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This is FRESH AIR. I'm Terry Gross. Lots of us have had this experience as a teenager: You become friends with people who seem smarter, more talented, more interesting than you, you want to be part of their group, and you also want what they have and you don't, so friendship can take on an edge of jealousy.
This is the kind of friendship that opens Meg Wolitzer's "The Interestings," which comes out in paperback next month. It begins at a performing arts summer camp in 1974, where the main character, Julie, a newcomer to the camp, is invited into a circle of 15 and 16 year-olds who nickname themselves, with knowing irony, the Interestings.
The novel follows them through middle age, as Julie continues to see her life as ordinary, while a couple of the friends she made at the camp continue to seem special, lit by the aura that talent and recognition bring. Wolitzer's other novels include "The Position," about how the lives of four siblings are transformed when they accidentally discover that their parents have written a sex manual; and "The 10-Year Nap," about a group of highly educated working women who gave up their careers to raise their children.
Meg Wolitzer, welcome to FRESH AIR. I'd like you to start with a short reading from the beginning - not the very, very beginning - but from the opening chapter of "The Interestings."
MEG WOLITZER: Sure. This part takes place at summer camp, and it takes place in a boy's tepee, these kind of wooden tepee structures. And my main character has been invited in with this group of kids who she thinks is very sophisticated. And this takes place in that evening.
(Reading) Here she was now planted in the corner of this unfamiliar, ironic world. Irony was new to her and tasted oddly good, like a previously unavailable summer fruit. Soon she and the rest of them would be ironic much of the time, unable to answer an innocent question without giving their words a snide little adjustment.
(Reading) Fairly soon after that, the snideness(ph) would soften, the irony would be mixed in with seriousness, and the years would shorten and fly. And it wouldn't be long before they all found themselves shocked and sad to be fully grown into their thicker, finalized adult selves with almost no chance for reinvention.
(Reading) That night, though, long before the shock and the sadness and permanence, as they sat in Boys Tepee 3, their clothes bakery sweet from the very last washer-dryer loads at home, Ash Wolf said every summer we sit here like this. We should call ourselves something. Why, said Goodman, her older brother? So the world can know just how unbelievably interesting we are? We could be called the unbelievably interesting ones, said Ethan Figman(ph). How's that? The Interestings, said Ash. That works.
(Reading) So it was decided. From this day forward, because we are clearly the most interesting people who ever lived, said Ethan, because we are just so compelling, our brains swollen with intellectual thoughts, let us be known as The Interestings, and let everyone who meets us fall down dead in our path from just how interesting we are.
(Reading) In a ludicrously ceremonial moment, they lifted paper cups and joints. Julie risked raising her cup of vodka and Tang, V&T they called it, nodding gravely as she did this. Clink, Cathy Kipplinger(ph) said. Clink said all the others. The name was ironic, and the improvisational christening was jokily pretentious. But still, Julie Jacobson though, they were interesting.
(Reading) These teenagers around her, all of them from New York City, were like royalty and French movie stars with a touch of something papal. Everyone at this camp was supposedly artistic, but here, as far as she could tell, was the hot little nucleus of the place. She had never met anyone like these people. They were interesting compared not only with the residents of Underhill, the New York suburb where she'd lived since birth, but also compared with what was generally out there, which at the moment seemed baggy-suited, nefarious, thoroughly repulsive.
GROSS: That's Meg Wolitzer, reading from her novel "The Interestings," which comes out in paperback next month. So Jules, the main character, and it's a girl named Jules, wants to be interesting like her friends are, her friends who she perceives as being more talented, more special, more interesting than she is. What did interesting mean to you at that age, when you were 15, 16?
WOLITZER: Oh my God, I went to a summer camp, in fact in the summer of 1974, when this book takes place, and I didn't even know from interesting until I went to that camp. I just felt like I came alive seeing these other kids who seemed just so much more articulate than I was and who sort of knew what they wanted to do.
Some of them were wonderful actors. They were serious musicians. We had - we listened to music in something called the Charles Ives Room.
GROSS: Oh wow.
WOLITZER: How could you not be interesting sitting in a Charles Ives room? It was just thrilling to me, and I think that, you know, it wasn't peer pressure but the idea of wanting to be like that, wanting to make yourself a little bit better was something that I felt very strongly.
GROSS: Did you think that you were interesting and that you were talented or just that they were?
WOLITZER: I didn't think I was so interesting, but I realized that what I had maybe was a kind of little suburban quirky, funny self that I could sort of parlay into something a little bigger than I had done in my real life. So I sort of built it up a little bit. I wisecracked somewhat. But no, I think I gave the interesting attributes to them.
GROSS: So the camp in the book is an arts camp, and the camp you went to was an arts camp. Was your art writing?
WOLITZER: No, it was acting. I mean, but I'm so embarrassed saying that because I was really bad. I sort of believed that projecting was the same as emoting. So I'd be like mother, where are you, you know, making your voice that way, kind of like the equivalent of the poetry voice, I come into the room.
WOLITZER: You know, I did the - the oranges are on the table.
GROSS: I k now that voice.
WOLITZER: I was in the "House of Bernarda Alba" by Lorca. You know, I did the definitive version, of course, of the grandmother walking around singing little lamb. I just remember being so excited. I'd never heard of that play or Lorca. We also did "Six Characters in Search of an Author." I had never sort of - you know, growing up where I did in the junior high school and high school, you know, it's like a world of, you know, God what other plays, like "Fiddler."
It's like "Fiddler" 24/7 in the kind of - you know, in high school in a big, suburban high school, or "Oklahoma." And this was not musicals. This was acting. I wasn't good. I couldn't get good. I couldn't get that natural thing. But I loved being around it, just sort of lying on the grass in front of the theater building, painting a set, just remembering lines. It just felt like, you know, you were part of something, like I'd find my cohort, but I wasn't good.
I mean, there was a girl who was so incredibly talented, and I could see the difference, believe me.
GROSS: So the camp you went to sounds like it was mostly a performing arts camp with painting.
WOLITZER: Right.
GROSS: Because you could paint sets. So I don't know if you realized yet that you were a writer, but did writing seem to have that kind of, like, artistic importance to you that the performing arts had?
WOLITZER: Yeah, you know, I think I...
GROSS: Because you're not doing it in front of an audience. There aren't rows and rows of people admiring you as you do your thing.
WOLITZER: I know, but if I went on with the acting, there wouldn't be rows and rows of people admiring me. And with writing, it was interesting. Because my mother is a writer, when I was young I would write something and sort of, you know, rush in to show it to her. So maybe we're always looking to please somebody.
And I think some people start - a lot of writers, I think, start off writing for someone, whether it's a parent or a teacher or just the fantasy ghost of Jane Austen. And then eventually of course you have to give that up. You have to give up those training wheels in a way. But writing for someone, instead of writing into a void, I mean, I think is tremendous.
So it's not the same thrill of applause and taking a bow, but there's something to it, about the connection with someone else, I think, when you write that I always did love. And having that with readers now, of course, is the extension of that.
GROSS: Your mother is the writer Hilma Wolitzer. And I'm wondering how honest she was with you about your writing when you showed it to her.
WOLITZER: She was - she was great. I remember once she told me that something needed work, and I promptly burst into tears. I was 38 - no.
WOLITZER: Not true. She was wonderful about it. She liked a lot of what I did, and maybe she was, you know, positive, more positive than a writing teacher might have been, but I think she tried to be honest. And it's difficult when someone doesn't love something you've done. There's that awkward moment. But I think she was - she tried to sort of help me through those things, which is that the world, you know, there will be moments, there will be people who don't love what you do.
There will be lines that aren't as good as other lines. And, you know, and I'd seen that with her, I mean how hard it is to be a writer. First of all, just getting it done, sitting there every day. I mean I would go off to school in the morning, and she'd be at her typewriter. This is back in the days when, you know, you'd sit at a typewriter that was as loud as a blender, and you'd do everything with White-Out. It was like sort of doing crewel work or scrimshaw.
And I'd come home and she'd basically be in the same position that she'd been in when I'd gone to school. So I saw how hard it is. And then of course there's when it comes out in the world and that feeling of vulnerability. So she was kind of like my royal taster. I saw what all of that was like through her.
GROSS: There's an opening quote in your book. What's that opening quote called before the book actually starts?
WOLITZER: Oh, an epigraph?
GROSS: Epigraph, yeah, it's a line from a novel or a poem, somebody else's. So you have two epigraphs, and one of them is a line from a short story by Mary Robeson, a story called "Yours," and the quote is to own a little talent was an awful, plaguing thing. Being only a little special meant you expected too much most of the time.
When you thought of yourself as trying to be an actor, were you plagued by having only a little talent?
WOLITZER: No, I wasn't plagued by it. I think I knew in some way that acting was kind of like a Mad Libs fill in the blank for doing something expressive and that I wanted to do that. And I had started writing short stories, you know, much earlier than that, on my own, and showing them to my mother. So I think I knew without knowing, in that way that you know something without knowing, that I wanted to kind of be in the world in that way.
I loved being around art. I loved being able to try something myself, and I loved when I would read a line in a book, like lying in bed reading "Harriet the Spy" as a kid, or later, you know, reading Carson McCullers. And in fact I had a Carson McCullers book with me that summer, in addition to a copy of "The Magic Mountain," which I liked to carry around with the title facing out to kind of look important and pretentious at the camp.
But to sort of feel that you want somehow, you want in, and you don't know exactly which way you want in. But I knew that I wanted some place in it. And it was OK to be me to know that I wasn't going to be an actor.
GROSS: If you're just joining us, my guest is Meg Wolitzer, and her latest novel, "The Interestings," comes out in paperback next month. Let's take a short break here, and then we'll talk some more. This is FRESH AIR.
GROSS: This is FRESH AIR, and if you're just joining us, my guest is novelist Meg Wolitzer. Her latest novel, "The Interestings," which begins at an arts camp for teenagers, that novel is about to come out in paperback. It comes out next month.
In the reading that you did at the beginning of our interview, the main character is very excited by getting introduced to irony because of all the, you know, the hip and talented teenagers at this camp use irony a lot. And I'm wondering what it was like for you to discover irony and try it on and if you tried to do the kind of witty retorts that you'd hear in movies.
WOLITZER: Oh yes, I'm still trying, I'm still trying constantly.
But you know, coming out of teenagers' mouths, it was - it can be painful. There's a moment in the book, actually, sort of early on, when Ethan, who is one of the main characters, a very homely boy who's a genius of an animator, and we follow him over the next almost 40 years, along with the other characters, but he comments that Gunter Grass and Anais Nin both have umlauts in their name. And he says I'm going to get one for myself, you know, maybe that's a great thing to have for my own name, that's a fabulous thing to have. And just that kind of thing, which isn't really funny, but they all laugh and think is funny, it's the kind of way you speak to sort of develop your humor and your irony.
You have to develop it. It's like you have to practice with things that aren't necessarily funny, but they sound like they're in the neighborhood of ironic or witty, and that's how you get that way.
GROSS: Was it hard to write ironic things for your teenagers to say in this novel that you knew didn't quite make it?
WOLITZER: Oh yeah, yeah, it was really hard to do that, and yet, you know, you have to kind of let characters, let them speak in whole conversations. This is something I learned. Like I used to think that conversations, that dialogue in a novel was like a bullion concentrate, was sort of meant to suggest a whole conversation.
But then I started reading some novels where you kind of - where you were allowed to sort of listen in on a long conversation, and I realized that I liked that. I liked seeing the world that those two or three people or four people had with one another, and I felt that I was part of it. And even when they embarrassed themselves, if you knew them, and you were allowed in the room, it was bearable.
You know, you could let them embarrass themselves a little bit because there was a kind of overarching care on the part of the writer.
GROSS: Your writing at the beginning of the book, about the teenagers, quote, before they grew into their thicker, finalized adult selves with almost no chance for reinvention, unquote - do you see adult selves as being finalized with no chance for reinvention?
WOLITZER: Well, I was recently at a checkup, my annual physical, and I said something to my doctor about was it possible to, like, lose weight and just suddenly, you know, become like this really athletic person. And she kind of said, well, you know, it became harder and harder as you got older.
And I think that, you know, I was asking for others, for a friend. I think that it's harder and harder to change in all kinds of ways as we get older, at least it is for me. Comfort and familiarity become so important in your life, I think, and the idea of really reinventing yourself, I mean - but I think - is tough.
But I think what is important is not to think that it's not possible because certain changes can happen, that Grace Paley idea of enormous changes at the last minute. I mean, certain changes can happen and surprise you but maybe not in this way like - we're a culture that wants to say, you know, 20 ways to do this in the new year, this idea of becoming happier, becoming more fulfilled.
Maybe the changes that happen are you read a book, and you start thinking a certain way, and then your habits change a little bit. And it's subtle, and it's non-linear. But if you were to look at it, you'd see that you had changed.
GROSS: Are there ways you tried to reinvent yourself when you were a teenager?
WOLITZER: Oh, yeah, I definitely did. I mean, you know, one involved wearing a beret.
GROSS: Oh no.
WOLITZER: Just briefly, but hat hair does not suit me. Yeah, I did try to - oh, I had a friend, and we called ourselves by nicknames, and I wanted to be called Woodstock. And, you know, like we'd call each other up and say, hey Woodstock, like that was my nickname.
For a while I wanted to draw, and I took the inside of my closet door, and I drew the heads of famous people in pencil, T.S. Eliot and James Taylor, of course those two are always mentioned in the same sentence. And I drew these heads on the inside of my closet door, and they meant a lot to me.
And I sort of fashioned myself an artist for that one day. Of course they looked almost entirely alike, T.S. Eliot and James Taylor, because I had one way that I could draw, just like I had the one way that I could act. But maybe I knew I was a writer because I sort of had more than one way. I had different ways that at least I wanted to try.
But I think, you know, I mean teenagers have to reinvent themselves. It's constantly flexing muscles. And then you see which ones give you gratification, which ones have meaning.
GROSS: Why did you nickname yourself Woodstock?
WOLITZER: Well, I'm very embarrassed to say this. I have a feeling it wasn't so much of - it wasn't so much about the festival as it was about the bird in the Peanuts cartoon.
WOLITZER: I think it was both. I liked - maybe in a way, and I'm just sort of trying to look at it as a writer, there's the exciting music festival that I was too young to go to but, you know, fetishized in some way; and then there's the safe childhood part, the bird, the thing from the cartoon that I was so happy lying in bed reading Peanuts cartoons.
It sort of encompassed feelings that made me, you know, happy.
GROSS: How important was it for you in terms of creating the teenage self that you thought was your true identity, the kind of self-transformation that teenagers do, how important was it for you to have an opportunity to do some of that at a summer camp that was away from your family, away from your family for weeks?
WOLITZER: Well, I think that that is really the important thing about transformative moments when you're an adolescent, is that they take place away from adults. It's like I had spent my childhood, my parents were very good about taking us into the city. We would go to MOMA and, you know, we would go to a Lebanese restaurant my father had read about back when, you know, I didn't know people who did this.
And we went to see, you know, what was called an art film. But I would sort of sit there kind of bored and a little angry sometimes because I wasn't on my own with my friends. So after I went to this camp, which by the way the owners apparently really kind of called a summer workshop, a school more than they called it a camp, but I always called it a camp - when I went to the city after the summer and met some of these kids in their city lives, we went to movies, and we went to see the new print of the Marx Brothers movie - "Animal Crackers," I think, like at some great New York theater.
And I remember just sort of fibrillating with pleasure at being in this world, and it was a world in which my parents had kind of fallen away. Like I was waving to them. They were on the shore, and I was waving to them from some, you know, place on the water where I - to which I had embarked with these friends of mine.
I think that if you are away from adults, you can be yourself. It's like again that rehearsal idea, like trying to sort of find the way that you will be as an adult. And when I think about myself, basically as a teenager, and I'm embarrassed by some of it, like the strawberry body lotion that my friends gave me that I wore every day and sort of stank up the house with, or calling myself Woodstock, or rehearsing plays in a kind of bad voice or being a little pretentious or having emotional outbursts, or whatever it was, that's all a rehearsal for adulthood.
And I am different, but of course it's in the same shell.
GROSS: Meg Wolitzer will be back in the second half of the show. Her latest novel is called "The Interestings." I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross. Let's get back to our interview with Meg Wolitzer. Her latest novel, "The Interestings," begins at a summer camp for the performing arts, where the main character, Julie, or Jules, is accepted into a circle of friends she sees as more talented and interesting than she is. At the beginning of the novel, Julie and her friends are trying to invent the selves they want to be. But the novel follows them as they develop into what Wolitzer calls their thicker finalized adult selves.
So how many children do you have?
WOLITZER: Two.
GROSS: When they became teenagers, I think they already have both gone through that...
WOLITZER: One is 19, but the other is older. Yeah.
GROSS: OK. So were you understanding of them wanting to be away from you and to work out who they were independent from you?
WOLITZER: It's always harder. At least it was hard for me at times. Nothing makes you happier than seeing your children contented away from you. It's a very satisfying feeling to see them in a group and to feel they don't need you now. And if you can take that moment and run with, I think that you can get a lot done and they can do that very, very necessary separation. But there are moments that I think that you have your own parental narcissism and you perhaps remember the closeness that you once had.
I mean I realized what kind of happiness I had when I would take my sons to the library and sit with them in my lap with a book, because it's like all you need. It's like you're like a machine - a two-person one book machine. It all works; everyone is having their needs met. And now you can't meet your child's needs. And I think there is a loss; I think there's a sorrow. And if you're an OK parent, I guess you tolerate the sorrow and are able to move on. I'm sure I had a spotty record in this department, but I tried.
GROSS: And did you feel insulted when your children needed to be away from you?
WOLITZER: No. I think by the time they really need to be away from me, with a little luck you need to be away from them, that there's some kind of symbiosis of I know that I can't give him exactly what he needs. But at least let me put him in a place where he can get what he needs and that's, you know, called college for some teenagers, or camp. Like I send my son off actually to a performing arts summer camp. And as soon as I went there it was really this kind of mandolin dipping moment for me, you know, he did his thing. It was very different from mine. He did a lot of visual arts and then he started doing electronic music. And he loved that and he kind of came alive doing that. It was very different. It was in a different idiom. It doesn't speak to me in the way it speaks to him, but I loved seeing that he liked that.
And I saw - one thing that was sort of touching too - is I saw the facilities which are, you know, rustic and there's like a loom out in the fields, that kind of feeling. And I'm sure that my summers were like that too, but to me it seemed like I was in Lincoln Center.
GROSS: There's something in your book that reminds me of something my mother once told me.
GROSS: I once complained to her - and I think this was in high school - that one of the many people I sat next to smelled kind of like salami and it was just really annoying and I didn't like having to sit next to him. And my mother said something to the effect of, you know, some of the people who you think of now as being nerdy - she didn't use the word nerdy, but whatever the word was at the time - nerdy or homely, whatever - they're going to grow up to be really interesting people and you're going to be surprised. And I said I really doubt it. And he did grow up to be an interesting person. And I thought of that when reading your description of Ethan - Ethan Figman, who is the very talented animator at this summer camp who goes on to really big things. But at the summer camp you describe him looking like squat and homely with eczema running along his forearms like a lit fuse. And I'm wondering if you knew people like that who were just like physically unappealing to you but had this like special gift.
WOLITZER: Oh yeah, definitely. I mean if I sort of take a tour through my junior high school yearbook and you can see the way people look, because no one is quite finished yet. People - it's amazing how much better people look later on but you don't really know this when you're young because you have the beauty of being young. I had in my mind, of course, not a particular person when I created Ethan, but the idea of this person who has this sort of talent that you can't give someone, you can't teach it to them, they're born with it and they develop it on their own. But he's very physically homely. But he's such an original that you're drawn to him.
But, you know, Jules starts off as Julie and becomes Jules, she can't love him, although he loves her. I mean she loves them in a certain way, but they have a kiss early on at the summer camp and she's kind of repulsed by him physically - although she recognizes that he's a genius and she wishes she could love him. But I think that teenagers figure out that sexuality and love, you know, it all can't be scientifically explained, you don't know why you're magnetized to certain people, why you even want to be around these teenagers when other kids would only want to be around a group of jocks. I mean who knows? It's this kind of mystery of coming of age. But for me I felt very protective of him. He's sort of my favorite character. And I guess watching the characters grow older, knowing that I would, it wasn't just, you know, a teenage novel, they go into middle-age - as you said - he would always be that way in my mind. Even though his eczema would sort of get better and he would become a wealthy animator and his clothes would be expensive as he got older, he would still have that vulnerable homely boy heart. It would still be there. And whenever I would write those sections about him, it almost didn't matter what age he was, I would picture the same kind of figure.
GROSS: One of your previous novels is called "The Position," and it's about a couple who writes a sex manual and what happens when their children discover that sex manual and how their lives are kind of forever changed by this sex manual.
In your latest novel, "The Interestings," when the characters are 22, you write: Sex at 22 was idyllic. What seems so special to you sexually about that age?
WOLITZER: When I think back on being 22, you know, my friends and I were all living in these little boxlike apartments in New York City. And the city was more affordable then and we lived in little walk-ups. And I remember the pleasure of going to somebody's house, or I had a little loft bed and a fireplace and almost nothing else. Like I never used my kitchen, we went out for Indian food every night. But the idea of going to somebody's apartment, you know, having a new person that you're involved with or the new possibility of that, it just felt like a series of open doors into little apartments and little transitional lives. It was very impermanent, and I think there's something about that, that sort of light, that's not about the heaviness and permanence that we often seek later on, you know, looking to set up a life. I didn't lie around fantasizing about, you know, where my children would go to college one day. I didn't think about any of that. I thought about the next day and feeling kind of light and free and, you know, wondering what was going to happen, and that involved people..
GROSS: If you're just joining us, my guest is Meg Wolitzer and her latest novel, "The Interestings," comes out in paperback next month. Let's take a short break here then we'll talk some more. This is FRESH AIR.
GROSS: This is FRESH AIR. And if you're just joining us, my guest is novelist Meg Wolitzer. And her latest book, "The Interestings," comes out in paperback next month. And "The Interestings" begins at an arts summer camp - a performing arts summer camp - where a teenage girl meets these people who she feels are just like much more interesting and talented than she is and she wants what they have. And then the story follows these people as they get older through the next few decades and it sees what happens with their lives.
You have this description of the difference between jealousy and envy which I think is really interesting. And you write, jealousy is: I want what you have. But envy is: I want what you have, but I also want to take it away from you so you can't have it. How did that distinction come to you and, you know, what is underneath that distinction?
WOLITZER: I've read about that and I've heard about that. I've read about it online and I've heard about it, the distinction being made. I always get confused which is which. One of them is really about destroying something. It's not enough that you don't have it. It's about the pleasure of seeing that no one else can have it, and that's the deeper, more dangerous one. The other one, I think, is just sort of more common. I mean there's this thing where you have a friend who calls you with some good news and you're genuinely happy for them, you're really, really happy. But I feel that after a certain point it's kind of common to then think a little bit about yourself. It's like that feeling, that egotism kind of, sort of inserts itself into the room like a moose head mounted on a wall, and there you are, you're thinking about yourself again. So it's not so much that you want to take away what someone you love has, but really that you're thinking about what you lack because you're thinking about yourself. And you know, the book definitely deals with some of those issues which she - Jules - can't quite let go of.
I was talking to my editor, really, about the characters in the book when we had one of our long lunches when I was writing the book and we were editing it. And she made a comment about how if Jules had never met her friends who go on to have a life that's much, much bigger than hers and Dennis's, then she probably would have been much happier with what she had. And I think that's true. It's that comparing yourself. It's that taking your own pulse and taking someone else's that can make people really feel bad.
GROSS: Now, when Jules becomes jealous of two people who she was both very close to in camp and these two people become a couple, and one of them is Ethan, the talented animator who Jules had rejected because she wasn't sexually attracted to him, she says: Being jealous of a couple who seems to have everything, it wasn't easy to understand how the love between two other people could diminish you if those two people were still accessible to you, if they call you all the time. Did you experience that ever, where you were jealous of a couple, even though you were close to both of them and felt somehow diminished by their couplehood?
WOLITZER: I probably have in some way. I'm not thinking of a particular couple at all, but I think that probably when you're single and you see people coupling off and you realize that they've entered a new world that you're not in, there's something about that. Like they figured out something - something sophisticated and sort of - it's like they're speaking a language that you don't speak. But it's more, it's not that you want to be one of them or that you want that thing, but it may be that you feel perhaps unfinished. In "The Member of the Wedding," the Carson McCullers book, you know, the famous speech about they are the we of me, she wants to belong. She wants to be part of something and her brother is getting married and she just feels the pain of being sort of left behind and imagines going off with them on their honeymoon and for the rest of their lives, like the three of them being together in this couple. And I think that that's feeling.
There's a kind of strange feeling that happens when you go from childhood and adolescence into adulthood, you're leaving the sort of single beddedness world of your childhood where every night was spent kind of, you know, lying alone and dreaming about things. And Ethan, Ethan Figman, the creative genius in the book, he lies in bed as a child and that's where his ideas come from. He imagines a little world in a shoebox beneath his bed called Figland, and if you take off the cover of the shoebox, there's a little spinning globe and the world exists in there.
I remember lying in bed at night and I had a show - a talk show - called "Meg's Treasure Box." Perhaps you're familiar with it.
WOLITZER: Merv Griffin took over for me for a while in the '70s. But I would have this show and I would talk, you know, into my balled up fist like a microphone talking to guests. And I think looking back on it now, it's about not wanting to be alone. It's about sort of, you're not really ready to join into a couple yet, but you want to be in one. You want to be in the world of people and maybe the world of intimacy and the world of future beds in which you will not be alone but you're not ready for it. And then you grow up and you, you know, you go out into adolescence and post-adolescence and you try these things on. But it all sort of starts in that yearning, I think, in that being young and trying to figure out, I'm alone and great ideas are coming up in my head and I can think about this and I can figure out my friendships and the baroque structure of my social life. But then there's a moment when you might feel a yearning when you see someone else who's gone to what you think of as the next stage, which maybe involves a couple.
GROSS: Obviously the summer you spent in performing arts camp really like defined you in some way. Did you have other groups that defined you, like when you were in college, for instance, when you started writing?
WOLITZER: I sold my first novel when I was a senior in college and I came to New York. I sold it for $5,000. And I actually remember this great moment. I went to meet my editor for the first time and I was carrying my manuscript with me and I got onto the elevator in the old Random House building and a priest got on. I was carrying my little manuscript in a kind of copy store box and he was carrying a huge manuscript tied up with rope. And he said to me, do they know you're coming? And I said yes. He said, they don't know I'm coming, which I sometimes think of as a great metaphor for fiction writers today. But back then my group of friends were writers. There was this feeling of all of us sort of going out into the world, you know, to meet different fates. You know, we had cheap apartments, we ate at those Indian restaurants. We wrote all day. We worked temp jobs. It was a thrilling, exciting time and we shared work with one another which was really terrific.
GROSS: Well, Meg Wolitzer, thank you so much for talking with us.
WOLITZER: Oh, thank you.
GROSS: My interview with Meg Wolitzer was recorded last week. Her latest novel, "The Interestings," will published in paperback next month. You can read the first chapter on our website, freshair.npr.org. Last night at midnight Jimmy Fallon made his debut as the host of "The Tonight Show" with The Roots serving as the house band as they did when Fallon hosted "Late Night."
The leader of The Roots, Questlove, wrote the new "Tonight Show" theme. Before we hear David Bianculli's review of "The Tonight Show Starring Jimmy Fallon," let's listen back to what Questlove had to say last June on FRESH AIR when he was anticipating moving to "The Tonight Show" and writing the theme.
QUESTLOVE: This is my dream job. I guess you could say this is kind of my destiny. You know, I didn't think, like, back when I was a kid, like, man - I would've been watching "The Tonight Show" more than "Soul Train" if that was the case. Like, you know, I didn't think that, oh, this is what your future's going to be like, you know, taking the baton from Doc Severinsen.
GROSS: Do you have to write a "Tonight Show" theme?
QUESTLOVE: Yeah.
GROSS: Do I note a little anxiety in your voice?
QUESTLOVE: Oh, boy. I'm having these nightmares of dad a da - waking up in the middle of the night. Or I got - yeah. This is - I'm going to - we're going to write a new theme. And I'm thinking about it every second. Even now as I talk to you I'm thinking of that theme. Like we will be the first thing that is heard when the world is watching that new "Tonight Show."
GROSS: Oh, yeah.
QUESTLOVE: In February.
GROSS: Uh-huh.
QUESTLOVE: Like the music's going to be. So the music has to be inviting. Like, you think of Johnny Carson - (hums). Like, that's stuck in your head. It's the pop song challenge. That is going to have to be the one.
GROSS: You know, is it going to have a lyric? Like Jimmy Kimmel has a lyric?
QUESTLOVE: Nah. I mean, Tarique might write something for it but, you know, right now it's just, I have to visualize it and see it. I have to figure out when the curtain opens and Jimmy walks out, like, what's that song? What's the song that 90 years from now when, you know, they're talking about "The Tonight Show" from this era, like - but I also know that over-thinking it, it's not going to happen by over-thinking it.
So I'm literally - it's going to come to me. And, you know, I have time. Well, OK. I have six months, which is like a blink.
GROSS: How long is that in dog years?
QUESTLOVE: I have 24 weeks.
QUESTLOVE: And I have three days to come up with something.
GROSS: Oh, I really look forward to it.
QUESTLOVE: Pressure. No pressure.
GROSS: No pressure.
QUESTLOVE: No pressure.
GROSS: No. Exactly. Exactly.
QUESTLOVE: Right.
GROSS: So that was Questlove recorded last June. We'll heard Questlove's new "Tonight Show" theme and David Bianculli's review of "The Tonight Show Starring Jimmy Fallon" after a break. This is FRESH AIR.
Copyright © 2014 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.
NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR's programming is the audio record.


text:
For this survey, Democracy Corps and the Campaign for America's Future surveyed 1,000 people who voted in 2008 on Nov. 2 and Nov. 3, including 114 who decided not to vote in the 2010 election, to determine the issues driving both voters and nonvoters on Election Day.
The survey shows that voter fears about the economy drove this election, as well as deep anger at the failure of government to make it work for middle class families, even as Wall Street got bailed out.
Election 2010 Poll Slide Presentation
View more presentations from OurFuture.org.
Highlights from the poll include:
- Fifty-eight percent of respondents who voted said they were trying to send a message about how dissatisfied they are with things in Washington. But they were not necessarily embracing the Republican party and its policies: Both political parties received equally poor favorability ratings, as did the Tea Party movement. Twenty-six percent of voters said they were trying to send a message to "both parties" with their vote, while only 20 percent cited President Obama and 15 percent said Democrats in Congress.
- "Too much bickering in Washington" was the top complaint of voters in the poll (39 percent), followed by "too much spending, taxes and deficits" (35 percent).
- Fifty-eight percent of voters said they were much or somewhat more likely to vote for a candidate that promised "to change Washington for the middle class. That means eliminating the special deals and tax breaks won by corporate lobbyists for Wall Street, paid for by American taxpayers and workers' outsourced jobs. Republicans have pledged to protect those breaks. We should cut taxes for the middle class and small business to create jobs."
- Compared to a candidate who attacked Democrats for the economic stimulus and health care reform, 57 percent of voters said they were much or somewhat more likely to support a candidate with a "made-in-America" campaign message that points out that Republicans have "pledged to support free trade deals and protect tax breaks for companies that send American jobs to India and China."
- Eighty-nine percent of those surveyed agreed with the statement that "America is falling behind" in the global economy and that "we need a clear strategy to make things in America, make our economy competitive, and revive America's middle class."
- Sixty-nine percent said that "politicians should keep their hands off Social Security and Medicare" as they attempt to address the national deficit.
- A majority opposed the Republican plan to cut $100 billion from domestic spending programs while extending the Bush tax cuts to those earning more than $250,000, while 51 percent said they agreed that those top-end tax cuts should expire and with proposals offered by Democrats to reduce the deficit over time.
- Significant majorities in the poll supported new investments in infrastructure through a national infrastructure bank, a five-year strategy for reviving manufacturing in America
Progressive talk show host Rick Smith discusses the Democracy Corps/Campaign for America's Future poll with OurFuture.org editor Isaiah J. Poole.
More election analysis from OurFuture.org is on our Election 2010 page.

subset: commoncrawl


text:
be in bad with (someone)(redirected from am in bad with someone)
Like this video? Subscribe to our free daily email and get a new idiom video every day!
be in bad with (someone)
To be disliked or out of favor with someone; to be in trouble with someone. After pointing out her mistake on the first day of class, I was in bad with my teacher for the rest of the semester. I didn't want to be in bad with the boss, so I decided to laugh at his insulting joke.
See also: bad


text:
FOX Business: Capitalism Lives Here
U.S. stock-index futures floated in a tight range on Tuesday as traders mulled mixed corporate earnings and awaited data on the American economy.
Continue Reading Below
Today's Markets
As of 8:38 a.m. ET, Dow Jones Industrial Average futures fell 7 points to 15409, S&P 500 futures dipped 1.5 points to 1676 and Nasdaq 100 futures rose 1.8 points to 3075.
The S&P 500 extended its winning streak to eight days on Monday, and notched yet another record closing high during a fairly tepid trading day. Wall Street had a busy morning Tuesday, with several key earnings releases and economic reports due out.
Goldman Sachs (NYSE:GS) revealed second-quarter profits of $3.70 a share, whizzing by expectations of $2.82 a share. The investment-banking giant's revenues of $8.61 billion also easily topped estimates of $7.98 billion.
Coca-Cola (NYSE:KO) revealed adjusted second-quarter profits of 63 cents a share, matching expectations. However, sales of $12.79 billion came in shy of estimates of $12.96 billion. Johnson & Johnson (NYSE:JNJ) posted an adjusted second-quarter EPS of $1.48, beating Wall Street's forecast of $1.39. Sales of $17.9 billion also topped views of $17.71 billion. The blue-chip health-care company also raised its full-year view to a range of $5.40 to $5.47 a share, compared to estimates of $5.41 a share.
On the economic front, the Labor Department said consumer prices heated up 0.5% in June from the month prior, a slightly larger gain the the 0.3% economists expected. Excluding the food and energy components, prices were up 0.2%, matching estimates. The Federal Reserve has a mandate to keep inflation and unemployment in check so the data have taken on even more significance in recent months.
A separate report from the Federal Reserve due out at 9:15 a.m. ET is expected to show U.S. industrial activity revving up by 0.2% in June on a month-to-month basis. Later, Wall Street will get a look at homebuilder sentiment from the National Association of Home Builders.
In commodities, oil climbed 68 cents, or 0.7%, to $107.01 a barrel. Wholesale New York Harbor gasoline edged up 0.47% to $3.118 a gallon. Gold gained $7.90, or 0.62%, to $1,292 a troy once.


text:
Puppy Linux Discussion Forum
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How would I get the shell commands "make" "in
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[14 Posts]
Posted: Tue 28 Jun 2005, 20:40
Post subject:
How would I get the shell commands "make" "in
I am trying to install BYOND (http://www.byond.com) and need desperatly the "make" command, but it says that's not in the shell.
Is there anyway to add theese in?
Is there a premade puppy that allows you to do this?
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Joined: 17 Jun 2005
Posts: 250
Posted: Tue 28 Jun 2005, 23:51
Post subject:
"make" is just the tio of the iceberg, it will then call other programs like the compiler gcc.
There is no real easy way to do this at the moment, the easiest way around it is to install another fuller version of linux and build from that environment.
Vector Linux is a good choice.
Mandriva LE 2005 user and puppy newbie
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Official Dog Handler
Joined: 04 May 2005
Posts: 13152
Location: Arizona USA
Posted: Tue 28 Jun 2005, 23:53
Post subject:
Also see
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Joined: 29 May 2005
Posts: 3053
Location: Kitchener, Ontario, Canada
Posted: Wed 29 Jun 2005, 01:12
Post subject:
If you have some patience, I will try to compile it for you tomorrow night.
Right now I was on my way to bed.
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Joined: 29 May 2005
Posts: 3053
Location: Kitchener, Ontario, Canada
Posted: Wed 29 Jun 2005, 01:29
Post subject:
Actually I compiled it before going to bed. I did not run it so I don't know if all the dependencies are there. I don't know if after unziping all the files will retain their access rights, you'll have to confirm that
The attachment is too big to post it here 2.6 MB.
I uploaded to
my Yahoo briefcase
Let me know after you download it so I can delete it (I will delete it in a week if you don't respond and you will loose brownie points for the next time you ask to have something compiled)
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Posted: Wed 29 Jun 2005, 02:03
Post subject:
Ok I got it, I just dumped it into a folder and now attempting to run it......
# DreamSeeker
DreamSeeker: No such file or directory
(I shell(ed) to that location, no luck)
What am I supposed to do with it now that it's compiled, its supposed to run in the console.
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Joined: 29 May 2005
Posts: 3053
Location: Kitchener, Ontario, Canada
Posted: Wed 29 Jun 2005, 12:24
Post subject:
: Read the readme.txt file from begining to end. To run it you will have to configure certain files and you'll need to pass some parameters.
My assumption was that you had already ran Beyod and knew what to do with it once compiled. You may also have to go to the Beyond web site or forum to ask for the recommended parameters and configurations.
: To run the application do the following
cd /root/beyond # assuming that you unzipped in the root folder
./DreamSeeker # Assuming that that's the name of the application
The reason is: If the program is not in your environment path, the shell won't find it even if it is in your current folder, you have to provide the path for it to find it "./" is the path, meaning "The current folder".
As I said, I don't know if when you unzip it will keep the file permissions. If you get an error saying that you don't have enough persmission, or something like that let me know and I will send you the list of permissions for the files.
Bear in mind that Puppy is not meant to be a server, Make sure you understand the implications of running a Beyond server in your puppy computer.
And last some advice:
In general, saying 'thanks' and 'please' will elicit more responses to your posts.
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Posted: Wed 29 Jun 2005, 13:34
Post subject:
Thank you for helping me.
I do not really mean for it to run as a server, Dream Seeker is more for PLAYING games than hosting.
I'm bound to text mode via console, but hey atleast I can play byond, it's all good. =)
# cd ~/my-documents/BYOND/byond/bin/
# ./DreamSeeker
./DreamSeeker: error while loading shared libraries: libbyond.so: cannot open shared object file: No such file or directory
Wahoo at least it's loading. =)
Please could someone help?
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Joined: 29 May 2005
Posts: 3053
Location: Kitchener, Ontario, Canada
Posted: Wed 29 Jun 2005, 14:28
Post subject:
I'm not in my linux box righ now but I remember seing the libraries in one of the beyond sub folders.
You have three alternatives
a) Add the byond library folder to your path
b) Copy the libraries (the files ending with .so) to the /usr/lib folder.
c) Create symbolic links to the .so files in that folder.
cd /usr/lib
ln -s <fullpathoftarget>/libbyond.so libbyond.so #replace <fullpathoftarget> with the full path of where libbeyond.so is
Bear in mind that as this is a manual installation, you may have to recreate your symlinks if you upgrade puppy.
I hope this helps
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Posted: Wed 29 Jun 2005, 19:20
Post subject:
Keeps on saying "Error, Read only file system."
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Posted: Thu 30 Jun 2005, 14:42
Post subject:
Bump, same error.
Could it be because im running straight from the live CD?
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Joined: 01 Jul 2005
Posts: 214
Posted: Sat 02 Jul 2005, 12:53
Post subject:
Ok leme try this again...
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Joined: 01 Jul 2005
Posts: 214
Posted: Sat 02 Jul 2005, 13:08
Post subject:
Wahoo I got it thank you everyone.
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Joined: 01 Jul 2005
Posts: 214
Posted: Thu 07 Jul 2005, 00:05
Post subject:
Bah. I accidently erased my puppy, now I can't get it to work again, I coppied all of the flies and now it gives me this.....
# ./DreamSeeker
./DreamSeeker: error while loading shared libraries: libstdc++-libc6.2-2.so.3: cannot open shared object file: No such file or directory
I copied all of the flies to /usr/lib but still nothing works now.
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text:
In preparation for the annual Goodman vs. Steppenwolf flag football game next weekend, the Goodman Theatre's staff and artists wish to tell the world why they're all that and an intermission cookie — by creating this funny parody of Robin Thicke's infamous song, "Blurred Lines."
The football game, while all in good fun, does support two local charities. The Goodman is playing for Breaking Bread and Steppenwolf is playing for Bin Donated. You can cheer for your favorite theater and a good cause on Saturday Oct. 26 from 9:30 to 11:30 a.m. The field is located just North of Chicago's Diversey Driving Range, 141 W. Diversey.


text:
The Catching Fire cast is currently filming in beautiful Hawaii, a setting which doesn't seem to have much to do with grim dystopian Panem. But as readers of the Hunger Games books know [SPOILERS if you don't like reading, weirdo] the Arena that plays host to the 75th Hunger Games in Catching Fire has a body of water and a curious environmental climate which seems perfect for a tropical island. A photographer snapped some photos from the set, which feature a look at Jennifer Lawrence in her Quarter Quell outfit, Josh Hutcherson in the water, and a guy who appears to be Finnick acting very Finnick-y indeed. Look on!
The Quarter Quell uniforms are decidedly more jumpsuit-y than the outfits rocked by the tributes in The Hunger Games. It looks vaguely like Jennifer Lawrence is wearing a monochrome-swapped Future Foundation outfit, or a wetsuit made out of a roller blade you owned in 1992. Either way: Pretty cool.
NEXT: Katniss dives in


text:
Hazel house fire appears deliberate, investigators say
Beaumont Fire Rescue units responded to a reported structure fire at 1792 Hazel shortly after 8 p.m. Wednesday, August 6.
When firefighters arrived, they found the front of the house on fire. Firefighters were able to control the fire within minutes and the fire damage was moderate. The house was vacant with no utilities connected. The cause of the fire appears to be deliberate, Beaumont Fire and Rescue said in a press release.
There is no suspect information at this time. Neighbors reported the house has been vacant for years and transients used the house regularly. Anyone with information about this fire or any of the recent arson fires is urged to call the Fire Marshal's Office at 409-880-3905 or call Crimestoppers.


text:
The annual Portfest Children's Fishing Derby will be held Saturday, May 25.�
The Arkansas Game and Fish Commission will be stocking Newport Lake for the event, which is free to kids age 12 and under. �Registration will begin at 7:30 a.m. on Saturday at a new location. Enter from Malcolm Avenue across from Lockwood Park.� Fishing begins at 8 a.m. with weigh-in at 10 a.m.� Trophies will be awarded for the biggest fish, highest total weight and most fish caught.� The fishing derby is sponsored by Modern Woodmen of America/Matt Ward, Grady's Auctions & Realty, the Arkansas Game and Fish Commission and the Newport Area Chamber of Commerce.�� �


text:
Lookie what we have here; its art that is as stunning on your mantle as it is inside you. Over the next two weeks, the Dr Dick Review Crew has the pleasure (both literally and figuratively) of introducing you to three exquisite insertables by a brand new artisan: Simply Blown. They get extra points for their name and the double entendre. Who doesn't appreciate a sex toy company with a sense of humor?
Each one of the toys we have is unique. They are individually crafted and are museum quality. Think of it as old world craftsmanship with a wickedly sexy edge. What could be finer?
Dr Dick Review Crew members — Gina & Kevin and Joy & Dixie do the honors.
This week Gina & Kevin is tell us about Love Line.
Gina: "You can understand my excitement when Kevin and I were chosen to review these beauties. Just look at them! I could hardly contain myself."
Kevin: "She gets that way sometimes."
Gina: "What, are you trying to say you didn't cream your jeans at the thought of having one of this up your bum?"
Kevin: "Oh I'm so BUSTED!"
Gina: "There, I told you."
Kevin: "Gina's right we both got a little moist at the thought of diddlin' ourselves (and one another) with the likes of the Love Line. She got the big one — 9″ tall x 1 5/8″ diameter, which stand on a flared base."
Gina: "And he got the petite one — 5″ tall x 1″ diameter, also with a flared base."
Kevin: "She used hers in her pussy, I used mine in my ass!"
Gina: "It's exactly like Jack Sprat and his wife, only completely different."
Kevin: "We no sooner got in the door when we dropped trou, whipped out the lube and had at it for our first go."
Gina: "The tiniest bit of lube, either water-based or silicone-based, makes these beautiful glass insertables super slick."
Kevin: "I love to watch Gina fuck herself with her toys. I get so fuckin' hot. The Love Line glass made the experience almost psychedelic. Once she got her rhythm, the 9" of super-smooth purple art plunged deeper into Gina with each stroke. This drove her wild. And, of course, I egged her on by making the most lewd comments I could think of. 'That's it baby, stretch out that tiny little cunt of yours with that really big boy.' "
Gina: "He does love his dirty talk. I used to be so embarrassed when he would do that. It sounded so crude. Now turns me on. See I'm growing!"
Kevin: "Gina's on her back, propped up by pillows. I'm opposite her squatting till my ass lips come in contact with the glass. It's cool and my ass devours it."
Gina: "It's true, without so much as a moment's hesitation the petite pink plug disappears inside him. He grins with amusement and spews more filthy talk."
Kevin: "I've taken bigger, but the hardness of the glass is a new sensation. Oh, and by the way, this insertable can't really be called a plug. It's a dildo. A plug would have a notch just before the base that my sphincter would lock onto to hold it in place."
Gina: "I stand corrected."
Kevin: "I sure do hope Simply Blown does come out with a line of plugs. Because I would love to wear one of these babies for a few hours."
Gina: "We both came watching each other pleasure ourselves. I love to watch Kevin feed his behind."
Kevin: "Don't you just love how she avoids calling my asshole an asshole?"
Gina: "Sheesh!"
Kevin: "On our next date with the Love Line we took our time. We added some sensation play. The Love Line, indeed all fine glass like this, can be heated and chilled. We used both, a hot water bath in one bowl and an ice water bath in the other. Going from hot to cold or cold to hot blew our minds."
Full Review HERE!


text:
COLUMBUS, Ohio, Feb. 16 (UPI) -- A Texas woman said police in Tennessee detained her because they thought the Ohio State University Buckeye logo on her car was a "marijuana sticker."
Bonnie Jonas-Boggioni, 65, of Plano, Texas, told The Columbus (Ohio) Dispatch she and her 66-year-old husband were driving near Memphis Feb. 4 when police in a black sport utility vehicle pulled them over, and then a second black SUV pulled behind the first.
Jonas-Boggioni said she hadn't been speeding so she wondered why police were pulling her over.
"They were very serious," she said. "They had the body armor and the guns."
One of the officers asked her, "What are you doing with a marijuana sticker on your bumper?"
Jonas-Boggioni, a longtime Buckeyes fan who grew up in Columbus -- and is president of the Ohio State Alumni Club in the Dallas-Fort Worth area -- told the officer what the decal actually represents but she said he didn't seem to get it.
"He looked at me like I was speaking a foreign language," she said.
Jonas-Boggioni's husband, Guido, 66, got out of the car to show the police his sweatshirt -- an item from Ohio State's 2002 national-championship season, sporting a Buckeye leaf.
One of the officers said someone outside his jurisdiction had seen the logo on Jonas-Boggiono's car and thought it might mean the car was carrying pot, the Dispatch said.
"It's just amazing they would be that dumb," said.
A West Tennessee Drug Task Force spokeswoman said a decal is not sufficient cause to detain a motorist. The Tennessee Highway Patrol and the Shelby County sheriff's office in Memphis had no record of the stop.


text:
The Spirit of Freedom by Denís Fernández Cabrera
Denís Fernández Cabrera made a nice piece of artwork. The drawing shows us Tux with GNU horns and tail. This magic duo will take you to higher hights. Hovering like a spirit above the big bad world.
This color picture is available in the following formats:
- PNG 10k (a very tiny and low quality picture.), 51k (a medium size and good quality picture.), 125k (a big and good quality picture.)
- SVG 118k (a gzip'ed file in SVG vector format.)
The images linked to from this page are:
Copyright (C) 2004, Free Software Foundation, Inc.
Permission is granted to copy, distribute and/or modify this image under the terms of the GNU General Public License as published by the Free Software Foundation; either version 2 of the License, or (at your option) any later version.
These images are distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details.


text:
Higher Education in USA
Higher education is the USA is worldly renowned. Although tuition fees may be expensive, there are many financial aid plans, including loans, grants, and scholarships that are available. People often travel to the USA in search of various higher education options.
Studying in the USA provides a rich cultural and social experience, as well as a full, well-rounded approach to education that you cannot find as easily elsewhere. The USA offers a full higher education menu that prepares students for life after college so they can choose to either stay in the USA or return to their native country after completing.
Some of the most prestigious universities in the USA include Harvard, Yale, and Stanford but there are many other universities within each state which offer a broad curriculum and specified course study in a chosen field. For instance, UCLA in Los Angeles is known for their excellent film program, but Stephen Spielberg and George Lucas attended California State University. It is a very good example of how you do not have to attend an Ivy League school to get a good education.
The Academic Year
The academic year in USA normally begins in the fall, typically in late August, but some terms may begin sooner. Some academic years are divided into two semesters, some into four quarters, and some into three quarters. It is important for international students to have everything in place before coming to the USA. Make sure you check with your university the application and the start dates.
Tuition Fees and Length of Study
Tuition fees vary from different universities, so check with the school you plan to attend for exact costs. The duration of the degree also varies, depending upon which degree you plan to pursue. For example, the CNA license only takes about a year and a half, while Pre-Law takes about three to four years in most cases.
Study Possibilities for International Students
International students can choose from a wide-range of courses and career paths to enhance their learning and provide opportunities to advance their career upon return to their native country. There are also many international student groups available on campus at US schools.
A Higher Education Degree from USA enables students to continue their quest for knowledge beyond their mandatory studies and allows them to seek an advanced career outside the domestic education system and be able to work in research or development.
Student Visas
Student visas are required and these must be up-to-date at the time of arrival. Find out whether you are required to have an F-1 or an M-1 visa - this depends on the specific course of study. The US embassy is the best point of contact to find out this information. There is usually also information on the school website explaining the particulars about visas for that school. You can also contact the admission office or the international students office to obtain more information.


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Is your Isuzu sagging every time you pull a trailer or boat? Does it sway excessively when hauling a heavy load? Timbren offers a simple solution help keep your vehicle level and stable. The SES (Suspension Enhancement System) kits are a simple solution that can be mounted easily between your frame and axle to improve your suspension performance.
2018 © Suspension Connection. All Rights Reserved.


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Dear visitor, welcome to SPRINKLER TALK FORUM - You Got Questions, We've Got Answers. If this is your first visit here, please read the Help. It explains how this page works. You must be registered before you can use all the page's features. Please use the registration form, to register here or read more information about the registration process. If you are already registered, please login here.
Tuesday, March 19th 2002, 11:16am
Location: USA
Friday, March 29th 2002, 7:24pm
Monday, February 23rd 2004, 4:54pm
Saturday, February 28th 2004, 5:24pm
Monday, March 1st 2004, 2:47am
Tuesday, March 2nd 2004, 3:58am
Thursday, March 4th 2004, 12:26pm


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Grandparents the focus of annual contest
WAKARUSA — Some special people were recognized at Miller's Senior Living Community of Wakarusa and they weren't senior citizens. The entity sponsored an essay contest for Wakarusa Elementary school fourth and fifth graders which invited them to talk about their favorite senior (grandparents or otherwise). Four essay winners were chosen and invited to bring their special person to lunch at Miller's Senior Assisted Living Community Sept. 12. The event was inspired to celebrate Grandparent's Day.
Community Relations Director Cindy Hill served as host of the event and said that this was the seventh held in Wakarusa. Winning students read their essays to their subjects and dined with them and their teacher and principal.
The winners and their essays were as follows:
Elizabeth Eby — first place
The coolest most awesome Mimi in the world!
MIMI! Mimi is the best thing that has ever happened to me! Here is a little story about my Mimi. She is sweet, kind, and funny. Every year my Mimi tacked my family to Chicago and we shop! But every year Mimi has a bigger and better accident…(not like a crash more like a funny) but I promised not to tell anyone! What happens in Chicago stays in Chicago. Also another memory I have about Mimi is, I would have a lot of sleepovers at Mimi's house and we would have Mimi's secret made recipe for cinnamon rolls and have Papa milkshakes to! Mimi's cinnamon rolls are amazing.
They melt in your mouth, and I hope I will be able to make them for my grandchildren. Mimi is special because she is always happy and never is grumpy. She also is a Christian and that is what I admire about her. Another memory that I know by heart is that Mimi is scared of worms and one day I wad fishing with her and all of a sudden, a fish bit the hook. It was really heavy too and when I got it out of the water it was so big it knocked the worm cup over and the worms were crawling on me and she screamed so loud I bet it woke up everyone in Michigan! It was funny. One other thing I remember is when we were in Mimi's car. She always drives so scary like that when she slams on the brakes and my mom grabs the ceiling … well, tries to I guess.
One time Mimi was driving and we had to drive three hours and I think mom's hands were sore! Mimi is always there for me. Whether it's a horse show, school play, spelling bee, or even my birthday she says she would never ever miss anything that involves me! Mimi makes me feel just as special as she is and she's never too busy for when I need her! That's why I wrote about Mimi! Thank you Mimi!
Tyler Cronkright — second place
My super grandmas
My grandmas Jeannie Lindsey and Sharon Cronkright are more than special grandmas. They are SUPER grandmas. I chose them both for this essay because I have many great memories with both of them. Grandma Sharon goes to Florida every winter so I Skype with her. Some of my most delicious memories would be grandma Jeannie's salty beef stew that she would drop off on Wednesday nights before church. I also remember eating yummy pizza with my cousins at my grandma Sharon's house in summer evenings and spilling garlic sauce all over my pizza. Grandma Jeannie lives in South Bend and Grandma Sharon lives in Goshen. We often go camping together.
I love it when my grandmas take 30 to 40 minutes to drive to come see me, my younger sisters Chloe and Paige, my mom and dad, and our dog Cooper in our nice, lovely house in downtown Wakarusa. My grandmas will play games with me, talk to me about the new book I'm reading, and they'll ask me if there's anything new going on. And if there's something bad or sad going on, I would just insert a silver quarter for a warm hug like they're hug machines. My grandmas are great role models because … well … they're grandmas. What's not to love about a grandma? Go grandmas. Also, my grandmas represent what a super grandparent should be, so when I have grandkids to spoil, I'll know how to correctly do it. My grandmas are super and that's that.
Chase Horner — third place
My grandma
My grandma is special to me because she makes delicious homemade peanut butter pie just for me. She also makes really yummy chocolate chip cookies. I like to play with her too. We play mini basketball, do home run derbies with whiffle balls, play fantasy football, and all sorts of things like that. On most Sundays, my mom, my dad, my sister, and I go down to her house to eat and she makes some of my favorite foods like steak and pot pie. When my mom and dad are gone during the day she will come down to watch us until they come home. She is the best babysitter. I like the spend the night there on Friday nights, which we always do if we don't have plans.
My grandma always comes to my sports games and is there to tell me "good game" afterward. In her basement my grandma has a crawl space that I used to love to go into with her. The crawl space is where all of the toys are kept. We (my sister and I) like to go out to eat with her. We usually go to Steak and Shake or eat at the mall. My favorite place is Panda Express. My grandma works uptown in a brown brick office and we visit her a lot. She has a bowl of candy sitting on a desk and I usually get a couple pieces of candy. I have a dog, Miley, that my grandma walks sometimes (well actually Miley walks my grandma). I like that my grandma lives really close by, but most of all I just love my grandma.
Madison Payne — fourth place
My grandpa is the world's greatest grandpa in the history of grandpas! One reason I think my grandpa is great is because on Sunday mornings when mom and dad have to serve at church he always offers to let us come to his house. My family goes to church on Saturday night, and instead of going again he takes us to breakfast at the O.C. Café. Another reason I think he's great is because he has so many climbing trees that are so old but he doesn't cut them down, ever! Plus, he has a haystack that helps us climb up the tree and he doesn't take that away. He is always very protective when it comes to climbing trees though, which I am thankful for. To top it off, he is making me and my siblings a zip line from the backyard to the front yard. The most exciting part is that he lets us help put everything together and put everything up.
I would like to honor my grandpa because he gives my family so many things that are so nice that I would like to return the favor by letting him spend more time with me. I look up to him and he's just over the top my favorite grandpa! I want to be like him someday because he loves me and I know it and that's why he's the greatest grandpa ever!


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Mother of Baby Brianna released from prison
Mother of Baby Brianna released from prison
The mother of Baby Brianna has been released on "good time" from New Mexico Women Correctional Facility in Grants.
Stephanie Lopez was sentenced to 27 years plus two years' parole for not doing anything to stop the repeated rape and abuse of her infant daughter by the girl's father and uncle.
Brianna Lopez died at only 5 1/2 months old, succumbing to the horrific beatings and sexual abuse she endured in her short life.
The infant's death has been called one of the most brutal cases of child abuse in the state's history.
Brianna's father and uncle are each serving more than 50 years in prison their role in her death.
Due to good behavior, Lopez was released after serving only 13 years. She will still have to serve two years of parole.


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Why Fotomoto might not work with a WordPress theme
Fotomoto might not work with every WordPress theme by default, mostly because some themes use image gallery libraries that Fotomoto isn't compatible with. If Fotomoto isn't working on your page, feel free to contact Fotomoto Suppport for advice, or do one of the following:
- Use a different library plugin - choose from the list of libraries that Fotomoto supports.
- Instead of using a gallery library, use the built-in WordPress gallery feature, and link your thumbnails to an "attachment page" as explained in the WordPress documentation. Not only will Fotomoto always work on attachment pages, but having a unique page for each image gives you an easy URL to share and might help your page SEO.
Try first!
If you're using a theme not listed on the How page, we strongly suggest you contact the theme developer and ask if their theme is compatible with Fotomoto. They may be willing to assist you, as we promote Fotomoto-compaticle themes on our How page. Please send this page to the theme developer, and if they have any questions, please feel free to have them contact us.
If you plan to try the theme yourself, you should set up a test page and watch for the issues described below. If you have trouble and think the issue that may be theme-related, try switching to the built-in Twenty Eleven theme and see if the problem continues. If it does, something about your theme is incompatible.
Known theme issues
CSS conflicts
While rare, sometimes a theme will contain CSS that causes our buy buttons and/or widget to appear incorrectly, and may even put the buy buttons behind your image.
Luckily, CSS issues are relatively easy to fix. If you know CSS, you may be able to resolve the issue on your own with custom CSS - please see Changing the appearance of the Buy Buttons in this article. Otherwise we suggest you contact the theme developer or a web designer for assistance.
Fotomoto plugin requires wp_footer()
For Fotomoto to work, your theme must make use of the wp_footer() call that is built-in to WordPress - without the call, the Fotomoto Script will not be loaded in to your page's code.
The wp_footer() call should be found just before the closing </body> tag of footer.php file in your theme.
You can try to edit footer.php and add <?php wp_footer(); ?> just before the </body> tag.
Unsupported JavaScript libraries
Many themes will include JavaScript libraries for image slideshows, galleries and other functionality. Fotomoto does work with several JavaScript image libraries (see this list), but may not work with others.


text: This might be former Democratic state Sen. Nan Rich's first ad for governor, although for some reason her campaign didn't announce it to us and someone noted it on Twitter instead. Don't expect to see it any time soon; it's early and Rich doesn't have money to burn the way Gov. Rick Scott does.


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The favourite one
Added Oct 30, 2013
by Matidie
Paris, France
Slim fit shirt with round collar from Ottober A/H 2013
First time with this magazine I bought especially for this pattern. I was looking for a well fitted shirt pattern, and I must say it's the one. The Burda shirts were too loose for me (I made one this summer, the 38 fitted 42).
This shirt was my muslim, and I wear it as soon as it's clean !
If you don't like round collars, you can make a regular one, wich is included in the magazine.
Ref. : http://www.ottobredesign.com/lehdet_js/2013_5/all_designs.pdf
Material Notes
Polka dot cotton
0 Comments
Add to Favorites 3 people added it


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The International Planetarium Society recently issued a statement on the ancient age of the earth and universe, noting that "Many independent lines of scientific evidence show that the Earth and Universe are billions of years old.
Anticipating the bicentennial of Darwin's birth and the sesquicentennial of the publication of On the Origin of Species, the Church of England unveiled a new section of its website entitled "On the origin of Darwin," discussing Darwin's relationship to the church, the development of his own views on faith, and a brief historical sketch, bibliography, and listing of celebrations of the Darwin anniversaries.
The Canadian Federation of Earth Sciences recently issued a statement on creationism, beginning, "Canadian media report growing public pressure to introduce Creationism and its equivalent Intelligent Design (ID) in school curricula, hinting that Creationism/ID is a 'theory', thus suggesting that it shares common ground with science-based t
National Center for Science Education, Inc.
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Oakland, CA 94612
fax: 510-788-7971
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You would think one of the most basic concepts of an electrical system would be the most widely understood. But after years of working in the electrical industry, I can tell you this is definitely not the case. In fact, the misapplication of bonding and grounding connections, poor wiring practices, and a true lack of understanding of the theory behind grounding may be the biggest problems electrical engineers and electricians face. Here are some facts to support my case.
"Bonding and grounding" consistently ranks in the top 10 "Most Popular Pages" listing of searches performed on the EC&M Web site.
By far the most successful "Ask the Experts" topic hosted on the EC&M Web site focused on "resistance grounding."
At least half of the "Forensic Casebook" articles we've published over the last 10 years mention deficiencies in the bonding and grounding connections of the equipment/systems involved in the serious accidents or deaths presented in these tragic stories.
Bonding and grounding is one of the most active topics discussed on many of the leading electrical discussion forums on the Web.
Approximately 300 proposals for the 2011 NEC are related to Art. 200 (Use and Identification of Grounded Conductors) and Art. 250 (Grounding & Bonding).
Ask any training instructor or conference presenter that's focused on this topic in the past, and I'm sure he or she will tell you the same thing — many students and course attendees have a difficult time mastering the concepts of bonding and grounding. Unfortunately, this problem isn't confined to U.S. soil. Electrical workers in other countries face the same problems. It becomes even more complicated when developing countries hire the services of foreign firms that design and install equipment and systems to different codes and standards. If we take this a step further — analyzing the dangers of poor bonding and grounding in a war zone — then you can truly see the unfortunate results of ignorance or blatant disregard for basic electrical theory.
Our cover story this month, "A Killer in the Ranks," starting on page 22, reports on the dangers soldiers face in non-combat situations in Iraq and what's being done to fix the electrical problems that are creating them. Since 2003, there have been 19 confirmed or suspected deaths of military personnel in Iraq from electrocution and faulty wiring systems. It's inexcusable to me that these brave men and women not only have to evade sniper fire, road-side bombs, and suicide bombers, but also have to avoid being electrocuted while taking a shower or pressure-washing their military vehicle.
What can we do to help combat this problem here at home? You can start by making sure you're not part of the problem. If you haven't mastered the topic of bonding and grounding, then take a self-study course or seek training from a qualified instructor. Then, take it upon yourself to make sure others in your company understand the basic concepts and rules as well. As for us, we'll continue to publish regular technical articles on this topic (such as this month's "Understanding the Differences Between Bonding, Grounding, and Earthing" on page 28). We'll also highlight Code changes in this area and promote training courses and online resources/events on this basic but very important issue. The way I see it, if we can help prevent even one injury or death it will be well worth the effort.


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OHL Roundup: Winnipeg Jets' prospect Scheifele leads Colts in 10-1 rout of 67'sNHL.com @NHLdotcom
Winnipeg Jets prospect Mark Scheifele had three goals and three assists as the Barrie Colts pounded the Ottawa 67's 10-1 on Wednesday in Ontario Hockey League action.
Scheifele had his hat trick before the game was barely halfway done and completed his six-point night with a third-period assist.
"We took advantage of them early and what can you say about Scheifele?he was a man amongst boys," said Colts captain Ryan O'Connor. "We need him if we want to go far this year."
Erik Bradford and Zach Hall had two goals and two assists each for the Colts (35-16-3), while Brendan Lemieux had a goal and three assists. Barrie leads the Eastern Conference by three points over the Belleville Bulls.
Mitchell Theoret and Andreas Athanasiou each picked up a goal and an assist in the win. Mathias Niederberger went the distance making 28 saves.
Brett Gustavsen had the lone goal for the 67's (15-36-1), who were outshot 40-29. Clint Windsor started in goal and allowed five goals on 16 shots. Jacob Blair mopped up, allowing five goals on 24 shots.
The Colts were 2 for 2 on the power play while the 67's went 1 for 3.
Elsewhere in the OHL it was: Niagara 6 Erie 3; Guelph 2 Owen Sound 0; Belleville 4 Kingston 1; Sault Ste. Marie 8 Sarnia 0 and Plymouth 5 Saginaw 1.
IceDogs 6 Otters 3
At Erie, Pa., Ryan Strome struck twice and added an assist as Niagara (26-25-4) downed the Otters (16-31-8).
Storm 2 Attack 0
Owen Sound, Ont., Toronto Maple Leafs prospect Garret Sparks made 28 saves as Guelph (31-17-5) shut out the Attack (33-17-4).
Bulls 4 Frontenacs 1
At Belleville, Ont., Tyler Graovac had a hat trick as the Bulls (32-14-6) beat Kingston (21-27-5).
Greyhounds 8 Stings 0
At Sault Ste. Marie, Ont., Matt Murray made 25 saves as the Greyhounds (30-21-4) routed Sarnia (30-22-3).
Whalers 5 Spirit 1
At Saginaw, Mich., Vincent Trocheck scored twice to lead Plymouth (29-16-9) past the Spirit (26-22-6).


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Yowza, the blog machine has slowed to a crawl due to other life distractions. The usual stuff - like working for living, raising a family, and goofing around on Facebook instead of blogging.
My junior high mountain bike team activities are winding down, cool program to be involved with. I'll spew out a few blog posts to get caught up, since my army of regular readers (ha!) are probably starved for entertainment by now...
As part of the program, we ran two practice rides per week, one on Wednesday and the second on Sunday - last one partnered with the high school team. We usually had a good turn out for all the rides, anywhere from 3 to 10 kids showing up.
We'd keep these rides pretty informal, no real "race training", besides the occasional practice race start - which the kids usually got a kick out of - along with slow races, last one across the line without dabbing wins. On some rides, we'd also session a log crossing or other feature for technical skills.
For the most part, we'd just ride for two hours and as the weeks progressed, would let various kids take turns being ride leader. Super cool to see a string of ten or so young mountain bikers in front of you during a ride. Most of the rides on our local Saint Edward - Big Finn Hill trails, long with a few road trips out to Duthie or Paradise to mix things up a bit.
A few pics I grabbed during one Wednesday ride on our local trails...
Dylan, downhill racer and bike handler whiz, playing XC rider.
Andy - who joined the program a few weeks in after hearing about it - gives the Gravity Pit a go. He's probably the most enthusiastic kid of the bunch. Since joining has attended every ride and race. At the races, did all the pre-rides, raced, and the rec ride afterwards. His dad says he rides everyday after school. Oh yeah, his dad also picked a up a new 29er and started riding a bit. Spill over effect in action - awesome.
Andy, Jack, Matt, and Gabe living large.
My own son, Ian, enjoying the singletrack. Ian's gung ho bike interest has tapered way off in the last year or so. Considering he's been riding and racing since age 8, maybe a break needed. I don't push any of this, is supposed to be fun. If not fun, give it a rest. As long as we continue to hit the occasional father/son fun ride, all good. Racing is just icing on the cake.
Scotty rounds a corner. New to mountain biking, picked it up quick, and even raced a few times.
Shawn, one of our adult volunteers, riding one of his own 650B frames. Makes 'em in the garage - very cool.
Caleb over the roots. Caleb's grandfather, Tom, also assists the team with rides and skill instruction. A family affair on two wheels.
Sean in action. Shy nice kid, his dad also rides. Seemed hesitant to race at first, then tried it and did well. Fantastic to see him cross the finish line and have a good time.
Zane on the go. One of the smaller, quieter kids on the team. Hides that fact he goes all out at races, gives it a real go with a sprint at the end. Fantastic.
Marne, local woman racer and assistant coach to the team. Also married to Shawn, total bike crazy couple. I couldn't have run the team without 'em. Thanks!
Zac, one of the high school team members, sharing a ride with the junior high kids.
Troy, the high school team coach and dad to Zane and Zac, hitting the singletrack. Troy also helped plenty with junior high team. Thanks!
So there you have it, a glimpse into a team practice ride. Not all teammates pictured, but you get the idea. Part of what I dig about this program is that most of these kids have no prior racing experience, though most have mountain biked before. Main intent was to just get 'em out there riding.
We've been riding and racing since March and all of 'em have gotten fitter and faster. Very cool to witness. They also forced me at times to squeeze riding into my stupid busy schedule - and for that I thank 'em.


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Edler is his own worst enemy.mathonwy wrote:Really?Meds wrote: I thought Edler had a good game last night, I'm noticing a bit more physical play out of him.....and not crushing hits, but hard checks in the corners (someone else pointed that out, so I watched for it).
Hamhuis had his best game in weeks, maybe all season.
I thought Edler was quite shitty actually. Gave up the puck a few times on the hard forecheck. Yes he was a bit physical but the physicality shown doesn't make up for his continued inability to handle the hard forecheck like Hamhuis and Bieksa can.
He'll have some solid shifts, then make a mistake, & (some games) go for a shit for an entire period. Torts & Sullivan were talking to Edler on the bench after one of his mistakes, in the first period. Possibly trying to settle him down. It's like Edler thinks too much when he's out there, & loses confidence.
If Torts & company could get Edler not to rattle when something goes wrong, & instead, just go back to basics, he still has the potential to be a star. A feat not so easy to accomplish - as we've seen the last few years.


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Kanye Diggit is a character in the Grand Theft Auto series who appeared as a multiplayer character in Grand Theft Auto: Vice City Stories. Diggit is a member of the Sharks and resides in Vice City in 1984. His name is a take on the phrase can you dig it, and a reference to the film The Warriors.
Mission Appearances
- Leap and Bound (killed)


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Hello all,
We're doing ICSI again shortly. Round 2. Can anyone recommend the best place/price for Gonal-F 450 multi-dose? We'll need quite a few. Maybe 6 of them or more. Been using FreedomFertility pharmacy. They charge $358 each. Anybody get better prices? We're in Virginia, used up all health insurance money.


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The Olympus Digital SLR System with Digital Specific LensesTM is an uncompromising realization of the full benefits of pure digital technology with body and lenses designed to perfectlymatch the image sensor.
"The Olympus Digital SLR System sets a new standard for the future of digital photography," said Mark Gumz, president and chief operating officer of Olympus America Inc. Professional photographers today are mainly working with film-digital hybrid systems because – until now – no digital camera manufacturer has been able to offer a completely digital solution that meets all their needs. "Our new system was designed to be digital from the ground up without making compromises for a film legacy system, a significant limitation for our competitors. The Olympus Digital SLR System is designed to meet the needs of the most demanding pros, offering powerful advantages in terms of image quality, durability, speed, and camera and lens size."
Until today, digital photography has lacked a common standard for image sensor sizes and lens mount configurations, resulting in an unwieldy array of specifications. The new Olympus Digital SLR System overcomes this by setting a standard for image sensor and lens mount. Based on this new Four Thirds open standard, the Olympus Digital SLR System achieves an optimal balance between image quality, camera and lens size, and system expandability, maximizing the performance of image sensors and lenses with a 100% digital-from-the-ground-up design.
The Olympus Digital SLR System delivers unsurpassed image quality with a high-performance Full Frame Transfer CCD for improved dynamic range, better color, and less noise. The system's interchangeable Zuiko Digital Specific Lenses are designed specifically for digital capture with smart technology that delivers edge-to-edge sharpness with reduced distortion and shading. The lenses perfectly match the imager so light strikes the sensor directly, ensuring rich, accurate colors, sharp contrasts and bright images even at the edges.
When 35mm film lenses are used with digital cameras, insufficient light at the edges of the image sensor can result in reduced color definition, particularly when shooting with wide-angle lenses. Olympus' dedicated digital optics outperform film lenses paired with digital cameras, rendering sharpness and contrast more consistently at any given f-stop.
It took nearly four years of intensive research and development for Olympus to bring its digital SLR system to market. "The Olympus Digital SLR System was developed for professional photographers with extensive input from professional photographers at every step," said John Knaur, senior marketing manager, Olympus America Inc. The result is one of the most significant technological innovations in the history of Olympus, one of the world's top digital camera brands based on digital camera unit sales.
The E-1
The first camera being introduced in the Olympus Digital SLR System is the professional E-1. The most technically sophisticated, computerized digital camera built to date, the revolutionary E-1 is designed to deliver the best digital images for professional photographers today and into the future. It is a dynamic camera that can handle many types of photographic situations and deliver superior results in a wide range of settings, from indoor to studio, fashion to journalism, sports to portrait photography, and more.
The camera features a new, high performance Super Latitude Full Frame Transfer CCD from Kodak, the KAF-5101CE, which delivers the highest dynamic range, lowest noise levels and best color of any camera in its class. This innovative 5 Megapixel CCD outperforms many higher Megapixel count imagers.
In addition, the E-1 utilizes new and existing technologies like the exclusive Olympus TruePicTM Technology to achieve the highest image quality and most realistic digital photographs. Newly developed Noise Filter technology and the existing Noise Reduction technology produce clear, clean files. A newly developed Supersonic Wave Filter significantly reduces the chances of dust settling on the CCD or image and blocking pixels.
The E-1 offers build and features quality equal to or better than the top professional quality cameras at the extremely competitive price of $2,199 MSRP.
Lenses & Accessories
Initially, Olympus will introduce five Zuiko Digital Specific Lenses, one flash system, and a power grip set for the E-1, as follows:
- 14-54mm f2.8-3.5 (28mm – 108mm equiv. for 35mm film camera) at $599.00 MSRP
- 50-200mm f2.8-3.5 (100mm – 400mm equiv. for 35mm) at $1199.00 MSRP
- 50mm f2.0 1:2 Macro (100mm Macro equiv. for 35mm) at $599.00 MSRP
- 300mm f2.8 Super Telephoto (600mm equiv. for 35mm) at $7999.00 MSRP
- TC14 1.4X Teleconverter (1.4X – 1 stop equiv. for 35mm) at $549.00 MSRP
- FL-50 Flash and Accessories $499.00 MSRP
- Power Battery Holder Set $549.00 MSRP
Olympus will introduce the E-1 and this initial round of Zuiko Digital Specific Lenses and E-Accessories to the market in October 2003. Over time, Olympus plans to introduce a wide range ofbodies, lenses and accessories for its digital SLR system, beginning with an 11-22mm f2.8/3.5 zoom, as well as a Ring Flash and Twin Flash later this year. Olympus has also begun work on a consumerdigital SLR camera for 2004.
Durable, Fast & Compact
The E-1 is built to last with a magnesium alloy metal body that is lightweight and durable for heavy daily use by the most demanding professional photographers. A splash-proof body and lenses provide maximum protection against dust and moisture, allowing photographers to shoot in the most difficult conditions without concern for the performance or life of the product. The system delivers a true film-like experience with fast shooting and operating speeds, dramatically reducing the lag time often associated with digital cameras. The E-1's high speed performance shortens the time it takes to capture an image and transfer data to the memory card. Second generation coreless motors in the Digital Specific Lenses achieve focus speeds comparable to or better than the best film SLR lenses.
The E-1's new progressive Full Frame Transfer CCD with separate camera control SDRAM and large SDRAM buffer, coupled with the E-1's parallel data processing 3 ASIC Digital Processor engine, overcomes many of the bottlenecks in image processing and camera operations. The E-1 can capture images at 3 frames per second for a burst of 12 frames in all image quality modes. New capture software delivers another boost in shooting speed, allowing direct capture of data to a computer.
Body and lenses for the Olympus Digital SLR System are sized to meet the needs of professional photographers. Zuiko Digital Specific Lenses deliver higher resolutions, faster aperture speeds and focusing, and more compact sizes than equivalent 35mm lenses built for digital. "Lenses for the E-1 are more compact across the product line than their 35mm equivalents," said Knaur. "If you built a 35mm lens designed for CCD capture to match the focal length of one of the Olympus digital SLR lenses, it would be much larger."
The Four Thirds System
The new Four Thirds System is an open standard for digital SLR cameras and interchangeable lens systems that utilize a 4/3-type image sensor. Adopted by a consortium of leading manufacturers including Olympus, Kodak and Fuji, the Four Thirds System is designed to achieve an optimal balance between image quality, camera size, and system expandability. The system maximizes the performance of image sensors and lenses, and establishes a common standard for lens mounts, allowing photographers greater flexibility with a choice of bodies and lenses from different manufacturers using the Four Thirds System.


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A 1920s-era apartment building in Koreatown has been acquired by a Los Angeles investor who plans to renovate the brick Tudor Revival-style complex near Wilshire Boulevard.
The six-story Windsor Apartments at 3198 West 7th St. and an adjacent parking lot zoned for development sold for $10.75 million to a limited liability corporation, according to investment banking firm George Smith Partners.
The Windsor was built in 1926 at 7th and Catalina streets as an upscale apartment hotel in what was then suburban Los Angeles.
"It's a distinctive example of the great apartment buildings that characterized the neighborhood at the time — luxury living in a burgeoning area between Westlake [now MacArthur] Park and the Ambassador Hotel," said Linda Dishman, executive director of the Los Angeles Conservancy.


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by Jennifer Katz
This morning City Council unanimously passed the three zoning bills needed to convert the 8200 Germantown Ave. site of the former Magarity Ford car dealership to a mixed-use retail/residential development.
Passage of the legislation, which rezoned the parcel and changed the direction of traffic on Hartwell Lane, comes just three days after the Chestnut Hill Community Association board unanimously approved Bowman Properties plan to build a five-story retail and residential development along Germantown Avenue and additional townhomes along the rear of the property on Shawnee Street.
The Philadelphia City Planning Commission approved Bowman's plan yesterday despite lingering tension with some of the site's nearest neighbors.
After the city council vote project manager Seth Shapiro said the plan will now enter the design phase.
"We are excited to embark upon a design process with the community association to further flush out what the building will look like," he said.
Bowman has agreed to continue its work with the community association to finalize the design of the buildings. Shapiro said preliminary site improvement work would likely begin in spring or summer.