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Early Years
At first, the lives of servants and slaves were similar. They were owned by their masters and they worked shoulder to shoulder in the tobacco fields—sometimes even alongside their masters and their masters' wives. Masters often used the courts to discipline their servants. The English common law, though only sparingly enforced, was meant to protect servants and slaves from mistreatment.
Still, blacks and whites sought relief from their often grueling labor and difficult work conditions by running away, sometimes together. In July 1640, two such cases appeared before the colony's judges. The decision dated July 9 describes three servants belonging to Hugh Gwyn who ran away to Maryland and were captured there. Victor, "a Dutchman," and James Gregory, "a Scotchman," were each sentenced to be whipped, and four years were added to their indentures. The third servant, "a negro named John Punch," was punished differently. Rather than take on additional years, he was made a slave for life. Scholars have argued that this decision represents the first legal distinction between Europeans and Africans to be made by Virginia courts.
Three years later, the problem of fugitive servants still vexed Virginia landowners. During its March 1643 session, the General Assembly reacted to what it termed the "divers loytering runaways in the collony who very often absent themselves from their masters service." The actions of these servants cost their owners time—"sometimes in two or three monthes [the servants] cannot be found"—and, most important, money: "Whereby their said masters are at great charge in finding them, And many times even to the loss of their year's labour before they be had." As such, the legislators enacted a law that added to each captured runaway's indenture double the time gone. Those caught a second time would receive the branded R in the fashion of "Emanuel the Negro." And any runaway carrying "either peice, powder and shott, And leave either all or any of them with the Indians," on conviction, would "suffer death."
"Ineffectuall" Laws
By carefully studying Virginia's laws, historians have been able to track the continuing problem of runaway servants and slaves. During the General Assembly's March 1661 session, for instance, lawmakers addressed the circumstance of "English running away with negroes." Landowners saw blacks and whites working together as threatening because slaves had less to lose if caught. Pressure could be exerted on white servants, who still had a chance at legal freedom. If caught, the servants "shall serve for the time of the said negroes absence as they are to do for their owne by a former act." This former act, presumably from 1643, called for captured runaways to serve double the time gone; this new act now added additional time for every slave involved.
In September 1663, lawmakers worried about the "unlawful meetings of servants," and directed masters to "take especiall care that their servants doe not depart from their houses on Sundayes or any other dayes without particular lycence from them." This action foreshadowed a 1680 law, aimed at preventing "Negroes Insurrections," that begins by noting "the frequent meeting of considerable numbers of negroe slaves under pretence of feasts and burialls," suggesting this to be "of dangerous consequence." The concern was that, if allowed to meet with one another and move freely, servants and slaves were more likely to hatch plots, run away, or even rise up.
In asking masters to "take especiall care," however, the language of the 1663 act suggests that strict enforcement was not an option for the Virginia government. And in October 1669, still another law was passed, this one complaining that the previous laws "have hitherto in greate parte proved ineffectuall." This was not due to poor enforcement, according to the burgesses, but to "the wickednesse of servants who at and before their arrivall plott and contrive how they may ffree themselves from their master." To be sure, there was wickedness to go around: the lawmakers rued those members of the community who, rather than capture runaways, actually helped them. The socioeconomic differences between master and servant were not so stark as they would become later, and servants sometimes found allies among the unindentured. As a result, the new law called for a reward of a thousand pounds of tobacco to anyone who apprehended a fugitive, to be repaid by the servant through his or her own additional service. This, the act's authors hoped, would discourage runaways "when they know soe many spies are upon them."
It didn't. A year later the burgesses revised the law when the reward was deemed too steep for the colony's coffers. (A large number of runaways may have created a large number of reward claims, prompting complaints.) Rather than a thousand pounds of tobacco, slave- and servant-catchers now would receive two hundred pounds. And rather than be branded, a repeat offender instead would be "enjoyned and commanded to keepe his haire close cut," and his master fined for putting the colony to the trouble of catching him. In addition, captured runaways were to be whipped by each county sheriff who assumed even temporary custody of the servant or slave on his way back home; the farther fugitives ran, in other words, the harder it was on them if they were caught.
Running Away
Servants and slaves ran away for a number of reasons. Some fled physically or sexually abusive masters; others meant only to take a break from work or to visit friends. Some left in search of family members from whom they had been separated. Still others were enticed away by other landowners looking to steal their labor. During the summer of 1640, a servant boy named Thomas Wood died, and a subsequent investigation revealed him to have been regularly beaten and whipped by his master, Peter Walker, and Walker's hired hand, Samuel Lucas. As a result, Wood ran away several times, but each time he was caught and the beatings continued. Witnesses at the inquest suggested that Wood's treatment was typical for a boy his age, and the court agreed with Walker's claim that his servant died of disease. His corpse, the court ruled, appeared just as "anie man might be dyeinge of the Scurvey beinge much swelled."
Late in 1654, "John Casor Negro" fled the service of Anthony Johnson, preferring to work for one of Johnson's neighbors, Robert Parker. Once away from Johnson, Casor claimed that his master had held him as a slave when he actually was an indentured servant. On March 8, 1655, the Northampton County court ruled in favor of Johnson, who was himself African. At this time, his racial identity didn't matter as much as his status as a law-abiding landowner. The court ruled that Parker "most unjustly kept" Casor, ordering him to return the slave and even pay Johnson his court costs.
After Bacon's Rebellion (1676–1677)
In 1676, Nathaniel Bacon led a rebellion against the colonial government that was fueled by fear and hatred of Indians. Although Bacon served on the governor's Council and was one of the richest men in the colony, his followers included large numbers of disaffected servants, both black and white. Not long after the rebellion, the number of white indentured servants began to drop and the number of enslaved Africans to increase greatly. At the same time, Virginia began to pass laws that instituted much more rigid distinctions between white and nonwhite, free and slave.
Some scholars have argued that the rebellion forced Virginia's landowners to acknowledge the danger of a large population of restive servants in their midst, a danger they addressed by relying more on the labor of slaves, whom they considered to be safer. Slaves, after all, were less likely to become free and take up arms against the colony. Other scholars have suggested that the move to slave labor should be linked more to economic than to social causes, but either way, slaves continued attempting to win their freedom by running away.
Virginia landowners found runaway slaves to be more manageable than servants. Because their condition came to be defined by the color of their skin, slaves were more easily identified and captured. For that reason, the law no longer found it necessary to threaten branding or to "enjoyn" offenders to keep their hair cropped short. In addition, slaves were much less likely than servants to find allies outside their masters' properties, especially in a society primed, as Virginia was, for racial animus. By this time, too, the socioeconomic gulf between rich planters and their servants had widened; by the beginning of the eighteenth century, Virginia was run by an elite planter class. Finally, when nearly all blacks were enslaved, few could do as "John Casor Negro" did in 1654 and attempt to pass for anything other than a slave.
In October 1705, the General Assembly passed a sweeping law entitled "An act concerning Servants and Slaves" that summarized and codified previous laws defining bound labor in Virginia. Regarding runaways, the law called for rewards for their capture (two hundred pounds of tobacco if the slave or servant was ten miles or more from home, one hundred pounds if between five and ten miles), lashes by their various legal custodians on the way home, and stiff penalties for any sheriff who allowed the runaways to escape. The law restricted the movement of slaves by requiring "certificates of leave in writing" and limiting their visits to other plantations to four hours "without the leave of such slave's master, mistress, or overseer."
The law authorized nonlethal punishments as well, the most notable being the
"dismembering" of slaves. In 1707, Robert "King" Carter, one of the colony's
wealthiest landowners, asked permission to chop off the toes of "two Incorrigible
In 1717 Parliament passed a convict transportation act, establishing a procedure by which people convicted of capital crimes in Great Britain might have their sentences commuted to transportation to the colonies, where they would be sold for a term of service, usually fourteen years. Convicts long had been coming to Virginia, and they ran off in greater numbers than ordinary indentured servants.
With the publication of Virginia's first newspaper, the Virginia Gazette, in 1736, owners began to place advertisements seeking the capture and return of runaway slaves and servants. The notices don't cover all runaways; masters were more likely to pursue skilled slaves and servants, who were more valuable. Often runaways were captured within a week or two, thus making ads unnecessary. And the ads themselves represent the master's point of view; their insight into motivations and purposes of flight is therefore suspect. Despite these caveats, the advertisements reveal a remarkable amount of detail about the lives of slaves and servants in colonial Virginia.
For runaway slaves, the amount of information in the newspaper advertisements is even more striking. Physical characteristics, family ties, the remarkable amount of skills that slaves practiced, and even some degree of motivations of runaways are revealed in the ads. The twenty-two-year-old slave Peter Deadfoot forged a pass to escape from Thomas Mason, brother of George Mason, in 1768. Deadfoot was described as a "tall, slim, clean limbed, active, genteel, handsome fellow, with broad shoulders." He also, apparently, was a skilled butcher, ploughman, waterman, and scytheman: "in short, he is so ingenious a fellow, that he can turn his hand to anything." This made him a particular danger, as his owners worried that "such a fellow would readily get employment" and pass as free.
While slave marriages were never recognized by law, their appearance in the advertisements provides telling evidence that masters recognized and allowed slave unions. Husband and wife Tony and Phillis, for example, ran away from master Cuthbert Bullit of Prince William County in 1770. Bullit thought they may have traveled to Lancaster County, where they both previously lived with former owners, or they may have gone to Culpeper, Frederick, or Augusta counties, where their several children had been "sold and dispersed."
Between 1736 and 1783, landowners advertised in the Virginia Gazette for more than 3,500 fugitive runaways. These advertisements illustrate the slaves' unceasing desire for freedom. They continued to flee until the institution was abolished at the conclusion of the American Civil War in 1865.
Time Line
July 9, 1640 - A Virginia court decision describes three runaway servants—two white and one black—who were captured in Maryland. The two white servants are sentenced to additional years of service. The black man, John Punch, is made a slave for life, possibly marking the first legal distinction between Europeans and Africans in Virginia's courts.
July 22, 1640 - A Virginia court decision describes six runaway servants and a black man who were captured. The court sentences them to varying degrees of punishment.
March 1643 - The General Assembly passes a law adding years of service to captured runaway servants. Two-time offenders are to be branded on the cheek with the letter R, and any runaway caught leaving weapons with Indians "shall suffer death."
March 8, 1655 - The Northampton County Court rules in favor of Anthony Johnson, whose slave, John Casor, ran away and claimed to be an indentured servant. The court charges Johnson's neighbor, Robert Parker, with having "most unjustly kept" Casor, and orders him to pay Johnson's court costs.
March 1660–March 1661 - The General Assembly passes a law entitled "English running away with negroes" that adds years of service, in addition to the normal penalty, to runaway white servants captured with blacks.
1663 - Seven servants belonging to Edmund Scarborough of Accomack County steal horses, food, clothing, guns, sails, and a boat and flee. Scarborough hires twelve men and, for eight days each, two boats, and successfully recovers them.
September 1663 - The General Assembly passes a law directing masters to limit the movement of their slaves and servants, especially on days off. Lawmakers worry that when given freedom of movement, slaves and servants are more likely to run away or rise up.
October 1669 - The General Assembly passes a law establishing a large reward for anyone who captures a runaway slave or servant.
October 1670 - The General Assembly revises a law from the previous year establishing a large reward for anyone who captures a runaway slave or servant. A reward of a thousand pounds of tobacco is reduced to two hundred pounds. Repeat offenders are directed to keep their "haire close cut."
October 1705 - The General Assembly passes "An Act Concerning Servants and Slaves," which summarizes previous laws defining bound labor in Virginia. It makes distinctions between the treatment of white "christian" indentured servants and nonwhite, non-Christians, allowing for the killing of slaves in various situations without penalty.
1707 - Robert "King" Carter asks permission to chop off the toes of "two incorrigible negroes" named Bambarra Harry and Dinah.
1717 - Parliament passes a convict transportation act, establishing a procedure by which persons convicted of a capital crime in Great Britain might have their sentences commuted to transportation to the colonies, where they would be sold for a term of service, usually fourteen years.
1720s–1730s - British and colonial authorities encourage the settlement of the backcountry of Virginia. Authorities urge non-English Protestant immigrants whose non-slavery-based small-farm communities might create a buffer against Indian attacks and French expansion, and deter runaway slaves seeking to establish independent colonies in the Appalachians.
1725 - Robert "King" Carter receives court permission to dismember two slaves named Will and Bailey.
October 10, 1727 - In a letter to one of his property managers, Robert "King" Carter suggests he dismember the slave Ballazore, writing, "I have cured many a negro of running away by this means."
April 1738 - Richard Kibble, a convict servant, runs away from Augustine Washington in Prince William County. Washington later advertises for Kibble's capture in the Virginia Gazette, describing him as "a middle siz'd young fellow" with a tattoo of a woman and cherry tree on his chest.
May 24, 1854 - Anthony Burns, a runaway slave from Stafford County, is arrested in Boston under the provisions of the Fugitive Slave Act (1850).
Further Reading
Cite This Entry
- APA Citation:
Costa, T. Runaway Slaves and Servants in Colonial Virginia. (2020, October 23). In Encyclopedia Virginia. Retrieved from http://www.EncyclopediaVirginia.org/Runaway_Slaves_and_Servants_in_Colonial_Virginia.
- MLA Citation:
Costa, Tom. "Runaway Slaves and Servants in Colonial Virginia." Encyclopedia Virginia. Virginia Humanities, 23 Oct. 2020. Web. READ_DATE.
First published: August 1, 2011 | Last modified: October 23, 2020
Contributed by Tom Costa, a professor of history at the University of Virginia's College at Wise, in Wise, Virginia. He is the director of the online project The Geography of Slavery in Virginia.


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(Milton, DE) – Breaking news from Dogfish Head. Founder, Sam Calagione, just sent out this note via email.
Hello there. As you might remember, in 2011, we made the difficult decision to scale back Dogfish Head's distribution. With a heavy heart, we stopped sending beer to Tennessee, Indiana, Wisconsin and Rhode Island.
It wasn't our goal to upset Dogfish Head fans and distributors, but with demand so far in front of supply, we just couldn't brew enough beer. We were left with a choice: leave shelves empty and frustrate beer enthusiasts everywhere, or stay true to our off-centered roots, pull back, and focus on strong, smart growth.
We chose the latter, and although it caused some short-term disappointment, we're glad we did. Dogfish Head is still family owned, we still brew 100 percent of our off-centered ales ourselves here in coastal Delaware, and we're continuing to change the way people think about beer.
We have maintained double-digit growth in the past few years while investing in our brewery to increase capacity beyond the 200,000-bbl pace we are now at. This expansion will be completed in a few months, and we'll finally have the capacity to reopen the markets we had to pull out of.
We're happy to announce that we'll be hunting for distribution partners and regional sales managers in those four states and plan to be on shelves and taps there before the end of the year.
Many thanks to the craft beer lovers in Tennessee, Indiana, Wisconsin and Rhode Island for hanging in there and having us back!

subset: commoncrawl


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Thank you Michele Safra for sending in this gorgeous and exotic table designed in honor of Mario Buatta! Michele, a native of Milan, was greatly influenced by her mother, an interior designer who fashioned homes in in Paris, Brussels, Geneva and Monte Carlo. Michele later earned her degree from the New York School of Interior Design and soon founded her company, Michele Safra Interiors.
An Exotic Table designed by Michele Safra in honor of Mario Buatta at the Metropolitan Club in NYC
"The New York School of Interior Design (NYSID), the beneficiary of the AVENUE SHOWS Antiques and Art at the Armory, held an Opening Night Gala Dinner at the Metropolitan Club honoring Mario Buatta on March 9, 2011. For this special event, NYSID granted us the opportunity to design one table inspired by elements of Mario Buatta's designs.
As our theme we chose: "Prince of Chintz Mario Buatta loves Chinoiserie".
Mario Buatta, dubbed the "Prince of Chintz" repeatedly uses Chinoiserie in his decorations, be it in screens, pieces of furniture or objects. Our fabric for the overlay of the tablecloth is chintz in a charcoal color. The original source for its design is a Chinoiserie toile printed in France CA. 1786.
Our choice of color was influenced by one of Mario Buatta's sentences: " People are often afraid to go dark, but once we have once we have pushed them to the other side they never regret it."
To offset the charcoal we placed and underlay gold silk and two important Ormolu Empire candelabras. A pair of 18th century Dutch tole chestnut urns of japanned with gilt decoration of flowers and foliage on a black ground all contribute to the Chinoiserie theme.
A striking arrangement of orange Fritillaria Imperials and Orchids Oncydium mini all from Japan were woven together with corail Fire Cracker from Holland. This added vivid color, vibrancy, and a touch of exoticism"
Michele Safra
More about Michele…
A native of Milan, Michele Safra was virtually swaddled in Fortuny and Dupioni silks at birth, thanks to her mother, an interior designer. Branded as the brainy one in the family, young Michele was pushed to become a financial advisor. But, even as she studied voraciously and excelled in the world of numbers, Michele was busy absorbing the world of beauty, learning how to fashion homes in Paris, Brussels, Geneva and Monte Carlo at her mother's side. Even though her financial career was on the fast track, Michele heard the irresistible call of her artistic muse. Throwing caution to the wind, she dared to follow in her mother's footsteps. She turned her sights to design, earning her degree from the New York School of Interior Design and soon founding her company, Michele Safra Interiors.
Michele's artistic roots, global upbringing, and financial expertise give her a distinctive blend of creative, cultural and business sense that's not often found in the design world. An allied member of ASID, Michele has developed an international clientele for both residential and commercial projects. When she isn't scouring European flea markets and exclusive showrooms, she can be found doting on her family in New York City. With a multicultural background and a flair for the eclectic, contemporary, and timeless, Michele Safra is dedicated to helping clients create beautiful spaces that resonate with their own unique spirit.


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Do you think your cat has what it takes to be a celebrikitty? A Vancouver firm is casting frisky felines for a new competition television show called Battle Cats.
That's right. Battle Cats is a reality show that will pit five mousers against each other in tasks such as pole dancing, climbing walls, dodging swinging balls while on a balance beam, and even something called the Laser Ring.
The tongue-in-cheek show, produced by Force Four Entertainment, is looking for about 30 "cathletes" and their owners for filming of six episodes, beginning in February. The show will air on Bite TV.
At the first casting call on Saturday, held at The Bone & Bowl pet store in the Olympic Village, Natasha Coulter was there with 12-year-old Bengal cat named Indie.
Coulter, who lives in the area, held the bright green-eyed cat as the producers interviewed her on camera.
"I thought he might be a good fit for the show. He's really fun, and he's a good jumper, and he's really fast," she said. "I think it just sounds like something really fun to do."
Laura Brooke Toplass, producer and casting director for Battle Cats, said she was looking for cats with high energy and personality, that had a close relationship between with their owner, and that could behave well with other people and other cats.
The feline finalists will be trained for a couple of months before the company begins shooting the series early next year.
"The cats will go through an agility course. The owners and the cats get to compete together through seven obstacles. A lot of people don't realize that cats can be trained much like dogs or horses," she said.
She said the "laser ring" is "almost like speed skating, but with lasers for cats."
Katelyn Garrity fought back tears on camera as she was asked what her relationship with her cat Lynk was like. That's because she got him as a companion for her other cat, which died of a terminal illness in May.
Garrity, a Burnaby resident, is a foster parent for abandoned kittens for an animal rescue shelter and her passion for the creatures was evident as she cuddled and talked to the two Manx cats — Lynk and Navii — that she brought to try out for the show.
"Navii is a runner. She runs around the house. She is impossible to make tired, and she'll just keep going. She's my baby, and she's a snuggle-bug too," she said.
"And Lynk knows a lot of tricks. He can sit and lie down. I trained him like a dog."
Another set of auditions is planned for next Saturday at the Bone and Bowl, but people from across the country can also apply to be on the show via the website www.battlecats.ca


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Formed just over 18 months ago and with less than 50 live shows under their belt, Razorlight have shot to prominence thanks to a summer support slot with garage-by-numbers foursome The Hiss and their rousing debut single 'Rock'n'Roll Lies', which was immediately placed on heavy rotation by MTV2.
Currently on a tour that will see them open for the likes of The Raveonettes, Suede and (tonight) The Bellrays over the coming months, Borrell and Swedish guitarist Bjorn Agren are in a fairly buoyant mood.
"This tour is like a Grand Prix" insists Borrell. "This part with the Bell Rays is like your first time round the circuit, and then by the next lap with the Raveonettes we should be going at full pelt, before the final victory lap with Suede."
Despite being novices on the gig circuit ("We're growing up in public" decides a confident Johnny Borrell), their shows have been quoted as being "almost legendary", while they have been blessed with glowing reviews by virtually every section of the music press, something which doesn't surprise the amiable Borrell.
"No, I don't think it has shocked me. I mean, I like the songs we play!"
"I think we put on a good show. We feel we're reasonably good at it…" offers the softly spoken Agren.
"…most of the time," adds Borrell. "There was one time when we played the Barfly in London a few months ago, and at that point it took me by surprise. Suddenly it felt like there was this chorus of angels singing 'In The City' back to me, girls grabbing out for bits of me and stuff. It was really weird."
"I was quite near the front of the stage and I felt these hands on me, almost pushing me backwards" says a relieved Bjorn, his facial expression growing more harrowing by the minute. "The other side to it though, is that we've played most of our gigs in and around London, so people are getting to know us there, whereas when you play outside of London, you really don't know what to expect, or even whether they'll be anyone there at all!"
Certainly the band's London 'connection' - Borrell having been involved in an early incarnation of the Libertines with his old buddy Carl Barat and drummer Christian Smith-Pancorvo's experiences with Stony Sleep – may have helped establish their status as potential frontrunners in some post-Strokes gritrock scene ("You could go and see The Libertines, the Queens of Noize and Johnny Borrell playing in a small pub four years ago and nobody gave a fuck, but now they're all queuing round the block" decrees Borrell), while the intervention of manager Roger Morton – himself a noted music hack for the likes of the NME, did more good than harm in terms of attention grabbing.
Having been conceived in London, how does the band feel about their current on-the-road schedule which will take them near enough up to the festive period?
"I have enjoyed it so far," insists Johnny Borrell, "although I've
spent most of today sat in a Travel Lodge, and I'm sure these places were built
over old burial grounds or something."
"I think the interesting thing is that more and more people are going out to gigs now as opposed to five years ago, when they'd just stay out all night in a club" adds Agren, rather pensively.
Do you think the way the media has embraced people such as the Strokes and the Libertines has helped open a few doors for bands like Razorlight?
"I don't know really. I mean, I feel like I have to kick four doors down every day!" insists Borrell.
Having been compared to such luminaries as The Clash, Patti Smith and The Jam, it must be difficult not to pay much attention to what the media say.
"I always think fanzine reviews and stuff on the web usually seem to get it right, whereas the national press always seem to be looking for an angle. I try not to read to much into it, because when people get it right it tends to be for the wrong reasons," states Borrell. "It was nice to be called the best British songwriter since Paul Weller though, by John Earls ('Planet Sound', Channel 4 Teletext)."
November 10th sees the band release a new single 'Rip It Up', which has already followed its predecessor onto both the Radio One and MTV playlists, and also saw the band make their first 'proper' music video.
"The video to 'Rock'n'Roll Lies' cost about £200 to make, if that…it was basically our manager putting together a film of footage from all of our gigs up to that point, whereas the new single, a friend of ours came up with some ideas of what to do in the video," declares an excited looking Borrell. "He's quite a genius, because he's made the new video look quite spectacular on such a shoestring budget. He really understands this band. I sometimes think he understands us better than I do…"
First and foremost, Johnny Borrell wants to be recognised as a songwriter. Not only that, he wants to be remembered as a GREAT songwriter, and from the blood'n'thunder of 'Rock'n'Roll Lies' and Police-do-Britpop of 'Action' to the epic set closer 'In The City', the early signs look promising. On the subject matter of his songs, Borrell is quite open.
"'Rock'n'Roll Lies' is about a girl who comes to London, a bit of a scenester. Her only ambition in life is to be seen with the right people in the right places and how false all that is, really. It's like when someone gives you an 'Access All Areas' laminate and you think you're on top of the world when in actual fact, most of the people in there just treat you like shit. I've always found that everyone who's not in the backstage area wants to get in and everyone who's in there can't wait to get out! It's like, you can imagine those sort of scenesters waking up with 20p in their pocket and never washing the dishes and living to go to the next electroclash club where they're surrounded by all these supposedly 'glamorous' people…it's about how that individual just lived a lie, basically."
And what's the biggest lie you've ever told, Mr Borrell?
"I really don't like lying. I don't think I've ever had to. I think there's a difference between tact and lies. People tend to mistake one for the other. I want my tact turned off. I want everyone's tact turned off. I think if that happened people would just do what they actually wanted to do, say what they wanted to say, rather than say what they think they should say because it's more tactful, whether they believe it or not."
Next it's the subject of pop music. Razorlight may be predominantly geared towards a traditional white indie/rock audience, but the diminutive singer doesn't quite see it totally in that way.
"The point of this band is to make good, pop music. Pop music shouldn't be seen as a dirty word. It should be taken as meaning 'to do something' in the sense that a lot of people can level with it, if you know what I mean. Whether or not you're engrossed in the lyrics or just love the tune blaring out of your speakers for three minutes and you can't stop nodding your head. Music is more of a leveller than conceptual art, in that it can grab so many people in different ways, and that's why the notion of pop music being completely throwaway is wrong. I mean, you'll look at a conceptual art piece and probably less than 0.5% of the world's population would ever try to understand it, want to even."
So would you say that you wouldn't want people to take Razorlight's songs too seriously, in the way that fans of say, the Manic Street Preachers or Joy Division have taken some of their lyrics (and subsequent circumstances of the songwriters involved) too literally?
"There is that element of trying to get people to dig deeper in the songs
than just shake their arse to the kick drum or whatever, you know, get a message
through that's contained within the lyrics of our songs, but at the same time
I don't contrive it. I don't sit down purposely trying to write a particular
kind of song that might reach certain people, I just sit down and tell these
stories I write the best I can. I guess it's better described as my way of telling
people what I know, which basically isn't everything or nothing – it's just
something," explains Johnny.
"We feel our songwriting style is natural. It's not like we go 'let's do it this way because it's fashionable' or whatever. We just do what we feel is right when we feel it's right and then everything just follows on from there. Spontaneity is a very important thing," adds Bjorn.
"At the end of the day there's only so many ways you can play so many chords" declares Borrell with a wisdom superseding his tender years.
At 22 years of age, Johnny Borrell is one of the most intensely prolific songwriters of his generation. Armed with his trusty cassette recorder, he'd think nothing of writing a new song in the back of the van whilst the band are driving up the M1, or passing away the hours in one of those Travel Lodge "cemeteries" he's come to despise over the last few months.
"I go through tapes VERY quickly" he exasperates. "I usual fill a whole C60 every 4 or 5 days. Our first album isn't meant to be out until the beginning of next year and yet I've already written the follow up. I'm quite frustrated at the moment because some days I've got 8 or even 10 ideas bouncing around in my head. Sometimes it drives me really mad. I've got a couple of major addictions and one of them is writing. When I get started I just can't stop. I find it hard to really concentrate on anything else."
Care to elaborate on what the other one is?
"Yeah, it's Teletext. There are two main addictions in my life."
Any particular aspects of Teletext?
"I really like 'Words Of Wisdom' on BBC1 and 'Bamboozle' on Channel 4."
Johnny has a few philosophical thoughts of his own:- "Drink at least eleven cups of tea every day. Don't wait for buses, because then you're just waiting for someone to catch up with you. Always carry a tape recorder – you never know when you might end up behind a couple of old men in a museum and you can record their conversation…"
Have you bootlegged any good conversations recently?
"Yeah. I went through a period a few months ago where my tape recorder went everywhere with me, and I was sitting in a bar when the sleaziest, dirtiest old man was just trying the most desperate chat up lines on my friend's sister. This guy just wouldn't leave her alone, wouldn't take no for an answer…!"
And then of course there's the record label. Razorlight are currently signed to Vertigo (an imprint of Mercury), an appropriate choice given the dizzy heights that young Borrell is trying to achieve.
"They're alright really. They just gave us some money to record the album and let us get on with it. I put myself under more pressure with my own quality control for the songwriting than they do. I won't be able to rest until I've written THAT perfect song and I'm not gonna stop until I've done it."
And how will you know if and when that day arrives?
"I'm hoping I'll know! Maybe it'll be hard to tell – after all, there's nothing worse than trying to analyse your own stuff".


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Can I just say that my hubby is THE best?!? I sure do love him. This past Valentine's Day, he surprised me with several goodies - and a Belgian waffle maker was among them. I was so excited to open up the box and give it a whirl. There are lots and lots of wonderfully thick and fluffy waffles in our (very near) future!
I wanted to start off with a classic recipe - nothing too crazy. I pretty much love any recipe that incorporates buttermilk, so that seemed like a good place to start. Belgian waffles are a little more involved than regular ole' pancake batter, but they are totally worth the extra effort. They still came together pretty quickly, especially with the help of a stand mixer and using the waffle maker was very fun! I have to admit, I was more than a little excited as I patiently waited for that first waffle to finish baking so that I could open the lid and take a peek at the waffle-goodness.
These waffles came out even thicker than I thought they would. They were fluffy and perfectly infused with blueberries and a hint of pure vanilla extract. A drizzle of maple syrup sent them over the edge!
Bon Appetit, my friends!
Classic Blueberry Buttermilk Belgian Waffles
Adapted from: Oster
2 cups all-purpose flour
2 Tbsp cornmeal (optional)
1 Tbsp baking powder
3/4 tsp baking soda
1 tsp salt
3 large eggs, separated
3 Tbsp granulated sugar
1 3/4 cup buttermilk
1/2 tsp pure vanilla extract
1/2 cup (1 stick) unsalted butter, melted
1 cup blueberries
In a large bowl, whisk together flour, cornmeal, baking powder, baking soda and salt to blend thoroughly; set aside.
In mixer bowl, beat egg whites until soft peaks form. Add sugar; continue beating just until stiff peaks form. Set aside.
Whisk together egg yolks, buttermilk and vanilla. Using rubber spatula, stir buttermilk mixture into flour mixture, blending until dry ingredients are moistened. (There should still be small lumps; do not over-mix.) Stir in melted butter. Fold in beaten egg whites until combined.
Pour batter onto bottom grid of hot waffle maker; sprinkle batter with fresh (or defrosted frozen) blueberries. Close waffle maker and bake as directed.
Makes about 5 1/2 cups batter.


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Symbiotics® Colostrum PLUS®, 120 Vcapsules
Symbiotics® Colostrum PLUS®, 120 Vcaps
- With Immulox 10%
- Immune System Stabilizer*
- Supports Healthy Immune Response*
- Supports Normal GI Tract Health*
- Gluten Free
Fight back with Symbiotics Colostrum Plus with Immulox! Nature provides an immune defense network, but your immune system is challenged by normal physical and mental stress, as well as aging. Colostrum Plus with Immulox boosts immune factors with additional Proline-Rich Polypeptides (PRPs) which serve as an immune system stabilizer.* Colostrum's dual action—in the bloodstream and in the GI tract, helps maintain healthy intestinal flora in a normal GI tract.* Give it a try today!
Symbiotics Colostrum Plus with Immulox is a uniquely helpful supplement providing Lactoferrin, Immunoglobulins and Proline-Rich Polypeptides (PRPs). Under the Symbiotics label, minimum levels of these important components are verified by laboratory testing.
Quality and Purity Assured. Exclusively from USDA Grade A dairies. Only from first milking. Laboratory tested and verified free from pesticides, antibiotics and rBHT hormones. Each bottle is double sealed for quality and safety. If either seal is broken or missing, do not use and call 1-800-421-1830. Close tightly and store in cool, dry place (below 75ºF), away from heat.
Warning: If you have a physician-diagnosed health condition, consult your doctor before taking this product. Discontinue use if you experience adverse reactions and consult your doctor.
Other Ingredients: Medium Chain Triglycerides, Sunflower Lecithin, HPMC ( vegetable capsules). CONTAINS: Milk. Directions: Take 2 capsules, twice daily, with water or your drink of choice, on empty stomach. Triple this amount in times of environmental or physical stress.
*These statements have not been evaluated by the Food and Drug Administration. These products are not intended to diagnose, treat, cure, or prevent any disease. Copyright © 2014 Symbiotics, a division of Prevention, LLC. All Rights Reserved.


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ESC Pluripotency Pathways (Mus musculus)
From WikiPathways
The cytokine LIF and its downstream effector STAT3 are essential for maintenance of pluripotency in mouse ES cells. The requirement for the transcription factor Oct3/4 for ES cell pluripotency is also well-documented. However, LIF is not involved in self-renewal of human ES cells, suggesting that other pathways must play an important role in this process. The importance of other signal transduction pathways, including BMP and Wnt signalings, as well as novel transcription factors such as Nanog, is now being recognized. Pathway source: Intracellular Signaling Pathways Regulating Pluripotency of Embryonic Stem Cells, Okita et al, Current Stem Cell Research and Therapy, 2006, 1, 103-111
Quality Tags
Ontology Terms
- Zhou G, Myers R, Li Y, Chen Y, Shen X, Fenyk-Melody J, Wu M, Ventre J, Doebber T, Fujii N, Musi N, Hirshman MF, Goodyear LJ, Moller DE; ''Role of AMP-activated protein kinase in mechanism of metformin action.''; J Clin Invest, 2001 PubMed Europe PMC Scholia
- Okita K, Yamanaka S; ''Intracellular signaling pathways regulating pluripotency of embryonic stem cells.''; Curr Stem Cell Res Ther, 2006 PubMed Europe PMC Scholia
- Hao J, Daleo MA, Murphy CK, Yu PB, Ho JN, Hu J, Peterson RT, Hatzopoulos AK, Hong CC; ''Dorsomorphin, a selective small molecule inhibitor of BMP signaling, promotes cardiomyogenesis in embryonic stem cells.''; PLoS ONE, 2008 PubMed Europe PMC Scholia
- Yuasa S, Itabashi Y, Koshimizu U, Tanaka T, Sugimura K, Kinoshita M, Hattori F, Fukami S, Shimazaki T, Ogawa S, Okano H, Fukuda K; ''Transient inhibition of BMP signaling by Noggin induces cardiomyocyte differentiation of mouse embryonic stem cells.''; Nat Biotechnol, 2005 PubMed Europe PMC Scholia
View all...
External references
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Annotated Interactions
No annotated interactions


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As the creative mind behind the popular animated seriesHome Movies, Brendon Small's metal masterpieceMetalocalpysehas garnered massive attention worldwide by way of the fictional death metal group, Dethklok. Small created the animated band Dethklok to materialize his own twisted concept: What would it be like if a death metal band ruled the world?
The fictional death metal group Dethklok, which is the world's most popular band in the television series, is the centerpiece of the show, which chronicles their exploits in hilariousSpinal Tapfashion. This extraordinary positive reception was not only due to the show's great writing and riotous antics, but also to the catchy, well-polished, tightly-crafted music that accompanies it. Their first record, aptly titledThe Dethalbum, was quickly snapped up in droves when it hit the shelves in 2007, becoming the highest charting death metal album in the history of the Billboard 200. The massive popularity of his animated show and music aided by a song's inclusion inGuitar Hero II, has led to an second album [Dethalbum II, released 9/29] and co-headlining tour with Mastodon.
We catch up with the co-creator, co-producer, musical composer and voice actor to talk about his and Dethklok's gear, recording the new album, collaborating with Joe Satriani, and Dethklok's faux reign as the world's biggest band.
Let's start from the beginning. What got you into metal? What got you to first pick up the guitar and play and write music?
I'm just a boy from the suburbs, man, so it's my destiny to play guitar [laughs]. I always wanted a guitar since I was a kid and heard music, but I started with a tennis racket and worked my way up. Also, I got a keyboard when I was like eight years old so I immediately started writing songs about dumb kid stuff. The same stuff every kid in suburbia does when they find a piano and have make-believe radio programs. I met a friend after moving when I was about 14 years old and in like one afternoon he introduced me to Slayer, King Diamond, Yngwie, Blue Öyster Cult and all these bands I'd never heard of. Let's just say, it was a crash course in metal and all things that would consume my musical life in the future [laughs]. And on that same day, he had a Kramer super-strat style guitar and he showed me two things and by the end of the day I was playing them. One was like a blues shuffle and the other was "Iron Man," and pretty much from that point on I always thought that this was what I was going to do.
One of the most striking aspects of the Dethalbum II is how much more dense and orchestrated it is than its predecessor. Was this a conscious effort or process?
The truth is that I don't have a thought process—I just start going with it. As I continue doing this project I naturally think that I just want to up everything by adding more changes and putting more weird stuff in the mix. I mean, honestly, at the end of the day I'm just doing stuff that I want to hear. I finished the firstDethalbumafter closing out the first season ofMetalocalypse. When I completed all the overdubs the next day, I was doing work on season two. The music in the second season was a reaction to me working on the originalDethalbum, which featured medium and slow tempo metal stuff. So, the first song recorded for the second season was "Laser Cannon Deth Sentence," which is faster and much more aggressive than anything on the first CD.
When writing and recording the music, do you have a personal recorder you carry around or do you lock yourself up in a studio for a chunk of time?
I lock myself in my recording studio in my house. Luckily, the way I work on the show is that I'm always working on something different every hour of the day. For instance, this morning I'm rewriting a script for the show and last night I was up until 3 o'clock writing and making dance music for an episode. That one won't feature any guitars or instrumentation that you're used to—it'll only feature vocals and old school mono synthesizer stuff. I'm constantly divided between different things and when I write music for the show its basically a bunch of directors hounding me to get them the music for the episodes.
I'll usually show up with a click track, a really scratchy track of me playing guitar and maybe somemumble jumblevocals just to line up the animation sequences. I'll buy myself some time to fix everything—to make it sound better. I'll be committed to that tempo and committed to those words, but I can change the guitar stuff and make it cooler and beat the original riff by taking it in a different direction or you know, if that riff is simple and it works—keep it. It's definitely a step by step process. And like I said, if I go with a medium tempo song, the next one will be slower or faster because I just did that tempo and my ADD won't allow me to be repetitive—even if the song would be good, it'll have to wait.
Ironically enough, lately I've really enjoyed playing the guitar in standard E tuning. I mean, it just sounds really cool. It's instant metal when you tune your guitar down a major third, but the guitar just sounds good, natural and it rings out clearly in standard tuning. It just gives you an ultimate range that other tunings can't really compete with.
What were you listening to while writing and creating the new Dethklok album?
I mix it up all the time. You can't just listen to metal constantly because you'd have nothing to distinguish it from. If you looked at my iPod its pretty eclectic—it has ELO, David Bowie, Steely Dan, Enslaved, and Yngwie along with other guitar heroes. I love the super nerdy stuff, the technical playing like Allan Holdsworth and Meshuggah is insanely good. But in relation to the new record, I can't really say I was specifically digging on something and seeking to get that tone or vibe, well, at least not consciously because I'm sure it happens without my knowing. If I keep this Dethklok thing up, I'm sure more and more influences will creep into the band's sound, but it'll always have the screaming vocals, double kicks and chugging guitars. After all, it's Dethklok so it'll have the harmonizing guitars, some keyboards but I can take it to the left or the right pretty hard and still keep it Dethklok.
We saw a photo of you playing live a year or two ago with a Gibson Explorer that had the Dethklok logo on the neck and there have been rumors ever since of you having a signature model coming out, will this ever see the light of day?
I actually still have that guitar and it plays really well and sounds pretty cool, too, but its just going through a process and can't really get my full attention. Once I'm done with you guys I'll be rewriting a script, working on the videos for the upcoming tour so the instrumentation and lip movements match the music and I have to practice playing and singing. So as much as I'd like to push this thing through, I have enough spinning plates right now that are keeping my attention. But wouldn't it be cool if there was a Dethklok signature guitar?
Hell yeah, we'd both be in line for something like that! Are there any big equipment changes with Dethklok?
One big change with Dethklok is they now use Marshall amps instead of Krank. Marshall came knocking on the door and they include Vox and Korg, which is cool because I'm also very into using keyboards. And at the end of the day, I mean, it is Marshall so you really can't refuse an offer from them because their amps sound fantastic.
Did you use just Marshall and Vox in the studio or did you mess around with various combinations of stuff?
We just loaded the studio with whatever we had lying around and just A-B'd everything. I have a really cool Mesa/Boogie Express 5:50 that I used and I messed around with a bunch of pedals in front of that. I still used some of the Krank stuff. Gene brought in his friend Michelle's amp—she actually passed away recently, but he still had her amp in his car—which was a solid state Marshall Mode 4 and I played that on a few songs and I thought to myself, "this is the sound I kind of want to commit to on this record." But the amp starting crapping out on us, so that was when Marshall stepped in and opened their doors to us. Then we worked with a 100-watt, three-channel JVM head and threw it into a girthy distortion setting and put an Ibanez TS-9 Tube Screamer on top of it to add some creaminess to the mix. The combination of those two amps, Mode 4 and the JVM, was what we used for the rhythm tracks.
For guitars I pretty much just used my Gibson Explorer that's loaded with EMG X Series 81 and 85 pickups because I feel they offer a little more headroom. While I use the Explorer for all the rhythm tracks, I use primarily my Les Paul Goldtop '57 reissue with stock pickups and hardware. That Goldtop has a baseball bat for a neck and I find the more I play guitar the more I like them to be heavier and the necks to be fatter–I don't think bulky guitars like that impede on shredding at all. For strings I usually put the fattest ones (generally .013–.060) available because I don't want them to get slacked or loose like spaghetti.
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Devil Band: Rock the Underworld is a newly released DSiWare game from the folks behind Guilty Gear and BlazBlue. It has one of the DS's most interesting button set-ups. Ever.
In Devil Band, you use the Nintendo DS's touch screen and the keypad. That's it. Or is it?
What happens if you, say, press the A Button during combat? Or the B Button? It's apparently not in the game's instructions, but if you, say, press the A Button, you can clear the stage. If you press the B Button, then you end the game.
Moreover, if you press the L Button, you can add Experience Points. If you press the R Button, you can add Gold. These buttons can apparently only be used this way during combat. Buttons? Sorry, I meant cheats!
These tricks are similar to some of the old debug tricks from days of yore (press Start!), so if you think of them that way, these Easter Eggs are kind of neat.
DSiウェアに前代未聞のウラワザを搭載したゲーム登場!Aボタンを押す→クリア [絶対SIMPLE主義]


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For Don Olson and the Cowlitz County Public Works Department, the ability to call in a knowledgeable partner and quickly put a cooperative purchasing contract into action was the key to literally getting out from under a load of garbage. Olson, a solid waste superintendent, had to move quick: The closing of his county's landfill in Washington state and the transfer of services to a new, combined site meant a much larger dozer was needed.
Loads delivered to the new site would range from 28 to 30 tons and required a machine that could push 50 loads of that size every day. The solution was obvious: The Public Works Department needed to purchase a new Cat® D8T Track-Type Tractor. "That was the only unit that met our specs," said Olson. But meeting the extremely tight deadline for the move meant that the county's usual acquisition process needed to be fast-tracked.
That's where cooperative purchasing came to the rescue. Olson was able to procure the machine he needed by piggybacking onto an existing cooperative contract available through his local Cat dealer, Peterson Cat, and the National Joint Powers Alliance (NJPA). One of two cooperative purchasing contracts available through the Cat Dealer Network, NJPA allows members to select from over 120 models of Cat equipment, including the D8T specified by Cowlitz County.
Because Olson's department was an NJPA member, he was able to get the machine he needed in record time. "Writing specs and putting the machine out to bid would have taken six weeks," he said. "By purchasing (a machine) using an existing NJPA contract, the process was completed in six days."
Cooperative purchasing solutions work best when the cooperating public and private enterprises have already built a foundation together. In this case, Cowlitz County had laid the groundwork for fast action through membership in the NJPA, and Olson had an ongoing relationship with the county's Cat dealership. Having mutual trust between all parties is essential, said Jason Walker, a governmental sales support consultant with Caterpillar. "As with any relationship, communication is key," he said.
For more information, visit govbidspec.com.


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Barksdale realizing dream at RBI World Series
Detroit PAL catcher became guardian of nieces while continuing to play baseball
MINNEAPOLIS -- There was a time when David Barksdale thought he might not get to keep playing baseball.
Between responsibilities at home, baseball practice and a two-hour bus ride home, Barksdale's once straight-A's started to slip. And the first thing to go would be his beloved sport.
As the Detroit PAL catcher described in his essay for his Breaking Barriers Scholarship application, Barksdale quickly went from the youngest child to an older sibling or father figure as his three nieces moved into his house due to some complications with his sister's health. Between his father's illness and his mother working to support their family, Barksdale was suddenly his nieces' caretaker, cutting his own sense of youth short.
"I was forced to be a 'guardian' to my nieces," Barksdale wrote. "Therefore, after I would catch the bus home from school, it was my job to watch after them, bathe them -- basically be a father as a high school freshman. Being forced to do these things meant there was no time for me to get my homework done, seeing that I wouldn't get home until around 8 p.m. because of a two-hour bus ride after baseball practice."
Inspired by the Zig Ziglar quote, "Sometimes adversity is what you need to face in order to become successful," Barksdale worked hard to juggle everything and find a way to make everyone happy.
He found a way to bring up his grades and was able to continue playing the game he loves, the game that allows him to take his mind off everything.
"Baseball is my escape," Barksdale said. "Whenever I'm stressed out or anything, I can just go to the baseball diamond and take my mind off everything. I really don't have to worry about anything when I'm on the diamond."
Barksdale knew at a young age that he wanted to take part in the RBI program. Playing with and against some of the nation's best youth baseball players, Barksdale has served as the starting catcher in each of Detroit's three games through the first two days of the 2013 RBI World Series, helping his team to a 2-1 record.
While Barksdale said he would still be playing baseball if it weren't for the RBI program, he admits it wouldn't be at the same level or provide the same opportunities.
"It means a lot," Barksdale said of the program. "When I was little, I would see RBI on TV and everything and I would tell my mom, 'I want to play for them.' I never really thought I'd have the chance to do this until like two years ago. I was playing with the 15-under team. This is great -- playing at a high level with teams like this and the MLB scouts, it's great."
And his hard work and effort to juggle all his responsibilities has paid off. In the fall, the 18-year-old will attend Indiana Tech University, where he will continue to play baseball.
"I knew that in the end, it would all pay off and that I would be happy that I went through these challenges," Barksdale wrote in conclusion to his Breaking Barriers essay.
"This situation has only made me a better person, improved my time management skills, and has made me very mature for my age by giving me knowledge of how it feels to be a parent that is still attending school."


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From off campus, dial 708.534.HELP (4357)
When you dial H-E-L-P, the GSU Helpdesk consultant will ask for the following:
1. Name and affiliation with GSU (e.g., student, faculty, staff)
2. Location of computer
3. Phone number (s) where you can be reached
4. Purpose of call
5. Detailed questions about: a) software; b) network connection; c) error
The GSU Helpdesk consultant will issue you a ticket number. Please allow three working days before calling to check the status of your ticket. If you call and get voicemail, please follow numbers one to five as your guide.
Monday to Friday: 8 am to 10:30 pmSaturday: 8:30 am to 5 pmSunday: 1 to 9 pm
Change Password on the GSU PortalChange Password on iPad and iPhoneChange Password in Ellucian ColleagueChange Password while Logged into the NetworkChange Password while Logged into OWAReset Forgotten Password Using Password Reset Tool
Connect Using Cisco VPN Client Windows


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Rollins (Kelli Giddish) is getting another visit from her sister Kim (True Blood's Lindsay Pulsipher) on Law & Order: SVU, and once again she's getting Rollins into major hot water with her colleagues at the NYPD. But has Rollins crossed the point of no return?
In this exclusive sneak peek from Wednesday's episode (9/8c on NBC), Rollins comes home to find Kim being sexually assaulted by someone carrying a gun. Rollins takes matters into her own hands to protect her now-pregnant sister and soon enough, cops are swarming her apartment. So what did Rollins do? And will Benson (Mariska Hargitay), Capt. Cragen (Dann Florek) and the rest of the SVU squad be able to help her? One thing is for sure — it's never a good sign when Benson is calling Rollins by her first name.
Watch the exclusive clip below. Law & Order: SVU airs Wednesdays at 9/8c on NBC.


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We Try the New Buffalo Blue Cheese Burger from Hardee's & Carl's Jr.
Reviews of fast food burgers and a look at how the real life version compares to the advertised beauty shot.
Granted, pretty much all fast food burgers live in that narrow spectrum between "that's not terrible...for a fast food burger" and "that sucks donkey balls." But when you desperately need a quick fix, there's usually a numbered value meal or two at a megachain outpost that you can count on to be up to snuff. Hardee's has traditionally been one of those places for me, with better-than-you-might-expect burgers that certainly don't compete with a legit product from a sit-down joint, but don't stray into lewd-acts-with-livestock territory either.
If I'm being honest, though, their limited-time-offering burgers are starting to, uh, drift a bit south as of late.
That's their new(ish) Buffalo Blue Cheese Thickburger, which Hardee's and Carl's Jr. both rolled out at the end of August. Looks decent, and you know what you're getting right up front, based on the name. Pretty straightforward, but the CKE brass are under the impression that they're breaking revolutionary new ground here. Here's an excerpt from the official press release:
...we began playing around with the unique flavors of Buffalo wings on a burger and found that the combination tasted great... It really is the best of both all-American classics coming together for the first time.
Yes, my carnivorous ladies and gents, according to chief marketing officer Brad Haley, the crack R&D teams at Hardee's and Carl's Jr. have just now invented putting hot wing sauce and blue cheese on a burger.
Planting your flag in someone else's backyard aside, somebody should tell Hardee's and Carl's Jr. to ease up a bit on their execution. This was the sight that greeted me upon opening my burger. Frank's RedHot Buffalo Wings Sauce is literally flooded onto the burger—both upstairs and downstairs—in massive squirts from a squeeze bottle, enough so that mine was running off in a gush of Day-Glo orange before I'd even picked the sandwich up.
I'd advise you to not pry up the bun and peek under the hood. I believe I may have jokingly/snarkily referred to a burger once or twice in my AHT tenure as a "crime scene," but this actually looked like one. I love blue cheese, but could tell at a glance that this would be way too much of a good thing and almost certainly overpower the burger.
Turns out I was wrong. Oh, it was overpowered, all right. But the overpowering came from what seemed like a gallon of wing sauce. As hot sauces go, Frank's is quite tasty, palatable even to non-hotheads. But this was like doing a shot of straight wing sauce and then chasing it with an otherwise-nondescript-but-still-too-blue-cheesy fast-food burger. There's so much lubrication from the hot sauce and the now-melted blue cheese that one bite in, every slicked-up component of the burger makes a compete jailbreak.
Again, that's after one bite. I could have actually tried to get every ingredient to shoot off in a totally different direction for that photo op, but I'm positive that I couldn't have staged more of a barely-held-together mess with a Hollywood special-effects team.
Hardee's and Carl's Jr. are on thin ice with me. The "Superman" burger with its "bacon nest" wasn't terrible, but hardly lived up to its moniker. The one with Jim Beam bourbon sauce, the Jalapeño Turkey nightmare, and the one with Memphis barbecue sauce were all disasters. You'd have to go back to the Southwest Patty Melt to find an LTO from the chains that I enjoyed. (And to be perfectly honest, I have a feeling Kate Upton had something to do with that.)
Yes, it wouldn't be a Hardee's/Carl's Jr. burger without a borderline-NSFW commercial to go with it. For the Buffalo Blue Cheese Thickburger, whose unveiling coincided with college football season, they turned to Katherine Webb. Yes, she's Miss Alabama 2012 and a model in her own right, but the real reason anyone knows her is because sportscaster Brent Musburger ogled her on live TV back in January. Webb was sitting in the stands at the BCS National Championship Game as her boyfriend played quarterback for the Alabama Crimson Tide when CBS cameras found her...and play-by-play man Musburger suddenly turned into your creepy grandpa who gets eleventy-seven kinds of inappropriate every time a 20-something co-ed is brought home for Thanksgiving dinner.
A little bit goes a long way, Hardee's. And I'm not just talking about the (admittedly) spot-on Musburgeresque leering and the gratuitous T & A in your commercial. It's the burger that ad is selling, too. I like wing sauce. I like blue cheese. But if you put them on a burger (even one that you "invented"), I should to be able to taste that, too.
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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Learn About Exemptions
What is an exemption? (Business tax laws: PCC 7.02.400 and MCC 12.400)
Certain taxpayers are exempt under the Portland and Multnomah County business tax codes, policies and rules. These exemptions include:
- Business income less than $50,000 from all business receipts everywhere
- Real estate brokers working under the supervision of a primary broker
- Individuals whose only income is
- Wages,
- Gain on sale of primary residence,
- Gain on sale of personal property acquired for personal or household use, and
- Investment earnings (if not part of a business)
- Corporations exempt from the Oregon Corporation Excise Tax under ORS 317.080 (generally not-for-profit corporations)
- Trusts exempt from Federal income tax under IRC § 501
- Persons whose only business activity is raising or harvesting the person's own crops or livestock
- Persons who operate a display booth in a permanent structure for less than 14 days in a tax year
What if I'm exempt?
In order to be granted an exemption, you must file the Annual Exemption Request form (or file online) and provide supporting tax documents. Once you verify your exemption, no money is due.
What if I'm exempt but don't file?
The Bureau will ask you to file a return. If nothing is filed, a Civil Penalty is assessed and collection activities will begin.
The Annual Exemption Request form is simple to complete, and required supporting documents prepared with your Federal and State tax returns.


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Arroyo Colorado: Surveying Recreational Uses
Counties: Cameron, Hidalgo, Willacy
Parameter: Bacteria
Basin: Nueces–Rio Grande Coastal
Segment: 2202
On this page:
- Background and Goals
- Evaluating Appropriate Recreational Uses
- Public Participation
- For More Information
Background and Goals
Texas protects the quality of most of the state's surface waters to make them safe for recreational uses. Activities during which a person might ingest natural waters—such as wading or swimming—are referred to as the "contact recreation" use in the state's standards for water quality. The state uses criteria that are also defined in the standards to evaluate the suitability and safety of streams, lakes, and estuaries for contact recreation.
The Arroyo Colorado, a distributary channel of the Rio Grande, extends about 90 miles from Mission, Texas, to the Laguna Madre in the Lower Rio Grande Valley. The Arroyo Colorado is the major source of fresh water to the lower Laguna Madre, an economically and ecologically important resource to the region. The Laguna Atascosa National Wildlife Refuge and several county and city parks are located within the Arroyo Colorado watershed. One third of the stream also is used for shipping from the Gulf Intracoastal Waterway to the Port of Harlingen.
See Also:
The fertile farmland, long growing season, and irrigation water from the Rio Grande make this region one of the most productive agricultural areas in the U.S. The mild climate, semitropical plants and animals, and many recreational opportunities draw large numbers of people to the Arroyo Colorado watershed.
For an overview of water quality standards and management, read the TCEQ's publication Preserving and Improving Water Quality.
Evaluating Appropriate Recreational Uses
Recreational use-attainability analyses (RUAAs) are conducted to determine which of the state's four recreational use categories is appropriate for a particular water body. During an RUAA project, the staff collects:
- Information about the presence or absence of water recreation activities, stream flow, and stream depth.
- Data on other physical conditions that are necessary for safe recreational use.
Public Participation
Local participation is crucial to identifying the locations most used for contact recreation. The TCEQ informed the public about this project through the local Arroyo Colorado Watershed Partnership Steering Committee, at other public meetings, and with notices in print and electronic media. All meetings about the project were open to everyone.
Meeting Summaries
- July 22, 2010
- April 22, 2010
For More Information
Please e-mail us at email@example.com and mention the Arroyo Colorado RUAA in the subject line. E-mail our Standards Team at email@example.com or call 512-239-6682.


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Posted By: Marla B.
During the 2006 war nearly all businesses in the north of Israel closed. Many Israelis fled their homes here, heading south staying with friends, family and even occasionally strangers willing to take them in.
In Kiryat Shmona, a town close to the Lebanese boarder, this man stayed behind and tended to one of the few grocery stores that remained open to serve its neighbors.
He tells the story here of his experience and of the war's lasting psychological effects on him and his family.
For more on the 2006 conflict in Lebanon and Israel, and long-term aftermath, visit: http://www.civic-israel-lebanon.org/
Filed under: Israel, Lebanon, Marla B, Video | Tagged: business, conflict, documentary, family, groceries, Hezbollah, Hizbollah, Israel, kiryat shmona, Lebanon, middle-east, news, psychology, ptsd, reporting, vide, War, youtube | Leave a comment »


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Cell phones and moisture are, to put it in the nicest of terms, sworn mortal enemies. If you can't tell a story where you dropped your phone and it shattered to pieces, chances are you have one where you spilled, splashed, or trickled water on it, or dropped it in a puddle, sink, or pool... or best of all, a toilet.
Folklore and actual science have offered solutions to the problem of the wet cell phone over the last couple of decades, from toasting it gently in the oven to burying it in some rice to buying special drying environments for it. While we've had various amounts of success with these different methods, we decided to give them a real, semi-scientific trial run on a few different phones to see how they dealt with a serious immersion scenario.
A few caveats: we used four different phones, one for each drying environment we tested. Obviously, different body designs will take on water differently, but we submerged each one until all the air had appeared to escape from the interior. Likewise, different designs may dry out differently, and water may have an easier time clinging to some nooks and crannies.
Since a wet phone is a Defcon 1 situation in the context of device disasters, we didn't give the phones a specific time frame to dry out—if your phone is wet and you want it back, it's in your best interest to give it as much time as you possibly can. We checked in on each phone after one day; those that were still wet were given an extra day. You can certainly dry them even longer.
Lastly, even if your phone appears to be working again after cooling its heels a while in a desert-dry place, that doesn't mean water isn't still in there working its long-term magic to corrode the various parts of the phone. Above all things, give it time, make sure it's dry, and maybe never feel completely safe that there isn't some lingering moisture intent on ruining your phones after a few weeks or months.
The four phones we soaked were a Samsung Galaxy Note II, a Pantech Breakout, a Motorola Razr M, and a HTC Hero. All the models varied in size, number of buttons, and openings, but all are touch-screen phones. The four drying methods used for each phone, respectively, were a specially designed product called a Bheestie Bag ($20), a container full of silica gel packets ($10-15 for the number we used), rice ($5), and air-drying as a sort of "control" method.
After soaking each phone, we removed it, shook out as much excess water as we could, dried it off, and removed the batteries if we could. If we couldn't remove the battery and the phone was still on, we turned it off, and then placed it in its drying environment.
For the grand reveal: one day later, the Pantech Breakout in the silica gel packets and HTC Hero drying in air were working, but the Galaxy Note II in the Bheestie Bag and the Razr M in rice were still dead.
We gave the second two phones another day to see if they would come around. The next day, the Razr M initially booted up—to a screen with an Android bot lying down with an exclamation point popping Alien-style out of its stomach. All seemed lost, but as the phone laid on the table, it began its startup routine and animations all on its own. Suspicious, indeed, but we'll let it slide.
The Galaxy Note II, however, never really came around. After we reseated its battery and charged it a while, trying to give it a hard reset got us to the screen when the phone offered to either boot or let us install a new ROM; it would not respond to button presses beyond that. We wouldn't consider this a knock against the Bheestie Bag, as a phone of the Galaxy Note II's generous size has room for a lot of water, and it's not the easiest to drain out. A couple of days later, we tried drying out the phone in a 200-degree oven; lo and behold, it powered up and ran. Given the time-lapse, we can't fully attribute this success to the oven and, given the potential to ruin your phone, this should be a last-ditch effort. But if you're desperate, it's there.
As for the rice, silica gel packets, and even plain air, all returned the phones to at least a temporary working state. We wouldn't call the phones rock-solid from that point on, but the methods can at least get them dry enough to extract any necessary data or one last backup. If we wanted to continue to use them, we'd probably give them much longer to dry, living in fear of that moment when things start to go just a little awry—an unresponsive volume button here, a suddenly dead battery there—when we'd know exactly what event and element to blame.


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Ferris State - Men's Cross Country Takes 10th & Johnson 5th In Women's Race At NCAA Nationals
Provided by Ferris State
Big Rapids, Mich. - The Ferris State University cross country program had an impressive showing at the 2013 NCAA Division II National Championships held on Saturday (Nov. 23) in Spokane, Wash.
The Bulldogs were represented at this year's national championships by the men's cross country team along with senior Samantha Johnson, who competed as an individual in the women's field at the Plate Ferry Sports Complex.
Johnson started off the day by taking fifth place in the nation in the women's 6K race, which represents the highest individual finish ever by a Bulldog in school history. She clocked 21:07.20 in the race and was only 17 seconds off the winning pace established by the University of Mary's (N.D.) Jennifer Agnew, who turned in a first-place time of 20:50.70. Her performance topped the school's previous best finish of sixth place set by former standout Tina Muir in 2011 at the national championships.
On the heels of Johnson's impressive performance, the Bulldog men's cross country team turned in one of the country's top performances as well as the Bulldogs placed 10th overall at the national championships. FSU entered the national meet ranked 23rd in the Division II national poll, but climbed the leaderboard after a strong conclusion to the 2013 campaign.
Adams State (Colo.) claimed the men's team title with 54 points followed by Grand Valley State (104) and Augustana (122) in the top three among the 32 teams that qualified to compete in the men's national championships. Ferris State totaled a 312 team score and moved past two teams in Southern Indiana and Cedarville that had placed above FSU in the NCAA Midwest Regional Championships.
The Bulldog men were led by senior David Silversmith, who joined Johnson as an All-America performer by finishing 31st overall in a time of 31:10.10 in the men's 10K race. He was followed by senior Brandon Cushman in 55th place (31:34.40) with a third senior in Alex Bladecki taking 83rd place at 31:59.40.
FSU junior Spencer Gerber placed 101st (32:17.50) with fellow junior Andrew Harper finishing 108th (32:24.50) in the race. Sophomore Lucas Copi came in 146th (32:44.10) with senior Bill King rounding out the lineup in 149th place (32:47.00). Overall, a total of 246 men's runners competed in the race.
The Bulldog men's team qualified for nationals for the second consecutive year on the heels of last year's appearance, which was the program's first since 1985. This year marked FSU's ninth all-time trip to the national championships.
Meanwhile, Johnson was an individual qualifier for the national championships after winning the individual crown at the 2013 NCAA Midwest Regional held on Nov. 9 in Kenosha, Wis. She claimed both GLIAC and United States Track & Field/Cross Country Coaches Association (USTFCCCA) Runner of the Year honors this fall.
The NCAA Division II National Cross County meet returned to the Plantes Ferry Athletic Complex in Spokane on Saturday for the second time in three years. Thirty-two men's and 32 women's teams competed for the national team title. In addition, 26 men and 25 women qualified for the meet as individuals.
Both Ferris State programs are guided by head coach Steve Picucci.


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Montréal, Québec
Elle has been crazy about online group coupons: Groupon, Living Social, etc. This time it was a $69 tasting menu at Tasso on Tuango. Elle purchased the coupon for her and her hubby, but a few days before the coupon was to expire, and her hubby still in Iceland, I got to taste the 7 services menu instead. I neglectfully brought my camera without a memory card, so all pics were taken with Elle's i-phone.
Tasso Bar à Mezze, located in the Plateau Mont Royal neighbourhood, specialises in seafood and small plate mezzes. The restaurant has a Mediterranean by the sea vibe. We were served complimentary grilled bread with olive oil to dip, bonus points for the nice char on the slices. Then came out the amuse bouche; the first was smoked mackerel and rémoulade and the second one was sea urchin and beets. Nice start to our seafood meal.
Complementary bread and amuse bouche.
The server explained to us that there were going to be five courses, mainly focused on seafood and meat at the end. The mezzes came out in pairs. Somehow, Elle understood that there were 5 dishes in total and convinced me of this. It was only halfway through our meal when we thought we were near the end that we realized there were still more dishes to come, for a total of 10 mezzes to share.
The first course consisted of a tartar of plaice and a shrimp salad over a chilled cucumber soup. Elle loves all fish or seafood tartars and this one with shaved fennel served on a cracker was no exception. We both thought the perfectly cooked shrimp salad was well seasoned, and a good combination with the fresh cucumber soup.
First course: tartar and shrimp salad.
The second courses were two similar fish dishes. One was a grilled porgy served with beans. I really liked the combination of creamy beans with fish. The second was a pan seared fish with cauliflower.
Second course: grilled and pan seared fish.
The third course included grilled sardines with a mackerel potato salad. Our absolutely favourite dish of the meal was a fried red-skinned fish on top of a polenta cake. It was one of the best polenta I ever had because it was creamy and smooth. When I asked the server what was in the polenta, he laughed and said polenta. I specified that it tasted like there was cream and eggs possibly, to which he replied he would check in the kitchen. He came back and said my guesses were spot on. This is good to know for the next time I attempt polenta.
Third course: grilled sardines and fish on polenta cake.
The fourth course consisted of cedar plank roasted black cod on a risotto croquette with eggplant caviar. The black cod was good but the dish was too similar to the previous fish on polenta cake. The accompanying mezze was clam chowder originally combined with braised pork, which added a smokey dimension to the chowder, and fingerling potatoes. I appreciated the fresh clams used.
Fourth course: black cod with risotto cake and clam chowder.
The final course focused on meat. Unfortunately, we were so focused on the challenge of finishing our meal like champs that we forgot to take pictures. The meat mezzes were braised duck and date purée in a phyllo pastry, and a smoked quail served with cabbage and squash.
Finally, the dessert course were a squash cake with caramelized apple purée toopped with cream cheese frosting and a flourless chocolate cake with orange marmalade and white chocolate frosting. Both desserts were a solid end to our meal.
Elle and I really enjoyed our meal at Tasso. The service was a bit funny with the server laughing at my polenta question, and having too ask multiple times for a spoon, and then a second spoon, even though we were clearly sharing our mezzes; but the food made up for it. Although the coupon was a good deal ($69 for a $152 value), it was still an expensive meal after the drinks, taxes and tip (on the whole value). So I would save this for a special occasion outing.


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The last car raced by renowned actor Paul Newman will be one of the features at RM Auctions' Amelia Island sale next month in Florida. As lot #130, Newman's 2002 #83 SCCA Corvette racer will cross the block on March 10, 2012. Newman raced the car from 2003 to 2007 and was victorious in it at his last race one year before he died in 2008.
Newman, who was nominated for 55 major acting awards, began his racing career in 1972. Later he went on to pilot Datsuns for Bob Sharp Racing from the mid-1970s on into the 1990s. In that time he won four SCCA national titles. In addition, finished fifth in the 1977 24 Hours of Daytona and second at the 1979 24 Hours of Le Mans. His first pro Trans Am triumph came in Brainerd, Minnesota in 1982. He took the checkered flag again at Lime Rock in 1986.
At 70 years young, he became oldest driver to be part of a team in a major sanctioned race and promptly went on to win his class at the 1995 24 Hours of Daytona. Newman also competed in the gruelling Baja 1000 in 2004 and the 24 Hours of Daytona in 2005. People may be more familiar with his Indycar team which he founded with Carl Hass in 1983. That organization won 97 races, 7 series titles, and claimed 100 poles.
He passed away on September 28, 2008.
The car to be offered at RM Amelia Island was initially built by Riley and Scott for Tom Gloy Racing. Driven by Butch Leitzinger in the 2002 Trans Am season, the car claimed 3 wins, 5 poles, 8 top-fives, and 9 top-tens while wearing yellow Tommy Bahama paint and #88. In 2003 Newman and his partner and codriver, Michael Brockman, purchased the car from Gloy and finished it in the current red, white, and blue livery. It received a complete rebuild including a new body in 2007. The number 83 currently on the door represents Newman's age at that point in time.
Motivation comes courtesy of a 346ci V8 topped with electronic fuel injection which churns out 700 horsepower. The Jaguar-fighter weighs in at just 2,680lbs. As expected all the racing-spec items are present including 4 wheel disc brakes, independent racing suspension, and a six-speed manual transmission.
The sale also includes the SCCA logbook which is critical when it comes to helping document racecars like this.
RM estimates that the selling price will be between $250,000 and $350,000. We think that's a little strong and that $150k-$175k could take it home. The racing pedigree and celebrity heritage will surely add to its appeal.
RM Auctions via Carnewser.com
Actor and Corvette Racer Paul Newman Dies at 83
Paul Newman Is Still Racing Corvettes at 82


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Vintage Linen Fringe 45cm Round Filled Cushion Tobacco
Price match guarantee
At Manchester Warehouse, we aim to offer the best prices every day of the year, but there may be occasions when a competitor offers an item for less. We will gladly match a competitors' price on any identical item – both instore and online. You can rest assured with Manchester Warehouse that getting the best price is now taken care of.
Please call us on
1300 722 941
for further assistance.
Founded in 2000, AURA by Tracie Ellis has always strived to create uninhibited, stylish bed linen, homewares and rugs. It's a little bit Scandinavian and a little bit Indian, but all products are designed at AURA's home in Melbourne, Australia. While many trends come and go, it's their forward-looking approach that sets AURA apart from the competition. Witness the evolution from muted textures to extravagant colour, grand shapes and daring patterns. It's a world where chevrons, stripes and block prints mingle freely with delightfully oversized jacquards and unique hand-made cushions and throws.
Product Information
Contemporary style
Matching coloured zipper
Delicate fringing trim
Polyester fill
x1 Filled Round Cushion - 45cm diameter
Product Care
Turn inside out before washing
Wash separately before first use
Cold gentle machine wash
Wash with similar colours
Do not soak
Do not bleach
Rinse well
Normal spin
Tumble dry low
Line dry in the shade without delay
Cool iron
Dry cleanable


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CTC congratulates its volunteers as Prudential RideLondon wins a national award
CTC congratulates its volunteers as Prudential RideLondon wins a national award
Prudential RideLondon proudly pedalled away from the UK Events Awards with two major wins: the Sports Event of the Year category and the Large Event of the Year category.
CTC is also pleased to announce the contribution of volunteers has helped secure CTC's involvement in the 2014 Prudential RideLondon.
The Mayor of London, Boris Johnson, said: "It's a fantastic achievement for everyone involved with Prudential RideLondon to win the double at the UK Event Awards, cementing its reputation as one of the greatest cycling events anywhere in the world."
The event has already been awarded the 2013 Cyclosport Industry Award, given for an outstanding contribution to the cycling industry.
Nearly 70,000 cyclists took to the streets of London and Surrey over the weekend of 3-4 August and enjoyed four different events including a fun ride for all the family, which attracted 50,000 cyclists, a mass-participation 100 mile-ride and professional criterium and road races. More than 180,000 spectators watched the events.
The CTC 'Dr Bike' volunteers at St Paul's Tower Hill and Green Park helped 2,000 cyclists in just one day in London. It was a remarkable team effort.
Mark Slater, CTC Volunteer Co-ordinator.
The 15,833 finishers in the Prudential RideLondon-Surrey 100 raised more than £7 million for charity, a new fundraising record for a one-day cycling event in the UK.
When the ballot opened for the 2014 event, 80,000 applications for places were received in less than four weeks.
CTC's Mark Slater added, "CTC hopes its members will continue to play a vital role in supporting the UK's largest cycling event and would like to hear from anyone interested in volunteering for next year. You can register your interest by clicking here."
The second Prudential RideLondon festival of cycling will take place over the weekend of 9-10 August 2014.