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I noted in my Monday morning column today that it's the worst day of the NFL year: Black Monday, when coaches and executives lose their job.
This Black Monday is even crueler than most.
Before noon, six NFL teams had fired their head coaches: The Bills fired Chan Gailey, the Bears fired Lovie Smith, the Chiefs fired Romeo Crennel, the Browns fired Pat Shurmur and the Eagles fired Andy Reid, and although the Chargers haven't formally announced that Norv Turner is fired, everyone in San Diego knows that decision has already been made and is just being announced later in the day because the Chargers are on Pacific time.
Four general managers — Cleveland's Tom Heckert, San Diego's A.J. Smith, Jacksonville's Gene Smith and the Jets' Mike Tannenbaum — are also out.
Coaches who haven't yet learned their fates include Arizona's Ken Whisenhunt, Carolina's Ron Rivera and Jacksonville's Mike Mularkey.
To keep on top of all of the news in the NFL coaching world, regularly refresh our PFT coaching and front office hiring and firing tracker.


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Organizational Communication, Learning, and Design
Bachelor of Science
Steven Seidman, Associate Professor and Chair
Organizational communication, learning, and design is a unique interdisciplinary program providing a comprehensive education in the theo-ry and practice of both human and media-based communication within organi-zations. As the name denotes, the curriculum focuses on how people in organizations communicate and learn and how organizational leaders design the strategies, systems, and tools to help them do so. Students prepare to assume a wide range of professional roles in such areas as employee communica-tion, public informa-tion, education and training, meeting and special events planning, technical writing, interactive media and design, and promotional communication.
The breadth and depth of the curriculum provide majors with the background to become communication generalists within small organizations - for example, managing events, writing annual reports, developing training media, preparing speeches and press releases, and recruiting new employees - or to become specialists within a more focused context such as corporate video production, interactive multi-media design, conflict resolution, instructional technology, or diversity training. To prepare students for such roles, skills and concepts are presented and applied within the curriculum in a variety of contexts, such as business and industry, media production, consulting, health care, education, social services, and government.
All majors take a common core of courses in which they develop basic communication knowledge and skills. The core introduces three concentrations within the major: corporate communication, learning and performance, and integrated studies. Concentrations help students focus their studies on particular interests and intended careers. Students should select one of the three concentrations by the conclusion of their sophomore year.
Corporate Communication Concentration
The corporate communication concentration focuses on human communication in organizations, providing the theoretical and practical context for examining how informal and formal communication occurs in organizations, including leadership styles, the impacts of technology and diversity, and the creation and change of corporate culture. Students gain a set of skills and concepts that can be applied in areas such as conflict management, workforce diversity initiatives, meeting planning and facilitation, employee communication, and speech writing.
Learning and Performance Concentration
The learning and performance concentration addresses the application of theories in communication, systems, educational psychology, and management to such areas as designing and managing corporate training and development programs, developing computer-assisted learning software, creating job aids and incentive programs, designing and producing technical manuals, designing courses and educational materials, and analyzing and solving workplace performance problems. Students gain a set of skills that can be applied in areas such as instructional design, training, performance technology, technical communication, and management and evaluation of learning and performance systems.
Integrated Studies Concentration
This concentration is for students who wish to combine corporate communication and learning and performance into a coherent, integrated course of study.
Issues and Tools
All majors must select one "issues" course and one "tools" course. Issues courses explore trends, theories, and concepts that apply across the various areas of organizational communication, learning, and design. Tools courses examine the means to create, apply, or inquire, and address such topics as designing, producing, or evaluating media and strategies; utilizing workplace technologies; and conducting specific types of research.
At the conclusion of the curriculum, students take a set of courses that synthesize the concentrations and address ethical, managerial, and research concepts and issues. These capstone courses serve as a transition between the curriculum and professional practice.
Department Academic Policies
In addition to the general College guidelines for academic standing and the Park School academic policies, organizational communication, learning, and design majors are required to maintain a cumulative GPA of 2.50 in all communications school courses, as well as an overall cumulative GPA of 2.50. Courses at level 1 are open to seniors only by permission of the instructor. One-credit minicourses do not count as required organizational communication, learning, and design electives. All majors must complete a minimum of 60 credits outside communications, and a minimum of 60 credits in courses designated as liberal arts (LA).
B.S. in Organizational Communication, Learning, and Design
Requirements for the Major
(*denotes a liberal arts course)
Departmental requirements
Supplemental requirements
Choose one of the following 3-credit courses (issues):
Choose one of the following 3-credit courses (tools)
Additional requirements for the corporate communication concentration
Choose two of the following 3-credit courses:
Additional requirements for the learning and performance concentration
Choose two of the following 3-credit courses:
Additional requirements for the integrated studies concentration
Choose one of the following 3-credit courses:
Choose one of the following 3-credit courses:
(A maximum of 3 credits of 225-49000 or 225-49800 may be counted toward this concentration.)
Minor in Organizational Communication, Learning, and Design
Steven Seidman, Associate Professor and Coordinator
Not open to organizational communication, learning, and design or applied psychology majors.
A minor in organizational communication, learning, and design is a systematic introduction to human and mediated communication in organizations. Students develop knowledge of basic principles and practices of corporate communication, learning and performance, and media design and production, and apply this knowledge to specific organizational settings. Information concerning application deadlines and admission criteria is available in the department office. Students must have a minimum cumulative GPA of 2.50 in order to apply to the minor.
Required courses for the minor
Choose two of the following:
A. Ozolins, Office of Creative Services, 15. July, 2005

subset: commoncrawl


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- This event has passed.
Prime Rib Night
May 11 @ 4:00 pm - 11:00 pm
|Recurring Event (See all)
An event every week that begins at 4:00pm on Friday and Saturday, repeating indefinitely
$19 Prime Rib Special
– 10 oz. Prime Cut with au jus and horseradish with a Baked Potato w/ Sour Cream & Chives (make it loaded for $1.50 more) *Add Salad and/or Soup for an additional $2/each.


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Wedding Invitations: Tips When Mailing Your RSVP Cards to Guests
Ensure a no-fuss guest list when mailing your RSVP cards with this quick and easy trick
(page 1 of 2)
Dear readers: I'm constantly amazed with the little tricks that people come up with when planning a wedding. See below for one of my favorite tips.
A Hudson Valley Bride asks: "Because I've heard of this happening before, I'm really concerned about what to do when an RSVP comes back without the guest's name on it. What's the best way to ensure that this doesn't happen?"
(Our answer on next page)
» More on wedding invitations
» More from The Wedding Guru
» Submit a question to the Wedding Guru
» Hudson Valley Weddings 2012


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Definition from Nolo's Plain-English Law Dictionary
Proceedings of any court or other government body that are held in secret and produce arbitrary results. This derogatory term takes its name from an English court, whose members were appointed by the crown, that met in the 15th to 17th centuries. That court, which met in a room that was apparently decorated with gilt stars, decided guilt and punishment of people accused of violating the monarch's orders. Its practices made "star chamber" synonymous with any unfair and secretive proceedings.


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Western theatre
Western theatre, history of the Western theatre from its origins in pre-Classical antiquity to the present.
For a discussion of drama as a literary form, see dramatic literature and the articles on individual national literatures. For detailed information on the arts of theatrical performance and stagecraft, see theatre, directing, acting, and theatrical production.
The origins of Western theatre
Pre-Classical antiquity
Notwithstanding its great diversity of styles, forms, themes, and functions, the theatre of today has its roots in a basic impulse to embody expression mimetically. Theatre is a social art based on explorations of the cycles of nature, the progression from birth to death, and the forces that compel our behaviour.
The lack of documentary evidence makes it impossible to determine exactly how theatre began, though it is generally believed to have evolved from religious rituals. It is difficult to decide at which point ritual became theatre. Important clues as to the nature of theatre in prehistoric times can, however, be found by examining the many patterns of drama and ritual that exist throughout the world today.
Nature worship
The most widely held theory about the origins of theatre is that it evolved from rituals created to act out natural events symbolically, thereby bringing them down to human scale and making the unknown more easily accessible. Individuals would express themselves through rhythmic movement using some kind of adornment to enhance the expressive range of the body. The earliest known evidence of this is in the cave paintings and engravings at Les Trois Frères in southern France. Dating from the Late Paleolithic Period (about 40,000–10,000 bce), these ancient manifestations of art depict half-human, half-animal figures in animated poses. The figures appear to be dancers wearing the heads and skins of animals, suggesting the early use of mask and costume. Certainly the mask has been one of the most potent means of transcending one's own being or of representing other planes of existence, and in many parts of the world it holds great power and fascination to this day.
As part of these rituals, the natural elements were given personalities, which were in turn abstracted as spirits and gods. By wearing masks and moving in certain patterns, individuals could impersonate these deities. Sacred dances were performed to influence the course of nature—to bring rain, to facilitate a good harvest or a hunt, and to drive out evil. But one of the most important patterns was the enactment of the cycle of the seasons, dramatized by a battle in which winter gave way to spring. This ceremony involved a year-king figure who was ritually killed and supplanted by a new king. At first this was probably a human sacrifice of propitiation; later the killing was mimed. In a further development of this theme, as part of other rituals, the two kings were reduced to a single figure who underwent a process of repeated death and resurrection. This interpretation is used to explain the mock battles in such folk traditions as the European mumming plays or the multiple deaths and rebirths of such figures as the Padstow Horse in Cornwall, England.
A second theory proposes that theatre evolved from shamanistic rituals that manifested a supernatural presence to the audience, as opposed to giving a symbolic representation of it. In this case the shaman, as actor/priest, was able to fall into a trance and become a medium with the other world. The shaman was believed to travel in the spirit world or to actually be possessed by spirits. One of the main activities of shamanism, which is still practiced today, is the exorcism of evil spirits; this can often involve trance dances in which the shaman performs acrobatics, juggling, or vigorous dancing for long periods, demanding a facility and stamina that seemingly would not normally be possible. Fire-walking, fire-eating, and other acts of apparent self-torture, performed while in a trance, are taken as further demonstrations of the supernatural. They represent the opposite pole from illusionism, in which such acts are achieved by trickery. Sometimes puppets are used by shamans as manifestations of supernatural forces in the giving of divinations or oracles. Masks also are an important part of shamanism: it is believed that by putting on a mask the dancer becomes possessed by the spirit represented and takes on the functions of that spirit. The use of body paint and elaborate costumes helps further in the personification of the spirit or demon.
These ritual elements gave rise to an archetypal genre known as the demon play, a primitive dance drama in which the force of good exorcises the force of evil. The demon play is still performed in various guises in parts of Asia. An interesting component, which also occurs in later Western theatre, is the use of clowns—often deformed—to parody the more serious figures.
Shamanism emphasizes the special skills that actors have traditionally developed and that set them apart from the rest of society. It also shows the way the actor's techniques can help to transport the audience's imagination beyond the actual space where the performance takes place. The "nature worship" theory expresses the idea that disguise is one of the fundamental aspects of the actor's art. Indeed, when an individual addressing a gathering modifies the manner, voice, or appearance of an expression, the event becomes theatrical rather than actual. This also conforms to Aristotle's definition of theatre as "an imitation of an action"—i.e., not the action itself. Shamanism, on the other hand, is not an imitation but a direct manifestation.
In cultures where the ritual elements of theatre have remained intact—in South India and Bali, for example—the performances of plays and dance dramas have acquired an aura of deep respect and almost awesome power over their audience. However, where the ritual has continued in empty form long after the full significance of its content has been lost, as in modern performances of mumming plays or the Padstow Horse, it becomes little more than a quaint entertainment. The development of Western theatre lies between these two extremes and polarizes into its two primary types of experience—tragedy and comedy.
Ancient Egypt
In ancient Egypt, religious ritual moved toward a more explicitly theatrical enactment. The pantheon of animal-headed gods and the stories of the soul's journey after death into the other world provided rich material for ceremonies and rituals. Priests were thought to have impersonated the deities by wearing stylized masks and reciting hymns and prayers; carvings depicting masked dancers, dated at 3500 bce, have been found in Egypt.
The so-called Pyramid Texts have been assembled from fragments of prayers found carved on the walls of royal tombs of the Old Kingdom (c. 2686–c. 2160 bce). The most important of these involved the god Osiris. He was the subject of what was known as the Abydos passion play, a yearly ritual performed from the period of the Old Kingdom until about 400 ce. The Abydos passion play depicts the slaying of Osiris and his followers by his brother Seth, the enactment of which apparently resulted in many real deaths. The figure of Osiris, symbolically represented in the play, is then torn to pieces by Seth, after which his remains are gathered by his wife Isis and son Horus, who subsequently restore him to life. The play thus follows the pattern of birth, death, and resurrection, and it also echoes the cycle of the seasons.
Ritual dramas like this were performed to ensure the fertility of women, cattle, and crops and to invest the spirit of the community and its leaders with vitality for the new year. Myths relating to Osiris and Horus were especially important because the pharaoh, while alive, was believed to be an incarnation of Horus, and, after his death, he was believed to be Osiris. By the time the Greek historian Herodotus saw the Abydos passion play on a visit to Egypt in 450 bce, he could record that there was also a tradition of popular drama that used comic elements (e.g., Horus, born as a baby but growing to enormous size and developing a voracious appetite), though it still confined itself to religious themes.
During the 19th century, investigators discovered another text preserved on papyrus scrolls. Known as the Book of the Dead (from about 1800 bce), it reads very much like an oratorio. Although there is no evidence that it was actually performed, the ritual is full of theatrical elements. It describes the journey of a soul, brought after death by the jackal-headed god Anubis into the Hall of Truth, where the dead man's heart is weighed against a feather. If the heart, made light by goodness, does not outweigh the feather, then the soul is brought before Osiris and granted immortality.
Ancient Greece
Dramatic genres
The first time theatre truly freed itself from religious ritual to become an art form was in Greece in the 6th century bce when the dithyramb was developed. This was a form of choral song chanted at festivals in honour of Dionysus, the god of wine, fruitfulness, and vegetation. Originally, it celebrated his rejuvenation of the earth; later, it drew on Homeric legends for its subject matter. According to Greek tradition, the actor and playwright Thespis invented the drama when he augmented the chorus of the dithyramb with a single actor who wore masks to portray several different characters. With the possibility of dialogue between the actor and the chorus, more complex themes and modes of storytelling could be developed. In 534 bce at Athens's first dramatic festival, one of Thespis's tragedies won the prize. (Derived from the Greek tragos, meaning "goat," the term tragedy may have referred to a goat as the prize or as an animal sacrifice made at the festival.) Thereafter, tragedies were performed annually as part of the festival of Dionysus and of other yearly celebrations throughout the Hellenic world.
The earliest surviving texts of plays are seven tragedies by Aeschylus dating from the first half of the 5th century bce. Adding a second actor and reducing the chorus from 50 to 12, Aeschylus laid the foundation for an aesthetics of drama that was to influence subsequent plays for well over 2,000 years. Tragedy, it was considered, should deal with illustrious figures and significant events. The plays, which were based on legends or remote history (though given the appearance of truth), were interpreted so as to convey some religious, moral, or political meaning. The entire cosmos was depicted in the drama, represented on a vertical set: above was the seat of the gods, below was the place of exile and punishment, and in the middle was the flat circle of the Earth, represented by the circular orchestra, where the chorus performed.
The universal scale of Greek drama was reflected in one of its most characteristic features, the interaction between chorus and protagonist. The function of the chorus was to generalize the particular events by critically observing and interpreting the action of the play. It provided, as it were, the social background, which in turn gave resonance to the actions of the main characters. Sometimes the chorus would have a particular point of view (as in Bacchae, where it represents the followers of Bacchus), while at other times it could be the mouthpiece of the poet. Long speeches and songs made up much of the plays, though these were made more dramatic by the dancing of the chorus and by the stichomythia (rapid alternating of lines between protagonists). The visual aspect of Greek tragedy was very important, a fact that is easily forgotten, as only the words survive.
The conventions Aeschylus developed were refined by Sophocles, who brought the chorus up to 15 and added a third actor. More actors meant a larger number of characters could be played; still more characters were possible when individual actors played multiple roles (known as doubling). Euripides, in his turn, brought greater realism to characterization and strengthened dramatic action by reducing the role of the chorus. The dramatic unities of time, place, and action were usually observed in Greek tragedy by attempting to make the action complete in itself, without superfluities, within a single circuit of the Sun, and in one location. The lack of scene change and the limited number of actors available meant that much of the action, particularly murders and other deaths, took place offstage.
In time, the masks worn by the actors and chorus became more expressive, and their conventionalized representation of character types (old king, young king, old nurse, etc.) meant that each character was instantly recognizable upon entry. The masks also helped to make the portrayal of female characters by male actors more plausible, as well as to make the facial features clearly discernible by the large audience.
The principal occasion for Athenian drama was the Great Dionysia (or City Dionysia), a spring festival devoted mainly to tragedy. The archon, a city official, chose the poets who were allowed to compete, and for each of them there was a choregos, a wealthy man who as part of his civic duties would pay for and organize the production. The actors were paid by the state. Each poet was required to offer three tragedies and a satyr play (a bawdy comic comment on the main theme of the tragedies). The tragedies could be separate plays on a linked theme or a trilogy on one theme. The only surviving complete trilogy is Aeschylus's Oresteia. The poet directed his plays, composed the music, and arranged the dances. In the early tragedies, he was also the main actor.
Comedy (from Greek kōmos, meaning "revel") was presented competitively in Athens from 486 bce at the Lenaea winter festival, though it fused much earlier traditions of popular entertainment, mime, phallic rites, and revelry in honour of Dionysus. Ancient shamanistic ceremonies also may have influenced its development. Old Comedy, of which Aristophanes was the chief exponent, was highly satirical. It was characterized by wildly imaginative material (in which the chorus might represent birds, frogs, wasps, or clouds) that was blended with a grotesque, vulgar, and witty tone, which could still accommodate poetry of great lyrical beauty. The bawdiness of the plays was emphasized by the actors' costumes, which featured jerkins with padded stomachs and large phalli. As in tragedy, masks were worn, though they are exaggerated for comic effect.
With the decline of tragedy after Euripides' death in 406 bce and the defeat of Athens in 404 bce, comedy increased in popularity. It began to evolve through the transitional Middle Comedy to the style known as New Comedy, established about 320 bce, during the time of Alexander the Great. Only fragments by one writer, Menander, survive from this period, but they indicate a swing away from mythological subjects toward a comedy of manners, concentrating as they do on the erotic adventures of young Athenians and centring on urban family life. Gone were the boisterousness, the religious influence, and the long choruses of the earlier drama. The new, gentler style was reflected in the use of more realistic costumes and masks and in the increasing use of scenery.
The theatre
The outdoor setting for performances of Greek drama traditionally comprised three areas: a large circular dancing floor (orchēstra in Greek) on which the action took place and in the centre of which was an altar to Dionysus; behind this, a scene-building and dressing room (skēne in Greek, whence "scene"), a low architectural facade to which painted scenery could be fitted, sometimes on revolving panels (periaktoi); and around the orchēstra, a semicircular auditorium cut into a hillside and fitted initially with wooden benches and later with stone or marble seats. The steep rake and layout of the auditorium enabled audiences of about 10,000 to 20,000 to sit in reasonable proximity to the players. They also enhanced the acoustics. An important stage device used in tragedy during the 5th century bce was the crane (mēchanē), which served to fly in the gods (deus ex machina) at the end of the play.
Ancient Rome
If the quality of theatre is reflected in the values of the civilization out of which it grows, then this is vividly illustrated by the fate of theatre in Roman times. Suffering from vulgarized public taste, a lack of originality, and a preference for spectacle over seriousness, nearly all of the Roman plays were imitations or loose translations of Greek dramas, even to the extent of their being performed in Greek costume. Eventually, after 400 years of competing with chariot races, gladiatorial fights to the death, and the spectacle of criminals and religious and ethnic minorities being torn apart by wild animals, theatre came to an apparent end.
Several factors must be taken into account in explaining why this happened, but perhaps the main reason lay in the way Roman authorities used circuses and public games, at which theatrical performances took place, to divert the public from economic and political dissatisfaction. The number of official festivals proliferated. In 240 bce, when drama was first included, the games lasted less than a week. By the 1st century ce there were 60 days of games throughout the year, and, 300 years after that, 175 days were devoted to games, with plays being performed on 100 of them. Most of these festivals were secular, and theatre soon lost its close ties with religious celebrations.
Native traditions
In spite of the lack of originality shown by dramatists, there were in Italy a number of native comic traditions that helped to shape the style of Roman comedy. The Fescennine verses (fescennia locatio) were bawdy, improvised exchanges sung by clowns at local harvest festivals and marriage ceremonies. These are thought to have combined with a tradition of performances by masked dancers and musicians from Etruria to form saturae, medleys consisting of jests, slapstick, and songs. The historian Livy says that in 364 bce these Etruscan players were summoned to Rome at a time of pestilence to appease the gods with their dancing and music.
From the areas of southern Italy and Sicily settled by the Greeks came the phlyax plays in the 4th century bce. Named for the Phlyakes (literally "Gossip Players"), these were burlesques and travesties of mythology and daily life that were probably improvised. They were performed on a raised wooden stage with an upper gallery, and the actors wore grotesque costumes and masks similar to those of the Greek Old Comedy. Acrobatics and farcical scenes were a major ingredient of the phlyax. The Oscan inhabitants of Campania, in the Neapolitan region of Italy, also had a long tradition of farces, parodies, and political satires influenced by Greek models, which became popular in Rome during the 3rd century bce. This genre was known as fabula Atellana ("Atellan play," Atella being the name of a Campanian town). The significance of the fabula Atellana is that it introduced a set of stock characters, such as Maccus and Bucco, which were thought to be the direct ancestors of many of the Italian commedia dell'arte characters. The actors wore masks, improvised their dialogue, and worked slapstick routines and other buffoonery into the plots.
Imitation of Greek models
In the literary theatre, plot invention and characters were largely taken from Greek plays. Livius Andronicus, a Greek living in Rome, was the first to adapt Greek plays (in 240 bce), and his example was followed in 235 bce by the poet Gnaeus Naevius, a native of Campania. Naevius can be regarded as the first native Italian playwright, and the genre of comedies he founded was called fabula palliata ("play in Greek dress"). His less successful tragedies on Roman history were known as fabulae praetextae ("plays in the Roman toga"). Naevius's attempts at satire were audacious enough to land him in prison, which is probably why the noted poet Quintus Ennius, who followed him as a dramatist, limited himself to safe adaptations of Greek tragedies, mostly those of Euripides.
In the 2nd century bce the two most important comic writers of the Roman theatre, Plautus and Terence (who came from lower-class backgrounds), were both influenced by the New Comedy of the Greeks, and their plays retained the Greek setting and costume. Plautus, who had few literary pretensions but a sharp sense of wit and wordplay, blended the comic style of Menander with the fabula Atellana to produce vigorous farces about mistaken identities, sexual intrigues, and the mischief of household servants. His 21 surviving plays (of a total of about 130) were in turn to inspire playwrights for centuries to come, including Shakespeare. The braggart soldier, Miles Gloriosus, became one of Plautus's most imitated characters. Terence, who closely followed the style of Menander, aimed at a more discerning audience. His comedies are noted for their grace and delicacy, and they avoided the buffoonery that attracted Plautus.
Seeds of decay
The audience that followed Terence's plays was a small and exclusive one. From the start Roman theatre was dependent on popular taste in a way that had never been known in Greece. If a play failed to please, the manager of the festival was obliged to return part of the subsidy from public funds. Thus, even in Republican times, there was some anxiety to give the public what it wanted, and this proved to be the sensational, the spectacular, and the crude. Huge amphitheatres such as the Colosseum in Rome were built throughout the empire as evidence of the power and grandeur of Rome, but not of its artistic life and energy. The general public preferred boxers, beasts, and mock sea battles to drama. Actors and dramatists were tempted to adapt their style of presentation accordingly. Where it had once been subtle, the acting became coarse and declamatory. The actors took to wearing built-up shoes (cothurni) and bigger masks in order to make themselves appear larger than life. Some of the small number of tragedies that were staged were filled out with long processions of animals, gaudy costumes, and elaborate effects, all emphasizing the hollowness of both theatre and audience.
Theatre buildings themselves became grander in the 1st century bce. Erected on flat ground, the raked semicircular auditorium was a freestanding structure of great engineering complexity. With the elimination of the chorus from plays, the orchēstra was no longer needed other than as a space for important guests to sit, and the action took place on a wide, raised stage backed by an imposing architectural facade, the scaenae frons, which was often two or three stories high. The audience could be protected from harsh sunlight by a huge awning. The comfort was unrivaled, but it came too late; what took place on these stages had become trivial and degrading. It is not surprising that serious people avoided the theatres and writers were alienated from them.
One reaction against the excesses of the theatre was the custom of reading tragedies aloud to select gatherings of intellectuals. It is thought that this was the purpose behind the tragedies of Seneca, a Stoic philosopher and statesman under the emperor Nero in the 1st century ce, for there is no record of any of his works having been produced. While his plays lack the craftsmanship of the Greeks, Seneca's importance lies in the fact that he was the principal medium through which Renaissance writers became acquainted with Greek tragedy. His division of the plays into five acts, his exaggeration of the melodramatic and violent aspects of the originals, his emphasis on rhetoric, and his preoccupation with the conflict between passion and reason helped to shape the Elizabethan drama and French Neoclassical tragedy that followed a millennium and a half later.
Mime and pantomime
After Seneca, serious dramatic literature in Rome virtually ceased, and the newly erected stone theatres were taken over by mime (Latin mimus) and pantomime (pantomimus) as the level of public taste steadily fell. Pantomime grew out of the wreckage of tragedy as a kind of burlesque ballet in which a chorus chanted the story to musical accompaniment, while a solo actor silently used gesture and dance to portray the various characters in a succession of masks. Particular emphasis was placed on the erotic elements of the story.
Of more interest is the mime, which was derived from the Greek mime traditions and the fabula Atellana. By the 2nd century bce it had a large following in Rome. Mime was characterized by great diversity: sometimes the shows were tragicomic dramas, but most often they were indecent burlesques on the gods in which female performers also took part. They featured dialogue, acrobatics, songs, and slapstick routines. Companies ranged from itinerant groups of six players to the troupe of 60 actors recorded in 169 ce. Although the performers were highly skilled (some of them achieved widespread fame), mime contented itself with easy targets, pandering to the taste of the emperor. By the time of the Christian persecutions under Nero and Domitian, mimes were used to ridicule the Christian faith on stage. In Centunculus, for example, a clown was baptized and martyred, being grotesquely crucified in a way calculated to burlesque his faith. Sometimes the shows were spiced with sexual acts and real executions on stage. At the end of the Roman era, mime actors were performing throughout the empire, but after the triumph of Christianity the theatre of the day was abominated by the Church Fathers as an art so debased as to have lost any relevance to the general good of society. In the 5th century all performers of mime were excommunicated, and in the following century the theatres were closed.
The old Roman Empire was Christianized and became divided in two: one based in Rome, the other in Constantinople (modern Istanbul). There being no other outlet for the expression of the supernatural and the cycle of the seasons, semitheatrical religious festivals, magnificent rituals, and processions once again became the principal means of community celebration. These were particularly elaborate in the Byzantine church, centred in Constantinople. Meanwhile, the mimes dispersed. Though the church did its best to prohibit them through the Middle Ages, they managed to carry on their art illicitly, finding audiences wherever they could. Mime, as performed by jesters, jongleurs, bands, and acrobats, is an unbroken dramatic tradition that reaches from the Classical world to modern Europe. The texts and theoretical treatises of the Classical world were all to lie largely unused for more than 900 years. The Roman theatre failed because it had lost its seriousness of purpose; yet, in what survived, sufficient elements were present to stimulate a new and powerful theatre during the Renaissance.


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Hollands finally getting chance to make impression
CLEARWATER, Fla. -- Mario Hollands spent 2012 bouncing around between Minor League cities and teammates' couches. He spent 2013 regaining his rhythm.
After an impressive spring, the non-roster left-hander could be spending some time with the Phillies in 2014.View Full Game Coverage
CLEARWATER, Fla. -- Mario Hollands spent 2012 bouncing around between Minor League cities and teammates' couches. He spent 2013 regaining his rhythm.
After an impressive spring, the non-roster left-hander could be spending some time with the Phillies in 2014.View Full Game Coverage
"We haven't made any final decisions," Philadelphia general manager Ruben Amaro Jr. said Thursday morning. "He's done well enough and certainly put himself in a position to be one of the guys to be considered."
In eight Grapefruit League outings, the 25-year-old Hollands has put together a 3.18 ERA, allowing 10 hits and five walks while striking out 10 batters in 11 1/3 innings. The 6-foot-5 lefty has opened a lot of eyes this Spring Training and, as Amaro said, earned a long look for one of the last spots on the Phillies' pitching staff.
Not bad for a guy who slept in so many people's living rooms two years ago that he couldn't even remember them all. In fact, he's just happy to have lasted this long in big league camp.
"It's been really fun," the soft-spoken Hollands said outside the Phillies' clubhouse at Bright House Field. "It's been a real honor being up here the whole time. ... I always wanted to leave a good impression."
That's an understandable sentiment for a non-roster pitcher invited to Major League camp, especially one who barely had time in 2012 to make a first impression. He made five stops with four of Philadelphia's Minor League affiliates, from Class A Lakewood all the way up to Triple-A Lehigh Valley.
By the time he made it to Lehigh Valley, he was physically exhausted, unable to muster up the arm strength to pitch the way he knew he could.
"I was all over the place. That was pretty tough. I never really had a home, never was comfortable," Hollands said. "I never relaxed anywhere. Never knew where I was going to pitch, or start or relieve -- that's still the case. It was pretty tiring, because I just was always on the move."
Hollands retraced his steps from that season Thursday morning. During his first stint at Double-A Reading, he stayed with Trevor May, David Buchanan and Tyson Gillies. When he was bumped to Class A Advanced Clearwater, he wound up with Zach Collier "and about seven other people," he said, laughing. The callup to Triple-A provided a welcome relief: his own hotel room. What about when he came back to Reading for the playoffs?
"I might have been in a hotel, but I might have been back in that house. I really don't remember," Hollands said. "But I was sleeping in the living room [the first time] I was in Reading. We had a bed in the living room. So I was all over the place."
Hollands followed up that nomadic campaign with a more consistent 2013 season. He made three relief appearances with Reading before getting into a groove as a starter in Clearwater, recording a 1.56 ERA and .588 opponents' OPS in 14 games from May 3 through July 10. He moved back to Reading and logged a 4.06 ERA in 57 2/3 innings (10 starts).
Hollands then received the Phillies' blessing to pitch in the Venezuelan Winter League for Tiburones de La Guaira. He spent 2 1/2 months there, put up a 2.45 ERA, stayed for the postseason and had nothing but good things to say about the players, fans and the impact it had on him..
"It helped, confidence-wise, and working on different pitches -- and just experience," he said. "That's helped me grow, just from the success from last year."
Indeed, it's seemed to carry over into this spring. With a funky, deceptive delivery, he's proven capable of handling any role for the Phillies, whether it's as a starter, one-inning reliever, long man or situational lefty.
There's more to the laid-back Hollands than pitching, too. He just finished up some online courses with the Fashion Institute of Design & Merchandising, working toward a degree in merchandise marketing that he hopes to complete in June or July.
Hollands graduated from the University of California at Santa Barbara in 2010 with a degree in sociology before the Phillies took him in the 10th round of the Draft. He hopes his latest academic pursuit will pay off whenever he's done with baseball.
"It was a little hard during the beginning of spring. I did some homework here during some of the downtime," Hollands said with a grin. "But if you can graduate from Santa Barbara and get drafted, you can do anything."
As of Thursday morning, Hollands hadn't been given any indication about his chances of making the big league club or where he would start the season if he heads back to the Minors. Either way, it seems his days of couch surfing might be behind him.
"It's not a big deal for me. They'll tell me at some time. I'm in no rush. I'll do whatever they say no matter what," Hollands said. "I'm not going to assume any role or even where I might start, because the past has proven that it could change at any moment."
Adam Berry is a reporter for MLB.com. Follow him on Twitter at @adamdberry.


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Lake George Vacations, The Georgian Lakeside Resort Hotel
Enjoy a Georgian Resort Lake George Vacation!
The Georgian Lakeside Resort Hotel & Conference Center is located in the Adirondack Mountains of New York on the shores of beautiful Lake George. The Georgian has 157 recently remodeled rooms and lake view suites and specializes in Lake George vacations, weddings, meetings, and lakeside dining. Look inside our rooms. At The Georgian you are just a short walk from the heart of downtown Lake George Village and the village's unique shops, attractions and dining. Enjoy a New York Resort – the Georgian experience – one of the Lake George, NY Region's best hotels and resorts! Visit our Activities Page or the Lake George Chamber of Commerce for more area information. Visit our blog and news page for Lake George area events.
The Georgian Lakeside Resort in Lake George is located in upstate New York between New York City and Montreal off Interstate 87 (The Adirondack Northway), Exit 22. Visit our Contact Page for more information.
At The Georgian Lakeside Resort
The Georgian Lakeside Resort boasts of an expansive outdoor heated swimming pool and patio and 400 feet of private beach. The Georgian Lakeside Resort is also home to Giovanna's On The Lake serving breakfast and dinner. In season guest enjoy the Lakeside Cabana Bar serving lunch and cocktails on the patio. The Georgian offers complimentary Wi-Fi and ample free parking with an additional underground parking garage, unique to the Lake George area. Enjoy a Lake George Vacation in any season at The Georgian!
Read more about the resort >


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Find hotels & motels in West Conshohocken using the list below. Find cheap and discounted hotel/motel rates in or nearby West Conshohocken, PA for your personal leisure or group travel. We show the best West Conshohocken, Pennsylvania hotel and motel rooms. Browse the West Conshohocken area hotels to find the perfect lodging! Please use the provided map of the West Conshohocken hotels. Need 5+ Rooms? Secure West Conshohocken Group Hotel Rates
The West Conshohocken center is about 2 miles east of Hospital of the University and 3 miles west of Andorra.
How should we direct your call?
Below are reviews of the city of West Conshohocken, PA from an actual visitor's perspective.
Sleepy little down undergoing a lot of new development but conveniently on rail line to Philly.


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A few years ago an investor relations colleague told me Twitter was "the end of the world as we know it." Bothered by the cacophony of 140-character mini-messages, this Old Schooler was offended by the damage that tweeting could inflict on our language. To me, it looked interesting rather than scary.
And now Twitter, Inc., after a hugely successful IPO on Thursday that raised roughly $2 billion (which The New York Times DealBook blog sniffed was "more modest" than what the company might have gotten if pricing had been higher), is going to be even more interesting for IR people to watch.
The social media platform has begun life as a public company pledging to talk to investors through – well, social media. To be sure, there is a Twitter investor relations webpage, though I found the corporate site only after some searching. The IR page itself is worth checking out, a bit unconventional with its news from the company blog of mostly non-investor related happenings, a page of financial releases ("Coming soon" … like the earnings, a cynic would say) and, of course, a feed from @twitter.
But this will be worth following. In rolling out Twitter's stock offering, management pledged to practice its own preaching – using online postings and social media (its own) to get the word out. From the TWTR prospectus:
Channels for Disclosure of Information
Investors, the media and others should note that, following the completion of this offering, we intend to announce material information to the public through filings with the Securities and Exchange Commission, or the SEC, our corporate blog at blog.twitter.com, the investor relations page on our website, press releases, public conference calls and webcasts. We also intend to announce information regarding us and our business, operating results, financial condition and other matters through Tweets on the following Twitter accounts: @dickc, @twitter and @twitterIR.
The information that is tweeted by the foregoing Twitter accounts could be deemed to be material information. As such, we encourage investors, the media and others to follow the Twitter accounts listed above and to review the information tweeted by such accounts.
Any updates to the list of Twitter accounts through which we will announce information will be posted on the investor relations page on our website.
That all seems to be in line with the SEC's guidance on IR use of social media and company websites for disclosure (speaking as a non-lawyer). Twitter has the advantage of starting afresh – investors aren't accustomed to seeing its news in one particular place or format.
The end of the world? Hardly – but IROs will be watching with interest.
© 2013 Johnson Strategic Communications Inc.
Tags: Disclosure, Investor relations, IPOs, SEC, Social media, Twitter


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Heineken Cup - Round 2
Europe's finest continue to shine
Graham Jenkins
November 21, 2011
Munster's Ronan O'Gara landed yet another last-gasp drop goal to seal victory against Castres © Getty Images
You have to feel sorry for the likes of the Premiership, PRO12 and Top 14 when the Heineken Cup serves up quality and drama at every turn.
The battle for Europe's top club prize rarely fails to deliver in terms of thrilling entertainment and not content with lighting the blue touch paper in Round 1 with a host of pulsating clashes, the tournament offered a further reminder this weekend that it is a domestic tournament without parallel.
The secret of its success lies in the respect that the teams have for the competition and fans' high regard for its flavour with both fuelled by a rich history of top class rugby and unrivalled out-of-your-seat action. The result is a tournament the envy of the rugby world and while it will now make way for its domestic cousins, rest assured an early Christmas present or two awaits next month when it returns.
Once again it was Munster and fly-half Ronan O'Gara who took on a starring role in the latest cross-border clashes with the veteran playmaker landing a last-gasp drop goal - just as he did against Northampton last time out - to seal a dramatic 27-24 over Top 14 high-flyers Castres. But O'Gara's influence extends far beyond final flourishes with the No.10 charging down an attempted clearance in the lead up to Will Chambers' crucial try. With two wins from two, Munster look set to for yet another quarter-final appearance but they are still playing catch-up in Pool 1 with the Scarlets currently setting the pace.
The Llanelli-based region laid down another impressive marker against Northampton at Franklin's Gardens where an all-action display ensured a 28-23 against a Saints side that looked drained in the wake of their defeat to Munster the week before. The game was all but over by half-time thanks to tries from Liam Williams, Aaron Shingler and Matt Gilbert with Rhys Priestland, making his first appearance since lighting up the World Cup stage for Wales, grabbing the bonus point score with Northampton's hopes of repeating last season's heroics now hanging by a thread.
There was dose of controversy in the Pool 5 clash in Treviso where the Ospreys snatched a share of the spoils with a last-minute penalty from rising star Matthew Morgan the last act in a 27-27 draw. But it could have been so much better for the hosts, who are holding their own in the PRO12, having handed their rivals a lifeline with a gift of a try for the Ospreys' Ryan Jones. The visitors' failure to add to their opening victory allowed Biarritz to reclaim some ground with an impressive showing against Saracens with an outstanding try from speedster Taku Ngwenya the undoubted highlight in a 15-10 win. But Saracens' late rally to claim a losing bonus point is sure to serve them well as the tournament unfolds.
Edinburgh conjured the biggest comeback in Heineken Cup history on their way to a thrilling 48-47 triumph over Racing Metro in an almost unbelievable encounter at Murrayfield. Trailing 44-20 midway through the second half, the hosts dug deep to conjure a remarkable turnaround with Tim Visser's 76th minute try - the 11th in the game - bringing his side within range before Greg Laidlaw landed the match-winning kick. That victory leaves them in control of Pool 2 but Cardiff Blues are hot on their heels having notched their second successive win with a 24-18 success at home to London Irish whose hopes took a body blow with a red card for centre Steve Shingler following a tip tackle.
Glasgow failed to back up their dramatic opening win against Bath as they went down to defending champions Leinster. No.8 Jamie Heaslip claimed the man of the match honour with an influential display but centre Eoin O'Malley also caught the eye with two tries in his side's 38-13 win. Bath remain in touch thanks to their narrow 16-13 win against Montpellier. World Cup winning fly-half Stephen Donald was a key figure in his first start at The Rec but was pushed all the way by his Montpellier counterpart Francois Trinh-Duc.
Another close battle is shaping up in Pool 6 where Toulouse and Harlequins remain unbeaten. The French giants spoiled the occasion of Connacht's first home tie in the competition by handing their Irish rivals a lesson on their way to a 36-10 victory. Fly-half Lionel Beauxis was the star of the show for the four-time champions and kept his side on course for a mouth-watering double header against Quins next month. The Premiership leaders extended their winning start to the season with their 12th straight victory - a 28-9 win against Gloucester - that came courtesy of a determined defensive effort and tries from Mike Brown, Tom Hopper and Nick Easter.
Leicester Tigers also remain unbeaten in Europe thanks to a hard-fought 20-9 victory over Ulster at Welford Road that leaves them top of Pool 4. Matt Smith's second-half try proved to be the difference between the two sides in a game of few chances but the Tigers will need to raise their game ahead of back-to-back clashes with Clermont Auvergne. The star-studded French side bounced back from their opening loss to Ulster to run eight tries past Italian minnows Aironi in a painfully one-sided 54-3 victory.
© ESPN Sports Media Ltd.
Graham Jenkins is the Senior Editor of ESPNscrum and you can also follow him on Twitter.
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It amazes me every time I arrive in the dry, arid portions of the Columbia River Gorge and find flowers. My mind always associates flowers with more moist conditions. How wrong my mind is!
When I visited Maryhill in mid-May the Arrowleaf buckwheat and the various balamroots were in full bloom. I spent the day hanging out with friends at this curve west of Maryhill and with the variety of rail traffic I was able to capture several of the flowers along with the train traffic. Since these flowers are such a stark contrast to the sagebrush and usual vegetation out here I couldn't resist.
My favorite from this cloudy day, is this image of a westbound coal train passing through the rocks west of Maryhill. Not only is there a wonderful flower in the foreground but the rock cut is peppered with even more!


text: Testing/Assessments and Learning Standards July 27, 2012 Common Core: Sample questions available for math and English language arts Source: NYSUT Research and Educational Services With the adoption of the New York P-12 Common Core Learning Standards (CCLS) in ELA/Literacy and Mathematics, the Board of Regents signaled a shift in both instruction and assessment. Educators around the state have already begun instituting Common Core instruction in their classrooms. To aid in this transition, the State Education Department has provided grades 3-8 sample math and English language arts questions to help students, parents, and educators better understand the instructional shifts demanded by the Common Core and the rigor required to ensure that all students are on track to college and career readiness. Common Core Sample Questions


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In the end, "Breaking Dawn" couldn't generate as much light as "New Moon."
The fifth and final "Twilight" film hit theaters this weekend and did incredible business, grossing $141.3 million domestically, according to an estimate from distributor Summit Entertainment. Although that is a fantastic start for "The Twilight Saga: Breaking Dawn — Part 2," the film came in just shy of the franchise opening-weekend record held by 2009's "New Moon" with $142.8 million.
However, the final "Twilight" film could easily become the highest-grossing domestic film in the "Twilight" franchise, surpassing the record $300.5 million the third film, "Eclipse," made in 2010. Those Twi-hards who saw the movie this weekend loved it, assigning the movie an average grade of A, according to market research firm CinemaScore. With word-of-mouth strong, it seems likely that many of the series' young fans will go back to see the movie again in the coming weeks. Like all of its predecessors, "Breaking Dawn — Part 2" attracted a heavily female audience: 79% of the crowd were women, and half were under the age of 25.
The film's release marks the end of what has been a cultural phenomenon since 2008, when the first movie became a surprise hit and catapulted its young stars Kristen Stewart, Robert Pattinson and Taylor Lautner to stratospheric levels of fame.
The final movie, which has received the best reviews of any film in the franchise, sees newlywed vampire couple Edward and Bella struggling to protect their child from an evil vampire clan. Fans rushed out to see the finale late Thursday evening, when the movie debuted in roughly 2,000 theaters nationwide and proceeded to collect $30.4 million by Friday morning. Summit, which spent $120 million on the film's production budget, opened the movie slightly before midnight to try to get a few hours of extra business from moviegoers. However, the move didn't generate too many extra ticket sales; 2010's "The Twilight Saga: Eclipse" grossed $30 million from midnight screenings alone.
Overseas, the picture opened in 61 foreign territories and grossed a whopping $199.6 million. The movie performed best in the United Kingdom and Spain, both of which the cast traveled to for special red-carpet premieres. With such strong early receipts, it seems likely that "Breaking Dawn — Part 2" will ultimately surpass the $430.9 million "Part 1" grossed abroad last year — a record for the franchise.
As a result of the movie's excellent business domestically, North American ticket sales were up 11% compared with the same weekend last year. With a strong lineup of holiday films set for release in the coming weeks, including "The Hobbit: An Unexpected Journey" and "Les Misérables," receipts and attendance had both lifted roughly 5% each compared with 2011.
Another film that did well this weekend was Steven Spielberg's "Lincoln," which expanded from 11 theaters to 1,775 and grossed $21 million. While the movie earned a strong per-theater average in limited release, this weekend was the true test of whether or not the period drama starring Daniel Day-Lewis could attract a broader audience.
While the well-reviewed picture still attracted an older audience — 67% were over the age of 35 — its weekend gross bodes well for the film's commercial prospects in the coming weeks. The film about the 16th president of the United States is being distributed by Walt Disney Studios but was financed by DreamWorks Studios, 20th Century Fox, Participant Media and Dune Entertainment for $65 million. The movie, which received an "A" CinemaScore from opening weekend moviegoers, is already the subject of heavy Oscar buzz.
Meanwhile, "Skyfall" became the most successful movie in the James Bond franchise — not adjusting for inflation. This weekend the film starring Daniel Craig reached a phenomenal worldwide total of $669.2 million, easily surpassing the $599.2 million global tally held by 2006's "Casino Royale." After debuting in the top position at the domestic box office last weekend, "Skyfall" saw its ticket sales fall 53% to $41.5 million this weekend, raising its 10-day total to $161.3 million.


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How the Blog Co-Op works;
If you show that little interest in adding good content to your site I'm sure you will not be an asset to the Blog Co-Op members. We are going to maintain the highest quality possible for our members.
In the Blog Co Op section you will see a list of forums. These are the topics to list your mini article and perma-link in.
Please only post links to YOUR Blog! No links to article or news sites.
Post a new thread each time you make a new blog entry in the Blog Co-Op. You need to choose the topic category you place you're your submission in carefully, only submit each of your articles one time.
When posting a New Topic, write a little description or use the first paragraph about your new blog article. Be sure to include the link that directly goes to that article, use your perma, or deep link
In the Thread title of your mini article use a descriptive title describing your blog post.
Do not post links to blatant ad sites, or blog ads. (even if you call it a blog). You can sell from your blog but it must get real information posted regularly.
Do Not post links to copy and paste blog entries. We want to see articles that YOU have written.
Absolutely No Plagiarism.
If you do not see a topic category that fits your needs let me know. Send me a PM and we will try our best to accommodate you, or give you some direction.
We all know that a blog needs people to visit, comment, and share. This is the easiest way to find topic specific content.
The only way content rules, with links
Related articles.
Blog Co-Op is not a Game
Back Linking
Commenting on Do Follow Blogs


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To help transform Matthew McConaughey into a man dying of AIDS, Robin Mathews used grits to simulate a flaky rash in "Dallas Buyers Club."
For a pivotal comb-over scene in "American Hustle," Kathrine Gordon shaved and thinned part of Christian Bale's bushy mane, leaving a patch of hair known as "the island."
And to create the poisonous-fog-induced blisters that break out on Jennifer Lawrence's character in "The Hunger Games: Catching Fire," Ve Neill and her team spent several hours fashioning the boils out of a membrane-thin silicone — in the middle of a Hawaiian jungle.
The three artists and their colleagues will be feted Saturday night at a dinner and awards show their guild is throwing for its members for the first time in a decade.
Long accustomed to working behind the scenes to make the stars shine, these artisans are increasingly eager to cast a spotlight on their craft, which remains as relevant today as it was nearly a century ago, when Lon Chaney (the "man of a thousand faces") transformed himself into terrifying monsters and tormented characters.
"The timing was right," said Susan Cabral-Ebert, president of the 1,880-member Make-up Artists and Hair Stylists Guild. "People have been asking to bring our awards show back for 10 years now. We're trying to increase our stature again to make producers sit up and take notice of what we do."
Improvisation is as much a part of their art as the craft itself.
With a makeup budget of just $250 for "Dallas Buyers Club," Mathews didn't have the time or funds to buy prosthetics to transform McConaughey and Jared Leto into men dying of AIDS. Filmed in Louisiana, the independently produced movie from Focus Features had a budget of only $4.5 million.
So Mathews relied almost entirely on paint and powder, highlighting and contouring bones, tendons and veins on their faces and bodies to make them look emaciated. She lined up pictures of skulls and skeletons in her trailer so she could draw in the facial bones of the men, who each lost about 40 pounds for their roles.
To help create the look of a patchy red skin rash known as seborrheic dermatitis, Mathews pressed grains of cornmeal and grits onto McConaughey's skin. She got the cooking supplies from her mother — because, she said, "we didn't have the money to buy the grits."
Not even she was sure it would work.
"I was having trouble getting over the fact that here is this amazing actor who has lost all this weight to play a role of a lifetime and I'm going to throw grits on his face," Mathews said.
For veteran hairstylist Gordon, the challenge in "American Hustle" was making the naturally hirsute Bale look like a con man hiding his bald patch with an elaborate comb-over.
"How are we going to achieve a comb-over on a guy with a full head of hair?" Gordon asked herself.
After two days of research and testing on wigs, Gordon settled on a look she said was modeled on Playboy founder Hugh Hefner. She even proposed a back story of a man so obsessed with his hair he would glue a piece of fake hair onto his bald spot, then cover it up with his remaining hair, and hold the whole construction in place with copious amounts of hair spray.
"It had to be organic looking and it had to not look like a hairstylist did it," Gordon said. "Christian loved the idea that this guy was into his hair."
At the other end of the spectrum is the big-budget "The Lone Ranger." Although the Disney movie misfired at the box office, it has garnered an Oscar nomination for its makeup work, led by Joel Harlow.
Harlow supervised a team of as many as 20 makeup artists who worked on miners, Chinese railroad workers, Comanche warriors, soldiers and Johnny Depp's Tonto.
To be transformed from a young renegade into a frail old man, the actor had to sit for up to eight hours as Harlow and his team applied 17 prosthetic pieces over his chest, arms, hands and face.
Spending so much time together, makeup artists and actors share a close bond, often working together on multiple films and sharing ideas.
Harlow worked closely with Depp on creating Tonto's signature look — which included wearing a sacred crow on his head. The two had previously collaborated on the first "Pirates of the Caribbean" film, as well as "Dark Shadows," the upcoming "Mortdecai" and other titles.
"It's a unique relationship," said Harlow, who will present Depp with a distinguished artisan award Saturday night. "Typically, you're the first person they see in the morning, and if the environment is not one of ease and creativity and friendship, then it's going to set the tone for the entire day. It's like waking up on the wrong side of the bed."
Although they welcome the annual academy recognition, makeup artists and hairstylists say their work is often given short shrift in Hollywood. Among other things, there is only one Oscar category for makeup artists and hairstylists.
To help redress that, on Saturday the guild — Local 706 of the International Alliance of Theatrical Stage Employees — will host its first awards ceremony since 2004, handing out statuettes in 14 categories for the best work in film, television and commercials.
"Unfortunately, with the Oscars, a lot of really beautiful work goes unrecognized," said Neill, an Academy Award-winning makeup artist. "This way we get to see and hear about a lot of new artists in our field."
The guild had suspended the show because it was too costly to produce. But new support from sponsors — cosmetic and hairstyling companies — made it possible to revive the event, which is to be held on the Paramount Pictures lot in Hollywood.
The show is important, Cabral-Ebert said, because many new filmmakers don't appreciate makeup artists' craft and expect them to work more for less pay. Because fewer big-budget movies are filmed in the area now, L.A.-based makeup artists earn almost half what they did a decade ago, an average of $50,000 to $70,000 annually, Cabral-Ebert said.
But nationwide, makeup artists and hairstylists have been helped by the proliferation of new outlets, such as reality shows and cable TV series such as "The Walking Dead," which is among the nominees for the guild awards.
Despite the growing use of computer-generated imagery, many filmmakers prefer physical makeup — fashioned from foam, clay, paint and silicone — because it typically looks more real. The advent of high-definition cameras, projectors and televisions, however, means makeup artists must work harder to conceal unwanted blemishes.
"You can't be lazy because it will show," Cabral-Ebert said. "You have to be very, very good at your craft."


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Optical gas imaging cameras from FLIR can visualize and pinpoint gas leaks that are invisible to the naked eye. With an optical gas imaging camera it is easy to continuously scan installations that are in remote areas or in zones that are difficult to access.
Continuous monitoring means that you will immediately see when a dangerous or costly gas leak appears so that immediate action can be taken. Optical gas imaging (OGI) cameras are widely used in industrial settings, such as oil refineries, natural gas processing plants, offshore platforms, chemical/ petrochemical complexes, and biogas and power generation plants.
OGI cameras like the FLIR G300 a can detect harmful VOC's (volatile organic compounds) that can seriously harm the environment.
FLIR G300 a optical gas imaging camera can be easily integrated in housings with application specific requirements.


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21 February 2008
SQL Developer EA2 is out now
Did you know you can build a gauge into a report or a data grid query in SQL Developer 1.5? Take a look at this quick demo. Below is a preview screen shot.
6 comments:
- mettemusens said...
Hi !
Is there a place where you can see what SQL DEV extras you can specify in the SELECT statement (csv, seldev:gague, etc)?
best regards
- Mon Mar 03, 09:06:00 am GMT
- Sue said...
We don't have a specific list.I'll see if we can sort out something like that. There are very few as most of the commands are just SQL, SQL*Plus and PL/SQL commands in the worksheet, as you'd expect in SQL*Plus.
- Tue Mar 04, 04:42:00 am GMT
- mettemusens said...
Would be nice with a list, since most of us dont use sql*plus anymore, but toad or toad look alikes - and of course SQL Developer :-)
- Tue Mar 04, 08:47:00 am GMT
Is it possible to control the colours used for the sections of a guage provided by SQLDEV:GUAGE:min:max:low:hi - I really would like to be able to create a graduated scale from light blue (frosty) to amber progressing through to red.
No chance we can specify low color:med color:high color parameter details ?
- Mon Mar 31, 10:49:00 am GMT
- Josir said...
Hi Sue, first of all congratulations for your blog. It is very helpful.
The gauges are great but how can I show them to my boss or to my customer ?
I tried to export as HTML but SQLDev assembles just SQLDEV:GAUGE string instead of the graphic.
Do you suggest any tip or tool to do that?
Josir Gomes
- Thu Jun 26, 06:47:00 pm GMT
- Sue said...
The Gauge is just that, a SQL String. We don't provide more functionality for these at this stage.
Why not have SQL Dev on a memory stick and take that to your customer? That way you can show more than just the gauge. Lots of our consultants use SQL Developer on a stick and don't worry with installing it on the machine.
- Wed Jul 16, 11:43:00 am GMT


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The Barrow County Board of Commissioners is hosting a community open house Tuesday, Feb. 19, for the West Winder Bypass project. The open house will feature displays of the proposed alignment, and transportation staff will be available to answer questions. The event is from 4-7 p.m. in the cafeteria of Westside Middle School on Matthews School Road, Winder.
The proposed project includes a new interchange at Highway 316 and Patrick Mill Road, a four-lane road utilizing Patrick Mill Road to a bridge over the CSX tracks and Hwy. 8, and continuing to a new intersection of the bypass at Highway 211 near Barrow Park Drive.
Written comments will be accepted until Tuesday, March 19. Send correspondence to Darrell Greeson, manager of Barrow County Engineering Department, 233 E. Broad St., Winder, Ga. 30680.
Open house Tuesday for West Winder Bypass project
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> Tubing / Hose - Low Pressure
23rd February 2016
New Product: You can now convert from BSP to SAE Flange with our new BSP to SAE Flange Adaptors. They are available in straight of 90 degree versions.
28th January 2016
New Product: We have added a range of female swivel brass hose tail with flat lining to our large range of brass hosetails.
Northern Compressed Air
Plot 22 Unit 2, York Road, Thirsk Industrial Park, Thirsk, YO7 3BX
Tel: 01845 522992


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Mr. Crackerz wrote:PAWNO wrote:I had so much fun this year in the idp league Aritz. But next week me n oz beans are getting seperate teams. So your gonna have to kick out one of those weaklings n make way for a new divison. <thanks for the Charles Woodson trade Xbay. He's weekly performances probably secured us a lot of tight victorys n if u had kept him. You'd probably gone on and had one of those dominate a division like moose knuckles or broncos type season.
no doubt dude, we can find space... I know everyone in this league (minus Broncos) but imma keep broncos cuz he's now the two time champion, and we gotta de-thrown him. Instead, i will drop my friend "pakiballa" who didn't do his lineup this year. SO yeah, remind me in 6 months, and we can get this started again.
The only problem I see is the draft. I hated my team and tried to do so many changes as possible, but it wasn't enough to overcome an awful auto-draft.
Still, it's probably the only way we can do this league, so count me in for next year as well.


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Arrest Made in French Montana Tour Bus Shooting
Philadelphia police have charged a 20-year-old man with murder and other offenses in connection with a shooting outside of French Montana's tour bus last week.
According to NBC 10 Philadelphia, the suspect, Frank Briggs, allegedly pulled up in a car and opened fire on a crowd of people who were congregating near Montana's bus. One person, Jowann King, of New York, was shot and killed, while a second man was wounded but survived his injuries.
Briggs is charged with murder, attempted murder, aggravated assault and other related offenses. Authorities have not explained the motive behind the shooting, however, the Coke Boys leader insists he was not the intended target.
Montana also expressed remorse for the victims' family. "My deepest thoughts and sympathies go out to the families of the victims, as well as all of those who were affected," he tweeted following the tragedy.
Watch French Montana Interview With NBC 10 Philadelphia


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Free standard delivery on all orders. Shop now
Tokyo-based Neighborhood, not widely distributed outside Japan, was started in 1994 by Mr Shinsuke Takizawa. The label produces indomitably cool Japanese streetwear, with a level of high-fashion sophistication. This season we particularly like the chambray shirts. Tokyo-based brand Known for cool streetwear Inspired by culture and tradition


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Search terms
Experience Hospitality TV
The ultimate hospitality platform, simplified to operate seamlessly in today's digital environment, with software upgrade capabilities to evolve to tomorrows changing landscape. See all benefits
Unfortunately this product is no longer available
Experience Hospitality TV
The ultimate hospitality platform, simplified to operate seamlessly in today's digital environment, with software upgrade capabilities to evolve to tomorrows changing landscape. See all benefits
Unfortunately this product is no longer available
Philips offers unmatched commitment to keeping your guest rooms in working order. We have such confidence in the reliability of our televisions that we offer a two-year advanced exchange warranty with same day ship. In the unlikely event that something does go wrong we ship a replacement directly to you. (Same day ship applies to calls received M-F prior to 2 PM ET.)
This model is compatible with the Gateway Network Appliance (GNA). The GNA is a management device that allows remote programming and maintenance of your televisions, so you never have to enter the room to make changes again! With a GNA you can update and adapt channel maps, change TV settings, and keep television software up to date, saving substantially on the cost of room visits. The GNA also allows data updates for Simple Slide Shows running on this Philips commercial television.
Our built-in digital autosensing connectivity panel includes HDMI for game consoles as well as USB inputs. Guests can also plug their USB memory sticks right into the set to play back music or photos (.mp3 or .jpg files).
With the built-in SPI data port, and the addition of a set back box offering Pro:Idiom™ decryption, and MPEG-4 decoding, this TV is compatible with virtually all available hospitality entertainment content systems, both Pay-per-View and Free-to-Guest.
Philips Easy Install software consists of a simple to use PC program that allows all features to be configured and all channels to be mapped in a fraction of the time it takes to do so on an actual television with a remote. Improved organization of the on-screen Setup Menu also enables a faster and easier manual install process.
EcoPower³ allows the backlight intensity to be decreased to improve the energy efficiency of the TV - even beyond the EnergyStar requirements! Some screen sizes even offer active adjustment based on real time picture measures and actual room lighting conditions to deliver the best possible picture at the lowest possible energy consumption.
Philips unique Security stand is a complete commercial solution, offering 180 degree swivel that can be limited in either or both directions to 30, 60, or 90 degrees. The stand includes a securable mounting plate that can be affixed either using security screws or non-drill adhesive. In addition, all security hardware for drill and non-drill mounting is included on select models (check with your Philips representative for specific models).
LED backlit means NO mercury
Decodes MPEG-4 from satellite TV
Decrypts Pro:Idiom™ encrypted video
Energy Star compliant
ROHS compliant


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Foundation / Corporation
Grants to USA graduate students, early-career investigators, and established investigators for research addressing mental health conditions. This program offers pilot grants in the broad areas of objectively measuring mental states, mental wellness self-management, and remotely monitoring patients. This program seeks proposals that investigate the assessment and treatment of mental health conditions, as well as mental and physiological reactions to physical health conditions.
Proposals should clearly indicate how the research project aligns with the prediction or measurement of: mental health conditions (SUD, PTSD, anxiety, autism, etc) and/or physiological reactions to various stressors. Particular interest is given to projects that address these priority areas: suicide, addiction and anxiety disorders; although research focusing on other topics are encouraged to apply.
This call for proposals is intended to:
1. Stimulate innovative research ideas among the mental health community
2. Encourage the development of early to mid-career researchers
3. Encourage future collaboration among applicants
Funding is available through the following mechanism of support:
Pilot Project Grants – to provide seed funding for research projects to help attract external support for large-scale studies. Proposals should explain clearly how the proposed project will lead to additional external funding, specifying the funding source if possible.
Proposals will be assessed against the following criteria:
-Impact: The significance of the problem, and potential for new insights into methodological, ethical, and/or policy issues in health and health services.
-Investigator(s): The qualifications of the PI and, if applicable, the background and experience of the investigator team.
-Methods: Appropriateness and methodological rigor of the scientific plan.
-Alignment: The project's alignment with the goal and themes of this call for proposals.
-Potential: The likelihood the pilot project leads to high impact papers and grants.
Other Requirements:
All studies must use the NeuroFlow software to objectively measure and track mental/physiological states.
All investigators receiving funds must submit a final report to NeuroFlow at the end of the funding period and continue to keep NeuroFlow informed of any publication progress post-funding period. Investigators may also be requested to present their results at a research seminar supported by NeuroFlow. Investigators must acknowledge NeuroFlow support on all publications and other products of the pilot grant and send copies of all products to NeuroFlow.
Use of Grant Funds:
Funds may be used to support PI and project staff salaries and benefits, consultant fees, data management, supplies, research subject incentives and other direct expenses.
Equipment and software purchases are to be taken from the grant award.
GrantWatch ID#: 183402
The budget for a current PhD-level researcher pilot project grant will be under $7,500. The budget for a current graduate or professional student pilot project grant will be under $5,000.
Projects must be completed by December 31, 2018, publications may be under review at this time.
Applicants must hold at least a bachelor's degree. Potential applicants may be current graduate or professional students, early-career investigators seeking to establish independent directions, or established investigators pursuing new directions.
Projects that have already received funding are not eligible under this solicitation.
Funds may not support faculty salaries, or travel to meetings to present work. No indirect costs are permitted. No internal service center fees tied to faculty or staff effort are permitted unless independently justified.
The deadline for submitting applications is Thursday, May 31, 2018 at 5:00 PM EST. Awards will be announced by June 22, 2018.
Before starting your grant application, please review the funding source's website listed below for updates/changes/addendums/conferences/LOIs.
Apply Online:
Ellen McGeoch
USA: Alabama; Alaska; Arizona; Arkansas; California; Colorado; Connecticut; Delaware; Florida; Georgia; Hawaii; Idaho; Illinois; Indiana; Iowa; Kansas; Kentucky; Louisiana; Maine; Maryland; Massachusetts; Michigan; Minnesota; Mississippi; Missouri; Montana; Nebraska; Nevada; New Hampshire; New Jersey; New Mexico; New York City; New York; North Carolina; North Dakota; Ohio; Oklahoma; Oregon; Pennsylvania; Rhode Island; South Carolina; South Dakota; Tennessee; Texas; Utah; Vermont; Virginia; Washington, DC; Washington; West Virginia; Wisconsin; Wyoming
USA Territories: American Samoa (USA) Guam (USA) Puerto Rico (USA) Virgin Islands (USA) Northern Mariana Islands (USA)
USA Compact Free Associations: The Federated States of Micronesia (USA) Marshall Islands (USA) Republic of Palau (USA)
Canada: Alberta British Columbia Manitoba New Brunswick Newfoundland and Labrador Northwest Territories Nova Scotia Nunavut Ontario Prince Edward Island Quebec Saskatchewan Yukon
International country outside of the USA, Israel and Canada.


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Scientists at The University of Nottingham are leading an ambitious research project to develop an in vivo biological cell-equivalent of a computer operating system.
The success of the project to create a 're-programmable cell' could revolutionise synthetic biology and would pave the way for scientists to create completely new and useful forms of life using a relatively hassle-free approach.
Professor Natalio Krasnogor of the University's School of Computer Science, who leads the Interdisciplinary Computing and Complex Systems Research Group, said: "We are looking at creating a cell's equivalent to a computer operating system in such a way that a given group of cells could be seamlessly re-programmed to perform any function without needing to modifying its hardware."


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by Fr. William G. Most
Forty days after his Resurrection, Jesus ascended into heaven. During this period
between his Resurrection and Ascension, He actually gave the primacy He had promised to
Peter, as we read in John 21. The many events between His resurrection and ascension
preclude the theory that He ascended on Easter. His ascension does not mean that heaven is
somewhere up in space. This was a way of making clear that He was leaving the present mode
of existence. St. Paul in Colossians 3:1 urges us to live our lives now as if we had
already died, had risen, and had ascended with Him. In a mystical sense we have done that,
in that our Head has done that. In the physical sense it is still in the future.
He ascended to receive the glory due to Him as conqueror of sin and death (Philippians
2:8-11); to be our Mediator and advocate with the Father (Hebrews 9:24); to send the Holy
Spirit as He had promised at the Last Supper (John 16:7); and to prepare a place for us as
He also promised (John 14:2).
Now He is seated at the Father's right hand, which means that, as He said, "all
power has been given to Me in heaven and on earth (Matthew 28:18). He always had that
power as God, but now He exercises it as man, as King of the Universe, with His Mother
beside Him as Queen of the Universe.
As God He is everywhere, but not as man, though He is present on earth most widely in
the Holy Eucharist, even as man.
Besides this real bodily presence in the Eucharist, Christ is present on earth in
other, lesser ways. Vatican II explained the various forms of presence, in the
Constitution on the Liturgy, # 7: "Christ is always present to His Church, especially
in liturgical actions. He is present in the Sacrifice of the Mass in the person of the
priest; 'He is the same one, now offering by the ministry of priests, who then offered
Himself on the Cross [citing the Council of Trent].' But He is most greatly present under
the Eucharistic species. He is present by His power in the Sacraments, so that when anyone
baptizes, Christ Himself baptizes. He is present in His word, for He speaks when the
Sacred Scriptures are read in the Church. He is present, finally, when the Church prays
and sings the Psalms, He who promised 'Where two or three are gathered in my name, there I
am in their midst'"(Matthew 18:20).
Taken from The Basic Catholic Catechism
PART FOUR: The Apostles' Creed VI-VIII
Sixth Article: "He ascended into heaven; He sits at the right hand of God the Father
By Rev. William G. Most. (c) Copyright 1990 by William G. Most
Continue on to Q&A on the Ascension.
Return to the "Jesus Christ" main menu.
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A new study by boutique research firm Boenning & Scattergood for CNBC found that Woodbury Common Premium Outlets is the fourth most lucrative in the U.S.
The 20 most valuable malls in the country owned by real estate investment trusts bring make nearly $21 billion in retail sales a year, the study says.
The Woodbury Common in Central Valley in Orange County comes in at No. 4 on the list, with a total asset value of $3.2 billion and $1,624 sales per square foot. The mall is owned by Simon Property Group (the same company that owns The Shops at Riverside).
The most lucrative mall in America is the Ala Moana Center in Honolulu, Hawaii, owned by General Growth Properties. The mall is worth $5.74 in total asset value and $1,450 per square foot.
Click here to sign up for Daily Voice's free daily emails and news alerts.


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Passover is all about traditions. Teaching your children and passing on their legacy by simply cooking a passover dish together. Samantha learnt to make this Passover pancake from her mother and she now shares it with us. What are your Passover traditions?- CookKosher
A childhood favorite of mine that doesn't have many hits on Google search; I was pleasantly surprised when I did a quick online inquiry of "bimuelos" and noticed that everything I found was not nearly as close to the indulgent treat I grew up with as a kid.
Love this recipe, what a wonderful addition to the usual matzo choices!! I can smell it cooking from here lol!


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"The NSA's TAO hacking unit is considered to be the intelligence agency's top secret weapon. It maintains its own covert network, infiltrates computers around the world and even intercepts shipping deliveries to plant back doors in electronics ordered by those it is targeting." [TAO – Tailored Access Operations]
"TAO specialists have directly accessed the protected networks of democratically elected leaders of countries. They infiltrated networks of European telecommunications companies and gained access to and read mails sent over Blackberry's BES email servers, which until then were believed to be securely encrypted. Achieving this last goal required a "sustained TAO operation," one document states. This TAO unit is born of the Internet — created in 1997, a time when not even 2 percent of the world's population had Internet access and no one had yet thought of Facebook, YouTube or Twitter. From the time the first TAO employees moved into offices at NSA headquarters in Fort Meade, Maryland, the unit was housed in a separate wing, set apart from the rest of the agency. Their task was clear from the beginning — to work around the clock to find ways to hack into global communications traffic."


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A project by four Hope College students was named a semi-finalist in the 2013 Walt Disney Imagineering ImagiNations Design Competition.
Open to teams of students or recent graduates who were sponsored by a college or university, the national competition challenged participants to "pick one city anywhere in the world and design an entertainment/recreational experience for its citizens and tourists."
The Hope group was among 35 semi-finalist teams, selected from among 187 that passed an initial round. The submissions were judged by Disney Imagineers from around the world.
The four-member Hope team designed "Fort Disney: Detroit," with attractions including an indoor water park, sports and fitness complex, play centers, fine and casual dining, and, not least of all, an opportunity for guests to participate in an adventure to help Mickey Mouse save the fort from a cadre of classic Disney villains, including Captain Hook and Malificent the sorceress. Among other features, guests would be provided personalized "mission trackers" that the park would be able to read electronically—even, for example, enabling animatronic characters to recognize them by name.
"Most of the people in our group are from the Detroit area," said junior Brooke Jeries of Highland, who was the team leader. "We obviously have some Detroit pride."
The four students, all of whom are juniors, represent a range of academic interests. Jeries is an electrical engineering and physics dual major; Angie Kurtz of Streamwood, Ill., is majoring in theatre; Hailey Perecki of Romulus is a studio art major; and Caitlin Ploch of Redford is a mechanical engineering and physics major.
The students' contributions to the project reflected their academic emphases, with Jeries and Ploch especially providing concept development and technology research and development; Kurtz providing concept art; and Perecki providing concept art and video sketches.
They brainstormed ideas across the summer of 2012 and then worked in earnest to meet the competition's November 9 deadline. Jeries noted that the group enjoyed the opportunity to apply what they were learning to an independent project.
"We tried to take everything we've learned while being here and incorporate it into something that wasn't a homework experience—we just wanted to make people laugh and smile," she said.
Six of the other semi-finalist teams were chosen as finalists with the chance to compete at Walt Disney Imagineering in California for first-, second- and third-place awards. As semi-finalists, the members of the Hope team had a unique opportunity of their own: a conference call with Disney Imagineers who took time to provide feedback about their submission.
Participation in the competition was the realization of a dream for Jeries, a lifelong Disney enthusiast who's known about the event since she was a child. She and Ploch are planning to enter the event next year as well, and Jeries is hoping her involvement with Disney won't end there.
"I decided I wanted to be an Imagineer when I was nine," she said.
"I knew about this competition as a way to make connections with the company and also to try it out and see if that's something I want to do," she said. Based on her experience this past year, she noted, "I'm positive."


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Organa-Add 2-0-0: The same formula growers across the globe have grown to trust is now O.M.R.I certified. Organa-Add functions as a growth and bloom catalyst containing all necessary organic activators. Adding the product to your regimen will increase the production of essential oils improving overall quality while maximizing your yield. A balanced formula of vitamins, amino acids, carbohydrates, proteins and organic chelates.
Organa-Add should be used the duration of your crops cycle to ensure explosive growth. To increase absorption rate of the amino acid content the completely solubilized liquid can also be foliar sprayed. Organa-Add is super concentrated at 1 teaspoon for 5 gallons and should be used in conjunction with your favorite fertilizer.
This item is sold individually. The case size is listed for your convenience for instances where you wish to order in case quantities.
— Ships from H: WA, CA, CO, MI, TN, PA, FL USA.


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You are free to submit content to MFGG, as long as it is kept within the rules. Any content violating these rules will not be accepted into MFGG's archive.
All Nintendo material is © Nintendo. MFGG does not own any user-submitted content, which is © the submitter or a third party. All remaining material is © MFGG. MFGG is a non-profit site. Please read the Disclaimer.
Powered By: Taloncrossing SMS v0.8.5, © 2008 Taloncrossing.com


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Sheet music downloads have become the preferred method of acquiring classical music repertoire. Created by professional musicians, EveryNote.com presents classical sheet music download of over 20.000 popular and hard-to-find music scores over 1000 composers. A major Internet provider of classical sheet music files download online, EveryNote.com offers the largest and most complete digital sheet music download library on the Web in the world. Instantly download, view and print your favorite classical music score. Everynote.com currently offers thousands of classical music compositions for Piano, Violin, Cello, Flute, Clarinet, Classical Guitar, Voice, Chamber and Choral music.Many more instruments, composers, genres added every day! EveryNote.com has been featured in The New York Times, Globe and Mail, Musical America and many other publications.
Giovanni Paisiello
1740 – 1816
Giovanni Paisiello short biography
A great Italian composer, Giovanni Paisiello served at the court of Catherine II of Russia. Paisiello was also appointed Napoleon's maître de chapelle. Paisiello composed over 100 operas, music for church, keyboard and chamber music. Paisiello's opera The Barber of Seville became so famous that it rivaled Rossini's opera of the same name.
More Paisiello sheet music download on EveryNote.com
Paisiello Piano sheet music download on EveryNote.com
Paisiello Songs sheet music download on EveryNote.com
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What We Can Do
The Leukemia Ironman Fundraiser for Eric was established in 2003 as a resource that provides advocacy, education, information, and financial assistance for needs not covered by insurance (gas, hotel stays, hospital bills, medication costs, and co-pays) to families caring for young adults between the ages of 18 and 30 who have been diagnosed with cancer. We are also able to help make a person's last wishes (bucket list) come true.
The amount given can vary according to the family's situation, as well as availability of funds. If the application is approved, funds are sent directly to the patient to be used for whatever they may need. Criteria for assistance include:
- All patients must be between the ages of 18 and 30.
- The person must be diagnosed with cancer and currently in treatment. He or she does not need to be hospitalized at the time of the referral.
- The person must be in a state of financial need.
- The application should be submitted by a social worker or medical caregiver.
- The patient must be a U.S. citizen receiving treatment in the U.S.


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Apple: Wells Wonders if Lumia-Xbox Tie-Up Raises Urgency for TV Product
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In the wake of Nokia's (NOK) announcement this morning that it will sell its handset division to Microsoft (MSFT) for $7.2 billion, Wells Fargo's Maynard Um, who follows Nokia and Apple (AAPL), this morning wonders if the deal may nudge Apple to do more in the television market given what Microsoft may do with its Xbox home gaming line.
Writes Um, who has a Market Perform rating on Nokia, and an Outperform rating on Apple, writes,
While we don't see any near-/medium-term impact to Apple, we think the potential for MSFT to integrate its Xbox content and platform with its smartphones should light a fire under Apple to accelerate its TV strategy before MSFT can better integrate its Xbox platform. We believe AAPL ($494.94, Outperform) is still in a better starting position with its broader ecosystem (ex TV) and market share.
Apple stock today is up $6.38, or 1.3%, at $493.60.