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Shakira has announced that she is pregnant with her first child with Spanish footballer Gerard Pique.
The 35-year-old shimmying pop queen excitedly posted the news on her website, confirming that she and her 25-year-old boyfriend Gerard ''are very happy awaiting the arrival of our first baby.''
''At this time we have decided to give priority to this unique moment in our lives and postpone all the promotional activities planned over the next few days,'' added Shakira.
The singer has been dating Pique, an Spanish international football star who plays for prestigious club FC Barcelona, for over two years.
The 'Hips Don't Lie' hitmaker revealed back in 2009 that she was ready to start her own family, telling a source: ''I really would like to have a big belly.''
The Grammy-winning Columbian songstress is postponing promotional activities and will not perform at Friday's iHeartRadio Music festival in Las Vegas.
She dated Antonio de La Rua, the son of former Argentinian President Fernando de La Rua, for more than a decade, however they split in 2011.
The pop singer is due to be a judge on the next season of U.S reality TV show The Voice, replacing Christina Aguilera.
Star Stalker: Featuring The Saturdays, Shakira, Jessie J
You can keep up to date with all the latest news from PopDash by following us on Twitter and liking us on Facebook.


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Lawmakers debate future of DHS headquarters project
House Homeland Security Committee lawmakers and GAO highlighted funding shortfalls and a need to update plans. Meanwhile, Senate Homeland Security and Governmental Affairs majority issued a report detailing why its research shows Congress should make the DHS headquarters consolidation project a priority.
Lawmakers want assurances from GSA on AbilityOne compliance
The Obama administration's strategic sourcing program has been beset by protests from unhappy vendors. This post is part of Jason Miller's Inside the Reporter's Notebook feature.
Do we need a million fewer federal employees?
Former DHS CHCO Jeff Neal examines the contention that hiring more federal employees would make for a smaller, better-run federal government.
CMS sets new deadline to fix two dozen HealthCare.gov cyber shortfalls
Marilyn Tavenner, the Centers for Medicare and Medicaid Services administrator, promised House lawmakers Thursday that the site would be better protected when open enrollment begins in two months. The recent attack on the HealthCare.gov didn't succeed in stealing any data, DHS says. But some lawmakers say a year into the Affordable Care Act, the website still has basic cybersecurity challenges that should have been fixed.
Obama to finally fill OPM deputy director role
The President plans to nominate retired Navy Rear Adm. Earl Gay to be the second in command at OPM. The last Senate-confirmed deputy director left more than three years ago.
DHS management chief nominee's approach is data centric
Russell Deyo sailed through his nomination hearing before the Senate Homeland Security and Governmental Affairs Committee Wednesday. He said the Homeland Security Department needs to consolidate financial management systems so it can use the data to make strategic decisions. The committee also heard from nominees for Immigration and Customs Enforcement and USPS Board of Governors.
Continuing resolution heads to President Obama for signature
The continuing resolution keeps government agencies open and funded until Dec. 11. At this point, Congress has not tried to use the legislation to block a 1 percent pay raise for federal employees in 2015.
Unions want more say in agency operations
Can a national council in Washington improve labor relations on agencies' front lines?
Air Force needs more strategic planning to meet budget constraints
The Air Force can't afford the programs it thinks it will need over the next decade. The service's top officer says it's time to reexamine priorities, with a realistic view of the funding it will get from Congress.
IRS' approach to big data focuses on business outcomes
The office of compliance analytics at the IRS uses information, tools and analysis to help mission offices solve problems. Dean Silverman, a senior adviser to the IRS commissioner, said his office is trying to use these tools and approaches to improve the agency's outcomes and to create a data-driven decision-making culture.
Conversation with Authors: Dr. Zeke Emanuel
How did the US Healthcare system evolve? What's surprising about the history of healthcare reform in the U.S.? What are the Six Megatrends in Healthcare? Join host Michael Keegan as he explores these questions and more with, Dr. Zeke Emanuel, author of Reinventing American Healthcare. That's next week on The Business of Government Hour.
CBP: 155 force cases need more review
Mark Morgan, interim head of Customs and Border Protection's internal affairs office, said there was no timeline to complete the review and Commissioner R. Gil Kerlikowske had not decided what information to release on individual cases. One case resulted in a death.
Report: Border Patrol homes cost $680,000 each
Report: Government paid nearly $700,000 per home for Border Patrol housing project in Arizona
DHS S&T chief plans for more relevant research, better employee morale
Dr. Reginald Brothers, the new Homeland Security Department undersecretary for science and technology, wants to revamp DHS' S&T portfolio by making its research projects more relevant to end users, building more connective tissue between headquarters and DHS components and rebuilding workforce morale.
GAO updates Green Book to help agencies navigate a risky time
GAO has released the first major revision since 1999 of the book on management controls. The update maintains the five major components of internal control from past editions, but it adds depth in the form of 17 principles. It is meant for both federal managers and auditors.
Rep. Cuellar pushing for agencies to link performance, budget
Rep. Henry Cuellar (D-Texas) said he put provisions in the fiscal 2015 spending bills that build upon the Government Performance and Results Act Modernization Act in linking agency metrics to its budget request. He also added a provision that requires agencies to set customer service standards.
VA scheduling investigation finds misconduct in dozens of facilities
During an ongoing Veterans Affairs inspector general investigation, more than a dozen VA officials lied to investigators. Given what officials have learned so far, the practices that raised alarms in Phoenix are pervasive throughout the Veterans Health Administration.
Justice Dept. IG complains of interference
The Justice Department's inspector general said Tuesday that his staff is routinely blocked from getting access to documents it needs for audits and reviews of the department and its law enforcement agencies.
Managing complex IT systems
Rebecca Halstead, president of the local chapter of the International Institute of Business Analysis and David Pradko, vice president of Finance for the IIBA, will how their organization can help your agency with its software development projects.
September 9, 2014
Cybersecurity and CDM
Booz Allen Hamilton Senior Vice President Brad Medairy, will discuss how Continuous Diagnostics and Mitigation (CDM) can help your agency meet its cybersecurity challenges.
September 9, 2014


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At a time when comics has been stratified into all kinds of classifications and genres, Brandon Graham's work is joyfully impossible to nail down. There's no easy box to put Brandon's books into. King City and the upcoming Multiple Warheads aren't really any specific genre, other than being great comics. Graham is candid about how he works, comics as an art-form, and about his relationship to it. His comics are exceedingly human, full of characters that behave and interact rather than fill roles, in worlds that have real life to them. The visual and verbal play in Graham's books shows that there are endless areas of the medium that are under- or un-explored. He is willing to go places in his stories that no one else would dare to, without ever feeling inorganic or intentionally scattered. King City has, over its storied production history, managed to feel more of the moment upon reprinting rather than less. By the time the first new-content Image issue hit the stands, King City had created a pretty complex language that legitimately stepped forward from the first Tokyopop volume and progressed from there with each issue. The ongoing Multiple Warheads series takes King City's stylistic and narrative daring and doubles down on it, while never becoming "formalist" comics. These are great stories first, and that is why they are special.
My favorite of Graham's work is the short story IOU, in the Escalator collection. A ten page autobio piece where he manages to bypass the many pitfalls of autobio becoming masturbatory. Instead it is in turns lyrical, personal, funny, and betrays how much Graham really cares about comics as an art form. He discusses a transition in his life, seemingly towards comics. He says "It's about getting my life together between the pages so I can work on the pages", which is about as succinct a comics lifer statement as you're ever going to get.
Brandon was incredibly generous with his time, and we spoke at length about everything from science fiction to collaborating with other cartoonists, but mostly we talked about storytelling.
Part I – Olympus Mons
Sean Witzke: So to start off I wanted to ask you about something you mentioned in a recent blog post. About talking to Brian Stelfreeze and him saying that there's a point where craft plateaus but storytelling doesn't. Which I think could be a great way to see how you view your work. In the broadest sense, where do you think your comics are in terms of storytelling? And where is the ideal destination point? Like… clarity of communication? Control of exactly how the page is read? Something else?
Brandon Graham: I'm really into the idea of conveying a story clearly enough for the reader to get all the basics while at the same time having enough information going on where you don't necessarily get it all or even miss something on the first read through.
I think it's something that came from me reading a lot of European and Japanese comics growing up and just not always getting everything, culturally or just because of weird translations.
I like that nice mystery.
And there's the idea that when a story doesn't give you everything it forces the reader to think a little more. Turns them from being a passive reader to an active one.
I think that would be my ideal destination, some kind of clear and simple with a background of complexity.
SW: Are you consciously doing that on a lot of levels, not just the narrative but with settings and dialog as well? For example I never really caught on how much personality you gave Earthling was until my latest reread of King City, he's a separate figure outside from Joe with his own thing going on. Some of the best moments in the whole thing are his reactions. Are there story elements that you're downplaying for the reader to make them participate?
BG: Thanks. I feel like the only way I can get through drawing everything is by entertaining myself thinking about what's going on with everything I'm drawing. –It all needs a story. A lot of that doesn't get conveyed when it's just background stuff. It gets harder to rein it in when it's a bigger part of the story.
Like in KC issue 12 when they go to rescue Max at the Mercy clinic and there's a stone baby all the chalk addicts are hooked up to. I had to figure out that they were using the chalk to make a kind of Chalkenstein monster and It was kind of hard not to be all –"Look what I did here!" and not just let the reader get as much as Joe gets out of the scene.
And sometimes it's not even something I spend all that much time figuring out. Like in this short I did called Under where the guy has a drink named after the girl in his bed that used to be named after another girl. Sometimes I'm only figure out as much as I put on the page.
SW: You spend a lot of time humanizing your characters. I've seen you mention before that you like to have characters eat and use the toilet in stories. In the scene from Under it works as the quick shorthand so you don't have to spend a lot of time endearing the character to the reader in an obvious way. Do you think that those kind of scenes are important as a story element or is it just a subconscious effect on the reader?
BG: BG: Yeah, I think they can be the main event sometimes. I've been reading a lot of Murakami the past few months and that dude can write a scene where all I care about is a character sitting in a bar with a cucumber sandwich and a beer. It's comforting and relate-able. But also the same kind of thing can work as just a subconscious trick. the cool thing about doing that sort of thing in comics is that it not only shows the character as more human but it also gives you an excuse to draw them doing something in a scene when something else less visual is going on.
The Blade of the Immortal guy has this thing he does where he'll set up scenes with all these props around the characters. One of them will be smoking a pipe while another is basket weaving or whatever.
And then he can draw a long scene in the same spot with the characters just talking and rather than redrawing the same room over and over he focuses' on everything a character could do with a pipe or the basket being weaved.
SW: Do you have any specific rules for each kind of scene as you're working? Say, for an action scene, are there certain things you're trying to do or avoid? There's a scene in KC #10 where Joe is breaking into Greenest Grass, and he drops the gargoyle on the guards leg; it reminded me of something Shane Black said about how violence needs to be awkward to be really effective.
BG: BG: I hadn't though about violence needing to be awkward, I like that.
I guess In an action scene I'd only want to do if I could think of a joke or a fun way to show it. Violence needs to be violent.
When I was drawing porn comics I used to think about how to make it work you had to have things happen that the reader couldn't get out of a video or photos.
Stuff like a guy ejaculating a fish or a girls tongue turning into a penis–circus stuff– I think there's some of that mentality when I try to do action.
SW: Did working on porn change the way you make comics? How do you feel about that stuff a few years on? You can see a progression when you read the first Multiple Warheads story on, from there the way you're approaching sex scenes as just a scene involving the characters instead of the most important part of the show.
BG: I think it changed my work in both in good and bad ways. Porn along with doing the graffiti stuff helped me get used to just fucking around and having fun while I draw. Recently I think I've started to work some of the porn out of my system. I'm trying to learn to not always draw girls like they're on the page to jerk off to. Not that I don't still like drawing that stuff but I think it can be limiting.
Looking back I don't feel like I was able to pull off what I was aiming at with porn. With Perverts of the Unknown I had to give up on it ever being what I wanted. I was doing a lot of messy detail then and drawing the pages smaller than I prefer. (10 by 14) I resigned myself to the idea that I'd try to make it a comic you'd want to find in a gas station bathroom.
And with Pillow Fight I just couldn't get the characters past generic porn personalities.
Although I did have fun with the jokes in it.
SW: When you're developing a series/story/etc are you starting with characters or do you start world-building first and develop the characters out of that? KC seems a lot more freestyle with the world development, but with Warheads and a lot of the stories in Escalator it feels comprehensively built from the ground up as sci-fi worlds. In general, how much do you think you've been effected by reading sci-fi? I know that seeing you draw Neuromancer characters a few times has been pretty illuminating to what you can accentuate in a character design, maybe more than just you drawing comics characters.
BG: I seem to start with the characters. Like you said King City being freestyle, it was just me treating the setting like it like it was in modern-day and fucking around with it. I had some rules where I tried to only mention real cultural references that I thought wouldn't date it too much. I tried to avoid mentioning America or any police or government. –Although the Xombie war has an army. I don't think I got too into it but the world in that is all policed by gangs, so maybe the army is just another gang.
Warheads is lots more work, I've been trying to go at it based loosely off what little I understand of Chinese and Russian history mixed with some fantasy stuff. Also idea that England and Spain don't exist and America was never colonized (but heavy metal music was still invented). So everything's passed through that filter. I had to figure out what was going on all over the world. Like America (or whatever I'll call it) has giant Totem pole robots. And Japan is a big outer space empire ran by a dragon. And none of this is even talked about in the pages I've drawn so far but I kind of needed it to just know where the characters are coming from.
My mom writes science fiction so I grew up pretty immersed in the stuff. I think I was pretty affected by stuff like the Oz books where there's just a ton of crazy shit going on at once.
My mom would read a lot to me as a kid. I feel like sf is at the base of my interest and understanding of writing. It's like I'm a planet and my atmosphere is made of science fiction and any new ideas that enter or leave have to pass through that.
And thanks– the Neuromancer pin up was fun to draw. I was into the idea of trying to show it without any of the stuff The Matrix ganked from it.
I'm really into finding drawings of the characters in books I enjoy, With some stuff like Heinlein's Friday there's a book cover that I think fits perfect.
But as influential as Neuromancer is, I can't get into any of the covers of it I've seen.
Even Snow Crash, that I regard as an off-brand Neuromancer, has these amazing japanese covers that look like FLCL art.
SW: I remember buying the US edition of Snow Crash and having to explain to the person I was with that it wasn't the horrible fantasy novel the cover made it look like. All the cyberpunk books – none of them really have covers that wow, I guess. Do you think that your covers have to carry as much weight as a novel cover? The best give you a really good idea of tone and scope if nothing else, maybe what the main character looks like. And comics covers are normally either super-specific to what's going on in the issue or it's a completely unrelated shot of the main character, and once in a while there's the Criterion-style ultra-designed covers. Do you think that, say the KC photo cover or the game pieces cover, are good indicators at what the book is like? Or are they just trying to stand out against a lot of the same-ness, and be more playful with design and color?
And following that, when you're working on a page or a sequence, do you make a conscious effort to not just do regular no-frills storytelling? Because there are things like the board game in KC, and the connect the dots page. Those are kind of the big examples, but there's a lot of little things you do to be more playful with the artform — Earthling slicing a word balloon in half, stuff like that. Do you think that there's been a lack of innovation with what you can do in comics (for the most part) recently? I've seen a lot of people complaining about the lack of thought balloons in comics anymore, because it's cutting off a tool of the vocabulary, but that's a drop in the bucket for the potential tricks that could possibly be used.
BG: I think there's a lot of weight put on novel covers being the one and only image you get to represent a whole story.
For the King City covers I was mostly just trying to keep myself interested. I'd be fine putting out a book with a blank cover. But they can be an excuse to try out some fun stuff.
Sometimes I make a conscious effort to just do more basic storytelling and go into every page thinking it needs a trick. If I come up with one for fun I keep it but I don't want to feel like I have to be doing tricks all the time.
It's like reminding myself that it supposed to be fun. It's hard some days.
Didn't Marvel get rid of smoking? Maybe the thought balloons got cleared out with all the tobacco smoke. Mostly I try to ignore the dumb shit, I'm seeing a ton of recent artists really pushing what's possible. I just got Theo Ellsworth's Capacity. Just how it starts out with a knock at the door and the narration reads " If you want to answer the door turn the page. If you don't want to answer the door close the book, sorry this isn't a choose your own adventure." that shit gets me excited to make comics.
The frustrating thing for me is so many of these new creators are putting out books outside the comic book issues that I love. And a lot of that seems to be the companies not digging for new talent.
SW: So your livejournal (and now wordpress) seems to fill this really interesting place in comics, because it's a really accurate extension of you as a creator; its kind of one part your work process, one part promotion for your friends and peers, and one part an exploration of all kinds of comics that never get talked about. English language comics are generally discussed online as either superheroes or indie/art comics (or translated manga/eurocomics) and you generally discuss a lot of things that don't fit into either of those categories. Do you think that having an active interest in comics, where you're still looking for old Bilal book covers or John Workman short stories, is important to how you work? Do you think of it as research or just trying to stay interested in comics outside of what you're drawing yourself?
With promoting other cartoonists – is it just to get your friends' work out there or do you think creating a kind of community in comics is important? I know I wouldn't have heard about cats like Simon Roy or Milogiannis without Royalboiler. You've lived in real life artist collectives with Yosh! and Dicecat so do you see your blog as just the online extension of that? Do you think having a scene is important?
BG: Part of it for me is just to remind myself just how big the art form is, and talk about stuff like Appleseed and Moebius that got me excited enough about comics to devote my life to this. Looking at other people's work is a big part of how I work.
Right now I've pulled out all the books I have that've some kind of storytelling tricks in them, stuff like maps as part of the story or choose your own adventure comics, comics that you can fold into mobius strips etc. . Looking through that stuff I'm trying to come up with things that I haven't seen done. It's both entertainment and research.
Talking about other artists comes from a similar place as all that and it's also about pushing the kind of work I want to see more of. I think as readers and creators we all have a lot of power in the kind of scene we're part of. I think a scene is so important that isn't all tied up in the industry side of comics, this is so much bigger than just making a living. This is our own culture.
One important aspect of a real scene is rewarding the good work but also having standards you want to live up to. People you trust to call bullshit and keep you on your toes.
SW: So it seems like there's a pretty strong undercurrent of autobio in a lot of your books, do you think that you have to incorporate that into your work to keep it honest or is it just something that you find yourself doing as you are writing? How do you feel about the "write what you know" maxim when everything you're doing is almost always in some kind of genre?
BG: I'm always trying to write from my own experiences even if it gets layered under the all the sci-fi/fantasy stuff. It's a really conscious attempt to put real feelings into what I'm talking about. Sometimes it ends up with me putting how I feel about fictional things or just trying to think about how It would feel to be in whatever situation but I really want some stink of truth in there.
When I was younger I used to always argue that if you can draw anything in comics why not use fantastic visuals to show everyday feelings. It's a little bit of that still but also I think that those are just the terms i think in now. I think I'm into "write what you know" but in a flexible way. I'm into writing what you know to write about what you don't know. You know?
SW: I was just looking at that 24Seven story you wrote for James Stokoe, and it was the only instance I could find where you were writing for someone else, and the Madame Xanadu story is the only one where you were working from someone else's script. I know in general you tend to work as a solo act but how did you feel about collaborating on those short pieces? How do you feel about the writer/artist/whatever divide as a person who does all that stuff on his own?
BG: I feel like those might both be bad examples of collaboration. For the 24seven story I just sat in a bean bag chair and yelled out what would happen in the story and then when Stokoe would ask what he was going to draw I wouldn't remember and have to come up with something else. I think I had so much faith in James that it felt like trying to tell someone how to eat or walk "you know how to do this right?" In retrospect I should have gone about it differently.
The DC job was just an art job, I wasn't really able to make storytelling decisions. I mean not to shit talk too much, I enjoyed drawing it and I like how the art came out but I wouldn't buy the thing.
My ideas about collaboration have changed a lot in the last few years with seeing the stuff Urasawa does with a team of assistants or how the BPRD guys work with a couple different writers and make something that feels more like a group effort. It's opened me up to the idea of collaboration as a good thing. At the same time in my work where I write and draw everything I've become less willing to collaborate. I don't have any interest in ever working with letterers or colorists on something I draw again. Not that it was awful, it was just less my own.
I'm working on a comic now with my pal Simon Roy doing the drawing. I'm trying to approach it more as 2 brains on one book rather than one artist one writer. I'm more co-writing it and I have faith in him to push the story in places I wouldn't. I don't think I could work with an artists who I didn't have faith in as a writer.
SW: Writing for Simon Roy, do you think of that as just something you haven't tried before and you want to collaborate with Simon, or is it a conscious attempt to branch out from what you are doing? How much do you think about the thing you are working on at the moment as it fits into your body of work as a whole?
Maybe a wider question – do you think when you're working on your books do you have like a central theme you've been consciously focusing on in everything you do? Or do you think that having something like that when you're going into a story is a bad idea?
BG: The thing with Simon started out as a money job for Image but I'm getting really into working on it. As much as I have to pay rent I'm hoping to not have to do it by putting out bad comics ever (again) Sometimes the kind of comics I'm doing are more about what's being thrown at me than what I would do in a vacuum. I like that, it forces change and hopefully growth.
I imagine King City would have ended differently If stuff with TP had gone differently. One of the main reasons I don't show the final big fight was that i had a set amount of issues and I wanted to focus more on what I would miss when they were done.
I only think of my body of work in terms of not wanting to get too repetitive, most of the stuff I do is going to have a lot of similar stuff but hopefully I'm not just doing the same story over and over. And working with Simon should result in new kinds of comics for me– so that'll be nice.
I could see central themes being a good thing even you allow the story to become something else, but it's good to remember what the idea was when you started something.
Something I've been thinking about a lot in writing is the unspoken deal with the reader— " if you get into this I'll try not to fuck with you."
But I also want to use reality more as a guide to what to do rather than just other fiction. I feel like it's easy to get caught up in a ton of story bullshit that doesn't actually relate to how things work in real real life. It's ok to not have closure and maybe even preferred if it makes the reader mull it over after reading it.
SW: Do you feel like that unspoken relationship with the reader is something you've got to cultivate with each new thing? Or are you moving forward with it as you go? I was listening to a Ridley Scott commentary the other day and he said that as he gets deeper into a story he can take more liberties because he's earned it with the audience. And I thought that's kind of a dangerous idea but also a powerful one for an artist to run with.
BG: I like the idea of knowing you have the trust of the readers, I was just talking to my misses about how I don't think I've got the nerve yet to entirely pull away from the things that I know work. But I'm taking baby steps, like I've been working on more serious stuff without the King City type comedy. I feel like the important thing is that the same amount of effort goes into the work.
I love that I've spent my whole life drawing comics and I still run into that feeling like–holy shit can I get away with this? recently I did a MW page where I scanned photos into it to use in a panel. And I think it worked (I hope) in a kind of early Tank Girl way, but it could have gone bad bad.
Most of the relationship with the readers for me is getting people to know that I'm going to try to not put out books that I wouldn't want to buy. Like the thing with Simon, I was joking that the ads would say "do you trust me?"
Because I do think it's a cop out a lot of times when writer/artists work as just writers. It's real easy to get all –page 7 –more fights. that's why if I'm working with someone I need them to be able to call me on shit and carry some of the writing weight as well. I was so happy when I sent Simon my first page breakdown and he sent it back with changes.
SW: When you talk about the idea of comics that haven't been done – that's kind of hard to actually achieve. Branching out of the moves you know work , and the idea that everything has been done – is it possible to actually make something new in comics? Not just in the "webcomics are the future" way, but just in paper comics – from page layouts to subject matter – is it possible to keep finding new ground?
BG: I can't say with certainty what has and hasn't been done since there's so much unseen out there but there's a hell of a lot that I've never seen tried in comics.
Emily Carrol just put out a set of zines with each one showing one page moments from a different member of a family's life leading up to a big fire. and you get different sides and different clues deepening on which zine you read. Or there's that Pat McEwan short in the back of Weasle #1 where each panel is a room and you don't read left to right — you follow individual characters. I think that idea could be pushed even farther. — you could combine both those ideas and have choose your own adventures that read what direction the reader chooses to look and have it jump books or have pages fold out like posters in it.
I had this idea for a book that starts as a Scott McCloud how to draw comics or how to do perspective or draw manga book– hosted by a guy and his beautiful assistant. 3 chapters in to a standard how book to the assistant is found dead and then the learning comics part gets dropped and it switches to a murder mystery.
Or like, I've never seen a serious comic showing the life cycle of a fungus
Even if stories come from the old roots I think doing them in new ways creates something bigger than just the root idea. plus as a reader or an artist I feel like you have to have hope for undiscovered country. You can't be an explorer that already expects every mountain to have a flag planted on it– there are still mountains on mars.
Part II – (Comics Creator) Melee Mode
Here are Brandon's reactions to a list of creator names I sent him, kind of lightning-round style.
I read a lot of Tintin as a kid. I like how he can have murder and opium dens and it'll still feel charming and for kids. I like the swirly lines he draws when someone is running or drunk.
Osamu Tezuka
I remember being a teenager and hearing that he died. I was really bummed out about it, and I'd only seen the tip of what he'd done. I like the idea that he was a dude that was so inspired by what Disney was doing that he took that and ran farther with it than Disney ever could. He's another dude who you can tell just has so much fun drawing.
Jack Kirby
I didn't read much Kirby until i was in my 20's. When I did It was like –"oh that's where everything came from". I like how much fun he was having, His take for 2001 is great where he takes the movie as the basis and then goes completely off the rails. I like that he made collages on his pages and had celebrity guests. Just a guy having great fun.
Every once in a while I'll pick up a new Fantastic 4 issue and really enjoy it and then I'll go back and read a Kirby issue and it'll ruin the new stuff for me.
Matt Howarth
I feel like Howarth in the 80's really pushed what could be done with the medium just about more than anyone. When he was doing time travel comics that folded into mobius strips and the page out of his WRAB Pirate TV where you hold it up to the light to see the subliminals printed backwards on the other side of the page.
I heard Michael Kaluta once say that Moebius is the kind of artists that teaches you how to draw just by looking at his work. I think that's true.
It seems like he's just an amazingly talented guy who was reigned in drawing cowboy comics for 10 years and then discovered the freedom of the american underground and ran with it. I feel like his work just opens up the possibilities and at the same time makes it seem easier to get there. I'm afraid to ever meet this dude, I'd kiss him on the mouth.
Kenichi Sonada
I really like that clean 80's manga style he does. and I like that he's a dude that will draw porn comics of cartoons other people hired him design characters for (along with other people's cartoons). And apparently he's hired assistants that he found doing porn parodies of his work.
Jose Luis Garcia-Lopez
I think of him as like the pinnacle of artists who work with writers. He manages to get so much personality, style and craft into his pages. His Cinder and Ashe book is amazing.
Katsuhiro Otomo
When I have to really get serious on an illustration I open up his Kaba art book to remind me how good it can get.
When I was a teenager I was so into his Akira, it's so teenage boy in all the best ways but only recently have I been able to track down his work he did before Akira and see how much he was pushing it. Like a book he did that shows a war start to finish and how it affects characters all around the world. Or his sci-fi parody called Hair where a bunch of future hippies try to bring back the common cold.
Carla Speed McNeil
I feel like her work shows how big comics can be. She does such a great example of what I was talking about earlier with clear enough storytelling over dense complex backgrounds.
Recently I got to do a panel with her at a con and took her calling me babe the way other dudes would take home an Eisner.
Enki Bilal
I love The Woman Trap. I love his way of dealing with color and storytelling. Bright blue or red hair with white skin and pipes running with rust. I like how much he gets into a 48 page book full of 3 panel pages.
Akira Toriyama
Early Dragon Ball was some of the first manga I ever got. My brother brought home a 1985 phonebook sized Shonen Jump. It was a story of Goku and a winged bat dude fighting on the out stretched tongues of 2 statues that were sitting on toilets. He even drew a stone toilet paper roll.
I'm always amazed by the ideas he put into early DB and Dr Slump. That stuff is a good argument for how well kids comics can work if you don't shy away from genital and poop jokes.
Masamune Shirow
I'm so fucking impressed by what he did in the 80's. There's still parts of Appleseed that I don't understand but I keep going back to it and finding new things to be impressed by. It's so dense and the tricks he does with story telling are amazing. I've read his books hundreds of times now and I'm still finding new stuff.
I always feel like one of the best and worst things about Appleseed is that it's about future cops in a cyborg city because it makes it's not where comic book scholars would look for amazing storytelling but also in that sense it's there for kids that want a cyborg cop comic. And then they can spend the rest of their lives freaking out about how fucking impressive it is.
Paul Pope
His work in the 90's got me so excited about comics. When he was putting out his giant Buzz Buzz-sized books there was such a cool air to his comics.
I love that inky coffee fur coat cool.
When I moved to NYC Pope's Heavy Liquid was coming out. It made the city a much more exciting place for me to find the real places he used as settings in the book.
I remember seeing Grand central and thinking "Oh shit it's that thing from Heavy Liquid and the Michael Golden picture!"
Katsuya Terada
I saw him at a San Diego con years ago I was really impressed watching him draw pictures for people. Each one was dramatically different, in one he drew a baby and then the next a guy with a guitar and then motorcycle. He just seems like a dude who loves drawing. He's like a sketchbook king.
Vaughn Bode
I think a lot about how much guys like Bode and George Herriman for how much great story they could get on one page. And also how much personality Bode put in his work.
I feel like I got to know the guy long after he died through his pages.
John Buscema
I love Conan comics and I don't think I'd care half as much about them if not for Buscema.
In my comic book brain I imagine him to be just like the Cimmerian he drew.
Naoki Urasawa
Reading his stuff changed my mind on assistants and plots.
He seems to have found a way to direct comics and even if he doesn't draw every line you can tell how invested he is in the work. It's a new kind of comics for me to read.
Adam Warren
Sometimes I feel like Warren is a dude who never caught onto how damn good his own work is. It broke my heart to see him just writing for Gen13 comics– I felt like after Dirty Pair he should have been doing Neuromancer-level sci-fi of his own.
I'm thrilled he's making Empowered now. That's one of the rare comics I will set my alarm to go to the comic store on the morning of the day it's out. It's like x mas.
Fil Barlow
Zooniverse is 6 issues that changed my whole idea about the art form. I feel like there are more ideas in his Zooniverse than 50 issues of most comics. And that coupled with how little notice the book got really ruined my faith in popular comics opinion.
I've been talking to Barlow recently, and it's been so rewarding to learn that this guy who influenced me so much is still just a cool guy who is excited to make art
Kyle Baker
I feel like he's another dude who just doesn't even know how brilliant he is. Or maybe he's just over it. It kind of breaks my heart to think that the Why I Hate Saturn dude is working on Deadpool and not even writing it himself.
I love what he did with Why I Hate Saturn and Cowboy Wally, I don't know if anything exists with more wit.
Frank Miller
I always like how in the Dark Knight he has all these little panels on a page so when he gives you a full page drawing its seems fucking HUGE. Such great pulp ninja comics.
I just reread Ronin, It's great to see him so excited about French and Japansese comics and getting that into his own work. It's always funny for me to see anything from an era where you had to explain what a samurai is.
Frank Quitely
I'm really impressed with the way Quitley shows movement and space. Before I'd read his Morrison Superman book I would had said that there was nothing that would interest me about that character.
Mike Wieringo
When I first moved to NYC I would go visit Rob Stull who was inking Wieringo's Tellos book. And I got to see Wieringo's pencils being worked on. It all seemed like a part of comics that was far from where I was.
Then later he contacted me and drew fanart for King City. I really admired how much he was interested in what was going on and still had his eyes open for new work. I would have liked to meet him in person.
Dave Sim
I like what Sim did with self publishing and just making his own world outside of the comics industry. I love that there was someone with his wit and drawing ability to be a 3rd part in the 2 sided Fantagraphics and mainstream of the time. Plus how much he pushed other people's small press comics was amazing.
I can't speak too much on his reputation as a misogynist because I still have yet to read the stuff he'd written that pissed everyone off. The whole thing does feel pretty glass house in this misogynist industry.
The Raphael one shot with the black and red cover was one of the first comics I remember buying for myself. I didn't even know how much they were playing off of Miller's DD stuff.
And in the end it seems like they created something new. Plus whether or not it all worked out, I think they used their powers for good once they got the loot.
Hugo Pratt
I've only read about 3 issues of his Corto Maltese, it's fun adventure comics.
He's a dude who I've built up some respect for by just seeing how many artists I respect love him. But I haven't delved deep enough myself yet.
Dylan Horrocks
I think about Hicksville a lot, I feel like it exists in how many great comics are out there that I have yet to see.
There's a great Inkstuds interview he did that I bring up as why sane people shouldn't work in super hero comics. A bunch of writers had to plot how some fictional teenager was going to be killed. He talks about being creeped out by being in a room full of grown men all talking about murdering a little girl.
Jose Munoz
There's this trick I do that I got from Munoz where mid comic conversation he'll show a far away shot with its own story going on. His use of blacks is so cool. I love Sinner.
Ralph Bakshi
Wizards was like my gateway drug into Vaughn Bode. Years ago some of the Meathaus dudes took me to meet him when they were taking his class at SVA.
He walked in the room and said "I just threw my back out in the crapper" Like he just stepped out of one of his own cartoons.
Wendy Pini
Elfquest was huge to me growing up. I read the collected books backwards 4-3-2-1 It worked nicely like that. Like TMNT It seems like they took the Conan magazine stuff and ran with it to new places.
Milo Manara
He's another dude I feel like the early work that he's less known for is the stuff that has blown my mind the most. I love his Bergman books where he's really pushing the medium. Like where he shows the teenage girl narrator and have her talk about how the reader would think of her different if she was just drawn slightly different. plus just his ability to use such simple pretty lines on everything.
Jamie Hewlett
Like Pope, he's another guy that makes comics that are cooler than Rock & roll.
I like how he would just throw photos onto Tank Girl pages or just have British celebrities I'd never heard of show up. When I was a kid I assumed, like Zooniverse, that he was Australian and it made that place seem like the best comic spot on earth.
His whole attitude about how to treat your art has taught me so much. I'm into longevity and making the community you're in the best it can be.
I always think about his "Health, Wealth, Self" song. Where he talks about 3 lessons to longevity, (1) "if it ain't fun, you're done" (2) make sure you got a dope crew. And (3) have other ways of gettin' money so your longevity isn't based on sales and so you don't have to choose what work you do based on how much they pay.
– – –
(all photographs via Graham's blogs)
- Brandon Graham, Sean Witzke, July 2011


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The Alex S. Abate Family History PageUpdated April 16, 2008 |
Lisa Marie Abate
6915 Academy Trail
Rockford, Illinois 61107
United States |
I began researching the Abate Family history when my father-in-law's Alzheimer's disease prevented him from living in the present moment. Going back in time allowed him to be free from the confusion of everyday life. It brought him joy to speak about his mother, father and brother's and sisters. Through this journey of his past he shared many wonderful stories. Many of which I hope to post on this website someday. He has since passed away but my family research continues on, as a small tribute to a wonderful man we all loved, Alex S. Abate. |
My Family History |
The content shown on this page has been submitted by a Genealogy.com customer, and is not subject to verification by Genealogy.com. Neither Genealogy.com nor its affiliates are responsible for the accuracy of any information contained on this page. The opinions expressed on this page are the author's alone and not the opinions of Genealogy.com.
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TriColumbia And You Can Make A Difference!
As a non-profit 501(c)(3), TriColumbia not only makes a difference for participating athletes by providing superior events and memories to last a lifetime, but also gives back to our community by supporting many local and regional charities, which provide a full spectrum of support for citizens in need. TriColumbia donates both in direct monetary contributions, as well as by providing fundraising team racing opportunities for charities. The majority of race fees are tax deductible to the fullest extend allowed by law.
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Record Sports Time Capsule
May 1, 2003 (GRAND FORKS)— Six Emmons County players have been selected to play in the 30th Annual Shrine All-Star Football Classic. Steven Weber (TE-CB), Brent Ohlhauser (RB-LB) and Jeremy Bitz (OL-DL) of Linton-HMB; and Brian Dykema (TE-LB), David Van Boven (QB-SS) and Matt Reiner (RB-LB) of Strasburg-Zeeland were selected to play for the 9-Man West team. Ohlhauser and Dykema are three-time Class B All-State selections, while Weber, Bitz and Van Boven were each selected to the 2002 Class B All-State team. Linton-HMB Head Coach Dan Imdieke will be the head coach for the 9-Man West team, and he will be assisted by Kevin Dockter of Underwood, Jamie Krenz of Flasher-Carson, and Randy St. Pierre of Trenton-Williston Trinity Christian.
April 29, 1998 (LAMOURE)— The Linton Lady Lions shot a 404 to capture the team title in the LaMoure Invitational Girls'Golf Tournament. Linton's Lacey Carr was the individual Medalist with a 93, and Katie Carr was the runner-up with a 96. Brittany Sedler of Griggs County placed third with a 97, followed byArika Wetsch (98) of Ashley and Kari Bitz (100) of LaMoure. Other Lady Lion golfers were Mary Praus (106), Heather Benz (109), Nikki Jahner (110) and Amanda Dockter (118).
April 30, 1978 (LINTON)— Linton won 10 of 15 events and scored 88 points to capture first place in the Girls' Division of the Linton Invitational Track Meet. Individual champions for Linton included Laurie Humann (long jump and high jump), Lora Schumacher ( 440- yard dash), Linda Bauman (880-yard run), Rita Jacob (mile run), Carmilla Oberlander (110-yard hurdles) and Mary Hogue (discus). Linton also won titles in the 440-yard, 880- yard and 880-yard medley relays. Hazelton won the mile relay, and other individual champions were Sheila Wald (100-yard and 220-yard dashes) and Sue Salwei (javelin), both of Zeeland, and Debbie Burgad (shot put) of Napoleon. Napoleon scored 68.5 points to win the team title in the Boys' Division. The Imperials won all four relay events, and had individual champions in John Horner (100-yard and 220-yard dashes) and Gregg Becker (high jump and pole vault). Emmons County athletes who won individual titles in the Boys' Division were Fred Brown (440-yard dash, 880-yard run, and mile run), Brian Rudy (shot put and discus) of Linton, Mark Fischer (javelin) of Hague, and Wally Seibel (330-yard hurdles) of Hazelton. Other individual champions were Mark Dempsey (long jump) and Todd Wangler (110-yard hurdles), both of Wishek.
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Anti-Redskins Ad Airing During NBA Finals
Controversy surrounding the Washington Redskins team name continues. The team and the NFL are still refusing to change the name.
Ravens Kicker Justin Tucker Turns His Talents To Maryland Racing
He's quickly become a fan favorite in Baltimore, not only for his work on the gridiron but in the community as well.
Thursday, Feb. 6, 2014
Don and Marty had "Coffee With" Raj Suri, the winner of the Doritos Super Bowl commercial contest. Ron Matz had "People Are Talking" about Disney on Ice.
Wire Down! Baltimore Co. Students Create Their Own BGE Commercial
Students in Baltimore County create and star in their own commercial, and it's paid off.
AACO Police: One Man Crime Wave Now Off The Streets
The suspect being called a one man crime wave in Anne Arundel County is now behind bars.
Vote For Your Favorite Doritos Commercial
A man from Ellicott City is a finalist for Doritos' annual $1 million Super Bowl commercial. Click on the link to see the commercial and vote.
Hopkins Study Finds Too Many Youth Are Exposed To Alcohol Ads
Too many young people catch too many alcohol ads on TV. It's a trend Hopkins researchers say is on the rise and shouldn't be.
A Man For All Seasons: Ravens Kicker Justin Tucker Shows Off Opera Voice
The Ravens' Justin Tucker is known for his booming kicks, but in a new ad for Dr. Pepper, he shows off his booming opera voice.
Chesapeake College Hosts Commercial Fishing Forum
Chesapeake College will host a symposium on the economic impact of the commercial fishing industry.
Companies Spend Big Bucks For 30 Seconds Of Super Bowl Fame
A lot of people tune in to the game just to watch the commercials.
Vincent Farm Elementary Wins Top Prize For BGE Safety Video
Recent storms in Maryland downed thousands of trees and power lines. It's a dangerous problem BGE recently asked local elementary schools to take on.
Behind The Scenes: NFL Quarterback Peyton Manning's New Buick Commercial
Does Peyton Manning fit in with the Verano's mission of exuding pure luxury?


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The Vaughan-Carter-Hall-Payne-Reynolds-Morrow Home PageUpdated February 16, 2001 |
William Carter Reynolds 3244 N. Rogers Springfield, Mo. 65803 A-United States 417-833-1513 email@example.com |
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I am researching the family of Jeremiah Carter b. Feb. 20, 1803 in Boscauen New Hampshire to Nathan and Sarah (Clement) Carter. On March 27, 1825 he married Emaline Morrill b. Feb. 1, 1810 in Danville, Caledonia Co. Vermont. This marriage produced eleven children, (see report for names) of July 9, 1852 Emaline died in Peacham VT. and is buried there. On Sept. 25, 1853 Jeremiah married Mary W. Richardson. On July 17, 1854 Mary died during childbirth and is buried alongside Emaline in Peachum with infant daughter Abby Jane. In 1856 Jeremiah along with sons Amos Morrill, Hazen Blanchard and Fernando Jeremiah and daughter Martha (listed in 1860 Ark. census as incompentent) moved to Clarksville, Franklin Co. Ark. where he bought a farm. Jeremiah died Feb. 1, 1863 in Ark. but no record of buriel exist.The full record of names, dates and places follows this introduction. Would like of share information with anyone connected.William Carter Reynolds~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~I am researching the family of Beverly Vaughan b. 1812 in Mecklenburg Co. VA., he had a twin sister Elizabeth who's married name was Bowen and was living in Rural Hall, Forsyth Co. NC. in 1889. He also had brothers John b. 1814 and Winkfield H. b. 1824, he also had a sister Nancy and possibly twin brothers Ledford and Bedford b. 1804 or 07. Beverly married Almiria Jane Hall, daughter of Pleasant and Cynthia (Grimes) Hall, in 1839. They had two children born in Halifax Co. VA., Elizabeth b. 1840 and Robert Allen b. 1842. In 1843 Beverly moved his family along with brothers John and Winkfield to TN. and settled near Lookout Mt. and Chattanooga where two other children, Joseph and Caroline were born. In 1847 they all moved on to Missouri where they settled in Greene Co. about 8mi. N. of Springfield near the community of Ebenezer.Would like to hear from anyone with connections to these Vaughan's.William Carter Reynolds |
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by americanleagueroto » Fri Jan 11, 2013 12:57 am
sfjb wrote:First pitcher off the board is Kershaw and not V-Lander...hmmmm.
by americanleagueroto » Fri Jan 11, 2013 1:11 am
by GiantsFan14 » Fri Jan 11, 2013 1:27 am
by ayebatter » Fri Jan 11, 2013 2:38 am
GiantsFan14 wrote:Busterrrrrrrrrrrrrr
by jonboy418 » Fri Jan 11, 2013 9:21 am
by J35J » Fri Jan 11, 2013 9:28 am
jonboy418 wrote:So now that we've passed the first round, what was everyone's thought?I originally said there was 8-10 first rounders and all of them went. I'm on the fence with Kemp, McCutch and CarGo. Mostly injury risk / track record.I feel the surefire first rounders should be:Trout, Braun, Miggy, Cano, Fielder, Pujols, and Votto.Three things surprised me:1. Fielder slipping to #112. the Kershaw pick. I don't have the guts to take a pitcher in the first round at all.3. the Posey pick. After Posey, there's a significant drop off but so much depth beyond the top 3 catchers. I just can't justify a catcher in the first round either. Posey will ultimately have to fall to me in my draft to warrant a high draft pick.
by Pogotheostrich » Fri Jan 11, 2013 10:04 am
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Kim and Kanye are so excited to welcome a baby together, but experts tell HollywoodLife.com EXCLUSIVELY that Kimye should plan on tying the knot ASAP for the sake of their baby.
Kim Kardashian and Kanye West have been officially dating for less than a year, but they are already going to be parents — and Kim's divorce from Kris Humphries isn't even finalized yet!
But even though Kim is tangled up in legal marriage drama of her own, Dr. Gilda Carle, relationship expert and 30-Second Therapist on the Today Show, revealed to HollywoodLife.com that Kim and Kanye should establish a secure, long-term relationship for the sake of their child.
"If two people have signed on the dotted line for commitment, that vibe of security and longevity will translate to their child," Dr. Gilda said.
Dr. Carole Lieberman, Psychiatrist and author of Bad Girls: Why Men Love Them & How Good Girls Can Learn Their Secrets, agreed.
"Ideally, people should be married before they have babies, but they should at least both be planning to spend their lives together," Dr. Carole said. "If they are both honestly in love with each other, then it would be good to get engaged now."
However, Dr. Carole also added that they shouldn't get married just because she is pregnant, unless they truly love each other. Otherwise, it will make the problem "worse."
Kim Needs To Move On From Her Divorce Drama From Kris
Although Dr. Gilda said that marriage isn't 100 percent necessary for good parenting — "a piece of paper will not make parents better at parenting" — Kim needs to settle her divorce from Kris as soon as possible, to "tie up old memories and focus on her new baby."
"The stress of Kris Humphries still in her life will be a burden she does not need now," Dr. Gilda revealed.
We hope Kim and Kris settle their dviroce drama too — and she can move on with her new life with Kanye!
What do YOU think about Kim and Kanye getting married soon HollyMoms? Do you think that's best for their baby?
– Christina Stiehl
More Kim Kardashian & Kanye West baby news:
- Kim Kardashian & Kanye West Want To Marry Right After Her Divorce
- Kanye West Cried When Kim Kardashian Told Him She's Pregnant
- Kim Kardashian Hugs Kris Jenner As Kanye West Announces Pregnancy
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Posted at 6:58 AM on January 2, 2013
Some of guys are full of hate. Kim is going to be a bad mother? Just mere speculation, based on your obvious negative opinion of her. Why did you guys even click the link in the first place? You should be happy for Kim, a loving man, and soon, her first baby. Anything to tear her down! Since Kourtney recovered quite quickly from giving birth, there's no reason to think Kim won't do the same.
Posted at 12:39 PM on January 3, 2013
Posted at 5:55 PM on January 3, 2013
Gina, she had allergies to the cat, so she got rid of it. The cat died in someone else's care. Last I checked, you can't have allergies to your own baby. A nanny? How do you know this? I have a feeling Kim will be doing much of the work herself. No reason to think she'll be a lousy mother.
Posted at 1:32 AM on January 2, 2013
Posted at 12:40 PM on January 3, 2013
Natalie, Wow, you are the one that was raised with no love…seems like most people on here are not on your side. What Denise said is 100% correct, and what does what she said have to do with having no life? It doesn't take more than a couple of seconds of time to come up with what she said.
Look I am not a big Kardashian fan but I am happy that Kim finally has something she has wanted for a long time despite still being married to Kris H. No one is perfect. I know what it's like to want children. I always wanted a big family. I was very lucky to have 3 great boys before I lost my husband and we didn't start out with the conventional marriage in the beginning. NO ONE is perfect. Give them a break. I know she must be over the moon. HOWEVER, I only ask for one request from the baby's daddy.. Damnit Freaken "SMILE". You NOW have something to be happy about. To Kanye – get rid of that smug mug.. Your life is about to change for the better.. If you are that miserable that you can't smile for pictures and act happy, then get help.. AMEN! :-)
Posted at 11:39 PM on January 1, 2013
Posted at 3:18 PM on January 1, 2013
Posted at 1:20 PM on January 1, 2013
Posted at 12:41 PM on January 3, 2013
Posted at 1:12 PM on January 1, 2013
No point in getting engaged when you are not yet divorced. Based upon Kim K's latest marriage failure, they should actually do the exact opposite of what this article suggests. Establish the secure relationship before marriage, instead of attempting to do so only after the marriage. Kourtney does just fine raising her children without a marriage.
Posted at 12:26 PM on January 1, 2013
I can't wait to see her reaction to the weight gain from the baby. She's gonna get huge since the results from all her injections are gonna get saggy. Can't wait to see that. She will probably go into hiding then reappear with a perfect body 3 months after the baby is born on a multi million dollar deal on a magazine cover… which Kris has probably already arranged. That family is such a joke. She will be a horrible mother. At least kourtney is a hands on mom. Kim will probably go for weeks on end without seeing her baby because of her so called work. Poor baby.
Posted at 12:37 PM on January 1, 2013
Wow!!! you really have no life do you? that is what you are thinking about? You are a joke, how can you come on here and say someone will be a horrible mother? clearly your mother did not do a good job of raising a sane normal human being so your Mother was a failure and that is FACT based on your comment. That baby will have more love than you ever did, clearly you are lacking something because people that have hatred in them for others the way you do, are lacking in several things. Worry about why you are so freaking f*cked up in the head that the first thing you are concerned about in a new year is how someone else pregnancy will turn out. You sad, sad person. Hopefully you don't have kids and never have any they will be hateful, digusting pieces of sh*t if they are being raised by a nasty person like you. Seek therapy.
Posted at 1:39 PM on January 1, 2013
Posted at 11:31 PM on January 1, 2013
Posted at 12:38 PM on January 3, 2013
Posted at 1:05 PM on January 1, 2013
Ditto, I can't wait to see KK blow up like a marshmellow and wobble around in her 5 pounds of makeup and fake hair. Only downside is having to hear her "look at me!" squeals for attention until she gives birth and then we'll mercifully have a few months of silence before her weight-loss magazine cover :P
Posted at 1:18 PM on January 1, 2013


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Agencies told to take closer look at green buying
OFPP issued a new memo encouraging departments to consider if the product or service they are buying meets sustainable standards. The memo is another in a series of directives to green the government.
Building "Green"
Richard Knight, principal/vice-president of Aercrete Advantage LLC, joins host Mark Amtower to talk about the work being done by his company.
October 3, 2011
Report: Labor Dept.'s green jobs program fell short of goals
A $500 million Labor Department program designed to train workers for green jobs has come up far short of its goals, with only 10 percent of participants finding work so far, the agency's assistant inspector general has found.
Top 10 agencies with telework issues
How does your agency compare to others when it comes to allowing employees to telework? The latest Federal Employee Viewpoint Survey gives some insight.
DoD alternative energy investments to exceed $10B by 2030
DoD is one of the largest energy consumers in the world but is a leader in developing and using alternative fuel sources.
Energy's Solar Decathlon features green homes
This might not be the best weekend for it weather-wise, but the Energy Department's solar decathlon is running on the Mall this weekend.
Agencies 'on right track' in sustainability efforts
Daniel Fiorino, an American University professor and author of an IBM Center report on the 2009 executive order mandating sustainability, joined the Federal Drive to discuss the green efforts a little less than two years later. In his report, he said agencies could learn from the private sector's sustainability efforts.
GSA adds nearly 600 small IT businesses to new contract
The General Services Administration has named 599 small disadvantaged firms to its 8(a) STARS II contract. The governmentwide IT contract, with a ceiling of $10 billion, is bigger and broader than its predecessors.
DoE to give DoD a leg up in using alternative energy
The Defense and Energy departments are starting two new joint research and demonstration projects intended to help DoD become less reliant on petroleum.
How to save $585 million and green the government
Staying $585 million under budget is a major accomplishment for any agency. But, as Federal News Radio's Francis Rose found out, GSA's Bill Guerin did just that.
DoD to treat energy as a critical military capability
The Defense Department says it's committed to changing both the way it uses energy and the kinds of energy the military uses.
Postal Service reduces greenhouse gas emissions
The U.S. Postal Service (USPS) reduced the amount of carbon dioxide it emitted by more than 1 million metric tons. Federal News Radio asked Emil Dzuray, acting chief sustainability officer, to explain how the agency pulled it off.
95 percent of all new contracts must be green
FAR Council issues an interim rule to change the acquisition regulations. Agencies and contractors must start meeting new requirements for goods and services.
BRAC side effect: Greener buildings
Because of mandates requiring new DoD buildings to meet minimum requirements for environmental design, tens of thousands of Defense employees are making moves from older, energy inefficient buildings into greener ones.
AFCEA Bethesda hosts 2nd Annual Energy IT Day
Steve Krauss, president of AFCEA Bethesda, talked to Federal News Radio about the event and some of the big issues that were to be discussed.
PBS explores new ways to utilize work space
Lance Davis, program manager of the Design Excellence Architecture program in the Public Buildings Service at the General Services Administration, tells Federal News Radio about new ways GSA is looking at office space.
GSA works with contractors to increase energy efficiency
Nancy Gillis, the director of the Supply Chain Emissions program management office at the General Services Administration, tells Federal News Radio how it's working with contractors to increase their energy efficiency.
Agencies release first sustainability scorecards
The scorecards provide a benchmark on agencies' progress to meet the mandate. Each agency will update its sustainability plan based on its scorecard performance, according to a joint statement from the Office of Management and Budget and the White House Council on Environmental Quality.
GSA, HHS to green concessions in fed buildings
The two agencies plan to implement healthier foods and sustainable options at all concessions in their buildings.


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It's been a long time coming, this spring. It teases us with warm mellow days, then throws us back into nippy temperatures. But Chick Day, held at Main Street Feed, Durham, on April 17, gave us all hope. The owner of the feed store, Brenda Eddy, had ordered 400 chicks, all chirping away, awaiting good homes. All reminding us of life renewing itself.
Eddy has been hosting Chick Day for the past 30 years. She orders the chicks from a hatchery in Iowa, and holds them for a couple of days to make sure they're healthy before placing them. The stress of being shipped, and outside temperatures, can affect them adversely.
People must buy a minimum of six, to discourage buying them as Easter presents for their kids. "I have a sign saying they're not for your kids' Easter baskets," she said. "People think they're so cute, but months from now there will be lots of rabbits and chickens looking for new homes. Chicks and bunnies are a commitment for several years. They're not presents." Between pre-orders and walk-ins, she has never had any chicks left over.
Though chicks seem to be synonymous with Easter (could it be all those peeps we ate growing up?), Eddy says there's no connection. It's a matter of timing. Chicks need to be kept warm for at least eight weeks before they go outside, so a March birthday will bring them to May, and warmer temperatures, for their outside ventures. People also buy chicks now because they will be full-grown and laying eggs by September or October. "They need 14 hours of daylight for producing eggs," Eddy said. "If you wait longer than that, they won't be laying eggs because it will be winter."
The most important things to remember regarding care of the chicks, Eddy says, is to give them heat, water, food, and do not handle them a lot.
Eddy herself has 20 chickens behind her store. "Chickens are great," she said. "You name them, they come to you, they're personable. They become pets."
Lloyd and Susie Blair, of Middlefield, bought 12 chicks on Chick Day. "We have nine old girls at home," Susie said, "who have seen better days." They have chickens for the eggs. "They're better for you than store-bought eggs," Susie said. "They're fresher, richer-tasting, they have a brighter color," Lloyd said. "Eggs can be up to 60 days old in the supermarket."
"This is only my second Chick Day," Susie said. "Before that I had never seen a chick. They're so small and fluffy. If they could stay babies they'd be my best friends."
"It's exciting to come to Brenda's and see all the chicks," Lloyd said. "We're always wanting to learn more about them, and wanting to raise them to their full potential. Brenda gives us a lot of helpful information. She's the chicken guru of Durham."


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Serie A - Paper Round: £60m could land Alvaro Morata for Arsenal or Liverpool
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From Wikipedia, the free encyclopedia - View original article
This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. (August 2012) |
Werner of Oberwesel (also known as Werner of Bacharach or Werner of Womrath; b. 1271 in Womrath, Hunsrück; d. 1287) was a 16-year-old boy whose unexplained death was blamed on Jews, leading to revenge killings of Jews across Europe. He was venerated as a Christian saint, and his memorial day was 19 April. "Saint Werner's Chapel" in Oberwesel on the Rhine was established in 1289 and became a popular pilgrimage site. His veneration prompted other allegations of alleged Jewish crimes such as Host desecration and ritual murder.
Werner came from a poor background. On Maundy Thursday 1287 his body was found near Bacharach. Certain Christians blamed his murder on the Jews, claiming that they had used his blood for the Jewish ritual of Passover (the blood libel against Jews). Similar anti-Jewish legends were widely circulated in the Middle Ages.
The alleged murder was followed by a wave of pogroms against the Jewish Community. Violence spread from the Middle Rhine to the Moselle and the Lower Rhine region. The Jewish community turned to King Rudolf I, who was convinced the accusations were groundless. He fined the murderers of Jews and ordered the burning of the corpse of Werner to prevent any further veneration.
The royal instructions to burn Werner's body, to prevent any further veneration, were not followed. Werner was buried on 30 April 1287 and alleged miracles began to be reported as the veneration spread as a martyr cult. The Cunibert Chapel in Bacharach was expanded beginning in 1289 to become the present Saint Werner's Chapel. The planned expansion of the chapel into a large church remained unfinished after 1338. A further construction[when?] also failed owing to the decline of the veneration of martyrs[citation needed] and shrinking revenue to the church from pilgrims.
The 1338 Latin legend alleges the Jews hung Werner by his feet. Then they had him thrown into the Rhine. At the point in Bacharach where the body was supposedly washed ashore, Saint Werner's Chapel was built. A second sanctuary was built in the Chapel of the Holy Spirit Hospital of Oberwesel, 7 kilometers downstream.
Count Palatine Ludwig III aspired to a revival of the cult. Canonisation from 1426-1429 brought formal recognition. The chapel was finally completed.[when?] After 1548 some of the relics were transferred to Besançon, spreading the Werner mythology.
Although the chapel was destroyed in the 17th century, Werner was venerated in the diocese of Trier until 1963.
In iconography Saint Werner is depicted with a sickle as well as a shovel and pan. He has been acknowledged as a patron saint of winemakers.
In 1963 Saint Werner was removed from the calendar of the Diocese of Trier, but "Saint Werner of Oberwesel" still appears in German directories of saints.[citation needed] The chapel dedicated to him alongside the town wall facing the Rhine, which had been in ruins, was renovated during the pontificate of Pope John XXIII, and a plaque added, with a text implying recognition of the wrongful accusation of the Jewish community.


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Secretary of State: Libertarian Jan Brooks won't appear on recall ballot
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This Tuesday Formula One racing will swing back into action after a short winter break with the much-anticipated first pre-season test of the year in Jerez. Testing has always been a hugely important part of every F1 teams preparations, but theres added intrigue ahead of the four-day Spanish session as its the first time the new generation of 1.6-litre turbo cars will officially turn a wheel in anger
Who will be there?
Red Bull, Mercedes, Ferrari, McLaren, Force India, Sauber, Toro Rosso, Williams, Marussia and Caterham will all put their new cars through their paces in Jerez. Can you spot the notable absentee? Its the team that finished in fourth place in last seasons constructors standings: Lotus. The Enstone team - who were convinced other teams would also miss the test - say that attending the Spanish session isnt ideal for their build and development programme, but what does this really mean? In the past, teams have left it late to begin pre-season testing when theyve wanted to either spend more time in the design studio or keep an innovation up their sleeves for as long as possible. But with the amount of new technology being introduced this year Lotus wouldnt have taken such a risk - for one reason or another, it must be assumed that they are simply behind schedule.
Why the Jerez test is important
The teams only have 12 days to test before Marchs season-opener in Australia, so Lotus have effectively cut their pre-season running by a third in missing the opening Jerez session. Whilst theyre busily piecing their new E22 together back in their factory, the teams and drivers that are out on track in Spain will not only be honing reliability - a hugely important factor in this year of change - theyll also be gathering valuable performance data about their new cars.
There is an incredible amount of new technology that the teams and drivers need to get their heads around, from both an engineering and a driving perspective: the brand new power unit and its complex energy recovery and cooling systems, the revised aerodynamic package, the new electronic rear braking system, the unfamiliar eight-speed gearbox and the 2014 specification tyres, to name but a few things.
All being well, the teams will also begin to work on race simulation runs and experimenting with how best to manage the limited amount of fuel theyll have at their disposal in this year.
Of course, Lotus wont just be sitting on their hands. Theyll be undertaking a substantial amount of simulator work, plus theyll be able to glean some information about the new power unit from Renaults other customers at the test (even though each installation is different).
They can also take heart from the fact that running in Spain is likely to be heavily interrupted by red flags for technical problems and that anything the teams learn about the new Pirelli tyres must be taken with a pinch of salt - Jerezs surface is notoriously abrasive and unlike anything raced on throughout the year. Also, temperatures are likely to be extremely low in Spain, and much more representative in Bahrain for tests two and three.
What to watch for
Its always difficult to decipher that much from testing - teams run to different programmes, have different aims and objectives, and will inevitably run with different fuel loads or engine maps. So whilst lap times are interesting, they can also be very misleading. Often the best way to read how well a team is progressing is via body language or by the looks on the faces of the drivers and senior team personnel!
As mentioned, with so many new systems on the cars, reliability is likely to be a huge factor this year, particularly in the early part of the season. Red Bull team principal Christian Horner has gone as far as saying that he wouldnt be surprised if half of the field retired in Australia, so it will be interesting to see how many laps each team can accumulate in Jerez. If a team manages to lap consistently without problems, they can worry less about reliability and focus more on making their car go quickly, rather than simply trying to make it go at all
For tickets and travel to 2014 FORMULA 1 races, click here.
For FORMULA 1 merchandise, click here.


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Hard Knock Radio, for December 26, 2008 - 4:00pm
Hard Knock Radio - Without Walls. Paul Mooney - December 26, 2008 at 4:00pmIt is the last Friday of the month which means Without Walls takes over the HKR Airwaves. Later in the show Davey D speaks with comic legend Paul Mooney is who is in town 12-26 until New Years doing a series a shows at the Black Repetory Theatre in Berkeley for his new show "Blackman in the Whitehouse.
More from this show: About the Show | Archives of this Show | Playlists from this Show


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Are you best friends with the people you work with? It can happen, and it can be just great.
The 2006 AIA/HUD Secretary's Housing and Community Design Awards winnowed a pool of 80 entries to declare three winners.
Paolo Soleri—the intrepid architect, urban planner, and visionary—has added another honor to his long list of accolades: a Lifetime Achievement Award from the Cooper-Hewitt, National Design Museum.
Few New York City apartments enjoy the luxury of unobstructed views in three directions, but this 5,000-square-foot loft—a recent residential architect design award winner for architectural interiors—does.
Nearly 1,500 square feet of storage space atop a bakery and parking garage was the starting point for this apartment by Robert M. Gurney, FAIA. Along the way he also had to contend with the historic Washington, D.C., neighborhood's building restrictions—n
I remember being intrigued by a story one of my design teachers told me in the early 1980s, after a trip to Japan. He'd been meeting there with a potential client for more than two years when he finally realized no legal contract was forthcoming. It turne
Shalom Baranes, FAIA, first crossed paths with Shaun Benson-Frazier on an American Red Cross project about four years ago. Benson-Frazier, an architecture-trained black woman, was managing the design and construction of the organization's new headquarters
Donald King, FAIA, a black architect in Seattle, founded his firm in 1989, but he never wanted it to carry the "minority-owned business" banner. Like everyone else, he wanted his work to speak for itself.
Anyone wanting to quickly sum up the principals of Pugh + Scarpa Architects could take a look at the parking lot of their office in Santa Monica, Calif. Lawrence Scarpa, AIA, drives a pickup truck, consistent with his bold, unpretentious personality. Ange
You'd be surprised where and what you can build when you think on top, between, and inside the boxes.
Kevin Defreitas Architects, AIA: Tangent lever designed by architect Robert Watson for Lockwood.
Kevin Defreitas Architects, AIA: Ribbon font from Gemini Signs.
Kevin Defreitas Architects, AIA: Aluminum doors from The Sliding Door Co.
One of the strongest building materials is also a tremendously flexible, decorative spec.
Architecture school can inspire fast friendships or fierce rivalries. Fortunately for Jim Poteet, AIA, and Patrick Ousey, AIA, shared studios at the University of Texas at Austin made them great pals. So when Poteet found his fledgling firm inundated with
William Adams Architects has made its name designing small, innovative multifamily infill. So when charged with creating a six-unit condo building for a tight site near its Venice, Calif., office, the firm knew just what to do.


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Two of today's most clicked on listings in Oakland are 5849 Buena Vista Ave. listed for $1,450,000 and 5964 Margarido Dr. at $1,895,000. (For some reason the Buena Vista listing says it's in Alameda, but the address is in Oakland Hills address.) Both were listed in my blog on the hidden stairways of Oakland and are located in Upper Rockridge. 5849 Buena Vista is a 3455 sq.ft. 3Bd/3.5 Ba. When I first saw the photo of the exterior, I was intrigued and wondered if it was built in the 1930′s under the influence of the Bauhaus school of thought (no, NOT the band, to all you 80′s ex- punks who were wondering– you know who you are). Looking up on Zillow however, I found that the house is a recent construction (1994). It still may have been influenced by Bauhaus though, consciously or unconsciously. Anyone know who the architect is for this home? Another interesting thing to note about the house is that it sold last August for $1,780,000, so if someone bids asking price they would save a cool $330,000. Not bad. 5964 Margarido is a 4105 sq.ft. palatial 6Bd/4Ba Mediterranean style home, also built in 1994. While it sold in 2000 for under it's current asking price of $1,895,000 it has taken a price reduction of at least $155,000 (was listed at one time for $2,050,000).
Both homes have been on the market for just over 40 days. While both are big, beautiful and boast gorgeous views, part of me is wondering how they will fare in this market. While East Bay homes over $1,000,000 are still selling, sales are consistently slowing down. I'm curious as to whether in the luxury home market of the Berkeley and Oakland Hills there is any correlation between age of the home and the number of days on the market since the older homes (pre-1940′s) tend to have more character and are often in just as great shape (if not more so) than new construction homes. But this is probably just my bias since I prefer the original craftsmanship of the Arts and Crafts movement.
If you decide to see these, make sure to try and find the stairwells near them and let me know what you think.


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A graphic representation of exactly what the FREE signed bookplate looks like for everyone who preorders Jeneration X in the next few weeks.
Not pictured: the nine thousand blurry photos I tried to take of Libby posing with the bookplate first.
Loki came in the room, nailed ten shots in a row, and then was all, "THAT'S how you do it, kid," before sauntering off to his limousine full of bitches.
Libby was duly chastened.
Anyway, if you'd like one of these limited edition hand-signed bookplates (dog fur optional) then simply preorder Jeneration X from your favorite retailer (e.g. Amazon, B&N, Books-A-Million,IndieBound) and fill out this form.
I guarantee receiving your bookplate will be easier than making a sticky-paper-covered pit bull sit still.
(Then again, so are quadratic equations.)