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The name Boldog was used by several Orc chieftains during the First Age. It is probable that Boldog was actually a title, given to lesser Maiar, servants of Morgoth, who had taken an Orcish hröa. Several Orc leaders, such as the Great Goblin from The Hobbit, might have been Boldogs.
The theory of Boldogs as Orc-shaped Maiar entered the legendarium at a relatively late state, and was not taken up in the published Silmarillion.
Some of these things may have been delusions and phantoms but some were no doubt shapes taken by the servants of Melkor, mocking and degrading the very forms of the children. For Melkor had in his service great numbers of Maiar, who had the power, as their Master, of taking visible and tangible shape in Arda. ('Morgoth's Ring', "Myths transformed", text X')
Boldog (…) is a name that occurs many times in the tales of the War. But it is possible that Boldog was not a personal name, and either a title, or else the name of a kind of creature: the Orc-formed Maiar, only less formidable than the Balrogs (Author's footnote to the text X)
Melkor had corrupted many spirits — some great as Sauron, or less as Balrogs. The least could have been primitive Orcs. (Author's note to text)
One known Boldog was killed during a raid on Doriath; Gothmog may have been another.


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Oct. 9, 2005
CAMBRIDGE, Mass. - MIT fell to regionally-ranked No. 9 Babson College, 2-1, in a New England Women's and Men's Athletic Conference (NEWMAC) contest on Saturday afternoon. The Engineers' record dropped to 5-5 overall and 0-3 in the NEWMAC while the Beavers improve to 8-2-3 on the season and 3-0 in conference play.
Babson grabbed a 1-0 lead late in the first half as Ted Gott scored on a mishandled cross at 40:44. The game would remain a scoreless affair until the Beavers' Mark Dayvie headed a cross from Sam Ensslin across the box to Tim Winn, who one-timed the pass into the net in the 84th minute.
MIT cut its deficit in half just 97 seconds later as Walter Song converted a feed form Ryan Sheffler with 5:03 remaining in regulation. However, that would be the final goal allowed by Babson netminder Chris Necklas, who finished with four saves. Thomas Caldwell went the distance for the Engineers as he collected two saves.

subset: commoncrawl


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SEATTLE (AP) — JoAnna McKee, a pioneering medical marijuana activist in Washington state who went to sometimes difficult lengths to obtain the drug for the patients she served, has died at age 74.
McKee passed away Nov. 18, said her longtime friend and fellow activist Dale Rogers. He was not certain of the cause.
McKee was a fixture at marijuana policy hearings in the Legislature, where she often testified from her wheelchair, sporting a colorful eye patch and accompanied by her service dog.
She and her partner, Stich Miller, founded Seattle's first cannabis co-op, Green Cross Patient Co-Op, in 1993, five years before Washington approved medical marijuana.
She had used marijuana to treat debilitating pain from a moped accident and unsuccessful surgeries. After seeing a news report about cannabis buyers clubs for AIDS patients, she decided she wanted to give patients the excess marijuana she grew at her home on Bainbridge Island.
She couldn't find a co-op to donate to, however, so she joined the Seattle AIDS Support Group in starting one, Rogers said. She and Miller also opened their home to patients.
"This was the height of the AIDS epidemic," said Rogers, who has lived with HIV for three decades. "They knew how important this was. We didn't have housing rights or medical benefits rights, but we found out that if we were a group working together, we were stronger."
Difficulties with law enforcement were common. In 1995, news reports about McKee gathering signatures to legalize medical marijuana came to the attention of federal drug agents, who persuaded local authorities in Kitsap County to shut down her grow operation. Sheriff's officials seized 120 plants, but they did her a favor by hiding, rather than seizing, medicine bottles full of marijuana around her house so that patients would still be able to access them, said Rogers and Douglas Hiatt, a Seattle lawyer who has represented marijuana patients, including McKee, for more than two decades.
"She told me that later on she found bottles of cannabis in the couch cushions," Rogers said.
McKee worked to pass Washington's medical marijuana initiative, but she threw her support behind the measure only after its authors agreed that it would not limit patients to having a certain number of plants. Voters approved it in 1998, two years after California became the first state to pass it.
After the 1995 raid, McKee moved to West Seattle, where she resumed serving patients from her home. It could still be hard to find marijuana then, and she once met in the woods with Hells Angels members to supply the co-op, Hiatt said.
She continued to face trouble with the law, though not criminal charges. Neighbors complained about the odor of marijuana and the heavy foot traffic, said Hiatt, who represented her at the time. Eventually, with the tacit approval of police and prosecutors, she moved her operation to an industrial part of the city's Georgetown neighborhood, he said.
"Early on, she had a contentious relationship with law enforcement, but she fought and she stuck it out," Hiatt said. "But she was right, and she had the courage of her convictions, and they came to respect her."
The lawyers did, too. She often called Hiatt and others to represent patients who'd been arrested: "She would twist your arm until you did it, even if you did it for free," he said.
Among those who spoke at a memorial Thursday, on what would have been her 75th birthday, were King County Prosecutor Dan Satterberg and King County Council member Jeanne Kohl-Welles, a former state senator who spent her career advocating for medical marijuana patients at McKee's behest.
Satterberg recalled seeing her picture in the news after the 1995 bust with her wheelchair and eye patch. "I thought, who would ever want to prosecute her, and that had a profound effect on how the King County Prosecutor's Office handled medical marijuana cases. Over the years, when we had a case that had a legitimate medical claim, I tried as hard as I could to make sure we weren't prosecuting that case."
"It never made sense to me that it should be illegal to use for medical purposes," Kohl-Welles said. "She was instrumental in effecting an amazing amount of change in the way we approached cannabis."
Follow Gene Johnson at https://twitter.com/GeneAPseattle


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Garmin's so-tiny-you-won't-notice-it Foot Pod attaches to your shoe laces and uses ANT+ technology to wirelessly communicate with your watch. This allows you to get run distance and speed when training indoors on the treadmill or when GPS is unavailable. It also provides cadence (foot steps per minute) so you can get accurate data to help you improve. This isn't your average pedometer, as it uses MEMS inertial-sensor technology to accurately analyze stride-length changes and calculate your speed and distance to within 98% accuracy.
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Developer - Telefónica S.A.
Home page - aura.telefonica.com
Developer - Telefónica S.A.
Home page - aura.telefonica.com
Telefónica presents 'AURA'
Published on Feb 26, 2017
The application of cognitive capabilities to its platforms will allow Telefónica's customers to know, manage, and control their digital lives with the company, and discover new customer propositions.
Article "Telefónica bets on artificial intelligence for its digital transformation"
Mobile World Congress: Telefónica is putting a 'brain' in its network as it launches AI assistant Aura, but says the company will need to transform and digitise every part of the company to take advantage of the opportunity.
by Mindi Chahal
February 27, 2017


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H.R.2055 - Consolidated Appropriations Act, 2012112th Congress (2011-2012)
|Rep. Culberson, John Abney [R-TX-7] (Introduced 05/31/2011)
|House - Appropriations | Senate - Appropriations
|Committee Reports:
|S. Rept. 112-29; H. Rept. 112-94; H. Rept. 112-331 (Conference Report)
|Latest Action:
|12/23/2011 Became Public Law No: 112-74. (TXT | PDF) (All Actions)
|Roll Call Votes:
|There have been 15 roll call votes
|The measure is the vehicle for making appropriations for most federal government operations for the remainder of FY2012.
This bill has the status Became Law
Here are the steps for Status of Legislation:
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Amendments: H.R.2055 — 112th Congress (2011-2012)All Information (Except Text)
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text:
Robert Dusek will exercise this function on an interim basis up to the approval of his appointment by the Supervisory Board. Robert Dusek previously served as deputy head of Corporate Communications. Michael Kochwalter is leaving to pursue new opportunities in the private sector.
Herbert Kaufmann, speaker of the Management Board, commented, "I regret Michael Kochwalter's decision to leave the company, but understand his interest in pursuing this interesting challenge. I wish him a great deal of success in the future. With Robert Dusek, an experienced Flughafen Wien AG manager will take over our Corporate Communications.
Robert Dusek has worked at Flughafen Wien AG for 21 years and, in addition to his function as deputy head of Corporate Communications, was also responsible for investor relations. Corporate Communications comprise the press office and communications with neighbouring residents, internal communications, advertising/marketing, investor relations and compliance as well as typography and the printing centre.


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Description about Apartment 1303 3D
Having grown up under the controlling grip of her fame-hungry mother (Rebecca De Mornay), Janet Slate (Julianne Michelle) jumps at the opportunity to move into what looks to be a great high-rise apartment in downtown Detroit. Yet some deals are too good to be true as one night her boyfriend Mark (Corey Sevier) finds her in the middle of the street – having fallen from the balcony thirteen stories above.
When her sister Lara (Mischa Barton) tries to investigate the mystery of what happened, she moves into the same apartment and encounters the odd neighbors in the building, including an eerie nine-year old girl who seems to somehow know the real reason for Janets fall. Lara soon realizes that her sisters death might spell the same fate for her unless she can overcome the strange events that are terrorizing the inhabitants in Apartment 1303.
Using innovative 3D shooting techniques, director Michael Taverna creates a tense supernatural thriller that is adapted from a novel by Kei Ôishi.


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It might surprise you to learn that I do not possess a degree is astronomy. Nor astrophysics. Nor gravitational wave astronomy.
I know, shocker.
So consider yourself warned: All of the thoughts and opinions expressed here are from a newbie to the debate. And an inexperienced newbie to boot.
I sat down over the weekend to watch a …


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Attending one of the many sold-out shows of The Master, directed by Paul Thomas Anderson, during its opening weekend in New York, I had the misfortune of sitting next to a young man who not only had a laugh like a French poodle's hiccup, but erupted in bewildering mirth at almost everything that happened in the film. When the movie's central character, maladjusted war veteran Freddie Quell (Joaquin Phoenix), drank photographic chemicals in his undying effort to remain intoxicated, the kid cracked up. When Freddie debased himself sexually, the barking beside me suggested a kennel. When Freddie smashed his jail-cell toilet—after his arrest with the Svengali-like Lancaster Dodd (Philip Seymour Hoffman)—the young fellow became virtually apoplectic.
Though my seat mate was a particularly volatile example of the nervous giggler, his laughter resembled what you often hear at Hollywood comedies that rely on gross-out jokes and cringe-inducing situations, intended to make the viewer uncomfortable and apt to laugh, simply for lack of knowing what else to do. "The Master" is not a comedy, of course. It is Anderson's masterwork of mood, character and religious criticism, allegedly inspired by the life of L. Ron Hubbard, the founder of Scientology. It is less a coherent narrative than a tone poem. Yet the film does make the viewer supremely uncomfortable. Freddie, walking around with his id hanging out, is too much the vulnerable, damaged and malleable disciple-to-be not to strike a chord of kinship with an audience that will try to dismiss him, and find it impossible.
While Anderson himself has said "The Master" was inspired by Hubbard, the film companies involved have denied it, probably to avoid incurring the wrath of what has been called the most litigious religious organization since the Spanish Inquisition. In this case, though, the Church of Scientology is something of a scapegoat. Anderson's films—notably, the porn-industry epic "Boogie Nights"—have often dealt with our collective, desperate need for family, for belonging, for an embrace by the proverbial "something greater than ourselves." My pal at the screening might have wanted to deny it, but Freddie is all of us, despite or because of his self-doubt, incendiary anger, profound litany of regret and burning need to believe in what Lancaster Dodd is selling.
Dodd's bill of goods is a hodgepodge of Eastern mysticism, science fiction, eternal life, ego-stroking and a history of consciousness that stretches back "trillions" of years. It is 1950, and World War II—like all wars, despite the retrospective spinning and historical cosmetology—has left its share of human wreckage. This includes Freddie, who has spent time among a company of shell-shocked vets who are assured that, had "normal" citizens been subjected to what they've seen, those people would be shell-shocked, too. Except they're not. And the reintroduction of someone like Freddie into workaday society is going to be fraught with emotional, spiritual and—sometimes—physical peril.
We know, and so does Dodd, that Freddie is an ideal candidate for apostleship, blind allegiance, perhaps even faith, although Freddie's most poignant line comes in that aforementioned jail cell, after Dodd has been arrested for defrauding a charity, and Freddie has been arrested for attacking the police. "Just tell me something that's true!!" he shrieks, wanting so much to believe and given so little reason to. One of the major accomplishments of "The Master"—in addition to Mihai Milaimare Jr.'s spectacular 70mm cinematography, and the angular music by Jonny Greenwood, of the band Radiohead—is that we want to believe Dodd, too, even after his own son (Jesse Plemons) has said, "He's making it up as he goes along."
"The Master" should be seen as a portrait, not necessarily of Scientology but of fundamentalism. Like the hope-starved adherents of radical Islam or the members of the Westboro Baptist Church, Freddie has nowhere else to go until he happens upon Dodd, whom is first glimpsed from afar, aboard a pleasure boat, water being a key medium for Anderson's message. Freddie, a Navy veteran and able-bodied seaman, is taken on as a ship's mate and as Dodd's right-hand man and, eventually, muscle. To those who dare question Dodd's theology, Freddie brings violent retribution, even if it's a violence he would have vented elsewhere (as he has throughout the storyline). Dodd establishes a kinship with Freddie by drinking and appreciating the vile moonshine Freddie manages to create with whatever happens to be at hand, much the way Dodd has concocted his religion. Both are intoxicating. Both are dangerous. Both are apt to warp the mind.
Amid all of its splendid acting (Amy Adams, starkly out of character, plays Dodd's Macbeth-ish wife, Peggy), what "The Master" lacks is a story that hangs together the way audiences may expect it to. The film does not head toward or reach any definite narrative objective. It is more a collection of episodes that reveal character, personality and dysfunction, although the way that is done is (no pun intended) masterful.
Freddie is fascinating, an awkwardly walking metaphor—his pants are too high, and so are his shoulders; with his arms frequently akimbo, he gives off the unmistakable impression of a man constantly fighting his own physical gracelessness and losing. He's equally at war with his soul, tortured by the war and by the memory of Doris (Madisen Beaty), the love of his life who was too young at 16 to go away with him and who haunts him like original sin.
Phoenix was nominated for an Oscar in 2005 for his portrayal of Johnny Cash in "Walk the Line" and lost, coincidentally, to his "Master" co-star, Hoffman ("Capote"). Both are among our greatest screen actors. The pleasures of watching them should override any need people have to simply to be told a story, even if that's exactly what the "The Master" is all about.
A masterful review, although normally I prefer them dumbed down, like my movies and close friends.


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Brand Label: Jean Paul Gaultier
ITEM MOVED TO ARCHIVE: On November 3, 2017 5:16 pm, Fashion Stylist Online noted this item may be out of stock at macys because it was not referenced in their latest online catalog. If this item is out of stock at macys, you may be able to find similar fashions sold there or elsewhere on our Jean Paul Gaultier Designer Brand Directory.
Available for Purchase Online at macys for $92.00Pin It
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Liga MX Wrap: Leon blitz Santos Laguna
Leon blitzed Santos Laguna in the first half to set up their 4-2 win and stretch their unbeaten run to four matches.
In a pulsating first half of football at the Estadio Leon, both teams missed several chances but the hosts still managed to build a match-winning lead, scoring four times.
While Santos Laguna struck twice after the break, Leon held on for victory, their second in a row in Liga MX.
Leon moved up to seventh spot in the Mexican league table with 11 points, just ahead of Chiapas on goal difference, while Santos Laguna (10 points) dropped out of the Liga MX finals positions to sit ninth.
It took just eight minutes for Leon to hit the front on Saturday with Elias Hernandez cutting inside onto his right foot and curling the ball inside the far post.
Matias Britos scored the home side's second goal in the 19th minute, getting to a long pass first and, despite being upended by a Santos defender, half-volleying the ball into the net.
The game continued in an end-to-end fashion and Carlos Pena struck next for Leon, bursting through the middle of the visiting defence in the 34th minute, evading three opponents and then shooting across Santos goalkeeper Oswaldo Sanchez to score.
Leon completed a brilliant first half when Miguel Sabah side-footed home in the 45th minute after a right-wing cross somehow evaded two Santos defenders.
After a terrible first-half performance, Santos were handed a glimmer of hope two minutes after the break when substitute Mauro Cejas thrashed the ball home from the edge of the area.
But the visitors were unable to score at a regular enough rate to have a chance of getting back into the contest with Oribe Peralta scoring Santos' second goal with 20 minutes remaining.
Santos received another blow in the 90th minute when Jonathan Lacerda was shown his second yellow card and sent off.
Liga MX leaders Cruz Azul continued their unbeaten start to the Clausura season with a 3-1 win at Queretaro on Friday.
Cruz Azul lead the league with 22 points, while Toluca (19 points) are second after their 1-0 win over Guadalajara on Sunday.
Third-placed Pumas UNAM rose to 14 points with a 3-1 win at America, while Pachuca (13 points) moved up to fourth after dispatching with Morelia 3-0.
America's third loss in a row saw them drop to fifth with 12 points, just ahead of Guadalajara on goal difference.
In other Liga MX results, Chiapas won 3-0 at Tijuana, Tigres UANL defeated Veracruz 1-0, Monterrey edged out Atlas by the same scoreline and Atlante were held to a scoreless draw by Puebla.


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Kernersville police have seized nearly 1� tons of marijuana found inside a warehouse.
KERNERSVILLE, N.C. — Kernersville police have seized nearly 1� tons of marijuana found inside a warehouse.
Police Chief Scott Cunningham announced the seizure at a news conference on Thursday. Cunningham said officers seized the drugs Friday, along with other evidence, after receiving a tip that morning.
There have been no arrests in connection with the seizure.
Investigators found the warehouse and sent a K-9 unit to check the exterior. A different set of police dogs was used to find the drugs, which were hidden among the commercial products.
Cunningham didn't say where the warehouse was, but said it had been leased within the last several months. He said the marijuana was likely stored at the warehouse as part of a distribution system which would have shipped within a 200-mile radius around Kernersville.


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Whatever it is..
where ever there is love, a lot of shit is involved
Stray Vibes
Sunday, August 03, 2008
About Me
- Name: asheyy
- Location: Karachi, Pakistan
unpredictable, weird, leave me alone. observe me from far away... and you'll see:)
- Omg i just remembered an incident. One day, Mrs. ...
- Ego. a real small word which describes real big tr...
- My heart lights up everytime you call upon my door...
- And I see Love move, breathe, yawn, smile.. Why. ...
- Love is awake..:D
- Rain washes Rain nourishes Rain freshens Rain plea...
- the honour :D
- he named it Stray Vibes.. omg :D i love you, O.B...
- he named it Stray Vibes.. omg :D i love you, O.B...
- Thick. creamy. steaming. aromatic. a lil tangy. a ...
- Beauty has become what our lives are about, not the clothes and seasonal fashions, but the rage, grief, a terrible sense of isolation that we get when we don't get back any good feeling from the money and time we invest in appearance. Appearance is everything, appearance is empty. It's a miserable cheat, this mirror today in which we look nice and feel hollow. Why aren't people more kind and generous, as they used to be? Where are the nice grand-mothers who once smiled at young , pretty girls? They are at the gym, getting beutiful, getting in shape, getting rid of the soft, sagging underarms that remind them of their envy of pretty , young girls. - Nancy Friday
blogs I visit
- sadia
- amna
- sana
- qurat
- class news blog
- saurabh
- sadia's picture blog
- noor
- fiza
- alyzeh
- alyzeh n me!
- aqsaa>
- zazafeefi
- Omair:Hitler looks like Charlie Chaplin....both were insane....
- Li'l cousin:How does tricoloured tootpaste come out of the tube so perfectly when we squeeze the tube so much? How do the colours not smudge or mix into one another?
- Asheyy:OOga Buga BOOO
- Sadia:ever wondered how HITLER would look WITHOUT the moochein?
- Sadia:paan spits are VERY annoying
- 1331(!):oMg Im Pro0n3 t3h sTraYViBes T3h wIll U bE frAnd$ wIth M3
- Sana: * turns bio book to human reproduction chapter* maheen: mannnnn is that the economics book? Sana:UH HUH! UH HUH!:D
- Sana:*spits paan at aashay.*=]:| Sorray! it was the DEVIL!
- Asheyy: EVIL EVIL EVIL
- Alyzeh: dear friend, continue writing poems, if people dont like them then no problem, they will throw rotten egss and vegetables,at least we will be able to cook dinner with rotten things...
- Maaya (Maria): i luked laways outside of ma selfto see wat i cud make the world gimme instead of luking withen myself to see wat was there.
- Shanzae: I like icecream (!)
- Alyzeh: some body broke my neighbours window... guess what? we could see what was going on inside!!!
- Maham:I'm under that night.. I'm under those same stars
- Adrian: Someone kill me!
- Alyzeh:background:it was dark - no electricity. Tommy: you were standing besides me yet i couldnt see you. haha
- Ali.Ansari: I need to shave!
- Irtiza:Hey,you've got to hide your love away.
- Irtiza:I wish i had a life.
- Sadia:Na tha kuch to khuda tha, kuch na hota to khuda hota... Dubaya mujh ko honay nay; mein na hota, to kya hota? -- Mirza Ghalib (L)
- Umair:A foreign tourist spots a sexy eunuch while walking down Malabar Hills and asks:"R u a Prostitute?" the eunuch replies: "No, I am a substitute."
- Qurat:Jaahil aurat kya bakwasofying??:S:S:S:S
- Ahmed:Husband n Wife were fighting. HUSBAND says : Tu Saali Kutti..! WIFE replies : Tu Saala Kutta...! Their child who was nearby said: "Main Saala Puppy......."
- Amna:^^^ahahaha now thats funny!! :D I like this line: 'some dance to remember, some dance to forget' (Eagles, Hotel California) loovve the song :D
- Ahmed: Q. How Would You Identify a Pathan in a Submarine?..........A. He will be the only one with a parachute tied to his back.....LOL
- Li'l cousin:How does tricoloured tootpaste come out of the tube so perfectly when we squeeze the tube so much? How do the colours not smudge or mix into one another?
- asheyy: alyzeh, i loveie you:D:D
- adrian: I love my babie(marz)
- alyzeh: I lovee asheyyy
- alyzeh: heyy guys hope all of u have a great eid...missing you all...but i m glad theres no school...:P
- alyzeh: i lovee ayeshaasss blogg....it rocks....
- alyzeh: DO NOT PUBLISH THIS COMMENT!!!ur blog izz soo muchh cooler n better then the rest:Pi love it mann.....muaahhh...i repeat, do not publish it or ill be dead!!
- asheyy: I swear!!!!!!!I didnot make alyzeh say all of this. I SWEAR I DIDN'T PAY HER!ha.
- sadia: message for sergey brin and larry page: YOU TWO ARE MY ULTIMATE IDOLS YOU REALLY ARE.
- asheyy: I mish you qurat, and really sorry about your nani.
- qurat: i MISS U GUYS LIKE HELL!!!!!!!!!!!!AAA CALL ME BACK!!!AAAA=((=(=(==X=X=X=X=X==X=X
- marilyn: love u tooo babiii mwaaah (munkiee) =) babiee gurl wuvz yaaa mwaaaah
- qurat:noone visits my blogg!!!aa!!oh btw...i got the eid card n ma budday card...thanx alott yaarss
- adrian: I love my babie(marz)
- October 2005
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random quotes
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We Strive to achieve excellence and professionalism in accounting and financial services and in performing audit functions.
The Defence Accounts Department is committed to render efficient, correct and prompt accounting, payment and financial services leading to customer satisfaction. It is also committed to render efficient audit services to ensure public accountability.
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This action-packed tower defense strategy game takes you to distant planets where you must defend mining facilities from relentless Insectocyte monsters. Build towers in strategic locations in order to fend off wave after wave of increasingly tough attackers. Then use funds from kills and mining to build, upgrade, or research new weapons and technologies to strengthen your defenses. It will take equal parts skill and strategy to survive in Savage Moon.
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|Attention: DocWiki has reached EOL and will be decommissioned January 25, 2019.
Charts and Gauges: Printing
From DocWiki
Charts and Gauges: Printing
|Problem Summary
|I cannot print a chart or a gauge.
|Error Message
|Possible Cause
|You are using the Firefox browser. There is a known issue that Mozilla does not support printing of flash content: https://bugzilla.mozilla.org/show_bug.cgi?id=134002
|Recommended Action
|Use Internet Explorer as your browser when you intend to print a chart or a gauge.
|Release 8.0(1)
|Associated CDETS #


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1988 Jeep Wrangler YJ - Hammer DownPosted in Project Vehicles on November 1, 2008
Most of the time, the guy who comes up to an obstacle and gives it too much gas is a guy who is new to wheeling, and hasn't yet learned about how lower speed means more control and fewer broken parts. That guy is not Mike DePalma.
It isn't that Mike is new to wheeling, or doesn't understand. He understands the whole slower-means-more-control-thing. It just bores him to no end, and he has a lot more fun wheeling when he can get into the skinny pedal. Maybe it is our affinity for train wrecks, but there is something about a guy who understands slow speed control and chooses to do the exact opposite.
We keep expecting a spectacular rollover or at least some exploded drivetrain parts. He'll always clear the obstacle, so far without damage, but if you blink you'll miss it. We think he pulls it off because he knows when to get out of the throttle.
Even though the fancy airbrushed paint might lead you to believe that this is a $100,000 '88 Wrangler, such is not the case. Under the fancy skin is a relatively simple, homebuilt Jeep that takes a licking and keeps on ticking.
Chassis And Driveline
The stock YJ frame and body are about the only parts left from when this Jeep rolled off the line in '88. The stock leaf springs were tossed in the scrap heap and replaced with a TnT Customs High Clearance Y-Link Coil Conversion and high-clearance belly pan. The front springs are from Pro Comp, while the rears are Old Man Emu units with damping provided courtesy of Rubicon Express shocks. This all works out to about 5 1/2 inches of lift and longer control arms provide a wheelbase stretch to about 98 inches.
The front high-pinion Dana 44 axle was yanked from a '73 Ford F-150 and was trussed with a TnT Customs truss that allowed the axle to be bolted in like any TJ frontend would. Then it was stuffed with 4.56 gears, an ARB Air Locker, and the Ford brakes got rebuilt and reinstalled. Out back, a Ford 8.8 from a '90 F-150 got tapped for abuse reception. It too got a TnT Customs truss to accept the triangulated 4-link rear suspension of the coil conversion kit; then it was packed with 4.56 gears and a spool. Long braided stainless steel brake lines get the brake fluid to the axles and handle the droop that the coil conversion offers.
Locomotion comes from a '75 AMC 360 V-8 that ended up needing custom home-built mounts that located the engine 1 inch up and 1 inch forward of where the adapter mounts put it. It needed to move for clearance between the transmission and the high-clearance belly pan while running no body lift. TRW pistons, a Comp Cams camshaft, an Edlebrock Performer Intake Manifold, and a Holley 600cfm carburetor give the engine a kick like it never had from the factory. Redline Performance and Muffler in Loveland, Colorado built the custom 2 1/2-inch exhaust to clear the link suspension and the stock distributor and ignition ignite the mixture with help of an Accel Super Coil. A two-row aluminum radiator keeps the engine cool under any circumstances.
An '88 TorqueFlite 999 automatic transmission with a 2.72:1 First gear takes everything the V-8 can dish out and a two-row B&M Supercooler helps keep the heat under control. From there, power flows into the NP231 that the Jeep came with, which was modified with a slip yoke eliminator. From there, power is transferred to the axles with a pair of owner-built driveshafts that still have the stock 1310 size U-joints in them.
A 37-inch set of Goodyear Wrangler MT/R tires wrapped around Eagle aluminum rims with 3 1/2 inches of backspacing gets the power to the ground and they only rub the rear inner fenderwell under full articulation.
13PhotosView Slideshow
Body And Interior
The first thing that most people notice about this Jeep is the airbrushing. We'd call it purple, but Mike tells us that the black is actually a metallic black base, and the "purple" is actually "amethyst reflections". All of the paint and airbrush work was done by Chris Lewis at 3 Deuces Customs in Cheyenne, Wyoming
The front bumper and rear crossmember are both custom pieces, but the front tubular fenders, rocker guards, rear corners and rear tube fenders are all TnT Customs parts. Mike did a lot of grinding, filling, and sanding to get them ready for paint. We'd have just shot color on them, but Mike wanted it to be "right" and so all of the normal tubular fender welds and seams are now gone resulting in a really clean look. A MileMarker winch sits atop the front bumper ready for the off chance Mike gets stuck.
Inside, the stock seats still remain with the fronts receiving a pair of Bestop seat covers. The seats are bolted to a TnT Customs roll cage kit which was welded in by Mike with some added custom trussing and tubes here and there. A Kenwood CD player provides the tunes when the horses aren't let loose and running free. Recovery gear, tools, and the Hi-Lift jack go behind the rear seat while the spare axle shafts and driveshafts are behind the front seats, where Jeep thought the rear passenger's feet should go. A space-saver CB is mounted under the dash, and on longer trail runs, a soft sided cooler gets console duties between the two front seats.
Good, Bad, & What's It For
Normally 37-inch tires with a Dana 44 front axle and a Ford 8.8 rear axle shouldn't work together. Throw in a V-8 and the axles should liquefy. With Mike's devil-may-care attitude with the gas pedal, any weaknesses should have already given up the ghost. Yet the undersized axles live day in and day out, and he keeps on giving the crowds a show. Also, somehow the transmission puts up with the abuse and wacky angles that it is regularly subjected too also seemingly without a complaint.
Considering the number of Jeeps we see, it is still rare to see a full-bodied Jeep with the seats mounted to the roll cage. Given the usage this Jeep gets, we figure that was a very prudent move.
Hard Facts
Vehicle: '88 Jeep Wrangler
Engine: '75 AMC 360
Transmission: TorqueFlite 999
Transfer Case: NP231
Suspension: TnT Customs Coil Conversion
Axles: Ford high-pinion Dana 44 (front), Ford 8.8 (rear)
Wheels: 15x8 Eagle Aluminum Mod
Tires: 37x12.50R15 Goodyear Wrangler MT/R
Built For: One Jeep to drive on extreme trails and on the road
Estimated Cost: $16,000
Why I Featured It
Michael is a cool guy who, aside from theatrics has no problem lending a hand when someone breaks down and has a good amount of mechanical know-how. Put him in a Jeep with a V-8, axles we'd typically expect in a Jeep with a six-cylinder and 35s, and then watch him drive with more skinny pedal than typically needed because it's more fun that way. Somehow the Jeep stays together and rubber side down, and I just have a good time watching Mike's unique driving style. Don't get me wrong. He isn't all gung-ho with no style or no driving skill. He's got both, and uses them. It's just that he uses them with a liberal application of throttle.- Pete Trasborg


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The badgermole is an enormous, blind mammal native to the Earth Kingdom. Primarily subterranean creatures, badgermoles were the first to master earthbending and were the original instructors from which humans first learned the art. Notably, Toph Beifong developed her skill in earthbending through observing the ways in which badgermoles used earthbending as an extension of their senses while navigating underground cave systems.
Oma and Shu were the first humans to be taught earthbending by the badgermoles. The two lovers and the badgermoles created a maze of tunnels through the mountains dividing their two villages, allowing them to meet in secret. The tunnels' ceilings were embedded with crystals that would only glow in total darkness and led to the tunnels' exit.[1]
Toph also learned the bending art from badgermoles. Once, after running away from home as a child, she encountered the badgermoles in a cave. According to her, their earthbending was not merely centered around fighting, but an extension of their senses and their way of interacting with the world. She learned earthbending through copying the badgermoles' movements while navigating the tunnels.[2]
Several years later, Team Avatar met a group of nomads who brought them to the Cave of Two Lovers, a passage under the Kolau Mountains. Eventually, Team Avatar and their companions got lost in these caverns as the badgermoles were using earthbending to alter the layout of the underground network. After being separated from the rest of the group, Sokka, Chong, Moku, and the other nomads encountered these creatures, who initially demonstrated aggressive bending. However, they serenaded the badgermoles with music, pacifying them, and were able to ride them out the other side of the cave.[1]
Decades later, Prince Wu established a connection with two badgermoles at the Republic City zoo by singing to them. In 174 AG, when Kuvira invaded the city, the prince freed those badgermoles and guided them with his singing toward Central City Station. Ordered by song, they started to tunnel underneath the city and took down three mecha suits of the military of the Earth Empire when they threatened Prince Wu and several evacuees.[3]
Badgermoles are enormous in size and have brown fur with one white stripe between two black ones running down their backs and white, mask-like patches on their faces. They have long tails and five claws on each paw. Badgermoles use their noses and sensitive whiskers to inspect objects in front of them. Although they have vestigial eyes, evolutionary leftovers from long-forgotten times when they lived above ground, badgermoles are more-or-less blind; their earthbending abilities allow them to feel the presence of their surroundings in recompense.
Badgermoles use their tongues to lick in order to show their affection, an action seen when Toph first met them. They enjoy hearing music, which seems to put them in an almost tranquil state in which one can get them to do nearly anything.[4] Badgermoles use earthbending to form tunnels and travel underground, where they live and hunt for prey; the creatures seem to be the natural predator of the wolfbats.
When fully and properly tamed, badgermoles can be used as beasts of burden and can perform tasks such as paving pathways or clearing stone debris, such as during the Earth Rumble tournament.[5]
The badgermole resembles a cross between the American badger and the common mole. The facial coloring and white back stripe of the badgermole resemble the badger whereas its claws, tail, and eyes are indicative of the mole's. Both animals are among the best diggers in the animal kingdom: badgers are powerful diggers that can dig through the toughest earth, and moles, also quick diggers, almost "swim" through the earth.
- Badgermoles are blind like Toph, so they were able to understand each other well, and therefore taught Toph how to earthbend.[2]
- In Earth Rumble VI, an underground earthbending tournament held in a giant earthen arena in Gaoling, badgermoles were used to clear the ring of rocks.[5]
- The Boulder had a tattoo of a purple badgermole on his back.
- Badgermoles are the only original animal benders that are not known to be a companion to an Avatar. Roku had Fang, a dragon, as a lifelong friend, and Aang had Appa, a flying bison.
- They are also the only original animal benders that are not known to have been killed substantially by the Fire Nation; the dragons were killed for glory and pride, with only two known survivors, and many sky bison were killed along with the Air Nomads during the Air Nomad Genocide.
- After the Hundred Year War, a pro-bending team named itself the Ba Sing Se Badgermoles.[6]
- According to Chong, badgermoles hate wolfbats.[1]
- Due to the badgermole's importance in Earth Kingdom history, the animal has had an influence on the art of the nation.
- The earth monarch's throne in the Earth Kingdom Royal Palace is designed after a badgermole.[7]
- Two bagdermole statues are found outside the Earth King's palace. These stone sculptures were launched at Team Avatar by the Royal Earthbender Guards when the Avatar and his friends attempted to break into the Royal Palace.[7]
- Ornate badgermole statues are also found in the ruins of Taku.[8]
- Kyoshi earthbent two statues of badgermoles while in the Avatar State in a vision given to Aang by Roku.[9]


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This tip applies to Ubuntu Dapper 6.06 or newer. It won't do anything if you try it on an earlier version. I typically don't like bootup gimmicks and other silly tweaks that really don't do much, but I seriously do believe you can benefit from this one... I've made an effort to explain how it works in addition to just doing it, so if you're impatient, start scrolling down.
Disclaimer: This is a safe procedure that utilizes well-tested and noninvasive code already contained in Ubuntu's bootup procedures, but are not activated by default. However, I can't be responsible for any misfortune it may inflict in your computer.
One cause of slow bootup is excessive disk seeking -- as files are being read off the disk in arbitrary order, the disk heads have to jump all around looking for the files. If during your bootup, you hear the disk making a constant grinding noise loading files, you could possibly help your bootup speeds through this tip. On the other hand, if the hard disk does not appear to be working that hard, and your slow bootup is caused by intermittent "pauses" in bootup, then this tip may not be as handy for you, and you should investigate into other reasons why your bootup is slow (i.e. trying to get an IP on a slow network, etc).
What does this procedure do?
Ubuntu has a mechanism called "readahead" that attempts to minimize disk seeking. During a profiled bootup, Ubuntu will make a list of all the files read from the disk during the bootup procedure. It then sorts the files by the order in which they appear on your hard disk, and saves it into the /etc/readahead folder. On subsequent bootups, Ubuntu will first read this list of files into RAM. Since this list of files are in order, it should be faster to read them all at once rather than on an as-needed basis at bootup. In addition, this gives your hard disk something to do during the loading drivers and getting IP address phases of bootup, where usually the hard drive would be idle. As a result, bootup will be faster.
Isn't readahead something already set up in Ubuntu? Why am I running it again?
Well, Ubuntu ships with a default readahead list. Basically, the developers ran this procedure on their computer, then you use their list. However, this list may not reflect how files are laid out on your hard drive. Also, it may not reflect what you load during bootup, especially if you've installed any extra services. In addition, if you're running a development build of Ubuntu, this list might not be accurate at all.
Does it actually help?
Well, on my system, it took around 10 seconds off the bootup. I can't say what it'll do to you, but it doesn't hurt to try!
However, if you have an insanely fast computer, it could be that readahead won't help your bootup times, as your system can handle bootup seeking without delay (and perhaps also your system doesn't wait long for the network to come up or hardware to be detected). So, your mileage may vary.
Why isn't this done periodically by my computer, if it helps so much?
Well, the process of refreshing the readahead list introduces overhead, and makes your system boot slower that one time. It's not really fair for the computer to arbitrarily decided that THIS bootup should be 25 seconds slower
How do I do it?
(1) At the bootup menu (GRUB), select your default kernel. You may need to press ESC to see this menu.
(2) Press e for edit.
(3) Choose the first line (it should start with "kernel"). Press e again.
(4) Move to the end of the line, then add the word profile. Press enter.
(5) Press b to boot.
(6) Let the system boot to the login screen, and wait for all disk activity to stop. Remember, during this one bootup, you've told Ubuntu to keep track of all disk activity going on, in order to build that list. Don't be surprised if it's significantly slower than your ordinary bootups -- that's why it's not activated by default, remember?
(7) Reboot your system, and enjoy the results.
How often should I repeat this procedure?
I recommend doing it:
* Once after you install Ubuntu and get the system set up the way you like.
* After doing a major upgrade, such as to the next version of Ubuntu. No need to do it for regular updates, etc.
* After setting up prelink (if you use it), since that could cause bootup files to change locations on your hard drive
* After restoring your entire system from backups, as that would change locations of files on your hard drive.
Here's another related tweak that could help. It is a little more involved, but for me, the results shaved another 10 seconds off my bootup.
How does this one work?
By default, readahead is done in the background, while the rest of the system is booting up. I suspected that this could lead to more disk seekage, so I tried making readahead finish first, before allowing the rest of the bootup continue. To my delight, it took 10 seconds off my bootup.
Why isn't this default?
The three reasons I can think of are:
(1) Users would falsely file bug reports or complain that "Reading Desktop Files" is taking a long time to run on bootup (~10 seconds on average), not realizing that in doing so it saves them LOADS of time through the rest of bootup.
(2) The LiveCD would be agonizingly slow to load!
(3) People with insufficient RAM to cache the readahead would not receive much benefit from this form of readahead, which can worsen bootup time.
How do I do this?
(1) Perform the above profiling procedure. It is important that the order is correct, else this form of readahead won't do a thing!
(2) Use your favorite text editor (under sudo or root privileges) to open /etc/rcS.d/S01readahead
(3) Find line 21, which reads:
Remove the --background, so that it reads:Code:if /sbin/start-stop-daemon --start --quiet --background \
(4) Save, reboot.Code:if /sbin/start-stop-daemon --start --quiet \
It didn't help. How do I go back?
Just reverse step 3, putting --background back in.
Whoa! This really helped! Make it default for the next Ubuntu release!
It actually is in Edgy and beyond. A reverse of the hack is to add --background again, which some people reports is slightly faster. This completely depends on your hardware/software setup and whether your boot is IO bound or wait/modprobe-bound.


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<< Home > << Across-The-Board
San Francisco Bay Area Podcaster, Ed Pinto, talks about a number of topics that range from world news - restaurant reviews - gardening and a whole lot more. You may not agree with Ed on everything, but hopefully you find yourself entertained.
May 2009 Episodes:


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Supplementing JMU's general accreditation, all undergraduate and graduate degrees offered by the School of Art and Design are professionally accredited by the National Association of Schools of Art and Design (NASAD).
NASAD is the only accrediting agency recognized by the U.S. Department of Education covering the whole field of art and design, and provides a basis for public recognition of an institution's quality. JMU has been accredited by NASAD since 1981.
Making History: 1908-1922
James Madison University was originally established as the Normal and Industrial School for Women at Harrisonburg by the Virginia General Assembly on March 14, 1908.
Dr. Julian A. Burruss, an art educator who taught manual and industrial arts, was selected as the first president. After a year of developing curriculum plans and building two buildings, the school opened on September 28, 1909 with 150 women and a faculty of 15.
From the very beginning the study of art was an important part of the curriculum. Dr. Burruss wrote in the first catalogue: "The complete Normal School must be equipped to train teachers in agriculture and other rural arts, in cooking and sewing and other household arts and in drawing and other manual arts." Indeed, manual arts were an area of special interest to Dr. Burruss. Prior to his appointment as president he taught courses in "The Place of Industrial Branches in Education" and "Theory and Practice of Teaching Manual Arts".
Actual art training began in 1909 with Mattie A. Speck of the Harrisonburg public school system employed as a part-time instructor in Manual Arts. Raymond Dingledine, in his book on the history of JMU, noted, "Art classes from drawing to woodworking were taught in Maury (Hall), by the quiet, reserved and dainty Mattie A. Speck who placed her emphasis on practical skills." Ms. Speck left the college in 1914, and Frances I. Mackey, a member of the class of 1913, and one of Speck's former students, took over her work.
Beginning in 1911, courses in Art Appreciation and Art History were introduced by Ruth Hudson as part of the offerings of the Manual Arts Department and were required for most students. By 1912, the collection of courses taught by the Manual Arts Department had become known as the "Industrial Arts Program." Classes in drawing, handwork and woodworking were emphasized. Two years later, in 1913, courses in drawing and handwork for the primary grades become part of an elective curriculum for students completing the two-year professional program in teaching. After 1914, all students in the Primary-Kindergarten program took these courses, and students pursuing Intermediate and Grammar Grade work took drawing and handwork courses especially designed for the grammar grades. When a separate program for High School teachers was instituted in 1915, Advanced Drawing was also required.
In 1914 the name of the institution was changed to the State Normal School for Women in Harrisonburg.
A real turning point, however, came in 1916 when the General Assembly authorized the institution to grant a Bachelor of Science in Education degree. Creation of the new baccalaureate degree resulted in the adoption of higher entrance requirements and academic standards for the institution. As early as 1910, summer sessions became a popular feature for the college and required the employment of additional Manual Arts instructors. During these early years, Edmonia B. Shepperson, supervisor of Manual Arts in the Richmond Schools (1912-14,1916), Kathryn B. Roller, a Hampton, Virginia drawing teacher (1917-19), and Julia S. Wollridge, supervisor of drawing in the Richmond Public Schools (1916-18, 1921-24), were employed to teach summer classes.
When Julian Burruss resigned to assume the presidency of Virginia Tech in 1919, he left behind a campus of six limestone buildings, an enrollment of over 300 students, and a faculty of 26.
The second president, Samuel P. Duke, would direct the institution from 1919 to 1949. Despite financial constraints caused by the Depression, Samuel Duke oversaw the completion of many new buildings, including Alumnae, Sheldon, Johnston and Reed (now Keezell) Halls, two new dormitories, Converse and Cleveland, a major library, and Wilson Hall, which would become home to the art program for over 30 years.
Alimae Aiken Years - 1922-1957
In 1922, Alimae Aiken, M.A. in Art Education (North Texas University), replaced Frances Mackey as department head. With Ms. Aiken's arrival, the Department of Manual Arts was reorganized into the Department of Fine and Industrial Arts. Ms. Aiken would serve as the art department head for the next 35 years, until she left JMU in 1957. During the period 1920-35, the art program continued to grow and expanded its course offerings. An art appreciation course was established, and became a required class for Students preparing as kindergarten, primary, or grammar grade teachers. In 1924, the designation as a Normal School gave way to the new institutional name "Harrisonburg State Teachers College" and in 1931, the art program was assigned to the third floor of Wilson Hall. The department's principal studio classrooms and faculty offices would remain in Wilson Hall until the construction of the Duke Fine Arts Center (now Duke Hall) in 1965.
In 1928, Grace M. Palmer, M.A. in Art Education (Kansas State), became the second full-time member of the Art faculty. Four years later, the 1932 student yearbook listed Ms. Palmer as an "Associate Professor of Fine Arts" and Ms. Aiken as a "Professor of Fine Arts." Together, Ms. Aiken and Ms. Palmer offered courses known as "Primary Art" and "Grammar Grade Art", and beginning in 1930 a new course, in Painting and Drawing. In 1933, the department added classes in Art for Elementary Teachers and Art Education, and in 1937 added a class entitled "Art for Secondary Teachers."
In 1938, the institution became a multi-purpose college and was renamed Madison College. As a multi-purpose college the curriculum was expanded, but courses in Art Appreciation and Art Education continued to be required for most students preparing to become teachers. During the years of World War II, teaching duties were handled by Elizabeth Davis (1940-45) and Glada B. Walker, who replaced Miss Palmer in 1943. At the end of WWII, the Fine and Industrial Arts Department was renamed the "Art Department", Ms. Aiken reassumed her role as department head, and a course entitled "Basic Art" replaced General Art and Art Structures as the beginning art course in 1947. During this period, enrollment in art courses increased, work in crafts expanded, and a course in commercial art was introduced. The year 1945 also saw Ms. Frances Grove join the JMU Art Department faculty.
The inauguration of Madison College's third president, G. Tyler Miller, occurred on Dec. 10, 1949. Dr. Miller replaced Samuel Duke, who retired because of ill-health. President Duke left behind a college with an enrollment of over 1,300, and a physical plant valued at around $4 million. During Dr. Miller's administration, Madison College moved forward with an ambitious building campaign, and sought to become a diversified, coeducational institution. In 1966, Madison College became fully coeducational. Among the many buildings put up during President Miller's tenure was the Duke Fine Arts Center (now named Duke Hall) completed in 1965. This structure was initially designed to house the Art, Music and Theater Departments. Duke Hall continues to house a majority of the School of Art and Art History's functions, along with the School of Theater and Dance's main stage and scene shop. The School of Music vacated Duke Hall for new facilities in 1989. Dr. Miller also reorganized the academic structure of the college during his presidency. Four Divisions were established: Humanities, Natural Science, Social Science and Teacher's Education. The Art Department was placed in the Division of Humanities under the leadership of Dr. Louis Locke. Dr. Miller also helped establish a new core-curriculum in 1953 that included a course entitled "Art in General Culture". This course continues to be offered as a part of the present day JMU General Education program. Graduate programs were also added during Dr. Miller's tenure. The first graduate degree was offered in Education, but later Master of Science and Master of Arts degrees were added. Coursework in art education was available as a part of the MA in Education degree, but a separate MA major or minor in art education was not approved until 1966.
In 1957, Miss Aiken retired and was replaced by Dr. Crystal Theodore. From its beginning in 1909 through 1957, the program had established a strong reputation for art teacher preparation and graduated a significant number of art educators.
Dr. Crystal Theodore Years - 1957-1968
In September 1957, Crystal Theodore, Ed.D. (Columbia), succeeded Alimae Aiken as head of the Art Department. In addition to Dr. Theodore, Madison College employed two other art instructors at this time; Glada Walker, an Associate Professor, and Frances Grove, an Assistant Professor.
During her term as department head, Dr. Theodore initiated a major curriculum overhaul and hired several new faculty. One such course adjustment involved eliminating the practice of carving soap bars as sculpture.
In 1959, Dr. Theodore hired Dr. David Diller, a ceramist. The next year, Dr. Theodore hired Mr. Ken Beer, a sculptor. Upon the addition of professors Diller and Beer to the faculty, a serious departmental revision began. Many old courses were dropped, and new courses such as graphic arts, ceramics, aesthetics and more art history were added.
In 1958, the Art Department still occupied parts of the third and fourth floors of Wilson Hall, at a time when there was no elevator. Faculty "offices" were screened-off corners of lecture rooms, and the department went without secretarial help until the school's current senior secretary, Ms. Frances J. Dovel, was hired in July, 1968.
On completion of the Duke Fine Arts Center, Dr. Theodore took a semester's leave, after which she stepped down as department head. At the end of her tenure, the department had grown to 9 full-time faculty that included Jerry Coulter, Dr. Martha Caldwell and Ken Szmagaj. Dr. Theodore retired as a Professor Emerita in 1983.
Dr. David Diller Years - 1968-1980
Dr. John David Diller, M.F.A., Ph.D. (Ohio State), assumed the role of department head in 1968. Dr. Diller's term as department head would see a rapid increase in the size of the faculty and student enrollment. Also, the program's curriculum would continue to evolve into a more professional and cohesive structure ultimately resulting in the department's professional accreditation by the National Association of Schools of Art and Design (NASAD). The growth of the art program and the expanding number of faculty directly related to the early efforts of Dr. Ronald E. Carrier, the university's fourth president.
In 1970, Dr. Miller announced his retirement, and in January 1971, Dr. Ronald E. Carrier became the school's fourth president. At the time of Dr. Miller's retirement, Madison College enrolled close to 4,000 students, the faculty numbered nearly 300, and the value of the physical plant was estimated to be worth at least $30 million. Dr. Carrier was a 38-year-old economist and came to Madison College from Memphis State University, where he had been serving as vice president of academic affairs. As an undergraduate at East Tennessee State University, Dr. Carrier had been an art appreciation student of Dr. Crystal Theodore. Dr. Carrier moved quickly to increase the academic offerings and the enrollment at Madison College, and developed an intercollegiate athletic program for men. As a reflection of the school's growth and expanded mission, the name of the institution was changed to James Madison University in 1977.
At the beginning of Dr. Diller's tenure, the art program employed 9 faculty and listed 34 courses in its curriculum. By the conclusion of his tenure, the program had grown to employ 24 faculty, 2 professional staff and an expanded range of professional course offerings covering specialized studio areas in graphic design, interior design, printmaking, metals, and fiber arts. During the 1970s, Dr. Diller hired eleven faculty and one staff member. Joining the faculty during this time were Rebecca Humphrey, Barbara Lewis, Ron Wyancko, Steve Zapton, Gary Chatelain, Jim Crable, Alan Tschudi, Dr. Kathleen Arthur, Dr. Phil James, Jack McCaslin, Masako Miyata and staff member Christina Updike.
Hiring continued into the early 1980's when Dr. Diller brought gallery director Stuart Downs and art historian Dr. Linda Halpern to JMU. Several other faculty members were hired during Dr. Diller's era, but have since left the university. Notable among this former faculty was the first African American faculty member employed at Madison College. At the end of Dr. Diller's tenure, the visual arts at JMU had grown into a full-scale professional program. The B.F.A. and M.F.A. were added to its degree offerings, and efforts were underway to seek professional accreditation from the National Association of Schools of Art and Design (NASAD).
The growth of the art program, however, had created a pressing need for more space. Occupying less than one-third of the available square footage in Duke Hall, the art department was desperate for office and classroom space of any kind. In response to this need, some classrooms were moved into parts of portable trailers and former residential homes situated apart from Duke Hall. Other studios, supporting fundamental elements of the curriculum, were located into basement areas of residential or academic buildings located across campus. Printmaking took occupancy in the basement of Converse Hall, painting and drawing moved into the original women's gymnasium located in Ashby Hall, and sculpture and three-dimensional design occupied the basement garages at the rear of Harrison Hall. Dr. Diller stepped down from his post as department head in 1980, and rejoined the faculty. During his 12 year tenure as department head the program graduated over 359 art majors. He retired with the rank of Professor Emeritus in 1992.
Dr. Jay Kain Years - 1980-1989
Dr. Jay D. Kain, Ph.D (Minnesota), assumed the position of department head in the Fall of 1980. Dr. Kain, a well-known art educator, had been hired to fill the position of department head through a national search. At the beginning of Dr. Kain's tenure the program employed 24 full-time faculty and 2 staff members, and was one of 5 departments organized as the College of Communication and the Arts headed by Dr. Donald McConkey.
Reflecting the continuing growth of the university, several new positions were soon added to the department. Dr. Robert Bersson was hired in 1981. Mr. Stuart Downs' status was upgraded to full-time instructional staff and director of the Sawhill Gallery in 1984. A part-time secretary was added to the department staff in 1985, and the position of slide curator filled by Ms. Christina Updike received a major reclassification of job description and title. Dr. Kain's tenure also lent leadership to a number of major events.
Professional accreditation by the National Association of Schools of Art and Design (NASAD), initiated under Dr. Diller, was completed in 1981. Dr. Kain also oversaw the final approval of the department's MFA in studio art degree, JMU's first "terminal degree". The newly approved program enrolled its first students in 1980-81 and officially "hooded" the first graduates in the commencement ceremonies of 1984.
The department continued to evolve as a professional program with an emerging regional and national reputation. Significant events during Dr. Kain's tenure included JMU's sponsorship of the 1981 Southeast College Art Conference, SECAC, initiation of the Orkney Springs (VA) Summer Art Workshop in 1982, and the statewide Virginia Art Teachers Summer Workshop held on the JMU campus in 1983.
By the mid-1980s, JMU's growing academic reputation had begun to see a large increase in the number of applications for general admission. In response, JMU began to use increasingly stringent academic standards to guide its admission's process. These new standards tended to perceive applicants wishing to major in art as being less competitive in their academic preparation.
Dr. Kain responded to this situation by helping establish an art portfolio review process to advise the Admissions Office about students wishing to major in art at JMU. Adoption of a portfolio review saw the number and quality of art majors increase significantly in the years following its adoption, and today provides the school with a stable enrollment of talented students. With the portfolio review process in place, the department wished to expand its ability to attract and enroll top students.
Towards this goal, Dr. Kain helped initiate an annual art auction to raise money to be used for art scholarships. In the beginning, department faculty and students worked together under the leadership of Professor Jack McCaslin to organize the event, and raised about $9000 over a three year period. Then, beginning in 1986, during Dr. Kain's last full-year as department head, the auction received the organizational assistance and financial support of the JMU Foundation. With the Foundation's help, a larger, more publicly visible "JMU Art Auction" was first held in April 1987 at the JMU Convocation Center. Organized as a black-tie affair, exhibit and dinner extravaganza, this formal event was later moved to the Homestead Resort.
Dr. Kain stepped down in 1987 into full-time teaching with responsibility as the coordinator of the art education area. At the time Dr. Kain rejoined the faculty, the program offered three undergraduate degrees, two graduate degrees, and had graduated over 340 students. Dr. Kain retired in May, 2000 as Professor Emeritus.
Dr. Phillip James Years - 1989-1995
Dr. Phillip James, Ed. D. (Northern Illinois), an art educator with an expertise in art therapy, was appointed acting head of the Department of Art in August 1987. Within a short time Dr. James was appointed department head. Reflecting the growth and diversification of the program's interests, the department was renamed the School of Art and Art History in 1992, and Dr. James' title changed to director. At this time, the School of Art and Art History was one of five academic units within the College of Communication and the Arts, and Dr. James reported to the College's Dean, Dr. Richard F. Whitman.
Enrollment in the visual arts continued to grow at JMU, especially in graphic design. Between 1988-1993 six new and/or replacement positions were added to the school's faculty, three of them in support of the graphic design program. In 1988, Sang Yoon (graphic design) joined the faculty. Corinne Martin (photography) was hired in 1989 and Peter Ratner (computer animation, graphic design and advertising) joined the faculty in 1990. On the retirement of Dr. Diller, a decision was made to move his position to the graphic design area. In 1993, Trudy Cole-Zielanski (graphic design) and William Tate (interior design) joined the faculty. During Dr. James' tenure many rapid changes and external factors challenged the school. In 1989, the Music Department moved into a new facility. After much debate, the school was given permission to take over Music's former space in Duke Hall. Art faculty who had previously shared offices across campus moved into former music faculty spaces, but funding was not provided for office renovation or furniture. Because graphic and interior design students comprised more than 50% of the school's majors, most of the "new" space in Duke Hall was assigned to these two areas. A planned renovation of Duke Hall was canceled outright due to an economic slump in State revenue and was never completed. Painting, drawing, printmaking, and sculpture studios remained outside Duke Hall due to a lack of space, and planned photo darkrooms were not made fully operational. Despite the increased number of faculty, staff and students, the operating and equipment budget remained basically unchanged during Dr. James' tenure. With a budget already too small to support the existing program, Dr. James was forced to rely on the irregular allocation of state monies to provide for major equipment purchases, especially in the area of computing technology. Gifts to the school's foundation accounts, and money raised through Dr. James' Summer Children's Art Workshop also helped support the program.
The year 1991 saw the program undergo a successful accreditation review by the National Association of Schools of Art and Design (NASAD), and Dr. Kathleen Arthur leave her full-time art history position to assume the directorship of JMU's international Study Abroad Program. Dr. Arthur would retain this position until 1996.
One of the many bright spots during Dr. James' tenure was the establishment of the Wampler/Liskey Endowed Professorship in 1992 and the Encore Artists Series in 1988. These two programs allow the school to schedule an annual series of visiting distinguished professors, artists and workshops for undergraduate and graduate students. Prominent artists and scholars who have visited JMU through these two programs include Philip Pearlestein, Mariam Shaperio, Faith Ringold, Elizabeth Murray, Robert Arnason, Bill Viola, Donald Kuspit, Lucy Lippard, Suzi Gablik, and Arthur Danto.
In January 1995, President Carrier reorganized the academic structure of the university. The College of Communication and the Arts was eliminated, and the School of Art and Art History, along with all other academic units of the now defunct College of Communication and the Arts, were incorporated into a College of Arts and Letters. Dr. Richard Whitman was appointed dean of the new college. Dr. Carrier's restructuring of the university impacted heavily on the school's faculty. Graphic and interior design faculties were reassigned in joint-appointments to the newly formed School of Media Arts and Design (SMAD) and reported to Dr. George Johnson. Despite the turmoil produced during this period of change, the interior design faculty continued with a successful self-study and visitation for accreditation by the Foundation for Interior Design Educational Research (FIDER). Full FIDER accreditation was granted in the Fall of 1995 for a period of six years.
Dr. James stepped down from the director's position in 1995, and returned to the faculty as a member of the art education faculty. At the end of Dr. James' tenure the program enrolled approximately 325 undergraduate majors and 12 graduate students. During Dr. James' eight years as department head/director the program had graduated 544 students. He retired with the rank of Professor Emeritus in 1997.
Dr. Cole Welter Years - 1995-2004
Dr. Cole H. Welter, M.F.A., Ph.D. (Texas) joined the JMU faculty as director of the School of Art and Art History in August 1995 after a national search. Dr. Welter, a well known painter and arts administrator, inherited a program employing 18 full-time faculty and 3 staff, a number that excluded 6 design faculty reassigned to the School of Media Arts and Design under joint appointments created as part of the new College of Arts and Letters. Soon after Dr. Welter's arrival, JMU committed itself to a five-year plan that would increase the size of the student body from 11,500 to 15,000. This plan had a dramatic impact on the School of Art and Art History, which saw its enrollment grow to over 520 majors by the beginning of the Fall 2000 semester.
The rapid growth in the size of JMU's student body occurred during a time when many of the art faculty originally hired by Dr. Diller were reaching retirement age. The combination of JMU's rapid growth and a large number of retirements saw the first years of Dr. Welter's tenure focused on recruiting several new and replacement faculty. In 1996, Dr. Welter hired two new art history faculty, and in 1997, hired Sean Mercer (sculpture) to replace Ken Beer, who had retired after 36 years at JMU. Between 1998-2000, Dr. Welter hired sixteen more faculty; four in art education, five in art history, two in graphic design and five in studio disciplines.
During 1996 and 1997, Dr. Welter also worked to have the jointly-appointed graphic and interior design faculty returned to the School of Art and Art History. Successful, this change helped reunify the original faculty assigned to the school. Following these personnel changes and new hires, the school employed 30 full-time faculty, counting Dr. Linda Halpern, who had become JMU's Dean of General Education in 1996. Besides recruiting new faculty, Dr. Welter faced several other pressing problems created by the increased size of the student body. Still located in Duke Hall and several scattered spots around campus, the studio and classroom facilities occupied by the school were over capacity and in serious need of renovation. In 1996, Dr. Welter secured funding to refurbish the lobby and corridors of Duke Hall and added new display space for two and three-dimensional student artwork. Also in 1996, Dr. Welter helped relocate and refurbish several studios. The printmaking studio was moved out of its basement location in Converse Hall into renovated space in Duke Hall. The Duke Computer Lab and Interior Design studios were upgraded with new computers and furniture, and the Duke Hall seminar room and three multimedia classrooms were equipped with new furniture and advanced digital projection technology. In 1999, Dr. Welter also helped secure state funding for new off-campus space to house the drawing and painting studios which were relocated from the basement of Ashby Hall. Efforts to solve the program's immediate space needs were coupled with a comprehensive initiative to address the long-term facility requirements for all of the arts at JMU. Continuing along these lines, Dr. Welter was instrumental in securing a larger studio space named the Studio Center, which currently houses many of the School's studio and design programs. Working in concert with the directors of Music and Theater and Dance, Dr. Welter helped developed plans for a comprehensive "Center for the Arts" that was presented to Dr. Carrier in January 1996, and which has been adopted by President Rose as a centerpiece for JMU's future development.
In addition to enhancing the studio facilities for the School, Dr. Welter worked to establish the Duke Sculpture Garden as well as initiated the Harrisonburg Museum and Gallery Walk experience. He also was key in supporting the development and implementation of the Madison Digital Image Database, used for art history instruction.
Also during Dr. Welter's first year, the JMU administration committed itself to a renewed Art Auction. Reorganized during 1995-96, the school's seventh auction was held in April 1997 at the Homestead Resort, raising a record $65,000 for art scholarships. The success of the renewed event encouraged the JMU administration to commit to a permanent 3-year cycle for the auction, and in April 2000, the second Art Auction held during Dr. Welter's tenure raised another $50,000 for art scholarships.
Major program initiatives during Dr. Welter's early tenure focused on developing the dormant M.A. in Art History degree, creating a new sequence of Computer Animation classes, revising the Graphic Design program and developing a degree option in Industrial Design. The MA in Art History enrolled its first student in the Fall of 1997, graduated its first two students in the Spring of 1998. The Computer Animation sequence was implemented in the Fall of 1997 and has sent alumni on to work in prominent animation and special effects studios in the film, television and entertainment industries.
Collectively, during Dr. Welter's tenure, JMU's School of Art and Art History grew employ a teaching faculty of over 50 professionals (full and part-time) who were responsible for delivering a curriculum of over 155 courses, and that graduates an average of over 100 students per year from its pool of 520 undergraduate and 25 graduate students.
In 2004 Dr. Welter stepped down as director to rejoin the faculty. Dr. Marilou Johnson, Associate Dean of the College of Arts and Letters and eventually the Interim Dean of the new College of Visual and Performing Arts, served as Interim Director of the School of Art and Art History for the 2004 – 2005 academic year. During this year the school and the developing new college established the goals and mission for the college through a series of focus group discussions with faculty. In the summer of 2005 the board of visitors officially approved the new College of Visual and Performing Arts. That same year planning continued for the new Performing Arts Center located across the main JMU quadrangle. JMU President Linwood Rose proclaimed that it was the decade of the arts.
Leslie Bellavance Years - 2005-2010
In the fall of 2005 Ms. Leslie Bellavance, M.F.A. University of Chicago, joined the School of Art and Art History as director after a national search. Between 2005 and 2010 the school has directed attention to a Safety Initiative to improve the safety of all facilities and professionalize the art and design studios. The school, the college, and the university administration has continued to support this initiative. During this time a new staff position was added as Woodshop Supervisor and Safety Officer to oversee safe practices in the studios. Remodeling to improve ventilation and safety has been completed or is in the planning stage for most of the facilities. In 2008 funds for planning a complete renovation to Duke Hall were approved. Meanwhile, as a result of demolition to make way for the new Performing Art's Center, the school's student run gallery, artWorks, photography gallery, New Image, and graduate research space has moved into remodeled facilities in the Grace Street Building. New programs include the East Coast Sculpture Exchange, a collaboration with George Mason University, the University of Georgia, and JMU. The school continues to collaborate with the library on the development of the Madison Digital Image Data Base. The school also collaborates with the Madison Art Collection and the Institute for Visual Studies, both non-academic programs of the new College of Visual and Performing Arts. The school's operating budget, supplies budget, adjunct faculty budget, and faculty development budget were all increased through initiatives and in collaboration with the college and Academic Affairs.
Since 2005, numerous faculty members have been hired, with one of those positions being a new line in General Education. Faculty members hired during this period and who are currently teaching in the School are: Assistant Professor Aderonke Adesanya in Art History; Assistant Professor Sarah Brooks in Art History, Assistant Professor Sukjin Choi in Ceramics, Associate Professor Laura Katzman in Art History, Assistant Professor Aaron McIntosh in Fibers, Assistant Professor Rebecca Silberman in Photography, Assistant Professor Allyson Mellburg Taylor in General Education and Foundations, Assistant Professor Karin Tollefson-Hall in Art Education, and Associate Professor Lisa Tubach in Foundations. Gary Freeburg was also hired as the school's Gallery Director. Faculty members retiring during this period were Dr. Kathleen Arthur, James Crable, Stuart Downs, and Barbara Lewis.
Long-time senior administrative assistant, Francis Dovel, retired in 2007 and Karen Gerard was hired to take her place. Eric Morris was hired as the new Woodshop Supervisor and Safety Officer. Part-time staff support positions in the art office and in the technology area have been replaced with Marsha Knott and Jennifer Edwards. In 2007, the Art Auction held at the Homestead in Warm Springs, Virginia on March 31 generated substantial support and excitement for the Programs of the School of Art and Art History. Over $160,000 was raised to support the scholarship endowment for art scholarships in the school. The current Art Auction endowment total is nearly $608,000. In 2008 The School of Art and Art History has benefited from two new scholarship endowments, bring the total endowment to $955,473, very close to the one million dollar mark.
In 2007-2008, as James Madison University celebrated the Madison Century, the School of Art and Art History took the opportunity to reflect on a century of growth and accomplishment within the school, and beyond, through the talents of faculty, staff, students, and alumni. The centennial art exhibition, "Duration, Generation, Exploration", reflected a wide range of diverse art forms and scholarly research by the 45 participating faculty and faculty emeriti. In addition, 11 alumni exhibited work in a separate exhibition. A combined forum for art history and art education alumni also showcased many outstanding accomplishments of our graduates.
In 2010, Leslie Bellavance took a position as Dean at Alfred University. During Leslie's time as Director of the School, she was integral to the development of the Grace Street Building, supporting both the artWorks and New Image Galleries. She was also key in providing support for the Institute for Visual Studies. In addition, Leslie did much to prepare for the proposed remodel/addition of Duke Hall as well as seeing the initial construction of swingspaces for those studio programs needing to move out of Duke Hall. Leslie's experience and insight for diversity initiatives within the School and College were integral to the success of the Cultural Connections Artist-In-Residence program, which has resulted in two named artists who greatly impacted our school's programming during their extended visits to our campus. In summer of 2010, Dr. William Wightman was selected as Interim Director for the School.
From humble beginnings, the wise stewardship of Dr. Julian Burruss and dedicated faculty such as Mattie Speck, Alimae Aiken, Dr. Crystal Theodore and Dr. David Diller, built a solid foundation for the success of today's School of Art and Art History. In the process their contributions, and the many thousands of other people associated with the history of JMU's School of Art and Art History, have created something far larger than themselves. The vision to build an environment where artists, designers, art educators and art historians may receive an outstanding education remains as robust as ever.
Today the School of Art and Art History joins the School of Music and the School of Theatre and Dance in the College of Visual and Performing Arts. The college embodies a community of the arts with unprecedented potential. In the School of Art and Art History, more than fifty talented faculty and staff serve over six hundred majors studying architectural design, art education, art history, graphic design, industrial design, and studio art. The school's programs are fully accredited by the National Association of Schools of Art and Design. The school has a strong commitment to general education and serves a broad population of the JMU student community in achieving an understanding of the significance of artistic expression in diverse cultures within a complex, contemporary global society. The development of the school's programs encompasses the one hundred years of history and innovation on the part of the school's leaders and faculty members, and the ambitions and creativity of its students.


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The NFL scouting combine begins February 23 in Indianapolis and, beginning this year, will feature a new "aptitide test" to work in conjunction with the controversial Wonderlic test. Jeff Foster, president of National Football Scouting told Albert Breer of NFL.com that the new test will be introduced to participants this year and is not meant to replace the Wonderlic, merely supplement it.
According to Foster, the league spent time developing the new test with a university professor. The hope is that "it's something that's a little more evolved than the Wonderlic."
A university professor. That's pretty serious.
The new "aptitude" test shows that football talent evaluators are perhaps acknowledging the uselessness of the wonderlic in, you know, evaluating talent. However, it still ignores the basic fact that the only test prospective NFL players need to complete is below. Feel free to use, it NFL.
Are you good at football? Please show your work.
[ ] Yes
[ ] No
[ ] Maybe
Wonderlic to be supplemented by new aptitude test at combine [NFL.com]


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The solemnity of St. John the Baptist is a prelude to the Lukan readings about to unfold in the remainder of Ordinary Time. John the Baptist wears a multicolored coat in the New Testament. He is a wild desert preacher dressed only in camel skin and eating locusts and wild honey, who inaugurates a widespread ministry of baptism for the forgiveness of sin. He takes up Isaiah's cry to prepare the way of the Lord but calls the multitudes who throng to him (some perhaps out of curiosity) a "brood of vipers," warns them of God's wrath and threatens hellfire on those who pride themselves on their religious heritage. He baptizes Jesus amid the attending crowds, yet recognizes that he is uniquely sent by God, and is most remembered as the forerunner who prepares for the coming of Jesus. He dies a martyr's death.
Only Luke recounts John's birth, and we join the story at this birth when neighbors gather around to share Elizabeth's joy. A week later, at the circumcision, the family wanted to name the child Zechariah, after his father, but Elizabeth, who had not heard the earlier message to Zechariah about the name, assumes the important role of naming a child and says "No, he will be called John" (which means "Yahweh has shown favor"). Zechariah agrees, his speech is restored and all the people are in awe and ponder in their hearts what happened, asking: "What then will this child be? For surely the hand of the Lord was with him."
The Canticle of Zechariah, which follows, tells us what the child will be like. He will be a prophet (in Isaiah's words, a "sharp-edged sword"), will go before the Lord and will be the herald of God's compassion for humanity. Like every birth, John's contains a vision of the future, and, like every birth, this future can be marked by suffering and tragedy. John will "complete his course" (Acts) by being brutally murdered by a scheming ruler (Herod Antipas). As death nears, John is a model not only of one who heard God's word and lived, but of one who dies in great faith. From his prison cell he dispatches his disciples to ask Jesus if he really was "he who is to come," only to receive the answer, "Go and tell John what you have seen and heard: the blind receive their sight, the lame walk, lepers are cleansed, and the deaf hear, the dead are raised up, the poor have good news preached to them" (Lk. 7:19-22).
As Christians, we are baptized into Christ and "put on Christ." As young Jesuits we were exhorted to be "other Christs." After 50 years as a Jesuit, I see my life possibly as "another John," pointing to Christ and preparing the way for Christ to enter others' lives. Nor am I singular. I think every Christian is "another John," favored by God, called to become strong in the spirit, to speak with courage against evil in the world and, perhaps, even as we complete our course, to ponder if we really did prepare for the one who is to come.


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Performance Club II Shorts
Item: 11-5688
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Save $15.00 (33%) $29.99 $44.99
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The second party was a more vegan-friendly affair, a dinner of yoga buddies after our yoga class that we all take together. Even though I was the only official vegan in attendance, I knew in advance that my friend the hostess was planning on ordering a big batch of dhal and flat bread for everyone. This was great news, of course, because it meant that there would definitely be something yummy and nutritious for me to eat for dinner, regardless of what anyone else brought along. Also, this was doubly great news because it meant I could bake up some sweeties!! Mr. VE&T has been watching the calories very closely for about 9 months now, so my baking projects have been few and far between. It was so fun to get out the cupcake pan again! To go along with the flavor palate of the dhal, I decided to make "Chai Latte Cupcakes" from Vegan Cupcakes Take Over The World.
I hadn't ever made these before, but they were totally delicious and perfect! They are light and delicately spiced... almost more a muffin than a cupcake, which was just right after a big yoga class. They were a big hit with me and all my buddies too! I'll definitely make these little yummies again.