text:
IRS Releases "Extra Points" about 2011 Tax Returns
by AccountingWEB on printer friendly
By Ken Berry
Well before this year's Super Bowl, the Internal Revenue Service (IRS) has kicked off the 2012 tax return season with a series of five new Fact Sheets that were released the first week of January. In them, the IRS relates recent changes, improvements, free services, and other issues that are relevant to both taxpayers and practitioners. Here's a brief summary.
In an article published by AccountingWEB on January 4, we informed our readers that in FS-2012-1, the IRS announced that 2011 federal income tax returns don't have to be filed until Tuesday, April 17, 2012. The article also discusses e-file and Free File, IRS assistance options, a new virtual service pilot program, and more.
Also of significance in FS-2012-1: capital gain and loss transactions must now be reported on new Form 8949. Schedule D is to be used only as a summary sheet. In addition, Form 1099-B, issued by brokers, will show the taxpayer's basis in some instances, making it easier for taxpayers to fill out Form 8949. See the instructions for Form 8949 and Schedule D for details. This new reporting rule is being phased in over three years.
The Fact Sheet also includes reminders relating to homebuyer credits, energy credits, the alternative minimum tax (AMT), standard mileage rates for travelers, and other tax items of note.
In this Fact Sheet, the IRS points out the wide range of free services it currently offers, many of which are available online and by smartphone. The IRS website has been updated to make it more user-friendly, and it provides visitors numerous links to forms and instructions for filing taxes.
With the IRS providing easy access to a wealth of information, it's up to you to go the "extra mile" to show why taxpayers should use your services this year. Don't miss opportunities to tout your expertise. One marketing idea is to send your own "reminder" to clients and prospects as soon as possible.
The IRS is increasing its use of social media to communicate about various tax initiatives, products, and services. These social media platforms include a phone application – IRS2Go – as well as YouTube, Twitter, and Facebook. Short audio files and transcripts can be found in the Multimedia Center and as podcasts on iTunes. Next year, the IRS plans to offer even more features for its IRS2Go phone app. The app is free and available for iPhones and Androids.
According to the IRS, e-filing with direct deposit remains the fastest way for taxpayers to receive their refunds. Refunds are generally issued within twenty-one days or less if the return is filed accurately and no review is needed. But the IRS says it's increasing scrutiny of tax returns in an effort to detect fraud, so delivery may be delayed slightly. Taxpayers can check the progress of their refunds by using the "Where's My Refund" tool on the IRS website or the IRS2Go phone app.
Finally, the IRS has issued some tips on choosing a tax return preparer. It recommends that taxpayers obtain the following information:
- The tax return preparer's qualifications.
- The tax return preparer's history with the Better Business Bureau or any disciplinary actions and licensing issues with the state boards of accountancy for certified public accountants, the state bar associations for attorneys, and the IRS Office of Enrollment for enrolled agents.
- The tax return preparer's fee structure.
- The tax return preparer's availability in case any questions arise.
As a professional tax return preparer, you must sign any returns you prepare, include your Preparer Tax Identification Number (PTIN), and give the taxpayer a copy of the return.
Remember that competition is fierce and more taxpayers may be inclined to take advantage of free services. By itself, doing top-quality work is no longer sufficient. Think of ways to separate yourself from the pack this tax return season.
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A study from the Pew Research Center shows a growing number of women are the family breadwinners. In 40 percent of families with children under 18, the mothers bring home most or all of the household income. The American public still has mixed feelings about moms bringing home the bacon.
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- Shopping Bag ( 0 items )
From the Publisher"...contains a wealth of information in well-summarized fashion...should be considered a valuable reference text for those who would rather hear from the experts than from a single voice." Elmar R. Reiter, Meteorology and Atmospheric Physics
"...Introduction to Space Physics is strong enough to form the backbone for an introductory graduate class....Because of its broad coverage, it will be an excellent addition to the library of any space physicist who occaisonally needs reminding of the issues and advances in other specialities." Michael E. Brown, Physics Today


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3TB boot partition possible?
View Single Post
Registered User
Join Date: Jul 2007
Posts: 3,532
Re: 3TB boot partition possible?
Originally Posted by
Well, I have different opinion on that.
With multiple partitions you always have to decide which program goes where, and what is too big/small to fit. Some system SW installs under /Windows directory. And crash of OS partition means you will have to reinstall anyway, as most apps have registry settings and do not run without it.
Of course, SSD does not solve this "multiple partitions thing", but it is tempting
You have a great point there, I am about to install RTM to replace vista on my gaming rig. I have been putting this off until I absolutely had to because I have so many apps and games installed, and even thou they are on a separate partition they will still have to be reinstalled. Punkbuster isn't behaving anymore and crashing cod4 and 5 two or three times an hour and I can't get it fixed so its time.
This is part of the reason I love steam so much, I can just copy over my steam install and run the installer, point it to the steam folder, and be ready to go in a few minutes. Other than restoring the game saves for non steam games when I go to launch it will handle the reg entries on first run.
I still think I am gonna do three separate raid 0's, one for the os, one for games, and one for apps and encoding/video editing space.
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text:
Research Output for Cuie Yan
Note: The 2012, 2013, 2014, 2015 publications have not been audited.
Jump to: Publications | Grants and Consultancies | HDR completions
Cuie Yan may be from another institution or only recently joined Deakin University.
2009 External
Zhang, Wei*, Yan, Cuie*, May, Jennifer* and Barrow, Colin (2009) Whey protein and gum arabic encapsulated Omega-3 lipids. The effect of material properties on coacervation, Agro food industry hi-tech, vol. 20, no. 4, pp. 20-23, Teknoscienze, Italy [C1]
ERA journal ID: Not matching ERA journal list
DRO entry for this publication
2008 External
Yulai, Jin*, Barrow, Colin James*, Zhang, Wei*, Yan, Cuie*, Curtis, Jonathan Michael*, Moulton, Shawn*, Djogbenou, Nancy Beatrice* and Webber, Lesek Alexa* (2008) Microcapsules with improved shells, Microcapsules with improved shells, Ocean Nutrition Canada Ltd, Other international (5) [I.1]
DRO entry for this publication
Yan, Cuie*, Zhang, Wei*, Jin, Yulai*, Webber, Lesek Alexa* and Barrow, Colin James* (2008) Vegetarian microcapsules, Vegetarian microcapsules, Ocean Nutrition Canada Ltd, Other international (5) [I.1]
DRO entry for this publication
Grants and Consultancies
No grants and/or consultancies found or audited – the 2014 HERDC financial return has not been completed or loaded as yet.
Higher Degree by Research Completions supervised by Cuie Yan
No completions found or audited.
- Legend:
- * Not a member of Deakin University at time of output.
DRO to publications collection last synchronised: Tuesday 2nd June 2015 10:04pm


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ai : series
aesthetic investigations
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A collection of abstract, minimal & architectural photography series by '32' Flickr artists.
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Published April 11, 2011
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32 CFR 1697.4 - Notice requirements.
(a) Deductions shall not be made unless the employee is provided with written notice signed by the Director of the debt at least 30 days before salary offset commences.
(2) The agency's intention to collect the debt by deducting from the employee's current disposable pay account;
(4) An explanation of interest, penalties, and administrative charges, including a statement that such charges will be assessed unless excused in accordance with the Federal Claims Collection Standards at 4 CFR 101.1 et seq.;
(5) The employee's right to inspect or request and receive a copy of government records relating to the debt;
(9) A statement that the timely filing of a petition for a hearing will stay the commencement of collection proceedings;
(10) A statement that a final decision on the hearing will be issued not later than 60 days after the filing of the petition requesting the hearing unless the employee requests and the hearing official grants a delay in the proceedings;
(11) A statement that any knowingly false or frivolous statements, representations, or evidence may subject the employee to:
(i) Disciplinary procedures appropriate under chapter 75 of title 5 U.S.C., part 752 of title 5, Code of Federal Regulations, or any other applicable statutes or regulations;
(ii) Penalties under the False Claims Act, sections 3729 through 3731 of title 31 U.S.C., or any other applicable statutory authority; or
(iii) Criminal penalties under sections 286, 287, 1001, and 1002 of title 18 U.S.C., or any other applicable statutory authority.
(12) A statement of other rights and remedies available to the employee under statutes or regulations governing the program for which the collection is being made; and
Title 32 published on 2014-07-01
no entries appear in the Federal Register after this date.


text:
MSI Technologies leads EDI Business Partner roundtable at Sage Summit 2012
The Business Partner roundtable was hosted by Edisoft of Toronto, Canada and addressed successful customer integrations with Accellos WMS, Sage 300 ERP, and Iciniti eCommerce.
Nashville, TN – August 13, 2012 – MSI Technologies, LLC, a leading NJ based Sage 300 ERP Business Partner specializing in Enterprise Inventory Management Solutions for manufacturers and distributors announced today the success of their participation in defining their role in supporting a number of Edisoft EDI installations and specialty product integrations. MSI Technologies was chosen to lead the roundtable in great part due to their commitment to client excellence and their ability to delivery workable and affordable technology distribution solutions.
This achievement was recognized at the Sage Summit Conference at the Gaylord Opryland Resort and Convention Center in Nashville, TN. August 12 - 17, 2012.
Allen Chanes, Principal Partner of MSI Technologies states, "Our staff and management is extremely honored to play a leading role in implementing high-end integrated solutions for many inventory based clients over the past twenty years. MSI and their specialty software vendors have come a long way together and remained closely aligned as strategic partners under the Sage brand to provide business solutions that maximize efficiencies and reduce costs. Now is the right time to shift to aggressively manage rising inventory and raise the bar on a healthy bottom line."
About MSI Technologies, LLC
MSI Technologies is a leading provider of Integrated Financial and Inventory solutions to mid-market companies. For more than 25 years, MSI has provided a wide range of accounting-centric technology solutions including its flagship product, Sage 300 ERP, which enables companies to capture, archive, and control structured and unstructured relationships with customers, employees and vendors. MSI's suite of comprehensive, integrated third-party solutions includes EDI with Visual ASN, Warehouse Management (WMS), Sage Business Intelligence, and a broad range of specialized financial support applications designed by software professionals on a world-wide basis. MSI Technologies enjoys strong, collaborative partnerships with solution providers like Sage Software, Accellos, Iciniti, Edisoft, and countless other professionals to provide a comprehensive, integrated enterprise management solution for a broad range of high-level and demanding clients. MSI delivers its integrated ERP solutions through a vast network of authorized developers in more than 60 countries.
For more information, visit MSI Technologies at the company website at
www.msitechnologies.com or call Darren Pico, Marketing Manager, at 1-800-525-0052.


text:
Harold Gilman
1 portrait of Harold Gilman
Harold Gilman
by Enid Algerine Bagnold ('Lady Jones')
etching, 1915
4 in. x 6 in. (102 mm x 152 mm); 5 in. x 9 in. (127 mm x 229 mm) uneven
Purchased, 1999
Reference Collection
Click on the links below to find out more:
Sitterback to top
- Harold Gilman (1876-1919), Painter. Sitter in 1 portrait, Artist of 2 portraits.
Artistback to top
- Enid Algerine Bagnold ('Lady Jones') (1889-1981), Novelist and playwright; wife of Sir Roderick Jones; daughter of Arthur Bagnold. Artist of 1 portrait, Sitter in 10 portraits.


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Search: This Site | People | Departments | Penn State
Come out and support the Elks Theatre which is only minutes away from campus!
Concessions will be available for sale. Keep an eye out for additional information regarding some potential raffle opportunities!
*Event is hosted by the Penn State Harrisburg Marketing Club & Business Management Club.
Penn State Harrisburg · 777 West Harrisburg Pike · Middletown, PA 17057


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By Andy Vandervell
5 Feb 2011
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This section contains 6,987 words
(approx. 24 pages at 300 words per page)
Critical Essay by Michael Bérubé
SOURCE: "Masks, Margins, and African American Modernism: Melvin Tolson's Harlem Gallery," in PMLA, Vol. 105, No. 1, January, 1990, pp. 57-69.
In the following essay, Bérubé discusses Tolson's work in relation to African-American modernism.
Harlem Gallery has been alternately celebrated and castigated for its formal difficulty—when, that is, it has been read at all. Yet although the poem is as formidable as any hypertextual text produced by the throes of modernism—saving Finnegans Wake—there seems something amiss in the idea that its difficulty should be a significant issue in itself; surely, by now, allusive, elliptical poetry should not be grounds for controversy. Still, even if the grounds are questionable, they are by no means powerless. Readers have apparently found the poem so generally inaccessible that publishers have followed suit and rendered it literally inaccessible, for even in the midst of the current revolution in African American letters, Harlem Gallery has quietly gone out of print.
More to the point, however, Tolson's poetic technique has been controversial, appropriately or not, insofar as it has been taken as evidence of Tolson's wrongheaded emulation of T. S. Eliot. And on this count, to be sure, some of the confusion can be traced directly to Tolson: he himself spoke repeatedly of Eliot's poetry as if it were somehow historically inevitable, as if its "revolution" were at once totalizing and irreversible. He writes, for example, in a 1955 book review that "when T. S. Eliot published The Waste Land in 1922, it sounded the death knell of Victorianism, Romanticism, and Didacticism. When Eliot was awarded the Nobel Prize in Literature, the victory of the moderns was complete. The modern idiom is here to stay—like modern physics." The curious terms of Tolson's certainty are worth noting—poetry and physics are construed here as analogously developmental disciplines whose paradigm shifts obliterate all that has gone before—but even more curious is the focus on Eliot's Nobel Prize as the sign of modernism's "victory." It is small wonder, therefore, that Harlem Gallery's more hostile critics read Tolson as if he were simply out of touch, a late modernist writing in the midst of the black aesthetic of the sixties. Only after the Nobel Prize was awarded to Eliot, apparently, did Tolson decide that modernism would leave behind the poets who did not confront and assimilate it. Accordingly, his reaction, self-consciously belated, seems something of an overcompensation: witness his declaration, in a 1948 commencement address at a small black college in Kentucky, that
[n]ow the time has come for a New Negro Poetry for the New Negro. The most difficult thing to do today is to write modern poetry. Why? It is the acme of the intellectual. Longfellow, Whittier, Milton, Tennyson, and Poe are no longer the poets held in high repute. The standard of poetry has changed completely. Negroes must become aware of this. This is the age of T. S. Eliot who has just won the Nobel Prize in Literature.
This speech seems to me at least as striking as his review of seven years later—not only for its commitment to the politics and poetics of assimilation but for the thoroughness of its adoption of modernist polemics; his dismissal of Milton and Tennyson is an especially accurate touch. And sure enough, in his "New Negro Poetry"—"E. & O.E." in 1951 and Libretto for the Republic of Liberia in 1953—he deliberately and pedantically suggests his affiliation with The Waste Land by appending to each poem pages of footnotes, like Eliot's both explanatory and obscure. But despite such testimony, I intend to show that the crux of the work lies not in whether it is an artifact of African American modernism but in what it has to say about modernism's relation to African American literature. And if we read the poem in this way, we find that, for all its vaunted "modernism," its central argument turns on—of all things—a parable. That "argument," as we will see, seeks to demonstrate that resistance to modernism, in the form of a black separatist poetics, is a cultural stance impossible to maintain; and the "parable" is the extempore ballad of the sea turtle and the shark recited by Hideho Heights, the populist "poet laureate of Lenox Avenue" in "Phi," the twenty-first of the poem's twenty-four irregular odes, each entitled a letter of the Greek alphabet.
Before I turn to the parable, however, I want to sketch out its position in the poem; for if we are to retrieve the subversive force of Hideho's ballad, we need first to retrieve the dominant discourse and ideology his ballad threatens to subvert. In Harlem Gallery, the predominant voice is that of the Curator, whose romantic/modernist vision of art holds not only that an authentic art must disturb and thereby transform its immediate audience but also that art's value lies in resistance to and concomitant transcendence of history, ideology, and the material base that creates or enables various conditions of reception—including, in one representative passage, the passing parade of PhDs:
In Chronos Park
the Ars-powered ferris wheel revolves
through golden age and dark
as historied isms rise and fall
and the purple of the doctor's robe
(ephemeral as the flesh color of the fame flower)
is translated into the coffin's pall.
Thus, in his moments of crisis as the gallery's curator—when he feels torn from his ideally disinterested role by the demands of the gallery's audience or its regents—he consoles himself with a version of Yeats's tragic gaiety; and the weight of his argument falls, specifically, on the work of the French avant-garde of the late nineteenth and early twentieth centuries:
Then O then, O ruins,
I remember
the alien hobnails
of that cross-nailing Second of September
did not crush like a mollusk's shell,
in café and studio,
the élan of Courbet, Cézanne, and Monet,
nor did the self-deadfall of the Maginot
palsy the hand of Chagall,
and Picasso.
Such is the Curator's cultural position: he is a champion of art, especially experimental art, for the reason that art is a profound affirmation and consolation, a basso continuo in the threnody of human history. It is a theory of art—and of art's relation to history—with which we are, no doubt, thoroughly familiar.
But the Curator is able to maintain this "cultural position," and eventually to use it to critique Hideho Heights, only by refusing to specify his historical position. Of course, given the Curator's commitment to the transhistorical—or ahistorical—element in art, which defines for him the value of the "masterpiece," his refusal to locate himself temporally may be ideologically appropriate. Yet much has been made of Harlem Gallery's stylistic ambiguities; it is odd, then, that no critic has seen fit to question the purpose of the ambiguity of the poem's present tense, its time of narration. The question is not simply critical pedantry; in a poem whose "central" problematic concerns the ultimate place of the "marginal" artist, it is necessarily a central issue.
Does the poem take place, then, in the twenties, the forties, the sixties, or an amalgam of temporal loci scattered over this span? And if the last, what are the ramifications of this temporal "dispersion" for the poem's invocation of great artists? When the Curator alludes to Matisse, for example, is he invoking the turn-of-the-century Fauvist Matisse or the mid-century Matisse of paper cutouts who said he wanted to create art the tired businessman could come home to? And to what end in either case? To put the question another way, if the poem wants to narrate, in its allusive subtext, the story of how the impressionists of Paris garrets became the impressionists we see in coffee-table tomes, then is the poem celebrating the process by which revolutions in aesthetics eventually make their way into the cultural lingua franca, or is it alerting us to the historical process by which the avant-garde is transmuted into kitsch and thus calling us to carry on the revolutions of the avant-garde?
We cannot answer these questions—not because we do not have enough textual evidence but because the textual evidence itself will not allow the questions to be answered. In the matter of narrative time, indeterminacy is inscribed in the poem at every turn; it is as if the poem, like the electron in Heisenberg's principle, cannot say where it is—its position can be specified only in terms of probability and range. And Tolson has apparently been careful to cover his tracks: in "Beta" the Curator writes of "Young Men labeled by their decades / The Lost, The Bright, The Angry, The Beat"; but in "Eta" we hear that Rommel has just died. In the Zulu Club, despite the reference Hideho Heights makes to improvisatory jazz poetry, we find him sneaking alcohol under the table as if Prohibition were in effect; and at one point, the Curator's good friend, the Bantu expatriate Dr. Nkomo, brings the poem into the sixties, as he urges
the artists
of the Market Place Gallery in Harlem:
the Venerable Yankee Poet
on the unfamiliar red carpet of the Capitol
as he visaed the gospel of the Founding Fathers
… Novus Ordo Seclorum …
spieled by every dollar bill."
Indeed, we may find this temporal ambiguity even in the poem's opening quatrain:
The Harlem Gallery, an Afric pepper bird,
Awakes me at a people's dusk of dawn.
The age altars its image, a dog's hind leg,
And hazards the moment of truth in pawn.
For even given the oblique allusion, in line 2, to W. E. B. Du Bois's 1940 Dusk of Dawn, it is unclear when this dusk of dawn takes place. It may be, for example, as one critic has it, that "Harlem Gallery" refers metonymically "to the artists who contribute to the gallery; in which case, this may also be a topical allusion to a cultural revolution brought about by the Harlem Renaissance"; it may as well be, on a similar principle, that the "people's dusk of dawn" occurs not in the 1920s but in the early 1940s, during the first of the wartime Harlem riots, or, for that matter, during the dawn of the civil rights movement of the 1960s. Lines 3 and 4 compound the uncertainty. The objects of "altars" in line 3—"image" and "dog's hind leg"—parallel the appositive noun phrases in line 1, and line 4 closes the quatrain on a rhyme. Pattern is evoked by repetition and completion, and yet the metrical pattern of the first line's symmetrical trochees and dactyls ("Harlem Gallery," "Afric pepper bird") is broken, in line 3, on "altars," just as the fourth line, constructed of two anapests flanked by iambs, disrupts the iambic pentameter of the second. Indeed, if we try to read line 4 against the second line's norm, we find that the most heavily accented words turn out to be "hazards," "moment," and "truth"; in reading the second pair of lines, therefore, we are forced to stress "altars," "hazards," "moment," "truth." Altars, a consecration; hazards, a gamble; truth, eternal; moment, ephemeral: the collision of noumena with phenomena extends the tension of the dusk of dawn, and the pun on altars suggests the extraordinary lability of the moment of consecration, a lability the poem will continue to exploit. The opening quatrain employs the present tense even as it undoes the present tense: it does not signify a present, it throws a present tens-ion over a tenseless moment of flux.
This systematic temporal confusion enables the poem to dodge its most important cultural questions—namely, if the dissemination of high culture to the masses is an end devoutly to be wished, how can dissemination avoid trivialization, dissolution, and "kitschification"? If the Tolsonian avant-garde is driven by the desire to create the taste by which it is to be enjoyed, how (to borrow a phrase from Lillian Robinson) do we know when we've won, and how do we go about "winning"? What, in other words, is the cultural position of the avant-garde artist who finally has transformed the masses or been transformed by them?
It is, of course, in the face of serious cultural questions such as these that ideology does its most useful work; and Tolson was fortunate to have as a professional friend and supporter John Ciardi, for it was Ciardi's conception of high culture that provided Tolson with a palliative answer. In 1958, Ciardi wrote a piece for the Saturday Review entitled "Dialogue with the Audience," in which a Citizen asks a Poet, "Who are you modern poets for? Is there no such thing as an audience?" Ciardi's Poet responds by distinguishing between two kinds of audience, "horizontal" and "vertical." I quote the column at some length, not only because Tolson himself quoted it so often but also because neither Tolson nor, curiously, his critics found it at all remarkable—that is, worthy of scrutiny:
"The horizontal audience consists of everybody who is alive at this moment. The vertical audience consists of everyone, vertically through time, who will ever read a given poem…."
"The point is that the horizontal audience always outnumbers the vertical at any one moment, but that the vertical audience for good poetry always out-numbers the horizontal in time-enough. And not only for the greatest poets. Andrew Marvell is certainly a minor poet, but given time enough, more people certainly will have read 'To His Coy Mistress' than will ever have subscribed to Time, Life, and Fortune. Compared to what a good poem can do, Luce is a piker at getting circulation."
"Impressive, if true," says the Citizen, "but how does any given poet get his divine sense of the vertical audience?"
"By his own ideal projection of his own best sense of himself. It's as simple as that," says the Poet. "He may be wrong, but he has nothing else to go by. And there is one thing more—all good poets are difficult when their work is new. And their work always becomes less difficult as their total shape becomes more and more visible. As that shape impresses itself upon time, one begins to know how to relate the parts to their total." (my emphasis)
Notable here are at least three features: the useful confusion as to who outnumbers whom; the implicit claim that "vertical" audiences always form and that worthy marginal poets therefore always eventually become central; and, not least among these, the deft elimination of specificity and agency in the last two sentences, which leave us ultimately with the incomprehensible image of a "shape" that "impresses itself upon time."
That such an argument would have great appeal for Tolson should be obvious. But despite Ciardi's confident implication that the avant-garde always eventually becomes the cultural center, Tolson's poem, by confining itself to the image of an avant-garde already nearly a century old, has (perhaps unwittingly) left ambiguous that avant-garde's contemporary cultural position. And this ambiguity, like the deliberate confusion of times, is woven into the poem's very fabric: Nkomo's citation of Robert Frost at Kennedy's inauguration, for example, is immediately followed by his extraordinary reference to Cézanne as a "Toussaint L'Ouverture of Esthetics" acclaimed only by his fellow artists:
"… Remember, yes, remember …
Zola, Renoir, Degas, Gauguin, Van Gogh, and
hailed Cézanne;
but vox populi and red-tapedom
remained as silent as spectators in a court
when the crier repeats three times, 'Oyez!'"
What, then, is the relation of the two allusions—oppositional or appositional? If the former, then Frost is an example of the popular recognition and acclaim Cézanne never achieved; if the latter, Frost becomes an image of how the state can defuse the power of a Toussaint L'Ouverture by falsely embracing him, by giving him an "official" role. The Curator actually does entertain the latter possibility—not in "Pi" but in "Omega":
Now and then a State,
when iron fists and hobnails
explode alarms at the citadel's gate,
dons the ill-fitting robes of the Medici
and initiates Project CX,
to propagandize a rubber-stamped Pyramid of Art
and to glorify the Cheops at the apex.
Is this the light in which to read the Frost tableau, as a modern version of the hostile silence of vox populi and redtapedom with which Cézanne was supposedly received—a version wherein "hostile silence" has now become Marcuse's "repressive tolerance"? The question should trouble much of the rest of the poem as well: for we may not be sure, after all, what the Curator means by writing, in "Delta," that the "world-self of the make- / believe becomes the swimming pool of a class, / a balsam apple / of the soul." Does "swimming pool" here potentiate or subvert the image of art as a "balsam apple / of the soul"? Is this swimming pool, in other words, a comfort and refreshment for the sweltering multitudes, or has the work of art been made into a mere commodity, a suburban status symbol?
Even some of the poem's allusions, which seem on the surface unproblematic, recapitulate this ambiguity. Take, for example, this fairly straight-forward stanza from "Epsilon":
by the waters of Babylon we sit down and weep,
for the pomp and power
of the bulls of Bashan
serve Belshazzarian tables to artists and poets who
serve the hour,
torn between two masters,
God and Caesar—
this (for Conscience)
the Chomolungma of disasters.
Clearly enough, this passage laments the power of large-scale market forces, cast here as Psalm 22's bulls of Bashan, to lure artists into lucrative positions that compromise or adulterate artistic commitments. But then the Curator's allusion to "Belshazzarian tables" is troubling, for Belshazzar's feast in Daniel 5.1-4 is immediately followed by the appearance of the writing on the wall in 5.5. We may be weeping because the bulls of Bashan have bought off the artists, or we may be weeping because we are as yet unaware that a Daniel is about to arrive, to signify on the oppressors. But perhaps (to carry the ambiguity further yet) there is no Daniel here at all. Will, then, the prophet in exile arrive, to refuse riches and rewards, speak the truth, overthrow the king, and usher in the new, benevolent administration of Darius the Mede? Or are the artists and poets, their mouths stuffed full of Belshazzar's food, unable to speak?
I suggest the poem deliberately invites and ignores such questions, chiefly to keep alive and plausible its primary cultural myth: the myth of an avant-garde that, despite the opposition of critics, capitalists, and philistines, has survived to become part of "the heritage of Art," which, as "Omicron" has it, "nurtures everywhere / the winged and wingless man" and which allows the Curator to write, near poem's end, "I envision the Harlem Gallery of my people." To this end, the poem maintains its cultural contradictions as sedulously as it refrains from any reference to post-Depression marginal artists, and both strategies, mutually supporting, serve to help the poem avoid confronting directly its relation to the audience, and the avant-garde, of its own time.
For where, in a poem that refers so often to jazz greats like King Oliver, are Charlie Parker, Thelonious Monk, John Coltrane? Where, in a poem whose temporal range extends to the Kennedy administration, are Jackson Pollock, Robert Motherwell, Willem de Kooning? The youngest artist in the poem, William Gropper, was born in 1897; Louis Armstrong, its youngest musician, in 1900. Thus, of all the figures in the Curator's anthology, only Satchmo is younger than Tolson. On one level, the omission of more recent experimental artists may be a part of Tolson's reaction to his own self-conscious belatedness, an attempt to conjure the image of the avant-garde as it appeared in the heyday of the Harlem Renaissance; but more significantly, it points also to Harlem Gallery's profound refusal to contemplate its own conflicted and ambiguous position—not only in relation to the mass audience that it seeks to disturb and instruct but also in relation to its fellow travelers on the margins of cultural production.
And this is where Hideho's parable comes in.
We are in the Zulu Club, in section "Phi," and we have just heard a telling exchange between Dr. Nkomo and Shadrach Martial Kilroy, president of Afroamerican Freedom, Inc.; Kilroy has claimed that "a specter haunts the Great White World— / the specter of Homo Aethiopicus, the pigmented Banquo's ghost." Nkomo's response is at once cynical and definitive; casting the African American's polyglot heritage as a handicap, Nkomo gets the last word on Kilroy: "you / are a people in whose veins / poly-breeds / and / plural strains / mingle and run— / an Albert Ryder of many schools, and none." More than this: he creates the space for Heights's incipient performance, as Hideho nods the Curator to the bar and confides to him that the "bunkum session on the Negro / … has sparked an inspiration."
The Curator, interestingly, is more antagonistic to Heights here than at any other point in the poem:
"You poets come too soon or too late,
Hideho Heights,
with too little,
to save the Old Ship of State.
Remember to remember
a tribal anthem
is the yankee-doodle-diddle of a tittle."
But his antagonism is entirely self-defeating: "To Hideho Heights, / … I was a half-white egghead with maggots on the brain. / I ate my crow / … My clichés at the bar / were bones in the maw of the tomb." Given that the Curator will reveal himself, in the poem's penultimate section, to be an octoroon, "half-white egghead" is severe language indeed. But it may be language appropriate to his racial anxieties at this point, for the Curator has, of course, been implicated in Nkomo's critique of the African American. Surely, whatever the basis for the Curator's resistance to Heights, the problematics of "race" are in the forefront here, as they have not been elsewhere in the poem; and it is into this powerfully charged field of racial politics that Hideho casts his version of a beast fable. Challenging the Curator to "[f]ollow the spoor of the symbols—if you have the wit," he tells the "strange but true" tale of the shark and sea turtle, in which black America, imaged as the sea turtle, is first the shark's dinner and then the image of a triumphant resistance to assimilation:
"the sea-turtle gnaws
… and gnaws … and gnaws …
his way in a way that appalls—
his way to freedom,
beyond the vomiting dark,
beyond the stomach walls
of the shark."
Lest we (or the Curator) miss the point, the Zulu Club's bartender, a Jamaican veteran of World War II, delivers himself of a profoundly emotional response:
"God knows, Hideho, you got the low-down
on the black turtle and the white shark
in the Deep South."
describing a pectoral girdle,
his lower lip curled,
and he blurted—like an orgasm:
"And perhaps in many a South of the Great White
He fumed, he sweated, he paced behind the bar.
"I was in the bomb-hell at Dunkirk. I was a British
In Parliament, white Churchill quoted one day,
'If we must die, let us not die like hogs …'
The words of a poet, my compatriot—black
Colonialism as a labor resource in world war: the British swallow the bartender. Quotation and radical recontextualization: Churchill swallows—and fails to acknowledge—McKay's sonnet on the race riots of 1919. Hideho's tale is brought to climax ("blurted—like an orgasm") by the bartender's foregrounding of racial strife against the backdrop of two world wars; and in the revelation vouchsafed by the climax lies a vision in which the spectacle of Claude McKay's words in Churchill's mouth carries with it none of the ambiguous hope or promise of the spectacle of Robert Frost on the steps of the Capitol. For this is a discourse in which "the instinctive drive of the weak to survive" speaks to the politics of separatism in the language of the parable; it is a discourse in which all amalgamation and assimilation is de facto repressive tolerance and therefore cultural genocide. Hideho Heights and the Jamaican bartender, between them, have dared to suggest an answer to the question Harlem Gallery has sought so scrupulously to avoid, and though that answer be couched in a parable, the suggestion is clear: in the melting pot we will be eaten.
Unless, that is, we eat our way out, and "in a way that appalls." Perhaps it appalls even Tolson: for it is surely no accident that Harlem Gallery follows this scene with the Curator's memory of the night when, having dragged home a dead-drunk Heights, he found in Heights's apartment "in the modern idiom; / a poem called E. & O.E." Of all things, Tolson's own poem. Outflanked on the issue of "race," the Curator changes the joke and slips the yoke, unmasking Hideho as a kind of modernist "wannabe," a former Parisian "bistro habitué, / an expatriate poet of the Black Venus / in the Age of Whoopee." Hideho's pose, on the streets and in the Zulu Club, may be convincing to the masses, but the Curator alone is privy to the bard's internal contradictions:
He didn't know
I knew
about the split identity
of the People's Poet—
the bifacial nature of his poetry:
the racial ballad in the public domain
and the private poem in the modern vein.
Thence follows the Curator's long epilogic lament on Heights, a moving vatic cry addressed alternately to White Boy and Black Boy and confronting what seem by now twin issues, "race" and culture. The epilogue contains Harlem Gallery's most often cited passages; and among these, one stanza in particular has been taken as the poem's summation. It is nestled in the opening of section "Chi," just before the Curator relates his discovery of E. & O.E.:
Poor Boy Blue,
the Great White World
and the Black Bourgeoisie
have shoved the Negro artist into
the white and not-white dichotomy,
the Afroamerican dilemma in the Arts—
the dialectic of
to be or not to be
a Negro.
There is no mistaking the Curator's tone: however antagonistic he may be to Heights's "bifacial nature," he is genuinely saddened at the ambiguous and conflicted position of the black poet who aspires to little magazines and contemporary anthologies, to an ultimately academic context of reception. But though this stanza may be the Curator's conclusion on Heights's tenuous cultural position, and though the stanza may even be "moving," I want to suggest also that there is something fundamentally wrong with such a conclusion—that this ending may be thoroughly elegiac and yet thoroughly false.
For in what sense has Hideho Heights been caught in a "white and not-white dichotomy"? What, after all, is "the dialectic of / to be or not to be / a Negro"? If the Curator suggests, as he intends to, that Hideho shrinks from the task of transforming audiences, succumbing instead to the polarized horizons of expectation in two different literary worlds, then the Curator is also suggesting that modernist poetry is the realm of white folks and that "the Great White World / and the Black Bourgeoisie" demand African American poets who are sufficiently primitive and technically incompetent—in a word, folk poets only. The dichotomy here, recall, is based on "the racial ballad in the public domain / and the private poem in the modern vein": the Curator's pejorative key words are not merely ballad and public but also racial; and they are as closely associated, and as heavily ideologically weighted, as are their counterparts, poem, private, and modern. This much is clear. But then the Curator's characterization of the conflict as the dilemma of "to be or not to be / a Negro" must intend "Negro" in the most bitter, cynical tone imaginable—a tone that implies that poets who choose to be "Negroes first" are simply conforming to a stereotypical "racial" role, precisely the role expected of them by their worst audiences. Indeed, we would do well to remember here that Hideho is no mere panderer to his black audience: as we hear in Harlem Vignettes, Harlem Gallery's lengthy metapoem, "To the Black Bourgeoisie, / Hideho was a crab louse / in the public region of Afroamerica." In Harlem Gallery's terms, that is, Hideho is politically correct; the question the Curator poses, therefore, has nothing to do with whether "racial ballads" can have the oppositional force of an avant-garde and everything to do with whether a contemporary audience, white or black, elitist or populist, will allow an African American poet to be a modernist.
This is why, I think, the parable is the pivot point that swings us into Harlem Gallery's climactic unmasking of Hideho Heights; likewise, this is why, in reading over E. & O.E., the Curator juxtaposes the hesitancy and diffidence of Heights's private poem to the militant confidence of Heights's public stand:
depressed like ondoyant glass,
Hideho Heights,
the Coeur de Lion of the Negro mass,
in E. & O.E. rationalized:
"Why place an empty pail
before a well
of dry bones?
Why go to Nineveh to tell
the ailing that they ail?"
And as if this "preface" to Heights's work weren't enough, the Curator then recalls, in a metamemory, one of Heights's triumphant returns to the Zulu Club—this one after a jail term for an obscure assault on the "Uncle Tom" leader of the "Ethiopian Tabernacle":
"A man's conscience is home-bred.
To see an artist or a leader do
Uncle Tom's asinine splits
is an ask-your-mama shame!"
The Jamaican bartender had staked off his claim:
"The drinks are on the house, Poet Defender!"
A sportsman with ruffled grouse
on the wing over dogs, the poet had continued:
"Integrity is an underpin—
the marble lions that support
the alabaster fountain in
the Alhambra."
In construing Heights's modernist poem as a contradiction of his celebration of racial "integrity," then, the Curator is able not only to suggest the historical inevitability of modernism but to argue as well that the poetics of the sea turtle, the stance of black separatism, will divide an artist between two masters, two polarized discourses, each of which claims a territory unto itself and authority over its inhabitants. And the implication here is, obviously, that such self-division is self-destruction.
The choice with which the poem leaves us is thus a deliberately false one: in Harlem Gallery, the African American dilemma is not over whether to be a Negro; it is not even over whether to be a black separatist—for, as we find, even a good separatist-balladeer like Hideho Heights, when he gets into the privacy of his apartment, becomes a modernist despite himself. But although I want to make clear the ground on which the poem leaves us with a false dilemma, I want also to recall here that the poem contains within it a real dilemma—one that, as I argue in the context of the poem's narrative and historical "time," it remains unwilling or unable to acknowledge. This "real" dilemma is, unsurprisingly, a function of the poem's real conflict: whether the African American artist should attempt to create his or her own audience or play to the audiences that already exist. This is the conflict "resolved" by Harlem Gallery, both through Heights's fall and (equally) through the poem's refusal to contemplate the cultural question consequent on its adoption of the ideology of assimilation—the question of the avant-garde's position when it is no longer (for whatever reason) avant of the garde. We may also see the poem's conclusion as a symptom of this refusal, insofar as the Curator's epilogue in "Psi" follows Heights's unmasking in "Chi," not with a discussion of what it means for a member of a truly marginal group (such as an African American poet) to adopt the aesthetics and ideologies of an already institutionalized modernist "avant-garde," but instead with an eleven-page discussion of "race" that declares "race" a fiction perpetrated by whites for the oppression of nonwhites. The Curator's answer in "Psi" ("Just as the Chinese lack / an ideogram for 'to be,' / our lexicon has no definition / for an ethnic amalgam like Black Boy and me") may be a good answer—but only because the Curator has deliberately asked the wrong question.
In other words, to uphold the cultural ideal of cultural amalgamation (in Nkomo's phrase, the "homogenized milk of multiculture") embodied in the person and function of the Curator, Harlem Gallery needs not only to avoid confronting explicitly its own contemporary cultural position, and its own possible present or future audience, but also to delegitimize the separatist cultural position of Hideho Heights. But beyond its will to assimilation, into a postmodern conception either of the irreducibility of "marginality" or of the political conditions for an acceptable embrace of pluralism, the poem cannot and will not go, trusting instead, in the terms of John Ciardi at his vaguest, that its ideal projection of itself will become a shape that impresses itself upon time.
This, then, is where our task begins: in retrieving the discourse of Hideho Heights. For if Harlem Gallery implies that Hideho's ballads are somehow culturally and historically inappropriate, then Heights is being cast as a kind of Paul Laurence Dunbar, and the Curator's unmasking of him in "Chi" is a call to African American poets to throw off Dunbar's mask. But it is possible, after all, to see the poem's argument not as an unmasking but as a remasking, an exchange of masks—Dunbar's for Tolson's. If, in other words, we see the poem's conflict not synchronically but diachronically, as part of an explicitly historical problematic, then the conflict's resolution suggests that underneath one mask there is only another mask—the mask of high modernism.
And Tolson warrants such a re-vision; indeed, he himself initiated it, in his astonishing revisionary account of how he enticed Allen Tate to write the preface to Libretto. The year before he died, he told the story to Dudley Randall, and it was nearly twenty years before Robert Farnsworth's research proved the tale untrue. Here is how it originally appeared in Negro Digest:
Tolson related that after completing Libretto for the Republic of Liberia he asked Tate to write a preface for it, and Tate replied that he wasn't interested in the propaganda of Negro poets. Tolson spent a year studying modern poetic techniques and rewriting the poem so that it said the same things in a different way and then sent it to Tate. Tate wrote a preface in which he said, "For the first time, it seems to me, a Negro poet has assimilated the full poetic language of his time…." (my emphasis)
Some critics have been embarrassed by this anecdote, and all the more embarrassed at the thought that it might be true; for on one reading, it presents Tolson (or presents Tolson presenting himself) as a toady in blackface, "Yes-massa"ing the Great White Critic. But to my mind the story is rather appetizing—a modern (modernist) Brer Rabbit story if true, and even more provocative as a tall tale. For it suggests that, even if only retrospectively, Tolson saw his adoption of modernist technique as a guerilla strategy, a means of letting revolutionary discourse sound in the ears of conservative whites by masking that discourse in a no longer revolutionary poetics. Tolson seeks to emerge therefore neither as Tate's subaltern nor as Eliot's but as an African American literary version of the maroon, the escaped slave living on the frontier, imperialism's margin, raiding the nearest plantation periodically for supplies and planning the long-term offensive in the meantime. And in the image of Tolson as maroon, we find it altogether appropriate that he has been marooned in turn: unread, or, if read at all, read not as maroon but as another form of "primitive"—the marooned colonial duped into conversion by the missionaries of modernism.
And surely Tolson himself did not imagine that a dissolution of his social and racial politics, would follow necessarily upon his attempt to "modernize" himself. For him there is no contradiction, because technique, apparently, is mask: "My work is certainly difficult in metaphors, symbols and juxtaposed ideas," he wrote in a 1961 letter; but "there the similarity between me and Eliot separates. That is only technique, and any artist must use the technique of his time…. However, when you look at my ideas and Eliot's, we're as far apart as hell and heaven." Tolson's formulation is not theoretically sophisticated: in casting himself against Eliot, Tolson winds up asserting a necessary historical homocentricity of "technique" and strictly opposing it to a content of "ideas." But surely the point here is not to convict Tolson of theoretical missteps; rather, the point is that, in his conception of his role, technique is only technique, form is only form—and all forms, by implication, are masks.
What seems most intriguing about his position, in this maroon light, is that Tolson appears less as a belated modernist than as an unacknowledged precursor: for in the work of the preeminent black critics of the present, we find the argument that black criticism and theory must grapple with the problematics of poststructuralism in order to do justice to the signifyin(g) difference of the black text. Specifically, we find in the work of Henry Louis Gates and Houston Baker a recognizably Tolsonian position: and to charges that they are unduly influenced by Derrida and Foucault, they respond, justifiably and sometimes persuasively, that their appropriations of theories are necessarily transformations of theory—and that, besides, their critical method is only technique, and any artist must use the technique of his (or her) time.
Where once Tolson had committed himself to the proposition that the black oppositional poet must take up and take on modernism, Baker and Gates argue that black oppositional critics cannot do without poststructuralism. And yet, as though Melvin Tolson's posthumous career has not yet been sufficiently tangled, Tolson has proved "marginal" to every critical schema articulated to date, even that of so iconoclastic a critic as Houston Baker himself. In fact, in Baker's Modernism and the Harlem Renaissance, Tolson appears only in the first introductory paragraph, his name invoked by one of Baker's former interlocutors (xiii). For Baker wants to enact a wholesale change of terms for the discussion of African American modernism, and if he succeeds he effectively pulls the rug out from under what Tolson conceived African American modernism to be. Of course, it may turn out to be possible nonetheless to speak of Tolson in Baker's vocabulary—in the language of the "mastery of form" and "deformation of mastery"—but at present it is undeniable that Baker seeks to disengage African American modernism from precisely the "modernism" with which Tolson was engaged:
I would suggest that judgments on Afro-American "modernity" and the "Harlem Renaissance" that begin with notions of British, Anglo-American, and Irish "modernism" as "successful" objects, projects, and processes to be emulated by Afro-Americans are misguided…. Further, it seems to me that the very histories that are assumed in the chronologies of British, Anglo-American, and Irish modernisms are radically opposed to any adequate and accurate account of the history of Afro-American modernism, especially the discursive history of such modernism.
Baker's, we might say, is a modernism against Modernism, a modernism that disallows the category of "crossover artists": in his formulation, Anglo-American and African American modernisms are "radically opposed." However, if Baker's vocabulary does succeed in transforming our understanding of African American modernism, then his relation to Tolson becomes still more tangled and ironic, for it is Baker who once declared that Tolson's "game is not worth the candle," and it is Baker, more so than Gates, who would object strenuously to the notion that he is a postmodern variation of Tolson. Yet just as Gates and Baker seek both to translate and transform poststructuralism, so too did Tolson once transform the terms of modernist poetics—with, as Gates would say, a signifyin(g) black difference. Moreover, just as any account of American poststructuralism would be incomplete without reference to Gates and Baker, so too, I think, would any account of the fate of African American modernism be inadequate without a thorough reading of Tolson—whether in Baker's terms or anyone else's. And the port, as the Curator would say, is eminently "worth the cruise." Both a rope-a-dope and an allaesthetic mask, Harlem Gallery is a cultural performance that manages finally to speak even beyond its own Curator, signifyin(g) ultimately not only on Eliot but also—and more significantly—on the critics who would take Tolson as nothing more than Eliot's epigone.
Such a claim may be revisionary indeed; but this is part of my point. For what is finally at issue in Tolson's career, and in his attempt to negotiate possible Anglo-American and African American modernisms, is the relation of his ideological "commitments" to the historical and discursive conditions of revisionism. How we see Tolson's engagement with modernism, that is, depends on how we can reimagine his commitments, resee him, revise him. Here too the parallel with Baker is instructive. For although Baker has shown that he can be (at times) as uncritically immersed in poststructuralism's self-representations as Tolson was (at times) in modernism's, still, neither Baker nor Tolson closes off the possibility of a critical reassessment of the ideologies he inhabits—whether this reassessment be ours or theirs. Both writers challenge us with questions about marginality, modernism, and the roles and responsibilities of academic criticism; the only salient difference between them is that we have not, so far, asked ourselves to confront these questions in the way Tolson presents them. My confrontation, at its furthest reach, produces an apparent paradox: the grounds on which Tolson avoids engaging postmodernity must provide for us the means by which he engages postmodernity—which is to say that his commitment to modernism must provoke our commitment to revisionism.
I suggest therefore that Harlem Gallery is best read not as an example of Tolson's uncritical absorption in modernism's self-representations but as a scrupulous, self-critical defense of Tolson's attempt to imagine an African American modernism. What we must remember in such a reading, however, is that no thoroughgoing, insightful negotiation of modernism from within modernism is without its self-limitations and blinding commitments—and Harlem Gallery is no exception. (Hence the relative freedom from self-contradiction, by contrast, of Baker's revision of African American modernism, which is enabled by the various postmodern vocabularies that allow Baker to fashion a new African American literary history as something like a "discursive formation.") But, in a final paradox, I want to argue that it is the very depth of Tolson's commitments, the extent of his immersion in the idea of the avant-garde, that makes available for us the critical and self-critical interventions that constitute productive revisionism. Tolson's importance, in this framework, depends on his susceptibility to revision; but what my framework allows us to see—and what thereby becomes perhaps most remarkable about Tolson's trajectory—is that through the ballad of Hideho Heights and through his impromptu folktale to Dudley Randall, Tolson began that process of productive revision himself. It is the task to which he continues to call us.
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Special Correspondent
Health Minister refutes reports on denial of aid
THIRUVANANTHAPURAM: Health Minister P.K. Sreemathy has denied reports that the Government has imposed curbs on grant of health care assistance from the Society for Medical Assistance for the Poor.
Opposing an adjournment motion on the subject in the Assembly on Monday, Ms. Sreemathy said the Government had not decided not to grant the assistance to those aged above 50 years as alleged by the Opposition. Assistance under the scheme was available only for heart and brain surgeries, kidney ailments and cancer at the five Government medical colleges, Sri Chitra Tirunal Institute for Medical Sciences and Technology and the Regional Cancer Centre, Thiruvananthapuram, and not for contagious diseases such as chikungunya. All that the governing council had decided was to give priority to those aged below 50 years and who were breadwinners of the families concerned when sanctioning the assistance.
The Minister said the governing council of the society had not met during the time of the United Democratic Front Government. When the governing council met after the present Government assumed office, it was decided to give priority to applications for assistance received in the past. The council had found that the funds available with it would be sufficient to provide assistance only to 706 persons. This meant that it should fix some criteria to select the persons most eligible for assistance. It was thus decided to give priority to those aged below 50 years and who were breadwinners of their families. It was also decided to give priority to applications from backward districts such as Kasaragod and Wayanad. All applications received by the governing council would be considered eventually and there was no question of anyone genuinely eligible being denied assistance, she added.


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Census form being spurned by Virginians
A discourse about government intrusion into private lives may be responsible for the low numbers of forms being filled out. Only 34 percent of Virginia households have completed the form.
Tags: Census , Larry Sabato , Hank Silverberg , government intrusion , Constitution
Thursday - 04/01/2010, 01:52am EDT
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2000 IAAF Mobil Grand Prix Final
The final meeting of the International Amateur Athletic Federation's Outdoor Grand Prix season, which includes the world's 10 leading outdoor invitational meets. Athletes earn points throughout the season with the leading point winners invited to the Grand Prix Final. The 2000 final was held Oct. 5, 2000 in Doha, Qatar.
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Share your experiences with the Harry C. Holland Gutbuster below Back to event details page.
Frick Park is a great place to run an XC race. Nice that they have options for everyone: 2, 4, or 8 miles.
Anthony L. Boerio
possibly the best XC race in town. Kudos to the organizers for managing and executing this great event.


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Feb 14 - Iran Photoshopped Its New Stealth f!ghter To look Like it's Flying
|2 years ago
|class of '11 - away - #1
2717 pageviews
20 comments
Iran's latest transgression is especially hilarious: they've photoshopped their latest Qaher 313 f!ghter onto a stock image of Mount Damavand to make it look like it's flying. Seriously, the stock image that Iran used of magestic Mount Damavand can be found at PickyWallpapers.com. And, well, look at how they put two and two together...
Source: Iran Photoshopped Its New Stealth f!ghter Jet to Look Like It Was | Military | Gear
Last edited by GetuOne; 02-16-2013 at 06:14 PM..
|2 peeps gave props to GetuOne
|Jayg36 (02-15-2013) , hot topic (02-14-2013)
|2 years ago
|class of '10 - away - #7
you dont think that the iranian president knows this? you think hes that dumb? look at the stuff he says in politics, he knows american politics better then most of these boxden n*ggas, this is like advertisement, you say its photoshopped, and he says now americans now about my stealth plane
|2 years ago
|class of '07 - away - #13
The president of Iran has the same job as Donald Trump with the American Govt. They both don't make any decisions on whats gonna happen. Their country is ruled by a Iman or Ayatollah.
|2 years ago
|class of '05 - away - #20
Stealth? The B2 bomber and F-117 stealth f!ghter "allegedly" use an antigravity system. A high voltage current is applied to the wings and negative ions go out the exhaust creating an antigravity field pushing the craft forward. It also masks the thermal signature and reduces radar cross section....so if Iran has a stealth f!ghter are they basically telling us they have the same antigravity tech we do?
Last edited by autoraptronix; 04-09-2013 at 10:37 AM..


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Welcome to the Garden
Welcome to TD Garden, where the Boston Celtics will take on the Atlanta Hawks at 8 p.m.
Rajon Rondo is out tonight and beyond with a sprained left ankle, this according to Danny Ainge, who updated Rondo's status this afternoon on WEEI. We'll of course ask Doc Rivers about the injury before the game, but knowing Doc, don't expect much more of an update than that for a few days. Without Rondo, Nate Robinson is the likely starter at point guard.
Rondo's injury might have been something of a blessing if Delonte West wasn't injured. It would have given West a chance to run the team along with Robinson. Now Robinson is faced with the unenviable task of being the team's only point guard, barring the sudden emergence of Avery Bradley. Ray Allen can handle the ball, as can Marquis Daniels, but the Celtics are better off with Robinson as the energy guy off the bench. Given the team's other injuries, to Shaquille and Jermaine O'Neal, Kendrick Perkins, and West, it would be surprising to see the Celtics' 11-game winning streak continue for too long without Rondo.
Benbow and Washburn are on the second night of a back-to-back, but I've got fresh legs and will try to give them an assist and keep you updated tonight as best I can.
More to come.
- Gary Washburn, NBA writer
- Baxter Holmes, Celtics beat writer
- Gary Dzen, Boston.com senior sports producer


text:
- About this Journal ·
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Stroke Research and Treatment
Volume 2012 (2012), Article ID 972069, 17 pages
A Systematic Review of Bilateral Upper Limb Training Devices for Poststroke Rehabilitation
1Research Institute MOVE, Faculty of Human Movement Sciences, VU University Amsterdam, Van der Boechorststraat 9, 1081 BT Amsterdam, The Netherlands
2Research Institute MOVE, Department of Rehabilitation Medicine, VU University Medical Center, De Boelelaan 1117, 1081 HV Amsterdam, The Netherlands
Received 20 July 2012; Accepted 8 October 2012
Academic Editor: Stefano Paolucci
Copyright © 2012 A. (Lex) E. Q. van Delden et al. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Citations to this Article [6 citations]
The following is the list of published articles that have cited the current article.
- Barbara J. Singer, Ann-Maree Vallence, Sarah Cleary, Ian Cooper, and Andrea M. Loftus, "The effect of EMG triggered electrical stimulation plus task practice on arm function in chronic stroke patients with moderate-severe arm deficits," Restorative Neurology and Neuroscience, vol. 31, no. 6, pp. 681–691, 2013. View at Publisher · View at Google Scholar
- Nurdiana Nordin, Sheng Quan Xie, and Burkhard Wuensche, "Assessment of movement quality in robot-assisted upper limb rehabilitation after stroke: a review," Journal of Neuroengineering and Rehabilitation, vol. 11, 2014. View at Publisher · View at Google Scholar
- Mohammad Esmaeili, Nathanaël Jarrassé, Wayne Dailey, Etienne Burdet, and Domenico Campolo, "Ergonomic design of a wrist robot," International Journal of Intelligent Computing and Cybernetics, vol. 7, no. 3, pp. 289–306, 2014. View at Publisher · View at Google Scholar
- Stefano Masiero, Patrizia Poli, Giulio Rosati, Damiano Zanotto, Marco Iosa, Sefano Paolucci, and Giovanni Morone, "The value of robotic systems in stroke rehabilitation," Expert Review of Medical Devices, vol. 11, no. 2, pp. 187–198, 2014. View at Publisher · View at Google Scholar
- Adriano O. Andrade, Adriano A. Pereira, Steffen Walter, Rosimary Almeida, Rui Loureiro, Diego Compagna, and Peter J. Kyberd, "Bridging the gap between robotic technology and health care," Biomedical Signal Processing and Control, vol. 10, pp. 65–78, 2014. View at Publisher · View at Google Scholar
- Marina Vallés, José Cazalilla, Ángel Valera, Vicente Mata, Álvaro Page, and Miguel Díaz-Rodríguez, "A 3-PRS parallel manipulator for ankle rehabilitation: towards a low-cost robotic rehabilitation," Robotica, pp. 1–19, 2015. View at Publisher · View at Google Scholar


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WebMD Physician Directory
Waterbury, Connecticut
Snake Bite (Snake Bite)
What is a venomous (poisonous) snake bite?
A venomous (poisonous) snake bite is a bite or a puncture wound made by a snake that is capable of injecting, secreting, or spitting a toxin into the penetrated ...!--*ICCChunk-4095*-->
Other Related Snake Bite Articles
Emergency Contact for Waterbury
Nearby Waterbury Hospitals *
Saint Mary's Hospital
Waterbury Hospital
The Hospital Of Central Conn
Bristol Hospital
Southbury Training School
Gaylord Hospital
Midstate Medical Center
Masonicare Health Center
Griffin Hospital
Hospital Of Central Connecticut
Hospital For Special Care
Charlotte Hungerford Hospital
New Haven Community Correction
Yale New Haven St Raphael Cmpus
John Dempsey Hospital
Connecticut Mental Health Ctr
Yale New Haven Childrens Hosp
Yale New Haven Hospital
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New Milford Hospital
VA Connecticut Hlthcr Systm
Connecticut Valley Hospital
Whiting Forensic-Valley Hosp
Middlesex Hospital
Riverview Hospital For Children
Danbury Hospital
Institute Of Living-Hartford Hs
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Milford Hospital
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US Federal Correctional Inst
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Canine distemper virus causes a potentially deadly, multisystemic disease in canids and can be hard to distinguish from canine parvovirus and kennel cough, writes veterinarian Allison Dascoli. Testing can help differentiate between the illnesses, according to Dr. Dascoli, but she notes that canine distemper virus can be prevented with proper vaccination.
View Full Article in:Charleston Daily Mail (W.Va.)
Published in Brief:


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Outer Great Barrier Reef Dive and Snorkel Cruise from Cairns
View the colorful underwater world of the Great Barrier Reef on this full-day trip from Cairns. Whether you are a snorkeler or a scuba diver, experienced or a novice, this snorkel and dive cruise from Cairns is the perfect day out on the Great Barrier Reef. Visiting three different dive sites you'll discover the abundant marine life and diversity of coral which the Great Barrier Reef is world-famous for.
- Full-day cruise to the outer edge of the Great Barrier Reef from Cairns
- Snorkel or scuba dive from the back of the boat
- Visit three different sites and five hours on the reef
- Beginners can snorkel or try an introductory dive
- Experienced divers can complete up to three certified dives
- Cruise on a luxurious catamaran accommodating up to 80 passengers
Recent Photos of This Tour
Giant ClamPhoto by: Samantha M
United Kingdom, 11 2007
Coral at Agincourt ReefPhoto by: Samantha M
United Kingdom, 11 2007
Parrott Fish Agincourt ReefPhoto by: Samantha M
United Kingdom, 11 2007
Videographer with Giant ClamPhoto by: Samantha M
United Kingdom, 11 2007
SamPhoto by: Samantha M
United Kingdom, 11 2007
Agincourt Reef DivingPhoto by: Samantha M
United Kingdom, 11 2007
What You Can Expect
Snorkel or dive at some of the best known dive sites off Cairns such as Flynn, Milln and Thetford reefs for their abundance of marine life. The sites offer excellent wall dives, swim-throughs and overhangs, great for both novice and experienced divers. you can expect to see an abundance of fish species, hard corals such as staghorn, table, plate and boulder coral, and many species of soft corals.
Your day begins as you board the boat at Marlin Wharf. The ultra modern 29 meter catamaran will be your base for the day. Throughout the day you'll visit three different locations which may include Thetford, Milln and Flynn Reef. Each stop showcases a different aspect of the beautiful Great Barrier Reef. At each site you have the choice to snorkel, dive or a combination of both.
If you have never tried scuba diving you can choose to do one or two introductory dives, or you may prefer to stick to snorkeling and explore all three sites from the surface. A crew member will take those interested on a guided snorkel tour at one of the reef locations. Certified divers can choose to partake in up to three certified dives. Whatever you choose, your Outer Great Barrier Reef Dive and Snorkel Cruise includes up to five hours in the water.
The friendly crew will be happy to answer any questions you have throughout the day. The boat features full bar facilities, fresh water showers and expansive sun-decks overlooking the Coral Sea. A tropical buffet lunch will be served between sites, along with morning and afternoon tea.
Customer Reviews
February 2015
January 2015
Staff were very helpful and respectful, had a very bumpy ride, but everyone was a great help. Dive instructors are great, they really love their job, and want you to have a great experience. Seeing a sea turtle was the high light of my trip!!!!!


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My *** is numb and I need to eat & shower.
~ not necessisarily in that order ~
« Next Previous » Category: offtopic Confessions
Posted by DrewBerry
on September 27th, 2009 at 3:36 PM
My *** is numb and I need to eat & shower.
~ not necessisarily in that order ~
Yeah I think I would shower then eat... I dunno why tho :P
Oddly enough, mine is too. And I'm hungry, but clean.....
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text:
LIVERMORE, Calif. An in-depth study by Sandia National Laboratories and General Motors Corp. has found that plant and forestry waste and dedicated energy crops could sustainably replace nearly a third of gasoline use by the year 2030.
The goal of the "90-Billion Gallon Biofuel Deployment Study" was to assess whether and how a large volume of cellulosic biofuel could be sustainably produced, assuming technical and scientific progress continues at expected rates. The study was conducted over a period of nine months.
Researchers assessed the feasibility, implications, limitations, and enablers of annually producing 90 billion gallons of ethanol sufficient to replace more than 60 billion of the estimated 180 billion gallons of gasoline expected to be used annually by 2030. Ninety billion gallons a year exceeds the U.S. Department of Energy's goal for ethanol production established in 2006.
The "90 Billion Gallon Study" assumes 75 billion gallons would be ethanol made from nonfood cellulosic feedstocks and 15 billion gallons from corn-based ethanol. The study examined four sources of biofuels: agricultural residue, such as corn stover and wheat straw; forest residue; dedicated energy crops, including switchgrass; and short rotation woody crops, such as willow and poplar trees. It examines the costs of producing, harvesting, storing and transporting these sources to newly built biorefineries.
Key findings
Using a newly developed tool known as the Biofuels Deployment Model, or BDM, Sandia researchers determined that 21 billion gallons of cellulosic ethanol could be produced per year by 2022 without displacing current crops. The Renewable Fuels Standard, part of the 2007 Energy Independence and Security Act, calls for ramping up biofuels production to 36 billion gallons a year by 2022.
The 90 Billion Gallon Study, which focused only on starch-based and cellulosic ethanol, found that an increase to 90 billion
|Contact: Mike Janes
DOE/Sandia National Laboratories


text: Publications Search Results Users may wish to consult What's Included in the Bibliography. Results 1 - 1 Results per page: 25 50 100 Sort by: Pub Date (newest) Title Recent Additions Author Clear All Pub. Year Citation 1980 Li, Angelina H. Asian Americans: An Underutilized Minority?. Illinois Sociological Association. Export Options: RIS EndNote XML [1]


text:
Eucerin Redness Relief Perfecting Lotion with spf 15
133 reviews
53% would repurchase
Package Quality: 3.7
Price: $$
Package Quality: 3.7
Price: $$
INGREDIENTSIngredients: Water, Glycerin, Dimethicone, Polyglyceryl 3 Methylglucode Distearate, Butyrospermum Parkii (Shea Butter), Lauroyl Lysine, Squalane, Alcohol Denat, Sorbitan Stearate, Phenoxyethanol, Butylene Glycol, Magnesium Aluminum Silicate, Glycyrrhiza Inflata Root Extract, Xanthan Gum, Methylparaben, Propylparaben, Ethylparaben, Iodopropynyl Butylcarbamate, Trimethoxycaprylylsilane, Chromium Oxide Greens, Chromium Hydroxide Green, Ultramarines. Active Ingredients: Octinoxate, Octisalate, Titanium Dioxide.
on 5/14/2014 4:12:00 AM
Age: 25-29
Skin: Sensitive, Fair, Not Sure
Hair: Red, Other, Other
Eyes: Blue
I really like this. I'd ignore the green tint, it's not going to do much. It absorbs well and is excellent under makeup. Probably not the best for very dry skin but great if you're slightly oily. Will repurchase. Prefer it to La Roche Posay and Avene products of the same type.
on 3/28/2014 1:29:00 AM
Age: 19-24
Skin: Combination, Other, Not Sure
Hair: Blond, Other, Other
Eyes: Blue
I love this product soooo much! It has literally changed my life and I no longer need to wear any sort of face makeup besides like mascara. I don't have acne besides the occasional pimple every once and a while. But I do have red and uneven skin tone. Before I had to wear makeup to make the redness and blotchy spots go away. This product does a very good job of covering it up. It makes my skin look perfect I don't even have to put on makeup! The only problem with this product is if you have dry spots. I have to always make sure that my face it getting the moisture it needs because if you have any dry spots the green color in the lotion absorbs and it looks like you have green dry spots. So maybe it wouldn't be the best for people who suffer from dry skin. Overall this product is amazing for me
on 2/17/2014 1:52:00 PM
Age: 19-24
Skin: Combination, Fair, Cool
Hair: Brunette, Wavy, Medium
Eyes: Brown
I have mild rosacea on my cheeks, chin and nose. The reason I love this lotion is because it is super gentle and absorbs really well. I only need about a half of a pump to moisturize my face because it works so well.
I only gave it 4 lippies because it doesn't do anything to hide my redness. It's just a great, gentle moisturizer!
on 1/19/2014 10:46:00 PM
Age: 25-29
Skin: Sensitive, Fair, Neutral
Hair: Brown, Kinky, Fine
Eyes: Brown
Unfortunately when I applied this product (thinly, avoiding eyes) it made my eyes sore and irritated. This has never happened before from using a facial product. I'd expect irritated eyes from onions or harsh cleaners...not this!
There were some positives - when applied thinly it concealed the redness, it absorbed well into the skin, it took about 15 minutes for the green cast to disappear as expected.
But yeah, the fact that it made my eyes burn is very worrying. I know someone else with Rosacea so I'll let them try the product to see if they get burning eyes (I felt like a horrible sadist writing that) and if not, the product is theirs!
I'll report back after this experiment.
on 9/18/2013 4:35:00 PM
Age: 25-29
Skin: Sensitive, Fair, Not Sure
Hair: Brown, Straight, Fine
Eyes: Blue
I've been using this for over a year now and it hasn't improved my redness at all. I also use the night cream from this range. I had horribly dry skin on my face and both creams have helped me a lot regarding that. I only use it because it's an ok moisturizer which doesn't give me pimples and the green shade does tone down my redness a bit but it's not permanent.
You have to be really careful not to put too much of it on your face or you will look green!
on 9/15/2013
Age: 25-29
Skin: Dry, Fair, Cool
Hair: Brunette, Straight, Fine
Eyes: Blue
I know this product is affordable...but it's not really worth it. There has yet to be a really affordable product for rosacea sufferers that is actually effective. But I'm saving up for the Rosacea Care willowherb moisturizer because it's not worth it to continually buy a product that doesn't work.
This product has a bit of an identity crisis -- it is a primer? A moisturizer? For dry or sensitive skin (and you most likely have both if you have rosacea), it's too thin and watery to actually moisturize -- I almost always have to put on an extra moisturizer on with this first. And the green does not absorb well, either, leaving a thin, grey shadow on top of my already ruddy complexion. It does slightly reduce the appearance of redness, but not for very long and I do have to layer foundation/concealer/powder on top of it.
In short, if you have rosacea and are interested in controlling it by placing minimal products on your face, don't add this into your routine. Effective products exist in the $30-$50 range; and if you don't have to also buy a cc cream, a green-tinted primer and a yellow-toned concealer, then you will ultimately save yourself money and save your face from some serious product-overload.
on 8/26/2013 1:51:00 PM
Age: 25-29
Skin: Combination, Fair-Medium, Cool
Hair: Brunette, Wavy, Fine
Eyes: Hazel
I have been using this for a few weeks. I do not have rosacea, just overall redness/ruddyness. I really like it! I put it all over my face after moisturizing and I can't see it at all once it's blended in. I use foundation over it and have noticed reduced redness "breakthrough" throughout the day. For those that say the SPF is not high enough: Any stronger and you are more likely to have a reaction thus more redness. SPF 15 is fine and unless you are going to the beach, it is fine for everyday use.
on 5/1/2013 2:25:00 PM
Age: 19-24
Skin: Combination, Fair, Not Sure
Hair: Red, Other, Other
Eyes: Blue
I am the reddest...and this didn't work a bit for me. It smelled weird, and definitely did not improve my redness. So, thanks, but no thanks.
) :
on 4/17/2013 1:38:00 PM
Age: 19-24
Skin: Sensitive, Fair, Cool
Hair: Brunette, Wavy, Medium
Eyes: Blue
I thought I had reviewed this but I guess not. I really like this product and I really don't get all the hate. I do have Rosacea and its not a common thing like acne so finding products specifically for it is ridiculous. Almost none in drugstores and the ones they do sell are expensive, to me at least. I have used this on and off since I was 16 or so. I like the green tint because it hides a good deal of the redness on my cheeks, and its pretty thick so you don't have to use much. I only wish it had a higher SPF cuz I am super pale. Anyways I put it on before my makeup, it is the only moisturizer I use before. I feel like it also helps make my face feel nice. Just a tip though- rub it in thoroughly and end by patting so there are no green streaks. I think Rosacea sufferers such as myself should really give this a try.
on 3/25/2013 1:58:00 PM
Age: 25-29
Skin: Sensitive, Fair-Medium, Warm
Hair: Brunette, Curly, Fine
Eyes: Brown
While I understand that this product isn't perfect, there aren't that many products out there, especially that are affordable, for those of us who suffer from Rosacea. Does this product cure my rosacea or make me look totally normal? Ummmmm, no! It's not Photoshop! LOL. But it does help.
The key to this product, for me, has been putting it on long before I go out, either the night before, or a few hours before I put on the rest of my makeup. I used to take forever and put tiny dots of it on at a time in just the red areas and try to blend it in. It either sat on the top of my skin like mud or just blended totally in, offering no redness cover at all. When I put it on ahead of time, eventually my skin's natural oils bond with it and it sinks in. I just put it all over my face, like I would normal lotion. I massage it, but don't rub it in all the way. My face has green spots on it, like I'm wearing a mask. But eventually, it does absorb, and my skin looks better. It doesn't hide the red, but it definitely helps calm it down. Then I put on foundation or BB cream.
This is the only face lotion I've ever used that didn't cause allergic reactions, acne, or oil. I love it. I didn't even think I needed to use face moisturizer, but this is actually really helping. Also, exfoliating once a week has helped make this product more effective.
Popular Moisturizers


text:
Mon-Fri: 7am-1am EST / Sat-Sun: 7am-11pm EST
ApplianceJenn-Air Refrigerator
Level of DifficultyEasy
Time to do repairLess than 15 mins
Age of Appliance5 - 10 years
0 out of 1 people found this instruction helpful
Popped off front & popped it back on. As easy as could be. This is a fantastic site. Product arrived quickly. It was broken, but they refunded immediately and sent a new part immediately. Very impressive.
Help other customers find the most helpful instructions.
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Part Number: PS2066823
All brand logos are trademarks of their respective owners.
The PartSelect logo is a Registered Trademark of Atlantic Laundry Centres, Ltd.
Copyright © 1999-2015 , Eldis Group Partnership. All rights reserved.


text:
Home →
→ NYMP News (not region specific)
| NYMP News (not region specific)
Take little steps.
It takes a village to raise a kid," says Robin Gorman Newman, who lives in Great Neck. "[Growing up], I always somehow felt I was surrounded by a village. It never felt like it was just you. Now, things are just different."
Newman, founder of Motherhood Later (she had her child at 42), made the decision to provide her now 8-year-old son with a bit of independence by starting small—like dropping him off at the local synagogue where people know him, or at the pool where adults she trusts will keep a close eye on all the children.
"Kids want to feel safe and loved, but they also want to feel grown-up. You walk a fine line between giving them that sense, but wanting to hold on to them," she says. "As a parent, it's tough. The first time my son said, 'Okay, bye, mom!' I was taken aback. But then you realize that's what you want. You raise them so that they can go off on their own some day…If you can instill in them at a young age the fact that they have the capacity for that…that's great."
Be wary.
On the other hand, raising two children, 10 and 13, in Manhattan, Marinka of the blog Motherhood in NYC, reveals that although the local yogurt or pizza shop are places she feels her kids can be safe because of their proximity to home and the fact that many other children hang out there, the subway, she says, is "absolutely off limits."
In her blog post "I Can't Free-Range My Kids. Should I Try?" she writes: "…although I think that [my kids] are smart, young and capable, they live in a world that often doesn't value children and doesn't protect them."
These feelings are not just limited to raising kids in an urban area. A mother of three who is raising her children (ranging from 4-17) in Rockland, Merianne Jackson, founder of Chic Mom, says she is still searching for a place in the neighborhood where she feels comfortable and safe with her children. One of the best ways to help secure a place like this, she says, is to "become involved and get to know the other parents really well, so that in case I must leave [the kids], I am comfortable."
Set up open lines of communication.
Finding a safe place for your kids is a two-way street. Both children and parents should feel comfortable about the venue. Ron Steingard, M.D., a child psychiatrist at the Child Mind Institute, stresses the importance of having open and direct conversations with your children as the first step toward feeling confident about dropping your child off without your supervision.
You have to have some degree of structure, try things in small pieces first, and have lots of discussion about it. Keep this communication open. You want them to feel comfortable and you want to be that ultimate safe place, so that you become the floor they walk on," Dr. Steingard says. "You can't assume their expectations are the same as yours. You need to set the stage before you drop them off. Discuss where they're going, set a time for arrival, a time for departure…Think about how the day will go and what they can expect…and prepare for that."
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Here's something new…a lovable loaf of bread. This pillow toy has wool-felt features including big eyes with thick lashes, a tiny mouth, and a small red heart.
It is 10″ long and 4″ tall.
It's the perfect something for a loved one who loves carbs and baked-good puns as much as you.


text:
The Indian unit of Britain's telecom major Vodafone on Tuesday reported a 13% year-on-year increase in service revenue at Rs 37,606 crore during the year ended March 31 on the back of customer additions, price hardening and strong growth in data revenues.
Operating profit for the fiscal stood at Rs 13,398.6 crore, while the operating cash flow stood at Rs 8,464.4 crore. The company made a capital expenditure of Rs 7,009.4 crore took place in financial year 2014.
The company ended the year with 166.6 million customers serviced through a network of over 1,19,700 total sites, of which 22,400 are combined (2G+3G) sites.
It also reported a strong growth in voice minutes along with strengthened average revenue per minute (ARPM) at 47 paise against 44.3 paise during the previous financial year.
Average revenue per user (Arpu) stood at Rs 199 during the fiscal, driven by focus of quality of subscribers.
On account of rise in smartphones usage in the country, the company's data browsing revenue rose 72% year on year in the last fiscal at Rs 3,436.9 crore, or about 10.3% of service revenues.
Data users were 52 million, of which 7 million are 3G customers.
Data Arpu per browsing subscriber was Rs 65 against Rs 51 a year ago.
In February 2014 spectrum auctions, it acquired 72 MHz of spectrum both 900 MHz and 1800MHz for a total of Rs 19,644 crore.
"Maintaining out focus on profitable growth has led to significant improvement in operating margins and strong cash flows," Vodafone CEO Marten Pieters said.
However, the company declined to be specific if it would be hike headline tariffs. Telecom firms of late have been reducing their discounts and freebies to improve profit margins, though none, except Reliance Communications, has raised headline tariff.
Clarity in various policies, tariff hikes by the market leaders and semi-consolidation, with many small players exiting from the Indian market in the last couple of years, has helped the industry growth.
Recently, Bharti Airtel had reported 89% net profit while Idea Cellular had clocked 91% increase in the net profit as compared to the previous fiscal.


text:
Activities and Amenities
|Within Facility
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part ofCaribou-Targhee National Forest, US Forest Service
Status: Open through Wed Sep 09 2015 Season Dates
OverviewMcCrea Bridge Campground is located on the backwaters of beautiful Island Park Reservoir in Island Park, Idaho at an elevation of 6,200 feet. Visitors love Island Park for its world-class fishing and outstanding scenery and wildlife viewing opportunities.
Natural Features:
Island Park is composed of two areas of extinct volcanic activity. The Henry's Fork Caldera sits inside the larger Island Park Caldera. The area is known for its dense forests of lodgepole pine, broad grassy meadows bursting with summer wildflowers and a wide variety of wildlife, including black and grizzly bears, moose, elk, deer, bald eagles, Sandhill cranes and much, much more.
Island Park Reservoir offers boating, water skiing, fishing and canoeing. A boat ramp is located within the campground. The reservoir is used for irrigation so the water level recedes throughout the summer and by August, the reservoir cannot be accessed from McCrea Bridge.
The campground contains single and double sites, each equipped with a picnic table, campfire ring and grill. Some sites have stairs between the parking spur and the site pad. Vault toilets, drinking water and trash collection area provided, but there is no electricity.
Nearby Attractions:
Mesa Falls Scenic Byway is 12 miles south of the campground. This 28-mile road leads to scenic overlooks and trails at 110 foot Upper Mesa Falls and 85 foot Lower Mesa Falls.
Activities and Amenities
Know Before You Go
Getting There:GPS Info. (Latitude, Longitude):
44.4625, -111.40056
From West Yellowstone, Montana, take Highway 20 south for 27 miles. Turn west at Elk Creek Service Station and travel 2 miles to the campground entrance.
Contact Information:
Mailing Address:MCCREA BRIDGE
Phone Number:Information: (208)558-7658
Managed By:
Additional Information
Weather Information