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War and the Iliad, by Simone Weil and Rachel Bespaloff with an essay by Hermann Broch. Tr. by Mary McCarthy. Introd. by Christopher Benfey.
New York Review of Books. $14.95.
It was an eerie coincidence. In Marseilles during the late spring of 1942, two writers at the height of their powers, unknown to each other, were both struggling to find a berth on a ship to America and were both thinking about the same poem. Simone Weil had finished her essay on the Iliad two years before, but she still carried the book in her rucksack along with a change of clothes, in case of arrest and imprisonment. Rachel Bespaloff's reading of the poem was likewise colored by her own experience of war: her companion that spring, the philosopher Jean Wahl, had been tortured by the Gestapo.
Of the two essayists, Weil remains the better known. "The Iliad, or the Poem of Force" follows from similar obsessions as the letters, meditations, and notebooks she wrote while deliberating over her conversion to Catholicism. There's the same fascination with double binds: suffering and redemption, guilt and expiation descend from the realm of abstraction to take on weight and dimension in Weil's writing. She has a unique skill for delineating their precise physics. That's what makes her commentary on Homer so valuable: she intuits the ethical center of the poem as if she has entered it entirely and felt its properties in action. At the very beginning of the essay she writes, "The true hero, the true subject, the center of the Iliad is force.... it is that x that turns anybody who is subjected to it into a thing. Exercised to the limit, it turns man into a thing in the most literal sense: it makes a corpse out of him." Weil sees force as both the ultimate reality of the poem, and the ultimate illusion. Those who believe they've mastered it are apt to be destroyed the next time it see-saws.
Homer's poem, Weil believes, works to reflect force back at the reader. An ethical person must escape the locked cycle of violence and oppression, yet escape with full knowledge: "Only he who has measured the dominion of force, and knows how not to respect it, is capable of love and justice."
Bespaloff might have lacked the supreme confidence that shows in Weil's prose. It's probable, in fact, that before revising her essay for the final time she read and admired "The Iliad, or the Poem of Force." But "On the Iliad" actually seems to me the greater of the two. Like Weil, Bespaloff comes to that question about the connection of art and ethics, yet she gives a more surprising, deeper answer.
For Bespaloff, art is the distillation and enlargement of those ecstatic moments when we apprehend ethical truth. It's not that art tells us how to be good. On the contrary: "the step from ethics to morality involves the same betrayal of value as the descent from aesthetic contemplation to hedonism." Even if that distinction between "ethics" and "morality" seems like fussy semantics, you get what Bespaloff means. She believes that art creates a suspension: it captures and holds ethical truth before it can be polluted by our contingent systems of laws and conventions. She finds her ultimate example in that passage of the Iliad in which Priam visits the tent of Achilles to plead for the corpse of his son, Hector. The grieving king and the killer of his son face each other not with hatred, at least for that moment, but with respect. Priam's act is both horrible to imagine and gorgeous. With his supreme sense of justice and his disregard for established boundaries, "Priam appears in the epic like the poet's delegate," writes Bespaloff. "He typifies the watcher of tragedy, the man who sees it all."
You might disagree with Bespaloff's take on the role of the poet, or with Weil's. But even if you end up convinced that art and ethics have nothing to do with one another, the question about their relation remains one that all serious writers must ask themselves. More and more, the strength with which a poet engages this quandary seems to me the defining element of his or her work, whatever his or her responses may be, and even if these responses remain implicit or inconclusive. I'm convinced that such deliberation (or its lack) determines what the poet wants the poem to do.
With the faultless translations of Mary McCarthy, the informative and eloquent introduction by Christopher Benfey, and with the great Austrian novelist Hermann Broch's afterword, the new edition of the essays stands as example of this kind of responsiveness.
Overlord, by Jorie Graham.
Ecco Press. $22.95.
Jorie Graham's recent poems attempt to trace the movement of an alert mind, to record and enact an effort to become completely present in the world. For all this attention to the moment, they also show clarity of purpose. Graham has obviously deliberated, like Weil and Bespaloff, over the connection between art and ethics. She has set her meditative efforts in these new poems against the mindless onslaught of force, both military and economic. She doesn't oversimplify such conflicts either. The heroes of her pacifistic book turn out, in fact, to be soldiers; Graham takes her title from the mission name of D-Day, and she quotes compellingly from those who fought in the Normandy Invasion. She knows to leave these powerful testimonies unedited, and they end up providing some of the strongest passages in the book. Similarly, when an emigree cab driver or a homeless beggar shows up in the poems, Graham works to convey his inscrutable otherness, even as she attempts genuine connection with him.
The problem with this new collection is that Graham hasn't made all these fine ambitions manifest in the actual tonalities and structures of the poems. Graham attempts to register the bursts and turns of interior monologue, but she buys this effect at a drastic price. It's hard to think of another book of poems with such a willfully impoverished syntax. Here, for example, is a section of "Europe (Omaha Beach 2003)," in which she observes children playing in the tidepools of the former battle ground:
The bottom of the pool is deeper and they
move towards it. They do not see me on the other side.
They're running out with buckets now, up shore, hands full.
I walk into the pool myself. Sun looks
as usual back up at me. Three
new kids are approaching now.
Green bucket has returned. He has a shovel now and
larger friend—also blond and very pale. They bend to work. Their work
makes ripples that now lap my way.
These clipped, repetitive sentences make the children (not to mention the poet herself) seem like automatons. Most of the book remains in this same key. With so little modulation, the phrases themselves begin to feel as if they're being piped in over some Orwellian public address system. This leveling dulls the larger shapes of the poems as well. The structure of each poem becomes that of the dirge. The book starts to feel symptomatic of the same numbness it laments.
Critics have complained in the past about Graham's difficulty. At least in this new work, nothing could be farther from the truth. Line by line, the poems may seem to offer the complex swerves and fastenings of a mind in movement. But that movement never becomes true action; it remains mental weather. It recedes always into the same bleak monochrome. Graham was at her best when she was most difficult. The strongest work in The End of Beauty (1987) contains not only genuine thinking, but dynamic structures. In a poem like "Imperialism," the competing narrative and anti-narrative urges work toward a surprising synthesis. The difficulty is emotional too: both the speculative intelligence and the biographical disclosures are out in the open, bare. In comparison, a book like Overlord, for all the violence of its subject matter, feels robotic.
When Rachel Bespaloff writes that poetry "repossesses beauty from death and wrests from it the secret of justice which history cannot fathom," she may seem to be swelling her organ notes. But she makes a fine distinction in that statement: she implies the power of poetry to create a world apart from the one it reflects. This virtual space of the poem provides not escape but rather an intensification of thought and feeling. Graham's new book fails because, in the place of such sensation, it offers a kind of rote stenography. It feels like watching CNN.
The Georgics of Virgil, Tr. by David Ferry.
Farrar, Straus and Giroux. $23.00.
No other poem moves the way that Virgil's Georgics do. The four books contain discrete topics: the cultivation of field crops in the first, of vines and trees in the second, of livestock in the third, and of bees in the fourth. But the poem takes its form as much from those subjects as from the forays the poet makes, venturing along whatever path he chooses (a divagation about snakes, a comic portrait of an erotically frustrated bull, the myth of Orpheus which is retold at the end of the poem) before pulling the reader back into the manifold structure. This poem is about the human urge to establish reality. And such reality must incorporate, Virgil suggests, the same flood of recalcitrant and fleeting matter from which it needs to be protected: much in the same way that the farmers he writes about need to spread mud, leaves, or any old detritus at all over their beehives to reinforce them.
As they progress, the Georgics themselves turn out to be embodiments of this same kind. It's not that agricultural labor works as some sly code for the creation of poetry: it's that the two become consubstantial as the sentences unfold. Virgil makes art from labor, but he also works to return art to its beginning in the bare act of fashioning human culture out of the wild. In the superb introduction to his new translation, David Ferry explains: "Over and over it is as if it all had to be started again.... Culture, in the fallen world of Jupiter, is always near the fragile beginnings of its making and always near its potential end." This tenuousness makes for the pathos of the poem. It also establishes a splendor, something like Bespaloff's vision of Homeric creation: we repossess the world in all its freshness and particularity when we witness, as we do again and again in Virgil, the constant cycle of becoming.
David Ferry's technical gifts leave him particularly well-suited for conveying this process of renewal. Ferry shows tremendous skill with his taut yet pliant pentameter. He also employs demotic and high lyrical diction with equal finesse. His version contains all the freshness of American speech and all the classical poise of the original: it comes across neither as a curatorial act of conservation nor as a modish remake. Take an excerpt from Virgil's warning about poisonous snakes:
And there's that dreadful snake whose habitat
Is the marshy glades of Calabria down there,
Big-spotted along his endless underlength,
His threatening breast held high, his scaly back
Wreathing and coiling. As long as there's water gushing
Out of the sources of streams, as long as spring
And the south winds bringing their springtime rainfall steep
The earth in water, this serpent inhabits the sides
Of pools where he can satisfy his black
Throat's appetite with fish and croaking frogs.
The natural tone and rhythm in this passage derive from Ferry's balance of prosodic techniques. You get the disciplined extravagance of the fifth and seventh lines as well as the textured iambs of the first and last lines. You catch the succinct earthiness of "down there" and "Big-spotted" as well as the extended, gushing syntax of the second sentence.
Hearing such genuine poetry through our current drone of Translationese feels something like the shock of sighting that snake's endless underlength: it's alive! Why not say it then? This is the best poetry of Ancient Rome, rendered by the best translator of modern America.
Poets of the Civil War, ed. by J.D. McClatchy.
The Library of America. $20.00.
The Civil War was our defining tragedy. Most of us know that commonplace. But maybe because it's so obvious, the war can also seem like a blind spot on our collective consciousness. After the atrocities in New York four years ago, the experts on TV kept referring to the War of 1812 as the last conflict in which an American city was attacked. Vicksburg and Atlanta could have been cities on the moon to them. You can see how such reasoning worked. It's easier to discount the suffering a country inflicts on its own. It's easier, especially since this war ended the abomination of slavery, to gloss its horror. What makes this collection of Civil War poets so valuable is the power with which it disrupts that trend, corroborating William Faulkner's claim that "The past is not dead. It is not even past." It's not necessarily the consistent quality of the work included that gives the anthology its power. (Many of the poems, as their editor openly admits, are second rate; several seem awkward imitations of Milton or Walter Scott.) No, it's the immediacy with which poetry itself confronts us. McClatchy explains in his elegant introduction that, while there remains no "American Iliad," he has set out to create a panorama made up of the partial glimpses that the poems provide.
What does that leave to readers who desire more from poems than historical interest? A good deal. There are six excellent poems by Emily Dickinson, which set an explosive interior drama against their uncharacteristic topicality. The strongest poem in the collection is Walt Whitman's devastating "Vigil Strange I Kept on the Field One Night," and the twenty-six pages of Whitman form the center of the book. Fine work by lesser poets also lends power to the anthology. The disillusioned poems of the Connecticut writer John W. De Forest seem particularly striking to me.
But maybe the most impressive selection is that of Herman Melville. Some of the ornament that Melville could sustain in his muscular prose seems like conventional clunkiness in his poems. But consider "Inscription," a poem written after the horrific battle of Fredericksburg:
To them who crossed the flood
And climbed the hill, with eyes
Upon the heavenly flag intent,
And through the deathful tumult went
Even unto death: to them this Stone—
Erect, where they were overthrown—
Of more than victory the monument.
This poem flows from the same impulse that led Melville to give Billy Budd the subtitle "an inside narrative." It endeavors to remind us of the ineffable "something more," the incommensurable lost lives that haunt our official histories.
The fact that Melville visited the front in 1864 carries some interest, but it's not what makes his war poems superior to, say, Jorie Graham's. Melville is the stronger writer because he registers his convictions in the form itself: in the suspenseful surging of the single sentence, in the turn from the literary adjective "deathful" into the terrible fact of the noun "death," in the sudden stop that comes with the imperative in the penultimate line. It's precisely this transmutation of movement into action that happens so seldom in a book like Overlord. Where Melville repossesses experience in the manner that Bespaloff describes, Graham merely barrages her reader with subject matter.
My Noiseless Entourage, by Charles Simic.
Harcourt. $22.00.
In his best work, Charles Simic resembles the jazz clarinetist Pee Wee Russell. He somehow gets the gawkiest, most twee phrases to patch together into a surprising shapeliness. But at least for the last decade, most of the poems have been, well, gawky and twee. They're also redundant. (From a body of work made entirely of elbows you might at least expect some surprising turns.) If you want an impression of what the entire new book feels like, the first ten lines of the first poem, "Description of a Lost Thing," will do just fine:
It never had a name,
Nor do I remember how I found it.
I carried it in my pocket
Like a lost button
Except it wasn't a button.
Horror movies,
All-night cafeterias,
Dark barrooms
And poolhalls,
On rain-slicked streets.
To my ear, there's little here beside the end-stopped thudding, the stock images, and the penny-ante diction ("rain-slicked streets"!). I can imagine Simic's fans arguing that the flatness of the language is intentional, that the conceit about the unnamed "lost thing" carries the true significance here. They would say it operates as a door, letting us in on how all these poems work: by pointing their readers toward those little holes in time when some intimation from the other side rips through the surface of our habitual lives, those instants when the tenuous beauty of our contingent world comes clear to us, along with the horrors we so persistently deny. These readers might even argue that such a process offers something like Rachel Bespaloff's insistence upon a poetry bound to ethical but not to moral attentiveness.
I don't buy this one bit. How can the poems subvert anyone's habitual assumptions when their "dark" material remains so politely cartoonish? This work lets both the reader and the poet himself off the hook far too easily. Simic knows how to deliver an image: the tombstone angel in "Talk Radio" and the spectral woman at the end of "Pigeons at Dawn" spring up at just the corrrect points. But they're too correct, as if calculated to elicit that "ahhh" sound at poetry readings. And such special effects always seem more important to Simic than the actual textures of the world and of language.
Aversions, by Devin Johnston.
Omnidawn. $14.95.
If you want to read poems that actually correspond to that defense of Simic's work, you should check out Devin Johnston's second book. Johnston takes the title of his new collection from the rite that ancient Romans performed to placate their dead. His is a book of hauntings: deceased loved ones, childhood bullies, ancient poets, and ideal selves all ghost these pages at one time or another. But ghosting's not so much the subject matter as the formal method. In poem after poem Johnston turns away from the world at hand and moves into a kind of hushed borderland, even as he redirects our attention to the here and now. Like the filmmaker Stan Brakhage, to whom he pays homage, this poet can't get enough of those seemingly mundane spots in time when some subtle presence arrives, thrumming in over the wires. The image of an audible silence traversing telephone lines appears, in fact, as a central motif in the book.
This is also a book about language itself. Yet there's none of the fashionable reflexiveness you might expect from "a book about language itself," none of the knowing distortions of idiom so many poets employ to disguise the lack of genuine thought. Johnston's linguistic introspection is the real thing. His attention to his medium is part and parcel of his feelingful engagement with those spectral presences. Take the first two stanzas of "Early Spring," his adaptation of Horace's Soracte ode:
The hardest of winters will crack
at the tap of spring and milder systems:
performance yachts
are winched from dry-dock storage;
chafed by confinement,
the amateur botanist hates his apartment,
and city parks no longer shine with frost.
Venus ascends through the elms
as the moon swings closer
and teens entwine
their fingers as they ramble,
sandals abandoned; a night-
shift employee waves her scanner,
restocking surge suppressors
of summer lightning.
These lines have a fine acoustic, maintained by a precision and condensation which Basil Bunting or Lorine Niedecker would have admired. You can hear, for example, how the traditional pentameter of "and city parks no longer shine with frost" cinches the supple free measure of the preceding lines. There's also the pleasing contrast between the discursive confidence and the extreme singularity of the examples. That's a Horatian technique, but this poet makes it his own. The image of the scanner waved across the surge suppressors "of summer lightning" seems to me particularly characteristic; such combination of the quotidian and the cosmic appears throughout Aversions.
These are not "mere" formal talents but vital aspects of Johnston's vision. He sees language as one way that the dead live through us: we receive it from them as we receive our DNA. His poems are dignified by deftness and quietude, but they're also great feats of enlargement: they act as conduits, allowing the past and the present to replenish each other. Large also are the pleasures they give their readers.
A Word Like Fire: Selected Poems, by Dick Barnes.
Handsel Books. $17.00.
The superb poems of Dick Barnes, who died in 2000, inhabit the same America as the photographs of Robert Frank or Gary Winogrand. They have that bright sheen of things as they are, and also that persistent undercurrent of weirdness. Most of them are poems of the rural west, of its modern yet untamed expanse. But they exhibit neither the scenic platitudes nor the macho swagger that mar so much current rural poetry (and, in the end, make it so easy to label "rural poetry"). Barnes's textures and tones are far more surprising.
Often, humor deepens the poems. In "Helendale: Waiting by the Mojave River," Barnes's nod to Chaucer, an alfalfa farmer, awakened by a car crash on the highway, mistakes the sound of the horn for the trumpet of the angel Gabriel. So he sets his barn on fire as a beacon. Here's how the poem ends:
he told the insurance company how it happened,
was laughed at, got angry, had to quit
the Kiwanis Club after a fight, and he felt lonely
until he thought: "Well:
I reckon if Noah could take it so could I."
I find the farmer's perseverance hilarious but devastating. Barnes has a talent for getting such seemingly exclusive feelings to intertwine. This character, for example, seems patently moronic. But as with most outcasts, there's something we can't bear about ourselves in him: he acts as a cipher for our own blind faith, our own belief in "core values" like honesty and dedication.
He also takes part, even in the form of his pathetic comedy, in the gorgeous drama of these selected poems. It's a drama that Rachel Bespaloff would recognize at once. These poems work to convey the agony of being caught between this world and the beyond: they're stations along the way, moments of clarification. Barnes himself is a poet of deep religious feeling. "Up Home Where I Come From" and the title poem are the best devotional lyrics of our time. But Barnes tempers, and intensifies, that spiritual impulse with his sobering, photographic urge to show what he sees. The modulation of tone in his poems acts, then, not simply as a formal device but as a register of the shifts and recalibrations that occur in the poet's view of the world as he ventures to discern truth.
This makes him particularly well-suited for narrative and portraiture. His turns of plot and his pivoting points of view become, as the lines progress, the attentive view of compassion. Consider the elegy in sonnet form, "Goodbye to Big Ed":
Little he thought when he hid out in his own house
for the pleasure of stomping burglars enticed by the dark
that he'd die, and die young, and in great pain like this,
thrown from his bike at speed where he broke his neck
and lay five hours on boulders in the creekbed
until death took him at last. Little he thought
about any of it: the preacher was right when he said
Big Ed wasn't afraid to die. Whenever he fought
it was for fun, or a good turn, or sheer pride of life.
See him armed in his undershirt, out in his back yard
the new boulevard had cut through, by the clothesline,
hollering i'll give you something to stare at, faggot
down to someone stopped at the traffic light, meaning
no harm by it, really: not meaning anything.
There's a lot to admire in this technique: the muffled but persistent metric, or the blend of sincerity and sarcasm that barb at the expense of the preacher, for instance. Such formal nuances contribute to the complexity of the portrait. As the tone changes, so does our view of Big Ed. He's both the belligerent hardass and the helpless young man who suffers a terrible death. He's both the complex character made of such contrasts and the sheer individual soul "not meaning anything."
Like the lyrics of Thomas Hardy or the harmonica solos of Little Walter, these poems are carefully inflected and cunningly unsettled. They appear perfect in their formal containment, but they unfold their coiled insinuations long after you read them. I'm convinced that, in the future, any anthology of twentieth-century American poetry which neglects Dick Barnes will seem ridiculous.
Peter Campion received his BA from Dartmouth College and his MA from Boston University. His collections of poetry include Other People (2005), The Lions: Poems (2009), which won the Levis Reading Prize, and El Dorado (2013). He has also written monographs and catalog essays for the painters Joseph McNamara, Terry...


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Former Finance Minister Pravin Gordhan spoke to CapeTalk/702's Ray White about how the South African economy can be turned around.
Gordhan says making the economy viable goes beyond just balancing the books.
This is a political problem, it's a problem about political leadership and a problem about political decisiveness...— Pravin Gordhan, Former finance minister
Gordhan gave a break down of what needs to be done for this country's economy to be turned around:
Whether we have sufficient grasp of all the elements of the dynamics that we face at this particular point in time.
Whether we are able to convert that understanding into leadership in terms of thought, strategy and inspiration.
- Whether are we able to generate the right kind of actions and implementations of plans we've had in the books for a long time.
He spoke about the Eskom inquiry into state capture saying that this country has seen a tragedy unfolding where the state owned entities have been maneuvered into serving the purpose of one family and their bank accounts.
What's good about the hearings is that now the public is aware of what's going on and where the problems lie.— Pravin Gordhan, Former finance minister
Denials can only take this so far in terms of providing credible response to issues that are at hand.— Pravin Gordhan, Former finance minister
We have a big job to do in the coming year and beyond to put these institutions in the right footing.— Pravin Gordhan, Former finance minister
Gordhan says South Africa needs a leader who will deal with the problems it faces, that can truly provide jobs for the millions people who are living with no hope of participating in the economy.
It is very clear to me that Cyril Ramaphosa will be able to put together a team that could offer that possibility for South Africa.— Pravin Gordhan, Former finance minister
To hear Pravin Gordhan speaks about how the economy of South Africa can be turned around, listen below:
This article first appeared on CapeTalk : Gordhan: Ramaphosa will put together a team that offers hope to South Africa

subset: commoncrawl


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ROME/BRUSSELS (Reuters) - The European Union is set to delay introduction of new capital rules for banks by up to a year, the Bank of Italy said on Tuesday, which regulators fear could undermine one of the most important reforms of the financial crisis.
Many officials in Brussels had been expecting a delay following the recent U.S. decision to abandon the January 2013 target and in light of difficulties between EU countries and the bloc's parliament in finalizing the rules.
"We are going towards a postponement of Basel III to the end of 2013, January 2014 at the latest," Bank of Italy Director General Fabrizio Saccomanni told a meeting of business leaders in Rome.
The delay deals a further blow to the global Basel III accord, which was struck by central bankers and regulators meeting in Basel, Switzerland, in a bid to make banks less risky.
The accord requires banks to set aside more capital to cover losses such as unpaid loans and had been due to start from January 1, 2013.
Austria's banking supervisor said it also expected a delay, though only until the middle of next year.
"We assume that it will certainly happen in the course of 2013," Financial Market Authority co-head Helmut Ettl told reporters. "I think there are good chances that the whole thing can take effect from July 1."
In practical terms, supervisors and markets have put pressure on top banks to meet or even exceed Basel III's basic capital requirements well ahead of the phase-in period from January that was set by world leaders in 2010.
European Union countries and lawmakers from the 27-member bloc's parliament meet on Tuesday and Thursday in what is likely to be their final attempt this year to sign off a law.
"A deal to my satisfaction looks highly unlikely," said Sharon Bowles, the British lawmaker who chairs the parliament's economic and monetary affairs committee.
The dispute centers on matters such as a demand by the parliament for rules capping banker bonuses at the level of their salary to be written into the new bank-capital legislation, but it is by no means the only outstanding issue.
"For people to suggest that the parliament is blocking it on remuneration is nonsense," Bowles told Reuters. "There are a trillion other things."
Her skepticism was echoed by Philippe Lamberts, a member of parliament also involved in the talks.
"Besides remuneration, there are many substantial points still open, which make it increasingly difficult to reach a political deal this year," he said.
The new regime lays down higher standards in determining what kind of assets a bank can use to meet these capital levels. For example, it sets a limit on the use of hybrid debt that banks previously relied on, but which failed to avert the crisis.
By standardizing EU capital rules, the law would also make it easier for the European Central Bank to supervise lenders, the first step towards a banking union, which is a cornerstone of closer fiscal integration in the euro single currency area.
But the European Union is struggling to agree on many aspects of the package, including what kinds of assets can be considered liquid, or available at short notice.
As well as a cap on bonuses, the European Parliament has asked for a fixed calendar to introduce a capital surcharge agreed globally for the world's biggest 28 banks and other measures to tighten the application of the capital rules.
Additional reporting by Claire Davenport in Brussels and Michael Shields in Vienna; Editing by Will Waterman


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Dark Romance Books: Ain't About The Money
By jamila | Dark Romance Books
This is one of Jamila's dark romance books that ended up inspiring her to write a full length novel. If you like reading free romance romance books online and pregnancy romance books, you'll enjoy this salacious excerpt from one of the best steamy romance stories by Jamila Jasper.
Take a look at the description of this story…
Bijou Carter is a gorgeous, full bodied and warm writer from New York. Her social life is going nowhere in the dead end down she just moved to. Her frenemy Greta is her only source of entertainment. That is, until she meets Sam, a flirtatious, sensual man with a passion for dancing.
Bijou takes an instant disliking to Sam and the excessive forwardness he's learned from his life growing up in Philly. When a thug tries to grope Bijou, Sam springs to the rescue. Bijou begins to notices that Sam is actually rather brave… and quite attractive.
One night together and she finds herself smitten… and pregnant. She tries to reach out to Sam but can't seem to get a hold of him. He's having reservations of his own. Sam's worried that Bijou has figured out his secret: he's not just a wealthy guy he's a billionaire . Bijou of course has no idea why he's pulled away from her. All she knows is there's a baby on the way and she's starting to fall for its father.
Trust me, it ain't about the money…
Dark Romance Books: Ain't About The Money


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Definition: See CORDIC.
Author: PEB
If you have suggestions, corrections, or comments, please get in touch with Paul Black.
Entry modified 11 February 2019.
HTML page formatted Tue Feb 12 10:57:42 2019.
Cite this as:
Paul E. Black, "COrdinate Rotation DIgital Computer", in Dictionary of Algorithms and Data Structures [online], Vreda Pieterse and Paul E. Black, eds. 11 February 2019. (accessed TODAY) Available from: https://www.nist.gov/dads/HTML/COrdinateRotationDIgitalComputer.html


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Habitat Suitability Index
This Habitat Suitability Index (HSI) evaluates the impact of salinity alterations on oyster habitat. The user defines the area of interest and determines the percent of bottom covered with suitable cultch. Minimum salinity requirements of the model are monthly means for a year. From monthly means the mean salinity during the spawning season, and annual mean salinity are calculated. Minimum annual salinity is the lowest mean monthly salinity in the annual record. This HSI is thus an evaluation of a single site (area) for a single year, without reference to historical trends. An application of the model is to compare HSIs for a site within a year calculated with and without salinity alterations.


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747 the end of an era?
So it says an article of the Brazilian publication Aero Magazine. According to this news magazine the long range intercontinental routes for the Queen of the Skies might have it's days counted, specially in the Pacific that for now is the area of the world where the 747 flies more in log range and ultra long range connecting mainly the US to Singapore, Japan and several other countries in Asia.
According also with Aero Magazine Japan Airlines retired their 747 fleet in 2011 and All Nippon Airways retired their last 747-400SR used in shorter domestic routes with high PAX demand, on March this year.
Other airlines are referred for leaving the 747 operation such as Air New Zealand Cathay Pacific Philippine Airlines and more recent Delta Airways. The same article justify this strategy of airlines as they are now switching the four engine 747 for two engine aircraft with long range capabilities such as Airbus A330 for shorter ranges and the Boeing 777 for long range and ultra long range. Beside the loss of cargo and passenger capacity on each flight the return per PAX is higher due to the lack of two engines that witch require more fuel and more maintenance.
Some airlines like United Airlines claim that the 747-4 fleet will be replaced gradually with the entry of the new 747-8 more fuel efficient and wit bigger capacity.
For now there are 51 orders for the 747-8 intercontinental, the passenger version and 69 for the 747-8f the cargo version including a new order by Cargolux, first B747-8 operator that claims that there is no other plane with the same cargo capacity in the market.
Aero Magazine also says that specialists claim that the tendency for airlines will be to operated twin engine aircraft for economic reasons an issue that can compromise not only Boeing but also Airbus with it's A380.


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But shortly before the 30-second spot was scheduled to run, the station pulled the ad.
The organization eventually plans to try running the spot in "dozens of other markets," but is awaiting the outcome of the legal action it plans against KXAN, said Ronnie Cummins, national director of the group formed in 1992 to organize an international boycott of genetically engineered food.
Bob Stettner, general sales manager at KXAN, said the station rejected a similar ad from the group in June. Through a mix-up, the most current ad, from Nordlinger & Associates, Washington, was scheduled to air in August.
"Station policy is to review every issue that comes in, and we determine if it's an issue we want on our air and whether we can give coverage to both sides of the issue," Mr. Stettner said. "In this case, we decided earlier not to run the ad."
Mr. Cummins said he wasn't discouraged by the action.
"We knew this might happen, but it usually works out to our advantage because ... you often end up getting more publicity than you would have from running the ad," he said. "We're going to examine what exactly our legal rights are ... and we're going to aggressively fight back on this issue-not only in Austin but wherever this happens."


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Managing tax reporting and incentive claims: Six hot tips for startups
When it comes to preparing your taxes and claiming incentives, Bryan Haralovich and Terry Lavineway from Welch LLP Chartered Accountants have some advice that every entrepreneur should know.
Planning ahead can go a long way when it comes to complying with Canada Revenue Agency and capitalizing on your own advancements for incentive programs. Of course, these tips are only general advice; you should always conduct your own research and consider engaging with a tax professional for details particular to your own situation.
For startups that meet the requirements of incentive programs such as the Scientific Research and Experimental Development Tax Incentive Program (SR&ED) and the Ontario Interactive Digital Media Tax Credit, among others, it's critical to know whether your project activities qualify and meet specific criteria. Watch Bryan and Terry's talk "Demystifying SRED and Other Tax Tips for Entrepreneurs" from the MaRS Best Practices series to learn more.
Here are three practical ideas to consider when preparing tax reporting for your startup. To hear all six of Bryan and Terry's tips, watch the whole presentation below.
- Establish the right corporate structure. It's important to establish your corporate structure early on, as it will determine the tax treatment of your business, of yourself, the entrepreneur, and of your investors. The decision will impact what rate your business gets taxed at, as well as your access to refundable tax credits.
- Identify key incentive programs. Identifying key incentive programs is also very important for entrepreneurs. However, don't spend too much time looking at incentives that are not meaningful for your business and that won't provide much value.
- Stay compliant with tax filings. Make sure to keep up with compliance matters and to deal with them on a timely basis.
- Slides: Demystifying SR&ED and Other Tax Tips for Entrepreneurs
- Article: Financial statements: The four components
- Article: When, how and where to incorporate
Want to connect?
- Join the Entrepreneurship 101 LinkedIn Group.
- Follow the conversation on Twitter: #MaRSBP
- Get updates on Vimeo.
Aislinn MalszeckiAislinn is a strategist, designer and education producer for entrepreneurs that seek practical lessons to grow their startup companies.See more…


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Wish to get more involved with the Woodman Museum?
You can help support our iconic Polar Bear and all the other treasures at the museum by donating a Wish List item to make the Woodman Museum's exhibitions and programs even better. If you would like to donate a monetary gift, click here. If you would like to donate your time as a volunteer, click here.
♥ Gift of your time: Volunteer as a gift shop attendant, poster/flyer posting person, museum educator/docent, painter, carpenter, electrician, landscaper. Represent the museum on a community committee or provide the professional staff with administrative help. To volunteer, click here.
♥ Muslin to build realistic displays of the museum's textiles & clothing collection
♥ Gift cards to Aubuchon Hardware, Middleton Lumber, Lowe's and Home Depot to buy supplies to maintain the museum's historic structures
♥ A two-headed snake to add to our reptile collection
♥ Funds to underwrite an art exhibit in the Thom Hindle Gallery at the Keefe House or to sponsor one of our signature events
♥ Volunteers to join the Night at the Museum troupe as a reenactor
♥ Transfer our hand drawn architectural sketches of the museum floor plans into CAD to aid our renovation process
♥ Financial donation to purchase a digital projector to use during the Woodman's Speakers Series and school outreach initiative
High speed color printer that will handle 11" x 17" paper (Thank you, Formax!)
♥ Gift cards to local grocery stores for vittles for our volunteers
♥ Framed historical artwork or photos to use as raffle prizes
Quality digital camera to assist in the museum's archival work (Thanks, Mr. Mark Speidel! 6/1/17)
Interested? Contact email@example.com or call (603) 970-0227 for additional information , or just stop by the museum.
Thanks! And remember, all donations are tax deductible!


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A Gift to Help You Grow as a Climber
Converse like you would around a campfire. This is a safe place for share your climbing accomplishments, discuss spiritual matters and/or chat about almost anything. Disagreement is allowed and even encouraged. But getting nasty, mean and inappropriate is not. Thanks and enjoy!
Moderators: SRCFCMedia, SRCFCDirector, SRCFCOffice
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A Gift to Help You Grow as a Climber
A Gift to Help You Grow as a Climber
By Dan Davies, Media Outreach Director
As we communicated through last year's theme (and now a signature saying) of "Climb Hard, Love Harder," it is a good to grow in your competency and ability as climber. To that end, we have a couple of special gifts to offer you in your efforts to grow as a climber.
Due to being an advertiser with Rock and Ice Magazine, we have been able to purchase two small books at an extremely low bulk price. We would like to offer one or the other to you as gift. (Please Note: this is only an offer for USA based folks as shipping to places outside the USA is cost prohibitive. Sorry about that.)
The first book is called "How To Climb" and is targeted toward beginner and intermediate climbers. It covers gear placement, knots, anchors, belaying, rappelling, technique, training, and other relevant topics. Compiled by senior members of the Rock & Ice staff, the presented info is succinct and comprehensive and is helpful for those going from the gym to the crag for the first time.
The second book from Rock and Ice is "Training: Step by Step Instructions for Novice to Pro" by Neil Gresham. Gresham has been on the forefront of training for climbing for over 20 years and does a great job of covering the subject. Chapters include Training 101, Strength, Endurance, Supportive Conditioning, Juniors, Nutrition, Injuries and Training Programs.
If you would like one of these books, you simply need to send me your address through the private message system in the Where Climbers Gather forums. Unless you know your username and password, the easiest way to get into the system is through the lost information form at https://www.srcfc.org/lost-information/.
Once you are in, go to forums and then click new messages, click compose and send a private message to SRCFCMedia. Some of you may need to set up a WCG account for the first time. It's not as easy as some social media sites, but not difficult, and well worth the effort.
Looking forward to many of you requesting the book and growing in your ability as a climber!
Dan Davies - Media Outreach Director
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- Created by: LaurenKSmith
- Created on: 24-04-16 20:14
View mindmap
- Howard S Becker - American Sociologist
- Becker argued that we stereotype people
- we apply 'labels' to people such as chav, scrounger, geek etc.
- this is when labels gain 'master status' - they become so important to an individual, they can end up shaping their entire life
- Becker argued that the 'ideal' pupil had the following characters
- did homework on time, neat, tidy, obedient, work hard and gain good grades
- people attach meanings to the behaviours of those around them
- Becker believed that teachers label pupils and then treat them differently according to this label
- Rosenthall & Jacobson (1968)
- told teachers certain pupils were 'intellectual bloomers' & teachers then taught those students differently - by the end of the year those students performed better
- Self - Fulfilling Prophecy
- labels often have negative connotations & a pupil will live up to the label and behave accordingly
- labelling is often linked to social class where those from the working class are labelled as less likely to suceed
- Mac An Ghaill (1994) - labelling and peer groups
- studied working class students in a Midlands comprehensive school
- 1) 'Macho lads' - academic failures, hostile to school, from less skilled working class backgrounds
- 2) 'achademic achievers' - sucesses, more skilled working class backgrounds, tried hard at school
- 3) 'new enterprisers' - positive attitude, vocational curriculum as a route to career sucess
- Evaluation
- Strengths
- evidence e.g. Mac An Ghaill show how labels can be attached to individuals e.g. Archer et al 'I'm a Nike Person'
- this process can clearly be seen in education, showing this can happen
- Shows how powerful labels can be
- Weaknesses
- can question what caused the label in the first place, negative label may root from a behaviour
- deterministic - assumes that a negative label will always end up in SFP
- ignores the fact that labelling can have a bad effect & lead to bullying
- the study by Rosenthall & Jacobson is unethical
- Strengths
- Howard S Becker - American Sociologist
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Penny Moore of Empire Literary
About Penny: While completing degrees in Linguistics and Japanese Language & Literature at the University of Georgia, she spent time studying comparative literature at top universities in Japan and South Korea. She then spent time as a middle school TESOL teacher, a period during which she grew to love and understand the children's book market. In 2013 she found her way to FinePrint Literary as an intern, officially joining the agency in 2014, and has since been actively working to build her list with exceptionally talented clients. Find her on Twitter.
What she is seeking: picture books (fun off-the-wall concepts to memorable heartfelt messages), middle grade, and young adult (especially fantasy, historical fiction, sci-fi, and contemporary stories exploring romance and the complications of growing up). In adult fiction, her tastes lean towards literary, speculative fiction, sci-fi, fantasy, psychological thrillers, and select romance projects. She's also open to nonfiction projects in the realm of pop culture, humor, travel, food, and pets.
How to submit: Send a query and the first ten pages of your ms pasted into the body of the e-mail to Penny [@] empireliterary.com with the word "Query" in the subject line.
Eve Porinchak of Jill Corcoran Literary
About Eve: Eve Porinchak graduated from UCLA with a Bachelor's degree in Psycho-Biology. She has a degree in Early Childhood Education from Colby-Sawyer College and attended medical school at the University of New England. Eve has always worked with children in some capacity. She has taught Pre-K through First Grade, with a specialty in reading, formerly worked as a state foster care case manager, currently teaches creative writing to incarcerated teens, and serves as an aid worker in Tijuana orphanages. An active member of SCBWI for 15 years, Eve interned at the Jill Corcoran Literary Agency where she was recently promoted to Junior Agent.
What she is seeking: Eve has eclectic literary tastes and is open to everything from picture books to adult novels. Specifically looking for edgy, psychological thrillers, gang-lit, realistic contemporary. Some of Eve's favorite books are: True Notebooks by Mark Salzman, Monster by Walter Dean Myers, Gone Girl by Gillian Flynn, You Shall Know Our Velocity by Dave Eggers, The Psychopath Test by Jon Ronson, This Is For The Mara Salvatrucha, Inside The MS-13 by Samuel Logan.
Eve is not a fan of high fantasy; however, she loves the Hunger Games and Science Fiction. Also a huge fan of true crime, and loved NPR's SERIAL. If your story reads like a Tuesday night episode of "Dateline," send Eve your pages!
How to submit: Please send a query letter with a synopsis and the first ten pages of your work (or entire picture book manuscript) to eve [at] jillcorcoranliteraryagency.com. Please include your submission text within your e-mail. Attachments will not be opened.


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Christmas Reindeer Ornament
Crochet this super cute Crochet Reindeer Ornament. This is part of the advent calendar series.
Use for the calendar or make some for your Christmas Tree or even gift topper.
These are easy to make and ideal for a homemade Christmas.
If you need help, the tutorial is below.


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Here is information about the many costs associated with compressor ownership.
Compressor buying trends indicate that for a general purpose industrial air compressor up to 20 HP folks select a reciprocating unit which are lower cost units than rotary screw or rotary vane type compressors. For more demanding industrial applications, and in a wide range of available horsepower, the rotary screw seems to be the next most popular type of industrial air compressor.
The rotary vane, while still prominent, appears to be selected for specialty applications more often than the first two.
What you are using your air compressor for, and the discharge flow rate and pressure needed for your applications will determine what size and type of compressor is required. See the pages on this site about buying an air compressor for help in determining what size compressor you need.
To start you down that path in compressor buying, it's good to know that...
After the warranty period, who is going to fix the compressor when it goes down, because it will, eventually? Will it be your staff, the compressor supplier, or a third party maintenance group? What are their labor costs, and what hours are expected to be consumed in both regular maintenance and emergency repair. Not all compressor maintenance costs are the same. Worth checking out before selecting a compressor, for sure.
The major compressor manufacturers will be able to provide a forecast of annual maintenance costs, the sum of which might help you decide to purchase a more expensive yet more reliable compressor, which will then, one would hope, provide you with lower compressor maintenance cost over the life of the unit.
Since the vast majority of industrial air compressors in plants run on electricity, the details below will help you determine the operating cost of the unit you are considering purchasing.
There are many formulas available to help determine your operating costs. We will offer a simplified version. If you seek greater detail a couple of sources are noted below for you as well.
Annual run time is the number of hours per day, times number of days per week, times 52 weeks a year, resulting in a number of hours per year.
Motor efficiency information should be available from the compressor manufacturer. In the absence of that information, work on the basis of 90% efficiency or see if this information is noted on the compressor motor plate.
If your compressor runs all the time, and only compresses air part of the time, the time it is actually compressing air is the load factor. When it is running unloaded, the motor will use less energy.
If you are contemplating a compressor that only runs when it is compressing air, the load factor would be 1. If in doubt, use a load factor of 0.8. That should suffice for most applications.Here's what the simple formula to calculate your compressor operating cost looks like.
Let's throw a few numbers at it, shall we? Next is a chart with the numbers for our theoretical compressor application, from which you may be able to extrapolate costs to your compressor of choice to determine the operating cost.
Here's the formula referred to earlier, now with our theoretical application numbers plugged into the formula.
When you do the math, you'll see that this 50 HP compressor, will cost $4,887.00 per year in energy operating costs! This page has been up on this site for many years now. Today, electricity cost of $0.12 / kWh or even more may be more appropriate. At $0.12 / kWh this compressor will cost about $10,000 per year to run, based on the hours of use shown in the example.
Use this method of calculating a compressor operating cost and then compare that to the purchase price of a compressor. See how important compressor running cost is to know up front?
You'll want to know that typically more than10% of a compressors compressed air output is wasted through folks using your air for other than it's desired use, or leaked from your system. Save significant cost every year by curtailing air waste, and ridding your plant of air leaks.
Use leak detector equipment to find and stop air leaks on a regular basis. The payback can be substantial.
Since you want the air going into your plant to be as to cool as possible, a heat exchanger / aftercooler might be a way to recapture the compressor heat for reuse.
'Nuff said on this topic by me. Compressor heat reclamation is best left to the experts, of which I sure am not. Just Google "compressor heat reclamation for a host of sites to help you.
Compressor costs will escalate along with your compressed air requirements. More compressor cost information and and compressor sizing data can be found here.
Did you know that....
Source: MnTAP - University of Minnesota http://mntap.umn.edu/energy


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I have often wondered exactly why statefulness is considered "evil". There are two reasons, as far as I can tell - scalability and failure recovery. Session state occupies memory, so holding session state for multiple clients impacts the scalability of a server. Also, holding session state within a server makes it less easy for clients to switch to another if the one holding its session objects goes down. We'll need to have session-aware clusters rather than stateless farms of servers to provide failover, which again doesn't scale linearly.
Two considerations make these arguments weaker.
The first is that we are not talking about application-specific session state like shopping carts and the like. We're talking about relatively tiny data elements that are domain-neutral and dedicated to providing Qualities of Service, such as sliding windows of sequence numbers for reliability, and security tokens for message encryption. These aren't huge, perhaps a few hundred bytes at most.
The second is that the advent of NoSQL databases has given us a way to delegate the storage of session state. It's now becoming recommended best practice to store session state in a NoSQL database like Redis rather than in memory. Delegating session storage is an alternative to session-aware clusters, since the servers can now be a simpler stateless farm and access the NoSQL database for shared session state. What's impressive about Redis in particular is that the complexity of its GET and SET operations is claimed to be of Order(1), i.e., constant time. This means that (in theory at least) one can increase the number of servers using a Redis datastore indefinitely with no impact on performance.
Now, a horizontally scalable farm of servers can share a Redis datastore and use it to hold the individual sliding windows of message sequence numbers for a number of clients, and also their security tokens. Scalability is no longer a problem, because the data elements are small and the storage/retrieval operations are of constant-time complexity. Failover is also not a problem since the servers themselves are stateless and switchable at run-time.
It would be good if a standard and application domain-agnostic mechanism could be evolved to provide security and reliability to REST-based interactions, using Redis-style scalable session storage. This may be the long-awaited successor to REST, which Rohit Khare's ARRESTED style attempted to do (but which has no practical implementation to date).
That will then leave client/server as my only bugbear with the RESTful style. We'll need another extension to handle that.


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This Christmas, in between everyone arguing over who gets the last piece of pie and which uncle gave the best gift to the young ones, SpikeTV was airing the greatest trilogy of all time. I feel it goes without saying, but I'm going to say it anyway, the Back to the Future series is THEE, greatest trilogy of all time. The ingredients are all there for the perfect movie; action, drama, sci-fi, comedy, and a dash of incest, what else is needed? Have you ever wondered what your parent's were like in high school? I'd assume most feel that their parents were hip or cool and up with the times, not a science fiction nerd and a promiscuous girl. My dad was your average school kid, got good grades and played sports, I think he would have gone to college, for what major though I don't know. It's kind of my fault, well not technically but his senior year in school I was conceived/born.
This brought on marrying my mother and getting a job. My mother would drop out because of being pregnant and later get her G.E.D, where she is more successful now than I'll ever be, so education is important but perseverance can be stronger. This is similar to young Marty constantly pushing George to become a stronger person by not letting people walk all over him, thus getting the woman of his dreams(Lorraine) and keeping Marty and company in existence. Remember fellas if she keeps saying "No", just keep pushing the issue and in the end you'll persevere. Kidding aside, I feel that George not only learned about himself because of Marty, but also found the passion of writing that was lying dormant on the surface just screaming to get out; like a dog having to pee. I'd like to say thank you to everyone that made the Back to the Future movies, for it will always resonate with me as one of the greatest movies of all time. This movie always gives me hope in knowing that even though we can't go back and change our past,we sure can change our future and follow our dreams this new year. In the words of the great Emmett "Doc" Brown, "Your future hasn't been written yet. No one's has. Your future is whatever you make it. So make it a good one"


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- Home
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Weight Gain Above Guidelines During Pregnancy is Risky for Baby
Weigh to Grow
You're pregnant, right? So you get to eat as many french fries as you want, right? Wrong! You need to be careful about how much weight you gain during your pregnancy. Gaining too much or too little can be harmful to you and your baby. How many pounds you need to add depends on how much you weigh when you become pregnant.
Gaining the right amount of weight helps protect the health of your baby. Women who gain too little are at increased risk of having a small baby (less than 5 1/2 pounds). Women who gain too much are at increased risk of having an early baby or a large baby. They may also have health problems themselves such as diabetes, high blood pressure and varicose veins.
Weight gain above guidelines during pregnancy is common, according to researchers, and infants born to women with high weight gain tend to have worse outcomes.
Dr. Naomi E. Stotland, of the University of California, San Francisco, and colleagues examined the association between weight gain during pregnancy and adverse outcomes among 20,465 full-term infants for 20,465 single births. None of the infants were from multiple births.
Mothers' weight gain during pregnancy was categorized using the Institute of Medicine guidelines, as well as by extremes of weight gain, either less than 15.4 lbs. or greater than 39.6 lbs. The authors' findings appear in the September issue of Obstetrics and Gynecology.
Overall, 43.3 percent of the women had weight gain above the Institute of Medicine guidelines and 20.1 percent had weight gain below the guidelines. Twenty-nine percent of women gained more than 39.6 lbs. during pregnancy, and 4.8 percent gained less than 15.4 lbs.
Excessive weight gain was associated with poor Apgar scores, a gauge of how well the baby looks and responds immediately after birth. In addition, excessive weight gain was linked to infant seizures, low blood sugar levels, and a potentially serious breathing condition called meconium aspiration.
Excessive weight gain was also associated with a decreased risk of having a small baby, whereas low weight gain was tied to an increased risk.
Based on the study findings, the researchers recommend that public health efforts emphasize the prevention of excessive weight gain during pregnancy.
What you need to know:
Here are the recommended weight gain guidelines for pregnant women:
If you are normal weight before pregnancy:
Gain 25 to 35 pounds during pregnancy.
If you are overweight before pregnancy:
Gain 15 to 25 pounds during pregnancy.
If you are underweight before pregnancy:
Gain 28 to 40 pounds during pregnancy (depending on your pre-pregnancy weight).
If you have a multiple pregnancy (twins, triplets or more): See your health care provider. You will need to gain more weight during pregnancy depending on the number of babies you are carrying.
You may also be interested in . . .
- High blood pressure in late pregnancy
- Risk of gingivitis (periodontal disease, dental plaque) during pregnancy
- Chance of developing diabetes due to agricultural pesticides
- urine test:a predictor of preeclampsia
- Control weight during pregnancy
- Multi vitamins and minerals during pregnancy ?
- Leucorrhea /Leukorrhea (vaginal discharge) during late pregnancy
- Baby (fetus) movement /rolling during pregnancy
- Vaginal douching during pregnancy ???
- Treatment and precaution of allergy /asthma during pregnancy
- News:


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|Does this look like the face of a homicidal maniac to you?
The real Richard may not have been the psychopath from Shakespeare's play.
Ever since the facial reconstruction of Richard was unveiled, he's seemed that little bit more human, hasn't he?
Well, now Professor Lansdale, the head of Leicester university's School of Psychology, and Dr Boon, a forensic psychologist, have been poring over contemporary and historical documents in an attempt to find evidence that Richard III had any of the common characteristics of the psychopathic mindset, which include:
- Unreliability
- Untruthfulness
- Superficial charm
- No capacity for remorse
- Inability to learn from experience
- Lack of insight
- Incapable of 'normal' emotions - such as love
- Sense that 'right' and 'wrong' does not apply to them
- Cunning and manipulative
What Lansdale and Boon have discovered is...none of the above. In their opinion, there is a complete lack of evidence that Richard had any of the usual traits associated with a psychopathic mentality. And, quite rightly, they point out that if he had been any of the above, the Tudors would have jumped on it, just as they did his slight deformity, in order to paint him blacker than he actually was.
Naturally though, it's difficult to be sure about these things. Dr Boon cannot interview Richard, and none of us can really know what the man was like. Not for sure.
For example, it seems that Richard III was loyal to his brother, Edward IV - and, as no evidence seems to suggest otherwise, we assume that's true. And, of course, it's thought that Richard was deeply distressed by the deaths of his wife and son, indicating that he was indeed capable of love and other 'normal' emotions.
But can we ever know whether these were just outward shows of devotion and love? Could they simply have been part of his cunning plan? Like Blackadder, perhaps he had a plan so cunning you could stick a tail on it and call it a weasel.
Or maybe I just want Richard III to have been like Shakespeare's version of him.
What about killing his nephews? Well, seeing as murder (even of family members) was not altogether unusual in the era, it's thought that even if he did 'do them in', that alone is not evidence enough to call him a psychopath.
What has emerged is that Richard may have had an 'Intolerance of Uncertainty', which is typically known as IU. This is similar to an obsessive personality, and people with IU often place strong emphasis on justice, as well as having rigid morals. If it's true that Richard had this personality type, it's unlikely that he resembled Shakespeare's character in many (if any) ways.
This is all good news for members of The Richard III Society, who have been working tirelessly to clear the last Plantagenet king's name.
As for Shakespeare's version of the king, well, let's be honest, that character is far too irresistible to ever be completely wiped out - no matter how good the real Richard turns out to have been.
For more information, visit the source - University of Leicester's site.


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Sunday, October 16, 2016
DARK AGE - Here comes Mongo!
The first "miniature" that attracted me to Dark Age was this guy, Mongo. I bought him at AdeptiCon one year. My once-a-year purchase of a miniature that I had every intention of carefully assembling and then painting to the best of my ability.
It took me quite a few years to get there, but I recently finished him up for use in my games of Dark Age. I had a lot of fun, particularly with the large expanses of pale flesh - I think I'm improving on my flesh painting but these photos make the transitions look a bit more stark than they actually are.
Anyway, while I'm filming some content for the next series of projects, I thought you might like to see some more recent stuff : )
Posted by davetaylor at 8:01 AM
Labels: Dark Age
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we had stones music playing as well.
and of course someone had to check the quality of the wine.
this was our bathroom sink in the morning.
The trials and tribulations of Paul Jessop living in the lovely Somerset village of Barrington setting up Barrington Pottery.
Lovely - thanks Paul. I'm with you on the red Aston Martin.
The jug on the left in your first picture has left here for a new home.
It was purchased by a local collector who just happened to have been born in Barrington [Knap Cottage].
He was thrilled when he heard of the connection and has promised to use the jug each day.
You have certainly chosen a modest little house and auto. It looks like a lovely week end.
Could you explain to this Swamp Yankee what a Cream Tea is? If it involves tea I'm sure it is delicious....but exactly what deliciousness?
Good afternoon Smartcat. a cream tea is a pot of English tea, taken either with or without milk and with or without sugar, I'm a milk and two sugars man myself. the other part is a scone with cream & jam. it's a perfect afternoon treat.
I'm back on the Blog again and Why? Because The Chinese have landed on the dark side of the moon? No, because I have time, time ...


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The mid-term review of the GSPC 2011-2020 will be carried out in 2014 by the CBD Secretariat within the framework of the mid-term review of the CBD's Strategic Plan for Biodiversity.
The review will be based largely on information provided by countries in their 5th National CBD Reports (due in March 2014) and the 4th edition of the Global Biodiversity Outlook (GBO4). However additional information is also requested from botanic gardens and other BGCI partners in the form of:
- case studies regarding progress towards specific GSPC targets (and related Aichi Biodiversity Targets);
- quantitative and qualitative measures and indicators of progress;
- information on the success of national responses to target setting;
- information on processes for incorporating the GSPC into National Biodiversity Strategies and Action Plans (NBSAPs).
Materials produced for the mid-term review will be considered by SBSTTA at its next meeting (June 2014) and the recommendations taken forward to the 12th Conference of the Parties (October 2014). Any submissions from the BGCI to the CBD Secretariat will be required by March 2014.
Please use the framework provided below for reporting progress:
- Name of the botanic garden / organisation
- Name of the person compiling this report and position in the organization
-General contributions to GSPC implementation (c. 400 words maximum), noting national and international contributions including Information about new initiatives stimulated by the GSPC – relevant target, focus, countries
- Target specific contributions to the GSPC (200 words maximum)
- Suggestions for Case Studies: a few sentences describing the case study, including relevant target(s), country or region, institutions involved. (If such case studies are selected for inclusion in the report, BGCI will subsequently request further information, including possible illustrations available)
- Suggestions for quantitative measures of success – including relevant target, quantitative measure, how data would be collected
Additional matters, including
- future plans;
- current challenges and constraints to GSPC implementation and
- capacity building measures undertaken / planned.
The Xishuangbanna Declaration on Plant Conservation was released after unanimous approval from the participants in the Xishuangbanna International Symposium, "Saving All the Plants in a Changing World",


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I personally feel like Boo in this picture. Exhausted and wanting a nap. (This was from Sunday at Knoebels.)
George and Bill were going to pull an all-nighter to try and get everything resolved. I could have easily stayed quite late as well to get things done. (Especially since I have some West Coast cases and it was still early yet for them...) Fortunately or unfortunately, I had to come home and get Boo. This is one of those times that I don't think I'd be happy with my decision whichever I make. I feel bad that I left so much work for George and Bill, but Gak can't get Boo until 7 and no one else has a baby car seat and I hadn't asked anyone earlier and hate springing stuff like this on people. If I'd been able to say, I would have felt bad because I had gone in early (there by 7) and hadn't seen my boy awake in the morning and wouldn't see him awake in the evening. The boy needs his Momma, at least for a little bit, each day. Not to mention his Momma needs her boy at least a little bit each day.
Anyhow, the heat wave that hit us the end of last week finally broke yesterday. There was a little rain overnight and we went from a really warm almost 90 to a quite comfortable 65. Yes, it was almost a 30 degree change overnight. Talk about a shock to the system.
Well, I'd better go get my butt in the shower. There are a handful of pictures up on Flickr from the weekend. Go, enjoy them. It was an enjoyable day for us. Maybe we'll go back near the end of the season if the weather cools off a bit. I think Boo would enjoy it with fewer people in our group (so a tad less chaos) and a little cooler. He loves watching people and there are a couple of little rides that I think he'd enjoy too.
Off to hit the showers and get back to the battle lines. No, it's not as dangerous to life and limb as what Steve does (who gets deployed back to Iraq later this summer/early fall for another year) but it's a battle in it's own rights. And, I like to think I help protect us... from breathing nasty air if nothing else.
Peace to all and may your weekends be good and your work not feel like a battle.


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Cross Racing Week 4 (Race 2): Chugga chugga, choo choo.
Chugga chugga. The freight train is a comin' around! Good news to report. That in a moment.
Today was Race 2 of the Frisco back to back weekend of cross. The weather on BOTH days was gorgeous. Yes, a bit windy but insanely beautiful up in Summit county. The weather was tracking to be epic, but as I am learning, Colorado weather....especially mountain weather....is absolutely schizophrenic.
After the race yesterday, Brandon Taro, Bobby, Harris, Bliss and a few others rallied for a "recovery" dinner of a couple-a beers and eats. We celebrated B's win, ate up, then went back to T's casa for some feet up style recovery. We woke up this AM to sun and 16 degree weather but we knew it would be excellent. The sleep came fitful. 6 visits to the bathroom last night to pee. At that altitude (9+K), the heart rate climbs and the pee just gets squeeeeezed out of you. We woke up to an unbelievable view with not a cloud to be seen.
To prep for the race day, T made Brandon and I INSANE pancakes and one of the sickest Cafe Americanos I've ever had. It would be this that fueled the day.
Dean from the ACA was back again today to announce call ups (I was in 14th after Saturday's 9th and got 2nd row today). We had about 30-35 in the field to start. He got us squared away and shouted out...
15 seconds gentlemen...then silence...then: GO! We're off again up the same exact pave climb to fire road. We are grouped tightly and watching each other closely. I got into 10th on lap 1 and sat in feeling great. This crew of 10 rolled the first lap together in a train. Timmy was on it again after his W yesterday. If he's in the race, any race, it's essentially his to lose. Timmy gradually applied the pressure and splits formed on lap 2. Lap 3, Phenecie amazingly bridged from my group to the chase behind Timmy and then to Timmy's wheel. Impressive Chris. Even with that crap in your lungs man. Kudos.
The race then became a throw down of much smaller groups of like 2 or 3. I dropped some guys and some would drop me. Now, repeat that like 5 times. Again, like a knife fight. It was truly exciting racing and I felt it even as I was in it. You'd could have either end up 4th....or 15th. It all depended on how you played it. very tight.
By the last 2 laps, two strong Green Mountain Sports boys bridged up and double teamed me. One would go, the other sit in on my wheel....and repeat. Truly, it was awesome. They did their tactics with class and I respect that. We were THROWING down! It was fun to be railing with these guys.
By the bell lap Dave Towle was going INSANE on the hi fi for us. I am battling with these Green Mountain guys and Jared and Josh are SCREAMING to bridge to us. I could hear Jared's Ritchey Carbon freewheel through the corners and that motivated me to get up and sprint out of the corners to keep the gap. It was a tight race for top 5. I got the shit stick and the Green Mountain boys worked me nicely and I settled for 6th. I tried to shake them but it was so evenly matched between us, they simply had more matches left than me and took me within 100m of the line.
No complaints! I feel like I am back to where I should have been to begin with and just need to apply the consistency model and keep the training going. My diesel engine hopefully will ramp up and on in the coming months. I am having so much frickin fun it's mad. The group is really nicely balanced this year....save for Timmy who again is beginning his campaign to toy with us!
Lastly, Jared, YOU WILL BE MISSED man. Best of luck on your journey. You are a kindred spirit, man.


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The Health Effects of Apathy
I spent 11 days with practically no internet connection, no news sources, and not a care about anything in the world. Eleven days of training in a room full of conservatives that sometimes were so far to the right I would cringe. It was great.
Spending time away from the news was a huge relief for me. I almost feel as if a heavy burden was lifted from my shoulders. I probably shouldn't feel like this, I'm not a policy maker, my life doesn't hinge on the news. But when I'm in my regular routine I'm a total news junkie. I read everything, news stories, newspapers, columns, blog posts. It's fairly intensive. I do this to be an informed citizen. I do it to be a better radio talk show host. I do it so that I have a good blog.
But man, you just can't beat some time away from it all. I suppose that free feeling is how the other half of society lives. The apathetic half. Those that don't vote, don't care, and live their lives with only occasional interruptions from the outside world.
I envy these people, and I'm glad we live in a nation that allows the ignorant and apathetic masses to flourish. For a person starving, for people oppressed, for people who are sick, news is important. People under dictators need information so that they can avoid angering the dictator. People starving need news about where food is, if there is aid coming, is there any chance the drought will end. People who need news, and need to vote, and need to be active are typically in a bad situation.
People in America can pretty much ignore what the government is doing most of the time. This is because typically the American government is doing anything that interferes too much in their lives, and they aren't worried about being executed for not recycling. The fact that we have a great apathetic mass of people who don't participate is a healthy sign. It means we're still "free enough."
Sure, I believe that we need to keep a watchful eye on government. I also believe that some things need to change for us to keep our society, and that right soon. For that reason us "well off" news junkies have an important role in doing what we do. Having far reaching vision and noting when the government needs to be checked is a necessity. Oppression can happen overnight, but it is more likely to be the product of a long slide away from freedom. That's in essence why I do what I do.
I understand all too well the history of the Roman Republic, a light of civilization and innovation that persisted for 5 centuries, where our forms of government originated. That Republic fell to an empire, and that empire fell like empire's do. History is on a geologic timescale, and we can play our small part in keeping the light of civilization on.
But it is still a joy to get away from it once in a while.
Filed under: Cultural Matters, Personal Update | Comments Off on


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Jan. 24, 2019 Does Cold Weather Cause Back Pain?
Whether a cold front or rainstorm, have you ever felt like…
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A quick and random stroll in the meadows of the Webcomics List.
Chucklebrain Fritters seems like an interesting comic. I really loved this strip. It's just supremely surreal and random. It may be a one-time thing or a permanent feature, but I love the bizarro world idea.
I keep checking "Not Much, Said the Cow". I love the title, and I've read many strips. And I still don't have much to say about it. It's an easy read, kinda funny... but does it get under your skin? Is there an original voice? If not, why am I still reading? I will read more and comment once I have something intelligent to say.
A Chipmunk and a Lizard - some of these strips are pretty amusing. But of course, I found an annoying fatist one I have to rant about. Yes, that's right! If you tell people they're fat, they will thank you and give you money. Because it all comes from a good place, doesn't it? Doesn't it? I feel like I'm not giving the strip a chance now. So here's one I kinda liked, because it seems so random.
Horseflies bite cows too - at Cows With Phones
"Stop being stupid" - at 28 Pancakes Later
"Thank you veiny dog" - at Buttersafe
"...Steven." - at Bear Nuts


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First posted
Tuesday April 27, 2010 05:53
Saturday May 8, 2010 17:11
Al Zelicoff and bill were in the same division at Sandia
Labs for a short while in about 1992.
Zelicoff delivered a Ricin lecture during that time.
Al has requested a response.
No response from Roxanne Rivera-Wiest And Bob Pelletier of Association of Builders and Contractors, New Mexico chapter caused this page.
Then this page to expand.
Heat and energy.
Sunday May 2, 2010 15:17
Explosions in the Upper Big Branch coal mine on Monday April 5 and on the Deepwater Horizon oil rig on April 21, 2010 should focus attention on heat contained in fossil fuel. But perhaps not?
1 pound of coal contains 8,100 to 13,000 BTU.
1 gallon of crude oil = 138,095 BTU.
1 barrel of crude oil = 5,800,000 BTU. 42 gallons/barrel.
So the purpose of this primer is to focus attention on heat and its relation to generation of electricity.
Heat is measured in calories or British Thermal Units [BTU].
1 btu = 252.164401 calories.
Heat is also related to energy which is measured in Joules.
1 btu = 1 055.05585 joules.
A Kilowatt hour is also related to heat. 1 BTU = 0.000293071070172222 kWh.
Click on 1/x to get
3412.14163 BTU is an extremely important number for the reason electricity can be converted into heat.
Advertised BTU [BTU/hr] on portable electric heaters are computed by multiplying the watts on the nameplate by the heater by this number.
120 * 12.5 = 1500 watts.
1,500 watts is 1.5 kW. 1.5 * 3412.14163 = 5118 BTU.
Patton must have used 3413 * 1.5 = 5119.5 BTU.
Second law of thermodynamics simply states that more heat has to go 'in' than comes 'out.'
Thus we would suspect that more than 3413 BTUs should have go 'in' for 1 kWh of electricity 'out.'
This is confirmed by values in the heatrate column highlighted by the red star
being more than twice 3412.14163.
But there may be an exception to the second law of thermodynamic for solar and wind generation of electricity.
'N/A' stands for 'Not Applicable we were told at a PNM electric Integrated Resource Planning session held Wednesday January 16, 2008 at the PNM service center in Santa Fe, NM.
Our electricity and gas consumption was
And from The about table about 8,990 * 574 = 5,160,260 BTU IN was required to produce this electricity.
New Mexico coal contains roughly 9,000 BTU/pound. So about 573.362222.. pounds of coals was required to the 574 kWh we used.
Electricity consumed per month per home in New Mexico was 632 kWh at $.1001 / kWh in 2008 the U.S. Energy Information Administration reported.
632 * 8,990 = 5,681,680 BTU. 5,681,680 / 9000 = 631.297... pounds of coal.
New Mexico Building Permits.
Rates are increasing.
Sources of increased electricity consumption.
Clothes dryer (the single largest energy waster in the average New Mexico home) identified in Al Zelicoff energy tips Albuquerque Journal Tuesday April 20, 2010 page C1.
Source:Bureau of Business & Economic Research, UNM / firstname.lastname@example.com Last Revised: 4/9/10
Is large-scale solar generation of electricity practical?
Albuquerque Journal Business Outlook Monday April 19, 2010
1 SOLAR PLANS SLAMMED By Michael Hartranft Copyright © 2010 Albuquerque Journal Journal Staff Writer
PNM's plan to invest tens of million of dollars a year in new solar generation and solar programs will be too costly for consu... MORE
2 PNM solar plans bust budget By Peter J. Gould
On Jan. 25, PNM announced, with great fanfare, its plans to build a large solar generation site in Albuquerque. On the same day, PNM filed a proposed stipulation at the New Mexico Public Regulation C... MORE of New Mexico Industrial Energy Consumers.
Hartranft writes, "That's a steep price for a relative small amount of electricity that PNM currently doesn't need, Assistant Attorney General Jeff Taylor told the Journal.
"With the economy being what is it, businesses shutting down, people having all kind of problems, I don't see why the company should be coming and doing this," he said. "We just had a 5 percent increase ion April 1, and they're going to come in with a rate increase June 1, which I'm sure is going to ask several times this."
Free energy, overunity, cold fusion, and a pack of lies.
Readers Respond to 'Changing Consumer Behavior'
Utilities are innovative in empowering their customers.
This page is formatted with CSS by the author


text: Stangers Cookshop has been trading in the hospitality supply trade for over 20 years, so we think we know cookwares. We decided to put together a list of our best selling products so you can see what has been hot with our customers over the years. This range includes products from each and every category across the website, no categories, just great products that have been enjoyed by our customers.


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- openDemocracy
- oDR
- oD-UK
- oD 50.50
- democraciaAbierta
- Shine A Light
- Transformation
- More
This week's front page editor
Francesc Badia i Dalmases is Editor and Director of democraciaAbierta.
European integration
Six countries. Six different paths to EU integration.
No to TTIP
Constitutional conventions: best practice
Theory and passion draw closer when we discuss mass movements of our day.
The need to connect - a response to Roger Scruton
Roger Scruton is right to bring fox-hunting and gay rights into a common frame of reference, but his political partiality blinds him to the changing character of protest movements in the context of history and global politics.
Tomorrow the world? The rocky path of social movements
From Stop the War to Save the Whale, from Liberty and Livelihood to Globalise Resistance, popular movements of protest and advocacy are a key feature of the political landscape. Why do they grow or fail? How will the movement for global change respond to the lessons of its early years?Tomorrow the world? The rocky path of social movements
Popular protest in the 21st century: living in time
The politics of protest, from the Inuit and Aborigines to Englands Countryside Alliance, cannot be understood through old leftright categories. To explain where a movement is heading, we should ask: is its source of energy in the past, present or future?
When is a 'popular protest' popular?
The packaging of new protest movements by modern leftist intellectuals reveals a selective focus on favoured causes feminism, racism, gay rights. This post1968 template evades concerns, such as foxhunting, that animate masses of ordinary people. From shallow argument it generates a politics without principle.
The duty to disobey
The Countryside March across London on 22 September will be a massive demonstration of resistance to unjust power. One marcher explains how a story that starts with love ends in civic outrage.
Mr. Town meets Mr. Country
From BSE to foot & mouth, from hunting to the Countryside Alliance, from Maff to Defra - out of crisis the countryside has moved to the top of the political agenda. But where is the Urban Alliance? Are the cities losing their way? And how can the fractured relationship of the last decade be healed in the next?


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I apologize for my lack of posts lately but I spent a week in London at the end of September/beginning of October and I'm still recovering. Not from jet lag but because it was such a great experience. Really anytime that I get to go to London is a good experience! Once again, I booked a room through At Home in London. At Home in London features B&B's in private homes. The last two times I stayed in Parsons Green, this time I stayed in a lovely home in Shepherd's Bush owned by an antiques dealer and his wife.
This time the trip was both for business and for pleasure. I attended the Historical Novel Society conference held at the University of Westminster on Upper Regent Street. This was my second time attending the Historical Novel Society conference and it won't be my last. I saw many familiar faces from last year but also some new ones. The conference was very different from the one held last year in San Diego. For one thing, I was unable to attend the Saturday night banquet because it was sold out. The conference in London was structured on a sliding scale, meaning that you could pay for all three days or you could pay it piecemeal. I opted for the Friday night cocktail party, the Saturday all-day conference. Because I registered in July, the banquet was already sold out and there was just no more room for them to add extra tables. It was interesting to hear opinions on the future of historical fiction from editors, agents and booksellers in England vs. the US. The general consensus seemed to be for writers just to write a great story that you are passionate about.
Philippa Gregory was the Saturday morning speaker and it's always a delight to hear her speak, although she seems to have a bit of a chip on her shoulder in regards to critics who don't take the genre seriously or consider it to be 'literary.' While I enjoyed the conference, I found the rooms to be a bit cramped, and space was tight in the room where lunch and the cocktail party was held with very limited seating. I totally get that holding the conference at the University kept costs down for participants but I kind of missed the rather posh in comparison meeting rooms that you find at most hotels in the US. It was a bit stuffy in the rooms at times, and I found myself nodding off at various points on Saturday.
I skipped the Sunday portion of the conference opting to sleep a little later and to head out to Hampton Court Palace to see the final day of the Beauty, Sex and Power exhibit which featured a host of portraits of society beauties during the reigns of the Stuart Monarchs. While wondering through the rooms, I came upon a reenactment of Barbara Castlemaine getting ready to have her portrait painted by Sir Peter Wright, a court painter who is not as well known as Sir Peter Lely. When they asked for a volunteer from the audience to help Lady Castlemaine undress, I raised my hand. So I got to be the Lady Elizabeth for about 15 minutes. I love reenactments, although I felt for the gentleman playing Sir Peter, he seemed rather green as if he wasn't quite sure what was required of him. Lady Castlemaine had to lead him gently by the hand through their scene.
Later that night I met my friend author Leanna Renee Hieber at the Spaniard's Inn in Hampstead. If you have never been to the Spaniard's Inn, it is worth the trek from the Hampstead tube station. And I do mean that it is a trek. It felt like we were walking for miles until we finally reached the Inn. Outside we discovered this groovy bench where apparently Keats sat when he quaffed ale at the inn as you can see from the sign on the bench.
The next afternoon, I headed to Kensington Palace to see the new Victoria Revealed exhibit. The palace has undergone extensive renovations and it now looks quite spiffy.
It has stopped raining and the sun came out so here is a picture of me and King William III at the entrance to the Palace.
The Victoria Revealed exhibit is wonderful because it uses Victoria's own words (as well as Albert's) to illustrate her life along with a host of personal items from her wedding dress to the jewelry that Albert gave her, christening gowns, books, letters. For probably the first time, I began to see Victoria as not just a Queen but a living, breathing person with thoughts and feelings, not just the grumpy widow in black.
This is a photo of me with one of Albert's uniforms. In fact, I think this is what he wore when he married Victoria. My friend Leanna took it with her Blackberry without a flash, so it's a little fuzzy. As you can see Albert was not that tall, about 5'7" or 5"8. I'm wearing 3 inch heels and I'm about the same height as he would have been. There was also a small exhibit about Queen Victoria's jubilee which was quite interesting. A bit smaller compared to Queen Elizabeth II's!
And here's a final picture of me with Queen Victoria in the background on the staircase leading up to the exhibit.


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I've been meaning to post this on Halloween or some peripheral date near it however my blog's been acting up so FINALLY I AM BACK! This is from the back logs, shot in early August, but this is strangely appropriate for Halloween I might say.
It might be due to the all black ensemble or the edgy shoes that I love, but regardless the content is up and there's more to come!
Dress: Nasty Gal
Shoes: Jeffrey Campbell
Location: New York


text:
If you are thinking about trying
, maybe you can find usefull download this interface.
The organization, some icons and functions are similar to Max-Maya style.
Just unzip
this archive
(right click, save as) into you blender folder and open the program
It´s just a little help to start with Blender
See a video demostration


text:
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text:
The filmmaker is determined to keep the ending of his third Batman movie – which stars Christian Bale as the caped crusader – under wraps so is advising his cast on the story verbally in order to minimise the chance of leaks.
Gary Oldman – who plays Police Commissioner James Gordon – said: "Christopher doesn't want anyone to ruin it and I completely understand that.
First look fight scenes from 'The Dark Knight Rises'
News footage of Christoper Nolan's Batman "The Dark Knight Rises" – VIDEOS
'The Dark Knight Rises' trailer - what's next for Batman – VIDEOS
"The newer people on the film go to his office to read the script. They sent mine out, but it had to be hand delivered directly to me and nobody else. And the final few pages were missing.
"I went along and talked to Christopher and in person about the ending. Then I locked it away in my head."
Gary is happy with his role in the film and is pleased his career has moved on from the "frenetic"
haracters of his younger days, such as Drexl from 'True Romance' and Stansfield in 'Leon'.
He added: "I was younger then, that's all. In 'The Dark Knight Rises' I'm the 50 year old police commissioner while wonderful, young Heath Ledger is bouncing off the walls as The Joker. Now, had that part come along 15 years ago, people might have said, 'That's a Gary Oldman role'."


text:
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