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My Alaska Experience
by Matt Cohen
I wanted to go on this Alaska cruise right from the start, for I had never been to such a faraway place. My mom picked Celebrity Cruise Lines because me, my mom and dad, and my two grandparents had been on the Horizon when I was only two, and they had enjoyed it.
I imagined the trip would be exciting, something new to experience (I did not remember the Horizon) and to enjoy. I imagined the ship very big, with lots of dining rooms and lots of art, pools and small rooms, lots of people and five-star service.
When we landed in Vancouver, I saw lots of tall buildings and a great view of the water. Our hotel was very nice and one night we went to Planet Hollywood.
When I saw the Galaxy, I was dazzled by its size. I saw 12 stories of windows and bright colors. We first went into our cabin, a comfortable little room with a bathroom and two sets of colorful bunk beds that fold. A great view of the water was at the back of the room. I thought, "Nice and comfortable!"
Then we explored the entire ship together. We visited every deck, from top to bottom. We went through every dining room and to every pool. I noticed lots of artwork and colorful rugs. There were at least 12 bars and lots of lobbies.
There was a Stratosphere Lounge for looking out and a big dining room called Orion restaurant with stars on the ceiling. The Oasis Cafe always had big buffets and Oasis Grill always had hot dogs, hamburgers and ice cream at lunch.
There was a place where grown-ups would try wines and pastries called Tastings, a library, a spa and a large casino. That was basically it except for the Celebrity Theater. My favorite places were the theater and the Oasis indoor pool. I also enjoyed running up and down the stairs, trying to beat my little brother to our destination.
Orion restaurant was extremely large, with bright carpeting. It was two stories high, and at dinner, you were assigned a table, so you got to know the waiters quite well. It was a very nice dining room from my perspective, very cozy and relaxing.
The menus were full of all sorts of food, with sections for every course. There was a menu for kids and a menu for adults. The kids' menu was full of everything kids love to eat, such as hot dogs, cheeseburgers and fish 'n' chips. It's a kids' paradise.
The adult menus were filled with all sorts of food and beverages from around the world. First you would get your appetizer and salad, not to mention lots of bread and your beverage. By the time you got your main course, you were stuffed! I ordered my appetizer and salad from the adult menu and my main course from whichever one sounded best. Usually I ordered dessert from the adult menu, but it was fun to have a choice. The food is really good and you get to try things you don't have at home.
The kids' program was full of kids of all ages. There was a kids' program so adults could do what they wanted to do. The groups went by age. The youngest kids were called the Shipmates and were always in the Fun Factory, a colorful room for them to hang out in. The Cadets were from ages 7�10 and met in the Teen Disco. The teens were all together too.
What I liked in the Cadets was playing video games in the Fun Factory and watching movies. I also liked to go on scavenger hunts all over the ship. What I didn't like was playing bingo. The counselors were nice people, always trying to help.
When we weren't eating, swimming or at the kids' program, we got to visit Alaska. One of my favorite thing to do was walking through all the towns and cities we stopped at, just to see how other people lived. Even the shops were interesting. I really like the totem poles and seeing how they are carved. We went to a totem pole park and the guide explained the history of each pole and what it represented.
My favorite excursion was when we took a narrow gauge train ride into the Klondike to see how the miners during the Gold Rush had to reach the gold fields. I liked looking at the landscapes with the big mountains. We even had a chance to pan for gold, listen to stories about the Gold Rush Days and taste some of the foods they used to eat.
One of the most unusual excursions we took was a helicopter ride onto the Mendenhall Glacier in Juneau. The tour guide explained how a glacier moves. We stood on top and looked down into very deep crevices.
The scenery, especially the mountains covered with snow, was really cool. When I was back in school, I had to pick a subject for a science report, and I chose the subject of glaciers because I was able to tell about it from experience.
There are lots of great reasons why kids love cruising. You get to go to exciting places you've never been to before and you remember them forever. You get to share your experiences with your family, and you have fun exploring such a big new place. If you go on a cruise once, believe me, you'll want to go again!


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The American Family Association's Bryan Fischer has sunk to a new, disturbing low with his anti-gay statements. In two separate tweets last night, he called for an "Underground Railroad to deliver innocent children from same-sex households." In one tweet he was referring to the sad story of Lisa Miller, who, after declaring herself ex-gay, kidnapped her daughter away to Central America to prevent her former partner from having any custody. (She is still being tracked by federal agents as a fugitive of the law.)
In the other tweet, Fischer referred to the testimony of a individual named Robert Oscar Lopez, who blames all of his social problems on being raised by his mom and her lesbian partner. Here's a sampling:
Inside, however, I was confused. When your home life is so drastically different from everyone around you, in a fundamental way striking at basic physical relations, you grow up weird. I have no mental health disorders or biological conditions. I just grew up in a house so unusual that I was destined to exist as a social outcast.[…]
Life is hard when you are strange. Even now, I have very few friends and often feel as though I do not understand people because of the unspoken gender cues that everyone around me, even gays raised in traditional homes, takes for granted. Though I am hard-working and a quick learner, I have trouble in professional settings because co-workers find me bizarre.
Perhaps unfamiliar with the concepts of self-fulfilling prophesies and internalized homophobia, this man's odd testimony seems to attack gay parenting merely because he believes his bisexual mother's decision to live with a woman made it a struggle for him to identify as bisexual himself. Unlike his mother, his preference seems to be to conform to heteronormative society, and he feels unable to do that because he feels he wasn't properly conditioned by archaic gender stereotypes. Given the added incentive to defend Mark Regnerus' "bullshit" faulty study attacking gay parenting, he is clearly trying to pin his panoply of personal problems on his mother (and all same-sex parents as a result.) His story is not a valid representation of anything except his own unique perception of the world.
And yet, Bryan Fischer believes it to be the perfect example of why the children of same-sex parents should be kidnapped away for their protection — that they are the equivalent of slaves who need to be rescued. This is incredibly dangerous rhetoric that has the potential to do great harm. How much destruction could self-declared "Harriet Tubmans" do to same-sex families, motivated by Fischer's claims? More than ever, the "culture war" is a direct attack on the lives of LGBT and their families.
This afternoon, Fischer doubled down, referring to the court's custody rulings as "judicial kidnapping."

subset: commoncrawl


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I'm a big fan of Google Docs for SME, having used it for two years in my current company, set it up for a startup project, and recommending it to folks starting a business.
While it takes away much of the pain and cost of providing these services locally, there is the nagging issue of not having a comprehensive 3rd party disaster recovery system in place. This was highlighted to me by a recent blog post from e1lven.com titled Why no company that values their data should EVER "Go Google".
Google has a couple of stop gap, partial measures (like automatic forwarding of emails to another address). But there does not seem any native-Google approach to backup Google Apps data.


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Miranda Lambert and Carrie Underwood performed their duet "Something Bad" live for the first time on Sunday at the Billboard Music Awards, and it was amazing. There was fire, leather, and windblown hair, plus two pairs of seriously dangerous-looking high-heeled booties. Basically, it was Nashville come to life.
See All the Looks From the 2014 Billboard Music Awards
J.Lo, Pitbull, and His Bulge Perform World Cup Song for the First Time
See Ariana Grande Kill It at the 2014 Billboard Music Awards
Follow Eliza on Twitter.
Photo credit: Getty Images


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MECHANICSVILLE, Iowa--(BUSINESS WIRE)--Bridge Community Bank today announced it will be the country's first financial institution to adopt the TASCET Financial ICONN™, a proprietary privacy solution that will streamline the bank's physical and online customer identification and identity verification processes.
Beginning in early 2013, both current and new account holders will be able to request a Financial ICONN at each of the bank's locations in the cities of Mount Vernon, Solon and Mechanicsville, Iowa. Each branch will be equipped with TASCET's ICONN system that will enable customers to secure their identity and receive the highest level of transaction privacy and convenience available in the banking industry today.
"Protecting our customers' identities and assets is always our number one priority," said Bob Steen, CEO of Bridge Community Bank. "TASCET's Financial ICONN puts protection tools in place in the branch offices as well as in mobile transactions and peer-to-peer payments. The Financial ICONN approach eliminates many of the hurdles associated with identity. At the end of the day, both the consumer and the bank have the highest degree of confidence in knowing who is on each end of the transaction."
To activate a Financial ICONN, a customer simply provides the bank with his or her name, address, date and country of birth and gender along with two Fingerproofs™ and a Faceproof™. This information is processed by TASCET's proprietary Identity Infrastructure™ to identify the customer. Once uniquely identified, the customer activates a Financial ICONN, a digital representation of their identity. ICONN facilitates the rapid and accurate verification of the customer's identity in all future transactions.
Unlike conventional account security and look-up methods that rely on Social Security numbers, driver licenses, PINS or passwords that are highly vulnerable to forgery and theft, Bridge Community Bank will protect its customers' identities and transactions through a TASCET-issued Financial Security Number™ (FSN) that is unique to each customer and incorporated into their account.
In addition, the FSN will serve to strengthen the bank's compliance with anti-money laundering (AML), Know Your Customer (KYC) and Bank Secrecy Act (BSA) regulations and sets the foundation for securing mobile transactions.
"Bridge Community Bank has a history of embracing new technologies in the interest of their customers' financial safety and the future of banking," said Larry Aubol, CEO of TASCET. "This is a prime example of new technology driving significant improvements in both consumer safety and industry efficiency."
Prior to the rollout of TASCET's Financial ICONN, Bridge Community Bank will launch an awareness campaign targeted for its customers that will highlight the importance of securing their identity with the TASCET activation process.
About Bridge Community Bank
Bridge Community Bank is an employee-owned commercial bank with three locations in Mechanicsville, Mount Vernon and Solon, Iowa. The bank provides a wide range of financial services to both consumers and businesses including checking and savings, business banking, online and mobile banking as well as business/agriculture, home, personal and auto loans. For more information, visit www.bankatbridge.com.
About TASCET
TASCET created the Identity Infrastructure™, the first cross-industry platform and only end-to-end digital identification and verification solution that addresses business and consumer privacy and identity requirements. TASCET's identification and privacy solutions are currently available to organizations in the financial services, healthcare, cyber and government sectors. Based in Madison, Wisconsin, TASCET does not data mine, sell its clients' information or monitor its clients' customers' transactions. Visit www.tascet.com for more information.


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Once the center of a mighty empire, the Portuguese capital was nearly wiped out in the 18th century, only to rise again and establish itself as one of Europe's most beguiling cities, rich in beauty, grace and melancholy
Author Chris Wright Photography Pedro Guimaraes
DAY ONE | The story of Lisbon is written in its skyline. You see this from the balcony of your room at the Four Seasons Hotel Ritz: the blocky architecture of the Estado Novo dictatorship that ruled here for part of the 20th century; the exuberant avenues of the post-earthquake Baixa district; the old russet-roofed neighborhoods that tumble over the city's seven hills; and, in the distance, the Tagus River, source of Portugal's former status as a global power.
It's fitting, then, that you should begin your stay here with a trip to Belém, a riverside district full of architecture erected to trumpet the power and prestige of the Portuguese navy, circa 1500. Ten minutes after hopping into a cab, you find yourself admiring this sprawling celebration of God and country, but also eyeing the façade of Pastéis de Belém. The bakery's signature confection, pastel de nata, is madly delicious—you could say it's a custard tart, but that would be like saying Beluga caviar is fish eggs. You eat five.
The highlight of Belém is Jerónimos Monastery, a looming 16th-century hermitage built in the Manueline style, a local twist on Gothic grandiosity that employs nautical motifs: ropes and martyrs, seaweed and stained glass. You step inside its chapel—the vaulted interior pitted with age, the air thick with the scent of damp mortar—before exploring the warren of cloisters, refectories and confessionals. The monastery leaves you feeling peaceful, even joyful—which, you imagine, is what its architects were aiming for.
Next, you cab it to a very different riverfront destination: Bica do Sapato, near the Santa Apolónia cruise terminal downtown. This restaurant, part-owned by John Malkovich, comes off like a pop art installation— a geometric assemblage of mod furniture and baubly lights. The food, too, pushes the boundaries of ingenuity (spider crab cream?). You try the roasted black sausage to start and a rustic rabbit pie for the main, washed down with a glass of Portuguese red. It's like you've been fed by a farmer's wife, albeit one deserving of a Michelin star or two. Smashing.
A short hike through the squiggle of the Alfama district leads to the fortresslike Lisbon Cathedral. In the cloister of this medieval monolith—beyond the vaulted ceilings and the enormous rose window—there's an archaeological site, a hole in the ground revealing Roman steps and Moorish walls. The main body of the church echoes with the hushed appreciation of a hundred tourists, but back here you are alone, bathed in a yellowish light, a solitary pigeon fluttering among the ruins. You stand for a while, staring at these fragments of forgotten lives, before getting spooked and retreating.
You dine tonight at the Four Seasons' Varanda, ordering lobster with seafood emulsion, shrimp on basmati rice and beef tenderloin. The shrimp are shipped in from Mozambique, where they are said to be particularly pure, and this fact sums up what's special about the restaurant: an apparent effortlessness that masks extreme effort. Afterward, in bed, in that narcotic stretch between wakefulness and sleep, you move through gloomy passages, watched by ghosts and centaurs, which is more pleasant than it sounds.
Great three days. Only the fine dining restaurants are wrong. The three best in town are Belcato, Assinatura and Bocca
Thank you so much Chris,
I really enjoyed reading your article about Lisbon. You made me to revisit places that I have been in this lovely city and you made me to want to discover the ones that I missed. I am from Brazil. Have you wrote anything about our cities?
Kind Regards,
Cristina Cavoto
I had read your article on one of my flights and taken the magazine home. Many moons later, I was able to finally come to Lisbon – I had a head-start through your lovely writings…. good work – I wish I could pack in as much as you did – but I had a great time.


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Use the Green Pages: Reuse and Recycling Directory to find outlets for items no longer needed.
The Agency continues to provide seasonal Document Destruction Events for residents.
SWANCC offers weekly drop-off locations for electronics and one-day collection events.
SWANCC provides weekly drop-off locations for unused pharmaceuticals and sharps.
SWANCC offers several options to be informed of upcoming collection events and information for educators, organizations and businesses.
Contact SWANCC with your recycling and
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Current Role at Stanford
Regulatory Specialist at Stanford CCTO
Education & Certifications
B.A., Northwestern University, Chemistry; Biological Sciences (2004)
PhD, Stanford University, Chemical & Systems Biology (2012)
Regulatory Specialist at Stanford CCTO
The ability to regulate protein levels in live cells is crucial to understanding protein function. In the interest of advancing the tool set for protein perturbation, we developed a protein destabilizing domain (DD) that can confer its instability to a fused protein of interest. This destabilization and consequent degradation can be rescued in a reversible and dose-dependent manner with the addition of a small molecule that is specific for the DD, Shield-1. Proteins encounter different local protein quality control (QC) machinery when targeted to cellular compartments such as the mitochondrial matrix or endoplasmic reticulum (ER). These varied environments could have profound effects on the levels and regulation of the cytoplasmically derived DD. Here we show that DD fusions in the cytoplasm or nucleus can be efficiently degraded in mammalian cells; however, targeting fusions to the mitochondrial matrix or ER lumen leads to accumulation even in the absence of Shield-1. Additionally, we characterize the behavior of the DD with perturbants that modulate protein production, degradation, and local protein QC machinery. Chemical induction of the unfolded protein response in the ER results in decreased levels of an ER-targeted DD indicating the sensitivity of the DD to the degradation environment. These data reinforce that DD is an effective tool for protein perturbation, show that the local QC machinery affects levels of the DD, and suggest that the DD may be a useful probe for monitoring protein quality control machinery.
View details for DOI 10.1371/journal.pone.0043297
View details for Web of Science ID 000308738500009
View details for PubMedID 22984418
View details for PubMedCentralID PMC3440426
Cellular maintenance of protein homeostasis is essential for normal cellular function. The ubiquitin-proteasome system (UPS) plays a central role in processing cellular proteins destined for degradation, but little is currently known about how misfolded cytosolic proteins are recognized by protein quality control machinery and targeted to the UPS for degradation in mammalian cells. Destabilizing domains (DDs) are small protein domains that are unstable and degraded in the absence of ligand, but whose stability is rescued by binding to a high affinity cell-permeable ligand. In the work presented here, we investigate the biophysical properties and cellular fates of a panel of FKBP12 mutants displaying a range of stabilities when expressed in mammalian cells. Our findings correlate observed cellular instability to both the propensity of the protein domain to unfold in vitro and the extent of ubiquitination of the protein in the non-permissive (ligand-free) state. We propose a model in which removal of stabilizing ligand causes the DD to unfold and be rapidly ubiquitinated by the UPS for degradation at the proteasome. The conditional nature of DD stability allows a rapid and non-perturbing switch from stable protein to unstable UPS substrate unlike other methods currently used to interrogate protein quality control, providing tunable control of degradation rates.
View details for DOI 10.1074/jbc.M111.264101
View details for Web of Science ID 000294487500028
View details for PubMedID 21768107
View details for PubMedCentralID PMC3173072
View details for DOI 10.1101/pdb.prot5172
View details for PubMedID 20147107
View details for PubMedCentralID PMC3213858


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ddsp necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 53 diseños de 10 diseñadores freelance.
We have a luxury tropical complex including a grand villa and several houses on the Caribbean ocean.
Located in Akumal, Mexico, on the Rivera Maya, this is a unique place for weddings and other groups. While we have been promoting our properties for vacations for some time, we are now also promoting ourselves as the perfect Destination Wedding.
We are using a separate web site and want a different look for our wedding promotions: weddings are expensive and we want to show that we are serious professionals who desire to provide whatever is needed, from informal ceremonies to large gala celebrations,
BRIDES (and their mothers).
Final version should be in vector format: either PaintShop .psp or Print Shop .psd.
We are under time pressure to get a logo to make a print deadline in Destination Weddings magazine (web site http://www.destinationweddingmag.com ).
We are a tropical destination, so colors should be appropriate. We have a preliminary color palette of tropical colors on our web page (http://www.WeddingsAkumal.com), but we are not "stuck" on these specific colors. --- YES, I know the site is crude and needs a redesign. We will probably do that in a future contest, for now we need to concentrate on the Logo.
Key concepts: Tropical, Destination Wedding, Private Complex, Luxury.
Professional, attractive, enticing. I am not a design expert so use your imagination.
PS: Our main rental web site is also in need of a redesign, but is working for now: http://www.VillaAkumal.com. Because Akumal means "place of the turtle" in Maya, our new logo for the rental sites is a turtle (see attachment). Although we are happy with it for rentals, we do not want to use it for the weddings site as it is funky (based on a tattoo) and does not express the professional look we want.
AMENDMENT: My family disagrees with me and thinks that a wedding theme based o our existing turtle logo might be best as it would tie in two web sites. (10/19/2009)
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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512banque necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 34 diseños de 10 diseñadores freelance.
We want some logo and website layout design for a french website which goal is to inventory all the mosques, muslim shops and halal places in France.
Its name is "le guide musulman".
This means "the muslim guide".
I don't know if it's the same in English, but the cool thing about this name is that a "guide" (in french) can be a service (i.e. yellow pages) or a person (it means the same as "leader"). That's why it can have a very strong identity : "you need something bro ? Simply ask the muslim guide !".
The big big service is that wherever you are in France, you simply send a text message with your mobile phone, and you instantly get the address of the closest mosque. The SMS is almost free (you only pay your first message as a normal message, but come on, that's a normal thing !).
Le guide musulman
This is what we want for the logo :
No animal orhuman being. If the logo is going to be print on t shirts for example,I don't want to leave my t shirt everytime I pray !
Anyway, we don't want living beings except trees etc.
We worked over the idea of the compass. It sounds good because there isthe idea of the qibla you are looking for everytime you pray, so youneed a guide, and that's why we come with the "muslim guide" to helpyou in your 'ibada (http://quranicteachings.co.uk/ibada.htm).
We want some fresh, young and clean logo, like a vectorial one ina pure web 2.0 style. What I mean by "web 2.0" is some glossy/crystaleffect, and some curves. But it's open and free.Here you have some ideas we've been working on, some pictures we have chosen.http://membres.lycos.fr/nguilbert/boussole.htmThis one is great, it's almost what we're looking for, but it'stoo static. If this was in a perspective 3D way, it would be better.
Like this for example : http://www.hypnose-gp.de/WandelGest…age010.jpg
Orthis :http://tbn3.google.com/images?q=tbn:RU1T-Fzn-tKxgM:http://www.deviantart.com/download/87547903/Kompass_C4D_1440x900_by_knorke.jpg
Thisone is pretty ancient and has some flourish effects, and that's cool(but not in 3D !) :http://www.inioe.com/image/070711_kompass_espagnol_sch.jpg
This oneis very classic :http://www2.istockphoto.com/file_thumbview_approve/637933/2/istockphoto_637933-compass-vector-old-look-with-windrose.jpgWe absolutely want a link with the mobileaspect (I remind you that we bring a very powerful service based onSMS)... maybe some waves like in the wi-fi icons ? I don't know, justgive ideas..
The color of the layout
We want something "green" obviously. It has to be very obious that it's an islamic website.
What would be great according to me, is a logo in some golden colors, and a layout in green colors. These two
The structure :
This is what we have ATM : http://www.oummannuaire.com
And this is the new version with the data which is going to be put : http://easycaptures.com/2014845418
So please, create a layout which is data-centered, not something withhuge palm trees in the middle of the screen, and beautifulcalligraphies, but impossible to work with.
- Website Layout
- Green colors
- Fixed width
- For the design, I would like the same structure as the website now :
left menu, content in the center, right menu.
On top, the banner with some space for ads.
- Logo
- Glossy/crystal effect
- Dynamism
- We absolutely want a link with the mobileaspect
- Website Layout
- A portfolio or something you can not put data in it
- Logo
- Animal, humain beings
- Something too serious : we want to stay in the "feedburner" spirit


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Several good friends of mine work as Chicago Public School teachers, and as the strike continues this week, I can't help but point out it seems like Chicago's great at coughing up money for Olympic bids, NATO summits, and TIFF slush funds, but pay a public school teacher for the extra time she's being asked to work? There's just no money in the budget! Times are hard!
Yet more importantly Chicago's situation speaks to the systemic failure of American education, the bipartisan de-revolution, which is totally obvious, empirically proven, and taboo to speak of.
From Bush's No Child Left Behind to Obama's Race to the Top, there has been consensus that we need to introduce innovation into education, that if schools are failing, it's the fault of the educators, and that we should introduce reforms such as merit pay to make sure teachers don't suck. Charter schools, Chicago is told, are the answer.
Now take the example of my friend Jenna (not her real name), who teaches at a Chicago public elementary school where she has 32 kids in a class. Another teacher in her school has 40 students, yet the school board is still thinking of eliminating a teaching position because the school is three kids short of its enrollment goal, at which point, a month into school, they'll have to reorganize every classroom with even larger class sizes. Jenna is a general ed teacher who spends basically the entire day overseeing her class. There's no librarian at this school, no music teacher, and only a part-time art teacher, a part-time social worker, and a part-time nurse. Jenna has a kid with severe allergies, to whom she's expected to administer an epi pen even though she's not certified for this.
"This is a huge liability," she said. "People think this is about money, it's not about money. We're being asked to teach a longer school day, but it's the quality of the school day, not the length. It's the learning conditions. You have kids sitting around in 110 degree classrooms. We have kids with speech disabilities who see a speech pathologist fifteen minutes a week. I mean, that's how much time they spend walking to class."
Yet the nearby charter school has what's called "selective enrollment," which means if a kid misbehaves they can kick him out and off he goes to Jenna's school. Public schools, of course, have to accept every student. Every time you hear of a charter school touting its unbelievable results, just remember this: Their primary "innovation" is that they don't have to take the kids who can't hack it. It's that simple.
"If I could hand select my kids, of course it would make me look like a fantastic teacher," said Jenna. "But that's not public education."
So our public schools with the fewest resources, under constant attack from even the Democratic Party, are then burdened by carrying the city's entire load of troubled, at-risk youth. The hardest kids to teach, who need the most help, who sometimes don't even show up to their un-air conditioned school with a bowl of cereal in their stomachs, all end up in the same pool. You don't need to be George Akerlof to understand that this kind of selection will produce fairly terrible educational results in the schools getting all of the most troubled kids.
Meanwhile, the suggested improvements range from the well-meaning to the totally insipid. Organizations like Teach for America, which attempt to get bright college grads to teach in the toughest communities, are merely stop-gap measures. Researchers keep screaming that merit pay, based on teaching evaluations that rely on test scores, is basically about as scientific as alchemy. If you have 32 kids in a classroom, as Jenna does, wouldn't it make far more sense to spend the money you're going to blow on the 95th standardized test of the year on—oh, I don't know—a second goddamned teacher?
However, this phenomenon extends across the country. It turns out "competition" in education inevitably means a good-quality education for some and a race to the bottom for the rest. Wealthy parents spend tens if not hundreds of thousands of dollars on private schools and tutors. Middle class parents flee to the suburbs to get their kids into a good school district. And as soon as that happens to a neighborhood or city, public education collapses (property tax-funded education being a very obvious way to perpetuate inequality and keep a robust underclass).
I spent some time in Macon, Georgia, where my friend pointed to a public school that the city had built in an affluent, white neighborhood in hopes that affluent, white parents would send their kids there. Every parent of any means in Macon sends his child to private school, and of course, none of them saw a reason to go back to public school. Instead, now the school busses in poor black kids from the other side of the city. The Georgia public school system is such a decaying mess that the irony of dragging the children of the working poor on forty minute tours of how their peers live only to spend the rest of the day in a segregated school probably goes largely unnoticed.
Though sometimes in less stark terms, this same situation exists more or less everywhere in America. Which brings us to the story of Finland.
Finland, it turns out, has one of the best education systems in the world according to the Organization for Economic Co-operation and Development (OECD), and it doesn't have to get those results by forcing students into the insane rote memorization-style learning of Asian countries that leads some to suicide. Of course education reformers then all head to Finland to see how those crazy Fins managed this, and after all the gnashing of teeth about "teacher accountability", there's one obvious conclusion that American policymakers can't even acknowledge: there are no private schools in Finland.
Pasi Sahlberg, director of the Finnish Ministry of Education's Center for International Mobility, makes this point all the time, and it's remarkable and kind of hilarious to hear how we have taken everything the Finnish have learned and are doing the exact opposite. We are trying to pay teacher's less and pit schools against each other in the hopes that competition will somehow lead overworked, underpaid public school teachers to perform miracles that erase America's gaping economic inequality. And while proponents may certainly be able to point to limited pieces of data that seem to support increased testing or school vouchers, the inevitable outcome of any market system is that there are losers. In this case, the losers will be poor, troubled kids who need the most from their education, and who will end up costing taxpayers far more when they're in prison.
Or as my friend James put it when he pointed me to Sahlberg's work, "Basically, all he's pointing out is the very obvious fact that Finland funds its education system like they want all their kids to be educated while Americans fund their education system like a bunch of self-interested bigots."
So you want to do something radical about education? Federalize education spending. Give every school the same amount of money for each student whether she grows up in rural Alabama, Mount Vernon, Ohio, or the Ravenswood neighborhood of Chicago. Finland didn't start out by trying to create the greatest education system in the world, they simply decided they wanted every child to have equal access, and by pursuing equality rather than excellence they inadvertently created the world's finest school system.
Inevitably, people point out that Finland has a more homogenous population and that the scales are vastly different, which is true. Yet it doesn't change the fact that what Chicago and many other cities are doing is creating a two-tiered system that leaves the worst-off even farther behind and then trying to pin the blame on teachers. People like Chicago's James Warren, who have fallen into the grip of the totally vapid conventional wisdom that we must "hold teachers accountable", would do well to look at some of Sahlberg's additional insights that are stupidly obvious, yet are also taboo for Americans to speak of.
Sahlberg writes, "All children in Finland have, by law, access to childcare, comprehensive health care, and pre-school in their own communities."
Whoa! Slow down there, Trotsky! That's just crazy. How could sending a kid to school with an untreated ear infection, who hasn't even eaten yet that day, possibly affect his learning? And so what if the single mother with three jobs still can't afford a babysitter? That's not the government's responsibility!
And here's where Sahlberg gets downright nutty. According to him the Finnish government invests 30 times more money in the professional development of teachers than it does on testing students:
"Finns have taken teachers and teaching seriously by requiring that all teachers must be well trained in academic universities. All teachers should enjoy professional autonomy and public trust in their work. As a consequence, teaching has been a popular career choice among young Finns for three decades now."
Wait, so you mean if we don't treat teachers like shit, it will attract smart, hard-working people to the field? Revolutionary! I thought maybe if we just ridiculed them on Fox News and blamed the entirety of the inequity of our school systems on how lazy they are, they would just shut the f*** up and finally teach malnourished kids how to overcome their desperate poverty!
Chicago's teachers may yet prevail in this dispute, but the underlying ethos of American education "reform" will march on, a slow but steady de-revolution that is ensuring inequality, poor educational outcomes and will eventually erode the middle class as those families spend more and more money to get their kids out of failing public schools. Our political leaders' slavish devotion to the idea that markets and competition can improve education may result in individual victories: certain low-income students may receive better educations at a charter school, but similarly not every sub-prime mortgage resulted in foreclosure. Policies that degrade public schools are leading to a systemic failure in our education system.
"We've been flipped off, people have screamed at us," said Jenna of marching downtown. "They're trying to turn the parents against us. People need to know that this is not fun for us, that this is really hard on teachers, who care about our kids. None of us came into teaching for money. It's not about that. We're out on the picket line at 6:30 in the morning because working conditions are so terrible. You have 30-40 unhealthy and emotionally unstable kids in a classroom with no help and budgets getting cut all the time, and what do you think is going to happen? What kind of test-evaluated superteacher isn't going to keep these kids from getting left behind?"


text:
Christopher G. Levey
Associate Professor of Engineering
Director, Microengineering Laboratory
Director, Instructional Laboratories
Adjunct Professor of Physics and Astronomy
Associate Professor of Engineering
- BA, Physics, Carleton College 1977
- PhD, Physics, University of Wisconsin-Madison 1984
Research Interests
Microfabrication technology; micro-optical systems and binary optics; micromechanical and electromechanical systems (MEMS); microrobotics
Current Research Projects
Selected Publications
- Di Yao, Christopher G. Levey, Charles R. Sullivan, "Microfabricated V-Groove Power Inductors Using Multilayer Co-Zr-O Thin Films for Very-High-Frequency DC-DC Converters," IEEE Transactions on Power Electronics 28, 4384 – 4394, DOI: 10.1109/TPEL.2012.2233760 (2013)
- M.L. Lifson, C.G. Levey, U.J. Gibson, "Diameter and Location Control of ZnO Nanowires for Piezoelectric Nanogenerators," Applied Physics A, 113: 243–247, DOI: 10.1007/s00339-012-7538-6 (2013)
- B.R. Donald, C.G. Levey, Daniela Rus, and I. Paprotny, "Planning and Control for Microassembly of Structures Composed of Stress-Engineered MEMS Microrobots," International J. Robotics Research 32, 218-246, DOI: 10.1177/0278364912467486 (2013)
- B.R. Donald, C.G. Levey, and I. Paprotny, "Planar Microassembly by Parallel Actuation of MEMS Microrobots," J. Microelectromechanical Systems 17, 789-808 (2008)
- Bruce R. Donald, Christopher G. Levey, Craig D. McGray, Igor Paprotny, and Daniela Rus. "An Untethered, Electrostatic, Globally- Controllable MEMS Micro-Robot", J. Microelectromechanical Systems 15, 1-15 (2006)
- S. Prabhakaran, D.E. Kreider, Yu Lin, C.R. Sullivan, and C.G. Levey. "Fabrication of Thin-Film V-Groove Inductors Using Composite Magnetic Materials." IEEE International Workshop on Integrated Power Packaging, Waltham, MA (2000)
- N.N. Khusnatdinov, V.F. Petrenko, and C.G. Levey, "Electrical Properties of the Ice/Solid Interface", J. Phys. Chem. B 101 (32) 6212-6214 (1997)
- C.K. Sieracki, C.G. Levey, and E.W. Hansen, "Simple Binary Optical Elements for Aberration Correction in Confocal Microscopy," Optics Letters 20, 1213 (1995)
- A.K. Henning and C.G. Levey, "Undergraduate research in micro- fabrication science and technology at Dartmouth College." ASEE 1994 Annual Conf. Proc., pp. 2599-2606 (peer reviewed), American Society for Engineering Education, Washington, DC (1994)
- Thayer School of Engineering Outstanding Service Award for Faculty: 2000, 2003, 2019
Professional Activities
- The American Physical Society
- The Institute of Electrical and Electronics Engineers
- The American Association for Engineering Education
Dartmouth Awarded Clean Energy Technologies Grants
July 22, 2010
Micro-robots Dance On Something Smaller Than A Pin's Head
June 3, 2008
Thayer's open house showcases lab research
The Dartmouth
April 14, 2008
Microrobotic Ballet
Duke University
February 6, 2008
Robot Dust
PC Magazine
November 16, 2005
Dartmouth researchers build world's smallest robot
VOX of Dartmouth
September 26, 2005
Tiniest remote-controlled robot created
New Scientist
September 16, 2005
Dartmouth researchers build world's smallest mobile robot
Dartmouth News
September 14, 2005
In Dartmouth Engineer Magazine
Milestones: Women in Science Celebrates 25 Years
Web Extra, August 2016
Perspective: Designing Our Future
Fall 2014
Dartmouth's New High School Engineering Workshop Deemed a Success
Web Extra, September 2013
Summer 2010
Shop Talk
Winter 2008
The World's Smallest (untethered) Robot
Fall 2006
Construction: On the Move
Spring 2006
Random Walk: Construction Zone
Fall 2005


text:
Stephen Graham Jones
Stephen Graham Jones is a man who is constantly writing. He has no choice. He glides through the murky depths of the literary ocean like a shark, because if he stops moving, he'll die. In fact, by the time you finish reading this he will probably have completed another novel, guzzling his favorite vanilla-infused cola, scarfing whatever the hell Sixlets are.
It stands to reason that a man who writes a lot of books has the opportunity to do a lot of interviews. Jones is certainly no stranger around these parts, having previously been interrogated by The Cult in 2007 (HERE). The resulting interview goes into great detail about his Native American background, his fledgling literary career, and his compulsive writing process.
With all the juicy bits covered, it is difficult to conduct a compelling interview without treading redundant ground. Luckily, Stephen's got two new books occupying store shelves, and at least two more currently slated for release. On top of that, he is a connoisseur of all things pop culture, and could carry a one man conversation on the subject.
I don't know where he found the time, but the prolific author/college professor was kind enough to take a break from eating junk food and prepping curriculum to engage in another go-around with The Cult.
JOSHUA CHAPLINSKY: You're in Colorado now, right?
STEPHEN GRAHAM JONES: Yeah. Boulder.
JC: That's where you're teaching? I know you used to be at Texas Tech.
SGJ: I was. I taught there from 2008, then I came up here to teach at CU Boulder.
JC: Is school back in session?
SGJ: It starts up on Monday or Tuesday. I think Tuesday for me. So this whole week I've been writing, trying to get it all in before the semester starts.
JC: Teaching anything exciting?
SGJ: I'm doing a grad fiction workshop, which should be pretty cool. I think I've got like nine people in there. I'm also teaching an undergrad intermediate workshop, which- I always love those.
JC: Any choice works?
SGJ: I think the first book we're reading in the grad workshop is Brian Evenson's Fugue State.
JC: In your last interview with The Cult you talk about how you first got published, but how did you come to be part of The Holy Trinity of The Velvet?
SGJ: I think what happened is, The Velvet started with just Will Christopher Baer. It was his site, his forum, his discussion board. Then some of his fans got to reading Craig Clevenger and they invited Craig in. And then, as it turned out, some of the people who were reading both of them got to reading me, so they invited me in. They offered to put my name up top with the other two, so I was very fortunate. I think it's been a good experience.
JC: Did it have anything to do with the three of you having books at MacAdam Cage at the time?
SGJ: We tried to keep away from that. Me and Chris and Craig talked about whether we wanted to let The Cage help with The Velvet and we decided not to. We didn't know if we'd be with them forever, and it'd be awkward to break away, so... We all three were with The Cage on and off, but they weren't involved with The Velvet.
JC: Demon Theory was the only book you had published by them, correct?
SGJ: Right.
JC: What are the reasons for that? Does it have to do with where you can sell what you write?
SGJ: That's pretty much it, yeah. Also, right after Demon Theory came out, The Cage kind of had a financial crunch and they went off the radar for a while, so I was just submitting stuff elsewhere.
JC: How has being a member of that triumvirate of writers affected your career?
SGJ: I just feel like I have to hold myself to a higher standard if I'm gonna have my name up there with Chris and Craig. I've got to get serious, because they're such good writers.
JC: That Cult interview also delves into your process as a writer. Has that evolved over the years?
SGJ: Yeah, it has. Before I had kids, I would write- man I would just go on ten, twelve hour jags all the time. I'd write until four or five in the morning, then I'd sleep for a couple of hours, wake up, drink some energy drinks, eat some Sixlets and take off again. I'd just go and go and go and go until I couldn't go any more, and then I'd go a bit further. But once you have kids, the kids have to be the primary thing. So I find myself more and more often writing in those little stolen ten minute moments throughout the day, when I'm not picking somebody up from school or taking somebody to a practice. I still get a lot done, though, so it's just a different way of doing it, for now.
JC: What exactly are Sixlets?
SGJ: They're a candy you can't really find anymore. I think they're called Sixlets because there used to be six of them in each little plastic tube. I say tube, but it's really more of a wrapper. They're literally like half the size of an M&M. Candy coated chocolate of some sort. If you find them on the shelves now in some gas station, they're usually stale, because I don't know if they make them so much any more. But every time I'm in Montana, they're everywhere. I don't know why Montana is the hot zone for Sixlets. In some of the little out of the way places in Texas I'll find them occasionally as well. But yeah, I live on Sixlets. They're the best thing in the world.
JC: You seem like a very snack oriented writer. What role do snacks play in your writing process?
SGJ: Haha. I've gotta have calories if I'm gonna write. Fast, burny calories. I love to eat lunch, watch an episode of 30 Rock or News Radio, then come down to my office, eat some almond Snickers or a big handful of some chocolate stuff and take off. I'm usually good for about two hours on that.
JC: It seems almost ritualistic.
SGJ: It is. If I don't have almond Snickers or Mars Bars lately, I'm completely lost, I don't know how to write.
JC: You're known for being highly prolific, sometimes writing multiple novels in a year, not all of which see publication. In the FAQ on your website you ask yourself, why write?, and the answer is- because I can't help it. Does that compulsion have anything to do with the statistical benefit of having such a high output?
SGJ: I mean, you throw enough darts you're bound to hit the bulls-eye eventually. I'm definitely operating on that model, or on that hope. I remember in graduate school, my dissertation director, she told me that every once in a while you come across a writer who writes to live, who can't not write. I think Philip K. Dick was that kind of writer. He's always been my hero. And I don't know whether I am or not- I could just be faking it- but if I go three or four days without writing I start wondering why I'm even on this earth. I'm not doing anything good, so I may as well tell some lies. It feels right to me to write, that's the way I order the world. It only makes sense if I can tell a story.
JC: It almost seems more like the way a screenwriter works, as opposed to a literary author.
SGJ: It could be. I don't think I want to be classified as a literary author, and I love writing screenplays. I just wrote a short screenplay for somebody that I'm excited to see produced. And I love deadlines. I love it when an editor says, can you do this in three weeks?, and I give it to them in two. I've never missed a deadline; I always come in way ahead of it. Some publishers, they'll chisel up your advance. When you give us this many pages we will give you this much money. My contracts used to be like that, but I'd always turn my manuscripts in early, and the publishers would be bummed about having to lay out all the money. I don't know how else to do it. I get inside a novel and I live there and I have to write my way out.
JC: Could you tell me a little more about this short film that's being produced?
SGJ: A friend of mine up in Portland, he's doing it. It's for the Native film festivals, but it's also horror, of course. I get real bored writing when there's no blood and stuff, you know? But yeah, It's like twelve or fifteen minutes long. It's based on a Simpsons episode called Little Big Girl, where Lisa pretends to be Indian. Bart shows her that trick you can do with the Land O' Lakes butter label, where you fold it up and make breasts. So in my screenplay, the Indian Princess on the label gets some revenge with a box cutter.
JC: Going back to what we were talking about earlier, about Demon Theory being published at The Cage, it seems most of your books have been published by different publishing houses. Ever thought of settling down and finding a permanent home?
SGJ: You know, I might. The publisher that put out It Came From Del Rio (Trapdoor,) I really like them. They've got a good publishing model and they're not afraid of the whole digital thing. They're embracing it, trying to push it forward, and I'm totally in agreement on that. I could see myself sticking with them, but at the same time- I say Philip K. Dick is my hero, but Joe R. Lansdale, he's also my hero. And that guy, he's published all over the place. The reason I'm published all over the place is that I never write the same thing. The editors and the publishers want you to target the same audience you targeted last time, but I always end up going way off base, you know?
JC: It's kind of romantic, the idea of you being a literary drifter.
SGJ: Yeah, a gunslinger going from town to town.
JC: You have two new books that were published in the last few months. A collection of horror shorts called The Ones That Got Away, and the novel It Came From Del Rio, which is a tough one to classify. I think Craig Clevenger put it best in his blurb when he said, " ...with Jones, the diary of a rabbit-headed zombie chupacabra shepherd is absolutely convincing and utterly moving." Basically, the premise sounds ridiculous, but comes off as entirely real. Was that a tough one to sell?
SGJ: You know, until I gave it to Trapdoor, my agent had never even tried to sell it, precisely because of that. She said, this is a good novel, it's a solid story, but there's nothing else like it out there. I don't know how to convince an editor to buy it when I can't say what it's gonna be next to on the shelf. It's got a horror premise- a dad comes back from the dead, and his head wears out, so he has to steal a giant rabbit head, which does sound pretty ridiculous, like a cartoon- but then it's got lots of very real stuff going on as well. So I'm thankful that Trapdoor took a shot at it, and I'm contracted with them to do a sequel, which I'm excited about.
JC: That was going to be my next question.
SGJ: I haven't written it yet. It's kind of taking fuzzy, foggy shape in my head right now. I think it's going to be called The Misanthrope Morning Show. I need to do a lot of research on pirate broadcast radio, though. Well, I say I want to do a lot of research- what I really want to do is know all about pirate radio, but I hate doing research. Research is always so... not writing fiction.
JC: That's funny, because Chuck says he loves doing research. It is one of his favorite things about writing.
SGJ: It comes through in his writing, too. You read his stuff and it feels like you're learning something. When I read his books, I always have all these notes that I put in the back that direct me to this page where I can find out this thing about this cleaning solution or whatever.
JC: One of the reasons I liked It Came From Del Rio so much was because of the realistic way the story was handled. How important is realism in horror for you?
SGJ: I guess realism in horror makes the horror more scary, because the more cartoonish your horror gets, the easier the reader can dismiss it as something that's made up. The closer you can bring it to home, the more the reader has the potential to be scared. But the real trick, aside from all the fantastic stuff, you've got to get the reader to engage with the story at a level where they identify with the protagonist, where they are in the novel. It's like, every novel is basically a Choose Your Own Adventure where somebody else made the choices for you. You're in there as a reader, looking around, and as a writer, if you can maintain that spell, then you're doing the right thing.
JC: The names Tanya and Gabriel appear in both It Came From Del Rio and the short story Crawlspace (formerly Gabriel,) which itself is related to the story Raphael (both from TOTGA.) In Crawlspace, Gabriel is cheating on his wife with a woman named Tanya. In Del Rio, a character named Gabriel has a relationship with a girl whose mother's name was Tanya. Is this a coincidence or is there something going on beneath the surface?
SGJ: I grew up with a lot of Tanyas, but I don't think that's it. Between the ages of 18 and 21 I worked at a seed research plant in Dekalb.This one guy, his name was Scott Brown, every time Tanya Tucker would come on the radio, he would say her name in a way that just killed me. It's like, some people can say god damn in a way that just kills me, and he could say Tanya Tucker in a way that stalled my brain out and made me want to listen to it over and over. It's like that bullet in the brain story by Tobias Wolff, when that kid is saying, they is no better position than shortstop, or whatever he's saying, and that becomes that moment that the guy who's getting shot in the brain lives in. The way that this guy, Scott Brown, would say Tanya Tucker just destroyed me, and I think I'm still trying to get over it. But I need to stop using that name. Somebody just alerted me that the novel I have coming out in 2014, Not For Nothing, the name of one of the people in it is Dodd Raines, which is the name of the guy in Del Rio. I'm gonna have to do a global replace and see if it works.
JC: So it's coincidence?
SGJ: It's just a name I like. I grew up with a guy named Dodd. As for Gabriel, I think that that name gets used by me- it's not on purpose so much. As a kid, one of my friends, his brothers were all low-riders, and we were about 12, and his big brother Gabriel got shot with a shotgun and killed, and that just always stuck with me. So Gabriel has always been real to me in a way that other people aren't.
JC: Do you think in some subconscious way these are all different incarnations of the same characters?
SGJ: I think so. Really, every writer just has one story to tell, and they can really only tell it from their own perspective. All of my heroes, be it Jim Doe or Pidgin from Fast Red Road or LP Deal, they're all me. I just give them different names. They may act different because they're in different circumstances, but they're all me, so they're gonna be surrounded by the people I know, just different versions of them.
JC: You are a warts and all genre lover- from the schlocky depths to the highbrow smart stuff. Where did your love of genre come from?
SGJ: When I was a kid, I feel like books pretty much saved my life. I remember my uncle, when I was, I wanna say eleven, maybe twelve- my life was all crazy. We were living everywhere, moving every month it seemed like. I went over to his house one day, and he opened his closet and it was just stacked six deep with paperbacks- Mack Bolan, Louis L'amour- and he said, use it like a library. You can take any three of these books at a time, bring 'em back and you can take three more. And I burned through that whole closet. And I really feel like those books, just identifying with those characters, they saved me in a way that only good stories can. So for me to turn my back on that now, it would be so hypocritical for me to say, because sometimes the prose isn't hammered as good as it could be, I'm not gonna believe in the story.
Often times, the guys writing the genre stuff, the schlocky stuff, they're writing by the seat of their pants. They're writing just to buy groceries. And to me, that's the most real kind of writing. I appreciate it the most, identify with it the most.
JC: You said early you didn't really want to be identified as a literary writer, but to me a lot of your horror work tends towards the literate. Would you consider yourself a genre apologist? Do you differentiate between genre and high literature?
SGJ: I do. I think genre is more honest. I think literary is- it pretends to be better than it is. Literary is like a catch-all designation. It's what you use when something is A, not selling well, and B, doesn't have identifiable conventions. Fiction to me is like a big cake. It can be a many layered cake, but what the genre people know so much better than the literary people is that you've got to put a lot of icing on that cake to get people to take a bite. Lots of the literary people, they will just give you a big ol' slab of cornbread and say, eat it, it's good for you. So many literary writers assume that the people are gonna be drawn in by the strength of the prose or the integrity of the story, but you've gotta have a werewolf or somebody with chrome teeth or something in there.
JC: You have two new novels scheduled for release from Dzanc books. Flushboy in 2013 and Not For Nothing in 2014. Why so far away? Anything to look forward to before then?
SGJ: I mean, I've got what, two years between now and then? I would expect I'll probably kick out another Del Rio installment. I also just today finished what I think is the very last version of this big novel I've been writing over and over for about two years now. Hopefully that will hit somewhere. I've got two of three more novels that are all ready to go, I just need to get them out there. As for why Dzanc is delaying it until then, how they explained it to me is that they like the books a lot but their catalog is stuffed until then.
JC: Can you tell us more about the recently completed novel?
SGJ: It's called The Gospel of Z, and it's a zombie novel. It's takes place ten years after the plague, where society kind of pulls itself up and falls down and pulls itself up again. I wrote it, I think it was two years ago, and I jammed through it, I don't know, about four or five hundred pages. I thought it was the best novel ever, but then I gave it to a friend of mine, an editor who reads all my stuff, and she said, it's crap. It's too indulgent. It's trying to take a bite of everything it passes. And she was right. So I tore it down and to identify the dramatic line I sucked it into a screenplay- just chiseling, chiseling, getting it down to the bare bones of what mattered. When I finally got it working as a screenplay, I sucked it back into a completely different novel with the same characters, but the story was all different. Gave that to my agent, because I thought it was the best thing ever, and she got back to me and said, it's not the best thing ever. But she had some good notes about how to fix it, and she was right. So I just went through and fixed it and it's very, very strong now. I really believe in it. It's a good, solid story.
JC: I know you're a huge film buff, and I already compared your process to a screenwriter once, but is screenwriting just a tool to better your fiction, or do you have actual Hollywood aspirations?
SGJ: I would love to try and sell some scripts some day, I just need to get a film agent. I've never tried to get a film agent. I've got one screenplay right now which I think is totally complete and really solid called Zombie Bake Off. It's about all these wrestlers who eat some zombie donuts and attack a bake sale and there's a big fight, as you would expect.
JC: I would go see that movie.
SGJ: Yeah?
JC: Back to the Dzanc releases, Flushboy is a coming of age tale about a kid who works in his father's drive-thru urinal?
SGJ: Yeah. My wife had read some of my early books and she finally said, you never write any love stories. I told her, they're all love stories. But I guess they're love stories to me because it's me being in love with the book. There wasn't actually love happening in the story. So with Flushboy I decided, I'll just write a story about a boy being in love with a girl and trying to get her. The big impediment, of course, is he works at the drive-thru of his dad's urinal place, so he has to deal with his classmates passing him bank-tubes of warm, sloshy urine. It's kind of awkward for him.
JC: Sounds like it.
SGJ: It's not easy being 16.
JC: Is that going to be as bizarre as it sounds? Or, like It Came From Del Rio, will you be crafting a human drama out of the absurdity?
SGJ: I think it probably does share a lot with It Came From Del Rio. To me it's very human. I mean, to me- it's me when I was that age, you know? I didn't actually work at a drive-thru urinal because they didn't exist, but I had all kinds of- like, I was the night custodian for the biggest daycare in Texas for a while, and walking into the potty training room every day was just 45 minutes of pure nightmare. It was in a bad part of town, so I always had to carry a 9mm pistol on me. I'd go out to the playground and clean it at night. I still have- I found a knife with blood all over it that had been tossed over the fence, and I kept it and cleaned it up. It's a tool now.
JC: That weapon probably has a violent history.
SGJ: Yeah, it could.
JC: Not For Nothing is a noir written in the 2nd person, is that correct?
SGJ: It is. I thought I was gonna be the first person to do that, but then Robert Coover came out with Noir a few months ago. He beat me to the punch, but he beats everyone to the punch. Not For Nothing is one of those novels I rewrote many times. The first time I wrote it it was set in Los Angeles, because that's where I thought a noir had to be set. I didn't think it was working, so what I finally ended up doing was completely rewriting it and moving it back to Stanton, Texas- little bitty place, 3000 people- and I guess it had been long enough since I'd lived in Stanton that I could mythologize in the way you need to to tell a story, and it just became real. My favorite parts of the old PI novels are always when the narrator, the PI drops into the second person for a few moments and I thought, why have just a few moments be good, why not have the whole novel be good? Second person's a trick, because it's a mix of imperative and description, but it's a wonderful balance. I think I pull it off in this one, but the reader will tell me.
JC: You don't see many novels written in second person.
SGJ: No, just like- Bright Lights, Big City is the big one. The standard's so high, who can reach it?
JC: I especially liked the anecdotal story notes included at the end of The Ones That Got Away. From what I can tell, you've led an eventful life. Your Native American background and your pop culture upbringing make for an interesting mix. Are there any memoirs in your/our future?
SGJ: Actually, my agent's holding a book of mine right now, it's a fake memoir. It has a character named Stephen Jones, or, what's his name? His name is Jonas, not actually Jones. It's a story which draws 60% from real events, real people I knew, and it uses real names a lot of the time, but the stuff that happens isn't quite the way it really happened, it's just the way it felt.
JC: Is that as close to a real memoir as you're gonna get?
SGJ: For now, anyway. The people who have read it, ten or twelve of my friends, everybody says it's the book I was meant to write, which is scary, because I don't want to do that when I'm thirty-five, you know? What am I going to do with the rest of my time? But it does feel like a novel where I just lucked into getting it right.
JC: Speaking of Native American heritage, ever consider putting your own unique spin on one of those "built on an Indian burial ground" horror stories, like in Pet Sematary?
SGJ: A magazine just solicited a baseball story from me, and I don't know jack shit about baseball, but I do know a lot about zombies, so I decided to have an Indian narrator who tries to get a zombie to play right field for him. So maybe that's my own spin. I probably won't take any of the clan stories or tribal stories or any of that and try to morph it. Not because there's not a lot of material there, not because it feels like mining so much, but for me it feels a little bit cheap to try and do that, being Indian myself. Like I'm trying to say, this is good because I'm Indian. I don't like that dynamic at all.
JC: In the case of something like Pet Semetary, do you find that trope offensive, the idea that native people are perpetually having to fend off outsiders, even after death?
SGJ: No, I don't. Like in Poltergeist either, I kind of liked it. I even liked it when Andre 3000 dressed up in green feathers and danced on stage at the Grammy's. I'm not easily offended in that way. I'm offended by stuff like the Disney Pocahontas. That kind of stuff really gets to me. All the sports teams that have cartoon caricature Indians on their hats and shirts and everything. Like, when I went to FSU, I went there on full fellowship, I didn't have to teach, but I always felt like it was blood money because they were the Seminoles. I was an Indian and I applied, so how could they say no?
JC: Going back to Poltergeist, I actually watched it a few days ago and that's what kind of made me think of that question. But when I went back and did some reading it turns out the graveyard in the movie wasn't actually Native American, and they even make a joke about it. It's just a regular old white people graveyard.
SGJ: They bring in that Indian actor, who plays one of the mediums or something.
JC: In the first one?
SGJ: I'm not sure. I could be mixing that up with Firestarter.
JC: Haha.
SGJ: It's been a while since I've seen Poltergeist. I did see Pet Semetary again recently, and to me, it's not remotely offensive. That the ground turned sour, doesn't seem to me to reflect on, what was it, the Micmac Indians?
JC: Do you think stories like that are an expression of white guilt?
SGJ: A lot of the stories we get in America are. They are both expressions of and indulgences in that guilt, you know? It feels so good to know how bad I am.
JC: Not that I've seen any, but how do you personally handle negative reviews?
SGJ: There was one guy, I forget who it was, he hated my novel The Bird Is Gone so much that he wrote many, many words against it. And I always carry that around on my hard drive, because it's so cool to me that somebody can get so mad about my stuff. I'd much rather somebody get really mad than just say they read it and moved on. But as for how I handle negative reviews- I just keep writing. You can't let the bad reviews stop you, you can't let the good reviews stop you. You gotta keep writing. So many people, they get their first book accepted, then they don't write a thing until it comes out a year and a half later and then they're already behind the game. As soon as you finish one book you've gotta start the next. You can't wait to recharge. You've gotta believe you've got enough in you to do it over and over and over.
JC: Conversely, how about writing negative reviews? I know a couple negative reviews I've written for this site have provoked indignation. You recently wrote a very fair and balanced review of Jonathan Frazen's Freedom (HERE). As an author yourself, do you ever worry about having to tread lightly or treat material you don't like with kid gloves to avoid being labeled as vindictive or spiteful?
SGJ: I do feel that. I bring my own agenda to each book, of course, and if I'm gonna write a review I try not to bring it to the review. But as you know, it's really, really hard to do that. When I was talking about Freedom, I was talking about how amazing and wonderful it is, but also about how stupid it is. The good stuff is like that- it's not just all good or all bad. It's in the middle. It really provokes you. I got hit up to do a ten best books of 2010 list, and I was about to write back and say yes, I'll do it, but then I realized, wait, I have more than ten friends who are writers. If I don't put them all on the list I'm screwed.
JC: Do you think the review arena is in danger of becoming a forum where "everybody wins," like in Pee Wee sports?
SGJ: Yeah, I think the review dynamic can become a more long-winded version of the blurb thing. It's definitely a danger. That's why I think showing up on people's blogs and talking about your book is better than being in a magazine. Because people do dismiss reviews. They say, he knows that guy, of course he's gonna write a nice review.
I've even had somebody I've asked to review my novel tell me, why don't you write the review and we'll put one of our writer's names on it, and I'm like, wow. I can't believe that happens.
JC: That's crazy.
SGJ: I think I've done it before, joking around, but I'm always hard on myself. I always say the book sucks.
JC: Since this is the season of year end lists and you are such a pop culture junkie, I have to ask: Was Machete really your favorite movie of the year? (HERE)
SGJ: Oh, no doubt, man. I was just cheering when that was over. It was such a fun movie. I mean, I loved Black Swan, too, all those other films I listed, but Machete is right at the top. For me it was top of the decade. It was so much fun.
JC: Wow.
SGJ: I liked Sorority Row a lot, too. That Sorority Row remake. That was pretty slick.
JC: I think you also had Hot Tub Time Machine in your top 3, which I haven't seen on very many critic's lists.
SGJ: (Laughing) Yeah. It's like five of us critics up on that page, and all those other guys had like refined, quality films on their lists and I had Hot Tub Time Machine.
JC: That goes back to my question about literature vs. genre. It's the same thing. Is there a distinction between movies and film as art?
SGJ: I think for me part of that distinction is that literary writers will often blame the audience for not being smart enough to get their work, and I think that's never the right attitude to take. If people aren't coming to your work, it's your own fault. It's never their fault. It's your fault for not reaching them properly. The genre writers understand that intimately. If they don't make sales, they don't get to write their next book. Literary writers usually have jobs like I do at Universities, so they have a cushion to fall back on. If this book doesn't sell, so what, you know? And I so prefer hand to mouth, like Dostoevsky did it.
Demon Theory - The Official Site of Stephen Graham Jones
The Velvet - Official Forum of Will Christopher Baer, Craig Clevenger and Stephen Graham Jones
Joshua Chaplinsky has also written for Twitch. He was a guitarist in the band SpeedSpeedSpeed and alternately maintains/neglects his own blog at thejamminjabber.


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Imagine downloading the entire Godfather trilogy in high definition in about a minute. How about getting every single Beatles song from the iTunes store in even less time?
If you live in Kansas City, Kansas or Missouri, as of Thursday you have that option, brought to you by the same technology giant who turned an Internet search engine into a verb, a valuable stock, and a household name: Google.
The project to turn this Midwestern city of about 600,000 into a hub of hyper-fast Internet – called Google Fiber – is expected to yield tangible benefits for the local economy. As one of the most prominent launches of a citywide network, it could also highlight the broader issue of slow Internet – as speed becomes crucial for innovation in a digital economy.
"It raises the visibility of the city and the region as being a significant place to find both technology and entrepreneurs," says Joni Cobb, president and CEO of Pipeline, an entrepreneurial fellowship program based in Kansas City. "It allows them to do everything faster, better, and cheaper."
For $70 a month, Google Fiber offers an Internet hookup 100 times faster than average US broadband speeds, taking advantage of advanced networks of fiber-optic cables. It's speedy enough to download an HD movie in a few seconds and it's the type of network often called "future proof," because it's limited more by the computers sending information than by network speeds.
"In the 20th century, businesses would look at a town and see if it had an exit on the interstate [to decide to locate there]," says Patrick Lucey, a researcher and one of the authors of a recent report on internet connectivity by the New America Foundation's Open Technology Institute. "In the twenty-first century, they'll look for a fiber-optic network."
The connection uploads just as fast as it downloads, which is both rare and essential for companies or individuals that work with large amounts of data. Telemedicine— the practice of doctors treating patients remotely over an Internet connection— is one such area, and the Google Fiber project could potentially turn Kansas City into a center for that industry, according to Ryan Weber, president of KCNext, the Technology Council of Greater Kansas City. Telemedicine is considered one potential way to reduce the cost of healthcare.
Kansas City beat out more than 1,100 other cities to win the Google project. The company said the enthusiasm of residents won it over. The company is using a similar metric to decide who gets Fiber service first: neighborhoods that express the most interest by pre-registering will be the first to be wired.
This isn't the first such network in the US. Morristown, Tenn. and Lafayette, La., have it. High-speed Internet has brought thousands of high-paying jobs to Bristol, Va. and a startup incubator to Chattanooga, Tenn. Unlike most Internet service, those cities run their networks as local utilities like electricity or water.
Fast Internet speeds are potentially so important for the economic future that residents of Leverett, Mass., voted in June to finance a similar project, even though it will raise property taxes there by approximately 6 percent.
The Kansas City project will likely highlight the fact that average Internet speeds in most US cities lag far behind those in European and Asian cities, according to the Open Technology Institute. The US ranks 13th in average network speed according to Akamai's "State of the Internet" report, behind South Korea, Hong Kong, Latvia, Romania, Denmark, and others.
The Google project will also be the cheapest super-fast connection in the country, and Google has added other enticements such as high-speed access for people that don't have it, about one-quarter of Kansas City's population. Anyone who doesn't want to pay $70 a month for the one gigabit per second connection can pay $300 to connect their home to the network and then have free access to the Web at the current US average speeds for seven years – which Google says should increase property values.
Mind you, the Google project isn't wholly philanthropic. The search engine is also potentially challenging cable companies or DSL-phone service by offering the super fast connection plus TV service for $120 a month. In Kansas City, other ISPs offer cheaper TV and Web packages deals for $90, but their download speeds are only ten to 20 megabits per second as opposed to 1,000, and their upload speeds even slower.
This suggests that the project may be part of a larger business strategy to put Google in direct competition with the companies that connect your home to Internet and TV in the first place, companies like Time Warner or RCN or Comcast. It mirrors other efforts by Google to branch beyond its original core business of Internet searching: like Android and smartphones, or Google Plus and social media, or Chrome and Internet browsers, or the Nexus tablet computer.
"I think what we see from them is efforts to lead the way by demonstrating how they think tech ought to be done," says Jeff Jarvis, author of the book "What Would Google Do?" "I think the same is true of the fiber launch. This is what you can have America, go demand it. And if we all did demand it, that's great business for Google. The more we are online, the more Google makes," Jarvis says.
Chris Mitchell, of the Institute for Local Self-Reliance, a Washington-based policy organization focused on community development, says the project could change the way people think about broadband connections and show what's possible when bandwidth isn't an issue.
"It gives you a sense of how incredibly overpriced the connections most of us have are," Mitchell says. "Google is not doing anything that other companies like Comcast or Time Warner couldn't do."
The project might end up being a watershed moment to make broadband ubiquitous around the US, according to Toby Rush, founder and CEO of EyeVerify, a Kansas City company that makes a biometric tool that establishes identity based on a human eye, seen by a smartphone camera.
"I think in the not too distant future, five to seven years from now, we will simply assume there will be Internet connectivity wherever we go, like we assume there will be electricity now," Mr. Rush says.


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Alright I won't bump old info that I googled any more.
Totally legit.
Actually a theory that I actually have is that the maps "Turbine," "Express," and "Standoff" have post-it notes on them that read "zombies are coming." This could indicate that they are transforming those maps into zombies maps, or they wanted to put something in the game to throw us off. Dunno.
So there is a way to get the bus on a b route??!! THATS AMAZING
You dun goofed, kid
iam probably older then you Dj_Senseii! So dont call me a kid
Stop posting on this post please
ill try
Where s DLC5?
XxZombie_SMASHxX wrote:
Where s DLC5?
You see this...
...Use it!
© 2019 Activision Publishing, Inc. ACTIVISION, CALL OF DUTY, MODERN WARFARE, CALL OF DUTY MODERN WARFARE, CALL OF DUTY BLACK OPS, CALL OF DUTY GHOSTS, CALL OF DUTY ADVANCED WARFARE, CALL OF DUTY INFINITE WARFARE, and the CALL OF DUTY WORLD LEAGUE Logo are trademarks of Activision Publishing, Inc. All other trademarks and trade names are property of their respective owners.


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After over thirty years of making wine, Kent Rasmussen Winery is as busy as ever and our passion remains as strong as ever.
Kent Rasmussen and wife, Celia Ramsay, ran the family winery they started in 1986 at their beautiful facility in St. Helena. Unlike most wineries in the Napa Valley, they never wanted to have a public presence in the form of a tasting room, but sell their wines in Bay Area & California restaurants & stores, and in 28 other states. Famous for the Kent Rasmussen and Ramsay brand wines, and best known for making "purely poetic Pinot Noir", the couple raised their family of four on the Silverado Trail property.
The kids grew up and fledged the nest, and Kent and Celia realized they longed for a more urban life. They moved their winemaking operations to share another family-run facility owned by their long-time friend, Stefano Migotto in Napa. Then they bought a home in Berkeley. With a very reasonable reverse-commute to Napa, Kent is happy to be back in the southern end of the Napa Valley, especially since his original winemaking start was in the Napa-Carneros.
Kent's passion for winemaking is as strong as ever. He has often stated that the unfortunate truth about wine is that you only get one chance a year to make it; he jokes, "I think I'm finally figuring out how it all works!" New projects for Kent include a wine brand that is sold in foreign markets only, under the label Six Eight Nine. His second passion is the Berkeley house—a Maybeck-designed home that was once owned by the Alfred Kroeber family. (Alfred Kroeber was the anthropologist famous for his work with Ishi, the last of the Yahi people of the Lassen area of California.) For those of you who are fantasy/sci-fi fiction fans, it is the house that Ursula K. LeGuin grew up in, and she claims the house made her into a writer.
And even though Celia still handles the winery compliance, she has picked up an old thread in her life—music. She's becoming well known in the Bay Area music scene as a vocalist, studio artist and songwriter, with performances at the Freight and Salvage, and many house concerts, singing both traditional folk music and 1940s style Jazz. Celia continues to work as a professional dance teacher from Ukiah to Monterey "calling" the New England style form called Contra Dance.
Since its modest beginnings in a garage in 1986, the Kent Rasmussen Winery has evolved as its owner's lives have changed. It continues to be one of the most important Pinot Noir producers in California.


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Elizabeth Kendall, author of Balanchine and the Lost Muse: Revolution and the Making of a Choreographer, looks into George Balanchine's family history, finding a volatile and occasionally privileged childhood.
Elizabeth Kendall is an Associate Professor of Literary Studies at the New School. The author of several books, she has also written for the New Yorker, Vogue, Ballet News, Dance Magazine, the New York Times, Elle, the New Republic and other journals.


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Explore Freeport
Near Fever River Railroad and Little Cubs Field
Our Baymont Inn & Suites Freeport hotel is your home away from home in northern Illinois. Our convenient location is close to historic railroad landmarks, Winneshiek Playhouse, and Chicago Rockford International Airport (RFD). Our proximity to major area businesses, including Honeywell, Sauer Danfoss, and Newell Rubbermaid, makes us a perfect choice for business travelers to the area.


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If it was on, he watched.
But for the most part, Mathew Dumba had a difficult time following Team Canada during last year's world junior championship.
The Red Deer Rebels defenceman and Minnesota Wild 2012 draft pick had been a long-shot trying out for the 2012 edition at only 17-years-old. Still, devastated, he trudged out — voice soft, eyes red — and faced the media 12 months ago as one of the team's early morning cuts.
"It was tough," Dumba said. "It was kind of always in the back of my mind that I could have been there.
"It happens so fast so you have to be sharp coming in. I'm thankful I had that experience last year on this big ice surface and going through each day and knowing how quick it goes.
"I know the process now. I just have to focus on my game."
Which, after Monday's announcement at Hockey Canada headquarters, he is scheduled to do. Dumba was among the 37 players named to Canada's 2013 world junior team selection camp. For a second year, the intense five-day audition is held down the road from his Northwest Calgary home at WinSport's facilities. This time, instead of the world juniors being in his backyard — almost literally — between Calgary and Edmonton, they're in Ufa, Russia.
However, his passion to represent Canada hasn't changed.
"It's going to mean a lot if I can crack that squad," said Dumba to a crowd of reporters Monday. "That's been my goal all year and I've been working really hard as of late to just be focused on the little details and push for a spot on this team."
The 18-year-old smooth skating, hard-hitting blueliner is also one of 11 Western Hockey League players named to the roster and is joined by fellow local snipers Hunter Shinkaruk and Ty Rattie of Airdrie.
"This is a huge honour," said Shinkaruk, captain of the Medicine Hat Tigers. "I remember when I was young and had a little hockey room at my house, I'd put on my Canada jersey and pretend I was playing in the world juniors.
"To be so close to that is something I could never have dreamed of."
Shinkaruk had a scare, however, when he collided with Portland Winterhawks defenceman Seth Jones on Nov. 17 and awkwardly cut his leg. He required stitches and worked with medical teams in Medicine Hat and Calgary to get repaired in time.
"When I went to the bench, I looked down and my sock was full of blood," Shinkaruk said. "I looked at the trainer and said to him, 'Um. I think I got cut.'
"I was pretty scared because he was telling me to throw my helmet and gloves off ... I knew the selection camp roster was getting announced. All I made sure is I was back and ready for this camp."
Shinkaruk, who returned to action over the weekend, has 17 goals and 22 assists in 27 games this season. Meanwhile, Rattie, a 2011 selection of the St. Louis Blues, was sitting fourth in WHL scoring with 17 goals and 25 assists in 26 games.
All three players no strangers to Hockey Canada, having played in the 2012 Canada-Russia challenge this summer along with fellow WHL-ers Laurent Brossoit and Griffin Reinhart of the Edmonton Oil Kings and Morgan Rielly of the Moose Jaw Warriors.
To impress Team Canada brass and crack the defensive corps, Dumba knows he's going to have to be physical — which is no different than his every day game.
"I think it's a huge part of my game and that's what I want to bring to camp," he said. "In the Western League, I've been trying to bring that every game.
"Preparing myself for camp, it's going to be physical and that's how I want to play."
ICE CHIPS . . . Also representing the Calgary Flames draft crop at the Canadian camp with Brossoit is Portland Winterhawks defenceman Tyler Wotherspoon ... Undrafted forward J.C. Lipon was rewarded with an invite, too, and deservedly so after his red-hot start to the 2012-13 season with the Kamloops Blazers. The 19-year-old Regina native has been atop the WHL scoring race for most of the season and leads at the moment with 22 goals and 33 assists in 31 games this season.
Follow on Twitter/KristenOdlandCH


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The Greek was what they called the painter in Toledo, Spain, and although he often signed his real name in full (Domenikos Theotokopoulos), it was in Greek characters which, we may imagine, few of his patrons could read. It was as if he wished to emphasize that he was a stranger in a strange land. He was a learned and music-loving man, born in Crete, a Venetian dependency, in 1541. Early in his life he was trained to be a maker of sacred images. He was schooled in Venice, perhaps with Titian and Tintoretto, and in Rome. There he studied the work of Michelangelo. From Michelangelo he learned the structure of the human body in art and the ways in which an artist can twist and alter that structure to crea
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SOMERSWORTH — The 23rd Annual Winterfest, presented by the Somersworth Festival Association will be held on Feb. 1 and 2.
Friday, Feb. 1, 7-9 p.m. will feature be a Somersworth Middle School Dance in the high school cafetorium. Cost is $6; light refreshments available.
Feb. 2 will feature a breakfast for all ages. Cost is $3 at the high school cafetorium, 8:30-10 a.m. Breakfast includes pancakes, sausages and milk or juice for $3. Also, offered for adults will be breakfast sandwiches to which you can add sausage and a drink. The festival will be hosting Frosty's Funfest, 9-11:30 a.m. Admittance is free; games 25 cents each. Frosty will also be visiting this event. Somersworth Lions Club will be host open skating, noon-4 p.m. at the Lions Club skating rink on W. High Street.
Somersworth High students will hold a fashion show in the high school caf on Saturday at 2 p.m. and in the evening will be the Mr. Somersworth contest at 7 p.m.


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Congratulations Judy Randal, GRI Recipient
San Antonio, TX – The National Association of REALTORS® and its affiliated Institutes, Societies, and Councils provide a wide-range of programs and services that assist members in increasing skills, proficiency, and knowledge. Designations and certifications acknowledging experience and expertise in various real estate sectors are awarded by NAR and each affiliated group upon completion of required courses.
With 8 offices located in San Antonio and the surrounding areas, Coldwell Banker D'Ann Harper, REALTORS® is the most innovative real estate firm in our market, Texas and possibly in North America. We continually improve and move ahead to meet the demands of our marketplace. Our focus on exacting the standards of INNOVATION, TRUST, and PARTNERSHIP have allowed us to remain as the market leader and most recognized real estate brand in central and south Texas.
Congratulations Judy!
Judy Randal was awarded the certification of GRI. Judy has a diverse background that enables her to provide her clients with the highest level of communication and attention they deserve when buying or selling their home. She spent 11 year in the insurance industry when she was awarded for her skills in service. Additionally she devoted 12 years to education and 30 plus years volunteering with organizations and ministries in the San Antonio area. Her passion for every aspect of the real estate industry ensures her clients experience a smooth transaction from start to finish.
The GRI designation is a powerful tool to attract and build new business. This certification increases skill levels across the entire landscape of real estate with in-depth training in legal and regulatory issues, technology, professional standards, and the sales process. A minimum of 90 hours of coursework is required, and subjects covered generally include:
- Market Knowledge: Neighborhoods and property amenities, considerations for housing types, developing CMAs and impact of MLS, financing option, and home-buying programs, inspections and appraisals/valuations
- Business Skills: Prospecting, buyer and seller services, creating your niche market, negotiations, creating and implementing your brand
- Systems and Tools: Record retention, form platforms, and applications, website portals, marketing tools, hardware and software to streamline your business
- Avoiding Setbacks, Fines, and Lawsuits: Professional standards, contract to close, risk management, agency relationships, and advertising


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MacBook 13" Unibody (Model A1278) Hard Drives (SATA)
Escolha seu modelo de MacBook 13" Unibody (Model A1278):
Peças que funcionam com MacBook 13" Unibody (Model A1278):
1 TB 5400 RPM 2.5" Hard Drive
Replace or upgrade the hard drive in your compatible MacBook, MacBook Pro, Intel Mac mini, and Sony PS3/PS3 Slim/PS4 game consoles.
500 GB 5400 RPM 2.5" Hard Drive
Replacement or upgrade hard drive compatible with all MacBooks, MacBook Pros, Intel Mac minis, and Sony PS3 and PS3 Slim game consoles. SATA interface for Intel Macs / 2....
Informações do dispositivo
Apple's introduction of the MacBook Unibody 13" introduced a new case milled from a single brick of aluminum. Also new to this version is a switch to SATA optical drives and the controversial loss of a Firewire port.
The MacBook Unibody 13" can be upgraded to 8GB of RAM using two PC3-8500 4 GB RAM chips. The hard drive can also be upgraded to a hefty, yet agile 500 GB 7200 RPM SATA hard drive.
Not sure what's wrong with your laptop? Check out our Troubleshooting Guide!
Select your machine above or browse all compatible parts to find what you need to fix your laptop!


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We're bringing the long awaited first full-length comic book by legendary musician and artist Daniel Johnston to his loyal fans. Donations will fund the creation, production, and manufacture of "Daniel Johnston's Infinite Comic Book of Musical Greatness."
The project will be much more than just a standard comic book…although a standard comic book by Daniel Johnston would be anything but standard and certainly worth funding. The "Infinite Comic Book of Musical Greatness" will combine the unique and brilliant characters, images and words of Daniel Johnston along with Daniel's amazing music, and the musical and artistic contributions of fans, to create a one-of-a-kind interactive comic book experience.
In addition to a printed version that will model the classic comic book formats of DC and Marvel, the "Infinite Comic Book of Musical Greatness" will enjoy a second, more in-depth, life online. Through a special access code featured in the printed version of the comic book, fans will be able to download accompanying music and view additional story lines and other imaginative content. Ongoing interactive features will provide a viewing and listening experience that is…well…infinite.
Funding period
- (45 days)