text:
Marketing Information
The CyberPower Professional Series CSP1008T Surge Suppressor is ideal for Home/Office protection with 2850 joules, 10 outlets, RJ-11 (1 in / 2out) phone line protection, and a 8 FT cord. The surge suppressor is ideal for protecting personal computers, phones/fax/modems, printers, stereos, and consumer electronics.
The CSP1008T features (10) outlets with (4) widely spaced outlets, MOV technology to guard the surge suppressor and connected electronics against line abnormalities and lightning surges, while EMI/RFI filters block unwanted line noise. Data line protection is provided via RJ-11 ports for telecommunication devices such as phones, faxes, modems, and DSL lines. The 8 Ft. power cord includes a right angle plug with a 45� off-set for convenient installation in the tightest of environments
A Limited-Lifetime Warranty ensures the highest quality standards in design, assembly, material or workmanship and further protection is offered by a $400,000 Connected Equipment Guarantee.
General Information
|Product Type
|Surge Suppressor
|Manufacturer Part Number
|Manufacturer Website Address
|CyberPower Systems, Inc
|Product Model
|Product Name
|CSP1008T 10-Outlets Surge Suppressor 8FT Cord and TEL
|Product Line
|Brand Name
Technical Information
|Dataline Protection
|RJ-11 Phone/Fax/Modem/DSL
|10 x NEMA 5-15R
|Plug/Connector Type
Power Description
|Input Voltage
|Output Voltage
|135 kA Surge Current
|Surge Energy Rating
Physical Characteristics
|Power Cord/Cable
|8 ft
|Package Contents
|Country of Origin
|Standard Warranty
|Lifetime Limited
This product is shipped only within Canada and Warranty valid for Canada only.
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Destination Dish July Recipe: Corn and Beech Mushroom Gratin
An agricultural staple since 2000 BC and a go-to side for summer meals, corn is one thing we don't mind getting an earful of at Paradise Point. And while July's Destination Dish recipe may feature this vital vegetable's golden kernels, you can be certain it's only corny in all the right ways.
If you're looking for refreshing change from the clichéd "on the cob", try my mother's recipe for beech mushroom and corn gratin. It's a more refined, filling corn recipe that is best made with white or yellow corn - I say use whichever is sweetest!
Available in a rainbow of colors – white, yellow, pink, black, purple, and blue – corn is a phytonutrient-rich food that provides antioxidant benefits via its high vitamin C and manganese levels. At 4.6 grams of fiber per cup, corn is also a good fiber source that can help aid digestion and helps control blood sugar for those with diabetes.
Throughout July, you can take in these health perks, along with stunning views of Mission Bay at Paradise Point's signature waterfront restaurant Baleen, where we'll be serving our Beech Mushroom and Corn Gratin recipe all month.
Yields 4 Servings
- 6 ears corn, husks and silk removed
- 1 cup brown and white beech mushrooms
- 1/4 cup minced yellow onion
- 3 minced garlic cloves
- 1/4 teaspoon white truffle oil
- 4 tablespoons shredded parmesan
- 6 tablespoons butter
- 1 cup heavy cream
- 1/2 teaspoon salt, or to taste
- 1/8 teaspoon freshly ground black pepper
- 2 teaspoons granulated sugar
- 3 tablespoons water
- 2 teaspoons flour
- 1 cup panko bread crumbs
- 1/4 fresh chopped chives
Using a sharp knife, cut the tip off of the corn. Place on a large plate or wax paper with the cut side down, and cut the kernels off of the cob, following the angle of the cob with your knife. Repeat with the remaining cobs. Combine the corn kernels with cream, salt, pepper, and sugar.
In a medium skillet over medium-low heat, melt 2 tablespoons of butter. Add the corn mixture and reduce heat to low. Cook, stirring frequently, for 15 to 20 minutes. In a small bowl whisk the cold water with the flour until well blended. Stir into the corn mixture and continue cooking, stirring until thickened and bubbly. Remove from the stove and set aside.
In a separate sauté pan over medium heat, melt 2 tablespoons butter and add onions, garlic and mushrooms. Sauté until onion and mushrooms are tender, and then add the simmered creamed corn. Pour the creamed corn into a greased baking dish.
Melt the remaining butter and truffle oil together, and pour over bread crumbs. Add shredded parmesan cheese, fresh chopped chives, salt and pepper to taste and mix well. Sprinkle over the top of the hot creamed corn and brown bread crumbs under a broil until golden brown. Serve immediately.
Be sure to visit the Destination Dish website to see more unique corn recipes by other chefs, where the dishes are being served, and get to know the culinary talents behind Destination Hotels & Resorts' delicious fare.

subset: commoncrawl


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Caution Signals
The New Year's Eve binge in the markets, followed the next trading day by an even bigger spree, appears to have now gone into a sobering-up period. Even after the drop on Monday, we see clearly on the first chart, below, that movement in the last three sessions has been tightly restrained. We are close to the highs of the last year and not much below the all-time highs going back 13 years. A large advance from here seems extremely unlikely.
The suddenness of the rise meant that the oversold condition in the Arms Index moving averages stayed somewhat oversold. But now the five-day is swinging in that direction. Most worrisome, though, is that the volatility index (VIX) is back to its extreme complacency levels, and that usually portends downside markets. Caution here, the market is struggling....229 more words left in this article. To read them, just click below and try Real Money FREE for 14 days.
There's no substitute for a trading floor to get great ideas, so Jim Cramer created a better one at Real Money and blogs there exclusively. We then added legendary hedge fund manager, Doug Kass, with his exclusive Daily Diary and best investing ideas. Staffed with more than 4 dozen investing pros, money managers, journalists and analysts, Real Money Pro gives you a flood of opinions, analysis and actionable trading advice found nowhere else, and allows you to interact directly with each expert.
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Over the weekend I spent a lot of time debating the attributes of the Super Bowl teams, spring training baseball and the best way to pick stocks in a tricky market. A lot of good ideas were tossed around, including buying stocks that might benefit from the Obama administration's political agenda, stocks with strong earnings momentum and buying issues with particular technical or statistical patterns. While not dismissive of any of them, my opinion is that in any market, especially a tricky one like we face now, it is best to think like a private equity investor.
Private equity investors do not really spend a lot of time worrying about who is in the White House or what the next quarterly earnings report will be in comparison to the analyst estimates. Private equity investors are looking to buy assets today for a lot less than they can sell them in four to seven years. They look for assets, cash flows and brands that are cheap relative to their value that can be purchased and managed to produce cash flow and be sold for at a much higher price later. Often they are looking in sectors that are unloved by most investors but still viable over the long run. They like to buy ugly and sell pretty. They buy the business and hold it until it is once again popular and highly valued.
With all the attention now on tech stocks and the pretty consumer names like lululemon athletica (LULU) and Amazon (AMZN), the astute PE and distressed investors are looking at the hated sectors. We are seeing the big players in the space putting money into things like steel, coal, energy and even the publishing industry for companies that are cheap enough to provide high returns over the next half decade.
I ran screens this morning looking for stocks that might appeal to a private-equity-type investor. Power-One (PWER) strikes me a great example of such a stock. The stock is certainly cheap enough, trading right at tangible book value and less than 4x free cash flow right now. The enterprise-value-to-EBITDA ratio is less than 3 as well. The stock is cheap because its business is not very popular; it makes power management and conversion products used by alternative energy and communication industries. Eighty percent of its renewable energy revenue comes from Europe, where cash-starved governments are slashing incentives for solar and wind power.
The stock is going to struggle to meet earnings expectation until Europe fully recovers and the U.S. alternative energy marketplace becomes larger. It is going to be at least five years before the global economy recovers enough for tax breaks and subsidies for alternative energy to become prevalent again. Without them, the industry is not viable and new installations will be on hold. If you care about the day-to-day or even quarter-to-quarter stock price, this is not a great stock for you. If, however, you are looking for a business that is unloved and cheap that can be sold for much higher price in five to seven years, Power-One is a strong candidate.
Several Real Money contributors have mentioned Sterling Construction (STRL) as a great long-term buy. It easily fits my definition of a good private equity candidate. The stock is cheap enough trading at tangible book value with an EV/EBITDA ratio of less than 5. Business is stable enough for the company but it is not going to be great again until the economy recovers enough for municipal budgets to heal. Sterling is involved in the construction and repair of highways, bridges, rail and water systems. Infrastructure in the U.S. needs replacing and repair, so someday the money has to be spent. It is not going to happen next quarter or even next year, however. At some point, this sector will become a growth leader, but you are probably going to have to wait five years or more to see Sterling become a market darling. The stock is unloved, cheap and has fantastic profit potential when governments can afford to spend on these projects again.
Private equity investors take a much longer view than most market participants do. They tend to be very patient and hold companies until the business has improved and is once again in vogue on Wall Street. The "buy ugly" and "sell pretty" approach used by successful private equity firms is one that most individual investors would do well to adopt.


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Youngsters struggling to cope in mainstream education could be helped by a new free school in Trowbridge if a bid to open one goes ahead.
The Department for Education is considering an application from Collaborative Schools Ltd, a partnership of the 21 Trowbridge primary and secondary schools. It has submitted plans for a 60 place school which, if approved, will open in September 2015. A site has yet to be identified.
The government-funded school would have academy status and take children aged four to 16, referred from schools across the county.
Key stage one to three children would attend two days a week, while key stage four pupils would be full time.
"The school will provide a slightly different provision to ensure that children who haven't fully adapted to mainstream education can be successful," said Jayne Bullock, CSL co-ordinator."We are delighted to be making this application. We have been working with key stakeholders over a number of months and are extremely encouraged by the level of local support."
John of Gaunt head Andy Packer said it would be a huge benefit to children. "As a school we are always trying to do our very best for the individual child, but sometimes you recognise a pupil may need more than your school can provide.
"The academy, free of local authority control, will enable headteachers to have a steer on the curriculum and have the flexibility to provide the very best for children who struggle."
The CSL will work with schools, parents, Wiltshire College, Active Trowbridge and the Educational Welfare Service to decide which children would be referred.


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Anquan Boldin set a franchise record with 145 yards on five receptions, including the clinching touchdown, as Baltimore beat Indianapolis 24-9 in Sunday's AFC wild-card game.
POSTGAME STATS, PLAY-BY-PLAY: Indianapolis Colts vs. Baltimore Ravens
The previously struggling Ravens defense was staunch, inspired no doubt by star linebacker Ray Lewis appearing in his final home game before retiring. Baltimore never let Colts standout rookie quarterback Andrew Luck get comfortable.
AFC North champion Baltimore (11-6) will play at AFC West winner Denver next Saturday. The Broncos beat the Ravens 34-17 three weeks ago.
The loss ended the Colts' turnaround season in which they went from 2-14 to the playoffs in coach Chuck Pagano's first year in Indianapolis (11-6). Pagano missed 12 weeks while undergoing treatment for leukemia and returned last week.
NFL MOCK DRAFT: Who will the Chiefs take at No. 1?
Before the game, the big news was Indianapolis Colts offensive coordinator Bruce Arians being rushed to the hospital with an undisclosed illness. The team said he is doing well in a local hospital, and that Arians would not be in attendance to call plays.
After the game's first eight drives netted just three points and two fumbles, scoring picked up late in the first half. A 47-yard reception to Ray Rice off a Joe Flacco screen pass set up the game's first touchdown, a 2-yard run by the Ravens' Vonta Leach with less than a minute to play in the half.
MORE: NFL playoffs schedule | Playoff photo gallery
The Associated Press contributed to this report.


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Effect of Bronchodilation on Cycle vs Treadmill Exercise Endurance Time in COPD (ARFEET)
- Full Text View
- Tabular View
- Study Results
- Disclaimer
- How to Read a Study Record
|Chronic Obstructive Pulmonary Disease
|Drug: Arformoterol tartrate Drug: Placebo: Normal Saline Other: Treadmill Exercise Other: Cycle Exercise
|Phase 4
|Study Type:
|Study Design:
|Allocation: Randomized
Intervention Model: Crossover Assignment
Masking: Quadruple (Participant, Care Provider, Investigator, Outcomes Assessor)
Primary Purpose: Treatment
|Official Title:
|Effects of Arformoterol on Exercise Endurance Time and Breathlessness in COPD: Cycle Ergometer vs. Treadmill
- Exercise Endurance Time [ Time Frame: After one dose ]Participants were asked to exercise until symptom limitation
- Linear Regression Between Breathlessness Ratings (on 0 - 10 Borg Scale) and Time Throughout Exercise [ Time Frame: After one dose ]
linear regression slope of breathlessness - time for arformoterol and for normal saline will be compared between treadmill and cycle exercise
The higher the number the worse the shortness of breath
|Study Start Date:
|August 2008
|Study Completion Date:
|May 2009
|Primary Completion Date:
|May 2009 (Final data collection date for primary outcome measure)
|Assigned Interventions
Active Comparator: Arformoterol tartrate
Bronchodilator therapy with arformoterol solution 15 mcg
Drug: Arformoterol tartrate
15 mcg in two ml solution administered via nebulizer
Other Name: BrovanaOther: Treadmill Exercise Other: Cycle Exercise
Placebo Comparator: Normal saline
Placebo using normal saline
Drug: Placebo: Normal Saline
Normal saline was nebulized.Other: Treadmill Exercise Other: Cycle Exercise
Detailed Description:
The study is a randomized trial with crossover of consecutively recruited patients with symptomatic COPD. Each patient will participate in seven visits over a 3-4 week period. At the first visit patients will provide informed consent and then be familiarized with equipment and testing protocols. At visits 2 and 3 patients will inhale 2 puffs of albuterol HFA MDI, and then perform symptom limited incremental exercise on the treadmill or cycle ergometer (randomized order); after a one hour rest, the patient will perform constant work exercise at 80-85% of peak VO2 on the same exercise mode.
At visits 4 - 7, patients will perform PFTs at baseline and at 30 and 120 minutes after inhaling arformoterol or normal saline (randomized order) and then constant work exercise on the treadmill or cycle ergometer (randomized order). Metabolic measurements will be made throughout exercise, and patients will provide continuous ratings of breathlessness and leg discomfort using a system consisting of a computer, monitor, and a mouse.
|Ages Eligible for Study:
|50 Years and older (Adult, Senior)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- male or female patient 50 years of age or older; diagnosis of COPD; current or ex-smoker with at least 10 pack-years of smoking; a patient-reported score for breathlessness during activities of daily living of < 9 on the self-administered computerized baseline dyspnea index; a post-bronchodilator FEV1 < 80% predicted; a post-bronchodilator FEV1/FVC ratio < 70%; and clinically stable condition.
Exclusion Criteria:
- any concomitant disease that interferes with study procedures or evaluation; inability to exercise on the treadmill or cycle ergometer; inability to withhold short-acting bronchodilators for 4 hours or long-acting bronchodilators for 12 hrs (salmeterol or formoterol) and for 24 hours (tiotropium) prior to testing
Please refer to this study by its ClinicalTrials.gov identifier: NCT00754546
|United States, New Hampshire
|Dartmouth-Hitchcock Medical Center
|Lebanon, New Hampshire, United States, 03756-0001
|Principal Investigator:
|Doanld A Mahler, MD
|Dartmouth-Hitchcock Medical Center
|Responsible Party:
|Dartmouth-Hitchcock Medical Center
|ClinicalTrials.gov Identifier:
|NCT00754546 History of Changes
|Other Study ID Numbers:
|Study First Received:
|September 16, 2008
|Results First Received:
|August 3, 2009
|Last Updated:
|May 28, 2013
Keywords provided by Dartmouth-Hitchcock Medical Center:
cycle ergometer;
leg discomfort
Additional relevant MeSH terms:
Lung Diseases
Lung Diseases, Obstructive
Pulmonary Disease, Chronic Obstructive
Respiratory Tract Diseases
Formoterol Fumarate
Bronchodilator Agents
Autonomic Agents
Peripheral Nervous System Agents
Physiological Effects of Drugs
Anti-Asthmatic Agents
Respiratory System Agents
Adrenergic beta-2 Receptor Agonists
Adrenergic beta-Agonists
Adrenergic Agonists
Adrenergic Agents
Neurotransmitter Agents
Molecular Mechanisms of Pharmacological Action
ClinicalTrials.gov processed this record on September 21, 2017


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A couple of weeks ago, Lena Dunham and I met for dinner. As soon as we'd placed our orders at a French-ish café in the Silver Lake section of Los Angeles, we plunged into a conversation about love between girls—both platonic and romantic. I began to describe my first real relationship, which was with a girl, and Lena immediately asked, "How did you feel about her vagina?" A few days later, I was telling this to an old friend, and the old friend said, "I've known you for 20 years and I've never thought to ask you that. . . How did you feel about her vagina?" Of course, Lena always goes straight for the most interesting thing, the thing you really want to know, even if it seems too intimate or too silly or too gross. Other things that might be considered too intimate/silly/gross: Lena's normal-looking thighs. And stomach. Self-empowerment through self-degradation. The stuff that gets up around the sides of condoms. Or pretty much anything on her half-hour TV series Girls, the second season of which recently began airing on HBO.
I want to take a moment to point out the manner in which Lena asked me the vagina question: She asked it seriously, her two adorably big front teeth momentarily hidden by the earnest line of her lips. I felt like my answer was going to be the most important thing anyone had ever said. This, in case you don't know, isn't particular to Lena—this is how girls talk to one another when they really like each other, endlessly pushing deeper with growing boldness. This is why women have to talk to each other so much and for so long; it is simply more satisfying than other things—exactly in the way that Girls is more satisfying than a lot of other shows. No other show makes us (and by "us" I mean us girls and the show's considerable male viewership—56 percent of the audience that watched the series premiere last April were men) feel so buzzed and almost uncomfortable with excitement. "What is this new feeling?" we ask ourselves. "It's like I'm high on a drug I never knew existed." It turns out that this is how it feels when concerns that have historically been considered too intimate/silly/gross—too female—are publicly treated with serious attention by a very skilled artist. The huge skills, along with her totally unedgy good will, are why Lena can be so radical and so mainstream at the same time. She's a real writer, has a thrilling sense of timing, and her casting (Adam Driver, Jemima Kirke) is a gift to us all. And I also happen to know from intel on the crew that she has no problem saying, "Uh, no thank you" when her executive producer, Judd Apatow, makes a suggestion that she doesn't think works.
People love the mythology of talent popping up fully formed out of nowhere. How could Lena's first feature, Tiny Furniture (2010), be so good—so zingy and perfectly executed? She must be a genius! Or: nepotism! The truth is less exciting and doesn't let your lazy ass off the hook: Tiny Furniture was Lena's second feature—the first was Creative Nonfiction (2009), and no, it's not quite as good. She had to work to figure it out. And Girls? Not her first multi-episode series either—and not even her first show about girls in New York. Lena's web series, Delusional Downtown Divas, launched on Index magazine's site in 2009 and ran for 20 episodes over two seasons. The kooky, campy divas make the privileged Girls girls look like everywomen. I'm not saying that Lena's ascent has not been quick—my neck hurts from looking up so fast. But this is the kind of woman who is so relentlessly diligent that she makes us formerly-perceived-as-productive people have to rethink our whole approach. My answer to Lena's question at dinner? Terrific. I felt terrific about it. I thought of it as a warm Danish from an expensive pastry shop.
Lena and I did this interview over the phone a couple of days before Christmas. She was in L.A. and pushed the time of our call by 30 minutes so she could get acupuncture; I was in a house in the mountains and pushed it another 15 minutes so I could finish feeding sweet potatoes to my son.
MIRANDA JULY: I have a baby on my hip, so I need a minute.
LENA DUNHAM: Of course! Hi, Hopper!
JULY: "Hi. Lena!" He's actually talking a lot now.
DUNHAM: Is he really? What kinds of sounds has he been making?
JULY: Ah-blah-blah-blah-blah.
DUNHAM: Oh my god—I just heard one!
JULY: That was a laugh.
DUNHAM: I just heard what sounded like an adult giggle!
JULY: Yeah, exactly.
DUNHAM: So cute! Sorry I'm late. My acupuncturist pushed everything a half an hour, and he has me convinced that if I don't do acupuncture, then something terrible is going to befall me.
JULY: He's probably right.
DUNHAM: I brought Jack [Antonoff]—who you did see on Sunset Boulevard, by the way.
JULY: Really?
DUNHAM: Yes. I told him and he said, "I thought I saw her in a car and that I was imagining it."
JULY: That's such a trip to me because, I mean, I've only googled him once.
DUNHAM: That makes me think that you're like some kind of super-recognizer.
JULY: The thing is that he was wearing really bright clothes. I somehow saw that in that instant, and I was like, "Would Jack wear clothes that bright?" Then I was like, "How would I know?"
DUNHAM: It's funny that you say that because he's been wearing these neon sneakers, and he told me that they were supposed to be a one-time statement, but now they've become an everyday staple. He's really upset about it.
JULY: Well, if he hadn't been wearing bright clothes, then I probably wouldn't have noticed him.
DUNHAM: So then I brought him to acupuncture, and I was like, "The acupuncturist is going to let you know that you've really been burning the candle at both ends and it's been a rough scene." He told Jack that he had too much energy and not enough places to put it, and then he told me I had so little energy that I almost had no pulse, so I was sort of pissed at the situation.
JULY: You should just suck out some of Jack's energy.
DUNHAM: Exactly.
JULY: Not through his penis, though. That's not what I meant.
DUNHAM: By the way, as we're talking, if there's anything that we don't want to say in the interview, then you can always say, "Off the record." You can say, "I would say, off the record . . . Okay, back on the record!"
JULY: Right, you have to remember to say, "Back on the record," or there's no interview.
DUNHAM: Yes. Otherwise, they can't publish anything you've said after "off the record."
JULY: From now on forever.
here are definitely people who feel like the characters on Girls are intolerably in their own heads and they don't understand the purposeful part of that.—-Lena Dunham
Current Issue
September 2017
DUNHAM: For some reason, I'm thrilled that you're doing this with a baby on your hip.
JULY: He's gone now. I banished him.
DUNHAM: Oh, he's gone.
JULY: He and Mike [Mill's, July's husband] just went out the door. I've been thinking about you since we had dinner last week.
DUNHAM: It was so nice—and very reviving. I should tell my acupuncturist about that because that was a day when I had a lot of energy.
JULY: Speaking of that dinner, I was thinking about how most people don't know what you're really like, just as I didn't know what you were like when I saw Tiny Furniture. But I remember the first time you came over to our house—Mike and I were saying that we'd never met anyone with such good manners who was also just so warm and deeply enjoyable to be with. Then Mike saw you at that Judd Apatow screening and came home and reported, "Lena was exactly the same as she was with us with, like, agents"—which we were baffled by because we're totally weird around agents. We just can't figure out how to be ourselves in front of them. Hopefully, our agents will be reading this. [Dunham laughs] But then I also remember you being that way with the person on the phone when you were calling the cab at my house. I remember hearing you on the phone with the Uber cab dispatcher going, "How are you?" and I was like, "Who is she talking to? Her best friend?"
DUNHAM: I would like to give Uber a plug even though their new updated app is really confusing to me.
JULY: But after meeting you and hearing about the agents and seeing you speak to the Uber cab dispatcher, I was like, "Lena is just herself with everyone." And this might be why you seem to sort of glide through the world with a certain ease. Do you know at all what I'm talking about?
DUNHAM: Well, because of the show, I've started to get used to people feeling like they already know me when they meet me. I've obviously only experienced it within the past year of my life, but it's really interesting to have so many people who you're not familiar with act familiar with you. So you do have to come up with a strategy for how to handle that, and mine has been to try to match that familiarity by being familiar back. I've decided that instead of feeling like it's creepy, I can feel like it's really kind for people to go out on a limb like that and be familiar with someone they've never met. The only flip side to that has been that I've had this thing happen where I've been really familiar with someone and they will feel like we've started a close friendship, and then I'll feel like I've disappointed them in some way by having a boundary in my life. Then it also makes me self-conscious because I'm worried that the close friends that I do have will think, "Oh, we're not as close as I thought because she's—"
JULY: Like that with everyone.
DUNHAM: Yeah. I mean, I've always been a big "I love you"-sayer and stuff. But then I worry. Jack once overheard me calling someone else "baby bug," or some stupid name that I've called him before. I was like, "What if he now thinks I'm just a big disingenuous piece of crap?" That kind of thing gives me anxiety because I want everyone I love to know how much I love them.
JULY: How old were you when you made Tiny Furniture?
DUNHAM: I shot it when I was 23, and it came out when I was 24.
JULY: I was making work, too, at 23. I was also doing a lot of sort of quasi-prostitution—like things to shock my parents—and that's on the record, by the way.
DUNHAM: I love it.
JULY: That part where I said it's on the record? That is off the record. [Dunham laughs] But I know that you're close with your parents [the artists Carroll Dunham and Laurie Simmons]. I have writer parents, so like you, I also had great models for how to work and value your inner life. I also kind of assume, though, that anyone who makes themselves the star of their own work, like I do, and puts themselves out there in that way, didn't feel seen somewhere along the way. Like, part of the reason I have so much energy to put in to authorship is because I feel like I'm fighting against a huge silencing, ignoring force. That's just my own battle and kind of the least interesting part of why I make stuff. But does that idea resonate with you at all?
DUNHAM: I knew exactly what you were saying the minute you said it. I know that in my family—despite the massive amounts of acceptance—it was thought that in order to be a person who is really contributing something to the world, you had to be generating things creatively. So performing was only really interesting to my parents in the context of things that you create. I think if I'd wanted to be like a straight-up actress, then as much as they might love watching movies and respect the work of Cate Blanchett or Meryl Streep, they would have been flummoxed by the decision, because it would not have involved an appropriate amount of, to their minds, control and expression. In fact, it's only recently that I even realized that performing was a part of the process that I enjoy. I always behaved as though I was acting in my own work out of some sort of strange utility, and once I found an appropriate stand-in, then I would stop. I think I'd aligned the idea of liking it with having a horrible ego or something, and admitting that I liked it or that it was important to me—even to myself—just didn't feel okay. Then I always had these two things of feeling really respected and connected at home, and going to school and feeling like I just could not get it right. I didn't feel like the other kids got me, but then I was also sort of bored and annoyed by them, so I knew that a large part of it was my problem. I actually had to switch schools because I didn't have friends. I remember my parents saying, "She is so victimized at her school, so she has to switch." But I was like, "I'm switching schools because I'm an asshole." [July laughs] So in answer to your question, I did feel seen by my parents, but I sometimes felt overly seen.
JULY: And at school it was the opposite—no one took anything seriously.
DUNHAM: Yeah, like I always wanted to be in the school play, and I was constantly preparing for auditions in a way that was crazy—reading the book that the play was based on, fantasizing, working on things in the bathtub—and then I'd literally get cast as, like, a bouncing ball or a fat man or security guard.
JULY: [laughs] I'm picturing a Daniel Day Lewis approach to the bouncing ball.
DUNHAM: Yeah, so I tried to do it in a serious way, and it just wouldn't work. But I'd still be so excited about the play. And then my parents . . . I think they kind of thought of all art forms as equal, so if they didn't like the play, then they would walk out. [July laughs] That was a big thing, where it was like, "We stayed for your part, but it's just not a great script and we didn't think the leads were strong so we'll see you at home after."
JULY: My dad was like that. Otherwise, it's "dishonest."
DUNHAM: That's totally what it was like. I think my parents thought, "We live in an artistic household where people are supposed to interact on a real level, so we're not going to tell you that something is good if we I don't think it's good, because that's not going to help any of us." I remember with the first short film that I made, my dad was like, "It's really great that you tried this, and I think it could be a good medium for you, but I don't think you can show this one to anyone." But that film is totally the thing that made me. If I hadn't sent it to a film festival and met people, then I don't know if I would have kept making movies. I remember that it was a big deal: My dad doesn't like this film but I sent it to people!
always felt like it was really special to have parents who were artists and to live the kind of life that we lived...I thought there was a kind of romance to it.—-Lena Dunham
JULY: One question I had after seeing your first film but before meeting you was how does this person know not to be ashamed of the very specific upbringing that she has had? Not that your upbringing is more shameful than anyone else's, but I think that it's normal, initially, to try to distance yourself from the shamefully unique aspects of your life growing up. But you got over that at some point—and rather quickly.
DUNHAM: That's an interesting question. Who knows if this is a good thing or a bad thing, but you read about a kid who grew up in the Playboy Mansion or somewhere really wild, and they're always like, "I didn't know anything else. I just thought this was life." But I never felt like that. I always felt like it was really special to have parents who were artists and to live the kind of life that we lived in a big loft—which wasn't actually that big, but felt big because I was small. But I thought there was a kind of romance to it. So I don't know if it's good to be engaged in that way with your own life, but I always sort of was. I've seen the other version of it, too, though. My two best friends from childhood both also have artist parents, and I feel like at least one of them has a more ambivalent relationship to the whole thing. She wanted to be an artist and went to art school, but she kind of felt—and she would be the first to say this—like people were interested in her because of the kind of childhood she'd had, and it made her feel like kind of a spectacle. She found it challenging in a million ways that were hard for me to understand until recently. I think it was actually hard for me to understand until I imagined having a kid and could imagine what their particular burdens would be in being my kid. I actually thought about it when I saw you with Hopper. This is going to sound like such a pretentious thing to say, but I saw you and was like, "Oh, you're totally being a mom in a cool way that's particular to who you are, but you're not trying to do it."
JULY: Being a mom is probably the most normal thing I've done.
DUNHAM: But you've seemed to find a kind of balance in the whole thing. I remember this moment when you said to Hopper, "It's an orange and it's orange. It's the only thing that's like that." I could imagine reading that in your fiction or seeing it in one of your movies, but you're not foisting your identity on your kid.
JULY: Yeah, and if you hadn't been there, I might not have even said it's an orange and it's orange, because the truth is that stuff is just totally lost on him. He doesn't understand.
DUNHAM: He doesn't speak English yet.
JULY: But I do often find myself comparing you with my 10-month-old son because you're an example of how a child of artists can turn out.
DUNHAM: When I wrote Tiny Furniture, I also had all of my mom's journals, and I've always had this huge romantic relationship with her life and my parents' life before I existed. My relationship with that stuff is still so obsessive.
JULY: Speaking of romances, you fell in love not that long ago. We've spoken about him already but would you like to state the full name of this person?
DUNHAM: Oh, I'm totally fine to state his name: It's Jack Antonoff [musician and guitarist for the band Fun]. I know there's some rule that you're not supposed to talk about your boyfriend publicly just because it seems like all starlets under the age of 33 have decided not to do that, but if you're in love with someone great, then I don't understand why you wouldn't tell everybody. You don't have to post naked pictures of them on the internet or tweet pictures of your Christmas celebration, but I feel like, in a way, he's my best advertisement, so I'm like, "Why would I not tell people who ask?"
JULY: Before Mike, I found it not that easy to find boyfriends who were excited about having a girlfriend who was excited about working. I've always had this kind of fantasy that that wouldn't be an issue for younger women whose boyfriends were raised by—
DUNHAM: These feminist moms.
JULY: Yeah. But I don't know. Has that been an issue for you?
DUNHAM: Well, Jack is the first person that it hasn't been an issue with. I thought that I would eventually find someone who got it when I was older. But I was always like, "Well, this is going to be me my fate for a while . . ." It's not really an acceptable position these days to say out loud, "I don't want my girlfriend to work that much," so when you date someone, it comes out in a thousand other, even more nefarious ways. I almost respect it more when some guy is like, "Listen, I know this is completely rude, but I just grew up thinking that I was going to have a girlfriend who was going to hang around and be there, so I respect what you're doing, but please go on your merry way." Then at least you'd have something to work with. But instead I found people getting hostile about a million other things. I mean, it's not like I've been in that many serious relationships that have been torn asunder by my work habits, but I'm thinking about one in particular where it really started being like, "I think all your skirts are too short," and weird and controlling in a thousand ways. So I sometimes thought, "Am I going to end up with one of those boyfriends who kind of isn't that ambitious but just loves cooking and gardening and dogs?" Which I didn't want either.
JULY: Right, someone once told me, "You need to be with a pie-maker."
DUNHAM: Who told you that? A guy?
JULY: A guy. I won't say his name. [both laugh] I was just like, "But how am I going to fall in love with a pie-maker?"
DUNHAM: You can't . . . I mean, someone could. I feel like in movies, there's always, like, an executive and she has a husband who's a pie-maker. So, yeah, I was concerned that I was going to end up with like a pie-maker or a guy who lived in a van, and then my big appeal was going to be that I was going to be able to take that guy out of his van. But Jack works so much—I always say that he makes my job look like I work part-time in the gift shop at an old-age home. He's just constantly doing it, and it gets me invigorated about what I'm doing and reminds me of what's important. But did you find it stressful at all when you were first in a relationship that there wasn't the same ability all the time—or the same desire—to get out of your bed at one o'clock in the morning and have some big creative kerfuffle? I used to always get out of bed at one o'clock in the morning and write for a while and generally just kind of do what I felt like and get things done at night. It would feel like there were more hours in the day.
JULY: Yeah, that was a lovely time in my life in which I took delight, until recently, in a sort of self-destructive way. I'd be like, "The good thing about when this relationship falls apart will be that I can be alone again and work in the middle of the night." But it took me a while to realize that it was actually sort of an honor to share a life with this person and to figure out how to do that.
DUNHAM: Totally. But it's really hard sometimes to feel in the moment. I mean, I was on the phone this morning with my parents, who are my favorite humans in the world. I love my parents and my sister more than anything. But I had this thought that was like, "Okay, great. Checking this off the list for the day." And that's not a good thought to have when you're having a delightful conversation with your parents about your Christmas plans.
JULY: I'd actually written a question that speaks to that, but I deleted it because I didn't want anyone to know the badness. It was something about this sort of guilt for working that one might feel, and whether that's a woman thing. But there's also this element of finding ways to feel bad about stuff as, like, a profession—and I think perhaps we both do that a little bit. But maybe we've both found ways to share that kind of thing with the world by just throwing it out there—and maybe by sharing it, it gets transformed, and then you yourself see it differently.
DUNHAM: That's exactly how I feel, like if somehow I can admit to it at least . . . I never realized until recently how much of making work for me was also based in making the people around me understand that I got it. Sometimes when I make things, it's because I want my parents to see that I know what a pain I've been. I just want them to see it and feel that I know. It's not necessarily even wanting them to know that I'm sorry—just that I'm in on it, so don't think I'm not. Or, for example, with a guy who I've slept with, I'll think, "You're going to see my movie and you're going to understand that I was out-thinking you the entire time and you didn't even know it." Of course, that's not how anybody perceives your work...I don't know if you've ever had that fantasy.
JULY: You do a great job of that—especially on Girls. I know everyone loves this scene, but that moment where the tables are turned and Adam Driver's character says, "You never ask me anything"—that flipping around where we do suddenly realize that the person driving the car, the director, knows so much more than your character, Hanna, but in this intimate way where we know that you've been there and you're not just preaching or self-loathing.
DUNHAM: I'm so glad that you feel that way. Not like I listen to every piece of feedback, but there are definitely people who feel like the characters on Girls are intolerably in their own heads and don't understand the purposeful part of that. I know that when I have moments like that, it occurs to me how much I've been viewing a situation through my own convenient lens, which is the most exciting kind of revelation to have—and the most distressing kind of one to have about yourself.
JULY: Right, but if you can put it into your work and not get mired in it, then it is pretty much just a good thing.
DUNHAM: Completely.
t felt like some weird career puberty, like how people you start to be flirty with before you notice your own breasts. I was being treated in a more adult way before I even understood why or how.—-Lena Dunham
JULY: I'd imagine that working on a TV show is sort of like having a conversation with the culture in real time. But you actually can't be aware of every single thing you put into the work. You just have to keep being like, "Well, this one thing I've had a long time to think about, but this other thing is brand new and I don't even understand where it's coming from, but it's out there, too." You get that sense when you're watching Girls that it's a real mix of those things, and everything has not necessarily been turned over and examined yet.
DUNHAM: It's a different experience, working on TV. I never even considered it before I did it. There are times when you just need to get the thing out so you don't even have time to necessarily be precious about your work in the same way as you might if you were making a film, which runs so counter to the way I grew up watching people make work. When you're making features, if you're not done, then you don't send it to the festival. It's much less urgent. But TV is almost like being in college, where you've just got to hand in your assignment whether you've worked on your thesis or not, because Christmas break is coming.
JULY: I think it's much more thrilling for everyone right now that you're not plunging your energy into the slow mechanism of features. I know that you have plans to make movies—and will make many—but for right this second, it nice to not have to wait as long to see what you're going to do next.
DUNHAM: Do you feel frustrated ever about what it takes or how long it takes to make a feature?
JULY: Yeah, you know that I do. But that's partly why I work in a few different mediums. It's kind of my way around not feeling so pinned or controlled by the slow-moving machines.
DUNHAM: People sometimes have this idea that there's something schizophrenic about wanting to apply your artistic energy in different places, but I think there's a new definition emerging of what it means to be an artist that is almost more about having a point of view than about having a mastery over a particular material.
JULY: I do have to say, when interviewers want to spend a lot of time talking about how curious it is that I work in different mediums, I feel like it really dates them—I think, "Oh, you're an old-timey person." Which is fine.
DUNHAM: I remember when it was like a big deal because J.Lo was going to put out an album and she was an actress. People started going like, "She's trying to be a triple threat!" But writing stories, writing movies, writing performances, and trying to figure out different ways to do them all is not like having a nightclub and also trying to win an Oscar. You know, like, Miranda is a nightclub owner and—
JULY: A model.
DUNHAM: You are a sock model.
JULY: I have sock-modeled for Hansel from Basel—my one modeling experience. Remember when I saw you wearing Hansel from Basel socks, I was like, "I could probably get you some free socks, Lena."
DUNHAM: Literally, I remember having this thought that I was going to e-mail you about the socks.
JULY: I know it's gauche to talk about money, but later, after I read about your book deal, I said to Mike, "I guess that Lena can probably buy her own socks." [both laugh] You were too busy making millions of dollars to get back to me about the free socks.
DUNHAM: But don't you feel like free things—even when you don't need them—just give you a feeling like they're so yours or something.
JULY: That's why people shoplift.
DUNHAM: There's a big shoplifting plot on Nashville, which is my current favorite television show. A very, very rich country singer shoplifts a nail polish. She calls it boosting.
JULY: Oh, yeah. There's nothing like boosting.
DUNHAM: Did you ever do any stealing as a kid?
JULY: I did, but more as an adult.
DUNHAM: I was never brave enough, even though it was a big trend in my high school. Every time I walk out of a store, I'm terribly afraid that some Tourette's-y part of me will shove something into my bag that I don't know about, or there will be some terrible misunderstanding if I walk into a place that might sell the brand of water that I'm carrying. I'm always like, "I came in here with this!"
JULY: Well, I am for sure one of those people who tried to fill their soul's emptiness with stolen goods. But I am sort of interested in money—not in having it, per se, but in what it means—so I wanted to talk a little more about your book deal. [Dunham was reported to have a received more than $3.5 million from Random House to write a memoir/advice book.] I know that it's probably hard for you to see from where you are right now, but some of the details of your book deal that leaked were actually very meaningful to a lot of people I know—the fact that this really large amount of money was being spent essentially on a girl making art about her feelings. There was something kind of earth-shifting about that for people around me—you know, for women artists, and not in the way that it has been portrayed online or in the media, but in a real, like, "Wow, this is a shift that will somehow be good for me" way.
DUNHAM: That's so exciting for me to hear because most of response was either people ignoring it, which is fine to do, or the internet commentary, a lot of which was like, "Who the fuck would spend this much money on this thing?" But I think what that was so stressful to me at first about the number being put out into the world was the sense that someone was going to think that I was going around town and being like, "Listen, you fools. I'm worth this much." People thinking that somehow I had this weird Machiavellian hand in the whole thing was incredibly anxiety producing. So in a way, I hated people knowing the details of the book deal, but in another way, it totally runs counter to my whole ethos to hide anything. If something happens in my life, then it's going to find its way into my work, and I don't want to just play some game where I pretend that, since I started working, absolutely nothing in my life has changed. Some things really haven't changed, but then there are certain other experiences that I never really imagined I would have.
JULY: I think it's one the most belittle-able of forms: women speaking very honestly about themselves and their friends, trying to say things that have never been said before, and taking that risk that maybe it will seem unimportant—because historically, it has been considered less than unimportant. But it's not like your publisher is a dummy. They're looking at the culture and at the numbers, and they're saying, "Guess what? People are actually hungry for this."
DUNHAM: That was in some ways the most exciting part to me—that people thought there was a place for this. I tried not to look at the internet reaction, but I don't want to be that asshole who's like, "I just don't read any of it," because, in a certain way, it's impossible not to read any of it. Apparently, Ashley Judd claims to not read any of it, and finding that out really filled me with a lot of self-loathing. But people were acting like I was Paris Hilton or something—even though I think that any kind of success that's been achieved by all of those girls who have made a business out of having amazing hair and a specific kind of attitude is not an accident either. I think people were acting like, "What a lucky, chubby little asshole who stumbled into this situation," and it kind of hit on some real fears I have, because sometimes I do feel that way.
JULY: But it's not like you got this money for being crass or cruel or promoting some company or some brand. Young women have been paid large amounts of money before—but not for this.
DUNHAM: I feel like I'm starting to understand it all better, but it's weird. I don't know if this is exactly correct, but the best way to explain it is that when I was 23 and first going to film festivals and having meetings and stuff, there was definitely a feeling that even if you were respected, people treated you like you were cute and precocious and wanted to be protective. But once you're a little older and they find out that you have some money—which a lot of people equate with some power—then there's a feeling suddenly that you're a woman walking around and playing some game that you don't even necessarily want to be a part of, and that you're some threat. So it felt like some weird career puberty, like how people start to be flirty with you before you notice your own breasts. I was being treated in a more adult way before I even understood why or how.
was constantly preparing for auditions in a way that was crazy...and then I'd literally get cast as, like, a bouncing ball or a fat man or a security guard. —-Lena Dunham
JULY: It's hard to make something like that your own unique experience. You can't commiserate with many people about that, so you'll have to lead the way, and Tavi [Gevinson] or whomever will have an easier time of it because of your example. I actually feel now more than at any other time in my life that it's not just that there are all of these women who are coming into power, but that we're all drawn to each other in a way that I haven't really seen before.
DUNHAM: It's an amazing thing.
JULY: I've known some pretty interesting women over the years, but one of the things that seems different now is that there's a kind of friendliness—it's not about who's going to be the coolest at the party. This is new to me, and I have to say that I think that comes from the younger women. It's one step past riot grrrl. With the riot grrrls, you always had to have the grrr part. You always had to be rioting.
DUNHAM: Totally. And in riot grrrl culture, I feel like there was a big thing where it was like, "We're this kind of girl, and we're not into this kind of girl."
JULY: I definitely think it was a more sort of prickly-fight-y era. I was talking about this with Carrie Brownstein: When you're in your twenties, you don't think about how there are going to be these younger women coming along. You're probably not thinking much about that now.
DUNHAM: No, Tavi's the only one. It's funny, though, because Tavi's been working since before I was working.
JULY: The younger girls seem like the 2.0 version, and some of the rough edges are worked over. They don't have to fight in the same way, so they can just go and put their energy into making their work—and I'm not saying that is because I think we fixed it all.
DUNHAM: But it's kind of that. I feel that way all the time about my mom and generations thereafter. I think about some of the stuff that my mom had to deal with when she was a young artist, and then I think about the stuff that her students at Yale don't have to deal with, and I do appreciate that that's because she and Louise Lawler and Cindy Sherman were trooping around and stuffing their photos in everyone's faces and saying it was okay to have a show that wasn't about big theoretical ideas about math and structure and theory. I think it's so important for people to know that. And then people like you and Carrie—to me, it's not a given that you guys would be generous to people who were coming in after you and making work. But I remember being so overjoyed when I met you that you were open to this thing.
JULY: You guys are what we need—I really do feel that way. The way that you have tilted a lot of people's worlds is only positive—even if it feels kind of disruptive. It's not always a totally easy thing for everyone to adjust to a new face of power, even if it's the thing they want the most.
DUNHAM: Well, you can see that I'm really worked up about my nonexistent pulse—I'm almost angry.
JULY: I remember having something similar, and I think the thing you have to do is eat eggs, run, and have sex a lot—or something like that.
DUNHAM: Eat eggs, run, and have sex a lot—great, I'm on it. But I remember you saying to me in an e-mail early on that you felt like there was some kind of shift happening. My dad had a really good quote about that. I took him to the Glamour Women of the Year Awards, and I think he thought it was going to be pretty cheesy, but he left so inspired by seeing everyone from, like, Chelsea Handler to a woman from Pakistan speak. So my dad said, "Watch out, boys. The girls are comin' for your toys."
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The superintendent of Minnesota's largest school district is apologizing for comments he made dismissing a link between bullying and six student suicides.
Dennis Carlson published the statement publicly yesterday. (Read a copy of the letter below.)
Carlson wrote that, "Although no one can ever be absolutely certain of the specific event that leads to a student's suicide, there can be no doubt that in many situations bullying is one of the contributing factors."
That stands in stark contrast to a 2010 voicemail Carlson sent to school district staff regarding the rash of suicides.
"Based on all of the information we have been able to gather none of the suicides were connected to incidents of bullying or harassment," he said then.
Carlson's new statement continues: "If my December 2010 statement was perceived as dismissive or insensitive to victims of bullying or suicide, I deeply and sincerely apologize. I absolutely meant no disrespect."
Justin Aaberg told his mother he experienced bullying at Anoka-Hennepin because he was gay. He killed himself in 2010 at age 15.
"This apology, I mean, it's a nice idea, and I think it would be great if it was really honest, but it actually kind of hurts a little more," said Tammy Aaberg, Justin's mother. "It just feels like a forced apology to me."
She speculated the statement came in response to a lawsuit brought against the district by two civil rights groups. A district spokesman said there is no connection between the statement and the legal action.
Six Anoka Hennepin students killed themselves between November 2009 and October 2010. The events drew national attention to the district. Earlier this month, Anoka-Hennepin revised its policy requiring faculty to remain neutral in discussions of sexual orientation, following years of debate over whether the policy led to increased bullying.
The new policy requires teachers and other district staff to conduct discussions of all controversial issues in an "impartial, balanced and objective manner," and instructs them to "affirm the dignity and self-worth of all students."
Read Carlson's letter in full below. Use the tools to enlarge the text:Anoka Superintendent Statement


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ME PoV Spring 2017 issue
4th Quarter 2016
VAT in the GCC and the impact areas in the implementation cycle
A global perspective
What happened, what didn't, and hope for the future.
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Moderators: Timko, Fritz, Solty, Booter, Blake_T, Frank Delicious
BLURR wrote:I just got back from my morning run and had to post something really quick. Since today is my low mileage day, I decided to run the last 2 miles completely barefoot and run in the grass rather than on the road. The first thing I noticed was my range of motion. It was like a whole new experience for my feet and ankles. It felt great. It felt like my form was more powerful. I am now chomping at the bit for my consulting check to get here as I want to go and get a new pair of barefoot shoes. Unfortunately, I know it won't be FF's as my feet are oddly shaped and only 3 of my 5 toes will actually slide into the compartments.
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Upcoming 2014 Hard Rock + Metal Releases
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text: Jamie Madrox comes face to face with the thing that terrifies him the most: Having to make a decision. The divisiveness of CIVIL WAR has spread to his own team, as half of them want to cooperate with the government, while the other half wants to take a stand against it. ItÆs JamieÆs decision that may well decide whether X-Factor stands or cracks apart...and things arenÆt being helped by Quicksilver, who offers Rictor the opportunity to get his powers back--but at what price?


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Man did i crash and burn in the first weekly of the off season in Meilahti, Helsinki, Finland. My head didn't hurt after the fun evening yesterday but my body sure was suffering from the effects. I sweated like a pig. I had streams of sweat flowing on my glasses and the Optifog coating allowed me to see. In 46 F regular glasses would have fogged up mercilessly with the amount of bullets i was sweating. I had a too late revelation about zero drop shoes lowering the trousers. I hadn't thrown in the winter pants i used now since buying the Vivobarefoot Off Roads. Losing weight meant a further drop of the pants so they were constantly under my heel. At first i thought the two slips in driving on wet rocks came from the shoes losing traction but perhaps it came down to the trouser insulating the sole from the ground partially.
The bad: I shot 11 off my personal record aargh! I have plantar fascitis and have not thrown a single time nor putted in a month and thanks to the public transportation being late i could not get any warm up throws and boy did it show. I hit the nearest bush top on the first drive. All of one foot from the tee. The disc didn't stop there but i thought this ain't a good omen because it is an uphill drive and i could not lift my arm. I sent the command and promptly my arm moved flat. I said i will never be a good nazi because i can't raise my arm consistently. That was the least of my body failures. The summer of playing less and running/cycling more helped me none. My core tilted unwantedly despite trying to stiffen up the muscles for goo posture keeping. Despite having had a day of rest after a big day at work my tendonitis came swinging at me fucking up the rest of my game. Blechh. I'm so disgusted that i'm thinking more of donating my discs rather than learning to throw lefty. Bugger. i'm not happy about having tendonitis trouble after not throwing for a month. What am i supposed to do to be able to throw if such long breaks mean nothing? Swearwords are about half of the words in my thoughts grr...
The really ugly: I had a classic oh shit moment in the driving field after the round when i was thinking i cannot be this off managing to throw only 360'. I had tightened up the suspenders of the pants to limit how often and how they would slip under the heels and loosening those up allowed 403' twice in a row. During the second throw my left calf bulged up nastily. It was warning enough so i quit then.
The good: The lousy trousers has a hole in it from being under the heel now. So much for buying not exactly properly sized discount clothes. Not so cheap now that i need to replace them i'll be poorer but from now on at least that problem source will not bother me as often. I do have other trousers that are too long so i need to think carefully when to use them because the shoes are pretty good everywhere else but in wet rocks. The course is 90 % that. I'm afraid that in colder weather the sole material might get slicker and the half decent traction might deteriorate. I identified a way to improve as a player. I need to train alcohol intake much more to be able to handle it so that on the following day i can compete effectively Cough.
This is absolutely the worst season ever for me not having played a lot thanks to surgery and i've had three public super shitty blow up rounds now with drastically worse results than my average and truly pitiful difference to my record rounds I have shivers from getting cold. Perfect.


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Slick-fielding Marrero continues to impress
JUPITER, Fla. -- Before pulling off a trade with the Tigers last July, the Red Sox had a young shortstop who pushed his way to the Major Leagues largely on the strength of an excellent glove.
Could Deven Marrero be the next Jose Iglesias? Perhaps it's not a fair comparison, but in Thursday's Grapefruit League game against the Cardinals, Boston's latest slick-fielding shortstop prospect put on an impressive show.
"Not comparing him to Jose," manager John Farrell said, "but if the need were to arise, based on what he showed last year and in his first year of professional baseball, and the way he goes about his drill work and what we see on the field, we'd be hard-pressed to find a shortstop that's going to make better plays than that. Four or five different types of plays within a given game. He came through the Draft with that calling card, as an elite defender, and he's showed that."
Marrero completed some routine plays, but also executed a diving stop on a ground ball up the middle, snared a line drive to the third-base side and made an acrobatic turn on a 4-6-3 double play with a runner breathing down his neck.
"Defense is my thing, so I'm ready every pitch and I expect anything," Marrero said. "Everything else just happens, it just flows. It happens so quick that you don't have time to think. You just react."
The 23-year-old was the 24th overall pick of the 2009 First-Year Player Draft out of Arizona State, and last year he split his first full Minor League season between Class A Advanced Salem and Double-A Portland. He hit .252/.338/.317 overall, with 20 doubles, two home runs and 27 stolen bases.
Marrero did pick up two singles in four at-bats on Thursday, but his glove stood out the most. It's likely what will carry him toward the big leagues, even if his path could be blocked for the foreseeable future by the even younger Xander Bogaerts.
"I don't look ahead," Marrero said. "What I like to think is I just have to go out there and play every day and do what I can to get better that day and let everything take care of itself. All that stuff's out of my hands. Xander's a great player. He's there for a reason and they trust him for a reason.
"The Red Sox are going to put the players out there that they need to win the World Series. They have trust in him right now. The season's going to play out, and I'm going to do my thing, and when they think I'm ready, I'll be ready."
Andrew Simon is a reporter for MLB.com. Follow him on Twitter @AndrewSimonMLB. This story was not subject to the approval of Major League Baseball or its clubs.


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retrofuturist wrote:Venerable Appicchato is cool
Tantrayogi wrote:Perhaps is due to my lack of knowledge in the suttas, but sometimes I have a big doubt about the Dhamma as a valid path for a lay person. It's difficult to do it in english, but let me explain it a bit: I come from a catholic background where, besides its hierarchycal structure, the goal (afterlife in heaven) is the same for both lay and clerigy. They believe that both can accomplish that goal.
But in Buddhism I have that feeling that the goal is just for ordained people and lay people only can make good merits and wish to be a monk next live. I've tryied to find stories about lay practitioners, but besides Layman P'ang stories in the Ch'an tradition my search wasn't successful. So there is that feeling and it's quite frustrant, because I can't leave my wife and daughter at their own and I can't fully aspire to attain liberation if not being a renunciant. I'm confused.
What do you think? What's the role and goal for lay people in Buddhism, and especially in Theravada?
clw_uk wrote:Renunciation is in the mind not moving somewhere in the external world
jcsuperstar wrote:...well the monk life would be the easiest thats for sure.
appicchato wrote:jcsuperstar wrote:...well the monk life would be the easiest thats for sure.
Easiest?...best, most conducive, facilitative, encouraging...maybe...but easiest?...not by a long one...not yet anyway...
jcsuperstar wrote:retrofuturist wrote:Venerable Appicchato is cool
adosa wrote:jcsuperstar wrote:retrofuturist wrote:Venerable Appicchato is cool
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Tobacco Cessation
Kick the Habit Today!
The University of Alaska wants to help employees and dependents kick the tobacco habit. Below are several links and resources to help you help yourself, your family and your friends.
- Alaska's Tobacco Quit Line:1-800QUIT-NOW www.quitnow.net/alaska
- The American Cancer Society:1-800-ACS-2345; www.cancer.org
- American Lung Association: www.lungusa.org
- Nicotine Anonymous: 1-877-879-6422; www.nicotine-anonymous.org
- BeTobaccoFree: betobaccofree.hhs.gov/quit-now
Not a fan of links? Don't worry, there is an app for that!
QuitSTART - Apple QuitSTART - Android
iQUIT - Apple Quit Smoking: Cessation Nation - Android
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4919 S. Hanna Street. Henry said the high numbers of adoptions reflect a combination of factors, starting with a new, streamlined adoption process.
Faster approval of a candidate is also a priority. No longer are there long waits for approval while the staff tracks down multiple references; one good one is enough. Henry said she talked to other shelters to find out what their processes for adoptions were and then adjusted the ACSPCA's. Long waits can mean the person looking to adopt the animal will go elsewhere, something the ACSPCA doesn't want to happen.
"We want to find good '"forever'" homes for our animals," Henry said.
Higher turnover, although great for their dogs and cats, costs the shelter more because it they must intake new animals to fill those empty spots. All the animals it takes in must be in top health and undergo spaying or neutering, which costs money. Henry said the facility is looking to counter these costs by increased grant revenues and establishing more fundraisers.
Henry is new to the ACSPCA, but not new to volunteering with animal shelters. One of Henry's college friends, Tracey Neblett, works for the Clinton County Humane Society and got Henry involved in animal rescue and transport. Taking the job at the ACSPCA seemed like a natural transition for her.
Henry has a degree in communications from St. Joseph College, and most recently worked for her brother in managing her brother's numerous business properties. Before that she worked for the city as a neighborhood specialist. She volunteered and served on the board of the AIDS Task Force of Northeast Indiana for years, where she learned the ins and outs of a nonprofit organization, as well as how to raise money.
Henry is hoping to educate more people about the effect numerous stray animals have on a community.
The ACSPCA is a closed shelter. Unlike an "open shelter," it only takes as many animals as it they can support long term. None of the animals will be destroyed; the goal is to find them forever homes. All the animals it takes go through a screening process to make sure they're not overly aggressive. If an animal stays at the shelter for a long time, it might look for a foster family or a rescue for placement.
Henry said she got to know her 13 staff members and how the shelter runs during her first month on the job. Since then, she has been networking with other shelters to see how they operate, and soon she will sit down and decide on some long-term goals for the ACSPCA shelter.
"The shelter is, to use a canine reference, getting long in the tooth," Henry said.
She already knows they need to do some work on the HVAC system and on their outdoor kennels. Henry said she would really like to serve as a resource to the community for issues as they relate to animal welfare.
"For example, how can we assist owners who feel like they have to surrender their pets, but don't necessarily want to? What resources can we provide to them? What social service can we plug them into that might help them be able to keep that pet in the home," Henry said.
Henry said they will be developing more educational outreach into the community and look at ways to partner with other nonprofits. For example, Henry is scheduled to meet with an organization that does in-home day care for the elderly about ways to get pets into these homes. She would also like to work with more scouting programs or possibly Big Brother Big Sisters.
"I'm a firm believer that animal welfare begins in the home, and teaching young people the importance of kindness to animals is a life lesson," Henry said.


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Kenneth P. Disselkoen Appointed Director
Fairfax County Office of Public Affairs
12000 Government Center Parkway, Suite 551
Fairfax, VA 22035-0065
Contact: Merni Fitzgerald, Director of Public Affairs
703-324-3187, TTY 711, Fax 703-324-2010
Media Pager: 703-324-NEWS (6397)
Sept. 11, 2007
Kenneth P. Disselkoen Appointed Director of Fairfax County Department of Systems Management for Human Services
The Fairfax County Board of Supervisors appointed Kenneth P. Disselkoen as director of the Department of Systems Management for Human Services, effective Sept. 10.
Disselkoen has worked for the Department of Systems Management for Human Services for more than 10 years. Since September 2006 he had been the acting director of the agency.
As acting director, he led and managed the department's activities, including:
- Expanding the program of integrated approaches to prevention services, domestic violence, faith-based partnerships and neighborhood and community building.
- Directing the department's operation of regional integrated service delivery.
- Providing management direction to the department's Research, Analysis and Project Services Group's process improvement, research and analysis support, strategic planning and organizational development, and demographic and land-use forecasting services.
- Directing various human services and countywide initiatives, including the reorganization and redesign of the domestic violence services operations, ending homelessness, gang prevention, community and neighborhood revitalization, and the county's response to overcrowding.
- Directing the continuing operation and improvement of the agency's call-center based service access process.
- Providing leadership and support to the department's balanced scorecard-based strategic planning process and the development of the agency's fiscal year 2009 budget submission.
- Collaborating as a member of the human services leadership team with individual department directors in coordinating the work of the agency with the overall human services operations of the county.
- Providing executive level staff support to the Human Services Council and the Consolidated Community Funding Advisory Council.
Prior to serving as the agency's acting director, Disselkoen was the first regional director of the Fairfax County Department of Systems Management for Human services. He planned, implemented and managed the department's prototype approach to regional collaboration and operations. He also managed the process for programmatic space and operational integration of the South Fairfax County Human Services Center, which now serves as the model for facilities-based service integration for the county. He also developed and implemented the county's first Neighborhood College program and the initial operational model for regionalized coordinated services planning.
Prior to joining the department, Disselkoen worked for the Fairfax-Falls Church Community Services Board, the Dominion Psychiatric Hospital, the Woodburn Center for Community Mental Health, the Edgemeade Youth Rehabilitation Center and the Hathaway Home for Children.
Disselkoen received a Master of Social Work from Tulane University and a Bachelor of Arts in Sociology from Calvin College.
Disselkoen will receive an annual salary of $138,110.
For more news and information, visit www.fairfaxcounty.gov/news.


text: American Diabetes Association is MIA in W.Va. By Kate Long May 5, 2012 Story Share Are you at risk for diabetes? Check here.CHARLESTON, W.Va. -- Three years ago, when West Virginia was leading the nation in diabetes, the American Diabetes Association shut down its West Virginia office.State volunteers could not come up with the yearly fundraising goal of more than $100,000 set by the national organization, the former state board chairwoman said."We tried to raise it, but we came up short," said Jennifer Honnaker of Huntington.Now, officials have decided to bring the organization back to West Virginia, ADA Division Vice President Lew Bartfield said."I can make a commitment that we will have an office in West Virginia by next January," he told the Gazette-Mail."That would be great," Honnaker said. "We need all the help we can get with diabetes education in this state."An estimated quarter-million West Virginians have diabetes, diagnosed or undiagnosed. Three years ago, "like everyone else, we were a victim of the economic downturn," Bartfield said. "Nationally, our fundraising was down, and we had to cut back somewhere.""It was an ill-advised and very wrong decision to close the office in the first place," Honnaker said. "I know it comes down to money, but sometimes you have to look at other things."There are about 270,000 diabetics -- at least one in six residents -- in West Virginia, and the state leads the nation in diabetes and obesity, according to the 2011 Gallup Healthways survey. In the 2010 U.S. Centers for Disease Control and Prevention rankings, West Virginia ranked third for diabetes."When we had a full-time ADA staff person, she could keep track of available services statewide, so we connected a lot of people with help," Honnaker said, "but now, nobody really knows where the services are." The state doesn't keep track of them either."With a staff person, we could provide education programs for the rural areas," she said. "Now, if the ADA volunteers do anything, it's in Charleston or Huntington, even though the need is in the rural areas."In other states, including neighboring Kentucky, the ADA helps organize a statewide diabetes network and supports local groups with speakers and materials. The ADA lobbies legislators and keeps the diabetes community informed of developments. When the Gazette-Mail started talking with national ADA officials in March, Jim McGowan, the group's advocacy director, said, "There are no plans to reopen a West Virginia office. West Virginia will be serviced out of Kentucky."Kentucky ADA staffer Lisa Edwards, asked in late March what she does for West Virginia, said, "I'm three hours from there. I can try and get you in touch with someone who's a little more familiar with West Virginia."She had not visited the state for the ADA, she said."It would not be fair to say West Virginia had no service" for the past three years, former ADA national board chairman Stewart Perry said. "We still have our national website, we still have the 800 number, and we still mail brochures to West Virginians who call." Unpaid lobbyist Thom Stephens also "keeps an eye on legislation in West Virginia for us," he said.Bartfield said in April that West Virginia probably would have an ADA office by fall, perhaps housed inside a program with similar aims, he said, to economize on rent and office expenses."We'd love to talk with them about that," said Louise Reese, director of the West Virginia Primary Care Association. "That's an interesting idea," said Evan Jenkins, director of the West Virginia State Medical Association. "We could roll out the red carpet, and they could come back and get busy."The ADA might have to help the state diabetes community deal with a crisis immediately. West Virginia faces a 56 percent cut in Centers for Disease Control diabetes funding in 2013, unless something changes, according to Joe Barker, who supervises the prevention effort for the state Department of Health and Human Resources."That's the information CDC has given us, as of now," Barker said in early April. "So we'd love to see the ADA come back. There's a lot to do."Reach Kate Long at email@example.com or 304-348-1798. Story Share Story Share Trending Now 1 Facebook founder visits Cabin Creek Health Systems 2 Teen pleads guilty to voluntary manslaughter in Oakes Field shooting 3 Safety shutoff disabled prior to June coal-mining death, report says 4 Innerviews: Dual-identity surgeon riding high in horse racing world 5 Congressional opioid investigation targets drug wholesaler Miami-Luken Parkersburg officer pleads guilty to battery Previous Story State paid $22K each for Internet routers Next Story


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The Keighley News has been shortlisted for a coveted award.
It is a finalist in the Society of Editors Regional Press Awards for 2013.
We are among just six titles from across Britain to be selected in the Weekly Newspaper of the Year category, for those with circulations below 20,000.
Awards will be presented in a ceremony at the Lancaster London Hotel on May 16 hosted by broadcaster Nick Ferrari.
Keighley News editor Richard Parker said: "It is a great honour to be shortlisted and we are extremely pleased and proud.
"This is testament to the hard work and dedication of the whole team, including our many valued contributors."
Chairman of the judges Paul Horrocks paid tribute to the standards of all the entries, saying: "Once again we have been astounded by the scale and quality of the entries that come out of the regional and local press.
"We look forward to welcoming the shortlisted candidates on May 16 to further celebrate their work."
The awards are organised by the Society of Editors, in conjunction with the Newspaper Society, HoldtheFrontPage and Press Association.


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'It took five rounds to find the shootout winner, with Ryan Smyth scoring the game winner. Sabres forwards Ales Kotalik and Derek Roy matched goals from Milan Hejduk and Wojtek Wolski to extend the shootout into further rounds. The NHL's leading scorer Thomas Vanek had an opportunity to win the game but was denied by Colorado goaltender Peter Budaj.'
You are here: Home / SabresBeat / Avs Top Sabres 2-1 In Shootout


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FURIOUS pensioner Bob Sharples says doctors have refused to fit him with a pacemaker because he has terminal cancer.
The 74-year-old from Darwen claims it was a 'financial decision' and he feels 'badly let down by the people who should care most'.
Mr Sharples has developed a serious heart condition since being diagnosed with cancer of the oesophagus in August last year, and was told he would need a pacemaker fitted last month.
But his discharge notes from the Royal Blackburn Hospital, seen by the Lancashire Telegraph, said the cardiology team had decided not to proceed, because of his poor cancer prognosis and a lack of symptoms from the heart condition.
Hospital bosses said all decisions on treatment or intervention are based 'entirely on clinical need'. They have offered the dad-of-three a meeting with the consultant to discuss his concerns.
The retired electrician claimed a consultant told him fitting the pacemaker would be 'too expensive for someone with your condition'.
Mr Sharples, who volunteered as a special policeman for 25 years, said: "I'm so angry and upset and can't believe they can just write me off and wash their hands of me. I've given a lot to society to just get a kick in the teeth, and I feel let down by the people who are supposed to care the most."
The Dorset Avenue resident's discharge notes state: "The patient has been asymptomatic for last three months, no dizziness or collapses. Reviewed by oncology and stated, and stated clearly, that he got [sic] very poor prognosis. Life expectancy usually in this condition is seven to nine months.
"In these circumstances and with this 24 ECG (heart monitor) result, cardiology team usually proceed with PPM (pacemaker). But in view of the poor prognosis and being asymptomatic for the last few months, cardiology team decided not to proceed with any intervention/PPM at present."
Darwen MP Jake Berry said: "In tragic cases like this the hospital should be concentrating on ensuring the patient has the best possible quality of life.
"It is quite wrong that they impose this sort of rationing on someone.
"Mr Sharples can contact me and I will help him as much as I can.
"I want the hospital to concentrate on the quality of life, not the length."
Mr Sharples said the cancer had spread to his liver and he was receiving chemotherapy until October, but said the intensive treatment had caused some damage to his heart.
After feeling dizzy and breathless medics put him on a heart monitor last month.
Wife Joan, 63, said they then received a call on January 21 and were told Mr Sharples should attend the hospital immediately.
She added: "We presume it was very urgent because they called at 8pm and said he would need to come in.
"We were told about the readings on the monitor and that he would need a pacemaker, but then the next day they said it wasn't going ahead.
"It just seems like they're just sending him home to die, but it's still a life and worth just as much as any other. They should be doing everything they can to prolong it, even if it's just a few months.
"We can't afford to do it privately, as we're already saving frantically for his funeral. He's been very depressed and feels like they just want him off the books."
A spokesman for East Lancashire Hopsitals NHS Trust said: "Clinical and medical information given and received either during a consultation or sent to a patient via the post following consultation or discharge is strictly confidential.
"All decisions for treatment or intervention are based entirely on clinical need.
"The trust has contacted Mr Sharples and a meeting has been arranged between the consultant and the manager of the cardiology service."


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Tampa, Fla. - Pitt beat South Florida 17-10 at Raymond James Stadium on Saturday. Here is a collection of news, notes, and notables from the game.
- With the win, Pitt improved to 6-4 overall and 4-1 in the Big East. Depending on the outcome of Saturday night's Connecticut-Syracuse game, the Panthers could be in position to clinch the Big East title next week. If the Orange beat the Huskies in Syracuse, then a Pitt win over West Virginia on Friday at Heinz Field would secure the conference's automatic bid in the BCS for the Panthers.
- Dave Wannstedt improved to 4-2 against South Florida. He now has winning records against three Big East teams: USF (4-2), Cincinnati (3-2), and Syracuse (6-0). Wannstedt is 3-3 against Louisville and Connecticut, 2-3 against West Virginia, and 2-4 against Rutgers for a career 24-17 record when facing the conference. Pitt finishes the season with games against West Virginia and at Cincinnati.
- Pitt opened the South Florida game with six consecutive running plays and Dion Lewis gained 45 yards in the process. After that drive, Lewis gained 15 yards on six carries. Lewis finished 105 yards and one touchdown on 22 carries (4.8 yards per carry) for his 12th career 100-yard rushing game. He also moved into eighth place on Pitt's all-time rushing list.
- Ray Graham was not productive in the first half, rushing three times for three net yards and losing four yards on a pass reception. In the second half, though, he had seven carries for 41 yards and caught two passes for 13 yards, including a 12-yard touchdown reception in the third quarter.
- Tino Sunseri struggled for the second consecutive week, completing 11-of-16 for 142 yards and one touchdown, but he was worse in the first half than his pedestrian final numbers would indicate. Before halftime, Sunseri completed just 3-of-7 for 31 yards; in the second half, he completed 8-of-9 for 101 yards and 1 touchdown.
Last week against Connecticut, Sunseri was 20-of-28 for 220 yards, 1 touchdown, and 2 interceptions. In the three games prior to Connecticut (wins over Syracuse, Rutgers, and Louisville), he completed 68% of his passes for 711 yards, 7 touchdowns, and 1 interception.
- Max Gruder's penalty for running into the kicker in the second quarter was Gruder's first flag of the season. He is the 30th individual Pitt player to draw a flag this season.
- Meanwhile, Antwuan Reed more than doubled his season total of penalties when he drew four flags on Saturday. All four were defensive pass interference penalties; two came on South Florida's touchdown drive in the third quarter and one came on the Bulls' final drive of the game.
Reed's redeeming moment came on the final play of the game when he intercepted USF quarterback B.J. Daniels. It was Reed's second career interceptions; his first came last season against Daniels and the Bulls.
- Pitt committed 11 penalties for 116 yards on Saturday. In the previous three games combined, the Panthers were flagged a total of 11 times for 90 yards.
- Five of Pitt's 11 penalties were pass interference calls (four on Reed; one on Ricky Gary). The Panthers were also charged with two delay of game penalties on offense, a defensive offsides, a special teams false start, running into the kicker, and roughing the passer.
- Three of the pass interference penalties came on third down plays, and two of those were in the fourth quarter. Additionally, Gruder's roughing penalty gave South Florida a first down after the Panthers had forced a fourth-and-1 at the Bulls' 11.
- Saturday's game was the fourth time this season that Pitt has committed double-digit penalties (12 vs. Utah; 10 vs. Florida International; 10 vs. Syracuse).
- Andrew Taglianetti recorded his fourth career block when he deflected a punt early in the third quarter on Saturday. That was the 24th blocked kick of the Wannstedt Era. Nate Nix recovered the block, but he fumbled while attempting a return; South Florida recovered the fumble, but that was Pitt's only turnover of the game.
- True freshman defensive end Bryan Murphy made his first appearance since the Louisville game, working as Pitt's fourth end after starters Jabaal Sheard and Brandon Lindsey and reserve Justin Hargrove.
- Lindsey recorded his team-leading 10th sack of the season on Saturday, making him the first Pitt player to reach double figures in sacks since Joe Clermond had 10.5 in 2007.
- Dom DeCicco made 13 tackles - 9 solo - against South Florida, tying his career high for a single game.
- Kickoff specialist Kevin Harper averaged 68.2 yards per kick on Saturday, and two of his four kickoffs went for touchbacks.
- Official attendance was reported as 43,844. Capacity at Raymond James Stadium is listed at 67.672.
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Topic: Metoclopramide(Reglan) and Stomach Pain
Has anyone been on, or, is on, this medication. My husband is having severe stomach pains, whether he eats or not. Lots of hiccuping and belching We had an appt. with GI Dr. who did an EGD procedure couple of days ago, to see what was going on. Dr. said there was bile and some food in his stomach which would mean it is not draining quickly enough. He had the stomach bypass in November. Oncologist said it will take upwards of 12 months for recovery from this surgery. GI Dr. has put him on this medication 4x day. Said it would help drain better. Last night the noise from his stomach, rolling and groaning and rumbling mostly kept him awake. I guess you could say his stomach was definitely active.I wondered if anyone has similar problems. He also goes from constipation to diarrhea. He has taken stool softeners but that causes mostly runny stools even with one dose. Oncologist said he probably has scar tissue and that can get inflamed causing pain and that goes along with the stomach bypass surgery. Any information is always appreciated. Thanks.


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Pacino loves 'American Buffalo' and so does Elm Shakespeare's James Andreassi
Published 12:00 am, Friday, May 4, 2012
NEW HAVEN -- James Andreassi says it's kind of Mamet's Hamlet.
The Elm Shakespeare Company artistic director plucked himself the plum role of Teach in David Mamet's ribald "American Buffalo," directed by Mark Zeisler at Kehler Liddell Gallery in Westville for 10 performances, starting Thursday, a run that also includes a May 15 benefit night with cocktails and light supper provided by Sage American Grill & Oyster Bar, Amity Wines and Antonio's Restaurant.
Teach is the role that Al Pacino liked so much after the play debuted in 1975 at Chicago's Goodman Theatre that he played it five times in the 1980s, including a memorable turn in 1980 at Long Wharf Theatre.
"The opening monologue for Teach may be the first contemporary piece I think I memorized when I was thinking about taking a class and thinking about being an actor," says Andreassi, whose character is among the mouthiest and most profane of Mamet's trio of losers: Teach, Bobby (Ryan Barry) and Don (Tracy Griswold).
Griswold is an Elm Shakespeare veteran, whom Andreassi calls "one of the most gracious actors, an actor with incredible integrity. I love being on stage with him."
Andreassi, who directed Barry in "The Winter's Tale," calls him "a really talented kid who's going to have a career in American theater and television."
"American Buffalo" won Mamet, who, of course, is known for what's been dubbed Mamet-speak -- curt, often profane, cutting off other's sentences -- the New York Critics Circle award for best play and Obie Award in 1977. It was just a prelude to the playwright's success that came in the following decade: the 1984 Pulitzer Prize and a Tony nomination for "Glengarry Glen Ross."
Some might consider Mamet a guy's guy playwright, and Andreassi doesn't totally disagree. But he dismisses that the appeal or messages are limiting.
"For one thing, it's the language. It's incredibly profane, but at the same time, it's poetic," says Andreassi, who jokes that the other actors were "gracious enough to cede me the role of Teach," perhaps because "I'm actually more of a dirty mouth than they."
Andreassi says the relationships of the characters are also a major draw, "a real actor's banquet."
"In some respects, I think this play explores the relationship between the archetypal father-son relationships that people like (Arthur) Miller and (Eugene) O'Neill were investigating. ... In some way, the characters are direct descendants of Biff and Willy Loman and Happy," he said.
"In addition, the milieu is kind of an underclass. It's almost Gorkyesque, this substrata and the way that Mamet peels the layer back. In my opinion, I think it's his best play."
The story is about three men who want to make a fast buck. When Don, the owner of a second-hand junk shop, believes he has mistakenly sold a coin collection for too little money, he wrangles Teach and Bobby and the never-seen Fletcher to steal the coins back. After Teach persuades Don that Bobby is not up to the job, Bobby later comes to the shop bearing what he says is a rare nickel, with a convoluted tale of how he acquired it. Cooler heads do not prevail.
This is the third play in the gallery, preceded by "Art" and "The Lover." Andreassi says he was committed to doing an American play, "and I've always wanted to do this play."
When asked how Mamet fits into an otherwise genteel locale, he laughs and says, "There are other plays that might have been gallery friendly, but I'm getting old. I've got to do the work that I've always wanted to do."
As far as that gallery milieu, he says, "Spoiler alert. There's an act of violence at the end. I love the immediacy of the audience being right there. At 'The Lover,' the audience was right on stage. It's really neat. So, I'm looking forward to breaking things really close to people."
IF YOU GOEvent: "American Buffalo"
When: Thursday-Sundays May 10-20; 7:30 p.m. Thursday (preview) and May 17; 8 p.m. Friday, 4:30 and 8 p.m. May 12 and 19, 4:30 p.m. May 13 and 20; Special Benefit Night, 6:30 May 18
Where: Kehler Liddell Gallery, 873 Whalley Ave., New Haven
Tickets: $25 (preview), $35, $20 students; Benefit Night, $100 and $125
Info: 203-393-1436, www.elmshakespeare.org
Etc.: May 18 benefit tickets include wine and light supper 6:30-8 p.m., followed by the performance
Contact Donna Doherty at 203-789-5672. To receive breaking news first, simply text the word nhnews to 22700. *Msg & Data Rates May Apply. Text HELP for help. Text STOP to cancel.