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On "A Blessing"
From Robert Bly, "James Wright and the Slender Woman," in James Wright: A Profile, ed. Frank Graziano and Peter Stitt (Durango, Colorado: Logbridge-Rhodes, 1988), 125-127.
[This excerpt from a memoir by Robert Bly recalls the occasion on which Wright composed "A Blessing." Bly had graduated from Harvard then attended the Iowa Writers Workshop, but he was not satisfied with the poetry he was writing in the 1950s historical verse with a setting in factual documentaries. (An example appears in New Poets of England and America, first series, 1957.) At the time he lived on his familys farm in Madison, Minnesota.]
One day James and I were driving back to Minneapolis from a visit with Christina and Bill Duffy at their farm in Pine Island, Minnesota. Christina loved horses, had been a rider in Sweden, and continued to keep horses here. So horses were very much on both our minds. Just south of Rochester [Minnesota], James saw two ponies off to the left and said, "Lets stop." So we did, and climbed over the fence toward them. We stayed only a few minutes, but they glowed in the dusk, and we could see it. On the way to Minneapolis James wrote in his small spiral notebook the poem he later called "A Blessing."
[Bly cites the entire poem.]
The munching of the young tufts is wonderful, and many other images and sentences. In a few passages we feel too much idealization. The two ponies are just ponies, and probably would have bit one of us if we had stayed much longer without giving them sugar. We notice that one of the ponies is declared to be female, even though there was no evidence of that in the dusk. The feminine nature is insisted on: "she has walked over to me" "her mane" "her long ear"; and it is interesting to me that the whole scene takes place in the aura of the young feminine: "her long ear / That is delicate as the skin over a girls wrist."
Among those thoughts, in that mood, surrounded with that feminine presence, his anxiety over death is once more relieved. [Bly quotes the last three lines.] The abrupt conclusion suggests two separate realizations: when he dies, he will not simply vanish or disappear, because the human body contains something invisible and strong that the reductive scientists do not speak of. Secondly, the Pauline and Augustinian view that the body is corrupt, sinful and utterly impure does not fit the experience. The image of stepping out of the body is complicated, stereoscopic and ascensionist. At one moment the image seems brilliant and sound; at another moment too hopeful and somehow ungrounded.
From Kevin Stein, "A Poetics of Vulnerability: The Branch Will Not Break" (Chapter 4) in James Wright, The Poetry of a Grown Man: Constancy and Transition in the Work of James Wright (Athens, Ohio: Ohio I P, 1989), 86-87, 89-90.
In late 1960 John Frederick Nims accepted "A Blessing," under the title "The Blessing," for Poetry magazine. Wright had, in the meantime, decided to revise [what Norman Friedman characterized in a 1966 Chicago Review essay as] his "nearly perfect" poem. The following us the revision that Wright sent to Poetry for Nimss approval:
Twilight bounds softly out on the grass.
They have come gladly out of the willows
To welcome my friend and me
We step over the barbed wire into the pasture
Where they have been grazing all day, alone.
And the eyes of those two Indian ponies
I would like to hold the slenderer one in my arms,
For she has walked over to me
And nuzzled my left hand.
She is black and white,
Her mane falls wild on her forehead.
At home once more,
They begin munching the young tufts of spring in the darkness.
I think
That if I stepped out of my body I would break
Into blossom.
[Stein proceeds through the poem, discussing in detail several of the changes.]
Both versions further present the ponies as figures of unification. They partake of a spiritual communion, "munching the young tufts" of a revenant spring enveloped, again, in "darkness." One pony in particular represents a merging of the opposites discussed earlier, for she is "black and white." A composite of light and dark, she has "nuzzled" the speakers hand, and for her part, has eliminated a portion of the subject-object distance.
In "Just off the Highway," however, this encounter is somewhat incomplete, for the speaker does not, in turn, touch the pony. In the following lines which were deleted from the revision, the speaker of "The Blessing" remarks: "And the light breeze moves me to caress her long ear / That is as delicate as the skin over a girls wrist." Compelled by a "light" wind in darkness, subject and object interact, as equals, in a world made intensely alive. There is no arrogant insistence on rational and intellectual detachment from nature. The speaker, in fact, collapses all distinctions when he calls upon a human element, the skin of a girls wrist, to describe the softness of the ponys ear.
As a result of this brief touch with the natural, the speaker of "The Blessing" suddenly accepts the possibility of transcendence. This realization evokes both terror he would certainly "break" if he did so and wonder he would become pure, natural "blossom": [Stein cites the last three lines of "A Blessing."]
Such a moment of insight informs the speaker of both the risk and the potential reward inherent in numinous experience. Manuscript evidence would have it that Wright does believe an individual can experience these revelations immanent in nature. Wrights handwritten notation on the manuscript of "Just off the Highway" indicates as much. To the right of the poems final three lines its moment of epiphany he writes simply, "It is possible."
Note, though, how the phrasing of "Just off the Highway" clouds the aura of possibility: "I think / That if I stepped out of my body I would break / Into blossom." The phrase "I think" lacks the suddenness o insight shown in "The Blessing," and betrays a sense of uncertainty. Or worse, the final lines seem prompted by the bland and wholly out-of-place action of rational thought in a moment of arational and intuitive knowledge. Thus, the imagination seems shackled by the ruminative.
from James E. B. Breslin, "James Wright" (chapter 7) in From Modern to Contemporary: American Poetry, 1945-1965 (Chicago: U Chicago P, 1984), 208-209
After beginning with literal simplicity "Just off the highway to Rochester, Minnesota" the poem immediately begins to metaphorize experience and to subvert distinctions, by identifying the movement of the light with that of the horses in the second line. This interplay between fact and metaphor continues throughout the poem, allowing Wright to present a precisely rendered, realistic scene, a process which ultimately becomes the means to a leap of visionary insight, a "corridor" to the "other world." Similarly, Wright at first remains realistically aware of separation and self-boundaries, though he feels an increasingly powerful wish to transcend them as the poem proceeds. [I]n "A Blessing" Wright feels a kind of mystical union with the horses; literal contact becomes more intimate as one of the horses nuzzles his hand and he caresses its ear so lightly that his hand seems no different from the breeze. In many respects the poem resembles one of Robert Frosts meditations, partly romantic, partly skeptical, on the boundaries between human and natural worlds, boundaries that Frost is characteristically concerned to maintain. But when Wright touches the horse and feels the thin delicacy of its skin, he can hardly contain himself: [Breslin quotes the last 3 lines]. When we reach the phrase "I would break," we expect to find something like "apart" in the next line; instead, in an image reminiscent of the poem in [Wrights poem] "Beginning" when the "slender woman" "steps into the air," we get a blossoming, a flowering of the spirit. The startling power of the poems conclusion thus derives from the way the breaking of the next-to-last line coincides with the unexpected turn of thought (an act of discovery) which tightens into the abrupt brevity of the final line. Wright does not actually make the "step he hypothesizes, however; "A Blessing" does not move toward a moment of transcendence but toward an intuited confidence in the surrounding environment, both visible and invisible, as a supportive context. Slow in movement, precise in detail, the poem builds a passageway into the external world and then beyond it but without annihilating the physical moment of visionary insight.
David Pink
"A Blessing" is perhaps James Wright's best known poem. It certainly embodies his greatest strength: the poet evoking nature as an inroad to the metaphysical or numinous. Wright is, in general and in this poem in particular, a poet of epiphany in the grand Yeatsian tradition. "A Blessing" culminates with the poet's wish to step out of his body and "break into blossom." There can be no doubt, given the poet's spoken wish for natural communication with an Indian pony, "I would like to hold the slenderer one in my arms," that he is seeking transcendence through nature into a new connection with nature.
Although the speaker of the poem is wistfully serious, the poem is touched by situational irony. The metaphysical or religious communion between human and horse occurs "just off the highway," a manmade avenue of high-speed commerce. The encounter between the poet and nature must take place "just off" that highway, to amplify the gulf between man and nature. Furthermore, the horses are enclosed in "barbed wire"; the poet and his friend must transgress an unnatural boundary to enter into the natural setting. The artificial boundary of the fence, but more important, the limits of being - of otherness - between the horses, "they can hardly contain their happiness," and the poet who wants to transcend himself almost dissolve. It is a credit to Wright's poetic sensibility that they do not.
The persona of "A Blessing" is an interloper. By crossing the boundary of the fence, desiring to cross the boundaries of being, and also by calling the ponies "Indian," he seeks to cross the boundaries of difference, ownership, authorship, and time. Many of these definitions are relative to the history of relations between Whites and Indians. The poet is a white man crossing the ultimate symbol of usurpation of Indian lands and crucifactory emblem of ownership, the barbed wire fence, hoping to re-encounter, (regain?) the imagined/supposed/hoped-for bond that the Indian peoples had with nature.
It is difficult for the reader not to hear the wheels spinning on the highway as background for the poet's desire to shut out the world even as he soulfully embraces it, by becoming something usually regarded as beautiful yet mindless - a blossom. What the poet desires is beauty untainted by consciousness.
Such a desire for reincarnation is in a sense (especially considering Richard Hugo's reminiscences about Wright's alcoholism) painful. It is fabulous to think of Indian ponies as being "hardly [able to] contain their happiness / That we have come" and even more so to equate or metaphorize the "slenderer one" as a girl: "Her mane falls wild on her forehead . . . her long ear . . . delicate as the skin over a girl's wrist." But Wright's poem is about the will to love - to love most of all himself, waging the same battle that we all must wage.
Much of Wright's work, with this poem as a particular example, figures importantly as poetry of place. He will be forever linked with Martin's Ferry, Ohio; but as a professor of English at the University of Minnesota and as a traveller, he moved about. Many of his poems name a place. In this one he names Rochester, Minnesota, a incongruous mixture of a small-town, Sinclair Lewisian main street, the Mayo clinic, and a few whorehouses. Rochester is a family town, and its primary industry revolves around cures for the incurable.
More boundaries.
Outside of the poem, the lights from operating rooms and the dining room lights of marriage are a distant, unspoken tableau for boundaries and history-light defining the limits of intercourse and the wish for transcendence: "There is no loneliness like theirs."
from The Explicator 54.1 (Fall 1995)
Brian Green
Though unquestionably among James Wright's most memorable poems, "A Blessing" seems an uneven performance. Its emotional force, as it dramatizes a mind apprehending its own unconscious, has been construed as bordering on sentimentality (Wiman 166-67; Dickey 435) or degenerating into escapism (Pink 44). But the last three lines of the poem--a sentence that startlingly fuses the mimetic and the metaphoric--enact an experience whose intertextual import has gone unnoticed. In effect, the climactic epiphany constitutes a decisive stage in an imaginative process that structures the thought and feeling in the entire poem.
From the start, a dual perspective engages the reader. With the immediacy of a live, on-the-spot report, the opening sentence first sets the scene in plain actualities, and then evokes a pastoral idyllic world: "Just off the highway to Rochester, Minnesota,/Twilight bounds softly forth on the grass" (1-2). Acting as a foil to fast, mechanized movement, and to offset the impersonality of inter-city commuting, the naturally graceful character of the day's fading light draws us into a fairylike realm of experience and relationship. The "And" which begins the next line enforces the fiction of simultaneous commentary, in which the demonstrative adjective ("those") and the close-up of the ponies' eyes vividly dramatize the speaker's objective yet sympathetic identification of the displaced ponies. The identification is spiritual and communing and not merely physical.
The section of the poem between the speaker's trespass, "step[ping] over the barbed wire into the pasture" (7), and his epiphany emphasizes the paradox inherent in this type of rapport: His act of compassionate protest, of "step[ping] over the barbed wire," brings unexpected solace. The texture of the verse--short sentences, simile, metaphor--highlights not only the uncomplicated, edenic quality of the "home" the animals inhabit, but also the speaker's delighted fascination with their spontaneity, elegance, and mutual affection. They may seem isolated and to want company, but their "loneliness" (12) is no less wondrous for that. The paradisial intimacy that the poet attributes to the ponies is a natural togetherness, as of "wet swans" (11). They are "[a]t home" (13). By contrast, it is implied, a tormenting, post-Iapsarian loneliness plagues relationships on the other side of the barbed wire. Not "at home" in the universe, fallen mankind is the only creature stricken with awareness of his own aloneness. Hence, when through the responsiveness of the female pony the speaker communes with nature, his feminization of the pony ("the slenderer one" [15]) expresses his sense of an affinity discovered. Simultaneously, their sensuous rapport prepares us for his exultant rejuvenation and self-affirmation. In their reciprocal gestures of greeting, that which is gentle and courteous in him is given to the pony, while that which is natural and vital in her draws afresh into him.
Spiritual regeneration and enablement awakening the mind to a new mode of consciousness has a distinctly Wordsworthian quality. Consider the unexpected shift from the quotidian to the visionary in the opening line. The shift represents Wright's imagination as it turns a world of deadening production-line rigidity and entrapment into one of vitality and harmonious change. His imagination transforms the field adjacent to the road into a "pasture" (7) that comes alive with organic forces. What the poem offers is not mere factual description, but imaginative and intellectual delineation, something central to Wordsworth's poems ostensibly about birds, butterflies, and flowers. Progression, arrest, intense experience, restorative vision--"I wandered," "I saw," "I gazed--and gazed"("The Daffodils")--serve as the underlying structure of sensibility in Wordsworthian poetry and organize and heighten the emotional force of Wright's poem.
The sensibility in "A Blessing" is typically Wordsworthian in a further sense. In his daffodil poem, Wordsworth's image of the breeze has an iconic function; that is, the breeze "somehow shares the properties of, or resembles" the activity of the poet's imagination as he collaborates in the work of creation (Wimsatt x). The Romantic poet's mind, "by the desultory breeze caress'd,/Like some coy Maid half yielding to her Lover" (Coleridge, lines 15-16), seeks communion with the creative spirit in the universe. Similarly, as the "breeze moves [Wright's visitor] to caress" the pony's ear (20), so it inspires the poet to write his poem. The breeze correlates to the movement of the poet's mind: It images the visitor's rapture of human tenderness, and it symbolizes the creative activity of the poet's imagination. The image of the breeze is the point of intersection between the two structures of experience the poem interlaces, the dramatic and the poetic. The alliterative sequence ("body"--"break"--"blossom") gives an allusion of sound to this process of spiritual regeneration, pivoting as it does on the pun "break":
Suddenly I realize
That if I stepped out of my body I would break
Into blossom
Before the context is extended by "Into blossom," the momentary ambiguity, syntactical as well as lexical, suggests both the danger involved in self-affirmation and the shock in crossing to a new level of being. That magnificent enjambment marks the boundary between the risk of disaster and the gain of inward wealth for the visitor-poet. An emblem of regeneration, "blossom" relates the "Blessing" of the title to the poet's creative ability to organize, enhance, and transform experience verbally. Both in the natural efflorescence of the verse form, and in the exhilarating joy of discovering a new life and significance in the commonplace, mundane world, the closing lines affirm for Wright that having a poetic imagination is itself a blessing.
Finally, "A Blessing" resonates with more than a Romantic sensibility. Its themes of rapport and regeneration, which involve personal growth and identity, are at a liminal stage where Wright is then enabled to move on ("to Rochester") to do new things and redefine himself as a poet. The closing lines denote the entire poem as embodying a transitional stage in the growth of creative potentiality, an artistic rite of passage. Within this metaphoric closure is an autobiographical "match cut" (Monaco 185), a thematic parallel between the journey poem and a representative point in Wright's career as a poet.
Wright's career sustains the notion of a rite-of-passage poem, if one thinks of his stylistic progression from Saint Judas (1959), through The Branch Will Not Break (1963), to To a Blossoming Pear Tree (1977). On such a map, "A Blessing" (from The Branch Will Not Break) stands for a period of withdrawal from convention, both social and artistic, to examine his institutionalized role as a poet. It also looks ahead to his re-emergence, renewed and able "to step lightly, lightly / All the way through [his own] ruins" ("The Journey"). In this sense, "A Blessing" represents the evolution of Wright's entire career as a poet of rank.
Coleridge, Samuel Taylor. "The Eolian Harp." Coleridge's Poems Ed. J. B. Beer. Everyman Library. 1043. London: Dent, 1963.
Dickey, James. "Give-Down and Outrage: The Poetry of the Last Straw." Southern Review 27 (1991): 430-37.
Monaco, James. How to Read a Film: The Art, Technology, Language, History, and Theory of Film and Media. Rev. ed. New York: Oxford UP, 1981.
Pink, David. "Wright's 'A Blessing.'" Explicator 54 (1995): 44-45.
Wiman, Christian. "Fragments of a Hammer: James Wright." Sewanee Review 106 (1998): 164-72.
Wimsatt, W. K., Jr. The Verbal Icon: Studies in the Meaning of Poetry. 1954. London: Methuen, 1970.
Wordsworth, William. "The Daffodils." William Wordsworth: Selected Poems. Ed. Walford Davies. Everyman Library. 1203. London: Dent, 1975.
Wright, James. Above the River: The Complete Poems. New York: Farrar, 1992.
from The Explicator 58.3 (Spring 2000)
Return to James Wright


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Convenient 10-Day Course Has Consumer Appeal and May Improve Adherence to Antibiotic Therapy
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Sox Philosophy Dilemma...
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Lip Man 1
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I suspect that's part of it (i.e. launching pad) and that this is also part of the Sox philosophy (i.e. home run or nothing...)
Daver knows about as much about the minor league system as anyone and he has said in the past another issue is the Sox (unlike say the Twins) move players from team to team, from level to level based strickly on hitting. And they'll move guys up to multiple levels in a single year to boot. Daver says things like knowing the strike zone, fielding, fundamentals are being ignored simply because a guy 'can hit.' And if I've misquoted Daver he can clarify his thoughts if he wishes.
Also remember the Sox have had by my count three different scouting directors in the past 10 years and probably three different minor league directors. Continuity doesn't seem to be a strong point in this regard for the organization.
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Dr. Shock offers 12 tips for a happier holiday season.
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N.B. discusses the difference between non-steroidal anti-inflammatory drugs (NSAIDs) and acetaminophen.
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Rahul Shetty of Constructive Medicine 2.0 has created a wiki on Medicine 2.0 to serve as a common healthcare and life science resource.
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Drugs don't work … unless you take them. Seems like a no-brainer, doesn't it? Bob at Insureblog writes about a USA Today article discussing people with chronic health conditions who stop taking their medication.


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Milledgeville, Ga. (Jan. 25, 2011)—A $5,000 check from Hutchinson KIA will amplify the newly-established Peach Belt Conference (PBC) rivalry game between Georgia College and Augusta State University Feb. 10. This year's match-up will be known as the 'Battle of the Cats,' in reference to the universities' respective mascots, the Bobcats and the Jaguars.
"This is a relatively new rivalry, but has quickly built a lot of interest," Thunder Crew President, Patrick Gamble said. "We hope the 'Battle of the Cats' will become a renown tradition for years to come."
Augusta State will visit Georgia College's Centennial Center in Milledgeville for the battle. The women will tip off at 5:30 p.m. followed by the men at 7:30. Prior to the match-ups, KIA's support will provide entertainment for fans through an organized tailgate coordinated by the Georgia College Thunder Crew, the University Athletics student spirit group.
"Tailgating is an innovative concept at Georgia College that has proven to encompass a level of excitement and energy that is carried from the parking lot all the way to the arena," said Evan Karanovich, Vice President of the Student Government Association of Georgia College.
The tailgate will commence at 4:30 p.m. in the Centennial Center parking lot, and is open to all fans of either team. The Daniel Lee Band will perform live country music. The band is known for providing a fun environment that epitomizes Southern life. In addition to being entertainers, the band is also known for song writing with major country star, Brantley Gilbert.
Sodexo will sponsor free hamburgers and hot dogs at the tent provided by the Student Government Association of Georgia College. Thunder Crew will also hand out thousands of dollars worth of merchandise to promote the event as well as instill school pride and enthusiasm for the rivalry.
Augusta State men (19-2, 9-2 PBC) lead the PBC East Division, which will make this year's game all the more interesting. Georgia College (10-8, 4-6 PBC) will be looking for an upset against the Jaguars with hopes to maintain their upstanding reputation in the conference. Augusta State women (6-13, 0-11 PBC) have struggled and are eager for their first win against the Georgia College women (14-4, 6-4 PBC).
"Augusta State has always been a big rival of ours, but making it known and promoting it is even better," said Josh Hurst, Georgia College men's basketball captain. "We're fired up for it!"
The Thunder Crew of Georgia College is an athletic marketing organization led by students looking to promote and enhance athletic loyalty and experiences amongst all students, faculty, and fans of Georgia College.


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Contemporary Catholic music streamed 24/7, Click here: Catholic Music Express.
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Thank you for sharing this very prayerful music for the Divine Mercy Chaplet. May it draw many closer to the herat of Christ.
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I wish to share songs of my own and download those that are appropriate to my ministry as a priest including Spanish songs.
I am a musician at St. peters church
Love songs and love to praise God whenever .. Wherever i go
catholic school teacher
Play the piano for St Andrew Catholic Church in Murphysboro, IL
planning a funeral mass
Would love to learn new songs as a member of Catholic English Choir
I am a member of our Parish's Music committee and we need new music ideas.
I'm looking for parts of the Mass set to children's songs like Mary Had Little Lamb or Happy Birthday
Obtain lyrics to song I can sing to mother in her final days in hospice care here on this earth.
I accompany small choirs at English, Spanish and bi-lingual Masses in a rural parish and at a men's prison. I began doing music in the pre-Vatican II era with Latin and chant, but I have concluded that not all old liturgical music was good and not all new liturgical music is bad. I find the suggestions and new sounds from other liturgical musicians are instructive and helpful in finding the right sound for the message of hope and love in the liturgy.
wanting to find tune for God of Our Journeys
I love old catholic songs. I hope I can connect with members with similar interests.
I am a writer and composer of contemporary Catholic music. While some of my music has been used at retreats and local parishes, I am looking to make it available to a wider population. I placed in the top eight songwriters at 2018 GMA Immerse - but the main suggestion I received from reviewers was to find a co-writer. So if I had to choose between making my current music available to others and finding some writing partners, I'd definitely go for the opportunity to collaborate.
Looking for words to We Are Many so my daughter can sing the song.
music director at catholic school
preview new music
want to read some of these lyrics and sing along
Cantor, looking for new songs, sheet music.
I love contemporary Catholic songs.


text:
NEW YORK (Reuters) - Northern California's Silicon Valley boasts the two priciest ZIP codes in the United States with median home prices of more than $5.4 million, Forbes magazine said on Wednesday.
Atherton's 94027 ZIP code topped the list with house prices hovering at $6.7 million, followed by 94022 in Los Altos Hills, where homes are slightly less at around $5.4 million.
New York claimed five of the top 10 spots on the list, including Manhattan's Upper East Side at No. 3, which dropped from first place last year, and the Long Island beach town of Sagaponack at No. 5.
California had four of the top 10 spots. The only other state with a ZIP code on the list was New Jersey, with the city of Alpine, which slipped from second place in 2012 to No. 8 this year.
Forbes attributed the technology boom and an influx of wealthy foreign buyers from China and India, as well as American billionaires, for the increasing popularity of Atherton, which jumped from third place last year.
Its most expensive home for sale is listed at $33 million. Its cheapest, a two-bedroom bungalow, has an asking price of $1.2 million.
Colorado ski resort Aspen just missed the top 10, coming in 11th, followed by Coral Gables in Florida. Miami was far behind at No. 30 and Greenwich, Connecticut, came in at 34.
Forbes compiled the list with Altos Research, a California real estate data firm, after calculating median home prices in 22,000 U.S. ZIP codes, which are postal districts. Co-ops, which are popular in some of New York's most expensive neighbors, were not included.
Reporting by Patricia Reaney; Editing by Eric Kelsey and Will Dunham


text:
On Windows, you can run the server as a Windows service using a normal user account.
On Unix, the MySQL server mysqld can be started
and run by any user. However, you should avoid running the server
as the Unix
root user for security reasons. To
change mysqld to run as a normal unprivileged
Unix user
user_name, you must do the
Stop the server if it is running (use mysqladmin shutdown).
Change the database directories and files so that
user_name has privileges to read
and write files in them (you might need to do this as the Unix
root user):
chown -R
If you do not do this, the server will not be able to access
databases or tables when it runs as
If directories or files within the MySQL data directory are
symbolic links,
chown -R might not follow
symbolic links for you. If it does not, you will also need to
follow those links and change the directories and files they
point to.
Start the server as user
Another alternative is to start mysqld as
the Unix
root user and use the
option. mysqld starts up, then switches to
run as the Unix user
before accepting any connections.
To start the server as the given user automatically at system
startup time, specify the user name by adding a
user option to the
[mysqld] group of the
/etc/my.cnf option file or the
my.cnf option file in the server's data
directory. For example:
If your Unix machine itself is not secured, you should assign
passwords to the MySQL
root accounts in the
grant tables. Otherwise, any user with a login account on that
machine can run the mysql client with a
--user=root option and perform any
operation. (It is a good idea to assign passwords to MySQL
accounts in any case, but especially so when other login accounts
exist on the server host.) See
Section 2.12.4, "Securing the Initial MySQL Accounts".


text:
Gaucho wrote:
This is even funnier on a phone, because one doesn't know if you've decided to use it again.
Moderators: Three Stars, dagny, pfim, netwolf
Gaucho wrote:
DelPen wrote:If we can upgrade Kennedy and Glass, that would be awesome.
DelPen wrote:Rocco wrote:So will we get lots of "man, the win is great, but the offense just isn't built for the playoffs" hand-wringing posts after this win?
Anyone who says that should be banned. This is how you win games specially vs the Bruins.
sharpshootr55 wrote:
MarioLives wrote:Who thinks it is an Achilles? Why say that? I thought the replay clearly shows slash
Geezer wrote:Kunitz played lights out at the end;+ 3 or 4 crushing checks
joe icepick wrote:So i guess the Bruins were tired?
pressure=9Pa wrote:W
penny lane wrote:I'm loving these penguins who can play/win whatever type game ! Gut check game and they came through.
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text:
Technivorm Moccamaster Coffee Maker with Thermal Carafe
The award-winning Moccamaster coffeemaker perfectly synchronizes brew time, grind and temperature to brew world-class coffee in about six minutes. And thanks to an automatic drip-stop feature, it's easy to grab a quick cup before the cycle completes. Hand made and individually tested in the Netherlands, this legendary European machine brews directly into an insulated steel carafe, so coffee stays fresh and piping hot.
- This precision machine quietly brews one of the world's finest pots of coffee in just 4 to 6 minutes.
- Operation couldn't be simpler–just fill the brew basket, add water and press the power switch.
- Automatic drip-stop temporarily stops the machine so you can pour a cup before the brewing cycle is finished.
- Special copper heating element keeps water temperature at a consistent 200°F throughout brewing for optimal flavor and less bitterness.
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- The thermal carafe also includes a convenient travel lid for superb coffee on the go.
- To avoid oil and residue build up, several parts are removable for cleaning, ensuring great-tasting coffee every time.
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- Model: KBGT741
- 13" x 6 3/4" x 15" high.
- 40-fl.-oz-cap.
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- Made in Netherlands.
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- For use with #4 paper filters.
- Clean the brewer regularly with a moist cloth and wipe dry.
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- Thermal carafe coffee oil stains may be removed by placing a small amount of dishwasher detergent and water in carafe and allowing it to soak overnight—or we recommend using Cleancaf® by Urnex®.
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UPS can deliver most in-stock items within 3–5 business days. UPS is unable to deliver to P.O. boxes.
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The shipping rate varies depending on your order total and shipping destination. View Shipping Options and Charges.
Next Day Delivery
For an additional charge of $26 per address, we can expedite delivery to most destinations. This service is not available for some oversize items, items shipped directly from the supplier (including perishable and custom-manufactured items), out-of-stock items and items to be shipped outside the contiguous 48 states.
Orders received by 9:00 p.m. ET Monday through Thursday will arrive the next business day; orders placed Friday through Sunday will arrive on the following Tuesday.
Return Policy
At Williams Sonoma, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction are our priority. Upon receipt, please inspect your purchase and notify us of any damage; we will arrange for a prompt replacement.
If within 30 days, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value. An original receipt or gift receipt is required for all returns and exchanges. Returns with a gift receipt will be refunded in the form of a Merchandise Credit for the amount indicated on the gift receipt. Returns with original receipt will be refunded in the original form of payment, cash and check refunds over $100 will be issued as a company check (may take 14 business days from time of request).
For all cutlery returns (knife sets, single knives, cutting boards, knife sharpeners and knife storage), please contact us at 888.922.4108 to initiate the return.
We cannot accept returns on monogrammed, personalized, special-order items, custom upholstery, food, items shipped direct from the vendor or on items damaged through normal wear and tear. Final sale items ending in .97 or .99 cannot be returned.
Made to Order and Final Sale Furniture items are non-returnable and cannot be cancelled once the order is placed.
For returns of items purchased from your Williams Sonoma Gift Registry, we will gladly provide a refund or exchange for the merchandise within 90 days of your event or within 90 days of purchase, whichever date is later. View Full Returns Policy.
Technivorm Moccamaster Coffee Maker with Thermal Carafe
|Delivery Surcharge
|Technivorm KBGT741 Moccamaster Coffee Maker with Thermal Carafe, Brushed Silver
|Sugg. Price $339 Our Price $319.95


text:
Ballet Fashion
The New York Ballet Fall Gala happened last night. A few big names showed up at the event. Let's break them all down separately:
Natalie Portman with Benjamin Millepied
She's in Dior, obviously, as she represents the brand. The most distinctive feature of this otherwise ordinary strapless gown is the texture. I wish I could feel it. Because if it's foam, like the very thin layer of padding you find in electronics boxes, I'm all over it. You know how comfortable that sh-t is? My dogs sleep on it all the time. God but she is beautiful, non? Those eyes! They're so warm and sexy and innocent all at the same time.
Portman and Millepied are moving to Paris soon from LA. He's scheduled to assume the title of Director of Dance at the Paris Opera Ballet next fall, a position some dance gossips say is as much about her as it is about him.
Sarah Jessica Parker
SJP's wearing a dress designed by both Prabal Gurung and Olivier Theyskens. And you can tell. Because it's a mess. First of all, it's wrinkled all over. Next, the chest is falling. Look at it. There are FOLDS IN THE BREASTS. How is this advanced design? And the napkin tucked into her back wouldn't work around the waist, so I don't see how turning it around is going to make a difference. Terrible.
Drew Barrymore
It's Chanel, by marital association. It's a little…matronly, don't you think? Especially since the shoes are so boring. More on Drew in the next article…


text:
Thai media situation deteriorating: Broadcasting regulated, Internet webmasters warned. Community radio stations shut down. Self-censorship on the rise -- SEAPA
Source: Southeast Asian Press Alliance (SEAPA)
The Internet is the latest medium under threat in military-ruled Thailand, as media conditions continue to deteriorate in the first days of the military takeover. The overall environment for the press is unstable, and is being undermined by the day.
Following restrictions placed on the broadcast media, the Information and Communication Technology Ministry has now warned webmasters that they would be held responsible for all postings on their sites. Webmasters have also been told to delete messages that could refer to the monarchy, and to ensure that postings would not disturb the peace.
Meanwhile, a website set up to encourage Thais to air their views about the pros and cons to the coup was shut down within 24 hours of its establishment. The Ministry pulled the plug on website http:// www.19sep.com saying its contents ran contrary to the guidelines laid down by the Council for Democratic Reform under the Constitutional Monarchy (CDRM) (previously referred to as the Administrative Reform Council).
The CDRM was set up by the military following a bloodless coup against then caretaker Prime Minister Thaksin Shinawarta on 19 September.
Meanwhile, the Council maintains its strictest controls over the broadcasting sector. National broadcasting networks had been advised of guidelines for reporting on 21 September, and since then the authorities have shut down more than 300 community radio stations in the upper provinces of Chiang Mai, Chiang Rai and Mae Hong Son, where Thaksin has strong support.
While there are no guidelines specifically applying to the print media, and while journalists seem to still be enjoying freedom to move around Bangkok and to gather news and information, general media guidelines "urge" the press to refrain from "negative" reporting. SEAPA is concerned that the "request" is strong enough to trigger self-censorship among Thai media players. Websites known to be supportive of Thaksin, for example, are still accessible but their contents have shifted to merely featuring the latest news, indicating that its editors and webmasters have perhaps begun censoring themselves.
The Thai Broadcast Journalists Association and Thai Journalists Association issued a joint statement on 21 September, urging the CDRM to respect freedom of expression. They also called upon the Council to ensure that the interim Constitution would maintain the previous Constitution's articles 39, 40 and 41 which guarantee freedom of expression including freedom of the press.
Meanwhile, the Council has maintained the status of the Political Parties Act, allowing current political parties to exist, but banning new ones and political activities until further notice.


text:
Becoming a Whole Nation
A year ago, Americans were full of pride at having elected an African American president. For a moment, people across the political spectrum were celebrating the breakthrough.
But any thought that we had vanquished racism was short-lived. Since the inauguration, race has re-emerged as a wedge issue, threatening to stymie a progressive agenda, galvanize the Right, undercut the aspirations of people of color, and divide poor and working class people of all colors.
The history of the United States is littered with examples of race being used to divide natural allies and block progress. Race was used to keep white indentured servants from making common cause with African slaves following the multiracial Bacon's Rebellion in 1676. In the early 1900s, Hawaiian plantation owners hired replacement workers of one ethnic background to break strikes by workers of a different background. In the 1940s, southern Democrats killed Harry Truman's health care reform fearing it could lead to integration of the health care system.
Racial fears were used to pass draconian sentencing laws that subject thousands of black and brown young adults to long prison terms, enriching the prison-industrial complex while impoverishing communities and schools. Today, coded racial language is used to divert populist anger at Wall Street into spurious attacks on immigrants.
This issue of YES! Magazine asks how we can resist that sort of fear mongering and instead embrace a new American identity that includes all the races and cultures that make up our country.
I started work on this issue excited to imagine a society with less of the fear, hostility, violence, and hopelessness that racism causes. And I wanted to learn how cross-race organizing—like the mobilization that elected Barack Obama—can build the political clout needed to take on our social and political challenges, including the institutions and practices that marginalize people of color.
But as we talked with the contributors and advisors for this issue, it became clear that the potentials of a post-racist society are much greater than we had imagined. The articles in this issue show possibilities for:
- A strengthened sense of community where diversities of all sorts are valued.
- Enhanced self-respect, as many experienced when the Obama campaign called out our potential for greatness.
- Enrichment of music, theater, film, spoken word, and other art forms that draw on the wide range of cultures that now comprise the United States.
- Cities and schools that welcome all people.
- New leadership from people of all races, able to draw on their respective sources of cultural and ancestral wisdom.
There are some extraordinary people working to make a vision of a just, inclusive society a reality. Some of them are featured in this issue (special thanks to our panelists who also advised us on this issue and authored several of the articles. Read the panel).
Of course, we will never achieve a post-racial utopia. We will always be imperfect at understanding people different from ourselves. What we can do, though, is commit ourselves to building a society that is consciously inclusive at every turn. The visionaries and activists of all colors in this issue have given me renewed hope about the path to what Dr. Martin Luther King Jr. called the "beloved community."
Interested? : A racially just, inclusive, and loving society is possible, says a YES! Magazine panel of visionaries.


text:
Filed Under (Yamaha) by admin on 08-11-2010
1. Remove seat and fuel tank. 2. Remove airbox and left airbox cover. We highly recommend you consult the factory service manual for proper removal of airbox. 3. Route wiring harness under frame bracket towards airbox. (Fig 1) 4. Unplug stock black connector for fuel injectors. (Fig 2) 5. Plug Fuelpak 4-pin connectors in-line with the connectors from step 4. 6. Unplug the TPS connector and attach T-tap connector to the center wire (yellow). (Fig 3) 7. Route the Fuelpak violet wire to T-tap. (Fig 4) 8. Reattach the TPS connector. 9. Route black wire to the front of engine and down to the horn. (Fig 5) 10. Disconnect the factory black/white wire from horn. Plug Fuelpak into horn and plug Fuelpak black/white wire to Fuelpak connector. 11. Route black and green wires to battery negative. 12. Attach Fuelpak to Fuelpak harness and mount under seat as shown. (Fig 6) 13. Before reassembling the bike, make sure handlebar switch is in the engine-not-running position and turn the key on. Fuelpak should light up. Sound the horn. If Fuelpak turns off when the horn is sounded, recheck the black wire connection on the horn and that it is connected to the correct wire from the factory harness. 14. Follow the service manual to reinstall the airbox and gas tank. INSTALLATION INSTRUCTIONS FOR P/N 65005 READ ALL INSTRUCTIONS BEFORE BEGINNING INSTALLATION FUEL INJECTION MANAGEMENT SYSTEM ROAD STAR WARRIOR NOTICE: Fuelpak is intended for racing or off-highway use only, and is not legal for sale or use in California on pollution-controlled vehicles. PLEASE NOTE: FUELPAK USE REQUIRES A HIGH PERFORMANCE AIR FILTER. HOW IT WORKS ENTERING VALUES 1. Remove Fuelpak clear case cover by removing all four screws, save hardware . 2. Turn on main power with key, but do not start engine. Fuelpak display should light up, if not, turn power off and verify the connectors are fully seated. 3. Refer to Fuelpak Setting Reference to locate the Setting Values specific to your bike and exhaust system. If you do not find your setting, visit fuelpakfi.com or call tech support at (562) 921-0071. 4. Starting with mode 1 selected, press the value (+) or the value (-) buttons to input the correct value as indicated in your Setting Value. After entering your first value, press the mode select button to move to mode 2 and enter the value. Continue until you have entered the value for each of the first 18 mode positions. Each time the value (+) is pressed, the value increases by one number. Each time the value (-) is pressed, the value decreases by one number. (Please refer to the "How It Works" section directly above if you have questions about this step. 5. As the next procedure, after you have entered in your values for the first 18 modes, press the mode select button to move to mode 19. Fully twist open the throttle and return to idle position to calibrate the Fuelpak to your bike. 6. By pressing the mode select button twice, move to mode 21 and verify that it reads "0″ with the throttle closed, "50″ at approximately half-throttle and "99″ when fully opened; if not, repeat step 5. Do not proceed to step 7 until mode 21 is verified. 7. Enter any other mode values as required for your application. 8. Turn off power. 9. Reinstall clear cover, tuck Fuelpak under seat area and reinstall seat. 10. You are now ready to ride.


text:
The actor at work
Pearson/Allyn & Bacon, Mar 29, 2004 - Art - 232 pages
For more than thirty years, the highly acclaimedThe Actor at Workhas offered readers a thorough look at the underlying principles of the acting process. Centered on the concept of action,The Actor at Workcovers all the major skills of the actor, including voice, speech, movement, analysis and role-playing. Using many ideas from contemporary psychology and various physical and spiritual disciplines, this text helps readers uncover and develop the actors within themselves, as it encourages self-discovery through participatory activities and exercises.
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A. R. Gurney acting alignment Amanda Arthur Miller aspects attitude audience audition automatic awareness beat change become begin behavior blocking body breath stream camera CARLA central conflict character character's action choice Constantin Stanislavski create crisis David Mamet develop director dramatic function Dramatists Play Service dual consciousness example EXERCISE experience explore express feel fellow actors film and television focus gestures Glass Menagerie immediate objective important impulse inner Joseph Bologna language Laura LESSON Mamet meaning move movement muscles natural Neil Simon partner performance person physical playwright produce qualities rehearsal relationship Renee Taylor response rhythm Robert De Niro role Salesman Samuel French scene objective score script sense sequence shape situation skills someone sound speak specific stage Stanislavski called stimulus story subtext superobjective Tennessee Williams theater things thought through-line tion traits understand vocal voice Willy Loman Willy's words writer York
References to this book
Orientation to the theatre [sic]
Theodore W. Hatlen
Snippet view - 1981
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The Actor's Instrument: Body, Theory, Stage
Hollis Huston
Limited preview - 1992


text:
black bart wrote:Assault on Precinct 13...the original of course.
That movie is great!
Of course, I love almost all of John Carpenter's flicks.
Moderator: Other Stuff Mods
black bart wrote:Assault on Precinct 13...the original of course.
TwistedSister wrote:You can't go wrong with a side of Bacon on your side.........
PKMKII wrote:Evil Dead trilogy, Six-String Samurai, RHPS, The Warriors.
ChowMein wrote:Oh ... while I'm here , " A Boy And His Dog " , starring a young Don Johnson , based on Harlan Ellison's novellas .
Nef Yoo BlackBeard wrote:Frr r r r reaks
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text: Founded in 1972 by designer Carolee Friedlander, Carolee is a New York label known for its stunning fashion jewellery with the highest degree of style, quality and value. With an eye on contemporary styles, the company offers up sophisticated, distinctive pieces that are perfect for any occasion. From crystal-studded link bracelets to chunky gold-toned cuffs, Carolee bracelets make a charming addition to a daytime look or evening ensemble. Rich, vibrant colours sit alongside simple glass pearls for a striking range with irresistible wearability.


text:
Saturday, March 13, 2010
OLD BIIDDIES. Likewise tells it's own story.
LOBLOLLY. A combination of LOB, a bubbling mass of porridge and LOLLY, a British word for soup. A southern term for a mud hole.
RUPPER BAIT. Or was it ripper bait? a term for fish bait.
24 comments:
- Ann said...
PotHounds and PotLickers?
- March 13, 2010 at 10:47 AM
- Steve Blood said...
The difference?
- March 13, 2010 at 10:54 AM
- Ann said...
Big dogs and little dogs.
- March 13, 2010 at 11:07 AM
- Judy said...
Would you please use each of those words in a sentence? I do need further clarification. Are any of these words in the dicitonary? Or is this an education of another sort? Our's was classic, was it not?
- March 13, 2010 at 8:29 PM
- Judy said...
Loblolly.....I never heard that, ever.
- March 13, 2010 at 8:31 PM
- Steve Blood said...
- March 14, 2010 at 9:13 AM
- Judy said...
Splendifforus was Mother's word?? Where are my sentences???
- March 14, 2010 at 2:15 PM
- Elizabeth said...
Are you sure that rupper bait wasn't what you heard for another term that Father used that we won't even mention here? Judy's sentences are appropriate - nevertheless, thanks for sending the blog forward...a little. ;-)
- March 14, 2010 at 7:04 PM
- Steve Blood said...
With all of this rain the corral is a real loblolly.
- March 16, 2010 at 6:09 AM
- Elizabeth said...
Google says loblolly is a southern pine? I never heard Dad use that term.....Are you sure you did?
- March 16, 2010 at 9:17 AM
- Steve Blood said...
That't the problem with Google, they only touch the tip of the lolly. Am I sure? Of course, since I was a frequent visitor the the loblolly to bed down the cows, gather them for milking and calving. This isn't a word one makes up while eating their corn flakes.
- March 16, 2010 at 11:39 AM
- Judy said...
Dwight, where are you? uuuuuhuuuuu
- March 16, 2010 at 4:17 PM
- Steve Blood said...
We have fallen into the abyss of malaise.
- March 18, 2010 at 6:23 AM
- Louise Blood said...
Heaven help us. Still...I have had my vocabulary greatly expanded with the addition of the word loblolly and it's appropriate usage. However, I do have one question - how did Dad come up with the word?
- March 18, 2010 at 10:12 AM
- Steve Blood said...
My guess is Grandpa's English background.
- March 18, 2010 at 1:26 PM
- Dwight said...
I think the word was "old reprobate". Undesirables were either tagged as old reprobates, physics, or crow baits, or when needed, all three. Never heard loblolly and I milked a lot of cows with Dad where my vocabulary was certainly enhanced. The term "bog clods" referred to the hard pan Penrose soil.Some of the words Dad used, I should mention, were my own inventions, which shall go unmentioned. Oh yes, skim milk was for calves and pigs, and if we drank it, it would make us pot-bellied, a belief I had for decades. "oats for the horse" was a deterrent to serving oat meal. Nicknames for neighbors were colorful, but out of respect, we will forego them.
- March 21, 2010 at 2:50 PM
- Dwight said...
according to Google, a pot hound is a marijuana sniffing dog at the airport.
- March 21, 2010 at 2:52 PM
- Judith said...
Question. Whose vocabulary was the most creative? Mother's? Dad's? Or the 3 older kids? Us younger 3 used correct and proper English at all times.
- March 22, 2010 at 12:25 AM
- Dwight said...
Mine, definitely. Dad even told me not to use one word I invented, which I thought was pretty creative. But we had much time working in the hay, in the fields, milking cows, hauling hay and beet tops on Saturday, to try out our creativity. This intellectual foray was far too advanced for small children and girls.
- March 22, 2010 at 8:58 AM
- Ann said...
I just realized I/we/the younger have been "dissed" by our older brother. I believe it would be fair to say we (the younger) watched and learned, but in our wisdom did not display our knowledge quite as openly as one(s) who were older.
- March 28, 2010 at 7:59 PM
- Dwight said...
Judy thinks she can order me around, that I will jump when she says jump. I'll show her a thing or two. Or three. You'll see.
- March 29, 2010 at 9:45 PM
- Judith said...
Dwight will do anything I TELL him to do......I never ask. He feels obligated to do my bidding after his mistreatment of me when I slept in his room one summer. He accused me of making inappropriate noises.
- April 2, 2010 at 11:52 AM
- Dwight said...
What a bunch of baloney
- April 3, 2010 at 8:25 PM
- Ann said...
On the pot hound story, just ask Laura what they are. When Dad would go with me on the paper route, way back when, and Laura would come along, he would teach her about pot hounds and pot lickers. According to Dad there was a definite and distinct difference, and it had nothing to do with "pot". What a sad world it has come to when fun old words have taken on new and often unpleasant meanings. Is Google to be trusted?
- April 5, 2010 at 7:05 PM


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If you've been reading my blog for a while, you'll notice that many of my posts centre around crafts, recipes, and the day trips that I take with the kiddies. Today, I'm writing about what I am grateful for.
The other day, I was reading this post by Suzanne from a Girl for All Seasons. She had posted some pictures of a quilt block and asked her readers to answer 3 questions (tell her something real about yourself, give a photography tip, and tell her about something you are grateful for) in order to win some lovely fabric and letterpress cards. I missed my chance to win but I posted a response anyway. Why? Well, when most bloggers do a giveaway (including yours truly), they always ask you to "follow" them on Facebook, Twitter, Pinterest, Tumblr, StumbleUpon, etc etc. So, it's a refreshing change when someone just wants to know something about her readers.
This is what I wrote:Happy Blog Anniversary! I was going to write a reply yesterday but there was a little hand tugging on my pants leg. And of course I never came back until now… now that my little angels are sleeping. Speaking of sleep, today I was super grumpy that my little one woke me up before the sun came up. And I mean grumpy grouchy and very crusty. Not one of my finer mom moments… It was also a wet, miserable, snow and rain day here in Toronto, Canada. So that didn't help much either. When #2 took his lunch nap and #1 actually wanted to nap with me (what a sweetie!), I ended up giving myself a break and took at nap with him. When I woke up, the sun was shining through my window in the most beautiful way. And as I lay there, looking at my sleeping son, I felt so grateful for the opportunity to be able to see my kids grow up. Then, #2 woke up and called me from the other room. And when I saw his sweet, smiling face, again, I felt so grateful. It was such a nice moment with the two kiddies that I didn't bother to reach for my camera. I just recorded the moment in my mind (and now on your blog!).
Here are my two favourite people under 4 feet tall.
Here is my favourite person above 4 feet tall
So that's what I am grateful for today! Oh, and the kids went to bed early tonight. Yay!
Please leave me a comment and let me know what you are grateful for today!
Please leave me a comment and let me know what you are grateful for today!


text: iam8bit is a Los Angeles gallery known for its cool, pop culture-themed shows. And the latest, a series of pieces on the theme "So You Created A Wormhole," already has us excited. Here you can see a video for one of the pieces, a time traveling baby stroller (you know, for all those superintelligent alien babies). Want to see more? Check out the iam8bit gallery, and if you're in the LA area you can see the show through the end of April.


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text:
WASHINGTON (Reuters) - The biggest operator of Blue Cross Blue Shield health plans is teaming up with the largest U.S. Spanish-language media network to explain Obamacare to Hispanics in California, New York, Colorado and Georgia.
A partnership announced on Thursday by WellPoint Inc, Univision Communications Inc and healthcare marketer HolaDoctor Inc will include 70 town hall meetings in the four states, 30-second TV and radio ads, regular newscast segments devoted to subject and an online insurance center to guide consumers through the intricacies of coverage.
The initiative, one of many outreach efforts expected in the coming months to help explain President Barack Obama's healthcare law, will begin next month and run through March.
America's 52 million Hispanics are a main audience for the roll-out of the Patient Protection and Affordable Care Act, which will offer health coverage to millions of uninsured people through new online insurance exchanges in all 50 states and expanded Medicare coverage in about half the country.
U.S. Census data show that about one in three Hispanics lacks health coverage, while many have low-to-moderate incomes that could qualify for Medicaid or federal subsidies to help pay for private insurance. In California alone, about half of the 2.6 million people with incomes low enough to qualify for subsidies are Hispanic, according to the administration.
But experts say most Hispanics are unfamiliar with the health benefits under Obamacare, which comes into full force on January 1.
"You really have to start at that square one. People need to first understand what the value of health insurance is and then what's coming under healthcare reform," said Robyn Gilson, WellPoint's staff vice president for multicultural marketing.
WellPoint is expected to become one of the biggest participants in the new insurance marketplaces, which are slated to begin enrolling consumers on October 1. The Indianapolis-based insurer currently sells health plans under the Blue Cross Blue Shield license in 14 states.
Gilson said WellPoint turned to Univision's television and radio operations as a trusted voice in the Hispanic community. New York-based Univision has two broadcast TV networks, 10 cable networks, 62 local TV stations and 69 radio stations.
California, Colorado, New York and Georgia are all WellPoint markets with large Hispanic populations.
Depending on the success of the initiative, Gilson said the outreach effort could be expanded to more areas.
Reporting by David Morgan.; Editing by Caroline Humer and Andre Grenon


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Review: Moonrise Kingdom
Wes Anderson tells the story of two outsider kids who fall in love during the summer of 1965 and attempt to realize the happy-ever-after ending. While the movie looks good, and the performances from an ensemble cast that includes Bill Murray, Frances McDormand, Bruce Willis and Ed Norton are solid, the movie feels like a work in miniature — where everything is drawn to scale, but carries little emotional heft.
Starring: Ed Norton, Bill Murray, Frances McDormand, Jared Gilman, Kara Hayward, Harvey Keitel
Rating: Two and a half stars out of five
Wes Anderson remains trapped in the aquarium of his own imagination. A murky waterworld where saturated pastels and nostalgic pools of Norman Rockwell Americana drift on random currents of narrative, Anderson's immersion in his own Life Aquatic is the central reason why Moonrise Kingdom feels waterlogged.
A kind-hearted and heavily contrived tribute to the pangs and piercing arrows of puppy love, Moonrise Kingdom tells the story of two kids (Jared Gilman and Kara Hayward) who fall hopelessly in love and plot to find happiness together.
It's been a while since anyone attempted a solid round of childhood bonding that didn't involve murder, Boo Radley redux, or boys eating too much pie.
Back in 1971, there was a British film called Melody that brought an adult sensibility to pre-pubescent pitter-patter as it showed two kids running away together, and pumping their way to freedom on a railway handcar.
These days, kids can't run away without an Amber Alert. Even the kid that criss-crossed Manhattan in Extremely Loud & Incredibly Close felt like an anachronism and a brewing case of parental neglect.
Perhaps Anderson was conscious of the emotional strain involved in a contemporary runaway story, or maybe he just likes to look back on the past because it looks hip on camera, but Moonrise Kingdom is built on a foundation of fleeting innocence.
Accessing the Snoopy prints and plaid threads of generational nostalgia, Anderson opens the tale in Maine, circa 1965, with a scene-establishing tracking shot that takes us through the house of the Bishops — an affluent family headed by two lawyers, played here by a fully contained Bill Murray and an entirely underused Frances McDormand.
The Bishops have a brood of boys and one girl, Suzy (Hayward), a rather surly youngster who likes to read and listen to records played on her brother's portable phonograph.
They're especially fond of one record in particular by Benjamin Britten, which explains classical music through a dated lecture and becomes something of an aural motif in this slow-paced, but often charming downbeat comedy.
The opening shot, which also shows off a 360-degree set, will remind Anderson fans of the overly convoluted Life Aquatic, which featured a similarly hermetic universe and an almost stage-like mise-en-scene.
Bill Murray played an aloof Jacques Cousteau figure in the former, and he seems to have pulled the same character off the shelf in this effort as he plays a disengaged patriarch and an apparent cuckold.
His wife, McDormand, is having an affair with the local sheriff, a kind-hearted lawman in retro glasses and a black and white station wagon played by the ever-dependable Bruce Willis.
Yet, as compelling as these grown-up pastiches may — or may not — be, Anderson hands the heart of the drama over to the pint-sized protagonists in pursuit of true love.
Sam and Suzy felt like lost souls before they found each other. Ostracized by their own peers, they feel the only chance they have at happiness is with each other, so they set up an elaborate plan to meet up in the middle of the summer.
When the movie opens, we're not sure exactly what's going on as Sam runs away from scout camp and Suzy disappears with the record player, but Anderson ensures there's an element of overt suspense by giving us an omniscient narrator in a bright red coat who tells us this is the same summer a severe storm hit the eastern seaboard.
The narrator, played by Woody Allen regular and off-the-rack urbanite, Bob Balaban, is a problematic presence in the film. Elf-like and comic thanks to his fire engine red ensemble, Balaban's deadpan exposition pushes the whole plot to the edge of the precipice.
Every time he appears, we're all-too-conscious of the film's oddball ambitions — and it's more than a little irksome because it feels entirely false.
In fact, a lot of this movie feels forced, pretentious and just a little too cute for its own good. Whether it's the manufactured art direction that gives the film the look of a T.G.I. Fridays novelty wall, or the carefully orchestrated offbeat performances that attempt to fuse fuzzy charms with the sharp edges of adult experience, the movie's self-awareness becomes its own worst enemy.
One gets the feeling Anderson is making movies the way young girls play with dollhouses. He makes everything pretty. He assigns specific roles to the plastic bodies within, but he neglects the emotional narrative for the sake of esthetics.
The result is a movie awash in great images, but entirely lacking any sense of authenticity, humanity or profound relevance.
Even the kids feel more like devices than any fragment of human spirit as they stare directly into the camera with all the emptiness of an American Apparel model.
Not even the cuddly side of Edward Norton as a Khaki Scout commander conjures much warmth.
It all feels remote, premeditated and highly artificial, and while that's clearly part of Anderson's artistic endeavour and his dollhouse approach, it doesn't lead to a satisfying finale because we never fully engage with the drama on screen.
A tempest trapped in a fishbowl, Moonrise Kingdom's cast may keep us interested, but without emotional heft, the characters keep floating to the surface.


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|Years Coached:
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|Last Season Coached:
|Stanley Cup
|Peter Laviolette was named as the second head coach in Nashville Predators history on May 6, 2014.
Prior to being hired by Nashville, Laviolette was named as the 17th head coach in Flyers history on December 4, 2009. He also spent parts of five seasons as head coach of the Carolina Hurricanes (2003-04 to 2008-09), where he compiled a 167-122-34 record in 323 games.
In 2005-06, Laviolette led the Hurricanes to a 52-22-8 regular season record finishing first place in the Southeast Division and setting franchise records in wins (52) and points (112) in a single season. In the 2006 Stanley Cup playoffs, Laviolette guided Carolina to a 16-9 record and their first Stanley Cup Championship, when they defeated the Edmonton Oilers, 3-1, in Game Seven of the Stanley Cup Final on June 19, 2006. He was also named a finalist for the Jack Adams Trophy as NHL Coach of the Year in 2006.
|Prior to joining the Hurricanes, Laviolette served as head coach of the New York Islanders for two seasons (2001-02 to 2002-03). As head coach, he registered a 77-62-25 regular season record and led the team to Stanley Cup Playoff berths in both seasons after the Islanders missed the postseason seven straight times between 1993-1994 and 2000-01.
Over parts of seven season in the NHL as head coach (2001-02 to 2008-09), Laviolette has compiled a record of 244-184-59 in 487 games coached with the Islanders and Hurricanes.
Prior to serving as the Islanders head coach, Laviolette served as an assistant coach with the Boston Bruins in 2000-01 after serving as head coach of the Bruins' American Hockey League affiliate, the Providence Bruins for two seasons (1998-99 to 1999-2000). In his first year at the helm, he led Providence to a 56-16-4-4 regular-season record, and a 15-4 record in the Calder Cup Playoffs to lead the team to the Calder Cup Championship. He was also the recipient of the Louis A.R. Pieri Memorial Award as AHL Coach of the Year.
Internationally, Laviolette was named head coach for Team USA at the 2006 Winter Olympics in Torino, Italy, and was also head coach for Team USA at the International Ice Hockey Federation (IIHF) World Championships in 2004 and 2005, guiding the US Squad to the bronze medal in 2004. He has also served as an assistant coach for Team USA in the 2004 World Cup of Hockey, where he led the US to the semifinals. Prior to his coaching years, Laviolette appeared in the 1988 and 1994 Winter Olympics as a player, and served as captain of the 1994 Olympic squad.
A native of Franklin, Mass., Laviolette was born on July 12, 1964 and played 11 seasons of professional hockey, mostly in the AHL and International Hockey League, and appeared in 12 games with the New York Rangers during the 1988-89 season.


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Hi, I'm using DiffMerge to compare Json files that we use to update the text content on our web portal and having problems with UTF-8 and special characters.
For example, in the last Json file I made on Windows, Notepad++ (Windows), TextEdit (Mac) and DiffMerge all see the text "Curaçao".
But when I copy the contents of this Json into a new text document on Mac using TextEdit, DiffMerge sees that same text as ""Curaçao", so it's spotting a lot of discrepencies between different versions of the Json doc, making updates to our website difficult!!
Any help would be much appreciated, thanks.
UTF charset issue with Json files
Support for our DiffMerge utility.
Moderator: SourceGear
9 posts • Page 1 of 1
Posts: 3599
Joined: Tue Dec 16, 2003 1:17 pm
Location: SourceGear
All of this will be dependent on what is stored in the Byte Order Mark (BOM) in the beginning of your file. Do you know if one is present?
Next, take a look at the individual Rulesets for the extensions of your configuration files. Is the BOM option checked in the Ruleset? Perhaps you need define or try a specific encoding?
Jeff Clausius
Thanks for your reply. The Json file doesn't contain a BOM in the beginning of the text as far as I can tell, I'll look into the BOM option in ruleset. If I my colleague compares the two Json files on Windows in DiffDog, they are identical, but for me on Mac in DiffMerge, those special character discrepancies are showing up.
I tried disabling custom rule set, then enabling but unticking 'Search for Unicode BOM' - and making sure that the Named Character Encoding was set to UTF-8. No difference.
In the Json I make on my Mac, DiffMerge sees "Cura√ßao" -- even if it's just an empty plain text document and I copy/paste the original json (where it shows in DiffMerge as "Curaçao") into it.
I'm a bit stumped, because I don't know what the difference would be between these files. Should the "ç" show correctly in UTF-8?
Posts: 3599
Joined: Tue Dec 16, 2003 1:17 pm
Location: SourceGear
Can you try a quick test on the Mac?
a) Make a copy of both files you are working with, but rename the files so the copies extensions end with '.utf8'. For example, 'somefile.json' would be 'somefile.utf8'.
b) Run these two *.utf8 files in DiffMerge. What does the diff look like for these two files?
Jeff Clausius
1. I downloaded our current json file. Opened it in Text edit and copied the entire contents to a new document saved with UTF-8. Compared the two in Json and the copy still displays "Cura√ßao" while the original displays "Curaçao".
2. I made a duplicate of both and changed the file extension to ".utf8". Comparing them in Diffmerge still shows differences in how special characters are displayed.
Posts: 3599
Joined: Tue Dec 16, 2003 1:17 pm
Location: SourceGear
I made a sample here.
If you take the 1st set of files (files encoded with the byte order marks), those use the correct encoding on Windows, Mac, and Linux. However, if a file is missing the BOM, it will depend on what character set ends up displaying the text. The default character set on the Mac apparently doesn't like the 'ç'.
Try to open the four files on the Mac. The set of QuizKid1.utf8 and QuizKid2.utf8 do not open because they do *not* contain any byte order marks. The set of QuizKid3.utf8 and QuizKid4.utf8 do open correctly.
Now try to this. Change the option of the ruleset which applies to json to 'Ask for Each File in Each Window' for the character encodings. Also, rename the file extesions so they all end in .json (ie QuizKid?.json). Try again in DiffMerge. When 'asked', choose 'Western European'. Now try all 4 files. Do they now display correctly? You should notice the QuizKid3.json/QuizKid4.json does not prompt for an encoding because it has identifying BOM marks.
A couple of suggestions:
- Switch the editor you use to one that will properly insert BOM to the UTF-8 file
- Configure a different encoding with your ruleset for the files.
Jeff Clausius
Thanks for all your help. As I didn't have any more time to figure this out, I ended up switching to a different program, which didn't have this issue.
Posts: 3599
Joined: Tue Dec 16, 2003 1:17 pm
Location: SourceGear
If you end up coming back, if you cannot change editors, choosing the Western European code page would probably do the trick.
Thanks for the update.
Jeff Clausius
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Aspects of Love: An Interview with Dr. Gene Edward Veith
February 10–14, 2014 | Vol. 118, Week 10
Originally Aired: February 13–17, 2012 | Vol. 110, Programs 11–15
Valentine's Day can seem like an over-commercialized holiday that does little more than sell greeting cards and candy. This year, make it something more! Dr. Gene Edward Veith, well-known author, literature professor, and provost at Patrick Henry College, joins Mike Smith on
Home School Heartbeat with five stories of love that will fire up your imagination and inspire your students.
Pride and Prejudice shows that "character in the person you love is really the most important thing of all."—Dr. Gene Edward Veith
This Week's Offer
Explore aspects of love with a literature unit study based on the books Dr. Veith discusses on this week's program. Follow the link to request your free copy of the Aspects of Love Literature Unit Study.
Family Vocation: God's Calling in Marriage, Parenting, and Childhood
What does it mean to be called as a husband, a wife, a parent, a child? How does the grace of the gospel impact how we carry out our particular calling? How does God's presence influence the struggles that families face? Dr. Veith explores these and other questions in his most recent book. Learn more or order today.Learn More Now >>
Is love just about cutting up paper doilies and coloring valentines? Do Valentine's Day projects belong in your homeschool after the elementary years? Well, this week on Home School Heartbeat with your host Mike Smith, our guest discusses love's rich heritage through literature.
Mike Smith: This week, our guest is Dr. Gene Edward Veith, author, former WORLD Magazine culture editor, and provost of Patrick Henry College. Dr. Veith, thanks for joining us today!
Dr. Gene Veith: Good to be with you.
Mike: This week we want to provide a Valentine's Day theme for homeschoolers with older students. A unit study on various portrayals of love in literature is right up your alley, Dr. Veith. So let's start this unit study at the beginning—the Greeks! Would you tell us about some of the famous couples in the stories of Homer? What's so remarkable about them anyway?
Dr. Veith: Oh, one of the most romantic scenes in all of literature is probably when Hector, who is the big hero of the Trojans, meets with his wife, Andromache, and their little son comes up and tries to play with his helmet. And, in that scene, Hector says that where everybody else is fighting for honor and for revenge and all these other causes, the reason he's fighting, the reason he's putting his life on the line is for her—for his wife. And that scene, I think, really shows what a husband's love for his family really is all about.
Mike: That's really something to think about, Dr. Veith. Thank you so much for sharing that with us today! Listeners, tune in next time to hear more about Dante and love in The Divine Comedy. And until next time, I'm Mike Smith.
Mike Smith: I'm joined again today by Dr. Gene Veith, author and provost at Patrick Henry College. Dr. Veith, one might think that in a great Christian poem like Dante's Divine Comedy, there wouldn't be any room for a love story. But Dante's love for Beatrice is a key element in the story. Now, what's so virtuous about it, though?
Dr. Gene Veith: Well, Dante, when he was just 9 years old, had a childhood crush on this little girl named Beatrice; she was only 8. And he saw her again nine years later. But a lot of people have these kind of infatuations with others, and they think that's what love is. Dante and Beatrice, though, in his thinking about that experience, he really said that it brought him closer to God. That somehow, that little childish love taught him something about what love is. He changed his character; he did better; he forgave his enemies; and he associated that then with his becoming a Christian. And in The Divine Comedy, he turns Beatrice into a symbol for the grace of God. Now, what I think we can learn from that is that real love should improve us, should make us better.
Mike: Well, Dr. Veith, your excitement for literature is obvious, and hopefully it will excite our listeners, as well, to start reading these great books. And until next time, I'm Mike Smith.
Mike Smith: Dr. Veith, not a lot of people read Edmund Spenser's story The Faerie Queen anymore. A lot of medieval stories involve knights and ladies and romance. What makes Spenser's ideals of love so special?
Dr. Gene Veith: Well, in the Middle Ages, romantic love kind of happened apart from marriage. What Spenser did, and he was a Protestant influenced by the Reformation, and what he did in his poetry was to bring romantic love into marriage. And he wrote a series of love poems called amoretti, and they culminated in this wonderful Christian poem about marriage called Epithalamion. And then in his book The Faerie Queen, he again shows a typical medieval romance, but it too leads to marriage, and it does so, showing the couple facing real problems. Lots of misunderstandings, lots of problems, lots of obstacles, lots of unfaithfulness, and yet, Spenser, in this great Christian allegory, shows that when the lady helps bring him to faith, we see their problems resolved, and is looking forward then to their marriage.
Mike: Dr. Veith, thanks so much for sharing that with us. We can learn some great lessons from these old books! And until next time, I'm Mike Smith.
Mike Smith: This week we're suggesting some works for a Valentine's Day unit study on famous couples in literature. Any family that has middle school or high school–aged daughters probably already knows Jane Austen's Pride and Prejudice. Dr. Veith, what can we learn about love from Mr. Darcy and Elizabeth Bennett?
Dr. Gene Veith: Well, when they first met each other, they didn't like each other. And, in the whole course of the novel, it's about them learning about each other and appreciating their character and their moral character. And, finally, that was what led to real love between them. Now, some of the other characters make the wrong choices, and they go after appearances; Elizabeth's sister Lydia goes off with Wickham, and he turns out to be a real cad. And it really is a good example as it goes through all of those different relationships that it explores, that really—character in the person you love is really the most important thing of all.
Mike: Thanks so much, Dr. Veith! The lessons we can learn from this couple are valuable not only for students, but for husbands and wives, as we navigate the real life challenge of loving one another well. Until next time, I'm Mike Smith.
Mike Smith: Dr. Veith, C.S. Lewis is one of the Christian writers who really stands out, even in the secular world today. But a lot of people don't know about his own love story with his wife, Joy Davidman Gresham. What is it about this real life love story that makes it worth studying, Dr. Veith?
Dr. Gene Veith: Lewis was 59 when he met Joy Davidman Gresham. She was 42, and she had become a Christian through reading Lewis's works, and eventually they formed a really strong friendship. Then she got cancer, and then as she was dying on her deathbed they had a real church wedding. But then she was healed, and Lewis believed it was a miraculous healing; she went into remission of cancer very dramatically. And so, for four years they actually were able to live as husband and wife, in a very close and strong love. Then the cancer came back, and she died. Then Lewis wrote a very powerful book called A Grief Observed, about his struggles with coming to terms with her death, which he finally did in understanding the greater love of God.
Mike: Fantastic. What an inspiring story, Dr. Veith! Thank you so much for your insights on literature all this week—it's really made Valentine's Day much more interesting! And until next time, I'm Mike Smith.
Dr. Gene Edward Veith
Dr. Veith oversees the academic programs at Patrick Henry College, which includes working with the faculty, managing the curriculum, and administering the educational services, including the library and the registrar's office. He also oversees the office of student life.
Dr. Veith teaches literature and other liberal arts courses. He is the author of 20 books on topics involving Christianity and culture, classical education, literature, and the arts. He previously served as the Culture Editor of WORLD magazine. For 19 years, he was professor of English at Concordia University Wisconsin, where he also served for six years as the dean of the school of arts and sciences.
Dr. Veith has also taught at Northeastern Oklahoma A&M College and has been a visiting professor at the Estonian Institute of Humanities, Gordon-Conwell, Regent College (Vancouver), and Wheaton College. He also serves as the director of the Cranach Institute at Concordia Theological Seminary in Ft. Wayne, Indiana. He has been a fellow at the Capital Research Center and the Heritage Foundation. He received his BA in letters (literature, philosophy, history, and classics) from the University of Oklahoma and his MA and PhD in English from the University of Kansas. He and his wife, Jackquelyn, live in Purcellville and have three grown children and seven grandchildren.
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