text:
I'm asking about proper hats, not ball caps. What's your favorite style?
Used to have to wear a safety helmet at work.
Best Answer
Yes, when I am having a bad hair day.
Best Answer
Caps mainly.
Best Answer
fadora! my collection continues to grow..
Best Answer
i was not aware of that ^_^
Best Answer
why this "proper" hats only? whats wrong with ball caps? sheesh
Best Answer
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text:
I want to get frequency and amplitude from wave file using c#. I tried naudio and FFT, but result is nothing. can you help me please.
NAudio.Wave.WaveChannel32 wave = new NAudio.Wave.WaveChannel32(new NAudio.Wave.WaveFileReader(open.FileName));
byte[] buffer = new byte[16384];
int read = 0;
double[] _fft;
while (wave.Position < wave.Length)
read = wave.Read(buffer, 0, 16384);
_fft = FourierTransform.FFTDb(ref buffer);
do not scold if somewhere is wrong. I'm a newbie.

subset: commoncrawl


text:
MADISON, N.J., June 12 /PRNewswire-FirstCall/ -- Quest Diagnostics Incorporated (NYSE: DGX), the world's leading provider of diagnostic testing, information and services, announced today the determination of the pricing for its previously announced cash tender offer to purchase up to $200 million total aggregate principal amount (the "Tender Cap") of its 5.125% Senior Notes due 2010 and 7.50% Senior Notes due 2011 (collectively, the "Notes"). The terms and conditions of the tender offer are described in the Offer to Purchase, dated May 19, 2009 and related Letter of Transmittal.
Quest Diagnostics will pay holders who validly tendered and did not validly withdraw their Notes at or prior to 5:00 p.m., New York City time, on June 2, 2009 (the "Early Tender Date") the Total Tender Offer Consideration of $1,021.49 for each $1,000 principal amount of its 5.125% Senior Notes due 2010 accepted for purchase and $1,050.44 for each $1,000 principal amount of its 7.50% Senior Notes due 2011 accepted for purchase, plus, in each case, accrued and unpaid interest up to, but not including, the settlement date.
The Total Tender Offer Consideration, which includes an Early Tender Premium of $30 per $1,000 principal amount of the Notes tendered, has been determined for each series of Notes by reference to the applicable fixed spread over the applicable Reference Yield based on the bid-side price of the applicable Reference Treasury Security, as calculated by Banc of America Securities LLC, the Lead Dealer Manager, at 2:00 p.m., New York City time, on June 12, 2009. The formula for determining the Total Tender Offer Consideration is set forth in Schedule A of the Offer to Purchase. The Total Tender Offer Consideration and the applicable Reference Yields are detailed in the table below.
|SOURCE Quest Diagnostics Incorporated
Copyright©2009 PR Newswire.
All rights reserved


text:
Bethenny Frankel Breaks Down Talking About Her Childhood
In her therapy session, she opened up about the craziness of her early life, talking about how her mother would yell at her for not wanting to go to a nightclub with her when Frankel was 13 years old. She struggled with her relationships with both her father and her stepfather.
"It sounds like I'm making it up when I say it out loud because it's so f**king crazy," she said. "But it didn't feel that crazy then. It really didn't."
"It's what you knew," her therapist said.
But Frankel doesn't dwell on the negative moments in her life. "I did not feel traumatized as a child," she said. "I had some happy times. We did a lot of nice things. It wasn't like every day I was thinking I was in a screwed-up household."
Get more at TV Squad >>
PopScene: Weeks Hottest Pics
- Filed under:
- Celebrity Fights -
- Celebrity Scandal -
- Bethenny Frankel -
- AOL Television
- Tuesday 29 MarchBy derob
About as real as her obvious lack of any discernable talent.
- Tuesday 29 MarchBy Ted
Blah blah blah go see a therapist then, nobody cares.
- Tuesday 29 MarchBy Beth
She is a no talent, ugly face liar !! Who cares lots of people had rough childhoods, tell her to start telling the truth about her age.
- Tuesday 29 MarchBy Trisha
Whaaa, whaaa, whaaa followed by a yawn.
- Tuesday 29 MarchBy Chrissy
No kidding. Boo-hoo-hoo; cry me a river.
- Tuesday 29 MarchBy Mary Hill
This woman is really starting to be annoying. She whines because her parents were disfunctional, and yet she pushed away her husband's parents because they are normal. She can't stand it because he has a good relationship with his parents and they want to see their granddaughter. She can't see that Bryn needs to have an extended family because she never had one. Get over it, Bethenny. She does see a therapist. He's a joke -- no help at all, just a sounding board.
- Tuesday 29 MarchBy Mike
Whacked out, no talent fraud.
- Tuesday 29 MarchHighest Rank Vote downVote upReport this
Most people cant relate to this kind of childhood, I can because I grew up in the most horrible house hold there was.
We should not judge Bethenny for her feelings.
When a child grows up in a disfuntional home, it does mess with the mind for the rest of our lives. I have sit in a few doctors offices, and on the couch too. But nothing ever takes the pain away, its here to stay. I hope Bethanny soon realizes, let it go, as much as she can, live for now, and dont look back.
Those people are not worth the pain.
- Tuesday 29 MarchLowest Rank Vote downVote upReport this
Anyone with a name like is an idiot.
- Tuesday 29 MarchBy Cherie
People on this thread are so hateful. It makes me sad. If you disagree with this woman simply look elsewhere for your entertainment, you do not need to be so hateful and hurtful. Someone is even attacking her name. WTF?
Live and let live please. The television has an off button. Use it if you are so full of venom towards what TV producers put on the airwaves. And try practicing being nicer for a day or two, it could change your life.
- Tuesday 29 MarchBy Fran
What type of person allows her therapy sessions to be televised??
Jill Zarin and her husband gave her a home when she needed one. They introduced her to the Hamptons and how does she repay them?
by bad mouthing them'
What out Jason you are next.
- Wednesday 30 MarchBy Jan
Bethenny had her OWN apt. Jill INVITED her to spend the summer at her Hampton's house and Bethenny cooked and prepared meals for them using her chef skills. Jill put out the lie that she was homeless and they took her in.
- Tuesday 29 MarchBy RON
This is the problem with our society. People are captivated and strongly influenced by celebrities who make it fashionable to be a dysfunctional mess. Just about everyone has their deamons and issues to deal with but these hollywood whack jobs love to do it with lots of drama and an audience. Get over it and learn to move forward like everyone else and seek the help of professionals if you feel you need it but enough of the pity party.
- Tuesday 29 MarchBy Jen
As my husband has said in the past, you may have had a dysfunctional childhood, but once you hit 25, what is your excuse? Stop whining about it, and grow up. Give Bree the life you never had and let the past stay in the past where is belongs.
- Tuesday 29 MarchBy cathy
This is why she is pushing her in-laws away. Jason should not allow it. She is warmer to her hired help than Jason's family.
- Tuesday 29 MarchBy Hudsongrl
Bethenny grew up very privledged. Her father is renowned thoroughbred horse trainer, Robert Frankel. She attended private schools. Her family may have been dysfunctional, but most families are and I doubt her childhood was as bad as she claims. I find Bethenny to be a spoiled, self-centered whiner. Jason is caring and loving and values his parents and friends. Bethenny loves only Bethenny. I'm glad she is getting some therapy...but poor Jason. It's going to be a bumpy ride.
- Tuesday 29 March
I think no matter what is going on in this girl's life, she will choose to focus on the negative. She cried on RHNY about not having a man and a baby, so now she has both, and she cries about things that happened THIRTY YEARS AGO. I think she just wants everyone to always feel sorry for her.
- Tuesday 29 MarchBy Kat2988
I was going to say, I really like her husband also, he is such a sweetie.
- Wednesday 06 AprilBy Sarah
I cannot understand this woman. She did live a priviledged life.Travel, private schools, but yet wants to cry all the time and talk about her miserable childhood. ok, if it seemed that way to her, why can't she just thank God it is over, and enjoy the success she has now? I felt so sorry for poor Jason and his sweet parents b/c of the shameful way she acted at her birthday party. Does she not realize there are millions of poor little children living in poverty that will never know what a birthday party is, and would give the world just to have a cupcake on their birthdays?
- Thursday 07 AprilBy Ted
Message to Jason: "Run For The Hills" as far and as fast as you can from this Self Absorbed maniac. The Birthday Party episode did it for me. How can someone turn that loving gesture into a "Poor Me" moment. Bethany makes Ramona look normal !!
MORE ABOUT Bethenny Frankel
Find the latest stories, biography, photos, videos, and more.Read more about Bethenny Frankel Li
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text:
Incorporated in 2005, Jupiter Infomedia Limited is web Infomedia company publishing businesses, Encyclopedia and Yellowpages.
Company has 3 portals including:
1. JimTrade.com - an online business directory (B2B Portal). This is one of the leading online business directory in India with nearly 3,00,000 products profiles. It provides information on product profiles, suppliers directory & trade shows in India.
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3. JimYellowPages.com - an online yellowpages directory for India, which contains 100+ cities and lacs of business listings.
Company Promoters:Mr. Umesh Modi & Mrs. Manisha Modi are the promoters of the company.
Objects of the Issue:The Objects of the Issue are as follows:1) Purchase and set-up of offices in Mumbai and Kolkata2) Renting offices in Ahmedabad, Chennai and Delhi3) Initial Operating Expenses for the Marketing/Branch Office (first three months)4) Issue Related Expenses
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Jupiter Infomedia IPO Messages (Jupiter Infomedia IPO Comments)
3. Sameer Bhatia Aug 1, 2012 10:00:25 AM IST | Reply | Sameer Bhatia's messages
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2. santonu Jul 21, 2012 11:02:48 PM IST | Reply | santonu's messages
small size IPO will be liste on BSE SME only.so how we can sell them if alloted as tranding account of maxmum brokers has no SME platform
1. Sbr Jul 20, 2012 11:52:40 AM IST | Reply | Sbr's messages
This is the best investment.


text:
Originally written on Football Nation | Last updated 1/11/13
It seemed like it took no time at all for 14-year Eagles coach Andy Reid to find a new home in Kansas City.Many fans expected the same thing in terms of finding a new coach, but that hasn't exactly been the case.Nearly two weeks after the firing of Andy Reid, and the Eagles seemingly meet with a new person everyday. The search for the new coach in Philadelphia sure has been a big one. There have been a handful of coordinators interviewed, and just about as many college coaches.There doesn't look to be an end to the search in sight, but one can only imagine they will have their new coach by the end of January.With that said, who can we expect Eagles owner Jeffrey Lurie to 'lure' in this year?
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text:
Palenque to Tikal via moto; possible?
View Single Post
Gnarly Adventurer
Joined: Nov 2009
Location: Bucharest
Oddometer: 232
@Sjoerd Bakker I think it is never pointless to ask a question here as most of the times, the most reliable information is coming from fellow travelers. And even if it would be too late for me, maybe it would be useful for others. So still excellent to confirm a situation. As for the spelling mistake, thank you for pointing that out. It was an honest miss-type due to writing in a rush at one of the many tourists traps in Palenque. No disrespect intended for the actual place! And your advice for the roads to take from Palenque onwards and we indeed highly enjoyed and recommend the back roads north of Palenque
I asked last night because just then I discovered this thread. Before this, people that I've asked about this elusive border crossing had various opinions ranging from it does not exist to it does but the only Banjercito is in Tuxtla Gutierez. So this thread was very helpful for us.
Even with the schedule of the Banjercito it was so fanny: everybody we asked on the road from Tenosique to El Ceibo said that it is open today (Monday). Police guys at the 2 check points, the military guys and the top of the top... the border guys at the border crossing itself. We stopped, we asked if the Banjerito is open and they said yes and motion us to park the bike so they could check it!!
We were starting to reach for our documents when another guy came from the Adauna building and said to our first guy "Hey, man, today is Monday, they cannot pass today as the banck is closed". This alone made the trip to the border worth it (and it was a ride with nice views too).
So heads up for other travelers:
The Banjercito is indeed still closed on Monday
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Stock Vector Illustration:
Vector icon with man and woman. Simple illustration with figures of peoples. Stylized silhouettes of person. Abstract sign for print and web
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- Copyright: anfisa focusova
High quality images curated from over 150 countries.
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text:
Meckel's Diverticulum
|Meckel's Diverticulum
|Copyright © Nucleus Medical Media, Inc.
Risk Factors
- Blood in the stool
- Cramping abdominal pain
- Vomiting
- Fever
- Constipation
- Pain in lower abdomen that worsens with sneezing, coughing, and deep breathing
- Loss of appetite
- Slight fever
- Meckel scan (technetium-99m pertechnetate scan)
- Abdominal CT scan
- Abdominal x-ray
- Abdominal ultrasound
Family Doctor—American Academy of Family Physicians http://familydoctor.org
National Institute of Diabetes and Digestive and Kidney Diseases http://www.niddk.nih.gov
Canadian Association of Gastroenterology http://www.cag-acg.org
North American Society for Pediatric Gastroenterology http://www.naspghan.org
Cullen JJ, Kelly KA, Moir CR, et al. Surgical management of Meckel's diverticulum. An epidemiologic population-based study. Ann Surg. 1995; 222:568-569.
Meckel diverticulum. EBSCO DynaMed website. Available at: http://www.ebscohost.com/dynamed. Updated September 19, 2012. Accessed August 19, 2014.
Meckel diverticulum. PEMSoft at EBSCO DynaMed website. Available at: http://www.ebscohost.com/dynamed. Accessed August 19, 2014.
Lin S, Suhocki PV, Ludwig KA, et al. Gastrointestinal bleeding in adult patients with Meckel's diverticulum: The role of technetium 99m pertechnetate scan. South Med J. 2002;95:1338-1341.
Martin JP, Connor PD, Charles K. Meckel's diverticulum. Am Fam Physician. 2000; 16:1037-1042..
Meckel diverticulum. The Merck Manual Professional Edition website. Available at: http://www.merckmanuals.com/professional/gastrointestinal%5Fdisorders/diverticular%5Fdisease/meckel%5Fdiverticulum.html. Updated June 2013. Accessed August 19, 2014.
Revision Information
- Reviewer: Daus Mahnke, MD
- Review Date: 08/2014 -
- Update Date: 09/30/2013 -
This content is reviewed regularly and is updated when new and relevant evidence is made available. This information is neither intended nor implied to be a substitute for professional medical advice. Always seek the advice of your physician or other qualified health provider prior to starting any new treatment or with questions regarding a medical condition.
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The following bibliography has been generated by bringing together all references provided by our content partners. There may be duplication.
- Menzel, M. 1992. Preliminary checklist of the mosses of Peru (Studies on Peruvian Bryophytes IV). J. Hattori Bot. Lab. 71: 175–254.
- Zander, R. H. 1994. Oxystegus in A. J. Sharp et al. (editors), Moss Flora of Mexico. Mem. New York Bot. Gard. 69: 233–235.
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Private Tour: Hurghada City Sightseeing
The best way to find your bearings when arriving in a new city is to take a city tour. This three-hour trip with your own private guide is the perfect way to ... More info
- Location: Hurghada, Egypt
- Duration: 3 hours (approx.)
From USD $23.00
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text:
He Asked for It
BY Amita Parashar
June 29 2009 12:00 AM ET
Weiss says he pushed the actors to make themselves emotionally vulnerable, especially Keegan and Unger, who come from comedic backgrounds. The effort comes through in some very dramatic scenes, such as Ted's ultimate demise. "There are very dark colors to these characters," he says. "The actors were incredibly eager to go to those places."
The tough messages of the play, though, are interspersed with witty, easy dialogue. (Who wouldn't laugh at a typical West Hollywood gay checking himself out in a car's side mirror as he gets fucked in the gym parking lot? His mate spends the experience talking about Scientology.)
Eventually, the play's focus shifts to Rigby, as the seemingly guilt-free character starts to rethink his own life and relationship to his HIV status. Rigby is forced to confront his lack of responsibility around spreading the virus to Ted and others. His tough front falls away, and he becomes desperate for any sort of human connection. "It's something we're all kind of yearning for and craving," Patterson says.
The cast of seven creates an intimate space for the audience to enter the characters' lives completely. Patterson has accomplished quite a feat in writing play that tackles tough issues around HIV while getting his audience to intermittently roar with laughter. Even though this play is nothing like Angels in America , I daresay that Mr. Kushner would be proud.
- WATCH: Mississippi Clerk Refuses to Wed Gay Couples, Quits After 24 Years
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- Girl Scouts Return $100K When Donor Demands It 'Not Be Used' For Trans Girls
- Will Marriage Equality Cause a Spike in Homeless LGBT Youth?
- Tennessee Hardware Store Puts Up 'No Gays Allowed' Sign
- PHOTOS: A Global Pride Explosion


text:
"People who don't make ERGIC-53 have combined Factor V and Factor VIII deficiency, a mild form of hemophilia," Botten says. "Despite having this condition, these individuals are in good health, provided they get synthetic clotting factors or fresh frozen plasma following a major trauma or surgery. So in essence, people don't need ERGIC-53 to survive, which makes this an attractive antiviral target."
That initial connection the fact that people with this deficiency bleed and people who get these types of hemmorhagic fever viruses bleed was what got the researchers interested in ERGIC-53; they believed this protein could be important for both the propagation of these viruses as well as their ability to make people bleed.
The team got to work, seeking to determine just how ERGIC-53 might impact virus propagation. They quickly discovered that ERGIC-53 is absolutely essential for the propagation of arenaviruses. Additionally, "we found a new means for ERGIC-53 to associate with its viral partners binding to arenavirus GPs via a previously unknown, lectin-independent mechanism," Botten says. In fact, the team discovered that ERGIC-53 also interacts with the GPs of additional pathogenic RNA viruses such as orthomyxoviruses (e.g., influenza), coronaviruses (e.g., SARS), and filoviruses (e.g., Ebola and Marburg). Importantly, they discovered that virus particles decorated with Ebola or SARS virus GPs also critically depend on ERGIC-53 to be infectious.
New information centering on viral particles, which are produced when a person gets infected, were another important finding of the study. The group determined that ERGIC-53 is a "virion component" it gets into t
|Contact: Jennifer Nachbur
University of Vermont


text:
Phillys Big Trip (Alaska to Chile or is that Argentina)
View Single Post
Gnarly Adventurer
Joined: Jun 2012
Location: Netherlands
Oddometer: 263
Winslow to Gallup, Saturday, 11 August 2012, Day 68
Route 66 Wigwam Motel[/caption]
I have no idea where I am and I have no idea where I am going. The Plan is to do the Route 66 to Chicago not sure why as to be honest it is not that inspiring. Had my free breakfast and chatted with Chuck owner of the motel when a native Indian woman came in asking about a key that she may have left there 2 years ago. She was quite obviously drunk which was scary, as she had just driven up in a car. She then pounced some breakfast and disappeared calling chuck a white bastard. So the conversation turned to aboriginal's and how much they get from the government and their dependency on hand outs etc. This was such a déjà vu conversation I have had it many times in Australia and Canada and in many countries I am not sure where I stand on this lot of finger-pointing and very little understanding but what I just witness gave a lot credence to the lazy freeloading drunk stereotype that is used in these dialogs so lets just say I was more concerned that she got in her car and drove away another drunk behind the wheel that what scares me most as I was just about to hit the road again.
Another hot day and this time I went to the Petrified Forest and Painted Desert National Park which was nice even though not ideally dressed for the weather conditions.
Hot and lost[/caption]
Took longer than I thought and I also crossed the state line into New Mexico and lost an hour without realising it so at about 4 ish decided to call it a day in a town called Gallup Did not cover too much distance today only did 160 miles today but the heat is exhausting for chubby little fellow like me. Loads of motel in Gallup all advertising cheap rates but when you roll up well suddenly the rate on the huge billboard is not valid but more expensive. This was pissing me off no end I was hot sweaty and tired and very irritable. Eventually got one that matched the price on the sign but when I went to put my gear in my room it had not been made up and looked a mess.* Already woke the young guy up from his afternoon nap (idle bastard) all I wanted was a nap as well. Room eventually sorted next problem Internet. Got chatting to the guy and found out the reason he was napping was that he was fasting for Ramadan so retraction of the idle bastard comment and big respect as there is no way I could be fasting in this heat. I am on the outskirts of town next to the railway and freeway so not much doing decide to walk for 30 minutes in the direction of town and see what I can find in the heat but it just the usual stuff you find on the strip outside of all American towns so KFC for me dinner and then a walked back to the motel for another evening of trying to get this blog up to date read me book and watched the goggle box. Failed on the first two but watched some crap on the telly in a tatty cheap motel room. I am living the life went to bed with John Wayne and woke up with John Wayne as I said the walls are paper-thin and the bloke next door must be deaf and a John Wayne fan so it was on when I went to bed and on again in the morning. Get off your horse and drink your milk
My little pony![/caption]
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- ESPN's new season of "30 for 30″ started up last night and the first episode was about how some professional athletes have spent way beyond their means. Fittingly, the episode was titled "Broke".
- The show interviewed some former Dallas talent such a Jamal Mashburn, Eugene "The Hitting Machine" Lockhart", and Bernie Kosar. Yeah, Bernie might be a stretch for a Dallas sports figure, but hey, he did take over for an injured Troy Aikman in an NFC Championship game to get us to a Super Bowl.
- I guess you can also include Sean Salisbury who was interviewed and now lives in the area.
- Andre Rison was also part of the episode and stated he already bought a mansion in Cleveland when he signed as a free agent and then found out Art Model was moving the team to Baltimore.
- Per the show, NFL players will pay taxes in certain states, states they don't even live in, just for playing in a playoff game that's located there.
- NFL referee Ed Hochuli's son, Shawn, is a ref in the NCAA. pic profile
- Pfizer provides a definition of boar taint.
- I had no idea other people thought I had a great business mind. (Video)
- Not that I want to wish my time away, but it sure would be nice if the kids were old enough to take out the trash and unload the dish washer.
- A few great behind the scene photos of "Mad Men"
- 7% of Americans Think Lee Harvey Oswald Shot Lincoln
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Home » Casserole » Vegetable Casserole » Potato Casserole » Smoked Pork Cabbage And Potato Casserole
Smoked Pork Cabbage And Potato Casserole
24 Feb 2010
|Yellow onion
|1 Medium, finely chopped
|Vegetable oil
|1 Tablespoon
|1 Pound, coarsely shredded
|Caraway seeds
|1 Teaspoon
|All purpose potatoes
|1 Pound, peeled and cut into 1-inch cubes
|Basic chicken stock/Canned chicken broth
|1⁄4 Cup (4 tbs)
|Boneless smoked pork butt
|1 Pound, sliced 3/4 inch thick
|1⁄2 Teaspoon
|Black pepper
|1⁄4 Teaspoon
Mix the onion and oil in an ungreased shallow 3-quart microwave-safe casserole.
Cover with the lid, and microwave on High until glassy about 3 minutes.
Mix in the cabbage and caraway seeds, then arrange the potatoes around the edge of the casserole.
Pour in the stock, cover, and micro wave on High for 12 minutes, stirring midway.
Scoop out half the cabbage.
Arrange the pork in a single layer over the cabbage in the casserole, then spread the scooped-out cabbage on top.
Cover and microwave on High for 5 minutes.
Give the casserole a half-turn, reduce the power to Medium High, and microwave for another 5 minutes.
Remove from the oven and let stand, covered, for 5 minutes.
Sprinkle with the salt and pepper.
Recipe Summary
Difficulty Level:Easy
Course:Main Dish
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Smoked Pork Cabbage And Potato Casserole Recipe


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Keystone cops for D.C. United defense; watch this goal
Apr 21, 2013, 5:55 PM EDT
First, we told you that D.C. United needed a Jack McInerney. The young U.S. striker just keeps scoring, doing so again early on Sunday in Washington, D.C.
D.C. United is in trouble. Big trouble. Down at the break, 3-1.
Of course, what Ben Olsen's team also needs is for his defenders not to freakin' run into each other!
Things are going from bad to worse around RFK Stadium. While the offense has been nothing short of awful, the Black and Red defense hasn't been too bad. Check that – had not been too bad.
Watch the goal below, McInerney's fifth this year (and his first of two Sunday, good enough to share the league lead.) It's just Benny Hill skit back there – that is a series of wobbles and mayhem and fellows falling down.
It starts with United center back Dejan Jakovic, unhurried or unchallenged, giving away a ball in midfield. Brandon McDonald is way too slow about getting even with his fellow defenders, which leaves McInerney in free on Conor Casey's wise, early through ball.
When Jakovic and McDonald catch up to McInerney … they run into one another.
The young Union striker calmly places his shot past 'keeper Bill Hamid for the first of two early Union goals.
Here ''tis! Turn and look away D.C. United fans.
- jerichowhiskey - Apr 21, 2013 at 6:22 PM
McInerney looked off-side in that play, but that defending was pretty poor.
- krazymunky - Apr 21, 2013 at 6:59 PM
if you pause the video at the pass. he is way onside.
- Steve Davis - Apr 21, 2013 at 9:19 PM
McDonald (at the top of the screen) held him on. Just barely … but onside.
- jpan007 - Apr 21, 2013 at 8:05 PM
he made it looks easy
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Originally written on Fox Sports | Last updated 11/20/12
The Detroit Tigers have released outfielder Ryan Raburn. Raburn started the 2012 season as a big part of Detroit's plans, but the 31-year-old hit just .171 in 66 games. The Tigers also purchased the contracts of right-handers Bruce Rondon and Melvin Mercedes, and shortstop Dixon Machado from Triple-A Toledo. Detroit sent right-hander Tyler Stohr outright to Toledo. The 21-year-old Rondon was named the organization's minor league pitcher of the year, going 2-1 with a 1.53 ERA in 52 appearances with Class A Lakeland, Double-A Erie and Toledo. Rondon could compete for Detroit's closer spot next year.
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Policing and Media: Public Relations, Simulations and CommunicationsPaperback New Directions in Critical Criminology
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- Hardback $115.55
- Publisher: ROUTLEDGE
- Format: Paperback | 264 pages
- Dimensions: 128mm x 196mm x 16mm | 280g
- Publication date: 20 January 2014
- Publication City/Country: London
- Edition statement: New.
- Illustrations note: 1 black & white illustrations, 9 black & white tables
- Sales rank: 215,966
Product description
This book examines the relationship between police, media and the public and analyses the shifting techniques and technologies through which they communicate. In a critical discussion of contemporary and emerging modes of mediatized police work, Lee and McGovern demonstrate how the police engage with the public through a fluid and quickly expanding assemblage of communications and information technologies. Policing and Media explores the rationalities that are driving police/media relations and asks; how these relationships differ (or not) from the ways they have operated historically; what new technologies are influencing and being deployed by policing organizations and police public relations professionals and why; how operational policing is shaping and being shaped by new technologies of communication; and what forms of resistance are evident to the manufacture of preferred images of police. The authors suggest that new forms of simulated and hyper real policing using platforms such as social media and reality television are increasingly positioning police organisations as media organisations, and in some cases enabling police to bypass the traditional media altogether. The book is informed by empirical research spanning ten years in this field and includes chapters on journalism and police, policing and social media, policing and reality television, and policing resistances. It will be of interest to those researching and teaching in the fields of Criminology, Policing and Media, as well as police and media professionals.
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Author information
Murray Lee is Director of the Sydney institute of Criminology and an Associate Professor in Criminology at the University of Sydney Faculty of Law. He is the author of Inventing Fear of Crime and co-author of Fear of Crime: Critical Voices in an Age of Anxiety, both published by Routledge. Alyce McGovern is Senior Lecturer in Criminology and Criminology Program Convenor at the University of New South Wales.
Review quote
'Murray Lee and Alyce McGovern have written an innovative and important book. Based on cutting-edge empirical research and covering topics including social media, "simulated policing", police self-image and self-regulation, this book takes the field of police and media several leaps forward and can genuinely lay claim to being a new direction in critical criminology.' Yvonne Jewkes, Professor of Criminology, University of Leicester, UK. 'Lee and McGovern meticulously detail how the media, and especially new media, is fundamentally altering the relationship between the police and the public. Policing and Media insightfully illuminates the various ways police are harnessing media to achieve diverse impacts in society and demonstrates how they are reshaping policing of the future by doing so. This highly accessible and invaluable resource is crucial reading for scholars of criminology, sociology and the media and is a must-read for policing and media practitioners.' Sharon Pickering, Australian Research Council Professorial Future Fellow and Professor of Criminology, Monash University, Australia. 'Murray Lee and Alyce McGovern have produced an authoritative analysis of police communications in our increasingly mediated world. They skilfully blend theoretical insights with empirical research to build a convincing argument that the divide between operational policing and police media work is collapsing into "simulated policing". Police media and public relations are important but under-researched areas and the authors should be congratulated for writing this accessible, accomplished and much-needed book.' Rob Mawby, Reader in Criminology, University of Leicester, UK. 'Lee and McGovern realise that, as policing and media continue to evolve in the 21st Century, so too must the theories and methods used to research them. Bringing new theoretical insights, and a methodological clarity and reflexivity that spans a decade of empirical work, the authors engage systematically with the multi-faceted intersections of policing and media. Their analyses of traditional and social media, news and reality programming, investigative and image work results in an insightful, timely and comprehensive study that genuinely succeeds in moving knowledge forwards. An impressive feat of scholarly work, and an important contribution to the literature.' Chris Greer, Professor of Sociology, City University London, UK.
Table of contents
Introduction Part I: Police and media: setting the scene 1. Locating police media public relations 2. The logics of image work 3. 'Simulated policing': framing contemporary polcie media work Part II: Simulated policing 4. Policing the press release 5. Policing social media 6. Policing reality television Part III: Policing the police 7. New technologies and struggles of representation 8. Resistance and old media 9. Appendix; research methods.


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This section contains 6,367 words
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Critical Review by Hilton Als
SOURCE: "The Enemy Within: The Making and Unmaking of James Baldwin," in New Yorker, February 16, 1998, pp. 72-80.
In the following review, Als presents an overview of Baldwin's life and career.
Twenty-two years ago, when I was fourteen, I was given James Baldwin's second collection of essays, Nobody Knows My Name (1961), by his friend and my mentor the writer Owen Dodson, who was one of the more ebullient survivors of the Harlem Renaissance. The dust jacket of the book featured a photograph of Baldwin wearing a white T-shirt and standing in a pile of rubble in a vacant lot. It was this photograph that compelled me to read the book. I had never seen an image of a black boy like me—Baldwin looked as if he could have been posing in my old neighborhood, in East New York—gracing anything as impressive as a collection of essays. In fact, shortly after Owen gave me the book I began to pretend that the photograph of Baldwin was of me, or the writer I meant to be, and that the book's contents were my spiritual autobiography, or a record of the life I longed to lead. I was living in a roach-infested apartment in Crown Heights, along with my mother, my older sister, my younger brother, and the wearying fear that I would never escape from it. Baldwin, though, had grown up in circumstances not so different from my own, and he had gone on to become one of the most eminent writers America had ever produced. In the book, there was Baldwin in Paris attending a conference at the Sorbonne, Baldwin in Sweden interviewing Ingmar Bergman, Baldwin grappling with the exigencies of the life of the writer. And there was Baldwin realizing that, no matter how hard he had tried to separate himself from that black boy picking his way through the rubble of Harlem, he would always be regarded by some as a "nigger."
I didn't believe that I was a nigger, but I was certainly viewed with contempt by friends and family whenever my differences—which took the form of reading and writing, and hanging out with boys who called one another "girlfriend"—declared themselves. In reading Baldwin, then, I was listening to my secret voice, the voice of someone who wasn't afraid to describe who he was and where he'd come from and what he'd seen. Baldwin was also able to convey, in his labyrinthine, emotional prose, the persistent guilt that I felt toward my family—the family I would need to leave in order to become myself. And what compounded the guilt was the vague suspicion that in leaving them behind I would be leaving my blackness behind as well, to join the white world—a world that more often than not hurt and baffled my mother and siblings. Baldwin understood these things, because he'd survived them.
During the following year, I spent many hours in the main branch of the Brooklyn Public Library, hunched over bound volumes of old magazines featuring stories about Baldwin. I was struck, in some photographs, by his enormous eyes, like dark poppies in bloom, raised in mock or serious consternation; in others, by his enormous grin, with the "liar's space" between the two front teeth. And then there were the interviews, during which he spoke with great candor and wit:
[Journalist]: When you were starting out as a writer, you were black, impoverished, and homosexual. You must have said to yourself, "Gee, how disadvantaged can I get?"
[Baldwin]: No, I thought I had hit the jackpot. It was so outrageous, you had to find a way to use it.
When I was older, and had become a writer myself, my feelings about Baldwin grew ambivalent. I have never been comfortable being identified as a black writer, particularly when that description comes from a white audience, which knows nothing of the limitations imposed by the term. Nor have I ever been comfortable with the presumed fraternity of black writers, academics, and intellectuals: I have spent my entire life trying to come to grips with my feelings for my own family, and had little interest in being adopted by another—one with its own provincialism, competitiveness, and misapprehensions. Baldwin, at one point in his life, felt the same. In 1959, when he was thirty-five, he wrote from his self-imposed exile in Europe that he had left America because he wanted to prevent himself from becoming merely "a Negro writer." He went on to become exactly that: the greatest Negro writer of his generation. Perhaps none of us escape the whipping post we've carved our names on. But Baldwin's career became a cautionary tale for me, a warning as well as an inspiration.
I recently returned to Baldwin, prompted by the Library of America's just-published two-volume selection of his novels, short stories, and essays, edited by Toni Morrison. And I found that what I identified with in his work—the high-faggot style of his voice, the gripping narrative of his ascent from teen evangelist to cultural icon—had not changed for me since the days when I devoured his books like "some weird food" (as Baldwin once described his own early love of reading). My admiration for the way in which he alchemized the singularity of his perspective into art had not diminished. Neither had my discomfort with the way he had finally compromised that perspective. But I came to recognize something I'd missed during both my early infatuation and my later disaffection: no matter how much I tried to resist my identification with Baldwin, we were uneasy members of the same tribe.
James Baldwin was disenfranchised from the start. Born James Arthur Jones, in Harlem Hospital, on August 2, 1924, he was the illegitimate child of Emma Berdis Jones, who worked as a cleaning woman to support herself and her son. He never knew his biological father. In 1927, his mother married a Baptist preacher named David Baldwin; together, they reared eight other children, in a series of Harlem tenements. "My mother's strength was only to be called on in a desperate emergency," Baldwin wrote in 1972 in "No Name in the Street." Her eldest child soon learned that his mother "scarcely belonged to us: she was always in the hospital, having another baby." His stepfather was an unforgiving man with a terrible temper, who eventually lost his mind: "Between [the] children, who were terrified of him, the pregnancies, the births, the rats, the murders on Lenox Avenue, the whores who lived downstairs, his job on Long Island—to which he went every morning, wearing a Derby or a Homburg, in a black suit, white shirt, dark tie, looking like the preacher he was, and with his black lunchbox in his hand—and his unreciprocated love for the Great God Almighty, it is no wonder our father went mad."
In the midst of the anger and chaos of this household, the young Baldwin developed an insatiable appetite for literature. He writes in the introductory "Autobiographical Notes" to his first collection of essays, entitled Notes of a Native Son and published in 1955, "I read Uncle Tom's Cabin, and A Tale of Two Cities, over and over and over…. In fact, I read just about everything I could get my hands on—except the Bible, probably because it was the only book I was encouraged to read." And, reading in the larger world of books, Baldwin began to see the smallness of the world in which he lived, and to devise ways of escaping. "I knew I was black, of course, but I also knew I was smart," he once said. "I didn't know how I would use my mind … but I was going to get whatever I wanted that way, and I was going to get my revenge that way."
Escape was intimately bound up with issues of race. In Notes of a Native Son Baldwin recalls that when he was nine or ten he wrote a play that was directed by a young white schoolteacher—"a woman, who then took an interest in me, and gave me books to read, and, in order to corroborate my theatrical bent, decided to take me to see what she somewhat tactlessly referred to as 'real' plays." He goes on, "Theater-going was forbidden in our house, but, with the really cruel intuitiveness of a child, I suspected that the color of this woman's skin would carry the day for me." And it did. David Baldwin could not object to Jimmy's education, because he could not contradict the power that the white woman's skin held in his imagination:
He would have refused permission if he dared. The fact that he did not dare caused me to despise him…. In later years, particularly when it began to be clear that this "education" of mine was going to lead me to perdition, he became more explicit and warned me that my white friends in high school were not really my friends and that I would see, when I was older, how white people would do anything to keep a Negro down…. The best thing was to have as little to do with them as possible. I did not feel this way and I was certain, in my innocence, that I never would.
And so his stepfather's resistance proved a goad to his ambition, spurring him to reconfigure his world by turning difference into strength.
During Baldwin's years at Frederick Douglass Junior High School—from 1935 to 1938—his early ambitions were encouraged by one of the teachers there, the black homosexual writer Countee Cullen, who had enjoyed a vogue during the Harlem Renaissance. Baldwin went on to De Witt Clinton High School, a distinguished—and racially integrated—public school in the Bronx. Among his classmates were the future writer Emile Capouya, the future editor Sol Stein, and the future photographer Richard Avedon, with whom Baldwin coedited the school magazine, The Magpie. And as Baldwin began to venture—both literally and metaphorically—out of the neighborhood, some of his stepfather's forebodings began to be realized. Avedon remembers bringing Baldwin home to his family's apartment on the Upper East Side: "The elevator man looked at Jimmy and said, 'You have to go up the back stairs.'"
But even as Baldwin was travelling beyond the boundaries of the black community he was also trying to find his place in it. He underwent a religious conversion when he turned fourteen, began preaching shortly afterward, and proved to be good at it. In the small world of Harlem's Pentecostal churches, he had his first experience of fame, but he took little pleasure in it. "At this time of my life, Emile was the only friend I had who knew to what extent my ministry tormented me," Baldwin wrote many years later, in "The Devil Finds Work" (1976). Capouya believed that his friend remained in the church out of cowardice:
Therefore, on the coming Sunday, he would buy two tickets to a Broadway matinee and meet me on the steps of the 42nd Street Library, at two o'clock in the afternoon. He knew that I spent all day Sunday in church—the point, precisely, of the challenge…. I had hoped for a reprieve, hoped, on the marked Sunday, to get away unnoticed: but I was the "young" Brother Baldwin, and I sat in the front row, and the pastor did not begin his sermon until about a quarter past one. Well. At one-thirty, I tiptoed out…. That was how I left the church.
He was seventeen. Shortly afterward, he left home, but he continued to help support his large family, working first at a defense plant in New Jersey, and then at a meatpacking plant in Manhattan. The racism he encountered during this period was debilitating in its unthinking brutality: twelve years later, he described the visceral response it evoked as being like "some dread, chronic disease, the unfailing symptom of which is a kind of blind fever, a pounding in the skull and fire in the bowels," and he added, "It can wreck more important things than race relations. There is not a Negro alive who does not have this rage in his blood."
David Baldwin died in 1943, several days before his adopted son's nineteenth birthday. Baldwin buried his stepfather, moved to Greenwich Village, and embarked on a new life as a bohemian. A year later, he met Richard Wright, who championed Baldwin's early efforts at fiction, recommending him to an editor at Harper & Brothers. It was Wright who first gave voice to Baldwin's experience of racism. "He was the greatest black writer in the world for me," Baldwin later recalled, in "Alas, Poor Richard." "In Uncle Tom's Children, in Native Son, and, above all, in Black Boy, I found expressed, for the first time in my life, the sorrow, the rage, and the murderous bitterness which was eating up my life…. His work was an immense liberation and revelation for me."
Through Eugene Worth, a black friend who committed suicide in 1946 (and who inspired the character of Rufus in Baldwin's 1962 novel, Another Country), Baldwin was introduced to leftist politics, and in short order the nineteen-year-old writer was a card-carrying Trotskyist, but he didn't remain one long. ("It was useful in that I learned that it may be impossible to indoctrinate me," he wrote in the introduction to his collection of pieces The Price of the Ticket.) Still, during that time he became acquainted with the intellectuals who would greatly influence the beginning of his career as a writer: Saul Levitas, of The New Leader; Randall Jarrell, of The Nation; Elliott Cohen and Robert Warshow, of Commentary; and Philip Rahv, of The Partisan Review. These editors supported Baldwin's growth as a critic and allowed him access to the social world of New York intellectuals, but their patronage was not without its restrictions: as a black, he was expected and encouraged to review black books. "As for the books I reviewed—well, no one, I suppose, will ever read them again," Baldwin mused. "It was after the war, and Americans were on one of their monotonous conscience 'trips': be kind to niggers, for Christ's sake, be kind to Jews!"
To some extent, Baldwin used his blackness as a kind of surrogate Jewishness: it was his "difference" that sold, and the Jewish intellectuals who knew persecution at first hand could understand racism as persecution of a different hue. Baldwin described the connection himself, in his essay "The Harlem Ghetto," which was published in 1948:
Though the notion of suffering … is based on the image of the wandering, exiled Jew, the context changes imperceptibly, to become a fairly obvious reminder of the trials of the Negro…. At this point, the Negro identifies himself almost wholly with the Jew. The more devout Negro considers that he is a Jew, in bondage to a hard taskmaster and waiting for Moses to lead him out of Egypt.
It is likely that this connection in suffering was clear to him as a citizen of Harlem, where the Jew was stigmatized for his whiteness, just as blacks were marked in the larger world for their blackness. But such observations must have also strengthened his sense of belonging to his new intellectual community.
Certainly this community helped to redefine Baldwin. By 1948, he was no longer the ugliest boy his father had ever seen but a promising young writer who was considered "very smart" by the older editors he worked for. And nothing is more necessary to a writer than attention. "Though it may have cost Saul Levitas nothing to hurl a book at a black boy to see if he could read it and be articulate concerning what he had read. I took it as a vote of confidence. And I loved him … and I think … that he was proud of me, and that he loved me, too." It is a touchingly vulnerable statement.
The reviews and essays Baldwin wrote for The Nation and other magazines are models of linguistic precision and critical acuity. In them he laid the groundwork for the themes he would explore and develop in his later essays: the tensions between blacks and Jews; black stereotypes in film; the effect of poverty on everyday life. At the same time, he was developing a style as a writer—a style that blended a full-throated preacherly cadence with the astringent obliquities of a semi-closeted queen.
Baldwin was also struggling to embrace a wider racial vision. At the end of his review of a biography of Frederick Douglass—a review published in The Nation in 1947, when Baldwin was only twenty-two—he wrote, "Relations between Negroes and whites, like any other province of human experience, demand honesty and insight; they must be based on the assumption that there is one race and that we are all part of it." At the same time, however, he wasn't trying to "transcend" his race: he was assuming the role of its spokesperson. In a review of Chester Himes's novel The Lonely Crusade Baldwin states, "On the low ground where Negroes live something is happening: something which can be measured in decades and generations and which may spell our doom as a republic and almost certainly implies a cataclysm."
In November, 1948, Baldwin decided to leave the country. Unwilling to end up like his stepfather, "sitting at the window, locked up in his terrors," he used the money from a literary fellowship he'd won to book passage to Paris. He arrived with just over forty dollars to his name and few contacts other than Richard Wright, who had arrived there two years earlier. But postwar Paris proved to be a refuge for a number of black Americans. And the Parisians, as Baldwin's friend Maya Angelou has said, were delighted with them: they were neither les misérables nor Algerians. "France was not without its race prejudices," she recalled in an interview. "It simply didn't have any guilt vis-à-vis black Americans. And black Americans who went there, from Richard Wright to Sidney Bechet, were so colorful, and so talented, and so marvellous, and so exotic. Who wouldn't want them?"
In Paris, Baldwin lived in a variety of hotels, some "ludicrously grim," and he supported himself in a variety of ways. His first summer, he worked as a clerk for a lawyer and he wrote pieces for French and American periodicals. And, for the first time in his life, he borrowed from friends and acquaintances. To live off the largesse of friends takes charm, but that was one resource he had in abundance. "He was able to really charm you, and entertain you, and beguile you, and I suppose seduce you if you were at all ready for it," the poet Richard Howard remembers.
Through Wright, Baldwin was introduced to the editors of the Paris-based magazine Zero, and for them, in 1949, he wrote his first critical piece about his former mentor—a devastating essay entitled "Everybody's Protest Novel." In it Baldwin argued that American protest literature simply confirmed stereotypes about blacks, and that Bigger Thomas, the anti-hero of Wright's 1940 novel, Native Son, was the spiritual and ideological twin of Harriet Beecher Stowe's Uncle Tom—a victim used as a vessel to project the author's self-righteousness. Baldwin felt confined by political fiction; as he later explained, he wanted to be a writer "instead of a pamphleteer."
Owen Dodson told me that when Baldwin attacked Wright's aesthetic most black intellectuals and academics felt that he had gone too far. Disdainful of intellectual protectionism among blacks, I replied that I guessed that we were not only supposed to look alike but like alike, too. Today, however, as I read Baldwin's essays on Wright and sort through my own jumbled feelings, the truth seems a bit more complicated. Certainly both "Everybody's Protest Novel" and Baldwin's later essay "Alas, Poor Richard" (1961) expressed real misgivings that the younger man had about Wright's work. But these essays—as the title of the second one suggests—also constituted a very personal attack. Baldwin meant not only to bury the tradition of black letters which had its roots in a Communism supported by white dilettantes but also to supersede Wright as the one black writer worth reading in the largely white world of American letters. The Oedipal nature of their relationship was not lost on Baldwin, who once described Wright as "my ally and my witness, and alas! my father."
It is a similar desire for a father—and an ultimate distance from him—that accounts for most of the pathos of Go Tell It on the Mountain, Baldwin's first and best novel, which was published, finally, in 1953. (Baldwin had worked on Mountain—originally entitled "In My Father's House"—in one form or another for a decade.) The story takes place in the course of a day—the day John, its hero, turns thirteen and is "saved" in the Baptist church where his father preaches. Sharing the stage with John are the dark, troubled "vertical saints." They are his immediate elders; his mother, Elizabeth; his stepfather, Gabriel; and Gabriel's sister Florence. While John writhes and moans on the "threshing floor," each of them recounts, in flashback, the sins of his or her own past. John's sins—his blackness and his gayness—are part of the filth that he lives in and from which he cannot imagine how to escape. John's "ugliness" is also part of his sin. "His father had always said his face was the face of Satan—and was there not something—in the lift of the eyebrow, in the way his rough hair formed a V on his brow—that bore witness to his father's words? In the eye there was a light that was not the light of Heaven, and the mouth trembled, lustful and lewd, to drink deep in the winds of Hell."
The extraordinary power of Mountain arose from Baldwin's ability to convey the warping intensity of an elder's judgment and a child's inability to protect himself from it. John cannot understand why his father despises him, because the fact that the father despises himself does not occur to John. Nor can John imagine being able to escape him: there will never be any reprieve from the memory of his cruelty and its effect.
The psychic tug-of-war between attraction and rejection was also destined to play itself out in Baldwin's relationships with other men. Shortly after his arrival in Paris, Baldwin met a seventeen-year-old Swiss artist named Lucien Happesberger. The fact that Happesberger was white and Baldwin black was less of a transgression than it would have been back in the States. "In Paris," Baldwin said, "I didn't feel socially attacked, but relaxed, and that allowed me to be loved."
"He was this rather silly, giddy, predatory fellow who was extraordinarily unattractive-looking," Richard Howard recalls. "There's a famous eighteenth-century person who used to say, 'I can talk my face away in twenty-five minutes.' And Jimmy could do that." To a point, perhaps. In the gay demimonde, where looks count for a great deal, Baldwin was not a success, even after he became famous, and he tended to be attracted to straight and bisexual men, who increased the sense of isolation he fed on. Even Lucien, his great love, was primarily attracted to women. For Baldwin, the first principle of love was love withheld; it was all he had ever known.
His second novel, Giovanni's Room (1956), traces a tragic affair between two men—a white American drifter and an Italian bartender amid the bars and hôtels particuliers of postwar Paris. The melodramatic plot—in which each man really does kill the thing he loves—creates, in microcosm, the sentimental, histrionic tone of Baldwin's later, unwieldy novels, notably Another Country.
Giovanni's Room isn't exactly self-affirming, but the fact that he wrote about the world of his sexuality at all is extraordinary, given the year and his race. (So intense was the stern Puritanism of most blacks I knew while I was growing up that one was not simply a faggot but a damned faggot.) When Giovanni's Room was published, Howard recalls, "it was regarded as an exceptional book, and gay people were proud that such a thing existed. And that it should have been written by a black person was kind of phenomenal."
It was in Baldwin's essays, unencumbered by the requirements of narrative form, character, and incident, that his voice was most fully realized. And his attacks on the straight-white-boy gatekeepers of culture and politics remain appropriately vicious. In the nineteen-fifties, his most pugnacious contemporary was Norman Mailer. In 1959, the thirty-six-year-old Mailer published Advertisements for Myself, which contained his essay "Evaluations—Quick and Expensive Comments on the Talent in the Room." In it, he declares his admiration for James Jones and other major novelists of the time. But of Baldwin he says:
James Baldwin is too charming a writer to be major. If in Notes of a Native Son he has a sense of moral nuance which is one of the few modern guides to the sophistications of the ethos, even the best of his paragraphs are sprayed with perfume. Baldwin seems incapable of saying "F―you" to the reader; instead he must delineate the cracking and the breaking and the melting and the hardening of a heart which could never have felt such sensuous growths and little deaths without being emptied as a voice.
Baldwin's subsequent essay about Mailer—"The Black Boy Looks at the White Boy," published in 1961—deflates Mailer's macho posturing with his "perfumed" wit: "Norman. I can't go through the world the way you do because I haven't got your shoulders," he writes. He also pits his defacto cool credentials against what he depicts as Mailer's privileged white petulance:
The anguish which can overtake a white man comes in the middle of his life, when he must make the almost inconceivable effort to divest himself of everything he has ever expected, or believed, when he must take himself apart and put himself together again, walking out of the world, into limbo or into what certainly looks like limbo. This cannot yet happen to any Negro of Norman's age, for the reason that his delusions and defenses are either absolutely impenetrable by this time, or he has failed to survive them. "I want to know how power works," Norman once said to me, "how it really works, in detail." Well, I know how power works, it has worked on me, and if I didn't know how power worked, I would be dead.
In the same place, Baldwin slyly makes fun of Mailer's infatuation with the predominantly black jazz world. "Negro jazz musicians … really liked Norman," he writes. But they "did not for an instant consider him as being even remotely 'hip.'… They thought he was a real sweet ofay cat, but a little frantic." Baldwin did not, however, own up to his reciprocal fascination with straight white boys and their privilege. Certainly Another Country, Baldwin's own "hip" book about interracial sex, gay sex, pot smoking, and nihilism, turned out to be an artistic disaster.
By the time Baldwin published Another Country and the essay collection Nobody Knows My Name, both in 1962, he had become America's leading black literary star. Both books were commercially successful, but the reviews of Another Country were mixed. The novel centers on Rufus, a black male artist, who falls in love with a white Southern woman he meets at a party, and has sex with her on the hosts' balcony. ("He forced her beneath him and he entered her. For a moment she thought she was going to scream, she was so tight…. Then, from the center of his rising storm, very slowly and deliberately, he began the slow ride home. And she carried him, as the sea will carry a boat.") After becoming involved with her, Rufus is tormented by the world that cannot understand their love. He beats her; she ends up in a mental ward; he commits suicide. The subplots, about adultery, bedhopping, and ambition, are equally melodramatic. Elizabeth Hardwick astutely observed in her review for Harper's, "In certain respects this novel is a representation of some of the ideas about American life, particularly about the Negro in American life, that Baldwin's essays have touched upon. But what is lacking in the book is James Baldwin himself, who has in his non-fictional writing a very powerful relation to the reader."
In 1962, Baldwin's incantatory voice reached its largest magazine audience. Baldwin had agreed to write a piece about Africa for William Shawn, who was then the editor of The New Yorker; instead, he gave Shawn the essay that came to be known as "The Fire Next Time," which had originally been assigned him by Norman Podhoretz, of Commentary. The peculiar power of "The Fire Next Time" was intensified by the cultural moment at which it appeared, just as Martin Luther King's nonviolent movement was being overtaken by the violent nationalism of Malcolm X and the Nation of Islam.
"The Fire Next Time," which appeared as a Letter from a Region in My Mind, detailed Baldwin's evangelical upbringing and his views on Christianity as a form of slavery forced on and then embraced by blacks: oppression as the condition of black American life. In order to escape "the ghetto mentality" and be a "truly moral human being," it was necessary for anyone, white or black, to first "divorce himself from all the prohibitions, crimes, and hypocrisies of the Christian church," Baldwin wrote. "If the concept of God has any validity or any use, it can only be to make us larger, freer, and more loving. If God cannot do this, then it is time we got rid of Him." The godhead with whom many blacks were replacing that Christian god was Allah, as represented by the Honorable Elijah Muhammad. When Baldwin visited him at his home in Chicago, he was impressed by the Nation of Islam's ability to transform some of Harlem's more disreputable characters into Allah-abiding men.
Baldwin was able to maintain a skeptical view of the militancy of the Nation of Islam in his essay, and yet his admiration for strong black men is palpable. At one point, he confesses that upon encountering the Honorable Elijah Muhammad's "marvellous smile" he was reminded of the day, twenty-three years earlier, when he first met the female pastor of what would become his church. "Whose little boy are you?" she asked him. And Baldwin's orphaned heart cried out, "Why, yours!"
With the publication of The Fire Next Time in book form, in 1963, Baldwin became something of an intellectual carpetbagger. He undertook a lecture tour for the Congress on Racial Equality; he registered voters in Alabama for the Student Nonviolent Coordinating Committee; he travelled to Nairobi with Harry Belafonte and Sidney Poitier to celebrate Kenya's independence. On May 17th, he appeared on the cover of Time. William Styron recalls seeing Baldwin in an airport shortly after the book came out: "He was being followed by crews of TV reporters with microphones. He saw me from a distance, and waved, and then he was swept along by the great media wave." An essayist once known for his ability to question any party line had become the official voice of black America, and almost immediately his voice as a writer was compromised.
In 1964, Baldwin was asked by Lee Strasberg, then the director of the Actors Studio, to stage a play about the Emmett Till case, which the writer had been working on intermittently since 1958. As originally conceived, by Baldwin and Frank Cosaro, who was slotted to direct it, the play, Blues for Mister Charlie, was to be a "balanced view" of America's racial scene. Baldwin, Cosaro says, wanted as objective a view of Mister Charlie—the white man—as of his victim, and Cosaro was impressed by that. But Baldwin couldn't ignore the political influence of the black leaders he was becoming friendly with. "He then came back to me and Strasberg," Cosaro recalls, "and said that he had to go after Mister Charlie." The result was dutiful, turgid, and unconvincing.
Baldwin had always been a preacher of one sort or another, and preaching imminent earthly damnation to liberal white folks became increasingly irresistible. Even as early as 1960, Baldwin, standing in front of Styron's fireplace in Connecticut, told his host, "Baby, we are going to burn your motherfucking houses down." By 1968, Baldwin found impersonating a black writer more seductive than being an artist. That year, he went to Hollywood to write a screen adaptation of The Autobiography of Malcolm X. The producer, Marvin Worth, recalls, "White liberals were thrilled to have him come into their Beverly Hills houses and beat them up, say they were shit. He was a star who played on white masochism."
The irony, however, was that no matter how much Baldwin sacrificed his gifts to gain acceptance from the Black Power movement, his gestures went unrequited: while Baldwin may have been seen as a "bad nigger" by liberal whites, back in the hood he was just another twisted white boy in blackface. Eldridge Cleaver, in his 1968 "Soul on Ice," called Baldwin "a self-willed, automated slave" and "the white man's most valuable tool in oppressing other blacks." And yet, even after he'd been vilified by Cleaver, his response was appeasing and reverential. In No Name in the Street (1972) Baldwin referred to Cleaver as "valuable and rare," and excused his intolerance as the vigilance of "a zealous watchman on the city wall." And it is difficult to read Baldwin's description of Huey Newton in the same essay without wincing:
There is in him a dedication as gentle as it is unyielding, absolutely single-minded. I began to realize this when I realized that Huey was always listening and always watching. No doubt he can be fooled, he's human, though he certainly can't be fooled easily; but it would be a very great mistake to try to lie to him. Those eyes take in everything, and behind the juvenile smile, he keeps a complicated scoreboard.
Baldwin's biographer, David Leeming, told me that many of the civil-rights leaders didn't want to be associated with Baldwin, because he was so openly gay; it seems to have been why the organizers of the 1963 March on Washington pointedly ignored him. In the end, Martin Luther King and Malcolm X and Eldridge Cleaver were reincarnations of his withholding and judgmental preacher father.
By the time the Black Power movement had started to ebb, Baldwin was adrift not only politically but aesthetically. Throughout the nineteen-seventies, Styron and Mailer were working on ambitious books like Sophie's Choice and The Executioner's Song, Thomas Pynchon was breaking new ground with Gravity's Rainbow, and a prolific new generation of black women—Toni Cade Bambara, Gayl Jones, Alice Walker, Toni Morrison—was claiming the public's imagination. Baldwin's fastidious thought process and his baroque sentences suddenly seemed hopelessly outdated, at once self-aggrandizing and ingratiating. Nevertheless, up until his death, in 1987, at the age of sixty-three, Baldwin continued to harbor the hope that he would be embraced as an important literary figure by the army of his desire: the black men who had forsaken him.
What became clear to me as I reread Baldwin's work (the Library of America selection mercifully excludes his ill-conceived and poorly written plays, The Amen Corner and Blues for Mister Charlie, and the novels written after Another Country) is that he never possessed a novelist's imagination or sense of structure—or, indeed, a novelist's interest in the lives of other people. Nor was he a reporter: most of his reporting pieces were stiff and banal. He was at his best when he was writing about some aspect of life or politics that reflected his interior self: he contained a multitude of worlds, and those worlds were his true subject.
But I also realized that my acute awareness of Baldwin's weaknesses as a writer stemmed from my sense of kinship with him. Certainly Baldwin understood this particular kind of ambivalence, having written the following at thirty-six, the age I am now:
One of my dearest friends, a Negro writer now living in Spain, circled around me and I around him for months before we spoke. One Negro meeting another at an all-white cocktail party … cannot but wonder how the other got there. The question is: Is he for real? Or is he kissing ass?… Negroes know about each other what can here be called family secrets, and this means that one Negro, if he wishes, can "knock" the other's "hustle."… Therefore, one "exceptional" Negro watches another "exceptional" Negro in order to find out if he knows how vastly successful and bitterly funny the hoax has been.
Baldwin had been eyeing the competition long before he was paid to do so by any white editor. In Notes of a Native Son Baldwin writes that he and his stepfather circled around each other endlessly before they had their only significant conversation. One Sunday afternoon, they were walking home from church when David Baldwin broke their habitual silence:
My father asked me abruptly, "You'd rather write than preach, wouldn't you?"
I was astonished at his question—because it was a real question. I answered, "Yes."
But in the end Baldwin could not distinguish between writing sermons and making art. He eventually returned to the pulpit—just where his stepfather had always wanted him to be.
Yet there is one great Baldwin masterpiece waiting to be published—one that was composed in an atmosphere of focused intimacy rather than in the stiff black preacher suit that was his legacy—and that is a volume of his letters. A number of them were lent to me while I was doing research for this article; they have the force and wit of his early essays and the immediacy of something written for an audience of one.
After Baldwin's death, the family's relation to their prodigal son continues to reflect the hazards of uttering family secrets. When I asked David Leeming why the Baldwin family would not allow his letters to be published, he explained that the family felt he shed a negative light on them, particularly on David Baldwin, who was their father and not his; and they were uncomfortable with his homosexuality. "They have no interest in further exploring who he was," Leeming says. The family's unease with the private Baldwin is something that he himself always understood. And yet he left his legacy in their hands. In the end, even a bastard may be reclaimed by his family.
This section contains 6,367 words
(approx. 22 pages at 300 words per page)


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Is it possible to encode user's ID# to text value?
For example if the user ID# is '50624' is it possible to convert it to 7 characters text value, something like 'DEGXCVG'?
If I use MD5 for this function I get 16-byte hash value. The result value should not be longer than 7 or 8 characters.
Edit: I want that each user has a different text code obtained from the id number.


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Elise Ackerman
Elise Ackerman
My Stats
|Contributor Since:
|January 2012
About Me
Since 1998, I've been writing about technologies and technologists on the cutting edge, who are poised to reshape the status quo in both promising and troubling ways. Lately, I've been looking into the players behind wireless charging and whether they have what it takes to make Nikola Tesla's dream finally come true. Feel free to get in touch at firstname.lastname@example.com, or @eliseackerman on Twitter.
What I'm Currently Addicted To...
Breaking Bad
This Is Annoying Me...
It would be a beautiful beach, if only you'd take your garbage with you when you left
This Is Making Me Worry...
plastic, plastic everywhere
This Is Bringing Me Joy...
when all else fails, I can always count on the Berkeley Bowl to remind me that life is a cornucopia
This Is Making Me Think - Hard...
QED, it's never too late to learn quantum electrodynamics
Can't Do Without
fresh kefir with bananas and chocolate - because good bacteria are known to be chocoholics


text:
Quick Chicken Pasta
28 Nov 2010
|Green tagliatelle
|12 Ounce (350 Gram)
|Cooking oil
|15 Milliliter (1 Tablespoon)
|5 Milliliter (1 Teaspoon)
|Red pepper
|1 Small, diced
|Green pepper
|1 Small, diced
|Frozen peas
|4 Ounce, Defrosted (1/2 Cup, 100 Gram)
|Canned condensed mushroom soup
|10 Ounce (1 Cup, 275 Gram)
|5 Fluid Ounce (2/3 Cup, 150 Milliliter)
|Cooked chicken
|1 Pound, diced (450 Gram)
Place pasta in a deep dish and pour over enough boiling water to cover. Add the oil and salt, cover and cook for 6 minutes. Let it stand for 6 minutes.
Place the peppers in a dish, cover and cook for 3 minutes. Add the peas and cook for a further 3 minutes.
Combine the mushroom soup and water, and add it with the chicken to the vegetables. Cook uncovered for 6 - 8 minutes, stirring once halfway through the cooking time.
Drain the pasta and place in a warm serving dish. Arrange the chicken mixture on top.
Recipe Summary
Difficulty Level:Easy
Course:Main Dish
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0 Comments
Quick Chicken Pasta Recipe


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Senate Candidates on Key Issues
By John West
Albuquerque, NM – The Republican and Democratic candidates for New Mexico's open U-S Senate Seat have yet to meet in person for a face-to-face debate. But, as KUNM's John West reports, the two did speak separately and answer questions at a candidates' forum in Albuquerque last Friday.