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World Cup: Germany, Argentina each have pope in corner
VATICAN CITY — Holy soccer!
For the first time ever, the two teams facing each other in the World Cup final will each have a living pope in their corner: Pope Francis' Argentina against Pope Emeritus Benedict's Germany.
The last time there were two living popes was in 1296, precisely 634 years before the first World Cup was played in 1930. (Besides, the two 13th-century popes were both from the same country, Italy.)
But don't count on either seeking divine intervention on behalf of his team. Pope Francis is a lifelong fan of the Argentine San Lorenzo soccer club and, even as pontiff, is known to follow the team's fortunes. However, he has already promised not to pray for Argentina to win.
Benedict played soccer as a youth and has touted the sport as a way to instill the values of "honesty, solidarity and fraternity" in young people. But he also is refraining from using his connections to give the German team a spiritual edge.
"Both would want the better team to win, without taking sides," said Fr. Federico Lombardi, the Vatican spokesman, tactfully responding to the question of whether or not the Vatican might be the site of some friendly ribbing between the current and former pontiffs.
Lombardi even hinted the two men might not even watch most of the game, given that its late hour — it will get underway at 10 p.m. Vatican time — is around the time both Francis and Benedict go to sleep.
In any case, Lombardi said, even if one or both decide to tune in, it's "unlikely" they would watch the game together.
That hasn't stopped speculation on that front. Souvenir sellers near the Vatican have been peddling World Cup-themed trinkets ever since Argentina slipped by the Netherlands to join Germany, which walloped host Brazil a day earlier, in the hotly anticipated final.
Vatican experts predict Sunday's general audience in St. Peter's Square will feature more than a few soccer-themed banners. And on social media, the rivalry has spawned its own Twitter hashtag: #HolyWar.
Visitors to the Vatican before the final said they would follow the game without taking into account the pope from each country.
"I don't want to think about the disappointment of either Francis or Benedict cheering for the losing side," said Carlo Massarini, a 41-year-old security guard. "For many of us, soccer is like a religion, and so maybe we should keep it separate from real religion."
Oliviero Pantani, 31, a youth soccer coach, took a similar view.
"Ever since Italy was eliminated I stopped praying for any specific result and have just asked for good, clean, entertaining games," Pantani said. "I'm sure the two popes are above rivalries and that they pray for the same."
This will be the third time Argentina and Germany (West Germany at the time) met in the World Cup final.
In 1986, Argentina beat the Germans 3-2 led by the hot foot of famed striker Diego Maradona. Four years later, Maradona fell short and the Germans won 1-0 in a game played in Rome's Stadio Olimpico, just two miles north of the Vatican City.


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Quilt 2, Square 14
Artist: Kirsten Grosz
The one person who stands out in my mind is a person I have never met. When we went to her native country in 1971, the foremost places I wanted to see were where she had spent her life. It became quite an obsession with me. I was reading books about the cruel life she might have had and the suffering she might have to endure. I was trying to imagine the heartaches she might have felt, and how courageous and unselfish she had been.
"Only cruel parents will send their children away from home to a foreign country," her relatives told her when she obtained a visa for her two boys, aged 14 and 15, for a transport of Jewish children, also known as the "Kindertransport," to England in 1939.
She is my mother-in-law, Irma Gross (nee Meth, D.O.B. January 1, 1842. Her number in Terezin was 769). From a photo, taken in 1939 with her husband and their two boys, she appears to have been short, on the heavy side, with dark hair and a round serious face. Her husband, a dermatologist, had his practice in the apartment they occupied in Brno, Czechoslovakia. She played the piano and was fond of operas and musicals and she was a good cook. She took her children to the park and bought them balloons which immediately disappeared into the air. She took them to her parents for celebration of Jewish holidays, and for summer holidays in Italy and Jugoslavia. But the hardest trip she took them on must have been to Prague where she was seeing them off to a country she did not know, and where the children did not speak the language.
In England, the boys, who were busy adjusting to a new country, a foreign language and manual labor rather than schooling, did not have much time for letter writing. When England and Germany officially declared war all correspondence between the two boys and their parents stopped. My mother-in-law did correspond with a brother in Sweden, a neutral country. One of her concerns was if the boys were getting an education. Of course, her brother had only sparse news from the boys in England.
Soon after the boys left, her family was ordered to move to a different part of town where they had to share a small apartment with three other families. That did not last long as they were all sent to the Terezin concentration camp. There she worked in the kitchen. A friend of hers, who survived, told us that my mother-in-law, whenever possible, smuggled out an extra potato from the kitchen for her friend.
My mother-in-law lived in a barrack for women. Her husband lived in the men's housing. I can only think of the relief she must have felt in not having her children go through the hardship she had to face. Her husband died in Terezin.
After a couple of years in Terezin, my mother-in-law was, with 5,000 others, on September 6, 1943, loaded on trains to the Auschwitz–Birkenau concentration camp. From there her brother received a post-dated card. She went into the gas chamber on March 8, 1944. When the doors were closed to the chamber, I hope she was consoled knowing she had done the right thing, sending her boys to safety.
Kirsten Grosz


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Kasten: Dodgers likely to temper spending
While not ruling out big offseason move, club president not expecting one
ORLANDO, Fla. -- Like the Federal Reserve, the Dodgers will taper their spending. The only question is, when?
The answer increasingly appears to be now. They aren't interested in second baseman Robinson Cano, the best free agent available. They've signed 26-year-old Cuban Alexander Guerrero, figuring he'll replace this year's second baseman, Mark Ellis, a 36-year-old free agent.
And the Dodgers' assumed interest in bidding against the Yankees for Japanese pitcher Masahiro Tanaka might be overestimated, as they were busy during the General Managers Meetings that ended Thursday talking to representatives of several second-tier free-agent pitchers.
In his best Ben Bernanke-speak, club president Stan Kasten gave no reason to expect a replay of last offseason, when the Dodgers' version of quantitative easing was to continue a spending spree on Zack Greinke and Hyun-Jin Ryu to bulk up the starting rotation and help pull the club out of its recession.
"I think, for us, it wouldn't surprise me if we went [through] the winter without a huge move; not that it couldn't happen," said Kasten, who had a record-breaking payroll of $230 million in 2013.
For 2014, the Dodgers already have $172 million committed to 12 players. Four players -- Greinke, Matt Kemp, Adrian Gonzalez and Carl Crawford -- will receive $20 million or more each. And two-time National League Cy Young Award winner Clayton Kershaw should push that number to five, either through arbitration or a contract extension.
"We are looking more at deepening the organization, to fine-tune it and get into the season and see what we need," said Kasten. "Having said that, I'm not ruling anything out. But those people who attach us to every free agent out there are making it up."
And Kasten is still banging the drum on transitioning the franchise to internal development, a trademark of his two previous clubs, Atlanta and Washington. That dampens the chances that the Dodgers would trade for Tampa Bay ace David Price, who would cost a package of prospects and decimate a farm system just beginning to stir back to life.
"We're in the latter phase of Phase I and the beginning of Phase II," Kasten said. "But we're not fully into Phase II."
As it relates to starting pitching -- which the Dodgers want to address because Ricky Nolasco is a free agent -- they are kicking the tires on a group that includes Ervin Santana, Matt Garza, Hiroki Kuroda, Ubaldo Jimenez, Bartolo Colon and Bronson Arroyo, as well as Nolasco. They also need an infielder on the left side. It could be a shortstop, with Hanley Ramirez moving to third base, or a third baseman like Juan Uribe. That might require a trade, because the free-agent market is slim. If it's Guerrero, who is playing some short in winter ball, the club might go back to Ellis as a second-base stopgap.
Another priority is bullpen, specifically a setup man like Brian Wilson and a lefty like J.P. Howell, although neither will come cheap. The club also needs to rebuild its bench. Nick Punto has already left. Michael Young, Jerry Hairston and Skip Schumaker are also free agents.


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Ruth G. Gaudin
- 4379 reads
Tue, 03/12/2019 - 11:47am
Ruth G. Gaudin, 83, of Greenwood passed away Monday, March 11, 2019 at The Greenwood Leflore Medical Center. She was a homemaker and of the Baptist faith.
Survivors include her daughter; Beverly Gaudin of Greenville, sisters; Elizabeth "Libby" Burleson of Greenwood, Jean Hall of Chicago, IL, and Cora Switzer of Brandon, brothers; David Gilmer of Brandon, Bill R. Gilmer of Benton, Tommy Gilmer of Flowood, Curtis Gilmer of Isola, and Clarence "B.B." Gilmer of Greenwood.
Graveside services will be Thursday, March 13 at 11 a.m. in the Belzoni City Cemetery under the direction of Stricklin-King Funeral Home.


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Now that we learned the basics of predator control, here are some specifics about each nuisance pest.
Geese have several natural enemies including swans, alligators and coyotes. Using one, a pair or all three of these decoy methods will help to ensure your pond (and the surrounding area) stays geese free all season long.
- Swans and geese make similar nesting areas (like your pond). Swans are very territorial and aggressive towards geese. Geese will see the swan decoy and fly over to find a less inhabited water body.
- Using alligator decoys is also an effective method for geese control. An alligator decoy is effective in areas where alligators do not live; the fear of alligators is instinctive, not learned.
- Geese do not like coyotes. The Coyote Decoy's 3D build makes it visible from all angles making it superior to silhouette cut outs, not to mention its tail and body will move with the least amount of wind. This movement can be spotted by pesky birds from a great distance away. Nesting birds and other rodents will not want to seek refuge anywhere near your property if they spot this lurking predator in the open!
Blue Heron
Blue Herons compete against their own breed for pond real estate. A blue heron decoy will deter a real heron from landing due to their territorial nature. Just be aware that late April to May (sometimes early June) is mating season. If used too early, your blue heron decoy may attract a heron searching for a mate.
Muskrats can be cute at first as they frolic and play in your water, but beware you likely have a bigger problem than you think. Muskrats wreak havoc on your shoreline by digging tunnels around your pond to the den causing unstable ground. Here are tips to remove them from your pond:
- Disrupt their diet. Muskrats are mostly vegetarians, eating aquatic vegetation such as cattails, grasses and pond weeds. Although, you may see them munching on snails, crayfish small fish and frogs in some areas. Removing vegetation in and around your pond is a sure way to limit a muskrat's access to food.
- Disrupt their environment. Muskrats prefer shallow ponds with still or slow-moving water. Adding an aeration system or fountain will provide circulation and, in most cases, enough wave movement to deter muskrats. You'll get a cleaner pond out of it too!
- Remove them from the pond. Muskrats can caught using a live trap baited with apples or other fruits and vegetables. Make sure you do not fully submerge the trap in case other wildlife accidentally becomes trapped. Monitor your traps several times per day. Check with your local DNR to determine rules involving relocating these pests.
Once you've trapped and released your muskrats, make sure you cave in their tunnels and den. You may need to backfill these spots with additional dirt or gravel.
Leeches can be quite the nuisance pest in a swimming pond, but, thankfully, they do not do much harm. Leeches can be found in most ponds but a healthy fish population can keep their population in check. Redear Sunfish do a great job eating leeches out of their mucky habitat.
If you do not have fish, there are some prevention and removal techniques we can share with you.
- Control the muck. Mucky areas are a breeding ground for leeches. Rake out as much muck as possible and use MuckAway™ to reduce muck by up to 5" per year.
- Remove weeds and debris. You have the muck under control but what about weed growth? Another hot spot for leeches is among weeds and debris. Raking out weeds and any decaying dead weeds from shallow waters will also keep your leech population in check.
- Add fish. Redear Sunfish and Largemouth Bass will help to reduce the overall leech population.
- Set a leech trap. Punch leech-size holes in a coffee or aluminum can, bait it with raw chicken or fish and position it in a shallow area of your pond. When the worms go for the grub, they can get in – but not out. The burrs from the whole punch will prevent them from escaping. Remove the can once it's full and repeat until the leeches are gone.
Filed under: Learning Center, Pond & Lake | Tagged: alligator decoy, blue heron, blue heron decoy, coyote, coyote decoy, geese, goose, leech, leech trap, muskrat, Predator Control, swan, swan decoy | 8 Comments »


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San Juan County has reminded me of a kaleidoscope this spring. I don't remember a spring when the wild flowers were so richly abundant, so big, and so remarkably colorful. This is our reward for all that snow shoveling last winter.
If pictures are worth a thousand words, this will be the longest column I have ever written. All pictures below are from a stroll taken June 5 in an area of less than an acre at the Cougar Canyon Ranch about three miles southwest of Monticello.
Enjoy. Just one more of the wonders of San Juan.
Buckley Jensen photos


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Patrons can request various materials from other libraries if not owned by Deer Park Public Library, including:
Patrons interested in requesting an ILL must:
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• gobble •Pronunciation: gah-bêl • Hear it!
Part of Speech: Verb
Meaning: 1. (Transitive) To eat very fast, voraciously, as to gobble up her food. 2. (Intransitive) To make the sound of a turkey.
Notes: Welcome to alphaDictionary's Thanksgiving Sale: two Good Words for the price of one! The turkey, that Thanksgiving staple of carnivores, only accidentally makes a sound resembling the word meaning "to devour", to gobble (up, down). Both words have only native English forms: gobbling refers to either activity and a gobbler is a person who eats too fast or the bird most likely to be gobbled up in the US tomorrow.
In Play: We held this word back to the season when gobbler-gobblers gobble (recently) gobbling gobblers: "Don't gobble that gobbler, Junior, it might accelerate your growth." (I suspect that these are more examples than anyone needs, so let's move on to the history of gobble.)
Word History: Gobble is based on Middle English gobben "to drink greedily", from gobbe "lump, mouthful" (gob today). Middle English picked up the word from Old French gobe "mouthful", which also went into the making of goblet. It also turned up in another Good Word, gobemouche. The turkey's gobble took its name, of course, directly from the sound that the turkey makes (onomatopoeia). Gobbledygook is a contribution of Representative Maury Maverick (1895-1954), whose grandfather gave us the word maverick. Rep. Maverick based the word gobbledygook on the behavior of turkeys back in Texas. According to him, they are ". . . always gobbledy-gobbling and strutting with ludicrous pomposity. At the end of this gobble there is a sort of 'gook'."


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July 12, 2010
Franco Cerrina, an OSA Fellow who was chair of the Boston University (BU) College of Engineering's electrical and computer engineering department, was found dead in his laboratory on July 12, 2010. The death was ruled "noncriminal" by the Boston Police department. Cerrina was 62.
Cerrina earned his PhD in solid-state physics in 1974 from the University of Rome. He taught for 24 years at the University of Wisconsin-Madison, starting as a postdoctoral researcher in the Department of Chemistry. He held various scientific roles at the university until accepting a position in 1984 as an assistant professor of electrical and computer engineering. Cerrina was promoted to full professor in 1990; he was McFarland-Bascom Professor of Electrical and Computer Engineering from 2001 to 2005 and Lynn H. Matthias Professor in Engineering from 2005 to 2008. He directed the UW-Madison Center for X-Ray Lithography from 1989 to 1998 and directed the Center for NanoTechnology, a research organization specializing in advanced semiconductor lithography and nanofabrication, from 1998 to 2010. Cerrina went to BU in August, 2008.
As a researcher, Cerrina applied physical sciences and engineering to manufacturing and biological challenges, focusing most recently on nanotechnology and biotechnology. Cerrina pushed the limits of photolithography for nanoscale applications, ranging from fabricating devices on computer chips to DNA synthesis for biological research, drug and vaccine development, and genetic engineering. In particular, he applied semiconductor fabrication techniques to biological problems, a pursuit that yielded the maskless array synthesizer commercialized by NimbleGen Systems Inc., his first spin-off company.
Through the Center for NanoTechnology, Cerrina was developing new patterning techniques for device fabrication by merging standard lithography and molecular-level, scale-up methods. Also affiliated with the UW-Madison Center for Biotechnology, he worked closely with the semiconductor industry and federal government on developing fabrication methods that will yield advanced processors and memory chips.
To commercialize products related to his research, Cerrina co-founded five companies:
Cerrina held 16 patents and had more than 300 reviewed publications. He was elected as an OSA Fellow in 1999, and he was also a fellow of the American Association for the Advancement of Science, American Physical Society, the Institute of Electrical and Electronics Engineers, the Society of Photo-Imaging Engineers, and SPIE.
If you would like to make a memorial donation to the OSA Foundation in honor of Dr. Franco Cerrina, please visit www.osa-foundation.org/give


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All bad everything! Music journalists everywhere took a big gulp of air into their throats as reports began swarming the internets that AOL Music had been closed down and all of their staff had been let go!
Says Mediabistro's Fishbowl blog:
"AOL has shuttered its AOL Music division and laid off its staff, according to pink-slipped employees on Twitter."
In a stunning sign -o-the times, Twitter suddenly lit up with tweets regarding the demise of AOL Music, but not from random site visitors. These Tweets were from the employees that are affected from the news of the closing down of the companies themselves.
Said, Spinner.com, a rock-music news site under the AOL Music banner;
"All of AOL Music is shutting down. Thank you all for your support. We had such a blast.
— Spinner.com (@Spinner) April 26, 2013″
Said Dan Reilly, the site's editor, on Twitter;
"sitting in an HR meeting right now, trying to negotiate keeping our computers for a few more days."
"Well, we all just got laid off. AOL Music is finished."
"Well, at least I found a good reason to finish off the whiskey at my desk."
Based on the Tweets coming out of those meetings, and the subsequent Tweets once those meetings were over, we think there must be a lot of disillusioned journalists walking around right now. Both those who lost their jobs today, and those with jobs who are now wondering if it can happen to them on Monday the way it happened to their friends and colleagues today. Things just got real.
We think this last tweet of the day from AOL Radio sums it up the best;
"It's a sad day here at @AOL. We'd like to say goodbye to our colleagues at @AOLMusic, @TheBootdotcom, @Noisecreep, @Spinner and @TheBoombox"
We'll keep our journalist brethren in our thoughts as they go through this moment.
Originally seen on TheUrbanDaily.com


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Wired: What's the significance of the superhero? What's interesting about the iconography or the archetypes?
Alan Moore: I don't actually think that anything is, at the moment. I don't really think that very much is interesting about the superhero as an archetype. I've been distanced from the whole concept for quite a while now, but I've been considering it.
It has occurred to me that the superhero really only originates in America. That seems to be the only country that has produced this phenomenon. Yes, we have had knockoffs of American superheroes originating in this country and presumably in other parts of the world, but they're not natural to this environment. They're an alien species. And I've thought about it and wondered why that was. And I wonder—perhaps this is being too simplistic, I don't know, but I wonder if the root of the emergence of the superhero in American culture might have something to do with a kind of an ingrained American reluctance to engage in confrontation without massive tactical superiority. I mean—does the term 7/7 mean anything to you at all?
Wired: Sure.
Moore: During the 7/7 bombings over here, it was announced a couple days later that as soon as the first two trains had gone up, all of the American forces that were in London were recalled to safe distance outside the M24 orbital motorway. After a few days, when they realized that it was safe to go back into London, they realized also that it looked kind of bad, sort of rushing out of the capital at the first sign of any trouble when the main reason for the bombing was England's support of America in the Iraq war.
It does seem to me that massive tactical superiority might be a key to the superhero phenomenon. That, if it's a military situation, then you've got carpet bombing from altitude, which is kind of the equivalent of having come from Krypton as a baby and to have gained unusual strength and the ability to fly because of Earth's lesser gravity. I don't know, that may be a simplistic interpretation, but that's the way I tend to see superheroes today.
That wasn't what it used to mean. That wasn't what it used to mean to me when I was a child. What I was getting out of it was this unbridled world of the imagination, and the superhero was a perfect vehicle for that when I was much younger. But looking at the superhero today, it seems to me an awful lot like Watchmen without the irony, that with Watchmen we were talking very much about the potential abuses of this kind of masked vigilante justice and the kind of people that it would in all likelihood attract if these things were taking place in a more realistic world. But that was not meant approvingly.
I have to say that I haven't seen a comic, much less a superhero comic, for a very, very long time now—years, probably almost a decade since I've really looked at one closely. But it seems to be that things that were meant satirically or critically in Watchmen now seem to be simply accepted as kind of what they appear to be on the surface. So yeah, I'm pretty jaundiced about the entire "caped crusader" concept at the moment.
If you remember back in the '80s, there was an incredible spate of monumentally lazy headlines in British and American magazine and newspapers. But also something along the lines of "Bam! Sock! Pow! Comic Books Aren't Just for Kids Anymore." I used to think those headlines were just irritating, but it's only recently that I've looked back and realized how incredibly inaccurate they were. Comics had not grown up, bam-sock-pow. What had happened was that you'd gotten two or three comics that had gotten, perhaps for the first time, serious adult elements in their compositions. This was judged as miraculous as a dog riding a bicycle back in the 1980s. It doesn't matter whether he's riding it particularly well; it matters that he's riding it at all.
I think that a lot of people, irrespective of whether they'd ever read a book like Watchmen, took it basically as a form of license. I think there were a surprising number of people out there who secretly longed to keep up with the adventures of Green Lantern but who felt they would have been socially ostracized if they had been seen reading a comic book in a public place. With the advent of books like Watchmen, I think these people were given license by the term graphic novel. Everybody knew that comics were for children and for intellectually subnormal people, whereas graphic novel sounds like a much more sophisticated proposition.
That sounds like the kind of thing a 30-year-old—or a 40-year-old, even—could be caught reading on the tube, upon the subway, without embarrassment. When I started work for DC Comics, I figured that my readership was probably somewhere between—they'd previously been 9 to 13 years old, and now they were around 13 to 18. The average age of the audience now for comics, and this has been the case since the late 1980s, probably is late thirties to early fifties—which tends to support the idea that these things are not being bought by children. They're being bought in many cases by hopeless nostalgics or, putting the worst construction on it, perhaps cases of arrested development who are not prepared to let their childhoods go, no matter how trite the adventures of their various heroes and idols.
Wired: When you were working on your later stuff for DC, were you still aiming for that young of an audience?
Moore: By the end of my original tenure with DC, I was a much younger man, and I was still following the basic agendas that I'd decided upon when I was a part of the emergent phenomenon of comic book fandom in this country in the 1960s. I think 1967 was probably the first British comic convention, and so it was very much infused with the spirit of the time, which was very progressive. With the American conventions, which had started sometime earlier, I think that there was an element of nostalgia that undercut that American comic phenomenon right from the outset. Over here, yes, there was certainly that element as well. But, like I say, it was the 1960s. Most of the comic fans I met at the time were 14- or 15-year-old proto-hippies, as was I. They were very interested in the progressive spirit of the time.
So, those were the agendas that we were following then. We thought it would be a great idea if comics could be recognized as the wonderful medium that we secretly knew them to be. And when I say "we," I'm talking about the 50 actual people who turned up at those early conventions, which was pretty much the sum total of everybody in this country who'd ever heard of American comics. But back then our agenda was this progressive notion that, wouldn't it be terrific if people were to get involved with comics who could make them more adult, more grown up, to show the kind of themes they were capable of handling? So this was the agenda that, 20 years later, I was still following toward the end of my first DC run.
At the time I thought that a book like Watchmen would perhaps unlock a lot of potential creativity, that perhaps other writers and artists in the industry would see it and would think, "This is great, this shows what comics can do. We can now take our own ideas and thanks to the success of Watchmen we'll have a better chance of editors giving us a shot at them." I was hoping naively for a great rash of individual comic books that were exploring different storytelling ideas and trying to break new ground.
That isn't really what happened. Instead it seemed that the existence of Watchmen had pretty much doomed the mainstream comic industry to about 20 years of very grim and often pretentious stories that seemed to be unable to get around the massive psychological stumbling block that Watchmen had turned out to be, although that had never been my intention with the work.
When I returned to work for—well, I didn't return. I was kind of press-ganged. I had DC buying the company I had just signed contracts with, which is flattering in one way and very creepy in another. It's like being stalked by a very rich demented girlfriend who can just buy your entire street in order to be close to you.
When I found myself working, even remotely, under the auspices of DC, I had very different intentions. Well, maybe they were the same intentions: to do progressive comics that adults could enjoy. But by then I'd become very tired of the wave of grimness that seemed to have been unleashed by Watchmen.
When I was working upon the ABC books, I wanted to show different ways that mainstream comics could viably have gone, that they didn't have to follow Watchmen and the other 1980s books down this relentlessly dark route. It was never my intention to start a trend for darkness. I'm not a particularly dark individual. I have my moments, it's true, but I do have a sense of humor. With the ABC books I was trying to do comics that would have perhaps appealed to an intelligent 13-year-old, such as I'd been, and would still satisfy the contemporary readership of 40-year-old men who probably should know better. But I wanted to sort of do comics that would be accessible to a much wider range of people, and would still be intelligent even if they were primarily children's adventure stories, such as the Tom Strong books.
So, although I was still committed to progress, which I think was evidenced by some of the very experimental things we did in Tomorrow Stories with Greyshirt and Cobweb, some of the incredibly experimental things we did in Promethea, which I think pushed the capacities, the capabilities, of a flimsy comic book about as far as I have ever personally pushed them. Some of the things we did on Promethea were so smugly clever that I'm still basking in the radiance three or four years later.
But it was a change of emphasis. I didn't want to spark off another wave of frankly miserable stories about psychotic vigilantes battling it out with equally psychotic villains. I wanted to do stuff that had a fresher feel to it, had a bit of a morning atmosphere. And I think, to a degree, we succeeded, but of course it all ended in tears.
Now I'm pretty much divorced from the comics medium. Of course, it's a medium I will always love, and I'm still working on The League of Extraordinary Gentlemen, but I don't think either Kevin [O'Neill, the artist] or I see that in the context of comics anymore. For me, it's one of the things I do, like the new novel, or the music I intermittently work on, or the book of magic. These are all things I do. I don't think of them in the context of the different media that I do them in. I still do think of new things to do with the comic medium, but now they're all pretty much sublimated into the League, which we're having a great time with.
We're being as wildly experimental as possible. The first book of the third volume is actually a musical, an opera. It's probably the blackest and most destructive of any of the League books so far, which included the aerial bombardment of London in the first issue and the invasion by Martians in the second volume. This is somehow even blacker than that.
But it has got a lot of very rousing songs running all the way through it. Because—as ever with the League—we tend to base the adventures upon the fictional landscape that was around at that particular time. Since this is set in 1910, we found the idea of bringing in Bertolt Brecht and Kurt Weill irresistible. So I've rewritten the libretto for a number of the more gutsy and dark and powerful and sardonic Kurt Weill numbers. There's a new "Mack the Knife," a new "Pirate Jenny," a new "MacHeath's Plea From the Gallows," a new "What Keeps Mankind Alive." The epilogue of the second part of the three-part volume is set in 1976, where we have a punk version of the "Ballad of Immoral Earnings" called "Immoral Earnings in the UK." I was worried at first that this was going to turn The League of Extraordinary Gentlemen into any number of bad Elvis films where, like, it's just about keeping the plot credibility together and then someone throws Elvis a guitar and everyone starts singing. It destroys any possible reality that's been built up in the reader's mind, and I was worried about that happening with League.
I just thought, "Is the kind of sense of drama we want to create in this book going to be undermined by the fact that we have characters bursting into song?" But the way it's worked is that it tends to make the scenes hyperreal rather than less real, just because of the incredible darkness and bitterness of Brecht's vision. We're very pleased with the way this particular experiment has worked out. And hopefully in future books we'll be continuing to push the boundaries as much as we can. But that's pretty much the full extend of my involvement with comics at the moment.
Wired: The League is interesting because of its dependence on that vast canon. Everything from pulp up through every novel that's been written gets hologrammed.
Moore: In the first two volumes we were dealing mainly with characters from literature, because characters from literature were all that were around up until roughly the end of the 19th century. With this one, the first one set in 1910, we're using characters from the stage as well as literature. We're using the whole Threepenny Opera storyline. With the second one, set in 1969, we've got access to all of the films and television that were around then. The third part, set in the present day—2008, 2009—we have characters from all of the new media that have evolved over the past 30 years.
It is interesting—it is an expanding cast of characters, and I suppose we're attempting to come up with a kind of unified field theory of culture that actually links up all of these various works, whether they're high culture or low culture or no culture.
Wired: How do you position yourself on the continuum from homage to parody to commentary? If you're engaging with all of these other texts to try to do what they did, to talk about what they did?
Moore: It varies. Like, for example, with the Brecht material we've woven this fairly seamlessly into the existing continuity of The League. Our "Pirate Jenny" is not quite the rather tragic, idle fantasist of Brecht's original. I'll leave it to the readers themselves to see this themselves before I go much further.
It's a matter of tying these things in. Sometimes they are lesser-known works that we think should be better known, and we're including them in the hope that people might actually go out and pick up the original books. Sometimes we have characters who are greatly revered that we feel are perhaps too revered, and we would like to give a more accurate picture of them. As an example, there would be the character in The Black Dossier who bears a considerable resemblance to Ian Fleming's James Bond. Well, it's Ian Fleming's James Bond, actually. But what we were trying to do is show the origins of this character, to show what a totally unpleasant character at its inception James Bond was—a nasty misogynist, some very suspect sexual inclinations, not at all the suave character the movies rounded him out into. We wanted the original James Bond, warts and all. We thought it would be interesting to connect up the various spy books, spy movies, spy television series that were so prevalent during the '60s, and to put them together into a coherent network, with a coherent storyline running through them that would let me comment on some of the realities of the intelligence services and their work in our world.
We were able to subtly comment upon things like the fact that a number of prominent MI-5 spies who were recruited from universities or public schools turned out to be double agents, traitors for the Russians—notably Kim Philby. We thought it was very interesting that Kim Philby was a lifelong friend of writer Graham Greene, who based his character Harry Lime for the screenplay for The Third Man upon Philby. And Philby himself was only called Kim because his father was identifying him with Rudyard Kipling's fictitious Kim, who had been a spy in the Great Game in Afghanistan in the 1880s.
Over here, we had already unearthed two double agents: Guy Burgess and Donald MacLean. There were rumors there might be a third double agent. In the 1960s, I remember headlines that said, "Kim Philby is the Third Man." They were completely oblivious to the fact that Kim Philby actually was the Third Man, that he was whom Graham Greene based the character on.
George Orwell had said that he'd based all of the apparatchiks of the secret state of Big Brother upon the prefects at Eton, the public school he attended. We also found out that Frank Richards, the gambling addict who wrote the Billy Bunter schoolboy books, had gotten into an ill-advised public spat with George Orwell when Orwell had written a critique of the Billy Bunter books saying they were racist, imperialistic, treated all foreigners and minorities as figures of fun, and made all these other fairly accurate observations about the Billy Bunter books.
To which Richards ill-advisedly responded that Mr. Orwell was being terribly unfair about his harmless schoolboy frolics, and as for treating foreigners as figures of fun, well, they are. Which was not the best reply to make to someone like George Orwell. In The Black Dossier, we were able to comment upon all these things. And, sometimes The League will, although it's set in a fantasy world, making some point that actually seems quite relevant to the world we're in at present.
I know that when I was writing the second volume about the Martian invasion is when we were just going into the still-ongoing war in Afghanistan. I know that there were elements of the things I was seeing on the news that were playing into my thinking, which in turn was playing into some of the dialog in some of the scenes in that volume of The League.
So, yes, it is a massive world of every fictional character that has ever not existed. And it is, on one level, a really over-elaborate literary game. But we are also able to find all sorts of resonances. The reason why these characters have endured is that they're resonant. If you extrapolate upon their possible adventures and have them meeting each other, if you do it right, you can amplify that resonance and make them still resonant to the world of today. The kind of misogyny that is exemplified by James Bond is still a large part of some quarters of the modern male psyche and probably still bears mentioning and talking about. Some of the imperialist tendencies that would have been prevalent during Allan Quatermain's original era are just as appropriate when we discuss them in terms of today. Perhaps it's a different country or a different global situation that we're talking about, but the basic principals are fairly timeless, fairly enduring.
So, yes, it is a big literary game, but it is one that lets us touch upon a surprising amount of stuff that's in some way relevant to the contemporary world. Given that we've got the whole world of fiction from the beginning until the end of time as our playground and given that we've got potentially every character that's ever existed somewhere in the offstage cast of our novel, then I think Kevin and I, we've certainly got an awful lot of ideas of things we can do in the future with The League. I don't think we're going to run out of possibilities for a considerable amount of time.
Wired: Could you do it in another medium?
Moore: No. Otherwise I'd have done them in another medium. I really don't think that The League would—well, it could have worked. There was a time I would have said that if any of my books could work as films, it would have been that first volume of The League. It was pretty much structured so it could have been made straight into a film, and it would have been as powerful as it was in the original publication. But that is to overlook the proclivities of contemporary Hollywood, where I really simply don't believe that any of my books could be benefited in any way by being turned into films. In fact, quite the opposite. The things I was trying to instill in those books were generally things that were only appropriate to the comics medium.
They were only about the comics medium, in a certain sense. To transplant them to the screen is going to chop off a good 30 or 40 percent of the reason why I wanted to do the work in the first place.
Jerusalem, this enormous novel I'm working on, which I'm two-thirds of the way through and it's already got to be somewhere around 1,500 pages, it's something that could only be done as a novel—and as an incredibly long novel. This wouldn't work as a comic strip. It's not got the right pace for a comic strip. It's something that's been designed to work as prose and occasional bits of poetry, just as The League is designed to work as a comic book—or a graphic novel, if everybody insists.
A lot of the effects in The League, the things that everybody remembers, they're kind of peculiar to the comic book. If you make The League into a film, even if you continue to, say, "remain faithful to my story or my dialog"—I mean, that is so unlikely as to be absolutely impossible, but say that that was to happen. What about Kevin's artwork? Kevin's artwork is so integral to the whole feel of The League that it couldn't be done with anyone other than Kevin. I think that he is probably one of the greatest and most individual artists working in the medium at the moment because his influences, his styles, come more from British illustration, British comics, than they come from the other side of the Atlantic. I'm not saying that's a bad thing, but an awful lot of the people over here, myself included, were probably more influenced by the American material when we were growing up than we were by what was, in retrospect, brilliant British material. Kevin has always had an absurdist, grotesque British undercurrent to his work.
I think the material he's doing on this new volume—I know I say this with every new volume of The League—but I think it's Kevin's best work yet. But it always is. I really can't say anything different. It's extraordinary. He's surpassed himself again.
In a film, it's not a Kevin O'Neill drawing. I don't care how much CGI there is in it. It's not a Kevin O'Neill drawing. When I am thinking about The League of Extraordinary Gentlemen, it's Kevin's drawings that I want to see, Kevin's storytelling, or the storytelling that is the combination of both of our efforts. These are the things that are important to me about The League.
It's like the idea about the Spirit film that's being done. I mean, I would have thought that it was fairly obvious that The Spirit is not about a guy who wears a blue mask and who fights crime from his supposed grave in a cemetery. What The Spirit is actually about is the panels on the page, the way that the eye moves from one panel to another. It's from the innovative shapes and layouts and designs that Will Eisner brought to the medium. You can't translate that into a film. Much as Eisner loved the film medium and tried to get as many techniques to comics as possible, there are things about the Will Eisner page you simply cannot translate back into cinema. I think Will would have certainly been intelligent enough to know that.
I think that adaptation is largely a waste of time in almost any circumstances. There probably are the odd things that would prove me wrong. But I think they'd be very much the exception. If a thing works well in one medium, in the medium that it has been designed to work in, then the only possible point for wanting to realize it on "multiple platforms," as they say these days, is to make a lot of money out of it. There is no consideration for the integrity of the work, which is rather the only thing as far as I'm concerned.
I've got enough money to be comfortable. I live comfortably, I can pay the bills at the end of every month. I don't want a huge amount of money by diluting something that I happen to be rather proud of at its outset. That pretty much describes my attitude toward the idea of any of my works being realized in another form, really.
Wired: You've had the double problem of not only the difficulty of adaptation, but also having suffered through some pretty egregious adaptations.
Moore: I've never watched any of the adaptations of my books. I've never wanted to, and there's absolutely no chance of me doing so in the future. So I haven't really suffered through them, although there has been a certain amount of irritation and outrageous behavior on the part of the comic industry and the movie industry that I have suffered through. But I've gone into this at bitter and ranting length elsewhere. I'm sure that people can look up the relevant articles have they a wish to.
My books are still the same books as they were before they were made into films. The books haven't changed. I'm reminded of the remark by, I think it was Raymond Chandler, where he was asked about what he felt about having his books "ruined" by Hollywood. And he led the questioner into his study and showed him all the books there on the bookshelf, and said, Look—there they all are. They're all fine. They're fine. They're not ruined. They're still there. And I think that's pretty much the attitude I take. If the books are as good as I think they are, then they are the things that will endure. And if the films are as bad as I think they are, then they are the things that will not endure. So, I suppose we'll see at the end of the day, whenever that is.
Wired: Among the interviews on the documentary film Mindscape of Alan Moore, you talked about trying to explain some of this to the director, Terry Gilliam.
Moore: I think that Terry understood my point. When we did meet—which was mainly just because I thought it would be really good fun to meet Terry Gilliam, and so it proved—Mr. Gilliam did ask me how I would go about translating Watchmen into a film, and I said to him, "If anybody had asked me, Terry, I would have advised them not to." I think Terry is an intelligent man and came to that conclusion himself. And I think he said something to that effect, that he thought it was something probably best left as a comic and shouldn't be made into a film.
This has been pretty much my attitude for a long, long time now. It's just that my attitude has probably hardened and gotten more ingrained as my arteries have hardened and I've grown older. I'm a bit more vehement and vociferous than when I was a callow youth of around 30.
Wired: Can you be more specific about what the things that comics as a medium do better than other media?
Moore: One thing is that with the comics medium, it has been proven—I believe by Pentagon tests in the late '80s—that comics are actually the best medium for imparting information to somebody in a form that they will retain and remember. That's not just me saying that, that's the Pentagon. I personally feel—and this is just pseudo-scientific hippie bullshit—I feel this might be because the unit of currency of what used to be called our left brain is the word. Our left brain is what goes about speech and rationality. The unit of currency for our right brain, conversely, would be the image, because the right brain is preverbal.
So perhaps it is because of the combination of words and images in a readable form that comics does have this unique power. Now, of course, movies are a combination of words and images, but they have a completely different structure and completely different way of working. With a movie you are being dragged through the scenario at a relentless 24 frames a second. With a comic book you can dart your eyes back to a previous panel, or you can flip back a couple of pages to check whether there is some reference in the dialog to a scene that happened earlier.
You can also spend as much time as you want absorbing every image. This is especially true of something like Watchmen, where I was trying to take advantage of Dave Gibbons' brilliant capacity as a former surveyor for including incredible amounts of detail in every tiny panel, so we could choreograph every little thing. The little symbols and signs appearing in the background, every little touch could be choreographed to the last detail, and we knew that the audience—because they'd be reading at their own pace—would be able to study each panel and to take in these almost subliminal details. Even the best director in the world, even a person as talented as Terry Gilliam, could not possibly get that amount of information into a few frames of a movie. Even if they did, it would have zipped past far too quickly. Because the audience at the movie theater is not in control of the experience in the same way somebody reading is.
One of my big objections to film as a medium is that it's much too immersive, and I think that it turns us into a population of lazy and unimaginative drones. The absurd lengths that modern cinema and its CGI capabilities will go in order to save the audience the bother of imagining anything themselves is probably having a crippling effect on the mass imagination. You don't have to do anything. With a comic, you're having to do quite a lot. Even though you've got pictures there for you, you're having to fill in all the gaps between the panels, you're having to imagine characters voices. You're having to do quite a lot of work. Not quite as much work as with a straight unillustrated book, but you're still going to do quite a lot of work.
I think the amount of work we contribute to our enjoyment of any piece of art is a huge component of that enjoyment. I think that we like the pieces that engage us, that enter into a kind of dialog with us, whereas with film you sit there in your seat and it washes over you. It tells you everything, and you really don't need to do a great deal of thinking. There are some films that are very, very good and that can engage the viewer in their narrative, in its mysteries, in its kind of misdirections. You can sometimes get films where a lot of it is happening in your head. Those are probably good films, but they're not made very much anymore.
There seems to be an audience that demands everything be explained to them, that everything be easy. And I don't think that's doing us any good as a culture. The ease with which we can accomplish or conjure any possible imaginable scenario through CGI is almost directly proportionate to how uninterested we're becoming in all of this. I can remember Ray Harryhausen's animated skeletons in Jason and the Argonauts. I can remember Willis O'Brien's King Kong. I can remember being awed at the artistry that had made those things possible. Yes, I knew how it was done. But it looked so wonderful. These days I can see half a million Orcs coming over a hill and I am bored. I am not impressed at all. Because, frankly, I could have gotten someone, a passerby on the street, who could have gotten the same effect if you'd given them half a million dollars to do it. It removes artistry and imagination and places money in the driver's seat, and I think it's a pretty straight equation—that there is an inverse relationship between money and imagination.
If you haven't got any money, you're going to need lots and lots of imagination. Which is why you'll get brilliant movies by people working upon a shoestring, like the early John Waters movies. People are pushed into innovation by the restrictions of their budget. The opposite is true if they have $100 million, say, pulling a figure out of the air, to spend upon their film, then they somehow don't see the need for giving it a decent story or decent storytelling. It seems like those values just go completely out the window. There's an inverse relationship there.
Wired: That's a different axis than the intrinsic capabilities of the medium. That has to do with whether you screw it up. It's possible to do a good comic book and a bad comic book.
Moore: Of course, and it's possible to do a good film and a bad film. It's just that I don't see an awful lot of good films or good comic books, which considering the immense amounts of money that are pumped into the production of these things, I think I would ideally like a much better success ratio. Yes, sort of big films with their budgets of $100 million-plus, if they are successes then they make back quite a bit for the studio, I guess, but this is after six or seven that really haven't made back their outlay. You have to be thinking of this in terms of its environmental and economic impact. I would have thought, particularly in the current climate, where the world economy does seem to be circling the drain, we might have to start thinking about handling our culture differently. We might have to be more conservative in throwing these huge amounts of money at our movie directors, at our actors, at our sports heroes, or, hey, our comic book writers.
Although we're not that guilty. We don't really get the same as the sports heroes or movie stars it has to said. We might have to start rethinking all this. Is it really worth spending all that money? Wasting all those resources? I mean, $100 million, that would pretty much sort out the horrifying flood damage in Haiti. I heard that figure quoted the other day. We might have to start rearranging our priorities and not just trying to anesthetize ourselves with endless television shows and movies because we're bored with our lives in the filthy rich Western world. We might have to change our priorities a little bit. If we are going to spend our money upon film, then let's start valuing the people that produce wonderful things with very little to go on. Let's stop being so childishly awed by what are essentially fireworks displays.
Most films that I see it seems that the level of criticism that they are expecting is on the level of a fireworks display. It's ooh and ah. Those seem to be the only responses that are appropriate to most modern films. I think we're in for a period of cultural revaluation. I certainly hope that's true, because I think if we're not, we're in for a period of cultural damnation. I think that we're fairly evidently heading to hell in a hand basket, and we have got to change our priorities. We've got to rethink this entire thing, and I think that rethinking our culture may be a part of that. I certainly hope so.
Wired: You mentioned Jerusalem and your music. Is there anything else I should know about?
Moore: There is the Bumper Book of Magic, which I am working on with my friend and inspiration Steve Moore—no relation. We are hoping that when we get it finished, in probably a couple of years, that it will be the most lucid, most beautiful, and probably most informative and funny grimoire that anybody has ever produced. It will be the first time a book of this nature, a huge compendium of magic which explains it in theory, in practice, which explains its history, and which includes all sorts of other wonderful features—it will be the first time this has ever been done for a mass market.
All of the previous magicians who've published grimoires have done it for an esoteric elite, and it's mainly been done in fairly opaque language that would only be comprehensible to people with already a fair amount of arcane knowledge. What we are trying to do is to make this, as I say, completely lucid, to demystify it, and at the same time to restore it to the position of reverence that we think that it should be in.
One of the things that has been the most fun is that part of the book, a strand that runs through the book, is a series of one-page features called "Old Moore's Lives of the Great Enchanters," where we start off with the dancing sorcerer: the cave illustration from Les Trois Freres caves in France, which is an antlered, dancing shaman figure. We take this as the first recorded magician. And we do a piece about the likelihood of Neolithic shamanism, and its world view. We move on through the Persian magi up through pretty much all of the important, famous magicians in history. We found out some incredible things just from researching these things. We were probably complacent because we assumed that we already knew about these things and these people. But we found out an incredible amount of new information.
We found out where kabbalah came from. It's not Hebrew at all, it's Pythagorean Greek. It was Pythagoras who first suggested adding three spheres to the classical seven spheres. He said, Yeah that's great, but you need another three spheres. You need one to represent the Earth, you need one to represent the six stars of the Zodiac, and one to represent the Primum Mobile—the first stirrings, or the origins of the universe, the Big Bang. It still obviously has a Hebrew element in its construction, but what happened is that the Pythagoreans had this system outlined, 10 spheres, each with their correspondencies. But this would have been translated into various languages, including Hebrew, in Alexandria around 100 BC to 100 AD. And there were scholars from all over the world passing through Alexandria. What must have happened is that Hebrew scholars picked up this Pythagorean stuff and realized they had a base counting system of 10, which would have made it appropriate to their mathematics, and that they could draw 22 lines between the 10 spheres, representing the 22 letters in the Hebrew alphabet. And they took it, and ran with it, and developed kabbalah as it is today. But the roots were originally Pythagorean.
We found out who Faust was. And how the rather muddled story of Dr. Faust the evil magician actually evolved. We're pretty pleased with ourselves. We've even found out that Dr. Dee's Enochian magic, which was the names of angels that were written backwards in an invented magical alphabet, that he was actually taking the idea from Paracelsus who had a magical alphabet with which he used to write the names of angels backwards. This is something neither one of us had ever read in any consideration of John Dee. So we're really excited.
We seem to be turning up something new with every new enchanter we look at. It's a very fun book to do. It will include a complete tarot deck that I shall be working on with Jose Villarrubia. The basic thinking behind the tarot deck is that, if it's not as good as the Aleister Crowley soft deck, then it's not really worth bothering with. That's the one to beat or to equal. There's not much point in doing one not as good as that. That's the level we're setting the bar at. We're hoping to have a fold-out kabbalah board game. The winner is basically the first one that reaches enlightenment, as long as they don't make a big thing of it. Also, Melinda [Gebbie, Moore's partner] will also be contributing a pop-up temple for today's modern magus on the move, a little portable shrine.
We want this thing to have a lot of really fun inserts, fun features. Something that would delight a child. We want to make this not only a perfectly lucid and accurate book about magic, but we really want to make it a book about magic that would not disappoint an 8-year-old child if they came across it. Back when I was a child and I first heard about magic, then I kind of knew instinctively what a book of magic would be. It would be unimaginably wonderful. It would have fantastic things in it. It would be much better than the children's comics annuals I got at Christmas, and they were pretty wonderful. That is very much what we've tried to achieve. We want this to be magic that will be accessible to intelligent, modern adults. And we also want it to be magic that 8-year-old children will recognize as magic, as being as beautiful and glorious and entertaining as they had always hoped that magic would turn out to would be.
There are other bits and pieces going on. I've just written an introduction for a new book of Austin Osman Spare's The Book of Pleasure, which I was very happy to do an introduction for. Those are the things that keep me busy. Those are the main three things.
Watching the Watchmen Filming the Unfilmable: Behind the Scenes of the Watchmen Movie Artist Dave Gibbons' Gut Feelings on the Watchmen Movie Video: Recreating Watchmen's Comic Book World How Comics Can Save Us From Scientific Ignorance
Geek Ink: Comics Fans Show Off Tattoos


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Marvel Vs Capcom 3
EA's lost Marvel game revealed in discovered footage, see it here
Marvel and EA had teamed up for a string of fighting games back in 2005 – perhaps you recall Nihilistic Software's Marvel Nemesis: Rise of the Imperfects? – but only one game came out of the deal. There was another game in the works, and footage of the unnamed title has appeared in the wild. […]
Marvel Vs Capcom 3 headlines
Marvel vs Capcom Vita DLC share bug to be fixed
An issue blocking PlayStation 3 owners from sharing their Marvel vs Capcom 3 Jill and Shuma Gorath DLC with the Vita version will be resolved at the end of the month.
Canada Cup 2011 livestreaming now
Hit the break to check out all the action from Canada Cup 2011, one of the nation's foremost fighting tournaments.
Video: 17-minute tutorial for Ultimate Marvel Vs Capcom 3's Phoenix Wright
Phoenix Wright looks to be the very definition of the thinking-man's fighter and so to play him effectively you're going to need to know how to use him. Voila.
Marvel vs Capcom 3 listed for Vita by Amazon France
Amazon France has listed on its website Marvel vs Capcom 3 for a release on PlayStation Vita. This seems to only mention just the vanilla version that released ages back in February, and not the Ultimate edition that's releasing in November. Nothing's been confirmed yet, but chances are you're likely to hear something in Germany […]
Watch Evo 2011 fight tournament in PlayStation Home
The fighting game competition begins on Friday July 29 and runs until the end of the weekend with players competing for cash and kudos across several high profile fight game franchises. You can watch all the action from the comfort of your virtual home.
Rumor - Ultimate MvC3 for Comic-Con announcement
The comics blog The Quarter Bin has posted a rumor that during Comic-Con next week, Capcom will announce Ultimate Marvel vs. Capcom 3. Granted, Ryota Niitsuma will be announcing news at a Marvel vs. Capcom 3 panel and Marvel Interactive will also be holding a panel discussing "some exciting new details about the future of […]
"Fantastic" Marvel vs Capcom 3 news promised for ComicCon
A mention for a Marvel vs Capcom 3 panel at ComicCon has said that "fantastic news" on the fighter will be announced by producer Ryota Niitsuma at the event. No idea what it's going to be, but it's probably going to be either new DLC or a Super version of the game. Place your bets […]
Saturday Shorts: RIFT, Star Trek, Green Lantern, The Settlers 7, sales
Saturday playtime is almost over, so to get you ready for a relaxing Sunday, here are some headlines and news highlights.
Marvel vs Capcom 3 ships 2 million units
Capcom's announced this morning that Marvel vs Capcom 3 has shipped 2 million units since launch.
Wednesday Shorts: Diablo III art, MvC 3 patched, Minecraft store, more
Marvel and awe at these little snippets of newsy goodness, none of which make it far enough out of the "silly" pile to justify another hundred words.
Thursday shorts: 3.6 may fix PS3 hacks, unlimited DAII XP, other acronyms
Someone said something, something's rubbish and something else is amazing. And there's a new BlazBlue game coming. See for yourself below.
Jill Valentine and Shuma Gorath get official Marvel vs Capcom 3 videos
Capcom has officially revealed Jill Valentine and Shuma Gorath via two new trailers which are full of MvC3 gameplay footage.
Rumour: Strider and Frank West still on for Marvel vs Capcom 3
File this one under "extremely dubious" and "probably shop'd", but an image has appeared apparently showing Strider and Dead Rising's Frank West in Marvel vs Capcom 3.
Tuesday shorts, part 3: Ms. Splosion Man video, Unreal Engine 3 supports DX11, more
Parts one and two weren't enough for GDC. No sir. We're going triple with the mini-story round-up.
Marvel vs Capcom 3: unofficial video of Jill Valentine
You don't have to wait over two weeks to see Jill Valentine in Marvel vs Capcom 3; you can hit the break and gorge yourself on gameplay footage.
Capcom Store apologises for Marvel vs Capcom 3 delays
The Capcom Store has apologised for a delay which affected a number of Marvel vs Capcom 3 shipments, and promised compensation.
Marvel vs Capcom 3 launches in US, gets two new videos
Capcom's launched Marvel vs Capcom 3 in the US ahead of a UK release on Friday.
Galactus boss battle video released for Marvel vs Capcom 3
A new video showing a boss battle in Marvel vs Capcom 3: Fate of Two Worlds is out and about on the Internet. He eats planets for brunch you know.
Marvel vs Capcom 3 to get Shadow Mode DLC
Capcom's announced details of Shadow Mode, a new DLC feature for Marvel vs Capcom 3.
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Marvel Vs Capcom 3 latest
EA's lost Marvel game revealed in discovered footage, see it here
Video: 17-minute tutorial for Ultimate Marvel Vs Capcom 3's Phoenix Wright
Saturday Shorts: RIFT, Star Trek, Green Lantern, The Settlers 7, sales
Wednesday Shorts: Diablo III art, MvC 3 patched, Minecraft store, more
Thursday shorts: 3.6 may fix PS3 hacks, unlimited DAII XP, other acronyms
Jill Valentine and Shuma Gorath get official Marvel vs Capcom 3 videos
Rumour: Strider and Frank West still on for Marvel vs Capcom 3
Tuesday shorts, part 3: Ms. Splosion Man video, Unreal Engine 3 supports DX11, more
Quick shots – Marvel vs Capcom 3's Jill Valentine, Shuma-Gorath
Rumour – Marvel vs Capcom 3 features Japanese voice dub as well as English
Capcom's next Fight Club venue is all about Marvel vs Capcom 3
MvC3 3DS "not impossible, but requires a bit of thought," says producer
Saturday shorts – DoWII: Retribution stuff, Halo art, videos, screens, more


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The picture above was taken at the Philadelphia Eagles' practice facility today and sent to us by a friend of the site who covers the team. According to our tipster, that's Trent Edwards' locker with the makeshift Tebow nameplate on it.
So what's going on here? Did Edwards put the nameplate there himself because he is a huge Tim Tebow fan? Did another teammate put it there as a prank that we can't understand? Is Tim Tebow the Eagles' new starting quarterback? Is he their new head coach? Whatever happens, just remember you saw it here first.


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A forum about Atari 16/32 computers and their clones. This forum is in no way affiliated with Atari Interactive.
Moderators: Jookie, Moderator Team
alexh wrote:Looking good. Will it be an opensource design? I only ask because I imagine it is inspired by the Amiga variant?
Jookie wrote:it's not inspired by that Amiga project - both ACSI and floppy parts are done using STM32 microcontrollers...
alexh wrote:Ah cool. There is another Amiga floppy emulator project which uses STM32 microcontrollers.
Cyprian wrote:Jookie, would be possible to use that device as an graphics card?
spiny wrote:If I'm reading it right, will this support USB sticks in the same way that Ultrasatan supports SDCards ? e.g Will HDDriver 'see' a USB stick and let me format it with TOS/Windows compatability ? as that would be BRILLIANT
alexh wrote:I am probably in the minorty here but I have a MegaSTe
What are the chances of making the PCB design flexible enough to be fitted into a MegaSTe to the internal ASCI port?
calimero wrote:Btw youtube promo is hilarious !
Users browsing this forum: No registered users and 7 guests


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Miniature ball screws
Enabling precise positioningIdeal for compact, high-performance designs, SKF miniature ball bearings operate at high speeds with low friction and minimal service requirements.
Robust and capable of handling light to moderate radial and thrust loads, these quiet-running bearings are supplied in a wide range of types and designs. Available in stainless steel, with seals or shields, and with various lubricant options.


text: NYSE:CVS - CVS Health Stock Price, Forecast & News Adding Choose a watchlist: Adding You have already added five stocks to your watchlist. Upgrade to MarketBeat Daily Premium to add more stocks to your watchlist. Adding CVS Health Corp Please log in to your account or sign up in order to add this asset to your watchlist. Log In and Add $59.18 -0.15 (-0.25 %) (As of 02/28/2020 04:00 PM ET) Add Compare Today's Range$57.10Now: $59.18▼$59.3450-Day Range$59.33MA: $71.36▼$76.0552-Week Range$51.72Now: $59.18▼$77.03Volume23.73 million shsAverage Volume8.25 million shsMarket Capitalization$77.18 billionP/E Ratio11.65Dividend Yield3.37%Beta0.93 ProfileAnalyst RatingsAdvanced ChartDividendEarningsFinancialsInsider TradesInstitutional OwnershipHeadlinesOptions ChainSEC FilingsSocial Media Share on FacebookShare on TwitterShare on LinkedInShare on RedditShare on StocktwitsPrint this articleShare by Email CVS Health Corporation provides health services and plans in the United States. Its Pharmacy Services segment offers pharmacy benefit management solutions, such as plan design and administration, formulary management, retail pharmacy network management, mail order pharmacy, specialty pharmacy and infusion, Medicare Part D, clinical, disease management, and medical spend management services. Read More… Industry, Sector and Symbol Stock Exchange NYSE Industry Drug stores & proprietary stores Sub-IndustryDrug Retail SectorRetail/Wholesale Current SymbolNYSE:CVS Previous Symbol CUSIP12665010 CIK64803 Webhttp://www.cvshealth.com/ Phone401-765-1500Debt Debt-to-Equity Ratio1.30 Current Ratio0.94 Quick Ratio0.62Price-To-Earnings Trailing P/E Ratio11.65 Forward P/E Ratio8.31 P/E Growth1.37 Sales & Book Value Annual Sales$256.78 billion Price / Sales0.30 Cash Flow$9.88 per share Price / Cash Flow5.99 Book Value$49.20 per share Price / Book1.20Profitability EPS (Most Recent Fiscal Year)$7.08 Net Income$6.63 billion Net Margins2.58% Return on Equity14.87% Return on Assets4.20%Miscellaneous Employees290,000 Outstanding Shares1,304,160,000Market Cap$77.18 billion Next Earnings Date5/6/2020 (Estimated) OptionableOptionable Receive CVS News and Ratings via Email Sign-up to receive the latest news and ratings for CVS and its competitors with MarketBeat's FREE daily newsletter. CVS Rates by TradingView CVS Health (NYSE:CVS) Frequently Asked Questions What is CVS Health's stock symbol? CVS Health trades on the New York Stock Exchange (NYSE) under the ticker symbol "CVS." How often does CVS Health pay dividends? What is the dividend yield for CVS Health? CVS Health declared a quarterly dividend on Thursday, January 2nd. Shareholders of record on Thursday, January 23rd will be given a dividend of $0.50 per share on Monday, February 3rd. This represents a $2.00 annualized dividend and a yield of 3.38%. The ex-dividend date is Wednesday, January 22nd. View CVS Health's Dividend History. How were CVS Health's earnings last quarter? CVS Health Corp (NYSE:CVS) posted its earnings results on Wednesday, February, 12th. The pharmacy operator reported $1.73 earnings per share (EPS) for the quarter, beating the consensus estimate of $1.68 by $0.05. The pharmacy operator had revenue of $66.89 billion for the quarter, compared to analysts' expectations of $64.01 billion. CVS Health had a return on equity of 14.87% and a net margin of 2.58%. The firm's revenue for the quarter was up 22.9% compared to the same quarter last year. During the same quarter last year, the firm posted $2.14 EPS. View CVS Health's Earnings History. When is CVS Health's next earnings date? CVS Health is scheduled to release their next quarterly earnings announcement on Wednesday, May 6th 2020. View Earnings Estimates for CVS Health. What guidance has CVS Health issued on next quarter's earnings? CVS Health updated its FY20 earnings guidance on Wednesday, February, 12th. The company provided EPS guidance of $7.04-7.17 for the period, compared to the Thomson Reuters consensus estimate of $7.15. What price target have analysts set for CVS? 23 analysts have issued 1-year price objectives for CVS Health's shares. Their forecasts range from $61.00 to $109.00. On average, they anticipate CVS Health's stock price to reach $80.35 in the next year. This suggests a possible upside of 35.8% from the stock's current price. View Analyst Price Targets for CVS Health. What is the consensus analysts' recommendation for CVS Health? 23 Wall Street analysts have issued "buy," "hold," and "sell" ratings for CVS Health in the last year. There are currently 5 hold ratings, 16 buy ratings and 2 strong buy ratings for the stock, resulting in a consensus recommendation of "Buy." View Analyst Ratings for CVS Health. Has CVS Health been receiving favorable news coverage? Media coverage about CVS stock has been trending positive on Friday, according to InfoTrie Sentiment. The research firm identifies negative and positive press coverage by reviewing more than six thousand news and blog sources. The firm ranks coverage of public companies on a scale of negative five to five, with scores closest to five being the most favorable. CVS Health earned a media sentiment score of 3.0 on InfoTrie's scale. They also assigned media headlines about the pharmacy operator a news buzz of 10.0 out of 10, meaning that recent press coverage is extremely likely to have an effect on the stock's share price in the near future. View News Stories for CVS Health. Who are some of CVS Health's key competitors? Some companies that are related to CVS Health include Walgreens Boots Alliance (WBA), Covetrus (CVET), Rite Aid (RAD), 111 (YI), Petmed Express (PETS), Diplomat Pharmacy (DPLO), China Jo-Jo Drugstores (CJJD), HealthWarehouse.com (HEWA) and Dougherty's Pharmacy (MYDP). What other stocks do shareholders of CVS Health own? Based on aggregate information from My MarketBeat watchlists, some companies that other CVS Health investors own include AT&T (T), Walt Disney (DIS), Cisco Systems (CSCO), NVIDIA (NVDA), Alibaba Group (BABA), Home Depot (HD), Verizon Communications (VZ), Johnson & Johnson (JNJ), QUALCOMM (QCOM) and Intel (INTC). Who are CVS Health's key executives? CVS Health's management team includes the folowing people: Mr. Larry J. Merlo, Pres, CEO & Director (Age 63)Ms. Eva C. Boratto, Exec. VP & CFO (Age 52)Mr. Jonathan C. Roberts, Exec. VP & COO (Age 63)Mr. Thomas Michael Moriarty, Exec. VP, Chief Policy & External Affairs Officer and Gen. Counsel (Age 55)Mr. Derica W. Rice, Exec. VP & Pres of CVS Caremark (Age 54) Who are CVS Health's major shareholders? CVS Health's stock is owned by a variety of of retail and institutional investors. Top institutional shareholders include Wealth Quarterback LLC (9.74%), State Street Corp (4.29%), FMR LLC (2.17%), Capital International Investors (1.90%), Geode Capital Management LLC (1.43%) and Franklin Resources Inc. (1.38%). Company insiders that own CVS Health stock include C David Brown II, David M Denton, David W Dorman, Edward J Ludwig, Eva C Boratto, James David Clark, Jonathan C Roberts, Joshua Matthew Flum, Karen S Lynch, Kevin Hourican, Larry J Merlo, Lisa Bisaccia, Troyen A Brennan and Vost Collin. View Institutional Ownership Trends for CVS Health. Which major investors are selling CVS Health stock? CVS stock was sold by a variety of institutional investors in the last quarter, including Barrow Hanley Mewhinney & Strauss LLC, State Street Corp, Franklin Resources Inc., FMR LLC, Marshall Wace North America L.P., Caisse DE Depot ET Placement DU Quebec, FIL Ltd and Boston Partners. Company insiders that have sold CVS Health company stock in the last year include Eva C Boratto, James David Clark, Jonathan C Roberts, Joshua Matthew Flum, Karen S Lynch, Larry J Merlo and Troyen A Brennan. View Insider Buying and Selling for CVS Health. Which major investors are buying CVS Health stock? CVS stock was bought by a variety of institutional investors in the last quarter, including Wealth Quarterback LLC, Capital World Investors, LSV Asset Management, M&G Investment Management Ltd., PNC Financial Services Group Inc., Lord Abbett & CO. LLC, Janus Henderson Group PLC and Amundi Pioneer Asset Management Inc.. Company insiders that have bought CVS Health stock in the last two years include C David Brown II, David W Dorman and Edward J Ludwig. View Insider Buying and Selling for CVS Health. How do I buy shares of CVS Health? Shares of CVS can be purchased through any online brokerage account. Popular online brokerages with access to the U.S. stock market include Vanguard Brokerage Services, TD Ameritrade, E*TRADE, Robinhood, Fidelity and Charles Schwab. What is CVS Health's stock price today? One share of CVS stock can currently be purchased for approximately $59.18. How big of a company is CVS Health? CVS Health has a market capitalization of $77.18 billion and generates $256.78 billion in revenue each year. The pharmacy operator earns $6.63 billion in net income (profit) each year or $7.08 on an earnings per share basis. CVS Health employs 290,000 workers across the globe.View Additional Information About CVS Health. What is CVS Health's official website? The official website for CVS Health is http://www.cvshealth.com/. How can I contact CVS Health? CVS Health's mailing address is ONE CVS DR., WOONSOCKET RI, 02895. The pharmacy operator can be reached via phone at 401-765-1500 or via email at [email protected] MarketBeat Community Rating for CVS Health (NYSE CVS)Community Ranking: 3.2 out of 5 ( )Outperform Votes: 1,260 (Vote Outperform)Underperform Votes: 728 (Vote Underperform)Total Votes: 1,988MarketBeat's community ratings are surveys of what our community members think about CVS Health and other stocks. Vote "Outperform" if you believe CVS will outperform the S&P 500 over the long term. Vote "Underperform" if you believe CVS will underperform the S&P 500 over the long term. You may vote once every thirty days. This page was last updated on 2/28/2020 by MarketBeat.com StaffFeatured Article: What member countries make up the G-20?


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Aranjuez, very near the city of Madrid, was the first cultural site in Spain to be awarded the World Heritage designation by the UNESCO.
Aranjuez gardens
During your stay in Madrid why not visit Aranjuez, to the south of the capital? It is quite nearby and very easy to reach, and you will have a great time discovering all the reasons this destination has been declared a World Heritage Cultural Landscape by the UNESCO. These include its spectacular gardens and magnificent monuments such as the Royal Palace, which will take you on a journey back through 500 years of history. You'll find it well worth your while!
Bus: departures every 15 minutes approximately from the Estación Sur bus station in Madrid (C/ Méndez Álvaro). Approximate travel time: 50 minutes. Approximate fare: €3.50. Tickets are purchased on the bus. Train: line C3 from Atocha or Chamartín stations. Approximate travel time: 50 minutes. Approximate fare: 3 €. Tickets are purchased at the ticket office. The strawberry train: on several weekends from May to October, this train with its wooden carriages dating from the early 20th century, leaves Atocha station and head for Aranjuez. Inside, hostesses dressed in period costume offer the passengers the typical local strawberries. The ticket price includes a visit to the city. By road: 49 kilometres south of Madrid on the N-IV motorway.
8.30am. Departure from Madrid and visit to the Royal Palace
We make an early start so we reach Aranjuez first thing in the morning, and to give us ample time to visit the Royal Palace. The most convenient option is to take the train, as the station is only 10 minutes' walk from the Palace. Simply follow the Calle de la Estación, turn left and continue along the Palace avenue, an attractive tree-lined street, until you come to the building itself. We are now in the Plaza Elíptica square, from where we have a spectacular view of the monument. There is a tourist information office right there, where we can find all the information we need. After taking some photos of the exterior of the monument from the spacious Plaza de Armas square, we then go inside to find out why so many Spanish kings and queens chose the halls of this palace for their parties and why they came here every spring. There are two types of visit: with or without a guide. We'll take the first option, as that way we can enjoy the privilege of entering the king's private rooms. THINGS TO REMEMBER There are guided visits for small groups, approximately every 15 minutes, lasting about one hour and 15 minutes. The rest of the tour, including the Museum of Palace Life, is without a guide. The audioguide and the guided tour provide information in Spanish, English, French, German and Italian.
The Parterre and Island gardens. Strolling among sculptures
(One hour approx. Suggested timetable: 11:30am-12:30pm.) On our way out we turn left at the door of the Palace and come to a small gate leading to the Parterre garden. As soon as we are inside, we see a different view of the eastern façade of the stately monument, and find ourselves in a beautifully maintained garden with sculptures of figures from mythology, of which the most impressive is surely the statue of Hercules. We continue across a charming small bridge which takes us to the Island garden (in the middle of the Tagus river). This is a green space considerably larger than the previous garden, with an attractive waterfall to our right known as the "castanets", because if we listen carefully, we can hear the soothing sound of tinkling water. As we go further into the garden, a multitude of these mythological statues come out to meet us and remind us that we are in an almost magical place. The best thing is to walk along the central avenue to read the descriptions of each sculpture, then take a seat in the charming square with the statue of the "Boy with the thorn" and listen to the murmur of fountains and the sound of birds. We then return along the terrace, with views of the river.
Historic centre and bullring: experience the "national fiesta"
(One hour and 15 minutes approximately. Suggested timetable: 12.30-2pm.) After our walk through the gardens, we can stop and buy some gifts at the souvenir shop located in front of the Palace. Then it is time to take a quiet stroll while we explore the historic centre of the city. We continue up Calle de San Antonio until we reach the intersection with the Capitán Angosto Gómez Castrillón boulevard, the perfect place for a walk and a little shopping. Behind there is a magnificent view of the Royal Church of San Antonio. If we continue along this street, we can see monuments on each side such as the Isabel de Farnese cultural centre, the Medinaceli Palace or the Old Hospital of San Carlos. In this area some of the façades of the buildings conceal a surprise: they are arranged in the form of corralas, typical traditional dwellings arranged in galleries overlooking an interior courtyard, which are very striking. If it is summer, we are sure to find the local residents selling fruit in the doorways of their houses (particularly in Calle Eras). Or else we can simply go to the General Produce Market to buy the typical strawberries or asparagus, or to Calle Almíbar for some homemade jams. After a leisurely stroll we reach the bullring, dating from the 18th century (one of the few from that period still standing). Although the outside is rather austere, it is worth taking the interesting guided tour around the bullring, the chapel, the bullpens, the corridor around the ring, the famous front row of seats and the coverts, as well as the Bullfight Museum. We can even pick up a bullfighter's cape and pretend to be making a genuine ceremonial circuit of the ring. THINGS TO REMEMBER It is advisable to reserve in advance by calling +34 918921643 for guided visits to the Bullring and the Bullfight Museum. Guided visits to the Bullfight Museum take place from Monday to Friday, at 11am, 12pm and 1pm. On Fridays and Saturdays there are also visits at 5 and 6pm. They are only in Spanish, and last about 50 minutes.
Typical meal
(One hour approx. Suggested timetable: 2-3pm.) After showing off our skills with the cape, we return to the area of the Parterre Garden. All along Calle de la Reina there are numerous establishments for eating (roast meat restaurants, traditional restaurants, innovative cuisine…). Some of them, such as the emblematic "El Rana Verde" (opposite the Royal Palace and by the Gardens) are right by the Tagus river. This way we can enjoy outstanding views while we feast on delicious typical dishes such as the succulent hunter's style pheasant, and produce from the vegetable gardens on the river plain. And in the season (spring and summer), this is the place to find stands selling strawberries. In summer, we can enjoy eating outdoors in the special picnic areas or in Aranjuez's typical riverside marquees spread along Calle de La Reina (although the best idea is to have dinner there, by the coolness of the river). If we want to cool down, there are numerous refreshment stands at the start of Príncipe and Infantas streets where you can enjoy a granizado (lemon juice over crushed ice) and stop and buy a souvenir or two.
Exploring the Prince's Garden. Chiquitrén and tourist boat
(Approximately 3 hours. Suggested timetable: 3-6pm.) Beside the information point at the Royal Palace there is a booth selling tickets for the Chiquitrén, a charming tourist train which offers a tour, with commentary, of part of the old historic centre and around the immense and spectacular Prince's Garden, the largest garden we will visit, and the one which is bound to surprise us the most. If we are visiting with children or we don't feel like walking, this is a fun and convenient way of seeing the garden, which is about 3 kilometres long. We opt to board the train (it's as though we are going back in time to the steam age) and purchase a combined ticket which is also good for a trip in a tourist boat later on. In our tour around the garden we will see unfolding before us beautiful landscapes, fountains such as the one to Narcissus or Apollo, ancient trees over 30 metres tall from all over the world, fairy-tale pools like the Chinescos… And we are also sure to see pheasants, squirrels and peacocks showing off their colourful fans. And it is worth bearing in mind that these beautiful surroundings inspired the famous "Concierto de Aranjuez". Within the Prince's Garden, the train makes two stops on our route which should not be missed. The first is at the Royal Barge Museum, where we can see the recreational boats used by the kings and queens for navigating on the Tagus. The second is the Casa del Labrador house, which is reached along an impressive avenue of magnolia trees. Provided we have reserved in advance, we can take a guided tour of this house lasting 40 minutes. When we come out we take a deep breath and drink in the perfume of the flowers. Then, the next train picks us up and we continue our route, which, once we have taken a tour of the historic centre, brings us back to the Royal Palace. After this pleasant trip, the best thing is to take the Barcos bridge across the river (at the end of the Parterre Garden) and continue to the Fernando VI roundabout, where we can buy a delicious ice cream. This is the departure point for the tourist boat, which we can embark using the combined ticket we bought for the Chiquitrén. It is completely glassed-in and as we sail along the Tagus river, we are offered perfect views of the Prince's Gardens, and of wonders such as the Royal Pier at the Casa del Labrador. We are transported back in time as we imagine the kings and queens sailing the river just as we are doing right now. The boat makes a return trip with no stops, and leaves us at our departure point. It's time to go back to Madrid, and we make our way once again to the train station, still carrying in our mind's eye the image of this veritable city of kings. THINGS TO REMEMBER The price of the Chiquitrén is approximately €5 for adults and €3 for children under 13. The Chiquitrén only waits for passengers at the Casa de Marinos in the case of groups of over 20 people. Otherwise you need to wait for the next train. If you want the Chiquitrén to stop at the Casa del Labrador, you need to say so at the ticket office. - The price of the tourist boat is approximately €7 for adults and €4 for children under 13. The price of the combined ticket for both the Chiquitrén and the tourist boat is approximately €10 for adults and €6 for children under 13. The commentary is in Spanish, English and French. To get to the Casa del Labrador it is not necessary to take the entire tour of the Prince's Garden, as this has its own entrance (the Calle de la Reina gate).
In May and June there are Musical Promenades around the Gardens of Aranjuez, which culminate in two concerts in the Palace Chapel and the Casa del Labrador Every Saturday in June, there are Spring Concerts in the Church of San Antonio The first weekend in September is festivity of the Mutiny of Aranjuez, declared of National Tourist Interest. Over 200 people dress up in period costume. 30 May, the festivities of San Fernando, with musical activities and bullfighting events.
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