text:
Suit calls S.F. housing head bully, racist
The San Francisco Housing Authority, which runs more than 6,000 units of public housing for the city's poor, is headed by an executive director who discriminates against white employees in favor of African Americans and regularly employs offensive, outlandish language and behavior in the workplace, according to a lawsuit filed by the agency's own lawyer.
The suit, filed in San Francisco Superior Court by the agency's assistant general counsel, Tim Larsen, paints executive director Henry Alvarez as a mercurial bully - a description echoed in interviews with The Chronicle by several others who have had close contact with Alvarez since his arrival at the Housing Authority in 2008.
Alvarez was recruited by Mayor Ed Lee, who was the city administrator at the time, from the Housing Authority in San Antonio to lead an agency that has had a series of leaders ousted or scrutinized. During Alvarez's tenure, the agency's federal scorecard has gotten worse, and housing advocates say Alvarez's leadership hurts those who need housing the most.
Lee defended Alvarez, though he was unaware that the director was being sued or of the complaints others have lodged against him. The mayor said that Alvarez has "one of the toughest jobs" in the city, and that he stands by his choice.
"I don't get into personnel matters," Lee said. "But I am familiar with every Housing Authority (director) being called a bully. I've been called a bully, and I don't think I am."
Larsen, who is white, has worked at the Housing Authority for eight years and says that he was repeatedly passed over for promotions and plum assignments in favor of African American employees.
Alvarez is African American, and according to Larsen's lawsuit, screamed at Larsen daily; gave him menial jobs such as organizing recycling; and told him to "stop being so Anglo," that he "did not have enough kink in his hair," and that "if you had more melatonin in your skin, I could make you my deputy."
(The lawsuit states that Alvarez seemed to have meant melanin, which gives skin its pigment, rather than melatonin, which regulates sleep cycles.)
Alvarez declined to speak to The Chronicle for this story. Rose Dennis, the spokeswoman for the Housing Authority, said, "Our position is that it's a personnel matter and that it's confidential. We have no comment on the case."
Larsen also declined interview requests.
Amos Brown, president of the Housing Authority Commission, staunchly defended Alvarez, saying Larsen's lawsuit "is not about Henry."
"You have someone who's white, someone with specious, fallacious allegations, filing a suit that he was discriminated against," said Brown, who is African American. "It's a joke. How can he be discriminated against?"
He also said Alvarez inherited an agency "in trouble, in shambles" and has helped to right it. However, federal inspectors' annual scores paint a different picture. They are based on a scale of 100, with anything less than 60 considered troubled.
In 2009, the first full year under Alvarez, the agency scored a 76. In 2010, it scored a 75. Last year, it scored a 63 and was dinged in particular for "substandard management," according to the U.S. Department of Housing and Urban Development.
Sara Shortt, executive director of the Housing Rights Committee, which advocates on behalf of tenants, said she has been personally yelled at, cursed at and bullied by Alvarez, but that she can handle it.
"If you're a tenant and you're afraid of what this guy's going to do to you, including eviction, he does not give the sense that he's going to be reasonable and compassionate," she said. "It's just the opposite."
Alvarez serves at the pleasure of the Housing Authority Commission, whose seven members are appointed by the mayor. He makes $210,500 annually and receives a car and 35 annual days of vacation and sick time.
Under his contract, which expires in June, the Housing Authority pays both its share and Alvarez's share of his pension contributions and paid $6,300 for him to attend the Harvard Executive Skill Development Program.
The San Francisco Housing Authority operates 6,476 units of low-income housing at 45 public housing projects around the city. It also runs the Section 8 voucher program, which currently gives 9,577 vouchers to low-income people to subsidize their rents in private apartments.
The agency is funded by the federal government, but City Hall has recently taken a greater interest in it as it develops a program to leverage city funds to help rebuild the most beleaguered developments.
The agency has had a string of problematic leaders. Ronnie Davis, appointed by then-Mayor Willie Brown, pleaded guilty in 2001 to wrongdoing in his previous job at the Cleveland Housing Authority. Davis was not charged with illegal activity in San Francisco, but federal auditors repeatedly criticized the agency under his tenure.
His replacement, Gregg Fortner, was pushed out by then-Mayor Gavin Newsom in 2007 over dismal living conditions in some developments and Fortner's inability to resolve several lawsuits against the agency, including one over a fatal fire that killed a grandmother and five children.
Newsom appointed a team, led by Lee, to find a replacement - and after a national search, the group picked Alvarez.
Alvarez was not without controversy in San Antonio, including an "inappropriate outburst" at a member of his executive team, according to the San Antonio Express-News. The employee filed a grievance against Alvarez, saying he retaliated against her, questioned her professional conduct and excluded her from essential meetings.
The chairman of the San Antonio Housing Authority commission publicly reprimanded Alvarez, warning him to "refrain from engaging in any inappropriate conduct" or face being fired.
Lee told The Chronicle in a recent interview, "Yes, we were aware of everything." The mayor said he chose Alvarez for his independence and accomplishments in San Antonio and said he admires the work he's done in San Francisco.
"I am surprised to hear there are lawsuits pending," Lee said. "I will probably have a session with the Housing Authority director. ... I'll make that a point to see what's going on."
Larsen's suit names Alvarez and the Housing Authority as defendants. It details several examples of Alvarez's favoring minorities, and African Americans in particular, over white employees. The suit says Alvarez referred to himself as "one smart Negro" and that he said, "In San Antonio, I could not lay off any Hispanics, here I cannot lay off any blacks!"
In September, according to the suit, Alvarez made it clear he would cope with a budget shortfall by laying off white employees in the legal department. Larsen found a way to save $850,000 by tweaking the agency's property insurance agreement, but Alvarez continued with his layoff plan.
Larsen then complained to "various individuals active in city government" after which Alvarez stopped speaking to him and launched an effort to fire him, according to the suit. Larsen went out on medical leave related to stress in October.
He is suing Alvarez and the Housing Authority for what could amount to a substantial sum, including for back pay, emotional distress, attorney fees and punitive damages against Alvarez "to punish him for his wrongful conduct and to set an example for others."
The Housing Authority has not yet responded to the lawsuit, which was filed late last month.
Larsen's lawsuit against Alvarez and the Housing Authority isn't the only example of questionable behavior by Alvarez, according to several people familiar with his tenure in San Francisco.
Nicole Collier was a program manager for the Section 8 voucher program for 2 1/2 years before Alvarez laid her off in March 2010. She said that upon his arrival, he was "intimidating people, having people running scared."
She said that she once tried to revoke a Section 8 voucher, but that Alvarez told her she had to reinstate it because the recipient was a member of the Third Baptist Church, headed by Housing Authority Commission president Amos Brown, a prominent pastor - even though she said the woman was known to keep a gun and drug paraphernalia in the home.
"I'll never forget that case - I was just so disgusted," Collier said.
Brown said his parishioners don't receive any special treatment.
Collier, now director of a fair housing nonprofit in Napa, is African American and said she didn't see Alvarez as racist, but did think he was moody and unpredictable. She said Alvarez laid her off shortly after she returned from a bereavement leave after two family members died days apart.
"I was let go because he basically questioned my loyalty to him," she said.
Minouche Kandel, a lawyer for Bay Area Legal Aid, said she's been working with the Housing Authority for years to make it easier for victims of domestic violence who live in public housing to be transferred to units away from their abusers.
She said Alvarez has repeatedly canceled meetings or sent underlings who would promise changes, but then report back that Alvarez told them no.
"I often had clients who would tell me they were being discriminated against by the Housing Authority, but often there was so much incompetence there that it was difficult to tell whether they're discriminating against a particular person or they're just incompetent and awful and hostile to everybody," Kandel said.
Shortt experienced that hostility after her organization, the Housing Rights Committee, filed a public records request with the Housing Authority last year seeking information related to tenants' complaints about repairs.
The next day, Alvarez filed his own public records requests with the Mayor's Office of Housing that "intended to uncover problems with the nonprofit and provide grounds for ending city funding," according to the blog CitiReport, which obtained relevant e-mails. Doug Shoemaker, then director of the Mayor's Office of Housing, wrote to Alvarez that eliminating city funding for the Housing Rights Committee was "not politically possible."
"You and I have spent a lot of time developing a good working relationship and it seems like we're about to blow it up," Shoemaker wrote to Alvarez.
Alvarez persisted, sending numerous requests about the Housing Rights Committee to other city agencies, and then demanded that Shortt and her staff not conduct business at any Housing Authority property without his consent.
Dennis, the spokeswoman for the Housing Authority, said she was aware of all of these complaints against Alvarez.
"They're entitled to their First Amendment rights," she said. "We can't speak to their positions."
Shortt said the mayor needs to do more to ensure that all members of what he calls "the city family" are professional.
"The administration has finally claimed the Housing Authority as part of the city family, which is good," she said. "The problem is they are now stuck with the type of embarrassing, unpredictable relative that most families have."
Heather Knight is a San Francisco Chronicle staff writer. E-mail: firstname.lastname@example.com Twitter: @hknightsf


text:
My c-section was scheduled for December 10 at 1 pm (there were two other c-sections scheduled before me that day.) They still said I needed to be at the hospital at 6 am in case they could get me in sooner, so I wasn't allowed to eat or drink anything after midnight the night before (absolute torture--especially to a pregnant woman!)
I got up around 4 am to get ready, but I honestly only got about 45 minutes of sleep the night before. Partly because of excitement/anticipation and partly because the last few weeks of pregnancy I was so uncomfortable it was hard to sleep for more than a couple hours at a time. When we got to the hospital, we checked in and sat and waited for awhile. When my room was finally ready, the cutest little old lady with a "Red Cross Volunteer" smock led us up to Labor and Delivery. Once we got there, the nurses had me change into a gown, put an IV in me and hooked me up to all of the monitors (which felt completely pointless--I wasn't having contractions, and the little graph really only went up when I laughed-haha.)
The nurses left and it was basically just me and Brad hanging out all morning. We watched TV for awhile, American Pickers and ironically, A Baby Story (really surreal to watch women in painful labor while sitting in a hospital room awaiting a scheduled c-section.) I slept for maybe an hour and tried not to think about food. My mom got there around 11:30 and hung out for awhile. Around noon, my friend and assistant,Stephanie came, which is how we have awesome photos from this day (besides my iPhone photos and Brad's photos from the OR.
1 pm rolled around and we were still waiting. Around 1:40, nurses finally came in to get me prepped. I had to drink a shot of really nasty liquid and they put compression socks on my legs. Then they had me get up and walk to the OR (probably the weirdest part of the whole day.) When I got to the OR, they helped me up on the table and had me sit on the edge to put the spinal in. One of the nurses faced me and had me brace myself up against her while the anesthesiologist worked on getting the spinal in. The first attempt did not go well--I could feel it going in--unevenly--and it HURT. I cried. When she started a second attempt, I focused on all of the Hypnobabies relaxation tracks I had listened to (at least that prepping for natural childbirth helped a little) and it went much better--once the medicine was in, I started losing feeling in my legs. The nurses helped me lay down on the table and started getting stuff ready. I had a little bit of a silent freakout moment when I was laying on the table. The nurses had rolled my gown up, leaving me completely exposed below the waist, and when I looked up at the lights above me, I realized they were mirrored, and I could see everything on the area where they would soon be cutting me open. Thankfully the nurses put a sheet up and my view quickly disappeared--whew!
In the meantime, Brad was scrubbing in and waiting to come in and join me. (I'm super thankful he wasn't allowed in while I got the spinal and to see me in pain.)
Before I left our room in labor and delivery I told Brad to bring the camera and the baby book (for the footprints). While the nurses were prepping me, they asked if he would be bringing those things in, and I told them that I had told him to, so he should be. As soon as they had everything ready, they let him come in and one of the nurses asked him if he had the baby book and the camera and he said no so she made him run back and get both!
Because of the spinal, I was basically paralyzed from the middle of my chest down, so I couldn't feel any pain, but I could feel pressure and movement, which was really strange. It felt like the doctor was pressing on my stomach and just wiggling it back and forth. As he started to get the baby out, the doctor announced "He's got a big head! C-section was a good decision."
When they got him out, it felt like forever before we heard him cry. I didn't really tell many people, but at our 20 week appt, there was a spot on his heart and another spot that could indicate a few different health conditions. There was a slim chance of something being abnormal and our doctors were optimistic that everything would be fine, but there was still a part of me, in the back of my mind, scared that something was wrong with our baby. But there wasn't. When he finally cried, I started laughing, I was so happy. I also started crying.
Because of his size, the nurses were all guessing how heavy they thought he was.
"He's at least 10 lbs!"
"I say 10 lbs, 3 oz!"
At 2:17 pm on December 10, 2012, Miles Henry Montague was born weighing 10 lbs, 14 oz and measuring 21.5 inches. Proving I'm an overchiever on way too many levels. (Seriously, 10 lbs, 14 oz?!)
After a few minutes, they got Miles ready to take to recovery to clean him up while the doctor put me back together. Brad left with Miles, and because of a glitch with an automatic door, both of our families were able to see them after they left the OR and went to recovery. (Normally no one is allowed to come back into labor and delivery, but our families were waiting right outside, and there were repairmen fixing the doors, so they were wide open right when Brad came through with Miles, and the nurse let them all come see him for a minute.
After everyone saw them, they took Miles to get cleaned up and our families went out to the waiting room and updated everyone on social media. Brad went to the recovery room to wait for me to get done.
When I finally got to recovery, Brad and I had a few minutes alone and then all of my family came in. The nurses started my pain medication and I started to feel really groggy and cold so they put lots of hot blankets on me.
In recovery, I was finally given some Sprite to drink (it was about 3:45 at this point), but still nothing to eat. I was okay with that, though, because the medicines started to kick in and the exhaustion of the day started to set in. I began to feel really groggy. We got moved to our room, but we still didn't have Miles--they wanted to test his blood sugar because of his size (which was normal, as were all of my glucose tests during pregnancy--sometimes people just have big babies.) We finally got him back a little after 6. I finally got to hold him and feed him, and we had Stephanie come in to get a few photos of just the three of us.
In the midst of these beautiful photos and sweet moments, I was feeling worse and worse--as the spinal started wearing off, I started hurting, and the medicines the nurses put me on were making me feel really nauseous, so I started throwing up. I was so exhausted I also had a hard time keeping my eyes openfrom the drowsiness. It was awful but I felt bad making our families wait, so I went ahead and let everyone come in.
So we let everyone hold Miles while I threw up and tried to settle my stomach.
After everyone left, I was able to sleep for about an hour, and the nurses changed the medication I was on; both of those made a huge difference in how I felt. I was finally able to eat a little around midnight that night and after that I felt great. All in all, the c-section wasn't bad at all (just the immediate recovery), and my recovery since then has been much better than I anticipated. We love our little boy and have had fun adjusting to this new life with him!

subset: commoncrawl


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text:
Cockeyed Response
My great aunt Mimi had a tendency to get tongue tied now and again which led to a lot of laughter and some very funny memories. There was the time that pussy willows became pissy willows but nothing beats what came out of her mouth during one of our summer vacations in Canada. While in Canada we always went to this one restaurant in Belleville Ontario that was known for their sticky garlic ribs. The sauce was black as tar, very sweet and very garlicky. They never served these as a meal only as an appetizer which was always disappointing. So during one of our annual visits to this restaurant while waiting for our appetizer of ribs, we perused the menu trying to decide on an entrée. My aunt Mimi thought that their Glazed Sockeye Salmon sounded very good and waited her turn to place her order. The waiter by the way was a very young Asian gentleman who spoke very broken English. Now it is my aunts turn to order, she looks at this young man and says; "I see that you have Cockeyed Salmon on the menu". This young man for what ever reason took offense and said;" No Cockeyed anything lady, our fish fresh, eyes good. No Cockeyed, no Cockeyed"! While we were all hysterical laughing the poor waiter just looked at us disgusted and confused like we were some wacky tourists.
Bourbon Glazed Salmon
1/2 cup of bourbon
1/2 cup of virgin olive oil
3 Tbsp. of soy sauce
3 or 4 thick salmon fillets or steaks (each about 8 oz.)
Preheat oven to 450 degrees
In small bowl, combine bourbon, olive oil and soy sauce and whisk until blended. Wipe salmon with damp paper towels. Line baking pan with aluminum foil and place salmon skin side down. Brush salmon with basting mixture and bake, uncovered, basting 2 or 3 times, until fish flakes easily when tested with tip of small knife, 15 to 20 minutes.
In small saucepan, bring remaining basting mixture to a boil over medium high heat. Reduce heat and simmer 3 to 4 minutes.
With spatula transfer salmon fillets to dinner plates and serve basting mixture on the side.


text:
Cuts for East Sussex Libraries
Published on by Eden Olivia Lord (author)
Hastings residents will soon see a cut to the services their local library provides. East Sussex County Council has approved the Libraries Transformation Programme, which includes reducing opening hours to save £2 million.
The Battle of Wealth, Hastings Old Town vs. St Leonard's Warrior Square
Published on by Yasmin Thomas (author)
According to a recent survey carried out by the Oxfam charity group, 62 of the richest billionaires own as much wealth as the poorer half of the world's population.
Southeastern Trains facing a dark tunnel ahead
Published on by Chloe Garnham (author)
Over 15,000 commuters have joined together in signing a petition, which will run for six months and calls for Southeastern to be rid of its rail franchise.
Lewes Bonfire Night leaves almost 100 injured
Published on by Annabel Gammack (author)
This year, the biggest Fifth November event in the world resulted in nearly 100 casualties, with six needing hospital treatment.
Showmaster's First Ever Comicon to be Hosted in Brighton Is a Huge Success
Published on by Cydnee Holder (author)
Showmaster's host Comicons all over the country, this weekend they hosted their first in Brighton, attendee's were impressed by the size of this years comic infused event.


text:
Gabriel at The Globe
Helen Wallace is left baffled by a hotchpotch of a production at Shakespeare's Globe
We're in the 1690s. The Duke of Gloucester suffers from hydrocephalus. Cue Purcell's 'Birthday Ode'. A waterman has cuckolded another. Cue farty sound from trumpet. King Charles II cured a lump on this man's neck. A drunken trumpeter is left naked in Holland. Cue chorus from Purcell's Fairy Queen. Someone's baby was stillborn (do we care?) They're training a starling to speak (keep up). Three trumpeters argue (about what?). Spurious cunnilingus. Purcell is dying. Queen Mary is dead – cue Funeral Music.
There were moments when I thought I'd woken up in a nightmarish episode of Horrible Histories. But it wasn't good enough for that. And when countertenor William Purefoy gave a gleaming duet on 'Sound the Trumpet' with Alison Balsom, accompanied by the spirited English Concert, you could almost forget this was meant to be a 'play' at all – until actress and singer Jessie Buckley sang a grindingly flat rendition of 'The Plaint' from Purcell's The Fairy Queen.
How on earth did this 'entertainment with trumpet' come into being? Alison Balsom approached director Dominic Dromgoole saying she wanted to play at the Globe. Purcell's ravishing late music for trumpet, and the royally-employed Shore brothers (official trumpeters to Queen Mary) for whom he wrote, became a focus. So far, so promising. One could imagine conflicts between royalty, impresario, composer and musicians ripe for dramatisation. Then playwright Samuel Adamson was asked to conjure a play and, being au fait with late-17th-century fashions, opted to pen a 'masque' even though he admits in the programme that 'unfortunately, semi-operas don't stand up dramaturgically'. Quite. So, hey presto! a rag-bag of sketches and non-sequiturs.
The best aspect of the evening was, inevitably, Purcell's music and the refined yet resplendent trumpet playing of Alison Balsom, Mark Bennett and Adrian Woodward alongside game members of The English Concert. The worst was the empty trotting out of all the vibrant tropes of a Globe performance. There were random borrowings from A Midsummer Night's Dream, comic engagement with the groundlings not through developed characters but a puppet bird poo-ing on someone's head. Superb live music and dance, a willing audience, a cast acting their socks off – but no drama to give it meaning. Wasn't it the Bard himself who said, 'The play's the thing…'?
Gabriel runs until 18 August. For more information, visit The Globe's website.
- Article Type: | Blog |


text:
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text:
Hi guys!
How are you all?
I know that for the majority of you this isn't new but to me it is cause I just found it a few minutes ago.
I was able to find the HBO First Look Special of The Cable Guy cause it's fully on YouTube.
I didn't know there was one made of The Majestic.
I absolutely LOVE that movie and I'm dying to see the special.
Does anyone know where I can see it fully in the internet or can anyone just put on YouTube or sent the video or whatever!
Man I really wanna see it... So please, can anyone help me?
*or her knees in a 5 bucks pants*


text:
Waterloo Police Investigate Crash between School Bus and Prisoner Transport Van
On Monday, October 20, 2008 around 7:00 a.m., Waterloo Fire Rescue personnel and Waterloo Police Officers responded to the intersection of Logan Avenue and Saint Croix Drive on the report of a vehicle crash involving a Waterloo School bus and a prisoner transport van. The investigation into this incident revealed that the van crashed into the back of the school bus, which was stopped to pick up a student.
The school bus was driven by 55-year-old Karen Adams, and the only student on the bus at the time of the crash was 13-year-old Tuliyah Frazier. A private party took Frazier was taken to Allen Memorial Hospital where she was treated and released for minor injuries. Adams was not injured.
54-year-old Roosevelt Johnson Jr., from Memphis, Tennessee, drove the prisoner transport van, which is owned by Con-Link Transport out of Memphis, Tennessee. The only other Con-Link employee in the vehicle at the time was 30-year-old Amy Shelby of Summerville, Tennessee.
Johnson and Shelby were transporting the following prisoners at the time of the crash. Curtis Murphy, age 35, Michael Arnold, age 41, Brian Barnett, age 33, Patricia Richardson, age 22 and Andre Valles, age 50.
Waterloo Fire Rescue Paramedics transported Johnson, Shelby and the five prisoners to Allen Memorial Hospital where they were treated for non-life threatening injuries. Brian Barnett was held for observation, and all of the others were released.
The investigation into this crash continues.
Captain John Beckman
Waterloo Police Department


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text:
Review: Wisecracking teen gets pregnant in 'Juno'
Juno: Starring Ellen Page, Michael Cera and Allison Janney. Directed by Jason Reitman. (PG. 92 minutes. At Bay Area theaters.)
Many things are very true about Jason Reitman's pearl of a film called "Juno," and one of them is that while you're watching it, while it pulls you in as if through a portal to another life and dimension, you believe every outrageous line that comes out of the 16-year-old mouth of Juno MacGuff.
And that is why they call it great film writing, not to mention solid acting and direction.
"Juno" is this year's "Little Miss Sunshine," the quirky, unlikely sleeper hit that succeeds not with a cast of millions, or a Brangelina-ish name above the title, or with CGI effects that blast you out of your seat and implant a permanent buzzing sound in your ear, but with a confluence of perfection in every aspect of the film.
Written by blogger and former stripper Diablo Cody, directed by Ivan Reitman's kid and starring a young actress named Ellen Page with a pitch-perfect sense of character, "Juno" is the story of a high school girl who gets pregnant almost by accident. She and her best friend, Bleeker (the gifted Michael Cera of "Superbad" and TV's "Arrested Development"), planned to watch TV one night because "The Blair Witch Project" was going to be on and they hadn't seen it since it came out. But instead, they had sex.
A few weeks later, multiple home pregnancy tests (a.k.a. "pee sticks") confirm that Juno is pregnant. Her best girlfriend freaks out more than Juno does, warning her of how her body will explode and her breasts will start "milktating." For her part, Juno contemplates hanging herself with red candy rope but eats it instead on her way into her house, where, eventually, she fesses up to her dad, Mac (J.K. Simmons), and stepmom, Bren (Allison Janney).
She contemplates her choices, and pays a visit to the Women Now clinic with the intention of having "a hasty abortion," as she puts it. On the way in, an anti-abortion protester who happens to be a schoolmate tells her the fetus already has fingernails. Inside, Juno watches people in the waiting room, scratching themselves and flicking their nails, and makes a run for it. No dialogue is spoken. It could be argued that Juno doesn't really think her decision through to have her baby, but I don't buy it, nor, I suspect, will most people who see the film. Juno is not an idiot. She controls her body, her thoughts and her life, and she's empowered to do that by loving, attentive parents.
Juno decides to have her child and to give it up for adoption to a young, well-off couple who have advertised their hopes in the penny-saver, right next to the ad for exotic birds. The prospective parents are Jason Bateman, as Mark, a commercial jingle writer who can't quite let go of his youthful dream of becoming a rock star, and his maternal-minded wife, Vanessa, played by Jennifer Garner.
Many will see this film and be blown away by Cody's dialogue, by the brilliance of her words, the sizzle of the wisecracks, but perhaps the best writing in her superb script is in the development of the characters of Mark and Vanessa. They are brilliantly gray, morally ambiguous. You like them both at first. You can't help it. He seems a bit reserved, but, gosh, she wants a baby so badly and so what if she's a bit domineering and has ordered her husband to keep all the souvenirs of his youth, including his Les Paul guitar, in "his" room, so they won't clutter up the perfection of their blandly but expensively decorated home? Has she thought much about whether a child is right for both of them? Has he had the courage to tell her that maybe he's not quite ready for fatherhood?
Gradually, aspects of their respective characters come into sharper focus. We see Mark as something more predatory than just a hen-pecked, stay-at-home jingle composer who loves Sonic Youth's take on the Carpenters' "Superstar." And we see her as perhaps a bit too obsessed with motherhood, maybe even a tad selfish. Cody crafts some amazing dialogue for Juno, but the real proof of her screenwriting brilliance can be found in the quiet delicacy and subtle sadness of Mark and Vanessa's characters.
Although everyone gets some tasty lines to deliver, Juno's dialogue ripples with ironic humor, cultural awareness and what some literary critics used to call "brand-name fiction" when minimalists like Raymond Carver patented the form a few decades ago. When Vanessa first meets Juno and asks how far along she is, Juno deadpans, "I'm a junior." Contemplating how difficult it's going to be for Mark and Vanessa to adopt her baby, Juno wonders why they didn't just go to China, where "they give away babies like free iPods."
These are funny lines, and Page delivers them perfectly every time, but they also help us understand that, unlike typical movie adolescents, Juno is a complex human being. She's worldly wise, can take care of herself, will never suffer fools lightly, but as time goes on and the perfect little solution she thinks she's found begins to dissolve, another side of her emerges, the side that's still a little girl, that doesn't know all that much about life, and that is just learning that people can let you down or not live up to your idealized visions of them.
Cody's script is such a dazzler that Reitman may not get the credit he deserves for his careful direction. Only 30, he already knows that character tells and character sells. He doesn't try to jolly things up with a lot of tricky camera angles or phony effects. Instead, he focuses on the actors and their performances, and no director could ever wish for a more able cast.
Page carries most of the film, but makes it look easy, despite the complexities of Juno's character she's called on to develop along the way. Cera, of course, again proves himself a master of deadpan, a kind of modern-day Buster Keaton whose slightest gesture, the flicker of change in a facial expression, communicates every thought in his character's head and feeling in his heart.
His fellow "Arrested Development" alumnus, Bateman, is, at once, bland, reserved, emasculated, sad, then somewhat creepy and ultimately a selfish boy-man who isn't taking all that well to adulthood. As his wife, Garner has one of the best roles of her career and makes the most of it at every turn. She never stops grinning, but as we watch the way she modulates that klieg light of a smile, just a bit, here and there, she carefully reveals the mix of fear, insecurity, resentment and resolve that informs her character.
A lot of people will be happy about "Juno," but none as much as the members of the Writers Guild of America, whose continuing strike has already stalled new episodes of many TV shows and threatens future film productions as well. In Cody's script, the guild has one of the best reminders it could ever hope for of just how important high-quality writing can be to great filmmaking and great film acting.
All three elements conspire for greatness in "Juno," but there's something else at work here, and that's truth. Cody's words, Reitman's direction, the performances of the entire cast, from Page's leading role to Rainn Wilson's cameo as a convenience store clerk, are perfectly true in every moment. "Juno" isn't a film made in the bell jar of unlikely reality that is, far too often, Hollywood: It's a film whose attention to real-life detail is so fine, audiences will be hopelessly and happily lost in its story from the first frame.


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The news anchor burned his retinas while filming a story in Portugal
Anderson Cooper can see once again after a temporary – and painful – bout of blindness.
Cooper posted a picture of himself on Instagram Tuesday sporting a white gauze patch over his right eye. "Temporarily blinded last week while on assignment," he said. "UV light bouncing off water. Much better now. Details today on #andersonlive."
On Anderson Cooper Live, he explained how he went blind over the weekend while filming a story for 60 Minutes on the coast of Portugal.
"I wake up in the middle of the night and it feels like my eyes are on fire," he said. "It turns out I have sunburned my eyeballs and I go blind. I went blind for 36 hours. I took this picture of me after I went to the hospital."
He then showed his audience his photo and joked, "That's my new Match.com profile picture, by the way."
But the potential damage he faced is no laughing matter, and Cooper had NBC's chief medical editor, Dr. Nancy Snyderman, on to warn viewers about eye protection.
Snyderman said that the light reflected off the water burned his retinas, but that the hospital visit could have easily been avoided.
"It's a reminder that frankly everyone needs sunglasses," she advised. And to Cooper, she added, "Fortunately for you you're going to be fine, but it's a real reminder."


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What is Photoshop Elements 2018 and who is it for?
Adobe Photoshop Elements 2018 is photo editing software used by anyone who wants to make their photos look amazing. It offers effortless organization, automated options and step-by-step guidance for editing, and easy ways to make and share stunning photo creations. Learn more.
Can I use Photoshop Elements on more than one machine?
You can install Photoshop Elements on two computers, but you can only use one copy of the software at a time. If your computer crashes or you switch to using a different computer, you can reinstall the product without having to contact Adobe Customer Support.
What's the difference between Photoshop Elements and Adobe Premiere Elements?
- Photoshop Elements is designed for people who take lots of photos and want to automatically organize them, make them look great, create with them, and print and share with family and friends.
- Premiere Elements is designed for people who take lots of videos and want to easily organize them, make them look great, turn them into polished movies, and share with family and friends.
- Both apps share a common Organizer for easy access to all photos and videos. They're sold separately or bundled together as Photoshop Elements & Premiere Elements.
How does Photoshop Elements differ from Photoshop and Photoshop Lightroom software?
- Photoshop Elements is designed for consumers who are just getting started with photo editing and want an easy way to organize, edit, create, and share their photos.
- Photoshop is the professional standard for creating compelling images, designs, and 3D artwork.
- Photoshop Lightroom addresses the workflow needs of professional and advanced amateur photographers, enabling them to import, process, organize, and showcase large volumes of digital photographs.
I use free photo editing software. Why should I consider Photoshop Elements 2018?
Most free photo editors offer a very limited set of editing tools. Photoshop Elements is the #1 selling consumer photo editing software in America* because it provides every level of user everything they need to organize, edit, create, and share:
- The Organizer to automatically go from hundreds of mystery folders to a visual view of your photos automatically sorted by date, subject, people, and places.
- Quick mode to make one-click fixes.
- Guided Edits for step-by-step help with creative techniques and effects.
- Expert mode for complete photo transformations.
- The ability to create and share printed artwork, new dynamic slideshows, and gifts for friends and family.
- Access to inspiration and tutorials with eLive right within the product.
Should I buy Photoshop Elements 2018 or the Photoshop Elements & Premiere Elements 2018 bundle?
If you like to take and share photos and videos, get the bundle to:
- Use a common Organizer for easy access to all your photos and videos.
- Edit and share photos and videos together in creative ways.
- Get a great value.
Where can I learn more about new features?
See the Features page for details.
What features from previous versions are not available in Photoshop Elements 2018?
A handful of features from previous versions are not available in Photoshop Elements 2018 due to new product support for 64-bit systems. They include:
- Photo Mail
- Photomerge Style Match
- Magic Extractor tool
- Texture Fill
- Frame from video
- Interactive layout mode in Photomerge Panorama
- Photoshop Showcase
Technical questions
Where can I find the serial number to install Photoshop Elements?
There's one serial number for both Windows and Mac, and it's located on the back of the Windows DVD sleeve inside the box.
What are the minimum system requirements to run Photoshop
Elements 2019?
See the system requirements for more information.
Does Photoshop Elements support Windows 32-bit operating systems?
No, it only supports 64-bit installations.
Is Photoshop Elements 2019 faster than before?
Yes, you'll experience faster installation as well as faster performance throughout Photoshop Elements.
Does Photoshop Elements 2019 support the HEIF image format?
Yes, you can import and edit HEIF images on macOS.
Where can I ask a technical or how-to question related to Photoshop Elements?
Visit the Photoshop Elements forums to get answers from product team members and other expert users.
You can also use the following helpful resources:
- Find basic troubleshooting steps to fix most issues.
- Report a bug or request a feature.
- Need help? Start here to get support.
Purchasing options
I own an older version of Photoshop Elements. Can I get upgrade pricing?
Yes, we offer upgrade pricing for existing customers.
Where can I find out about volume licensing for Photoshop Elements 2019?
For licensing questions, visit the Adobe Volume Licensing page or contact your local Adobe sales representative.
Learning Photoshop Elements
How can I get started with Photoshop Elements 2019?
The home screen offers direct links to tutorials and fun things to try with your photos. You can also check out Photoshop Elements Learn & Support for all you need to get started—video and step-by-step-tutorials, Help content, and links to resources offering comprehensive product support from Adobe and our knowledgeable community.
Where can I find the manual?
You can find web and PDF versions of the manual on the Photoshop Elements Help page. To learn more about the latest features in Photoshop Elements, read the What's New Summary.
What features from previous versions are not available in Photoshop Elements 2019?
A handful of features from previous versions are not available in Photoshop Elements 2019 due to new product support for 64-bit systems. They include:
- Photo Mail
- Photomerge Style
- MatchMagic Extractor tool
- Texture FillFrame from video
- Interactive layout mode in Photomerge Panorama
- Photoshop Showcase
Still deciding? Start with a free trial.
* This product may integrate with or allow access to certain Adobe or third-party hosted online services ("Online Services"). Online Services are available only to users 13 and older and require agreement to additional terms of use and the Adobe Privacy Policy (see www.adobe.com/go/terms_hu). Online Services are not available in all countries or languages, may require user registration and may be discontinued or modified in whole or in part without notice. Additional fees or subscription charges may apply.


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Woman Gets Wedged Between Two Buildings [FBHW]
A woman in Providence, Rhode Island had to be rescued from in between two buildings after she had tried to cut through an alley. The rescue happened around 1 am on November 9th after an eyewitness heard the woman's panicked cries for help. The woman appeared to be intoxicated and in her original report she claimed that she did not know how she became stuck. However, during a phone interview with WPRI, the woman claimed that "she was cutting through an alley when she became stuck." After the rescue, the woman is reported to be without injury.
See what the guys had to say about this clumsy woman below.
What other way!? Did they position an 8 inch cannon on one side and shoot her out!? How did they do it? - Hot Wings


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Name That Wreck!
I think we can all agree that if your name is pronounced "Elizabeth" but spelled with three "I"s and a silent "Q", then you void your right to complain when a baker gets it wrong.
However, there are times when you think the baker might have stopped to question somewhere along the line:
"Jackign?" Is that supposed to be Jacking? And if so, who names their child Jacking??
Never mind.
I've seen "Bart" turned to "Brat," "Brian" turned to "Brain," and "Tink" turned to "Fink" - but nothing beats the nickname Chris just picked up:
Words cannot express how much I hope they served this with water.
[That's right, Chris: you just got SUNDAY SCHOOLED.]
Of course, Doug's new moniker is slightly less complimentary:
But I'm sure he rose to the occasion anyway.
I like to think this is a cake for the Riddler's quintuplets:
But that's a questionable theory.
(In reality, they asked for the name to be written in Cyrillic.)
Look, bakers, I know there are lots of unusual spellings and strange name choices out there these days, but just remember:
If at first you don't succeed,
try it again in cursive directly underneath.
See? Bob's your uncles!
Thanks to Rae Lynn, Lizz H., Tom H., Jill C., Joel H., & Stacey T. for leaving out all the silent Qs.
Thank you for using our Amazon links to shop! USA, UK, Canada.
And from my other blog, Epbot:


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Gen'rals gathered in their masses,
Just like witches at black masses.
Evil minds that plot destruction,
Sorcerers of death's construction.
In the fields are bodies burning,
As the war machine keeps turning.
Death and hatred to mankind,
Poisoning their brainwashed minds.
Politicians hide themselves away,
They only started the war.
Why should they go out to fight,
They leave that all to the poor.
Time will tell on their power minds,
Making war just for fun.
Treating people just like pawns in chess,
Wait 'til their judgment day comes.
Now in darkness world stops turning,
Ashes where the bodies burning.
No more war pigs have the power,
And as God has struck the hour.
Day of judgment, God is calling.
On their knees the war pigs crawling,
Begging mercies for their sins.
Satan laughing spreads his wings.
Words and Music by Frank Iommi, John Osbourne, William Ward
and Terence Butler
(c) Copyright 1970 (Renewed) and 1974 (Renewed) Westminster Music Ltd., London, England
TRO-Essex Music International, Inc., New York, controls all publication rights
for the U.S.A. and Canada
Used by Permission


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White Stallion Ranch
4 Nights Full Board from €1,719 Including Flights
This ranch is noted for delicious meals, cookouts, steak barbecues, and hayrides. Evening activities include moonlight bonfires with cowboy entertainment. From slow scenic rides through the Saguaro cactus to brisk fast rides, to exciting mountain rides, there is something for everyone.


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Healthy Pasta That Tastes Like Traditional Pasta!
Here at Dreamfields, we believe that great food is about great taste, sharing the goodness of a favorite meal and striving for better health.
Dreamfields Pasta helps you eat a little better. With the taste and al dente texture of traditional pasta and availability in the most popular 7 pasta shapes, it's easy to enjoy Dreamfields in your favorite family recipes or to try any of our new pasta recipes.
How does Dreamfields make it easy to eat a little bit better?
Dreamfields starts with wholesome durum wheat – grown and produced here in America's heartland, which we mill into semolina. Our unique recipe contains inulin, a prebiotic fiber sourced from chicory root, which helps promote healthy digestion. Each serving of Dreamfields has 5 grams of fiber and 7 grams of plant protein.
Enjoy Our Newsletter &
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Look for our black boxes in your grocer's pasta section.
Spaghetti Angel Hair Linguine Elbows Penne Rigate Rotini Lasagna
*All shapes may not be available where you shop. Visit our online store


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2020 TLM Pilgrimage to the Holy Land
- Katherine: I am always pleased when a bishop actually speaks to these issues with the mind of the Church. That said, I sense fear in Archbishop ChaputR 17;s response to Fr. Martin. The respo...
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- Of "schism" and the abolition of the USCCB
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Grant unto thy Church, we beseech Thee, O merciful God, that She, being gathered together by the Holy Ghost, may be in no wise troubled by attack from her foes. O God, who by sin art offended and by penance pacified, mercifully regard the prayers of Thy people making supplication unto Thee,and turn away the scourges of Thine anger which we deserve for our sins. Almighty and Everlasting God, in whose Hand are the power and the government of every realm: look down upon and help the Christian people that the heathen nations who trust in the fierceness of their own might may be crushed by the power of thine Arm. Through our Lord Jesus Christ, Thy Son, who liveth and reigneth with Thee in the unity of the Holy Ghost, God, world without end. R. Amen.
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Daily Archives: 3 May 2009
Guardian (UK): an interesting TLM first impression piece
I was alerted by a reader to a piece on the site of The Guardian. The following was written by a non-Catholic who seems to be stuck in the externals. My emphases and comments. The mysteries of the Latin mass … Continue reading
Posted in SESSIUNCULA 75 Comments
PODCAzT 85: Gregory the Great on the Good Shepherd
In this brief PODCAzT I drill into an excerpt from a sermon by St. Pope Gregory I, "the Great" (+604). What we hear from Gregory's sermon is found in today's Office of Readings in the Liturgy of the Hours for … Continue reading
09-05-03 St. Gregory the Great on the Good Shepherd [ 37:58 ] Play Now | Play in Popup | Download (2531)
Posted in Our Catholic Identity, Patristiblogging, PODCAzT Tagged Good Shepherd Sunday, Gregory I, podcast, PODCAzT 7 Comments


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A theist is a person who believes in one or more gods or deities. Theism is the corresponding philosophical position. Theism does not denote any particular religious view, but all religions with any number of gods are by definition theistic religions. Conversely, religions without a necessary god (such as Buddhism or Taoism) are atheistic religions.
Theism differs from deism in that theism is a narrower belief in divinities that are immanent in the world and can interact with it. Generally, monotheistic gods are omniscient, omnipresent, and omnipotent.


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Packer has a good selection of apples and pears. They have great cookies and pies too.
Comments are closed.
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Time travelling with microextraction techniques
Blog Post
- Published: Mar 21, 2017
- Author: Rafael Lucena
- Channels: Proteomics & Genomics / Detectors / Electrophoresis / Sample Preparation / Laboratory Informatics / HPLC / Ion Chromatography / Gas Chromatography / Raman / UV/Vis Spectroscopy / Infrared Spectroscopy / NMR Knowledge Base / Proteomics / Chemometrics & Informatics / MRI Spectroscopy / X-ray Spectrometry / Base Peak / Atomic
Just imagine that you could travel back in time to observe the creation of a famous work of art. I am sorry to say that unfortunately this is not possible, at least not yet, in a conventional way. However, we can use analytical techniques to obtain chemical information from ancient objects. In such a case, this chemical information could throw light on the materials used by the artist or the historical context of the object. It is not the same as actual time-travel in person of course, but it's still exciting!
The analysis of ancient objects is not a simple task due to the value and unique nature of the samples. Using invasive and destructive procedures is out of the question so we need to find other alternatives. Spectroscopic techniques are useful but they usually only provide preliminary data. In contrast, mass spectrometry is an excellent technique since it can identify the compounds present in the sample, but the samples are not directly compatible with the technique.
Microextraction techniques can act effectively as bridges between the raw sample and the MS analysis. The low absolute recovery provided by some microextraction techniques is advantageous since it allows the extraction of the target compounds with a negligible effect on the composition of the raw sample. This is the idea behind a recent proposal, a result of a joint collaboration between researchers from Italy and Israel, published in Analytical Chemistry. In this article a ethyl-vinyl acetate (EVA) film is used as support for the immobilization of cation/anion exchange and C8 particles. The resulting film (150-200 µm in thickness) can be placed over the surface of the ancient object to extract different targets which can then be analysed by LC-MS. Among the targets, proteins and small molecules which have been used as binding agents and pigments can be highlighted.
The non-invasive nature of the procedure has been carefully considered. On the one hand, the surface of the EVA film was not modified during the extractions and it did not drag residues off the painting. On the other hand, the painting remained unaltered after the extraction. This strategy has been applied to the analysis of real samples where binders (such as casein) and pigments (e.g. carminic acid) have been identified.
- Anal. Chem., 2017, 89, 3310. Method for Noninvasive Analysis of Proteins and Small Molecules from Ancient Objects.
- www.palazzomadamatorino.it/en/node/25230. San Francesco / santi / Madonna che allatta il Bambino / S. Pietro / S. Paolo / santi / la Trinità / S. Giovanni Battista / Santo vescovo/ S Gerolamo" from Pietro da Alba Gallo. Palazzo Madama Museum, Turin.
Blog post by: Rafael Lucena
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In the March issue of C.O.C.A. magazine, I had an article on the restoration of my 1015 jukebox.
I was disappointed to see that they messed up 7 of the 15 pictures that were in the article.
I'm also very disappointed that they didn't reprint the article or even acknowledge they made the mistake in this new July issue.
It makes me wonder how appreciative they are of getting these articles from their own subscribers.
Since they're not going to provide you with a corrected copy, I thought I'd post it here.


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Hemis And LS Small-Blocks Get All The Hype, But These Forgotten Jewels Contributed More To The Internal Combustion Cause Than They Get Credit For.
Everyone likes to dis America, until it's time for America to bail them out. This happens almost daily in the walk of global politics, but interestingly, it goes down with great frequency in the hot rodding scene as well. While foreign elitists love ripping on our primitive, big-inch, pushrod engines, they often replace their high-tech, high-winding, turbocharged, weenie-displacement slugs with red-blooded American lumps. Without the 427 Ford FE engine, the AC Cobra would've been just another turd of a British sports car. Likewise, you'll frequently find small-block Chevys in Porsches, Mazdas, BMWs, and Datsuns, but when is the last time you saw a Porsche, Mazda, BMW, or Datsun engine in a Chevy? Um, like never. The world didn't seem to mind, either, when the Allison V-1710-in its 1,700 ci, 12 cylinders, and 1,000 hp of glory-helped P51 Mustangs shoot down Nazis over the skies of Europe during World War II, saving humanity from a perpetual state of Oktoberfest and a global outbreak of smelly sauerkraut. OK, the Allison was a V-12 aircraft motor, but you get the point.
Mass-produced mainstream V-8s, embraced by both hot rodders and the average consumer alike, have endured the test of time by virtue of their overall excellence. The Chrysler LA-series small-block, Ford Windsor, and all four generations of Chevy small-blocks each offer a balance of horsepower, low mass, compact size, versatility, fuel mileage, modification potential, and low cost that reflect their universal appeal. Consequently, each of these platforms have powered everything from muscle cars to trucks to fullsize vans to 9-second drag machines to RVs. VTEC that, Mr. Baggypants. In the case of Hemis and big-block Chevys, these engines have set the gold standard for outrageous power and on-track dominance. With few exceptions, trying to hang with a max effort Hemi or Rat motor with anything other than a Hemi or Rat motor is a losing proposition, and it's been that way for 50 years.
Even so, there exists an elite cadre of production engines that few people outside of die-hard brand loyalists remember. It's not that they were poorly engineered heaps that had little to offer. More often than not, they boasted cutting-edge technological innovations and set performance benchmarks for their time, but were replaced by more cost-effective alternatives. With decades of R&D separating these motors from today's crop of engineering marvels, the horsepower figures of these relics of internal combustion aren't too impressive by modern standards. Nonetheless, judged against their contemporaries, they could more than hold their own. So without further delay, and further alienating the international community, here's a retrospective on some of the greatest engines that time forgot.
Oldsmobile Aluminum 215
With exception of the small-block Chevy, the all-aluminum Oldsmobile 215 and its Buick cousin are arguably the most prolific American V-8s of all time on the international stage. GM began experimenting with a lightweight aluminum V-8 design in the early '50s for use in Y-body Buicks, Oldsmobiles, and Pontiacs. Buick was given lead R&D responsibilities, but Oldsmobile developed its own unique variant which it introduced in 1961. This new engine platform featured a 3.500-inch bore, a 2.800-inch stroke, and a 4.240-inch bore spacing that contributed to its compact external dimensions. With an aluminum block and heads, the Olds 215 weighed just 320 pounds, making it one of the lightest production V-8s in the world. Many of the 215's trick design elements are still very impressive today, such as shaft-mount rocker arms, a 10.25:1 compression ratio, and the use of six head bolts per cylinder. Despite its modest displacement, the 215 produced 185 hp and 230 lb-ft of torque. However, that was just the beginning. In '62, Oldsmobile strapped a turbocharger to the 215, bumping output to 215 hp and 300 lb-ft. While modern turbo motors employ gasoline direct injection and advanced electronics to successfully combine such high-static compression ratios and boost, the 215 had a different hot rodding trick up its sleeve. To prevent detonation in a carbureted 10.25:1 engine pushing 5 psi of boost, Oldsmobile rigged up a water injection system to cool the intake charge. In the event that the water supply ran dry, a restrictor valve built into the induction tract helped limit boost. By some accounts, the Olds 215 was the first engine to offer a turbocharger from the factory. Unfortunately, the 215 was relatively expensive to produce, and GM opted to replace it with larger, iron-based V-8s throughout the BOP product line.
Even after the demise of the BOP 215 following the '63 model year, the Buick variant lived on overseas. Seeking a lightweight V-8 to use in its small British cars, the Rover Company purchased the tooling and manufacturing rights to the Buick 215 in 1965. Through the decades, Rover sold the revamped Buick 215 to small car builders, and as such, it has appeared in Land Rovers, Morgans, MGs, Triumphs, and TVRs. Furthermore, Mickey Thompson fielded a car powered by a Buick 215 at the '62 Indy 500, which was the first production block-based entry in over 15 years. Believe it or not, the British Brabhams Formula One team took things one step further by converting a destroked version of the 215 for an OHC valvetrain, and winning the championship in the '66 and '67 seasons.
Turbo 3.8L Buick V-6
The Buick V-6 tells a tale more reminiscent of a soap opera script than the documented history of a production engine. This powerplant was conceived from scraps, sold to the highest bidder, dumped in the trash, reacquired by its original owners, and then catapulted to the performance stratosphere. When GM brass decided that the all-aluminum 215 V-8 was too expensive to manufacture in 1962, Buick hacked off two cylinders, cast the block from iron, and created the 198ci Fireball V-6 as a lower-priced alternative. Since this engine retained the 215's 90-degree crankshaft instead of a 120-degree unit that's more common in V-6s, the motor suffered from a rough-running disposition. It was enlarged to 225 ci, and installed in '64-67 Skylarks and '64-67 Cutlasses. Buick then dropped the 225 in favor of Chevy inline-six engines, and sold the tooling to Kaiser-Jeep in 1967. Kaiser was eventually purchased by AMC, and stopped producing the 225 in favor of an AMC straight-six.
Once the oil crisis hit in 1973, GM started looking for more fuel-efficient alternatives to replace its big V-8s. As one possible solution, Buick engineers unearthed an old Fireball V-6 out of the junkyard, installed it in a '74 Apollo, and management was extremely pleased with the results. GM purchased the tooling for the old Fireball V-6 back from AMC, and it re-entered production by '74. The bore was increased to 3.800 inches for '75, which yielded 231 ci (3.8 liters) when paired with a 3.400-inch stroke. Although the 3.8L V-6 was designed more for fuel efficiency than power, Buick made things interesting by bolting a turbocharger to it, then dropping it in the '76 Indy 500 pace car. The turbo V-6-powered Buick Century was a huge hit, and solved the problem created by the prior year's 455-powered pace car, which couldn't accelerate hard enough on the straights.
The success of the pace car prompted Buick to begin installing turbo V-6s across its product line starting in '78. Initially, output was a modest 175 hp, but the introduction of sequential fuel injection boosted power to 200 in '84. The advent of intercooling in '86 increased output to 235 hp, and the '87 model year saw another 10hp increase. Over the years, the turbo V-6 was installed in the Buick Regal, LaSabre, Century, and Riviera, as well as the '80-81 Chevy Monte Carlo and '89 Pontiac Trans Am. By far, the most popular recipient of this powerplant was the Regal Grand National, making it an instant cult classic that could handily smoke V-8 F-bodies of the era. Stout short-blocks allowed cranking up the boost, and running 12-second e.t.'s in near-stock trim. The king of all production turbo Buicks was the '87 GNX, which produced 276 hp and 360 lb-ft of torque. In the running for the wildest nonproduction turbo Buick is the 4.1L V-6 used in the '83 Indy 500 Riviera pace car. Equipped with twin turbos, a forged rotating assembly, six-bolt-per-cylinder head castings and sequential fuel injection, this engine produced 410 hp, exactly twice as much as the Corvette that would be released the following year. As the contemporary new car market has once again started focusing more small-displacement engines using forced induction, the turbo Buick V-6 was clearly ahead of its time.
"…Buick engineers unearthed an old Fireball V-6 out of the junkyard, installed it in a '74 Apollo, and management was extremely pleased with the results."
Ford Y-Block
Due to Ford's propensity for juggling its engine lineup by constantly introducing new platforms, even Blue Oval buffs have a hard time keeping all of them straight. While most hot rodders are familiar with Windsors, FEs, Clevelands, and 385-series big-blocks, few people realize the significance of the Y-block platform. Introduced in 1954, the Y-block is essentially the nexus between the legendary Ford flathead and every production V-8 built after it that used an OHV valvetrain. Although pushrod valve actuation is often ostracized by the general public these days, back in 1954 it was ground-breaking technology. The Y-block beat the small-block Chevy to market by a year, and as such, it was one of the first mass-produced passenger car V-8s to incorporate an OHV valvetrain architecture. The engine's deep-skirt design resembled a "Y," creating a very robust bottom end and earning it the Y-block moniker.
The Y-block was offered in 239, 256, 272, 292, and 312ci configurations. The original 239 was rated at 130 hp, a big jump over the 106hp flathead it replaced. To keep pace with the 265ci small-block Chevy that was unveiled in '55, Ford countered by boring and stroking the Y-block to 292 ci. The hottest version of the platform was the 312, introduced in '56. It boasted a four-barrel carb and 9.0:1 compression, producing a stout 235 hp. Many dealers offered the M260 engine kit as an option, which included a set of high-flow heads, a bigger cam, and dual four-barrel carbs that bumped output to 260 hp. The 312 was certainly a strong performer, but when the small-block Chevy was enlarged to 283 ci with a matching 283 hp in fuel-injected trim, Ford had to fend off the attack to remain competitive in NASCAR competition. It responded by strapping a McCulloch/Paxton supercharger to the 312, bumping performance to a cool 300 hp. This engine was so dominant that not only did it win 26 races to Chevy's 21 in the '57 NASCAR season, it also prompted the sanctioning body to ban it altogether. To ensure that enough supercharged 312s were built to meet homologation requirements, Ford installed it throughout its model lineup. This led to some interesting applications of this blown mill. It's not surprising that the supercharged 312 showed up in Thunderbirds, but it was also dropped into cars like the Fairlane, Skyliner, and Country sedan.
Despite its success, the Y-block V-8 was phased out by the mid '60s in favor of the FE in large car applications, and the Windsor in the small-car market. Downsides to the Y-block platform included poor top end oiling, and an odd cylinder head configuration in which pairs of intake ports were stacked on top of each other, impairing high-rpm airflow. Furthermore, the Y-block was small both externally and internally, and Ford was hesitant to push displacement beyond 312 ci. Even so, the Y-block V-8 often outperformed its small-block Chevy competition, and it has seen a resurgence in popularity as of late, thanks to the rat-rodding movement.
"…the Y-block V-8 often outperformed its small-block Chevy competition, and it has seen a resurgence in popularity as of late, thanks to the rat-rodding movement."
Chevy LT5
With the introduction of the C4 Corvette in '84, enthusiasts raved about the world-class handling provided by its solid chassis and all-aluminum suspension. Unfortunately, hitting the gas pedal served as a painful reminder that horsepower was just starting to recover from the doldrums of the smog era. Corvette Chief Engineer Dave McLellan's solution was building a 400hp version of Chevrolet's flagship with aspirations of making it the fastest production car in the world. Considering that the Corvette's L83 small-block produced a wheezy 205 hp, this was quite an ambitious plan to say the least. Chevy toyed with turbocharged six- and eight-cylinder prototype engines before settling in a naturally aspirated V-8. Right around the time the LT5 program was taking shape, GM acquired Lotus. Consequently, Chevy and Lotus engineers determined that the 400hp target could best be achieved with a DOHC, 32-valve V-8, and the LT5 engine program was born.
GM originally contemplated fitting DOHC cylinder heads onto the existing 350 small-block Chevy, but Lotus engineers insisted that a clean-sheet engine design would be ideal. The result was an engine based on an all-new aluminum block that shared little more than its 4.400-inch bore spacing with the small-block Chevy. The minimum thickness requirement of the cylinder liners resulted in a slightly reduced bore size of 3.900 inches compared to the Gen I small-block, which was combined with a 3.660-inch stroke. Speaking of liners, the LT5 block used aluminum sleeves instead of iron. To make this possible, the liners were coated with Nikasil to reduce friction, a common design feature of BMW and Ferrari engines of the era. The crank and rods were both forged, while the hypereutectic pistons squished out an 11.25:1 compression ratio. The short-block was fortified with iron main caps that used an integrated girdle assembly. Like the LS1 that would someday replace it, the LT5's oil pump was driven off the front of the crank.
Without question, the LT5's most impressive pieces of hardware were its multivalve cylinder heads. In addition to their four-valve-per-cylinder design, these heads were matched with a variable-stage intake manifold featuring two intake runners per intake port. The end product is three throttle bores, 16 intake runners, and 16 fuel injectors. At low rpm, a small 22mm bore throttle plate feeds air into the intake, then two additional 59mm bores open as engine speeds increase to maximize both airflow and charge velocity. Since the LT5 was designed before electronics were advanced enough to operate variable valve timing systems, it employed several design elements that net a similar effect. The two intake ports used for each cylinder were staggered in size, with the secondary ports measuring slightly larger than the primary ports. The lobe profiles on the intake camshafts were staggered as well, with more duration for the secondary valves and ports. As a result, the LT5 shut down the secondary ports using an auxiliary throttle plate integrated into the heads at low rpm to preserve port velocity and bottom-end torque, then opened them up top for high-rpm breathing. After final R&D was completed, GM enlisted Mercury Marine to manufacture the production LT5.
When the LT5 debuted in the '90 Corvette ZR1, it produced 375 hp and 370 lb-ft of torque. For the '93 model year, output increased to 405 hp and 385 lb-ft, thanks to cam timing changes and improved cylinder heads. As impressive as its technical specs were, enthusiasts complained that the LT5 was soft on torque at low rpm. This could easily be cured with today's variable valve timing technology, but the LT5's biggest problem was the LS1. Recognizing that they could achieve power figures similar to the LT5 in a smaller, lighter, and far less expensive engine package in the LS1, GM engineers bid farewell to the 32-valve wonder after the '95 model year. Despite its ignominious fate, the LT5 was one heck of a performer for its day.
"…the LT5's biggest problem was the LS1 … GM engineers bid farewell to the 32-valve wonder after the '95 model year."
AMC Straight-Six
During the era when real grassroots hot rodders could still race at the Indy 500, renowned land speed racer Barney Navarro shocked the motorsports world when he clocked 150-mph qualifying laps with a six-cylinder engine in 1967. Due to chassis tuning issues, Navarro's car didn't make the final cut for the race, but his lap times still stand as the fastest ever posted by a six-banger. The engine in question was a 199ci AMC inline-six, the same putt-putt mill anyone could get in a Rambler or Gremlin. Navarro liked the idea of a six-cylinder crank supported by seven main bearing caps, and the engine's over-square 3.750×3.000-inch bore and stroke dimensions were appealing as well. With a built short-block and a custom turbo system dishing out 105 psi of boost, the little six produced 700 hp. That was with the stock cylinder head, block, and rocker arms. Even if they don't realize it, the few remaining Honda drag racers weren't the first ones to combine small-displacement inline engines with a ton of boost.
Buick Nailhead
If there's an oddball in this group of great, forgotten engines, it's the Buick nailhead. If the flat 12-degree valve angle of the late-model LS7 impresses you, take the nailhead's zero-degree cylinder heads on for size. That's right, the nailhead's valves were positioned vertically over the combustion chambers. Furthermore, the nailhead used shaft-mount rockers that were positioned outboard of the valves, pivoting inward toward the intake manifold. The jury's out on whether this unique arrangement had any positive or adverse impact on performance, but it certainly looked strange. Bench racing aside, in reality flattening the valve angle without optimizing the intake port inlet location severely compromises airflow, and the Buick's induction path was convoluted for sure. The benefit was that it resulted in an extremely compact package that wasn't nearly as wide as its fellow V-8 contemporaries. Furthermore, nailheads boasted rugged forged cranks and rods-which when combined with its compact dimensions-explains their overwhelming popularity in roadsters during the late '50s.
The first-generation nailhead was built from '53 to '56, and was offered in 264 and 322ci configurations. The nailhead's small valves looked like nails, hence the name, and yielded high-velocity ports with conservative cross-sectional area. The result was a torquey engine that generated more than 1 lb-ft per cubic inch, which was outstanding for the era. The second-generation nailhead was produced from '57 to '66 in 364-, 401-, and 425ci configurations. From '64 to '66, the 425 was the top dog in the nailhead camp, kicking out 360 hp and 465 lb-ft of torque. It featured a 4.312-inch bore, a 3.640-inch stroke, 10.25:1 compression, and dual four-barrel carbs. There is no consensus as to why Buick cancelled production of the nailhead, but it was replaced by the familiar 400/430/455 family of big-blocks in 1967.
While foreign elitists love ripping on our primitive, big-inch, pushrod engines, they often replace their high-tech, high-winding, turbocharged, weenie-displacement slugs with red-blooded American lumps.
Chevy W-series Big-Block
Anyone accustomed to conventional 90-degree V-8s will freak out upon tearing apart a W-series big-block Chevy for the first time. Introduced in 1958 as the precursor to the Mark IV big-block, it incorporated many unique design elements. Instead of machining traditional combustion chambers into the cylinder heads, Chevy cut the deck surface of the block at a 74-degree angle to the cylinder bore centerline. In other words, the engine-mount side of the block was taller than the lifter valley side of the block. This lopsided deck surface, in conjunction with piston crowns that sloped sharply downward toward the outside of the block, created a wedge-shaped combustion chamber at the top of the cylinder, in the block itself. This arrangement was said to improve quench, flame front travel, and cylinder pressure to maximize low-end torque.
Whether their unique combustion chamber design accomplished that mission is up for debate, but what's certain is that the W-series big-blocks ran hard. Launched in '58, the 348 featured a 4.125-inch bore, and a 3.250-inch stroke. With an optional mechanical lifter camshaft and three two-barrel carbs, it produced 350 hp. By '61, Chevy replaced it with the 409, which used a larger 4.312-inch bore and a 3.500-inch stroke. The most potent version of this engine was released in '63, which produced 425 hp, thanks to a solid-lifter cam, dual four-barrel carbs, and an 11.25:1 compression ratio. GM also built a 427ci W-series engine as a drag race package, which was essentially a 409 with a longer 3.650-inch stroke, 13.5:1 compression, and a high-rise intake manifold. The 427 was conservatively rated at 430 hp, and it's believed that only 50 of them were built.
Taking into account that it was designed in the '50s, the fact that the 348, 409, and 427 each had variants that made 1 hp per cubic inch is very impressive. As racers pushed these engines to the limits, however, the heavy pistons necessary to achieve their odd combustion chamber design often led to connecting rod failure and severe engine damage. Furthermore, the in-block chambers reportedly reduced power above 6,000 rpm, prompting GM to replace the W-series engines with the Mark IV big-block. That said, the legacy of the W-series platform is that it served as the foundation for what would eventually evolve into one of the most mystical and powerful race engine platforms of all time, the Mark IV big-block Chevy
"…the heavy pistons necessary to achieve their odd combustion chamber design often led to connecting rod failure…"
Pontiac Cammer Straight-Six
These days, 300-plus horsepower six-cylinder engines are becoming the norm, offered by both domestic and foreign manufacturers. In many respects, a little-known Pontiac motor came close to offering V-8 performance in a six-cylinder package long before the current engines were conceived. As the head of Pontiac's Advanced Engineering team in the '60s, John DeLorean spearheaded a high-tech straight-six prototype engine that was equipped with a beltdrive SOHC. The late '50s had seen a sharp recession, and Pontiac was rolling the dice on the resurgence of fuel-efficient six-cylinder engines. By '61, DeLorean was wrist-deep in the project, intrigued by the promise of OHC valve actuation. He was inspired by OHC straight-sixes of the day offered by Mercedes, Alfa Romeo, and Jaguar for their balance of power and fuel economy.
Based on the Chevy OHV straight-six, Pontiac's cammer used a 3.850-inch bore and a 3.250-inch stroke for a total of 230 ci. While it shared the crank and rods with the Chevy engine, Pontiac cast its own block that extended the skirt 2.4 inches for improved rigidity. On the top end, the Pontiac six used large 1.920-/1.600-inch valves, actuated by a cam mounted in the valve covers. To cut down on valvetrain noise that was common with OHC engines, the Pontiac cammer was equipped with hydraulic lifters and a rubber timing belt in lieu of a chain. Rated at 165 hp, the Pontiac straight-six went into production in the '66 Tempest. A hopped-up version-equipped with a bigger cam, 10.5:1 compression, and a four-barrel carb-was offered as well, rated at 215 hp and 240 lb-ft of torque. The cammer six was also available in the '67-69 Firebird.
Its promise and potential aside, due to the high production costs of the Pontiac OHC straight-six, most buyers opted for V-8s instead, and GM dropped it following the '69 model year. Nonetheless, it's not a stretch to surmise that it served as a precursor to the potent OHC six-cylinder engines that power the new Camaro and Trailblazer. Furthermore, Pontiac engineers incorporated many of the design elements of the cammer six into prototype DOHC 389 V-8s intended for use in NASCAR. GM's corporate ban on racing prevented this engine from ever seeing competition, but it's rumored to have produced more than 500 hp.
Chrysler FirePower Hemi
The infamous Gen II Chrysler Hemi is an engine that needs no introduction. Whether it was in NASCAR, NHRA Top Fuel, or at the local dragstrip, everyone was trying to chase down the big, bad Hemi. Interestingly, Chrysler dabbled with hemispherical combustion chambers 13 years before the 426 Hemi debuted in '64. Launched in 1951, the Gen I Hemi produced 180 hp from its 331 ci of displacement. By 1951 standards, that was pretty darned stout. Consequently, the significance of this engine is rather obvious. Without a Gen I Hemi, there would be no Gen II Hemi.
Not only did Chrysler beat Ford and GM to the OHV punch by several years, Mopar's first OHV engine design boasted trick hemispherical cylinder heads. Building upon expertise it earned while developing aircraft engines during WWII, Chrysler achieved this unique cylinder head architecture by placing the intake and exhaust valves on opposing sides of the combustion chambers. The primary benefits of this setup was that it allowed for a straighter path from the back of the intake port to the manifold, and created extra space for larger valves. Actuating the valves in a Hemi chamber with an in-block camshaft required titling the pushrods at extreme angles, but Chrysler was able to make this arrangement run reliably. The 331 was bored and stroked to 354 ci in 1956, and produced an impressive 355 hp in its top trim level. Chrysler then upped the ante with a raised-deck block in '57, which allowed increasing the stroke even more for a total of 392 ci. The dimensions of this tall-deck block were quite imposing, with a 4.562-inch bore spacing, and a 10.870-inch deck height. The 10.0:1 version of the 392 was rated at 345 hp, and proved very popular with drag racers. A fuel-injected 392 was offered in the Chrysler 300, which churned out 390 hp.
The Gen I Hemi wasn't marketed as a Hemi, and Chrysler dubbed it the FirePower V-8. Chrysler abandoned the Hemi cylinder head architecture in 1958 when production of the Gen I Hemi ended. It was replaced by more traditional and cheaper-to-produce wedge cylinder heads that were introduced along with the new B-series big-block platform that same year. Perhaps recognizing the promise of these hemispherical heads many years later, Chrysler revived the design with the launch of the Gen II 426 Hemi.
That said, the Hemi story doesn't end there. Before the Gen I Hemi was dropped in favor of the B-series wedge motor, Chrysler manufactured a line of "semi-Hemi" V-8s from '55 to '58 called the Spitfire for consumers who didn't want to pony up for the FirePower engine. They used the same 331 and 354ci short-block assemblies as the Gen I Hemi, but were topped with polysphere cylinder heads and a conventional inline valvetrain. The polysphere heads got their name from combustion chambers that resembled two half spheres, and the most potent 354ci variant checked in at 310 hp. Chrysler also produced a 301ci small-bore version of this engine for entry-level vehicles.
"Not only did Chrysler beat Ford and GM to the OHV punch by several years, Mopar's first OHV engine design boasted trick hemispherical cylinder heads."
The few enthusiasts who know anything worthwhile about the AMC V-8 probably think of it more as a Jeep engine than a genuine hot rod powerplant. That's a reasonable assumption considering that the AMC V-8 was widely used in pre- and post-Chrysler-era Jeeps until the early '90s. Plus, the AMC V-8 is enormously popular amongst off-road Jeep enthusiasts. Nevertheless, AMC's flagship engine has a storied history in the annals of muscle cars, and recently released aftermarket blocks and cylinder heads make it possible to transform one into a seriously wicked hot rod engine.
The first-generation AMC V-8, more commonly known as the Rambler V-8, was built from '56 to '66 for use in Nash, Hudson, and Rambler vehicles. It performed well for its time, with the 327ci variant churning out 288 hp in 1957, however, the thin cylinder walls and limited displacement potential of these engines make them uncommon in both Jeep and hot rodding circles. AMC completely revamped its V-8 for the '66 model year, offering it in 290, 343, and 390ci trim levels. Sized somewhere between a big-block and a small-block, the new Gen II AMC featured a 4.750-inch bore spacing, and a forged crank and rods. Very few parts between the Gen I and II engines interchange. The 390 offered in the '69 AMX was the top dog, generating 340 hp and 430 lb-ft of torque, courtesy of a four-barrel carb and 12.2:1 compression.
For 1970, the AMC V-8 was revised again with the launch of the tall-deck Gen III platform. The basic architecture of the engine remained the same, and improvements included a 5/32-inch raised deck height and revised higher-flowing cylinder heads. Consequently, this allowed for an increase in stroke, and displacement grew to 304, 360, and 401 ci. Power ratings between Gen II and III engines are difficult to compare due to the differences in SAE gross and SAE net rating systems, but as with all engines of the day, horsepower steadily dropped as emission standards tightened up.
Most hopped-up AMC V-8s are based on the Gen III block for its generous displacement potential. With a maximum recommended bore diameter of 4.195 inches and a 9.218-inch deck height, building a 450-plus cubic-inch engine is no sweat. Indy Cylinder Head offers both an aftermarket tall-deck block and cylinder head castings, which pushes the AMC platform to big-block Chevy territory. In fact, Indy sells turnkey 512ci crate AMC V-8s that make 840 hp on motor. How's that for a Jeep engine?