text:
A Tribute to the of
Here is part two of the interview I enjoyed with Mike Esposito:
ME: Bob didn't really believe in it in the beginning. Then he couldn't believe it [The Metal Men] because Ross and I put our guts into it. We flew through twelve issues.
Prof: Yeah, in fact I ran across a statement that will probably ring true to you. It said, "Kanigher performed a similar astounding delivery when he created and scripted a superhero classic, the Metal Men, for Showcase #37, March/April of 1962. He art directed his artists, Andru and Esposito on the layout and they heroically rendered the story, completing the book in only 10 days, cover to cover."
ME: That's it. That's it. I don't know how the hell we did it.
Prof: I don't either. That's astounding. I was going to ask you if you remembered it. Did you just not sleep? (Chuckle.)
ME: Oh, we didn't. We'd work 45 hours. (Chuckle.) When you look at "Get Lost," if you get a hold of a copy, and you see the picture of Ross and me holding up "Get Lost," look at Ross' eyes. He looks like a vampire. Like shot, he's shot. You look at me and I look 30 pounds heavier, because all I did was eat! It was to keep from sleeping.
Prof: Some way to keep going. Oh, my goodness.
ME: And I'm telling you, that's very true what he said in that book. But at one point he wrote somewhere giving Ross and I credit for co-creating it with him, which was nice. This was years later. Some of the reprints that were put out years later said, "Co-created by Andru and Esposito."
Prof: That's almost unheard of. A lot of people like Mort Weisinger, for example…
ME: Oh, poor guy.
Prof: He wouldn't give credit to anybody.
ME: No way! (Chuckle.) He used to run through the hall. This big, heavy guy and he'd be on his toes. Ti-ti-ti-ti-ti-ti. Running around like a little pixie.
Prof: (Laughter.)
ME: You'd look at him and he was so light on his feet. A story about him: I feared him so much. Because he would take the pages…I was doing Wonder Woman then, too, along with the Metal Men. Trying to squeeze Wonder Woman in every month as well as Metal Men those first 10 days.
Prof: Oh, goodness.
ME: And it showed. It was kind of raw at times, because we were burned out. But he took the pages one day, and he was looking at them, and I happened to have them on the floor. "What have you got on the floor there? You got $2,000.00 on the floor! What if they get dirty? What if somebody steps on them?" I said, "It won't reproduce the dirt!" He was annoyed that I was too smart. I mean I'd published. I knew all about that. It can't reproduce, you dumb ox. The grease from ketchup and stuff like that, when Ross and I would be eating and Ross was sloppy with his eating, his hands were always dirty from food and his pages were dirty from grease marks and what have you, but when it's printed, it's clear as a bell! You don't see that. And he [Weisinger] got annoyed. And he was kind of hard on me sometimes.
Prof: You and everybody else it sounds like.
ME: Yeah, he was a pretty tough guy. And I was going to buy a house with my late wife at the time, in Dix Hills, which was a very nice neighborhood. It was a ranch house. This was about 1962 or '63, and I went with the salesman and he showed us the house. Beautiful house. He said, "What do you do?" I said, "I'm a cartoonist." "Well that's good. We have cartoonists out here." I said, "Who?" "Mort Weisinger just bought the house next door." I said, "What? Mort Weisinger? Forget it, let's go."
Prof: (Laughter.)
ME: I walked away from the house. I said, "I'll be damned if I'm going to live next door to Mort Weisinger." The first thing I'll hear is, "You're making too much money if you're living out there with me." That could happen, you know.
Prof: I believe it. And who would need that? I think I read an interview somewhere with Arnold Drake and he referred to him as "The Whale."
ME: That's right. That's very good from Arnold Drake. Arnold Drake the writer?
Prof: Yes. I don't know if you remember or not, but if I recall there were actually four appearances by the Metal Men in Showcase before they got their own book…
ME: At least three.
Prof: In one of them at the end it said, "Readers, you let us know if you want to see more of us," and then in the next issue of Showcase they were back again. Do you know what happened there?
ME: No, I don't know. I do know that we did three issues, and the first cover I hated. Because the figures were little tiny figures of the Metal Men near the bottom with this big Stingray coming down. The Stingray was the whole thing. Bob Kanigher was into science fiction with the movies and the Stingray was the big flying thing in the first Metal Men. That was timely for that time because of all those cheap 50's era science fiction movies, with "The Thing From Outer Space," and all that stuff. Ray Harryhausen stuff. Some of them were good. I enjoy looking at them today, but he would borrow from almost every one of those stories. They weren't Bob Kanigher's creations. He saw the movies and recreated and rearranged the thoughts into a comic book.
Prof: Ta-da and there you go.
ME: He had a very fertile brain and he knew how to do that. Not only that one; he did it for almost all of his books. A lot of the science fiction stuff that he wrote was borrowed from science fiction movies; which was understandable, because people did it all the time. There was only one original and then you filter it many directions.
Prof: No new ideas.
ME: Well, I always use the expression like people say, "Getting to the top," and I said, "Look at a pyramid. There's only one on top and a billion slaves underneath."
Prof: Good analogy.
ME: There's only one on top. It's so difficult to be a winner. So difficult. With a syndicated strip, with anything. Number one this or number one anything. So difficult, but you can be popular and you can make money, but you'll always be near the middle somewhere. You're probably not going to get to the top. People who got to the top…what's his name with Playboy?
Prof: Hefner?
ME: Hefner. Now I saw him crying the blues in the reception office of National Periodicals, which is DC's company. It was called National Periodicals. And he was walking back and forth with a little magazine under his arm. Back and forth, back and forth. I'm sitting in this chair, because I was waiting for Ross. We were going to go in there and pitch some of our ideas to DC after we were freelancing there, but not "Get Lost," we were going to do other things. And I found out who he was. He had the first book with Marilyn Monroe on the cover. Playboy. And they bought it. National Periodicals decided to print and distribute it. And he rocketed to the moon. It happens. Gaines had the chance, but he was a bastard and who the hell knows? He could have gone further, but he had some good help. Gaines had a lot of good people working on Mad. Mort Drucker. A lot of good, famous artists.
Prof: Yeah, Al Jaffee. Lots of good folks. Russ Heath was there for awhile.
ME: Russ never had a sense of humor with his artwork. He was more graphic and detailed. He was good. Not so much in Mad magazine, but his adventure comics were terrific.
Prof: Right, the war comics and westerns so forth.
ME: Russ Heath always impressed me because I knew him when he was very young and starting. He was very impressive with his knowledge of horses. For some reason I'm thinking he was brought up out west. But horses, he loved horses. And he was very detailed.
Prof: His work is quite impressive.
ME: Very much so. But he doesn't have a sense of humor in his work. That's not a fault, it's just that you could never give him something like a Mad magazine gag situation and make it funny. He's not the type. I guess that's where Ross was different and I guess myself, too. We could do both. We could be very serious, very dramatic, and very funny. Not every partnership can do that. Not any one inker can usually do that. Not any one penciler can do that. But Ross and I seemed to excel in both areas.
Prof: That's a gift.
ME: It's a sense of humor that you retain through all the garbage.
Prof: It keeps you going.
ME: Right. Ross and I were very funny when we'd be writing things until 3 o'clock in the morning, and we'd make up things as we went along and we'd start to play act. That's what we did. Anyway, it was a great ride.
Prof: Were you surprised when your Wonder Woman was made into a postage stamp a couple of years ago?
ME: Oh, definitely. I got a nice check from DC. A big check. I couldn't believe it. But they wanted me to go out west to sign stuff in San Diego, and I said, "No, I don't want to." I said, "I don't leave the house." They didn't bother me any more. They accepted the fact that I wouldn't go, but they didn't say, "Give me back the check."
Prof: (Laughter.) You know that's one thing that some of the folks I've had a chance to talk to have told me. It seems like the consistent story is that DC's been doing a good job of paying royalties to the talent.
ME: You've got that right.
Prof: But Marvel has kind of fallen behind.
ME: It has. I was talking to my wife about having to pay $600.00 for the damned oil. It's going to get cold soon, and I'm waiting for a check from Marvel because they put out a lot of books recently where I did almost all of them. Like the Iron Man book from the movie. I've got tons of stuff in there. It's probably a couple of thousand dollars if I get it. I'll get a little check from them, but never the big checks. So maybe they've slowed down, but why I don't know. They made a fortune on Iron Man.
Prof: Exactly.
ME: They own every penny. They produced and directed it and own it. It's not like before with licensing where they got 5%. They got it all. The DVD's. It's all theirs.
Prof: Yeah, in house production and everything.
ME: Right. You're going to see a lot coming up, too. They're gonna come out with Thor. They picked Thor because it's different from the regular superheroes. It's going to catch on with regular audiences that are not fans of comics only. It's very mythological.
Prof: Right. It would have a broader base.
ME: Right, and I think it will make a lot of money. I don't know who's going to be in it.
Prof: I'm not sure either, but that's a good point. I hadn't thought about the fact that it would appeal beyond the comic book fans.
ME: That's exactly right. And of course DC made $500 million already with Batman.
Prof: Oh, yeah. The Dark Knight is going through the roof.
ME: Right, and they sent me a little check this morning. DC, like you said, is very quick to pay, along with balance sheets and everything to double check when I was paid this or when I did this or when I did that.
Prof: Yeah, I'm sure you've seen you've seen the Showcase Presents reprint collections they're doing now. They've been real good.
ME: Which ones?
Prof: They're doing particularly Silver Age stuff. They're doing Flash, Green Lantern, Atom, Justice League…
ME: Well how long ago are you saying?
Prof: Just within the last few years.
ME: Oh, okay.
Prof: They're a black and white paperback.
ME: Yeah, I've been paid and get my residuals on those. About a year ago.
Prof: I think on the Metal Men they're getting ready to release Volume Two.
ME: Really? They haven't done it yet?
Prof: If I'm not mistaken.
ME: Well, they put a Metal Men out about a year ago.
Prof: I wonder if that was the hardbound color Archive Editions?
ME: It was about a year ago and it was Part One. It was not the whole ten years. So there should be another one. I'm hoping, anyway.
Prof: I'm sure there will. They had a real following. They did very well for a long, long time.
ME: Metal Men?
Prof: Yes.
ME: Good. I'm glad you said that. I know they sent me a set of all the Metal Men figures two years ago.
Prof: How nice.
ME: They sent me a whole box. I was surprised. They were a very good looking job they did.
Prof: That's neat.
ME: I used to get orders from fans who would want a Metal Men cover or a Metal Men head. Stuff like that.
Prof: Are you still doing commissions, Mike?
ME: Yeah, I am, but I don't have the energy to turn them out like I used to. I'm 81 now. I have some finished work on hand, like #40 of Spider-Man standing over the Green Goblin. The famous one you see all the time. I've got one lying on my table. Maybe someday someone will buy it. And I've got about 4 or 5 others that are 90% done. They're just sitting there. I have no way of distributing it.
Prof: (Chuckle.) Back to the distribution problem. When I talked with Carmine [Infantino], he praised your and Ross' artwork to the rooftops on the Flash…
ME: I'm glad to hear that. I really am.
Prof: He said it was wonderful on the Flash and he was surprised that some of the fans were unhappy initially.
ME: That's right. They were.
Prof: I guess it was just the notion of a change.
ME: They were. First of all, Ross, when he drew the Flash, compared to Carmine; Carmine made him two dimensional. Lean, very lean. Always running with the same arm out and leg back, you know? And he was swift! Lithe and swift. But when Ross did it, he made him muscle bound. Because Ross, being part Russian, he used his legs. Now my legs are skinny, like Carmine's. (Chuckle.) Ross used to look at me in the mirror at the hotels and so on, and he'd say, "You got no legs. You call those legs? These are legs!" Boom! Boom! Big, muscle bound legs. That's the way he was built. He was Slavic. And I was a slob.
Prof: (Laughter.)
ME: Sorry about that, but the humor never stops.
Prof: I appreciate it. I sure do.
ME: You can write a book now. Anyway, he drew himself. And that's what bothered the people. He didn't look swift any more. But then when the movie came out, the T.V. show, it looked like Ross'. Remember the T.V. show during the short time that it was running?
Prof: I sure do.
ME: And it had the thickness of what Ross was doing. Now, they didn't want to use a skinny guy flying around, they wanted to use a muscular guy. He was a guy who was going to punch guys out. And in a sense Ross was right. But the fans, they would never say die. The king is dead. Long live the king no more. Because Carmine was the king of what he was doing, and we come in, upstarts, you know. "What did you do to Carmine's Flash?" And they weren't happy. When they had letters to the editor in the book, they tore us apart.
Prof: Some of them were pretty brutal.
ME: They were. But you said Carmine appreciated it.
Prof: He did. When I spoke to him I told him, I said, "After you left the book, it seemed like poor Ross and Mike couldn't get a break," and he says, "Why? They did wonderful work. Why were they (the fans) that way?" So he obviously appreciated the work that you guys did.
ME: Well, visually, in the content with Ross, his depth perception was evident in the book when it never was when Carmine did it. Carmine would have the guy running with buildings in the background. Skyscrapers. Ross didn't do that. He went in and in and in, like Disney's multi-plane effects and that's what Ross and I grew up on. Multi-plane. In, in, in, in. There's a front, there's a center plane, the middle plane and the background. Way in. And when you draw the guy in the background, then the multi-plane should be way up the front plane so you get depth.
Prof: It makes perfect sense.
ME: Yeah, but a lot of guys don't want to think that way.
Prof: Too much work, I guess.
ME: Well, not only that, but not as attractive. When Ross did it, the young readers of Ross' stuff never appreciated that plane. That depth. They liked Gil Kane's, which was visually beautiful to look at the figure, with a wall behind it. You follow me?
Prof: Yes.
ME: There was no depth. No planes. One guy that came close I would say would be John Buscema. John Buscema had great style. I remember the book I did with him on the Avengers. It was the wedding of the giant girl. I loved that story. He drew her in a gown, and I think the giant girl was marrying the little guy. What was his name? The ant? Not the ant.
Prof: I thought maybe you were talking about Ant man, but I'm not sure. I don't know my Marvel characters as well.
ME: I don't think so. Whatever it was, she was marrying the little guy, and the way he drew that gown was unbelievable. When I inked that, I had never been able to ink Ross this way. It just flowed off my pen. So to me, he did things Ross couldn't do, and I did some Thor books with him, too. A couple of books. I did so much inking my fingers were full.
Prof: Sure. I saw where you even inked Steve Ditko there for a little while.
ME: Yes, and I got in trouble because he did the last issue of U.S. One or whatever it was that was written by Al Milgrom, and the penciler was Frank Springer. Beautiful stuff. Really beautiful. I had so much fun doing it, because he was an advertising artist. He knew how to draw trucks. The trucks for U.S. One and the characters were so good, I loved doing it. And then the last story had to be done and Milgrom said that Springer wasn't going to do it, so they got Ditko. And I couldn't make heads or tails of it. So I went to the editor, whose name was Ralph Macchio, and I went up to him and I said, "I can't do this." Well, he got really pissed off. He got mad. And actually he's the boss and I'm only the worker, so turning down a job, and he wanted it finished because it was like the 12th issue, the final run of the book, well, that was unacceptable. I told him, "I can't do it. It's all scribble. It's not the style that was there before. I've got to try and make it look consistent." Springer was the guy who should have finished it, but Springer was put on something else. So I refused, and ever since then he never treated me well. He didn't give me work. If he did give me work it was the worst jobs. The worst characters.
Prof: How dirty.
ME: One you wouldn't make money on in reprints. That idea. Things like Iron Fist. I hated that character. I mean there are some losers up at Marvel, believe it or not. They did like 40 different characters a month for the Marvel Universe. Some were great, but some of them were…what it was, was they had all these young writers. They were creating things off the top of their head like crazy, and they were accepted because they had to turn out 40 books a month.
Prof: So just give me product, huh?
ME: Right. And it showed.
Prof: Yeah, when you're mass producing like that your quality is probably not going to be able to hang in there.
ME: And when you've got a guy like Roy Thomas, a damn good editor, he had enough to handle, he almost had a nervous breakdown because of all the work they had to turn out. Johnny [Romita] was going nuts because he had all those covers to do. That's when they brought in Gil Kane to do the covers with Johnny. And Johnny Romita used to get so upset with Stan Lee and say, "We're doing too many books!" And Stan Lee would say, "You'll never be number one, Johnny. You don't think like a publisher who wants to be number one. We want to be number one. We have to have more books than DC." And he was right. Stan had a vision, and he was right. Stan was a bit of a genius. You know the story about him standing on the table and telling me how to draw?
Prof: Was that the Green Goblin?
ME: No. I was penciling then. Sol Brodsky was there by the table, and he was telling me something I was doing wrong with the criminals. He said, "No, you've got to give them a thick neck, you know? Big, knobby hands." And I was drawing my own hand, which is delicate. I'm not a knuckle-bound, thuggy guy. And he said, "No, you've got it all wrong. He looks like a lawyer. You've got to make him look like a thug." And he gets up on the top of the table and he starts acting it out, showing his thick neck and all that and Sol Brodsky is standing off to the left starting to laugh. Some guy called me up in February. He's writing a book, an interview with me about that scene. It will be appearing in one of these TwoMorrows type books, I guess, about Stan Lee and so on. You'll probably see it when it comes out.
Prof: I'll have to be on the lookout. I'd heard the story, but I didn't realize that it was with you.
ME: Yeah, he did it with me. He did it with a lot of guys. In my take, it's Stan Lee and a little picture of me.
Prof: Super. Was that in your Mickey Demeo days or was that later?
ME: That was Mickey Demeo days.
Prof: Demeo, I'm sorry. (Note: I mispronounced the last name.)
ME: No, don't be sorry. I should be sorry.
Prof: (Chuckle.)
ME: Because others knew it all the time, but never once called me Mickey Demeo. I was hiding behind a name. Because at the time I was doing work for DC under contract with Wonder Woman and all that stuff. The satire stuff with Mike Sekowsky. So when Stan said to me, "I want you to work here on staff," I said, "Well, I can't." He said, "Well, use a pen name. Everybody does." Gil Kane was somebody else. The only guy that didn't change his name was Johnny Romita because he had no other company he was working for that he would get in trouble.
Prof: No need to hide, huh?
ME: Right. But everybody else did. Even Jack Able had a different name. They all had different names. So Stan said, "Go ahead and change your name." So I said, "Mickey Demeo." He said, "I like that." (Chuckle.) Then he gets a letter...this is the truth, the God's honest truth, he gets a letter from a kid in England, a big fan; wrote him a letter that said, "You know, Mr. Stan Lee, I know who Mickey Demeo is. He's Mike Esposito. I can tell by the way he does the ears."
Prof: (Laughter.)
ME: Stan is telling me this and I'm laughing my head off. I said, "You mean to tell me that's what it is?" They see things that you don't realize they see. The way you do fingers, or hands. The way I did my ears. You can't mask that. It's an ear. The kid was sharp. I'd like to find him now, the dope. This must have been around 1961 or '63. Something like that. The kid was sharp.
Prof: That's an eye for detail.
ME: That's right. And Stan was saying that, "You can't fool the young readers. The fans know everything." He was right. That's why he was the only guy…DC never did this, the only guy that would make sure that every artist, writer, letterer, was signed with little nicknames.
Prof: Right. You were "Mighty Mike" as I recall.
ME: "Mighty Mike" Esposito, "Jazzy" John Romita; everyone had a little nickname, and the reason for it is that he was copying Hollywood. He was thinking in terms of character actors so that people would remember them. You'd associate the name to what he did.
Prof: Of course.
ME: Otherwise it's cold and cut and dried. You'd go up to DC and it was no name. Just the little numbers on the bottom of what story it was. 603452 or whatever.
Prof: Yeah, although I did notice at least on occasion…
ME: Bob Kane.
Prof: Well, yeah, good old Bob. (Laughter.)
ME: He made sure. What did you notice on occasion?
Prof: That on the covers that you and Ross did…
ME: That was later, when we got a byline.
Prof: Yeah, there would be a little square there that said, "Andru and Esposito."
ME: Right. That was the Metal Men.
Prof: Right, that's what I was thinking of.
ME: It was years later with Wonder Woman because the creator of Wonder Woman was still alive. The guy was a writer and the name Charlie Moulton was on every Wonder Woman book. Every book had Charlie Moulton, so we could never sign it. And then finally… (dramatic lowering of voice) he passed away. It was our day.
Prof: (Chuckle.) And you were able to take it from there.
ME: "Art by Andru and Esposito." That was something good about DC. They would always say "Art by," not "inked by" or "penciled by." They saw it as an art team. "Art by Mike Esposito and Ross Andru." I always felt good about that. Because it made me not look like what Marvel was doing. Some of those young editors would say, "Delineated by Esposito." What the hell is delineated?
Prof: (Laughter.) Yeah, talk about talking over the head of your audience. I notice you had some credits for doing the Hostess ads for awhile. How was that?
ME: I know I penciled a couple of them. It was nice money. I was up at Marvel and Marvel's rates were low at the time, but these things paid like $100.00 or $125.00, so it was a big difference when you're used to getting $25.00 or $30.00. But those jobs didn't come often.
Prof: Did you have a preference between DC and Marvel?
ME: As in inker?
Prof: Right, just in general.
ME: I liked DC, because with DC I could use a lot of pen as opposed to brush up at Marvel. I was never a brush man. Johnny Romita wanted everything in brush, and I don't blame him because the reason for that is that the color reproduction was so bad up at Marvel at the time, in the early days, it would bleed. In other words you would have an outline on Spider-Man, and if the line wasn't thick enough, with a brush, it wouldn't hold the shape together. All the colors would be running into each other with the bad color reproduction. If you look at the old books you'll see it. They'd overlap sometimes and run into each other.
Prof: Stan Goldberg told me it was kind of a nightmare being a colorist back then.
ME: Sure. Of course it would be. And he was a damn good colorist. One of the best. Not like DC's colorists. Frank Giacoia and I went one day up to a meeting and he was really bitching. Frank was a funny guy. He was late on everything, but he made them know he was mad. So they wouldn't remember he was late. That was his whole game. He'd get annoyed. Then he'd look the other way and apologize. When you walk out with your check, even though you were late on the previous one, and they won't even remember. But what happened was we were sitting there and they were talking about the colorists, and the books. I think Jerry Serpe was the guy's name. He was a colorist along with Jack Adler. He used to take his brush, and he'd put it in blue, and he started hitting everything with blue on the page. On the page they used to make the coloring. Not the original, of course. So Frank Giacoia said, "You know, when you do that, you got blue mountains, a blue horse, you got blue grass. Wherever you put the brush and use it. There are other colors to use, too." That's how they'd knock out five pages an hour at $3.00 a page. So anyway, he got really mad and he stood up and I never saw Frank yell so much. And he got his point across. Because all of a sudden…I think Carmine was just coming into the picture as the top dog, and I think he listened, which was good. Because it was pretty bad. Those guys made so much money as colorists. We cartoonists were in the poor house by comparison. We'd do one page a day if we were lucky. They would do 10 pages in an hour to color.
Prof: Wow.
ME: I'm serious. The colorists would use these little Xerox sheets and then those things were sold later for a lot of money. But when they colored them, they didn't color them in detail and make sure no notes were off the line. Then they'd write "YR," a certain type of yellow, "BL," a certain type of blue, and they'd put the code numbers on it to make sure that the colorists, when they did it, the engravers, when they did the coloring, would use that code to make sure if they were off a little bit on the color, the code would tell them which one to use. They didn't do any creative coloring at all. All they had to do was write down the code.
Prof: Just follow the script, huh?
ME: Right. And they made so much money. They made over $100,000.00 a year then. Tons of money. They'd get $4.00 a page to color and they'd color tons and tons and tons of pages. The covers always got more. The cover would be maybe $50.00. A lot of covers. And I think that's how Stan Goldberg got into it. He realized the coloring was very, very lucrative. And then you've got Marvel cranking out 40 books a month, and he did a good job. An excellent job. And he does a great Archie.
Prof: He sure does.
ME: Without him, Archie would be dead. He really kept it modern and up to date. Michael Silberkleit up at Archie should kiss his feet every time he sees him. Because they're not paying any reprint money. They just take the money and run. "Here's your check. Goodbye." Maybe he gets a little bit, because he did tons and tons of stuff with the digest books. Maybe he gets a buck a book or something.
Prof: Speaking of Archie comics you were art director there for awhile. Did you enjoy that?
ME: That's where I was doing the book called "Zen." What happened was I met this guy, Steve Stern. He came from Maine and he created "Zen, the Intergalactic," and he wanted me and Ross to pencil and ink it. Actually we did some writing, too. We did about three issues. First we did them in black and white and they were terrible. But finally he got a contract with Archie to them up there, because Archie was looking for another "Teenage Mutant Ninja Turtles." When that one came out of the blue it made them wealthy. So they figured, "Hey, let's try this 'Zen the Intergalactic.'" So we did three issues in color and I was the art director and editor. So it was pencils and inks by Andru and Esposito, created by Steve Stern, and colored by Barry Grossman. And we had a budget. Because we had a nice budget I told the colorist he could have $10.00 a page. Which was unheard of at Archie. It was the Japanese guy. Yoshida. And I liked that guy. And he was so happy because he'd never seen that kind of money from them. He'd get $3.00 to $5.00 tops. He did a good job. He did the lettering and Barry, for the coloring he got $10.00. And then after the third book they said, "It's costing us too much money." Before the results came in. "It's costing too much money to put it out. You've got to cut the amount of money." This is Michael Silberkleit telling me this. So what could I do? So I had to cut it in half. I cut it to $5.00 a page, which hurt Yoshida. He was really upset. He said, "What happened?" I said, "I had to. They told me I can't do it." And I cut my rate. It was down to practically nothing left for Ross and me.
Prof: Oh, man.
ME: This is what happens. And of course, they killed the book. After a few issues they discovered it wasn't another Ninja Turtles that made a fortune for them. It happens. Lightning doesn't strike twice.
Prof: Well, it is a business, and that's what it ends up being, first and foremost.
ME: Right.
Prof: One of the things that I always thought was very unique about the work that you and Ross did was that bursting out of the panels look, when the figures went beyond the panel boundaries. Was that Ross' idea or yours or collaboration?
ME: It might have been both of us when we did it for "Get Lost." We had a scene where the kid was being beaten up and he's falling through the panel and stuff like that, but later on, when he was designing the pages for DC or Marvel, that was his department. I didn't sit down with him and discuss how he was going to do the penciling of a story that was given to him by Stan Lee for Spider-Man or stuff like that. He was on his own, and I was just the inker and he was the penciler. We had nothing to do with collaboration between us. When we worked for DC in the old days, with Metal Men and before we went to Marvel, when we were a pencil/inker team, then we had more time that we collaborated.
Prof: I was thinking of this one particular Superman story I have that you both worked on and that technique was used a lot. One scene showed him visiting Lori Lemaris, the mermaid and it showed her being tangled up with this monster underwater and it completely broke out of the panel boundaries and I thought, "Gosh, what a neat idea."
ME: Was that in Action Comics? We didn't do many in the Superman book.
Prof: I'm not certain.
ME: I remember one in Action that had his face poisoned by Kryptonite.
Prof: Yeah, I've got that one, too, where he's all green and disheveled. Anyway, I thought that was an extremely unique thing and I don't remember anyone else doing it at the time.
ME: It was really Ross, I would have to say, when it came to designing pages as a penciler, but when it was the satire stuff, done in a humorous way, then I would incorporate my thinking more. I would be more involved with him in designing the pages.
Prof: What sort of equipment did you use in your work?
ME: Well I used crow quills and I used more stiff points. Frank Giacoia schooled me in that area for pen points. Esterbrook, I believe it was called. I don't think they're around any more. A lot of those things disappeared like Guillot, who made pen points. They had one with the little lip on the end that worked like a brush. You could almost bend it like a brush. And of course brushes. The #3, the #2. I loved to do pen with the ink rather than the brush. Marvel wanted more brush. I still say it was because printing was so bad. They wanted a thicker line to hold the color what with the bad printing in the comic books in those days. It kept it from bleeding. With DC, they liked the idea of more pen work back in the old days. The 50's.
Prof: So that was your preferred tool rather than a brush.
ME: Well, it was good because I could draw on top with my pen like it was penciling on top of Ross. I used stiff points. Hard points. Not flexible ones. Then I could control it like a pencil. You'd get the clean lines, where a brush sometimes would get heavy handed, and you can destroy some of the guy's contours. Like Jim Mooney used a very heavy brush, and when he would do Ross, sometimes he would change some of the hard contour approach. Stan Lee loved it because it was a thick line. You follow me?
Prof: Yes.
ME: They liked the heavy line better. And Stan wasn't wild about my using a pen, but that's the way I liked to work. You could control it more like a pencil.
Interview copy edted by Mike Esposito All characters mentioned, artwork, logos and other visual depictions displayed, unless otherwise noted, are ©
by DC Comics. No infringement upon those rights is intended or should be inferred. Cover, interior and other artwork scans and vid-caps are used for identification purposes only. The mission of this non-profit site is to entertain and inform. It is in no way authorized or endorsed by DC Comics and/or its parent company. The Webmaster assumes no responsibility for the content or maintenance of external links.
© 2008 by B.D.S.
The Silver Lantern Site Menu + Map & Updates Home The Sage Sage Archives 1934-1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 GL Data


text:
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subset: commoncrawl


text:
Come here to find my (self-professed) expert opinions on all things related to the YA book world!
Saturday, November 26, 2011
In My Mailbox (19)
How to Save a Life
By Sara Zarr
Publisher: Little, Brown Books for Young Readers
Publication Date: October 18th, 2011
Source: Purchase
Goodreads Synopsis
I loved Once Was Lost, and I've heard nothing but amazing things about this book, so I had to get a copy.
Dark Eden
By Patrick Carman
Publisher: HarperCollins Children's Books
Publication Date: November 1st, 2011
Source: Library
Goodreads Synopsis
I think Patrick Carman is great. He knows how to write creepy. Skeleton Creek scared the crap out of me, and I've heard this one is even scarier.
By Kiera Stewart
Publisher: Hyperion
Publication Date: November 8th, 2011
Source: Library
Goodreads Synopsis
I totally admit that I picked this one up because of the cover, but the story does sound cute, and since my oldest is going to middle school next year, I thought she might enjoy it as well. Stay tuned.
The Space Between
By Brenna Yovanoff
Publisher: Razorbill
Publication Date: November 15th, 2011
Source: Purchase
Goodreads Synopsis
I loved Brenna's first book, The Replacement, so I've been anxiously awaiting this for ages. I ran right out to buy it when it dropped, and plan to start reading it as soon as my kids go back to school on Monday (I didn't want to neglect them while on break, so I waited).
Don't Expect Magic
By Kathy McCullough
Publisher: Delacorte Books for Young Readers
Publication Date: November 8th, 2011
Source: Library
Goodreads Synopsis
This looked really cute, so I decided to check it out. The cover actually drew my daughter's eye, and she asked me if she could get it, so being the responsible mother I am, I will read it first. :)
Wherever You Go
By Heather Davis
Publisher: Harcourt Children's Books
Publication Date: November 14th, 2011
Source: Purchase
Goodreads Synopsis
This looked really intriguing; like it has the potential to be a really beautiful story. It's told from three POVs, so I'm not sure how I will like it, but I couldn't pass it up.
Lies, Knives, and Girls in Red Dresses
By Ron Koertge
Publisher: Candlewick Press
Publication Date: July 10th, 2012
Source: ARC/NetGalley
Goodreads Synopsis
I am a total sucker for a good, gory fairy tale retelling. This one looks like that and more! Not only does it look like it is more along the lines of the originals, and less like the Disney versions, but it looks like there is a lot a humor to go with. Can't wait to read this!
New Girl
By Paige Harbison
Publisher: HarlequinTeen
Publication Date: January 31st, 2012
Source: ARC/NetGalley
Goodreads Synopsis
This looks like an excellent mystery/thriller/ghost story. Also, I really like the cover. I will probably wait until January to read this so I can use it for the Sophomore Reading Challenge, but it will be difficult...
Another Jekyll, Another Hyde
By Daniel and Dina Nayeri
Publisher: Candlewick Press
Publication Date: March 13th, 2012
Source: ARC/NetGalley
Goodreads Synopsis
This pair does a bang-up job with the retelling of classics. Another Faust and Another Pan were fabulous, and I can't wait to dig into their third book, a modern retelling of Dr. Jekyll and Mr. Hyde.
23 comments:
Sounds like you got some awesome books! I think I'll have to head over to Netgalley and check out Lies, Knives, and Girls in Red Dresses. Sounds wickedly good!
Megan at Book BratsDark Eden was definitely creepy! I've seen New Girl on netgalley, but I think I will wait for reviews before I read it. I hope that you enjoy your new books!
Ladybug StorytimeI just got New Girl too it looks awesum!
I would be reading it now if I had not read the wrong book for my Monday review/author guest post (I am doing reviews on 2 books of hers) so I am speed reading the right book..lolz..
I am a new follower of yours btw :)
Great IMM & have a wonderful rest of the weekend..Awesome books this week! The Space Between!!! And New Girl is everywhere right now, hope you enjoy!
New To My Stash at Book Addict.WOW. I always am amazed to see how many books people got every week. You got a lot. Old follower. I loved The Space Between...so good.
Livre De Amour-Books of Love BlogOooh so many fantastic titles! Especially eager to get my hands on New Girl, Another Jekyll, Another Hyde, and How to Save a Life - they sound so good!
I really enjoyed The Space Between, I hope you'll like it too. And YES! Read UTNS after it!! I just finished and today and WOW. It was AMAZING.Awesome haul!! I really enjoyed Dark Eden! I can't wait to read New Girl as well!
Xpresso ReadsHello dear! oyu got so many awesome books this week! Im looking forward to hear your thoughts on The Space Between hell yeah!! =D
My In My Mailbox!
Happy reading!
★Dazzling Reads★Nice IMM! I am interested in reading Dark Eden! Hope you enjoy your books! Feel free to check out my IMM here.
Rumana @ Relook the Book
Thanks for visiting my blog! I adore comments since they make me feel special and loved, just please don't spam me. I'm not interested in vacation offers, millions of dollars from Nigeria, or anything not book related!
Also, this is an award-free blog. As flattered as I am, I just don't have time. I'm happy if I have time to post all of my reviews on time, and am a momma of three to boot, but I appreciate the thoughts! XO


text:
Path: Top . Undergraduate Theses . Jurusan Akuntansi . 2006
Multipurpose Analysis Feasibility Study Building Construction Project of Industrial Area
Undergraduate Theses from JIPPTUMG / 2013-10-24 15:28:44Oleh : Fahrur Rozi, Universitas Muhammadiyah Gresik (digilib.umg.ac.id)
Dibuat : 2008-06-13, dengan 2 file
Keyword : STUDI KELAYAKAN PROYEK
This research is constituted by plan development of multipurpose building of Industrial Area of Gresik. Every the new invesment of him of development project have to study circumstantially, hence needing the existence of analysis is project or feasibility study is project.
This Research target is to know what is multipurpose building-construction project of Industrial Area this Gresik is competent or not in running or done.
Many aspects which used in analysis a[n project covering technical aspect, aspect of managerial and administrative, organizational aspect, commercial aspect, monetary aspect and economic aspect. In this multipurpose building construction project analysis will use monetary aspect.
From some methods analyse invesment at monetary aspect used some methods covering Payback Period (PP), Internal Rate of Return (IRR), Internal Modification Rate Of Return (MIRR), Net Present Value (NPV) and Benefit Cost Ratio (B/C).
From result of calculation Payback Period (PP) obtained by result 4 Year 1 Months, Net Present Value (Positive NPV) equal to Rp5.980.276.454,78, Internal Rate Of Return (IRR) equal to 42.7%, Internal Modification Rate Of Return (MIRR) equal to 7.79%, Benefit Cost Ratio (B/C Ratio) equal to 1.57.
From some monetary parameters above (PP, NPV, IRR, MIRR and of B/C Ratio) and also analyse sensitivitas, hence concluded that from monetary aspect, development of multipurpose building of Industrial Area Competent Gresik be achieved.
Copyrights : Copyright (c) 2001 by Digilib Universitas Muhammadiyah Gresik. Verbatim copying and distribution of this entire article is permitted by author in any medium, provided this notice is preserved.
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Kota | Gresik |
Daerah | Jawa Timur |
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Multi-Way Conventional loudspeakers with crossovers |
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Thread Tools | Search this Thread |
9th June 2007, 06:41 AM | #1 |
diyAudio Member
Join Date: Mar 2004
Location: Melbourne, Australia
Tad Tl-1102
I'm seriously considering using the TAD TL-1102 11" woofer in place of my Scanspeak 26w8861 in my new 3-way design. Its got all the things I like - Alnico, paper cone, fast, flat response, 6.5mm Xmax
Does anyone have any experience with this driver (there's seems to be very little info online) or an opinion on whether it would be superior to the Scanspeak? |
9th June 2007, 12:51 PM | #2 |
diyAudio Member
Join Date: Feb 2005
Location: in center
TAD had a huge experience in making drivers.
All you have mentioned...."Alnico, paper cone, fast, flat response, 6.5mm Xmax" will beat any Scanspeak. BTW...you will need a woofer not subwoofer.Combination between paper cone and alnico is one of the finest.Also ...don't go for 3 ways....2 will be more than enogh.Fine drivers and simplicity is the best way to have an impressive sound. And remember...alnico sound is superb. Go for TAD and tell us the results.
"I'm glad I can build my own mistakes." https://picasaweb.google.com/115586837612433686520 |
10th June 2007, 03:11 PM | #3 |
diyAudio Member
Join Date: Apr 2007
A division of Pioneer, Technical Audio Devices was formed over 30 years ago with the stated goal of developing professional loudspeaker technology that bettered the famed work of both Altec and JBL. To ensure this, TAD hired Bart Locanthi of Altec and JBL to design its first drivers.
Tad are good speakers . The HF Berrylium drivers are overpriced if you compare them to an Altec .The Altec 288-G, often considered the "poor man's TAD" actually has a stronger field than the TAD. So evry thin is relative. |
10th June 2007, 03:28 PM | #4 | |
diyAudio Member
Join Date: Feb 2004
Location: UK
Re: Tad Tl-1102
I expect you'll find them to be poor value for money but that goes with the territory when dealing with these ultra highend drivers. I think once you get around the price though you'll find a superb performer. I've heard TAD's 15"(well they call it a 16") and the sound was very dynamic and free sounding. Not massively extended but certainly could do justice to any music you play through them. Personally I'd go for it. They'll be a step up from Scanspeaks for sure.
The more you know who you are and what you want, the less things will ever be the same. |
10th June 2007, 03:53 PM | #5 |
diyAudio Member
Join Date: Aug 2004
Location: Romania
@David Gatti,
you've mentioned a flat frequency response for the TAD. Do you have a link or something with that? |
11th June 2007, 01:04 AM | #6 |
diyAudio Member
Join Date: Mar 2004
Location: Melbourne, Australia
Here's the datasheet I managed to locate online.
http://perso.wanadoo.fr/francis.audio2/TAD_TL-1102.doc and some tests http://perso.wanadoo.fr/francis.audi...AD_TL-1102.doc Looks like its really nice in the 40-1kHz range and the distortion figures are outstanding. As you say Shin, it all comes down to whether its worth the money. I'm still undecided at this point and I'm waiting to hear back from the U.S supplier regarding price. Cheers David |
11th June 2007, 01:28 AM | #7 |
diyAudio Member
Join Date: Mar 2002
Location: Pasadena, CA USA
This is one link that I found with a price:
Pro Audio design Don't know anything about them though.... herm |
11th June 2007, 01:57 AM | #8 |
diyAudio Member
Join Date: Apr 2007
For this price you could go for the 1601 a15" driver.They are
700$ retail when I last checked them. From there you can build some pro monitors. TL-1601c low frequency loudspeaker TD-4003 high frequency compression driver TH-4003 high frequency horn (Can be replaced by Fostex Horn) The HF drivers are in the thousand $ bracket. With a 11" driver of that quality you will need a compression driver. A tweeter will sound like tssss. .................................................. |
11th June 2007, 05:01 AM | #9 |
diyAudio Member
Join Date: Mar 2004
Location: Melbourne, Australia
Thanks for the suggestion. In an ideal world a 15" driver would be nice, but I have specific size requirements and believe a speaker should be no larger than strictly necessary. Anyways I dont listen to music very loud so for me 15" is overkill and not worth the compromises.
13th June 2007, 09:06 PM | #10 |
diyAudio Member
Join Date: Mar 2004
Location: Melbourne, Australia
I've just been advised by Soundworks Germany that the TAD TL-1102 is no longer in production Looks like I'll be sticking to the Scanspeak.
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text:
NORTH BERGEN, N.J. (AP/WCBS 880/CBS 2) — Three days before a deadline set by Gov. Chris Christie to decide whether he will cancel a massive rail tunnel project into Manhattan, one of New Jersey's senators laid out several cost-cutting measures he said could save the project more than $1 billion.
Speaking Tuesday at the site where construction began last year but was suspended by Christie last month, Sen. Robert Menendez and other Democratic leaders accused the governor of spending more time campaigning around the country for fellow Republicans instead of finding solutions to keep the tunnel project alive.
LISTEN: WCBS 880's Levon Putney reports
"Those people in Iowa don't have to sit in endless traffic, they don't have to worry about getting a job, they're not in line to get one of the thousands of jobs that would be created locally," Menendez told a cheering crowd of several hundred union workers. "We need someone who is committed to making it happen."
Since suspending the estimated $9 billion project in September, Christie has appeared in several states including California, New Mexico, Ohio and Iowa to support Republican candidates.
The link under the Hudson River, which was expected to be finished in 2018, is projected to double rail capacity into and out of Manhattan; take 22,000 cars off the roads daily; boost property values; and add 6,000 construction jobs in an industry where unemployment is as high as 50 percent in some trades.
"There's nothing else out there now," said Charles Harden, an electrician from Jersey City who said Tuesday that he has been unemployed for a year and passes the tunnel site every day. "There's nothing on the horizon. (Christie) hasn't found a way to create any jobs; he just knows how to cut budgets, which lays people off."
Christie announced Oct. 7 that he was nixing the tunnel project but soon agreed to a two-week review under pressure from Transportation Secretary Ray LaHood, who traveled from Washington to New Jersey to meet with Christie the following day. The two-week deadline is Friday.
Christie said Monday that he would resuscitate the project if additional funding sources are committed toward covering cost overruns that he has said could reach $5 billion; supporters of the project dispute that figure. If no additional funds are identified, Christie said he's comfortable walking away from the project.
The governor's office didn't immediately respond to an e-mail message seeking comment Tuesday.
The federal government and the Port Authority of New York and New Jersey are each contributing $3 billion, and New Jersey's share is $2.7 billion plus overruns. The federal commitment is the largest in history for a transportation project in the U.S.
On Tuesday, Menendez offered several examples that he said could save as much as $1.5 billion. They include deferring features such as improvements to a rail yard in Kearny, about five miles west of the tunnel entrance; part of an underground extension to New York's Penn Station; selected station extensions; and construction of a loop track near the Secaucus Transfer Station, the last stop for northbound trains in New Jersey before they go underground.
Public-private partnerships also could defray costs, Menendez said, a position Christie has advocated, as well.
"If I can sit down and get regional transportation people to discuss options, I'm sure his transportation commissioner and some of his key people can sit down and figure it out," Menendez said. "It's a question of will and wanting to make it work versus just taking the position of, 'No, you've got to give me more money.'"
(TM and Copyright 2010 CBS Radio Inc. and its relevant subsidiaries. CBS RADIO and EYE Logo TM and Copyright 2010 CBS Broadcasting Inc. Used under license. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed. The Associated Press contributed to this report.)


text:
Over deze norm
Status | Ingetrokken |
Aantal pagina's | 1246 |
Commissie | Rubber |
Gepubliceerd op | 01-07-2009 |
Taal | Engels |
Volume 09.01 contains tests and practices for evaluating rubber, rubber-like materials, and carbon black. Some general tests and practices fix standard procedures for performing chemical analysis, assessing processability, physical properties, aging and weathering effects, low temperature effects, and adhesion; while others evaluate compounding materials, carbon black, and synthetic rubbers, such as CR, IIR, IR, NBR, BR, and SBR. This volume also details standards on natural rubber, thermoplastic elastomers, and terminology. Volume 09.02 features specifications, tests, and practices for evaluating rubber surgical and examination gloves; automotive and aeronautical rubber; packing, seals, and gasket materials; hose and belting; coated fabrics; latex foam, sponge, expanded cellular rubber, and tires. It also features standards on gaskets, which specify, classify, or describe pertinent properties of commercial nonmetallic gaskets, enveloped gaskets, and laminate composite gasket materials (LCGM) for use with corrosion-resistant process equipment.
ICS-code | 83.060 |
Engelse titel | Rubber, Natural and Synthetic - General Test Methods - Carbon Black |
Vervangt | |
Vervangen door |


text:
Pathologically Eclectic Rubbish Lister | |
PerlMonks |
Comment on |
( #3333=superdoc: print w/replies, xml ) | Need Help?? |
Thanks arden! I like your point about tradeoffs. I didn't think of it that way - I was just wondering if one method is prefered over the other in a noraml setting. But now I've something more specific to weigh my options on.
In reply to Re: Re: Way of accessing data...
by kiat


text:
Women in the National Capital Region need to seriously think about what the leading women boxers of the country have to say. Many times world champion, MC Mary Kom, and L Sarita Devi can't understand why young girls don't take up boxing if they feel so unsafe in the city?
For the duo, the newly crowned Asian champions in their respective weight category, boxing is more than just a sport. They recollect instances when they had to use their punches to protect themselves from unwanted advances, and firmly believe that women should learn boxing for self-defence.
"I remember when I used to travel from Manipur and it used to take us 2-3 days by train. A lot of boys would think they could act smart with a woman travelling alone. One punch would sort them out," said Sarita, who hails from Thoubal Khunou in Manipur.
The gold-medallist in the 61kg category feels the situation in her hometown is nothing compared to what women go through in Delhi and Haryana — all the more reason why women must learn boxing.
"It's always good to learn a sport, any sport, be it cricket or boxing. Who knows, you might become good at it and represent the country like us," said Sarita.
Five-time world champion Mary Kom also recalls how she had to set a rickshaw-puller straight when he tried to misbehave with her. "I thank god every day that I was a trained boxer when this happened. Had I not been one, I don't know how I would have defended myself," said Mary, who won gold in the 51kg category at the Asian Championships in Mongolia.
"It doesn't have to be boxing, women can learn kung fu, kick boxing or karate. As a player and women, I feel very bad when I hear about harassment and rape in the country. These incidents are on the rise in Delhi and Gurgaon," she said.


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Manresa Jesuit Retreat House
this wiki
Manresa Jesuit Retreat House is a Jesuit retreat center that is operated by the Detroit Province. Its address is 1390 Quarton Road; Bloomfield Hills, MI 48304 -3554. The current director is Rev. Gregory Hyde, S.J.
Phone: (810) 644-4933
A History of the House
The seeds of Manresa were planted by a group of laymen who had their first retreat experiences at St. Stanislaus Retreat House in Cleveland, Ohio. Their initiative was fostered by two Jesuits, Fr. John Donoher, SJ (from 1921 to 1925) and Fr. William Cogley, SJ (from 1925 to 1945). And God gave the increase.
The original group of men formed an association called "The Laymen's Retreat League." Together they purchased land in what is now Grosse Pointe Park and planned to build a retreat house there. After four years of hard work it became clear for variouis reasons that the site was less desirable. Fr. Donoher died on May 30, 1925, and Fr. William Cogley was appointed his successor, and the search for a new site continued. In March, 1926, the Edsel Ford Estate offered to purchase the Grosse Pointe property. This gave the Laymen's Retreat League the opportunity the men had prayed for. They sold the property and in July of that year bought the "Deepdale Estate" of William Murphy on the corner of Woodward Avenue and Quarton Road. This site was more central to a growing Detroit area. Public transportation was available on the Woodward car line between Detroit and Pontiac.
The 39-acre Deepdale Estate had been developed by William Murphy, one of the builders of the Penobscot Building in Detroit. The beautiful, rustic setting, divided by the swiftly flowing main branch of the young Rouge River, was not only an estate but a small farm. Mr. Murphy, in addition to the main house, had built a tile barn for the cattle, a caretaker's house, and a barn for farm equipment. A pump house powered by a waterwheel fed water into an underground sprinkling system throughout the vast gardens. A special feature of the Deepdale Estate was a silo built in the shape of a lighthouse. Mr. Murphy put the property up for sale in 1926 and the laymen decided to buy it.
With the approval of the Provincial of the Chicago Province, Fr. Jeremiah O'Callaghan, SJ, the purchase of "Deepdale" was completed in August of 1926. At that time Fr. O'Callaghan stated that the Father General of the Society of Jesus required that complete ownership and management of the property and all the activities of the retreat house be under the control of the Jesuits. But, for the time being, Fr. O'Callaghan preferred that the property and all assets be left under the management of the Laymen's Retreat League. The actual transfer of the property to the Jesuits took place decades later.
In these early days the Retreat Office was located in the Gabriel Richard Building in downtown Detroit. The manor house on the new property was promptly made ready for retreats and Fr. Cogley directed the first retreat September 23-26, 1926. Sixteen men made this retreat. Initially it was a great struggle to meet the costs and to recruit retreatants. But with Fr. Cogley's leadership and the enthusiasm of the retreatants the new venture picked up momentum. The full capacity of the house was 23 retreatants. To help make ends meet, Fr. Cogley worked a big garden and raised cattle to keep the table supplied. The outdoor Way of the Cross, the Lourdes shrine, and the handsome gateway at the entrance soon enhanced the property.
Disaster Strikes
When the depression came in the early 1930's, expenses became almost insupportable. Then disaster struck. On March 22, 1934, the manor house caught fire and burned to the ground. Yet the retreatants, determined to carry on despite the economic situation, raised the funds to build a new structure on the site of the old. The cornerstone was laid in early 1935 and the building, constructed under the guidance of Henry Brennan of the W.E. Wood Co., was completed by August 27, 1936. Fr. Marshall Lochbiler, SJ, directed the first retreat for 31 retreatants, the capacity of the new facility. The house was built in a style that came to be known as Detroit Cotswold, a style inspired by the Edsel and Eleanor Ford House, completed just a few years earlier.
Growth and Development
Laymen, priests, and some younger boys made regular retreats. In these earlier days it was customary for men from a single parish to make a retreat together. Retreats ended with Benediction at 4 PM on Sunday and the diocesan pastor normally participated. Retreatants remembering these days never fail to remark that the heaviest penance for all was the food. One retreatant remembers overcooked lima beans for breakfast! Table waiters were frequently "jugged" boys from the University of Detroit High School, i.e., their punishment for disciplinary infractions was to wait on tables at Manresa. Fr. Cogley, the "founding father" of Manresa, died on July 2, 1945. It was due to his generous twenty years of ministry at Manresa that the apostolate became took root and thrived.
In 1945 Fr. Gerald Fitzgibbons, SJ, took over as Director. The number of retreatants grew and in 1951 the present chapel wing was built. This added rooms on the second floor and raised the capacity to 42 retreatants. In 1952 Fr. Clement Singer, SJ, became Director. And as the number of retreatants continued to grow, the possibility of a second retreat house in the Detroit area was considered. Eventually it was decided to increase Manresa's capacity even more.
Expansion Fr. Bernard Wernert, SJ, was named Director in 1963. He moved the offices from downtown Detroit to the Manresa facility and formed a building committee which began to plan for a new addition. On Palm Sunday, April 3, 1966, ground was broken for the substantial new wing which included a basement assembly room. On May 21, 1967, 1400 people celebrated the dedication of this extension which brought the number of retreat rooms up to 70. Funds saved by Fr. Singer and his predecessors covered the cost of the building and all its furnishings.
Youth / Funding / Women
When he came to Manresa, Fr. Wernert found youth retreats flourishing under the guidance of Fr. Paul Cavanaugh, SJ. From 1961 to 1969 these midweek and evening retreats filled the house. As the new wing was finished, Manresa's retreatants initiated a fundraising campaign to build a separate youth retreat house on the property. Changes in the Church and society called into doubt the wisdom of having a separate facility for boys. The many donors who had contributed to the campaign, all but six, decided to leave the money with Manresa, thereby providing a fund that has helped sustain Manresa in the years since. Youth retreats, however, have continued to flourish at Manresa particularly through high school "Kairos" retreats. The Second Vatican Council brought about several changes at Manresa. The most noticeable of these has been the offering of retreats for women.
Golden Jubilee/New Leadership
On September 12, 1976, Manresa celebrated its Golden Jubilee with an outdoor Mass, presided over by Bishop Walter Schoenherr. Over 1200 people attended. All of this was reminiscent of the grand Corpus Christi celebrations held by Frs. Cogley and Fitzgibbons in the early days of Manresa.
In 1977 for reasons of health Fr. Wernert retired from his 14 years of service to Manresa and Fr. Eugene Simon, SJ, became the new Director. In 1979 the dining room was enlarged and joined to the new wing. The chapel was air-conditioned. A "cave" chapel was built on the second floor in an area designated for a future elevator shaft. The kitchen and store rooms were enlarged. In 1980 the Jesuits received a new dining room, and Our Lady of Manresa, a one of a kind statue donated by Peter Grande, came to the Manresa grounds.
In 1981 the Sacred Heart Court was added, and the Board initiated a campaign to build the Administration Wing. The next year the new wing, with its Wernert Lounge, Eucharistic Chapel, and administrative offices, was dedicated by Archbishop Szoka. The new main entrance is graced with a statue to the Holy Spirit, the gift of a Jewish family. In 1987 the chapel was enlarged and enhanced with new sanctuary furnishings.
More Recent Developments / Manresa 2000
In 1990, Fr. Simon was assigned to work with the Jesuit Province Office, Fr. John McGrail, SJ, took the position of Director for a year, and then Fr. James Riley, SJ, became Director for four years. During this time the lay Advisory Board became a full Board of Directors. In 1995 the Internship in Ignatian Spirituality, which had been functioning at Colombiere Center in Clarkston for 15 years, became an intrinsic part of the Manresa apostolate. This two-year program, grounded in the spirituality of St. Ignatius, is currently coordinated by Fr. Bernie Owens, SJ. It admits about 25 new people each year.
Fr. Riley was called to serve in Rome in 1995, and Fr. James Serrick, SJ became Manresa's new Director. The Board of Directors then initiated a study of the whole physical plant with special attention to current fire and safety codes, initiated a campaign, called "Manresa 2000," which raised fund for the improvement and upgrading of the whole retreat house facility during the summer of 1997. This work included a new kitchen, an integrated fire and smoke alarm system, fire escapes from the second floor, a new elevator to all floors, new heat controls in all the rooms, air-conditioning of the whole building, and rooms for the physically disabled. The former pump house, which was powered by a waterwheel, has been converted to a small, rustic chapel. On the first floor of the main building, a statue of Our Lady of Montserrat has become the focal point of a chapel, while a "cave chapel" is located on the second floor. With all this work now accomplished, Manresa is well situated to serve long into the 21st century.
Manresa is the home for many different types of Ignatian ministries. Fifty-two conference retreats, with a capacity of 78 persons per retreat, bring in a total of 2,600 men and women each year. Individually directed retreats, lasting from three to thirty days, take place throughout the year. These are coordinated by Fr. Peter Fennessy, SJ. Cottages on the property frequently house these retreatants. AA groups meet regularly at Manresa. These had been fostered by Fr. Jack Schuett, SJ, who ministered to our AA constituency for 21 years. The Manresa staff gives ongoing spiritual direction to many people. Each year the Ignatian Internship trains 50 people of various Christian faiths and backgrounds. Days of Recollection take place throughout the year.


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Inspired by: Footloose
After seeing Footloose on Sunday, I am loving this movie and everything that comes with it: Julianne Hough's down-home country fashions (especially her red cowboy boots...need me a pair of those), the soundtrack (especially this song, in the best dance part of the movie), and the leading man from Stoughton. Getting my PopSugar email earlier this week and seeing that Deborah Lippmann created two nail polish sets in honor of the movie remake, simply added more fuel to the fire. The first set is my favorite.
Have you seen this movie?
Footloose photos via Footloosemovie.com
12 comments:
DO you like the original one?? I am one of those people who is all "Blah, blah, why do they have to make remakes" and "no one comes up with new ideas anymore, blah, hey kids get off my lawn!" But I like Julianne Hough, and I love supporting local talent, so maybe I'll need to put in my non-judgmental eyes and go see it. If you like it, it can't be too bad :)
Thanks for reading!
Due to overwhelming spam comments, I had to turn on word verification. Sorry for the inconvenience and hope you will still leave a thought!
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Genealogies, local histories, historic publications and more are available through the Internet Archive for FREE. This in-depth look at how to use this site covers publications, video and the WayBack machine. This is a live presentation with input from the audience.
Maureen Taylor is an internationally recognized expert on the intersection of history, genealogy, and photography. She has been featured in top media outlets, including The View, Better Homes & Gardens, the Boston Globe, Martha Stewart Living, MSNBC, DIY: Scrapbooking, PBS Ancestors, Creative Memories' Lasting Moments, Dear Myrtle, and Satisfaction Magazine. Maureen is the author of a number of books and magazine articles, as well as a contributing editor at Family Tree Magazine. The Wall Street Journal calls Maureen "the nation's foremost historical photo detective." Before she was the Photo Detective, Maureen was known for her expertise researching families in her home state of Rhode Island.
Sign up for Maureen's free e-newsletter at https://MaureenTaylor.com
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Celebrate the merriment in downtown "Festival City"
Hosting an exciting, entertaining festival nearly every weekend from late spring through fall, Rochester is full of fun. Feel the Rochester vibe everyday by visiting our local performing arts events, museum exhibits and musical recitals.
To lodge near the hub of all the joy and thrills of Rochester, book your room at the Radisson. Inquire about events at the front desk.


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Cool idea...thanks!
I've never even seen this before - brilliant! Thanks for linking up :-) Happy Mouthwatering Monday!
Fabulous idea!!
Although a good idea agreed, I still like eating corn on the cob the old fashioned and messy way.
woah.that's a good idea.i usually eat straight off, or cut off a raw cob for salads.... and don't make TOO much of a mess when cutting on a board.great idea, though!
I totally saw your post the day AFTER I did a whole bunch of corn by just sitting it up on a cutting board to cut it off with corn flying everywhere! I guess next time I'll have to do it this way, brilliant idea- thanks for sharing :)
I can't believe that it is this easy! WOW! Thanks for linking it up to mommy solutions this week. I"m featuring you at 2:30 on my Facebook page.Have a super week!Crystalhttp://www.crystalandcomp.com/2012/09/the-mommy-club-share-your-resources-and-solutions-60/
Fabulous idea! Thanks for sharing at Living Green Tuesdays! Just let me know when I can come over for a big ol' bowl of your sweet corn chowder ;)
That is a great idea!! Pinning this. :) Megan
Genius! I do this a lot to freeze fresh corn and there are always corn pieces ALL OVER my kitchen! I hope you'll come share at our healthy food link-party. http://www.youngnesters.net/2012/09/snacktime-saturday-week-1.html
I'm one of those people who gets corn everywhere as I take it off the cob. Can't wait to try this suggestion!
What a fabulous tip for cutting the corn off of the cob. Your Corn Relish and Corn Chowder look delicious, both are some of my favorites for summer. Hope you are having a fabulous weekend and thank you so much for sharing with Full Plate Thursday.Come Back Soon!Miz Helen
It's been fun checking out your blog! I would love to have you stop by and enter my link party, as well. (Hosted every Saturday) http://www.oneshetwoshe.com/2012/09/hello-weekend-50-mikarose-giveaway.html
Oh, SO smart!! I'm always so thankful to have my doggie clean-up crew when I cut corn off the cob! :) Thanks for linking up to Snacktime Saturday!
love this...the corn at the moment is fantastic here. I would love for you to link it up at my new blog party!and the relish looks awsome. might be making some today?!!
What a wonderful idea!!!! I'm pinning!!! Thanks for sharing at Foodtastic Friday!
We use an electric knife along with the bundt pan- so slick and fast-!
That is brilliant!!
GREAT idea! Thank you!Emilywww.weakandloved.com
Foy, I just featured your helpful post on Deep Roots 'EOA' Wednesday! I also shared it on FB! Great job :)
Foy ~ Thanks for linking up at Or so she says...! I hope you'll add me to your list and come back this Saturday! www.oneshetwoshe.com
thanks for sharing.


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I told the kids a few weeks ago that we'd head to the park on Saturday. Only problem was I forgot to check the weather before I told them and then it was raining. We decided to head to the library instead. I love this 'post library trip' picture.
They desperately needed a hair cut. When Aaron was getting the trimmers ready, we noticed that the #2 guard was broken, so, a #1 buzz cut was in order. Anderson is smiling, but he was not happy with the mohawk look and wanted his hair fixed.
I think Owen has grown a bit over the past year. Maridith made this shirt for him for his birthday.
And here's a picture of him in it last summer...
Tuesday, March 5, 2013
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Boutique & Haberdashery Archives
What To Wear — And Where To Go — For The Kentucky Derby
The Kentucky Derby, also known as America's Race, has been around for 137 years. This annual springtime sports party brings thrilling horse races to millions of Derby fans. However, this May 5th, the horses won't be the only ones captivating attendees and catching eyes at the Kentucky Derby. You can turn heads, too, by following… Read More →


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The Section of Endocrine and Oncologic Surgery at Washington University School of Medicine welcomes the opportunity to assist you in providing the most state-of-the-art medical care for your patients.
Washington University endocrine and oncologic surgeons are board-certified and offer the full spectrum of treatment for patients with diseases of the breast, including breast cancer, and of the endocrine system (the adrenal glands, pancreas, parathyroid, thyroid and other endocrine organs). We are recognized nationally as leaders in the treatment of thyroid and parathyroid disease and also treat disorders of the spleen, gastrointestinal cancers, melanoma and sarcoma.
We function best in working with you as a partner in your patients' care. Please call upon us whenever we may be of service.
For physician referrals, please call (314) 362-2280.
Jeffrey F. Moley, MD, Chief Section of Endocrine and Oncologic Surgery Washington University School of Medicine


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We just watched the "Criterion Collection" DVD of Straw Dogs (which has long been one of my favorite films, though I haven't seen it in quite awhile.)
I gotta say, the commentary by film critic Stephen Prince (author of Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies) is really excellent. He announces at the beginning of the commentary that his goal is to explain to doubters why this, despite general condemnation, is a great film. He succeeds, to the extent that my wife (who didn't think much of it when we watched it the first time through) was persuaded after we watched the film with the comments on directly afterward. I learned quite a few things I hadn't known, and I feel that this unusually engaging commentary has deepened my appreciation and understanding of this strange, superb, unsettling film. How's that for a rave review?
In this commentary and in the accompanying booklets, there's an allusion to a famous review by Pauline Kael, who trashed the movie as "the first American film that is a fascist piece of art." This formulation seems to have become a kind of unofficial subtitle of the film, always mentioned in the same breath, as it were, as the movie's title when the subject comes up in print. I've tried to search out the review itself on-line without success, though references to it abound.
My question is, what do film critics mean when they label a film "fascist"? It comes up from time to time. The most recent one I remember having been proclaimed as such is Fight Club (of which I'm not too fond), but there have been others. Is it simply the putative "glorification" of violence? (In which case, I suppose the bulk of contemporary American films might be so described.) Or is it the theme of territorial struggle, man as animal, survival of the fittest, that sort of thing? Aesthetically speaking, to my eye, there is nothing in Straw Dogs that resembles the "fascist aesthetic" of the Hitler-Mussolini-Franco cultural milieu. Perhaps it's a contemporary cultural politics angle, where the word "fascist" describes something that is perceived as undermining or attacking liberal values?
Here's my other film-related question, and it's more trivial:
Another of my favorite movies is Rosemary's Baby. There's a line in the film, spoken by Guy/John Cassavetes, that has always puzzled me. He has just lit a fire in the fireplace, and has forgotten to open the flue. Rosemary points it out and Guy says (if I recall correctly): "nobody but nobody has a fire tonight!" I believe this line is also in the novel (which the script closely follows). What is he talking about or referring to? I've never understood this, and I've always wondered. Any ideas?
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Benly Sritoomkaew has been through a few recessions in her time. The 37-year-old was looking for work in Bangkok in 1997 when the Asian financial crisis hit and "even graduates from the top universities couldn't get jobs". So she did what an increasing number of men and women do when recession...


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What does NWJ mean in State & Local?
This page is about the meanings of the acronym/abbreviation/shorthand NWJ in the Governmental field in general and in the State & Local terminology in particular.
Find a translation for NWJ in other languages:
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Discuss this NWJ abbreviation with the community:
Use the citation below to add this abbreviation to your bibliography:
"NWJ." Abbreviations.com. STANDS4 LLC, 2017. Web. 30 Mar. 2017. <http://www.abbreviations.com/term/157892>.


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Let's make some.
Terms of use: For personal use only. Thanks! :)
1. Choose your fabric scrap, cut it into a rectangle (whatever size you want), and iron it.
2. Cut the short ends with pinking shears.
3. Change the stitch length on your sewing machine to be as long as possible.
4. Making sure not to backstitch when you start or stop, sew two parallel rows of basting/gathering stitches on each side of the center line. (I just eyeballed it.)
5. Insert a pin on one end like so.
6. Each row of stitching will have a top thread and a bottom thread sticking out on each end. Grab both of the top threads on one end.
7. Wrap those top threads around your pin in a figure eight pattern. This will keep everything in place while you create your gathers.
8. Repeat steps 5-7 on the opposite end of your bookmark.
9. Using one hand to hold on to one end of your bookmark, use your other hand to pull the loose bottom threads on that end. Your bookmark will begin to scrunch up, creating ruffles.
10. Continue pulling the bottom threads from each end and smoothing things out until your have the desired amount of ruffles. Once your ruffles make all your dreams come true, wrap those bottom threads around the same pins as the top threads in a figure eight pattern.
11. Change the stitch length on your sewing machine so it's back to normal.
12. Making sure to backstitch as you begin and end, sew a straight line right down the middle of your bookmark. This will keep all those lovely ruffles in place.
(Note: As much as possible, try not to stitch over your little figure eight threads. They're a pain to get out if you sew over them. I recommend just skipping over that part all together.)
13. Carefully pull out your rows of basting/gathering stitches (i.e. NOT the tidy little row of stitching down the center line).
14. Use those pinking shears to trim around the long edges of your bookmark as necessary.
15. Admire your pretty Ruffle Bookmark.
16. Put it to good use. :)
As usual, the process takes way longer to explain than to actually do. I'd say if you weren't interrupted by an 18 month old every two seconds you could finish one in about 5-10 minutes.
These little bookmarks would be perfect for slipping inside a book in an Easter basket! Or for hiding inside an Easter egg. :)
Looking for more?


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If you were left with questions after the last post it was because I never got to give examples of the formatting of images in your sitemap. Hopefully people just googled it if they were serious, already knew, didn't care, ad nauseum of reasons, and in case you didn't we got you covered with this thrilling follow up post. Taken straight from Google here, this is what the syntax would look like for one page that includes two images.
You can add up to 1,000 images per page by the way, just in case you have a page with over 1k images, you have been officially PWND by Google when it comes to adding all your images on that page to your sitemap, pfffft.
<?xml version="1.0? encoding="UTF-8??>
<urlset xmlns="http://www.sitemaps.org/schemas/sitemap/0.9?
While this is a boilerplate format, the following is a table, again, taken from Google's page on including image url's in your xml sitemaps of what is required and what is optional. The above example doesn't include all of the variables listed below.
Tag | Required | Description |
<image:image> |
Yes | Encloses all information about a single image. Each URL (<loc> tag) can include up to 1,000 <image:image> tags. |
<image:loc> |
Yes | The URL of the image. |
<image:caption> |
Optional | The caption of the image. |
<image:geo_location> |
Optional | The geographic location of the image. For example, <image:geo_location>Limerick, Ireland</image:geo_location> . |
<image:title> |
Optional | The title of the image. |
<image:license> |
Optional | A URL to the license of the image. |


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Spanish banks will need close to €60-billion ($77.24-billion U.S.) in new capital, according to the results of an independently conducted stress test of the country's 14 largest lenders that Madrid hopes will dispel investor doubts over the true extent of losses in the sector.
Seven out of the 14 Spanish banks under review failed, according to the results of the three-month so-called "bottom up" review, which involved the individual assessment of 115,000 loans making up 11 per cent of the value of the sector's total credit assets.
While the bulk of the failing banks were institutions already nationalized or that had taken state aid, Banco Popular, Spain's sixth biggest bank by assets, will need to raise €3.2-billion according to the test, just below its €3.58-billion market value - meaning it will probably need state aid to survive.
Madrid hopes the tests, conducted by the consultancy Oliver Wyman aided by the Big Four auditors under the supervision of the European Central Bank and International Monetary Fund, will finally restore confidence among investors that no more surprises lurk in the Spanish banking sector.
"It was an extreme exercise, it has credibility," said one senior Spanish bank executive. "The IMF, the European Banking Authority, Oliver Wyman were all involved. Only the army wasn't there."
In June Spain requested €100-billion in European aid to recapitalize its banks, for which the test results will be used to justify finally distributing the funds to lenders that failed the process and are unable to convince the Bank of Spain they will be able to raise the shortfall on their own.
Bankia, Spain's fourth-largest lender which requested €19bn in state rescue money in May, will now need to take more than €20bn in capital, while Banco Sabadell, the fifth biggest by assets, just passed as healthy.
The tests, however, provided a ringing endorsement of Spain's biggest three banks by assets, with Banco Santander, BBVA and La Caixa not requiring any new capital even under the most adverse scenario.
Those close to the process hope that the detailed work involved and a tougher recapitalization requirement of more than €20-billion for Spain's most troubled lender, Bankia, will help restore the faith of international markets in the country and its banking sector.
"Finally we have an independent assessment of the health of Spain's banks," said one senior European official. "I'm very positive on this going forward, even if up to now it's been a rather negative experience."
While the €58-billion headline figure came in as expected, with Luis de Guindos, finance minister, having flagged on several occasions a figure around the €60-billion mark in recent weeks, the number of failing institutions rose from five to seven, compared with the earlier an "top down" pre-assessment in June.
That earlier study, which did not involve loan by loan examination, concluded Spanish banks would need between €51-billion and €62-billion in capital.
Analysts however said there remained widespread scepticism about the validity of the exercise.
Daragh Quinn, Spanish banks analyst at Nomura in Madrid, said that despite similar international supervision from the IMF and ECB as for an equivalent exercise in Ireland two years ago, the Spanish stress scenarios were inexplicably weaker, modelling for total losses of about 17 per cent rather than 24 per cent in Ireland.
"That doesn't make sense to me," Mr. Quinn said. "Most people concluded some time ago that a €60-billion recapitalization of Spain's banks isn't enough to change investors' view of the sector."
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April 29, 2005
PHILADELPHIA, Pa. - Tennessee added another chapter to its rich Penn Relays legacy Friday by winning its 14th shuttle hurdle relay championship, more than twice as many as any other school, with a 54.97-second finish. The 54.97 finish stands as the fourth-fastest ever by any team at the Penn Relays. With Tennessee's orange and white flag flying high over historic Franklin Field, Eric Pierce added the Vols' third Penn Relays title in two days with a lifetime-best 24-feet, 6 1/2-inch winner in the college long jump.
The two titles, plus Jeff Day's college steeplechase victory Thursday night, bump Tennessee's all-time Penn Relays title count, including both college and championship sections, to 69 since 1949.
"I was really happy about the shuttle hurdle relay win and Eric Pierce's win in the long jump," head coach Bill Webb said. "We qualified well in the 4x100 relay, but we'll have to make some adjustments on the first leg in the final. We look forward to throwing the hammer and all the other events (Saturday).
The Volunteers' 54.97 effort stands as their second-fastest time in the 14
shuttle hurdle relay victories at the Penn Relays. Four Tennessee 110-meter
hurdlers--Robert Boulware, Drew Brunson, Clarksville's Damond Campbell and
Aries Merritt--teamed to give the program its 30th overall relay championship
at the Penn Relays, the third-best total of any school since 1966.
Tennessee's winning time of 54.97 cut nearly two seconds off its previous
season-best time of 56.83 at the Sea Ray Relays. Webb reported that the Vols
entered the final leg with a deficit until Merritt steamed through the anchor
"Honestly, it doesn't matter to me who we beat so long as we win," Merritt said. "This was a total team effort, and I'm just really proud of my guys.
Tennessee's first relay title at Penn, also in the shuttle hurdle relay, came courtesy of Larry Bogart, Phil Smith, Roger Neiswender and Pat Pomphrey in 1966. The quartet, competing under head coach Chuck Rohe, raced into the Vols ' history books with a 59.5 time. Tennessee took the shuttle hurdle relay title again the next year with Vols' hurdling legend Richmond Flowers running the anchor leg.
The list of Tennessee greats who've contributed to shuttle hurdle relay titles at the Penn Relays is impressive. Pomphrey, Flowers, Bill High, Reggie Towns, Willie Gault, Lawrence Johnson, Dawane Wallace, Tom Pappas, Justin Gatlin, Karl Jennings and Jabari Greer are just a few of the Volunteers who've been part of a winning shuttle hurdle relay at Penn.
"The shuttle hurdles kind of got out of our reign there for a couple of years," Boulware said. "Guys like Willie Gault and Richmond Flowers dominated that event, and we just wanted to return Tennessee back to glory.
Pierce added the Vols' second title of the day with a 24-6 1/2 winner in the long jump. Pierce's mark stands as his lifetime best and a regional qualifier. Pierce became only the second Vol to win the long jump at the Penn Relays. Vol Charles Jeter won the event in 1972 with a 24-11 1/2 leap down the Penn pit. Pierce also becomes Tennessee's first field event champion at the Penn Relays since Steve Pitlik won the college discus in 2001.
The Volunteers' sprint medley relay team also pieced together a solid effort with a third-place, 3:17.07 time. Jonathan Wade, Merritt, Rubin Williams and Paul Cross passed the baton for Tennessee. Assistant head coach George Watts recorded a 46.1 split on the 400 split for Williams and a 1:48.6 split on the 800 for Cross. Wade ran the first leg on Tennessee's victorious sprint medley relay in 2003.
Tennessee's 4x100 relay team posted the third-fastest preliminary time of the day in a star-studded field. The Volunteer quartet of Matthieu Pritchett, Wade, Merritt and Williams got the stick around the hallowed track at Franklin Field in 39.91 seconds, the squad's second-fastest effort of the season. LSU posted the speediest prelim time with a 39.50 effort. Florida, running in the same heat as Tennessee, stands second with a 39.78. All three squads return Saturday for a showdown with quartets of speed demons from other prelim qualifiers.
Garland Porter placed seventh in the college section of the shot put with a 53-3 1/4 measurement.
Freshman Pritchett finished 14th in the college 100 prelims with a 10.86 time. Pritchett experienced some tightness in his leg during the race and will not likely be available for the 4x100 final Saturday.
In the high jump, Drew Brunson tied for 10th with a 6-6 3/4 leap. Halls native Chris Wilson also cleared 6-6 3/4 but finished tied for 13th on previous misses.
Jeremy Burton finished third in his heat and 14th overall in the 400 hurdles with a time of 52.92 in the 400 hurdles.
All of Tennessee's good fortune thus far in the 2005 Penn Relays was tempered with a tough break in the distance medley relay. According to Webb, the baton got knocked out of leadoff man Jeff Day's hand, putting the Vols out of the mix early on. Day picked up the stick and continued his leg and was followed by Burton, Kenny Schappert and Tyler DeVault. Tennessee placed 17th in 10:04.37.
Knoxville Central grad Jim Sexton finished 18th in the college discus with a 157-6 fling.
In the 110 hurdles prelims, co-captain Boulware tied for 21st with a regional-qualifying time of 14.22. Brunson followed in 22nd with a lifetime-best, regional-qualifying 14.24 time. Cade Liverman finished 28th in 14.47.
Tennessee concludes the 111th Penn Relays Saturday. According to USA Track and Field, Penn Relays USA vs. The World coverage will be televised on NBC Saturday from 4-6 p.m.
Penn Relays, Philadelphia, Pa.
Friday, April 29, 2005
100 (prelims) | ||
1. | Kevon Pierre, Fla. Intl. | 10.48 Q,* |
14. | Matthieu Pritchett, Tenn. | 10.86 |
110 hurdles (prelims) | ||
1. | Alleyne Lett, LSU | 13.68 Q,* |
21t. | Robert Boulware, Tenn. | 14.22 * |
22. | Drew Brunson, Tenn. | 14.24 PR,* |
28. | Cade Liverman, Tenn. | 14.47 |
400 hurdles-championship | ||
1. | Gregory Little, UTech | 50.41 * |
14. | Jeremy Burton, Tenn. | 52.92 |
4x100 relay (prelims) | ||
3. | Tennessee | 39.91 Q,* |
(Pritchett, Wade, Merritt, R. Williams) | ||
Shuttle hurdle relay-championship | ||
1. | Tennessee | 54.97 SB |
(Boulware, Brunson, Campbell, Merritt) | ||
Sprint medley relay-championship | ||
1. | Texas Tech | 3:15.08 |
3. | Tennessee | 3:17.07 |
(Wade, Merritt, R. Williams, Cross) | ||
Distance medley relay-college | ||
1. | Pittsburgh | 9:49.40 |
17. | Tennessee | 10:04.37 |
(Day, Burton, Schappert, DeVault) | ||
High jump-college | ||
1. | Marios Iacovou, Ohio St. | 6-11 3/4 * |
10t. | Drew Brunson, Tenn. | 6-6 3/4 |
13t. | Chris Wilson, Tenn. | 6-6 3/4 |
Long jump-college | ||
1. | Eric Pierce, Tenn. | 24-6 1/2 *,PR |
Shot put-college | ||
1. | Ryan Ketchum, Ind. | 58-11 1/2 * |
7. | Garland Porter, Tenn. | 53-3 1/4 |
Discus-college | ||
1. | Robert McDade, Villanova | 187-6 * |
18. | Jim Sexton, Tenn. | 157-6 |
SB-season-best mark, PR-personal record/career-best mark, Q-qualified for event final, *-NCAA regional qualifier.


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Home Alone
Lori Ditlefsen 1/13/2004 6:33:20 AM
Nice shot and cute title Marcelo. I love the scene and feeling that goes with it. #87407Jessica Hughes 1/13/2004 6:44:25 AM
This is great Marcelo! Nice composition! #329491Patricia Marroquin 1/13/2004 8:11:43 AM
Very cute capture, Marcelo! :-) #329594Colette M. Metcalf 1/13/2004 10:18:33 AM
Cute capture!! #329730Joy Brown 1/13/2004 1:25:31 PM
Great shot and angle! #329973Marcelo Dayan 1/20/2004 9:37:54 AM
Thankyou all for taking the time to comment it is much appreciated.Cheers!!
Carolyn M. Fletcher 2/17/2004 3:23:14 AM
Congrats on your win. Great shot! #382512Kristen McKain 2/17/2004 3:48:29 AM
congrats!!--adorable capture! #382546Robin L. Wehrman 2/17/2004 6:02:02 AM
Congratulations on you win, good job! #382836Marcelo Dayan 2/17/2004 6:11:11 AM
Thanks to everybody... this is very encouraging! #382867Patricia Marroquin 2/17/2004 7:40:43 AM
Congratulations on your big win, Marcelo! :-) #383083Jean Papo 2/17/2004 8:22:26 AM
Congratulations, on your well deserved win, Marcelo! #383157Evy Johansen 2/17/2004 9:17:59 PM
This is a very cute image, Marcelo! Many congratulations on your win, Well derserved! #384140Mary K. Robison 2/20/2004 2:13:09 PM
Marvelous photo, Marcelo! It really deserves its win! #388527Marcelo Dayan 2/23/2004 4:32:20 AM
Pätricia, Jean, Evy & MaryLa Boca neighborhood, Buenos Aires
Uploaded on 1/13/2004 6:29:24 AM
Camera: Minolta Dimage Z1 Digital Camera
Copyright for this gallery photo belongs solely to Marcelo Dayan. Images may not be copied, downloaded, or used in any way without the expressed, written permission of the photographer.
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text: Do Not Disrespect Joey Porter's DogsLeitch9/21/06 12:45pmFiled to: NflJoey PorterPittsburgh Steelers75EditPromoteShare to KinjaToggle Conversation toolsGo to permalinkSome difficulty for Pittsburgh Steelers unhinged linebacker Joey Porter this morning; apparently two of his dogs — a pit bull and a mastiff — escaped from Porter's residence and killed a miniature horse at a nearby farm. The horse, being miniature, was actually smaller than each of the dogs, so that probably wasn't pretty.AdvertisementWe'd like to express surprise that Porter's dogs are a pit bull and mastiff; we would have absolutely pegged him for a chihuahua or pomeranian guy. Porter has apologized for the incident, saying, "I am not sure how the dogs escaped. We have a very secure yard with a six-foot fence around it and this has never happened before. I have reached out to the owners of the horse and will do whatever I can to help them get through this very unfortunate situation."But the real story? Well, the horse had been talking about the dogs, about how they weren't so tough, and the dogs just took that as a sign of disrespect, you know? And the dogs AREN'T GOING TO BE DISRESPECTED. Hey, they come into THEIR house and start hatin'? Ya'll better expect to get your neck chomped, WOOF WOOF!AdvertisementJoey Porter's Dogs Get Loose [Pittsburgh Post-Gazette]Reply75 repliesLeave a reply


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Post-graduation is a frightening concept for many students, not just seniors. Luckily, English majors are versatile and valuable because they are able to think and write critically, making them stand out from the crowd. Below is just a small sampling of what students majoring in English can expect to pursue careers in as well as a few examples of Berry grads in the professional field:
Education Insurance Underwriting Education/Copy Editing Law English Teacher Tech Support Journalism National Park Service Media/Magazines Non-Profit Development Education/Missions
For assistance in finding employment after graduation, contact the Career Center.
Some recent graduates of the department are attending graduate school while others are active in diverse professional fields. Recent graduates in the English, Rhetoric and Writing department have been accepted to study at the University of Chicago, University of Miami, New York University, Jesus College at the University of Oxford, Hollins College, University of Virginia and the University of Georgia.


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Resistance. Have you ever had any problems with this in the past? If so, how have you dealt with it? Not all resistance is equal, but ... more
Works of Heart-Women's Ministry, Outreach & Education, June 2013 NewsletterHello!Here are the Works of Heart offerings for this ... more
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I haven't been on here in awhile, and the reason is that I have been busy starting my charity! It's called Healing Families' Lives! You can visit our website at healingfamilieslives.bravehost.com. You can also see our page on Facebook! I'm so excited and blessed with this mission for my life! Have a look and see what it's all about! Angeliavenus |
I am feeling so well-blessed to be on the path that I am walking now. I am so excited to grow my corporation and non-profit! I am excited, because I think that I may have found the person with the other half of my heart! I am also really feeling those onions from lunch, lol! Angeliavenus |
Hi, all! I wanted to let you know that I have new content, links, pics and a new web journal posting entitled, "Teenage Moms", on my site at www.worksofheart.bravehost.com. Check it out if you're interested! Thanks for your time! Ange Angeliavenus |


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Welcome to the home page of the sarcoma group
Sarcomas are malignant tumours arising largely from connective and supportive tisues, such as bone, fat, cartilage etc.
The Norwegian Radium Hospital is a national centre of competence in sarcoma diagnosis and treatment.
The Clinical Sarcoma Program is closely associated with the Scandinavian Sarcoma Group, that through collaboration has contributed significantly to improved outcome of patients with this type of cancer.
Treatment of sarcoma patients is founded on a multi-disciplinary approach. Hence, research and development within this field involves a collaboration between various groups of physicians and basic researchers. This is reflected in the research profile of the sarcoma group at the Norwegian Radium Hospital.
Latest publicationsSarcoma research group Publications 2017
More publications | ||


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Just five minutes ago I got a call from the Apple Store at the Walt Whitman Shopping Mall in Huntington Station Long Island, NY, confirming that I would be picking up my new iPad on Saturday. We agreed that it was for the 64GB Wi-Fi model.
I was told that pre-orders would only be available for pickup until 3 pm, and was asked when I expected to swing by and pick it up. 9 am sounded good to me and to the store rep.
This leads me, you and probably everyone else in the world to question how supply is going to meet demand. With my local Best Buy possibly getting 15 units, and Apple Store pre-sale estimates rising as fast as Apple stock, my crystal ball shows a lot of unhappy campers come Saturday night. But I won't be one of them, and presumably, pre-orders are covered, as long as you come in during the appropriate time.
Did anyone else get the same confirmation call?