text:
The following sections provide information about the supported platforms of Policy Agent 2.2 for Apache Tomcat 6.0 as well as the compatibility of this agent with Access Manager.
The following table presents the platforms supported by Policy Agent 2.2 for Apache Tomcat 6.0.Table 3–1 Platform and Version Support of Agent for Apache Tomcat 6.0
Agent for
Supported Policy Agent Version
Supported Access Manager Versions
Supported Platforms
Apache Tomcat 6.0
Version 2.2
Version 6.3 Patch 1 or greater
Version 7
Version 7.1
SolarisTM Operating System (OS) for the SPARC® platform, versions 9 and 10
Solaris (OS) for x86 platforms, versions 9, and 10
Red Hat Enterprise Linux Advanced Server 4.0 and 5.0
Windows 2003, Enterprise Edition
Windows 2003, Standard Edition
All agents in the Policy Agent 2.2 release are compatible with Access Manager 7 and Access Manager 7.1. Compatibility applies to both of the available modes of Access Manager: Realm Mode and Legacy Mode.
Install the latest Access Manager patches to ensure that all enhancements and fixes are applied. For an example of Access Manager patches that can be installed, see the compatibility information discussed in Sun Java System Access Manager Policy Agent 2.2 Release Notes.
Most agents in Policy Agent 2.2 are also compatible with Access Manager 6.3 Patch 1 or greater. However, certain limitations apply. For more information, see J2EE Agent Backward Compatibility With Access Manager 6.3.


text:
TUCSON – The Tucson Unified School District spent tens of thousands of dollars to recruit teachers from the East Coast and the South at a time when 600 TUSD teachers were receiving pink slips.
TUSD staffers made at least 14 trips to various parts of the country including Detroit; Nashville, Tenn.; and Brooklyn at a cost of roughly $31,000. Although some trips occurred after the layoff notices went out April 3, travel was largely curtailed in late April.
District officials said the recruiting effort launched at an unfortunate time.
"Obviously, success this year is going to look different than what we expected, given that we experienced layoffs of a magnitude we haven't seen in well over 20 years," said Alyson Nielson, the district's director of employment services for human resources.
When the recruiting effort began, she said, "Nobody knew at the time how bad the budget cuts were going to be."
The layoff notices were given to educators who had worked for TUSD three years or less.
Some question the district spending money on outside recruiting.
"It just seems that in a tight budget year, it's a waste of public money to recruit teachers when there's a glut of teachers on the market," said Dick Basye, the vice president of the Pima Association of Taxpayers.
Basye said the district didn't need to go elsewhere to increase diversity because Arizona is a diverse state already.
"You would think there's an ample supply of applicants."
District officials said the recruiting effort was intended to bring highly qualified teachers to Tucson while also adding minority teachers in a district that's under a federal desegregation order to balance its schools.
Administrators said the effort was a success, noting it yielded 15 new, highly qualified teachers one of whom will teach math and the rest special education.
Recruiting qualified minority teachers has been front and center in TUSD's plan submitted to a federal judge to get out from under a decades-old desegregation order to balance its schools.
Though only 30 percent of TUSD students are Anglo, nearly 70 percent of its teachers are.
Hispanics make up 56 percent of students, but 23 percent of district teachers.
Blacks are 7 percent of the student population, but only 3 percent of the teaching staff.
Rubin Salter, an attorney representing black plaintiffs in the decades-old lawsuit seeking racial equity, said black teachers were hit hard by the layoffs, because many are new to the field.
Salter said he wants to see not only more black teachers, but more of them teaching challenging academic areas.
"The district supposedly had 30 years to correct a legal injustice," he said. "What they did in those 30 years did not remove the vestiges of discrimination when it comes to hiring and promoting black teachers."

subset: commoncrawl


text:
An estimated 800,000 pilgrims were present in Rome for the Mass. Immediately prior to the canonization, the faithful were invited to sing hymns and recite the Chaplet of Divine Mercy. Pope Emeritus Benedict XVI attended the Mass, along with 150 cardinals, 1,000 bishops, and delegates from over 90 nations.
The rite of canonization took place at the beginning of the Mass, following the chanting of the Litany of the Saints and the introit. Cardinal Angelo Amato, the prefect of the Congregation for the Causes of Saints, read out three petitions, the last of which was "Most Holy Father, Holy Church, trusting in the Lord's promise to send upon her the Spirit of Truth, who in every age keeps the supreme Magisterium immune from error, most earnestly beseeches Your Holiness to enroll these, her elect, among the Saints."
Pope Francis then spoke the formula of canonization:
For the honor of the Blessed Trinity, the exaltation of the Catholic faith and the increase of the Christian life, by the authority of our Lord Jesus Christ, and of the Holy Apostles Peter and Paul, and our own, after due deliberation and frequent prayer for divine assistance, and having sought the counsel of many of our brother Bishops, we declare and define Blessed John XXIII and John Paul II be Saints and we enroll them among the Saints, decreeing that they are to be venerated as such by the whole Church. In the name of the Father, and of the Son, and of the Holy Spirit.
Following the rite, members of St. John XXIII's family and a woman healed through St. John Paul's intercession brought relics of the saints to Pope Francis.
The two saints "were not afraid to look upon the wounds of Jesus, to touch his torn hands and his pierced side," Pope Francis preached during his homily. "They were not ashamed of the flesh of Christ, they were not scandalized by him, by his cross; they did not despise the flesh of their brother, because they saw Jesus in every person who suffers and struggles. These were two men of courage, filled with the parrhesia [boldness] of the Holy Spirit, and they bore witness before the Church and the world to God's goodness and mercy."
"They were priests, and bishops and popes of the 20th century," Pope Francis continued. "They lived through the tragic events of that century, but they were not overwhelmed by them. For them, God was more powerful; faith was more powerful – faith in Jesus Christ the Redeemer of man and the Lord of history; the mercy of God, shown by those five wounds, was more powerful; and more powerful too was the closeness of Mary our Mother."
"In these two men, who looked upon the wounds of Christ and bore witness to his mercy, there dwelt a living hope and an indescribable and glorious joy," Pope Francis added. "The hope and the joy which the risen Christ bestows on his disciples, the hope and the joy which nothing and no one can take from them. The hope and joy of Easter, forged in the crucible of self-denial, self-emptying, utter identification with sinners, even to the point of disgust at the bitterness of that chalice. Such were the hope and the joy which these two holy popes had received as a gift from the risen Lord and which they in turn bestowed in abundance upon the People of God, meriting our eternal gratitude."
Pope Francis paid tribute to St. John XXIII as the "Pope of openness to the Holy Spirit" and St. John Paul II as the "Pope of the family":
John XXIII and John Paul II cooperated with the Holy Spirit in renewing and updating the Church in keeping with her pristine features, those features which the saints have given her throughout the centuries. Let us not forget that it is the saints who give direction and growth to the Church.
In convening the Council, Saint John XXIII showed an exquisite openness to the Holy Spirit. He let himself be led and he was for the Church a pastor, a servant-leader, guided by the Holy Spirit. This was his great service to the Church; for this reason I like to think of him as the pope of openness to the Holy Spirit.
In his own service to the People of God, Saint John Paul II was the pope of the family. He himself once said that he wanted to be remembered as the pope of the family. I am particularly happy to point this out as we are in the process of journeying with families towards the Synod on the family. It is surely a journey which, from his place in heaven, he guides and sustains.
"May these two new saints and shepherds of God's people intercede for the Church, so that during this two-year journey toward the Synod she may be open to the Holy Spirit in pastoral service to the family," Pope Francis concluded. "May both of them teach us not to be scandalized by the wounds of Christ and to enter ever more deeply into the mystery of divine mercy, which always hopes and always forgives, because it always loves."


text:
Amis's Lottery Lout Gets Rich, Woos Underwear Model
In the latest darkly comic novel by Martin Amis, career criminal Lionel Asbo wins a fortune in the lottery.
As he acquires the wardrobe, mansion and girlfriend -- a poetry-writing underwear model -- befitting his new station, the lottery lout's exploits make him a tabloid favorite.
Amis followed his famous father, Kingsley, into the family business -- "Lionel Asbo: State of England" is his 13th novel, and he's also published six collections of non-fiction and the memoir "Experience."
Last year, he moved to Cobble Hill, Brooklyn.
We spoke at Bloomberg world headquarters in New York.
Lundborg: When Lionel Asbo wins the lottery you say he gains a future -- is that what money gives you?
Amis: When Lionel gets all his money, he feels anchored to the world in a way he never has. Before, he felt like a leaf in the wind.
Lundborg: He buys a mansion to move from "the floating world to the heavy." Is this characteristic of the nouveau riche in general?
Amis: I once said to my father, "Are we nouveau riche?" and he said, "Well, very new, and not at all riche."
Lundborg: Does having a famous dad who's actually laboring in your own profession ultimately help or hurt?
Amis: Ultimately, it's hard to say. It helped at first, just talking about career and that sort of thing.
But what seems to have happened in England is that for years I felt I had overstayed my welcome. It's as if your father's identity bleeds into yours -- we're like one person who's been around for nearly a century.
Brooklyn, USA
Lundborg: So, a new start in Brooklyn?
Amis: Not really. Too late for that. My wife's a New Yorker and she's got a lot of family here. I lived here as a child for a year when my father was at Princeton.
Lundborg: How did he like it?
Amis: He loved it! As he said to Philip Larkin, "I've never done so much drinking or screwing in all my life."
Princeton was very different then from what it is now -- it was very louche. I remember the parties at our house. We used to be waiters for $3 each. The hedonism was something!
Lundborg: As Philip Larkin pointed out "Sexual intercourse began/ In nineteen sixty-three."
Amis: I'd say sexual intercourse began in 1966 -- it was just right for me.
My father's "Lucky Jim" is an incredibly funny novel but it's full of rage as well. When I was teaching the book I realized he's furious because everyone's a virgin in that novel except the married people and Bertrand who's a scoundrel.
The second stanza of Larkin's poem speaks of what went before -- "a wrangle for the ring,/ A shame that started at sixteen/ And spread to everything."
Lundborg: You display great affection for Lionel -- what do you love about him?
Amis: In fiction, I love that sort of transgressive nature and no shame, no self-consciousness about any of that. I love the way he talks; I love the way he thinks.
Lundborg: As a criminal, why did he pretend to be stupid?
Amis: Lionel calls it the moron theory: people are more frightened of you if they think you're stupid.
Lundborg: What are the best targets now for satire?
Amis: I still don't know what satire means; I don't think anyone does. Once defined as militant irony, it has the idea that you produce it to bring about change.
Irony Button
Lundborg: To ridicule something that needs to be deflated?
Amis: Irony does that. I like to think that some writers have the irony button on 1 and mine is more like 9.
Lundborg: It also gives the reader pleasure by taking something absurd down a peg or two.
Amis: That's the only kind of change you're ever going to effect -- change within the reader and not a mass change. I'm in the education business, too, and I write because I'm trying to enrich the lives of my readers, the imaginative life, the perceptual life.
Lundborg: In your next book, you're revisiting the Holocaust. What draws you to the subject?
Amis: You don't know why you do these things -- the novel came to me.
Holocaust Novel
I respect people who say you shouldn't write fiction about this but I don't agree with them. So I'm going to use all the tools I have as a novelist to say what I feel about this and I will not deny myself bitter mockery of the hateful stupidity of the whole Nazi idea.
Lundborg: In one his novels, Sebald asks simply, "How could they do it?"
Amis: That's an unanswered question and when people asked him, "Do you understand that level of racial hatred?" Primo Levi said, "It's your duty not to understand it."
To understand something is to assimilate it, to comprehend it within you and he says you shouldn't; it's your sacred duty not to understand.
Lundborg: You also wrote about Stalin's horrors. Are communism and fascism on the same scale?
Amis: No. Nazism is by itself. When you read about Stalin, even the worst things, you don't scratch yourself as if you're infested with insects.
But when you read about the Holocaust, you feel contaminated by it.
Lundborg: At one point, Lionel's nephew Des feels equal parts panic and rapture, which you say is "a perfectly logical response to being alive." Is that how you feel?
Amis: Yes. I think a very important part of being a writer is you take nothing for granted in the deepest sense -- it's close to madness really; everything strikes you as being sort of shocking.
To buy this book in North America, click here.
(Zinta Lundborg is an editor for Muse, the arts and leisure section of Bloomberg News. The opinions expressed are her own. This interview was adapted from a longer conversation.)
Muse highlights include Lance Esplund on art and Richard Vines on dining.
To contact the reporter on this story: Zinta Lundborg at firstname.lastname@example.com.
To contact the editor responsible for this story: Manuela Hoelterhoff at email@example.com.


text:
Welcome to Loudoun Laser Center!
Thanks for visiting our online scheduling site for laser hair removal. Please note that all first time customers must start with the complimentary consultation before booking any treatment areas. If you have any questions please let us know!
Book an appointment for any of our services online any time - day or night! We will confirm your appointment through e-mail when we receive it. If you need to get in touch during business hours, check our contact details. Online booking will only allow appointments 1 month in advance. If you would like to book an appointment further out please call or email our office.
Contact Information
Loudoun Laser Center
phone: (703) 779-7783
e-mail: email@example.com
Business Hours
Monday-by special appointment*
Saturday-9:00am-3:00pm (Select Saturdays only)
*unless otherwise noted
Upcoming Saturday Hours:
February 17
February 24
March 10
March 24


text:
Matt Simmons is a proud graduate from Texas A&M University where earned a Bachelor's degree in Construction Science and Minor in Business Administration. Out of college, Matt spent five and a half years in large commercial construction and had a managerial role in ground-up construction for both Baylor Health and Parkland Health Systems.
During the boom of the housing industry, he directed his attention to residential work and formed Premier Renovations & Interiors in early 2007. Having remodeled his own home in Plano, he initially set out to rehabilitate and sell residential properties. With the market fall out in residential home prices beginning in late 2007, this endeavor stalled and he repurposed the company to focus on clientele work as a general contractor and eventually formed Cutting Edge Renovations LLC in the middle of 2008.
"If asked why I left a very good salary in the commercial construction realm … the answer is actually three fold. First, I had remodeled my own house over the years and received a tremendous amount of satisfaction remodeling and updating the look of my home. Second, I found the "red tape" in commercial construction to be stifling to my creative side. The third reason is that I wouldn't have left commercial construction at all had my crystal ball predicted the great recession of 2008! But through hard work and sacrifice, I have managed to keep the company expanding even in this bear market which has allowed me to do what I enjoy - taking an outdated or unattractive home and making it look and function like new again. It gives me great satisfaction to see my client's reactions to the services we provide."
- Matt Simmons
"We've used Cutting Edge for several projects at our home including painting, adding a room and masonry work for our patio. We couldn't be more pleased with the results and the professional, courteous, considerate manner in which these projects were accomplished. My wife and I can whole heartedly recommend Cutting Edge Renovations LLC".


text: Okay, besides the puffing (ducking and running from irate Pom), I've got an interview next week for a job, and the position is full-time. I've really been realising I don't want full-time (having been at home for 10 years, and gotten used to it + the house will go to rack and ruin if I'm not totally on top of it). Should I ask in the interview if they'd consider job-sharing or 4 1/2 days a week, instead of 5 full days? If I do 5 full days, and try to do 20 hours a week of course work, And try to do all the housework, and be friendly to my family I will go mad. The course will finish at the end of spring, so I could always try to do full-time after that. Not sure if it would A) put them off me if I asked in the interview, or B) seem presumptious to ask. On the other hand, I don't want to waste their time, and maybe they might like a job-share situation, but just don't know it yet.


text:
2hrs 17mins | Rated R13 | Violence, offensive language and content that may disturb
Starring: Casey Affleck, Michelle Williams, Kyle Chandler
Lee Chandler is a youngish man working as a janitor in a district of apartment blocks in Boston, Massachusetts.
At night, he goes to a local bar for a couple of beers, sometimes gets into a fight, then goes home to his cramped and cell-like basement room to sleep it off and repeat the cycle.
We sense, quickly, that Lee is far too cerebral to have ever willingly chosen to live his life like this. As Manchester By The Sea unfolds, we learn, through a series of flashbacks and present day events, what has happened to Lee and the people around him.
A phone-call tells Lee that his older brother Joe is in hospital. He drives to be at his side, in the small town of the title, an hour or so to the north.
Events unfold. Lee is compelled to stay. But for reasons that lie at the very heart of this film, being in his old home town is just about the worst thing that Lee could ever be asked to do.
Manchester By The Sea is a miraculous piece of writing and performance. The storyline is shot through with unimaginable tragedy. Yet writer/director Kenneth Lonergan conjures humour, lightness and energy out of this narrative that I would have thought impossible to find.
There are truly some genuinely funny as hell moments here. One courtesy of Lonergan's own cameo as an obstreperous pedestrian and several via a terrific performance – as Lee's 16-year-old nephew – from Lucas Hedges.
Casey Affleck (Gone Baby Gone) carries every scene with a wounded, feral, intensity that dares us to look away and reject Lee, even when we have learned the depth of the guilt and grief he is carrying. It is an astonishing performance, one that will surely take Affleck to the Oscar podium.
Lee's measure of peace, when it arrives, is no new dawn or sudden understanding. There is no transformative love-affair or tearful breakthrough to close this film out - just a succession of small, telling moments.
Although, that said, I quite happily cried my eyes out twice watching this film.
Manchester By The Sea is a perfectly judged excavation and evocation of grief. And it is something more than that. Lonergan has written a film that understands male anger and repression better than anything I've seen in years. Maybe since The Son's Room – which Lonergan has surely been influenced by – or Sean Penn's The Crossing Guard.
Around Affleck, Michelle Williams does wonderful work – in a role we could happily have seen more of – as Lee's ex-wife. Williams has been turning in great performances in good films for years now. Manchester By The Sea might even see her finally bag the Academy Award she has been nominated for three times.
Cinematographer Jody Lee Lipes comes from a background of high-end documentary and indie features. His unflashy, unfussy style suits Manchester By The Sea perfectly.
Dominion Post


text:
TEHRAN -- The young woman, dressed in a manner forbidden by law, was complaining about something she saw on a television channel that's illegal to watch.
"The stuff on Euro News," said Nesa Hamlehdar, exasperated. "They show Iranian women in chador. Boys as soldiers. Old cars."
She rolled her eyes. "This is the image the West has of us!"
In Iran, reality looks a lot more like Hamlehdar. Pausing in a fashion mall on her way home from a day of college classes, the 22-year-old language student wore tight bell-bottoms under a tunic cut not like the all-enveloping chador, which translates literally as "tent," but more like the little black cocktail dresses that now pass for outer garments in some parts of Tehran.
There was eyeliner and nail polish. And her scarf was pushed back to reveal half her hair, something officially prohibited shortly after President Abolhassan Bani-Sadr explained in 1981 that women's hair emits rays that drive men insane. "The limitations that used to be," Hamlehdar said, "do not exist now."
That basic fact of Iranian daily life signals a fundamental shift in politics. The dramatic relaxation of the theocracy's strict official dress code is only the most visible aspect of a grudging yet steady expansion of what Iranians call "personal space." The term describes the realm of purely personal liberties that extends from holding hands in public to watching satellite television without fear of a police raid.
Initially championed by reformers who also demanded political freedoms, these personal liberties are being granted by the conservative Islamic clerics who control the most powerful institutions in Iran's government. The hard-liners, who wrote the rules in the first place, now see a political advantage in allowing them to be widely ignored.
Iranians elect a new parliament in February. And years before a hard-line election oversight body caused an uproar this week by summarily banning reformist candidates by the thousands, moderates in the conservative camp plotted a subtler route to victory, one based on giving people more of what they want.
"Already, we have plenty of freedoms on the street. Nobody can curb that," said Mohammed Javad Larijani, a senior official in Iran's judiciary, which is headed and staffed by conservative appointees. "We politicians have staked our future on that freedom. We are hopeful to gain power through that freedom."
Many Iranians, while embracing the new leeway, say they recognize that the gains are meant to relieve pressure for more fundamental political freedoms, which remain circumscribed. While taking morals police off the streets, for example, hard-liners have also closed more than 200 newspapers.
"It's like a safety valve to prevent an explosion in society," said Shadi Kohandani, 25, an accounting student.
"They want to keep everyone amused so they don't think about more important things. They're investing for the next elections."
"At least we have these -- music, clothes," agreed Nazanin Derakhshanzadeh, shopping for a new overcoat in north Tehran.
The new leniency also extends to romance. With morals police no longer on the streets, young couples hold hands in public even while passing Friday prayers in downtown Tehran. "It has become common behavior," said Amirabbas Sari Aslani, 25, who had tucked his girlfriend's hand inside his jacket pocket on a chilly afternoon. "People need to show this behavior."


text:
that racist?
Anyhoo, it's been a big week for actor and standup comedian Amir K, who had a small role in Ben Affleck's "Argo," which won Best Picture at the Oscars on Sunday.
The L.A.-based entertainer will bring his blend of character work, storytelling and improv, all shaped by his multicultural upbringing, to downtown Wilmington for a two-night stand on Friday and Saturday at the Nutt Street Comedy Room.
This is a seriously funny dude. If I didn't have a 1.5-year-old I would be there. Check out the vids below, in which AK riffs on being mistaken for a terrorist by Alabamans and talks ab0ut his difficult relationship with his father.
Details: 7 p.m. doors, 8 p.m. show, March 1-2 at the Nutt Street Comedy Room, 255 N. Front St. $12 in advance, $15 at the door. 251-7881
[youtube 1paJ9tuBzdo]
[youtube JCxMWWf4_Ww]


text:
Previous Challenge Entry (Level 3 - Advanced)
Topic: The Book Store/Library (06/03/10)
TITLE: The Missing Book
By Marlene Bonney
Cousin Liza had been hunting for a book from her childhood called, "Five Little Salt Shakers and How They Lived". However, not remembering the author's name, the search had come to a standstill. The fancy computerized programs available in the big city bookstores could not locate a copy of the children's book, some stores even declaring it never existed. A typical search went something like this:
"Do you have the ISBN#? No? Well, then, the author's name, please. You don't know? How about the dust jacket—what did it look like? Now, ma'am, I'm sorry but I'm not a rocket scientist—you're asking for the impossible. We need more information."
"It had pictures," cousin Liza declared, hopefully.
"Ah, then you must know the name of the illustrator," just as hopefully.
Shaking their heads at one's ignorance and the other's incompetence, a disappointed Liza and a frustrated sales clerk parted ways.
By the time my cousin arrived in our humble little city, she had almost given up on her search. So, I introduced her to our local phenomenon, Gertie, who was busily dusting some shelves when we stepped through the shop's screen door, the attached antique bicycle bell heralding our entrance.
"Linda, what can I do for you this fine morning," perky as ever, "and who is that with you?"
Smiling, I introduced Liza, who was already browsing amongst the haphazardly stacked piles of books waiting to be shelved.
"We're looking for a children's book," explaining Liza's frustrating search thus far.
"Hmmm," Gertie's brow wrinkled like deep-rutted furrows readied for Spring planting, "are you absolutely certain of that title?"
Liza closed her eyes to bring up a mental picture of the book in question.
"There were five children on the front cover and they all wore dungarees," smiling dreamily even now at the mental image.
"What color was the cover?"
"Red," Liza recalled.
"Aha!" Gertie chortled, "I think I've solved your mystery. Follow me."
We then played "Follow-the-Leader," weaving up, down and all around the nooks and crannies of the store, stopping at a brightly decorated children's corner tucked under a stairway. Gertie ran her fingers across the tightly packed spines arranged first by color and then by the authors' last names.
"Here we are!" triumphantly, running her fingers across the front cover of a small selected volume, "it's not the exact title you mentioned, but it just might be the one from your childhood."
"That's it—I'd know it anywhere!"
I chuckled, though, as I brought her attention from the cover's picture to the bold, white lettering glaring accusingly in Liza's face: "Five Little Peppers and How They Grew" by Margaret Sidney.
"Oh, no! All this time! No wonder I couldn't find it," sheepishly from Liza.
" 'Five Little Salt Shakers and How They Lived', indeed," I smirked.
Profusely thanking Gertie, we took the book up to the front of the store where the clerk rang up our modestly-priced purchase. When we turned to leave, Gertie was already running her hands caressingly over some other books before placing them gently into properly author-alphabetized placement on the freshly cleaned shelves. I then watched Liza's expression change from ignorance to astonishment as the truth dawned on her.
"Why, she's BLIND! How can she possibly . . ."
"Bye, Linda. Bye, Liza--nice to have met you. You come again now, you hear?" as, simultaneously, the bike horn bleeped merrily while we exited, Gertie's signal of a customer's departure as well as their arrival.
I had a fine time explaining to an increasingly incredulous Liza how the bookstore owner had special Braille computer software that produced Braille labels for the spine edge of each item in their inventory and how Gertie had a system of reading the raised dots and associating each title with the feel and texture of the covers. She then memorized the information before shelving each item.
"WOW! She's better than an automated databank! I think I'm gaining a new respect for small towns!"
Liza became inspired to volunteer at a large library in New York, where she works to this day; that is, unless she's visiting me—and learning more tips from Gertie!
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- Includes WWII props for realistic battles
- Remote charges tank
Package Includes:
- Flashing Combat Tank 1:70
- Remote control
- Charging cable
- WWII diorama
Product Requires:
- Six (6) AA batteries
- Open space to operate


text:
The Shepherd's Heart Paperback
by Ian Moilliet;
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The Shepherd's Heart
Full Product Description
"Ministering with Ian Moilliet since 1994 I have observed him shepherding his natural and spiritual sheep. Therefore, I believe that this writing contains more than words about shepherding.As you read this book, you will hear the spirit and heart of a true shepherd expressed with passion. Your spirit will be empowered." -Arlo A. Johnson, Founding pastor of Westsyde Family Fellowship, Prince George, British Columbia "Whether you see yourself as a sheep or a shepherd in God's flock-be prepared for a paradigm shift." -Pastor O.J. Zerbin, Lead Pastor Calvary Community Church, Edmonton, Alberta "With over thirty-five years as both a pastor and a sheep rancher, Ian Moilliet parallels his personal experience in both roles to bring fresh insights in the development of a pastor's heart." -Pastor Mark Hughes, Church of the Rock, Winnipeg, Manitoba "New in the ministry, or for long time shepherds of God's flock, Ian Moilliet's book is a most useful tool. Written with passion and insight, it is a "must-read." -The Rev. Earl C. Gerber, retired Anglican Minister, Ontario About the Author: Over the years of shepherding his flock and pastoring his church, Ian began to see the similarities between the two kinds of sheep. This book is the result. Ian has lived his entire life on Aveley Ranch. He is the third generation to carry on in the family sheep business on the 105-year-old ranch. His grandfather, Theodore Albert Moilliet, homesteaded in 1906 and started with sheep in 1913. His father, John, carried on what his father began. Ian began pastoring Vavenby Christian Church in 1976 and continues to this day. Ian married Karen Scruggs in May 1974. Together they have raised seven children. They continue to live on Aveley Ranch near the village of Vavenby, British Columbia, Canada.
The Shepherd's Heart by Ian Moilliet was published by Essence Publishing (Canada) in May 2011. The ISBN for The Shepherd's Heart is 9781554526567.
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Details for The Shepherd's Heart
|Author / Artist
|Ian Moilliet
|Book Format
|Essence Publishing (Canada) (May 2011)
|Number of Pages
|15 mm
|226 mm
|152 mm
|Product Code
|Page last updated
|17th March 2018


text:
Swing In the New Year at Opening Day
With the Harbaugh Super Bowl just around the corner sports fans will have to turn their attention to the next big day of the New Year — MLB's Opening Day. Hot dogs, peanuts, beer, and seventh inning stretches are just around the corner. With Opening Day games scheduled at venues like Minute Maid Park, Yankee Stadium, Turner Field, and Dodger Stadium, it's a perfect time to catch a game. The slate is clean and the hunt for October begins in March with some of the most impressive match-ups the MLB has to offer.
To kick of the new season we head to Minute Maid Park where the stage is set for a Texas showdown. There will only be one game in the spotlight on Opening Night as the Texas Rangers head into Houston to play the Astros in their first game as an American League member. The two teams are not unfamiliar with competing on an inter-league basis as a part of the Lone Star Series which has been played since 2001 but now that they will be playing for divisional rights things could get a little more intense. Spoken as a true Astros fan, it's been a little hard to root for a team that has been at bottom since the departure of the three B's. However, there is light at the end of the tunnel. With the new move to the American League the 'Stros get the full-time DH, which will come in handy against an offensively stacked AL. To do the job the Astros brought in Carlos Pena who despite only hitting 19 HR's last year carries a strong resume. Ironically the slugger's MLB debut in 2001 was with the Rangers, a team that will be looking to bounce back from the mayhem of the 2012 Wildcard game.
After March 31st the flood gates open up to a two day opening day extravaganza. Besides some of the premiere games like Tigers – Twins, Giants – Dodgers, and Phillies – Braves one of the most intriguing game day openers is the classic Yankees – Red Sox rivalry. Despite having played each other for more than a century the two AL East foes have only met in the ALCS three times but every postseason since the inception of the wild card format has featured one of these teams. The Red Sox had to mosey their way through an 86-year curse but have managed to remain productive since breaking the Bambino's curse with a World Series win in 2004. The Yankees have seen better times but they are always in contention, especially with names like Suzuki, Jeter, Pettitte, and Sabathia on the roster. In any light a rivalry that features two of the best teams, national attention, and the fiercest fans around is destined to be good, thus making the Yankees-Red Sox opener a must see in 2013.
No matter where opening day 2013 sends you TicketCity want to take you. So check out the full schedule of this year's opening day games as well as your favorite team's 2013 home opener schedule at TicketCity!


text:
Quiz: Do you know what some of Florida's largest private companies do for a living?
Posted 6/26/2012
Updated 6 yearss ago
What do these companies do for a living?
A) Perez Trading/Miami
(Private No. 51)
$532.0 million revenue
B) Quirch Foods/Miami
(Private No. 39)
$696.2 million revenue
C) Urbieta Oil/Medley
(Private No. 57)
$451.0 million revenue
D) Arthrex/Naples
(Private No. 24)
$1.1 billion revenue
E) King of Fans/Fort Lauderdale
(Private No. 158)
$115.8 million revenue
Ready for the Answers? Click Here to Reveal...
A) Perez sells paper, paperboard and graphic arts equipment — including printing equipment — to companies in Latin America, the Caribbean and the Southeast U.S.
B) Quirch claims to be the largest supplier of fresh and frozen foods to retailers in the Southeast and the Americas. It ranks as the fifth-biggest Hispanic-owned company in the U.S., according to Hispanic Business magazine.
C) Urbieta owns more than 70 gas stations in south Florida and delivers more than 150 million gallons of fuel a year.
D) Arthrex provides products and services to orthopedic surgeons and patients. The company claims to have developed more than 5,000 products.
E) King of Fans makes more than 4 million products a year, including ceiling fans, high-velocity fans, solar-powered lights and exterior deck lighting.


text: TIGER INITIATIVE-ROARING INTO 2011 WITH A NEW COMMUNICATION VEHICLEAnderson, Christel; Sensmeier, Joyce MS, RN-BC, CPHIMS, FHIMSS, FAANCIN: Computers, Informatics, Nursing: March 2011 - Volume 29 - Issue 3 - p 199-200 doi: 10.1097/NCN.0b013e318216e611 DEPARTMENTS: ANI Connection Article Outline WEB SITE GOALS Technology Informatics Guiding Education Reform (TIGER) is working to help the United States realize its 10-year goal of electronic health records for all its citizens. TIGER, which started as a grassroots initiative, now involves more than 100 professional nursing organizations, vendors, and governmental entities and thousands of volunteers. The TIGER Initiative is pleased to announce the creation of a new Web site, www.thetigerinitiative.org to advance the TIGER mission: Preparing nurses and health professionals to use technology and informatics to improve patient care. The new Web site was established to communicate the current activities of TIGER and to identify a permanent location for all of the TIGER Resources and Reports developed since its inception. There are five specific goals for the new Web site. These goals include being able to clearly communicate that TIGER is an ongoing activity, while differentiating the link between phases I, II, and III activities. We also have highlighted the current Virtual Learning Environment (VLE) opportunities for engagement with TIGER at all levels (organizational, strategic, and individual) and have published the collaborative reports that were developed during phase II. The driving force for this new Web site is to enable all TIGERs with access to the public resources to move the TIGER agenda forward at the grassroots and organizational levels. Back to Top | Article Outline WEB SITE GOALS Clearly communicate that TIGER is a current activity. Differentiate between the multiple phases of TIGER. Provide an overview of the VLE. Publish all of the resources that were developed during phase II. Enable TIGER efforts with available resources to move the TIGER agenda forward. Through the launch of this Web site, these goals have been met, and TIGER leadership will continue to improve upon communication strategies for TIGER resources. The new Web site provides information on the following topic areas (including many tools that were developed by TIGER participants): alignment of ANCC Forces of Magnitude and TIGER Collaboratives American Recovery and Reinvestment Act of 2009 competencies consumer empowerment/PHRs education and faculty development human factors integrating informatics into the curriculum leveraging health information exchange to improve quality and efficiency Magnet© Informatics and Technology case studies meaningful use, certification criteria and standards, and HHS certification process national health IT agenda National League for Nursing position statement on education reform nurse executive IT educational needs nursing leadership Office of the National Coordinator for Health Information Technology organizing framework for CIS-clinical knowledge as critical factor partnerships to teach nurses how to use electronic health records staff development and continuing education standards and interoperability the future of nursing: leading change, advancing health usability and clinical application design virtual learning Additionally, current VLE opportunities are highlighted. A new TIGER Sightings area has also been added to provide easy access to the many TIGER resources. Through this new media opportunity and several other partnerships, TIGER is now moving forward to advance its mission: Preparing nurses and health professionals to use technology and informatics to improve patient care. For more information please, visit the new TIGER Web site today: www.thetigerinitiative.org. Update! We are pleased to announce that the TIGER Initiative is pursuing legal status as a 501(c)(3) not-for-profit corporation. The TIGER Initiative Foundation will operate for charitable, educational, and scientific purposes to advance the objectives of the grassroots initiative and its many committed volunteers and collaborators. Leaders from the TIGER Executive Committee, HIMSS (Healthcare Information and Management Systems Society) and collaborative partners are pleased to assist with the process for making this endeavor a reality.© 2011 Lippincott Williams & Wilkins, Inc.


text: HDFC Limited demonstrated one more quarter of strong performance with reported earnings at INR 15.5bn; substantially above our estimates of INR 14.1bn (consensus estimates at INR 14.8bn) on back of strong traction in NII income. Continued buoyancy in loan growth, strong operating efficiency and pristine asset quality were the key positives that emerged from the results.Valuation & OutlookAt the CMP of INR 886, HDFC is trading at 4.3x FY15e P/BV and 21.1x FY15e P/E which continues to remain tad expensive given the near term challenges. Therefore, we maintain our HOLD recommendation on the stock with a target price of INR 840/share and roll over our earnings estimates to FY15e.


text:
Current Planets
23-Mar-2018, 12:23 UT/GMT
|49' 7"
|59' 4"
|54' 5"r
|Explanations of the symbols
|Chart of the moment
INTRODUCTION With this brief extract, you can take a first look at your personal "Color Horoscope" by Johannes Schneider. Small samples from the individual sections will give you an overall impression of the complete horoscope. The "Color Horoscope" combines the delineation of the birth chart with color psychology. It provides you with an insight into the character structures by describing your distinctive traits and your needs as well as the various roles you play. The internal psychological defense mechanisms are also described, and the possibilities for alleviating these conflicts are pointed out. At times, the text is somewhat confrontational and demands an active analysis of your own personality. You can order the complete "Color Horoscope" by Johannes Schneider, consisting of 10 to 12 pages, as an E-Horoscope in the Astroshop.
YOUR BEHAVIORAL PATTERNS Objectives and Motivations
Based on the ranking of the planets receiving a high score, your objectives and the motivations for your behavior can be described as follows:
You prefer to make contact with cultivated, intelligent and open-minded people who are able not only to relate something of interest but also to listen attentively. You mainly socialize with acquaintances and friends with whom you can relax and enjoy time together or undertake some activity that brings you joy and draws you out of your daily routine. This provides you with positive impulses and helps you to take life more lightly.
You hope to achieve a significant improvement in your situation by means of pleasant contacts and good relations. To you, this prospect is a strong incentive to take the initiative yourself and to follow all the necessary steps.
When you want to achieve something important to you, you mobilize all your creativity and apply all your energy and resources to overcome your difficulties. You display [...]
Distress and Problems
The tendencies and modes of behavior which can cause you distress and problems can be described on the basis of the ranking of planets with a low score. However, it cannot be deduced to which degree you have become aware of and overcome your personal weaknesses, and consequently have gained a deeper understanding of the problems of others. The following statements indicate what you can do to improve your ability to move through life with fewer problems.
You have quite idealistic expectations of what you would like to achieve over the long run, and often you are busy in your mind with your ambitious goals and dreams. You are all the more disappointed, then, that certain wishes are not fulfilled because other people do not behave in line with your hopes or with the way they should.
You try in vain to overcome fear or oppressive emotions by involving yourself intensely in an enjoyable pursuit. [...]
By combining your objectives and the motivations behind your behavior with your fears and the indications of your underlying issues, it is possible to conclude that your psychological needs are as follows:
freedom of action. It is very important to you to be able to make your own decisions regarding what you do or don't do and how you behave. You want to [...]
Your Color Horoscope indicates a variety of roles that you play on the stage of life. The following section describes the role plays you engage in, as well as the motivations, objectives and modes of behavior associated with it.
Head in the Sand When sadness, pessimism or fear arises in you, you do not allow it to show, but instead you act happy and confident and if possible, [...]
Loner You often feel attacked by people, unjustifiably criticized or badly treated in some other way. For this reason you resolutely go your own [...]
Master in the Art of Living When problems become too much for you, you go on the offensive and do something that brings you joy or takes your mind [...]
Interested You seek contact with helpful people, and you are always available for an enriching exchange of views, useful information and interesting [...]
In conclusion, here is a description of those facets of your personality which can stand in the way of your development into a free and happy person as long as you are not aware of them. You hardly notice in you the presence of these intellectual and emotional patterns, nor do you perceive their mode of action. Nevertheless, the effects they have on your life are usually not to your advantage. Use the following interpretations as a working hypothesis for self-exploration. The recommendations given for each postulate indicate alternative attitudes which could possibly allow you to leave the old field of negative emotions behind.
Encouraging Yourself When unfavorable circumstances threaten to hinder your personal development, you convince yourself that you can overcome your [...]
About this Horoscope This interpretation of the positions of the planets at the time of your birth is based on the Astro-Color-System® developed by Johannes Schneider; in addition to the ten typical planets, this system also includes the two minor planets Chiron and Vesta. In this system Chiron is considered to rule the sign of Virgo and the sixth house of the horoscope; Vesta rules the sign of Taurus and the second house. The twelve celestial bodies are awarded points based on their position in the signs and the houses of the horoscope and on the aspects between them. These scores are used to establish a ranking of the 12 celestial bodies, called the planet profile, and four subgroups, called the basic structures. Since a typical color has been assigned to each of the celestial bodies, this ranking can also be represented as a series of these twelve colors. As you can see from the personal planet profile calculated for you, each planet has its assigned color above it; the height of the colored column indicates the number of points awarded to the planet. Together with 13 additional colors, these same colors form the basis of the psychological color test Color-O-Scope®, which can be found here under the name "Color Oracle".The colors you select in the test indicate your current behaviors and problems, while the astrological analysis of your birth constellation describes your personality. The combination of these two interpretations makes it possible for you to compare your present situation with your intrinsic nature and to see which facets of your personality you are currently living out and which you are not. This comprehensive insight is entirely new within astrology and is impossible to achieve with any conventional method.
Astrological Data used for Color Horoscope Free Try-Out Edition
Planetary positions
Major aspects


text:
Home > Support > FAQs > Search Result: QY100
> QY100 - Multi Channel Playback
Back to the list
Go to Product Information
Last Update: 12/23/2010
1. From the Main [SONG] screen press the [RECORD] button.
2. Cursor over to the MULTI option and press [ENTER].
3. The QY100 will now be in MULTI send and receive mode.Eitherpressthe [PLAY] button to record on multiple MIDI channels or press the [STOP] button for multi channel MIDI playback from another device.
After the MULTI function is set,press the [SONG] button to access the MIXING screen. From here the voices assigned to tracks 1-16can be changed asdesired.
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text:
I've been having path problems lately (bar total path length this is not related to ifort) - so I went a-digging.
The redistributable installer adds the following paths to the head of the system path:
%INTEL_DEV_REDIST%redistintel64mpirt %INTEL_DEV_REDIST%redistintel64compiler %INTEL_DEV_REDIST%redistia32mpirt %INTEL_DEV_REDIST%redistia32compiler
Beyond the resulting excessive comsumption of precious system path length - all good.
When you start a command prompt for a particular ifort version and flavour, it adds the equivalent of the following to the head of the path
This means that the redistributables for the targeted version are picked up in preference to the system installed version - all good.
The command prompt script also adds the following to the tail of the path:
This is shadowed by the system installed version. If I follow what is going on correctly, bar differently named exe or dll additions to the targeted version directory, it would appear to be mostly decorative - hence if you are targeting a particular ifort version different to the installed version of the redistributables, your development testing will use a mix of ifort version bits. Is there a reason for this?


text:
Originally posted on 60 Max Power O | Last updated 11/13/12
Bill Belichick must be feeling a little deja vu going on right now as the New England Patriots face the 6-3 Indianapolis Colts this Sunday. For years Belichick watched the Colts under Peyton Manning, but with Manning's departure, a new king has arisen. Andrew Luck was supposed to be good, just not this early. His poise, ability to read defenses, and his athletic ability are all the ingredients that trouble the young Patriots defense. Belichick spoke to WEEI in Boston with The Big Show in his weekly appearance. "He's been impressive. Certainly he's an outstanding athlete. He can run, he's got real good speed to get out of trouble and buy time in the pocket. He's made a lot of yards on converted third downs. … I think he sees the field well — has good vision, good poise. … I've certainly been impressed watching him." "I don't think there's a lot of difference between him, physically, and a guy like Cam Newton, just as far as being able to run, and be strong and fast and have a good arm. He seems to read coverages well. He's got a great receiver, obviously, in Reggie Wayne. … The Colts have done a great job. They've turned that program around." var switchTo5x=true; stLight.options({publisher:''});
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text:
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Brand new apartment building located on Bramalea Road between Steeles Avenue East and Dearbourne Blvd. Retail on the lower level with great exposure onto Bramalea Road. The area contains a mix of office, industrial and residential density. Suggested uses include: retail, medical, fitness, light food, service, etc.


text:
[Interviewer's note]
Shirley Clarke started as a dancer. Her first films were dance
films such as Dance in the Sun (1953), and In Paris
Parks (1954), a lyrical look at gesture and movement in a
public landscape.
Her work in the early 60's - The Connection and The
Cool World - are landmarks of the American New Wave movement.
Utilizing a New York version of Italian neo-realism, Clarke's
work remains the best expression of marginal life in that era.
Her film, Portrait of Jason (1967) was one of the first
to look at a gay protagonist in an open and sympathetic (and
completely unromantic) manner. In the early 70's Clarke pioneered
live and taped video performance, installation and documentation
with a collaborative group of artists and technicians called
the Video Space Troupe. Her cutting edge work in this field was
an important source of inspiration and experimentation for much
of the video art and experimental television work that followed
in the United States.
DDH: There are a number of women filmmakers in the U.S.
who started as dancers: Maya Deren, Yvonne Rainer and you.
SC: Maya Deren was a great revolutionary, a great astonishment
on the scene.
DDH: Yvonne's first support came from the art and
the dance community and not the film community.
SC: The intellectual feminist arty community.
DDH: Maya Deren developed in a similar milieu. She was
the first filmmaker to receive a Guggenheim Fellowship. For many
women filmmakers, the struggle to raise funds is almost a fulltime
occupation. For women it helps to be already established in some
other field to get funded for filmmaking.
SC: My friends who have been in dance, teachers of mine, are
very successful. And dance was not successful up until eight
years ago.
DDH: But that has something to do with fact that
the corporations are subsidizing dance.
SC: It's a great safe thing. Dance has to try hard to come
up with real political
content that's noticeable, and when it does, that kind of dance
doesn't get funding. But I never got any money from my dance
or art connections. I can't get funds from the sources that fund,
say, Yvonne.
DDH: Maybe it's because your films are more accessible.
There have been volumes written about Yvonne's work in anthologies
of feminist theory. One doesn't need volumes of interpretive
literature to appreciate your films. You put a lot of art critics
out of work.
SC: Mainstream critics have written about me. Sometimes they
reacted strongly. For a play I did recently in Los Angeles, the
avant-garde weeklies thought it was extremely innovative and
crazy and insane and wonderful. The established press thought
it was amateurish, stupid, incoherent. You would have thought
two totally different things were being discussed. There was
a little something in there to offend everyone.
DDH: Your films were never about women's issues per se.
SC I like to see feminist films, but I've never been able
to make one. I never got good ideas for that kind of movie. What
I like to do and what I like to see really aren't particularly
connected. For example, I'm not a great aficionado of avant-garde
art, but that's what I do, more or less.
DDH: Your affiliations have been close to other arts: dance,
theatre, literature. Many filmmakers do not have those connections.
In the U.S. our worlds are separated. Video artists are in one
world. Experimental filmmakers in another. Graphic artists and
dancers have their worlds. There's not much crossover.
SC: I've never been sure which world I belong in. In 1963,
Otto Preminger asked to see me after I'd done The Cool World
and he asked me what I wanted to do. After talking with me for
a little while he said, "I don't think Hollywood is what
you want. I don't really think that that's the kind of life you
want to lead and the kind of work you want to do."
That was the honest to God truth. I was embarrassed for years
to let anyone know I had won an Academy Award for The Connection.
That wasn't really a prize I wanted to win. I was happy to say
that The Connection got a prize at Cannes. I was happy
to say that The Cool World was the first independent film
to play in Venice.
Later, after five years of video work at the Chelsea Hotel,
I was actually asked by Roger Corman to do a movie in Hollywood.
Of course the whole thing blew apart when I found out that what
Roger wanted was for me to be 22 years old. He wished I had never
done anything in my life. Let me tell you what he said to me.
We're sitting, right? He's heard from the cameraman that I didn't
plan to shoot the way he'd like. And so he says, I hear you don't
plan to do coverage. With a very innocent face, I said, what's
coverage? He says, wide shot, medium shot, close up.
I said, why would I want to do that? I always take the correct
shot and then I might take a few cutaways and things, extra close-ups
so I can tighten or loosen the sequence. And he said to me, "Maybe
we really shouldn't be working with each other. I'm sorry, but
I hoped I could do for you what I had done for Martin Scorsese,
Peter Bogdonovitch." And he listed a whole bunch of filmmakers
that are ten years younger than I am, all these men who did their
first movies with him. And I realized that he didn't have any
idea who the fuck I was. Clearly he couldn't be talking to an
established filmmaker who had gotten prizes and stuff. He didn't
know who I was at all. He wanted me to shoot his script, each
scene in wide, medium and close up, so that later on he could
edit it. For me to make a cheapy film I didn't respect with a
script that I didn't like, without the right to at least do it
the way I want, for God's sakes, that's insane.
DDH: Do you think Corman would have treated a man director
coming to him with your credits the same way?
SC: I would think so. Would he ever talk to a man like that?
He didn't trust me, that's for sure. There's deep discrimination
against women artists that is still very strong. I was a representative
of tokenism. I was relied on to be the woman filmmaker. No one
person can carry that burden. There's no question that my career
would have been different if I was a man, but if I was a man
I would be a different human being.
DDH: It seems to me there are more women producers than
directors in Hollywood these days.
SC: They're very good at raising money. They're good at putting
things together, as you can well imagine.
DDH: There are statistics that the Directors' Guild compiled.
Unbelievable! It's
Something like 6,000 TV episodes a year, 40 of those are done
by women and 30 of them were done by the same woman on the same
TV show. So essentially there are 11 directors and that's it.
Out of 6,000.
SC: The industry's been rotten. The history of women in all
the arts has been rotten. The history of women is rotten.
DDH: Do you see it getting worse or better?
SC: I think a little better. There's certainly more consciousness
on the part of the
women. We're not sitting back saying it's rotten so we're not
going to do anything. Lots of us continue to do things. I'm one
of the few women who teach production in film anywhere in the
country. How is that possible? I know less about teaching production
than a lot of people.
DDH: That's ridiculous for you to say. You're the best
teacher I ever had in any subject.
SC: I'm a good teacher because I'm a very enthusiastic person,
but I don't know the technology as well as many women around
who know as much if not more than men. It's not that the men
are better: there may be one or two good men teachers, but at
UCLA they've got a lot of rotten male teachers. They have almost
no women teaching anything at UCLA in the film and TV department.
The statistics of the graduates of UCLA in the industry is almost
nil. Male and female. That's true of NYU and USC. There are a
few real hustlers that you knew from the day they walked in,
they didn't need any university. They needed to have access to
equipment. That's the only reason they go. And if they were black,
they did get certain financial concessions and It helped them
pull some films together. A black film festival's going on in
Buffalo now, and half the films are by students from UCLA who
got access to equipment.
DDH: What happens to all the other graduates?
SC: Some of them will become producers, some will become agents,
some of them will sell films, lots of them will become writers.
It's strange that I have ended up teaching all these students
with Hollywood aspirations. Nothing in my head would ever be
funded by Hollywood. I consider myself part of European filmmaking--
people like Rossellini and DeSica and Fellini. I was pals with
Godard and that whole bunch. That's who I identified with.
DDH: Many of those people have been supported by their
government, or arts councils, or European television.
SC: Agnes Varda did a couple of films in America, but she
got money from France to do them, and she has to go back to France
to sell them because she can't sell them here.
DDH: You received a grant to work at the Television Lab
at WNET, the largest public TV station in the country.
SC: But that was where I experienced the most explicit form
of discrimination. The engineer was the worst. He was so obstructive.
He just hated the fact that I was a woman: hated it! That was
probably the most overt discrimination I ever had.
DDH: The technicians aren't as subtle in their oppression
as the big boys at the top. A number of women I know had trouble
there. That place was notorious. Nancy Holt had her sound track
erased. Those things didn't happen to the men artists who were
granted access to work there. The irony is that the engineers
were making salaries 500 times what the artists would get for
working day and night on a program. The engineers' salaries,
and the rental of the TV equipment came out of the artists' grants.
But the artist never got paid. The so-called "artist's access"
program subsidized the technical facilities for the TV operation.
SC: The experience was very demoralizing. It was at a bad
time in my life and I became really depressed. I couldn't say
it was because I was female. There's an intuitive part of me
that knows that there is a serious problem: that my career has
been limited because I am a woman. But I can never give a specific
example. It's just an overall ambiance. It's a tremor in the
air. It's electricity around. It's the way people look at you.
And it has an effect. It changes you. I am not the person I would
have been, had I been a man, and not had to fight that double
standard, I would be different.
DDH: Your energy gets siphoned off to fight those kinds
of struggles.
SC: Not only my energy, but my relationships with men and
my relationships with other people have been disturbed because
I had to be outwardly a lot stronger than I am. I always had
to present a front, I always had to be in charge. I always had
to take over. Maybe things are changing now. I've had five retrospectives.
There's a sense of respect when I walk into a room. I was always
on my way up and now I realize I'm no longer on my way up. I
never expect to make the great Hollywood motion picture, but
I have some ideas for movie projects. I want very much to do
a film with Shelley Winters. I don't know that, as two women,
we're ever going to get it together. She may end up having to
have a male director. We're perceived to be two crazy ladies.
I know her and I know me and we're not two crazy ladies. But
any outspoken ladies who assert themselves are looked on as a
bit crazy.
DDH: If you were men you would be looked on as real artists
and geniuses.
SC: We'd be amazing people with these fabulous personalities
and drives and so forth. But as women, we're crazy. That's what
I'm talking about; my personality changed. I have performed a
part of myself for so many years. If I was as quiet as a mouse,
which part of me is, I would have gotten nothing. Absolutely
nowhere. There are several reasons why I succeeded at all. One,
I had enough money that I didn't have to become a secretary to
survive. And secondly, I have developed this personality, this
way of being. It would be nice if I was in arts and crafts and
could make wonderful woven baskets sitting in my house. I happen
to have chosen a field where I have to be out there, to constantly
connect, to be in charge of vast amounts of money, equipment
and people. And that is not particularly a woman's role in our
DDH: There are analogies with the way persons of color
are treated in our society--your films looked at racism before
it was fashionable.
SC: I identified with black people because I couldn't deal
with the woman question and I transposed it. I could understand
very easily the black problems, and I somehow equated them to
how I felt. When I did The Connection, which was about
junkies, I knew nothing about junk and cared less. It was a symbol--people
who are on the outside. I always felt alone, and on the outside
of the culture that I was in. I grew up in a time when women
weren't running things.
They still aren't.
DDH: Your film of The Connection is one of the few instances
in which the documentation has had as great or greater life than
the theatre piece. People call it Shirley Clarke's Connection.
SC: It is really Shirley Clarke's film of Jack Gelber's The
Connection, originally
produced by the Living Theater. That's the correct title. My
input into it was to transform it, to translate it. The Connection
as a film was very different from the play, even though we used
some of the same actors. Savage Love, the Sam Shepard video piece
with Joe Chaiken, was originally written for the theater. It
was then taken by me and re-filmed, taped and after that put
through a video process that changed it. And both of them, upon
seeing the finished
product, loved it.
DDH: I want to go back to The Cool World.
SC: The Cool World was a little different because Warren
Miller wrote the novel upon which a play was made, but it wasn't
successful as a play. By the time that I made the film, he would
have nothing more to do with it. He was so fed up that he said,
do what you want with it.
DDH: It wasn't, in that sense, a collaboration.
SC: Not with Warren Miller. I worked with Carl Lee, who basically
ironed out the novel, changed dialogue, put characters together-
and I took it out on the street. That's my contribution to filmmaking.
DDH: Twenty years later, people talk about discovering
the "new form": docudrama--dramatic documentary. But
that happened in The Cool World in 1963.
SC: That was the first of that particular kind of thing. There
had been The Quiet One, which was James Agee's reenacted
documentary. The kid was a real kid and he played himself. I
had seen it and Helen Levitt's work, a little film on Halloween
that she did, In the Street. It had a very big effect
on me combined with Rossellini and his films: Neo-Realism. That's
what I fell in love with.
DDH: Any film in particular?
SC: Open City. And that's what made me want to make
The Cool World. That's what I was looking to do in The
Connection also, but I ended up having to do it in a set.
The original idea was to shoot it in the streets of New York,
but at that point in time we were scared to shoot 35mm without
better sound controls. When it came to The Cool World,
we developed the radio mike, and took it into the streets so
the kids could talk running up and down the streets.
DDH: There's a photograph I love of you in an old issue
of Film Culture with a camera suspended on clotheslines from
the ceiling so that you could move with the camera and have a
hand-held camera look without the weight. The first homemade
SC: A lot of those things developed out of being a woman.
I couldn't hold a camera right, so I had to do things like that.
I wanted the immediacy, the reality of it. There's that neo-realist
side of me but there's another part of me that loves all the
playing with film and video technology that creates a film like
Bridges Go Round and a tape like Savage Love that are not realistic
at all, but very stylized. I love both types. That's why I like,
for example, the remake of Pennies From Heaven with Steve Martin.
My greatest goal is to combine those two parts of me.
DDH: The documentary parts of The Cool World were edited
in a very stylized way.
SC: And the theatrical parts of The Cool World were
acted in a very realistic way.
Naturalistic way. I've been trying endlessly to connect these
things. I'm still trying.
DDH: There's something about the way that you do anything
that always has an edge.
SC: That happens because of my political mind.
DDH: For me, there isn't enough of an "edge"
in a lot of so-called feminist filmmaking. Shirley, you deconstruct
reality or drama, with an implicit critique of the social relations.
The starkness of the form cuts across people's preconceptions
about the issues. On the other hand, somebody like Agnes Varda
can make a so-called feminist film and it plays like a Hollywood
musical and looks like a Hallmark card. It doesn't have the same
SC: Did you ever see Varda's Lion's Love? I'm in that film.
And Viva.
DDH: Well, your presence adds the edge to that film.
SC: That's because Viva and I started to play with each other.
That wasn't in the script.
DDH: You're one of the few women listed in histories of
film. I taught a course last semester on women in cinema. If
you look at any of the text books, there are two women in them:
you and Maya Deren.
SC: What pisses me is that when I'm not in those anthologies,
there are no women in them.
DDH: There are several new books specific to women and
SC: I prefer to be in the anthologies of filmmakers: between
Rene Claire and Rene Clemont is Shirley Clarke. What I'm saying
by that is that I want to be identified with the body of filmmakers,
not just women. What will really help women is if they show up
DDH: But it is helpful to take a deep look at the work
that women have done: not ghettoizing it, but privileging it?
SC: Classifying the kinds of women's films that are being
made and analysis is needed. We need to take ourselves seriously.
Even things as basic as: what is women's consciousness? It has
to be politicized. It has to be historical. There are certain
biological facts. Women do give birth, but I think when a man
puts out his sperm he's also giving birth. The main differences
are cultural. In an intrinsic human way, there are very few differences
between men and women. It has nothing to do with whether you
can lift a brick. None of this matters anymore.
Therefore it's all a terrible hang-up on the part of men.
My images are not feminine images or masculine images, they are
general political concepts. But I have a theory about the coming
world, the future millennium. If creatures exist, the choice
will not be the man. Man does not have the endurance. He won't
be necessary. He's the expendable one. Stash a whole bunch of
sperm somewhere and go on for the next fifteen hundred years.
DDH: There are theories that the fear of being expendable
is why they make all those missiles.
SC: I think men are scared. It's part of the destructiveness
in this world. They can see the end in sight. If they're going
to go down they want to take everything with them. These people
want to bomb El Salvador. You don't see women going off and saying
they're going to fight for Reagan economics in El Salvador. Can
you imagine that Reagan is willing to hide bombs in little trains
all over the country? And he wasn't ousted from his job overnight?
DDH: How would you categorize the politics of your films?
SC: I was once a member of the Communist Party when I was
very young. I was always that kind of person: always involved.
I did the early marches against the atom bomb. We'd take petitions
to ban the bomb to the factories after the World War II. Basically,
I am against the establishment, the state. I'm an anarchist,
I've finally decided. But an anarchist in a somewhat gentle way.
I'll go on a march, but I'm not going to bomb something. To me,
a kind of society that would work has to be anarchistic. We have
to survive: I help you and you help me.
DDH: Your films contain within them a social critique,
but also within them is a critique of the media.
SC: It is my comment on the world, and if you critique what
goes on in the world, you are also critiquing the media. They
really go together.
DDH: And now media has become the foremost thrust of capitalism.
SC: The media is the world.
DDH: I value the education I received from you when I worked
with your Video Space Troupe at the Chelsea Hotel. I often wish
I could convey to my students some of those experiences.
SC: I have 400 tapes, half inch, black and white, that were
done during years 1969 to1975. They're video experiments by so
many people who worked with us. Raindance, the Videofreex, people
like Frank Gillette, Vicki Polan, Andy Gurian, Shridar Bapat,
David Cort, Nancy Cain. That whole batch of tape should be saved
DDH: Someday when we have 450 channels on every television
set, we can have a Shirley Clarke channel, a Lanesville TV channel
[early video experimental channel created by Videofreex Collective].
SC: In L.A. there's a Jewish channel already.
DDH: My reality side is more pessimistic: it's all going
to be Sears and Roebuck
catalogs: varieties of home shopping.
SC: It's the big boys moving in and holding on. All the different
things, ShowTime, HBO, blah blah. Every one of them plays the
same show repeats and the same fucking movies. Endlessly. I have
seen Shelly Duvall in Popeye more often than I care to
DDH: The hardest part of teaching for me is the naivete
of my students and their lack of consciousness about political
issues. It's easy to teach them video. It's harder to make them
sensitive to the world.
SC: In my UCLA classes we do a series of confessions. I had
a student last year who thought it was slick to bring a guy into
class who told us that he was a truck driver and proceeded to
confess these amazing things and he turns out later to be an
actor. The student never told us. He didn't understand why I
was so furious at him. He finally had to make a tape apologizing
to the class for doing this. He became the confession. It was
terrific. So it ended up okay, but it started with total misunderstanding.
You cannot cheat. You kill yourself. It kills the artist. If
you start honestly with yourself, and there's a way to get to
the truth, which
isn't all that hard, it happens. It is the inevitable outcome.
Chelsea Hotel, NYC, 1985
This interview was transcribed by Kelly Anderson and edited
by DeeDee Halleck. Thanks to Cecile Starr for initially suggesting
the interview.
DeeDee Halleck is a media activist who founded the Paper Tiger
Television Collective and co-founded the Deep Dish Satellite
Network. Her films include Haiti: Bitter Cane, The Gringo in
Mañanaland and Lock Down USA. Her video work grew out
of her work with the Video Space Troupe under Shirley Clarke.
Halleck is Professor at UCSD. This article first appeared in


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REBEL, New York's celebrated Baroque music ensemble, presents the local premiere of Town and Country: Music of European Royalty and Aristocracy, a program of 18th century classics, at Montclair State University's Alexander Kasser Theater, November 7 at 3 p.m. Performed as part of Peak Performances @ Montclair's 2010/11 season, the program will include works by Telemann, Scheiffelhut, Fischer, Schmierer, and Handel.
REBEL is comprised of violinists Karen Marie Marmer and Jörg-Michael Schwarz, recorder player/transverse flutist Matthias Maute, cellist John Moran, and harpsichordist Dongsok Shin. For Town and Country, guest musicians include Margaret Ziemnicka (violin), Risa Browder (violin and viola), Peter Bucknell (viola), and Ann Trout (bass).
About REBEL
REBEL (pronounced "Re-BEL"), committed to the performance of Baroque music, features a core group of five musicians including two violinists, a recorder/traverso player, a cello/viola da gamba player and harpsichord/organist. The group frequently expands to include additional strings, winds, theorbo and vocalists when needed. Currently in residence at Trinity Church on Wall Street in New York City, REBEL collaborates with Trinity Choir in works ranging from the cantatas of Bach to the major oratories of Handel, Bach, Mozart and Haydn.
Named after the innovative French Baroque composer Jean-Féry Rebel (1666-1747), REBEL was originally formed in The Netherlands in 1991. That year, REBEL was awarded first prize in the Fifth International Competition for Ensembles in Early Music, Utrecht (now the Van Wassenaer Competition). Its European engagements have included the Holland Festival Oude Muziek, Tage Alter Musik Berlin, the Konzerthaus (Vienna), La Chapelle Royale (Versailles), Internationale Festtage für Alte Musik Stuttgart, Tage Alter Musik Regensburg and the Händel Festspiele (Halle an der Saale, Germany).
In the U.S., REBEL has performed at the Library of Congress, Caramoor Music Festival, Chautauqua Institution, Stanford Lively Arts, University of Chicago Presents, the Isabella Stewart Gardner Museum, the Cleveland Museum of Art, the Boston and Berkeley Early Music Festivals and Music Before l800 in New York City.
Among its musical collaborators are renowned vocalists Max von Egmond, Derek Lee
Ragin, Suzie Le Blanc, Daniel Taylor, Peter Kooy and Barbara Schlick. It accompanied Renée Fleming at Carnegie Hall in 2005.
The group has recorded music by Arcangelo Corelli, Giovanni Battista Buonamente, Franz Joseph Haydn, Biagio Marini, Salomone Rossi, Giuseppe Sammartini, Georg Philipp Telemann and Antonio Vivaldi, and in 1999, became the first and only period instrument ensemble to be awarded an artistic residency at National Public Radio.
REBEL has gained wide recognition for its acclaimed performance of Mozart's "Requiem" with Trinity Choir under the direction of Dr. Owen Burdick, broadcast nationally over National Public Radio in September 2001. Its annual performances of Handel's "Messiah" and the sacred choral works of Haydn are broadcast live in New York on WQXR-FM and internationally online.
For more information, please visit www.rebelbaroque.com.
All tickets are $15 and are available at the Alexander Kasser Theater Box Office, by calling 973-655-5112 or online at www.peakperfs.org. There is no charge for Montclair State University undergraduates with valid ID. Please arrive at least 30 minutes before curtain to claim your PAF ticket.
Peak Performances acknowledges the generous support of the Association of Performing Arts Presenters, the National Endowment for the Arts, the New Jersey State Council on the Arts, Discover Jersey Arts, the Honorable Mary Mochary and Alison and James T. Cirenza.
Released: October 19, 2010


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Lady Dogs fall to Frenship in three sets in season finale
Published 1:00 pm, Wednesday, October 26, 2011
WOLFFORTH - The Plainview Lady Bulldogs went out with a whimper Tuesday night as they were swept by playoff-bound Frenship 25-6, 25-12, 25-14 in their season finale.
It was one of the Lady Dogs' worst losses of the season and no doubt will leave a bad taste in players' mouths through the offseason.
"That certainly wasn't the way we wanted to end it," Plainview head coach Torri Hatch said.
The loss capped off a tough district season for the young Lady Dogs (13-27, 4-10 in District 3-4A). Plainview's sixth-place finish will be the first time in five years the Lady Dogs miss the postseason.
Plainview is due to return every member of its squad next year except for lone senior Halley Hatch.
On Tuesday, Plainview was led by Bailey Davis with six kills and seven blocks. Shaina Dulakis added five kills, and Michelle Portillo had 16 digs.
The Tigers (32-11, 10-4) were led by Kristina Gafford, who handed out 27 assists and picked up 14 digs. Chelsea Driskill recorded 21 kills and three blocks, and Amber Bowman added eight kills and four blocks.
Frenship def. Plainview 25-6, 25-12, 25-14
Kills-Bailey Davis 6, Shaina Dulakis 5, Shalee Bennett 3, Lupita Quintanilla 3, Taivia Hearn 1; Digs-Michelle Portillo 16, Quintanilla 5, Davis 4, Halley Hatch 4, Shannon Watson 1, Bennett 1; Blocks-Davis 7, Dulakis 1; Assists-Bennett 5, Kymber Carroll 3; Aces-Bennett 2.


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This luxurious resort is situated in a hilltop position above the picturesque fishing village of Carvoeiro, only about 5 km from Lagos on the spectacular coast of the Algarve with its small white sand...
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Situated in a tranquil valley, encircled by lush landscapes and olive trees, this fantastic property offers an elegant and relaxing retreat. It's the perfect spot to spend your holiday in the Algarve....


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If you want to keep in touch with the latest natural headache remedies, youd better look for a magazine which covers all the aspects of this matter. A professional online magazine is one which keeps people in touch with the most recent natural health products, one which presents only truthful information about these products. Also, a good magazine is one which is user-friendly and free of error. In case you dont want to ruin your day with useless ads and unwanted viruses, make sure you find a site which meets these two requirements. In order to find one, take into account the following steps.
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Sweet and Spicy Salmon Burgers
Grated lime adds zing to the robust flavors in these salmon patties, which are made with red bell pepper, cilantro, fresh ginger, garlic and red curry paste and served with a lime-flavored soy sauce.
Total Time:
Level: Moderate
Serves: 4
- ¼ c. lime juice (grate zest first)
- 1 tbsp. less-sodium soy sauce
- 1 tbsp. sugar
- ¼ tsp. crushed red pepper
- ½ red bell pepper
- ⅓ c. packed fresh cilantro
- 1 slice peeled ginger
- 1 clove garlic
- 2 tsp. red curry paste (see Tip)
- 1 tsp. grated lemon zest
- 1 tsp. sugar
- 1½ lb. skinless salmon
- 1 tbsp. vegetable oil
- Sauce: Mix ingredients in a small bowl. (You can do this first, or while fish is cooking.)
- Burgers: Put bell pepper, cilantro, ginger, garlic, curry paste, lime zest and sugar in a food processor and pulse until blended. Add fish and pulse until just blended.
- Shape level 1⁄4-cupfuls fish mixture into twelve 3-in. patties. (At this point the fish burgers may be loosely covered and refrigerated for up to 4 hours.)
- Heat oil in large nonstick skillet over medium-high heat. Add half the fish burgers and cook about 1 minute on each side, until just cooked through. Drain on paper towels. Cook remaining fish burgers. Serve with sauce.
Tips & Techniques
More recipes like this
From: Woman's Day
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Globally minded.
In my career, I've worn the hats of illustration, photography, branding, game design, web, print, copywriting, editing, social media, marketing, and even textiles – but now specialise in UI/UX; approaching briefs with a focus on aesthetic narratives and user-centred design. I'm constantly inspired by technology, science and art, and where the disciplines of print / digital can interact and thrive.
As a self described community-evangelist, I've previously volunteered for AGDA Victoria for 3 years (2012-2015) and worked for The Design Foundation since 2012 on local design events. In 2013 I founded a Melbourne-focused event directory called Yard Guide (deactivated), and held 'A Brief Exchange' in early 2016 as an event to connect students with industry. I also maintain an archive of vintage science-fiction book covers, and have an unhealthy obsession with fluorescent purple.


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North Horsham Parish Council has appointed a top barrister to help fight plans for 2,500 homes north of the town.
Meanwhile, hundreds of residents vowed not to stop fighting the plans at a protest on Saturday.
In other Horsham stories in today's West Sussex County Times, Millais School's head teacher reacts to an Ofsted report that labelled the secondary school 'Outstanding' less than three months after a blaze ripped through the building.
Angry Broadbridge Heath residents are in battle with housing provider Saxon Weald over parking changes, a bride's unique £6000 engagement ring was stolen on her wedding day in Wisborough Green, and statistics reveal the number of cases of arson in the Horsham district has dropped.
In the South Downs edition, a World War Two veteran remembers fighting at D-Day, a gliding club is 'sickened' by a break-in that cost £50,000 in damage and theft, and world leading manufacturing company Tesla has moved to a larger site in Storrington.
This week's special report looks at the exhibition hosted by Horsham District Council in Swan Walk last week, which gave residents the opportunity to find out more about the plans for the North Horsham development.
Also in this week's edition is a guide to the 2014 World Cup in Brazil, which kicks off today.
In sport, Horsham district sides have started the cricket season in superb form, with Roffey, Horsham, Steyning, Slinfold, Henfield and Wisborough Green all flying. Also included in our sports round-up is baseball, rugby, canoeing - and find out how Scotland won the World Cup!
Don't forget our 24-page WOW supplement and a whopping 12 pages of readers' news, as well as or regular letters, business and politics pages.


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Hilton Head Island, SC (SportsNetwork.com) - Matt Kuchar holed a bunker shot for birdie on the 18th to shoot a 7-under 64 on Sunday and come from behind to win the Heritage.
Kuchar, who won for the seventh time on the PGA Tour, finished at 11-under-par 273 at Harbour Town Golf Links. This was his fourth straight top-5 finish.
"It was an Augusta-like roar. I wish it wasn't that exciting a finish, but I made it that way on 17. Man it was so thrilling to see that ball disappear," said Kuchar of his bunker shot at the last. "I think the last couple weeks being in contention being that situation (helped). I was in a similar spot in Houston, I said I'm going to try to hit a good shot and I put it in the bunker. I knew it was not that bad of a place."
Third-round leader Luke Donald posted a 2-under 69 to end in second place at minus-10. Donald has five top-3 finishes without a win at this event in the last six years.
Ben Martin (67) and John Huh (68) shared third place at 9-under-par 275. Scott Brown (67) and Brian Stuard (68) were two strokes back at minus-7.
Jim Furyk (70) and Brian Harman (69) tied for seventh at 6-under 278.
Kuchar was four shots back at the start of the round, but he got off to a flying start with birdies on one and two. He rolled in an 18-foot birdie effort on the fourth, then birdied the sixth from six feet out and was within one of Donald's lead.
Donald had 2-putted for birdie on the par-5 second. Kuchar sank a 15-footer for birdie on the eighth to join Donald at minus-9.
Kuchar made it two in a row with a kick-in birdie on the ninth. Donald fell off the pace at the sixth, where he faltered to a double-bogey. That handed Kuchar a 4-stroke lead as Kuchar dropped in a 17-foot birdie try on the 10th.
As Kuchar parred six in a row from the 11th, Donald climbed back into contention. The former world No. 1 converted an 8-foot birdie chance on the par-3 seventh.
Two holes later, Donald converted an 11-foot birdie effort to move within two of the lead. The Englishman found water off the tee on the par-4 10th and that led to a bogey.
Donald erased that mistake with a birdie on the 11th. He stuffed his approach on the 12th to tap-in range and that birdie got him within one of the lead.
Kuchar dropped his tee shot to four feet on the par-3 17th. That looked like the clinching shot, but he 3-putted from short range for bogey and that dropped him into a tie for the lead with Donald.
At the 18th, Kuchar's second shot came up short in a bunker. However, he holed out for birdie from the sand to regain the lead at 11-under. Kuchar headed to the locker room to wait and see what Donald would do.
"What a great shot I hit into 17, and I watched Brian Harman's putt break a little left. I initially saw the putt going right. I got over it and got a little gust of wind and the putt went left. I tried to play it straight. It went left though," Kuchar explained.
"Again, the wind was blowing pretty hard on that green and I felt my putter wobble a little and I missed my comebacker. I wasn't too disappointed to end in that front greenside bunker on 18. I thought that was a decent leave. I knew it was a pretty easy up and down. I said to my caddie, 'boy am I about due to make one of these?' And man it was so cool to disappear in the hole."
Donald had several birdie chances down the stretch, but closed with six consecutive pars to end one back.
"I'm going to get my tartan jacket one of these days," said Donald of what the winner gets. "But hats off to Matt, he played a really solid round."
NOTES: Kuchar earned $1.044 million for the victory ... This was the 12th come-from-behind victory in 22 PGA Tour events this year ... Donald has won just twice in nine tries when owning at least a share of the 54-hole lead ... U.S. Amateur champion Matthew Fitzpatrick had a perfect round with 18 pars as he shared 23th at 2-under 282. One of the players he tied with was last year's winner Graeme McDowell, who shot 1-under 70 in the final round ... The PGA Tour heads to Louisiana for the Zurich Classic of New Orleans, where Billy Horschel won last year.


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Member of the Executive Management group of Kunstadt Sports, Pete is involved in most aspects of the business. Usually working at the Kanata store, he is concerned with general administration and marketing, e-commerce, web site management as well as helping customers on the floor. An avid skier and downhill racer, Pete tries hard to keep up to his sons, Eric and Ron, on the slopes, tennis courts and bike trails. Pete is one of the founding members of Kunstadt Sports.


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Local News |
Nov 01, 2013
NJ's 2nd-in-command could become governor
HACKENSACK, N.J. (AP) — A vote for Gov. Chris Christie in his re-election bid next week may put someone else in office, at least for many days.
Lt. Gov. Kim Guadagno is likely to spend more time serving as governor if Christie is re-elected to a second term because Christie is in line to be chairman of the Republican Governor's Association next year.
That job would take him away from New Jersey frequently. He'll be away even more and could resign if he runs for president in 2016.
Guadagno is in charge of recruiting and retaining businesses in the state. She also helps firms deal with regulations, and often gives business leaders her personal cellphone number.
She says she won't talk yet about whether she might run for governor in 2017.