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E. Tom Wolff
E. Tom Wolff, 65, of 4172 Grant Rd., Ridgway, died unexpectedly Thursday morning at his residence. He was born Dec. 26, 1945 in Ridgway, son of the late Clarence H. (Pug) and Ruby M. (Amacher) Wolff. He married Judy L. Ecklund on Sept. 30, 1967. She survives. He had resided in Ridgway all of his life and was a member of the Faith United Church of Christ, the Ridgway Elks, the Ridgway Eagles, the Ridgway Fire Department - Laurel Hook and Ladder, a past member of the Ridgway Township Water Authority, and a past member of the Elk County Solid Waste Authority. He was a graduate of the Ridgway High School, Class of 1966. He had also been employed by Dickinson Mental Health for 10 years. In addition to his wife, he is survived by three sons, James T. Wolff and his wife Rebecca of Ridgway, Jeffrey A. Wolff of Ridgway, and Joseph U. Wolff of Ridgway; 10 grandchildren, Brittany, Brianna, Gabrielle, Alan, Andrew, Ryan, Nathaniel, Matthew, Samuel, and Hannah; two sisters, Ruby Hoehn and her husband William of Gainesville, Fla. and Cynthia Bujold of Green Cove Springs, Fla.; and numerous nieces and nephews. In addition to his parents, he was preceded in death by a sister at birth. A memorial service for E. Tom Wolff will be held at the Faith United Church of Christ on Tuesday at 2 p.m. Officiating will be the Rev. J. Stephen Fair, pastor of the Faith United Church of Christ. Burial will be in Fairview Cemetery. There will be no visitation. Memorials, if desired, can be made to the Faith United Church of Christ at 400 Ash St., Ridgway, PA 15853. Funeral arrangements are under the direction of the Thompson Funeral Home.
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We all know that breastfeeding support in hospitals is important. But we also know that the need for support doesn't end at hospital discharge. If anything, the show is just beginning.
Much of the current emphasis at reforming breastfeeding policies is directed at hospitals. And for good reason. But since pediatric support can also make or break a breastfeeding experience, it's critical to focus effort there as well.
Until this month, it hasn't been clear that what happens when a pediatric practice follows a full set of evidence-based policies. It sounds good, but does it actually change breastfeeding rates?
A landmark study in Pediatrics this month answers the question. It offers the best evidence so far that evidence-based breastfeeding support in a pediatric setting can have a significant effect on breastfeeding rates.
The Academy of Breastfeeding Medicine (ABM) offers a protocol which represents the whole package of practices which support breastfeeding in the pediatric setting. It's akin to the Ten Steps to Successful Breastfeeding, but for pediatricians and family physicians, but its effect as a whole hadn't been measured until now. Until this study, as the authors of the study put it, "there were no known studies regarding the effect of a 'breastfeeding friendly' protocol in pediatric primary care in the United States."
So in 2009 a pediatric practice in Virginia undertook a project to measure what would happen if the practice adopted the ABM protocol.
They conducted a retrospective before/after study, measuring breastfeeding and exclusive breastfeeding rates for groups of about 380 mother baby pairs. They implemented the protocol over 10 months, and then measured breastfeeding rates.
The two most significant intervention were 1) the automatic scheduling of each breastfeeding mom and baby with an RN who was also an IBCLC (billed to insurance) at the newborn visit, and 2) the use of an AAP/WHO-approved breastfeeding curriculum for training medical staff.
Other interventions included:
- Adoption of a breastfeeding policy
- Encouragement of exclusive breastfeeding
- Culturally competent care
- Prenatal visits
- Commending breastfeeding ("good job!")
- Collaboration with local hospital and community
- Schedule newborn visit within 48-72 hours and provide access to a lactation consultant
- Provide educational resources
- Encourage open breastfeeding in the waiting room (and private space if desired by moms)
- Discourage formula marketing
- Telephone support
- Commending breastfeeding ("good job!")
- Recommending exclusive breastfeeding to six months
- Work site lactation policy for employees
- Establish community resources (weekly moms group, information on other resources)
- Insurance and billing for breastfeeding support
- Assist with workplace support (breastfeeding and working class)
- Formal staff training and IBCLC services available to staff
- Mentor health care providers
- Data tracking
So, what did they find?
Rates for exclusive breastfeeding were higher in the postintervention group at every time point, and the differences in the rates were statistically significant at all 5 time points (hospital, one week, 2 months, 4 months, 6 months). Of particular note, when comparing exclusive breastfeeding rates, the postintervention group rates were at least 10 percentage points higher than those in the preintervention group at all 5 time points.
Exclusive breastfeeding rates even went up in the hospital, likely because this pediatric practice sees their patients in the hospital, too. Rates of "any breastfeeding" were higher at every time point as well, but were only statistically significant at the 1 week time point.
Unfortunately the study did not indicate differences in outcome by race or other demographic variables, due to inconsistent collection of that information. But it did find that mothers who were insured through Medicaid had lower rates of breastfeeding – a difference noted in other research.
There have certainly been other studies which have look at the effects of some of certain pats of this protocol. My favorite of these is the AAP breastfeeding residency curriculum which I discussed with Dr. Lori Feldman-Winter. That curriculum, taught to pediatric residents, has been shown to improve breastfeeding rates. But this study is the first to look at what happens when all of the pieces are in place.
In my view, this study marks a turning point in our understanding of how pediatric support can change breastfeeding rates. It offers the first evidence that doing the right thing works, and we can only hope that pediatric practices will take note.

subset: commoncrawl


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Burton Snowboards
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And, I believe most people want sex, men and women. But those who are willing to wait want more than that. Those who are willing to take their time have a good ounce of self control. And just because a man or woman wants sex doesn't mean they don't love God or believe in Jesus Christ. But making a committment before the sex is smart, I'll admit that. Like I said in my first reply post, it prevents a lot of unnecessary issues. So, good for you for staying strong in your personal beliefs when you meet a man. And when the right one comes along, stay strong (hey, we are still human)!
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Teva Pilates Studio's Photography Exhibit
June 12, 2013
Throughout the year, the Teva Pilates Studio has showcased JCC members' artwork on its walls, and Jim Barnett is the next member of our JCC family to present his work. Jim's photographs from his recent journey to Tanzania, Africa will be on display in the studio throughout June and July. Learn more about Jim's love of photography below.
"Photography has been a hobby of mine since 1966. I photographed Bar Mitzvahs, weddings and various functions to earn extra money when I was younger and worked on my high school and college newspapers as a photographer. In 2002, I was introduced to digital photography. This opened up a whole new interest for me with the use of computers and editing programs.
The American West has always intrigued me. From Glacier National Park in Montana to the Southwest, the diversity of the land has always piqued my interest and curiosity. The landscapes along with the unique land forms have inspired me to travel to these locations. Sand dunes are my favorite of all subjects. Ed Weston's sand dune pictures have challenged me. The simplicity of the natural curves and the ever changing sand dunes gives me great solace.
Over the last several years, I've had the opportunity to participate in photographic workshops in Death Valley National Park, White Sands National Monument, and the Navajo Tribal Park in Monument Valley. I am primarily a landscape photographer but this past January, Nancy and I went on an African Safari in Tanzania. It opened up a new world of photography for me."
--- Jim Barnett
Stop by the Teva Pilates Studio in June or July to view a sampling of Jim's photographs from his journey to Tanzania, Africa.


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Linked by Thom Holwerda on Wed 18th Apr 2012 13:54 UTC
If you ever needed any proof it's anything but roses ans sunshine over at Microsoft's Windows Phone division, it's this. The next version of Windows Phone, WP8, will run on the NT kernel, which marks a pretty substantial departure from the current release. This raises the question: will current handsets be upgradeable to WP8? First, Microsoft indicated no. Then they said yes (interview retracted). And now, they're saying no again.
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RE: Of course!
by REM2000 on Wed 18th Apr 2012 18:43 UTC in reply to "Of course!"
RE[2]: Of course!
by gmlongo on Thu 19th Apr 2012 15:43 in reply to "RE: Of course!"
RE[3]: Of course!
by roblearns on Thu 19th Apr 2012 18:03 in reply to "RE[2]: Of course!"
[quote]Current WP7 devices ARE getting upgraded to the next version of the OS. Apollo is NOT the next version...[/quote]
Unimportant distinction duly noted and filed away.
So the Lumia 900 can't be upgraded to the next major release that's coming out later this year - is that carefully worded enough? No, quibble a bit more?
Anyway, long story short the major news outlets are having trouble reporting the news, being stymied by this cleverness of words - and average consumer can't tell if they are getting WIndows Phone 8 or not, for the phone they just bought, and for which they likely now have a 2 year contract extension.
I appreciate OSNews just spelling it out.
Edited 2012-04-19 18:07 UTC


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THE incurable romanticist, George Jean Nathan, was the
first to speak boldly in print and establish the rule of the silver-limbed,
implacable Aphrodite in the theatre of Florenz Ziegfeld; and the equally
incurable realist, Heywood Broun, has discovered that it isn't so. Mr Nathan,
obsessed by the idea that the world in general, and America in particular,
goes to any extreme to conceal its interest in sex, really did a service
to humanity by pointing out that there were beautiful girls in revues
and that these girls constituted one of the main reasons for the attendance
of men at the performances. Mr Broun, sensing a lack of abandon and frenzy
in the modern bacchanale, says, simply, that it isn't so, and implies that
anyone who could get a thrill out of that -- ! Like the king in that story
of Hans Christian Andersen, of which Mr Broun is inordinately fond, the
girls haven't any clothes on; and this little child, noticing the fact,
is dreadfully disappointed.
Now Mr Ziegfeld is, in the opinion of those who work for
him, a genius, and can well afford to say, "A plague on both your houses,"
f or he has built up what he himself calls a national institution, glorifying,
not degrading, the American girl (pauvre petite). He can afford
to look with complacency upon undergraduates charging upon his theatre
in the anticipation of unholy delights, and forced to bear the clownings
of Eddie Cantor or the wise sayings cf Will Rogers; then he can turn to
Dr John Roac h
Straton who, having heard from Mr Broun that the Follies
are chaste, approaches to see some monstrosity of a classic ballet and
hears the vast decent sensuality of a jazz number instead.
Mr Ziegfeld has lived through so much-through the period
when it was believed indecent to be undressed and through the manlier period
when nudity was contrasted with nakedness (it is the basis of a sort of
Y. M. C. A. Tsthetics that the nakoe is always pu re) and through the long
period, 1911-15, when the reviewers discovered the superior attractiveness
of the stockinged leg; art in the shape of Joseph Urban has left a permanent
mark upon him, and he has trafficked in strange seas for numbers and devices;
what was vulgar and what was delicate, boresome and thrilling, have all
passed through his hands; he has sent genius whistling down the wind to
the vaudeville stage and built up new successes with secondary material;
the storehouses are littered with'the gaudy monuments of his imitators.
And all the time the secret of his success has been staring Broadway in
the face.
It is well to speak of Mr Ziegfeld's success because in
the last few years several things have happened to the revue; for almost
as long as I remember the Ziegfeld Follies, I remember the Winter Garden
opposition, the Passing Show, its exact antithesis.[f n.1]
But lately there have arrived at least two productions
which give every guaranty of permanence, in addition to some others which
may turn out to be equally sure of survival. I mean the Music Box Revue
and the Greenwich Village Follies. The Music Box is only in its third year;
its chiefs assets are one of the most agreeable theatres in New York, assuring
a reputation on the road, and first call on the still unsatisfied talents
of Mr Irving Berlin. The Greenwich Village Follies, even if it lose its
prese nt director, John Murray Anderson, will continue to be successful
for one of the strangest reasons in the world-its reputation for being
"artistic." The Winter Garden, the two Follies, and the Music Box, are
the four points of the compass in this truly ma gnetic field. When the
needle points due north, I usually find Mr Ziegfeld fairly snug under the
Pole Star.
There are, if you count the chorus individually, about
a hundred reasons for seeing a revue; there is only one reason for thinking
about it, and that is that at one point, and only one point, the revue
touches upon art. The revue as a production manifests the same impatience
with half measures, with boggling, with the good enough and the nearly
successful, which every great artist feels, or pretends to feel, in regard
to his own work. It shows a mania for perfection; it aspires
to be precise and definite, it corresponds to those de luxe railway trains
which are always exactly on time, to the millions of spare parts that always
fit, to the ease of commerce when there is a fixed price; jazz or symphony
may sound from the orchestra pit, but underneath is the real tone of the
revue, the steady, incorruptible purr of the dynVo.. And with the possible
exception of architecture, via the back door of construction, the revue
is the most notable place in which this great American dislike of bungling,
the real pleasure in a thing perfectly done, apply even vaguely to the
If you can bring into focus, simultaneously, a good revue
and a production of grand opera at the Metropolitan Opera House, the superiority
of the lesser art is striking. Like the revue, grand opera is composed
of elements drawn from many sources; like the revue, success depends on
the fusion of these elements into a new unit, through the highest skill
in production. And this sort of perfection the Metropolitan not only never
achieves -- it is actually absolved in advance from the necessity of attempting
i t. I am aware that it has the highest-paid singers, the best orchestra,
some of the best conductors, dancers and stage hands, and the worst scenery
in the world, in addition to an exceptionally astute impresario; but the
production of these elements is so haphazard and clumsy that if any revue-producer
hit as low a
level in his work, he would be stoned off Broadway. Yet
the Metropolitan is considered a great institution and complacently permitted
to run at a loss, because its material is ART.
The same thing is true in other fields -- in producing
serious plays, in writing great novels, we will stand for a second-rateness
we would not for a moment abide in the construction of a bridge or the
making of an omelette, or the production of a revue. And because in a revue
the bunk doesn't carry, the revue is one of the few places you can go with
the assurance that the thing, however tawdry in itself, will be well done.
If it is tawdry, it is so in keeping with the taste of its patrons, and
without pr etense; whereas in the major arts -- no matter how magnificent
the masquerade of Art may be -- the taste of a production is usually several
notches below the taste of the patrons.
The good revue pleases the eye, the ear, and the pulse;
the very good revue does this so well that it pleases the mind.
It operates in that equivocal zone where a thing does not have to be funny
-- it need only sound funny; nor be beautiful if it c an for a fleeting
moment appear beautiful. It does not have to send them away laughing or
even whistling; all it needs to do is to keep the perceptions of the audience
fully engaged all the time, and the evaporation of its pleasures will bring
the audienc e back again and again.
The secret I have alluded to is how to create the atmosphere
of seeming -- and Mr Ziegfeld knows the secret in every detail. In brief,
he makes everything appear perfect by a consummate smoothness of production.
Undoubtedly ten or fifteen other people hel p in this -- I use Mr Ziegfeld's
name because in the end he is responsible for the kind of show put out
in his name and because the smoothness I refer to goes far beyond the mechanism
of the stage or skill in directing a chorus. It is not the smoothness o
f a connecting rod running in oil, but of a batter where all the ingredients
are so promptly introduced and so thoroughly integrated that in the end
a man may stand up and say, This is a Show. Everyone with a grain of sense
knows that Mr Urban can make al l the sets for a production and Mr Berlin
write all the music; Mr Ziegfeld has the added grain to see that if he's
going to have a great variety of things and people, he had better divide
his decor and his music among many different talents.
There have been funnier revues and revues more pleasing
to the eye and revues with far better popular music; nowhere have all the
necessary ingredients appeared to such a high average of advantage. Mr
Anderson could barely keep Bert Savoy within the bound s of a revue; the
Music Box collapses entirely as a revue at a few dance steps by Bobby Clark.
But Ziegfeld as early as igio was able to throw together Harry Watson (Young
Kid Battling Dugan,
nowadays, in vaudeville), Fannie Brice, Anna Held, Bert
Williams, and Lillian Lorraine and, as if to prove that he was none the
less producing a revue, bring down his curtain on a set-piece of "Our American
Colleges." And twelve years later, with Will Rog ers and Gilda Grey and
Victor Herbert and Ring Lardner, he is still producing a revue and brings
both curtains down on his chorus -- once en masse and the second
time undressing for the street in silhouette.
I cannot estimate the amount of satisfaction which since
those early days Mr Ziegfeld has provided. My own memories do not go back
to the actual productions in which Anna Held figured; I recall only the
virtuous indignation of elderly people and my own mi xed feelings of curiosity
and disgust when I overheard reports of the goings-on. But from the time
I begin to remember them until to-day there has always been a peculiar
quality of pleasure in the Ziegfeld shows, and the uninterrupted supply
of things ple asant to see and entertaining to hear, has been admirable.
Mr Ziegfeld has never been actually courageous; his novelties are never
more audacious than, say, radiolite costumes or an Urban backdrop. He is
apparently pledged to the tedious set-pieces which are supposed to be artistic
-- the Ben Ali Haggin effects, the Fan in Many Lands or the ballot of A
Night in Statuary Hall with the discobolus coming to life and the arms
of the Venus de Milo miraculously
restored. There are years, too, in which Mr Ziegfeld,
discovering new talent, follows but one vein and leaves his shows so much
in one tone that a slight depression sets in. Mr Edmund Wilson, in the
Dial repeats the plaint of Mr Heywood Broun in the World -- that the Follies
are frigid -- the girls are all straight, the ballet becomes a drill, the
very laughs are organized and mechanical. Well, it happens to be the function
of the Ziegfeld Follies to be ApolIonic, not Dionysian; the leap and the
cry of th e bacchanale give way to the song and dance, and when we want
the true f renzy we have to go elsewhere. I doubt whether even the success
of the negro shows will frighten Ziegfeld into mingling with his other
elements some that will be riotous and wild; th e best they can do will
be to prevent Ziegfeld from growing too utterly "refined." He tends at
this moment to quiet fun of the Lardner type and the occasional horseplay
with which he accentuates this murmur, this smile, is usually unsuccessful.
I am, myse lf, more moved by broader strokes than his, but I recognize
that Ziegfeld, and not the producers of Shuffle Along, is in the
main current of our development -- that we tend to a mechanically perfect
society in which we will either master the machin e or be enslaved by it.
And the only way to master itsince we cannot escape -- will be by understanding
it in every detail. That is exactly Mr Ziegfeld's present preoccupation.
I dissent, however, from the suggestion
that the physical loveliness of the Ziegfeld chorus has
ceased to be seductive. Some, as Mr Lardner once said -- some like 'ern
cold, and there are at least five other choruses which affect me as pleasurably.
But for those that like the Ziegfeld-type c horus, which has always a deal
of stateliness and a haughty air of being damned well bred, Mr Ziegfeld's
production of the wares is perfect. He has simply moved his chorus one
step backward in order to make them appear slightly inaccessible and so
a littl e more desirable. His attack is indirect, but it is no less certain.
In the back of the mind there always remains the idea
that a revue ought to be a revue of something, and as far as I know, George
M. Cohan is the last of those who have tried to accomplish that. Weber
and Fields presented burlesque; Mr Cohan's efforts are not lost in that
dim perspective, and they seem superior, for he wove his amazingly expert
parodies of current successes into a new creation, a veritable review.
The high spirits and sophistication of the Cohan revues have not frequently
been equalled on our stage, for the whole of Cohan's talents were poured
into them without reserve. The parodies and satire were merciless and spared
not even himself; for he took the old jibe about his Yankee-Doodleism and
wrote apropos of a show of his which had failed : "Go, get a Flag, For
you need it, you need it, you know you need it!" He took
off Common Clay in swift and expert patter; he
destroyed the "song hit" with Down by the Erie ten years earlier
and ten times better than the Fortyniners did; he advertised himself and
ridiculed his own self-advertisement; he was the princip al actor and he
played fair with Willie Collier and Charles Winninger and Louise Dresser.
Throughout he was the high point of Cohanism, of that shrewd, cocksure,
arrogant, wise, and witty man who was the true expression of the America
of Remember the Main e!, the McKinley elections, the Yellow Kid, and Coon!
Coon! Coon! He was always smart, always versatile. To this day he is
smart enough to produce Mary and Little Nelly Kelly, knowing that the old
stuff goes biggest and that even in the midst of hi s own sophistication
he can capture vaster audiences with his own simplicity. This is an abdication
of his proper function, to be sure. The man who had so much to do with
the great-American-drama (I allude to Seven Keys to Baldpate and the description
"gr eat-American" is deliberate) and who could take any trash (A Prince
There Was) and make it go, through the indefatigable energy and the cleverness
of his own acting, and who could fight the world with his preposterous
Tavern -- this man had no righ t to give up doing what he did so
well. I care nothing for the famous nasalities of George M. Cohan; after
the Four Cohans I saw him first as actor, so I do not mourn for his dancing
days. But I know that with
only a fraction of Berlin's gifts as a composer, he had
something which even Berlin lacks: the complete sense of the boards. His
revues would have been desirable additions to each theatrical season if
they had done no more than produce himself. His hard s ense, his unimaginative
but not unsympathetic response to everything that took place on the street
and at the bar and on the stage made him a prince of reviewers -- he was
not without malice and he was wholly without philosophy. Perhaps that is
why his re vues were wonderfully gay. Why they ever stopped I cannot tell;
when they stopped, strangely enough, they left the field to the Winter
Garden. I make no claim that the revues at this house are always pleasing;
people apparently still exist who are enthusi asts for Valeska Surratt.
But I do claim that they are always revues, even if they are sometimes
to be weighed by avoirdupois and not by critical standard.
The annihilation of all the vast and silly posturing which
went on a few years ago under the name of The Jest was accomplished
in a perfect burlesque by Blanche Ring and Charles Winninger (the latter
played Leo Ditrichstein in one of the Cohan revu es) and if The Sheik
never reached the stage it is possibly because Eddie Cantor burlesqued
it in advance on a bicycle and with a time clock for the women of the harem.
What has held the Winter Garden down (except, of course, when Al Jolson
there i nhabited)
is the lack of good music; for the humour has always been
broad and the slap-stick merry. The shows there always seem to be hankering
a little for the additional vulgarity of out-and-out burlesque, but the
Rath Brothers were as much at home there as the A von Comedy Four; if my
head were at stake I could not recall a single thing there which could
be called exquisite, but I swear that as the show girls shuffled precariously
up and down the runway I did at times fancy I heard the stamping of a goatish
foot behind the scenes, and if I didn't like the sound, I was in the minority.
The Winter Garden has always been, in part, a direct assault on the senses
and the method of art is always indirect; Mr Ziegfeld knows this and always
manages to bathe his scenes in a cool virginal light, to the intensification
of pleasure for the connoisseurs.
The difference between these two shows can be measured
by watching one figure pass across the stage of each. Last year at the
Winter Garden Conchita Piquer sang a malaguefia. (You can discover
all you need to know about the malaguefia in Mr Santayana's Soliloquies;
to us it is the perfect exotic, as strange to our ears as Chinese songstranger
because it remains recognizably Occidental, yet seems to be based on no
intervals known to our scales, and its rhythm is capricious and uncertain).
She sang it "wildly well," with a pert assured air of superiority. Yet
she cast flowers into the audience
as she did so, and the background and the massing of the
chorus behind her were all out of key and prevented the song from being
what at the Ziegfeld Follies it inevitably must have been, exquisite.
At the Follies passes Gilda Grey, a performer of limited
talents gifted with unutterable intensity. Against a flaring background
in which all the signs of all of Broadway are crowded together, she sings
a commentary on the negro invasion -- It's Gettin g Very Dark on Old
Broadway -- the scene fades and radiolite picks out the white dresses
of the chorus, the hands and faces recede into undistinguishable black.
And while the chorus sings Miss Grey's voice rises in a deep and shuddering
ecstasy to cry out the two words, "Getting darker!" To disengage that cry,
tQ insure its repercussion, went all the skill of production in everything
that preceded and in everything that followed. It was exciting, but it
was also exquisite, and that is exactly what the Winter Garden could not
have done.
Neither of the two Music Box revues has reached that height,
because in neither has production kept pace with Berlin's music. It is
part of the technique of the revue to have "stunts" and Berlin, being capable
du tout, last year set a dining menu to music . Yet nothing was added when
lobster and mayonnaise and celery appeared in the flesh; even worse, this
year something precious is lost when one of Berlin's veritable masterpieces,
Pack Up Your Sins and
Go to the Devil, is produced with an endless number
of trapdoors and hoists and all the other mechanics of the stage. The first
of the two revues flourished on humour -- Willie Collier and Sam Bernard
were inexpressibly funny -- and on Berlin's Say It With Music; so
long as it stayed in New York the appearance in person of Mr Berlin, explaining
to the well-remembered tunes how he wrote each of his masterpieces of ragtime,
added much.
The tone of this revue was the tone of the building itself
-- varying from the cool and well-proportioned exterior to the comfortable,
a little lavish interior. Florence Moore was as outrageous as ever, and
at least as active; she is the most tireless per son on the stage and to
me the most tiring, for her vitality affects me as a cyclone in which I
am quite unnecessarily involved. All the more surprising, then, was her
shift from horseplay to burlesque in the house-hunting scene with Sam Bernard,
at the e nd of which the children were shot by their despairing parents
to remove the one obstacle between them and the perfect apartment. In an
earlier scene Collier had had his chance -- the one in which Bernard tried
to explain his difficulties and to read a le tter. All of Bernard's stutterings
and flounderings in the English vocabulary availed nothing against Collier's
imperturable indifference. Collier has always had a divine spark -- it
was visible even in The Hottentot -- and in that scene it glowed
The show was, to be sure, held in the matrix of Berlin's
score, and was as much held down as up to that level -- I mean it
was not spoiled by the intrusion of alien theatrical elements. Since then
a new hydraulic system has apparently been added to the equipment of the
stage, and Hassard Short, confusing the dynamics of the theatre with mere
hoisting power, moves everything that can be moved except the audience.
The elements are all ' there, but they are produced as if it were a benefit,
not a revu e.
John Murray Anderson's is the hardest case to be sure
about. A year ago he "struck a new note in revues" -- by producing one
without a scintilla of interest in any of its proceedings. Nothing quite
so lackadaisical and dull has ever had such a success. Ye t he had'long
before established a repute for being artistic -- and, as far as I can
judge, it was by the exploitation of millions of yards of draperies in
place of the usual canvas scenery. It was a sound notion, and in the first
of these productions, What's in a Name? there was a pretty air of
the semi-professional, a challenging suggestion of improvisation, as if
the chorus and principals weren't sure from moment to moment what the regisseur
might suggest for them to do next.
He has always presented some of the loveliest and some
of the ugliest costumes in New York; and now that draperies are no longer
his only resource, he falls back upon transformations in scenery, or
makes a painted backdrop of the Moonlight Sonata come
to life, with music, to the astonishment of the multitude.
In short, it would appear that Mr Anderson is introducing
into the revue precisely that element of artistic bunk which has long been
the property of the bogus arts. I resent it, and resent it the more because
he doesn't need it. In his recent show there w ere elements beyond words
to praise; the singing of Yvonne George was superb and superbly arranged;
the Widow Brown song, sung and danced by Bert Savoy, had a quality
of tenderness which all the sentimental songs in the Ziegfeld Follies try
vainly to transmit; the two little tumblers, Fortunello and Cirillino,
are by name and manner of the commedia dell'arte and John Hazzard's
song about Alaska, with slides by Walter Hoban, is the stuff that Forty-niners
are made of.
It was in this show that the Herriman-Carpenter ballet
of Krazy Kat was tried and dismissed, and the fault here is the fault of
Mr Anderson throughout. Again it was attempted with an artistic dancer,
when everyone who has intelligence of Krazy knows that it should be done
by an American stunt dancer until the time when Mr Chaplin finds time to
do it. Krazy Kat is exquisite and funny -- and whether Mr Carpenter lets
him remain so or not, it is clear that Mr Anderson wanted him to be artistic
at all cost. S o with his whole production; he has sacrificed fun all
the way down the line; one is pleased, much more than
amused, and the gigantic revelry, the broad levity of Bert Savoy stand
apart from the show like a stranger. It is the one revue in which the mass
dancing entirely fails to remain in the memory, and I a m convinced that
if Miss Brice hadn't, in the Ziegfeld Follies, made Mon Homme a
popular hit, Miss George's far more fiery and varied and more generally
interesting rendition of it would leave it cold in the ears of the audiences.
For Mr Anderson h as so far learned only to put over separate things, and
until you put the whole thing over the individual things gain but half
their victories.
That completes the circle to Mr Ziegfeld, and, since it
is a question of putting it over, associates with him another man who on
at least one occasion has done as well, Mr Charles Dillingham. If you omit
the one man shows as practised by Ed Wynn, Frank Ti nney and Al Jolson,
and the nondescripts of Hitchcock, and pass over Stop! Look! Listen!
as varying too far from the revue type, there remains Watch Your Step as
another high spot in production, with the dancing of the Castles, the humours
of that very great comedian, Harry Kelly, and of Tinney, the scenery and
costumes by Robert McQuinn and Helen Dryden, and the whole story of contemporary
dancing in Mr Berlin's music. Except for Harry Kelly, every item was bettered
in Stop! Look! Listen!, but in spite of the presence of Gaby Deslys,
it was not a revue -- whereas Watch Your Step almost
consciously set out to proclaim itself superior in fineness and slickness
to the Follies and almost succeeded.
I am trying to sketch the main types of revue,
not to write a history of the revue; it is to be hoped that some one sufficiently
sentimental can be found to do the job. Whether in a history the drunken
scene of Leon Errol in the subway would figure largely, I do not know;
I am not even sure that the scene in the Grand Central while it was building,
with Bert Williams as the porter, would be noted; quite possibly the memory
of Lillian Lorraine on the swingsto me merely a bearable necessity -- and
Fr ank Carter singing, (1918) I'm Going to Pin My Medal on the Girl
I Left Behind, will seem more important than Ina Claire's mimicry of
Frances Starr's Marie-Odile. It is possible that the injection of
real humour, like Lardner's, may make the set scenes like Laceland or the
History of Shoes through the Ages or Our Colleges more and more dispensable.
I do not know. I feel fairly certain only of this: that the relative importance
of the workers in the field is measured by their mastery of the a rt of
production far more than by their skill in picking individuals and stunts.
I am also convinced that those who have arrived at this perfection in an
effort to give America pleasure have done more for us than those who haven't
got half way in trying t o give us art.


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The Miami Dolphins' already-thin offensive line suffered another blow as the team placed projected starting right guard Artis Hicks on the injured reserve list.
Hicks, a 10-year veteran, was placed on IR with an undisclosed neck injury, ending his season.
To take his spot on the roster, the Dolphins re-signed tackle Ray Feinga, who was released on Friday when the team had to cut 22 players to finalize the 53-man roster.
Feinga has spent the last three seasons on and off the Dolphins' practice squad and active roster.
John Jerry is expected to replace Hicks as the team's starting right guard.
Hicks, 33, signed a one-year, $1.49 million deal with the Dolphins in the offseason to replace Vernon Carey, who has since retired. Hicks has played in 118 NFL games, including 71 starts.
He has played for the Philadelphia Eagles (2002-05), Minnesota Vikings (2006-09), Washington Redskins (2010) and Cleveland Browns (2011).


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Confetti Quiche with Curry Crust Best Pie Bakeoff 2008 Entry #8
We were hoping to get a few good recipes for savory pies in this Bakeoff, and here's the first. It's an egg pie with zucchini, red pepper, onion, and thyme, plus a curried crust. This looks like a delicious quiche, and Melissa does a good job of walking us through the process of creating a quiche.
Where is this recipe from? From years of making variations on the first quiche I made a few years ago. Since then I've been making changes and improvements in order to create something tasty and original.
Why is this the BEST pie recipe you've got? I make it every time I have friends over for brunch or intimate gathering and its always a hit, every time. It's the best because I've really made it my own by being creative, taking risks and having fun.
Confetti Quiche with Curry Crust
Curry Crust
1 1/4 cups pastry flour
1 tsp. curry powder
1/2 teaspoon kosher salt
1/2 cup (1 stick) chilled unsalted butter, cut into 1/2-inch cubes
4 tablespoons (or more) ice water
1 tablespoon butter
1 roasted red pepper, chopped
1/4 cup zucchini, chopped
1/4 cup red onion, chopped
1/4 cup green onion, chopped (green and pale green parts only)
2 teaspoons chopped fresh thyme
6 large eggs
1 cup whipping cream
1/2 teaspoon salt
1/4 teaspoon ground black pepper
1/2 teaspoon hot pepper sauce
3/4 cup (packed) coarsely grated mozzarella cheese (about 3 ounces)
For crust
Sift flour, curry and salt into medium sized bowl. Add chilled butter. Using hands blend flour mixture and butter until course meal forms. Adding one tablespoon at a time, blend ice water in until dough comes together in moist clumps, adding more ice water by teaspoonfuls if dough is dry. Gather dough into ball; flatten into disk. Wrap and chill at least 1 hour (or up to a day).
Preheat oven to 375°F. Roll out dough on floured surface to 14 1/2-inch round. Transfer to 10-inch-diameter tart pan. Fold overhang in; press to form double-thick sides. Push sides up until 1/4 inch higher than top edge of pan. Pierce crust all over with fork. Freeze 10 minutes.
Line dough with foil and dried beans or pie weights. Bake until sides are set, about 25 minutes. Remove foil and beans. Bake until crust is golden, piercing with fork if crust bubbles, about 15 minutes. Transfer crust to rack; cool completely. Reduce oven temperature to 350°F.
For filling:
Preheat broiler on high if using an electric stove. If using a gas stove, place pepper directly over gas stovetop flame until outer skin is blackened. Or if using an electric stove, grease a cookie sheet lightly with cooking spray. Cut pepper in half, remove seeds and stem. Place skin side up on cookie sheet and place on middle rack and broil on HI until skin is blackened. Remove pepper from heat and cool. Using a knife, gently scrape away blackened skin and discard. Roughly chop.
Melt butter in heavy medium skillet (preferably cast iron) over medium heat. Add red onion, zucchini and thyme. Sauté until just tender and onion is translucent, about 5 minutes. Add red pepper and half the green onion cook for 2 minutes. Cool to room temperature.
Whisk eggs, cream, salt, pepper, and hot sauce in bowl. Arrange vegetable mixutre over bottom of crust. Sprinkle with mozzarella. Place tart pan on oven rack. Pour egg mixture into crust, filling completely. Sprinkle with remaining green onions.
Bake quiche until filling is golden and set in center, about 35 minutes. Transfer quiche to rack; cool 15 minutes.
(Images: Melissa)


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Before yesterday's fourth stage of the Tour de France kicked off in Montpellier, BikeRadar's technical editor James Huang was scouring the pits to check out the latest kit on display and find out what was flustering the team mechanics. Here's what he spotted...
Cadel Evans' special Canyon Speedmax CF Pro
ProTour time trial riders are among the absolute best in the world at achieving and maintaining a low, narrow and aerodynamic position on their machines. Cadel Evans' (Silence-Lotto) bar position is especially low however – his base bar sits just 60mm of so over the top of the front tyre – and has presented some setup problems in years past.
Last season, the Aussie's Ridley Dean sported an ultra-short head tube plus a pivoting stem angled sharply downwards to secure his Oval Concepts bar. This year's Canyon Speedmax CF Pro uses a far more radical – and very clever – solution: instead of attaching the stem atop the head tube as normal, Canyon cut out about 40mm from the front of the head tube to make room for a custom two-piece fixed-position stem clamped to the middle of the steerer. Capping the top is a custom aluminium bit that both seals the head tube and provides a way to preload the headset bearings.
This creation isn't as slick looking as the front-end setups used by the likes of Giant, Specialized, Trek and Felt. But even those wouldn't allow for such an extreme position as Evans' and it's far more important to put a rider's body in an aerodynamic and efficient position as it produces the overwhelming majority of the total system drag. Remarkably, Silence-Lotto mechanics still managed to route the cables in a fairly clean arrangement, too.
Readers might be surprised to hear that Canyon plan to offer this frame configuration to the public. It's apparently safe to ride but the deleted material can't do wonders for front-end rigidity. However, given the UCI's recent rulings regarding the consumer availability of team race bikes, Canyon have no choice but to bring it to market in order for Evans to use it in competition.
Cervélo Test Team mechanics scramble for last minute fix
Cervélo Test Team mechanics were seen scrambling about their pit area making some uncharacteristically last-minute modifications to each rider's Cervélo P4 barely two hours before their riders' scheduled start time.
The problem appeared to centre around the team's modified carbon fibre bottle cages, which apparently wouldn't hold on to the matching aero bottles tightly enough over stage 4's occasional bumps. The P4's stock proprietary bottle and cage system would have been fine in this respect but the team had heard that the UCI might take issue with its flush-fit design and instead went with an Elite aero system that the team tweaked to work.
Those modifications wouldn't quite let the matching bottle fully snap into its receptacle as usual though, and given the timing, removing and re-machining the short aluminium plates used to secure the cage to the frame wasn't an option. The solution? Short strips of adhesive-backed Velcro added in between the bottle and cage for extra grip – and of course, the team mechanics had some in the truck.
In the end, the team appear to have come across the finish line with all bottles on hand but the situation was obviously far from ideal. Rest assured that the mechanics will have something more proper figured out before the final individual time trial round at Lac d'Annecy on 23 July.
Agritubel look within their borders for new team time trial helmet
Agritubel have switched their helmet sponsor from Spain-based Spiuk to French outfit Ekoi. Though the team's specially painted bright gold metallic aero helmets were impossible to miss during the team time trial around Montpellier, what lies beneath is surprisingly reasonably priced for the sport-level rider.
Ekoi sell their Chrono helmet direct from their website for just 109 euros (£95/US$152) yet it offers a reasonable 305g weight, an easy-to-use dial-type retention system, plus an in-moulded shell with a fully enclosed lower rear section, which multiple sources suggest notably reduces drag relative to an open design.
In contrast to most aero helmets currently on the market with a minimal number of vents such as Giro's latest creation and the Specialized TT2, the Chrono sports about a dozen openings to bring in cooling air – good for rider comfort but perhaps not the best for keeping drag to an absolute minimum.
That may be, but given the everyman pricing it's hard to complain. Ekoi offer the Chrono in four different colours – pink, bright green and white with either blue or red accents – but unless you land a contract with Agritubel, you can't have gold.
Milram mechanics go to the tape
Cycling fans generally think of ProTour race bikes as exquisitely tuned and white-glove-clean with cutting-edge engineering and a good dose of black magic tossed in for good measure. For the most part that holds true (the top-level mechanics do truly extraordinary work that deserves more recognition than it receives) but even the best cared-for examples are occasionally shod with a few extra zip ties and electrical tape (see above).
Milram's mechanics were surprisingly light-hearted just prior to the team time trial start yesterday afternoon in Montpellier, their work completed in advance with everything checked and double-checked and everything generally in order. In fact, about the only thing left for the mechanics to do (apart from loading into follow cars in the event of a mishap, of course) was tape over the valve access holes in the team's Lightweight rear disc wheels.
Instead of just using fat pieces of white tape to match the disc surface's base colour, though, team mechanic Filip [sorry, we don't know his surname and weren't able to obtain it prior to posting time] was hand drawing in the missing black lines normally seen on the rest of the wheel – an unnecessary extra perhaps but still a nice finishing touch.
More tape (this time black) was found covering up the mounting bolt for the rear derailleur hanger and the exit point at the top tube for the aft section of rear brake housing. Filip had disappeared by the time we noticed it so we couldn't ask what they were for but they're intriguing nonetheless. A fraction of a gram less drag? Cosmetics? We'll look into it and report back.


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Donatella's Update: The Oven Is Being Cured
I spent the first part of my morning fumbling around in the dark with Donatella Arpaia in the presence of a glorious pizza oven. How's that to set a pizza-loving guy's heart a flutterin'?
You see, it's Day 11 of the oven-curing process at Ms. Arpaia's upcoming pizzeria, and she was there with Donatella's chef, Jarett Appell, to cure the oven.
More Oven-Building
Curing is a process performed on these types of ovens to drive out residual moisture from the bricks and mortar. If you were to build the oven and then just light a full-bore fire, you'd run a very high risk of cracking the thing as the moisture expanded in the bricks. Instead, curing has to be done slowly; at Donatella's Appell has been spending three to four hours each day lighting a series of fires in the oven, starting on the first day with a very small fire and gradually ramping up the intensity as the masonry becomes ever drier.
For Appell, it's a lot of firebuggin' and waiting, as you can see in the photo above.
Appell tells me that he knows the fire is hot enough when the dome of the oven turns white — essentially when all the soot has been burned off. At that point, he lets it die down again and comes back the next day. He could cure the oven faster, he says, by lighting several fires a day, but he only has time for one fire a day. Which is fine: He estimates it'll be done in three or four more days, but Donatella's isn't slated to be open for another month yet.
Oh, why were we in the dark at the beginning of this post? Well, there's a buzz of building activity going on there, and the workers had to cut the power momentarily for something they were working on. What were you thinking?
This post may contain links to Amazon or other partners; your purchases via these links can benefit Serious Eats. Read more about our affiliate linking policy.


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Check out this new article Wizards of the Coast posted recently:
Gang Aft Agley
The stage was set, the battle map was ready . . . and all of my best-laid plans were dashed when the halfling rogue blew my encounter to bits. The session was, dare I say, a blast.


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Jerry Wayne Burks, Sr.
On Saturday, January 5, 2013, God called Jerry Wayne Burkes, Sr. age 55, home from a Hot Springs hospital. His home going service will be held Saturday, January 12, 2013, at 11:00 am at Park Place Baptist Church in Hot Springs, AR, where the pastor is Coy Sample. The eulogy will be delivered by Rev. Steve Lake, pastor of Eureka Baptist Church in Hot Springs.
Jerry was employed at Coke-Cola for over twenty years before becoming disabled. Jerry was formerly of Hot Springs, AR, but was residing in Malvern when he received God's call. He was predeceased by one son Justin Burkes.
He is survived by his wife Janice Jones Burkes of Malvern, Arkansas; children: Jerry W. Burkes, Jr., Jeremy Burkes, Jason Washington, September Marsh, Jamila Burkes, Brooklyn Burkes, MaTia Burkes and Alexis Burkes; Step Children: Amy Sykes Monaco, Thomas Sykes and Anthony Waller his mother and step father Easter and Paul Hill of Malvern, AR; his biological father Leroy Burkes of Elaine, AR; Siblings: Calvin Cooper, Robert Smith and Kim Randolph; Ernestine Hankins, Betty Grayton, Gloria Daniels, Louis Melvin, Brenda Burkes, Jo Ann Little, Joyce Willingham, Duey Burkes, Carl Burkes Shundra Branscomb and nineteen grandchildren,
Visitation will be Friday January 11, 2013 from 5 until 7 PM at Liberty Chapel Church 414 Rockport Street Malvern, AR The final resting place for his earthly body will be in Greenwood Cemetery, Hot Springs . Services are entrusted to Brandon's Mortuary, Inc. Sign the online registry at http://www.brandonsmortuary.com


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1) Go for simple construction
Ease yourself in gently with a project that doesn't require too much precision sewing. Look for straight lines and not too many pieces, and avoid techniques such as darts, gathering and pleating until you've got a few makes under your (homemade) belt. Start simple, and you can progress to the more complex projects later on.
Try these cute and easy-peasy projects to show you the basics of construction - Dominique skirt, Brigitte Scarf and Bow Belt.
2) Check the fabric suggestions
Just as important as simple construction, check that the project is compatible with fabric that's easy to sew. While you're still getting used to your sewing machine, the last thing you want to do is sew material such as silk which will slide all over your machine, or a stretchy jersey that may leave your seams wiggly. Medium-weight woven cottons are perfect to get started with as they lie flat, press well and don't slip around. They come in lots of tempting prints (patterned prints hide dodgy stitching!) and are easy to find in fabric shops and department stores. Give them a whirl with the Margot pyjamas pattern, which is included in my book, Love at First Stitch.
3) Avoid fiddly bits
Inserting zips or getting to grips with the buttonhole function on your sewing machine can be a little daunting to new stitchers. If you don't feel ready to sew zips and buttonholes just yet, don't! Choose a project without fastenings for now, such as the easy-peasy Miette wraparound skirt which closes with waist ties, or the super simple Dominique skirt which has a modern-casual elasticated waistline. You might want to avoid set-in sleeves too - the kind that you insert into the armhole as a tube - until you're more confident with your sewing. The Bettine dress is a great beginner project as it has kimono sleeves, which are cut and sewn in one with the bodice. It has no zips, buttonholes or darts either - just throw it over your head and go!
4) Pick something that's easy to fit
One of the best things about making your own clothes is that you can tailor them to fit you. However, since we're all different shapes, getting a fitted bodice or trousers to mould perfectly around your lady curves can sometimes take a bit of work. So let's save that fun for later! Choose a simpler shape, such as the A-line Delphine skirt pattern in Love at First Stitch, or the Miette skirt which you can adjust the fit of with the waist ties. The Margot pyjamas are also easy to fit as they have a baggy, forgiving shape and close with an adjustable drawstring. The Bettine dress is great too, as it has a blousy bodice that doesn't need a lot of fitting, and the elasticated waistband does the job for you of cinching it in. Once you're ready to move on to sewing knit fabric, the Coco top or dress is a good option as it's got a relaxed fit, as well as a small number of pieces and simple construction method.
5) Make it again and again
My final tip for beginner sewing projects is to choose something you can see yourself making more than once. Practising the techniques and steps in a pattern a second (or third) time is great for cementing what you've learnt, and it will make you feel good about your progress.
Wishing you lots of fun with your sewing projects!
If you've sewn before, what was the first thing you made and how did it go? Do share!
Shop beginner sewing projects!


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What Have We Learned: Greater IP Enforcement Doesn't Work... Yet That's What Governments Want To Give
from the hammers-and-nails dept
So... what does this tell us? It seems to support what many people have been saying for over a decade. Fighting what technology allows and what consumers want is not an effective strategy. File sharing, if combined with smarter business models, can allow music to flourish just fine, and (most importantly) focusing on greater enforcement strategies won't solve any of the industry's problems, but could actually harm new businesses and new opportunities.
So, given all of that... shouldn't we be rather alarmed that the key strategic effort by the entertainment industry these days, which is now the official policy of the White House is to focus almost entirely on "greater enforcement"? Of course, part of the problem is that the last time we ramped up our IP laws, with the ProIP Act (driven by the entertainment industry, of course), part of the law was to create an "IP Enforcement Coordinator." Note how short-sighted this is. It wasn't about creating an "IP Effective Coordinator." It wasn't about creating a role to determine the best or most appropriate levels of IP. It wasn't even to help content creators understand the economics of the markets they dealt with or to suggest new and innovative business models.
The role was to focus solely on enforcement.
Yet now, as we learn that focusing on enforcement is a mistake, rather than backing off, it seems like those who created the role are simply doubling down. It's as if they don't realize how much harm they're doing to their own markets. It's really quite unfortunate. These are industries that should be thriving right now. After all, the expenses involved in almost everything they do has gone down. It's become cheaper to create professional content. It's become cheaper to package professional content. It's become cheaper to distribute professional content. It's become cheaper to promote professional content. It's even become cheaper to sell the content and ancillary products around the content. Every aspect of the business has become cheaper, and a much more massive audience has been opened up to these content creators. And rather than embrace it, they've whined and complained... and the US government's response is to support them in this? What a shame.
If the current content industries have been unable to take advantage of an amazing new world of content creation, promotion and distribution, it's their own fault. Having governments get in the game of cracking down on new and innovative technologies, just to protect a few legacy companies too slow and too confused to adapt is not a solution. It's the same story all over again. The political system is focused on bailing out the companies who failed to change with the market. We've seen it time and time again in other industries, and it always comes back to haunt us. We shouldn't be bailing out the movie industry and the recording industry right now. Both have had plenty of opportunities to embrace new business models. Plenty of content creators outside of the traditional system have done so, successfully. Governments around the world should stop focusing on protecting these players who are too resistant to change.


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Winter Barn by Diane Ziemski - 8.000" x 2.750"
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I'm Razghul, some of you might know me as Hektic @ Tarren Mill EU, some of you might know me from warcraftmovies.com and some might not know me at all!
I started streaming about 2-3 years ago during late season 7 early season 8, doing 1v2 and high rated 3v3 as fire on my own mage aswell as 3v3 frost on a friends mage.
I've always been fire since day 1 WoW and always will be, but I personally feel like cataclysm ruined fire because it lost it's fast-paced gameplay & became playable by anyone loosing it's high skill-cap (always liked the underdog feeling of it all).
So I decided to stop frapsing & streaming. I still played fire getting gladiator with it consecutive seasons because of my awesome partners sticking with me due to my spec all expansion.
I picked up on streaming a week~ ago purely because of boredom & my brother pushing me, due to popular demand I started doing 1v2 fire arenas again wich seemed to have some success. I reached 750 viewers on the second day of streaming and alot of followers (a number which is increasing every stream!)
I'm streaming fire PvP including 1v2, 3v3, RBGs, BGs, World PvP, Duels and alot more on a daily basis - usually start around 22:00 (EU, Amsterdam) to as late as 04:00~
So be sure to tune in, come hang out with me and my cool mods and the other viewers and enjoy!
- Razghul
Edited by Razghul, 26 December 2012 - 09:46 PM.


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Hello everyone. I am obviously very new around here. I am fairly new to the Neo Geo scene as well. I was a young pup when the system came out and only vaguely remember the home console. I just knew that it was at the local electronics stores and was far more than my family could afford.
My real love of Neo Geo was for the arcade systems. I remembered seeing them in a few arcades and stores in my area and was always disappointed when I couldn't find one. (They were pretty sparse overall.)
I sadly do not yet own a Neo Geo of any sort, but looking to slowly get started. I admit that I am leaning towards trying to track down a AES instead of going for the MVS, but am not really against finding a consolized MVS for now either.
Looking forward to return quite often and learn a bit more as I have much to learn about the Neo Geo games that I used to play and find what other ones I would have enjoyed back then.


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Categories: Bleaching Tooth Whitening : Bleaching Take Home
Poladay Tooth Whitening System, Dispenser Pack - SDI/Southern Dental Ind
Poladay tooth whitening system is a high viscosity, neutral pH take-home tooth whitening gel with a unique blend of soothers, conditioners and water content high enough to further reduce sensitivity.
- Fluoride release
- Neutral pH and desensitizers added
- High viscosity, spearmint flavor
- Wear time from 30 minutes per day


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Feature Presentation - This is one of the really big questions of life - Do Angels Really Have Wings? Well, maybe not that near the top of the list of BIG questions, but it's an interesting one all the same. It's the title of a new Jack Flanders story from ZBS. Jack has what appears to be a dream and finds himself in Heaven. He meets a few friends and a talking dog, and decides to look around Heaven, riding on his old childhood bicycle, a blue Schwinn Cruiser. And since he's in the neighborhood, he figures he might as well tour a little Hell while he's at it. It's all about learning.
Meatball Fulton wrote the script based around information he got while recording a friend of his having conversations with Meatball's wife who died a few years ago. If there is anyone in my life I've met that I think could carry this kind of thing off, it was Meatball's wife.
Selected Shorts - Stan Freberg's classic Green Christmas, where the advertisers talk about the true meaning of the holidays, to them. And we have a really short piece, that also really really old. A recording of President Benjamin Harrison speaking in 1889 and recorded on a wax cylinder.
If you'd like to see some live radio theater, performed on a stage, you might consider Big Fun Radio, a new show at the Bryant Lake Bowl on January 18th, 2013. Local comedy writers supply scripts and local actors take on the parts. All original. Check out the Bryant Lake Bowl website, or the Fearless Comedy website for more information. I'm going to be there.
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Posted in Other 30+ days ago.
This job brought to you by America's Job Exchange
Type: Full Time
Location: Lenexa, Kansas
As a driver, you will deliver and recover equipment at the customer site. This involves local or long-distance hauling of equipment and supplies as well as loading/unloading and securing equipment.
Deliver and recover equipment at the customer site
Loading, unloading and securing the equipment.
Local or long-distance hauling of equipment and supplies.
Perform basic troubleshooting involving malfunctioning equipment at jobsite and make minor repairs.
Perform daily commercial vehicle inspection with completion of necessary repairs to vehicle to ensure operational safety.
Learn and demonstrate Customer Service Standards for delivery service.
Accurately obtain require signatures on rental contracts, pick up and exchange forms.
Demonstration of proper and safe equipment usage to customer at point of delivery.
Perform other duties assigned by the manager or authorized personnel.
Complete inspection reports for out-going and returned equipment; completing log book and trip sheets meeting all D.O.T. and company record keeping requirements.
Definition of Class A Vehicle
Any combination of vehicles which has a gross combination weight rating or gross combination weight of 11,794 kilograms or more (26,001 pounds or more) whichever is greater, inclusive of a towed unit(s) with a gross vehicle weight rating or gross vehicle weight of more than 4,536 kilograms (10,000 pounds) whichever is greater
Education High School Diploma or equivalent preferred
Must be able to read, write and communicate effectively
Valid Driver s license with Class A CDL certification, DOT Physical Examination (Medical card)
Working knowledge and understanding of Motor Carrier Safety regulations / DOT guidelines.
Knowledge of local major and minor roadways and the ability to effectively use maps and directions for efficient delivery routing.
Possess knowledge of and/or previous experience in driving delivery trucks, towing tandem axle utility trailers and towable construction equipment, operating safely within high traffic or congested city zones and in small areas
Prior training and/or experience with similar commercial equipment preferred.
Ability to respond to common inquiries or complaints from customers, employees or members of the business community.
Ability to effectively present information to top management.
Ability to add, subtract multiply and divide in all units of measure, using whole numbers, common fractions and decimals
Reasoning Ability: Ability to define problems, collect data, establish facts, and draw valid conclusions.
2 years experience preferred; with verifiable over-the-road experience operating combination commercial vehicles.
Be able to perform each essential duty satisfactorily
Exhibit safe driving behavior / record instead of quality level record and maintain a Sunbelt quality level driving record.
Demonstrate a high level of safety awareness on the roadways
Exhibit professional defensive driving techniques to protect internal equipment and other drivers
Possess a Can Do attitude and be willing to do what is necessary to exceed customer expectation.
Must have sufficient mechanical ability to troubleshoot and make minor repairs to equipment and vehicle.
Possess prior experience in safe operation of heavy construction machinery within rental industry, and working understanding of load securement and transport.


text: Law enforcement officials say the Navy contractor identified as the gunman in the deadly shootings at the Washington Navy Yard used a shotgun and two handguns, but not an AR-15 assault rifle, as officials previously said. Two law enforcement officials told The Associated Press that an AR-15 was found at the scene. One of them said Tuesday that Alexis did not use that weapon in the shootings. It was not immediately clear whether the rifle belonged to a law enforcement or security officer responding to the gun battle. The official said Tuesday the guns that Alexis used included a shotgun he had purchased and two handguns that he took away from law enforcement officer at the scene. (AP)


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Posted 08 July 2011 - 08:01 PM
Betty Ford, wife of former President Gerald Ford and the founder of the Betty Ford Center for substance abuse and addiction, has died at age 93.
In public, she was one of the most visible and outspoken first ladies in history. In private, she triumphed over serious personal adversity.
She was married to Gerald Ford for 58 years. Shortly after becoming president in 1974, Ford said, "I am indebted to no man and to only one woman, my dear wife."
RIP Betty.
Posted 23 July 2011 - 09:13 PM
Posted 11 November 2011 - 11:59 PM
Cynthia and I at Motor City Comic Con
and on Facebook https://www.facebook.com/pages/The-Art-of-Jim-Demick/261669903877527
"There are some things money can't buy...A good imagination is one of them
Posted 15 November 2011 - 04:44 PM
Andy Rooney, the "60 Minutes" commentator known to generations for his wry, humorous and contentious television essays - a unique genre he is credited with inventing - died Friday night (Nov. 4 )in a hospital in New York City of complications following minor surgery.
Posted 11 February 2012 - 09:23 PM
Legendary pop singer Whitney Houston died at a Beverly Hills, California, hotel at age 48, officials said Saturday night.
The entertainer was pronounced dead at 3:55 p.m. (6:55 p.m. ET) at the Beverly Hilton Hotel despite resuscitation efforts, a police spokesman said.
RIP Whitney..
Posted 11 February 2012 - 09:52 PM
Take my hand and we'll go riding through the sunshine from above
Posted 12 February 2012 - 01:02 PM
Cry Havoc! And let loose the Dobermans of war!
My knitting and crocheting blog.
Life is too short to take seriously, none of us get out of it alive.
Each morning when I open my eyes I say to myself: I, not events, have the power to make me happy or unhappy today. I can choose which it shall be.Yesterday is dead, tomorrow hasn't arrived yet. I have just one day, today, and I'm going to be happy in it.
Posted 08 April 2012 - 12:47 PM
Rest in peace Mike. You're an icon.
Posted 18 April 2012 - 04:58 PM
"Dick Clark died earlier today, he was 82.
Paul Shefrin, a rep for the entertainment legend, told ABC News his client suffered a "massive heart attack."
Good bye Dick Clark!
Posted 19 April 2012 - 12:33 PM
Posted 04 May 2012 - 06:41 PM
Read more: http://www.rollingst...4#ixzz1two0hDUD
Posted 04 May 2012 - 06:58 PM
'Sabotage' 'Two minutes to Brooklyn' 'Intergalactic' classics RIP Adam.
Beastie Boys Co-Founder Adam Yauch Dead at 47
Read more: http://www.rollingst...4#ixzz1two0hDUD
Posted 11 May 2012 - 07:16 PM
RIP Carroll
Posted 17 May 2012 - 11:45 AM
Summer, 63, was a 5-time Grammy winner whose hits dominated the charts in the 1970s. Her songs like "Last Dance," "Bad Girls" and "Hot Stuff" were among the decade's most successful.
RIP, you have left us with so much of pleasant memories!
Take my hand and we'll go riding through the sunshine from above
Posted 26 June 2012 - 07:30 PM
She died of complications from the blood disorder myelodysplasia, She was a well known writer/director.
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Hotel Miramar Singapore
Hotel Miramar Singapore, an International First Class Hotel in Singapore, delivers impeccable friendly service, modern comfort living and unequalled prime location. Whether you're here on business or for leisure, you'll find your every need well taken care of. (Google Map)
Situated right in the heart of Singapore's commercial and financial hub (CBD) and nestled along the Singapore River, Hotel Miramar enjoys close proximity to 3 MRT Stations and a great variety of attractions including the colourful Chinatown, shopper's paradise of Orchard Road and Great World City shopping mall, Marina Bay Integrated Resort and Casino, Gardens by the Bay, Marina Cruise Centre, Esplanade, the Singapore Flyer, Resorts World Sentosa, S.E.A Aquarium, Universal Studios Theme Park and many more... More
Above all, enjoy the scenic view and intimate experience of waterfront wining and dining when you visit numerous pubs and restaurants at Boat Quay and Clarke Quay, which are within walking distance.
With the business hub, popular tourist attractions and landmarks, shopping belt, waterfront dining and entertainment venues all within easy reach, Hotel Miramar is the ideal choice for any traveller.


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Mewlana Jalaluddin Rumi
Mewlana Jalaluddin Rumi [Rumi] (1207 - 1273 / Persia)
» Click to list general statistics » OR, select a date :
There Is A Way
There is a way between voice and presence
where information flows.
In disciplined silence it opens.
With wandering talk it closes.
read more >>
- Hits: Number of visitors who read the poem on the given date.
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Business management is the branch of science that combines two large domains "Business" and "Management". The core functionality of the business management sector is to comprise the planning, organizing workforce, leading, controlling and directing staff in order to accomplish the desired goals and future objectives. The students and professionals of business management have full command on all related subjects of business management field, before having any specialization in desired major subjects. The primary goal of business management is having a border view business organization culture. RighJobs.Pk is the Pakistan immensely flourishing online job portal that facilitates job seekers and employer equally. Their services are free of cost for both employers to post a job vacancy and for the job, seeker applies any preferred job with paying a single penny.
In Pakistan business management, students have been taught 8 major subjects during their studies. These subjects include, Principles of Accounting, Finance, Marketing, Economics, Statistics, Human Resources Functions, Organizational Behavior, Financial Accounting, Operation Management and Decision-Making. The core pursuits of business management's job is to organize and manage all aspects of a successful organization by offering alignment and coordinating services achieve desired goals.
Most of the Business Management job types are mentioned below. Let's have a look one by one.
Analysts are the persons that work within the organizations, helping the organization to build or update the plans of the future line of company goals. This plan can be about the particular product, service or any permanent feature or policy of the organization. An analyst should have core knowledge about the organization work, current situation, identification of current and future needs and create solutions in order to overcome current risks and meet up future goals. The role of analyst person is on a permanent basis within the organization, but they can even work as freelance or contract person. Analyst's positions in swat Pakistan come with various names like Business Architecture, Business System Analyst, Enterprise Analyst, Process Analyst, System Analyst, Requirements Engineer, Product Owner, Product Manager, UX Analysts, Business Analysts, Actuarial Analyst, Operations Research Analysts, Financial Analysts, Risks Analyst and much more.
Managers are the people that organizing the system, resources and another staff eventually directs to this category of the job. Managerial level vacancies in Pakistan are announced for various field sectors like Construction, Engineering, IT, Marketing, Manufacturing and Retail. The manager is the persons that are available for controlling, administrating and organizing the staff of an organization. Depending upon the culture and needs of an organization manager level vacancy can be permanent, contract or freelance based. The core responsibility of the manager includes delivery of successful outcomes on time by proper utilization time management rules. In Pakistan, the managerial level vacancies of business management are normally advertised under a variety of titles, like assistant Project Manager, Business Change Manager, Junior/Senior Project Manager, Project Coordinator, Project Officer, Account Manager, Sale Manager, Purchasing Manager, Operation Manager, Product Manager, Project Manager, Risk Manager, Retail Manager, Logistic & Distribution Manager, Risk Assessment Manager and much more.
The term human resource management is described for the formal system for the management of the people within an organization. The human resource department is the critical department of an organization that needs to be developed in order to work for the well-being employees. The basic human resource department responsibility includes staffing, hiring, payroll, firing, implementing policies, employee compensation & benefits, training & development opportunities and much more. Generally, the working hours of HR persons are same (9:00am to 5:00pm). While Part-time opportunities are also announced sometimes. The recent graduate of business management can start their job as a general HR role, although in Pakistan there are different sub-career growth levels are defined before working as HR officer. Therefore HR management vacancies in Pakistan come in various roles including HR Executive, Assistant HR, HR Coordinator, HR Specialists, HR Officer, HR Manager, Recruitment Manager, Compensation & Benefits Manager, HR Consultants, HR Experts, Training & Development Manager, Employee Education Consultants, HR Entrepreneur, Human Resources IT Specialist and etc.
Another most important business management field is the "Consultant" job. Consultants are the persons or professionals who offer you "Experts' Advice". Consultants are the professional with specialization in the various specific field with the wide range of knowledge the subjects. Consultants are hired basically in two categories that are Internal Consultants and External Consultants. Consultants provide experts opinions and advice to their clients in a variety of forms. Consultant job can be permanent, Contract based or freelance based that includes Business Transformation Consultants, Human Resource Consultants, Public Relation Consultants, Public-Relation Consultants, Management Consultants, Marketing Consultants, Finance & Accounts Consultants, Sales Consultants, Risk Management Consultants, Strategy Consultants, Outsourcing Consultants and etc.
An accountant is a professional person who makes accounting functions such as audits or financial statement analysis. Accountants can either be hired with an accounting firm, a large company with an inner accounting department or can establish an individual exercise. Accountants are given certificate by national professional associations, after meeting state-specific responsibilities, however non-qualified persons can still work under other accountants, or independently. Accountant's vacancies are usually announced as, Chartered Accountants (CA), Management Accountants (CMA), Certified General Accountants (CGA), Certified Internal Auditor (CIA), Public Accountant (PA), Certified Public Accountant (CPA), Tax Accountant, Forensic Accountant, Financial Officer, Budget Analyst and etc.
The function of a sales department is to engross in a range of events with the objective to promote the customer purchase of a product or the client engagement of a service, according to the Organizational goals. Sales positions include, Sales Representative, Sales Executive, Sales Consultant, Sales Agent, Direct Salesperson, Business Development Manager, Technical Sales Representative, Sales Analyst, Sales Manager, Customer Support Persons, Marketing/Advertising Manger etc.


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Pleasanton, Calif., is — no surprise here — a pleasant small city east of San Francisco Bay that was off the beaten track for much of the 20th century and avoided the redevelopment that destroyed the cores of many older cities. Its downtown — filled with tree-lined streets, vintage architecture, restaurants and boutiques — evokes a small town in New England. My good friend Laura, who used to live there, was my guide on our trip. The tab: We spent about $450, including $220 for two nights at the Sheraton and $230 for food and drinks.
The bed
The Rose Hotel downtown (807 Main St.; [800] 843-9540; rates from $240), an elegant beauty owned by the Madden family (John Madden, the former Raiders coach, raised his kids in Pleasanton), scores a touchdown. The old-world lobby has a marble fireplace, hand-painted murals and a dramatic staircase. The rooms are lovely, with rose-inspired fabrics and furniture; bathrooms feature whirlpool tubs. Alas, Laura and I were on a budget, so we stayed at the Four Points by Sheraton (5115 Hopyard Road; [925] 460-8800) in the nearby business district, where we got a decent room for a great rate. Bonus: a nice pool in a lush setting.
The meal
With our hotel savings, we could eat our way around town, in between sightseeing. Breakfast: huge omelettes at funky Dean's Café. Lunch: fish and chips, and people watching, on the patio of Redcoats British Pub & Restaurant. Happy Hour: gyro sliders and Chardonnay at Oasis Fusion Grille. Dinner: grilled chicken breasts in a sauce of roasted figs, balsamic vinegar and pasilla chiles at the Blue Agave Club. Nightcap: Martinis at Hap's Original, a local hot spot.
The find
The self-guided Historic Downtown Walking Tour (downloadable map) explores an architectural candy store of styles, ranging from Italianate to Mission Revival. Many buildings claim tales of ghost sightings, murder mysteries, secret tunnels, speak-easies and brothels. Some now house boutiques, and we had a swell time shopping along the way. Even the Round Table Pizza place has a storied history. It was built in 1863 as the Pleasanton Hotel, but it once stabled Seabiscuit and boasted an impressive list of non-equine guests: Henry Ford, Leland Stanford and Presidents Herbert Hoover and Calvin Coolidge. Bookstore lovers alert: Stop by Towne Center Books, a fine indie shop housed in a 1937 building that was once a laundry.
The lesson learned
Be sure to explore the side streets. We almost missed the new Firehouse Arts Center (4444 Railroad Ave.; [925] 931-4850). The striking wood-and-brick building pays homage to the fire station it once was — there's still a fire pole — and has an art gallery and an intimate "black box" theater with amazing acoustics.


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Coker jumped out to an early 2-0 lead in the first when Nic Fletcher scored Brian Nally off an RBI triple and Steven Evans plated Fletcher with a RBI ground out to short. Unfortunately, for the Cobras,
The Yellow Jackets would go on to score a run in the third, fourth and fifth innings, along with a run in the eighth and two more in the ninth and Coker plated a run in the second, one in the fifth and two in the seventh, making it a 16-6 ballgame.
Coker starter Jayson Clarke (4-5) took the loss, after going just an inning and a third, allowing 10 runs on eight hits.
The Jackets had nine pitchers throw in the game, with Shane Long (1-0) earning the win, throwing one complete inning, allowing no runs, no hits and only facing three batters.
For Coker offensively, Nic Fletcher was 4-for-5 with a triple, an RBI and two runs scored, while TJ Dawson was 2-for-4 with a double and Steven Evans and Brantley bell were each 1-for-2 with an RBI.
Coker returns to the field on Wednesday, as they travel to


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In four seasons since their Division I transition, Spartans have risen quickly to become contenders
It might not have seemed so at the time, but a group of freshmen on the USC Upstate men's basketball team four years ago would change the program.
They were already historically significant, being the newcomer class to go through a miserable season in which they were not eligible for postseason play in the transition from Division II into Division I with the Atlantic Sun Conference. Going 5-25 didn't exactly add to the excitement of entering a new era.
But now, USC Upstate is in the upper echelon of the conference, a true contender for the championship and an automatic berth in the NCAA tournament. The Spartans (17-13, 10-7) can earn third place in the regular season finale at 7 tonight against East Tennessee State (also 17-13, 10-7) in the Hodge Center.
Along the way, those discouraged freshmen have become proud seniors. Torrey Craig, Ricardo Glenn, Jodd Maxey and Babatunde Olumuyiwa will be honored in a pregame ceremony.
"Those guys came here and there really wasn't much to hang our hats on," USC Upstate head coach Eddie Payne said. "But they believed in what we were selling. They believed in us. They believed in the dream. And then they went to work."
That 2010-11 schedule was brutal for a team with mostly Division II players. There were games at Michigan, Virginia, N.C. State, Auburn, Virginia Tech and South Carolina. Conference play was rough, too. The Spartans started 2-19. The finished 4-16 in league play.
The next season, USC Upstate won 21 games.
"I wasn't used to losing," said Craig, who had led Great Falls High School to back-to-back appearances in the state championship game. "I was thinking, 'Man, what's wrong with us?' But things got better. We looked at ourselves and we thought we could have a team good enough to compete with anybody. We ended up having a pretty good team. It's been a journey."
By the end of the journey, Craig became arguably the greatest player in USC Upstate history. He is second on the school's all-time scoring list and fourth on the Atlantic Sun list with 2,074 points. He is nine rebounds away from the school record of 930. He is the all-time leader and fifth-best ever in the league in 3-pointers with 290.
Craig leads the Atlantic Sun with 17.2 points per game this season and could become only the second player in league history to win three consecutive scoring titles.
"He's been a remarkable player," Payne said. "I don't think I'll truly realize just how great he is until next season when he's not here."
Glenn, from Augusta, Ga. (Richmond Academy), became an all-conference player as well. He was the first of the four on campus, taking a redshirt season in 2009-10. Glenn leads the conference in rebounding and is 16 away from third on USC Upstate's all-time list, tied for ninth in league history. He also tops the conference in field-goal percentage.
"All those individual accolades really won't mean as much without a championship," Glenn said. "The Atlantic Sun championship is the most important thing."
Olumuyiwa and Maxey have become two of the top shot-blockers in school history. Olumuyiwa, from Athens, Ga. (Clark Central) ranks second with 147 and Maxey, from Statham, Ga. (Winder-Barrow) is third with 136.
In his sixth college game, during that 2010-11 season, Olumuyiwa set a school record and tied a conference mark with nine blocked shots in a game against South Carolina. Maxey transferred from South Carolina State and sat out that year. As an upperclassman, he has set single-game career highs in points (27), rebounds (14), steals (seven) and blocks (six).
"It's special because of everything we've been through," Olumuyiwa said. "That first year was rough. We were the ones who led the way in taking USC Upstate basketball to a new level."
"I think we were important in turning the program around and it's been on the rise since," Maxey said. "But we want to make it really special by going to the NCAA tournament. I think we can do it."
Even if the Spartans fall short, Payne said, this group of seniors will be remembered fondly.
"We got beat up in that five-win season," he said. "But those guys kept pushing and pushing. It showed not only their abilities but their attitudes. They turned us into a competitive program. They should take credit for that."


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Anamu (Petiveria alliacea) Pictures
Anamu Pictures (Petiveria alliacea)
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Last updated 12-23-2012


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Beltway Blog — Swing State! Coloradans attend DC conference, given red carpet by White House
WASHINGTON — Last year, there were a handful of Senators, House reps and some undersecretaries speaking to Coloradans attending the Colorado Capital Conference.
What a difference a (election) year makes.
Speakers devoting time to Coloradans during next week's annual conference include two cabinet members and President Obama's chief economic adviser Gene Sperling.
The conference, sponsored by Democrat Sen. Mark Udall and Colorado Mesa University President Tim Foster and University of Colorado President Bruce Benson, will bring almost 100 Colorado local electeds, community leaders, mayors and business owners to DC next week.
In addition to Sperling, Interior Secretary (and former Colorado Senator) Ken Salazar will greet guests along with Labor Secretary Hilda Solis. Sens. John McCain (Arizona), Susan Collins (Maine), Kent Conrad (North Dakota) and Kay Hagan (North Carolina) will also speak.
"These speakers come from both sides of the aisle – members of the administration and Congress, and thought leaders who can give an insiders' perspective on how the federal government shapes public policy," said Udall, in a statement. "This conference will give attendees an opportunity to meet other civic-minded Coloradans, hear from policy makers and better influence the legislative process in our nation's capital."
"With such a great cross section of leaders slated to address the conference, I'm most excited to bring our group of engaged students back to D.C. to hear directly what's going on and how they can be a part of it," said Colorado Mesa University President Tim Foster, also in a statement.
(Colorado's own Sen. Michael Bennet and Reps. Scott Tipton, R-Cortez, Cory Gardner, R-Yuma, and Ed Perlmutter, D-Jefferson County, will also speak.)