text:
Hemang Desai
From Translation to Transnational: A Journey beyond Poetics and PoliticsVagarthaviv Sampruktau Vagartha PratipattayeJagatah Pitarau Vande Parvati Parameshwarau1Inseparable as Word and Meaning Parvati and Lord Shiva areBless me, O cosmic parents, with the knowledge and use of that unity.The invocational verse, the great Sanskrit dramatist Kalidâsa recites at the inception of his timeless epic Raghuvansham, states very succinctly what the Western civilization took centuries to cogitate and crystallize. The verse emphasizes the fact that Word (vak) is inextricably bound up with Meaning (arth) and any attempt at separating the two would lead to distortion, miscomprehension and miscommunication which is precisely what a translator audaciously sets out to do. In his seminal treatise "The Diversity of Human Language - Construction and Its Influence on the Mental Development of Mankind" (1836) Wilhem Von Humboldt hypothesizes that languages tend to shape the thoughts of the people who use them. He remarks, "Man lived with objects [around him] mainly or rather – as feeling and action depend on the ideas which he entertains about the objects – exclusively in the way in which language presents them to him."2 Language by adding meaning to the world of objects helps its users to make sense of the world in its own peculiar and restrictive way. Consequently, linguistic diversity across the world plays a significant part in the maintenance of corresponding differences and diversities in culture and mentality amongst the people of various regions. This idea was carried forward by Edward Sapir who firmly believed that languages are enmeshed in their cultural contexts and so the scientific study of language could not be separated from anthropology and psychology. In his view "No languages are ever sufficiently similar to be considered as representing the same social reality. The worlds in which different societies live, are distinct worlds, not merely the same worlds with different labels attached…we see and hear and otherwise experience very largely as we do because the language habits of our community predispose certain choices of interpretation."3 Elaborating upon the statements of Sapir his own disciple Benjamin Lee Whorf gave the "linguistic relativity principle", known popularly as "Sapir-Whorf Hypothesis", according to which "users of markedly different grammars are pointed by their grammars towards different types of observations and different evaluations of externally similar acts of observation and hence are not equivalent as observers."4 Thus, in Whorfian perspective translation from one language into another is problematic and sometimes impossible because when even within a single language any reformulation of words has implications for meaning, however slight and subtle, aspiring for inter-lingual synonymy is far too elusive and overambitious. Consensus has been established among thinkers on the fact that any human communication involves translation of a sort. Thus, any textual formulation has implications for a 'change of meaning' as meaning does not reside in a text but is generated by interpretation. This paradigmatic shift brings us to an ever-enlarging diversity of structuralist and poststructuralist theoretical perspectives elaborating on the notions like text, context and subtext all of which collectively further problematize the nature of translational practice. Locating polemically their discursive formulation on the substratum of the postulation that no text can mean what it ostensibly seems to mean, the theorists have radically interrogated, undermined and at times tried to subvert, though for good, ( as Jorge Luis Borges says the original is unfaithful to the translation) the validity of translation enterprise. While deconstructionist critics attribute the impossibility of arriving at determinate, stable, coherent and present meaning to the endless play of differential internal forces within the linguistic system, the psychoanalytic as well as the social analysts of discourse view the 'manifest' meanings in a textual formulation as merely disguise or a mask for the hidden meanings which, according them, are suppressed because of various psychosexual, ideological and discursive compulsions. The claims of (un)translatability gain stronger leverage when it comes to translating literary or metaphysical writings where meanings are absolutely dependent upon the particular form of words, which is not the case with more pragmatic or less expressive writings. Any act of translation as such has its own problems and literary translation adds to it the problems of art. Connotative nature of a literary text makes it incumbent upon the translator to bring out the moral, allegorical, ideological, sensuous and stylistic features of the source language text in his translation. As Bradley observes, "And this identity of content and form …is no accident; it is of the essence of poetry in so far as it is poetry. Just as there is in music not sound on one side and a meaning on the other, but expressive sound…so in a poem the true content and the true form neither exist nor can be imagined apart…"5. That a literary artist exploits the sensuous aspect of words in order to accomplish extra-linguistic semantic purpose, that notion of 'polysemy' or meaning in its intellectual, emotive, associative and tonal shades embodied by individual words poses intricate and daunting problems to the translator are some of the objections against literary translation. In spite of these theoretical objections and misgivings, translations are undertaken across the globe quite qualmlessly because in the postmodern world marked unequivocally by socio-cultural mixing consequent upon ever-blossoming cyberspaces, aspiring global economy, technology and mediascape, man can no more sit complacently and contentedly within the four-walled privacy of his habitat and has to develop 'translating consciousness'- a phenomenal human forte at translating the 'brave new world' in his own terms and adapting his personal world to it. It is by dint of his unmistakable willingness and competence to translate and get translated well that man is able to widen his horizons beyond the cartographic demarcations imposed upon him by culture and society in its medieval and parochial sense. In a nation like India, with its 'multi' realities - lingual, cultural, religious, ethnic -, in a nation that has a microcosmic relevance to post-modernese worldview, the need for translation is urgently felt as it is one of the few efficacious ways through which an integrated mix of identities and assorted realities could be accomplished. Translation activity is indispensable in India as a means to build cross-cultural bridges amongst a large variety of linguistically diverse locality and to accomplish emotional and intellectual as well as cultural and national solidarity. If India as a multilingual nation-state has to boast of anything similar to representative national literature it has to sincerely resort to incessant translation practice. When religion, which could have served as a broad-based national integrating force, has become a disintegrating and degenerating factor for the country, translation remains only way to create a 'third space', to borrow Homi Bhabha'a phrase, which offers a hybridity of cultures, a space where differences are valued and respected. Specified below are the problems and challenges that beset a translator who grapples with the task of rendering texts from Gujarati into English though many of them are generic in nature and applies to all translations into English from native Indian languages. Translation of literary works from a native Indian language into English involves not only challenges pertinent to linguistic makeover but also to that of cultural one. 'Paradigm shift' or the 'Cultural turn' in the discipline of translation theory has drawn translation increasingly away from the problematic notion of finding just verbal equivalents to a matter of transferring certain contexts or cultural patterns which do not belong to the target language culture. Literature, to the scholars subscribing to this non-essentialist perspective in the realm of translation, is a sub-system of the cultural semiotic system and since it is "correlated with other cultural systems and embedded in the ideological and socio-economic structures of society, its dynamism is far from mechanistic"6 Far from being an independent and self-sufficient body, it operates in a broader social and cultural framework, as influencing and being influenced by multifarious social, political, economic "signifying practices" that manoeuvre in the same socio-cultural framework. The primary task of a translator is to interpret a text encoded in one semiotic system with the aid of another. The enterprise of translation thus undertakes a conversion of texts from one type of poetics into a totally different one. Therefore, the difficulties in translation need to be dealt with not only in terms of formal linguistics, but also in terms of culture, history, politics, and metaphysics and so on. The semiotic formulation of the notion of 'intertexuality' is significant here in as much as it views any signifying system as already consisting of other modes of cultural signification. Thus, a text would implicate not only other verbal texts but also other modes of signification like myths, fashion, indigenous medicinal system, food, metaphysical structure, other literary texts, literary genres and devices and other symbolic structures. The degree of translatability depends on the similarity of the cultural structures of source and target languages. The more remote and disparate these structures are, the more problematical the translation becomes. The translator rendering native Indian texts into English runs a risk of ending up with a mistranslation, wittingly or unwittingly, because in his case the source language and target language are not only separated by space and time but also share a relationship of the colonized and the colonizer. Diachronic study of translation in India has been a witness to the fact that translation has often been wielded as a polemical weapon to subvert the hierarchical relationship between the linguistic and cultural worlds represented by the source text and the target text. Subscribing to the "assimilative or subversive" politics of translation, Govind Mishra reworked Charles Dicken's A Tale of Two Cities (1859) into Oriya as Athara So Satara (Eighteen Hundred Seventeen) which categorically asserted his anti-colonial, anti-English stance. The translation of Anatole France's Thais by Premchand was distinctly a political act in the sense that it selected a text which was not part of the literature of the colonial power and that it attempted a sort of liberation of Indian literature from the tutelage of the imperially-inducted master literature, English.7 The post-colonial writing defines itself "by seizing the language of the centre and re-placing it in a discourse fully adapted to the colonized place."8 This anti-colonial self-assertive stance, in our present context, is likely to drive the translator to foreignize his translation to extent of marring its readability and lucidity. A translator, regardless of the languages he translates from and into, should bear it very clearly in his mind that his primary duty is to impart the target language text a distinctive and autonomous identity, the identity of being a literary text in its own right and not just that of a botched-up copy of the original. Foreignizing the translation for the sake of doing it or as a part of subversive politics in this postmodern world of interconnected differences, which it (translation) further seeks to wipe out, would be self-contradictory and hypocritical. To put this in nutshell, a translator has to do a balancing act between arrogance and obsequiousness as he translates. Mythological allusions and characters, articles of dress and daily use, native kitchenware, food items, native musical instruments as well as medicines, rituals and religious specifics are distinctively identifiable with a specific culture and so are untranslatable. They should be retained in transliteration and should be acclimatized in the target culture by way of glossary as their equivalents are impossible to be found in English domestic tradition. Sometimes these native referents have a metaphorical function in the larger narrative scheme and resultantly are so well tessellated into the overall semantic structure of the story that any attempt at replacing or paraphrasing them would deal a shattering blow to its symmetrical build. For example, to refer to the cloth which covers a woman's breasts Gujarati writers use a variety of terms like 'moliyo', 'kâpadun', 'katori' which are nearly akin to the English 'bodice'. However, such a replacement would sound quite facile and unduly simplistic, as it would connive at all the erotic and sensuous overtones (in Indian aesthetics) that the original terms carry. Similarly, when it comes to translating popular beliefs, omens and superstitions, the translator experiences a torrid time. Omens like "a cat walking across somebody's way", decorous formalities like "women pulling a veil over face in the presence of elders like father-in-law", superstitions like "pouring a handful of water on head before entering a holy river" to pay homage to it and "putting out an oil lamp with the flap of a cloth" (and never with a blow of breath) are extremely culture specific and the translator has to resort to over-simplification and paraphrasing while translating them. Again a community address, that is, a noun derived from the name of a particular caste or community by adding suffixes like 'o', 'an' and 'i' to it, certainly sounds quite bizarre and weird to the Western reader who is not conversant with the hierarchical hereditary divisions established among the Hindus on the Indian subcontinent under the banner of jati, varna or caste. Therefore, addresses like loovâno, ghânchan, vâniyan, vâghri, bhangiyo, bhangadi, kâcchiyo, thâkore, patel etc. should be transliterated and explained in the glossary. The same is the case with certain conventional societal addresses, traditional kinship terms and conventional stereotypes. These are extremely culture-specific terms, loaded with emotional exuberance and convey sentiments of esteem, dignity, intimacy towards the person addressed. In a Gujarati poem titled 'Chal' written by 'Sundaram', the gopi sings,Empty out your pitchers though full of waterDon't heed sâsu's injunctionsHere sâsu in simple terms means the mother-in-law. But such a replacement would strip the term of the whole bulge of connotations that it invariably carries in Indian culture. In Bhakti tradition of writing, sâsu is looked upon as a severe taskmaster who in collusion with her daughter, the nanand, the sister-in-law, keeps a strict vigil over the activities of her daughter-in-law, the gopi. Thus, sâsu and nanand represent oppressive stereotypes in Indian familial system. Allegorically they connote the social norms and constricting dictates of the mundane world, which hamper the spiritual growth of a devotee. In the same way, kinship terms like bhâbhi, brother's wife or the wife of the husband's elder brother and vahu, daughter-in-law, are loaded terms. In India, bhâbhi and nanand share a playful, lively and good-humored relationship. Both of them, if approximately of the same age, are not just legally bonded relations but intimate friends so much so that a nanand divulges to her bhâbhi all her secrets and discusses with her the issues which she hesitates to discuss with her mother. If the age difference between them is greater, bhâbhi becomes a motherly figure to the young nanand apart from being a friend. In a Gujarati story by 'Sundaram' titled 'Kholki' (You blockhead), the father-in-law calls out for his vahu, to bring water for guests. Here the term daughter-in-law would have sounded too formal and drab as it fails to convey the feeling of the awe, respect and security on the part of the vahu and a distant and yet fatherly attitude on the part of the father-in-law that characterize their relationship. This becomes manifest in yet another story by the same writer 'Mâne Khole'(In the Lap of Mother), where Shabu, the protagonist, pulls a veil over her face out of propriety and decorum in the presence of her father-in-law. A translator can overcome these cultural hitches by relying upon all kinds of innovative devices such as borrowing, substitution, literal translation, neologism, omission, addition and paraphrasing.If the problems relating to cultural transference are vexing, the structure of the language poses no less a dilemma to the translator. There is a great difference in the syntactical and lexical organization between Gujarati (or Hindi) and English. For example, English language has sentences with rigorous word order of Subject + Verb + Object, which is unmistakably maintained in all structures except in passive constructions. But most Indian languages has got more flexible word order and greater possibility for inflections, sentence structures are more assimilative in nature than their English counterparts. Attempts at translating a long-winded native Indian description running through a single sentence into an equally long- drawn-out English one prove to be futile and feckless. Apart from sounding jarring and stiff, such an attempt causes the problem of determining the noun, which the referential sub-clause refers to. At the lexical level too the distinction between second person pronouns of address in Gujarati like honorific 'tamey'(aap) and familiar 'tu'(tum) can not be rendered into English. Again, determining the gender of certain nouns, proper or common, like sun, moon, nation, rivers and mountains become problematic because while English tradition treats them as having feminine or neuter gender, many of them have masculine gender in Indian religious and mythographic systems. In such cases, a translator has to take into consideration the contextual, figurative and metaphorical significance of the noun before bestowing it with an appropriate gender. For example, in the story titled 'Ambâ Bhavâni' by 'Sundaram', moon is shown to be viewing the mesmerizing beauty of Ambâ, the heroine, and her lovemaking with Amro, the hero, from above. Moon, which has feminine gender in English, possesses a masculine gender in Gujarati and Hindi. But this act of secret viewing alludes to the same act performed by Lord Krishna in Vrindâvana. It may also refer to the mythical tale of Indra, the heavenly king of Gods, being bewitched by the ravishing beauty of Ahalyâ who lived on the earth. In the light of these two mythical significations, I thought it fit to inflect the noun with suffix - god and give 'moon-god' a masculine gender. Furthermore, in Gujarati and Hindi a verb is inflected according to the gender of the subject, even when the subject is as genderless as the first person. But English verbs are gender-neutral in nature and so when it came to translating the bhakti song 'Mere Piyâ' the English verb failed to convey the fact that a woman or a gopi is addressing the song to her lover or Krishna. Thus, while the original reads like,Mai to chup chup chah rahiThe translation reads,Covertly have I kept on dotingFurthermore, most Indian languages double words like adjectives, adverbs, and even verbs either to intensify their meaning or to indicate the boringly or annoyingly repetitive aspect of the action. This comes out very lamely in English. For example in the above given verse chup chup has to be rendered as just 'covertly'. Serious problems in translation arise when a signifier has more than one unequivocal signified, that is, polyvalence or ambiguity in the meaning of a word or a phrase makes it difficult for the translator to reproduce all the semantic possibilities in the translation. In Sundaram's poem 'Mere Piyâ' the beloved is singing the glory and supernal exhilaration bestowed upon her by her loving husband. The poem can also be read as a song by gopi addressed to her divine lover, Lord Krishna. The interesting play on the words chup chup in the poem produces more than one meaning. The first stanza is,"O my love I don't know anythingCovertly have I kept on doting."Here chup chup, in its most immediate sense, means 'silently', 'quietly' or 'without a word'. The stanza seems to import that in love, vocalization of one's feelings has no place let alone demands and complaints. Love is an ineffable and inexpressible emotion, which is conveyed without the aid of words. This interpretation gains force and authenticity in the second stanza where the poet affirms that in love one remains happily content with whatever one receives from one's lover."O my love how disarming you areGratifying is your love's shower profuse as the rains areQuietly have I enjoyed bathing."But as the poem is written in Gujarati transliteration of Vraj, a dialect of Hindi, one cannot connive at the possible interpretation of chup chup as 'chupke chupke' which means 'secretly', 'covertly' etc. when it suits the semantic context so perfectly. The poet says that in love one has to save oneself from the vigilant and censuring eyes of the world, as it is always intent upon snapping the bond of love and intimacy between lovers. On a figurative level, this interpretation can be imputed to a devotee\gopi who wishes to be one with Lord Krishna in spite of being married. Such a gopi also needs to keep everything about her love affair hushed-up because if the sâsu or nanand, that are a variety of societal codes in the case of a devotee, comes to know about the said contravention, moral and ethical, she will put a stringent check on all the activities of the gopi\devotee. To retain both these apposite nuances I have translated chup chup as 'covertly' and 'quietly' respectively in the first two stanzas. To put it in a nutshell, the fluctuating relationship between the signifier and the signified poses problems for the translator. Again most Indian languages are sound specific in the sense that many of its descriptive words are highly onomatopoetic and thus almost impossible to render in English. A translator's task becomes even more troublesome when he is called upon to render the freight of obsolete idiom, historical happenstance and just plain illogicality that every language invariably carries. Proverbs and idiomatic expressions are such adventitious features of language. They are repositories of the cumulative inherited wisdom of the speech community and often comprise proper nouns with historical and cultural significance which cannot be mapped onto another linguistic and cultural space. While dealing with these verbal items a translator has to take care of the pragmatic aspect of the expression and resort to literal as well as paraphrastic way of conversion as just literal translation would be elliptical. On the other hand, eclipsing the historical and cultural signifiers of the idiom in favour of paraphrase would be doing injustice to the original text. Sometimes mere paraphrase runs the risk of unwittingly damaging the semantic pattern of the work because the image of the idiom bears a metaphorical relation to a character's specific persona or is a means to evolve a specific motif in the story. On the top of the heap of above mentioned problems lies the problem of selecting the right idiom for the translation. Theorists and practitioners of translation have tried to explain away the problem of idiom by holding it exclusively relative to the target readership. However, in the case of texts being translated into English which enjoys the status of international language without having a nonpareil character and inimitable identity, the trouble of selecting of idiom together with difficulty of register, collocations, syntactical and lexical symmetry flesh out to a distressing degree. Target readership is often difficult to define because of the fact that English has different idiomatic identity in different countries where it is used as primary or secondary language. Some of the hardest riddles in translating a text from an Indian language into English are the literary tense and the authorial voice. Literary tense is the tense in which narratives are generally written; in English, it is the simple past tense. The story, which is believed to have already happened, is recounted by an authorial voice, which either is a character in the story or an omniscient and omnipresent force. Though in Gujarati (and Hindi) the literary tense is unequivocally simple past, sometimes authors out of their zeal to make the narration sound lively and dramatic purposely switch over to simple present tense. However, a story, which vacillates between present and past tenses in the course of the narrative, is likely to fuddle a reader who is not accustomed to such time fluctuations. Tense causes problems when one attempts to map native tenses onto English ones because the time reference conveyed by both is different. That is why most Indian speakers of English use tenses wrongly, the common errors being using past perfect for simple past and present continuous for simple present. Moreover, in native literature the authorial voice maintains much less distance from the voices of the characters. The omnipresent authorial voice is often intercepted by the thoughts of the character that are meant to be overheard. Such a confusion of mixed-up voices could be understandable to the native reader but to a non-native reader it would be bewildering. No discussion on the problems of translation would be complete without a specific reference to translation of poetry. A translator of poetry has to come to terms with the annoying fact that total fidelity to the original text is will-o-the-wispish. He can at best try to attain utmost approximation because the sound of words, their rhythmical relations and all meanings and associations of meanings, which depend upon sound, rhymes and puns, are untranslatable. There is no gainsaying the fact that the beauty of a poem lies in the meticulous word music elicited by means of assonance, alliteration, consonance, internal and end rhymes, repetition, parallelism and refrains, what is called sabdâlamkâr, the ornaments of sound, in Indian aesthetics. Aurobindo rightly remarks, "One is to keep it simply to the manner and the turn of the original [and] the other is to take its spirit, sense and imagery and produce them freely so as to suit the new language."9 In short the translator of poetry should be focused on rendering as accurately as possible elements like images, similes, metaphors etc. which are drawn from sensory experience. He can explore, improvise and utilize everything that lies within the reach of a translator. He can attempt to reproduce the lyrical quality of the original compositions by reproducing approximately some refrains, repetitions, and some consonances wherever possible.The above illustrations of hitches and glitches in translation unmistakably underscore the fact that it is very difficult to render the richly suggestive plurivalency of signifiers in another language and that the formal properties of language and culture are usually `lost' in translation. However, translation is possible and even indispensable in a country like India. The Mexican performance artist, Coco Fusco, in her book, English is Broken Here, speaks about the need for a fusion of cultures on the common ground of translated texts. This is very necessary in present times as almost every nation is increasingly becoming multilingual and multicultural. She wants, "…English structures to be subverted …inflected …in finding new possibilities of expression within the English language that English speaking people don't have."10 Often it is observed that translators are responsible for a good deal of changes that take place within a language. Foreign terminologies and new coinages of words have enriched the target language into which translation has been done. English with its eclectic tendencies offers the most appropriate example. Moreover, investigating translation may contribute to a better understanding of linguistic, literary and cultural aspects of human activity. Works Cited1. Kalidâsa, Raghuvansham, 2nd revised edition, Motilal Banarasilal Publishers, Delhi: 19872. Wilhelm Von Humboldt, The Diversity Of Human Language- Construction And Its Influence On The Mental Development Of Mankind, translated from German by Peter Heathe, Cambridge: Cambridge University Press, 1988, p. 143.3. Edward Sapir, "The Status of Linguistics as a Science" in David G. (ed.) Selected Writings of Edward Sapir in Language, Culture and Personality, Berkley: University of California Press, 1949, pp. 207-214.4. Benjamin Lee Whorf, "Science and Linguistics" in J. B. Carroll (ed.) Language, Thought and Reality: Selected writings of Benjamin Lee Whorf, Cambridge: Mass MIT Press, p.221. 5. Bradley, Oxford Lectures on Poetry, Macmillan and Co., Reprint 1962, pp.15-19.6. Theo Hermans, "Translation Studies and A New Paradigm", in The Manipulation of Literature: Studies in Literary Translation (ed.) Theo Hermans, New York: St.Martin's Press, 1985, p.11.7. H. C. Trivedi "India, England, France, A (Post-) Colonial Translational Triangle" in S. Ramakrishna (ed.) "Functions of Translation in Post-Colonial India" in Meta XLII 2. 1997, p 407.8. Bill Ashcroft, Gareth Griffiths and Helen Tiffin, The Empire Writes Back: The Theory and Practice in Post-Colonial Literatures, London: Routledge, 1989, p.38.9. Sri Aurobindo, The future poetry, Pondicherry: Sri Aurobindo Ashram Publication Department, 1953, p.431.10. Coco Fusco, cited in "Transaltion Tensions" by C. Vimla Rao, Indian Literature, Nov-Dec- 2002, Sahitya Academy, Delhi, pp.139-40.
Copyright ©2017 Muse India


text:
By M.D. Kittle | Wisconsin Reporter
MADISON — Andy Hall is in the business of getting answers to his often pointed questions.
But the veteran investigative reporter said he's received nothing but silence from the Republican members of the Legislature's powerful Joint Committee on Finance, which very early Wednesday pushed through a motion that would boot Hall's Center for Investigative Journalism from the University of Wisconsin-Madison campus.
"I haven't heard from them," Hall, executive director of the nonprofit, nonpartisan watchdog news organization, told Wisconsin Reporter Thursday afternoon. "We didn't know this was coming. We received no advance indications or warnings."
Hall said he doesn't know who's responsible, that he has no idea who authored the measure.
Wisconsin Reporter, also a nonprofit investigative news agency, couldn't get any answers from finance committee leadership, either.
Sen. Alberta Darling, R-River Hills, and Rep. John Nygren, R-Marinette, co-chairs of the finance committee, did not return calls seeking answers to the question it seemed journalists everywhere were asking: Why?
Why would the Republican-led budget-writing committee, on a 12-4 party line vote, move to prohibit the University of Wisconsin System Board of Regents from "permitting the Center for Investigative Journalism to occupy any facilities owned or leased by the Board of Regents."
Beyond that, the measure would prohibit University of Wisconsin employees from "doing any work related to the Center for Investigative Journalism as part of their duties as a UW employee."
"I'd like to know the answers to those questions, too," Hall said. "Why would a measure target the center specifically, requiring it to move off campus? My understanding is there are a number of other nonprofit centers on campus that collaboratively work with schools across the campus. Why we were singled out have no idea."
But it would seem the answer can be found in the motivating factor behind so much policy in a state torn by partisanship: Politics.
While a long line of reporters, journalism school editors, journalism organizations and lawmakers have come to the center's defense, some Republicans insist the watchdog isn't watching the left as much as it is the right.
As the Wisconsin State Journal's Chris Rickert noted in a column Thursday, Nygren suggested the center is biased in favor of liberal causes.
Nygren told Democratic Sen Robert Wirch of Pleasant Prairie that if the state were "providing state facilities, state support for one of those (conservative) organizations, you might have a little different view on that," according to Rickert.
At a news conference Thursday, Assembly Speaker Robin Vos, R-Rochester, said taxpayers shouldn't be forced to fund the center through the university and that the university didn't do any request-for-proposals to set up space arrangements.
But the Center for Investigative Journalism doesn't receive state money, according to Hall.
The organization's $400,000 budget is funded through private foundations, individual donors and news organizations, like Hall's former employer, the Wisconsin State Journal. True, the center does operate in two small offices in the UW's Vilas Hall, but the space is in return for the organization' providing paid internships, classroom collaborations, guest lecturers and other educational services, according to the WCIJ.
As Hall said, the six full-time summer interns who work for the journalism center at $10 an hour are part of the deal.
"That space is used every day by students," Hall said. "The Legislature is telling students you can't use this space to produce work for the Wisconsin Center for Investigative Journalism."
Maybe it's the company the nonprofit keeps — or the donors it has attracted.
WCIJ has received $535,000 over the past four years from the Open Society Institute, founded and funded handsomely from backer of all things liberal, George Soros. And the center has received money from the Society of Environmental Journalists, whose mission is "to strengthen the quality, reach and viability of journalism across all media to advance public understanding of environmental issues."
But WCIJ also has been awarded funding from the Ford Foundation in New York, the McCormick Foundation in Illinois and the Ethics and Excellence in Journalism Foundation.
Hall said one of the reasons the center reveals its major donors and the money it receives is to answer critics who may question the watchdog's objectivity.
"Do we fall in lockstep with people on the left, or does our coverage reflect a wide range of viewpoints and commitments to exploring key issues in a nonpartisan manner? I believe we meet that standard," Hall said.
Perhaps some of WCIJ's recent pieces — with headlines like, "Dollars grease skids for school choice," "Public TV in dust-up over Koch film," and "Banning local rules is national strategy" don't do the center any favors with conservatives who regularly feel under assault by the mainstream media.
But the center has put together is share of stories that have ticked off liberals and Democratic Party leadership.
"We all get into the labels — left-leaning, right-leaning. You need to judge journalism by its content," Hall said, noting that he's proud of and stands by the center's work.
WCIJ has picked up the support of a very vocal conservative. Charlie Sykes, radio host at Milwaukee's AM-620 WTMJ, who holds court on perhaps the loudest bully pulpit in Wisconsin conservative talk radio, called the GOP motion a "vindictive attack on a journalistic operation on ideological grounds."
"Does this sound slightly familiar?" Sykes asked. "At a time when conservatives should be embracing government restraint, the motion combines some of the worst aspects of the IRS and (Department of Justice) scandals — using government to punish those perceived as political enemies combined with a clear assault on the free press. (Not to mention that it now allows the UW to regain some of the moral high ground it lost during the slush fund scandal.)"
Plenty of Democratic legislators have castigated their Republican counterparts on the issue, as did a Republican senator known to be out of the good graces of GOP leadership.
"It's petty, vindictive and out of line, and inconsistent with the maturity we expect on the finance committee," Sen. Dale Schultz, R-Richland Center, told Wisconsin Reporter. He was just getting warmed up.
"This smacks of the kind of tactics I have observed Vladimir Putin and Hugo Chavez utilize to silence their critics. This is thuggery at its worst," said Schultz, who has come under fire from conservatives for not supporting his party's controversial collective bargaining reforms and mining legislation. The senator is not a member of the finance committee.
Hall said he doesn't know what the GOP's motivation is. More important for an investigative reporter, Hall says he has no evidence to document what the motivation is.
He said he has been overwhelmed by the outpouring of support from journalists and First Amendment advocates nationally – from the New York Times to former sources of his investigations.
If politicians are trying to impede the Wisconsin Center for Investigative Journalism, the method wouldn't seem to be working. Hall tells Wisconsin Reporter the center has received an uptick in donations – about $1,000 worth – from previous contributors to new donors since Wednesday.
What's next for the center? Will it pursue legal action? Those questions depend on what happens in the legislature, which has the ability to uphold the budget item or toss it. Same goes for Gov. Scott Walker, who has the power of the veto pen.
"Some lawyers across the country who specialize in student law and First Amendment coverage are watching this very carefully," Hall said. "I have no doubt that if this remains in the budget it would be closely scrutinized by lawyers and very well could become subject of legal action. But I'm hoping that we don't reach that point."
Contact M.D. Kittle at [email protected]

subset: commoncrawl


text: And in case you missed it, heres the video for Habits (Stay High) {"position1":{"name":"Tove Lo","id":997421,"url":"https:\/\/www.iheart.com\/artist\/tove-lo-997421","type":"artist","errors":null,"tagged":true}} Maleko hosts Honolulu's afternoon drive from Maleko's Room every weekday afternoon, and Saturday mornings. Maleko is also a morning anchor on KITV's Good Morning Hawaii, weekdays from 5-7am on KITV4. Contact Call (808) 296-1019 Email email@example.com Social


text: Wish versus will -Royalty Free Image License: Standard LicenseStandard Royalty Free License Wish versus will concept words on blackboard 546 views Ray Woo An experience stock photographer based in China. The main topics of my works... [more] info Author Page Portfolio: 3124 images. Updates / RSS Network Image updated—November 15, 2013 Keywords accomplishment, achieve, achievement, advice, attitude, black, blackboard, board, chalkboard, check, check mark, concept, cross, determination, determined, dream, education, encourage, encouragement, envision, hand, handwriting, hope, initiative, motivate, motivating, motivation, objective, pattern, positive, script, succeed, success, text, vision, will, wish, words, write, writing Image #9194 Size Type File Info Price ( US Dollars $ ) Bloggeejpg6.94" × 4.63" @ 72 dpi500 × 333px2.00 Smalljpg13.89" × 9.24" @ 72 dpi1000 × 665px4.00 Mediumjpg8.33" × 5.54" @ 300 dpi2500 × 1663px8.00 Largejpg13.94" × 9.27" @ 300 dpi4181 × 2782px12.00 End User License Agreement View Cart (0.00) Symbiostock Community Symbiostock CommunityNetwork with illustrators, photographers, and designers. Symbiostock on TwitterSymbiostock news. Symbiostock on FacebookCommunity maintained Facebook hub. Symbiostock.infoSearch images on the Symbiostock network. Symbiostock SearchSearch Symbiostock images and network. Symbioguides.comSymbiostock knowledge base. Symbiostock.comSell your images and network with fellow microstock professionals. ClipArtof.comHigh Resolution Stock Illustrations & Clip Art ClipArtIllustration.comFirst Symbiostock Site, and home of the Orange Man Microstockgroup.comA meeting place for microstock professionals.


text:
Dear teachers, vendors, trainers, moms, dads, and most especially kids,
It is with great sadness that we write to wish you farewell!
LuluCo International, trading as Kimochis® brought the product as a 'blue skies' project to Australia in 2009. We introduced Kimochis® and the emerging awareness of emotional intelligence into every relevant sector.
To date Kimochis® products are used throughout the length and breadth of the Australia by:
• Over 4000 Australian schools using The Educator's Kit and Curriculum;
• Moms, dads and kids in uncountable families;
• Psychologists, social workers, occupational therapists, speech pathologists;
• Three Australian universities, who have conducted research into the efficacy and benefits provided by use of the product;
• Toy shops, pharmacies, florists, gift shops, hospital shops; and
• Schools and clinics for children on the autism spectrum.
It is sad therefore to announce, that the American Company which created Kimochis® has not been able to achieve this in the US and has terminated all international distribution. Instead it has decided to become a training organisation.
And so we thank you so much for your patronage over these past 7 years.
We still have limited product in our warehouse, which includes:
130 Mini Bug;
130 Mini Cloud;
1 Mini Huggtopus;
108 Mini Lovey Dove;
125 Mini Bella Rose;
125 Mini Clover;
49 Mixed Feelings Pack #3;
120 Cloud Books;
18 Cat Books;
500 Posters
These can all be purchased on our website at the Retail Price less a 25% discount. Please use the code FinalSale to ensure your discount.
When these have been sold, we bid you adieu!
We have 4 gigantic, oversized Bella Rose, Bug, Cloud and Huggtopus which stand about1.5 to 2 metres tall. If you are interested in purchasing any or all of them please call us on 03 9008 4699 to discuss.
With warmest regards,
The Kimochis Team – Australia


text:
de-DE translation
The de-DE translation is available in the 0.8.3 release, together with some minor bugfixes for Google users.
The first sync after an upgrade to this version is a slow sync.
If you sync with Google and experience a conflict after an upgrade to this version, it may relate to the bugfix for the Google 'company' and 'title' fields. The conflict resolution UI will correctly select the Google version. Simply click "confirm" and the next sync will work fine.If you liked this Blog, share the love :


text:
C1 not happening or done often or regularly:
More examples
- I'm not averse to the occasional glass of champagne myself.
- Despite occasional patches of purple prose, the book is mostly clear and incisive.
- I'm trying to train my boyfriend to do the occasional bit of housework.
- Despite the occasional longueurs, this is an impressive first novel.
- He strolled through the fields, potting at the occasional rabbit.


text:
Environmental Decision Memo for Food Contact Notification No. 000058
Return to inventory listing: Inventory of Environmental Impact Decisions for Food Contact Substance Notifications or
the Inventory of Effective Food Contact Substance Notifications.
See also Environmental Decisions.
Date: May 9, 2000
From: Chemist, Environmental Review Team (ERT)
Division of Product Manufacture and Use (HFS-246)
Subject: Premarket Notification FCN No. 000058- ADK STAB HP-10 for Use in Contact with Food
Notifier: Asahi Denka Kogyo K.K.
Japan Technical Information Center
Arlington, VA 22202
To: Division of Petition Control (HFS-215)
Attention: Andrew Zajac
Through: Team Leader, ERT
Attached is the Environmental Assessment (EA) and Finding of No Significant Impact (FONSI) that we have prepared for the above cited PMN submission. When this notification becomes effective, the EA and FONSI should be made available to the public. Please let us know if there is any change in the identity or use of the food contact substance that would be inconsistent with the identity and use described in the EA and FONSI.
John L. Dennison
Environmental Assessment for FCN No. 000058
1. Description of the Proposed Action
The proposed action, requested by Asahi Denka Kogyo K.K., is to provide for the safe use of 2,2'-methylenebis(4,6-di-tert-butylphenyl)2-ethylhexyl phosphite (CAS Reg. No. 126050-54-2) as an antioxidant and/or stabilizer in styrene-butadiene block polymers for food contact materials used at a maximum rate of 0.20% by weight. The notifier submitted a claim of categorical exclusion under 21 CFR 25.32(i). This exclusion is for actions for substances present in food-packaging material at not greater than 5 percent-by-weight and that are expected to remain with finished food-packaging material through use by consumers or when the substance is a component of a coating of a finished food-packaging material. A categorical exclusion for allowing a Premarket Notification (PMN) to become effective is not currently one of the enumerated types of actions listed in §25.32(i). Therefore, we have prepared this Environmental Assessment (EA) for the subject notification.
2. Environmental Consequences of the Proposed Action
This action involves a food contact substance that is a minor component of finished food-packaging materials (<5% by weight of the finished packaging material) that remains with the packaging through use by consumers. FDA has found that the very small quantities of substances that could potentially enter the environment from this type of use are highly unlikely to have a significant effect on the environment (61 FR 19476 at 19481-19482, May 1, 1996). The basis for FDA's decision to establish the categorical exclusion in §25.32(i) for food additive petitions and threshold of regulation (TOR) exemption requests is the same basis that would be applicable to PMNs. Therefore, FDA's experience with the food additive petitions that it reviewed to support a categorical exclusion for such actions is relevant to PMNs. The principal routes of environmental introduction of the types of substances included under §25.32(i), whether reviewed in a food additive petition, a TOR exemption request, or a PMN, result from their disposal in municipal solid waste combustors or landfills. These routes of disposal are governed by the regulations of the Environmental Protection Agency (EPA) in 40 CFR part 60 (combustors) and part 258 (landfills). Based on the low levels of use of these substances in packaging material, the introduction of combustion products or introductions at landfill sites are not environmentally significant. Further, we do not expect any limited increase in environmental introductions resulting from this proposed action to threaten a violation of EPA's regulations governing combustors and landfills or have any other adverse environmental effects.
In the claim of categorical exclusion, the notifier stated that no extraordinary circumstances exist that would preclude this use from qualification for a categorical exclusion under §25.32(i). Although the categorical exclusion is not warranted for this action, we do not believe that accepting this PMN would alter the fact that no extraordinary circumstances are likely to occur as a result of the production, use, and disposal of the food contact substance.
3. Alternatives to the Proposed Action
Alternatives to the proposed action need not be considered, because no potential adverse environmental effects have been identified.
4. List of Preparers
John L. Dennison
Environmental Review Team
Division of Product Manufacture and Use
Center for Food Safety and Applied Nutrition
Food and Drug Administration
Finding of No Significant Impact
A Premarket Notification (FCN No. 000058), submitted by Asahi Denka Kogyo K.K., to provide for the safe use of 2,2'-methylenebis(4,6-di-tert-butylphenyl)2-ethylhexyl phosphite, as a antioxidant and/or stabilizer in styrene-butadiene block polymers that contact food.
The Environmental Review Team has determined that allowing this notification to become effective will not significantly affect the quality of the human environment and therefore will not require the preparation of an environmental impact statement. This finding is based on an environmental assessment prepared by a scientist on the Environmental Review Team.
Prepared by: ______________________________________________ Date: May 9, 2000
John L. Dennison, Chemist
Environmental Review Team
Division of Product Manufacture and Use
Office of Premarket Approval
Center for Food Safety and Applied Nutrition
Food and Drug Administration
Approved by: _____________________________________________ Date: May 9, 2000
Buzz Hoffmann, Ph.D., Team Leader
Environmental Review Team
Division of Product Manufacture and Use
Office of Premarket Approval
Center for Food Safety and Applied Nutrition
Food and Drug Administration


text:
When a movie theater dies in New York City, fans don't let it go easily. Witness the rise of Washington Heights Arts & Movies. The 600-person volunteer movement is dedicated to convincing owner Lloyd Goldman of BLDG Management to reopen the Coliseum Cinemas in Washington Heights, which closed at the end of 2011.
"We see the Coliseum's potential to become an economically viable, world-class cinema," said Jeff Hoppa, a Washington Heights resident and cinephile who kicked off the movement with a "Save the Coliseum!" Facebook page late last year. The group is working on a proposal to present to BLDG Management, which did not respond to a request for comment.
There's a reason New Yorkers like Hoppa fight so hard for their movie theaters: NYC lost 22 percent of its cinemas between 2001 and 2010, according to the U.S. Bureau of Labor Statistics. Manhattan was hit especially hard, losing 11 of its 41 theaters — a 27 percent decline. The movie business is suffering nationwide, but New York City's drop is far steeper than the average decline of about 10 percent nationally in the same time period, according to the bureau's data.
These days, theater operators are getting squeezed from all sides — by distributors, by competition from streaming video on computers and mobile devices, and by a lingering recession that's crimping consumer spending. And New York City theaters are especially vulnerable, because pricey real estate here tempts owners to sell and developers to convert cinemas to more profitable uses.
At the landmarked RKO Keith's Theater in Flushing, Queens, for example, developer Patrick Thompson recently received city approvals to turn the 83-year-old property — which closed in the '80s — into a 17-story, 357-unit residential rental building. (Development plans by a prior owner, Shaya Boymelgreen, fell through.)
And in January, Long Island developer the Parkoff Organization bought the Chelsea Clearview Cinemas building on West 23rd Street for $35 million, according to public records. Parkoff hasn't yet said what it plans to do with the building, though the theater is continuing to operate for now.
Meanwhile, there hasn't been a high-profile deal for a new large multiplex in Manhattan since Magic Johnson Theaters brought stadium seating — and nine screens for first-run movies — to Harlem's 125th Street in 2000. The theater, which is now part of AMC Theaters, anchors the $66 million, 275,000-square-foot Harlem USA retail complex that also houses retailers Old Navy, Nine West and Modell's.
"It's not like nobody's tried," said David Firestein, managing partner of the New York division of Atlanta-based retail brokerage Shopping Center Group, who helped bring AMC to Times Square with a 25-screen multiplex in 2000. "A bunch of deals have gotten close, but in 10-plus years, they haven't gotten one done."
The lack of new multiplexes speaks to the unique challenges for movie theaters in New York City, where's it's difficult to find a large-enough space at a rent low enough to turn a profit. Theaters also have the extra challenge of requiring column-free spaces to provide unobstructed screen views.
But there has been activity across the city in recent months, centering on somewhat smaller neighborhood theaters like the seven-screen, 22,000-square-foot Williamsburg Cinemas now under construction at Driggs Avenue and Grand Streets. Other new ventures provide more than just movies, like Nitehawk, a new 8,000-square-foot, three-screen theater in Williamsburg. The cinema, which opened in June, serves dinner to patrons while they watch films.
These days, "it's very hard for movie theaters to make money [simply] showing films," explained Chris Havens, CEO of Creative Real Estate Group, a Brooklyn real estate brokerage. When they do splurge on a movie, New Yorkers are seeking a truly first-rate experience, he said, either with the latest, cutting-edge digital technology, or higher-quality food than the standard popcorn and nachos.
"The future is entertainment where you get better concessions, beer and food," added Havens.
Sources said other, smaller entrants into the market — including an independent movie theater operator from Italy, another watch-and-dine concept, and a specialized 3-D theater where patrons would not have to wear 3-D glasses — have been scouting Manhattan and Brooklyn.
Manhattan may also get a new movie theater at Riverside Center, the southernmost portion of Extell's Riverside South development, which is slated to include entertainment, shopping and a landscaped plaza. Extell has obtained approval for a theater, but a company spokesperson could not confirm whether a theater will be part of final plans for the site, at 59th Street and West End Avenue.
Some local theaters are trying to hang on in the current tough marketplace by renovating. Ben Kasash, the president of Pavilion Theater on Prospect Park West in Brooklyn, has spent $1.8 million upgrading concession stands and seats since April 2011, when he took over. The Pavilion, which opened in 1928, is a neighborhood staple that's been in desperate need of a face-lift. Kasash is a veteran movie house operator, with other theaters in New Jersey, Connecticut and Rhode Island.
The theater, though, still draws a steady stream of gripes in online reviews. Kasash said he's addressed problems, including a torn screen, and will pour another $1 million into additional improvements.
Whether the owner is renovating or building from scratch, the movie theater business requires tremendous capital. Firestein said stadium seats — which customers have come to expect — can jack up the price of a build-out by 50 percent.
Theaters typically like 40-to-50-foot ceiling heights and 50,000 square feet or more of space, said Robin Abrams, executive vice president at the real estate firm Lansco Corp., who's searched for a Manhattan location for a major theater chain without success for several years. While rents vary based on location, Abrams said, theaters look to pay $20 to $30 per square foot for lower-level spaces.
While Abrams noted that cinemas might go up to $40 or even $50 a foot if projected revenues are high enough to support that rent, movie theaters are facing new competitors for their historically desired spaces. In the past, a movie theater was considered a valuable tenant for a lower-level space, as well as an anchor that could bring traffic to restaurants in a retail complex. But over the last five to 10 years, big-box and fashion tenants have inked deals for large multi-level spaces.
These users, Abrams noted, can pay higher rents than theaters, and don't require 50-foot ceilings or column-free space.
In the past "there weren't a lot of takers" for multi-level spaces, said Abrams. "They now can do two floors of retail where they would have done one floor of theaters, based on ceiling heights."
Abrams said that, for her current theater client, she looked at spaces on 86th Street, and at 57th and Second Avenue, where Whole Foods opened. Her client, she found, could not compete with other players.
The requirements for a cinema location are so specific, and suitable space so scarce, Abrams said she has even looked at offbeat ideas such as enclosing a rooftop in a bubble to add a theater.
But with such complex build-outs, "a landlord really has to be motivated to do a theater," she said.
Luckily, these ironclad requirements are loosening a bit as technology changes from projected film to digital, allowing for smaller spaces with lower ceilings, brokers said.
Another option, of course, is that movie theaters can build their own facilities. Harvey Elgart, who runs Brooklyn's Cobble Hill Cinemas, which is housed in a 100-year-old building, is teaming up with developer Blue Zees to create Williamsburg Cinemas. A three-story, seven-screen theater with some 1,000 stadium seats, the facility cost $10 million for land and construction, and is set to open in June. Elgart said he feels he can make money because there is very little competition in the neighborhood.
"There hasn't been a true movie theater in Williamsburg in about 10 years," he said.
Nitehawk owner Matthew Viragh declined to provide detailed numbers, but said his theater's food offerings — including a street-level cafe with cocktails and gourmet concessions, as well as table-side food and beverage service during each film — helps bring in more money per person than a typical theater would. In fact, he said, business is so strong that he'd like to expand throughout the five boroughs.
"Hopefully we can do a few more around the city," he said. "It really is the future of how people want to experience movies."


text:
We stopped off at a Noodles & Company in Kenosha Wisconsin where we had a great time. The staff were friendly and the food was REALLY REALLY good. We tried the Wisconsin Cheesesteak sandwich with a side of Pot Stickers (Yes the very same asian style pot stickers you find at your favorite chinese take-out). …
Featured Articles
Noodles and Company – An on the road review
Featured Articles


text:
WORCESTER, MA- The Merrimack baseball team absorbed a 10-2 non-league loss at Assumption Wednesday afternoon. The Warriors move to 17-19 while the Greyhounds improve to 10-19 with the result.
Alan Pastyrnak (Bristol, CT) led Merrimack at the dish with a pair of base hits and one run scored. Joe Burnham (Woburn, MA) also collected two hits in the contest. Mark O'Flynn (Ipswich, MA) and Alex Ciullo (Fall River, MA) each drove in one RBI on the day.
In his first start of the season, Chris Pinette (Norwood, MA) tossed five innings and allowed two earned runs while fanning five batters. Brian Wolfendale (Methuen, MA), Tyler Cuming (Red Bank, NJ) and Matt Solar (Sterling, MA) all pitched one inning of relief. Cuming and Solar each picked up one strikeout in the game.
The Warriors plated the first run of the afternoon in the top of the first inning. Alan Pastyrnak led off with a double and came around to score on a groundout by O'Flynn.
Merrimack doubled its lead to 2-0 in the second as Ciullo's sacrifice fly to left allowed Eddie Newton (North Billerica, MA) to tag up and cross the plate.
Assumption tallied four runs in the second to claim a 4-2 edge. Kelvin Sims, Ysander Figueroa and Michael Filice all picked up RBIs in the inning and Travis Smith scored on an error. The Greyhounds added a pair of runs in the third as Nick Napoli belted a two-run homer to left.
Sims drove in the hosts' lone run of the fifth with a sacrifice fly to center after Smith tripled with one out. Assumption tacked on a run in the sixth to move ahead 8-2. Filice plated his second RBI of the game with a sacrifice fly to left.
The Greyhounds wrapped up the scoring with two runs in the bottom of the eighth. Smith laced a single up the middle to drive in Shane Keddy and Filice.
The Warriors return home and will look to capture their fifth-straight win at their home diamond as they host American International April 19.


text:
ArtsMemphis Awards Education Grant to Tennessee Shakespeare Company to Introduce 2,150 Incoming High School Freshmen to Romeo and Juliet
(October 15, 2012) – ArtsMemphis announced that Tennessee Shakespeare Company, the Mid-South's professional classical theatre, has been awarded a matching $19,000 Arts Education and Outreach grant to fund an enhancement and expansion of its successful Romeo and Juliet Project pilot program into three area schools in 2013.
The three participating schools are Bartlett High School, Ridgeway High School, and Kirby High School. A separate education grant from the City of Germantown and Germantown Performing Arts Centre will help fund the program and a host of other interactive and performance events at two additional schools, including Germantown High School.
TSC projects that over 2,150 students will be taught by its Teaching Artists across scores of classroom visits.
The Romeo and Juliet Project will reach every ninth grade student in each school. Each classroom will receive three TSC Actor/Teaching Artist-led sessions, including pre- and post-assessments. TSC will teach in English and Literature classes, not courses for the dramatic arts. This program serves to integrate the arts into the Common Core curriculum by moving the plays off the page and into the students' lives.
TSC Education Director and resident director/actor, Stephanie Shine, piloted the program last year at Germantown High School by introducing each freshman to Romeo and Juliet interactively in their classrooms over the course of 23 visits. Both the anecdotal and testing results were extraordinarily positive.
With this program, TSC endeavors to turn students on to Shakespeare rather than off. Students will engage and collaborate with the text and with each other so that they can come to Shakespeare on their own terms. Class-time for students then becomes an hour of enlightenment and self-discovery physically, poetically, psychologically, politically, and personally.
This program prompts students' questions and further inspires them to explore, read, and talk about the issues they face daily, specifically violence, peer pressure, prejudice, and feelings of passion, which will all be addressed through this interactive study of Romeo and Juliet.
"TSC believes Shakespeare is for everyone, not simply those who are arts-oriented, or of a certain background, economic status, or culture," says TSC Founder and Producing Artistic Director Dan McCleary. "This generous grant from ArtsMemphis will allow TSC to give students an opportunity to learn about themselves, question and explore in a safe environment, and develop compassion for each other."
Romeo and Juliet addresses three important issues that have a profound affect on Memphis youth: armed lethal violence, peer pressure, and prejudice. TSC's curriculum prompts students to inhabit the problems caused by these issues within the play, not only asking them to engage in the issues but encouraging them to inquire how the tragedies could have been avoided had the play's characters, both young and old, made different decisions. Students then discover the importance of the decisions they make in their own lives with their own peers in their own city and are given the opportunity to discover healing.
"Students will be given the language to articulate how they feel about the play's themes, which are personal for too many of these young students," says Shine. "They will discover ways to communicate, collaborate, and affect change. As the program continues to grow and provide hundreds of classroom victories each week, the entire school will have had this experience in three years, transforming not just a class but the culture of an entire academic community."
A 2010 article in The Commercial Appeal noted that 85% of Memphis City School students are economically disadvantaged, up from 75% in 2004 ("5 Shelby County Schools Added to Title 1 List," June 8, 2010). Statistics show that students coming from low-income families are seven times more likely to drop out of high school than their economically advantaged counterparts, and over one third of all dropouts are lost in the ninth grade ("Alliance for Excellent Education," 2010).
Students who participate in the arts are more likely to make A's and B's in English; to read for pleasure; to score in the top 50th percentile in reading, history, citizenship, and geography; and to score in the top 50th percentile on standardized tests ("Involvement in the Arts and Human Development," 1999). TSC's pilot program assessment supports these statistics.
Students with low economic status but high involvement in the dramatic arts are more likely to be friendly with other racial groups and less likely to make a racist remark. Arts participants are also more likely to perform community service and to feel good about themselves ("Involvement in the Arts and Human Development," 2009). These personal and social benefits can be the cornerstones of change not only in these schools, but in the communities that support these schools and their students.
About TSC's Education Program
The mission of Tennessee Shakespeare Company's Education program is to move the arts closer to the center of every child's learning experience. This is achieved through TSC's student matinees, accompanying study guides, and actor talk-backs; interactive playshops; touring productions; summer camps; residencies; Free Will Kids' Nights; High School Prelude Scenes; and active participation in theatre and education conferences.
Since 2007, TSC has achieved nearly 100,000 student/Shakespeare interactions through these activities. These interactions represent 70 Memphis City, Shelby County, Home, and Charter schools and schools in Mississippi and Washington. In FY12, TSC engaged 46 Memphis-area schools in its professional, classical education programming. Students under 19 years of age also made up over one-half of TSC's patrons this past year.
TSC has reached over 13,000 students from over 60 schools through seven student matinee productions of and performed in five partner venues throughout Shelby County: St. George's Episcopal Church, Poplar Pike Playhouse, Germantown City Hall, the Dixon Gallery and Gardens, and Shelby Farms Park. For most productions, interactive study guides are distributed to each student who attends a matinee. These study guides are unique to TSC's interpretation of the production, and provide pre- and post-activities through which teachers can maximize the educational experience of seeing Shakespeare in performance.
TSC's program sponsors and partners include the Barbara B. Apperson Angel Fund, FedEx Corporation, the Dunbar Abston Fund for Sustainable Excellence, Nancy and Dan Copp, Margaret and Dr. Owen B. Tabor and family, Jack and Sandra Jones, Milton T. Schaeffer, Audrey L. Taylor (d. 2012), City of Germantown, Germantown Performing Arts Centre, and Commercial Appeal Media.
About ArtsMemphis
The Romeo and Juliet Project is made possible through a generous Arts Education and Outreach grant from ArtsMemphis. ArtsMemphis' Arts Education & Outreach grant program provides quality arts education and outreach programs to a broad segment of people in the greater Memphis community. The program aims to increase awareness of, access to and appreciation of the arts; to encourage nonprofit organizations to be collaborative, innovative and inclusive in their education and outreach programs; and to work together to make a collective impact in our community. The ArtsMemphis Arts Education & Outreach program is made possible through a lead gift from the Assisi Foundation of Memphis, Inc, and generous donations from Gerber Taylor Capital Advisors, Inc., Hyde Family Foundations, Regions Financial Corporation, and Schadt Foundation.
- Fantastical Summer Camps
- Our 10th Anniversary Gala
- The Shakespeare Brunch is Back
- Flannery O'Connor: Georgia Gothic
Enroll Your Child Today in TSC's
Fantastical SUMMER CAMPS at Hutchison School
For girls and boys entering grades 7-12
It's Halloween in June! Confront your fear! No, not of Shakespeare, but come face-to-face with the mysterious and fantastical characters - human and inhuman - that enliven Shakespeare's greatest works. Campers will learn what it takes to make Shakespeare really scary. This two- week camp will conclude with a camper showcase of ghosts, monsters, and visions.
For girls and boys entering grades JK-1
Explore the magical characters and incidents that populate A Midsummer Night's Dream and The Tempest. Developing their characters and mastering Shakespeare through song, fairy games, and mask and costume making, campers will present their fantastic achievements in an end-of-camp showcase.
For girls and boys entering grades 2-6
Meet and become one of Shakespeare's clowns! Explore and master the physical and verbal comedy and scenes that occur in almost all of Shakespeare's work. Whether you want to be sad, happy, bumbling, or pompous, Shakespeare has a part for you. Campers show off in an antic showcase at camp's end.
Download the Summer Camps Registration Form.Read More
Save the Date for Our 10th Anniversary Gala
We are saving a table for YOU to join us for our 10th Anniversary Season Gala! Mark your calendar now for Saturday, April 7, 2018, when we bring you a celebratory evening of performance and dinner in the beautiful ballroom of the Memphis Hilton.
Back by popular demand:
The Shakespeare Brunch
Join us for an elegant Sunday brunch, drinks, and an abbreviated Shakespeare reading in a beautiful indoor setting. Acted by some of your favorite TSC players, the reading is preceded by a delicious and thematic buffet with cash bar. Your $40 ticket includes the buffet and reading.
by William Shakespeare
Sunday, November 20
12:30-3:30 pm
directed by Stephanie Shine
at The Memphis Hunt and Polo Club
Host Members: Margaret and Owen Tabor
Shakespeare's late romance features a Bohemian rhapsody of near-magical redemption and forgiveness, featuring over 20 professional actors, including Carey Urban, Tony Molina, Darius Wallace, Stephanie Shine, and Dan McCleary.
Attire: cocktail/business casual.
Read More
Southern Literary Salon features
Flannery O'Connor: Georgia Gothic on April 21
Tennessee Shakespeare Company continues its popular Southern Literary Salon on April 21 with one of the more shocking American voices of the 20th Century – Flannery O'Connor.
Presented inside and outdoors at the spacious private home of Drew and Melia Murphy in Germantown (the site of previous Salons on Faulkner and Hemingway), Flannery O'Connor: Georgia Gothic runs 6:00–8:00 pm.
The evening features light Southern food, conversation, music, 45 minutes or so of readings from Ms. O'Connor's works, and a mixed spirit of the author's dis-liking (she preferred her coca-cola spiked with coffee).
Tickets are only are $55 and include all of the above. Seating is very limited.Read More
Tennessee Shakespeare Company is generously supported by:
Individual Season Sponsors:
Barbara B. Apperson Angel Fund; Nancy Copp; Ernest, Pat, Martha, and Marian Kelly; Milton T. Schaeffer; The Family of Owen and Margaret Tabor;
Ann and Wellford Tabor.
Season Partners:
Boyle Investment Company, Dixon Gallery & Gardens, Hutchison School, Shelby County Schools, St. George's Church, The University of Memphis' Department of Theatre & Dance


text:
Sweet 16 Bound!!! C-U in Syracuse
Sunday, March 21, 2010
Courtesy: Cornell Athletic Communications
JACKSONVILLE, Fla. -- For the first time since 1979, an Ivy
League team will go dancing into the second weekend of the NCAA tournament.
For the first time ever, that team's name is Cornell.
Playing arguably its best all-around game of the season, Cornell led from wire-to-wire and dominated No. 4 seed Wisconsin 87-69 on Sunday afternoon at the Jacksonville Veterans Memorial Arena. The Big Red set an Ivy League record for wins in a season in improving to 29-4, while the Badgers saw their season end with a 24-9 record.
Against one of the nation's stoutest defenses, the Big Red shot 61 percent from the floor and made 53 percent from beyond the arc (8-of-15), scoring the most points of the season against Wisconsin and shooting a higher percentage than any of its foes all year long. Senior Louis Dale scored a career-high 26 points and classmate Ryan Wittman chipped in with 24. Lost in the celebration was that Wittman became the fifth player in conference history to surpass 2,000 career points. He ended the night with 2,018 points. Both Jeff Foote and Chris Wroblewski scored 12 points in the victory.
After opening the tournament 3-63 all-time against teams ranked in the top 25, Cornell has now secured two straight double digit wins over squads in the top 20 in a span of 72 hours.
"You know, I just thought in all my coaching, all the experience I had on any team that I ever played on, this game here was as well executed that I couldn't even imagine that we could play that well in the stretches that we did," said hed coach Steve Donahue said moments after the Big Red's victory. "That's not to say that I don't think we can play that well, I just have so much respect for Wisconsin and how hard they play, how well they defend. These guys did a remarkable job of staying poised throughout every single possession, had great confidence and great awareness for each other and just executed on both sides of the ball as well as you can do."
Cornell held a 29-21 advantage on the glass and turned the ball over just eight times while posting 14 assists. Mark Coury, who will get to play his former team at Kentucky in the East Regional semifinal, had four points and two rebounds, while Adam Wire (six rebounds), Alex Tyler and Geoff Reeves did yeoman's work off the bench with their energy and poise.
"Cornell did everything that they've been pretty much doing all year," said Wisconsin head coach Bo Ryan. "They found different ways to score on us, and it's tough when you shoot 52 percent in the first half and you're still down 12, and you've taken away Foote, and three of the 3-pointer that they hit were off of offensive rebounds. So in our half court defense, we thought we did some pretty good things. That's how good they are. They can beat you in so many different ways. So I give a lot of credit to Steve and especially the development of that team with all the seniors and the way they played off of one another. That was something that once you got behind to them, it made it very, very difficult to get back, and good teams will do that to you."
Wisconsin got 23 points from Jon Leuer on 8-of-12 shooting, while Jason Bohannon had 18 points. All-Big 10 guard Trevon Hughes scored 10 points, but turned the ball over six times. The Badgers shot 49 percent from the floor themselves, but made just 4-of-15 from beyond the arc after halftime (27 percent) as Cornell stretched its lead.
The Big Red jumped out on the Badgers early, taking an 11-1 lead less than three minutes in. Wittman got Cornell off, hitting shots on the team's first two possessions, followed by a steal and end-to-end basket by Jon Jaques, who had nine points and two steals. The higher seeded Badgers methodically cut the deficit to 24-21 with seven minutes left in the first half, but Foote got to the free-throw line and connected on one, then after a missed layup on the other end, Wire found Wittman from a 3-pointer to push it back to seven. Ryan Evans momentarily got the lead back to five when Hughes hit him for a jumper, but a basket by Wroblewski, followed by a pair of free throws by Coury made the Cornell lead nine. It would never dip below seven the rest of the way.
The second half was all Cornell, as it hit on backdoor cuts, found open men for 3-pointers and slipped screens for dunks. The lead ballooned to as many as 24 with seven minutes to play (78-54) and Dale's constant ability to get into the lane and finish held the Badgers at bay. The senior ended the second half with 18 points on 7-of-9 shooting.
The Big Red will now face No. 1 Kentucky on Thursday, March 25 at a time to be announced at Syracuse's Carrier Dome.


text:
Brewer at the Legislature: Indian youth, right to repair, wireless coverage
Groene at the Legislature: Shell bills, present but not voting
More opinion
Stockmanship clinic set Aug. 22
Hearing your thoughts on the Farm Bill
More Ag News
Shelly Penner, the director of the American Red Cross in North Platte will speak at 2 p.m. Monday at the 20th Century Veterans Memorial in North Platte.
Memorial bricks make excellent gifts for any veteran. Any U.S. soldier who served honorably at any time is eligible. There is room for another 2,200 bricks along the walk, organizers say.
For more information, contact the Lincoln County Visitors Center or the Mid-Nebraska Community Foundation.
The big 25-foot x 50-foot flag that flies over the memorial is replaced twice year. Contributions to help replace it can be made to the Mid-Nebraska Community Foundation.
The memorial is on the south side of the main I-80 interchange in North Platte.
In-person guided tours of the memorial are available by special arrangements at the office. The office is open from 1-5 p.m. on Thursday downtown on the first floor of the Pawnee Assisted Living Hotel. The phone number is 532-6579 or you can call the memorial secretary Wilma Salisbury at 636-2461.
Flatrock Publishing, Inc.
1300 E 4th St., Suite F
North Platte, NE 69101


text:
Check out why the manufacturer of Bradford White water heaters is the preferable company to deal with. The high reputation of the Bradford White brand is the result of a great product quality, innovative design, advanced features, good service network, availability of the replacement parts and rapid repairs. Explore the gas, electric and solar types and use the comparison charts to review the best models.
Bradford White Corp. with its long history, dating back to 1881, is one of the America's largest and oldest water heater manufacturers.
The Headquarters is in Philadelphia and 800,000 sq. ft. manufacturing operation is in Middleville, Michigan.
Bradford White subsidiaries are LAARS, a leading manufacturer of commercial and residential gas and oil-fired boilers and commercial pool heaters; and NST, Niles Steel Tank Company, manufacturer of the custom pressure vessels.
The group of gas-powered Bradford White water heaters utilize both natural and propane gas and is very extensive; it contains models for every home, small and large, either as the retrofit or as the new installation.
You will find water heaters that are economy models with the basic features... perfect for smaller homes, apartments or condos, also more expensive, but ultra high efficiency, with the great recovery rate and FHR that produce significantly less NOx gases. These are the best models to buy.
Gas-powered tank-type water heaters are split into several groups based on the venting option installation:
Atmospheric vented models
Power vented
Direct vented
The above categories can be further divided into:
Energy Saver models
High Input models
Extra Recovery
High Efficiency and EnergyStar compliant
High Performance
Ultra Low NOx
Manufactured home models
Bradford White water heaters with the tankless technology are known as Infinity series, designed for on-demand and continuous supply of hot water in residential and light commercial applications.
There are six standard-type and EnergyStar models with the energy factor of 0.82 and maximum water flow of 9.4 GPM and four condensing units with the maximum efficiency of 0.96 and water flow of 9.8 GPM.
ScreenLok Technology, as part of the Defender Safety System, utilizes the flame arrestor to prevent the ignition of the flammable vapors outside the combustion chamber. Water heaters with this feature provide better efficiency while generating very low NOx emissions. Thermal switch is installed to deactivate burner and pilot light if there is no sufficient air flow due to lint dust or oil accumulated on the arrestor plate.
The ICON system uses the control board with a digital LCD display, while combining the temperature control, diagnostic codes and system ignition functions for better control and usage of the system.
The Hydrojet Total Performance System is the system that is used to reduce the sediment builtup inside the unit. It uses the dip tube that is designed with the jet ports to create the turbulent water flow, therefore preventing or reducing the accumulation of the mineral deposits. This way, the thermal efficiency and performance of the heater are increased.
The Hydrojet2 is a similar feature to the above system but is designed for use in high input applications.
The electric group of Bradford White water heaters is not as wide as the gas group, but there are still many models available; from the economy to high quality and from small instantaneous and wall-hung to the upright high capacity models.
Also, the availability of different sizes, wattages and voltages provide great flexibility; the heaters are designed up to 119 gallon tank size, operate from 1500 to 6000 watts and from 120 to 480 volts in a single or three phase.
Electric and gas type water heaters from Bradford White manufacturer share many common features and these include the above mentioned Hydrojet Total Performance System, Vitraglass lining, mostly one magnesium anode rod, heat traps and other.
These are the available categories:
Energy Saver
High Efficiency
Powerful Compact
Wall Hung
EcoStor2 SC - solar indirect system with the internal single coil and gas backup low NOx burner. You can buy models that are atmospheric vented and models that are power vented... depends on your home installation options.
EcoStor Open Loop with the gas low NOx burner and atmospheric or power venting
EcoStor2 SC indirect system with the single coil Eco-Defender
EcoStor2 SC indirect system with the dual heat exchangers
EcoStor SC indirect system with the electric backup
EcoStor2 SC indirect system with the electric backup
Solar Saver Series of electric solar water heaters
There are two limited warranty options for conventional type Bradford White water heaters; one is standard 6 years and the other, extended, is 10 years, both warranties cover glass-lined tank.
Tankless models have the 12-year limited warranty on the heat exchangers and 5 on parts, all in residential applications.
725 Talamore Drive, Ambler, PA 19002, phone US: 800.523.2931For more information about the warranty, products and manuals see the official website here.
Ask about the water heater problem.
Review the WH and share.
Click below to contribute; ask, review or answer.
Failed after 2.5 years.
Our BW hot water heater failed after a couple of years. BW refused to help in any way. Do NOT use if you have a water softener and/or calcium chloride …
Bradford White - 6 year warranty - MY AUNT FANNY Not rated yet
So three years ago, I purchased a Bradford White water heater. I chose this brand because I thought they stood by their products and their warranty....BOY …
Still heating water after 15 years Not rated yet
Hi - we are in the market for a new water heater and Bradford White is at the top of our list. Ours is a 55 gallon gas water heater that is 3 months from …
Check out the user reviews of the Bradford White water heaters.
(Photos courtesy of Bradford White)


text:
Kuwait, Iran Sign Trade Agreement
Iran and Kuwait signed an agreement Wednesday to expand trade cooperation, reported Iran News Agency (IRNA).
It said that the agreement was signed between the Khouzestan province Governor, General Abdolhossein Moqtadaei and Jamil Soltan al-Eissi, head of Kuwaiti free trade zones' board of directors.
According to the agreement, a permanent exhibition would be set up by Iran in Kuwait's free trade zones to put on display the Iranian-made products, and Kuwait would organize its permanent exhibition in the littoral province of Khouzestan on the Arabian Gulf, said the agency.
According to the agency, the agreement would make it possible for Iran's business people to use the depot services freely - Albawaba.com
© 2000 Al Bawaba (www.albawaba.com)


text:
As the largest law enforcement agency south of the Greater Kansas City Metropolitan area, we believe it is our responsibility to provide accessible training to agencies in our region.
The Cass County Sheriff's Office has hosted an academy since 2008, with classes being taught by current Deputy Sheriffs and Police Officers from around the Metropolitan area.
The Cass County Sheriff's Office Regional Training Academy is a part of the Cass County Justice Center. The Justice Center is a $40 million facility built in 2003 located within the city limits of Harrisonville that also includes the Cass County Sheriff's Office, a 150 inmate capacity Jail, the 17th Circuit Court, County Clerk's Office, Prosecuting Attorney's Office, and Juvenile Center.
The Cass County Sheriff's Office Regional Training Academy houses a state-of-the-art training room capable of seating 100 people, as well as;


text:
There are days in everyone's lives that are defining. Births, weddings, divorces, graduations all become indelibly imprinted upon our individual memories. They are the events that make us all unique. But there are also events that are defining upon our collective consciences. Pearl Harbor and September 11th were those type of events. They brought us together as a nation and give us an American mind and memory. The events of December 14, 2012 are one of those collective consciousness events. They event, as horrific as it was, has brought us together. We all grieve together.
We are a village. It sounds so trite, yet is so profound. We are connected, almost as closely as we are to our own blood relatives. We talk about six degrees of separation. There may actually be much less than that when we understand our connections to Newtown.
I think about my personal connection. Why does this tragedy affect me more than so many others? Why do I feel like I know those children, their families, the teachers? I've never been to Newtown. The closest that I've gotten have been drive throughs in Danbury. So what is happening?
I've spent my life as a husband, father, grandfather, brother, uncle, teacher, administrator, college professor, and psychologist. In every aspect of my life, children were the focus. Early in my career, through the direct teaching of children and later, in the teaching of those who were going to teach those children throughout the years. In 30 years of association with higher education, I would guess that I've worked with close to 5000 teachers. Those teachers have gone on to teach hundreds of thousands of children, at least some of them who have gone on to become teachers themselves. I do not know those children or remember every one of those teachers, but in my heart I feel that somewhere along the line, a little bit of my heart and soul is in Newtown.
It is easy for me to understand that I'm part of this national village. It is easy for me to understand that the children of Newtown, Connecticut and the brave teachers who died protecting them, are part of me. It is also easy for me to plead with all those throughout the nation to realize that Newtown is not only a town in Connecticut but every town, every city and every state in our nation. We raise our children together. We share them with the others in our village and always hope and pray that those others who come in contact with them, love and protect them as much as we do.
We may never know what drove this disturbed young man to this horrible act. But we can come together as a national village. We can come together to work one with another to make this village called the United States safer for our children. We can come together and work with one another to provide those with severe mental illnesses to get the help they need. We can be a village without politics and without interest groups who come together to keep our children, our teachers, and yes, all of our citizens safe.
I am part of a national village. You are part of the same village. For all of us, the priority is to come together and protect our children. We are the adults. We have the chance to make a difference. Let's do it.


text:
Was hoping to get some tips on what gear is best for cold weather riding. Here is West Virginia, it is 30 or below most days.
Was hoping to get some tips on what gear is best for cold weather riding. Here is West Virginia, it is 30 or below most days.
Nanuuk Checking in! It's warmed up to 25 at my house! Layering is key & the electrics are the way to go if its really cold. I still do the layering thing myself and stay pretty warm. I sort of plan the cold day rides around varuous Hot Chocolate stops. BEWARE of hypothermia of course.
There are a couple other threads here about cold weather riding but couldn't find them right off hand. Prowl around.
oh yeah ~~~ STAY WARM!
Well here is my 2 cents................I have a pair of fieldsheer textile pants, Love them, a very heavy leather jacket with a Gortex liner, Wear long sleeve Thermaltex tops and long-john type pants. Very high wicking, dress in layers, and warm pair of gloves. I have a pair of Orina 118's. Here are some links for gear.......................
Millions of choices......................Just a few here
Originally Posted by noodles
Here is a blog written by a guy who is commuting to work (50 miles round trip) in Minnesota...on a scooter!
Maybe you can get a few ideas there.
I use the Joe Rocket 5.0 Ballistic over pants and 4.0 Ballistic jacket. It is loose enough to layer warm stuff underneath. I start with thermal underwear and work up from there (cotton works for me). I also have a Columbia fleece lined wind proof jacket with a tall collar.
Really cold?
Cotton thermals (wool or poly is probably better)
Cotton thick long sleeve tee shirt.
Cotton button up long sleeve shirt.
Columbia jacket.
Moto X poly wicking socks (Tall and thick rascals).
Wool scarf (from uncle Sam) and or silk balaklava.
Water proof gloves with poly liner gloves.
J.R. Ballistic pants and jacket.
The entire outer layer is water proof and so wind proof as well. Wind is what kills your warmth. I also don't want to fool with a pull over rain suit for wet stuff.
Heated grips with hand guards to cut some of the wind. If it gets too cold for this then ice is a problem and I don't like ice.
An electric under suit (like the Gerbing) is a HUGE I wanna.
I use Widder heated vest and Gloves and a Snowmobile jacket and bibs. They work great from me. The gloves run large I and you want to vest to fit snug. Here is a like to there site. I live in Indiana.
except for Fishwitch -- I don't believe we have had cold weather yet in Calif -- its been a balmy 34 on my lowest temp ride.
I just returned from a Riding clinic in Redwood City, and the ride down was at night and at an average 75 mph, the return home this afternoon was faster... I was warm enough,but occasionally chilled at the edges (OK I was oh so briefly clocking 90 on I-5, but strictly for scientific purposes, chill-testing my gear... ) [I was comfy at 80 )
I wear an Aerostich roadcrafter, and for cold weather I layer under that heavy-duty riding suit with a T-shirt, a turtleneck and a polar-tec fleece sweater. I also use a balaclava under the helmet (vents closed) and pull the collar of the 'stich snug.
My warmest gloves are BMW logo'ed with thinsulate and goretex or some other micro-fibre liner, very snug but a little stiff for the delicate clutch/throttle work the twistes require, so I reserve them for the more touring oriented expeditions or when it is just darn cold. I do think some V-Strom handgrip guards are in my future, or else heated grips...
Heavy socks under the Combat touring boots by Sidi, and a heavy denim jeans and thermals keep the legs/feet warm.
I humbly confess... I don't ride when the wet stuff is frozen on the road...
Hypothemr;ia...I don'k jgitet hypojdmtemai...ta;lt's forkje wimpsllk.Originally Posted by FishWitch
Wht''sl thalt light.s?!
Originally Posted by montana
Wha'ts so bad is I know that feeling ALL to well!!! Just stick yer head in the oven that usually will warm ya up.
There are currently 1 users browsing this thread. (0 members and 1 guests)


text: This week's second, and poorer remake transposes Giuseppe Tornatore's 1990 Stanno tutti bene from Italy to the States. The original stars Marcello Mastroianni as a Sicilian widower travelling up Italy to visit his estranged children and discovering their sad, self-deceiving lives. It's essentially a bitter state-of-the-nation picture. The American version follows Tornatore's plot quite closely with the widower journeying east to west from upper New York state to Las Vegas. But there's no apparent political or social thrust, just a family tale of false ambition, with Robert De Niro's father a victim of the American Dream. Unfortunately he's a tedious fellow, boring everyone with talk of his emblematic job making telephone wire. His taste is revealed in the opening shot in his garden: a reproduction of the Manneken Pis urinating into a goldfish pond.


text:
UNITED NATIONS (AP) — Western powers say they will introduce a U.N. resolution that would threaten sanctions mainly against the Syrian government if it does not immediately implement a cease-fire and withdraw heavy weapons from cities.
Britain's U.N. Ambassador Mark Lyall Grant said international envoy Kofi Annan urged the Security Council on Wednesday to send a message to the Syrian government and the opposition that there will be "consequences" if they don't comply with his six-point peace plan.
He said European nations and the U.S. will circulate a resolution later Wednesday threatening sanctions which can be enforced militarily if Annan's peace plan and guidelines for a Syrian-led political transition are not implemented.
Russia's deputy U.N. ambassador Alexander Pankin said Moscow opposes any militarily enforceable resolution.


text:
Separate names with a comma.
Discussion in 'Mac Blog Discussion' started by MacRumors, Apr 26, 2003.
Apple-x.net claims to have screenshots of Panther.
Re: Panther Screenshots?
I see no reason to believe these are real.
I think it looks cool.
i think this looks legit
i actually think this looks legit, cuz else it's a very good and thought out dup.
in my not so humble opinion....total bs.
but hey its good for a laugh.
Agree. As someone else pointed out at another forum, if you had access to Panther and made the decision to leak images why not produce a detailed documentation of the new OS.
looks real but u never know
in the "about the finder window" in the screenshot, why is it trademark and copywrited 2002? if this is gonna be a new os pretty much, wouldnt it be TM'd 2003? especially since in the "about this mac" window it says 2003. the pile though looks kinda cool.
Can someone post these or host them or something? I can't get onto the site to see...
Two good reasons
There are two good reasons to believe these "Panther Screenshots" are fake:
Arn doesn't buy them.
Apple legal has not come to crush the rumor and pull the images.
Remember the prelim MMD schematic? The heat came fast and furious on that one.
True hardware rumor test:
If it is a major renovation or new product that Apple wants to keep the element of surprise on, then expect to--
a) see hastily leaked documents illustrating the item, and
b) MINUTES later, not hours or days, said documents or images being replaced by Apple legal disclaimers.
If an image or alleged internal document is bantied about for a week on the rumor sites, it's likely a fake.
Rule of thumb: if a rumor looks juicy, save any related sites to your HD. If they are pulled 10 minutes later, you've got a winner...
well not really, look at the about finder window, ours says 2002. everything looks right on that picture, cant find any messups if it was fake. developers probably dont worry about little things like that until the end. we have had 10.2.5 come out and it still says 2002.
My About this Mac says 1983-2003.
Real or fake..
Either it's real or it's a damn good fake
Possible one of the better, clearest screenshots I have ever seen...maybe too clear... hm....
the site seems to be down now. did anyone save the screenshots?
anyone get em?
That site seemed to go down pretty quickly, hehe. Anyone get pics so we can view em? Wonder what the fuss is all about. I haven't seen it yet, but I'd just assume they were fake considering how Apple would feel to let screeny's get leaked.
hey those look interesting. now whether they are real or not it isn't at all far fetched...like that ridiculous apple ipod mouse phone...phhh. it really could be panther screenshots. while there is no evidence that they are real there is also no evidence that they are false...is there?
The pics =)
Hmm.... the desktop pic is too big to post here but if u tell me how i can shrink I'll gladly do it..
File menu
Here's the pic of the file menu at least..
Got to be Phony!!!
In the "About the Finder" screenshot, the date would have been changed to 2003. It still shows 2002. Good attempt though. Maybe next time.
here is the other pic. i find it funny how the guy earlier said if these are real they would be pulled from the website, and what do ya know, we cant acces the site anymore.
personally, i see no reason to believe these are fake.
the 2002 thing is acceptable in my view and as for 'apple legal', jaguar builds were floating around for ages, screenshots aplenty, i have a feeling, though i am not a lawyer, that the laws are different for screenshots. it is a breach of contract to release such screenshots, but i don't believe it is against the law to show screenshots.
The weirdest thing....
Is that the buld number is right beside the version...
Sure.. they could've changed it but isn't that a bit wtf?!
in 10.2 u have to click on the version so that the build number appears..
Re: The weirdest thing....
Well, it does jump a version number. And they do change things. I believe its legit.
I got the images on my webspace if anyone finds the others slow
Good Strategy
I wouldnt be surprised if Steve had these leaked intentionally. With questions coming up about why the G5 isnt out and how motorola isnt going to be putting out any faster processors, mac users need hope, and this is a worthwhile distraction.