text:
Judge throws out Outdoor writer Tom Stienstra's defamation lawsuit against fly fishing blog
This is the one we've been waiting for. Simply put, the First Amendment won. Blogging won. Freedom of Speech won. And yes, I won.
By contrast, the Chronicle's Outdoor Writer Tom Stienstra lost. And in more than simply legal terms.
That a journalist like Stienstra — who has made a good living riding the coattails of the First Amendment — would try to abridge someone else's First Amendment rights via a nuisance lawsuit is more than ironic.
It's damned disgraceful.
Fortunately, last week a Siskiyou County judge said "No" to Chronicle Outdoor Writer Tom Stienstra's $10,000 defamation lawsuit against the Trout Underground.
The judge did so because the suit didn't even clear the lowest hurdle — it was filed approximately 2.5 years after the Statute of Limitations said Stienstra could file.
In other words, all of Stienstra's bullying letters, demands for $10,000 and so-clueless-as-to-be-amusing shtick in court amounted to the following:
Don't spend it all in one place, Mr. Stienstra.
My Day In Court
For those arriving in the middle of all this, here's the two-sentence summary. First, I published a short article about San Francisco Chronicle Outdoor Writer Tom Stienstra's arrest here.
Despite the fact the story is almost identical to the articles published in many of the state's largest newspapers, Stienstra wanted it taken down, and filed a defamation lawsuit in order to try and make that happen.
He lost. My one regret is that the court (correctly) dismissed Stienstra's suit because of the statute of limitations.
In other words, Stienstra had no standing to bring the suit, so there was no point in arguing the specifics of his defamation claims.
Ok, I win. Happy time. Winning is good.
(Readers with little to do and an interest in legalspeak can read a scan of the decision here.)
The only downside? I was eager to prove my article wasn't defamatory, and I never really got that chance.
Three newspaper editors, four newspaper reporters and three attorneys (two of whom are defamation experts) agreed my original article wasn't defamatory, but I wanted a judge to say it.
Even in victory there is loss.
Like Spinal Tap, But Legal
Sadly, facing Stienstra in court was even more disagreeable than receiving one of his ridiculously over-the-top letters.
He was clearly unprepared but seemed willing to bullshit his way through the appearance, and because he got to speak first, he whined for a good 30 minutes about all the damage my story had done — without actually denying that he was arrested, or that several other similar stories (including the article in his own newspaper) remained online.
At one point, Stienstra astonishingly denied he was a public figure (which would make his defamation claim far easier). Only minutes later — in a fit of boasting — he contradicted himself.
For the record, Stienstra has written many books and newspaper columns and had his own radio show, and in no part of California's legal code does that allow you to claim you're not a public figure.
He also bizarrely claimed the Communications Decency Act applied, apparently unaware it has almost nothing to do with defamation law — except the passage which actually protected me from liability for comments made by others on my site.
Bolstering your opponent's case isn't exactly a winning legal strategy.
Later, I was treated to the spectacle of Stienstra tying himself into a knot trying to explain why my story was libelous yet his own newspaper's arguably-more-damming story wasn't.
(Think "This one goes to 11.")
I could go on, but when you show up with a carefully prepared legal brief citing Fourth Circuit and Ninth Circuit precedents — and your opponent's only response is to accuse you of "cherry picking" case cites — you know you're not exactly playing in Perry Mason territory.
More Constitutionally Protected Opinion
My belief is that this whole mess was never about libel.
Instead, the Trout Underground's article about Mr. Stienstra's arrest was the only mention of his arrest appearing on the first page of Google results for "Tom Stienstra."
I believe Stienstra wanted it removed, and that the bullying letters and the lawsuit were designed to make the post disappear.
Unwittingly, Stienstra seems to have invoked The Streissand Effect, where trying to deep-six an old story calls new attention to it.
Today, this Lost Coast story on Stienstra's lawsuit also appears on the first page of Stienstra's Google results. And the Redding Record-Searchlight also ran an article about the suit (it's behind a paywall, so no link), and it's possible more articles are coming.
In other words, Stienstra didn't do himself any favors.
He put myself and my family through something of an ordeal (one of his "witnesses" inappropriately confronted my wife in a supermarket parking lot, adding a creepy dimension to an already irritating situation).
Happily, the First Amendment doesn't exist at Mr. Stienstra's leisure, given his difficulties differentiating between libel and speech he finds disagreeable.
The facts of the original post aren't much in question, and Stienstra's targeting of the Trout Underground — instead of his own newspaper, or the SacBee, Fox News or Record-Searchlight — suggests something other than a journalist's mentality.
More importantly, bloggers publishing news stories should not be singled out for legal bullying because they've earned good Google rankings and lack a legal staff.
By the same token, folding the tent whenever someone takes exception to what you've written is to open the door to further abuses of our free speech rights.
Insurance companies sometimes pay off meritless claims because it's cheaper than defending them, but all they've done is encourage more meritless claims.
I'd rather not see the same principle apply to online speech.
It's Over. Sorta.
California allows defendants to appeal small claims court rulings, but once the plaintiff loses, it's finished. In other words, unless Stienstra wants to jump off an even higher legal bridge, this is over.
Thanks to all who supported me in this free speech fight, including the L&T, a trio of attorneys, the friend who endured my court appearance with me, those who felt this lawsuit was a hummer and said so publicly, and the assembled hordes of Undergrounders.
That this lawsuit happened at all is a shame; that it was initiated by a journalist is a damned disgrace.
See you washing his hands of Tom Stienstra and legal stuff in general, Tom Chandler.
In the Redding Record-Searchlight story about the lawsuit's dismissal (behind a paywall, so you may not be able to access it), Stienstra is quoted as saying:
"He took a wild rumor and turned into a hate story. He lives in a world that only exists in his mind," Stienstra said in an email.
He said he may still file an injunction against Chandler to have him remove the post.
Can anyone else see the steam coming out of his ears? And thanks to the folks who are giving this some ink (and incoming Google links):
More to come.


text:
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A Meta-Analysis of High Resolution Audio Perceptual Evaluation - June 2016
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On Development of New Audio Codecs
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subset: commoncrawl


text:
By Pat Launer
The Oresteia's Treatment is conflated,
While a Sailor's Song is celebrated.
Each Hold, Please gal becomes an arch-rival
But Renny and Backbone are tales of survival.
THE SHOW: Sailor's Song, by John Patrick Shanley, who won the Tony and Pulitzer for Doubt and an Oscar for "Moonstruck." The play was overshadowed by Doubt, which was written the same year, 2004. This is its West coast premiere.
STORY: "If you could take life by the wrist and dance, I
think it would be a waltz." So says Rich, a commercial seaman. And that's just
how his memory plays out. He's looking back at one summer spent in a coastal
town, when he went to be with his uncle and his dying aunt. At the local bar,
he meets a provocative, sensual, irresistible pair of sisters. One's a psychic
medium, an "automatic writer" who channels a Punjabi salesman from
THE PLAYERS/THE PRODUCTION: The play has a sort of magical realism about it. At New Village Arts, Kristianne Kurner and her crack design and creative team have brought the perfect degree of dreamy romanticism to the production. Nick Fouch has designed a lovely, evocative set, split between the café/bar and the front wall of the uncle's cabin, gently lit from within, where the comatose aunt lies dying. Between the two playing spaces is a rowboat that, without a lot of technical fanfare, glides enchantingly across the floor, as do the performers. Justin Hall's lighting (starry sky and all) enhances the amorous mood established by Adam Brick's sound design, a wild mix of music specified by Shanley – from Strauss' "Blue Danube Waltz" to Engelbert Humperdinck's "Lonely is a Man Without Love." As schmaltzy as it may sound, it all works wonderfully, under Kurner's meticulous direction of a stellar ensemble.
Robin Christ and Doren
Elias were once professional dancers (she in ballet, he in modern) before
injuries cut short their careers. This is the first return to that artform for
both. Christ choreographed, with Grossmont College Dance instructor Kathy
Meyer, who created Christ's heart-rending solo, set to Otis Redding's "Try a
Little Tenderness." The dancing and the outstanding ensemble carry us into this
magical world of Fate and missed opportunity, titillating possibilities savored
even in the shadow of death. The setting is supposedly southern Atlantic,
though the dialects smack of
Manny Fernandes is both grounded and airborne as the confused and self-doubting Rich, an ordinary man (in the throes of a kind of midlife crisis), yearning for extraordinary experiences: "Adventure…exotic places, explosions, beautiful women." He's too land-locked to notice that they've come to him, in ways he never anticipated and can only recognize in retrospect. Fernandes breathes credible life into this fascinating character of contradictions; his interactions with his uncle and the women are marvelous, thought-provoking, incisive. As his two-pronged potential paramours, Amanda Sitton and Amanda Morrow are delightful, and as irresistible to us as to Rich. Sitton is the otherworldly blonde and Morrow the sensible brunette. Their caring, competitive, sisterly exchanges are perfectly paced. Elias is wonderful as the crass and cantankerous Uncle John, who's spent his life burying himself in sensual escape (booze, women, world travel) until he's confronted with death, the depth of his love and the loss of his anchor. As that ballast, Christ is aptly ethereal (she only comes alive after death), filled with the wild zeal and energy of a life re-lived through one last dance. When Elias joins her for a pas de deux, there are more than a few sniffles in the house. The play is a little capricious; its messages are sometimes a tad sentimental. The language is both earthy and lyrical. And the production is wonderful.
THE LOCATION: New Village Arts in the Jazzercise Studio, through April 29
THE SHOW: The Treatment, the West coast premiere of the latest political work of Eve (Vagina Monologues) Ensler. The two-character drama premiered Off Broadway last fall.
THE STORY: The duo is unnamed. He's a sergeant; she's a major. His wife sent him to see her. Suffering from Post Traumatic Stress Disorder ("I can't get hard. I can't get still. I can't get quiet. I can't get anything"), he refers to himself as a "PTSD freak." She's the stiff, starched shrink who's going to get to the bottom of his pain, though it seems to be for reasons other than medical healing. She has her own baggage and agenda, though her character is far less well defined and less believable than his. Her unconventional means of 'treatment,' acutely akin to the interrogation tactics he himself has used in the war, careen way over the line of professional propriety into the realm of the inconceivable and unbelievable. But, as they say, "all the rules have changed" in this war. This unidentified conflict is all about torture and enemy combatants. Ensler has never been known for subtlety. Her war is as clear as her thematic points: What really happens in places like Abu Ghraib? Are the perpetrators of violence victims, too? And where in the chain of command does responsibility and accountability lie? Her thesis, or hypothesis, is too on-the-nose. The relationship between these 'combatants' is questionable and often objectionable. But the dialogue is intriguingly rapid-fire, especially at the outset. And the play is a terrific vehicle for a bravura performance.
THE PLAYERS/THE PRODUCTION: Under Delicia Turner Sonnenberg's precise direction, Matt Scott gives a tour de force performance. We watch his defensive paranoia turn to head-pounding hysteria, as he deals with blinding delusions, hallucinations and flashbacks, and ultimately winds up stripped naked (physically and emotionally), spewing all the inner turmoil, pain and regret for the orders he followed, the torture he inflicted, the repercussions he endures. It's a stunning accomplishment. Jennifer Eve Thorn (who should be wearing a bona fide uniform, frequently referred to in the text) maintains her stiff diffidence (though she could be even more starched and icy), until she moves from the sedative injections to the less conventional (and more sexual) approaches. We ultimately learn of her personal motivation, but we never quite get who she really is or why she never leaves her 'lair.' Still, her intense interactions with the sergeant in the first scene, the pitch-perfect pauses and eyeball-to-eyeball confrontations, are thrilling. Amy Chini's set is somewhere between a hospital, a prison and a stark interrogation cubicle, all gray and metallic. Jennifer Setlow lights the room provocatively: alternately dim or fluorescent, with a sliver of light peeking through the gunmetal blinds. Though the play has plenty of problems, the central, searing performance has none.
THE LOCATION: Moxie Theatre in the Lyceum Space, through April 29
THE SHOW: Hold Please, by native Del Martian Annie Weisman (Be Aggressive). The play was commissioned and developed at South Coast Repertory Theatre, and is being revisited by then-dramaturge Jerry Patch, now artistic director of the Old Globe. The play had an Off Broadway run in 2003
THE STORY: Consider the comparison. Hold, Please concerns women in the workplace. Glengarry Glen Ross (recently seen at 6th @ Penn Theatre) concerns men in the workplace. But what a difference! Sure, Weisman is still a blossoming young writer and maybe it's not fair to place her work beside that of veteran playwright David Mamet. But he was only 37 when he wrote his Tony-nominated play; and she's now 33. Not to belabor the point, but both plays feature a bevy of fairly unsavory employees doing unpleasant, if not downright malicious things to their colleagues. But the stakes are high in Mamet's play, and we secretly relish the underhanded dealings (a touch of schadenfreude, perhaps). But in Weisman's play, besides being catty, conniving and competitive, one of the most heinous acts is stealing candy from each other. Oh yes, in a vendetta against men, bosses, misogyny, office inequality and a personal humiliation of years ago, one secretary (aren't they all called Admins these days?) convinces the others to come down hard on one of the partners for sexual harassment. He's fired. And it's the wrong guy; the head honcho is really the predator. No one seems to care, despite the fact that the accused is innocent, Hispanic, and has a wife dying of cancer. Oh well, just another day in the secretarial (cess)pool. This is more a slice of life (unappealing as it may be) than a well-plotted play. There is the well-balanced generation gap: two older women, two younger. The former may have fought for equality, but they've come to accept their subordinate status, while the battle for equality is completely lost on the junior members of the clerical quartet; they're straight-ahead ladder-climbers in whichever way suits them (sleeping with the old boss or kissing up to the new one). It isn't a pretty picture, but it isn't a particularly compelling or amusing one, either.
THE PLAYERS/THE PRODUCTION: The production is improbably both sluggish and hyperactive. The pace of the scenes often lags, except for the snappy, sex-obsessed interactions of the two 20-somethings. Weisman has a terrific ear for the speech patterns, cadences and topics of her contemporaries, an early gift she demonstrated in her delectable Be Aggressive, which premiered in 2001 at the La Jolla Playhouse. The older women are saddled with far less interesting characters and dialogue. The role played (as always, quite convincingly) by the exceptionally talented but here under-challenged Kandis Chappell, is a stereotype: the rule-follower (and secretarial rule maker) who's been on the job forever and covets her tiny piece of office turf. Her less angry and uptight comadre, symbolically named Grace (Starla Benford), has also been there and done that (with the boss, etc.), though she's more temperate and forgiving. But she doesn't really add much to the mix, and she willingly conspires in all the devious goings-on, which puts quite a tarnish on her saintly star. In fact, her character seems superfluous. The two newbie secy's are a delight; Stephanie Beatriz as the dark-haired seductress, and Kate Arrington as the blonde bimbette who's hellbent on getting ahead no matter what, even if she doesn't know where she's going. Their boyfriend angst and antics are witty at times, though the satire and humor could be much sharper, and it'd be nice to feel like there's actually a point to all the machinations.
The production is attractive, but there's an excess of activity. Lights (David Lee Cuthbert) flash convulsively between scenes; stage business (including a round-robin of desk-switching) seems contrived; the sound (Paul Peterson) is antic, angular, electronic, and repetitively punctuated by the whooshing sound of the telephone and the endless reiterations of the company name in answering them. Director Kirsten Brandt, who's done so much exciting, electrifying work, doesn't bring her usual edge to this production. Maybe it's the play. But the result feels flat and insignificant. It may aspire to painting a gritty portrait of post-feminist females and their elders at work, but it isn't very comical, political, deep or complex. It all seems like much ado about rather little, on the part of all concerned.
THE LOCATION: The Old Globe's Cassius Carter Centre Stage, through May 6
THE PLAY: Oresteia, the trilogy of tragedies about the end of the curse on the House of Atreus, first performed in 458 B.C., written by Aeschylus, considered the father of Greek tragedy. The only surviving trilogy of Greek antiquity, the plays have been conflated into one evening's (bloody, murderous) entertainment by adapter/translator/scholar Dr. Marianne McDonald.
STORY: The theme that courses through the trio of plays
is crime and punishment, revenge and retribution. The actions
of one family progress from personal blood feud to bloodthirsty vengeance to
the more balanced meting out of justice. Agamemnon focuses on the
triumphant return of the King of Argos from the Trojan War. Waiting for him at
home is his wife, Clytemnestra, who, along with her new lover, Aegisthus, has been planning the murder of her husband,
because he sacrificed their daughter, Iphigenia, so he could win the war
THE PRODUCTION/THE PLAYERS: In McDonald's straightforward but linguistically lofty adaptation, Agamemnon, the longest of the three plays, comprises the first act. The Veteran Chorus (Fred Harlow, Steve Jenson and Dough Hoehn), with its crutches, canes and walkers, sounds like modern-day military vets, lamenting the unending ravages of war. Unfortunately, they are fairly static (though rather nimble for their disabilities), and they have more than half the lines in the play, many of them long-winded, name-laden exposition, and this doesn't drive the action or story.
Then come the outraged Clytemnestra (fulminating Sylvia Enrique), her sleazy, crown-craving lover (Chris Fonseca), and her victorious husband (imperious Dónal Pugh), who seem more Greek than modern in their mien. Still, the relevance to current wars and internecine battles isn't lost on us. But then, the entire sensibility changes. The second act (the last two plays) takes on an almost campy cast. Suddenly, music is added to the proceedings (composed and directed by Leigh Scarritt). Electra (sweet-voiced Tiffany Jane) has a Goth appearance (costumes by Douglas Lay), and her ballads are redolent of "American Idol" schmaltz and sentimentality. The five Furies, scuttling along the ground with their ultra-long red fingers, look like B-horror movie escapees.
The cast in general is uneven, but standouts are
Monique Gaffney as the wild, African-influenced Cassandra, and the all-powerful
goddess Athena; Pugh as the returning hero Agamemnon and the god Apollo, who
defends Orestes authoritatively (except for his odious remark about the Father
being the "the real parent; [the Mother] is simply the host"). Also noteworthy,
new to
THE LOCATION: 6th @ Penn Theatre, through May 13
THE SHOW: Backbone: A Personal Story of Triumph, a commissioned work choreographed by Charlene Penner, kicks off 6th @ Penn's Resilience of the Human Spirit Human Rights Festival 2007, which runs through August 12. Penner's Butoh Ritual Dance, this time performed without the traditional chalky whiteface, is inspired by the post-War, anti-Establishment Japanese avant garde artform.
Her piece, a study in pain and survival, features four females, initially arrayed as a family at play. Then, they are set upon by heavily armed soldiers (a grainy, unclear projection on a sheet loosely tacked to the upstage wall), one of them is killed, and the rest are tortured or traumatized.
Myriad tortuous scenes are played out, most unforgettably Penner in her 'pain box,' making her precise and painstakingly slow Butoh moves in two small cage-likespaces that can contain her folded body but not her palpable anguish. Her face is a thesaurus of suffering. She's joined onstage by another adult, Cynthia Jemmott, and the two young girls: Timyra-Joi Timyra and Sarah Nicolas. Though they all have dance backgrounds, their moves are far less dancerly than those Penner executes. They hold hands, they circle, they sing ('Kumbaya,' no less, with all its verses!).
Nicolas, who portrays the slaughtered tot, re-appears as a ghostly observer, seen through an upstage window. Symbolism abounds: a child's stuffed animal (a hippo with zebra stripes), and most effectively, a long strip of shiny red fabric, which stands for blood and torture, abuse and agony. It spews forth after the shooting, snaking its way across the stage. The hippo is wrapped in it. Inch by inch, Penner takes it in, consuming it as she tries to 'eat' and submerge her pain. She chokes on it spasmodically. After a time, she lets it out, gradually, and her effluent is neatly, ritualistically, gathered, cleaned up and hidden away by Jemmott. The fabric is used for curtains, a sign of life and rejuvenation, a return to normality. But a small strip of red is always visible; the awful memories never fade.
From the isolation and torment to a gradual, reluctant reunion, the piece moves from devastation to anticipation. The ultimate message is undeniably uplifting. Timyra cuts pieces of the red cloth and makes roses, which she shares with the women, affixes to their clothes. They have turned their poison lemons into lemonade. After much internal and external struggle, they embrace the possibility of trust and love, joy and companionship. Though some parts of the piece are unduly abstruse and others too direct, there are some striking, stunning images, and a message about the promise of hope and compassion, even after the most horrific and hideous of experiences. The 'Backbone' of the title refers to the literal spine, that which holds the body erect, which can be broken and also healed; and also, metaphorically, grit, guts, courage, stamina and moral fiber. Fitting image for the start of the 'Resilience of the Human Spirit' Festival.
THE LOCATION: 6th @ Penn off-nights (Sunday-Wednesday), through 4/24.
THE SHOW: Renny's Story, written by
Renny Greenblatt
Trajman was born in
play is set from 1939 to the present, chronicling Renny's
life and her philosophy of life: upbeat, filled with compassion and hope. There
was a bit of backstage drama, too. Last year, the play was performed by local
actor Kimberly Kaplan. But for the last few performances this month, she was
constrained by laryngitis and couldn't appear. Understudy to the rescue: Laurie
Lehman-Gray, whose father was a German Jew also forced to come to
ALL ALBEE, ALL THE TIME… Three-time Pulitzer Prize-winning playwright Edward
Albee was once again part of the SDSU Design/Performance Jury, which
was created by professor/scenic design-master Beeb Salzer 23 years ago.
Salzer introduced him as "the greatest living playwright in
The play chosen by the
faculty this year was Fuente Ovejuna,
As the event is structured, three student groups present their direction and design ideas, and a scene from the play. They're then questioned and critiqued by an imposing array of professionals, which this year included South Coast Rep artistic director Martin Benson, scenic designer Tom Buderwitz, lighting designer York Kennedy (an associate artist at the Old Globe), costume designer Maggie Morgan and actor/director Sean Murray. The student presentations were fascinating, and unique: the first two groups shared their actors, but one presented the scene in English and the other in Spanish. The differences were appreciable; the lyricism of the original language was striking, and the addition of live music and dance were outstanding (if at times a bit overwhelming). The third presentation was a film version, which brought a whole other sensibility and energy to the story. Interestingly, they all chose the same scene, which was a pivotal moment in the play, the commander's attempted rape of a lovely young townswoman. The jurors were both supportive and critical/analytical, as they always are, and the students acquitted and defended themselves well. The best-regarded design was a scenic model by Jungah Han. The most theatrical moment was when Martin Benson stepped forward to re-direct a scene. It was wonderful to watch him work.
What the students do is brave, impressive and often imaginative. But it's always the jurors' comments and discussions that are most exciting. The topics ranged from period research to working within financial constraints when mounting a production. It was, as always, a most successful, enjoyable and educational experience, something I look forward to every spring.
And there were more philosophical musings the next day, when Albee appeared at a fundraiser for the Playwrights Project, headed by that other Salzer, Deborah, the powerhouse who founded the extraordinary and far-reaching organization 22 years ago. Playwright Annie Weisman, still in town for the weekend opening of Hold Please at the Globe, made a heartfelt statement about how Deb Salzer was the first to convince her she had stories to tell. She went on to win the statewide Plays by Young Writers contest, and she's currently writing a touring production for Playwrights Project. Meeting Edward Albee 15 years ago, she said, "showed me the enormous power of words. His playfulness and musicality with language, his intellectual rigor and emotional veracity, even sometimes telling ugly truths, inspired me."
And there was a scene from one of this year's Plays by Young Writers, Thomas Hodges' funny/serious Stage Directions, with Marcus Cortez and Andrew Kennedy reprising their roles. Hodges sat for a little chat with Albee, which was delightful and insightful. Albee, sometimes an insufferable curmudgeon, was gentle, kind and genuinely interested in the young man. Hodges' frankly autobiographical play, about a budding gay writer, inspired Albee to talk more about himself than he usually does. After revealing a good deal about his family and upbringing, he maintained that he has never written about himself personally. He said he became a playwright after he "failed at every other art form," including painting and composing, writing short stories and poetry. He wrote his first play at 14 (a 3-act sex farce), but his next one didn't appear till age 28, and that was Zoo Story, "the first thing I ever wrote that felt like it came from deep within me. No lies, no subterfuge. My thoughts naked. And it felt good."
After a half-century of playwriting, his advice to Hodges included the following:
"Survival is having an accurate self-appraisal of how good you are and how good you can be, and the tenacity to hang onto those things without compromise."
"One question you should never answer: 'What is the play about?' The proper response is 'About 1 ½ hours.' It's about everything that happened before the play began and after. The play is parentheses."
"Every time you write a play, you're revolutionizing theater. If you don't offend somebody, there's no point in having written the play."
Other thought-provoking
things Albee had to say:
"The arts hold a mirror up. You don't like it? Change things. The most popular forms of literature don't do that. They don't raise questions; they just tell us how wonderful we are."
"The one thing that distinguishes us from all other animals is that we are the only animals that make art, the metaphor to refer to and examine ourselves. Our tails fell off and we grew art."
"The NEA gives $115
million a year to the arts.
"The state of arts education is appalling. We may be one of those societies headed downward before we hit our zenith. Unless you have a society esthetically educated, you have a society of educated barbarians."
… WHAT's YOUR REVIEW? Go online at kpbs.org, and post a COMMENT on my reviews… and I'll be glad to have an online chat with you.
… All the way with NVA…
Though bureaucratic delays forced New
Village Arts to open Sailor's Song
at their old stomping grounds, the Jazzercize studio,
construction has officially begun on their new downtown
… Giving something back: Psychotherapist Al Germani, artistic director of Lynx Performance Theatre, has instituted a "1 ticket – 1 dollar" donation program. For every ticket purchased for the Lynx production of Paula Vogel's How I Learned to Drive, one dollar will be donated to "various child and adolescent abuse treatment and prevention programs." And as an extra enticement to new audiences, anyone who's never attended a Lynx performance can get One Free Ticket to Drive, as long as they pay the $1 Child Abuse donation fee.
…On the Bevell…. Former Fritz artistic director Bryan
Bevell was back in
… The Great Migration… As the culmination of SDSU's month-long celebration of the works of Nobel Prize-winner John Steinbeck, called "Enduring Voice of California," the Theatre Dept. is presenting The Grapes of Wrath (adapted by Frank Galati), April 27-May 6. Outgoing department chair Nick Reid directs. On May 1, scenes from Steinbeck books will be presented through readings, film clips and theatrical presentations, followed by a discussion. For info about all the Steinbeck festival events, go to http://cal.sdsu.edu/steinbeck/scheduleevents.htm
.. A recent note from former San Diegan Bryna Weiss, who has a lifetime of theater and TV credits, strongly recommends that you take the scenic drive up to the Laguna Playhouse, where she's appearing in the American premiere of The Master of the House, by Israeli playwright Shmuel Hasfari. It's a timely, thought-provoking comedy about remodeling a house – and so much more. Bryna says it's getting standing ovations, and she's thrilled with her part in it. Through April 29. www.lagunaplaywhouse.com
…Getting to the Root of
things… Sledgehammer Theatre's
upcoming production, Beckett3, features the
music of Tim Root, Seattle-based
composer/performer/improviser. In 1985, Tim was a founding member of Sledge,
and has collaborated with co-founder/artistic director Scott Feldsher on many productions. On
May 8, Tim will be featured in a pre-opening rehearsal, to which audience
members are invited to bring their own instruments. The next night, the
opening, Tim will perform live and will participate in a post-show discussion
on Beckett and other subjects. The site-specific show runs May 9- June 3 in an
empty storefront warehouse at
…Perspicacity and Tenacity:
Although he lost his cozy little
WISH, WILL! It's the 443rd
birthday of William Shakespeare, and you'll want to join the San Diego Shakespeare Society in
celebration. The birthday party, to be held at the Folly Theatre in the lovely
La Jolla
THE BUSINESS OF SHOW: The Commercial Theater Institute (CTI) is presenting its annual 3-day intensive training program, "Producing for the Commercial Theater," to answer the dramatic question: What on earth does a commercial producer do – and how do I get to be one? Participants spend their weekend with theater professionals like Rocco Landesman (The Producers) , Kevin McCollum (Avenue Q), and David Stone (Wicked), along with other producers, general managers, theater operators, press and literary agents and theatrical attorneys, who cover topics like marketing, management, working with non-profits and legal issues… prep for producing on Broadway or anywhere else. May 4-6, $400. Register at www.comercialtheaterinstitute.com.
…Perfect Re-creation: Sandra Ellis-Troy will serve as lead actor and director of a
reading of A Perfect Ganesh, the Terrence
McNally comic drama she assayed, with Pat DiMeo, at
North Coast Repertory Theatre a decade ago. Ellis-Troy and DiMeo
reunite to tell the story about two
..Greece & Peace… The Chronos Theatre Group is back… with a staged reading of Aristophanes' Peace. The comedy concerns a man, tired of war, who flies to heaven on a giant dung beetle to find Peace and bring her back to Earth. Celeste Innocenti and David Cohen (of Grass Roots Greek fame) appear, and Doug Hoehn directs. At the Lyceum Theatre, Tuesday, May 8 at 7:30pm. 619-295-5047.
…The Music of
ASPIRATIONS: Aspire Playwrights
Collective presents an evening of short works by emerging playwrights. The
staged readings include the terrible girls by Jackie Goldfinger, directed by Esther Emery and Chelsea Whitmore,
featuring Rhianna Basore, Sara Beth Morgan, Erika Phillips and others. Phases
is written and directed by Kristina Meek and features Lee Lampard et al. Welcome Home, by Jennie Olson, is directed by Tyler Hewes.
Saturday, April 14 at 8pm, at the
.. And speaking of new works, Don't Miss the annual UCSD Baldwin New Play Festival. This year's lineup of four full-scale productions and one staged reading looks fascinating and provocative, as usual, and stars the top-rated undergraduate and graduate actors, helmed by the school's adept directors. April 18-28, in various performance spaces on the campus. See the theatermakers of tomorrow today. http://theatre.ucsd.edu/NewSite/season/newplayfest
… John Malashock is putting himself 'On the Spot.' His latest endeavor, in his new NTC
digs, guarantees a view of dance that people rarely get to see: the creative
process of new choreography in action. This weekend (4/13-15), he invites you
into the private world of artistic trial-and-error, as he begins creating Stay
the Hand, his major new collaboration with Iranian-born composer Shahrokh Yadegari and video
artist/filmmaker Tara Knight. The beginning of this process leads to part two, 'Persian Sketchbook,' where Malashock, Yadegari and Knight, along with company dancers, show the
results of their creative "sketching" (5/18-20). Both events take place in
studio 200 at Malashock Dance, inside the new
.. Also on the dance floor, Patricia Rincon Dance Collective is
celebrating its 25th anniversary with a spanking new season that
begins in May. The Myth Project II, Sensitive Habitats is a co-production with
Sushi and will be held in two
distinct locations on two successive weekends: at the Centro Cultural de la Raza in Balboa Park (5/3-4) and outdoors at Oak Crest Park
in Encinitas (5/12-13). The dance pieces will weave a story of myth and
folklore about the settlers of Encinitas and
… SUSHI continues its 2007 Spring TAKEOUT SERIES: Focus on
Community Collaboration, with a variety of activities. A visual art
exhibition, "The Photography of Elazar Harel," photos from local dance performances, at the
Mandell Weiss Gallery in
MAN, OH MAN!... Jean Isaacs San Diego Dance Theater,
in co-production with the San Diego
State University School of Music and Dance, and the SDSU Dept. of Theater, presents
Mandance, to showcase "the virtues of masculinity"
BUTTER UP! Seven, the latest work by choreographer Traves Butterworth and his Butterworth
Dance Company, celebrates the company's 7th anniversary. The
seven individual dance pieces include Quake,
an athletic solo set to live drumming by Twon; Civil, a multimedia world premiere
dealing with the cost of war in
'NOT TO BE MISSED!' (Pat's Picks)
Sailor's Song – delicate, beautiful production; heart-rending and thought-provoking
New Village Arts in the Jazzercise Studio, through April 29
The Treatment – searing, intense (if flawed) play; gut-wrenching performance by Matt Scott
Moxie Theatre in the Lyceum Space, through April 29
The Long Christmas Ride Home, A Puppet Play with Actors - surprising, disturbing, unpredictable and excellently executed (Note: These puppets and this play are definitely not for kids)
Diversionary Theatre, through April 15
T.S. Eliot said "April is the cruelest month." But not if you're in a theater!


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|COM (2001) 674, 20 Nov. 2001; OJ 2002 C 51 E/370
|Bartolozzi report supporting proposal (A5-0204/2002) adopted by legal affairs committee, 27 May 2002; plenary vote in favour, 11 June 2002 (OJ 2003 C 261 E/97)
|UK and Ireland have opted in; Denmark automatically excluded; adopted as 'A' point by General Affairs Council, 18 Nov. 2002 (Council doc. 11248/02, 21 Oct. 2002): Decision 2002/971/EC
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My dog passed away just short of her 19th birthday, which is very geriatric in dog terms. I believe she would have been the equivalent age of a human in their 100s. She was blind, deaf and arthritic, but still quite vibrant until her last few weeks. She needed help to move around and was the topic of a great dispute at home regarding how much you could manoeuvre her around on Shabbat and holidays to help with her feeding, drinking water and bodily functions. To this day, I will regret being told I could only just push her with a foot or some other method to move her and regret not being allowed to pick her up and cuddle her on Shabbat and holidays in her last failing year. None of the activities were "playing" but in the realm of "caring for" and "comforting." Blind and deaf, she needed to be touched to feel safe. What would be the halachah in this instance?
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Igros Moshe Orach Chaim 5:22 holds that pets are not Muktzah at all. This would mean that even if the pet is feeling fine you may pick up and cuddle your dog on Shabbos. Although there are those who disagree with this ruling, possibly in a case of hardship, pain or discomfort your rabbi will permit relying on it.
Yabia Omer 5:26 says that one may move a household pet to alleviate its suffering.


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By JOHN McCALLUMEditor
Crunch Time
May 2, 2013 | Vol. 117 -- No. 2
As much as I loved the Seattle SuperSonics and wish professional basketball would return to the region, part of me hopes the bid to bring the Sacramento Kings north doesn't succeed.
The NBA's Relocation Committee on Monday shot down the proposed sale of the Kings to a Seattle group led by San Francisco hedge fund manager and Seattle native Chris Hansen. More precisely, the committee decided to not recommend the move to the league's Board of Governors.
Hansen's group reached an agreement with current Kings' owners the Maloof family to buy a 65 percent share of the franchise, $357 m...
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Tuesday, August 19, 2008, 7:00 PM
Join Drs. LaMonda Horton Stallings, author of Mutha is Half a Word, and Herukhuti, author of Conjuring Black Funk, for a lively gathering with two outspoken academics about the politics of sexuality among people of African descent in the US. They will read excerpts from their groundbreaking works and contribute to a discussion facilitated by erotica author, Kimberly Q, and with a special performance by Nhojj. The event is hosted by Steven G. Fullwood, project director of the Black Gay & Lesbian Archive. A Q&A and signing will follow the program. Books, CDs and DVDs will be available for purchase.
Between Black Thighs @ Schomburg Tue 19 Aug 08
Tuesday, August 19, 2008, 7:00 PM


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I want that overhead should be calculated on basis of the following formula
(Material Cost x Rate + Labor Activity x Rate) = Overhead
However in SAP the system is calculating overhead on the basis of the following formula
(Labor Activity x Rate) = Overhead
The system is calculating correct overhead amount in target cost as origin group and overhead group are maintained in material master record but when I go for actual overhead calculation the overhead is calculated on labor activity only which is not correct.
Can any one suggest an appropriate solution for correct calculation of actual overheads.
In that case it is suggested that you should follow an overhead allocation using the costing sheets. You can create costing sheets using the following menu in SPRO
Controlling > Product Cost Planning > Basic Settings for Material Costing > Overhead
You would need to create OH Cost elements (category 41) and use the same for allocation. The following activities are required
Define Calculation Bases
Define Percentage Overhead Rates or Define Quantity-Based Overhead Rates
Define Credits
You would also need to assign the costing sheet to material so that the overheads are posted.
Kind Regards // Shaubhik
Check what costing sheet have you assigned in the Valuation variant of your production order type...
You can also see the costing sheet in the CONTROL DATA tab of your production order... See if it is the same costing sheet as in the costing variant you used to release the cost estimate from Ck11N/Ck40N
Check if your overhead is based on labor cost alone..
Ajay M
There could be a possibility that you have maintained the overhead rates only for plan values (indicator 2) and not maintained for actuals (indicator 1) in your costing sheet.
Kind Regards
Umapathi G
Thanks every one for quick responses
@ Shaubhikg : I think you are talking about the cost element to be entered in the credit area of costing sheet. I have checked the configuration and an overhead cost element is already entered there. Similarly all the relevant activities i.e. Define Calculation Bases, Define Percentage Overhead Rates or Define Quantity-Based Overhead Rates and Define Credits have already been performed.
@ Ajay Maheshwari & Umapathi Naidu G : Everything is correct but still no success and actual overhead is calculated on labor only
looking forward to your solutions
hi ,
most of the major checking parts have already been mentioned by the above experts , just want to make sure about some little ones like
1. what is the validity of your Overhead rate , could be the validity is over
2. If your overhead rates are maintained on origin groups defined , den inside the base check if you have mentioned the origin in the fields FROM & TO
3. ANd Also check the Material Master for the plant in whic they are consumed have origin groups mentioned in them or not.
HOpe this helps
sayeed baqresa
I have checked every configuration part and its present in the system but I am not getting correct overhead amount.
Kindly help in this regard.
Any one please Help in resolving the issue
Check your BASE in the costing sheet.. Does it have all the relevant cost elements (Both Material & Labor) specified in it along with the origin group...
Also, if you have specified Origin group against the material cost elements, then check your material master if it has the Orgin group in it
Ajay M
I dont think its much of help, but still compare both valuation varinats of the plan costing varaint as well as actual costing variant, if at all these two costing variants are different.
Thanks & Regards,


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Are you looking for a stock?
Try one of these
Wescast Industries (WCS.A-T) said on Tuesday it agreed to be bought for about $13.60 a share by China's Sichuan Bohong Industry Co, a deal valuing the Canadian auto parts maker at about $180 million.
Wescast, the world's leading supplier of cast iron exhaust manifolds for passenger cars and light trucks, said Bohong had already completed due diligence and has made a $2 million deposit as a sign of good faith as it seeks financing.
To complete the acquisition Bohong needs to secure committed financing from the China Development Bank. A memorandum of understanding between the companies gives Bohong exclusivity until December 30 and that period can be extended upon payments of subsequent deposits.
Brantford, Ontario-based Wescast supplies the car and light-trucks markets in North America, Europe, Asia, Africa, South America and Australia.
"Bohong intends to build on Wescast's long history and believes that this acquisition would assist Bohong and China's automobile industry to reach a new platform in servicing global customers," Bohong Chief Executive Dong Ping said in written statement.
Wescast has some 5.86 million Class A subordinate voting shares and 7.38 million Class B common shares outstanding.


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In case you were out of the loop this week, here's an easy way to get back in and catch up on everything you missed.
The Movie News:
Losing Harold Ramis had to be the worst news of the week. But apparently that's not stopping Ghostbusters 3. The most interesting news has to be that one of the stars of Girls will be the villain… Continue reading Best of the Week: New 'Star Wars' Villain, 'Inception' Board Game, Best Picture Viewing Guide and More


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With a few weird exceptions, the bolt action will always be more prone to greater accuracy. Fewer moving parts and all that.
This is a discussion on Grouping - semi vs bolt. within the Defensive Rifles & Shotgun Discussion forums, part of the Related Topics category; I came to a conclusion which I think has some logic. This is merely a recounting of an observation/deduction. I do not expect micro groups ...
I came to a conclusion which I think has some logic. This is merely a recounting of an observation/deduction.
I do not expect micro groups from my semis compared with same cal in bolt - and one reason I think is the possibility - probability even, of bullet tip distortion, even if very slight.
What really brought this to mind was re a problem I used to have with my L1A1 - a Century ''less than perfect'' rifle! I did some work on the feed chamfer (I set up gas valve too BTW) and smoothed things up and now functionally it runs well but - think of the round stripping off mag - first from left - then from right and so on - it feeds by bullet sliding past chamber chamfer on one or other side.
This will apply to most semi's with double stacking. My FAL, Mini-14, AK, SKS etc ... I assume same too with AR family.
I noticed with L1 that even when a round had fed to full chambering, if I removed it and inspected the bullet, there was a visible slight marring of the nose - not much but IMO enough to affect absolute axial symmetry - and so flight stability potential.
Furthermore, inspection of the chamber mouth chamfer often shows a slight copper color as feed rubs bullet nose against this area - both left and right.
Most bolt feeds strip off a single stack mag but also - feed round in a more linear fashion and probably less aggressively too.
So - IMO comparison might be with, say, .308 - a 1/2 MOA performance from a good bolt, as against MOA plus from the semi.
Obviously barrel lengths and action effects also come into play but it strikes me this bullet distortion potential is a significant reason for many semi's never being able to outclass a bolt action.
There ya go - just P95 musings - again
Chris - P95
NRA Certified Instructor & NRA Life Member.
"To own a gun and assume that you are armed
is like owning a piano and assuming that you are a musician!."
http://www.rkba-2a.com/ - a portal for 2A links, articles and some videos.
With a few weird exceptions, the bolt action will always be more prone to greater accuracy. Fewer moving parts and all that.
Most semis bounce the bullet into the chamber ala 1911 Theres few rifles that can be as accurate at super long ranges as a bolt but semis werent designed for that either
The few exceptiong being the Soviet Drungoff(SP)_
and the Walther semi auto and of course the German HK PSG1 there will be almostas good as a bolt gun if not running with it neck and neck
I think that a lot of the Bolt Mystique is due to the free floating of barrel and proper stock bedding. An awful lot of 1000 meter shots were made overseas using the M21 Sniper System which is merely a gussied up M1A. Also the use of 168gr BTHP Match Ammo is critical for optimum flight stability, when using the .308 loads.Originally Posted by Euclidean
In any case this kind of accuracy is really only useful in precision shots like a police officer might need. For example a military sniper need only be assured of hitting the cranial vault which is about 3x5 or even 4x6 on the forehead. But a SWAT sniper, faced with rescuing a hostage being used as a human shield has to strike EXACTLY one centimeter below the earlobe to cut the medulla and stop all reactionary muscle movement. See? For military purposes a semi is quite sufficient. Note that both the PSG-1 and the venerable Soviet Dragunov are military weapons. So was the M21. Although it is a fact that many more modern day sniper rifles are in fact bolts, the Barrett M82 cal 50 is a semi. According to the Geneva Convention, the cal 50 is never to be used against personnel only. Snipers get around this by saying: Well see....I was aiming for the HELMET or the WEB GEAR which is in fact....military equipment!
Former Army Infantry Captain; 25 yrs as an NRA Certified Instructor; NRA Endowment Life; Avid practitioner of the martial art: KLIK-PAO.
If semis are less accurate why have the Camp Perry hi power service rifle seen the semi as the favorite for a long time? M1 Grands, M1A's and now AR-15's. Partly , because of the semi auto stages, I'm sure, but the semi auto guns seem plenty accurate at 600 yrds.
You guys realize though when you're talking about some incredibly accurate semis, you are almost always talking about:
#1. A platform that lends itself to great accuracy. I'd go so far as to say that most semiautomatic platforms on the planet do not lend themselves to this. For example, try making an SKS shoot sub 1 MOA.
#2. A semi platform that's been tweaked to death. Sure AR15s can be very, very accurate, so can 10/22s and so are Baretts. Then again I know lots of people who can put a cartridge in your brainpan 500 yards away with a box stock Remington 700. Let's compare the cost of a Remington 700 to a tweaked out semi for a second... Or on a micro scale, compare a bolt action .22 to a semiauto .22. Without any tweaking, the bolt action is 99% of the time more accurate and it probably costs about the same.
I'm just saying that a bolt action is a cheaper way of getting that mind numbing accuracy for most people most of the time and probably always will be.
Very good point Rocky - which I should have remembered. I would need to inspect close up the chamber and throating on a Garand and see if the feed chamfers are better than average. Ahh but hang on - the 8 round cllp, does that feed a double stack mag or single stack? It is this feed left/feed right aspect which seems in many cases to enable some bullet effects. I have no M1 to check on.
With 5.56 (AR category) and so a much smaller round, possibly the effect is limited too - the .308 seemingly is more prone to the problem.
My main observation was with bullet tip distortion possibilities on the L1A1, which I am sure did not help accuracy tho as many say and is generally acceptable, many a semi will not stay up there with the bolts.
There again - even at 600 yards, MOA is still very adeqate against 1/2 MOA! Maybe I am just being pedantic (again!).
Chris - P95
NRA Certified Instructor & NRA Life Member.
"To own a gun and assume that you are armed
is like owning a piano and assuming that you are a musician!."
http://www.rkba-2a.com/ - a portal for 2A links, articles and some videos.
Euc your also talking about a semi that was made to be super accurate just high rate f fire and have a anemic round in the sks again here $$$ matter
Ill stack my box stock 742 woodsmaster remington 30-06 with a 3x9 scope against a Remington Bolt 700 30-06 3x9 any day
infact i have and its just as accurate as dads bolt gun i bought him with the free floated barrel and all that ..
No all semis are inaccurate and not all need to be tinkered with my AR is plenty accurate so is my Cetme though not as much as said above 30-06 but better than SKS by far maybe slightly less than the AR
Mmmmm. "Stock" 700 series , or the PSS? Stock anything (unless you get a bad specimen from the factory) from Bushmaster, RRA, Springfield, Remington, etc., should pull 1.0-1.5moa, semi- or bolt. The PSS (Police Sniper Special), M1A Supermatch, etc., should be 0.5 moa out of the box. "Mindnumbing" accuracy (0.5 moa or less )won't be "cheaper" with either mechanism- a Robar bolt will run in the same range as a tuned MSG-90, or SA Match.Originally Posted by Euclidean
M1 Garand feed double stack. Also the cartridge overall length has to be shorter for semis to fit in any mag. Bolt guns can fit longer OAL cartridges sometimes. (less bulllet jump from the case to the rifling. ) AR's are suppose to be more accurate than gas piston operated guns. I don't know if this is true or not. SKS and AK's are made to much looser tolerances than many other gun. Thus operate better in dirt, mud ect, but less accurate.
I have had both semi's and bolts that would just not shoot straight, I had a Rem 7400 308 that on a bench rest would hit 3"-4" apart every shot, and when it was Hot, forget it I would be lucky to hit a 6" paper plate at 75 yrds. I also had a Win 70 pre 64 30-06 that was about the same, I traded those lemons off after realizing why I got such a "good" deal on them.
My hunting rifle is a Win 70 reatherweight 308 with a fixed 4 power scope and I can bench rest it and take out dimes at 100 yrds everytime, even when hot. Where I live you really don't need a super accutate 1/2" gun cause most shots are only 30-75yrds out, and mainly on running deer (I like to HUNT, not sit).
The most accurate semi i have ever owned was a Win model 100 308, man that thing was a blast to shoot.


text:
Thomas Keller one step closer to turning Yountville into Kellerville with Aloysius Inn
Visitors to the mid-Napa Valley town of Yountville, famous for its high-end shops, hotels and restaurants, may soon have yet another luxury inn to choose from. The soon-to-be new lodging, Aloysius Inn, is the work of Thomas Keller, he of French Laundry/Bouchon/Bouchon Bakery/Ad Hoc fame.
Plans for Aloysius Inn, which may or may not be the final name for the proposed property on Webber Ave. and Washington St., include 20-units, a gym, a spa, pool and private courtyard. The Inn has reportedly been in the works for some 6+ years, having been delayed for various reasons and only recently overcoming its latest hurdle. In terms of when the new Inn may actually be up and running, an article in the North Bay Business Times said:
The town has agreed to schedule final design review on or before the end of March. Construction is estimated to take approximately 18 months.
If things keep up, Yountville may soon have to be renamed Kellerville.
[techtags: Napa, Napa Valley, wine, winery, Yountville, Thomas Keller, Aloysius Inn, French Laundry, Bouchon, Ad Hoc]


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In the third panel he's on the left side of the juicebox but in the 4th panel he's on the right? how? TRANSPORTATION POWERS!! LOL
Feb 18th
I know you guys out there wont like it but it tells you something!
Dec 28th


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I love everything about this dress. it was worn for a beach wedding. a silk dress very comfortable and forgiving. Its so comfy you forget its a wedding dress.
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- Will Ship to: Anywhere at Owner Expense
- Payment Methods Accepted: Other
Please read our BUYER'S GUIDE before purchasing a dress online.


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Mosaic marketing: appealing to multicultural customers
By Jenny
C. McCune Bankrate.com
they're nimble, small businesses are adept at marketing to niches.
But many small-business owners overlook lucrative subsegments of
their marketplaces: ethnic customers.
As the United States shifts from a white majority
to a nation of numerous minorities, it makes sense to tailor marketing
for specific groups. And a company doesn't have to be big to make
such a move.
"There's no question that depending on the product
or service, a small business can segment or do targeted marketing
for different cultural groups," says Marilyn Halter, a professor
of history at Boston University and a researcher on economic culture.
A good way to start is to examine your opportunities,
says Andrew Erlich, president and CEO of Erlich Transcultural Consultants
in Woodland Hills, Calif. "Stand back and ask yourself, 'Why
do I want to do this? Does this make sense?'"
In other words, is there an unserved minority constituency
in your market? Is this group a large enough source of potential
revenue to warrant the effort necessary for specialized marketing?
Get to know your potential customers
If you decide that multicultural marketing is right for your business,
you need to find out as much as you can about the needs, desires,
and culture of the group that you are targeting. There are several
ways to research a multicultural marketing strategy, including:
Creating a specific marketing
Once you've done your research, devise a marketing plan and execute
it. "Find out what the needs are of the members of your community
and how you can make your business a welcome place for a particular
ethnic group," says Halter, author of Shopping
for Identity: The Marketing of Ethnicity.
Typical components of a multicultural marketing program
Acknowledge differences, appreciate
The biggest mistake companies make when trying to launch a multicultural
program is underestimating differences between cultures. They'll
try a direct translation of an English advertising campaign.
The famous "Got Milk" campaign, for example,
would have directly translated into "Tiene Leche" in Spanish.
Hispanic consumers would have been asked, "Are you breast feeding?"
So despite the popularity and success of the ads among English-speaking
consumers, the national milk board had to devise a completely new
campaign for Spanish speakers.
In addition, marketers need to be aware that there
are differences within a broad group. Different groups of Asians
like to be treated differently. There are differences, says Erlich,
between Chinese Americans and Korean Americans.
Or take the differences between Chinese consumers
and their Hispanic brethren. When it comes to customer service,
cultural researchers say that both groups want personal service,
but the Chinese tend to want to be addressed on a more formal level
than Spanish speakers do.
Most of all, realize that one size doesn't fit all.
Regardless of whichever demographic group (teenager, baby boomer,
specific ethnicity, etc.) a customer falls into, the potential buyer
wants to be treated as an individual.
"The biggest advice I can give is just to remain
flexible," Erlich says. "That works in business in general,
as well as any subsegment."
It also translates clearly into the universal language
of commerce.
Jenny C. McCune is a contributing
editor based in Montana.
-- Posted: Nov. 26, 2001
time to create a marketing plan
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April 23, 2005
HONOLULU - In a result as quick as it was dominating, Fresno State claimed its fourth WAC title in a row -- and fifth overall -- with an overwhelming 4-0 victory over top-seeded Rice in the conference championship match on Saturday afternoon at the UH Tennis Complex.
The second-seeded Bulldogs became just the second school in Western Athletic Conference history to win four conference titles in a row. BYU, from 1993-96, was the other. In officially stamping the program as a WAC women's tennis dynasty, Fresno State also joined the Cougars as the only school to win five women's tennis championships.
Just as important, the Bulldogs (16-8) earned an automatic berth into the NCAA Tournament, which begins May 13 at campus sites around the nation. Fresno State has played in 10 consecutive NCAA's, last year reaching the round of 16 for just the second time ever.
The Bulldogs continued the impressive level of play that highlighted their late-season emergence. They have won eight consecutive matches and saved perhaps their best performance of the 2005 campaign for the WAC finals, executing as well as they have all year.
And getting the team to peak at just the right time has not been an easy task for head coach Simon Thibodeau. In his second year at the helm, Thibodeau was forced to deal with several injuries and illnesses to his top six players. As a result, Fresno State sputtered for a good portion of the year, even finding its record at 8-8 in early April.
But the Bulldogs circled the wagons for a stretch run that has seen the team's confidence go from rock bottom to sky high. That, plus the dominating fashion in which his team won the tournament, made comparing WAC titles easy for Thibodeau.
"No question about it, this one is sweeter than last year," Thibodeau said. "We weren't the favorite this year, so we really had to prove we were the better team. We might have thought we were the better team, but we had to go out and prove it. And to play like we did today is really special. It was our most complete performance of the year as a team, and it came at the perfect moment."
Fresno State set the tone immediately by blitzing Rice in the doubles to grab a 1-0 lead. Courtney Jantz and Lucia Sainz cruised at No. 1 to an 8-3 score while Katharina Winterhalter and Fadzai Masiyazi barely broke a sweat in their 8-3 victory. The matches finished within seconds of each other.
Winterhalter, who with Masiyazi dropped just three games combined in their doubles wins in the semifinals and finals, noted the seeds of Fresno State's shutout win were sown in claiming the doubles point.
"It's always important to win that doubles point," Winterhalter said. "We really jumped on them, and that gave us confidence. We got big leads on all three courts, and that's what we wanted to do to. Our goal was to show them who the boss was."
The Bulldogs attack never let up in singles. They won the first set in five of the six matches and never allowed Rice (17-8) a chance to get into the match.
Fresno State increased its lead to 3-0 when Lucia Tallo at No. 2 and Jacqui Haskett at No. 5 both won their matches in under an hour. Tallo, who became the first Bulldog ever to win four WAC titles in four years, played perhaps her best match of the spring in defeating Kimberley Patenaude 6-0, 6-2. Not long after Tallo's victory, Haskett dusted off Christine Dao at No. 5 by scores of 6-2, 6-0.
Fittingly, it was Winterhalter who clinched the championship for Fresno State. The junior, whose outstanding play in April helped spur the team's turnaround, defeated Blair DiSesa 7-5, 7-6 (2) to seal the 4-0 victory and the tournament title. It was Winterhalter's eighth straight win and increased her team-leading victory total to 27.
"[Winterhalter] deserved to clinch that match because she's been playing the best on the team," Thibodeau said. "But the bottom line is that everyone showed up to play today. From the first point of doubles to when Kat clinched it, we all played great tennis. It is just so satisfying to know we came in here as the No. 2 seed and proved we are still the best team in the WAC."
For Winterhalter, who was named first-team All-WAC in singles, her smile after the match told the story of how happy she was.
"We came to this tournament to win it," she said. "We didn't care if we were seeded first or second or whatever. Next year, we'll come back and try to get another."
Match Notes: Fresno State will discover its first round opponent and destination when the NCAA Tournament Selection Show airs Wednesday, May 4, on ESPNews. The time of the show will be announced at a later date ... Fresno State won its 12th consecutive WAC Tournament match and 20th straight over a league opponent ... the Bulldogs have knocked Rice out of the WAC Tournament the past three years ... the Bulldogs placed Katharina Winterhalter (first-team singles) and Lucia Sainz (first-team singles) on the All-WAC team ... Courtney Jantz and Sainz were also first team in doubles ... this year marked the first time a Fresno State player did not win WAC Player of the Year since 2000. That honor went to Daniela Muscolino of Tulsa ... Fresno State hosts next year's WAC Tournament at the Wathen Tennis Center ... the Bulldogs are now 2-0 this year when the women's tennis SID runs 4.5 miles the morning of their match. If they keep winning, the SID will probably be ready for a marathon.
(2) Fresno State def. (1) Rice, 4-0
Records: Fresno State (16-8); Rice (17-8)
1) #51 Jantz/Sainz (FS) def. Patenaude/Egic (Rice), 8-3
2) Tallo/Haskett (FS) led Chong/Karas (Rice), 6-3 suspended
3) Winterhalter/Masiyazi (FS) def. Dao/DiSesa (Rice), 8-3
Order of completion: 3, 1, 2
1) #88 Katharina Winterhalter (FS) def. #100 Blair DiSesa (Rice), 7-5, 7-6 (2)*
2) Lucia Tallo (FS) def. Kimberley Patenaude (Rice), 6-0, 6-2
3) Tracie Chong (Rice) led Lucia Sainz 5-7, 6-0, 6-5 suspended
4) Courtney Jantz (FS) was tied with Dominique Karms (Rice), 4-6, 6-2, 2-2 suspended
5) Jacqui Haskett (FS) def. Christine Dao (Rice), 6-2, 6-0
6) Fadzai Masiyazi (FS) led Medeja Egic (Rice), 7-5, 5-6 suspended
* Indicates clinching match
Order of completion: 5, 2, 1
Time of Match: 2:55
Conditions: 81 degrees, mostly sunny, winds 10-20 mph
Records: Fresno State (16-8); Rice (17-8)
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HT Localization Presents Language Translations for Real Life: International Success - eLearning Localization
- Details
- Published on Wednesday, January 30 2013 00:01
- Written by HT Localization
Segment 14 - International Success - eLearning Localization
Now that 2013 is in full swing, it is time to get into gear. You've put away your Christmas decorations, reviewed your personal goals for the New Year, and are now roaring to get your life in order. How about your driver's license? Have you looked to see if it expires this year?
If you are living abroad, have you checked to see if the laws permit you to continue driving with your foreign or international driver's license? The peril of life as an expat once again emerges…
If you are a resident of Spain, you need to have a Spanish driver's license after some time to continue driving legally. If your license is from another EU country or a country with which Spain has a reciprocity agreement, the process is very simple. However, if you are from the U.S., it is not so simple. So what does this have to do with localization or translations or international success? After all, this is supposed to be a blog about Language Translations for Real Life and Localization and International things, right?
Just hold on, I'm getting to that…
So I needed to get my Spanish driver's license. Spain allows foreigners to request the driver's exam in Spanish, English or French, and maybe some other languages – so I chose English. I found a driver's training school that provided the learning materials in English (aka…expensive), and I was on my way…eLearning! The driver's school provided a text book in English and software (along with a laptop) to conduct my training in my chosen language. Wow, I thought, how cool is that, they've translated their training so that I can learn the driving rules in my old language. ELearning - complete with text, graphics and voice-over narration available to non-natives, localization for the expat community here in Spain. Thank you!!
Then I cracked open the book and launched the software, and behold…the experience was not exactly what I expected. While the material was in English, there were serious grammatical errors; translated paragraphs that were simply incorrect; cultural examples that were lost on me; voice narration that didn't quite flow with the onscreen elements (I wondered, if I was literally on the same page as the narrator); and sections of incomplete ideas or just random phrases together in sections that didn't seem to make any point at all. Did someone even review this stuff? How much money did I pay for these customer facing materials? I eventually gave up on the eLearning in English, and started the eLearning materials in…Spanish, the source language – which provided a much better user experience.
I'm sure the driver's education producers really meant to provide a quality eLearning experience for the non-Spanish speaker. I am grateful that the material was even available to me in my own language. However, I hate to think about the cost, time and effort spent by the publisher of this localized eLearning material. My impression of the driving school, the publisher of the materials and the software producer had been determined, and there was not much that could be done to change my perception. I guess that they wouldn't want me to publish an article about them. Rather than beating them up, I shall offer some professional advice on how to overcome the challenges of eLearning Localization, and maybe I'll drop them a note to read this post:
Challenge #1 – How can you ensure the right eLearning localization experience for users?
The learning experience can vary greatly by how the information is presented. Localizing eLearning material will depend on the type of content, the presentation platform and the audience's culture. Sometimes selecting the right voice and delivery speed can make a difference as to how effective new information is processed by a person. Prepare your eLearning course for localization.
- Have in-country/native speakers review and give feedback on the translation. Reviewers can point-out any content that isn't appropriate or relevant to the local audience, and recommend suitable alternatives. (For example, I was confused by the warning in the driver's training, "If you feel dazzled, look away"; this referred to the condition when one is driving and gets hit with an oncoming car's glare from high beams. This was a literal translation from the Spanish term "deslumbrado".)
- Use controlled vocabulary and terminology to ensure quality and consistency in messaging. Style Guides and glossaries are the key to consistency across projects and languages. How one adapts an idea can be very subjective and might vary from culture to culture. Take the example: "Ready, Steady, Go" or "Ready, Set, Go"; both mean the same thing, but depending on which side of the pond you're from, you'd choose one expression over the other.
- Consideration should not only be given to text, but also colors, images and sounds. Different cultures have different connotations when it comes to visual images and colors, for example, the "thumbs up" gesture, is taken as an insult in some Middle Eastern cultures (i.e. the middle finger in western societies).
Challenge #2 – How can you ensure the right technical eLearning experience for users when localizing?
In addition to linguistic considerations, one should also consider the technical aspects of eLearning. The learning experience can vary greatly by how the information is presented. Localizing eLearning material will depend on the type of content, the presentation platform and the audience's culture.
- Give consideration to user interface, voice narration, and multimedia platforms. For example, presenting material in text may be more effective with sound effects, as people learn both visually and by listening. Flash media, videos and other visual effects will not only bring alive the content, but can also make the experience more memorable; hence enhancing the learning process.
- When designing layout, leave adequate space in text sections for translations as translated content can expand by as much as 50% in length or space.
- Avoid hard coding text element in graphics files, as this increases the time needed for the localization process. Provide editable source files to avoid re-work when localization of graphics is required.
- Consider using a learning management system that can easy switch between languages so that users have a central place to access valuable training materials. Is your system capable of supporting multiple languages? Consideration should be given to double byte characters, non-Unicode fonts, local weights, measurements, date and time formats in multiple languages.
Challenge #3 – How can you ensure a professional quality eLearning localized product?
The goal is not to simply translate content, but to make the learning experience effective for the audience. Find knowledgeable subject-matter experts to help develop your content before translating.
- Get the professionals. Don't try it at home! I wouldn't try to fix my car, nor ask my friends to repair the transmission. I just wouldn't do it. It is simply not worth the risk or the grief. Likewise, get a professional translator on board. It's our job as your translators to worry about linguistic expressions and grammatical matters.
- Get the professionals. I'm not a techie, so I wouldn't know where to begin to get down to the nuts and bolts of software systems. Odds are that the educators who are preparing the training, aren't techies either. Nor do they have the time, interest or expertise for ensuring the technical experience works right. Likewise, get a professional localization service provider on board. We have tech teams who can talk with your tech teams to get it done right.
I suppose, the worst thing that could happen if you don't localize your eLearning programs effectively is that your audience won't understand a thing; you would have wasted lots of time and money; and risk someone like me writing an article of how NOT to do something using your company as a case in point. (Or worse, one could fail the driver's exam!)
… Stay tuned for the next Segment of HT Localization Presents Language Translations for Real Life Series, where we'll explore … Getting Back to Business for International Success with the Chinese Markets
To receive the new Language Translations for Real Life Series go to HT Localization Blog and subscribe via RSS or email.
This article was written by Rachanee Thevenet, Co-Founder of HT Localization. Rachanee is an Asian-American expat living in Spain with her family. She loves all things international including food, art, literature, culture, languages and people. She has years of product marketing expertise and global expansion experience.
HT Localization, LLC. is a worldwide translation & localization agency providing a full range of professional language translation services, including social media localization, marketing translations, website translations, software localization, eLearning materials, documentation translations, etc. With locations in the US, Spain, Zambia & Thailand, and coverage across all languages and most industries, HT Localization is well positioned to provide around the globe services for all translation needs.
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Radamel Falcao García has done all types of things with time since his injury. He's attempted to reduce a rehabilitation process that usually last between six to seven months into five. At the same time he's looked to extend it by working at nearly a maniacal rate to get his knee back in into form. With 30 days until Colombia's debut against Greece in Belo Horizonte, Falcao is also racing against time to be ready.
In an interview with RCN Radio, Falcao's father mentioned that his son was just "60 percent" ready. "He now needs the other part- endurance, explosiveness, speed and coordination." he said. "All the things fundamental for a top-level footballer."
"HE'S PRACTICALLY AT 60 PERCENT, NOW HE NEEDS SOMETHING ELSE- ENDURANCE, EXPLOSIVENESS, SPEED AND COORDINATION... ALL THE THINGS FUNDAMENTAL FOR A TOP-LEVEL FOOTBALLER"- Radamel García on his son's rehab
Falcao is currently on Colombia's 30-man list for the World Cup and José Pekerman will have him in his plans until the final possible moment. Despite the player's rehabilitation, he will still need a few weeks to get match. The hope is that he can be ready at least against Japan and for the knockout stage. On top of being in the best health possible, Falcao will also have to be match fit. Knowing the length of his inactivity that will be another race against time as he will have to be fit in order to avoid an injury that could really set him back in his recovery or even affect his career long-term.


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THIS WEEK: The No. 6 Arizona volleyball team (22-5) has earned a program-best No. 4 seed in the NCAA Tournament and will face Utah State (21-12) in the first round at 6 p.m. this Friday, Dec. 2, at Crimson Court at the University of Utah in Salt Lake City. The other first-round game pits Utah (22-8) against Loyola Marymount (19-10) at 8 p.m. Winners of the two matches will face off in the second round at 7 p.m. Saturday, Dec. 3.
Live stats of the match(es) are available at www.arizonaathletics.com.
A QUICK LOOK AT ARIZONA: The No. 6 Wildcats finished the regular season 22-5, with all five losses coming at the hands of ranked teams. Arizona, which has won five in a row, finished second in the Pac-10 with a 14-4 record, its best conference mark since the 2001 season.
The Wildcats are led this season by senior Kim Glass, who averages 5.35 kills, 3.00 digs, 0.79 blocks and 0.40 service aces per game. Senior Jennifer Abernathy adds 4.05 kills and 3.40 digs per game, while junior Kristina Baum averages 2.30 kills, 1.97 digs and 0.68 blocks per game. Sophomore Dominique Lamb leads the team with 1.25 blocks per game and a .334 hitting percentage, while libero Brittany Leonard has a team-high 3.80 digs-per-game average. Setter Amy Dyck is averaging 11.77 assists per game. As a team, Arizona is out-hitting its opponents .264 to .175. The Wildcats also average better than their opponents in kills (16.37 to 13.67), assists (14.99 to 12.37), digs (15.73 to 14.39) and blocks (2.87 to 1.92).
Utah State - Utah State is 21-12 on the season after losing in three games to eighth-ranked Hawaii in the championship match of the Western Athletic Conference Tournament last Saturday. The Aggies finished in a tie for second place in the WAC with an 11-5 league record. USU is 8-3 in its last 11 matches with two of those defeats coming against Hawaii.
This is Utah State's third-ever postseason appearance, as it participated in the 2000 and 2001 NCAA Tournaments. In 2000, the Aggies defeated Missouri in five games in the first round before being swept by host BYU in the second round. At the 2001 NCAA Tournament in Salt Lake City, Utah State upset 19th-ranked BYU 3-2 before losing to host Utah in four games in the second round.
Utah State, which is 1-5 against Top 25 opponents this year, is led by first team All-WAC pick Zuzana Cernianska, who averages 4.57 kills and 2.48 digs per game. Fellow All-WAC pick Ingrid Roth averages 2.40 kills and 1.12 blocks per game, and is hitting .329 on the season. Setters Dominique Arsenault and Victoria Zimerman average 8.56 and 7.24 assists per game, respectively. Junior libero Kelsi Peterson leads the team with a 3.80 digs-per-game average.
As a team, the Aggies are hitting .237 on the season, compared to the .193 of their opponents. Utah State betters its opponents in every per game average but digs, which it trails 15.2 to 13.8.
Utah - The Utes are 22-8 on the season after winning the Mountain West Conference Tournament last weekend. The team swept both Wyoming and Colorado State before upsetting No. 21 Brigham Young in four games to win its third tournament title and an automatic bid into the NCAA Tournament. The Utes finished in third place in the MWC regular season standings with an 11-5 league record. Utah has won 11 of its last 13 matches.
This is Utah's eighth-straight NCAA Tournament appearance with an overall record of 6-7. Last season, the Utes were swept by Long Beach State in the first round of the tournament.
Utah is led by three-time All-MWC outside hitter Shelly Sommerfeldt, who averages 3.58 kills, 2.94 digs and 0.91 blocks per game. Freshman Airial Salvo, the MWC Freshman of the Year, adds 3.30 kills, 2.48 digs and 0.88 blocks per game. Freshman setter Shannon Krug dishes out 11.70 assists per game, while senior Danielle Leichliter averages a team-best 3.39 digs. Sophomore Emillie Toone ranks 10th nationally with 1.62 blocks per game.
As a team, Utah is out-hitting its opponents .233 to .151. The Utes also post better averages than their opponents in kills (15.09 to 14.08), assists (13.74 to 13.03), service aces (1.30 to 1.27) and blocks (3.59 to 2.30). Utah ranks fourth nationally in blocks per game.
Loyola Marymount - The Lions are 19-10 on the year, having lost to UC Santa Barbara in four games to close out the regular season. Loyola Marymount went 7-7 in the West Coast Conference, good for fifth place.
This is LMU's third-consecutive trip to the NCAA Tournament after receiving an at-large invitation. The Lions are one of five teams from the WCC playing in the first round.
Loyola Marymount is led by All-WCC first team selection Heather Hughes, who averages 3.31 kills per game. Christianna Reneau adds 3.02 kills and 3.98 digs, while honorable mention All-WCC pick Dina DeBernardi averages a team-best 1.20 blocks per game. Michelle Look leads the team with 4.27 digs per game.
As a team, the Lions rank 16th nationally in digs (18.66), 20th in kills (16.48) and 24th in assists (15.01). LMU is hitting .242 compared to the .198 of its opponents.
Utah State - The Wildcats are 5-7 all-time vs. the Aggies. The last time the two teams met, on Sept. 6, 1996, Arizona won 3-0 in Tucson. The Wildcats are 1-2 at home, 0-1 away and 4-4 at a neutral site vs. the Aggies.
Utah - Arizona is 12-4 all-time vs. the Utes. The two teams last met on Nov. 30, 2002, with Utah winning in four games in Salt Lake City. The Wildcats are 4-0 at home, 5-2 on the road and 3-2 at a neutral site vs. Utah.
Loyola Marymount - The Wildcats are 2-1 all-time vs. the Lions. The last time the two teams met, on Sept. 14, 1996, Arizona lost 3-0 in Tucson. The Wildcats are 1-1 at home and 1-0 away vs. Loyola Marymount.
ARIZONA TOURNAMENT TIDBITS: Arizona is 10-5 this season against the other teams in the 2005 NCAA Tournament field. In its 35-year history, Arizona has faced 41 of the teams in the 2005 tournament with a 216-248 (.466) all-time record.
WILDCATS AND THE NCAA TOURNAMENT: This is Arizona's 21st appearance in the NCAA Tournament. The Wildcats qualified for the NCAA Tournament for the first time in 1981 and made a string of nine-straight appearances from 1981-1989. The Wildcats next participated in postseason play in David Rubio's second season, making back-to-back appearances in 1993 and 1994. After a one-year absence in 1995, Arizona has participated in the last 10 NCAA Tournaments. The Wildcats are 23-20 all-time in the NCAA Tournament.
POWERFUL PAC: The Pac-10 joins the Big Ten Conference and Southeastern Conference as one of three conferences to send six teams to the 2005 NCAA Tournament. The Big 12 Conference led all conferences with seven teams selected. The Pac-10 has the most seeded teams with five (third-seeded Washington, fourth-seeded Arizona, fifth-seeded Stanford, 12th-seeded USC, 16th-seeded UCLA). The Big Ten has three, followed by the Big 12, SEC and Big East with two each.
SINGLE-SEASON RECORDS: Several Wildcats rank in the Top 10 in the Arizona single season record books thus far in the season. Senior Kim Glass ranks second in 10+ kill matches (27), third in kills per game (5.35), 20+ kills matches (11) and total attempts (1,270), fourth in kills (519) and tied for ninth in service aces per game (0.40). Sophomore Dominique Lamb is 10th in block assists (109), while setter Amy Dyck is 10th in assists per game (11.77). Freshman Brittany Leonard currently holds the record for digs per game (3.80).
As a team, this year's squad ranks first in service aces (149), third in assists per game (14.99), fifth in kills per game (16.37) and eighth in digs per game (15.73).
GLASS, ABERNATHY NAMED ALL-PAC-10: Arizona seniors Kim Glass and Jennifer Abernathy were named to the 15-member All-Pacific-10 team. Meanwhile, senior Bre Ladd, junior Kristina Baum and sophomore Dominique Lamb were honorable mention selections, and libero Brittany Leonard was named honorable mention All-Freshman.
BUTKUS, LAMB NAMED ACADEMIC ALL-PAC-10: Junior Stephanie Butkus and sophomore Dominique Lamb were named honorable mention Academic All-Pacific-10. Butkus, a setter, boasts a 3.115 GPA as an engineering management major, while the middle blocker Lamb, a pre-health education major, has a 3.000 GPA.
POLL POSITION: Arizona has been ranked in the Top 25 in 116 of the last 125 American Volleyball Coaches Association (AVCA) Polls. The nine-week lapse occurred during the 2003 season.
The Wildcats' current No. 6 ranking is the team's best since being selected No. 6 in the 2002 preseason poll. The last time Arizona was ranked this high during the season was for the last seven weeks of the 2001 season, when the Wildcats were No. 4.
RANKING IN THE PAC: Individually, several Wildcats ranked in the Top 10 in conference matches in various statistical categories. Senior Kim Glass led the Pac-10 in points per game (6.66) and kills per game (5.78), and ranked third in service aces per game (0.40). Senior Jennifer Abernathy ranked sixth in kills per game (4.13), seventh in points per game (4.85) and eighth in service aces per game (0.36). Sophomore Dominique Lamb ranked fifth in blocks per game (1.28) and seventh in hitting percentage (.318). Sophomore Amy Dyck was second in assists per game (13.18), while freshman Brittany Leonard was eighth in digs per game (3.92).
CONFERENCE ACTIVE CAREER LEADERS: Arizona boasts several of the Pac-10's active career statistical leaders. Senior Kim Glass is the current leader in kills (2,045) and service aces (157), and ranks seventh in digs (1,102). Fellow senior Bre Ladd ranks second in blocks (439), third in service aces (110) and ninth in kills (1,056). Jennifer Abernathy ranks seventh in kills (1,114) and tied for fourth in service aces (92), while setter Stephanie Butkus ranks fourth in assists (2,745).
RANKING NATIONALLY: As a team, Arizona ranks 23rd nationally in hitting percentage (.264), and 25th in kills per game (16.37), assists per game (14.99) and win/loss percentage (.815). Senior Kim Glass ranks seventh in kills per game (5.35).
20-WIN MARK: The Wildcats have reached the 20-win plateau this season for the 15th time in program history and the ninth time under Head Coach David Rubio.
DOUBLE-DOUBLES: Senior Kim Glass leads the Wildcats with 18 double-doubles this year, while senior Jennifer Abernathy has 13. Sophomore Amy Dyck has five, while junior Kristina Baum has three. Senior Bre Ladd and sophomore Dominique Lamb have one apiece.
GLASS ENTERS PAC-10 ELITE: In the match against UCLA on Nov. 19, senior Kim Glass tallied her 2,000th career kill, making her the first Wildcat and just the fourth Pac-10 player ever to do so. The Pennsylvania native also ranks third all-time in the Pac-10 record books in kills per game (5.23) and total attacks (4,935), tied for fifth in service aces per game (0.40) and seventh in service aces (157).
DOMINATING AT McKALE: Arizona won 11 of its 12 home matches this season, with its only loss at McKale coming in five games to No. 2 and then-undefeated Washington. What's more, the Wildcats swept eight of their 11 matches at home. The last time Arizona lost just one home match was during the 2001 season, when it went 12-1 at McKale. The Wildcats' only home loss that year was a five-game defeat at the hands of No. 3 Stanford.
PUTTING UP BIG NUMBERS: Senior Kim Glass has put up some remarkable numbers in her four seasons at Arizona. She has 101 matches with 10 or more kills, 51 matches with 20 or more kills and seven matches with 30 or more kills. Fellow senior Jennifer Abernathy has 60 matches on her career where she's posted double-digit kills. She also has eight matches with 20 or more kills.
WILDCATS RANK NATIONALLY IN ATTENDANCE: Arizona currently ranks No. 18 nationally in attendance with an average of 1,699. Only Washington (2,888) and Stanford (2,133) from the Pac-10 rank higher.
REACHING MILESTONES: Senior Jennifer Abernathy recorded her 1,110th career kill last Friday at Oregon and her 800th career dig at Oregon State on Saturday. Junior Kristina Baum tallied her 400th career dig last Friday at Oregon. Senior Kim Glass notched her 1,100th career dig at Oregon State last Saturday. Sophomore Katie Jackels notched her 100th career dig vs. Oregon last Friday. Freshman Brittany Leonard tallied her 300th career dig at Oregon State last Saturday.
CLOSING IN: Senior Jennifer Abernathy is eight service aces shy of 100 and nine attempts away from 2700 on her career. Senior Angie Ayers is six kills shy of 75 and four blocks away from 100 on her career. Junior Kristina Baum is eight blocks shy of 200 on her career. Sophomore Amy Dyck is 23 assists shy of 1,200, 21 kills away from 100, 15 digs shy of 200 and two blocks away from 50 on her career. Senior Kim Glass is nine assists away from 100, 28 blocks shy of 300 and 65 attempts away from 5,000 on her career. Senior Bre Ladd is three assists away from 75 and 11 blocks shy of 450 on her career. Sophomore Dominique Lamb is 23 blocks away from 200 on her career.
THREE CURRENT WILDCATS HAVE 1,000 KILLS: While senior Kim Glass captured the Arizona career kills record against Washington State on Oct. 28, two other seniors, Bre Ladd and Jennifer Abernathy surpassed the 1,000-kill mark, becoming just the 14th and 15th Wildcats ever to do so.
GLASS JOINS 1,000-KILL, 1,000-DIG CLUB: Against USC on Oct. 22, senior Kim Glass became just the fifth Wildcat ever to surpass the 1,000-kill and 1,000-dig mark. She currently has 2,045 kills and 1,102 digs on her career. The Pennsylvania native joined Terry Lauchner (1987-1990), Barb Bell (1993-96), Jill Talbot (1998-2001) and Lisa Rutledge (1999-2002) as the only Arizona players ever to accomplish the feat. Lauchner finished her career with 1,636 kills and 1,297 digs. Bell tallied 1,859 kills and 1,046 digs. Talbot finished with 1,022 kills and 1,111 digs. Rutledge notched 1,471 kills and 1,006 digs.
LEONARD SHATTERING RECORDS: Libero Brittany Leonard has made an enormous mark on the UA record books. Just a freshman, her current average of 3.80 digs per game ranks first all-time in the Arizona single season record books ahead of Kelli Mulvany's 3.46 average a year ago.
SERVING UP ACES: Senior Kim Glass currently has 157 service aces on her career, good for second place all-time at Arizona. She needs just three more to move into a tie for first place with Kiyomi Morino (1984-87) with 160.
BLOCKING MACHINE: Senior Bre Ladd has been a consistent defensive threat at the net ever since she arrived on campus in the fall of 2002. She has at least one block in 117 of 123 career matches, including 29 of 33 last season and 26 of 27 matches this season. What's more, the Tucson native currently has 439 total blocks on her career, good for third place all-time at Arizona behind Kelly Waage (532) and associate head coach Charita Johnson-Stubbs (506).
GLASS' STREAKS: Senior Kim Glass has at least three kills and three digs in 111 of the 113 matches on her career. She has recorded double-digit kills in all but 10 (103 of 113) matches during her four years. In fact, she's the only player in the Pac-10 to have 10 or more kills in every match this season.
RUBIO BECOMES ALL-TIME WINS LEADER: With the Wildcats' victory over Connecticut on Sept. 16, Head Coach Dave Rubio notched his 259th career win at Arizona, making him the all-time winningest coach in Arizona volleyball history. The win moved him ahead of Rosie Wegrich, who coached from 1977-1991 and compiled a 258-229-9 record (.531) in 15 seasons. Rubio now boasts a career record of 275-140 (.663) in 14 years at the helm.
STACKED SCHEDULE: As always, Arizona has faced a tough schedule in 2005. Included on the slate were 15 matches against teams that will participate in this year's NCAA Tournament. The Wildcats also faced six teams (Santa Clara, Washington, Stanford, California, USC and UCLA) that are currently ranked in the Top 25 in the AVCA/CSTV Coaches Poll.
PAC-10 POTPOURRI: With Stanford capturing the NCAA title last season, the Pac-10 has now won four consecutive national championships (Stanford in 2004 and 2001, USC in 2003 and 2002). What's more, Pac-10 teams have claimed 12 of the sport's 24 NCAA championships.
UP NEXT: Should Arizona win its first-round match, it will face the winner of the Utah-Loyola Marymount match in the second round of the NCAA Tournament at 7 p.m. Saturday, Dec. 3.