text:
© Future/Now Films, 1998, Design by Gary Grimshaw
David Thomas on the MC5 movie
(November 1998)
The film will place the story of the MC5 in its historic context, exploring the tension between the idealistic goals of an exploding counterculture and the demands of a commercial marketplace, celebrating the band's accomplishments and high-energy aesthetic, examining the factors that contributed to the rise and fall of the MC5.
Future/Now Films has spent 2 years in research and pre-production on MC5 * A True Testimonial, uncovering a wealth of archival materials from a variety of sources. Much of this material is previously unseen or seen only by a handful of collectors ---- all of it bears visual testimony to the persistent legend of the MC5. As production funds have become available we have filmed interviews with Dennis Thompson (inside Detroit's Grande Ballroom), Wayne Kramer (on the site of the MC5's historic performance during the '68 Democratic Convention in Chicago), Gary Grimshaw, and others. Recently completed preview trailers, incorporating archival materials and interview segments, have been screened in Detroit, Austin and London, Cleveland (at the Rock n Roll Hall of Fame), New York, Los Angeles, Chicago, San Francisco.
A portion of the financing for MC5 * A True Testimonial has already been secured in the form of grants from Studio Film & Tape, Chicago, and the Illinois Arts Council, private investment and generous donations. Future/Now Films continues its efforts to secure the funding necessary to complete principal photography.
MC5 * A True Testimonial will be an electrifying film, at once an examination of the MC5's dramatic story and a reflection of their high-energy aesthetic. It is perhaps the last great untold story in Rock & Roll- and a film whose time has come.
There is an earlier, frequently-overlooked MC5 from which all later incarnations spring: the 'garage-band' MC5, 'psychedelic-greasers' from the Motor City. This very early MC5 is much like other American garage / punk / psyche bands of the period (Shadows of Knight, Standells, Music Machine, etc.), and it is out of this aesthetic base, coupled with a soulful mastery of R&B forms, that the MC5 would evolve into the high-octane rabble-rousers of Kick Out the Jams, Back in the USA, and High Time. Taking their cues from The Rolling Stones (the first 'original song' the MC5 ever recorded, "One of the Guys," is a hyped-up "Down Home Girl" with new, topical lyrics), The Who (check the opening stun-chords and "Magic Bus"-like coke-bottle percussion of "I Just Don't Know"), Them ("I Can Only Give You Everything" was a favorite among many American garage bands), and The Troggs (who also covered "I Can Only Give You Everything" and recorded the original "I Want You" which mutates into "I Want You Right Now" on Kick Out the Jams) the early MC5 fashioned a sound which was largely derivative but which provides the jumping-off-point for their subsequent development.
The original A-Squared 45 of "Looking At You," and its flip, "Borderline," while 'produced' by John Sinclair, is clearly rooted in this garage band aesthetic; when John Sinclair first saw the MC5 in 1967 (according to his own account in CREEM, [Vol 2 #8]) it was on a bill with The Unrelated Segments, a great Michigan garage-punk band. At that point the MC5 had been playing around the Detroit area for over two years and at the Grande Ballroom for six months, sharpening their chops on bills with other garage bands like The Chosen Few, The Woolies, The Prime Movers, The Thyme, The Underdogs, and The Spikedrivers. Their repertoire included standard garage-band fare like "Route 66," "I'm a Man," "You Really Got Me," "Baby Please Don't Go, " "My Generation," and other hits of the day. Their sets also included "I Can Only Give You Everything," "I Just Don't Know," and "One of the Guys" all of which were recorded by the MC5 in 1966 (for the AMG label). It is this 'garage-aesthetic,' with its celebration of snotty-bad-attitude-teen-libidos fueled by loud-ass guitars, which is the impetus behind the MC5's sound and image and the common thread that runs through all of their subsequent incarnations.
Kick Out the Jams, recorded live at the Grande Ballroom, Detroit over two nights in October, 1968, is a documentation of the MC5's high-energy stage show just as they were reaching their apex as the most electrifying and dynamic band in the country. Constant gigging throughout Michigan and the Midwest during the Spring and Summer of 1968 had helped them hone their presentation to a tumultuous roar. Kick Out the Jams is a call to arms, a tightrope dance on the edge of chaos, an unleashing of all the power and swagger and soulful exuberance at the heart of Rock & Roll. It is staggering in its sheer energy level --- rarely has it been equalled, never has it been surpassed. For most fans, and probably through all posterity, Kick Out the Jams, will be lauded as the 'real' MC5.
Perhaps no record could be further from the audacity of Kick Out the Jams than its over-rehearsed and over-produced follow-up, Back in the USA. While the blame for Back in the USA's sonic shortcomings lie squarely on the shoulders of rookie producer Jon Landau, the MC5 themselves were willing co-conspirators. Coming off a string of mishaps, blunders and traumatic upheavals (dropped by Elektra, shunned by the critics, Sinclair imprisoned) it is hardly surprising that the MC5 fell under the controlling influence of Landau, attempting to record a followup which would ingratiate them to their many detractors. The playing is often eloquent and mercurial, the arrangements tight and streamlined, and the songwriting is some of their best ever ("Shakin' Street," "The American Ruse," "Tonight"). Back in the USA is head and shoulders above the efforts of most of their contemporaries, but coming off the fire and bluster of Kick Out the Jams, it was a horrible disappointment, an ill-timed and transparent bid for commercial success. The irony and humor of tracks like "Call Me Animal," and "High School" (harkening back to their snotty garage days) and the complexity and sophistication of "Human Being Lawnmower" is largely lost in the 'uptight' mix. Even "Looking At You," boasting a leaner, meaner arrangement, a brilliant lead guitar break, and impassioned playing and singing seems somehow flat (especially next to the original A-Squared 45). Back in the USA seems a great record fighting to get out. Wonderfully inspired but hopelessly flawed, it is as much a reflection of the 'real' MC5 as anything else they ever did. It just doesn't sound like it.
High Time, self-produced with engineer Geoffrey Haslam, puts the MC5 firmly back on the Hi-N-R-G track, and it is a masterful and joyous ride. High Time is an amazingly intelligent record, power-packed and nimble and full of cautionary tales from a band bloodied but unbowed. The playing throughout is taut and self-assured, they seem at once relaxed and ferocious- like sharks in the water. There are moments on High Time that are frightening in their intensity (RobTyner at the edge of his range on "Over & Over," the dual-guitar mayhem at the end of "Gotta Keep Movin," Fred Smith's guttural outburst in "Sister Anne" and the blistering guitar/guitar/bluesharp break that follows, the polyrhythms of "Skunk (Sonically Speaking)") and it is this intensity and confidence which makes High Time such a marvel, and perhaps the quintessential MC5 record. After all they had been through it was a wonder that they could make a record so rich, so full of ideas, and seemingly, do it so effortlessly. High Time sounds like a great Rock & Roll record by a band born to make great Rock & Roll records. At the end of their rope career-wise, with few watching and less really caring, the MC5 did what they really did best- they "done kicked 'em out!"
Flaws intact, the MC5 always walked it like they talked it. Frozen in time in all their incarnations (from Garage-band Neophytes to gun-totin' Revolutionaries, from Pop-Star wanna-be's to washed-up Futurists) the MC5 were nothing if not "real." From their earliest singles to their last recordings ("Thunder Express" and "Gold") the MC5 were forever true to their own dictum:
"Truth ...and Love ...are my Law .... and Worship ....... Form and Conscience are my Manifestation and Guide .........Nature ...and Peace are my Shelter and Companion .........Order is my Attitude ......Beauty and Perfection ....are my ...ATTACK."
from "Poison" - Wayne Kramer
The politics of the band have as much to do with the dynamics of the Sinclair-MC5 relationship as with politics. With Sinclair 'fired' by the band and jailed in July 1969, there were clearly issues of a financial and personal nature fueling Sinclair's subsequent statements about the MC5. Careful listening to both Back in the USA and High Time reveal lyrics which are more pointedly political than anything which appears on Kick Out the Jams. "The American Ruse," and "Human Being Lawnmower," from Back in the USA, and "Future/Now," "Gotta Keep Movin," and "Over and Over" from High Time are all songs which express specific viewpoints on politically-charged issues. The second verse of "Future/Now" may go a long way toward explaining some of the MC5's own view of the dynamics of their relationship with John Sinclair.
After John Sinclair was in jail and the MC5 had ended their association with him, they did play benefits for various causes associated with Sinclair's legal difficulties and 'The Movement.' Through the Summer of 1969 and into 1970 the MC5 topped several bills in and around Detroit which were organized as 'Free John Sinclair' events. On January 24, 1970, a date proclaimed 'International Free John Sinclair Day' by The Fifth Estate and The Seed, SRC and the MC5 headlined a 'Free John Sinclair Rally' at the Grande Ballroom and Eastown Ballroom, Detroit, ......guest speakers included Abbie Hoffman and attorney Ken Cockrell, ....(this is not the more famous 'John Sinclair Freedom Rally' held in Ann Arbor on December 10, 1971 --- an event which the MC5 were NOT invited to perform at). The MC5's participation in this January 1970 event comes six months AFTER they had severed their ties to John Sinclair, Trans-Love, and The White Panthers - and despite the general urgings of Jon Landau and Atlantic Records.
Following the MC5's first appearance in the UK (Phun City Festival, July 25, 1970) it is interesting to note the sudden burst of articles in the English music and underground press (especially International Times) espousing a 'Revolutionary' view, including the announcement of the formation of a London branch of The White Panther Party. Seems at the least that the MC5 were still carrying the message.
Detroit's MC5 were one of the most electrifying acts to ever storm a Rock & Roll stage and their performances in the late 60's are the stuff of myth and legend. In a time when every obscure cult band is an instant legend, the MC5 have a real feel of American folklore. They were the loudest, the baddest, the most outrageous bunch of get-down white brothers the nation had yet seen. They achieved that most elusive of rock Grails -- a new sound, unbelievably loud and hard, yet sensuous, with a strong and original feel for black music. At a time when this country resonated with the conflicting voices of rebellion and repression, the MC5 represented the musical expression of the most radical elements of a cultural revolution. Born of a place where violent labor militancy, black insurgency, and the roar of machinery were real elements of the environment, Detroit's MC5 fused the liberating spirit of high-energy rock and roll with the strident politics of confrontation, applying the counterculture's exploration of consciousness and the senses, energy and spirit, to an older and more traditional kind of Rock & Roll and R&B. Combined with a penchant for high-energy experimentation, an innate sense of showmanship, and a distinctly-Detroit work ethic, the MC5 crafted a presentation which stunned, shocked and electrified anyone who was lucky enough to witness it.
But the MC5's ascendant moment is also the moment at which the whole counterculture, the whole era - snaps. They are identified with the final mad reach of the 1960's- their idealistic aspirations and radical approach come at the very time that the forces of Law & Order are taking the offensive, as the record industry is learning to harness the wild energies of rock music, and as the counterculture itself is fragmenting and dispersing, being co-opted and reabsorbed into the American mainstream. The story of the MC5 is the last great untold story of the 1960s; it is a microcosm of the civil unrest, political revolt, and cultural upheaval that shook the country's foundation; to leave their tale untold is to leave a crucial chapter of American history unwritten.
The MC5 affected many people in their audience on a deeply personal level. Time and time again we, as filmmakers researching the story of the MC5, have heard stories of how this group deeply affected the world-view of those who experienced them. For many the MC5 were a working model of limitless possibilities and the MC5 experience a catalyst for their own personal and political awakenings. Devotion bordering on fanaticism surrounded this group; the MC5 changed many lives forever.
The MC5's energies jump-started and catalyzed a music scene in Southeast Michigan which included Ted Nugent's Amboy Dukes, Bob Seger, The Rationals, Mitch Ryder, The Stooges, Alice Cooper, Commander Cody, Grand Funk Railroad, SRC, Brownsville Station, Suzi Quatro, and others. Many of these artists went on to commercial successes which dwarfed those of the MC5, but few would deny the inspiration and influence that the MC5 had on their own work. Artists as diverse as David Bowie, Mick Jagger, Jimmy Page, Marshall Crenshaw, Captain Sensible, and Henry Rollins testify to their impact.
The MC5's music combined diverse influences into a unique and original high-energy style, defining a hard-rock sound which would become universal by the late '70's and planting the seeds of 'alternative' styles which would burst through to commercial success in the 1990's. In 1978 the British music paper New Musical Express referred to their first LP, Kick Out the Jams, as the first 'punk' LP, their second LP, Back in the USA, as the first 'new wave' record, and their third LP, High Time, as the first 'new-metal' LP. While the terms now seem outdated the analysis is accurate.
The MC5 provided a blueprint for many artists and groups that came later- from the dual guitar attacks of the NY Dolls and Blue Oyster Cult to the anarchy of the Sex Pistols, The Clash, and The Damned; from the punk mayhem of Black Flag and the Bad Brains to the sonic assault of Poison Idea, Spacemen 3 and Mudhoney to recent celebrations by groups like The Makeup and the Lord High Fixers.
Their one 'hit' record, "Kick Out the Jams," (the single reached #1 on AM Radio in several Midwest markets in the spring of 1969; the LP remained on the charts for 27 weeks) has entered the vernacular as a phrase which signifies the breaking down of all barriers in an all-out personal effort. The phrase crops up in a myriad of contexts, from sports writing to advertising; while the meaning is implicitly clear the origin of the phrase is often forgotten or overlooked.
(c) 1998 - David C. Thomas - Future/Now Films. Future/Now films. Inc., Chicago welcomes any and all inquiries.


text:
Style # 194856
This sweater bebe dress is a stunning combo of comfort and versatility. For the office, style it with classic pumps and rev it up for the evening with a bold statement making necklace or earrings.
- 90% viscose, 8% polyimide, 2% elastane
- Center back to hem: 36" (91 cm)
- Dry clean
- Made in USA with imported materials
- Model is 5'9" and is wearing a US size S
Square Neck Dress is rated out of 5 by 2.
Rated 5 out of 5 by HoneySunFlower from High Quality Dress, Wore to work This dress will show a lot more cleavage than shown on the model ( Or at least felt like it). I love the thickness of this dress and the leather trimmed zipper on the side of the dress. I wore a sweater over this dress to hide the low cut chest to work and received lots of compliments! Length is also work appropriate. It may be a little snug on the back but not bulging like other dresses.
Date published: 2013-03-21
Rated 4 out of 5 by Lexia from Website photo does it no justice This dress is very cute in XXS. It's got leathery slit down the side that can be zipped or unzipped, depending on the look you're going for. The only issue with the zipper is that the leathery stuff around it kind of pokes out a bit too much, but it's not that bad. It's sexier "in person" than on this website. The top has a neat, sort of squarelike shape that shows just enough. I really like this dress a lot and would recommend it to friends for sure. :)
Date published: 2013-01-05

subset: commoncrawl


text:
Main Site - :: Why Won't God Heal Amputees? ::
0 Members and 1 Guest are viewing this topic.
I guess he replaced his WWJD? bracelet with that fancy gold 1970s porno style bling and lost his mind... http://www.cnn.com/video/?/video/us/2013/07/03/newday-dnt-berman-preacher-rant.cnn#/video/us/2013/07/03/newday-dnt-berman-preacher-rant.cnnI like how he calls out one parishoner as not being worth 15 cents and of course apologizes, hugs, and makes it all better. It would have really made news if the parishoner popped him in the eye and asked him to turn the other cheek.Another star for jeezus in Oklahoma!
I don't know? That Osteen guy creeps me out. Just to happy and smiling. No one is like that in real life...are they?


text:
I've been learning a bit about OOPS lately. I understood the concept of "abstraction" .. But i couldn't understand its link with programming. Are you abstracting things from the user ??.
If yes then does it make a real difference between ordinary sequential coding and OOPS as
the user never has to bother about the elements of the program. The user gives the input and inturn gets the desired output. Where does abstraction really come into play in this ?.I guess i got the whole concept wrong .Do help me out ...


text:
Corn: To start the new week, corn saw a one- to five-day forecast outlook that centered four-inch rains over the eastern half of Iowa. That same forecast also had significant rains for most of the western Corn Belt as a slow-moving weather system is expected to produce heavy rains in the western Midwest with moderate rains elsewhere.
This forecast was the news that started the rally Sunday night. Large short covering was seen at the 8:30 a.m. opening, adding another push past overnight highs. Shortly after 9:30 a.m., the short covering bounce caught the attention of fund buying and from that point all the grains began to rally. Old-crop traders saw unexpected help as most speculators would be buying December corn on this news, but funds only trade the most liquid contract, which in corn meant they were buying July.
This rain system was the profit-taking point for all short positions and the starting point for new fund investment. For now, it is impossible to know just how much fund buying to expect whether it is one day or ends up being a week or more of buying. It is fair to say that on a limit higher day for corn, traders factored in an entire week of rain in just one day.
What will be the wild card for more potential buying is the 11- to 15-day forecast, which introduced another one-inch rain system after a short break from the rains expected this week. A combination of big rains at what is now a concerning time for corn planting was the cause of Monday's big move higher. Trade estimated that planting pace would come in at 9%, which traders likely thought was too high of a number by the end of the trading day. The actual planting progress number came in at 5%.
Now that the current rain system is factored in, all eyes should turn to the extended forecast. Corn bulls should not count on the current system for another major move higher as most of it was likely traded Monday. Corn bears exited short positions in a big way and next chart resistance is not found until 573-3/4. Weather is still the main driver with the 11- to 15-day forecast, guiding us going forward but we now need to watch fund activity as well…Ryan Ettner
Soybeans: The soybean market rode a bullish weather forecast as well as a tight cash market to have one of its strongest up days and highest close for the month of April. A cold, wet forecast for the end of this week and into the weekend will keep planters out of the field. In the long run, corn planting delays will shift some corn acres into beans but Monday that did not matter.
As the say, rising tides lift all boats and with corn trading limit up the buying did spill into the beans. The funds were estimated to have bought 7,000 soybean contracts today. Old-crop beans continue to find support due to the tight cash situation. The bean basis is trading a dollar over in most portions for the Midwest. Even with these aggressive cash bids, farmers continue to hold tight to what they have left in the bin. Delivery's against the May contract start tonight. No deliveries are expected to the lack of cash grain movement.
Export inspections came in today at 8.935 million bushels, which was above the trade anticipated range of 4.0 to 8.0 million bushels. With the cash market continuing to struggle to get beans to move off farm, this should help support old-crop beans. With the trade still talking that the U.S. could pick up bean acres due to planting delays in corn and spring wheat, the new crop beans could struggle to rally…Jim McCormick
- Wheat export inspections for the wheat were 30.857M bu, which were well above estimates of 21.0-25.0M bu.
- The Wheat Quality Council will start their annual tour of the HRW fields in Kansas today. Analysts estimate Kansas wheat yields at 35.2 bu/acre versus the 10-year avg. of 39.4 bu/acre.
- The wheat complex finishes higher on the day amid concerns about crop damage and a strong corn market. The weak US Dollar also supported wheat today.
- Analysts estimate total Kansas wheat production of 288.3 Mbu this year versus last year's crop of 382.2 Mbu. Crop problems in the Ukraine and Russia will also lead to a drop in total world wheat production.
- Weather forecasts are calling for another round of freezing temperatures in the HRW area. Kansas and Colorado have the highest potential for crop damage.
- Wheat Good-to-Excellent rating was down 2% from last week to 33%. Spring wheat planting is 12% complete versus 5-year average of 37%. Wheat should continue to find support until conditions improve.
- July Minneapolis wheat closed above resistance of 817'0, which could lead to a move higher in the 844'0 area…Alex Bassett


text:
Product Description
Once upon a time, Uncle John set his ghouls on a task to create three new For Kids Only! books: Strange & Scary, Wild & Woolly, and Under the Slimy Sea. But then a giant green creature oozed out of the muck and gobbled them all up! And what did that horrible thing spit out? This book—Creature Feature! It's bubbling over with more than 400 pages of blood-curdling facts, gut-wrenching activities, cringe-inducing jokes, and head-spinning true stories–all made even more icky by all the freaky photographs and illustrations. Whether it walks, limps, gallops, flies, crawls, swims, or just sits there and makes fart noises—chances are you'll encounter it in Creature Feature.Buy Now


text:
Delays possible for track replacement work in Transbay Tube Jan. 12-13
We are replacing track sections in the Transbay Tube as part of our ongoing track maintenance work. The work will began Saturday, January 12 at 10 pm and continue through Sunday, January 13. The work may cause up to 5-10 minute delays on the line. Some passengers may be required to transfer to complete their trips.
We apologize for any inconvenience this may cause you and appreciate your patience while we complete this vital work.
updated: Sat., Jan. 12, 2012 9:11 am


text:
Language Technologies for Learning
When people hear language technologies many immediately think about technologies for language learning. This is not correct. Language technologies are looking at interpreting human language and making sense of it. This is also different to the Semantic Web, a difference that I explained in this blog post a while ago.
Language technologies include, for example, sentiment analysis and opinion mining techniques which aim at categorising human expression into moods of expression. Natural language processing or latent semantic analysis (LSA) also try to "understand" human texts and compare them with each other to detect closeness or quality.
My own interest is based on a three year international research project that I managed. It focused on language technologies to support learners and tutors to make sense of large amounts of data, ways that helps them to save time or that lower the cognitive load. Among other things, language technologies can help analyse large multi-participant discussions (like chat and forums). With these analytics techniques, intertwined threads of chat utterances can be untangled and interaction between participants can be detected. This makes it easier to look at a long confused discussions and detect cross-links between individual participants.
Language technologies hold many promises for learning and knowledge construction. Similarly to Learning Analytics, they can help people to better understand their learning. What is best is that these are qualitative analyses that directly look at the language artefacts that learners have produced. In this way, they are unobtrusively observing learners while they learn and can provide feedback on demand at any time and independent of tutor availability.


text:
Friday, June 22, 2012
Resizable windows in Ubuntu
2 comments:
If you're using Compiz you can enable some other resize methods which I've found to be much easier to use than trying to grab the edge of a window (they may even be on by default).
In my Compiz config (on Debian) I have a section called 'Window Management' and in that section a plugin called 'Resize Window'. You can configure a mouse binding to initiate resize just by clicking in the window with a modifier key. So just like how ALT + Left Mouse Button lets you move Windows you can do ALT + Middle Mouse Button to resize them.
- June 22, 2012 at 1:29 PM
- Robert said...
The same error GNOME 3.0 had. In recent versions (3.4) they added a non visible offset that does the trick, the visual border is thin but you there is space for the resize handles to work. The ALT trick mentioned by Will Roberts is what I use, even on GNOME 3 (ALT + drag is enabled by default)
- June 22, 2012 at 2:10 PM


text:
Grey's Anatomy Spin-Off Reportedly Gets a Tentative Title: Private PracticeSteve Marsi at . Comments
The heavily anticipated Kate Walsh-led Grey's Anatomy spin off finally has a name. A tentative one, at least: Private Practice.
ABC executives lauded the spin off's spectacular cast that in addition to Walsh, includes Taye Diggs, Tim Daly, Amy Brenneman, Chris Lowell, and numerous others.
The Grey's Anatomy spin-off is being touted for its stand alone premise that will take Kate Walsh's character out of the realm of nightmare medical emergencies and incorporated hospital trysts into a setting they think less hard core medical drama fans will appreciate.
In that sense, the proposed name for Grey's Anatomy 2.0 is quite apt.
ABC execs are quick to caution that the name of Private Practice may change, however. The two-hour episode set to sample the themes of the series will debut May 10, but don't think of it as a pilot. Grey's Anatomy is riding a high enough wave at this point that the second series is virtually a lock, whether the initial sample piques interests or not.It has been noted, in some cases not very kindly, that the bulk of the supporting cast is made up of refugees from failing shows: Taye Diggs from Day Break, the Lost stand in that died after only three episodes; Tim Daly from The Nine, which failed to retain enough from its Lost lead-in to remain viable; and Chris Lowell from the thought-to-be-doomed Veronica Mars.
Does ABC anticipate big things from Private Practice?
The feedback from attendees was that the show is expected to quickly occupy a top spot in their fall lineup. For now, however, there is no proposed air date or time for the new series, which will premiere with the rest of ABC's new fall lineup.
Steve Marsi is the Managing Editor of TV Fanatic. Follow him on Google+ or email him here.


text:
Guest blogger Becca Caddy writes…
We're guessing that many of you will have been down at the pub when a debate kicks off about why women dress a certain way, whether it's always to please men, please themselves or show off in front of their mates (or secret answer d. all of the above)
Well we're not psychologists, so can't give you a definitive answer, but whether guys play a role in how women dress or not, it's pretty clear some sartorial choices that are really popular among womenkind really REALLY irritate some men.
We conducted a study (OK, so we asked our Facebook and Twitter mates) into which style choices women make that really get to blokes and as you'd expect there's some of the usual suspects, some surprise appearances and some that were just far too explicit to include.
Men, prepare to get agitated and angry, women, do whatever you like and never feel like you have to throw away those old UGGs that smell like wet dogs just to please a guy…
Thanks to everyone who got back to us, we've included some of your quotes throughout the gallery, but do let us know in the comments below if there are any we've missed out.
Stockists – if you see anything you fancy, is below the gallery
10. Gillets
The frustration with gillets spans both genders because, let's face it, they're not full pieces of clothing. If you're warm enough to wrap your body up into a torso-shaped quilt you'll probably need your arms covering too, but not with a gillet, a gillet makes sure your vital organs are snuggly but does away with those not-so-important limbs of yours. The gillet is a favourite among posh birds who may also be wearing an "I own a yacht" style hoody their daddy paid for, but men tend to deplore them because they take away any hint of the female form and make you look a bit too much like the Michelin man or a guy with a stately home who's taking his dogs out hunting. Oh and did we also mention it's not an actual piece of clothing? So ladies, we can't even get out the "oh it's so practical and cosy and comfy" card, because it's not. It's just a non-thing that could (maybe) give you frostbite. And no guy wants a girl without arms.


text:
Public Service reacts to negative marks over October 2011 snowstormBy DAVE SOLOMON
New Hampshire Union Leader
November 26. 2012 6:53PM
Public Service of New Hampshire is preparing a detailed response to the Public Utilities Commission analysis of the 2011 October snowstorm, and has already adopted some of the PUC recommendations, according to a company spokesman.
In a 60-page analysis released on Nov. 21, the PUC praised the much smaller Unitil Energy Systems for the way it lined up outside help before the storm, how it communicated to town officials and customers during the storm, and how quickly it restored power after the storm, while taking issue with PSNH performance on almost every count.
PSNH, a subsidiary of Northeast Utilities, serves approximately 70 percent of the retail customers in New Hampshire, while UES, a subsidiary of Unitil Corp., serves approximately 11 percent, mostly in the Seacoast and Concord areas.
"It was a year in the making, so we're going to have to take some time to go through the comments," PSNH spokesman Martin Murray said of the report. "We will respond to the commission, and we will do it in a timely manner."
Murray said many of the recommendations in the report were implemented in the company's preparations for and response to Hurricane Sandy, when it hit almost a year later to the day.
The PUC report hammers PSNH for failing to line up outside help ahead of time, even though it was clear in October 2011 that a major snowstorm was on the way, with leaves still on the trees, and enormous potential for power outages.
"PSNH has publicly stated that the company chooses not to pre-stage crews because it could suffer financial harm if a weather event does not materialize as predicted," the PUC report states. "Such an approach severely hampers the company's ability to secure outside crews ... Early requests for mutual assistance are critical to having additional resources arrive as quickly as possible and in sufficient quantities."
Murray said the aversion to pre-staging cited in the report is out of date. "We did pre-stage crews for this latest storm," he said. "For Sandy, we had a number of contracts in place. We had more than 80 line crews from out of state, as far away as Texas, that were on the ground before the storm, and we had outstanding requests for hundreds more."
He said the company's position has evolved "as a result of the very significant and unusual events that we've had since 2008."
The December 2008 ice storm was the worst in state history for power outages, with 432,000 customers out of power. The February 2010 wind storm was second, with 328,000 outages, followed by the October 2011 snowstorm that knocked out power to more than 300,000.
More than 200,000 New Hampshire electricity customers lost power during Hurricane Sandy.
"We've had several historic storms in the years between 2008 and now," Murray said. "There is more and more competition for outside crews, so there is more pressure and desire to obtain outside crews even before utilities actually experience damage. That's kind of evolved over the last several years as a result of the very significant and unusual events that we've had."
Due largely to its delay in getting outside help, PSNH did not begin to reduce its outages in 2011 until hours later than the other three companies - UES, Granite State Electric and the New Hampshire Electric Cooperative, the PUC report states.
It also takes issue with PSNH's lack of communication with municipal officials and the public at large, writing that the company "failed to provide information sufficient to permit officials and customers to properly plan, based on the anticipated length of the power outages."
Murray said PSNH has tried to improve communication through community liaisons.
"We already had this in place, but what we found was that because of the increased nature of these storms and the widespread reach geographically, we have increased the number of liaisons and reduced the number of towns each is responsible for. We had a dozen in the latest storm, with each assigned to several communities."
The PUC report challenged PSNH on the fact that other utility companies were able to provide estimated return to service times, while PSNH could not, demanding that "PSNH shall develop a meaningful (return to service) protocol, such as that used by Unitil, that provides real information at the start, rather than at the conclusion, of the restoration phase."
"That's something we all have to try to get better at," Murray said. "When we have estimates, we provide them. The challenge is to develop them even faster than we are today, and that's a real challenge. The worst thing we can possibly do is give people a wrong answer and get their hopes up."


text:
LOCH SHELDRAKE — Dan Lang never considered his move from coaching men's basketball to the women's game as a career risk. Basketball is basketball, in his view, and a head coaching job is what he desired.
LOCH SHELDRAKE — Dan Lang never considered his move from coaching men's basketball to the women's game as a career risk. Basketball is basketball, in his view, and a head coaching job is what he desired.
"It was a golden opportunity,'' said Lang, the first-year coach at SUNY Sullivan.
So when he met with his team on the first day of practice, he told them this was an opportunity for everyone to rise together.
"Maybe in the past, the tradition wasn't there like the men's team,'' Lang said. "But why not go there and start up something, be a part of something special? I told the girls, 'We are going to turn this into something where people will recognize Sullivan County Community College for women's basketball.' ''
Lang has guided Sullivan to a 22-7 record and a berth in the Mid-Hudson Conference tourney final — the Generals are three wins from going to the national tournament. He also helped mentor Ellenville graduate Regina Steele into the Region XV player of the year. In one season, Lang, a former SUNY Orange player and two-year assistant coach, earned the respect of his colleagues, who have voted him the region's coach of the year.
"I was extremely shocked,'' Lang said. "It's such a great honor because of all the coaches who have been around the region for so long voted for me. ... It's great they think highly of me.''
Like Lang, Steele's selection as player of the year is a first for the Sullivan women's team. Steele ranks in the top 10 nationally in NJCAA Division III in 12 categories, leading in blocks (153), rebounds (407), field goals (243) and field-goal percentage (.66), and ranking third in scoring (20.2 per game). Lang believes Steele has a legitimate chance at earning all-America status.
"There's no reason why she doesn't have a shot,'' Lang said. "Getting all-region player of the year definitely looks nice. Just to have her name in the mix is a tremendous honor.''
Steele's teammates, Brianna Rhett and Newburgh's Tashalee Lawrence, were named honorable mention.
Sullivan men's coach Kevin Devantier was also named the region coach of the year. The Generals carried a 27-2 record into Monday night's showdown against Division I power ASA College and have earned the top seed for this week's regional tournament.
The Sullivan men received four player awards. Willie Williams was named first team, Newburgh's Marcus Henderson was picked second team and Bobby Jones and Antoin Gattling were named honorable mention.
SUNY Ulster had Charles Jansen and Marc Whitaker named as honorable mention.


text:
Fall 2017
5288 Tax Ethics - HAYNES- 12555
Eleanor Haynes (ADJUNCT)
Credits: 2
Course Areas: Taxation
Time: 5:30p-7:30p M Location: 115 BLB
Course Outline: This course covers Tax Ethics and Professional Responsibility of the Tax Attorney. We will exam and review the interaction of various laws, regulations, and cases which govern the professional conduct of the tax attorney and other tax professionals. At the end of this course the student should understand the role of the tax lawyer in the practice of tax law; the rules and regulations which govern the professional ethics and responsibility to the client and the legal system in the area of tax practice.
Course Syllabus: Syllabus
Course Notes: This is an LL.M class, and JD students may register, if space is available.
Prerequisites: Yes Federal Income Tax and Professional Responsibility
First Day Assignments:
Final Exam Schedule: 12/4 6 -8PM 3 BLB
This course will have:
Satisfies Skills Course Requirement: No
Satisfies Senior Upper Level Writing Requirement: No
Experiential Course Type:
Bar Course: No
Course Materials (7/18/2017 1:04:07 PM)
Book(s) Required


text:
i'm in the mood for a typing game, was there ever any (preferably good) sierra style of games but without the
paint-yourself-in-a-corner-puzzles and deaths (so basically not a sierra type of game at all then,but i'm sure you get my thinking) ?
Quest for Glory 1. Maniac Mansion. All Legend Entertainment games.
Peasant's Quest: http://www.homestarrunner.com/disk4of12.html


text:
1963, the name for superlative engine rebuilding and
mechanical restoration.
Derby Phantom 1 engine after complete rebuild
Welcome to The
Vintage Garage!
Welcome to The
Vintage Garage!
the above menu, you can access:Prewar PartsTools and toolkit itemsArticles and resourcesAutomobilia
for saleLinks to other sitesAnd much, much more.
the above menu, you can access:
For decades, The Vintage Garage name has been synonamous with the finest in mechanical
repairs, maintenance and restoration for the discerning Rolls-Royce, Bentley and fine automobile owner. The
new Vintage Garage operates in Vermont, and we offer the same services in a new 6000 square foot facility.
For more information on our services, click on the items below.
Springfield Silver Ghost pistons ready to fit
A trusted Name for nearly 50 years, The Vintage Garage is a proud member
of the RRBSA


text:
For one brief moment in the late sixteenth century, European art flared faintly on the shores of the Virginia colony. Among the stalwarts of Raleigh's 'Second Colonie' that clutched for a foothold on the new continent in 1585 was John White (Johannes Wyth), later to become Virginia's second governor (1587-90) and the grandfather of Virginia Dare. The water-color drawings made in 1585-86 by this 'English paynter . . . sent into the countrye by the queenes Maiestye, onlye to draw the description of the place' and 'to describe the shapes of the Inhabitants their Apparell, manners of Livinge, and fashions . . .' were 'cutt in copper' and issued by Theodore de Bry in 1590 to illustrate John Hariot's Narrative. From the 18 drawings still in existence it is evident that White attempted to produce a full pictorial account of the life of the aborigines.
Handicrafts were the only native art of seventeenth-century Virginia. Hardly a year after the founding of Jamestown, Sir Christopher Newport brought to the colony a number of Dutch and Polish glassmakers. The industry continued to the 'Starving Time,' when it languished and finally became extinct. In 1621 Captain William Norton and four skilled Italians, in a second attempt at glassmaking, produced chiefly beads for Indian trade until the enterprise was wiped out by the massacre of 1622. During the next decades such crafts as cobbling, tanning, weaving, and pottery making were carried on.
The 'Artickles of Agreemt' between Dennis Whit and Morgan Jones in 1667 probably contain the earliest reference to Virginia pottery: 'a condicon or agreemt for to be copartners for ye term of five years in making and selling of Earthen warre . . .' With the growth of population toward the turn of the century-from some 40,000 in 1670 to about 70,000 in 1700-handicrafts increased.
The fine arts developed more slowly. Though art was appreciated from the beginning, as indicated by the early importation of British paintings and objets d'art, a number of factors hindered local creation. Prosperous Virginians remained, as a rule, intensely loyal to the British Crown, regarding the mother country as their real home; even the gentlemen who flocked to Virginia after the fall of Charles I in 1649 endeavored to transmit the English tradition to their children and frequently sent their sons 'home' to be educated. Nor was social life on the widely scattered plantations-with an occasional trip to fashionable Williamsburg-of the kind to stimulate native artistic activity.
During the eighteenth century, however, visiting artists were attracted to the colony. Charles Bridges, who arrived in Williamsburg in May 1734 is the first known professional painter in Tidewater Virginia. Having done portraits of the Byrd children 'and several others in the neighborhood,' the artist in 1735 received from William Byrd II a letter of introduction to Governor Spotswood that resulted in several important commissions. Bridges flourished in the colony until about I 750 and, like most of his contemporaries, did various types of decoration in addition to portrait painting. In 1740, 1,600 pounds of tobacco were sold by Caroline County to pay Bridges 'for drawing the King's Arms for the use of the County Court.' In 1743 Alexander Gordon (1692-1754) came from England to Virginia, where he combined painting with the professions of musician and teacher of languages.
The Swedish painter Gustavus Hesselius (1682-1755), one of America's most noted art pioneers, had settled in Delaware and traveled through coastal Virginia, painting portraits rich in character and individuality. His son John (1728-78) also did portraits for prominent Virginia families. Between the years 1758 and 1767 an Englishman, John Wollaston, Jr., executed in Virginia many portraits in a style suggestive of Kneller, though he gave his sitters rather puffy hands and eyes with so peculiar a slant toward the nose that critics dubbed him 'The Almond Eyed Artist.' Henry Warren, another 'limner,' is known only by an advertisement in the Virginia Gazette in 1768 that announced his establishment in Williamsburg and his readiness to paint 'night pieces' and 'family pieces.'
The many portraits painted in Virginia between 1764 and 1775 by the Huguenot, John Durand, another of the group that traveled from town to town earning a precarious livelihood, are hard and dry, though of pleasing color and, as Robert Sully reflected, 'with less vulgarity of style than artists of his calibre generally possess.' Henry Benbridge (1744-1812), a Philadelphian with European training, settled in South Carolina upon his return from London in 1770 and radiated over the Southern field, executing many portraits, family groups, and an occasional deft miniature. In 1799 youthful Thomas Sully discovered Benbridge hard at work in Norfolk. In order to acquire a knowledge of oil painting, Sully sat for his portrait and profited by Benbridge's 'useful and kind instruction.'
To this group of eighteenth-century portraitists belong also Robert Edge Pine (1730-88), an Englishman who painted Washington at Mount Vernon in 1785, and William Williams (1759-1823), a New York portraitist who toured the South working in oil, pastel, and miniature. In 1793, the Masonic Lodge in Alexandria, having received President Washington into the order, commissioned Williams, then living in Philadelphia, to 'paint him as he is,' and the result was a somewhat inartistic pastel portrait (now in Alexandria) that is, perhaps, a good likeness. Williams also executed a portrait of 'Light Horse Harry' Lee. Of 'Manley, Taylor, Frazier, and Caine,' mentioned by William Dunlap as painters who worked in Virginia during this time, nothing is known except that Frazier's works kindled in Charles Willson Peale the ambition to paint.
During the early Republican period, roughly from 1783 to 1820, Colonial portraiture gave way before the influence of the classicist Benjamin West (1738-1820), whose school in London was attended by many post-Revolutionary American artists. Foremost among West's pupils was versatile Charles Willson Peale (1741-1827), who had worked as a saddler and at many other trades. On a trip to Norfolk to buy leather, he was so much impressed by the paintings of 'a certain Frazier' that on his return to Maryland he took up the study of art with John Hesselius at Annapolis. In 1766 he entered West's studio. While living in London, he obtained through his friends in Maryland the commission to paint the full length portrait of Lord Chatham that Edmond Jennings sent to Virginia as a gift to the 'Gentlemen of Westmoreland County.' Returning to America in 1769, Peale executed many portraits, group compositions, miniatures, and silhouettes of Virginians and in 1772 painted at Mount Vernon his most notable portrait-that of George Washington in the costume of a colonel in the Virginia militia.
Gilbert Stuart (1755-1828), foremost painter of the young republic and renowned for his many portraits of Washington, established himself at the new National capital from 1803 to 1805; among his sitters were John Randolph of Roanoke, James and Dolly Madison, and Colonel John Tayloe and his wife, of Mount Airy and the Octagon House.
Among the later group of West's pupils who worked in Virginia were William Dunlap (1766-1839) and Thomas Sully (1783-1872). Dunlap, author of the History of the Rise and Progress of the Arts of Design in the United States, painted many portraits in Virginia during the winters of 1819-21. At 16 Sully, who was born in England but brought up in Charleston, S.C., joined his brother Lawrence, who was painting miniatures in Norfolk. Later, he obtained instruction from Fraser, the miniaturist, and from Benbridge and West. His numerous portraits of Virginians, particularly residents of Petersburg and Richmond, were done during the period stretching from 1804 to about 1855 and are representative of his fluent, easy style.
The surge of classicism that produced so many historical and allegorical canvases during the early Republican period received in Virginia a powerful stimulus through Thomas Jefferson's architectural designs and his enthusiasm for the study of the arts. The 'intellectual collaboration' (to quote Bernard Fay) between France and America that marked this epoch was further exemplified by the founding in Richmond in 1786 of the Academy of Sciences and Fine Arts of the United States of America, the first institution of its kind in the new country, by the visionary Chevalier Quesnay de Beaurepaire. With funds subscribed in Virginia and elsewhere, Beaurepaire erected a building near Capitol Square. The project, however, came to naught-the building was burned, and the Chevalier himself was swept into the vortex of the French Revolution. In 1785 the French sculptor Jean-Antoine Houdon (1741-1828), commissioned by the legislature to execute a statue of Washington, arrived at Mount Vernon; he made a life mask and painstaking measurements of Washington. At the end of the year he returned to France and began work on the magnificent marble statue-probably the most celebrated in the United States-which was placed in the rotunda of the State capitol in 1796.
Between 1808 and 1811, Felix Sharples, son of the English pastel painter James Sbarples, executed pastels in Norfolk, Suffolk, and many of the Tidewater counties. As security for money borrowed, he left in the State a large collection of pastels by himself and other members of his family, which formed the nucleus of the Sharples Collection in Independence Hall. The French emigre, Julien Fevret de Saint-Memin (1770-1852), came to Richmond during the Aaron Burr trial in 1807, when the town was crowded with important personages. He remained not quite a year, producing-with the aid of a machine called a physionotrace-profile drawings in crayon and white chalk; Saint-Memin's delicate miniature engravings were made by reducing these drawings on copper plates with a pantograph. John Wesley Jarvis (1780-1839), Anglo-American portrait and miniature painter, made seasonal trips to the cities and estates south of Baltimore during the early decades of the nineteenth century.
Local artists of Richmond at this time were Philip A. Peticolas (1760-1843), copyist and painter of miniatures, and James Warrell, an Englishman, who in 1812 was offering his services to the citizens 'as a Portrait Painter in Oil.' Among Warrell's canvases was the Sena Soma, or the Sword Swallower, now at the Valentine Museum. In 1814 he designed Peter Francisco's Gallant Action . . . in Amelia County, Virginia, later engraved by D.Edwin. In 1816 Warrell, with Richard Lorton, a Petersburg artist, aided in establishing in Richmond a museum of art and natural science known as the Virginia Museum. Music and displays of fireworks were used to entice the public to the museum, where paintings were exhibited among a miscellaneous collection of objets d'art. Here were shown a group of Gilbert Stuart's portraits and John Vanderlyn's Ariadne, the first study of a nude unveiled publicly in Richmond.
Between the War of 1812 and the middle of the century the English tradition in portraiture survived in the work of English-born William J. Hubard (1807-62), Edward F. Peticolas, and Robert M. Sully (1803-55), nephew of Thomas Sully. In 1829, Chester Harding (1792-1866) exhibited in Richmond his 'portraits of many distinguished men,' to which he added those of several Richmonders.
With the expansion of commerce and the growth of National sentiment, American landscapes and scenes from everyday life found their way into local painting. Foremost among the genre painters was George Caleb Bingham (1811-79), who was born in Augusta County but worked mainly in Missouri. Bingham's paintings constitute a record of the domestic and political life of the frontier. His later work shows the influence of the anecdotal school of Dusseldorf in Germany, to which American painters had begun to turn for instruction.
The name Hudson River School has been applied to a loosely defined indigenous movement in landscape painting. In this tradition worked William Louis Sontag (1822-1900), a Pennsylvanian, whose Morning in the Alleghanies is representative of his many landscapes of western Virginia. Views of Mount Vernon, a popular subject, were painted by William Henry Bartlett (1809-94).
The paintings inspired by the War between the States are linked artistically with the impulse to record local scenes and events. John A. Elder (1833-95), who had studied at Dusseldorf under Emmanuel Leutze, settled in Richmond, where he painted battle scenes and portraits of Robert E. Lee and Stonewall Jackson. Conrad Wise Chapman (1842-1910), born in Washington, D.C. and brought up in Rome, came to the South during the war, entered the army, and, while attached to General Beauregard's forces at Charleston, S.C., was detailed to make paintings of the city's fortifications. He produced 31 canvases (now at the Confederate Museum, Richmond), of which Sunset Gun, Fort Sumter is the most beautiful. E.L. Henry (1841-1919), James Hope (1818-92), Sandford R. Gifford (1823-80), and David Blythe (1815-65) depicted military operations in the region of the Potomac.
The Hudson River School broadened under the influence of the French Barbizon group with its subjective poetic interpretations of landscape. Robert Loftin Newman (1827-1912), born at Louisa, exemplifies this later phase of nineteenth-century American painting. After studying in Paris under Couture, and absorbing the Barbizon style, he returned to America to paint landscapes distinguished for their color harmonies. Benjamin West Clinedinst (1859-1931) was born near Woodstock and after a period of study in Paris executed many portraits and genre paintings. Elliott Daingerfield (1859-1932), born at Harpers Ferry, came early under the Barbizon influence and achieved wide recognition as a landscapist and figure painter. Prince Pierre Troubetzkoy, society painter, was a resident of Albemarle County and died in Charlottesville in 1936.
A number of native Virginia painters have done most of their work outside the State. Carle John Blenner (b. 1864) whose work is primarily in portraiture, was born in Richmond, studied in Germany and France, and now lives in New York. F.Graharn Cootes (b. 1879), New York painter and illustrator, was born in Staunton. A native of Petersburg, Jerome Myers (b. 1867) is among the leaders of modem realism in American painting; he works in a variety of media, specializing in New York street scenes. Hugh Henry Breckenridge (b. 1870), whose paintings are to be seen in many prominent institutions throughout the country, was born in Leesburg and trained in Paris. He has been an instructor at the Pennsylvania Academy of Fine Arts since 1894.
On the other hand, several artists from other sections have incorporated themselves into Virginia life. Gari Melchers (1860-1932), outstanding Detroit-born artist, settled at Falmouth after working in Dusseldorf, Paris, and Holland, where he did many admirable studies of Dutch peasants. While on a visit to America to execute murals, he was attracted by the color and local types of the Virginia mountains and made his home in the State until his death, taking part in the establishment of the Virginia Museum of Fine Arts and in other art activities. Born in New York, W. Sergeant Kendall (b. 1869), a pupil of Thomas Eakins, has contributed outstanding landscapes of the Virginia scene.
The development of sculpture in Virginia began in the nineteenth century, chiefly under the domination of the Italian School. One of Virginia's first sculptors was Alexander Galt (1827-63), a native of Norfolk who studied in Florence; he died before he reached artistic maturity, and many of his best works were burned during the evacuation of Richmond in 1865. Edward V. Valentine (1838-1930), of Richmond, who studied in France, Italy, and Germany, returned to his native city in 1865 and became a leading artistic influence there. His works in the State include statues of Jefferson Davis and Thomas Jefferson, a recumbent marble statue of Lee, and the figure studies, Andromache and Astyanax and The Blind Girl. Among the few examples of his work that Sir Moses Ezekiel (1844-1917), who studied in Germany, sent to his native State from his studio in the Baths of Diocletian were two statues of Jefferson, a bust of General Edward W. Nichols, and the Confederate Memorial at Arlington. After service in the War between the States and study in Paris, William Ludwell Sheppard (1833-1912), best known for his genre painting and studies of the soldiers of the Army of Northern Virginia, executed many notable statues and a bronze haut-relief, The Color Bearer. Master of a variety of media, Paris trained Augustus Lukeman (1872-1935), a native of Richmond, settled in New York, where he executed bas-reliefs, monuments, and portrait busts, including the Jefferson Davis in the Federal capitol. William Couper, who was born in Norfolk in 1853, returned from the studios of Munich and Florence and established himself in New York in 1897 as a portraitist and sculptor of busts in the modem Italian manner; he is represented in Virginia by a heroic bronze statue of Dr. Hunter Holmes McGuire and a statue of Captain John Smith.
Sculptors from outside the State have contributed important monuments memorializing Virginia personalities and events. In Richmond, grouped around Houdon's busts of Washington and Lafayette in the capitol rotunda, are seven statues of Virginia-born presidents, by Charles Keck, Charles Beach, Harriet Frishmuth, Attilio Piccirilli, and F. William Sievers, a native of Indiana but long a resident of Richmond. Other sculptors with representative works in Richmond are John Frazee (1790-1852), pioneer American-born sculptor, Thomas Crawford (c.1813-57), and Randolph Rogers, all of New York; Joel Hart (1810-77), of Kentucky; and Frederick Volck. In Charlottesville is statuary by Robert 1. Aitken, Charles Keck, Karl Bitter, and Gutzon Borglum, while Williamsburg preserves Richard Hayward's eighteenth-century memorial statue of Norborne Berkeley.
Among the beginnings of graphic art in Virginia were Saint-Memin's profile engravings and his etched view of Richmond's water front-a scene also depicted in line and mezzotint by Peter Maverick (1780-1831). To this early period belong, too, Joseph Wood (1798-1852), aquatintist, and the French engraver Blouet, both of whom did views of the State penitentiary in Richmond. Thomas Sully was not above occasional commercial lithography, and John Gadsby Chapman executed some 1,400 drawings, resembling steel engravings, that served as illustrations; Benjamin West Clinedinst in the 1890's and William Ludwell Sheppard also made contributions in this field. Among etchers associated with Virginia were William Louis Sontag, Elliott Daingerfield, and James D. Smillie. The drawings and book illustrations of Dugald Stewart Walker (1884-1937), a native of Richmond who received instruction in Virginia and New York, are lavish in detail, and distinguished by an oriental richness of design. Jerome Myers captures realistically the types of New York's east side in his admirable lithographs.
The problems of readjustment that followed the War between the States impeded public activity in the arts until 1892 when the Valentine Museum was founded in Richmond to house collections in art, archeology, and anthropology. Native art was fostered by the Art Club of Richmond, organized in 1895; and in later years, by the Virginia League of Fine Arts and Handicrafts, formed in 1917 by two Richmond artists, Adele Clark and Nora Houston; and by the Academy of Sciences and Fine Arts of the United States, revived in 1930, which encourages creative work through lectures, classes, and frequent exhibitions. In Richmond, Confederate relics are housed in the Confederate Museum; a representative group of eighteenth-century portraits in the home of the Virginia Historical Society; and a large collection of contemporary paintings, statuary, and objets d'art in the Virginia Museum of Fine Arts, founded in 1934. The Norfolk Museum and the Bayly Museum of Fine Arts at the University of Virginia are important contributors to local art appreciation; while the specialized Mariners' Museum near Newport News contains interesting carved figureheads and a great variety of exhibits relating to maritime life. The Conservation Commission of Virginia established in 1937 the Virginia Art Index, directed by Julia Sully, for the purpose of recording all historic portraits in the State.
Today, many native artists are producing portraits, landscapes, and studies of local types and of characteristic Virginia scenes; realistic genre painting seems to be the dominant influence among the younger artists. The Negro wood-carver, Leslie Bolling (b. 1898), has produced admirable statuettes of racial types. Among those active in the graphic arts are Lois Wilcox, engraver and lithographer, and the wood engravers Charles W. Smith (b. 1893) and Julius J. Lankes (b. 1884). An attempt has also been made in recent years to revive the handicrafts. In the mountains, mission groups started in 1923 to teach weaving, rug making, needlecraft, bookbinding, cabinet making, wood carving, and allied crafts; and this work has been taken up by various schools and guilds, and by the Handicraft Projects of the Works Progress Administration. Among the flourishing potteries now in the State is the interesting James Towne Collony Pottery, which duplicates old pieces discovered during the Williamsburg and Jamestown excavations.
Interest in art seems to be growing throughout the State. Art festivals are held in many Virginia centers, and a series of exchange exhibitions has been conducted-followed in 1938 by the first All-Virginia Exhibition of paintings sent to New York City, and the inauguration of a Biennial Exhibition of Contemporary Painting by the Virginia Museum of Fine Arts. Federal Art Galleries located at Big Stone Gap, Lynchburg, Fairfax, and Richmond are contributing to the artistic education of Virginians through classes, exhibitions, and lectures. In 1938 the Negro Art Center was established in Richmond, offering, under a Negro instructor, classes in painting, wood carving, modeling, and other branches of the arts and crafts. Art departments in various colleges and flourishing summer art schools are promoting art appreciation and training Virginia's artists of tomorrow.


text:
Local shoppers look forward to store opening
For most people, stocking the pantry falls firmly into the "chore" category. Applesauce? Check. Bagels? Check. Frozen peas?
And so the list goes on, shoppers dutifully filling their carts with the week's needs.
But Wilmington's about to see a change in that mentality, as few grocers inspire the legions of fanatics that Trader Joe's enjoys. Maybe it's the Hawaiian shirts, or perhaps the famed bargain wine casually dubbed Two Buck Chuck. Whatever their secret formula, local resident Sally Pope isn't alone in saying, "When I saw that sign go up at the corner of College and Oleander, I felt the heavens open and rain groceries."
Meet five of the area's most ardent Trader Joe's fans, and why exactly they've been counting the days to the store's Nov. 30 opening.
Lea Bullard had her first taste of the Trader Joe's experience while working toward a graduate degree at the University of Michigan.
"Ann Arbor was already sort of cool and hipster, and Trader Joe's at the time was already sort of the pinnacle of that," Bullard said, explaining the store's initial appeal.
Two decades later, the habit hasn't died. She can still be found racking up miles on the interstate, smuggling home a year's stash.
"I normally make one big trip to Michigan around the holidays and pretty much pack my car full," she said. "Now I'm not going to have to bring a car full of boxes packed with canned goods."
Above all else, Bullard points to the store's house label brand of Organic Creamy Tomato Soup as a must-have. "It's fantastic because it's only $2.29 for 32 ounces," she said. "That's four cups of soup – that's crazy, and it's organic."
Excited to be picking up where she left off, Barbara Wood is looking forward to rekindling a shopping routine she enjoyed for eight years while living in the Northeast.
"We moved down here three years ago from Connecticut and went to Trader Joe's weekly," Wood said.
Wood is currently dependent on the store's Triangle outlet to satisfying her cravings for everything from seasoning mixes to interesting wines. Employing a caravan of friends, whenever someone in her circle is making a trip up I-40, she sends them off with a wish list.
It doesn't take much effort to get Wood talking about cheese. Her personal favorite? Whatever happens to be in the fridge at the moment, all the better if it's one of the interesting varieties Trader Joe's stocks at prices she finds to be more than fair. Currently, that happens to be their West Country English Farmhouse Cheddar Cheese Truckle.
Toni Incorvaia, owner of Wilmington's Noni Bacca Winery, doesn't mince words when expressing her distaste for the budget-friendly Charles Shaw wine.
"A lot of people like the price, but you get what you pay for," Incorvaia said bluntly.
But that doesn't dampen her enthusiasm for Trader Joe's opening. Incorvaia makes regular trips to Lumberton to shop at ALDI, another chain of grocers owned by Trader Joe's parent company, and she said a lot of overlap can be found between the stores' product line.
Incorvaia is particularly happy about the extensive allergen- and food-sensitivity labeling Trader Joe's is known for making easy to find on their packaging.
"My husband was diagnosed with celiac disease, and their products are perfectly labeled gluten-free," she said.
While she's a big fan of the store's grocery items, perhaps more appealing to her are the cleaning products.
"They do a really good job, they're inexpensive and they're all natural," she said. "It's world class products at affordable prices."
Jocelyn Beam-Walson makes no effort to conceal her eagerness.
"I am just drooling at the mouth. I've never lived in a town with a Trader Joe's," Beam-Walson said, noting that her fandom dates back to living in the Washington, D.C. area. "I'll probably do the vast majority of my grocery shopping there."
While she has a standing list of favorites she'll routinely stock up on when visiting family, she's excited to start sampling a line of items that's been off limits until now.
"I haven't been able to try anything in their frozen section due to traveling six hours," she said.
Beam-Walson notes the store's organic breakfast cereal bars get good marks in her home, but pinpointing one particular item for top billing is no problem.
"When I read in the StarNews there was one opening in November, my eyes welled with tears of joy. I immediately shared it on Facebook, because it means I can have their Curry Simmer Sauce whenever I want," she said. "The spiciness is exact, and it's so easy, I can have diner ready in 20 minutes."
11/30 countdown
If there's one thing Nancy Carlson won't miss in her life, it's spending four hours in a car to make a Trader Joe's grocery run.
"I've been waiting 10 years for them to get to Wilmington, sending them constant location requests," Carlson said. "I live for that store. I've missed it and I'm tired of making trips up to Cary to stock up."
Also exposed to the store while living in the Northeast, Carlson finds the wine selection to be intriguing. She said many of the higher-priced wines are fairly common items you can find elsewhere, but the store really shines at the bargain end of the spectrum.
"They have the best wines under $10, and it's unusual things you can't get anywhere else," she said.
Carlson struggles to pinpoint a single favorite item, but ultimately hones in on their vitamin selection, which she said rings up at a mere fraction of what she'd normally spend.
Although concerned it could be months before the store's crowds reach a manageable level, Carlson has her sights set on Nov. 30: "I happen to be off work on the day they open and hope to be one of the first in the door to celebrate."
Paul Stephen: 343-2041
Twitter: @PortCityFoodies


text:
Mexico, Michoacan, Civil Registration (FamilySearch Historical Records)
|This article describes a collection of historical records available at FamilySearch.org.
Access the records: Mexico, Michoacán, Civil Registration, 1859-1940 .
- 1 Title in the Language of the Records
- 2 Record Description
- 3 Record Content
- 4 How to Use the Records
- 5 Related Websites
- 6 Related Wiki Articles
- 7 Contributions to This Article
- 8 Citing FamilySearch Historical Collections
Title in the Language of the Records
Registro Civil del Estado de Michoacán, México
Record Description
This collection of civil records for Michoacán covers the inclusive years of 1859 to 1940.
This is a collection of civil registration records for Mexico. Records, such as birth, marriages, and deaths, are organized by state and then by municipality/city. Earlier records were handwritten in narrative style; later records were handwritten in formatted registers. The text of these records is in Spanish.
Civil records in Mexico cover about 90 to 95% of the population. Beginning in 1859, the Mexican government began requiring births, marriages, and deaths to be recorded by civil authorities on a municipality/district level. Although these records are a great source of genealogical information, they are not complete as civil registration wasn't strictly enforced in Mexico until 1867 and people did not always comply. For this reason, church registers must be used alongside the civil records. The civil records of Mexico have been preserved relatively well. Only some of the older registers may have some physical damage; however, in general they are in good condition to extract genealogical information.
The Mexican civil registration was created to record the vital events of birth, marriage, death, and other civil events, which would determine and prove the civil status, existence, and condition of the population.
The civil registration records of Mexico are a reliable source for doing genealogical research.
For a list of records by localities and dates currently published in this collection, select the Browse.
Citation for This Collection
The following citation refers to the original source of the information published in FamilySearch.org Historical Record collections. Sources include the author, custodian, publisher, and archive for the original records.
- Civil registry offices in Michoacan. Civil registration. Archivo General del Registro Civil del Estado de Michoacán, México.
Original records are also housed in different municipal archives throughout the state of Michoacán.
Suggested citation format for a record in this collection.
Record Content
The key genealogical facts found in most birth records are:
- Date and place of the event
- Name of the principal
- Child's gender
- Child's date of birth
- Legitimacy
- Parents' names, residence, and/or place of origin
- Names of witnesses
The key genealogical facts found in most marriage records are:
- Date and place of the event
- Names of the bride and groom
- Their civil statuses (widowed, single, divorced) at the time of the event
- Place of origin and residence of the bride and groom
- Names of parents
- Name of witnesses
The key genealogical facts found in most death records are:
- Place and date of the event
- Place and date of death
- Name of the principal (deceased)
- Civil status of principal at time of death
- Civil status and name of spouse, if married at time of death
- Parents' names
- Place of burial
How to Use the Records
To search the collection you will need to follow this series of links:
⇒ Select the "Browse" link in the initial search page
⇒ Select the Ciudad o municipio
⇒ Select the Tipo de registro y años which takes you to the images.
Look at the images one by one comparing the information with what you already know about your ancestors to determine which one is your ancestor. You may need to compare the information about more than one person to make this determination.
When you have located your ancestor's birth, marriage, or death record, carefully evaluate each piece of information about them. These pieces of information may give you new biographical details that can lead you to other records about your ancestors. For example:
- Use the date along with the place to find the family in census records.
- Use the residence and names of the parents to locate church and land records.
- The father's occupation can lead you to employment records, military records, or other types of records.
- The parent's birth places can tell you former residences and can help to establish a migration pattern for the family.
It is often helpful to extract the information on all children with the same parents. If the surname is unusual, you may want to compile entries for every person of the same surname and sort them into families based on the names of the parents. Continue to search the records to identify siblings, parents, and other relatives in the same or other generations who were born in the same town or nearby location.
Keep in mind:
- The information in civil records is usually reliable, but depends upon the reliability of the informant.
- Earlier records may not contain as much information as the records created after the late 1800s.
- There is also some variation in the information given from record to record.
Related Websites
Related Wiki Articles
Contributions to This Article
| We welcome user additions to FamilySearch Historical Records wiki articles. We are looking for additional information that will help readers understand the topic and better use the available records. We also need translations for collection titles and images in articles about records written in languages other than English. For specific needs, please visit WikiProject FamilySearch Records.
Please follow these guidelines as you make changes. Thank you for any contributions you may provide.
Citing FamilySearch Historical Collections
When you copy information from a record, you should list where you found the information. This will help you or others to find the record again. It is also good to keep track of records where you did not find information, including the names of the people you looked for in the records.
A suggested format for keeping track of records that you have searched is found in the wiki article Help:How to Cite FamilySearch Collections.
Citation Example for a Record Found in This Collection
"Mexico, Michoacán, Civil Registration, 1859-1940," images, FamilySearch (https://familysearch.org/pal:/MM9.3.1/TH-1942-21903-14263-23?cc=1916243&wc=12949761: accessed 28 June, 2012),Chavinda > nacimientos 1924-1930 > image 480 of 638 images, Ermelinda Romero, 1929; citing state of Michoacan, Mexico.


text:
WORCESTER — A Spencer man caught trying to steal shrimp was identified by police after he dropped a pill bottle with his name on it during a brawl with supermarket employees, according to authorities.
John Pinard, 37, of 35 Chestnut St., Spencer, was arrested at a house on Pearl Street in Spencer. He fled to his hometown after trying to steal $300 worth of shrimp at Price Chopper on Park Avenue, police said. He is accused of assaulting the manager with a shopping cart and threatening to stab the manager and another store employee with a hypodermic needle while they were trying to restrain him.
Worcester police were called to the Price Chopper about 6:30 p.m. Thursday. The manager told officers he was in the back of the seafood section when he noticed a man, later identified as Mr. Pinard, loading up his own bags with shrimp. The manager allegedly saw Mr. Pinard head for the store exit without paying for the shrimp. The manager tried to stop Mr. Pinard, but Mr. Pinard slammed a shopping cart into the manager several times, police said.
The manager and another employee struggled with Mr. Pinard. During the struggle, they all fell to the ground. At that point Mr. Pinard threatened the men that he would stab them with a hypodermic needle if they didn't let him go.
Mr. Pinard then fled, but left the pill bottle with his name on it.
Police also found several hypodermic needles on the ground where the men were fighting. The shrimp was left behind.
A witness told police that Mr. Pinard left in a gold Ford Explorer, heading north on Park Avenue.
Using the name on the pill bottle, police learned that there were two outstanding arrest warrants for Mr. Pinard for larceny from a person. Spencer police assisted in locating Mr. Pinard. He was arrested by state police officers.
He was later identified by Price Chopper employees.
Mr. Pinard is charged with assault with a hypodermic needle, armed robbery, larceny of property valued at more than $250 and assault and battery with a dangerous weapon (shopping cart).
Judge Paul L. McGill set bail at $5,000 and continued the case to July 10.
Contact George Barnes at email@example.com. Follow him on Twitter @georgebarnesTG


text:
Rehabilitation is the therapeutic process of improving function and wellness after injury, disease or physical hardship. The goals of rehabilitation are to reduce disability and improve independence and quality of life.
The University Hospital Rehabilitation department provides a continuum of comprehensive services to assist patients in restoring movement, promote healing, relieve pain, and adapt to physical changes.
Our highly qualified and experienced team strives for excellence in the delivery of their services. Individualized patient and family-centered care is a focus at Upstate and family is considered part of the rehabilitation team. Team providers include:
Services may be provided in the hospital, on our inpatient rehabilitation unit or at one of our outpatient sites. At University Hospital you may receive therapy in the hospital while you are recovering from your injury, illness or procedure. Treatment may be provided at the bedside or in one of the new state of the art gyms.
If you require additional therapy services and need to remain in the hospital, you may qualify to be a patient on our 30 bed Acute Inpatient Rehabilitation Unit at the downtown campus or our 20 bed acute rehabilitation unit at the Community campus. Patients on the inpatient rehabilitation unit receive 3 hours of therapy, 5 days a week, with additional services on Saturdays and Sundays. The staff is a dedicated team of professionals who are experts in treating those with brain injuries, stroke, spinal cord injuries, amputation, multiple trauma and other debilitating illnesses.
Extensive outpatient services are offered at five care locations in the community. Upstate's compassionate and creative therapists have unmatched experience in the areas of orthopedic and neurologic rehabilitation. The offices are equipped with advanced rehabilitation tools and state of the art equipment.
For a tour of a facility or to schedule an appointment, please call 315 464-2300.


text:
Portland Trail Blazers 2013 Draft Report Card
The Blazers walked out of the draft with the most dynamic prospect, C.J. McCollum of Lehigh. That made it a good night, but Portland made a killing in the second round.
They felt their weakness last season was shooting. McCollum helps that, but they acquired the first pick in the second round and nabbed Allen Crabbe from California. Limitless range and supreme confidence, that's Crabbe.
The Blazers then drafted Jeff Withey from Kansas with their next second-round pick. Withey won't score 15 points a game in the NBA, but he'll come in and block shots and defend. If J.J. Hickson walks in free agency, Withey will soften the blow.
Marko Todorovic also was taken and the only thing I can tell you is he apparently plays basketball.
To sum up, they got a top-five player in the draft at No. 10 and two first- round talents in the second round for the meager sum of a some future second- round picks.
Plus, the Portland bench was shockingly bad last season, averaging 18.5 points per game, which was six less than the next-worse second unit, the Indiana Pacers'. Basically, drafting four human males to improve that bench would make it a good night.
Grade: A


text:
A person who loves progressive music, whether it'd be Progressive Rock or Progressive Metal, Experimental or Neo-Prog, he loves the genre. Usually prog bands like ELP, King Crimson, Genesis, Dream Theater, Porcupine Tree, Pink Floyd, Frost*, Haken etc...
My brother Matt, he's such a Prog Frog. His record collection consists of Frank Zappa, Dream Theater, Rush, King Crimson, Yes and bands of that nature.
by progfrogperson July 20, 2011
buy the domain for your foodie vlog


text:
Search results for: Hugo Boss Outlet
Hugo Boss Outlet
Outlet Stores (Rating: 70) , Votes:Factory outlet centers typically consist of 25 to 100 outlet stores offering an extensive selection of merchandise from leading product designers and manufacturers. Learn about outlet shopping and find leading outlet malls in the United States and Canada.http://www.outlet-stores.us/Category: Directory/Shopping/General Merchandise
Perfumes Online (Rating: 1) , Votes:Offers designer fragrances online at the Perfume Superstore with fast delivery and unbeatable princeshttp://www.theperfumesuperstore.co.uk/Category: Directory/Shopping/Personal Care
Shop Boss Pro - Auto Repair Software (Rating: 2) , Votes:Shop Boss Pro is auto repair shop software for the independant automotive repair shophttp://www.shopbosspro.com
Bridgend Designer Outlet (Rating: 0) , Votes:Large outlet village offering designer labels at discount prices. Enjoy savings on a whole range of designer brands.http://www.bridgenddesigneroutlet.com/
Muck Work Boots | Boots for Men, Women & Kids (Rating: 0) , Votes:Muck Boots Outlet sells the best muck work boots. We have muck boots for men, women, kids, hunting, safety steel toe, and farm boots on sale. Buy online today!http://www.muckbootsoutlet.com/
Hollywood Blue Jeans (Rating: 2) , Votes:Hollywood Blue Jeans has the best selection of discount Levi's jeans for sale. Our outlet has cheap designer men's and women's jeans. Order online today!http://www.hollywoodbluejeans.com/
Mistermix UK Grime Music (Rating: 4) , Votes:Small online music portal providing an outlet for independent or unsigned artists producing Grime music or underground dance music in general. Holds a wide range of titles from new acts as well as rare items from established acts.http://www.mistermix.co.uk/Category: Directory/Shopping/Entertainment
The Golf Shop Online (Rating: 8) , Votes:Online outlet for the golf shop at Stover Golf Club, Newton Abbot, Devon. Full range of equipment and accessories. Callaway approved retailer.http://www.thegolfshoponline.co.ukCategory: Directory/Recreation & Sports/Golf
Furniture in Southern California & Nevada (Rating: 0) , Votes:Discount Furniture at Furniture 2 Go: Free Shipping and Delivery in Southern California and Nevada. Quality furniture for the entire home with. Price match guarantee.http://www.furniture2go.comCategory: Directory/Shopping/Home & Garden
Home Furniture & Decor (Rating: 6) , Votes:Online Furniture Store where you can buy Furniture Online. New York furniture outlet for accent furniture, living room furniture, home decor.http://www.tycrodepot.comCategory: Directory/Shopping/Home & Garden
Related searches:
Webotopia provides a business directory designed to promote Hugo Boss Outlet companies, products and services whilst helping it's users find the Hugo Boss Outlet information they need. Webotopia business directory, with the help of it's dedicated support specialists and reviewers, enables delivery of Hugo Boss Outlet quality content, excellent customer support as well as value added services such as content publishing and press releases for it's users.


text:
BCTC Biotechnology Program Awarded $20,000 Grant
The Bluegrass Community and Technical Colleges (BCTC) Biotechnology program has been awarded a $20,000 grant by the Kentucky National Science Foundations Experimental Program to Stimulate Competitive Research (Ky-NSF EPSCoR) through the University of Kentucky.
The funds will be used to support four BCTC students during their research for the Aloe Project. The project is a long-term study investigating the possibility of using Aloe Vera as a biofuel. The BCTC Biotechnology program will partner with the University of Kentuckys Advanced Genetic Technologies Center on the project, which is part of a new focus on applied research in BCTC's Biotech curriculum.
Learning science should be an active endeavor that focuses on science as a process and not just a set of facts to memorize, BCTC biotechnology instructor Keith Devon Allen said in the grant proposal.
Allen will play a key role as the principal investigator of the BCTC Undergraduate Research Biotechnology in Education.
Four undergraduates are working on this project: Cagney Coomer, lab technician at the Advanced Genetic Technology and team leader; Tiffany Carol Richard, student researcher; Sandhya Paudel, student researcher; and Mila-Ruth Wright, student researcher.
We believe this opportunity to participate in active learning will support students interest in science as well as build more sophisticated lab skills, Allen said.
Students involved with the Aloe Project will be encouraged to present their findings at the Kentucky Community and Technical College System conference for student research, Kentucky Academy of Science and may have the opportunity to publish their findings in a peer-reviewed scientific journal.
We have to devote the necessary resources to scientific and technological research and development, including biotechnology, Allen said. We must further encourage innovation among our undergraduate students and insure that we introduce new developments into our productive activities.
The project began in November 2012 and will continue through July 2013.


text:
Meeting Evil (US - DVD R1)
Gabe hitches a mediocre ride with a particularly distressing Samuel Jackson...
The same day mild-mannered John (Luke Wilson) loses his job, a mysterious man named Richie (Samuel Jackson) shows up at his door, asking for help with his stalled car. Richie reveals himself as something of a malcontent who knows much more about John than he possibly could as a random stranger. Soon he tricks the painfully polite family man into becoming an unwilling passenger on a murderous ride through town and deep into the countryside. John then finds himself the main suspect in regards to Richie's crimes, and fears for the safety of his wife (Leslie Bibb) and kids.
Someday I will review a movie starring recognizable, nominally influential actors that saw little or no theatrical release and I will be impressed. I will quickly take to the internet and spread the word about this unfairly dumped, minor classic, and I will pray for an appropriate cult following. Today is not that day. Meeting Evil is based on Thomas Berger's 1992 novel of the same name. Berger is known for rewriting the Arthurian legend in his book Arthur Rex: A Legendary Novel, and he was also adapted in 1981 for Rocky director John G. Avildsen's Neighbors, but is most famous for writing Little Big Man, which was, of course, made into a brilliant film by Arthur Penn. It's probably unfair to compare Meeting Evil to something as monumental as Little Big Man, but I can't help but notice similarities in character quirks and the treatment of archetypes. The problem here is that this particular story likely read well in 1992, but is incredibly predictable in a modern movie climate. In the end, the twist is not quite what audiences might be expecting, but so much emphasis is put on the lead-up to the reveal that there's little reason to excuse the bits that bide time until the climax. There's a hint of EC Comics morality behind the twist as well, which seems to imply that Berger's story would've worked better in a shorter form, where there was no need to develop a middle act.
Director Chris Fisher is known mostly for his work on cable television, a pair of 'true crime' serial killer movies ( Rampage: The Hillside Strangler Murders and Nightstalker), and that sequel nobody wanted, S. Darko. He's not exactly a talent on the rise, but just about everyone comes from humble roots. Fisher's direction is perfectly capable, if not particularly noteworthy. Most of his stylistic choices reveal his television roots, but there's really no reason to not keep things 'small' in this case. He unravels his predictable narrative efficiently, which helps to skirt past some of the coincidental happenings and keeps the tension ratcheted tight enough to elicit a handful of thrills. Besides his choice in adaptable material, Fisher's biggest crime are his rather weak violence levels. If anything could've pushed such material beyond mediocrity it would be gonzo levels of creative gore. Actually, any influx of comedy would help this all too serious production. Sam Jackson appears to be the only person here having much fun. Both leads play the exact same characters they've played for decades now. Jackson largely gets by on his laurels, but Luke Wilson is miscast. His lack of personality would appear to fit the 'everyman' character he's playing, but it only gives the audience less reason to care about him.
Once again, my eyes have grown too accustomed to the superior qualities of Blu-ray and HD television, leaving me to improperly judge standard-definition releases. But Sony has chosen not to expend the money to release Meeting Evil on Blu-ray, and I can't really blame them, so I'm left to do my best to judge this anamorphic release on its own merits. Considering the format's shortcomings I can find little to complain about. Compression noise is minimal, delegated mostly to minor blocking on the more vibrant colours, aliasing effects and some rather consistent edge enhancement. Close-up details are plenty sharp especially in terms of skin and clothing textures, but backgrounds are a bit smudged. This becomes a bigger problem when it comes to cinematographer Marvin V. Rush's focus pulls, which are almost undetectable at times. Contrast levels are set pretty high, which is nice for the blacks, but leads to some blooming white levels. The colour palette changes pretty regularly throughout the film and these choices are usually presented as vibrant or desaturated as likely intended. The overall colour separation is clean aside from the usual SD shortcomings.
This Dolby Digital 5.1 surround soundtrack is expectedly compressed in terms of volume levels, and there isn't a whole lot in the way of directional enhancement, but on the whole I found that my expectations were matched. Dialogue is well centered and consistently clear. Sound effects are well placed, though there is an overall lack of ambience outside of the climax, where a generic-sounding thunderstorm gives the surrounds something constructive to do. The track is at its best when dealing in dramatic dynamic ranges, which often come up in regards to Jackson's character, whose every motion is presented as threatening. Ryan Beveridge's musical score has its moments, but mostly sounds like more made for TV fodder. The music, both source and score, is often the loudest thing on the track, and is given the biggest stereo spread, not to mention a sizable LFE bounce.
The only extras on this disc are a series of trailers for other Sony releases.
Meeting Evil would've probably made a decent episode of Tales from the Crypt or Masters of Horror or even a nice piece of a bigger anthology, but as a standalone feature it's not particularly satisfying. I'd call it about as mediocre a film as humanly possible, and suggest viewers watch the original Hitcher instead. Both films share similar backdrops and themes. This DVD looks and sounds about as good as we can expect from a B-product released in standard definition, but features nothing in the way of film-specific extras.
Review by Gabriel Powers
Movie Dude Member Join Date: November 2006 Location: United States Posts: 373
Here's the thing about the movie: the title was a little misleading when you consider the twist in the movie's climax. What they should've done was make Sam Jackson's character Satan in disguise, instead of a killer that commits malicious mischief and violence because he enjoys it. That's what makes it the most disappointing part of the movie, IMO. A letdown for could've been a great thriller instead of a below-average one.
Gabe Powers Editor Join Date: September 2004 Location: United States Posts: 4,718
The ads certainly implied that Jackson was some kind of supernatural entity.
Under 17 requires accompanying parent or adult guardian
Disc Details
Release Date: 24th January 2012
Discs: 1
Disc Type: Single side, dual layer
RCE: No
Video: NTSC
Aspect: 1.78:1
Anamorphic: Yes
Colour: Yes
Audio: Dolby Digital 5.1 English, French, Spanish, Portuguese and Thai
Subtitles: English SDH, French, Spanish, Portuguese, Thai, Mandarin and Korean
Extras: Trailers
Easter Egg: No
Feature Details
Director: Chris Fisher
Cast: Samuel L. Jackson, Luke Wilson, Leslie Bibb, Peyton List
Genre: Thriller
Length: 89 minutes
5Review Guide
Follow our updates
Hot News
Crazy Rich Asians US - DVD R1 | BD RA The Outer Limits US - DVD R1 Transformers: Age of Extinction US - DVD R1 | BD RA The Dark Knight US - DVD R1 | BD RA Patient Zero US - DVD R1 | BD RA
Reviewer Agony
Space Buddies US - BD RA Green Hornet, The UK - DVD R2 Dragon Wars UK - BD RB American Pie Presents: Band Camp UK - DVD R2 Disaster Movie: Unrated US - BD
Unseen Reviews
Doctor Who: Scream of the Shalka UK - DVD R2 Stuff, The UK - BD RB Body Double UK - DVD | BD Capricorn One UK - BD RB Sicaro: Day of the Soldado US - BD RA
Most Talked About
Solo: A Star Wars Story US - BD RA The Meg US - DVD R1 | BD RA Exorcist II: The Heretic Collector's Edition US - BD RA Mandy US - DVD R1 | BD RA Mission: Impossible – Fallout US - DVD R1 | BD RA


text:
December 31, 2012
In both HIV and SIV infections, it has been shown that the most rapid and extensive loss of CD4 T cells occurs in the gut. As a consequence, a theory has emerged positing that gut CD4 T cell depletion plays a central causative role in driving HIV pathogenesis; the proposed mechanism is that gut wall integrity becomes compromised, leading to the leakage of normally friendly bacteria from the digestive tract and into systemic circulation, which in turn contributes to persistent immune activation and, ultimately, progression to AIDS. However, some scientists have remained skeptical of this theory, suggesting instead that gut CD4 T cell depletion is an effect of HIV infection but not necessarily the primary cause of disease progression. The skeptics have gained some support from studies showing that severe gut CD4 T cell depletion occurs during acute SIV infection in monkey species that experience no apparent ill effects from the virus (sooty mangabeys and African green monkeys). A paper published recently in the Journal of Virology now shows that the opposite phenomenon is also possible: a modified SIV that does not cause loss of gut CD4 T cells nevertheless causes persistent immune activation and progression to simian AIDS in rhesus macaques.
Richard Jefferys is the coordinator of the Michael Palm HIV Basic Science, Vaccines & Prevention Project Weblog at the Treatment Action Group (TAG). The original blog post may be viewed here.
No comments have been made.
The content on this page is free of advertiser influence and was produced by our editorial team. See our content and advertising policies.