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The electorate includes Picton, Blenheim, Kaikoura, Hamner Springs and Amberley. Held by Colin King (National Party) with a majority of 11,445. (retiring)
2011 party vote (%): National 55.41, Labour 19.85, Green 11.09, NZ First 6.55, ACT 1.11, United Future 0.90, Maori 0.43, Mana 0.13
Colin King National Party List #52
Entered Parliament in 2005. A farmer and former director of the Meat Board and Meat & Wool NZ.
Ian Hayes Libertarianz List #22
John McCaskey Democrats for Social Credit List #10
Liz Collyns Labour Party
Richard Evans ACT Party List #18
Steffan Browning Green Party List #10
Organic horticulturalist, spokesperson for Soil & Health/Organic NZ. Has stood for the Green Party in three previous elections.


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amplifiernoun [ C ]uk /ˈæm.plɪ.faɪ.ər/ us /ˈæm.plə.faɪ.ɚ/ informal amp
› an electrical device that makes sounds louder
Thesaurus: synonyms and related words
Examples from literature
- Charley took advantage of the remaining daylight to couple up the battery and the amplifier to his wireless.
- He heard the sound of a mobile amplifier, and strained his ears toward it.
- I can't detect any heart action even with the amplifier.
- The battery would be forwarded as soon as it reached the Wireless Club and had been inspected, and the amplifier would go with it.
- The receiving transducers would feed from amplifiers to earphones.

subset: commoncrawl


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here is a link to show you why
What Are These Red and Yellow Dots On My Tires? | TireTeam Talk
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here is a link to show you why
What Are These Red and Yellow Dots On My Tires? | TireTeam Talk
Yup, mfr mark. If they are targeting cars for later hits, why not just note color/model/last 3 of plate - no messing with their target prior to actual theft. Lot easier to spot driving past later on than a dot on a tire.
I've even heard that while the gangs are usually too stooopid to try this, it might be more likely a government ploy -- even local gubmint if you happen to have an antigun police chief or mayor.
Men are different than women. Holidays also make people less prudent.
We had the asian gang members walking in and out of Best Buy putting white stickers on some tires. They had their accomplishes patrolling the parking lots in nearby stores for the stickers, and for easily visible boxes. We have many stores in a small area which made their task all that much simpler.
Well, this only happened en masse one year. While the criminals were clever, they were not overly smart, and the cops caught them with relative ease.
When I first saw this today, the below are the words that I keyed in on because they all sounded like personal ownership of the event:
So the conclusions are that either:Quote:
Gun lovers public service announcement: While I was in a Denver gun store today, my car was tagged on the wheel in the parking lot.
This is so RAMPANT in San Antonio where we were for a National shoot this summer,
1) this woman is crazy and made all this up (including being at the San Antonio event where the police chief provided the warning)
2) this all happened.
I went and looked closely at her facebook page, and all the comments there. I also looked closely at the photo. The mark, as others have said, looks exactly like the colored dots placed on new tires, and they take forever to wear off, unless you use a very stiff bristle brush. She makes a comment, on her FB page, about gangs using UV paint to mark the tires, but your iPhone will show the otherwise invisible markings. Really? Your iPhone is a black light that fluoresces UV paint? Really???Look at the tire - it is brand spanking new, and nice and shiny from Armor All or something. You ever try to put pain on Armor All?? Don't bother, it won't stick to the tire!!
While it sounds like a good story, that is all it is. Her husband(?) posted up on FB, in response to the dis-believers there, that they did have several folks at a shooting competition, in San Antonio, whose cars were broken into. Let me get this straight - 400 hundred folks go to a shooting competition and they are surprised when a couple of folks have their cars broken into? Ok.....
Until you find the name and title of a police officer who has documented this being done by gang members, it is just a story. Besides - the cars at a gun store are more likely to have some SOB come back and shoot at your sorry butt for screwing with his car. He is more likely to be carrying the damned gun than leave it in the car!!! :image035:
Gangs aren't that organized.
Further, doing "surveillance & tracking" on the scale suggested in the link is beyond the ability of all but the most well funded and trained intelligence agencies in the world.
I call BS.
Tell her that she needs to go in and get some refill fluid for her turn signals too.
I was in one auto parts store when a woman came in and asked for some.... we tried hard not to laugh. The clerk asked her, who told her that she needed some, and she said "her husband" ..... so the guy tactfully let her know her husband had pulled her leg.... but, if she wanted to have some fun ...... he had a "JOKE BOTTLE" of "turn signal fluid" for $1. She bought it and said she was going to have some fun with it, as she was going to make him show her where to put it in (and she had a suggestion on where that was going to be).
We had problems at gun shows with guys attempting to rob people coming out of the gun shows, and breaking into cars. The Sheriff Deputies said they couldn't do anything, because they were assigned stations they could not leave. So, people started standing watch out there and several idiots were caught, and then it all stopped.
I'll mark it as a toss up, too. Regardless of what some folks say about the cunning of gangbangers... I don't buy that either... Now, the leadership of the gangs... might be a different story...
And, after all, some original American "gang signs" grace my signature... so it is possible.


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Two weeks after announcing a 95% drop in sequential quarterly earnings, social games maker Zynga on Tuesday unveiled a several new Facebook games as well as additional platforms for existing titles.
Zynga filed for an initial public offering on July 1, saying it planned to raise up to $1 billion.
But the company announced later in the summer that it was delaying an IPO because of shaky market conditions.
Then, on Sept. 26, Zynga reported profits of only $1.3 million in the quarter ending in June, down 95% from the $27.2 million in the previous quarter. Zynga said the decline in net income was due to the lack of any new game launches until March 31, as well as higher growth-related expenses.
Now the company has new blood in the pipeline, including the latest from its lucrative "Ville" franchise.
"CastleVille" follows FarmVille, FrontierVille, and CityVille in Zynga's popular social genre. In the six months ending June 30, FarmVille and FrontierVille accounted for $193.7 million of the $271.5 million increase in online game revenue from the year-ago period, so it's fair to say that Zynga has a lot riding on CastleVille.
The company unveiled two other games for Facebook: Zynga Casino and Hidden Chronicles.
Zynga also announced that Mafia Wars 2 is now available on Google+.
The revenue from these games won't show up in an SEC filing until late this year. Given that Zynga recently took out a $1 billion line of credit, it's safe to say that the social games company is content to push its IPO back to sometime next year when, hopefully, the trading weather will be nicer.


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Radio Fence Pet Fence Repair
Forget all those expensive and complicated methods of figuring out where a break in the wire has ocurred with your radio pet fence. Go to your local discount store and buy a cheap am/fm radio. I got mine for $5 at Walmart. Make sure it has a tuning dial so you can scroll through the different stations. Generally, the cheaper the better because it will be a basic radio, which is what you want. Cheap headphones are a plus to help you hear what you need.
Now, turn it on and point the antennae directly at your pet fence box (get close), set your radio to AM and tune through the stations until you get a rapid repeating sound. You know you have it when you pull the radio away from the box and the sound stops. KEY - Make sure your box is giving off that beeping alarm signal that started this whole thing while you do all this so you know its actually putting off a signal!! If the box alarm is off the box is NOT sending out a radio signal to the wire.
Now take the radio outside and point the antennae at the ground (almost touching the ground if needed) where the wire is buried until you get that same repeating sound. Now follow it until the signal begins to fade out - you are now at or near the break.
To be sure, you can go back to your box and swap the in/out wires of your loop and follow the signal down the wire the other direction until it fades out again. It should fade out at about the same place.
Just remember to switch your wires back at the box when your done.
I avoided a huge fee and an expensive gadget with this simple DIY solution. Hope it works for you too.
Wrangler did you install your radio fence? See my new thread posted today.
Pet fence repair a success!
Your directions were clear, and probably saved me a bundle today, though I spent most of a day locating and repairing the breaches. (Thanks to AT&T, we had two separate cuts in our fence. But I choose my battles and am not about to "go at it" with the imbeciles AT&T sends out to repair their phone lines...ravaging all other lines in their wake!)
As you suggested, my very cheap AM radio received the pulse, at best somewhere around 530 on the AM dial. I had to position my radio just so, time and again, in order for it to receive a clear enough signal. (Our home is in Atlanta, which is chock full of radio noise. Those in rural areas will likely have an easier time than I did.)
One exception to your plan: Headphones are A MUST, not an option!
That said, I thank you for your post. Anyone who has time to burn, a cheap radio, a shovel and the necessary length of pet-fence wire can surely accomplish a similar result.
It's a game for me. And thanks to you...I won today. (My pup isn't all that happy, but I certainly am!)
I can't begin to tell you how many hours I've spent digging up and cutting my wire to find a break.
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Jamie 08 Aged Scotch Whisky 1.75L - DISCONTINUED BOTTLE
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Jamie 08 Aged Scotch Whisky 1.75L - DISCONTINUED/RARE
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text: Markets Video: Apple regains most valuable spot Add to ... Reuters Video Published Wednesday, Jan. 25, 2012 12:27PM EST Last updated Wednesday, Jan. 25, 2012 3:38PM EST Summary of business headlines: Apple is world's most valuable company after shares top $454; Boeing beats, but outlook shaky; Higher fares lift Delta, US Air results. Watch More Video: Market Call Tonight: Top Picks from GlobeInvest's Christine Poole CP Rail shares jump on report of Norfolk Southern talks TransCanada's request to delay pipeline review rejected U.S. home prices make biggest jump in six years Video: The Retail Gap: Luxury retail stocks Video: Reading between the lines of the Bank of Canada policy rate announcement Investors spooked by Spanish crisis What happened to RIM? Investing in fine wine BNN Market Call's top picks Opposition slams bill to end CP strike A trucker's take on the CP strike BNN's upgrades and downgrades Bankia shares plunge on bailout woes Bankia woes keep building Facebook and the perils of IPO investing BNN Market Call's top picks Facebook slammed with suits Fed president sees 2013 rate hike Britain's Cameron vows to fight EU financial tax Comments Share via email Share on facebook Share on twitter Share on LinkedIn Print More Related to this Story Video: Turning smartphones into toys


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Beginning in 2014, the United Kingdom will require all British schoolchildren to complete a unit on the history of Islam, proudly reports Press TV, Iran's very own 24-hour English language news organization.Sponsored Ads
British Education Secretary Michael Gove announced the addition of a Muslim-specific component after revisions were made to address an outcry over a prior draft that did not include any references to the monotheistic Abrahamic religion.
Islamic history will now be foisted on all British kids in school | The Daily Caller
Tag Archives: Muslim
Identity crisis behind China's Xinjiang unrest: experts
Beijing's propaganda portrays the vast and remote western region of Xinjiang as a harmonious land of colourful, mostly Muslim Uighur natives and hard-working migrants prospering under Communist Party rule.
But two incidents last week, one of which left 35 people dead, are only the latest spasms of violence to call into question that idealised vision.
China's constitution proclaims that the country's dozens of minority groups are an integral and equal part of the national tapestry, but analysts say a system of ethnic labelling – originally meant to promote minority rights – is fuelling unrest.
Daily Times – Leading News Resource of Pakistan – Identity crisis behind China's Xinjiang unrest: experts
Former Hizbullah Leader Subhi Al-Tufayli: Iran Forces Hizbullah to Participate in the Syrian War | MEMRI Video
Subhi Al-Tufayli: I know for a fact that the vast majority within Hizbullah strongly oppose [joining] the Syrian war. However, a resolute decision to participate [in the war] has been imposed upon them.
Interviewer: By Iran?
Subhi Al-Tufayli: Yes.
Interviewer: Even Secretary-General Hassan Nasrallah opposes this?
Subhi Al-Tufayli: I don't want to name names, but I'm talking about the situation at hand. Everyone realizes how dangerous this is. First, of all, this is internal strife among Muslims, which will be devastating to all. This is the beginning of things to come. I say to the Shiites, to Hizbullah, and to the non-Shiites as well: We are heading towards a horrific war, which will destroy everything. The fatalities will be numbered by the millions.
Interviewer: Fatalities on which side?
Subhi Al-Tufayli: Muslim fatalities. Hizbullah's joining the Aflaqi Ba'thists in the killing of the Syrian people invites Muslims from all over the world to come to Syria.
Former Hizbullah Leader Subhi Al-Tufayli: Iran Forces Hizbullah to Participate in the Syrian War
Is John Brennan a Muslim? Should we care? Dare we ask? | RedState
Steve Emerson has written a devastating crtitique of Brennan on FOX News.com yesterday:http://www.foxnews.com/opinion/2013/02/07/john-brennan-is-wrong-man-for-cia/, and this morning, on "FOX&Friends," former CIA counter-intelligence office Michael Scheuer said that Brennan was an "excellent liar." ( Note: I have not been able as yet to find a clip of that segment.)
And then there is this recently uncovered clip from 2010 of Brennan speaking of "the beauty of Islam":http://www.youtube.com/watch?v=7VQbAhqHoAo. He openly recounts his long history of living, and going to school, in the Middle East.
Is John Brennan a Muslim? Should we care? Dare we ask? | RedState
America's Future Belongs to Islam
In any case, all demographers agree that throughout the coming decades, the faith of the Prophet Mohammed will continue to impact and transform all aspects of American life: social, political, and economic. They further maintain that, save for a cataclysmic sea-change in population trends, Islam by 2050 will emerge as the nation's dominant religion.
Such an assertion may seem hyperbolic, save for these findings:
- The US fertility rate is now below 2.1 per woman, meaning Americans are no longer giving birth to enough children to keep the population from dwindling.[vi] But this statistic does not hold true for the average Muslim American woman who displays a robust fertility rate of 2.8.[vii]
- Muslims continue to pour into the country to occupy positions vacated by aging Americans as physicians, engineers, and scientists. …
The belief that America could be transformed into an Islamic state was first expressed by a small group Muslim missionaries in 1922, who declared to a gathering of disgruntled city blacks in Syracuse, New York: "Our plan is: we are going to conquer America."[xiv] The audacity of this remark provoked the following commentary in the Syracuse Sunday Herald:
Will Fracking Bring Down Muslim PetroPower?
The US shale gas boom, drastically cutting the cost of gas, is shaking the foundations of the Saudi Arabian economic model—and more is coming. The highly profitable $100bn Gulf petrochemical industry is taking a hit as its biggest customer—the U.S.—is importing less and relying instead on domestic production.
And already falling demand from China is having an impact on the Saudi economy.
What Egyptians Are Afraid to Know :: Gatestone Institute
The problem with Egypt and many other Islamic nations is they are ignorant of what they are demanding, and are left ignorant by their own media and educational system.
The problem in Egypt is not Mubarak or Morsi, King Farouk or Nasser. It is the ignorance of Egyptians about basics of their beloved religious law that they say they want enshrined in their constitution. I recently asked several Egyptians if they are aware of the following laws in Sharia pertaining to the Muslim head of state:
- It is obligatory to obey the commands of the Caliph (Muslim head of state), even if he is unjust.
- A Caliph can hold office through seizure of power, meaning through force.
- A Caliph is exempt from charges of murder, adultery, robbery, theft, drinking and in some cases of rape.
From the laws above, Morsi has not done anything against Sharia, but not one of the Egyptians I spoke to was aware of any such laws, and that Morsi's recent power grab was in perfect harmony with the Sharia. By now it seems apparent that Egyptians are intentionally ignorant about Sharia and do not even want to take the effort to learn the truth abut Sharia, in case they they might reject it – an act which would turn them into apostates, eligible for death. Remaining ignorant and in denial about the Sharia elephant in the room therefore seems the only option.
Will an Israeli strike on Iran come from Azerbaijan? | GlobalPost
The standoff between Iran, Israel and the United States over Tehran's nuclear weapons ambitions has drawn in another player: Azerbaijan.
According to intelligence officials, Iran's security services have concluded that Azerbaijan, its Muslim neighbor to the north, has been enlisted by Israel in a campaign of cyber attacks, assassinations and detailed military planning aimed at destabilizing and ultimately destroying Tehran's nuclear research program.
That Iranian perspective, described by a range of current and former US intelligence officials who asked that their names remain confidential, has led to a crackdown on Iran's sizeable ethnic Azeri minority and the launch of an Iranian counter espionage offensive to destabilize the government of President Ilham Aliev. Ethnic Azeris are Iran's largest minority group, comprising about 16 percent of the population, mostly clustered along the northern border and in Tehran.
Will an Israeli strike on Iran come from Azerbaijan? | GlobalPost
Left responds to critique of radical Islam with outrage | Washington Free Beacon
Liberal and Muslim media outlets expressed outrage Monday over a Newsweek cover photo and essay discussing the drawbacks of appeasing "Muslim rage," as Newsweek dubbed it.
The article, by scholar Ayaan Hirsi Ali—a former Muslim who renounced the religion after the 9/11 terrorist attacks—argued that the Western tendency to apologize for offensive free speech only emboldens Islamic extremists.
Left responds to critique of radical Islam with outrage | Washington Free Beacon
KAHLILI: Iran admits giving WMDs to terrorists – Washington Times
Israel will be obliterated by chemical, microbial and nuclear bombs, Iran is warning, but those weapons of mass destruction will be used first on Tel Aviv by Hezbollah and Islamic Jihad at the start of a decades-old Muslim dream of destroying the Jewish state.
An alarming commentary last week in Mashregh, the media outlet of Iran's Revolutionary Guards, confirmed that the Islamic regime not only has WMDs but has armed its terrorist proxies with them. Mashregh speaks for the regime.
KAHLILI: Iran admits giving WMDs to terrorists – Washington Times


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Join Date: Jul 2008
Posts: 7
ALA had another successful year, and I enjoyed much of the con with the time I had.
The event I most enjoyed:
Though no one knew what to expect it turned out extremely well. The room was overpacked, but this is more than likely due to unknown expectations. Kinda wish I would have been able to audition, but not a whole lot of info was available on it in the first place.
The let-down:
Registration Limits
It was kind of a hassle this year when I am about to register a week before the con and see a message that says online registration was closed and only a limited number of badges were available on Day 0. I understand why there is a limit - it's common sense that the hotel cannot hold everyone. I just wish I was given ample warning especially since before this year I, and many other people, had the convenience of purchasing a badge at the door on Day 1. I learned my lesson for next year, but it would have been nice to have a more direct warning rather than a message on the ALA front page (direct email via registration info maybe?). I don't really know the answer to this predicament, but I think it is something worth trying to resolve for everyone's benefit.
I enjoy this convention every year, and I hope to continue attending in the future. Everyone is nice, and you eventually run into everyone at multiple points during the con. It's amazing how much it's grown and catered to everyone. I, and many other people, would love to see it flourish in the future.
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Writing's Crisis v.1.0
Peter Baldes, Joan Jonas, Vertical Roll, Sliced Vertically (2005)
With the rise of the web, writing has met its photography. By that I mean, writing has encountered a situation similar to what happened to painting upon the invention of photography, a technology so much better at doing what the art form had been trying to do, that in order to survive, the field had to alter its course radically. If photography was striving for sharp focus, painting was forced to go soft, hence Impressionism. Faced with an unprecedented amount of digital available text, writing needs to redefine itself in order to adapt to the new environment of textual abundance.
Before the web, quantitatively speaking, text had the illusion of being finite. Yes, libraries were available for plundering in their entirety, but the effort of utilizing those texts was enormous. The text was effectively stuck to the page. You could xerox a page but you got a copy with the text still held in tact onto the page. The only way to liberate the text was to retype the text and yet, even then, you got yet another copy with the text glued to the page. How different then is the fluidity of digital texts, easily swiped, rapidly portable and ready to be poured into any desired form. Once freed from the prison of paper, the possibilities are endless. And therein lies the heart of writing's current crisis. While most writing has ignored this and carried on with business as usual, some camps have been trying new tactics: Flarf, Google poems, hypertext and strains of e-poetry have proposed solutions with varying levels of success. Yet, a over a decade into the game, no one possibility leads.
There's a room in the Musée d'Orsay that I call the "room of possibilities." The museum is roughly set up chronologically, happily wending its way through the nineteenth century, until you hit this one room which is a group of painterly responses to the invention of the camera. In this room are about half a dozen proposals for the way painting could respond. One that sticks in my mind is a tromp o'eil solution where a figure is painted literally reaching out of the frame into the "viewer's space." Another incorporates three-dimensional objects atop of the canvas. Great attempts, but as we all know, Impressionism won out.
As writers, are in that room of possibilities now. Where will it lead? I think we can get a clue of not what to do if we look at the history of both video art and net art, two recent forms that grappled head-on with new technology. About a decade or so ago, net art was huge. Programmers were the new art stars; they were regularly featured in Whitney Biennials. But soon, the art public fell out of love with net art. The problem was that the field ended up as the province of programmers, not artists. And these programmers were more interested to see how high they could make a machine jump, rather than infusing a machine with a sophisticated aesthetic sensibility. The problem was also made clear with early video art technology which, too, first became the province of geeks who wanted to see what the machines were capable of. Those early experiments never made it out of the gate, rather the medium needed an artist like Joan Jonas, who simply twiddled the vertical adjust knob on a television set to create one of early video art's most profound works of art. By working against the technicality of video, Jonas made great art. Warhol, too, often claimed that his static camera films — so against the grain of the 60s avant-garde jump-cut style of his day — were a throw back to early cinema, where the camera was incapable of even so much as a pan. Today, Warhol's "Sleep" seems much more radical because of what it doesn't do technologically rather than what it does.
Punk rock taught us the lessons of working against technology's allure: "Here's three cords. Now start a band." You can give a guitar player the best guitar in the world, but that doesn't mean she will play with soul; technically adept session musicians are a dime a dozen. Likewise, I feel that writing's challenge right now is not so much making the machines jump, rather it has to do with the embrace of the thing the web does best: distribution and dissemination. Back to three chords. Unlike modernisms, we will not be wowed by new formal innovation; we will be wowed by the way works of various formal stripes circulates and recirculates. The machines indeed will jump — there are teams of programmers working on that now — and soon enough, poetry will be the complete province on machines ("Writing poetry for inhuman readers, who do not yet exist, because such aliens, clones, or robots have not yet evolved to read it." — Christian Bök) — but until then, what's new is old.
Comments (3)
Los Angeles based artist Luke McGowan alleges to have hired fifty Chinese child laborers (mean age 12 yrs.), paying them a mere $2 each (a total of $100) to retype the entire oeuvre of United States poet Kenneth Goldsmith. Goldsmith, perhaps best known as editor of the online archive UbuWeb (http://ubu.com) and as host of a weekly radio show on New York City's WFMU, is leader and spokesperson of a new literary movement he dubs "conceptual" or "uncreative" writing. In a recent piece for the Poetry Foundation, Goldsmith states that his version of conceptual writing "employs intentionally self and ego effacing tactics using uncreativity, unoriginality, illegibility, appropriation, plagiarism, fraud, theft, and falsification as its precepts; information management, word processing, databasing, and extreme process as its methodologies; and boredom, valuelessness, and nutritionlessness as its ethos." Goldsmith's better-known works include such uncreative and nutritionless projects as the transcription of one entire issue of The New York Times (Day, 2003) and the transcription of a year's worth of weather reports (The Weather, 2005).
Luke McGowan, who describes himself as of the new generation of "post-conceptual" writers, has said that he prefers to "just cut-and-paste rather than transcribe all that shit." Indeed, McGowan's Robo Ursonate, 2005, was contructed by way of simply cutting and pasting the score of Kurt Schwitters' Ursonate (1932) and letting it rip on a commercial text-to-speech synthesis program. Among other projects, McGowan is known for his spoof on the OuLipo, OuMyPo, which is a MySpace version of experimental constraint writing.
Of his latest project UnCreative Child Labor, McGowan explains: "It is disgusting what you can do with the internet and what the internet can do to writing. The older generation, for example the Language Poets, and their immediate descendants, including Kenny, are just too enmeshed in a poststructuralist version of academic formalism to combat the implicit bourgeois subjectivity of their webpages, blogs, and emails. I'm just saying that if you want to do something of radical political consequence, you have to say it with its opposite. I mean none of those guys would even add me as a friend on MySpace."
This "writing crisis" is perhaps part of a bigger "living crisis" the internet gives us–a different reality where we can technically communicate with everyone and anyone and literally (physically) communicate with no one. I do not have a MySpace page, nor do I plan to; however, when my good friend urged me to take a look at hers, I noticed that she had a sort of anti-internet manifesto there on her homepage, saying something about how today's technology cuts off the human connection, and she urged her "visitors" to remember that "your computer is not your companion." I of course couldn't help noticing the excellent irony there, but didn't point it out to her.
Kenneth said Impression won out; yes, but only because it stayed on a canvas? It was the same but different, and people, even artists, can't help but like that. So while I don't want to sound like any kind of conservative, I'm sticking mainly with books. Don't I read online poetry? Aren't I grateful that I can find poems instantly online, or Google-map the bar where the reading is tonight because I totally forgot how to get there? Yes, yes, and yes to all the obvious gaps in the argument. But I love to hold a book in my hands and read it. Yet here I am, writing about it on a blog. So I guess it makes sense that my friend is my friend.
K: I think you're absolutely right that it has been very hard to separate a spirit of experimentalism and reconstruction from mere techno-fadism; in fact, this breakneck pursuit and presentation of the latest technology still largely reigns in (especially) the European art world, or so I hear. (Locative media was last year.) What is interesting is that a certain wing of the avant garde abandons the devices it has pioneered as "no longer so cool" just as the potential for that particular technology to have a mass user base arrives. Not so? In other words, "net art" is still waiting for its great works, and those great works will come in a context (perhaps that context is almost now) when "net art" is completely ubiquitous and popular (even populist) as a practice, and not a specialised or exclusive activity. What do you think? And what, pray tell, will then happen to "poetry" or, indeed, the word or language itself as a distinct sphere of practice and talent? As someone who, on one hand, still finds it worthwhile to write verse, in ancient metres even, and who, on the other hand, also has inclinations towards experiment and the ever arriving parting of the future (that Rilke reminds us to be ahead of), I don't have much by way of answers. Only a vague sense of excitement, longing, contradiction, doubt and fear, all mixed up together. This is the reality. To make meaningful work the avant or post avant or post post avant or whatever it wishes to call itself would first have to have the comfort to abandon its usual heroic self-projection and embrace the ambiguity of new vs. old. That, in part, is what you seem to be doing here.
Posted in Uncategorized on Tuesday, July 10th, 2007 by Kenneth Goldsmith.


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They just earned a new customer. I found this place through a friend and the guy's name did not ring a bell at first, but it turned out I know the guy the owns the shop. After telling them what i been through, they waive the diagnostic fee. Just as suspected it was a failing thermostat. The first shop was charging me $302. These guys charged me $240 for parts and labor and with the peace of mind that the job was done honestly. I wish BMW of San Diego could of diagnosed the car and given me the results and what cost was going to be. Not that I was gonna have them repair it. I will never go back to them! Anyhow, thanks for the replies. The car is running flawlessly i can tell the difference in performance and no more rough idling. Also, the choke or hiccup that was going on when driving between 30-40 mph is no longer happening.
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Scarring + Facelift Q&A
What Type of Facelift Will Best Address Sagging Jowls Without Noticeable Scars?
Is 40 too young for a facelift? What treatment would be less radical, yet still effective for fleshy jowls? READ MORE
Mini Face Lift, Scars Are They Going to Ever Heal? Also Bad Looking Scar on Face Not Where Stitches Were Even Put? (photo)
Mini face lift/ e 5 weeks ago by a PS I have seen his work is normally very good, How ever I think my ears are a mess, I have still got scabs that are... READ MORE
What is normal scarring in front and behind you ear after a mini facelift?
What is a normal amount of scarring in front of the ears from a mini facelift? How long should it take to heal? Are lumpy scars behind the ear lobe... READ MORE
What Can Be Done About Behind my Ears for Red Skin, Ridges and Scars, Please, Now I Am 7 Months Post Neck/facelift? (photo)
I have reddened skin, ridges & white scars behind my ears, a very tight scalp & sore tightness around ears. PS attached my lobes but they... READ MORE
Wounds Re-stitched After Facelift
My face lift was performed by a Board Certified Surgeon 6 weeks ago. Since then I have had several more stiches added twice due to open wounds on the... READ MORE
What is Your Opinion on Marionette Fold Excision?
I have recently had a partial facelift that unfortunately did not correct my marionette folds. I have had filler in the past which also did not... READ MORE
Volume loss, facelift and scar tissue. Juvederm voluma or fat transfer? (photo)
4 .5 months post op. i had some volume loss in the temple and cheek area after a surgery that required a deep plane facelift technique to remove... READ MORE
Who Has the Most Risk of Scarring After Surgery? (Age-wise)
I asked a question about facelifts on young people previously, and some answered saying that younger clients scar worst than older clients. However,... READ MORE
Do Many Surgeons Make a Vertical Incision Behind the Ear when Doing a Facelift?
I ask this as I have seen some really horrendous scars with the horizontal cut behind the ear and wonder if the vertical incision would be best as it... READ MORE
Can Facelift Scars Be Successfully Covered with a Permanent Tattoo?
I know you need to wait for at least a year post op. Can front and back of year both be done? can the white small, narrow scars behind ear and... READ MORE
I had a full face lift Oct 4, 2013 and I have a lot of scarring. What happened to leave my face in this mess? (Photo)
I need as much help as I can get to find out just what I can do for this problem. I would prefer not to have to go back to surgery, if it can be... READ MORE
Can the Sides of my Neck Be Too Tight After Facelift?
Had face and neck lift Jan. 8th. Got hematoma behind right ear Drained with syr By 18th had hematomas behind both ears Left one smaller. Right one... READ MORE
What kind of scar cream do you recommend after a Facelift?
What's the best scare cream? READ MORE
Concerned About Ear Scars? (photo)
I went in for a consult yesterday. I thought I only needed a neck lift, but the doctor said I need a lower face, and neck lift. He said that he would... READ MORE
Superficial Level Soft ® Suture Threads with Polylactic Acid Cones?
I would like to know if superficial level Soft ® Suture "threads with polylactic acid cones is an effective solution for a naseolabeal wrinkles ... READ MORE
3 months post op Facelift, neck lift, and top & bottom eyes, I'm still swollen, bad scarring, & in pain. Any suggestions?(photo)
Three months on my neck is still swollen. I have very bad what appears scarring on the side of my face, it actually is caused by the bandage being too... READ MORE
Recovery from Botched Lower Face Lift, Left me with a Hematoma. I'm Receiving Treatments, but is this Permanent?
I had a lower face lift 18 months ago that left me with a hematoma in my left cheek that swells and goes down at will. I had such severe bruising that... READ MORE
I had a facelift 4 years ago, and all the scars became white and very noticeable. How can I get rid of them? (Photo)
Also on the one side of my face 2 days after the operation i had something like septicaemia and i win another white scars.. is it possible to make all... READ MORE
Will a MACS Operation Plus Pinch Make my Eyes Too Tight?
2 years ago I had upper eyelid op. The outside corners of my eyes have scars and are very tight even after all this time. I did not have lower eye... READ MORE
Facelift vs reverse facelift. What is the difference? Which one leaves less scarring?
What is the difference between a facelift and a reverse facelift?? Are there advantages of one over the other?? Which one leaves less scaring?? Which... READ MORE


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1945-70 ~ The Postwar Period and the Development of Cinematic and Literary Noir
Extract from Lee Horsley, The Noir Thriller (Palgrave, 2001)The years immediately following the end of World War Two marked the start of a crucial phase in the creation, definition and popularising of both literary and cinematic noir. There were several concurrent developments: the Hollywood production of a growing number of pessimistic, downbeat crime films , the postwar release in Europe of a large backlog of American films, the publication in France of a new series of crime novels and the appearance in America of a new kind of book, the paperback original. Films released in America just before the end of the war , such as Billy Wilder 's Double Indemnity and Edward Dmytryk 's Murder, My Sweet (both 1944), were taken as evidence, when they appeared in France, that 'the Americans are making dark films too'. [i] In 1945, under the editorship of Marcel Duhamel , Gallimard started publishing its translations of British and American crime novels in the the Serie Noire . In 1946, echoing the Gallimard label, the French critics Nino Frank and Jean-Pierre Chartier wrote the two earliest essays to identify a departure in film-making, the American 'film noir '. Although they were not thought of in the United States as films noirs (the French label did not become widely known there until the 1970s), numerous postwar Hollywood movies seemed to confirm the French judgement that a new type of American film had emerged, very different from the usual studio product and capable of conveying an impression 'of certain disagreeable realities that do in truth exist'. [ii]The Hollywood releases of 1945 included Edgar G. Ulmer 's Detour , Michael Curtiz 's Mildred Pierce and three films noirs directed by Fritz Lang - Ministry of Fear , Scarlet Street and The Woman in the Window . In 1946 David Goodis published the first of his crime novels, Dark Passage , and Delmar Daves began filming it; in the spring and summer months of 1946 alone, Hollywood released Blue Dahlia (George Marshall ), Dark Corner (Henry Hathaway ), The Postman Always Rings Twice (Tay Garnett ), Gilda (Charles Vidor ), The Killers (Robert Siodmak ) and The Big Sleep (Howard Hawks ). In the same year Gallimard brought out French translations of two of Horace McCoy 's novels, the first American novels to be included in the Serie Noire .American publishing was itself being transformed by the introduction of the paperback . By 1946 there were over 350 softcover titles in print (three times as many as in 1945), with Pocket Books , Avon , Popular Library , Dell and Bantam all publishing in the paperback format and replacing the pulp magazines on the newsstands. [iii] Several of the best postwar crime novelists (Goodis , Jim Thompson , John D. MacDonald , Mickey Spillane , Charles Williams , Gil Brewer ) were about to begin writing paperback originals, though, as is usual in noir narratives, some of the characters were confronted with failure and many were in the dark about what others were doing. Thompson, who was spending much of his time drinking and doing odd jobs, was as yet unsuccessful in establishing himself as a crime writer. He had started writing his first crime novel in 1932 but it was only in 1949, after seventeen years of 'fighting that book', that Nothing More Than Murder was finally published in hardcover by Harper 's . [iv] Spillane was living in a tent and trying to build his own house. Needing a thousand dollars for the materials, he wrote I, the Jury , which only sold about seven thousand copies in hardcover but, as a Signet paperback, sold over two million copies in two years [v] , an achievement that 'electrified and inspired the softcover book industry'. [vi] Gold Medal saw the possibility of publishing paperback originals, and they were soon providing an entirely new kind of market for crime writers, whose work could now for the first time go directly into cheap softcover editions. MacDonald, Williams and Brewer, none of whom had previously published novels, all began to write for Gold Medal in 1950-51. Goodis, after the success of Dark Passage , had a brief career as a Hollywood script writer, and when this collapsed at the end of the forties he retreated to his home town of Philadelphia and started writing his bleak paperback originals, the first of which, Cassidy's Girl , was a best-seller for Gold Medal in 1951. Thompson's first paperback original, The Killer Inside Me, was published in 1952 by a competing house, Lion Books, 'the most off-beat of paperback imprints'. [vii] As the boom grew, the struggling, often isolated crime writers fed both the 'gloriously subversive era' [viii] of American paperback publishing and a burgeoning output from Hollywood of films that would in due course be grouped together under the name French critics had given them: as Nino Frank described them, '...these "dark" films, these films noirs , [which] no longer have anything in common with the ordinary run of detective movies...' [ix]Nino Frank's article reflects the difficulty of finding a suitable label for these 'dark films '. The films he is discussing, he writes, all 'belong to what used to be called the detective film genre, but which would now be better termed the crime, or, even better yet, the crime psychology film'. [x] American film critics, without a unifying term at their disposal, settled for such phrases as 'murder melodrama', or 'brass-knuckled thriller' or 'hard-boiled , kick-em-in-the-teeth murder cycle'. [xi] The search for a satisfactory description itself gives some indication of the diversity of noir. Both French and American critics emphasised the indebtedness of these films to hard-boiled investigative novels, which provided the basis for some of the most memorable of early films noirs : Hammett 's Maltese Falcon and The Glass Key had both been adapted in the early 1940s; Chandler 's Farewell, My Lovely , The Big Sleep and Lady in the Lake were all adapted in the mid-1940s, and Bogart 's performances as Sam Spade in The Maltese Falcon and as Marlowe in The Big Sleep established him as the iconic private eye . Revisions of the detective story were, however, only one element in the phenomenon, and Bogart's place as 'a key iconographic figure in all of film noir ' [xii] was secured by the fact that he was cast, as well, in a range of non-investigative films noirs, such as High Sierra (1941), Dark Passage (1946) and In a Lonely Place (1950). These films were based, respectively, on novels by W. R. Burnett , David Goodis and Dorothy B. Hughes , and Bogart's roles in them suggest the different forms noir took as it developed during forties. In addition to the weary integrity of the private eye, there was the pathos of the ageing gangster (Roy 'Mad Dog' Earle in High Sierra), the desperation of the 'wrong man ' (the escaped convict wrongly accused of his wife's murder in Dark Passage) and the violence of the suspected psychopath (the self-destructive writer in In a Lonely Place).In creating film noir , Hollywood drew on the work of a wide range both of earlier writers and of the late forties-early fifties crime novelists who were writing crime fiction that very often had no role for the private eye . Amongst those whose work was adapted during this period, along with Burnett , Goodis and Hughes , were William Lindsay Gresham , Horace McCoy and William P. McGivern , all of whom produced novels that had as their protagonists violent, self-deceived men, criminals, crooked cops, killers, psychotics. Cornell Woolrich was another of the writers whose work, very different in style from the hard-boiled tradition, became closely identified with the noir sense of helplessness and paranoia . Between 1942 and 1949, there were eleven Woolrich novels or stories made into films , the protagonists of which include a man hypnotised into thinking he is a murderer (Fear in the Night) and a mind-reader who predicts his own death (Night Has a Thousand Eyes ), as well as alcoholics, amnesiacs, hunted men and fall guys. Private eye films continued, of course, to be made, but if investigative figures were included, they tended to become increasingly vulnerable and flawed - for example, Bogart 's confused, hunted Rip Murdoch in John Cromwell 's Dead Reckoning (1947), Robert Mitchum as the traumatised Jeff Markham in Out of the Past (Jacques Tourneur , 1947), Edmund O'Brien as the dying protagonist hunting his own killers in Rudolph Mate 's D.O.A . (1950). [xiii]Many of the writers whose work was adapted by the Hollywood studios were also translated for Gallimard 's Serie Noire : Chandler , Hammett , Burnett , McGivern and Goodis were all added to Duhamel 's list between 1948 and 1953. He included many of the American writers whose work was central to the development of paperback crime writing from the 1950s on. So, for example, in addition to Goodis, he published Jim Thompson , John D. MacDonald , Gil Brewer , Harry Whittington , Charles Williams and Lionel White . If, however, one wants to arrive at a coherent definition of literary noir, it would have to be said that a full list of the novels Duhamel chose for his Serie Noire would not be the best basis. Amongst the huge number of Serie Noire offerings (getting on for three hundred American, British and French crime novels in the first ten years alone) many would be unlikely to be included in any late twentieth-century reprinting of classic romans noirs. This is particularly true of the sizeable number of French and British imitations of the American style, which were generally published under assumed names that were meant to sound more American. [xiv] British thrillers were mainly represented by the novels of Peter Cheyney and James Hadley Chase . The latter wrote several satisfyingly noirish novels, for example Eve and More Deadly Than the Male , both in the mid-forties. [xv] Cheyney, however, is a prime example of the tone of light-hearted hard-boiled pastiche that often found its way into imitation American thrillers. He created pacy and violent novels that are exaggerated, present-tense versions of the stories produced by such Black Mask writers as Carroll John Daly . Cheyney's Lemmy Caution is an American G-man who first appeared in novels like Dames Don't Care (1937), Can Ladies Kill? (1938) and You'd Be Surprised (1940). Caution's style and character can perhaps be gauged from his banter on the last page of Dames Don't Care: '"Listen lady," I tell her..."I am one tough guy . I am not the sorta guy who you can trust around the place havin' breakfast with a swell dame like you. Especially if you are good at makin' waffles"' (192). As the up-beat comic tone here suggests, the Caution novels are imitation hard-boiled without being noir, exemplifying, especially in the French film versions, the parodic impulse that is never far from the idea of the tough guy investigator . [xvi]The defining characteristics of the American roman noir and film noir can more easily be deduced from French critical discourse, which was in general less focused on what was, by the fifties, the fading role of the investigator than on the other narrative patterns that were becoming increasingly dominant, in which morally ambivalent victims and criminals served as centres of consciousness. The French admiration for such interwar writers as Horace McCoy and James M. Cain continued to be apparent in the postwar period, particularly amongst French existentialists , who responded to the protoabsurdist qualities of the earlier American thrillers. As Naremore writes, both before and after the war , 'when the French themselves were entrapped by history', critics influenced by existentialism were attracted to film noir 'because it depicted a world of obsessive return, dark corners, or huis-clos''. [xvii] The crises that had shaken France since the 1930s - the period of war, occupation, resistance and collaboration described by the French as 'les annees noires' - led many to share the existentialist preoccupations, and to appreciate the darker strains in recent American literature and film.The Americans, for their part, were increasingly absorbing European intellectual influences. In the postwar years, the work of the French existentialists became more widely known in the United States as a response to the absurdity of modern life and an articulation of the need for existential self-definition: 'Auden [Age of Anxiety] was not alone in seeing wartime and postwar America as a place where the existential anxieties of modern Europpe found a second home .' [xviii] The existentialist novels of Sartre and Camus , La Nausee and L'estranger, were gaining an American audience, and mainstream American writers were beginning to express a sharper sense of distance between self and community . They evoked feelings of estrangement, displacement and dislocation with their representations of fearful, isolated anti-heroes, such as the rebels and victims of writers like Saul Bellow , Bernard Malamud , Richard Wright and Ralph Ellison . Existentialism had a particularly strong appeal for black American writers like Wright and Chester Himes , [xix] for whom existentialist themes seemed closely allied to the expression of a racially derived sense of alienation and of the outsider 's need to become visible and assert his own reality.In the United States, the postwar years were, of course, a time of prosperity. The economy continued to expand and the country established both its military and economic power, with real incomes soon doubling. Unprecedented affluence made it seem that the Depression had been an historical aberration. [xx] Increased affluence, however, was accompanied by materialism and conformity to an ideal embodied in the family home , the 'site of integration into the cultural order'. [xxi] This was a period in which many felt that the individual was powerless against the large-scale forces of industrial and technological mass society, and during which the pressures towards conformity were heightened by a national mood of self-righteous aggressiveness, directed not just against Communism abroad but against those at home who were regarded as seditious or subversive of 'the American way'. Cold war apprehensions and suspicions and McCarthyite witch-hunts helped create the atmosphere of fear and paranoia that is so strongly present in both the cinematic and the literary noir of the fifties. [xxii]The representation of postwar America as a 'consensus society' has been challenged in recent years by those who argue that the domestic scene, both during and after World War Two , was 'a site of disagreements, of oppressions, and, often, of the careful and carefully hidden deployment of new modes of power and power-alliances'. [xxiii] Literary noir develops its own narratives of disagreement and its exposures of oppression, debunking the dominant myth of a unified, happily conformist America. Liberal critics of the time often focused on the ways in which American society hunted out difference and suppressed and marginalised dissent. They were concerned with explaining a postwar malaise characterised by caution, repression and intellectual retreat. [xxiv] These preoccupations can be seen in the work of the many critics who were beginning to assail the conformist ethos. Norman Mailer , for example, attacked what he saw as a new totalitarianism in a culture that stifled dissent, and Irving Howe , in an essay called 'The Age of Conformity', complained that the nation's intellectuals were becoming moderate and 'tame'. [xxv] Sociological analysis which flourished in the late fifties and early sixties, like that of David Riesman in The Lonely Crowd (1950), analysed the bland 'other-directed' character type that seemed to be emerging in America's affluent consumer culture. [xxvi] Much other analysis focused on the problems of consent and conformity , on the negative effects of private affluence (J. K. Galbraith on The Affluent Society [1958]) and on the manipulation of people by advertising men (Vance Packard , in The Hidden Persuaders [1957] and The Status Seekers [1959]). William H. Whyte , in The Organization Man (1956), argued that the successful men who ran the large organisations that increasingly dominated corporate America were themselves run by the organisations, tested and monitored by corporations that fostered conformist mediocrity. C. Wright Mills , in White Collar (1951), maintained that white collar workers sold not only their work but their personalities. As Bradbury and Temperley write, 'Despite the Eisenhower equilibrium, the romanticization of anarchic unreason, and the insistence that a conflict rather than a consensus model of society was necessary, were central themes of the Fifties', laying the basis for the protests of the sixties against social and sexual repression, against injustice to minorities and the power of the military-industrial complex. [xxvii]Amongst popular genre writers, it was the noir novelists who issued the most effective challenge to optimistic portrayals of American life. Rejecting the pervasive 'vocabulary of normality', noir thrillers offered portraits of maladjustment - what David Riesman called 'Tales of the Abnorm'. [xxviii] The inset film plot in Charles Willeford 's The Woman Chaser (1960) epitomises the contrast: 'Mr Average American', with an average family and 'the dullest job imaginable...Deadly', causes a fatal accident and, in consequence, is isolated completely from his conventional existence. Execrated and hunted and doomed, he ceases to be 'a nobody' and, 'all alone on Highway one-oh-one - a good place to work in some symbolism', is suddenly someone of importance, 'a man against the world' (80-2). In studies of noir, both cinematic and literary, the sixties are often sharply divided from the fifties, [xxix] but there is as much continuity as discontinuity. The sixties were no more uniformly rebellious than the fifties were 'uniformly conservative', and indeed in looking at the popular literature of the period, there is no radical break. The heyday of the paperback originals, with their lurid cover art and sensational cover copy, was over by the early sixties. [xxx] But some of the most notable paperback writing careers spanned the period, extending from the immediate postwar years through the sixties and beyond. Gil Brewer , David Goodis , John D. MacDonald , Peter Rabe , Jim Thompson , Lionel White , Harry Whittington and Charles Williams , all of whom were writing in the early to mid-fifties, were still producing novels in the late sixties and early seventies (in the case of John D. MacDonald, much longer). The same is true of several other noir crime novelists who published in hardback, such as Stanley Ellin , Patricia Highsmith , Ross Macdonald , William McGivern , Margaret Millar and Helen Nielsen .In the work of these and other American writers of the period, there is, in comparison to the novels of the interwar years, a new emphasis on 'difference' as a key determinant in the lives of the characters. The sense of disillusionment and the theme of economic deprivation remain, but in contrast to the archetypal noir protagonist of the interwar years, the alienated figures of the post-World War Two period are less likely to be victims of economic failure and deprivation than of exclusion and displacement . The social background against which they are defined is more often characterised as one of material prosperity and cultural conformity ; characters' anxieties more commonly spring from pressures towards loyalty and uniformity. This is not just a matter of the McCarthy ite themes that run through many novels. It can also be seen, for example, in relation to the more insistent use of a small town environment, which acts as a locus for exploring hostility to deviance, stereotyping, moral platitudes, social and racial prejudice . Jim Thompson 's novels are particularly associated with the satiric dissection of the closed community , but many other writers of the time (such as Harry Whittington , John D. MacDonald , Day Keene and Charles Williams ) produced comparable critiques. As the protagonist of Day Keene's Notorious (1954) is warned, '"The eyes of your fellow citizens in Bay Bayou are on you"' (91).The chapters in this section examine three types of character recurrently found in the novels of 1945-70. The protagonist killer , the femme fatale and the stranger or outcast are all used by their creators to probe and subvert what they see as the complacent conformity of the time. The protagonist killer is a man acting to change a given set of circumstances (compared to many other noir protagonists, he does possess agency ). He acts to change things through revenge , 'cleansing' society or righting a wrong; he murders in order to profit or to achieve upward mobility , that is, to change his economic and social circumstances. If he is more radically alienated from 'normality', the killer may act to undermine the whole social order. The avengers, in comparison to earlier figures like the Op and Satan Hall , are more isolated and may themselves be trying to escape from the demands for conformity to a particular code or organisational loyalty (as in Stark [Westlake ], Rabe and McGivern ). Those who kill for profit (for example, in Whittington 's Web of Murder ) frequently function as satiric representations of capitalist enterprise and greed. Their willingness to kill to achieve their ends exposes the brutality of a widely upheld business ethic. The killer might be a psychotic figure who sees himself as a saviour, and whose aggression leads him towards the insights of the savage satirist : Thompson 's novels furnish the most striking instances here, but notable examples are also found in the work of Vin Packer and Patricia Highsmith . The psychopath embodies the flaws hidden by a conformist society - Thompson's Lou Ford, for example, whose mocking adherence to social pieties hides the latent sadism which prompts him to punish as well as to expose.It is really only in the post-World War Two period that the femme fatale becomes a significant part of noir narratives. In Hollywood , as Frank Krutnik points out, the iconic figure of the fatal woman became much more central from the mid-forties on. Studios producing hard-boiled thrillers introduced or increased the importance of the love-story element, so that, instead of being merely one aspect of the protagonist's quest (as in Maltese Falcon ), the entanglement with a woman complicates the whole of the action and undermines the masculine ethos of the investigative thriller. [xxxi] Fatal women also begin to appear much more frequently in literary noir, and in more diverse roles than was possible in the cinema. Publishers had quickly recognised that more sex brought higher sales, and the new paperback originals aimed not just for 'gritty realism ' but for frank eroticism, 'lacking in...conventional morality, and with an iconoclastic eagerness to explore the controversial and the taboo'. [xxxii] Inevitably in fifties America there were expressions of public outrage at the liberties taken, with the result that the paperback industry was investigated in 1952 by the House Select Committee on Current Pornographic Materials. However, although pressures continued, there was no overt censorship. [xxxiii] The less predictable representation of women in literary than in cinematic noir may in part be due to the fact that Hollywood, subservient to the Production Code , was more straight-jacketed. Film-makers, though capitalising on the appeal of the sexually dangerous woman, were forced to make concessions to conventional morality. The stereotypical strong woman plot was given its most characteristic shape in film noir by the general requirement that such women were be punished or otherwise excluded by the end of the narrative. This pattern is also, of course, present in the literary noir of these decades, and both films and novels can be read as expressions of male anxiety about the independent woman. In the novels, however, there is much more scope for variation and for playing against conventional expectations. Although, as a glance at the cover art makes clear, the greater measure of freedom could scarcely be said to have done away with the stereotypical representation of women, paperback narratives were less constrained than films by notions of acceptable plots, and many of the novels that give central roles to women explicitly confront the issue of gender stereotyping. Narratives are centred, for example, on the overturning of social expectations, about, say, the relationship between a woman's appearance and her character. Writers such as Thompson , Williams and Brewer satirise male views of women. Others, like Bardin and Millar , challenge conventional images by creating female protagonists who fulfil the functions traditionally assumed by male characters, whether as investigative figures or as protagonist killers whose actions are an implicit criticism of the male world that shaped them.The novels of the period are also less constrained than film noir in their representation of social and racial marginality , developing a wide-ranging critique of the treatment of those who are outside 'normal', prosperous, white, middle-class society. The marginalised white protagonists are more often portrayed as alienated from the whole idea of a cohesive, normative social structure, as, for example, in the novels of Goodis . Several other white writers of the time take the step of choosing black protagonists who are racially outcast , persecuted, pre-judged and shut out by the dominant society. In some cases a character's marginality is self-imposed, as in Goodis novels like Cassidy's Girl or Down There , in which a protagonist deliberately circumscribes his own life. Many characters, however, are represented as imprisoned by an inherited past of class or racial marginality. As French critics of the period perceived, there was an intersection between tough guy and black protest writing, which had natural affinities with the left-wing existentialism of Sartre and others, [xxxiv] and one of the things I will consider most closely in Part II (Chapter 6) is the way in which difference and exclusion become central themes in the absurdist Harlem cycle of Chester Himes .My emphasis in Part II will be strongly American. The combination of Hollywood film noir and the hugely creative energy that went into the rapidly expanding pulp fiction market were the most important contributions of the time to the phenomenon of the noir thriller. The American literary noir of this period was unmatched. Writers like Thompson , Goodis , Williams and Willeford , amongst many others, produced some of the classics of the genre. Although the links with British writing do not disappear, the hundreds of crime paperbacks published in postwar Britain were primarily imitations of American tough guy and gangster pulps. In addition to the novels of Cheyney and Chase , there were the even more rapidly produced, pseudonymous novels put out by the numerous small 'mushroom' publishers that sprang up to feed the British mass paperback market, a phenomenon very fully documented by Steve Holland in The Mushroom Jungle. [xxxv] The appetite for American hard-boiled crime thrillers had started to grow in the forties. Encouraged by the huge success of No Orchids for Miss Blandish , which sold over a million copies between 1939 and 1944, writers like Frank Dubrez Fawcett , Harold Kelly and Stephen Frances (writing under the names, respectively, of Ben Sarto , Darcy Glinto and Hank Janson , but under other names as well) had by the mid-forties started to produce an astonishing array of low-priced crime paperbacks. [xxxvi] Written at speed and printed on rationed paper, these short novels were unashamedly aimed at the mass market. Using a variety of catchy pen-names, the British gangster novelists churned out versions of every available American plot: the young man who is in too deep with gangsters or who eventually seizes his chance to go straight (Al Bocca 's She Was No Lady ; Darcy Glinto's Protection Pay-Off ); the amateur crook who gets involved with big-time criminals ( Hank Janson's Don't Cry Now ); the crumbling of a mob and the exposure of 'every rat in town ' (Al Bocca's City Limit Blonde ); gangsters double-crossing one another (Duke Linton 's Dames Die Too! ) or falling out over a woman (Hank Janson's Flight from Fear ); wrong-man narratives (Janson's Menace and Play It Quiet ); first-person accounts of a gangster's ill-fated career (Janson's Devil's Highway ) or of involvement in graft and corruption (Sammy Coburn , Uneasy Street ); small-town iniquities (Janson's Hellcat ); the white slave trade (Janson's Mistress of Fear and Glinto's Lady - Don't Turn Over ).Because of the imitative nature of most British noir during of the period, these are novels that tend not to confront specific socio-political concerns, although they often create lively variations on the key themes of American thrillers. At the less popular end of the scale, however, was the relatively slim output of a handful of writers who did engage with the nature of postwar British society, such as Gerald Kersh , Gerald Butler , Maurice Procter , John Lodwick and Julian Symons . [xxxvii] The Britain of these years was a country in which almost everything was rationed: 'In a very real sense these austerity years were a threshold to the whole first postwar era: rock-hard and grey, whitened maybe by dedication and labour...' [xxxviii] There was still a strong sense of civic loyalty (to the monarchy, the police), and the period was characterised by a marked time-lag vis-a-vis the United States. Prosperity was much later in coming. Only toward the end of the fifties did people finally begin to think of Britain in terms of Galbraith 's phrase, 'the affluent society'. There was still a sense of optimistic consensus and a feeling that Britain was cosily separate, with its humour , tolerance and decency. But there was also a new sense of an attack on British insularity, comfortableness, stereotypical assumptions and parochialism, and part of what these changes produced was a distinctively British version of alienation and marginality , apparent in the British thrillers of writers like Butler and Lodwick. [xxxix] In comparison to their American contemporaries, these are writers preoccupied less with conformity than uniformity, with the 'dulling' of society and the mediocre greyness that leads protagonists to seek adventure . These are, however, writers who are little remembered today in comparison to Thompson , Goodis and others. This was unquestionably the most 'American' period of noir. It was a time during which American thriller-writing and influence on popular culture was overwhelmingly strong, with 'home grown' British noir the exception rather than the rule. The large markets both in England and France were primarily dominated by novelists who produced pastiche American hard-boiled crime fiction - and although there can clearly be important examples of noir in which a writer does not use the materials of his own society, the wholly imitative pulp novel does lose one of the most important defining characteristics of the noir thriller, that is, its responsiveness to the obsessions and anxieties of the society that produced it.
[i] Jean Pierre Chartier, 'The Americans Are Making Dark Films Too', in R. Barton Palmer (ed), Perspectives on Film Noir (New York: G. K. Hall and Co., 1996), 25.[ii] Nino Frank, 'The Crime Adventure Story: A New Kind of Detective Film', in Palmer (ed), Perspectives, 23. Both the backlog of films and those being newly released were eagerly received by French intellectuals and cinema enthusiasts who found in them a 'radically different' vision of American life - of greed, criminality, violence , anomie. R. Barton Palmer, Introduction to Palmer (ed), Perspectives, 3-4.[iii] Geoffrey O'Brien , Hardboiled America: Lurid Paperbacks and the Masters of Noir ([1981] New York: Da Capo Press, 1997), 22-5; Lee Server, Over My Dead Body: The Sensational Age of the American Paperback: 1945-1955 (San Francisco, 1994), 34-5.[iv] Jim Thompson , quoted by Max Miller in San Diego Tribune, 16 February 1949, in Michael J. McCauley, Jim Thompson: Sleep with the Devil (New York: The Mysterious Press, 1991), 125.[v] Mickey Spillane , the Guardian interview, National Film Theatre, 29 July 1999; Max Allan Collins and James L. Traylor, One Lonely Knight: Mickey Spillane's Mike Hammer (Bowling Green, Ohio: Popular Press, 1984), 5-7; Server, Over My Dead Body, 21-42; O'Brien , 19-34. Although their great mass market impact was as paperbacks , most of Spillane's novels were first published in hardcover by Dutton.[vi] Server, Over My Dead Body, 26.[vii] O'Brien , 140. Goodis ' Cassidy's Girl sold over a million copies. See Woody Haut, Pulp Culture and the Cold War (London: Serpent's Tail, 1995), 9.[viii] Server, Over My Dead Body, jacket copy.[ix] Frank, 'The Crime Adventure Story', in Palmer (ed), Perspectives, 23.[x] Frank, in Palmer (ed), Perspectives, 21.[xi] James Naremore, More Than Night: Film Noir in its Contexts (Berkeley: University of California Press, 1998), 17.[xii] Alain Silver and Elizabeth Ward (eds), Film Noir (London: Secker and Warburg, 1979; 1992), 120.[xiii] See Frank Krutnik's discussion of these films , In a Lonely Place : Film, Genre, Masculinity (London: Routledge, 1991), 103-14 and 132-5.[xiv] 'If French writers wrote for the series...they wrote under English/American names. To be authentic, roman noir - and consequently film noir - had to be American...' Robin Buss, French Film Noir (London and New York: Marion Boyars, 1994), 13. French writers were encouraged by Duhamel and by other editors (trying to create rival crime series) to produce novels that might plausibly have been translated 'from the American', like Boris Vian's J'irai cracher sur vos tombes [I'll Spit on Your Graves], which, like several other Vian novels, was published under the name of Vernon Sullivan. Naremore, 12.[xv] Some of the French imitators of the American style, most notably Albert Simonon, used French settings and gave considerable thought to coming up with a convincing body of French 'underworld slang' (see Ian Ousby, The Crime and Mystery Book: A Reader's Companion [London: Thames and Hudson, 1997], 107 and 121; Buss, 32). The Gallimard series did not, however, include the most important European noir, such as the novels of Graham Greene and of the Belgian-French Georges Simenon , whose 1948 La Neige tait Sale [The Stain on the Snow ], for example, written while he was living in America, is a powerfully disturbing exploration of the mind of a young murderer . None of the European writers published in the Serie Noire were of the standard of Greene and Simenon.[xvi] Cheyney was in fact the first novelist translated for the Serie Noire and also the only one whose novels became the basis for a series of French private eye movies. The Lemmy Caution films , starting with La Mme vert-de-gris in 1953, featured an 'authentic' American star, Eddie Constantine . Constantine's performances in the role were calculated to bring out the inherent self-mockery and comedy : 'You look at the camera and wink' (Eddie Constantine, quoted by Jill Forbes, 'The "Serie Noire",' in Brian Rigby and Nicholas Hewitt [eds], France and the Mass Media [Houndmills: Macmillan, 1993], 90).[xvii] Naremore, 22-3.[xviii] Bradbury and Temperley, 242.[xix] Malcolm Bradbury, The Modern American Novel (Oxford: Oxford University Press, 1983; 1992), 165. Both Wright and Himes eventually moved to Paris.[xx] Bradbury and Temperley, 262.[xxi] Sylvia Harvey, 'Women's Place: The Absent Family of Film Noir', in E. Ann Kaplan (ed), Women in Film Noir (London: British Film Institute, 1972), 23-5; and Krutnik, In a Lonely Street, 60-1.[xxii] See Maltby, 'Politics of the Maladjusted Text', in Ian Cameron (ed), The Movie Book of Film Noir (London: Studio Vista, 1992), 39.[xxiii] For example, Richard Polenberg's One Nation Divisible: Class, Race, and Ethnicity in the United States Since 1938 (New York: Viking Press, 1988), cited by Dana Polan, Power and Paranoia : History, Narrative and the American Cinema, 1940-1950 (New York: Columbia University Press, 1986), 41.[xxiv] Bradbury and Temperley, 256-8.[xxv] Irving Howe , 'The Age of Conformity', quoted in Bradbury and Temperley, 258.[xxvi] Bradbury and Temperley, 262-4.[xxvii] Ibid.[xxviii] Maltby, in Cameron (ed), 47.[xxix] Studies of canonical film noir often go no further than 1958; Haut's recent study of pulp fiction, Pulp Culture, chooses the early sixties - Kennedy America - as its cut-off point, arguing that reality was outstriping fiction and that the iconography was changing (164-5).[xxx] 'The last piece of true pulp-as-art was published circa 1965.' Bill Pronzini, 'Forgotten Writers: Gil Brewer ,' in Lee Server, Ed Gorman and Martin H. Greenberg (eds), The Big Book of Noir (New York: Carroll and Graf Publishers, 1998), 193.[xxxi] Krutnik, In a Lonely Place , 97.[xxxii] Server, Over My Dead Body, 12-14.[xxxiii] O'Brien , 26; Server, Over My Dead Body, 12-18.[xxxiv] Naremore, 236.[xxxv] Steve Holland, The Mushroom Jungle: A History of Postwar Paperback Publishing (Westbury, Wilts.: Zeon Books, 1993).[xxxvi] Holland, 28. Holland notes that James Hadley Chase and Harold Kelly , who (as Darcy Glinto ) published Lady - Don't Turn Over in 1940, were the first two gangster novelists to have their work branded as obscene (in 1942) - but, as Holland says, 'they were certainly not the last'. The main legal action discussed by Holland (139-55) is the action taken against the publishers of Hank Janson for publishing 'obscene libels' in seven of the novels (Accused , Auctioned , Persian Pride , Pursuit , Amok , Killer and Vengeance ).[xxxvii] In many ways British crime writing remained much more dominated by the descendants of the Golden Age. Crime writers did feel that after the 'watershed' of the war they had to adapt 'to new conditions and ways of feeling'. But these adaptations did not render the traditional novel unrecognisable. American writers like Ellery Queen and John Dickson Carr had similarly opted for modest changes in the older model, and the British market was still dominated to a considerably greater extent by the work of such writers as Margery Allingham , Ngaio Marsh , Patrick Quentin , Edmund Crispin and, of course, Agatha Christie . Julian Symons , Bloody Murder, From the Detective Story to the Crime Novel: A History (London: Pan, 1972; 1992), 171-88.[xxxviii] Arthur Marwick, British Society Since 1945 (Harmondsworth, Middx.: Penguin, 1996, 3rd edn; 1982), 71.[xxxix] Marwick, 110-26.


text:
Thursday, December 13, 2012
TechStars' Feld: More Programs, Cities Next Year
Boulder-based TechStars, the startup acceleration program, has some big plans for 2013, according to co-founder Brad Feld. Feld, in his blog, said that TechStars is planning more "powered by TechStars" program and additional cities next year, along with a number of other new things. Feld did not say where those additional programs will be located, however, the group's template for accelerators has been in high demand by entrepreneurs for its success in getting startups off the ground and funded. The latest program to be "powered by TechStars" is one in Portland, Oregon, being run by TechStars for Nike, to accelerate startups interested in buildling tools, services, and applications around Nike's Nike+ devices.


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Welcome to dickblick
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This book gives step-by-step instructions for printing and pasting to a support sheet, and adapts chine collé techniques for working with collage and mounting paper, fabric and other materials, with or without a press. Includes an instructional DVD.
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Finan Earns BIG EAST Athlete of the Week
April 26, 2011
CINCINNATI - In the 2011 season's final BIG EAST Outdoor Track & Field weekly awards, University of Cincinnati track star Eric Finan was named the BIG EAST Men's Outdoor Track Athlete of the Week, the league announced Tuesday.
"Eric Finan has been flying under the radar at the national level but not at the local level," said UC track and field head coach Bill Schnier. "Every week he makes progress and soon he will look the best in the entire nation directly in the eye. This home-grown product has and will make UC mighty proud."
Finan was named BIG EAST Men's Outdoor Track Athlete of the Week after winning the 5,000-meter run at the Polytan Invitational in Bloomington, Ind. The junior broke his own school record, winning the event in a time of 13:49.80, more than four seconds ahead of the rest of the field. The mark ranks first in the BIG EAST this season, seventh in the NCAA East Region, and 17th in the country.
Cincinnati hits the road this weekend for dual meets in Des Moines, Iowa for the Drake Relays and Oxford, Ohio for the Red Hawk Invitational.
The dual meets will be final tune-ups for the Bearcats before the BIG EAST Outdoor Track and Field Championships, May 6-8 at Jumbo Elliott Track in Villanova, Pa.


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Washington, July 8 : American actress Eva Mendes spoke out against a joke made on the problems of substance abuse, slamming it as 'tacky'.
Mendes, who had quietly admitted herself for treatment at the Cirque Lodge in Utah in January, revealed that she is still "sensitive on the subject" of substance abuse problems.
When a reporter from Interview magazine had joked that Alcoholics Anonymous would have to be changed to Alcoholics Unanimous because of the prevalence of problems in Hollywood, the actress lost her cool and snapped at him.
"I'm not making jokes, because people die from this stuff," USmagazine quoted her as saying in the interview, which hits newsstands next week.
"So, honestly, I think it's a bit tacky that you made a joke. I've got to be honest," she said.
Mendes, 34, had entered treatment for "personal issues," her rep said, amid reports of drug use and body issues.
"There are so many lies out there regarding my recent trip to Cirque Lodge," she stated.
"But I don't care what people think. I just don't care. So I will neither confirm nor deny.
"I'm not a spokesperson for any kind of substance-abuse organization," she adds.
"I'm proud of people who have the determination and the fearlessness to actually go and face their demons and get better.
"This is a life or death situation," she added.


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St. Louis, Mo. – Outworked. Outhustled. Outplayed. Those three words provide a summary of tonight's 74-62 home loss for the Saint Louis University Billikens against Santa Clara.
It was a display of sheer dominance by the visiting Broncos, led by a tremendous 30-point effort from star guard Kevin Foster. Right-handed, left-handed. Attacking the rim or shooting a deep three. There wasn't anyone in a white jersey deterring him from scoring at will.
Sure, the excuses are there. SLU is without its best player, a legendary coach, and backup big man. None of those would've mattered at Chaifetz Arena on this very night. The Billikens, as junior forward Dwayne Evans noted postgame, allowed their disappointing defensive effort to "seep into the offense".
For a team that prides itself on defensive intensity and points specifically to it as a catalyst for its offense, that was a glaring omission.
It's November 14. SLU has plenty of time left in the season to figure things out, but one can't wait a day longer to instill defensive pride. The Bills looked impressive in a 76-59 victory last Friday over a pesky USC-Upstate bunch, but still allowed over 50 percent from the field. Tonight, that number crept further north to 58 percent.
We've seen bad losses from this team before. Last year, the Bills were drubbed by Loyola Marymount after a 76 Classic title catapulted them into the Top 25. They bounced back with six straight wins, albeit against inferior competition. No such luck for the 2012-13 version of the Billikens, however, as they now head to Kansas City for the CBE Classic. An opening matchup against an mediocre Texas A&M looms before a potential tilt against Top 10 Kansas.
Evans and co-captain Cody Ellis were visibly distraught postgame. For obvious reasons, this team doesn't want to experience this feeling again. But now it's up to them to make the necessary changes.
This defense is a far cry from the one under Rick Majerus' watchful eye that was dreaded by opponents. While the blame certainly shouldn't fall squarely on interim head coach Jim Crews' shoulders, there will be much talk in Midtown about Majerus' absence.
The changes will ultimately come from the top, but the players need to be responsible for making the corrections on the court. If Evans and Ellis don't want to feel this pain again, significant work is to be done. It's a long season, but the Billikens would be wise to get things under control soon.


text:
Having problems with your Nikon D40x Digital Camera ?
D40x won't turn on!
\015 Battery is charged, won't turn on when switched to on for the love of god!\015
Answers :
A couple of things. It could be a bad battery. It could be dirt at the bottom of the battery contacts in tha camera. If you have air spray, try blowing air into the battery cavity.
\015\012Otherwise, find a friend with a D40 and try a different battery.
\015\012Otherwise, find a friend with a D40 and try a different battery.
Repair Help & Product Troubleshooting for Nikon D40x Digital Camera
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- If you need clarification, ask it in the comment box .
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Camera wont turn on My Nikon D40x wont turn on at all, i have been using it, then plugged it in the my laptop with the USB cable, unplugged it to take more pix, and it now wont turn on at all!!
Just a suggestion ... remove the lens, card and battery. Recharge the battery completely. Install the lens, card and battery then do a hard reset...\015\012\015\012Hard Reset: \015\012With D40 you need to install the lens, the card ... Nikon D40x Digital Camera
The function button on my d40x i think is sticking because when i turn my camera on the self timer keeps flashing and when i try to access the menu or any other functions like playback it wont allow me the only thing i can think is that the function button by the lens is sticking hints the reason it is flashing and wont stop is there a way to fix this?
Since you can't get into the menu, let's try a manual reset. Remove the card and the battery...press all the buttons...leave it alone for 20 minutes...insert the card and then the battery...turn it on. ... Nikon D40x Digital Camera
SD Card When I try to insert the SD card into my D40X the card will go into the slot as normal but it wont click into place. It's just loose inside the slot. If I turned the camera on it's side with the Card Door open the SD card would just fall out and the camera is telling me there is no card. Any advice would be greatly appreciated. Yours Jim Dougherty
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My camera wont turn on! I left it charging for a 2 whole days and nothing wont even connect to my hp. Wont even turn on when plugged in on the wall charger and the camera lense is always down wont come up when turned off.
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When i turn on the camera the lens wont pop open even when the battery is fully charged.... i was taking pictures and it working fine turn the camera off and on again then the lens wont open anymore? i can still view all the pictures i took from the camera but cannot take pictures anymore coz of the lens wont open. i tried initializing the camera by going to set up it didnt work..msg error said turn the camera off and on again and i did but didnt work either many times i tried please help thnks!
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My ipod wont turn in. When I hook it to the computer it cuts on to charge and It wont even cut on. Also when I switch to on, it still wont turn on any ideas to the problem????
It really depends on what kind of iPod you actually have. If you have an iPod touch, a hard reset might do the trick.\015\012\015\012Hold both the power and the home buttons for at least 10 seconds, until you see the apple logo. Then the iPod w ... Digital Cameras
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Same problem with mine - it feels like the switch is not turning fully into 'on' position, as if somethings blocking it. Help! Mike ... Fuji Finepix S9600 Digital Camera
Battery full but wont turn on. Very occaisonally turns on for a couple seconds then goes off, then wont turn on again for a few days. On/Off switch intermittent?
\015\012\015\012Hi,There may be any of the three fault in your device.\015\012\015\0121) There may be dirt or dust in the lens area, preventing your device to extant the lens. you'll need to blow some air to get a ... Panasonic Lumix DMC-LZ2 Digital Camera
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Fixing a Lens Error on a Digital Camera\012\012This has to be THE most common failure mode for a digital camer ... Samsung S630 Digital Camera
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Most probably the lens problem, it got stuck or it's damaged. Try to gently pull out the lens to see is it only got stuck or take it to service ... Samsung L100 Digital Camera
My camera's lens wont go back down and the camera wont turn back on. And no matter how long i charge my batter it wont turn on and it just acts like it died but its not. this was a present from my brother and i would really like to fix it
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I have a kodak 8.2 megapixel that wont charge. i think its because the lens was out when it went off and wont come back in.The light blinks whenever i try to turn it on and it wont turn on
Light blinks problem in the mother board/short circuit/power drainage in the electronic components, ur not able to get charged ... Kodak EASYSHARE M1063 Digital Camera
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Try these procedures. ... Casio Exilim EX-Z750 Digital Camera
It wont turn on i tried charging the battery to see if it was dead but it wasnt the battery it wont turn on!
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Hey pauline04,\015\012 There are a couple of reasons you would be told to turn the camera off and then back on. I would first make sure the battery is fully charged, and if it is not I would charge it. The most common ... Digital Cameras
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Samsung s1065 beeps 3 times nothing else. only 6months old wont turn on. bought recommended batteries, still wont turn on
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My batteries died in my pink i733 and when it shut down the "zoom lense" did not recede. i put fresh batteries in it but all that happens is that the green light flashes. it wont come on or turn off. the lense will not recede and none of the buttons work. the screen doesnt come on or anything. HELP!!!!! My i733 has the same problem,It died on me while I was taking pictures and now the lens is out the green light flashes and it wont turn on, new aa in it aren't helpin I get a very quick blee
This can sometimes be fixed if you remove the batteries over night and allow the camera to sit and discharge it should correct this problem. hope this helps. ... Polaroid i733LP Digital Camera