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Abortion is to politics as online piracy is to movies; the hot button issue that will never be resolved, the debate with two intractable sides that refuse to even consider the other's argument, the conversation where any attempt at civil discussion inevitably devolves into name-calling and anger. Copyright supporters believe pirates are hurting business for everyone, pirates believe they're hurting no one. Copyright supporters say piracy is theft; pirates say no definition of theft describes theft that doesn't disturb the original property. Around and around we go, in a whirlpool of torrents and tirades.
I generally align myself with anti-piracy arguments, but it's a conversation -- kind of like abortion -- that I try to stay out of. I don't need the agita. I follow my conscience and let others do the same. I don't feel good pirating movies. If it doesn't bother you, fine. But it bothers me, so I don't do it.
Despite my best efforts though, I find myself drawn into the whirlpool by Mike D'Angelo's recent piece on Indiewire in which he refutes the most popular arguments against piracy. That piece was a follow-up to another pro-piracy essay D'Angelo had written a few weeks earlier as justification for his plan to download a copy of the new Criterion Collection Blu-ray of "Anatomy of a Murder" later that night:
"I don't pirate movies out of some sorry sense of entitlement. I pirate movies because at the present moment I know of no other means of watching a high-definition copy of an older film without buying it outright. And that's ridiculous."
D'Angelo's inarguably correct about one thing: if you want to watch a new Criterion Blu-ray without purchasing it, you don't have a lot of legal options. Netflix and Blockbuster and most other legitimate movies-by-mail businesses have stopped stocking new catalog Blu-ray titles. Same for brick and mortar video stores, mostly because brick and mortar video stores are going the way of the dinosaur at an alarming rate. Cinephiles like D'Angelo looking for high-res prints of classics better have a lot of disposable income or a willingness to illegally download them.
I'm not sure, though, how that attitude doesn't qualify as a sense of entitlement. Why should D'Angelo get to watch Criterion's "Anatomy of a Murder" restoration if he doesn't want to pay Criterion for it? D'Angelo would say it's justified by the fact that he has no interest in buying "Anatomy of a Murder" on Blu-ray (although he would rent it if he could), therefore his download has no negative impact on Criterion's bottom line. But someone's paying for that digital restoration, and that someone is Criterion. And their business is based on sales.
D'Angelo's download may have no short-term impact on any one title's profitability, but if he and others persist in torrenting Criterion's films instead of supporting their work, they won't be in business for very long. Every purchase is a vote for more Criterion Blu-rays. Every download is a vote for "Why should we bother doing this if people don't think it's worth paying for?" The business side of movie retail is like a whirlpool too; the Blu-ray business weakens, renters stop offering catalog Blu-rays, customers pirate them instead, distributors and retailers lose more money, have less to spend on producing and stocking more catalog titles, which encourages more piracy.
Now in this case D'Angelo sounds like he's watching "Anatomy of a Murder" for personal curiosity, but that may -- may, I said, may -- raise one legitimate reason why critics like D'Angelo *should* be able to see a restoration of an old film without paying for it: critical research. What if D'Angelo had to write an article on director Otto Preminger and he was on deadline and the only video store in his neighborhood didn't carry "Anatomy of a Murder" (for all I know, that is exactly the situation that prompted D'Angelo to watch the film)? Even more generally: should a critic have access to any film he wants? A critic's talents are directly proportional to his or her film knowledge. But financially speaking, film criticism is in even worse shape than video retail. Film critics can't afford to drop $40 a pop for Criterion Blu-rays. Does playing by the rules doom a film critic to a certain degree of ignorance?
I don't know. I'd be lying if I said I haven't occasionally watched a movie on YouTube for research when I couldn't find it on Netflix or Hulu or in my local video store. Does the fact that I'm going to write about the film, and possibly bring some attention and maybe a few sales -- or interest in a legal release -- justify it? You tell me. But do it civilly, please.
Dano | April 9, 2012 8:11 AM
Good article, and some decent arguments....but I think we all need to stop talking about this issue as though it is a pure black and white, 0-sum game. I just read D'Angelo's piece before coming over here, and he made every point I wanted to see, but it doesn't look like you picked up on them. He says he'd like an online option to rent the high quality stuff he wants to see, but it's not there, so he downloads it. He claims he'd never buy it, so there's really no loss in this situation, except for the lost chance on the side of the studio/film company that is cutting off vital parts of the market (online rentals). I'm in a similar position to D'Angelo, where I just simply do not have the money to watch everything that I hear is good and want to watch. I'm not even a movie critic, but there's a lot of stuff that sounds good. My deal is, though, that I don't really pirate: I personally don't like watching TV shows or movies on my computer screen....I have a Roku for Hulu and Netflix. So in the cases where the outlets I have access to, don't have access to something I want to watch....I actually just plain don't watch it. That's what the studio's want, right? They'd rather me not watch than download it, wouldn't they? Well, good for them, except they clearly don't think it through, because anything that I can't see through my legal channels, I talk trash about. Everything that I can't get to legally, comes from a crappy, greedy company that I wouldn't want to do business with in the first place, and I tell ALL Of my friends how I feel, while recommending to them that they don't bother to watch stuff from backwards thinking companies. I even emailed HBO and Showtime about their online, on-demand offerings, because you need a cable subscription for them, and I long ago cancelled my cable subscription, mostly because the price tag was just far too high for the little extra value over my Hulu+/Netflix set up currently offers.
We need to talk less about the black and white of the issue, and more about the shades of gray. Two of which are clearly that people either download and stay reasonably happy consumers, and another of which is that they don't but they become vocal opposers.......which would be more beneficial to the company? And then, think about if they offered a reasonably priced online offering, that didn't require a cable subscription, they could reach both of those shades of gray and bring them right back into the white, while making money off the same groups of people that are, right now, actively looking for ways to avoid paying because of the perceived greed of the content company.
gordon | April 7, 2012 12:49 PM
People have both forgotten and learned that video and music piracy has broadened the horizon and opened up viewers to new material they would have never found in the first place. These film producers put out very low quality rediculous films that we need to rent or buy to watch to find out how much of a waiste of film it was. How about they let us buy it and if we like it keep it or give us a refund because it SUCKED!!
I am sick and tirred of buying movies and video games to find out how awful they are. I have purchased 50% of anything I have ever downloaded for free and mostly because it is an item I never would have found in the first place. Look at the movie THE TUNNEL.. They released the film on torrent sites!!! I love that movie and cannot wait to find it on blu-ray.
I have purchased 15 games due to trying them first at least.
How do they just assume that just because someone pirates anything that they won't pay for it if they like it?? I have read hundreds of comments from piraters that" this is definatly worth a purchase" and lots of people agree and do the same. Also WORD OF MOUTH lets not forget that!!!
I tell you the bottom line. These companies need to stop thinking that they can dictate prices for movies and rentals. They are too high. Raising these prices because of piracy? I think it makes more sense to blame it on the economy. How many people can buy the movies they used to? New movies used to be $12 now they are $20 on a frig gen DVD. $5.99 for an HD rental? wtf!! RIDICULOUS!!!!
Cody | April 6, 2012 10:35 PM
When you start your argument with what is either a lie or a failure to do the tiniest bit of research, you lose the argument flat out. Anatomy of a Murder is available from Netflix on DVD and Blu-ray, as are these alleged "catalog titles" that you claim they don't carry. Here's the damn link, which took me less than a minute to find:
nicholas | April 5, 2012 10:34 PM
Here are just two films that were unavailable in any format up until recently when the Criterion Collection rescued them and returned them to wide availability. The Friends of Eddie Coyle and Secret Honor. And here is a film that has yet to be released in any format and probably never will be released because of impossible rights issues. Los Angeles Plays Itself.
If one wasn't around to see The Friends of Eddie Coyle and Secret Honor back when they played theaters (as I wasn't) but read the intriguing reviews from Kael, Ebert, etc. then one felt a great inspiration to track these films down in whatever form we could find them instead of waiting around for the lawyers to sort out the details (as we still are for Orson Welles final film The Other Side Of The Wind).
Fortunately I lived in Seattle at the time and had access to Scarecrow Video which has every movie of every kind every made (just about) and I was able to rent a VHS copy of Secret Honor but had to put down a deposit of $150 because the tape was such a rare and precious artifact and there was no certainty that another copy could be tracked down if this one were damaged. As for The Friends of Eddie Coyle, well, not even the mighty Scarecrow had a version of that film. Not in VHS, laser-disc, Beta, or any other format. If I had been hip to internet pirating at the time I would have certainly sought it out online.
Now, a movie like Los Angeles Plays Itself is essential viewing for film buffs and/or Los Angeles buffs (don't call it L.A.!). But because it uses so very many film clips from so very many studios it will likely never get permission from everyone necessary in order to be released except in a pirated version. That is unless you attend Thom Andersen's film seminar. So I say pirate the thing and immerse yourself in one of the most engaging and informative documentaries you will ever see. It will turn you on to dozens of films that you can then pay to see.
It's not that I want everything at my fingertips and I want it now and I don't want to pay for anything ever again. It's just that there are certain films that are still floating around in the ether held hostage in a vault while the studios and their lawyers (or Orson Welles daughter apparently) play the numbers game or whatever they are doing behind the scenes that keeps these films out of circulation.
It is more and more likely that these particular films will see the light of day sooner rather than later. And this is largely to due to the efforts of the people at Criterion who have rescued and lovingly restored more films than anyone even (and maybe especially) the studios that originally made the films in the first place.
And you can find most all of the entire Criterion Collection in your local library system which you can check out for free (providing you return it on time and don't accrue any fines). They might not have it available in the latest ultra-super-duper-perfect-clean format. But please. Every film I've seen from Criterion in their standard format has been beautifully restored and the images sparkle. Refusing to watch something unless it is in Blue-Ray is quite silly. Film scholarship and criticism is very much still possible in the standard DVD format.
DumbAndy | April 5, 2012 4:01 PM
It's not against your human rights. Just because you want something, it doesn't allow you to have access to commerce that you don't own.
Michael Mohan | April 5, 2012 1:04 AM
Guys, this conversation is fascinating. I think there's a larger issue though - beyond piracy - and it's that in 2012 we expect everything to be instantly at our fingertips, and we expect it to be cheap. This conversation didn't even exist 10 years ago. It probably didn't even exist 5 years ago. 5 years ago we wouldn't be for or against Mike's illegal activity... Mike just wouldn't be writing the article. Right?
So hold on. Let's stop for one second. Take a deep breath, guys. Think about it - how amazing is it that so many movies are available via netflix or hulu or amazon or thru all the different vod platforms? There are seriously tens if not hundreds of thousands of movies that we can get legally Right This Second for hardly any money. I know, old news. But I feel like we have taken this for granted. When really guys - this is crazy!
And if the one film you want to see isn't there - whatever - it's not "ridiculous" as he says - it's just not there. I remember being put on the wait list for the VHS of Back to the Future 2 at my local video store. I had to wait 2 weeks before it was available. Even though I saw it in the theatre, I was so excited. Or being in college and having to plan a trip to drive 3 hours in order to see the film Happiness again because it was no longer playing anywhere nearby.
So here's my point - I would go so far as to say that my experience with those films were far more awesome than thinking-about-watching-it-and-then-watching-it-right-then-and-there-with-no-wait-in-between-and-then-consuming-the-next-thing.
You critics are nerds like me too, right? Like c'mon guys. If Mike can't get it legally right that second - put that article on hold - and write about one of the tens of thousands of films that are available legally. I just bet the process of figuring out how to get the blu ray - thinking about the film - getting the film - driving home with the blu ray on the seat next to you - THEN watching it... I dunno - call me cheesy - but it's more meaningful. I'm nostalgic for that.
We're already losing the joy of anticipation, piracy's just making it worse.
According to Mike's wikipedia page - he lives in Los Angeles. Mike. Dude. If you're looking at this - here's an idea - GO TO THE LIBRARY: http://catalog.lapl.org/carlweb/jsp/FullRecord?databaseID=965&record=4&controlNumber=1892898
BOOM. There's your movie. For free too! Plus, it's cool (and totally legal) to go to the library.
Separate note - someone earlier (Jukka Lattu) tried to make the argument that piracy didn't hurt the music industry. He's right - piracy didn't hurt the music industry, piracy KILLED the music industry. I got laid off from my job at a record label a few years ago because sales are plummeting exponentially. It's really really really bad. With internet speeds going up and compression rates going down - we're not that far away from being able to attach a HD mov of a feature length film to an email in the same way we do with MP3's. It is going to happen, this is inevitable, and I do think we need to work together to prolong it + inspire people to have a more meaningful interaction with their media.
Mark F. | April 4, 2012 7:59 PM
Making a copy of something is not stealing, since the owner still has the original. It's as simple as that. It's not like you are walking off with someone's television set and depriving them of its use.
As for the notion that the creator of a movie has a god given "right" to earn money off of it no matter what, that's just nonsense. Most art is created for love , not money, and it always has been that way.
tomzorthian | April 4, 2012 5:36 PM
I failed to mention in my previous post that I watched the films before selling them, but I rushed through the comment, ignoring my grammar as I did so.
tomzorthian | April 4, 2012 4:21 PM
I would suggest there is another model for watching Criterion Blu-Rays that I have used. I purchased a couple of titles (Charade and Diabolique) during Barnes and Nobles half-price sale and then sold them through Amazon. I ended up paying the equivalent of a rental charge.
David Poland | April 4, 2012 4:20 PM
Wow. Without paragraphs, I seem to be writing on a meth binge. (Maybe with graphs too)
David Poland | April 4, 2012 4:19 PM
Riddle me this... does anyone think that any producer or distributor of any film would not like to have their film available in every possible way that maximizes both the Home Entertainment value (financial) as well as the experience of the home viewer (artistic)?
it's not a game to them. It's a financial transaction... the kind that is necessary to keep being in the business of making films. Often, the choices made are wrong-headed. So much international product, as well as indie product, goes without distribution because the copyright holder overplays their hand (mostly meaning they want too much money or specific distribution targets). And distributors often fail to get it.
Look at B-13, the Pierre Morel film opened commercially in France in Nov 2004. The US distributors passed. (Luc Besson exec'ed, so you know they were all asked.) So they took it on the festival circuit and it got so hot (and perhaps the price dropped) that Magnolia picked it up and released it in June 2006.
It made over $1 million in 4 weekends before being completely eaten by the summer competition. But a solid number for Magnolia... their #2 theatrical grosser that year.
When was it okay to steal here?
The film had great word of mouth, thanks to the fest circuit (especially Seattle) for a year before it was available in the US. So would it have been right for a critic to download it illegally? (I actually purchased the DVD via Amazon.fr and showed it to a lot of people in my home.)
A similar story with OSS 117, Michel Hazanavicius' first feature. It was just under 2 years from release in France and release in the US by Music Box. (Harvey Weinstein passed on the film during Cannes in 2006.)
When was it okay to steal here?
I HATE the region coding and I haven't been willing to spend another few hundred dollars on a universal Blu-ray player. But the purpose of region coding is not to keep me from watching those movies. It's to keep my market (when it's not Region 1) available as a revenue producer.
For instance, you can be sure that those with rights to Jean Dujardin movies not released in the US have been working on selling US rights, for DVD, streaming, and cable/satellite, for months. They sold all those rights in France (perhaps not streaming), so who should get the benefits of a higher Dujardin profile in the US be... the copyright owners or whoever they sold those rights to in the other territories who can run off English cover versions for US wholesalers?
It is the right of those copyright holders to not have the film in legal distribution in the United States until they have a compelling financial interest in doing so.
Would I prefer to be able to log onto iTunes Worldwide and buy music, video, books or whatever I like from any country in the world at any time I like? Yes. Would, logically, it benefit the owner of copyright for the American market to be open to their non-American product? Of course.
I've gone to DVD stores in every country I've visited since DVD started, looking for things I can't get here. I pay for them and watch them on the region-free player (or don't). Am I incredibly frustrated that 32 years of The South Bank Show, a great outlet of short documentaries about artists as well as a place where innovative ideas in doc production were often allowed a lot of rope, is not on DVD at all... not running consistently, as it used to, on Bravo or any US cable channel? Yes. Would I pay $50 a year - easily - for access to their library of 1000s of shows? Absolutely.
Do I feel compelled to steal it because the show's owners haven't seen fit to offer it on digital streaming or DVD? Compelled? Yes. Compelled enough to even look for them on the web? No.
Eventually, someone smart, like SnagFilms, will acquire US digital rights to that massive and amazing library.
But in the meanwhile, when Ken Russell died, one of the things he left behind were some amazing episodes of The South Bank Show. Professionally, I would love to have watched those again when he passed as examples of his work beyond the films we all know.
In the first season alone, 1978, it was Ingmar Bergman, Freddie Young, Satyajit Ray, Harold Pinter, and Dennis Potter. How valuable to an understanding of film would those 5 hours be? So much so that The Telluride Film Festival has tributed the series, showing 20 - 30 episodes on local cable the weekend of the Show that year.
But the only RIGHT I have is to ask that they be made available somehow. It is not my right to find some kind of copy of them and then "free them" via YouTube or some such conveyance.
And I consider access to that material many times more valuable than seeing a Blu-ray version of an important film than a DVD or VHS version.
Glenn Kenny | April 4, 2012 3:43 PM
Yeah, that IS a bad analogy, but hell, if he wants to own it, he's entitled. I will say that if my band didn't already have a name I might actually wanna call it "Bad Abortion Analogy," or, better still, "Matt Singer's Bad Abortion Analogy."
Peter Debruge | April 4, 2012 2:08 PM
By the way, as much as I enjoyed this article and the ensuing comment discussion, is no one going to call Matt Singer on his bad abortion analogy? If anything, these petty arguments about when it's acceptable to break the law sound more like the "legalize marijuana" debate.
Andrew Robinson | April 4, 2012 1:38 PM
I guess I'm getting old, because more and more (while I have a few arguements for piracy as it relates to the users/owners rights to material and how it's handled (DRM)) I'm becoming anti-piracy. The more arguements I hear for piracy is the more I can tell that these are people just seeking validation of their own crimes. These people aren't content with what they're doing and are looking for me to give them a nod to say "it's ok", which I refuse to do.
I agree with Mark Bell's comment where if you're writing about a film and your outlet can't provide you with a way of doing so then that's the equivalent of me being at work and being asked to do a task without any of the tools that I need to get that done (PC, paper, licenses) because they feel it should be your own expense.
So DRM arguements aside, piracy has no place in a film critics discussion. other than "people are doing it so let's talk about it" which should truly boil down to it's wrong and you shouldn't do it.
Mark Bell | April 4, 2012 11:19 AM
If my only option for reviewing something is to pirate it, I'll pass on reviewing it. If I am REQUIRED to review it, as in my outlet or boss demands that I do so, and it's only available via cost, then I would expect my outlet to cover it in some way (review-copy or reimbursement of sale). As for the Criterion argument, while I love the restoration process, I'm a big fan of Criterion extras and commentaries because the film is usually well-established (and has been written about by people far more talented and intelligent than I am); are the extras pirated too, or just the film? Not that it changes my thoughts on the matter, but I do agree with Rocchi that "you're just writing about plot, story, theme and meaning, well, you can do that from a VHS." For me, Criterion is about the entire package (including the actual packaging).
I guess I don't see the argument from a job-related perspective, because there are ways to work that out without resorting to piracy. If you do not have a way of contacting publicity departments for review material, or do not work for any outlet capable of getting you legally in front of a film, or vice versa, than you're just trying to justify piracy. To argue about whether your actions or occupation affects the financial bottom-line of the film's distribution doesn't feel like any different an argument than "the music industry screws the artists, so they wouldn't get anything from me downloading this album anyway" / "I'm a critic, I wouldn't have paid anyway so my piracy shouldn't make a difference."
Brian Tallerico | April 4, 2012 10:41 AM
In response to the insult to my reading comprehension: Perhaps the word "free" was incorrect. I actually didn't mean to imply that it was an issue based primarily on money. It's not. It's entitlement. I should have said "isn't legally available so he's taking it." So, taking your Bill Gates assertion at face value, let's take money out of it and reduce it to availability -- someone lives in a small town where an art film isn't opening but they can illegally download it while it's still in theaters. Should they do so? Should a critic do so? How far does your principle extend? Should you be able to download a film still in theaters because of your principle because you couldn't get to a theater to see it and can't wait for DVD? Or just ones that have been released on Criterion Blu-rays? Why is there a distinction? And let's be clear -- this is an issue of waiting. Like a lot of Criterion movies, an HD Anatomy may be available on Hulu Plus in the future or through some other On Demand rental stream. But you didn't want to but it or wait for it....out of principle...money-related or not, that's entitlement. Plain and simple.
James Rocchi | April 4, 2012 10:20 AM
The people discussed here, in many cases, are friends, so let me say this as generally as possible: 1) The whole "I didn't diminished the nature or number of the original through digital copying download" is one of those things that, as Orwell said of Stalinist Communism, is so foolish you have to be very intelligent to believe in it. 2) While I believe in the primacy of image and seeing a film in the best possible presentation, I also think that a film's true merits are almost wholly disconnected from its resolution rate -- no amount of high-def is going to make Clash of the Titans good, showing the film on a bedsheet hung in the backyard isn't going to make Rio Bravo bad. If you're reviewing a Blu-Ray for a reputable outlet and have to go into details on grain or bit rate or color-matching -- conversations that, to me, verge on the Rainman-esque -- then you can probably get a copy of it, if you're at all good at your job; if you're just writing about plot, story, theme and meaning, well, you can do that from a VHS.
Mike D'Angelo | April 4, 2012 10:15 AM
Folks, I have no further interest in pursuing this matter, because the inability of people to demonstrate basic reading comprehension is mind-boggling. When I see an angry response that includes the phrase "Something he wants isn't free and so he's taking it" (Brian Tallerico below), I can only throw up my hands. It has nothing WHATSOEVER to do with money. I really don't know how to make that any clearer than I already have. If I were Bill Gates, I would still refuse to purchase movies I only want to view one time, on general principle. But I will happily pay (and do happily pay) any remotely fair rental price. Astonishing how people just ignore every word that doesn't conform to their predetermined viewpoint.
artfrankmiami | April 4, 2012 10:13 AM
TCM was showing Anatomy of a Murder on their VOD channel all last month. They also aired the HD version during their regular schedule on their HD channel.
Katy Kern | April 4, 2012 9:59 AM
This was my comment on the facebook post: "As a reviewer, I have never watched pirated versions of any film. I pay for the movie ticket, have a monthly fee for Netflix, and I pay for ITunes downloaded movies. Once in a while I obtain a free screener directly from the production company or filmmaker. Or I have joined a service where I get notices of free screenings at movie theatres."
I love movies. I love that people create art for others to see and it sickens me to hear about all the piracy going on. Some of my reviews have been plagiarized and I consider it that same thing on other blogs and they even removed my links with their own in order to make money. Movies aren't that expensive to pay for and reviewers shouldn't think they are above the rest of the world because they talk about the movies - that may or may not inspire others to see the film.
Right now I am not getting paid for my reviews, maybe someday I will - working on that, so I pay for nearly every movie I review and I AM HAPPY TO DO IT! :-)
Ryan M. | April 4, 2012 8:40 AM
Piracy of the arts is tricky. Because if you ask most directors with a respectable body of work, you may get an even 50/50 of wether or not they approve of their work being pirated (I suspect it's more on the support of piracy side). The ones who are for it are for it because it's more eyeballs on their work, and the more eyeballs on their work, the more wallets they have on their side that they can count on in the future. It's the studios showing less interest good movies and more interest in commerce that are the whiners. The cynic would say that if someone could pirate, why would they bother purchasing? The truth is people feel good about paying for work they respect, and not so bad about the rest. Especially after a decade of shitty trailers from major studios that made you think a movie was going to be good, and half the time it turned out to be shit. People respect when a filmmaker makes good on his promise. The upper hand used to be with the studio who only needed you to buy a ticket, they didn't need you to like the thing. Now, the consumer is back in control. "You duped us, so from now on we will watch your movies for free, and pay for what we like." Especially these days, when people are on tight budgets. You can't drop 20 bucks on a DVD to find out it sucks. There's no trust these days between major studios and the consumer. You can't sell a black banana wrapped in a perfectly yellow peel half the time and expect the audience to trust you, especially when they find a way to look inside the peel from the comfort of their homes. At the end of the day, it's "legally" wrong, probably "morally" wrong. But it's morally wrong to promise something, take the money, and then leave the consumer out of luck. Eye for an eye. That's how it's playing out.
Mithil Bhoras | April 4, 2012 7:15 AM
I believe that Critics to should have unlimited access to films... That's a good point this article makes...
Declan | April 3, 2012 11:45 PM
That the film industry is angered and baffled by those using technology to do what the industry should have done itself amuses me. You can adjust your distribution method to match demand and technology, or have it adjusted for you by the market and consumers, legal or illegal. The price for sticking with a broken distribution method is piracy.
Actually, no...it really isn't piracy; if I download something illegally and don't pay for it, it's theft of services, not piracy. If I get caught sneaking into a movie theater, I would be charged with theft of services, not burglary.
Brian Tallerico | April 3, 2012 11:22 PM
Assuming that D'Angelo was writing a piece on Preminger or, even better, Criterion's restoration, it would have taken ONE EMAIL to the right publicist to get his own copy. Publicists love, you know, publicity. Trust me. I got a copy. It seems to me that, at it's best interpretation (that he wanted to write a piece related to it) that this is an excuse for nothing but pure laziness.
If it was pure personal curiosity, it's nothing but spoiled entitlement. "I know of no other means of watching a high-definition copy of an older film without buying it outright. And that's ridiculous." I know of no other way to get a 4-star meal without dining and dashing. And that's ridiculous. And I know of no other of way of not paying $5 a gallon for gas without pumping and driving. And that's ridiculous. Something he wants isn't free and so he's taking it and writing that off with a five-year-old's "because I want it" argument. It's indefensible and obnoxious.
hsg | April 3, 2012 9:59 PM
It's so weird that you begin this post saying 'I'm against piracy and I don't do it', and then end by saying 'Oh actually, I do do it, but I don't think of it as piracy so I guess it doesn't count'. Streaming a film on youtube IS downloading a pirated film; the fact that you didn't store a copy on your computer as you downloaded it is irrelevant. I think you should consider what this means to your argument. The fact that almost everyone consumes pirated content these days - even the people who tell themselves they don't pirate! - is fascinating, and yes, very similar to abortion. Did you know that, not infrequently, even women who angrily picket abortion clinics get abortions? It's true. And they tell themselves that it doesn't count - that in their case it's different - and the next week they are back out the front of the clinic screaming at the staff arriving for work.
Liisa L. | April 3, 2012 8:46 PM
As a publicist with several years of experience on doing publicity on movies both in theatrical and home video distribution, I find this discussion rather absurd. If a film critic has a need to see a film that's recently been published by a distributor on dvd or blu-ray for writing a review or article, he or she need look no further than the publisher's publicity contact to obtain a copy. All distributors see publicity as a key element of promotion and thus aim to support journalists and critics by organizing press screenings and handing out screener copies. How do you justify pirating films for work purposes when you represent one of the key sectors in the audience of movies which the whole industry aims to support with as much free movies as possible?
Glenn Kenny | April 3, 2012 8:10 PM
I don't wanna continue baiting Mike, or continue to look like I'm baiting Mike, but I wanna make clear that I'm FOR what he's for. I just don't think a pro-piracy case is the best way of getting it, and I'll leave it at that.
As for Peter's question, if I read the warnings at the beginning of many DVDs correctly, it's possible that import sales of foreign region DVDs do actually violate the letter of a given cited license agreement. But the extent to which anybody pursues the active enforcement of the license is A LOT less than that to which the industry would like to pursue "actual" piracy. I know that Masters of Cinema strictly complies with region-coding restrictions while being pretty vocal about the fact that they'd rather not have to. I agree in thinking that region-coding is outmoded AND ineffectual. But actual import of product is not illegal, and the money chain with respect to the license isn't being broken at any point as far as I can tell. So while it may in fact BE a violation of the law for me to watch a foreign-region DVD, my actions don't have the effect of mucking up anybody's revenue stream.
Rob | April 3, 2012 7:12 PM
Mike, I'm a little confused by the statement, "I pirate movies because at the present moment I know of no other means of watching a high-definition copy of an older film without buying it outright" as a justification. So, in fact, you DO know of another means of watching; you can buy it outright. This is a little like saying, I choose to steal cars because the kind of car I like isn't available to be rented and the only other alternative would be to buy it. If you were pirating only movies that were not available in any other form, I'd have some sympathy. But you're taking a luxury good without paying for it. It doesn't matter that it's not the same kind of stealing as stealing an object that someone else will no longer have; what matters is that it's stealing something that somebody, somewhere, makes a living by selling (since, as you note, you could buy it). It's generally not a good idea for someone to break the law and then work backwards to custom-tailor a self-justifiation.
Will | April 3, 2012 6:08 PM
Just as an aside about critics, also programmers and curators, and access to materials; most major distributors (in Canada anyway) will no longer send screener/review copies of anything current, even by web-based methods, to reviewers or programmers who are not in major centres or not well known. I am aware of programmers fairly often resorting to illegal downloads in order to see films in order to be able to make screening decisions.
This has, according to distributor employees I've talked to, mostly happened because of fear that screeners will be pirated. Ironic.
Mike D'Angelo | April 3, 2012 5:12 PM
By the way, for anyone arriving at this article cold, be advised that while I declared my intention of pirating ANATOMY OF A MURDER in my original blog post, I wound up not doing so after all. One of my followers on Twitter alerted me to a site I'd never heard of, ClassicFlix, which carries almost every American film made before 1970 released on DVD and/or Blu-ray. I signed up with them that very day and they sent me ANATOMY about a week later. They're kinda pricey compared to Netflix and not super-speedy (only turning around one disc per week on average even if I sent it back the next morning), but they exist, so I no longer have any need to pirate anything in their catalogue, which is a hefty percentage of the stuff I used to download. Still no good source for old foreign films, though.
Mike D'Angelo | April 3, 2012 5:02 PM
@Arch "If you don't agree with the price of the commodity or how it's distributed...don't buy it. How about that?" I'm totally fine with that, but I'm not talking about buying anything. I in fact do subsequently buy many of the films I download (and have zero doubt that e.g. Criterion has received more money from me because I've pirated their titles than they would have had I not done so, which is one of the reasons I can sleep at night). What I'm doing, if it's theft at all, constitutes "theft of service," akin to sneaking into a movie at the multiplex. But I'm stealing a service THAT NOBODY IS OFFERING. That's the whole point.
Peter Debruge | April 3, 2012 4:56 PM
A question for those who know more about such things than I do... Mike D'Angelo proposes downloading films illegally as an alternative to renting them from Netflix or his local video store, but how legal are those rental operations in the first place? Many DVDs I've watched over the years (and even more VHS tapes) expressly state that they are for private exhibition only, not to be watched in group settings or rented, whatever that means. And many of the DVDs carried at Rocket Video, CineFile and NY stalwart Kim's Video are of dubious origin to begin with, being bootlegs or foreign-region discs. At Eddie Brandt's Saturday Matinee, they get around this by lending such films for free (where the store doesn't profit from making them available), which seems an awful lot like the old-school equivalent of streaming them on YouTube. But wasn't one of the industry's big gripes with Redbox the fact that they weren't using DVDs in the way the rights-holders intended?
Glenn, you would probably know best on the legality of foreign-region discs, as you watch and review more films in that format than anyone I know. Technically speaking, isn't every one of those imports violating rights issues? As far as I'm concerned, two of the most essential films I saw last year, MR. NOBODY and BLACK VENUS, are only available to Americans via Bittorrent and Canadian-issue DVD. I had the good fortune of seeing both on the big screen, but for anyone else, your best bet is to order the discs from Amazon.ca. But just because you're paying SOMEONE to buy/rent it doesn't mean that's the legal way to go. This whole issue confuses me to no end.
Mike D'Angelo | April 3, 2012 4:55 PM
Glenn: If my local library were an option, I'd certainly use it. They don't carry much of anything on Blu-ray. As for grandstanding, I plead not guilty. The piece I wrote for this site was specifically commissioned, but my original blog post on the subject (which led to said commission, and which received way more attention than I ever expected) was simply an attempt to rebut the widely held and weirdly monolithic belief that everyone who pirates movies is just a skinflint parasite who refuses to pay fair market value for what (s)he consumes. I would very much prefer not to have to pirate anything, and will rejoice when I no longer have to; I'm not bragging about it in the least.
Jukka Lattu | April 3, 2012 4:47 PM
I think you've kind of gotten it all wrong from the start. The point isn't what pirates think about what they're doing, the point is that the facts regarding piracy have shown that piracy is NOT hurting the movie/music business. As studies have shown people who pirate movies and music also buy more movies and music, it's not a binary situation in which people will either pirate everything and buy nothing, or pirate nothing and buy everything.
This point might even be proven moot as I believe that the current development of technology has shown that piracy is inevitable. If piracy is common now, can you even imagine what it will be like once internet connections have advanced to the point in which you can download a 1:1 blu-ray rip in a couple of seconds, and storage devices are advanced enough to store every single movie you can find of the net? Unless you're planning on drastically changing the whole nature of the internet, how is it even theoretically possible to stop piracy? And again, if piracy is actually beneficial to the media industry, why should we?
Robert g | April 3, 2012 4:45 PM
Presenting a fatuous and self-serving position as "a side of the argument" is disingenuous. Guy wants to steal and can get away with it? Fine. But stop pretending it's a morally harmless position. Totally idiotic to say the original item is preserved. The value of the original item is diminished by theft, and with movies, it's all about the value. I suppose, by the definitions stretched in this article, I've merely taken one of two positions, equally valid and equally assailable. I disagree. If we postulate that wanting confers the right to have by any means, then I should be able to steal that Maserati I'll never get to drive, as long as I return it in one piece. Idiotic failure of the most basic logic. Stealing is wrong. Persistent stealing harms the creators and owners of the piece, who are in business.
Jordan Hoffman | April 3, 2012 3:52 PM
If doing a piece on Preminger is the case, then you don't NEED to see it in super high res. The Standard Def version is fine, unless you are reviewing for a tech outlet, in which case the publication should cover your expenses for buying the blu (ha, ha, ha.)
Glenn Kenny | April 3, 2012 3:32 PM
"Full boar," that's very creative spelling, for sure...
Arch | April 3, 2012 3:23 PM
The bottom line is that he's trying to dream up a rationalization for stealing. A lot of us might agree with him that media companies need to evolve with technology and find new and better ways to deliver content, but that doesn't somehow give him the right to take things for free that don't belong to him. If you don't agree with the price of the commodity or how it's distributed...don't buy it. How about that?
Mike | April 3, 2012 3:22 PM
As business models become more limited, (no rentals available, only purchase) pirates will work around those models exposing the models' holes, hopefully forcing them to re-examine their practices and start making available what people are downloading for free, but there's still no way to justify it. If a critic can justify illegally downloading/streaming a film, so can a non-critic. Justifying that action by saying you're adding more press and publicity is just as non-sensical as someone running out on a bill at a restaurant then blogging about how good the dinner was.
Glenn Kenny | April 3, 2012 3:22 PM
I find the whole "debate" slightly befuddling, frankly. If someone wants to strongly advocate for alternative ways of watching a high-def film other than out-and-out buying a Criterion disc or any other disc, then one should advocate for that. I understand it's a good "hook" to say "I've been driven to piracy by unaffordable Blu-ray movies that can only be seen a certain way," but the announcement that therefore you do something that's both illegal and arguably unethical DOES smack of a certain entitlement. It's not as if people are going to say to a critic, "That was interesting what you said about 'Anatomy of a Murder,' but tell me, how did you come to see that high-def version of it?" The assumption is always that it's accomplished on the up-and-up, but here comes someone saying, in effect, he was FORCED into engaging in piracy. It's not just entitlement, it's grandstanding. It's saying "Look at me, I dare you to call me on it." And by "you" it might mean Criterion, or another critic, whoever. It advances exactly nothing.
I don't recall coming across a mention of this in D'Angelo's article, but I have a friend who regularly borrows Criterion DVDs from his public library. Guess that's pretty "square" in the world of torrenting.
As for myself, like Norman Greenbaum, I've never been a sinner, I never sinned. I don't watch bootlegged stuff (okay, maybe some early Traci Lords stuff, nothing wrong with that, though, right?)* not because I'm necessarily so holy but because I actually find it helpful to put some limits on my viewing options. My point is that I consider it in somewhat bad taste to go around flaunting one's illegal activities.
*This is a joke. Please do not have me arrested.
Brandon Petersen | April 3, 2012 3:14 PM
Why not? Film critics already suckle a living off of creative people's tits. Might as well go full boar, and rip off their work entirely...


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We had chicken sandwiches for lunch today (October 11, 2011), and yet again there were no vegetables in the little trays above the drinks. As a result of this, many other students tried to go over to the salad bar to add some nutritional value to their meal. They were stopped by the lunch ladies and told you can't put any lettuce on your sandwich, without buying another lunch.
So we go to a school that prides itself on "healthy" lunches. Last spring, Falls Church City Public Schools' "Access to Healthy Meals" program was recognized nationally as a 2011 Magna Award winner by the National School Boards Association, but we can't add vegetables to our sandwiches (or anything else) without an additional lunch charge, when the tray of one piece of lettuce isn't available to us? Don't you think that's a little strange?
Mr. Kane our Food Service Coordinator, explains, "If you see that there isn't any lettuce or fruit, etc, then all you have to do is ask the lunch ladies. If we have any more, normally we have tray cooling in the fridge so all you need to do is ask. And if we're out, then yes, you're allowed to ask to go to the salad bar. We just don't like to openly allow this, because you might be honest but some other kids are not and we don't want them going over there and filling up a whole other tray without paying for it."So there you have it from Mr. Kane himself, all you have to do is ask the lunch ladies if they have any more of anything they're missing at lunch, whether it be fruit or vegetables. Remember, a healthy choice or addition to lunch is only a simple question away.
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08:00 AM, Monday, September 01
PORTLAND – The Beeville cross country teams opened their season last Saturday at the Wildcat Invitational, hosted by Gregory-Portland. The varsity boys finished sixth in the team standings. Bryce Koenig was the top finisher for the Trojans, clocki...
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We have our Valentine's Day cutest couple entries. There are eight Novato couples competing for the prize.
Now, it's your turn to decide who should be crowned this year's cutest couple. Closely examine the pictures, study them, and decide who is worthy of the title.
Vote in the comments for your favorite pair. One vote per person, please.
Voting ends at noon on Valentine's Day (that's Tuesday, Feb. 14 for the less-romantically inclined).
We will then award the $25 gift card to the new reigning cutest couple.
Remember: one vote per person. .
For our eight couples, don't forget to encourage you friends to vote, share the contest on your Facebook or Twitter, and even make a plea in the comments about why you deserve to win.


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By Cheryl Lasseter - bio | email
MADISON COUNTY, Miss. (WLBT) - The first 2012 Nissan NV commercial van rolled off the assembly line at the Canton manufacturing plant Wednesday, marking the official launch of the plant's 2 year, $118 million expansion to accommodate the new production.
Gov. Haley Barbour, First Lady Marsha Barbour, and numerous Nissan officials were on hand for the launch and celebration.
The Nissan NV will be available in two models: standard roof and high roof.
Most people will be able to walk, stand, and work in the cargo area.
The fuel-efficient engine will be viable in V-6 or V-8.
Price starts at $24,590.
Copyright 2011 WLBT. All rights reserved.
Hershey Company has unveiled its new corporate logo.
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Congressional Inaction, Not Inflation, Is to Blame for the Diminishing Role of U.S. Coinage
By Charles Morgan with Hubert Walker
Coinweek Contributor
On February 21, 1857, the United States Congress passed An Act relating to Foreign Coins and to the Coinage of Cents at the Mint of the United States. The Act set the rate at which foreign coins would be accepted by the Treasury, ended the Treasury's practice of redistributing foreign coins, and called for the recoining of these foreign coins once they were in the custody of the Federal Government. The Act repealed the long-standing practice of allowing foreign coins to be used as legal tender in the United States, overturning An Act regulating the currency of foreign coins in the United States passed on April 10, 1806[i].
The Act also changed the face (literally) of U.S. coinage by eliminating the half cent and ending the production of the "large cent". Rising production costs had eaten into the Mint's profits and Congress instructed Director of the Mint James Ross Snowden, to submit a new cent design to the Treasury Secretary. The new cent was to measure seventy two grains (4.67 grams) down from the 168 grain mass of the Coronet cent (1837-1857).
The design that was chosen was a modified version of Christian Gobrecht's Flying Eagle pattern, with a wreath reverse designed by Chief Engraver James Barton Longacre. In patronage to Pennsylvania industrialist and nickel producer Joseph Wharton, an alloy of 88% copper and 12% nickel was chosen. Wharton's influence over the production of coins continued as he was able to lobby the introduction of two additional coins in nickel: a three cent piece (produced from 1865-1889), and a new heavy-weight five cent coin which debuted in 1866 and became known as "The Nickel".
The fact that such new denominations of coinage were introduced in the 19th century speaks not only to the importance of U.S. coinage but also to a Congress that took a proactive stance towards the country's monetary policy (even if that meant political payoffs to the well-connected). In total, six new denominations were introduced. Compare this to the total of new coin denominations in the 20th and 21st centuries – zero – and you begin to see the problem at hand.
When the half cent and the large cent met their shared demise in 1857, the United States was producing a total of 13 coins, ranging in value in 2012 dollars from 17 cents (the half cent) to just shy of $700 (the double eagle). It's worth noting that this period was known as the "Free Banking" era, when the Federal Government did not have a central bank and didn't print paper currency. Therefore, all paper currency produced during this period was privately made and issued through state-chartered banks against specie, making the higher denomination gold coins necessary for the conducting of business in the broader economy.
|1857 Coin Denominations compared to 2012 Coin Denominations
|1857 Circulating Coins
|2012 Value[ii]
|2012 Circulating Coins
|Half Cent
|Cent, Nickel, Dime
|Half Dime
|Half Dollar
|Dollar (Silver/ Gold)
|Quarter Eagle
|Three Dollar Gold
|Half Eagle
|Double Eagle
When compared to currently circulating coinage, the 1857 half cent was worth more than the 2012 cent, nickel, and dime combined. Our current quarter dollar, the heavy lifter of contemporary coinage, is worth less than an 1857 cent, and our scarcely circulating dollar coins carry slightly less value than the 1857 trime (three cent piece).
The fact that an 1857 cent was worth more to its contemporary consumers than our largest heavily circulating coin, the quarter, serves as a stark condemnation of the failure of our government to adapt and change coinage to meet the demands of the modern world. And while the government, even in the 19th century, has never had a particularly good track record introducing and supporting new denominations, there has never been a more obvious need to reinvigorate U.S. coinage than right now. Refusal to act will result in the continued diminishment of the role of coins in commerce and to the eventual obsolescence of the Nation's first currency.
A Proposal for 21st Century American Circulating Coinage
My advice to Congress is to think rationally, not emotionally. Many observers assumed that 2009, the 100th Anniversary of the Lincoln Cent, would be the last year of production for the now nearly valueless denomination. Instead, Congress enacted legislation to redesign the cent's reverse to the current "Shield" pattern.[iii] The new "Shield" reverse looks like an afterthought, and the coin has never looked as "cheap" as it does now. Eliminate the cent and transition the country into rounding all transactions to the nickel.
Since a nickel now costs almost twice as much as its face value to produce, a change in composition is due. The Mint is testing an aluminum alloy that would be cheaper to produce. If the new alloy works out, it will breathe new life into the five cent denomination as it begins to carry the burden left to it by eliminating the cent.
There's no need to change the dime or the quarter, but the half dollar, awkwardly large for a coin with no intrinsic metallic value, needs to be reintroduced into the circulating stream. Perhaps it can be resized and re-metalled; if the new half was made roughly the size of a quarter, colored somewhat similarly to the dollar coin, and given a thicker crimped or some otherwise different style rim, it would circulate better and not be a nuisance to those who don't want to deal with the larger, heavier version.
Speaking of the dollar coin, it has struggled in large part because it has to compete with the dollar bill. The cost benefit of using long-lasting dollar coins, as opposed to the dollar bill and its shorter lifespan, is tremendous. A bold Congress with a clear strategy for the future of our circulating money should be able to make these things happen. Eliminating the greenback without such a plan would simply be a propaganda defeat for the Dollar globally.
I also recommend the elimination of the non-circulating two dollar bill and the creation of new circulating quarter eagles ($2.50), along with the production of collector's-only half eagle ($5.00) and eagle ($10) coins. The three new denominations would signal Congress's and the Mint's commitment to the future of U.S. Coinage. The new quarter eagle would circulate well after the elimination of the dollar bill and be a powerhouse denomination for vending-machines and change-making.
By creating collector's-only half eagle and eagle coins, the Mint and the Treasury could begin the process of reintroducing large denomination coins to the public by first capturing the imagination of collectors and hobbyists. When, in the future, it becomes necessary to circulate these larger coins, the public will already be familiar with them.
However, even if Congress does authorize the production and distribution of a new circulating eagle coin, that coin would have less purchasing power than an 1857 half dollar. Think about that the next time you rifle through your pocket for loose change.
|Charles Morgan and Hubert Walker's Proposed Circulating Coinage Chart
|Change in composition, same size
|No Change
|No Change
|Half Dollar
|Resized, recolored in a new metal composition
|No Change
|Quarter Eagle
|New circulating coin
|Dollar Bill
|Two Dollar Bill
|Half Eagle
|New collector's-only coin (initially)
|Five Dollar Bill
|New collector's-only coin (initially)
[i] The entirety of the Act can be read at The Library of Congress's American Memory website, http://memory.loc.gov/cgi-bin/ampage?collId=llsl&fileName=011/llsl011.db&recNum=184.
[ii] Figures are derived using Tom R. Halfhill's Inflation Calculator. Tom's Calculator can be accessed at his website, http://www.halfhill.com/inflation.html.
[iii] The Shield Cent was authorized in the Presidential $1 Coin Act of 2005. Full text available here: http://www.gpo.gov/fdsys/pkg/PLAW-109publ145/html/PLAW-109publ145.htm
About Charles Morgan:
Currently Charles is working with his colleague, Hubert Walker on The Coin Collector's Registry Set Guide and a children's coin collecting primer, Curious Coins. He is also working with Rob Ezerman of the Ike Group on Gradeview™: Eisenhower Dollars.
5 Comments
What "non-circulating two dollar bill"?
There have been three printings of it in the last 16 years, and it's still being circulated by the Treasury and Federal Reserve.
I've got a whole bunch right now. Mostly Series 2003A, which I understand was a large batch printed in 2006. I've used them in some vending machines, and even the self-service checkout lanes at supermarkets take them.
three printings is a far cry from the printing and distribution of other denominations. Two dollar bills, sadly, are as non-circulating a denomination as they come these days.
I have given this much thought. I propose to eliminate both the penny and the nickel. Because transactions will then have to be rounded off to the nearest dime, I would replace the quarter with a 20-cent coin. So the denominations conform to the following pattern: 10c, 20c, 50c, $1.00, and $2.00. Paper currency would begin at $5, and continue up to the $1,000 bill. Therefore, we would have to create 5 coins in total, with the smallest no smaller than the current dime, and the largest no larger than the current half-dollar. This could be done in 3mm diameter increments, and .2, or .3mm thickness increments. The new 10, 20, and 50-cent coins could be made of copper, and the $1 & $2 dollar coins could be made of nickel.
For even greater efficiency, we could get rid of the 20 or 25 cent, and the 2 dollar coins altogether. then the pattern would be: 10c, 50c, $1.00, $5.00, and paper currency starting at $10, and going up to $50, $100, $500, and finally $1,000, for a total of 9 different denominated coins and bills.
If inflation has increased prices 10-fold, then it makes sense to eliminate coins that have only 10% of their former purchasing power, and introduce denomination notes that are 10-fold higher than are currently circulated.
A full 1-2-5 system is mandatory for efficient use of decimal currency. It can be shown arithmetically that change-making requires the smallest number of coins when all denominations are divisors of 10. That's why nearly every other major country has adopted the same scheme.
The quarter is a holdover from the days of chopping Spanish milled dollars into "bits". As difficult as it would be to replace the coin with a 20¢ piece, retaining the denomination means nickels will still also be perpetually needed for reasonable change-making.
That's also the reason that a $2 coin is far preferable to a quarter-eagle, because the latter denomination also doesn't fit into a true decimal system. It was created in the 18th century as the 10-fold analogue of a quarter for the same obsolete reason of compatibility with Spanish coinage. The only similar mixed-denomination coin I can think of is the old British half-crown. It was valued at 2 shillings and sixpence, and caused endless problems with calculations. Remember, the middle of the 19th century saw the US create double eagles and $20 bills, not $25 coins or $25 bills. Canada did try a $25 bill in the 1930s and quickly discontinued it in favor of $20.
Finally, leaving out a 2-unit denomination would actually be less efficient because it doubles the number of 1-unit coins or bills needed to make change. That's the problem with current proposals to use $1 coins instead of bills. While I'm a strong supporter of the move, it needs to be accompanied by a small $2 coin or a modernized $2 bill to avoid exactly what the naysayers predict, pockets full of dollar coins from breaking $5 bills. Remember that England tried a 1-5-10 system when they first went decimal in the period 1968-71. There were so many complaints that a few years later the Royal Mint had to introduce 20p and then £2 coins. I was in London the day that the 20p coin entered circulation and you could hear people saying how glad they were they wouldn't be handed four 10p coins in change anymore.
All good points, thank you.


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Golnaz is an Iranian born model who came to the US a year ago and now lives in California.
Shermine Shahrivar8 Dec
Shermine Shahrivar (Persian: شرمینه شهریورتهرانی, born 1982 is the German winner of the Miss Europe 2005 beauty pageant in Paris. She became Miss Deutschland (not Miss Germany) in 2004 and then Miss Europe in 2005 in France.
Tala Golzar8 Dec
Tala Golzar is a Persian/Russian model from Orange County, California.
Tala's academic excellence landed her with an exclusive scholarship as an honors student. She has since decided to study Graphic Design while she does modeling on the side. Having been featured in a commercial, and several runway shows on Los Angeles including for Iranian designer Babak Vossoughi.
Manoa Donovan8 Dec
Manoa Donavan grew up in Holland, and decided to pursue her passion for modeling and acting and therefore moved to California in the summer of 2005. She obtained her bachelors in psychology from UCI and is currently working on her Masters.
Appearance: 1.75 m (5'9′) and 56 kg (122lbs) | Born November 18th, 1986 in Shiraz, Iran
Leyla Milani8 Dec
Leyla Milani (born April 2, 1982) is a Canadian model, actress, TV host and fashion designer of Persian descent.
Milani, daughter of Iranian parents, has appeared in the World Wrestling Entertainment Diva Search 2005, Deal or No Deal, Sleeper Cell, Las Vegas, Rules of Engagement, Attack of the Show!, Curb Your Enthusiasm, Entourage, Stacked, Desire, Wanted, Tonight Show with Jay Leno, Extra and in the films Wrestlemaniac, Boys & Girls Guide To Getting Down, Dr. Chopper. Maxim magazine features Milani and her fellow Deal or No Deal briefcase models in their online Girls of Maxim gallery.
Parvaneh Salabat8 Dec
Parvane Salabat (پروانه صلابت) is a rising Persian model and actress stared in a couple of TV shows in 2010.
Nazanin Boniadi8 Dec
Nazanin Boniadi (Persian: نازنین بنیادی pronounced Naa-za-neen Bon-yaadi) born May 22 in Tehran, Iran is a British Iranian actress[1] currently living and working in the US. She got her first big break on the ABC soap opera, General Hospital and its SOAPnet spin-off series, General Hospital: Night Shift as Nurse Leyla Mir. She has mostly starred in TV with a few movies to her credit also, including the recent blockbuster "Iron Man".
Claudia Lynx8 Dec
Claudia Lynx (Shaghayegh) was born on June 8th in Tehran, Iran. She was the daughter of Bijan, a professional photographer/ TV producer, and Sherry, a dental Hygienist.
She first entered the entertainment business with a baby commercial at the age of 3, in Oslo Norway. later she was known all around Europe as the "adorable diaper baby". She became a professional model at the age of 15 and continued working efficiently as a teenage actress and model, traveling all around Europe. After making many magazine covers, her career expanded into singing, and at the age of 20 she released her first Persian album "Shaghayegh".
Sarah Shahi8 Dec
Aahoo Jahansouzshahi (Persian: آهو جهانسوز شاهی), also known as Sarah Shahi (born January 10, 1980) is an American actress of Iranian and Spanish descent. A former NFL Cheerleader, Shahi was named #90 on the Maxim magazine "Hot 100 of 2005″ list; she moved up to #66 in 2006. She also ranked Rank No. 5 on the AfterEllen.com hot list in 2007.She has starred in The L Word and Life.
Tara Mobayen8 Dec
Tara was born in Shiraz, Iran and moved to Canada as a teenager to settle in Toronto, Ontario where doors of opportunities opened. She began her modeling career at the age of 17 and is currently studying at the University of Toronto, where she is double majoring in Human Biology and Astrophysics.
Tara is the youngest of 3 siblings, is fluent in English and Farsi and holds a certificate in Cosmetology. After losing her father to colon cancer two years ago, she endeavours to seize every positive opportunity and appreciates the simpler things in life.


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Israel with Israelis!
At about 6 p.m. Israel time, all of the participants and staff arrived at Ben Gurion Airport in Tel Aviv and were met by Shorashim staff as well as several Israelis who are going to be on the trip.
This trip is a gift from Taglit-Birthright Israel.
© 2014 Shorashim.


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I use that mainly with my ciders. Very low psi bout 4 or 5. Just to dispense. Would not recommend using it with beer at maintenance pressures of 10 to 12. BUT. For what I use it for I like it a lot.
If I wanted to put half a brew in this and bottle the rest, would I have to carbonate them separate? Or could I just split the batch after I add the normal amount of bottling sugar?
You can split it. I would also second adding sugar to entire batch at the same time so it gets mixed evenly. If you do this right when you bottle, you will want to purge the air in the keg with some co2. (Since the keg now won't be full)
Good question. I should have been more clear. For your bottles you are carbonating naturally, which requires some kind of sugar. My response assumed you would naturally carbonate the whole batch. In that case there is a correct amount of sugar to naturally carbonate the entire batch whether in the bottles or kegs. Most people that have a kegging system like to force carbonate their beer that is in a keg with co2. But the 16 gram cartridges don't have enough gas to carbonate the beer and then dispense it. If all you have is the cartridges, then I would mix the appropriate amount of bottling sugar for the entire batch. Fill the keg(s) and bottles then store all the beer someplace around 68 degrees. You don't want it cold because the remaining yeast will need to get active again and consume the sugar you added. This method requires more patience because you'll need to let it sit for at least a couple of weeks. When the keg is carbonated then put it in the fridge and use the co2 cartridge to dispense it.
When you fill your keg, you will want to purge any air that's in it. Just give the sealed keg a squirt of co2 with whatever system you have, then pull the relief valve, then repeat another 1 or 2 times.
If you have the co2 tank, typically 5#, and regulator, you can put the keg in the fridge, set the gas around 12-14 psi, and in a week it'll be ready to drink. No bottling sugar needed.


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ICF International
Categorized Under: Strategy, Policy Analysis, + Regulatory Development
While President Obama did not mention "brownfields" specifically in his State of the Union Address on January 27th, he certainly called for Congress to consider a number of recommendations that could have important effects on community revitalization efforts. Specifically, he proposed to take $30 billion in TARP repayments and use it to "help community banks give small businesses the credit they need"—which clearly could have an important impact on local revitalization efforts, including those on brownfield sites. Similarly, he called on Congress to enact a new jobs bill which—if combined with ideas on sustainable development and infill reuse—could encourage a greater level of brownfield activity.
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ICF International, Inc. All Rights Reserved.


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From JFK Airport: Take Van Wyke Expressway North to the Grand Central Parkway West to the Tri-Boro Bridge. Take the Major Deegan Highway North to the Cross Bronx Expressway West and cross the George Washington Bridge. Once over the bridge, follow signs to I-80 West. Take I-80 West to the Garden State Parkway North and exit at 165 for Ridgewood/Oradell. Follow signs for Ridgewood. Stay in the right lane to exit for the Garden State Parkway South/From Road. The Crowne Plaza is approx. ½ mile on the right hand side.
From LaGuardia Airport: Take the Grand Central Parkway West to the Tri-Boro Bridge. Follow signs for George Washington Bridge and take I-80 West to the Garden State Parkway North. Get off the Parkway at exit #165 and follow signs to Ridgewood. Stay in your right lane to exit for Garden State Parkway South/From Road. The Crowne Plaza is approx. ½ mile on the right hand side.
From Garden State Parkway Northbound: Exit at #165 and follow signs for Ridgewood. Stay in your right lane and take the 1st exit for Garden State Parkway South/From Road.
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T e r r y W i n t e r O w e n s
Streaming Audio - NEW! (updated May 8, 2008)
Commissions & Awards
Performances - Past & Future
Biographical Notes
Works List
Gurdjieff essays
Internationally Published Composer
Terry Winter Owens was an internationally published
and pianist based in New York City. Her music has been
described as "... hauntingly beautiful ..."
The Bangkok Times specially noted the "remarkably
evocative sonorities" of her music.
This CD features five piano compositions performed by virtuoso pianist Francisco Monteiro.
Click here to listen to excerpts and/or to order.
The title, "Exposed on the Cliffs of the Heart," is from a poem by Rainer Maria Rilke.
Her poetry and
her translations of the poetry of Rainer
Maria Rilke is embedded in the fabric of the music in many
recent pieces. The words are spoken either by a narrator
or by the instrumentalists themselves.
Titles and narration of many of her compositions are inspired by astrophysics and the physics of light. Two recent pieces in that genre are "Ancient Fire" for two pianos and "Cellestial Music: Book I: The Facts of Light" for cello and narrator.
Owens is a Yamaha Artist and was nominated for the Van Cliburn Commission 2005. She has received many awards and prizes including First Prize in the Miriam Gideon Competition for her chamber work "Messages for Raoul Wallenberg" and finalist in the Whitney Museum Two Piano Festival for "Pianophoria #3." Her music has been widely performed in Europe, the Far East, the U.S. and Canada, most recently in New York City, Spain, Portugal, Dubai, Turkey, The Netherlands and Tokyo.
L a t e s t N e w s :
Become Terry's friend on facebook: http://profile.to/TerryWinterOwens
Two memorial concerts were presented in New York City on February 17th and March 10th 2009. See http://www.terrywinterowens.com/Cann-Concert.html and http://www.terrywinterowens.com/Ancient-Breath-of-the-Sea-concert.html for details.
Filmmaker Douglas Morse has made his collaboration with Terry Winter Owens, The Lost Children of Coney Island available for immediate download. This heart wrenching and heart warming film chronicles children separated from their parents on the busy beaches of Coney Island at the height of the summer season. A grant from The American Composers Forum lead Morse and Owens to collaborate on this lyrical documentary. Long stretches of Terry's music set to images of Coney Island, cinema verite documentary, and untraditional interviews combine to give this 27 minute piece unique power. The is being offered for sale by Morse and can be purchased by download only for $4.95 and proceeds will be earmarked for a new documentary he is making about Kindergarten in New York City. The film can be purchased from http://films.cerizmo.com/ Or you can simply use Buy It Now button here: (note: the page you will be directed to says "Grandfather Films."
Pianist Isabelle O'Connell has posted a recording of her beautiful performance of "Red Shift" for solo piano.
Composer / Pianist Scott Mayfield, who presented the world premiere of "Rhapsody from the Fabric of Spacetime" in February 2008, has posted three pieces from that concert on his new myspace page at http://www.myspace.com/connvolution21.
Terry now has myspace and facebook pages at http://www.myspace.com/terrywinterowens and http://www.facebook.com/profile.php?id=606017326 respectively.
We are sad to announce that Terry passed away on July 31st, 2007 after a long illness. More information on this will be posted in coming weeks. Her daughter, Maggie, will continue to maintain her email address and web page and will promote her music as avidly as ever.
Multi-talented filmmaker, playright and singer Omonike Akinyemi has asked Owens to provide incidental music for her new musical "How to Stay Sane in Paris." Please see the performances page for details.
"Rendezvous with Hyakutake" from the CD "Exposed on the Cliffs of the Heart" performed by Francisco Monteiro, will be featured on NPR's "Open Mic" and will be available as a podcast. Date and URL to be announced.
"Supernova" for solo flute and narrator, exquisitely performed by Nina Assimakopoulos on the CD "Points of Entry," has been issued by Capstone Records. The poem is on Track 11, the music on track 12. To order the CD or listen to brief audio samples go to: http://www.capstonerecords.org/CPS-8759.html
The American Recorder Society published "Lay Your Shadow on the Sundials" for three recorders. Release date May 2006.
In a review of "The Bending of the Light" in the New Music Connoisseur, Peter Kroll writes: "Owens makes creative use of movement with lines, colors and harmonies. The piece had an endless feel to it that I believe relates to the phenomenon that inspired it. Monteiro captured the subtleties in the work very well."
Review from the Gulf Times - Qatar - June 24,
Scores and parts of Owens' music are available from the composer upon request.
A demo CD with 74 minutes of recent works for piano, two pianos and
chamber ensemble is available free of charge to performing ensembles,
publishers, filmmakers, etc. Please email your request to Owens at
Classical music WebRing
site is owned by
Terry Winter Owens.
Want to join the Classical music WebRing?
|[Skip Prev] [Prev] [Next] [Skip Next] [Random] [Next 5] [List Sites]
You are visitor number 190401.
Last updated 03/21/09. © 2000-2011, Maggie Owens


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Being the sister of a sibling with special needs can be confusing and daunting. Charlie's twin sister tells this story of their relationship and the everyday challenges of his having autism. Though there are so many variables to this condition and Charlie's story may not match the child with autism you know, it is a tenderly told story that captures the many sides of life in a family with special challenges. Shane Evans' illustrations add some levity to the sometimes heavy moments.
A specail book about autism and siblings feeelings.
Age: Early School Years. Award Year: 2010. Click here to purchase the product on Amazon.com.
Oppenheim Toy Portfolio - All Rights Reserved. Oppenheim Toy Portfolio, Oppenheim Toy Portfolio Platinum Award, and Oppenheim Toy Portfolio Blue Chip Award are Registered Trademarks of the Oppenheim Toy Portfolio.
Instructions for submitting product to the Oppenheim Toy Portfolio for review.
Contact the Toyportfolio by phone at (212) 598-0502 or by email at email@example.com.
Copyright 1995-2013
Products reviewed by the Oppenheim Toy Portfolio are provided by the manufacturer at their cost. The Oppenheim Toy Portfolio does not require or accept fees for reviewing products.


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Main Content
Commemorate the Wildcats' most recent National Championship victory in style with this magnet. It features a flaming basketball racing around the edge of bold Champs lettering with the team name and logo over a team-colored background to leave no doubt about Kentucky's on-court skill.
- Attaches to most smooth metal surfaces
- High-quality team graphics
- Officially licensed collegiate product
Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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Fans of steak, seafood and Italian will soon have another option to choose from in Lafayette when Ruffino's opens later this month.
Ruffino's, the popular Baton Rouge restaurant, has scheduled its grand opening for May 20th. The Lafayette restaurant will be known as Ruffino's on the River.
Ruffino's took over the space previously occupied by Cochon Restaurant. The new owners completely gutted, redesigned, renovated and redecorated the inside of the facility, from the kitchen to the seating areas, as well as the outside patio overlooking the river.
"We wanted Ruffino's on the River to carve out its own distinctive niche among Lafayette's family of restaurants," said Ruffino's co-owner Ruffin Rodrigue.
Rodrigue manages the front of the house and operations for the restaurant. His business partner, Peter Sclafani, is a third-generation chef from New Orleans.
"Guests who've dined with us in Baton Rouge will recognize many of our signature dishes that we're bringing with us to Ruffino's on the River," said Sclafani, Ruffino's executive chef and co-owner. "But I've also taken the opportunity to develop and create a few dishes that will be unique to Lafayette."
1808 Eraste Landry Rd, PO Box 90665,
Telephone: 337.981.4823
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Actor Billy Zane stars in the independent film, Electrick Children.' Zane plays the Mormon father of a teenage girl who becomes pregnant claiming it was an immaculate conception.
The movie opens at the IFC Center on March 8.
KDFW FOX 4400 N. Griffin StreetDallas, Texas 75202
Main Station Directory:(214) 720-4444News Fax:(214) 720-3263 or (214) 720-3333


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ACE Internationalization Laboratory Updates
Project Overview
Western Michigan University is participating in the American Council on Education's Internationalization Laboratory, a two-year program of assessment and planning aimed at strengthening the international education components of our undergraduate curriculum.
Over the course of the 2008-2009 and 2009-2010 academic years, an array of activities guided by the ACE Laboratory format will be undertaken at WMU. Click here to read the press release.
Leadership: The dean of the Haenicke Institute and the chair of the International Education Council co-chair this project.
2008-2009 leadership group: Dr. Donald McCloud, Dr. Steve Malcolm, Mr. Bill Woods, Mr. Brett Berquist
2009-2010 leadership group: Dr. Donald McCloud, Professor Maira Bundza (new chair of IEC), Dr. Mary Lagerwey, Mr. Bill Woods (Berquist left WMU in summer 2009).
List of Appendices to ACE Internalization Lab Report 2010
1. Introduction
1.1. List of WMU's Carnegie peer institutions
1.2. Academic Affairs Strategic Plan 2010
2.1. WMU Fast Facts
2.2. WMU Points of Pride
2.3. WMU Fact Book
2.4. Diversity and Multiculturalism Action Plan
3. Haenicke Institute for Global Education
3.1. Haenicke Institute Home page
4.1. International Student Enrollment 2009
4.2. International Student Enrollment 2000-09 by Country
4.3. International Student Enrollment 2000-09 by Number of Students from each Country
4.4. International Student Handbook
5.1. WMU General Education Policy General Education Requirements
5.2. General Education Courses with International Content
5.3. Courses with International Content in the College of Arts & Sciences
5.4. Other Courses with International Content
6. Study Abroad
6.2. Letter sent to faculty regarding new study abroad programs
6.3. Study Abroad Enrollment Report 2008
6.4. Review of Study Abroad Programs 2007
7.1. Fulbright Activity Charts
10. Faculty Engagement and Development
10.1. International Education Council
10.2. Framework for Internationalization 2006
10.3. Faculty Development Working Group Report May 2007
10.4. College International Committees
10.5. Haworth College of Business
10.6. College of Engineering and Applied Sciences
10.7. College of Health and Human Services
10.8. College of Arts and Sciences
11. ACE Internationalization Laboratory Surveys
11.1. Faculty Survey Questions and Responses
11.2. Faculty Survey Analysis
11.3. Faculty Survey Charts
11.4. Student Survey Questions and Responses
11.5. Student Survey Executive Summary
11.6. Student Survey Final Report
12. Recommendations for Internationalization
13. Acknowledgments
View Full ACE Lab Internationalization Report as PDF
The ACE Lab process culminated in a peer review team visit March 21-23, 2010. The team met with President John Dunn, Provost Timothy Greene, Dr. Eileen Evans, Vice Provost for Institutional Effectiveness, Dr. Dave Reinhold, Associate Provost for Assessment and Undergraduate Studies, the Haenicke Institute senior management team and staff, the International Education Committee (IEC), and the WMU ACE Lab leadership team. Peer reviewers submitted a draft report to the IEC and the Haenicke Institute for comment prior to delivering their final report to the president, provost, IEC, and Haenicke Institute in July, 2010.


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Spencertown, NY, USA
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4 p.m., Fisher Memorial Chapel
In "Upholding Justice" Judge Der-Yeghiayan will explore the role of judges and juries in maintaining rightfulness in our society as embodied in the American constitutional form of government. He currently serves as a US federal judge for the Northern District of Illinois. Confirmed in 2003, he is noteworthy for being the first Armenian immigrant federal judge in the United States.
9/12/2014 » 10/10/2014Fables & Fairy Tales: The Paintings of Stephen Warde Anderson
9/17/2014FORUM: Constitution Day Lecture
9/17/2014FORUM: Rajmohan Gandhi, Ph.D.
9/19/2014 » 9/20/2014Reunion @ Homecoming | The Greatest Place on Earth
9/20/2014Reunion: Regent's 5K Run/Walk
8/20/2014President's Opening Convocation marks start of Academic Year
8/18/2014Former residence hall slated for demolition
8/11/2014Denise Noe named as Assistant Vice President for Institutional Advancement
8/11/2014Fall courses start Aug. 20 and there is still time to enroll
8/8/2014Rockford University Fall 2014 Forum Series Events


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Business Hours Monday - Friday 9AM until 5 PM CST We Accept
Show off your savvy taste in wine and decorating with this wire frame wine bottle. Open the hinged door and you'll find the perfect spot to store your collection of wine corks from bottles past! The metal frame features spiraling wires that form a fascinating design and the door is decorated with metal grapes.
4 1/2" x 4 1/2" x 14" high. Metal.
SHIPPING: Please allow 7 to 10 business days


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Top Posts
Latest Posts
Will Power's brother Damien live tweets Will's IndyCar title run; hilarity ensues
Aug 31, 2014, 4:00 AM EDT
Will Power's brother Damien provides raucous, hilarious commentary as Will drove towards the Verizon IndyCar Series title.
IndyCar: Speeding penalties keep Carpenter, Hinchcliffe from potential win
Aug 31, 2014, 3:00 AM EDT
They rallied to claim Top-5 finishes in Saturday's IndyCar season finale, but Ed Carpenter and James Hinchcliffe were left wanting more.
Pagenaud endures forgettable Fontana, falls to P5 in points, future sorted soon
Aug 31, 2014, 2:35 AM EDT
Simon Pagenaud reveals a possible, potential hint on his future after a forgettable and largely frustrating Fontana finale.
Kanaan leads Ganassi 1-2 to end 2014 on a high note (VIDEO)
Aug 31, 2014, 1:59 AM EDT
Tony Kanaan gets on the board to cap off a second half of the 2014 season where he came close to winning several times, and finally broke through.
Still searching: Castroneves finishes 14th, falls short of IndyCar title (VIDEO)
Aug 31, 2014, 1:21 AM EDT
The three-time Indy 500 champion contends at Fontana, but a pit entry violation going into his final stop ends his bid for a championship.
Will Power claims 2014 IndyCar title as Tony Kanaan ties season win record in Fontana
Aug 31, 2014, 12:54 AM EDT
Will Power has, at long last, become a Verizon IndyCar Series champion. Meanwhile Tony Kanaan takes the win in Auto Club Speedway finale.
IndyCar Fontana update: Ryan Hunter-Reay leads; title battle for Power, Helio continues
Aug 30, 2014, 11:33 PM EDT
The Indy 500 champ is threatening to win another 500-miler in the Verizon IndyCar Series.
Dale Earnhardt Jr. on Tony Stewart's return to racing: 'I'm sure that's where he wants to be'
Aug 30, 2014, 11:00 PM EDT
HAMPTON, Ga. – Dale Earnhardt Jr. joined the chorus of voices welcoming Tony Stewart back to racing this weekend at Atlanta Motor Speedway.
Kevin Harvick in a class of his own, dominates Atlanta NNS race
Aug 30, 2014, 10:15 PM EDT
HAMPTON, Ga. – Kevin Harvick made it look more than easy en route to victory in Saturday's Great Clips 300 to Benefit Feed The Children at Atlanta Motor Speedway. Harvick dominated the event, leading 159 of the event's 195 laps in his third career NNS win at the high-speed 1.5-mile track.
WATCH LIVE: IndyCar crowns its champion tonight at Fontana
Aug 30, 2014, 8:30 PM EDT
It all comes down to this. Get your NBC Sports Live Extra stream links for tonight's MAVTV 500 – the 2014 season finale for the Verizon IndyCar Series!
Aleshin upgraded to stable condition, per IndyCar
Aug 30, 2014, 7:48 PM EDT
Mikhail Aleshin still in hospital but in stable condition after accident Friday night at Auto Club Speedway.
NASCAR: Alex Tagliani breaks track record, wins Truck Series pole at CTMP
Aug 30, 2014, 7:30 PM EDT
The open-wheel veteran turns in a final-round lap of 109.889 mph around Canadian Tire Motorsports Park to claim pole for Sunday's Chevrolet Silverado 250.
Kenseth, Logano top final Sprint Cup practice; Tony Stewart 18th-fastest
Aug 30, 2014, 7:08 PM EDT
HAMPTON, Ga. – Matt Kenseth and Joey Logano put the Happy in Happy Hour Saturday evening at Atlanta Motor Speedway, setting the top speeds in the final tuneup for Sunday's Oral-B USA 500.
No place like home: Chase Elliott earns first career NNS pole at Atlanta
Aug 30, 2014, 5:56 PM EDT
HAMPTON, Ga. – Chase Elliott has won three races thus far in his rookie season on the NASCAR Nationwide Series circuit. But the son of NASCAR Hall of Famer Bill Elliott has never won a pole position in the NNS – until Saturday.
West Virginia football coaches use picture of Dale Earnhardt's car to call plays
Aug 30, 2014, 5:24 PM EDT
This may be the strangest place we've seen Earnhardt's iconic No. 3 GM Goodwrench Chevrolet in a long time.
Bass Pro Shops chief glad to see close friend Tony Stewart racing again
Aug 30, 2014, 4:40 PM EDT
HAMPTON, Ga. — Johnny Morris, president of Bass Pro Shops and one of the primary sponsors of Tony Stewart's No. 14 Chevrolet, released a statement of support for his close friend on Saturday.
After Bristol problems, Kyle Busch needs good recovery at Atlanta
Aug 30, 2014, 4:30 PM EDT
Out of all the Chase-bound drivers, "Rowdy" may be the one in most need of a good performance at Atlanta Motor Speedway this weekend.
Hotlanta brings out the heat in first of two final Sprint Cup practices
Aug 30, 2014, 4:14 PM EDT
HAMPTON, Ga. — When you're hot, you're hot: Bristol winner Joey Logano and pole sitter Kevin Harvick were the fastest drivers in Saturday's final Sprint Cup practice in preparation for Sunday's Oral-B USA 500 at Atlanta Motor Speedway.
Lessons learned from Dale Earnhardt death readily seen in way NASCAR has dealt with Tony Stewart tragedy
Aug 30, 2014, 3:54 PM EDT
While the Kevin Ward Jr. tragedy occurred outside of its jurisdiction, it wasn't the first time NASCAR has had to deal with tragedy and subsequent changes to the sport. One need look back no further than the death of Dale Earnhardt in 2001 for the resulting lessons that NASCAR learned from.
NASCAR: Ty Dillon ready to make Sprint Cup debut on Sunday
Aug 30, 2014, 3:00 PM EDT
However, Dillon isn't neglecting his push for the championship in the Nationwide Series, which competes tonight at Atlanta Motor Speedway.
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- Aleshin conscious following heavy accident in MAVTV 500 final practice (UPDATED, VIDEO) 4
- Kevin Harvick wins Atlanta Sprint Cup pole; Stewart qualifies 12th 1
- J. Gordon (2226)
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- K. Larson (1124)
- J. Boston (1105)
- B. Keselowski (968)
- C. Elliott (929)


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Joe's Produce Ultimate Tailgate Burger Bar
Ground Meat ChoicesGround BeefGround PorkGround ChickenGround TurkeyVeggie Burgers
Choose a variety of different breads and buns
Cheeses ChoicesSliced CheddarSliced SwissSliced Pepper jackCrumbled Bleu Cheese
CondimentsLettuce Sliced TomatoGrilled OnionsSliced Red OnionsGrilled PortabellasCrispy onionsMayo Flavored MayoVariety of Mustards
Coffee BBQ SauceGreat for Smoked Beef Brisket
1 Onion Finley Minced 4 Cloves Garlic Minced½ teaspoons Chili Powder1¼ cups Ketchup¾ cups Strong Coffee½ cup Cider Vinegar½ cup Brown Sugar3 Tablespoon Worcestershire Sauce½ teaspoon Black Pepper
Saute onion and garlic. Add the remaining ingredients. Cook over medium heat for 20 minutes.You can strain if you want a smooth sauce or you can keep it chunky.
Rihanna's dancers are holding clinics while in town for the "Monster" Tour.
KTBC FOX 7119 East 10th StreetAustin, TX 78701Phone: (512) 476-7777Fax: (512) 495-7001


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- 1151 views
- 1 year ago
Nearly 300 people attended the opening of the J. Arthur Morris photography exhibit at Stay Gallery last week, paying tribute to the Downey philanthropist who made his mark in the city in more ways than one.
Morris traveled the world and photographed "everything possible." After his death last year at age 93, Morris' children loaned his entire photography collection to the gallery.
Those in attendance last week include local philanthropists and community leaders Dr. Mary Stauffer and Bill Kirkwood; Mayor Mario Guerra and councilmen Roger Brossmer and Alex Saab; and Stay Gallery board members Phil Davis, Dr. Robert Jagielski and Kirk Cartozian.
Several people volunteered to make the night possible, including Laura Hurtado, Sara Hurtado, Olivia Hurtado, Adriana Hurtado, Cristina Ortiz, Wilmber Vargas, Aldo Fratti and Irma Favela.
Entertainment was provided by Downey High School's jazz band, the Nu Movement Trio and Bonafassi.
Local chef Alex Jimenez donated the hors d'oeuvres and the Lock & Key Social Drinkery – set to open later this spring on Downey Avenue – created hand-crafted punches specifically for the event. Angel City Brewery provided beer.


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JOHN JOE NEVIN has been beaten in his AIBA World Championships semi-final in Baku by Luke Campbell, the Briton winning the match on a countback.
Nevin was aiming to become the first ever Irish fighter to compete in a World Championships final, but missed out by the skin of his teeth.
It was a cagey encounter with both fighters level going into the final round at 9-9. Campbell had taken the first round 4-3 with some smart counter-punching, but Nevin rallied in the second and took that round 6-5.
In the third, Nevin appeared to land some excellent body shots on Campbell but the Briton managed to steal a few points on the Nevin attack.
The match finished at 12-12 but Campbell was adjudged the winner on a countback.
RTE pundit Mick Dowling was surprised by the result.
"I thought John Joe had the better, cleaner headshots but it was a very close encounter," he said.
Bernard Dunne, however, was keen to give credit to the winner: "We don't there to be any sour grapes, Campbell had the better tactics and deserved to go through," he insisted.
Read: Keane – Time to take care of business >


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Columbia, SC (WLTX) --- The way Mark Berson sees it, his 35 previous seasons at the helm of the USC men's soccer program has not been work.
The only coach in the history of Gamecock soccer will begin his 36th season in Columbia and he has no intentions of slowing down.
Berson says he has learned over the years to pace himself and he tries to take care of himself. But the way his enthusiasm stays high year in and year out is fueled by the joy he receives from simply coaching soccer.