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Solutions for the Smaller Agency
Guest Editors: Elaine Deck, Senior Program Manager, Smaller Law Enforcement Agency Program, IACP; Ben Ekelund, Project Manager, Smaller Law Enforcement Agency Program, IACP; and Erin Vermilye, Manager, Division of State Associations of Chiefs of Police (SACOP), IACP
ore than 94 percent of the more than 12,500 local police agencies across the United States serve populations of 50,000 or fewer. Since 1998, the IACP Smaller Law Enforcement Agency Technical Assistance Program, with support from the Bureau of Justice Assistance (BJA), has reached thousands of smaller, rural, and tribal police agencies in the United States with resources and training that are designed for and delivered by smaller agency executives.
This month's issue of Police Chief magazine will explore the topic of solutions for smaller agencies. Articles featured this month include
Amid the current emphasis on adopting evidence-based practices (EBP) in the field of law enforcement, the editorial staff sought submissions from researchers and practitioners nationwide that discussed the application of EBP in smaller agencies. Oftentimes, smaller agencies are not the focus of research in the field, and existing best practices do not always translate to a smaller agency. By bringing the needs and the concerns of smaller law enforcement agencies to the fore through the IACP Smaller Agency Section and Program, the IACP hopes to foster partnerships among academics and smaller agency practitioners to develop those practices that will allow smaller law enforcement agencies to thrive in the 21st century.
We hope you enjoy this edition of the Police Chief magazine! ♦
Please cite as:
Elaine Deck, Ben Ekelund, and Erin Vermilye, "Solutions for the Smaller Agency," The Police Chief 80 (April 2013): 26.
From The Police Chief, vol. LXXX, no. 4, April 2013. Copyright held by the International Association of Chiefs of Police, 515 North Washington Street, Alexandria, VA 22314 USA.


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Benjamin Brecknell Turner
'The Willowsway, Elfords, Hawkhurst'
Albumen print from paper negative
Museum no. PH.58-1982
© Victoria and Albert Museum, London
This view shows a lane of pollarded willows. Pollarding is a way of cutting back trees to promote growth of new, slim branches used for firewood, brooms or weaving into baskets. Willow is also used for making artist's charcoal. Turner's son recalled how, even in his father's skilled hands, making one exposure 'never took less than three quarters of an hour'. Turner made two other known negatives of this scene so he probably spent about two and a quarter hours here. The image places the viewer on the path, framed with willows either side, as a traveller approaching the gate.

subset: commoncrawl


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William Hurt
- Birthday
- Mar 20, 1950
- Birthplace
- Washington, District of Columbia, USA
One of the top leading men of the '80s, William Hurt, born March 20th, 1950, is notable for his intensity and effective portrayals of complex characters. Although born in Washington, D.C., Hurt had already seen much of the world by the time he was grown, as his father worked for the State Department. His early years spent in the South Pacific near Guam,… More Bio:
One of the top leading men of the '80s, William Hurt, born March 20th, 1950, is notable for his intensity and effective portrayals of complex characters. Although born in Washington, D.C., Hurt had already seen much of the world by the time he was grown, as his father worked for the State Department. His early years spent in the South Pacific near Guam, Hurt moved to Manhattan with his mother after his parents divorced when he was six years old. He spent the summers with his father, vacationing in a variety of international locales, including Sudan. At the age of ten, Hurt's life again changed dramatically when he became a stepson to Henry Luce III, the heir to the Time-Life empire. His mother's second marriage indirectly led to Hurt's initial involvement with the theater: sent away to a boarding school in Massachusetts, he found comfort in acting.
After going on to Tufts University to study theology for three years at his stepfather's urging, Hurt married aspiring actress Mary Beth Supinger and followed her to London to study drama. Upon their return to the U.S., Hurt studied drama at Juilliard. By this time, under the realization that his marriage was failing, Hurt divorced his wife, got a motorcycle, and headed cross country for the Shakespeare festival in Ashland, OR, where he made his professional debut in a production of Hamlet. He later joined New York's Circle Repertory Company, and went on to receive critical acclaim for his work on the New York stage.
Hurt made his feature film debut in Ken Russell's Altered States in 1980, but it was not until he appeared opposite Kathleen Turner in Body Heat (1981) that he became a star and sex symbol. Four years later, he won Best Actor Oscar and British Academy awards as well as a similar honor at Cannes for his sensitive portrayal of a gay prisoner in Kiss of the Spider Woman (1985). He was again nominated for a Best Actor Oscar for his two subsequent films, Children of a Lesser God (1986) and Broadcast News (1987). Further success followed in 1988 when he starred in The Accidental Tourist.
As bright as his star shone on stage and screen, by the end of the '80s, a darker side of Hurt was exposed when he was sued by his former live-in love and mother of his daughter Alex, ballet dancer Sandra Jennings, who claimed to be his common-law wife. Despite his personal problems, Hurt continued to stay relatively busy, beginning the new decade with a fine turn in Wim Wenders' Until the End of the World (1991). He subsequently appeared in such acclaimed films as Smoke (1995), Jane Eyre (1996), One True Thing (1998), and Dark City (1998). In 1998, Hurt appeared as the patriarch of one of televisions most beloved sci-fi families in the big-budgeted remake of Lost in Space, and as a gubernatorial candidate with a shadowy past in George Hickenlooper's political drama The Big Brass Ring (1999).
Still alternating between stage and screen into the new millennium, Hurt stuck mainly to the small screen in the next few years. After lending his voice to the animated portrayal of the life of Jesus Christ in The Miracle Maker, appearing in the mini-series Dune, and taking the title role of The Contaminated Man in 2000, Hurt returned to features with his role in director Steven Spielberg's long anticipated (post-mortem) collaboration with the late Stanley Kubrick, A.I. As the well-intending scientist who sets the story of an artificial boy capable of learning and love into motion, Hurt's character seemed to provide the antithesis of the regressive experiments his previous character had flirted with in Altered States.
Hurt played a supporting role in Changing Lanes (2002), an thought-provoking thriller following two very different New York City residents whose lives fatefully intersect following a car accident, and again in the political thriller Syriana, which would go on to win the Academy Award for Best Picture in 2005. The actor was
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Top Definition
Angry. You normally say it while you're rubbing your chin annoyingly. It makes the angry person angrier.
Oooh, chissy! You know my team has been pumped up ever since their shock loss to your team.
dari Jamie Mackenzie Rabu, 30 Mei 2007
Trending Now
Can you define these popular missing words?
the opposite of a chode ie. a long and very thin penis
mo said zach has a chissy
dari crandall marlman Jumat, 01 Agustus 2008
Opposite to the chode, a chissy is a penis that is elongated and abnormally skinny, as to the point where it would be equivalent to 4 twizzlers melted together in single-file.
"Patrick, pick your chissy up in front of the ladies."
dari BabyDave Rabu, 13 September 2006


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Blue Yoga Mat
Yoga Mat Color Meaning
Blue is very comforting, which is why it is a fabulous choice for a yoga mat. All shades of blue promote serenity and peace, as the color blue is very cooling and soothing for most people. Step foot on a blue yoga mat and you'll feel as if you're riding atop a gentle ocean wave, and as a result, your practice will feel very free and easy.
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While trying to upgrade CentOS from 4.2 to 4.3 no previously installed
system is found.
The system boots and runs fine... but the 4.3 installer only gives the
option for a clean install.
Anyone else seen this issue?
The USA Patriot Act is the most unpatriotic act in American history.


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Julian Assange, founder of the controversial website WikiLeaks, is out on bail in London following a week of legal drama over his extradition.
A British judge released the 39-year old Australian, Thursday. Assange is fighting extradition to Sweden, where he faces sex crime allegations related to a visit there over the summer.
"It's great to smell the fresh air of London again," he told cheering supporters amid a barrage of flash bulbs.
Assange is now headed to a British country mansion where he'll have to observe a curfew and wear a monitoring device.
WikiLeaks spokesman Kristinn Hrafnsson said Assange could use the 600-acre estate to continue coordinate the publication of leaked U.S. diplomatic cables.
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TRENTON — Local entrepreneur Patrick Hall this evening will announce his intention to run for mayor of Trenton in 2014.
The timing, he swears, wasn't intentional.
Hall sent out a news release announcing his candidacy yesterday afternoon — hours after FBI agents raided Mayor Tony Mack's house, seizing boxes of evidence and confirming the existence of a federal probe into Mack.
The announcement of his candidacy was scheduled six months ago, and was originally set for July 31, he said. But he wanted to announce his bid the same night as a council meeting, and tonight is council's only meeting in July.
"I didn't mean for it to happen like this, not at all," he said. "Once I set my mind to something that's it. I'm still focused on what's at hand and the fact that the mayor's going through his issues."
Hall, 48, was raised in Trenton, graduated from Trenton Central High School and moved back to the city last year. He has owned several businesses, including an informal pool business he calls Patrick's Pools and a marketing company called Hand-to-Hand Marketing. He is a member of several local civic groups and thinks his business sense is sorely needed in the capital city.
"Being in business for over 30 years, I understand the concept of surrounding myself with skilled people, the right skilled people in the right places," he said. "This city cannot be run by one person."
Mack has been criticized for placing inexperienced workers and friends with questionable backgrounds in city hall positions.
Hall, no relation to acting public works director Harold Hall, said he grew up one block from Mack in the city's hardscrabble Wilbur section.
"As a person, I love him to death as a person, but I don't know what's going to happen to him," Hall said. "It's another blemish on Trenton."
Hall anticipates a crowded field of candidates for mayor in 2014 — or if a federal conviction leaves the mayoral seat empty.
Former public works director Eric Jackson — who came within three votes of advancing to 2010's runoff election that elected Mack — said last year he would mull another run if Mack were recalled and a special election were triggered.
Former police director James Golden also said last year he would consider challenging Mack in a special election if the mayor were recalled.


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Formalisms for multi-agent systems
d'inverno, Mark and Fisher, Michael and Lomuscio, Alessio and Luck, Michael and de Rijke, Maarten and Ryan, Mark and Wooldridge, Michael (1997) Formalisms for multi-agent systems. Knowledge Engineering Review, 12 (3). pp. 315-321.
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Doctor insights on:
E Coli Meningitis Adults
How quickly do symptoms of neonatal meningitis due to e. Coli usually show up in a newborn?
E. Coli meningitis: E. Coli meningitis in the neonate most commonly occurs between 48 hours and one month after delivery, but usually within 3 months overall. Timing of onset depends on a number of factors including prematurity, surgical procedures performed, trauma, immune status, length of hospitalization, etc. ...Read more
Escherichia Coli (Definition)
Escherichia coli is a type of bacteria that normally lives in the intestines of humans and animals. Most forms of the bacteria are harmless, but some strains may cause severe abdominal cramps, bloody diarrhea, and vomiting. Most cases of infection are caused by contaminated raw vegetables ...Read more
I've been diagnosed with e coli in urine and gbs in vaginal secretion. However much i sleep i'm still tired, could I have meningitis? How is it treated
Probably not: There is no reason to suspect that vaginal colonization with gbs or a urinary tract infection are associated with meningitis. ...Read moreSee 1 more doctor answer
What are the symptoms of meningitis in adults usually?
Back pain, headache: Depending on the location, meningitis almost always causes pain. If it is in the skull--headache. If in the spine--spine pain. Of course neurologic dysfunction occurs often, such as seizure, stroke, paralysis, sensory loss, speech disturbance, coma, death. ...Read more
Is malarial meningitis always fatal in adults?
Cerebral malaria: Yes. It is a very lethal infection with mortality as high upto 80% with best clinical setting. The key to save lives are avoiding mosquito bites, recognising the early signs and symptoms of malaria and initiating treatment at the earliest. Lastly, anticipating complications like cerebral malaria and treating aggressively. ...Read more
Does meningitis effect children or elderly worse than adults?
Yes: Due to an immature or suppressed immune system these age ranges are more at risk. This is yet another reason to make sure we are all fully immunized, becasue a lot of shots target pathogens that cause meningitis. ...Read moreSee 1 more doctor answer
How can spinal meningitis affect older adults?
Dangerous: In the elderly, the flagrant fever, stiff neck, etc, may be relatively absent or minimal, and perhaps only the acute onset of confusion and disorientation, with headache, may be witnessed. However, as insidious as the presentation may be, a bacterial meningitis by even a bug such as listeria, can be deadly, without appropriate antibiotics. ...Read more
What are symptoms of meningitis in adults in college?
Sick as stink: Imagine the morning after a night of drinking, but no night of drinking - that would be like the symptoms of meningitis. Severe headache, nausea, vomiting, fatigue, ache, trouble with vision, trouble with balance, feeling like you want to die - then you may have meningitis. Needs thorough medical evaluation right away! ...Read more
Why do children and young adults get bacterial meningitis?
Go To School/camp: Because they go to school, clleges/dorms, and camps where there is more chances of contacting the infection if one has it it spreads eassily. ...Read more
Can you get meningitis as adult if you had vaccine as a child?
Yes: Immunizationsnd for pneumococcal disease, h flu, and meningococcal bacteria cover the most common strains of each,but not all. Keep up boosters, but be aware that you are still susceptible to less common strains. ...Read moreSee 2 more doctor answers
If you have meningitis as a child can you suffer from learning disabilities as an adult?
Yes: Depending on how severe the infection was, a child can have brain damage resulting in many problems including learning differences. ...Read moreSee 2 more doctor answers
Meningitis (Definition)
Meningitis is the inflammation of the membranes(meninges) surrounding the brain and spinal cord. Symptoms include headache, fever, stiff neck and light sensitivity. Causes may be infectious, tumor or chemical irritation. Medical evaluation is indicated ...Read more
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Your underworked and over-egoed Congress, fresh off a five-week paid vacation, was planning to take off next week for some more R&R even though it's the final week of the fiscal year and legislation to keep the government running hasn't been passed. But after much agonizing and well-deserved ridicule the House GOP leadership cut that back to "only" a four-day weekend; they'll return on Wednesday to try to figure out a way to keep the government running after October 1. And -- gasp -- they might even work over the weekend if the really, really have to, said Majority Leader Eric Cantor (R-VA). Oh the sacrifices they make for us.
On Friday Cantor will bring up a stop-gap funding bill that he knows has no chance of getting through the Senate much less a presidential signature. That's because it will contain the House Republicans' 41st futile attempt to scuttle the Affordable Care Act.
This time they're issuing an ultimatum: shut down Obamacare or we'll shut down the government.
Speaker John Boehner has made it clear he really doesn't want to shut down the government, but he's in charge only by title. The real power is in the hands of a small but increasingly influential and intimidating group of tea party supporters, libertarians and arch-conservatives.
Many of them are ideologically driven and believe they were sent to Washington to bring revolutionary change at any cost and not to find compromises. That's why so many are willing to shut down the government if that's what it takes to impose their will and bring the size and cost of government under control. Theirs.
That would probably play well in some of their local districts and particularly among tea party supporters and wealthy contributors like the Koch brothers and the Club for Growth.
But probably not in the rest of the country. Boehner was part of the House Republican leadership in the mid-1990s when then-Speaker Newt Gingrich tried it a couple of times, and he remembers what a drubbing Republicans took in the next election and what happened to Gingrich's career.
Boehner wants to offer a temporary spending bill – called a continuing resolution or CR – that will fund the government until mid-December and contain a disposable Obamacare provision that can be peeled off in the Senate before going to the President. The extremists are calling that transparent and meaningless and say they're to go to the barricades.
One of those urging them on is former Sen. Jim DeMint (R-SC), now head of the Heritage Foundation, a conservative think tank, who keeps telling audiences that this time Barack Obama might blink and agree to defund his the signature piece of legislation of his presidency.
It didn't work the first 40 times they tried it. Someone should tell them Albert Einstein's definition of insanity: Doing the same thing over and over and expecting different results.
Chances are 50/50 Republicans will force a shutdown. It will be bad for the economy and bad for Congress's already low stature, but not necessarily for Democrats.
For the most part, they're following Napoleon's advice: "Never interrupt your enemy when he is making a mistake." They expect a shutdown to create a backlash against Republicans and hoping it will be easier for them to retake control of the House and hold on to the Senate in the 2014 elections. Meanwhile they're using the threat to raise money from the faithful, appealing for contributions to "our Obamacare Rapid Response Fund."
Some Democrats in very conservative districts may vote to defund. Republicans intend to use it as a campaign issue next year, Rep. Thomas Massie (R-KY) warned, because he thinks "it'll be political suicide for the Democrats in red states" who don't vote against Obamacare.
Boehner could pass a CR that would avoid a shutdown but it will require standing up to the far right in his caucus and not invoking the "Hastert rule" which bars bringing up legislation which isn't backed by a majority of the House GOP caucus. That could be a pyrrhic victory for him because it could provoke a movement to dump him.
Some in the Republican caucus have been quietly talking about putting one of their own in the Speaker's chair, which may explain several recent reports that Boehner is thinking about taking early retirement. He'll be 65 next year and could qualify for Medicare, if Republicans don't defund it by then. Besides, he's already voted to give himself a very generous pension plan and health care coverage at taxpayer expense.
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NEWBERRY, MI -- When residents here learn a stranger is interested in the massive Duck Lake fire zone, they invariably ask, "Are you going in there?"
They do not ask, "Are you going up there?" Or, "Are you headed north there?" Or just, "Are you going there?"
They ask, "Are you going in there?"
It's as if this is an area one must choose to enter, an area from which one must also find an exit.
Diane Ricketts is seeking an exit. She has loved this beautiful, storied place in the eastern Upper Peninsula. The same is true of the remote store and seven cabins she and her husband tended. But he fell sick, and bills mounted, and they let their insurance lapse.
He died in March at 64 – a Vietnam veteran acquainted with Agent Orange. The fire took the cabins in May.
Their Pike Lake Resort was for sale before the fire, and still is. It is less attractive now.
"People are coming and looking, but no money is exchanging hands," she says.
Just north of here, travelers have been coming to Rainbow Lodge for generations, to seek pure Michigan before a slogan perfectly described what they were looking for. Today they go in to see what is left, which is not much.
Richard Robinson has spent the past summer in stop-and-go insurance red tape, mostly stop. Only now is the wreckage of his life's work – his parents' too – being cleared.
This season is lost. Next season too if he and his wife, Kathy, choose to rebuild.
There's the question. To build or not to rebuild? If they don't, the insurance payout dwindles. No lodge, less money.
But will people travel to a new lodge through a blasted and logged-out landscape?
Robinson pauses, and the lines extending from his blue eyes crinkle. He is wearing a cap advertising a place that no longer exists, and admits he is weary.
A bulldozer drowns out the nearby Two Hearted River, autumn lovely at Lake Superior. Upstream, at least for a ways, black has replaced green.
"I never knew there were so many shades of gray," he says.
He is speaking about their situation, but could be talking about the landscape.
'Rolling across the tops of trees'
There are more than 21,000 acres in the Duck Lake fire zone, 33 square miles. One hundred and thirty-six structures were lost, and something else too.
This is a region where many Michigan residents feel an emotional connection. Travelers have been coming here for generations, longer even.
Longfellow immortalized its signature waterway, Tahquamenon, in his "Song of Hiawatha." Later, Hemingway came near here, to heal from WWI. He borrowed the name of another poetic river for his short story, "Big Two-Hearted River." In it, a Hemingway-like Nick Adams surveys the aftermath of a massive wildfire.
Sometimes reality mimics fiction. On this day, a man from Traverse City in a Leisure Time camper stops to assess the damage. He is headed to the Two Hearted.
"I don't know why, but I had to come out here to see it," he says. "Nothing looks the same."
A lightning strike ignited a small blaze on May 23 near obscure Duck Lake.
Firefighters were sent to the site, 14 miles north of Newberry and seven miles west of Tahquamenon Falls State Park, and considered it contained.
But winds gusting to 40 mph the next day pushed the blaze north into tinder-dry woodland.
By 3:50 p.m., flames consumed 256 acres. By 6 p.m., the fire zone more than tripled. Within two more hours, 4,200 acres were involved. That doubled by 11:15 p.m.
Rainbow Lodge was gone. The wildfire had consumed a mile and a half of woodlands per hour before reaching Lake Superior and turning east, becoming the state's third-largest blaze in more than 100 years.
"I've never seen anything like that," says Luce County Sheriff Kevin Erickson. "It was just rolling across the tops of trees."
The end or a new beginning?
Road signs directing travelers to Rainbow Lodge have been papered over, "Closed for renovations."
21,069 Acres in the Duck Lake fire zone
33 Square miles in the fire zone
2 The only larger fires in Michigan in more than a century: Seney, 72,000 acres (1976); Mack Lake, 25,000 (1980).
136 Structures lost
49 Cabins and homes
23 Garages
38 Sheds and outbuildings
26 Campers
42.6 Miles of fire break constructed around the perimeter.
"It's kind of tongue in cheek," says Kathy Robinson. "You look at the rubble, and what do you do with rubble?"
Those who do venture this way are treated to a different scene today.
In spots, the forest appears untouched. Fire jumped roads, sometimes even past trees at roadside, leaving a green veneer obscuring burnt areas beyond.
Further in, great plains emerge, carpeted with fast-growing ferns, where loggers felled trees to wring some value from them. Charred stumps are everywhere. Jack pines too small to harvest dot the landscape like blackened matchsticks.
At this moment, where his lodge stood, Richard Robinson is looking south toward timber and forestland as black as the day it burned. "We keep trying to see green in those trees, but …" His voice trails off.
It has taken months to get rubble removed. Insurance delays were compounded as contractors became tied up elsewhere in the fire zone.
"We were kind of going along and had a plan and then we hit a big lull," Robinson says.
The couple was surprised to learn insurance will supply a new house anywhere in the lower 48 states, but not fully cover the store, motel and cabins unless they rebuild. The details are private, but they are clearly conflicted.
"It's a big decision to make and, oh my gosh, they had to log off those trees," Kathy Robinson says. "It's definitely changed the landscape."
As the diesel engine of an earthmover drones nearby, Rich Robinson ponders the same question.
"That's going to be drawn out," he says. "We'll have to see all the facts, figures and what we want to get ourselves into for the next year or two."
For now, clean-up is under way. Five semi-truckloads of metal have been hauled out. But remnants remain. A pay telephone. Gas pump. Silver fire pits. Robinson laughs for the first time.
"You look inside and most of the stuff in the fire rings did not burn."
Trees that claw the sky
About four miles to the south, Pike Like is tucked so far into the forest residents must use generators, solar cells and batteries for electricity.
Here the fire raced north, then cut east, literally running with the wind. Firefighters did too, switching from containment to evacuation.
Part Two: Nearly 10,000 acres of fire-damaged timber are being logged in the fire zone. It is a race against time. See why.
Forty-nine homes were destroyed in the fire zone, many of them near Pike Lake. The blaze here was capricious - twisting and turning and splitting and jumping - taking some buildings, leaving others next door.
Bob Williams, a retired educational consultant, can see the worst of it from the porch of his lovely home.
"The landscape over much of the area now reminds me of images I have from reading Cormac McCarthy's 'The Road,'" he says, of the novel about a journey across a post-apocalyptic land.
In the lake's hardest hit areas, ground crunches like cinder underfoot. Blackened trees claw the sky. The smell of burnt wood lingers. Maple, birch, hemlock, spruce, fir, white pine - all crowned with flames. The temperature reached 2,000 degrees.
Black-backed, three-toed woodpeckers - under endangered species petition in the Pacific Northwest - have increased by the hundreds here. They survive on beetles infesting burned wood, their distinctive plumage a camouflage in their new home.
Stories vary of how landowners are recovering.
An elderly man has sold the site where fire took the handsome log cabin he painstakingly built, selecting the trees and handcrafting furniture. Someone from Ohio bought it.
A landowner from South Carolina is rebuilding the home she bought just weeks before the fire. She had never stayed in it. On this day, a cinder-block foundation is being laid by two men, damaged landscape all around.
Around the corner, Wild Dog Camp was spared. Untouched forest surrounds its nine log buildings, built by Amish craftsmen.
Bruce Cranham feared the worst when he entered the fire zone. He was allowed no further than the state's damaged Pike Lake Campground, and looked across the water for his property.
"I could see where it was black and where it was green, and it was literally right on my lot line," said Cranham, 67, a lawyer from Cheboygan who weekends here year-round. "It was astonishing."
No exit for one man
The wind blows cold out of the north in winter, and strong. The forest once protected Diane Ricketts' home from the worst of it. Those trees now have been logged out, so on this day she is reinforcing four large doors on her red pole barn, fearing they might not be up to the challenge.
Ricketts hopes to get an offer on what's left of Pike Lake Resort: the home, the pole barn, a small store and gas station. Flames divided here, sweeping left and right, to take the cabins on the peninsula beyond.
The house is mostly empty; she had moved everything she needed into a cabin she planned to keep for herself.
This day she is wearing a pink Tahquamenon Falls shirt, clutching red and white work gloves in her right hand.
She is talking about the future.
"Most of the people here, we're in that age group, we don't have time to watch it regrow," says Ricketts, 62.
She is also talking about the past, and her husband's illness. He died of complications from Agent Orange at 64. A flag honoring the Vietnam War hangs inside the home they shared for 23 years, since moving from Southfield. It reads, "Our Cause Was Just."
Now she is quietly crying, and pauses to collect herself. "You had to know, Ron," she says finally, smiling. "He wanted his ashes here, on our property, near the lake and everything."
So a friend who loads shotgun shells filled them with his ashes. Ron Ricketts had a 21-gun salute.
Today they rest with the ashes that came later.
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Tim Burton Talks Box Office And Oscar Nod
In the race for this year's Best Animated Feature Oscar, Disney is hoping to pull off a rare feat and grab 3 of the 5 nominations: for their summer Pixar hit Brave, the upcoming holiday release Wreck-It Ralph (November 2) and Tim Burton's Frankenweenie. But will the disappointing box office for the latter hurt its chances at landing a nomination for Burton in the category? Grossing only $24 million since its domestic release October 5th, Frankenweenie's tepid box office receipts are a head-scratcher. It's the leading animated film in terms of critical reviews at Rotten Tomatoes this year with an 88% Fresh rating. Oversaturation of other horror-themed animated features like Focus Features' ParaNorman and Sony's hit Hotel Transylvania could be a factor in the under-performance for Frankenweenie. For Burton it may be his most personal project as he told me on the phone from London this morning so its particularly frustrating that it is not clicking in a bigger way at the box office.
"I don't really know why. I can never predict from the beginning of my career. Any of them can go one way or the other. When people see it they seem to like it and Disney has been supportive of it so I can't really fault anything. I don't really know," he said. "The Nightmare Before Christmas in a weird way was similar. It didn't really do anything (at the box office) but it sort of stayed around," he said of the first animated feature he produced in 1993 (it was directed by Henry Selick) which has become a perennial Halloween-time fixture. His own animated feature directorial effort Corpse Bride (2005) earned him an Oscar nomination in the feature animation category and the clever stop motion wonders of Frankenweenie could well do the same.
So why has this 3D stop-motion black and white toon not been drawing the big family crowds Disney is accustomed to? "The fears of black and white? The fears that it is too scary? Nobody who has seen the movie goes 'oh we didn't like the black and white or it was too scary' and Disney was behind it. It's just one of those weird things. It is not an exact science," said Burton. "It is only upsetting for me in the sense where I feel like, and I can't say this about all my films I have worked on, but I like the movie and I like all the work people put into it. It's all those things, the stop motion, all those things can continue in some way. I remember a while back when computer animation came in with Pixar and people said 'we're not going to do anymore drawn animation films and you go 'ooh, ouch'. That's a bit of concern always in the back of your mind. We'll see what happens. Hopefully the movie will find a life somewhere, some distant planet."
The film was inspired by Burton's live-action featurette of the same name about a boy who brings his dead pet back to life. Burton made the short in 1984 but it was barely seen and the next year he began his extraordinarily successful feature film career. But the idea never left him. "Over the years going back to the original drawings and the stop-motion process it just seemed like a natural fit. I would have been very nervous about just expanding the short. But it became a very different process and it was fun to explore all those other memories of that time for me. I can't think of any other project where I put it though such memory, not only with the dog but extending to certain kids I know and teachers and feelings and movies," he said.
Burton is sanguine about the box office and says he remembers that when they made Nightmare it was such an oddity the studio wasn't even going to put out a trailer at the time. "I have had a strange life and career that way. I am surprised if something is successful, I am surprised if it is a failure, I am always surprised. I have never really been able to predict or target things like that. Like I said hopefully it will have its life somewhere someday." He next heads to France, Japan and Korea among other countries for the international launch of the film which had a successful European debut Wednesday as the opening night attraction of the London Film Festival.
As for another possible Oscar nomination Burton says he doesn't like to think too much about it. This weekend he and his significant other Helena Bonham Carter are receiving the prestigious BFI Fellowship Award from the British Film Institute. He says he is happy to get it. "You don't get many things so it is quite an honor. Obviously we have made several films here. I think Christopher Lee is going to give it to me which makes it really special. It's an amazing surprise," he said.
And — box office hit or not — it probably won't be the last we will be seeing of Burton on the awards circuit this year.
Burton: "I don't really know why (it didn't do well). "
… maybe because it's a kids' movie about a dead dog?
I saw Frankenweenie and thought it was excellent, but I suspect Hotel Transylvania took a lot of the audience…between the two, I'm sure most kids (and parents) preferred Hotel over the b&w stop-motion with the odd/creepy premise.
It's a wonderful film, a great big wet kiss to the "monster kids" generation. But it's not really a movie for children, who in any event prefer the wise-cracking-animals-on-a-crazy-journey yawnfests to the subtler pleasures of true art. (N.B.: The best-reviewed animated feature of last year was ARTHUR CHRISTMAS, and it too fell short of $50 million domestic.)
It's sad this is doing so poorly at the BO but not at all surprising. Kids were turned off by the black and white, plain and simple. Even adults aren't interested in Black and white films in this day and age, as evidenced by The Artist last year. All the acclaim and awards that movie was showered with and it still only did a mere $40m in the US. So if adults these days can't even be persuaded to see B&W films you really think kids can? Of course not. That combined with the fact that Disney made the absolutely stupid call to release it just one week after Transylvania, which always looked like it had big family appeal, and it was always doomed at the box office.
But Hotel Transylvania was from the hit-or-miss Sony, while this was from a post-Burton-in-Wonderland Disney.
tim burton would never actually admit to caring about box office grosses
Then why would he keep remaking?
I enjoyed the film very much. RISE Colossus!! X)
the films great… stop motion doesn't do all that great anyway… people will see it eventually… but it comes down to paranorman and hotel transylvania as oversaturation…
bobbyg, clearly you have no kids and no idea what you're talking about. Thankfully, your job at the tape vault is secure.
… it was a flop, Marco. despite a HUGE marketing blitz. They've been marketing this thing since '09.
… the tape vault???
Its about a dead dog. It coulda been CGI, it still woulda flopped. Also terrible title.
Wasn't Up about a dead wife?
The dead wife wasn't the central character, and wasn't brought back to life as a zombie.
I liked FRANKENWEENIE, wanted to love it. The story just didn't grab me; it seemed like Burton couldn't decide whether to tell the story of the boy and his dog, or the one about the competing science fair kids, so he just threw them both in, while completely sidelining the character of the neighbor girl, who seems at first like she's supposed to play a major role in the story. (Same as in DARK SHADOWS, which starts out like it's going to motivated by Barnabas' love for the reincarnation of his old girlfriend, then pushes that character offscreen for long stretches of time.) Burton's storytelling skills, sadly, ain't what they used to be, and his movies can't get by just on their distinctive visuals anymore–not with better movies in the same vein (like PARANORMAN, in my opinion) out there.
That's a bit of a stretch.
the poster for Up was a funny looking old man and a cute cub scout flying with a flock of balloons. the poster for this was a dead dog.
…Uo was an adventure movie. If in Up, he had dug up his wife, and frankensteined her… I suspect it would not have done as well.
My 9 year old daughter had a choice between Hotel Transylvania and Frankenweenie. She said she didn't want to see a movie about a dead dog. She found the concept disturbing, so I think there is something to the theory.
Frankenweenie was sooooo good!!!!
Frankenweenie is an incredibly beautiful film. I can't believe that WOM hasn't convinced more people to see it.
I have not seen the film so have no opinion on it. But this interview is heartbreaking and raw, and the pain he feels at the audience's rejection of this, his seminal work, is palpable.
It's a reminder that for all of their fame and wealth and clout, for all of the insularity their status affords them, and for all the times we, the media and the industry, intentionally or otherwise, think of them as a 'brand' – some of these A-listers are still human beings just like the rest of us.
Word of mouth isn't helping because it's an incredibly boring movie with a horribly bland lead character (and family and dog). Most of the supporting characters are terrible aside from the science teacher – but it's not his film. It's an homage to something that's been done to death so adults don't care, and kids have no point of reference for b&w horror. At the end of the day it's just a boring movie with poor storytelling, missed opportunities, and forgettable characters. I hated it…and I'm a huge Burton fan!!!
Word-of-mouth? It dropped only 37% in its third weekend, despite losing all its IMAX screens. I'd say the Word is pretty darn good.
And BTW, it's NOT a movie about a dead dog. It's a movie about a dog brought back to life. That's hardly the same thing.
Original Frankenweenie – Tim Burton at his best. A budding genius creating great art.
Animated Frankenweenie – Tim Burton as his worst. A boring hack remaking old ideas for cash.
After how horrible Dark Shadows was (and AiW before that), I vowed not to watch any more Burton films at the cinema. So skipped Frankenweenie, but then this week I actually went to see it based on the good reviews. It's indeed a very good movie, but I can imagine a lot of the other audiences Burton alienated with his previous turds would not be so quick to forgive. I'll still pass on whatever he does next on live action tho.
Vanity project fails.
Director doesn't understand why his VANITY project failed.
The first thing my son said to me when the movie started was, "I wish this could be in color." I understood and appreciated what Burton tried to do with this, but my 9 and 7 year old prefer color with their animation. And these are kids who enjoy watching the old Three Stooges shorts, as well as really enjoying Chaplain movies (they absolutely love "The Kid").
Tim, you have lost something in your art. You were once a visionary. Now you're average at best. I challenge you to make a 10 million dollar live action film (without depp or your wife). I think you'll be pleasantly surprised by the result.
You don't have to worry about Frankenweenie eventually becoming successful on some distant planet, Tim. It's going to become huge right here on this one – just give it time. Remember, The Wizard of Oz was a box office dud.
The 30s movie?
Frankweenie *was* successful in convincing the producers of Pee Wee's Big adventure to hire him and launch his career all those years ago. I'd say anything else is gravy.
I didn't expect much after his string of horrible studio fare. Seriously, Alice in Wonderland was a POS.
But Frankenweenie was wonderful. Nine year old son loved it as well, as did my GF. Slow to start but a tightly run, well-paced, really fun movie with some great great characters. Mr. Whiskers in particular. I WOM keeps it alive…because I have to see every single crappy animated film that comes out (I'm a parent) and the ones that are truly great – are getting increasingly rare. So a good one is worth celebrating.
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How To Box By A Professional Boxer
HOW TO BOX - By A PROFESSIONAL BOXER
I thought many of you would find this interesting. I hope this can cause a good discussion about boxing technique, what are the differences between now and then ?? ----------------------------------------------------------------------------- This manual was written by an unknown, who describes himself as simply a professional boxer. This book was written sometime in the mid-1800's.------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------HOW TO BOX.
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Entered according to Act of Congress, in the year 1882, by
In the office of the Librarian of Congress at Washington, D.C.PR EFACE .
IN presenting to the public a book on the subject of_the art
which I pursue and profess, I think it necessary to explain, for
the information of those who do not know me, the basis of
my claim to their confidence as an authority on the noble English art of self-defense. He who would teach must first have
learned; and in boxing a man learns best under the serious
responsibility of actual encounters in the Prize Ring. A man
who has boxed only with the gloves on,_and has never had experience of a real fight, can be considered only as an amateur; though he may possibly be a good amateur. The boxer
who may fairly claim to be at professional is the one who has
practically encountered the dangers and the difficulties of fights
with good antagonists. The Prize Ring is now extinct. The
prizes have disappeared, but the lessons remain; and I may
claim public confidence on the ground, that a career commenced
in the Ring has been successfully continued (and still continues) in the boxing-school.
At the early age of seventeen my young enthusiasm for the
fistic art had already led me to commence the study of boxing; but I did not actually taste the hardships, dangers, toils
and triumphs of the Ring until 1864, when, in my twentieth
year, I was matched for the first time. I was trained carefully
at Barnet, and in the month of January, 1864, I met in the
roped ring and there defeated Styles, of Paddington. My first
fight occupied sixteen and a half minutes, and was happily
finished in ten rounds. My next opponent was Tom McKelvy,
whom I fought and beat at July, 1866. In this fight I fought
for an hour with my right arm disabled, in consequence of my
antagonist falling upon me and putting out my shoulder. Only
my left arm was left to me, and upon this single weapon I hadPREFACE.
to rely. Tom Sayers was reduced to a similar condition in the
immortal fight with the giant Heenan. My second fight lasted
one hour and twenty minutes, and was finished in twenty-one
rouuds. Both these encounters were arranged and bronght
off satisfactorily under the auspices of Nat Langham.
Since my retirement from the Prize Ring I have been and
still am occupied in teaching boxing, and I may fairly boast
of success with my pupils. I have, indeed, as I may modestly
urge, been rather remarkably successful in teaching, since, I
have taught no less than fourteen winners of the Marquis of
Queensberrys Cup. To use an old sporting phrase, I am
still to be heard of, at Mr. Waites well known school of arms,
22 Golden Square, Regent Street, where. I give lessons; and
where I may be seen any day between ten and six.
The Prize Ring may be dead, but boxing is still as much
alive as ever, and must always form a part of the athletic education of every young Englishman; My experience both in
fighting and in teaching has led me to believe that I could
render service to students with the pen as well as with the
gloves on my hands; hence this manual of the noble art. If
any of my definitions with pencil or with pen should seem to
require further elucidation, I shall be happy to demonstrate in
person to any pupil all and any of the glories of' our art.
22 Golden Square, Regent Street, London, WL I S T O F I L L U S T R AT I O N S .
i. Attitude.......................................... ................................ 14
i. Shaking hands............................................. .................. 16
iii. Both men on guard............................................. ........... 17
iv. Breaking ground............................................ ................ 19
v. Side step.............................................. .......................... 20
vi. Left-hand lead off at the head without guarding 23
vii. Right-hand guard for the head...................................... 25
viii. Left-hand lead off at the head and guard...................... 26
ix. Left-hand lead off and duck.......................................... 27
x. Left-hand body blow.............................................. ....... 28
xi. Stop for ditto............................................. .................... 29
xii. Guard for ditto............................................. .................. 30
xiii. Right-hand body blow.............................................. ..... 31
xiv. Stop for ditto............................................. .................... 32
xv. Guard for ditto............................................. .................. 33
xvi. A lead off at the head with the right, and guard
for it................................................ ........................... 34
xvii. Lead-off with right hand at head, and duck.................. 35
xviii. Left-hand counter on the head...................................... 36
xix. do and duck....................... 37
xx. Right-hand cross counter........................................... .... 38
xxi. Stop for ditto............................................. .................... 39
xxii. Right-hand counter........................................... ............. 40
xxiii. Stop for ditto............................................. .................... 41
xxiv. Left-hand upper cut............................................... ........ 42
xxv. A draw and stop for ditto............................................. .. 43
xxvi. Righ-hand upper cut............................................... ....... 44
xxvii. A draw and stop for ditto............................................. .. 45
xxviii. Another draw and stop for ditto.................................... 46xxix. How to prevent your antagonist from hitting after
you have led off and passed over his left shoulder.......................................... .................................... 47
xxx. Slipping.......................................... ............................... 48
xxxi. The head in chancery.......................................... ........... 49
xxxii. To get out of chancery.......................................... ......... 50
xxxiii. In-fighting.......................................... ........................... 51
xxxiv. Two men on guard, one with left and the other
with right leg in front............................................. ... 52
xxxv. Guard for right-hand lead off at head when opposed to a man who stands with right leg in
front............................................. .............................. 53
xxxvi. Duck and counter for ditto............................................ 54
xxxvii. Positions of the hands when hitting.............................. 58THE SCIENCE OF SELF-DEFENSE;
THE Art of Boxing has been practiced more or less among
the two great nations of antiquity. The Greeks and Romans
held it in high respect, and even the Jews did not wholly
eschew the art of smiting, while the descendants of the Tribes
who settled in England have contributed many of the most
brilliant boxers to the roll of fame. That every man who desires the development of the muscular powers of the human
frame, the possession of quickness, decision, endurance and
courage should practice boxing as a matter of necessity,
since by no other means can all these qualities be so thoroughly tested and cultivated. Every man should be able to use
the weapons which nature has given him to the best of his
abilitynot necessarily to oppress or injure others (since the
best boxers are almost invariably the least qnarrelsome and
overbearing persons), but to be able to defend himself from
attack or oppression on the part of others. The smallest and
weakest man, by assiduous practice in boxing, may make
himself an antagonist by no means to be despised; and well
do we remember seeing a small, pale, slender-looking slip of
a fellow, give a great hulking waterman, six or eight inches
taller than himself, a very wholesome thrashing at Hampton8 HOW TO BOX.
Court once for attempting to bully him out of his fare. It
was beautiful to see how the little man slipped away under the
arms of the big one (who was weaving and walloping them
about like the sails of a windmill), propping him sharply here,
there and everywhere, until the bully, worn-out and bleeding,
admitted that he had had enough, and the little one walked off
without a mark, amid the cheers of the spectators. The big
one was probably careful in future to deal more carefully with
his customers. Boxing has been called brutal. With persons
who hold that view it is perhaps useless to argue; they look
only at the worst aspect of the means, and entirely shut their
eyes to the object, or better side of the question. But it may
fairly be asked whether manners have improved since boxing
was abolished by law; whether there is less brutality, less
wife-beating and kicking, now than formerly: and whether the,
spectacle one so often sees, of two great hulking brutes blackguarding each other in the foulest and most filthy language,
yet both afraid to hit one another from want of familiarity
with the usages of combat, is an improving one? Is there less
brutality, less criminal violence, often attended with fatal or
nearly fatal results? less ready use of un-English and unmanly weapons and means of defense than there was formerly?
We say No, emphatically, and, with certainty; no. In the old
days, when boxing flourished, if a man had been seen illtreating a weaker one or beating and kicking a woman, twenty men who could use their fists would have come forward
promptly to help the weak, and the brute would soon have
learnt at what a risk he indulged his propensities. Now,
twenty men will pass by on the other side, or scuttle off down
a by-street to be out of the row.
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Our great fatal mistake was made in putting down what
was called "prizefighting." It was first declared illegal, and
then tolerated for many years. The professors of the art being thus placed under a social ban, and having to practice it
in opposition to the law, th more respectable aud better class
of their patrons became gradually weeded out, and while the
Tom Springs and Deaf Burkes, men of sterling worth, courageHOW TO BOX. 9
and unimpeachable honesty, passed away, worse came in their
places; and then, this, the natural result of such a course of
treatment was pointed to as a reason for active interference
and putting fighting down altogether. Yet the native love of
seeing a well stricken field was never so strongly displayed as
when Tom Sayers and Heenan fought their well-contested
fight, and the best blood in England stood by the ring side
and looked on with breathless interest. Had such patronage
always awaited the ring, had endeavors been made to raise its
status and social condition instead of lowering it; had it been
recognized as a national benefit that the youth of England
should know how to protect itself, should know how to bear
exertion and pain with unflinching courage and endurance;
had it been admitted that a school for the encouragement and
practice of the art in which the highest efficiency could be obtained was a national requisite, then indeed we should have
had matters placed on a different footing, and the rowdyism
and blackguardism one used to hear so much of, and which
were mainly due to the low parasites and hangers on of the
Ring, would not have been heard of at all, for the professors
of the art, seeing themselves respected, would have put all
this down with a strong hand. As it is, the school of boxing
is rapidly dying out, and when the professors of the present
day have passed away it will be hard to say where the new
ones are to come from. Unless, therefore, some strong step
is taken to revive the fallen fortunes of the Ring, the school
of British Boxing will soon be a vision of the past, and Continental manners and practices of the worst type will find a
home amongst us.
Keep your eyes open.
Abstain from biting your lips, or putting your tongue beveen your teeth. Very serious accidents may occur from so
The mouth ought to firmly closed. The slightest tap on
the lower jaw when it is hanging loose will be remembered for10 HOW TO BOX.
long afterwards, while a more severe blow will dislocate it.
The value of this piece of advice will be the more obvious to
the reader if he attempts simply to shake his lower jaw when
his mouth is closed and then repeat the experiment with it
Endeavor in sparring to let the muscles work as loosely and
easily as possible. Let all your movements be light and free.
Lift the feet, do not drag them. By these means you will cultivate quickness, without which knowledge is of little use in
In sparring round your adversary keep the left hand and
foot in front of you, and after delivering a blow, work to your
right, in order to get out of reach of his right hand.
Wrestling is not permitted in boxing.
It is a foul blow to hit below the belt.
Avoid if possible coming to close quarters with a man of
much superior weight. In out—fighting quickness may neutralize weight, but in-fighting the latter must always tell.
It may perhaps be as well to explain the somewhat technical expression of "in-fighting" and "out-fighting."
IN-FIGHTING means half-arm hitting, with both arms, when
close to antagonist. In in-fighting a man must rely upon his
quickness in hitting, and cannot pay much attention to
OUT-FIGHTING means long-arm hitting and guarding, and
includes maneuvering tor a hit coupled with a readiness to
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In hitting make as much as possible of your weight. The
blow that is simply delivered by the action of the muscles is
nothing by comparison with that which is followed and driven
home by the full weight of the body. Remember, also, to
have the hands tightly closed. In fighting this would natu-HOW TO BOX. 11
rally be an unnecessary caution; it is, however, a frequent
occurrence to see men hit with open gloves. Besides diminishing the force of the blow, a sprained or otherwise injured
hand or wrist may follow.
In the left hand lead off at the head, the blow should be
given with the upper knuckles, and in all others with the hand
in the position shown in plate XXXVII.
In leading off with the left hand at the head the arm
should be perfectly straight, with the elbow turned under and
palm upwards. Vide plate XXXVII.
For all other blows the arm should be slightly bent, the
elbow pointing outwards, and the palm turned half down and
inwards. Vide plate XXXVII.
There are four hits, viz:
The left hand at the head. The right hand at the head.
The left hand at the body. The right hand at the body.
DUCKING consists in, throwing the head on one side end at
the same time slightly lowering the body, so as to allow the
blow intended for the head to pass harmlessly over the
shoulder. It is an excellent. method of avoiding a blow.
affording, moreover, an opportunity of delivering one, for the
pupil should bear in mind never to duck without at, the same
time hitting. When opposed to a bigger man than yourself.
fight at his body, using the ducks shown in plates X. and
There are five ducks.
The duck to the right, as practiced when countering with
the left hand on the head. Vide plate XIX.
The duck to the right, when it ls intended to deliver a lefthand body blow. Vide plate X.
The duck to the left while delivering a right-hand crosscounter. Vide plate XX.12 HOW TO BOX.
The duck to the left, giving at the same time a right-hand
body blow. Vide plate XIII.
The duck to the right which is sometimes used when leading off at the head with the left hand, in order to avoid a
counter. Vide plate IX.
A FEINT is a false attack made to divert attention from the
real danger which followed, as, for instance, a left-hand feint
followed by a right-hand blow, or a feint at the head followed
by a body blow. To make a feint with the left hand, straighten
the arm suddenly as though you were going to deliver a blow,
and at the same time advance the left foot about six inches,
keeping the head back, then return to the guard.
A feint with the right hand is made thus; Draw the arm
back suddenly as though you were going to hit, and at the
same time advance the left foot about six inches, keeping
the head back, then return to the guard. "Drawing" has
some affinity with feinting, and may be described under the
same head. Its object is to induce your opponent to deliver
a certain blow for which you are prepared, and which it is
your intention to counter; you do this either by feinting and
enticing him to follow you up, or by laying yourself open with
apparent carelessness to the attack you wish him to make.
Both are, of course, exceedingly useful, but the beginner will
do well to cultivate quickness and attain some proficiency in
straightforward sparring before he turns his attention to
maneuvers which are more likely to get himself than his
adversary into trouble if they are not performed with great
rapidity. When your opponent feints or attempts to draw
you, either get back or else guard both head and body as illustrated in plate VIII.
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FEINT a lead off with the left hand, so as to induce your
adversary to throw up his, right-hand guard. Should he doHOW TO BOX. 13
so, hit at the pit of the stomach. Should he not raise his
right band, follow the feint up with a genuine lead off at the
head. Particular attention should be paid in this attack to
the action of the feet. Make a short step with the left foot
(about six inches) as though you were going to lead off, then
withdraw it and suddenly deliver the blow; using the feet as
described in plates VI. and X. This movement requires some
practice, as it should be performed with great rapidity.
In this position the toes of the right foot must be directly,
behind and in a line with the left heel. The distance between
the feet naturally varies according to the height; for a man of
5ft. 8in. it should be 14 inches. Let the right foot be turned
slightly out, and raise the heel about two inches from the
ground; the weight then will rest on the ball of the foot.
The left foot ought to be flat on the ground and pointed towards your opponent's left toe. Slightly bend both knees.
The right arm should be across the "mark" (that point
where the ribs begin to arch), the hand being an inch below
the left breast. To obtain the exact position of the left arm,
advance the left shoulder, drop the arm by the side, and then
raise the fore-arm until the hand is on a level with the elbow.
In sparring it should be worked easily forward and backward.
Throw the right shoulder well back, and slightly sink it, so
that of the two the left shoulder is the higher. Lower the
chin, turn the face a little to the right, and bend the head
slightly over the right shoulder, The object of turning the
face is to prevent both eyes being hit at once, while the head
is bent to the right in order that it may not be directly in a
line with your opponent's left hand, and thus afford him an
easy target.
Commence with the body blow as described in No. X.; instead, though, of retiring immediately you have struck out,
bring the right foot about twelve inches forward, step in a few
inches with the left, and follow the first blow up with a second
aimed at the face. Both blows, which must follow one
another as rapidly as possible, should be delivered with the
left hand. The palm in each instance ought to be turned
down. ----------------------------16 HOW TO BOX.
P L AT E I I . (Download book for illustrations... McGoorty)
Both before and after a bout with the gloves, the combatants should thus salute one another. It is a good oldfashioned English custom, betokening friendly feeling, and
should never be omitted. A hearty shake of the hands after
a warm set-to, in which both men have; perhaps, become
rather more earnest than is necessary, at once dissipates what
might otherwise grow into ill feeling. As the hand is extended, move the right foot to the front; and at the conclusion of
the ceremony throw it smartly behind the left and assume at
once the position given in plate I. ------------------------------ P L AT E I I I .
It is of the utmost importance that a man should stand and
get about well. The advantage of quick hands is sadly neutralized by slow legs. To get about quickly and safely, there
must be some arrangement and method in the steps. An
experienced boxer, who has paid attention to the action of the
feet, always stands firmly; his feet are never flurried, the same
distance usually separates them; he moves rapidly, neatly and
quietly. With a novice, or boxer who imagines that getting
about is an unimportant detail, and the manner in which he
moves of no consequence, the case is different: As a rule his
movements are few and deplorably slow; when suddenly
attacked he loses his balance, and most of his attention is
consequently directed to saving himself from falling. Should18 HOW TO BOX.
he, however, be more ambitious, and attempt to move with
any rapidity, the whole performance is a scramble. His feet
are too close together, or too far apart, his legs are (if I may
use such an expression) constantly in his way; he stumbles,
staggers and rolls about in an absurd manner, not unfrequently ending by tripping himself up, and falling even without the assistance of a blow.
By referring to the plate you will see both men on guard,
in the position illustrated in Plate No. I., and before proceeding further they should practice the following steps:
To advance, move the left foot about ten inches forward,
placing it upon the ground heel first. Let the right foot follow it the same distance. Bear in mind that the space between the feet should vary as little as possible.
To retire, step back about ten inches with the right foot.
following it in like manner with the left.
To take ground to the right, move the 1eft foot about twelve
inches to the right, following it immediately with the right,
and assuming again position No. I.
To take ground to the left, move the right foot twelve inches
to the left, and place the left directly in front of it.
By adopting these steps the right foot is always behind the
left, you are always in position, and consequently ready either
or attack or defense.
This is the term applied to the usual method of retreat in
boxing. You break ground in the following manner. In
leading off at the head your right foot will be raised from the
ground (vide plate VII.) As you set it down again and the
weight of the body is transferred to it from the left leg, spring
backwards. The left toot should touch the ground first,
alighting on the same spot upon which you formerly placed
the right, which then assumes its natural position in the rear,
You will thus find yourself in position a pace behind the spot
from which you originally stepped, in to lead off., It is necessary sometimes, if your opponent follows you up very quickly; to double the step, that is to say, to make two consecutive
springs backwards. For other blows, although the right foot
is not raised from the ground an the moment of striking the
movements in breaking ground are precisely the same, for the
moment the weight falls on the right leg you spring back as
described above.
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Raise the left elbow and bend the arm so that the fist is
somewhat lower and nearer to the body than the elbow. Let
the palm be turned to the front. Shift the right foot back
about six inches, and lean a little forward, so that you are the
better able to resist the attack. Look over your wrist, and
receive the blow upon the elbow. ------------------------HOW TO BOX. 21
This is exceedingly useful in avoiding a rush or in getting
away when you are driven back against the ropes. We will
suppose you to be in position facing your adversary. By a
sudden movement of the feet, half spring half step, you turn
the body to the right, change the relative position of the legs,
and assume the attitude of a fencer on the lunge, that is with
the right instead of the left leg in front, as is usual in boxing.
Your left should now be turned towards your adversary, the22 HOW TO BOX.
line of your feet being at right angles to the line in which they
formerly stood. The left foot should be upon almost the same
spot formerly occupied by your right. If your adversary advances hastily and without caution whilst you are in this posture he will be apt to trip over your left leg. Bring the left
foot into position before the right, and you will then stand a
pace to the right of your original station. If this step is executed rapidly you elude your opponent, for he will no longer
be in front of you, and consequently you can easily get away
from the ropes. A combination of the side step and breaking
ground should also be practiced. Spring back as if breaking
ground, and alight in the posture above described as that of a
fencer on the `lunge, with the body turned to the right, bring
the left foot into position before the right, rand you thus get
back and work to the right of yourself at the same time. ------------------------- LEFT-HAND COUNTER ON THE BODY
This should be delivered when your adversary is leading off
at your head with his left hand. Duck to the right, step in
about twelve inches, and aim your blow at the pit of his stomach. The right hand should be drawn seven or eight inches
back, and held close to the side. To get away, turn the left
heel out and spring well back. Do not raise the head until
out of distance. ------------------------------------------------------------------- LEFT-HAND LEAD OFF AT THE HEAD WITHOUT
The lead off at the head should, as a rule, be made with the
left hand. Its importance can hardly be exaggerated. Every
effort should, therefore, be directed, towards attaining proficiency in this particular. A quick lead off frequently enables
a man to score point after point without receiving a return.
He spars rounds his adversary, watching for an opportunity,
and then, having measured his distance well, steps in, plants
a blow, and is away again at once. With these tactics at his
command, a light man will often fight a heavy weight all over
without coming to close quarters, at which weight would inevitably tell in favor of its possessor. A slow lead off lays a
man open to counters and cross-counters, which will hereafter
be described.24 HOW TO BOX.
The lead off should be made when the hand is in the position shown in plate No. I. In all other blows the hand is
more or less drawn back before delivery; in this, case, however, it should come straight out, as it were, spontaneously,
and without the slightest hesitation. Beginners are almost
always inclined to hit downwards, or "chop" and bear heavily upon their opponent's guard. This should be avoided. In
stepping in push yourself on the ball of the right foot, and
spring in about eighteen inches. The action of foot and arm
should be simultaneous; do not step in and then deliver the
blow. The lead off at the head with the left hand is the only
blow that is delivered while the right foot is raised from the
As you step in the right foot should follow, and, at the
moment of striking, hang over the spot formerly occupied by
the left. Full advantage is thus taken of height and reach.
Be careful when you step in to place the left foot upon the
ground, heel first. If the toe touches the ground first and
your adversary by chance gets back instead of guarding or
receiving your blow, you do not meet with the expected resistance, and consequently are apt to overbalance; in which
case, until you can recover yourself, you are at his mercy.
The head and right hand remain in position No. I.
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To guard the head from your opponents left hand, raise
the right hand nearly to a level and inn front of the left temple.
Let the fore-arm cross the face, and be thrown forward so as
to turn instead of receiving the weight of the blow. Keep the
elbow down, Close the hand firmly in order to brace the
sinews, and turn the palm partly outward or the blow will
fall on the bone of the arm instead of the muscle. At the
same time bend the head. forward and to the right—thus, although the face is well out of danger, you can still see your
opponent over the fore-arm. ------------------------------- LEFT-HAND LEAD OFF AT HEAD AND GUARD.
The lead off in this ease is precisely the same, but, at the
moment of hitting, you also throw up the right-hand guard to
protect the face from a possible left-hand counter. It requires
a little practice to do this without detracting from the rapidity
of your lead off; your trouble will, however, be well spent, for
with an opponent who frequently attempts, left-hand counters
this will be found a very useful maneuver.
For the feint of this lead off, see p. 12. ---------------------- LEFT-HAND LEAD OFF AN DUCK.
This illustration represents the same lead off again. In
place of the right-hand guard, it is, however, accompanied
with a duck, thus avoiding instead of guarding the left-hand
counter. Observe that for this blow the right foot is not
raised; it does not follow the left as in the preceding examples, but remains firmly planted on the ground, as in the lefthand body blow. ----------------------------- LEFT-HAND BODY BLOW.
This blow should never be attempted unless you are coufident that you have sufficient room behind you to be able to
get well away again. It should be directed at the pit of the
stomach, which is the weakest part of the body. Occasionally
it may with advantage be preceded by a feint at the bend, in
order to induce your opponent to throw up his right-hand
guard and lay the "mark" open. Let the ball of the right
foot be kept well on the ground. Step in about thirty inches
with the left foot, hitting out at the same time and ducking
to the right. In the event of your adversary attempting to
counter you with the left, your head will thus be outside his
arm, which will pass harmlessly over your left shoulder. For
this blow the arm should be slightly bent, the elbow turned
out, and the palm of the hand turned inwards and partly
down. The right arm should in the meantime be drawn back
seven or eight inches, and the glove held close to the side. To
get away, turn the left heel outwards and spring well back,
taking care not to raise the head until out of distance. STOP FOR LEFT-HAND BODY BLOW.
Like all stops, this requires very accurate timing. Having
foreseen your adversary's intention, hit him full in the face
with your left hand before he get got his head down. Keep
your right arm in its original position across the "mark." GUARD FOR LEFT-HAND BODY BLOW.
It is customary, in order to prevent the preceding "double,"
to cover both body and head at the same time. When, therefore, the body is attacked, put up the right-hand guard, and,
at the same time, throw the left arm well across the "mark"
(vide plate VII.) Be careful to hold it firmly-against the
body, for even the jar of at severe body blow will knock n. good
deal of the wind out of a man. Step buck about six inches
with the right foot, so as to be the better able to resist a rush.
This is also an guard for double lead off at body and head
described on p. 15.
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This should be aimed at a little below the heart. It is delivered under the same circumstances and in the same manner
as the left-hand body blow (vide No. X.), with these exceptions: You duck to the left instead of right, and the feet
when you have stepped in should only be twenty inches apart
instead of thirty; you have consequently to get nearer your
opponent before attempting it. Be sure always that you have
sufficient room behind you for-retreat.32 HOW TO BOX.
Should he attempt to put his left arm around your neck
while you are delivering this blow, duck to your right under
his arm and get away. This should always be done when a
man attempts to seize your head. When opposed to a man
who stands with the right leg in front, you must duck to your
This stop is exactly the same as that recommended, for tha
left-hand body blow. Vide No. XI. GUARD FOR RIGHT-HAND BODY BLOW.
Bring the left side forward and drop the left arm, which
should be slightly bent, so as to cover the side and front of the
thigh. Care should be when to press the arm close to the
body, in order to prevent. the jar through which you would
otherwise feel much of the force of blow. A LEAD OFF AT THE HEAD WITH THE RIGHT, AND
Feint with the left, hitting your opponent on the right arm.
DO not withdraw your hand, but us he mises his guard rest
upon it with your left and pin it to his chest; then bring in
the right hand, aiming it at the chin or angle of the jaw.
Properly delivered, this is a most punishing blow, for by
steadying yourself with the left hand you can bring your full
force into play with the right.
For guard for lead off at the head with the right, see p. 20. LEAD OFF WITH RIGHT HAND AT HEAD, AND DUCK.
When leading off at the heed with the right. you may duck
to the left, and avoid a, right-hand counter. In this illustration both men are performing this maneuver. P L AT E X V I I I .
This happens when two men lead off at the head with the
left hand at the same time. P L AT E X I X .
There are, perhaps, few blows more unpleasantly startling
than a good left-hand counter which meets you full-face. It
opens a spacious firmament to the bewildered eyes, wherein
you discover more new planets in a second than the most distinguished astronomer ever observed in a lifetime. As your
adversary leads off at your head with his left hand, duck to
the right, so as to allow his blow to pass over your left shoulder; step in about twelve inches and strike out at his face.
The right foot should not be moved. Here both men have, as
it happens, made use of the same stratagem, in consequence38 HOW TO BOX.
of which both left arms have passed harmlessly over each
other's left shoulder. LEFT-HAND COUNTER ON THE HEAD AND GUARD.
The difference between this and the preceding counter will
be easily understood by studying the plate. It consists
simply in guarding your opponent's lead off instead of ducking to avoid. You step in and hit out as before.P L AT E X X .
This is the most; severe blow which can be dealt in sparring. It is delivered as follows: As your opponent leads off
at your head with his left hand, step in about twelve inches,
ducking to the left, at the same time shooting your right hand
across his left arm and shoulder. The blow should be aimed
either at the angle of the jaw or chin, and the palm of the
hand should be half turned down. Let both feet be turned
slightly to the left, as by these means the right side is brought
forward and greater force given to the blow. As the counter
is delivered, draw the left hand back to the position illuscrated in the plate, then, should a second blow be necessary,
before getting away you can deliver it. P L AT E X X I .
Anticipating your adversary's intention, hit him full in the
face with the left hand before he ducks; or, instead of striking at his face, deliver the blow on the right side of his chest, near to the shoulder, and his right hand will he effectually
As you lead off with your left, drop the head well forward,
so that at the end of the movement your left ear will be
touching the inside of your upper arm when the angle of
your jaw and chin will be completely covered by your shoulder.
Body blows with left or right hand will act as stops for all
right-hand hits at the head.
For left-hand (counter on the body, see p. 22. P L AT E X X I I .
This occurs when both men lead off together with the right
hand. P L AT E X X I I I .
Duck your head to the left as you lead off.
Duck to the left in order to avoid your opponent's lead off,
and strike out with the right hand at a point a little below the
heart. The left hand should be drawn beck as shown in the
illustration. In all other particulars this blow represents the
preceding. For this and the left-hand counter, it will be well
to study the right and left hand body blows (Nos. XIII. and
X.), for, with the exception of the circumstances under which
they are delivered, and the difference in the distance of the
advance made the blows are the same.
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This blow, which in reality is a counter, should be given
when a man is lending off at your head with his left hand and
holds his head down. Guard your face with the right arm, step
in about twelve inches, and hit upwards with the left. The arm
should be bent and elbow turned down. The force of the blow
must come in a great measure from the body. P L AT E X X V.
Feint a lead off at your opponent's face with your head down.
then duck to the right, and give the left-hand body blow as
described in No. X.P L AT E X X V I .
With this exception that you do not guard, this blow is similar to and delivered under the same circumstances as the
left-hand upper cut. In delivering it the head should be slightly bent to the left. P L AT E X X V I I .
Feint with the head as if it were your intention to lead off
with it down, then throw the head back and lead off at your
adversary's face with the left hand. P L AT E X X V I I .
Feint with the head as if it were your intention to lead off
with it down, then throw the head back and lead off at your
adversary's face with the left hand. P L AT E X X I X .
Wh e n this occurs, bend the elbow quickly, place your forearm against his throat, and thrust his head back. Grasp his
left shoulder with your left hand and seize his left elbow with
your right hand. This will effectually stop him from hitting
you. P L AT E X X X .
T h i s i s a n e x c e e d i n g ly useful maneuver, which enables you
to avoid a rush or get out of a corner. Feint a lead off, tapping your adversary lightly on the chest or right arm; do not
thon retire, but as he comes at you duck to the right, make
another step forward (as described in the lead off with a
double step in), and pass under his left arm. To face him
again, turn to the left. P L AT E X X X I .
No directions can bo given for getting a man into this posi
tion. When in close quarters, you should, however, always
be on the lookout for a chance of doing so. If it occurs,
grasp your opponent firmly around the neck with the left arm
and use the right to punish him. P L AT E X X X I I .
Almost the best advice to give a main who is firmly and fairly caught in chancery is not to attempt to get out, at least unless the hold loosens, and he can make his effort with some
chance of success. In pulling away or resisting he is simply
hanging himself. He should, therefore, push his opponent
back (see plate XXXL), and at the same time fight to the best
of his ability with both hands. If. however, he discovers the
danger before the grasp has tightened, he should place one
hand under his adversary's fore-arm near the elbow, the other
under the shoulder, and push the arm up, ducking at the same
time, and dragging the head away.
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In-fighting generally takes place in a corner or near the side
of a ring. In in-fighting bring the right foot forward until it
is nearly in a line with the left, drop the chin and lean forward, so as to receive the blows on the forehead. Keep your
eyes fixed on your antagonist. Use both hands and hit rapidly, bringing the shoulder well forward at each blow. The arms
should not be drawn too far back, as time is lost thereby; a great deal of the force of the blow is obtained by turning the
body slightly to right or left as you hit. It is a great advantage to have your hands inside your opponent's you should,
therefore, keep them as close together as possible, so as to obtain, or if you already have it, keep this advantage. Aim the
left hand at the eyes and nose, the right at the chin or angle
of the jaw. After delivering five or six blows, get away.
Never fight at the body in in-fighting, invariably make the head
your mark. P L AT E X X X I V.
Work to your left in order to avoid his left hand. Be
chary in leading off with the left hand, as that is at once
difficult and dangerous. It is far better to lead off with
the right-hand and duck at the same time to the left. When your adversary leads off with the right hand, duck to
the left and counter either upon the face or body.
The blow on the face must be given like the right cross
counter (vide plate XX.), and the one on the body like the
right hand body blow shown in plate XIII., except that you
must aim at the pit of the stomach instead of at u little below
the heart.
When he leads off with the right-hand guard with the left
arm, as shown in plate XXXV., guard his left with your
right arm, as shown in plate VII.
Use the guards, illustrated in plates XV. and XII., for his
right and left-hand body blows, guarding his right with your
left, and his left with your right.
Avoid in-fighting with him as much as possible.
I have now, to the best of my ability, described the principal hints, stops, guards, &c., in boxing, as I use and teach
them myself. Having to a certain extent perfected himself
in these, the pupil will do well to go through the following exercises, making the hits as smartly and as rapidly in succession as possible, but not omitting to return to the position
illustrated in plate No. I. after each blow. The opponents
should take it in turns to guard and attack. FIRST EXERCISE.
1.—Left-hand body blow (get back.)
2.—Right-hand body blow (get back.)
3.—Left-hand lead off at the head, guarding with the right
(get back.)
4.—Right-hand cross counter (get back.)
5.—Lead off at the head with the left and duck to the right
(get back.)
1.—Right-hand body blow (get back.)
2.—Lead off with the left at the head without guarding (get
3.—Right-hand cross counter (get back.)
4.—Left-hand body blow (get back.)
5.—Lead off with the left at the head and (get back.)
1.—Lead off with the left at the head without guarding (get
2.—Right-hand cross counter (get back.)
3.—Left-hand lead off at the head and duck to the right
(get back.)
4.—Left-hand body blow (get back.)
5.—Right-hand body blow (get back.) FOURTH EXERCISE.
1.—Lead off with left at body, then make a short step in and
repeat the blow on the face (get back.)
(This is the double lead off at body and head, vide page 8.)
2.—Lead off with the left and right at the head (get back.)
3.—As your opponent retires, advance quickly, then step in
and deliver the left on the face (get back.)
4.—Both men lead off with left and guard (get back.)
1.—Lead off with the left hand at the head (get back.)
2.—Right-hand cross counter, remain and commence infighting, deliver five or six blows and get back.
Never degenerate into a rough, unmeaning, unscientific
scramble. In the midst of impetuosity remember coolness;
and never let the heat of action lead you to forget good tempor. Be manly; seek no undue advantage. Science and pluck
give advantage enough.
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January 11, 1999
The Woodinville Fire & Life Safety District's notice of its 1999 "benefit charge" of $.325/$1,000 of assessed valuation raises questions.
While the rate-per-thousand is the same as last year, the district will actually be receiving a great deal more due to increased assessed building valuations. (Since the benefit charge is not a tax, it is not limited by the 106% regular-levy tax lid.)
So why should increased values of homes and commercial buildings that are driven skyward by growth-management-related supply shortages during a period of great demand, result in increased costs to the district?
And if there are not increased costs due to increased building valuations, shouldn't the 1999 benefit charge rate be lower than that of 1998, instead of remaining the same? After all, the benefit charge is on top of the much greater amount the district collects on each building for the regular fire tax levy.
A significant question arises as to how the district determined the cost effects of the 16% increase in the excess tax levy for emergency medical services (EMS). This increase was approved by the voters in 1998, with collections beginning in 1999.
Since the majority of the district's emergency calls are for medical services, not fires, shouldn't that 16% increase for EMS strengthen the argument that the benefit charge collections should at least remain level, without increasing due to increased assessed valuations?
Please enter this letter into the public record as a general appeal of the $.325/$1,000 rate for the district's 1999 benefit charge. Please notify me of the hearing date that will follow your February 1st appeal deadline date.
Maxine Keesling, Woodinville


text:
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DNU - XD Art
Julian Gabriel and Eduardo Mendez spent years working on the technical side of the film business. While on location they began collecting art, just for the fun of it. They had no criteria; the work just had to speak to them and buoy their existing eclectic collection. Whether a piece was by a known artist or an amateur, if they liked the work, it graced their home.


text:
If your Halloween party plans are still in the works… or maybe you're suddenly itching to host a last-minute bash since Oct 31st falls on a Saturday this year, check out today's HWTM post over at Real Simple – Halloween Parties: 8 Tips for Last Minute Hosts!
Comments 4
- October 29, 2009 by jennifer
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- Halloween
1Susan SAYS:
Love the tips! Especially the idea about the nylons over the glass vases. I'll be trying that one out for sure!
2Sophie SAYS:
These look like so much fun! I love the oreo "R.I.P" pudding. Yummy!
3Hawaii Wedding SAYS:
Fun, fabulous treats that look way too good to eat!
4Down Comforter SAYS:
Really great tips – thanks for the link :)


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Let's talk about investing
Posted by Ken at 11/1/2012 10:20:00 AM | 0 Comment
BCSC staff ambassadors tour the province, helping people to protect themselves from fraud and unsuitable investments. Our goal is to enable BC investors to develop critical thinking skills so they can become more informed of steps they should take to protect themselves when investing.
Where we are this month
Qualicum Probus Club
Be Fraud Aware seminar
November 6
St. Stephens United Church 150 Village Way, Qualicum Beach
Come for coffee & goodies at 9:00 am – meeting starts at 9:30
Cost: $5.00
No need to register – all welcome
Questions, call Marva Blackmore 250-594-3221
Focus on Seniors Forum
November 17
9:00 am- 3:00 pm
Guilford Recreation Centre 15102 -105 Avenue Surrey
This event is free for all seniors - focusing on a Mandarin speaking audience.
This forum will raise awareness of issues impacting seniors as well as provide valuable information about legal, safety and support resources available to seniors and their caregivers in Surrey.
Lunch will be provided. Lots of great prizes!
Seating is limited, so please register at:
Novemer 21, 2012Hosted by City of Coquitlam Free seminar for those 50 years and older. Learn how to protect yourself from investment fraud. Time: 1:00 pm - 2:00 pm Location: Dogwood Pavillion 624 Poirier Street Contact: To reserve please call 604-927-6098
Be Fraud Aware
November 26
Private event
North Vancouver
November 27
We present to various service clubs such as Rotary, Probus, Newcomers, women's groups, seniors' organizations, and other networks. If your group of 20 or more would like to have the BCSC come and present InvestRight, please contact:
Anne Rutherglen
Program Manager, Outreach
Communications & Education
Email:arutherglen [at] bcsc.bc.ca
Phone: 604-899-6731 or toll free: 1-800-373-6393
This is a moderated blog. We welcome your comments and review each one before posting.
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