text:
The recent turbulence in the markets has already taken its toll on one Wall Street firm. Now, investors and analysts are trying to gauge whether other investment banks have been hurt by turmoil in the bond markets.
The Jefferies Group on Tuesday reported unexpectedly weak bond trading results for its second quarter, which closed at the end of May.
Though Jefferies is not as large as Goldman Sachs or JPMorgan Chase, it is an experienced bond-trading firm that weathered the severe storms that have buffeted markets since the financial crisis of 2008. It was no surprise, then, that Wall Street shuddered a little after Jefferies reported second-quarter fixed-income revenue that was down 27 per cent from a year earlier. Fixed-income departments trade bonds, currencies and commodities, as well as lucrative financial instruments called derivatives that are linked to those assets.
Wall Street firms are heavily reliant on fixed-income revenue, more so than trading in stocks. Last year, 29 per cent of Goldman's overall revenue came from fixed-income trading. But a jarring shift has been occurring in the fixed-income world since the Federal Reserve signalled that it might start reducing its monetary stimulus this year.
Since the crisis, the Fed has injected money into the financial system and economy through the bond market, which supported a strong rally in bond prices. But, in anticipation of a change in the Fed's stance, investors have dumped bonds, causing their prices to plunge.
The challenge for Wall Street firms is how to continue to generate fixed-income profits in this environment.
On Tuesday, Richard Handler, chief executive of Jefferies, indicated that might be difficult. In a news release, he said that concerns about a Fed pullback had "led to subdued fixed-income secondary volumes and opportunities," adding that "the fixed-income trading environment can best be characterised as tepid and cautious."
For now at least, the view on Wall Street is that Jefferies is an exception.
Some analysts contend that when larger firms like Goldman and JPMorgan report their second-quarter results in mid-July, they will be healthy despite the current instability. That is because the commotion in the bond markets today is different from other difficult periods. Wall Street firms suffer when clients greatly reduce trading. That can happen when political turmoil creates major uncertainty about the future, like the events in Europe a year ago, or when investors fear bond prices could have a long way to fall, as in the financial crisis.
But, today, the bond markets appear to exhibit the "right" type of volatility, some analysts said. Investors are busy adjusting their portfolios for a world in which interest rates rise, selling some bonds and buying others. This trading goes through Wall Street firms, bolstering their revenue.
"During that process, you are seeing the fixed-income divisions doing very nicely," said Brad Hintz, an analyst who covers Wall Street firms for Bernstein Research. "They are doing well as their clients position themselves for higher interest rates."
Big bumps still are possible along the way.
Certain types of bonds can be hard to sell quickly. In the past, certain firms racked up big losses because they were overly exposed to bonds that fell steeply in price. "Banks got so entrenched in the way interest rates were," said Paul Gulberg, who analyses investment banks for Portales Partners. "So, if you get a big change, somebody may get a significant shock."
Mr. Gulberg agreed that, in the second quarter, certain types of fixed-income revenue will be strong. One leading indicator is the amount of fixed-income derivatives that have been traded on exchanges. It was up a lot in May and may reflect an increase in trading activity at Wall Street banks themselves.
But Mr. Gulberg said the exchange figures did not shed much light on what might be happening to the type of fixed-income trading that was most profitable for the banks. Higher interest rates may dent that business, he said. Another way in which fixed-income revenue can be diminished is if companies stop issuing so many bonds through Wall Street firms. That, of course, would lead to lower deal fees, but it could also weigh on trading activity, Mr. Gulberg said.
While all eyes will be on the second-quarter results of Wall Street firms, Mr. Hintz contends that it is important to assess what would happen to revenue in a longer-term increase in interest rates. As clients adjust to the new environment, revenue might benefit initially. But bond traders could soon face leaner years, according to an analysis by Mr. Hintz that compares interest rates with Wall Street revenue back to 1980.
"You get higher interest rates, you get lower fixed-income revenues," he said. "The numbers are about as statistically clean as they can be."
The New York Times


text:
a place for zinesters - writers and readers
The latest edition of the 12-page zine, Has Anyone Seen My Shoe? (based on the discarded clothing photography site of the same name - hasanyoneseenmyshoe.blogspot.com) is now available.
Plenty of photographs of discarded clothing from different US cities. Small bumper stickers available with zine.
$2 per zine or we could trade.
Email email@example.com if interested.
© 2017 Created by Krissy Ponyboy Press.
Powered by
Badges |
Report an Issue |
Terms of Service
Please check your browser settings or contact your system administrator.

subset: commoncrawl


text:
Effective December 1, 2016
The fees included in the District Court Miscellaneous Fee Schedule are to be charged for services provided by the district courts.
- The United States should not be charged fees under this schedule, with the exception of records searches,
photocopies and reproduction of audio recordings when the information requested is available through remote electronic access.
- Federal agencies or programs that are funded from judiciary appropriations (agencies, organizations, and individuals providing services authorized by the Criminal Justice Act, 18 U.S.C. 3006 and bankruptcy administrators) should not be charged any fees under this schedule.
Make checks payable to "Clerk, U.S. District Court"


text:
An African-American Willie Stark wends his way through Trinity Repertory Company's stage version of Robert Penn Warren's ALL THE KING'S MEN (through October 21); Stanley Kowalski bellows for Stella in New Rep's A STREETCAR NAMED DESIRE (through October 7); Boston favorite Leigh Barrett takes on GYPSY's Mama Rose at Stoneham Theatre (through September 30); Nora Theatre Company lets us in on THE SECRET LOVE LIFE OF OPHELIA at Boston Playwrights' Theatre (through September 30); and "The Impossible Dream" echoes its insistent way through MAN OF LA MANCHA at Lyric Stage Company of Boston (through October 13). SpeakEasy Stage Company offers the New England premiere of the Off Broadway hit ZANNA, DON'T! (Calderwood Pavilion through October 13), a musical fairy tale about a matchmaking teen with the ability to change the world the way Dolly Levi changed Yonkers. Boston Theatre Works' stripped-down staging of A FUNNY THING HAPPENED ON THE WAY TO THE FORUM is just up at the BCA Plaza (through October 20). And there are plenty more to come — we hope not turkeys — before Turkey Day.
Table of Contents
Cover Archive
Masthead | Authors | Contact us
See all articles by:
All Slideshows


text:
It doesn't have quite the same ring to it as the butcher, the baker and candlestick maker, but there is a certain fairytale quality to broadcaster, the bureaucrat, the poker guru and the man who fostered 200 children.
The way things are shaping up, the contest to become Labour's candidate for the Ikaroa-Rawhiti byelection, following the death of MP Parekura Horomia, will be more of a cliffhanger than the byelection itself.
When there were only three names in the ring, things were a bit easier. There was Meka Whaitiri, who returned from a career as a public servant in 2009 to head Ngati Kahungunu Inc. There was Henare O'Keefe, who impressed the party hierarchy with his life of fostering troubled youth - 200 of them, no less - and working to stamp out violence in his Flaxmere community. And there was the young buck Hayden Hape, also on the Ngati Kahungunu board but who came to fame for his skills in online poker.
To begin with, the talk of the ideal candidate was rather sentimental. Labour wanted someone like Horomia, someone who need not have grand oratorical skills but already had strong grassroots connections in the electorate as an advocate for the people.
O'Keefe appeared to have the edge, courtesy of his back story. Alas, political parties are rather like magpies. They think they want the humble, nourishing worm until something shiny and new catches their eye.
Enter Shane Taurima, whose entry into the contest has made it too close to call. This is not to diminish Taurima's abilities for the role. Taurima is an eloquent speaker and his reasons why he is best suited for the seat are as compelling as the other candidates'. His pitch is the one of a local boy who was sent out to make something of himself and is now ready to return home.
On the selection panel on Sunday, the members' vote could well be the casting vote, so the most canny of the nominees have been busy recruiting as many of their whanau and friends as possible to join the party in a bid to stack the selection vote. The party closed that process last night, when nominations closed.
Whaitiri has produced a video in which her sons outline her achievements and movie director Taika Waititi gives her a cheeky endorsement. Taurima has also reportedly been hard at work building up a support network. Each has added a little bit of bling to their pitch. Whaitiri's mother Mei was the model for Napier's Pania of the Reef statue - and Mei also appears in the video. Taurima has pointed to his Ratana Church background and the fact that it was his great-uncle Tiaki Omana who unseated Ngati Porou's Sir Apirana Ngata in 1943.
If the party hierarchy and some members are split between O'Keefe and Taurima, Whaitiri could easily come through the middle, especially if she has harnessed the women's lobby.
Taurima is the one with the most at risk. He has been loyal to TVNZ and is one of broadcasting's gentlemen. However, in the media as much as politics, perception is everything. After two decades of putting his leanings to one side, it will now be difficult for him to return as head of Maori programming at TVNZ, no matter what steps are put in place to distance him from editorial decisions.
Some of the programmes he oversees, such as Te Karere and Marae Investigates, will be covering not only the byelection, but the Maori Party leadership issue and next year's election. There have already been questions raised about this.
Taurima's announcement he would seek Labour's candidacy was given coverage on Te Karere, coverage other potential candidates from both Labour and other parties did not enjoy. Given the risks, it seems unlikely Taurima would seek the candidacy without some level of assurance that he will have a chance with Labour in 2014 even if does not get the Ikaroa-Rawhiti selection. It may well be that the party is banking on an eighth Maori electorate emerging after the Maori Electoral Option, most likely to be around the Auckland region where Taurima currently lives. He may also be considered for a good list placing.
Whatever the result, the level of interest and the calibre of candidates the seat has attracted will hearten the Labour Party. Parties down on their luck don't tend to attract many candidates. So the byelection gives a perception, at least, of a renaissance in Maori interest in Labour.
Although there is nothing shabby about the candidates the Maori and Mana parties are standing, there was not the same level of competition or interest. Labour ended up with the nominee the Maori Party wanted, Henare O'Keefe. The Mana Party is standing Maori TV presenter Te Hamua Nikora, whom leader Hone Harawira describes as "more popular than me". The Maori Party has opted for the solid Na Raihania again, a step that will at least save them some money by allowing them to re-use his 2011 hoardings.
Both parties have described it as a "two-horse race" between their own candidate and a Labour candidate. Commentator Morgan Godfery was probably more accurate when he said the only 'two-horse race" was for second place.
Otherwise, the show is all about Labour. Labour's Maori caucus has been muted in recent years largely because its three key players have been winged by personal circumstances. Horomia had struggled with his health for some time before his death, Nanaia Mahuta was trying to raise a family and deal with iwi issues and until recently Shane Jones was effectively sidelined for most of the past year while the Auditor General looked into his decision to allow Bill Liu citizenship. The byelection has provided a much-needed boost for Labour in Maori politics.


text:
Custom Wavefront LASIK Doctors in Westborough, Massachusetts
(1 results)
COMPARECheck the boxes to compare.
- Cataracts, LASIK - Laser Eye Surgery, Ophthalmology, Ophthalmology: Oculoplastics
Jean Keamy, MD
- Keamy Eye & Laser Center
- 24 Lyman St., Ste. 130
- Westborough, Massachusetts 01581
Dr. Jean E. Keamy is a board-certified ophthalmologist with extensive experience in refractive and cataract surgery in Massachusetts. She is also a semi-professional photographer with an avid interest in cameras and optics.
- Jean Keamy, MD
Keamy Eye & Laser Center
- Location: 24 Lyman St., Ste. 130 Westborough, MA 01581
- Click here for phone number
- Jean Keamy, MD


text:
Here's an idea for your stage show or next music video that will get you some attention...
You're welcome!
WANT MORE MARKETING ADVICE? Visit 23Hours.com for my latest blog.
Like podcasts? Try RED Podcast to learn how to make a name for yourself.
« Music Marketing Podcast #11 - Networking Tips and Ideas for Musicians | Main | Did This Musician Get Screwed by Fox News? »
The comments to this entry are closed.


text:
Harry Styles' mother is concerned his tattoo habit is getting "out of hand".
Anne Cox has started by successfully convincing him not to get a tattoo of his name in Japanese calligraphy during One Direction's latest jaunt in the country.
A source said: "Harry's mum is worried his tattoo collection is getting out of hand. She's concerned about the lasting effects of the scribbles all over his body and thinks he could live to regret some of them."
"Harry loves the Japanese symbols. He's determined to have Japanese calligraphy on him. It wouldn't surprise me if he gets it done sneakily."
Simon Cowell has also urged the pop star to give his tattoo habit a rest after he got inked more than 30 times in the last 12 months.
The source added to the Daily Star: "Simon gave him some gentle advice suggesting he gives it a break for a while and reassess.
"Harry has had over 30 tattoos in the last year. His mum is also concerned the ink could be the reason he gets such bad skin. She's told him he'll get even more spotty if he continues, not just on his face."
- More about:
- Japan
- Simon Cowell
- Tattoo


text:
No one has shouted yet.
Be the first!
Be the first!
Related News
- Sharks beat Stormers in Super Rugby Sat
- Chiefs and Blues in rare Super Rugby draw Fri
- Francis cleared for Blues in Super Rugby Tue
- SBW back for Blues in Stormers tussle May 16
- SBW travels with Blues to South Africa May 12
- Blues overcome Cheetahs in Super Rugby win May 12
- Blues still eyeing Super Rugby finals May 6
- Francis back for Blues against Waratahs May 3
- Surgery puts Kaino Super season on hold Apr 26
- Six match ban for Sharks rugby centre Apr 24
- Abbott double sets up Hurricanes rugby win Apr 15
- Williams-Ioane pairing adds spark to Blues Apr 13


text:
If you're a sports fan than you now how much fun this time of year is. We have NFL football, World Series baseball, NHL hockey and the new NBA season is upon us. It can be hard keeping track of every game especially when there are so many good games to choose from. NBA fans can now follow their games like never before with the new NBA Game Time BlackBerry App.
With this app you can listen to every NBA game, search for player stats, check overall standings and watch video highlights all on your BlackBerry. There is also a gamecenter feature that gives you inside access on every live game. It gives you a detailed box score with up to the minute stats and a live game clock. Fans will also be happy to know that the NBA is developing a BlackBerry app that will let you watch up to 40 live games a week! Word is it will be released by the end of the year. As for the NBA Game Time app it is available in BlackBerry App World and comes in a free lite version which includes everything but live audio.


text:
I signed onto this forum because im looking for an estimated worth of a German Produced Browning HP. I know the history behind the germans producing the HP i just dont know the worth of one today. I recieved the pistol when my uncle passed away. We only knew it was in the war, we later found out he fought with it in normandy after he landed on D-day, but that was all we knew until recently when we decided to look at it again, and thats where we noticed the markings and did some research.
The production number is 160149
There is WaA140 written on both the Slide and Frame.
There is a nazi symbol with the eagle above it stamped on both the slide and frame
It has what looks like "MP" on the trigger guard
There is also some writing on the botton of the grip that i cannot make out.
The pistols condition is pretty good. You can make out all of the markings without having to really put thought into it. The only one that i had trouble with is "MP" but thats because the top half of the "P" is missing. The pistol has 2 magazines both with the WaA140 markings written on them, and it also has a world war 2 era german pistol holster.
I'll get pictures up here when i can.
Thanks for your help


text:
Wanna know what caused the recent recession? It wasn't lax regulations, corporate greed or any of those "99 percent" talking points … it was the federal government's insistence on extending the American dream to people who simply couldn't afford it.
Government-mandated politically correct lending isn't a particularly popular cause of the "Great Recession …" but it is one, and to pretend that the $2.4 trillion in "mortgages for affordable housing" authorized in 2000 didn't play a primary role in inflating the subprime bubble is to delude oneself.
But hey … that's big government for you. Betting large with "other people's money," and getting involved where it has no business.
In fact other than "economic development," we can't think of anything government should have less to do with than "affordable housing."
Anyway, back when he was running for mayor of Columbia, S.C. (on the buzzword of "transparency"), Steve Benjamin told the press that he had sold his interest in a controversial project called The Village at River's Edge. In fact Benjamin bragged to The (Columbia, S.C.) Free Times that he had "left seven figures on the table" in selling his piece of the action to developer Jonathan N. Pinson for roughly $500,000.
But did he actually sell? According to a lawsuit filed in Richland County, S.C. by NBSC – Benjamin could still be involved with/ on the hook for the development, which is now in foreclosure. In fact the lawsuit names him as a defendant.
Wait … how could that be? If he sold his share, why is he being named in this suit? And why is one official at NBSC telling Free Times' reporter Eva Moore than Benjamin has no ownership stake "that he knows of" in the project – and refusing to answer any additional questions?
Hmmmm …
This development is a classic big government boondoggle, a replacement ghetto for the last round of government subsidized "affordable housing." It has received $7.8 million in federal "stimulus" money and millions more in grants from the U.S. Department of Housing and Urban Development (USHUD).
Columbia, S.C. taxpayers are also shelling out money for the project thanks to Benjamin's 2006 pitch to city leaders – and doing so under the assumption that their mayor has no ties to the deal.
"If he has sold his interest in the property the bank has not recognized it," one local real estate attorney told us. "Until the bank recognizes that he has sold his interest in the property, he is still a guarantor on the note and is legally liable."
FITS spoke with an aide to Benjamin this week who assured us that Benjamin has "no stake" in the deal – referring us to the mayor's statements in The Free Times report which indicated that he had no "ownership interest" in the project.
Benjamin and Pinson do have stakes in other deals involving tax dollars, though.
Either way, this development – which is clearly not going to get new private sector financing in the current economic climate – is yet another example of government money being pissed away. It's also further proof that government needs to get out of the speculative real estate business.
VILLAGE AT RIVER'S EDGE (.pdf)


text:
Issue 152, Fall 1999
Tahar ben Jelloun is one of France's most celebrated writers: his most recent book, Racism Explained to My Daughter was a best-seller; and in 1987 he was awarded the Prix Goncourt for his novel The Sacred Night, which was the first book by an Arab writer to be so honored. For the past two years he has been shortlisted for the Nobel Prize in Literature.
Ben Jelloun was born in Fez, Morocco. The family—there were four children, three boys and a girl—lived in a small apartment in the medina, the old medieval section of Morocco's most beautiful city. His father, a modest shopkeeper, sold spices from a tiny shop in the souk and later worked as a tailor, making djellabas (the long, loose robes worn by Arab men).
At the age of five, ben Jelloun was enrolled in a Koranic school, where he learned to memorize and recite verses from the Koran. Two years later, he entered a Franco-Arab school, studying French in the morning (it was his first contact with the language) and Arabic in the afternoon. He was a studious, serious pupil: "Very early I felt the responsibility of standing on my own feet." Later, he studied philosophy at the University of Rabat.
In 1971, at the age of twenty-six, ben Jelloun immigrated to France to complete his studies at the Sorbonne. He then worked for a time in Paris as a psychotherapist. His first novel, Harrouda, was published in 1973. Since then, he has written nine novels, as well as several collections of short stories, poetry, and essays. He is perhaps best known for his trilogy about the life of Ahmed/Zahra, a girl whose father, desperate for a male heir, raises her as a boy: The Sand Child, which was a best-seller in France; The Sacred Night; and the recently published The Wrong Night.
The interview took place at ben Jelloun's office in St.-Germain-des-Près, a few hundred yards from his publishers, Editions du Seuil, and the Café de Flore, where he can often be seen meeting friends. A small studio on the top floor of a tall, narrow, modern building squeezed into the old blocks of the boulevard, the office is sparsely furnished with a sofa, a couple of comfortable chairs and a large desk strewn with papers, a telephone and a word processor. The height of the building insulates the room from traffic sounds on the street below, while the windows—which overlook a canopy of treetops—provide ample light and air.
Apart from the esteem in which he is held, ben Jelloun is much loved for his charm, warmth, and natural courtesy. He speaks French eloquently, with just a hint of a North African intonation.
You are Moroccan, born and bred. Your mother tongue is Arabic, yet you have chosen to write in French. May I ask you why?
In fact I am bilingual. My first language was Arabic, but I went to a Franco-Moroccan bilingual school. When I started writing as a young man, without any literary ambition, I felt happier doing it in French. There was no conscious choice at the time.
Is it because you had read French authors more than Arab ones?
Perhaps. Also because I took Arabic for granted—it was something I would never lose, and therefore it was not necessary to make an effort over it. I thought, unconsciously, that I had to invest my energies in a foreign language. It was almost a challenge, a stimulant. When at the age of twenty I started writing in earnest, I had no doubt in my mind that I had to do it in French. Yet I never made a deliberate choice between Arabic and French; it came naturally. Other intellectuals in the Arab world criticized me, sometimes very aggressively, for not writing in Arabic. This was a painful experience for me, as I felt that their motivation was often suspect.
Doubtless after you won the Goncourt, with the resulting recognition and success, envy entered into the equation?
Perhaps. But my answer is that I write in the language I can best master. I can write an article or a lecture in Arabic, but not a novel. So out of respect for Arabic I will not massacre it.
Arabic is a very rich and malleable language; with the root of a word that consists of two or three consonants one can build a whole vocabulary of nuances and ornaments. It has produced great poetry and prose. Above all it is a sacred language like Hebrew—God has spoken it. So, as you say, one hesitates to trifle with it. Did you study it at school?
At the lycée we studied the Arab classics; I became aware of the richness and subtlety of Arabic when I began to do translations. To me it was another good reason not to tinker with it. Also, as it is a sacred language, given by God in the shape of the Koran, it is intimidating—one feels very small in front of this language. The other day Adonis, a great Lebanese poet, told me that the Arabic language has not yet had a writer stronger than itself, capable of subduing it. One speaks of English as the language of Shakespeare, of Italian as that of Dante, but we don't say Arabic is the language of al-Ghazali—it is always the language of the Koran. It is inhibitive; one would feel almost guilty manipulating it.
Still, one also has to say that it is useful writing in French, or English, because it gives access to a much larger readership.
That is a reflection of the political situation and the Arab world's bad image, which influences the development of Arab culture. It is unfair—there are many great Arab poets and writers who are unknown. It seems that the culture of a country depends on its politico-economic situation. Today Arabic is considered the language of two hundred million people, and Persian, which has produced such great poetry, that of the mullahs in Tehran. Both have become minority languages. At present the gaze of the West has turned towards the Far East, and suddenly people are discovering the cultures of Japan and China. There is nothing one can do about this state of affairs—as long as the image of Arab countries is politically murky, Arab culture will suffer the consequences.
John Updike once told me that when he went to Egypt he met wonderful writers who were totally unknown in the West—this was before Naguib Mahfouz's Nobel Prize—while as soon as he and other Anglo-Saxon authors sneeze, it is immediately translated, analyzed, commented upon in a dozen languages throughout the world.
We are more interested in Western culture than vice versa. I can give a lecture on Faulkner in America, as can other intellectuals in the Arab world, and no one is surprised, while the knowledge of our writers in the West is limited to a small number of specialists called Orientalists. I hope one day this situation will change, and that soon the rich treasure of Arabic and Persian literatures will be discovered everywhere for the benefit of humanity.
So do I. But we may be too optimistic. Do you think that if you had written in Arabic, your books would have been different?
Naturally. Because a language is not only a tool, but a set of mental mechanisms, as well as all the cultural baggage one carries around with oneself. Francophone culture is more developed than Arab-speaking culture. Also, as I said, Arabic is a sacred language, and Arab authors are in awe of it; they can't use violence against it.
In what way would your books have been different?
To start, the themes would have been different. There are things I could not have dealt with in Arabic, for example, sexuality or criticizing the religious behavior of certain characters. I am not sure how it would have differed in every detail, but I know there would have been more inhibitions.
Could you have approached sexuality in any way?
There are important erotic texts in classical Arabic literature, in the fourteenth, fifteenth and sixteenth centuries, for example—among them The Scented Meadow by the fourteenth-century writer Shaykh Naszawi, which is the Kamasutra of the Arab world. I could have written in the same vein. But one can't be sure about these things, as when one starts writing one doesn't know a hundred percent where one is going—there are things that happen naturally. So I think it is possible to tackle sexuality in Arabic, but I am not sufficiently a master of the language to do it.
There is the Indian Kamasutra, and the erotic poetry of Arab poets—one thinks of Abu Nawas. But erotic expression differs between cultures and languages. In what way is Arabic erotic writing different from ours in the West?
I think that the Orient has a larger and subtler conception of eroticism than the West. For example, there is an important erotic element in A Thousand and One Nights, which is one of the keys to understanding the Orient. But today there is a kind of censorship and prudishness in the Arab world, perhaps as a result of fundamentalism—people are afraid to shock.
If you lived in North Africa and wrote in Arabic, what could you write now in a fundamentalist climate?
It would be impossible to write anything—it would be suicidal. Fundamentalism is against freedom in general, and freedom for a writer is not just to be free to sit down and write, but to think freely, to express oneself freely. So I think that a fundamentalist society can produce nothing but silence or a literature of opposition written in exile.
When you started writing, at first poetry, how old were you?
The moment writing became serious for me I was at the university, aged twenty-two, studying philosophy. The curriculum was the same as at the Sorbonne. In 1966 I was arrested with about a hundred other students for political activity—I was on the left, naturally, like everyone else in those days. Rather than put us in prison and thereby appear oppressive, the government forced us into the army to do national service, which at the time did not exist in the country. So we found ourselves in a barracks doing military exercises, but we were made to understand that it was a punishment. I was choked, and I reacted by writing a long poem in secret. After eighteen months we were released, and I thought perhaps I could publish what I had written in "prison," since I regarded it as the duty of intellectuals to transmit such experiences. The poem was published in Soufle, a magazine created by Abdellatif Laabi, a Moroccan poet.
I received very good responses to this poem and I felt that there was a receptive readership. If the reaction to the poem had not been so good, I probably would not have persisted in writing. The reaction of the public to the first effort of an author is very important.
After university I taught philosophy at a lycée for three years, first in Tétouan and later in Casablanca. In 1971 the political situation in Morocco became rather unstable—there was a coup d'état, a second was foretold, and I wanted to leave teaching in order to prepare a doctorate. So I came to Paris, to the Sorbonne, as usual thanks to a grant. Here I found myself in a hospitable environment. France was then a welcoming country, which is hard to imagine in the present climate. People were not frightened by the immigration bogey as they are now. Even I am nervous when someone comes up to me suddenly in the street—often it is to say something nice, but occasionally racist insults are poured out. "Go home, you dirty wog," or some other obscenity.
In Paris I met people who helped me enormously. For example, I became friendly with the editor of Le Monde who asked me to write articles about immigration and about Arab culture in general. At the same time I wrote my first novel, Harrouda. I gave it to Maurice Nadeau, at Denoel's, who was then the publisher most attentive to foreign literature—to what came from "elsewhere" and was new—and he accepted it. That is how I started.
You had published a book of poetry before this first novel?
Yes. One day I just went into the offices of François Maspero's publishing firm and I handed my manuscript to Maspero's wife, who was in charge of their poetry collection. She decided to publish me. The reception by the critics and the public was very generous. They printed two thousand copies, which for poetry was huge in those days.
Were there many North African writers in France at the time, or were you a rarity?
There were some. Especially a whole generation of Algerian writers who had begun to be published in the fifties—for example, Kateb Yacine, Mohammed Dib, Jean Pelegrini, T. Amrouche, and others. Their work was on the whole rooted in the Algerian war of independence. But when I say I was well received, it wasn't a complacent reception or a concession, rather my success was a slow process. I was serious. It wasn't like today, when everybody talks about a writer for three months and then it is over, he vanishes without a trace. They sold only three thousand copies of Harrouda, but in contrast to more flamboyant successes, twenty-four years later the novel still exists and is sold in bookshops.
Harrouda was a very literary novel, with a strange plot. Was it based on a true story?
There was an old prostitute in Fez who haunted the imagination of children and adolescents when I lived there as a child, and I turned her into a kind of saint.
But real success came with the Goncourt. You were the first Arab, indeed the first foreign writer, to win it.
There had been an African writer in 1934 who had won the Goncourt, but no one mentioned him in 1987 when my novel won it, so it was assumed that I had been the very first. The prize gave me access to a much larger public. But already my previous novel, The Sand Child, published two years earlier, had been a best-seller and sold a hundred and fifty thousand copies. When The Sacred Night won the Goncourt, it carried all my other books with it.
Apart from the curriculum of the lycée, which writer gave you the first impulse to write?
It may seem strange, but I did not identify with writers, rather with certain filmmakers: Orson Welles, Federico Fellini, Yasujiro Ozu, Akira Kurosawa, Michelangelo Antonioni—people who told stories. Of course there was the intellectual influence of Sartre, Camus, Genet, and others, but that was due to the times, the zeitgeist. For my artistic paternity I looked to Welles and Ozu rather than novelists.
Did you try to become a filmmaker?
I even wanted to study cinematography at L'Institut des Hautes Etudes Cinématographiques. But very soon I realized that cinema is an industry, a very heavy industry at that, and complicated. One can't always be a creator when one depends on so many people and circumstances. I had confused my love of cinema with my desire to make films. So I gave up the idea.
Cinema is a passion in France—after all the French invented the thing. Did you go to the cinema all the time when you were a student here, as we all did?
I am fascinated by images. What helped me most in the cinema was the way a story is told pictorially—through images—by a Welles or a Hitchcock. In the first few minutes of a film you have the presentation of the characters and the situation, and you're off. Today, American movies try too hard to be realistic—you see someone have a coffee, eat in a restaurant or a bar, punch someone in the face. But Ozu and Welles did not copy reality. What is important is to invent a story and to make the spectators believe it—what is important is that sitting in a dark movie theater one is transported to another universe in imagination. This is what I try to do in my books.
You went to the cinema, but you also read a lot, you said. Who? Any foreign writers?
I read Steinbeck, Dos Passos, Faulkner—in adolescence. But the writer who helped me most was James Joyce, not because I wanted to do the same thing as he had done, but because of his formidable boldness; I thought that if Joyce could be so daring, I too ought to dare. When I was in the military barracks, I asked a friend to send me the thickest book he could find. As we were not allowed to read, I read secretly, and I wanted a book that lasted a long time. So Ulysses was smuggled in, and I was thunderstruck by the sheer audacity of the enterprise. I knew nothing about Ireland; it was the writer's itinerary that interested me, his temerity. I have never succeeded in reading Finnegans Wake—there I think the risks are gratuitous. It is obscure.
Yet you like modern poetry, which is often obscure when it is not opaque.
Obscure poetry does not exist, or else it is not poetry, it is something else. Real poetry is never obscure; even Mallarmé is clear. For my part I have stayed with St.-John Perse, René Char, certain poems of Yves Bonnefoy, of Louis-René des Forêts. Sometimes I read poetry books I am sent, and I say to myself, But this is nonsense! It has no relation to poetry. But then sometimes people have nothing to say, or nothing more to say, and yet they continue saying it all the same! Look at Jean-Luc Godard: I found his first films admirable then one day I discovered a strange phenomenon—Godard was a man who had nothing more to say. He still has the technique—this marvelous way of manipulating images, but his films have no interest whatsoever, they are empty.
This is also the case with certain poets. As a result I feel that at the moment there is an absence of poetry, at least in the West, and a fear of poetry, as if people didn't dare. In France the Resistance produced great poetry by inspiring poets like Aragon, Éluard, René Char. They had something urgent to communicate, certain values to defend that were in peril. What does a French poet have to say today? Write a poem against Le Pen? About unemployment? The suicide among the young? These are cyclical themes, temporary subjects.
It is not an accident that a bad poet like Bobin who writes sentimental, pseudoreligious mediocre poetry sells tens of thousands of copies every time he publishes a new collection, and that The Alchemist, Coelho's, in my view, banal novel has sold eleven million copies. It is because people need poetry and are looking for some sort of spirituality; they need to be reassured and to hope. But this is the spirituality of the bazaar, of the Monoprix.
It seems to me that one finds more poetry in certain prose writers today. In English as well. For example, I think that the success of your books is partly due to the fact that your writing and your sensibility are poetic.
That is my Arab heritage. When I tell a story, I feel Moroccan and tell it like a Moroccan storyteller, with imagery and a construction that is not always realistic, but where poetry can reside.
In A Thousand and One Nights, which is very pictorial—the author paints pictures, perhaps because originally these stories were told orally, and the storytellers had to hold the attention of their listeners by spellbinding them. You tell your stories like an Oriental conteur.
I don't claim the mantle of the author of the Nights, nor do I refer to any particular period of Arab history. Yet when I write I feel inhabited by the Arab culture. At least that is the logical explanation I can give for the presence of "poetry" in my work. As regards narrative technique, I was very influenced by Roland Barthes—his essays on the relation between the text and literature. As the nouveau roman bored me stiff when I was a student, I did not want to write anything like it myself. What I did, I invented as I went along, unconsciously. I think my style is Moroccan, but perhaps the Moroccans don't think so!
The themes of your novels are Moroccan too—the story is always situated in Morocco, or at least in North Africa.
That is true. The themes are deeply Maghrebi, because they relate to problems that preoccupy us, problems of daily life—the relationships between men and women in a Muslim society, between the state and the law, or the individual and the collective.
In all third-world countries, particularly in Islamic countries, there is a state of upheaval and uncertainty as a result of contact with modernity and the West. This is the case in your first great success, The Sand Child, which is the story of a baby born a girl whose parents pretend is a boy, because they already have six other daughters and are ashamed of not having produced any male child. This has tragic consequences for the baby girl as she grows up. Was it based on a true story?
No. I invented it because I wanted to write a novel about women's condition in North Africa, but not in a didactic, militant manner. I wanted to react against the feminist literature of the 1980s, which was rhetorical, strident, and unimaginative. So I thought if I took a child whose destiny has been forced to deviate from its normal course, who therefore lives both conditions—the masculine and the feminine—at the same time, I could highlight certain problems.
The Sacred Night, the novel that won the Goncourt, continues the story. It is the second volume of a trilogy of which the third is The Wrong Night. The first volume, The Sand Child, had several possible endings, all of which you indicated in the manner of Oriental storytellers. But you had to choose one to continue the story. How did you make the choice?
It was the readers who asked me to continue the story. I received endless letters saying, What happened to Ahmed/Zahra?—the main character with the double sexual identity. It was a way of talking about women's condition without dogmatism.
If the readers hadn't suggested it, would you have written a sequel to the story?
We can put it the other way: if there hadn't been a story to continue, the readers would not have suggested it.
You have said, "To be a woman is a natural infirmity that everyone accepts. To be a man is an illusion and a violence that everything justifies and favors." Is that how you conceive women's condition in the Muslim world, particularly in view of the growth of fundamentalism that targets women in particular? I ask you this question because parallel to the oppression of women by so-called fundamentalist groups, there is a thriving Islamic feminism.
The Muslim feminists draw their arguments from the doctrine and the history of Islam, demonstrating that the oppression of women in Islamic countries has nothing to do with Islam, which was originally a liberation for them, and which produced remarkable women—heads of state, politicians, poets, mystics. One of the most eloquent and erudite of these Muslim feminists is your compatriot, the historian and sociologist Fatima Mernissi. I'm thinking of her books The Forgotten Queens of Islam, Islam and Democracy, Beyond the Veil, among others, which show to what extent Islam has been denatured, in relation to the intentions of its founder, by corrupt rulers and mullahs. She feels that today the oppression of women has to do with underdevelopment, poverty, injustice, and corruption, which are endemic in third world countries.
They are right. The veil exists in all religions, even in Christianity. One covers one's head as a mark of respect when one enters a church, a synagogue, or a mosque. It is recommended during prayer. But I think it is essential to separate politics and religion. Religion is a personal matter, which concerns the relationship between the individual and God. To use Islam for political ends is pure demagoguery, a means of oppressing people. Religion concerns what is eternal, and politics by its nature is temporal. So we have to separate the two, otherwise Muslim countries will never overcome underdevelopment and oppression.
Let us get back to Ahmed/Zahra. How does she resolve her dilemma?
My job is not to give answers or to find solutions, but to ask questions, to testify in a human situation. I tell a story in the hope that it will incite reflection, provoke thought.
In between the volumes of the trilogy, you also wrote a small book on friendship where you speak about all the friends who over the years have enriched your life. Jean Genet seems to be among those who have counted most for you. He was a very strange character, rather farouche, diffident, solitary, known to very few people. What do you think of him and his work now with distance in time?
He was an extraordinary human being. When my first novel appeared, I sent him a copy via his publishers, without any hope of response, as everyone knew how shy and aloof he was. One day a communist friend of mine who read L'Humanité regularly told me that there was an article about me in the paper. I rushed and bought it. The article was in fact the text of a broadcast Genet had made on the radio about several Arab writers. In it he attacked Sartre, whom he blamed for not being sufficiently attentive to these writers, among them myself.
I sent him a note thanking him for his kindness, saying that I lived at the Cité Université. The next day I was called to the telephone, and it was Genet, suggesting that we meet. It was the start of a great friendship, which lasted until the end of his life. In 1979, during Khomeini's revolution in Iran, he said to me, This old man interests me because he says "screw you!" to America and to the West. It wasn't the political quarrel between the Shah and Khomeini that interested him, it was the rebellious stand of one man against a system, against the world. He always took brutal positions because he was a rebel, against power of any kind.
We became great friends, although he didn't really believe in friendship, as for him freedom and fidelity were incompatible. Yet he was always a very good friend to me. He said to me: "When you are writing, think of the readers, be simple." I have tried to follow his advice, for I think simplicity is a sign of maturity.
The cult of friendship is very strong in Middle Eastern countries. In Persia it is rather passionate, close to love. Is it the same in Morocco?
Not quite. But friendship plays an important part in my own life. Love is something different, often the opposite of friendship. Love is complicated, fraught with difficulties. Love is not always there, it depends on things over which one has no power. Friendship is just the opposite—simple, voluntary, lasting.
Corruption, which was published in 1994, deals with the problem of corruption in a country like Morocco. It is the most political, the most accusatory, of your novels. Do you think politics can change things in the Maghreb, and in the third world generally? Could it be that a moral and spiritual revival is needed as well?
Moral and spiritual regeneration cannot take place without healthy, clean politics. Therefore the fight against corruption is an effort towards moral and cultural hygiene of the society as well.
Your new novel, The Wrong Night, is the third volume of the trilogy. The main character is again a woman. Were you reacting to what is happening against women in Algeria at the moment?
No. It deals with a certain violence that has long remained dormant in the protagonist, who finally takes her revenge. It is not a realistic story. It is the violence of a woman who has been oppressed for a long time, and that finally explodes. But she is not a real woman; rather, she belongs to the realm of legend.
What do you think of magic realism, which uses legendary figures from popular sources, especially in South America, to illuminate the present situation? In what way do South American novelists of that school differ from you? Which author or work do you admire particularly?
I very much like Juan Rulfo, Juan Carlos Onetti, certain novels of Gabriel García Márquez. But I don't think we belong to the same school. They are rooted in their own culture, and I in mine; and the two are very different, not only because of Islam but because of other factors, such as history and geography.
Have you been involved in the Rushdie affair?
Of course. And I have defended him. It has become a symbol and a necessity. To defend Rushdie is to defend the freedom to write, to imagine, to create.
How do you organize your work?
I leave home every morning and come here. I work all day, and go home to spend the evening with my family, my wife, and my four children.
Do you write by hand or on the word processor?
I write by hand. The word processor is for articles, because newspapers demand that the text be on a diskette.
How does the idea of a new novel come to you? Do you stop all other work during the writing of a book?
I let the idea mature over a long period. I start writing when I feel a certain urgency. I can't read much while I'm writing a book. I am entirely given over to writing. It is the only task that gives me joy.
What are your work-destroyers? Hemingway said the worst thing was the telephone.
Frustrations, little annoyances, contrariétés—social, psychological, the time one wastes grappling with bureaucracy, quotidian chores. Yet one can't write unless one lives, and living means also dealing with the post-office employees, driving in the rush hour, facing up to the demands of daily life. So what disrupts the work comes from outside it. But what would break it completely would be the absence of hope—reaching a point when one wonders, What's the use? If ever I came to feel that literature is useless, then I would stop writing. Until then, despite all the frustrations, I will go on. In short, when one no longer feels the need to write, one stops.
Gore Vidal once said that just as a shopkeeper goes to his shop, or a doctor to his surgery every day, a writer sits down and writes, meaning that writing is a profession, that writing is what a writer does. Do you feel the same?
No. That is an American vision. To me if a writer writes to earn a living, he is bound to compromise—to consider what sells and what doesn't. That is not my preoccupation. I am glad to have found a readership, but one can't write only what is likely to sell. A writer is not a shopkeeper. A writer creates an imaginary world that he transmits to others.
Is that the function of the writer? Shelley famously said that poets are the unacknowledged legislators of the world. Do you believe that?
I am not as ambitious as that. To me a writer is a witness. He bears witness to his time. Thus he has a privileged position. I don't think that the writer has a determining role—he tells stories, and in so doing comments on his society and the world. He communicates through imagination.
Once you have the outline of the novel and have started writing it, do you remain in control all the way, or do the inner dynamics of the story take over?
I don't always know what will happen, but I feel free. I don't feel constrained, or lose control. I proceed by intuition, and may go along with new ideas and possibilities, take unforeseen turns.
What comes first, the idea, the plot, or the characters?
The central idea is important, but so are the words—they have to be well chosen, and well used. It is almost mathematical. The plot can come from something I have seen, or read or heard. One doesn't know everything; if one did, writing would become boring. What guides the story is the ambience, the world that is created around a character. It is the character who invents the story as the writer proceeds.
Do you rewrite a lot?
The best texts are the ones that have been written in one draft. But that is rare, almost impossible. I rewrite a whole chapter, not just a paragraph here a line there. I may cross out a whole paragraph, or add one.
What are your plans for the future?
I am working on a new novel, which is situated in Naples. For once I am trying to leave Morocco. I've just revised and expanded an essay on racism, published in 1984, called "French Hospitality." I have written a long foreword to explain what has changed in thirteen years—for the worse.
I may be too optimistic, but I think Le Pen is a temporary aberration, and that the French will soon recover their tradition of offering refuge and protection to the persecuted. After all, French culture has hugely benefited from it. Look at the number of great poets, writers, and intellectuals in the past hundred years who came from elsewhere.
I sincerely hope you are right. Meanwhile we—writers, artists, intellectuals—can only do our best by our work, and by our own examples.


text:
Presenting the Southern Adirondack Beekeepers Association (SABA) Seminar March 15, 9 am – 5 pm
at the HVCC TEC-SMART Extension building at 345 Hermes Rd. in Malta NY,
close to exit 12 of I-87, the Adirondack Northway.
SABA always puts on a high quality event. Besides the presentations, we will also have a Bee-Cup fundraiser.
Optional lunch available with pre-registration. Dinner with speakers Friday 3/14.
Betterbee, Brushy Mountain Bee Farm, Dadant and BeezerKBelts will be there as well!
Questions? contact Seminar Organizer Anne Frey 518- 895- 8744 or firstname.lastname@example.com
Also, please see our website, www.adirondackbees.org for more details and registration form.


text: The wife and I got back from minnesota here about 10 am this morning. All told - (according to the DIC) 3,517.6 miles total round trip, there, driving in minnesota, and driving back. 206.2 gallons of fuel burned. average MPG of 17.01. over 63 hours according to the timer. not counting gas stops, food and what not. rolled over 80,000 miles. had a head wind a good chuck of both to minnesota and back from. ran a fairly consistent average of 70 mpg. truck ran great! no isses, no hiccups. even managed to rotate the tires in my dads wonderful heated shop! now it deserves a good bath! Alex


text:
I made this one for my sons birthday last week !!
Welcome to the Quilting Board!
I made this one for my sons birthday last week !!
Very pretty!!!
it's a pretty quilt.
I have chosen to be happy because it is good for my health - Voltaire
That's fabulous! I love those colors together! What is the print? It looks beautiful... I'll bet your DS loves, loves, loves it!!!
(¸.´(¸. (¸.´¸¸.¨¯`.¸¸.♥ rebecca
Very pretty quilt.
Terrific quilt!
Be a blessing to others, as you may entertain angels unaware!
It turned out great.
Simply but very nice
I really like that and I love the colors you chose.


text:
Jul 23, 2013
DCCC Decodes Congressman Mike Coffman on Immigration
Congressman Mike Coffman is up to his old tricks again, saying one thing in Colorado, but voting the party line in Washington. Just a few weeks ago, Congressman Coffman voted the party line to start deporting hundreds of thousands of DREAMers.
Below is Congressman Coffman's recent editorial, helpfully decoded with his actual record on immigration:
Click here for the full letter
1997: Congressman Coffman Suggested Immigrants Brought Their Relatives to the U.S. to Get Welfare. Coffman suggested that immigrants brought elderly relatives to the United States "with the understanding that they're going to be covered" by welfare. [Denver Post, 1/13/97]
Co-Sponored Birthright Citizenship Act. In 2011, Coffman co-sponsored the Birthright Citizenship Act. [Denver Post, 2/13/11]
Coffman said he was "Unsure" what to do with Undocumented Adults. In 2013, when talking about immigration reform Coffman said he was "unsure about what to do with the adults." [National Public Radio, 7/10/13]
CBO: Senate Immigration bill Would Cut the Deficit by $158 Billion. According to The Hill, "The CBO issued a new deficit score for the Senate-passed immigration bill that says the legislation will cut the deficit by $158 billion over the 2014-2023 period." [The Hill, 7/3/13]
Fox 31: "Coffman Hasn't Taken a Clear position on the Senate Immigration Bill." Fox 31 reported that "Representative Coffman hasn't taken a clear position on the Senate Immigration bill that passed the Senate." [Fo 31, 7/21/13]
June 2013: Congressman Coffman Voted to Restart Deporting an Estimated 800,000 DREAM Act Eligible Young People. In 2013, Congressman Coffman voted for an amendment to the 2014 Homeland Security appropriations bill that would prohibit the use of Immigration and Customs Enforcement funds to implement President Obama's June 2012 order that protects the "DREAMers" from deportation—those estimated 800,000 young undocumented immigrants who were brought to the U.S. as children and have since led law-abiding lives. The amendment also prohibits other prosecutorial discretion policies that ensure the agency's immigration enforcement resources are targeted at serious criminals, and not at those who pose no threat to U.S. communities, such as victims of domestic violence and other crimes who come forward to seek protection and identify their abusers. The amendment passed, 224-201. [HR 2217, Vote #208, 6/06/13]
Said DREAM Act would be a "Nightmare" for Americans. In 2010, Coffman said that the DREAM Act would be "a nightmare" for Americans. "The Dream Act will be a nightmare for the American people. No doubt, we need immigration reform but the Dream Act is written far too broadly and it will only encourage more illegal immigration, promote chain migration, and will be a magnet for fraud," he said. [Office of Mike Coffman, 12/08/10]
Supported English-only Ballots. "Since proficiency in English is already a requirement for U.S. citizenship, forcing cash-strapped local governments to provide ballots in a language other than English makes no sense at all," Coffman said in a statement. [Denver Post, 8/18/11]
Colorado Independent: "Coffman adopted much the same rhetoric and policy stances" as Tancredo. "For years the state's deep-red Sixth District was represented by anti-illegal immigration crusader Tom Tancredo and, when he replaced Tancredo in 2008, Coffman adopted much the same rhetoric and policy stances." [Colorado Independent, 6/06/13]
Want the latest updates? Follow the DCCC on Facebook and Twitter:
|Tweets by @dccc


text:
Watch Spider Rider
You are viewing Episode list with English Subbed. Navigate the episode to watch the video..
Total of Episodes: 52
Genres: Action, Adventure, Comedy, Fantasy, Henshin, Spiders,
Plot Summary: While on a hiking trip with friends, 11-year-old Hunter is sucked into the fantastic subterranean world of Arachnia, where the insects have become the dominant—and giant—species. Hunter is welcomed by an elite warrior team, The Spider Riders, with whom he must fight to defeat the evil Invectid, and ultimately, find his way home.
You may also like..
Anime ›
Spider Rider Episode's List


text:
Financial holding company Markel has announced that Thomas Gayner, president and chief investment officer, and Richard Whitt, III, president and co-chief operating officer, will serve as co-chief executive officers (co-CEOs) of the company from 1 January, 2016.
To continue reading, you need a subscription to Intelligent Insurer. Start a subscription today for £655.
In-house feature articles, the archive and expert comment require a paid subscription. Subscribe now.
Want to give it a try? We are offering a two week free trial to the Intelligent Insurer website – register and select "Two Week Free Trial" to begin access to the full Intelligent Insurer archive and read the latest news, features and expert comment. Begin your free trial here.
Is your 2 week free trial about to end? Upgrade to a 12 month subscription for £655 now.
If you have already subscribed please login.
If you have any technical issues please contact support.
Markel, Thomas Gayner, Richard Whitt III, Michael Crowley, Alan Kirshner, North America


text:
KANSAS CITY, Mo. (Jan. 29, 2014) – In three cities likely in need of steaming hot coffee on cold January mornings, 1 Million Cups™ is now serving up entrepreneurial education and facilitating collaboration among entrepreneurs in Fargo, N.D., Fort Collins, Colo., and Provo, Utah.
The cities are the first additions to the 1 Million Cups' map for 2014, and many more are expected throughout the year.
Fargo launched Jan. 22, and Fort Collins and Provo begin meeting today. The new cities raise the total to 26 U.S. locations hosting the weekly program begun on the premise that bringing entrepreneurs together to share cups of coffee and conversation can build strong startup communities.
Launched in April 2012 by Kauffman Labs for Enterprise Creation at the Ewing Marion Kauffman Foundation, 1 Million Cups' national network now gives nearly 50 startups each week a platform to share their business concepts and gather ideas and advice from peers, mentors and other audience members. Estimated weekly attendance nationally is approaching 1,500.
The 1 Million Cups model is consistent in every location. Each Wednesday morning at 9 a.m., one or two early-stage, scalable startups present their companies to audience members. Each founder presents for six minutes and then fields audience questions, ideas and suggestions for 20 minutes. The program is run by local entrepreneurs who serve as community organizers.
The cities launching this month fit the 1 Million Cups model of mid-sized cities looking to coalesce their entrepreneurs and startup activities.
"We're thrilled to welcome the entrepreneurs and their advocates in these three communities to our growing 1 Million Cups national network," said Nate Olson, Kauffman Foundation associate and a co-founder of the program. "The education, advice and access to resources that 1 Million Cups can provide will help to accelerate their collective success."
In the newest cities, 1 Million Cups meets weekly at:
The entrepreneurs volunteering as community organizers in the new 1 Million Cups cities are:
1 Million Cups licenses its tool kit of community-building resources for free to communities that meet the program's criteria for participation. To learn more about 1 Million Cups, view current locations and apply to bring it to additional cities, visit www.1millioncups.com. Follow the conversation at @1millioncups on Twitter.
© Copyright 2017 Ewing Marion Kauffman Foundation. All rights reserved.


text:
The Tonys - Broadway's equivalent of the Oscars - are a vital factor here. Titanic, the subject also of the ill-omened Hollywood blockbuster of the same name, cost between 10 and 14 million dollars to mount. (Figures vary, but in these circumstances it's usually safe to believe the biggest one). Steel Pier cost seven million. The Life, a relatively small show, came in at around five or six . Revivals of older musicals are a vital part of the Broadway economy these days, and there have been four of them: Chicago (the season's biggest hit), Annie, Once Upon a Mattress, and - the most recent arrival - a lavish production of Leonard Bernstein's Candide, which at $4m looks a comparative bargain. Sums like these are not easily recouped, and producers understandably seek insurance; in the words of Variety, "a Tony win has traditionally translated into a surge at the box office". Besides which, the telecasting of the awards offers all the nominated shows, winners or losers, an unequalled shop window.
Over the years, despite a few eccentric or spiteful decisions, the recipient of the best musical prize has generally been easy to predict. It can have been no surprise to anyone when Guys and Dolls, My Fair Lady, Fiddler on the Roof and A Chorus Line swept the board in their respective years. Those of course were the (moderately) good old days when openings were decently spaced out over the season, critical and popular opinion had time to crystallise, and the Tony merely figured as official confirmation that you had a hit. (This is still the case with straight plays, where both costs and possible profits are lower.) But as budgets have inflated, producers, anxious to waste as little time and money as possible, have pushed their openings closer and closer to the wire. This year five musicals opened within a week of the deadline. It seemed the curtain had hardly fallen on the last first night before the nominations were out. The contestants - there seems no other word - now sit back and try to look benign until the awards ceremony next Sunday. No sane theatre should be dependent on prizes to this extent, and this year's race represents a desperate attempt to rationalise an irrational situation.
There are, except in times of severe drought, four nominations in each category. The Best Musical contenders this year are Steel Pier, Titanic, The Life and the departed Juan Darien, which may be there because the nominators couldn't bear the thought of honouring Jekyll & Hyde. Billed as a "carnival mass", Darien was a dance-and-puppet piece with lyrics in Latin. It's just possible, though, that its being so out out-of-sync with Broadway conventions may net it the award: it could serve as a rebuke to the more orthodox shows which, even when competent, have not been great. No new shows have caught the limelight as the rock musical Rent or the aggressive tap show Bring in Da Noise, Bring in Da Funk did in 1996.
The bookies' favourite is The Life, which has received more nominations - in performance, design and other categories - than any other show. And, taken all round, it is probably the best. It has a score by Cy Coleman, who for 35 years now has written the catchiest and jazziest music to be heard on Broadway and who gets down to the New York street-world of the 1980s, before the city's much-vaunted clean-up. The line of hookers here recalls the parade of dance-hall hostesses in Coleman's earlier show Sweet Charity - the ones who sang "Big Spender" - but with the pretences dropped. One of them, Lillias White, brings the house down with a sardonically aimed tribute called "The Oldest Profession" (lyric by Ira Gasman). White, who is black, ornaments the song with the soulful vocal fills that always titillate theatre audiences and that usually bore the hell out of me, but she never lets them obscure the words or the thoughts. Michael Blakemore, who directed Coleman's City of Angels, does this one too; a gentlemanly British director may seem an odd choice for such a show, but Blakemore has always been attuned to American sleaze (remember The Front Page at the National Theatre in 1972) and though his work here is physically unobtrusive he is admirable at keeping the actors focused. The genre pictures are good, acrid fun; it's when the story takes over - a convoluted affair involving one street walker's efforts to get her man off drugs and herself off the streets, while evading the clutches of the meanest pimp on the block - that melodrama strikes, even infecting Coleman's music. The good numbers predominate, though. The Life seems a good bet for best score and supporting performance, a reasonable one for best direction.
Its raunchiness, and periodic dives into a sour sentimentality, may work against it, though, and stir support for Steel Pier, which is sordid but wholesomely so. It even has a leading man who has returned from the dead to redeem the heroine, though this is so coyly stated that I was dumb enough not to get it until the last moment. Corrupt dance contests, extending false hope to victims of the Depression, sound like a wonderful subject for a musical, with built-in period style and instant choreography, but this one plays like a poor man's They Shoot Horses, Don't They? The result seems alternately predictable and arbitrary, with a below-par score by John Kander and Fred Ebb (Cabaret, Chicago, Kiss of the Spider Woman) and leading players who vary from competent-but-unappealing to terminally bland. Still, two of them have Tony nominations. Debra Monk, who plays a smaller role, is wonderful. She has two numbers - one blowsy, one wistful - and sings each to its limits; she probes beyond those limits to show the thoughts and feelings underneath - which is what musical-theatre acting should be about. If there were no Lillias White, Monk would be a cinch for best supporting actress.
Most ambitious of all the shows is Titanic and there are times when its reach matches its grasp. Its problem - with audiences, with critics, and I confess with me - is that it has never shaken off the aura of ludicrousness which has surrounded it ever since it was first announced. Most musicals are disasters, so what can you expect of a musical about a disaster? Music can speed a story along, but can also slow it down; why are the passengers lining up and singing when they should be fighting their way into the lifeboats? Prosaic questions like these are forced upon us by Maury Yeston's lyrics, the painstakingly literal kind that generally attach themselves to music by Andrew Lloyd Webber or Claude-Michel Schonberg. Here the music is by Yeston himself: sometimes schmaltzy, but complex in texture and interestingly dotted with recurring motifs. The script does a decent job of following a cross-section of passengers and crew from cheerful embarkation to icy doom, dutifully pointing up the class-distinctions inherent in the story. Richard Jones, another British director, fights oddly shy of either full-hearted spectacle or suggestive spareness, and ends up being half-heartedly literal. A look-out is dangled over the auditorium in a crow's nest (and he sings about "sailing on", which is strange considering he's on a steamer) but the moment at which he actually spots the iceberg goes strangely unmarked. Steward Laing's set, stolidly rising and falling between decks, has its moments, but we never see it sink, though all the logic of a big musical makes us want to. The cast is good - no stars, no nominations - and the show is sometimes (but how could it not be?) very moving.
The best thing about the spurned Jekyll & Hyde is that, though it has the deafening air of a pop opera, it isn't through-sung. This means that we get some relief from Frank Wildhorn's turgid music and Leslie Bricusse's mail-order lyrics ("This is the moment,"screams Jekyll, to ecstatic Pavlovian applause, when about to take the potion - or, in this timidly trendy version, the needle) and that Bricusse as librettist can do a reasonable job of unfolding the plot. He gives us a Jekyll who, when he turns into Hyde, conducts an avenging campaign against Victorian hypocrisy, rather like Stephen Sondheim's version of Sweeney Todd. Robert Cuccioli, who plays the dual role, gets to do one song together, so to speak: as Jekyll he stands up straight and sings at the ceiling while as Hyde he crouches and sings at the floor. Presumably he can't stand to look at himself. There is an equally peculiar sequence called "Murder! Murder!" in which Hyde enacts most of his career as a serial killer while the chorus look on and then start wondering who done it. Love-interest consists of the regulation pure-and-patient fiancee and an equally standard doomed harlot, the latter roof-shakingly sung by Linda Eder. This is a score in which the sensitivity of Las Vegas mates with the creativity of Europop. It also has a story everybody knows. Second-hand though it is in every department, it may turn out to have more audience appeal - which, after the first couple of months, has to mean tourist appeal - than any of its nobler competitors.
Of the two songfests: Play On takes its title from the first line of Twelfth Night, and updates that play to a mythical 1940s Harlem by appropriating a bunch of standard Duke Ellington songs. This shouldn't work but somehow does. The show has an amateur air, but that may actually help. Malvolio (now called The Rev) becomes thoroughly sympathetic; an uptight club manager tricked into posing as a hepcat. He even gets Olivia. Tonya Pinkins, who plays the lady, is on the Tony list: largely, I suspect, through her ability to distend her body and the notes of a song simultaneously. I much preferred the cute (and unnominated) Viola of Cheryl Freeman. Andree de Sheilds, one of the original stars of Ain't Misbehavin', has aged into a shamelessly crowd-pleasing Feste; I loved him. He is up for a best supporting Tony, and though nobody takes the show seriously enough for him to win, I'd like him to. Dream tries to make an evening out of the wonderful but undramatic oeuvre of Johnny Mercer, greatest of all pop lyricists. It's an impossible endeavour, but it still comes out worse than necessary.
There's nothing wrong with honouring America's musical past. I wouldn't claim that this is the motive for Broadway's stream of revivals, but it's a pleasant by-product. Of this season's quartet, all duly nominated for best musical revival, the return of Annie attracted the least notice, perhaps because nobody realised it had ever gone away. Once Upon a Mattress, a delightful comedy musical from the 1960s, has been generally scorned, largely because its leading lady, Sarah Jessica Parker, though personally delightful, is no clown.
Candide, too, has been underappeciated. It's a revival of a revival. A satirical comic opera, based on Voltaire, it flopped at its premier in 1956. In 1973 it was successfully re-imagined by director Harold Prince as a post-hippie, audience-involving pocket extravaganza. His new staging expands on his old, puts it back behind the proscenium arch in resplendent mock-baroque sets and costumes, and restores the style and substance of the music, much of which has gone missing in his first attempt. Some problems remain insoluble, chiefly that of getting a book to match Bernstein's munificent score. The present version (originally by the late Hugh Wheeler but much revised since his death) is exaggeratedly inconsequential. But Prince, in his most genial mood, keeps the stage endearing and alive, and the singing is superb. Leading comics Jim Dale and Andrea Martin are up for Tonies but the show has been generally damned as over-the-top. It's actually the best-staged musical of the season.
Chicago is the guaranteed winner for best revival, and the only show, new or old, with the assured aura of a hit. This is partly because it avoided the Gadarene rush at the end of the season; it opened early and has had time to establish itself. It started as a concert performance and was moved to Broadway pretty much unchanged, except of course that the actors learned their lines. There has been an exaggerated reaction on Broadway against "spectacle"(pointless, too, since not even cheap shows come cheap), leading to the understaging of Titanic and the under-rating of Candide. Chicago, with the orchestra taking up most of the stage, has been judged "brilliantly minimalist"; actually it looks cramped. But the performers are terrific, except for one who is magnificent: this is Bebe Neuwirth, a singer-dancer-comedienne with an endlessly eloquent body. In Chita Rivera's old role of a 1920s murderess aching to parlay her notoriety into a stage career, she renders "I Just Can't Do It Alone" with the devastating assurance of one who knows she can. One hopes that her co-star Ann Reinking, who has to sit and watch her do it eight times a week, is a generous person.
Reinking plays another murderess (Gwen Verdon's old role), and is also the choreographer, borrowing liberally and with acknowledgement from the work of her former lover and the show's original begetter, the late Bob Fosse. Fosse's original 1976 production was largely about his love- hate affair with his own talent for "Razzle Dazzle"(title of one of the best songs); with that element gone, the show - despite many pious pronouncements about its relevance in the wake of the O J Simpson trial and the new cynical mood of the 1990s - is both less exciting and more palatable. It's another musical about the delicious fun of sleaze. Like everything else, Chicago lost to A Chorus Line in `76, but the Kander and Ebb score still sounds fine, and it's perfectly possible that the goodwill it's earned them may win sympathy votes for their new show, Steel Pier. Let no one say that Broadway forgets. !Reuse content


text:
Every year National Parks Week gives visitors a chance to celebrate our incredible and varied wilderness.
This year the National Parks Week runs from 28 July – 3 August and there are 10 national parks across England to explore. Each has created a special event to celebrate National Parks Week, from picnics and treasure hunts in the park, to bicycle rides, safaris and outdoor art exhibitions.
In pictures: National Parks Week 2014
In pictures: National Parks Week 2014
1/10 New Forest
Twist and turn through vibrant gorse, imposing woodland and bubbling streams, and stroll through the forest's 143 miles of trails which wind their way through 193,000 acres of unspoilt heath and ancient woodland
2/10 The Broads
The Broads is a unique mosaic of lakes, land and rivers that has national park status. This special area covering 303 square kilometres in the easternmost part of England is also the UK's largest protected wetland and boasts a quarter of its rarest species
3/10 Dartmoor National Park
Located in South Devon and just a 30 minute drive away from Exeter, the Dartmoor National Park features rushing rivers, sprawling moorland and spooky forests. This stunning backdrop was the main reason it was chosen as the setting for Steven Spielberg's film, Warhorse
4/10 Lake District National Park
Containing sixteen lakes, 150 peaks and six national nature reserves, the Lake District National Park is the largest national park in England, comprising all of England's mountains and covering most of the Lake District in Cumbria
5/10 Yorkshire Dales National Park
Characterised by striking peaks, limestone pavements and spectacular waterfalls, Yorkshire Dales National Park is one of a kind. It's an area of over 1,700 square kilometres covering the Pennines of Cumbria and North Yorkshire
6/10 Exmoor National Park
Exmoor National Park contains a variety of landscapes including; moorland, woodland, valleys and farmland, within its 267 square miles. It's a place where high cliffs plunge into the Bristol Channel and cosy pubs and tearooms offer delicious local produce
7/10 North York Moors National Park
Famous for its spectacular purple heather moorland and beautiful heritage coast, North York Moors National Park is also home to an array of wildlife including red squirrels and badgers
8/10 Northumberland National Park
This national park is home to the central section of the longest monument in Britain: Hadrian's Wall. The park consists of leafy woodland, bogs and moorlands and takes up a quarter of Northumberland county
9/10 Peak District National Park
The country's first National Park has a special place in the hearts of millions of visitors. For some it's a wild and wonderful setting for outdoor activities such as walking, cycling, abseiling and yachting. For others it's their favourite spot for a meal out - offering fine local produce - with family and friends
10/10 South Downs National Park
A diverse area of woodland, coasts and ancient towns, and also home to the stunning South Downs Way trail, this National Park has something for everyone. South Downs, the country's newest national park stretches 70 miles across Sussex
For more information visit http://www.nationalparks.gov.uk/visiting/national-parks-week-2014
Click here to view UK Tours and Holidays, with Independent Holidays.
- More about:
- National Parks


text:
This report aims to, first, review the current state of affairs in the area of disaster preparedness in Egypt, and second, focus attention on emerging risks and identifying solutions.
Tag This Document
Create your own view of country national HFA progress by selecting, sorting and comparing the data and information you wish to see. View it online or download a spreadsheet.


text:
Article Preview
GRAMBLING GAME TO DRAW 60,000; Some Tickets Still Available for Contest Here Saturday
The Grambling-Morgan State football game at Yankee Stadium Saturday, created because of the Football Coaches Foundation's concern over "the American dilemma of dropouts" is bound to be a big success in raising money for scholarship aid.
September 24, 1968
Thank you for visiting The New York Times archive.
New York Times subscribers* enjoy full access to TimesMachine—view 129 years of New York Times journalism, as it originally appeared. 99¢ for your first 4 weeks.
Or, purchase this article individually for $3.95 and download a high-resolution PDF.
* Does not include NYT Now or Premium Crosswords subscribers.
Already a subscriber? Log in to view this article »


text:
After the win over the Cincinnati Bengals in Week 14, the Dallas Cowboys learned that wide receiver Dez Bryant had fractured the index finger on his left hand. As a result of the injury, Bryant's season was put in question with his finger potentially requiring season-ending surgery.
Reportedly, Bryant wants to play through the injury on Sunday if medically cleared to do so according to ESPNDallas.com:
Dez Bryant, who fractured his left index finger Sunday against against the Bengals, has decided to play Sunday against the Steelers unless he's told he can't, a source close to the Dallas Cowboys wide receiver told ESPN Tuesday morning.
"Unless the doctors say he medically can't do it, Dez is going to play," the source said.
Coming into Week 15's matchup against the Pittsburgh Steelers, the Cowboys are sitting in third place in the NFC East behind the division-leading New York Giants and the second place Washington Redskins. Although the Cowboys have lost to both teams this season, the division title is still within their grasp if they can win the remaining games on the regular season schedule while getting a little help with favorable outcomes from the Giants and Redskins.
Without Bryant downfield, Tony Romo may struggle against opposing defenses in the final three games. The Cowboys have lived and died by the pass this season with running back DeMarco Murray on the shelf with a foot injury for most of the year. Even though Murray was finally able to get back on the field for Dallas in the last two wins over the Philadelphia Eagles and Bengals, the Cowboys will suffer a major blow if Bryant is ultimately not medically cleared for Week 15.
Dallas still has receiver Miles Austin and tight end Jason Witten to lean on in the passing game, but Bryant has been Romo's favorite target in the end zone this season with nine touchdowns.


text:
EXCLUSIVE! Eyewitness Says Maci And BF Kyle Are No Speidi — They Weren't Fake Posing For Their Romantic Pumpkin Patch Pics!
Maci Bookout and her boyfriend, Kyle King, had a blast at an LA pumpkin patch Oct. 18 and an eyewitness tells HollywoodLife.com it wasn't staged for publicity like fame whores Spencer Pratt and Heidi Montag would have done!
Teen Mom Maci Bookout, 19, has been under fire for making not-so-smart decisions in her past relationship with ex-fiance Ryan Edwards, 22, but it appears as though she is finally in a happy relationship with longtime friend Kyle King who treated her to a fun day at the pumpkin patch — and even though the cameras were rolling, we have learned exclusively their love is the real deal.
"They were there no more then a half hour, but it gave them time to go through the whole patch," our insider says. "He helped her in all her choices, because they tried to pick some of the biggest pumpkins in the patch and she is rather tiny, which kinda seemed liken a running joke between them both."
The paparazzi did catch a few frames of the glowing couple looking posed in which our source says was reminiscent of the Heidi Montag and Spencer Pratt days of organized 'candid' shoots. However, Maci and Kyle are nothing like the washed up reality stars who have thankfully disappeared into obscurity.
"They were very aware of the cameras and some pictures seemed very staged in a Heidi and Spencer type way," our source says. "But they were a couple — as much as they played up to the cameras, they were also sharing intimate moments. It was super sweet!"
Although our insider says it was Maci who played up to the paparazzi more, she didn't let it take over her time with Kyle and left before the media circus got too crazy.
"They just appeared to be in a great mood, had so much fun and before you knew it they left. They appeared to be a very happy couple!" our insider explained.
We love seeing a reality star who knows how to handle the paps in a classy way! Do you like that Maci and Kyle are back together?


text:
Noises that sounded like monkey chanting were heard during the game and Toure appeared to complain at one point to referee Ovidiu Hategan.
City spoke to UEFA's match delegate after the match at the Arena Khimki and intend to follow up by making an official written complaint after they return to Manchester.
City went on to win the Group D game 2-1 after two goals from Sergio Aguero.
The incident comes 18 months after Porto were fined £16,700 by UEFA after their fans racially abused Mario Balotelli during a Europa League clash against City in February 2012.
City also lodged an official complaint on that occasion, when monkey-chanting had been prolonged and widespread.
Controversially, City were later fined £24,740 for delaying the kick-off of the second half of that same game by one minute.Reuse content


text:
Read and rate Travel Journal Entries for Nadi, Western, Fiji
Oct 11, 2015 - Bula
From Fiji, the land of cannibals. Yes, they were here. In the eighteenth century when Europeans were sailing around the Pacific exploring, everyone avoided the Fiji Islands. Fiji got the reputation in Europe and early America as the land of cannibals, and Tahiti and French Polynesia got the reputation for paradise with beautiful women and therefore lots of trade. Remember Mutiny on the Bounty? The crew, deciding they didn't like the tyranny of Captain Bligh, set him adrift and went back to Tahiti. Some of the mutineers sailed off to other...Jump to full entry
Trip Journal
Jan 22, 2015 - Leaving Sydney right before Australia Day - Headed to Nadi, Fiji today
I won't have wifi until we reach Hawaii so I'm doing the next two days ahead of time so that the trip map continues to get us back to Alaska! We fly out today (22nd) toward Honolulu with an overnight stay in Nadi, Fiji to break the trip up. As we are leaving Sydney there are signs showing the locations that are being closed off from 7am to 6pm on January 26th which is Australia Day --- the day they gained independence from England, yet stayed in the "family" by being in the Commonwealth. This is a national holiday with family gatherings,...Jump to full entry
Trip Journal
Nov 20, 2014 - Two Days i One 24 hour period
Yesterday was both November 18 and November 19 for us. We crossed the international dateline a bit before landing for a refueling stop at Christmas Island. It was a BEAUTIFUL coral reef picture from the plane and so untouched. There are only a few fishing lodges on that island yet half the plane of passengers got off to go fishing. Lots of Brits , Aussies and Kiwi's go there to fish a special kind of fish only found there. The pit crew who refueled the plan were definetly a mom and pop company. It was a fasinating thing to see this fuel...Jump to full entry
Trip Journal
Jun 28, 2014 - Eco park and pottery village
Hi! i haven't had internet access for a few days so i can fill you in now on our second last day in Fiji. We hired a taxi for the day and went to the kula eco park in sigatoka town where they have lots of birds, reptiles and other animals over a large lush green forest of trees. There were a lot of iguanas that have been rescued from smugglers and deserted islands and are being breeded to avoid extinction. we got to hold them and they were really friendly and cute. We also got the option of holding snakes, although we didn't really like the...Jump to full entry
Jun 26, 2014 - zip line and waterfalls
Yet another great day in paradise, today we went to experience zip lining in the jungle- its like a flying fox with 5 stop points on the way, each stretch of line was about 160m. it was really fun, we got to spin around whilst flying over the jungle. Our tour guide then took us on a long walk to some waterfalls. on the way, he climbed a tree and picked some grapefruit for us to eat, it was amazing! At the waterfalls we swam in the very crisp clear water, just perfect. on the way back to the resort, we stopped for some shopping in nadi. Its...Jump to full entry
Jun 24, 2014 - Island hopping
This morning we cruised out on a island hopping and snorkeling adventure, we first went to musket cove to have a look around the island and having a relax on couches on the beach. Our boat driver took us to a sandbar to snorkel and is was amazing, such pretty fish and coral, our boat driver was so nice, he followed us in the boat so we didnt have to swim back. We then went to a floating restaurant called cloud 9 (owned by an aussie) in the middle of the ocean, crystal clear blue water and absolutely the most amazing spot we have ever seen....Jump to full entry
Jun 24, 2014 - Shopping, massages and cruising into the sunset
Hello! This island resort is amazing! there are so many activities, we dont even have to leave the resort much at all. Today we went to port denaru for some shopping, we had cocktails at the hard rock cafe, it was great! Back at the resort we had alfresco beach massages, it was sooooo relaxing. In the evening we cruised into the ocean at sunset on a boat with champagne and canapes whilst our host played songs on the guitar (including stand by me). It was the best boat cruise ever! After the boat cruise and 2 bottles of champagne later, we...Jump to full entry
Jun 23, 2014 - Finally arrived
We have arrived in Fiji after a long day travelling from Perth to Melbourne and then nadi. Our flight from Perth aw delayed a couple of hours so no sleep for us! The island resort is paradise! We have a beachfront villa which is great. Now we are just enjoying Fijian time with a swim and cocktails by the pool It is really hard to get wifi here so I might not be able to post every day. Love Bec, Sylvia and JessJump to full entry
May 30, 2014 - Nadi, Fiji
It would be nice to say that our stay in Fiji was exotic and full of excitement, but frankly, we were tired. The Saniasali Beach Resort was very comfortable with excellent food while Nadi was a bit away and pretty much closed up on Saturday and Sunday. We had been on the go, either driving or sightseeing every day but one for three months, so we rested, ate leisurely breakfasts, enjoyed casual happy hours on the beach and finally got our "shrimp on the barbie" for dinner at the poolside grill. Some of our friends went snorkeling and enjoyed...Jump to full entry
Trip Journal
Feb 27, 2014 - Fiji time!
I arrived in Nadi, the tourist capital of Fiji, at 5pm, and quickly got through checkin. I headed straight to my transport to my hostel, which was provided by the people from "feejee experience". I headed out into the heat and humidity, which was even worse than that in asia, and then relaxed in my hostel. Next morning, and it was still raining! I met two swiss girls and a guy from hereford called harry, who were also doing the trip. We then picked up a ffew more people, including carolina from Denmark (who i had spoken to both on the kiwi...Jump to full entry
Trip Journal
Jan 25, 2014 - Nadi, Fiji
Board our Air Pacific flight at 2:30pm today and find ourselves sitting right in the back row, in a row with three seats. We have the aisle and the middle seat booked and sit there rather nervously watching everyone who comes down the aisle, mentally willing them not to sit with us. Fijians (or to be fair... Polynesians)are not exactly known for their svelte figures and having flown Air Pacific a couple of times now we know to expect more than the occasional passenger of massive proportions. With not many passengers left in the aisles we...Jump to full entry
Trip Journal
Jan 9, 2014 - Fidschi, ein Traum
Der Flug nach Fiji ging super früh, somit war ich schon kurz nach 10 dort und wartete nun auf meine Abholung. Während des Wartens konnte ich die anderen Touristen beobachten, die mit Muschelkette begrüßt wurden, aber ich saß immer noch wartend im Cafe. Nach einer Weile rief man im Hostel an und tata... man hatte mich vergessen. Wie sollte es anders sein, es kann ja mal nicht einfach alles glatt laufen. Somit wurde ich ins Taxi gesteckt und zum Hostel gefahren. Das Hostel ist in Hostel in Nadi Bay direkt am Meer. Das Hostel ist weitläufig,...Jump to full entry
Trip Journal


text:
TeleNav is known as the company that provides voice directions on your cell phone. Now it's in the hardware business with the $300 TeleNav Shotgun. That includes 3 months of service - monthly service starts at $11 and packages are available. It's a connected solution, not using wi-fi, as the Dash Express (the company is now out of the hardware biz) did but rather GPRS (cell network).
It's got the basic "connected" things you'd want: cheap gas, re-route, search, traffic (Inrix) though some features are not available at launch (weather, restaurant reviews…). You can set your route on a computer then send it to the device (called "pre-planning"). The platform is not open like Dash's platform, so only TeleNav will be writing apps.
Perhaps this was in the works and pushed out early due to Dash's recent announcement? Hard to know at this point, but this device promises less (no traffic probes in the cars as Dash had) and may be more successful at this lower price point (1/2 the Dash Express' original price.)
- via Gizmodo
Now, if you want to look ahead to something that's not yet a product, consider a service from UC Berkeley/Nokia that launches today called Mobile Millennium. Basically, it's (yet another) "let's track traffic via cell phones with GPS" implementations. The short term goal is to get 10,000 people in northern California to install the free download (by April) so researchers can explore the major commuter corridors between the San Francisco Bay area and Sacramento. The app does not share personal information but there is this warning: "Because Mobile Millennium phones do a lot of traffic reporting, only users with unlimited data plans are advised to sign up."
- San Jose Mercury News (does not mention Nokia)
- Computerworld (does mention Nokia)


text:
Is there any germ on chicken that washing in cold water could possibly kill or eliminate???
Once it's cooked, whether the butcher had a skin disease or the chicken had salmonella or the cutting board had something else, does washing it in cold water do any good at all? And more to the point, don;t we risk spattering things with dirty chicken water, if anything? I mean, if I touch raw chicken, i wash well with soap. Not plain cold water! anyone out there who can elucidate me?


text:
update tuesday 19th: post mortem results – kungel was shot four times in left chest. possibly by 25 calibre weapon. location where body was found is approx. 2 miles of the beaten path in rice farming area.
The discovery was made by persons who were traversing the area. Police said that Dr Max Kungel, 42 years, of Charlotte, North Carolina, USA and of No. 72 Village, Corentyne, was found in a motor vehicle in the backdam at No. 70 Village, Corentyne, with suspected gunshot injuries. Kungel served in the US Army.
Prince Max Kungel Bio & Basic Info
Birthday March 22
Sex Male
Relationship Status Single
Religious Views Catholic
History by Year
Started School at US Army Safety Center
Started School at Army Logistics University
Graduated from New York College of Osteopathic Medicine
Started Working at U.S Army
Graduated from Drexel University
Graduated from Our Lady of Fatima University (OLFU)
Started Working at The ArchCare Catholic health Care Organisation – International
Started Working at United States Department of the Defense
Graduated from City College of the City University of New York
Graduated from University of the State of New York
Started School at CUNY (The City University of New York)
Graduated from Iona College, New Rochelle, NY
CUNY (The City University of New York)
Pre-med · Nursing · New York, New York
University of the State of New York
Class of 1992 · Effective Communication
Iona College, New Rochelle, NY
Class of 1990 · UNDER GRADUATE · New Rochelle, New York
City College of the City University of New York
Class of 1995 · Pre-medical
Work and Education | Employers
U.S Army
Oct 2003 to present
The ArchCare Catholic health Care Organisation – International
The International Catholic Health Care System · Washington, District of Columbia · 2002 to present
Compassion knows no boundries
United States Department of the Defense
United States Government Medical Officer · Washington, District of Columbia · 2000 to present
U.S. Department of State
Washington, District of Columbia
Graduate School
US Army Safety Center
Multi Function Government Safety Officer
Army Logistics University
US Government Multi Logistician Officer
New York College of Osteopathic Medicine
Class of 2007 · Doctor of Osteopathic Medicine
Drexel University
Class of 2003 · Masters of Science · Master's of Science in Acute Care & Trauma · Philadelphia, Pennsylvania
Our Lady of Fatima University (OLFU)
Class of 2002 · Doctor of Medicine · Doctor of Medicine
Related articles
- max kungel executed in guyana (propagandapress.wordpress.com)
- imtiaz roopnarine killer known to guyana police (propagandapress.wordpress.com)


text:
whats up dubbers, i am starting a little project tomorrow as the title says, i am throwing my obdII vr from my passat into my new cabby i am just wondering if anyone knows of anything i will need besides a new vr cluster & exhaust?
another question, i have vr gti/jetta/cabby cat back TechtonicsTuning exhaust and im wondering whats different from that to a 2.0? can the vr exhaust fit on a 2.0?
thanks for your help