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Mega CSR Conference in Mumbai on 9 May 2012
(A Conference in Support of Business Sustainability)
Date: 9th May 2012
Venue: Ramada Plaza Palm Grove, Juhu Beach, Mumbai.
Last Date of Registration: 15 April 2012
For more information please write : email@example.com
Conference Contact : (0) 99810 99555 (Rusen Kumar)
For detailed information: http://www.conference.indiacsr.in
UNEP Testing Method for Estimating Disaster Debris
INDIA CSR News Network
TOKYO: On the eve of the first anniversary of the worst natural disaster in Japan in a century, the United Nations Environment Programme (UNEP) says the remarkable progress to sort and dispose of millions of tonnes of waste has set new standards for managing post-disaster debris.
The Great East Japan Earthquake, and ensuing tsunami, killed more than 15,000 people and destroyed cities and villages along the coast of the country's Tohoku region, generating about 29 million tonnes of debris in that region alone. Some 3,305 people are still listed as missing, and more than 340,000 evacuees remain.
At the request of the Government of Japan, UNEP has today completed a week-long international expert mission to the post-disaster zone, visiting waste management and debris recycling facilities and sharing information and exchanging experiences with people involved in the clean-up effort.
Given Japan's reputation as one of the best disaster-prepared countries in the world, there is intense interest from waste management and emergency response specialists around the world in how Japan has coped following the massive 9.0 magnitude earthquake on 11 March last year.
UNEP's international expert mission, organised by UNEP's International Environmental Technology Centre (IETC), in Osaka, Japan, and the Post-Conflict and Disaster Management Branch, in Geneva, Switzerland, will be of great value in terms of sharing learning about what has been done to date to cope with post-disaster debris, benchmarking and disseminating the experiences.
"It is impossible to look at images of the devastation without feeling enormous sympathy for the people of the Tohoku region, who are still enduring great upheaval and disruption to their daily lives,'' said Achim Steiner, UNEP's Executive Director and Under Secretary-General of the United Nations.
"This makes Japan's extraordinary clean up efforts all the more remarkable. They have made commendable progress in the past 12 months, and we hope that by studying the work they have done, the technologies they used and the decisions they have made, we will be able to improve the way debris from any future disasters around the world is handled."
Estimation of waste volumes after a disaster is a significant challenge as all subsequent actions depend on reasonable estimates. UNEP hopes to use data gathered by the mission to assist in developing an international protocol on estimating the volume of debris in post-disaster settings. Such a protocol would prove invaluable in terms of estimating the associated workload and cost of cleaning up after disasters.
The mission is also the first step in setting up an international network of disaster-debris management specialists, so that their knowledge and experience can be combined and made available to any country dealing with a major disaster.
Natural disasters caused a record US$366 billion (about 28 trillion yen) damage in 2011, according to the UN Office for Disaster Risk Reduction (UNISDR), with the damage from the events in Japan accounting for almost two- thirds.
The eight-member mission team, which has representatives from the US Environmental Protection Agency (EPA) and Japan's Tohoku University, had a wide-ranging programme of visits, including:
To Ofonato and Miyako, two fishing villages struggling to deal with huge quantities of waste fishing nets, among other debris.
To a cement company that is accepting disaster debris from the Iwate Prefecture and using it as fuel and feedstock for cement manufacturing.
To the biggest incinerator in Japan, which can treat up to 1500 tonnes of waste a day.
The team also visited "Single Pine Tree", the sole survivor of the thousands of pine trees that once lined the coastline of the city of Rikuzentakada, which has become a symbol of the resilience and spirit of the Japanese people.
"We do not see this as a one-time exercise," said Matthew Gubb, Director of UNEP's IETC, one of the organisers of the mission. "After every disaster, management of debris is turning out to be an important and expensive precondition prior to rehabilitation of people and environment. As IETC focuses its attention on waste management, ensuring that the international best practices on disaster debris management will be available to all countries through a network of experts and other knowledge products will be our long-term objective."
"Removing debris and securing livelihoods are two major challenges of the post-disaster recovery period. In Japan, we note that the survivors of the tsunami are employed in the disaster management facilities, which achieves the twin objectives. This is a good model to follow in post-disaster settings," said team member Ronnie Crossland, from the US EPA.
"Landfilling and incineration are some of the easy and obvious options after major disasters to achieve rapid volume reduction. However, in Japan there are restrictions on both due to geographic and legal reasons. It is therefore important to maximise segregation and reuse even if that will take more time to complete", said Professor Yoshioka from Tohoku University.
"Estimating debris after every disaster is a major technical challenge, but also an important one as estimating the cost of post-disaster recovery depends on it, said Yves Barthelemy, Head of the Geomatics Department, Paris-Est University. "UNEP has been working on developing a protocol and will use the detailed estimates arrived at by the Japanese municipalities to compare with a satellite image based projection. This approach will enable more rapid estimate of disaster wastes in other disaster situations."
Preliminary findings from the mission include:
The contingency plans put in place by some prefectures before the earthquake allowed them to respond more quickly to the waste management challenge. For example, in Sendai, which had contingency plans, three incinerators are already in place processing 460 tonnes of waste a day.
While Japan has done much to advance world best-practice on handling disaster debris, there is scope for substantial optimisation in the efforts so as to lower the costs of post-disaster debris management and reduce its environmental impacts.
Commendable emphasis has been placed on waste segregation and recycling. Waste is divided into several categories such as wood, metals, electrical items, tatami mats, fishing nets, vehicles, plastics and so on. Some segregated materials are already being reused: for instance, tree trunks are being sent to a paper mill, shredded wood is being sent to a cement company for use as fuel in the manufacturing process, and building rubble is being recycled as building material, landfill or in road-making.
Maximizing the possibilities for waste recovery and recycling while minimizing the need for transportation are priorities for effective debris management.
Under Japanese law, the manufacturers of cars and whitegoods (refrigerators, washing machines etc) are responsible for the final disposal of their products. However, the volume of disaster debris generation is likely to overwhelm their intake capacity, which may need augmentation.
Despite the magnitude of the challenges, and their own personal tragedies, the officials of the various cities in Japan are doing systematic and dedicated work to manage the debris in a timebound fashion.
Opportunities for learning from best practices of various cities exist and a systematic approach to capturing them and disseminating them would be beneficial.
The national guidelines produced for disaster debris management could be locally adapted with input from academic experts to reflect local circumstances. This will lead to more environmentally optimal outcomes.
There is scope for improved monitoring and communication of the waste management activities in the disaster impacted areas, which will enable everybody to appreciate the challenges faced and efforts made.
In conjunction with Japan's Ministry of Foreign Affairs, UNEP will produce a video and a report containing the key successful initiatives and technologies deployed in Japan, for wide distribution internationally. The video is due to be released in April, while the report is due out in mid 2012.


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530 Causeway Drive
Wrightsville Beach
North Carolina 28480
Home » Watches » Nixon Watches
Nixon Sentry SS Mens Watch
Color: White
A standard made anything but standard. The Sentry SS is the essence of clean and cool, and it's been created with a deep appreciation for custom. Timeless style and durable construction make this a watch for everyone's quiver. The Sentry SS is built to last, with a raised bezel to protect the crystal and a solid stainless steel band. The three hand movement with raised indices and day/date dial are a clean and classic combo. You know what time it is, and you have the watch prove it. The Sentry SS is vintage brought forward.
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HIGH POINT, N.C. --- Lees-McRae senior pole vaulter Evan Webb has been tabbed Conference Carolinas Indoor Men's Field Athlete of the Week for the second consecutive week following a top-five performance at the UCS Invitational, the conference office announced Wednesday morning.
Webb (Salisbury, N.C.) finished fifth with a height of 15 feet, 7 inches and cleared it on his first attempt. The senior in a tough field of 11 and was the top Division II performer.
With his performance, Webb hit a mark for national provisional's.
"I feel good about Evan going into the Conference Championships," said head coach Ley Fletcher. "He continues to improve on a weekly basis and we're confident he'll bring home the crown in the men's pole vault."
Webb and the Bobcats travel to Winston-Salem, N.C. Sunday to participate in the Conference Carolinas Indoor Track & Field Championships.


text: "Despite all terror [in and around Jerusalem in 1946, thousands of Jews] kept pouring out of shattered Europe aboard vessels which seemed to date from the Middle Ages. For, even at its worst, there would be the fulfillment of a promise that was repeated each year for nearly two thousand Passovers--'Next year, Jerusalem!'" Yankee Nomad, p. 227.


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Dmitrov Follows Girlfriend Sharapova Out Of Wimbledon.
The Bulgarian 29th seed joined the long list of big names to fall as Slovenian Zemlja held his nerve to claim a 3-6 7-6 3-6 6-4 11-9 victory on Court Three.
Dimitrov, who twice led by a set, had trailed 8-9 in the decider when play was stopped by rain on Thursday.After another rain delay on Friday, the match finally resumed but took a bizarre twist when, serving at 30-30, Dimitrov slipped over after launching a serve and, despite a valiant attempt to play his next shot on his knees, went match point down.
With Sharapova watching on from the front row of seats behind the baseline, he immediately walked to his chair and told the umpire the court was too greasy to continue playing.
With light drizzle still in the air, the players sat on their chairs for a long time while 22-year-old Dimitrov, once labeled "Baby Federer" because of his stylish game, contemplated trying to stay in the tournament.
When play started again he saved the match point with a hefty first serve which Zemlja returned into the net tape.
He then saved two more match points to level at 9-9.
Zemlja saved a break point in the following game to move 10-9 in front and when his fourth match point of the day arrived he converted with a superb running forehand pass.
The 55th-ranked Zemlja will play eighth seeded Argentine Juan Martin del Potro in the third round.
(Reporting by Martyn Herman)
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I continue to explore other materials and processes as a means of artistic expression. My approach is a traditional studio practice of exploring the potency of a material in a state which it can be perceived as both extraordinary yet simple.
Inspired by the iconic sculptures and mobiles of past masters and fueled by curiosity, each of my works is an expression in the evolving language of sculpture.


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I've got an experiment to try out on you fine folks, my blog readers. I want you to be guinea pigs.
Now, in total candor and complete honesty, I don't expect anyone to actually do this. But I won't know until I ask, and I figure it's an interesting, possibly even revolutionary, thing to try.
If you say no, please tell me why in the comments. If you say yes, tell me why in the comments and then email me.
Have a look at this:
That's a smaller version of the widget I have in my sidebar. When you click on Afraid, it offers you a choice of options on the Internet to find out more about it, or buy it if you so desire.
I've got a bunch of extra first edition copies of my second Jack Daniels book, Bloody Mary.
Here's what I propose:
1. You agree to put the Afraid widget on your blog sidebar or website for 30 days.
2. I'll send you a free, autographed, first edition hardcover copy of Bloody Mary.
So, what does everyone think? Good idea? Bad idea? Does anyone want to try it out?
I seriously have no clue if anyone will go for this. If not, lesson learned. But it seems like an innovative idea, trading signed books for internet real estate. A win-win, mutually beneficial, everyone is happy kind of thing.
A few years ago, I sold T-shirts with my book cover on it, and people bought those. If people are willing to pay to advertise my books on their torsos, why not actually give them something to put a widget on their site?
This widget is also customizable. You can make it skinnier, wider, different colors, add more titles, and so on. Click on "J.A. Konrath" on the widget, then click on "Grab this widget" and it will show you how to personalize it.
So tell me what you think.
Monday, April 06, 2009
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Have you heard the old adage, "Just because you can say it, doesn't mean you should"? Well, the same principle applies to the fossil fuels we scorch and torch each day for our own consumption: Just because you can burn it, doesn't mean you should.
In his latest Sojourners commentary, "The Deadly Misnomer of 'Fossil Fuels' [4]" (September-October 2012), environmental scientist and ethicist Calvin DeWitt explains how we need to change the way we look at carbon substances. Petroleum, natural gas, and coal are not merely "fuel" sources. Rather, they are "fossil carbons" necessary to the sustenance of the earth. Read more here [4].
To illustrate what not to do, our staff shared some of their favorite things to—voluntarily or involuntarily—burn:
Office Printers and Fax Machines (Sandra Sims, Director of Sales and Advertising)
Tired of dealing with crappy computers, jammed printers, and finicky fax machines? Office Space [5] offers their solution by pummeling faulty equipment. But Sandra would rather threaten the office machines with fire …


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|'Emerald Green Rim' drinking glasses (set of 6)
|'Aqua Blue Rim' drinking glasses (set of 6)
|Handwoven pillow cover - Diamonds in Dark Yellow
Handwoven pillow cover - Diamonds in Dark TurquoiseThis beautiful pillow cover features the Grand Design from the ceremonial huipil of Sakamch'en. Diamonds represent the Universe and the path of the sun in it's daily movement: the east and west are represented by the small diamonds at the top and bottom. The large diamond in the center is the sun at noon. It was hand woven using a backstrap loom, a system created during the Classic Maya period.
Add to bag
Mexican glassware, ... recycling at its best.
Clear glass bottles form the raw material for the mexican glassware factory. It is broken into small chunks before being fed into the ovens.


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I read another really good post by Glenn Llopis today, about how to become a thought leader. He has ten excellent suggestions for becoming someone who's seen as having useful insights into patterns and trends in a particular area or industry (his definition of thought leadership).
And as often happens when I read well-written posts, it sparked a whole other chain of thinking in me. I've been talking to lots of younger professionals recently, people who are in their first 'leader' job - where they're just starting to manage others - or those who aren't yet managing people, but want to move in that direction. And all of them are wondering how they can be seen as leaders by others in their organizations.
It's a great question to ask. Sometimes people assume that when they get a "leader job," they'll automatically be seen as leaders. But these folks I've been talking with know intuitively that's not how it works....maybe because they've worked for someone who is in that leader job, but who they don't regard as a leader!
And that's been my observation as well: there are appointed leaders and there are accepted leaders - and being the first doesn't guarantee that you'll be the second.
Fortunately, you can start working on being someone who people will accept as a leader long before you're appointed to lead. Think of a leader, in the simplest terms, as someone whom others trust to influence and guide them. With that in mind, here are 3 things to think about and do in order to begin to develop yourself as a leader, no matter what your current title or position:
Understand your business. This is your starting point for leadership. If you don't understand how your business works - how the business provides value to its customers, how the parts operate together, what the competitive landscape looks like - it's unlikely anyone is going to look to you for guidance or insight. Too often I see people who have a very limited view of their business - generally they over-focus on their particular part of it - who think they have great insights and don't understand why they're not viewed as leaders. Sometimes these are very senior people.
If you want to find out whether or not you understand your business, start by asking yourself these questions: How does our product or service get created - that is, what's the process it goes through from idea to execution? How do we let customers know what we have and why it's valuable? How do we interact with customers, and who's responsible for that? What are our company's most important goals - and what are we doing to achieve them? If you don't know the answers to those questions, get curious; start exploring.
Demonstrate your support for your colleagues' success. Good leaders are focused primarily on the good of the group. When you show, through your words and deeds, that you have others' best interests at heart, those people will see you as supportive of the group as a whole (vs. only on your own success), and they will begin to trust you to influence and guide them. This is something you can start doing right now: If someone raises an idea in a meeting that you think is good, say so. If a co-worker asks for your help, help them if it's at all possible. If someone has a problem and you can see a solution, offer it.
Figure out how you can contribute more to the success of the business. Too often, people who want to be leaders focus mainly on how to get promoted - they think, as I said earlier, that getting a 'leader job' will make them a leader. I've noticed, though, that people who focus mainly on how they can provide the greatest value to the business are much more likely to be seen as leaders. And then, when those folks ask for a promotion, they're much more likely to get it. In my experience, most bosses want to reward employees who are making the boss' life easier (e.g., doing valuable work that needs doing and helps the business).
If others see you as understanding the business, supporting their success, and doing your best to provide value to the organization, they are much more likely to see you as someone to rely on and turn to; they are much more likely to open themselves to your influence and insight; they are much more likely to trust you and align with you. And that's the essence of leadership, where ever you are in your career.
Erika's new book, Leading So People Will Follow, is available everywhere books are sold. It's on Amazon's "hot new releases" list, and Booklist called it "a book to read more than once and to consult many times."
Are you a followable leader? Take the Accepted Leader Assessment and find out.
Follow Erika on Twitter @erikaandersen.


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Six-time national champions Vanessa Ferrari and Enrico Pozzo added one more gold medal each Sunday as the 2012 Italian Gymnastics Championships ended in Catania, Sicily.
Ferrari — who claimed her sixth Italian all-around title Saturday — added the gold medal on floor exercise, silver medal on uneven bars behind Giorgia Campana and bronze medal on balance beam in Sunday's apparatus finals.
All-around silver medalist Carlotta Ferlito claimed the gold medal on balance beam with 14.90, the highest score in Sunday's women's competition. Ferlito is one of the stars of the hit MTV Italy reality show, "Ginnaste - Vite Parallele" ("Gymnasts: Parallel Lives"), which returned in May for a second season.
Arianna Rocca won the women's vault title over 2000 Olympian Adriana Crisci. Crisci, 30, returned to training after a 10-year absence, which included stints in Cirque du Soleil and competitive trampoline.
Pozzo, who also added a sixth overall title on Sunday, ended the evening with the gold medal on high bar. Five gymnasts claimed the remaining titles: Andrea Cingolani (floor exercise), Alberto Busnari (pommel horse), Matteo Morandi (still rings), Marco Lodadio (vault) and Ludovico Edalli (parallel bars).
Morandi, a four-time world bronze medalist on still rings (2002, 2003, 2005, 2010), posted a winning 15.70 (6.8 Difficulty score) in Catania. A similar score next month in London could place him in his third straight Olympic final.
External Link: Italian Gymnastics Federation
2012 Italian Gymnastics Championships
International Gymnast Magazine Related Features:
To subscribe to IG or order back issues, click here.
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text:
Stop. Start. Go.
Start, play, go.
My earliest memory is of my parents fighting, screaming in the next room, and me, with my arms wrapped around my legs crying, thinking, and knowing, "They're going to get a divorce." Stop.
Fast forward to me at five, my father coming home at night from plowing the fields, smelling like gasoline and sweat. Go. I run to him, my hero, and jump onto him like a spider monkey, climbing up his strong body and yelling, "Tree frog! Tree frog!," until I'm at his chest and he hugs me close. We listen to Buddy Holly on the way to church every Sunday, just me and him, we stop at Dairy queen afterwards and eat chicken fingers and greasy fries. "I love you, Kyleigh Lark," he says...
Fast forward, stop, he gets a job as a truck driver and is gone alot. I wrap myself in his jackets and cry on the floor. Fast forward, stop, he is sick. His muscles are deteriorating and he isn't strong anymore. He is limp on the hospital bed and my parents talk in hushed whispers while my brother and I blow up the hospital gloves like balloons. They are happy balloon people and we draw smiley faces on them. We are all happy because we are together and Daddy is going to be okay.
Stop. We are moving again. Daddy is coming home from the hospital. We move into the double-wide trailer home and unpack. The next day, my father leaves. His parents come pick him up and I don't understand why. Why is he gone? Going, going, gone. Why didn't he stay? Stop.
Go. "We are getting a divorce," she says. "You're going to live with me," she says. " We move again and I love my Momma and she is my sweetheart and I don't want to go but the court says, "Shared custody." And we're crying, my brother and I, because we don't want to leave her they way he left. I don't go to sleep overs at my friend's house because I don't want her to be alone, she needs me, and I don't want to go now for two weeks.
"NO! I don't want to go!"
"You have to."
And I get there and I beg him, let me go, let me go, I miss Momma. And he cries. Stop. But then we have fun and I forget my pleas and Momma seems so far away and we can do whatever we want. We go to rodeos and midnight movies every day. I eat strawberry ice cream in a cone and peppered turkey sandwiches with olives. And we sing along with Buddy Holly in his old truck. And we're so happy.
Fast forward. Stop. Go. It's time to go back. And I miss him. Stop. Go. I miss her. Go. She's getting remarried, and I hate him. Go. He's alone. Stop. I don't know where I belong. Go, why can't I go with him? I'm feeling pulled apart by two separate worlds where i'm always going, going away.
Stop. I don't go anymore. I stay. I stay with my mom. And there are no more midnight movies. No more afternoons of strawberry ice cream or the smell of gasoline that stirs my heart. I hate you. You can't make me go. You're weak. I hate you and your tears, your softness, your sentimentality.
Fast forward, stop. He's sick again but I don't care. His kidneys are failing. He needs insulin and dialysis. Stop. I don't stop hating him. I don't stop myself from pulling away. I hope he dies.
Stop. He does. On the side of the road his heart gives out in his old truck. He drives into a ditch and blood pours out of his nose. Stop. Alone, in a ditch for 24 hours, until a stranger spots him.
Stop. My mom breaks the news. I laugh. LOUD, maniacally. Stop. Stop. Stop. And then I cry.
Fast forward, I'm driving. I turn on the radio. A piano begins to play. Stop. I don't hate him anymore. Go. I sing to him, "Just you know why. Why you and I, will by and by, know true love ways. Sometimes we'll sigh, sometimes we'll cry. And we'll know why... Just you and I, know true love ways." Rewind it all back. To his arms. To his fingers strumming a guitar. To being his. To love. Play.
Stop. End.
Kyleigh Ambriz


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So when Edward Becker looked out his office window and saw that Chestnut Street between Independence Hall and the Liberty Bell Pavilion was blocked for security reasons after Sept. 11, he resolved to do something about it.
Independence Hall and the Liberty Bell are part of Independence National Historical Park, a warren of old buildings important during the several decades in the late 18th century when Philadelphia was the nation's capital and the pantheon of great Revolutionary Americans trod these streets daily, writing Declarations and Constitutions. Becker, like me, is a native Philadelphian, and we never tire in our defense of our town's historical importance, no matter what blowhards from those upstart burgs, New York and Washington, say. We especially didn't like that some bureaucrat in D.C. had closed one of our streets.
"People walk on that street to work and to go get a sandwich," said Becker, who has long walked Chestnut Street — just as his heroes George Washington and Thomas Jefferson did — on breaks from the U.S. 3rd Circuit Court of Appeals, for which he is chief judge. To Becker, this was an attack on the very liberty and freedom Independence Hall and its surrounding buildings represent.
"John Adams and Ben Franklin walked around and had debates here, and now we couldn't," he said.
Becker, some merchants and residents browbeat the National Park Service and Philadelphia Mayor John Street into opening Chestnut on April 1, so now when tourists come to Philadelphia, they'll be able to wander freely down the street, debating like Adams and Franklin or getting a cheesesteak from a cart.
Philadelphia is the antidote to Washington's massive monuments and New York's overwhelming commerciality. Most tourists drop into the city on a day trip between Washington and New York, see the Liberty Bell and tour Independence Hall and neighboring Carpenters' Hall, where the Continental Congress met. We natives think that's a darn shame, because most of Philadelphia's attractions are wedged between residences and commercial activity, and many are small, quaint and as endearing to the locals as they are touristic. Few Philadelphians can pass 5th and Arch streets without throwing a good-luck penny through the grates of Christ Church Burial Ground onto Ben Franklin's grave.
A block north of Franklin's grave is the city's latest historic site, the National Constitution Center, which was to have opened Friday. Locals like me are often skeptical about new things with lots of opening hoo-ha and interactive whatnots. But I grudgingly admit that the National Constitution Center isn't a bad way to catch a little patriotic action.
The centerpiece of the place is a theater in the round, where actors and projection movies tell the story of the rights the Constitution preserves. Surrounding that on an upper floor are a dozen small theaters, computerized exhibits and docents who help examine parts of the Constitution, what it says and, sometimes more important, what it doesn't say. Unlike many of the attractions in Philadelphia's historic district, it is not free and government-owned; it's private, and it charges admission ($6 for adults and $5 for children, seniors and college students).
While the Chestnut Street controversy festered, the two blocks north of Independence Hall were being ripped up, one for the Constitution Center and the other for a new pavilion for the Liberty Bell. As construction on the pavilion was started, historians discovered that part of it would rest on land where Washington's slaves may have lived during his presidency. Here, between Independence Hall and a new center for the study of the Constitution, whose 13th Amendment abolished slavery, would be this landmark of a shameful part of our history. But as anyone who has seen a Philadelphian boo the home team at a sporting event knows, locals almost relish embarrassment. Builds character.
Instead of ignoring the Washington slave controversy, Philadelphians incorporated it into the National Park Service site. When the pavilion is ready next year, visitors will be able to muse for themselves on the irony of American slavery while gazing at the Liberty Bell.
I've always loved how my city celebrates its famous in less grandiose, sometimes goofy ways. When the government wanted to rebuild Ben Franklin's house off Chestnut Street for the Bicentennial in 1976, it ended up with a metal superstructure of the house. Its open-air visage looks down on the excavation of the original 18th century building. My daughters make a beeline to "Ben's potty," the remains of his privy.
Two floors below is perhaps the Park Service's most idiosyncratic site — the Franklin Underground museum — with offbeat dioramas of his diplomatic forays to France and England, a model of his glass harmonium and a bank of old Princess phones where you can "call" famous people, such as Jefferson or Lincoln, and they will tell you what they think of ol' Ben. And as in Memphis, Tenn., where there are multiple Elvises, in Philadelphia several actors roam the historic area as Franklin. They spout "Penny saved, penny earned" aphorisms on cue.
Yet the historic area isn't some gussied-up Williamsburg; it's the place where we live. The cobblestone streets are authentic — in fact, Philadelphians' car suspensions are probably the worst in America. We live and work in nifty 18th and 19th century town houses. If you get into one of the horse-drawn buggies that slow traffic in the area, don't be surprised if the driver's narratives are interrupted by a car horn and a few choice epithets. We have lunches to buy and places to go here, buddy.
But that's the charm of Philadelphia. It is a city to live in. It's not that we don't appreciate tourists — I'll bet we are the best around at giving directions and showing you how to avoid local rip-offs — but we are loud and boisterous and love our town.
The 20 or so square blocks around Independence Hall are crammed with at least three dozen museums, historic houses and other interesting sites. The vest-pocket nature of the sites around Independence Historic National Park means there is always something next door — an art gallery, a deli, a furniture store, a tie shop. Down the block from the Betsy Ross House (where Betsy may or may not have sewn an American flag) is, appropriately, Philadelphia's flag-distribution district. Not far away, 300-year-old Elfreth's Alley, America's longest continuously lived-on street, bisects the city's restaurant supply district. Within three blocks of Independence Hall, ethnic museums abound: the National Museum of American Jewish History, the Polish American Cultural Center and the African American Museum.
My dad was known for guiding me to the more obscure and/or out-of-the-way Philadelphia sites. A favorite of his was the Tomb of the Unknown Soldier of the Revolution in Washington Square, catty-corner from Independence Hall. There is an ever-burning flame and a statue of George Washington by the tomb.
Northwest across town a mile or so is another of Dad's favorites. If you stand in the lobby of the Philadelphia Museum of Art, which heads Ben Franklin Parkway, Philadelphia's Champs-Elysées, you can see the work of three generations of Calders, the renowned family of sculptors. In the museum is one of Alexander "Sandy" Calder's mobiles. Down the parkway a few blocks southeast is Logan Square fountain, whose sculptures were done by Alexander Stirling Calder, his father, and a few blocks farther is the French Renaissance Revival City Hall, topped by a statue of William Penn done in 1891 by Alexander Milne Calder, Sandy's grandfather.
I have managed to do Dad one step better, dragging my daughters to the city's wonderfully offbeat, and sometimes downright bizarre, museums. Though I am a big fan of Independence Hall, it's these quirky places that make Philadelphia fun.
Sylvia, my 8-year-old, prefers the Philadelphia Doll Museum on North Broad, with its more than 300 black dolls, from 18th century slave-made cornhusk dolls to figurines of Muhammad Ali and "The Cosby Show" kids.
The Rosenbach brothers compiled a world-class collection of Egyptian statuary, miniature oil paintings and, primarily, manuscripts. On display in the Rosenbach Museum & Library, their 1860s town house, are such items as Lewis Carroll's copy of "Alice in Wonderland," the oldest letter of Washington's that is known to exist (he wrote it at 17), James Joyce's handwritten copy of "Ulysses" and a re-creation of poet Marianne Moore's Greenwich Village living room.
Then there is the eerie Mütter Museum on 22nd Street, the one place I haven't persuaded my kids to visit. The museum, started by 19th century Philadelphia physician Thomas Mütter, has grown into one of the largest caches of medical oddities one can imagine. Look one way and you'll see the death cast of Cheng and Eng, the original "Siamese twins." Look another, and there's a 10-foot enlarged colon, horns taken from human heads and a wall of diseased body parts in jars. The collection also has body parts excised from the famous: a hunk of John Wilkes Booth's neck, Supreme Court Chief Justice John Marshall's bladder stones, a piece of President Grover Cleveland's cancerous jaw.
If you like the Mütter, then go on, please, to the Shoe Museum, at the Temple University School of Podiatry, three blocks north of Independence Hall (don't miss Betty Ford's dancing slippers); the Dental Museum (scores of pulled teeth); and the Philadelphia A's Museum (memorabilia from a baseball team that sneaked out of town — to Kansas City, of all places — in 1954).
In Philadelphia we honor our own, no matter how obscure. Besides the long-gone A's, we have a museum dedicated to post-World War II operatic heartthrob Mario Lanza, who left town when he was in his early 20s, and another to black actor-singer Paul Robeson, who didn't even move here until he was in his 60s. Near the Paul Robeson House Museum on Walnut Street in West Philadelphia is a mural depicting him at the height of his fame in the middle of the 20th century.
It is one of 2,100 murals in town. The Philadelphia Mural Arts Program was started as an anti-graffiti initiative in 1984, and its pieces pop out at you wherever you wander. I'm fond of the three-story mural of basketball legend Julius Erving, not in a basketball uniform but in a tailored suit, on a wall on Ridge Avenue in a dilapidated industrial district a few blocks north of the Center City neighborhood.
Philly native Larry Fine, the frizzy-haired one of the Three Stooges, overlooks the multicolored-and-Mohawk-haired crowd that wanders the hip South Street entertainment area. Jackie Robinson slides into home a few blocks from the site of old Connie Mack Stadium, taking revenge on the fans who booed him on his first trip here. Drive the treacherous Schuylkill (pronounced school-kill) Expressway near the Philadelphia Zoo (the oldest in America) and see the Rousseau-like animal mural. Or walk a block from the Avenue of the Arts, the stretch of South Broad Street with a half-dozen theaters, and see "Philadelphia Muses," a homage to Maxfield Parrish.
And when you are all done with this, zip down to South Philly, where I lived for nine years, for what I consider the most European section of any city in America, the 9th Street Market. The mile-long stretch is commonly known as the Italian Market, though now about a quarter of the fruit, meat, cheese, fish, spice and knickknack vendors are either Southeast Asian or Korean.
Stop in at Sonny D'Angelo's meat market for a side of buffalo or ostrich. Squeeze into DiBruno's cheese shop for a smell and a taste of 100 cheeses and three dozen kinds of olives. Argue with a fruit vendor over which of you has the right to pick the peach he wants to sell you.
When you make it down to Wharton Street, see if you can solve the ultimate South Philly question: Pat's or Geno's. These outdoor cheesesteak places compete for attention 24 hours a day. A mural of Frank Sinatra, the patron saint of South Philly, looms in his "In the Wee Small Hours of the Morning" mode. Savor a cheesesteak and you'll wonder why you were so hot to get to that mundane, musty Smithsonian in the first place.


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GLR Arquitectos' beautiful modern BC House is set on a hill in the mountainous region of Nuevo Leon, Mexico where it overlooks Chipinique National Park. The home is comprised of stacks of cantilevered volumes that create a unique façade and an open interior. The energy-efficient project also incorporates a range of green features including green planted roofs and rainwater harvesting.
The elevation of the BC House's site gives residents a superior view of the gorgeous Sierra Madre mountains and national park surrounding them. The dark rectangular volumes are made from black granite, and they float on the open white volumes below. Steel elements are exposed throughout the project, giving it a Brutalist feel.
The house features many sustainable and energy-efficient elements. The roofs are planted with green gardens, which can be viewed from the second floor. They also help harvest rain water, which contributes to the home's gray water treatment system. To protect the home from mountain winds, GLR used double walls insulated with polyisocianurate and double windows with Low-E glass.
The twisting lap pool is heated with solar thermal panels, which also heat water for use within the house. A hydronic heating system rounds out the home's solar thermal system.
Impressive green features aside, the home is a feat of modern luxury. It features open and airy rooms that look out onto the surrounding landscape through full glass walls that integrate the interior with the lush vegetation outside.


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John Huston, in full John Marcellus Huston, (born August 5, 1906, Nevada, Missouri, U.S—died August 28, 1987, Middletown, Rhode Island), American motion-picture director, writer, and actor whose taut dramas were among the most popular Hollywood films from the early 1940s to the mid-1980s. Many of his films were literary adaptations or tough action tales with an existential spin. Indeed, his own life—in which Huston starred as a boxer, painter, horseman, gadabout, rebel, and international ladies' man (who married six times)—was at least as engaging as many of his movies.
Early work
Huston was born in a small town in Missouri that his grandfather claimed to have won in a poker game. Huston's father, Walter Huston, had given up stage acting for work as a civil engineer that took his family to Texas and Indiana before he decided to return to acting in 1909. Within a few years Huston's parents were divorced, and he spent his childhood moving between his father, who initially returned to vaudeville, and his mother, Reah, who worked as a journalist and taught him to both ride and bet on horses. Although he suffered from kidney disease and an enlarged heart, Huston overcame a frail, often bedridden youth to become so robust a teenager that he was the amateur lightweight boxing champion of California (with a distinctive broken nose to show for it). After briefly studying painting in Los Angeles, Huston moved to New York City in 1924 to become an actor and performed with the Provincetown Players in Greenwich Village. In 1925, while vacationing in Mexico, he became an honorary member of the Mexican cavalry.
Returning to New York in 1929, Huston took a job as a reporter at the New York Graphic, where his mother was then working. He also began writing and publishing short stories, most notably "Fool," which appeared in the literary magazine The American Mercury. In 1931 Huston went to Hollywood. After a false start as a contract writer with Metro-Goldwyn-Mayer (MGM), he moved to Universal, contributing to the screenplays of a pair of films starring his father, A House Divided (1931) and Law and Order (1932). During this period of hard drinking and carousing, a car that Huston was driving hit and killed a pedestrian. Consumed with guilt, he moved to London, where he intended to write for the British studio Gaumont but instead lived a ne'er-do-well existence. After a stint in Paris painting, he returned to the United States.
In 1934 Huston played the lead in the Chicago Works Progress Administration production of Robert E. Sherwood's play Abe Lincoln in Illinois. By 1937 Huston was back in Hollywood, where Warner Brothers signed him to a screenwriting contract. This time his career was on track. Huston collaborated on the scripts for William Wyler's Jezebel (1938), Anatole Litvak's The Amazing Dr. Clitterhouse (1938), and William Dieterle's Juárez (1939) before directing his father in A Passage to Bali on Broadway in 1940.
Films of the 1940s
Huston then cowrote three exceptional films: Dr. Ehrlich's Magic Bullet (1940) for Dieterle, High Sierra (1941) for Raoul Walsh, and Sergeant York for Howard Hawks, the last of which earned Huston his first Academy Award nomination, for best original screenplay in 1941.
That year Huston was also nominated for an Academy Award in another screenwriting category for his adaptation of Dashiell Hammett's detective mystery The Maltese Falcon (1941), which was Huston's first film as a director—perhaps the most-impressive debut in Hollywood during the 1940s. The Maltese Falcon had already been filmed by Warner Brothers in 1931 and 1936, but Huston's proto-film noir had the advantage of Huston as the screenwriter, Humphrey Bogart as the amoral private eye Sam Spade, Mary Astor as the immoral Brigid O'Shaughnessey, and Sydney Greenstreet and Peter Lorre as a pair of lovable cutthroats. It was nominated for the Academy Award for best picture.
After directing the melodrama In This Our Life (1942), Huston was unable to complete his next project, the high-seas espionage tale Across the Pacific (1942), because he was drafted. For the U.S. Army's Pictorial Service, Huston directed and narrated the renowned World War II documentaries Report from the Aleutians (1943), The Battle of San Pietro (1945), and Let There Be Light, the last a disturbing study of emotionally unstable veterans in a Long Island hospital that was so powerful that it was not given a public release until the early 1980s. Huston was discharged from the army in 1945 with the rank of major and awarded the Legion of Merit for making his films under perilous battle conditions.
Back in the United States, he worked on the scripts for Robert Siodmak's The Killers and Orson Welles's The Stranger (both 1946). Huston also directed Jean-Paul Sartre's No Exit on Broadway in 1946. In 1947, as the House Un-American Activities Committee (HUAC) geared up for its initial wave of hearings into the Hollywood community's past or present communist affiliations, Huston joined with director William Wyler and screenwriter Philip Dunne in establishing the Committee for the First Amendment. Huston was part of a delegation of industry liberals—including Bogart and Lauren Bacall—who flew to Washington, D.C., to support those witnesses who had taken a confrontational stand when called to testify before the HUAC. Like other members of the delegation, however, Huston was put off by the aggressive belligerence of the "unfriendly" witnesses who would become known as the Hollywood Ten, though he remained disgusted by the proceedings as a whole.
The Treasure of the Sierra Madre (1948) was Huston's return to motion-picture directing in Hollywood. Adapted by Huston from an obscure novel by the mysterious, reclusive writer B. Traven and shot on location in Mexico, it starred Bogart in the decidedly unheroic role of a paranoid prospector, Fred C. Dobbs. As good as Bogart was in depicting Dobbs's descent into madness, most critics believed that he was out-acted by Walter Huston as the grizzled, sagacious Howard, who tries in vain to keep greed from consuming the little treasure-seeking band. (This was the first time that Huston had cast his father in a major role, though he had appeared in unbilled cameos in The Maltese Falcon and In This Our Life.) Although The Treasure of the Sierra Madre would become one of Huston's greatest critical triumphs and continues to be widely considered one of the best films of its time, it was a box-office disaster, perhaps because of its grim ending and the daring casting of Bogart against type. Still, the film was nominated for an Academy Award for best picture, Huston won the awards for best director and best screenplay, and his father was named best supporting actor.
Bogart, Bacall, Edward G. Robinson, Lionel Barrymore, and Claire Trevor starred in Huston's next film, Key Largo (1948), a suspenseful adaptation of a Maxwell Anderson play that is regarded as a classic film noir. With a screenplay by Huston and Richard Brooks, it is set in a small hotel in the Florida Keys that is taken over by a gangster (Robinson) who has made a clandestine return from deportation to Cuba. Trevor won the Academy Award for best supporting actress for her portrayal of the gangster's mistress. Cuba was then the setting for We Were Strangers (1949), an atmospheric account of revolutionaries' attempt to overthrow the government, which starred Jennifer Jones and John Garfield.
Films of the 1950s
Huston thought of himself as a writer-director and almost always had a hand in the screenplays for his films, though he preferred working in collaboration with other writers. A lover of literature from the time he learned to read at age three, he drew the stories for his films primarily from novels and plays. The Asphalt Jungle (1950) was based on the hard-boiled crime novel of the same name by W.R. Burnett, who had provided the source novels for High Sierra and Mervyn LeRoy's Little Caesar (1931). Sam Jaffe, Sterling Hayden, and James Whitmore starred in that caper film noir as a gang plotting the multimillion-dollar robbery of a jewelry exchange. A thrilling exercise in fatalism, The Asphalt Jungle was one of Huston's most expertly structured films and earned him and cowriter Ben Maddow an Academy Award nomination for their screenplay.
Huston was less fortunate with his 1951 adaptation of Stephen Crane's literary classic The Red Badge of Courage. Real-life World War II hero Audie Murphy starred in this story of a young Union soldier who deserts his company during the American Civil War. With the Korean War raging, MGM executives felt that the film's antiwar message was too blatant and cut The Red Badge of Courage down to 69 minutes. (The undoctored version was among Huston's favourites of his films.) Nevertheless, what remained, including some magnificently staged battle scenes, was impressive enough to have been called a minor masterpiece by Lillian Ross of The New Yorker magazine; she published the book Picture (1952), which chronicled the film's making.
Much of Huston's next film, The African Queen (1951), was shot on location in Uganda and Belgian Congo (now the Democratic Republic of the Congo). Novelist and pioneering film critic James Agee worked with Huston on the adaptation of C.S. Forester's popular novel (as did the uncredited John Collier and Peter Viertel). The performances delivered by Bogart and Katharine Hepburn were among their most memorable, as drunken boat captain Charlie Allnut and as Rosie Sayer, the impossibly prim spinster who convinces him to take her on his rattletrap steamer down the Congo River to civilization at the outset of World War I. This splendid romance-comedy-adventure has remained one of the most popular Hollywood movies of all time. Huston was again nominated for Academy Awards for best director and best screenplay; Bogart won the award for best actor.
In 1952 Huston traveled to France to shoot Moulin Rouge (1952), a gorgeously mounted, sentimental biography of Henri de Toulouse-Lautrec (played José Ferrer), the crippled artist who became the toast of Montmartre for his lively artworks. Moulin Rouge was nominated for the Academy Award for best picture, and Huston was nominated for best director, the fourth time in five years that he had been nominated for that award. He would have to wait 33 years before the Academy nominated him again, as he entered the extended hit-or-miss phase of his career.
Written with Truman Capote and cofinanced by Bogart's Santana production company, Beat the Devil (1954) was filmed in Italy. A delightful spoof of The Maltese Falcon, it featured Bogart, Lorre, Jennifer Jones, Robert Morley, and Gina Lollobrigida as a motley shipboard assembly of adventurers, frauds, and con artists trying to locate a uranium mine while enduring a variety of comic disasters. Capote later said that they made up the story as they went along, an irreverent approach perhaps better suited to sensibilities in the 21st century than to those of the 1950s. Beat the Devil was a box-office disaster and precipitated a split between Bogart (who called the film "a mess") and Huston after many years of fruitful collaboration.
Moby Dick (1956), Huston's epic adaptation of Herman Melville's novel, was shot in Ireland, where Huston had gone to live in 1952, largely because he had become disgusted by the political climate of the United States during the McCarthy era. Although some critics found the stolid Gregory Peck badly suited to the role of the fiery, obsessed Captain Ahab, Huston and Ray Bradbury captured much of the poetry of Melville in their script, and the sea storm and whaling sequences were impressively staged. Heaven Knows, Mr. Allison (1957), a much quieter affair, starred Robert Mitchum and Deborah Kerr as a marine and a nun stranded on a Pacific island during World War II. Kerr received an Academy Award nomination for best actress, and Huston's and John Lee Mahin's screenplay was also nominated.
Huston began working on David O. Selznick's remake of A Farewell to Arms (1957) but departed the production to instead direct the undistinguished period film The Barbarian and the Geisha (1958). Filmed in French Equatorial Africa with Errol Flynn and Trevor Howard, The Roots of Heaven (1958) followed and drew mixed reviews.
Films of the 1960s
Something of a return to form for Huston, The Unforgiven (1960) starred Audrey Hepburn in the only western role of her career, as a Native American who has been raised by a Texas settler family. The troubled history of the making of Huston's next film, The Misfits (1961), became a staple of Hollywood lore. Playwright Arthur Miller adapted his own short story for that very different kind of western as a vehicle for Marilyn Monroe (his wife, though their marriage was collapsing). Clark Gable, Montgomery Clift, and Eli Wallach portrayed aging modern-day cowboys who capture wild horses and sell them to be slaughtered for dog food. Monroe played a divorced former stripper who questions the wranglers' morality as she falls for one of them (Gable). With her personal life in a tailspin, Monroe reportedly drove Huston to distraction during the filming, showing up on the set late, under the influence of drugs or alcohol, and blowing her lines. This was her last completed role before her death in August 1962. Moreover, eight days after shooting was completed on the film, Gable died of a heart attack.
Huston himself narrated the somber Freud (1962), in which Clift (in one his last roles) played the founder of psychoanalysis, Sigmund Freud. The playful mystery The List of Adrian Messenger (1963) featured a roster of big-name stars (including Mitchum, Frank Sinatra, Burt Lancaster, Kirk Douglas, and Tony Curtis) who were all but unrecognizable under layers of makeup. Their performances were less memorable, however, than Huston's portrayal the same year of a Roman Catholic cardinal in another film, Otto Preminger's The Cardinal. That performance earned Huston an Academy Award nomination as best supporting actor and started a new parallel career for him as an actor.
Huston's The Night of the Iguana (1964), shot in Puerto Vallarta, Mexico, offered another all-star cast (Kerr, Richard Burton, Ava Gardner, and Sue Lyon) in an adaptation of Tennessee Williams's play of the same name that was steeped in psychoses, thwarted desires, and carnal confusion. Huston then decided to make The Bible: In the Beginning... (1966); however, the nearly three hours of Old Testament melodramatics he offered were little appreciated by audiences and critics (though Huston himself turned in an estimable performance as Noah). Huston's 1967 film version of Carson McCullers's 1941 novella Reflections in a Golden Eye was a commercial failure but has come to be more widely appreciated with the passage of time. Marlon Brando gave one of his uniquely odd performances as a repressed homosexual army officer whose Southern belle wife (Elizabeth Taylor) becomes involved with another officer (Brian Keith).
In 1967 Huston acted in and was one of five directors who had a hand in guiding Casino Royale, a parody of Ian Fleming's first James Bond thriller. His string of lacklustre films continued with A Walk with Love and Death (1969), a forgettable medieval drama that is most-notable today for having provided daughter Anjelica Huston with her first lead role in a movie; Sinful Davey (1969), with John Hurt; and the Cold War thriller The Kremlin Letter (1970).
Last films
Fat City, an adaptation of Leonard Gardner's novel about small-time boxers, significantly reversed Huston's fortunes as a director and was one of 1972's most-acclaimed motion pictures. Here Huston had a chance to draw upon his experiences as a boxer in California five decades earlier, and he deftly teased out the downbeat story's essence. Stacy Keach played a washed-up boxer in Stockton, Susan Tryrell earned an Academy Award nomination as best supporting actress for her portrayal of his drink-besotted girlfriend, and Jeff Bridges was terrific as a younger fighter with a less-than-promising future.
Huston's follow-up was the revisionist western The Life and Times of Judge Roy Bean (1973), a loose biography of the notorious self-appointed hanging judge Roy Bean, which featured Paul Newman in the title role, an irreverent screenplay by John Milius, and a supporting cast that included Anthony Perkins, Ava Gardner, and Huston himself. Newman starred again in the Walter Hill-scripted espionage thriller The Mackintosh Man (1973). Then Huston managed to set a new acting standard for himself in Roman Polanski's classic film noir Chinatown (1974) as the loathsome, evil Noah Cross.
For decades Huston had thought about making The Man Who Would Be King (1975). In the 1950s he had wanted Bogart and Gable to play the intrepid explorers at the centre of Rudyard Kipling's short story; in the 1960s he had envisioned Richard Burton and Peter O'Toole as the leads. In the event, Sean Connery and Michael Caine, two of the biggest stars of the 1970s, got the roles and traveled to Morocco, which stood in for the story's Afghanistan locale. Both Connery, as the swaggering Danny, who is taken for a god and comes to believe it himself, and Caine, as his slightly dim sidekick Peachy, gave marvelous performances. Although the film was not particularly successful at the box office and received respectful but restrained reviews, it proved to be a morality tale of unusual resonance and came to be regarded as among Huston's finest films.
Four years passed before Huston was able to bring to the screen another favourite project, Wise Blood (1979). Brad Dourif played a fanatical Southern evangelist in this adaptation of Flannery O'Connor's darkly comic novel of the same name. Huston's next film, the low-budget Hitchcockian thriller Phobia (1981), was arguably the nadir of his directorial career. Much better received was the World War II drama Victory (1981), which featured Caine, Sylvester Stallone, and football (soccer) great Pelé as Allied prisoners of war who engineer an escape from the Parisian stadium in which their team of prisoners is playing a German all-star team. Huston's uneven big-budget adaptation of the Broadway hit Annie (1982) was his one and only musical. Filmed in Mexico, Under the Volcano (1984) was a valiant but ultimately failed attempt to capture Malcolm Lowry's difficult novel.
Far more satisfying was Prizzi's Honor (1985), a stylized version of Richard Condon's novel (adapted by Condon and Janet Roach) about the Mafia. Jack Nicholson delivered what many critics considered to be among his best performances as mob hit man Charley Partanna. He falls for a woman (Kathleen Turner) who turns out not only to share his profession but to become his target. The film was nominated for the Academy Award for best picture, Huston for best director, and Nicholson for best actor, while Anjelica Huston won the award for best supporting actress for her portrayal of Charley's mistress. Throughout the 1970s and early '80s Huston continued to act periodically in others' films, perhaps most notably in Winter Kills (1979), a thriller based on another Condon novel.
In 1987 Huston joined Anjelica and his oldest son, Tony Huston, to make what would be his final movie, The Dead (Anjelica acted in it, and Tony was nominated for an Academy Award for his screenplay). Based on the short story "The Dead" from James Joyce's Dubliners, the film focused on a holiday party hosted by a pair of elderly sisters and their niece in turn-of-the-20th-century Dublin. Poignant, stately, and expertly acted, The Dead was just completed when the ailing Huston (who directed the film from a wheelchair, breathing from an oxygen tank) died at age 81. More than a few critics saw The Dead as a fitting epitaph for this prodigiously gifted storyteller.
Learn More in these related Britannica articles:
film noir: The cinema of the disenchanted…stylized detective films such as John Huston's
The Maltese Falcon(1941), Frank Tuttle's This Gun for Hire(1942), Otto Preminger's Laura(1944), and Edward Dmytryk's Murder, My Sweet…
Anjelica Huston…child born to film director John Huston (himself the son of actor Walter Huston) and former ballerina Enrica Soma. In 1953 the family relocated from California to County Wicklow, Ireland. The next year, they moved into a manor in County Galway. Huston spent much of her childhood at the secluded…
The Maltese Falcon…that was an adaptation by John Huston of Dashiell Hammett's famed 1930 hard-boiled-detective novel of the same name. The film, notable for its cast, crisp dialogue, and dramatic cinematography, was Huston's directorial debut. Some have called
The Maltese Falconthe first major work of the noir style and the greatest…
Casino Royale…his former boss, M (John Huston), and other international intelligence officials. Bond learns that one of the targets of the investigation is a rich gambler named Le Chiffre (Orson Welles), who is actually a top operative in a crime syndicate known as SMERSH. Bond decides to confuse his enemies…
The Treasure of the Sierra Madre…was written and directed by John Huston. It has been recognized as one of the first Hollywood movies for which most of the shoot took place on location outside the United States.…
More About John Huston13 references found in Britannica articles
Assorted References
- "African Queen, The"
- "Asphalt Jungle, The"
- "Casino Royale"
- film noir
- "Jezebel"
- "Key Largo"
- In Key Largo
- "Maltese Falcon, The"
- "Misfits, The"
- In The Misfits
- "Moulin Rouge"
- In Moulin Rouge
- "Night of the Iguana, The"


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6 syllables
- astrophotography, autobiography, cinematography, historiography, phytogeography
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Intro to Lab Safety course this Thursday
The Office of Regulatory Compliance and Safety at Mississippi State is offering an interactive, hands-on training course on general laboratory safety.
"Introduction to Laboratory Safety" is a three-hour seminar for laboratory users of all experience levels. The goal of the course is to provide an introduction to the basics of laboratory safety so that laboratory users can identify and reduce/eliminate the risk of exposure to chemical and physical hazards. Topics covered in the course include proper laboratory attire, personal protective equipment (PPE), work practice controls, chemical classifications and segregation, use of MSDS, labeling, and hazards of common laboratory equipment.
Working together, the Office of Research and Economic Development and the Division of Agriculture, Forestry and Veterinary Medicine are committed to providing a safe working environment for all laboratory personnel and students. All personnel are encouraged to attend this free training. A certificate of attendance will be awarded after successful completion of the course.
All MSU employees and students are welcome to participate in the course. A minimum of six attendees must be enrolled to hold the class. Training sessions and locations are as follows:
Thursday, Feb. 2 - 1:30 p.m. to 4:30 p.m., Mitchell Memorial Library Auditorium
Friday, Feb. 17 - 8:30 p.m. to 11:30 a.m., A1447 (CVM Seminar Room), Wise Center
Wednesday, March 28 - 1:30 p.m. to 4:30 p.m., Mitchell Memorial Library Auditorium
If you are interested in attending, please follow the steps listed below to
1. Click this link -- http://orc.msstate.edu/quicklinks/training.php
2. Under Currently Scheduled Live Classes, click on "Enroll in Live Training Now."
3. You will need to enter your NetID and password to access the "Enroll in a Course" page.
4. Click the title for the date you wish to register, and then click "Yes" to enroll, or "No" to be returned to the enrollment page.
To request a department-specific training, another training date, or if you have any questions, please contact Erin Kiess at firstname.lastname@example.com or 662-325-8543.


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On Jan. 12, 2010, a magnitude 7.0 earthquake struck Haiti, toppling homes, offices, restaurants and even the country's National Palace. Government estimates of the death toll were terrifying: more than 300,000 lives lost.
Substandard construction was a major reason for the scale of destruction.
To address the problem, MCEER, UB's Multidisciplinary Center for Earthquake Engineering Research, began partnering with Université Quisqueya in Haiti to plan a series of professional development seminars on designing buildings to withstand earthquakes.
The classes debuted in May 2010, with instructors including Pierre Fouché, a Haitian native and UB doctoral candidate in earthquake engineering, and his mentor, André Filiatrault, MCEER director and UB professor.
So far, more than 500 Haitian architects and engineers have attended, including several dozen from Haiti's Ministry of Public Works, Transport and Communication.


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Buzzy O'Brien (Frankie Darro) is a bellhop in a hotel where a guest is murdered. He teams up with Jefferson (Mantan Moreland) and wants to protect Kitty Monahan(Sheila Darcy), who he only protects because her name is Kitty Monahan. The police blame Kitty for the murder and Buzzy hides her at his home with his mother (Lillian Elliott). Based on Charles Molyneaux Brown's story "Death Hops the Bells.
Irish Luck (1939)
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Just watched Irish Luck and enjoyed it very much. However, I think the pix of Mantan Moreland is actually from a Charlie Chan film–isn't it? I don't care for vampires or zombies, but I do like the old fashioned Gothic stories of the late 1960's and '70's. I love a good "Whodunnit" w/wo ghostly antagonists! Thank you Kevin. I really appreciate all the time and effort you put into Retrovision. And I love you for it. 🙂


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The Pudong skyscrapers are the pride of Shanghai. The Shanghai Tower, the second highest building in the world, was recently added to the Shanghai skyline, transforming the business district at the Huangpu River into a world-class destination.
Pudong, on the east bank of the river, is the newest district of the metropolis. Only 30 years ago, this area was covered with green rice fields. Now you can look out over the city from the top of some of the world's tallest hotels, almost 500 metres above the ground. If the city becomes too much for you, take refuge in the Lujiazui greenbelt. The park's pond is shaped like Pudong and planted around the pond are magnolias, the city's symbol.
There is a lot more to Pudong's architecture than skyscrapers. Century Avenue is the 5-km-long boulevard that runs through the neighbourhood and connects the concrete buildings with the green vegetation. The street's landscape design is quite unique: 8 botanical gardens have been integrated into the asymmetrical traffic lanes. Named after Chinese trees, the gardens are home to more than 80,000 plants and symbolise the region's sustainable development. The green boulevard runs from the highest skyscrapers to the largest city park, Century Park.
The fastest train in the world runs between Pudong airport and the business district. Or rather, it flies. The Maglev, the only commercial levitation train in the world, hovers one centimetre above the track. Reaching a record speed of 430 kilometres per hour, the train zooms into the city. It only takes 7 minutes to reach Pudong.
The number of residents in Shanghai grows by the minute and each new skyscraper surpasses the last in height and design. The local government is always trying to stay one step ahead of progress and displays its city plans in the Shanghai Urban Planning Exhibition Center. The exhibit, spread out over 2 storeys, shows both the historic Pearl of the Orient as well as one of the world's busiest cities. The highlight is the miniature city, which shows the city - including all the high rises to be built by 2020 - in miniature.
100 Renmin Ave, Huangpu, Shanghai
The Shanghai Urban Planning Exhibition Center Google maps


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Rich is a collection of seats designed by Antonio Citterio.
Stress-resistant polyurethane foam with differentiated densities and polyester fibre on wood frame. The front feet are upholstered in leather or fabric, while the back foot, fixed to the frame, is in beech with black lacquer finish. Glides in stained steel. The seat cushions are in polyurethane foam and polyester fibre. The Rich with cushion collection covers are not removable.
Moroso has been working in close collaboration with some of the world's most talented designers to produce luxury sofas and seating since 1952.


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Profile of Member "rdow"
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- suzgo: While I agree with the proposal by Prof Sluiter that the ASP must utilise its powers to sanction non cooperating states through the mechanisms provided for under article 112 of the statute, I still believe that for that to work the whole ICC framework on cooperation has to change. Prof Sluiter's proposal takes into account the challenges of cooperation by contracting States, leaving out non-contracting states. The Al Bashir cases have shown that non-contracting states to the Statute are also on... (more)
- Erin French: Delivering Justice in the Next Ten Years: The ICC and its Compatibility with Alternative Justice Mechanisms Introduction The International Criminal Court (ICC) is premised on the idea that there are universal wrongs that transcend sovereign borders, yet it has faced criticism for its narrow approach to delivering justice with a criminal trial. Critics argue international... (more)
- Cyprien Fluzin: Twenty Years After its Birth, it is Necessary for the International Criminal Court to Effectively Address Transnational Corporations' Involvement in International Crimes Introduction The International Criminal Court will soon be celebrating the twentieth anniversary of the adoption of the Rome Statute on July 17, 1998. The creation of the Court was the result of a longstanding project, born in the aftermath of... (more)
- Morgan Thompson: Positive Complementarity will Advance the Objectives of International Justice more Effectively than ICC Prosecutions in The Hague. Introduction Positive complementarity will advance the objectives of international justice more effectively than International Criminal Court (ICC) prosecutions in The Hague. To maximize its effectiveness in the prevention of crimes, the ICC should encourage and assist States Parties to... (more)
- Nick Baltaxe: The ICC and Deterrence: How the ICC can Improve its Deterrence Efforts Through Creating More Realistic Threats of Enforcement Summary The Rome Statute's Preamble sets forth goals that the ICC and its signatories have for the future. Although one of the primary goals is to ensure that the crimes under the ICC's... (more)
- lgiles: The Future of Self-Referrals to the ICC: A Path to Greater Legitimacy with State Parties and the International Community As a consequence of complementarity the number of cases that reach the court should not be a measure of its efficiency. On the contrary, the absence of trials before this court, as a consequence of the regular functioning of national institutions, would be a major success.1—Luis Moreno Ocampo... (more)
- miltonlaw: The International Criminal Court and Positive Complementarity—ASP Institutional Framework Summary The literature of the law has been slow to develop and present the evolving themes of positive complementarity. This comment seeks to establish how the legal and institutional framework for positive complementarity may be effectively implemented. It is argued that the existing legal and institutional framework in respect of the... (more)
- Leeran: Preventive and Creative Outreach Programs in the International Criminal Court's Future I. Introduction On July 17, 2018, the International Criminal Court (ICC) will celebrate its twentieth anniversary. Since its inception, the ICC has made substantial efforts to further its goal of providing justice to victims of horrible atrocities. The ICC operates based on the principle... (more)
- knturner1991: Lessons for the Future: Taking Proactive Complementarity Seriously As a consequence of complementarity, the number of cases that reach the Court should not be a measure of its efficiency. On the contrary, the absence of trials before this Court, as a consequence of the regular functioning of national institutions, would be a major success.1 The International Criminal Court (ICC) was created as a permanent institution with the explicit... (more)
- Daniel Aspinwall: Ten Years Hence I. Introduction Over the next ten years, the central battle for the International Criminal Court will be the battle for legitimacy. An institution is considered legitimate: [W]hen it is perceived as having the right or the authority to make decisions and when its decisions are viewed as worthy of respect or obedience.1 Unless a court possesses its own army,... (more)


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Posts Tagged 'car title'
Let Your Pink Slip Help You Get Out of the Red
Many people have worked hard to get their cars paid off and still have plenty of miles to go before they need a new vehicle. It's a great feeling to have that pink slip in hand! But, if one still has credit card payments or other unsecured debt, money may be slipping away. If you are in that position, why not let your pink slip work for you?
While mortgage rates are at historic lows, many people with good credit can get even lower rates with a loan against their vehicle. At PFCU, for example, our best rate can be had on new or used vehicles for up to 60 months, and there is no pre-payment penalty, so if things change you can react easily. Consolidating higher interest debt with a car loan can help your credit score, too. But be careful. These loans, which are often referred to as "Car Title Loans" or "Pink Slip Loans", are offered by a score of predatory lenders, but they are actually the same car loans your credit union has always offered! Isn't it great to know you can get a fantastic rate without all the fees at a credit union known and loved in the community like PFCU? You can even apply right here, right now!
There are a few things to consider when determining if refinancing a vehicle with a clear title makes sense.
- What is the value of the car? Is it an older vehicle? PFCU will finance up to 100% of Kelly Retail Bluebook value of cars 2003 or newer, although the rate on model years 2003-2004 is a bit higher.
- How is your credit? In most cases, your rate will be determined by your credit score. Applying for a loan is quick and easy, and your loan officer will be able to tell you what your rate and payment will be. A peek at your credit card statements will show how much you are paying toward interest every month, and they generally indicate how long it will take to pay off the balance if you just make the minimum payment. It can be very discouraging to make payments month after month with little reduction in the principal. An auto loan is usually amortized to pay off completely in two to seven years. Remember how you paid off that car once? You can do it again!
- When do you plan to get a new car? A good practice when paying off a car loan is to put the amount of the former payment into a savings account for maintenance and repairs, and ultimately for a down payment on a new car. If you haven't done that, you will need to make sure you can cover maintenance and have the means to get a new car when the time comes. Chances are, by paying off your credit cards with a car loan, you will lower your payments each month. Perhaps you can start by putting the difference away into a savings account earmarked for car expenses, whether it's maintenance or repairs on your current vehicle, or a down payment.
- Get Gap coverage and Mechanical Breakdown Insurance. The Gap will pay off your loan if your car is stolen or totaled and you owe more than it's worth. Plus, with ours you even get $1,000 toward a new car!
Mechanical Breakdown Insurance will help you manage repair costs so there are no surprises. It's like the extended warranty you get at the dealer, but MUCH less expensive.
To summarize, refinancing a vehicle with a clear title is something to explore. Call one of our friendly loan specialists and we can help you determine if it makes sense for you right over the phone. Your pink slip might get you from red ink to black sooner than you think.


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New York Passenger Lists
SS Aquatania sailing from Southampton
Arriving New York 9 Dec 1921
Lines 21, 22, 23 show the arrival of three sisters from Hungary. Juliana 20, Mary 16, and Elizabeth 12, had traveled from Szabolcs Megye Nagy, Apagy, Hungary to come to the new world. It must have been a terrible crossing, the page shows that many people had been in the hospital, some even died. Mary was one of those hospitalized, so ill that she refused to even think about another sea voyage ever again. The ship log shows that they had been living with their brother Peter Fendrik in Apagy until their voyage to America. It was very scary for the three girls who spoke no English. They were going to Rayland, Ohio which may have been the home of their mother Elizabeth who came to America about 1914. They hadn't seen their mother in seven years and now she was married with another child.
This is not Mary's entire story. It does not relate how she immediately went into service in a private home and learned English by immersion. She married a coal miner and lived her live in Martins Ferry, Ohio raising three children and practicing her faith. Although she was a small woman, she was four feet nine inches in height, Mary was a giant in the kitchen. Mary's baking skills were legendary and were in high demand. She baked for family and friends often donating to church dinners, and funeral luncheons.
Mary Fendrik Gulyban was my father-in-law's mother. From her I learned to make stuffed cabbage rolls. and her wonderful Hungarian Kolaches filled with apricots, nutmeats, and poppy seeds.
Mary died in 1987 twenty two years after her husband.


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Table Plans & Table Plan Cards
Hannah Table Plan Cards
Hannah Table Plan Cards
Design your wedding seating plan with our Hannah postcard size table plan cards. Hang them with pegs, in a frame or stick on a board.
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What happens next? We will enter your text into the design and send you a PDF proof via email. Once you have checked this we will start the printing and post to you when ready. Please check spelling or grammar carefully before submitting your content.
These cards are professionally printed on 300gsm luxury textured card. Each card is A6 (105 x 148mm/ 4.18 x 5.83inches). If you would like a different size, please get in touch for a bespoke order.
We can use any ink colour you wish - please let us know in the form notes before checkout (please note fluorescent and metallic colours come at a premium price).
For further information you can visit our delivery and returns page or FAQs.


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Sale among candidates for AL Final Vote
CHICAGO -- Chris Sale stands as one of the best pitchers in the American League.
If the 8-1 record, 2.16 ERA, 96 strikeouts and 60 hits allowed over 87 1/3 innings and 13 starts don't prove that to be true, then just watch the left-hander in action for a start or two.
CHICAGO -- Chris Sale stands as one of the best pitchers in the American League.
If the 8-1 record, 2.16 ERA, 96 strikeouts and 60 hits allowed over 87 1/3 innings and 13 starts don't prove that to be true, then just watch the left-hander in action for a start or two.
But in order for Sale to be honored with his third straight AL All-Star appearance, he will have to get there by way of MLB.com's Final Vote. Sale's road will not be an easy one, with fellow standout pitchers Garrett Richards (Angels), Rick Porcello (Tigers), Dallas Keuchel (Astros) and Corey Kluber (Indians) on that AL ballot.
Sale becomes the record 11th all-time Final Vote candidate for the White Sox. They have run winning campaigns in 2005 with Scott Podsednik, in '06 with A.J. Pierzynski and in '11 with Paul Konerko. The theme of this year's campaign is #TargetSale, and All-Star selections Jose Abreu and Alexei Ramirez already began the process Sunday by sporting hats urging fans to vote for their teammate.
"It will be fun," Sale said. "We've already started to throw around some ideas. It'll be fun to kind of see -- I remember doing it with Jake [Peavy] in 2012, kind of making fun of it and having a good time with it, so it should be a fun process to go through."
Don't look for self-promotion or even online votes to come from Sale, who said he'll leave that part of the Final Vote procedure to the White Sox front office political machine and his friends and family. Manager Robin Ventura started taking up his ace's cause early on Sunday.
"If they've got a big lefty coming up for the National League, I know who I'd want pitching," said Ventura of Sale. "The game means a lot now as far as having home-field advantage for the American League. I know I'd have him there in case there was a big spot in there for a lefty."
Fans began voting to select the final player for each league's 34-man roster via the 2014 All-Star Game MLB.com Final Vote Sponsored by Experian immediately following the announcement of the All-Star rosters on Sunday night. Fans can cast their votes from a list of five players from each league until the winners will be announced after the voting concludes on Thursday at 3 p.m. CT.
In addition to the web, fans can use their mobile phones to cast votes via the mobile web at MLB.com/vote or via text message. To receive the All-Star Game MLB.com Final Vote Sponsored by Experian mobile ballot, text the word "VOTE" to 89269. To vote for a specific player, fans can text the choice to 89269. Example: Text "A5" to vote for Sale. Standard message and data rates may apply. Text "STOP" to end and "HELP" for information. Mobile voting in Canada also is available and fans should text their choices to 101010.
For the third consecutive year, the All-Star Game MLB.com Final Vote will include social balloting participation, as Twitter support from the 10 candidates' fans over the last six hours of balloting will count toward their final vote totals. From 9 a.m. to 3 p.m. on Thursday, any tweet that includes a designated player hashtag (#TargetSale) will be tabulated as part of the official vote total used to determine the winners. Fans will be able to follow @MLB for the latest standings updates over the course of the entire four-day voting period.
NL #FinalVote hashtags
Casey McGehee: #VoteHitsMcGehee (N1)
Justin Morneau: #VoteMorneau (N2)
Anthony Rendon: #VoteRendon (N3)
Anthony Rizzo: #VoteRizzo (N4)
Justin Upton: #VoteJUp (N5)
AL #FinalVote hashtags
Keuchel: #VoteKeuchel (A1)
Kluber: #VoteKluber (A2)
Porcello: #PickRick (A3)
Richards: #VoteGRich (A4)
Sale: #TargetSale (A5)
Here are five reasons why Sale should win the AL Final Vote and a spot on the AL All-Star Game roster:
1. Lefties stand little chance. Many of the left-handed hitters in the game will list Sale as one of the most uncomfortable at-bats around. The Mariners started six left-handed hitters in a complete-game loss to Sale on Friday and found that to be true. Sale has not given up an extra-base hit to a left-handed hitter this season and could make life awfully tough on the NL opposition, even in matchup situations.
2. He's healthy. The primary reason as to why Sale wasn't an outright All-Star selection centers on the 32 games and six starts he missed this season due to a flexor muscle strain in his left arm. A healthy Sale has allowed 14 earned runs over his 60 innings pitched upon return to the mound.
3. He can handle pressure. Sale already has worked three scoreless innings in two previous All-Star Games. Sox, dealing with the bright lights and hoopla of the Midsummer Classic won't be an issue. None of the other four choices have pitched in an All-Star Game.
4. He can get the big (and little) strikeout. Sale already has 14 career games with double-digit strikeouts and he has accomplished that feat in just 72 career starts. Sale certainly can get the ground-ball outs, but he is arguably the most accomplished strikeout pitcher of the five, which could be important in tight late-game situations.
5. He's a starter and a reliever. Sale has been a dominant starter for the past three years, but before his entrance into the rotation, Sale made 79 career appearances out of the bullpen. He should someday start an All-Star Game, but in '14, he'll have no problem coming in for an inning or two late.
The final phase of All-Star Game voting will again have fans help choose the Ted Williams All-Star Game Most Valuable Player Award presented by Chevrolet. During the Midsummer Classic, fans will vote exclusively online at MLB.com and via Twitter in the 2014 All-Star Game MLB.com MVP Vote Sponsored by Pepsi, and their collective voice will represent 20 percent of the overall vote that determines the recipient of the Arch Ward Trophy.
MLB.TV Premium subscribers, for the first time, will be able to live stream the All-Star Game via MLB.TV through FOX's participating video providers. Access will be available across more than 400 platforms that support MLB.TV, including the award-winning MLB.com At Bat app. MLB.com will provide extensive online coverage of the All-Star Week festivities.
The 85th All-Star Game will be televised nationally by FOX, in Canada by Rogers Sportsnet and RDS, and worldwide by partners in more than 200 countries via MLB International's independent feed. ESPN Radio and ESPN Radio Deportes will provide national radio coverage of the All-Star Game. MLB Network and SiriusXM will also provide comprehensive All-Star Week coverage. For more information, please visit allstargame.com.
Scott Merkin is a reporter for MLB.com. Read his blog, Merk's Works, and follow him on Twitter @scottmerkin.


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Abilene Christian University (ACU), Abilene, TX, celebrated the grand opening of its $21 million student recreation center last Friday.
The 113,000-square-foot facility includes a fitness center with strength and cardio equipment, two pools, a bouldering wall, an indoor running track, two group exercise studios, several indoor and outdoor sports courts and a juice bar.
The building also will house a number of classrooms and offices for the university's medical and counseling care services and for education related to wellness and physical fitness.
The university broke ground on the Royce and Pam Money Student Recreation and Wellness Center, named for a former ACU president and his wife, in March 2010. Unlike many university recreation centers today, construction of ACU's Money Center was not funded through student tuition or fee increases. In a statement announcing the center's opening, a university official said the project was financed entirely through generous donations.
"Recent tuition increases have not been applied toward construction costs for this magnificent building," Phil Boone, the university's vice president for advancement, says. "The center is the result of ACU alumni and friends committing to make a difference in the lives of our students and this campus."
Although their donations enabled its construction, ACU's alumni and friends, at least initially, will not be able to use the Money Center. Memberships for the new facility currently are limited to students, faculty, staff and emeriti "at least for the first year, while we're getting a feel for how it will be used," says Jean-Noel Thompson, ACU vice president and dean of student life.
Current students automatically are members of the new center; other permitted affiliates may join for a fee that ranges from $20 per month to $120 per semester. There also is a charge of $60 per semester for unlimited group exercise classes, applicable to any member who wishes to participate.


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Inside Verse: Time to kick up your heels and celebrate Happy Holidays to all
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