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210 comments found
Hi guys,How do I take the post info out of any project posts, they are above the image on the Our projects section on the homepage? i.e. date, posted by etc. http://themes.cmsmasters.net/?theme=trymee
Thanks a mil
Thank you for using our theme.
Unfortunately there's no opportunity to change portfolio projects appearance – they will be displayed in a way you see them at our demo.
The following questions are all to do with the slider:
- where to change the color of the small circles that show up top right per slide in slider?
- where to change the color of the grey link button that shows up in slider?
- would like to have option for visitor to click button AND image. is it possible to add a link to the image in slider?
Thank you for your assistance!
Cheers, Czr
Hi, thanks for purchasing our product! Please, note: all support is given through our Support Forums or you can submit a personal support ticket.
Regarding your question. There's no opportunity to use slide as link. Other mentioned actions can be implemented only hypothetically – via CSS . TryMee theme has no option to change slider button colors and slide navigation color in the admin area.
Hi, We cannot seem to install. Getting this error " Fatal error: Call to undefined function curl_init() in /home/web2/html/news/wp-content/themes/trymee/theme/classes/protected-api.php on line 349 help me please
Don't worry. Let's figure this out.
Have you been using a local host? If so, please, try to elaborate your site online – it will help you to overcome some unexpected issues.
Anyway. It would be more convenient for you to submit a personal support ticket and provide your FTP and wp-admin data so we could study your issue deeply.
Thank you.
no I don't have a localhost. I'm no expert. I sent you a personal support ticket with all the details. please answer me as soon as possible thanks
How can I fix the code so that you can send in feedback form (Form Builder) the name in Cyrillic?
Please, do not specify the verification in the text area here.
How to update the version of the theme? – just download on server the files from the folder "Fix_ *"? My last update 1.1 and 1.2.1 includes 1.2?
Yes, just replace the files at he server with fixes. Follow readme instructions in the fix folder.
Hi, we have a strange issue with IE8 users on XP. For some reason our site keeps crashing their browsers.
Any ideas?
Are you sure they haven't used Compatibility View (IE7)? If so, you can create a personal support ticket, provide your wp-admin and FTP credentials, and we'll get back to you as soon as possible.
I am having trouble getting the colored boxes to display on the front page. I set the colored box widget in the colored sidebar and set the home page as the colored page template. Anything I may have missed?
Have you enabled Top Sidebar at your page?
Hey – Question, Is there an easy way to adjust the max width the theme displays on smaller browsers. I understand that this theme is responsive, but when i am logged in i feel like theres a nice 45-65px padding on both the Right and Left. Upon logging out the Content window stretches to almost the full width of the screen.
Where would i adjust the Min-width for the content width so as to keep that padding around the content area? Irregardless of me being logged in or not? Thanks a bunch! Theme has been working spectacularly!
Thank you for using our theme. I'm afraid there's no way to implement mentioned actions. Deep code customization is beyond our support policy.
Well, you can try to submit a personal support ticket here, don't forget to provide wp-admin and FTP credentials and specify which browser you're using, use screenshots. But there's no guarantee our developers won't be able to assist you on this. Sorry.
hi i purchased previous version of this theme . and can i update for free ? or i should buy again ?
and how to hide author and date line from portfolio page ?
Sure, all updates are free. Just open your downloads and download our theme again – it will have latest updates.
Have you read our "How To" instruction? We have described there where you can turn off/on Portfolio author, etc.
See the screenshot – http://screencast.com/t/sMgx9La8bZY
I installed the theme and made the home page into a static page. I made a page called news and configured WP to use that page for displaying my posts. The problem is that I want no sidebar (it is set to full width, but still shows the sidebar at the right side), have the slider enabled (slider only works on none blog pages) and have the top sidebar enabled for the colored blocks (doesn't work on the blog page either). Setting the template to colored page instead of blog page doesn't helpt either. What am I doing wrong???
Have you followed our online documentation instructions on theme installation?
You should not use colored blocks on the blog page – they won't work well, only Colored page + Colored sidebar for widgets (not Top sidebar), but at the colored page in Heading options should be Top Sidebar enabled.
Anyway, it seems like you're doing something wrong and the best way to figure out what exactly is to get access to your web site.
Please create a support ticket here., provide your wp-admin and FTP credentials, and we'll get back to you as soon as possible.
Yes I followed the documentation. The slider / colored blocks option is simply not coded in the template that is used when you use the blogpage. I am not doing something wrong I think. Copying the missing code into the template that is used for the blog posts should do the trick.
Please, submit a ticket.
Have another problem, this time with the contact form widget. If I use it I receive the mail but the contents is filled with the shortcodes Email "> Name and [ Quick Message ]. It should display the contents of these formfields?
Please, read this support forum thread: http://forums.cmsmasters.net/showthread.php?269-FAQ-Contact-Form-issues
Most likely you'll find an answer there.
I checked it. I did change the fieldnames but what use is it to have these fields editable in the CMSmanager if changing them results in a problem? But thanks for the thread. Another problem bites the dust .
You guys have a great theme, but the support service you guys provide just doesn't cut it.
When I first asked for support, the reply i got was that i was using the theme in an illegal manner, and that i had to buy the extended license. Even though I am using it in a single project for a client website and have no intention in selling it.
Then when i mentioned letter "c)". of the regular license, "You may use the Work alone or you may incorporate the Work into another work you are creating" support in no way recognized their mistake , and went on to ask for my wordpress login and ftp data. and said they would fix the issue.
One week later, I get a response that it is FIXED . I check the site and it's exactly the same as before still bugged out. I question support and after 5 days without an answer i say that I'm still waiting to hear back from them, and then i get a reply that i'ts a hard problem to fix, even though its working normally on your demo.
Now it's been another week and I don't have a reply for my ticket. So I'll ask here and see if i can get an answer:
MY BLOG PAGE (which is not the home page), DOES NOT DISPLAY THE BREADCRUMBS AND HEADER TITLE LIKE ALL THE OTHER PAGES ON MY SITE . HOW CAN I FIX THIS ? IT WORKS CORRECTLY ON YOUR DEMO BLOG PAGE .
Support ticket 1848
Thank you very much!
We are sorry for making you wait and for the inconvenience.
I just walked across your ticket and tried to open your web site. Well, it doesn't load now. Most likely some server trouble. Anyway, even without seeing your back-end I can explain you why your issue occurred.
The problem with breadcrumbs on Blog Page concerns WordPress functionality – when a page is marked as static there won't be any breadcrumbs on it. You shouldn't choose your Bog page here: http://screencast.com/t/6dbFGKTVz
Just leave this field empty like shown on the screenshot: http://screencast.com/t/VUsStkS43exd
Best regards
Please help there are wrong alignment on portfolio itens, you can see a test on page: http://lw13434108965012d69.hospedagemdesites.ws/teste/?page_id=95 . the correct is side by side. Help me please.
Hi, thanks for purchasing our product!
We need to get access to your web site.
All support is given through our Support Forums or you can create a personal support ticket.
Please create a support ticket, provide your wp-admin and FTP credentials, and we'll get back to you as soon as possible.
Hello i have found that when i try to select portfolio when adding a new portfolio page, the TryMee General Page Options do not change as expected, and i cannot choose Page Layout Type, Portfolio type the number of items per page, colums number. Please tell me waht i can change in database to make it works as before.
Have you changed something in the theme code?
i was translating something om portfolio.php, but my partner was editing a content at the portfolio page at the admin area. i think that when he saves, somehing goes missing on the database. I have uploaded portfolio.php again as original, and changed some parameters on database, and the portfolio worked fine. But i need to know what to change in database (set the default) to make TryMee General Page Options works again. When i set a page as Portfolio, the TryMee General Page do not show the options, as it does with Blog, for example.
Dear mboratto, you should know, that it's beyond our support policy to provide help for the customers who modified our theme code.
Of course you may try to submit a personal support ticket here, provide your wp-admin and FTP data. Maybe there's something we can do.
Thank you, I will write and do that. One more question: How can i add share buttons on general blog page? I think i t is possible directly insert addthis code somewhere, but in what file the loop occurs?
You may add sharing icons to the footer.
There's no opportunity to add sharing options on the page using TryMee theme functionality – only in posts\projects.
PS: i have added share code on blog.php, but i does not work for each post, just work for the entire page. Please tell me a way to make it work for each post on blog.php
Why don't you use our Trymee Post Sharing options?
We don't provide coding instructions on such deep customization.
Hello, i need to highlite the Parent Page in the menu, when i browse at the child page.
Unfortunately the customization you are about to make is beyond our support policy. We assist our customers on reasonable limits, which covers our theme functionality, we don't provide instructions/advices on deep customization (i.e. changing theme code, adding/deleting features, etc.).
Hi, I'm not receiving an email with the information people fill out on the form. How do i fix this?
It should help you to figure out what happens.
Also you can find the info about Contact Form issues in Trymee DOCS FAQ here: http://trymee-docs.cmsmasters.net/


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Here's a 12-minute short we totally overlooked when it screened at the SXSW Film Fest last month. Not only did it screen, but it was the winner of the Jury Award for Best Short Film. The Chair, helmed by Grainger David, centers around a young teen dealing with his mother's death, his grandmother's obsession with an old recliner, hence the title The Chair, amidst the chaos and confusion caused by a mysterious poisonous-mold-outbreak in the small town he lives in.
THE CHAIR is the story of a mysterious outbreak of poisonous mold in a small town, and one boy's attempt to understand his mother's death, his grandmother's obsession with their discarded recliner, and the roots of this short-lived, strange, and inexplicable plague.
The Chair stars newcomers King Hoey and Khari Lucas. The film just won the 1st Prize King Award and the Wasserman Directing Award at the NYU First Run Film Fest.
While looking up the filmmaker's website, it looks like for the past two years, David has been working on a screenplay adaptation based on the 2006 Pulitzer Prize winning book titled The Race Beat: The Press, the Civil Rights Struggle, and the Awakening of a Nation by author Hank Klibanoff. The Race Beat centers on the journalists involved in the Civil Rights Movement. I will certainly be on the look out for any developments regarding that project.
Anyways, I wish I would've caught this short at Austin last month. Oh well, here's the very intriguing and beautifully photographed trailer below.
THE CHAIR - TRAILER from Grainger David on Vimeo.
Nikyatu | April 13, 2012 12:14 PM
Grainger was a classmate of mine @ NYU. He's always had a very southern existentialist aesthetic inherent in his work-- that I appreciated. Really excited for his deserved success. He's another one to definitely pay attention to!
Brendan | April 13, 2012 1:11 AM
This looks really amazing. Thanks for catching it, even if you didn't catch it the first time around.
AccidentalVisitor | April 12, 2012 11:12 PM
Marvelous. I'm actually interested in seeing the whole 12 or so minutes.
Its the type of film that I'm sure would intrigue even non-blacks despite the fact that the lead characters are black. Hell, the writer/director was even confident enough in his abilities to tell a universally appealing/fascinating story that he used real English in hise chosen title ("The Chair") instead of embracing the insulting, buffonery-like titles that are apparently supposed to clue black folks that a film is for them ("Da Chair"). :)
I will keep an eye on Grainger David.
urbanauteur | April 12, 2012 8:01 PM
I'm liking this..;-)..with its austere moments and intersections, it reminds me of the early works of american autuers- Terrence Malick,Harmony Korine & Gus Van Sant, good company indeed, i'm definately gonna be on the look out for this backwoods auteur;-)

subset: commoncrawl


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After the UM game and the stunning comeback against NW, I got this idea in my head that this team will go undefeated the rest of the year. I know NW and UM aren't exactly the best competittion, but there is something about the way we have been playing that makes me think that we can beat anyone. It seems as if there were some kind of epiphany with the team, like it hit them all at once that they should play as if they have nothing to lose and have fun doing it. Watching the players on the sideline yesterday, you could tell that they were having fun, even when the game was still in doubt. And they are getting noticeably better each game, if they continue on this trend of improvement they can beat anyone including OSU. I feel like they are winners and not because they are the most talented or best coached, but because they want it. This is a completely different team than the one that got smacked around by Alabama and Iowa. They will prove that this Saturday in Columbus.
I have a feeling that this poll may show that others feel the same way I do. If it does I can assure you that it has nothing to do with the way I framed the question and the answers.


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Safety with Dignity
Send To:
Mayor Bloomberg, Chancellor Klein, and Commissioner Kelly
Sponsored By:
members of the Urban Youth Collaborative
More Info at:
As students, teachers and community members we are concerned about the safety measures you are implementing in New York City public schools. Metal detectors, armed police officers, random scanning and surveillance cameras are supposed to make students safer, but instead they treat them as criminals. Students go to school to learn and to prepare for college. We will not stand for policies that take away students dignity. We believe all people, including students, deserve to be listened to and treated with respect.
We join the Urban Youth Collaborative in urging you to:
1. Include youth voice and experience when creating new school safety policies and involve young people in evaluating current initiatives; and
2. Create programs in New York City public schools that train adults to become mediators who can help young people resolve conflicts in positive, proactive ways and use these programs to replace the current system that criminalizes and disrespects young people.
- View Signatures
- Sign Petition


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I got off the 14 on Newhall last weekend to go to a funeral. I noticed quite a few bike rider like cars and a few riders going to the east side of the 14. Anyone have info on trails there?
Results 1 to 4 of 4
Thread: Newhall rd off the 14
Hot Deals See All Hot Deals >>
Latest Mountain Bike Articles
MTBR on Facebook


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This is a great true story about a mid life crisis that turns into a microlight flight around Australia.
Ian Nuttall is a 45 year old salesman, married with two young children who starts asking those meaning of life questions.
As a result he learns to fly a microlight and sets himself a challenge of flying around Australia before his 5oth Birthday.
He was told by every experienced Pilot he met not to take this on without more flying hours.
This book tells the story of how this challenge was achieved and the dangers encountered on the way when flying 6000 miles over some of the most dangerous territories in the world.


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Portland Man Crawls Into Patrol Car To Sleep And Can't Get Out
Written by Pat Boyle on February 11, 2014
PORTLAND — A Portland used an unlocked and unmarked patrol car at Southeast Precinct for a place to sleep last night.
When he woke up this morning, he discovered the car had no back seat door handles because it's used for custody transports. He was stuck inside. He wrote "help" in the condensation on the window, but no one was there to see it since the precinct is not staffed around the clock.
So he had to wait until officers arrived this morning. They let him out and arrested 30-year-old Ruben James Turner III for unlawful entry, criminal mischief and trespass.
Sergeant Pete Simpson says patrol cars are usually locked, but this one was not and calls it an oversight. While Turner was stuck in the car, he ripped out foam padding.


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"Mr. Boyega said he learned to play Moses by watching the laconic drug dealers from Season 4 of "The Wire." He explained, "I knew I wouldn't have a lot of dialogue, so it means telling the story through your eyes all the time... The film has vastly increased his visibility, helping him land an agent at CAA... he is already making regular trips to Los Angeles to pursue new projects and fantasizing about a full-time Hollywood life..."
From a New York Times profile of Attack The Block star, John Boyega, whom I and others have compared to a young Denzel Washington (or at least what we envision a young Denzel Washington to have looked, sounded and acted like).
Interesting what he said about taking his acting cues from The Wire, isn't it?
Also, glad that he's landed an agent stateside. As I suggested in my review of the film, the force is strong with this one. I expect we'll be seeing a lot more of him in coming years. Hopefully he's offered a nice variety of roles, and is selective in the decisions he makes.
We're watching you John :)
Read the full NY Times piece HERE.
Dankwa Brooks | July 25, 2011 10:13 AM
In my review of 'Attack the Block' I said "I hope he has a long and prodigious career unlike other child phenoms like that Sixth Sense kid. Where is homeboy? LOL."
We shall see...
AccidentalVisitor | July 22, 2011 10:35 AM
There was an interview with him earlier this month in which he mentioned he watched a lot of the scenes involving Michael (Tristan Wilds) on "The Wire" to help him with forming his character, so i wasn't surprised by his comment in the NY Times. Nonetheless I got a big kick out of that.
Still am quite doubtful of the opportunities he'll be given.
Sergio | July 22, 2011 8:27 AM
It'll be on Ebony.com next week. I'll post the link on S & A
Jay | July 22, 2011 8:15 AM
When can we read the interview? Will you publish it on Shadow and Act?
Sergio | July 22, 2011 7:43 AM
I interviewed Boyega on Monday and I found him to be a really down-to-earth intelligent guy who''s dedicated to his craft and also has the smarts to know that Hollywood and show biz is all a game and that he's figuring out how to play it
Jay | July 22, 2011 7:26 AM
He's got the goods.


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I meant to post excerpts from this article earlier in the week, but it slipped my mind. Well, better late than never. Chris Forsberg of ESPN Boston caught up with Avery Bradley at the rookie photo shoot in New York, and Bradley discussed his continuing rehab from left ankle surgery.
"It's the first time I've put on basketball shoes in a while," Bradley told ESPN.com during a break in the action Tuesday. "But it's the first time I've put on the jersey, and it feels good to have 'Boston' and my name on the back. It's cool."
"It's really tough," he said. "You kind of feel like you're behind. So I try to do as much as I can -- lift weights -- so I can at least be out there with other people. I'm still in shape. But it's definitely tough not being able to play and show your coaches and teammates what you got."
Bradley has been in Boston since the day after the draft and will finally get to show his teammates and coaches what he's capable of later this month.
"We're hoping two weeks [or] a week and a half, I should be back," said Bradley. "I can run and do everything now, but I need to just let injuries like this heal and just take their time. So that's what we're doing now. We're hoping a week and a half I'll be back."
Personally, I'm very intrigued by Bradley, and I'm really interested to see if and how he's used this season. I still find it hard to believe that a 19-year old kid can make any type of substantial impact on such a veteran-laden team, but if his defense really is as good as they say it is, maybe Doc Rivers won't have a choice but to play him. I'm not sold on him as the team's backup point guard, which is why I think Nate Robinson was brought back into the picture. Either way, the kid's got potential, and potential's something we generally feast upon.


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History lovers and Friends of the Joaquin Moraga Adobe Kent Long and Bobbie Landers visited the historic home of Lamorinda's pioneer settler recently and were shocked by what they found.
The placed by the state and city of Orinda are all long gone, probably sold for scrap and thrown into the smelter. Vandals have moved inside and embarked on a campaign of steady destruction -- removing doors and windows and tagging the walls with graffiti proclaiming the new, intended purpose of the 160-year-old structure: party house.
More disturbing to Long and Landers -- and possibly to anyone else who loves local history -- the barbarians have cut into the surface wood set in place to protect the original mud bricks of the adobe and started to chip into the walls themselves.
Why? Who knows. Apparently the last round of partiers to visit the site were heard by a local resident and reported (big Patch "thumbs up" to the homeowner). Their party, at least, was brought to a screeching halt. But there have been others, as the photos plainly show.


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"It's been hard to sing my past. Sometimes, I sing it and then I just put it away, because it's so hard. it feels heavy in my heart."
Jean Patrick Bimenyimana, whose artistic name is 'Mudibu', grew up in the central African state of Burundi.
In 1993, he was just 16 and attending boarding school, when the assassination of the newly-elected president triggered a country-wide series of massacres in which Tutsis and later Hutus were targeted based on their ethnicity. Between 50,000 and 100,000 people lost their lives.
Bimenyimana survived the initial attacks but later fled Burundi for Kenya where he was registered by UNHCR (the UN Refugee Agency) as a refugee. He is now living in the United Kingdom where he has worked for an NGO assisting other refugees.
"If I didn't have music, I don't think I would have survived," Mudibu says. He is a performing musician. His nickname was given him as a boy in the capital Bujumbura — it is a variant on the spelling of Modibo Keita, the first President of the state of Mali.
Stay tuned for part 2 of Mudibu's story, coming out next Wednesday!
Will you show your support for refugees like Mudibu with a Blue Key?
For just $5, you will join the Blue Key community, a growing contingent of Americans who are standing up for the world's most vulnerable people: refugees.
With your key you will open the door to a new life that was unexpectedly—through no fault of their own—closed to refugees.
One Response to Refugee Stories: Mudibu, Burundi (Part 1 of 2)
[...] Watch Part 1 of Mudibu's story here, where he describes his experience becoming a refugee after fleeing genocide in his home country, Burundi. [...]
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How much RAM does a 64 bit OS allow for? Maybe a better question, what would you currently need that much RAM for? Regardless of whether it would be beneficial, I still wouldn't mind having it though.
maybe with nehalm and metaram big companys can consolidate all there servers into just a few servers
Nearly infinite as far as our needs are concerned. 16EB. That's 16.8 million TB, or 17.2 billion GB. I have a feeling this will last the rest of the century. Technology progresses fast, but not that fast, eh?
I don't know man....our 16-bit OSes were often capped out by gamers back in 'da day....now 32-bit is being capped in this day.
15 years ago 4 Megabytes of RAM was a huge amount.. that is .0019% of the amount used in most computers today (referencing 2GB). I honestly do not think that TBs of RAM are THAT far off on the horizon -- give 'er 5 yeras or so and we'll see. Heck in 15 more years from now maybe we'll be up to exabytes, haha.
BTW: To figure out the supported memory just take 2 ^ bits-of-OS -- EX: 2 ^ 32 = 4294967296 bytes (approximately 4GB)
Thanks for answering my question Crisis and ice. 16EB, good lord that's
a lot of RAM. Though it may seem like an insane amount right now,
eventually it will not be enough and we will have to move on to 128-bit
OSs. I look forward to that day. Imagine, if you can, what the graphics
of a game would have to be like to need more than 16EB of RAM! The
possibilities that the future holds are mind boggling.
Imagine the costs too.Nobody will be able to use or buy all that ram for a single computer.
|HotHardware's Summer Gaming System...
|Microsoft Employees 'Suggested...
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|Windows 8.1 Update Crippling PCs With...
|Snowden's WIRED Cover Story Depicts An...
|Official Destiny Gameplay Trailer: Venus...
|Roar! New York Bans 'Tiger Selfies'


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Social Support Group for LGBTQ Individuals with Disabilities
Come together to talk, connect, and find support around a number of issues including: Coming Out, Socializing. Challenges around employment. Safe Sex. Self Advocacy. Choosing Partners. Discovering who you are. And anything else you want to talk about!
Meetings are Tuesdays, 4:30 pm at the RU12? Community Center in the Champlain Mill in Winooski. If you have any questions please contact Brenda (email@example.com) or call RU12? at 860-7812
Check Out RU12? Calendar of Events
Jan. 8th Making Resolutions for the New Year
Jan. 15th Discussion group- No Topics Off Limits
Jan. 22nd NO GROUP TODAY
Jan. 29th Art Project- Express Yourself
If you aren't able to make it to the RU12? Disability Group you can join our facilitator, David at The Wellness Co-op for LGBTQ Support Circle for Individuals with Disabilities, or join our online group through Pal Talk. Monday nights 4:30pm-6:00 pm online Pal Talk in the Vermont GLBTQ Group for Individuals with a Disability Chat Room.


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Promoted FanPost
During the last 12 hours, the Rondo-for-Gasol swap has been discussed at nauseam by Celtics fans (and Lakers fans.) Celtics fans nearly universally agree: bad trade. The Celtics are going into a rebuild, and despite Rondo's flaws, why in the world would they trade a 26-year-old point guard entering his prime for a 31 year old big man who is declining? Fair question. However, there are many good answers.
First off, a total rebuild of the franchise is something that should be of last resort. Preferably, the team would 'retool' and get back on top quickly. Much like how the Lakers have done things the last 35 years. This was supposed to be the plan when the team was to acquire Chris Paul. Boston would have Chris Paul for this season, take one more run at it with the Big Three, and then hopefully Dwight Howard were to soon follow. Swapping Gasol for Rondo would almost assuredly make the Celtics better for 2012. It would give The Big Three one last run at capturing the 18th flag, no matter how much of a long shot it'd be. The team as presently constituted (a team that rebounds with the worst of them, and cannot close out games) has no shot whatsoever. At this point, it's even questionable that these Celtics would win a playoff GAME, much less a playoff series, and much less Banner 18.
However, the real method to the madness is simple. The Celtics still feel they have a puncher's chance at Dwight Howard this summer. Now I know whenever that is mentioned, it actually angers some Celtics fans. Because people from Boston just accept that no one wants to play in their lame, miserable, overly-taxed town. And if you don't accept that thought, then you are a fool. However, Ainge still feels the gamble is worth it. And ask yourself this, what is more worth it? Taking a 5-10% shot at a game-changer in Dwight Howard? Or blowing up the whole team, going through a miserable season (or three, or five, or ten), and then hoping and praying for ping pong balls, in the perfect year, and for the perfect player? And then hoping he pans out? What are THOSE odds? 0.3%? And considering you have to throw away season after season in the process? According to Adrian Wojnarowski, Dwight Howard has stated that if he were to be a Laker, he would want to play alongside Pau Gasol. Not be traded for him. Ainge is a mad scientist. He sees that, and is thinking that he could sell Dwight, and even point guard Deron Williams, to play along side Gasol, and be coached by Doc and form a new Big Three, (Paul Pierce would of course have to be amnestied to have both Howard and Williams here.) Odds are this happens? Very slim. However, is the gamble worth it? Absolutely. First off, if Dwight Howard reaches free agency, Boston will not be competing with the warm climates of Phoenix or Los Angeles (unless the Magic do a Bynum for Howard sign-and-trade.) They will be competing with Brooklyn. Right now, Dallas (who WOULD be the heavy favorites) is not in a position to land both players until they find a taker for Shawn Marion's contract (and then amnesty Brendan Haywood.) Knowing that taking on Shawn Marion would be a precursor to Dallas putting together 3D (Dwight, Deron, and Dirk), who is going to bite on that? Certainly not any Western Conference team. Unless there is no chance, you always take wild gambles to get stars. Stars win championships. If you fluke into a star or two, whether its through miraculous free agent signings or the draft lottery, the gambles are worth it.
If Dwight and Deron don't sign here, then what? Are the Celtics screwed because they would be 'stuck' with a declining 31 (32 this summer) year old big man? Absolutely not. Unless the Celtics are taking back added salary with Gasol that could affect their cap moving forward (like Ron Artest or Luke Walton), the Celtics will still have plenty of payroll flexibility, which is pivotal for a rebuild. Just last December, the Houston Rockets gave up Kevin Martin, Luis Scola, Goran Dragic, and a #1 draft choice for Pau Gasol, in a deal which was killed by David Stern and a few small-market owners. The Minnesota Timberwolves, this year, were interested in trying to put together a package that was centered around Derrick Williams (the #2 overall pick in the draft), and other young pieces for Pau Gasol. Gasol is just as valuable to a rebuild as he is to helping the team on the court right now. He has a lot of value around this league. And if the Celtics don't feel that a big man in his early to mid 30s is going to help this team on the court in a rebuild, then they can easily trade him. Could the Celtics get Nikola Pekovic from Minnesota for Gasol? Could a Gasol to Houston deal be revisited (with old friend Kevin McHale, no less – hey how did that turn out last time?)? Every team in the league needs big men, much less those that are talented. Gasol could easily be moved for important pieces towards rebuilding the Boston Celtics.
Rajon Rondo? Not so much, well not as much as some would like to think. As we all know, there aren't many teams banging down the door for his services. If he really was a 'top five point guard in the NBA, who is also 26' as many Celtics fans point out, well then Chris Paul would be a Celtic right now. The fact is, Rondo does not have as much value around the league as most Celtics fans presume. Couple that with the fact that almost every team in the league has a decent point guard, his value is even lower (where as opposed to Gasol, as has been pointed out, having good big men who can play both the 4 and the 5 is something any team would take.) And if this team really is going to have to go into a rebuild, and have a team with plenty of young players – then Rajon Rondo must be kept away from it as far as possible. He is already a moody player as it is now, and sulks at times when things don't go his way. What if he's on a team of young players who may make the occasional great play, but follow that up with another three to five boneheaded plays, and the Celtics are losing 50-60 games a year? Does anyone think that will end well for Rajon Rondo? Put it this way, if Rajon Rondo were on the this year's Washington Wizards, and Wizards teams moving forward, he would fade into oblivion. The Celtics are aware of this too, and they want nothing to do with Rajon Rondo being on a rebuilding team. That's why it is all but inevitable that they will move ahead and deal Rondo right now. And to those who are upset at dealing a 'young star,' ask yourselves this: How many more years do you see Rajon Rondo being a very effective point guard? Do you see Rondo even being above average when he is 30 or 31? As is, he already bangs around the court hard enough, seemingly falling awkwardly onto the court more times than anyone in the NBA. It is very likely he breaks down. We are starting to see glimpses of this with wrist injuries, plantar fasciitis, sprained ankles, etc. And not to mention, his gruesome elbow injury in the post-season last year. But more importantly, when he starts losing some of his athleticism in his late 20s (which is now only about 1-3 years away), how is he going to remain effective? What if, in the half court set, he can't blow by his defender anymore? Is he going to make defenders pay with that jump shot of his? Rondo's defense this year has already regressed, as well. Some players peak in their mid 20s, and there are good odds that Rajon Rondo is one of them. Fact of the matter is, Rondo's game has not improved one iota since 2008. He may have sharpened the edges a bit on his overall game, but he has added nothing to his repertoire. Contrast this to Derrick Rose who added a mid range game in his second year, and an outside shot his third year. All while going from a below average free throw shooter (and costing Memphis the 2008 National Championship) to an exceptional free throw shooter. Let's not get into this aspect with Rondo.
The Boston Celtics are going to trade Rajon Rondo one way or another. The Lakers are a logical fit because they are a team in dire need of a point guard, (and since the inception of Linsanity, may be the only team left in the NBA who truly needs one that bad.) If a Rondo-for-Gasol trade goes by the wayside, then the Celtics will never see that kind of value for their best trading chip ever again. Pau Gasol helps this team in 2012, puts them in a better position to land Dwight Howard and Deron Williams in the summer, and is a better trading chip to help with a rebuild down the road if it ever does come from that. If Danny Ainge is presented with a Rajon Rondo (and Jermaine O'Neal's expiring contract) for Pau Gasol, with no draft picks, no Brandon Bass – then he should take it and run.


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Written by Adam Freed | March 13th, 2014(3)
What are the challenges and solutions being used in cities to address water risks? A recent event bringing 300 leaders from more than 60 global cities offers a revealing snapshot, Conservancy blogger Adam Freed reports.
Written by Paul Kingsbury | February 18th, 2014(3)
The benefits of urban conservation projects are well known: clean water, wildlife habitat, outdoor recreation. But blogger Paul Kingsbury found something unexpected while walking Nashville's Greenways: community.
Written by McKenzie Jones | January 29th, 2014(0)
Super Bowl sustainability, veggie vending machines, and the largest solar bridge ever in today's green news.
Written by McKenzie Jones | January 13th, 2014(0)
Saving the radioactive cows, West Virginians soon to have clean water restored, and an attitude adjustment re: urban biodiversity in today's green news.
Written by Mark Tercek | September 18th, 2013(2)
The launch of the Monterrey Metropolitan Water Fund in Mexico is a great example of a triple win — a project that protects nature, meets people's needs, and provides good returns on investment for businesses and governments.
Written by Adam Freed | July 3rd, 2013(0)
As China grows to an urban population of 900 million people, the most critical thing it will have to get right is protecting its water supply, says the director of our Securing Water Program.
Written by Madeline Van Tassel | July 3rd, 2013(0)
Before you head outdoors for the 4th of July, cool off with some green news.
Written by Madeline Van Tassel | June 21st, 2013(0)
Seeing as how today is the longest day of the year, you definitely have time to read up on some green news!
Written by Trevor Martin | June 20th, 2013(3)
Could you leave the city-life and live in a forest full-time? Thomas Backlund shares his story of leaving his apartment and job to get closer to nature.
Written by Megan Sheehan | June 19th, 2013(0)
We've all heard that bees are in decline, but this morning's green news puts that in visual perspective.
We're green. We're nature-lovers. We are Conservancy Talk. Hear Nature Conservancy staff and invited experts share their voices on today's conservation issues — in our uniquely rigorous, science-based way. Learn more


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Good Wednesday morning to you, South Jersey. Normally, I'd also say "Happy Hump Day" and begin my discussion, but with today being what it is, I feel that we should all take a moment to reflect on the events of 12 years ago, remember those who were lost on that fateful day, and be thankful for how far we've come since then. So wherever you may be or whatever you may be doing, please...just take one moment to remember.
With that said, let's focus on today's weather. To sum it up simply, it's going to be hot today. High pressure to our south will move to the east, and the associated ridge in the jet stream will also move eastward. This places us on the warmer western side of this area of high pressure, and our winds (Which will be out of the southwest both at the surface and further in the atmosphere) will carry plenty of warm and moist air from the Gulf of Mexico right into our backyard. With ample sunshine, increasing dew points, and high humidity, heat index values will climb well into the mid 90s throughout the region. High temperatures themselves will hit 90 on the mainland and the mid 80s on the coast with a light southwest wind at 5 to 10mph. Please be sure to stay cool today if you are attending any of the 9/11 remembrance ceremonies. There will be little to no relief tonight as well, with lows only reaching the low to mid 70s with a light south wind. Dew points remain high, making things rather uncomfortable even in the dead of night. A change begins to occur on Thursday. A cold front that is currently in the Midwest will pass through the region late on Thursday and into the night. Ahead of it, the pre-frontal air mass will interact with the pre-existing warm and moist air mass that we are experiencing as I type. As a result, there is the chance for some scattered showers and thunderstorms...some of which may be stronger in nature. Highs will take a step back with increased cloud cover, but we'll call it partly cloudy overall. Temperatures will climb into the mid 80s on the mainland and low 80s on the coast.
An isolated shower before sunrise is possible on Friday as that cold front moves off the coast. Once it does, high pressure out of Canada will move over the Northeast and stay put through the weekend. Highs begins a more substantial descent for the end of the work week with gradually clearing skies and more comfortable conditions as well. Highs in the mid 70s on the mainland and low 70s on the coast. The core of this cold air arrives on Saturday, with some of the coolest forecasted temperatures we've seen in a long time. It will be a struggle to reach 70 degrees on the mainland (let alone the coast) with a strong northwesterly flow in place. Plenty of sunshine can be seen on Saturday and Sunday as we warm up slightly...back into the low to mid 70s to be more exact. We'll keep an eye on a weak cold front for the start of the work week, but we'll keep the forecast dry for now with partly sunny skies and highs expected to remain in the mid 70s.
Take care, and have a great day!
- Meteorologist Adam Rutt


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MONROE, LA. (KNOE 8 News) - This next scientific innovation may look like maple syrup.
But it's an oil that could help cure cancer, tocotreinol, natural Vitamin E found in rice bran oil and plenty of rice is grown in the ArkLaMiss.
"We grow a lot of rice," Dr. Paul Sylvester with the ULM College of Pharmacy said. "Louisiana's the third largest rice-grower in the United States."
At the ULM College of Pharmacy, Sylvester is just one of the researchers who's been working on this project for many years.
KNOE 8 News has reported on this project before but it has taken a new leap this past October, receiving a patent from the federal government.
But patents can't go to natural vitamins and by itself, tocotreinol can't get the job done in the body because it's like thick syrup in water.
"It's a fat," Sylvester said. "The problem is there's just limits on how much you can absorb and how much you can transport in the blood."
These scientists got their patent for the changes they're making to the tocotreinol, making it more soluble and more potent.
If it works, the new compound can come in pill and injection form, helping shut down the pathways cancer takes to spread across the body.
"Prostate cancer, breast cancer, tocotreinols are very effective at shutting down those pathways and killing those cancers," said Sylvester.
Sylvester says the compound could also be a less toxic alternative to chemotherapy.
The patent helps scientists move on to the next step, enlisting the help of local farmers to grow the tocotreinol so they can make the cure.
But we're still a ways off from clinical trials.
"Probably two years, maybe three years," Sylvester said.
This new tocotreinol oil is a chance to cut cancer down and it's made in the ArkLaMiss.


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Posted by: Sports
Two Nebraska home games in 2013 will be played in primetime and televised nationally on BTN, the network announced on Monday.
The Huskers' season opener against Wyoming on Aug. 31 will kick off at 7 p.m. CT, and NU's home game against Southern Miss on Sept. 7 is set for a 5 p.m. CT start.
"Memorial Stadium always has a great atmosphere, and kicking off the season with two home night games should bring even more energy to the stadium," Nebraska Head Coach Bo Pelini said.
BTN will televise a total of 12 primetime Big Ten games during the 2013 season.
The 2013 season will mark the seventh time since 2002 that Nebraska's season opener has been played under the lights at Memorial Stadium, but the first time since 2010. Nebraska has won each of the six previous games, including victories in home night games in Pelini's first three season openers as head coach in 2008, 2009 and 2010.
With each of the first two games of 2013 in the evening, this season will mark just the third time in school history Nebraska has opened with a pair of home night games. The two previous occurrences came in 2002 and 2005.
Nebraska is 37-5 all-time in night games at Memorial Stadium, including victories in each of its past 11 night games, dating back to 2008.
Source: UNL Sports Information Department
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INTRODUCTION ❖ Editing a Fluid Text · Navigating the Typee Manuscript · Writing Typee · Scenes of Revision
Navigating the Typee Manuscript
The online edition is an electronic archive consisting of digital reproductions of the Typee manuscript, a diplomatic transcription of the document, a reading text available with or without mappings of the documents revision sites, and links to the revision sequences and revision narratives for each site. The following describes each feature and how to use it.
The Typee Manuscript
The manuscript is a three-chapter fragment of the working draft manuscript of Melville's first book, Typee (published in 1846). The so-called "First Draught" actually represents an intermediate stage of composition in which copying from earlier drafts, fresh writing, proofreading revisions, and other phases of writing are combined.
The physical document consists of a single stitched booklet (measuring 7.5 x 12.5 inches) of twenty pages of durable white wove paper, six additional loose leaves torn from similar booklets, and one smaller insertion slip (measuring 8 x 4.33 inches). The manuscript text is inscribed in one kind of ink, now brownish in color, entirely in Melville's hand; however, some light pencilings of words and marginal markings, probably in Gansevoort Melville's hand, appear sporadically throughout.
An inscribed paper folder, customized with reinforced edges, was crafted perhaps by Melville or a sister to hold the booklet and loose leaves. The front of the folder bears the following inscription: "First Draught of 'Typee'—after which much was added & altered. Written in the Spring of 1845—Began in New York in the winter of that year and finished in Lansingburgh in the early part of the summer." Also inscribed on the front of the folder is a large numeral "3," indicating that the entire manuscript may have been divided and stored in several similar, appropriately numbered, folders. On the front inside of the folder are several experimental spellings, in Melville's hand, of the name that finally became "Marheyo."
The manuscript text, designated as chapters 10, 11, and 12, corresponds to chapters 12, 13, and 14 of the print edition of Typee. This discrepancy in numbering indicates that two chapters of text were added to earlier chapters in the manuscript some time after the "first draught" was completed. The text of the document is a virtually continuous version of the three chapters, with three exceptions: the manuscript chapter 10 begins in mid-sentence with text from the third paragraph of print chapter 12 (that is, the opening of that chapter is missing), the text of one unlocated leaf (designated as Leaf 12) is missing, and the texts of several unlocated insertion slips are also missing.
The booklet and five of the six extant loose leaves were discovered in 1983, in Gansevoort, New York, and since 1984 have been located in the Gansevoort-Lansing Collection of the Rare Book and Manuscript Division of the New York Public Library. One exception to this provenance is Leaf 13, which was acquired for the NYPL in the 1940s by librarian Victor H. Paltsits and transcribed in an essay published in 1943.1 This leaf, also transcribed in the NN Typee, pp. 363–74, is encapsulated in plastic and resides now alongside the other loose leaves in the New York Public Library. How or why Leaf 13 was separated from the others is not known.
The digital reproduction of the manuscript and folder were produced by the New York Public Library and appear here with its permission.
The Typee manuscript transcription is a simulation or "diplomatic" rendering of the manuscript text.2 It presents Melville's handwritten text—including his baseline inscription, cancellations, and insertions—typographically as it appears on the document page. Melville's inserted texts have been positioned in proximal relation to their placement on the document, and Melville's carets (when used), specialized insertion devices, paragraph marks, and marginal doodles have also been reproduced. The pen strokes and cross-hatching of Melville's cancellations have been reproduced as precisely as possible to indicate the exact beginning and end of each set of canceled words. Every attempt has been made to decipher obscured and canceled text; undeciphered words are indicated by a question mark in parentheses: (?).
Beginning in 1985, I prepared the transcription by first inspecting a microfilm of the manuscript provided by the New York Public Library and xerographic enlargements drawn from that microfilm. I then compared my initial transcription draft to the actual manuscript several times from 1993 to 1999 and corrected the draft accordingly. In preparing the revision sequences and narratives from 1995 to 2003, I deciphered certain previously undeciphered words, corrected one or two misreadings, and altered the transcription accordingly. A final proofreading of the transcription against the manuscript was made during the preparation of this electronic edition.
Melville composed on both sides of his paper. Each leaf of the manuscript (including the missing Leaf 12) has been given a consecutive number, and the two pages of each leaf have also been numbered. Both leaf and page numbers appear on the upper right-hand corner of each transcription page. The NN edition page and line numbers for the corresponding print text of each manuscript page appear below the "Leaf" and "Page" designations. Each manuscript line is numbered in the left-hand margin. Each numbered line of the transcription corresponds to a single inscribed baseline in manuscript. This transcription lineation is sustained in other features of the edition, including the reading text base version and the relevant corresponding sections of the British first edition text.
The following symbols are used to convey specific physical aspects of the document and Melville's inscription practices:
- Canceled words appear in blue print with strikethrough lines that correspond precisely to Melville's actual cancellation lines.
- Inserted words appearing in smaller red type are positioned to correspond accurately with their position in manuscript.
- Canceled insertions appear in smaller blue type with strikethrough lines.
- A caret (^) indicates Melville's standard insertion mark.
- Braces indicate editorial speculation on wording, as in the false start "blo{ody}."
- An equal sign (=) replicates Melville's hyphen.
- A plus sign (+) indicates letters added to or written over a word to create a new word, as in "this+e", which means that an e has been inscribed over the "is" in "this" to give "the."
- A paragraph mark (¶) replicates Melville's own paragraph mark.
- A filled circle (•) indicates a marginal penciled dot.
Marginal notes describe more idiosyncratic physical features of individual manuscript pages (such as tears and pinholes) as well as the series of penciled notations (attributed in Melville Unfolding to Gansevoort Melville).
In general, I have attempted to preserve Melville's imperfect spellings. All handwriting, especially in working drafts, involves idiosyncratic flourishes, abbreviations, unfinished words, and the inadvertent dropping of letters; and such shorthand does not constitute actual misspelling. In these instances, I have given the full word intended, not the abbreviated scribble actually written. Conjectured or debatable readings of undeciphered words are followed by a question mark in parentheses, "(?)," and any word that has not been deciphered in this edition appears with its legible letters printed and each undeciphered letter indicated by a "?."
No effort has been made in the transcription to go beyond a visual representation of the document itself and indicate, through arcane genetic transcription symbols and the like, the process of revision. The chief value of the transcription is that it enhances the document's legibility; it enables readers to read Melville's scrawl and to discern his canceled words.
Reading Text
The central feature of the edition is the reading text of the manuscript, which consists of an editorially constructed "base version" and a set of links, one for each of the manuscript's one thousand or so revision sites. Essentially, the base version text is an edited version of the manuscript's "final reading." That is, it represents the resultant text when all of Melville's instructions to add and delete text are followed. This final reading version varies significantly from the text of the first print edition of Typee; indeed, about half of the revision sites mapped on the reading text indicate changes made to Melville's text after he completed his first draft of the manuscript.
To explain the reading text and provide a rationale for its use as this edition's base version, we need to recall Melville's revision method and recognize the limitations of standard scholarly editing in rendering that process.
Base Version
In manuscript, Melville performed several phases of writing: he inscribed initial words on the baselines of his pages either by copying from previous (now lost) texts or through immediate invention; he canceled words as he wrote, revised later as he proofread, and revised several times again in later stages of composition. And this series of manuscript writing events can be witnessed in over five hundred revision sites. Moreover, as noted above, when we compare Melville's manuscript text to the text he actually published in his first British edition, we discover another five hundred or so revisions made either by himself when he created his own fair copy (derived from the working draft and now unlocated), by his editors when they prepared the British edition, or by his brother Gansevoort when he corrected page proofs. Obviously, the diplomatic transcription of the manuscript, by itself, cannot possibly represent Melville's revision processes. It merely depicts the revision markings and wordings in manuscript; it does not show what Melville did to create the mess, nor what he did after he tried to clean it up, nor how he continued to revise while making his fair copy and preparing his text for publication. What is needed in addition to the transcription, then, is some suitable "base version" of Typee that can be used to display, like a map, all of Melville's discernible acts of revision, both in and subsequent to the manuscript.
The idea of a base version is drawn from the traditional notion of "copy text."3 A primary concern for anyone attempting to edit a literary work (whether a fragment like the manuscript or the entire work called Typee) is selecting from the available versions of the text the one most useful for copying. Typically, in modern scholarly editing, the editor selects as "copy text" the version that most closely represents the writer's "final" intention before going to press: either a fair-copy manuscript, corrected page proofs, or a first-edition text. (Editors aiming to represent the writer's words without editorial intervention might want to use the writer's fair copy, if it can be found. Since the Typee fair-copy manuscript has not been recovered, the editors of the NN Typee settled on the closest version of the fair copy they could find, the first British print text, for their copy text.) The editor then reproduces this copy text, emending any passages judged to be in need of emendation, either by substituting for them variant texts (drawn from other versions) that are deemed to be more reliable than the copy-text version, or by inventing suitable wording (see the discussion of "nations" and "matrons" in "Editing a Fluid Text: Rationale and Approach"). This form of eclectic critical editing can effectively represent an editor's conception of final intention, but as I note more fully in The Fluid Text, it is a highly problematic approach to displaying the revision text of a literary work spread out over multiple versions (in both manuscript and print forms) of that work, which is itself the accumulated effect of numerous moments of intentionality. If our goal is to make a full range of revision available to readers—throughout its manuscript and print versions—we need a base version upon which we can map out all of the literary work's revision sites. For various reasons, discussed below, no single historical print version of Typee exists that is suited to this end; therefore, a base version derived from the manuscript needs to be editorially constructed.
The problem for the fluid-text editor is to establish a base version that is large enough in its textual field to encompass the total range of revision so that all revision sites can be displayed. In the case of the Typee manuscript, we have three texts that might possibly serve as a base version: Melville's initial baseline inscription, the "final" version that includes his cancellations and insertions, and the first British edition. The first option is not advisable because Melville inscribed his text in alternating waves of copying, fresh composition, and subsequent multiple stages of revision. An initial baseline version is simply not coherent without incorporating certain revisions, and since some of these revisions (even baseline cancellations) cannot be determined as having happened at the time of initial inscription, we cannot establish a historically stable initial inscription version with any certainty. The third option (the first British edition) is a fully readable and coherent text, but it is not viable becuase its text necessarily incorporates the collaborative revisions of editors as well as Melville. Of course, collaboration is a major cause of revision in any fluid text and is not, in itself, a problem. But if we seek to differentiate Melville's revisions from his editors', we can best demonstrate that collaboration by avoiding a collaborative text as a base version. Better to use the purely authorial version that precedes the collaboration as a foundation upon which to map out authorial and editorial revisions.
With these restrictions in mind, I have chosen to construct a base version on the second option: the "final" manuscript version. To establish this text, I did nothing more than follow the editorial instructions implicit in Melville's cancellations and insertions. That is, I canceled what he canceled and inserted into his baseline text what he inserted. In performing this mechanical process of addition and deletion, I created what may be called a kind of fair copy of the working draft manuscript. Of course, my "fair copy" should not be confused with the actual fair copy Melville prepared himself. In preparing his own fair copy to send out to publishers, Melville most certainly revised what he was also copying. (Indeed, some of those revisions appear in the variation of text between the manuscript and first British edition versions.) In preparing my mechanical fair copy for the base version of this fluid-text edition, I have, needless to say, refrained from any revising of my own, including any of the small logical corrections to the resultant text that Melville (or any writer) would have made. That is, in a handful of cases Melville inadvertently dropped necessary words or added unnecessary ones while he revised so that the final reading includes several obvious inadvertencies such as "a a college of vestals." Since these inadvertencies are few and inconsequential, I have not edited them away. The resultant base version text, then, is quite readable but not perfectly "smooth." Happily, these minor incoherencies do not seriously impede the flow of reading, and I preserve them as a vestige of the roughness of Melville's original document and as flaws that remind us of the "constructedness" of the base version itself.
Revision Sites
Despite its one or two rough spots, the base version text provides a "smooth enough" reading experience. But though it can be read conventionally for its surface content, the base version principally functions as a map for designating Melville's revision sites. As such, the mapping feature of the base version may pose small challenges to our normal reading expectations. Each numbered line corresponds precisely to the lines in the transcription. Since some lines are affected by cancellation, they will appear shorter than others, or simply as a blank "canceled line." Other lines include lengthy insertions and are therefore so long in accumulated content that they cannot fit on a single line. Thus, while most consecutive lines in the base version appear in uniform lengths, those lines with substantial revision will vary remarkably in length.
The base version can be viewed as a clear text (without "mapping") or with its color-coded revision sites mapped in three ways; each mapping is available under Revision Sites in the frame selector. In these views, each revision site is also designated by its own revision code that pops up when the reader moves the cursor over any site. (The numbering of the codes restarts at "one" for each of the three manuscript chapters.)
- Text revised in manuscript is highlighted in yellow and coded with the prefix ms
- Text revised in Melville's fair copy or later in the preparation of the British (often called the English) edition is highlighted in pink and coded with the prefix e
- Text revised in both manuscript and subsequent stages is highlighted in orange and is designated with a combination of ms and e prefixed codes.
To illustrate the mappings, let's look at four sample lines from chapter 10 in the Reading Text.
Located under Texts in the frame selector is the "base version," which offers a clear reading of the final wording of Melville's manuscript:
22 ¶ Here were situated the Taboo Groves of the valley
— the scene
23 of many a sensual feast, of many a horid rite.
24 Beneath the deep shadows of the consecrated Breadfruit trees
25 there reigned a solemn twilight, a cathedral like gloom.
Users may read this text without having to bother with any codings, and this version may be used in comparison to the first print edition (also located under Texts in the selector) with its altered text indicated in pink. This color-coded print text, however, is not "clickable." For the links to revision sequences and narratives, readers must use the mapped reading texts located under Revision Sites.
By clicking on "In manuscript" under Revision Sites, users may view the same four sample lines, but here with the manuscript revision sites highlighted in yellow.
22 ¶ Here were
situated the Taboo Groves of the valley — the scene
23 of many a sensual feast, of many a horid rite.
24 Beneath the deep shadows of the consecrated Breadfruit trees
25 there reigned a solemn twilight, a cathedral like gloom.
The yellow sites indicate places in the text Melville revised in manuscript only. When you move the cursor over a site, that site's revision code will pop up; the revision code for the site in line 22 is RS10ms40, meaning revision site 40 in manuscript chapter 10. When you click the site, a separate, resizable window containing the site's revision sequence and narrative will appear.
By clicking on "Later stages" under Revision Sites, users will find the text color-coded in pink to indicate revisions to Melville's text that were made subsequent to the completion of his working draft manuscript.
22 ¶ Here were situated the Taboo Groves of the valley —
the scene
23 of many a sensual feast, of many a horid rite.
24 Beneath the deep shadows of the consecrated Breadfruit trees
25 there reigned a solemn twilight, a cathedral like gloom.
These changes, evident by a comparison of the base version to the first print edition, were made either in the preparation of his fair copy (now lost) or in galleys and page proofs (also), by Melville himself, his brother, or his publisher, editor or printer. These sites are also linked to corresponding revision sequences and narratives.
Finally, by clicking on "All combined" under Revision Sites, the user will find all revision sites displayed, both the manuscript and print-text sites in their respective, yellow and pink, highlighting.
22 ¶ Here were situated the Taboo Groves of
the valley — the scene
23 of many a sensual feast, of many a horid rite.
26 Beneath the deep shadows of the consecrated Breadfruit trees
27 there reigned a solemn twilight, a cathedral like gloom.
In addition, sites revised in both manuscript and later stages, such as "deep shadows" in the illustration above, appear in orange highlighting to indicate the overlapping of the separate revision processes.
The revision site codes are assigned in a routine and linear manner, following the text from left to right on a line and top to bottom on a page, one page after another. Thus, the reader can be assured that RS10ms41 follows RS10ms40 and RS10e33 follows RS10e32 on the reading text; however, the numbers have no relation to the actual temporal sequencing of the revisions themselves. That is, Melville may have performed the revision at site RS10ms41 before revising at RS10ms40. Similarly, a revision on one page may have been performed at the same time or in coordination with a revision a page or two later. Again, the numbering of codes is purely arbitrary and designates the physical location of the sites on the document, not their sequence in time. In order to clarify the temporal sequencing of revisions at a particular site and to tell the story of those textual events, we need revision sequences and narratives.
Revision Sequence
In traditional scholarly editing, variant texts are represented in a textual apparatus, either as footnotes or in an appendix, often in a severely concise, highly encoded format to convey the necessary information in as little space as possible. In the genetic text editing of the one extant leaf of the Typee manuscript available to the editors of the 1968 NN edition of Typee, an attempt is made within a transcription format to give bracketed and coded instructions to readers on how and when Melville revised certain bits of text. The resultant genetic transcription is not meant for casual reading, and the technique has proven to be a barrier to critics and scholars as well as general readers. Even if a reader can decode either the footnoted or textually integrated transcriptions of revisions, he or she has little hope of tying one revision within the transcription to another, or determining the sequence of revisions that produced each new wording, or discerning the larger revision narrative that links the variants together. In fluid-text editing, the editor is obliged to work out the sequences for the reader, and to tell their stories.4
The purpose of a "revision sequence" is to display in precise and numbered steps the actual wordings Melville considered as he revised, step by step, at a given revision site or set of sites. Even though the full texts of these wordings do not, of course, appear physically spelled out in the manuscript, they are not conjectural but represent what had to have gone through Melville's mind as he revised. When the user of this electronic edition clicks on a highlighted revision site, a separate window opens containing that site's revision sequence with its series of steps. The first step in each sequence represents Melville's earliest documentary inscription as he inscribed it; subsequent steps (usually several, but as many as twelve or eighteen in certain cases) repeat the previous step but add or delete words depending upon Melville's insertion or cancellation at the site. If, for instance, a manuscript revision site indicates that Melville stopped writing to cancel a word or set of words or a false start on a word, the wording of that step ends where Melville stopped and the words he canceled are indicated in bold (step 1). The subsequent step repeats any text of the previous step left uncanceled, indicating the canceled wording with a bracketed ellipsis ([…]), and continues on in boldface with the newly inscribed wording (step 2). If they exist in the selected revision site, any revisions found in the British edition print text will appear as the final step of a sequence (step 3), with a revision narrative code (RN) referring the reader specifically to that particular British edition revision.
As with the mapped base version, the revision sequence requires a new kind of reading. Rather than reading linearly, one must read in both regression and progression as one moves from one step to the next, for each new step contains the same phrase or sentence of the previous step but also the textual modification that moves the revision forward in that new step. While moving through the revision sequence, the reader can watch the full text of the passage grow or shrink as Melville makes each successive revision indicated in the revision site. In addition, each numbered step in the revision sequence is keyed to the same numbered step in the revision narrative so that readers can easily find an explanation of each step.
The shaping of the revision sequences is not always a simple or routine matter. To be sure, many revision sites involve the alteration of a single word, requiring only a two-step revision sequence, and there is little likely debate over the shaping of that sequence. And even in the many cases involving a lengthy and complex set of steps, the sequencing is often indisputable because the logic of grammar determines the only possible next step. That is, because each revision step must be linguistically viable, matters of syntax and sentence structure frequently dictate a necessary progression. But in certain ambiguous grammatical situations, a site will lend itself to variant hypothetical sequencings, and in such cases the editor is obliged to voice as many hypotheses as possible. In revision sites with variant sequencings, each set of possible sequences is designated with a letter (A, B, C, D) prefixing each numbered step within the variant sequencing (A1, A2, A3, then B1, B2, B3, etc.). For example, in RS10ms4, we find the phrase "previous to his taking his departure" with "taking" and the second "his" canceled in two separate strokes. Two revision sequences are possible: (A) Melville stopped after writing "taking his," canceled both words, then continued with "departure"; or (B) Melville composed the entire phrase and returned later to cancel "taking his." The two revision sequences would appear as follows:
- A1. previous to his taking his
- A2. previous to his […] departure
- B1. previous to his taking his departure
- B2. previous to his […] departure
While A2 and B2 are essentially the same text, they are derived through a different possible revision sequence, and it is impossible to tell whether Melville decided to remove "taking his" as he wrote, or later while proofreading.
In many cases, a revision site cannot be explained independently of other sites, so that readers will find combinations of consecutive revision sites arrayed, sequenced, and narrated as a unit. Often with these compound revision sites, the sequence of revisions actually follows the linear progression of the arbitrarily designated numbering of the revision sites themselves; thus, in the compound revision site RS10ms79-80, the revision at ms80 actually followed in time as well as in space the revision at ms79. Accordingly, in the revision sequence it can be assumed that step 2 treats ms79 and step 3 treats ms80. And in such cases where the temporal sequencing happens to follow the spatial arrangement, no indication is made to designate which step accounts for which revision site. However, in larger compound revision sites, the temporal sequencing may not follow the spatial arrangement, so that, as in the case of RS12ms67-72, the revisions do not follow the sequence of the arbitrary numbering of sites (67, 68, 69, etc.), but actually occurred in the following pattern: 69, 70, 68, 67, 72, and 71. In such cases, each step ends with the appropriate revision site number in brackets.
Revision Narrative
Revision sequences are essentially an array of textual data arranged in a logical, temporal order. By themselves, however, they do not explain the strategies of revision embedded in each step. The purpose of a "revision narrative" is to tell the story of each revision site. Each narrative is a concise but readable tale that explains the textual events or revision steps occurring at a given revision site. Traditional scholarly editors may feel that the use of the word "narrative" suggests a departure from the rigorous discipline of objective analysis. But in fluid-text analysis, each revision site is taken as the scene of a textual event, and to explain the dynamics or "work" that constitutes each event requires us to consider writers as people motivated for one reason or another to perform actions that have one meaning rather than another. Moreover, a revision site can be the product of multiple hands and shifting intentions. As language is changed, strategies are revealed; inevitably, the sense of an audience or actual audiences come into play. What's more, in analyzing a textual event, the editor has no choice but to imagine a likely scenario, and tell a story. Analysis—or ratiocination as Poe calls it—is an act of imagination. Scenes, play, strategies, writer, audience, actions, motives, language: these are the elements of textual scholarship, and of narrative. It is inevitable and not simply a critical conceit that analysis and narration are conjoined, especially if we are to analyze the events that create textual objects (variants and versions), not just the objects themselves.
Like any critical construction of a historical event, an edition (whether traditional or in the fluid-text mode) is an imagined thing; it represents what the historian or editor imagines is the case. Rather than dismiss the thousand or so revision narratives as merely "imagined," I argue that they represent what is "imaginable" and "plausible." They relate what probably had to have happened. And their credibility stems from the reliable methods with which they were produced. To begin with, each revision narrative is firmly rooted in an analysis of the material condition of each site. Direct, repeated, and magnified inspection of the document itself—the layering of one pen stroke over another, the squeezing of words in unexpected places, the thinness or thickness of an inking, the appearance of penciled markings, the disparity of chapter numbers—these and other peculiarities help establish sequencing. As noted above, the logic of grammar, syntax, and sentence structure along with the writer's (any writer's) desire to reduce repetitions in one place or increase them elsewhere, the varied effects of variant word choices, all become evidence of possible rhetorical strategies in the text. Of course, assembling data at such a microscopic level has the odd effect of rendering one insensible, from time to time, of the larger flow of sentences, paragraphs, and chapters that make up the writer's larger work. Therefore, the editor also needs to get away from the document and simply read the book itself, and to teach it. This provides a needed perspective (not to mention an annual income), and this larger perspective allowed me to consider broader strategies and even textual events that had to have taken place beyond the realm of the manuscript fragment, such as the growth of Typee chapter by chapter and Melville's use of sources (as discussed in Melville Unfolding).
In writing the revision narratives, I developed a concise manner of exposition to give a unity and consistency throughout. I began as early as 1993, sharing samples with participants in my NEH Summer Seminar on Melville and asking them to create sequences and revisions of their own. In the process, I learned more efficient ways to explain complex events, and this forced me to revise narratives composed earlier on. At the same time, I found that in some cases the writing of the narrative made me see a more likely sequencing of revisions and thus forced me to revise the revision sequence itself, which in turn required me to reinspect the manuscript directly. And on one such reinspection, I discovered the nearly invisible set of pencil marks tucked away in the margins of the manuscript, which in turn required me to establish new revision sites and further revise other, related revision sequences and narratives. In this process of writing and research, not only does analysis become narrative but narrative induces further analysis.
In each revision narrative, I lay down facts, arguments, and theories concerning the given revision site. Each step in the revision sequence receives a straightforward explanation that has its own corresponding number placed in brackets. Thus, readers of a particular step in a revision sequence can quickly find my explanation of it by finding the corresponding step number in the revision narrative. To achieve a unified and unobtrusive voice in my narrations, I developed a consistent habit of using the present tense to describe Melville's revisions as he is composing and the past tense to describe his subsequent proofreading revisions. At each step, I describe the revision process in terms of the actual words Melville writes as he writes them (or in the case of false starts, intends to write them), and indicate the possible phases of writing Melville employed and the stages of composition in which each revision may have occurred. In each case, I also provide a plausible rationale for the revision in terms of grammar, aesthetics, social or cultural pressures, or rhetorical strategy. Where appropriate (either regarding the penciled markings or the fair copy and British edition revisions), I relate not only how a revision occurred but who performed it—Melville, his brother Gansevoort, his publisher John Murray, or copy editor Henry Milton—and why. Also where applicable, I provide cross-references to other revision sites that are related to or coordinated with the revision site under narration. In compound revision sites in which text revised in manuscript was also revised in fair copy or for the British edition, I always place the revision narrative for the British edition in its proper sequencing, after the manuscript narrative.
Next: Writing Typee
Previous: Editing a Fluid Text


text:
Andre S. Watson
Aug 14, 2014
Jose Alberto Miranda
Jul 24, 2014
Juan Sanchez-Rodriguez
Jul 16, 2014
Anthony M. Kay
Jul 10, 2014
Home » News » Crime
Manchester Crimewatch: City man charged with threatening father-in-law
Masi's wife, Nichole, 24, also of 110 A St., pleaded innocent to a criminal mischief charge that alleges she picked up a bar stool belonging to her father and slammed it on the floor, breaking it and causing damages exceeding $100.
When Judge William Lyons asked her if anything had changed since her bail interview she responded: "I did not have an interview with an officer to tell my side."
Lyons continued Nichole Masi's bail at $1,000 personal recognizance, with conditions barring contact with her father and barring her from going to their residence. Trial was set for April 8.
Craig Masi's bail was continued at $10,000 cash/surety, also with conditions barring contact with his father-in-law and barring Masi from the residence.
Threat to burn house
Keith Price, 22, of 1625 Paule Ave., pleaded innocent Thursday morning in Circuit Court-Manchester District Division to a criminal threatening charge that alleges he told his mother he was going to burn the house down.
Price asked Judge William Lyons for personal recognizance bail, saying he's not a violent person and there's no reason to believe he would do anything violent.
But a police prosecutor said Price's mother, who was frightened by his threat, has obtained a temporary restraining order against him.
Bail is $3,000 cash/surety, with conditions that include no contact with his mother and not going to her residence. Trial was set for March 7.
Assaulted over video game
Matthew Holmes, 22, of 416 Maple St., could enter no plea Thursday in Circuit Court-Manchester District Division to a felony second-degree assault charge that alleges he pulled a kitchen knife across the chest of his 15-year-old brother, causing lacerations.
Holmes pleaded innocent to charges of simple assault, for allegedly putting both hands around his brother's neck and squeezing, and criminal threatening, for saying: "I will kill you," while arguing over a video game.
Police prosecutors requested $10,000 cash/surety bail for Holmes, with conditions barring contact with the alleged victim and barring him from the alleged victim's residence. The bail will only take effect if a 72-hour hold is lifted. Holmes was convicted of aggravated felonious sexual assault of a person under age 13 in 2011 and of criminal trespass in 2010.
A probable cause hearing was set for Feb. 6 on the felony and trial was set March 5 on the misdemeanors.
Denies assaulting 2 people
Paul Rutherford, 45, of 272 Grove St., could enter no plea Thursday in Circuit Court to a second-degree assault charge that alleges during an argument over breaking up, he put both hands around his ex-girlfriend's neck and squeezed until she had difficulty breathing. He's also accused of grabbing the woman's 14-year-old son by the shoulders and of telling him: "I'm going to .... kill her."
Rutherford protested: "That's not true. The young man, I never touched him."
Bail was set at $10,000 cash/surety, with $9,000 on the felony charge, which is set for a probable cause hearing Feb. 5.
The remaining $1,000 was put on the misdemeanor charges, which also include criminal mischief, with trial set for March 5.
Two felony charges
Jerome Carter, 37, who listed the homeless shelter as his address, could enter no plea Thursday in Circuit Court-Manchester District Division to two felony charges, so a probable cause hearing was set for Feb. 4.
Carter was arraigned on a warrant alleging he attempted to strangle an ex-girlfriend last year and was arraigned on a sex offender duty to report charge, for failing to report to police after moving from his previous address of 224 Spruce St.
Bail was set at $10,000 cash/surety.
- Rochester man facing attempted murder charge - 0
- Mother, daughter, man charged in prostitution case in Nashua - 0
- Alleged accomplice of Dover-area burglaries indicted - 0
- Somersworth liquor store robbed - 0
- Judge drops charge in Derry case - 0
- Windham thefts from vehicles on the rise - 0
- Manchester Crime Watch: Tuesday robbers match Saturday robbers' description - 0
- Panel to probe Portsmouth police officer's windfall - 0
- Portsmouth man indicted for alleged Dover burglary spree - 0
Dover man indicted in sexual assault of young girlREADER COMMENTS: 0
- Nashua physician under investigation by Board of Medicine - 0
- Second Manchester store pledges to stop selling spice - 0
- Two injured in late night car crash in Londonderry - 0
- 2nd District GOP candidates spar at FPU debate - 0
- Hanover St. building has a buyer - 0
- ISIS beheads NH journalist - 0
- Route 101 plaza unanimously granted two variances for improvements to property - 0
- Rockingham County attorney candidates talk leadership at forum - 0
- Hampton Falls woman charged with striking Rye police officer with her car - 0
Some sexual assault charges dismissed against Nashua caretakerREADER COMMENTS: 0
Market Basket: On the brink again
ISIS beheads NH journalist
Pope's call-out Where's the Muslim outrage?
Target: Obamacare
Hanover St. building has a buyer
Judge slams spice search
Target: Obamacare
ISIS beheads NH journalist
Market Basket: On the brink again
Judge slams spice search
NH's immigrants: Welcome the ones from Mass.
Pope's call-out Where's the Muslim outrage?
- Mass. Supreme Judicial Court has found upskirt photos taken on a subway aren't illegal. Should such voyeurism be a crime?
- Yes
- 83%
- No
- 17%
- Total Votes: 917


text:
reviews for: listing #46378 - Cape Coral, Florida Villa rental
- bedrooms 3
- pool yes
- type Villa
- baths 2
- hot tub no
- community Cape Coral Yacht Club
- sleeps 6
- pets allowed no
rates (USD)
$2,400 - $3,100 /mth
Great Lanai
Review submitted: March 22, 2012 Date of arrival: February 1, 2012
My husband & I rented Villa Santa Clara for a month and overall it was a good time. The house has great bones and could be beautiful with a little more decorating and furniture. The tiles in most of the house were gorgeous and could be the basis for a beautiful color scheme throughout. The floor plan was great with the master suite on one side and the other bedrooms and bath on the opposite side. The closets were all huge so we were able to stow all our luggage and boxes out of sight for our vacation. Also, because the house is L shaped, it felt more private in the lanai area than most of the surrounding homes. The lanai, pool and hot tub were wonderful and we used them nearly every day. Sunsets were beautiful and became a daily event. It was convenient being able to use the 2nd bath directly from the lanai. The grill needed to be replaced immediately since it had rusted out and we couldn't cook on it. The beds were so uncomfortable we ended up buying 3" foam just so we could get some sleep. The freezer with the ice and water on the door was great but the refrigerator side had issues maintaining the temperature so we lost alot of food. The landlord was good about responding through the property manager quickly to fix what could be fixed so we we satisfied overall. We towed a 17' boat and were not informed that the neighborhood has a rule against trailers being visible from the street so we were visited by Cape Coral Code Compliance. The guy was great and said to move the trailer from the driveway to the side yard and he wouldn't be back. We used the boat to explore alot of the canals but we got alot more use out of the pool and lanai. Other than those few problems, we had a great time. It's a convenient neighborhood since there was a Publix within walking distance and plenty of places to eat and drink within a short drive. If we decide to return to Cape Coral for another vacation, we'd probably try to rent this house again.
Recommended for: age 55+, romantic getaway
Do you find this review helpful? Yes No
Helpful votes: 4 / 4
Great Holiday at Villa Santa Clara
Review submitted: April 11, 2010 Date of arrival: December 21, 2009
The location was fabulous. We loved every minute we had spent at Cape Coral. Everyone here has been great to make us feel like family.
The villa was quite and comfortable, very clean and had everything what you need to be happy. Everything worked out without any problems.
We can't wait to return next year. Thanks for a wonderful time.
Do you find this review helpful? Yes No
Helpful votes: 24 / 24
Semi-remodeled older home
Review submitted: March 22, 2010 Date of arrival: January 4, 2010
The positive side of the property is that it was close to the grocery store and good restaurants. The negative starts outside with the exterior painting where one coat didn't cover and paint was dripped all over. The kitchen had been remodeled, but the dishwasher was not attached to the counter top so when you pushed start you were esentially pushing the top of the dishwasher back until it finally made contact with something solid and started. The lighting in both bathrooms and the kitchen was flourescent recessed panel lighting which was probably original (loved the buzzing from the one that was going out). The knob for the deadbolt on the front door fell off when we opened the door and the deadbolt in the bathroom that has access to the pool area is missing the bolt. Also the garage door opener housing was loose and was vibrating when the opener was used which made it sound like a Gatlin gun! The king size bed was fine after we bought two twin foam pads to put on it, except for the horrible noise it made when you sat on the edge of the bed, maybe it was because it was wicker furniture. I would have to say the bathroom in the worst motel I've stayed in was better than the master bathroom here. Ask for a picture! The manager did furnish a blanket for the hot tub after we asked but there isn't one for the pool. Also extra bedding ie. blankets and extra sheets were non-existent with very few towels and wash clothes. Complimentary bottle of wine was a nice gesture.
Do you find this review helpful? Yes No
Helpful votes: 11 / 38
Review submitted: January 31, 2010 Date of arrival: November 1, 2009
Dieses Jahr haben wir einen wunderschönen Urlaub in Florida in Cape Coral verbracht. Die Villa Santa Clara war super ausgestattet und sehr sauber. Wir haben uns in der Villa Santa Clara sehr wohl gefuelt. Die Lage der Villa ist einfach traumhaft. In wenigen Minuten ist man mit dem Motor- oder Segel-Boat direkt am Golf von Mexiko. Eine super deutschsprachige Verwaltung vor Ort.
Die Villa kann ich nur weiter empfehlen.
Recommended for: adventure seekers, age 55+, families with young children, families with teenagers
Do you find this review helpful? Yes No
Helpful votes: 35 / 36
Reviews are the subjective opinions of VacationRentals.com travelers and not of VacationRentals.com, Inc.


text:
Trevor Ashley and Rhonda Burchmore to host at Flinders Seats for Mardi Gras
If you were hoping to watch the parade in style this year and were considering buying tickets to the Flinders Seats, you now have two more reasons to fork over your hard-earned: Rhonda Burchmore and Trevor Ashley will be playing host on the night!
If you want to escape the crowds and have a fabulous vantage point of every sequin, performer and float that passes through the parade route, the Flinders Seats will deliver grandstand style seating and the best view of the Sydney Gay and Lesbian Mardi Gras Parade.
Video screens will capture the action in high res detail, and you'll have full access to bars, food and bathrooms so you have all the creature comforts and have a premium parade experience.
As Mardi Gras royalty, hosts Burchmore and Ashley will offer the complete VIP experience, mingling with punters, and creating an exciting atmosphere, from the comfort of VIP grandstand seating for Australia's biggest street party.
Tickets start at $143. There are also child priced tickets and family bundles available. Transport from Central Station is included. More info: www.mardigras.org.au
- TOPICS: Flinders Seats, Mardi Gras, Mardi Gras Parade, Rhonda Burchmore, SGLMG, Sydney, Sydney Gay and Lesbian Mardi Gras, Trevor Ashley
- CATEGORIES: Celebrity, News + Politics


text:
RiverCross Tracking Accounts Assistant Job in Kenya
Category: General Jobs in Kenya
Posted: Jan 6, 2014
Company Profile: RiverCross Tracking Limited is a dynamic company made up of a team of highly skilled software engineers, combining over 20 years of international software engineering experience in the field of remote asset management and monitoring
Accounts Assistant
Job Description: The primary responsibility for this function is book keeping, AR Management, AP Management, records retention management, credit control responsibility, Tax and statutory deductions Management.
At least 1 Year work experience and SAGE evolution experience a plus.
- Keeping country and Group books up-to- date
- Verification of credit terms for all credit approved customers
- Ensuring scheduled creditor payments are honored as scheduled
- Reconciliations
- Credit control responsibility on allocated accounts
- Ensuring all statutory deductions are paid on time.
- Record retention for country and group transactions
- Raising sales quotations for all sales including tender quotations
- Management & reporting of prepaid revenue
All applications must be sent through email to [email protected] no later than 13th January 2014.


text:
NEW YORK — The dollar amounts may seem modest, but proposals to lift the minimum wage are a big deal for small businesses.
It's an issue that affects large and small companies. But larger companies are more likely to have the financial resources to absorb higher payroll costs.
Opponents say a higher minimum wage could force businesses to lay off workers. Supporters say a fatter paycheck will make employees happier and more productive, and help companies attract better workers.
The debate over the minimum wage has intensified. President Barack Obama said in his State of the Union address he'll sign an executive order requiring companies that have new federal contracts to pay their workers at least $10.10 an hour, up from the current federal minimum of $7.25. Voters in New Jersey approved, in November, a $1 increase in the state's minimum wage, to $8.25 an hour.
Bills to raise the minimum wage were introduced in more than 30 states last year, with increases approved in four. In his speech Tuesday, the president encouraged state and local lawmakers to raise wages. Congress has deadlocked on most legislation amid partisan rancor ahead of the coming midterm elections.
"To every mayor, governor, state legislator in America, I say, you don't have to wait for Congress to act," Obama said "Americans will support you if you take this on."
About 3.6 million workers have wages at or below the federal minimum, according to the Labor Department. That makes up 4.7 percent of workers who are paid by the hour. It's not known how many work for small businesses.
The Associated Press spoke with small business owners, advocacy group leaders and business experts about the minimum wage debate. Here's their take:
WHO: Steve Holand, owner of Carry Cases Plus, a manufacturer and distributor of carrying cases for tools and other equipment in Paterson, N.J. It has 31 employees, 12 at minimum wage.


text:
Rusty Reno in response to Sara Ritchey on the Wives of Roman Catholic Priests
[Sara] Ritchey provides some useful historical background that outlines the early medieval shift to an all-celibate clergy. But I was struck by her naive ignorance of the recent history of the Catholic Church. The existence of Priests' wives should, she tells us, provide the occasion on which "a real conversation about the continuation of priestly celibacy might begin."
Might begin?...
Read it all.
Filed under: * Christian Life / Church Life Parish Ministry Ministry of the Ordained * Culture-Watch Marriage & Family * Religion News & Commentary Other Churches Roman Catholic * Theology Anthropology Ethics / Moral Theology Pastoral Theology Sacramental Theology
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