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Bea Arthur and Elaine Stritch are two crusty old broads—78 and 77, respectively—and they're not ashamed to admit it. Indeed, in their solo autobiographical Broadway shows—"Bea Arthur on Broadway: Just Between Friends" and "Elaine Stritch at Liberty"—they're not shy about anything. They let it be known—loud and clear and punctuated with song—that they've lived, they've loved, they've lost, and they've moved on. No, more than that, they've endured—scarred, perhaps, but feisty as ever.
Stritch sings the classic survivor's anthem, "I'm Still Here," from Stephen Sondheim's "Follies," while Arthur makes it clear that she will not perform it, thus garnering a big laugh of recognition from the audience. She has slyly acknowledged her theme (survival); nonetheless, she is not obliged to celebrate her triumph through song. And she has made coy reference to her Broadway colleague-cum-competitor Elaine Stritch, who, as noted, does sing said song.
Despite the similarities, the two shows are very different.
Bea Arthur's is more like a classy cabaret act; a barefoot, but otherwise elegantly clad Arthur sits in an armchair and chats with her audience about her life and her career between numbers that may or may not be connected to what she has just talked about. Part of the show's charm is that there is almost no attempt to segue smoothly between moments. At various points, Arthur simply announces, "And now I'll sing." Collaborator Billy Goldenberg, who plays the piano (and resembles a gnome), sits on stage alongside her.
There are gossipy tidbits aplenty here, but most of Arthur's recollections center on her early years on Broadway, and then in Hollywood, where she became a household name in such TV mega-hits as "Maude" and "Golden Girls."
In fact, her onstage persona is akin to Maude: an aggressive liberal, with a basso voice, who is afraid of no one, tells off-color jokes (they are very funny), and makes it clear that she is in favor of gay marriage. Interestingly, she mentions her own long-term marriage, which ultimately ended in divorce (to director Gene Saks, although she never identifies him by name). But, for the most part, intimate matters are kept at bay.
"Elaine Stritch at Liberty," co-authored with John Lahr, is much more confessional in character—the scuttlebutt, comedy, and musical numbers notwithstanding. Interspersed with colorful remembrances of her relatively struggle-free theatrical career, Stritch recounts her years of inebriation, personal disappointment, and failed love affairs.
Throughout, she is stripping away the social mask, revealing her pain and angst beneath the gruff surface and professional success. (She is still remembered and admired for her performances in such shows as the 1952 revival of "Pal Joey," "Sail Away," "Who's Afraid of Virginia Woolf?," "Company," and, more recently, revivals of "A Delicate Balance" and "Show Boat.")
At one point, Stritch refers to herself as "an existential problem in tights"—her costume is indeed a white blouse over black tights—and explains that the show's "raison d'etre" was to give herself the chance to re-live those parts of her life that she hadn't been present for the first time around, thanks largely to the numbing effects of alcohol.
Recalling an all-night drinking binge with Judy Garland, Stritch quips (using a pitch-perfect Garland imitation), "At eight in the morning Judy said to me, 'I never thought I'd say this Elaine, but goodnight.' "
A Plethora of Personalities
Stritch and Arthur are not the only actors engaged in autobiographical one-person shows, and the genre is not new. But this season there seems to be a plethora of them being performed, both on and Off-Broadway, plus a few in cabarets, often as a prelude to a theatrical run.
Donna McKechnie's "My Musical Comedy Life" is a case in point. Although it's enjoying an extended engagement at Arci's Place, an upscale restaurant-bistro, the work is being reconceived as a full-scale theatrical piece. McKechnie is hoping to move the enhanced version, re-titled "Inside the Music," into a New York-based theatre.
But whatever the setting, the one-person show offers performer and theatregoer an unprecedented experience, she says. "It gives you the chance to establish a unique relationship with both yourself and the audience, with whom you have complete intimacy. It's empowering both ways. The audience becomes your partner. And you become theirs." And, perhaps, the encounter is all the more bonding in the retelling of one's life.
Among the many solo pieces, awash in memoir, that are up and running—or have been recently—are: John Leguizamo's "Sexaholix," Bo Eason's "Runt of the Litter," Joshua Berg's "Syndrome," Pamela Gien's "The Syringa Tree" (now starring Kate Blumberg), and Steven Berkoff's "One Man."
Admittedly, the latter consists of three monologues, only one of which is autobiographical in character (and that one is titled, appropriately enough, "Actor"). Yet the frenetic tone throughout and the progressively obsessive nature of each protagonist in the three respective monologues—all rendered in an unabashedly over-the-top physical and vocal style—are deeply personal, the British-born Berkoff maintains. "One Man," a revealing title if ever there was one, says it all.
It makes little difference if Berkoff is dramatizing the aforementioned "Actor," which he wrote, or Edgar Allen Poe's 19th-century short story, "The Tell-Tale Heart," a strikingly modern look at a deranged, guilt-ridden murderer driven to kill and then compelled to disclose his own culpability. (Berkoff's third piece, "Dog," is in a league all by itself, and will be discussed in further detail shortly.)
One-person autobiographical shows run the gamut. In some, like Leguizamo's "Sexaholix," there's a central narrator (Leguizamo) recreating a host of characters with whom he has interacted over a lifetime; in others, the only character on stage is the storyteller recalling her experiences (McKechnie, Arthur, and Stritch); and, in still others, the protagonist—who may or may not be conjuring up others on stage, but still speaking in the first person—gives himself another name altogether, thus creating some distance between himself and his onstage alter ego, who is at best an aspect of himself.
An Evolving Theatrical Form
So, why are we seeing so many autobiographical solo-shows now? And, more important, do they represent a discrete—and perhaps evolving—theatrical form?
Like the others, Berkoff stresses that these shows are, first and foremost, self-created acting vehicles. But he also suggests the one-person auto-bio-drama is one of the few new and interesting theatrical happenings, born in reaction to the Brand X play (especially on Broadway or the West End) that is relentlessly dull or "bourgeois," to use Berkoff's term.
And, as deadly as many of the plays are (from his standpoint), the acting style—naturalism—is even worse to Berkoff. "Naturalistic acting is equivalent to a 10-year-old playing the scales on the piano. It's all right, but it's only the first step."
Clearly, all Berkoff's charges against mainstream plays can be leveled against the solo show as well, as he acknowledges. But, if nothing else, with the one-person show there's a higher level of risk-taking on the actor's part—because he's out there alone. The safety net is gone. And that sense of danger, which potentially gives rise to a new voice, is intrinsic to Berkoff's aesthetic.
Solo shows have few collaborative elements. The writer, director, and actor are usually one and the same. And the performer is responsible for everything on stage, often bringing to life other characters as well as establishing a sense of time and place. Sets and costumes are modest if not non-existent. The actor has to keep all the balls in the air, usually for an intermissionless 90-minutes.
Nevertheless, one-person shows share elements with the traditional play. Within the framework of a conventional storyline structure—with a clearly defined beginning, middle, and end—the protagonist has taken a journey and come out at the other end. Themes have been articulated and a universe invoked.
Elaine Stritch dryly insists that her piece, "At Liberty," is a "play about an actress' life—mine. I read for the lead and got it. This is a show with one woman. I hate the term 'a one-woman show.' That sounds like a circus." She reiterates, " 'At Liberty' is a play."
One thing seems certain: The one-person autobiography is a form of performance that testifies to the notion that everyone (especially an actor) has a stage-worthy story that is interesting—ideally cathartic and entertaining—to a paying audience, while at the same time helping the actor come to terms with his or her demons.
The underlying belief seems to be that the writer-actor (and the audience) will be better off for his having disclosed-cum-dramatized some private pain or chaos. Curiously, no matter how bleak the piece, an element of optimism is at play here. By virtue of enacting his tale, the actor has gained mastery of whatever it is that's troubling him—given it form and structure—and thus emerged triumphant, especially if he presents it well.
Mirroring the Culture
What's striking about many of these one-person auto-bios is how they mirror a confluence of cultural sensibilities and theatrical traditions.
Offstage, people are encouraged to air their feelings. The assumption is that it is good for them to do so (even if they don't know it). In theatrical circles, "honesty" and "truth" are buzzwords and, among a fair number of theatre practitioners, achieving "vulnerability" in performance is a goal. Many acting classes are "touchy-feely" and it's not at all uncommon for drama teachers to encourage their students to write autobiographical one-person pieces as exercises in self-disclosure. (Of course, they also provide the opportunity to learn how to forge discrete characters on stage, make smooth transitions, and maintain an audience's interest.)
Interestingly, both "The Syringa Tree" and "Runt of the Litter" were launched in the Los Angeles-based acting class taught by Larry Moss, who ultimately directed each piece on stage. Similarly, Charlayne Woodard, the writer-actress behind three well-respected autobiographical solo pieces—none of which is running in New York at the moment—was first spurred on to do so at an Actors Studio workshop.
Quite a few casting directors are also advocating the aesthetics of "getting to know you," pointing out that they are especially interested in meeting the real man/woman behind the actor's persona. That's not to say they want the auditioning actor to present an autobiographical monologue. But they do want to get a sense of the actor's inner life. In some instances, that may be of greater relevance than the actor's acting skills, at least at the initial interview.
Celebrating Truth
In degrees, the writer-actors we interviewed also celebrate the diamond-in-the-rough: the unvarnished person beneath the glossy public face.
"When you tell the truth, you can't lose," proclaims Stritch. "Go for it! Secrets are dangerous! I wrote 'At Liberty' to get something off my chest. I couldn't stand the façade anymore. I wanted to get to know me. I missed Elaine. The title, 'At Liberty,' means at liberty to be and show who I am."
Adds Berkoff, "The best acting is always autobiographical."
Berkoff is talking metaphorically and literally. He reaffirms that he is not interested in seeing realistic presentations on stage where the walking wounded gather to confess a deviant moment or two.
Berkoff's notions of self-disclosure on stage border on the Grand Guignol; his is a world that marries mime, vaudeville, British music hall, and plain old stand-up comedy for the purpose of unleashing private and collective comic hell. He says, contrary to what one might believe, that pyrotechnical theatrics do not mask personal truths; they reveal them.
He also celebrates the society's festering underbelly, as much as he may abhor the way it surfaces on occasion. In his hilariously demented piece, "Dog," he presents a love-hate relationship—it's downright kinky—between a U.K.-style skinhead sporting a Union Jack T-shirt, and his dog, a snarling pit bull, both of whom Berkoff plays.
The male biped, who is about as verbal as the pooch—he mostly communicates through grunts that sometimes resemble words—is never happier than when he has consumed 45 beers, been part of a rampaging mob at a soccer match, destroyed everything in his path, and then puked all over himself. "That was fun," the macho man beams.
Berkoff makes it clear he finds something fabulous in the explosive and anarchistic fury of the underclass, insisting that the imbibing lout in "Dog" (and perhaps the dog as well) has the spirit of a true artist, and that "someone like Van Gogh would love him."
Berkoff continues, "They [plastered roustabout and dog] are symbols of the seething molten energy lying beneath the surface of English society that celebrates putrid middle-class behavior, with its hypocrisy and stilted, puerile images, as exemplified in West End plays."
Actress Kate Blumberg's universe could not be more removed from Berkoff's. For starters, her piece, "The Syringa Tree" dramatizes the poignant coming-of-age story of a young white girl in South Africa. Although Blumberg inhabits 24 characters, including the narrator Lizzie, her brand of theatre is low-key and, within the convention of enacted tales, realistically performed.
More to the point, Blumberg didn't write it. Nonetheless, she insists it's morally and theatrically right that she share biographical experiences with writer-actress Pamela Gien.
"Like Pam, I am South-African born and was raised in a home of privilege," Blumberg recalls. "I, too, had a very close relationship with my black nannies. So did my parents. The nannies were part of our family, yet they weren't.
"The South Africa Pam describes is so real to me—the sights, the smells, the feel of the place," Blumberg continues. "Also, the way she describes leaving South Africa. Pam's Lizzie walks down the runway and says she'll never come back. When I, Kate, walk down that runway, I'm never sure if I'll come back. My emotional commitment to this piece is so intense because I come out of the same world. I have a personal stake in theatregoers knowing that South African life, as awful as it was with apartheid, was not simply what they saw on TV."
Personal Philosophy, Temperament, and Circumstance
Blumberg's gig is clearly different from the others on at least two fronts. As noted, she did not write the piece, so her connection to it, no matter how intensely felt, is coincidental. Secondly, she had the good fortune to be cast in "The Syringa Tree."
Not to belabor the point, but one frequent explanation for the boom in solo pieces is the shortage of good roles—indeed, any roles—and the fact that many actors today are no longer willing to sit by helplessly, waiting for the next part to roll around. By designing their own shows, they give themselves acting vehicles that display their talents, hone their craft, and/or (depending on their success hitherto) keep their names in the public eye.
Take Bea Arthur; her TV-star status notwithstanding, she wryly comments during her show (by way of explanation), "As you know, there are wonderful parts for women my age." She casts a knowing hard eye at the audience, which laps it up, laughing with approval.
Stritch, on the other hand, makes no such admission on stage; and, in an offstage interview, insists that she has rarely had a dry period. Age, she says, has not stood in her way. "At Liberty" was forged for other reasons entirely.
Donna McKechnie, who is perhaps best known for originating the role of Cassie in "A Chorus Line," testifies to the age problem (not in her show, but privately), suggesting that while she has had no difficulty landing starring roles in regional revivals, as a mature woman she faces barriers. But age, she argues, is only part of the problem.
"The great musical parts [for older actresses] are out there, but you can't count on them. I've done 'Gypsy' and 'Company' and they were wonderful, but what I'd really like to do is originate a part. Years ago, they'd write great parts for a particular musical star, but that's no longer happening." She adds, "In any case, after a certain point, it's so hard to get a part that encompasses all your skills as a performer or embodies all your experiences as a person. So I created my own piece to fill that need."
Berkoff, who, by his own admission, is compulsively driven to act, also refuses to be a "passive recipient," lolling about, hopeful that a gig will pop up. The fact that he has an extensive resume in theatre and film (starring as the most villainous of villains in "Octopussy," "Rambo," and "Beverly Hills Cop," among others) has not given him the stream of roles or star status he might have hoped for, despite his large following.
Writing his own one-person piece provides him with the chance to act, to show what he can do in a way that a play written by someone else cannot, and, most central, to control his destiny (well, within parameters).
Working alone, he underscores, eliminates the problem of collaborating with writers, actors, and directors who are neither likeable (from his point of view) nor aesthetically or philosophically in synch with him. In a fundamental way, the one-person show that he writes, directs, and stars in solves the problems while conjuring his particular brand of larger-than-life, physical theatre that celebrates lunatics, monsters, and "working-class rage."
A Visceral Verisimilitude
Joshua Lewis Berg has no particular interest in "working-class rage," but the subject of his semi-autobiographical one-man show, "Syndrome"—written by Kirk Wood Bromley but based on Berg's own life stories—certainly pushes the envelope in terms of theatre. The central character is a young actor who, like Joshua Lewis Berg, has Tourette's syndrome—a neurological disorder that leads to repetitive gestures, tics, and vocal outbursts, the latter characterized by inchoate gurgles, squeaks, rhymes, and eloquently lewd content.
One of Berg's goals in pulling this show together, he writes in a program note, was not only to bring "a broader understanding of a much misunderstood and sensationalized disease but…to allow the audience to feel what it is like to live with Tourette and its numerous physical, psychological, and neurological symptoms, side effects, and consequences. The syndrome itself is another character in this play. More than a documentary or medical drama, it is a very personal play."
He continues, "I am used to stifling my tics when I act and am most comfortable doing so. With this production, I am required to act ticcing, which is a new and intimidating experience for me. As I perform, the tics I put on and my own tics become one at some point. This is both frightening and exciting, and makes this show a performance unlike I have ever done and, I imagine, unlike anything ever seen."
Putting the theatrical aesthetic aside, Berg admits with total candor that he hopes his oddball show is an attention-getting device that boosts his career, unlike all the other credits on his resume that have added up to nothing. After appearing in numerous plays, films, and television shows, he still had no representation and was not a member of any of the actor's unions. In a determined effort to change his status, Berg created "Syndrome," and raised the money to produce the show himself. Members of his family are also listed as producers.
Berg, who is now 31, succeeded in part. With his new Off-Broadway credit, he became a member of Actors Equity Association. He also garnered a very favorable review in The New York Times.
"Unfortunately," he reports, "I sent out over 200 mailings, including the Times review, to agents all over the city. And not one of them showed up. I am still looking for representation!"
Berg may not have landed an agent yet, but, as of this date, his show has been booked in a London theatre.
A Vision of Theatre and an Actor's Life
The actor's life is touched upon in several of these solo shows. And, in light of their autobiographical content, it's not really surprising. Berg, for example, talks about what it's like for an actor with Tourette's syndrome, but he could easily be describing the mixed-bag experience for any actor playing a role.
His onstage persona, named Egon, earnestly notes that when he is acting, and thus claiming himself on the most profound level, he loses the very thing—his syndrome—that most defines him.
Acting is indeed a convoluted process, Berg suggests, and nowhere more pointedly than in his very funny send-up of an Oscar-acceptance speech, wherein he both mocks and pays homage to his fantasies while parodying the peculiar nature of his show. It's double-talk that resonates.
"I'd like to thank myself for giving me so many wonderful opportunities to use in my task of transforming myself into what I am not."
Arthur, Stritch, and McKechnie also talk about their lives in the theatre. Among the three performers, however, McKechnie acknowledges the most setbacks.
Indeed, an ongoing motif in her piece—which traces the experiences of a young actress who foolishly buys into Hollywood's romantic notions of love, life, and theatre—is the contrast between dreams and reality, and how the former always disappoint. Dreams rarely reach fruition, whereas reality, she implies, doesn't hold out much hope anyway.
At the same time, McKechnie says in her piece that the theatre—as literal place and metaphor—has always been her only real escape, precisely because of its fantastical element, for good and for bad. In one of her more amusing and sardonic anecdotes, she recounts responding to a casting notice in Back Stage seeking "a Donna McKechnie type," and being passed over for the role.
Elaine Stritch brings to life an actress who has worked steadily, was always recognized as a big talent, but somehow saw the major accolades elude her. "The good news and the bad news," she declares in her inimitable hard-bitten style: "I have a terrific speech for the Tony Awards." Beat. "It's been ready for 45 years."
There is randomness in theatre; still, she suggests that her defeats were, at least in part, of her own making. Her tippling was a contributor, of course, and then, as she tells it, there was her inability to edit herself (which probably has more than a bit to do with the booze).
She continues to berate herself for her behavior at the audition for "Golden Girls," where she was, ironically enough, up for the role of Dorothy—which ultimately went to Bea Arthur. But instead of reading the script that was handed to her, she felt free to sprinkle the dialogue with expletives, thus seriously alienating the head writer.
More nettlesome to her than any blown audition, she emphasizes, is the way theatre has provided her the perfect excuse to avoid life. Theatre became her life, a facsimile of life. "I could seduce an audience," she quips, "but I had nothing to confess to the priest."
The centerpiece of Berkoff's "One Man" is the monologue, "Actor," an outrageously funny and anguished peek into the life of a struggling actor who is obsessively looking for work and validation, and getting no place very quickly.
Employing Marcel Marceau's "marche sur place," Berkoff evokes a man on a treadmill and brings the metaphor to life as he strides on, greeting fellow actors (all of whom are doing better than he is), losing girlfriends he never noticed in the first place, fighting with his aging parents about his career—"I don't want a job. I'm an 'act-tour!' "—and defending himself to his agent with the plaintive wail, "I don't exude hate."
Devouring himself with unrealized ambition, Berkoff's frantic thespian curses everyone he knows, only to be groveling the next moment. Throughout, he's honing Hamlet's "To be or not to be" soliloquy—his life is a series of endless auditions, after all—while growing increasingly desperate as the speech he intones unwittingly raises questions about his own tortured journey.
Universe, Theme, Persona, and Journey
In his three monologues, Berkoff creates an expressionistic nightmare world, with each piece becoming progressively free-associative, raw, and grotesque. There are momentum and connection; there's also thematic unity beyond the obvious. Despite the laugh-out-loud humor, these pieces are tied together by a pervasive sadness; all Berkoff's characters have been left out somehow. They are isolated and lonely, most especially the abused and abusive dog. He may be a killer, but he is innocent.
Berkoff adds, "These characters are very suppressed. And if you're suppressed long enough, it's going to come out in a deviant way. They all suffer from something that makes them monsters—it's what creates art."
Bo Eason's "Runt of the Litter" also considers the killer instinct; not in theatre, but in the world of football, which could serve as a metaphor for theatre, or, indeed, any other savagely competitive venture where the outcome defines the player's identity and sense of self-worth.
Eason is a former football player himself, and "Runt" tells the story of a young man's determination to beat his older brother on the football field. It is a tale of sibling rivalry gone terribly awry; it's also about the brutality of the game itself, vividly dramatized in a kind of ritualized primitive dance that Eason's alter ego, Jack Henry, performs before the big match. "Runt" is a bone-chilling account that brings to mind "Death of a Salesman."
Jack Henry has won the game and beaten—badly injured—his brother on the field, but for what purpose? It's a pyrrhic victory, no doubt. Still, he is determined to celebrate. The play closes with Jack Henry grandstanding; he poses, legs astride, hands placed defiantly on hips, and bellowing with triumph, yet producing a joylessly hollow lament.
And then there's John Leguizamo's very entertaining "Sexaholix," which manages to marry old-fashioned sentiment with hip stand-up comedy, and is overflowing with broad ethnic stereotypes and raunchy allusions. Although "Sexaholix" resides galaxies away from all the other solo acts, it, too, boasts themes, structure, and a clearly defined central character. In this instance, it's a horny, much beleaguered ne'er-do-well recounting of his trip to adulthood, with no shortage of kooks along for the ride.
Leguizamo (or, more precisely, the Leguizamo character he plays) has grown up, assumed responsibilities, and found intergenerational love. He reconciles with Dad, a jolly buffoon, and witnesses the birth of his son.
The central character in each of the solo shows has taken a journey of sorts, including Bea Arthur, although, in her case, it may be a bit of a stretch. On the other hand, after decades on the West Coast, she has come home, reaffirmed old friendships, figuratively speaking, and reconnected with her New York theatre roots.
Stritch has definitely traveled a distance. Despite the valedictory feeling of her show, there's also a note of hope—she's looking forward. Sitting on a stool and addressing the audience, she thanks all the significant and, perhaps, not so significant people in her life. It could be the Tony speech she never delivered. Still, she has met her demons head on and freed herself from them.
Stritch is ready to face the future. "That's not to say there won't be moments of weakness," she comments in a private conversation. "But then," she asserts, "living and going out there alone, doing my show night after night, is not for sissies!," paraphrasing Bette Davis' quip about old age.
Survival is a theme in almost all of the shows. At the end of McKechnie's, for example, she sings the classic song of personal vindication, "If My Friends Could See Me Now" from "Sweet Charity." Interestingly, however, she dedicates it to the memory of the late Gwen Verdon, who is most identified with the song. McKechnie celebrates her own victory and pays tribute to a star. She's also passing the torch, she says.
"It's traditional in theatre to remember those who came before you, to make them real to others, and keep their names alive. And what better way to do that than by passing on what they've taught you to the next generation of theatre artists?"
The Audiences and the Challenges
So who comes to one-person shows? That really depends on who's performing and if there's a built-in audience by virtue of his/her name. McKecknie, for example, suspects that she shares a common audience with Stritch and Arthur.
"We all attract audiences who are interested in theatre and theatre people. I'm struck by the age range in my audience," she continues. "There are the older people who saw me years ago, and there are also younger people—acting students—who never saw, but heard about me."
For lesser-known actors, bringing in the crowds may be problematic, especially if their subject matter is alien. Eason recalls having no trouble finding a producer (Manhattan Class Company). But attracting an audience in New York City for a show about a football player growing up in a family that values athletic achievement above everything else was another matter.
"But when they did come, they liked it," says Eason. "Many admitted they had never really thought about football players at all. And more than one person said he'd never look at a football game the same way again."
Undoubtedly, whoever the audience is and however admiring, solo acts are daunting for the performer, with the danger of self-indulgence heading the list.
Even Steven Berkoff, who revels in antic high jinks on stage, concedes the performance can distract from the story, and so it's necessary on occasion to tone it down a bit.
Says McKecknie: "I worry about taking myself too seriously. I don't want to become boring, icky, and self-conscious. In a one-person show—especially in an autobiographical piece—it's very important to get the audience on your side, to like you!"
Perhaps most problematic is the quagmire surrounding issues of disclosure; just how much should you tell an audience about yourself, your family, and/or celebrities you've known and loved—or, more usually, hated?
Arthur and Stritch dish the dirt, but, in actuality, their gossipy recollections are not really damaging to anyone. The skewered notables have been skewered before; the two stars offer nothing new or earth-shattering.
Stritch's Marlon Brando was, as rumor has it, an unrepentant stud (she should know, she dated him); so was the adolescent Tony Curtis evoked by Arthur. But so what? Would either of the stars be offended? In any case, they are public figures and, arguably, fair game.
But what happens when you are describing private people who are of no consequence to anyone short of their own immediate circle?
The writer-actors we interviewed acknowledge the mined territory. Joshua Berg admits that he invited his family to vet his "Syndrome" script before he put it up, lest they be offended.
Bo Eason faced a similar dilemma, although his solo piece, "The Runt of the Litter," is far more fictionalized than many of the others. "What's biographically true or not isn't relevant. The piece has to work as drama," he says. "But, at the same time, once there is any suggestion that the piece has biographical elements—and it makes no difference that I call myself Jack Henry—there is the real danger of hurting someone.
"My parents have not seen the show, but they read the script and said they were okay with it. My brother was startled. He said he didn't realize that I 'felt that way.' "
Eason's next step is turning his piece into a screenplay. The good news is that it has already been commissioned by Castle Rock Productions. Others we chatted with are in a holding pattern. Some may do another solo show, and some may move back to their old haunts as actors playing fictionalized characters in plays that someone else has written.
Remarks Stritch, only half-kidding, "I can't wait to get into costume and façade and rest a little."


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New leadership appointments include:
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• Barrett Green and Mike Twomey join Entergy's wholesale commodities business reporting directly to Smith. Green has been named vice president, finance and risk, having most recently served as vice president, chief risk officer designate for Enexus Energy Corporation. Twomey has been named vice president, external affairs – wholesale. He previously served as vice president, utility strategy.
• Kimberly Despeaux has been named senior vice president, federal policy, regulatory and governmental affairs. She previously served as vice president and associate general counsel – federal regulation and policy. Despeaux will report to West.

subset: commoncrawl


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Written on: 24/12/2004 by atlblkice (1 review written)
Vera Wang Perfume: Lets get to the gold...I could have purchased any perfume at any price. This product has something to offer...I dare you to be brave… Read Full Review
Written on: 15/03/2004 by gillian (14 reviews written)
Vera Wang perfume is new on the market (March 2004)and my local Selfridges store only had a couple of bottles left on Sat. The scent is really addictive. It is light, floral and very moreish. It also comes in a pretty bottle… Read Full Review
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wrestling / News
More Details on National Pro Wrestling Day
According to Pwinsider.com, here are the latest details on National Pro Wrestling Day. The show takes place February 2nd, and will take place in Philly's Derby Ink Gardens and will feature, with free admission. The event will feature talent and matches from CHIKARA, Ring of Honor, EVOLVE, Beyond Wrestling, CWF Mid Atlantic, Kaiju Big Battel, Resistance Pro, Wrestling is Fun, IWC, WSU, Wrestling is Heart, CTWE, NYWC, QWEST, Fighting Spirit Wrestling, SOR Class Wars, Wrestling is Awesome and AIW.
The plan is to have an afternoon card at 1 PM, followed by an evening event at 7 PM. Both cards will be broadcast via iPPV. The idea behind the event is to feature different, unique promotions as possible to give everyone some additional awareness beyond their usual fan base and to celebrate the art form that is pro wrestling.
For fans in the NYC and NJ area, Wrestling Bus Trips will be promoting a trip to event for $55 a person. For further details, email [email protected]
Must-read news from around the site:
* Kate Upton gets wet and wild without a top in a new ad for GQ
* Rihanna gives the camera a seductive pose in a super-short T-shirt
* Anne Hathaway says she'd love to do a Catwoman spin-off
* Christopher Nolan talks about if Man of Steel Will Be Similar to The Dark Knight
* New DLC content for WWE '13 now available
* Joss Whedon's plot outline for Avengers 2 is finished


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I have been a customer with them for more than 3 years and they are highly reliable and always respond quickly to your query. Price wise also highly competitive and their servers are really fast and up to date with the latest softwares. Whenever, I have had an issue with the sites I host with them, they respond within a few hours and sort the issue out. A very friendly team indeed. Highly solution oriented company and I certainly recommend them for website hosting.


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godmother Quotes & Sayings
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Are you searching for quotes about godmother? We have hundreds of godmother quotes here at EndlessQuotes.com. Our staff is always adding new quotes from all different categories as well as godmother quotes, sayings and quotations. Feel free to search our quote database for any quote you are looking for and we are guaranted to have it no matter if it is a famous quote or an unknown quote.


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Two-out rally lifts Yankees over Indians
Jeter, Teixeira come up big in seventh to seal matinee win
By Bryan Hoch / MLB.com
It might be working. Teixeira discovered an opportune time to call upon one of his reserved cuts in the seventh inning on Sunday, swatting a go-ahead, three-run homer that helped lift the Yankees to a 7-3 victory over the Indians at Yankee Stadium.
"If I have a slow bat, I'm not going to be successful," Teixeira said. "Nothing's ever come easy to me my entire career, I've always had to work at it. Sometimes you just overdo it too much. I've taken a step back, and the last week, I've really felt good at the plate."
Teixeira's blast off Tribe left-hander Tony Sipp cleared the left-field wall and put A.J. Burnett in position to log his sixth victory of the season after hanging in to limit the Indians to three runs (one earned) over eight innings.
Derek Jeter came through with a two-run, two-out single in the seventh that chased Cleveland's very effective Justin Masterson, and after the Yankees tacked on a couple of eighth-inning runs facing Jensen Lewis, Mariano Rivera leaped over the shrapnel of a broken bat to record the afternoon's final out.
"If there was ever a formula for baseball, that's it," Yankees manager Joe Girardi said. "You can't draw it up any better."
The Yankees have come to accept that Teixeira might have slow Aprils for the rest of his career, but some of that has crept into May. Though Teixeira entered play Sunday with 30 hits and 22 RBIs this month, compared to 11 hits and nine RBIs in April, he has still been looking for more consistency.
"You can't take the whole season in one big chunk," Teixeira said. "You have to really break it down. If you have a couple of bad at-bats, you're not just going to quit. You're not going to pack up your stuff and go home. So that's the way I've always played."
Perhaps his swat of Sipp's hanging slider will prove to be the turning point.
The first baseman's 250th career homer and eighth of the season came as part of New York's five-run seventh inning, as the Bombers finally cracked through after being stifled through six scoreless frames by Masterson.
"I haven't worried about Tex one bit," said Nick Swisher, who went 2-for-4 with two runs scored. "All you've got to do is check the back of his baseball card and that's pretty much all I need to see. He's a guy that grinds, he battles, he works his tail off every single day."
"For the most part, May has been pretty decent [for Teixeira]," Girardi said. "Most of his home runs have come, and a lot of RBIs. Maybe we're going to turn the calendar to June, and it will just be straight forward."
Jeter's two-run single chased the sinkerballing Masterson, who was hit for three runs in 6 2/3 innings. It also helped atone for Jeter's throwing error in the top half of the inning, where the Indians got two unearned runs off Burnett, with the damage coming after there were two outs.
Burnett hit Luis Valbuena in the left foot with a pitch and, after a stolen base, Lou Marson rolled a grounder to deep short. Jeter's throw pulled Teixeira off first base as the second Indians run scored, and Jason Donald took advantage by bashing a run-scoring triple off the right-field wall.
"You've got to have a short memory," Jeter said. "I wasn't thinking about what happened the inning before. If that's the case, you'd go crazy thinking about all of that stuff."
The same was true for the rest of the Yankees, who needed to wipe the slate clean after their worst loss of the season on Saturday. New York blew a 10-4 lead to Cleveland for a final outcome of 13-11, which made it all the more important that Burnett gave the beleaguered bullpen a breather.
"That was my goal coming into today -- to hand the ball over to Mo in the ninth inning," Burnett said. "Whatever was going on out there, I was just trying to go one pitch at a time to try and get to the next inning and get it to the ninth to give those guys a break."
Mission accomplished, as Burnett limited Cleveland to one earned run -- Trevor Crowe's RBI single in the third inning -- on five hits, walking none and striking out eight. Burnett hit two batters in the 115-pitch effort, saying that he trusted sooner or later the run support for New York's 14th comeback win of 2010 would show up.
"I wasn't trying to be too perfect or too fine," Burnett said. "I wasn't trying to hit the corners. I had good stuff and good movement. I didn't walk anybody, because I wasn't trying to be perfect."
No, he wasn't his former Toronto teammate and one-time mentor Roy Halladay, but for the Yankees' purposes, Burnett was plenty good enough. Girardi even entertained the idea of bringing in Joba Chamberlain, who was warming with Damaso Marte, for the eighth inning.
But with Burnett cruising on his way to his first win against the Indians since June 20, 2002, the manager saw no need to pick up the bullpen phone, and he was rewarded in the end for his faith.
"A.J. did everything that you could ask him to do, and it was exactly what we needed," Girardi said.
Bryan Hoch is a reporter for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs.


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Comment by Louise
Louise March 1, 2010 at 11:51
Congrats on the many gold-medals. You definetly deserved them and despite my non-Canadian background, I also shared a tear for Joannie Rochette. What a sad and great story at the same time.
Regarding being patriotic about your country, your words speak for me too. I am Danish, will always be so and perhaps even more while living outside my home country.
🙂 Louise


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Posted on 8 October 2010 by Marcy Murninghan
The TakeAway: Proxy access, human rights, and ethics among important topics of the week—plus, 2 books on improving performance. Lots of news that's fit to print this week, but we didn't have room—so before the long Columbus Day weekend here … Continue reading →
Posted in Human Rights, Proxy Voting, Public Policy, Stakeholder Engagement | Tagged and informed consent (FPIC), Bill & Melinda Gates Foundation, Boston Common Asset Management, Bretton Woods Project, Burma, Business Roundtable, communities of practice, Corporate Responsibility Officers Association, Domini Social Investments, ethics, Frameworks:CR, free, Germany, human rights, Interfaith Center on Corporate Responsibility (ICCR), International Finance Corporation (IFC), James McRitchie, John Ruggie, Julie Sunderland, lifelong learning, Medicines Patent Pool, prior, proxy access, Social Capital Markets (SoCap), Toyota, Trillium Asset Management, UNITAID, US Chamber of Commerce, Walden Asset Management, World Bank | 2 Comments
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Hennepin County, MN: Brian Phillips Detained - Brian C Phillips of Hennepin County
Brian Casey Phillips, a suspect of unknown age, was booked according to information received from Hennepin County, MN officials on Sunday, December 22nd, 2013.
Hennepin County, MN officials from the Hennepin County Sheriff's Office are reporting that the suspect, Phillips, was detained on Saturday, December 21st, 2013. Phillips has been charged with an unknown number of offenses. Investigation conducted by MobileMugs show Brian Phillips may have been arrested at least 20 other times.
Phillips was described as a suspect of unknown age. Few other details of the event have been released at this time.
Every effort has been made to ensure the integrity of these data, however, MobileMugs makes no claims of guarantee surrounding the accuracy of such alleged facts, as Brian Phillips is to be considered innocent until proven guilty in a court of law. Last updated on .
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Contact Info / Websites
Entry #1
Yup im working on a new pokemon parody :D
http://angelxmikey.deviantart.com/art/Coming-soo n-331478194
- 3 comments
You must be logged in to comment on this post.
2012-10-09 07:39:57
Looks cool. :)
Got some good voice actors for it, this will be a very memorable parody.
2012-10-10 09:45:28
more pokemon? a little bit too much pokemon on ng
Well people have been begging me for another Pokemon Parody, so im doing it for the fans.
2012-10-10 11:47:56
WOW LOOKS SUPER ORIGINAL, I CAN'T WAIT CAZ POKEMANS R TOTALLY FUCKING FUNNY AWESPME, I LIKE CHARMAND THE MST. All honesty, tired of pokemon parodies, especially the egoraper rip offs that people are constently doing. Why not show a little creativity for a change, make something fresh and interesting.
Finish it, but use the knowledge you gain from animating it to put towards something original, in the future. Newgrounds doesn't need more pokeman parodies, they will only contribute to its downfall.
LOL I have to original animations waiting to be posted on another site XD. My pokemon parodies are nothing like egoraptor, the style isn't even remotely close. Each script is freshly made by me, and no one else. I do have other scripts that i plan on making. But this script beat them all, to be honest Im surprised no-one has thought of it. but i guarantee u wont be disappointed


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Welcome to Clear Properties Estate Agents
Buying and selling your home can be one of the most stressful things you can do in your life. We at Clear Properties believe that it doesn't necessarily need to be that way. With honesty, integrity, simplicity and value for money at the heart of everything we do, our aim is simple:-
"To make your sale/purchase as easy and as stress free as it can possibly be – at an affordable and fair price."
We believe in working in partnership with all our clients to achieve the best possible results, whilst maintaining a sense of realism and expectation. With this in mind you will find our approach refreshingly different and you will soon see that not all Estate Agents are the same.


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Press-Telegram photographer Scott Varley has a problem.
"There's just no way we can fit them all in," he said, referring to the Long Beach Poly girls basketball photo shoot. It had been suggested all of the team's college-bound players pose together, but the shot won't work.
"There's too many of them."
It's a "problem" that will be confronting Poly coach Carl Buggs all year. Buggs has coached five CIF State championship Jackrabbit teams in the last eight years and has one of his most talented groups ever this year. Five seniors have signed Division 1 scholarships — conservatively there are probably at least eight players who will go on to play Division 1 ball.
In other words, Buggs' biggest issue may be finding ways to get his talent enough time on the floor.
His Jackrabbits started the year as the No. 1 team in America, according to the preseason USA Today rankings. It's understandable. Last year they ended their season by setting a new record for fewest points allowed in a Division 1 state championship game and only graduated one player (Keyla Morgan, now at Kansas) who put in starter's minutes.
In addition to an already strong returning core that includes seniors Arica Carter (who's signed with Louisville), Jada Matthews (Utah) and Justyce Dawson, Poly has added talent. St. Bernard transfers Lahjana Drummer (UCLA) and Emoni Jackson (Michigan) give Poly almost unprecedented post depth, while freshmen like Ayanna Clark and Danae Miller figure to be the face of the program in future years.
Buggs has actually lobbied against his team being ranked tops in the nation, however, because Drummer and Jackson won't be able to play until the mandatory sit-out period has concluded, on Jan. 6. They'll play all of their national-level tournaments (the Iolani Classic in Hawaii this weekend, and the Nike Tournament of Champions in Arizona) without those two.
"If we're undefeated January 6th, OK," says Buggs. "But we have to depend on quite a few freshmen to get through the first month. How can you put that much power on freshmen?"
The starting rotation until then will likely be Dawson, Tania Lamb, Carter, Matthews, and Ayerjenee Jeanmard, allowing Buggs to bring Cal State Bakersfield signee Airica Carmon off the bench, along with talented guard Briana Johnson and the freshmen. But after Jan. 6, look out.
"We'll be deep," says Buggs. "This is right there with the best teams we've ever had."
That's saying something, considering that his 2007-2008 team won the state championship, finished 31-2 and ranked second in the nation by USA Today, and had three All-Americans on the roster. This team could be at that level, talent-wise.
"Our goal is a CIF and State championship, and I say that with no hesitation," says Buggs. "That's our expectation."
As for the national possibilities, Buggs says there's no point thinking about it until the transfers are eligible.
"There's going to be some questions asked and answered before then," he says.
Pick another league in the Southern Section besides the Moore League and plunk the Rams down there, and they're probably a perennial powerhouse. Head coach Lorene Morgan is entering her 25th season, and alum Courtney Clements played for the WNBA's Atlanta Dream during last year's Finals.
Despite the fact that the Jackrabbits sometimes steal the spotlight from a great Millikan program, Morgan likes where her team is.
"We like being in the league, because we get an opportunity to play one of the best teams in the nation every year," she says. "When we're able to play with them, that means we're one of the best teams in the nation."
While acknowledging that Poly is as deep as they've ever been, Morgan is happy with her roster. Alyssa Benton is looking like a breakout player, averaging 19 points per game and 14 rebounds per game through four contests this season. While Millikan is just .500 at 2-2, those losses were to Mater Dei and Windward, both of whom are nationally ranked.
"We're a better full-court defense than we were last year, and we haven't peaked yet," says Morgan.
Millikan will open league with a game against Poly on Jan. 8.
Moore League
The rest of the league has pluses and minuses.
Wilson has started 0-3 but the Bruins were in the Battle of the Beach tournament with Millikan, playing top talent. Seriyah Guillory is averaging 19 points per game.
Compton has really turned its program around. After going 20-93 from 2003-2009, Ollie Brent got the Tarbabes going in the right direction, and first-year coach Derrick Anderson, who was an assistant to Brent, hopes to keep it headed that way.
They're off to a 5-3 start, with juniors Janice Ryan (17 points per game) and Robin Butler (14 points and 14 rebounds per game) leading the way.
"Our girls are setting their own expectations now," says Anderson. "They got to the second round of the playoffs last year, they tell me they want to go to the third round this year."
For extended previews on the above teams as well as Cabrillo, Jordan, and Lakewood visit PressTelegram.com/sports.


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Any one know where I can buy a fuel tank for a 1972 grand prix
I have looked every where for a fuel tank for my 1972 pontiac grand prix and cant
find one. Anybody know where I can get one. Thanks, Keith
12 Answers
You might try Ames Performance Engineering. 1-800-421-2637 or www.amesperf.com Good luck with your project!!
ames performance, advanced auto parts, autozone
Maybe Wedoe hasn't looked everywhere!!
Thanks for the information but yes I have ckecked with Ames Performance and I have one of there new magizines and they do not have a fuel tank for my 1972 grand prix sj.
What is wrong with the tank on the car now?
I have spent a bit of time investigating your problem, Monte Carlo's were similar, You will have to do the leg work on that. Also chk. inlinetube.com or call 1-800-385-9452. Hope this helps. I still want to know why you have to replace this tank made of "unobtanium" ??
It looks like the original owner I bought it from put a dent in the bottom of the tank and now it is rusting out and pretty weak in that area of the tank. I can put my hand on it and push and it feels soft. Just dont want to take a chance on something happening. Its amazing that you can buy a new fuel tank for a 69-70-73-74-75 Grand Prix but not a new one for a 71 or 72 grand prix. I would rather have a new one but i might have to find one at a salvage yard. Unless someone knows where there is a new one. Thanks, Keith
I have a feeling that the big deal with this model tank are the return,vapor recovery,and charcoal canister liquid return lines. If you are not looking for a concurs exact fit you might take dimensions on your tank and compare it to similar "available" tanks. With very little ingenuity I'm quite sure they would be adaptable. GOOD LUCK !!!!!!!!!
you could also check out the 71, 72 monte carloas they are the same frame, performance years might also have some thing, used 'car-parts.com'
I already suggested that to him>
Hello, Im having the same troubles finding a tank for a 72 Grand Prix that I'm working on. Did you ever have any luck finding one?
Need one here also . No one make`s them and problem or difference is in filler neck
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I agree with the other comments about your new site Jivy. What host/template are you using?
Thanks for the great ROM, can't wait to run it!
I did a full wipe as suggested. And ran the kernel cleaner just for good measure.
I am sure its my phone. I haven't had any luck running anything after Entropys 1/23/12 kernel. I fiddled around flashing several other of Siyahs and Entropys kernels and only managed to frustrate myself and several kind hearted souls who attempted to troubleshoot it. It runs fine on the 1/23/12 version though. I have already pushed the kernel to the install zip and will just do it that way in a little while.
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IBM Cloud Infrastructure Solutions for Oracle Users
The potential benefits of cloud computing are widely accepted. Users may realize new levels of flexibility, customer responsiveness and cost-effectiveness in their use of IT resources. A wide range of processes, from simple provisioning to large-scale solution deployment, may accelerate "Time to value" for IT investments. Cloud computing may not only reduce IT costs, but also allow spending to be more closely aligned with user demand. The ability to synchronize the full range of IT resources - including infrastructures, middleware and applications - with changing business objectives offers broader potentials for business model innovation that are already being realized by thousands of organizations worldwide.


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VANCOUVER -- At this point in time, the Curse of the Cup is the least of the Calgary Flames' concerns.
Having squandered their seventh-straight series-clinching opportunity Saturday with a heartbreaking 5-4 loss in triple OT, the club now finds itself a serious underdog for tonight's Game 7.
The chances of erasing 15 years of playoff futility -- brought on by becoming the only team to win a Stanley Cup in hockey's sacred Montreal Forum -- are much slimmer than they were 48 hours earlier when the Flames held a distinct advantage.
Despite showing tremendous character to battle back from a four-goal deficit to send Game 6 into extra time, the eventual loss came at a heavy cost.
Having already lost Toni Lydman to a concussion earlier in the series, the Flames will now have to do without the services of Denis Gauthier who tore his knee in the third period.
While Steve Montador is a dependable replacement, he does little to instill the fear the hard-hitting Gauthier does. It also puts pressure on Calgary's top four defencemen to log even more ice time.
Stephane Yelle left the game for a spell due to injury as did Martin Gelinas -- both showing obvious signs of discomfort and loss of speed as the game progressed. Matthew Lombardi, arguably the Flames best forward early in the series, has also been slowed by a knee injury suffered when blocking a shot in Game 5.
The only Canucks injury was to goalie Dan Cloutier.
All of these circumstances favour the Canucks, who started the series much deeper and will benefit from the injuries and fatigue involved with playing more than 100 minutes Saturday.
The Canucks can continue to focus on their game centring around speed and skill while the banged-up Flames have gotten away from the physical pounding they delivered so effectively all year and early in the series. The Flames stopped punishing the opposition Saturday, which led to an early 4-0 Canucks lead.
Given their depleted ranks and physical state, it will be hard for the Flames to focus on finishing checks.
The Canucks obviously handled their nerves better the other night, perhaps drawing from their experience last year when they battled back from a 3-1 deficit against St. Louis. The Flames have no such experience to fall back on.
Vancouver's powerplay still dominates Calgary's, which is particularly relevant given the tight officiating and Calgary's penchant for penalties throughout the series.
Momentum is squarely in the hands of the Canucks, who will combine that with home-ice advantage and final line changes to create an atmosphere tonight that will likely see the Flames simply trying to weather the storm the first ten minutes.
Then again, maybe this is just the way the Flames like it.
Few expected the team to end a seven-year playoff absence let alone snap a 15-year history of first-round flops. Their rebuilding process is way ahead of schedule so in some ways they've got nothing to lose.
Perhaps overlooked is the fact the Flames were the league's most resilient bunch, posting an incredible record following losses.
They've done well to nullify the Canucks' home-ice advantage by winning two of three at GM Place, they have the better netminder, they have the better game-breaker and the better coach.
Most importantly, they've proven to have the bigger hearts -- often the difference in such high-stakes games.
They don't get any bigger than this for either club but it's the Canucks, not the Flames, who now carry the burden of expectations.
Vancouver police will be out in droves tonight in full riot gear, expecting the worst if Marc Crawford's crew falls miserably short once again of the lofty goals this team established through four years of stellar regular seasons.
The only thing certain is there will be heartache on one side of the Rockies or the other.
It said in this space a few weeks back the Flames would win this in seven. It might not make much sense at this point but, then, the sports world rarely does: Flames 3-2 in overtime.
Canucks in driver's seat
ERIC FRANCIS -- Calgary Sun
, Last Updated: 4:29 PM ET


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Jones is most trustworthy star
Jones, who voiced Darth Vader in the epic sci-fi series, came top of the survey by American magazine Forbes, which rated stars on trustworthiness, awareness and appeal.
The 79 year old topped the poll ahead of Hanks in second and Fox in third.
Forbes writer Lacey Rose says, "The stars on our list tend to be endearing characters on and off screen."


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Since 2014 Kia has focused Drive Change efforts on a Soccer Equipment Drive and soccer camps for Canadian youth.
All Canadians were encouraged to donate new and lightly used soccer equipment so that more kids who want to play are able to do so.
After all, participation in sports assists kids to stay healthy, gain confidence, build self-esteem, and develop skills that foster teamwork.
Kia has partnered with the Vancouver Whitecaps FC, and the Vancouver Police Department (VPD) to present a free, four day, Youth Soccer Camp.
The camp provides over 300 local youth an introduction to the sport of soccer and the chance to develop their skills and confidence with volunteers from the VPD and coaching support from the Whitecaps FC.
Kids are treated with demonstrations from the VPD's: Motorcycle Squad, Mounted Squad, Emergency Response Team, Dog Squad and Police Helicopter (Air 1).
In addition to providing each child with a free reusable water bottle, Kia Canada also pledged to support the VPSSC Soccer Cleat Program which provides soccer cleats to youth who need them.
Drive Change
Kia Canada and the Montreal Impact FC have teamed up to offer a three day soccer clinic for young people ages 8 to 14 years old.
The clinic takes place right next to Saputo Stadium, in downtown Montreal, and is led by coaches of the Montreal Impact Soccer School. In addition to soccer skills, the clinic provides the opportunity to increase kids' self-esteem, sportsmanship, and leadership skills.
Drive Change is all about making a difference in your community. And Kia Canada has been the largest corporate partner of KickStart since 2010. In 2014 former Toronto FC Forward Jermain Defoe helped us make a difference at the Kia Training Ground, within Downsview Park. Defoe surprised a group of soccer loving children from MLSE's KickStart soccer program, showed off a few soccer skills, and recorded a short message promoting Kia's Soccer Equipment Drive. Defoe gave kids some pointers on the game, gave autographs, and posed for pictures – making unforgettable memories for all.
The 3rd annual Drive Change Day focused on educating Canadians about road safety through driver safety tips that were showcased on air during the month of July and August. These safety tips were presented by Kia Canada's executive team, Canadian television personalities, corporate partners, and well-known automotive Journalists. Presenters include: Rick Campanelli – host of ET Canada, Anouk Meunier – host on TVA, Tim Leiweke – President and CEO of MLSE, Joey Saputo - President of the Montreal Impact, Jim Kenzie – Automotive Journalist and Brad Diamond – host of Motoring Television.
The 2nd annual Drive Change Day was about inspiring Canadians to create a positive impact in their local communities, which they did with overwhelming success. Kia Canada employees, dealers, partners and the general public organized over 2,000 initiatives across Canada including handing out 700 tree saplings, collecting food and clothing for the less fortunate, refurbishing a mural painted by school children in their local park and teaching a community how to grow sustainable vegetables.
Drive Change Day 2012 saw support from two great Canadian personalities, Rick Campanelli from Entertainment Tonight Canada and Peter Fallico from HGTV, which helped spread Kia's Drive Change Day message.
Building off the initial 'Drive Change' campaign, 2011 marked the inaugural year of Drive Change Day and Kia Canada's commitment to social responsibility. With the focus on inspiring Canadians to create a positive impact in their local communities, and together with support from Canadian television personalities Susan Hay and Anna Olson, various events were set up nationally including; Collecting food for local food banks, free picnics to promote families spending more time with each other and cleaning up public parks. Nationally, Kia Canada dealerships provided knapsacks and schools supplies to children in need, in addition to cleaning up local communities.
Drive Change Day's humble beginning took place in 2010, when 'Drive Change' was just an idea not the initiative it is today. The idea revolved around two major projects which would be undertaken that year; restoration of the Second Base Youth Shelter in Scarborough, Ontario and building a garden for the residents living at the Gilder Avenue location of Toronto Community Housing. Both transformations were aired on TV, in lieu of a brand commercial, to begin inspiring Canadians to Drive Change. This is where Drive Change began and was the seed for how it has evolved today.


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In the desert of the Israeli-occupied West Bank, Ismail (Dominic Rains), a Palestinian shepherd, is waiting to meet his girlfriend, Layla (Miriam Isa). But before she arrives, an Israeli soldier appears. He is Tsahi (Oren Dayan), who came here to meet his longtime lady love, but she summarily dumped him, and now he's lost in the desert. After initial hostility and sparring, Ismail and Tsahi begin to develop a wary friendship. Ismail is a deeply serious man, while Tsahi is a bit of a goofball, irreverent and full of jokes. Ismail shares his tea and a couple of joints with Tsahi. They talk, play the drums, and sing, and Tsahi decides he must teach Ismail to dance. Up to this point, the play seems like an amiably offbeat buddy comedy, but one knows instinctively that the act will end with Layla's arrival, and events will turn dark.
Layla is a fanatical Palestinian feminist, panting for revenge against the Jews who have oppressed her people. When she sees the two men dancing, she thinks Ismail is being attacked, and she snatches up Tsahi's rifle. Then she becomes suspicious as to why Ismail was "hugging" an Israeli, and she accuses him of collaborating with the enemy. Despite the underlying hostility, they make an uneasy peace. Layla dances for them, and Tsahi tells them about his sister, who was murdered by Palestinians; there has been much killing on both sides. As human individuals, they have much in common, and friendship seems almost possible, till Layla's ferocious militancy brings disastrous consequences.
Writer and former Israeli soldier Misha Shulman creates intriguing characters, and there's a rich vein of comedy in the earlier scenes, playing off Ismail's earnest sobriety against Tsahi's wacky charm. But by emphasizing Layla's single-minded hatred, Shulman pushes the piece toward melodrama. Perhaps this is what fanaticism does, but in theatrical terms it tends to reduce her to a symbol. The actors provide finely etched performances, and director Ellen Shipley handles the material with sensitivity on the elaborate exterior set by Elephant Stage Works Designs.
Presented by Desert Sunrise LLC at the Lillian Theatre, 1076 Lillian Way, Hollywood. Thu.-Sat. 8 p.m., Sun. 3 p.m. Jul. 11-Aug. 23. (323) 960-7784. www.plays411.com/desertsunrise.


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How long for a nose surgery to heal?
Soreness even 6 to 8 weeks following placement of a nasal implant can be common. Infection can also be indicated by persistent redness, drainage and fever. Please address your concerns with your nasal surgeon at an office visit. Or, consider one of the many of the members of the ASAPS for an evaluation.
Best, Gary R Culbertson, MD, FACS
Will need to examine you before commenting.There can be soreness for a few weeks even without any infection.You should go back to your surgeon for an examination.
Anup Dhir, M.D. - View Other Answers by this Doctor
New Delhi-110019
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'Honey Dijon Chicken Thighs'
Source: Adapted from Table For Two
1 1/2 – 2 pounds boneless, skinless, chicken thighs
1/2 cup Dijon mustard (no substitutions)
1/4 cup pure maple syrup
1 Tablespoon rice wine vinegar
1/4 Teaspoon salt
1/4 Teaspoon ground black pepper
1 Tablespoon cornstarch
2 Teaspoons fresh rosemary (garnish)
1. Heat oven to 450. In small bowl, whisk together Dijon mustard, maple syrup, rice wine vinegar, salt and pepper.
2. Place chicken thighs in a greased baking dish and pour the Dijon mixture over top of it. Move chicken around to allow sauce to get underneath and coat the chicken completely.
3. Bake, uncovered, for 40 minutes.
4. Remove from oven and let chicken sit for 5 minutes before transferring to a plate.
5. Immediately after plating the chicken, whisk the 1 tablespoon of cornstarch into the sauce in the dish until it thickens (this MUST be done while while the sauce is still hot so it will thicken properly . If sauce isn't thick enough, add a little more cornstarch.
6. Drizzle sauce over chicken thighs and sprinkle with rosemary.
All Images Copyrighted © 2014 The Kitchen Life of a Navy Wife


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Total Recall Remake: So, uh, the Weinstein boys want to remake the Arnold Schwarzenegger movie "Total Recall". Not an altogether bad idea, I think, considering I really liked the original, but it did have some problems, mostly associated with lame sets. The robot taxi, the Mars locations — all pretty terrible set designs, if you ask me. Other than that, a bigger production set and a younger leading man (may I suggest either The Rock or Vin Diesel? God knows these two can use a hit about now) could make this thing worthwhile. And no, I don't even want an Ah-nuld cameo. I think we can do without that, can't we?
Says Moviehole:
The Weinstein's planned to do a TR sequel — "Minority Report" kinda beat them to the punch, dontcha think? — for the longest time, and with Arnold Schwarzenegger back in the drivers seat, but with the Oak as busy as a bee at a honey festival and Spielberg beating the brothers to the punch, the word is the new film won't be so much a sequel than it'll be…. a remake. It kinda… has to be.
There was actually already a TV series a while ago, but it didn't last very long as I recall…
Daybreakers: The first "Daybreakers" hasn't even reached theaters yet, but star Ethan Hawkes is already thinking about the sequel, and what he wants it to be like. In a word: "Mad Max with Vampires." Or, as Ethan Hawkes himself puts it:
"I have this dream Daybreakers will be Mad Max and the next will be even better."
It's not like I've heard bad things about the movie, but it's also not like I've heard GREAT things about it, either. And whenever a filmmaker or actor starts talking about a sequel before the first installment even comes out, it always has me worried that they're going to cheat on the first and not put as much into it as they should.
Wolverine: Hugh Jackman's furry Canucklehead has always been the best thing about the X-men films (beyond the really attractive girls in their tight form-fitting outfits, I mean), so it's no surprise that Wolverine is getting his own movie, and now a start date for production: November of this year, and the location is Sydney, Australia. (Jackman just happens to be Australian, by the way. Coincidence?)
Gavin Hood will be directing, and Hugh Jackman returns as the easily pissed off muntant runt.
Transformers 2: It appears as if the impending Hollywood writers strike may be delaying the start-up date for "Transformers 2", at least according to producer Don Murphy, you said this:
"But since no one wants to be filming IF a strike happens, everything needs to be done filming by the end of May 2008. So this is affecting the lack of news about Transformers 2 at least for now."
Stupid strike.
Lust, Caution: Hollywood's MPAA may have problems with Ang Lee's too-hot-for-screens "Lust, Caution", but the folks at the Venice Film Festival don't. Lee's film, set in WWII-era Shanghai, took home the prestigious Golden Lion on Saturday at the 2007 Venice Film Festival, marking the second time Lee has grabbed the statue (or whatever it is they give away there) after 2004's "Brokeback Mountain". Other winners include Brian DePalma, Cate Blanchett, and Brad Pitt's long-delayed Western, "The Assassination of Jesse James by the Coward John Ford".


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"Buffett Rule" a Bust in California
September 27, 2011
If President Obama really wants to see the "Buffett Rule" in action, he should look at California's tax system. The state has been plagued by it for years, says George Skelton of the Los Angeles Times.
In California, there is what you could call a Buffett Rule-Plus. There's an extra tax bracket -- at 10.3 percent -- for income exceeding $1 million.
- According to the state finance department, families with adjusted gross incomes of between $1 million and $2 million, on average, paid an overall state tax rate of 8.4 percent in 2008, the last year for which data are available.
- The average rate rose as incomes did to 9.3 percent for those earning $5 million and up.
- Families earning between $200,000 and $300,000 paid, on average, 5.5 percent.
- The rate fell sharply as incomes tailed off: 1.4 percent at $70,000 to $80,000, and only 0.2 percent at $40,000 to $50,000.
California used to offer preferential tax treatment for capital gains and dividends, but eliminated it in 1987 to conform to a new federal "reform" law. The feds later reinserted their preferences, but California never did. Consequently, California relies heavily on rich investors for its income tax revenue, which fuels half of the general fund.
Some examples of this overdependence, based on the 2009 tax year:
- The top 1 percent earned 18 percent of California's income but paid 37 percent of the income tax.
- Illustrating the volatility of the California income tax, however, the top 1 percent paid 48 percent of the total take in 2007 before the stock market collapsed.
- In the next two years, the state's income tax revenue fell 25 percent.
Source: George Skelton, "'Buffett Rule' a Bust in California," Los Angeles Times, September 22, 2011.
For text:
Browse more articles on Tax and Spending Issues


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Regular price
Style and glamour define this x-base bench constructed of heavy chrome finished steel. Stocked in a shimmering black, brown and white faux crocodile. A dramatic addition to any space.
Dimensions: 44L x 18W x 18H.
Manufactured by Sunpan. Sunpan is a global company that specializes in the design and manufacturing of transitional and contemporary furnishings. We take pride in our designs which reflect international trends in fashion and interior design. Sunpan products are available through better retailers and designer showrooms all over the world. Our ultimate goal is to bring you the best in design, quality and value. We thank you for your support.


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Honey Beauty Salon
Prettify your Peepers with Eyelash Extensions and an Optional Eyebrow Shape and Tint
- Highlights
- Fine Print
- Company
Prettify your peepers with a full set of eyelash extensions for $29 (value $60)
Or score extensions plus an eyebrow shape and tint for $44 (value $90)
Human hair eyelash extensions will add length and volume and look totally natural
Plus they'll stick around for a massive six weeks
Add an eyebrow wax and tint to ensure they're beautifully framed!
Keen to move towards a more wholesome image? Nothing says sweetness and light like long, bat-tastic lashes - and that's just what you'll get with today's deal from Honey Beauty Salon. Grab it today and like bees to honey, everyone will be drawn to your sugary charms!
The Fine Print
Max 1 voucher per person
Purchase up to 5 vouchers as gifts
Booking required and subject to availability
Cancellation/re-scheduling policy of 24 hours applies; no-show voids voucher


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A Hennepin County judge is allowing part of a lawsuit filed by the family of a victim of the shooting at Accent Signage Systems to go forward.
Judge Denise Reilly this week dismissed four counts against the company and the estate of Andrew Engeldinger, who shot six people before killing himself last September. The judge allowed two counts of negligence to go forward.
The family of Jacob Beneke filed the lawsuit earlier this year. Philip Villaume is the family's attorney.
"There is evidence that there was personal animosity by Mr. Engeldinger toward Mr. Beneke before the shooting took place and that they had had conflict in the past, which sort of took it out of the Workmen's Compensation Act and allowed us to bring the civil suit," Villaume said.
Engeldinger started shooting after he was told he was fired. It was the deadliest workplace shooting in Minnesota history.
The lawsuit alleges that the company should have taken safety precautions when it fired Engeldinger and that the killing could have been prevented.
A spokesperson for Accent Signage declined to comment. She said the company's lawyers have not yet had a chance to fully review the judge's ruling.
In her order, Judge Reilly expressed skepticism about whether there is enough evidence to support one of the two negligence claims. But she said it was too early to make that determination


text: I play a lot out. Much of the time in a solo situation. Every time, I drag out my PA to make it happen. This would make it all so easy. I could even use this in the open mic I'll be starting in a few weeks. I could do 2 mics. This will be the first big thing I've bought since the Seagull 12 string


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PARIS, Oct. 9 (UPI) -- Thales of France says it has been contracted to supply Identification Friend or Foe Transponders for use on Brazilian military aircraft.
The contract for the IFF transponders was issued by Brazilian aircraft manufacturer Embraer, which is upgrading the Brazilian Air Force's AIM fighters and E-99 AEW surveillance aircraft.
Thales said it will supply its TSC 2030 and TSC 2050 transponders for a total of 48 aircraft. A delivery schedule was not disclosed, nor was the value of the award.
The panel-mounted TSC 2030 transponder and the remote 2050 transponder meet all the most recent standards and regulations defined by NATO and the International Civil Aviation Organization.
"This IFF retrofit program for the Brazilian Air Force shows that Thales' BlueGate IFF solutions are an excellent fit for upgrading existing aircraft," said Jean-Michel Lagarde, chief executive officer of Thales Communications & Security. "We are proud to have been selected by Embraer and delighted to have this opportunity to further strengthen our relationship with this major industry player."


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Ronson adds Total jewels to his forecourt crown
Gerald Ronson has returned to his roots by buying a hefty chunk of Britain's petrol stations — adding to what the septuagenarian tycoon has called his collection of "little jewels".
Mr Ronson's Rontec Investments, which includes his Snax 24 forecourt retailer, acquired 810 Total petrol stations, about 8 per cent of the British market.
The consortium, which also includes Investec and Grovepoint, the private equity group, is thought to have paid £350 million. Rontec immediately sold on a batch of 254 service stations to Shell for £240 million, which Snax 24 has a contract to manage.
Total has been attempting to trim its downstream business in Europe and is trying to find a buyer for its British refinery business.
Mr Ronson's consortium is also in…


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You cannot process W-2 for all of your employees at once because you're reporting taxable wages for more than 800 active, inactive, and terminated employees for the tax period. QuickBooks requires that you process your Forms W-2 in groups if you are reporting wages for more than 800 employees.
If you report more than $9,999,999.99 in wages during the tax period, you must use an alternative method to prepare your Forms W-2/W-3.
See also
Process W-2 forms in groups (batches)


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View Exercise DVDs
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Author: News Letter
Published on 29 July 2012 12:30 PM
One in ten households across Northern Ireland have still not made the switch to digital television, with just weeks left until the analogue signal is switched off, it has emerged.
Digital UK - the body overseeing the digital switchover - are preparing to issue 20-page guide to more than 750,000 households across the Province, urging viewers to get ready for 10 October deadline.
Those who haven't completely the switch-over will be left with a blank television set.
Denis Wolinski, Digital UK's National Manager in Northern Ireland, said: "Most people have already made the switch to digital, but we know some people may leave it until the last minute, or may need a little extra advice.
"We're urging anyone still watching analogue television to make the change now and to contact the Help Scheme if they're eligible for practical support."
The Help Scheme will be writing to eligible older and disabled people, reminding them of the assistance on offer, including a choice of equipment, installation and aftercare.
Viewers can check their switchover date and options for getting digital TV by using the Digital UK postcode checker at Digital UK or by ringing 08456 50 50 50.
Source www.newsletter.co.uk
For more information:
Call Age NI Advice:
0808 808 7575


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Personalloansforbadcredit.net Publishes Debt Consolidation Guide
PersonalLoansForBadCredit.net has shared some highlights from its debt consolidation guide. Aimed at consumers looking for practical methods for reducing interest rates and paying down debts, the guide is free to access on the website.
Mar 04, 2013, 09:00 ET from PersonalLoansForBadCredit.net
NEW YORK, March 4, 2013 /PRNewswire/ --
Leading consumer finance experts have helped compile a new debt consolidation guide available via the PersonalLoansForBadCredit.net website.
The guide has been produced as a reaction to the latest statistics from the Federal Reserve indicating that consumer debt in America is continuing to increase. The figures detail the total amount owed in non-mortgage related debt almost hit $2.8 trillion in December 2012. According to data made available by the Census Bureau, this averages to $8,800 debt for every man, woman and child living in the United States.
For a large proportion of those adults with large amounts of debt, consolidation is a necessary option that can allow for decreased interest rates and more manageable monthly repayments. When used responsibly and from authorized debt consolidation specialists, such loans may actually reduce the total amount owed simply by amalgamating many high interest debts into one lower interest debt.
The PersonalLoansForBadCredit.net debt consolidation guide includes impartial advice and tips on the many aspects of debt consolidation that should be considered by consumers before taking the plunge.
Some highlights of the guide include a discussion on the need for focusing on improving finances in the long term in order to pay down all debts. Also covered is the importance of repairing finances enough to begin a contingency savings fund.
PersonalLoansForBadCredit.net announced the publication of the guide in the following statement.
"PersonalLoansForBadCredit.net is pleased to make available a debt consolidation guide to Americans in debt. The guide advises consumers to look closely at the numbers involved in any debt consolidation offer as some can result in considerably larger amounts of money repaid over time due to longer repayment terms. Such loans may not represent such an appealing alternative for some borrowers who may be better off looking at ways to decrease expenditure in other areas in order to bear the brunt of shorter term, higher repayments will less interest repaid overall."
PersonalLoansForBasCredit.net is also a hub for free information on managing expenses, repairing credit. The domain is perhaps best known as a popular destination for searching and comparing bad credit loans from top lenders.
To read the guide in its entirety, go to: http://www.personalloansforbadcredit.net/debt-consolidation.html
Sam Ash
SOURCE PersonalLoansForBadCredit.net


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Mandy, are you suggesting that 2 minutes and 33 seconds worth of puzzle solving wore you out? In the future, I'll try to keep the size down to 2 or 3 pieces. hehehe
Phew!! :~)Thanks Wendy!
Mariasha, there isn't much that excites me in life, but one of the things that does is messing with your eyeballs. LOL ;-)
You just love messing with my eyeballs...lol...great colors, one of my favorites of your flower creations...thanks.
Thank you very much, whatnauts. It turned out nicely in an odd sort of way.
Love the flowers, love the background. Wonderful puzzle, Wendy.


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I thought overall it was a good audio mix except I was disappointed with the dynamics of the gunshots. In the cinema it was the same way. Pop in The Dark Knight at the very beginning and compare the gunshots. Or the gunfights in Open Range. No comparison. I enjoyed this movie though and it's audio.
Django Unchained
Perhaps in homage to the films of his youth, the 2.4:1 Django displays warm tones, with interesting effects as when skies appear to be overexposed. There are also deliberate shifts in overall quality during the flashbacks, whereas the black areas of the image have a pleasing, organic look even though they are not particularly nuanced. My main gripe about the picture quality is the slight softness throughout, surely no accident by the director of photography, the great Robert Richardson, but it stops short of real HD splendor as a result.
The DTS-HD Master Audio soundtrack is big and cinematic: Quentin at his best. The subwoofer adds a menacing rumble to the approaching hoofbeats, and a definite boom to the gunshots. Birds chirp in the surrounds, while off-camera characters are discretely placed and cleverly phased about the 5.1-channel soundfield. The jingle of chains is high and clean, and the crisp crack of the whip fills the room, along with some subtle echoes. A big shootout late in the film could serve as a great go-to clip on some future DTS demo disc, were it not so unabashedly bloody.
The extras are lean, really just looks at the costumes, production design, and horse stunts. (The Best Buy version reportedly includes its own exclusive making-of.) A standard-definition DVD and a Digital Copy for both iTunes and UltraViolet are onboard, and I just know I'll be taking advantage of those soon.
Studio: Anchor Bay, 2012
Aspect Ratio: 2.40:1
Audio: DTS-HD Master Audio 5.1
Length: 165 mins. MPAA Rating: R
Director: Quentin Tarantino
Starring: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio
I am disappointed S&V. A comment on African American past negativity towards this director and a question if that has changed as now there is a black hero in his film, why was it deleted? Are we not all adults here?


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Following up on yesterday's fire during a Headline News broadcast:
"A light that exploded on the air caused the fire. The network switched to a pre-recorded tape while the fire was put out," the New York Post reports. Here's the video on YouTube.
Linda Stouffer was reading a story about guns when she was distracted by a "pop" above the set. "I'm going to try to get through this," she said after mentioning technical difficulties. ("That's dedication, I'd have been out of my seat," an e-mailer says.) Co-anchor Chuck Roberts said they needed to get off the set.
When they came back at 3pm, the co-anchors said it was a little smoky, but everything was fine. Stouffer even said to Roberts, "And your hair still looks great."