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Edward O'Brien, S.J., 1927-2011
Edward O'Brien, S.J. (Grad '54, '57, '62), a former vice president for mission and ministry at Saint Louis University and minister to the Jesuit community at SLU died Tuesday, March 1, 2011. He was 83 years old and was Jesuit for 63 years.
Father O'Brien served as SLU's vice president for mission and ministry from 2001-2003. Prior to that, he was the minister of the Jesuit community at SLU, dedicating eight years of his life to the care of the more than 90 Jesuits who called Jesuit Hall home.
|Edward O'Brien, S.J.
"Ed's deep and abiding faith made him the ideal person to oversee mission and ministry at Saint Louis University," said University President Lawrence Biondi, S.J. "He was a good friend to me and many others at SLU, especially in our Jesuit community. Truly, he will be missed, but his life and vocation will continue to inspire."
Born April 18, 1927, in St. Louis, Father O'Brien entered the Society of Jesus at St. Stanislaus Seminary in Florissant, Mo., on Aug. 8, 1947. He was ordained to the priesthood on June 15, 1961, at St. Mary's College in Kansas. He earned various academic degrees from Gonzaga University and SLU.
After tertianship and a year of study in pastoral theology in Brussels, Belgium, Father O'Brien began a nine-year assignment as a teacher of theology at Saint Louis University High School. He was widely recognized as an exceptional teacher.
Beginning in 1970, he served for three years as a member of the executive committee of the Jesuit Secondary Education Association and chair of the Commission on Religious Education.
In 1973, Father O'Brien was named the master of novices for the Jesuits of the Missouri Province, first in Kansas City, Mo., and then in Denver. He was noted for his insights into faith and religious life.
In 1982, after his work in the novitiate, he joined the staff of the Jesuit Spirituality Center in Karen, Kenya, where he served for three years before returning to the Missouri Province as the rector of the Bellarmine House of Studies and the Fusz Pavilion.
Following his work in formation, Father O'Brien continued to be available for important service in the province. After a year on the staff of the White House Retreat, a Jesuit retreat center in south St. Louis County, he was named pastor and community superior at St. Matthew Church in St. Louis.
During the next five years, parishioners developed a great affection for Father O'Brien, connecting with his spirituality and commitment to his community.
Father O'Brien returned to the White House Retreat for a brief period of time before being named the minister of the Jesuit Hall in 1995. In 2001, he was named vice president for mission and ministry at SLU and served as member of SLU's Board of Trustees.
In 2003, he returned to the White House Retreat where he continued to serve as a retreat director until his death. Those who lived and worked with Father O'Brien remember him fondly.
"Ed was a wonderful, wonderful person," said Jim Burshek, S.J., a member of SLU's Board of Trustees and director of White House Retreat. "He wanted two things toward the end of his life: Not to be a 'patient' for too long and to die in a Jesuit community. The good Lord granted him both of these wishes."
Father O'Brien donated his body to science.
A Memorial Mass will be held at 7:30 p.m. Monday, March 7, at St. Francis Xavier College Church.
Father O'Brien is survived by his brother, Jerome O'Brien, and by his sisters, Mary O'Brien and Margaret Rietman.
Letters of condolence may be sent to the following:
White House Retreat Jesuit Community
7410 Christopher Drive
St. Louis, Mo. 63129
Margaret Rietman
728 Kingswood Drive
Evansville, Ind. 47715


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Humphrey DeForest Bogart (December 25 1899 – January 14 1957) was an American actor and cultural icon. In 1997, Entertainment Weekly magazine named him the number one movie legend of all time. In 1999, the American Film Institute ranked "Bogie" the greatest male star.
After trying various jobs, Bogart began acting in 1921 and became a regular in Broadway productions in the 1920s and 1930s. When the stock market crash of 1929 reduced the demand for plays, Bogart also turned to film. His first great success was as Duke Mantee in The Petrified Forest. He had been acclaimed for his performance in the play, and his friend Leslie Howard saw to it that he reprised his role in the 1936 film version. Despite rave reviews, Bogart was typecast as a gangster in B-movies. His breakthrough came in 1941, with High Sierra (though he still played a criminal) and The Maltese Falcon. The next year, his performance in Casablanca finally raised him to the peak of his profession and at the same time, cemented his trademark film persona, that of the hard-boiled cynic who ultimately shows his noble side. Other triumphs followed, including The Big Sleep (1946); Key Largo (1948), opposite his wife Lauren Bacall; The Treasure of the Sierra Madre (1948); The African Queen (1951), for which he won his only Academy Award (for Best Actor); and The Caine Mutiny (1954). Altogether, he appeared in 75 feature motion pictures.
Bogart's birthday has been a subject of controversy. It was long believed that his birthday on Christmas Day 1899, was a Warner Bros. fiction created to romanticize his background, and that he was really born on January 23 1899, a date that appears in many references. However, this story is now considered baseless: although no birth certificate has ever been found, his birth notice did appear in a Boston newspaper in early January 1900, which supports the December 1899 date, as do other sources.
Humphrey was the oldest of three children, his two younger sisters were Frances and Catherine Elizabeth (Kay). His parents were very formal, busy in their careers, and frequently fought—resulting in little emotion directed at the children, "I was brought up very unsentimentally but very straightforwardly. A kiss, in our family, was an event. Our mother and father didn't glug over my two sisters and me." As a boy, Bogart was teased for his curls, his tidiness, the "cute" pictures his mother had him pose for, the Little Lord Fauntleroy clothes she dressed him in—and the name "Humphrey. From his father, Bogart inherited a tendency for needling people, a fondness for fishing, a life-long love of sailing, and an attraction to strong-willed women.
The details of his expulsion are disputed: one story claims that he was expelled for throwing the headmaster (alternatively, a groundskeeper) into Rabbit Pond, a man-made lake on campus. Another cites smoking and drinking, combined with poor academic performance and possibly some intemperate comments to the staff. It has also been said that he was actually withdrawn from the school by his father for failing to improve his academics, as opposed to expulsion. In any case, his parents were deeply dismayed by the events and their failed plans for his future.
Nevertheless, by the time Bogart was treated by a doctor, the scar had already formed. "Goddamn doctor", Bogart later told David Niven, "instead of stitching it up, he screwed it up." In fact, Niven says that when he asked Bogart about his scar he said it was caused by a childhood accident; Niven claims the stories that Bogie got the scar during wartime were made up by the studios to inject glamour. His post-service physical makes no mention of the lip scar even though it mentions many smaller scars, so the actual cause may have come later.When actress Louise Brooks met Bogart in 1924, he had some scarred tissue on his upper lip, which Belmont Bogart may have partially repaired before Bogart went into films in 1930. She believes his scar had nothing to do with his distinctive speech pattern, his "lip wound gave him no speech impediment, either before or after it was mended...Over the years, Bogie practiced all kinds of lip gymnastics, accompanied by nasal tones, snarls, lisps, and slurs. His painful wince, his leer, his fiendish grin were the most accomplished ever seen on film".
After his naval service, Bogart worked as a shipper and then bond salesman. He joined the Naval Reserve. More importantly, he resumed his friendship with boyhood mate Bill Brady, Jr. whose father had show business connections, and eventually Bogart got an office job working for William A. Brady Sr.'s new company World Films. Bogart got to try his hand at screen writing, directing, and production, but excelled at none. For a while, he was stage manager for Brady's daughter's play A Ruined Lady. A few months later in 1921, Bogart made his stage debut in Drifting as a Japanese butler in another Alice Brady play, nervously speaking one line of dialog. Several more appearances followed in her subsequent plays. Bogart liked the late hours actors kept, and enjoyed the attention an actor got on stage. He spent a lot of his free time in speakeasies and became a heavy drinker. A bar room brawl during this time might have been the actual cause of Bogart's lip damage, as this coincides better with the Louise Brooks account. As he stated, "I was born to be indolent and this was the softest of rackets".
Bogart never took acting lessons, and had no formal training, but he was persistent and worked steadily at his craft. He appeared in at least seventeen Broadway productions between 1922 and 1935. He played juveniles or romantic second-leads in drawing room comedies. He is said to have been the first actor to ask "Tennis, anyone?" on stage. Critic Alexander Woollcott wrote of Bogart's early work that he "is what is usually and mercifully described as inadequate. Some reviews were kinder. Heywood Broun reviewing Nerves wrote, "Humphrey Bogart gives the most effective performance…both dry and fresh, if that be possible". Bogart loathed the trivial, effeminate parts he had to play early in his career, calling them "White Pants Willie" roles.
Early in his career, while playing double roles in the play Drifting at the Playhouse Theatre in 1922, Bogart met Helen Menken. They were married on May 20, 1926 at the Gramercy Park Hotel in New York City, divorced on November 18, 1927, and remained friends. Later on April 3, 1928, he married Mary Philips at her mother's apartment in Hartford, Connecticut. She, like Menken, had a fiery temper. He met Mary when they appeared in the play Nerves that had a very brief run at the Comedy Theatre in September 1924.
After the stock market crash of 1929, stage production dropped off sharply, and many of the more photogenic actors headed for Hollywood. Bogart's earliest film role is with Helen Hayes in the 1928 two-reeler The Dancing Town, of which a complete copy has never been found. He also appeared with Joan Blondell in a Vitaphone short in 1930 which was re-discovered in 1963. Bogart then signed a contract with Fox Film Corporation for $750 a week. Spencer Tracy was a serious Broadway actor whom Bogart liked and admired, and they became good friends and drinking buddies. It was Tracy, in 1930, who first called him "Bogey". (Spelled variously in many sources, Bogart himself spelled his nickname "Bogie".) Tracy and Bogart appeared in their only film together in John Ford's early sound film Up the River (1930), with both playing inmates. It was Tracy's film debut. Bogart then performed in The Bad Sister with Bette Davis in 1931, in a minor part.
Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, suffering long periods without work. His parents were living separately and Belmont died in 1934 in debt, which Bogart eventually paid off. (Bogart inherited his father's gold ring which he always wore, even in his films. At his father's deathbed, Bogart finally told Belmont how much he loved him.) Bogart's second marriage was on the rocks, and he was less than happy with his acting career to date; he became depressed, irritable, and drank heavily.
The play had 197 performances at the Broadhurst Theatre in New York in 1935. Bogart played opposite Leslie Howard as escaped killer Duke Mantee. A critic for the New York Times Brooks Atkinson said of the play, "a peach… a roaring Western melodrama… Humphrey Bogart does the best work of his career as an actor." Bogart said the movie, "marked my deliverance from the ranks of the sleek, sybaritic, stiff-shirted, swallow-tailed 'smoothies' to which I seemed condemned to life." However, he was still feeling insecure.
Warner Bros. bought the screen rights to The Petrified Forest. The studio was famous for its gritty, urban, low-budget action pictures so the script seemed a perfect vehicle, especially when the public was presently entranced by real life criminals like John Dillinger and Dutch Schultz. Bette Davis and Leslie Howard were signed up, and Howard, who held production rights, made it clear he wanted Bogart to star with him. The studio tested several Hollywood veterans for the Duke Mantee role, and chose Edward G. Robinson, who had greater star appeal and was due to make a film to fulfill his expensive contract. Bogart cabled news of this to Howard, who was in Scotland. Leslie Howard cabled reply was, "Att: Jack Warner Insist Bogart Play Mantee No Bogart No Deal L.H.". When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart. Jack Warner, famous for butting heads with his stars, tried to get Bogart to adopt a stage name, but Bogart stubbornly refused. Bogart never forgot Howard's favor, and in 1952 he named his only daughter, Leslie, after Howard, who had died in World War II. Robert E. Sherwood remained a close friend of Bogart's.
Bogart's roles were not only repetitive but physically demanding and draining (studios were not yet air-conditioned), and his regimented, tight-scheduled job at Warners was not exactly the "peachy" actor's life he hoped for. However, he was always professional and generally respected other actors. In those "B movie" years, Bogart started developing his lasting film persona — the wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a core of honor.
Bogart's disputes with Warner Brothers over roles and money were similar to those the studio had with other less-than-obedient stars, including James Cagney, Errol Flynn, and Olivia de Havilland.
The studio system, then in its heyday, largely restricted actors to one studio, with occasional loan-outs, and Warner Bros. had no interest in making Bogart a top star. Shooting on a new movie might begin days or only hours after shooting on the previous one was completed. Any actor who refused a role could be suspended without pay. Bogart didn't like the roles chosen for him, but he worked steadily: between 1936 and 1940, Bogart averaged a movie every two months, sometimes even working on two simultaneously, as movies were shot scene-by-scene and rarely in order of the entire script. Amenities at Warners were few compared to those for their fellow actors at MGM. Bogart thought that Warner wardrobe department was cheap, and often wore his own suits in his movies. In High Sierra, Bogart used his own pet dog called Zero to play his character's dog "Pard."
The leading men ahead of Bogart at Warner Bros. included not just such classic stars as James Cagney and Edward G. Robinson, but also actors far less well-known today, such as Victor McLaglen, George Raft and Paul Muni. Most of the studio's better movie scripts went to these men, and Bogart had to take what was left. He made films like Racket Busters, San Quentin, and You Can't Get Away With Murder. The only substantial leading role he got during this period was in Samuel Goldwyn's Dead End (1937), where he portrayed a gangster modeled after Baby Face Nelson. He did play a variety of interesting supporting roles, such as Angels with Dirty Faces (1938) (in which he got shot by James Cagney). Bogart was gunned down on film repeatedly, by Cagney and Edward G. Robinson, among others. In Black Legion (1937), for a change, he plays a good man caught up and destroyed by a racist organization, a movie Graham Greene called "intelligent and exciting, if rather earnest".
Bogart was raised to believe acting was beneath a gentleman but he enjoyed stage acting.
In 1938, Warner Bros. put him in a "hillbilly musical" called Swing Your Lady as a wrestling promoter; he later apparently considered this his worst film performance. In 1939, Bogart played a mad scientist in The Return of Doctor X. He cracked: "If it'd been Jack Warner's blood…I wouldn't have minded so much. The trouble was they were drinking mine and I was making this stinking movie."
Mary Philips, in her own sizzling stage hit A Touch of Brimstone (1935), refused to give up her Broadway career to come to Hollywood with Bogart. After the play closed, however, she went to Hollywood but insisted on continuing her career (she was still a bigger star than he was) and they decided to divorce in 1937. On August 21, 1938, Bogart entered into a disastrous third marriage, with actress Mayo Methot, a lively, friendly woman when sober, but a paranoid when drunk. She was convinced that her husband was cheating on her. The more she and Bogart drifted apart, the more she drank, got furious and threw things at him: plants, crockery, anything close at hand. She even set the house on fire, stabbed him with a knife, and slashed her wrists on several occasions. Bogart for his part needled her mercilessly and seemed to enjoy confrontation. Sometimes he turned violent. The press accurately dubbed them "the Battling Bogarts". "The Bogart-Methot marriage was the sequel to the Civil War", said their friend Julius Epstein. A wag observed that there was "madness in his Methot". During this time, Bogart bought a motor launch, which he named "Sluggy" after his nickname for his hot-tempered wife. Despite his proclamations that "I like a jealous wife", "we get on so well together (because) we don't have illusions about each other", and "I wouldn't give you two cents for a dame without a temper", it became a highly destructive relationship.
In California in the 1930s, Bogart bought a sailing yacht, the "Santana", from actor Dick Powell. The sea was his sanctuary and he loved to sail around Catalina Island. He was a serious sailor, respected by other sailors who had seen too many Hollywood actors and their boats. About 30 weekends a year, he went out on his boat. He once said: "An actor needs something to stabilize his personality, something to nail down what he really is, not what he is currently pretending to be."
He had a lifelong disgust for the pretentious, fake or phony, as his son Stephen told Turner Classic Movies host Robert Osborne in 1999. Sensitive yet caustic, and disgusted by the inferior movies he was churning out, Bogart cultivated the persona of a soured idealist, a man exiled from better things in New York, living by his wits, drinking too much, cursed to live out his life among second-rate people and projects.
Bogart rarely saw his own films and didn't attend the premieres. He didn't play the Hollywood gossip game or cozy up to the newspaper columnists. He didn't engage in phony politeness and admiration of his peers nor in behind the scenes back-stabbing. He even protected his privacy with phony press releases about his private life to satisfy the curiosity of the press and the public. When he thought an actor, director or a movie studio had done something shoddy, he spoke up about it and was willing to be quoted. He advised Robert Mitchum that the only way to stay alive in Hollywood was to be an "againster". As a result, he was not the most popular of actors and some in the Hollywood community shunned him privately to avoid trouble with the studios. But the Hollywood press, unaccustomed to candor, was delighted. Bogart once said, "All over Hollywood, they are continually advising me 'Oh, you mustn't say that. That will get you in a lot of trouble' when I remark that some picture or writer or director or producer is no good. I don't get it. If he isn't any good, why can't you say so? If more people would mention it, pretty soon it might start having some effect."
The film cemented a strong personal and professional connection between Bogart and Huston. Bogart admired and somewhat envied Huston for his skill as a writer. Though a poor student, Bogart was a lifelong reader. He could quote Plato, Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare. He subscribed to the Harvard Law Review. He admired writers, and some of his best friends were screenwriters, including Louis Bromfield, Nathaniel Benchley and Nunnally Johnson. Bogart enjoyed intense, provocative conversation and stiff drinks, as did Huston. Both were rebellious and liked to play childish pranks. John Huston reported being easily bored during production, and admired Bogart (who also got bored easily off camera) not just for his acting talent but for his intense concentration on the set.
Raft turned down the male lead in John Huston's directorial debut The Maltese Falcon (1941), due to its being a cleaned up version of the pre-Production Code The Maltese Falcon (1931), his contract stipulating that he did not have to appear in remakes. The original novel, written by Dashiell Hammett, was first published in the pulp magazine Black Mask in 1929. It was also the basis for another movie version, Satan Met a Lady (1936). Complementing Bogart were co-stars Sydney Greenstreet, Peter Lorre, Elisha Cook, Jr., and Mary Astor as the treacherous female foil.
Bogart's sharp timing as private detective Sam Spade was praised by the cast and director as vital to the quick action and rapid-fire dialog. The film was a huge hit and for Huston, a triumphant directorial debut. Bogart was unusually happy with it, remarking, "it is practically a masterpiece. I don't have many things I'm proud of… but that's one".
Bogart got his first real romantic lead in 1943's Casablanca, playing Rick Blaine, the hard-pressed ex-pat nightclub owner, hiding from the past and walking the fine line between Nazis, the French underground, the Vichy prefect, and his ex-girlfriend. The film was directed by Michael Curtiz, produced by Hal Wallis, and featured a strong cast, including Ingrid Bergman, Claude Rains, Sidney Greenstreet, Paul Henreid, Conrad Veidt, Peter Lorre, and Dooley Wilson.
In real life, Bogart played tournament chess, one level below master level and often played with crew members and cast off the set. It was reportedly his idea that Rick Blaine be portrayed as a chess player, which also served as a metaphor for the sparring relationship of the characters played by Bogart and Rains in the movie. However, Paul Henreid proved to be the best player.
The on-screen magic of Bogart and Bergman was the result of two actors doing their very best work, not any real-life sparks, though Bogart's perennially jealous wife assumed otherwise. Off the set, the co-stars hardly spoke during the filming, where normally she had a reputation for affairs with her leading men. Because Bergman was taller than her leading man, Bogart had blocks attached to his shoes in certain scenes. She reportedly said later, "I kissed him but I never knew him. Years later, after Bergman had taken up with Italian director Roberto Rossellini, and bore him a child, Bogart confronted her. "You used to be a great star", he said, "What are you now?" "A happy woman", she replied.
Casablanca won the 1943 Academy Award for Best Picture. Bogart was nominated for the Best Actor in a Leading Role, but lost out to Paul Lukas for his performance in Watch on the Rhine. Still, for Bogart, it was a huge triumph. The film vaulted him from fourth place to first in the studio's roster, finally exceeding James Cagney, and more than doubling his salary to over $460,000 per year by 1946, making him the highest paid actor in the world.
Bogart met Lauren Bacall while filming To Have and Have Not (1944), a very loose adaptation of the Ernest Hemingway novel. The movie has many similarities with Casablanca — the same enemies, the same kind of hero, even a piano player sidekick (this time Hoagy Carmichael).
When they met, Bacall was nineteen and Bogart was forty-five. He nicknamed her "Baby." She had been a model since she was sixteen and had acted in two failed plays. Bogart was drawn to Bacall's high cheekbones, green eyes, tawny blond hair, and lean body, as well as her poise and earthy, outspoken honesty. Reportedly he said, "I just saw your test. We'll have a lot of fun together". Their physical and emotional rapport was very strong from the start, and the age difference and different acting experience also created the additional dimension of a mentor-student relationship. Quite contrary to the Hollywood norm, it was his first affair with a leading lady. Bogart was still miserably married and his early meetings with Bacall were discreet and brief, their separations bridged by ardent love letters. The relationship made it much easier for the newcomer to make her first film, and Bogart did his best to put her at ease by joking with her and quietly coaching her. He let her steal scenes and even encouraged it. Hawks, for his part, also did his best to boost her performance and her role, and found Bogart easy to direct.
Hawks at some point began to disapprove of the pair. Hawks considered himself her protector and mentor, and Bogart was usurping that role. Hawks fell for Bacall as well (normally he avoided his starlets, and he was married). Hawks told her that she meant nothing to Bogart and even threatened to send her to Monogram, the worst studio in Hollywood. Bogart calmed her down and then went after Hawks. Jack Warner settled the dispute and filming resumed. Out of jealousy, Hawks said of Bacall: "Bogie fell in love with the character she played, so she had to keep playing it the rest of her life.
Bogart was still torn between his new love and his sense of duty to his marriage. The mood on the set was tense, the actors both emotionally exhausted as Bogart tried to find a way out of his dilemma. Once again, the dialogue was full of sexual innuendo supplied by Hawks, and Bogart is convincing and enduring as private detective Philip Marlowe. In the end, the film was very successful, though some critics point out that the plot is confusing and overly complicated.
Bogart and Bacall moved into a $160,000 white brick mansion in an exclusive neighborhood in Holmby Hills. Bogart and Bacall had two Jaguar cars, and three full-blooded Boxer dogs. The marriage proved to be a happy one, though there were the normal tensions due to their differences. He was a homebody and she liked nightlife. He was thrifty and liked a simply decorated house. She a free-spender and extravagant shopper, who loved fancy furniture. He loved the sea; it made her sick. Bacall allowed Bogart lots of weekend time on his boat as she got seasick. Bogart's drinking sometimes inflamed tensions. Her conflicting roles of wife and actress caused problems but she managed to balance both. As she matured, she became more assertive, dominant, and controlling but on the whole, Bogart gained from her energy and her expansive personality. She was usually flexible about his ways but when she was insistent, he often gave in to achieve peace.
Lauren Bacall gave birth to Stephen Humphrey Bogart on January 6, 1949. Stephen was named after Bogart's character's nickname in To Have and Have Not, making Bogart a father at 49. They had their second child, Leslie Howard Bogart on August 23, 1952, a girl named after British actor Leslie Howard, who had been killed in World War II.
Two young women saw the stuffed animals, and one of the women picked one up. She quickly ended up on the floor. The other woman tried to do the same and wound up in the same position.
The next morning Bogart was awakened by a city official who served him an assault summons. Knowing a media frenzy was imminent, he met the media unshaven and in pajamas. He told the press he remembered grabbing the panda and "this screaming, squawking young lady. Nobody got hurt, I didn't sock anybody; if girls were falling on the floor, I guess it was because they couldn't stand up. At the same time Time reported the alleged victim had three marks from the alleged assault and "she explained that they were swelling and contusions." Club spokesperson Leonard MacBain stated, "No blows were exchanged, it was just one of those things."
That following Friday, Bogart went to face the charges in court. After the woman admitted to touching the panda, "Magistrate John R. Starkey ruled that Bogart had been defending his property, said he suspected the actor had been mousetrapped in the cause of club publicity, and dismissed the case."
Romanoff's in Beverly Hills was where the Rat Pack became "official". "Sinatra was named Pack Leader. Betty [Bacall] was named Den Mother, Bogie was Director of Public Relations, and Sid Luft was Acting Cage Manager." When asked by columnist Earl Wilson what the purpose of the group was, Bacall responded "to drink a lot of bourbon and stay up late."
The film was grueling to make, and was done in summer for greater realism and atmosphere. James Agee wrote, "Bogart does a wonderful job with this character…miles ahead of the very good work he has done before". John Huston won the Academy Award for direction and screenplay and his father won Best Supporting Actor, but the film had mediocre box office results. Bogart complained, "An intelligent script, beautifully directed—something different—and the public turned a cold shoulder on it".
Under Bogart's Santana Productions, which released through Columbia Pictures, Bogart starred in:
While the majority of his films lost money at the box office (the main reason for Santana's end), at least two of them are still remembered today; In a Lonely Place is recognized as a masterpiece of film noir. Bogart plays embittered writer Dixon Steele who has a history of violence and becomes a suspect in a murder case at the same time that he falls in love with a failed actress (Gloria Grahame). In the end, though his lover temporarily stabilizes him and he is cleared of the crime (in the novel Steele turns out to be a serial killer), Steele loses his lover because he can't overcome his demons. Many Bogart biographers and actress/writer Louise Brooks agree that the role of violent screenwriter Dixon Steele is the closest to Bogart's real self, and is considered among Bogart's best performances. She wrote that the film "gave him a role that he could play with complexity, because the film character's pride in his art, his selfishness, drunkenness, lack of energy stabbed with lightning strokes of violence were shared by the real Bogart". The character even mimics some of Bogart's personal habits, including twice ordering Bogart's favorite meal of ham and eggs.
Beat the Devil, his last film with his close friend and favorite director John Huston, also enjoys a cult following. Co-written by Truman Capote, the movie is a parody of The Maltese Falcon, and is a tale of an amoral group of rogues chasing an unattainable treasure, in this instance uranium.
Bogart sold his interest in Santana to Columbia for over $1 million in 1955.
Bogart starred with Katharine Hepburn in the movie The African Queen in 1951, again directed by his friend John Huston. The novel was overlooked and left undeveloped for fifteen years until producer Sam Spiegel and Huston bought the rights. Spiegel sent Katharine Hepburn the book and she suggested Bogart for the male lead, firmly believing that "he was the only man who could have played that part". Huston's love of adventure, a chance to work with Hepburn, and Bogart's earlier successes with Huston convinced Bogart to leave the comfortable confines of Hollywood for a difficult shoot on location in the Belgian Congo in Africa. Bogart was to get 30 percent of the profits and Hepburn 10 percent, plus a relatively small salary for both. The stars met up in London and announced the happy prospect of working together.
Bacall came for the duration (over four months), leaving their young child behind, but the Bogarts started the trip with a junket through Europe, including a visit with Pope Pius XII. Later, the glamor would be gone and she would make herself useful as a cook, nurse, and clothes washer, for which Bogart praised her, "I don't know what we'd have done without her. She Luxed my undies in darkest Africa". Just about everyone in the cast came down with dysentery except Bogart and John Huston, who subsisted on canned food and booze. Bogart explained: "All I ate was baked beans, canned asparagus and Scotch whisky. Whenever a fly bit Huston or me, it dropped dead. The teetotaling Hepburn, in and out of character, fared worse in the difficult conditions, losing weight, and at one time, getting very ill. Bogart resisted Huston's insistence on using real leeches in a key scene where Bogart has to drag the boat through a shallow marsh, until reasonable fakes were employed. In the end, the crew overcame illness, soldier ant invasions, leaking boats, poor food, attacking hippos, bad water filters, fierce heat, isolation, and a boat fire to complete a memorable film.
The African Queen was the first Technicolor film in which Bogart appeared. Remarkably, he appeared in relatively few color films during the rest of his career, which continued for another five years. (His other color films included The Caine Mutiny, The Barefoot Contessa, We're No Angels, and The Left Hand of God.)
The role of Charlie Alnutt won Bogart his only Academy Award for Best Actor in a Leading Role in 1951. Bogart considered his performance to be the best of his film career. He had vowed to friends that if he won, his speech would break the convention of thanking everyone in sight. He advised Claire Trevor when she had been nominated for Key Largo to "just say you did all yourself and don't thank anyone". But when Bogart won the Academy Award, which he truly coveted despite his well-advertised disdain for Hollywood, he said "It's a long way from the Belgian Congo to the stage of this theatre. It's nicer to be here. Thank you very much…No one does it alone. As in tennis, you need a good opponent or partner to bring out the best in you. John and Katie helped me to be where I am now". Despite the thrilling win and the recognition, Bogart later commented, "The way to survive an Oscar is never to try to win another one...too many stars…win it and then figure they have to top themselves...they become afraid to take chances. The result: A lot of dull performances in dull pictures".
Bogart dropped his asking price to get the role of Captain Queeg in Edward Dmytryk's The Caine Mutiny, then griped with some of his old bitterness about it. For all his success, he was still his melancholy old self, grumbling and feuding with the studio, while his health was beginning to deteriorate.
Bogart gave a bravura performance as Captain Queeg, an unstable naval officer, in many ways an extension of the character he had played in The Maltese Falcon, Casablanca, and The Big Sleep—the wary loner who trusts no one—but with none of the warmth or humor that made those characters so appealing. Like his portrayal of Fred C. Dobbs in The Treasure of the Sierra Madre, Bogart played a paranoid, self-pitying character whose small-mindedness eventually destroyed him. Three months before the film's release, Bogart as Queeg appeared on the cover of Time magazine, while on Broadway Henry Fonda was starring in the stage version (in a different role), both of which generated strong publicity for the film.
In Sabrina, Billy Wilder, unable to secure Cary Grant, chose Bogart for the role of the older, conservative brother who competes with his younger playboy sibling William Holden for the affection of the Cinderella-like Sabrina Audrey Hepburn. Bogart was lukewarm about the part, but agreed to it on a handshake with Wilder, without a finished script, and with the director's assurances to take good care of Bogart during the filming. But Bogart got on poorly with his director and co-stars. He also complained about the script, which was written on a last-minute, daily basis, and that Wilder favored Hepburn and Holden on and off the set. The main problem was that Wilder was the opposite of his ideal director, John Huston, in both style and personality. Bogart told the press that Wilder was "overbearing" and "is the kind of Prussian German with a riding crop. He is the type of director I don't like to work with…the picture is a crock of crap. I got sick and tired of who gets Sabrina". Wilder said, "We parted as enemies but finally made up". Despite the acrimony, the film was successful. The New York Times said of Bogart, "he is incredibly adroit...the skill with which this old rock-ribbed actor blend the gags and such duplicities with a manly manner of melting is one of the incalculable joys of the show".
The Barefoot Contessa, directed by Joseph Mankiewicz in 1954 and filmed in Rome, Italy, gave Bogart one of his subtlest roles. In this Hollywood back-story movie, Bogart again is the broken-down man, this time the cynical director-narrator who saves his career by making a star of a flamenco dancer Ava Gardner, modeled on the real life of Rita Hayworth. Bogart was uneasy with Gardner because she had just split from "rat-pack" buddy Frank Sinatra and was carrying on with a bullfighter. Bogart told her, "Half the world's female population would throw themselves at Frank's feet and here you are flouncing around with guys who wear capes and little ballerina slippers". He was also annoyed by her inexperienced performance. Later, she credited him with helping her. Bogart's performance was generally praised as the strongest part of the film. During the filming, while Bacall was home, Bogart resumed his discreet affair with Verita Peterson, his long-time studio assistant who he took sailing and enjoyed drinking with. But when Bacall suddenly arrived on the scene discovering them together, Bacall took it quite well. She extracted an expensive shopping spree from him and the three traveled together after the shooting.
Bogart could be generous with actors, particularly those who were blacklisted, down on their luck, or having personal problems. During the filming of The Left Hand of God (1955), he noticed his co-star Gene Tierney having a hard time remembering her lines and also behaving oddly. He coached Tierney, feeding her lines. He was familiar with mental illness (his sister had bouts of depression), and Bogart encouraged Tierney to seek treatment, which she did. He also stood behind Joan Bennett and insisted on her as his co-star in We're No Angels when a scandal made her persona non grata with Jack Warner.
In 1955, he made three films: We're No Angels (dir. Michael Curtiz), The Left Hand of God (dir. Edward Dmytryk) and The Desperate Hours (dir. William Wyler). Mark Robson's The Harder They Fall (1956) was his last film.
By the mid-1950s, Bogart's health was failing. Once, after signing a long-term deal with Warner Bros., Bogart predicted with glee that his teeth and hair would fall out before the contract ended. That sent a fuming Jack Warner to his lawyers. Bogart had formed a new production company and had plans for a new film Melville Goodwin, U.S.A., in which he would play a general and Bacall a press magnate. His persistent cough and difficulty eating became too serious to ignore and he dropped the project. The film was re-named Top Secret Affair and made with Kirk Douglas and Susan Hayward.
Bogart, a heavy smoker, contracted cancer of the esophagus. He almost never spoke of his failing health and refused to see a doctor until January 1956. A diagnosis was made several weeks later and by then removal of his esophagus, two lymph nodes and a rib was too late to halt the disease, even with chemotherapy.
Katharine Hepburn and Spencer Tracy came to see him. Frank Sinatra was also a frequent visitor. Bogart was too weak to walk up and down stairs. He valiantly fought the pain and tried to joke about his immobility: "Put me in the dumbwaiter and I'll ride down to the first floor in style." His last words are believed to have been: "I should never have switched from Scotch to martinis. Hepburn, in an interview, described the last time she and Spencer Tracy saw Bogart (the night before he died):
Spence patted him on the shoulder and said, "Goodnight, Bogie." Bogie turned his eyes to Spence very quietly and with a sweet smile covered Spence's hand with his own and said, "Goodbye, Spence." Spence's heart stood still. He understood.
Bogart had just turned 57 and weighed 80 pounds (36 kg) when he died on January 14 1957 after falling into a coma. He died at 2:25 a.m. at his home at 232 Mapleton Drive in Holmby Hills, California. His simple funeral was held at All Saints Episcopal Church with musical selections played from Bogart's favorite composers, Johann Sebastian Bach and Claude Debussy. It was attended by some of Hollywood's biggest stars including: Katharine Hepburn, Spencer Tracy, David Niven, Ronald Reagan, James Mason, Danny Kaye, Joan Fontaine, Marlene Dietrich, Errol Flynn, Gregory Peck, and Gary Cooper, as well as Billy Wilder and Jack Warner. Bacall had asked Spencer Tracy to give the eulogy, but Tracy was too upset, so John Huston gave the eulogy instead, and reminded the gathered mourners that while Bogart's life had ended far too soon, it had been a rich one.
Himself, he never took too seriously—his work most seriously. He regarded the somewhat gaudy figure of Bogart, the star, with an amused cynicism; Bogart, the actor, he held in deep respect…In each of the fountains at Versailles there is a pike which keeps all the carp active; otherwise they would grow overfat and die. Bogie took rare delight in performing a similar duty in the fountains of Hollywood. Yet his victims seldom bore him any malice, and when they did, not for long. His shafts were fashioned only to stick into the outer layer of complacency, and not to penetrate through to the regions of the spirit where real injuries are done...He is quite irreplaceable. There will never be another like him.
Katharine Hepburn said:
He was one of the biggest guys I ever met. He walked straight down the center of the road. No maybes. Yes or no. He liked to drink. He drank. He liked to sail a boat. He sailed a boat. He was an actor. He was happy and proud to be an actor. He'd say to me, "Are you comfortable? Everything okay?" He was looking out for me.
His cremated remains are interred in Forest Lawn Memorial Park Cemetery, Glendale, California. Buried with him is a small gold whistle, which he had given to his future wife, Lauren Bacall, before they married. In reference to their first movie together, it was inscribed: "If you want anything, just whistle.
Humphrey Bogart's hand and foot prints are immortalized in the forecourt of Grauman's Chinese Theater and he has a star on the Hollywood Walk of Fame at 6322 Hollywood Boulevard in Hollywood.
Jean-Luc Godard's Breathless (1960) was the first film to pay tribute to Bogart. Later, in Woody Allen's comic tribute to Bogart Play It Again, Sam (1972), Bogart's ghost comes to the aid of Allen's bumbling character, a movie critic with woman troubles and whose "sex life has turned into the 'Petrified Forest'".
In 1997, the United States Postal Service featured Bogart in its "Legends of Hollywood" series.


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Logitech Touch Mouse T620
Logitech Touchpad T650, Touch Mouse T620 and Zone Touch T400 pictures and hands-on15 November 2012
Logitech is under no illusions about its place in the world of technology. Windows 8 has caused a shift in the computer landscape and there's a new experience ready for the right peripherals to augment it. There are two new conundrums to address. The... >>


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Ceramic Egg Crate 8 8
Happy Yellow Beautiful to see when I open my refrigerator. I'm sure after my friends see them I'll be ordering more. Exactly what I expected. Can be used for so many different things. Arrived in record time and very well packed !! There packing dept. deserves a raise !! February 4, 2015
Functional and pretty too I have hens and wanted these so that I don't have to use store egg cartons and hide my pretty brown eggs. They work great and are very pretty in my fridge. January 10, 2014
Another great product I also purchased this item as a gift for a friend…who has a blue and yellow kitchen. Last year I bought her a yellow serving platter and thought it would fit perfectly with her decor as well as being functional. She LOVED it! Thanx again for offering great products for a great price. Thanx…Sylvia January 8, 2014
Super cute! I bought has a gift for a friend. It is worth every penny. November 29, 2013
Love it! I got this as a gift and also use it for my jewelry. It's perfect to keep my necklaces from getting tangled. I still want one for actual eggs, and another to sort small craft items. So cute, just love it! October 14, 2013
egg crates are wonderful!! I love them, I only wish I had bought more! I am going to purchase more for gifts to my family. June 24, 2013
Great Product This product was even better than I expected! I would recommend buying this product. March 18, 2013
Perfect - not only for holding eggs So i'm not sure if I'm the only one that didn't but this to hold eggs - i needed a jewelry organizer! And it is perfect! i keep my earrings and rings and some necklaces in the little cups so they always have a home. I got the white one just so that it will always go with whatever decor i choose but the yellow is cute too. I highly recommend this product to anyone looking for a neat way to store small jewelry. (Though i'm sure it's great for eggs too) February 1, 2013
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There comes a point when an older car transcends looking dated and starts looking more classically attractive. Not necessarily vintage, mind you, but appreciated for its original design elements and performance. The C4 Corvette is entering that phase in its history. It was ubiquitous in the '80s and '90s, but it was soon overshadowed by the C5, which represented tremendous leaps in performance, ergonomics, and build quality. The C6 simply amplified those traits, leaving the C4 as the proverbial red-headed stepchild of the Corvette family.
That's a shame, because despite some undeniable shortcomings, the C4 is a wonderfully competent car, both on the street and at the track. And while it may never measure up dynamically to the C5 and C6, the fourth-generation Vette more than holds its own--just ask any of the countless road racers who continue to employ them effectively. But to compensate for a body structure that was less than rock solid, the suspension was dialed in with very high spring rates and stiff shocks. That gave the C4 admirable cornering capabilities, but anything other than perfectly smooth pavement could make the ride teeth-shatteringly uncomfortable, especially if the car was equipped with the Z51 suspension. Chevrolet softened the ride throughout the C4's lifespan, but the early models are as unyielding as week-old pizza crust.
Sure, those wide sills don't allow for easy or graceful entry/egress (ladies, these aren't cars for short skirts), and some of the electrical and mechanical gremlins that have plagued the C4 for a couple of decades now are beyond frustrating. Also, there's just no beating the performance capability of the LS engines that have defined the C5/C6 cars. Still, at a time when even the lowliest of anemic, mid- and late-'70s C3s are commanding more than better-performing C4s, we've got to say that when it comes to bang for the buck, you just can't beat a good fourth-gen Corvette.
Good is definitely the operative word here, because there are scores of lousy, run-for-your-life beaters on the market that look great in an online ad--or even at a glance when viewed in person--but represent tremendous wastes of money. And frankly, there are better Corvettes than others, with some C4 buyers caught up in a web of seemingly endless repairs, while others enjoy a relatively easy ownership experience. But make no mistake: Owning a C4 takes a commitment to maintenance and an expectation that some things will go wrong. This story may not influence your inclination towards purchasing a C4, but it should help if you've been looking for one--or if you've been burned in the past.
The basicsIn very general terms--and we're talking about basic C4s here, not rare or specialty models like Callaways, ZR1s, or even Grand Sports and Indy Pace Car replicas--pre-LT1 C4s (1984-1991) range in price from about $4,500 for cars with a tire or two in the grave to the low- to mid-$20,000s for show-worthy examples with less than 10,000 original miles. And while that may seem like a wide spread, the majority of "driver" cars--those with about 45,000-70,000 miles--are in the $9,500-$10,500 range these days.
The '92-'96 LT1 cars are holding slightly higher prices, but only within about $2,500 of L98 and Cross-Fire models. We did a quick search of Autotrader.com and found 860 examples of '84-'91 cars for sale, but a surprising 887 LT1 cars listed on the day of our research. Logic says attrition has simply taken more of the early C4s out of the game, but the bottom line is that there are just as many or more LT1 cars to choose from, which will suppress their values.
Whether you want an L98- or an LT1-powered car, you should have no trouble spending $10,000 or less on an excellent example with some "road seasoning." Of course, when examining any C4, all the basics of used-car searches apply, so keep in mind the following:
Photos lie At least, they deceive. The tiny photos on a Craigslist ad, or even the larger images you might find on an eBay listing or Autotrader ad, simply won't provide the detail you need to make a truly informed decision. Viewing the car in person is a must. And if you look for a car out of your immediate area, pick an area where a trusted friend or relative can inspect it for you.
Ask specific questions Asking whether the car runs well may get you a simple "yes" reply, but that doesn't cover the fact that it leaks oil. So, ask specific questions about any leaks, needs for mechanical work, life of the tires, brakes, and more. Many sellers spout off every little problem without prompting, and most will answer honestly when asked. Don't forget to ask about an accident and/or body-repair history.
Be wary of modifications If you're a regular reader, you know that modifications are as common among Corvettes as Bow Tie logos, but buying someone else's project can be problematic if you don't know everything about the parts and tuning. When it comes to body modifications, well, we all know that some products and painters are better than others. And unless you plan to be buried in your used C4, you'll probably sell it one day, at which time any deviations from stock can negatively affect its value.
Get a Carfax or AutoCheck report It's cheap insurance, plain and simple. You'll get the registration history of the vehicle, along with any accident or flood reports, mileage discrepancies, or other questionable items in the car's past. Regardless of whether the history comes back clean as a whistle or shows an accident the seller didn't tell you about, it's worth every penny.
C4 specificsThere are a number of quirks and common problems to check for when inspecting a C4 in person. And while discovering one, two, or more of them shouldn't necessarily dissuade you from purchasing the car (frankly, they're all likely to have an issue or two), they should paint an overall picture of its condition and whether it's the right vehicle for your money.
One of the most important considerations, however, isn't a Corvette-specific problem, but rather the treadwear of the tires. They're expensive to replace, and many owners put off doing so on a car they know they're going to sell. So, you really want to find a car with good tires, because otherwise you're looking at a minimum $600 investment for even bargain replacements, while a set of Goodyear Eagle F1s might run $1,300 or more.
The same goes for the clutch and brakes. If either of those items needs replacement, you're looking at a hefty service tab for a car with a comparatively low market value. Don't get yourself upside down on your investment with normal maintenance work. Find a car whose seller has already done the upkeep.
If you're satisfied with those items, turn your attention to:


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Creating a new Budget
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Creating a new Budget
Ellen F. Murtha
Joined: 05 Oct 2006
Posts: 2
Creating a new Budget
Campaign finance reform is the first step as far as I can see. Here in CA we have a Proposition (#89), to increase corporate tax and use these public funds to pay for campaigns. It is voluntary, when I would have it be mandatory; but the Courts have so far rules that funds are a form of free speech. Here's a quote from CA Clean Money at the passing of the movement's founder: " A business leader who spent 28 years as CEO of Bell Industries, Ted long ago realized that the nations bloated military spending budget was draining resources from education, healthcare, and other programs essential to the common good of our country. For many years he devoted himself to reducing military spending, but when the Cold War was over and military spending remained unchanged, Ted understood that he had been treating the symptoms rather than the cause of the problem. He recognized that none of our nations pressing problems could be fixed until the special interest money was removed from the electoral system. So in 1999, Ted co-founded the California Clean Money Campaign."
I understand that some other states already have reform and there are national campaign finance reforms as well. I would like to hear from others on this way of creating a new budget that is not beholden to the military-industrial complex.
Sat Nov 04, 2006 2:20 pm
Scotty Michaelsen
Joined: 15 Sep 2006
Posts: 1
Location: North Carolina
Just yesterday (Nov 6, 2006) Northrop Grumman announced that it had received a contract for 1.45 Bn to build an amphibious transport ship and buy material for the construction of another ship. Current plans are to build at least nine of these ships, five of which are in construction. The amphibious side of the Navy has in the past been neglected in appropriations because the "blue water" navy or the aircraft carriers, destroyers and aircraft, tend to receive the majority of the funding for the Navy. There has been an ongoing debate about the feasibility of amphibious warfare for some time now and most military strategists do not believe that it is a viable alternative with the technology available to many nations today. But, The first Gulf War helped to change that because an amphibious assault was successfully conducted as a decoy to where the real attack was planned. These ships are not being built to support the current debacle in Iraq, so what are they needed for? Presumable for future conflicts, But how strong must our defenses be and where does this out of control spending on our military arsenal end. Well, the military has hundreds of officers in Washington conjuring up ways to spend our tax dollars. They know that the best way to get support for their pet projects is to have the weapons system subcontracted throughout the congressional districts and they know which senators and congress persons are sympathetic to their cause so that at the first hint of a ripple they can go running for support. This is a bipartisan phenomenon and can only be changed by structural changes that make lawmakers accountable to the voters by ending the "pay to play" system currently in place. War has become a highly profitable enterprise and war profiteering is no longer regarded with the disdain it was accorded in the past. That is why "clean elections" and a participatory budgeting process are so crucial to reclaiming a socially responsible society. Believing that a peaceful world is possible begins by disarming and spending the saved money where it is best needed to alleviate poverty, sickness and hunger. Perhaps by being a good neighbor in this world, we would not have the need to defend ourselves to the extent we do now.
Tue Nov 07, 2006 4:08 pm
Joined: 08 Oct 2006
Posts: 1
I agree with Ellen. Unfortunately, Prop 89 went down with a 75% defeat. The public still doesn't equate the pro-military budget with the problem of inadequate funding for human services and health. Perhaps, with the Dem. wins, we can get some help in consciousness-raising on this issue. I belong to Network, a Catholic Social Justice lobby. This is a group of nuns who have been waging battle on behalf of social justice for 40 years, and are inclusive, and trying to move Congress to do the right thing. There are a lot of folks in ministry and who have learned by being in 3rd world missionary work, what America is doing with "the other hand". I am very hopeful that people like Jim Wallis are now going to be able to be heard. The pro-military budget, and how it keeps happening, should be the top priority for social justice efforts, I believe.
Sincerely, martina nicholson, MD, Santa Cruz, CA
Wed Nov 08, 2006 1:06 pm
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Female Figurine
The majority of ancient Near Eastern female figures emphasize their fertility. Although the three terracotta (baked clay) figures here come from very different times and places, all are nude and two have overlarge, patterned pubic areas. Their faces are rudimentary, with little or no indication of a mouth. The copper figure, though very schematically modeled, suggests a real woman with pulled-back hair and a bulging belly, wearing a knee-length skirt and carrying an infant on her back. In contrast, the marble image, with its circular head, long neck, and U-shaped body, is reduced almost to abstraction.
This text refers to these objects: ' 72.133; 22.12; L86.1.9; 1996.146.5; 51.117
- Medium: Terracotta
- Place Made: Mesopotamia (modern day Iraq, Turkey, & Syria)
- Dates: late 3rd millennium B.C.E.
- Dimensions: 5 1/2 x 3 9/16 x 13/16 in. (14 x 9 x 2 cm) (show scale)
- Collections:Egyptian, Classical, Ancient Near Eastern Art
- Museum Location: This item is on view in Egypt Reborn: Art for Eternity, Ancient Middle Eastern Art, The Hagop Kevorkian Gallery, 3rd Floor
- Exhibitions:
- Accession Number: 72.133
- Credit Line: Gift of Helena Simkhovitch in memory of her father, Vladimir G. Simkhovitch
- Rights Statement: Creative Commons-BY
- Caption: Female Figurine, late 3rd millennium B.C.E. Terracotta, 5 1/2 x 3 9/16 x 13/16 in. (14 x 9 x 2 cm). Brooklyn Museum, Gift of Helena Simkhovitch in memory of her father, Vladimir G. Simkhovitch, 72.133. Creative Commons-BY
- Image:
- Record Completeness: Good (78%)


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Burying the Alleluia
Photo by ConcordPastor
(This post may be of interest to parishes considering this old custom as Lent approaches with Ash Wednesday on February 17.)
This coming weekend at all our liturgies we will "bury the Alleluia" in anticipation of Ash Wednesday and the silencing of the Alleluia until the Easter Vigil.
In the Middle Ages, faithful Christians would go to the parish cemetery just before Lent began with an image bearing the word Alleluia and singing the word they carried. There the image would be buried, a vivid reminder that during the Lenten season we "fast" from this word which means, "Praise the Lord."
(For a fuller treatment of the history of this custom, follow here to a fine article by Diana Macalintal.)
The "burial" of the Alleluia banner in my parish won't take us to our parish cemetery, however. The banner will be taken down at the end of Mass as we sing our last Alleluias before Lent, and then carefully placed in a box covered in purple cloth (see the photo at the top of this post). The box will then be retired to a resting place just in front of the tabernacle until it is opened again at the proclamation of the gospel at the Easter Vigil when the banner will be unfurled, processed and hung in the sanctuary.
Before Ash Wednesday arrives, feast on this beautiful Alleluia by Mozart...
8 comments:
Are there prayers or a blessing over the banner before it is placed in the box or is the action and the singing enough? Too late for this year, maybe next year with a new banner we will do this.
- February 9, 2010 at 8:29 AM
- ConcordPastor said...
I don't know of any such texts. Here's what I do:
-After Communion on the Sunday before Ash Wednesday, I briefly summarize the history of burying the Alleluia banner
- Our cantor sings the Alleluia from the Mozart "Exultate, jubilate," during which I place the purple box on the altar, take down the banner and carefully fold it into the box and replace the cover. Then I take the box to its Tabernacle resting place.
- The banner is thus retired but since it's not yet Lent, the closing song of the liturgy is chock full of Alleluia's.
- February 9, 2010 at 10:53 AM
- Shannon said...
Almost 20 years ago, we gathered all the families in our parish religious education program. We made pretzels and sang all sorts of songs with "Alleluia" in them. We decorated a banner with musical notes and plenty more "Alleluias." Families made plans for how they would spend the season, picked up their Rice Bowls, and swapped recipes for meatless meals.
At the end of the evening, we gathered up the banner and formed a procession. We went from our gathering place out to the grotto near the front of the church. It had an opening on the side, so we sent the banner inside with a couple of the children who buried it under some rocks. Then we made a circle around the grotto and prayed the Lord's Prayer and sent everyone off with a blessing.
Good rituals are such a treat.
- February 10, 2010 at 2:47 PM
- ConcordPastor said...
I hope that parish has continued that fine custom, Shannon!
- February 10, 2010 at 5:37 PM
- Philomena Ewing said...
Hi there ! I am from from Cornwall in the UK ( My blog is Blue Eyed Ennis if you would like to pay a reciprocal visit and leave a comment I would be honoured).
I like your blog but are you sure that this music clip is really Mozart ? !!
- February 16, 2010 at 4:49 PM
In Victoria, Australia, this year Term One ends a week before the beginning of Holy Week, therefore it will be a bit difficult to "teach" Holy Week and the Triduum to children in our primary schools. Term Two doesn't begin until Easter Wednesday, after all the Easter Eggs have been eaten! Therefore it will be a little difficult to recapture the "spirit of Easter" with the kids. (As soon as Easter is over our supermarkets will be gearing up for Mother's Day - we've had Hot Cross Buns on sale since early January!!)
I've used the ritual of "Burying the Alleluia" very well in various Parishes I've been in, and it does lend itself well to recapturing the "spirit of Easter" after our Easter break.
Thank you to you and all your commentators for extra food for thought.
- February 8, 2011 at 7:29 AM
What ritual do you or others use in the Easter season to 'unbury' the Alleluia? I am looking for a ritual with students at our school to unbury the alleluia....thoughts? Experiences? Ideas?
- April 1, 2013 at 12:06 AM
- Austin Fleming said...
At the Easter Vigil, at the Alleluia before the gospel, the box in which the banner has been kept through Lent is: brought to the altar and opened; the banner is brought out and unfurled; attached to its pole and "shown" to the assembly on all sides of the altar (our altar is centrally located in the worship space). The pole is then placed in its stand in the sanctuary where it remains until the Sunday before Ash Wednesday in the next year.
Is that helpful,Michael?
- April 1, 2013 at 4:43 PM


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CHAMBERSBURG, Pa. – Wilson College honored students at its annual Academic Awards Banquet held April 27 in the Harry R. Brooks Complex for Science, Mathematics and Technology.
DATE: May 4, 2012
CONTACT: Cathy Mentzer, Manager of Media Relations
Phone: 717-264-4141, Ext. 3178
Email: email@example.com
The following students received awards:
Edward and Sarah Anderson Psychology Prize, which goes to a senior for outstanding scholarship in psychology, was awarded to Ashley Overdorff of Mechanicsburg.
James Applegate Award, which is awarded to a student with an interest in drama and theater, went to Carol Zehosky of Shippensburg (for performance) of Shippensburg and Rachel Coldsmith of Chambersburg (for scholarship).
Alice Martin Brumbaugh Award in Sociology, which is given to a female student who has entered the college at a non-traditional age and shows a special interest and/or outstanding promise in the field of sociology, was awarded to Dana Hill of Greenbelt, Md.
Marel Harlow Cheng Memorial Prize, which goes to a student who has done well in international studies or has made noticeable contributions to international understanding, went to Ian Irvin of Shippensburg.
CRC Press General Chemistry Achievement Award was given to Tonya Grissinger of Mercersburg.
Regina Shaputnic Cuomo Mathematics Award, given to a student who is majoring and shows outstanding ability in mathematics, was awarded to Brandy Holtzapple of Red Lion.
Margaret Criswell Disert Honors Scholarship, given to the student whose proposal for senior advanced study and research is most worthy of support, went to Casey Beidel of Chambersburg.
Estep-Lawson Memorial Prize, awarded to a student in lower-level French who demonstrates excellence and shows future promise in French studies, was given to Courtney Wolfe of Chambersburg.
Donna Gomer VMT ADP Award, awarded to an Adult Degree Program student who exhibits excellence in the study of veterinary medical technology, went to Melissa Weitkamp of Airville.
Davison Greenawalt Grove Award for a student participating in research in physical and life sciences was given to Tonya Bender of Little Orleans, Md.
Dorle Haas Memorial Prize, awarded to a senior for outstanding service within the greater Chambersburg community, went to Kacie Oberholzer of Greencastle.
Margaret Strode Haines Award, which recognizes a student with outstanding qualities of scholarship, interest in the humanities and strength of body, mind and spirit, was given to Christina Giacomini of South Bound Brook, N.J.
Joanne Harrison Hopkins Literary Achievement Award, given for the finest piece of imaginative literature in fiction, poetry or drama produced during the academic year, went to Alexandre Howard of Benson, Arizona.
Josef Michael Kellinger Foreign Language Award, given to a student who has demonstrated excellence in foreign language studies, went to three students: Mary Beth Wert of Port Royal.
Catherine Herr Langdon Award, given to a senior who has demonstrated academic excellence and has gien encouragement and guidance to fellow students during the year, went to Alyssa Sabot of Lower Burell.
The Robert Shannon McElwain Prize, awarded to the best student in mathematics, went to Sonja Hess of Bolton Landing, N.Y.
The Helen Adams Nutting History Prize, awarded to a member of the junior or senior class who has demonstrated outstanding ability in the field of history, went to Hayley Glass of Airville.
Organic Chemistry Award, given to the student in organic chemistry who earned the highest grades for the year, went to Katie Bruner of Chambersburg.
Peer Teacher Recognition Award, given to honor exemplary service as a First-Year Seminar peer teacher for the year, went to Ashley Overdorff of Mechanicsburg.
Nicky Hoffman Reich Award, given to the student whose work with animals shows commitment to humane treatment, was awarded to Selena Sunderland of Mount Union.
Helga Rist Prize, given to a dedicated American foreign language student who has shown integrity, promise and potential, went to Katelyn Sells of Spring Grove.
John D. Rose Award in Environmental Studies, given to an outstanding junior majoring in environmental studies or biology to fund a summer research project or internship, went to two students: Rachael Kinley of Waynesboro and Chelsey Smentkowski of Manalapan, N.J.
Grace Tyson Schlichter Award in Communications, which is given to a senior who has shown general academic excellence and outstanding promise for a career in a field of communications, was given to Brooke Ketron of Abbottstown.
Gloria Randle Scott-Frances Richards Hesselbein Prize, which is awarded to a senior who has demonstrated outstanding volunteer service during their four years at Wilson, went to Stephanie Bachman of Lebanon, Pa.
The Mary Beers Sheppard Prize, awarded to the member of the senior class who has shown the keenest understanding and appreciation of literature, was given to Courtney Wolfe of Chambersburg.
The William P. Van Looy Business Prize, awarded to the junior or senior business and economics major who has demonstrated excellence in business studies and in service to the well-being of both the Wilson College and larger community, went to two students: Leslie Hoover of Gap and Randy Ehrhart of Greencastle.
E. Grace White Prize/Summer Scholarship, which is given to an outstanding student in the field of biology or biochemistry, went to Chelsea Varner of Chambersburg.
Wilson Equestrienne Award, given to a graduating senior who has excelled in academics and equitation, went to Hayley Glass of Airville.
The Carolyn Zeleny Prize, which goes to a sociology student in the junior or senior class on the basis of academic excellence and/or community service, went to Sierra Amber Schnable of Fayetteville.
Wilson College Scholar Athletes, those who have maintained a grade-point average of 3.5 or higher and participated in at least one Wilson varsity athletic team, are: Laura Beck of Coopersburg; Amanda Clark of Chambersburg; Hannah DeMoss of Phillipsburg, N.J.; Brandy Holtzapple of Red Lion; Leslie Hoover of Gap; Megan Longstreet of Mechanicsburg; Caleigh Oliver of Martinsburg, W.Va.; Megan Schneck of Bethel; Chelsey Smentkowski of Manalapan, N.J; and Janelle Wills of Dysart.
For more information, contact Wilson College Manager of Media Relations Cathy Mentzer at 717-264-4141, Ext. 3178, or firstname.lastname@example.com.
Founded in 1869, Wilson College is a liberal arts college dedicated to the education of women. Affiliated with the Presbyterian Church and located in Chambersburg, Pa. Wilson offers bachelor's degrees in 30 areas and master's degrees in education and the humanities. The college's 2011-12 enrollment in the College for Women and the Adult Degree Program is 746 and includes 21 students from 10 foreign countries. Visit www.wilson.edu for more information.


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He won a fight. Not in spectacular form, but he got the w. He didnt stand up, tell us all he was the greatest, and that he deserves to fight the best, so lets not get too worked up over everything.
Also, this was a replacement opponent. Dave agreed to face him, and kept the card moving. He deserves kudos for that alone. Dave may have made more then pro debut money, but at least the other fighters on the card got to get paid too.
If he keeps fighting, I wish him nothing but the best. If he calls it a career, he's one of only a handful of men over 40 who can say they've had a pro MMA fight.


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Adolfo Roitman, only the second curator of the Dead Sea Scrolls, has been in charge of the ancient documents since 1994 at The Israel Museum in Jerusalem.
Although he is accustomed to seeing the scrolls, delicate documents written primarily on animal skins, he still thrills at their potency -- not just as artifacts, but as vehicles for transmitting thoughts, passions and beliefs from people who lived 2,000 years ago to the present day. [Photo: The Anderson University School of Theology and the Center for Christian Leadership will welcome Dr. Adolfo Roitman on Wednesday for the 31st Annual Newell Lectures in Biblical Studies. Roitman will present lectures focused on the Dead Sea Scrolls.]
Roitman said he feels an almost metaphysical connection to those ancient scholars and scribes and is increasingly convinced that their writings remain relevant and significant.
A native of Argentina, Roitman holds degrees from the University of Buenos Aires and the Hebrew University of Jerusalem. He is a lecturer at several universities in Israel and has been a visiting professor at many universities throughout the United States and Latin America. He is the author of four books on the Dead Sea Scrolls.
Roitman will be conveying his passion about the ancient documents at a series of lectures Wednesday at Anderson University. In a telephone interview, Roitman, 55, gave a preview of some of his thoughts and observations.
Question: You often give talks around the globe about the Dead Sea Scrolls. Why is that important to you?
Answer: "I'm very convinced that personal contact with people, with different kinds of publics, is important. It's important to speak to different kinds of communities, in accordance with their feelings and beliefs."
Q: The Dead Sea Scrolls are dated to several centuries BC and the first century into the first millennium, before Judaism or Christianity were fully formed as the faiths they are today. How do scholars of those faiths approach the texts of the scrolls?
A: "The scrolls are studied by all kinds of different people -- Jewish, Christian, agnostic. They bring their own input, from their own scholarship. They are not trying to prove the truth of their faith; they are trying to understand the significance of the faith.
"I believe the study of the scrolls promotes interfaith dialogue, because even though people come from different perspectives, they discover how much they have in common."
Q: What about Muslim scholars?
A: "In the past, only if they were looking for information about biblical traditions. The Quran also is very much informed by biblical tradition, so in this sense, the scrolls also are relevant in Islam. And in the past few years, it has been changing, and there is interest in the scrolls being translated into Arabic."
Q: The scrolls are very delicate and already sustained damage and deteriorated in poor conditions in the first few decades after they were found from about 1947 to 1956. How are they protected now, and can people see them?
A: "We must balance the need to protect and preserve the scrolls with the desires of many people who come from around the world to see them, so we rotate them for public view. They are kept behind glass in a climate-controlled environment when on display and in a vault, to "rest," when they are not.
"However, the new technology allows people to examine them even more closely on their computers than they can in person. We have high-resolution photographs available through Google."
"You can zoom in and enlarge and see all of the scrolls."
Q: Recently, there was much excitement -- and debate -- about a scrap of ancient writing that was made public, appearing to quote a man named Jesus referring to "my wife." Does this more recent discovery cause you to think there might be more writings from antiquity to be yet discovered?
A: "You know, I am just a curator and not a prophet.
"But, more seriously, since 1956, no more scrolls have been found. What this recent piece of writing shows, though, that even when you have a tiny fragment, it is able to become very significant for the history and for the research. (One of the Dead Sea Scrolls is seven feet long.) There is no proportion with the size of the document and its significance.
"And it shows that everything is possible in the land of Israel."
— Dianna Penner is a reporter for The Indianapolis Star. Story reposted with permission.
Anderson University is a private Christian university of 2,600 undergraduate and graduate students in central Indiana. Anderson University continues to be recognized as one of America's top colleges by U.S. News and World Report, The Princeton Review, and Forbes. Established in 1917 by the Church of God, Anderson University offers more than 65 undergraduate majors and graduate programs in business, music, nursing, and theology.


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Read the original story and see a slideshow of photos here in The Oregonian.
"You can learn the technical side of brewing at Oregon State University, the Siebel Institute or UC Davis," says professor Mellie Pullman, who leads the new program for PSU's Professional Development Center. "We're focusing on the business skills that will make your brewery or pub more efficient and profitable. If you're not already in the business, the classes will give you what you need to create a viable business plan for a startup."
The program, which also has applications for those interested in the distillery and alcoholic cider businesses, is being offered online, "So we can reach people around the country and the world," she said.
Today the U.S. now has more than 2,500 breweries, more than any other country, and craft brewing is the most vibrant segment of the beverage alcohol industry. Yes, megabrewers still make most of the beer sold but their market share was flat in 2012, while craft brewers saw a 17 percent increase in sales.
"We're located in downtown Portland, Oregon, the heart of the craft beer movement," PSU's Scott Gallagher said, "so it just makes sense that we help entrepreneurs become more successful by providing them real-world training and exposure to industry professionals.
"And even if you don't live here in Beervana, the courses are available online and can be accessed by anyone anywhere in the world."
Being in Portland means Pullman has access to a wide variety of industry partners. "We've already filmed a segment at Widmer Brothers Brewing and two at Hopworks Urban Brewery," she said. The growing list of future partners includes Rogue Ales, a stalwart PSU supporter; Bull Run Distilling; suppliers such as Great Western Malting; equipment builders such as JV Northwestand Metalcraft Fabrication; and smaller breweries and brewpubs, including Captured by Porches and Migration Brewing Co.
The instructors come from within the industry. Pullman was a homebrewer who trained with Pyramid Brewing in the mid-1980s to learn production brewing, a skill she put to use as a partner and head brewer at Wasatch Brew Pub & Brewery in Utah. She later earned her MBA and is now the Willamette Industries Professor of Supply Chain Management at PSU. Marketing professor Alan Resnik worked at Widmer before PSU, and the accountants of Integrity First Financial, who'll teach the finance and accounting segment, specialize in accounting for wineries and breweries.
The degree may well come later, Pullman said. For now, the class consists of four segments: Basic Business for Craft Breweries; Craft Beverage Business Management; Strategic Craft Beverage Marketing; and Finance and Accounting for the Craft Brewery; plus an optional immersion weekend spent touring breweries and suppliers.
"The entire program is online and noncredit," Pullman said. However, the business and marketing courses and an optional internship can be taken for credit by PSU graduate students or undergrads.
""The idea is that it's something sorely needed in our community," she says, "and we wanted to initially make it available as a professional development course, so you don't have to be a student enrolled at PSU."
The classes cost $2,800, and an optional immersion weekend runs $650. Registration opens Wednesday at pdx.edu/professional-development/bcb. Basic Business for Craft Breweries, a four-week course of four hours per week, begins Sept. 12.
Photos by Brent Wojahn of The Oregonian


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Cycle MoCo reports that Montgomery County is requesting state funding to establish BikeShare, including at Silver Spring and Takoma Park. But at the same time the Montgomery County Executive is moving to kill the only planned trail connection between Silver Spring and Takoma Park – the Metropolitan Branch Trail.
County Executive Ike Leggett has released his proposed FY13-18 CIP budget, and his budget proposes two changes for the county's section of the Metropolitan Branch Trail:
The previous approved FY13-16 CIP budget contained over 12M$ for trail design and for r.o.w. acquisition and construction of the section of the MetBranch from the Silver Spring Transit Center to Georgia Avenue. This section of the MetBranch was to have been completed by FY16. Under this new proposed budget there is no funding for any r.o.w. acquisition or construction through FY18.
To add insult to injury, the new proposed budget also shows that MCDOT plans to change the route of the MetBranch Trail, if it is ever built. The MCDOT plan would eliminate the grade-separated trail crossings planned for Georgia Avenue and E-W Highway and instead force the trail across both of these busy state highways at-grade.
Source: Proposed FY13-18 MetBranch CIP budget
The County Executive and MCDOT want to take the trail down Philadelphia Avenue across business driveways of the many small auto repair shops along the way, and across both Georgia Avenue and E-W Highway at-grade. This proposed trail route is not new. It has been proposed by MCDOT and rejected several times at public workshops, Planning Board hearings, and County Council proceedings over the past 10 years in favor of a route along the CSX corridor with a trail bridge over Georgia Avenue and a trail tunnel under Burlington Avenue (E-W Highway).
at the light at Sligo Avenue.
I've posted here about the foot dragging by MCDOT throughout the MetBranch project history. But this new threat to the project is breathtaking in its inconsistency with the hype we are hearing from the county. Just as Montgomery County tauts BikeShare as proof of its commitment to increase cycling in Silver Spring and Takoma Park, it proposes cutting the most important cycling and walking infrastructure in this area.
The MetBranch Trail is not quite dead in Montgomery County yet. The Montgomery County Council has overridden efforts from the County Executive and MCDOT to gut the project in the past, and will have the opportunity to do so again during the upcoming budget deliberations. But this proposed budget is the most serious threat to the MetBranch Trail that I have ever seen.


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250 cyclists in ride to remember Cumbrian brothers
Last updated at 11:40, Monday, 30 April 2012
More than 250 people turned out for a cycling challenge to remember two Cockermouth brothers who were killed in a road accident.
Keen cyclists Christian Townend, 29, and his 21 year-old brother Nicholas, known as Niggy, died in a collision involving a coach in December 2010 as they were heading home after a bike ride.
His family decided to hold a cycle ride in their memory last year and on Saturday the second Team Townend Pushbike Challenge took place to raise money for RoadPeace, a charity for road crash victims and their families. Last year's event raised £17,000 which was the charity's biggest ever single donation.
The brothers' mother Eleanor Ella, 56, of Brigham Road, said: "It is a massive tribute to the boys to see this number of people turn out to honour their memory.
"It shows how widespread the support is for them.
"Having the bike ride seemed the most appropriate way to remember them and the event is something that they both would have approved of.
"We thought it was very fitting as cycling was their passion and both boys had competed widely for years.
"It would be wonderful to match last year's total and RoadPeace have been a massive support to me personally and for the wider family offering advice and moral support.
"Today we have had tremendous support from family, friends and the general public and we are very grateful to all the sponsors and those who have supported us and offered very significant raffle prizes."
The challenge featured either a 22-mile or a 42-mile route that started and finished at Loweswater Village Hall and took in both Newlands and Whinlatter passes. Their brothers Richard and Robin both tackled the 42-mile route.
Richard, 28, of Brigham Road, Cockermouth, said: "It was great fun and I am really pleased to have taken six minutes off last year's time.
"It has been a fantastic day and exceeded our expectations.
"We have been lucky with the weather and a perfect tribute and it is fantastic that everyone has put in so much hard work."
Robin, 25, also of Brigham Road, encountered two punctures during the route but managed to keep going and complete the course.
He said: "It has been an amazing turnout and it is good to see so many people enjoying it.
"It goes to show that Christian and Niggy touched a lot of hearts and this is an event people are interested in.
"It is a perfect way to celebrate their life by having a cycling event and then having a few beers."
Many friends who knew the brothers well also turned out to take part. Jamie Law, 25, of Little Broughton, was one of the first people to finish the short course in a time of 1.26.
He said: "I knew all the brothers and it is a shame that something like this had to happen for such a great event to be put on.
"When someone puts an event like this on it is not that easy so it is good that people have come out to support it.
"It is good for the area and good for cycling."
Ian Hayton, 24, of Eaglesfield, said: "I knew Niggy really well. We were close friends and at times he practically lived in my house.
"He would be proud of us doing this and it has gathered quite a bit of support and drawn people in from the clubs. It has been challenging but rewarding."
First published at 11:30, Monday, 30 April 2012
Published by http://www.newsandstar.co.uk


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Long story short; I have an 8GB SandDisk thumb drive (FAT32) which I had plugged to an USB hub. For some reason, the USB hub was constantly plugging and unplugging itself for about 6 times yesterday. I ignored it.
Today at school when plugging in the USB, although the computer recognized it, it was empty. No files. Nada. However, it does say there's 522 MB of used space.
I've already made sure to show hidden files but still nothing comes up. Any ideas?


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Robert Hugh Benson (1871-1914)
See the actual Church document, Vatican Note on Establishing Personal Ordinariates for Anglicans, put out by the Congregation for the Doctrine of the Faith, and published by Zenit.
See discussion on the New Liturgical Movement website.
See Fr. John Zuhlsdorf's notes and discussion on the What Does the Prayer Really Say? site.
See an article and many further links at the Catholic Culture site.
Anglican reaction detailed in The Telegraph.
Joint Catholic-Anglican statement.
Further links and comments at the Thinking Anglicans site.
Article by Deacon Keith Fournier at Catholic Online.
Canon lawyer Edward Peters' take at In the Light of the Law.
Jimmy Akin's reaction on his blog.
Catholic News Service article.
Catholic News Agency article.
National Catholic Reporter article [liberal].
Creative Minority Report article [liberal and hostile].
I think this is a fabulous development, and one long called-for. As a person who was most influenced in my own journey by Venerable John Henry Cardinal Newman, and who is very fond of those either part of or formerly of the Anglican tradition (G. K. Chesterton -- my latest book is a collection of his quotes -- , C. S. Lewis [my favorite writer], Malcolm Muggeridge, Robert Hugh Benson [see additional link], Ronald Knox, John Wesley, etc.), I'm very excited about this.
I'm also all for liturgical diversity, according to desires of the faithful, as long as they don't conflict with Catholic norms. So I am as happy about this as I was regarding the wider allowance of the Tridentine Mass. It's a charitable and common-sense move, in my opinion.
And it may very well promote lots more conversions to the Catholic faith, which is always a good thing. Just as the wider use of the Tridentine Mass has tended to "de-radicalize" self-described Catholic "traditionalists," and make them more content within the fold, so this decision will bring in self-described Anglo-Catholics. In both cases legitimate desires were met and more people can start to experience the fullness of apostolic, historic Christianity that the Catholic Church uniquely offers.