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Royal wedding boost for UK economy
So by now we have all heard the news of William and Kate's wedding in 2011. I bet though that your first thoughts weren't about how it could boost the economy. Tourism, merchandising and broadcasting among the best placed sectors to make large sums of money from the event. Also the feel good factor is likely to boost spending in the economy as whole.


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Professor David Ford presents his research into the hermeneutics of Bible translation. All our lectures are available for free download from the Gresham College website, in video, audio or text formats: http://www.gresham.ac.uk Gresham College professors and guest speakers have been giving free public lectures in central London since 1597. This tradition continues today and you can attend any of our lectures, or watch or listen to them on our website. Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: http://www.facebook.com/pages/Gresham-College/14011689941
Gresham College exists for the sole purpose of disseminating knowledge to the public through free lectures. This four century old tradition continues today with three or more lectures a week being made available for free download from our website:

subset: commoncrawl


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A flavourful way to use up the glut of fall's green tomatoes from home gardens.
2 lb. green tomatoes
2 tart green apples
1 tsp red chili flakes
1 onion, chopped
1/2 cup packed golden raisins (optional)
1-1/4 cups packed brown sugar
1 tbsp grated crystallized ginger
1 cup cider vinegar
1 tbsp yellow mustard seeds
Step 1: Cut the tomatoes into 1/2" cubes (this should measure out to approximately 6 cups). Peel, core and dice the apple to measure about 2 cups.
Step 2: Place all of the ingredients into a 4-quart saucepan and bring to a boil quickly. Boil gently for about 30 minutes or until the chutney has a jam-like thickness.
Step 3: Stir occasionally to prevent sticking. Ladle into hot, sterilized jars. Seal, cool, label and store.
Makes about 6 cups
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Explore the Entrepreneurship.org Resource Center to find resources. Designed with entrepreneurs in mind, our resource center allows you to find materials to grow great ideas.
Female entrepreneurs in the United States benefit from more than just their own personal strengths and aspirations—they also benefit from an environment that is more open to women-led startups than any other country in the world. A new index released last month in Turkey at the Dell Women's Entrepreneur Network conference compared 17 countries across 30 indicators that foster high-potential entrepreneurship. For those hoping for a silver bullet issue to focus policy efforts, there isn't one.
The Gender GEDI (Global Entrepreneurship Development Index) pairs indicators into 15 pillars—such as startup skills, cultural support, competition and product innovation—that explore each country's entrepreneurial environment, ecosystem and aspirations of its nascent founders.
The top performing countries scored consistently well across a wide range of indices without a single tell-tale indicator emerging. Following the U.S. (#1) and Australia (#2), countries with early promising indicators were offset by other factors. For example, India (#16) scored relatively high for 'opportunity recognition,' suggesting that the female population recognizes good opportunities for businesses where they live, but received low scores relating to 'institutional foundations,' indicating that the women's ability to act on those perceived opportunities is limited.
The countries listed on the index are (in rank order): United States; Australia; Germany; France; Mexico; United Kingdom; South Africa;
China; Malaysia; Russia; Turkey; Japan; Morocco; Brazil; Egypt; India; and Uganda.
Other key findings include:
Additional information on each of these findings is available in the Gender GEDI Executive Report.
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I'm not one who normally writes about some celebrity's endorsement because that can usually be bought. However, it has come to my attention that Kristin Cavallari actually really loves Suki skin care. And why wouldn't she? The line has some of the best organic skincare products you can buy.
Kristin is especially a fan of the Suki Exfoliate Foaming Body Cleanser. Here's what she had to say in her note to Suki:


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BURLINGTON, Vermont -- Matt Swain's overtime goal capped a furious comeback and gave sixth-ranked New Hampshire a 5-4 win over Vermont in collegiate men's ice hockey at a soldout Gutterson Fieldhouse on Saturday night.
During a scramble in front of UVM goalie Andrew Allen, Swain knocked in a rebound of a Garrett Stafford shot to give the Wildcats the come-from-behind victory.
Behind freshman Jeff Miles' power play goal, the Catamounts took a 4-2 lead with 18:47 left in regulation. New Hampshire's Jim Abbott scored a shorthanded goal at 10:16 to make it 4-3, and then Lanny Gare tied it on the power play with 1:49 left to force overtime.
New Hampshire, 2-0-1, opened the scoring just 1:50 into the game when David Busch converted a rebound past Catamount goalie Andrew Allen. Vermont tied it 46 seconds later when J.F. Gamelin scored his first collegiate goal, skating in from center ice and snapping a shot from the right circle past Ty Conklin (19 saves).
In the second period, Vermont took a 2-1 lead when Andreas Moborg followed up his own shot at 3:09 after skating in from the left point. The Catamounts added to their lead at 8:33 when J.F. Caudron skated in alone from center ice and beating Conklin from the left of the crease.
New Hampshire cut Vermont's lead to 3-2 just over a minute later when Darren Haydar scored a highlight-reel goal, beating Allen high to the glove side with a UVM defenseman draped over his back.
Allen made 33 saves for the Catamounts (0-1-0) who fall to the Wildcats for the fourth straight year in their season opener.


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By: Toukey
A trailer I made for the Gamecube game, Baten Kaitos. Windows Movie Maker crashed 0 time(s) when making this video.
Views: 1,015 | Posted: 02/15/2011
By: BwaKell
This is Milly's best Ex Combo. (Great game, great music.)
Views: 501 | Posted: 02/03/2010
By: RogueFighter
With this video I wanted to convey the epic feel of the Baten Kaitos world. And like many trailers, I slowly ramped up the intensity until it explodes. If you haven't played Baten Kaitos, this promo will hopefully inspire you to. It truly is one of the best games I've ever played. Music: Stolen Transport by Tommy Tallarico on the Advent Rising Soundtrack [url=[make_url]user:RogueFighter[/make_url]]My Custom User Movie Channel[/url]
Views: 2,448 | Posted: 12/19/2009
By: BwaKell
A video showing all off Guillo's finishing attacks. (Btw, this is one of my favorite games ever.)
Views: 758 | Posted: 11/15/2009
By: BwaKell
A fight against The Wicked Gawd! (Btw, the music is pretty damn good too. Keep up the good work Motoi Sakuraba.)
Views: 497 | Posted: 02/17/2009
Head out on a quest to discover the secrets behind the world.
Views: 22,108 | Posted: 09/13/2006
A card-based RPG reaches the Gamecube and hopefully advances the genre.
Views: 38,333 | Posted: 06/14/2006
A 2-D animated fantasy battle.
Views: 21,024 | Posted: 06/12/2006
Here's some gameplay from the Japanese version of the game.
Views: 22,895 | Posted: 06/09/2006
Week of
Aug. 02
Xbox One
Release Date: 08/04/2015


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Her mother might have been a three-time graded stakes winner on the grass, but don't tell that to Royal Delta, who has joined the New York Watch by virtue of her dominant first-out score on the dirt October 30 at Belmont Park.
Unhurried in seventh through a moderate half-mile of 47.67, Royal Delta waited behind traffic with five-sixteenths left, swung to the outside to launch her stretch run, and overpowered her opponents to win by 12 widening lengths under Jose Lezcano's snug restraint. The final time for one mile was 1:37.77, with the winner, who returned $16.40 for a $2 win wager, running the final quarter mile in 24.20.
Hall of Famer Bill Mott – who also trained Royal Delta's dam, Delta Princess, for owner Saud bin Khaled – believed the juvenile would take to the dirt, but nonetheless was astonished by the power of her performance.
"The reason for entering her on dirt was that she had trained well enough to warrant giving it a try," said Mott. "She had been outworking her company. It was no surprise that she won; however, you never expect any of them to win like that ... it just doesn't happen very often."
Royal Delta is the second foal from Delta Princess, who won six turf stakes – including Grade 3 triumphs in the Beaugay Handicap, Mint Julep Handicap, and Locust Grove –and earned $740,918. Indy Five Hundred, a full-sister to Delta Princess, captured the 2003 Grade 1 Garden City Handicap, also on the grass.
"Delta Princess was a smallish-to-medium sized filly who was quite a handful to be around, whether it was training or saddling," said Mott. "Royal Delta is a big, good-looking filly with quite a bit of substance and a very good mind. Her mother did have quality."
Royal Delta's sire, 2003 Belmont Stakes winner Empire Maker, has sired five Grade 1 winners to date, with one, 2009 Personal Ensign heroine Icon Project, having captured a Grade 1 on the dirt. Other notable dirt performers for Empire Maker are Battle Plan, victorious in the 2010 Grade 2 New Orleans Handicap and second in the Grade 1 Stephen Foster, and Grade 2 Black-Eyed Susan winner Acting Happy, who later finished third in this year's Grade 1 Betfair TVG Coaching Club American Oaks and Grade 1 Betfair TVG Alabama.
Many of the industry's brightest stars embarked upon their careers at the NYRA tracks, including a number of recent Triple Crown race winners. Super Saver, Big Brown, Jazil, Birdstone, Funny Cide, and Empire Maker are all among the Derby, Preakness, and Belmont Stakes victors that kick-started their careers at Aqueduct, Belmont Park, or Saratoga. The list also features recent champions Gio Ponti and Indian Blessing; brilliant fillies Flashing, Little Belle, Music Note, and Devil May Care; Quality Road, triumphant in the 2010 Metropolitan Handicap and Woodward; and Afleet Express, winner of this year's Travers.
Members of the New York Watch honor roll include Champagne winner Uncle Mo, Three Chimneys Hopeful victor Boys at Tosconova, and Breeders' Futurity hero J. B.'s Thunder. Other graded stakes winners on the New York Watch list are Eightyfiveinafifty, Position Limit, and Winter Memories.
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The Blog
Who Supports the White House on Birth Control Policy? (Updated)
12:07 PM, Feb 23, 2012 • By MICHAEL WARREN
What do Americans think about the Obamacare contraception mandate? It depends how you ask the question. A new Quinnipiac poll shows, Politico reports, that a majority (54 percent to 38 percent) support the White House's so-called "accommodation" on the Department of Health and Human Services rule. Perhaps that's not surprising, since plenty of mainstream media outlets reported the "shift" in policy as a "compromise."
Here's how Quinnipiac asked the question:
The question, while noting "guaranteed coverage," omits the fact that the administration's "adjustment" still requires, by government mandate, that insurance companies provide birth control.
It's true that on the question of whether insurance plans ought to provide birth control coverage, the Quinnipiac polls finds 71 percent support it--but that's when the government is not mentioned. Ask the American people, as Quinnipiac also did, if they think "the federal government should require private employers to offer free birth control coverage as part of their health insurance benefit plans or not," and folks are decidedly split, with 48 percent opposing such a requirement and 47 percent supporting it.
In fact, other recent polls have confirmed this split. A Rasmussen poll conducted earlier this month found 46 percent oppose a federal law requiring insurance companies to provide birth control free of charge, with 43 percent supporting it. And a CNN poll taken immediately after the White House's policy announcement found 50 percent disapprove (with 44 percent disapproving) the policy on birth control insurance mandates.
So while today's Quinnipiac poll finds a majority support Obama's "compromise," it's clear there isn't a majority that supports the actual provisions of the White House's policy.
Update: A reader writes, "I think what the poll really shows is that Obama's 'compromise' spin polls well, not necessarily the compromise itself. A better question to actually gauge support of the 'compromise' would be 'Obama says X about his policy. Critics say Y about the policy. Do you support or oppose the policy?'
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Click Here to Watch the Whole Video in HD at Broke Straight Boys
These boys are very hot and very straight but most of all they are broke. Rather then lose their apartment, girlfriend, etc. they do sexual things with other guys for some quick cash.
Tyler is back again for another shoot here at Broke Straight Boys, and today he's brought along Jacob. Jacob is hard up to make some money, and Tyler has learned that he's willing to do just about anything to make a quick buck.
Pixels: 320X240 | Bitrate: 350K
Pixels: 640X480 | Bitrate: 700K
I wonder how many of these guys remained straight after their videos
Cant believe that BrokeSTR8Ladz finally posted a BAREBACKING video GREAT GOING GUYS I loved watching these two studz go raw for the camera TYLER IS MAJOR HOT lets hope we see more of him in the RAW flesh PS Any chance we see him juice on some studs hole
Tyler is gay nuff said. This is the 7th video I've seen him in, plus another website
THat was awesome!!! Jacob has AWESOME legs!!
For fifteen hundred bucks Jacob needs to smile, I'd love to fuck 'em both !
Loved seeing Jacob getting fucked.
I don't know if Jacob liked that or not....but he sure is cute!! He has THE BEST hairy legs and butt.
Aww the kissing is sweet. I was surprised to see it.


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Riddle-De-Dum #3
~Last weeks RDD Winners~
Alku Toa of Rahi, He got my riddles correct.
Kopaka's Ice Engineering got Makaru's 1st Riddle
Slota got Makaru's 2nd Riddle
And bio djinnie
I'll post some riddles every week. You try to answer them in the comments, it is that simple. And I will start with easy and more well known riddles. Then progress or even randomly throw in a hard riddle. Plus, if you know a good riddle, send me a PM, I'll post it and I'll give you credit for your riddle. Of course if you have your own blog feel free to do your own.
Those who get riddle's correct will be posted in a blog entry later on. If you don't know the answer guess, but explain why you think so. If you can convince me, I might just give it to you.
The answers to last weeks riddles are (Highlight for the answer):
What has four legs in the morning, two legs in the afternoon, and three legs at night? A Human. Crawls when they are a baby, walks on two legs when they are an adult, and uses a cane at old age.
No sooner spoken than broken. What is it? Silence
I pass before the sun, yet make no shadow. What am I? Wind
These next two riddles were sent to me by Makaru. The answers are as follows.
There is a dinner party. A man takes the wrong fork. Why is the host upset? He takes the wrong fork in the road.
A man lives in the penthouse Suite of a 45 story building. He takes the elevator in the morning, but the stairs at night. Why? The person is a midget. He can't reach the elevator buttons.
New Riddles
I travel far, but never wide leaving scars I must abide. What am I?
Two brothers we are, great burdens we bear, all day we are bitterly pressed; Yet this I will say - we are full all the day, and empty when we go to rest. What are we?
Long and slinky like a trout, never sings till it's guts come out. What is it?
I am sometimes strong and sometimes weak, but I am nobody's fool. For there is no language that I cannot speak, though I never went to school. What am I?
Always old, sometimes new, never sad, sometimes blue. Never empty, sometimes full, never pushes, always pulls. What am I?
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While in Iguazu, Argentina, we stumbled back to our hotel room and discovered this enormous beetle hanging out on the door to our hotel room.
Its sight caused us to realize just how much of a city slicker we are, because our first thought was "WAAAAAHHH!!!" Then we said "What the hell is that!?!?" And then we said, "I wish Bear Grylls would magically appear and it that beetle!"
Thankfully we managed to get into our room without that beetle following us, or laying eggs in our ears… we won…TOTAL COOLNESS!!!


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Privacy and Cookies
Qatar Airways is to start flying commercially with gas-to-liquid jet fuel, three years after the carrier conducted a demonstration service with the new technology.
The fuel is a blend of regular Jet A-1 fuel with up to 50% gas-to-liquid synthetic paraffinic kerosene, which is produced by the Pearl GTL plant.
Distribution of the fuel to Doha's international airport started on 17 December and, on 9 January, Qatar Airways scheduled its QR001 flight to London Heathrow with an Airbus A340-600 powered by the blend.
The Pearl GTL facility has been developed by Qatar Petroleum and Shell.
"GTL jet fuel will be supplied into the wider jet fuel pool at Doha, enabling the state of Qatar to enjoy the benefits of this product," says Qatari energy minister Mohammed bin Saleh Al-Sada.
Qatar Airways carried out a London Gatwick-Doha demonstration revenue service, using the fuel in an A340-600, in October 2009.
At the time the airline set a target of having all its flights from its hub powered by the new fuel from 2012.
Qatar Airways, which unveiled its gas-to-liquid fuel project in late 2007, says the new fuel is "now flowing" into aircraft tanks at Doha.
"As the world talks and preaches environmentally friendly skies, we at Qatar Airways are setting the bar high for others to follow," says chief executive Akbar Al Baker. "We are shifting the goalposts."
The carrier says the synthetic blend can produce fewer particulate emissions than conventional fuel, and has a higher energy density. "This has the potential to reduce engine maintenance requirements and the required fuel payload," it claims.
Qatar Shell managing director Wael Sawan says the fuel can be "safely usedacross all legacy aircraft" and by the latest airframes and engines "on the drawing boards today".
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Meet Cameron Boyce, Sofia Carson, and Booboo Stewart from the new Disney Channel movie Descendants....Keep reading "Disney Descendants Video Interview"
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Let's Take a Trip To Patent Land!
The Wall Street Journal's Law Blog picked up Professor Mark Lemley's analysis of the decision in the case of Biomedical Patent Management Corp. vs. California's Department of Health Services:
...The biggest news of the week came out of the Federal Circuit, which on Tuesday upheld the dismissal of a patent-infringement lawsuit against California, based on a sovereign immunity defense. Here's the opinion, and a story from the Recorder.
Biomedical Patent Management Corp. sued the state's Department of Health Services last year, claiming the state was infringing on a patent for a birth-defect screening method. At the trial court Judge Marilyn Hall Patel dismissed the lawsuit, but expressed concern over the fact that California could sue for patent infringement but use sovereign immunity to prevent it from being sued for the same thing. "The court is indeed troubled by the University of California's ability to reap the benefits of a patent system without being exposed to liability for infringement," she wrote. "Similarly situated private universities enjoy no such advantage."
Last night we checked in with a neutral party, Stanford Law's IP guru Mark Lemley, who expressed dismay over the court's ruling but said it was all about stare decisis. "The fact that states can sue for patent infringement but are immune from being sued by others is a travesty of justice that should have been remedied long ago," Lemley wrote us in an email. "But it's the Supreme Court's travesty — the Federal Circuit decision was just following the Supreme Court's rule."


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What is really so tragic is how unnecessary this whole fire was. Why are the forest service and owners of this building even using a highly flammable oil based sealer on this log building when there are so many non flammable, low VOC, green and sustainable oil based finishes made for log buildings now ? Not only that, but the non flammable oil based waterborne finishes are more durable too, and sometimes less expensive. So, the painters who carelessly didn't properly cleanup or dispose of their combustible materials are only half the problem, the other half are the powers that be who chose that hazardous, flammable, high VOC finish in the first place and now Oregon has one less beautiful, unique, public building and all the tree's required to build it being reduced to a pile of char. Pretty disheartening.


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The Case Of The Disappearing Private Eye
I looked for him, but he was gone. I checked the boozy dives and the greasy spoons and the street corners where the not-nice girls hang out.
He was gone.
Tall guy, fedora, trench coat. You must've seen him. Usually smoking. He was always hanging around, poking his nose where it didn't belong and usually getting it punched.
A real wisenheimer, too, always cracking wise.
You see him, you call. And if I find out you've been holding back…
If you don't miss that kind of patois, you're either too young to remember it, or you've got a tin ear. God knows, I miss it.
Back in May, some of you might remember I interviewed Road to Perdition author Max Allan Collins (http://www.soundonsight.org/max-allan-collins-road-to-perdition-on-carrying-on-mickey-spillanes-legacy/). A lot of the discussion had to do with his connection with one of the giants of private eye fiction, Mickey Spillane.
In the course of the conversation, it was mentioned that Spillane's Mike Hammer novels had hit their commercial peak during the early 1960s. It was only days later it occurred to me why there had been something about that comment that kept it buzzing around in my head. Then, like someone who buys a red car and suddenly notices how many other red cars there are on the road, it came to me: it wasn't just Spillane's Mike Hammer novels which had slipped out of view.
In literature, private eye stories have been moneymakers for at least a century and a half. The names of the authors are as legendary as their characters: Poe, Doyle, Hammett, Chandler, Cain, Macdonald, Spillane, Parker…
As soon as the movies learned to talk, the private eye story became a big screen staple as well: The Maltese Falcon (1941), Murder, My Sweet (1944), Kiss Me Deadly (1955), Harper (1966)… They ranged from the mass-produced private eyes series of the 1930s – like the Boston Blackie and Charlie Chan flicks – to the grim postwar noirs like Out of the Past (1947); from flyweight Abbott & Costello and Bowery Boys entries to the transcendence of Chinatown (1974).
Then came TV and by the end of the 1950s, the private eye was as much a boob tube regular as cowboys and cops. One studio — Warner Bros., which took a deep jump into TV production in the '50s — had found a successful formula with 77 Sunset Strip and was soon pumping out private eyes on a production line. The formula: one somewhat mature but good-looking snoop for dad, a younger, even better looking private investigator for mom, and a still-younger hepcat to bring in the kids. Add a sexy address, stir, and 77 Sunset Strip begat Hawaiian Eye, Surfside Six (set in Miami Beach), Bourbon Street Beat (set in New Orleans), and The Roaring Twenties (set in Prohibition era New York).
They never stopped coming. The 1960s gave us Mannix, the '70s had The Rockford Files, and Magnum, P.I. surfed in on the '80s.
And then…
If I'm not mistaken, there hasn't been a private eye movie from a major studio since Paramount's release of Robert Benton's Twilight in 1998. The police procedural seems to have monopolized the crime genre on TV, and even in the world of print, the private eye story has become more of a niche market offering rather than a mainstream regular.
Which raises the obvious question: what happened?
What goes on in the entertainment arena to cause a once enormously popular genre to virtually evaporate all across the media spectrum?
As it happens, I've recently read an advance copy of Ariel S. Winter's bravely ambitious debut novel, The Twenty-Year Death, which Titan Books is releasing this month. Audaciously constructed, The Twenty-Year Death is actually three stand-alone mystery novels which combine to tell a greater, overarching story of violence and tragedy. Set in three different decades – the 1930s, 1940s, and 1950s – each echoes popular crime fiction from its time: The Dain Curse-type mystery for the 1930s, the hard-boiled patter of Sam Spade for the 1940s, and the angst and cynicism of noir in the 1950s. Winter's assured command of each suggests a writer at home with much of the private eye canon (unsurprising, I guess, from a long-time bookseller), and a good guy to ask about what happened – and what's happening – to the private eye genre in print…
Q: In print, the private eye story dates at least to Edgar Allan Poe's Auguste Dupin stories in the 1840s. The genre seems to connect with American audiences in a truly American way with writers like Dashiell Hammett and Raymond Chandler in the first half of the 20th Century. How do you see the evolution of the private eye story? What was it about the genre that engaged you?
A: The evolution of the private eye story proceeds from detectives in the 19th and early 20th Centuries like Dupin and Sherlock Holmes who prize deductive reasoning over action, to in-the-thick-of-the-action detectives like Sam Spade and Philip Marlowe in the 1930s and 1940s. The Marlowe model then dominates the next several decades, with the only significant development the introduction of the female private eye like Sara Paretsky's V. I. Warshawski, and Sue Grafton's Kinsey Milhone in the 1980s. These women, however, were still modeled on the hardboiled detectives of the pulp era. All of these detectives follow a strict moral code, whether that moral code coincides with the law or not. Then, in recent years, there's been something of a subversion or appropriation of the private detective in books like Motherless Brooklyn by Jonathan Lethem, Look at Me by Jenifer Egan, and Inherent Vice by Thomas Pynchon where the detective is flawed, and his code of honor is looser.
I would also argue that bounty hunters and superheroes often function like private detectives, so if you're looking at current film, I wouldn't discount the Batman — he is the world's greatest detective after all — or Tarantino's upcoming movie, Django Unchained. And, of course, there's the popular BBC show Sherlock, the Robert Downey, Jr. Sherlock Holmes movies, and another network Sherlock Holmes show about to start. Obviously, Holmes is a special subset on his own, but he is a private eye.
As to what attracted me to the genre, I'd probably say the attitude. My favorite movie as a child (and possibly still today) was Who Framed Roger Rabbit? (1988), which is a gateway movie in that it has the cartoons to draw a kid in, but it is solidly a hardboiled detective movie. Around the same time, I began reading Paretsky and Grafton, and shortly after that I became a diehard comic book fan, especially Batman, so the lone, grim detective was something I've always liked. I like their fearlessness, their strong moral code, their steadfast determination.
Q: The glory days for the private eye story, in both print and film, seem to be from the 1930s into the 1960s, maybe 1970s. Would you say that's a fair assessment?
A: I don't know. As I already said, the 1980s saw a pretty major development with the female detective. I'd throw Murder, She Wrote in there too, even though she's an amateur detective instead of a true private eye. And comic books have never let the detective go, like Batman or Sin City, and the 1990s was a banner time for comic books. So, I don't know that I'd cut it off completely in the 1970s, even if there's been some decline.
Q: There's obviously still an audience for the private eye story in print, but it doesn't seem to hold the same kind of stature it once did. What changed in audience sensibilities? What changed in the market?
A: One thing might be the public's relationship to the police. In the early part of the 20th Century, there was a lot more anti-police sentiment across all parts of society. They were seen as tools of the system that was keeping everyone down, and their corruption was taken for granted, so outlaws and people working for a moral code instead of for the state were more acceptable heroes. Even many of the police stories in the pulps have as their protagonist a police officer who doesn't exactly follow orders, operating almost as a private detective within the system. And while corruption is still taken for granted and there are segments of society that still hate the police, such as in impoverished urban environments, overall, the role of the police as protectors and a positive force has come to dominate public opinion, especially post-9/11 when the police were truly heroes. People in real life are more inclined to go to the police with a problem than to a private detective now, so the kinds of cases real private detectives handle have become limited as well. As a result, police drama in literature, television, and film has come to represent much of the detective drama.
My editor, Charles Ardai, also points out that the advancement of forensic science has made it almost impossible for a lone private investigator to run a successful investigation. Crime detection relies heavily on fingerprinting, fiber analysis, DNA testing, and a private investigator just isn't going to have the resources needed to do that kind of forensic work. When Holmes was doing his own forensics, he was the only one doing it, so he could do it alone, but even in the BBC depiction of the character, he relies on the pathologist and other police resources.
Q: When one thinks of the iconic literary private eyes – Hammett's Nick Charles and Sam Spade, Chandler's Philip Marlowe, Mickey Spillane's Mike Hammer, Ross Macdonald's Lew Archer – there doesn't appear to have been a P.I. character with that kind of dramatic weight since. Why do you think that is?
A: Again, I'd really throw Batman out there as the exception to that, even if his first appearance predates all of those characters. His current hold on the public is stronger than most of the other detectives have ever been. But Batman and the continuation of other characters developed in the earlier period withstanding, I, again, would argue that the type hasn't disappeared, just their profession. The same way the hardboiled figure appeared in Westerns before private eye books, and are now usually police officers or superheroes. And perhaps, as people began to have greater trust in the police, the idea of someone who works outside of the law has become more suspect (this contradicts my Batman point, of course). Instead of cheering on or wishing to be Mike Hammer, maybe now we see him as someone who's out of control, a bad element in society.
Q: P.I. stories may be more of a niche genre these days, but they obviously still have their following. What is it about the private eye that still hooks a reader?
A: Mysteries in general are popular because they pose a question with very high stakes, and then give a satisfying answer. They horrify and reassure. So, regardless of who the detective is, whether private or public or military, people are attracted to mysteries. And so, most mystery lovers won't care whether the detective is private or public. So, it might be hard to say whether there are any specifics unique to the private eye that draws people in.
Q: A lot of P.I. fiction being turned out today seems to echo the hardboiled, noirish style of an earlier literary age. Why do you think that is? Is it nostalgia for a certain kind of storytelling? Or is it that hard to find a contemporary voice that works for that kind of fiction?
A: Some of it is definitely nostalgia. Some of it is because people today are often more passive and equivocating than people were in the 1930s and 1940s. A male twenty-five year old in the 1940s didn't question whether he was a man or not, while many male twenty-five-year-olds today don't feel that they are men at all. So, it's much harder to believe that a self-assured man of action could do the things we expect fictional detectives do without a lot of formal training as a police officer, in the military, or in martial arts. That's why so many of the lone vengeance movies are (about) former military trainees.
Q: By and large, people are reading less for entertainment, the big movers are titles of the fantastic and supernatural which appeal to younger readers. What's the future for the literary private eye?
A: First, from what I understand about the explosion of e-books, not to mention all of the reading that's done online, I'm not sure that people are actually reading less for entertainment. It's true that fantasy sells big, and, as a result, you'll find a lot detective stories written in fantasy worlds, like Jeff VanderMeer's work, so perhaps the future is that kind of genre bending. But just like Deadwood brought back the Western in Hollywood, I'm sure there will be a detective story that brings private eyes back as well.
David Breckman's TV resume goes back to the late 1990s when he was a staff writer for Saturday Night Live. Most recently – and one of the reasons I sought him out for this piece – he was one of the producers for USA Network's long-running hit cop show, Monk. This series, starring Tony Shalhoub as a detective afflicted with OCD, ran from 2002-2009, was nominated for 16 Emmys over the course of its run, winning seven of them including three for Shalhoub as "Outstanding Lead Actor in a Comedy Series." The mystery community showed Monk some love as well with four Edgar Award nominations during its time on the air. When USA renewed the series in 2006, it was, according to them, the "…highest-rated series in cable history," and, indeed, the series' finale pulled an outstanding 9.4 million viewers making it the most-watched scripted drama episode in cable history up to that time.
Breckman is not just a respected industry vet with a braggable credit under his belt. Get him talking and he has the same passion for TV and film as any other media geek. He seems to never have forgotten a movie or TV show he saw, even as a child, and the years since have only allowed him to augment those memories with an insider's insight, and a buff's love of behind-the-scenes arcana…
Q: It seems that almost as soon as TV transitioned from being dominated by live drama and variety programming to filmed programming, the private eye story became almost as much of a TV staple as Westerns and cop shows with offerings like Peter Gunn, Richard Diamond — Private Detective, and 77 Sunset Strip just to name a few. What do you think it was about private eye shows that made them so popular? And continued to keep them popular for the next twenty years or so?
A: To me, the private eye's chief appeal is a certain aspect of knight errantry. The courtly knights of medieval romance (if not always in fact) were brave, noble, pure of heart, steadfast in love, meager of fortune, and committed to wandering the land rescuing fair maidens from the predations of fire-breathing dragons. Classic TV gumshoes like Peter Gunn, Richard Diamond, and (perhaps especially) Mannix all embody this chivalric ideal. They may be swooping to the rescue in a grey Plymouth Valiant instead of on horseback, and slaying the dragon with a snub-nosed .38 instead of a broadsword, but the tradition is the same.
Another attraction: The classic private eye is a lone wolf, not a bureaucrat. He's not a "joiner." He doesn't function well in groups. This quality of rugged individualism used to hold tremendous appeal for many Americans, but, at a certain point, that changed.
But who knows why the genre started being popular… and eventually stopped being popular? We need to put Joe Mannix on the case.
(On a side note, I've always been fascinated by the differences between what a private eye does in real life compared to his fictional counterparts. From the very first appearance of Poe's C. Auguste Dupin in the mid-19th Century, fictional private eyes have been responsible for the unraveling of literally hundreds of thousands of homicides, but have any real life private detectives ever solved even one? I'm curious.)
Q: In your view, what were the best of the crop and what was it about them that still deserves critical respect?
A: Thanks to the digital miracle known as DVD, lately I've been catching up on Mannix. Great stuff. As played by the criminally underrated Mike Connors, Joe Mannix was tough but vulnerable (he seems to get bludgeoned unconscious almost every single week; in fact he really shouldn't leave the office without a crash helmet!)… whipsmart but never infallible (often being duped for a good portion of each episode before unraveling the mystery du jour)… self-effacing, fast with a quip, and always ready to put himself on the line for a friend… or a stranger. Mannix was the quintessential urban knight.
Producer Bruce Geller gave these shows a rich, cinematic quality missing from most of the TV of the time, and, thanks to executive producers Ivan Goff and Ben Roberts, the storytelling – particularly from Season Two onward — was superb. Are there a few clunkers in the bunch? Naturally. But in the main these are smart, violent, beautifully-crafted mysteries. Any lover of classic hardboiled storytelling needs to make Mannix part of his Netflix queue.
Q: At what point do you think TV became a less hospitable home for the private eye story?
A: Hmm. I guess the genre started petering out around the time The Rockford Files (in the 1970s) left the airwaves, and disappeared completely after Spenser: For Hire (in the 1980s).
Q: The crime genre has come to be dominated by procedurals like the various members of the CSI and Law & Order franchises, Criminal Minds, and others. These seem more plot-driven than the old private eye stories which, in my view, hung a lot of their appeal on the central character. Does it seem that way to you? These procedurals almost seem interchangeable; what's the attraction in them vs. the charm of a character-driven series like, say, The Rockford Files?
A: Tastes change. The archetypal "wise-cracking reporter" was the hero of countless A-pictures, B-movies, and radio shows in the 1930s, '40s, and '50s before eventually going the way of the Underwood. In the 1950s, it was the cowboy who dominated primetime before riding off into the sunset. P.I.s, as you indicated, were big in the 1960s, (it was) maverick cops in the '70s and '80s, but at a certain point in the last twenty years or so, the public seemed to lose its appetite for Lone Wolf heroes in favor of — wait for it – The Group.
The Group — captured in ads and posters by a half dozen thin, beautiful, under-40 bureaucrats standing in bowling pin formation with arms folded, looking defiantly at the lens.
The Group — exemplified by a seemingly interchangeable array of forensic teams on NCIS, CSI, Criminal Minds, Bones, and Without a Trace, and by the cops of Law & Order, Southland, and The Wire.
The Group.
One theory holds that the Lone Wolf hero held particular appeal for male viewers who have since turned their backs on TV in favor of their X-Boxes and laptop screens. So it is now women who make up the majority of the prime time audience, and women, the theory holds, respond strongly to shows about families — both biological and surrogate. Hence the popularity of The Group.
Like I said, it's just a theory. Who the hell knows if it's true (but it certainly feels true)?
Q: There are some cop shows which seem to sneak elements of the private eye tale into their formats. The title character of Castle isn't a cop, for example, although he works with them, and the lead character of The Mentalist is also a "consultant" rather than a member of the force. The same could even be said of your own Monk. Is that some vestige of the private eye genre? Some desire to go outside the straight police procedural?
A: To a degree, but the divergence is largely superficial, because like you say, while The Mentalist and Castle aren't working for the cops in any "official" capacity, they may as well be. They work with the authorities. At the request of the authorities. With the support and approval of the authorities. They are de facto cops, if you will, and definitely part of The Group.
Monk, I grant you, did represent an exception. Monk was a conscious throw-back to an era when the colorful "lone wolf detective" was a fixture in prime time.
Q: Do you miss private eye shows? And what do you think the chances are of the genre ever coming back on TV?
A: Of course I miss them! One problem with network (as opposed to pay-TV) crime drama is calcification. When any of the Big Four stumbles upon a formula that seems to work for them, they tend to replicate it ad nauseum. Then do it for seven more seasons.
But any genre is only ever one blockbuster away from revival (the sit-com was dead until The Cosby Show revived it). So, yes, I think the networks will develop more private eye shows, and maybe even put some on the air. And then it's up to the audience.
All it takes is the report of one loud gunshot to start a landslide. And I hope it comes from a .38.
Sonny Grosso is a garrulous bear of a guy, someone who, by his own admission, loves to talk, and especially loves to talk about cops and movies and, naturally enough, cop movies. Asking him about the evolution of the private eye in movies and on TV pulls a cork which lets spill a flood of stories about Grosso's adventures in the movie and TV biz, and in his years as a cop. And, they are stories worth hearing (if not always on point).
His name is usually familiar to police buffs and cop movie aficionados. In the early 1960s, as a narcotics detective with the New York City Police Department, Grosso and his partner, Eddie Egan, cracked the famous "French Connection" case – the largest heroin bust in U.S. history up to that time. Writer Robin Moore later turned the case into a book which producer Philip D'Antoni, director William Friedkin, and screenwriter Ernest Tidyman turned into the Oscar-winning The French Connection (1971), starring Gene Hackman as "Popeye" Doyle (a slightly fictionalized version of Egan which copped Hackman an Oscar), and Roy Scheider (in an equally dramatized rendering of Grosso which earned him an Oscar nomination). Besides winning a total of five Academy Awards, The French Connection went on to become one of the biggest commercial successes of the 1970s as well as one of the acknowledged all-time great cop movies.
Grosso, along with Egan, was a consultant on the film, and that gig led to similar consulting stints on a host of cop and crime movies and TV shows, including The Godfather (1972 – that's Grosso's pistol Al Pacino uses on Sterling Hayden and Al Lettieri in the memorable restaurant assassination scene), and series like Kojack, The Rockford Files, and Wise Guy. It then seemed natural that when Grosso retired from the force, he moved into film and TV production, kicking off a thirty-year second career. While his producing credits range from Pee Wee's Playhouse to Mary Higgins Clark adaptations, his acknowledged strong suit has always been cop stories. To name just a few: A Question of Honor (1982), Trackdown: Finding the Goodbar Killer (1983), Kings of South Beach (2007), penning the story for Phil D'Antoni's big screen feature, The Seven-Ups (1973).
I spoke with Grosso by phone, asking him if, during his cop days, he'd dealt with private investigators; what were they really like?
"I'm thinking about it and I'd say they came in two categories:
"One: ex-cops.
"Two: wannabes. These were guys who wanted to be cops, but something kept them out. Ya know, in those days, it didn't take much for you to not make it. You had a problem with a knee, you were color blind, you didn't get in. Maybe you think, it's small — So what? — but there was a reason. 'What color were his eyes?' "I dunno, I can't see color.'"
There was a certain air of ruefulness to the cop-turned-private investigator. Often, they made the change because they thought it would pay better, but they almost always regretted it. "When they were gonna leave I'd try to talk 'em out of it, and they'd go, no, no, I don't wanna work for half-pay anymore, then later, they come back to you and say, 'Remember when you told me not to leave? You were right."
It was psychological, says Grosso. "Even if you worked a desk, somebody says to you, 'What do you do?' and you say, 'I'm with the police force,' there's something to that you don't get when you say, 'I work in a grocery store.'"
One of the things about P.I.s Grosso says movies and TV never really caught was how symbiotic the relationship is between them and the police. "We used each other," he says. "Every single P.I. I knew had a cop," meaning a contact on the force. "But, it was like a marriage. If it's gonna work, it's gotta work for both sides."
The cops provided P.I.s with information they could never get on their own: running down license plates, access to wire taps, which subjects were still on parole, and so on. "I even gave one guy the information he needed to catch a guy and get a reward!" The P.I.s, on the other hand, could go places and do things the cops – restrained by protocols, regulations, and the law – couldn't, and provide cops with information they might not have been able to get otherwise.
"In a way, we treated each other like informants. We used them for information, and, I guess you'd say they used us the same way. It was like we were each others' stoolies."
P.I.s didn't suffer for stepping over legal lines the way cops did. "We both had to worry about breaking the law, you had to be careful. But if a private eye does something wrong, there's a chance he's gonna go free. Me, I'm gonna lose my job. You see it all the time; a cop might even get exonerated in court, but then he gets tried by The Department and he's out of a job."
Grosso says nothing prepared someone for work as a private investigator better than time on the force. "You learn a lot as a cop: how to get information, how to groom a 'stool.' That's why P.I.s I knew who hadn't been cops often teamed up with an ex-cop. There's just no way to learn that stuff on your own."
Grosso thinks the great popularity for private eye stories in the movies and on TV in the 1950s, '60s, and '70s had a lot to do with the way cops were typically portrayed. "There was a time when it seemed most movie cops were dumbos, stumbling, bumbling assholes. A lot of cops on private detective shows were morons. In their (P.I. series') heyday, no cop could do what (private eyes) did. Not only could he do things cops weren't allowed to do, but he was smarter, too."
Grosso believes that changed with the release of The French Connection.
One of the accolades Grosso most treasures came in a recent July piece written by The Los Angeles Times' Steven Zeitchik saluting the passing of producer and one-time 20th Century Fox chief Richard Zanuck, the man who brought The French Connection into Fox. The story was headlined, "Six Movies That Changed the World," and one of them was French Connection.
One might argue about whether or not any of those films actually changed the world, but they certainly had a massive impact on the movies. Grosso thinks Connection's portrait of cops had a lot to do with the fading popularity of TV and movie private eyes thereafter. Hackman and Scheider played two smart, shrewd, forceful cops willing to bend the rules (or tiptoe around them) in ways that had previously been reserved for movie P.I.s. "(The French Connection) showed real cops as dazzling." It was an idea reinforced by the movie's true story nature, and the great effort D'Antoni and Friedkin & Co. put into the gritty, realistic feel of the movie. "That movie showed that if you show it the way it happened, (cops) didn't need private investigators."
"This is a copycat business," Grosso says, and the success of Connection spawned a flood of movies and TV shows about equally tough and smart cops, from Baretta and Kojack on the small screen, to Grosso's own The Seven-Ups. Cops didn't need private eyes anymore; not in movies and TV shows, and not in the eyes of a now wised-up audience.
One measure of the effect of Connection: "I've met guys who told me they became cops because they saw The French Connection. I never heard anybody say they became a private eye because of a detective show."
Asked if the genre can come back, Grosso is admirably optimistic, responding with an unhesitating, "Sure!" The catch is getting the right actor and the right creative talent, and remembering that the best P.I. stories were always about creating a character an audience cared about and wanted to spend time with.
His thoughts pinball off to The Godfather as an example of the dynamic he's talking about. "The shooting and all that bullshit was window dressing. What you cared about was that family, what Michael (Corleone) did for that family, and what the family did to him, his brother betraying him (in The Godfather: Part II [1974]). That's the stuff you cared about.
"Don't get me wrong. You need the window dressing! It's great you got the goods in the store, but nobody comes in because you got Bon Ami on the window. You gotta have the shooting and the good-looking guy and tits, but, in the end, does (the audience) want to spend time with this guy? You could do a show about a dog catcher and make it work if you get the right guy.
"It's like the Western," he continues. "Butch Cassidy and the Sundance Kid (1969) brought back the Western. The only reason you don't have them now is, who's gonna be John Wayne?"
Grosso's conversation caroms, again, back to a time when he was in Los Angeles in the 1970s and he and his mother had occasion to meet Mike Connors, then star of the long-running CBS hit private eye series, Mannix. "My mother loved Mike Connors. You figure out why my mother loved Mike Connors, and you can figure out how to bring the private eye back to TV."
Stephen Whitty has been the film critic for The Star-Ledger – New Jersey's state paper and one of the largest papers in the New York/New Jersey metropolitan area – for 14 years. And that follows a 10-year stint at the San Jose Mercury News. Having to sit through as many as 300 movies a year over nearly a quarter of a century is bound to give you a sense of the tidal flows of genres and trends over the long haul.
Whitty is more than a discriminating reviewer and a hell of a writer. A graduate of NYU's film program, he still has the young film geek's passion for film history, for the evolution of form and content and of the movie industry itself. My favorite pieces of his are his in-depth Sunday features where he parses a body of work: a genre, a filmmaker's canon, the roles of a particular actor. Those pieces are Whitty at his insightful, analytical best, and qualification enough to invite him to this discussion.
And, if that's not enough, more on point is Whitty's win at the La Jolla Library Raymond Chandler Competition (although one wins by writing bad Chandler, so maybe we'll just forget about that one)…
Q: You don't hear much about the private eye movie before the advent of sound, but the genre appears to have detonated in the 1930s. By the end of the decade, most studios had at least one private eye franchise – The Saint, The Falcon, Boston Blackie, etc. Is that an accurate picture? How would you characterize that first generation of cinema private eye movies?
A: I think it's true that the private eye series took off in the '30s, and I think there were a few reasons. First, the pulp magazines — particularly Black Mask — that had started out in the '20s had hit a real peak by then. Second, the advent of sound made storytelling easier, particularly for the complicated plots of private eye stories. And third, honestly, so many of the new screenwriters were ex-newspapermen; I think they identified with the character of the private eye — snooping around, not getting paid very much. It struck a chord.
Q: It seems the genre hit some kind of threshold with The Maltese Falcon. It begins to take on a dramatic heft the franchise P.I. series didn't have. Is that how you read the situation?
A: The heft was there, of course, with Hammett's original novel, which added the idea of the private eye as a courageous man with a private moral code that he adhered to — something Hammett came up with independently of Hemingway, but is very similar to his ideas of personal responsibility and "grace under pressure." But it took two versions before John Huston (not coincidentally a very similar character to Hammett and Hemingway) caught the flavor of it with his adaptation of the novel, its third.
Q: The '40s and especially the '50s see a deepening noir sensibility. How did that impact the private eye genre?
A: I think it changed it, fundamentally. The classic idea of the private eye is the hero who comes into a briefly disordered society and restores order. But in noir, the hero enters an ordered society and uncovers disorder. Even though the Production Code still insisted that evil be punished at the end of every movie, the stories of the private eyes we start to see in the '40s — Philip Marlowe in Murder, My Sweet and The Big Sleep (1946), and then Mike Hammer in Kiss Me Deadly in the '50s — don't end as neatly as they had before. The chief villain may be killed in the end, but he's rarely captured and turned over to the cops in handcuffs, ready for trial. And there's a sense that the crimes he committed go very deep into the society (and very high into the power structure).
Q: I've read where the P.I. genre seemed to be on the wane by the early 1960s, but then Harper comes along and jump starts the form. Is that your take?
A: I think Harper was successful for the same reasons that Ross Macdonald, who wrote the novel it was based on, was; he took the feeling, the style of Raymond Chandler, and then updated it to the way L.A. was now. We see that continuing in the (bad) Marlowe (1969) update with James Garner, and to a certain extent with The Long Goodbye (1973). But I don't think the genre itself really came back to full strength; instead, it seemed to be replaced by cop movies.
Of course, we're talking solely about theatrical motion pictures throughout, here — on TV, private-eye stories seemed to remain firmly popular for decades, from the '50s right into Magnum, P.I. (in the '80s).
Q: The private eye movie of the 1960s/1970s seems a wholly different animal from what came before. If you look at movies like The Long Goodbye, Night Moves (1975), The Conversation (1974), and especially Chinatown as symptomatic of the genre's changes, how would you characterize that generation of private eye movie?
A: There's certainly a sexual frankness that wasn't there before; if you look back at Chandler's original novels, the man was a bit of a prude. There's also a willingness, in this Nixon era, to see that corruption stretches to the highest levels of power, that you don't have to be paranoid to see conspiracies around you — and that even our best efforts aren't going to bring people to justice.
Think of the end of The Conversation, and especially Chinatown – if anything, the people are even worse off because of the hero's involvement. That's something really new for the genre; the private eye, not as white knight, but as impotent bystander.
Q: It almost seems that with Chinatown, the private eye story had reached some sort of creative zenith and it had no place left to go. The genre appears to evaporate after that. What happened?
A: I really think the cop movie took over. Partly that's because of timeliness, I think — private eyes seem more and more like something out of the past, while police officers are characters we see every day in our real lives. But you can't deny the modern movie audience's attention deficit disorder, their very real need for fast cuts and simple stories (or the fact that most Hollywood movies now make most of their money overseas, where English is probably not the audience's first language). Private eye stories have complicated plots that take a while to unfold; they tend to have a good deal of dialogue. These are not things the mass audience has much patience for anymore.
Q: Have the audience and the nature of the business changed too much to ever support a comeback for the genre? Do you see a future for it?
A: I think it will always be with us, but I think it is going to take different forms for awhile. I think particularly of the Coen Brothers — in interviews over the years, they told me that they saw Blood Simple (1984) as their Hammett film, The Man Who Wasn't There (2001) as their James M. Cain film, and The Big Lebowski (1998) as their Chandler film. I don't know that many private eye fans from the '40s would see that, but it's true and all of those films work wonderfully on those terms.
There have also been indie films like Brick (2005), which moved the private eye genre into the world of high-school, or occasional attempts (like the Shaft [2000] remake, or the recent One For The Money [2012] flop) to move beyond white male heroes to African-Americans or women.
The classic private eye movie — the guy in the shabby office, with his name painted on the door and a willingness to do anything for '"25 dollars a day, plus expenses," isn't something I think we're going to see again outside of period pieces (as Chinatown was). But the character of the private detective himself will survive, and I hope in a way that Chandler would recognize — as a man who though he goes down these mean streets "is not himself mean, who is neither tarnished nor afraid… (who is,) to use a rather weathered phrase, a man of honor."
Bill Mesce
'Ai Weiwei: Never Sorry' – pu...
11 Responses to The Case Of The Disappearing Private Eye
I wrote an essay once in college about how some genre's are popularized because of their time periods and that they eventually die off. The Western/Film-Noir are excellent examples of this and I feel WWII and Gangster films are starting to get there as well. Basically I can watch, appreciate and even greatly enjoy a Private Eye film, TV series or book but I'll never have the same connection as say someone Bill's age. Bill likely grew-up with these private-eye characters, watched/read both old and new films/books about them and greatly enjoyed them. For me they're more a look in at the past, that private eye character has dissipated because…well so have actual private eyes.
As generations come and go we lose our connection with real-life events and even with popularized entertainment (Film, TV, books, etc). WWII was huge for my grandfather because he lived it and because of that he loved WWII films. Because my mother grew-up around my grandfather's generation so does she. A lot of that emotional connection is lost on me because my experience is third hand. I imagine my children will feel even further distanced from it. Star Wars and Indiana Jones were a major deal for my father because he was there when they first entered the world. It is lessened with me and, again, its impact will further be lessened down the genealogy.
Not to over simplify Bill's impressive article but in a nutshell Private Eye's have gone the way of the dodo because society has distanced, and continues to distance itself from that character and the world/time-period he resides in. It's sad to see him go but unfortunately such is life. He exists now only on the celluloid.
I hate being trumped by a comment but you're exactly right. It's depressing (well, to someone of my generation — "…someone Bill's age…"? Oooo, how cruel! — but it happens. Believe me, you don't WANT to sound like one of those old crabs sitting on his front porch screaming, "Hey you kids! Get off my lawn!" but no matter how open-minded and forward-looking you try to be, when you lose enough stuff you liked, it's hard not to get a little down.
I'm wondering what the signatures of this generation will be considered in future consideration? And what they'll reflect?
1930s: GONE WITH THE WIND — "Frankly, my dear, I don't give a damn."
1940s: 12 O'CLOCK HIGH — "Consider yourselves already dead."
1950s: ON THE WATERFRONT — "I'm glad what I done!"
1960s: THE GRADUATE — "Plastics."
1970s: CHINATOWN — "Forget it, Jake. It's Chinatown."
And then….
Oh man, that plastics line is dead among Generation Y. I always try to "force" some of my friends to watch some great older films. Me and three of my friends all watched The Graduate together and I told them there was a very famous line in the movie. Every one of them thought it was the exchange between Mr. Robertson and Ben "You don't respect me very much do you?" "No, I guess I don't". They were all shocked to find out it was the plastics line. It made sense to them when I explained the significance of it but…yah…that is 100% a baby boomer thing.
Finland seems to have a private eye series called Vares. The films do not seem to have reached US theaters, though. The series has about seven entries.
Thanks to Thrillingdetective.com and Originalvidjunkieblog for the tip-off on Vares.
And perhaps, as people began to have greater trust in the police, the idea of someone who works outside of the law has become more suspect (this contradicts my Batman point, of course)".
Actually, "During the conference [in the 1966 Adam West film] Commissioner Gordon states that Batman and Robin are fully deputised agents of the law. Batman was deputised in the comics by Commissioner Gordon, way back in 'The People vs. the Batman' (Batman #7, November 1941). Throughout the remainder of the Pre-Crisis era [before 1985-1986]he was operating legally in collaboration with the GCPD".
(Quick sidebar: although Mr. Mesce once lumped the Green Hornet in with these spandex clad perverts with child sidekicks in pixie shoes, the Green Hornet, a radio originated property, does come closer to operating as just a masked private eye or sleuth, without spandex, Fu Manchu style foes, not summoned by the police with a spotlight, etc.]
http://community-2.webtv.net/CaptainHermes/CLIFFHANGERS/page2.html supports my assertion; search also for Count Karnstein's posts on Yuku
Breaking this up due to length issues:
They ranged from the mass-produced private eyes series of the 1930s – like the Boston Blackie and Charlie Chan flicks
…………..Charlie Chan worked as a policeman, not a private investigator. Sorry for the pedantry. The Saint and the Falcon could fall into the category in a broader view, but not Charlie Chan.
I would also argue that bounty hunters and superheroes often function like private detectives, so if you're looking at current film, I wouldn't discount the Batman — he is the world's greatest detective after all
and shortly after that I became a diehard comic book fan, especially Batman, so the lone, grim detective was something I've always liked.
And comic books have never let the detective go, like Batman or Sin City, and the 1990s was a banner time for comic books.
………….The Nolan films have not emphasized or developed his investigative powers. They skipped over any training in criminology. They feature a Doctor Fu Manchu and Fah Lo Suee style duo (Ra's Al Ghul and Talia). The recent comic books have tended not to handle this raticionation aspect very well either (other than Max Allan Collins' tales in the late 1980's). They have tended to emphasize gadgets (such as a device to summon bats in one's boot-this in an story with prostitutes) and peculiar foes.
Two threads that tie right into this post, titled Disappearance of the Private Eye Movie
I love the classic PI novels. I cut my teeth on them and when I started writing my own mysteries, writers like Hammett, Spillane, Chandler, and Stout were my greatest inspiration.


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He is Capt. Francis W. Townsend, of Rusk.
On August 13, 1972, Townsend and his pilot were flying their RF-4C Phantom on a photo-reconnaissance mission over Quang Tri Province, North Vietnam. The aircraft was struck by enemy fire, and the pilot was unable to maintain control. He ordered Townsend to eject. Seconds later, the pilot ejected from the burning aircraft and was able to establish radio contact with rescue forces. Unfortunately, he was captured before a rescue could be made.
Following the release of U.S. POWs in 1973, the pilot stated he learned in captivity that Capt. Townsend had perished in the crash though he initially believed he had ejected.
Between 1999 and 1997, joint U.S. and Vietnamese teams, led by the Joint Task Force-Full Accounting, conducted four investigations in the area where Townsend's plane had crashed. They interviewed dozens of villagers, including one who claimed to have buried some remains near a flooded crash crater in the area. He also stated that he had found two military ID tags at the crash site. During one of the investigations, the team members were shown the tag of Capt. Townsend by a local national.
In July 1998 and May 1999, two full-scale excavations were carried out in Quang Tri Province, where team members of the U.S. Army Central Identification Laboratory Hawaii (CILHI) recovered aircraft wreckage, personal crew member artifacts, and human remains. Mitochondrial DNA was extracted from one of the fragments, and was found by CILHI to match the DNA of two of Capt. Townsend's maternal relatives.
Approximately 1,900 American servicemen remain missing in action from the Vietnam War, while the remains of nearly 700 have been located, identified and returned to their families since the end of the war.


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MotoGP lap times as of 6pm, the end of day two at the final pre-season test at Jerez.
A little shout for Jimmy Elison
FFS, testing times don't mean much in general and with these mixed conditions they mean even less. It's mostly down to who took to the track at the right moment. In this case it was Nicky. This does not mean that Ducati have now solved all their problems and are now faster than anyone else!
there you go plonkers a duc on top.
I'm probably one of Hayden's biggest fans and even *I* realize that test times don't mean anything. It's only in a RACE where times matter. It's good to see him on top but this would only matter were it a race. As for Stoner or Rossi not being up there, it's weather and they didn't want to deal with it. Quit putting so much emphasis on TEST times, dweebs!
Rossi only .1 sec behind Stoner!!Oh no, it was raining and Stoner down in 112th place with Rossi in at 113th.At least Hayden topped a timesheet before his team mate.
re: "wrong shade red and very un ducati"re: "The red looks orangey because its a bad picture or edit."hey guys, the picture's fine. the red looks "orangey" because it IS orangey. it's always BEEN orangey. it's marlboro red. and (oracle voice) here's something that's really going to bake your noodle... the paint's actually a metallic. the effect doesn't show up in photographs. it can only be seen (outdoors in the sun) during a live grandprix. the color's a carryover from the long banned tobacco advertising. but see, as you guys prove, with the passage of time the value of stealth advertising wanes as newer generations come to the fore, but have ZERO awareness of this past association. this same "disconnect" is occuring up in big-money F1.
Nicky 40 laps .2 and a bit off yesterdays.Rossi 18 laps all of them above 1.51s, wtf why bother.Best way for Rossi to improve the bike is by seat time,what a waste of time today ,a tardy 18 laps touring around 11+ seconds off the pace.Think Stoner should have went out in the last 10 minutes of practice for his 3 laps and done a 1.39 just for the fun of it. Casey has got to be one of the laziest gp racers ever,he was the same at Ducati imagine how fast he could be if he stuck in at the job.Yamaha is gonna kick Hondas ass this year.
So I did see a Rothmans car in F1 last race.
shamarone - I'm sure Mercedes would not race with any colour other than silver - same Ferrari Red.Caterham is British racing green.Ducati has lost tradition passion reason why they are where they are now German owned.
Casey is scared of a wet racetrack,I've seen.He wimps around doing laps many seconds behind the manly racers.
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Oregon Ducks defensive end Arik Armstead bigger, stronger, more focused
Fentress one-on-one with Arik Armstead
California Golden Bears quarterback Allan Bridgford (16) is knocked down by Oregon Ducks defensive lineman Arik Armstead (9) during the third quarter at Memorial Stadium. Oregon won 59-17 - Kelley L Cox-USA TODAY Sports
Oregon Ducks defensive lineman Arik Armstead (9) tackles Kansas State Wildcats defensive end Ryan Mueller (44) in the end zone on a blocked extra point in the third quarter during the 2013 Fiesta Bowl at University of Phoenix Stadium. Oregon defeated Kansas State 35-17. Oregon would be rewarded with a 1 point safety. - Kirby Lee/Image of Sport-USA TODAY Sports
EUGENE – Arik Amstead came to Oregon in 2012 surrounded by as much fanfare and hype as any recruit in recent memory, and with the personal expectations of making a huge impact on both the football field and the basketball court.
So far, neither plan has come to fruition.
But Armstead's journey is far from finished.
After ditching basketball last winter, Armstead dedicated his entire focus to football, and the result is a larger, stronger, more determined defensive end out to fulfill the promise that followed him to Eugene from Sacramento, Calif.
"My personal goals are still the same, to help my team as much as I can, be a key component of our defense and be dominant out there along with the rest of the guys on our defense," Armstead said.
"Dominant" is the operative word.
The junior has not reached that level. Not even close. He has a modest 41 tackles and 1 ½ sacks in 26 career games over two seasons.
Part of the problem has been that the 6-foot-8, 290-pound lineman with a soft shooting touch and nimble feet, initially didn't surrendered to the idea of simply being a defensive end. Injuries have also held back Armstead. Now healthy and eyeing an NFL career, Armstead said he is ready to live up to his potential.
It must never be forgotten that Armstead chose Oregon in large part because Ducks coaches promised him the opportunity to play two sports.
Playing for an elite football program that practices and plays through December, however, makes it quite difficult to also play basketball, which starts in October.
Armstead redshirted as a basketball player his freshman seaso. He saw action in just one game last season, which was odd considering that the Ducks' interior game proved to be their main weakness during last season's run to the second-round of the NCAA Tournament.
Frustrated, Armstead left the basketball team and gave all of himself to football.
Defensive line coach Ron Aiken, who came onboard last season, said he never talked to Armstead about basketball. Instead, Aiken said he allowed Armstead to choose is own path.
Still: "We're just happy he's back with football," Aiken said.
The difference in Armstead's physique is obvious.
He appears thicker, the product of countless hours of work on his strength and conditioning.
"The offseason was big for me, out there working strictly on football in the weight room a lot more," he said.
Dropping basketball, Armstead said, changed his mindset.
"I have a lot more time, and put in a lot more attention to trying to master just football," Armstead said.
Certain aspects of playing basketball made it more difficult for Armstead to keep his weight up.
"Basketball is a lot of running so you tend to lose a little bit of weight," he said. "So being in the weight room a lot more and not running as much, or doing a different kind of running, has been helpful."
Aiken said Armstead grew as a leader both vocally and by his actions.
"He took care of business during the summer, and that was something we really needed him to do," Aiken said.
As important as anything, Armstead is no longer hindered physically.
"I'm healthy now," Armstead said. "(Being injured was) frustrating but I'm a team guy and I'm out there just trying to help our team win games, doing what the coaches ask of me."
Armstead came to Oregon in the same class as defensive tackle Alex Balducci and defensive end DeForest Buckner. For the first time, all three are set to become full-time starters together.
"We want to do great things," Armstead said of the trio that lived together as freshmen. "Everybody wants to do great things, though. It's how you approach it, and what are you going to do to be great."
The Ducks' defense struggled against the run last season. Aiken said that his new defensive line must do a better job of anchoring the line of scrimmage.
Armstead said that defensive coordinator Don Pellum is expecting a lot from the defensive line.
"Coach Pellum has been asking us to attack more and get more penetration," Armstead said. "That's been a big emphasis this camp, and in the spring."
A great season for Armstead could propel him into the NFL a year early. Armstead said he has purchased a disability and loss of value insurance policy in case of injury, but is non-committal about this being his final season at Oregon.
"I don't know yet," he said. "I'm focused on this season and playing as hard as I can for my team."


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Columbus, OH – Ohio Attorney General Marc Dann says he's not resigning even though all statewide democratic officeholders are demanding it. State lawmakers are working on an impeachment resolution to force him out of office. But as Ohio Public Radio's Jo Ingles reports, lawmakers have a lot of questions about how to go about it.


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- (4) Wheels
- (4) Center Caps
- (4) Tires
- Hardware included:
- None Required
Free Shipping on Everything. Seriously. Details
Add FREE Nitrogen Fill
Current Item:
Staggered Saleen Style Chrome Wheel & NITTO Tire Kit - 17x9/10.5 (99-04 All)
Total Price with All Options:
Mustang Fitment: 1999 2000 2001 2002 2003 2004 Details
Free Mounting & Balancing: Professional mounting & balancing is available on all wheels and tires when purchased together on the same order, so you can just swap your wheels in your driveway when they arrive. We even offer Free Nitrogen tire fill (see option above).
What is TPMS? The Tire pressure Monitoring System is a safety feature on all 2007+ Ford Mustangs that alerts you when your tire pressure drops to an unsafe limit.
How do I keep my TPMS feature? Aftermarket wheels don't have TPMS sensors. If you select 'Add TPMS Sensor Kit' and 'Add TPMS Tool' at the top of the page when you order your wheels, then chose Free Mounting & Balancing when you add tires, we'll install the sensors for free!
For more Information, check out TPMS Sensor Kits or TPMS Tool in detail.
Difficulty Level:Simple installation for anyone
Installation Guides:
Wheel Specifications:
|AmericanMuscle Wheels
|Front and Rear
|Centercap Size:
|Large (2-1/2")
|Back Spacing:
|5.94" (151mm)/6.85" (174mm)
|+24mm (0.94")/+28mm (1.10")
|Bolt Pattern:
|5x4.5" (5x114.3mm)
|Lip Size :
|Best Tire :
|1999-2004 All
Tire Specifications:
KEY: 10-8.6 Oh Yeah!, 8.5-6.6 Above Average, 6.5-4.6 Average, 4.5-2.6 Acceptable, 2.5-0 Unacceptable
I bought these wheels for my 97 Cobra and I must say that I'm very pleased with them. Not to mention that these Saleens make my car stand out even MORE than before. Thanks again AM for the speedy shipping as well.
love these wheels they difinitely make my stang stand out from the crowd.
Staggered Saleen Style Chrome Wheel & Sumitomo Tire Kit - 17x9/10.5 (99-04 All)
Our Price: $1,289.99
Saleen Style Chrome Wheel - 17x10.5 (94-04 All)
Our Price: $169.99
Staggered Saleen Style Chrome Wheel & Sumitomo Tire Kit - 18x9/10 (99-04)
Our Price: $1,387.99
Staggered Saleen Style Black Wheel & NITTO Tire Kit - 17x9/10.5 (99-04 All)
Our Price: $1,279.99
Saleen Style Chrome Wheel - 18x10 (94-04 All)
Our Price: $184.99
2003 Cobra Style Chrome Wheel - 17x10.5 (94-04 All)
Our Price: $171.99
Staggered FR500 Style Chrome Wheel & NITTO Tire Kit - 17x9/10.5 (99-04)
Our Price: $1,427.99
Staggered Saleen Style Black Chrome Wheel & NITTO Tire Kit - 18x9/10 (99-04)
Our Price: $1,629.99
will this product work for my car? Ihave a 2002 Ford mustang GT with the stock bullitt wheels on it, the stock wheel size is 17x8. I wanted to know if a 17x9 wheel size would fit without modifying or changing anything with the car?Question Resolved Good Question (0) (0)
The 17x9 would fit perfectly in all four corners on any 1994-2004 Mustang with absolutely no modifications needed!
Will this product work on a fox? I have an 92 mustang that will soon be converted to 5 lug using the Lincoln mark VII rotors/ranger axles method. And am really interested in this wheel/tire combo package.Will the center caps on these wheels clear the dust cap on the Lincoln rotors? anyone every done this setup before?Be the First to Answer This Question Good Question (0) (0)
fitment my car is lowered with eibach springs. its the sport lines I do believe.. will I have any fit ment issues with the 10.5 wheel?Question Resolved Good Question (2) (0)
Not at all! These 17x10.5 wheels can be installed on a Stang that has been dropped up to 2" without a problem! The Eibach Sportlines drop you about 1.7" in the front and 1.5" in the rear so you are well within those parameters! You'll love how these 10.5s fill out your wheel wells and give your Mustang a mean stance to complement your sportlines!
Installation Time:Afternoon
Installation Cost:0-$100
July 19, 2010
Saleens = awesome wheels
I bought these wheels for my 97 Cobra and I must say that I'm very pleased with them. Not to mention that these Saleens make my car stand out even MORE than before. Thanks again AM for the speedy shipping as well.
June 29, 2010
Awsome wheels
love these wheels they difinitely make my stang stand out from the crowd.
May 30, 2012
Look great! I put them on a Foxbody after a 5 lug conversion.
May 18, 2010
amazing wheels
awesome makes my mustang look like a new car
March 16, 2011
Saleen Wheels
I debated for a long time going back and fourth between which wheels i should go with and what ones would look best on my car. I found the reviews for these wheels helpful but wasnt sure that they were real customers or not. After purchasing these wheels im glad i made this decision. They look great on my car and chrome shine really makes my car stand out.
October 19, 2013
perfect right out of the box.
I ordered these wheels and tires for my 94 cobra, with the free mount and balance all I had to do was put them on and I was done. The finish on these wheels are amazing and defiantly catches people's attention.
January 27, 2012
makes my husbands 97 cobra svt even more of a head turner
drives smooth. got as a gift for my husband at Christmas..not that the original rims and tires where bad..these are just so much better!!!
September 30, 2009
Gorgeous Wheels
Car looks the best it has in years....wouldnt go with any other wheel
August 26, 2013
Chrome saleen wheels
Rims and tires came in really fast , chrome looks great !
Installation Time: Less than 1 Hour
January 17, 2015
Excellent product
I replaced the GT rims with the new rim/tire package and they look awesome, I also added the caliper covers for the brakes and they stand out. The car is in the garage till April due to salt on the road. Can't wait to take it on the road!
Installation Time: Less than 1 Hour
Staggered 2010 GT500 Style Chrome Wheel & Sumitomo Tire Kit - 18x9/10 (99-04)
Our Price: $1,277.99
Chrome Acorn Lug Nuts - 1/2 in x 20 (79-14 All)
Our Price: $19.99
Maximum Motorsports Low Profile IRS Subframe Bolts (99-04 Cobra)
Our Price: $16.99
Clutch/Brake Pedal Cover - Manual (94-04 All)
Our Price: $14.99
Plug-in MIL Eliminators (96-04 All)
Our Price: $47.99
Black Stock Replacement Headlight - Right Side (99-04 All)
Our Price: $69.99
Fixed Black Antenna - 14 inch (94-04 All)
Our Price: $22.99
Staggered Bullitt Anthracite Wheel & NITTO Tire Kit - 17x9/10.5 (99-04)
Our Price: $1,289.99


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Teaching English and American Culture in China
Earn credit towards LDR 3000
This is a picture from the group of LTU students and staff who went in 2008.
Location: Zhejiang Province, China
Type of Program: Volunteer abroad, will count towards LDR 3000 Leadership Seminar Series
Duration: 3 - 4 weeks, typically in July
Time of Year: Summer
Majors: Open to all students, staff, & faculty.
Hosted by: Council on China Exchange
Estimated Cost: $1,325 + Round-trip Airfare to LAX
- Each teacher needs to pay a $250 program fee (due with application) plus $225 visa fee
- A travel insurance is also required of teachers, typically under $35 for teachers in their 20s.
- Tour of Beijing and Shanghai for $500 for five days four nights with room (2 star in Shanghai, 3 star in Beijing) and meals, Beijing tours, airport transfers and local transportation included
- Security Deposit of $350 which will be returned upon arrival in China
Program Fee includes: Round-trip airfare from LAX to China, room and board, ground transportation in China, & two one-day excursions provided by host school.
Application Deadline: February 9, 2015. February 23, 2015. Return it to Study Abroad Programs, c404
Program Description: This program bring native English speakers to China to teach English and American culture to Chinese students, ranging from elementary through high school. Program partcipantes team teach for five 50 min periods, five days a week for 3 weeks. Host schools provide free weekend tours and excursions for visiting teachers. Curriculum topics are provided, but curriculum modification and development are done by the program participants before the trip. Students live in hotels near the school sites, in developed areas of China. Meals are provided by the host schools.
Website: http://www.excellenteducation.us/summer_teaching_in_china_program


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Sports Performance | Staff | Internship | Student-Athlete Login
POSITION ANNOUNCEMENT: Sports Performance Intern (5 positions)
MINIMUM QUALIFICATIONS: Must be working towards a bachelors degree in related field (exercise science, kinesiology etc). Interested in sitting, or studying for the NSCA CSCS exam. CPR/First Aid preferred
RESPONSIBILITIES: Assist the sports performance staff with supervision, maintenance and oversight of the weight rooms that service 19 NCAA Division I men's and women's sports; assist with the design, implementation and oversight of strength training and conditioning programs for specific teams and individual student-athletes as assigned. Participate in group instruction and learning.
POSITION: This is a volunteer position, minimum 15 hours a week required from each intern.
CONTACT: Interested persons are encouraged to submit a letter of application and a resume that address the specific qualifications and responsibilities of the position, and contact information on at least three professional references to:
John Lockwood
CSUN Athletics
18111 Nordhoff Street, Northridge, CA 91330
Fall Internship - We are no longer accepting applications.
Spring Internship - Applications will be accepted from September 4, 2015 – December 4, 2015 at 5:00 p.m. (PST). Applications received before opening or after deadline will not be considered. Timeframe: Monday, January 11, 2015 – Friday, May 13, 2015.


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Without Phoebe Philo, we wouldn't have understood the appeal of a furry flat, the importance of a polo neck, the potential of laundry bag check. At Céline, Philo has taught us the importance of less is more and promoted elegance, modernity, clean lines, subtle details and quality of fabric and finish.
With the help of super stylist Camilla Nickerson, Philo has also introduced countless clever styling techniques that are copied the world over. Some archive examples:
i) Wearing flat sandals with a suit.
ii) Pulling a shirt hem down so that it shows just below a skirt line.
iii) Wearing a flower on the lapel.
iv) Tucking a handbag tight under one's arm.
v) Draping a coat over one's shoulders.
vi) A skateboard/houseplant makes for a chic accessory.
Here, to celebrate the release of Fall 2014, we consider six styling techniques from the Céline Fall 2014 collection with illustrations by Clym Evernden.
1. Wear your jumper sleeves long
It's a look borrowed from the 90s. Think of those iconic grunge photos where jumpers were long and baggy, with holey sleeves bunched over the hands. The difference here is the Céline jumper is made of beautiful cashmere. Note the rollneck isn't folded – a favourite look of Philo's and seen in one of her favourite portraits by David Sims. Buy your jumper two sizes too big.
2. Wear big pants
A transparent skirt is the last thing we would expect from a Céline collection but here, it is worn with a long-sleeved black top (key lesson: if you're showing the bottom half, then cover the top, and vice versa) with boxy shorts underneath. Even if you're not going for the transparent skirt, boxy pants are the way forward. If Céline made knickers, they would no doubt be sleek shorts in nude or black, rather than a slinky thong in pink satin. Key to this look is the 10 denier stockings worn with pointy flats.
"If Céline made knickers, they would no doubt be boxy shorts in nude or black, rather than a slinky thong in pink satin"
3. Reconsider hoop earrings
Hoops have a bad reputation. Think Elizabeth Duke; Sporty Spice; Jessie J; Carrie Bradshaw. Yet, in this new context (note the change from gold/silver to black), they are something totally fresh. Perhaps Philo is revisting her own personal style when she studied at Central Saint Martins. "I was a clubber. I had a gold tooth and was into the punk thing. Everyone says they can't imagine me like that but it is still very much a part of me," Philo told the South China Morning Post in 2010. "It's still in there, in me, that kinda bit of ghetto."
4. Tie your jumper around your waist
It's not that far away from the long jumper sleeves, in that the jumper becomes almost a comfort blanket, creating a cosy feeling. Tying one's jumper around your shoulders wouldn't be right for the Céline woman, but round the waist adds that perfect air of insouciant cool. Jumpers tied around waists are often seen on schoolboys who are too hot after sports activities. In this Céline way, the grey mohair and cashmere knit adds to the silhouette, creating a skirt-over-trousers look.
"Tying one's jumper around your shoulders wouldn't be right for the Céline woman"
5. Wear clashing prints and contrasting fabrics
Once upon a time, it was a faux pas to wear black with navy, or for shoes to be worn without socks. Designers such as Miuccia, Rei and Marc have all shown us that it's fine and fun to break the rules. Pairing clashing prints – in this case, vertical stripes and criss-cross – is almost like collage art. To clash demonstatres a fashion choice that is brave and confident.
6. Understand the new hemline
Philo is never afraid to play around with the hemline. In this collection, she never goes far above the knee. This is one of the strongest lengths, sitting mid-calf. Her black structured knit dress is worn here with the pointy loafer and no socks.
Text by Laura Bradley


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Hotels in 08526 - Imlaystown NJ
Only hotels in 08526 zip code are listed below. Search for cheap and discount hotel rates in Imlaystown, NJ for your upcoming leisure or conference / group travel. We list the best 08526 hotels and motels so you can review the Imlaystown hotel list below to find the perfect lodging. Hotels in Monmouth county and area code 609 are also listed.
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Shigeru Akita, IHS visiting researcher, awarded Japan's prestigious Yoshino Sakuzo Prize
Posted: July 18, 2013
Professor Akita's photo in front of Garrison Hall appeared in Daily Yomiuri, which has a readership of over 14 million
Shigeru Akita, Professor of British Imperial History and Global History at the Graduate School of Letters at Osaka University, has been awarded Japan's prestigious Yoshino Sakuzo Prize for his book The History of the British Empire (Igirisu Teikoku no Rekishi), published by Chuo Koron Shinsha. He is now preparing an English translation, entitled The History of the British Empire from Asian Perspectives.
The prize, sponsored by the Daily Yomiuri, Japan's largest newspaper, recognizes the best book published in Japan in the past year in the fields of politics, economics, and history. It includes a monetary award of 3 million yen (approximately $30,000).
Professor Akita was a visiting research associate at the Institute for Historical Studies in the Department of History at UT Austin this spring, where he took part in UT's global history initiative and worked on his current project about international aid policies for India in the late 1950s and 1960s.
In Japan, Professor Akita leads a multi-university research team to promote teaching and research in the field of global history. His many publications include The British Empire and the International Order of Asia (in Japanese) (Nagoya University Press: Nagoya, 2003), and The International Order of Asia in the 1930s and 1950s (London: Ashgate, 2010), co-edited with Nick White. He also edited the prize-winning volume Gentlemanly Capitalism, Imperialism and Global History (London and New York: Palgrave-Macmillan, 2002).
Professor Mark Metzler, who hosted his visit at UT, said, "Professor Akita is a leader among a new generation of Japanese historians who are developing global history in Japan and bringing fresh Japanese perspectives to the English-speaking world. It's been a great intellectual stimulus for us to have him here in Austin."


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Bret Parker
B for Beauty, Fashion, Fashion Is Fun, In-House Counsel
How Can You Get Into the Business of Beauty and Fashion Law?
Readers, we know what you must be asking yourselves: fashion law? Is that similar to unicorn law? No. Unlike unicorn law, and contrary to public opinion, fashion law actually exists. In the past, we've written about lawyers and law students who have violated multiple fashion laws. We've even profiled a lawyer who specializes in fashion […]


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Stratis Bahaveolos
Stratis Bahaveolos is the Senior Director of Strategic Planning at Cadence Health. Cadence is a nationally recognized health care organization located in Chicago's western suburbs. Cadence Health was formed in March 2011 as a result of the merger between Central DuPage Health System based in Winfield, IL, and Delnor Community Health System based in Geneva, IL. His focus has been on the development and execution of strategic business plans inc, leading cross-functional teams focused on improving patient, employee and physician satisfaction and collaborating with senior leaders to develop the performance improvement platform for Cadence Health. Prior to his time at Cadence, Stratis was president of a local health care consulting company providing executive leadership and daily consultative services. Stratis received his MBA from Loyola University. His undergraduate degree is in Computer Science from Loyola University.


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The city of Charleston reaffirmed its intention to police UberX drivers when it issued a public announcement Tuesday about the ride-sharing app and the range of laws its drivers could violate by offering the service in Charleston.
The announcement comes on the heels of a meeting last week at the Charleston Police Department, where owners of local taxi companies discussed their concerns about UberX with city officials and a department officer.
It was decided at the meeting that police would double down on enforcement of local laws regarding taxi services with undercover police stings of drivers using the UberX app. The aim is to discourage drivers from signing up to drive for the app-based car service that allows car owners to transport passengers in their personal vehicles for fares.
Drivers who offer the UberX service take the risk of violating a range of local and state laws, including those that require transportation companies to undergo specific licensing and verification processes. Uber argues that the vetting process should be left to the company, and that its drivers are held accountable by a passenger-rating feature on the app.
Local drivers who choose to partner with UberX could face a maximum penalty of 30 days in jail and/or fines of up to $1,097, according to the latest estimate provided by the city.
"These requirements are for the safety of the consumer," the city said in the statement. "The new ride-share companies operating in the area do not have licenses from the state of South Carolina and the city of Charleston to operate here."
The statement also emphasized that police aimed to gain "voluntary compliance before taking enforcement action."
Uber has since promised to pay any of its drivers' fines or legal fees if they're issued citations.
Many locals also have come to the defense of local UberX drivers, including state Rep. Peter McCoy of Charleston and local attorney David Aylor.
McCoy said he hoped to work with other state lawmakers in the next legislative session to determine how to accommodate the ride-sharing app. He also said he did not agree with the city's recent uptick of regulatory action on new businesses such as late-night bars.
"It's putting too many regulations on businesses, and we need to be promoting businesses and jobs instead of enforcing regulations that we have," McCoy said.
Aylor said he would represent UberX drivers who are cited for the violations free of charge because he believes the app is a positive force for transportation in the area.
"Personally, I have used Uber several times in places across the country and I felt like it was an efficient method for providing safe transportation," Aylor said.
He added that, given his experience representing defendants in DUI cases, he believes an added car service that is popular with consumers could help reduce instances of drunken driving in the Lowcountry.
"I think that any place that you don't have mass transit that is used by locals or tourists, you're going to have higher rates of DUIs, and I think sometimes the lack of cabs available, simply because the resources are what they are, drivers make bad decisions and get behind the wheel when they've had too much to drink," he said. "If you provide the citizens more options, I think it could assist in that."
Reach Abigail Darlington at 937-5906 and follow her on Twitter @A_Big_Gail
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