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LOOKING BACKWARD What The Wave Said 20 Years Ago This Week Hearings will be held shortly on a Green Bus Line proposal to charge a $1 regular fare for local travel and a $3 express fare to Manhattan
What The Wave Said 20 Years Ago This Week
Hearings will be held shortly on a Green Bus Line proposal to charge a $1 regular fare for local travel and a $3 express fare to Manhattan
Patti McCracken and Frank McCabe, both of Rockaway, were recently engaged. They will be married next May 15. Both are dart enthusiasts who play in the Boardwalk Dart League.
Rockawayites have won three of the four seats for officers of Community School Board 27, according to James Conway Sullivan, who was elected as vice president. Irving Schwartz was elected as secretary and Samuel Granirer was elected treasurer.
Marion Polichak, a Bayswater resident, has been chosen as president of the 101 Precinct Community Council.
More than 150 people showed up at a recent meeting of the Gateway Republican Club to welcome Richard Rosenbaum, who is running for Governor in the 1982 election.
Lieutenant Commander Robert Taylor took command of the U.S. Coast Guard Station Rockaway at a change of command ceremony last week. The facility is made up of seven officers and 154 enlisted personnel.
Joanne Waldstreicher, daughter of Audrey and Elliott Walsstreicher has been awarded the Jonas Salk Scholarship by the New York City Board of Education. A recent graduate of Brooklyn College, she will attend Harvard Medical School in the fall.
Barry Rosen, a recent hostage in Iran, returned to Rockaway this week, where he once taught at JHS 180. He was the guest of honor at the school's commencement ceremonies last week.
Bernie Blum, president of the Friends of Rockaway, has urged that local residents support the New York State Costal Program.
What The Wave Said 30 Years Ago This Week
Summer traffic barriers were finally delivered to the bus stop outside of Maskin's last weekend. Workmen in red shirts were observed placing the barriers to guide the beachgoers onto their buses, but the men turned out not to be city workers, but Chet Maskin and one of his workers.
Although the application for a zoning variance has been withdrawn, Bernard Schneider says that the Washington Hotel has no definite plans for the land that once housed a church and now could be a parking lot for his guests on the corner of Rockaway Beach Boulevard and Beach 125 Street.
Sunday's fine weather brought such large crowds to the beach that the municipal parking lot was filled by noon ant thousands of visitors scurried through local streets looking for legal parking.
The city issued so many tickets for illegal parking last weekend that it made quite a dent in the city's fiscal problems.
Preliminary work has begun to bring a Jerry Lewis Theater to the Surfside Shopping Center. As soon as all of the permits have been received, construction work will begin.
More than 180 pints of blood were collected at Peninsula Hospital Center Sunday in an attempt to establish a Rockaway blood bank. Fifteen community organizations brought in well over 200 volunteers.
What The Wave Said 40 Years Ago This Week
What a difference a week makes. Now that the Regent's exams are over, teenagers are no longer discussing the tests. Rather, they are walking the boardwalk listening to their favorite music on transistor radios.
We are now at that time of the year when politicians are striving to serve those who can vote in the next election.
Now that construction of the municipal parking facilities in Far Rockaway are under way, the happiest man on the peninsula is Jack Feidler, the president of the Rockaway Merchant's Association.
Next week is the Fourth of July and we cannot believe that there are so few shopping days between now and Christmas.
Reports from local stores are that the recession is over. People are once again purchasing lots of food and they are not worried about trading stamps.
Has anybody tried to cash their Plaid Stamps lately. There does not seem to be a great demand for them anymore.
What The Wave Said 50 Years Ago This Week
Telephone service in Broad Channel is back to normal after being out of service for more than 30 hours.
The Arverne Men's Club will discuss how the latest changes to rapid transit in New York City will affect the peninsula.
Eight local boys were sent to camp this week by Draft Board 67. They will all go to basic training.
Mr. and Mrs. Sidney Brandes of Rockaway Beach are receiving congratulation on the birth of their daughter last week at Rockaway Beach Hospital.
The Board of Estimate has approved the construction of the Hammels Houses. Construction should begin shortly.


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I was on a different site and somebody brought up Cecil Cooper and how he was benched in 1987. As far as I know he wasn't injured and the Brewers apparently were trying to trade him but they never did. Back then teams only had a 24 man roster and the Brewers had a pretty good team so it really makes no sense why they wouldn't either play him in favorable matchups or try and trade or release him to maybe add a player who could have helped them. The Brewers had a very good team winning 91 games and had a legit chance of winning the AL East that year.
Was there a riff between Cooper and management? It is kinda strange why they did this.

subset: commoncrawl


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Mariana MakeupMakeup Artist Female Glendale, Arizona, US
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About MeHello model mayhem! Thanks for visiting my page and getting to know me. Like every makeup artist says it has always been a passion of mine. Up until 2 years ago is when i really started getting serious with it. It is always a thrill to meet new indivduals with the same interest and goals. My goal and best accomplishment is to have you smiling at the end of the day! I'm really easy going. My interest are print,commercial, runway, photoshoots, bridal, prom, and any other specail occasion! :D
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Have you worked with Mariana Makeup? Add Credits for Mariana Makeup! >>
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3 Things to Avoid When Producing Your Event Promo Video
Posted by Cece Salomon-Lee
We learned 3 major lessons from creating our first event promo video in house – the one for Lanyon Live 2016. We decided to write up those lessons (and the solutions we found most helpful), to hopefully help you create your own event video! Great event videos don't just happen. It takes the work of brilliant planners – and a little elbow grease.
Root Out "Rate Squatters" with Lanyon's Reverse Audit Feature
Posted by Lanyon
5 Tips on Becoming a Conference Superstar
Posted by Lanyon on 09/17/2015
Part of Lanyon's Rate Integrity module, the reverse audit feature provides tools that allow both corporate travel buyers and hotels to search for rate squatters, identify offending properties, and open a dialogue with those properties to resolve compliance issues quickly and conveniently.
Posted by Lanyon on 08/17/2015
It's conference season again — and the internet is aflutter with tips and hacks for getting the most for your time (and the company's money) at the next event.


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Can you please be a little more succinct, Michael?
Can you please be a little more succinct, Michael?
Mark Berninghausen
So you are telling me the bees don't work any harder at keeping worm when there are less bees. My experience with a dink hive going through winter says that you are right but it doesn't compute. Interesting...
Brian Cardinal
Zone 5a, Practicing non-intervention beekeeping
Rearing brood takes more energy. Honey, nectar, and sugar are energy sources for bees. It is their carbohydrate in effect.
Mark Berninghausen
Brian Cardinal
Zone 5a, Practicing non-intervention beekeeping
That's why it has to do with population vs cavity size. A nuc size colony will winter fine in a nuc size cavity. Maybe not so well in a double deep with a super on top. So it is the same.
"No, it isn't."
Honey is good for the bees' hay fever.
"Performance speaks louder than math." Michael Palmer
Not necessarily. If they need another story, give it to them.
Thank you. Planning on a quick look tomorrow in top box, this will determine if I add a box. If they do not draw it out, I will just take it off. Just hope they will over winter.
Why not if they need it.
I have read that a frame of bees will cover 3 frames once emerged. In my opinion that is a but optimistic. and consider it more like 2. As I read it you have 8 frames of brood Assuming there are 80 actual brood that will give you an actual 7 complete frames of brood which will then translate to 14 additional frames of bees in three weeks tops.
I woudl then expect to start seeing the transition of this colony from brood rearing to storage for winter. In my experience they do not continue this fast increase. But brood production will come into balance and they will start storing honey.
I woudl also say they need additional space to store that honey. either way give them ten frames boxes or add another 5 frame. All that brood will not remain brood it will start getting used to store nectar. Another 5 frame on top sounds about right to me. If they manage to fill that also the transition to two 10 frames will be easier on them.
Everything gets darker, as it goes to where there is less light. Darrel Tank (5PM drawing instructor)
Pyro my 3 medium box nuc is pretty much the same as MPs 2 box deep in area, except mine have 3 more med frames than his. Remember he has some crazy cold winters, they cluster longer, feeding only to keep warm. Also he winters them side by side (sharing heat) so that it is like one large cluster verses two smaller ones that stand alone, as mine do. They huddle up against the divider. So his 4 frame boxes are appropriate . Our winters are mild compared to Vt. we get 40 , 50 and 60 degree days alot spread out during our winter,they break cluster way more than his do to feed.. 5 over 5 deeps will work for you , just keep an eye on them in Feb and have some kind of supplemental feed on hand. Last year I O/W`ed 2 mini mating nucs 5 over 5 half frames just to see what happens, they both made it, and we had a bad winter (for our area) . I did have to mnt camp them but the cold didn`t kill em.........Pete


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Whew, what a week! Between all the Britney Spears news, more fabulous fashion than I could handle, and the fact that my own personal Bump Watch is sloooowly but surely winding down, it's been intense! We had a lot of fun stories over the last few days, a lot of hilarious comments to go with, and one insane, over-the-top, shocking, mind-blowing confession from our beloved Trent. Click inside for just a few awesome comments on this week's biggest stories!
Trent started the most hilarious thread EVER when he commented on the story about Miley Cyrus fans attacking New Zealand pop star Lorde on Twitter. Trent, we are all waiting to see this epic, anti-Madonna letter… like, now. Please:
… I can only imagine what the stan wars would've been like back in the early 90′s between Paula Abdul, Madonna and Janet Jackson fans if we had social media (I was STAUNCHLY AND 1000% TEAM PAULA, BTW NOT THAT IT MATTERS RIGHT NOW). Tho, I must confess I wrote to the Detroit Free Press about my love for Paula and my disdain for Madonna (at the time, hey, she was "the enemy" and I was young and stupid) and they published my comments (I think I used the words "bleach-blonde tramp" or something … ugh). I mean, I get it … I get why kids do/say what they do/say on social media cuz I would've done the same … but as nicole says, I'm glad the possibility for this kind of behavior didn't exist when I was younger.
I'm also glad that the OVERWHELMINGLY HUGE MAJORITY OF EMBARRASSING photos of me will never make it to the Internets and, therefore, will not live forever.
PITNBr Sam knows exactly what the Miley/Liam break-up is leading up to:
…and now we enter the "dating black rappers" phase of Miley Cyrus' life! Any bets?!
PITNBr Redvispa had me cracking up over this one. Apparently, pregnant ladies loooooove them some Grey's Anatomy:
OMG!! I just had a baby in March and I spent the entire second half of my pregnancy watching greys anatomy! I went through the whole 9 seasons in less than 9 months! I couldn't stop! I had never watched an episode until this. It was insane! And season 9 was the best!
PITNBr BGLU Tia also commented on our Grey's Anatomy Hot People Of The Week post:
O.M. Freakin' G!!!!!! This is my SHOW. Jeffrey Dean Morgan. Scott Foley. Jesse Williams. Kevin McKidd (I LOVE gingers!!) Jason George. Eric Dane. Patrick Dempsey. I swear it is a never ending list.
If Seattle Grace were an actual hospital I would be trying to catch the swine flu, amoebic dysentery, and some sort of a staphylococcus just so I could be treated there. And I would shamelessly try to touch Derek Shepherd's hair. It's freakin' luxurious.
PITNBr Ama's reaction to Beyoncé's new Tumblr photos of her vacation in Brazil was priceless. I feel your pain, Ama:
I'm vacationing in Nebraska….so yeah. I lose.
Those are great pictures though :)
PITNBr Paul makes a great point about the record online views Miley Cyrus got for Wrecking Ball:
Miley has set the bar a little higher (so to speak) by getting naked and grinding on a giant wrecking ball and chain. Are there larger phallic-shaped devices to be had? If so, you can expect today's pop stars will be simulating sex with them in their videos next, and we can thank Miley Cyrus and her 100 million views for encouraging them to do it. I could see Lady Ga-Ga grinding on the torch of the Statue of Liberty or maybe One World Trade Center in our future. The days of Tawny Kitaen grinding on the hood of a car for Whitesnake's "Here I Go Again" video seem so old-fashioned and quaint now.
PITNBr rOXy joined the many of you who commented/lost your shizz over the new Britney Spears single:
It just works, Bitch!
Y'all. Kerry Washington is up for her first Emmy Award tonight and I am about to fill up my glorious new baby changing table with hella diapers and wipes. (Sidenote: Virtual Baby Shower le deux coming soon!) So you already know– nobody call meeee!0


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Laptop does not change IP address through DHCP
This is a discussion on Laptop does not change IP address through DHCP within the Networking Support forums, part of the Tech Support Forum category. Hello everyone, I'm a technician working on an issue with a work laptop. The laptop can connect to the internet
« Want to create 2 wireless network with single router .. is it possible? | Various Applications Crashing Network! »


text: If you are in the Miami area be sure to check this out. The new gallery opened by our good friend Chris Nunez. It will feature art from some of the best names in the business, including Kings Avenue Tattoo's own Mike Rubendall, Justin Weatherholtz, Matt Beckerich and Brian Paul


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CONTACT: Steve Mullen (518) 629-8063
FOR RELEASE: Immediate, Monday, October 4, 2004
The Northeast Football Conference recognized Hudson Valley Community College sophomore linebacker Shonda Faulkner (Poughkeepsie/Poughkeepsie High School) as its Defensive Player of the Week for the period ending Sunday, October 3. Hudson Valley's freshman kicker/punter Bobby Collett (Middletown/Goshen High School) was named the conference's Special Teams Player of the Week.
Faulkner finished with a career-high 19 tackles, including two tackles for loss, and broke up a pass in Hudson Valley's 17-6 win over eighth-ranked Erie Community college on Saturday, October 2.
Collett connected on two extra point attempts and made a 27-yard field goal in the win over Erie. He also punted the ball seven times and averaged 35.3 yards per punt. Three of his punts landed inside Erie's 20 yard line.
Hudson Valley (3-2/2-1 NFC) travels to Morrisville State College on Saturday, October 9. Kick off is scheduled for 1 p.m.


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NAACP Denounces Verdict of Oscar Grant Case
The NAACP opposes the jury's verdict of involuntary manslaughter regarding the 2009 New Year's Eve shooting of a 22 year old young man by BART (Bay Area Rapid Transit) police officer in Oakland, CA.
While standing at a metro/BART stop on New Years' Eve 2009, 22-year old Oscar Grant was mercilessly shot in the back by BART (Bay Area Rapid Transit) police officer Johannes Mehserle. Despite committing no crime nor carrying a weapon, Mehserle proceeded to shoot Grant in the back as he lay on the floor of the platform.
The disaster was filmed by witnesses on cell phone cameras and later uploaded to YouTube, documenting the severity and the stark reality of police brutality in the United States.
"We are outraged that the jury did not find guilty of murder in a case that is so egregiously excessive and mishandled," said NAACP President and CEO Benjamin Todd Jealous. "The most tragic aspect of this case is that the cost of this police misconduct was a 22-year old father, son, and brother – an unarmed man killed because he allegedly scuffled on a train. The lack of accountability in law enforcement undermines the safety of the community and the integrity of law enforcement."
Police brutality is no new concept in California or in the African American community. The Department of Justice released a survey that says African Americans (4.4%) and Hispanics (2.3%) were more likely than whites (1.2%) to have experienced use of force by police and African American counted for 1 out of 10 cases with the police with 1 of 4 of those cases resulting in excessive force.
"The fact that justice was not upheld for the Grant family underscores a serious problem that needs to be addressed concerning the justice system and its devaluation of young African American males," said NAACP State Conference of California President Alice Huffman.
The NAACP is encouraging supporters of the Grant family to remain patient despite the unsatisfactory verdict. The NAACP National leadership and California State Conference have agreed to work diligently to hold law enforcement accountable for their actions, and pursue justice in instances of excessive police force.
"We will continue to work to ensure that justice is served for the Grant family, and these cases of police brutality as prosecuted to the fullest extent of the law," said NAACP Oakland Branch President George Holland.
Founded in 1909, the NAACP is the nation's oldest and largest civil rights organization. Its members throughout the United States and the world are the premier advocates for civil rights in their communities, conducting voter mobilization and monitoring equal opportunity in the public and private sectors.


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Military Titles and Organizations
The proper nouns for the armed forces (and their branches and units) are capitalized, as are short forms referring to specific organizations. The terms 'army', 'navy', etc. are lowercased when standing alone or used collectively and not part of a proper noun. Military titles of rank are capitalized when they are part of a formal title or are used in reference to a specific person. Military titles of rank may be abbreviated when given with the full name of a person and are punctuated and written with initial letters capitalized. Abbreviations for military branches and units are capitalized and unpunctuated. Military medals and awards are capitalized, e.g. Purple Heart. Titles of wars are capitalized.
Examples (with abbreviations, if any):
adjutant general, adjutants general (Adj. Gen. or AG)
admiral (Adm. or Adml. or ADM)
air marshal (AM)
airman (Amn. or AN)
airman basic (AB)
airman first class (A1c. or A/1C)
brevet (Bvt. or Bt.)
brigadier general (Brig. Gen. or B.Gen. or BG)
captain (Capt. or Cpt. or CPT)
captain general (CG)
chief petty officer (CPO)
chief warrant officer (CWO)
colonel (Col. or COL)
command sergeant major (CSM or Command Sgt. Maj.)
commander (Cmdr. or Comdr. or Cdr. or CDR)
commander in chief, commanders in chief
commanding general (CG)
commanding officer (CO)
corporal (Cpl.)
ensign (Ens. or ENS)
first lieutenant (1st Lt.)
first sergeant (1st Sgt.)
fleet admiral (FADM)
flight lieutenant (FL)
general (Gen.)
general of the armies
generalissimo, generalissimos
gunnery sergeant (Gy. Sgt. or Gunnery Sgt.)
inspector general, inspectors general (Insp. Gen.)
lance corporal (LC or LCpl or Lance Cpl.)
lieutenant (Lt. or Lieut.)
lieutenant colonel (Lt. Col. or LTC)
lieutenant commander (Lt. Cmdr. or Lt. Comdr. or LCDR)
lieutenant general (Lt. Gen. or LTG)
lieutenant, junior grade (Lt.(jg) or LTJG or Lt. j.g.)
major (Maj.)
major general (Maj. Gen. or MG)
master chief petty officer (CPOM or MCPO)
master gunnery sergeant (M. Gy. Sgt. or Master Gunnery Sgt.)
master sergeant (M. Sgt. or MSG or Master Sgt.)
petty officer (PO)
petty officer first class
petty officer second class
petty officer third class
platoon sergeant (Platoon Sgt.)
private (Pvt. or Pte.)
private 1 (Pvt. 1)
private 2 (Pvt. 2)
private first class (Pfc. or PFC)
rear admiral (Rear Adm. or R.Adm. or RA or RADM)
rear admiral lower half (Rear Adm.)
rear admiral upper half (Rear Adm.)
seaman (Sea.)
seaman apprentice (SA)
seaman first class (S1c.)
seaman recruit (SR)
second lieutenant (2d Lt.)
senior airman
senior chief petty officer (CPOS or SCPO)
senior master sergeant (S. M. Sgt. or Senior Master Sgt.)
senior naval officer (SNO)
sergeant (Sgt. or Serg. or Sergt. or SG)
sergeant at arms, sergeants at arms
sergeant first class (Sfc. or SFC)
sergeant first class (Sgt. 1st Class)
sergeant major of the Army (SMA or Army Sgt. Maj.)
sergeant major, sergeants major or sergeant majors (Sgt. Maj. or S.Maj. or SM)
specialist (Spc.)
specialist third class (Sp3c.)
staff sergeant (Staff Sgt.)
staff sergeant major (Staff Sgt. Maj.)
surgeon general, surgeons general (Surg. Gen. or SG)
technical sergeant (T. Sgt. or Tech. Sgt.)
technician second grade (T2g.)
vice admiral (Vice Adm. or V.Adm. or VA or VADM)
warrant officer (WO)
warrant officer junior grade (WOJG)


text:
Remove ceramic tile and quickset
1 Attachment(s)
Bought a flipped house
Knew the floor was a hidden event
The living room was hardwood, was hoping it at one
time extended into the kitchen. There is a step up of
about 3/4" from living room to kitchen
As Gomer used to say Surprise Surprise
they laid ceramic clay tile using quickset to level the floor
with embeded wire mess over three layers of linoleum.
Some of the quickset in 3/4" thick.
So now I want to remove the old floor down to the plywood
overlay. I know that because I pulled out the origional wood
cabinets and they were sitting on what looked like ply.
However I tried a sledge hammer and it is doing to much
impack on the wood underlay.
Any ideas on how to DIY this floor removal.
I use one of these with a tile blade. It's wide and has a raised spot in the middle to lift and crack the tile down the middle.
One of what
were you indicating a tool to use to split the tile
hwat about the steel mesh
Opps I forgot to include the attachment.
This and a floor scrapper will take it all off.
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text:
Posted by Frank Liu on the Infrastructure & Operations Professionals Blog on November 19, 2014
Back in June, I blogged about why Chinese technology management professionals have started looking more closely at domestic vendors. One reason: a government-led push away from foreign IT vendors that is forcing global vendors to expand their local ecosystem to exploit new service models and improve service delivery. Chinese tech management teams should keep an eye on new trends and be aware of the benefits they bring.
I recently attended VMware's vForum 2014 event in Beijing. The vendor has established a local ecosystem for the three pillars of its business: the software-defined data center (SDDC), cloud services, and end user computing. VMware is working with:
Posted by Gene Cao on the Customer Insights Professionals Blog on January 22, 2014
Although Forrester expects China's public cloud market to show solid growth through 2020, we have observed that organizations face barriers to adopting public cloud. Survey results indicate that data privacy, residency, loss of control, and security remain the top barriers for organizations adopting public cloud in China. This shows that Chinese customers are getting more knowledgeable about cloud and would like to understand cloud players' offerings in more detail.
To ease concerns about public cloud usage, in mid-2013 the Chinese government and some leading cloud and data center service providers in China initiated an industry standard to evaluate cloud service offerings. After six months of discussion, they agreed upon version 1.0 of the industry standard, which includes three categories and 16 detailed SLAs:
Source: CNII
The first 10 qualified cloud service providers were announced on January 17, 2014:
Source: C114
What does this mean for end user organizations?
Posted by Frank Gillett on the CIOs Blog on December 23, 2013
The deal between Apple and China Mobile has been a long time coming, with lots of folks disappointed it didn't happen in September when the latest iPhones were announced. China Mobile is the world's largest mobile phone operator, with 760 million subscribers. That's more than 1 in 7 of all people alive, and, as my friend Charlie has reminded me, more than 6 times the number of the largest US carrier, Verizon Wireless, or 3 times the size of AT&T and Verizon combined.
Though Bryan Wang in our Beijing office points out that Apple's iPhone offerings are very expensive by China standards, starting at about $740 unsubsidized, he also reports that there is lots of interest among China Mobile subscribers. With this deal, we'll finally find out how far Apple can get in China without offering products that match the prices of market leaders Samsung, Lenovo, and Huawei, or innovator Xiaomi. Based on Forrester survey data, we estimate that Apple sold over 16.8 million iPhones in mainland China in the four quarters ending September, 2013. We estimate that Apple will be able to sell 17 million new iPhones to China Mobile users in the first 12 months – that's on the low side of public estimates we've seen ranging from 15 to 30 million. So Apple will boost global iPhone sales – and iPhone revenues – by over 10%.
After waiting so long, why is China Mobile interested in the iPhone? Because they're concerned about losing their best customers, which are some of China's most valuable ones, to China Telecom and China Unicom. And China Mobile is just launching the first 4G network in China, and Forrester believes it will have at least a 6 month head start before other operators begin adding 4G. The iPhone 5s and 5c give China Mobile showcase products to show off the power of their 4G network.


text:
Discussion BoardsOpen MenuDiscussion Boards Open Menu
BlogsOpen MenuBlogs Open MenuHP Notebook Battery Recall and ReplacementOpen MenuHP Notebook Battery Recall and Replacement Open Menu
In cooperation with various government regulatory agencies, HP has announced an expansion of its June 2016 worldwide voluntary safety recall and replacement program for certain notebook batteries. Additional batteries are affected.
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IQ506 Hard Drive replacemen
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I have a IQ506 that the 500gb hard drive went out on and HP wants $305 to replace (out of warrenty) - which is crazy. I did notice that the current one Seagate ST3500620AS (ST500DM002) is a thinner version than the normal 3.5 inch drives - do I have to replace it with a thin drive or can I just use a normal 3.5 inch drive? It looks like a normal size drive will fit, but not sure if for heat or other reasons I need to stay with the thin drive...
Re: IQ506 Hard Drive replacemen
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07-01-2013 09:14 PM - last edited on 02-23-2017 08:13 PM by OscarFuentes
Here are the specs for your HP TouchSmart IQ506 Desktop Computer. Based on the specs, this model came with Windows Vista Home Premium installed at the factory.
The Seagate ST3500620AS is a standard sized 3.5" hard drive. Replacing this drive with an AF (Advanced Format) drive may cause your HP Recovery Discs and/or Windows to fail to work properly. If you run into any issues, please post back.
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HP a1632x - Windows 7, 4GB RAM, AMD Radeon HD 6450
HP p6130y - Windows 7, 8GB RAM, AMD Radeon HD 6450
HP p6320y - Windows 7, 8GB RAM, NVIDIA GT 240
HP p7-1026 - Windows 7, 6GB RAM, AMD Radeon HD 6450
HP p6787c - Windows 7, 8GB RAM, NVIDIA GT 240
HP ENVY x360 m6-w103dx - Windows 10, 8GB RAM, Intel HD 520
- Downloading or Updating Software and Drivers for HP Computers
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- HP All-in-One PCs - Troubleshooting Touch Screen Issues (Windows 8)


text: how do i heat treat 52100 and w2? i have the satinite for the w2 but i want to to know how hot to temper it at and how hot to get the water? oh and what about 52100 i know i need to heat it to nonmagnetic and hold it for about ten minutes to disolve the carbon and to quench it in oil but what processe do you guys use? i've never used either steels before, thanks a ton.


text:
District of Columbia Fraud Detection Supervisor Salaries
How much does a Fraud Detection Supervisor make in District of Columbia? District of Columbia Fraud Detection Supervisor salaries vary greatly from town to town. See below for Fraud Detection Supervisor salaries, bonus and benefits information for 1 city in the District of Columbia area.
Fraud Detection Supervisor's Annual Base Salary
|Job Title
|Date Updated
|Fraud Detection Supervisor
|April 27, 2017
How much does a Fraud Detection Supervisor make in District of Columbia? District of Columbia Fraud Detection Supervisor salaries vary greatly from town to town. See below for Fraud Detection Supervisor salaries, bonus and benefits information for 1 city in the District of Columbia area.
District of Columbia
- Fraud Detection Supervisor Salaries in Washington, DC
View US National Average Fraud Detection Supervisor Salaries
What is the Cost-of-Living in District of Columbia?
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- Ann Arbor, MI Fraud Detection Supervisor
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Supervises fraud detection associates in their effort to detect possible customer fraud. Leads cross-functional initiatives to proactively detect and prevent fraud from occurring; researches and documents current procedures and processes that impact fraud. Researches, documents, and implements best practices in the industry with regard to fraud detection. Requires a bachelor's degree and at least 5 years of experience in the field or in a related area. Familiar with a variety of the field's concepts, practices, and procedures. Relies on experience and judgment to plan and accomplish goals. Performs a variety of tasks. A wide degree of creativity and latitude is expected. Typically reports to a manager or head of a unit/department.
Alternate Job Titles: Fraud Detection Supervisor
Categories: Accounting , Banking , Financial Services


text:
Luxury Sydney Apartment with Sea Views
Size0 m²
Floor No.7(with elevator)
- Kitchen
- Pool
- Elevator in building
- Towels
Accommodation summary
This property accepts bookings starting within the next 180 Days.
Located on the top level of the security building 'Oxford Towers' this elegantly renovated, fully furnished apartment has been designed to reflect the functionality and charm of Paris living. Far reaching views across the district to the harbour, natural light and an ultra-convenient Paddington address characterise this 7th floor studio apartment.
With a wide open outlook and enviable northern aspect this studio boasts a separate kitchen, Murphy queen bed, built-in robes, bathroom with shower. There is a communal laundry in the basement. Enjoy the rooftop terrace with pool ideal for relaxed barbecues.
The building has secure access and a security intercom system. The apartment is accessed by a lift and is only footsteps from bus transport, cafés and designer boutiques. Minutes to Centennial Parklands and the Entertainment Quarter. The bus routes take you to the city, Bondi Junction and Bondi Beach.
House rulesAll bookings & tenancies incur a departure cleaning fee of $132
Please note that there is a minimum booking period from 23rd December to 2nd January. We cannot accept bookings with arrival or departure inside these dates.
|Check-in after
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|Check-out before
|Cancellation Policy
Reviews for this host's other properties
The accommodation comes highly recommended close enough to the city and accessible by the light railway. Fully equipped providing a home from home.
Good and central location, everything clean, (excellent rapport qualité prix) but quite noisy and window view on a wall;)
To get the key of the apartment by taxi from airport is extra cost, but not complicated.
Great place bang in the centre of all the action Could not askformore
The whole thing was actually as easy and positive as they listened to on the Internet, what we did not necessarily know that we had booked for the first time on Wimdu. The key pickup was quick and easy, since we had already received most of the information via email, we only had to spot the very last information given. Now to the apartment: Everything as described, ie centrally located and yet very quiet, great skyline view from the balcony, very neat and perfectly equipped. Just great, thank you very MUCH!
Die gesamte Sache war tatsächlich so unkompliziert und positiv, wie sie sich im Internet anhörte, was wir nicht unbedingt wissen konnten, da wir das erste Mal über Wimdu gebucht hatten. Die Schlüsselabholung war schnell und unkompliziert, da wir ja die meisten Infos schon per Email erhalten hatten, mussten uns vor Ort nur die allerletzten Auskünfte gegeben werden. Nun zur Wohnung: Alles so wie beschrieben, d.h. zentral und doch sehr ruhig gelegen, super Skyline-Blick vom Balkon, sehr gepflegt und optimal ausgestattet. Einfach klasse, ganz herzlichen DANK!
I stayed in this studio apartment for 2 weeks with my partner, when we visited Sydney. This apartment is clean, very comfortable and in a great location. It is an ideal place to stay if you want a central city location from which to explore the city and surrounding areas. Peter was friendly and helpful and promptly responded to any questions. I would highly recommend this studio apartment to anyone visiting Sydney.
Biggest plus: location! It's on a quiet street that's within easy walking distance to the harbor, the Rocks, and botanical gardens, and a little bit more ambitious walking distance to Darling Harbor. Other than the ferries, you'll hardly need public transportation at all to see the major sights. Other pluses: the view (enjoyed mostly inside -- the balcony is quite narrow); the spaciousness; the modern features; the well-appointed kitchen and bathroom. It's a beautiful apartment, but definitely suited best for singles or couples. We brought along two nieces, ages 17 and 25, and the mattresses in the foldout sofa and chair were barely passable. The mattress in the sofa was particularly disagreeable with a hard horizontal bar hitting just underneath the lower back. Yes, it sleeps five -- but it sleeps only two comfortably! What the photo of the bedroom also doesn't show is that the entire apartment is an open design. The division between the bedroom and living area is a metal miniblind, so if you're wanting bedroom privacy, this is not the apartment for you! By the way, the apartment building itself is the structure with the "W" sign in the seventh photo. Also of note: The restaurant next door is worth recommending. If you need groceries, the nearest store is a Woolworth's that's about a 10- to 15-minute walk away that -- no kidding -- includes a 100-step outdoor staircase. You'll get a workout! The apartment building has a manned reception desk, and a woman who works there was particularly helpful with advice on getting around. The desk also has a phone line specifically for calling cabs. Very handy for getting to the airport!
we had the app.in the bridgestr. for 4 nights booked. the location is really einmalig.viele Suave can be reached at fuss.das app is very umstänlich sauber.es is to get the key to the app!! one had only to kingsford by taxi, then you got the key and from there into the bridgestr. Ie 2 times taxi ride if you come from the airport. This circumstance was unfortunately not evident in Wimdu booking. we found no good!
wir hatten das app.in der bridgestr.
für 4 nächte gebucht. die lage ist
wirklich einmalig.viele shenswürdigkeiten erreicht man zu fuss.das app. ist sauber.es ist sehr umstänlich,um an den schlüssel des app. zu gelangen!!!! man musste erst nach kingsford mit dem taxi, dann bekam man den schlüssel und von dort in die bridgestr. ,d.h. 2mal taxi fahren,wenn man vom flughafen kommt. dieser umstand war leider bei der wimdu buchung nicht ersichtlich .das fanden wir nicht gut !
Overall the apartment was adequate for our needs. It was clean, although décor is getting tired. The only minus was it's location near to the lift and the lift noise which we did get used to over the week. We reported the broken chair back and broken lock on the patio door which was quickly acknowledged for repair/replacement although neither happened while we were there. The location is great. Good value.
In general our stay in Studio City views was ok, but i have to say that the reception of the building had a terrible smell. I don't know how people can work there.
And the apartment needs new furniture they looked from the 90`s.
The rest was great, it even had a washing machine and detergent and the basics for the kitchen, so you can cook instead of going out every day. Sydney is a expensive city.
Appartamento in una posizione fantastica per poter visitare la città sia a piedi che usufruendo dei mezzi pubblici e con una magnifica vista su Hyde Park. Gli elettrodomestici erano tutti perfettamente funzionanti, lo wi-fi perfetto con modem in camera; unica nota dolente la pulizia che lasciava molto a desiderare tanto che io mi sono comprata tutto il necessario e ho dato una ripulita generale, anzi ho poi lasciato a disposizione degli altri ospiti un secchio uno spazzolone ed altro. Vorrei suggerire al proprietario di far controllare gli scarichi dei lavandini poichè non funzionavano molto bene. Per il resto posso dire di essere davvero soddisfatta.
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text:
A Cheap and Easy Guide to Self-Publishing eBooks HTML version
This is a perfect way to start a profitable part time business because all of the contacts
you make are by e-mail. You will process orders at convenient times.
You are not making personal sales calls to bookstores or libraries. You do not have to
conform to their schedules and their whims.
You can earn money and keep your regular job. I will warn you that you may end up
quitting your regular job or profession as you gain expertise in publishing and selling
your eBooks.
It is great fun!
What is an eBook?
An eBook or electronic book, or virtual book or digital book is simply a digital text file or
group of files that when put together can be read on computers or dedicated eBook
reading devices.
eBooks may include text, sound, photographs, illustrations and video. eBooks may
contain "hot links" that allow the reader immediate access to web sites referred in the
eBooks can be published in a variety of ways:
1. eBooks can be published as digital files that are downloaded and read on laptop or
desktop computers. This is the primary type of eBook media discussed in this book.
2. eBooks can be created as digital files that are downloaded and read on palm-top or
handheld computers.
3. eBooks can be published as digital files that are downloaded and read on dedicated
eBook reader devices such as the Rocketbook eBook Reader or Softbook eBook Reader
or the Everybook eBook Reader.
4. eBooks can be digital files that are copied onto floppy disks or a CD-ROMs.
By the time you are read this book, other forms of electronic books may have already
appeared. I will keep you up-to-date with eBook updates when you register this book.
Give Me Examples of eBooks
Examples of an eBook would be a 400-page novel, complete with any illustrations or
An eBook could also be a training manual. A Reiki eBook is one of the best selling
eBooks and sells for $20.00 a copy.


text:
Issue 62, Summer 1975
Early in 1972—following the publication, in April 1971, of his Collected Poems—James Wright was awarded both the Pulitzer Prize for poetry and the Fellowship of the Academy of American Poets. The latter was awarded "for distinguished poetic achievement" by a panel of judges consisting of W. H. Auden, Elizabeth Bishop, Robert Lowell, and Richard Wilbur.
Thus, a considerable measure of public recognition was given to a poet already widely admired, especially on college and university campuses. In an age when, much to our loss, many fine poets find their books out of print, Mr. Wright's earlier volumes—The Green Wall (1957), Saint Judas (1959), The Branch Will Not Break (1963), and Shall We Gather at the River (1968)—all have gone through more than one printing.
The following interview took place at Mr. Wright's Manhattan apartment in early spring. The apartment is on the ground floor, and so, as we sat talking, we were able to look out through the (inevitably) barred windows at the small back garden and see, occasionally, the sunlight slanting between the surrounding buildings.
On the first day we held two sessions, separated by a walk in a nearby park on the East River and an excellent lunch prepared by Mrs. Wright. On the second, a misty, rainy day, we held one long afternoon session. On the table between us lay the tape recorder, the interviewer's notes, a diminishing and then replenished gallon of wine, and Mr. Wright's cigarettes and ashtray.
During the interview, Mr. Wright quoted many poems and prose passages as examples of points he was making. The interviewer later spent several hours in the library looking up and checking these quotations. The effort was unnecessary, as, except for a word here and there, Mr. Wright's versions were always accurate. In the interest of conserving space, and because most of them are readily available elsewhere, several of these pieces have been cut. Those which are especially important to the interview as a whole remain as illustrations of Mr. Wright's remarkable memory.
The unedited transcript of the interview typed out to eighty-three pages. Rigorous, and painful, editing brought this down to a manageable size, and the resulting version was sent to Mr. Wright. He returned it two weeks later, having added a few sentences and deleted a few others. That version, finally, is the one printed here.
Mr. Wright, you taught at the University of Minnesota with John Berryman. What is your feeling about him as a poet?
John Berryman was a very great poet and I think his work is going to endure. And not just because he was a good craftsman, but because he was demonstrating in his poetry, I think without realizing it completely, the fact that a poem is not only a single thing that can be made and very beautifully constructed, but that poetry is also something that can go on being made and it can almost reach a point where it recreates itself. By the growth of his work, and he never stopped growing, he was showing that there is something about poetry in the human imagination which is like the spring. Dr. Williams is a great poet for the same reason.
Tolstoy worried about this question. He was asked in a letter by a pacifist group if he could give them a definition of religion and, if he could do that, to explain to them the relation between religion, that is, what a person believes, and morality, that is, the way he acts in accord with some notion of how he ought to act. Tolstoy worried about this letter, and then as I recall it, he said: "I can only go back to myself. I look around myself and I see every year that, no matter what people do to themselves and to one another, the spring constantly renews itself. This is a physical fact, not a metaphysical theory. I look at every spring and I respond to it very strongly. But I also notice that every year the spring is the same new spring and every year I am one year older. I have to ask the question: what is the relation between my brief and tragic life and this force in the universe that perpetually renews itself? I further believe that every human being asks this question. He cannot avoid asking it—it is forced upon him. And his answer to that question is his religion. If he says the relation between me and this thing is nothing, then his religion is nihilism. As for morality, what ought I to do? I wish I knew." That was a great letter.
Berryman's greatness included of course his utter mastery of the craft of the language. But he also was demonstrating that poetry is not simply an ornament, that poetry has some deep-rooted relation to life itself, the way we go on living.
What is it to be a poet?
I can only tell you what it is to me. I regard myself primarily as a craftsman, as a Horatian. My favorite poet is Edward Thomas, and the person whom I would like to be my master is Horace—Horace, who was able to write humorously and kindly in flawless verse. I've achieved that maybe twice in my life, but that is what I would like to be.
Of course there are many other kinds of poets. There is Jack Finnegan for example. Jack Finnegan is a friend of mine, a learned gentleman whom I sometimes meet at Jack Loftus's bar. There is a tradition in Irish poetry in which the poem itself is an answer to a question which someone has posed. Somebody says to a guy who is standing in a bar: What are you doing with those dice? The guy turns and says:
God rest that Jewy woman,
Queen Jezebel, the bitch
Who peeled the clothes from her shoulder-bones
Down to her spent teats
As she stretched out of the window
Among the geraniums, where
She chaffed and laughed like one half daft
Titivating her painted hair—
King Jehu he drove to her,
She tipped him a fancy beck;
But he from his knacky sidecar spoke,
'Who'll break that dewlapped neck?'
And so she was thrown from the window;
Like Lucifer she fell
Beneath the feet of the horses and they beat
The light out of Jezebel.
That corpse wasn't planted in clover;
Ah, nothing of her was found
Save those grey bones that Hare-foot Mike
Gave me for their lovely sound;
And as once her dancing body
Made starlit princes sweat,
So I'll just clack: though her ghost lacks a back
There's music in the old bones yet.
Which is a way of saying, "You sing your business and I'll sing mine." The poem, by the way, is "Song for the Clatter-Bones" by the Irish poet F. R. Higgins.
Well, I thought it was only a literary convention, and you're not going to believe this, but I swear in the sight of God that it is the truth. I went over to Loftus's the other day, and I saw Jack Finnegan. I said, "Jack, how are you?" "OK, Professor," he said, "how are you?" Then I asked him a question—and by God it turned out to be a living thing. He could not have known what question I was going to ask him. I said, "Jack, what do you think about Nixon's visit to China?" And he turned to me and very beautifully sang:
In Peking's fair city
Where the girls are so slitty
Twas there I met witty
Miss Molly Wong Wong.
She drove a wheelbarrow
Through streets broad and narrow
Singing Szechwan, Peking,
Alive a long dong.
Alive a long dong,
Alive a long dong,
Crying Szechwan, Peking,
Alive a long dong.
He sang it on the spot. What was I going to say to him? Jack, you made it up? Of course he made it up, he made it up on the spot. I was present at the creation.
There is another Irish tradition I'd like to mention. It is based on sheer arrogance, the determination to live. Poetry can keep life itself alive. You can endure almost anything as long as you can sing about it. Do you know Raftery? Anthony Raftery, from the eighteenth century, blind and illiterate, who carried a hand harp. He was standing in a bar and someone asked, who is that poor, frail old man leaning there in the corner with a harp in his hand? Raftery turned around and said: "I am Raftery, the poet, full of hope and love, with no light in my eyes, and with gentleness that has no misery, going west upon my pilgrimage by the light of my heart, though feeble and tired to the end of my road, and behold me now, with my back to the wall, playing music unto empty pockets."*
Do you find being a poet painful, like playing music to empty pockets with your back to the wall?
Well, as you know, I'm also a professor. I've written books of verse, but I'm a professor. And to me personally, teaching is the art that gives me the more pleasure. I'm not trying to put myself down as poet, but I mean what I say. That is, the contact with my students, and my reading of books and trying to share my thoughts and feelings with my students, gives me more pleasure, and I honor this as a high art. Remember that the teachers include Jesus, Socrates, Siddhartha, Meister Eckhardt. In short, yes.
Poetry is something that you can't escape from yourself?
I'm afraid I have to admit that I cannot escape it, and to that extent I regard it as a kind of curse. I've thought that many a time. Why the hell couldn't I have been a carpenter or a handyman?
Is there behind it the feeling that to be a poet is to be too conscious of too many things?
Well, no, it doesn't mean that to me so much. I'm conscious of many things, only strange things happen, strange things happen to me. And although I say that my ideal would be Horatian, I suspect this happened to beautiful Horace too. Sometimes there is a force of life like the spring which mysteriously takes shape without your even having asked it to take shape, and this is frightening, it is terribly frightening. It has happened maybe a few times to me—times when I've been able to get the poem finished in almost nothing flat.
What poems are they? Do you remember which ones finished themselves in nothing flat?
A poem called "Father," a poem called "A Blessing." Where did they come from? If you were to ask me that question, I would have to say, how should I know? Being a poet sometimes puts you at the mercy of life, and life is not always merciful.
Have you ever taught creative writing?
I tried it once and failed at it completely because all I could do was sit and talk to the class. And someone would ask me a question, how I worked on something, and all I could do was grunt. This is not to say it can't be done, it can be done very brilliantly, as we know from the work of Theodore Roethke, who was a very great teacher.
Was he your teacher?
Yes, and he was my good friend for four years.
Oh father dear,
Do ships at sea
Have legs way down below?
Of course they do,
You goosey you,
Or else how could they go?
Roethke used to toss up a lot of them like that.
What did he teach you?
He taught mainly the craft, and he, like Berryman and like Lowell, was an entirely conscious craftsman. He understood that the relation between the craft and the mysterious imagination is not what we conventionally think it to be. There are some people who think that a very careful, conscious craftsmanship will repress your feelings. And Roethke understood that it is careful, conscious craft which liberates your feelings and liberates your imagination.
I know you took a master's in creative writing. I'm not aware of how many poets actually study creative writing in a formal situation. Is there any real value in that, or does one still have to learn the essential things by himself?
I took the Master's in creative writing to get it the hell out of the way. Don't you have to learn every essential thing by yourself? Stanley Kunitz said to me once: "You've got to get down into the pit of the self, the real pit, and then you have to find your own way to climb up out of it. And it can't be anybody else's way. It has to be yours."
May I tell you why I took the M.A. by writing a book of verse? I wanted to be a serious teacher and I wanted to get the M.A. out of the way so I could get down to the serious work of the doctorate, which I did. And I wrote it on Dickens. My subject as a teacher, my main subject, is the history of the English novel.
For a poet?
Oh, there is plenty of poetry in it. "And it's old and old it's sad and old it's sad and weary I go back to you, my cold father, my cold mad father, my cold mad feary father, till the near sight of the mere size of him, the moyles and moyles of it, moananoaning, makes me seasilt saltsick and I rush, my only, into your arms." Finnegans Wake. Do you want to hear another one? This is from Tristram Shandy. Tristram, the narrator, has been trying to get to the place where he is born. At the end of chapter eight of volume IX he thinks he can finally tell what happened the night he was conceived, but then he suddenly remembers from what his Uncle Toby told him that the night he was conceived his father, Walter Shandy, and his mother got into a quarrel. It had something to do with who was to put the cat out and who was to wind the clock or something like that. And suddenly Laurence Sterne breaks through his own narrator, in the middle of the argument, and he says this. This is prose in a novel:
I will not argue the matter: Time wastes too fast: Every letter I trace tells me with what rapidity Life follows my pen; the days and hours of it, more precious, my dear Jenny! than the rubies about thy neck, are flying over our heads like light clouds of a windy day, never to return more—every thing presses on—whilst thou art twisting that lock—see! it grows grey; and every time I kiss thy hand to bid adieu, and every absence which follows it, are preludes to that eternal separation which we are shortly to make—Heaven have mercy upon us both! And the whole of chapter nine is: "Now, for what the world thinks of that ejaculation—I would not give a groat." And then a little later in the novel he interrupts himself again and says: "You wonder who Jenny is, don't you? Well, you pay attention to your own business and get back to the story."
I want to ask what poets influenced your early work and what did you learn from them?
All suddenly the wind comes soft,
And Spring is here again;
And the hawthorn quickens with buds of green,
And my heart with buds of pain.
My heart all Winter lay so numb,
The earth so dead and frore,
That I never thought the Spring would come,
Or my heart wake any more.
But Winter's broken and earth has woken
And the small birds cry again;
And the hawthorn hedge puts forth its buds,
And my heart puts forth its pain.
Can you guess who wrote that?
You would never guess, would you? Rupert Brooke. And he was a very good writer for a sixteen-year-old to read. "Down the blue night the unending columns press . . ." People never give him a tumble any more, but he was pretty good. He's dead.
In the note attached to The Green Wall, you mentioned Robinson and Frost as influences.
Well, I was somewhat older then. When I wrote that book I was twenty-seven years old. I could tell you the kind of thing I had in mind. I wrote a sonnet called "Saint Judas," and in that sonnet I was trying to do two things technically: to write a sonnet that would be a genuine Petrarchan sonnet and at the same time be a dramatic monologue. I got that idea from Robinson, who has a sonnet called "How Annandale Went Out." Do you know what "went out" means? Well, this is conventional hospital parlance for dying. So and so went out last night. Annandale is a character Robinson had written about before, but in this particular sonnet the doctor is speaking. And, as usual in a dramatic monologue, he is speaking to another person, so that what you are doing is overhearing a conversation in which one person speaks and the other is listening. The doctor was a friend of George Annandale's. George Annandale was an alcoholic who was suffering terribly with his death and so the doctor gave him an injection. That's what the word engine means in this poem. He gave him an injection which killed him; that is, he administered euthanasia. Then he gets drunk, and in the poem he is talking to another friend of George Annandale's. What is he trying to do? And Robinson—great Robinson!—leaves you hanging there saying, yes, what was he trying to do? Here is the sonnet:*
"They called it Annandale—and I was there
To flourish. to find words, and to attend:
Liar, physician, hypocrite, and friend,
I watched him: and the sight was not so fair
As one or two that I have seen elsewhere:
An apparatus not for me to mend—
A wreck, with hell between him and the end,
Remained of Annandale; and I was there.
"I know the ruin as I knew the man;
So put the two together, if you can,
Remembering the worst you know of me.
Now view yourself as I was, on the spot—
With a slight kind of engine. Do you see?
Like this . . . You wouldn't hang me? I thought not."
Then we have my poem on Judas, who is, I suppose, the ultimate lost betrayer. It is a—well, I wouldn't call it a literal imitation of Robinson, but if I hadn't read Robinson's sonnets I know that I wouldn't have tried to write that poem.
What did you learn from Frost?
Well, first of all I think that there is his profound, terrifying, and very tragic view of the universe, which seems to me true. I've never said life is meaningless, I've said it is tragic. I think it is intensely precious. God, sometimes I think I'm so happy I don't know what to do with me. But it hurts like hell. There is that, but also technically there is something in Frost. He knows how to keep the adjectives out. An example is his poem "Lodged." A very short poem, it has one adverb in it—"actually"—and that one adverb, it seems to me, strikes like a bullet.
Frost—America's great nature poet. Would you call yourself a nature poet?
In part, yes.
The reason I ask that question is, the early poems seem partly nature poems, but also there are a lot of poems about people. The Branch Will Not Break is almost entirely a nature book. Shall We Gather at the River is something else, more personal. And the new poems, probably growing out of your life here in New York, are almost urban poems. I mean there is an urban landscape as opposed to the earlier Minnesota and Ohio landscapes.
Human beings are unhappily part of nature, perhaps nature become conscious of itself. Oh, how I would love to be a chickadee! But I can't be a chickadee, all I can be is what I am. I love the natural world and I'm conscious of the pain in it. So I'm a nature poet who writes about human beings in nature. I love Nietzsche, who called man "the sick animal."
Is it fair to ask you which of your own books is your favorite, which one you like best?
Yes, that's fair enough. My own favorite is Saint Judas. I tried to come to terms in that book with what I felt to be the truth of my own life, which is that of a man who wants very much to be happy, but who is not happy. I do not have the talent for happiness. There are some people who do. I have a friend, a student, and you heard me tell her yesterday on the telephone that one of the high-rise buildings in New York is a cathouse. And she roared and roared with laughter and said it will set her up for the whole day. I do not have that gift; I wish I had. And in Saint Judas I tried to face the fact that I am not a happy man by talent. Sometimes I have been very happy, but characteristically I'm a miserable son of a bitch. I tried to come to terms with that in the clearest and most ferociously perfect form that I could find and in all the traditional ways. That was partly a defensive action, because I hurt so much then. After I finished that book I had finished with poetry forever. I truly believed that I had said what I had to say as clearly and directly as I could, and that I had no more to do with this art.
You've told me that before. What was wrong, and how did you get going again?
At that time I had come, for personal reasons but also for artistic reasons, to something like a dead end. I was in despair at that time, and what usually has consoled me is words—I've always been able to turn to them. But suddenly, it seemed to me that the words themselves had gone dead, I mean dead in me, and I didn't know what to do. It was at that time that Robert Bly's magazine, which was then called The Fifties, appeared. I wrote him a long letter because his magazine contained a translation of a poem by Georg Trakl. Some years earlier, at the University of Vienna, I had read in German the poetry of Trakl and I didn't know what to do with it, though I recognized that somehow it had a depth of life in it that I needed. Trakl is a poet who writes in parallelisms, only he leaves out the intermediary, rationalistic explanations of the relation between one image and another. I would suppose that Trakl has had as much influence on me as anybody else has had. But the interesting thing is that when I read Robert Bly's magazine, I wrote him a letter. It was sixteen pages long and single-spaced, and all he said in reply was, "Come on out to the farm." I made my way out to that farm, and almost as soon as we met each other we started to work on our translation of Trakl.
You should see us working together on something. We get up in the morning and won't even look at each other. We pace back and forth. He'll turn without looking at me and say to his wife, Carol, "Yeah, he likes J. V. Cunningham." Then I get one up on him by quoting him a Cunningham poem. And we sit and stare at each other. We would say things that I would not repeat even for The Paris Review. And yet I'm a member of his family too. I'm Mary's godfather. They loved me and they saved my life. I don't mean just the life of my poetry, either. To think of Carol Bly is to defeat despair. Never mind my small experience of human beings. Carol is one of the noblest persons who ever lived, as far as I'm concerned.
Did he have the strong influence on your work of that time that is sometimes ascribed to him?
Yes. He made it clear to me that the tradition of poetry which I had tried to master, and in which I'd come to a dead end, was not the only one. He reminded me that poetry is a possibility, that, although all poetry is formal, there are many forms, just as there are many forms of feeling.
The book that followed, of course, is The Branch Will Not Break. How do these things show up there?
At the center of that book is my rediscovery of the abounding delight of the body that I had forgotten about. Every Friday afternoon I used to go out to Bly's farm, and there were so many animals out there. There was Simon, who was an Airedale, but about the size of a Great Dane. There was David, the horse, my beautiful, beloved David, the swaybacked palomino. Simon and David used to go out by Bly's barn. David would stand there looking out over the corn fields that lead onto the prairies of South Dakota, and Simon would sit down beside him, and they would stay there for hours. And sometimes, after I sat on the front porch and watched them, sometimes I went and sat down beside Simon. Neither Simon nor David looked at me, and I felt blessed. They allowed me to join them. They liked me. I can't get over it—they liked me. Simon didn't bite me, David didn't kick me; they just stayed there as they were. And I sat down on my fat ass and looked over the corn fields and the prairie with them. And there we were. One afternoon, a gopher came up out of a hole and looked at us. Simon didn't leap for him, David didn't kick him, and I didn't shoot him. There we were, all four of us together. All I was thinking was, I can be happy sometimes. And I'd forgotten that. And with those animals I remembered then. And that is what that book is about, the rediscovery. I didn't hate my body at all. I liked myself very much. Simon is lost. David, with what Robert called his beautiful and sensitive face, has gone to the knacker's. I wish I knew how to tell you. My son Marsh, the musician, is in love with animals.
What effect do you feel your role as translator—the sort of work you did with Bly—has had on your own poetry?
It's led me into some further possibilities of saying something that I think I wanted to say from the beginning. And that, unfortunately, being damned as I consider myself, I felt that I had to say or I would die. I think that most of the people who are alive in the world right now are very unhappy. I don't want people to be unhappy, and I'm sorry that they are. I wish there were something I could do to help. I'm coming to face the fact that there isn't much I can do to help. And I think I've been trying to say that ever since I've started to write books. That's what my books are about.
How do you react to hearing the poems of The Branch Will Not Break and afterward described as surrealistic?
They are not surrealistic, they are Horatian and classical. When they sound surrealistic, all that means is that my attempt to be clear has failed. They are not surrealistic and I am not a surrealist. The crucial element of surrealism is not a structural and formal matter, but that it is funny. Up to World War I, the ideals in Europe had been ideals of honor, integrity, mother, apple pie, and the flag. The young men who went into that war suddenly discovered that this was a lie. What it meant was that they were being led to kill each other. The French surrealists responded with comedy, and the only American surrealist we've had who has understood this—no, we've had two of them. One is Malcolm Cowley in the book Exile's Return. No, we've had three of them—E. E. Cummings was another one who understood. You know, he went out to urinate on the Paris lawn. Suddenly, a policeman grabbed him and he immediately found himself surrounded by the French. This was after the war was over, and they shouted at the cop, "Reprieve le pisseur American!" Let that American pisser go.
Another thing that happened was that Cowley was sitting, as he tells us in that beautiful book, in a cafe. The waiter pushed him. He pushed the waiter back, and he thought, this is it. You know, le gendarmerie will be here in a minute. And so he covered his face with his hands. Suddenly, he found himself lifted on the shoulders of all the people in the cafe, and they carried him down the street singing. The only other American poet that we have had who has understood the principle of French surrealism is our beautiful poet from Ohio—where else?—Kenneth Patchen.
My favorite of your books is Shall We Gather at the River. And one thing that I really like about it is the fact that it has integrity and coherence. In other words, it's not quite a single narrative poem, but it's not just a collection of separate lyrics either. How do you feel about that in respect to that book?
It was very carefully written to move in that way. Whether it came off or not is another question, and not for me to judge. Like hell! I know damn well that that book is perfectly constructed, and I knew exactly what I was doing from the very first syllable to the very last one.
Which is what? What were you doing?
I was trying to move from death to resurrection and death again, and challenge death finally. Well, if I must tell you, I was trying to write about a girl I was in love with who has been dead for a long time. I tried to sing with her in that book. Not to recreate her; you can't recreate anybody, at least I can't. But I thought maybe I could come to terms with that feeling which has hung on in my heart for so long. The book has been damned because it is so carefully dreamed.
Do you in constructing your books generally have that idea of coherence in mind?
Every time. Did I mention to you Robert Frost's remark—it is a very Horatian remark—that if you have a book of twenty-four poems, the book itself should be the twenty-fifth? And I have tried that every time, every time.
Well, let's take one more example. What was your principle of order in The Green Wall? What structural principle were you working with?
I tried to begin with the fall of man and acknowledge that the fall of man was a good thing, the felix culpa, the happy guilt. And then I tried to weave my way in and out through nature poems and people suffering in nature because they were conscious. That was the idea. I don't think that that book is structurally very coherent, but that was the idea of it. You know, I left out about forty poems from that book.
Did you?
I had a letter from Mr. Auden about it in which he said, in effect, "I think that you should cut some things, but whatever you cut is up to you." And once I started cutting I got about forty of them out and ended up with forty. In other words, I write abundantly. And then my next step is to struggle to reduce the ornament, to reduce the abundance—to prune the book, in other words, the way one prunes a tree—so it can grow. This is my idea of a book.
Do you do that with individual poems also—rewrite them and prune them?
Yes. I rewrite my poems so often that I sometimes get mixed up about which version was finally published. I don't want to let a poem go until I think I've got it honed down just to what it should be, and that involves all sorts of weird problems. One of them is that you overwrite it. You've got to know when to stop. Bach is the greatest of the human composers, but in my opinion Mozart is an angel. And one thing that makes him angelic is that he knows exactly when to stop. He knows when to shut up. And in doing that he gives you your own song. I think he is the greatest thing who ever . . . He is the spring. I think he's an angel, I think he was an angel that came to the earth. And that is one thing that makes him angelic—he knows exactly when to shut up. And by knowing that, you sit there, and you realize that your own song is coming awake in music. He can give you your own song. Think of that! God I think that is miraculous, I think that literally is miraculous.
You have said that being a very good craftsman is a problem for you as a poet. How is this so?
Because my chief enemy in poetry is glibness. My family background is partly Irish, and this means many things, but linguistically it means that it is too easy to talk sometimes. I keep thinking of Horace's idea which Byron so very accurately expressed in a letter to Murray, "Easy writing is damned hard reading." I suffer from glibness. I speak and write too easily. Stanley Kunitz has been a master of mine, and he tells me that he suffers from the same problem. His books are very short, as mine are, and he has struggled and struggled to strip them down. There are poets, I have no doubt, who achieve by some kind of natural gift the difficulty that one needs. Because whatever else poetry is, it is a struggle, and the enemy, the deadly enemy of poetry is glibness. And that is why I have struggled to strip my poems down.
When you sit down to write a poem, what happens? Do you start with an idea, a theme, a rhythm?
In my own case it's usually with a rhythm and not with an idea. And I don't know what I'm going to say, and three-fourths of the time after I've finished I don't even know what I've said. I wouldn't say that I'm a frustrated musician, but I love music and I think this is why I usually begin a poem that way. Music has given me a much greater sense of the possibilities of quantity in poetry.
But can you do that? Is it really possible to take a musical quality and make it work only in words?
The Elizabethans sure as hell did it. When they figured out blank verse somehow they learned this was a way you could sing and talk at the same time. And they didn't let it dominate them. Hell, there are about ten thousand examples—Shakespeare poured songs into his plays, Ben Jonson wrote many beautiful songs, Sir John Dowland, one of the great musicians of the world, was at the top of his form right at that moment. Sir John Harington, Sir John Davies and his "Nosce Teipsum," George Peele. They were all in there.
Walt Whitman learned how to do it. He didn't understand what he was doing, but he did it. Let me give you just one example, from his poem "I Heard You, Solemn-Sweet Pipes of the Organ." He has this line, and you don't have to ham it up to hear the effect: "Winds of autumn, as I walk'd the woods at dusk I heard your long-stretch'd sighs up above so mournful."
We were speaking of coherence in books of poems. Did you have in mind, when arranging your Collected Poems, an overall unity? One critic has found a quest throughout all your earlier books which he feels is resolved in the section of "New Poems."
Wait till you see my new book. I published the Collected Poems because I had a new book going and those other books were getting in my way. I thought that this would be the most practical way of getting them off my neck. Once I've finished something, I've got to be free of it. I also published that book because it was time to get the hell out of America.
The new book is called Two Citizens. What is the significance of the title?
My wife, Annie, who means so much to me, introduced me to Europe, which we love. And yet we know that we also love America. We know that at this time Americans, who are good people and a kind of lost people, are suffering very badly. There is so much vitality in this country, there are so many good men, good, kind, intelligent men. Where did it all go wrong? May I quote Mencken? "There are many people in this country, some of whom are handsome, and many of whom are wise, and Calvin Coolidge is President of the United States. It is as though a man, seated before a sumptuous banquet, were to turn aside and regale himself by eating flies."
So Annie, who had taught several years ago in the Overseas School of Rome and in the American school in Paris, introduced me to France and Italy. I'm a Viennese myself, that is I'm fluent in German. Annie speaks a little French and Italian. We are two citizens. Citizens of the poor old son of a bitch, the United States. But we are also citizens of Europe.
Two Citizens begins with a curse on America. There are some savage poems about Ohio, my home, in that book, poems that I could not have written if I hadn't found Annie. She gave me the strength to come to terms with things which I loved and hated at the same time. And in the middle of that book, between the curse and the final expression of grief, there is a whole long sequence of love poems. I've never written any book I've detested so much. No matter what anybody thinks about it, I know this book is final. God damn me if I ever write another.
Even though I don't love that book, I love what lies behind it, because it grew so directly out of my new life, my life with Annie. We'd planned a trip to Europe, but it was late spring and I was trying to finish up the Collected Poems. I felt empty, but Annie kept me going. She even did all the typing. So we finished the book, the contract was signed, the manuscript delivered, and off we went. And for the second time in my life I thought I was done with poetry forever. I always think I am done with poetry forever. We stayed several days in Paris, where we would walk out in the morning. We would go to market, then we would go to a cathedral to see what was going on in town. Then we would go with our cheese, our paté, our wine, and have lunch. Then we went to bed. Then in the late afternoon we would go out and have an aperitif. And to my utter, miraculous astonishment, I started to write poems again. And they turned out to be love poems, love poems of gratitude. And that went on all summer, all the way drifting down through from Paris to the south of France, and then to Italy.
I told you earlier that I loved Saint Judas the best because I came to terms with my own pain then. But the new book is—it's almost a resurrection of Saint Judas. In fact, maybe I should have given it one of the titles Don Hall has suggested to me. He's a wonderful man, and he loves to make up titles. One he suggested to me was Son of Saint Judas. Another was Saint Judas Meets the Wolf Man. He's a fine man, an excellent poet and certainly one of our most intelligent critics of poetry. And we have damned few, damned few. That's one thing that's wrong with us, because you can't have a real poetry without a real criticism.
Does your poem "Ars Poetica: Some Recent Criticism" deal with literary criticism?
No, this is a poem about my Aunt Agnes, who is a very suffering woman, and has been dying slowly for many years. I get so damned angry about the difference between literary criticism and real life in this country that I thought I would write an ars poetica of my own, which is about what is really going on in this country.
What would you see as the ideal criticism?
To teach the younger poets the crucial importance of the relation between craft and imagination. Because without craft, by which I mean the active employment of the intelligence, the imagination, that mysterious and frightening thing, can not come free. We have had to learn so much by ourselves, and you, the younger poets, are in a position to see what Merwin and Dickey and Bly and Kinnell and Stafford and Mary Oliver, with her singular purity and gentleness, and I meant, that the American possibility is a possibility of forms fantastically beyond what we had been taught.
While we've been talking you have mentioned several very good but almost forgotten poets—Edward Thomas, Rupert Brooke, and others. Of course you've also written a poem indirectly addressed to Edna St. Vincent Millay. Why do we keep forgetting good poets like that?
I have no answer to that. How do you account for the fact that people forgot John Donne for a couple of hundred years? We can't remember everything at once. We do get a few people who understand the intensity and the true beauty of life in the face of death and pain. And what else have we got except love? We've got to have it because the only other thing there is is death and pain. That, I take it, is the meaning of that shocking statement, God is love. Whole cultures have been built to get around that one. Now that we are almost finished, I want to tell you two stories. The first is one of the tales of the Hasidim, from western Poland.
There was an orthodox Jewish tailor who knew that on the day of atonement he ought to attend the services at the synagogue. He did not go. The next day he met his rabbi. The rabbi said, "All right, let's have the excuse."
The tailor said, "I decided, Master, that yesterday I would go in the back of my shop and talk to God myself."
"All right," said the rabbi, "what did you say to him?"
"Well, I said, 'God, you know everything, and you know all my sins. But for your convenience I will repeat them. Once when I was young I slapped a child in the face. Once when I was a tailor I made a pair of pants for a man and instead of giving him back what was left of the material, I kept it myself. I've probably committed a few more and I can't remember them, but God you know everything and you remember them. And as far as I know, that is the extent of my sinning'."
"Go on," said the rabbi.
"Then I said, 'God, you have allowed children to be born without eyes. You have allowed the human race, whom you created, out of their own unhappiness to kill each other when they did not even know each other. You are all-powerful, you know everything'."
So the rabbi said, "Go on."
The tailor said, "I told him, 'God, let us compare our sins. If you'll forgive me mine, I will forgive you yours'."
The rabbi paused and then shouted, "You idiot! Why did you let him off that easily? Yesterday was the day of atonement. You could have forced him to send the messiah!"
That's a fantastic story.
Yes. Our real life is the most fantastic story. Rabbi Heschel is dead. Eheu! Back in Minneapolis I made friends who are Muslim and they invited me to the first banquet after the feast of Ramadan. Ramadan is a ritual carried on in the spring in which the Muslims remind themselves that there are many poor and suffering on the earth, and from dawn until evening they will not eat or drink. But the Muslims also have their orthodox, their establishment.
In the eighth century, there was a man named Mansur-al-Halaj who entered the city of Baghdad. He was a Sufi. The Sufi were a Muslim sect who had heard about Jesus, and they believed that Jesus was a saint. There are many of them, but al-Halaj is my favorite. This is what he did. He went to the chief authorities of the city of Baghdad and he said, "I am going to try to live as Jesus lived. I know what happened to him"—eighth century, remember—"I remember what happened to him, and I know that if I try to live as he lived, you will be frightened, and I know what you will do to me. And I want to tell you beforehand that I don't hate you."
Well, they gave him the fish eye and said, "Well, here's another nut."
Then he went out and talked to people saying, "Why don't we try to love one another?"
Finally they got him. They crucified him. They cut off his right hand and his left foot and crucified him upside down. And at dawn he was still alive. The vizier—ah, Henry Kissinger—came out and said to him, "Were you flying through the universe again last night?"
And as he died he said, "No, I was just hanging here, alone with the alone, among the stars."
I've got one more for you. It's a gag, a Muslim gag. You'll like it, it's very nice. One of my best friends in the world is a man named Ghazi Ghalani. He is from Iraq, from Baghdad, and I used to see him in St. Paul all the time. There used to be a bar, a piano bar, called The House of Ming. And I would get this phone call saying, "Hello, Jim?"
"Ghazi! Where are you?"
"I am at The House of Ming. Come on down and have a drink."
So I would arrive, and there would be this ninety-year-old woman playing World War I torch songs. And Ghazi would be sitting there. He looked like Danny Thomas. And I would say, "How do you feel, Ghazi?" Now in English if you ask somebody how he feels, and he feels lousy, he'll say, "I feel lousy."
But Ghazi used to do the prayer gesture, and then he would say in Arabic, "If my family traded in shrouds, people would stop dying."
If my boyhood dreams were true, my country would stop dying.
* Translated from the Gaelic by Dr. Douglas Hyde.
* "How Annandale Went Out" (New York: Charles Scribner's Sons, 1910) is reprinted by permission of Charles Scribner's Sons from The Town Down the River by Edwin Arlington Robinson.
Author photograph by Nancy Crampton


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|1,345 sq. ft.
|Property type
|Minimum Stay
|2 - 7 nights
In the heart of the Lake District of Friesland is the natural park "Alde Feanen" - between Grou, Leeuwarden and Drachten. The spacious apartment located in this nature reserve in the village Eernewoude right on the water. The accommodation is comfortable and extends over the 1st and 2nd floor. From the living room and the roof terrace you have a beautiful view over the lake. Relax and watch the boats from there. If you own a boat yourself, you can just 30 meters from the house Berths for rent. The area around Eernewoude is ideal for boating, biking and hiking.
Classification: On 1st floor: (Hall(toilet), Open plan kitchen(combi microwave, dishwasher, freezer), Living/diningroom(TV, DVD player), bedroom(Double bed), bathroom(bath, shower, washbasin, toilet), utility room(tumble dryer, washing machine))
On 2nd floor: (bedroom(Double bed), bedroom(Double bed), bathroom(shower, washbasin, toilet), Landing)
heating(Floor heating), roof terrace, garden furniture, parking
These costs are charged on site. They are not included in the rental price.:
Deposit; Upon your arrival, you will have to leave a credit card number for the deposit.
Final Cleaning; Mandatory: € 65
Pets; Not allowed
Bed linen; Required to rent, € 8 p.p./Stay
Bath towels; For rent, € 4,50 p.p./Stay
Kitchen linen; For rent, € 3,50 per Stay
Electricity; Included
Gas/Oil; Included
Wifi; Free
Tourist tax; Mandatory, indication: € 0,90 /person/night
very nice area and very friendly people in the village. Nice view of the harbor. many hiking trails, bike paths and the possibility to varen.zeker a must
Die Wohnung hatte allen Komfort den man braucht. Den Blick auf den Yachthafen haben wir genossen. Wir kommen bestimmt mal wieder.
Centre 100.00 km., Forest 2000.00 km., Lake 100.00 km., General supplies 200.00 km.


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When you visit Telluride, Colorado, you don't have to load up your schedule with expensive activities. Some of the best things to do in Telluride are free! When we survey guests about their favorite things in the area, the two biggest draws are the beautiful scenery and the free Telluride to Mountain Village gondola. Beyond the beautiful scenery and gondola rides, many organizations in town bring in complimentary entertainment and other programming year round. Be sure to check the Telluride Calendar of Events for up to date information on free concerts, lectures, and movies presented at various locations around town.
Free Gondola Ride
For a bird's eye view, take a ride on the free gondola that connects the town of Telluride with Mountain Village. From the bottom of Oak Street, the gondola climbs to the San Sophia Station at 10,535 feet before descending to Mountain Village. The gondola runs from the week of Memorial Day to Mid October during the summer season and the week of Thanksgiving until early April in the winter from 7am to midnight. Riders in the early morning and at dusk can often spot wild life below. Rides after dark are a special treat with both towns shining like jewels.
Scenery and Outdoor Activities
Telluride is located in the San Juan Mountains and is surrounded by spectacular 13,000 and 14,000 foot peaks. The San Miguel River dramatically plunges into the box canyon at Bridal Veil Falls, Colorado's largest waterfall, and runs through town and to the valley floor. Enjoy the stunning scenery by walking around Telluride and Mountain Village, hiking the many area trails, biking on the variety of paths or cross country skiing in the winter.
Historic Walking Tour
Take a self-guided walking tour through Telluride to get a feel for the rich history of this mountain town. Telluride is just 12 blocks long and 8 blocks wide, and with no stoplights in sight, it is the perfect town to walk around and take in the architecture, beautiful gardens, and stunning sights. Start at the Telluride Historical Museum and then set off on a journey through town. You'll find placards outside the historic homes, documenting their role in the history of the town.
Guided Mountain Tour
In the winter, the Telluride Ski Ambassadors lead daily ski area tours that focuses on Telluride's history as well as interesting facts about the surrounding mountains and environment. As long as you have a lift ticket, this is a great free activity and a fun way to learn about Telluride Ski Resort. Tours depart at 10am from the top of the Coonskin Lift.
Fireside Chats
Head to the center of Mountain Village, gather round to listen to a variety of Telluride locals tell stories about talk about Telluride's rich history. You'll hear writers, historians, and the like talk about the many stories that make Telluride so unique. The free Fireside Chats are sponsored by the Telluride historical museum.
Walk the River Trail
This in-town trail meanders along the San Miguel River and is a great way to take in the sites surrounding Telluride. Peaceful and quiet, the River Trail is a favorite among locals and visitors.
Ride the Town Loop Bus
This free bus provided by the Town of Telluride circles all around town, stopping at various locations along the way. Otherwise known as the Galloping Goose, this bus runs from 7am to midnight. Hop on it to get to a restaurant, your lodging, or the Post Office, or just ride it around to get a feel for the town of Telluride!


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This classic 1903 Art Nouveau house has seen many changes on the Main Stem over the last century: vaudeville, classics, the Ziegfeld Follies (for more than two decades) and the drastic decline of the theater district during the Great Depression, and again in the 1970s and '80s. Renovated and reopened, in 1997, the New Amsterdam soon became home to the Disney smash hit The Lion King. Since 2006, Mary Poppins has been wowing children and adults there. (The Lion King moved to the Minksoff.) The theater is operated by Disney Theatrical Productions.
|Venue name:
|New Amsterdam Theatre
214 W 42nd St
New York
|Cross street:
|between Seventh and Eighth Aves
|Subway: A, C, E to 42nd St–Port Authority; N, Q, R, 42nd St S, 1, 2, 3, 7 to 42nd St–Times Sq
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Aladdin. New Amsterdam Theatre (see Broadway). Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice. Book and additional lyrics by Chad Beguelin. Directed by Casey Nicholaw. With Adam Jacobs, James Monroe Iglehart, Courtney Reed. Running time: 2hrs...Musicals Until Sunday December 31 2017


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US U15 BNT camp in Los Angeles is over. Forty-four players competed for only thirty-two spots at US Soccer's Bradenton Academy in Florida. Topdrawersoccer.com, as always, was there with game recaps and player happenings. Players based throughout the United States were joined by foreign-based usynt stars Christian Albelo (Midfielder – TSG Hoffenheim U17), Joshua Perez (Winger – AS Fiorentina 98 Giovannissmi), Joe Gallardo (Striker – Monterrey U17), Edwin Lara, and Ethan Lotenero, who both spent time with Pachuca FC Academy last season.
Before residency invitations are officially awarded to this talented '98 & '99 group, a select squad will be chosen to represent the US in the highly competitive Copa México de Naciones U15 tournament from August 10-18 in Mexico City. The US will field its best players at this age level for a three day round-robin in which the US will face Brazil (August 10), Panama (August 11), and Uruguay (August 12) before knock-out play begins. The top three teams in each group will advance to the knock-out stage.
OWTY has learned already that '98 usynt and Chivas USA U16 defender Hugo Arellano and '98 usynt striker/defender Danny Barbir will be on the roster.
This caps an incredible summer for Barbir, who has spent time with some of the biggest European clubs, impressing at each one. Barbir, who already has an EU passport, is one of the hottest prospects in European youth football and will have a tough decision to make as he is a shoe-in for a residency invitation. The 6'3″ Barbir is a commanding force on the field, but it is his technical skill and composure on the ball that has won him plaudits from every scout who has seen him play. Reports out of Europe project Barbir as an attacker, while US Soccer has been mainly deploying Danny as the first-choice center back.
OWTY can also project call-ups for Monterrey hot shot Joe Gallardo who, at age 15, is playing with the Monterrey U17 squad, as well as Abraham Romero who played in this same tournament last season with the US squad, if he recovers from his hip injury in time. If not, look for fellow Los Angeles Galaxy star Eric Lopez to replace Romero in the net.
Some of the more impressive '98s at last week's U15 camp could be absent from the tournament as talented attacking options Albelo and Perez might return to Europe to being pre-season work with their club sides*. This will give the US coaching staff an opportunity to bring in less-experienced international players for a chance to compete at the highest level.
OWTY can confirm that usynt Christian Albelo and '99 Nick Taitague (Midfielder – FC Richmond) will also join the US U15 BNT for the Copa Mexico tournament. Albelo's presence with the squad means the US can trot out its star play-maker against some of the top nations at this level. Nick Taitague joins Edwin Lara and Tyler Adams as '99s on the US Soccer roster. Taitague is seen by many as the top overall player in the '99 US Soccer pool. Taitague starred for the 2013 id2 squad that showed well in Spain.
OWTY Copa Mexico de Naciones U15 Projected US roster:
Abraham Romero – Los Angeles Galaxy
Kevin Silva – PDA
Hugo Arellano – Chivas USA
Tyler Adams – New York Red Bulls
Danny Barbir – Philadelphia Union
George Braima – Columbus Crew
Edwin Lara – Pachuca
Alexis Velela – San Diego Surf
Christian Albelo* – TSG Hoffenheim
Eric Calvillo – San Diego Surf
Nick Taitague* – FC Richmond
Ethan Lotenero – Pachuca
Logan Panchot – STL Scott Gallagher
Alejandro Zendejas – FC Dallas
Devon Vega – Classic Elite
Joe Gallardo – Monterrey
Christian Pulisic – PA Classics
Hagi Wright – Los Angeles Galaxy
Elijah Rice – Chicago Magic PSG
Lagos Kunga – Georgia United


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We just do dumb things against the Eagles. Our D line and D is playing bad. Our offense left what was working. All of a sudden Hixon needs to be successful and we need to work Bradshaw in as the starter. Why? Why?
Maybe the strategy is to dump games to the Eagles so we can build there confidence so they lose other games.


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Originally Posted by Mercury
I think that we are alll assuming that he is brought back under a new contract. The old one shouldn't fly after last preseason didn't work out.
It will be a Smith type situation. If they don't think he can come back they can offer an injury settlement
Never argue with an idiot. They will only bring you down to their level and beat you with experience. MB Rule # 1
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