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Twista and some of his friends are smoking weed in the music video filmed to support Lil Boosie-featuring single.
Twista has made public a music video in companion to his latest single "Fire" which features Lil Boosie. Along with a group of men, the rapper is seen sitting on the couch and smoking weed. A footage of his recording session is also included in between the weed party scene.
"Fire" is one of the singles appearing in Twista's seventh studio album "Category F5" which has been in stores since July 2009. In addition to teaming up with Boosie, he also collaborates with R. Kelly, Gucci Mane, Akon, Kanye West and Busta Rhymes among others.
"Fire" music video aside, Twista is one of the musicians who has supported Haitian relief effort. Earlier this month, he rapped a freestyle over Wyclef Jean and Mary J. Blige's song "911" to raise people's awareness. He also plans to stage a charity concert in Chicago to raise fund for the cause.
"Me and [my manager] Raw, we're in the process of talking about possibly putting together in Chicago where we have artists come out ... do a performance and donate to Haiti," he told MTV. "Everything counts. I been telling people that and go ahead and donate. Right now the people need money because they need resources. Let's concentrate on donating."
Twista's "Fire" music video


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Kooba Black Leather 'Janine' Stud Trim Shoulder Bag
I love the soft leather of Kooba bags, and this one is ideal. It's rougher than a normal shoulder bag but the texturized, flexible leather keeps it toned down rather than biker.
A gorgeous bag with ample roomTags: handbags, designer, bags, teal, women, Rebecca Minkoff, shoulder, green accessories, leather 'Devote' largeAdded 7 Years Ago from Bluefly

subset: commoncrawl


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Candlewood Suites Houston By The Galleria
Candlewood Suites Houston By The Galleria
Hotel offers Southern Hospitality in the Houston Galleria Area
The Candlewood Suites® Houston by the Galleria hotel is ideal for tapping into the full Texas experience. This hotel has a close proximity to the Galleria and other Houston attractions that offers guests access to popular city features. Close to parks, shopping and business districts, our extended stay hotel helps you explore Houston, TX and everything the city has to offer.
For the business traveler, our apartment-style suites create a sense of home, as well as provide all the modern technology you may need to accomplish your work goals while on an extended stay at the hotel. Houston is home to many major businesses and industrial parks and our location gives guests centralized access to many of them.
Our beautiful city is a great place for vacation travelers as well. Close to Reliant Park, Lakewood Church and downtown Houston, there's something for everyone. Easy access to the Galleria makes us a Houston visitor's shopping haven, and the theater district has multiple shows playing throughout the year.
During your stay, enjoy our 24-hr Candlewood Gym, full kitchens and free laundry services. Visit the Outdoor Gazebo Grill, grab a movie from the Lending Library and stop by the Candlewood Cupboard convenience store. Book a suite with us today and experience all that we have to offer!
Quick Info
- Check In: 3:00 PM
- Check Out: 12:00 PM
- Minimum Check-In Age: 21
- Late Check Out Available
- Parking: Free
- Print Fact Sheet
- Chat With Us
Important Update
- On-site Guest Self-Laundry Facilities
- Housekeeping Full Service
- Standard Wireless Internet service is free for all members
- On-site Fitness Center Available
It's hard to leave your best buddy at home when you're traveling for extended periods, so we provide a pet friendly experience. Restrictions and fees apply.
Whether you are booking suites for a family reunion or suites for your company's training needs, Candlewood Suites hotels can accommodate your group.
Workout whenever you want: Candlewood Gym always has an open door and lots of aerobic and cardio equipment to make it easier to stick to your exercise routine, no sweat.
The IHG Green Engage system is an online tool that gives our hotels the means to measure their day-to-day environmental impact.
Getting Here
Guest Reviews
Overall Experience
Front Desk
July 24, 2017
Friendly Staff. Set up my company to make future stays easier and more efficient to book.
Great value
July 24, 2017
Comfortable stay, great location, friendly staff, reasonable price
Great Nights of Sleep
July 23, 2017
The location of this facility creates a natural absence of city noises. The a/c fan has a nice hum to it. I never heard a sound outside my own room. The room was clean and kitchen great. Very comfortable bed. I've stayed there several times and will be back in the near future.
Rude staff
July 22, 2017
I have MS and was on the second floor. The day I checked out, the electricity went out. I had to use the stairs. This wouldn't have been a big issue except that I was now carrying luggage. A CUSTOMER helped me down after a STAFF member said they were too busy. When I reported this to the front desk, their only response was " Oh, sorry"." I think it's a sad day when fellow customers are more kind than employees of the company.


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About the Book
The author has travelled over 30,000 kilometers in Northern BC, Yukon, NWT and Alaska during the last 3 years to the most remote and desolate places of the Far North in search of the Masters, in order to meet them and to learn their teachings.
He sought out mountains, trails, rivers and lakes for hiking, biking, and paddling his small Alpacka packraft. He met strange characters during his wild adventures, people who live amazing lives in these remote places.
For more photos from the North, please visit the flickr site:
and trail descriptions are found on http://trailpeak.com at the author's blog:
Features & Details
- Category Sports & Adventure
Standard Portrait, 7.75×9.75 in, 20×25 cm
40 Pages
- Publish Date Jan 22, 2008
- Tags mountain, river, canada, north, arctic, climb, run, hike, paddle, remote, photography, wild, adventure, nature, extreme, hiking, biking, bike, alpacka, packraft, wilderness, images, yukon, NWT
About the Creator
trailpeak.com Yukon and northern trails editor, photographer, gear tester, adventure traveler to the Arctic regions. Trail runner, skier, climber, mountain biker, paddler.
Log in or create an account to post a comment.


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Woman Indicted in Rooney Fatal Crash
The Ross County Grand Jury has indicted a Bainbridge woman for the fatal traffic accident that claimed the life of Chillicothe attorney Annie Rooney.
36-year-old Shira Seymour has been charged with three counts of aggravated vehicular homicide.
Authorities say Seymour was driving drunk when she went left-of-center and hit Rooney's vehicle head-on.
Seymour was seriously injured in the crash, which was one of the reasons for the delay in her case being taken to the grand jury. She was arrested Friday.


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The Yantis Owls traveled to Cumby on Tuesday and fell to the Cumby Trojans, but it was a wonderful day for baseball and some great spring weather.
Many in this community have taken advantage of the warm weather and been spied out working in their yards and gardens. Sounds like the entire week is going to be nice weather and a chance for everyone to get outside and enjoy the sunshine.
Have you got your garden planted yet? The weather forecasters aren't predicting much of a chance for frost, so possibly it's time to set out those tomato plants. Can you remember cutting the ends out of either large tomato juice cans or "Hawaiian Punch" cans and using them to protect the young and tender tomato and pepper plants? You had to watch carefully to keep from cutting yourself, but they offered great protection for the plants and were a frugal way to keep gardening on the right track in the springtime.
Joyce McDonald was in Rockwall on Wednesday for a doctor's appointment, and she and Judy Jones had plans to enjoy a day of shopping and eating out.
Word has been received of the death of Trent Meadors of Yantis. Mr. Meadors passed away early Tuesday morning, with funeral services pending at the present. Mr. Meadors was a regular with the "Yantis Lunch Bunch" and will be sorely missed. Watch for funeral arrangements as they become available. Sympathy is extended to his family.
Also, word was received that Carolyn Lucas of Sulphur Springs passed away on Monday night. Many knew Carolyn from her association with Hopkins County Memorial Hospital. Funeral services are pending for Carolyn with Sam B. Harvey Funeral Home in Mount Vernon. Sympathy is extended to her family and friends, as well.
I heard from the Fisher family this week, and Bryant and Marilee had returned on Tuesday following a meeting in Corpus Christi. They reported a very nice trip, with cloudy and overcast skies for most of the trip. Marilee indicated that she could get used to waking up on the beach but that she really wasn't fond of the sea gulls cawing at her window every morning. We all know how fond Marilee is of birds, so I imagine there are some gulls with their ears burning this week.
Meanwhile, Blake and Kendra ate at East Fork on Monday night, and Kendra indicated that she'd just swapped her school clothes for farm clothes, as she'd been busy helping Blake all week on the farm as she enjoyed spring break. "It's a change of pace, and I've enjoyed working with another round of baby goats," said Kendra. "They're awfully cute when they're born, but somehow they grow up to be little pests."
"We've certainly got plenty of goats to milk," said Blake as he described the amount of goat's milk they are getting every day. If you need some goat milk, give Blake or Kendra a call.
I hope everyone is enjoying this week's weather. I heard a story this week about the way that Texas weather changes quickly. A couple of cowboys were riding out on the plains of West Texas, and it got so hot they decided to strip down and go swimming in a small river below a bluff. Just as they dived toward the water, a drought came along and dried up the river, and they were fearful of breaking their necks as they hit the bottom. However, before they landed a flood came along and rose the river to save them. As they were rejoicing their good fortune, a hard freeze came along and froze them as they came to the surface of the water, and they had to be chopped out of the ice by some other cowboys. If you don't like the weather, know that it will change rather quickly, if not quite that quick.
Vera Harrington reported a nice visit with the granddaughters in Waxahachie, where they are enjoying spring break this week. She advised that Caroline is delivering "Meals on Wheels" this week and that both Charlotte and Elizabeth have been accompanying her.
Mary Harrington Burns is already packing up some things in preparation for the move to Reilly Springs in June once school is out. Of course, Vera couldn't be happier. "I think mother would move me overnight if I'd let her," Mary said. "But I keep telling her that we've got to wait until the girls finish school and Elizabeth graduates."
"I don't know if I'm going to be able to corral both mother and the girls once I get moved," added Mary. "I may have more trouble on my hands than I've bargained for."
Meanwhile, both Mary and Vera were excited to see Gregg Price and his home featured on television this past week. They indicated they had watched the show and enjoyed hearing Gregg talking about many of the antiques that he's collected over the years.
Many in this community were involved in the UPRA Rodeo over the weekend. Several of the youths participated in the "Mutton Bustin'" contest, while others participated in queen's contests, and were actually involved in the rodeo events. Others were busy working in the concession stand, as they helped the local Genealogical Society operate it.
Remember the March edition of the Reilly Springs Jamboree that is scheduled for Saturday night. Enola Gay promises a great show and line-up of performers on stage for the evening. Make plans to come enjoy the show and support the concession stand, as the funds are used to improve the Reilly Springs Community Center. You'll enjoy some great musical entertainment and association with all your friends from Reilly Springs. The doors open at 5:30 and the show will begin at 7.
I heard from Sandi Wallace this week, and she reported enjoying spending some time with the grandboys as they enjoy spring break this week. She also was excited that the renovations on the south side of the square were continuing to progress. "Hopefully, we can resume business as usual, quickly," said Sandi. "They're making real progress, and the rain last week didn't slow them down much. I want to thank the city crews for continuing to work diligently to get the construction complete."
Speaking of rain, reports are that the Reilly Springs community received as much as 3 inches of rainfall, over the weekend. "I'm excited at the way the rain fell and the way the lakes and farm ponds are full," said Vera Harrington. "I can't help but be fearful that we're going to have a long summer, and may need all the moisture we can get with the early warm weather we're receiving."
The Genealogical Society will meet on Thursday night, when the program is to be Marynell Bryant explaining the 1940 Census. It will be a very informative program hosted at the Genealogical Library.
How many of you can remember enjoying what we called "Easter Break" back in the dark ages? It was those carefree days of sleeping late, maybe going to the creek camping and fishing, or possibly catching the horses and riding all day down the back roads of the community. Those were days long before anyone decided to go on snow skiing trips or out of town. We enjoyed spending the time in the neighborhood and treasured those memories of spending time with cousins and friends. Sometimes I think youths miss those special times with the hurried world we're engaged in today.
Until next week, continue to enjoy the nice spring weather and pleasant temperatures, and enjoy the wonderful rain we received. Remember our troops who defend our freedoms and pray for their safety and return trip home, amidst a very volatile situation in Afghanistan. Pray for love in our hearts, harmony in our community, and peace in our land. God bless Reilly Springs, Hopkins County and America.
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In this guide, I'll offer a few steps to assist you in planning for your income taxes and what to do when you file your returns (state, federal) and end up owing a balance.
What will happen during an initial meeting with your office and how much will it cost? Part 1 When you begin to consider getting your legal and financial affairs in order, the first thing to do is ca


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Swift Themes Awesomeness
Speed is relative, it depends on lot of factors like
- Hosting ( Server configuration )
- Type of content on the page
- Connection speed of the user
- Functionality added to the blog/site
On a fully loaded blog/site ( After adding all the necessary functionality ), your blog will be faster with Swift than it was with any other theme.
How do we achieve that?
By following the standards and doing everything possible to reduce the page weight and the number of HTTP requests. Here are few things that we do in Swift
- Delayed loading of gravatars in comments. Gravtars are loaded after all the content of the page is ready making your pages faster and responsive. You can see the demo here. See how the avatars are loaded after the page is laoded.
- Base64 images are used to reduce the page weight and the number of HTTP requests.
- Style sheets and the javaScript files are generated dynamically including only the styles and scripts your theme configuration needs.
- Commonly used plugins that add to the page weight are included in Swift with exclusive styling for the theme. Following plugin functionality is included in Swift
- Page navigation.
- Breadcrumbs.
- Social share buttons.
Search Engine Optimization
Keep the search bots happy with HTML5
The new Swift is a HTML5 theme, making full and correct use of the newly introduced semantics. With the new semantics in HTML5 it is easy for search engines to identify the most important content ( The article ) on your page and rank it for the right key word. With Swift you get traffic that's actually interested in your article, traffic that sticks, and not some useless traffic who is on your page because the search engines couldn't rank your page correctly.
Confused? Click me for an example
Other things in Swift to help you with search rankings
- HTML of the document remains the same in left sidebar, right sidebar and centered layout.
- Main content ( The Article/Post ) comes first in the document flow in every layout.
- H1 tag is used for blog name on home page, and on single page blog name gets H2 and post title gets the H1.
- If you are using logo, blog name and description are added to logo ALT attribute and link title attribute respectively.
- Swift does not waste the useful heading tags ( H1,H2….H6 ) on widget section titles, it uses <p> and <span>tags and styles them to look like headings.
- Option to display posts as list in archive pages, to prevent content duplication.
- Last but not the least, THE SPEED
Swift comes with a clean and user friendly design, with hundreds of possible layouts. With Swift you won't have to hire a designer for his technical skills, you can customize every element of the site to your liking from the options page.
You get
- Three different types of layouts ( Fluid width, Hybrid, and Fixed width ), with customizable width for hybrid and fixed layouts.
- Two navigation styles.
- 2 sliders + Option to add slider to static pages.
- Blog and two magazine formats to list the posts, with option to select the number of columns for magazine layout.
- Option to display posts as list in archive pages.
- Customize the typography, and colors of every element of the site.
- 10 awesome widgets to enhance the usability of your site.
- 10+ page templates easily build business sites using WordPress as CMS.
- Shortcodes to easily insert buttons, icons, columns, content toggles and tabbed content.
Every single element in Swift is designed with at most care to give your readers the best experience.
News paper layout
Swift comes with a very well thought and designed NEWS paper template to help you better deliver content to your readers. The news paper template will help you reduce bounce rate and increase page views.
Ad Management
Swift comes with built in ad management with ad's integrated into 9 prominent locations of the site, giving you highest possible CTR. With swift you will not need a ad manager plugin.
Rocking support
For us support doesn't end with answering your question, we see your questions as a feedback to improve our product and do the necessary so that there won't be the same question again in future. Also we included the FAQ's, inline instructions and a short guide on how to get started with Swift.
These greatly help us in reducing the number of support requests, and thus giving the developer time to answer all support questions.
Plugin integration
Most commonly used plugins are integrated into Swift. This means, your blog wont have to load the style sheets and js files of those plugins as they are bundled with SWIFT.
- Page navigation.
- Breadcrumbs.
- Shortcodes.
- Social media icons.
- Ad Managers
- Support for YARPP.
- WOO Commerce
Attention to detail & focus on users
Every element of the site is designed with at most care and constantly reviewed. We test various options to find the best possible configuration before a feature or design enhancement makes it to the final version.
Here is a list of such things that are immediately visible to you
- User friendly error pages.
- Implementation of authorship markup.
- Robust ad management with options to add separate ads for mobiles and desktops.
- Default styling for forms.
- No uneven spacings.
- 10 well thought widgets.
- 10+ useful page templates to help you design business sites easily.
- Option to disable WordPress WYSYWIG editor smartness when designing pages. You will thank me when you are building static pages 🙂
- Custom CSS option for individual pages, again a handy tool to develop business sites.
- Includes a template for the popular related posts plugin YARRP, to help you create a engaging blog.
- News paper templates.
- Responsive images. ( Different image sizes for desktop and mobiles for optimum performance )
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text: This career fair is a great opportunity for students who are interested in working in the sports industry to come meet with and submit resumes to top sports and entertainment organizations in the Tri-State area, as well as get the chance to obtain internships or entry level positions for graduating seniors.Date: Wednesday, December 4, 2013Time: 1:00-5:00PMLocation: Prudential CenterAttending the career fair also includes a ticket to the New Jersey Devils game that night versus Montreal. The total cost for attendance to both events is $36. Additional ticket available: $96 (Reg. 109) Lower Level$55 (Reg. $59-$67) 100 LevelGame: Wednesday, Decmeber 4th New Jersey Devils vs. Montreal at 7:00PM.To purchase tickets visit newjerseydevils.com/careerfairUse special offer code: devilsWe encourage any students who major in business, exercise science, or sport management to attend: including any related majors such as management, marketing, finance, accounting, sales, communications, public relations, etc.


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My poor blog has been deserted for the last five days. I can see the tumbleweeds rolling by. However, I am now back into my routine and eager to share some pictures from my recent trip to Bermuda.
Bermuda is a short flight from NYC, sharing a latitude with South Carolina in the middle of the Atlantic Ocean. The temperature was in the 70s, but the humidity was high. My skin has never looked more glowing.
Click through the slideshow for a summary of my trip in pictures:


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Event Part of the Second Week of Statewide National Volunteerism Month Celebration
Trenton, NJ – Recognizing the ongoing efforts of New Jersey's 1.6 million volunteers, Acting Governor Kim Guadagno today joined the Atlantic City Long Term Recovery Group to help rebuild a home severely damaged during Superstorm Sandy. The gathering was part of a series of events taking place statewide as part of National Volunteerism Month celebrations in April.
"Selfless acts of generosity can mean the world to individuals and families during their greatest periods of crisis and uncertainty," said Acting Governor Guadagno. "Nowhere was this clearer than in the aftermath of Sandy, and it's great to have the opportunity recognize this work and thank the countless volunteers for their continued service to so many impacted residents."
Founded by a group of volunteers from Hope Force International, local clergy, elected officials and concerned Atlantic City residents, the Atlantic City Long Term Recovery Group (ACLTRG) seeks to bring relief organizations, communities, and local governments together to connect county residents impacted by Sandy with much needed resources and support. Supporters of the ACLTRG include the New Jersey Hurricane Sandy Relief Fund, the Red Cross, the Robin Hood Foundation, the United Way and the Episcopal Diocese of New Jersey.
Acting Governor Guadagno today joined the group's dedicated team of construction personnel, various donors and volunteer laborers to continue work on a home that was damaged by three feet of flood water after Sandy. The lower level of the home required complete gutting, as well as considerable mold remediation. To date, insulation has been installed, in addition to new drywall and flooring.
"At this point, we have completed 73 homes. The project we are working on Tuesday will represent the 74th upon its completion," said Dr. Clarence Alston, Executive Director of the Atlantic City Long Term Recovery Group. "We appreciate the opportunity to have Acting Governor Guadagno visit Atlantic City to show her support and involvement in this meaningful effort."
As of March 20, 2014, New Jersey Voluntary Organizations Active in Disaster (VOAD), which is responsible for logging total state volunteerism efforts, reported that 209,148 volunteers from New Jersey and across America have served 1,452,320 hours with non-profit groups since the beginning of Sandy recovery. This service, in turn, is estimated to have a total dollar value exceeding $41 million.
People interested in seeking volunteerism opportunities in New Jersey, or who simply wish to learn more about the efforts of the Governor's Office Volunteerism, are encouraged to visit Volunteerism.NJ.gov.
Press Contact:
Michael Drewniak
Kevin Roberts


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Tanglewood's 2017 Pool Season starts Saturday, May 27th.
We are excited to announce that Nike Junior Golf Camps are coming to Tanglewood!
The N.C. Wildlife Resources Commission is reminding the public that they should not approach, touch, feed or move fawns.
We are excited to announce that Tanglewood Park now has a Monarch Waystation.
Tanglewood Golf offers clinics for golfers of all skills and ages. Come to Tanglewood Park to improve your game and enjoy the great outdoors! Contact Tanglewood Golf at 336-703-6420 for more information.
Learn more about the 2017 Adult Education Classes at the Tanglewood Park Arboretum


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If the city of Princeton went by the state demographer's estimate of the city's population, it would show that it never changed over the years 2010 and '11, staying the same at 4,698.
Not only did the state's estimation of the city's population raise questions from Princeton City Administrator Mark Karnowski last week, but also the state's estimates of the city's household numbers.
The state reported the number of households at 1,928 for 2011, and 1,926 for 2010. Karnowski, in a memo to the council last Thursday, reported that he had received communication from the state demographer's office as well, that the number of households in 2011 was 2,044.
Karnowski said during the council meeting that the actual population and number of households should have risen significantly in 2011 because of the opening of the Sterling Pointe senior living apartment complex in August 2011. The complex has more than 50 apartments, a number of them memory-care units.
But a key reason for the numbers in the state estimates, in talking with senior research analyst James W. Hibbs at the Minnesota State Demographic Center, is the state's timing for compiling the data.
Hibbs explained that his office uses the decennial census, in this case 2010, as the base, and then estimates for the years after that using data on building permits. Also, "to be consistent with the date of the decennial census, our estimates are for April 1 of each year," Hibbs said.
Hibbs noted that the census bureau reported to his office that the city issued only two housing unit permits in 2010. "We mailed the estimates to the city on June 1, 2012," Hibbs continued. "The city had until June 24 to challenge our estimates. We did not hear from them within that time period. We cannot change the estimates after they have been forwarded to the Minnesota Department of Revenue. We are required to deliver the estimates to Revenue each year by July 15."
Karnowski said that the numbers in the state report won't be a big deal for the city as the report will catch up in the next estimate.
Hibbs also talked about definitions when it comes to household numbers. Households actually refer to the number of housing units that are occupied, Hibbs said. (It also could be that the 2,044 households that Karnowski mentioned hearing about for April 2011, might have been housing units.)
It is a fact that Princeton has had a number of vacant housing units, much of that due to foreclosure in the past few years.
Karnowski and council members have for years been looking forward to the city reaching a population of at least 5,000 because then the city becomes eligible for certain state funding help for certain roads.
Other numbers in the state report show that, as of April 2011, the population of Baldwin Township was 6,746, compared to 6,739 in 2010. Princeton Township's population was listed at 2,240 in 2011 compared to 2,254 in 2010.
Baldwin's households were shown to be 2,343 in 2011, versus 2,518 in 2010, a decline of 175. Baldwin has also had foreclosures. The number of households listed for Princeton Township was also a decline, going from 869 in 2010, to 835 in 2011.


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Carhartt Work In Progress (WIP) represents the forward-thinking way of living that still encompasses the classic aesthetics of the iconic brand. 100% cotton canvas tote bag with 22.5 liter storage capacity, water-repellent fabric, inside flap pocket and leather square label. Available now in hamilton brown/black.
Height: 13.5" (34.5cm)
Width 14.5" (37cm)
Depth: 6.89" (17.5 cm)
Storage Capacity: 22.5 L
For more information about returns please click here.


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Thu December 15, 2016 - 7:00 PM
Somerville, MA, 2016
Thunder Road Music Club & Rock 'N' Roll Bistro
379 Somerville Avenue
Somerville, MA
Join us for great food, music, and a ton of fun during the WERS ugly sweater party! We will have a door prizes and a special prize for the ugliest sweater!
Music by Air Traffic Controler!
Music by Air Traffic Controler!


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Contact Silver Cube Promotions for your custom branded promotional products, promotional items, corporate gifts, promotional clothing and promotional merchandise. We have thousands of promotional products to choose from, ranging from low cost promotional pens, keyrings, coffee mugs and personalised trade show promotional gifts through to conference bags and conference folders, clothing, executive corporate merchandise and an extensive range of environmentally friendly recycled items. As one of the market leaders in South Africa our buying power ensures you always get the best prices for your promotional products. Every piece of promotional merchandise we brand will feature your logo and advertising message from corporate apparel through to custom t-shirts, conference bags and folders. Customised promo products and advertising gifts are the perfect way to target new customers, increase employee retention, enhance your brand awareness and ensure your marketing and advertising campaigns have the maximum results.
Our dedicated team of promotional item experts are extremely knowledgeable and highly professional. They work with a wide range of businesses and organisations throughout South Africa and it's neighbouring countries on a wide variety of projects including tradeshow giveaways, exhibitions, product promotions, logo products, corporate events and conferences on a daily basis and have all the marketing know how to provide the best return on your investments. So, what are you waiting for? Contact one of our sales team who will assist you in finding the best promotional items at the best possible price for your next promotion. They will guide you through our massive range of products and assist you in ensuring that your branded logo will stand out from the masses. Call THE promotional gift company today!


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About This Game
- Summary
- Specifications
- Features
- Game Editions
Toontown will never be the same now that Bonkers D. Bobcat is a cop. Three of Toontown's most precious treasures, the Sorcerer's Hat, the Mermaid's Voice, and the Magic Lamp, are stolen, causing BONKERS to find himself on his first case. You'll have to guide Bonkers and his faithful friend, Fall-Apart Rabbit, through six nutty worlds pulled straight from the popular Disney animated series. Along the way, you can collect bombs and shields that will come in handy as you fight off enemies while searching for important clues. If you're looking for a game that the whole family can get into and enjoy, then look no further than BONKERS.
- Supported Functions
- Number Of Players: 1
- Memory Card
- Features six zany worlds taken right from the animated TV series; guide Bonkers and Fall-Apart Rabbit through crazy adventures; collect clues while avoiding enemies; use bombs and shields to defend yourself against the bad guys
Help us solve the toughest (or most puzzling) game puzzles and challenges.
Our attempt to answer issues which most commonly occur on IGN's wikis.


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- ≡Menu
- News
- Transfers & Rumours
Player's agent
- Market values
- Competitions
Cup competitions
National teamPlayer statisticsClub statistics
- My TM
My TMMiscellaneousInternal
- Live
The statistic lists all native players of the selected country who are playing outside of the country. To see all details, click on the number of legionaries.
Legal notice | Privacy | Terms of use | The TM Team | Social media | FAQ | Newsletter | Send error report


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Adding some excitement to the City of Lights, Emma Stone showed up at the premiere of "Magic in the Moonlight" along with her costar Colin Firth in Paris, France last night (September 11).
Both clad in black attire, the "Amazing Spider-Man 2" hottie and the "King's Speech" stud were in good spirits while greeting fans and signing autographs outside the UGC Cine Cite Bercy.
Using her "psychic powers," Emma Stone predicted next summer's hottest dance and food trends.
While promoting her new role with MTV News, the red headed beauty said that after playing a medium in "Magic in the Moonlight," she is "100 percent" convinced she has really physic talent.
Supporting her pals, Christina Hendricks stepped out to the "Magic in the Moonlight" premiere in New York City last evening (July 17).
The "Mad Men" beauty brought along her handsome beauty Geoffrey Arend and struck a few poses for the press on the Paris Theater's red carpet.
She's one of our favorite Hollywood gals and Emma Stone looked absolutely darling as she posed with beau Andrew Garfield at premiere of "Magic in the Moonlight" last evening (July 17).
He keeps cranking out fabulous films and Woody Allen's latest opus "Magic in the Moonlight" just got the trailer treatment.
This time around, the "You Will Meet a Tall Dark Stranger" mastermind has assembled a fabulous cast including Emma Stone, Marcia Gay Harden, Colin Firth and Jacki Weaver.
Fans are always clamoring for news about Woody Allen's next picture, and on Tuesday (October 15), he announced that "Magic in the Moonlight" is on deck.


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There is a growing sense of trans militancy, fuelled by a sense that we are at the back of the line when it comes to basic human rights. There are also growing calls for separation from mainstream LGB politics. Recent soundings of the US trans community found support for continued association with LGBT to be at best lukewarm and at worst, dead.
After the Baltimore McDonald's attack, trans people are newly resolute
Current Status: Blessed (1)
Seeded on Mon May 2, 2011 1:41 PM
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by Staff Writers
Toronto (UPI) Feb 28, 2013
Traffic accidents can happen because the brain has a hard time when both making a left-hand turn and talking on a hands-free cellphone, Canadian scientists say.
Researchers at St. Michael's Hospital in Toronto say most serious traffic accidents occur when drivers are making a left-hand turn at a busy intersection because it requires a huge amount of brain activation and involves far more areas of the brain than driving on a straight road or other maneuvers.
If drivers are also talking on a hands-free cell phone "that could be the most dangerous thing they ever do on the road," St. Michael's neuroscientist Tom Schweizer said.
The researchers tested healthy young drivers operating a driving simulator located inside a high-powered functional MRI, allowing the scientists to map in real time which parts of the brain were activated or deactivated as the simulator took them through increasingly difficult driving maneuvers.
The researchers found making a left-hand turn required the most brain involvement.
They also reported that when the drivers were also involved in a conversation, the part of the brain that controls vision significantly reduced its activity as the part that controls monitoring a conversation and attention was activated.
"Visually, a left-hand turn is quite demanding," Schweizer said. "You have to look at oncoming traffic, pedestrians and lights, and coordinate all that. Add talking on a cell phone, and your visual area shuts down significantly, which obviously is key to performing the maneuver."
"This study provides real-time neuroimaging evidence supporting previous behavioral observations suggesting that multitasking while driving may compromise vision and alertness. 'Hands free' not does mean 'brains free,'" he said.
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Collaboration Resources
I'm teaching a seminar all day today in Chicago so I will be making today's entry a brief one. Before I head out the door, I'd like to introduce you to a document that can be incredibly useful in mapping out collaboration strategies. Many of you, particularly in the advocacy community are already familiar with Collaboration Math, from the Prevention Institute. For those of you who are new to the tool, though (particularly the nurses in the room) this remains a go-to document for me, and one I recommend to programs who face collaboration challenges in their communities. Quite frankly, even if you're not struggling with collaboration, it's a great resource.
From the site: "Collaboration Math is a tool intended to help organizations from diverse disciplines work together. It enables them to better understand each other's perspectives and to identify the strengths and gaps in their partnership. This tool is designed to eliminate misconceptions, clarify the benefits of collaboration, suggest what needs to be better understood or studied, and identify key players that may be missing."
Although the tool was developed with an eye toward prevention issues, it's utility is very broad. It also has the added benefit of being a very accessible document, with plenty of supporting information should you or other members of your community have questions about how it can be used. If you haven't spent any time with it, I highly recommend checking it out.


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Twenty two year-old Aura ( Dunham) lives a hipsterish existence in TriBeCa, boosting a film theory degree, a pet hamster and a boyfriend who's abandoned her in favour of the Burning Man Festival. Then, when things can't get any worse, she's forced to move into her artist mum's house.
The debuting Lena Dunham makes an impression with this low-budget satire on life in boho Tribeca and the difficulty of finding a niche when all around are either over-achieving or revelling in mediocrity. Casting her own mother and sister as the major sources of angst for her flailing twentysomething film graduate, Dunham adds some semi-autobiographical bite to a refreshingly insightful comedy that owes debts to Seinfeld, Woody Allen and mumblecore. Dunham does a nice line in self-deprecation that extends to giving killer lines to her mother and sibling, as well as Jemima Kirke, who excels as her bubble-headed best friend. But it's the precision of the writing and the timing of the gags that make this so engaging.
Much-maligned it may be, but the so-called mumblecore movement continues to turn out gems. Lena Dunham's lo-fi, witty treatment of a semi-autobiographical tale adds another dozy to the canon.


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Meyer Appliance is a home furnishings retailer based in Mountain View, CA offering an array of mattresses ...
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Meyer Appliance is a home furnishings retailer based in Mountain View, CA offering an array of mattresses alongside its other merchandise. Meyer Appliance carries a variety of mattresses in its stores, including models from Tempur-Pedic. Meyer Appliance has store locations in California serving the metro area(s) of San Jose, CA.
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Short Film 'I Deliver Me' Starring Jamie Taylor of Givensix and Created Locally [VIDEO]
Jamie Taylor, front man from one of Flint's favorite bands Givensix, is awesome in the lead role of a short film shot here in Genesee County.
Jamie Taylor, front man from one of Flint's favorite bands Givensix, is awesome in the lead role of a short film shot here in Genesee County.
We're excited to introduce our newest website contributor -- who you probably already know from his work with Flint alt metal powerhouse Givensix -- Jamie Taylor. When he's not killing it on stage, you can find him here.
Givensix has been part of the Flint music scene for 11 years, but according to the band, "It's only just begun." As the guys are set to hit the road in November with Smile Empty Soul and Hurt.
Certified great band Givensix has what we so far deem the best band tee at all of Dirt Fest. Here, they sum up the only reason anyone would ever wear a sleeveless t-shirt. Click through to see the whole shirt.
Dirt Fest 2011 performers Givensix have just released their new album 'Harvest' after almost two years of working on the project. The Flint alt-rockers bring a fresh sound to the table that feels like having a meal with Patrick Bateman of 'American Psycho' while Tool, Rage Against the Machine, and Primus jam the dinner music. If you're confused by that loaded statement, this is a good thing. Check out my full review of the new Givensix record 'Harvest'.
Dirt Fest, the festival traditionally known for bringing national and local metal to the stage, is branching out to all facets of rock music this year with more national bands than ever before. Dirt Fest 2011 hits the Birch Run Expo Center in Michigan August 13th, and boasts acts like All That Remains, Times of Grace, Evans Blue, Pop Evil, and about 50 other national and local rock bands.


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The Australian government has warned North Korea that South Korea would not continue to ignore threats to its security as the communist state's deadly game of brinkmanship took several steps towards armed conflict on Thursday.
North Korea appeared to move a missile capable of hitting South Korea and Japan to its east coast. The movement was detected by South Korean and US intelligence, South Korea's Yonhap news agency reported, citing military and government sources.
Earlier in the day the US announced it was speeding the deployment of an advanced missile defence system to Guam in the next few weeks, two years ahead of schedule, in what the Pentagon said was ''a precautionary move'' to protect US naval and air forces from the threat of a North Korean missile attack.
That in turn followed the North Korean army's claim that it had final approval to launch ''merciless'' military strikes on the US, involving the possible use of ''cutting-edge'' nuclear weapons.
The sudden deterioration of security on the Korean peninsula comes as Prime Minister Julia Gillard prepares to fly out on Friday to China for a visit that will include meetings with China's new leadership of President Xi Jinping and Premier Li Keqiang.
Ms Gillard has expressed solidarity with South Korea in a phone hook-up with President Park Geun-hye.
She said Australia would continue to call on North Korea to end its provocative actions and engage South Korea in the trust-building dialogue offered by President Park.
The Prime Minister agreed that international pressure on North Korea was critical in this regard.
Minister for Foreign Affairs Bob Carr issued a stern warning to North Korea, saying the South would not wait idly while the threat from the north worsens.
''We warn them that South Korea, which has shown admirable restraint, is not likely to ignore continuous threats, let alone any future attacks,'' he said.
''We cannot vouch for the veracity of these reports [about missile movements] but we simply repeat that the rest of the world wants an end to the provocative behaviour that is being displayed by the politburo of North Korea.''
China remains Pyongyang's only significant friend, and provides cheap energy as well as economic and trade assistance to the poverty-stricken hermit kingdom.
However, even Beijing now appears to have lost the ability to control the unpredictable manoeuvres of the North Korea's erratic young leader, Kim Jong-un.
According to former prime minister Kevin Rudd, China is now ''re-thinking'' its relationship with North Korea in the wake of its renewed belligerence.
One South Korean official was quoted as saying the North Korean missile movement appeared to be a Musudan, which is believed to have an intended range of 3000 kilometres and the ability to carry a 650-kilogram warhead. However, it is not known to have been tested. ''We are closely monitoring whether the North moved it with a view to actual launch or just as a show of force against the US,'' he said.
Yonhap cited intelligence sources as saying the North may launch the missile on April 15, the birthday of founding leader Kim Il-Sung.
The South Korean defence ministry declined to confirm the report, but stressed that it kept a ''24-hour watch'' for any potential North Korean missile launches.
Earlier this week, the US Defence Department announced that two of the navy's Aegis class missile-defence warships were positioned in the Pacific to watch North Korea. Installing the land-based missile system in Guam will free up the ships - which have radar and interceptor missiles - to be repositioned closer to the North Korean coast.
In a statement published by North Korea's official KCNA news agency, the general staff of the Korean People's Army said it was formally informing Washington that US threats would be ''smashed by … cutting-edge smaller, lighter and diversified nuclear strike means''.
US Defence Secretary Chuck Hagel said North Korea's threats and recent actions represented a ''real and clear danger'' to the United States as well as its allies South Korea and Japan.
with AFP, New York Times, Bloomberg


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MM:: MARY McCHESNEY
RM:: ROBERT McCHESNEY
(Miss Gershoy was on the WPA sculpture project in New York City)
MM:: First I'd like to ask you, Johnny -- isn't that your nickname? -- where were you born?
EG:: In Russia.
MM:: What year?
MM:: What town were you born in?
EG:: In a wonderful little place called Krivoi Rog. It's a metal-lurgical center that was very important in the second World War. A great deal of fighting went on there, and it figured very largely in the German-Russian campaign.
MM:: When did you come to the United States?
MM:: You were saying that you came to the United States in 1903, so you were only two years old.
EG:: Yes.
MM:: Where did you receive your art training?
EG:: Very briefly, I had a couple of scholarships to the Art Students League.
MM:: In New York City?
EG:: Yes. And then I got married and went to Woodstock and worked there by myself. John Flanagan, the sculptor, was a great friend of ours, and he was up there, too. I was very much influenced by him. He used to take the boulders in the field and make his sculptures of them, and also the wood that was indigenous to the neighborhood -- ash, pine, apple wood, and so forth. So I began immediately to carve in stone and wood without any training whatsoever. At the Art Students League, I had just done some clay work. From then on, after the boulder period, I carved in marble, in sandstone, and in alabaster, and in ash and apple wood.
MM:: How did you first get on to any of the government-sponsored art projects?
EG:: Well, in about 1936 or 37 -- I've forgotten what year -- I moved to New York and got on the project on a non-relief basis. You see, there were people who were getting relief and then they established a whole segment of people who were on non-relief, but were still part of the WPA art project. My first assignment was something to do for what was called "first housing." It was a project to have a children's playground. My first assignment was to do some animals for that playground. I did a sketch of a camel that was very favorably received. Then I enlarged it. The project was composed of many types of people. A great many of them were casters, and they would point it up, you see -- take one of these little sketches that I had made of the camel and point it up into a large piece, three by five, six feet, something of the sort. And I would finish it, and patina it.
MM:: These were cast in bronze?
EG:: No, no, no, no, no, they were cast in cement so that the children could climb over them and play on them.
MM:: Did you do any of the mold making for the large piece?
EG:: No.
MM:: You just made the clay model and that was handed over to somebody else?
EG: Yes, to the mold makers. Yes. And then I was asked to be a supervisor, which would mean that I wouldn't do any work of my own but go around to the studios to see what the artists were doing and report on that. It didn't appeal to me in the least. By that time, the artists were supposed to consider projects of their own. There was a painter there by the name of Max Spivak who was doing a series of murals for a children's library that was to be established in Astoria, Long Island. He was doing murals of puppets in various activities, very, very charming. And I thought of an idea to do some figurines to go with them. First, I started with an actual figure that Max Spivak had in one of the murals -- an opera singer -- very, very amusing -- and I satirized it; he was called the golden-voiced tenor so he had a golden throat and things of that sort. Then I went on with various fantasies of this sort, not necessarily his subject matter. I have a whole group of them here, of people doing various things. There was one called "A High Wheeler," which was a circus fat girl, very, very fat, balanced on the handle bars of a high wheeler bicycle with great front wheel and small back wheel. She was very gaily balanced on the handle bars. Also, I did a very strong man, you know, wearing a great leopard skin and with a handle bar mustache. He was a very strong man and stood on one tiptoe and held up a baby elephant in one hand. I did quite a number of things of that sort. One was called "The Equestrienne." Did you see that at the art festival?
MM:: No, we didn't.
EG:: It won an award of merit. The Met subsequently bought it. This was a rearing circus horse, and again this improbable and impossible feat, the equestrienne was riding bareback, she was upside down balanced on one finger tip. This won the purchase prize from the Metropolitan Museum of Art in a show called Artists for Victory in 1941 or 1942. When I first came here, I got the award, and the Met bought that. I did a whole series of things like that.
MM:: What material were these made of?
EG:: These were made of a sort of synthetic paper-m�ch� which the casters and the mold makers on the project had evolved. These things had to be very light because they were going to be put in the children's library; also, they had to be very, very strong so that the kids could carry them about. Anyhow, the material they evolved -- I don t know exactly what it was -- was indestructible. And they were in polychrome, all painted in this fashion. And these were so pleasing to the Astoria people that they rebuilt the little library into an oval form, and the murals went around it, and the figurines were placed with them. I myself have never seen it.
MM:: Oh! to make it more in a circus shape?
EG:: Yes, precisely.
MM:: What was the name of the man who did the murals?
EG:: Max Spivak. And one of my later ideas was to do something for a pool. This was also in some government sponsored playground for kids. The things were in cement. I got the idea of making some of the designs with mosaic. And then Max Spivak was so interested in the mosaic that he became a mosaicist.
MM:: Oh, he did?
EG: Yes. And now he does mosaic murals, and I think he teaches at Bard College in New York.
MM:: After the circus performers that you did with Max Spivak, what was the next thing that you did on the government project?
EG:: I think . . . .
MM:: About how many of those figures did you make -- a dozen?
EG:: Oh, yes.
MM:: There were dozens of them? How long were you working on that?
EG:: That thing itself? Maybe a year or two.
MM:: Where did you do the work? At your own studio? Or did you have a headquarters where you worked?
EG:: No, at first, we worked in a headquarters, and then we worked in our own studios and brought the things in.
MM:: Did they have to be approved by somebody there on the WPA?
EG:: Yes. At that time, Audrey McMahon was head of the College Art Association and also head of our particular project. Harry Knight was my supervisor, and work had to be approved. by him.
MM:: Did you ever become a supervisor yourself?
EG:: No.
MM:: Then after you had completed this circus series, do you remember what you went on to next?
EG:: I went on to those cement figures that were inlaid with mosaic.
MM:: Yes. Where were they placed? You don't remember? But in some playground in New York City?
EG:: Yes.
MM:: Did you have any assistants to work with you on that project?
EG:: At no time. The only thing was that the mold makers in the casting section were absolutely appalled by the intricacies of these things. Of course, none of these figures or groups of figures were simple but were projected in all kinds of fashions which made great headache for the casters to work on, but they considered it a challenge and were pleased to be able to work the figures out.
MM:: What were the subjects of these figures?
EG: These are the same ones I'm speaking of that went with Max Spivak's mural.
MM:: 0h, I see.
EG:: Of the puppets in various activities.
MM:: I was thinking of the animals that were made in cement and mosaic.
EG:: One I recall was a Neptune . . . .
MM:: Can't remember any of the other ones?
EG:: I think one had to do with a large fish. I think one had to do with a design in a pool, a mosaic design that was on the sides of a pool. Then, there was a great upheaval, and those people who were non-relief were dismissed. Only the people who were in need were kept on relief. The project went on from there, but I was out.
MM:: Why weren't you able to go on relief and remain on the project?
EG:: Why-?
MM:: Why couldn't you go on relief and remain on the project? Or didn't you want to?
EG:: Because I didn't need to be on it. And they went into an intensive investigation of those people who had to be on it, and I had been originally non-relief.
MM:: What were you paid as a non-relief artist, do you remember?
EG:: Yes. About $22 a week, which was a great deal of money in those days.
RM:: Maybe we'd better close the window.
MM:: How many years were you actually on the WPA project in New York?
EG:: Two or three.
MM:: Two or three years? And that was the WPA, not the PWA?
EG:: Oh, yes, that was definitely the WPA.
MM:: Were many of your artist friends in New York on the project, too?
EG:: Oh, yes, a great many, including people like Bill de Kooning.
MM:: What was he doing there -- murals? Easel painting?
EG:: I don't remember. I do believe there were murals, however. I don `t remember.
RM:: Practically forty percent of the artists were on the project -- at least that many, maybe more. All the big shot artists were on there, I think -- Franz Kline, Motherwell.
EG:: Oh, yes. All of them.
MM:: Who were some of the other sculptors that were on?
EG:: Concetta Scaravaglione, the scarab of the lion.
MM:: 0h, what kind of work was he doing then?
EG:: She. She was doing large sculptures of, oh, let's see; there was a girl, a child reading a book, a mother and child. I think she was among those who were asked to do portraits, figures of various people to be placed in post offices around the country or in public buildings of some sort. I don't remember whom she did. She did, I think, General Grant or some great figure of that sort. There was Milton Hebald, who now has a show in San Francisco at the Penthouse Gallery on Post Street. He lives in Rome and does great bronzes there. And he has done a great bronze figure for American Airways at La Guardia or Kennedy airfields. He lives in Rome now and works there.
MM:: What was he doing on the project?
EG:: I don't remember.
MM:: You don't remember?
EG:: Let's see who were the other sculptors.
RM:: Wasn't Helen Randall on in New York?
EG:: Yes, Helen Randall was there. Helen worked with me, I think, on the "first houses" project doing animals.
MM:: Was she your assistant, or was she working alone?
EG:: No, no, no, no.
MM:: She was doing her own design?
EG:: Oh, yes, each person was doing his own design.
MM:: Blanche Phillips -- was she on there in New York?
EG:: Not to my recollection. But she may have been.
MM:: She may have been out here at that time. Were most of the well known sculptors in New York on the project?
EG:: I imagine they were. I think pretty nearly the entire artist population of New York City was on the projects. It was a tremendous thing. Ben Shahn was on it. Stuart Davis.
MM:: Were you involved in any of the demonstrations?
EG:: Yes, indeed I was. We had a great sit-down strike for better conditions and more pay. About two hundred of us sat in the headquarters -- Brehon Somervell -- was he the head?
MM:: Yes, he was, I believe, the head of the project.
EG:: Yes, in Washington. About two hundred of us sat, and it was very amusing in a sense because we were all certain that we would be jailed. And we thought that all our private papers should be disposed of, so we tore everything up into bits. In some cases, people chewed and swallowed them.
MM:: Their driver's licenses".'
EG:: And then we were dragged out and herded into Black Marias and driven to a jail. One very amusing thing about myself was that I resisted arrest, and two cops on either side of me got me by my arms and ran me out. Everybody said it was so amusing because they lifted me off my feet, and I was still running while they were carrying me, and my feet were going on in the air, running in the air.
MM:: Who called the police -- the head of the project?
EG:: We were let off with suspended sentences. We never did get to jail, and everybody was very much disappointed.
MM:: Well, what happened that night? They took you down to the jail, but then didn't they book you?
EG:: No, no, we were all sent home.
MM:: Did you have a court trial?
EG:: No.
MM:: No?
RM:: You were tried right there? They took you down to the city hall, and they tried you right then and there?
EG:: Yes, but we weren't really tried. They had a consultation and decided to give us all suspended sentences and send us home like bad children.
MM:: Did you get any more money after this'?
EG:: No, I don't remember.
MM:: Who organized the sit-down demonstration? Was it through the Artists Union -- or did you have an organization there?
EG:: I believe it was through the Artists Union, which was a very interesting thing; very, very interesting. We had meetings constantly and fine speakers. Ben Shahn, of course, was one of the organizers; and this Max Spivak, of whom I spoke to you; and Stuart Davis. We had speakers like Meyer Shapiro, tremendously interesting; and Stuart Davis was marvelous speaker; and Shahn himself. I think most of the activity that was organized was organized by the Artists Union. It was the Artists Union which initiated all the reforms, the steps toward making the projects better, a better operating thing.
MM:: Did you have any exhibitions of your work while you were on the WPA? I saw a catalogue here at the De Young Museum from 1939. Here in San Francisco, there was a show of work done all over the United States. One of your sculptures was included in that exposition. I was wondering if there were others?
EG:: Yes, I think there was a great show sponsored by Winemaker's, and a great deal of the work that was done on the WPA was shown there. I had a show afterwards at the Robinson Galleries in New York, and a great many of the things that I had done on the project were in there. But, this particular piece of which you speak, which is at -- did you say it is at the De Young now?
MM:: It was at the De Young.
EG:: It was included in Fifteen Young American Sculptors, a show that was sent around the country by the Museum of Modern Art. I saw that show myself when I was living and working in New Orleans at the Delgado Museum there. And there was a show of watercolors in conjunction with the government-sponsored things that went from Washington. I got an award there in New Orleans for a watercolor that was bought by the government.
MM:: Were you doing watercolor painting when you were on the WPA?
EG:: On my own, but not for them. I was working for them as a sculptress but painting too.
MM:: Did you keep any of your own work that was done on WPA? You mentioned something about having a piece, or having some work that was done on WPA in your show in New York. I was wondering if they made some kind of arrangement where you were allowed to keep a copy if they were cast.
EG:: That's so. There were several copies made, and I was allowed to have a copy of each.
MM:: Oh, I see. Was that true of all the sculptors in New York -- if the work was cast, they were allowed to keep one?
EG:: I would imagine so. If I was allowed to do so, I would imagine they would be. I don't remember anybody specifically.
MM:: Looking back on that period, how do you feel about the government sponsorship of the arts in America?
EG:: Oh, I think it was one of the most vital, vigorous, and remarkable experiences I have ever had, and I was fully joined in that feeling by everybody who worked on it. I suppose this has been said before, but it was a renaissance of the arts. I think some of the finest work that was done in the United States in that period was produced on the WPA, on the government-sponsored art projects. It was a tremendous thing!
MM:: Do you think this was true of yourself, that your own work was at a peak then?
EG:: Oh, definitely! Definitely! I've never been so productive and so enthused and so stimulated by the group activity, too, and the feeling of working together. I think many people got a beginning in their own particular work on the art project, which they couldn't have done otherwise, you see. They didn't have the means; they didn't have the materials; they didn't have the impetus; they didn't have the projecting that stimulated everybody. All sorts of people. In particular, I remember Philip Guston, who had been in a very bad way, got his start on the WPA art project. And so many artists. I could name endless ones who had the opportunity to develop with that beginning. And have developed enormously since. It was a glorious period, really glorious.
RM:: Did you know Louis Ribak?
EG: Yes, Louis Ribak was on.
RM:: Beatrice Mandelman?
EG: Yes, indeed. If you were to bring up all these people whom I have forgotten in all these years, I expect I would have known all of them.
MM:: How would you know them? You didn't actually work with them?
EG:: Yes. For one thing, they were all in the Artists Union, and we met two or three times a week. And we met all our fellow workers in the central office where we reported with our things. There were great social activities, great parties constantly, which were very delightful. There was general group activity, and part of it, I would say, was like working as apprentices in a guild. It was almost like on old-time guild association.
RM:: Well, there was a togetherness at that time that doesn't exist today at all.
EG:: No, no.
RM:: Which was quite nice.
EG: I'm trying to recall what the entire thing was called, aside from the WPA.
MM:: You mean there was another name for it?
EG:: Yes, in Washington. Do you recall?
MM:: Well, the Federal Art Project?
EG:: Federal Art Project?
MM:: Was this a new experience for you, to work on larger commissions when you went on the WPA, or had you done this sort of thing before?
EG:: No. This was a completely new experience. In Woodstock, where I had been living, I had worked solely for myself, as it were. Before that, I had done a group of portrait figurines of my fellow artists: Arnold Blanch, Lucille Blanch, Raphael Soyer, William Zorach, Concetta Scaravaglione, Carl Walters, who was a very famous ceramist, potter; Emil Ganso, an interesting painter, who was a protege of Jules Pascin. He had been a baker in Germany originally, had moved to France, and came under the influence of Jules Pascin and became a very fine painter. Ganso died some time ago. His wife subsequently started a gallery in New York, the Ganso Gallery. All of these things, the portrait figurines -- which were not caricatures but characterizations of my fellow artists -- were shown in a group at the Whitney Museum once. These figurines were about two feet high. And then I had an interview and a reproduction in color of some of these. They were called "fantasies," the polychrome figures that were done originally on the WPA art project in conjunction with Max Spivak. I had an article and color reproductions in Coronet and in The Studio magazine and various other publications.
MM:: Were any other sculptors in New York at the same time working in polychrome material?
EG:: No, I originated this.
MM:: How did it happen to come to you?
EG:: I think specifically because of Max Spivak's figures in the murals. I was working in conjunction with him, and, of course, I thought the sculptures ought to be in color. But I never worked realistically in color. These were rather like extractions which had to do with a formalization of color which was an integral part of the form, sculptural form. They were not done representationally, none of these things.
MM:: What type of sculpture was prevalent in New York during the WPA? What kind of work were the other sculptors doing?
EG:: They were doing, in some instances, social commentary, workers --
MM:: What material did the others mainly work in? You were probably the only person working in this synthetic paper m�ch�?
EG:: I was the only person working in polyùchrome. But the other people also worked in, perhaps, clay models, and then had the things cast and made large by the people who worked in that area.
MM:: That's a rather unique arrangement. They didn't have that out here in San Francisco for sculptors.
EG:: They didn't have casters . . .
MM:: They didn't have a shop like that where you just took your models in, and then it was turned over to craftsmen to do the rest of it.
EG:: . . . to point them up and make them larger, yes.
MM:: Was this a very large shop? It must have been.
EG:: Yes.
MM:: They worked in other materials besides the concrete, and the paper m�ch�?
EG:: Yes.
MM:: Did they cast in bronze?
EG:: No. At no time did they cast in bronze.
MM:: Who were these people? Were they artists?
EG:: No, they were artisans, craftsmen, for the most part Italians; casters who were also out of work and were given a chance to work.
MM:: Probably the reason they never had it in San Francisco was that there just wasn't that kind of trained labor available here.
EG:: Probably. New York, after all, is a large city, and a great many people there were out of work.
MM:: How were things during the depression in New York? Was it pretty bad? Sounds as though the artists were having a lot of fun. I was wondering about conditions in general.
EG:: Conditions in general were very bad. But for us, the WPA was a haven and a paradise; for the artist, actually, it was good to be fed and to be producing and at the same time producing very, very well. I think a great many of the things that were done on the WPA art project were done by many artists who are now distinguished.
MM:: Did most of the artists live in the Village at that time?
EG:: No, a great many of them lived in Brooklyn, in the Bronx, on Staten Island. All brought their work into the central office. And the supervisors were sent out to these various locations to look over what people were doing. Lucille Blanch was a supervisor on the painting project. A fine painter by the name of Irving Morantz in New York was one of the supervisors. George Picken, a very fine painter, was a supervisor. They all had very amusing tales to tell about the conditions and their experiences with the painters they went to supervise. I remember at one time Max Spivak and George Picken and a few people in that group were restoring paintings and pieces of sculpture in churches. They were repainting and regilding, and this involved people who were also well-versed in gold leaf and silver leaf.
MM:: Were there many very large mural projects going on in New York?
EG:: Oh, tremendous ones, yes.
RM:: Was there much sculpture done in, say, the abstract directions of Europe at the time?
EG:: They were beginning. They were beginning.
RM:: If I recall correctly, there was quite a bit of mural work that was quite abstract.
EG:: Yes. As a matter of fact, Max Spivak, with whom I worked, worked in a fashion that was very much influenced by Miro. And I think this influenced me, too, in the polychroming of these figurines. That's why I didn't paint them representationally. That's why I utilized them as a background in a sense, as a form on which to impose color which at the same time was an integral part of the sculptural form. It fitted in in some curious way. They were really abstract paintings on the sculptural form.
RM:: Was Anton Refregier on the project?
EG:: Oh, most decidedly. Oh, yes. And I think -- aren't his thing's in the Rincon Annex Post Office, one of the federal government projects?
RM:: That was the Treasury Department competition.
EG:: I can't recall for sure, but I think it was while we were still on the WPA art project that he and I also worked together for a large night club in New York - Cafe Society Uptown. He did the murals, and I did four huge, seven-foot, paper-m�ch� abstractions but real paper-m�ch�. And we also worked for Cafe Society Downtown and decorated it originally. My first project there was to do the "pillars of society." I did Elsa Maxwell and Cholly Knickerbocker and somebody else sitting like the anchorites of old on their own pillars, on their own newspaper columns.
RM:: Those two places don't exist any more, do they?
EG:: No.
RM:: Who was the owner?
EG:: Barney . . . .[editor's note: last name is Josephson]
RM:: I can't remember his last name.
EG:: Nor do I, but it was Barney, and he now has restaurant, a chain of restaurants in New York which are largely decorated by Refregier in different media. [editor's note: the restaurant is called The Cookery]
RM:: Oh, good.
EG:: Ceramic plaques and mosaics and a lot of, shall we say, objets trouve's in kitchen articles done by various artists to whom he gives these projects out to do. They are wall plaques made of bits of kitchen utensils, potato mashers, saucepans, and so on.
MM:: Did you continue with the polychrome sculpture after the WPA?
EG:: Yes, but I did it then in actual paper-m�ch�.
MM:: How permanent a material is that?
EG:: It is tremendously permanent. This thing, for instance. when I first came out to San Francisco, I had a show here of watercolors I had done in New Orleans, and I whipped up a lot of these figures. They were done about twenty years ago.
MM:: Do you use a lot of glue in it with the paper?
EG:: I use flour and water paste, and I make them on a frame of chicken wire. Then I paint them in egg tempera, but real egg tempera, the egg emulsion that is made of one whole egg and dammar varnish and water. And they endure endlessly. That is why I started to work in paper-m�ch� because I had loved so many, many things that I had seen in India and in China that were paper-m�ch�. Literally, some of the Chinese things were thousands of years old.
MM:: Oh, really?
EG:: And they endure. Yes. And then there was the process by which paper-m�ch� was made many, many years ago. I think it was called japanning in England. It had been taken over from a Japanese process which was made with lacquer and paper. On some of the very ancient ones, the paper had disintegrated but the lacquer remained.
RM:: I imagine some of these new synthetic resins would be great for this.
EG:: Yes, indeed.
RM:: Are you doing much work now?
EG:: Not very much, no, because of difficulties in my private life in the past few years. I haven't had a studio; I've been moving around too much. But I've been doing little castings in bronze and in metal, which I do by the lost wax process. I learned the method myself. These are very, very amusing ones because they are so poorly done. You see this one here -- Aphrodite, in which the lead skipped and leaked.
RM:: Oh, that's very nice, though.
EG:: And that amusing little nose is one of the risers which one puts into the original for the air to escape, and then one cuts them off, you see, but I left that on. This one here has several shoulders and several bosoms. I just left them. I cast those myself. But now there is a wonderful new bronze foundry in San Francisco, Foundry Three, and they did this wee one for me and that was in wax. And a head I did of my sister, and they did that for me. Don Haskins did that for me and that sank a bit. But that's what I was interested in doing. I was going to do bronzes chiefly, but the project was interrupted. And Martin Snipper, the Director of the Art Festival, bought the piece that I had at the Art Festival and would like me to think of doing the great central piece for next year's festival, a very large paper-m�ch� thing of some sort.
MM:: Gee, that would be fun.
EG:: That one I did for a children's carnival, and it was my first attempt at doing a mobile. These are animals jumping through rings of flame, and they wag their heads and their tails; they are in motion while they're jumping.
RM:: That's a great piece.
MM:: Oh, they're wonderful.
EG:: They literally hang by a thread, carefully balanced.
MM:: That made me think -- was Alexander Calder in New York during the WPA period?
EG:: I don't think so. I don't remember. I don't remember his being there. I think he was in Paris.
MM:: Nobody was doing mobiles in New York at that time, I guess.
EG:: No, no. But David Smith had begun to weld on the project, very definitely.
MM:: Oh, he had?
EG:: Yes, I recall that.
MM:: Jackson Pollock's wife?
EG:: Yes.
MM:: We were just talking about other artists that Johnny Gershoy knew in New York from the project, and you mentioned --
EG:: Gorky.
MM:: Arshile Gorky, who did an abstract mural at the airport.
EG:: Yes, and Ivan Ponchekoff was one of the forerunners in the abstract murals. He was the first husband of Jackson Pollock's wife.
MM:: Lee Krasner?
EG:: Lee Krasner, yes.
MM:: And she was on the project, too?
EG:: Oh, yes.
RM:: Pollock was, too.
EG:: Yes. I don't remember him. But I knew her very well.
MM:: What kind of work was she doing?
EG:: She was doing work that was influenced by Hans Hofmann. She was one of his first pupils and thought so highly of him. She was tremendously enthusiastic about him. I don't know whether he was on the project or not. I doubt it. I think he had a school of his own.
MM:: Did Lee Krasner do any murals, or was she doing easel painting?
EG:: She was doing easel painting at that time.
MM:: You've seen some of the WPA work here in San Francisco?
EG:: I've seen it in Coit Tower.
MM:: Yes. How would you compare the mural work done here on the West Coast with the work done in New York?
EG:: I don't mean to sound like a snob, but I don't think it was as good.
MM:: In what way?
EG:: With the exception of Haler Hiler. Doesn't he have some work here?
MM:: Yes, at the Aquatic Park here in San Francisco. In what way would you say it wasn't as good?
EG:: I don't think it was as highly developed. I don't think the aesthetic caliber was as high.
MM:: Diego Rivera's influence wasn't nearly as strong in New York as it was out here?
EG:: No, no.
MM:: Although he did work in New York during that time. He was painting the Rockefeller mural about that time.
EG:: Yes. On the other hand, I think he may have influenced people like Rya Ludins, Marion Greenwood, who had worked with him in Mexico and had executed murals in Morelia, Mexico.
RM:: Who was that other woman that worked with Rivera?
MM:: Lucienne Bloch
EG:: Oh, yes. She and her husband Dimitroff were on the project in New York, and they did a great deal of work
MM:: What was that name you mentioned before Marion Greenwood's?
EG:: Rya Ludins, whose brother Eugene Ludins is a very fine painter, teaches at Iowa State or Iowa City.
MM:: That `s L-u -
EG:: L-u-d-I-n-s, and he has a cousin, I think, who was very active in painting in Marin, somewhere in Mill Valley or somewhere. I see her name constantly in the shows.
MM:: Do you think the work done then in New York during the project was more experimental than the work being done in San Francisco?
EG:: I think so. Very decidedly. That's what my mind may have been groping for.
MM:: Why do you think that was -- because there were better artists there?
EG:: No, I think it was the influences from Europe.
RM:: The European influences. Actually, the only influence they had out there, outside of Hiler, which wasn't very great, unfortunately was Rivera. I think Hiler was advanced certainly to Diego Rivera's influence, but Diego Rivera, of course, was the main influence out here. That's definite.
EG:: Yes.
RM:: And for some reason or other, it never seemed to have coagulated and come together. Even his influence wasn't ever built up much, as you can see in Coit Tower and the other murals around town. It never did come up to any sort of standard close to his work at all.
EG:: Of course, New York was so exposed, you see, to the European influences, and there was a tremendous interest in abstract art, a tremendous interest influenced by Leger; from Miro; Chagall at that time; practically everybody: Picasso without any doubt whatsoever.
MM:: Shows of their work were being held in New York during that period?
EG:: Oh, yes, ever since the 1913 Armory Show. After all, people like Stuart Davis were tremendously influenced. Refregier himself.
MM:: Not very many of these European artists came to New York, though, in the thirties, did they? Wasn't it later during the war that they began to immigrate to the New York area? Of course, Hofmann, as you have mentioned, was already there.
EG:: Yes, he was conducting a private school.
MM:: What about the surrealist influence on the project in New York? Was there much of that? I'm thinking of men like Matta.
RM:: Well, he's quite young.
MM:: Oh, is he? He would be too young to have been known at that time?
EG:: I think so. I don't recall him.
RM::: The French surrealists would be the ones that had the influence.
EG:: I don't know whether a man like Pavel Tchelitchew was on the project. I doubt it.
MM:: I was interested because here in certain areas of the project in San Francisco, in the lithography group, for example, there was quite a surrealist development which didn't extend to the mural project. People were working in a kind of surrealism, a combination of that and magic realism. Rene Magritte, the Belgian painter, seemed to have had an influence -- and it's right on my tongue -- I can't remember, it's a very famous -- not Dali but the next most famous surrealist -- gone. But I was wondering if this occurred in New York too. Was there any influence of the surrealist work on project murals or on project paintings?
EG:: I imagine so. I can't specifically recall who, but it undoubtedly was so.
MM:: Did you know Reuben Kadish?
EG:: Yes, I knew Reuben Kadish.
MM:: He was on the project here in San Francisco. I was wondering if he had transferred to the project in New York.
RM:: No.
MM:: No? It was after that, wasn't it?
EG:: I don't remember. I'm not sure whether Jack Levine was on. I don't think Jack Levine was on the project, but certainly Kuniyoshi was.
MM:: What did he do, murals or easel painting?
EG:: No, he did easel painting. I think the muralists were people like Refregier, Philip Guston. Those are the only two I can think of at the moment. I'm sure that Bill de Kooning went into mural painting then.
RM:: Gorky? Of course, he's already been mentioned.
MM:: Is there much WPA work still around in the city of New York that you notice or that you see?
EG:: Oh, yes, I think in the post offices. Outlying -- in the state itself, we'll say, rather than in the city, and in various other states. People, you see, were assigned murals in post offices all over, and government buildings all over the country.
MM:: You mentioned the demonstrations, the sit-in demonstrations that the artists held in New York for higher pay. I was wondering if there was very much friction between the supervisors of the project and the people who actually worked on the project?
EG:: The immediate supervisors, no. Not of the various groups, the painting, the graphics and the sculpture, but there was a great deal of friction always with Brehon Somervell and the heads of the Federal Art Project itself in Washington.
MM:: Was it mainly over working conditions?
EG:: Yes, and also over the type of work that was being produced. I think they wanted more realistic and representational work, and I think there was a good deal of friction over the new abstractionists
MM:: I was going to ask you about that -- whether the artists felt confined by the directives of the project?
EG:: Yes, they did, but I think this was always in the larger assignments, never in the personal work that was being done by the people in their own studios for themselves because there was a great deal of freedom, you see. You could do as you chose. As a matter of fact, you were encouraged to make your own projects, as I did with Max Spivak before I was assigned to various things. I think at first the individual artists who worked in their own studios were assigned, but after that, they were free to do as they chose, and they were never molested. They were encouraged to develop on their own.
MM:: But the final work had to be approved?
EG:: The final work had to be approved.
MM:: Did you ever have any of your designs rejected?
EG:: Never.
MM:: Did any of the people that you knew, artists that you knew have their work rejected?
EG:: I can't recall.
MM:: So probably most of it was accepted?
EG:: Yes, there was a great deal of ill feeling about the fact that so many of the things that were done were stored in basements and lofts and so forth and never utilized.
MM:: What did happen to the work in New York? There have been all kinds of rumors that we've heard about some paper dealer buying up a great many old WPA paintings and discovering early de Kooning's and Kline's and making quite a bit of money.
EG:: I imagine that's very true because there was so much work produced, you see, and no place to put it so that it was stored. Then some enterprising person could go into these warehouses and get it. They were stored in warehouses, too.
RM:: That seemed to have been a big problem, the problem of distribution of the art itself. We interviewed Dorothy Collins, who was secretary to the head of the project here, and they sent her out with a station wagon full of things, you know, and she'd go from school to school throughout Northern California. That was quite a problem, just to sell them on the business of having the paintings hung in a school, or a mural or a decoration of any kind.
EG:: Yes, well, as a matter of fact, in the school for which I work, in the adult education project, there are a good many things that were done on the WPA, the Federal Art Project.
MM:: The school here in San Francisco?
EG:: Yes
MM:: What school is that?
EG:: This was originally the Marina Adult School. It's now called the Pacific Heights Adult School, and they have things hanging right now in the offices, things that were done on the project. I just recall that now.
MM:: Do you remember any of the artists?
EG:: Some very handsome things, too.
MM:: Do you remember any of the artists by name?
EG:: No.
MM:: Do you think it might be a good idea for the government of the United States to sponsor the arts again?
EG:: Decidedly! Unequivocally!! Yes, indeed. I think it was a glorious period, a tremendous assistance to the artist not only from the point of view of his livelihood but in influencing him in his development.
MM:: If they did undertake such a project, would you have any suggestions for improvements? Ways that it might be run that would improve the situation from what it was in those days?
EG:: Well, it seemed to me such a remarkable thing then. I don't know what conditions would be now, you see. I couldn't, off-hand, suggest any improvements because it seemed to us such a marvelous way in which to freely produce, develop as an artist. I don't know what the local situation would be, how it would have to be improved, but what was outstanding was the freedom of the individual artist to experiment, to explore, to go on on his own and to contribute to the general art scene, the general development.
RM:: The qualifications to get on a Federal Art Project today would have to be much higher than they were at that time because that was actually a relief project.
EG:: A question of need, yes.
RM:: Now you'd have to make it quite difficult, quite steep.
MM:: Do you think there is a need among artists in the United States for this kind of sponsorship?
EG:: I do, very decidedly.
RM:: It would be interesting to interview some of the younger artists who weren't on the project at the time to find out what they really think about this. I haven't talked to any so I don't know.
MM:: No. It would be interesting.
RM:: In fact, I would say that at least eighty percent of the artists we've talked to feel that another project would be a good thing. Is that the proportion?
MM:: Yes. You mentioned earlier that the European influence on New York was so much stronger than it was in San Francisco. I was wondering whether there was much interest in Europe at that time in the government sponsorship of art in the United States? Did you ever hear anything about this?
EG:: Interest in the government--?
MM:: Interest in the government program for artists. I was wondering whether the Europeans were paying attention to what we were doing on the WPA here in the United States? Did you ever hear anything about this in New York?
EG:: No, I can't recall.
MM:: Because a great many countries in Europe, of course, have sponsored art in one way or the other for a long period of time and this was the only time in America that there had been this experiment with sponsorship.
EG:: Yes, I would say definitely that the artist felt this very strongly, and still feels this very strongly; even in Italy there is a government sponsored art project and that most certainly in a country like the United States there should be a government sponsored art project.
MM:: Of course, in England, too, I don't know if they sponsor the plastic arts, but they've had a long history of sponsorship of theater groups. Do you have any general comments about the WPA period?
EG:: As I say, it was a period of great happiness and vigor, vitality, enthusiasm, halcyon days, and they certainly should be continued.
MM:: Thank you very much for giving us the time for the interview. END OF INTERVIEW


text: Iron Man 3 set videos capture explosive stunt sequence Watch some behind-the-scenes clips from the Marvel superhero sequel, which stars Robert Downey Jr, Gwneyth Paltrow and Don Cheadle Comments Written By Tom Cole 1:13 PM, 23 January 2013 *Spoiler alert - this post contains descriptions of scenes in the new Iron Man film which you may not wish to know about. Proceed with caution* The makers of Iron Man 3 looked like they were doing their level best to blow up a Hollywood landmark earlier this week while shooting a stunt sequence in front of the former Grauman's Chinese Theatre. A number of bystanders managed to capture footage of a car chase being staged on Hollywood Boulevard for the movie, which involved a lot of speeding vehicles, fleeing extras and powerful explosives. News of a bombing sequence in the film first came to light in November 2012, when the furniture restoration company Master Craftsmen Services revealed that they had been employed by Iron Man 3's makers to "upholster about 22 theatre seats that will be digitally replicated to create an entire theatre on-screen," which "will then appear to have been bombed during a terrorist attack in Afghanistan." It is believed that this week's stunt sequence was staged as part of re-shoots for the film, and that the location of the bombing may have been changed. Iron Man 3, the Marvel Comics superhero sequel which stars Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce and Ben Kingsley, will be released in UK cinemas on Friday 26 April. Check out the set videos below: Watch the Iron Man 3 trailer here. Like this? Share it. Facebook Twitter Google Tumblr Pinterest Blogger Reddit VKontakt Print Email


text:
The function to customize the output is the Format function , a very powerful function which can display numeric values in various forms. There are two types of Format functions, one of them is the built-in or predefined format while another one can be defined by the users.
(i) The syntax of the predefined Format function is
Format (n, "style argument")
where n is the number to be displayed and style argument is the style of the displayed number .
Style arguments are listed in Table 15.1.


text:
Product Information
Bundle up your princess in this cozy hand woven sweater from Dogo!
Why We Love It:
This hand woven Cashmere Scarf Sweater is perfect for the fall or winter season! A scarf with a fluffy ball makes this sweater cozy, chic, and totally adorable.
Sizing Information:
X-Small: 7-9" length x 7-9" neck x 11-14" girth
Small: 9-11" length x 9-11" neck x 14-17" girth
Medium: 11-13" length x 11-12" neck x 17-19" girth
Large: 13-15" length x 12-14" neck x 19-21" girth
X-Large: 15-17" length x 14-15" neck x 21-23" girth
Important Sizing Note: The following measurements are the dimensions of the actual product, not of the pet they fit. After measuring your pet, make sure all measurements fit within the following dimensions (with a little room to spare in the chest and neck).X-Small


text:
This is a Utica, New York favorite!
4 tablespoons butter
2 1/2 pounds boneless, skinless chicken breasts, cut into bite size pieces
1 (8 ounce) package mushrooms, sliced
1 medium green bell pepper, chopped
1 medium hot pepper, chopped (optional)
1 medium onion, chopped
2 cups water
2 teaspoons chicken bouillon OR 2 cubes
1 cup tomato sauce
1/2 pint heavy cream
1 teaspoon paprika
1 teaspoon parsley
1/4 teaspoon salt
1/4 teaspoon black pepper
1/2 cup black olives
2 tablespoons cornstarch
1 pound rigatoni, cooked and drained
In a large pot, melt butter and add chicken. Cook over medium heat until tender. Add mushrooms and cook 5 minutes. Add peppers and onions and continue cooking until soft, about 5-7 minutes.
Add water, bouillon, sauce, heavy cream and spices. Bring to a boil, reduce heat, cover and simmer for 20 minutes, stirring occasionally
Add olives and simmer 5 minutes more.
In a small bowl, mix cornstarch with 2 tablespoons water until it dissolves. Add to the sauce, stirring continuously until it thickens. When thickened, mix sauce with rigatoni in deep bowl and serve immediately. Sprinkle with parmesan cheese.
Posted by margeslp at Recipe Goldmine Monday Jan 8th, 2007 03:40 am.


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The Shakespeare Conference: SHK 12.2673 Tuesday, 27 November 2001
Date: Monday, 26 Nov 2001 08:59:04 -0800
Subject: 12.2650 Re: R & J and the TOPS Survey
Comment: Re: SHK 12.2650 Re: R & J and the TOPS Survey
Brian Willis writes that "the tragedy in this play is that those who do
not seem to seek their own destruction in the feud are drawn in".
Earlier in the same post, he quotes the wives of the principle
>Lady C: "A crutch, a crutch - why call you for a sword?"
>Lady Montague: "Thou shalt not stir one foot to seek a foe."
then notes that
>Lady Capulet turns to rage and demands the death of Romeo, feeling the
>pangs of her own daughter's death not once but twice. And poor Lady
>Montague dies of grief offstage.
This sounds like a description of Lady Capulet as Lady Macbeth,
alternatively howling for blood and belittling her husband's
masculinity. It's little wonder that the feud continues.


text:
Welcome to the 'Tipperary Childcare Committee' Website
Check here if your child is eligible for the Early Childhood Care & Education Scheme (ECCE).
View our web pages and links for advice on setting up a service for childminding.
Childcare Services
Information for childcare services including funding, compliance and child protection.
TCCC Blog & News
'Non-contact payment' announced for Early Years providers
Childminding Development Grant 2017
Affordable childcare scheme
Assessing your child's need under the Disability Act 2005
Parent & Toddler Grants 2017
Up to date Information
This website will enable childcare providers, childminders and parents to access relevant information at the click of a button. Our website is updated on a regular basis to ensure that its users have the most up-to-date information.
Training, Events & Forums
Training & Events
View our upcoming Training & Events listings in the calendar below:
Childminders Forum
Click on the button below to link to our Childminders forum where you can pose questions or search for topics of discussion.
Child Protection and Welfare
A new child protection and welfare training course for the early years sector is now available and is being delivered by accredited trainers in Tipperary Childcare Committee.
This free series of workshops is held over one full day (6 hours) or two evenings (3 hours each evening). It is a recommended course for all childcare providers. The aim of the course is to raise awareness of child protection issues.
The topics covered include:
- Defining & recognising abuse
- Developing a code of behaviour
- Putting meaningful policies & procedures in place
Child Protection & Training Course
The first level of training to be offered is Child Protection & Welfare: Foundation Level. This is a Child & Family Agency accredited module that has been developed for the early years sector. The new programme replaces the 'Keeping Safe' child protection training course.
Training will be rolled out over 3 years and will be offered to all early years workers (including childminders).
HSE Regulations
Garda vetting procedures:
All childcare providers, practitioners and H.S.E. notified childminders must avail of Garda Vetting for all their staff, students and volunteers, under the Child Care (Pre-school Services) Regulations 2006.
Your children's care and welfare are our main priority


text:
Topic: Cooking Light article about what to eat when you have cancer
I use a lot of recipes from the Cooking Light site and ran across this posting about what to eat when you have cancer. Can't say I've read it all, but their recipes and articles are always good.
http://www.cookinglight.com/eating-smar … age18.html
My comments, suggestions, and opinions are based only on my personal experience as a cancer survivor. Please consult a physician for professional guidance.


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Well, folks, you all did well. Dowser even showed up after saying she didn't think she could make it. Anna did a superlative job on her article. Katheryn Brandy is up and at'em. PonGoad did a great piece of work on her new Art Endeavor. bore-head's push for reform in the Fishing Industry was outstanding. thought1984wastheend gave us insights we would have never asked for but surely appreciate now that they are before us. Bravo, thought1984wastheend. For a while I was even proud of my Editorial. Then! What happened? You all can guess. Along came dslsca and blew us all out of the water.
dslsca, what can I say? You get the Award! You are nothing if you are not consistent. Your writing leaves me little choice than to make this presentation even though I was hoping for a fresh face on the presentation stand. Upon reading your article I was sure you would be the winner but then I went on and read the comments. The comments you received and the following you brought was very impressive.
With this third award there will be no more such awards in the immediate future. It is time now for me to put forth my next effort in expanding The Free Press. Look for a new portion of our Internet newspaper to appear within days. Thanks to all of you for participating. I sure hope we can attract a greater audience but I am willing to let The Free Press grow at whatever pace it pleases. Thank you all for being here.