Bright week to all of us!
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text:
Tauroursodeoxycholic Acid for Protease-inhibitor Associated Insulin Resistance
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT01877551
Recruitment Status : Completed
First Posted : June 13, 2013
Last Update Posted : September 20, 2018
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
|Condition or disease
|HIV Related Insulin Resistance Protease Inhibitor Related Insulin Resistance Endoplasmic Reticulum Stress
|Drug: Tauroursodeoxycholic acid Other: Placebo tablet
|Not Applicable
The purpose of this study is to determine if, and through which mechanisms, tauroursodeoxycholic acid improves insulin sensitivity in subjects with protease-inhibitor associated insulin resistance.
The investigators will perform body composition analysis by using a DEXA machine, liver fat measurement by using an MRI, and hyperinsulinemic euglycemic clamp procedures in 48 HIV infected, insulin-resistant/prediabetic subjects before and after 30 days of treatment with tauroursodeoxycholic acid or matching placebo. Biopsies of adipose tissue and skeletal muscle will be taken during fasting conditions and during insulin infusion, before and after treatment to measure markers of endoplasmic reticulum stress and thyroid hormone deiodinase.
Outcome measures:
The primary outcome measures will be change in glucose clearance during insulin infusion, change in markers of endoplasmic reticulum stress and change in content of D2 in muscle.
|Study Type :
|Interventional (Clinical Trial)
|Actual Enrollment :
|47 participants
|Intervention Model:
|Parallel Assignment
|Quadruple (Participant, Care Provider, Investigator, Outcomes Assessor)
|Primary Purpose:
|Basic Science
|Official Title:
|Tauroursodeoxycholic Acid for Protease-inhibitor Associated Insulin Resistance
|Actual Study Start Date :
|September 2013
|Actual Primary Completion Date :
|May 2018
|Actual Study Completion Date :
|May 2018
Active Comparator: tauroursodeoxycholic acid
This group will receive 1.75 grams per day of tauroursodeoxycholic acid given once daily for 30 days.
Drug: Tauroursodeoxycholic acid
The intervention group will receive 1.75 grams of tauroursodeoxycholic acid daily for 30 days.
Other Names:
Placebo Comparator: placebo
This group will receive a placebo tablet that is identical to the treatment group except that it does not contain tauroursodeoxycholic acid. The pills will be taken once daily for 30 days.
Other: Placebo tablet
The placebo group will receive a placebo tablet that is identical to the treatment group except that it does not contain tauroursodeoxycholic acid. The pills will be taken once daily for 30 days.
- Insulin sensitivity [ Time Frame: 30 days ]We will examine the ability of insulin to cause muscle to take up insulin. Each subject will receive intravenous insulin for 6 hours to see how much sugar needs to be given intravenously to keep the blood sugar normal, a measure called glucose uptake. We will compare glucose uptake during insulin infusion before and after 30 days of treatment with drug or placebo.
- Endoplasmic reticulum stress [ Time Frame: 30 days ]It is believed that protease inhibitors cause stress to the part of the fat cell that folds proteins; referred to as endoplasmic reticulum stress. When endoplasmic reticulum stress increases, and changes in protein levels in fat cells occur. We will measure markers of endoplasmic reticulum stress in fat samples taken from subjects before and after 30 days of treatment with TUDCA or placebo.
- Thyroid hormone deiodinase expression in muscle [ Time Frame: 30 days ]We will measure changes in proteins that metabolize thyroid hormone in muscle at baseline and after 30 days of treatment with TUDCA or placebo to determine if this is one of the mechanisms by which TUDCA improves how well insulin works in the body.
- body composition [ Time Frame: 30 days ]We will measure how much fat is present in each subject before and after treatment with TUDCA or placebo.
- liver fat [ Time Frame: 30 days ]We will use MRI to measure the amount of fat in each subject's liver before and after 30 days of treatment. This will allow us to determine if the drug reduces liver fat.
- liver function tests [ Time Frame: 30 days ]We will measure liver function tests before and after the study drug to ensure that no abnormalities in liver function occurs with the drug.
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years to 65 Years (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- receiving protease inhibitor containing antiretroviral therapy for >6 months
- Undetectable viral load
insulin resistant
- impaired fasting glucose (fasting blood glucose>100mg/dl)
- impaired glucose tolerance (blood glucose >140mg/dl at 2 hours during oral glucose tolerance testing).
- abstained from medications that affect glucose (e.g. prednisone, growth hormone)
- stable medications for >3 months
Exclusion Criteria:
- weight loss of >5% of body weight in prior 6 months
- active gastrointestinal disease (gallstones, pancreatitis, hepatitis, diarrhea)
- use of anti-diabetic medications
- cardiovascular disease (uncontrolled hypertension, heart attack, heart failure, prior endocarditis)
- history of or active substance abuse
- blood clotting disorder or taking medications that affect blood clotting (e.g. coumadin, warfarin)
- pregnant, planning to become pregnant or lactating
- unable to give informed consent
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT01877551
|United States, Missouri
|Washington University School of Medicine
|Saint Louis, Missouri, United States, 63110
|Principal Investigator:
|Dominic N. Reeds, M.D.
|Washington University School of Medicine
Additional Information:
|Responsible Party:
|Washington University School of Medicine
|ClinicalTrials.gov Identifier:
|NCT01877551 History of Changes
|Other Study ID Numbers:
R01DK096982 ( U.S. NIH Grant/Contract )
|First Posted:
|June 13, 2013 Key Record Dates
|Last Update Posted:
|September 20, 2018
|Last Verified:
|September 2018
Keywords provided by Washington University School of Medicine:
Protease inhibitor
insulin resistance
Tauroursodeoxycholic acid
Additional relevant MeSH terms:
Insulin Resistance
Glucose Metabolism Disorders
Metabolic Diseases
Protease Inhibitors
HIV Protease Inhibitors
Tauroursodeoxycholic acid
Taurochenodeoxycholic Acid
Hypoglycemic Agents
Physiological Effects of Drugs
Enzyme Inhibitors
Molecular Mechanisms of Pharmacological Action
Anti-HIV Agents
Anti-Retroviral Agents
Antiviral Agents
Anti-Infective Agents
Cholagogues and Choleretics
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The Sunrise Beach Board of Trustees has again said no to a proposed rezoning and special use permit to quarry and level a property in Camden County adjacent to the village.
The Sunrise Beach Board of Trustees has again said no to a proposed rezoning and special use permit to quarry and level a property in Camden County adjacent to the village.
With the Urban Services Boundary Agreement between Sunrise Beach and Camden County, the village is allowed to officially comment on P&Z cases involving property within 1 1/2 miles of the village-county boundary. A denial from the village trustees means a super-majority is required to approve the two applications that are before the county planning commission and board of adjustment and eventually the county commission.
The village trustees voted Aug. 12 against both the rezoning and permit after the village planning commission recommended denial of the proposal.
The trustees were voting on the issue a second time after being notified of a modification to the proposal.
Magruder Quarry & Equipment and Charles and Phyllis Turner have applied to rezone the Turners' 30 acre property at Highway 5 and Tree Ln. from agricultural-residential to medium impact commercial (B-2). They had originally proposal B-3, high impact commercial, for big box stores.
Mark Magruder is proposing to quarry the property to create a flat spot suitable for development and combine it with another 30 acre property to the north for development.
Magruder Limestone mines at an existing quarry on an adjacent 30 acres to the north owned by Harry Adrian. Zoned general commercial (C-2) in the village, the quarry operates as a non-conforming pre-existing use.
Magruder has proposed ending mining operations at the existing quarry to maintain a feasible elevation for development.
While the existing quarry's current elevation of 700 feet was originally proposed for both sites, Magruder has revised the elevation to 730 feet after continuing negotiations with the county. The current quarry would be back-filled with material from the new site.
At the village planning commission meeting, Magruder said he would also agree to a time frame of 15 years on the special use permit for mining. The county had initially proposed five years and Magruder 30 years.
Testimony from other property owners in the area to the county P&Z commission and board of adjustments and the village planning commission indicated concerns about blasting. People opposed to the proposal said they would rather the quarry be contained to the current site. They feared the plan would simply lead to a quarry expansion.
The public hearing by the county planning commission on the rezoning case was continued to its Aug. 21 after requesting a general traffic study, planned volume of soil to be removed and a grading plan.
The county board of adjustment continued its hearing of the special use permit to its Aug. 28 meeting to await the decision on the rezoning.


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