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Seventeen years after an alleged Asian organized crime boss was granted permanent resident status in Canada, despite being red-flagged for suspected criminal activities, authorities are trying to send him packing.
The case of Lai Tong Sang scandalized the federal immigration system when it was revealed that the man described by Macau police as the leader of the notorious Wo On Lok gang had been allowed into Canada.
Now Lai, his wife and their three children are scheduled for an admissability hearing later this month, where lawyers for Citizenship and Immigration Canada will argue that Lai lied about his membership in a criminal organization in order to gain entry into the country. Authorities allege his wife and children also misrepresented their immigration status.
Melissa Anderson, a spokeswomen for Citizenship and Immigration, confirmed hearings are scheduled over three days beginning Feb. 26 in Vancouver, but she could not comment on why it has taken so long for the case to make its way to a hearing.
According to reports at the time, Lai originally applied for immigration status to Canada in Hong Kong in 1994 but his application was not approved because of his suspected links to organized crime.
In March 1996, Lai reapplied in Hong Kong and then quickly withdrew his application. A couple of months later, he applied at the consulate in Los Angeles, where his application was approved without a background check or so much as a phone call to Hong Kong.
Lai and his family arrived in Vancouver on Oct. 20, 1996.
Various RCMP and U.S. law enforcement reports on Asian organized crime cite the Wo On Lok (or Shui Fong, Water Room gang) as a branch of the Hong Kong-based Wo group, a syndicate with worldwide reach in criminal activity ranging from money laundering to prostitution, the drug trade and human smuggling.
Lai, then 42, left Macau for Canada at a time when then Wo On Lok was embroiled in a war with the rival 14K gang, said reports in Macau media.
Can the minister tell the House how Lai Tong Sang, the Macao triad leader who received landed status in Canada, slipped through the stranglehold the minister has on organized crime?
In July 1997, after news of his arrival made headlines in Canada, his luxury Vancouver area home was the target of a drive-by shooting.
No one was hurt but later that month, according to reports, immigration officials urged then-immigration minister Lucienne Robillard to declare Lai a danger to the Canadian public, revoke his resident status and deport him.
In September 1997, Robillard was called onto the carpet in Parliament over the Lai case.
"Can the minister tell the House how Lai Tong Sang, the Macao triad leader who received landed status in Canada, slipped through the stranglehold the minister has on organized crime?" asked Opposition MP John Reynolds, referring to an organized crime unit the minister had said was operating within the department.
Robillard cited the Privacy Act in refusing to discuss the specifics of the case, saying he had "not yet" been formally charged.
"Mr. Speaker, it is very clear that anyone who misrepresents his identity or his reasons for coming to Canada can be prosecuted by the Department of Citizenship and Immigration," Robillard responded.
Lai was not charged, or declared a danger to the public.
An administrative review of the breach at the Los Angeles consulate blamed an isolated mistake by honest, overworked employees and absolved consulate employees of corruption or fraud.
Immigration Minister Jason Kenney was not immediately available for comment, but last fall Kenney introduced the Faster Removal of Foreign Criminals Act.
Among the changes, it limits the review options for people who are inadmissible because of concerns over security or organized crime.
"Canadians are generous and welcoming people, but they have no tolerance for criminals and fraudsters abusing our generosity," Kenney said at the time.
Lai's was the first of several high-profile immigration cases to cast a pall over the country's immigration system and strain relations with foreign governments.
Lai Changxing arrived in Canada in 1999, a fugitive from charges he was the kingpin of a $10-billion smuggling ring. Although his refugee claim failed, it would be 12 years before the Canadian government would receive assurances he would not be put to death and the former Chinese businessman was deported. Last year, Lai Changxing was sentenced to life in prison.
Chinese fugitive Deng Xinzhi was deported in 2008 after seven years in Canada to face criminal charges for his alleged role in a $3-million fraud scheme.
Rakesh Saxena, accused of embezzling $88 million from the Bangkok Bank of Commerce and triggering an Asian economic meltdown, was arrested in Whistler in 1996. Saxena battled deportation until 2009.


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Gates gives $750M to troubled Global Fund
DAVOS, Switzerland - Bill Gates pledged $750 million on Thursday to fight three killer diseases and rescue a beleaguered health fund whose financial losses have cost it donor support.
The Microsoft founder said he is lending his "credibility" to the Geneva-based Global Fund to Fight AIDS, Tuberculosis and Malaria by making the donation through a promissory note so the fund "can immediately use the money and save lives."
Gates' announcement at the World Economic Forum, a magnet for the world's business and political elites who pushed for the fund's creation, was part of an orchestrated attempt by the fund to galvanize donors on its 10th anniversary.
"These are tough economic times, but that is no excuse for cutting aid to the world's poorest," Gates told reporters.
He downplayed the $23 billion fund's reported losses of tens of millions of dollars to corruption, misuse and undocumented spending that were highlighted in Associated Press stories, and said it is "disappointing" to see how people have focused on a "small misuse of funds."
A donor backlash over AP reports about poor financial monitoring and the fund's losses uncovered by its own internal watchdog, the inspector general's office, prompted the organization last year to cancel more than $1 billion in planned new spending mainly to expand existing programs. The fund's executive director, Dr. Michel Kazatchkine, this week also announced his resignation.
"The internal checks and balances have worked in every case," Gates said. But, he added, "If you're going to do business in Africa, you're going to have some losses."
The public-private fund has helped change the fortunes of many of the world's poor through its prevention and treatment programs among 150 countries, Gates said.
The fund says it has provided antiretroviral treatment to 3.3 million people, detected and treated 8.2 million people with tuberculosis, and given 230 million bed nets to families to prevent malaria over its 10-year existence. It says it also has helped prevent 1.3 million pregnant women from passing on HIV to their babies, cared for 5.6 million orphans and kept 7.7 million others alive.
"It's a breathtaking achievement," U2 rock star Bono said in a compilation of fund supporters' statements from the fund Thursday.
A former Japanese prime minister, Naoto Kan, told the news conference that his nation has contributed $1.3 billion to the fund. Kan also said the fund's "transparency" must be maintained, which includes auditors and investigators in the inspector general's office uncovering and publicizing its own losses, as the fund goes through a series of reforms launched last year after the AP stories.
"The European debt crisis is shaking the world economy, which in turn seriously affects the fortunes of the Global Fund. But it doesn't mean the significance of the Global Fund is less," Kan said. "The corruption exists. It's regrettable, but that's reality."
Global Fund board Chairman Simon Bland said the fund is "transforming the way we do business" by streamlining the organization and will continue to "hold ourselves accountable" for what it spends.
"There will be no shying away from that transparency," Bland said.
Bland told AP he has hired the London accounting firm RSM Tenon Group to look into internal fund allegations that Kazatchkine, a French immunologist, improperly allocated several million dollars of fund money to benefit charity activities of France's first lady, Carla Bruni-Sarkozy, and firms run by her close friend.
Bland said the firm has produced a confidential report that he intends to make public which lends little support to the allegations. France is the second-largest contributor to the fund behind the United States, and Bruni-Sarkozy serves as one of its ambassadors.
Kazatchkine, who has been at odds with the inspector general's office that has been uncovering the losses, resigned after the board decided to create a position of general manager to chart a new direction. The position was among a series of recommendations by a high-level panel created to address the problems raised in AP articles.
"I believe it is untenable that there are two heads in an organization and that's why I decided to leave," he told AP.
Kazatchkine said the Global Fund "can't be more transparent than we have been."
"We're by far the most transparent organization in development," he said at Davos. "Fighting corruption, yes, of course, and I have repeatedly said zero tolerance for corruption. Yet we also have to recognize that this business is not without risk. And risk, or the sense of risk, can also paralyze action."


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(CNN) -- Google, Yahoo, LinkedIn and Facebook have all releasedtheir workforce diversity reports in the past few weeks. These reports have sparked much hand-wringing about the low number of African-Americans and Latinos who are working in Silicon Valley tech companies. We expect to see a tide of more reports, illustrating a dismal situation needing attention.
But, too often, stunned commentators overlook a simple fact: This problem is fixable.
Tech companies need more workers, and African-American and Latino communities need more work. Silicon Valley has an insatiable demand for genius. Communities of color have an untapped supply of it. Putting aside any blaming or shaming, tech leaders and communities of color could greatly benefit by coming together -- to ensure that America stops wasting so much genius. Neither Silicon Valley nor low-opportunity communities can afford it anymore.
For instance: 70% of "Googlers" are men, 30% women; 61% are white and 30% are Asian. Blacks and Hispanics? Only 2% and 3%, respectively. Google's May 2014 report could best be summed up with the company's own words: "We're not where we want to be."
These reports have their place. But let us first keep in mind: As important as transparency is, simply releasing these numbers won't solve the problem. In fact, Intel, one of the world's largest tech companies, has been openly sharing its diversity stats for the past decade -- and should be applauded for doing so. And yet the company still struggles with hiring minority talent.
Only one thing will make a difference: a job-training pipeline specifically designed to identify, recruit and train talented people from nontraditional backgrounds and low-opportunity communities.
Imagine, if you will, a promising black or Latino child, sitting behind a public school desk in East Oakland. That youth is seated just half an hour's drive from Silicon Valley. But it would take something like a miracle for that child to ever find her way into a coding education program, let alone an internship or job at the world's most famous tech companies, right down the road.
We need to fix this -- and we can. We won't have to start from scratch. Many grass-roots educational organizations are already working to solve this problem. They are inventing and pioneering powerful new models to bring coding education to new constituencies.
Unfortunately, none has reached the necessary scale.
America desperately needs an efficient solution for diversifying talent in the tech sector. If existing programs could work together in smart ways, with the best ones getting support to scale up dramatically, we could create a process that would pull extraordinary talent out of unlikely places, like Oakland, or East Los Angeles, or a Native American reservation, or, for that matter, Appalachia.
One effort to create those synergies and build that pipeline is called #YesWeCode, an initiative I helped start. Our goal is to help grass-roots groups train 100,000 low-opportunity youth to become high-level computer coders.
Here is how we're doing it:
Exposure: First, #YesWeCode, with the help of Facebook, is creating an online platform to unite more than 70 tech-training organizations, so young people can easily and conveniently connect to coding education programs.
Training: Second, we are investing in workforce development programs that target people who wouldn't normally have access or the opportunity to enter careers in tech. Our model includes "boot camps" and accelerated tech-training programs to equip young people with the skills they need to succeed in a high-level tech job.
Jobs: Most important, we are establishing an employers' council to ensure this pipeline results in gainful employment. This council is also building the core movement to open the doors to invite more low-opportunity talent into this pipeline. Top executives at companies like Apple and Facebook have already expressed interest in joining this council and making meaningful changes in their workforce.
Our nation is sitting on an untapped goldmine of talent: amazing young people who have the creativity and the courage, but need the skills.
For example, take Kalimah Priforce. He is a young Haitian-American man who grew up in group homes. After his younger brother was shot and killed behind their childhood elementary school, he made a lifelong commitment to transforming the lives of young people.
At 16 years old, he founded a tech company to serve low-income neighborhoods. Kalimah went on to co-found Qeyno Labs, a start-up that works to close the STEM (science, technology, engineering and mathematics) gap in education.
This past February, Kalimah created a pioneering "hackathon" in Oakland, California, to highlight black male achievement. Young black kids came together for three days to connect, create and code.
It was a group of hoodie-wearing, laptop-wielding future Mark Zuckerbergs -- who all look a bit like Trayvon Martin. It was, almost certainly, a sign of things to come.
Plenty of other low-opportunity young people are waiting to live out their own success story. That's a problem we can solve.
We just need to give them the opportunity. Imagine urban youth who are not just downloading apps, but uploading them.
And when they succeed, they will change a lot more than the workplace diversity numbers in Silicon Valley.


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Poll: Should Hostess open source their recipes?
Should Hostess open source their recipes?
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Should Hostess open source their recipes?
By now, many of you have seen that Hostess brands has closed. Many people are going to miss their favorite treats. On their website, they state the following:
We are sorry to announce that Hostess Brands, Inc. has been forced by a Bakers Union strike to shut down all operations and sell all company assets. For more information, go to hostessbrands.info. Thank you for all of your loyalty and support over the years.
People are already stockpiling their favorite snacks like Twinkies®, Ding Dongs®, Ho Ho's®, Sno Balls® and many more. Even though the company is planning to sell their assets, do you think they should open source the recipes?
In other words, should they release their recipes under a license like Creative Commons or the GPL that would allow people to use, modify, and enhance the recipes 1 to the public domain, essentially sharing them with the world? (Updated after posting.)
Some are already sharing their own recipes, but nothing compares to the real thing. If you had a copy of the recipe, would you try to replicate your favorite Hostess product?
1 - See comments below. Recipes can not be copyrighted.
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34 Comments
Recipes "that are mere listings of ingredients".
Yep, I pretty much covered the distinction between not being able to copyright a list of ingredients but being able to copyright your exact wording in the instruction in a recipe. Read my earlier comment below.
They might not have a choice. Going out of business they may have to sell their assets (including recipes) to cover their debts.
No doubt they'll sell off the brand names and recipes. Recipes are trade secrets for a reason. They are NOT protected by copyright laws. They are just a list of ingredients and steps. You can copyright the the exact wording you use to describe those steps but you can't copyright a list of ingredients and steps. So the question of if they should release them with a copyleft licence is rather moot. If they were made public at all they would be public domain.
Thanks for jumping into the conversation. I wasn't even thinking about the copyrights of recipes so I'm glad you brought it up. I will admit that I was thinking about them "giving" their trade secret (recipes) to the public domain and seeing how the competition would unveil.
As someone else pointed out below, the euipment (and process) is probably an important part to consider as well.
The GPL and CC are types of copyright licenses. They depend on copyright laws to be enforceable. So if you are talking about releasing a recipe under those licences then you're talking about copyrighting a recipe. Since recipes are not protected by copyright laws the GPL and CC licenses, or any other type of license for that matter would be unenforceable.
Your question needs a third option: "It doesn't matter."
The recipes are not enough. I'm betting that they also have special equipment to make those snacks. Have you ever tried to get creme filling into a chocolate cake that is covered with some sort of spongy confection? Without the proper equipment, you will never be able to make something "just like a Twinkie". Some of that equipment will surely be covered by patents, and some of the patents may be critical to getting that "Ding-Dong" quality.
Whether this is good news or bad news is another topic.
Designing process equipment is a specialized field of engineering that is harder than it looks. See - you just completely ignored it.
You're right, having the right tools to do the job makes all the difference.
Thansk for your response.
It doesn't matter in the sense that you or I likely could not use the recipe to produce a Twinkie clone, but when more knowledge is available to businesses so that they can compete based on their ability to produce a product well and at lower cost, and not simply by excluding competition by virtue of the recipe being a trade secret, we all profit.
Whether more Twinkies is a good thing for the world is of course another discussion...
Just Google the recipe you want. Here's three I've tried and they are great:
Carbs are killers. The world is better off with fewer of them. If people ate these products in moderation, they wouldn't feel compelled to stock up. The sooner this stops, the healthier the world will be.
Should they? Yes. WIll they? Doubtful. The private equity firm will want them to sell the brand and trade secrets to the highest bidder. Ah, capitalism.
On a deeper moral level, would the world be better off with everyone able to produce Twinkies? I think its kind of like open sourcing all the engineering procedures and design plans for the now-obsolete MK-17 thermonuclear bomb. I already think of Twinkies as the original multimegacalorie fat pill. Is the world really ready for just anybody to be able to make one?
You can google and find plans for nukes. But as far as physical manufacturing/production processes those are covered by patent law. So they could very well patent the physical process they use to mass produce Twinkies and nukes. But my guess is that making homemade Twinkie is a lot easier and won't get the FBI knocking at your door. As far as moral implications go I'd rather have terrorists make Twinkies myself.
Twinkies are disgusting and you people are fools to even want them. Comedians have been joking about the multi-year shelf life of Twinkies for years, although they actually last "only" 25 days. Get some taste and suck down something other than preservative chemical laden crap. Not a tear shed for Hostess; they're probably going under because people have finally gotten smart enough about what's in their food.
Brandon I agree about the food but I wanted to fill you in on what happened. The company had been suffering from financial troubles like most yet it was not lack of demand that put them under.
No it was in fact striking union workers who have been told by hostess for weeks that if they did not return to work the losses from not be open to capacity would force the already ailing company to go out of business.
So after weeks of being warned and the company pleading with the workers Hostess had to declare bankruptcy now they are out of a job what geniuses.
Why was the company ailing? Why blame it on unions and not demand?
It's not a matter of blame the FACTS are the ailing economy had made the business less profitable yet the unions decided this meant they should demmand more and they went on strike.
As a result the business hit a wall and due to the acts of a agressive and radical union that refused to compromise they put the company under by refusing to do their job it is that simple and the union had been warned about that yet they mustthink money grows on trees and they did not take it seriously.
They made their own bed right or wrong!
Baloney. It's Red State rhetoric. http://www.forbes.com/sites/helaineolen/2012/11/16/who-killed-hostess-br...
"Hostess has been sold at least three times since the 1980s, racking up debt and shedding profitable assets along the way with each successive merger. The company filed for bankruptcy in 2004, and again in 2011. Little thought was given to the line of products, which, frankly, began to seem a bit dated in the age of the gourmet cupcake. (100 calorie Twinkie Bites? When was the last time you entered Magnolia Bakery and asked about the calorie count?)"
Sure their is political posturing as unions are the most political entiry next to the parties themselves but the fact remains yhe final act in this story occured because the unions would not give in.
One only needa to ask what happens in this situation with no union?
Answer is the compay would still be in business.
Anyone over 35 has seen this play out with countless companies including many of Americas 20 th century giants like the Steel industry in the end the story is the same loss of jobs.
I don't value these companies. They produce social patterns of dominance and exploitation, frequently harming people's health and the environment while they're at it. All for shareholder profit, giving little back to the labor that makes these companies possible. If bad management fails in the marketplace, good riddance! It's better to be free and jobless than a slave.
You can have Microsoft too if you like it so much. And Apple, and all the Walled Garden companies.
It's not a matter of blame the FACTS are the ailing economy had made the business less profitable yet the unions decided this meant they should demmand more and they went on strike.
As a result the business hit a wall and due to the acts of a agressive and radical union that refused to compromise they put the company under by refusing to do their job it is that simple and the union had been warned about that yet they mustthink money grows on trees and they did not take it seriously.
They made their own bed right or wrong!
An important distinction regarding the union: they refused to give up more than they already had given in prior negotiations, they were not asking for more. Was it the ailing economy or management's lack of strategic insight regarding where the snack business was heading? Lack of international expansion? How about the crippling debt the private equity firm slapped on the company? I don't think we can point the finger at any one culprit...
No offense to anyone but I simply wanted to add the opinion of an outsider and someone fairly new to Open Software about 3yrs.
At any rate my point is that statements like this are what turn many off to Open software causing them to not take it seriously or even label the open source faithful as zealots to even suggest such h an idea without thought into what it takes to run a business that produces a material product like a cupcake on such scale then packages it for consumption at a later date all while dotting the I and crossing the t to meet the thousands of government regulations to be allowed to conduct business and deliver a safe product to millions.
Such statements even come off as political to some conjuring images of a profit hating purple haired leftist throwing a tantrum In the street.
Good point Al. From a simplistic standpoint, if they were simply closing up shop, why not open up the secret recipe? As you point out, it isn't that simple. While it does sound like a "nice thing to do" for all those Twinkie afficianados, the creditors would not appreciate it, as they would want Hostess to sell their trade secrets in order to settle their debts. It isn't politics, it is business.
Hello ! You are correct there are many people involved and we left out the largest group, the "stakeholders", it is business as you correctly point out,
My point was simply that the Open Source community has to be careful not to make people think of it as political thing that is at odds with the other side. While business is certainly like war and companies like Microsoft are competitors to open source solutions we do not have to be enemies.
At any rate the reality is we live in a hyper political era and I was just pointing out that we have to be careful not to make the capitalist think we are against them or out to get them because we are not.
On the flip side we need to make those of a more Marxist persuasion understand our way is not incompatible with that philosophy either and do so while accommodating everything in between if we are to grow.
Like it or not most people think simplistically and in todays climate they are hyper political to boot !
"we live in a hyper political era", isn't that the truth!
Yes open source people often make the category error that all businesses are "software." They think the end of life of a business is comparable to a software startup going under. Dead code will never be used for anything else, so they give it away. That isn't all businesses.
The Free Software Foundation is strongly biased towards the business model of "services." What if some smart guy comes along and tells the FSF that people should just give their service / consulting time away, that being directly compensated for one's time is immoral and a barrier to social progress?
Google is strongly biased towards advertizing susidized business models. They'll give anything away for free, so long as it gets more eyeballs on their search engine. They don't care what markets they destroy in the process. It's a form of dumping, but it benefits them. So they talk about how great it is to give away free (as in beer) stuff.
The recipes have no value outside the industrial food industry, as most require an extruder oven to produce. They are also part of the core value of Hostess, and along with the brand names, plants, and equipment will be sold off to other "food" companies. The brands will continue, the workers will have to deal with the new owners, and the public will have to deal with a continuing supply of industrial "food".
My bet is few workers will be "acquired" in the liquidation. A few skilled food mfg. engineers and maybe a synthetic flavor master (or whatever they are called), and the laborers will be out of luck. Hostess missed the shift to less processed, healthier snacks... that was their ultimate demise.
Los Angeles Times: Poor management, not union intransigence, killed Hostess
FWIW, the LA Times blames management, NOT the union, for the failure: http://www.latimes.com/business/la-fi-hiltzik-20121125,0,966735.column
Hostess management's efforts to blame union intransigence for the company's collapse persisted right through to the Thanksgiving eve press release announcing Hostess' liquidation, when it cited a nationwide strike by bakery workers that "crippled its operations."
That overlooks the years of union givebacks and management bad faith. Example: Just before declaring bankruptcy for the second time in eight years Jan. 11, Hostess trebled the compensation of then-Chief Executive Brian Driscoll and raised other executives' pay up to twofold. At the same time, the company was demanding lower wages from workers and stiffing employee pension funds of $8 million a month in payment obligations.
The union members could see that their supposed management "partners" hoped to rescue their own investments by placing workers on a glide path to life on a minimum-wage existence, without pensions and without healthcare, after they had given and given again. You want to claim that they should have accepted the latest management demands as better than nothing instead of voting it down, OK. But you should ask yourself two questions: Where do you think this trend would have ended, and how much would you take?
Here's the scoop from a former Hostess employee:
Hostess in a legal sense is a piece of paper. A privately held piece of paper. Passed from owner to owner for the purpose of profit. The current owners are hedge funds Monarch and Silverpoint, with the later addition of Ripplewood. They are the board of directors. You may have heard that there have been 6 CEOs since 2002. There has only been one ownership group that whole time, the hedge funds. It is their business plan that those CEOs executed. Well.
The goal always was to maximize profits. Baking just wasn't a part of that picture. Monarch and Silverpoint funded the bringing together of Hostess/Wonder and Butternut/Dolly Madison in 1999. Both baking companies were profitable and had great infrastructures. Neither company was failing.
When these hedge funds figured out that they had to actually reinvest in their facilities and delivery equipment over the years, they simply didn't. Instead they turned their profit focus to brand valuation and pension theft. The goal was to lower Union costs then sell the brands and bakeries. They were able to strip 1/3 of our yearly income in the first bankruptcy and the management was paid millions while the company lost 100's of millions. They failed to break the Union so they held onto their investment while forcing the company to suffer for a few more years.


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Science Education
What are atoms?
Atoms are the basic building blocks of matter that make up everyday objects. A desk, the air, even you are made up of atoms!
There are 90 naturally occurring kinds of atoms. Scientists in labs have been able to make about 25 more.
This page is maintained by Steve Gagnon.


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This is one trend we don't get, but hey, celebs are all about it and they're the ones (allegedly) setting the style rules.
Actress Rosario Dawson, who sports a lush, thick mane of glossy dark hair, has shaved half her head — a look we've also seen on Rihanna and Jenna Jameson, to name only a few.
As you can see from the photo, Dawson has thinned her mane and sheared off a good portion of it. It's a punk rock look. She was spotted with her new 'do, casually flipped to one side, while on set of her new film 'Finally Famous.' (Yes, that's Chris Rock in the background. He does not, for the record, have a half-shaved head. He's just close-cropped.)
While Dawson is gorgeous and can take a lot of style risks and liberties, we're still baffled about why the stars are doing this. Is there some need to be "punk rock" that truly took off when Miley Cyrus decided that chopping off her hair was the edgy and cool thing to do? (God help us when Miley is the yardstick by which hair trends are measured.)
Regardless, it's just hair and it grows back. We hope.


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Education Grants
Many Hands, Inc.
|Applications are accepted through November 15, 2019.
|Many Hands, Inc. awards grants to nonprofit organizations serving women, children, and families in need in the Washington, DC, area. Four grants are awarded each year, one in each of the organization's four focus areas: education, health, housing, and job readiness. After a competitive review process, one of the four finalists will receive a $100,000 Impact Grant and the other three will receive Partner ...
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Grants for Gardens
Annie's Homegrown, Inc.
|Online applications are accepted August 1 through November 1, 2019.
|Annie's Homegrown, Inc. offers grants to schools and educational programs to build school gardens. Since 2008, Annie's has helped fund more than 400 school gardens. Eligible programs must be associated with kindergarten through grade 12 schools within the United States and must focus on connecting children to real food. Funds may be used to buy gardening tools, seeds, or other needed supplies.
The ...
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International Baccalaureate Teacher Grants
The National Society of High School Scholars
|Applications are accepted September 1 through November 15, 2019.
|The National Society of High School Scholars supports the growth and development of students' ethical action, service leadership, and altruism. The association offers grants to teachers in International Baccalaureate (IB) courses. Grants are intended for supplies, materials, or field trips.
Eligible applicants are teachers in IB programs teaching any subject. Applications should be submitted ...
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Long-Term Fellowships
The Newberry Library
|Applications are due November 1, 2019.
|The Newberry Library offers Long-Term Fellowships to postdoctoral scholars for periods of four to nine months. Fellowships are intended to support individual scholarly research and promote intellectual exchange through fellows' seminars and a weekly colloquium. The Newberry Library is a research library located in Chicago, Illinois, that offers extensive noncirculating collections of rare books, maps, ...
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Maureen Hayes Author/Illustrator Award
Simon and Schuster Children's Publishing and the Association for Library Service to Children
|Applications are due November 15, 2019.
|The Maureen Hayes Award supports a visit by a nationally recognized children's book author or illustrator to a community, with emphasis on providing opportunities for children and youth for whom a visit with an author/illustrator is a first-time experience. Previous winners of the Hayes Award include public libraries, elementary school libraries, and partnerships between public libraries and public ...
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Red Ribbon Photo Contest
National Family Partnership
|Entries are accepted October 1 through November 1, 2019.
|The National Family Partnership strives to raise drug awareness in youth and schools. The partnership sponsors the National Red Ribbon Photo Contest. Interested schools decorate their campus with a red ribbon (double looped) and the current year's theme "Send A Message. Stay Drug Free." Applicants then take a picture of the decoration and upload it on the contest website. A public voting period is ...
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Toshiba America Grant Program for 6-12 Science and Mathematics Educators
Toshiba America Foundation
|Requests for grants less than $5,000 are due March 1, June 1, September 1, and December 1, annually. Requests for grants of more than $5,000 are due May 1 and November 1, annually.
|Toshiba America Foundation accepts applications from teachers who are passionate about making science and mathematics more engaging for their students. The foundation seeks to support teachers by providing funds to support classroom projects. The foundation strongly encourages projects planned and led by individual teachers or teams of teachers for their own classrooms. Successful projects tap into ...
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Both the Brian and I had a long weekend recently so we took advantage and went on a small road trip. Hearst Castle is about 3-4 hrs away from the Bay Area and a perfect stop for us as we made our way down the California Coast.
We did the Grand Rooms Tour where had a chance to view the social rooms, including the Assembly room, the Dining area and the Billiards room. There are more tours you can do but we were a bit short on time. They also have night tours and I'd love to do that next time we swing by.
After the tour, we had a chance to walk around outside and experience the gardens and grounds. Let's just say that Hearst sure knew how to throw a party! The pools were stunning, even if the Neptune Pool was under construction.
Couple of tips for a successful trip:
- Get your tickets early! They sell out fast and you'll definitely want to see the castle.
- If you have a chance, make sure to view the movie (included in the price of your ticket) before you get on the bus. The movie is a nice overview of the castle and Hearst.
- Download the Hearst Castle app before you get there. It's pretty large but there are some useful tips that pop up as you walk around the grounds.
- Bring water! You are not allowed to have food or gum while on the premise but you can bring water. It's useful to have as you walk around.


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The Accounting Historians Journal Vol. 19, No. 2 December 1992 R. Penny Marquette UNIVERSITY OF AKRON and Richard K. Fleischman JOHN CARROLL UNIVERSITY GOVERNMENT/BUSINESS SYNERGY: EARLY AMERICAN INNOVATIONS IN BUDGETING AND COST ACCOUNTING Abstract: This paper examines certain interactions between American government and business which resulted in important innovations in the areas of budgeting and cost accounting early in the twentieth century. The evidence suggests that budgeting methods were initially developed by municipal reformers of the Progressive era and were subsequently adapted by business for planning and control purposes. In like fashion, standard costing and variance analysis were signifi-cant cost accounting techniques born to an industrial environment which came to contribute markedly to a continuing improvement of governmental budgeting procedures. Budgeting is a major tool of business and government in the contemporary world. Its central role in planning and control is so well established that it is difficult to remember that, unlike double-entry accounting, budgeting is a very recent innovation. Budgeting in the United States is barely a century old, intro-duced and refined in the first three decades of the twentieth century as a product of governmental and business synergies. This paper examines the early history of municipal budgeting with particular reference to the interaction between governmen-tal reformers and scientific management specialists of the pe-riod. The importance and value of budgeting as a control mechanism was initially appreciated by a host of Progressive era municipal figures at the turn of the century. With the pas-sage of time, this lesson was communicated to the world of business. However, early governmental budgets were limited in their effectiveness, particularly as a planning device, until pur- This work was supported by a grant from the Stoller Foundation, College of Business Administration, University of Akron. The authors are grateful for sug-gestions from two anonymous reviewers of The Accounting Historians Journal.


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82 HASKINS & SELLS November
Accountancy In Germany
BY E. A . KRACKE, Resident Partner, Berlin, Germany
WH E N I began to revolve the topic
of this paper in mind, the question
of where to begin presented itself—
whether with accountancy as a science or
with accountancy as a profession—and
the answer came naturally enough, begin
at the beginning; in other words, the description
of the creator explains the status
of the creation. Briefly stated, the profession
in Germany has not attained, either
in point of the respect it commands on the
part of the general public or its record of
professional or technical accomplishment,
the status it has reached in America. But
I believe I can truthfully say that the individual
members of it are aware of its
shortcomings and desirous of making
progress. I stress the individual members
because in my view, the most serious
trouble with the profession lies in the form
of organization or affiliation of the organized
groups engaged in active practice.
By far the bulk of the practice is in the
hands of corporations which are owned
by, and therefore subservient to, the financial
institutions of the country. This
proprietary relationship, of course, robs
the practitioner of that independence
which is vitally necessary for professional
progress; it subordinates him to the views
of those in financial control of many of the
country's industries, and has brought
about the existing condition in which published
financial reports do not command
the degree of confidence that they do with
us. Freedom of effective expression of
thought is vitally necessary in any business
relationship if progress is not to be
hindered. I have a very optimistic confidence,
however, in the mental calibre of
the men engaged in the practice of the profession
in Germany as well as of those who
labor in the field of accountancy instruction.
I believe that, with the example
before them of what has been done here
as well as in Great Britain, they will
measure up to the task confronting them.
Coming to the phase of the subject dealing
with accountancy as a science—or perhaps
it would be better to speak of it as
an art, since it relates to the application
of accounting principles in corporation
practice—we find an interesting situation.
As far as concerns the detail work, it is in
the main very well done. Books are well
kept and particular stress is laid on their


text:
PBS film 'Latino Americans' aims for wide audience
BEVERLY HILLS, Calif. (AP) -- An ambitious PBS documentary on the 500-year history of Latinos in America is aimed at a broad audience, its producer said Wednesday.
"These stories are not that distant from anyone. I think in some ways we share similar experiences no matter where we come from," and whether people are immigrants or not, "American Latinos" producer Adriana Bosch told a meeting of the Television Critics Association.
Featuring familiar faces such as Oscar-winning actress Rita Moreno and journalist Ray Suarez was part of enhancing the film's appeal, Bosch said. Actor Benjamin Bratt is the narrator.
The three-part, six-hour documentary debuting in September includes interviews with Dolores Huerta, co-founder of a group that was the forerunner to the United Farm Workers of America; writer and commentator and Linda Chavez; and musician Gloria Estefan.
Bratt, whose mother emigrated from Peru as a teenager, said Latinos have not historically been seen as part of the American story.
"American history always is from a Eurocentric point of view, and the real American history is so much richer than that," Bratt said during a panel discussion. "Even in 2013, we are still seen as the mysterious, exotic 'other,' even though we are as American as anyone else."
Asked about the rarity of Hispanics on U.S. television despite Latino population growth and the "browning" of America, Suarez said commerce is part of the solution.
Businesses want to reach consumers without regard to ethnicity or language, he said, suggesting it's a trend Americans in general should get used to.
"I can't tell you how many times I've heard, 'I hate hearing press 2 for Spanish,'" Suarez said. "Why do you hate that? ... If you don't want to speak Spanish, don't press 2."
"Latinos" includes the 16th century arrival of the Spanish to America; the wave of Latino immigration to the United States in the 19th and 20th centuries; Latinos during World War II; the 1960s start of social action movements, and the contemporary debate over illegal immigration.
PBS is billing the documentary as TV's first comprehensive look at Latino American history. In 2007, Hispanic organizations criticized PBS and filmmaker Ken Burns for inadequately representing the contributions of Latinos in his 15-hour documentary on World War II.


text:
Here we thought the biggest news to come out of Jessica Simpson's latest interview would be Jimmy Kimmel wondering whether or not he's the one who's been making the Fashion Star judge pregnant.
But then...
Simpson revealed that she's having a boy!
She was talking about how much she's been vomiting this time around, in comparison to her relatively easy first pregnancy, when she blurted out, "The crazy thing is I never knew a wiener could make me nauseous!"
"Oh, shush!" she swatted at Kimmel when he burst out laughing.
Asked what she might have intended to say, Simpson admitted, "Well, I guess I just told the world that I'm having a boy!"
Move over, Eric Johnson. We absolutely love your fiance, too.
More to come...
See more pics of famous moms and their sons


text:
Student or Learner
Could you please elaborate your explanations about my question?
My question:what is the difference between these 1 and 2 ?
1. Are these sentences correct ?
2. Do these sentences correct ?
Why wrong?what is your reason?
Auxiliary verb - Wikipedia, the free encyclopedia
"Do" is a "helper verb" or auxiliary verb. There needs to be a main verb in the sentence for "do" to assist.
Do is a main verb and also a verb,
But correct is a main verb also do is a help verb in this sentense:do these sentences correct?
You could say "Do these sentences correctly." You could say "Do correct these sentences."
But neither of those mean the same thing as your #1 sentence, "Are these sentence correct?"
do you know what your problem is? you want to translate a Persian sentence to English one,and that's impossible.try to think in English and don't compare English to Persian .when i was a student i had such problem.you should watch more English films and listen to more English news.


text:
Who We Are
- Cambridge University Press at a Glance
- Cambridge's Ethics
- The Press Syndicate
- The Press Board
- History of the Press
- The Queen's Printer's Patent
- Annual Report
- UK Gender Pay Gap 2018
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- Community & Environment
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- Agency Policy
- Meet the Press
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- Graduate Programme
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- Annual Report
Emily Marchant
Author Services Manager
Department: Academic Publishing
I came to the Press straight from finishing a master's degree in English in 2013. I knew I wanted to work in publishing but wasn't sure which track to take, so the graduate scheme seemed like a good opportunity to explore the options. After the assessment day, I was really keen to work for Cambridge – the staff that interviewed me and that I met during the day were really friendly and welcoming.
The graduate scheme proved to be a really exciting time – we moved around different areas of the business, completing short-term projects and getting to experience a range of roles and teams. I was mainly in our English Language Teaching (ELT) division, but also got the opportunity to work in the central business areas and Academic publishing too. By the time the scheme came to an end, I had a much better sense of my interests and my strengths, and I'd met lots of great colleagues along the way.
Since my graduate scheme ended in 2014, I've been fortunate to hold two really exciting roles here at the Press. First I spent a year in ELT, working in a team that focuses on winning and managing our biggest clients, and adapting our publishing to suit them. Now I have moved across to the Academic publishing department and work as our Author Services Manager, running projects to improve author experience. It's a challenging role with lots to learn but I feel like the graduate scheme prepared me well for the level of responsibility and multitasking required.
If you're thinking about applying to the graduate scheme at the Press, I'd definitely encourage you to do so. It's been a great experience and I feel very grateful to have been a part of it. There is such a huge range of roles in publishing, and the Press is a great place to explore those roles and start your career.


text:
Shrimp Pasta with Broccoli Pesto + Cuisinart Food Processor GIVEAWAY
Do you all sing in the kitchen?
Um, I definitely do. Constantly. (I mean, I named this blog after a song, didn't I??)
Most of the time I'm jamming out to whatever is on Spotify. Or watching Hulu and shedding a few tears to the Parenthood soundtrack (best tv soundtrack ever), or crossing my fingers to hear a Gunnar and Scarlett duet on Nashville (or the ridiculously talented Stella sisters), or feeling All The Feelings with those magical first few notes to the Friday Night Lights theme song (because who doesn't want to hang out in the kitchen with Tim Riggins).
But when I was choppin' broccoli over the weekend for this shrimp pasta with broccoli pesto, I have to confess…
…it was all Dana Carvey in my kitchen, all the way.
Really, let's be honest, choppin' broccoli will always = Dana. Just like banana pancakes = Jack Johnson. And peaches = The Presidents Who Have Way Too Long Of A Name. And cheeseburgers = Jimmy Buffet. (Time for me to write my ode to egg drop soup…) Today, though, I have a new use for choppin' broccoli that I think would make Dana proud. Broccoli pesto.
I was craving pesto this weekend, but basil season is over here and I was wanting to try something new. So I peeked at my friend Kathryne's October Produce Guide and was reminded that these miniature green trees (as I like to think of them) are in season. And then the idea occurred to me — why not toss it into a food processor and make a broccoli pesto?! I had recently been challenged by my friends at EatShrimp to come up with a new shrimp pasta recipe. So since one of my all-time favorite entrees to make is shrimp pasta with pesto (like my Blackened Shrimp with Asparagus-Spinach Pesto recipe), I thought this might be a perfect way to experiment with broccoli pesto.
They had also recently sent me a new Cuisinart Elemental 8-Cup Food Processor to test out before I gave one away on the blog, and I'm happy to say that it pesto-ed the heck out of this broccoli like a charm. I decided to go somewhat classic with the pesto ingredients, adding in fresh broccoli (that I had pre-cooked for about 3 minutes), garlic, toasted pine nuts, freshly-grated Parmesan, lemon juice, salt and pepper.
And then I pureed it into a slightly-chunky pesto. You can make yours completely smooth if you want, but I liked having it just a little chunky in honor of all that broccoli.
Then I tossed it with some simple sauteed shrimp, whole wheat pasta, and then sprinkled on some crushed red pepper, extra pine nuts and parmesan.
And a delicious, seasonal, and very green dinner was served. I had a few friends over for a little pasta party to sample the recipe and get their honest thoughts on the broccoli pesto. And they were big fans! Granted, they all liked broccoli. And this pesto definitely tastes like broccoli. So if you're trying to sneak it past some picky eating kids, there's a good chance they will spy with their little eyes that there is some floret-action happening. But if you're a broccoli-"appreciater" or a broccoli-mega-fan, I'm pretty sure you will completely enjoy this one. The lemon and Parmesan really help to balance and bring out the flavor of the broccoli, and the result is a delicious and hearty pesto that are packed with all of the good-for-you-ness of broccoli. And I must say, the shrimp on top absolutely make the meal. I sprinkled my shrimp with a little extra Parmesan before serving, but frankly I loved how their simple flavor came through just seasoned with salt and pepper in this recipe. The pesto is already full of some strong and complex flavors, so I thought the pairing was perfect.
If you're looking for more great recipes to make with shrimp, pop over and visit the Eat Shrimp on their website, Facebook, and Pinterest where they are sharing even more recipes and prizes this month for shrimp and pasta parties. And also be sure to also scroll below to enter our sweet giveaway below for a chance to win a new Cuisinart food processor of your own. So tap into your inner Dana Carvey and get to choppin' some broccoli, friends!
Shrimp Pasta with Broccoli Pesto
This shrimp pasta recipe is simple to make, and tossed with the most delicious broccoli pesto recipe!
Pasta Ingredients:
- 1 lb. (16 oz.) dried pasta (I used DeLallo whole wheat)
- salt and pepper
- 1 lb. jumbo raw shrimp, peeled and deveined
- 1 tablespoon olive oil
- 1/4 cup toasted pine nuts
- optional toppings: crushed red pepper flakes, extra freshly-grated Parmesan, extra pine nuts
- broccoli pesto (see ingredients below)
Broccoli Pesto Ingredients:
- 2 cups fresh broccoli florets (about 1 bunch or 1 pound)
- 4 cloves garlic, peeled
- 1/2 cup freshly grated Parmesan cheese
- 1/4 cup toasted pine nuts
- 3 tablespoons lemon juice
- 1/2 teaspoon salt (or more to taste)
- 1/8 teaspoon black pepper
- 1/2 cup extra-virgin olive oil
To Make The Pasta:
Cook the pasta in a large pot of generously-salted boiling water al dente according to package instructions.
Meanwhile, season the shrimp on both sides with a few generous pinches of salt and pepper. Heat olive oil in a large saute pan over medium heat. Add shrimp and saute for 5 minutes, turning occasionally, until the shrimp are cooked through and pink and no longer translucent. Turn off the heat, and transfer shrimp to a separate plate and set aside.
When the pasta is al dente, reserve 1/2 cup of the pasta water and then drain the pasta. Return the pasta either to the stockpot where it was cooked, or to the saute pan (with the stove heat turned off). Add the pesto to the pasta, and toss until evenly coated, adding in a bit of the reserved pasta water if needed to thin the pesto. Then stir in the shrimp and pine nuts, and serve immediately sprinkled with optional toppings if desired.
To Make The Pesto:
Fill a separate large saucepan or stockpot with water, and bring to a boil over high heat. Add the broccoli and cook for 2-3 minutes, until the broccoli is bright green and tender. Remove the broccoli with a slotted spoon and transfer to the bowl of the food processor fitted with the blade attachment..
Add the garlic, Parmesan, pine nuts, lemon juice and salt to the food processor, and process until combined. Then, with the motor running, drizzle in the olive oil until it is incorporated. As mentioned above, if the pesto seems too thick, you can add in a bit of pasta water to thin it out once the pesto is tossed with the pasta.
If you make this recipe, be sure to snap a photo and hashtag it #gimmesomeoven. I'd love to see what you cook!
#EatShrimp Cuisinart Food Processor GIVEAWAY
Giveaway Prize: To help you whip up some of your own broccoli pesto, Eat Shrimp and Cuisinart are sponsoring a giveaway for one of our readers to receive a Cuisinart Elemental 8-Cup Food Processor. Some of its features include:
- 350 watts for powerful food prep performance
- 8-cup work bowl with measurement markings
- Reversible shredding and slicing discs – medium to fine
- Stainless steel chopping/mixing/dough blade
- Easy-to-clean, removable parts are dishwasher safe
- BPA free
I love it because it's remarkably quiet for a food processor, it feels really sturdy and durable, and it's backed by the Cuisinart warranty. You'll love it! To Enter The Giveaway: Follow the Rafflecopter instructions below. Winner will be posted on the Rafflecopter widget once he/she has been randomly selected. Best of luck, everyone!
a Rafflecopter giveaway
This is a sponsored post in partnership with Eat Shrimp. It's no secret that I'm a big fan of shrimp, so all opinions are my own and I'm happy to be partnering with them this year. Thanks to them and Cuisinart for sponsoring this giveaway. And thanks to you readers, as always, for supporting the brands which help make this site possible!
Leave a Reply
292 comments on "Shrimp Pasta with Broccoli Pesto + Cuisinart Food Processor GIVEAWAY"
Shrimp alfredo pasta is delicious so I would probably serve that!
Thanks for the giveaway! :]
I would make bacon wrapped shrimp
This looks amazing and I can't wait to make it for dinner one night soon. I've been looking for some more shrimp recipes and this one looks delicious.
Shrimp Pasta with Broccoli Pesto looks delicious will definitely give this a shot next month .. A shrimp recipe i would make for a party is between the classic shrimp cocktail, shrimp boil or curried coconut shrimp balls
I would love to make a hot and cheesy chopped shrimp dip.
This looks wonderful!
I would love to make a lighter but full-of-flavor shrimp alfredo for a party.
I would love to make bacon wrapped barbeque shrimp for a party!
Would it be gross to "healthy it up" a bit by ditching the pine nuts and using some pasta water in place of some of the oil?
I would love to have shrimp cocktail … right now!
I would make gumbo!
I would make bacon wrapped shrimp for a party, though I personally don't like shrimp.
Simple shrimp cocktail
I would love to make shrimp scampi
I'd love regular old bay and beer boiled shrimp with some horseradish cocktail sauce. Yummy
I love to skewer shrimp, dust with chili powder and grill/broil…a generous squirt of lime juice completes the perfect shrimp!
I love to skewer shrimp, dust with chili powder and grill/broil…a generous squirt of lime juice completes the perfect shrimp!
No shrimp for me, but I'd make a shrimp-less shrimp scampi. A local restaurant makes it for me and it's delish. :)
This looks wonderfull; I'd love to try this (or maybe your previous popcorn shrimp, which is still on my list to try)!
Well everything's better wrapped in bacon!
I would love to make any shrimp recipe – unfortunately my husband is highly allergic : (
That looks so very good. I would like to make shrimp scampi for my friends(party), or I might like to just make this. :)
I like to make a hot shrimp & cream cheese dip/spread
Shrimp and grits!
For a party I'd like to make shrimp scampi.
I love making shrimp cocktail (with homemade sauce)
New favorite blog! And I love shrimp! Can't wait to try this recipe out :)
Looks wonderful – with one exception: the shells were left on the shrimp tails. My husband and I have given up ordering shrimp in restaurants, especially in pasta, because removing those useless things is almost as unpleasant as getting a piece of shell in your mouth. Shrimp have only been served this way in the last few years. What is the point? I would never do that to my guests. Is it because deshelling is mechanized now, but the machine can't remove that piece of shell?
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Excited to do this recipe! Im a pesto lover… thanks for sharing the recipe! ?
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text:
b2bcommunicate necesitaba un nuevo diseño de fondo de Twitter y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 36 diseños de 13 diseñadores freelance.
B2B Communications
I've led Business Communications Group LLC, also known as B2B Communications, since 2001.
I am hellbent on providing reliable, ethical advice to the leaders of small B2B companies with big ideas.
Things I hate and things I love about B2B marketing:
- I hate seeing a marketer call themselves a guru
- I hate truisms like "marketing is about building awareness"
- I hate winging it. I try to stay plugged in to the latest industry data about what works and what's a collossal waste when it comes to B2B marketing.
- I love seeing the needle actually move at client companies -- i.e. taking responsibility for driving inbound leads, and then after sound planning and execution, seeing them roll in!
- I love saying "hell no" to tactics like cold calling that involve interrupting or cornering a prospect. Interrupting and cornering is rude.
- I love my teammates and learn something new from them every day.
We are hired as companies' outsourced marketing department. We do anything and everything it takes to improve inbound qualified leads. Clients' websites are always the hub for B2B lead generation. We are systematic in our approach. Our clients typically go to first page of Google results for their long tail keywords within 6 months. Hubspot says we're an Allstar, meaning our B2B websites are among the best at converting, reconverting visitors (ranked against 3k+ other sites).
Target Clients are U.S. or Canada based business to business (B2B) companies with about 10-500 employees
Target functions: CEO, VP/Marketing
Seniority: Owner, Chief X Officer, Vice President
Contact info
LinkedIn, Twitter, Facebook addresses
[And below are ideas for added elements if there's room. Optional to include these. Please see our website for more about the following.]
MarketingSherpa, Hubspot, Salesforce, Element Fusion
Six Marketing Mistakes CEOs Can Avoid >>
Latest stuff at the Red On Marketing Blog >>


text:
Three years before Roald Dahl died, he was stumped by a five-year-old. Like many of his protagonists, Matilda Wormwood was a precocious youngster surrounded by monstrous adults and grotesque peers. But in early drafts of "Matilda," Dahl had painted her as a wicked child who uses telekinesis to fix a horse race, a pursuit that ultimately kills her. Although Dahl was known for archness, even cruelty—remember Violet Beauregarde, in Willy Wonka's factory, blowing up into a huge blueberry—the new book seemed unusually savage. According to Dahl's biographer, Donald Sturrock, his editor was so dismayed by the manuscript that the author, for the first time in his career, had to beg him for a response.
So Dahl scrapped the manuscript and started over. By the time the book was published, in 1988, Matilda had been refashioned into an underdog. Born to a car salesman and a television-obsessed peroxide blonde, she spends her days at the library, teaching herself to read "Nicholas Nickleby." "Her mind was so nimble and she was so quick to learn that her ability should have been obvious even to the most half-witted of parents," Dahl wrote. "But Mr. and Mrs. Wormwood were both so gormless and so wrapped up in their own silly little lives that they failed to notice anything unusual about their daughter."
Two decades later, the Royal Shakespeare Company asked the director Matthew Warchus to stage a musical version of "Matilda." The first step was to find a songwriter. "We kept saying, 'It's about a genius, and there's got to be some genius in the songs,' " Warchus told me. One night, he went to London's Bloomsbury Theatre to see a one-man show by Tim Minchin, a wild-haired Australian comic known for ribald songs, such as "Inflatable You," an ode to a blow-up doll ("I feel permanently fellatable, / Unpoppable, inflatable you"). Misbehavior served light: the perfect match for Dahl.
Watching the show, though, Warchus wasn't sold. "I thought, O.K., well, he's a kind of a lyrical genius, his musicianship is fabulous, and he's got that anarchic, naughty quality—everything's right," he recalled. "But the problem is he can't make people cry." Like Dahl's first draft, Minchin's act lacked heart. Warchus was about to chalk up the evening to a near miss when Minchin came on for his encore, an atheist Christmas carol called "White Wine in the Sun." It begins with Minchin asserting his secular bona fides:
I am hardly religious
I'd rather break bread with Dawkins than Desmond Tutu
To be honest.
And yes, I have all of the usual objections to consumerism,
To the commercialization of an ancient religion,
To the Westernization of a dead Palestinian
Press-ganged into selling PlayStations and beer.
But, by the end, he's imagining his infant daughter, decades in the future, coming home for the holidays. The audience was rapt, and Warchus had found his man. "He's got his own secular kind of fervor," Warchus said. "You tend to think of satire as a substitute for emotion, and he manages to entwine them. And that's why you can enjoy the cleverness and intricacy of his writing and have tears running down your cheeks at the same time, or be laughing helplessly at some goofy, childish reference to boobs or something. It's high and low at the same time."
Adaptations of Dahl tend to be overly perverse (Tim Burton's movie of "Charlie and the Chocolate Factory") or not perverse enough (the 1996 film of "Matilda"). But the version created by Warchus and Minchin, with a book by Dennis Kelly and a fearsome drag performance by Bertie Carvel as the sadistic headmistress Miss Trunchbull, was impeccably stylized. "Matilda" premièred in Stratford-Upon-Avon in late 2010 and transferred to the West End the following fall. (It opens on Broadway, at the Shubert, in mid-April.) The Telegraph called it "the best new British musical since 'Billy Elliot'?" and praised Minchin's "smashing score that combines take-home melodies with delicious lyrical wit." That his word-crammed songs were performed by a cast of grade-schoolers only bolstered the show's appeal. "Matilda" was nominated for ten Olivier Awards and won seven, more than any other show in history, earning it a place in the 2013 edition of Guinness World Records.
Minchin, who is thirty-seven, is a musical satirist in the tradition of Tom Lehrer, whose sarcastic ditties of the Cold War era included "So Long, Mom (A Song for World War III)" and "The Old Dope Peddler." His targets include organized religion (from "The Pope Song": "If you cover for another motherfucker who's a kiddie fucker / Fuck you, you're no better than the motherfucking rapist"), homeopathy, liberal piety ("Take your canvas bags / to the supermarket"), Jesus (a.k.a. "zombie Jew"), and his own sizable ego. A kind of rationalist Russell Brand, he presents himself as a secular gadfly, a voice of sanity in a dismayingly daft world. For his concerts, which sell out ten-thousand-person halls in England, he adopts the guise of a glam-rock diva: bare feet and kohl-smeared eyes, his hair teased into a scarecrow shock.
In America, he draws more of a niche audience: Minchin has become a cult figure for atheists. In March of last year, he appeared in front of twenty thousand people at the National Mall, as part of the inaugural Reason Rally (nicknamed Atheist Woodstock). He chronicled a 2011 cross-country tour for the Observer. In Mesa, Arizona, he wrote, his audience included a woman with "a flashing sign nestled against her pubic bone declaring: ATHEIST." In Washington, a couple who are both biology teachers had flown in from Kentucky to see the show and greeted him afterward in tears, saying their families had disowned them. Not everyone was so welcoming. In Dallas, the company hired to deliver his piano reneged at the last minute, telling the venue in a note to "find a better comedian (not a demon)."
Minchin's stateside reach is growing. This season, he plays a coked-up rock star in the Showtime series "Californication." Jack Black, who performs with the faux-metal guitar duo Tenacious D, asked him to appear in a comedy-rock festival, after seeing him perform at Largo, in Los Angeles. "He was spilling deep truths in a hilarious way," Black said in an e-mail. "No simple task."
One day in January, I met Minchin at J.F.K. He had flown in from London, where he lives with his wife, Sarah, who used to be a social worker, and their two children, Violet and Caspar. A copy of "A Universe from Nothing," by the physicist Lawrence M. Krauss, was poking out of his suitcase. He had a lot on his schedule: in addition to "Matilda" rehearsals, there were meetings for potential projects, including two stage musicals and an animated film for DreamWorks about singing Australian wildlife. "Six years ago, I couldn't fucking get a gig," he said in the car on the way to Manhattan. "Now people are asking me to write everything, because they think there's some magic formula." His right leg had gone numb, so he flung it on the car seat, revealing a polka-dot sock. "Writing musicals is a huge challenge," he went on. "They teeter on a knifepoint of mawkish sentimental rot."
Minchin is coolly analytical, even when dissecting the many things that irk him. He attributes his best songs to l'esprit de l'escalier, the wit of the staircase: that perfect response you think of moments too late. Onstage, introducing one number, he describes an encounter with a dreadlocked surfer named Sam, who insisted that his mother's degenerative eye disease was healed by prayer. Minchin's rebuttal, "Thank You God (For Fixing the Cataracts of Sam's Mum)," is set to a menacing bossa nova:
This story of Sam's has but a single explanation:
A surgical God who digs on magic operations.
No, it couldn't be mistaken attribution of causation
Born of a coincidental temporal correlation.
Minchin's targets may seem like straw men, but his views stem from scientific skepticism, a modern movement whose central tenet is that the world can be explained by means of empirical data. The Skeptics Society, which dates the movement to Martin Gardner's 1952 book "Fads and Fallacies in the Name of Science," describes its membership as "scientists, engineers, physicians, lawyers, professors and teachers, and the intellectually curious from all walks of life." Diehard Skeptics debunk not just religion but quack science, psychics (the medium John Edward is their King Herod), superstitions, and conspiracy theories. Minchin has raised money for medical research, to combat the notion that vaccination causes autism.
At a recent meeting of a subgroup that calls itself Drinking Skeptically, held at a bar in the East Village, I met several Minchin fans, one of whom explained, "Our message can be a little off-putting: You just need to weigh the evidence and you'll come to the right conclusion. It's a little dickish. Comedy makes it go down smoother." Comedians are natural empiricists: by observing the world as it is, they expose the world we collectively fabricate. (Jon Stewart is a Skeptic hero.) Still, Minchin resists being pigeonholed. "The Skeptic community did Tim an ever so slight disservice," the magician (and Skeptic) Penn Jillette says. "While supporting him, they also put him in the role of spokesperson instead of artist."
Nevertheless, Minchin casts much of his comedy in terms of Skeptical jargon. The song about Sam's mother, he made sure to tell me, is an example of Occam's razor, widely understood as the principle that, other things being equal, the simplest explanation is usually the right one. "So there's a light in the sky above your house: it's a U.F.O.!" Minchin said. "But you know that there exist in the world little paper-bag balloons that people light at parties, or there's an airport nearby." Which hypothesis requires fewer assumptions: that Sam's mother was healed by an all-powerful God (who hasn't bothered to cure, say, AIDS in Africa) or that her condition was misdiagnosed?
Minchin's approach is unabashedly didactic (one critic called him out for his "preachy fanaticism"). His less strident material pits logical fallacies against his own life. "If I Didn't Have You," a boy-band parody song dedicated to his wife, refutes the idea of soul mates, citing the statistical probability that each of them could have met other suitable partners: "If I didn't have you, someone else would do." At last year's Hay Festival, he told an audience, "I hope my daughter dies tomorrow in a car crash." He was challenging the concept of tempting fate, but the remark drew gasps. (Sarah, who seems unfazed by the family material, told me, "It's all just sort of cerebral stuff, isn't it?")
Minchin's act borrows heavily from "the big four": Richard Dawkins, Christopher Hitchens, Sam Harris, and the philosopher Daniel Dennett. (Dawkins posts Minchin's videos on his Web site, which has bolstered Minchin's fan base among the pleased-with-itself autodidact set.) "He does ridicule very well, and ridicule is one of the weapons that we need to use against softheadedness," Dawkins told me.
When it came to turning "Matilda" into a musical, Minchin created a pint-size freethinker in his own image. Overlooked by witless adults, Matilda uses brainpower—which builds into telekinesis—to triumph over stupidity. "She wins by being clever," Minchin says.
Like Dahl, the musical's creative team found the title character tricky. "Matilda doesn't have a dream," Warchus told me. "She has a lack in her life, which is harder to articulate." In the book, Minchin says, "she's weirdly passive, until she's not." Several versions of the show were workshopped without Matilda's singing a single song. For the climactic scene, in which she discovers her supernatural abilities, Minchin composed a number called "Magical," then dismissed it as too Disney. After a few more failed attempts, he wrote "Quiet," a dissonant ballad that draws on Matilda's mental turmoil. As Miss Trunchbull berates her, she retreats deep into her thoughts, posing a series of Cartesian questions:
Have you ever wondered, well I have, about how when
I say, say, "red," for example, there's no way of
Knowing if "red" means the same thing in your head as
"Red" means in my head when someone says "red"?
"She's shuffling through what she knows about relative perception," Minchin explained. "What she's trying to say is 'I think I might be different.' " As the music escalates, so does Matilda's cognitive maelstrom, until she is able to tip over a cup of water with her mind.
In early workshops, the cast was all adults, but Warchus wanted what he called the "golden emotion that you get for free" with child actors. One morning, Minchin walked into a sunlit rehearsal studio on Forty-second Street, where a dozen children, who play Matilda's schoolmates, were seated in front of music stands.
"Hello, maggots," Minchin said.
"Hi, Tim!" they answered in unison.
Deborah Abramson, the children's music director, stood at a piano. "Stick out your tongues and write 'Tim Minchin' in cursive," she instructed. The kids obeyed. After they did their exercises, Abramson asked, "Tim, what's your middle name?"
"Ezekiel Francesco," Minchin said. (Actually, it's David.)
"You heard him: Timothy Ezekiel Francesco Minchin," Abramson said, to groans. The children sang the name down a scale. Minchin's lyrics, like Dahl's prose, are dense and macabre, so enunciation is crucial. At Abramson's command, the kids, who are mostly Americans, adopted faultless English accents and sang a song from Act II, "When I Grow Up" ("I will watch cartoons until my eyes go square / and I won't care 'cause I'll be all grown up").
"That was great," Minchin said. "Good timing. Good diction."
They moved on to "Bruce," a comic song about a portly boy who is punished for stealing a piece of cake. The lyrics are suitably lip-smacking, although Minchin's favorite—"You produce, Bruce, fantastically enthusiastic gastric juice"—had been cut.
"Our diction is going to be very precise," Abramson said. "But what part of our bodies are we not going to use for that?"
The children's hands flew up: "Our heads?" "Our necks?"
"We're going to use our bellies," a blond boy said, incorrectly. (You're supposed to use your mouth.)
"You sound like English children," Minchin said afterward. Several kids pumped their fists triumphantly. "I won't have to fire any of you."
He took an elevator down to another rehearsal room. As in the London production, four actresses play the title role in rotation. When casting Matilda, Warchus looked for "the kind of personality that you don't feel pity for." He said, "Matilda's got to make you feel that she could look after you." At the moment, the Broadway Matildas—Milly Shapiro, Sophia Gennusa, Oona Laurence, and Bailey Ryon—were sitting on the floor, practicing multiplication tables. Signs in Magic Marker were taped up on the walls: "Breathing," "Matilda Voice," "English Accents," "Keep the Pressure."
The girls gathered around the piano to sing "Naughty," Matilda's solo from the first act, with Minchin playing jazzy accompaniment. Afterward, an associate director quizzed them: "What do you know about this song?"
"She's gaining confidence," Oona, a ten-year-old from New York, said.
"She's thinking of doing something bad," Sophia (nine, Westchester) added.
Minchin told them that his daughter, who is six, initially had trouble understanding the song. "She would ask, 'Why is she being naughty?' She couldn't get her head around the fact that Matilda was condoning the thing I tell her not to be. I explained that sometimes, if a big person is really mean, the only thing a little person can do is break the rules." The girls nodded: a lesson in moral relativism.
Milly, a ten-year-old Manhattanite with parted yellow hair, asked, "What was the hardest song to write?"
"Miss Honey's song," Minchin said, referring to "My House," sung by the beleaguered teacher who becomes Matilda's confidante. "Because Miss Honey isn't demonstrative—do you know what that means?" The Matildas looked perplexed. "It's someone who demonstrates things. Like, if you were going to write a song for me, it would be easy: 'Hi, I'm Tim!' I'm extroverted. But Miss Honey doesn't say what's on her mind, and neither does Matilda. She keeps to herself."
The girls nodded: a lesson in dramaturgy.
Matilda, Minchin says, is "an avatar for all our ambitions when we're little and powerless. She's perfect in the face of the horrible people around her." Minchin, by contrast, was an imperfect child. By the time he was five, he says, his parents worried that he was "a bit dim." It turned out that he had hearing problems and needed grommets installed in his eardrums. The second of four children, he was pudgy and asthmatic. The family lived in Perth, a kilometre from the Indian Ocean, and Minchin liked to stare into its vastness. To the east was the outback, just as vast and nearly as empty. "People go, 'Is there a sense of isolation?' Well, no," he said. "Because that's the only thing you know when you grow up in Perth. You have nothing to compare it to."
His penchant for logic came from his father, a surgeon. One day, Tim came home from school claiming that his friend, who was also asthmatic, had cured himself by using a special breathing method. "I have a strong memory of my dad saying, 'Well, I guess you'll have to do an experiment and look at the data.' And that would just infuriate me." Though the family was not religious, he attended an Anglican school. During prayers, he would whisper "Fuck you, God" under his breath to see if anything happened. Nothing did.
The family had inherited his great-grandmother's player piano, and the siblings would sing along to "The Jolly Coppersmith" and "Funiculì, Funiculà." Minchin quit piano lessons after the second grade, but his brother Dan, who played guitar, pulled him into rock music in high school. They played the Doors and Deep Purple—anything with a Hammond organ. Dan told me, "It was pretty obvious that he was the one with a performing flair." At the University of Western Australia, Minchin studied English and theatre and began dating Sarah, his future wife. After getting an advanced diploma in music, he waited tables at a beach café and worked with a local children's theatre. At one point, he actually asked the Dahl estate for permission to stage "Matilda" and was asked to submit a score on spec. He said, "It scared me off in an instant, the word 'score.' "
In 2002, he and Sarah moved to Melbourne, where he was hired by a cover band called the Sea Monkeys. He shopped around a demo of original songs, but no one bit. When he did get offers to perform his own material, he usually declined, since the Sea Monkeys took precedence. Sarah, who was paying the bills with her job as a social worker, says, "He was frustrated, seeing people around him do what he wanted to do."
Eventually Minchin fell in with the cabaret scene, playing piano for a chanteuse who sang Edith Piaf and then for an iconoclastic singer-comedian called Eddie Perfect. Minchin envied Perfect: he wanted a stage persona of his own. After a year of dead ends, he booked a room at the Kitten Club for October, 2003, gave the show a title ("Navel: Cerebral Melodies with Umbilical Chords"), "and then shat myself," he says. His next show was "Die Kabaret," whose Weimar-inflected title had a double meaning: death to Piaf. "Eddie and I were trying to do anti-cabaret, where all the songs are original and biting and shocking and perverse," he said. By then a hardened atheist, he picked the low-hanging fruit of religious dogma. From an early song, "Ten Foot Cock and a Few Hundred Virgins": "And when the Lord comes down with his shiny rod of judgment, / He's gonna kick my heathen arse."
Unlike minimalist American standup (Louis C.K.), Australian comedy has a touch of vaudeville (Dame Edna). Minchin was a natural showman. He straightened his hair and back-combed it into a leonine sprawl, and wore heavy eyeliner and frilly shirts, like a "deconstructed classical genius." (Later, in Perth, he played the title role in "Amadeus.") In 2005, he brought a new show, "Dark Side," to the Melbourne International Comedy Festival. On the second-to-last night, a Scottish producer, Karen Koren, caught the show and offered to bring it to the Edinburgh Festival Fringe that summer.
The Edinburgh Festival is an exhibitionist's paradise. Some two thousand shows invade the city each August, and by day the performers take to the streets to hawk their wares. Koren put Minchin in a three-hundred-and-fifty-seat venue and spent the first few nights frantically papering the house. Then a round of positive reviews, including a four-star rave in the Scotsman, brought him overnight notoriety. He won the award for Best Newcomer. "It was like Ricky Gervais's career in a month," he recalled. He got his first taste of backlash when Phil Daoust, writing a one-star pan for the Guardian, called him "a bog-standard stand-up with a silly voice and a few good songs." (Minchin retaliated with "The Song for Phil Daoust": "Everybody sing along, / La la la la la la la. / I hope one of your family members dies.")
His friend Rhian Skirving was filming his every move for a documentary called "Rock n Roll Nerd," which later played in Australian cinemas. Skirving had been following Minchin since 2004, and the film charts his rise from obscurity against the background of his and Sarah's attempts to start a family. Two days before the Edinburgh Festival, Sarah learned that she was pregnant, and the camera captures the couple listening tenderly to each other's heartbeat. Immediately after Edinburgh, Minchin was invited to London to sing in a breast-cancer benefit at the Royal Albert Hall, on a bill with Mariah Carey. Sarah flew back to Melbourne, and a few days later, in London, he received a phone call: she had miscarried. On camera, Minchin hung up and shrank in his chair. Wiping away tears, he invoked not God but Darwin: "Failure to protect is probably pretty—programmed pretty deep."
In the fall of 2006, he and Sarah, who was pregnant again, moved to a flat in London's Crouch End. Minchin had a new agent—the documentary shows his awkward split with Koren—and a DVD deal with Universal. Soon afterward, he made his West End début and toured Australia, this time in thousand-seat venues. His show "Ready for This" was filmed live in 2009 at the Hammersmith Apollo. Minchin's inflating production values belied his "failed rock star" shtick, but his dry demeanor undercut the grandiosity. In 2010, he toured with the fifty-five-piece Heritage Orchestra. As the lights came up, he sang, "Nothing ruins comedy like arenas."
In March, as "Matilda" went into previews, Minchin returned to New York. On a whim, he had booked two nights at the theatre-district cabaret space 54 Below, and they sold out in hours. For both gigs, he was jet-lagged. "I've had so little sleep," he said in his dressing room one night. "I'm completely fucked."
That evening, he had watched a dress rehearsal of "Matilda." "I met the band and listened to the new string parts," he said. "There's some sort of anthropological rule about history being defined by the mood of the person you talk to about it. If you'd asked me this morning, I'd have been buzzing. I got up and went out for a run around Central Park in the blue spring air and was just, like, This is my town, man!"
His assistant, Grizzly, came in with four Red Bulls. "Last night was one of my favorite live experiences I've had in the past year," Minchin said. The adult cast of "Matilda" had been in the audience, and as an encore they had done an impromptu sing-along of "When I Grow Up." Minchin fluffed his hair with his fingers. "I'm feeling good about comedy this week," he said. "We should be able to be self-sufficient and not need praise, but it's just utter human nature, isn't it?"
He drew on eyeliner and continued, "Any performer who claims they weren't motivated by the love of applause is lying." He imagined himself on a bell curve of neediness: "If the x-axis goes from not requiring any affirmation to requiring a lot, I'd be slightly on the right at the top of the curve. I suppose." He looked in the mirror. "All humans are solipsists," he said, and quoted from his act: "My last words are going to be 'Who's the world going to revolve around now?' "
Downstairs, the crowd was a mixture of theatre people, including Audra McDonald, and what Minchin calls his "world-view fans." One of them, Dena Ricketts, a Dungeons & Dragons enthusiast with blue highlights, described herself as a lapsed Catholic from Arizona. "It's almost like an out-and-proud movement for atheists," she said, looking around. By the time Minchin, in a black T-shirt and jeans, sat down at the piano, his fatigue had evaporated. "This is a song about prejudice," he announced, vamping. "I write a lot about language. Basically, my shows are like going to a semantics lecture."
In concert, Minchin plays a heightened version of himself: a smart-ass who knows he's right and knows that knowing he's right makes him a smart-ass. In "Prejudice," he leads the audience into believing he's about to use the N-word ("A couple of Gs, an R and an E, an I and an N") and then pulls a fakeout: "Only a ginger can call another ginger ginger." He gets the surprise, the absurdist commentary on racial politics, the moral loophole, and the laugh.
After a few songs, Minchin stood at the microphone. "This is a poem what I wrote," he said as a jazz loop played. The piece is a nine-minute beat poem called "Storm," after a hippie-ish woman whom Minchin met at a London dinner party. Over Cabernet Sauvignon, Storm declared that "the human body is a mystery" and casually extolled holistic medicine. In real life, Minchin held his tongue. Onstage, he delivers a stinging retort: "Science adjusts its views based on what's observed. / Faith is the denial of observation so that belief can be preserved." By the end, the rant has turned into a reverie:
Isn't this enough?
Just this world?
Just this beautiful, complex
Wonderfully unfathomable, natural world?
How does it so fail to hold our attention
That we have to diminish it with the invention
Of cheap, man-made myths and monsters?
Weeks earlier, Minchin had told me that he considers his world view "romantic," a common sentiment among Skeptics, who are often mistaken for killjoys. "I'm quite optimistic about human nature," he said. "I get along with pretty much everyone I meet." ♦


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A whole roasted chicken is a supermarket staple that a hungry family of four might wipe out in one dinner. But two people can stretch a 2- to 4-pound bird — into a second — or even a third meal.
Here's a three-step solution for three meals for two people:
Meal 1:
Carve the chicken, removing legs and thighs and slicing the breast meat. Serve portions with a potato or pasta (or other grain) plus a half plate of vegetables.
Toss salad greens with mushrooms, tomatoes, onions. Cut carrots into thin sticks, steam slightly, then add sliced yellow onions, splash of olive oil, pinch of rosemary. Cook until vegetables begin to caramelize. Refrigerate remaining meat and carcass.
Meal 2:
Remove remaining meat from carcass. Refrigerate (or freeze). Use it to make an Asian-inspired stir fry, or pair it with tomato-flavored rice. Fill out the meal with vegetables.
Meal 3
: Put carcass in a pot with water to cover. Add a quartered onion, celery tops, carrot, peppercorns and pinch of salt; parsley and garlic if you like. Simmer 1 1/2 to 2 hours. Strain broth; discard carcass and vegetables. Cool broth; refrigerate (or freeze).
Skim off fat. Heat broth with chunks of carrots and celery until tender. Add peas and a small pasta such as orzo; cook to al dente. Top with grated Parmesan cheese. Serve with a salad and chunks of hot garlic bread.