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Exhibitionism: The Rolling Stones
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Huma Bhabha
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Huma Bhabha
Clay, wire, plastic, paint
114.3 x 243.8 x 152.4 cm
Working with found materials and constructed forms, Huma Bhabha reworks the familiarity of everyday objects into creepy inventions. Something between a primitive species and space alien, her Untitled is both ghastly and sympathetic. Set atop an altar-like plinth, BhabhaŌĆÖs figure prostrates in submissive position. Shrouded in black, hands outstretched as if in prayer, it echoes humility and reverence; its aura of calm perversely interrupted by a rigid tail trailing out from behind.
Huma Bhabha
Museum Without Walls
Clay, wire, wood, styrofoam
89 x 63.5 x 86.4 cm
Humorously referencing both tribal masks and modernism, Huma BhabhaŌĆÖs Museum Without Walls presents the anatomy of a sculpture as voodoo construction. Using the traditional materials of sculptural moulding Bhabha constructs a skeleton of process, her formalist assemblage doubling as anthropomorphic entity. Laying bare her media and their function, Bhabha infuses her work with suggestive narratives. Museum Without Walls stands as both totem and architectural model, creating a contemporary primitivism from cultural refuse.
Huma Bhabha
Waiting for a Friend
Threaded steel rod, Styrofoam, wood, clay, paint
231.1 x 71.1 x 45.7cm
Approaching sculpture as a form of abjection, Huma Bhabha uses found materials combined with moulded components to create an aesthetic thatŌĆÖs equally industrial and barbaric. Using the rough hewn tactility of her materials, BhabhaŌĆÖs work exudes a fragile sensibility; their underlying fictions of lost utopia wittily mirror contemporary anxiety. BhabhaŌĆÖs Waiting For A Friend towers as a dejected fertility totem. Lingering lonely against the gallery wall, its archaic form swells with expectation: plaster and wax thighs bulging, head exaggeratedly erect, spilled guts on full display.
Huma Bhabha
International Monument
Clay, wire, Styrofoam, bone
61 x 81.3 x 43.2 cm
Picturing an upraised hand crudely crafted from impoverished materials and rendered in humble scale, Huma BhabhaŌĆÖs International Monument is less an icon of peace than a remnant of a forgotten ideal. Boldly exhibiting the methods of sculptural process as finished work, BhabhaŌĆÖs International Monument is conspicuously incomplete in pre-casting form; the potential for bronzed immortality is discarded in preference for the meagre and degradable. Lumpy crackling clay clinging to flimsy mesh and crumbly Styrofoam creates an intriguing tactility, echoing the fragile nature of the body. Rethinking the authoritarian qualities of ŌĆśmonumentŌĆÖ as reflective of the human condition, BhabhaŌĆÖs sculpture is both destitute and empathetic.
Huma Bhabha
Sell the House
Mixed Media
139.7 x 96.5 x 71.1cm
Central to BhabhaŌĆÖs work is the idea that materials embody a kind of mysticism or power that can be activated or enhanced through the artistŌĆÖs handling. Sell The House is a small sculpture made to the scale of architectural models or museum relics. Assembled from construction staples such as wood and bricks the body of her sculpture acts as a ŌĆśfoundationŌĆÖ for embellishment. Utilising the aged and weathered qualities of her materials, Bhabha heightens their totemic connotations by adding clay to create an animistic form or mask. The ŌĆśunfinishedŌĆÖ appearance of the sculpture both exposes the artistŌĆÖs process of making and the materiality of the construction, framing these as something cryptic, compelling, and haunting.
Huma Bhabha
painted bronze
113 x 48.3 x 25.4 cm
Huma Bhabha is well known for making sculptures from inexpensive media such as Styrofoam, wood, and clay. She uses these materials for their immediacy: they are easy to work with and shape, reveal her making processes, and convey a sense of mystery in their ŌĆśordinarinessŌĆÖ; they are also the materials traditionally used in bronze casting to make the ŌĆśoriginalŌĆÖ of the sculpture for the mould. In A.B. however, Bhabha doesnŌĆÖt only allude to this process, but follows it through to its ultimate conclusion. Picturing a clay head crowning a stack of readymade packing, A.B. is actually a cast and painted bronze. Its surface is uncanny in its detailing: the rough-worked clamminess of clay and gauged and dimpled texture of Styrofoam pose convincingly as the real thing, giving a sense of power and import to the discarded original, and questioning the conventional values of ŌĆśhighŌĆÖ and ŌĆślowŌĆÖ art.
Huma Bhabha
Man of No Importance
clay, wire, wood, bones, iron, cotton, fabric, glass
165.1 x 104.1 x 76.2 cm
One of the ideals in modernist sculpture was that materials should refute illusionary form: rather than trying to ŌĆśtrickŌĆÖ the viewer into believing that metal or clay might actually be flesh or hair, it was thought that materials should resemble themselves and be material-like. Bhabha draws upon these notions in a contemporary way. Man of No Importance exposes the exact methods of its construction, and the worn and brutal qualities of the materials give the sculpture an aura of ancient ritual and reverence. In BhabhaŌĆÖs work, however, this ŌĆśhallowednessŌĆÖ is used to humorous effect as her mythological character, made from bits of scrap, becomes the physical embodiment of impoverishment, temporality, and ideological failure.
Huma Bhabha
Untitled Drawing
watercolour, pastel, pencil, ink on paper, mounted on board
40.4 x 30.4 cm
BhabhaŌĆÖs Untitled Drawing approaches drawing with the physical sensibility of sculpture. Mounted on board, the image is made more ŌĆśobject-likeŌĆÖ than if it were simply on paper. Bhabha uses a variety of media, each imparting their own distinct ŌĆśfeelŌĆÖ and texture: indelible stains of watercolour suggest a poetic fragility underlying thick layers of greasy pastel, opaque ink washes, and gritty graphite residue. BhabhaŌĆÖs physical process of drawing becomes enhanced through the earthy hues which record the evolution of the piece with a rough, organic aesthetic. The strong contrast of light and dark tones creates a deceptive spatial illusion; the abstract image, reminiscent of a mask, emerges with the three dimensional intensity of sculptural relief.
Huma Bhabha
The Orientalist
177.8 x 83.8 x 104.1 cm
BhabhaŌĆÖs The Orientalist conveys ideas of exoticism, difference, and otherness. Equally primitive and futuristic, BhabhaŌĆÖs figure theatrically poses as an ominous king or deity. Cast in bronze, it sits as an imposing relic from a fictional history, a regal air emanating from its polished geometric armour, molten death mask, and ethereal chicken wire veil. Humanised through exaggerated hands and feet and sympathetic cartoon styling, its powers waver between the comically surreal and portentously intimidating, drawing narrative suggestion from the loaded clich├®s of late night science fiction and horror movies.
Additional information on Huma Bhabha
A variety of images and additional information on Huma Bhabha
A selection of alternative images on Huma Bhabha
Additional information and images.
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Use a combination of these core back exercises to strengthen your lower, upper or middle back areas. Whether you're interested in barbell deadlifts or reverse extensions, we have back strengthening exercises for every level. These exercises are also featured in convenient workout routines that include proper warm-up and cool-down techniques, which greatly reduces the risk of injury.
Fit Life Articles
You are the only person in charge of you, and if you want something (better health, a more fulfilling job or a more nourishing relationship), you need to take action. Let go of these five habits in order to be the healthiest version of yourself.
Over the past decade, the number of people biking to work has increased by 60%. More cities across America are embracing bike-friendly policies and programs, making it safer for people to integrate cycling into their modes of transportation. Biking to work can be...
If you find yourself not making any gains or simply want a different exercise program, here are six ways using heavy weights can help you make the changes you want to see in your body.

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Doula! What is that?
A woman who is trained to assist another woman during childbirth and who may provide support to the family after the baby is born. At New Mommy Mentor we go even further, by working with you before, during and after the baby comes.
Having a new baby is such a joyful experience. It can also be overwhelming. With over 28 years of experience as a newborn care specialist, postpartum doula, breastfeeding counselor, mother and grandmother, I have seen every beautiful phase of babyhood. It is my passion and joy to help parents with all the challenges of being a new parent. I would love to make life with your precious baby more peaceful by being your new mommy mentor. Please feel free to call or email. I am always happy to hear from you!
New Mommy Mentor offers a full range of services including:
|Newborn Skill Class
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Whether you're shopping for the next generation phone, a digital TV package, or broadband Internet service for your business, AT&T is your go-to for communication solutions.
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Every spring, our lovable Bunny pops up at your favorite Simon mall. When you visit The Bunny, no words are needed. He's fluent in smiles and hugs! Children can stop by the Easter Bunny set to have their fun moment with...
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Arts & Culture in Ship Bottom NJ
Ship Bottom
Ship Bottom is often referred to as the "Gateway to Long Beach Island" because of the Causeway linking the Borough to the mainland.
Enjoy family fun activities like miniature golf and the beach. Bring your boat and take advantage of one of the many boat ramps available to hit the water and take in the sea air.
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City: Ship Bottom
285 W. 8th St. Ship Bottom, NJ 08008
Long Beach Island art in needlepoint.
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USU basketball: Utah State men's basketball announces 2012-13 schedule
Utah State returns to the state of Utah but continues road action by playing at BYU. USU will then host Western Oregon before its final non-conference road game of the season at Utah Valley on Saturday, Dec. 15.
Utah State will close out December by opening its eighth and final season of WAC action by heading to Texas to face UTSA and Texas State on Saturday, Dec. 29 and Monday, Dec. 31, respectively, in USU's first-ever match-ups against both schools. The Aggies will kick off the new year by hosting Seattle on Thursday, Jan. 3 before hosting Idaho and former USU assistant coach Don Verlin on Saturday, Jan. 5. Utah State will round out its longest WAC homestand of the season by hosting San Jose State on Saturday, Jan. 12.
After playing at New Mexico State, USU will play at another first-year WAC team, Denver. The Aggies return home to host UT Arlington on Thursday, Jan. 24, in the Mavericks' second year in a row playing in the Spectrum after playing in last year's World Vision Challenge, before USU faces Louisiana Tech. USU completes January action and opens February play by heading to the Northwest, with a match-up at Idaho on Thursday, Jan. 31 and at Seattle on Saturday, Feb. 2. The Aggies' longest road stretch of the regular-season concludes on Saturday, Feb. 9 at San Jose State.
A three-game homestand opens on Thursday, Feb. 14 with a Valentine's Day match-up with Denver, before an all-Aggie clash between USU and New Mexico State. For the eighth year in row, Utah State will be participating in the ESPNU BracketBusters and will host an opponent to be determined on Friday, Feb. 22 or Saturday, Feb. 23.
The Aggies' final regular-season road trip will take them to Louisiana Tech on Thursday, Feb. 28 and play at UT Arlington for the first time in school history on Saturday, March 2. To conclude the regular-season portion of the ledger, Utah State will host Texas State and UTSA in both teams' first-ever visits to the Spectrum.
The 2013 WAC Tournament will once again be held at the Orleans Arena in Las Vegas, Nev., from Mar. 12-16, utilizing the traditional 10-team tournament format, with the No. 10 seed meeting No. 7 and No. 8 will face No. 9 in the first round, with the winners advancing to the quarterfinals.
Utah State returns three starters among five lettermen from last year's team that finished the season with a 21-16 record, advancing to the championship game of the CollegeInsider.com Tournament (CIT). Headlining the returners is junior guard Preston Medlin, who averaged 17.0 points per game to go with 4.4 rebounds per contest, and was named first-team all-WAC in 2012, marking the 13th-straight year Utah State has had at least one player earn first-team all-conference honors. For Medlin, he is just the second sophomore in school history to earn first-team all-league honors along with Nate Harris (2004).
Also returning is senior forward Kyisean Reed, who was a member of the WAC's all-newcomer team after posting 10.0 points and 5.1 rebounds per game in his first season as an Aggie. Junior guard Danny Berger is the third returning starter for USU, after tallying 6.6 points and 3.4 rebounds per game in 2012, also his first season as an Aggie. Morrill and USU will also have eight newcomers in 2012-13.
Utah State extended its current school records for consecutive 20-win seasons and postseason appearances to 13-straight in 2012 as it is one of just five schools nationally to win 21 games in each of the last 13 years along with Duke, Gonzaga, Kansas and Syracuse. Furthermore, USU's current run of 13-straight postseason appearances is tied for the 11th-longest active streak in the nation.
For USU men's basketball ticket information, contact the Utah State Ticket Office at the Dee Glen Smith Spectrum or by phone by calling 1-888-USTATE-1 or (435) 797-0305.
Fans can follow the Aggie men's basketball program at twitter.com/AggieHoops. USU fans can also follow the Utah State athletic program at twitter.com/USUAthletics or on facebook at Utah State University Athletics.
2012-13 UTAH STATE Men's Basketball Schedule
Date Opponent Location Time Series Record
Fri., Oct. 26GRAND CANYON (Ex.) Dee Glen Smith Spectrum 7:05 p.m.
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Fiscal Reform in Colombia: Problems and Prospects
- Richard M. Bird() (University of Toronto)James M. Poterba() (MIT)Joel Slemrod() (University of Michigan)Registered editor(s):
Colombia, once a model of fiscal discipline for other Latin American nations, has seen its fiscal situation deteriorate since the early 1990s. Higher government spending, taxes that did not keep pace with expenditures, and severe recession led to an unsustainable debt-to-GDP ratio of 52 percent in 2002. Short-term tax increases, even coupled with spending reforms, have not restored Colombia to fiscal balance. A Colombian government commission charged with researching more long-term tax and fiscal reforms gave rise to the selected essays included in this book, each coauthored by Colombian and North American public finance experts. The analyses and recommendations have particular policy relevance for developing economies in general. The studies include both broad discussions of Colombian fiscal and tax systems and detailed analyses of such specific tax instruments as the payroll tax, value-added tax, and the bank debit tax. The focus is on three key concerns: the sustainability of Colombia's fiscal situation, possible reforms to the national tax system, and the fiscal relationship between the national and subnational governments. The theme that emerges from these studies -- the importance of moving toward a more efficient and equitable tax system while also raising revenue -- suggests the limitations of stopgap measures and the real need for long-term fiscal reform.
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|This book is provided by The MIT Press in its series MIT Press Books with number 026202585x and published in 2005.
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| Web page: http://mitpress.mit.edu
Keywords: colombia; recession; government; tax systems;
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- World Bank, 2009. "Colombia - Decentralization : Options and Incentives for Efficiency - Main Report," World Bank Other Operational Studies 3096, The World Bank.
- World Bank, 2009. "Colombia - Decentralization : Options and Incentives for Efficiency - Sector Annexes," World Bank Other Operational Studies 3097, The World Bank.
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Chef Robert Irvine poses for a photo with a fan.
A country/bluegrass band was one of two bands providing the soundtrack
The scene
Something was going on with chocolate in here...
Emeril as a jack-o-lantern, spooky!
A jazzy second band played in front of Bowery Kitchen Supply
Yellowtail and pastrami slider from Morimoto
Emeril himself! Fans waited up to an hour for a chance to meet and greet the chef
Buddakan's tuna tartare spring rolls...mmm


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- 22 Resorts
- Consistent Snow
- Diverse destinations
- Resorts open before those of many other states
- Home to Vail, Beaver Creek, Copper Mountain
100cm of snow has fallen in the Swiss and Austrian Alps over the last two days. Full Article
7th December 2011
Want more from a resort than just skiing and snowboarding? Full Article
26th November 2010
Get snow reports, weather, forecasts, news and ski conditions for your favorite ski resorts.


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I was wondering if it is possible (and if so: with which hook) to change the order of my filters.
I need to have one of my meta field filters to show up in between my taxonomy filters.
Off course I could "hack" my way around this with jQuery , but would obviously rather do it in a clean way with a nice hook.


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SDCC: Marvel's "Doctor Strange" Combats "Death and Pain" in New Trailer
Comic Books, Film
What do we have this week? Only you can discover that!
Jordie Bellaire talks coloring. Ms. Bellaire, you'll recall, ranted about a certain convention that doesn't consider colorists artists, so she's been getting some press recently. Of course, over here at a certain fellow's weekly reviews, she's been getting press for being a damned fine colorist, so there!
Colin Smith is a fine thinker about comics, but he's never quite as much fun as when he's eviscerating comics, as he does with Batman #17. I haven't read Batman #17, so I don't know how spot-on his conclusions are, but Colin rips comics to shreds so elegantly that they're fun to read even if you haven't read the actual issue.
Over at Comics Alliance, Chris Sims checks out The Brave and the Bold #140. Chris Sims writing about Bob Haney comics is always a treat.
Eddie Campbell explains comics for you. Campbell is perhaps a bit old-fashioned in what a panel should show and how people read comics, but he makes some excellent points, using a fairly well-respected artist to make some points about comprehending a comic.
Billy Corgan shows up in a local furniture commercial. What a weird dude.
A fun cliché in movies is the line "You had one job!" So, of course, the Internet made a meme out of it. Because that's the Internet's job!
Daniel Knauf talks about Carnivàle and how it would have played out had it not been cancelled. I liked Carnivàle, and I wish HBO had been able to keep it around (it was wildly expensive). It's interesting to look back on certain shows and realize they were just ahead of their time. Arrested Development was one of those. Based on what's on television today, it seems that Carnivàle was another one. Oh well.
FotB Third Man gives us his Oscar predictions. I guess the Academy Awards are on tonight? I haven't cared about the Oscars for many years, ever since my kids were born and my watching-movies-in-theaters participation dropped to about 2 a year (last year I saw The Hunger Games, The Avengers, The Dark Knight Rises, and Argo in the theater, and that was a busy year!), but Oscar predictions are always fun. Check out Daniel's and see how he did!
I try to watch The Daily Show every morning (the day after it airs), and it's been years since I missed more than 1 or 2 in a row (I watched it when Kilborn was the host, bitches!). On Tuesday's episode, Stewart talked about the meteor in Russia, and it might have been the funniest bit I've ever seen on the show. Here's the link to the video. Russians, apparently, really like dashboard cameras, and they capture so very much. As Stewart says, Russia is apparently like a live-action Grand Theft Auto. I could not stop laughing.
Yes, it's the battle of nipple exposure in North Carolina. Seeing female nipples rots the mind!!!!!
Here's a story about taking pictures of nude women. So, yeah, it's the tiniest bit Not Safe For Work (although kind of like the SI Swimsuit Issue or the ESPN Body Issue). The project is explained at this site, which is definitely Not Safe For Work. Just be warned!
Here's a list of words that changed because people got them wrong. Yes, I know I'm a grammar and spelling Nazi, but that doesn't mean I don't recognize that things can change over time. But I don't have to like it!!!!
Enjoy the links, everyone. I'll remind you that there will be no links next week, as I'm hanging out for a good part of the week in Seattle and won't be scouring the Internet. I'm sure everyone will survive!
I think my favorite part of that Daily Show video is the horse using the crosswalk.
I heard on Marketplace that Russians have so many cameras, even in the middle of nowhere, because of corruption. Public officials are so crooked that dashboard cams are their only resource should someone try to trump up charges of one sort or another.
I don't watch the Daily Show too regularly, but the episode from back in 2004 where they covered the premiere of The Passion of the Christ had me laughing harder than most anything else I can remember. They spotlighted a clip where Mel Gibson said that it's untrue that the Jews are cursed for all time, and then it flipped back to Stewart who screamed at the camera "Do you hear that Jews?? Are you happy now???" Great stuff.
What did you think of Argo, Greg? I don't recall you mentioning before whether you liked it.
For your listening pleasure, Gary Lactus of the MindlessOnes performs a tribute to Constantine, entitled "Goodbye Hellblazer:"
I wanted to post this in What I Bought, when you were cursing DC to the high heavens over the cancellation, but it slipped my mind. Other good ones include Fantastic 4 and Booster Gold.
Michael: Yeah, that was pretty good, wasn't it?
Da Fug: Stewart mentions that. It's astonishing to think that it's so corrupt that this is the solution.
Daniel: I really liked Argo, for all the usual reasons. The fact that Affleck didn't get nominated for Director is a bit unbelievable, but it seems like one of those movies where the direction feels "invisible," which of course means it's probably better than something like Spielberg's heavy-handedness (although I haven't seen Lincoln, so maybe it's not as bad in that). But the Academy seems to like directors where you can feel the directing, which might explain it.
Cass: I'll have to listen to those. I read Mindless Ones only sporadically, so I missed it when it got posted.
I remember watching Carnivale and enjoying immensely as it reminded me of Twin Peaks (will they EVER do a reunion?).
I can also understand HBO dropping the series, as disappointing that was, the series was very slow moving story-wise. Not that there's anything wrong with it (see AMC's The Rubicon), but when ratings are important for the executives of HBO (or AMC) to decide whether to keep a series going or not …
Sometimes, it's best to pick up the pace a little bit. It would be nice to see a season three for Carnivale, tho.
So I looked at our pal Third Man's predictions and compared them to what won (based on the categories that my local paper mentioned).
Of the top 6 awards (pic, director, actor and actress and supporting actor and actress), he got 3 right, 2 wrong, and hedged his bet on director (but ultimately picked Spielberg wrongly over Ang Lee).
Of 4 others I know the results of, he got 2 right and 2 wrong (Score and Visual FX right, Cinematography and Original Screenplay wrong).
So he was right about half the time. I hope he gives back half the money he was paid for his article
But he was right all along about Argo as Best Picture, so give him that much.
Hell, he did as well or better than the Grammy predictions in my paper. They were so enamoured of Frank Ocean, but every year they seem to forget that most of the Grammy voters are old people who have no idea what the kids are listening to. They thought Ocean was a lock for Best New Artist, when it seemed obvious to me that fun. would win. (Unless the Lumineers upset them, but I didn't think that was too likely.)
I went 14-10, which is reasonably in line with a lot of major sets of predictions. Grantland did a little worse than me, Entertainment Weekly and In Contention did a little better. Hollywood Reporter did the best, going a surreal 21-3. There was one category that every single prediction got wrong: Best Animated Feature, which was a seriously fucked category. Brave is a perfectly fine movie, but it's absolutely not up to par with Pixar's other films (well, other than Cars 2). Most predictions had Wreck-It Ralph getting the award, simply because it was the best movie, and felt more like a classic Pixar offering. I suspect the problem was that a lot of voters didn't see the nominees and just voted for the Pixar brand. But Wreck-It Ralph is the best animated film since Toy Story 3 in 2010.
That was honestly the only award that really surprised me, with everything else going a way that I certainly thought was possible even if less likely than what I predicted. I'm slightly surprised by Best Director. I'm not shocked that Spielberg lost (I would have bet the field if that were an option), but I am surprised he lost to Lee. They now both have two Oscars for Best Director, which doesn't quite seem right. But Lee is a great director, and I probably underestimated how much people loved Life of Pi (which I also loved, even if I didn't necessarily think it was an Academy-type movie).
It was interesting how evenly spread out the awards were among the top movies: Life of Pi led with 4 Oscars, then Argo and Les Mis with 3 each, Lincoln, Skyfall, and Django Unchained with 2 each, and Silver Linings Playbook & Amour with 1 each. Beasts of the Southern Wild didn't win anything, which was expected, but it's kind of surprising that Zero Dark Thirty was shut out, which many people believe to be the best film of the year.
My full recap will be up sometime tomorrow probably.
Oh, and the Grammys bear no resemblance to the Oscars and ought never to be uttered in the same breath. Look, the Oscars get it wrong sometimes, there's no doubt. But generally speaking, an Oscar means something. A Grammy means nothing. They are worthless.
The issue is that in both organizations you have mostly older generations voting for mostly younger generations. While this trend does manifest in the Oscars from time to time, it mostly doesn't alter things too much because the idea and perception of quality filmmaking hasn't changed much over time, with the exception of the major generational shift that happened at the end of the 60's and gave birth to the "New Hollywood." But with music, what "great popular music" even IS typically changes radically every decade or so, and the new generation often forcibly supplants the previous. So when you put that previous generation in a position to award the new one, of course they balk, which is why the Grammy's always feel perpetually out of touch. They are. And they will never be in touch, because that's not the nature of popular music. It's an organization whose very goal is hopelessly ill conceived.
The Rock and Roll Hall of Fame runs into similar problems, although to a much smaller degree and they handle them much better.
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Read an Excerpt
Antonio Chatsfield sent silent not interested vibes to the lustrous dark-haired beauty sitting at the bar with her breasts displayed to prominent advantage in her low-cut dress, her kohlenhanced eyes firmly on him.
Everything about her jangled at his sensitive nerve ends. She was too obvious. Too smooth. Too polished. This whole place was too polished. He cast a jaundiced glance around the dark and sensual bar space of his family's London flagship hotel. For the past decade he'd been used to surroundings that were more likely to be made of rubble and scented with the stench of chaos, death and panic. But he pushed those thoughts aside. Not now.
He'd chosen to come here for the dark corners and dim lighting as opposed to drinking himself into a stupor in the hotel suite which he currently called home. He smiled grimly to himself: at least he could appreciate the functionality of wanting to numb himself while in the presence of other humans. His therapist would undoubtedly approve.
That functionality had been hard fought for but even now the familiar feeling of skin-prickling clamminess was never too far away for him to forget completelythe stomach-churning terror that used to grip him at random moments, sparked by something as minor as a dog barking or a loud noise, wrenching him out of the present and back to the cataclysmic past.
But the drink wasn't having much of an effect this evening. It was as if the acerbity inside him was diluting the effects. Even the woman lost interest now, turning her attention to another man who had just arrived at the other end of the bar. Antonio saw them exchange glances and saw the man indicate for the bartender to order her another drink.
Mentally he saluted them. He'd had enough encounters like that in his time. He just wasn't in the mood for one right now. Something spiked in his gut; he hadn't been in the mood for longer than he cared to admit, preferring to bury himself in work to avoid the gaping chasm inside him that he used to fill with meaningless encounters and high-octane danger.
He'd only been back in London for a couple of months, after years in exile, albeit punctuated by trips home. He was back because his family was in a state of crisis. His father had installed Christos Giatrakos as CEO to take charge of the family businessa worldwide string of eponymous luxury hotels that had been the byword in glamour and luxury since the 1920s.
The crisis was one of reputation and potential damage to the exclusive Chatsfield brand. Antonio's younger siblings, with the exception of his sister Lucilla, who had begged him to come and help, were all seemingly hell-bent on various forms of self-destruction amidst screaming headlines and lurid paparazzi shots. God knew, Antonio had indulged in his fair share of self-destruction along the way. He'd also left home when a lot of them were on the cusp of adulthood, so he could hardly judge them now.
Antonio had turned his back on his inheritance a long time ago and had had no intention of taking up the reins again, especially not when the autocratic Greek CEO wanted him to utilise his military and business expertise under the position of head of strategy to orchestrate the resurrection and expansion of the Chats-field brand.
But his closest sibling, Lucilla, had begged him to reconsider, indicating that it would be the perfect position from which to help her topple the CEO. Apparently Giatrakos didn't know better than to let the enemy in through the front gate. And Lucilla's entreaties had called to that part of Antonio that still wanted to make things better. He felt that he'd left it too long to step in and offer to help his other brothers and sister, who were all fully fledged adults by now, but Lucilla had expressly asked him to help her. She wanted to prove to Giatrakos that they could restore the somewhat tarnished Chatsfield name by covertly taking over a rival hotel business, the Kennedy Group, before the shareholders' meeting in August, demonstrating that they had no need of an outsider. And if that meant coming back to a place he'd have preferred never to see again, then so be it.
A familiar ache grew in Antonio's chest to think of his siblings and how none of them, including himself, had ever really had a chance, let down by their parents long ago. He'd done his best for a while, but it hadn't been enough.
The old wounds of the blazing row he'd had with his father more than ten years ago were still vivid. That was when he'd realised how futile his efforts were and that perhaps the best thing he could do for his family was to walk away and let them get on with it. As his father had reminded him all too succinctly, Antonio wasn't his brothers' and sisters' father and never would be, so he might as well give up trying.
A mirthless smile touched Antonio's mouth. His sister Lucilla knew him well. She sensed the guilt he felt for having left his family when he had, even though she'd been the one to urge him to go. She also sensed his restlessness, his rootlessness. But perhaps most of all she was counting on his wellingrained sense of responsibility still being partly intact. They'd been united in a heavy burden the day their mother had left their home, never to be seen from that day to this.
Antonio, despite all of the other mental images he'd accrued over the past decade, each one more horrific than the last, would never be able to erase the image of teenaged Lucilla holding their newborn baby sister in her arms, tears running down her cheeks. Antonio, she's gone just left us here. Alone.
Antonio had been too angry and overwhelmed and scared to say anything, so he'd just pulled Lucilla and their baby sister into his arms, vowing to himself that he wouldn't let the family fall apart. Whatever it took. He was fifteen at the time.
Disgusted to find his thoughts deviating down that unwelcome path, Antonio downed his drink, telling himself he'd be better off in his suite after all and not infecting the clientele with his surly presence. After all, he was trying to help his sister .
But just when he was about to make a move from the stool, the door opened and a woman walked in and Antonio's head blanked of any intention except to stay where he was.
He wasn't sure what it was about her that arrested him so powerfully. Maybe it was that she immediately stood out with her paler than pale colouring, made even more noticeable against the stark black of her dress. Maybe it was her long, slim, shapely bare legs and the classic black high heels. Whatever it was, Antonio couldn't move, his eyes tracking her graceful movements with a precision that had come from years of practice tracking targets that were far more lethal.
She came to the middle of the bar and waited patiently for the bartender to attend her. She had vibrant bright red hair, caught up in a high bun, showing off her delicate neck. A heavy blunt fringe was swept a little to one side; her eyes looked blue, but dark. Her dress was all at once discreet and sexy. It was silk and draped her from neck to mid-thigh, cinched in at the waist.
She had slender arms and delicate wrists. Short functional nails painted with clear polish. A black clutch bag. Diamond stud earrings and no other jewellery. Antonio realised that she wasn't as tall as he'd imaginedhe'd guess about five foot four without the heels. Petite.
Instantly that awareness of her inherent feminine fragility caused a slow burn in his groin, sending blood to his penis, thickening and hardening the shaft of flesh. Antonio had to move slightly to accommodate his body, mildly frustrated that he was being so easily stimulated when he'd felt dead inside at the other woman's far more obvious charms.
From what he could tell under the loose-fitting silk of the dress, this woman's breasts were small. Maybe small enough not to wear a bra. Just then she moved slightly and Antonio realised that there was a slash in the front panel of her dress from the neck to just under her breasts, so discreet you mightn't notice, but he did. He also noticed a tantalising curve of one pale breast, pert and firm.
Desire engulfed him, swift and debilitating, as he imagined sliding a hand into that gap of material and cupping her breast, feeling the scrape of her hard nipple against his palm.
Orla Kennedy stood at the bar and tried not to let the prickle of self-consciousness make her run back out the original Lalique-panelled door of the seriously intimidating dark and decadent 1920s bar. She reminded herself stoutly that she was here for Dutch courage and to gain precious inside knowledge ahead of her meeting, so she couldn't give up just because she felt as if every single pair of eyes was on her, singling her out as a sad woman drinking alone. Or worse, she realised when she saw a man and woman obviously flirting at the other end of the bar, that she was here to pick up a man!
Orla glanced furtively around her, picking out some more couples at the intimate tables and a group of city boys in suits sitting at a table along the wall near the back of the bar. She breathed a sigh of relief that no one seemed to be laughing and pointing at her and decided to sit on a stool at the bar, noting that she could take in what was happening through the antique mirror on the opposite wall.
The handsome bartender put her drink in front of her with a wink and Orla thanked him, signing it to her room. She took a sip but still felt that slightly uncomfortable prickling sensation, as if someone was watching her.
Maybe it hadn't been a good idea to book a room at the Chatsfield Hotel ahead of her meeting with them tomorrow. She'd thought, in a light-bulb moment of inspiration, that it would serve her to get a measure of the people who seemed to be intent on taking over her own family's ailing hotel business. Not that she needed to stay at the hotel to know of its well-documented luxu-riousness and exclusivity.
However, its reputation had taken a dent in recent times, thanks to the scandalous exploits of the Chatsfield heirs and heiresses. Orla's soft mouth firmed to think of how they seemed determined to acquire chains in distress. Namely, the Kennedy Group, started up and owned by her father. He'd begun in Ireland in the sixties with a small hotel in the west of Ireland and through sheer grit and determination had built up an empirehelped along by the famed boom years. By then Patrick Kennedy had moved operations to England with his wife and young daughter, Orla.
Unfortunately the economic downturn hadn't been kind to them and a series of hotel closures had severely diminished their overall worth, making them vulnerable to takeover bids. They were nowhere near the league of the Chatsfield empire, but Orla could see how they would be an attractive prospect to add to the Chatsfield portfolio, as they weren't too far removed with their good reputation and discreetly exclusive clientele. Which was why she was here now, trying to get a feel for their adversary. And, she realised with a sinking feeling, all it was doing was driving home just how intimidating a task she was facing.
The feeling of being watched was so intense at that moment that Orla looked to her left and the breath left her mouth in a gasp when she saw a man deep in the shadows, at the corner of the bar, watching her intently. He didn't look away. And, to her rising mortification, neither could she.
It was the shock of colliding with that dark unsettling gaze, of not noticing him before now, that held her enthralled. She wondered how she could have missed him. He commanded the space around him. He was dark and broad. Short thick hair. Dramatic masculine features. Almost harsh. An unsmiling grim mouth, but full lips, his top one slightly fuller, and suddenly Orla was fixated on his mouth, and wondering what it would feel like to have those unsmiling lips touch hers.
The realistion of what she was doingstaring at a complete stranger's mouth and wondering what it would be like to kiss himhit Orla squarely in the chest and she almost fell off the stool she was so embarrassed. Cheeks flaming, she swung her guilty gaze back to her drink and then knew she couldn't stay there spotlit under the bar's lights, dim as they were.
Aghast that the man might have misconstrued her look, she gathered up her bag and the drink and moved to one of the tables against the wall which was covered in dark opulent velvet. She chose to sit at the wall, on the banquette seat, and breathed a sigh of relief to be slightly more hidden, cursing herself that she hadn't had the sense to just come in and choose a seat and let her order be taken.
She noticed her heart was thumping harder than usual, a queer fluttering low in her abdomen, and looked over to where the man was again, confident that he wouldn't see her now. But she could see him and he was still looking at her. Orla's pulse raced. She'd never experienced this before. It felt earthy, wicked, sexy.
Against the silk of her dress, her bare breasts peaked, making tremors of awareness shoot up and down her body. She'd only realised when she'd unpacked that she hadn't brought the bra she had to wear with this dress. And she'd had to wear the dress as she didn't want to look too conspicuous in the bar in the trouser suit she'd brought for the meeting tomorrow.
She'd figured that the loose material would hide the fact that she was braless as she was lucky enough, or unlucky enough, that her breasts were on the small side. But now, she felt as if she might as well be naked and was acutely aware of the gap in the material which usually showed only a discreet glimpse of the bra but which would now show skin if someone looked hard enough. Like the man. He'd been looking hard enough. Instant heat moistened between Orla's legs and she squirmed.
She resolutely diverted her gaze from the man and looked down, hunching her shoulders slightly for fear of giving anyone else the slightest bit of encouragement.


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Re: Mohela and Direct Loans
Mine just hit the bureaus today. I was discussing the drama in this thread.
Looks good so far. On a side note, the original loans were consolidated on my CR. Mohela broke it back up into 3 loans, all with a start date of 9/2001. My AAoA shot up like a rocket and my score went up 20 points!
Starting Score: 690
Current Score: EQ 780 EX 814 TU 783
Goal Score: 800
Take the FICO Fitness Challenge
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I recently noticed my seemingly flawless modifications to the CSS for the Cutline theme don't appear correctly in IE on the PC. I haven't been able to test on any other browswers on the PC, but in Firefox and Safari (wish just a same issue) on the Mac the site shows properly.
Is there anything I can or should add to the CSS code to make it appear the same in IE (PC) and other browsers?
The page is here: http://www.vergeculture.com/current/
CSS is here: http://www.vergeculture.com/wp/wp-content/themes/Cutline/style.css
How is should look: The navigation at the top should be inline horizontally
How it looks in IE (PC): The navigation at the top is inline vertically


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, Volume 26, Issue 7, pp 1035-1048
First online:
Habitat area trumps fragmentation effects on arthropods in an experimental landscape system
- Kimberly A. WithAffiliated withDivision of Biology, Kansas State University Email author
- , Daniel M. PavukAffiliated withDepartment of Biological Sciences, Bowling Green State University
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The effects of habitat area and fragmentation are confounded in many studies. Since a reduction in habitat area alone reduces patch size and increases patch isolation, many studies reporting fragmentation effects may really be documenting habitat-area effects. We designed an experimental landscape system in the field, founded on fractal neutral landscape models, to study arthropod community responses to clover habitat in which we adjusted the level of fragmentation independently of habitat area. Overall, habitat area had a greater and more consistent effect on morphospecies richness than fragmentation. Morphospecies richness doubled between 10 and 80% habitat, with the greatest increase occurring up to 40% habitat. Fragmentation had a more subtle and transient effect, exhibiting an interaction at intermediate levels of habitat only at the start of the study or in the early-season (June) survey. In these early surveys, morphospecies richness was higher in clumped 40–50% landscapes but higher in fragmented landscapes at 60–80% habitat. Rare or uncommon species are expected to be most sensitive to fragmentation effects, and we found a significant interaction with fragmentation at intermediate levels of habitat for these types of morphospecies in early surveys. Although the effects of fragmentation are expected to amplify at higher trophic levels, all trophic levels exhibited a significant fragmentation effect at intermediate levels of habitat in these early surveys. Predators/parasitoids were more sensitive to habitat area than herbivores, however. Thus, our results confirm that habitat area is more important than fragmentation for predicting arthropod community responses, at least in this agricultural system.
KeywordsAgroecosystems Edge effects Insects Patch size Patch isolation Scaling effects Species–area relationship Trophic responses
Reference tools
- Title
- Habitat area trumps fragmentation effects on arthropods in an experimental landscape system
- Journal
Landscape Ecology
Volume 26, Issue 7 , pp 1035-1048
- Cover Date
- 2011-08
- 10.1007/s10980-011-9627-x
- Print ISSN
- 0921-2973
- Online ISSN
- 1572-9761
- Publisher
- Springer Netherlands
- Additional Links
- Topics
- Keywords
- Agroecosystems
- Edge effects
- Insects
- Patch size
- Patch isolation
- Scaling effects
- Species–area relationship
- Trophic responses
- Industry Sectors
- Authors
- Kimberly A. With (1)
- Daniel M. Pavuk (2)
- Author Affiliations
- 1. Division of Biology, Kansas State University, Manhattan, KS, 66506, USA
- 2. Department of Biological Sciences, Bowling Green State University, Bowling Green, OH, 43403, USA


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Hell-Fire is a hellish, mythological location.
In his childhood, Christopher Pike once heard a fable in which Hell-Fire featured.
During his captivity on Talos IV in 2254, now-Captain Pike was subjected to an illusion of Hell-Fire. This simulation served as a punishment when he refused to cooperate with his Talosian jailers, specifically an instruction from The Keeper to consume a protein complex. (TOS: "The Cage", "The Menagerie, Part II")
No name for this location was ever provided on-screen. The name "Hell-Fire" comes from the second revised final draft script for "The Cage". In the same script draft (which involves Captain James Winter rather than Captain Pike), Hell-Fire is described in lines that read, "Winter finds himself writhing in bubbling, sulphurous [sic] brimstone, in a dark place obscured with smoke, flame licking at him from all sides."


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Family ArtLab: Wrapping & Binding Is Art
Above: Promotional graphic for Family ArtLab: Wrapping and Binding is Art. Courtesy of Museum of Contemporary Art San Diego.
Take part in a Look/Explore tour and let our Gallery Educators lead you and your family in lively conversation about the exhibition "XTO+J–C: Christo and Jeanne-Claude featuring works from the Bequest of David C. Copley."
Following your gallery exploration enjoy a sculptural art workshop and discover more about how Christo transformed objects, landscapes, and architecture into interesting and deceiving works of art.
Date: February 15 2014 2:00 - 4:00 PM
This program is $10 for Members and Military families, and $25 per family for the general public. This price includes two adults and up to three youth.
Visit www.mcasd.org for more information.
Location: Museum of Contemporary Art San Diego: La Jolla 700 Prospect Street La Jolla, CA 92037 Google Maps


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15" Red LED Identification Tri-Bar Boat Trailer Light - Innovative Lighting
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Kim Brown, who holds the title of Ms. Wheelchair Illinois, talks about the condition she was born with - spina bifida. Ms. Brown discusses the numerous operations she has had at Loyola and the care she has received at our Spina Bifida Multidisciplinary Clinic throughout the years. She reminds us to focus on the person and not the wheelchair - everyone has special talents to share. Her uniquely positive attitude makes her a very special patient for us and we hope to help her regain more abilities going forward.
Kim Brown, Miss Wheelchair Illinois, knows it's all about one's ability, not disability
About Loyola University Health System
Loyola University Health System (LUHS) is a member of Trinity Health. Based in the western suburbs of Chicago, LUHS is a quaternary care system with a 61-acre main medical center campus, the 36-acre Gottlieb Memorial Hospital campus and more than 30 primary and specialty care facilities in Cook, Will and DuPage counties. Loyola University Medical Center's campus is conveniently located in Maywood, 13 miles west of Chicago's Loop and 8 miles east of Oak Brook, Ill. At the heart of the medical center campus is a 559-licensed-bed hospital that houses a Level 1 Trauma Center, a Burn Center and the Ronald McDonald® Children's Hospital of Loyola University Medical Center. Also on campus are the Cardinal Bernardin Cancer Center, Loyola Outpatient Center, Center for Heart & Vascular Medicine and Loyola Oral Health Center as well as Loyola University Chicago Stritch School of Medicine, Loyola University Chicago Marcella Niehoff School of Nursing and the Loyola Center for Fitness. Loyola's Gottlieb campus in Melrose Park includes the 255-licensed-bed community hospital, the Professional Office Building housing 150 private practice clinics, the Adult Day Care, the Gottlieb Center for Fitness, Loyola Center for Metabolic Surgery and Bariatric Care and the Loyola Cancer Care & Research at the Marjorie G. Weinberg Cancer Center at Melrose Park.
Trinity Health is a national Catholic health system with an enduring legacy and a steadfast mission to be a transforming and healing presence within the communities we serve. Trinity is committed to being a people-centered health care system that enables better health, better care and lower costs. Trinity Health has 92 hospitals and hundreds of continuing care facilities, home care agencies and outpatient centers in 21 states and 119,000 employees.


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Comments about 'Brad Rock: What's missing from BYU football spring game? Utah, of course'
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Well, Rock has to stir the pot one more time. I am just fine with this game
being gone. I can think of 40 other teams I would rather see BYU play than Utah.
The difference in our schedule with PAC 12 teams and Utah's schedule is we
win most of those games. Good riddance to this game. I would like to encourage
Utah to join the volleyball league with several of their PAC 12 teams. It is
just another league where they can continue being cannon fodder to the other
teams. I do have respect for the Utah teams and wish them well. Some of their
fans are a totally different subject.
- 3:45 p.m. March 30, 2014
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Utah fans seriously? Time to stop beating your chest. Yeah you have owned BYU in football but what do you have to show for it? Your football team will continue to be the doormat in the Pac. But that doesn't matter right? You're still in the prestigious Pac 12. Maybe the Utes should schedule Kentucky. They're both in the same situation.
- 4:19 p.m. March 30, 2014
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CROW: Just because Brad Rock is trying to fuel the coals to re-ignite the fire, doesn't mean BYU fans want this rivalry more than Utah fans. Note the article above "thebigsamoan" who said it best.
- 5:31 p.m. March 30, 2014
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@dahlrob maybe its the byu fans knowing that the article is true. The byu
players seem to be upset that their season hinges on beating Utah since they are
irrelevant and don't have anything to play for other than their super bowl
and trying to beat Utah. I have gone to every Utah spring practice and not once
have I heard byu even being mentioned. Oh how times have changed.
@toosmartforyou don't worry about your schedule its the best that byu will continue to get what benefits does other teams have in playing byu other then a scheduled win for teams from the Big 5 conferences. After all what was byus win percentage against teams from the PAC12 in football and basketball
- 6:51 p.m. March 30, 2014
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RE: Crow
"The byu players seem to be upset that their season hinges on beating Utah since they are irrelevant and don't have anything to play for other than their super bowl and trying to beat Utah."
It was a BYU player (Van Noy) who said that the Utah game is his "superbowl" not BYU fans. The fact that you know this indicates you too must be a BYU fan/close follower.
"I have gone to every Utah spring practice and not once have I heard byu even being mentioned. Oh how times have changed."
I haven't gone to any spring practices but I've also never heard BYU fans talk about Utah in conjunction with the BYU spring game. It was a pro-Utah beat writer that made that connection here, not BYU fans. Again, thanks for your support of BYU football, the only team in Utah worth reading about.
- 8:34 p.m. March 30, 2014
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eating crow
"The BYU players seem to be upset that their season hinges on beating Utah"
The sad truth for U is just the opposite is true.
It's clear from the results of the last three seasons that the ONLY thing Utah fans have had to beat their chests about is beating BYU.
Clearly losing bowl less seasons are inconsequential as long as the Utes win the head-to-head with BYU.
- 8:36 p.m. March 30, 2014
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@crow. Again, if you don't need it, quit reading and commenting on the articles. You have moved on right?
- 8:57 p.m. March 30, 2014
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"After all what was BYU's win percentage against teams from the PAC 12 in football and basketball"
During the Bronco/Kyle era
Bronco 9-9 (50%)
Kyle 13-21 (38%)
During the Rose/Krystko era
Rose 5-3 (62%)
Krystko 19-39 (40%)
- 9:59 p.m. March 30, 2014
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Disappointing for sure but new reporters are the ones who show the most
disappointment. Let BYU move on and Utah as well.
BYU can look forward to a very competitive game with Utah State as a rival game.
Cant you write an article without getting some BYU player saying they should win every game this year? People have to be so sick of the hype. GO ahead and be positive but do it on the field before you talk about it.
- 12:07 a.m. March 31, 2014
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"The difference in our schedule with PAC 12 teams and Utah's schedule
is we win most of those games."
Lately, this just hasn't been true. BYU has struggled against PAC-12 teams the past couple years.
- 12:36 a.m. March 31, 2014
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For all the Ute fans who say they've "moved on"....please MOVE ON. Why the obsession with all things BYU? I'm the oldest of several brothers and could frankly care less how we compare on everything. You're acting more like an obsessed little brother. We're happy for your PAC whatever membership. Now make us proud and go do something with it these next 2 years. You guys worried way too much about our game anyway. This will be good for you to divert your attention to something else. Move along....
- 5:39 a.m. March 31, 2014
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Again with the comments about the "power conference" because the Utes are not even playing .500 ball. "Yeh, but some of the PAC12 teams are good…look over there…" A 2 for one game in SLC might be possible if you had a large stadium that could hold all the fans that BYU routinely brings. Save your annual money from PAC12 beatdowns and try to get yourself a bigger stadium, a DirecTV channel, and enough fans to care. How many losing seasons before you get back to 15-20,000 fans in your weekly games? Oh well, spoiler, get up for Stanford or BYU…occasional UCLA in basketball…but realize a blowout loss in the NIT to a mediocre WCC team and no bowl game ever, is your future. Yay, Travis Wilson and Deloid Wright are a coming back…..USC has that Ute game circled on their calendar, I'm sure.
- 6:25 a.m. March 31, 2014
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I guess Utah will have to look else where for an auto-win. Utah will just have to win "the war" this year, just like last year. Ref: Sagarin Rankings. Oh, not to mention winning the battle for 4 years in a row. BYU lost on the court/field and in the Sagarin rankings to Utah this year. Second fiddle; anyway you cut it.
- 7:24 a.m. March 31, 2014
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@ Crow
To answer your question, BYU has had a better winning percentage against PAC 12 teams than has Utah.
Now a question for you: Is this year (4th season in the PAC 10.2) going to be the year Utah finally gets a total of 10 conference wins? They couldn't do it in three years. I stated at the very first that it would take them 3 years to accumulate 10 conference wins. But I admit, I was wrong....it will take at least 4 years. And I didn't predict they would miss a bowl game two years in a row. I guess I just wasn't thinking about it (Utah's success or lack thereof) too much, was I?
- 8:02 a.m. March 31, 2014
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The Utes are just plain chicken. Yep I said it and it needs to be said.
- 8:17 a.m. March 31, 2014
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This actually sets itself up perfectly for BYU and Utah to play in a bowl game against each other. It could happen. Utah will win 6 games, and BYU will win 8 or 9. I could see a bowl game in December with these two teams. Could be fun.
- 8:24 a.m. March 31, 2014
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Spokane Ute
I guess Utah will have to look else where for an auto-win. Utah will just have to win "the war" this year, just like last year. Ref: Sagarin Rankings. Oh, not to mention winning the battle for 4 years in a row. BYU lost on the court/field and in the Sagarin rankings to Utah this year. Second fiddle; anyway you cut it.
I'm kind of surprised by your quote Spokane Ute. You usually are pretty honest with your posts. Auto win every year huh? Yes Utah pulled out the wins, but it was usually a very close game (minus Heaps). I don't think barely winning a game becomes an auto win.
- 9:03 a.m. March 31, 2014
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chris, if it was an automatic win, utah should have kept the game, you need the
wins, they don't come often! The pac11.u is a little bit too tough for the
- 9:35 a.m. March 31, 2014
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Versus PAC 12 Teams
Bronco 9-9 (50%)
Kyle 13-21 (38%), including 4-5, 3-6, 2-7, 9-18(33%) overall since joining the PAC
The Utes are all talk, but no walk, when it comes to being competitive in the PAC.
After three full seasons in the PAC, the Utes still haven't won a road game against a PAC team with a winning record.
In fact, the Utes haven't won a road game against a PAC team with a winning record in almost 20 years!
As far as Utah's "auto-win" versus BYU goes - 14 of the last 17 have been decided by a TD or less in the closing minutes or in overtime; hardly proof of any sort of dominance by either team, but instead a harsh slap in the face of reality to the Utah fantasy that this has become an auto-win.
- 10:12 a.m. March 31, 2014
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Basically your statement says to me, "So yeah, we lost twice to Notre Dame but when you played them, you lost worse."
I hope you find solace in that fact. I certainly don't. The fact that BYU can't play with the powers of the nation is yet another reason I am convinced that Bronco Mendenhall is no more than a coach that can run up impressive records against mediocre teams year in and year out but can't win against the high level teams of the nation and Utah as well.
- 10:18 a.m. March 31, 2014
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I got used to a nice feature in WP 2.6.5 and now it seems gone or i don't know how to fix it. I add about 40 news every day one after another.
Usually after i click PUBLISH worpdress redirected me to ADD NEW again. Now i get redirected to the edit page of the post that i have just written.
Is there any way that i can make the wordpress redirect me to ADD NEW POST after i press publish button?!
Thank you.


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Arizona Diamondbacks
Arizona Diamondbacks never had interest in Jake Peavy
First let's cut to the chase — the Arizona Diamondbacks were never interested in Jake Peavy and they shouldn't have been. Not considering that they would have had to pay him some $20 million between now and the end of next season and part with prospects to get him. It never made sense. It was never an option. All the national reports of him coming to Arizona were off base.
Peavy is a good pitcher, but he's not great and he has been injury-prone. He is now six years removed from that Cy Young season in San Diego. He he can help the Red Sox in their battle with Tampa Bay and is good insurance in case Clay Buchholz can't return, but Boston paid a steep price to get him.
The reality is starting pitching is not what Arizona is aiming for, not with Patrick Corbin, Wade Miley and Randall Delgado all pitching well, Brandon McCarthy and Trevor Cahill returning from rehab assignments plus Archie Bradley, David Holmberg and Tyler Skaggs all solid prospects in the minors.
Notice I didn't mention Ian Kennedy and that's because the D-backs' Opening Day starter is definitely available and the price tag isn't too high. A quality lefty reliever and some prospect value can get a deal done. With two years of control left, Kennedy is attractive to San Diego and the Angels.
Everyone would like to see Arizona make a move and try to go toe-to-toe with the Dodgers. But the smart play is not overpaying for a player like Peavy and being handcuffed financially because of his salary.
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TriBeCa 2500 Sq Ft w/ Priv ElevatorUnited StatesNew YorkNew York
About this listing
2500 square feet TriBeCa Loft with 13-feet exposed beam ceilings, hardwood floors and oversized windows. Three bedrooms & two bathrooms, kitchen, washer/dryer with art and modern furnishings.
Space where guests can cook their own meals
Towels, bed sheets, soap, and toilet paper
The Space
Historic loft with luxury amenities. Private keyed elevator opens into sun-filled loft with hardwood floors, state-of-the-art kitchen with Miele appliances, and central air conditioning. Two bedrooms feature king-sized beds with white linens and plenty of space. Master bedroom has an en suite bathroom. Third bedroom has a queen-sized bed with white linens. Large second bathroom has an over-sized bathing tub. Living and dining areas are appointed with mid-century modern furniture featuring Le Corbusier lounge chairs, Eames case study cabinet, Eames lounge chair, Breuer coffee table, Nelson benches, 42 inch TV with HDMI hook-up and stereo with iPod hook-up.
Private keyed elevator
Secure high speed wireless internet (Wi-Fi)
42" flat-screen TV with basic cable
LG washer and dryer
Electric kettle
Toaster oven
Steam oven
Espresso machine
Yoga mat
Iron and ironing board
Hair dryer in each bathroom
Queen-sized AeroBeds available for additional guests
Fresh towels, sheets, pillows, duvets
Interaction with Guests
Loft is used exclusively for guests. We live in the loft next door and meet each guest at check-in. We are happy to be of assistance during your stay. We recommend reviewing our Guidebook before arrival for suggestions on restaurants, bars and shopping.
The Neighborhood
Located on a quiet historic block in a landmarked cast iron building, steps from both the TriBeCa Grand Hotel and the SoHo Grand Hotel, situated amongst an abundance of restaurants, bars, shopping, landmarks, galleries, and hidden treasures of New York.
Getting Around
Steps from all major subway lines (1,2,3,4,5,6,A,C,E,N,Q,R,J,M,Z). A CitiBike kiosk is at the end of our street with 30+ available bicycles. Parking lot also available at the end of our block.
Other Things to Note
We will consider families with children under 10 years old with prior conversation.
Pets allowed with prior review and conversation ($25 fee per day per pet).
There is a surcharge for special events.
1. Smoking is prohibited inside the loft and the building (Smoking will result in the Security Deposit being forfeited)
2. All guests must provide a copy of their identification (driver's license or passport)
3. Pets allowed with prior review and conversation ($25 fee per day per pet).
4. $100 fee for each set of keys lost which will be deducted from the Security Deposit.
5. The fire-escape is not a balcony, use is prohibited except in case of emergency.
Your Host
Chester & Jon
In Tribeca Loft, three bedrooms, modern furnishings with art and plenty of windows...2500 square feet with kitchen and washer/dryer.


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Culturetopia: Musictopia Edition!
It's a singing, dancing, all-music podcast of the week's best arts pieces on NPR. We start with a look behind the scenes in Nashville's Music Row as a part of our ongoing Hitmakers series. This interview with Will.I.Am was not part of that series but it could have been—the man born Williams James Adams Jr. founded the mega-sucessful group the Black Eyed Peas more than a decade ago.
Then Scott Simon interviews the engaging founder of Island Records, Chris Blackwell. Together, they reflect upon his fifty years importing reggae from Jamaica, folk rock from Britain and more.
Then we've got two more somber pieces—one about how the Juarez Symphony Orchestra offers a refuge in one of Mexico's most drug-battered cities, and another about artists who've brought poignant attention to blighted buildings in Saginaw, Michigan by painting them with lyrics from the Simon and Garfunkel tune, "America."
Michigan seem like a dream to you now? Subscribe to Culturetopia here, or just listen, below.
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Video Industry News Video Company News Technology Industry News Technology Company News Novelty Industry News Novelty Company News Gay Industry News Gay Company News Legal Industry News All Company News
Released: Dec 01st, 1986
Running Time: 90
Director: Jack Remy
Company: Video Team
Cast: Natasha Skyler, Jessie Easton, Ron Jeremy, Taija Rae, Paul Thomas, Sharon Nestle, Angel Kelly, Athena Star, Lori Lovett, Race McCrory
Critical Rating: AAA
Genre: Feature
The production qualities aren't the greatest and the plot isn't that spectacular, but Taija Is Sizzling Hot get high marks for the simple reason it's just what the title suggests — Very Hot!
The feature opens with a rock band, appropriately named "The Screw," bemoaning the fact that all they get is boring groupie sex. As if striking a magical note, the band gets an idea to hold a contest to find the hottest woman around, and things never stop smoking from there. If you're expecting to see Taija Rae in every scene, as the title might suggest, forget it. She does some sweltering stuff, but this feature is not a vehicle for her. All the girls, however, turn in energetic performances — lesbian, three-way and straight — and everything comes to a head in the climatic ending.


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San Juan Bautista is in San Benito County, California, near Monterey County and south of Silicon Valley. A small city, San Juan Bautista is rich in Spanish history and is one of California's mission towns. Part of the downtown is a state historic park where visitors can tour the mission, stroll around historic downtown and enjoy dinner at a local restaurant. San Juan Bautista is on the historic Juan Bautista de Anza trail and is part of the Preserve America initiative that aids towns that have become active in their own historic preservation.
Mission San Juan Bautista
Old Mission San Juan Bautista is still in use as a church, and was dedicated in 1797. It was the 15th of California's 22 missions and is part religious sanctuary, part museum. Visitors can sit in the extensive gardens to stop and smell the roses, attend a Mass, or explore the old adobe structures and gift shop that includes more religious items than souvenirs. There is a small fee for tours but it's free to explore the grounds on your own. Mission San Juan Bautista 406 Second Street San Juan Bautista, CA 95045 831-623-2433 oldmissionsjb.org
San Juan Bautista State Historic Park
The area around the mission is designated San Juan Bautista State Historic Park. The park has several California state historic landmarks and buildings from the 19th century, spread around the edges of a grassy plaza. While wandering around the area is free, you can enter several historic buildings like the blacksmith's shop for a small fee. These museums are closed on Mondays. You can take a self-guided tour or arrange in advance for a guided tour. The city also publishes a walking tour that takes you beyond the park to see other historic structures. San Juan Bautista State Historic Park Second Street between Washington and Mariposa Streets San Juan Bautista, CA 95045 831-623-2753 parks.ca.gov
Fremont Peak State Park
While the historical marker for Fremont Peak is at the entrance to San Juan Bautista, if you want to visit Fremont Peak itself you have to drive 11 miles out of town. The top of the historic peak offers hiking, an observatory with public programs and spectacular views. Visitors can camp and picnic at this state park as well. In 1846, John C. Fremont raised an American flag on this peak at a time when the land was controlled by Mexico. Fremont Peak State Park San Juan Canyon Road San Juan Bautista, CA 95045 831-623-4255 parks.ca.gov
Jardines restaurant is an indoor-outdoor family-owned Mexican restaurant. Diners can eat a meal outdoors under a vine-covered frame and enjoy the site of a beautifully-landscaped garden. Friendly staff deliver generous servings of home-cooked Mexican cuisine. After, walk off your fullness by exploring the cactus and other gardens on-site. Jardines Restaurant 115 Third Street San Juan Bautista, CA 95045 831-623-4466 jardinesrestaurant.com
Photo Credits
- mission san juan bautista image by Ary from Fotolia.com


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Hey, I'm Marcin!
Samaipata, Santa Cruz, Bolivia · Member since January 2012
We (me and my wife) spent last 7 years travelling around the world and living in different countries in different continents. We have many stories to be told and pictures to be shown ;-) Originally from Poland, fun & chatty, university educated, intelligent but NOT snobbish. Nature lovers and passionate trekkers. We love food and we know how to cook. We speak Polish, English, Spanish and little bit of German.


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Editor Jay Cassidy on American Hustle
David O. Russell's Shooting Style, Killer Features in the Avid, and the End of the Film Era
Jay Cassidy, A.C.E., just won an ACE Eddie Award for Best Edited Feature Film (Comedy or Musical) with co-editors Crispin Struthers and Alan Baumgarten, A.C.E., for his work on American Hustle. This Eddie is Cassidy's second in two years, following his win last year for Silver Linings Playbook. Cassidy is also up for the Oscar for Best Editing for American Hustle. Among his other credits are An Inconvenient Truth (for which he won another Eddie), Into the Wild, and Waiting for Superman. He is currently working on Foxcatcher, directed by Bennett Miller. Studio Daily's Debra Kaufman spoke to Cassidy about his work on American Hustle.
StudioDaily: Silver Linings Playbook was the first David O. Russell film you edited. Tell me a bit about that experience and how it led to him bringing you back to cut American Hustle.
Jay Cassidy: Pam Martin, the editor who had done The Fighter, wasn't available when he started, so they began a search and my name came up. I only had a brief conversation with David because they had already started shooting. It was a good experience. I certainly got the tone that was clear in the script of Silver Linings Playbook, and that tone continued to American Hustle. He's making real characters. I've often thought of David as the William Saroyan of filmmaking. Saroyan was the 1940s author of The Human Comedy and a lot of very wonderful books and stories based on real characters. David doesn't come from a place of cynicism but a place of being interested in these people and eventually loving them.
What were Russell's inspirations for American Hustle? What did he share with you?
He's inspired by a lot of things. Whether it's GoodFellas — certainly people have compared Hustle to that, because that movie also begins with a lot of narrated backstory — David just made reference to movies all the time, bringing in DVDs on a weekly basis and asking what I watched that week. The references are alive, but in one sense, he's really referencing the three movies in this series — The Fighter, Silver Linings Playbook, and this one. He thinks of them as a continuation of the others, each one an examination of family.
I know there are also two other editors on the film – Crispin Struthers and Alan Baumgarten. How did you all work together?
It was fairly simple. On Silver Linings, I gave Crispin discrete sections of several scenes and he was responsible for those; his role grew a bit on American Hustle. David likes variations, to see the same scene with different performances. In order to afford him his process and because of the schedule, it was clear that we needed a very experienced third editor and we were happy to get Alan.
On American Hustle, each editor took responsibility for a big chunk. When you're on such a short schedule, it's inefficient to pass scenes around willy-nilly. The person receiving it doesn't have the depth of knowledge about the material or know the evolution of the scene, how it came from the first assembly to what the fine cut is. There was overlap, especially in the third act, but we tried to keep the chunks fairly discrete. That being said, everything went through review with David and all of us in the room together, sometimes a couple of times a day towards the end.
What section were you responsible for?
I did the whole first act. You start with two characters who are not immediately likeable. How do you meet Irving Rosenfeld? He's constructing his hair, taking his sweet time and [he] looks like a clown. But, by the end of the first act, when Amy Adams says, "What's it going to be, Mr. Mastermind?" you have to be invested in their relationship to take you through the next two acts. I had to integrate and weave together the backstories where Christian and Amy talk about each other, not get mired in the details of their past lives and still get some involvement. We were refining it right up to the end of editing, and mixing and changing the picture right to the end.
Like many filmmakers, David is constantly re-examining his own work and asking how he can make it better. On Silver Linings, because we were waiting for Danny Elfman to write the score, we previewed the movie, then re-looked at all the dailies and did a lot of re-cutting and truly made the film better. On American Hustle, with the 170-page script and the amount of footage shot, we had a four-month post-production period. Sony very generously forgave us a couple weeks at the end, which we took great advantage of and which made all the difference.
Russell's films are known to involve improvisation. How much was American Hustle improvised and how did that affect the editing?
I think the improvisation myth has been a little overstated. It isn't improvisation so much as refinement on the set. David is constantly rewriting the script in his mind. When he's with the actors on the sets, he is not afraid to change dialogue if he or the actor comes up with a better solution. He takes that attitude of experimentation or revision into editing; he's constantly rewriting as we're cutting the scenes.
Does all that refinement on set result in a higher shooting ratio?
I'm not sure what the ratio is. David tends to do a lot of resetting within the run of the camera. He'll stop the action sometimes and give direction and then restart as things go. It meant there was a lot of film shot, just because it was rolling. One numbered take may have five or six retakes within it. That becomes a challenge, and there was only one answer: Avid's ScriptSync software.
Tell me how you use Avid's ScriptSync.
I started using it in 1998, on Urban Legend, and became a complete convert. What we do is import the script, re-edit it after it's imported and then mark takes and re-sets within the takes. What gets shot doesn't always correspond to what was scripted, so someone has to go through and transcribe bits of variation, which we do. Then there may be little sections that contain dialogue that wasn't scripted at all and those have to be transcribed and put into the script. As an editor, marking something or making a notation takes three seconds. The script ends up with lots of little annotations, and it helps you get back to it. Then you can go right to the dialogue, whatever it is. It's a fantastic tool.
Setting up the script is an investment in time and effort in the beginning, but it so pays off as we editors are constantly looking for material. It's one of the Avid features that keeps me from ever considering another editing platform.
Were there any other Avid features that helped you on American Hustle?
Avid's ISIS is now pretty much replacing the Unity software, and it's a huge improvement for the shared projects. It is a hardware improvement, because the computer talks to the server over Ethernet, and it's a software improvement because they benefited by [developing] 10 or 12 years of Unity software. It's not only sharing the media, but Media Composer has the ability to share the project, and once you do that you never want to do it any other way. It's so smartly designed. On American Hustle, we had a lot of VFX. There were hundreds of shots replacing reflections in all the sunglasses people wore and we had to remove scaffolding off the Plaza Hotel. Because the ISIS communicates by Ethernet, the VFX company didn't have to be right in our office. They were in our building, but the Internet that was pre-wired into the building could take the signal, so they were hooked up to the server. I would walk in in the morning and the VFX editor had already put in the VFX in the timeline. Any time you get those efficiencies, it's huge.
I know American Hustle was shot on film. Did that impact the schedule and your workflow?
American Hustle was shot on Fuji film and, in the middle of shooting, Fuji told us they were going to stop making film. But, fortunately, they had enough stock for us to finish. Kodak was in receivership at the time, so it's not like the old days, where every two years there was an interesting new technological innovation in stock, like T-grain and Vision stock.
We're seeing the photochemical era end. But there's an argument to shooting film stock — it's wonderful. As far as impacting our workflow, the infrastructure to deal with film has shrunk but still exists. We processed at Deluxe in New York and Company 3 there handled the telecine. I grew up with film, so it was no problem. You get some workflow wrinkles in digital as well, such as waiting for files sent over Aspera. If you look at the film stocks now and in the 1970s, they're completely different. Some would make the argument that the way they did things in the 1970s was better than what we're looking at now, but who knows? Things change.
Categories: Creativity, Editing, Q&A
Tags: Avid, death of film, Isis, jay cassidy, media composer, scriptsync