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subset: commoncrawl


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Status: Canceled
Premiered: - October 09, 2013
Show Category: - Action | Drama | Sci-Fi
WebSite: - http://www.tvrage.com/The_Tomorrow_People
They are the next evolutionary leap of mankind, a generation of humans born with paranormal abilities - the Tomorrow People. Stephen Jameson stands at the crossroads between the world we know and the shifting worlof the future. Up until a year ago, Stephen was a "normal" teenager - until he began hearing voices and teleporting in his sleep, never knowing where he might wake up. Now, Stephen's issues have gone far beyond the usual teenage angst, and he is beginning to question his sanity. In desperation, Stephen decides to listen to one of the voices in his head, and it leads him to his first encounter with the Tomorrow People - John, Cara and Russell - a genetically advanced race with the abilities of telekinesis, teleportation and telepathic communication. The Tomorrow People are being hunted down by a paramilitary group of scientists known as Ultra. Led by Dr. Jedikiah Price, Ultra sees the Tomorrow People as a very real existential threat from a rival species, and the outcast group has been forced to hide out in an abandoned subway station just beneath the surface of the human world. Trading in secrets, Jedikiah offers Stephen the chance for a normal life with his family and best friend, Astrid, if he will help in the struggle to isolate and eradicate the Tomorrow People. On the other hand, Cara, John and Russell offer Stephen a different type of family and a home where he truly belongs. Unwilling to turn his back on humanity or the world of the Tomorrow People, Stephen sets out on his own path - a journey that could take him into the shadowy past to uncover the truth about his father's mysterious disappearance, or into an unknown future with The Tomorrow People.
Season 1 (HDTV)
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Info: -
This show has been canned, thats all she wrote.
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Miami Mile Handicap (1992, 1994, 1999) Flamingo Stakes (1993) Ohio Derby (1993) Princess Rooney Handicap (1995, 1996) Ballerina Stakes (1996) Comely Stakes (1998) Mac Diarmida Handicap (1998) Swale Stakes (2004) Spinster Stakes (2005) Maker's Mark Mile Stakes (2006) Calder Derby (2006) Bonnie Miss Stakes (2008) Oaklawn Handicap (2009) Sunshine Millions Classic (2009) Personal Ensign Stakes (2009)
Martin "Marty" D. Wolfson (born August 3, 1951 in Washington, D.C.) is an American Thoroughbred racehorse trainer. He embarked on a professional training career in the early 1970s. He is the son of Louis Wolfson, owner of Florida's Harbor View Farm who won the U.S. Triple Crown in 1978 with two-time American Horse of the Year, Affirmed.
Based at Calder Race Course in Miami Gardens, Florida, where he is a Calder Hall of Fame inductee, Marty Wolfson has conditioned horses for his late father as well as the prominent horsepersons such as Mike Pegram, Charlotte Weber, and Edmund Gann, as well as the late John Franks and Fred Hooper.


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How do I find the place of origin of an ancestor whose birthplace is listed only as "Sweden"?
A. Have you tried church records? David Fryxell, who wrote our guide to Swedish research in the October 2006 Family Tree Magazine, says many Swedish-American churches kept records as thorough as those of their counterparts in Sweden. The Swenson Swedish Immigration Research Center has a broad church records collection, including several in California. The Swenson center is in Illinois, but you can request a $25-per-hour search by a staff member.
Search for Carl in immigration records (such as those for New York City arrivals indexed at CastleGarden.org) and check the book Swedish Passenger Arrivals in the United States, 1820-1850 by Nils William Olsson (Schmidts Boktryckeri AB). Look for it at large genealogy libraries including the Family History Library in Salt Lake City.
Since you don't know Carl's parish, Fryxell recommends a searchable CD such as Emibas, compiled from Swedish church records (the CD is out of production, but you can look for it used or search the data on subscription site Emiweb).
The subscription database SVAR (click "In English") as well as Swedish databases on Ancestry.com (which include the former Genline records), offer digitized Swedish church records. Both sites offer a variety of subscription options.


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The new Algonquin Centre for Construction Excellence, Ottawa Campus, is a showpiece for innovative learning. The new building, designed for LEED PLATINUM certification (the first educational building in Ontario to be designed for LEED Platinum), demonstrates design excellence in sustainability, and offers access to an integrated higher education learning and applied research environment like none before.
Go To Project


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The Joe Fresh for JC Penney collaboration comes right in time for the new season updates. After the glam filled Georgina Chapman for JC Penney collection, comes a more practical set of options worth indulging in. The Canadian retailer is known for making a myriad of simple yet uber cute basics and the newest collaboration comes to strengthen the belief even further. The new line comes with plenty affordable alternatives in classy combos which can serve as inspiration for the new season for those who like smart combos which still feel effort... Read More


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On a hot Saturday at the beginning of this month, our friends L. and D. invited us to the "Hoes Down Harvest Festival", an annual celebration organized by Full Belly Farm in Capay Valley, Northern California. The day started with a very promising drive, less and less constructions, more and more ocher and green landscapes… Then we encountered an unfortunate Casino in the middle of where-it-should-not-be, and then more gorgeous views of the valley's fertile, colorful and welcoming land.
Two hours later, we turned into a small dirt road that lead to an afternoon of tasty discoveries, hopeful learning about the success of a sustainable organic farm, and joyful play with Loulou. We got to taste delicious, wholesome foods, quench our thirst with locally brewed beer and kombucha – one of the best I have ever had- and to dance. We took a tour with one of the four owners of the farm. He explained how, with care, imagination and collective efforts, the land and our health can be preserved. Phew, finally a positive approach on the subject ! And of course all that in the midst of fun activities, crafts and games.
No wonder National Geographic described the farm's children area as "the best in the state" : it not only offered a wide variety of choices for our little one - painting, zip-lining, hay riding, apple bobbing and many more – but it was also thoughtfully organized to keep the little and big kids engaged and curious. In a few hours, Loulou got to pet small and bigger animals, play with clay, climb a mountain of hay, waive a flower crown, milk a pretend cow, launch gigantic bubbles, hang her paintings among dozens of other young artists' creations. She could even refresh in a creek and start over again.
A day like that inspires you to cook earthy, wholesome meals. Meals that preserve and reveal the natural flavors and colors of the ingredients. I learned the following recipe from my friend S., a very generous person, a great cook. There isn't really a recipe per se. It is just about vegetables and condiments. And that's it.
Pick a few colorful vegetables and cut them in big chunks. Pour one or two tablespoons of olive oil, add some "fleur de sel" or any other type of coarse salt, some pepper, finely chopped garlic, and toss the ingredients until the condiments are well mixed in.
Let them soften and golden in the oven for about 30 minutes at 375 F (you can either use little casseroles like I did, or just toss the vegetables on a rectangular baking pan). I like to add some fresh cilantro or chervil on top when cooked. Et voilà.


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From SpaceWeather:
Earth is passing through a stream of debris from "rock comet" 3200
Phaethon, source of the annual Geminid meteor shower. Around the world,
observers are counting as many as 60 shooting stars per hour, a number
which could increase sharply as the shower peaks on the night of Dec.
13-14. Wherever you live, the best time to look is during the dark
hours between local midnight and sunrise.
Oh My G-d! The sky is falling! Call Al Gore! This must be caused by Global Warming! It's not yet 12/21!!!
Now to calm the fears of the doomsday worriers. The Geminids are an annual event.
The Geminids are a meteor shower caused by the object 3200 Phaethon, which is thought to be a Palladian asteroid with a "rock comet" orbit. This would make the Geminids, together with the Quadrantids, the only major meteor showers not originating from a comet. The meteors from this shower are slow moving, can be seen in December and usually peak around the 13th – 14th of the month, with the date of highest intensity being the morning of the 14th. The shower is thought to be intensifying every year and recent showers have seen 120–160 meteors per hour under optimal conditions, generally around 02:00 to 03:00 local time. Geminids were first observed in 1862, much more recently than other showers such as the Perseids (36 AD) and Leonids (902 AD).
Which means it happens every year about this time. It is a beautiful sight if the weather allows and a great reason to take the kids outside for a view.
I hope you will have good seeing and a clear sky. The best thing about viewing the Geminids here in the Northern Hemisphere is the Hot Cocoa and cookies you get afterwards.


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AUSTIN — As President Obama and Texas Gov. Rick Perry are poised for a face-to-face Wednesday on the contentious issue of border security, politicians and political commentators are duking it out on whether the afternoon meeting favors POTUS OR Gov. Good Hair, a potential Republican candidate for president in 2016.
At the top of the talking-points comments in the hours leading up to the meeting were these about Perry from Democratic Party strategist and former Bill Clinton adviser Paul Begala, who made some unflattering remarks about Texas' longest-serving GOP governor during Tuesday's "New Day" show on CNN, as reported by RealClearPolitics.com.
KATE BOLDUAN, CNN: John and I were talking. Paul, did Rick Perry just hand the president a big out politically on this?
PAUL BEGALA, DEMOCRATIC STRATEGIST: Well, I suspect what you're going to see is Rick Perry bounce right back and say, good, let's meet, let's meet on the border, sir. I think it's — you know, look, Rick Perry is the governor. He's been a demagogue and frankly a dope about this issue. He's been totally unhelpful, suggesting darkly that somehow there's a conspiracy that Barack Obama is behind.
Look, children are fleeing violence in Central America. It has taken a very long time to deport them because of a law that President Bush signed back when he was president. That law was designed to try to protect people who are fleeing violence and to protect their rights, and so, President Obama here is simply caught trying to obey a law that was passed before he became president.
But that line about faith leaders I think is most important. If he's going to pick Rick Perry's brain, that is the very definition of slim pickings.
BOLDUAN: Oh, Paul!
BEGALA: There's a faith leader we ought to be listening to. Mark Sites is the Bishop of El Paso. He's actually been to the region. He's been to Honduras and Guatemala. He testified last week before the Congress. I read his testimony. I recommend it to our viewers. He actually knows what is going on. And he explains that it's like these children are trapped in a burning building, and, of course, they're going to leap and come to anything that looks comparatively safer, even if it risks their life to do so, I think Bishop Sites is who he ought to meet with.


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On 280 ("I felt a Funeral, in my Brain")
280 in Manuscript
from The Manuscript Books of Emily Dickinson, Volume I.
Ed. R. W. Franklin. Cambridge, MA: The Belknap Press of Harvard University Press, 1981.
Copyright © 1981 by the President and Fellows of Harvard College
340 I felt a funeral in my brain
MANUSCRI PT: About summer 1862, in Fascicle 16 (H 53)
I felt a Funeral, in my Brain,
And Mourners to and fro
Kept treading - treading - till it seemed
That Sense was breaking through -
And when they all were seated,
A Service, like a Drum -
Kept beating - beating - till I thought
My mind was going numb -
And then I heard them lift a Box
And creak across my Soul
With those same Boots of Lead, again,
Then Space - began to toll,
As all the Heavens were a Bell,
And Being, but an Ear,
And I, and Silence, some strange Race
Wrecked, solitary, here -
And then a Plank in Reason, broke,
And I dropped down, and down -
And hit a World, at every plunge,
And Finished knowing - then -
10 Soul] written <Brain> Soul
19 plunge,] Crash
20 Finished] Got through
Division 3 till | 7 till | 9 them | 10 my] my
<Brain>| 11 of |
12 toll, || 13 were | 15 some | 17 in| 18 and | 19 every |
PUBLICATION: Poems (1896), 168, without the last stanza. Bingham, New England Quarterly, 20 (March 1947), 26-27, entire, from a transcript of A (A 1896PC, 141). The alternatives were not adopted. Poems (1955), 199-200; CP (1960), 128-129. MB (1981), 341-42, in facsimile. (J280).
17-20] omitted P96 CP24 P30 P37
From The Poems of Emily Dickinson. Edited by R. W. Franklin. Copyright © 1998 by The President and Fellows of Harvard College.
Sharon Cameron
We may speculate that the poem charts the stages in the speaker's loss of consciousness, and this loss of consciousness is a dramatization of the deadening forces that today would be known as repression. We may further suppose that the speaker is reconstructingor currently knowingan experience whose pain in the past rendered it impossible to know. We note that part of the strangeness of her speech lies in the fact that not only is the poem grammatically past tense, but it also seems emotionally past tense. It illustrates the way in which one can relate experience and, at the same time, suffer a disassociation from it. Of course in this case the experience itself is one of disassociation. Since the speaker adds no emotive comment to the recollection, it is as if even in the recounting the words did not penetrate the walls of her own understanding. That the poem is about knowledge and the consequence of its repression is clear enough from the poem's initial conceit, for people do not feel funerals and certainly not in the brain. In addition, as a consequence of the persistent downward motion of the poem, we see that the funeral is rendered in terms of a burial, and this fusion or confusion points to a parallel confusion between unconsciousness and death. The burial of something in the mindof a thought or experience or wishthe rendering of it unconscious, lacks an etiology; its occasion and even content here remain unspecified. As a consequence our attention is fixed on the process itself.
Examining the conceit, we can speculate that the mourners represent that part of the self which fights to resurrect or keep alive the thought the speaker is trying to commit to burial. They stand for that part of the self which feels conflict about the repressive gesture. "Treadingtreading," the self in conflict goes over the same ground of its argument with itself, and sense threatens to dissolve, "break through," because of the mind's inability to resolve its contradictory impulses. In the second stanza, on a literal level the participants of the funeral sit for the service and read words over the dead. On a figural level the confusion of the mind quiets to one unanimous voice issuing its consent to the burial of meaning. But the mind's unanimity, its single voice, is no less horrible. The speaker hears it as a drum: rhythmic, repetitious, numbing. In the fourth stanza, the repressive force lashes the speaker with retaliatory distortion: the "Heavens" and the cosmos they represent toll as one overwhelming "Bell"; "Being" is reduced to the "Ear" that must receive it. No longer fighting the repressive instinct (for the "Mourners" have disappeared, "Being" and "I" are united), the self is a victim passively awaiting its own annihilation. When the "Plank in Reason," the last stronghold to resist its own dissolution, gives, and the speaker plummets through successive levels of meaning (an acknowledgment that repression has degrees), the result is a death of consciousness. As J. V. Cunningham remarks, the poem is a representation of a "psychotic episode" at the end of which the speaker passes out.
But if we agree that the poem is not about actual death, why is the funeral rendered in such literal terms, terms that might well lead a careless reader to mistake its very subject? Paul de Man, distinguishing between irony and allegory, provides a suggestive answer. Allegory, he writes, involves "the tendency of the language toward narrative, the spreading out along the axis of an imaginary time in order to give duration to what is, in fact, simultaneous within the subject." The structure of irony is the reverse of this formthe reduction of time to one single moment in which the self appears double or disjoint. Irony, de Man writes, is "staccato . . . a synchronic structure, while allegory appears as a successive mode capable of engendering duration as the illusion of a continuity that it knows to be illusory." Irony and allegory, he concludes, are two faces of the same experience, opposite ways of rendering sequence and doubleness. De Man's distinctions are illuminating for our understanding of the fusions in "I felt a Funeral in my Brain," for the poem exhibits a double sense of its own experience and of the form in which that experience is to be rendered. With no terms of its own, it is through its very disembodiment, its self-reflexive disassociation, that the experience wields the power it does. If it could be made palpable and objectified, it might be known and hence mastered. Thus the allegory of the funeral attempts to exteriorize and give a temporal structure to what is in fact interior and simultaneous. Because we see the stages of the funeral (stages that correspond to steps that will complete the repressive instinct) we cannot help but view repression in terms of death. Thus the funeral imagery, replete with mourners, coffin, and service, seems both to distract from the poem's subject of repression and to insist on the severity of its consequences. But it is in the tension between the two modes of knowing and of representation, between an allegorical structure and an ironic one, that the poem's interest lies. For structure and sequence fall away in the ironic judgment of the poems last line, which suggests, if implicitly, that action (exteriority) and knowledge (interiority) will always diverge. Even the attempt to reconstruct the experience and do it over with a different consequence leads, as it did the first time, to blankness. This divergence is further exemplified in the odd order of the poem's events: the funeral precedes death, at least the death of consciousness. Such inversion of normal sequence necessitates a figural reading of the poem and makes perfect sense within it, for Dickinson seems to be claiming we cannot "not know" in isolation and at will. What we choose not to know, what we submerge, like the buried root of a plant that sucks all water and life toward its source, pulls us down with a vengeance toward it.
from Lyric Time: Dickinson and the Limits of Genre. Copyright © 1979 by The Johns Hopkins UP.
Sharon Cameron
I have written elsewhere of this poem that it represents the making of a though unconscious (LT, pp. 96-98). The poem cannot represent a literal funeral, since people do not feel funerals, they attend them. They also do not feel funerals in the brain. Moreover, here the funeral seems to precede the death as well as the burial of the thing which is ceremonially presided over. Since what is in the brain that can be buried is a thought, the poem, I have argued, represents ambivalence about making a thought unconscious. Ambivalence is epitomized by the mourners, who could be understood to lament the burial of the thought, although, ultimately, in sitting for the ceremony, they also come to consent to it. Ambivalence is definitely underscored by the second of the variants and the variant grammar it gives the poem's final line (fig. 10, second manuscript page of "I felt a Funeral, in my Brain"). For that variant, written below and to the right of the word on the line, makes it unclear whether knowing is finished (there being no longer any knowing, but only unconsciousness), or whether what is "Got through" is the experience of unconsciousness, which leaves "knowing" in its wake. In the second way of reading the poem's last line, according not only to its variant but also to its variant grammar, knowing is what begins at the poem's end, rather than what concludes. Finally, a third way of reading the variants is to see them in relation: that is, they precisely dramatize the conflict registered throughout the poem, and, as I have tried to illustrate, throughout the earlier poems in the fascicle. As noted, this conflict is registered in miniature by the alternative wordsand the alternative punctuation of the same words, as exemplified by the possibly implicit but absent comma of "Finished[,] knowingthen" and the absent comma of "Finished knowingthen." Thus the implicit double grammar, raised both by the variant and by a closer scrutiny of the line itself, equivocates whether knowing is finished, or whether it survives when the experience recorded by the poem is finished.
A related ambiguity is reiterated in the poem's fourth line, where "Sense . . . breaking through" connotes that sense is either "breaking down" or, idiomatically, "emerging." In the first understanding, sense's breaking through consciousness means the speaker's breaking down because sense falls out or away once it breaks through (not because the verb "breaking" itself necessarily means "collapsing"). And a similar ambiguity is reiterated in the peculiar formulation of the second to last stanza: "I, and Silence, some strange Race." The line raises the question of whether the status of personhood is being conferred upon silence or of whether the speaker, by allying herself with something non-human, inanimate, not even palpable, is herself ceding that status. For the speaker seems to personify silence and identify herself with it. If the conjunction is so construed, she and silence might have equal status, might even be considered to form a "Race." Alternatively, since silence doesn't have the status of a person, the speaker's identification could be regarded as working to cancel the speaker's own personhood. In the second way of reading the line, despite the attempt to personify silence, the speaker rather depersonalizes the self to the point of obliteration. Or, finally, like the other two lines that must be read in contradictory ways, this one invites not a double reading but, more specifically, two readings that contend with each other, enacting at the level of the individual line the conflict registered in the poem and, more generally, in the fascicle as a whole.
from Choosing Not Choosing: Dickinson's Fascicles. Copyright © 1992 by The University of Chicago
Paula Bennett
In the extraordinary "I felt a Funeral, in my Brain," written, according to Franklin's dating, in 1862, she describes figuratively the terror she had experienced, and its explosive effect on her, in terms of a confrontation with existential dread. Forced to look life's abyss "squarely in the face"--as she says in a later companion poem, "I never hear that one is dead" (no. 1324; P, 915)--she felt her world split apart, leaving her "Wrecked, solitary here," the numb survivor of some kind of shattering internal cataclysm which she compares to madness, death, and loss.
From My Life a Loaded Gun: Dickinson, Plath, Rich, and Female Creativity. Copyright © 1986 by Paula Bennett. Reprinted with the permission of the author.
Paula Bennett
In a series of poems beginning in the early 1860s, Dickinson describes what might best be called her fall from metaphysical grace and the epistemological impact this event had upon her. In these poems, Dickinson's confrontation with the abyss becomes the central metaphor for her vision of a world from which transcendent meaning has been withdrawn and in which, therefore, the speaker is free to reach any conclusion she wishes or, indeed, to reach no conclusion at all.
'I felt a Funeral, in my Brain,' c. 1862, is one such poem. On the surface, this poem is about death or, possibly, madness. But, finally, effectively, if it is 'about' anything, it is about dread. In it, to use Miller's words, Dickinson does not reorder 'what formerly appeared to be conclusively known. She tells what it feels like to realize that nothing can be known at all. . . .
As in the surrealist paintings of de Chirico and Magritte, outsize 'humanistic' detail functions in this poem to evoke all the terror that the isolated individual feels when confronting nothingness--the abyss. In the poem's otherwise emptied-out landscape, 'the Heavens' become a 'Bell,' 'Being' an 'Ear.' Whether it is death or insanity that opens up this vision to her, what the speaker realizes is that she is utterly alone and totally free. There is neither a sustaining God nor a sustaining scaffold of meaning to support her. Like the trapdoor on a gallows or like the planks supporting a coffin until it is dropped into the grave, the 'bottom drops out of reality. For the speaker, anything is possible in a world that is fundamentally absurd--where you can drop 'down, and down' and 'hit a World, at every plunge.' As in 'Four Trees,' the only conclusion to this experience is the conclusion that not-knowing (not just death but the acceptance of ignorance) brings.
From Emily Dickinson, Woman Poet. Copyright © 1990 by Paula Bennet. Reprinted by permission of the author.
Cynthia Griffen Wolff
At the end of "I heard a Fly buzz" the speaker has been winnowed by death, and the integral self is scattered outward and destroyed by dispersal; that poem concludes when vision has failed. Another of the proleptic poems, "I felt a Funeral, in my Brain," begins after the power of seeing has been lost altogether.
[. . . .]
Here the process of annihilation is inverted: the fragile membrane that separates "self" from "outer world" has been ruptured, and the surroundings flood into consciousness with a force like that of sexual violation. There are no distinct "others" (not even the anonymous "Eyes" that had indicated mourners to witness death in "I heard a Fly buzz--"), nothing but a lone speaker whose mind has been filled with a jumble of sensations, as if it were no more than an empty vessel. Throughout, the speaker seems to strain after coherence, and the poem's compelling attraction derives in large measure from its ability to lure the reader into joining the speaker in this pursuit. It even seems apparent that Dickinson intends this prolonged and unresolved tension: at the beginning we are given to hope that "Sense was breaking through," and this expectation is not undercut until the end, when "a Plank in Reason, broke." The poem taunts with its invitations and frustrations, and ultimately forces us to ask what we know, how we know--whether "life" and "death" are susceptible to understanding.
The poem is taut in its movement, for there are at least three forces at work to set the verse in motion and structure its course. The one that is clearest and most available to the reader is the step-by-step scenario of "Funeral," a familiar ritual whose configuration has been decreed by society. All Congregationalist funerals followed very much the same outline, and few readers will have difficulty in recognizing it: the mourners who pay their respects, the church service, the removal to graveyard and burial, the tolling of the bell as friends and family leave to resume the pursuits of the living. What makes this poem startling, of course, is that the ritual observed in real life by the mourners is reported here by the deceased itself.
Although it is an impossible feat, seeing one's own funeral and reading one's own obituary are among the most common fantasies of our culture, and they have become stock components of our literature as well. Congregationalist ministers enjoined the members of their congregations to reflect upon the moment of death as a spiritual exercise, to imagine how family and friends would feel (would they be confident of meeting the deceased in Heaven, or would they fear an eternity of separation because the life of the deceased had given no signs of saving Grace?). Mark Twain played humorously with the remnants of this religious notion in The Adventures of Tom Sawyer; and in the twentieth century Thornton Wilder's Our Town dramatized the pathos in life by using a proleptic narrator who sees, among other things, her own funeral. The premise behind all of these is the same: from the absolute vantage of death, we will be able to ascertain what is really important in life--what events were significant, what values are enduring. At last, perhaps, we can know what people really thought of us or how God will ultimately judge us: seeing our funeral might allow us finally to understand our "self." This poem is grotesque, and deliberately so, principally because Dickinson's rendition of the convention turns all the usual advantages of these literary devices against themselves. No information about life or self can be gathered from this funeral. The mourners are silent, muffled figures whose movement, though constant, "treading--treading," leads only "to and fro"; the funeral service has no sound but the relentless "beating--beating" of the unmusical, toneless "Drum." One horror, then, is the hollow abstraction of this retrospective view. Instead of confirming the importance of certain particular events and values, instead of revealing the true feelings of people for a specific soul now deceased, it suggests that nothing and no one can have enduring value. The only lasting value is the unvarying ritual itself as ritual, and both the reader and the proleptic Voice cling to the formal, abstract structure of the ceremony that alone seems capable of imposing order upon death.
In ironic juxtaposition to the regularized, conventional progress of the funeral rites is the second force in the poem, the disruptive capacity of death--a jumbling together of all categories that apply to the speaker and serve to define identity. The funeral is "felt"; the "Mind" becomes "numb"; the coffin is lifted "across" the soul; being is reduced to "an Ear," as speaker and "Silence" become members of the same "strange Race" of creatures. The speaker's plight in the penultimate stanza of the poem recollects Dickinson's assertion that Immortality is "the Flood subject," for even the possibility of consciousness after death becomes confused and terrifying when both speaker and "Silence" find themselves "Wrecked, solitary, here." The "Plank" of reason in the last stanza may seem cryptic to a modern reader; however, a contemporary reader might well have recognized Dickinson's allusion to the iconography of conservative, mid-nineteenth-century religious culture. In Holmes and Barber's Religious Allegories (1848), there is an emblem called "WALKING BY FAITH" (modeled on the passage from II Corinthians 5:7, "For we walk by faith, not by sight"). It depicts a man "just starting from what appears to be solid ground, to walk upon a narrow plank [with the word 'FAITH' imprinted on it], stretched across a deep "gulph" and which ends nobody knows whither." On one side is life, and on the other is Heaven; only the plank of "FAITH" can provide transport--so this emblem asserts. Yet having renounced faith, Dickinson substitutes a "Plank in Reason," which breaks because no rational explanation can be adequate to bridge the abyss between earth and Heaven. The poem concludes with a fall that is an apotheosis of confusion. Perhaps it recapitulates that first fall into Hell (the poem's recourse to the emblem tradition supports this inference); perhaps it is the horror of a residual self, dropping endlessly through infinite, interstellar space ("And hit a World, at every plunge," seems to confirm this reading)--no Heaven or Hell, just unbounded and eternal loneliness; perhaps it is a surrealistic fall into some dark, endless, undefined interior of being (the initial placing of the funeral "in my Brain" encourages this inference). And of all these possibilities, the first is perhaps the most comforting because the resort to a familiar mythic world makes it at least partially comprehensible.
This is an extraordinarily self-conscious piece of verse, with Dickinson making both artifice and the relationship between art and life explicit concerns of the poem. Thus two forces, the familiar order of ritual and the expanding disjunction of categories that are used to define the speaker's existence, function to balance each other in some measure. Without the systematic, articulated ceremony of the funeral rites, a reader might have no idea what the speaker was describing, and the poem would lack coherence and unity; without the steady distortion of the terms by which self is defined, the reader could not apprehend the full experiential anguish of the process. Yet they work together in one respect: each in its own way tacitly argues that human beings must create their own order, for we live in a universe that has an imperative only for annihilation.
The ultimate horror is this: that the inescapable activity of destruction derives much of its fearsomeness from being tied to the laws of unvarying and intractable movement--time, the third major force at work in the poem. And whereas the sequential order of the funeral and the violating disorder of disrupted categories are conveyed through diction, time's indifferent ruthlessness is rendered less directly--through absences and through syntactic and rhythmic structures. Thus the reader feels the force of time in the poem more keenly than he or she apprehends it intellectually.
We feel it first because of the oddities in the account of the funeral. In the latter-day Puritan culture of Emily Dickinson's Amherst, funeral services were forms of proto-narrative: since the ceremony was stylized, different portions of it were not of equal importance, even though they might take equal amounts of time to enact. The "narrative structure" of the funeral rite was dominated by the sermon, which summed up the life of the deceased and served as the centerpiece of the ritual: everything that preceded it was merely anticipatory; everything that followed was anticlimactic. A funeral told the tale of transition from earth to afterlife, and its sermon was the dead persons final "earthly appearance." Drawing upon a tradition of many centuries, the minister would begin with a suitable text from the Bible; he would then select the most significant events in the dead person's life in order to reveal his or her essential Christian nature; finally, he would draw a conclusion concerning the spiritual state of the newly deceased--sometimes even estimating the chances for salvation. Although soul had been severed from body at death, society's formal recognition of this event did not occur until this moment, when the body lying in the casket was explicitly distinguished from both the mortal being who had lived on earth and its soul, now departed. The invariable chant at the graveside--"ashes to ashes, dust to dust"--gives articulation to this recognition. Pivoting upon the sermon, then, the funeral service balanced hope against apparent loss: all that was essential to the nature of he departed had moved to an afterlife, saved (it was hoped) by the merciful sacrifice of Christ; the mortal remains were thus no occasion for grief, for the "fall" into the grave could be canceled by the "rise" into Heaven. Funeral sermons were so important as exemplary renditions of Christian character and explicit instances of God's mercy that they were very often printed and published, to be read devotionally. Many of Heman Humphrey's and a number of Edward Hitchcock's still survive in this form.
Any accurate recapitulation of the funeral "narrative," then, would be shaped to mirror this structure, and such a recapitulation would of course reflect the crucial significance of the sermon as final exegesis of identity. A merely sequential movement of the verse would have to be modulated to highlight the central importance of this moment. However, such is not the case n Dickinson's version here. There is no narrative center to this poem. Quite the opposite: there is a curiously detached, even clinical tone, an apparent determination to tell only "what happened" in orderly, impartial, and merely temporal sequence, a fading out at the end into terrible uncertainty. Thus, although Dickinson employs the successive stages in the funeral ritual to establish a recognizable sequence in the poem, she does not "shape" this temporal arrangement to make the sermon take precedence: the "Service" is but one event among many, each of apparently equal consequence. This is a brutal violation, this flattening of the narrative so that temporal sequence provides the only order; and it accomplishes one part of its effect merely through a felt absence. There is no sermon in this service. The proleptic speaker's individual character does not dominate even her own funeral.
The second way a reader feels time's force in this poem, however, is probably its prominent feature: immutable clock-time conveyed grammatically through the driving, implacable forward movement of parataxis. Events occurring without pause, without yielding insight, without any logical relationship to one another, without any ordering of importance: life is swept remorselessly along in the swift current of time, swept over the edge, perhaps to come to rest in some unfathomed end, perhaps merely to fall forever. There is virtually no syntactic subordination in this poem; the few instances are either hypothetical ("As [if]") or, more commonly, temporal ("till ... when ... till ... then ... then ... then"). The insistent beat of "when" and "then" merely reinforces the drumming tattoo of ticking time, which becomes more insistent with each stanza and climaxes with the paratactic thumping of "And" that is concentrated in the fifth stanza ("And ... And ... And ... And") as the Voice recounts its final, undefined descent beyond understanding. It is thus that the reader is propelled forward by the driving force of time: urgent, impatient, uncaring. Here, the metrical dominance of "eights and sixes" hymnal cadence, serves as bitter irony--the hope offered by Christ utterly forsworn by the bleak vision of the verse; and probably Dickinson intended a trope for metrical foot in the image of "those same Boots of Lead, again"--death busy about his usual work of blight and annihilation.
The somber implication of paratactic movement is by no means confined to this one poem: it is rendered unmistakably (though unobtrusively) in "A Clock stopped--" by "Nods from the Gilded pointers--/ Nods from the Seconds slim--"; and the irony in that poem is that God is as completely entrapped by the inflexible nature of His invention as mankind is. Indeed, throughout Dickinson's work, the use of parataxis almost always signals the inexorable drive toward death.
From Emily Dickinson. Copyright © 1988 by Cynthia Griffin Wolff.
Karen Ford
The relationship between figurative excess and endings that lack closure suggests why so many of Dickinson's poems were originally published with their difficult endings deleted (or not selected for publication at all until they were published in the complete, variorum edition in 1955). "[I felt a Funeral, in my Brain]" (P 280) was typically printed without its last stanza:
[. . . .]
And then a Plank in Reason, broke
And I dropped down, and down--
And hit a World, at every plunge,
And Finished knowing--then--
Yet, if we recognize the final stanza as a product of figurative escalations that are excessive rather than standard, we begin to understand its place in the poem.
"[I felt a Funeral--in my Brain]" begins, as so many of the poems do, with an assertion whose stability sounds unquestionable. Despite its semantic oddness, the first line is delivered with rhetorical assurance that temporarily contains its volatile subject matter. The sense of containment is not merely a product of orderly syntax and confident tone, however; it also derives from the claustrophobic setting of the funeral. Though the feeling of a funeral occurs in the speaker's brain, the analogy suggests premature burial. The mental state the speaker describes is not merely like a funeral in her brain, it is like being buried alive: the heightened awareness of sounds (treading, beating, creaking, tolling) and the sense of enclosure ("in my Brain," they all were seated," "a Box") combine with other evidence in the poem to suggest that the mourners are conducting a funeral service for a speaker who is not yet dead ("My Mind was going numb," "creak across my Soul").
The mental state described here begins as a numbing, monotonous, claustrophobic feeling but proceeds to its opposite. If the beginning of the poem figures extreme interiority, the ending of the poem depicts an even more disturbing exteriority whose boundlessness is finally indescribable. The "Plank in Reason" that breaks in the final stanza is anticipated in the shift from interior to exterior space, as though the walls, floor, and ceiling of the room (or the sides, lid, and bottom of the coffin), all made of planks, suddenly disappear, plunging the speaker into limitless and terrifying space.
The figurative path to the complete loss of reason, and its attendant spatial dissolution, is difficult to follow. Comparison with the more logical sequence of a similar poem offers an instructive contrast. "[I felt a Cleaving in my Mind]" (P 937) employs a metaphor that describes exactly what "[I felt a Funeral, in my Brain]" enacts (that is, poem 937 says what poem 280 does):
I felt a Cleaving in my Mind--
As if my Brain had split--
I tried to match it--Seam by Seam
But could not make them fit.
The thought behind, I strove to join
Unto the thought before--
But Sequence ravelled out of Sound
Like Balls--upon a Floor.
The word "cleaving" may abbreviate the contradictions of "[I felt a Funeral, in my Brain]" between the description of the mental state as claustrophobic (cleaving together) and boundless (cleaving apart). The second line establishes that the sensation being described here is some sort of mental falling apart. The orderly progression of thoughts, compared to a string of yarn or thread, cannot be knit or sewn together into a coherent sequence. On the contrary, the balls of yarn (perhaps a graphic corollary for the brain with its bundled folds and convolutions) unravel when they roll to the floor.
Not only does this poem describe the movement toward disintegration that poem 280 undertakes to depict, but it also refers to the difficulty of such representation: "But Sequence ravelled out of Sound" is not just a description of mental undoing, it is an account of linguistic failure. The sequence of mental events that leads to the disruption of rationality (another sequence) quickly moves out of verbal reach (out of sound). But that one phrase is the only hint that "[I felt a Cleaving in my Mind] " cannot fully represent its subject. Its metaphors, strings of yarn torn from some knitted whole and balls of yarn unraveling on the floor, are adequate to the task they are given. The consistency of these analogies and the brevity of the poem are indices of a certain conceptual neatness.
The difference in "[I felt a Funeral, in my Brain]" is not that its metaphors are inadequate but that its subject is much more complicated and elusive than the subject of poem 937. Here the figurative increases must be followed with decreasing certainty. In stanza one, the speaker's mental state is compared to a funeral and is characterized by morbidity, monotony, and repetitiveness so oppressive that "it seemed / That Sense was breaking through." In the second stanza, the monotony and repetitiveness continue, but the sensation of motion (in the treading feet) decreases as "they all were seated." The sound of a drum replaces the treading with even more monotonous and repetitive beating until the speaker feels her mind "going numb." When, in stanza three, she "hears" the creaking of the pall bearers' steps carrying the coffin "across [her] Soul," something changes. Perhaps the movement from the interior space of the funeral service to the exterior space of the graveyard precipitates the drastic figurative change when "Space--began to toll." The tolling of a church bell to signal the burial of the dead is consistent with the metaphor thus far, as the monotony of a ringing bell is akin to the insistent treading, beating, and creaking that precede it. What is not consistent, however, is that all of "Space" is tolling, not just a church bell. At the end of stanza three, then, the setting of the initial figure is abandoned, and only the maddening sound persists to carry the metaphors of the poem forward.
Vast, undifferentiated, resounding space is the setting of lines 11 through 14, a setting, if it can any longer be termed such, of pure sound. Space tolls as [if] "all the Heavens were a Bell" and "Being, but an Ear." Whatever the speaker means by "Being," she is not included in that category, for she and "Silence, some strange Race" are [ship]wrecked in this world of sound, like two lost mariners washed up in some alien and, we discover, hostile land. "Wrecked, solitary, here" suggests shipwreck and strange lands, but we must remember that the speaker and her companion, Silence, are disembodied; and even Being, the native race of this aural world, is "but an Ear." It is worth reflecting, before proceeding to the final stanza, that the speaker has moved from the claustrophobic environment of the funeral (perhaps of the coffin) to the boundless environment of pure sound; worse, the mind-numbing experience of the beginning of the poem has reduced her to silence, rendering her strange and solitary in this world of sound. It is this strangeness and isolation that she amplifies in the final stanza.
The last stanza restores the spatial setting, at least to the limited extent that one prop, a plank, from the material world is poised precariously over this aural abyss. Balancing on the imagery of the preceding stanza, the speaker seems to be walking the plank of a [pirate] ship, the victim of a nautical execution that recurs to the funeral motif. When the "Plank in Reason" breaks, however, she plunges into space again, rather than into the sea, and thus descends through the vast emptiness that here seems to be outer space: she "hit[s] a World, at every plunge."
This dizzying perspective of the speaker tumbling through space yet colliding with whole worlds (then bouncing off of them and continuing her fall?) is difficult to picture, which is precisely the point of such excessive imagery. Once again the admission of failure and the end of the poem coincide: "then," like "now" in "[Grief is a Mouse]," points to a moment when the poem's formulations recognize defeat. "How then know" and "Finished knowing--then" bring their respective poem's processes of knowing to an end, though the way that "then--" in this poem is suspended between two dashes suggests both ending and continuation: at that moment [then], I finished knowing; and, I finished knowing, [and]. . . then [I can't convey what happened then]. In either case, what the poem is able to do with words has ended.
From Gender and The Poetics of Excess: Moments of Brocade. Copyright © 1997 by the University Press of Mississippi. Reprinted with the permission of the author.
James R. Guthrie
In the first three stanzas Dickinson carefully erects a plausible physical setting, which she then demolishes in the last two stanzas. The poem itself functions as a house with a "cellar" in which the narrator listens to the mourners carrying a coffin, perhaps her own, across the floor "above" her head; then, in the fourth stanza, the word "here" suddenly becomes problematic, immediately before the narrator drops, first, through the cellar floor, then through her own grave, and then through the last line of the poem--multiple levels of reality or "World[s]" that her body and consciousness pierce, at every "Plunge." The "here" at the end of the poem, or the point of view from which the narrator describes the action, is finally a very different "here" from that in the fourth stanza, the place where the speaker stands as she listens to the heavens tolling like an immense bell. Because the poem replicates the disappearance or appropriation of a physical space, it can inspire in readers a sensation of bodily and intellectual disorientation that may begin to approximate Dickinson's own confusion as she made her way around the Dickinson household. Furthermore, the narrator's "unconsciousness" resulting from her "fall" in the poem's last line becomes a metaphor not only for the cessation of consciousness that is death but for the soul shut out of heaven, condemned to pass from world to world, existence to existence, without ever achieving the physical stability which is analogous to spiritual salvation.
From Emily Dickinsons Vision: Illness and Identity in Her Poetry. (University Press of Florida, 1998.) Copyright © 1998 by the Board of Regents of the State of Florida.
Return to Emily Dickinson


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Robert Wayne Harvey was born 29 June 1923 at Greyrocks, Platte County, Wyoming to Robert Earl Harvey and Hilda Marie Larson. At age 20 he enlisted in the army at Fort Francis E. Warren in Cheyenne, Wyoming as a private. He worked up through the ranks to become a Staff Sergeant in the Quartermaster Corps and part of his time of service during WWII was spent stationed on Okinawa.
Robert passed away in Kirkland, Yavapai County, Arizona on Jan 7, 1987. His memorial is located near other family members in the Pine Bluffs, Wyoming cemetery.
|Robert Wayne Harvey -- Army, WWII
Gene L. Casey Jones was born 15 October 1925 in Wheatland, Platte County, Wyoming to Lester Leroy Jones and Esther Vosberg Watson. In 1943 at the age of 18, Casey enlisted in the army at Fort Francis E. Warren in Cheyenne, Wyoming as a private and worked his way up to the rank of Sergeant. He was stationed in Austria during the latter part of the war.
Gene "Casey" Jones died while living at Yuma, Yuma County, Arizona on 27 November 1988 and is buried in the Wheatland Cemetery, Wheatland, Platte County, Wyoming.
|Gene L. "Casey" Jones -- Army, WWII


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Winner: Crysdawn "Our New Jacuzzi for the Pool House"
The neural colors of this room really let the blue ocean shine through. The different hues and textures of the wood really give it depth. And of course you need a pile of fresh fruit to keep your energy up. Great job.
Lu-Anne "Pool House Fun"
What a cool, fun room. Lots of bright colors to keep the energy going. The flooring is one of my favorite touches. Of course you need a supply of surf boards if you are living on the beach.
mountainalive "Blue Pool House"
Blue like the ocean, white like the clouds. This room is so chic. I love the addition on the different throw pillows and the dark brown of the chairs really gives it elegance.
DDH Community winner: photo513 "Patriotic Pool House"
Simple, fresh and clean. Great use of the different hues of blue with pops of ruby-red pillows. I love that there are a lot of different sitting areas. Great for entertaining.
Congrats to all the winners and thank you all for participating.


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The Olympics are staying on NBC in the United States through 2032 in a record $7.75 billion deal that cut out rival networks and seals the long-term financial security of the IOC.
In a stunning, pre-emptive deal negotiated secretly over six months, the International Olympic Committee awarded the exclusive U.S. broadcast rights to NBC on Wednesday for an additional six games.
NBC already holds the rights through the 2020 Olympics in a four-Games deal signed in 2011 for a then-record $4.38 billion.
The new agreement, which covers three Summer Olympics and three Winter Games, solidifies NBC's long-running hold on one of the world's most lucrative sports properties and offers a potential boost for a U.S. bid for the 2024 Olympics.
"We know that, with this long-term agreement, the Olympic Games and the Olympic values are in good hands with a partner we trust ... because of the long-time experience we have with NBC," IOC president Thomas Bach said.
While NBC outbid Fox and ESPN in 2011 for the previous rights, with all three networks making presentations and submitting sealed bids to the IOC, there was no auction or open bidding this time as Bach conducted hush-hush talks with NBC executives.
Bach said he first floated the idea of a new long-term deal with NBC at a dinner in New York in November. He held further talks with network executives during the Sochi Winter Games in February and continued the negotiations under wraps, with only his closest aides informed.
"The last touch was given to the deal this afternoon," Bach said Wednesday in a conference call from IOC headquarters in Lausanne, Switzerland, where the contract was signed.
Bach said he saw no reason to open up bids to other networks.
"We wanted to build on this long-term partnership with NBC," he said. "We didn't see any reason to take any risk with regards to broadcast and presentation of the Olympic Games in the United States."
The new agreement goes into effect from 2021 and covers the Summer Olympics of 2024, 2028 and 2032 and the Winter Games of 2022, 2026 and 2030. The host cities for all those games have yet to be chosen.
The deal covers all media platforms, including free television, subscription TV, Internet and mobile rights. The deal is valued at $7.65 billion, plus an extra $100 million signing bonus for promotion of the Olympics between 2015 and 2020.
According to the IOC, the new deal breaks down this way: $2.5 billion for the Olympics of 2022 and 2024, $2.55 billion for 2026-2028 and $2.60 billion for 2030-2032. It represents a 15 percent increase on average per games over the previous deal.
"This agreement is excellent news for the entire Olympic Movement as it helps to ensure its financial security in the long term," Bach said.
By 2032, NBC will have covered a total of 23 editions of the Olympics going back to the 1964 Summer Games in Tokyo. The network has broadcast every Summer Olympics since 1988 and every Winter Games since 2002 -- all the games since the 2000 Sydney Olympics.
Brian Roberts, chairman and CEO of Comcast, NBC's parent company, said the network was driven to make a new deal because of the profits and strong ratings generated by the 2012 London Olympics and Sochi Games.
"Even though we may not know what the world will look like, we feel confident that the Olympics will still be the Olympics," Roberts said.
NBC Universal CEO Steve Burke said the deal marked "one of the most important days in the history" of the network and called the Olympics "massively popular and profitable programming."
NBC and Comcast executives said rapidly-changing broadcast technology was a big motivation behind the pursuit of a new long-term deal.
Slightly more than half the viewers who watched the Sochi Olympics on NBC also used a computer, tablet or smartphone to get information about the games while the TV was on, according to the network.
The agreement could benefit a potential U.S. bid to host the Olympics. The U.S. hasn't held the Summer Games since Atlanta in 1996. The U.S. Olympic Committee is currently considering cities for a possible bid for the 2024 Olympics, which will be awarded in 2017.
The IOC and NBC said the deal was made without any guarantees of where the games will be held.
"The allocation or the election of the host city is not about money," Bach said. "There are many more factors to be considered. We were signing this agreement even before the procedure for the 2024 has started.
"Having said this, a strong bid from the United States would be very much welcome, would be a very strong competitor."
USOC chairman Larry Probst and CEO Scott Blackmun were present at the signing. The USOC will receive a 12.75 percent share of the total deal, plus or minus a margin related to inflation.
The agreement marks a big victory for Bach, who was elected IOC president in September, taking over from Jacques Rogge after 12 years in office.
It also comes as a boost as the IOC faces chronic delays threatening the 2016 Olympics in Rio de Janeiro and an uncertain field for the 2022 Winter Games, whose candidates are Almaty, Kazakhstan; Beijing; Krakow, Poland; Lviv, Ukraine; and Oslo.


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Mediterranean Stuffed Portobello Mushrooms
"It's great to gather around the dinner table and spend quality time with your family, but there's no need to break the bank on calories or raise cholesterol levels," says registered dietitian and chef Michele Powers, who recently shared 8 Ways to Enjoy Heart-Healthy Whole Grains.
With today's recipe, you can "celebrate and not feel guilty the next day," she says, because the dish is heart-healthy and "packed with tasty vegetables."
Prep time is 10 minutes, cook time is 40 minutes, and all of the ingredients should be available at your local natural and organic food store.
Mediterranean Stuffed Portobello Mushrooms
Makes 6 to 8 servings, depending on size of the mushrooms
1 tablespoon olive or canola oil
1 cup onion, diced
1/2 cup green peppers, diced
1 cup whole-grain brown rice
1/2 teaspoon dried oregano
2 cups low-fat, reduced-sodium chicken broth
6 to 8 portobello mushrooms
1 can (2.25 ounces) sliced black olives, diced
1/2 cup cherry tomatoes cut into small pieces
1 cup reduced-fat feta cheese
1/4 cup freshly chopped parsley
- In a saucepan, add oil over medium heat. Add onions and green peppers; brown slightly, about 3 minutes.
- Add brown rice, oregano and chicken broth to pan; bring to a boil. Cover and simmer for 25 minutes.
- Preheat the oven to 400°F. Lay 6 to 8 mushrooms on a baking sheet, tops down. Remove the stems (if they have them) with a spoon.
- Continue to prepare the filling by stirring black olives, cherry tomatoes, feta cheese and parsley into the cooked rice.
- Spoon equal portions of the rice mixture onto the middle of each mushroom, and bake for 12 to 15 minutes.
- Remove mushrooms with a spatula and serve.
Recipe and photo courtesy of Uncle Ben's


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Joanne Weir's Cooking Class
The James Beard award-winning cooking teacher, author and chef shares culinary techniques, tips and fundamentals with her eager students. Each week, from her cozy kitchen, Weir instructs a chef-in-training on equipping the kitchen, preparing Mediterranean-inspired recipes, and selecting complementary wines with the help of noted wine expert Andrea Immer Robinson.
Joanne Weir's Cooking Class Previous Broadcasts
Golden Gazpacho & Chicken Breasts with Relish (Episode #226)
KQED Life: Wed, Nov 26, 2014 -- 6:00 PM
Joanne helps her student Del develop his knife skills by teaching him to chop, mince, and dice vegetables and other ingredients for two of her specialties. Recipes: golden gazpacho with garlic croutons, grilled chicken breasts with sweet corn and pepper relish. Student: Clodel "Del" Gosuico - Programmer. Wine Segment: Albarino from Spain with Master Sommelier Andrea Robinson.
Veal Chops with Salad & Pineapple Sorbet (Episode #225)
KQED Life: Tue, Nov 25, 2014 -- 6:00 PM
Joanne teaches her student Kyle a classic Milanese main course topped with a salad followed by a refreshing sorbet drizzled with a unique ingredient that gets a raised eyebrow from Kyle. Recipes: golden veal with arugula and tomato salad, pineapple sorbet with olive oil and fleur de sel. Student: Kyle Khasigian - Graduate Student. Wine Segment: Let's talk about Rose.
Salmon with Herb Sauce & Orange Olive Oil Cake (Episode #224)
KQED Life: Mon, Nov 24, 2014 -- 6:00 PM
Joanne shares her trick for cooking salmon and creating a fresh herb sauce, and gives her student Yasu her first baking lesson. Recipes: olive oil and orange-essence cake with soft cream, crisp salmon with green herb and caper sauce. Student: Yasu Maskay - Public Relations Consultant. Wine Segment: Describing wines with food terms.
Zucchini Blossom Risotto & Lemon-Shrimp Risotto (Episode #223)
KQED Life: Fri, Nov 21, 2014 -- 6:00 PM
Joanne's side-by-side instruction gives her student Michael the recipe to make the perfect risotto including a special trick to produce the creamiest results. Recipes: farmers market risotto with zucchini and their blossoms, risotto with lemon shrimp. Student: Michael Procopio - Writer/Waiter. Wine Segment: The "Big Six" grapes.
Grilled Sea Bass with Romesco & Summer Vegetables (Episode #222)
KQED Life: Thu, Nov 20, 2014 -- 6:00 PM
Joanne gives her student John a hands-on cooking lesson on grilling fish and vegetables indoors, and teaches him how to prepare a Spanish-inspired sauce. Recipes: grilled sea bass with almond romesco, grilled summer vegetables. Student: John Washko - Hotel Entrepreneur. Wine Segment: Contrast and compliment in wine pairing.
Tomato & Mozzarella Farfalle & Crispy Cracker Bread (Episode #221)
KQED Life: Wed, Nov 19, 2014 -- 6:00 PM
Joanne raises the curtain on her student Bob's cooking skills as she shows him how to make a tangy cheese pasta dish and roll dough for the crispiest cracker bread. Recipes: farfalle with olives, capers, tomatoes and mozzarella, crispy cracker bread. Student: Bob Duxbury - Playwright /Teacher. Wine Segment: Pinot Gris and Pinot Grigio with Master Sommelier Andrea Robinson.
Ricotta Mint Ravioli & Lemon Salad (Episode #220)
KQED Life: Tue, Nov 18, 2014 -- 6:00 PM
Joanne's teaches her student Michelle how to make pasta from scratch and encourages her to try it at home. Recipes: tomato and lemon salad with lemon-scented oil, homemade ricotta and mint ravioli with sweet tomatoes. Student: Michelle Soto - Financial Advisor. Wine Segment: Understanding Italian wine labels.
Cherry Tomato Pizza & Fennel Arugula Salad (Episode #219)
KQED Life: Mon, Nov 17, 2014 -- 6:00 PM
Joanne demystifies yeast and teaches her student Jerry a foolproof pizza dough and shows him how to create a well-seasoned vinaigrette. Recipes: pizza with cherry tomato and basil salad, fennel, arugula, and radicchio salad with shaved pecorino. Student: Jerry Feldman - International Business Development. Wine Segment: Soave wines from the region around Venice.
Asparagus Puffs (Gougeres) and Lamb Skewers With Fava Salad (Episode #218)
KQED Life: Fri, Nov 14, 2014 -- 6:00 PM
Joanne shows her student Del how to peel fava beans and use rosemary in an unexpected way, and then they create a seasonal twist on the classic French cheese gougeres. Recipes: asparagus cheese puffs, grilled lamb on rosemary skewers with warm fava salad. Student: Clodel "Del" Gosuico - Programmer. Wine Segment: Chateauneuf du Pape.
Beet Gorgonzola Salad & Veal Chops (Episode #217)
KQED Life: Thu, Nov 13, 2014 -- 6:00 PM
Joanne takes the challenge of changing her student Michael's mind about certain ingredients by teaching him two delicious recipes. Recipes: watercress and beet salad with gorgonzola and walnuts, veal chops with olives, capers, and sage. Student: Michael Hauptman - Lawyer. Wine Segment: Cotes du Rhone for everybody.
Asparagus Salad with Tangy Relish & Rolled Pork with Figs (Episode #216)
KQED Life: Wed, Nov 12, 2014 -- 6:00 PM
Joanne's watchful instruction and encouragement gives her student Yasu the confidence to try more challenging recipes. Recipes: grilled asparagus salad with lemon shallot relish, pork tenderloin with onion, orange and fig marmalade. Student: Yasu Maskay - Public Relations Consultant. Wine Segment: "What is a Master Sommelier?" with Master Sommelier Andrea Robinson.
"Saintly" Penne & Fried Oyster Caesar (Episode #215)
KQED Life: Tue, Nov 11, 2014 -- 6:00 PM
Joanne finds her student Ron's enthusiasm for food contagious as she shows him how to prepare a pasta dish whose star is a spicy olive oil condiment, and shares the story of how she came up with a novel take on a popular salad. Recipes: penne with olio santo, ricotta salata, olives and mint, fried oyster "caesar" salad. Student: Ron Martin - Firefighter. Wine Segment: Dolcetto from Italy's Piedmont region.
Spicy Crab Linguine & Winter White Salad (Episode #214)
KQED Life: Mon, Nov 10, 2014 -- 6:00 PM
Joanne gives her student Leigh a crash course on working with crab and creating a composed salad. Recipes: winter white salad with a hint of green, linguine with spicy hot crab and tomatoes. Student: Leigh Balkom - Healthcare Professional. Wine Segment: Vouvray from the Loire Valley.
Provencal Roasted Lamb & White Bean Salad (Episode #213)
KQED Life: Fri, Nov 7, 2014 -- 6:00 PM
Joanne shows her student Geoff how to cook a hearty one-pot main course and introduces him to new flavor combinations. Recipes: pot roasted leg of lamb with garlic and olives, white bean salad with peppers, goat cheese and mint. Student: Student: Geoff Rubendall - Civil Engineer. Wine Segment: The wines of southern France.
Chicken Ragout & Stewed Grape Panna Cotta (Episode #212)
KQED Life: Thu, Nov 6, 2014 -- 6:00 PM
Joanne instructs her student Heather on the fundamentals of slow cooking, or braising, and then shows her to create a dessert with a "wow" factor. Recipes: chicken ragout with autumn vegetables, panna cotta with stewed grapes. Student: Heather Tay - Sales Executive. Wine Segment: Different types of Chardonnay.
Asparagus Soup & Grilled Herbed Lamb Leg (Episode #211)
KQED Life: Wed, Nov 5, 2014 -- 6:00 PM
Joanne teaches her student Cheryl the basics of soup-making and using fresh and dried herbs to create two delicious recipes. Recipes: asparagus soup with lemon creme fraiche, grilled leg of lamb with lavender-rosemary rub. Student: Cheryl Kovalchik - Entertainment Marketing. Wine Segment: Pairing wine and food from the same region, with Master Sommelier Andrea Robinson.
Spicy Sausage Penne & Harvest Flatbread (Episode #210)
KQED Life: Tue, Nov 4, 2014 -- 6:00 PM
Joanne shows her student Jerry how to prepare one of her favorite pasta recipes, and gives Jerry a "punching" lesson with flatbread dough. Recipes: penne with tomatoes, spicy fennel sausage and cream, wine country flatbread with grapes and toasted walnuts. Student: Jerry Feldman - International Business Development. Wine Segment: Cooking with wine.
Wild Mushroom Lasagna & Grilled Pepper Salad (Episode #209)
KQED Life: Mon, Nov 3, 2014 -- 6:00 PM
Joanne unlocks the mystery of preparing lasagna using dry pasta for her student Aggie, and gives a hands-on lesson on grilling peppers over the gas stove. Recipes: lasagne with wild mushrooms, leeks, and gorgonzola, grilled salad with peppers, olives, and caperberries. Student: Aggie Gettys - Music Industry Promoter. Wine Segment: Pinot Noir with rich foods.


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I've had 7 sessions on my new Nitro II 12m totalling about 10 hours in Vietnam's warm, tropical, thermal winds. The wind speeds I am using in this review range from 12-20 knots. I am 6' tall, 66 kilos, intermediate/advanced rider with 200+ days per year on the water, riding aggressive old school style on a Shinn Monk 135x42 with Switch bar and 23m lines. I rode mostly Rebels in the past 2 years and I have a 16m Nitro 1 as my comparisons.
First I have to say this is a well-built kite. I'm completely impressed with the quality and everyone I've shown it to agree with its quality. Bag is great! 5 stars for sure.
Power: This kite is very powerful and it requires apparent wind to find it. Once I am moving, the power just keeps building. I think V2 is even more powerful than V1 by say 10- 15%. I was impressed with how much power I had compared to my rebel 12m. However, it is a very different kite and cannot really be compared to the rebel. I had problems trying to dump the power for transitions and loading sent jumps. This kite just wants to pull. Once you gain speed, trying to carve off the power while sending the kite up towards 12 just doesn't work even after I manage to get my edge back it wants to stick at 45 degrees and pull harder. I changed my technique a bit by running at the kite downwind while sending it up and that seemed to help kill power a bit especially after a jump or trick landed at speed. Or alternatively, I would make a toe side turn against the kite before it turned to get the power off of me. I did find it annoying that I couldn't ride hooligan style as I did on the rebel with its instant power dump when I wanted. With the Nitro V1 16m I don't seem to have this problem however it is lighter wind that I'm using it in and I use 30m lines.
Hang time: Amazing hang time and butter soft landings! Loads of time to sort out your tricks. I still have troubles getting the timing for sent jumps since the kite wants to pull me off my edge at 11 o'clock or 1 o'clock while sending it at speed. Perhaps this is due to my weight. I've had a few impressive jumps that were taken off 2 foot kickers but I think this kite was not really intended to be an explosive jumper. I would really love to try a 10 or 8m size to compare.
Turning speed: Meh… not so impressive. Turns like a truck and with lots of pull. It is a high aspect kite intended for racing so I'm not surprised. I was just hoping that those square wingtips were going to have changed the turning speed from V1. Not so.
Drift: Surprisingly enough, I have not been able to overrun the kite yet. Even a botched landing with the kite slightly behind me- the kite just drifted back to where it should be. In the V1 Nitro, you get the classic Hindenburg drop usually rolling the kite sending me to the beach to sort out my lines. I think the drift is much better on V2.
Upwind: This will blow you away! I can go upwind at angles I didn't think were possible. This is where this kite really shines. With my rebel 12m, I need to do 2 longer tacks to arrive at the same place upwind vs. one smaller tack with the Nitro2. The kite sits very far to the edge of the window with loads of power and constantly drives upwind. I'm not a racer but I can certainly appreciate its capabilities.
Relaunch: Super! I did drop it a couple times trying some new tricks but it went back up super easy with just one line. Unlike the V1 where I needed to grab an outside and opposite inside line to fish the kite up on its edge.
Bar Pressure: I had my first session on the fastest turning speed, lowest pressure, but I just couldn't feel the kite (too light) since there was almost no pressure. I've settled for medium pressure which is still quite light compared to the V1.
I was looking for a kite to replace all my Rebels but I'm still not sure this kite suites my hooligan riding style. If I could dump the power when I want, this kite would be my new love. Just had a ride on a 13m Ozone edge which felt comparable to the 12m Nitro 2 in apparent power delivery however with the Edge I can access/dump the power better resulting in better timing for sent jumps and worry free transitions.
Overall Nitro 2 is the best "Race specific" kite I know. Upwind is unmatched even to Ozone Edge. If I wanted to win a race, this is the kite I would choose. I don't recommend this kite for people who want to ride old school aggressively with lots of transitions, jumps, and turns since you will be constantly fighting the awesome power it delivers.
Posts: 11Joined: Mon Nov 26, 2012 11:45 am


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Picture: Arctic Monkeys - The 2014 Master Card Brit Awards held at the O2 - Arrivals. - London, United Kingdom - Wednesday 19th February 2014
Arctic Monkeys and One Direction were double winners at the 2014 BRIT Awards on Wednesday night (19Feb14).
After opening the ceremony with a fiery performance of their hit RU Mine?, the British rockers took home the trophy for Best British Group, joking that they had lost money by betting on category rivals One Direction to win.
The band also took the stage to accept the coveted Best British Album award for Am, which beat off releases by Rudimental, David Bowie and Disclosure, and frontman Alex Turner delivered a poetic acceptance speech about the resurgence of rock music.
He told the audience at London's O2 Arena, "That rock and roll just won't go away. It might hibernate from time to time... but it's always waiting there, just around the corner, ready to make its way back through the sludge and smash back through the glass ceiling, looking better than ever. That rock and rock, it seems like it's faded away sometimes but it will never die. And there's nothing you can do about it."
The band has now won the British Group award three times.
One Direction also took a pair of honours, claiming the Global Success Award for the second year in a row, and picking up the Best Video trophy after winning a live Twitter.com fan vote by a landslide.
An emotional Ellie Goulding kicked off the prize list at the top of the show, when she was handed the award for Best British Female by pop superstar Prince. The win ended years of disappointment since her last Brit - a Critics' Choice award in 2009.
David Bowie was handed the prize for Best British Male, a prize he last won in 1984, but he did not attend in person, and asked model pal Kate Moss to collect his award, dressed in one of his old stage costumes.
Bruno Mars was named Best International Male for the second time, having previously scooped the gong in 2012, while 17-year-old New Zealander Lorde continued her amazing 2014 by winning International Female, Daft Punk were handed the International Group award, and Bastille were shocked to take home the British Breakthrough Act prize, beating brotherly duo Disclosure, who went home empty handed despite being nominated for four awards.
Live performances came from Katy Perry, who strutted the stage as a day-glo Egyptian queen, Bruno Mars, who bounced around the stage while he performed Treasure, Ellie Goulding and Beyonce, who performed her track Xo live on Tv for the first time.
It was also a night for onstage collaborations as Lorde and AlunaGeorge singer Aluna Francis teamed up with Disclosure to play a mash-up of their respective hits Royals and White Noise, and Rudimental were joined on stage by Bastille.
Pharrell Williams and Nile Rodgers closed the show with a medley of Daft Punk's hit Get Lucky and Williams' No. 1 Happy.
The full list of winners is as follows:
British Female Solo Artist: Ellie Goulding
British Group: Arctic Monkeys
British Breakthrough Act: Bastille
British Male Solo Artist: David Bowie
International Female Solo Artist: Lorde
Best British Video: One Direction - Best Song Ever
British Single: Rudimental featuring Ella Eyre - Waiting All Night
International Group: Daft Punk
International Male Solo Artist: Bruno Mars
British Album: Arctic Monkeys - Am
Special Recognition Award: War Child Uk
Critics' Choice Award: Sam Smith
Global Success Award: One Direction
British Producer Of The Year: Flood & Alan Moulder


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Sunderland defender Lamine Kone has signed a new five-year contract with the Premier League club.
The Ivory Coast international, 27, said he wanted to leave in August and was a target for Everton.
However, a move did not materialise for Kone, signed from French Ligue 1 club Lorient in January.
"Lamine is an important player for this club and I made that clear to him from the outset," said Sunderland manager David Moyes.
Kone was signed by Moyes' predecessor Sam Allardyce and played a key role in their survival in the top flight last season.
Moyes added: "He only been playing in the Premier League since January, but in that time we have already seen what he is capable of.
"The challenge for Lamine now is to build on what has been a very positive introduction to English football and to continue to improve and grow as a player."


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Fred Holroyd
Although I was born in Scotland, I spent most of my childhood in Africa, my parents being in the Colonial Civil Service. Though I don't really mind the cold, I still find British winters ridiculously dark. Still, the London Open always cheers things up a bit.
I think I first encountered Go in the early 1970s. Roy Nelson and I started a club at the Open University, Milton Keynes, in about 1978 as I recall, which (as the OU and Milton Keynes Go Club) is still afloat.
I was Minutes Secretary of the BGA for three years between the 2004 and 2007 AGMs, and edited Issue 152 of the Journal in 2010.
My first and only job, from which I recently retired, was as a mathematician at the aforesaid OU. I'm still an Honorary Visitor at this excellent institution. Currently I have the (probably) completely mad self-imposed task of proving that something that was proved in the 80s not to be provable, actually is provably provable (if you see what I mean). Maybe my re-election to the BGA Council will cure me of this!
Up until 2005, the OU had maths summer schools and I always brought along a set or two, introducing Go to several good people over the years. A variable player, I seem to have peaked at 2k in 2001 and been wandering in the 5k-8k region in recent years. I no longer possess the hat in the photo. If anyone has picked it up at a tournament since 2009 or so, please let me know . . .
May 2013
|Status: Active
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Glediator stands for Graphical LED Installation AnimaTOR and is a small piece of software to control led matrix and led stripe installations.
Glediator is written in Java and thus platform independent.
Glediator can drive led installations made of:
On this page (external link) you will find a lively discussion about Glediator and ongoing progress (became a really long thread meanwhile).
This clip is showing an old version of Glediator since there are drastic changes to the curent version an updated clip will be added soon.
Just download the zip file of the latest software version from the download section and extract it to a folder on your local hard drive. To be able to use Glediator's serial output you will have to install the RXTX library on your system. A simple google search for "RXTX" followed by your system (e.g. "Win 7 64bit") will guide you easily to the RXTX page were you will find corresponding files for download as well as a short installation manual. It's really not a big deal.
just start Glediator by a double click on "Glediator.jar" or by using the command "java -jar Glediator.jar" from within a console.
Glediator can shift data out via serial interface (COM ports as well as virtual COM ports) and via Ethernet (ArtNet, TPM2.Net). The serial interface can be adjusted up to 1000000 baud allowing to push out frames as big as about 1000 pixels with a frame rate of 24 FPS. Via Ethernet much bigger matrices can be supplied with data. Glediator has no restrictions to the matrix size. However, you will certainly come to the point were the power of your PC's CPU will not be sufficient to calculate huge matrices in the range of 200x200 Pixels.
If you want to control an LED stripe / matrix made of the legendary WS2801 pixels and you have an Arduino you can just download the Arduino sketch from here and operate your matrix by Glediator! The baud rate in the firmware is set to 500000 baud. If you configure Glediator output just choose this baud rate, select "Glediator Protocol" as output type and select your particular pixel oder / board order (latter one only if you divided your matrix into sub matrices). Choose your Arduino's COM port and your are done. The firmware can handle up to 512 Pixels on an Arduino UNO / Leonardo / Micro / Mini.
If you have a bigger matrix / stripe we also have a version of the firmware for Arduino MEGA. If you use it you have to set baud rate within Glediator to 1000000 baud!! It also may be necessary to disable the "auto reset" function of the mega (depends on your particular version). How to do this can be figured out with a simple google search! The Mega's version of the WS2801 firmware can handle up to approx. 1024 pixels.
Note: In both version of the firmware you have to adjust the number of pixels in the header of the code before uploading it to the Arduino. You can also set the Arduino pins for DATA and CLK there.
Since LEDs with integrated PWM controller become more and more popular (and cheaper) many people were asking for steering these guys with Glediator. And here we go: We made a sketch for all kind of Arduino boards (UNO, Leonardo, Mini, Micro, Mega, etc.) that receives serial data and feeds stripes / matrices of WS2811/WS2812 pixels. You can download the sketch here.
The firmware can handle up to 512 pixels. It uses a fixed baud rate of 1000000 baud. Set color order to BRG within Glediator. It's highly recommended to put a resistor (100-200Ohm) into the data line. It's also no bad choice to add a 220µF capacitor to the power line of the stripe / matrix.
Note: You have to adjust the number of pixels in the header of the code before uploading it to the Arduino. You can also set the Arduino pin for DATA there.
By the way: You can find a selection of certain Neo-pixel stripes / matrices / arrangements for moderate amount of money in the Agile Hardware web shop.
The current Version of Glediator Software is V2.0.3. Latest changes are:
A complete change log can be found here.
Will follow within the next future. For the moment just feel free to try out. You can't do any mistakes!
A very small program written in JAVA that allows you to remotely control Glediator via Network. You can find GRC in the download section.
The used protocol is described here (external link).
A more detailed manual for GRC will follow in the next future.
I have problem with configuration Glediator. My com-port windows is empty. Does someone know why?
Hi guys, After long reseach and try to get working WS2812B with arduino leonardo, i found this scketch for arduino :
#include "FastLED.h"
#define NUM_LEDS 300
CRGB leds[NUM_LEDS];
void setup() {
LEDS.addLeds(leds, NUM_LEDS);
int serialGlediator() {
while (!Serial.available()) {}
return Serial.read();
void loop() {
while (serialGlediator() != 1) {}
for (int i=0; i < NUM_LEDS; i++) {
leds.r = serialGlediator();
leds.g = serialGlediator();
leds.b = serialGlediator();
Just copy and paste in new scketch and download to your board. The code are realy simple but it's work great :)
Can I work with glediator conected to a T300K?
I'm trying to set it up but I can't
The ip address for de T300K is 192.168.60.50.
Hola. Se puede trabajar con gladiator conectado a un T300k.? He intentado configurarlo pero no puedo.
El t300k tiene como ip de entrada 192.168.60.50
Try installing 32 bit version of RXTX (X86). Worked for me
i'm shure i can write a patch that adds these capability. i will post it here as soon im ready.
Hi all,
I've usd a java decompiler to check to source.
And I found that this.glediator_model.output.startSerial(com_port, baud_rate); is only run when you press the "Open serial" Button with pb_serial_openActionPerformed() :(
It could be easy to add this function during parameter parsing process in extractMainProperties.
Did you planned to release a new version ?
Thx for you support
fixed my computer could only see it as a WinRAR file
Someone got it working with a Raspberry (Debian) + Arduino uno? Glediator doesnt show any com ports... but the Uno is working with the IDE
pls can someone watch video i told me where i make mistake
i download glediator , skech for ws2812 , new leds and i cant make them to work
This is a custom firmware for the esp8266 wifi module that will drive a strand of ws2812 LEDs using the TPM2NET protocol. I was successful at driving 132 LEDs (11x12 matrix) using this firmware and the pixelcontroller (v2.1.0-RC1) software. I expect it to operate more LEDs (hopefully up to 512 LEDs) ...
Hi, I'm using ARDUINO MEGA and LPD6803. What changes would have to do the firmware for this to work with these leds?
Thank you!
I am using a Teensy 3 and Glediator together. I don't remember what I had to change to make it work but I can email you a copy of my sketch if you like.
I am using a Teensy 3 and Glediator together. I don't remember what I had to change to make it work but I can email you a copy of my sketch if you like.
Sussed it :) now have Glediator running with an Arduino Uno on LPD8806 strip :)
It seems that this is the Mixer "Divide". When re-opens Glediator, all configurations are broken.
40-50 it is and I will certainly feed each line.Thanks!
Also, I saw your 512 matrix and it was just insane, Can I ask you what your total dimensions of the project was?
I want to use glediator but i have windows and i can't install it.
any solutions?
Yes, it is! For the Mega you just have to slightly change the Arduino Sketch for WS2801 pixels in our download section.
This is due to the 4 available UARTS on the Mega instead of one for the UNO.


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If you are doing some on-line business where customers come to your website and make direct purchases, then it is very important to have a Storefront script or a Shopping cart script built on your website. Some of these scripts cost you from $50 to $650 and few of them are free of cost. There are many offshore Zen Cart developers company who can help build a user-friendly website, which is a guarantee for high traffic and high sales. A website easy to navigate, easy to pick your items in a list and checkout is always preferred by customers.
Zen Cart comes with many benefits which makes it the best solution for shopping carts. This is a free open source shopping cart software based on PHP that is available under the GNU license.
Most of the e-commerce company hire developers who helps them install the Storefront script and then integrating your on-line store to a payment gateway. It is also very necessary to install SSL certificates as no customer would like to enter in an ordering process where the system is not protected by proper security certificates. Proper on-line security, attractive and easy shopping cart designs is where you will require to hire Zen Cart developers if you don't have required skills and creativity.
But, the question is Why hire Zen Cart developers? There are so many shopping carts available ranging from cheap to expensive. Then why this free software? Zen Cart was originally developed by a community of programmers, shop owners and some web designers who just wanted a simple e-commerce tool. There are a few advantages below which makes it a favorite among other Shopping Carts:
1. Easy Installation: Offshore developers provide simple scripts or Fantastico as application installers to install this software. Knowledge of PHP and MySQl would be important to go through the instructions of installing this shopping cart. In addition, as this is the most standard shopping cart, its installation is easiest compared to other shopping carts available.
2. Add-ons Availability: Since its development and inception about five years ago, many programmers have developed numerous add-ons which can be downloaded and installed on your cart easily. This gives you extra features and functionality to provide your customers a great shopping experience. Through these add-ons you can add extra languages and even administrative tools.


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General Motors CEO Mary Barra fired 15 employees and reprimanded another five after the U.S. Attorney Anton Valukas issued a stinging report about why it took the automaker 11 years to recall cars fitted with faulty ignition switches that led to several accidents and deaths. The company has agreed to pay a $35 million fine to settle a federal investigation into the U.S. automaker's delayed global recall of 2.6 million vehicles and Barra said GM will set up a compensation fund for crash victims. But recent data suggests that although recall rates have risen in recent years, many drivers may still be willing to take their chances.
Last month, GM's GM, +2.13% reached agreement after accidents involving Chevrolet Cobalts, Saturn Ions, among other compact cars, were cited in 13 deaths in the U.S. when a faulty ignition-switch shut off power to the vehicles. Earlier this year, Honda HMC, +1.31% also announced that it's recalling more than 886,000 Odyssey minivans. Given the more serious nature of the General Motors recall, consumers are more likely to take action, says Jack Nerad, executive market analyst and editorial director at Kelley Blue Book.
The overall recall response rate hovers at around 70%, according to the National Highway Traffic Safety Administration, but that doesn't necessarily indicate completion of the recall. "They would like to boost that response percentage," Nerad says. "If there are 1 million recalls and 30% of people aren't responding, that's still a big number." And the longer the recall is delayed, the more likely such a situation could occur. "Some people take the attitude that if it's sunny today, it's never going to rain," he says. "With wear and tear, older cars are more susceptible to something going wrong related to that flaw."
There's a financial cost to not responding to a recall notice. "If you ignore the recall completely and have a problem, it could be an issue for financial compensation," says Patrick Regan, a civil trial attorney based in Washington, D.C., who also handles product liability cases against automobile manufacturers. The law might rule that the driver in question "assumed the risk" of the product, he adds. Used car owners who have not received a notification of the defect would have a stronger case, he says. With the breadth and age of the cars involved in the General Motors recall, he says, "these cars could have changed hands five times. If you don't get the attention of owners right now, you may never get them."
But the older the car, the less likely people will return it, according to a 2012 Society of Automotive Engineers report. Only 42% of people responded to recalls for 2000 models, versus 49% for 2001 models, it found. The rate of recalls steadily increased to 74% for 2004 models, 77% for 2007 models and 89% for 2009 models. One theory: drivers may believe that the longer they drive a car, the safer it is. But older cars are also sold on to third parties and, therefore, become difficult for auto makers to track. That said, owners of new and used cars can sign up for recall notifications by email at the NHTSA's safety issue search site, says Heather Hunter, a spokeswoman for the American Automobile Association.
And drivers do need a certain amount of cajoling, according to the Society of Automotive Engineers report. Automotive companies can boost the response rate with pre-calls to consumers followed up by a notice sent by FedEx (rather than ordinary 1st class or priority USPS mail), it found. Experiments with the color of print and size of envelope notifying people of the recall had negligible impact, "but automated pre-calls timed to occur 1 to 2 days prior to delivery of a paper notice were more effective than follow-up calls timed to occur after the mailings had been delivered," the report concluded. The percentage of people who respond to auto recalls varies greatly between manufacturers and even different campaigns, says Joe Wiesenfelder, executive editor of auto news site Cars.com. "An automaker might claim 95% compliance on some recalls and, say, 50% on others," he says. "But safety recalls definitely get higher numbers."
This story has been updated from a previous version.
Other articles by Quentin Fottrell:
5 ways commuting is ruining your life
3.5 million defective cars were sold online last year


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Nico and his beloved Lola
...with her adorable son close-by to assist :)
A wonderful morning of playdate mayhem at our house with almost a dozen kids running around, but SO worth it to have these yummy little ones to sit on my lap and their mamas to visit with!
Thank you Nicola, Liz and Robin!
Santa and the Birthday Fairy were quite generous this year and I received a pretty red ring... a Canon L series lens
Which I was able to take into San Francisco (all by myself!) for the day to practice new techniques I've been working on
panning the camera to keep an object in motion in focus
and time to play in Union Square
It was a lovely holiday season and a wonderful way to wrap up a busy year.
I'm wishing you, my friends, a magical year full of love and joy!


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Senate Finance Committee Chairman Tommy Williams, R-The Woodlands, added the refund to House Bill 7, a bill to reduce the state's reliance on funds collected for a particular purpose but not spent for that purpose. Lawmakers and state leaders including Gov. Rick Perry want to curb the practice, calling it gimmickry because the unspent funds are used help to balance the budget.
One of the so-called dedicated funds that has built up a huge balance is the System Benefit Fund, which is fueled by fees and meant to help needy customers with their bills. It was established as part of utility market deregulation.
Williams wants to refund $630 million from the fund to business and residential customers, calling it an important part of the Senate's plan to deliver tax relief demanded by Gov. Rick Perry.
Rep. Sylvester Turner, a Houston Democrat who is one of the negotiators, has opposed the refund because he says the money should serve the needy people for whom it was collected.
Turner and other House negotiators have said it is not part of the budget agreement. A separate refund measure earlier was approved by the Senate but languished in the House.
Senate passage of HB7 will send the bill back to the House for consideration of changes.
The bill was approved 26-5. Voting against it were Democratic Sens. Rodney Ellis of Houston, Sylvia Garcia of Houston, José Rodríguez of El Paso, Kirk Watson of Austin and Judith Zaffirini of Laredo.