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It what is turning out to be the most gripping — yet also tragic — behind-the-scenes scenes to happen in modern musical history, Rebecca - the Musical is in serious trouble again. It was originally being talked up for a West End opening at the Shaftesbury two years ago.
It was even 'announced' on a major theatre website, as I wrote here at the time: "The information came from a press release from the show's original Austrian producers. But no release had been issued here, so I checked with the show's general manager (as good journalists might be expected to do), and he replied, 'Discussions are continuing for Rebecca to open in London next year but at this stage there are no confirmed plans.' Of course, those discussions are no doubt with the Shaftesbury (being one of the few available West End houses capable of housing a major musical) so it may well turn out to be true, but until it is officially announced by the London producers, it seems a bit premature to act on information coming from Europe."
I added, "But the big danger of gossip or prematurely released news is that once it is out of the box, it is impossible to put back inside it again." The producers of Rebecca subsequently abandoned their plans to go to the Shaftesbury at all, blaming preliminary investigative work that had been carried out below the Shaftesbury (to accommodate the set) had hit a water source, and soon after announced they would go direct to Broadway instead.
That sounded an extravagant enough proposal, given that Broadway production costs are significantly higher than they are in the West End; but the producers secured the Broadhurst, a prime Broadway theatre, and last year announced their plans to open there on April 22, following previews from March 27. (The below-stage excavation that had derailed the Shaftesbury proposal, meanwhile, was completely aborted for Broadway).
But in January, with the show fully cast and set to be led by Sierra Boggess and Tam Mutu, lead producer Ben Sprecher announced a postponement two weeks before rehearsals were due to begin: > It is with great disappointment that we have made the decision to postpone the Broadway debut of this phenomenal musical until next season. Rebecca is a grand and spectacular musical requiring substantial capitalization, and it's no secret that in this very negative economic climate, raising money for Broadway has become even more difficult and laborious than it has historically always been. We are very close to meeting our financial goal, but we just ran short of time to complete capitalization with rehearsals slated to begin in two weeks. We feel that Rebecca is too special of a musical to short change in any way. It is our responsibility to the creators of this show, to our cast, our partners, our investors and our vendors that the complete financing is in place before rehearsals begin."
In March, Sprecher reassured interested parties in another statement posted on the show's Facebook page:
Rebecca is moving forward. We have identified the final missing piece of investment and the Shuberts (to whom I shall be forever indebted) have graciously allowed us to resume production to open at the Broadhurst in fall of 2012. Thank you all for you patience and most of all to the extraordinary creative team who have stuck by this fantastic production through thick and thin as Rebecca continues to spawn productions and throughout the world."
It was newly officially announced in May that it would finally come to the Broadhurst, with performances beginning October 30 prior to an official opening on November 18. With Boggess and Mutu now, however, committed to other jobs (they're both co-starring in Les Miserables) in the West End, it was re-cast with Jill Paice and Ryan Silverman.
And then, suddenly, two weeks before rehearsals were due to begin for this incarnation, it suddenly ran into trouble again: the financing was, once again, not fully in place. This time the reason was, apparently, utterly beyond the producers' control: a major investor had suddenly died. In a statement, they said:
Since the tragic and sudden death of a major investor in early August, we have been working with the representatives of the estate to complete the committed investment. We had been reassured that the commitment would be honored, and have tried day and night to finalize this matter, but as of yet have been unable to do so, which has left us no choice but to delay the start of rehearsals for Rebecca by two weeks. We are fiercely committed to resolving this issue as soon as possible and getting the production back on track in two weeks.
Even the patient theatre owners the Shubert Organisation, were starting to lose patience by now, though. Philip J Smith, chairman of the Shuberts, told the New York Times:
We want to be cooperative and let them work it out, but it's a very difficult, very unusual happening — I've been around here since 1950 and I've never seen a scenario quite like what's happened to Rebecca. Evidently the lawyers for the estate seem to be cooperating, so there's some hope, but estate business is very complicated and we just need to see what happens. But let's face it: there's a short window of time for this to be resolved.
Last week, Sprecher wrote to his company:
I know the suspense is almost unbearable. Louise [co-producer Louise Forlenza) and I continue to work hard to insure that we will meet next week at a first rehearsal for Rebecca. Forward progress has been made every day over the last week and a half. This uncertainty will be resolved shortly…. Thank you for your extraordinary patience. Don't believe anyone telling you we are delayed again. The only people who can do that are me, Louise and the Shubert Organization.
Robert E Wankel, president of the Shubert Organisation, told the New York Times last Friday:
We've known and worked with Ben for a long time, and look, Broadway is a very small business and we try to support shows and people we believe in. We just think no one could have this much bad luck. Hopefully, the show will get back on track. Then we'll let consumers decide.
Yesterday, however, the New York Times, digging around to identify the mystery dead investor, whom Sprecher had been declining to name, previously telling the New York Times "You'll have to go and get that information somewhere else", started to unravel more layers of mystery that starts to make it sound like an elaborate thriller.
Start with a rich investor unknown to clubby Broadway insiders — a mystery man named Paul Abrams. Go on to the astounding sum he is said to have promised to raise for Rebecca: $4.5 million, easily 10 times more than the wealthiest regulars normally put down for a show. Then: Reports in August of his sudden death in Britain of malaria — yet no obituaries, no death notices. A representative for the Abrams estate surfaces, a person identifying himself only as 'Wexler' who refuses to speak by phone and uses an e-mail address created just last month. Finally, late last week, came the revelation that the lead producer of Rebecca, Ben Sprecher, a man trying to make the leap from Off Broadway to the Broadway big leagues, had never met Mr. Abrams or spoken to him by phone. That disclosure, confirmed by Mr. Sprecher, sent some of his other investors reeling."
I'll say! But let the Shubert's now increasingly weary-sounding Robert E Wankel say it instead:
I've never heard of a situation where you didn't at least meet the person raising 30 percent of your show budget. Broadway does business in its own strange way, I'll grant you. But this is the strangest bit of show business to come along in a long time."
This is sounding so bizarre that it's starting to make the story of The Producers seem utterly ordinary and commonplace. Of course, in that case the fictitious producers were trying to raise a fast buck by scamming old lady investors. There's no suggestion that Sprecher is committing an intentional fraud here. But he's either possibly been strung along by an investor whose money never existed or has now made a strategic exit by apparently dying; alternatively…well, I don't have the financial knowledge to begin to speculate.


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Detroit Boat Show sells out exhibitor space
Posted onIn a sign of a rebounding economy, the Detroit Boat Show has doubled in size in just two years. In 2014, the show has two larger halls and, at 300,000 square feet of exhibition space, is again officially sold out.
The show will be held Feb. 15-23 at the Cobo Center.
"It is great to be in this position, as we know we will be offering a great display of boats, motors and accessories to those who attend the Detroit Boat Show," show manager Nicki Polan said in a statement. "Space sales are up more than 15 percent and the number of boats on the floor will also be up from last year."
To accommodate last-minute requests, the show is taking space from promotion areas and food service areas.
For information, visit www.detroitboatshow.net, or call (800) 932-2628.
Click here for the full announcement.
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can feel a clicking in the steering wheel after turning the tires.
i just bought a 2007 grand prix @ 72000 miles and i can feel a clickig in the steering wheel when turning left or right and at any speed. this is my first grand prix so i dont know if this is the norm or what. the dealer said the car passed a 105 point inspection. any words of wisdom willbe helpful thank you
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Five Steps to Better Teaching
Maryellen Weimer
Let's assume you're interested in teaching better – not because you're doing badly and therefore, by your (or someone else's) assessment, "need" to teach better – but because you care and you'd like to try. Many of us we try, regularly, to teach more effectively. When we fail, it's not for lack of trying, but perhaps we aren't as successful as we might be because our approach is reactionary.
We get some student evaluations indicating they don't find feedback on their assignments useful, so we try to fix that. Or two students nail us after class about the homework problems, so we do something about them. Or we hear from a colleague about a good idea on pop quizzes, so we decide to try that. An approach like this essentially hit-and-miss. We lack some sort of process or framework or context in which to orient our activities.
Consider this five-step process as more systematic way to teach better, a framework that gives individual activities greater coherence. Using it, we'll be making decisions in some sort of context, which should result in more reasoned and informed choices.
Step 1: Develop Instructional Awareness.
Begin with honest, soul-searching self-assessment. If you find yourself stuck on the issue of whether or not you're a good or bad teacher, you're already off on the wrong track. Rather, search to discover how you teach. Watch what you do in class. Write a one-page description of your style that would enable someone to pick you out of a group of teachers. Look at those strategies and techniques and ask yourself if inherent in them aren't some interesting assumptions. What does the way you teach say about how you think people learn? In other words, begin by enlarging, clarifying, possibly even rectifying your understanding of how you teach. Premise: You can't possibly make reasoned choices about what you could do and should do if you don't have clear understanding of what you do.
Step 2: Seek Input.
Teaching requires a great deal of self-investment, which makes objectivity difficult. In other words, what you decide about how you teach in Step One needs to be measure against, insights others may offer about your teaching. Seek input from colleagues and students in three different arenas; ask them to describe how you teach, ask them to describe how what you do affects them, and ask them to suggest other, possibly more effective ways of doing what you do. Note here the continuing and deliberate effort to avoid putting these activities in a judgmental context. That makes it all the harder for you to be objective, and much of what we do and believe about teaching is not clearly or absolutely right or wrong, good or bad. The effects of teaching behaviors, policies and practices, like most everything else in the world, vary a great deal.
Step 3: Make Choices.
Make choices about what ought to be changed and make choices about how to change it. The key is using the information acquired in the Steps One and Two to inform those choices. If you know how you teach, what you believe about teaching, about students and learning, you have a much better sense of what you can honestly and effectively do in the classroom. If you use essay exams, you probably use them because you believe they most effectively teach the thinking skills you see as top educational priority. If students object, if colleagues object, weight that input against why you do what you do. You may legitimately decide not to change. But you might consider the possibility of changing the surrounding activities, such as how you prepare students for the exams or how you offer feedback, without changing the practice itself. On the other hand, not all we do in the classroom reflects our priorities. Some practices may even contradict them. You can change those practices much more readily, much more dramatically, and with less soul-searching.
How should you change what you do? Again, knowing how you teach and collecting ideas as to alternative facilitates this part of the process. Lots of ideals may have appeal, but they may not fit with the content and objectives of the course. Of course, you can't run a large introductory class as you'd run a senior seminar. Different presentational idea's, tactics, and strategies abound, but will they fit comfortably with your teaching style?
Step 4: Implement the Alterations.
Do it systematically and incrementally. In other words, give the change a fair chance. Don't do it halfheartedly or with skimpy preparation. This fair chance also implies making what you change the object of your fixed and focused attention. You can't do that if you're implementing eight changes the same day or in the same course. The most effective improvement of instruction is ongoing and gradual. Behavior changes especially take time to incorporate. Old habits sometimes die hard. You can't change how you teach without doing some work. Given the time pressures that face us all, improvement becomes a much more manageable proposition if we commit to it regularly but in reasonable chunks. Work on your exams next semester, your questioning strategies after that, your feedback mechanisms after that, and so on – probably until you retire.
Step 5: Seek Input About the Alterations.
This step brings you back, full circle. You first seek input from yourself. What are you doing now? How is it working? What are the implications of these new policies and practices? Are they consistent with what you know and believe about yourself as a teacher? Seek input second from your colleagues and students. How do they respond to the change? Do they have alterations of the alteration to suggest?
This process doesn't propose a new and revolutionary way to alter instruction, but it does offer a way of putting what tend too often to be isolated activities into a framework. It changes the improvement process from reactive to proactive.
We begin by looking at how we teach, possibly identifying some areas where we question what we do. Input from others helps us to clarify our concerns and gives us ideas as to alternatives. Then we make choices, decisions about what to change and how to change it, based on an understanding of how and why we teach as we do. We look for new activities, rather than having them find us. And we implement changes in a reasoned and systematic way, subjecting them to the scrutiny of ourselves and others.
This essay is found in the book indicated below.
Weimer, Maryellen , and Rose A. Neff. Teaching College. Madison, WI: Atwood Publishing, 1998.
Library: CSUSM. Call #. FacCtr LB 2331.T361 1998


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U.S. Department of Agriculture loans millions to Denver-based Open Range to build out broadband service for 518 rural communities in 17 states.
Anonymous hockey blogger Eklund from HockeyBuzz.com joins The 404 Podcast to offer an insider's look at sports blogging and how technology is shaping the future of media.
The Dallas-Forth Worth area becomes the second 4G LTE market opened by the carrier, following the rollout of its 4G service in Las Vegas last week.
Whispers are drifting our way about the HTC Bravo and Supersonic, two large-screened Android handsets. You need to find out, 'cos no-one's gonna tell you what I'm on about
Two models in particular, the Bravo and Supersonic, are getting a lot of attention, which leads us to believe an announcement is coming soon.
We all know wireless is powerful and addictive, but being away from it for a few days makes the heart grow even fonder.
Longhorn may have ultrawideband, Wi-Max support built in.


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Here's the one I use--uses a mix but it's very moist--(I use the whiskey when doing it for the holidays-JD for Hubby & friends).
Diane's Home Cookin 4.8
Lemon Crumb Cake
1 c. chopped pecans
1/2 c. whiskey or lemonade
Stir cake mix and pudding mix in large bowl to blend. Beat in eggs, then
Mix nuts & second tbsp fresh grated peel with flour in small bowl;
Bake cake until tester inserted near center comes out clean, about 50
Stir sugar, butter and remaining 1/2 cup whiskey in heavy small saucepan
Servings: 12 |
Follow-Up Postings:
Diane, this looks so good and so different! I think you could get drunk on this cake! Thank you, I love lemon and I love to drink too:) |
- Posted by GeddesHouse (My Page) on Fri, May 9, 03 at 14:43
This sounds WONDERFUL! Definitely on my "to do" list. Linda |
I love it when old threads get resurrected! I never did get to make this, but it still looks good and its quickly moving to the tippy top of the list:) |
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Is it time to love what you do?
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As a Area Director with Dale Carnegie you are actively creating new business managing existing client relationships. You enjoy consultative sales and have a genuine desire to help our clients and their teams succeed. The following Area Director positions are available:
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text: Since March 7th, I've lost fourty pounds! yay! Both my weight goals and my athletic goals have really progressed into something that has gone far beyond my wildest dreams at this stage. I am super psyched to have made it this far, and I'm super psyched to see this whole thing through! :carrot: I am in Arizona now, and the people I hadn't seen since last year were very impressed. In any case, heck to the yes!


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- January 1959 Issue of Western Printer & Lithographer.Los Angeles, West Coast Publications, 1959.First Edition, Trade Paperback, Near Fine.Spiral Bound Oversize Volume.Close to 200 pages of Examples of Printing and Advertising-mostly in Color.Brochures; Reports; Posters; Magazine Advertisements, Record Covers; Packaging etc etc.Striking examples of 1950's-60's 'Populuxe' advertising.Lithography, Silkscreens etc.Section of News and advertisements by West Coast Printers at the rear.Uncommon! ; Oversize Volume. USD 14.98 [Appr.: EURO 13.5 | £UK 10 | JP¥ 1760] Book number 240780is offered by:
Order this book Ask for information Back to your search results |


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Horse meat: don't blame supermarkets, Iceland chief says
"Supermarkets shouldn't be blamed. British supermarkets have got a fantastic reputation for food safety" Walker told the BBC's Andrew Marr Show.
"If we're going to blame somebody, let's start with local authorities because there's a whole side of this industry which is invisible, that's the catering industry.
"Schools, hospitals, it's a massive business for cheap food and local authorities award contracts based purely on one thing: price."
But the National Beef Association have said retailers need to look into their own supply chain before blaming others for their failures.
"The squeezing of their suppliers margins and the relentless search for profit through buying cheaper product is the reason horsemeat is in their products" the association said.
"The supermarkets spend millions on creating and protecting their brand but what is behind that brand is reflected in their own brand economy burgers. They are brands are funded by the exploitation of the consumer and the supplier.
"Supermarket own brands contained horsemeat and as such it is their name on the packet and their responsibility to be sure what is in the product. They cannot blame anyone other than their own buying policies for their failure to supply their consumers with what it says on the label."
It is a view shared by the National Pig Association who recently blamed 'supermarket greed' for the horse meat scandal.
The fear of eating contaminated beef has caused many shoppers to be wary of all meat sold in supermarkets.
Farming groups have blamed retailers who 'habitually drive down meat prices' below the cost of production causing a lapse in quality or an adulterated content of the product.
"Where on earth do they think this cheap euromeat is coming from?" demanded Richard Longthorp, chairman of the NPA.
"If you consistently buy something below the price at which it can be produced, you must know that corners have been cut in quality, or safety, or legality, or all three."
NPA general manager Dr Zoe Davies said: "even though cheap imported europork hasn't been implicated in the Horsegate scandal, the price that British pig farmers get for their safe, high-quality product plummeted by an unprecedented 3p a kilo on Friday."
"Our pig farmers are already making a loss as supermarkets import increasing quantities of cheap pork from the continent and for some this latest blow may well be the straw that breaks the camel's back."
"But that's not good enough for some of our largest retailers. They have to buy cheap-cheap-cheap, and that is what has landed the High Street in its current fear and confusion."
Over 90 percent of British pork is independently audited through the Red Tractor assurance scheme along its entire production process, from the feed that the pigs eat, to the way they are housed and cared for, to the way they are electronically-tracked to meat plants, and to the way the meat is processed, packed and labeled.
"Shoppers can no longer trust many supermarkets but they can trust British meat."
You better think again some of this horsemeat came from America where horses were hauled to Canda and mexico for slaughter and horses from America do NOT need passports and are drugged with brute, steriods, wormers, etc... I see many lawsuits in the making.. The only way to stop this is to stop slaughtering American Horses now..
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The following courses are offered in the Writing for Film & TV program.
Please note: Course descriptions and codes may change slightly and are updated periodically.
Is an in depth retrospective look at the past 100 years of Film History and its many influential films and events. The course will deal with directors, actors, writers and other important figures and events responsible for the shaping of today's film industry.
(2 Contact Hours).
To discover and understand effective storytelling principles by studying successful film and TV scripts (which build on successful dramatic storytelling principles as first defined by Aristotle and mastered by Shakespeare), and then apply those storytelling principles to individual creative projects.
Learning the essential tools & rules that allow us to take on idea (the written word) and interpret it to produce a visual creation that can be fully understood & appreciated by an audience. It is learning and understanding the building blocks of visual story telling.
(8 Contact Hours).
To ensure students know the basic workings of various digital video cameras, have a basic understanding of how a film and television shooting set is established. They will also learn the many techniques, rules and visual concepts that are part of directing and how to take the written word and translate it to the screen.
This course will introduce students to the various formats, styles, and approaches associated with writing for studio broadcast, with a focus on news reporting. Students will be familiarized with broadcast terminology, and will be re-trained to 'write for the ear'. Subject areas will include preparation and research, interviewing and composing scripts. Specific broadcast formats for news reports, commentaries, and mini-features will be examined, and students will learn the basics do's and don'ts for the writing of each.
(3 Contact Hours).
Constructive criticism in the development of film and television scripts
In this fundamental course students will learn the role of the Story Editor in the creative process, namely how to critically analyze the scripts and development materials of others. This in turn will give them an all new perspective on their own writing. The course will focus on the collaborative process of writing and the role of notes from story editors, executives, producers, directors and even actors. Students will be taught the 'correct' way to give notes both in meetings and in private, so as to make their point and get the best result from the writer. Introductory story analysis and the importance of creative brainstorming will be stressed, as students endeavour to improve one another's work in a professional true-to-life manner.
This course is offered in a collaborative setting to help students work together to develop important connections between creative expression and the writing process. Discussions will be based on student papers within the different genres that they produce within their writing classes each term.
This is an overview of the Cinema outside of North America. It is the introduction to some of the great Masters of World Cinema, and their contribution to the Cinematic Art Form (2 Contact Hours). and non-commercial broadcast focus on the formal written reports one might be called upon to write in the industry, and the face to face meetings that may be called for in the role of story editor, producer or executive. Students will learn how to do "Written Coverage' and how to present their notes in a organized form. Students will also engage in a more advanced analysis of one another's work, learning not only how to give their notes 'properly", but which notes to give (and not give) to achieve the best result possible.
(3 Contact Hours) Prerequisite: Story Editing 1.
Prerequisite: Film History 1
This course will allow the students to understand the differences between short films and feature films; how to plan out a short film project and a master shooting script format; essentially learning to write the shooting script for the same project you planned out.
(2 Contact Hours) Prerequisite: Scripts 1
To give students a basic understanding of the art of acting, which will include character preparation, dialogue analysis, and the how and when to utilize improvisation and script study. It is essential students learn about acting, not to be actors, but to better communicate with actors when making their films. Upon completion of the course students should have an understanding of how the actor works, which will better prepare them to direct actors in their projects and professional works.
(2 Contact Hours)
This course will introduce students to the fundamental framework of storytelling and teach basic technical skills on the FINAL CUT PRO Platform, to execute that framework .
Building on the knowledge base established in Broadcast Writing I, this course will focus on story development, and how to compose pieces. Throughout the course, students will build an introductory portfolio of corporate video scripts, commercials, promos, and PSA's (public service announcements) for their professional use later on.
(3 Contact Hours) Prerequisite: Broadcast Writing 1
Reader Coverage and Story Editing of film and television scripts Following on Story Editing I, this course will expand on the tools needed to analyze the premise, story, characters and controlling idea of a script, and how to present concerns to the writer in the most effective way. This course will also broadcast scripts that grab and hold an audience. Students will be taught the fundamental considerations in the production of advertisements, announcements and corporate videos, as they examine and analyze current commercials.
Further study of the various uses of camera, with focus on direction students will work together in creating short projects, gain insight into pre-production, production and post, and understand the importance of teamwork.
(8 Contact Hours)
This course will introduce students to the fundamentals of sketch, talk- show, and sitcom writing, and to the required elements of a sitcom script. The notion of A, B & C plots will be examined, as will the traditional 'Tease-2 Acts-Tag' structure. Students will be familiarized with the language and process of television comedy writing and rewriting, as they analyze the various formats for television comedy, and study current sitcoms (animated and live-action), talk and sketch shows. Students will be encouraged to develop their own comic voice and point-of-view, while preparing a series of monologues, desk jokes, sketches and a spec script of an existing sitcom, for their portfolio. Three hours a week will be spent table reading and work- shopping student scripts.
(5 Contact Hours)
In this course, students will be introduced to the unique style and structure of dramatic television series, with a focus on storyline and story development. Plot structure, narrative unity, characterization, dialogue, exposition and setting will all be studied in depth, as students analyze various dramatic series currently on the air, including some children's programming. The traditional four-act structure for hour-long series will be introduced, as students examine the 'rules' in some of their favorite series, and the regimented way in which each functions. Through the course, students will write a spec script for an existing dramatic series from proposal to draft, to be used as a portfolio piece after graduation. Three hours a week will be spent table reading and work-shopping student scripts.
This course will build on the base established in Screenwriting 1 & 2, as it introduces students to the unique considerations of writing for the big screen. Students will delve further into the creative process, looking at how words translate into images, and how filmic elements create a visual narrative. Focus will be on continued examination the concepts of conflict, theme, subtext, tone, dialogue and genre, as students are introduced to the traditional three act story structure for film. Portions of classic and modern films will be screened and analyzed, to reinforce the theory learned. The importance of researching and/or knowing your characters and world will be stressed, as students come up with their own concept proposals (log line & synopsis), which will be taken to outline and then treatment by the end of the course. Three hours a week will be spent table-reading and work-hopping student materials.
This course looks at the essential provisions of copyright, including terms, coverage, exclusive rights, ownership and royalty payments. To study and discuss the various contracts (License. distribution, artistic, etc) and the terms to all these agreements.
(3 Contact Hours)
This course will focus on the process of developing and pitching an original factual entertainment project (reality show). Steps include the process creating a story and episode structure, casting, budgeting the production, and the packaging the overall proposal.
Building on the base established in Comedy Writing, this course will analyze the structure, scripting and pacing of the sitcom in greater depth. Single-camera and multi- camera shows will be examined, compared, and contrasted, as students consider the 'trajectory' of the sitcom in recent years. The importance of likeable, well defined characters (and knowing their 'clowns') and a compelling, comfortable world (with consistent rules) will be stressed as students write an original sitcom pilot from proposal through outline to draft. Three hours a week will be spent table reading and work-shopping student scripts.
(5 Contact Hours) Prerequisite: Comedy Writing
Building on the base established in Drama Writing, this course will move students from theory to practice in its focus on the writing of one-hour dramatic television. Students will conceive of their own ideas for an original pilot, contemplating how they'd like their series to function and the 'rules' of their world - en route to an outline, then a draft of a pilot script. The market-driven nature of dramatic television will be stressed, as students learn that writing drama demands flexibility, accommodation of external influences, understanding audience, and most recently extending story to digital platforms. Three hours a week will be spent table reading and work-shopping student scripts.
(5 Contact Hours) Prerequisite: Drama Writing
Writing a feature film script. Building on the base established in Feature Writing I, this course will focus on story structure, as students learn to construct and deconstruct story in various ways. More complex structures will be examined, to give students a solid foundation in the language of feature film story. Scene structure will also be examined in greater depth. Students continue to work on the feature outlines written in part I, and begin writing a first draft of their script. Standard industry formats for the various development documents will be reviewed, as students also revise their pitch documents from part I (log lines, synopses, etc.) for future use. Three hours a week will be spent table reading and work-shopping student materials .
(5 Contact Hours) Prerequisite: FEATURE WRITING 1
To introduce Film and TV students to the business side of the industry and understand the processes required to get your project sold and shown around the world. Understanding the Global workplace in which they will be working.
This course is designed to introduce the student to the various ways and means in which to finance a Film or Television project. It will familiarize them with the terms and workings of the film finance world and the different funds that are available to them and how to access them.
This course will look at the structure of real-world story departments, and what can be done to put oneself in the best position possible to be hired in a staff position. Using the original pilot drafts written in Sitcom Writing 1, students will also get a chance to see what it's like to run a writing room, as they act as Showrunner for their pilots. Students will be divided into small groups that act as pseudo-writing rooms, with each taking a turn as Showrunner, using their team members to rework and enhance their scripts. Through this workshop course, instructors will guide students as they go through the process of brainstorming, story editing, and 'punching up' each others' scripts in real-world writing room style. Students will receive invaluable experience as they are forced to decide which of their writers' ideas to leave and to take, often in the face of tremendous peer pressure, all while trying to stay true to the voice of their show.
(5 Contact Hours) Prerequisite: Sitcom Writing 1
In this course, students will learn the ins and outs of the dramatic story department, and the skills necessary to be hired in a staff position. Using the original pilot drafts written in One-Hour Drama Writing 1, students will break into small groups that function as pseudo-writing rooms, with each student taking a turn being Showrunner with their own script. Instructors will consult with the groups on a regular basis, giving producer/network style notes for each Showrunner to follow. Students will learn the advantages and disadvantages of having additional 'brains' on their project, as they collaborate, rework, rewrite, and do their best to keep a consistent style and tone in their pilots. Instructors will guide the process, but it will ultimately be up to each student to decide which of their peers' ideas to take, and how to best use the resources available to them to improve their script.
(5 Contact Hours) Prerequisite: One-Hour Drama Writing 1
Rewriting and Polishing a feature film script In the next installment in this area, students will workshop their first drafts from Feature Writing II, rethinking and rewriting as they receive feedback from instructors and their peers. Focus will be on the increasingly collaborative nature of feature writing today, and how to make the most of the criticism of others. The logistics of writing a commercially saleable script will be examined, as will the art of producing a compelling feature adaptation from a novel or other medium. Modern story structures for current saleable genres will be studied, including romantic comedies and thrillers. Students will finalize pitch materials from parts I & II (log lines, synopses, etc.) so that along with a polished script, they'll have the short documents needed to get people interested enough to read. Three hours a week will be spent table-reading and work-shopping student materials.
(5 Contact Hours) Prerequisite: Feature Writing 2
With a solid basis in Feature Writing, this course will introduce students to the always prevalent (especially in Canada) area of TV Movie or MOW (movie-of-the-week) writing. The unique structure (typically 8 acts, with an act 4 'twist') and production concerns for these films will be examined, as will their atypical plot development and characterization. Subject areas will include ripped- from-the-headlines adaptations, and how far the writer can/should stray from the truth to make their story as compelling as possible. Finding a story that will be saleable in today's MOW market will be stressed, as students choose a TV Movie concept which is eventually taken through to treatment then outline.
This course is designed to explore the new technologies being created in the filmmaking industry every day. It is to help students stay ahead of the curve and be prepared to deal with what is new and improved in the industry.
In this final term showcase, students will have the opportunity to collaborate with their peers from the acting school as they mock showrun the production of a pilot script. Students will use their pilot script from Sitcom Writing 2 as they go through the process of casting then 'shooting' their original pilot. Though full production will not occur, a standing camera will be used to capture each take, and students will have the opportunity to guide their vision from the page to the 'screen', as they manage actors and punch up jokes on set. Instructors will discuss pre and post production considerations with the class, to give a broader, more realistic perspective. Students will also have the opportunity to use the 'writers' from their Sitcom Writing 2 class either as additional eyes on-set, or as writing support in the event last- minute changes need to be made to scripts.
(5 Contact Hours) Prerequisite: One-Hour Drama Writing 2
As in Sitcom Showrunning, students will have the opportunity to collaborate with their peers from the acting school as they mock showrun the production of their pilot script from One-Hour Drama Writing 2. Students will go through the process of casting then 'shooting' their original pilot, in this true-to-life, real-world-style experience. Though full production will again not occur (as in Sitcom, a standing camera will be used to capture each take), students will have the opportunity to guide their vision from the page to the 'screen', as they manage actors and tweak story on the spot.
Students will also once again have the opportunity to use the 'writers' from their One-Hour Drama Writing 2 class either as additional eyes on- set, or as writing support.
This final Feature Writing course will allow students to use the materials created in Feature Writing I -III to experience the challenges faced by the auteur, writer-director filmmaker. The course is heavily weighted to the practical. As in the final term Showrunning courses, students will collaborate with students from the acting school to shoot selected scenes from their original feature script. Students will begin with the table read, then cast their film, and manage their actors on set as they watch their words brought to life. As with the Showrunning courses full production will not occur, though everything will be captured on standing-cam for possible showcase use and/or analysis later on. Students will gain invaluable experience from this true-to-life, real-world style exercise.
(5 Contact Hours) Prerequisite: Feature Writing 3
This course will focus on building a career in the film & television industry, both from a business standpoint and a creative one. On the business side, how to obtain and/or deal with agents, lawyers and managers will be examined, as will the role of these people in the industry and one's career. On the creative side, the type of portfolio needed for various goals will be focused on, as will the benefit of having both original and spec scripts, and the appropriate balance. Formats for pitch documents will be reviewed, including log-lines, synopses, treatments, bibles, and pilot scripts. Students will learn pitch techniques, and have the opportunity to practice pitching their projects in simulated real- world scenarios.
(3 Contact Hours) Prerequisite: Feature Writing 3
This course focuses on the various new forms of media as they apply to the writer/ creator of interactive content. Students will learn the basic creative affordances offered by the key formats, specifically transmedia narrative, digital games, interactive cinema, installation-based media, web- based content, and mobile applications. In addition, the student will become familiar with the key business issues related to the creation of such content. Students will develop practical skills in both the creative and business sides of the development of new media concepts. Current best practices will be studied, and students will gain experience in working within standard industry processes, such as solution- based ideation and user experience design. The student will have a knowledgeable grounding in the history of new media and its key theoretical underpinnings, but more practically, (s)he will emerge with an original project and a prospectus for investors and government funding bodies such as the CMF. Professional guest speakers will be featured, bringing the latest developments in this fast-changing world into the classroom.
(30 Contact Hours) Prerequisite: New Media for Filmmakers
Graphic Design & Interactive Media Open House Wednesday 19 November 2014, 6:00 PM
Fashion Wine & Cheese Open House Wednesday 19 November 2014, 6:00 PM
Interior Decorating Open House Wednesday 19 November 2014, 6:00 PM


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found a new home!
Plenty of my friends are looking
for one too. Find a pet to adopt.
Find a pet to adopt |
My name is Lightning!
Facts about Lightning
- Breed: Pug
- Color: Tan/Yellow/Fawn - With Black
- Age: Young
- Size: Small 25 lbs (11 kg) or less
- Sex: Male
Lightning's Info...
I am already neutered, purebred, up to date with shots, good with kids, and good with dogs.
Lightning is a 1-year-old fawn, male pug who has a wonderfully puggy face, a playful curiosity for everything around him, and a quirky lack of coordination that makes him look like an excited puppy or a little bucking bronco. He also has a quirky, high voice that squeaks out at unexpected times, like when he's chewing a rawhide or bobbing and weaving across the room. Despite his unpredictable movements and sounds, Lightning is immediately endearing and wants to be on friendly terms with people and dogs alike. He's quite polite with good house manners, and would never even think of lifting his leg in your home. Because he's been neglected in his first year, Lightning is currently underweight, heartworm positive, and has demodectic mange. However, he is receiving care for these treatable conditions and will have a fuller coat and meatier frame soon. This kind and loving little fellow needs a family who wants to pamper him forever. Apply to adopt Lightning at www.pugrescueaustin.com.
Other Pets at Pug Rescue of Austin
Why Adoption is a Great Option
Lightning, a Austin Pug dog was adopted! Here's how you can benefit by looking at adoption as an option to buying a Pug for sale in Austin, or seeking a Pug dog from a breeder in Austin.
- Rescues and shelter volunteers in Austin already know the personality and tendencies of their pets. This means they can match you with the right pet. That will makes it much easier transition to owning a pet for yourself and your new pet.
- On average adoption fees are much less than you'd pay a Austin breeder, or pet store. Plus most often rescue pets have already been to the veterinarian for a check-up, had a round of vaccinations, and are spayed or neutered. That is a lot of savings!
- You will become a hero, and give a needy dog or cat a loving home. In fact, there are even Pug breeders who help with Pug rescue. One puppy or kitten adopted in Austin paves the way for another one to be saved.


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By now DICE is well aware of the fact that Battlefield 3 has a serious cheating and hacking problem. They've banned huge batches of players several times, but that doesn't get to the core of the problem: it's still way too easy to hack in BF3 and the anti-cheat system is not up to the task. While this is quite a complex issue and will take some time to patch (if ever), in the meantime, DICE is hiring additional staff to help curb the amount of cheaters in Battlefield 3.
Eurogamer spotted a job ad looking for an "anti-cheat administrator", whose functions include:
The administrator will compose an absolutely vital function to secure the online experience our games represent by actively being a part of the community and keeping up to date with the current cheat exposure.
"The administrator will also own the analytical work with our player behaviour data to keep our leaderboards and game play filled with fair play."
The new admin job shouldn't be that hard: a simple glance at the top Battlefield 3 leaderboards on Battlelog will show numerous cheaters and hackers — cheaters and hackers who have been there for weeks and months.


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Nokia Lumia 800 survives a three and a half month dive in a lake
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Elbow Beach resort (866/526-6567; www.mandarinoriental.com). WHAT'S INCLUDED Five nights in a junior suite for two adults and two kids; daily breakfast; four hours of babysitting; two hours of tennis; and more. COST $2,365 through October; $1,839 from November through December. SAVINGS Up to 44 percent.
WIMCO Villa Rentals (800/932-3222; www.wimco.com). WHAT'S INCLUDED Off-season discounts for a selection of rental houses in Provence. COST From $1,953 a week for a two-bedroom, one-bath; $4,137 for a three-bedroom, three-bath with pool. SAVINGS Up to 41 percent.
Mayflower Park Hotel (800/426-5100; www.mayflowerpark.com). WHAT'S INCLUDED A room with two queen beds; tickets for two adults and two children for the Seattle Monorail, Space Needle, and Experience Music Project. COST From $265, through December. SAVINGS 31 percent.
Sundance Resort (800/892-1600; www.sundanceresort.com). WHAT'S INCLUDED Three nights in a suite that sleeps four; daily breakfast; two one-hour massages; and eight vouchers for resort activities, such as fly-fishing and art classes. COST $1,680 after October 17. SAVINGS 19 percent.
—Jim Glab


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Cars > MadMax's Garage
About MadMax's Garage
Car I wish I still had
1997, 30th anniversary Camaro SS
My dream car
Bugatti Veyron, Saleen S7, McLearen F-1, 1963 Corvette.
- Type of racing: Karting
- Driver: Me, Danica Patrick
- Car movie: Mad Max,Gone In 60 Seconds, Corvette Summer, Bullitt
- Car magazine: Hot Rod
- Car game: Gran Turismo 4, Need for Speed
— Profile last updated: Apr 21, 2009
MadMax's Groups
Enthusiast Groups
Chevy Cobalt Enthusiast
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This is a place for a group of people to talk about cars or just to shoot the breeze with other car enthusiasts
Nebraska, United States
Don't Challenge UNDERDOGS! Enthusiast
Too many times, especially when there's a prize at stake, members try for "The Easy Win" by challenging cars that just aren't comparable to their own. For instance, a Mustang GT against a Honda Civic 4-door. That challenge is what made me want to start this group. Sure, the Mustang can out do the...
Pennsylvania, United States
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I-90 Tunnels
Jul 8, 2006
Filed under: 2006 Chevrolet Cobalt (Black Balt)
I hit the I-90 tunnels yesterday. I went westbound first from South Bellevue to Seattle. Before I got to the tunnel a WRX passed me doing about 75-80 about a mile before the first tunnel, his trunk was debadged so I don't know if it was an STi or not, He...
Cars > MadMax's Garage


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My tube is called Shower Cream. The smell is not great. I would call it slightly herbal. The sudsing is bad. There is hardly any lather. I have to use it with soap, otherwise I do not feel clean. I bought this at Marshall's and I can understand why it ended up there. Very disappointing for a L'Occitane product.
I got this at a L'Occitane boutique on sale. For some reason I didn't sniff it before I bought it--big mistake! It smells like stale, wet cardboard. It's disgusting. No wonder it was $10. I wish I could return it, but they don't return sale items. What a shame. I usually like their products, and would even take a store credit, but there's no way I'm keeping this crud. It's nasty!


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Seems like a clear fit for Comic-Con — 1970s icon Hello Kitty — right? But actually this is the first year that Sanrio's famous feline has walked the catwalk at the San Diego convention. She's taken over a whole area near baseball stadium Petco Park and all the little girls (and big girls. and boys.) are coming to get their picture taken and dance around with our favorite pink-clad ambassador. We had to get in on the action. In the video below, Sandra Gonzalez and Laura Hertzfeld meet Kitty herself and check out some of the exclusive toys and accessories Sanrio created for the Con.
Tag: Comic-Con (31-40 of 301)
Painting San Diego pink at Hello Kitty's first Comic-Con -- VIDEO
'Psych' cast gets put to the test -- VIDEO
Those Psych guys are really good at solving mysteries, even if it's in a madcap kind of way. And at Comic-Con it's no different. We put the Psych cast to the test and had them play a little game called "Guess the Guest Star." Each cast member gets the name of a Psych guest star taped to their forehead and everyone gives clues to help them guess the name on the card… hilarity, not surprisingly, ensues. Check it out as we put Corbin Bernsen, James Roday, Dule Hill, Maggie Lawson, Kirsten Nelson, and Timothy Omandson to the test.
New 'Game of Thrones' products unveiled, including awesome Ned Stark doll and 4D puzzle -- PHOTOS
HBO has debuted new Game of Thrones merchandise at Comic-Con. Top of the list is a Comic-Con exclusive Pop! Ned Stark figurine that has his head held to his body by magnets. If you don't know why that's awesome, we won't spoil it for you. (Though it's fairly obvious.) Limited quantities are on sale at booth #5343 (and at the HBO online store for those of us not in San Diego). Other new products:
Factory Entertainment plushes: We're talking adorable 8″-tall Direwolf cubs (available later this year), and 6″-tall dragon eggs and 10″-tall three-eyed raven (due in early 2014). Check them out at booth #3351. And, 4D Cityscape's 4D Puzzle Map of Westeros: Sneak a peek at booth #2401, because this won't be on sale until November. "Featuring three different layers and more than 1,200 jigsaw pieces, this puzzle replicates the topographical landscape of the Seven Kingdoms and includes miniature replica models of famous Westeros cities and castles, including King's Landing, Eyrie, the Wall and many more." Pics below, plus more merch! READ FULL STORY
Comic-Con 2013: Stars take selfies on EW's Instagram
This year, EW has teamed up with Facebook and Instagram to help bring you real-time coverage of Comic-Con on your social feeds. As the stars stop by, they are taking photos of themselves on EW's Instagram feed.
Check out pics from Robert Kirkman, the Teen Wolf stars, Slash and more. READ FULL STORY
Comic-Con 2013: Take a tour of the floor -- VIDEO
With Comic-Con 2013 underway, EW takes you on a tour of the convention center floor.
Watch as we encounter The Walking Dead zombies, and Black Sails pirates, and a special My Little Pony fan. Check out the video below: READ FULL STORY
'The To Do List': Aubrey Plaza, Alia Shawkat, and Rachel Bilson imagine Comic-Con in the '90s -- VIDEO
Who would the cast of the 1993-set teen comedy The To Do List want to see at a '90s Comic-Con? They can all agree on one thing: Jeff Goldblum.
In the two videos below, we hang out with writer/director Maggie Carey and the cast of the film, including Rachel Bilson, Aubrey Plaza, Alia Shawkat, and Scott Porter. The film about a type-A teenage girl (played by Plaza) who is on a quest to lose her virginity to the hottest lifeguard in town (played by Scott Porter) opens in theaters July 26. The cast also laid down some of their favorite early '90s jams — check out Porter (who also plays a guitar heartthrob in the film) singing "This Is How We Do It." Rock on.
Comic-Con: 'Ben 10' creators reflect on 25 years of San Diego's 'pop-culture tsunami'
Comic-Con was really created for artists like the quartet at Man of Action Studios. Joe Casey, Joe Kelly, Duncan Rouleau, and Steven T. Seagle are accomplished storytellers who've conquered the world of comic books and television animation. They've written and drawn Superman, X-Men, and Spider-Man, while developing their own original characters and projects — like Ben 10, the popular animated-TV franchise on Cartoon Network. They have their own imprint at Image Comics, but they're also cozy with Marvel, with whom they are collaborating on the Ultimate Spider-Man and Avengers Assemble Disney XD animated shows.
Not surprisingly, this year's Con will not be their first. Members of the gang have been making their annual pilgrimage to San Diego for the past 25 years. And even though they are now Comic-Con stars, prime attractions shopping their wares, they're still fans at heart. Casey, Seagle, and Rouleau took some time to write about what Comic-Con means to them.
Comic-Con giveaway alert! Win VIP passes to 'Spider-Man' Tumblr meetup
Attention, Spidey fans: EW has teamed up with Tumblr and The Amazing Spider-Man 2 to host a meetup this Friday at San Diego Comic-Con. You can find tickets here — or enter our giveaway to win one of five V.I.P. passes, each of which includes a plus-one.
To enter the contest, come up with your best caption for the exclusive Amazing Spider-Man 2 photo below. It can be a snippet of dialogue between Spidey and Max Dillon (a.k.a. Electro), a goofy guess at what they're arguing about, a haiku, whatever — so long as it's about the picture and it's funny, you've got a shot at winning.
Submit your caption through our Tumblr Ask box, along with a valid email address (formatted as "username AT website DOT com," so that Tumblr doesn't think it's spam). We'll accept entries until 9:30 a.m. ET Thursday, July 18. Winners will be announced later that day.
And please, don't enter the contest unless you're already going to be at Comic-Con — even if you've got a great idea for a caption.
Ready? …GO!
Alyssa Milano weaves a tangled web in 'Hacktivist,' a new graphic novel -- EXCLUSIVE
Alyssa Milano wears many hats. She's a cheating wife, a witch, the Boss (arguably)… and a comic-book writer.
Milano has collaborated with writers Jackson Lanzing and Collin Kelly, artist Marcus To, colorist Ian Herring, and letterer Deron Bennett to create a new graphic novel called Hacktivist, a "fast-paced cyber-thriller" that follows a pair of Silicon Valley wunderkinds who lead a secret double life. By day, Ed Hiccox and Nate Graft are the founders of an innovative social media company; by night, they're a notorious team of hackers.
"I'm very involved with in global activism and philanthropy. I like the idea of everyday people doing good," Milano explains in a statement. "My inspiration for Hacktivist is actually Jack Dorsey, the creator of Twitter and Square. I picture him leaving the office at night and going home, where he locks himself in his room and starts hacking to change the world."


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Select () or exclude () categories to narrow your recipe search.
As you select categories, the number of matching recipes will update.
Find exactly what you're looking for with the web's most powerful recipe filtering tool.
Sort by: Date | Rating | Most Helpful
"This recipe has a favorite at family gatherings for years. My son missed the this Thanksgiving. He wanted to know why no one made Carrots for a Change this year. I usually reduce the bacon some to cut the calories and fat."


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Dog adoption saves lives. Adopt a dog and you'll have a friend for life! Contact us, or contact another local humane society, animal shelter or SPCA.
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Our goal and mission is to work with abused animals and abused children. We have our license with the Department of Agriculture and we also have our license with DCFS for children.We want to help children get ready for society and teach them compassion in this world. Teach them responsibility for their actions. Working with both abused children and animals will teach them both IT'S OK to love. Can you please help our goals and mission become a reality. Be an angel for this cause.
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9050 Elm AveBurrRidge Illinois 60527


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A local elementary school music teacher has been named one of the quarterfinalists for the Grammy Foundation and The Recording Academy's Music Educator Award.
Arnold Elementary PTO President Jen Cornett nominated Siema Swartzel for the work she does with the students in kindergarten through the fifth grade. The local music teacher was one of 7,000 nominations from all 50 states.
The nomination surprised Swartzel. The news she was listed as one of the 222 music teachers from across the country considered for the award overwhelmed her.
Swartzel explained it never crossed her mind to teach for any reason outside of educating her students.
"My kids face challenges that are really adult size," she said. "I want my time with them to be a time where they can just be kids and have fun. I just try to find ways to challenge them and make them feel good.
"I want them to feel happy when they are with me."
The purpose of the Music Educator Award is to recognize the contributions of teachers at the kindergarten to the college level for their influence on the country's "musical landscape."
The foundation and academy will eventually narrow the 222 quarterfinalists into a more manageable 10 finalists. One teacher will then be chosen from the finalists to attend the Grammys, receive a $10,000 honorarium and a $10,000 grant for his or her school. Affiliated with the Grammy Awards, the academy's stated goal is "to positively impact the lives of musicians, industry members and our society at large."
Swartzel said she would be satisfied with the quarterfinalist recognition, if she had not heard about the possibility of winning $10,000 for Arnold Elementary.
The money could benefit both her students and the school as a whole.
It could open doors currently closed to her classes due to funding constraints.
"I want them to develop a lifelong love for music," Swartzel said. "They may not all be music teachers or music performers, but they are going to be music listeners. They are going to encourage their own children to be involved in music. They are going to be the patrons of the arts."
Quarterfinalists must complete several videos and written essays to be considered for the next level of the competition.
The additional material provided by the quarterfinalists will be reviewed and scored by a Screening Committee. Both music educators and professionals serve on the committee. Those selected will become semifinalists. These names will be announced in September. Finalists will reportedly be alerted in December.
Swartzel will be well in to the 2014-15 school year by the time the announcements are made. She is determined to provide her students with a positive musical experience, whether or not she continues to the next round.
She explained music is more than just notes and instruments. Children hone public speaking skills, learn deportment and find their voice in Swartzel's class.
"You cannot put a price for a child on self concept," she said. "You want them to know they are capable. They are winners. They can do this."


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"Rotating Snakes" Illusion |
First the original "Rotating Snakes" <http://www.ritsumei.ac.jp/~akitaoka/rotsnake.gif> by Akiyoshi Kitaoka, modified just a little: | ||
| ||
Background – In the image above the strong (and beautiful) rotation of the "wheels" occurs in relation to eye movements. On steady fixation the effect vanishes. For an explanatory hypothesis, view the animation on the right. You ma y wish to press the 'Stop' button after a while … it gets on one's nerves ;-). See also Backus & Oruc 2004 for their explanation. What to observe
Comment As Kitaoka & Ashida (2003) describe, asymmetric luminance steps are required. Presumably appearance of these triggers motion detectors (as in the animation on the right). I assume that the actual mechanism is quite similar to the "Rotating Spokes" illusion, where asymmetric luminance steps occur as well. Gregory & Heard (1983) were the first to describe that asymmetric luminance steps cause illusory movement. A "Stress Test"? – No! Repeatedly, I was sent such pictures with the assertion that they comprise a stress test (and some of the people sending me this were deeply worried). And I just found a web page entitled "test online the level of stress" (I will not link to it) which contains these statements "For a normal person, they should all move at a slow pace, barely rotating. The slower the pictures rotate, the better your ability of handling stress: Allegedly, criminals see stress test images moving and spinning around madly, while seniors and children see them still…" This is utter BS! Don't get alarmed. For one, the effect depends on eye movements, and these are known to differ markedly between subjects without relating clearly to psychological traits. Further, a few people do not see it at all (could be around 5%, among them a very renowned vision scientist), in spite of appropriate eye movements. There are no actual data showing relations to stress (or age), so don't distress yourself when you see it rotating strongly or not at all. Sources Gregory RL, Heard PF (1983) Visual dissociations of movement, position, and stereo depth: Some phenomenal phenomena. Quarterly Journal of Experimental Psychology 35A:217–237 [PDF] Kitaoka A, Ashida H (2003) Phenomenal characteristics of the peripheral drift illusion. VISION 15:261–262 Backus & Oruc 2004 VSS presentation abstract + background material Conway BR, Kitaoka A, Yazdanbakhsh A, Pack CC, & Livingstone MS (2005) Neural basis for a powerful static motion illusion. J Neurosci 25:5651–5656 |
Created: 2004-Jan-03


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Biography of J.L. Colvert
J. L. Colvert, retired merchant, was born in 1828 in Culpeper County, Va., the son of William I. and Harriett (Weedon) Colvert. The father, born in the same county in 1791, was a farmer and a soldier in the war of 1812, on duty in his native State. In 1828 he came to Warren County,


text: Outfit Ideas Accessories walk on the wild side with reebok ♥ 1 Share by Dressed Up Alligators on May 27, 2014 I'm SO excited to share my latest collaboration with Reebok Skycapes -- aka my new sneaker obsession. They are out. of. this. world. comfortable. AND cute. Don't you just love when fashion and function just work? If you follow me on insta, you've seen a few sneak peeks. But click HERE to see the full feature and read alllll that I have to say about these leo sneaks. I had a blast styling skyscape's new line, not only because I'm head-over-heels in love with their new patterns for summer, but because I got to share the spotlight with my blog BFF Allie. Fashion is ALWAYS more fun with a friend. ANTHROPOLOGIE dress | ASOS jacket | REEBOK SKYSCAPE shoes c/o | DKNY bag PINTEREST | TWITTER | INSTAGRAM


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TV Thoughts – XOXO Gossip Girl
My thoughts on Gossip Girl, which officially ended this past week with their big series finale
Despite what you may think, I was not on the Gossip Girl bandwagon from day one. I jumped on the bandwagon thanks to Andrew Perloff of the Dan Patrick Show, who mentioned the show in one of the many tangents Dan and the Dannettes went on one day years ago. Why I would take television advice from someone who dresses like Ellen Degeneres is beyond me, but I'm glad I did.
I'm a sucker for a TV show with good looking women and Josh Schwartz knows how to cast good looking women. I was a big fan of Schwartz and his work on The O.C., so it should be no surprise that I'm a fan of his work on Gossip Girl. He made me fall in love with Rachel Bilson on The O.C. (and Mischa Barton to a lesser extent) and he's made me fall in love with Leighton Meester and Blake Lively on Gossip Girl.
Besides the women, I think the best thing Schwartz does is portray a lovable loser. In The O.C. It was Seth Cohen. In Gossip Girl it is Dan Humphrey. Maybe I relate to these characters a bit more because I consider myself a lovable loser searching for his Summer or Serena. From the very first episode I found myself rooting for Dan and his quest for love, which was more often than not Serena.
Gossip Girl is like any other show revolving around teens in high school and eventually college. There are your good people, bad people, rich people, poor people, etc…. There is a ton of drama, a ton of sex, a lot more drama, and some more sex. One thing I always liked about the show though is that the parents are involved. In too many shows revolving around teens, parents are just forgotten, but in Gossip Girl they're front and center. I'll be honest, I don't care too much about the parental drama, but it meshes well with the teen drama that goes on in Gossip Girl.
Even though I can't relate to him at all, my favorite character on the show is Chuck Bass. He's rich, he's cocky, he sleep around, he drinks a lot, and he pretty much does whatever he wants whenever he wants. I really enjoy his over the top clothing and mannerisms. No matter what he's trying to do, I can't always take him serious with his wacky hair and snarky smile. The thing I like most about though is that the way he refers to himself as Chuck Bass, always saying his first and last name. There's a James Bond quality to him in that sense and who the hell doesn't think Bond, James Bond is one of the smoothest dudes on the planet?
I've never been to New York so I don't know what it's like on the Upper East Side, but Gossip Girl made me believe that it's filled with a bunch of snotty rich kids. Some of them are privileged and have everything handed to them, others are actually struggling with real situations, and then there are the ones who are just trying to follow in their parents' footsteps. Then again, if you've seen a couple episodes of the show, you'd know that following in the footsteps of your parents probably isn't the best idea in the world. The show took you all around the city though and let you into their world.
Kristen Bell narrates the show and is really the source of all the drama. Without her portraying Gossip Girl, a gossip site devoted strictly to the Upper East Side, we wouldn't know about the lives of Serena, Blair, Chuck, Nate, Dan, etc…. I find that whatever Kristen Bell does, she does it amazingly, and this show is no exception. She's not seen until the last episode, but her voice keeps the show moving. Throughout the show, they sometimes strayed away from the overall theme of "It only truly happens if it happens on Gossip Girl" but for the most part they do a good job of remembering what is important in the big picture, usually thanks to Bell's closing narration of the episode, the set up line for the next episode, and her famous XOXO Gossip Girl" line that ended every show.
The show was big on fashion, but being a guy who is perfectly comfortable in khakis and a t-shirt, I didn't pay much attention to that. Serena and Blair always looked hot, but I didn't care if they were wearing $1,000 dresses or $5 jeans. Even though I'm not huge into fashion and art, I have to give the show a lot of credit for doing both things so well. The characters really live fashion and art by always attending galleries and runway shows and getting famous fashion designers and artists on the show. The same can be said about the music on the show.
Guest stars were a big part of the show as they usually had an extended story arc. Georgina Sparks, played by Michelle Trachtenberg, actually became one of my favorite characters because she was so sarcastically bitchy. I really think that Sparks could've been a main character on the show, but she was great as a minor character for the majority of the series. Other great story arcs included Ivy Dickens played by Kaylee DeFer and Jack Bass played by Desmond Harrington.
The final episode was pretty much everything you wanted after years of following the show. Gossip Girl was revealed, the right people ended up together, and there were some awesome cameos. I somehow held back tears, but let me tell you, it was tough.
Did the show get overly complicated with story lines at times? Yes. Did I lose track of who slept with who? Definitely. But Gossip Girl was a great teenage soap opera. It turned the CW Network into the home for teen dramas with good looking people who have a lot of sex and drama. And it was one of the better teen drama shows. Trust me, I watch just about every teen drama out there. This show transcended television, actually showed character growth, and got you invested. Even though there seemed to be a ton of characters throughout the show, I never forgot any of them, which is a pretty big accomplishment for me since I watch a ton of TV and have a tough time remembering every character and their background in every show I watch, especially one hour dramas.
I'll miss Gossip Girl. Maybe because it was my weekly Lively and Meester fix, but I'd like to think that it was more than that. In fact, I know it's more than that. Gossip Girl was a show that I looked forward to, not just a show that I watched out of habit because I watched one episode and felt like I had to continue to watch until it was canceled or ended because I'm not a quitter. I'll miss you Gossip Girl. XoXo.


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Apr 19 2012
A good Chiang Mai swimming pool
The large monolithic red brick Chiang Mai Orchid Hotel next to Central Huay Kaew shopping mall might not look desperately exciting from the outside, but it's a good spot to waste away a few hours on a hot Chiang Mai afternoon if you've no pool in your own Chiang Mai hotel. The hotel itself is actually rather a good midrange deal, but the main attraction for non-residents is their large, clean and almost always practically empty pool.
The open-air swimming pool is located on the third floor of the hotel, overlooking Huay Kaew Road, and while not exactly surrounded by a lush garden, it's pleasant enough.
Loungers beckon around the pool, a few pot plants lend a little green and if you're lucky there may even be drink and snack service — but you most definitely won't get bombed by obnoxious brats, have to do exaggerated zig-zag lengths to avoid other swimmers or queue up to use the showers.
In addition to the pool, you can use a well-equipped gym, with staff on standby to provide assistance and both male and female saunas. The gym looks to have lots of impressive and complicated machines but we'll admit it's not our area of expertise, while the saunas are spacious and clean. You'll probably have the sauna to yourself and are never going to have to wait to use one of their torture apparatuses either.
Staff are helpful, a little bit of English is spoken and towels and soap are provided. For non-guests it's 150 baht for unlimited time, and free for kids. (We're not quite sure how old the latter need to be to earn the free entry, but Thais usually go on height, so ask your kids to kneel down a little when you're paying the entrance fee.)
You pay your entrance fees in the downstairs lobby then take the lift to the third floor. The facilities are open all day, every day from 8:00ish in the morning to around 20:00. The Orchid is located on Huay Kaew Road immediately next to Central and below is a photo of the outside, just so you know you're at the right place. The rather ritzy lobby has an open-air beer garden attached, so you can re-hydrate after a sauna.
This isn't the cheapest pool in town but it's a good deal if you do have a few hours to while away, especially with kids in tow.
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Tags: Central Department Store, gyms, Orchid Hotel, pools
4 Responses to "A good Chiang Mai swimming pool" ...
They also have affordable and tasty dim sum dinners!
# Markon 24 Apr 2012 at 4:38 am
good to know – thanks Lani, will give it a try sometime!
# thaiyaiooon 09 Jun 2012 at 3:00 pm
If you want to avoid "the kids in tow" and enjoy a day or an afternoon of "Swimming Sunbathing and Relaxing" by the pool side. with a glass of wine and a good book to read, then Google "swimming pools Chiangmai" and click on the Centre of the Universe. Ten minutes by taxi from the centre of the city, and you are transported into the leafy, upmarket residential area of Chang Phuak Very few kids. if any, as the entrance fees deter all but the most affluent parents. The owner is an eccentric British millionaire who kicks out any noisy kids and banishes the kids and their parents for life!
Alternatively, buy your own bottle of wine and take a taxi to Huay Kaew Waterfalls (near Chiang Mai Zoo). Entrance is free and the natural pool plunges are something else! Frequented by Chiang Mai University students as a place to hang out, you will always find someone who wants to practice their English speaking skills
# Harald van Gilson 04 Jan 2014 at 11:46 am
Good tip, just had a swim. Although there is no sunlight at the end of the afternoon. So sunlovers, go early!


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Wed, Oct 14, 09 at 19:49
These are probably the last of the last I think for this year.
Honey Perfume
Tammy |
Follow-Up Postings:
you have some very nice roses |
ohhh, everytime i see windermere i want it! My local nursery has a few left, but the blooms always seem to be nodding down. Is that true for your bush? |
Great pictures. I love Honey Perfume! Masha |
Nice Windermere! |
You have lovely roses. I especially like the ones that have a more old-rose look. Ingrid |
- Posted by cherrykist Z-7 NC (My Page) on Thu, Oct 15, 09 at 13:57
Thank you all. Windermere is one of my favorites. For the most part her blooms are usually pale creamy colors. In the cooler temps tho her colors have had a wide range of blends, from a pinkish hue to a pale buttery color. Her fragrance is wonderful to me. I thought at first her blooms would nod because there were so few during the spring and the did nod, but as the bush progressed through the summer the "stood" upright. I am soo glad I got it. tammy |
- Posted by aimeekitty zone 9 (SW 18) socal (My Page) on Thu, Oct 15, 09 at 18:20
love the bloom shape on the last two! thanks for sharing! |
Wonderful shot of Honey Perfume. Love creamy roses! Windermere looks great. |
- Posted by phatboyrose N/W FL. - 8 (My Page) on Fri, Oct 16, 09 at 1:00
Tammy, you really have some Beautiful roses, HONEY PERFUME & MON CHEI are my picks. Thanks for sharing. Harold |
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» Save an extra £30 off per booking on all Summer 2015 Package Holidays. Use voucher code BHAUG30 before confirming your booking.
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This collection of Joseph Tran fashiontography is unabashedly suggestive, but then again, there is nothing wrong with a little scandal.
Featuring seriously alluring models in provocative poses, there is something to be said about the way this Joseph Tran fashiontography manages to capture the imagination of even those viewers who might not otherwise lose their minds over straight-up fashion. Well played, Joseph Tran.


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I want to welcome a new addition to the Gluten Free Frenzy family… Heidi of Synergistic Healing will be a permanent contributor to Gluten Free Frenzy. Heidi is an Herbalist and an Iridologist. Read all about her and how she can help you by clicking on her new link in our main toolbar at the top of the page. Please leave a comment there welcoming her to the site. Enjoy!!!
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One of the things Owen Pallett mentioned when we spoke with him about his great new In Conflict is that he doesn't want to make a habit of breaking down the music theory behind pop hits as he did for Katy Perry's "Teenage Dream," Daft Punk's "Get Lucky," and Lady Gaga's "Bad Romance." But it seems he couldn't resist Buzzfeed's invitation to take a crack at some more songs. In bite-sized bursts of intellect, Pallett offered his best attempt at dissecting Beyoncé and Jay Z's "Drunk In Love," Haim's "If I Could Change Your Mind," Ariana Grande and Iggy Azalea's "Problem," Usher's "Good Kisser," and DJ Snake & Lil Jon's "Turn Down For What" plus Pallett's own "The Riverbed." Read the results at Buzzfeed.
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The conference, High School Redesign in Action (www.newenglandssc.org/conference), will take place April 7–8, 2011, in Nashua, New Hampshire. It is sponsored by the New England Secondary School Consortium in collaboration with the departments of education for Connecticut, Maine, New Hampshire, Rhode Island, and Vermont. The New England Secondary School Consortium is a regional educational partnership committed to high school innovation. All the selected schools have made significant progress raising student achievement, graduation rates, or college-enrollment numbers, among other indicators of educational accomplishment.
"While we face many challenges in public education for students in schools today, there are great things happening. I am thrilled that at our High School Redesign in Action conference we will be showcasing examples of innovative, twenty-first century approaches to learning, where students are being prepared to meet the challenges of college and careers. I am proud and excited about the hard work going on in New Hampshire public schools. It's inspiring," said Virginia Barry, Commissioner, Department of Education.
Goffstown High School never underestimates the value of healthy relationships. Its values—care, reflection, encouragement, and an unwavering focus on learning—shape the community dialogue at every level. Leadership principles, institutional practices and faculty and student dispositions promote a positive culture and improve achievement.
In 2007, the Department of Education mandated that high schools award academic credit based on the achievement of course competencies, not seat time. To meet these new expectations, Timberlane Regional High School teachers redesigned the curriculum, adopted new instructional techniques, and integrated authentic performance assessments into virtually all courses. These changes have also allowed Timberlane to expand its Evening Division Program, which students of all abilities attend. Regardless of which pathway a student selects, graduation from Timberlane requires the same comprehensive demonstration of knowledge.
The Virtual Learning Academy Charter School—a virtual high school based in New Hampshire—offers more than eighty courses, including college courses, to students across New Hampshire and New England. The school's anytime-anywhere learning environment provides flexible, personalized instruction that includes consistent one-to-one relatioships with 110 teachers from eight different states. Approximately two-thirds of the 8,600 course enrollments come from traditional public schools.
"These remarkable high schools are setting an example for all of New England," said David Ruff, executive director of the Great Schools Partnership, the New England Secondary School Consortium's coordinating organization. "The programs they're creating and pioneering reflect what we know works for today's students. And their unwavering commitment to their students, teachers, and larger community is nothing short of inspiring."
The New England Secondary School Consortium's works to close persistent achievement gaps, promote greater educational equity, and graduate every public high school student prepared for the challenges of the 21st century. The Consortium is funded by the Nellie Mae Education Foundation, the largest philanthropy in New England focused exclusively on education, and coordinated by Great Schools Partnership, a nonprofit educational-support organization in Portland, Maine. The Nellie Mae Education Foundation has committed more than $2 million to support the Consortium, which includes $1 million in partnership grants from the Bill & Melinda Gates Foundation.
For more information: www.newenglandssc.org
New Hampshire's High School Redesign in Action Presentations
Title: Caring & Common Sense: Personalizing Culture to Enhance Learing
Schools: Goffstown High School, Goffstown
Presenters: Martha Benton (guidance coordinator), Kevin Farley (curriculum coordinator), Frank McBride (principal), Kim McCann (assistant principal)
Web site: www.goffstown.k12.nh.us/ghs
Contact: Frank McBride | email@example.com
Title: Opening Doors: Using Competencies to Create New Learing Opportunities
Schools: Timberlane High School, Plaistow
Presenters: Robert Dawson (assistant principal), Peter Fisher (teacher), Scott Strainge (director of secondary education), Don Woodworth (principals), Timberlane students from the Evening Division Program
Web site: www.timberlanehs.com
Contact: Donald Woodworth | firstname.lastname@example.com
Title: Breaking Down the Barriers of Time and Place: Authentic Virtual Learning
School: Virtual Learning Academy Charter School, Exeter
Presenters: Kyle Cote (director of student services and guidance) Steve Kossakoski (chief executive officer), Ollire Lane-Wortley (director of academic support and professional development)
Web site: www.vlacs.org
Contact: Steve Kossakoski | email@example.com
Media Contact: Skip Hanson, NESSC State Liaison for New Hampshire
(603) 235-6697 | firstname.lastname@example.com


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June 2010 has been a great month for Team MCVET.
Team members Charlie, Andre, and Torry were able to get full-time jobs, and Darryl M. moved into his own place!
The entire team celebrated, along with our friends from Marriott, and "Bad" Burt's lovely wife sent a delicious cake and cupcakes to make the celebration official. Our littlest teammate, Solveig, wore more of the cupcake than she ate, but we'll let her get away with that because it was adorable, after all. Read more…


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Hm I'm off that weekend and hubby will be away.....but it is over a 6 hour drive, would have to stay over atleast one night....will have to think about it
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Hm I'm off that weekend and hubby will be away.....but it is over a 6 hour drive, would have to stay over atleast one night....will have to think about it
Are you two anywhere near each other where you could be travel buddies ???
Just a thought...
I don't think so.....any idea of places to stay around there that would let me bring the dog?
Tracy, I think we are driving in Friday night if that helps.
I found one so far, the reviews are a bit mixed tho...
The Nevermore - New Hope Pennsylvania Hotels - HotelGuides.com
Here is another...its a bit further away but alot closer than where you are starting from...
Thanks! I haven't had a chance to see about hotels yet. I'm even starting to wonder if we'll drive part way and then stay. Mom will only get out of work at 4 so by the time we leave it could be around 5 and it's a 5-1/2 hr. drive.
Thanks Colleen. I have to request friday off, if I can get it off and I come I will stay at the Red roof I think
I looked at a map today and I'm thinking we're going to stay in Bloomsburg. That's probably half way there or more.
Thanks Collen I will look into these hotels. Will look into this option too.
Lahaska is very old town Pennsylvania with really good shopping. There are a couple good restaurants there but really require reservations. Any chance someone will be there early enough to grab a reservation for 30???
Yes, it's called the c o c k and bull :yes:
I wonder if we can call ahead????
Some of the restaurants have the option to call ahead or to make a reservation online. This is the Peddler's Village Dining Information. Click on dining guide it brings up the restaurants then you can see phone numbers or online reservation information for the different restaurants.
I could make the phone calls to see who has room for our group...after that, If y'all wanna do this, I'll collect names and head counts and call it in before the meet. I need to put this out there first: Is our wonderful meet organizer already planning a gathering cause I am by no means trying to step on anybody's toes by stepping in like this~


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Ask A QuestionHow will this bat do with the USSSA ball 40 COR mens and womens?
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Yes, the 2014 DeMarini Ultimate Weapon (WTDXUWE) carries the USSSA 1.20 BPF stamp.
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