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GetAnonymous V2.0 - Personal Edition 2
Online Privacy, Protection, Filtering, Proxy & anonymous web surfing
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Publishers DescriptionGetAnonymous is the NEW technology offering a comprehensive online privacy service. With GetAnonymous you can finally have all the features you always wanted in ONE PRODUCT. These include Privacy (Proxy Server, Chain of Proxies, Referrer Blocking, and Hiding Page Titles), Protection (Parsing Engine, Multiple IP Addresses, Hiding IP Address, Defensive Operating System, Content Control, JavaScript Filter, and Online Privacy Control), Filtering (Cookie Control, Ad Blocking, and Safe Cookies), and Control (Confidential Toolbar, User Friendly Wizard, Custom Settings, Internet Explorer Toolbar, Compatibility, and Real-time Activity Log). GetAnonymous List of Features is considered the most wide-ranging of online privacy software. First time to introduce the proxy chain technology, GetAnonymous allows you to stand behind multiple proxies. This provides you with more protection and privacy than ever. GetAnonymous not only allows you to use a proxy chain, but also to control the length of this chain. You can set timing to end the connection with the proxy servers if they stop responding. It provides you with a fresh list of proxies each time you update your proxy. Our unique Internet Explorer toolbar puts all the privacy controls at your fingertips with a toolbar integrated with Internet Explorer. Now you can work within one environment with all the security options in vision. GetAnonymous is definitely the most inclusive online privacy Software, at the lowest price available in the market. *You get the advantage of staying Anonymous when chatting Online on MSN.
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subset: commoncrawl


text:
In a push to help Chris Paul land the league's MVP award, the Hornets launched CP3MVP.com today, a Web site that will serve as part of the organization's campaign for the All-Star guard.
CP3MVP.com will be an interactive site where visitors can link to the CP3 for MVP Myspace page also created to promote Paul as this year's MVP. From there, fans can then upload short videos explaining why they think Paul should be named the NBA's MVP.
The winner will receive two floor seats to the Hornets match-up with the L.A. Clippers on Tuesday, April 15, as well as limo service to and from the game, and a meet-and-greet with Chris Paul.
Paul is currently averaging 21.6 points and 11.3 assists through 64 games and is looking to become the first player in over 15 years to average 20-plus points and 10-plus assists per game. He is first in the league at 2.7 steals per game and is tied for first with 11.3 assists per contest. With 42 double-doubles on the year, Paul ranks fifth in the NBA, second among point guards. He has scored 40 or more points in three games this season, while registering 20+ points and 15+ assists in nine contests this season, an NBA-best.
For more information, visit CP3MVP.com, Hornets.com or www.myspace.com/cp3mvp.


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It took a while for the Parkland High School boys lacrosse team's engine to turn over.
But once it did, the top-seeded Trojans roared into the Lehigh Valley Conference final.
Parkland defeated Nazareth 15-2 tonight in the LVC semifinals at Andrew Leh Stadium.
The Trojans advance to play Easton, which defeated Emmaus 6-5 in the first semifinal, in the championship game 5 p.m. Monday back at Nazareth.
Parkland (15-4) didn't get out of the blocks as quickly as the score might suggest, though. Josh Pope struck first and Ethan Howell pushed the advantage to 2-0 for the Trojans with 7:44 left in the first quarter.
Nazareth (10-9) cut the deficit in half with a goal from Brandon Winslow, and that 2-1 scoreline carried into the second, where the Trojans began to click.
Parkland outscored Nazareth 4-0 in that quarter, with goals from Pope, Gavin Saylor, Nolan Ridgway and Dylan Klusaritz, which was ultimately the start of a streak of 12 unanswered goals for the No. 1 seed.
"We definitely did not execute well in the first quarter," Trojans coach Brad Schifko said. "We were actually a little disappointed, we were playing a little bit selfishly and doing things ... uncharacteristic of our play."
Klusaritz and Saylor took over after intermission, scoring all of Parkland's seven third-quarter goals between each other.
"But once we got into half, we settled down a little bit," Schifko said. "We did a much better job of being unselfish, running our offense and executing the way that they know how."
Klusaritz, a senior, and Saylor, a freshman, finished with five goals apiece. Klusaritz's strike with a little under two minutes remaining in the third sent the game into the mercy rule.
"They've got athletes in every single position, they're very deep," Nazareth coach Jason Markle said.
Markle didn't want to make excuses for his side, however, despite the opposition's wealth of talent.
"We played very, very poorly," the coach said. "It seems like we don't want to pick up groundballs. When they start to go on a run, we have no answer on the offensive end -- we're taking shots from too far away right to the goalie's stick. We're not helping our cause in any stretch of the imagination.
"They're just a tough team to play and I think a 9-1 (league) record in the regular season shows that they're the top of the class in the LVC."
Next, the Trojans have a chance to avenge the only blemish on their regular season league record, which came at the hands of Easton on April 24.
on May 08, 2014 11:44 PM
05/08 - 7:00 PM Boys Lacrosse Team 1 2 3 4 FinalNazareth 1 0 0 1 2Parkland 2 4 7 2 15
It took a while for the Parkland High School boys lacrosse team's engine to turn over.


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A number of Premier League clubs are chasing Monaco winger Nabil Dirar, Sky Sports understands.
Dirar is now back to full fitness after suffering a cruciate knee ligament injury last May and Monaco are thought to be willing to let him move on.
The Morocco international joined the Ligue 1 club in January 2012 from Club Brugge in a record fee for the Belgian side and he helped his new team win promotion back to France's top flight.
Dirar is set to find himself down the pecking order of Claudio Ranieri's star-studded squad and the news has alerted a host of teams to his possible availability this month.
Dirar's UK representative, Jonathan Hope, has confirmed he is speaking to several Premier League clubs about a deal for the left-sided winger.
"Nabil has attracted a lot of interest in the Premier League and I'm not surprised because he is an outstanding talent," Hope told Sky Sports.
"I know the financials that would be needed to make such a switch and I will be meeting a few clubs over the next few days to discuss the best approach to satisfy everyone's interests.
"He has had his issues with an injury but he is back fully fit and ready to take his career to the next level.
"Our job is to ensure we speak to the right clubs that suit the player's career."


text:
STATEN ISLAND, N.Y. -- Hoping to draw entrepreneurs interested in creating an outdoor gym facility and a beach shop, the city is planning a tour of the Midland Beach and South Beach boardwalks tomorrow.
City Councilman James Oddo (R-Mid-Island/Brooklyn) is hoping to create Muscle Beach East along the Midland Beach waterfront or the FDR Boardwalk in South Beach, replicating the famed bodybuilding mecca in Southern California.
The Parks Department is gauging interest from potential investors to convert one or two large comfort stations — each approximately 12,331 square feet — located just north of the Jefferson Avenue beach entrance into gyms that would feature outdoor workout areas. The agency sent out a Request for Expressions of Interest (RFEI) on Nov. 1; responses to the RFEI are due back on Jan. 5.
Parks also issued a Request for Proposals (RFP) for a food-service facility and optional beach shop for a structure between Hunter Avenue and Jefferson Avenue. That RFP is due Jan. 12.
There are few gym facilities on the East Shore, and the beaches are experiencing a renaissance: From Memorial Day through Aug. 31, there were an estimated 137,700 visits to Midland Beach — up 35 percent, compared to the same period last year, according to Parks data. South Beach was not far behind, with 137,195 visits, a 24 percent increase over last summer.
"The current level of amenities — one Ben & Jerry's and a catering facility/restaurant — is simply not enough. That is why we are encouraging the private sector to help us enhance the Boardwalk experience for all," Oddo said.
The health club meeting and tour starts at 1 p.m. and will take place at the site in front of the two comfort stations, located on Midland Beach on the FDR Boardwalk between the Iona Street and Jefferson Avenue entrances to the park.
The food service and optional beach shop tour starts at 2:30 p.m. at the site of the existing structure between Hunter and Jefferson Avenues.


text:
Alive@Five: 2014 Lineup
From Barenaked Ladies to Beach Boys, this year's lineup is sure to please.
Stamford Downtown's Alive at Five summer concert series kicks off July 10th — so take a look at the lineup below!
Plan to get to Columbus Park right at 5 p.m., when admission and drinks are only $5! Admission is $10 after 6 p.m.
The artists headlining this year's concerts are:
July 10th: KC & The Sunshine Band
Known for their popular singles "That's The Way I Like It," "Get Down Tonight," and "Shake Your Booty," KC & The Sunshine Band are a sure way to kick off the summer with high energy and fun.
July 17: Barenaked Ladies
Best known for their hit, "If I had $1 million" and the ever popular "One Week," the band also sings the intro to the TV show "The Big Band Theory."
July 24: Blues Traveler, Smash Mouth, Sugar Ray
Who doesn't love to sing along to songs like "All Star" and "Every Morning?"
July 31: Ed Kowalczyk
Edward Kowalczyk has been working hard on his solo career after leaving his band "Live" in 2009. Listen to Ed's new single "Seven" before you see him in July.
August 7: TBA
August 14: The Beach Boys
Back at it again, The Beach Boys close out the event for the final Thursday night concert.
For more info, visit stamford-downtown.com/events.


text:
Silence in the Library/Forest of the Dead
|Story No.
|Production Code
|Series Four Episodes Eight and Nine
|May 31 and June 7 2008
With David Tennant,
Catherine Tate
Written by Steven Moffat Directed by Euros Lyn
Executive Producers: Russell T Davies, Julie Gardner.
|Synopsis: The Doctor and Donna discover a deserted library, swathed in darkness. But are they in the real world?
For Your Consideration... by Adrian Pocaro 25/11/08
The prevailing impression I'm getting is that Series Four has been pretty lightweight. Of course, I've contributed to some of that, my takes on Partners in Crime and The Doctor's Daughter have been less than flattering. In my opinion, it has been somewhat disappointing, although I'm sure time will be kind to The Fires of Pompeii and The Planet of the Ood, the other stories of the season have been unmemorable.
Until this one. It's time to anoint a classic and I believe we've struck gold with Silence in the Library/Forest of the Dead. This is the type of writing and story that I've been waiting for, courtesy of the man who will helm the series come 2010.
The pre-credits teaser has the effect of instantly drawing the viewer in, and thankfully it doesn't end with some random shock death that other reviewers have pointed out as being the norm. Silence in the Library/Forest of the Dead is the first truly multi-layered story of the New Series. It demands that you pay attention. It raises questions but doesn't give easy answers. It leaves a lot of blanks that need to be filled in, but it's no cop-out. It's a masterpiece.
David Tennant and Catherine Tate have hit their stride by this story. The interaction between the two is friendly, but at times somewhat confrontational. "Doctor, why are we here?" Donna asks, bored. Later, the Doctor grabs Donna to move her out of harm's way and she recoils, shouting "Hands!" Its the Sixth Doctor and Peri as they should have been in Season 22.
It also has the benefit of Alex Kingston as River Song, who positively shines throughout this story and adds the layers as she knows a lot more about our Time Lord than we would expect. She's witty, intelligent and exactly someone you would expect to keep company with the Doctor. The diary aspect was fascinating, "Judging from your face, I'd say it's early days for you" and "You're not allowed to see inside the book. Your rules." There is a general sense that books, the bringers of knowledge, can hide something deadly and foreboding. In the case of River's diary, its "spoilers" about the future (LOVED that in-joke). Kingston hits all the right notes here. Her reaction to Donna, the way she looks at the Doctor as he does his thing with the sonic screwdriver. There's something to this here, and I will be extremely disappointed if the issues raised in this story are left to die on the vine or be resolved in some non-canonical novel. River, in both concept and character, is a force to be reckoned with. Not only is she no fool, she stands up to the Doctor, berates him, and even downright disrespects him. I am referring to the scene where the Doctor insists "I AM the Doctor" and River simply shrugs. "Yeah. Someday."
Moving past all that, we have the Vashta Narada, a fairly frightening idea if there was one. There's something about this writer which makes me think we may be heading for a darker and generally more scary series five. Now, don't get me wrong. I'm not expecting a Hinchcliffe/Holmes redux, but doesn't Moffat succeed brilliantly on creating tension around the most basic, everyday objects? Here, it's shadows. Last year, it was statues. The man knows how to write... consistently! It's a welcome breath of fresh air.
Our guest cast could be just a bunch of people who stand around waiting for death but, thankfully, each are fleshed out to a good degree. I was happy to be wrong about Mr. Lux. And, like the Doctor, I was fond of Anita, especially her dignified reaction to being hunted by the Vashta Narada: "I'm only crying. I'm about to die. It's not an overreaction." Dialogue is a strong point in these episodes: "Pretty boy." "Donna Noble has been saved." It's about time we had a story where characters' lines mean things, instead of being vehicles to advance/explain the plot or to include some juvenile and lame joke. I cannot stress this enough: Dialogue counts! Sometimes, it can actually save a story. Look at The Sunmakers. Not my favorite story by a long shot, but the propulsion supplied by the dialogue makes it more than watchable. A dog of a script concept can be saved if it's conveyed correctly through the spoken word, and this story gets it right. Of course, in this case, the dialogue is the icing on the cake; the story is already excellent.
What else? How about the little girl and the total mystery surrounding her in part one? When she was talking to the Doctor through her television, I knew that this story would be unlike anything we had seen yet. When the psychiatrist finally sat her down to talk about "the real world and the world of nightmares" I was hooked. The whole of part one had a slightly "Harry Potter" feel to it, especially the part where the books are flying all over the place and the Doctor continues to work at the computer terminal, only slightly phased.
Or how about the way this story develops the characters of the Doctor and Donna naturally through the plot, instead of trying to fit a square peg in a round hole like with The Doctor's Daughter? When it's all said and done, the Doctor is clearly affected by River. Just take a look at his face; despite his stoic claims otherwise, he's not always all right. Donna doesn't escape either. Reflecting on her experience, Donna asks the Doctor "What does that say about me?" to which he replies "Everything" before pulling back. But it's true. It does say everything about her. Donna Noble won the lottery in getting to travel with the Doctor. What you see from her in this story is a look at her true character. Take the Doctor out of the equation and it's clear she would settle for the quiet life. And, by the looks of it, she wouldn't make a half bad mother. Still, Donna is not sure she likes what she sees. Is this character growth I detect? Although she is growing as a person due to the Doctor's influence, she can't deny her true nature. We are, after all, what we are.
So far, we have Tennant and Tate on their game, a great guest cast and an intelligent story. Is there any aspect that doesn't work? Well, the sets of the library's interior don't quite match the epic scale of the exteriors.
That's all I could find wrong!
As for the music: Oh, Murray Gold, how could you? How COULD you? I was living very comfortably with my opinion that you were just a tad above average and then you turn in this score, which had me literally punching the air with excitement. The music just oozes atmosphere. The music box theme that accompanied CAL was nice mix of childlike and haunting. The music for the Doctor's final revelation, "saved her", was absolutely soaring and downright cinematic. Please, please, please continue scoring like this. I've been waiting years for this type of music to accompany an episode of Doctor Who. You hit a home run.
Once in a while, a Doctor Who story will come around and hit you across the face while screaming "This is why you watch the show!" Sometimes, those stories come about during a fan's darkest hour, when all hope for decent writing on the series seems lost. Silence in the Library/Forest of the Dead is one such story. It has everything lined up for it: acting, production values, music, concepts.
So, with all due respect to Human Nature/The Family of Blood, another worthy candidate, I humbly submit Silence in the Library/Forest of the Dead for consideration as the first bonafide classic of the Tennant era.
Even with the voiceover at the end.
Turn the Page by Mike Morris 9/2/09
I was starting to think it might not happen, but here it is; a Series 4 story I can be nice about! It's that man Moffatt again, crafting - with all his usual care - a well-honed tale that has a feeling of scale, importance, and danger. I mean, come on, just look. That pre-titles sequence; light-years ahead of anything we'd seen in Series 4 to that point. It's not a cheap trailer moment for the rest of the show, as with The Fires of Pompeii; it's not a sequence that's entirely unrelated to the rest of the programme, as with The Doctor's Daughter; it's not the bog-standard kill-off-someone-to-establish-danger routine that we get in Planet of the Ood and, most annoyingly, The Sontaran Stratagem. In the pre-titles sequence here, the Doctor and Donna Nobuw (well, that's how Catherine Tate pronounces it) have just shown up in an eight year-old's head. It doesn't end with a big death-stunt, it's a sharp cut to the startled face of a little girl.
From the start, this story is giving us something unexpected.
In a way, you've got to feel sorry for the man Moffatt. With his announcement as the new Most Important Person In The World, it was difficult not to see this as some sort of statement of intent. However, I'm going to resist the temptation to analyse this as a precursor to Doctor Who's future. We know that Steven Moffatt can write. We know that he can run TV shows. We know that he has a lot of diversity in his back catalogue, having written Jekyll (which was a bit rubbish, I thought, but hey), Coupling and Press Gang. And there, we may as well let the matter rest until we've got more to go on.
So, judging this story on its merits, then. Is it good?
Well, yes. Obviously. I should temper that, slightly, by saying that it may well be Moffat's weakest Doctor Who offering. The most common criticism (made most unfairly - but amusingly - by Lawrence Miles' Moffatt Times Table) is that he's re-using a lot of ideas, albeit his own. I don't actually mind this at all, as I don't see anything wrong with an author riffing on his favourite ideas; Bob Holmes did it ad infinitum, if you want some pedigree. The problem here is that it's all more self-conscious than usual; indeed, in a strange way, it's almost like Steven Moffatt is trying to copy himself. Self-consciously scary? Check. Non-linear structure? Check. Big plot twist? Check. No real villain? Check. If Blink was a display of Steven Moffatt tightening up and eliminating many elements that had marred his previous stories, this is more like he's becoming too slavish in sticking to what he's won plaudits for. Lawrence Miles (sorry to bring him up again) has harshly characterised former Moffatt monsters as gimmicks, which I think is partially true at best. However, the threat here really does feel like a transparent attempt to scare kids.
And yet, a slightly limp Moffatt offering is still better than an offering from numerous other writers, and he always takes his craft seriously. I think that this is a story in which many of the ideas misfire, but when it fails, it's not for want of trying. In retrospect, I think it's the ending that has me feeling slightly lukewarm about it.
I mean, let's look at that setting. A planet-sized library. Boy, do I love that. If anything, the story's not as literary as I'd like; I like the Doctor's oh-so-true comment about the smell of books, but having him blab about Jeffrey Archer and Bridget Jones is as crass as having him go to the world's biggest music museum and then only mention Wham. For all that, the world feels real, and solid, and believable. The visuals are good, obviously - you've got to love the road-signs with 'Xenobiology' on them - but it's more than that. Do a compare-contrast exercise on The Fires of Pompeii, for example. When I said that story "doesn't convince as a real environment at all", I was referring to something more fundamental than visuals; it's the broader architecture of the world, the thinking through of each facet to make a fully convincing, self-sustaining environment. The Fires of Pompeii has people talking in a mish-mash of cod olde-school English and contemporary teenage slang, it has people bumping into each other every five seconds which destroys any sense of scale... the world it creates is not consistent. But this? Look at the touches. Look at the information points, nothing more than little (and pleasingly grotesque) ideas to give the world flavour. Look at the hodge-podge of building styles, giving the thing a convincing repro feel. You believe in the Library, so you take the threat seriously.
Atmosphere can cover a multitude of sins, and dammit, all of Steven Moffatt's stories have atmosphere. I should say that, unlike Blink and Shell Shock, and even the early parts of The Girl in the Fireplace, I didn't find Silence in the Library particularly frightening. But that doesn't matter, because the story still has texture. It 's dusty, empty, damaged. The sense of these few people exploring a broken, deserted place that was once so vibrant... ooh, yes thanks.
The plot's clever too, but...
A-ha. I have some nits to pick.
Unusually, Moffatt's forte has deserted him here; the story's just not as well-structured as it might be. I'm thinking most specifically of Donna's plotline in The Forest of the Dead, which tries for a weird, off-kilter feel; unfortunately, we all know where she is, so we just want them to get on with it. Now, if the story had opened in that environment it really could have been special, but as it is it doesn't confuse or disorientate like it should. Suffice it to say that there are great ideas on show, but they aren't assembled as well as they might be. I love the reworking of televisual convention - Donna becoming aware of the jump-cuts in her life is just brilliant - but it's too obvious what's going on. True, the show's for kids, and maybe they wouldn't have got there as quickly as I did; but even at that, there are better ways of doing this for a child audience.
Oh, look; I talked about Donna just there.
This is the beginning of what I call Catherine Tate's naissance as an actress ("renaissance" implies she was good at some point beforehand). By the time they were making this story, Turn Left had already been filmed, and it doesn't take a huge leap to suppose that the Donna-centric nature of Turn Left is what enabled Catherine Tate to finally work out who she was meant to be playing. A single scene in Turn Left, where Wilfred Mott tells Donna that "you can't solve every problem just by shouting at it," and Donna responds "I can try," gives Donna a tighter characterisation than anything that's gone beforehand. Having finally found a centre for her character, Tate seems infinitely more relaxed and assured than anything we've seen before. For the one and only time in the season - sorry, I should amend "the season" to read "ever" - she even made me laugh![*] It must be said that the plotline of The Forest of the Dead comes with not-very-subtle DONNA CHARACTER DEVELOPMENT markings, but she acquits herself very well, and her hysterical reaction to the disappearance of her children is heartrending; for that brief moment, Donna becomes the most vulnerable and sympathetic companion to date. However, it's her performance in Silence in the Library I find more impressive, just because she finally seems to have worked out how to be on-screen without overacting. Until now, you can't really find a moment where Donna's on-screen and isn't overshadowing everything going on around her, and I mean that in a bad way. Here, there are times when she melts into the background, as characters sometimes must. Because it isn't entirely built around her, as is Turn Left, I'd suggest that this story marks Catherine Tate's best performance in the role.
[*] Her reaction to the Doctor's nickname of Pretty Boy, since you're asking.
The other CelebriActress is Alex Kingston, and she does well in a role that could have been hugely irritating if not well-played. Kingston's one of those actresses who just have presence, and her brash and witty performance makes the most of a role that's deceptively limited. I must say that I don't quite get the general fascination with River Song that followed the broadcast of Silence in the Library, and I still find her slightly annoying; that's only to be expected if you have a character who knows all sorts of stuff but won't tell us what it is, especially if she keeps banging on about the Doctor being... um... crapper than the version she knows. The story strings out the companion-he's-not-yet-met gimmick way, way too long, and the Doc's looking confused and muttering "who are you?" a long time after the "You've only just met him," "No, he's only just met me" exchange. Similarly, the story's attempts to mythologise the Doctor don't really work. It's difficult to say why; that finger-clicking moment at the end, which should feel like a terrifying portent of things to come, doesn't carry the weight it should. There's an intriguing idea in the script of our happy-go-lucky Doctor confronting his future, and the dread that would inspire in him (the idea of Tennant commanding armies is almost horrific, in the abstract), but it doesn't get beyond the page.
The other crew members are a faceless enough bunch, but that's what they're there for really. I liked the Proper Dave / Other Dave conceit - characters never having the same name has always been a bugbear of mine - but they're not there for metaphysical depth. Ditto Doctor Moon and the Little Girl, who turn in good performances in roles that are limited by their nature. Doctor Moon's "the real world is a lie" moment at the end of Silence in the Library is spectacular.
My final concern - and my biggest one, it must be said - is the conclusion. River Song's final fate is - to my mind - a living death and her sudden maternal instincts struck me as a rather chauvinistic turn for the story to take. There are times when the programme has shrugged off the philosophical implications of its characters' fates, and done so successfully - the conclusion of Love and Monsters springs to mind - but this story, though, comes replete with a "isn't the Doctor wonderful" soliloquy that makes the whole thing seem crass. Mythologising the Doctor is a very different thing to building a mythology, and here we tip into territory that is just absurd. The Doctor effectively resolves the situation by saying "don't you know who I am?", which is ridiculous; and then we're expected to accept the final fate of the characters just because he says we should.
To look at my review, you'd think that The Library fails at every conceivable turn, or at least in a number of ways; strangely, that isn't untrue. And yet it does work, through the density of ideas, the carefully constructed environment, strong performances of all involved and an ambition to do something more than is usual. It has scale and it has proper concerns. It does feel like a Greatest Hits package - or, at least, that it's playing to the gallery. But, after the way that Series 4 has thrashed wildly around producing hugely facile stuff, this is a story that feels like it means something. The VR environment is may be an overworked idea, but it's well-handled here. The true identity of the little girl is a touch telegraphed, but still represents a good human story at the heart of what appears to be a concept-driven, large-scale yarn.
It's always easier to write about what doesn't work, but a lot of this story does work beautifully. The creepy apparition following Donna around her reality, for example, and the revelation of what it is. The death scene of Miss Evangalista is genuinely sad, and Donna's apparent fate is gloriously revealed towards the end of Part One. If the cliffhanger doesn't quite work, the idea does, and the Vashta Nerada show admirable invention. Oh, and you've got to love Tennant taking out the floor, right? I mean, really... that's just cracking.
In short, there are better stories this season, but not many, and it stands up as a solid entry in the Doctor Who canon. It's well-crafted, well-acted and has some glorious ideas. It may not be perfect, but the attitude that created it is right, and it's a pleasure to praise it.
A Review by Joe Ford 3/3/09
Russell T Davies' vision of Doctor Who is a world away from what is perceived as the classic series (1963-1989). There are a number of instant differences you could mention without giving it much thought: the shorter stories, the whizzier effects, the increased sexuality... but I would say for me the biggest hurdle Doctor Who has made is in its dealings with emotional content. Please don't get me wrong, I'm not saying that the original series was a soulless engine of storytelling but the most emotional moments usually came when the latest companion decided to depart. The emphasis was on the story and plot mechanics rather than how the characters reacted to them. When the show returned in 2005, it opened with an episode told entirely from Rose's point of view with the emphasis on her step into the Doctor's world and the invasion was merely a side issue.
Step back to Spearhead from Space which also introduced a new companion and saw the debut of the Autons and things were very different. Since Rose, stories have tackled the sticky subject of the Doctor in love (The Girl in the Fireplace, Doomsday, Human Nature) and we have been introduced to wealth of companions who have fallen for our favourite hero (only Martha is chided for it because with her it wasn't reciprocated; Jack and Rose get away scot free). Supporting characters are allowed character growth and given individual moments of pathos. A common complaint about New Doctor Who (2005-present) is that it spends far too much time worrying about how people are feeling to actually get on and tell a demanding story in its limited time. I think there are merits to both approaches to the show; certainly the classic series survived long enough on its wickedly unpredictable and imaginative storytelling and the new series has introduced a whole new generation (and sex) to the world of Doctor Who with its emotive storytelling.
You might wonder when I am going to make a point about The Silence in the Library/Forest of the Dead and that is I feel this story bridges the gap between old and new better than any other since 2005. It is an extremely tight piece of storytelling filled with audacious concepts (classic) but still has time to tell a very personal story for both the Doctor and Donna (new). It is strong enough to be popular in its own right but this merging of both visions of the show could be why it had such a positive reaction.
In my opinion, it is the zenith of the tenth Doctor's era and unless Russell T Davies pulls something pretty bloody spectacular out of his hat in the four specials it will remain my favourite of his time on the show. Snuggled into the heart of season four and lucky enough to be placed in the season hot spot (where The Impossible Planet and Human Nature thrilled us in their respective seasons), it is a thrilling, complex, funny, chilling and rewarding ride. Whilst Human Nature might have given David Tennant more to work with, this story remains the best examination of his Doctor and it is certainly one of best stories to deal with Donna too. Simon adored it for a million and one reasons (it has his favourite ending of any Doctor Who story) and his mother declared it the best thing she had seen in years. This story is so good my dear friend Ella, who loathes Doctor Who since its return and has slaughtered every single episode, said it was "quite good". That, my friends, from somebody who called Blink a farce, is the highest of praise.
So after this deluge of praise... what exactly does this story get so right?
It is a fantastic piece of science fiction in its own right. The concepts Steven Moffat throws at the Saturday teatime audience are pretty audacious. The Library is a memorable location that Moffat constantly plays about with and adds new layers. A planet-sized library consisting of a million, million books with genres instead of continents. Which becomes the forest of the dead. Which becomes the playhouse for a dead little girl. Which becomes the salvation of the woman the Doctor loves. As the story progresses, the location becomes more layered and textured (like RTD's Gridlock but far better handled). The idea of dying and having your head stuck on a pole as a tourist information device is both absurd and terrifying, the sort of concept the classic series did all the time (The Kandyman). You could write an entire piece on the idea of ghosting, your soul slowly being drained away by a suit that fights to preserve your life as long as possible long after your body has been eaten away. It is unforgettably realised when Donna, still new to this outer space lark, has to comfort a dying woman who is slipping away.
Stephen Moffat's stories have tried to avoid the pitfall of having villains (they're occasionally fabulous but very often embarrassing) and instead uses an image of something normal and twists it into something terrifying. Gas masks mimic the Cyberman effect, the faceless expression of death. Clocks ticking making us aware of the passing of time (although I still think Sapphire and Steel used clocks to a more menacing effect). With Blink, he handed us a double whammy of statues and angels with terrifying results. He has been criticised with The Silence in the Library for trying too hard to scare people with his use of shadows and thus negating the effect. The story tells us to be afraid of the Vashta Nerada on frequent occasions rather than letting us experience it first, but that is the only real criticism I could make of this brilliant "monster".
Visually, it works a treat because the dusty library is full of shadows but what really sells the idea to me (and probably anyone under 12) is the Doctor's insistence that it isn't every shadow but it could be any shadow. Brrrr. It's alarming me somewhat that to the right of my laptop the sun is beaming on the wall and I can see dust motes hanging in the air. What's disturbing (besides my cleaning habits) is the thought that if I reached in I might have my flesh ripped away. Moffat plants a seed of doubt in your head with this story; I find the uncertainty of not knowing if the shadow I'm walking into scarier than actually walking into it.
This story is also beautifully paced. Somebody had to finally nail the two part formula! Moffat's first attempted was a fantastic story but it did tend to crawl in places whilst it explored its characters. Perhaps they shipped old Terrance in give them a few pointers whilst he was tapping out his quick reads. This isn't like RTD's two parters, two single episodes bolted together with a cliffhanger, The Silence in the Library/Forest of the Dead have to be watched together to make the full impact. When Silence in the Library aired I was slightly disappointed but then I watched Forest of the Dead and the slow bleeding of the ideas and characterisation made perfect sense. Basically, The Silence in the Library is all foundations, it sets up the location, the key characters, the ideas - but it does so in a brilliantly chilling way with lots of memorable scenes. Forest of the Dead then steps in and is daring from the word go, twisting the entire story in a fresh direction and coalescing the story with clever ideas and rewarding characterisation. As a single piece of Doctor Who, Forest of the Dead is about as perfect as it comes. The combination of atmospheric setup and a powerhouse conclusion works so well.
This works as a great self-contained story but it throws up so many questions about the future. Much of this is channelled through the character of River Song who has the potential to be the most irritating character the show has produced. The fact that she is intriguing and full bloodedly the best non regular of the year is due to Moffat's writing and Alex Kingston's superb performance. Fans of the New Adventures take a close look because unless the makers of this show decide to canonise the books (oh yeah and remember the two times I became human and fell in love with Nurse Redfern?) this is as close to Bernice Summerfield that you will ever see on the show. River Song is capable, opinionated, charming and sexy. Without being told about all of the adventures they would have together, I could understand the Doctor pursuing her and giving her the ride of her life (calm down boys). What really appeals to me about all this deliberate fan baiting (can't you just visualise a courtroom hearing with a horde of Doctor Who fans crying for justice at this deliberate perversion of his character) is its circular storytelling. I'm a sucker for studying narrative and the way the story develops so that the Doctor has to give River Song his name, he has to go to all the places she mentions and, most importantly of all, he has to give her his screwdriver is beautifully complete.
Whilst we know Moffat will be introducing the Eleventh Doctor in his first series, he has given us a real gift here, a wealth of unseen Tenth Doctor stories to think about. It is the Doctor's reaction to her that keeps the relationship so interesting, initially distrustful of her future knowledge, warming to her company, working well together with her and finally weeping at her fate. Whilst some might see their future ahead as an obligation, for the Doctor the story pumps for a far more optimistic view, a lifetime of wonder and excitement for River and a wealth of great memories for the Doctor. Bravo.
Catherine Tate. What hasn't been said about Catherine Tate appearing in Doctor Who? I entirely agree that Catherine Tate gives her best performance in this story, but unlike Mike I think it is the apex of many outstanding stabs at reinventing the Doctor's companion, rather than one of a handful of times she proved herself. The chemistry between Tennant and Tate is top notch; they are so relaxed and natural with each other it is the sort of work we were seeing done between Tom and Lis. The two scenes that bookend their adventure - the Doctor and Donna exploring the deserted library and the pair of them desperately wanting to open River's diary but knowing it would be a mistake - catalogue this pair at their height.
Donna's adventures have already seen her expand the companion role. Partners in Crime sees her playing the Doctor, investigating an alien threat. She is a character metaphor for the Doctor's missing conscience in Fires of Pompeii. Planet of the Ood uses her as an emotional outlet for the Ood's mistreatment. In the Sontaran two parter she enjoys the rare distinction of being a terrified companion in an alien environment (it might sound familiar but it has rarely been done this well). The Doctor's Daughter sees her stepping into a family role, surrogate mum to the Doctor's daughter. The Unicorn and the Wasp lets her off the leash and she is a firework of laughs and fun. This might sound inconsistent but with Tate in the driving seat it is pulled off superbly, Donna growing with each story.
Library/Forest allows Donna to live an entire life away from the Doctor. She meets a man, gets married and has children. The brief glimpses at this life sees her a happy, settled woman. To play this out with Rose or Martha in the role would have felt ridiculous but Donna is just the right age and temperament. Watching this world crumble around her invites the viewer to share Donna's fear and pain; the scene where she loses her children is simply terrifying because to Donna this is all real. It helps that all of the scenes in Donna's dreamscape are expertly shot, initially lots of beautiful images of gorgeous countryside (highlighted against the cramped, under-lit library sets this is the world that feels more real) but as the world gets torn apart the angles are jarring and uncomfortable. Miss Evangelista's dark wraith-like shawl breezing through the mundane locations is a terrific visual. And Donna's fella Lee is a babe.
Productionwise, this is a terrific example of how far Doctor Who has come visually without losing any of its imagination. The four shadows growing out of Proper Dave is simple but striking. The squareness gun makes a hilarious diamond shape out of a wall. The duplicated kids playing on the climbing frame boggles the mind. The Mill do some fantastic work here too with some stunning aerial shots of the library planet, coupled together with Murray Gold's score, give the story the scope and sense of awe it is driving for. Gold's music has its lovers and its detractors (I fall mostly into the former category - with some reservations about the slushier stuff) but his work on this story is just spot on. Sometimes his music can overpower the action but this is a big story with big moments and his bombastic, occasionally techno, score hits all the right notes (groan). Euros Lyn makes an impressive return to the series after too long of a gap and the news that he will be helming Tennant's departure is worth a cheer. Despite its nonlinear narrative, its multiple locations, large guest cast and zany notions, the story always feels confident with a firm hand behind the camera.
As well as all this to admire, there are the individual moments that shine. The Doctor and Donna's reaction to him being called pretty boy. The death of Miss Evangelista is not rushed; we follow her right up to the point of her death. Charlotte watching the events on the television, changing the channels with the music getting more dramatic as we hop from scene to scene. Donna dressed up to go fishing. Anita's noble acceptance of her death. The Doctor hanging from the floor. The ultimate expression of how cool the Doctor is as he tells the Vashta Nerada to look to their books to see why they should be afraid of him; there have been far too many glorious speeches about how truly wonderful the Doctor is since RTD took over (which make me feel quite unwell) but this is how to did it with style. The look on the Doctor's face as he tempts Donna with the knowledge of the future. "Then I'm all right too." Just great, great moments throughout.
Finally, the story also has one of the finest cliffhangers and endings. Things have been building for a while before the cliffhanger but when Donna screams in the TARDIS (one of the most terrifying screams in the show's history) and the Doctor is confronted with a bizarre but scary representation of her, the shit has really hit the fan. Add in a walking skeleton and scary shadows and you have something you've got to tune into next week. The ending is even better, the Doctor begging River and Donna telling her husband he is real: it's a rollercoaster of emotions that gives me goosies ever time.
This story deserves some recognition as an example of what Doctor Who can achieve when it is firing on all cylinders. It works as both a standalone story and part of a much larger story. For the tenth Doctor, this is where it has all been leading (some would say that was The Stolen Earth, another powerhouse) but in terms of storytelling this is his peak. The "Sweet dreams" of the closing scene is a message; the future is very bright indeed.
"Ice cream. Ice cream. Ice cream." by Neil Clarke 21/7/09
It's funny, but rewatching this story my overriding impression of it - over its cleverness and complexity, or visual beauty - was how emotional it is. I'm not one of those people who pride themselves on crying every episode, and lap up every contrived Emotional Moment, but for the whole last half of Forest of the Dead, I cried and cried.
Miss Evangelista's death (a scene I believe will become rightly iconic); the little girl's increasing anguish in the living room; Donna's incoherent reaction to her children disappearing, and the separation from her husband ("I'LL FIND YOU! I PROMISE YOU I'LL FIND YOU!") - which is all the more poignant than it would have been with Rose or Martha, as Donna is older and apparently unlucky in love; River's sacrifice... I found it all completely heartbreaking.
The story's sadness wasn't my main impression before, but it is wonderful though - especially as this level of emotion arises naturally from the story (as opposed to, say, the bolted-on codas to Doomsday and Journey's End).
I know Lawrence Miles has criticised Steven Moffat's approach, as encapsulated by this story - especially what he calls the fetishisation and "impending godhood" of the Doctor. In a sense, I can see that there is a very conscious mythologisation of the character and the series at work here. Arguably, Russell T Davies attempts this too, but doesn't really manage it; I concede there is something almost too deliberate about the epic, big ideas about the Doctor's power and majesty here, but I quite enjoy it (as long as it doesn't become overdone in series five).
There is also something very arch about Moffat's stories, which operate on an almost hyper-real, almost too self-aware level (especially in terms of River, here), which I can see could become tiresome. In fact, the whole thing could almost be seen as too smart for its own good, or fitting together too slickly - but, let's not be complaining about an embarrassment of riches at this stage.
River is a fascinating addition to the backstory (well, future-story) of a character it's easy to think we know, or take for granted and barely even consider as a "character" per se. Certainly far more than the entirely anodyne non-daughter, Jenny. It's funny how Moffat randomly created a character who has immediately been taken up as a big deal, compared to the committee-approved feel of Jenny, who was so obviously intended to be a big deal, but ended up as a complete nothing.
I hate to be lumped in with the RTD-bashers; I am hugely appreciative of his revitalisation of the series, though, on a personal level, his ratings-friendly canniness is perhaps a little too transparent at times. So I'm not mindlessly anti-Davies, but I simply don't enjoy his writing (the aptitude of which I think is massively exaggerated, especially in media circles), while Steven Moffat's approach appeals far more to me (all right, it's hard to compare them directly, as we haven't seen Moffat take on story arcs, season finales, or returning monsters or characters... but, still).
I kind of feel this is a story that doesn't need a great deal said about its specifics, as everyone must already be aware of its brilliance (and it's their loss if not), but this is how I want Doctor Who to be: complex and clever, and with genuine emotion, beyond the emotional pornography of contrivances like Rose's twice-over separation from the Doctor.
Stories like this (arguably then, I'm talking about Human Nature/The Family of Blood and Moffat's preceding stories) feel like the series progressing from those it was beginning to tell in season twenty-six (the ultimate example of how wonderful, clever, unusual and imaginative Doctor Who can be, in my opinion), rather than feeling exclusively like a successor to Pertwee and Tom Baker's eras.
Visually, it's also wonderful to see Doctor Who which - like Human Nature/The Family of Blood, its predecessor of comparable, atypical quality - is literally visually stunning. Beautiful isn't something you can accuse much Doctor Who of being, but it is here. It's such a relief to at least temporarily ditch conventional by-numbers sci-fi trappings for something richer and almost steampunk-ish.
Memorable imagery: the skeletons in spacesuits, obviously; the Victorian Evangelista in suburbia; the multiple kids; the nodes; the little girl watching the adventure on TV.
Stylistically, it's modern, but not overly flashy or vacuous; this doesn't look like Hollyoaks in space; it's stylish and beautiful (helped no end by the location filming in the library, and the CG of the buildings, which for once adds to the atmosphere and is so good it barely registers as special a effect; compare and contrast with The Next Doctor's toy-town London, for example).
I find it both bizarre and depressingly all too credible that The Stolen Earth/Journey's End and even Turn Left were popularly ranked above this story in DWM's series four ratings poll. Evidently, people really are taken in by transparently popularist button-pushing and the mentality that a surfeit of recurring characters increases quality; as far as I'm concerned, a story like this, bursting with original ideas, characters, and set pieces, utterly belies that thinking.
The joke in the same issue of the magazine that fans are hoping Moffat's series will be so dark that they won't be able to see it, is probably on the money - but I still can't help but wish at least for an increase in intelligent, challenging stories like this. Emotional and complex - and, yes, dark - it may be, but this is also a witty and exciting adventure; "darkness" doesn't necessarily have to equal the po-faced humourlessness of, say, Christopher Nolan's (bizarrely overrated) Batman films. Predictable it may be to say so, but I can't help hoping this story is representative of the show's future.
Spoilers by Evan Weston 26/4/16
A bit of context first. This was the first story written by Moffat that aired after it was announced he'd be taking over as showrunner in the spring of 2010. I don't know if he was aware of this when the episode was produced, but based on the enormity of Silence in the Library/Forest of the Dead and how important it is to the Moffat era, I'm going to guess he was. Looking back, knowing what happens in the three series following this one, the River Song stuff takes on entirely new meaning, and it's really quite fascinating to see Moffat foreshadowing events that would not air for another three years.
So yes, Silence in the Library/Forest of the Dead is a hard episode to review. On my first viewing, I didn't care for it much. Sure, it was a different kind of bad than the rest of Series 4 - it's certainly better made and more ambitious, and it's definitely not dumbed down - but I thought River was annoying, everything else undeveloped and the story unnecessarily twisted. Some of that still holds true, but this is one that benefits enormously from a rewatch. What was once a hammy and over-emotional performance from Alex Kingston is suddenly a beautiful portrayal of a woman impossibly meeting her man for the first time and then losing him forever in the same day. Her death scene is gorgeous, and the Doctor's "save" at the end becomes not a sticky Deus ex Machina but a triumphant, happy ending for one of the show's longest-suffering characters. I'm not sure how this grades against Silence in the Library/Forest of the Dead specifically, but I can definitively say Kingston kills it, turning in one of the guest spots of the season.
David Tennant is also very good here. This was produced after Midnight, so maybe some of the wonderful work he puts in there showed up in this episode. Regardless, he's on better form than he's been since probably Series 3, lending (for once) a grave seriousness to the proceedings and letting the psychological impact of River's story affect him in an honest way. This is also Catherine Tate's best performance as Donna Noble, and I'm relatively certain it stays that way. She's actually pretty good in the second half, when confronted with the idea that her reality has only existed for about ten minutes. I actually loved her tortured screams upon finding her children gone. She's really trying, and there's a marked improvement from the ranting and raving of earlier episodes. It appears Moffat knew how to write for her character better than most of the guest writers this season.
The other performers, unfortunately, are a bit anonymous. No one in the crew is given any reasonable development, save Miss Evangelista (played by Tallulah Riley, who had a small role in Inception), who never rises above vaguely annoying and whose death scene is way overdone. The computer world fares better, with Eve Newton managing to avoid bugging the hell out of me as CAL - a triumph for a child actress who never took another role - and veteran character actor Colin Salmon doing quite well as the underwritten Dr. Moon. There is room in the story for the ensemble to be better fleshed out, and that's one of Silence in the Library/Forest of the Dead's big missteps.
Another is the treatment of its villains, the darkness-inhabiting Vashta Nerada. They are a transparent attempt by Moffat to top the reception of his extraordinary Weeping Angels, and, while the shadow creatures aren't a total failure, they were never going to work that well. The concept just isn't as good. Moffat seems to realize this about 60 minutes into the script, when the Vashta Nerada suddenly don't feel like the greatest threat in the story. The visual of the skeleton in the suit is awesome, granted, and they are certainly built up enough, but the script forgets about them and then hastily tacks on an ending - in Moffat fashion, they had to be misunderstood - that doesn't make any sense. It's one of the episode's true shames, and I wish Moffat had committed more to them.
He does commit to his overly complicated story, though, and he almost manages to pull it off. One of Series 4's biggest problems was a willingness to spell out exactly what's happening in a story, both in the narrative and thematically, so that the audience doesn't fall behind. Silence in the Library/Forest of the Dead actually inverts the problem and is left too vague, so that even upon rewatch I'm not entirely sure what happened. Lux's comments about CAL's age don't jive with the timeline the story sets for itself and throws the whole thing into confusion, and I'm still not sure how she managed to inhabit a virtual world with the other saved people. The ending - Moffat's Weeping Angel-esque way to nicely kill River Song - is also hastily explained and doesn't hold up. But the maze of getting there is still deliciously fun, and there are a few jaw-dropping surprises along the way that keep the mystery humming.
I also have to give some credit to the production design and, in particular, single out Rory Taylor's distinctive cinematography. Taylor directed the photography on 27 episodes of Doctor Who in his time, comprising most of David Tennant's era, with his best work probably coming in The Girl in the Fireplace, The Idiot's Lantern and The Lazarus Experiment, all of which use color and framing beautifully to convey themes. Here, in a plot-heavy episode, Taylor is once again able to nicely contrast the purple darkness of the library with the faux-brightness of CAL's world, almost forcing us to question what is real. He's aided by the dependably competent direction of Euros Lyn and a ripping score by Murray Gold, which threatens to distract at points but comes through in the end.
Sure, it's far too complicated for its own good and it leaves a lot of potential threads in its wake. But those are luxury complaints I haven't been able to make against any Series 4 episode so far, and, for that, Silence in the Library/Forest of the Dead deserves a pat on the back. It's pretty clearly Moffat's worst story so far - though he set quite a daunting bar for himself - but it's also probably the best Series 4 story up to this point, and I'm thrilled that the run was able to pull itself together near the end and salvage some decent episodes.


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You can't help but dig these digs
It's been awhile since Barkitecture raised its head on a moonlit evening to howl for PAWS.
"The first one was fantastic," said PAWS Executive Director Judy Hartstone. "People still stop me on the street and ask me, 'When are you going to do Barkitecture again?'"
Like other local nonprofits, PAWS, the Bainbridge-based animal welfare organization, derives income through ongoing donations, the annual One Call for All drive, and a variety of grants.
PAWS also periodically holds smaller-scale fundraising events such as the "Picture Your Pet" photo contest, a dog walk, and a hot dog and mustard tasting in the Town & Country parking lot.
But these, Hartstone said, typically don't raise "double digit" amounts. Between that, a flagging economy and diminishing grants, with no corresponding decrease in demand for services, the board decided to bite the bullet by once again taking on an auction – acknowledged to provide the biggest bark for the buck.
Hence, Barkitecture 2008, a gala dinner and auction to be held Oct. 25 at Kiana Lodge. Just as in 1999, the event's centerpiece will be a series of deluxe dog houses conceived and executed by island design professionals and builders.
Some pieces were still under construction this week, but they'll include the "Green-Woof," by Devin Johnson and J.R. Abbott Construction; a stick built home by Jeb Thornburg and Port Blakely Builders; and a dog cradle/dog cave by Zimmerman Architecture. There will also be two pieces of cat furniture – one a deluxe kitty commode that would do a king proud.
Between these showpieces and other live and silent auction items including quilts, artwork and trips, PAWS hopes to raise between $50,000 and $75,000 toward its $212,000 operating budget.
Auctions take time and planning, and one of the reasons for the nine-year gap between Barkitecture events is that Hartstone has had her hands full with PAWS' extensive roster of day-to-day programming.
Under the umbrella slogan "People Helping Pets, Pets Helping People," PAWS' related missions are to promote responsible pet ownership and reduce pet overpopulation.
To that end, the locally grown organization – formed in 1975 by a small group of islanders, and not to be confused with Seattle's Progressive Animal Welfare Society – has in place a spay-neuter program; a veterinary assistance program; a pet lost and found registry; feral cat control; and a cat adoption program run out of its Miller Road location.
Within its relatively modest budget, PAWS accomplishes a great deal. Here are a few "fun stats," courtesy of the PAWS Web site: Since PAWS' record-keeping began in 1998, 2,535 pets have been spayed or neutered; 2,949 owners have received financial assistance for their pets' veterinary needs; and 3,104 pets received veterinary assistance, among other services.
But it's the 38,422 phone calls in 10 years that get to the heart of how PAWS connects to the community. Hartstone has assisted people who will soon be homeless and don't know what to do with their pets; those who need advice about pet behavior; families who suddenly find themselves with a litter of kittens and no way to raise them; and owners who adore and want to keep their pets but are having trouble paying their veterinary bills.
"We're kind of a human services provider... that's the part of it that gets overlooked," she said.
Hartstone believes that many problems related to domestic animals begin with overpopulation, so one of the accomplishments she's happiest with is PAWS' spay-neuter program. During her tenure, she's seen a decrease in pet overpopulation, and PAWS sees fewer litters of kittens being dumped.
Promoting responsible pet ownership is another focus. Hartstone will be the first to tout the benefits of pet ownership in terms of the big stuff – unconditional love, personal responsibility, seeing someone through crisis, and learning about life and death.
But pet ownership isn't a casual thing, it's a commitment. If someone who's out of the house for 10 hours a day asks Hartstone what kind of animal she'd recommend, she'll tell them, honestly, "a stuffed one." And you'll never see PAWS auctioning off a puppy so that an unwitting family can take it home on a whim.
"Acquiring an animal is a process, not an impulse. We're very big on that," she said.
Barkitecture will be Hartstone's "last woof," as she calls it. After 11 years at the helm of PAWS, she's moving to Pittsburgh to begin a new adventure. She will dust off, inspect and possibly try on any number of old hats, which include librarian, public information officer, and student.
A new executive director, Mark Hufford, starts next week; Hartstone said his responsibilities will largely revolve around fundraising, board development, and day-to-day operations. Mary Lou Zimmerman, currently cat adoption coordinator, will act as program director.
Hartstone is proud of the stability of the organization she's leaving behind. Nonprofit work isn't easy, but her departure is about her own wish to move forward, not about a wish to leave PAWS behind.
"What's kept me going is that every day, I know the story of every animal we helped," she said. "I'm not changing the world, but I'm making Abby's life better, or Orpheus's life better, or whatever their name is, that very day."
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Marysville foster child cuts album to support food bank
MARYSVILLE — Marysville's Brendon Rotter is still two months shy of his 18th birthday, but even before he became a foster child in middle school, he knew what need felt like.
While music is his passion, and he hopes to turn it into his adult career, he also wants to use it to give back to those whose spirit of giving helped him make it through some hard times as he was growing up.
At the Marysville Library from 1-3 p.m. on Saturday, March 24, and Sunday, March 25, Rotter will be performing music from his five-track album, "The Journey," that he's made 200 copies of and is selling for $7 per CD, with all proceeds going toward the Marysville Community Food Bank.
"I went to the food bank as a kid, and they need a lot of money to keep going," Rotter said. "Because of what they did, I was able to carry on with my life."
Rotter has been encouraged by his foster father, Lance Engle, whom he affectionately calls "Dad" because his biological father has been absent for most of his life. Engle had explained to Rotter the importance of inventorying all 200 of his CDs, complete with numbers on the cases, and making sure that he received the minimum of $7 for each CD, although Rotter noted that many people have chosen to spend as much as $10 for a CD, since they know it's going to a good cause.
Mirror Sound Studios of Shoreline gave Rotter a discount of hundreds of dollars to use their recording studio, after he'd spent eight months writing the songs, and even illustrated the CD art himself. Although Rotter's six years of guitar lessons were initially inspired by heavy metal music, he agreed with Engle that his album would appeal to more listeners if he incorporated more acoustic genres, including hints of flamenco.
"If you just stick to one genre, you tend to become a carbon copy of one of its artists," Rotter said. "I wanted to make my own sound."
Rotter credited performing on stage with giving him the confidence to speak in public, which he's done as part of a group of foster children that's traveled to Olympia to speak to state Legislators about how laws affect Washington's roughly 72,000 foster children.
"The guitar lets me express myself and maybe make other people's days happier," Rotter said. "I always have something to learn on it."
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The StereoThis stereo is currently in my 92' Lemans. I was going to finish it and then I bought this other car to work on. So I'm going to finish it and furnish ... more
Welcome to my LeMans project car webpage!Page 4 Is The Updates PageI plan to turn this 1989 2.0 Liter Pontiac GSE LeMans into a street racing car.Updates and pictures wi ... more
Date Installed Mar. 31, 2004
Installed 03/31/2004
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The Press of Atlantic City reports Port Authority deputy executive director Bill Baroni on Monday said the agency will work around the clock to make sure it's doing everything to grow the operation.
The Port Authority operates Newark, Kennedy, LaGuardia, Teterboro and Stewart airports.
• N.J. Gov. Christie approves Port Authority takeover of Atlantic City International Airport


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Award-winning choreographer and director Doug Varone works in dance, theater, opera, film, television and fashion. He is a passionate educator and articulate advocate for dance. By any measure, his work is extraordinary for its emotional range, kinetic breadth and the many arenas in which he works.
His New York City-based Doug Varone and Dancers has been commissioned and presented to critical acclaim by leading international venues for nearly three decades. In 2008, Varone's Bottomland, set in the Mammoth Caves of Kentucky, was the subject of the PBS Dance in America: Wolf Trap's Face of America.
In opera, Varone is in demand as a director and choreographer. Among his four productions at The Metropolitan Opera are Salome with its sensational Dance of the Seven Veils for Karita Mattila, and the world premiere of Tobias Picker's An American Tragedy. His Met Opera production of Hector Berloiz's Les Troyens was recently broadcast worldwide in HD. He has staged multiple premiers and new productions for Minnesota Opera, Opera Colorado, Boston Lyric Opera, Washington Opera and New York City Opera, among others. His numerous theater credits include choreography for Broadway, Off-Broadway and regional theaters across the country. His choreography for Manhattan Theater Club's current musical hit Murder Ballad earned him a Lucille Lortel nomination for choreography. Film credits include choreography for the Patrick Swayze film, One Last Dance.
In the concert dance world, Varone has created a body of works globally. Comissions include the Limón Company, Hubbard Street Dance Chicago, Rambert Dance Company (London), Martha Graham Dance Company, Dancemakers (Canada), Batsheva Dance Company (Israel), Bern Ballet (Switzerland) and An Creative (Japan), among others. In addition, his dances have been staged on more than 75 college and university programs.
Varone received his BFA from Purchase College where he was awarded the President's Distinguished Alumni Award in 2007. He has been honored with a Guggenheim Fellowship, an OBIE Award, two individual Bessie Awards, two American Dance Festival Doris Duke Awards for New York, and four National Dance Project Awards.
As an educator, Varone teaches workshops and master classes around the world for dancers, musicians and actors. He is currently on the faculty at Purchase College, teaching composition and choreography.
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SLAYTON - Services for Leroy Brockberg, 94, of Slayton will be at 10:30 a.m. Wednesday at the Trinity Lutheran Church in Slayton. Visitation will be from 4-7 p.m. Tuesday at the Totzke Funeral Home in Slayton and also one hour prior to the services at the church on Wednesday. Burial is at Slayton Memorial Gardens, Slayton.
He died Friday, Sept. 28, 2012, at the Golden Living Center-Slayton.


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Minimum Requirements for Laptop Computer Technology
PC Required Hardware
- Intel Core i5 or i7
- Dedicated 512 MB or higher Video Card (1GB preferred)
- 4 GB of RAM (8GB preferred)
- 250 GB Hard Drive (minimum)
- DVD/CD-RW Drive
- 15" screen or larger (17" or larger would be desirable)
- 1280 x 800 or higher display resolution
- 802.11n WiFi
- External mouse with at least 3 buttons
** If purchasing an Apple computer, you must still meet all of the above requirements, including purchasing a copy of Windows OS. You must have the appropriate software to be able to boot into Windows and utilize the required software.
Required Software
- MicroStation V8 (AutoCAD textbook comes with a 1-year license)
- Windows 7 or more current version
- Most Current version of Adobe Design Standard
- Sketchup Pro v. 8 or more current version


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January 11 postgame quotes: Justin Williams
On not "bearing down" and the challenge in finishing chances:
Yeah, you've got to finish your chances. You can't win every game 1-0, 2-1, shootout. We certainly had enough chances to win the game tonight. We didn't do it. The onus is on us to put the puck in the back of the net.
On the level of frustration after outplaying another opponent in a loss:
You really can't dwell on anything. You can't win every game. What you can control is the effort you put out. We just got on the wrong side of the scoreboard tonight on a couple plays. Not bearing down on our chances, too, certainly allowed them to score those two goals late.
On whether the team is happy with the effort being put in:
Never happy totally until you win. You're really not. You always look back and reflect after a game on what you could have done differently and try and do that better next time. [Reporter: Is there anything that sticks out to you that you could have done differently tonight?] Well, I could have scored on a couple shots.
On whether too much time was spent on the perimeter and without generating traffic:
Well, anyone can look at that and say, 'If you don't score a goal, you're not getting traffic, you're not getting shots, you're not getting rebounds. We were there tonight. I thought we had multiple chances to score on second chances and rush opportunities, and it didn't happen.
On Detroit's performance:
Well, they hung around and scored a late goal and then trapped it up pretty good. We couldn't get anything by them. But you'll have to ask them [how] their road record and home record differs.
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Kryssord.org Web Analysis
Our web analysis service harvested the source of this domain . Web server is found to be in Norway. Its isp belongs to Oslo. Latitudes and Longitudes are 59.9167 and 10.75. This report is generated on 2015-02-17 08:22:59.
|Google Pagerank :
|Alexa Rank :
|823,198 Visit Alexa
|Webserver :
|Website title:
Title not found.
|Description not found.
|Keywords not found.
Backlinks make a website strong. Bots check the number of backlinks of particular site and decides where to place it in serp. Backlinks are below.
|Alexa :
|22 visit Alexa
The internet users are divided among the different countries from which they are visiting the websites. These countries are identified by the ip addresses of the users visiting this site. Every country has its unique list of ip addresses being used by that country. And those ip addresses can't be used in any other countries. The following list contains the list of the countries whose users are visiting. The graph shows the number of users by the highest to lowest distrbution.
The internet users are divided among the different countries from which they are visiting the websites. These countries are identified by the ip addresses of the users visiting Kryssord.org/ Every country has its unique list of ip addresses being used by that country. And those ip addresses can't be used in any other countries. The following list contains the list of the countries whose users are visiting Kryssord.org. The graph shows the number of users by the highest to lowest distrbution.
Safety check allows users to check if Kryssord.org is safe for children or not? or either this website is fake or a real and legitimate website. This safe browsing check warns users not to visit any website which is marked as red and shows a not safe for child safety check.
|Website Domain
|Domeneshop AS
Countries displayed here are those where Kryssord.org is visited. They are plotted in map shape. They are colored to differentiate each country. Check out the traffic distribution.
HTTP request is followed by headers sent in a response of http request. These headers were returned when we requested to open the site on our side. These headers are respected by browsers and behaviour changes with specified header information.
Date: Tue, 17 Feb 2015 13:22:58 GMT
Server: Apache/2.2.22 (Unix)
Content-Length: 394
Connection: close
Content-Type: text/html; charset=iso-8859-1
Whois provider display everyone's info publicly if not hidden by owner. So ownership details including phone num, name, home and business address, etc. All information and contact details exists in whois record.
|Domain Name:KRYSSORD.ORG
Domain ID: D109357683-LROR
Creation Date: 2005-12-09T14:19:53Z
Updated Date: 2014-05-07T18:41:15Z
Registry Expiry Date: 2015-12-09T14:19:53Z
Sponsoring Registrar:Domeneshop AS dba domainnameshop.com (R1439-LROR)
Sponsoring Registrar IANA ID: 1001
WHOIS Server:
Referral URL:
Domain Status: clientTransferProhibited -- http://www.icann.org/epp#clientTransferProhibited
Registrant ID:DNS3399951
Registrant Name:Trond Lohne
Registrant Organization:Trond Lohne
Registrant Street: Nordasvegen 183
Registrant City:Radal
Registrant State/Province:
Registrant Postal Code:5235
Registrant Country:NO
Registrant Phone:+47.97773447
Registrant Phone Ext:
Registrant Fax:
Registrant Fax Ext:
Registrant Email:[email protected]
Admin ID:DNS3673922
Admin Name:Peter Martin Sande
Admin Organization:
Admin Street: Kolstien 54
Admin City:Bergen
Admin State/Province:
Admin Postal Code:5097
Admin Country:NO
Admin Phone:+47.90600916
Admin Phone Ext:
Admin Fax:
Admin Fax Ext:
Admin Email:[email protected]
Tech ID:DNS3673923
Tech Name:Domeneshop Hostmaster
Tech Organization:DOMENESHOP AS
Tech Street: Christian Krohgs gate 16
Tech City:Oslo
Tech State/Province:
Tech Postal Code:0186
Tech Country:NO
Tech Phone:+47.22943333
Tech Phone Ext:
Tech Fax: +47.22943334
Tech Fax Ext:
Tech Email:[email protected]
Name Server:NS2.HYP.NET
Name Server:NS1.HYP.NET
Name Server:NS3.HYP.NET
Name Server:
Name Server:
Name Server:
Name Server:
Name Server:
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Access to Public Interest Registry WHOIS information is provided to assist persons in determining the contents of a domain name registration record in the Public Interest Registry registry database. The data in this record is provided by Public Interest Registry for informational purposes only, and Public Interest Registry does not guarantee its accuracy. This service is intended only for query-based access. You agree that you will use this data only for lawful purposes and that, under no circumstances will you use this data to(a) allow, enable, or otherwise support the transmission by e-mail, telephone, or facsimile of mass unsolicited, commercial advertising or solicitations to entities other than the data recipient\'s own existing customers; or (b) enable high volume, automated, electronic processes that send queries or data to the systems of Registry Operator, a Registrar, or Afilias except as reasonably necessary to register domain names or modify existing registrations. All rights reserved. Public Interest Registry reserves the right to modify these terms at any time. By submitting this query, you agree to abide by this policy. For more information on Whois status codes, please visit https://www.icann.org/resources/pages/epp-status-codes-2014-06-16-en.
Indexed Pages Charts Shows You Overall Progress Of Your Site's Indexed Page.
Page Rank Charts Shows you Overall Progress Of your Site's Page Rank.
Backlinks Charts Shows You Overall Progress Of Your Site's Backlinks.
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Kryssord.org's Current Load Time is : 0.942 (Sec)
Graphs are best way to analyse data in a second. That's why we showed you this format of data. These pictures shows plotted lines showing ups and downs in traffic. Have a look please.
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|Scottsdale City Council Quashes Light Rail Proposals (63 replies)
|Downtown vs Scottsdale: Social Scene? (58 replies)
|Scottsdale: The American Shangri-La? (50 replies)
|Any significant difference between Scottsdale elementary schools zoned to SUSD vs Paradise Valley SD? (4 replies)
|Moving to Scottsdale in the next 3 months. How realistic is it for me to live there without a car? (150 replies)
|Scottsdale and Chandler have most attractive people in the country (45 replies)


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STATEN ISLAND, N.Y. -- The Fourth Annual really big Ryan Pisapia Family Fun Day is set for Saturday, June 2, from noon until 5 p.m., at Nansen Park, Travis. The event will go off rain or shine.
The donation will remain at $35 per adult and $10 per child (5 and older). The event is once again devoted to children and their families. Rides and activities for children and surprises for adults will abound.
Inside out photos 4-25-2012
The Ryan Fund was created to honor the memory of a short life that revolved around fun and family.
Several years ago, the Ryan Anthony Memorial Fund assisted St. Joseph-St. Thomas R.C. Parish in building a recreational center in Ryan's name. Additionally, the fund would like to assist various children's charities and possibly build a playground in Ryan's honor.
The Ryan Fund is also sponsoring a raffle. The cost of a ticket is $100, which entitles the buyer a chance to win a fabulous Disney Vacation. The prize includes a seven-day, six night Disney stay, a $1,500 airline credit, $500 in spending money and a seven-day park Hopper Pass, including Magic Kingdom, EPCOT, Hollywood Studios and Animal Kingdom.
Those interested can learn more about the project at RyanFund.org, or call Maria at 917-750-1565, J. Anthony at 917-270-3635 or Kim at 917-992-1961.
Le'Anna Leverette of Staten Island was selected to participate in the 2012 Miss Junior Pre-teen New York pageant competition set for Sunday, May 20, at Bishop Ford High School, Brooklyn.
Le'Anna will be competing in the Miss Junior Pre-Teen division, one of four divisions that will see young ladies ages 7 to 10 compete in modeling routines, casual wear and formal wear.
She also will compete for thousands of dollars in prizes and specialty gifts to be distributed to contestants.
If Le'Anna wins the title of Miss Junior Pre-Teen New York, she'll represent New York and the surrounding communities at the national competition in Orlando, Fla., where more than $30,000 in prizes and awards will be presented, as well as an expense-paid trip of five nights and six days in Orlando.
Members of the Garibaldi-Meucci Museum are spreading the word about a bus trip to Arthur Avenue in the Bronx on tap for Thursday, May 3.
Organizers ask that you join in a fun day of shopping and visiting a number of Italian specialty shops — and partake of lunch at the famous Mario's Restaurant, winner of the James Beard/Bertoli Olive Oil Restaurant Award.
Regardless of whether locals are familiar with Arthur Avenue, the day is sure to be a unique experience.
Kindly telephone 718-442-1608 for reservations and/or additional information. Note that seating is limited.
Terry Powell, a member of the Staten Island Doll Club, tells us that her group is sponsoring a Doll and Craft Show at All Saints Episcopal Church, 2329 Victory Blvd., at the corner of Woolley Avenue, in Willowbrook on Saturday, May 5, from 10 a.m. until 4 p.m.
Door prizes will be announced throughout the event to admission ticket holders and a great group of vendors will showcase dolls, miniature dollhouses and furniture, needlework and home-decor items, jams and jellies, unique handmade jewelry, wood arts and paintings, and other handcrafted items.
Church members will host a refreshment area with homemade foods and a raffle table, both to benefit the church's roof repair fund.
The show site is in two large indoor areas and is completely wheelchair-accessible, with ample parking in the parking lot — in addition to Auburn, Gurdon and Wooley avenues. Admission is $2.
Happy birthdday today to George Mallon Jr., Amanda Casale, Tim Ruehl, John Mondelli, Steven Mezzacappa, Erin O'Brien, Lisa Romano and twins Nicolette and Amanda Strano.
Happy wedding anniversary to Bernadette and Steven Scully, to Barbara and Tony Palumbo and Sandra and John Bumbalo.


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An Oakland County Sheriff's deputy who was returning home from his 28-year retirement party when he was struck by a motorist has had a portion of his leg amputated.
Authorities say Keith Palmer was returning home Friday night, when he stopped his northbound motorcycle on Dixie Highway and Grange Hall Road in Groveland Township.
Michigan State Police said a motorist heading north struck Palmer.
Troopers said alcohol was not involved, and the 22-year-old woman from Grand Blanc driving the vehicle likely fell asleep at the wheel. She suffered minor injuries.
Sheriff Michael Bouchard tells tell The Oakland Press "it's very, very sad," especially on a day that should have been a celebration of Palmer's career.


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Do you have questions about our programs or would you like more information? Let us know. Contact one of our student services representatives for information about undergraduate programs, contact Monica Mehanna for information about Graduate programs.
Undergraduate Contact Information
Tony Jackson
Director of Recruitment
Phone: (859) 218-5170
Territory: Central Kentucky, Northern Kentucky, and Louisville
Email: firstname.lastname@example.com
William Henderson
Director of Diversity Programs, Minority Recruitment & Out of State Recruitment
Phone: (859) 257-2451
Email: firstname.lastname@example.com
Monica Nielsen
Assistant Director of Recruitment & Director of Women's Programs/Recruitment
Phone: (859) 257-0553
Territory: mid-western Kentucky and St. Louis
Email: email@example.com
Graduate Contact Information
Monica Mehanna
Director, Research and Graduate Studies
Phone: 859-257-3341
Email: email@example.com
Director, Research and Graduate Studies
Phone: 859-257-3341
Email: email@example.com


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We enjoyed yet another beautiful day yesterday, and we'll eek out just a few more hours of the warm and bright weather before our fortunes change for the upcoming weekend. But we're in need of a little rain, and it's a good excuse to get out of doing yard work!
Looking at a satellite or radar image today, you'd be hard pressed to find any big storms. There are few clouds, and even fewer areas of rain. But an interesting and complex pattern is expected to set up over the next 24 hours. The main feature we're watching right now is a backdoor cool front (backdoor meaning that it comes down from the north and east, instead of the typical west). It's expected to move through today, bringing in an area of cooler air from eastern Canada. Highs today should still manage to reach well into the 60s before it reaches us though.
The front will act as a wall between cool air over New England, and much milder air to the west. We call that area a 'baroclinic zone', and it will essentially provide a highway for clouds and moisture to run along. The first high clouds will start to move in this afternoon, right along the front. Overcast skies are likely by late this evening. And then the showers will arrive after sunset!
Showers are likely tonight, and will linger into tomorrow morning. We're expecting to stay on the cool side of the front this weekend, which is generally the cloudier and damper side as well. Tomorrow won't feature a ton of steady rainfall, just showers and areas of drizzle. But a steadier rain should begin to develop by late afternoon. That steady rain will come down heavily at times tomorrow night into early Saturday morning, dousing the region with beneficial rain.
More areas of showers and drizzle are likely through Saturday, with temperatures holding steady in the 40s. It should be cold enough across the higher terrain to produce some wet snowflakes, a far cry from last week's record warmth! The storm system will slowly chug out to sea on Sunday, but many clouds and a few showers should stick around. Overall a good 'indoor' weekend, with much cooler temperatures than what we've been enjoying recently.
For runners and baseball fans, Marathon Monday is looking just fine. Partly to mostly cloudy skies are currently in the forecast (great for runners) with highs in the 40s to 50s. The early start at Fenway won't be all that warm, but it shouldn't be a washout. That's about all you can ask for in April!
abc40 weather is on Twitter, where you can check out the latest weather updates. And you can always find complete local weather coverage on wggb.com, your online home for abc40 and fox6.
Eric Fisher


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Artist Will Barnet decides which paint he will use while working on an abstract painting. During the last years of his life, he painted every day in his live-in studio at the National Arts Club in Manhattan, across the street from Gramercy Park.
Will Barnet, the painter and printmaker who watched John Singer Sargent paint the murals in the Boston Public Library as a boy, helped found the Indian Space Painters group in the 1940s and taught Mark Rothko lithography shortly before the abstract expressionist committed suicide, died Tuesday. He was 101 years old.
"I saw him just a couple of weeks ago," says Gail Stavitsky, curator at the Montclair Art Museum, which hosted "Will Barnet: A Centennial Celebration" last year. "Right up to the last minute, he was still reinventing himself. 'I'm working with a whole new palette,' he told me, moving into purples. He was loved by so many people in the art world and really everywhere, it's a real loss.
"His work was diverse," Stavitsky continues, "but it was unified by stability, harmony and grace, all these classical qualities that I think he himself exemplified."
Barnet was best known to the public for a series of paintings, many of which were turned into popular posters in the 1970s, that showed New England women waiting by the sea or on American vernacular porches and widow's walks, often accompanied by cats or crows. But throughout his life, he alternated between representation and abstraction, making a switch, he said, every "10 years or so."
At the end of his life he was in abstract mode, painting boldly patterned pictures in teals and tans every day in his live-in studio at the National Arts Club in Manhattan, just across the street from Gramercy Park.
Barnet was born May 25, 1911, in Beverly, Mass., where his father worked as a machinist in a shoe factory. He drew constantly as a boy, often using animals as his subject. After attending classes at the Museum of Fine Arts in Boston, Barnet left for New York City in 1931, bringing a portfolio of portraits of the family cat to meet a friend's relative who was already working as an artist in the big city. The artist turned out to be Arshile Gorky.
In the beginning, Barnet did social realist paintings and prints, sympathizing with the downtrodden during the Great Depression. He became the official printmaker at the Art Students League, he had told me, "because printmaking was most like a job." He made prints for radical Mexican muralist Jose Clemente Orozco and satirist William Gropper, and for the Works Progress Administration's Federal Arts Project.
In the 1930s and '40s, his work became increasingly abstract, influenced by Pablo Picasso but focused on his family. Barnet married a fellow art student, Mary Sinclair, in 1935. They had three sons: Peter, a painter and professor at Montclair State University, Richard, a sculptor, and Todd, a lawyer.
"He had begun to be much more open lately about how radicalized he had been when he first came to New York in the 1930s, during the Depression," Peter said of his father. "He was very passionate about that. And he said he was so glad to see Obama elected again, that it was an essential part of the country finally reasserting itself."
Barnet's work with the Indian Space movement was inspired by the interest of Picasso and other early Modernists in so-called "primitive" art, including African carvings or Papuan totems. In a similar way, Barnet drew on Native American abstract patterns to make original, contemporary American paintings.
In 1953, he and Sinclair divorced, which he described as "the worst time of my life." But he soon married Elena Ciurlys, with whom he had a daughter, Ona. She now runs an inn in Maine where her father often painted in the summer.
Barnet taught at the Art Students League and at Cooper Union for 33 years, beginning in 1945, doing stints as a teacher at Yale University, the Pennsylvania Academy of the Fine Arts and many other institutions. Last year, President Obama awarded him a National Medal of Arts in a White House ceremony.
To the end, Barnet remained loyal to painting and drawing as the essence of art, saying the hand of an artist always "puts blood on the canvas." He never accepted pop art. "Come ask me about pop in 40 years," he said in 2010; Barnet didn't think there'd be much to talk about by then.
Dan Bischoff: firstname.lastname@example.com
Critic Robert Johnson
Critic Dan Bischoff
Critic Ronni Reich


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Suspects Antonio Andino and Timothy James Ford in custody
Homicide victim Christian Arenas, 19.
SALT LAKE CITY — Salt Lake City Police Department homicide investigators today secured two arrest warrants in a murder that occurred October 13, 2013, at 405 N. Pamela Way.
The suspects are in custody due to unrelated criminal acts:
- Antonio Andino (DOB: 2/11/1979), who was captured after a high-speed pursuit in a stolen car November, 15, 2013, in Salt Lake County and booked into jail.
- Timothy James Ford in the October 13, 2013, whose parole officer took him into custody in Vernal, Utah, and booked him into the Uintah County Jail.
Original Watch Log Entry released by SLCPD in October 13, 2013:
12:26 a.m. Sunday Shooting 405 N. Pamela Way 13-164373
Two male victims, 19 and 20, were sitting in their car when two unidentified males in a dark green older SUV, possibly a Subaru, drove up. Victims and suspects exchanged words before the suspects fired; both victims were hit. The 19-year-old victim (later identified as Christian Arenas) is in extremely critical condition and the 20 year old is in stable condition at separate area hospitals. Gang detectives and Homicide responded. As of this writing, the suspects have not been identified. There is no further description of suspects at this time. Anyone with information about this case is asked to call the Salt Lake City Police Department.
Contact: Reporters seeking comment should contact the Salt Lake County District Attorney's Office, (801) 468-3300.