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Ray, Satyajit
Satyajit Ray 1921–
Indian director, scriptwriter, critic, author, and composer.
Ray is the only Indian director to date to gain prominence in the Western world. His humanistic themes have earned him a small but enthusiastic following among intellectuals worldwide, while his films invariably retain Indian settings and situations. Ray's films explore the transitional state of Indian society and the resulting moral implications, and Ray's sympathy toward Old World values is rarely disguised.
When Ray studied fine arts at Tagore University, he wrote scenarios and saw as many films as possible. Working as an art director, he was sent to London in 1950, where he saw films almost daily and talked with many film critics. One film which particularly influenced Ray was Vittorio De Sica's The Bicycle Thief, in which human problems are graphically portrayed in natural settings. Back in Calcutta, Ray met Jean Renoir, who was then filming The River, and who encouraged Ray in his dream of filming Pather Panchali, a popular book in India. With virtually no financial backing, and using nonprofessional actors, Ray finished the film, but only after three years and several interruptions. Unlike most escapist Indian films, Pather Panchali employed the neorealist aspects Ray had found fascinating in De Sica and Renoir, and Ray achieved overnight success as a director as a result of its style and humanist themes. Pather Panchali won the grand prize at the Cannes Film Festival in 1956, and Ray gained a following among educated Indians and Western intellectuals.
Although Ray had not originally planned to film a trilogy, he saw the logical possibilities of following the development of his hero, Apu, and released Aparajito in 1957 and Apur Sansar (The World of Apu) in 1959. Aparajito was not as successful with the public as Pather Panchali, but Apur Sansar is generally regarded as a fine conclusion to the trilogy, showing clearly Ray's growing mastery of filmmaking.
Ray's later films are considered uneven, and critics are divided concerning the effectiveness of his portrayal of transition in Indian society. However, Ray branched out into other areas besides neorealism: Devi (The Goddess) has a particular focus on women's roles in society through a rather fantastical plot; Kanchenjunga is Ray's first color film, and also the first film for which he wrote the musical score (music is an aspect of major importance in all of Ray's films); Gopi Gyne Bagha Byne (The Adventures of Goopy and Bagha) is a musical fantasy, and Ray's most popular film in India; Days and Nights in the Forest is an expansion on the themes evident in the Apu trilogy; Company Limited is a detective thriller with political overtones; and Distant Thunder takes the political themes further, leading to much controversy as to its worth as a work of art.
Many critics find Ray's films boring or old-fashioned as a result of their lack of inventive plot. However, Ray considers plot less important than precise dramatization and characterization. He emphasizes in his actors the need for improvisation, naturalness, and spontaneity in order to portray effectively his themes and characters. He refuses to work outside of India, preferring the natural settings of his native land. Although his films are not popular successes in his own country and are not widely distributed in the United States, Ray's themes and methods of creating his films have established him as a major artist throughout the world.
Guido Aristarco
The influences of the Italian cinema on Satyajit Ray are quite clear. [Aparajito (The Unconquered)] … confirms the significance of the two influences we perceived two years ago at Cannes in Pather panchali (The Song of the Road), the first episode of the trilogy: first, the Zavattini and De Sica of Bicycle Thief and The Children Are Watching Us …, and, second, the lyric documentary quality of Flaherty and of the Renoir of The River. But Ray's "universities"—in the Gorkian sense—are wider and more extensive….
Aparajito is not, in fact, the story of a maternal love, of a mother who sees the withdrawal of the object of her love, but a story, or, better, part of a story, of greater scope and views: it represents a portion of the "human comedy" of modern India. Ray's artistic method … is descriptive rather than narrative … and uncertainties of cinematic language are discernible here and there, though moments of great poetry are not lacking and there is an extremely apposite sound track in which music assumes a creative character in expressing situations and feelings. The final shot of Apu seated under the centuries-old tree, with its roots almost out of the ground, is unforgettable in its implied and expressed meanings: the mother is dead but there remains in the son the certainty of his having chosen the right road. (p. 9)
Guido Aristarco, "Three Tendencies: A Postscript to the Venice Film Festival," in Film Culture (copyright 1957 by Film Culture), Vol. III, No. 5, December, 1957, pp. 7-9.∗
DOUGLAS McVAY
Apart from suggesting an echo of the end of Grapes of Wrath in the closing compositions of Pather Panchali, I'd prefer to turn to one or two allegations of amateurism levelled against Ray—notably Paul Dehn's objection to the 'elementary' use in Panchali of long tracking shots. To me these shots are often among the most magical moments of the picture: the children pursuing the sweet-seller, the train sequence, or Apu running after Durga across the fields when they have quarrelled over the toy-box. And how many magical moments there are!…
[One can find nothing] amateurish in the visuals, the grey soft-dwelling close-ups and misty, luminous landscapes. Subrata Mitra may never have handled a camera before, but Ray has inspired him, just as he must have inspired Ravi Shankar, whose evocatively dissonant score was created in a night and is nowhere more perfectly employed than at the film's climax. The whole of the last two reels, indeed, are beyond praise. (p. 21)
In Pather Panchali desperate needs enforce desperate remedies. The family's existence, while it has its universal aspects and is frequently lightened by humour and small pleasures, seems a shade too impoverished to strike directly home to us: whereas the theme of Aparajito is psychological rather than documentary, applicable not merely to the poor but to every social plane.
I tend, in fact, to consider Aparajito the most profoundly sensitive panel of the triptych, for the central human bond of World of Apu, between husband and wife, springs from Apu's agreement to step into the shoes of a bridegroom who has become unhinged on his wedding day. Such an action—admittedly reluctant—may be excusable from an Indian outlook; to a Westerner, it appears a distasteful negation of sexual freedom. Because of it, the marital association isn't quite rooted in the normal, unlike the mother-son association of the preceding film. (p. 23)
Douglas McVay, "The Ray Trilogy," in Film (reprinted by permission of British Federation of Film Societies), No. 24, March-April, 1960, pp. 20-4.
Jonathan Harker
The World of Apu seems to me not only the most successful, the most brilliant, the most moving, and the most important of the three parts of Mr. Ray's trilogy, but also probably the most important single film made since the introduction of sound. (p. 53)
It's difficult to give the full flavor of this film; it's difficult to describe the extraordinary success with which Ray has succeeded in stripping away several more veils from reality than any film-maker has ever removed before. Moreover, here at last is a student of film history who is able to absorb the best of the heritage handed down to him by the great film-makers of the twenties' and thirties' and fifties', to redigest and to improve on the originals. The dialogue is not only sophisticated but often genuinely surprising. The scenes at the end of the film involving Apu's five-year-old son and Apu's struggle to communicate with this boy whom he has never seen before represent perhaps the most moving portrayal of a father-son relationship in any motion picture ever made. Though they closely resemble some of the scenes in The Bicycle Thief, there is a surprising and even dazzling quality to them, which lifts them well above the DeSica-Zavattini work. (p. 54)
Jonathan Harker, "'The World of Apu'," in Film Quarterly (copyright 1960 by The Regents of the University of California; reprinted by permission of the University of California Press), Vol. XIII, No. 3, Spring, 1960, pp. 53-5.
Arlene Croce
[Roughly] two-thirds of The World of Apu, with which Ray closes his trilogy, are well worth the trouble, and some of this is as fine, in its own way, as the best of Pather Panchali…. Ray is so thoroughly in command of his material that for the first hour or so the reality of people, of their differentiated and changing worlds, leaps unquestioned from the screen.
Looking back over this film and back over the trilogy as a whole, you see that it was chiefly this reality of persons and backgrounds that spoke to Ray from the start. Where he deals most directly with its substance, he produces great cinema; where he deals with the pre-arranged reality of a conventional screenplay, he lapses into a rather unaccustomed second gear; and where he deals with outright artifice, his technique becomes faintly spurious or, at the very least, arguable. This isn't the mere truism of film making it sounds. Bergman, for example, works best with just the opposite strengths.
As in the two previous films, nothing much happens in The World of Apu—which is to say, the events of the scenario are extremely few and not especially extraordinary. (pp. 62-3)
The absence from the trilogy of any intricately developed dramatic interest is not a relevant point of criticism. Ray has obviously aimed for a poetic-realistic chronicle of the evolution of a boy into a man—or, to use Ray's own term—a "social being." As we know, he has adapted his films from an enormously popular serialized novel which had impressed him with its authenticity as a picture of Indian life. His avoidance of the factitious is to be commended as long as the chronicle sticks to those elements in his source which mirror the untamed individuality of an identifiable life and time. But the uncomfortable truth is that the final portion of The World of Apu, in spite of the great sincerity, trust and taste with which it is filmed, looks like a fairly accurate reflection of the unexamined stock attitudes of Western biographical...
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Cynthia Grenier
[Ray's first] films—Pather Panchali, Aparajito, and The World of Apu, form a kind of unified triptych of childhood, adolescence, and young manhood. The Music Room leisurely and patiently unfolds the story of the decline of the last member of a once mighty Indian noble family, revealing the man's character by quiet, ever-acute observation. The film has the quality and complexity usually reserved to an extremely good novel, without losing any of the visual beauty inherent to a first-rate motion picture. In its way, despite the foreign setting and details of Indian life which occasionally are quite alien to us, the film is, in its spirit, close to a number of Chekhov's later short stories or to...
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John Burgess
The World of Apu should not be qualified by the 'final part of a trilogy' tag. It stands surely on its own, prologue included, and this is not to overlook the fact that an extra dimension can be gained by seeing it after the earlier two films, Pather Panchali and Aparajito. This film is more than the sum of the successful contributions of a handful of technicians, and although its milieu is absolutely convincing and established without pretension it should not be patronised by being deemed significant for its peculiar relevance to the problems of contemporary India or Bengal. Its significance to India is that it confirms the emergence of a major creative talent who must be ceded a place beside the...
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John Gillett
The world-wide acclaim given to Satyajit Ray's Bengali trilogy has tended to overshadow his other films, none of which has received much of a showing in the West. In the case of The Philosopher's Stone, a mild comedy made as a commercial intermezzb, the loss is negligible; but Jalsaghar or The Music Room (made before Apu) was fobbed off with a minor prize at the 1959 Moscow Festival and then mysteriously disappeared. Fortunately, after two attempts, Jalsaghar was captured for last year's London Festival. Although it cannot be said to outclass the best parts of the trilogy, it proves to be an engrossing experiment in a deliberately minor key. (p. 35)
[This] is Ray's...
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Eric Rhode
In general, Satyajit Ray's films embarrass the critics. Admirers go impressionistic, talk airily of Human Values, and look offended when asked to be more precise. Detractors are no less vague. Some of them call his work charming, in a tone which could hardly carry more weight of suspicion and distrust, or say they are not interested in the problems of the Indian peasantry. Only M. Truffaut, in describing Pather Panchali as Europeanised and insipid, has firmly placed himself in the opposition. This mustn't have taken him much trouble, since he apparently walked out of the film after the first two reels. Those who stayed on to the end, however, had every reason to be more hesitant; for the supposed simplicity of...
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Gordon Gow
[It] is right for a film to preserve the indigenous quality of its country of origin, but Ray is unique among Indian filmmakers in that he has combined this with a cinematic idiom that is acceptable outside India. His films are very slow, but the influence of neo-realism and a flair for poetic imagery has brought them nearer to us than other Indian films have ever been. Even so, the slowness of Ray is less consistently cinematic than the slowness of, say, Antonioni. At times he is content to let the subject matter too much alone, and observe his characters, or in this case his almost solitary central character, in pictures that are often pretty dull.
Yet, at other times, there are indications of his...
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Tony Mallerman
Satyajit Ray can reveal reality as can no other director in the world. He can give us the squelch of mud so that our feet are sucked into it; and the sound of birds frantically chattering so that we might reach out and touch a wing in flight; and the nearness of a great sluggish river so that we, too, are governed by it. One feels it possible to touch a Ray film, to make real tactile contact with objects and people which, in other films, we might admire for the patterns they made or the attitudes they struck.
One might see a thousand well-intentioned documentaries about India, yet learn less from them than from either of the two stories in Two Daughters. And besides his benevolently accurate...
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Eric Rhode
On a first glance you might see Devi [The Goddess] … as no more than a film with a thesis, Ibsen in an Indian setting….
The thesis, it seems, is clear; and in fact is nothing less than the latent theme of the Apu trilogy made articulate….
On the level of a thesis …, the plot is both inexorable and tight. Ironies fall into place neatly—almost too neatly. A child is saved, so another child must die. Women are treated both as serfs and as idols; in any event, they are never allowed to be human beings…. In the Apu trilogy episodes were mainly related to each other by association; as the images of river and parched land recurred they took on the resonance,...
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Peter Cowie
The handful of Ray's films that one has been able to see reveal his major theme as being the conflict between the generations in India, between the older generation who lived under the British Raj, and the younger generation who have grown up in a modern, independent land. (pp. 28-9)
On paper [the plot of The Goddess] seems preposterous in this day and age. But Ray's handling of the characters is so discreet, and the acting of the father, son and his wife is so convincing that never once does the conception of Doya's being a goddess strike one as being altogether ridiculous. Instead it signifies the last stand of the older generations' beliefs in India, like the old man's house in The Music...
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Penelope Houston
To attempt to annex Satyajit Ray as the last Victorian would be absurd. But it isn't merely because Charulata is set in 1880, and full of references to Gladstone and Macaulay, to English politics and the rotundities of nineteenth century leader writers, that one is made aware of the connections. The film brings together the two characters who seem most thoroughly to arouse Ray's sympathies, and who have appeared most persistently in his films. And neither of them is, in Western terms, quite of the present day.
Amal …, the literary-minded cousin who awakens Charu, the editor-publisher's wife, from the lethargy of the long Indian afternoons, is a variation on Ray's eternal student, (p. 31)...
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Richard Schickel
Satyajit Ray, the noted Indian director, is up to his usual lack of tricks in his latest film, Kanchenjungha. Once again he has dared to make a movie of such stately pace and conventionality of imagery that it—and the audience—always teeters on the brink of boredom. Once again his characters are fictional familiars—archetypes in danger of becoming stereotypes. Once again his story is little more than a cliché. And once again, by a magic that is peculiarly his own, he forces us to attend his deliberately difficult work closely and to care, perhaps more than common sense would dictate, about its outcome. (p. 77)
Some sketchy subplots underpin [the] central situation, but they are no more...
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Richard Schickel
It is always a trifle embarrassing to set down in unadorned outline the story of one of Satyajit Ray's films, for in that form they generally seem too small, too simple to support the critical enthusiasm they generate. (p. 126)
[In The Big City], it all seems rather banal. But it is perfectly wonderful when you see it unfold at Mr. Ray's customary unforced pace in his customary unfancy style. The real substance of his films lies between their plot lines, in the interaction of his almost Chekhovian characters. (p. 127)
I imagine that Mr. Ray sees the emergence of [the young wife] under trial as symbolic of India itself, emerging into the modern world after the long...
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Chidananda Das Gupta
It is in Charulata that both the statement and the art reach their height. For the first time since the trilogy, Ray has something different and important to say, and says it really well. It is, to me, his masterpiece since the trilogy. In a classically Indian fusion of decoration and expression, its miniature-painting-like images acquire an autonomy and poise. Its rhythm, gentle as in all Ray's films, never falters, and Ray's own musical score, competent and interesting in previous films, for the first time becomes a major instrument in making the statement of his film. (p. 44)
The exquisite period flavor is Ray's own, and distinguishes the film from the story, in which Tagore takes it for...
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Ernest Callenbach
[Mahanagar] dramatizes a disconcerting shift in the roles of women, and hence in the patterns of family life and emotional life generally. (pp. 46-7)
American viewers, living in a culture which went through the emergence of women from the home a generation ago, will mostly find the film sentimental, and for them its appeal will be largely ethnographic: Ray is very good at catching the atmosphere of the Bengali household, the small glances and movements by which the inhabitants of the crowded apartment convey their love or disapproval or resentment. But this "humanist" appeal is not enough to preserve the film from charges of being an exotic soapopera. (p. 47)
The comparison...
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Elizabeth Sussex
Satyajit Ray made Mahanagar … in Calcutta in 1963. It came to the London Film Festival in 1964, and we remembered it as lightweight Ray with an especially rich quota of humour. That is how it still seems, with the humour marvellously perceptive about the little things that are really the big things of life.
This conflict within the family between tradition and progress, between the old culture and the new enlightenment, that runs through all Ray's films, is after all a feature of the human condition not just in India but everywhere, and not just in our time but always. The need to overthrow things that conceivably still matter to us, and to taste the kind of knowledge that can sever us...
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William S. Pechter
[Perhaps] the most remarkable aspect of Ray's body of work is its range and versatility. Even within the trilogy, each of the films is strikingly different from the others: Pather Panchali, a Dovzhenko-like poem of the earth and of human lives coming to definition against the anonymity of nature's cycles; Aparajito, owing less perhaps to De Sica than to Zavattini in the latter's call for an open form; and The World of Apu, in which a narrative of spiritual questing that reminds one of Hesse in its largeness of gesture is given an embodiment whose critical detachment and admittance of a natural world are as different from the emotional posturing of Hesse as they are again from any of the...
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Tom Milne
Days and Nights in the Forest … the very title rings with enchantment, and the old Ray magic is soon at work again….
[Whereas] it would be impossible to detach Chekhov's characters, or indeed James's, from their very precise social contexts, Ray's characters seem to belong so essentially to no other time than their own that they could step quite easily out of Charulata into Days and Nights in the Forest, bridging three-quarters of a century in the process. Partly, of course, this is because aspects of Victoriana have survived quaintly in Indian life; partly because Ray has a respect for traditional (especially cultural) values which is hardly shared by modern society; but...
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Robin Wood
I should confront the problem … of the accessibility of Ray's films for western audiences: can we feel any confidence that we are adequately understanding, intellectually and emotionally, works which are the product of a culture very different from our own? The problem has two aspects. One is content, our intermittent sense that certain passages or details in the films may mean something more, or something different, to Indian audiences. The other is tempo: the chief explicit grumble in the West about Ray's films is that they move slowly.
The 'content' problem can easily be stood on its head: what is remarkable is how seldom in Ray's films the spectator is pulled up by any specific obstacle...
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Pauline Kael
"It adds years to your life," the young men from Calcutta in Satyajit Ray's Days and Nights in the Forest say of the country quiet, and it's easy to believe. Ray's images are so emotionally saturated that they become suspended in time and, in some cases, fixed forever. Satyajit Ray's films can give rise to a more complex feeling of happiness in me than the work of any other director. I think it must be because our involvement with his characters is so direct that we are caught up in a blend of the fully accessible and the inexplicable, the redolent, the mysterious. We accept the resolutions he effects not merely as resolutions of the stories but as truths of human experience. Yet it isn't only a matter of...
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Stanley Kauffmann
Neglect is benign for some artists. An American novelist named William March was thought by some to be a neglected fine writer until a large anthology of his work was published; that finished March. The Indian director, Satyajit Ray, is a first-class artist, until you see his films. As long as he isn't imported, one can talk about injustice and neglect. But then along comes a Ray film, and, allowing for such exceptions as Aparajito and Charulata, it is usually a mild and fairly dull item.
[Days and Nights in the Forest] is one of the milder and duller; wretchedly photographed, archaically edited, sentimental and superficial in style and theme. (p. 22)
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Alan Ross
Ray's films—arguably the most considerable achievement in the art of our time—have made only a modest impact in relation to their quality. What the curious but weary West has wanted from India has been its peripheral and largely discarded mysticism, not its human problems and statistics of defeat.
Where much of even the best cinema is a game, played in isolation and its interest dependent on awareness of cultural cross-references and its own improvizations, Ray's films have an organic growth, to which the actors in prescribed situations contribute, that makes discussions of technique and influence almost superfluous. (p. 150)
In The Adversary the visual and dialogue...
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Tom Milne
Company Limited is an impeccable ideological tract detailing the exact price in human dignity and decency to be paid for a stake in the corridors of power. As always with Ray, the message is all the better and richer for being conveyed obliquely…. [The] secret motivation of Company Limited is the mournful yearning of Chekhov's characters, not this time for the seemingly unattainable city but for the 'provincial' life that has been lost…. Company Limited may not have the exquisite formal perfection of Days and Nights in the Forest, but it is considerably more successful than The Adversary in filtering the political demands of a situation which, as Ray says, "you feel every moment...
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John Coleman
Company Limited has a bleak, slightly off-key title to British ears and this quality of getting things just that shade wrong is an element in what it is all about. The film takes its place in a trio (the other two, Days and Nights in the Forest and The Adversary) concerned with the effects of what we did to India and Indians. We left them a language, English, and a way of life not unconnected with capitalism. These facts Mr Ray now occupies himself with stressing and, under their impact, he seems to be producing increasingly unnerved and unnerving movies….
If one leans on the pictorial style, it is because it is nearly consistently ugly, harsh, almost as if Ray had decided...
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Penelope Gilliatt
"Charulata," Satyajit Ray's most nearly flawless film apart from his great Apu trilogy, is a flowing, opulent tale that seems to be lit from the inside like a velvet-lined carriage with a lantern in it rocked by a hot monsoon wind. The film carries an exquisite period flavor of the eighteen-seventies in Bengal. (p. 48)
The film leaves one with a sense of great things unfulfilled but never of mania. Like Ray's "The Music Room," which has tones of "The Cherry Orchard," it has a style that is songlike, beautiful, sometimes turning into an abrupt and comic rudeness that again seems very Russian. Grapelipped men lapse into English as Chekhovians dreaming of revolution lapse into French.
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Penelope Gilliatt
["Nayak the Hero"] is the achievement of a great film director working outside his usual style, fumbling sometimes with surrealism, using flashbacks that flaw the usual concord of his sense of storytelling, but sometimes illumining it by lines that suddenly show character in movement, like the glare of a torch catching a figure on a staircase. (p. 67)
Penelope Gilliatt, "The Fastest Anachronism in the West," in The New Yorker (© 1974 by The New Yorker Magazine, Inc.), Vol. L, No. 23, July 29, 1974, pp. 66-7.
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Judith Crist
[The Hero is] a witty and ironic film Ray made in 1966. It is quintessential Ray, a simple story moving at what has been so aptly described as "the pace of a majestic snail," its protagonist projected on a broad canvas so subtly crammed with insights, perceptions, and wry comment that its compassionate awareness of the human comedy sticks to the mind's ribs with surprising persistency….
Ray provides a worldliness and sophistication to break the journey, with the tiniest of moments becoming significant drama, and gestures—like the quick, firm restoration of the hornrims—providing the breadth of character. We might, in fact, be riding the Twentieth Century again, a little less fliply and a...
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Tom Milne
Light shimmering on the water; what appears to be a dead hand floating just beneath the surface; then the hand idly begins to toy with the ripples, and the camera gently pans to reveal a girl dreamily bathing in the river and staring up at the sky as five fighter planes sweep by in formation: "How beautiful", she exclaims, "like a flight of cranes". This sequence of images immediately following the credits of Distant Thunder (themselves placed over images of tranquil nature and stormy winds starting to ruffle a field of waving corn) is Ray at his complex, evocative best. Long before we discover that this is some time after the fall of Singapore and that the distant thunder of World War Two will soon break over...
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Pauline Kael
The color imagery of Satyajit Ray's "Distant Thunder" is so expressive that I regretted the need to look down to the subtitles; it took precious time away from the faces and bodies, with their hint of something passive, self-absorbed—a narcissism of the flesh….
The film is delicately, ambiguously beautiful; the shadowing comes from our knowledge … that the people we're looking at are endangered. It is a lyric chronicle of a way of life just before its extinction, and Ray gives the action the distilled, meditative expressiveness that he alone of all directors seems able to give. We're looking at something that we feel is already gone, and so the images throb. Or is it that we do? It comes...
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John Simon
[It] was indeed a miracle for even so modest a talent as Satyajit Ray's to emerge with Pather Panchali two decades ago. It is not so much that Ray's films are slow, or pallid, or derivative, or choppy, or technically rudimentary—though they are all of these things, too—as that they are, for the most part, dull. Pather and the other two films of the so-called Apu Trilogy seemed better than what followed, perhaps because of the novelty of seeing films from India. What impressed me in Ray's later films was the infallible gift for making things come out less varied, dimensional, moving (in both senses) than life.
Some of this is not the fault of Ray, but of the political mess and...
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John Russell Taylor
Ray is a great director, and ipso facto cannot be typical of anything, perhaps not even reliably himself (it is the prerogative of all great artists constantly to take us by surprise). But it seems reasonable to assume that he must have come from something and fit into some sort of context. And so of course he does. Not particularly a cinematic context: eighteen years after the appearance of Pather Panchali, the first of the Apu trilogy, he is still a solitary figure, a unique talent in Indian cinema, and the Indian cinema apart from him has hardly moved on from the kind of nonsense he gently satirizes in the filmgoing sequence of Apur Sansar, all trashy, theatrical, sentimental, and...
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Chris Schemering
Distant Thunder, a rare color film by Satyajit Ray, is perhaps the master film-maker's loveliest, but it could take the cake as his most simple-minded and literal….
Ray gets in a few social barbs at the huszling middle class. But while Ray plants the seed for satire, he doesn't go anywhere with it. It's a red herring—the calm before the storm.
After this point the narrative becomes an exposition of the theme: what war does to people, specifically what war does to Ray's innocents who will endure famine although the war never touches them directly. Distant Thunder has been compared with Bergman's Shame but the vivid images matched with heavy metaphors and...
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William S. Pechter
That [Distant Thunder] falls short of Ray's best work is probably true enough, and worth saying. No less worth saying, however briefly and belatedly, is that I've seen no other film this year or last which seems to me to approach it.
[What] the film is about is less [the famine it depicts] than the transformations wrought by that famine on the lives of one couple. Characteristically, the principals aren't some neo-realist-style impoverished everyman-and-woman but a Brahmin teacher and his wife, accustomed by their caste to privilege, and taking deference as their due. It would have been easy to have made these characters, the man especially, more sympathetic…. And it would have been easy,...
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Geoff Brown
The Middleman is no exact sequel [to Company Limited], for Ray's portrait of the sad inter-relationship between amorality and success is painted in far greater detail and in darker colours. There is more explicit emphasis on the break-up of India's past traditions…. Religion is specifically degraded…. Unlike many other directors (Altman, for instance), Ray can depict sour and cynical characters or events without being sour himself: from the opening scenes the film bristles with the warm, involving comedy of everyday oddities and indignities, conveying Ray's moral and message with far more effectiveness than any strident tub-thumping…. Ray's camera observes the comic disasters and follies with his...
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Tom Milne
Perhaps the most fascinating aspect of Satyajit Ray's The Chess Players … is the ambivalence with which Ray views the matter of politics and progress, recalling the fact that twenty years ago, in Jalsaghar, he demonstrated how an aristocratic landowner's irredeemable social negligence might yet aspire to a state of grace through his overruling delight in beauty. There, more overtly but no more inescapably than in the new film, Ray's direction recorded the death of a way of life, a suicide willingly undertaken because pure beauty cannot survive untarnished in a crassly material world….
[Ray splits his viewpoint three ways.] Two of these, represented on the one hand by the montage...
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J. Hoberman
American interest in Satyajit Ray appears to have peaked in the Peace Corps era of the early '60s. One wonders if he didn't forfeit his status as a Third World filmmaker once it became apparent that his theme was not the plight of India's landless masses but the social evolution of its Brahman bourgeoisie. That The Middleman (1975) … reiterates Ray's obsessive concern should be obvious from its title. What's uncharacteristic about the film—Ray's best since his chamber drama Charluta (1964)—is its bleak pessimism.
Shot during the early days of Indira Gandhi's "emergency rule" in the pressure cooker atmosphere of Ray's native Calcutta, The Middleman is played against a tatty...
(The entire section is 340 words.)


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Crayola - Long Barrel Colored Woodcase Pencils, 3.3 mm, Assorted Colors - 24 Pencils
by Crayola | Item #: 292764 | Model #: CYO684024 |
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About this item
Presharpened points stay sharp longer and resharpen easier than most colored pencils. Features thick, soft 3.3 mm cores that don't break easily under pressure. Bright colors provide smooth, scratch-free laydown and are perfect for color mixing and blending. Manufactured from strong, reforested wood, leaving rainforests alone and protecting the environment.
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Discontinued Product
SIRIO Model S2162 Towel Warmer
Sorry, the manufacturer is no longer producing this product.
Description & Highlights
Amba SIRIO Model S2162 Towel Warmer - Rounded
Give your towels a warm, cozy feeling with the Amba SIRIO Model S2162 Towel Warmer (S2162B, S2162P). This attractive multi-function wall-mount warmer can be used as a small room radiator, a drying rack, or as a towel warmer. With its durable stainless steel construction (brushed or polished), the SIRIO's rounded, simple design is sure to look great vertically or horizontally in any setting -- put it in your master bathroom, pool house, locker room, or even your laundry room.
In addition, the S2162 model boasts an impressive built-in thermostat and has a temperature range of 131° F to 167° F for a toasty warm or steaming hot result. It also measures 21" wide and 62" inches tall and has 12 crossbars to provide you with ample warming and drying room without taking up too much space. Add the Amba SIRIO Model S2162 Towel Warmer to your home today for achieve the "fresh from the dryer" feel on a daily basis!
Impressive Heating Capabilities:This top-of-the-line towel warmer's temperature ranges from 131° F to 167° F
Sleek, Versatile Design:Because if its beautiful stainless steel constuction, this 21" wide x 62" tall rack can be installed vertically or horizontally and looks great anywhere
Dual Purpose:It works as both a towel warmer and a radiator/space heater for smaller rooms
- Model: S2162B, S2162PSIRIO Model S2162 Towel Warmer
- Brand: AmbaProvides "fresh from the dryer feeling"
- Part of the SIRIO seriesIncludes built-in thermostat
- Dual purpose: towel warmer and radiatorCan be installed vertically or horizontally
- 12 rounded crossbarsMeets European child safety standards
- Temperature ranges from 131° F - 167° FBTUs: 1168
- Available in brushed or polished stainless steelPower: 342W
- Built-in ON/OFF switchAmps: 3
- Looks great in any settingWeight: 35 lbs
- Warranty: 5-year limitedDimensions: 62" H x 21" W x 3-1/4" D
- Height: 62"
- Width: 21"
- Depth: 3-1/4"


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Semi-Rimless Designer Eyeglasses Frames
Semi-rimless eyeglasses create a subtle look that blends nicely with most face shapes. These frames typically have a metal frame around the top portion of the lenses while the bottom is left exposed. This type of frame is sophisticated and classy but also shows off your great style. Compared to a full-frame, the semi-rimless glasses don't block as much as your face, so your look will be less impacted by your frames. We consider this to be a good thing because sometimes, you just don't want to feel like you're hiding behind your frames. With their frame at the top for protection, semi-rimless eyeglasses are known for durability. They are also lightweight, so you won't feel weighed down by your frames.
We carry a big selection of semi-rimless eyeglasses frames from Brands such as Bebe, Kenneth Cole, Esprit and Vera Wang. With such a big selection, you'll be able to have a frame for every occasion. The semi-rimless frames are a good fit for anyone who is looking for unique frames. There are a ton of styles that range from geek-chic to classic. No matter which style you prefer, we trust you'll find a pair of semi-rimless glasses frames that fit you perfectly.


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Hey fellow tea lovers,
I'm Mikael and I was recently hired by Adagio. I'll be doing customer service as well as writing TeaMuse and other creative projects. This TeaChat community seems really wonderful and I look forward to coming here and joining in on the exciting topics.
A little about me perhaps? I just graduated with a double major in Philosophy and Asian Studies. I spent a year abroad in Asia split between India and China, so I do enjoy the travels. I'm big into Eastern philosophies, specifically Buddhism, and recently did a retreat in Bodh Gaya, India at a Tibetan center that was absolutely wonderful. Music, film, and nature are also loves of mine. I'm a simple guy
I look forward to getting to know all of you and discussing the finer things in life. If you have any questions let me know.
If you haven't already, check out the TeaMuse articles I wrote for this month. One of them is an introduction to me, another is about tea meditation, and the third has to do with Adagio's new packaging.


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Andreae, Johann Valentin
Johann Valentin Andreae 1586–1654
German prose writer, poet, theologian.
An influential Lutheran theologian, a prolific writer, and a champion of the practical application of Christian principles, Johann Valentin Andreae best expressed his passion for educational and social reform in his utopian work Christianopolis (1619). Although influenced by Tommaso Campanella's City of the Sun (1602) and Sir Thomas More's Utopia (1516), Andreae's utopian vision is unique in its synthesis of science and Christian ideals as elements of social order. The emphasis in Christianopolis on the creation of an enlightened system of learning reflected Andreae's concern about the oppressive educational practices of his time, and the presentation of a city structure geared towards the orderly production of food and goods presaged modern urban planning techniques. Because the work was not translated from the Latin original until the eighteenth century, Christianopolis received less recognition than the works of More and Campanella. Christianopolis, however, was widely read by Andreae's intellectual contemporaries and is believed to have influenced Sir Francis Bacon's New Atlantis (1627). Modern scholars praise Andreae's prose style and consider the Christianopolis to be a vivid example of seventeenth century utopian philosophy.
Biographical Information
Born 17 August 1586, Andreae was descended from a tradition of influential theologians. His grandfather, Jakob Andreae, was instrumental in forming a strong Lutheran unity based on Reformation orthodox principles rather than sectarianism, and his father, Johannes Andreae, served as a pastor in the Lutheran church. Influenced by their orthodox values, Andreae would later use Lutheran principles as the basis of his ideal state in Christianopolis. His father's involvement in alchemy and his mother's knowledge of pharmaceuticals contributed to Andreae's fascination with alchemy and pharmacology. Upon her husband's death in 1601, Maria Andreae sought employment to support her seven children, and her distinguished work in pharmaceuticals led to a post as court apothecary. Determined to educate her sons in the tradition of Reformation Lutheran theology, she moved the family to Tubingën
where Johann Valentin attended university. He received an extensive classical education in literature, science, and mathematics, earning a baccalaureate in 1603 and a master of arts in 1605. Late in his universtiy career Andreae wrote his first creative works, the comedies "Hyacinthus" (1605) and "Esther" (1605). Although not published until 1616, Andreae's prose piece Chymische Hochzeit Christiani Rosencreuz anno 1459 (The Chemical Wedding of Christian Rosenkreutz in the year 1459) was also written in his final year of school. Upon graduation he travelled extensively in Germany and Europe between tutoring assignments for the nobility. Particularly impressed with the strict Calvinist discipline and social order in Geneva, Andreae wrote: "While I was at Geneva, I noted something of a great moment which I will remember with nostalgia till the end of my days. Not only does this city enjoy a truly free political constitution; it has besides, as its particular ornament and means of discipline, the guidance of social life." Andreae particularly admired the moral supervision of the citizenry by the government, which he believed was the cornerstone for the apparently high level of social order in the city. Eventually Geneva would serve as a model for the vision of moral societal order expressed in the Christianopolis. Andreae returned to Tubingën to continue his religious studies, and in 1614 he became a deacon and began to develop friendships with leading intellectuals, several of whom were then circulating Campanella's ideas. The years 1614 through 1620 were the most prolific of Andreae's literary career. All of his important works were published during this time, including Chymische Hochzeit, the satirical play Turbo (1616), Christiano polis, and a volume of original poetry and translations entitled Geistliche Kurtzweil (1619). These works, along with several theological treatises, expressed Andreae's philosophical views on ideal societies, Christian principles, active good works, and the practice of alchemy as applied to evangelical truths. Andreae also published a series of pamphlets which, along with Chymische Hochzeit, are considered by some to have been the founding tracts for the Rosicrucian movement, although Andreae's role as the founder of the sect is disputed by modern scholars. In 1620 Andreae moved to Calw to take a position as chief pastor, a post he held for nineteen years. While at Calw, he practiced his philosophy of social and educational reform while speaking out against the suffering associated with the Thirty Year's War. Although he continued to publish during his years at Calw, including the philosophical work Thephilus (written 1623, published 1649), his output declined due to the increasing burden of his ministerial duties and harsh wartime conditions. In 1634 Bavarian and Croatian troops destroyed Calw, including Andreae's personal library of 3,000 volumes. This calamity effectively halted Andreae's literary pursuits for several years. He served in several influential posts for the rest of his career, including court chaplain in Wurttemberg and abbot of Bebenhausen. Although he continued to write, his energies during these later years were devoted to ministerial duties and the personal fulfillment of his views concerning the importance of an active Christian life. Andreae died 27 June 1654 in retirement at Stuttgart, leaving a legacy of generosity and public work that would influence the course of church history in Wurttemberg for the next two hundred years.
Major Works
Andreae's major works illustrate the application of Christian values—most importantly love and generosity—as predominant elements of order in a society. In his play Turbo, Andreae's protagonist becomes disillusioned with sterile, secular philosophies and turns instead to the teachings of Christ for guidance. Like many of his contemporaries, Andreae strongly believed in the promise of scientific inquiry and its benefits to society, and in Turbo, the propagators of "false science," particularly the alchemists, are criticized. The marriage of science and Christian virtue was further explored in the Chymische Hochzeit, published anonymously that same year. Full of Christian Resurrection symbolism, the Chymische Hochzeit satirizes the practice of alchemy. In his best known work, the Christianopolis, Andreae turned from satire to the creation of a utopia that embodied his moral philosophies. Based on the strict Christian moral structure Andreae witnessed in Geneva, the citizens of Christianopolis are ruled by spiritual authority. The protagonist, Cosmoxenus Christianus, is introduced to all facets of a society in which spiritual fulfillment and intellectual activity constitute the primary goals of each individual. Scientific pursuits are the highest intellectual calling and are linked to the achievement of spiritual perfection, although intellectual activity is never separated from physical labor: scientists are also artisans, a union that reflects Andreae's belief in the practical application of learning and discovery. Educational reform objectives are outlined, with educators culled from the leading intellectuals of society and teachers and students conducting their studies in pleasant surroundings. Andreae presents the structure of his city as a series of regions devoted to different means of production, a delineation that prompted the urban planner Lewis Mumford to comment: "The separation of the city into zones, the distinction between heavy industries and light industries, the grouping of similar industrial establishments, the provision of an agricultural zone adjacent to the city—in all this our garden cities are but belated reproductions of Christianopolis …." While many elements of Andreae's utopia share similarities with the utopian constructions of Campanella and More, Andreae's work is unique among utopian fiction in its emphasis on strict Christian morality and the spiritual transformation of the protagonist, who enters Christianopolis corrupted by worldly concerns and is converted to Christian idealism by the work's end. Critics have noted that the active engagement and epiphany of the main character in the work reflects Andreae's belief in the necessity of tangible action toward the achievement of social enlightenment.
Critical Reception
Modern scholars lament the circumstances which led to the Christianopolis' relative obscurity in the canon of utopian literature. Although widely read among intellectuals in Andreae's time, the work was not translated until the eighteenth century, well after More and Campanella became recognized as the leading utopian philosophers. Critics praise the concreteness of Andreae's utopian vision, a clarity often lacking in his contemporaries' work, and have commented on the realism that pervades the work despite its obvious allegorical conceits—a realism grounded in Andreae's practical experiences with social reform. Andreae's vivid writing style is also cited by scholars as both entertaining and concise in comparison to other Utopian writers of his time. Marie Louise Berneri has perceived Christianopolis as a precursor to the nineteenth century reformist utopias, pointing to the work's utilitarian language and orderly presentation of details, which contrasts with the "unreal dreams of More and Campanella." As an expression of contemporary seventeenth century intellectual thought and the exploration of spiritual fulfillment and societal goals, the Christianopolis is considered a vital and much neglected contribution to utopian literature.
Principal Works
Collectaneorum mathematicorum decades XI (nonfiction) 1614
Vom Besten und Edelsten Beruff (poetry) 1615
Chymische Hochzeit Christiani Rosenkreutz anno 1459 [The Chemical Wedding of Christian Rosenkreutz in the Year 1459] (prose) 1616
Turbo (drama) 1616
Menippus Inanitatum Nostratuum Speculum (satire) 1617
**Christenburg, ein schön geistlich Gedicht (poetry) 1619
Christianopolis (utopian fiction) 1619
Geistliche Kurtzweil (poetry) 1619
Mythologiae Christianae sive virtutum and vitiorum vitae humanae imaginum libri tres (vignettes) 1619
*Theophilus (philosophy/theology) 1623
Dichtungen (poetry) 1786
Vita ab ipso conscripta (autobiography) 1799
*Published in 1649
**First published in 1836.
Felix Emil Held (essay date 1916)
SOURCE: "More's Utopia, Campanella's Civitas Solis, and the Christianopolis" in Christianopolis: An Ideal State of the Seventeenth Century, translated by Felix Emil Held, Oxford University Press, 1916, pp. 16-40.
[In the following excerpt, Held compares Christianopolis with other seminal Utopian works, and describes Andreae's conception of the utopian state.]
[The] chief differences between the works of More and Campanella as compared with Andreae, are not to be superficially sought in [external characteristics]…. The plan and conception of the three seem to be essentially different.
More was closely in touch with...
(The entire section is 5453 words.)
Lewis Mumford (essay date 1922)
SOURCE: An excerpt from The Story of Utopias, Boni and Liveright, Inc., 1922, pp. 81-99.
[In the following excerpt from his critical study The Story of Utopias, Mumford analyzes Andreae 's Utopian vision in the Christianopolis with an emphasis on the structure of the city, industry, and society.]
[The] man who next conducts us into Utopia is a Humanist scholar. After the manner of his time, he answers to the latinized name, Johann Valentin Andreæ. He is a traveller, a social reformer, and above all things a preacher; and so the vision he imparts to us of Christianopolis seems occasionally to flicker into blackness whilst he moralizes for us and tells us...
(The entire section is 4897 words.)
Marie Louise Berneri (essay date 1950)
SOURCE: "Valentin Andreae: Christianopolis," in Journey Through Utopia, 1950. Reprint by The Beacon Press, 1951, pp. 103-26.
[In the following essay, Berneri provides an overview of the main characteristics of Andreae's Christianopolis, with a focus on the areas of work, education, and marriage.]
Andreae's Christianopolis was published in 1619, only seventeen years after Campanella wrote his City of the Sun, yet it bears a much closer resemblance to the reformist utopias of the 19th century than to that of the Calabrian monk. Johann Valentin Andreae, the German scholar and humanist, has much in common with the cotton manufacturer and great...
(The entire section is 9655 words.)
Ernst Bloch (essay date 1959)
SOURCE: "Andreae's Chemical Wedding of Christian Rosenkreutz anno 1459," in The Principle of Hope, Neville Plaice, Stephen Plaice, and Paul Knight, trans., Basil Blackwell, 1986, pp. 634-39.
[In this excerpt from The Principle of Hope, originally published in German as Das Prinzip Hoffnung in 1959, Bloch examines the allegorical significance of Andreae's Chemical Wedding and the Christianopolis.]
The Chemical Wedding of Christian Rosenkreutz anno 1459 appeared in 1616, it aims at a broader 'refinement' than that of base metal into gold. The author of this anonymously published work is almost certainly Johann Valentin Andreae, Swabian...
(The entire section is 2415 words.)
John Warwick Montgomery (essay date 1973)
SOURCE: "Andreae's Life from the Sources," in Cross and Crucible: Johann Valentin Andreae (1586-1654), Phoenix of the Theologians. Vol. I, Martinus Nijhoff, 1973, pp. 24-111.
[In the following excerpt from his Cross and Crucible, Montgomery emphasizes the continuity of Andreae's Christian philosophy throughout his life and dismisses "the questionable efforts on the part of some (both 'occultists' on the left and 'orthodoxists' on the right) to drive a wedge between Andreae's allegedly 'radical' youth and 'conservative' manhood."]
While preparing himself for ordination, Andreae lived at the famous Tübinger Stift, whose roster of famous stipendiarii over...
(The entire section is 4078 words.)
Frank E. Manuel and Fritzie P. Manuel (essay date 1979)
SOURCE: "Andreae, Pastor of Christianopolis," in Utopian Thought in the Western World, Cambridge, Mass.: The Belknap Press of Harvard University, 1979, pp. 289-308.
(The entire section is 4142 words.)
Hugh Powell (essay date 1988)
SOURCE: "Johann Valentin Andreae: A Practising Idealist of the Seventeenth Century," in German Life and Letters, Vol. 41, No. 4, July, 1988, pp. 363–70.
[In the following essay, Powell gives a brief overview of Andreae's life and discusses his satiric drama Turbo.]
In our universities students are encouraged to see [Johann Gottfried von] Herder as mentor of the 'Sturm and Drang' and inaugurator of the classical age in German literature. What they are generally not told is that, in addition to reviving old folk-songs and ballads, Herder was also active in rescuing from oblivion writers of the century immediately preceding his own—amongst them Johann Valentin Andreae...
(The entire section is 3734 words.)
Further Reading
Montgomery, John Warwick. Cross and Crucible: Johann Valentin Andreae (1586–1654): Phoenix of the Theologians. The Hague: Martinus Nijhoff, 1973, 255 p.
Complete study of Andreae's life, career, and philosophical views.
Tod, Ian and Wheeler, Michael. "Citadels of Science." In Utopia, pp. 51–3. New York: Harmony Books, 1978.
Briefly discusses the important characteristics of Andreae's utopian vision in the Christianopolis.
Walsh, Chad. "Plato and Company." In From Utopia to...
(The entire section is 82 words.)


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Official *What did you get in the mail today?* Thread!!!
I got another mystery swap in the mail. this time from Shelley_Lorraine!! Can't wait to try them!! So many I don't even know where to start!!
I received tea from Hallieod! She sent along a little Steven Smith to brighten my day :)
so excited—got my infuser travel mug and my matcha tools! can't wait for tomorrow when i can try them out.
That's an interesting design. Gotta let us know how it works out!
Initial thoughts, albeit not with a full proper test-run out in the wild (I was too excited and had to try it at home last night, drank my rooibos dessert teas in it while doing a Chuck marathon on the couch, hee):
1) I love the clever design! The infuser basket is fine enough no particles got through, and I was drinking rooibos which is pretty fine. The simple "flip it to stop it" does in fact work, no leaking.
That said, I wouldn't try to drink the tea with the infuser basket in it while actually on the move (and the fact it has to be unscrewed with the top totally open speaks to this as well), so in that regard it isn't as useful/versatile as the Aladdin one would be (I really wish the quality of the Aladdin was better because if it was it'd be perfect), but it's ideal if you're the sort of person who wants to make a big mug of tea at home just before heading off to work, keep it from oversteeping in the car by simply flipping it, and then when you get into the office you can remove the basket (bonus: the screw top can serve as your infuser basket holder while you drink your tea) and enjoy your first cup at work immediately with the plus that since it has the basket you can keep making more tea all day and simply flipping it if you're in the middle of things—the flip thing lets you make it, get busy/distracted without oversteeping or having to actually go through removing the basket immediately every time.
2) Pro: it is extremely easy to wash and can be thrown in the dishwasher to boot.
3) The "waistline" design is comfortable in my hands; I don't feel like it will slip and drop.
4) I really like the pale green color.
5) Pro: It makes a nice generous amount of tea (it holds something like 17oz), just about right for the optimal use described above (if you were doing the whole "big extremely heat-holding thermos sans basket", with all the tea you brew at home first for the entire day poured into it, you'd want something larger probably, but this is ideal for a "get you up and running and then maybe brew languidly some more once at your destination" situation, which I personally prefer because I like variety and drinking more than one type of tea during the day).
6) Con: even with the silicone sleeve it is uncomfortably hot the first few moments it's got boiling water in it, like the duration of steep time plus a few minutes.
I feel like I need this now.
I always end up over steeping my travel mug on the way to work. This would easily prevent that. hmmmm
Thanks for the review! I'm on the lookout for something for my commute. I spend an hour on the express bus plus either a subway ride or a long walk. This looked like a good choice, but I was wondering about drinking from it. I would not like to have to open the whole end! Now I know! :-)
tattooed_tea, the "very hot at first" thing might be a dealbreaker. Just a heads up…
Fuzzy_Peachkin, no problem! I like detailed candid reviews of products myself, so I thought I'd try to be thorough. Yeah, it's definitely not a "sip in your car" thing.
I own one of the mug tails from DAVIDs, I have to let my tea cool before I pick it. So I may be ok. I'll take hot hands over, over steeped tea.
I have that tumbler, it's amazing! I love it for cold steeps and iced tea http://oolongowl.wordpress.com/2013/04/20/t-free-hourglass-travel-tea-tumbler-tea-ware-review/
My Steeper!!! I'm making more tea than ever with this baby!!
My swap from adagio breeze!
I got a wonderful, awesome, swap box from Hallieod today. I just love that she's included some samples from companies that I'm not familiar with!! Thank you so much.!!!!
My Tealux order!!
-green bamboo
-jun shan yin zhen
-climber's high
-da hong pao
-tencha mimoto
-dragon well
-white pu'erh silver tips
I got some of The Persimmon Tree's new teas in the mail today!
Thai Chai
Lapsang Souchong
Owl photobomb evidence https://www.facebook.com/photo.php?fbid=576428462387463&set=a.517063994990577.124981.516160198414290&type=1&theater
Butterscotch smells so good!
I received the cups i order for my parents and for myself from Verdant today! Oh happy day :)
Amazing mail day! I received my Verdant order, my swap from Stephanie, and even the Lupicia monthly newsletter with sample! Woohoo! I have tomorrow and Monday off, so this is going to be a great tea weekend!!
I can't wait to try the cinnamon swirl bread tea in the morning! what did you get from Verdant? :)
Cinnamon swirl bread is great! Don't forget to resteep. It doesn't lose flavor! From Verdant, I got 2oz. of laoshan village chai and 6 samples (3 black teas, 1 oolong, the dragonwell, and 1 puerh). Oh, and I got the aged oolong as a free sample!


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It's scary�when your dog bounds out the door, disappears down the street and doesn�t immediately return when you call his name. But technology has evolved to facilitate and even speed up the reunion process.
For example, a growing number of smart phone apps now are available to help. Consider the Finding Rover app, which uses facial recognition technology to analyze a photo of a lost pet and match it with photos in the app�s database. It�s available at findingrover.com.
Or you can purchase a digital ID tag such as PetHub�s TapTag, available at www.pethub.com/shop. The person who finds a pet wearing this tag either can scan the code on the tag with a smart phone or enter the ID number on the PetHub website. Plus, a toll-free number is printed on the tag.
Unfortunately, technology has its limitations.
�The question is how tech-savvy does the person who finds your lost animal have to be to make the reunion occur?� asks Kirsten Theisen, director of pet care issues for The Humane Society of the United States.
The most important thing you can do, of course, is to make sure your pet has an identification tag with up-to-date contact information, including your phone number. If your pet has a microchip implant, be sure to provide the microchip company with your current contact information, Theisen says.This article originally appeared as on American Profile


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Amazon's new Kindle Paperwhite now available through Dick Smith, Big W
Amazon has announced that its new Kindle Paperwhite eReader is now available through Dick Smith and Big W retail outlets across Australia.
Amazon has announced that its new Kindle Paperwhite eReader is now available through Dick Smith and Big W retail outlets across Australia.
The first commercial electronic paper displays that can show color were unveiled Wednesday at the Flat Panel Display International show in Japan. The screens open the way for electronic book readers like Amazon's Kindle and Sony's Reader to add color...
E Ink, the company responsible for the display technology used by Amazon's Kindle and other e-readers, announced new color technology on Monday. "
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Comprehensive buying guides, features, and step-by-step articles
First impression on unpacking the Q702 test unit was the solid feel and clean, minimalist styling.
For work use, Microsoft Word and Excel programs pre-installed on the device are adequate for preparing short documents.
The Fujitsu LifeBook UH574 allowed for great mobility without being obnoxiously heavy or clunky. Its twelve hours of battery life did not disappoint.
The screen was particularly good. It is bright and visible from most angles, however heat is an issue, particularly around the Windows button on the front, and on the back where the battery housing is located.
My first impression after unboxing the Q702 is that it is a nice looking unit. Styling is somewhat minimalist but very effective. The tablet part, once detached, has a nice weight, and no buttons or switches are located in awkward or intrusive positions.


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HEAD Ti.S1 Pro Tennis Racquet
Product Information:
The HEAD® Ti.S1 Pro Tennis Racquet is the ideal lightweight racquet designed to bring out your best on the tennis court. Engineered for an excellent blend of power and control, the Ti.S1 is the perfect transitional racquet, helping new or young players learn the game. The evenly balanced design provides more consistency and control, while the lightweight frame provides easier maneuverability.
- Prestrung racquet
- Swing Type: Moderate
- Ideal transitional racquet for developing tennis players
- Evenly balanced for more consistency and control
- Lightweight, titanium frame for durability and easier maneuverability
- Oversized head for more control of shots from anywhere on the court
- Length: 27-1/3"
- Head size: 107 sq. in.
- Weight: 8.8 oz.
- Beam: 26"
- String pattern: 16 x 19
- Model: 231174
Country of Origin: ChinaWeb ID: 3982080
Customer Reviews:
Rated 4.2 out of 5�by 79 reviewers.
Rated 1 out of 5�by Josh Very weak feel The racket itself seems nice. I got it for a good deal, so that was pretty cool. When I played against friends who were a low skill level, the racket held up just fine. But when you hit hard shots or return them, this racket is way below par. The best way to describe it is like a weak kid getting pushed around by a bully twice his size. I recently played against a high skill level friend, and this racket couldn't even hold up to his serve. While returning a hard shot or hitting one, the racket will twist in your hands, making the tennis ball go straight into the ground. I had my friend test the racket to make sure it wasn't just a problem that I had, and sure enough, it did the same thing to him as well. It is an okay racket if you are at a low skill set, playing against people that don't hit hard, but simply will not work at a higher skill level. December 27, 2016
Rated 1 out of 5�by Jay String broke after a few uses After using this maybe 10 times, the string broke. Had it less than 1 month. Not sure what the warranty is, but I suspect it should last longer than 10 uses. December 9, 2016
Rated 5 out of 5�by JTF GOOD BUY !! GOOD PRODUCT. VERY LIGHT. GOOD CONTROL AND POWER .. October 5, 2016
Rated 5 out of 5�by JC Tennis Great Racquet. My wife used to play tennis and it was her birthday. Said it worked great. September 24, 2016
Rated 4 out of 5�by Neeraj I love this. This is good product in this price. So I will suggest you to go with this product if you are looking for racquet in this range. July 21, 2016
Rated 5 out of 5�by Barraza1616 Amazing. I was in desperate need of a new tennis racket, this one definitely satisfied my needs. I highly recommend it. June 21, 2016
Rated 5 out of 5�by Bones Good racquet I purchased this racquet for my granddaughter who is just starting tennis as a freshman in high school. She loves the grip, the weight is perfect, and the racquet is very durable. I would highly recommend this. March 29, 2016
Rated 4 out of 5�by HardCourt61 Light, good for the money I play twice a week. Intermediate player. My arm got tired swinging this to get speed on the ball. Had great spin and control. Added lead tape to each side, changed string to Prince Duraflex at 56 lbs. Better now. November 25, 2015
Rated 4 out of 5�by Ben Lightweight intermediate beginner (3.0-3.5) racquet This racquet is a very good choice for advancing beginners that need a lighter racquet to help them generate power. Even tightly strung, the ball bounces off the strings with surprising power. However, power comes at the expense of control--once I started taking bigger cuts at the ball, I would hit random home-runs from the baseline. I thought it was strictly a technique issue, but when I switched to a different racquet, rarely was I sending them out. Putting pace on the ball was not an issue. Putting enough spin to bring it down inside the baseline was. If the ball was not hit right in the sweet spot, the racquet tended to twist due to the light weight. At the net it was pretty good and was maneuverable enough that you could get it into position faster than you would expect. There was a fair amount of pop for volleys (given you don't take it too off-center), but don't expect much touch for finessing those drop shots. Serves were a mixed bag. There was a fair amount of vibration if you hit the power spot (just north of the sweet spot) that made it uncomfortable when going for a big first serve. Hitting the sweet spot was more comfortable but lacked control. Second serves were good since I usually hit a much slower kick serve. If you are starting to play against players that hit hard, you will find this racquet gets pushed around like a wimpy kid on the playground--which is exactly why I decided to get a new, heavier, more stable racquet (Volkl V1 MP). But the Head Ti.S1 was just what I needed to develop my game and increase my strength to the next level. I went through several sets of strings I used it several times a week for almost a year. The black and gold graphics were pretty cool in a high-tech kind of way. The titanium body did make a louder "ping" noise than graphite, but a worm-style string dampener quited that down to acceptable levels. I guess that's the cost of doing business with a metal frame--much more reactive than the graphite counterparts. I do recommend this racquet as a power stick for a beginner, junior, or someone who needs a very lightweight racquet. If you are a big guy and can generate plenty of your own power, you might want to consider something else. I'm a 36 year old male with 5 years experience. I'm 5'8" and 170 lbs. I play a mostly baseline 3.5 game but will charge the net frequently and have recently started playing more doubles with 3.5+ players forcing me to up my own game. November 23, 2015
Rated 5 out of 5�by ES Just what I was looking for I found this racket on sale. I'm a recreational player, and found it very light and forgiving. November 23, 2015


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Garlic has been traditionally used to support heart and cardiovascular health.** It's the natural ingredients in Garlic that give it its antioxidant properties.** Our specialized cold processing method preserves the natural goodness while reducing the odor.No Artificial Color, Flavor or Sweetener, No Preservatives, No Sugar, No Starch, No Milk, No Lactose, No Gluten, No Wheat, No Yeast, No Fish, Sodium Free.


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Adler, Alfred
Alfred Adler 1870-1937
Austrian psychologist.
Adler is remembered both for his role in the early development of psychoanalysis and for his theories relating to "individual psychology," which stresses the essential unity and uniqueness of every individual and his or her "life-pattern." Many of the tenets of Adler's individual psychology, such as the importance of the "inferiority feeling" in character development, have become conventional psychological principles.
Biographical Information
Adler was born in a suburb of Vienna, Austria, to a prosperous middle-class Jewish family. As a young child he suffered from rickets and pneumonia, which spurred both his interest in the medical profession and his psychological insights into "organ inferiority" and the "inferiority feeling." After graduating from the Medical School of the University of Vienna in 1895, Adler began his career as a private practitioner, developing from the start a conception of the relationship of medical to psychological dysfunction, and in turn of psychological to social problems. In 1902 Adler joined and became a prominent member of Sigmund Freud's Vienna circle of psychoanalysts. Adler, however, was never a patient or a disciple of Freud, and fundamentally disagreed with him about the centrality of sexual trauma in the development of mental illness. In 1911, Adler broke away from Freud and founded the "Society for Free Psychoanalysis." He also began advocating his own system of "individual psychology." Adler's Über den nervösen Charakter (The Neurotic Constitution) was rejected as a post-doctoral dissertation by the medical faculty at the University of Vienna, which left Adler to lecture on psychology at continuing-education institutions for adults. Such appointments, however, were consistent with Adler's lifelong concern over social issues, as was his founding in 1919 of a pioneering "child-guidance" clinic in Vienna. In 1926 Adler accepted a visiting professorship at Columbia University in New York, thereby beginning an international career as a popular teacher, lecturer, and writer. In 1935, due to the rise of nazism, Adler moved his family to the United States. He died in 1937, during the course of a European lecture tour.
Major Works
Adler's first major work was Studie über die Minderwertigkeit von Organen (Study of Organ Inferiority and Its Psychical Compensation), which stressed the role that real and perceived physical inferiority played in spurring the child, as a form of compensation, to self-assertion and a quest for superiority. Adler's subsequent The Neurotic Constitution defines neurosis as the unsatisfactory, anti-social, or delusional enactment of this psychic self-assertion. In 1912 Adler founded the Zeitschrift für Individualpsychologie (Journal for Individual Psychology), which has continued publication under various forms. In Menschenkenntnis (Understanding Human Nature), which was written for a more popular audience, Adler focused on work, community, and sex as the primary components of human experience. Adler's concern with child-rearing and early education—the stages, according to Adlerian theory, in which individual psychology is molded—was reflected in publications such as The Education of Children. In later writings such as What Life Should Mean to You and Der Sinn des Lebens (Social Interest), Adler increasingly stressed the role that social and communal instincts play in tempering self-assertion and securing mental health.
Principal Works
Studie über die Minderwertigkeit von Organen [Study of Organ Inferiority and Its Psychical Compensation] (nonfiction) 1907
Über den nervösen Charakter: Grundzuge einer vergleichenden Individual-Psychologie und Psychotherapie [The Neurotic Constitution: Outline of a Comparative Individualistic Psychology and Psychotherapy] (nonfiction) 1912
Die andere Seite: Eine massenpsychologische Studie über die Schuld des Volkes 1919
Praxis und Theorie der Individualpsychologie [The Practice and Theory of Individual Psychology] (nonfiction) 1920
Menschenkenntnis [Understanding Human Nature] (nonfiction) 1927
Die Technik der Individualpsychologie: Volume 1, Die Kunst eine Krankengeschichte zu lesen; Volume 2, Die Seele schwererziehbaren Schulkinder [The Problem Child: The Life Style of the Difficult Child Analyzed in Specific Cases] (nonfiction) 1928-29
The Case of Miss R. (nonfiction) 1929
Individualpsychologie in der Schule: Vorlesungen fur Lehrer und Erzieher [Individual Psychology in the School: Lectures for Teachers and Educators] (nonfiction) 1929
Problems of Neurosis: A Book of Case-Histories (nonfiction) 1929
The Science of Living (nonfiction) 1929
The Education of Children (nonfiction) 1930
The Pattern of Life (nonfiction) 1930
Das Problem des Homosexualitat [The Problem of Homosexuality] (nonfiction) 1930
The Case of Mrs. A. (nonfiction) 1931
What Life Should Mean to You (nonfiction) 1931
Religion und Individualpsychologie [Religion and Individual Psychology] (with Ernst Jahn) (nonfiction) 1933
Der Sinn des Lebens [Social Interest: A Challenge to Mankind] (nonfiction) 1933
The Individual Psychology of Alfred Adler: A Systematic
Presentation in Selections from His Writings (nonfiction) 1956
Superiority and Social Interest: A Collection of Later Writings (nonfiction) 1965
Cooperation Between the Sexes (nonfiction) 1978
H. M. Kallen (essay date 1925)
SOURCE: "Psychology without Compromise," in The Dial, Vol. LXXVIII, March, 1925, pp. 236-39.
[In the following review, Kallen offers a skeptical summary of Adler's system of individual psychology.]
Nowadays, when people talk of the "new psychology," they mean prevailingly the ideas about the human mind deriving from the work of Freud and his associates. Although the custom is to lump this work in a single, solid, homogeneous mass, it is, in fact, still nebular, with three definite heads distinguishable in it. At the centre is the system of human nature constructed and stated, more or less architecturally, by Freud himself and accepted as the incontrovertible orthodoxy by the congregation of the faithful. To the right and to the left are the heterodoxies of Jung, the Swiss, and Adler, the Austrian. Both heterodoxies consist primarily in a rejection or deprecation of the cardinal orthodox dogma regarding the supreme role of sexuality in the life of man from birth to death. Jung absorbs this sexuality in a prior and wider stream of activity which turns his speculations regarding human nature into a metaphysical sentimentalism of the type of Eucken or Bergson. Adler subordinates this sexuality to a prior and wider "will-to-power" which allies his speculations concerning human nature with a metaphysical voluntarism of the type of Schopenhauer, Nietzsche, and Vaihinger. Both philosophers of mind differ from their metaphysical relatives in that they generate their speculative dogmas out of the material provided by means of the technique of psychoanalysis, of which both are practitioners. This technique is the common denominator of the three sects. The rest may be considered what Alder would call "arrangements" of the material drawn out by the technique.
[The Practice and Theory of Individual Psychology] is a redundant compilation of Adlerian "arrangements." It consists of a collection of twenty-eight occasional pieces, the earliest dating from 1911. Their sequence has been made, as nearly as it could be, logical rather than temporal, and the themes mount in technicality and range as the essays proceed. There are subjects as varied as the psychic treatment of trigeminal neuralgia and Dostoevsky; myelodysplasia and the individual-psychology of prostitution. Nevertheless, the essays do not avoid being boresomely repetitious. Dr Radin, in his work of translation, seems not to have succeeded so well as he might have in reducing the unnecessarily technical, involved, and pontificating style of the originals to a direct and readable English. Those who are familiar with Dr Adler's German will, however, not too greatly blame him. They will remember how much worse that is than even the bad German most of the German-speaking psychoanalysts seem to have fallen into.
Adler calls his system of human nature the system of "individual psychology." He intends by this phrase that the psyche of each man is always to be considered an organic and indissoluble unity. It is a...
(The entire section is 1249 words.)
Wayland F. Vaughan (essay date 1927)
SOURCE: "The Psychology of Alfred Adler," in Journal of Abnormal and Social Psychology, Vol. XXI, No. 4, January-March, 1927, pp. 358-71.
[In the following essay, Vaughan provides a survey of the tenets of Adler's psychological system.]
The heterodox nature of the Freudian psychology and the authoritative, dogmatic manner of its presentation, both favored the rise of spirited opposition in its train. Prominent among the secessionists are Jung and Adler. Jung has gained a wide audience for his theories through the attractive literary form in which they have been advanced. Adler has been less fortunate in a literary way, for his heavy, involved style has obscured a...
(The entire section is 5128 words.)
Herbert Blumer (essay date 1928)
SOURCE: A review of Understanding Human Nature, in American Journal of Sociology, Vol. XXXIV, No. 2, September, 1928, pp. 391-93.
[In the following review, Blumer provides an assessment of three Adlerian themes: the inferiority feeling, the life-pattern, and the nature of character.]
Of all psychiatrists Dr. Adler seems to be most akin to sociologists in spirit and perspective. In earlier works he has shown a keen appreciation of the rôle of social relations in personal development; in [Understanding Human Nature], which is constructed out of a series of popular lectures, we have the simplest and clearest picture of these views.
Amid a...
(The entire section is 798 words.)
E. L. Grant Watson (essay date 1932)
SOURCE: A review of What Life Should Mean to You, in The Criterion, Vol. XI, No. XLV, July, 1932, pp. 733-35.
[In the following review, Watson contrasts Adler's stress on social cooperation to the sexual theories of Freud and the metaphysics of Jung.]
No statement on the meaning of life from Dr. Adler can avoid comparison with the statements of Freud and Jung, yet it seems strange that these writers should so consistently neglect each other's conclusions, and should follow exclusively, with what seems an almost compulsive energy, their own lines of thought. Dr. Jung has more than either of the others made allowance for his rivals, and, in relegating them to...
(The entire section is 915 words.)
Oliver Brachfeld (essay date 1936)
SOURCE: "Alfred Adler and His Comparative Psychology of Individuals," in Inferiority Feelings in the Individual and the Group, Routledge & Kegan Paul, 1951, pp. 73-93.
[In the following excerpt, which was originally published in Spanish in 1936, Brachfeld situates Adler's conception of human nature within the context of a social and philosophical debate over degeneracy.]
In Levin D. Schucking's work The Sociology of Literary Taste we possess an able, if incomplete, study of the changes of fashion in the domain of literature. But no one so far has attempted to give an account of the formation and development of taste in psychological matters. And yet...
(The entire section is 7784 words.)
The Times Literary Supplement (essay date 1958)
SOURCE: "Individual Psychologist," in The Times Literary Supplement, No. 2960, November 21, 1958, pp. 665-66.
[In the following review, the critic provides an overview of Adler's life, career, and writings.]
Since Freud's death in 1939 psycho-analysis has certainly not remained stationary. Although the basic method has changed little, several of the major Freudian ideas have undergone considerable revision. In particular, serious attempts have been made to shake off the doctrine of instinct and to replace it by new conceptions of inter-personal relationship. There has also been a shift of interest from the unconscious mechanisms supposed to underlie neurosis to the...
(The entire section is 2678 words.)
Clarence J. Karier (essay date 1986)
SOURCE: "Alfred Adler: Social Interest as Religion," in Scientists of the Mind: Intellectual Founders of Modern Psychology, University of Illinois Press, 1986, pp. 226-54.
[In the following excerpt, Karier offers a study of Adler's life and intellectual legacy.]
In the early morning hours of a day in late May 1937, Alfred Adler lay prostrate on a cobblestone street in Aberdeen, Scotland, stricken by a fatal heart attack. When, very much moved by the news, Arnold Zweig reported Adler's death to Sigmund Freud, the latter is said to have replied: "I don't understand your sympathy for Adler. For a Jew boy out of a Viennese suburb a death in Aberdeen is an unheard-of career...
(The entire section is 10586 words.)
Edward Hoffman (essay date 1994)
SOURCE:" 'Books Like Firecrackers' and Mass Politics" and "The Trap of Personality," in The Drive for Self: Alfred Adler and the Founding of Individual Psychology, Addison-Wesley Publishing Company, 1994, pp. 248-70, 325-30.
[In the following excerpt, Hoffman discusses a number of Adler's later publications in terms of their political context.]
The spring of 1930 saw the release of [Adler's] three new books, all aimed at a relatively popular audience. These were The Pattern of Life, Guiding the Child, and The Education of Children. Their nearly simultaneous publication in the United States clearly reflected Adler's own shift in professional emphasis from...
(The entire section is 3729 words.)
Further Reading
Bottome, Phyllis. Alfred Adler: A Biography. New York: Putnam, 1939, 324 p.
Popular biography written by a novelist who became a student and patient of Adler.
Dennis, Nigel. "Alfred Adler and the Style of Life." Encounter 35, No. 2 (August 1970): 5-11.
Includes personal reminiscences of Adler by the author and an evaluation of his psychological theories.
Hoffman, Edward. The Drive for Self. Alfred Adler and the Founding of Individual Psychology. Reading, Mass.: Addison-Wesley, 1994, 390 p.
A complete account of Adler's life, including his later career in the United States....
(The entire section is 471 words.)


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AS A SENIOR IN 2016Redshirted the season.
AS A JUNIOR IN 2015Did not compete.
AS A SOPHOMORE IN 2014Represented UCSD in the long jump and triple jump at the CCAA Championships, finishing third in the long jump (23'3.5") and fifth in the triple jump (44'10.75") ... Won the long jump at the All-Cal Championships with a mark of 22'5.75".
AS A FRESHMAN IN 2013Represented UCSD in the long jump and triple jump at the CCAA Championships, finishing ninth in the triple jump (43'2.25") and 13th in the long jump (21'6.25") ... Had a season best at the All-UC Meet in the long jump with a measure of 21'7.5" ... Also took a third-place finish in the triple jump at Soka Peace Invitational with a season best of 45'3".
HIGH SCHOOL A 2012 graduate of Amador Valley High School in Pleasanton ... Made all-league team for triple jump as both a sophomore and junior with the Dons (2010-11) ... Part of team that won both the North Coast Section (NCS) League Title and NCS Tri-Valley Championship Title in 2012 ... Leaped to a personal-best mark of 21'8.75" to place eighth overall in the long jump at the Sacramento Meet of Champions as a senior (2012) ... Took third in the triple jump at the NCS Tri-Valley Area Championships, where he reached a personal-record measure of 45'6.75" during his junior year with the Dons (2011) ... Also played soccer his first three years at AVHS (2008-11) ... Additionally, played club soccer for Ballistic United Soccer Club (BUSC) in Pleasanton from freshman through senior year of high school.
PERSONAL Born April 26, 1994 in San Ramon ... Son of Jim and Toni Copeman ... Has three older brothers named Mike, Steve and Tyler ... Brother Steve played soccer at Las Positas Community College in Livermore and at Cal State Bakersfield ... An economics major in Warren College ... First time lettering varsity as a freshman is his most memorable track and field moment ... Cheers for any Bay Area team ... Hobbies include playing any other athletic sport and biking as well as playing video games and music ... Considers the HBO miniseries, "Band of Brothers", as his favorite film ... Listens to Modestep's "To the Stars (Break the Noize & The Autobots Remix)" ... Loves In-N-Out double-doubles, animal style with no tomatoes and no pickles ... Wears glasses and contacts ... Counts his club soccer coach, Kris Hall, and his high school track coach, Tyler Huff, as his greatest influences.


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Here's how RW members rated this race in the past (58 votes).
In short: Very hilly but challengingDate of review: February 4, 2008
In short: An ok challenging 10 mile race..In full: Challenging hills which were nice, not very nice if you were tailing at the back like I was (9 minute mile) the field was very spread out...dissapointed at the lack of medal too.Date of review: February 3, 2008
In short: Undulating no frills 10 milesIn full: As above...ran out of medals very quickly...Date of review: February 3, 2008
In short: a good run for me but no prizeIn full: got to the end and being about 55th out of 250 women was surprised to be told run out of medals!!!!!!!!!!!!!Date of review: February 3, 2008
In short: Undulating and ScenicIn full: A scenic 10 mile route around Ryde, St Helens and Nettlestone. Very enjoyable.Date of review: February 3, 2008
In short: interestingIn full: the start was a bit of a mess , not very well organized - but apart from that , an interesting run .Date of review: February 3, 2008
In short: A good no frills race, but didnt like the main road bit too much, but simple is sometimes the best.Date of review: February 3, 2008
In short: Well organised, pretty course, somewhat hilly. I love this race, now a regular in my calendarIn full: Well organised, pretty course, somewhat hilly, traffic in the first 3 miles, shower at the end, charming atmosphere, a nice day out on the island. I love this race, now a regularDate of review: February 3, 2007
In short: Isle of Wight 10 mile race (NOT Marathon) but might aswell be!!In full: Just come back from a 3 week injury feeling like I could pick up from where I left off! Not a chance. Got into my stride from the off. Good first half mile at about 5 30 pace then an almighty hill. Negotiated that then undulating till about mile 7. Downhill, think you've made it as your running at sea level, turn a corner at mile 8 and WHAM, a trawl of a hill that even a couple of the top 20 guys ahead were walking! Don;'t see that too often! Helped shake off some of those injury blues though and am still aching 3 days later, but great prep for the faster flat HM's I've got coming up.One gripe though, a guy came past at mile 6 and at a sharp right hand bend went round the corner on the right hand side of the road! What a complete and utter idiot. A 4 x 4 was approaching him, and another guy that decided to follow his line, had to swerve on to my side of the road and there could have been a very nasty situation. I watched the guy pull exactly the same trick about a mile further on. No wonder locals complain and road races are having to pay a hefty premium if they can go ahead.Aside from that though, a nice race but not one of the greats.Date of review: January 31, 2007
In short: Enjoyable but hard 10k with three testing climbsIn full: Race has only been going two years and this year it was in the Hampshire Road Race League with triple the competitors. This showed up some shotcomings especially in miles 1 -3 when the race was down the main Brading Road. Heavy traffic, few marshalls and no police is not a good combination. After mile 3 a very scenic and well organised race, though the hill at Mile 8 saps the last out of you. Nice facilities and I'd definitely do it again.Date of review: January 29, 2007
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Planned Gifts and Bequests
There are a number of planned giving options that can help you realize your own philanthropic goals while ensuring the future financial stability of the Massachusetts Historical Society. The benefits of making a planned gift may range from a steady stream of life income to a charitable income tax deduction and lower capital gains, estate, and other taxes.
A bequest is a gift made through a will or trust and is an easy, practical way to make a meaningful financial contribution to the Society without affecting your current finances. A bequest may be made for a specific dollar amount or piece of property, for a percentage of your estate, or for part or all of what remains of the estate after other bequests are carried out.
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Establishing a gift annuity with the MHS is a way to receive income for life as well as potential tax benefits—such as a federal income tax charitable deduction, annuity payments which are partially tax-free, and future estate tax savings—while supporting the Society's mission.
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The MHS offers a wide range of planned giving options —charitable remainder trusts, chartiable lead trusts, gifts of real estate or tangible personal property, and gifts from retirement plans or life insurance policies—that can be tailored to your needs and interests. For more information on how to make a planned gift to the MHS or to inform us of your existing plans that name the Society as a beneficiary, please contact the Development department at 617-646-0543 or firstname.lastname@example.com. Please note that the information above is not intended as legal advice, and you should consult with your attorney before making a planned gift.
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The Hon. James Sullivan had the distinction of being the Society's founding president, first recorded donor, and early legator through a generous bequest of important historical documents and artifacts. In addition to his service to the MHS, Sullivan was one of the first justices appointed to the Superior Court of Judicature and a governor of Massachusetts.
Members of the Sullivan Society continue the tradition of giving by naming the MHS as a beneficiary in their estate plans. Their gifts help the Society preserve our history for the scholars of tomorrow. In return, they are invited to special events and recognized in the Society's Annual Report. To learn more about the Sullivan Society or to inform us that you have included the MHS in your estate plans, please contact the Development department at 617-646-0543 or email@example.com.


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The roster for the 2012-2013 Men's Soccer Team at Iowa Lakes Community College has been announced.
Ammon Bennett, Head Men's Soccer Coach says it will include five returning players and 20 new athletes who will compete for the Lakers.
The coaches are very pleased with the players coming in this fall and are pleased with results from practices which began Aug. 9.
"The returning players – along with the new group – will bring a great deal of technical ability and a big background in club soccer," Bennett said. "This along with a decent international group of players should put us in contention for a run at the region title."
The Lakers return Starting Keeper Tanner Collins, all region performer Jaycon Yeates, midfielders Jared Rowell and Aristides Meija and Dilan Mathys. (Mathys was out with a knee injury last season.)
"Our returners will be key to our success but will have to work hard to keep the starting positions that they had last year as our incoming group is very talented," Coach Bennett stated.
The schedule is a challenging one for the Lakers as it features several ranked teams including conference rivals, Iowa Western, Iowa Central, North Iowa Area Community College, Marshalltown, Indian Hills and Scott Community College.
"The schedule is highly competitive and should challenge us and hopefully prepare us for the post season," he said.
First row: Rodrigo Arechaga, Erick Guzman, Peter Funaro, Lewis Robson, Erick Browne, Alex Tarin.
Second Row: Carlos Sanchez, Richard Elliott, Richard Nolasco, Tanner Collins, Marcos Rodriguez, Ryan Murray, Milo Bruce-Burgess.
Third row: Ketzel Zeledon, Jaycson Yeates, Dillan Mathys, Jared Rowell, Dallas Napier, Tate Kizzier.
Fourth Row: Aristides Mejia, Zachary Arrington, Rodrigo Galvan, Ryan Vuyk, Arturo Guerrero.
Fifth Row, Sheena Van Roekel, Kyle King, Ammon Bennett.


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It's clear that casual fans drive attendance figures. Diehard fans are going to games regardless. The casual fans are the ones that need convincing.
I argue that it is not the Casual fan who drives baseball attendance in Cleveland, but the diehard who is willing to fork over a large capital investment for season tickets.
The MLB Avg for season ticket holders per team is around 15,000, and the Indians currently have lower then 6,000, during the hey day in the 90s they had around 22,000. So every single night the Tribe has a 9,000 seat disadvantage from the average MLB teams attendance, that would be tough for any team to make up in Causal/walkup fans on a nightly basis.
If the Tribe ever wants to be anything less then the bottom of the barrel in attendance they are going to need to be able to show the diehard's, not the casual fan that they can string together a few successful seasons, and warrant forking over a large sum of money for season tickets. The team has some work ahead of it , when you have an ownership group who has a history of crying poor, trading back to back Cy-Young winners, and tells its fans it can only compete every 5 years, its tough to get even the diehards to want to commit.
(my number for avg. MLB season ticket holders comes from a WSJ article from '09, couldn't find anything more current but I wouldn't be surprised if its higher today)