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ComedyJuice w/ Pete Holmes (Special Event)
Wednesday, Sep 12 at 10:00 PM
Hollywood Improv - Main Room 8162 Melrose Ave Los Angeles, CA 90046 View Map Add to my calendar
ComedyJuice is one of the top comedy brands in the world, producing hundreds of live comedy events and hours of online content every year as well as being an online entertainment destination. With partnerships with many of the other top comedy brands including CollegeHumor.com, Improv Comedy Clubs, Comedy.com, Comix Comedy Club, The Ice House Comedy Club, and National Lampoon, ComedyJuice content reaches a wide national audience of comedy fans through both live events and digital media.
ComedyJuice Live produces over 150 shows every year and works with over 200 of the biggest and best comedians in the country. It's shows have been called the best standup comedy show in the nation by sources ranging from Sirius Satellite radio to People magazine and attracts such comedy stars as Dane Cook, Sarah Silverman, and Dave Attell on a regular basis.
ComedyJuice.com reaches hundreds of thousands of unique readers every month with millions of pages viewed. The website's weekly newsletter reaches well over 100,000 subscribers.
ComedyJuice Productions currently produces web series for both CollegeHumor.com and Comedy.com as well as an array of original content for ComedyJuice.com.
Artists Performing:
Pete Holmes
Pete Holmes
Pete Holmes wrote this bio himself. Pete was the host of the Conan O'Brien companion talk show The Pete Holmes Show, has multiple Comedy Central specials and albums, has written for several television shows and has had his cartoons published in the New Yorker. His favorite food is lettuce and... [More]
Upcoming Shows:
Fahim Anwar
Fahim Anwar
Fahim Anwar is a Los Angeles-based standup comedian, actor and writer. He has performed as one of the "New Faces" at the JUST FOR LAUGHS FESTIVAL in Montreal. A regular in the L.A. comedy scene, and a finalist at NBC-Universal's Stand-Up for Diversity Showcase. In 2010 Fahim made his tel... [More]
Known For:
- E! Super Epic TV Moments
- E! Most Insane Celebrity Oops
- Lie to Me
Owen Benjamin
Owen Benjamin
Owen Benjamin is a series regular on the TBS series SULLIVAN & SON, recurred on NICK SWARDSON'S PRETEND TIME, and has appeared on THE TONIGHT SHOW, COMEDY CENTRAL PRESENTS, LATE NIGHT WITH JIMMY FALLON, PUNK'D and LIVE AT GOTHAM. He played Marvin the bartender in THE HOUSE BUNNY and ... [More]
Upcoming Shows:
Known For:
- The House Bunny
- Sullivan & Son
- The Tonight Show
Brady Matthews
Brady Matthews
Brady Matthews's high energy, good looks and witty personality make him standout amongst other young comedians in the country today. Born in Boston and raised in Chicago, Brady grew up making his friends and family laugh, catapulting him into becoming the standup comedian he is today. After... [More]
Upcoming Shows:
Known For:
- Jimmy Kimmel Live
- Thesmokinggun.com
- Clean Break
Andrew Santino
Andrew Santino
Andrew Santino Andrew is currently a lead on ABC's new series MIXOLOGY, written and produced by the creators of THE HANGOVER. Andrew was recently named comedy central's top 10 comedians to watch and performed at the Montreal for the 2013 JUST FOR LAUGHS comedy festival. He also recently G... [More]
Known For:
- Mixology
- Arrested Development
- Children''s Hospital
Maria Shehata
Maria Shehata
Egyptian-American comedian Maria Shehata's sharp and original stand-up, combined with her quick-wit and crowd pleasing conversational delivery has brought her appearances in NY's Arab-American Comedy Festival, the New York Underground Comedy Festival, The Los Angeles Middle Eastern Comed... [More]
Known For:
- Showtime's Bridging the Gap
- Comedy Central's The Watch List
Also appearing...
Special Guest
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Mark Love's BlogI work alone in a quiet shop, which gives me the mental space to think about the meaning of what we do as woodworkers. If I still have the mental energy at the end of the day I will sometimes share my thoughts here. I'm really interested in yours, too.http://www.americanwoodworker.com/blogs/mark_love/atom.aspxCommunity Server2009-10-26T22:10:00ZHumble : Lessons from my Father and Grandfather/blogs/mark_love/archive/2012/05/03/humble-lessons-from-my-father-and-grandfather.aspx2012-05-03T23:14:00Z2012-05-03T23:14:00Z

 I got an email last week from the owner of the coffee house where my most recent piece, The Bean Table, now lives.

"We love it!," he said, "but…

…one of the sliding doors is dragging, hard to open, and I wonder if you can come fix it."

Impossible, I thought. There is just no way. Those doors were perfectly fit and burnished with wax. There must be some other explanation. I phoned, got his voicemail, left him a message asking for more details. He got busy and wasn't able to respond for several days.

Saturday I was visiting a friend's art gallery in downtown Austin, just a few blocks from the coffee house, so I decided to pop in and suss out the situation. Larry the owner (who is a very kind, gentle soul) met me there and showed me the problem. It was not, in fact, a malfunction of the door itself, but something much worse. The cabinet was actually too small for the plastic coffee bins it was holding. They stuck out just a bit too far from their shelves, and thus the inside of the door was dragging against them. I was dumbfounded, knowing that I had built the thing precisely according to the specifications he had provided.

"Did you buy different bins than the ones you had spec'd?" I pleaded.

"Nope, these are the ones I sent you measurements for," he pushed back gently.

"Hmmmmmm."

I felt a rush of blood to the back of my neck, that slightly dizzying fear that comes with the realization that I might have made a major mistake, one that can only be explained by utter stupidity and negligence on my part. I could not readily remember the dimensions he had sent me for the bins, as it had been several weeks since I designed the thing. And I didn't have a tape measure with me anyway. I knelt before the thing, unsure on which of us the culpability for this situation rested, but wanting very much to save face regardless. I knew deep down that it was possible I had messed up, that I had been careless in my calculations. I felt desperate for a tape measure and a copy of Larry's original email, the one with the bin dimensions. I had to know. At that moment my entire sense of self depended on it.

I swallowed my terrorized pride just long enough to assess the situation and devise a plan to fix it. Thankfully I would not have to do a major overhaul on the cabinet, as I had first feared, but rather I could take just the door back home and modify it slightly, which I did. But that didn't settle the question of blame. As I pulled it from the cabinet I resisted every urge to say something about it, to try to spin it, knowing that this would make me appear petty and defensive. Knowing also that the moment I got home I would pull up the original email, print it out, and bring it back with me when I returned with the door. Along with a tape measure, of course. We would settle this question. I hoped, I suspected, that I'd be able to prove that he'd simply given me the wrong sizes in that email, that this situation was in fact his fault. That I, the professional, had not made a mistake.

I'd still remedy the situation at no charge, of course, because that's just how swell a guy I would show myself to be. But still I'd find a gentle way to let him know the truth, one carefully crafted so as not make me look too smug.

Arriving back at home, I made a straight line — not to the shop to fix the door — but to my computer to find that email. I found the dimensions, printed them out, and only then got to work making the changes to the door. Once it was done I set it on my bench with the printout and, of course, my tape measure. These were the three things I must not forget when I return Monday morning.

April 30th.

Which I realized, only after waking up, is the eighth anniversary of my father's death.

It's not as sad a marker as it was the first few years, as time has passed this square on the calendar has become less grievous and more reflective. Each year I tend to spend this day thinking more about the man he was than the loss itself.

I posted his picture on Facebook first thing, along with a message about how much I miss him. Suddenly my page was flooded with his admirers, each one leaving a brief memory of how he impressed on their lives. I was reminded with each one what a gentle, humble, wise man he was, even — or perhaps especially — after his debilitating stroke, which left him unable to speak or care for himself for nearly six years prior to his death. A man who had once chosen humility had now been handed humiliation, which he met, amazingly, with the same amount of grace.

These brief eulogies trickled in all morning, and reached 30 by the time the day was done. As I read each one I remembered my dad, how quiet and strong he was, how giving and unassuming and, most of all, humble.

As I collected my three things and began the drive into Austin I was thinking about him, about some of the stories. Some that I'd lived with him, some that I'd only been told about. I got my hair cut on the way which always make me think of Dad, who worked in his father's barber shop until he graduated college. This, in turn, reminded me of a story my mother likes to tell, from a time when they first started dating.

My grandparents' house was only blocks from the college, and so my dad lived at home with them. My mother came over one day and found my grandfather outside working on a fence in the yard. It was a fence he had only just installed a few weeks earlier, and now he appeared to be tearing it apart and digging up the posts.

My mother asked why. He said that the woman next door, a widow, complained about the fence because it was over the property line and therefore he had essentially taken some of her yard from her. So he was going to tear it down, move over one foot, and rebuild it.

"How did that happen?" my mother asked.

"It didn't," he said, "It's not true."

She was speechless for a moment. "Then why are you moving it?"

He didn't answer. Instead, he just smiled and went back to work.

That's who my grandfather was, although I never really knew him personally. It's also who my dad was, and this I saw with my own eyes, time and time again. My father would much rather show a person love than prove he was right.

I arrived at the coffee shop and parked. I opened the back of the van and picked up the modified cabinet door.

I looked at my tape measure. I thought about Dad, thought about Papa Love.

I let out a slow breath.

And I left it in the car.

My father and his father, cutting hair in 1958.

 Back to Mark's blogs

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxSpirit/blogs/mark_love/archive/2011/02/16/spirit.aspx2011-02-17T04:15:00Z2011-02-17T04:15:00Z

I'm working on a very unique table right now. It's different because the wood actually came from a tree that was beloved by the family I'm making it for. It was a sprawling ancient maple, rooted for decades in the lush front lawn of their Wisconsin farm house. The tree had to be removed, and -- unwilling to say goodbye to this friend -- they had it carefully milled into lumber for the very purpose I'm now putting it to. I don't feel much like an artist/craftsman this time. I feel more like a shaman, like I'm escorting a beautiful soul from one noble life to the next.

A tree is a life, it has a spirit (a breath) within it, it breathes when it's alive and it goes on breathing, in a different way, even after it's dead. Every craftsman knows that wood always moves, it swells and shrinks and swells again, it shifts and twists and bends and sometimes even breaks. We who make wood into structures can never really pin it down, the best we can do is to fence it in, give it borders in which to move freely. And to do this we first have to know the wood, we have to learn from it and listen to it, we have to know what it will and won't do over time. Like a good animal trainer we respect the life that has been put in our hands, we let it teach us how to handle it. We do not dominate the wood, we never attempt to break its spirit. Instead we work with it.

I always feel this way as I make something, but never more than right now. I can't even bring myself to burn the scraps of this tree in my woodstove, although the temperature in my shop is hovering around 25 degrees every morning I go out there. Instead I put them aside, in a box, to be presented to the family as a folded flag would be to a grieving widow, and I bundle up for the short walk to the old log pile.

It is good for me to think about this tree while I'm working. I must admit that normally when I work wood I'm not conscious of the actual tree that yielded it to me. I saw a pig slaughtered once. I saw it taken from its pen and shot twice in the head, strung from a tree and lowered into a boiling barrel of water to remove its hair. It was then gutted, sliced in half lengthways, then into quarters and smaller fractions, and finally tossed into several different ice chests as chops, bacon, ham, loin, and whatever else was deemed edible by the indifferent man holding the bloody knife. I didn't know how to feel about it as I watched, and I still don't. I remember standing at the coolers, looking at the steaming flesh and wondering, At what moment did that pig stop being a pig and start being meat? When it was shot? At the moment it was cut in half? There used to be a pig here, and now there's not a pig here. There are just pig parts. Where did the pig go? Anyone arriving on the scene right now wouldn't see a pig, just parts. But because I had seen a pig, I still saw a pig. And that's why I didn't take the cooler that was offered. I didn't want to eat it because I didn't want to see a pig in every bite.

It is a great burden when you are forced to regard the creature who gave its life to make yours better, or just more pleasurable. It can ruin a meal. In the same way, it's easier to work wood when it comes to you as ready lumber, when you don't have to imagine the tree that yielded it, when you don't have to think about how tall and strong and beautiful it must have once been, how persistently and patiently it stood all those years in a single place (years which are now storied in those rings, should you choose to listen), how quietly resistant it was to harsh winters and scorching summers, yet how gracious it remained to all the creatures who depended upon it for life and happiness.

Or to put it another way, how much a tree is what we want to be.

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxNew Piece: Extension table in walnut and maple/blogs/mark_love/archive/2011/01/08/new-piece-extension-table-in-walnut-and-maple.aspx2011-01-09T06:27:00Z2011-01-09T06:27:00Z

Designing this extension dining table was a perfect example of how I like to work with clients. This lovely family of four wanted a dining table that would be small enough for every day use, yet one that could extend to seat up to twenty guests. They also asked that the table's perimeter be clear of legs in order to reduce interference with chairs. They gave me pictures of the setting, wherein sits a beautiful china cabinet with a woven branch pattern across the front glass. With all of this information, the table seemed to designed itself. Fitting for a piece that feels as aliveas this one does.

We delivered this table to its charming Ft. Worth family on Christmas Eve, just in time for the next day when it served 19 happy guests for dinner. There were seemingly insurmountable challenges and worries to this project at the outset (I had less than a month to make it, for one), but this gracious table yielded to me at every turn. Perhaps it wanted to be there for Christmas as well. Maybe it sounds strange, but I really appreciate it for that.

The table is 58" round when closed, 173" long when fully extended with all eight leaves installed. Each leaf features brass pins and sockets, as well as a brass lock on either end, making the entire extended structure surprisingly sturdy. Pictured here in walnut and rock maple.

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxPeers/blogs/mark_love/archive/2011/01/08/peers.aspx2011-01-09T06:09:00Z2011-01-09T06:09:00Z

When you're an artist it's really hard not to compare your talent to that of your peers. Even though most of us know that the proper reaction to the brilliant work of others is to be happy for them, to admire them for what they've achieved, to appreciate the work itself because after all you're a fan of the genre or you wouldn't be doing this right? -- even though we know what a mature reaction would look like, it's sometimes really hard to pull it off. There's a very unique emotion -- perhaps terror is the closest relative to it -- when an artist looks upon the masterful work of a peer and a little voice inside says, 'You couldn't do that, even if you tried.'

Here's how I know. Last week I went to the furniture show in Kerrville. (Not so much a "show" really, none of the furniture danced or sang or played the keytar. Just sort of sat there quiet and looked pretty. But it did that really well.) The show features the work of the best and brightest furniture designer/craftspeople from all over the state. And we really do have some good ones here. One more thing to be proud of.

But oh, there were moments of pure terror. A few of the pieces amazed me to my quivering bowels, made my head hurt as I dizzily tried to figure how they were made. Brilliant ideas I never could have conceived, incarnated in precise and delicate and painstaking detail that I never could have nurtured. You couldn't do that, even if you tried.

So how does an artist answer that voice? Because you have to respond somehow, or you can't go on doing what you do, right? You have to believe that what you do has a legitimate place in a world where that guy's stuff exists too.

When I was younger and punker, I countered by listing all the things I am good at that that guy probably isn't, I convinced myself I didn't really care that his stuff was so good, or better still, I picked it over looking for little things to criticize.

I'm older now, calmer, less threatened. Don't know why, maybe that's just one of the advantages of gray hair. Or so I'm told, I don't really have any myself yet. In Kerrville this time, unlike shows I went to in my youth, I had a really good time. I studied each piece carefully, as though it were a person deserving my utmost respect, stood back reverently and took in the design, moved up closely and marveled at the crafting of it, and yes if there were things I didn't like I was honest about that too. But I was able to walk away from each piece feeling proud of the person who made it, feeling their angst as they conceived it and puzzled over how to make it and finished it and held it out for the world to see and trembled wondering whether anyone would actually like it. I've done all those things myself many times, so I know how hard this is. Unlike before, I left the gallery glowing, remembering anew why I love doing what I do, wishing I could meet each craftsperson and talk to them for hours about their piece.

While I was in Kerrville my phone rang. It was an inquiry from someone wanting a dining table. I went home that night, filled with the inspiration from dozens of my peers, and designed a really beautiful and unusual piece. I'm really proud of it, and I can't wait to build it, and I could not be more thankful to my fellow Texas designer/craftspeople for reminding me how fulfilling this calling can be.

So I guess my answer to "You couldn't do that, even if you tried" is now, "Perhaps not, but seeing that reminds me of how amazing wood furniture can be, and it makes me want to get even better. And that's more than enough."

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxPerfect/blogs/mark_love/archive/2011/01/08/perfect.aspx2011-01-09T05:52:00Z2011-01-09T05:52:00Z

"In the elder days of Art, Builders wrought with greatest care, Each minute and unseen part; For the gods see everywhere." ~ Henry Wadsworth Longfellow

"Why am I down here on the floor, Mark?"

Because it was you who taught me that everything on a piece of furniture matters. You were the one who had me sand the bottoms of drawers and table tops to perfection, who always said that the back of a piece has to be just as good as the front, who always made me lift things to move them across the shop so that the bottoms of the feet would not be scratched.

"Because I want you to see that joint, Michael. The one at the very bottom, the one that's angled in such a way that nobody will ever see it unless they are lying on the floor on their back, looking up, with a flashlight. Like you are now."

You are the reason I spent two solid days of work getting the curved shoulders on that mortise and tenon joint to fit just right. The shoulders that nobody else will ever see. And now you will see that they are absolutely perfect.

"Oh yes OK. Wow, nice work!"

The six years I spent apprenticing under you are the reason my furniture is as good as it is now. And after all these years away from you, I can still hear your voice saying 'It's not quite right yet, keep working on it.' It is the greatest gift you gave me. And the greatest curse.

It was the part of woodworking I had to learn. I am not, by nature, a perfectionist. As a trained minister I don't expect flawlessness in things or in people. I was taught, and I have taught others, that perfection is impossible this side of heaven. It doesn't bother me that the bottom of my grandparent's old desk, the one at which I'm now sitting to write, is not perfectly finished, or that the painting on the wall next to me is listing slightly to the left. I can live with these things.

When I started working wood 16 years ago it was the idea of imagining and crafting something of my own that pulled me in. It was the draw of the wood, the honesty and integrity of the work, that made me want to do this. It was not, it was never, the drive toward perfection.

Perhaps this is why, according to Someone's great plan for me, I landed an apprenticeship with a perfectionist. (My dad always said that God never gets enough credit for his rich sense of humor.) Fresh out of seminary, greener than a fresh piece of poplar, I found myself one morning with a piece of 400 grit sandpaper in one hand thinking, "Did I hear him right? He wants me to sand thebottoms of the table's feet?" In the weeks to come I became more vocal with this type of question. But then as weeks added up to months, I stopped asking them. Because the answer was always, Yes. Always.

What I came to realize, quietly and painfully, was that the question of whether the client would ever actuallysee a cut corner was irrelevant, not even worth the breath to ask. It didn't matter at all that the customer would never notice how perfectly finished the bottom was. Because we weren't making this furniture for the client, we were making it for…whom? That was always the question, the question I eventually learned to keep to myself.

The closest I ever got to an answer was the time I pleaded, "But if I cut this corner we will save time, and honestly, who will know?" His reply, "You will know."

And that is the answer. I will know. I will know that I didn't make it as good as I could have made it. I will know that I gave up a career to pursue woodworking because it is honest and true, and yet even I have begun hiding things in my work. I will know that the image of the lone craftsman working carefully in his small shop to rescue this gasping art from the churning metal claws of cheap and quick industrialization has become nothing more than a romantic lie, a marketing gimmick, a retouched photo.

And if I know this, and if I begin to accept these things, how long will it be before the compromises crawl like vines from the bottom, around the sides, and up to the top?

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxLanding/blogs/mark_love/archive/2010/10/25/landing.aspx2010-10-26T05:47:00Z2010-10-26T05:47:00Z

Today I finished this king bed. It's made of cherry wood and and a wood some people call tiger maple, or curly maple, or fiddleback maple. I call it amazing.

The best moments in woodworking are the very beginning of a project and the very end. Like a pilot, I live for the takeoffs and the landings.

In the beginning my heart races as I pull wood from the rack and try to imagine which part I will make out of which piece. I get positively chirpy as my mind reaches wide to wrap around the days and weeks ahead of me, all the fun I'm about to have.

And at the end, like earlier today, there is always a moment when I push the last drawer into place, or lock the last bedrail in, or wipe the table top off with a rag, and I suddenly realize that there is no more work to be done on this piece. I take a deep breath and let it out slowly. I set the piece in the middle of the shop facing my workbench. I turn away from it and walk over to the bench, hoist myself up to sit, turn back to the piece, open my eyes, and take it in. Sometimes I'll sit there for half an hour, most of that time saying only three words to myself: I made that.

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxSimple/blogs/mark_love/archive/2010/03/13/simple.aspx2010-03-13T19:39:00Z2010-03-13T19:39:00Z

Whenever I meet someone for the first time and they find out what I do for a living, invariably the next question they ask is, "What kind of furniture do you make?" I always answer the same way, "Wood furniture." Then they say, "But what style?"  I hoped they wouldn't ask, because my answer always disappoints.

They want to hear Shaker, or Mission, or Colonial American, or Modern, or something they've heard of. They've got stories and opinions about these styles, they've got specimens in their own homes, and all they need is a nod from me to begin talking about them.

But my answer usually goes something like this: "Simple furniture. I don't like ornamentation and I don't like fitting into a style, I just draw until it looks right to me, then I build it. I used to try and mimic other styles, now I just do what looks right. And I like simple things, so, most of my furniture looks pretty simple." Blank look. "I'm sorry. You can go now if you want." Usually they take me up on the offer.

So I need a better elevator speech.

But I also need to find a way to help people see what I see in simplicity. I think simple furniture, done well, is anything but boring. In fact I think it's revolutionary, because it fights against our worst instincts.  It calls us away from the busy-ness that fractures our souls. It reveals the phony-ness of gaudy over-ornamentation. It shames the poorly designed and cheaply constructed objects that most of us unthinkingly fill our houses with. It stands up for what's right about the world, what's good in people. It makes us feel more peaceful, more confident, more whole. It speaks to the honesty and humility that is buried deep within us and calls it to the surface, centering our attention on the qualities we know to be right and true.

In the history of furniture design there have been other paths to simplicity. The Shakers pared down their designs in furniture, as in everything else, in an effort to clear their hearts of all worldly treasures so as to focus on heavenly ones. They believed they should be seeking beauty in God alone, and that any attempt to adorn themselves and their environments would be distracting and ultimately fatal to their spiritual quest.

The heroes of the Arts and Crafts movement found simplicity to be the highest expression of human dignity. Furniture that looked honest and simple, with joinery that could be seen and seen as beautiful, celebrated the quiet and persistent dignity of the worker. Furniture that was gratuitously adorned and over decorated smelled decidedly bourgeois to these thinkers, and the attempt to hide structural elements under gilded layers of bling represented nothing less than contempt for the craftsman himself. These philosophers, whose influence reached across just about every genre of craft in the 19th century, sought to bring work of the craftsman to the front, to make it visible, and thus to celebrate simple things done well. A well cut dovetail joint, a precisely crafted through tenon, was said to be infinitely more beautiful than the most jewel-encrusted rosette that has ever been pasted onto an aristocrat's chair.

I love these paths to simplicity, and I buy into them wholeheartedly. But I also think our present society, this post-modern pond in which we all now swim, offers yet another angle, another argument for keeping things basic, spare, clean, clear. To put it simply, life has become incredibly complicated. The number of things we carry in our pockets and purses and cars, the number of dates and times we now have to remember, the number of bills we now have to pay (not to mention the amount of those bills), the number of sounds and sights and products that compete for our attention, the number of objects in our homes that now seem like necessities rather than luxuries, these things seem to have increased geometrically just in my lifetime. And this increase shows no sign of slowing down.

I think it's making us sick. I think it's fracturing our souls and dividing our attention into ever smaller bits at the frantic rate of a nuclear reaction. I think if we don't find a way to make it stop we will eventually explode and dissolve into nothingness. We can't keep splitting the atoms of our selves for ever, eventually we will run out of self to divide.  This is our crisis, I think. It's not that we can't find purpose, but that even if we were to find purpose we'd have so little left of ourselves to commit to it that it would not even be worth trying. We're tired. We're overstimulated, overinvolved, overdivided, overextended, overentertained. We don't know who we are any more, where our 'self' is located amongst the many fragments of our daily schedules.

I am naïve. But I actually think I can make a difference in the way I design furniture. I do believe, as Winston Churchill is credited as having said, that "We shape our dwellings, and thereafter they shape us." I believe that a person takes an important step toward wellness by simplifying his or her environment, by deciding to own fewer things, and only things that are simply envisioned, carefully crafted, and extremely solid. Broad horizontal lines seep into the subconscious as calm open sees or quiet rolling prairies. Stark slabs of wood create a feeling of stability, strength, and perfect balance. Exposed joinery puts the unconscious mind at ease; for in seeing it, it knows a thing to be well put-together and reliable.

As we nourish our instinct toward simplicity, our frantic urge to complicate things will eventually starve. I believe it. Simple things make for simple lives. I could design complicated things, but it wouldn't feel right. Not now.

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxShaker Blanket Chest in Cherry/blogs/mark_love/archive/2009/11/17/shaker-blanket-chest-in-cherry.aspx2009-11-18T06:29:00Z2009-11-18T06:29:00Z
Shaker Blanket Chest in Cherry

I just delivered this. The simplest designs give me the chance to feature the wood prominently. This cherry looks pretty sweet. Enjoy :)

- Mark Love

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxTemporary/blogs/mark_love/archive/2009/11/05/temporary.aspx2009-11-05T12:33:00Z2009-11-05T12:33:00Z

When I was 26 I rented a little gray house in a very old south Austin neighborhood. Before I even signed the lease I decided that the overgrown patch of ground adjacent to the quiet street would become my new vegetable garden. So the last trip on moving day was interrupted by a stop at the hardware store to buy a shovel.Something every man should have unless, like me, he'd lived in downtown seminary housing until about 20 minutes ago.

It would be my very first actual garden and I was happy. Looking back now I'm not even sure I had unloaded the last few boxes from the truck before I and my spade were hard at work redeeming the wretched lot.

New to this sort of thing, I didn't really know what to expect, or else I'd say that what happened about ten minutes into the job was unexpected. After a few successful tills my luck suddenly changed, and I hit something hard and mean. An awful 'ping' that played my shovel like a tuning fork. It was only about three inches down, whatever it was. I guessed a rock, so I moved over a few inches and stabbed again…Ping! Move again...Ping! Over more...Ping! Ok way over there…Ping! Whatever it was it was big.

There was a gritty sound as I angled the handle almost flat to scrape off the soil, expecting to be disheartened by a garden-disabling slab of bone-gray limestone. But what crumbled up through the soil wasn't gray, but red. Dark red. A few more shovelings and a garden hose finally revealed what I was standing on: a carefully laid mosaic brick walkway. Perfectly flat, tightly assembled, imaginatively envisioned, and now covered in dirt and weeds from years of neglect. I uncovered its breadth and length, about four feet by fifteen, and dutifully washed it clean. Stunning. Functional but more than, this four foot wide via was a dance of square and triangulated bricks, arranged in sunny, randomly place arrays. Happy, beautiful, whimsical. I looked up and down the empty street for someone to show but nobody appeared. I was alone with my discovery.

Looking back down I suddenly felt sad for the maker of this sidewalk (most likely the first resident of my house when it was built back in the 1920s) who by my calculations was now enjoying a similar but much deeper fate than his work. I was sad not for his passing but at the realization that the world, of which I was a part, had allowed this beautiful piece to become quietly buried under the conscienceless refuse of time. I was a young artist myself, a woodworker's apprentice, and I wanted to believe that when a person puts his heart and sweat into something solid and extraordinary it will be loved, or at the very least seen, forever. I had removed the vicar's collar for a reason; I craved a legacy beyond the fickle spiritual peaks and valleys of my parishioners.

Nobody in my 150 year old congregation could remember a single pastor who worked there before about 1970. They were just names in a book now (and no one even knew where that book was). There is a Psalm, "As for man, his days are like grass, he flourishes like a flower of the field; the wind blows over it and it is gone, and its place remembers it no more." While the young minister in me blindly accepted this as wisdom, the awakening artist in me took it as a challenge. Make something so extraordinary that the world will never let it go, that time will never bury it, that future generations will never forget it. Make your mark, and make it last.

I've now been doing this professionally for fifteen years, and I've never made a piece I didn't think would last forever. As I work in my studio I am precise, careful, and I use amazingly strong joints, and thus I fully expect my work to be immortal. I believe my designs to be both pleasing and interesting, and so I think future generations will always find a place for them in their homes. So I can no more easily wrap my head around the failure, destruction, or marginalization of one of my pieces than I can fathom my own death and non-existence. What's more, I fear that if I ever did grasp these things, it might be at the expense of my will to get up every morning and do what I've told myself is important. I believe, because I haveto, that my art will last forever.

And yet it will not. Rare is the piece of wood furniture over, say, 200 years old that is still around and still usable. Wood shifts, warps, contracts, expands, and rots. Joints quietly loosen and fail and wobble. Styles change and young couples look for ways to rid themselves of that ugly dresser that grandma loved so much. My work will not last. There will come a day when nobody remembers me or the things I've made.

As I ponder this I imagine my new mason friend sitting in a pew the Sunday after finishing his sidewalk. He would have been a churchgoer. As the pastor reads the Psalm he smiles in gentle defiance, believing his new brick edifice to be a rare exception to the skeptical wisdom of impermanence. Three blocks away at just that moment, outside his empty house, the wind loosens a waxy leaf from the live oak that spreads above his pristine path. It twirls and juts in the breeze and finally rests heavily on one of the bricks.

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxDust/blogs/mark_love/archive/2009/10/31/dust.aspx2009-11-01T05:15:00Z2009-11-01T05:15:00Z

I sanded all day today. My hands are dry, raw, sensitive. I can feel the texture of these computer keys more than most nights, which makes me wonder if at least some of the dust that's now covering the floor beneath my workbench was once the calloused skin of my now aching fingers. Sandpaper is relentless. Which is the point, I suppose.

Wood dust fascinates me. Each tool in the shop creates its own unique brand. I will often pause for a beat after using a tool to run my fingers through the byproduct, feel the texture and weight of it. I've learned that the table saw creates light fluffy particles, the lathe sprays off thick curly chips, and the router (no matter what bit I'm using) spits heavy, scratchy grains that get in between my sock and shoe and annoy me the rest of the day.

But what sandpaper pulls from wood is the best by far. Ghost-fine and elusive as chalk, I can hardly take a pinch before it scatters in the tiny wind created by my thumb and forefinger. This dust is wood, I remind myself, in its most particulated form. It feels it could pass at any moment from solid to gas and vanish into the warm air that fills my shop.

Because there is not much else to think about while I'm sanding, the smallness of this dust occasionally stirs my imagination. Quantum physics, Zen Buddhism, Christianity, and other philosophies urge us to meditate on the smallest, the least, the nearly invisible, the simple, as doors to The Truth. It is not in the large things that we come to know ourselves, but in the small ones.

As I silently sand, not only do the wood particles grow smaller, but my conscious thoughts as well. Hours go by, my arm numbly repeats its back and forth row over the wood, and my mind slowly opens to the simple quiet. At the end of such a day, there are few words worth saying aloud.

The dust and I now understand each other.

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspxRisk/blogs/mark_love/archive/2009/10/26/Risk-in-Woodworking.aspx2009-10-27T04:10:00Z2009-10-27T04:10:00Z

I just messed something up. Part of a chair I'm working on. This particular piece has taken me about two and a half hours to make. And I just ruined it. I have to start over now with a new piece of wood. There is no walk on earth longer than the nine steps from my bench to the lumber rack.

There are two kinds of ruining in woodworking. One is physical, the other mental.

In the physical group fall simple mistakes of the hand. I jerk my chisel the wrong way and it creates a gash that can't be fixed. I angle my saw a couple of degrees off, and the joint doesn't fit quite right.

Crueler by far is the mental category. In this instance, I simply don't think correctly. I follow through perfectly on my thoughts (such as they are), and when I'm done I feel chuffed at my perfection as I walk away from the tool. Until I go to fit the piece and wince to realize that I've made it backwards, or too small, or upside down. That's when I invariably wish someone were there to witness my confession, 'God I'm so stupid!' (I've actually opened my phone before and called someone just to confess a mistake. Feels good to say it out loud for some reason.)

Today's mistake was mental. Crap. I hate doing that.

Then again, I love doing that. Because it reminds me that this art of mine involves risk. Something at stake. Always.

Perhaps the difference between crafting and manufacturing is risk. When I applied for my sales tax license, I had to choose a category for my business. "Furniture manufacturing" is what I checked. But the words left an unsettled, metallic taste in my mouth. I don't manufacture furniture, I craft it. Manufacturing is all about eliminating risk. Not reducing it, but vanquishing it completely. Removing any chance that the worker might ruin a costly piece of wood. Expensive computers tell huge machines what to do, and they obey perfectly. Sitting at a keyboard is a man with a cup of coffee, thoughts on the upcoming weekend, and absolutely nothing at stake. There will never come a time when he ruins a piece that will take him two and a half hours to remake.

So here I am, ruined chair part in my hand mocking me. I scan desperately for workaround ideas, none coming. Can I hide it? Can I make it work? Can I fix this? Nope. Nope. Nope. Man up Mark, remake it, and this time be more careful.

Does it make any sense that this is actually one of the reasons I love this job? Maybe. A skydiver wouldn't love jumping if there weren't at least some chance of splatter. The risk keeps me awake, keeps me in the moment. I actually like it.

But there's another kind of risk that runs under the surface all the time. Not just for me but for every artist. That's the risk of my opinion of myself. Am I any good at this? Can I pull this off? What if I mess this up, can I still think of myself as talented? Easy to believe I'm a great artist when I'm standing in the gallery next to a finished piece. But with a chisel in my hand I'm a little less certain. No matter how much success I've had in the past, if I don't get this one right...then what?

Mark Lovehttp://www.americanwoodworker.com/members/Mark-Love/default.aspx

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Impressive numbers. Congrats and almost 13 years too.
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Burn Notice Review: Deconstructing Westenby Jim Garner at . Comments
Michael took a drugged-induced trip down memory lane as part of the final step of meeting the head of the organization that Sonya works for in "Psychological Warfare."
I've commended Jeffery Donovan's acting skills before. But allow me to append that previous comment by pointing out that Donovan deserves an Emmy for his performance this week. Additionally, John Pyper-Ferguson (Alphas) was incredibly smooth, caring and scary-as-hell as James.
I wondered when I saw Tim Matheson's name in the opening credits how they were going to work Larry Sizemore into the episode because he was blown to pieces by Fiona on Burn Notice Season 5. Sweaty-drugged-out-vision-quest seems like such an easy answer in hindsight.
There were several little details that caught my eye during Michael's trip through the looking glass. For example, in his visions he was wearing a clean version of the actual cloths he was wearing in the interrogation. Did it seem like he was going to break the fourth wall as he went back and forth between James and his visions to anyone else? Don't get me wrong, I'm glad he didn't as it would have ruined the scene; but at least twice as he looked at the camera I kind of expected it.
As this final season comes to a close, it's nice to get a few missing details filled in. This was a perfect example, all the times that Larry showed up, I don't think Michael ever went into the nuances of why they stopped working together. If they did, then it was minor enough that it didn't stick with me.
Seeing the incident with the factory was a triple win in my book. First, it was poetic that Larry was later blown up by Fiona. Second, we saw the details of Michael and Larry's falling out. Third, and the most mind-bending, the factory incident has been the driving force behind his low body count and collateral damage record. Mind. Blown.
The only thing in the episode that stood out strangely was Michael's dock-side confession to Fiona about him and Sonya. Isn't Fiona sharing a bed with Carlos? Does Michael think they are only cuddling in that bed?
The only thing I could figure out was that the scene was for us the audience and not really part of the story. I'm pretty sure we all know that Michael is still in love with Fiona and slept with Sonya for the job. We really didn't need it spelled out, we know our Michael.
But that one odd scene aside, this was one the best episodes of Burn Notice ever filmed. I didn't even care about the Hyundai commercial Sam and Fiona did as they were following Sonya. Okay, to be fair, the drifting slide that Fiona did around the corner made the rest worth it.
Overall, I'm giving the episode 4.9 defiant stares for young Michael who bravely stood up to his father, which in turn allowed him to defy James and the drugs.
I'm ending this week on a question (please feel to comment below with your answer): Were you surprised by anything in Michael's visions?
Jim G. is a TV Fanatic Staff Writer. Follow him on Twitter.Tags: Burn Notice, Reviews
Surprised no one has mentioned Anwar's terrific turn as Michael's first imaginary visitor; whoever chooses her clothes got it just right: red red, a cross between modern dress and what a goddess would wear. Unquestionably she is still Michael's ideal: beautiful, passionate, and perilous, his notion of life itself. Sonya, by comparison, is pale and insipid. Interesting to speculate what an appearance by his mother or Nate would have been like. I wish the producers had carried the dream-world theme further in the scenes with Tim Matheson and Michael's father, and up through the first part of Sonya's faked rescue. He could have snapped out of it at the point when he demanded why she was saving him.
You do know we have one whole Month before the show ends and there no way it could be done in shorter sequence
While Jeffrey was great, it was too long for me. There are a precious few episodes left and I feel like this one took too long with the drugs and the bells and whistles, this point should have been made in a shorter sequence.
Is there an actor on TV today who can give a better performance than Jeffrey Donovan has been giving on Burn Notice? I don't think so. He is totally brilliant! Wow! I was a little surprised that more info on Michael's father wasn't revealed. Remember, Anson Fullerton told Michael that his father's heart attack had to be arranged. There's more story to be told here. Well, that's fine with me because I would love to see Michael Westen continue as a character in a new show. Of course, that means that the whole gang comes along too--even adorable little Charlie. I have never found so much pleasure in a TV show before and I am a senior citizen so I've been around for a long while. A special thanks to all involved in the making of this great show.
Great though lacking in entertainment.
First time poster: I just turned 60, I was physically and, verbally and psychologically abused by my father. I am a huge Mad Men fan and an equally huge fan of Burn Notice. Because of my history, it is very important to me that the arcs of both series "get it right". Both are. The whole of each series is a damaged guy having his own existential adventure discovering himself in a classically mythological format. My guess is that management originally dropped Michael into Miami in order to drop him into his dysfunctional life where he could be easily manipulated and could recreate an extended family for support. As the very essence of existentialism, Michael is confronted with what type of new identity and new family he will create. Last night's episode was brilliant in concept and execution. Jeffery Donovan true acting genius is his ability to project a perceptible emotional barrier that all abused people have and all abused people readily recognize in others. Yet, the actor allows you to see through the prism and glimpse pain, scars and disease. Hell, I am a good enough actor emote RAGE!!! Matt Nix has shown his genius in subtly turning the series structure inside out. In the beginning, the front stories were the weekly episodes of action seasoned with a mysterious back story of Michael's professional past, then personal past. Now, the old back story has become the central arc with even Michael's personal past eclipsing his professional past. This is pure writing genius. I am so lucky Nix chose to take the series to its logical end and then end it there. Again, as a fan of Mad Men, I submit that if the Burn Notice series is re-watched in its entirety, it will present as much symbolism and nuance as MM. Apologies for being long-winded. :-)
Jeffrey's acting was fantastic, no doubt, and it was interesting to get some more of his background, but I thought for the most part, it was a waste of an hour. I called up my dad right afterwards, and that's the first thing he said, too, when he picked up the phone. Maybe it's because we miss the humor that attracted us to this series in the first place.
Great episode. Easily one of my favorites of the series. Also, I hope James and Sam have a scene together at some point for all the Brisco County Jr fans.
The guy who play Michael dad was perfect everything that was said about him fit the actor. As for being surprised by anything in Michael's visions I would say Larry was the surprised I do kinda of wonder if he really dead because I truly believe he the one behide all of this
Another fantastic episode for a fantastic season this could very well be my favourite season if it continues like this.


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North Korea can end its international isolation but must first irreversibly end its nuclear weapons programme, the US secretary of state is to tell an Asian security meeting.
Hillary Clinton is attending the Asean Regional Forum (ARF) in Phuket, Thailand where US officials say she will present a "stark choice" to North Korea over the future of its nuclear programme.
In a speech later on Thursday she will say that the US is prepared to offer incentives to North Korea if it returns to negotiations over its nuclear programme, although it would not be rewarded "just for returning to the table".
According to pre-released excerpts, she will also warn Pyongyang that unless it gives up its weapons programme, it "will face international isolation and the unrelenting pressure of global sanctions".
N Korea 'tests series of missiles' North Korea's nervous neighbours N Korea's nuclear trump card Timeline: N Korea's bomb Timeline: Missile launchesVideos 101 East looks at the future of North Korea A rare look at life inside North Korea Hans Blix on North Korea's nuclear fallout Double standards on nuclear weapons South Korea's nuclear fears China's troublesome ally N Korea test sparks alarm UN 'should expel N Korea' N Korea's 'nuclear gamble'
In return for North Korea's "full and verifiable denuclearisation" Clinton will say the US is prepared to offer "significant energy and economic assistance".
North Korea tested a second nuclear device in May and has also conducted a series of missile launches, ramping up tensions on the Korean peninsula.
Following the nuclear test, the United Nations announced a toughening of sanctions against North Korea, triggering an angry response from Pyongyang which said it was abandoning disarmament moves and would restart work on what it calls its nuclear deterrent.
Military ties
Clinton's comments come after she raised concerns at growing ties between North Korea and military-ruled Myanmar, including the possible transfer of nuclear technology.
She said growing military ties between the two countries had the potential to threaten regional stability.
Diplomats from North Korea and Myanmar, a member of the 10-nation Asean regional bloc, are also attending the ARF meeting in Phuket, although Clinton has ruled out any direct meetings with them.
"Complete and irreversible de-nuclearisation is the only viable path for North Korea"
Hillary Clinton,US secretary of state
Those include dismantling the North dismantling its nuclear reactor at Yongbyon and giving up its plutonium stockpile.
"All four of the other foreign ministers agreed that full implementation is important to demonstrate unanimity and resolve in the face of North Korean provocations and to make clear that complete and irreversible de-nuclearisation is the only viable path for North Korea," Clinton told reporters.
China, which has hosted the six-nation talks and is North Korea's biggest supplier of aid, said it was in close touch with all parties and it was important to take a long-term view of the disarmament process.
"Although the talks have come across some difficulties, one must not ignore the fact that major progress was acheived some time ago," said Yang Jiechi, the Chinese foreign minister.
In April North Korea said it was scrapping all agreements made under the six-party talks following a UN Security Council rebuke over its test of a long-range missile.
The North then resumed weapons testing and its subsequent nuclear test triggered a Security Council resolution for increased inspections of shipments going to and from the country as well as an expanded arms embargo.
On Wednesday, the US Senate called North Korea a "threat" to its neighbours and pushed for a formal review to see whether the Obama administration should return it to a US terrorism blacklist.
The previous US administration removed North Korea from the list in October 2008 as part of Washington's stop-start diplomacy with the country.
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Standard lens featuring superb quality and portability. Two high-refraction lens elements and new Gaussian optics eliminate astigmatism and suppress astigmatic difference. Crisp images with little flare are obtained even at the maximum aperture.
©Lighthaus Camera, 2012, 2014.
DBA Hawaiian Camera Supply


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Nemergut Group
|Laboratory for Microbial Evolution and Ecology
Lab Members
Caroline Tucker, Post-Doctoral Scholar (also advised by Brett Melbourne)
My research has ranged broadly from understanding the impacts of temporal variation on species coexistence and community assembly, the implications of prioritizing and protecting different types of diversity, and the importance of competitive interactions on plant phenology. At the University of Colorado, Boulder, I'll be working on understanding the mechanisms driving assembly of soil microbial communities post-disturbance and the implications for ecosystem functioning. I use a variety of tools, including mathematical models, observational data and experimental microcosms. I'm interested in microbial communities as a tool for understanding community dynamics at a manageable scale. My webpage is here: http://individual.utoronto.ca/carolinetucker/
Joey Knelman, EBIO PhD student
Recent investigations of chronosequences exposed on deglaciation are beginning to examine the dynamics of microbial succession and its influence on biogeochemical processes. Employing molecular and biogeochemical assays, my research seeks to explore how limited vegetation in these sites may alter microbial community succession and function in mediating biogeochemical cycles. Current projects include examining vegetated vs. non-vegetated soils at the Mendenhall Glacier in Alaska to gain insights on vegetative influence on microbial community structure especially in terms of N-fixing bacteria. Levels of soil nitrogen fixation are also being assessed. Additional research interests broadly include rhizosphere microbiology, plant-microbe interactions, and the role and succession of mycorrhizal communities among chronosequence vegetation.
Emily Graham, ENVS PhD student
I am investigating the relationships between environmental conditions, nutrient and pollutant biogeochemical cycles, and the microorganisms that regulate these cycles. I employ techniques from microbial ecology, biogeochemistry, statistical modeling, and environmental economics. Currently, I am conducting two primary projects. First, I am investigating the interactions between DOM characteristics, extracellular enzyme activity, microbial community structure, and mercury pollution in wild rice patches in the Great Lakes region. My preliminary research has shown that reduced humic-like portions of the DOM pool inhibit mercury methylation, the process that generates bioavailable mercury, in unvegetated areas, while the same portions of the DOM pool facilitate mercury methylation in vegetated areas. Current research investigates these relationships in wild rice patches, an economically and culturally important resource for Native American communities in the Great Lakes region. Secondly, I am conducting a metaanalysis project to evaluate the relative utility of environmental parameters and microbial data in predicting rates of biogeochemical processes, such as biological carbon dioxide uptake. The project aims to improve ecosystem process models and to allow decisionmakers access to more accurate information than current predictions. We have been actively soliciting datasets for our metaanalysis and have established collaborations with over 35 authors from around the world. Our current collaborators reside in diverse locations and study disparate ecosystems, ranging from here in Colorado to Europe, Asia, and Australia, and we hope to decipher common themes in the importance of environmental and microbial data in explaining ecosystem processes across the globe.
Sarah Sattin, EBIO MA graduate
Sarah finished her MA degree in May 2008. Her thesis was on microbial community succession in the forelands of the Mendenhall Glacier in Juneau, AK. Her thesis has been accepted for publication. Sarah is currently a researcher at SomaLogic.
Robert Kysela, EBIO MA graduate
Bobby finished his MA degree in May 2009. His thesis was on microbial community composition and the decomposition of dissolved organic matter in Costa Rican tropical rainforest soil. He was a VISTA volunteer in Bellingham, WA following graduate school and is now a medical student in Colorado.
Nick Mosely, EBIO Honors graduate
Nick completed his honors degree in May 2009. His thesis was on the structure and function of lake biofilm microbial communities. He is currently a graduate student at the University of Washington.
Lee Stanish, ENVS PhD graduate (with Diane McKnight)
Lee's research focused on investigating microbial mat communities in streams in the McMurdo Dry Valleys. She completed her PhD in 2011 and is currently a post-doctoral scholar with Norman Pace at the University of Colorado.
Terry Bilinski (Legg), EBIO PhD graduate
Terry's dissertation work involved examining the organisms involved in arsenic cycling in Bangladesh aquifer sediments. She completed her PhD in 2013 and is currently an assistant professor at St. Edwards University in Austin.
Sean P. O'Neill, EBIO MA graduate
Sean investigated the change in the structure of microorganisms in a variety of primary successional environments, including the Mendenhall Glacier in Juneau, AK; the Puca Glacier, in Peru; and Mt. Baker, WA. He has been working as research associate at Palmer Station, Antarctica, since he completed his degree in May 2013.
Institute of Arctic and Alpine Research
Environmental Studies Program


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Thursday, December 18, 2014
Signin Sign-up
Written by:
SSAS-Info.com is a site that looks for SSAS content anywhere on the web and consolidates it into a single location. I've used SSAS-Info.com before and found it to be extremely useful.
The site is maintained by Vidas Matelis and while I've never met him, he emailed me today about LearnMicrosoftBI.com. First, he said he wasn't sure how to subscribe to the RSS feed. I use DotNetNuke as the framework for this site and yes, getting an RSS feed took me a while to figure out. I've created a link on the right-hand side that should simplify it. I've successfully set up feed readers in iGoogle, My Yahoo, IE, and several Windows feed aggregators with no problems. Let me know if you run into issues.
Vidas also pointed out that when he saw the posts about new videos, he wasn't sure where to go at first. At a minimum, I'll be adding a link to the Videos page in all future blog postings about new videos.
My thanks go out to Vidas for both his suggestions and his excellent work with SSAS-Info.com.
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Coweta bank robbery suspect's photo released
The Coweta County Sheriff's Office has released the photo of the suspect in the March 15 bank robbery at the Wachovia Bank on Amlajcak Road in Newnan. The man is also wanted by MARTA police for a robbery.
The man is described as a black male with a medium build thought to be in his 20s or early 30s, 6'2" in height and weighing 180 pounds. He was wearing a black athletic shirt with a red logo on the left chest side, a black leather jacket, blue jeans and a hat with a red Chicago Cubs logo on the front.
Anyone with information concerning this man's whereabouts is asked to contact the Coweta County Sheriffs Office at 770-253-1502 or the FBI Atlanta office at 404-679-9000.
Pants on the ground, pants on the ground. Lookin' like a FOOL with your pants on the ground!
I suspect that with such a good photo they should be able to apprehend him pretty quick.


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Definitions for gainsboroughˈgeɪnzˌbɜr oʊ, -ˌbʌr oʊ; Brit. -bər ə
This page provides all possible meanings and translations of the word gainsborough
Random House Webster's College Dictionary
Gains•bor•oughˈgeɪnzˌbɜr oʊ, -ˌbʌr oʊ; Brit. -bər ə(n.)
Thomas, 1727–88, English painter.
Category: Biography
Princeton's WordNet
Gainsborough, Thomas Gainsborough(noun)
English portrait and landscape painter (1727-1788)
Gainsborough is a constituency in Lincolnshire represented in the House of Commons of the UK Parliament since 1983 by Edward Leigh, a Conservative.
Find a translation for the gainsborough definition in other languages:
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"gainsborough." Definitions.net. STANDS4 LLC, 2014. Web. 19 Dec. 2014. <http://www.definitions.net/definition/gainsborough>.


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|> back to news
At UN commemoration of 2600 years of Buddhism:
25 May 2011 United Nations, New York Diplomats and guests learn more about Buddhism at a week-long exhibit that is part of the commemoration of the International Day of Vesak celebrating 2,600 years of the enlightenment of The Buddha at the United Nations. The Philippines, last year's coordinator for the event, joined Bangladesh, Cambodia, India, Japan, Laos, Mongolia, Myanmar, Nepal, Pakistan, the Republic of Korea, Thailand, Viet Nam in organizing this year's events coordinated by Sri Lanka. END
25 May 2011 United Nations, New York One of the guests (left) takes time to view the photographs featuring Buddhism and its legacies in the Philippines. Undersecretary Nabil Tan (right) of the Office of the Executive Secretary reads the notes on Buddhism in the Philippines, including reference to the Buddhist Saka era corresponding to April 21, 900 as written in the Laguna Copperplate Inscription. END
25 May 2011 United Nations, New York The international commemoration of the Day of Vesak or the Buddha's enlightenment here reaffirmed the importance of interfaith dialogue in bringing nations and peoples together in greater understanding, mutual respect and tolerance, and gave an occasion to recognize the Philippines' contributions to a broader and comprehensive approach towards global peace.
At a special meeting last week at the General Assembly Hall attended by the Acting President of the General Assembly Ambassador Hasan Kleib of Indonesia, the UN Secretary General Ban Ki Moon, other dignitaries and an estimated 150 Buddhist monks, the commemoration of 2600 th year of the Buddha's enlightenment at the United Nations stressed the Buddha's messages of compassion, peace and goodwill that "continued to resonate with significance today."
Speakers also underscored the importance of interfaith dialogue, which would be a concrete result of living the teachings of the Buddha.
In his statement, Philippine Permanent Representative to the United Nations Ambassador Libran N. Cabactulan stressed, "The Buddha's profound teachings have transformed the lives of millions for centuries with messages of purpose, balance, meditation, healing, spirituality, and compassion – all of which lead one to view a fellow human being with nothing but utmost respect and understanding. All of which will lead one to live a life of peace, within himself and with others."
"It is fitting then that on this occasion, we – with peace in our hearts - are drawn together here at the United Nations, an organization committed fully to the promotion of global peace. Within these halls and beyond it, the United Nations and its member states have strived to further broaden peace throughout our world – building and strengthening peace, no matter the risk, no matter the pain, no matter the cost," Ambassador Cabactulan explained, adding "Yet there is still so much to be done."
Ambassador Cabactulan pointed out that "mistrust and hatred threaten to rend the ties that bind us all as one diverse human family" and cause tension and instability in many parts of the world.
Ambassador Cabactulan said the Philippines' experience has taught the country the importance of bringing together people of diverse faiths, cultures and religion grounded on respecting the "value of the individual and his dignity as a person" which is a lesson it now shares with the rest of the world through interreligious and intercultural dialogue at the UN and beyond.
"While our peoples are predominantly Christian, we are a secular state, and we are respectful and tolerant of any religion. We have a significant Muslim population. We have those belonging to other Great Faiths. We have those who adhere to indigenous beliefs. And we are also home to many Buddhists," said Ambassador Cabactulan, adding, "In democratic Philippines, no faith is too great as to sacrifice the value of plurality and no faith is too small to be ignored. In fact, since 2001 the Philippines – through Proclamation No. 24 - has officially observed Vesak Day on the full moon day of May every year."
In building our country, the Philippines realizes that for our people to know, respect and understand each other, we need to dialogue with one another. For indeed, we can only grow together as one nation when we place at the This valuable lesson is what animates the Philippines' interfaith dialogue initiative in our country, in our region and here in the United Nations. This is what we are committed to be our enduring – and continuing - legacy for the world's posterity.
Since 2001, the Philippines has pursued interfaith dialogue in the wider international context. Beginning in 2004, the Philippines has worked on GA resolutions on interfaith cooperation and interreligious and intercultural dialogue.
In last year's A/Res/65/138 the Philippines went a step further by asking Member States to consider, as appropriate and where applicable, interreligious and intercultural dialogue as an important tool in efforts aimed at achieving peace and the full realization of the Millennium Development Goals.
The Philippines has also diligently built on dialogue between the United Nations System, Governments and religious organizations through the Tripartite Forum on Interfaith Cooperation for Peace, established in 2005. END
Reference:Robert E.A. Borje
Third Secretary
Philippine Mission to the United Nations
556 Fifth Avenue, New York, NY 10036
Telephone No. 212.764.1300 ext. 23
Philippine Center Building | 556 5th Avenue
New York, NY 10036 | (Between 45th and 46th)
Tel:(212)764-1300 | Fax:(212)840-8602 | E-mail: email@example.com


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Holistic Yoga Center Iyengar Yoga haifa
| Yoga Classes in Haifa
|Holistic Yoga Center Iyengar Yoga haifa Website
|Yoga Style: Holistic Yoga, Iyengar system
4 wedgwood st.
Haifa 34635
|Contact:Pessi Feig
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Pessi Feig is the founder and mannager of the Holistic Yoga Center-Iyengar Yoga in haifa. Pessi Feig is a certified Iyengar yoga teacher and has been teaching yoga and meditation for 30 years. We offer Yoga Classes for beginners and advanced students every day, morning and evening.Yoga therapy classes, yoga and meditation workshops. certified teachers' training course (1000 hours)available.
|Update listing


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Gnocchi at Monsú, you are quite the world-traveled dish!
That's right. My recipe was taken home from Chef Peter McAndrews and Damien Messina's trip to Sicily. They feasted on a rigatoni dish with tomato cream sauce, crab and mozzarella. I'm their take on that recipe, which is from Catania, a coastal town on the Ioanian Sea.
So what are the main differences between you and your cousin in Sicily?
Well, instead of rigatoni, I'm a light, pillowy-textured ricotta-based gnocchi made with ricotta impastata, nutmeg, pecorino, eggs, flour and salt.
What about the sauce?
The sauce is simple: San Marzano tomatoes, garlic, heavy cream, lemon juice, salt, lemon and orange zest and mint. That's it! Then add your toasted pistachios, fresh crab meat and garnish with ricotta salata.
That is simple!
Uncomplicated and delicious. And unlike some other joints, you won't find me drowning in sauce. I don't swim.
What's the difference between ricotta impasata and ricotta salata?
Ricotta impastata is a light, creamy cheese that has been drained of most of its moisture while ricotta salata has been pressed, dried and salted so it's drier and more savory.
So what would you suggest customers order along with you?
Chef Messina thinks I'm perfect just on my own. To him, the best thing about Italian cooking is its simplicity, so order me as your main course and bring along a bottle of Pinot Noir. Alla fine.
Anything you'd like to share that customers are saying about you?
I've become a neighborhood dish on 9th Street. My fans say that I'm the best "gnocchis" they've ever had! I'm so flattered that I don't even correct the silly Amedigans that gnocchi is already plural.
Monsú, 901 Christian St., 215.440.0495. monsurestaurant.com
Even the most unloved Jewish food is amazing at Abe Fisher
From tomato jam to apple dumplings, Cresheim Valley Grain Exchange does a lot right
Beast & Ale puts international twists on solid American goodness
Lolita reimagines classic Oaxacan recipes to fresh, tasty effect
At Crow and the Pitcher, mushrooms are "a revelation"
Townsend is cooking up a Gallic storm
Café Ynez does Mexican, rotisserie—and breakfast, too
Petruce et al. is a new Walnut Street force to be reckoned with


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Fifty women named to 2013
'Houston's Most Influential' list
Last fall, more than 200 readers of Houston Woman Magazine answered the call for nominations for Houston's 50 Most Influential Women for 2013. As a result, nomination forms flowed in, and HWM staffers were kept busy for weeks going through the mail and reading about the accomplishments of so many worthy candidates.
Ultimately, the staff of Houston Woman Magazine made the final selections from among those nominated. Each one of them was chosen because her sphere of influence was deemed "vast and powerful."
Beverly Denver, editor and publisher of Houston Woman Magazine, said, "When the call for nominations went out, we had a number of people call or email and ask what exactly did we mean by 'most influential.' Many thought we were looking for the most successful women in town or the most well known, for example. We explained that in some cases all might apply, but being 'most influential' (in our opinion) was truly about something else. Simply put, we were looking for women whose actions or thoughts can change the actions or thoughts of others."
Influential people are often charismatic individuals with a vast network of social and professional connections. Many times they also have earned an enviable reputation for an expertise in a particular area. Because of that, they are credible. This form of influence draws upon the notion of trust. The women selected this year fit all these descriptions," said Denver.
So, it should come as no surprise that Houston's 50 Most Influential Women for 2013 is a diverse group, representing women of all ages, backgrounds and ethnicities.
Some of the women have lived in Houston for many, many years. Some have not.
Some of the women are influential because of the volunteer work they do in our community. Some are not.
Many have distinguished themselves in their businesses or careers. And, as you'd expect, their fields of work are about as diverse as one can imagine: chemistry, energy, law, non-profits, oil and gas, media, medicine, politics, real estate, space exploration, etc.
It is our pleasure to be able to introduce all of these amazing women to our readers," said Denver. "Each is unique and spends her time doing what she is most passionate about. As a result, she influences — in a most positive way — a wide circle of friends and associates."
Houston's 50 Most Influential Women of 2013 were honored at an afternoon tea at the St. Regis Hotel on Sunday, January 12. At the private event, the 2013 honorees were the first to see Houston Woman Magazine's special edition featuring each of them. Next day, that keepsake issue was mailed to all subscribers of Houston Woman Magazine and became available for purchase by others. Requests for copies should be directed to 713-780-2098.
2014 Nomination Form
Women of Influence Honorees
2013 Honorees +Amy BernsteinNandita BerryNoel Bezette-FloresJeannie BollingerVictoria Al Linh BryantFrances Castaneda-DyessShern-Min ChowAmy ChronisCheryl D. CreuzotWendy DabovalKimberly C. DavidApril DayTwila DayKathie EdwardsCaroline FantKelli Cohen FeinValerie GibbsGwendolyn GoffeJulie A. HardinCarol A. HessKathy HubbardMarianne IvanyClare Sullivan JacksonAlicia JansenElizabeth "Betsy" KaminJanet Langford KellyElizabeth KillingerLianne LamiKatrina LandisMelaney LintonPamela LovettRania MankariousJean MayAmanda McMillianAlice B. OtchereMunira PanjwaniMinerva PerezTeresa Cox ReadingCindi Harwood RoseBecky RushLaura SayavedraSara Speer SelberChristine SpraySenfronia ThompsonLinda ThraneSherry D. WilliamsMelanie WongAnjanette WyattBetty YoungRobin Young-EllisRead More
2012 Honorees +
Wanda AdamsRead More
Tara Maria Amavi
Anne Anderson
Crystal Ashby
Susan Asimakis
Susan A. Bailey
Cindy Bigner
Minnette Boesel
Susan Boggio
Maria Wyckoff Boyce
Helena Brown
Elizabeth Campbell
Shauna Johnson Clark
Heidi Cruz
Cissy Segall Davis
Julie Dill
Marcela Donadio
M. Cathy Douglas
Samina Farid
LaTanya Flix
Vicki Fullerton
Cyndy Garza-Roberts
Laura Gibson
Charleta Guillory, M.D.
Carole Harrington
Mireille Hassenboehler
Brenda Hellyer
Irene Helsinger
Liane Hinrichs
Karen Hoylman
Janeen Judah
Sally Kline
Libi Lebel
Gina Luna
Jacqueline Martin
Susan McEldoon
Sharron Melton
Sophy Merszei
Sister Jane Meyer
Sheri Parrack
Gilda Ramirez
Maria Rios
Janis Schmees
Lisa Trapani Schumate
Kim Szeto
Linda Toyota
Phoebe Tudor
Susan Vick
Pamela Wright
Kelly Zuniga
2011 Honorees +
Erin AsprecRead More
Debbie Bates
Martha Blackwelder
Melanie Brown, Ph.D.
Katy Caldwell
Bonnie Campbell
Eileen Campbell
Katherine Cabaniss
Anne Chao
Patsy Chapman
Janette Lemmon Cosley
Lavonne Cox
Lisa Cregan
Cris Daskevich
Sarah Marie Davis
Chitra Divakaruni
Gwen Emmett
Mary Jane Fortin
Dena Gray
Winell Herron
Tammie Kahn
Mary Anne Jay
Jane D. Jones
Ann Kaufman
Dana Kervin
Mandy Kao
Melissa King
Cora Sue Mach
Sultana Mangalji
Linda K. May
Stacy Methvin
Annella Metoyer
Mamie Moy
Linda O'Black
Sara Ortwein
Kathleen Tinsley Ownby
Page Parkes-Eveleth
Patricia Prather
Charlene A. Ripley
Margaret Vaughan Robinson
Susan V. Sample
Jewel Smith
Cleverley Stone
Elaine Turner
Margaret Van Bree
Harriet Wasserstrum
Rebecca White
Peggy Whitson
Melissa Wilson
Carole A. Young
2010 Honorees +
Dorothy AblesRead More
Carol Alvarado
Lisa Anderson
Nana Booker
Shannon Buggs
Deborah Cannon
Theresa Chang
Elizabeth Cheney
Janet Clark
Jane-Page Crump
Chloe Dao
June Deadrick
Ann Deaton
Ellen DeSanctis
Irma Diaz-Gonzalez
Jana Grauberger
Janet Gurwitch
Eva Guzman
Peggy Heeg
Diana Hudson
Jolanda Jones
Alecia Lawyer
Karen Love
Barbara Manousso
Cindy Marion
Catherine Mosbacher
MaryJane Mudd
Laura Murillo
Chris Noble
Frances S. Padgett
Annise Parker
Sue Payne
Monica Pope
Susan Repka
Mary Ann Reynolds
Rebecca Roberts
Nancy Rutledge
Dominique Sachse
Rita Santamaria
S. Shawn Stephens
Julie Struble
Y. Ping Sun
Anne Taylor
Pattie Dale Tye
Helen Vollmer
May Walker
Claudia Williamson
Dr. Laureen Wishom
Linda Wuest
Marcie Zlotnik
2009 Honorees +Joni Baird
Nelda Luce Blair
Angela Blanchard
Susan Borches
Brene Brown
Suzanne Bruce, M.D.
Martha Carnes
Gracie Cavnar
Cindy Clifford
Donna Cole
Marian Davenport
Deborah Duncan
Dorothy Weston Gibbons
Christina Robinson Grochett
Susanne Glasscock
Paula McCann Harris
Carol Helliker
Teresita Hernandez
Leisa Holland-Nelson
Joan Huffman
Meredith Iler
Beverly Kaufman
Renu Khator
Kay King
Nancy Levicki
Lynne Liberato
Janiece Longoria
Kathy Lord
Karen Love
Sue Lovell
Kathleen Lucas
Patricia Lykos
Lynn Mathre
Anne Neeson
Susan Osterberg
Sonia Perez
Leila Perrin
Kathy Ploch
Susan Rafte
Kim Ruth
Roberta Schwartz
Evalyn Shea
Cindy Siegle
Mary Spangler
Diana Morales Taylor
Nancy Tucker
Dancie Perugini Ware
Francie Willis
Beth Wolff
Francene Young
Read More
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The Journal Sentinel's team of Packers beat writers provide the latest news, notes and analysis
Packers coach Mike McCarthy says Eddie Lacy is full go and looked good in practice
Green Bay - Here is a summary of Packers coach Mike McCarthy's post-practice comments Monday:
- (injuries) General sense is that we've improved. Worked out a number of players today. Haven't talked to staff about results.
- (First three weeks) Looked at it as a coaching staff. Have to do a better job of taking care of football. Defense took the ball away well from Cincinnati. Pass defense is something we've looked at. Special teams and return game we've looked at.
- (Lacy) I thought he practiced well. He's full go and week off definitely helped him.
- (Burnett) He feels great. Curious to see him go through week of practice.
- (Franklin) Did some things well today. I'm not going to talk about injuries.
- (Return game) Something we'll look at all this week.
- (Backs) Obvious going against Cincinnati had to go through two backs. Had discussions and game-planned.
- (Use two backs) Depends on game plans.
- (Four WRs) Feel good with that number. Group that could use as many opportunities as possible.
And that is it, folks.
Check the blog for updates from the locker room in a short while.
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Did I hear the sound of hamstrings popping?
He's a chatty one that McCarthy, he's like Belichick in press conferences now..its a shame he's not like him anywhere else...like on the sidelines during games for instanceHide replies
Good one! I'm satisfied that they're 'looking at things'. Now how about DOING something about what you're looking at!
Pointless post ...
TKHOZ, I hear the Patriots are looking for new fans. I will help you with getting rid of your Packers gear if you would like...
True TK but in Belichick's case it's because he's way too smart for the media. In MM's case it's because he's too stupid to respond in many meaningful way to the media.
TK MM is like that on the sidelines. How often (every week) do we see the deer in the headlights look on MM's face and he looks on cluelessly as a game is spinning out of control for the Pack!
He gets through holes so quickly that he has 5 yards before being touched. He doesn't need much space either.
He gets through holes so quickly that he has 5 yards before being touched. He doesn't need much space either.
If I may, let me say, um, tongue-in-cheek, that perhaps his tongue pulled a hamstring and too painful to speak ... I know I know ... Apologies for the horrible pun ...
However, seriously, on a really positive note, the Packers are a very good football team, and they will only get better, as the injured heal, and the inexperienced learn and excel. Even with all the injuries, minus a couple bad plays here, a couple bad turnovers there, and lousy calls by three-blind-mice type refs in all three games everywhere, the Packers would be undefeated, against two of the best front sevens in the league ...
Besides, with the lions coming to town, it gives whole new meaning to the term cat-got-your-tongue? But leapards will always have their spots, tigers will always have their stripes, and these "lions" will always be the "kittens."
In this game, regardless of refs and injuries, I expect the Packers to do all the clawin and scratchin and roarin and fightin ... and winnin ... and evntually endin up kings of the Division, Conference, and Super Jungles ..Hide replies
Are you related to clay shannon by any chance?
That cat hasn't been around much lately.
I want to see a complete defense on Sunday. I want to see Perry explode. Slow down Mr. Johnson and stop Bell. We don't have to worry about non-existant zone reads. Charge!
We miss Joe Philbin........Hide replies
We? Do you have a mouse in your pocket?
It was like Green Bay Lite last night, watching Joe Philbin with Mike Sherman at the Miami game!
It was rather amusing to hear Gruden singing Mike "The Blockhead" Sherman's praises last night. Then a couple of plays later on 4th and 2 inches he calls a running play to the outside and the Dolphins lose 2 yards! I sez to myself, self I sez: There's the Mike Sherman I know and love!
Makes you wonder why they had a press conference in the first place, when they have no intention of actually answering any questions.Hide replies
WhY would they let the Lions know anything?
Short and sweet don't need to reveal much more at this time... Statuses are remained uncertain which is what MM is implying will get more news as the week roles on... Stay tuned...
Exactly. So why have a press conference in the first place? Why bother?
I believe they are mandated by the NFL, every coach has to do them.
Mashed Potato Mike is the Ben Bernanke of NFL coaches. Well, except for the part of inflating the NYSE 146% on his own flatulence. But hey sales of antidepressants within 3 miles of Lambow Field have never been lower.
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