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Explore the interactive model!
A 1940s tractor used by the last homesteader in Alaska in the 1970s is restored by volunteers at UNL before going to the Homestead National Monument for permanent display. We follow members of UNL's tractor club as they refurbish... more››
Innovation and Creativity in Nebraska
Good ideas often start with a simple question. "What if?" Nebraskans answer with innovation and creativity. We tell their stories in our new NET Television series, "What If..."
Willa Cather's novels created a new vision of the American frontier. Littleton Alston wants to bring that spirit to her statue in Statuary Hall.


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Monday, 06 August 2012 09:18 PM
President Barack Obama is labeling opponent Mitt Romney's tax plan as "Romney Hood," saying it takes from the middle class and gives to the rich.
Speaking Monday night at a campaign event in Connecticut, Obama said the GOP plan "is like Robin Hood in reverse."
Obama says Romney's tax plan would give tax breaks to the wealthiest Americans while forcing middle-class families to pay up to $2,000 a year in additional taxes.
The president cites a study by the nonpartisan Tax Policy Center that says millionaires would receive a tax cut of approximately $250,000 a year if the former Massachusetts governor gets his way.
A Romney spokesman says only one candidate in the presidential race would raise taxes on the American people — "and that's Barack Obama."
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Norwalk man who lost son to gun violence in 2010 discusses need for action with Vice President Joe Biden
Photo: AP
NORWALK -- A Norwalk man who lost his son to gun violence says he took advantage of a meeting last week with Vice President Joe Biden and other officials to mention the toll that shootings are taking on Connecticut's inner cities.
Amos Brown met the vice president during his visit last week to Danbury for a conference on gun violence.
Brown told The Hour of Norwalk that he talked about a need for action in a discussion with officials including Biden, U.S. Sen. Chris Murphy and other victims of gun violence. He said cities may not have suffered a tragedy on the scale of the Newtown school shooting but the death toll in inner cities is steadily climbing.
Brown's son, Amos Brown Jr., was killed in 2010.


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Arriving just 10 minutes past 11 a.m. — hardly late, especially by busy model standards — Chantal Stafford Abbott walks through the door gushing apologies. "I'm so sorry," she said. "I was zoning out listening to my music and just walked in the complete opposite direction." Despite six years of experience, including an editorial in Vogue and multiple stints on the Marc Jacobs runway, the 20-year-old shows no hint of diva behavior. Case in point: Abbott quickly deflects a compliment on her flawless complexion by offering up helpful beauty tips (she swears by jojoba oil). WWD sat down with the Marilyn-repped redhead to talk fashion week, model horror stories and party crashing.
WWD: Where are you from?
Chantal Stafford Abbott: I was born in Montreal but I grew up in the country an hour-and-a-half north. It was a super French-y town. I went to French school. It's kind of weird because it was the complete opposite of New York — with ski-lifts, no neighbors, no nothing.
WWD: How long have you been in New York?
C.S.A.: Two-and-a-half years. I live in the Lower East Side and I'm in my second apartment now. I really like it just because it's convenient if I have castings or if I'm meeting up with friends. My roommate is one of my best friends. We met in Montreal because we have the same agency there.
WWD: Is there ever any competition between you two?
C.S.A.: No, it's not even a thing. I feel like every model has such a different career that it's just hard to even compare.
WWD: You've already done six seasons on the runway. Are you going back for more in February?
C.S.A.: I'm going into the agency today to talk about it. The pros are that it's really fun and you get to work with all these great people and put your face out there and be able to hopefully work with some really great designers. The downside is that it's completely exhausting, beyond imagination. By the end, I'm always sick.
WWD: Do you remember your first big show?
C.S.A.: Marc Jacobs. I remember it was at the end of the week during my first season. I think I did his show for four seasons.
WWD: Do you have a relationship with him now?
C.S.A.: Not necessarily a relationship, but he knows my name. I guess that's something. It's cool to be able to work with the same designers throughout the seasons because as much as they can see you come back and grow and change, you can see them, too. It's cool to see their creations through the seasons.
WWD: What has been the most memorable experience for you?
C.S.A.: There's so much stuff that it's kind of all a blur. One moment was actually not such a good one. Right after New York, all of the models and fashion people fly that night on the same plane [to London]. It's an overnight flight and we have castings and fittings the next day so we cannot be late. We get off the plane and go straight to work. Three hours into the flight, we hear "Code red" on the speakers. No one was saying what that meant. After all of this commotion we finally realized that someone had some sort of seizure.
WWD: Was there an emergency landing?
C.S.A.: We kept on going for another hour so we're getting close but then, all of a sudden, they're like, "Oh sorry, we're going to have to go back to the States because this person needs to go to a hospital." We had to fly all the way back, which was another four hours. Then she had to get her luggage off the plane and then they had to refuel. It was so horrible.
WWD: Were you on the plane that whole time?
C.S.A.: The whole time. We were on the plane for what felt like days. I don't remember what show I had just done, but I do remember that I had crazy makeup on and an Afro.
WWD: Do you ever read about yourself on the Internet?
C.S.A.: Sometimes, when I'm trying to find some work that I did and never saw, but I don't go everyday to see what's going on. I've never found any gossip, but when I was dating this one model — he's anonymous — it was weird because my friends would be like, "Look at this," and it would be people blogging about us. That was kind of weird.
WWD: Do you often date models?
C.S.A.: I've dated a few. My boyfriend now is in the music industry — also anonymous.
WWD: How did you meet him?
C.S.A.: On St. Patrick's Day actually, which is kind of ironic because I'm half Irish. I met him at this random party that my friend and I saw on this balcony. We kind of crashed it in the middle of the day. So yeah, I met him there.
WWD: What jobs are coming up next for you?
C.S.A.: I really don't know but that's kind of my life. I don't know what I'm going to be doing the next day so my schedule is always super last minute. I can't say, "I can have lunch with you two days from now" because I don't know if I can. It's kind of hard in that sense because I don't feel like I have control of my schedule. But at the same time, if I had a 9-to-5, I probably would be complaining a lot more.
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The Calm Before the Gold and Silver Precious Metals StormCommodities / Gold and Silver 2013 Oct 10, 2013 - 06:42 PM GMT
The financial hurricane hit the world in 2008 destroying huge swaths of assets, real estate valuations, numerous banks and financial institutions. As the storm cleared, the Fed and central banks stepped in by flooding the world with money to supposedly assist in dealing with the damage while providing special programs to rid the banks of debris and garbage clogging up their businesses.
After trillions of dollars of so-called monetary assistance, the financial damage appears to be repaired giving the public a false sense of security that the storm has finally passed. Unfortunately, the world has only dealt with the first part of the storm and is now sitting in the eye of the financial cyclone.
Even though we now have the additional drama from the U.S. Government shutdown, up until recently, the economy has been plugging right along. However, this was a much different story back in 2008 when the public and investors thought the world was coming to an end.
This can clearly be seen by the huge increased buying of Gold Eagles during 2008 & 2009:
Notice in 2007, total Gold Eagle sales were only 198,500 oz, but after the banking and housing collapse in 2008, buying more than quadrupled to 865,500 oz. Furthermore, when the broader stock markets continued to tank in 2009, Gold Eagle sales reached 1.4 million oz.
As the Fed and central banks continued to print, prop-up and backstop their respective fiat currencies and broader stock markets, the demand for gold continued to decline. In 2011, Gold Eagle sales slipped to 1 million oz. and down to only 753,000 oz. in 2012.
This is typical market psychology. A similar but more volatile trend took place during the millennium. Americans worried about Y2K purchased record amounts of Gold Eagles in 1998 (1,839,500 oz) and in 1999 (2,055,500 oz), but as the 2000 came and went without any major disruptions, demand nearly dried up to a pathetic 164,500 oz.
After the world escaped the collapse of the financial system with the help of the Fed & Central Bank Global QE, economic conditions in the U.S. started to wane in 2012. This can be seen by the decline of energy consumption in the country:
Here we can see that as energy consumption fell, so did the GDP. However, there was a disconnect that started in 2011 and increased significantly in 2012 as energy consumption declined, the GDP increased -- nothing like manipulated economic data to give the illusion of growth
This is part of the reason why the Fed announced QE3 in Sept of 2012... it had to add additional stimulus to keep the economy from imploding further. Unfortunately for the Fed, this huge increase in monetary printing would have had a direct impact on the precious metals pushing their prices to new record highs.
To keep the precious metals from exploding higher, price action was capped at the end of 2012 and then after several huge raids in 2013, market sentiment in gold and silver was severely eroded as demand in the West dried up.
In the chart below, we can see how orchestrated manipulation of the precious metals can impact market psychology.
During the first take-down in the price of gold, investors bought record Gold Eagles in April. However, as gold was hit again in June, buying slowed considerably and has been falling ever since.
The one thing that fiat monetary authorities understand, is market psychology. To destroy market sentiment in gold, a broad-based approach had to be implemented. With the help of its member banks and financial networks, investors now question if gold really is a safe haven anymore.
Of course this does not apply to the "1% Educated" precious metal investors as they realize you can't manipulate fundamentals forever, but it does impact the psychology of the 99% -- and this is the group that would ultimately push gold to highs never seen before.
This next chart shows just how desperate the Fed has become in taming the Wild Monetary Golden Beast:
The price of gold presently ($1,310) is actually lower than it was before the Fed started QE2 back at the end of 2010. Now, some analysts are saying that the reason why gold is under-performing is due to the fact that inflation is not as much of a threat as previously forecasted.
That is an interesting notion if we consider that the price of a barrel of West Texas Crude Oil increased from $85 in Nov. 2012 to a high of $110 recently (quite an inflationary trend) as gold declined from $1,750 to below $1,300 during the same time period. I find it simply ironic that the price of oil in the United States has risen nearly 30% in the past year as domestic production has increased to levels not seen for over 20 years.
The reason for the big increase in domestic oil production has to do with the so-called success of shale oil in the states. The hype by the oil industry is that shale oil will provide cheap and an abundant supply in the future. The United States is banking on shale oil to make the country.... energy independent.
Furthermore, I have stated that an increasing energy supply is vital in keeping a fiat monetary system alive. However, it doesn't look as if shale oil will be the savior for the country or the Dollar for that matter. U.S. oil production increased steadily since 1920. From 1930 to 1970, oil production increased an average of 1.87 million barrels a day (mbd) each decade.
However, shale oil has pushed domestic oil production up 2 mbd from July 2011 to July 2013, which is five times faster than its historic rate. Shale oil production is increasing at an exponential rate. The problem with any trends that increase exponentially, is that they decline is the same fashion. With all BOOMS... comes the inevitable BUST.
Shale oil should be used to assist the United States into transitioning to a more smaller, local and sustaining economy. Unfortunately, it is being utilized today just to keep the illusion of perpetual growth forever.
Many analysts including those from the Austrian School of Economics believe the U S. has trillions of barrels of oil resources, so there is no need to worry about energy shortages in the future. A large part of these supposed oil resources are found in geology called OIL SHALE. This should not be confused with shale oil (tight oil) that is being extracted from the Bakken and Eagle Ford in the U.S.
Oil shale is not even oil, but rather a form of kerogen shale that needs a great deal of energy to heat, extract and then refine. Several large oil companies have been working on making this resource commercial in the states. But, bad news just came out recently when Shell announced they were going to abandon their oil shale project:
Shell Abandons 800 Billion Barrel Deposit, Beaten By the Regions Geology:
The belief that technology can always overcome natural limits just took a big hit this week when Royal Dutch Shell PLC decided to shut down its pilot oil shale project in western Colorado after 31 years of experimentation. The ostensible reason is that the company has opportunities elsewhere. Shell says it wants to shift resources away from the intransigent rock and move it to profitable opportunities.
...Proponents of oil shale claimed in 1981 that it would be economical to process if oil were to reach $38 per barrel and stay there. The threshold price kept escalating along with the price of oil all the way up to $80 in a 2008 study by the U.S. Bureau of Land Management.
And, yet here we are. Brent Crude, the de facto world benchmark, hovers around $108 dollars. The average daily price for the past three years has remained above $100. In the face of these consistent record high prices, Shell is abandoning oil shale development. And, Shell isn't the only one. Another international major, Chevron Corp., pulled out of its project last year.
Large oil companies are getting out of the oil shale business at time when the world is experiencing the highest average oil prices. As the article stated, not only is Shell abandoning its oil shale project, Chevron pulled out if its project last year.
The reason why I include ENERGY-OIL in a precious metal article is that it is directly related to the future valuations of gold & silver even though investors don't see it that way. They rather focus on short-term information that reinforces their belief in the metals than longer term fundamentals that will guarantee much higher rewards.
The future energy situation is more important to the precious metal investors than are Comex inventory levels or sensational articles based on superficial information. The world is now passing out of the EYE OF THE STORM and back into the FINANCIAL TYPHOON.
Energy is the blood that allows the fiat monetary system to survive. Shale oil has been hyped by the industry and broadcasted by the media because it is the only thing left to keep the illusion of growth. Without energy growth the Dollar would surely die.
Even though the Fed and Central Banks have been able to manipulate, control and divert interest away from the precious metals presently, the rear of the PRECIOUS METAL HURRICANE is still approaching.
At the SRSrocco Report, we will explore how energy will impact the mining industry in the future. Falling ore grades and decreasing yields are only part of the problem. As net oil exports continue to decline, energy prices will rise putting more pressure on the mining industry. Thus, rising energy costs will guarantee rising prices of gold and silver.
© 2013 Copyright Steve St .Angelo - All Rights Reserved Disclaimer: The above is a matter of opinion provided for general information purposes only and is not intended as investment advice. Information and analysis above are derived from sources and utilising methods believed to be reliable, but we cannot accept responsibility for any losses you may incur as a result of this analysis. Individuals should consult with their personal financial advisors.
© 2005-2019 http://www.MarketOracle.co.uk - The Market Oracle is a FREE Daily Financial Markets Analysis & Forecasting online publication.


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In this era of mass communication and social networking, where the millions jostle for attention spewing forth photos, videos, ideas and identities, the appeal of an artist who does the opposite has never been greater. While not quite up there in the mystery stakes with Burial or Zomby, John Talabot's express desire to be represented by his music, rather than his face or his clothes, is refreshing.
Having seemingly appeared out of nowhere three years ago with My Old School and the massively successful 'Sunshine', Talabot moved away from his earlier techno releases into slower and more vague musical territory. His Families EP (featuring Glasser) followed, steadily building up the hype surrounding him, leading perfectly to the much anticipated release of Fin. Having begun this project with a MySpace account and two promo CDs, John Talabot as a product could not have been marketed better.
Fin as an album appears to be the requisite cross-over hit of the year, following in the footsteps of Caribou's Swim and Pantha Du Prince's Black Noise. James Holden, whose journey from techno's most recent hey-day in 2006 has followed a similar path to Talabot's, was once quoted as saying "genre music generally tends towards a bucket of effluent about a year after a journalist first puts a name to it", and it is this desire to avoid pigeon-holes which sets great artists apart from their peers.
One of the most enchanting things about Fin is the manner in which it encapsulates melancholy, foreboding and joy all at once. This is demonstrated particularly well with 'Oro Y Sangre', which begins with a scream, descends into menacing fuzzy synths which then circle a whimsical melody. Other tracks, such as 'Missing You' dispense with the emotional dichotomy, instead choosing to combine a yearning and distorted vocal chorus with bouncy synths reminiscent of Kate Wax's 'Maze Rider (Live From the Cave), whilst others such as 'When The Past Was Present' go full out sunrise euphoric. The latter's significance is only dimmed somewhat by the thoroughly excellent 'Destiny'. It begins with a camp melodic progression, breaking down into a funky bassline before returning to it's saccharine-sweet electro and Pional's distant uplifting vocals. Pional's second contribution on the album, closing track 'So Will Be Now', is another to have been just pipped to the post by 'Destiny', with a punchy threatening bassline and heart-wrenching vocals combining to form a fantastic deep house track. Listening to the album as a whole, trying to place his sound in the wider context of electronic music is as difficult as trying to place the way each song sounds in the wider context of the music he himself produces. The only real consistency is the unadulterated richness of the sound, as each and every track is brimming with organic texture.
Aptly named, Fin is a body of work that has brought into focus and solidified the musical expression Talabot has been toying with for the last three years. His earlier work has been labelled Balearic, nu-disco, sun-soaked and a number of other adjectives as journalists have struggled to squeeze his Spanish self into that aforementioned bucket, and with Fin he has finally managed to kick it away from under his feet.
9Alex Baker's Score


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To all of our friends, loyal customers, artists and designers,
The new year is going to be very big for us! As of February 1st, HQ will be selling it's last handmade creation. After almost 5 years of art and indie design the lease at our store will be up, and we've had the long and difficult decision of choosing whether to move the store to a new location, or call it a day and move on to phase two of world domination. This has no doubt been a huge decision, and we had to weigh many factors.
On one hand, we've enjoyed so much of our time creating HQ. We've had the chance to meet incredible and talented artists and designers who inspire us each day. We've thrown over 50 art openings, have helped new designers create their very first collections for our racks, and given our postcard printers contact info to more people than we can remember. We've seen our artists grow, flourish, have babies and move to new cities. Some of them even ended up moving here and buying duplexes with our friends and some of them ended up in our wedding party. Seeing the new and amazing things they've come up with has easily been the highlight of our job.
On the other hand, the day to day realities of running a store often overshadow the parts we love. As you all know, both of us also create our own work (clothing and art) so it's quite a juggling act balancing everything. Angie's line (Norwegian Wood) began in our 3rd year of running HQ, and with it's growth much of the brunt of the work at HQ has been laid on Tyson, giving him very little time to work on his art. So when the time came to think about moving vs. closing, the possibility of having time to develop our own work really appealed to us.
We hated the idea of losing contact with the creative community and creating opportunities for new designers and artists.
Then came Smart Design Mart.
Although this was an idea we dreamed up along with our friends (Mike Giles, Marc Simard, Yana Gorbulsky and Elaine Ho) an exciting side effect we soon discovered was that this could be a way for us to continue to be part of the community and help it grow. We've been so encouraged by the success of the shows that we hope to continue expanding them to include more specialized shows throughout the year.
To celebrate the 5 years of HQ, we will be hosting our final art exhibition on Friday January 14th, 2011. It is a group show entitled "BFFs" featuring works by almost all of the artists we've worked with over the years. Many of these artists are from out of town and since all the art must be sent back once we close, this may be your last chance to see much of this art here in Montreal! Take advantage!
Since you are all indeed our Best Friends Forever, we hope to see you there!
And as of right now we have marked down stock from various designers. 20-25% off on all collections by Birds Of North America, Valerie Dumaine, Betina Lou, Josiane Perron, Lifetime Collective and Brixton. As well as deals on our books! Get them while you can!
Tyson and Angie


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The Institute for Supply Chain Management has just released its August 2014 ISM Business Report.
You can access the detail and graphical information in both the
manufacturing and non-manufacturing parts of the report. You may find this
information beneficial in making your procurement decisions.
This report is posted as a service to you, our customer, from the IUP Procurement Services Team.


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Editorial: House Republicans' stunning negligence
The House Republicans who voted Monday to shut down the government are not principled conservatives. They are not patriots acting in good faith but disagreeing strongly with President Obama.
They are know-nothings who are shaming our country and their own party through abject negligence.
Thousands of federal employees in Connecticut and more than a million throughout the country are either at home today or — worse — working without pay because of House Republicans' insistence on not passing a bill to fund the government unless the same bill gutted Obamacare, a law that has been on the books for three years and withstood both a court challenge and a presidential election.
Senate Majority Leader Harry Reid, D-Nev., has called the House Republicans anarchists who hate government.
Others have called them the most far-flung collection of extremists Washington has seen in decades.
Whatever they are, they should be ashamed of themselves, and each and every one of them should be given a pink slip 13 months from now when voters go to the polls.
Given the results of a Quinnipiac poll released Tuesday morning, many of them should be fearful of that happening. The poll found 72 percent of respondents think shutting down the government in the name of defunding Obamacare was a bad idea, while only 22 percent think it was a good idea.
Huge majorities of Democrats (90 percent) and independents (74 percent) oppose the shutdown, along with 44 percent of Republicans.
It's hard to know where to even start when assessing House Republicans' absurdity, but the easiest thing to do is to start at the top.
House Speaker John Boehner knows better than to have let the inexperienced, undisciplined back-benchers in his caucus take the country down the road to ruin they've opted to take it down.
Yet Boehner, who owes his speakership in part to the Tea Party wave of 2010, is more concerned about fending off a revolt from his own caucus than he is in being a key player in leading the federal government.
We can't help but wonder why, given the legacy of chaos he's steadily building, he even wants to be speaker.
Boehner has failed to contain the same legislators who have threatened over the past several years to vote against raising the country's debt ceiling and let America default on its debt.
In a deeply ironic twist, Obamacare began in earnest Tuesday despite the government shutdown, meaning House Republicans actually shut down the government without accomplishing their only stated goal in the process.
Obamacare is an imperfect piece of legislation, and Congress ought to look long and hard at improving it.
We doubt repealing it would be a good idea, but if Congress wants to repeal it and replace it with something better, there's nothing stopping it from doing just that.
That makes the House Republicans' decision to hold the government hostage in the name of repeal all the more dumbfounding.
Some Republicans have talked of being able to boast to their constituents that they've taken a "principled stance" against Obamacare, the implication being that taking such a stance is good politics even if it means holding the economy hostage.
Taking a "principled stance" for a repeal that has no chance of coming to fruition is a patently lousy reason to shut down the government. It's also amazingly bad political strategy — a reality about which many Republicans are starting to talk.
Republican Congressman Devin Nunes of California was on to something when he told the New York Times that hard-liners in the House were like "lemmings with suicide vests."
And Sen. John McCain, R-Ariz., no friend of Obama's and no fan of Obamacare, put it this way to Fox News' Neil Cavuto:
"It's not fair to the veterans. It's not fair to the people who get Social Security. It's not fair to our men and women in the military. It's not fair to our constituents to shut down the essential functions of government."
McCain is right.
The Republicans in the House have never been more wrong or more stunningly foolish.


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Enough is enough – I'm going on a diet.
Those are typically the words that come out of my mouth every Friday morning after the Thanksgiving holiday. Certainly, my actions the day before pretty much always set me up for such a statement. After a day of overeating and watching football, I tend to feel a bit slower in my step.
But, as in most years, it never fails that I tend to push that diet off to the week ahead. After all, there are so many leftovers from Thursday's feast that I'd be a fool to let it all go to waste. Ah, the power of procrastination.
Yet, the idea of repeating the exact same meal from the day before often loses its luster on my tired taste buds. So instead, I seek out ways to re-use all of that goodness before I stare down a week of grilled salmon and salad.
In other words, don't be bored with your meals, or even worse, let great food go to waste! Entertain your family and friends one more time around with these great ideas for turkey leftovers!
Smokey Turkey Quesadillas
These tasty bites are perfect for enjoying more football with friends. Simple, quick, easy and delicious–just the way cooking's supposed to be. (Prep 10 minutes, Cook 10 Minutes, Serves 4 – 6)
2 Cups Leftover Turkey, chopped
1 Teaspoon Chili Powder
1 Teaspoon Cumin Powder
4 Tablespoons Butter, separated
4 Large Flour Tortillas
4 Cups Pepper-Jack Cheese, grated
Sour Cream and Salsa, to serve
Combine the first three ingredients into a bowl and mix until evenly combined; set aside. Meanwhile, melt a tablespoon of butter at a time into a non-stick skillet. When butter has melted, add one tortilla into the pan. Arrange ½ cup chopped turkey, and 1 cup of cheese onto one side of the tortilla. Using tongs or a spatula, carefully fold over the other side of the tortilla to cover the ingredients. Allow the tortilla to cook and slightly brown on one side, flip and repeat on the other side. Remove from pan, cut into even wedges, and serve with sour cream and salsa. Repeat process for remaining ingredients.
Turkey and Sausage Gumbo
A delicious and hearty soup that makes use of all of that wonderful leftover turkey, including the white and dark meat. (Prep 15 minutes, Cook 1 hour, Serves 4 – 6)
¼ Cup All Purpose Flour
¼ Cup Vegetable Oil
1 Onion, finely diced
1 Green Bell Pepper, finely diced
4 Cloves Garlic, finely diced
1 Can Petite Diced Tomatoes
32 oz Turkey (Chicken) Stock
1 16 oz Bag Frozen Okra, cut
1 lb Andouille or Smoked Sausage, sliced
4 Cups Leftover Turkey, chopped
Hot Cooked Rice, to serve
In a Dutch oven over medium heat, slowly cook the flour and oil together, creating a roux about the color of a dull penny; 20 minutes. Next, add bell pepper and onions and sauté until tender, 4 – 6 minutes. Add garlic and tomatoes; continue to sauté for another five minutes. Slowly add the stock and increase the heat to medium high until the mixture begins to simmer. Add okra, return to a simmer, and cook for another 10 minutes. Finally, add sausage and turkey and heat through – 10 minutes. Serve with hot cooked rice.
Turkey Cobb Salad
I like to consider this as somewhat of an "indulgent" salad. Filled with tasty bits of turkey, crispy bacon, and creamy blue cheese dressing, this is a great way to get started in moving towards the direction of a diet–even if it is a bit heavy. Keep in mind that many of these ingredients can be prepped ahead of time; making this meal more of an "assembly" rather than an actual dish that requires cooking. (Prep 10 minutes, Cook N/A, Serves 2)
4 Cups Romaine Lettuce, chopped
1 Vine Ripe Tomato, diced
½ Red Onion, finely diced
4 Slices Crispy Cooked Bacon, chopped
2 Hard Boiled Eggs, diced
1 Cup Leftover Turkey, chopped
Blue Cheese Dressing, to serve
Create a bed or even layer of lettuce onto a large plate or serving platter. Next, top the salad evenly with remaining ingredients. Serve with blue cheese dressing on the side.
Turkey Rotel
A comforting casserole filled with cheesy carbs, vegetables, and tender turkey. A great make-ahead dish that can be prepped for dinner later in the day, or simply frozen and used for a meal on a busy weeknight. (Prep 15 minutes, Cook 45 minutes, Serves 4 – 6)
1 lb Dried Spaghetti
½ Stick Butter
1 Red Bell Pepper, diced
1 Onion, diced
1 Jalapeno, finely diced
1 Cup Frozen Peas
1 lb Velveeta Cheese, chopped
1 Can Cream of Mushroom Soup
1/3 Cup Milk
4 Cups Leftover Turkey, chopped
Preheat oven to 350 degrees F. Cook spaghetti according to directions on the box, or al dente; 10 – 11 minutes. Drain pasta and set aside. Meanwhile, melt butter into a skillet over medium heat. Add bell pepper, onion, and jalapeno and sauté until tender, 4 – 5 minutes. Add remaining ingredients, including the cooked pasta, and mix thoroughly until the cheese is just melted and ingredients are well combined. Add the entire contents of the skillet into a greased casserole dish and bake uncovered for 30 minutes. Serve.
Pesto + Turkey Submarine Sandwich
An upgrade on the traditional turkey sandwich, the pesto adds a sweet and savory flavor that enhances the delicious turkey. Pile these ingredients high on a loaf of Italian bread, and slice into individual portions to serve your hungry guests. In a pinch, most grocers offer pre-prepared and jarred pesto to save time. (Prep 10 minutes, Cook N/A, Serves 4)
Fresh Pesto
2 Cups Fresh Basil Leaves
2 Cloves Garlic, peeled
¼ Cup Pine Nuts or Walnuts, toasted
½ Lemon, juiced
Kosher Salt
Fresh Cracked Pepper
½ Cup Parmesan Cheese, grated
Combine the first five ingredients into a food processor and pulse until evenly chopped. With the processor running, slowly stream in olive oil until fully incorporated and smooth; season with salt and pepper. Add cheese, and pulse until combined. (Keeps in the fridge up to 3 days.)
Turkey Submarine Sandwich
1 Large Loaf Italian Bread
Fresh Pesto
1 lb Leftover Turkey, sliced
Iceberg Lettuce, sliced
Vine Ripe Tomatoes, sliced
Yellow Onion, thinly sliced
Extra Virgin Olive Oil
Red Wine Vinegar
Using a bread knife, carefully slice the loaf of bread in half, creating a top and bottom side. Smear the bottom side with pesto sauce, and add a layer of mayonnaise to the top side. Begin layering the sandwich, starting with the turkey, lettuce, tomato, and onion. Drizzle with extra virgin olive oil and splash with vinegar. Place top side of bread on top of sandwich and slice into individual servings. Serve.
How do you put your turkey leftovers to use? Give us your recipes in the comments!


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Barbara Lynn
Singer/guitarist Barbara Lynn was a rare commodity during her heyday. Not only was she a female instrumentalist (one of the very first to hit the charts), but she also played left-handed — quite well at that — and even wrote some of her own material. Lynn's music often straddled the line between blues and Southern R&B, and since much of her early work — including the number one R&B hit "You'll Lose a Good Thing" — was recorded in New Orleans, it bore the sonic imprint of the Crescent City. Lynn was born Barbara Lynn Ozen in Beaumont, TX, on January 16, 1942; she played the piano as a child before switching to guitar, inspired by Elvis Presley. In junior high, Lynn formed her own band, Bobbie Lynn and the Idols; at this point, her musical role models veered between bluesmen (Guitar Slim, Jimmy Reed) and female pop singers (Brenda Lee, Connie Francis). After winning a few talent shows and playing some teen dances, the still-underage Lynn started working the local clubs and juke joints, risking getting kicked out of school if she had been discovered. Singer Joe Barry caught her live act and recommended her to his friend, producer/impresario Huey P. Meaux, aka the Crazy Cajun.
With her parents' consent, Meaux brought Lynn to New Orleans to record at the legendary Cosimo's studio. Lynn cut a few singles for the Jamie label with the understanding that if none hit, she was to attend college instead of pursuing music right off the bat. In 1962, her self-penned ballad "You'll Lose a Good Thing" became a national hit, reaching the pop Top Ten and climbing all the way to number one on the R&B charts. Her first album (of the same name) was also released that year, featuring ten of her originals among its 12 tracks. Lynn continued to record for Jamie up through 1965, producing follow-up R&B hits like "You're Gonna Need Me" and "Oh Baby (We Got a Good Thing Goin')," the latter of which was recorded by the Rolling Stones in 1965. In 1966, Lynn switched over to Meaux's Tribe label and cut "You Left the Water Running," which became something of an R&B standard and was covered by the likes of Otis Redding. In 1967, she signed with Atlantic and had another R&B hit with "This Is the Thanks I Get" early the following year; she also issued another album, Here Is Barbara Lynn, in 1968. Lynn scored one last hit for Atlantic in 1972's "(Until Then) I'll Suffer," but by this point, she had several children to worry about raising; dissatisfied with her promotion anyway, she wound up effectively retiring from the music business for most of the '70s and '80s, though she did play the occasional low-key tour.
Lynn returned to music in the mid-'80s, touring Japan for the first time in 1984; she later cut a live album there, called You Don't Have to Go, which was eventually issued in the States by Ichiban. Lynn had managed to retain a cult following among connoisseurs of American soul and blues in several different pockets of the world, and toured internationally during the early '90s. In 1994, Bullseye Blues issued her first full-fledged studio album in over two decades, So Good; Until Then I'll Suffer followed in 1996. Lynn later caught on with the respected blues label Antone's, and in 2000 she cut Hot Night Tonight, which featured a couple of raps by her son Bachelor Wise. ~ Steve Huey
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Middle River is an unincorporated town in eastern Baltimore County, MD. The bedroom community is ideal for residents who seek a quiet lifestyle near all the amenities and recreational opportunities in downtown Baltimore. With 214 miles of coast along the Chesapeake Bay, there is plenty of outdoor recreation that residents enjoy year round. Middle River apartments for rent are also near endless shopping, dining, and entertainment options the city has to offer. In Baltimore County, the Piedmont Wine Trail offers residents a high-quality getaway only a few miles away. According to City-Data, roughly 25,200 residents lived in Middle River as of 2010.
It's common to hear Essex and Middle River considered the same community, as both are located in the eastern region of the county. These areas were the least urbanized areas at the turn of the century, but today they show the most sustainable growth.
In 1909, the Taylor Land Company began the community, which was used by residents of Baltimore for growing gardens because land was cheap. By 1921, the region was slowly turning into a town with the opening of a fire station and two churches. A few years later, schools were built and the community was growing into more than a rural getaway for urbanites. The Eastern Rolling Mill that played a major role in the community opened in 1919 and continues to be an important source for jobs.
Individuals living in Middle River apartments have diverse opportunities in Baltimore at their fingertips. From attending a sporting event to a musical performance, the cultural resources available downtown offer virtually anything one may need. The area is also home to many beautiful golf courses and expansive wildlife.
Since 1988, Jakes Seafood House has been a mainstay in Baltimore. The restaurant is famously known for its crab soup, created from a recipe dating back to 1929, and crab cakes from a family recipe at least 80 years old. The original Jakes was founded in 1929 and has been a tradition ever since.
Rent.com® can help you get settled in a Middle River apartment. Look through our rental listings and find the perfect home for your needs.


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Pattaya, ThailandKirsty Turner
Pattaya is probably best known for its night life. For the curious, this is a good place to see a "Tiffany Show", where stunningly attractive transsexuals dress in incredibly elaborate costumes and perform gracefully choreographed song and dance numbers on stage. There are also a wide range of go-go bars and discotheques to explore on Walking Street, which is the center of Pattaya's nightlife.
By day, Pattaya offers a large number of intriguing diversions that are hard to find in most other parts of Thailand. A great entertainment option is the Million Years Stone Park and Pattaya Crocodile Farm, whilst visitors can ride the mighty beasts at the Elephant Village. The world class aquarium at Underwater World Pattaya has beautiful displays of local sea life and you can see scale replicas of Thailand's key attractions in Mini Siam. Also popular with visitors to Pattaya is Ripley's Believe It or Not Museum, and the sign for this can clearly be seen for the beach front.
Pattaya is a great place to let off some steam, and the go cart course and shooting range and good places to do just that, whilst the many spas and massage parlours offer a different way to unwind.
But Pattaya isn't all neon lights and lipstick, there are also some very beautiful nature spots waiting to be discovered. Pattaya Beach is situated alongside the city centre and is a popular spot for jet-skis and speed boats. Just south of the city is the pretty stretch of sand known as Jomtien Beach, which is much quieter than Pattaya Beach and a good place to chill out for a few hours.
Another great day trip is the large and interesting Sri Racha Tiger Zoo, which features several hundred tigers and thousands of alligators. The tiger zoo offers the opportunity to view and interact with animals in exciting new ways, such as cuddling tiger cubs and helping hatch baby crocodiles from their eggs.
If you need a break from the beach, pay a visit to the Nong Nooch Tropical Botanical Garden, which is located 15 kilometers east of Pattaya and has lively cultural shows.
It is absolutely impossible to be bored in Pattaya, and no matter what you are looking for you are sure to find it here.


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Dive Bomb
100% Full Synchronization Requirements
- Kill all guards while remaining undetected
- Perform 3 Eagle Assassinations in the warehouse
- Use Eagle Assasination to kill Franklin
Climb out of this room by using the left wall. Once you're out, drop down and kill the enemies trying to open this door. Once you kill them, Benjamin Franklin will burst through the door and sick his men on you.
Once this cutscene has ending, use your Eagle Flight to take to the rafters above. Watch the guard closest to you as he walks to the bale of hay. Once he's obscured by the boxes, use Eagle Assassination to kill him. Another guard will come right after that so be quick to escape with Eagle Flight. He'll investigate the dead body giving you the opportunity to pounce.
Yet another will be there to investigate to make sure to stay on your toes and hit that Eagle flight to get away and once again to kill. When the third has been killed, the guard on the other side of the hay will come to you, escape once more and back again to kill.
The final guard will stay at the door and will not move unless he sees you. Head for the rafters above him and drop down to kill him when you see the perfect moment. Once dead, leave the warehouse. This will initiate a chase sequence with Franklin. Chasing people will be much easier with Connor's new found ability. Keep using Eagle Flight until you've caught up with him and use Eagle Assassination to kill him.
Once this scene has ended, Connor will be dropped into a dream like world where he will begin to face King Washington. Start off by using you Eagle Flight to attack Washington. Once he pushes you off, you'll need to wait until he pounds the ground with his scepter. Use Eagle Flight at this moment again to attack. After this one, use Connor's Wolf Cloak to get up close and punch Washington in the face.
After this, Connor will fall on to platforms where large versions of King Washington and his mother will taunt him. This section will be a test of your Eagle Flight skills. The platform you're on will disappear and you'll need to use the flight to make it too the next.
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Torrington's Altek Electronics gets a visit from Sen. Chris Murphy
Torrington >> Connecticut Senator Chris Murphy stopped into Altek Electronics Thursday to take a tour of the important Torrington factory.
Altek celebrated its 40th anniversary back in December. Senator Murphy was unable to attend those celebrations, so he made a trip to view the facility and congratulate the company on its landmark anniversary.
"I've taken a big interest in manufacturing for personal reasons," Senator Murphy told the Altek employees. "My grandfather and great-grandfather worked in the Barring factories. My mother grew up poor but had a stable income because of Connecticut manufacturing."
Senator Murphy assured the staff that he is fighting for American manufacturing in Washington, DC.
"The economy can't come back without manufacturing," said the senator. "We're not going to be manufacturing the same things we used to, and you're proof positive of that."
Altek creates electronic assemblies used in capital equipment such as mammography machines, elevators, cutters for the garment industry, fuel cell controls, gas detection systems, fan controls and more.
They employ about 140 people, and many of those employees graduated from local technical schools.
Steve Altschuler, Altek CEO and creator, started the business with the belief that the customer is always right. That is what has kept them alive and in Torrington for 40 years, he said.
Murphy supports boosting domestic manufacturing, and he told Altek employees that he thinks our habit of buying foreign goods to make American products makes no sense.
"I have been pressing President Obama to have his agencies buy goods from American companies," said Murphy.
The senator answered a few questions before taking a tour of the 54 thousand square foot factory located at 89 Commercial Blvd.
"I have a lot to learn," Murphy said. "That's why I do this, to introduce myself to you. I can help you and your families if you have problems with the government. I'm here to learn from you so I can go back to Washington and be a bigger and better voice for Connecticut manufacturing."
Reach Kate Hartman at 860-489-3121, ext. 343.


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It wasn't a dream start for Sonam Kapoor in Bollywood, with most of her films only doing average business at the box office. The unfazed actress, however, looks at everything in a positive way and considers it all a part of her growth.
"There are no regrets, it is all about looking at things positively and regarding everything as a part of your growth. I don't think anyone should have regrets, whether it is your personal decisions or your career choices, as you learn from them," Sonam told IANS in an exclusive interview.
"Being a human is about learning from your life and that's why we have been put in this world...to gain knowledge," she added.
Daughter of veteran actor Anil Kapoor, Sonam made her Bollywood debut with 2007 film "Saawariya" and has since been part of movies like "Delhi 6", "Aisha", "I Hate Luv Storys", "Thank You", "Mausam" and "Players", though most of them failed to garner their expected success at the box office.
The actress is, however, undeterred and is now eagerly looking forward to her two new films, "Bhaag Milkha Bhaag" and "Raanjhnaa". Both the films release next year.
"I think it is better than getting no reactions. Next year is a good year; so I am looking forward to 'Raanjhnaa' and 'Bhaag Milkha Bhaag'," she said.
Though the 25-year-old got a chance to play diverse roles in a career span of five years, Sonam feels none of them was even close to her real life personality.
"I am too complicated a character to be incorporated in a film. I don't think anyone would be able to write such a complicated character like me," she said.
"Unfortunately I have been stereotyped as a de-glam actress. All my friends are in fashion; so they ask 'When are you doing a glamorous film? When can we give you glamorous clothes?' So I guess, other than 'Aisha' and 'Players', my movies didn't have much of fashion involved," added the actress, who is otherwise known as the fashion icon of Bollywood.
"I played very simple girls. It is completely the opposite of my image and what people perceive me to be."
She will once again be seen playing a simple Indian girl in "Raanjhnaa" too.
"In 'Raanjhnaa', I play a Banarsi girl, who joins JNU (Jawaharlal Nehru University). I think it is important to have an Indian touch, as we have been doing a lot of films influenced by the west. I like the language, story and everything of the film. I had the best time working on this film," she said.
Sonam is also keen on getting an opportunity to work with the three Khans of Bollywood - Shah Rukh Khan, Salman Khan and Aamir Khan.
"I would love to work with all three...maybe at the same time. Whatever comes my way is good. I would like Aamir to direct me. One of my favourite films is 'Taare Zameen Par'," she said.
"For me, I love him as a director. I think he has a keen eye when it comes to performances; so I would like him to give me that knowledge," she added.


text: The Uncensored Oral History of 'The Hangover' 5:44 AM PDT 5/1/2013 by Matthew Belloni , Lacey Rose FACEBOOK TWITTER EMAIL ME YOUTUBE With the third installment out May 24, director Todd Phillips, Bradley Cooper and the execs behind the biggest R-rated comedy franchise in history tell all about Lindsay Lohan's meeting, Mel Gibson's ill-fated cameo and how they tricked the baby's mom. Plus: Who made $70 million? This story first appeared in the May 10 issue of The Hollywood Reporter magazine. It was called What Happens in Vegas. In 2007, screenwriters Jon Lucas and Scott Moore came up with a novel pitch: a bachelor party comedy that would play out as a mystery, with increasingly bizarre reveals leading to the location of the missing groom. New Line Cinema executives loved the idea but were dead set on that title and couldn't secure rights, so they passed. Others weren't interested. But Lucas and Moore wrote the script anyway and slipped it to fellow CAA client Todd Phillips. At the time, Phillips' Starsky & Hutch and School for Scoundrels recently had disappointed, and he had left Borat during shooting because of creative differences. Fortunately, he still had an overall deal at Warner Bros., which in October 2007 snapped up the script — now titled The Hangover. What followed is the most successful R-rated comedy franchise of all time. The first Hangover, made for only about $35 million with barely-known stars Bradley Cooper, Ed Helms and Zach Galifianakis, shocked Hollywood by grossing $467.5 million worldwide in 2009. Its 2011 sequel outgrossed the original with $586.8 million. The third and final installment — which ditches the blacked-out mystery concept and adds Melissa McCarthy as a love interest for Galifianakis — hits U.S. theaters May 24. To coincide with the final film, The Hollywood Reporter invited Phillips and his three lead actors to sit down together for a candid (and often raunchy) discussion. THR then reached out to others intimately involved — from Warners film studio head Jeff Robinov to retired boxer Mike Tyson — for their personal stories. What follows is an edited oral history of one of Hollywood's most improbable success stories. PHOTOS: 'The Hangover Part III': Exclusive Portraits of Bradley Cooper, Zach Galifianakis THE BEGINNING TODD PHILLIPS: I was sort of doing this other project at Warner Bros., possibly with Jack Black, and Jack pulled out of it. I took this spec script [for The Hangover] and thought, "This is a really interesting idea." I brought it to Jeff Robinov at Warner Bros. and said: "Look, here's this movie. We're going to rewrite it." The thing that was there was that these guys lost the groom and couldn't remember what they did. That was all there. BRADLEY COOPER: The characters were different in the original script. I was a used-car salesman. There wasn't a Mr. Chow. I mean, Todd created everything. PHILLIPS: No Tyson, baby or tiger. And there was no cop car. [Co-writer] Jeremy Garelick and I sat down in my house and just started writing. We kind of went backward, like, what would be the craziest thing you could wake up to? A tiger? Well, why would a tiger be there? Siegfried & Roy? Nah, that feels typical. Oh, you know what's funny? Mike Tyson. I once read he has tigers. They stole it from Mike Tyson. Once the script was finished, Helms, co-starring on NBC's The Office, first was cast as everyman dentist Stu. The other roles were more difficult. After Paul Rudd and Jack Black (among others) passed, Phillips focused on lesser-known actors. But without stars, Warner Bros. and co-financier Legendary Pictures insisted that the film's mid-$40 million budget be trimmed and Phillips' $6.5 million directing fee be cut in half (with the rest paid only if the movie was a success). Phillips' CAA agent Todd Feldman and attorney Warren Dern came back with a different proposal: The director would forgo his fee almost entirely in exchange for what sources say is a 16 percent stake in the film. Warners agreed, and the arrangement ultimately would earn Phillips nearly $70 million from the first Hangover. COOPER: I had heard that Ed Helms had one of the three roles. I auditioned for Starsky & Hutch with Vince Vaughn years earlier, and I remember thinking Todd was the coolest guy in the world. Then I sat down [for a meeting at Chateau Marmont], and he was very nice and cool as hell with the sunglasses. So I actually thought there's no way in hell I'd get this role because he's sort of the alpha, really cool guy. But we both love movies. There Will Be Blood was coming out soon, so we exchanged e-mails and went to see There Will Be Blood together at Paramount. And then that was it -- I didn't hear from him. I remember checking in, and they said, "Yeah, budgetary problems; they're going to need a name." PHILLIPS: When we were writing, we did have [other actors] in mind. Quite honestly, we were writing the brother-in-law as a younger brother they had to take along with them -- like a Jonah Hill character instead of Zach [Jake Gyllenhaal also was considered]. Then we thought it'd be so much more awkward if it was an older brother who's still at home. [Thomas Haden Church was strongly considered.] I've always been a huge fan of Zach [as a comedian and actor], but Zach didn't want to come out and meet with me. ZACH GALIFIANAKIS: That's not true! I was in Canada, and I flew down for an audition, and I was like, "This is going to be a waste of money because I'm not good at auditions." PHILLIPS: He's really not. (Laughs.) But Warners wanted to see him audition. In all fairness, they didn't really know him then. JEFF ROBINOV: You're always a little bit nervous about the cast. [Going with Phillips' preferred choices] just meant you put a little more budget pressure on what we can spend on the movie. PHILLIPS: I presented a number for the budget, and they did not want to make that version of the movie with this group of guys. I said, "Tell me the number that I can just go and make a movie, and we'll see you at the premiere." COOPER: I'm doing a play in Williamstown [Mass.], trying to figure out what the f-- I'm going to do with my life. And I'm sitting there in the apartment in between matinees, and I get a text [from Phillips]: "Are we going to f--ing do this?" I was like: "I haven't heard from you in f--ing four months! Are you serious?" You were like, "Yeah, we're going to make The Hangover." PHOTOS: 'Hangover: Part III': Justin Bartha's Instagrams From Set THE SHOOT Two months of filming in fall 2008 took place in Los Angeles and Las Vegas, where most of the film is set. The schedule was complicated by Helms' obligation to The Office. ED HELMS: Just trying to close my deal was such a nightmare because NBC was in first position with my schedule. We got a really nice verbal commitment from [showrunner] Greg Daniels to cross-board all of my scenes into two days a week. I had to agree to charter my own flights, these little tiny jets, which I paid for. I'd go from Vegas to Van Nuys Airport at 4 in the morning because we were doing shoots all night, then I'd land in Van Nuys, drive to the set and shoot all day on The Office, completely Red Bull-ed out of my brain. GREG DANIELS: There was no sleep in the schedule. He was exhausted. Three key roles remained to be cast: the ill-fated groom Doug, the stripper who would marry Helms' character and the trash-talking Asian gangster Mr. Chow. JUSTIN BARTHA: I had known Todd since I was in college. I had been friends with him and actually lived with him at one point. He produced a show with me that we did as an MTV pilot [The Dustin and Justin Show, a satirical take on an entertainment magazine show] when I was 21. I randomly ran into Todd at an Italian place in West Hollywood called Orso, and he said he'd been trying to get a hold of me. We put a tape together because Robinov had to see everything. PHILLIPS: I did meet with Lindsay Lohan a little bit [before casting Heather Graham], and we talked. Honestly, it felt like she ended up being too young for what we were talking about. People love to attack her for everything, like: "Ha, she didn't see how great The Hangover was going to be. She turned it down." She didn't turn it down. She loved the script, actually. It really was an age thing. HEATHER GRAHAM: I found the character to be complex. Even though she's a stripper, I loved that she's also this genuine, emotional person. She met Stu and fell in love with him. PHILLIPS: My first exposure to Ken Jeong was his YouTube videos with Mike O'Connell. The Mr. Chow character that we wrote was always supposed to be a 60-year-old Asian guy, and I kind of resisted bringing in Ken for it. He came into my office, and we did this read-through, and Ken just lost his mind. The whole place was, "What the f-- is going on in there?" KEN JEONG: One of my friends was actually auditioning for another part, and he happened to be in that same casting room. He was like, "Man, it sounds like you're the Tasmanian devil." PHOTO: 'The Hangover Part III' Poster Pitches Zach Galifianakis as Harry Potter A key character in Phillips' revised script was Mike Tyson, the notorious retired boxer who had been convicted of rape during the early 1990s. Phillips approached Tyson's manager about the role. PHILLIPS: At that time, Mike was sort of struggling. He's the first to admit he was still struggling with drugs while we were filming that movie, although I didn't know that at the time. MIKE TYSON: Somebody had told me something about a movie, but I wasn't coherent as to what he was talking about. They made it sound like it was low-budget, not a serious movie. BARTHA: Before we started shooting, we were in Vegas, and we went to some cheesy club in Caesars Palace. Zach and I were like, "Let's go out to Nick Cannon's birthday party [at the club]." Mike Tyson was there, and I was like: "Oh my God. This is our chance." We were going to work with him. TYSON: I didn't know who they were. But I noticed one of the Mary-Kate sisters. [Bartha was dating Ashley Olsen.] BARTHA: I remember going up to him and just hugging him. It was the most surreal experience. TYSON: They said, "We're going to be shooting a movie with you in two weeks." I didn't even know. I said, "Really?!," and I started drinking with them. I was a little wasted at the time. I still didn't understand the movie until like a week and a half later, when I was on set with these guys. [pagebreak] Phillips continued to tweak the script during the shoot, sometimes feeding lines between takes. JEONG: Todd fed me most of those lines. "Tootaloo, mother f--er!" -- that was all him. That wasn't my creation. PHILLIPS: We wrote [Stu's missing tooth] in the script, and then we were talking about how we were gonna do this. We started talking to these guys who do implanting, and then Ed comes to me and goes: "You know, this isn't real. This tooth is an implant I got when I was 15." HELMS: I talked to my dentist and he said, "Yeah, we can take it out." He was a champ. He's in the credits. So he took the tooth out, and he had to make a special piece to then screw into the hole so that the gum tissue stays healthy. He made me a flipper with the fake tooth on it that I could take in and out because I was still shooting on The Office. I never told [anyone on the show] because they would lose their minds. So I would show up to work on The Office with this appliance in my mouth, and it really affected my speech. If you watch those episodes, I sound drunk. PHILLIPS: In the script that Jeremy and I had written, Mr. Chow jumps out of the trunk in his underwear. It was Ken who came to me and said, "I think we should do this naked." I was like, "You don't have to tell me twice!" (Laughs.) Before he finished his sentence, there was a nudity waiver slid under his door at Caesars Palace. JEONG: Bradley volunteered for me to jump on him. My genitals and Bradley's neck are very good friends. Todd said midway through filming, "Bradley, if this is too uncomfortable for you, let me know." And Bradley said something to the effect of, "Todd, until you brought it up, I really didn't realize how creepy this actually is." PHILLIPS: When Ken jumped out of the trunk, there was a policeman who said that people were complaining from Mandalay Bay, which was in no way true. He said, "You keep doing it, and we're going to shut you down." HELMS: Ken is sprinting through an empty lot naked, and the cop says something like: "This is Vegas -- we don't act like that. This is not that kind of town." COOPER: Behind the cop, as he's saying this, is a billboard of naked women. (Laughs.) JEONG: With all their boobies hanging out. You can't get more ironic than that. PHILLIPS: They were going to shut us down, so we built a wall of blackout cloth. It was so ridiculous. [Otherwise], they were so open to us. It was the best place to shoot. When The Hangover came out, there were literally guys who owned casinos who called me, saying, "Hey, thank you for what you did for us this summer." But it wasn't easy for us to get a hotel that would welcome us to shoot in like Caesars did. We had approached a few hotels that were like: "No, no, no. We don't do filming." COOPER: People did not react to us. That's the one thing about Vegas: They were completely indifferent. We would go in the elevator at 5 in the morning after shooting, and I had huge scratches on my head, full makeup, and they don't give a f--. It was unbelievable. JEONG: It was a very magical shoot. My wife was going through breast cancer and chemotherapy at the time. [She recovered.] It was part of the reason I was so unhinged in the character; I think I was working out my own demons. Todd and Bradley were the only people who knew. Hangover got me through the most difficult time in my life. VIDEO: 'The Hangover Part III' Trailer Sends the Boys Back to Vegas During shooting, the filmmakers also took a series of staged photos to be used for the movie's infamous end-credits sequence. PHILLIPS: That was Jeremy Garelick's idea, which to me is one of the biggest ideas of The Hangover. He came to me one morning in our writing session and goes, "What do you think …" -- he's literally couching it, like this might be the worst idea ever -- "would it be weird if, like, they find a camera and we see?" HELMS: And we had to tie up some story pieces. PHILLIPS: It explains so much. It explains his tooth; it explains … COOPER: The woman that you hired that blows [Galifianakis] in the elevator. She was such a character. She was an old porn star. It was unbelievable. That was just fantastic. GALIFIANAKIS: I offered Todd's assistant $1,000 to talk Todd into taking that out of the movie. COOPER: Meanwhile, it's the biggest laugh in the whole film. PHILLIPS: Alan [Horn, then running Warner Bros.] is a good friend and huge supporter of mine. That said, when we first screened it for him, he must have looked away during that one photo because when he saw it at the premiere, he definitely hadn't seen it before. He came up to me and said: "What was that? That's not in the actual movie, is it?" And I said, "Of course it is," and he said, "Did you change it since I saw it?" And we really hadn't. It was the identical cut that he viewed. Turns out, he must have looked away at that exact moment -- those photos were literally 36 frames each. But he got over it. Alan loved the movie from the first time he saw it, and that never changed. ALAN HORN: Now I focus on the end credits right up to the beginning of the next movie. [pagebreak] Months before the film was released in June 2009, Warners execs knew they had a potential hit on their hands. The studio was so confident that it hired writers Craig Mazin and Scot Armstrong to begin work on a sequel. Test audiences loved the movie, but there were concerns about taste boundaries in certain scenes. PHILLIPS: Things were polarizing, like when you hit the baby in the face -- even though it's a doll. We hit the baby with the car door, and that bothers a lot of people. Then you have to decide: "Are we going to leave that in?" Because it also makes The Hangover audacious. We leave the baby in the car, it's 100 degrees, and he goes: "F-- it, it's fine. Crack the window." HELMS: That was a big debate on set. PHILLIPS: Not with me. I thought it was funny. But I understand people thinking that's f--ed up: "You don't have a kid, Todd. You don't understand." HELMS: I was always the nervous Nelly about those jokes. Zach was going to get arrested for the baby thing. PHILLIPS: Jerking the baby off at Caesars. GALIFIANAKIS: I did it first with the doll that was just sitting there while we were setting up the shot. I showed Todd, and he goes, "Let's go ask the parents if we can do that." (Laughter.) I'm like, "No." PHILLIPS: I waited for the [baby's] mom to go upstairs because the mom was a little bit more not into stuff like that. I go to the dad: "It would be funny if Zach pretends to do this. Would you have a problem with that?" And he literally goes: "[My wife is] going to be gone for a half-hour. Can you do it in the next half-hour?" COOPER: "Can you jerk my kid off in a half-hour?" (Laughter.) STORY: Heather Graham Back for 'Hangover Part III' Early tracking suggested Hangover would open to about $20 million, great for a low-budget comedy. When the movie grossed $45 million during its first weekend, the stars' lives changed instantly. Neither Phillips nor any of the actors was signed for a sequel. That gave CAA, which represented all four of them, enormous leverage. Sources say the stars got raises to about $10 million each to return, and Phillips received about $10 million against 10 percent of profits. The trio got bumps to about $15 million each for the third film. PHILLIPS: Warners knew [we weren't going to do a sequel without everyone]. They wouldn't have done it without me, quite frankly. GALIFIANAKIS: Well … (Laughter.) PHILLIPS: Zach would've done it. Zach [who plays Alan] wants to do an Alan movie, and he's been around town pitching it. "Todd, great news! Favreau's gonna direct the Alan biopic!" ROBINOV: The guys have done well if you average the three movies. But they're great guys, and they've been amazing. PHILLIPS: We talked about [the idea for a second movie while shooting the first]. How could that ever happen twice? Las Vegas was a huge character in the first Hangover. For the second, there are a few locations that just scream bad decisions, and to me it was between Rio and Bangkok. I flew to Bangkok and checked it out. THE SEQUEL With a budget of about $80 million, The Hangover Part II shot for three months in fall 2010 in Los Angeles and Thailand. JEONG: It was great to see the relationship between Todd and the three guys because they all had just become hugely famous overnight, and their relationship stayed exactly the same. COOPER: [President Clinton] was in Thailand giving a speech, and we all went to hear him speak. HELMS: I didn't. I was vomiting. PHILLIPS: Ed had food poisoning the whole time we were in Bangkok. The rest of us ended up going, and we got to go to dinner with President Clinton. We were like, "Hey, why don't you come by the set?" So he came by. He loved [the first movie]. He loves comedies. At dinner, he goes to his assistant, "What's that movie we watched over and over on the plane?" And the guy goes, "The president loves [2007's Lil Wayne-Big Boi starrer] Who's Your Caddy?" (Laughter.) PHILLIPS: I thought it would be funny [to cast Mel Gibson as a tattoo artist]. A lot of my stories start with that: "I thought it would be funny …" HELMS: A lot of your courtroom testimonies. (Laughs.) PHILLIPS: There's an irreverent tone to The Hangover movies. We're not apologizing for the bad behavior. I'm a huge fan of Mel Gibson as a filmmaker and as an actor, and he was going through a weird thing at that time, and I thought, "Wouldn't it be cool if we had him come in and do this role?" So I went over to his office and met with him. In fairness, I hadn't consulted with the crew and the cast, which is a family. I hadn't even cleared it with Warner Bros. I was just like, "I'm just going to show up, and we're going to do this thing, and it'll be great." Not everybody felt the same way about him. [Several members of the cast and crew complained.] ROBINOV: Todd called me, and we just sort of talked through it. Mel was actually great about the whole thing. PHILLIPS: So Liam Neeson filled in, but we ended up taking the scene after it out. We had to reshoot [Liam's] scene, but he was already in London shooting [Wrath of the Titans]. So I got Nick Cassavetes to do it. CRAIG MAZIN: Frankly, every scene probably had an idea or moment in its inception that was too much. But you pull it back. We try and err on the side of audacity as much as we can. It's not so much about being dark; it's about being honest. PHOTOS: Top 15 Grossing Threequels of All Time Although a huge hit, the second movie was knocked by critics for being very similar in structure to the first, albeit raunchier, with transsexual prostitutes and a drug-dealing monkey. The film earned a disappointing 44 score from Metacritic -- compared with a 73 for the first installment. PHILLIPS: I agree that [Hangover II was] similar in structure, but I don't agree it's a knock. It was intentional. It's not like we were unaware going into it. Some people had a problem with [the idea of], how could this happen to the same guys? But to me, that was part of the ridiculousness of it. And you say Bangkok, and [a transsexual prostitute] is one thing you do think about. But that's what I mean about audacious. Her name is Yasmin. [pagebreak] HELMS: It was a room full of trannies. There were naked people walking around us. COOPER: My favorite moment of all three movies is Ed's performance when he comes out of there, and he's talking to [his character's soon-to-be father-in-law]. I usually don't break, but I could not stop. (Laughs.) His performance in these movies is so underrated. He does the sickest shit, and people don't realize that he has to be able to balance comedy with the real circumstances his character goes through, which anchors the entire first movie and the second one, too. TYSON: The fact that in the second movie they used my tattoo on Ed's face -- that's better than to put my face on the [poster]. PART III With Phillips and the cast committed to wrap up the trilogy, The Hangover Part III shot in fall 2010 in California, Mexico and three weeks in Las Vegas. Jeong returns, and Melissa McCarthy joins the cast as a love interest for Galifianakis. PHILLIPS: [Hangover III] is a very different story. Nobody wakes up in this movie -- there's no forgotten night. But it definitely is a movie that uses what happened in the first two movies. It's very much all one big story of [how that moment when] Alan buys drugs from Black Doug in the first movie basically f--ed their lives up for six years. MAZIN: When Todd and I were working on the third movie, we never sat down and said, "Let's be outrageous." That's a ticket to stupidity. We think, "OK, what is this person's problem and how bad is their situation?" For Alan, how progressed is his disease? PHILLIPS: Personally, I gambled less [while shooting Hangover III]. I had a gambling problem. I remember in the first one, I was always in my pajamas downstairs gambling every night, smoking. All the pit bosses knew me. I was getting in fights. HELMS: It was terrifying. PHILLIPS: We have a sequence in the third movie where we had to get six Vegas properties working together. So all of a sudden, the Bellagio is letting us control its fountains, even though we're based at Caesars and they're competitors. It's like Warners and DreamWorks. But all of a sudden they're all working together because they know that The Hangover is good for Vegas. COOPER: That's a difference from the first one. We stole a moment in the first one, like a cool slo-mo walk with the fountains, and we kept trying to time it right. Cut to the third one, and Todd controlled the fountains. He had the f--ing button. ROBINOV: He probably stole that, is my guess. (Laughs.) HELMS: There are Hangover slot machines now. GRAHAM: My agent made me do a video for her son's bar mitzvah. He did this whole funny spoof where he gets drunk, gets a tattoo and then he comes to my house. That's how in-the-culture it is. And it was my agent, so of course I had to do it. TYSON: Now people come to Vegas to see me. They say, "Where is Mike Tyson's house at?" COOPER: And guys dress up as Alan for a living. PHILLIPS: And Ed. Like they have Spider-Man on Hollywood Boulevard. GALIFIANAKIS: I think his name's Thaddeus. I went down to see him. He was pretty good. He moved to Vegas to do it. PHILLIPS: When we were location scouting, there was Stu and him, and I go, "I gotta take a picture." The Alan one, who was very belligerent, turned around: "It's $10." I go: "I made the movie. I just want to send it to the guys." I didn't have my wallet on me. Luckily the Stu character recognized me. VIDEO: Ken Jeong on a 'Hangover' Continuation: 'I Would Love to Do More Mr. Chow' With the third film likely to be huge, a fourth would seem inevitable. PHILLIPS: This is the last [one], for sure. HELMS: I am pitching a fourth to Disney. PHILLIPS: The story is very much a final story and feels wrapped up. The only loose end in the Hangover series, quite frankly, is with Alan's character, and what's his deal and is he going to be OK? That's what The Hangover III is ultimately about, his journey into somewhat normalcy and stability after the loss of his father. Stu has gotten laser surgery [to remove his facial tattoo], but if you look close, you see there's a little bit of a scar. HELMS: A lot of people just think I have bad skin. Email: email@example.com, email@example.com Twitter: @THRMattBelloni, @LaceyVRose FACEBOOK TWITTER EMAIL ME YOUTUBE Matthew Belloni email@example.com @thr Lacey Rose email@example.com @thr


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How To Choose The Right Grid
It's easy enough to understand how grids are helpful in organizing your content. Not as easy is deciding what type of grid best suits your content and how to build it. Here's how I made decisions about what grid to use for the redesign of this site.
New Visual Proportions for the iOS User Interface
The quote above is taken from Josh Clark's book Tapworthy, an authoritative book on iPhone UI design. Apple's Mobile HIG (Human Interface Guidelines) does recommend 44 × 44 pixels as the comfortable minimum size for tappable UI elements. Most apps and including practically all of the native apps follow this 44-pixel rhythm. Everyone is happy. So what is the problem?
Designing for the Web: Templates and Grid Systems
In this article, we will cover some important issues and introduce some tools for you to use when designing a website. Just keep in mind that as in the print sphere, the web sphere contains a multitude of choices for design as well as development. This is only one method and we are attempting to come from more of a designer angle rather than a developer one.
On Modern Layouts and Semi Fluid Grids
One of the key benefits to designing a fluid theme is the instantly correct look you get when you open the site. Its not something people will or should consciously expect, it should simply BE the correct size the instant it appears, regardless of size, screen, or orientation.
Rethinking CSS Grids
Off the back of this article in Net Magazine last week, and the subsequent few tweets popping up in my stream, I've finally managed (in no small part from the help of Nathan and Alex) to pull together some of my thoughts and concerns regarding CSS grids and how they could (or, maybe, should) be created.
Anatomy of a Typographic Grid
Grids act as guides for the placement of elements in a design. No matter how simple or complex, grids share some common parts, each fulfilling a specific function. Not every one of these parts needs to be present in every grid.
Extensible Baseline Grids
In addition to the Y-axis grid we all know and love, a baseline-style grid can be a valuable X-axis alignment tool during design compositing. In this discussion, I dive into a method to create an extensible baseline grid within a Photoshop-based web design workflow.
Process Journal: The Grid
Thomas Williams, one of the talents behind the excellent Process Journal, has documented the changes that were made to the grid system for Edition Two of the journal.
30 Grid-Based WordPress Themes
30 WordPress themes that have been developed with a grid framework. All of the themes have been built using popular CSS Grid Frameworks such as the 960.gs, Blueprint, YUI2 and The Golden Grid. We have also included a couple of WordPress grid frameworks at the bottom of the post which you may find useful.
Grid-Based Web Design, Simplified
A grid at its barest is nothing more than a series of intersecting horizontal and vertical lines spaced at regular intervals, but its innate propensity for creating order out of chaos makes it one of the most powerful tools at a designer's disposal. If you want to reap their benefits of grids on your next project but are unsure of the specifics, this article is for you.


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The new full-colour Rough Guide to Egypt is the definitive guide to this amazing country, whose ancient civilization still fascinates today. But there's more to Egypt than just pyramids and temples. The Red Sea offers some of the world's finest diving, a few hours by air from Europe. There are awesome dunes and lush oases to explore in its deserts, and fantastic bazaars and mosques in the capital, Cairo.
Detailed accounts of every attraction, along with crystal-clear maps and plans, make it easy to access anything from remote oases to nightlife that only locals know. You'll find lavish photography and colour maps throughout, along with insider tips on how to get the best out of Luxor's temples or Sinai's beach resorts. At every point, the Rough Guide steers you to the best hotels, caf�s, restaurants and shops across every price range, giving you balanced reviews and honest, first-hand opinions.
Make the most of your time with The Rough Guide to Egypt.
Now available in ePub format.