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Spurs 0
City 0
- Match highlights
- Matchday centre
- Match reports
- 14 August 2010 12:43
- Posted by David Clayton
City started the new season with an impressive draw against a more than decent Tottenham side, but had Joe Hart to thank for a series of brilliant saves after being forced to weather fierce home pressure in the first half.
Shaun Wright-Phillips had City's best chance moments after the break, but after a much-improved second half display, the Blues earned their point and partially ended Spurs' dominance in this fixture in recent times.
Opening day games always seem to be played in bright summer sunshine, played against the backdrop of a colourful, shirt-sleeved crowd, but that wasn't the case at an overcast, damp White Hart Lane.
This match was always going to be a sell-out with City and Spurs locking horns for the second time in three Premier League fixtures – the previous one ending with a win for Harry Redknapp's men and a passage into the Champions League.
While the hosts started with ten of the 11 players that won 1-0 at the City of Manchester Stadium, Roberto Mancini handed League debuts to Aleksandar Kolarov, Yaya Toure and David Silva with fellow new signings Jerome Boateng ruled out through injury and Mario Balotelli unavailable.
With Carlos Tevez wearing the captain's armband for the first time in a competitive game, possibly Mancini's hardest decision was who started in goal with perhaps the two best goalkeepers in the country at his disposal.
He selected Hart ahead of Shay Given, though it is surely too soon to read anything into the decision at this stage with both men knowing they'll need to be at the top of their game to keep the other man out.
As it transpired, it was Hart who proved the difference between the two teams in a Spurs-dominated first 45 minutes, with the England keeper making five breathtaking saves as the Blues just about weathered a lengthy storm.
First Hart stretched acrobatically to keep out Jermain Defoe on 11 minutes, then he beat out a Tom Huddlestone volley from 20-yards on 16 minutes out and then a deflected drive from Benoit Assou-Ekotto within the space of 60 seconds five minutes later.
And when Hart was finally beaten on the half-hour, the post came to City's rescue as Gareth Bale's low drive struck the inside of the post before being scrambled clear. Two minutes later and Hart was faced with a one-on-one with Defoe and after saving the initial shot, he bravely dived to punch the rebound clear when a goal seemed certain. It was some return to City colours for the 23-yaer-old!
The Blues were reliant on the occasional counter-attack, but Heurelho Gomes was never seriously troubled. A limping Kolarov was replaced by Pablo Zabaleta after the break and within a minute City should have gone ahead
...Spurs v City
Yaya Toure's lofted ball found Wright-Phillips clear with just Gomes to beat, but he dithered and the chance went begging, much to his manager's chagrin. City continued to probe forward with more menace as the contest wore on, though still wary of Tottenham's threat.
With both managers keen to start the campaign with three points, Spurs changed their forward line on 67 minutes with Roman Pavlyuchenko and Robbie Keane replacing Crouch and Defoe while Adam Johnson replaced Wright-Phillips.
If Spurs were the better team before the break, City certainly edged the second and in the final few minutes, Emmanuel Adebayor was sent on to try and find the break through, but with just seven minutes remaining, it was fine defending from Vincent Kompany who made two stunning last-ditch tackles in the space of a minute to keep the scores level and ensure City left North London with what was, ultimately, a deserved point.


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Teacher resources and professional development across the curriculum
Teacher professional development and classroom resources across the curriculum
Printer Friendly Version of this Chart (PDF)
The NCSS themes derive from and connect to content disciplines (right). Use this chart to link to lessons related to each of the content disciplines.
Lesson Titles
Historical Change
China Through Mapping
Leaders, Community, and Citizens
Making Bread Together
Caring for the Community
Celebrations of Light
Explorers in North America
California Missions
State Government and the Role of the Citizen
Using Primary Sources
Making a Difference Through Giving
Understanding Stereotypes
Explorations in Archeology and History
Exploring Geography Through African History
The Amistad Case
Population and Resource Distribution
Landmark Supreme Court Cases
The Middle East Conflict
Public Opinion and the Vietnam War
Migration From Latin America
Competing Ideologies
Economic Dilemmas and Solutions
Gender-Based Distinctions
The Individual in Society
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subset: commoncrawl


text:
Tinkering Calcs.
Support, Comments, and Requests
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Tinkering Calcs.
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Re: Tinkering Calcs.
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Darling darling ranges
Added Mar 12, 2013
by tongtongqian
United Kingdom
This is my first darling ranges dress made from an old bedsheet. Again it was actually back in the summer but I am always too lazy to take photos..
It really is one of the nicest patterns that I've worked with – there were a few strange things going on with darts in the wrong place (it looks like that hadn't been graded for the different sizes) but the instructions were so clear and it is the only pattern I've ever made where the sleeves fit first time with no adjustments. I think I'm in love…
3 Comments Sign in to add a post
Mar 13, 2013, 07.27 AMby freyastark
The Darling Ranges pattern and others are available from Megan Nielson (http://megannielsen.com/).
Mar 13, 2013, 01.28 AMby deanna805
love the dress, love the fabric.
Mar 13, 2013, 01.04 AMby flowergirl22
I love the darling range,, where could I get one?? great dress love blue>
Add to Favorites 4 people added it


text:
In many older studies, long-standing inflammation of the pancreas was most often due to alcohol - but in the U.S. at least that pattern is changing, a new study shows.
Smoking and genetic factors may be replacing alcohol as the major cause of the condition, researchers say.
Long-term inflammation of the pancreas, known medically as chronic pancreatitis, occurs in 15 to 20 out of every 100,000 people in the United States. Patients usually suffer from abdominal pain and don't digest food properly. There is no cure, and treatments are aimed at managing the pain and preventing poor nutrition.
In a nationwide investigation, researchers found that out of every 10 cases, alcohol caused four, instead of six to nine as was previously estimated.
Using information on patients with a chronically inflamed pancreas from 20 major medical centers, the research team found that about three of every 10 cases were due to genetic diseases, disorders of the immune system, physical damage, and other factors.
In another three of 10 cases, doctors could not find a cause.
Dr. Greg Cote, a professor at the Indiana University School of Medicine and the lead author on the study, told Reuters Health he wasn't surprised to find so many patients whose long-term pancreas inflammation couldn't be explained.
"It's not uncommon to work them up and down with diagnostics and imaging and, at the end of the day, not find the cause," he said.
Cote suspects that many patients in the mystery-cause group may have developed pancreatitis from smoking.
This group tended to have higher than average rates of smoking, he and his colleagues report in the journal Clinical Gastroenterology and Hepatology. And earlier studies have found that smoking increases the risk of an inflamed pancreas.
In an editorial published along with the study, Dr. Albert Lowenfels, a professor at New York Medical College, writes, "This is an important finding because we now know that smoking, along with alcohol, is another major avoidable lifestyle factor leading to this burdensome disease."
"I think smoking is clearly the single biggest environmental factor, but I think genetics is going to play a big role as well," Cote said.
He pointed out that in Europe too, recent studies show the proportion of alcohol-related cases is shrinking. His is the largest study to look at the causes of chronic pancreas inflammation in the U.S., he said.
The researchers say their next step is to try to identify genes that may be responsible for cases with unknown causes.
Cote's study, funded by the National Institutes of Health, the National Pancreas Foundation, and several private donors, included 539 people with chronic pancreatitis.
One of the limitations of the study is that all of the patients were treated at medical centers attached to universities, which tend to care for more sick patients and perhaps receive more cases with unknown causes.
Cote said there may be alternative causes even among those patients whose drinking is thought to be the cause of their pancreatitis.
His study found that about one third of patients with alcohol-caused pancreatitis did not meet the criteria for drinking heavily enough to cause damage to the pancreas.
"I think it exemplifies that there are many unknowns" to this disease, Cote said.


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13:08 Pelaw Grange Sun 13 May 2018
- 435m
- 1st £33, Others £10 Race Total £83
Final Result
Race Details
- Winning TrainerA Greenwell
- Winning Time27.27s
- Runners6 ran
- Distances5 ¾, ¾, 2 ½, 1, 3 ½
- Off Time12:08:20
- Forecast£0.00
- Tricast£0.00
Racing Tips
Value Bet: Royal procession
Ben Linfoot seeks out the value in the William Hill Ayr Bronze Cup Handicap on Friday with an unexposed sprinter from Newmarket taken to land the spoils.
Friday's racing preview
Keith Hamer reckons Karl Burke's fine run of form can continue at Ayr on Friday - he has a tip for every race.
Sporting Life: Daily Nap
Ben Linfoot heads to Ayr for the Sporting Life Daily Nap selection on Friday with his Value Bet selection running in the William Hill Ayr Bronze Cup.
Football Tips
Saturday's Premier League tips
Get your Saturday Premier League coupon sorted with our previews, Super 6 predictions and best bets for all six of the 3pm kick-offs.
Watford to bounce back at Fulham
Watford are taken to bounce back to winning ways when they visit Fulham in Saturday's lunchtime kick-off, with Troy Deeney tipped to be the main man.
Powell set to star for Latics
The Sky Bet Championship gets going with Wigan's televised encounter with Bristol City. Tom Carnduff has a look at the betting.


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Social Media, Newsletter, or Website Development
Cause Areas
WhenIt's flexible! We'll work with your schedule.
Where1211 Griswold St.Port Huron, MI 48060
Are you looking to make a real impact on the lives of teens and young women in your community? Here's your big chance!
You can edit or writer articles for the Blue Water Pregnancy Care Center Newsletter. With this job, you will be able to work from home, get quotes, and arrange printing from current vendors. Our schedule is very flexible!This volunteer opportunity is full of endless possibilities and is adaptable to fit into your life. You can set your own schedule. Plus, we provide tons of training along your journey to help you grow and shine.
Make an impact, meet lots of people and have fun doing it. Make new friends, gain leadership skills that will stay with you for a lifetime, and help you advance your professional and personal development, too!
If this is the volunteer opportunity for you, don't miss out. Sign up today!
When you register for volunteer opportunities with BWPCC, you agree that we can: (i) communicate with you; and (ii) email you opportunities.
- Advertising
- People Skills
- Journalism
- Relationship Building
- Public Relations
- Interactive/Social Media/SEO
Good Match For
Requirements & Commitment
- Background Check
- Must be at least 20
- Orientation or Training
More opportunities with Blue Water Pregnancy Care Center
- Baby Store Assistant
- Church Ambassador
- Financial Literacy Mentor/...
- Website Intern
- Social Media Manager/ Intern
- Event Assistant or Coordinator
- Pre-Natal and Parenting Class...
- Computer Data Entry
- Prayer Coordinator
- Community Outreach / Public...
- Mailing Assistant
- Boutique Organizer / Sorter
- Church Ambassador Coordinator
- Board of Directors Member
- Mentor / Counselor / Advocate
- Post-Abortion Recovery Leader
- Office Assistant
- Community...
- Nurse
- Volunteer Coordinator / Manager...


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Katie Holmes Looks Beanie Beat
Katie Holmes looks a little worn out on Saturday night as she leaves her New York City apartment to do another performance of the play All My Sons at the Gerald Schoenfeld Theatre.
The Broadway actress looked festive in her holiday red winter coat and fun the day before in a purple polka dot top.
Earlier this week, she celebrated her 30th birthday.
10+ pictures inside of Katie Holmes looking beanie beat…


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James Hetfield + Billie Joe Armstrong Headline San Francisco's 'Acoustic 4 a Cure' Benefit
Metallica frontman James Hetfield and Green Day's Billie Joe Armstrong will lead the talent lineup at the upcoming pediatric cancer benefit 'Acoustic 4 a Cure' in San Francisco. The event will take place Thursday, May 15 at The Fillmore in San Francisco, with the proceeds from the show going to the UCSF Benioff Children's Hospital.
Both Bay Area musicians will be joined by a stellar music lineup. Sammy Hagar, Train's Pat Monahan, guitar great Joe Satriani, Heart's Nancy Wilson and Scott Mathews are also on the bill for the acoustic benefit.
Hetfield has been working with Metallica on a new album and the band just debuted their new song 'The Lords of Summer' during a show in Colombia over the weekend. In addition, just revealed they will take part in another benefit, as they'll play the MusiCares MAP Fund awards show, which this year honors Ozzy Osbourne, on May 12 in Los Angeles.
As for Armstrong, he's catching a well-deserved breather after Green Day's triple album project. The vocalist did step out from the band to join Norah Jones on the collaborative disc 'Foreverly,' which dropped late last year.
Tickets for the 'Acoustic 4 a Cure' pediatric cancer benefit go on sale this Friday (March 21) at 10 AM PT at this location.


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Welcome to the Virus Encyclopedia of Panda Security.
Windows 2003/XP/2000/NT/ME/98/95
Autorun.JNF is a virus that spreads to other computers by copying its code to other files or programs.
It reduces the security level of the computer:
it changes the security settings of Internet Explorer, decreasing its security level.
It uses stealth techniques to avoid being detected by the user:
Autorun.JNF uses the following propagation or distribution methods:
Autorun.JNF uses the following infection strategies:


text:
Ear Molding: A Nonsurgical Correction of Ear Deformities
For appointments call 314.454.KIDS (5437) or 800.678.KIDS (5437)
Email Us
Ear molding is a nonsurgical procedure that—when started soon after a baby's birth—can correct a number of common deformities, including Stahl's ear and cryptotia. For most cases, it eliminates the need for patients to undergo corrective plastic surgery when they are older.
The procedure involves molding the ear using fast-drying putty such as that used by dentists, and securing the mold with surgical tape or a headband. The molding needs to be worn continuously, and the patient is seen weekly so that the molding can be readjusted and secured.
Treatment ends when the molding may be removed for several days without relapse, which typically takes six to 12 weeks.
Types of Ear Deformities That Might Benefit From Ear Molding
- Constricted ear (lop or cup ear)—Partial absence of skin and cartilage involving the helical rim, scapha and/or concha. In its least complex form, lidding of the superior helical rim is present.
- Cryptotia (pocket ear)—Superior portion of the auricle is hidden under the scalp.
- Prominent ears (Dumbo ears)—Ears project more than the normal distance from the head. May lack an antihelical fold, have an obtuse scaphoconchal angle and deep conchal bowl.
- Stahl's ear (Spock or elf ear)—Flattened ear rim and deformed upper portions of ear. Skin and cartilage are folded to different degrees, resulting in a pointed upper edge.
For examples of our patients and the successes they have had at St. Louis Children's Hospital, please see our photo gallery.


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$10 for a friend. $10 for you. Nice.
technology fauna graphics melts concept abstract wellbeing landscape decorative wallpaper abstracted travel tally texture chart plant gastronomy nature fund characteristic structure leisures sport security spring transport emotion business question insect other human flora objects lifestyle science feeling
this is very interesting
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What are some of the major laws and statutes authorizing OSERS and its activities?
OSERS is the acronym for the Office of Special Education and Rehabilitative Services, which is part of the U.S. Department of Education. OSERS is comprised of the:
Office of the Assistant Secretary (OAS)
And two main program components:
To provide leadership to achieve full integration and participation in society of people with disabilities by ensuring equal opportunity and access to and excellence in education, employment, and community living.
What programs does OSERS fund?
OSERS supports a wide range of programs and research aimed at helping individuals with disabilities.
For more information visit OSERS' Grants & Funding opportunities.
What is the definition of disability?
There are over 40 different definitions of disability in United States federal law. One of the more prominent definitions of disability can be found in the Americans with Disabilities Act (ADA). The ADA definition sets out the following criteria:
a physical or mental impairment that substantially limits one or more of the major life activities
a record of such an impairment
being regarded as having such an impairment
What are some of OSERS' major activities?
Implements IDEA.
Implements the Rehabilitation Act.
Administers basic state grant programs for IDEA and the Rehabilitation Act.
Improves employment outcomes for persons with disabilities.
Implements the Education of the Deaf Act, the Randolph-Sheppard Act, the Helen Keller National Center Act, the Assistive Technology Act, and the Act to Promote the Education of the Blind of March 3, 1879.
Supports basic programs through:
Technical assistance
Parent and professional training and development programs
Client assistance programs
Administers programs that support three Special Institutions:
Develops strategic planning and performance measurement activities to implement the Government Performance and Results Act (GPRA)
Develops and implements a long-range Disability Research Agenda
Provides technology-related assistance through state programs
- What are some of the major laws and statutes authorizing OSERS and its activities?
- Individuals With Disabilities Education Act (IDEA)
- Rehabilitation Act of 1973 (Rehab Act)
- Education of the Deaf Act (EDA)
- Helen Keller National Center Act (HKNC)
- Assistive Technology Act of 1998 (Tech Act)
- Randolph-Sheppard Act (Vending Facilities for the Blind)
- Act to Promote Education of the Blind on March 3, 1879
- Individuals With Disabilities Education Act (IDEA)


text:
(c) Pocumtuck Valley Memorial Association, Deerfield MA. All rights reserved.
Contact us for information about using this image.
This is a receipt from Joseph Barnard, tax collector for the town of Deerfield, Massachusetts, to Justin Hitchcock for the payment of both town and county taxes in 1787.
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Barry Smith offers OWL Classes OWL Instances OLW Rules Of what I've seen, I like the single letter names. But really, I think we need a marketer to help us figure this out, as my sense is that we're all so close to the history that we won't be able to appreciate what it's going to be like for the majority who use owl, who don't know it. I'm spreading the word.... -Alan On May 1, 2008, at 4:41 AM, Carsten Lutz wrote: > On Thu, 1 May 2008, Ivan Herman wrote: >> >> Markus Krötzsch wrote: >>> Not caring about any particular name or pronunciation, I still >>> think name changes would really be in order. Main requirements are: >>> * unified naming: profile names should look somewhat similar in >>> shape, >>> * avoid non-letter symbols ("+") >>> * avoid "Lite" >>> I would be happy with Bijan's one-letter version (E, D, R). At >>> least these are easily recognised as smaller profiles. >>> For a two-letter version, I would prefer: EL, DB, LP. >>> (Some of these might be too close to "DL") >> >> EL and DB sounds actually good to me (sorry Markus, I prefer the >> two-letter alternatives:-) >> >> For the third, LB is not bad; another alternative may be 'RL' (for >> rules) although it is not necessarily easy to pronounce... > > Out of the current one-, two-, and three-letter proposals, I very much > favour the two-letter ones. "EL" and "DB" are very natural and under- > standable for EL++ and DL-Lite, and to me "RL" is also fine for OWL-R. > In principle, of course, we do not need the sumber of letters for each > profile and could use "EL", "DB", and "R". I slightly prefer "RL", > though. > > greetings, > Carsten > >> >> I. >> >>> Three-letter alternatives were already given by Bijan. >>> I prefer the one-letter names. They are least likely to be >>> confused with each other or other OWL versions, and they are >>> uniform, easy to remember, and not taken in the literature. >>> -- Markus >>> P.S.: I generally oppose the use of "OWL Rules" and anything very >>> similar. There are existing approaches (yes, including my own >>> works, but also the Protege plugin presented at OWLED DC [Gasse/ >>> Sattler/Haarslev]) that allow much more rules/rule syntax in OWL >>> 2. We should avoid the confusion. Also, future OWL/RIF efforts >>> may have to say more about rules for/with OWL. >>> On Montag, 28. April 2008, Carsten Lutz wrote: >>>> On Mon, 28 Apr 2008, Bijan Parsia wrote: >>>>> On 28 Apr 2008, at 17:02, Ian Horrocks wrote: >>>>>> OK - but can you suggest some other names? >>>>> Not really. I personally can live with the current names... >>>> So can I. >>>>> I was just trying >>>>> to report the state of play as I understand it. Nameing these >>>>> suckers is >>>>> damn hard, I'm finding. >>>> Absolutely. >>>>> EL++ OWL-Ont >>>> If we want to change the name, it would have to be sth like this, I >>>> guess. The problem with an alternative name for EL++ is that its >>>> distinguishing feature is that it is more a real ontology language >>>> than the other fragments. But then, it feels strange to >>>> emphasize that >>>> property since, after all, what we are standardizing *is* ontology >>>> languages. >>>>> DL Lite OWL-Rel (for relational?) >>>> I find that a little misleading. Speaking about relations is not >>>> exactly one of DL Lite's strengths (unless the relations are >>>> unary). >>>>> OWL-R OWL-Rul >>>> Made me laugh, but maybe it only sounds funny in German. :) >>>> I would propose names here if I could come up with good >>>> suggestions, >>>> but I can't. Since, as Ian says, the names are already in wide >>>> circulation, sticking with the existing names may not be the worst >>>> choice. >>>> greetings, >>>> Carsten >>>> -- >>>> * Carsten Lutz, Institut f"ur Theoretische Informatik, TU >>>> Dresden * * Office phone:++49 351 46339171 >>>> mailto:firstname.lastname@example.com >>>> * >> >> -- >> >> Ivan Herman, W3C Semantic Web Activity Lead >> Home: http://www.w3.org/People/Ivan/ >> PGP Key: http://www.ivan-herman.net/pgpkey.html >> FOAF: http://www.ivan-herman.net/foaf.rdf >> >> > > -- > * Carsten Lutz, Institut f"ur Theoretische Informatik, TU > Dresden * > * Office phone:++49 351 46339171 mailto:firstname.lastname@example.com- > dresden.de *Received on Thursday, 1 May 2008 20:20:16 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 6 January 2015 21:42:04 UTC


text:
Jun 28, 2006 at 5:43 pm
65 gt. 5.0L 4 speed manual
Jun 28, 2006 at 2:55 pm
hey, im getting another mustang, we need to run em.
Jun 27, 2006 at 4:36 pm
Nice Looking SS MONTE.
MonteCarloSS_84 has not posted to his car garage blog.
Log in to post comments.
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text:
This is your basic hamper...
Thursday, December 22, 2011
Fortnum & Mason Hampers
This is your basic hamper...
14 comments:
How lovely! Wow..what nice gifts these would be.ReplyDeleteReplies
Boom! Such a lovely way to share the Christmas Spirit Hampers with your family.Delete
No but I'm giving them to clients in London:)ReplyDelete
I'm sending a few hampers off to family, and we received one, too. Always fun to browse through it all to see what surprises await.ReplyDelete
Love your Dickensian period, Carol!!!
I wonder what ppl do if they end up with tons of hampers?ReplyDelete
Fill them up next year and send out?
Oh, yum!! I would love one of those hampers. My family is English, so seeing the Christmas pud really brought back memories. (Macarons, however, were never on our menu!) Happy Holidays, Carol and Bear!!ReplyDelete
Someone could end up w/ tons?:)Imagine...the possibilities.ReplyDelete
Oh, I think I could use a hamper ...or a few! Don't think I have ever had plumb pudding... love that store though! Was there many years ago and got the cutest little jar of honey for a friend ... white with little bees!ReplyDelete
Ahhh! Who could resist a hamper full of goodies! F&M, Selfridges, and Harrods have some pretty bubbly marketeers! I love their window display themes and how they celebrate all the wonderful holidays throughout the year. Truly an exciting retail experience :)ReplyDelete
Happy holidays!!


text:
Meet Serves as Preliminary Round for National Championship
NEW NAVEN, Conn. – Four Bulldogs will compete at the NCAA East Regional based on their top-48 performances in the region this season. The regional meet will be hosted by Indiana University on May 26-28 in Bloomington, Ind.
Senior John Van Deventer qualified in the 1500m with his 3:43.34 performance from last week's Swarthmore Last Chance Meet, setting No. 2 all-time Yale outdoor. He brings in the seventh-fastest time in the regional and will race in the preliminaries on Thursday, May 26 at 5:00 p.m. The top five runners from each heat and the next four fastest times will advance to the qualifying round for the national championship on Saturday, May 28 at 6:45 p.m.
Senior Matt Bogdan and junior Nathan Richards will both compete in the 3,000-meter steeplechase on Friday, May 27 at 9:10 p.m. Richards and Bogdan are seeded 21st (8:54.15) and 30th (8:58.09), respectively. The top three runners from each heat and the next three fastest times will qualify for the national championship.
Sophomore Mike Levine will compete in the discus entering as the 19th seed with a throw of 54.28m. Levine will compete in the discus on Saturday, May 28 at 5 p.m. The top twelve throwers will qualify for the national championship.
A performance list is available at NCAA.com. A complete schedule of the meet as well as live results and video coverage can be found at the meet website.
Report by Miriam Cho '13, Yale Sports Publicity


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Dim Sum For Everyone: Vegetarian Dim Sum Spots
BY: Gayot | Feb 8, 2014
The dim sum lunch, or yum cha (literally "drink tea"), is the Cantonese answer to Spanish tapas. It is as much a tradition in New York City's Chinatown as weekend brunch on The Lower East Side. The bustling scene is all too familiar: packed tables, servers pushing metal carts while hawking their selections, the din of impatient, hungry diners. They wait for shrimp dumplings, steamed pork spareribs, roast pork buns, pork and shrimp shu mai -- the seemingly endless variety goes on and on. But for vegetarians, the choices can be few. When it comes to dim sum, seafood and meat dominate the menu. New York vegetarians need not despair, because there are two very appetizing dim sum havens for non-meat eaters, and they're right in Chinatown. Buddha Bodai on Mott Street serves a completely vegetarian and kosher menu of dim sum favorites, ranging from shrimp dumplings to beef rice rolls. The restaurant is usually packed on weekday lunch hours with City Hall municipal types, while the weekend clientele consists of tourists, locals and the environmentally conscientious. An all-day menu of vegetarian iterations of Chinese standards is also on offer, with creative takes on dishes like roast pork and sesame chicken. Using seitan, tofu and yam starch (among other vegetarian and kosher-friendly ingredients) as substitutes, many of these plates will fool even the committed carnivore in appearance and flavor. The line outside the door on Sunday afternoons may be the best way to spot Vegetarian Dim Sum House on Pell Street. Crowds tend to gather on weekends, anxious for healthy vegetarian takes on traditional dim sum dishes. The array of vegetarian dumplings -- pan fried, watercress, snow pea leaf, monk dumplings -- draw in voracious vegetarians who want the variety of a full-scale dim sum restaurant without sacrificing their principles or lifestyle choices. The menu is comprehensive, full of inventive vegetarian fare using Eastern and Western-style vegetables, not to mention an exhaustive list of diced, sliced or sautéed mushroom dishes. At Vegetarian Dim Sum House, there's no need to solely imitate meat dishes. Here, vegetables are allowed to take center stage.
BY: Gayot
GAYOT.com serves as a leading worldwide authority on the good life. Millions of readers turn to Gayot's savvy, professional reviews on dining, travel and lifestyle. From "Best of" lists and travel guides, to a searchable restaurant and hotel database, Gayot provides dependable coverage while keeping up with the latest trends and news.


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For 125 years, our team of real estate experts has been the market leader in New York City's northern suburbs. We have the largest regional and global network with long-standing international connections and partners in 65 countries.
The Future of Real Estate Since 1888
Bronxville's storied history, independent vibe and proximity to the city make it a popular choice for those looking to settle in the suburbs.
Household Incomes
Housing Stock
Median sale price
August, 2018
-25.8% since July, 2018
-49.3% since August, 2017


text:
1. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?vbaderks May 8, 2012 3:05 PM (in response to stephenb.b.r)1 of 1 people found this helpful
The current technical documentation of the DZ68BC only lists PCI-E 2.0 as supported (but they are also not updated for Ivy Bridge CPUs yet..). Other motherboard vendors claim explicitly that their mobo's have special PCI-E 3.0 quick switch ICs to support the PCI-E 3.0 interface of the i5-3xxx and i7-3xxx. Intel does however state that their DZ77GA-70K board supports PCI-E 3.0. If you compare both Block Diagrams it seems that the DZ77GA-70K has a PCI-Express switch and the DZ68BC doesn't.
I would be carefull and assume that the DZ68BC doesn't support PCI-E 3.0 until Intel explicitly states this in the technical docs.
2. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?stephenb.b.r May 9, 2012 3:39 AM (in response to vbaderks)
I was thinking same thing, even tho the option is open in a way, i asked in a forum and someone explained that technicaly it is very much capable but added that probubly only one slot would be PCI-E 3.0 capable, and yet again is that hou the PCI-E 3.0 lanes in the Ivy bridge are with one card operates at full x16 with two cards x8, x8 with three cards x8, x4, x4. wich is kinda same as what he was saying, in a way he says most boards with Ivy Bridge will support PCI-E 3.0 even without switches by a BIOS update that will also let the RAM DIMMS operate at 1600mhz as standard if using Ivy Bridge
3. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?stephenb.b.r May 17, 2012 4:55 AM (in response to stephenb.b.r)
Can Intel representative please answer this question.
4. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?stephenb.b.r May 24, 2012 4:00 PM (in response to stephenb.b.r)
I found this clip on you tube and it points out that Intel DZ68BC Supports PCI-E 3.0
5. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?stephenb.b.r Aug 15, 2012 3:27 PM (in response to stephenb.b.r)
i still need a solid answer to this question.
What if i use only the first PCI-E slot on the motherboard while running Ivy Bridge CPU will the slot operate at full 3.0 if a 3.0 device is installed? My answer i say yes it will tho i haven't tried.
From many explanations the PCIE 3.0 switches are mostly if running in sli or cross fire so that the other slot can get high bandwidth too, but what if you only use one PCI E slot then i guess it should run in 3.0 x16 mode....?
6. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?stephenb.b.r Oct 25, 2012 1:36 AM (in response to vbaderks)
No switches needed i have proof
I remember starting a thread several months ago before Ivy Bridge was released here
I'm happy to inform all of you that i don't think the switches are needed as i originally suspected.
I have Intel Desktop Board DZ68BC Extreme series
which is not stated or indicated by Intel to run PCI-E 3.0, but it does and i have proof of it, apparently all i needed was as i stated in the original thread, I only needed an Ivy Bridge processor and a PCI-E 3.0 capable device
I got the processor Core i7-3770 back in July 10th 2012
And my PCI-E 3.0 capable graphics card EVGA GTX 670 FTW 2GB on October 22nd 2012
The GPU operates @ PCI-E 3.0, all that was needed are the PCI-E 3.0 lanes from the Ivy Bridge processor.
7. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?Ziad Aghar Oct 27, 2012 5:30 AM (in response to stephenb.b.r)
Man I'm really happy that you are able to run your graphic card at PCI-E Gen 3. However, I have the DX79SI mobo & it clearly states that it supports the PCI-E 3.0. So I bought it with the Gigabyte 680 SOC
As for the the VGA card running in PCI 3.0 mode it should run without a hitch. The VGA specs clearly states that they are PCI Gen 3.0 http://www.newegg.com/Product/Product.aspx?Item=N82E16814125437, so does the MB http://www.newegg.com/Product/Product.aspx?Item=N82E16813121534&Tpk=dx79si
I wonder why the GPUZ reports that it is running in PCI 2.0, that is so weird.
8. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?Tadashi Dalba Oct 27, 2012 10:19 AM (in response to Ziad Aghar)
dx79si its fully 3.0 pcie but your cpu (all Sandy bridge-E) simply cannot enable this function and limit the pcieexpress socket to 2.0, you need a new "Ivy-E" cpu. There are no performance boost from 2.0 to 3.0 with all vga cards already released this year.
9. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?stephenb.b.r Oct 28, 2012 10:59 AM (in response to Ziad Aghar)
It x79 can ran PCI-E 3.0 with Sandy bridge E
Here try this for the x79
techPowerUp! - The latest in hardware and gaming
Vega's *Heavyweight* display and computer; edition 2012
x79 works check the GPU-Z screen shots on the overclock.net link above.
10. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?Ziad Aghar Nov 1, 2012 11:28 AM (in response to stephenb.b.r)
Hey Stephen,
I saw your rig & all I can say is WOW
Just so you'd know I downloaded the file you told me about & now the VGA is working in PCI-E Gen 3
Thanks a lot man. However, I do have a couple of questions.
*Upon operating in PCI-E 3.0 the card utilization dropped from peak to 60~70%. I might sound a little dull but which is better??
* I have a Gigabyte GTX 470 SOC Newegg.com - GIGABYTE Super Overclock Series GV-N470SO-13I GeForce GTX 470 (Fermi) 1280MB 320-bit GDDR5 PCI Express 2.0 x16 HDCP Ready SLI Support Video Card
would you advise me to use this card as a dedicated PhysX card? Surely No SLI or there is no need?
11. Re: Intel DZ68BC PCI-E 3.0 Support With Ivy Bridge Processor?stephenb.b.r Nov 1, 2012 11:08 PM (in response to Ziad Aghar)
Thank you for the complement.
It's nice to see that you got it all working. About the dedicated physX card it is not necessary at all the performance gain is negligible, you are better off selling the card or using it in another rig, plus not a lot of games use physX, so it would be unnecessary power draw from your PSU if you add it. The GTX680 can handle physX very well on its own actually it is said that Geforce 600 series Kepler based GPUs have their own inbuilt dedicated way of handling physX no extra card is needed. Even the previous gen cards geforce 500, 400, 300, 200, 9 & 8 series could handle physX by them selves but they used to safer some performance hit that's why people got dedicated physics cards back with those cards, note it was only feasible for people running cards lower than mid range to get a physX card.
Currently no need to use a dedicated physX card with your GTX680, you are better of selling the GTX470 then add some money and get a second GTX680 for a proper SLI configuration and you will get overall increased performance well above 70% increase in performance.
Check out this thread it will helpful The Dedicated PhysX card FAQ - Read this before asking any questions! - techPowerUp! Forums


text:
JB: got the car, got the girl
Of course.
He's 18. How easy is life?
Check out Justin Bieber today in what's apparently a new Ferrari leaving Selena Gomez's with her after a sleepover. That's almost an entire week they've been together since New York without a Twitter split. So he got his girl back, right? He convinced her that he's true -- baby, there are no others, you the only one in my life.
Mrs P was right then. Her "idiot daughter" (17) and Selena are not unlike. Do they make it to 2013?


text:
What do you get when you bring together computers and museums? Super geek time, that's what, as the National Media Museum in Bradford comes into the internet age with a new gallery called Life Online, opening March 30th. But you won't be dragging your heels around dusty exhibits, there's games, retro gadgets and a giant Tim Berners-Lee face for your enjoyment.
Life Online – gaze up at a big World Wide Web-creating face
The net isn't just for science nerds, it can get creative folk all hot and bothered too. One of the Life Online installations we like the look of is Thomson and Craighead's Live Portrait of Tim Berners-Lee (An Early Warning System).
His friendly mug is made up of a grid of feeds from live web cams, using cameras placed all over the world. One is even set on top of a volcano – which makes us happy.
Life Online – show Open Source some love
The first temp exhibition is [open source]. Talking heads like Rory Cellan-Jones and Aleks Krotoski have been interviewed to chat about online collaboration. But you can also join in by helping to push blocks around to build images created by the museum's online visitors. Can anyone say Minecraft?
Life Online – see some retro chic gadgets
Get your smartphone's polycarbonate unibody or your sleek aluminium Ultrabook out to compare to the computers of yesteryear – you can gawp at the first Apple Mac, an acoustic coupler (which connected to other computers via a telephone handset), an Osbourne 1 and TRS80. This is ancient gadget history you really need to know.
Life Online – laugh at social media posers
Worried about your Facebook pics never truly being deleted from the web? These guys aren't. The National Media Museum asked people to get involved on social networks - including tweeting pics on Twitter - to make up this mosaic for the gallery. Unsurprisingly, they weren't short of volunteers.
Life Online – get giddy from web stats
We can't promise those internet stats will be the same by the time the gallery opens. All you need to know is that a hell of a lot of pointless tweets have been sent, not to mention spam emails and Google searches for Google. Only kidding, we love the internet and those figures are enough to make you bow down and worship your nearest computer.
You may also like
Next Big Thing – interplanetary internet


text:
The Brown Derby
The Brown Derby
By Willy Shine, Director, Contemporary Cocktails, Inc.
A bourbon-based refreshing version of a Bee's Knees, the grapefruit and honey add fragrant sweetness to Maker's Mark® Bourbon.
- 2 parts Maker's Mark® Bourbon
- 1 part fresh squeezed grapefruit juice
- 1/4 part honey syrup*
- 2 parts honey
- 1 part water
- *For honey syrup, add 2 parts honey to 1 part water. Mix until fully blended.
- Shake all ingredients together and strain into a chilled coupe glass.
Tags: Cocktails, Highballs, The Brown Derby, Grapefruit, Honey Syrup, Thirsty


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Vulnerabilities in both political parties are seen by traders and analysts when it comes to debating the Nov. 6 election and how to trade it, but a surprising number of market participants are expecting little of importance to result in the energy sector from the presidential voting.
In a rundown of energy market fundamentals, possible election outcomes could be the least important, according to Spencer Patton, chief investment officer at Steel Vine Investments, who lists potential disruptions of the current hurricane season, talk of possible releases from the Strategic Petroleum Reserve, declining Chinese economic results, potential Middle East risks and quantitative easing with higher importance.
"There's not a huge part that really hinges around the election," Patton says. "If you saw a Republican victory, the markets would respond quite favorably to that [as] a pro-business development. So that would be [positive] for oil prices just like it would be [positive] for other markets. You would see virtually every risk asset move higher."
As this issue of Futures went to press, Patton and other analysts said the markets, however, were expecting an Obama victory. "That's where the odds are right now," he says. "So if there is an Obama win, we won't see too much of a difference."
Dominick A. Chirichella, founder of the Energy Management Institute, also downplays the election's importance. He says oil is being driven by three main factors now: Whether the new European Central Bank's bond buying program will offer a solution to Europe's fiscal problems, the potential for new quantitative easing from the U.S. Federal Reserve and geopolitics in the Middle East.
"These are the dominant price drivers with the election still not in the cross hairs of market participants," Chirichella says. "When we move closer to the election I would expect market participants to react to whoever is in the lead at the time."


text:
Vince Gilligan
The show that brought us the beat-down high school chemistry teacher who decides to try his hand at the meth game turns out to be a cautionary tale of the pitfalls of pride, vanity, and the old axiom that the road to hell is paved with good intentions. Mix in some south-of-the-border cartel/mafia, a hilarious attorney delivered to us via Bob Odenkirk (MR. SHOW), a wife in Skyler who decides she's had enough of being the sole keeper of the high moral ground in the family, and a brother-in-law in the DEA (something one would think might be a problem for a budding meth cook) and the cautionary tale takes on a mythic quality that leaves one wondering how such a story and cast ever came about. Vince Gilligan, the show's creator, agreed to talk about the genesis of the whole thing (a great story unto itself), the joy and pain of writing, why the Pontiac Aztek was THE car for Walt, plus the importance (or the need for de-emphasis) of differentiating between a writer and a writer who sells.
No stranger to writing for the screen big or small, Vince has written for THE X-FILES, the Will Smith feature HANCOCK, and the screenplay that started it all, HOME FRIES. But he's come into his own with BREAKING BAD, a project that, like so many others, made it to screen by the narrowest of margins, so close in fact that fans of the show should be flooding his agent's inbox with letters of thanks, as he was the one instrumental in getting the script read by AMC when no one else wanted anything to do with it. Mind you, this was the AMC before MADMEN, the AMC that aired recycled movies, albeit good ones. Even Vince himself questioned the validity of the choice at the time.
A guy who's sense of humor might come as a surpise, one who is just as ready to laugh as he is able to make you laugh, Vince Gilligan ranks up there in the top of my list of people I'd love to have further dialog with. We were laughing the whole time - I guess the humor makes sense given the darkness of the comedy inherent in BREAKING BAD. So let's put on our protective eyewear and see how all of this came about:
KC: Thanks for taking the time to do this. I imagine you're pretty far along the production schedule? Writing? Shooting?
VG: Yeah, we start shooting in January, it's kind of nice this season because we have a long lead time to get the scripts figured out, so we're breaking episode six out of thirteen right now and we'll try to get through hopefully at least nine of them before we start shooting in January.
KC: I read somewhere that you and a friend had come up with this idea about getting into the meth game, more as a dark laugh at impending unemployment.
VG: [laughs] Yes. Pretty much.
KC: Do you ever laugh at how seemingly random good story ideas can be? I mean, if you and a dozen writers sat down to come up with such a premise, would you? And yet, the offhanded remark from a position of exasperation turns into BREAKING BAD.
VG: It was very much an offhanded remark, you're exactly right, I think all the time about how amazing it is that this show is even on the air because it feels very unlike what you typically see on television, and we are trained, trained in the school of hard knocks, that when we go around trying to sell various ideas for movies and TV shows, we're trained to try to pitch the thing that is currently selling. We are trained not to bother pitching the sort of "hail mary" kind of pass as it were. But this thing just stuck with me. I was intrigued by this crazy, random idea I had that was a joke to friend on the phone, a friend who has since become one of our go-to writers on staff. But we were talking about "what do we do now?" the X-FILES had ended and we weren't making any money as writers, around 2003-2004 and the idea of cooking crystal meth was floated...
KC: [laughs] I hear there's good money in it.
VG: Exactly. But you gotta know what you're doing, so that left us out right from the get-go, neither of us have any chemistry background. It would've been a bad idea all around I think.
KC: Would've ended in a huge explosion somewhere in L.A.
VG: [laughs] That or us both dead from inhaling some toxic gas.
KC: This show is definitely not the formulaic stuff that is pitched and passed, which brings me to: how did you pitch this? I understand you pitched it to several networks, and AMC finally green-lighted it. Why did other networks pass? What made AMC love it versus other networks?
VG: I think the question is why did AMC accept it, versus why the others passed. [laughs]
KC: It has all the hallmarks of an untouchable script.
VG: You know, we were so lucky to find AMC, but to get to them... I was very excited with the idea, excited with the character - it wasn't the crystal meth end of things all joking aside - it was the idea of an otherwise good man, a man who has never so much as jaywalked or littered, not a lawbreaker, and he for the reasons laid out, he decides to do this very bad thing and willfully become a criminal. That character, Walter White, really intrigued me from day one. Then the process began, the process of selling this as a script. Fortunately I had a preexisting relationship with Sony Television, that's our studio that actually produces the show, I knew the two gentlemen who run that, we had worked together on other projects, and I went to them and pitched it thinking it is probably a long shot, but I'm so intrigued by it I want to try, regardless.
KC: Why not.
VG: Yeah, why not? And to their great credit they saw the potential in the story and they signed on. At that point when you get a studio partner, you have to find a place to distribute your product and if you can't, you have to go back square one.
KC: Just like literature with agents and publishing houses.
VG: Exactly right. So at that point we went around town, we didn't bother ever going to any of the networks...
KC: [laughs]
VG: Well it would have been a waste of our time and theirs, because they just don't do shows like that. It doesn't mean they are wrong for not doing them, it just isn't part of their mandate. We stuck to basic and pay cable networks, we went to HBO, we looked into Showtime, I don't think we ever had a meeting with Showtime, but meetings at TNT, FX and places like that. There was interest from various quarters, some more than others, but at the end of the day no one was particularly interested. So we had thought we exhausted all of our potential buyers, and I moved on at that point. You know, you tell yourself that's the way it goes, and believe me, I've pitched a lot of stuff all around Hollywood that never went anywhere, stuff that I still believe could make for a good TV show or a good movie that will probably never see the light of day. That's just par for the course out here. But fortunately one of my television agents had sent the pilot script, without talking to me - and I'm glad he went ahead and did it - to AMC. He knew an executive at AMC and knew that AMC was about to launch their first series, MAD MEN, which I knew nothing about at that point, let alone that they were even getting into the scripted programming business. They had read BREAKING BAD and called him up and said we are interested, can we meet with the writer?
KC: Nice.
VG: Right. My first response, and AMC then was not what AMC is now, so not knowing what was coming, my first response to my agent was: "Why didn't you just send it to the Food Network?" I mean it is a show about cooking after all...
KC: Seemed like a better fit than AMC at the time.
VG: [laughs] Right. So, hey, if they want to meet with me and buy me a drink, you know, I'm okay with that. It was one of those meetings in a bar, which I'm always up for...
KC: It never hurts to have a conversation.
VG: Yeah, never hurts, but I really thought that well here are some really nice people, I'll get to hear some flattering things, I'll get a free drink out of it and that will be that.
KC: Better than the usual turn down.
VG: Exactly, but I thought even if they're interested, it doesn't mean a thing, everyone was "interested" in it but no one wanted to pull the trigger. It is just so hard to get a project off the ground even with the best of intentions, even with the backing of a studio like Sony Television. But they were as good as their word at AMC and they were then what we know them to be now. They've made a lot of good, courageous choices and they've grown. It used to be said that CBS was the "Tiffany" network, I think the new Tiffany network is AMC.
KC: What was their slogan? "Story Matters Here?" They seem to be backing that up, and filling that void in the networks.
VG: True. And that's not to say there aren't some great things being done in the networks, I had a blast working on a network show in THE X-FILES, and I learned everything I needed to do the job in those seven years. But I'm very much a cable guy. The fewer episodes per season is a good schedule for me, the fewer you are responsible for, the better you can make each individual episode before you get ground down to a nub. And it's nice to be able to put out edgier stories. That doesn't mean we're trying to put out R-rated material, but getting to tell stories about non-conventional protagonists...
KC: Life is not rated G.
VG: True.
KC: Okay, so jumping from this original little funny-ha-ha idea you had with you buddy over the phone, you still had to make the choice of a high school chemistry teacher.
VG: Yes.
KC: I'm curious about that tack, was that just kind of a necessity of "well, we need a guy with a background in chemistry" and he can't be a successful chemist, he needs to be beat-down-in-life-chemist, and that seemed like the obvious choice? I'm really interested in the genesis of Walter White.
VG: You know where it came from - that's a good question - and forensically, looking back from the get-go, the starting point was the idea of a good man who does something reprehensible. That was the seed of it all that intrigued me. Oddly enough the meth component that my friend and I goofed about on the phone was what really generated the question: "why would someone go out and do this?" Why would someone go out and buy an RV and put a meth lab in the back of it? Well obviously you do something like that for money. Then there is the fact that meth is a synthesized product, as opposed to a grown product, being produced in a lab setting, well a sort of lab setting [laughs]. So you needed someone with expertise in that sense. Then we thought about the clock component, how to put a clock on Walter White, and that was initially the cancer. These ideas are what built up the rapid evolution of the character. Usually when I'm coming up with ideas for a character or a story, it is a slow process. But this character sprung into my head somewhat fully grown. I didn't have a name for him at first, but I knew what he was going to be.
KC: Well it all seems to make sense, even from the pilot. Then a couple of episodes in, you've got ninety percent of the bedrock there for the next three or four seasons, I think.
VG: Good. That was the plan. As to the question of why a chemist, it goes back to the fundamental idea of what is one of the more reprehensible things one can do for profit. And honestly, the idea of a good guy going this route was intriguing to me. So you say to yourself "how bad can bad be?" and you explore the possibilities. The idea of cooking meth for profit popped into my mind as a hard thing to defend. Then the issue becomes who would have that kind of skill set and not really be aware of it, at least in the potential for illegal profit. So we needed a chemist.
KC: I just love the fact that he was a high school teacher that had this history with a lab that was very successful after his departure, and we see that his devolution if you will shifts from doing this for "higher causes" and begins to feed his own ego.
VG: That's a very good point. So much of what Walter White does, the more you watch him, you realize that the idea of "I just need to leave money for my family" is a big whopping excuse in so much of what he does.
KC: He starts to drink his own Kool-Aid.
VG: Exactly! He is a very prideful man who is feeling alive and adventurous for the first time in fifty years of life.
KC: I think the first indication I got of that, at least the most memorable, was the episode where he went to meet Tuco after he "tuned up" Jesse. After the confrontation/pyrotechnics/dealmaking he sits in his car and has an adrenaline dump, and seems to savor it. He did it, he pulled everything off, and he wasn't feeling guilty about it in the least. He didn't care that what he did was wrong, he was like a kid enjoying the "coolness" of it all.
VG: That was one of my favorite moments. The writer who wrote that did a great job.
KC: One of ours too, blew my wife away. The setup from the intro to the ending was just perfect.
VG: I'll pass that along to the writer.
KC: Do you still see this as a four or five season thing?
VG: In my mind's eye, well, it's tricky. I can't see anything past five seasons and we've embarked on our fourth season right now and we've kind of figured out what the end of the fourth season will be although we haven't broken all of those plot details out yet, we have in bold strokes what will take us through season four. Beyond that, it feels like we have in very broad strokes, we have an endgame season in season five. But having said that, it's a funny thing when you create a TV show or a movie, at a certain point if you're lucky and your project sees the light of day, it means that it only happened because someone bigger than you has become your patron, has bought your project, and then at that point you realize "I don't own this anymore." All this to say there are other voices to be heard and definitely investors to be pleased. [laughs]
KC: Some will push for twelve seasons, eh?
VG: Well it's a flattering thing, but yes, there are powers that be that would have a different answer for you when asked that question. But it's funny, last night I was talking with Carlton Cuse, one of the executive producers LOST. Everytime I see him, which isn't often, just when we bump into each other at functions and whatnot, I always tip my hat to them for what they did with LOST, in the midst of this very game-changing cultural touchstone that they created, they still told themselves "we gotta put a clock, an end date, on this thing." The story of how he and Damon Lindelof had to threaten to quit in order to end this thing. You can argue about the ending, whether it made you happy or not, but it was a brilliant move on their part, and from their point of view a very necessary one. They couldn't have this serialized show go on in an open-ended fashion indefinitely. We have to know what it is we are writing toward. Very smart move on their part. With a serialized show, BREAKING BAD being no less serialized than LOST, you have to ask yourself, where does it end?
KC: That becomes the hardest question. You spoke to that in another interview I read where you don't want to be the show that people say "Oh, that thing is still on? Aww what a shame..."
VG: It's so true. I went through that to some degree with the X-FILES. We were having fun right up until the end on that one, and the money was nothing to sneeze at either. [laughs] It was like man, let's keep this going, for a lot of reasons, some better than others.
KC: I've lost my taste for ramen.
VG: Yeah, the money... is pretty nice. But I learned from that experience that it is better to leave the party too soon than too late.
KC: So, just how many timing devices can you put in one series? Cancer? Pregnancy? Hank's investigation? Which I suppose all goes back to the conversation about five seasons or not. You can cheat one or two of these devices, like the cancer thing, which seems to have had the snooze button hit on it. The pregnancy has been dealt with, but then you still have Hank's investigation... You have all these timing devices that are building the tension and keeping us baited... we are all wondering how you're going to get yourself out of this. Like when you talked about the scene with Hank and Jesse in the RV, and Hank's knocking on the door. That was a brilliant little piece of unpainting yourself back out of the corner. How many of these can you put in there and still have this payoff? You can't resolve them all at once, because that looks too convenient, you'd be cheating. How do you address pulling off all of these separate timing devices?
VG: That's the question we struggle with for hours a day. It all stems from me being such a fan of television, from watching, quite literally, a little bit of every show ever made, sort of being a student of television and a fan of what it does well and recognizing what it doesn't do well. What I mean by that is that television is really a world of stasis. Every episode of THE ANDY GRIFFIN SHOW, and I love that show so I'm saying this as a fan, you go visit Mayberry in season one, and it looks pretty much like season four, season five. And that's what you want, this constancy in a real life that changes, you want to go visit your friends in Mayberry. So you check in with those guys, but that is not real life as we know it.
KC: Don't you think we watch TV so we can escape real life?
VG: Absolutely. And I want that too, as a viewer, but having said that there are hundreds, thousands of shows that give you that stasis and constancy, I guess you can use both of those words in this case. But I figured why not try something different, where the characters change, transform, or at least we center it on the change of one character - we don't always change in our own lives, even though we get old, we don't necessarily change fundamentally as human beings. I thought it might be fun to follow a character who is indeed embarking on a fundamental change, and that is Walter White. When things happen to him, there are consequences to be paid, there are ripples afterwards. Seems like on a typical cop show, for example, the main character will kill someone, usually in self defense, and in the next episode it is kind of forgotten about. All of this is a long-winded answer to your question that whereas typically what television does well is NOT change its characters despite the terrible things they may go through in a given hour, what I wanted to show was that the big moments AND the little moments both change you and therefore we have all these things hanging out there: we have the cancer, and as you said we have Hank's investigation into Heisenberg all the while not realizing that Heisenberg is his own brother-in-law. We have moments great and small that we very much wish to pay off before the series ends. I can't promise we won't leave a loose end or two, because it's so hard not to do that, but it would please me very much if we didn't leave any loose ends for the audience when we are all said and done. So we sit around for hours every day in the writer's room and we ask the same two questions every day: 1) what is Walter thinking right now, and 2) what happens next. And we ask ourselves those two questions alternately day in and day out. The other ancillary question is what has happened before that we should not forget about? For instance, the airplane disaster, it was a huge thing and if it were a real life event it wouldn't be something that you'd forget anytime soon.
KC: I loved the subtle details of that, the half life of the event as seen in those little ribbons everyone wore, the blue tape on Walter's new windshield, we see it fade from the consciousness to a degree, as it becomes second page news, but then there is still, on the community level, this adherence to it as it fades from the national scene. I thought that was perfectly timed.
VG: Thank you, good, that's good to hear. About the windshield, that kind of became a running joke with us, even though we didn't mean it to be, how he kept getting his windshield broken over and over again.
KC: So which do you prefer? Big screen or small screen? I understand both have their advantages and disadvantages... One of my favorite screenwriters Andrew Kevin Walker said he lamented the compressed nature of the big screen, and how filmmaking has drifted from character development to the payoff of the explosion, the convoluted plot-twist, etc... and that television is the refuge of the character, as you can potentially, have six to twelve hours to build that relationship - and this was in 1999 when he said this. Has anything changed? I know you've had experience in both formats with HANCOCK and HOME FRIES, but what is your take on this?
VG: Well first off, Andrew is a very talented writer and that was very well put. The way I see it, even in the best of years, it's funny, they both share so much in common that if you were to visit our set or a movie set, you wouldn't really notice any difference - we're using the same cameras, the same people. On a mechanical level it is the same process, it's just sped up on the TV side of things. But otherwise you wouldn't really notice any major difference. However, on another very fundamental level, TV and movies are like comparing apples to oranges. The simplest and probably the most helpful way of looking at it is that a movie is two hours of story whereas a TV series is a hundred hours of story, at least theoretically. Having said that, just by that understanding, you're going to have to delve into character because no one is going to watch a hundred hours of car chases and explosions, it's just not going to happen. Look, those things, when done well will more than satisfy you for two hours, and I love those kind of movies myself, but beyond two hours, no. Only then do you realize how important character is and it becomes so very important in television. I guess it is the gulf between what television does so well and what movies do well, and it seems to be widening these days with the news that there are fewer independent movies being made, there are fewer "movies for grownups" being made as the Hollywood studios realize who by and large are going to the theaters every opening weekend; and that is thirteen year old boys. And I think there should be plenty of movies made for thirteen year old boys, but I think there should also be movies for thirty year old women and fifty year old men. We live in a country of great abundance in so many ways and yet movies are becoming more and more ghetto-ized, balkanized, or whatever the right word is, into one kind of movie, you know; "Blow things up." [laughs]
KC: Funny you bring up independent film, I just had this conversation with Paul Auster a week ago, he's a well known writer, but he's done four films, a fact that tends to rest in the shadows of his books. He says that the state of independent film right now is so bad that he wouldn't want to get into it. He kind of lamented the fact that it is so different now than it was say, ten years ago.
VG: And from what little of it I understand, it seems to be true what he's said. I'm a little bit of a masochist, so when BREAKING BAD ends, I'm probably going to take another shot at the movies. I really want to direct a movie, it is something I've never done, and I'd just love to do it.
KC: Yet again, with Paul Auster, when I asked him why he loves film, he goes back to the lure of directing. He cites directing as his one reason to ever do it again. That it is such a thrill, he says it is the greatest thing he's ever done, this from an internationally celebrated author of over thirty books. He lit up as he told me about how you are involved in ninety-nine different things at once, all of which matter and all of which are incredibly interesting. And the intoxicating thing he pointed out was that you have to convince everyone of the reality of the scene, you're there amongst lighting rigs, cables, people, and you have to get everyone to agree to something that isn't there. Seems to be a very evangelical experience. I thought it funny that you mention that, directing seems to be what everyone wants to do.
VG: Well you know, especially for a writer. Very well put by him by the way, we all, as you well know, we all lead pretty solitary lives where you're alone in a room typing away on a computer, and the great thing about being a television writer, and it is one of the things that makes me feel very fortunate, is that it does become more of a group effort. When I first heard of that, I thought, and I'll admit I have as much ego as anybody, but I thought to myself "gee, you gotta work with so many other people, and I'm kinda used to working by myself, getting all the credit for what I write by myself," [laughs] to be terribly petty about it. But it is a great thing to sit in a room seven to ten hours a day with six other writers, all of whom I've cherry picked from the best of the best, and sit with these smart, witty, interesting, funny people as we create. And it's even more of that when you are directing a movie, as Mr. Auster said, you're living a lot more life in a smaller timeframe, you have more challenges, you're involved in all of you pulling the rope in hopefully the same direction, all involved in an interesting creative effort, and as director you're being asked questions right and left, and the sun is always on the move across the sky, you have to get a certain amount of work done before the end of the day, before the plug gets pulled. It's a real challenge, it's not rocket science, and it's not like coming up with penicillin, it's a movie or a television show at the end of the day, but it feels important and it feels worthwhile. It is an active and physical effort, so it's different from writing in that sense. But at the end of the day, I love directing: writing is a lot harder. [laughs] A lot of directors won't tell you that, but it's true.
KC: Seems far more torturous, without the immediate feedback you get on set.
VG: Far more torturous. If you can face that blank screen by yourself, you're showing more chutzpah than a director is... although when you're facing eighty to a hundred people and everyone is looking to you for what to do next, and you're not quite sure, that is it's own very brutal test of courage. [laughs]
KC: Let me ask you about a couple of characters then, if you don't mind, starting with Walt. It seems like the endgame, from the past three seasons, is heading towards the kind of anecdotal demise all suffer when defecting from their "normal lives" into one of debauchery and self-interest. Some sort of dark irony. Do you have hope for Walt? Do you see him wising up? Do you see him sinking deeper? He's taken up this double-life, but the hours in the day seem to be stacking up in favor of the darker side, taking those precious hours away from what he originally set out to protect.
VG: That does seem to be the case for poor Walt. But the simple answer, and the truthful one, is that things are going to get darker before the dawn, as far as he is concerned. He's an interesting character, you know he's suffering from cancer, although he currently appears to be in remission, but the cancer is what started him rolling down this path to begin with, but it has gotten to the point in my mind that Walt doesn't just have cancer, he IS cancer. He's a cancer in his family - and we think about this a lot in the writer's room - that Walt is kind of a cancer on everybody else that he loves, and his soul has cancer. Not to sound too symbolic or simplistic, but there is that element. We're dealing with a lot of ideas that you can put very simply, you can employ a lot of cliches [laughs] but one cliche that makes it all easier for me to understand is "the road to hell is paved with good intentions." But it is arguable that Walt started off this whole process for a good reason...
KC: There's no doubt in my mind that was his initial motivation. At least, as a viewer it comes across completely genuine from the get-go, and then like we talked about before, certain episodes we see him kind of light up and enjoy the darker aspects of it all, look at this big stack of money daddy got for you, all of these little things that point to his hubris, his vanity - and these things eventually take over. Which brings me to my next question: Who do you think is more aware of his surroundings, Gus or Walt? Who is more accurate in his assessment of the situation as it stands now?
VG: Oh absolutely Gus.
KC: Really, you think Gus has the upper hand? I wonder because I think, is Walt delusional for thinking he might make a go at Gus, and that he erroneously believes he isn't expendable? Is Gus too dismissive of Walt, thinking he's merely a chemist who has a modicum of street smarts and the added "weakness" of being bound to his family?
VG: So you think that it is a toss up?
KC: To me it seems more of a level playing field, I get the sense that Gus' actions with the Familia across the border will come back to haunt him, but I also get the sense that Walt might, just might, be biting off more than he can chew, he's already intimated to Gus that they're equals, and Gus didn't respond to that, nor would he. It seems like there is an ambiguity by design between these two, and I was curious to hear your thoughts. It seems like a pretty level playing field in each other's eyes, not in the reality of the relationship. I think the reality is that Gus' tenure in the business trumps anything Walt can do, but then Walt is putting out a unique and desirable product, and he's making sure he's the one who holds the key to it, especially after last season's finale.
VG: Well I can't fault the reasoning there. These are the two smartest guys in the show, Walter and Gus. Most days I would give the nod to Gus because Walt has book learning, his IQ is probably higher than anyone else on the show, but as my dad used to say "Three PhD's and yet doesn't have sense enough to come in out of the rain." I think Gus is brilliant in a street smarts sense and in other ways too, one of his strengths is a will, in a biblical, G. Gordon Liddy sense, he's got the will to do just about anything, as you will see in season four, but one of his other chief talents and strengths is that he can read people, he can read them like a book. And having said that, I think we're going to learn that his one failure of reading someone was probably Walt himself. Walt is hard to read. He's kind of a chaotic mind.
KC: Well see, that's where I think Walt kind of levels the playing field, the fact that Walt got a second meeting with Gus, where in the first meeting Gus said, "No, your partner's a junkie, we're done," and yet Walt convinced him, this machine-like man, to do the deal. That's where Walt saves himself in this respect, and Gus, whether it is a greed motivation or maybe it's the feeling that "fine, I can handle this, I can handle any situation - you want to bring the junkie in? I can make an exception and still be in control." Because this is going to mean something to me. I see the allowance of Walt into his world as a flaw on his part.
VG: It's funny you mention that equality between Walt and Gus. Every now and then in the writer's room we say to ourselves "Gus seems to be getting a little close to Darth Vader..." and we pull him back and say to ourselves, we don't want this guy to be all knowing and all powerful, he's still a human with feet of clay. He has his flaws but he is also very smart. He's a chess player.
KC: Who is responsible for Saul? He's a deliciously shallow caricature, but he has some of the funniest dialog in the whole series. Was that just out of a need to inject some levity into the long stretches of darkness? He certainly makes the talk of money laundering entertaining.
VG: He is an awfully fun character to write for, and he was very much a group effort from the writer's room. He came about exactly for what you just said, we needed some levity, some humor on the show. We had a sister show to the X-FIELS called MILLENIUM, which was something that I never worked on myself, but I was close to the guys who did, and it was a very worthy show in many ways, yet it was a tough show to watch because it was so dark. A lesson I learned from watching that show get produced is that you've got to have some humor even in the darkest of shows, otherwise you're going to slit your wrists, you're not going to want to watch it. Saul Goodman is a reaction to that, and a reaction to the idea that Walter White, in this line of work, should have his own consiglieri, except that this is the kind that Walt would get, a clown with billboards all over town, adds on bus benches, cheap suits... and yet when you just start to take him for granted, he shows us that he's a pretty good legal mind. It's a shame that his whole existence is about breaking the law wherever possible...
KC: We saw him flex his legal muscles when he helped Jesse buy the house out from underneath his parents, that was great, and we were made aware that he is a good lawyer, not just all giggles and haha. He knows how to get things done on a very real level - that added a little extra dimension to him - we saw the smile fade away when it was time to get down to brass tacks.
VG: Good, excellent. Glad that worked. He's fun.
KC: I always get a smile when I see him on the screen, I know something good is coming...
VG: Bob Odenkirk is such a talent. I have every episode of MR. SHOW on DVD. Getting to work with him is a real pleasure.
KC: We have a lot of writers here, and I don't think we've ever interviewed anyone from the screenwriting side of things, but part of the pitch I made for this interview was that BREAKING BAD is such a literary series, and I mean that as a compliment, the character development is so rich, you have the plot devices, the timing devices, all the things that you find in a good novel, but ultimately it's about character. So with that in mind, we are always interested in the actual process for you, as a writer. Can you give us a day in the life?
VG: Absolutely, I love all that nuts and bolts stuff.
KC: Good, we're kind of geeky about that sort of thing.
VG: [laughs] Me too, I always like hearing how other writers work. The way we do it is that the breaking of the episode is the hardest part, and the single most important part. We spend the most time on that. It's very much an all hands on deck scenario. Back on the X-FILES, when we did episodes that were stand alone episodes, writers could retreat to their separate offices and brainstorm, take walks, whatever - to figure out their episode. But with a show as serialized as BREAKING BAD, that just doesn't work, so what we do is we sit around a big conference table in our very un-fancy offices here in Burbank, and it's very much like being on a sequestered jury that never ends. Six writers and myself plus our writer's assistant who, sort of like a court reporter, takes down the notes of what we're saying on her laptop as we talk so every now and then if we need to pick through the chaff, we can find something good that we would've missed if she hadn't have typed it down. It takes us about two weeks per episode to break it out, five days a week, Monday through Friday, seven to ten hours a day. And the average is pretty consistent, two weeks to break out an episode. We stare at these four three-by-five corkboards that ring the room, we fill one at a time, and when we get to the fifth episode in the cycle, we take number one down from the board and replace it, and so on. Two weeks per corkboard. Each board has: teaser, act one, act two, act three, act four - and brick by brick we build out these episodes, we write out on index cards with sharpies, and each card represents not necessarily a scene, but a beat within a scene so that a teaser will be five or six index cards, and each act will be somewhere between sixteen and eighteen cards, and we try to put as much detail as possible into this portion of the creating of the episode.
KC: If you write better in the beginning, you have less to clean up later.
VG: Exactly. In other words, we try to build the best architectural drawings in the beginning so that any of the writers in the room can go off and write a particular episode by themselves. We cycle through the writers, everyone gets their name on at least two scripts, one by themselves and one shared towards the end of the season. The idea being that it is a group effort. And as I said before, we are asking ourselves those two questions, except we're asking them over and over again, where is each character's head at, and what happens next. We can spend a whole day just talking through where Walt's head is at. He's done this, he's done that, and he's responsible for a plane crash, what is he afraid of, what is he hoping for, what is his goal? And we are trying to think thematically, but we're employing simple showmanship as well. We want to keep the audience interested, we want to keep the thing moving along like any good cliffhanger/potboiler story. But also, we're trying to be true to the characters.
KC: What advice do you have for writers?
VG: Well I don't have any advice that hasn't been heard a hundred times before, but that doesn't mean it isn't good. Writers should write, whether or not you're getting paid to do it. You're not a writer unless you're writing. Then the only differentiation is "am I writer who's making a living off of it, or am I writer who is currently unsold?" - and that isn't a big differentiation. The real differentiation is, are you a writer...
KC: [laughs] And you can fall in and out of those two pretty easily.
VG: Yes you can, very easily. So that's not a differentiation worth making. The only one worth making is: are you a writer? Do you write every day? Are you actively involved in creating something, whether you sell it or not. Or are you someone who likes to think about being a writer, but doesn't actually get much done. That is the only differentiation worth noting. Read as much as possible, view as much as possible. As far as the literary end of things, I don't have as much experience with novels and short stories, but I can speak to how it is to get a job in the movie and television end of things, although someday I would like to write a book. I don't know if I'd be any good at it, but that's always the reason to try something new, to see if you'd be any good at it.
KC: Well it is a lot more solitary than your current situation.
VG: Very true. I like the idea that you can do it anywhere in the world.
KC: And you don't have to worry about budgetary constraints, CGI, casting, or any of that - it's just you and the paper, you create your own world and it doesn't cost you a thing.
VG: That's true too. I like that. But as far as making it into television or movies, my best advice I give when I'm asked how to get an agent, how to get your stuff read - which is a time-honored question - my answer to that, to speak to how I got started, is to enter screenwriting contests. I was entering these competitions from college on, and I would enter every contest that came down the pike, and once I started writing feature-length things, I would enter these screenplays in every competition I could find. That is how I got my start in the business because of one of those contests, The Governor's Screenwriting Competition, in my home state of Virginia. I was lucky enough to be one of the winners of it back in 1989, and it was small contest with only thirty or forty entries...
KC: Virginia wasn't a hotbed of filmmaking?
VG: [laughs] Not at all, so there wasn't a whole lot of competition within the competition, but one of the judges was an Oscar-winning producer named Mark Johnson. He called me up after the contest ended and said I really liked your script, do you have any others, and twenty years later we're still working together. He's my executive producer on BREAKING BAD, and my mentor in the business. A great guy. I cannot speak highly enough of entering contests.
KC: That's a good one, I wouldn't have thought that was "the way".
VG: Well you know, it's tricky. Like I said, everyone asks "how do you get an agent?" And the tricky thing, the maddening thing about being a writer, and that is any kind of writing I suppose, is that everyone can and does take a fundamentally different path. If you want to be a doctor or a lawyer, there's only one way to do that. One path. But the paths for writing, be it screen or novel, the paths are so disparate and varied, so you shouldn't limit yourself to just one entry point. The great thing about competitions is that you have a captive readership. You have a judge and a jury that are bound to your script.
KC: That makes sense, they are forced to read your script.
VG: That's the key.
KC: I never looked at it that way.
VG: That being said, I'd enter the legit ones, not the ones that cost two hundred dollars to enter, the ones that don't look like obvious rip-offs. Aside from that, I'd enter every one that I could.
KC: I have seen no less than three beige Aztek's just in the North Texas area, all sporting one missing hubcap. What does that mean to you?
VG: [laughs] It's funny how your brain tends to notice things more when those things are in your subconscious...
KC: Well, I don't know, because I hated that car when it came out, it was, and is, and ugly car, and the fact that I've seen three beige ones, each with a missing hubcap, true to form, that has to be indicative of some Aztek owners with excellent senses of humor. It's an ugly car, but it also makes perfect sense for the character.
VG: Oh it's ugly. But I'm glad it makes sense.
KC: It does. It's the utilitarian, non-assuming, non-flashy kind of an outcast car, on the fringe, it was made by a well known company in Pontiac, yet if you stripped the badges off of it and asked ten people to identify it, nine couldn't. It just seems like a funny, yet perfect choice. And I'm serious in that I've seen three beige ones all with the requisite missing hubcap.
VG: [laughs] I love to hear that.
KC: I'm waiting to see one with blue tape on the windshield...
VG: I was very proud of that decision. The Aztek came early in the process because it is a truly ugly car and the AMC Pacer had already been used in WAYNE'S WORLD, so I figured, what's a newer ugly car that hasn't been used in film? The Aztek won hands down.
KC: Well, you nailed it.
VG: Thank you.
KC: I know it's poor form to ask you about anything relating to the upcoming season, so I won't. Of course, you are free to fill the next thirty seconds of awkward silence with anything that you'd like to share...
VG: [laughs] Well, season four is a continuation of Walter White's very dark ride, and he continues to reap what he has sown. As does his family. But still plenty of action and levity, Saul Goodman will return...
KC: So Walt continues to trend downward?
VG: Well, as I've said, it is definitely going to get darker before the dawn. And having said that, I'm not even sure what kind of "dawn" Walter is going to create for himself. If you've liked the ride so far, I don't think you'll be disappointed in the next season.
KC: Well we are all looking forward to it.
VG: Thank you Kasey.
KC: Thank you for the time, I know you're busy. This is some good stuff.
VG: I'm flattered for the interest, the interview.
Visit http://www.amctv.com/originals/breakingbad/ for more interviews, backstory, episode guides, profiles, etc...
To catch up on past episodes of BREAKING BAD, seasons one through three are available on DVD.


text:
How to Use the Context
Inquiry Question
Following World War II relations between the United States and Soviet Union¹ spiraled downward. Each nation had emerged victorious from the war, but their ideological and economic systems were extremely different. The United States was based on a system of democracy and free enterprise. The Soviet Union employed a communist system ruled by a single political party.
At the end of the war, the United States had led the world in development of new military weapons such as the atomic and hydrogen bombs. American technological expertise had kept it ahead during an escalating military competition with the Soviet Union. In the fall of 1957 though, the United States was jolted into stark reality. On October 4, 1957 the nation learned that the Soviets had gained a technological advantage. A Soviet satellite known as Sputnik had been the first of its kind ever launched into space. The physical presence of Sputnik seemed relatively innocent. After all, it was nothing more than an aluminum sphere--about the size of a beach ball--that had two radio transmitters that emitted a loud beeping noise. Yet American politicians, defense analysts and even ordinary citizens came to a seemingly logical conclusion: if the Soviets could use a rocket to launch Sputnik into space then it was just a matter of time before they used the same rocket technology to strike the heartland of America with a nuclear warhead. Suddenly every community in the United States was vulnerable.
A sort of psychological hysteria gripped the American mindset. Top scientists and military planners believed America had fallen far behind the Soviets in science and technology. Such scientific luminaries as Edward Teller, the physicist who had helped develop the hydrogen bomb, said that the United States had "lost a battle more important and greater than Pearl Harbor."² Government reports called for a massive increase in the funding of the development of a U.S. missile force. President Dwight Eisenhower responded by raising financial support for intercontinental ballistic missile development to record levels. Over the next few years the U.S. was able to create and deploy a series of groundbreaking missile systems across the heartland of the United States. The most powerful and advanced of these, known as "Minuteman," would give the U.S. a decided military advantage over the Soviets for years to come as the first solid-fuel missile system deployed. It would take the Soviet Union another 11 years to develop its equal.¹ The Soviet Union was created and expanded as a union of Soviet republics formed within the territory of the Russian Empire. Its geographic boundaries have varied over time.
² Isaacs, Jeremy and Downing, Taylor. The Cold War: An Illustrated History 1945-1991 (Little, Brown and Company, 1998) p. 155.


text: The Garland City Council continues to make progress regarding the future of the Pace and Lyles houses. Council has directed City staff to create a Request for Proposals (RFP) to pave the way for moving the Pace house into private ownership. That RFP is available on the Purchasing department's Current Bids webpage and is labeled bid number 4223-14, Historic Pace House. Council also is moving forward with plans to retain possession of the Lyles House and relocate it to reside near the historic rail car in the Walnut Street pedestrian corridor. The City will work with the community to establish funding for the house's ongoing care and maintenance. The City Council expects to hear updates regarding both houses during upcoming meetings. Such updates will be posted in City Council agendas, which are available at GarlandTx.gov. For more information about Garland's downtown redevelopment activities, please visit GarlandTx.gov and click on the "Downtown Redevelopment" button.


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Commuters and residents are facing the following delays and disruptions in and around Derbyshire.
M1 Derbyshire - Heavy traffic on M1 southbound between J30, A616 (Sheffield) and J29a, Markham (Markham Vale).
M1 Derbyshire - Slow traffic on M1 southbound between J29, A617 (Chesterfield) and J28, A38 (Alfreton).
A38 Derbyshire - Heavy traffic on A38 in both directions between Alfreton in South Normanton and Mcdonalds in Sutton In Ashfield.


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Annual Fund Drive in Full Swing; Mark Your Calendars for August 25th!
Spring is in the air! Which means we have entered the final stretch for our 2011-2012 Annual Fund Drive. A huge thanks to everyone who has already made a gift to Teton Science Schools this year.
As you may know, the Annual Fund enables Teton Science Schools to continue to provide the best educational experiences possible to our students. This important work would not be feasible without your support. The Annual Fund provides:
-crucial funds to bridge the gap between the costs of tuition and the actual program costs
-scholarships for families in need
-cutting edge technology and equipment for classes
-professional development for instructors and staff
-and so much more!
We have just over $500,000 left to raise to meet our goal of $1.1 million for Teton Science Schools, and just over $150,000 to reach our goal of $550,000 for Journeys School. Teton Science Schools' fiscal year ends May 31st, so please join us in this important drive today! You can click here to donate online; call 733-1313 to make a donation over the phone; or mail your donation any time to 700 Coyote Canyon Road, Jackson, WY 83001.
A final note: if you haven't already, please mark your calendars now for the 35th Annual Summer Fundraising Auction, scheduled for Saturday, August 25th from 3-6pm. You won't want to miss this free, fun celebration of our community and education!
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