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Bank of America Tower (Manhattan)
|Bank of America Tower
|Alternative names
|One Bryant Park
|General information
|Commercial offices
|Avenue of the Americas & 42nd Street
Manhattan, New York 10036
|40°45′19″N 73°59′03″W / 40.755278°N 73.984167°WCoordinates: 40°45′19″N 73°59′03″W / 40.755278°N 73.984167°W
|Construction started
|US$1 billion
|365.8 m (1,200 ft)[1]
|287.9 m (945 ft)
|Top floor
|234.5 m (769 ft)[1]
|Technical details
|Floor count
|55[1] (+3 basement floors) (7 mechanical)
|Floor area
|2,099,985 sq ft (195,095.0 m2)
|Design and construction
|COOKFOX Architects[1]
Adamson Associates Architects
|Durst Organization[1]
|Structural engineer
|Severud Associates
|Main contractor
|Tishman Construction Corporation[1]
The Bank of America Tower (BOAT) at One Bryant Park is a 1,200 ft (365.8 m) skyscraper in the Midtown area of Manhattan in New York City. It is located on Avenue of the Americas, between 42nd and 43rd Streets, opposite Bryant Park.
The US$1 billion project was designed by COOKFOX Architects, and advertised to be one of the most efficient and ecologically friendly buildings in the world. It is the fifth tallest building in New York City, after One World Trade Center, 432 Park Avenue, 30 Hudson Yards, and the Empire State Building, and the seventh tallest building in the United States. Construction was completed in 2009.[6]
The building's Urban Garden Room at 43rd Street and 6th Avenue is open to the public as part of the city's privately owned public space (POPS) program.
The building is 55 stories high and contains 2,100,000 square feet (195,096 m2) of office space, three escalators and a total of 52 elevators--50 to serve the offices and two leading to the New York City Subway's mezzanine below ground, for the 42nd Street – Bryant Park / Fifth Avenue station.[7] The tower's architectural spire is 255.5 ft (77.9 m) tall and was placed on December 15, 2007.
Several buildings were demolished to make way for the tower. Among them was the Hotel Diplomat, a 13-story structure which had occupied the site at 108 West 43rd Street since 1911,[8] and Henry Miller's Theatre, which was rebuilt and reopened at its previous location. The building's tenants include Bank of America as the anchor tenant and Marathon Asset Management, and the tower's platinum LEED rating and modern column-free office space has enticed tenants from all over the city. The Bank of America Tower is considered a worldwide model for green architecture in skyscrapers.[9]
Environmental features[edit]
The design of the building makes it environmentally friendly, using technologies such as floor-to-ceiling insulated glazing to contain heat and maximize natural light, and an automatic daylight dimming system. The tower also features a greywater system, which captures rainwater for reuse. Bank of America states that the building is made largely of recycled and recyclable materials.[10] Air entering the building is filtered, as is common, but the air exhausted is cleaned as well.[11] Bank of America Tower is the first skyscraper designed to attain a Platinum LEED Certification.[10]
The Bank of America Tower is constructed using a concrete manufactured with slag, a byproduct of blast furnaces. The mixture used in the tower concrete is 55% cement and 45% slag. The use of slag cement reduces damage to the environment by decreasing the amount of cement needed for the building, which in turn lowers the amount of carbon dioxide greenhouse gas produced through the normal cement manufacturing process. Each ton of regular cement produced creates about one ton of carbon dioxide in the atmosphere.[12]
Temperature control and the production of some of its energy are accomplished in an environmentally friendly manner for the tower. Insulated glazing reduces thermal loss, lowering energy consumption and increasing transparency. Carbon dioxide sensors signal increased fresh air ventilation when elevated levels of carbon dioxide are detected in the building. Conditioned air for the occupants is provided by multiple air column units located in the tenant space that deliver 50 °F air into a raised access floor plenum. This underfloor air system provides users with the ability to control their own space temperature as well as improving the ventilation effectiveness. When building churn occurs, workstation moves can be performed more easily with lower cost and less product waste. The cooling system produces and stores ice during off-peak hours, and allows the ice to melt to help cool the building during peak load, similar to the ice batteries in the 1995 Hotel New Otani Tokyo in Japan.[13] Ice batteries have been used since absorption chillers first made ice commercially available 150 years ago, before the invention of the electric light bulb.[14]
Water conservation features in the tower include waterless urinals, which are estimated to save 8,000,000 US gal (30,000,000 l) of water per year and reduce CO2 emissions by 144,000 lb (65,000 kg) per year (as calculated with the Pacific Institute water-to-air model).[15] The tower has a 4.6-megawatt cogeneration plant, which provides part of the base-load energy requirements.
Time magazine reported in August 2013 that the Bank of America Tower used twice as much energy overall as the Empire State Building, due to the large energy usage in the Bank of America Tower and the comparatively small occupancy rate of the Empire State Building.[16]
In summer 2013, the Durst Organization employed Brooklyn Grange Rooftop Farm to install and maintain two honeybee hives on the building.[17]
|One World Trade Center
|1,776 ft (541 m)
|1,368 ft (417 m)
|432 Park Avenue
|1,396 ft (426 m)
|1,396 ft (426 m)
|Empire State Building
|1,472 ft (449 m)
|1,250 ft (380 m)
|Bank of America Tower
|1,200 ft (370 m)
|953.5 ft (290.6 m)
|Chrysler Building
|1,046 ft (319 m)
|925 ft (282 m)
|New York Times Building
|1,046 ft (319 m)
|748 ft (228 m)
With the architectural spire[18] included, the structural height of the Bank of America Tower is 1,200 ft (370 m), making it the fifth tallest building in New York City (after One World Trade Center, 432 Park Avenue, 30 Hudson Yards, and the Empire State Building). A formal ruling by the Council on Tall Buildings and Urban Habitat confirmed this.[19]
In June 2008, the New York Academy of Sciences launched a podcast that highlights these green features.[20]
In October 2009, the building was featured on episode 100 of the National Geographic Channel television series MegaStructures.[21]
In June 2010, the Bank of America Tower was the recipient of the 2010 Best Tall Building Americas award by the Council on Tall Buildings and Urban Habitat.[22]
Construction incidents[edit]
Materials fell from the building on three occasions:
- October 17, 2007: A construction container fell from a crane around 1 p.m., causing damage to the tower and injuring eight people on the sidewalk.[23] The container broke windows on several floors of the building, spraying debris that rained down on the streets below. Eight people suffered cuts and bruises. The Buildings Department temporarily stopped construction at the site.
- August 12, 2008: A 1,500-pound (680 kg) glass panel fell onto a sidewalk. Two people suffered minor injuries.[24]
- September 17, 2008: A debris container fell, shattered a panel of glass facade, and caused several pieces of glass to fall from the 50th floor to the sidewalk and street (West 42nd and Avenue of the Americas) at around 3:00 pm (EDT). No one was injured.[25]
In popular culture[edit]
- The Bank of America Tower appears in HBO's The Newsroom as the headquarters of Atlantis World Media, with CGI being used to change the name of the building above the entrance.
- In the Daredevil episode "World on Fire", Foggy Nelson and Karen Page have a meeting with Foggy's ex-girlfriend Marci Stahl in the Bank of America Tower's lobby, representing the offices of Landman & Zack.
- In Jessica Jones, the offices of Hogarth Chao & Benowitz are located in the Bank of America Tower.
- In Younger, the offices of Empirical Publishing are located in the Bank of America Tower.
See also[edit]
- Buildings and architecture of New York City
- List of tallest buildings in New York City
- Tallest buildings in the United States
- ^ a b c d e f g h "Bank of America Tower - The Skyscraper Center". Council on Tall Buildings and Urban Habitat.
- ^ Bank of America Tower at Emporis
- ^ Bank of America Tower at Glass Steel and Stone (archived)
- ^ "Bank of America Tower". SkyscraperPage.
- ^ Bank of America Tower at Structurae
- ^ C.J. Hughes (5 November 2008). "New Skyscraper Stars in National Geographic Show". Architectural Record. archrecord.construction.com. Archived from the original on 12 June 2011. Retrieved 2011-05-27.
- ^ "One Bryant Park". Van Deusen & Associates. Retrieved 2014-02-27.
- ^ Dunlap, David W. (7 November 1993). "An Aging Midtown Hotel That Will Not Go Gently". The New York Times. NYTimes.com. Retrieved 2011-08-10.
- ^ McDonnell, Tim (16 September 2015). "There's been a boom in energy-efficient skyscraper construction". Grist.
- ^ a b "Bank of America and The Durst Organization Break Ground On the Bank of America Tower at One Bryant Park in New York City" (Press release). Bank of America Corporation. 2 August 2004. Archived from the original on 23 October 2007. Retrieved 2007-10-19.
- ^ Cook, Richard A.; Hartley, Alice (6 June 2005). ""What is Free?": How Sustainable Architecture Act and Interacts Differently" (PDF). United Nations. Archived (PDF) from the original on 28 November 2007. Retrieved 2007-10-19.
- ^ "EF Technology". U.S. Concrete, Inc. Archived from the original on 2007-10-05. Retrieved 2007-11-08.
- ^ "Ice-cooling System Reduces Environmental Burden". The New Otani News. New Otani Co., Ltd. 28 June 2000. Archived from the original on 7 October 2007. Retrieved 2007-11-08.
- ^ Foley, Gearoid; DeVault, Robert; Sweetser, Richard. "The Future of Absorption Technology in America" (PDF). U.S. DOE Energy Efficiency and Renewable Energy (EERE). Archived from the original (PDF) on 28 November 2007. Retrieved 2007-11-08.
- ^ Pacific Institute. "Water to Air Models". Archived from the original on 2008-12-11. Retrieved 2008-06-13.
- ^ Walsh, Bryan (2013-08-14). "The Surprisingly Large Energy Footprint of the Digital Economy [UPDATE]". TIME.com. Retrieved 2015-09-18.
- ^ Satow, Julie (6 August 2013). "Worker Bees on a Rooftop, Ignoring Urban Pleasures". The New York Times. The New York Times Company. Retrieved 2014-02-27.
- ^ "Photo of Bank of America Tower: Elevations". Emporis. Cook + Fox Architects, LLP. 4 September 2005. Retrieved 2007-10-19.
- ^ "100 tallest completed buildings in the world". Council on Tall Buildings and Urban Habitat. 2011-02-03. Retrieved 2012-05-01.
- ^ "Green Buildings Solutions: What's Working? Post Occupancy Evaluation". New York Academy of Sciences. 15 April 2010. Retrieved 2014-02-27.
- ^ See MegaStructures
- ^ "CTBUH 9th Annual Awards, 2010". Council on Tall Buildings and Urban Habitat. Retrieved 2007-06-15.
- ^ "Crane's Bucket Falls 53 Stories In Midtown". WNBC. 2007-10-17. Retrieved 2007-10-19.
- ^ Hauser, Christine (12 August 2008). "At a Midtown Intersection, Another Sheet of Glass Falls". The New York Times. Retrieved 2008-08-26.
- ^ "Glass Falls 50 Floors From Midtown Building". NY1. 17 September 2008. Retrieved 2014-02-27.
Further reading[edit]
- Dirk Stichweh: New York Skyscrapers. Prestel Publishing, Munich, 2009, ISBN 3-7913-4054-9
- The Bank of America - Megastructure at One Bryant Park
- National Geographic Channel - "Man-Made: Ultimate Skyscraper" (Television Episode)
- Curbed NY topic
- The Site Selection report on the tower
- Bank of America press release on the tower
External links[edit]
|Wikimedia Commons has media related to Bank of America Tower (Manhattan).
- Bank of America Tower on CTBUH
- Bank of America Tower on the Durst Organization website
- Bank of America Tower on Skyscraper Center
- Wirednewyork.com site photos


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How people say good-bye to loved ones is a strong indication of how much they were valued. Meaningful or elaborate ceremonies as well as permanent tributes are ways that people show how important someone was to them. Whether it's the Egyptian pyramids of Giza, King Tutankhamun's tomb, the mausoleum that includes the Terra Cotta Army of the Chinese Emperor Qin Shi Huang or the Taj Majal, people have often demonstrated great love and respect for someone who has died.
In recent years, dogs' places in our hearts and homes have become every more solidified, and the way that we mourn them is keeping pace. It is now common for people to make donations in deceased pets' honor, to bury them near the rest of the family, to attend grief support groups and to make memory books to help cope with the loss. It's in keeping with the increased status of dogs as members of our family that it is now possible to conduct burials at sea for dogs.
The company New England Burials at Sea offers services for pets complete with ash scatterings at sea. A typical service may follow the scattering of ashes with a poem and placing flowers or wreaths in the ocean. People then receive a sea burial certificate on which the time, date, and latitude and longitude of the ash scattering are recorded. If desired, a picture of the pet is also on the certificate.
As dogs' place in our hearts and lives continues to expand in today's modern society, so does our respect for them in death. A proper, meaningful good-bye allows people to acknowledge the magnitude of love they have for their dogs. Hopefully, this helps with the grieving process.
How have you bid a fond farewell to a beloved pet?

subset: commoncrawl


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SPRINGFIELD (AP) – Illinois prison officials announced a revamped sentence-reduction plan Friday, again offering early release to inmates who behave behind bars, more than 3 years after corner-cutting on a previous program freed hundreds of violent prisoners and almost cost Gov. Pat Quinn an election.
But the impact of the newly minted "supplemental sentence credit program" on the state's bloated prison population is uncertain because of its stringent criteria. It will likely mean the release of far fewer prisoners than under the previous plan Quinn suspended in December 2009 after a scandal revealed by The Associated Press.
Quinn said this week the new plan should ease congestion in the state's prison system, which currently has 49,000 inmates in space designed for only 33,000. But John Maki, director of the John Howard Association, a prison watchdog, said the plan isn't a solution to crowding in the system, where officials are setting up temporary housing units.
The new process allows the Illinois Department of Corrections to grant inmates up to six months off their sentences based on the severity of their crimes, their criminal histories, their disciplinary records in prison and the efforts they make toward rehabilitation, such as by enrolling in courses or performing well in prison jobs.
The state must notify authorities in the county where a paroled inmate is to live at least two weeks prior to his or her release, and the inmate's name must be published on IDOC's "Community Notification of Inmate Early Release" webpage.
Quinn signed the measure into law last spring but only in recent weeks have prison officials completed the process for writing rules governing the process.
For decades, the agency awarded time off under a program called Meritorious Good Time. It went to most prisoners who had served an unofficially recognized minimum term of least 60 days in state prison. Because of time spent in county jails awaiting trial, many were eligible for release as soon as they completed the two-month stint, earning them the moniker "61-Day Wonders."
In late 2009, the AP asked IDOC about hundreds of inmates — many of whom had committed violent crimes — who had been set free within weeks or even days of their arrival at a state penitentiary. Officials denied a change had been made until the AP asked specifically about the elimination of the 60-day minimum stay and a population-reducing initiative dubbed "MGT Push."
The fallout led to a speedy roundup of parolees who had violated terms of their release, a law formalizing the 60-day minimum term, and another law creating the website listing inmates benefiting from early release. Quinn ultimately said he was unaware of the program authorized by then-Corrections Director Michael Randle, who resigned in mid-2010.
Quinn lost a double-digit lead and narrowly claimed victory in the Democratic primary, then won a squeaker in the fall general election against a conservative Republican in a solidly blue state.
The most significant legacy, however, has been an increase of 4,000 or more inmates statewide, pushing the prison population toward 50,000.
With the state facing continuing financial struggles, Quinn closed the costly Tamms high-security prison in January, along with three work-release centers, and plans to shutter the women's maximum-security lockup in Dwight.
The department announced last week that it is transforming gymnasiums at six medium-security prisons into housing areas for overflow minimum-security inmates, a need officials expect to decrease in the next few months.
Contact John O'Connor at https://www.twitter.com/apoconnor
IDOC Community Notification of Inmate Early Release: http://tinyurl.com/bh78yb4


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What better way to spend a few days than in Southern Oregon?
I packed up and left on Thursday for a ride North. A little over 600 miles to the town of Yachats, Oregon. On my way out of town, little did I realize this would be as cool as it would be...looking back at the Golden Gate Bridge.
For the most part, this is territory that's been covered. Hence very few pix until I decided on this one in Willits, California. Did I mention it's been over a hundred degrees since about San Rafael?
I love riding. It's like you're immersed in your journey. Same way as when you're hiking or riding a bicycle. You can't help but be involved.
The redwoods. Wow. Magnificent. Even the dead ones.
Pretty soon, I was on the Oregon Coast. A site to behold. If you've not been, I can't recommend it enough. If you've been, you know what I'm talking about.
Back on the bike and North. In areas I haven't been in a while, I often get caught looking. Riders will know what this means--for you non riders, it's when you're not paying enough attention to operate the motorcycle. So it's safer to slow down and enjoy the roses (so to speak).
A few miles farther up the coast, I stopped for a look see and found this nice little picnic spot. Complete with a view and a place to rest the dogs.
Eventually, I arrived in Gold Beach. Deciding to stop, I found myself a place to stay and then took a walk to dinner and a view of this bridge.


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All title transfers and exemption claims on motor vehicles and other equipment is regularly audited by the Ohio Department of Taxation in accordance with Ohio Revised Code (RC) 4505.09(B)(2)(c) and 5739.13 to verify if the sales tax liability has been satisfied.
Did you receive a letter from us? - This link will provide information and interactive notices on the different types of letters that are sent.
Downloads and Electronic Forms – Forms, questionnaires, and additional resources can be found on this page.
Casual Sales – These sales are defined as the transfer of a motor vehicle title between two individuals who are not affiliated with a licensed dealership. Learn about cash sales, trades, bartering and loan assumptions here.
Exemptions & Taxability – Ohio law allows certain vehicle transactions to be made without paying sales tax. Find out more here.
Leasing & Dealer Transactions – This link is for licensed dealerships to obtain more information on the application of sales tax to their transactions including leases.
Aircraft – The sale of an aircraft may be subject to sales tax. This page will provide additional resources regarding the taxability of aircraft.
Watercraft & Outboard Motors – The transfer of a watercraft or outboard motor is generally taxed in the same manner as motor vehicles. Get the information you need here.
Snowmobiles - With some exceptions, snowmobiles are to be registered and are subject to sales tax.
The Ohio Department of Taxation has compiled a list of frequently asked questions covering many different categories.
To view the questions, click on the "Select Category" bar and then click on the category in which you are interested. A list of questions will appear pertaining to that category. Then, click on the question in which you are inquiring and the answer will appear.
Can you provide more examples of situations where there is no tax due on the transfer of title of a motor vehicle, all-purpose vehicle, off-highway motorcycle, titled watercraft, titled outboard motor, or titled personal watercraft?
(A) Sales to an organization that has been granted and maintains 501(c)(3) status by the Internal Revenue Service or is a not-for-profit organization operated exclusively for charitable purposes in this state. (NP)
Note: A motor vehicle sold to any organization for use in the operation or carrying on of a trade or business is taxable.
(B) Sales in interstate commerce with delivery being made by the seller to a point outside this state for use outside this state or delivered to an interstate carrier for delivery outside of Ohio. (IS)
(C) Sale to a purchaser for one of the following uses:
(a) As transportation equipment, except those licensed to operate on the public highways, to transport items in the process of production for sale by manufacturing, processing, assembling or refining within a plant. (PT) (See Rule 5703-9-21, Ohio Adm. Code)
(b) Directly in production of tangible personal property for sale by mining. Used prior to the tipple or crusher, or in the construction, operation and maintenance of private power lines to distribute electric energy for use in mining, whether licensed or not for highway use. (Rule 5703-9-22, Ohio Adm. Code) (DM)
(c) Directly in the exploration for or production of crude oil or natural gas. (DO)
(d) Sale to a nonresident of this state upon presentation of an affidavit executed in this state by the nonresident purchaser affirming that:
(1) the purchaser is not a resident of this state,
(2) that possession of the vehicle is taken in this state for the sole purpose of immediately removing it from the state,
(3) the resident state provides a nonresident motor vehicle exemption from their sales and use tax law under which Ohio residents can purchase a vehicle and not be required to pay sales or use tax, and
(4) that the vehicle will be permanently titled and registered in another state and that it will not be used in the State of Ohio. (NR)
Note: The sale of a motor vehicle consummated in Ohio to a nonresident member of the Armed Forces stationed in Ohio is subject to Ohio sales or use tax. This type of transaction does not qualify under the nonresident exemption because the vehicle will be used in Ohio. Please see the Information Release.
Another exception to the nonresident exemption is the sale of a motor vehicle consummated in Ohio to a nonresident student attending school in Ohio. In this case, the vehicle would not be immediately removed from the state as required by law and is used in Ohio.
(e) A motor vehicle that will be used as a "yard truck" to transport purchased inventory in a warehouse, distribution center or similar facility when the inventory is primarily distributed outside this state to retail stores of the person who owns or controls the warehouse, distribution center or similar facility. This exemption does not apply if the vehicle is licensed to operate on the public highways. (WH)
(D) Where the purchaser of the motor vehicle is:
(a) The State of Ohio or any political subdivision thereof. (SP)
(b) The federal government or any agency thereof. (FA)
(c) A motor vehicle dealer (new, used, leasing or salvage) obtaining title for "resale." The clerk of courts will record on the title the valid dealer's permit number and/or vendor's license number. (RD, RL, RN, RO, or SR)
(d) A motor vehicle rental company having a valid vendor's license (Resale – daily rental). (RR)
(e) A direct pay permit holder, in which case the direct pay number (98-XXXXXX) will be recorded on the title. (DP)
(f) A motor vehicle or watercraft dealer from another state or country and the vehicle, watercraft or outboard motor will be resold. (OD)
(E) Where evidence (court documents, Highway Patrol inspection report, etc.) obtained and retained by the clerk of courts is such that tax is not due as a result of:
(a) Transfer of title pursuant to a divorce decree. (DV)
(b) Transfer of title to a beneficiary through inheritance in the administration of an estate by Probate Court where there is no clear consideration. (IH)
(c) Where a finance company or lending institution takes constructive possession of a mortgagor's car to protect its loan and thereafter the same mortgagor makes definite arrangements with the company to regain the car, it shall be titled back to the original mortgagor as "Redeemed." (RP)
(d) The issuance of title to an unclaimed motor vehicle when the proper affidavit has been executed. (UC)
(e) The transfer of a pre-ATPS (gold) title to an ATPS title without a change of ownership. (HE)
(f) A resident of another state that purchased (not including rentals or leases) in their home state a motor vehicle for use in that state, but then moves to Ohio. If the individual takes up residence in Ohio at least six months after purchase of the vehicle, they may obtain an Ohio title without paying use tax. Purchaser must prove to the satisfaction of the clerk of courts that the vehicle was purchased outside Ohio and used outside Ohio for at least six months. (CV)
(g) Insurance company taking title as result of a claim settlement may use the term "Resale – insurance claim." (IC)
(h) All-purpose vehicle (APV) purchased prior to July 1, 1999; clerk of courts must have confirmation of the purchase date. (AP)
(i) Off-highway motorcycle (OHM) purchased prior to July 1, 1999; clerk of courts must have confirmation of the purchase date. (OH)
(j) New or used manufactured home or mobile home purchased on or after Jan. 1, 2000. (MH)
(k) Personal watercraft sold before Jan. 1, 2000. (WP)
(l) Transfer of a motor vehicle into the name of a franchised motor vehicle dealer for purposes of demonstration to prospective purchasers. When issuing title, the word "Demonstrator" must be on the title. (RD)
(m) Sales of emergency and fire-protection vehicles to volunteer fire departments that are under contract with a political subdivision of this state (county, township or municipality) to provide fire protection and emergency services. (VF)
(n) Effective January 2013, the United States Department of State, Office of Foreign Missions, has informed the Department of Taxation that foreign diplomats and their members and dependents must have a Motor Vehicle Tax-Exemption Letter issued by the Office of Foreign Missions in order to purchase or lease a motor vehicle without paying use tax. The Diplomatic Tax Exemption Cards previously used by such persons to make tax-exempt purchases cannot be used to purchase motor vehicles exempt from use tax. (FD)
(o) The transfer of title to a motor vehicle that was purchased outside of Ohio for use outside of Ohio by a member of the Armed Services. The titleholder must be able to establish the fact that the vehicle has been or will be used outside of Ohio for at least six months after it is acquired. (CM)
(p) The purchaser of a motor vehicle is using the vehicle (through a power take-off unit) in the production of a product for sale by manufacturing, processing or refining (i.e., cement mixer where the mixing unit is operated through a power take-off unit instead of a separate power source). (MO)
(q) The purchaser of a motor vehicle is purchasing a specially designed and equipped motor vehicle for use in rendering a public utility service. (PU)
Note: The PU exemption will cover ambulance services if the following conditions exist:
(1) the purchaser has a certificate of public convenience and necessity; , and 2) the vehicle is directly and primarily used in providing the ambulance service. The purchaser must provide a motor vehicle exemption certificate indicating that the vehicle is "used directly in the rendition of a public utility service." Note—Private ambulance companies do not qualify for the public utility exemption unless they hold a certificate of public convenience and necessity.
(r) The transfer of title to the beneficiary or beneficiaries stated on a title that is in the name of a sole owner with transfer-on-death designation. (TD)
(F) Where there is no "good and valuable consideration" given in exchange for the transfer of title to the motor vehicle, watercraft or outboard motor:
(a) The transfer of a corporate asset to the surviving corporation as a result of a merger or to a new corporation as a result of a consolidation. (MR or CS)
(b) The transfer of title from a corporation to one of its stockholders upon dissolution of the corporation. (DS)
(c) The transfer of title due to a corporate name change only. (NC)
(d) Transfer of title from an individual to a partnership of which the individual is a member if no clear consideration is given by the partnership for the transfer. (IP)
(e) Transfer of title from a partnership to a partner (individual) upon dissolution of the partnership. (PD)
(f) Transfer of title from an employee to an employer for the sole purpose of insuring the vehicle as a part of the employer's insurance. (PRICE OF $0.00)
(g) Transfer of title from an employer to an employee for the sole purpose of insurance. (PRICE OF $0.00)
(h) Where a trade-in is titled by a dealer for resale pursuant to the sale of another vehicle and that sale is not consummated, the trade-in title may be transferred back to the original titleholder as "Redeemed." (RS)
(i) The transfer of title where an undisturbed mortgage is involved and the transferor is not relieved of his original principal liability and there have been no changes in the original mortgage paper filed or any other consideration given. Also, title transfers from two names to only one of the original names and the mortgage remains in both names or the title transfers from two names to only one of the original names and the mortgage also changes from two names to only one of the original names. (UM)
(j) The transfer of title between parents and their children, husband and wife, or between two unrelated parties in the absence of any clear consideration. (PRICE OF $0.00)
(k) The transfer of an unencumbered title from a sole owner, partnership or corporation to a limited liability partnership (LLP) or limited liability company (LLC), and there is no clear consideration. Or, the transfer of title and there is an outstanding loan or lien on the title, and there is no change to the loan agreement as a result of the transfer (undisturbed mortgage). (PRICE OF $0.00)
(G) Where title to a vehicle is transferred to an individual who is not a motor vehicle dealer but the vehicle is to be resold.
(a) A finance company or bank repossessing a vehicle to protect the loan may use the term "Resale – financial institution." (RF) effective June 9, 2000.
(b) Pawnbroker taking title to a vehicle pursuant to Section 4505.102 of the Ohio Revised Code to protect a loan may use the term "Resale – financial institution." (RF) effective June 9, 2000.
(c) Insurance company taking title as result of a claim settlement may use the term "Resale – insurance claim." (IC)
(d) Any licensed dealer taking a salvage title to a vehicle that is to be dismantled and sold as parts, or to sell the salvage vehicle on a salvage title to a new or used dealer or an individual may use the term "Salvage – resale." (SR)
(e) Manufacturer taking title to a chassis which will become part of a manufactured item that will be titled as a motor vehicle when sold to the ultimate consumer must accompany the application for title with an exemption certificate setting forth the statutory reason for exemption of "use or consumption as a material or part for incorporation into personal property to be produced for sale by manufacturing, assembling or processing." (RM)
(f) Financial institution taking title to a motor vehicle for the sole purpose of selling the motor vehicle to a licensed motor vehicle dealer may use the term "Resale – wholesale." (RW)
(g) Farm implement or construction equipment dealers sometimes purchase and resale a horse, utility or equipment "trailer" with a gross weight in excess of 4,000 pounds that requires a title. If the implement or construction equipment dealer is in the business of regularly selling such trailers, they must be licensed as a motor vehicle dealer by the Bureau of Motor Vehicles. However, if they only occasionally sell trailers that must be titled, the BMV does not require them to obtain a license. Nevertheless, the implement or equipment dealer must have a vendor's license as they are making retail sales. The implement or equipment dealers can claim the resale exemption on these trailers, if they are acquired for the purposes of resale. Such dealers MUST submit an exemption certificate with the application for certificate of title using the term "Resale – implement/equipment dealer." (RI)
Special Note: A farm implement or construction equipment dealer cannot use this exemption to purchase trailers that are used by the dealers to transport other tangible personal property that it sells (tractors, plows, disc harrows, fertilizer spreaders, combines, bulldozers, backhoes, motor vehicles, etc.).


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9 Jun 2014, 22:05
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World Cup Fever!
World Cup Fever has hit Planetarion in a three-pronged attack!
1) World Cup Fantasy League
As per
this thread
on the forums, there is a Planetarion World Cup Fantasy League. There will be one credit given to the top team at the end of the World Cup!
2) World Cup Prediction League
As per
this thread
on the forums, there is also a Planetarion World Cup Prediction League. This will involve guessing the results of every World Cup match, with points gained for the correct winner and the correct score. Again, the player at the top of the league at the end of the World Cup will receive a credit!
3) World Cup Speed Games
We will be running 3 World Cup Speedgames.
These will consist of:
-8 man galaxies
-2 minute ticks
-Specialised stats, to be announced before sign ups.
-Special roids will be present in the form of "Golden Balls" and will have twice the normal chance of being captured (so a 25% steal of asteroids on a planet would give you a 50% chance of stealing a "Golden Ball")
-No bash limit
-All exiling to be disabled
-Ranking of galaxies will be done on "Golden Ball Power", which will consist of a combination of Golden Balls held by the galaxy and the score of those planets.
-Free with adverts
These will be held as follows:
Warmup Match
-Signups open on Thursday, 19th June at approximately 20:00 GMT.
-Ticks run from 12:00 GMT Saturday 21st June - 12:00 GMT Sunday 22nd June
-Open "beta"
-No specification of one galaxy being a particular country
-General free for all
-Havoc for the remainder of Sunday!
-Feedback welcome on the new scoring system and the stats.
-Signups open on Thursday, 26th June at approximately 20:00 GMT.
-Ticks run from 12:00 GMT Saturday 28th June - 12:00 GMT Sunday 29th June
-Each team must be Europe or non-Europe aligned (as a minimum, country-specific galaxies are welcome)
-Recommended country-themed galaxy flags
-Europe-based galaxies will be in C2
-Non-Europe-based galaxies will be in C3
-Cluster-wide alliances
-Top 5 galaxies in each cluster as of 12:00 GMT on Sunday, 29th of June qualify for the final.
The final!
-Signups open on Thursday, 3rd July at approximately 20:00 GMT.
-Ticks run from 12:00 GMT Saturday 5th July - 12:00 GMT Sunday 6th July
-Teams based on those who qualified previous weekend; up to 3 "substitutions" allowed from the previous galaxy.
-All European teams in C2
-All Non-European teams in C3
-Galaxy-specific alliances
-Credits for the winning galaxy
Originally Posted By Appocomaster
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EDGE Makes Flames Sweaty, Too/
I recently posted an article from the Pittsburgh Post-Gazette about members of the Penguins whining over certain aspects of the new Rbk EDGE jerseys. Well now, according to the Calgary Sun, the Flames have jumped on board.
Randy Sportak wrote this article on Tuesday. You can read it below.
September 25, 2007
New duds judged a dud
By Randy Sportak
Calgary Sun
Traditionalists still call a hockey uniform a sweater.
Having now sampled the new, high-tech togs unveiled by all 30 NHL teams this year for a handful of pre-season games, Flames players are understanding why the word sweat is in sweater.
"My undershirt is just soaked," said forward Owen Nolan. "I find I'm changing them in between periods and a lot more frequently than before. I feel like I'm working out in a sauna."
The new uniform system unveiled by RBK has benefits. Sweaters are lighter, are apparently more wind resistant and repel moisture.
However, while moisture doesn't soak in from the outside, it doesn't release from inside the uniform. That means players are becoming saturated in their own sweat.
"With the other ones, you had holes and got more of a breeze in there — maybe that's why you got that drying out effect," said blueliner Cory Sarich. "These seem to heat you up more because there's not that two-way air flow.
"Besides, the jerseys don't feel much different than the old ones. I don't know if they've accomplished what they want. From talking to guys, I don't feel they're making a difference on the ice."
Moreover, players around the league are complaining their gloves are becoming so full of sweat they have to change them constantly.
Also, their skates are filling like buckets, and that's not a piece of equipment they want to change mid-game.
The complaints don't end there, either.
To be form fitting over equipment, the sweaters are made of a stretchier material. Uniforms are tied down in the back to prevent an opponent from pulling it over their head in a fight, but it's now possible to 'jersey' somebody in a brouhaha.
"I know with the old ones, my sweater could only be pulled about halfway up my neck, but these come up over my head," said Warren Peters, one of the few Flames to drop the gloves this pre-season. "It's like they're elastic."
Forward Eric Godard hasn't been in a scrap yet, so he hasn't experienced the impact first-hand.
"The old jersey trick has been around a long time," he said. "Usually in a fight, I'm not worrying about the jersey. I worry about the other guy. If I start getting beat up, then I'll be saying, 'It's not fair.' "
And then comes the aspect considered most controversial about the new uniform. Some players prefer the uniforms being tighter, but the majority are partial to the old unis. In the development stage, RBK worked with player input, but still skaters feel restricted.
"I feel skinnier, but that's not the look I'm going for," Sarich said. "It takes me longer to get my sweater on because the shoulder pads and the elbow pads get tangled up in the sleeves."
"They're really tight," Nolan said. "I used to wear a really loose shirt because I want the freedom."
But, nobody's expecting the league to go back to the old ways, so it's best to accept it.
"You're soaked. But whatever sells jerseys, I guess," said defenceman Anders Eriksson. "Anyway, just give me a jersey, and I'll work with it."
Besides, seeing as the sweaters are supposed to be 9% more wind resistant, players must be 9% faster.
"Oh yeah, can't you tell?" Eriksson laughed. "I almost feel slower because everybody was telling me I was gonna be faster."
So essentially, the moral of the story is you cannot please everybody all the time. Hopefully we all knew that already, though.


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"Comedy Central Roast of James Franco" (Comedy Central, Monday). James Franco keeps busy in a way that troubles some people; he is perceived as a dilettante, a man whose reach – here, there and everywhere – often exceeds his grasp. "James Franco, acting, teaching, directing, writing, producing, photography, soundtracks, editing – is there anything you can do?" Natasha Leggero will ask in this already-filmed special, as the actor-cum-you-name-it is turned on a spit by some of his famous friends and a few people he knows less well, or possibly not at all. And yet, it is hard not to admire his go-for-it attitude. Life is short, and whether or not art is long (most of it is shorter even than a short life), you might as well do what you feel, however much the less lucky may deride you for it. And Franco's side projects (all his projects are side projects, in a way) are not limited to arty overreach (short stories, painting); he's also been on "General Hospital," and not just as a walk-on. Now he has said yes to following the likes of William Shatner, Flavor Flav, David Hasselhof, Charlie Sheen and Donald Trump as the object of a Comedy Central roast.
Hosted by Seth Rogen -- Ken Miller to Franco's Daniel Desario in "Freaks & Geeks," and lately his co-star and director (with Evan Goldberg) in "This Is the End" -- it may be seen, after that film and Franco's misadventurous hosting of the Academy Award ("Look at me doing all the talking while you sit there doing nothing," Rogen will say, "I feel like I'm co-hosting the Oscars with you"), as the third installment of a deconstructionist self-referential post-modern meta-trilogy. Indeed, that is how Franco will play it when he finally takes the stage: "This is not a roast. This is my greatest, most elaborate art installation ever." Still, there is no indication that the participants -- also including Jonah Hill, Aziz Ansari, Bill Hader, Andy Samberg and Nick Kroll, Jeff Ross and Sarah Silverman -- will hijack the form to some subversive, piratical end; it looks to be the usual mix of tuxedos and uncomfortable near-truths. (Nick Kroll: "James Franco is truly our generation's James Dean: so handsome that you forget he's only been in two good movies.") Still, the relative youth of the company does suggest at least a generational shift. Hill on Silverman: "Everyone's like, 'She's hot for a comic.' I don't agree. She's not just hot for a comic. She's hot for someone her age." (Silverman on Hill: "Right before the show started, Seth Rogen rolled a gigantic fatty. Because that was the only way we could get Jonah Hill onto the stage.") Kids!
The Daily Show (Comedy Central, weeknights); "Totally Biased with Kamau Bell" (FXX, weeknights). Jon Stewart returns to "The Daily Show" this Tuesday (post-holiday weekend), having spent his summer working vacation as a first-time movie director. (See James Franco, above.) With all due respect to John Oliver, his more-than-able stand-in over the last several weeks, Stewart is the Dean of Fake News -- he has the gray hair, anyway. And though he was not the first host of this show, it is indisputably his. Another late-night topical-comedy talk show, "Totally Biased with Kamau Bell," also returns to the air after a break this week, moving from FX to the new FXX, the laffcentric FX offshoot that has an extra "X" in it, and going from weekly to daily in the bargain. Though they share certain aspects, including a cast of writer-"correspondents," there are of course great gulfs between them. Stewart, according to a recent report by TV Guide, is the highest paid host in late-night (and makes oodles more than non-fake-news anchors); Bell must be somewhere near the bottom of that list. Stewart's show is big and flashy, amplifying the casino-spaceship aesthetic of cable news; Bell's has the flavor of folding chairs in a rented room, an informality that works well for him -- he comes off sweet and approachable, a friendly presence even when relating some particularly outrageous bit of news. He's black too, which is not beside the point, and young, which is also not beside the point.
"Blandings" (Acorn Media DVD). I must have been about 17 when I first encountered the works of Pelham Grenville Wodehouse in a small collection I found in a used bookstore – I will explain "books" and "stores" to you another time -- they were just something we used to have, back in the 20th century. There is now a corner of my brain that is forever England, peopled with comical aristocrats, capable servants and colorful assorted others, their speech full of singular similes and metaphors and original figures of speech. ITV's six-episode "Blandings," which ran in the U.K. earlier this year and arrives here on DVD this week (another season has been ordered), adapts the second most famous of Wodehouse's creations, the Blandings Castle stories surrounding Clarence Threepwood, ninth Earl of Emsworth, his kin, butler and prize pig, the Empress of Blandings. While not on the sublime order of "Jeeves and Wooster" (1990-1993) in which Stephen Fry and Hugh Laurie made that man and valet theirs for the foreseeable future, or "Wodehouse Playhouse," in the 1970s, in which Pauline Collins and John Alderton played a variety of love-challenged couples, it does have Timothy Spall, Jennifer Saunders and Mark Williams in it. (Americans will most readily know the men from "Harry Potter" movies and Saunders from "Absolutely Fabulous.")
Some critics have pointed out that Spall, who is short and round is not Lord Emsworth as Wodehouse described him -- Ralph Richardson, who played him in a 1960s series, and Peter O'Toole, who took the part in the BBC's 1995 "Heavy Weather," were closer to the mark -- but most viewers will not be afflicted with such knowledge, and he is the right size to fit comfortably with Saunders (as his imperious sister, Lady Constance Keeble) in a medium-close two-shot. Guy Andrews' adaptations are at times a little broad -- a strange accusation to make against material so bumptious at its source, even as the pace can seem, paradoxically, to drag a little. Red flags go up here and there: I'm pretty sure no character in a Wodehouse book ever said, "How the hell are you?," nor can I remember any flatulence jokes or badminton-based euphemisms for homosexuality, or a butler playing Meade Lux Lewis's "Honky Tonk Train." There is a weak running gag in which Clarence's son Freddie (Jack Farthing) who out-Woosters even Bertie and whose hair in some scenes seems to have been styled by Munchkins, runs his car into a tree. And yet for those who prefer their stately homes more comical than tragical, and who like their comedy in period dress, this is a pleasant and stimulating diversion, full of farcical intrigue and romance (and avoidance thereof). David Walliams, from "Little Britain." shows up in a couple of episodes.
"Regular Show" (Cartoon Network, Mondays). Regular Show, the Cartoon Network cult item that isn't "Adventure Time," returns for a fifth season (which is not to say year -- it debuted in 2010). Its cast: a blue jay, a raccoon, a kind of lollipop man, a Yeti with the voice of Lionel Stander (Mark Hamill, actually), a fat little green monster, Hi-Five Ghost (a video-game spook with a hand growing out of the top its body-head and a walking gumball machine, the boss of them all. (The characters live and work together in "a park.") For all its eccentricity, it seems the less original series; nevertheless, I recently watched a million episodes in a row -- I think it was a million -- and have come to like its unique and assured mix of slacker buddy-comedy, workplace sitcom (work-avoidance sitcom, better said), funny-animal cartoon and dimension-slipping monster movie. (There are almost always monsters, eventually, and they are splendidly conceived.) Not to deal in gender stereotypes, but the series (created by J. G. Quintel, also the voice of the blue jay, Mordecai) is very much a Comedy of Dudes; female characters, when they appear, seem to have been created mostly for form, or to distract the males, who would mostly rather hang out with one another and play games, watch movies or party. Which mostly leads to trouble. There is some sad human truth in this.


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This Christmas, New Craftsman Gallery, St Ives is bringing together some of the UK's most innovative designer-makers in one seasonal exhibition, including a cutting edge display of work by British performance artist and felt maker Barbara Keal. As part of their festive Fairytale Fox exhibition, the gallery will be showing a collection of Keal's original and enchanting felt hats, alongside an equally bewitching display of jewellery, paintings and contemporary crafts by leading artists and makers.
Please revisit on the 25th of November when the full exhibition will be viewable on line.


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Zildjian Drumsticks are crafted to the same extraordinarily high standards as Zildjian cymbals, Zildjian drumsticks simply feel great. Manufactured with state-of-the-art consistency, they are 100% guaranteed straight. Whatever your stick preference or playing style, you'll find the perfect stick among Zildjian's vast selection of sizes, lengths and tip styles. All of Zildjian drum sticks are crafted from the highest quality U.S. Hickory or Maple woods.


text: Lee Stempniak transmitted a check through Alexander Edler and the plexiglass to knock a crisp frosty brew out of the hands of one unlucky fan, who really should have waited for a break in the action to walk back to his front row seats, the entitled jackass. And if you're with that guy behind you, then you're a Canucks fan too, so you deserved everything, asshole. [via Reddit]


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It's an established fact. Some women can't stand being pregnant, getting big and bloated, and hauling around a giant stomach, and some women, for reasons probably understood by Darwin, love it. That Angelina Jolie is one of the latter can be seen in any of the thousands of pictures of the actress—who was, after all, impregnated by Brad Pitt, which is like being impregnated by a future man or a star child—that began to proliferate in the celebrity weeklies and supermarket tabloids in the spring of 2008, by which time Jolie, who is carrying twins, had bellied out like a sail.
"I love it," she told me, smiled, laughed, then said, "It makes me feel like a woman. It makes me feel that all the things about my body"—she raised her hands as she said this, her fingers as long as those of a point guard, and made the squeezing motion commonly used to suggest fruit that is particularly ripe—"are suddenly there for a reason. It makes you feel round and supple, and to have a little life inside you is amazing.
"Also," she continued, dropping her voice, leaning in, "I'm fortunate. I think some women have a different experience depending on their partner. I think that affects it. I happen to be with somebody who finds pregnancy very sexy. So that makes me feel very sexy."
Jolie was sitting in the Four Seasons Hotel in Austin, Texas. For the previous few months, she had been living in Smithville, just outside the state capital. On the way to our meeting, she dropped two of her children off at the school they will be attending until Pitt wraps Tree of Life, the movie he is making with Terrence Malick. ("I would be the worst person to explain it," Jolie told me. "I think there's something existential about it. It's a kind of nuclear 1950s family, and [Brad] is a strong father.") The other children—there are four altogether: six-year-old Maddox (adopted in Cambodia in 2002), three-year-old Zahara (adopted in Ethiopia in 2005), two-year-old Shiloh (her daughter with Pitt), and four-year-old Pax (adopted in Vietnam in 2007)—were being tended to, on a ranch the couple had rented, by the nannies and tutors who tag after the Jolie-Pitts in a ragged caravan.
I asked Jolie what kind of help she employs.
"We don't ever have anybody spend the night," she said. "We may have to adjust that when the next one comes. But we do have ladies that work with us, and they're also from different cultures and backgrounds. One lady's a Vietnamese teacher—wonderful. One is of Congolese descent from Belgium. Another is from the States and is really creative and does art programs."
It's as if the Jolie-Pitts are pioneering a new genre of family, with children from every global hot spot and parents who are beautiful and famously not married. "People have made a lot out of it that we're not," she said, "but we both have been married before, and it's very easy to get married, but it's not easy to build a family and be parents together. And maybe we've done it backwards, but we certainly feel married."
When Jolie came into the Four Seasons, she looked around quickly, then crossed the floor like a pilgrim, with her head down, like someone used to being noticed, or bothered, like someone who does not feel safe. As T. S. Eliot wrote, "The roses had the look of flowers that are looked at." She went through the lobby the way a shark goes through the ocean, quickly and smoothly. You detect her presence not by her face, which she can obscure or render ordinary in that way of celebrities, but by how people around her react—the flurry in the water. She carries herself with strange dignity, as if she were an emissary of a secret order, a messenger from a lost kingdom. You see it in every picture. Shot after shot. She's a princess, an aristocrat. I mean, the woman knows how to be photographed, where to look, where the light comes from. (Us says they're just like us, but Us is wrong about them, or wrong about us.) She's not quite flawless in person—she's more real, human. It's the same product, only it's been taken out of bunting and plastic and set in this ordinary place, as opposed to the dreamworld cooked up by set designers and admen.
We sat near a wall of windows in the back of the hotel restaurant. As we talked, people circled around her as debris orbits a planet. This is called gravity. She wore a silky maternity dress under a blue blazer, the sort worn by stand-up comics, and Frankenstein. After a while, she took off the jacket, and there were her arms with their hieroglyphic tattoos, each telling another story, another legend from her already legendary life: wild teen years, marriage to actors Jonny Lee Miller and Billy Bob Thornton.
"How pregnant are you?," I asked.
"I don't want to say," she said, smiling sadly. "A few months. I only know, if I do say, people will start stressing on our due date."
When Pitt or Jolie shoots a film (they never work at the same time; there is always a parent around), the entire family goes along, bringing familiar things from home—though there is no home—in an attempt to re-create the world as it existed in the last place, and in this way they give their children a semblance of normalcy, routine.
For the Jolie-Pitts, there are no particulars: no particular cities, no particular towns. Only backdrops, locations. Texas. Before that, Prague. Before that, somewhere else, each made to stand for HOME in all capitals, which, of course, is a fantasy—a memory from someone else's past, backstory from a character Jolie has played. This illustrates a bigger point: she is a Method actor in reverse; whereas a Method actor brings the things of her life into her roles, Jolie brings her characters' stories into her real life. Which is why, though Jolie is an outstanding actress, she's a more outstanding celebrity. It's not that she becomes the character—it's that the character becomes her. Disturbed youth (Girl, Interrupted), wild child (Gia), humanitarian (Beyond Borders), married (sort of) to Brad Pitt (Mr. & Mrs. Smith).
When I asked why she made Wanted, the big-budget action movie co-starring James McAvoy and Morgan Freeman, she said, "Because I had just done A Mighty Heart and was scheduled to do Changeling, which is about the kidnapping of a child. And I had lost my mom. And I knew I was in this odd, fuzzy state going from one loss and kidnapping to another loss and kidnapping. Then Wanted came along. It's about being physical and jumping and running and being violent, and instinctively I knew I needed to do that."
It has been a hectic few years for the 33-year-old Jolie. She lost her mother, adopted children, appeared in films, and dominated tabloids, in which her history and every move have been carefully analyzed: how, though her father (Jon Voight) was a famous alum of the school (Hollywood), she turned up all alone in the hallways, then, just like that, became the talk of the big year-end blowout (Oscars), sidled up to the best-looking boy in the school (Pitt), looked at his popular cheerleader girlfriend (Jennifer Aniston), saw no competition, and stole him away, in the process forcing those who follow such things (everyone) to re-write the hierarchy of the lunchroom.
There were also the causes, the charity work and refugees, appearances before the United Nations and the Council on Foreign Relations—Angelina is a new kind of movie star in just the way Barack Obama is a new kind of politician. But I don't want to give the impression that this story is tied to any one of her films (like this month's Kung Fu Panda, in which she voices a tiger, and which I won't be writing about) or causes. Angelina Jolie is larger than a conventional news peg or nut graph. She's won the biggest awards, been among the highest-paid actresses ever (a reported $20 million for Mr. & Mrs. Smith), and, what's more, she has become an obsession to women in America, who recognize her as an archetype. In other words, talking to Angelina Jolie in 2008 is like talking to Elizabeth Taylor in 1951, or Doris Day in 1956, or Mary Pickford in 1917. Here is the star at its peak, neither climbing nor descending.
When the waiter came over, Jolie ordered with that peculiar joy of the beautiful, well-tended woman freed by pregnancy—an omelet with everything save the peppers. We talked over the course of the meal, time drifting by, food coming, going, being replaced by newer food. When she laughed, she covered her mouth with the back of her hand. When she was moved, she looked out the window, eyes watery, far away. She talked about her family, her career, her relationship with Pitt. "After my last divorce, I said I was absolutely going to marry somebody in another field, an aid worker or something. Then I met Brad, everything I wasn't looking for, but the best man, the best father I could possibly wish for, you know? I don't see him as an actor. I see him very much as a dad, as somebody who loves travel and architecture more than being in movies."
She hopes Pitt will spend more time working on architecture—though he's in fact not an architect. "He just has an eye for it," she said. "You hear people talk about design or buildings, and assume, especially when somebody has another career, 'Oh, that's a hobby.' Like somebody coming into money appreciating Picasso. But I have seen him design, with his partners, everything from hotels to studios. Or in New Orleans, with other architects, re-doing a shotgun house with green architecture, bringing light in, angles of the sun in summer and winter, how that would affect the rooms. He's taught me so much about the homes we live in."
She talked about the paparazzi, how the business has changed. "It's our media," she said. "People always slow down for a train wreck. It's like junk food. If you don't feel good about yourself, you want to read crap about other people, like gossip in high school. You don't understand why it's there, but somehow it makes a lot of people feel better.
"In my father's generation, the product was 80 percent of what you were putting into the world, and your personal life was 20 percent. It now seems that 80 percent of the product I put out is silly, made-up stories and what I'm wearing."
Perhaps because she was pregnant, Jolie seemed interested mostly in talking about children. I asked what kind of parent she is, how she disciplines, rewards. She laughed and said, "You end up hearing yourself saying all those clichéd parent things: 'I don't care who started it, but I'm here to finish it.' "
She told me she was following a system, which she'd read about in a magazine, whereby children are rewarded with sticker stars, which can be redeemed for treats, thus not only controlling them but also teaching them the basics of capitalism. More important than any of that, she said, "is how my mom raised me, which is to figure out who I was and try to enhance my individual personality and not get in the way of it.
"But I can really discipline the kids when I need to."
I asked if there is a special bond between a mother and a child she has carried as opposed to a child she has adopted. She said, "No," thought a moment, then added, "I had a C-section and I found it fascinating. I didn't find it a sacrifice and I didn't find it a painful experience. I found it a fascinating miracle of what a body can do."
Jolie has children from three continents—I asked if this was intentional.
"Yeah, absolutely intentional," she said. "When I was growing up I wanted to adopt, because I was aware there were kids that didn't have parents. It's not a humanitarian thing, because I don't see it as a sacrifice. It's a gift. We're all lucky to have each other.
"I look at Shiloh—because, obviously, physically, she is the one that looks like Brad and I when we were little—and say, 'If these were our brothers and sisters, how much would we have known by the time we were six that it took into our 30s and 40s to figure out?' I suppose I'm giving them the childhood I always wished I had."
I asked what that first adoption was like.
"A nurse came with Maddox and left 10 minutes after handing him over," she said. "I stared at this little guy. I didn't know what to do. I called my mom. I remember saying, 'Do kids have 2 or 10 bottles a day? I'm at a loss.' I had never babysat, let alone … "
I asked about Shiloh's birth—they decided to have the baby in Namibia, far from the paparazzi.
"We were in this little hospital in Africa when Shi was born," she said. "I don't think there was anybody else in the hospital. It was just a little cottage, the three of us. It ended up being the greatest thing. We had wonderful doctors and nurses. It was lovely, very personal, all three in this sweet room. We had an American doctor with us, who had met the Namibian doctors, and they worked in tandem because it was a C-section and my first and we didn't know the country. He spent a few weeks with us. There was only one pediatrician in town, and one anesthesiologist, who had to come in for that—you have to plan it."
"Where does the name Shiloh come from?," I asked.
"It's a biblical name," she told me, "but we didn't name her for that. It was a name my parents almost named their first child—there was a miscarriage: Shiloh Baptist. Because my father had been shooting in Georgia and that was the most southern name [my parents] could come up with. It's a name I always liked. I used to go under it in hotels: Shiloh Baptist. I'd gone under it when [Brad] called hotel rooms where I was staying."
She spoke about religion—her mother's religion, how she planned to raise her own kids. "[My mother] was Catholic but also a child of the 60s," said Jolie. "She stopped going to confession at one point because she was having sex before marriage. To me, she represented what religion should be. She never preached. If things didn't make sense to her, she never just accepted it. I had Communion, but she never forced me to go to church.
"Brad got me this great thing for Christmas. It's a bookshelf that has a book on every religion. That's how we plan to raise our kids. Teach them about all religions. They can pick one or be a student of all of them. We'll celebrate Kwanzaa for our girl. We'll celebrate moon and water festivals for our boys. We'll take them to temples in certain countries. Also to church."
As we spoke, the conversation kept cycling back to her mother, Marcheline Bertrand, who neglected her own acting career—she had studied at Strasberg—to raise her children, James and Angelina. She died in January 2007, of ovarian and breast cancer. She was 56 and had been sick for eight years. "And in those years," said Jolie, "she met all my children, helped me be a mom, helped me grow into a better woman, and taught me about dying."
Angelina's mother, who, in the absence of Angelina's father, became her compass and lodestar, was the unacknowledged presence at the table. The more Jolie spoke, the more certain this presence became. "When [my mother] passed, I realized that somebody who lives life with that kind of dedication to their family is the most noble," she said. "I was aware of it growing up. I admired her. And I loved her. But in her passing she reminded me what matters. And what's most fun—to put yourself aside for these other little people you're raising."
Jolie could not talk long about her mother without filling up and spilling over, without her voice creaking, without tears, real tears, flowing down her cheeks. "Mad always knew my mom was sick," said Jolie. "So when it happened, I sat him down and I told him how some people believe there's a heaven where everybody goes and is together again. And they believe it's very white and beautiful. And some believe—he'd just seen Casper—there are ghosts who are people and they are always around. And some believe it's a long peaceful sleep. When I told him, and I was crying, 'Grand-mère died today, we won't be able to see her anymore, but she'll always be around,' he said, 'Like she's here now? Like she's in that chair?' And I said, 'Well, I suppose she could be.' And he accepted it. It's funny. It's like we teach kids the things that we want to believe. Then we see that they have such beautiful faith and it helps them go to bed and we're in the other room not sleeping well."
Jolie was crying when she said this.
"I had to be responsible for getting the morgue to pick her body up," said Jolie. "She was in Cedars [Sinai, in Los Angeles]. All I had to do is remind myself that she's my best girlfriend and she's not in any more pain. I'm so happy for her. As much as I miss her, I'm a good enough friend not to have wanted her to stay in pain any longer."
Jolie stood up. "I have to use the bathroom," she said. "It's a great thing about being pregnant—you don't need excuses to pee, or to eat."
When Angelina was young, she watched a screening of The Champ, a remake, starring her father, of the Hollywood classic. In the last scene, the boxer, pressed on by his worshipful son, wins the title, becomes the champ, then dies on the trainer's table. When Jolie saw him, expiring, then lifeless, she thought he was dead. For real. "I freaked out," she told me. Which marks the moment, I am convinced, when the film world and the actual world ran together in her mind. Which is not so unusual. When I saw the movie, I too thought Jon Voight was dead. I am a little surprised, even now, when I see him. Of course, this was greatly amplified for Jolie. It must have registered in her subconscious as a metaphoric truth.
When we were talking about Voight, I asked Jolie about Coming Home—the movie for which he won the best-actor Oscar, in 1979. "Actually," she said, "I've never seen Coming Home."
What? Why?
"Because that was when my father left my mom, and the woman who he cheated on her with is in the film." (When rumors surfaced about Jolie and Pitt, who was then married to Aniston, Jolie denied them, saying, in essence, Look, this is what happened to my mother, so I could never do it to another woman.)
Jolie's relationship with Voight is famously dysfunctional. They do not talk. They are officially estranged. Like Syria and Israel. And yet he is everywhere in her life. She looks just like him. (It's disconcerting to recognize the face of an aging man on a beautiful woman.) His example as an actor—not just any actor, but one of the best of that gritty era—clearly had an effect. (When I asked if she had seen Midnight Cowboy, Jolie said, "You realize you're asking somebody if they've seen their father play a prostitute?") Her first appearance on-screen was in one of his films—Lookin' to Get Out (1982), which he co-wrote and starred in. It's about New York cardsharps, one played by Voight, the other by Burt Young, grandly fat in a Hawaiian shirt.
When Voight was nominated for an Oscar in 1986 (Runaway Train), he took Jolie to the ceremony. "I remember having to pee," she told me. "I remember him not winning."
When she won her best-supporting-actress Oscar, in 2000, for Girl, Interrupted, she thanked Voight, calling him "a great actor but … a better father."
Their relationship, always rocky, fell apart as she ascended, perhaps because she ascended. It happened in public, but only sort of. It was like a scene acted behind gauze—you could hear the voices, but the words were impossible to make out. Voight wanted to control his daughter—that's what some people said. He was critical of her relationships, her image as a reckless party girl. Jolie broke off communication with him. Even legally dropped his name for her own (Jolie is her middle name), shedding Voight as the rocket sheds a booster. Voight went on Access Hollywood to call his daughter out. He spoke to her right through the lens, as the televangelist speaks to the sinner, saying, Touch the screen and repent!
When I asked Jolie about her father, she said, "We've decided not to be public about our relationship."
Then: "I will say we have spoken … and hadn't spoken for six and a half years. Which is good. Or it needed to happen."
Then: "We don't really have a relationship, but we're in contact. And wish each other well."
Then: "I think we've realized there's been too much discussion. Him discussing me publicly. I've had to comment on him. I think it's best that, if we try to have any relationship in the future, we do it quietly."
Jolie lived with her mother and brother in Snedens Landing, a picturesque New York suburb on the west bank of the Hudson River. Before high school, her mother sold the house and moved the family to Los Angeles, where Jolie attended Beverly Hills High. It was in these years that she cultivated her image as a punk, ran with a bad crowd, turned disreputable and skanky cool. She was, in many ways, a typical product of the 70s-era divorce. In her childhood, you see the kernel of the need: her longing for a big family, rooms filled with voices, houses filled with people.
I'm giving them the childhood I always wished I had.
She wanted to act from the beginning. I asked why so many movie stars seem to be the children of movie stars: it seems like a blatant case of nepotism.
She disagreed.
"Artists raise their kids differently," she said. "We communicate to the point where we probably annoy our children. We have art around the house, we have books, we go to plays, we talk. Our focus is art and painting and dress-up and singing. It's what we love. So I think you can see how artists in some way raise other artists."
Jolie began to land screen roles when she was in her teens and early 20s: Cyborg 2 (1993—if you haven't seen the first one, you're lost), Without Evidence (1995), Hackers (1995). Even in these films, which range from fairly crappy to real crappy, you see she has a tremendous gift. It's not that you believe her—it's that you don't care if she's believable or not. She's just great to watch. Sexy in an unusual way. Damaged, elusive. Like she's hiding something, knows something. Your eyes picked her out of a crowd. She was therefore noticed early, touted, pegged, with every critic predicting a breakthrough, which came with George Wallace (1997), in which she played the wife of the demagogic southern senator (Gary Sinise), who, shot by a fanatic, is confined to a wheelchair—it won her a Golden Globe. Or the HBO film Gia (1998), in which she played Gia Carangi, a hard-living fashion model who died, at 26, of aids. Or Girl, Interrupted (1999), in which she played a beautiful psychotic confined with the less beautiful, less psychotic Winona Ryder (one going up, one going down) to a booby hatch—it won her the Academy Award.
By charting Jolie's credits, you map her life—with each role adding something to her persona:
Hackers, in which she met her first husband, Jonny Lee Miller.
Gia, in which she played a lesbian, so, for a time, had a much-publicized relationship with a woman (model Jenny Shimizu).
Pushing Tin, about air-traffic controllers, in which she hooked up with her first great love, Billy Bob Thornton.
Girl, Interrupted, in which she played so became crazy—these were the years of the wild child, of saying, like the character in the movie, whatever came into her head, soul-kissing her brother at the Oscars, climbing all over Billy Bob in public, sucking on his ear, wearing his blood in a vial around her neck, etc., etc.
Beyond Borders, in which, according to the press release, Jolie played Sarah Jordan, an American socialite who abandons her sheltered life to work on behalf of refugees in the world's most dangerous hot spots. By then, Jolie was herself working just about full-time on behalf of refugees, traveling on U.N. missions, writing, giving speeches.
In 2005, Jolie appeared in Mr. & Mrs. Smith, in which she played an assassin, living undercover as a working wife, who is married, unbeknownst to her, to another assassin (Brad Pitt), who is equally ignorant, equally undercover. It was in the course of this shoot that she met up with Pitt, though, she would explain, they did not actually get together until later. There is something revealing, even iconic about this movie, though it's not great. First, you get to see the courtship, on-screen, of two of the biggest stars of the day; the very moment they fall in love, so the very moment Aniston is torpedoed, sent tumbling to the reef. I really do think this relationship, the fact that Jolie seemed to just go over and take him, is part of her aura. It was a terrific career move, even if she did not mean it to be. It gave her a sheen of invincibility. But there is something else about the movie—especially the scene in which the assassins sit down for a quiet dinner. The text is killers undercover, but the subtext is movie stars pretending to be a normal couple. That's what the scene is really about. The oddity, the strangeness of that life—how movie stars pretend to be human, like us, but know quotidian American supermarket life only from research done while preparing for just such roles.
I met Jolie again in Washington, D.C., at the Hay-Adams, one of the oldest hotels in the country. It's across the street from the White House. She had come to town with her two daughters—"Brad took the boys to L.A."—to attend a ceremony, where she would give an award to the widow of murdered journalist Daniel Pearl, Mariane Pearl, who she portrayed in A Mighty Heart, then give a speech at the Council on Foreign Relations. We talked in the restaurant downstairs from the lobby, in a banquette where she would not be seen, so not bothered. She ordered lobster-and-crawfish bisque and a salad. She then gave me a copy of the article we had discussed in Texas: star stickers, kids, control.
She said, "Maybe this will help."
Here's what I was thinking: My God, how does she know of the craziness in my house?
Here's what I said: "How did you become involved with refugees?"
"I traveled to Cambodia for the first Tomb Raider," she told me. "I got to this country and expected broken, angry people, and found smiling, kind, warm people. We were doing one shot, and they said, 'Don't move to the side, because there are mines over there.' I'd go to the market and see the land-mine victims. That was one step in realizing there was so much of the world I was blind to."
Jolie took several trips with the U.N., visiting, among other countries, Cambodia, Pakistan, and Sierra Leone.
It seemed to me this was her world, her concerns, and Brad Pitt had been swallowed up by it—become part of her scheme.
She shook her head.
"This was actually one of the things that brought us together," she told me. "Though he wasn't as publicly active, I found him to be very aware of the world, very curious, very compassionate. In his private way, he had been doing a lot. When we met, we realized our common goals were that we both wanted to be involved in the world and see what we could do. We have similar interests but different approaches. He's more involved in rebuilding New Orleans, environmental issues, green sustainability. I am more refugees. But when it comes to common goals—orphans, orphans' rights, children—we support each other. It brings us together and makes our relationship work."
The conversation drifted back to the media, the paparazzi. I asked if she ever reads tabloid stories about other people, other stars—I mean, everyone has a guilty pleasure.
"I would never do that," she said, "because I have good friends I would be reading about and I don't want it even in my head … a negative fairy tale about somebody I like. I don't want it in my thoughts. I owe it to them not to pay attention. I know it's not true. Over 95 percent of what's said about us is entirely untrue."
As Jolie spoke, a woman in a sensible pantsuit, the sort you might find at Talbots, came over. When Jolie looked up, this woman, in a single breathless phrase, said, "My-husband-is-over-there-and-is-a-huge-fan-and-I-am-not-someone-who-asks-for- autographs-and-saw-Nicolas-Cage-and-did-not-even-go-over-because-he-is-such-a-freakish- clown-but-you-are-better-and-different-so-please- would-you—"
She shoved a napkin in front of Jolie, who smiled and signed.
Rich Cohen is a regular contributor to Rolling Stone and is the author of Sweet and Low: A Family Story and Tough Jews, among other books.


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R/C Space Messenger
Flying signs? Great Scott!
- It hovers in space and lights up whatever message you want.
- 20 word memory (each word 7 letters max).
- Advance through them at will, or cycle with the "auto" function.
In Back to the Future II, when the Delorean busts into the future, we learn many thing. First, we learn that no matter how many dimensions you can fly in, traffic still sucks. Second, signs will float in midair. Really, if you think about it, floating signs and advertisements are all over sci-fi. Well, time to bring a little science fiction into your life as science fact, with the R/C Space Messenger.
The R/C Space Messenger hovers in midair thanks to it being a really tiny R/C 'copter thing. As it hovers, the outside band rotates as well. 7 LEDs on the outside arms (2 blue for borders, 5 red for text) create words (which you program!) through persistence of vision. You can store 20 words into the IR handset (with LCD screen for easy inputting) and advance them at your whim or flow through them with the auto-advance function. Think of the money you'll save in birthday balloons and ransom notes, when you can deliver your message with the R/C Space Messenger, and then just reprogram it for your next message? Who's the greatest? Why, the person with "I'm number one" projected word by word over her or his head (aka: you)!
R/C Space Messenger
- For Ages 14 and up.
- Display customized messages (one word at a time) in lights - as the Space Messenger hovers in midair (you can control the height)!
- IR controller has a keypad and LCD screen for easy word inputting.
- Up to 20 words can be programmed (7 character limit for each).
- Switch words manually, or scroll through them all with "auto" function.
- Space Messenger has an internal Li-Polymer battery, which charges through the controller.
- Indoor use only.
- Charge Time: approx. 30 minutes (for 5-6 mins of flight time).
- Batteries: 4 AA (not included).
- Dimensions: approx. 4" diameter x 3" tall.


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Michael DuBois Brings THE SOLO CIRCUS to Centenary Stage Today
Michael DuBois has been performing for over eight years with national appearances on The Tonight Show and The Jay Leno Show and now he's coming to the Sitnik Theater in the David and Carol Lackland Center to put on a one-man circus show that will keep audiences on The Edge of their seats. The Centenary Stage Company continues their Family Fun Series today, February 2nd at 2pm in the Sitnik Theater of the David and Carol Lackland Center with Michael DuBois' show, The Solo Circus.This show is a fast-paced, audience interactive variety show featuring an all-original presentation of magic, juggling, mind tricks, and circus and sideshow stunts all wrapped in a blanket of comedy made for adults just as much as it is for the younger members of the family. DuBois has been featured in several magazines, performed at over 500 colleges and universities across the U.S., and headlines multiple major cruise lines all over the world."I fell in love with the circus when I was four at Ringling Brothers and Barnum and Bailey," said DuBois. This circus act is like no other which incorporates suspenseful tricks and high energy physical feats and keeps the audience laughing from beginning to end. DuBois will also be accompanied by accomplished aerialist and contortionist Viktoria Grimmy. Grimmy has been on tour with Britney Spears, has performed with Ringling Brothers and Big Apple Circus, and will soon be featured on Broadway. To purchase tickets or to find more information on other CSC events, visit www.centenarystageco.org or call the CSC box office at (908) 979-0900. Tickets for the Family Fun Series' shows range from $17.50-$20 in advance and $22.50-$25 at the door. Workshops are available for all shows for an additional $18.50 a person, limit of 50 people. The Family Fun Series - sponsored by Fulton Bank - will also feature The Catskill Puppet Theatre's performance, The Lion's Whiskers on April 13.The Centenary Stage Company is a not-for-profit professional Equity theatre in residence at Centenary College dedicated to serving as a cultural resource for audiences of the Skylands Region with professional music, theatre and dance events and arts education programs throughout the year.Pictured: Michael DuBois. Photo credit: Roy Cohen.


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History of the UA Foundation
The UA Foundation was established in 1974 through the impetus of Brian Brundin who was then serving as a Regent of the University of Alaska. The State Legislature at the time sought to have the University's appropriation of state dollars reduced by the value of the gifts it received from private donors. Regent Brundin correctly saw that this would quickly reduce donors' desires to make gifts to the institution if they saw that such gifts were merely replacing government funds. A successful attorney, Mr Brundin asked two of his law partners, John Hughes and Richard Gantz to join him as the original incorporators and directors of the Foundation.
Over the next several years the Foundation grew slowly as the University altered its policies and practices to ensure that all private gifts to support the University flowed directly to the new organization. A large financial boost was provided when the annual gifts from the University's earliest and most successful fundraising drives in support of KUAC were received by the Foundation.
In 1976 the three member Board of Directors was expanded to include some of Alaska's most prominent and successful citizens with the goal of incorporating these individuals in the Foundation's efforts to attract more and larger gifts. As a result, in 1979, the Foundation realized just over $250,000 in gifts and bequests.
The first major fundraising project of the Foundation commenced in 1981 with the formation of a "Committee of Measurable Objectives" which later became the Alaska Research Development Project. Nearly $300,000 was eventually raised by the Directors for the effort that eventually resulted in the formation of the Alaska Science and Technology Foundation.
In 1982 the Foundation established a membership group called the College of Fellows as part of its structure. This group allowed the Foundation to enlist even more supporters to become involved in the University's activities and in raising funds for its programs. Through the efforts of these committed individuals the annual gifts to the Foundation passed the $1million mark in 1983.
In order to manage properly the affairs of the expanding Foundation an Executive Committee was first formed in 1985 and two years later the Board of Directors was expanded in size to 15 members.
As the Foundation's assets grew from increased donations during the 80's it became apparent that a formal investment committee was needed to properly manage and invest the Foundation's expanding asset base – especially its long term endowments. Thus, in 1987, Foundation President Paul Meyerhoff appointed the first Investment Committee of the Foundation and in that same year the first formal Foundation investment policy was adopted by the Directors. At that time the Foundation's total assets had surpassed the $9 Million mark.
With the three universities that make up the University of Alaska gaining more students and more programs, separate development offices were established during the mid 80's at UAA and UAF, and later at UAS. In order to align the Foundation with these three very distinct regional campuses the Foundation underwent a major reorganization in 1989 to mirror that of its beneficiary. The College of Fellows was divided into three branches, one for each of the three universities in the system. The Board of Directors was expanded to include representation from each of the branches. In that year gifts and bequests to the Foundation totaled just under $2 million.
Also in 1989 the Directors agreed to a request by the University's Board of Regents to raise money for the construction of a new President's Residence. The five year effort culminated in 1994 when the $1.3 Million residence was occupied by UA President Jerome Komisar.
The Foundation moved more forcefully into its advocacy and public relations role in 1995 when it made its first grant of funds for a public education campaign. In that same year the Foundation Board began its annual spring "fly-ins" to Juneau during which teams of Directors and members of the College of Fellows met with legislators to advocate for the University's budget.
In 1997 the Foundation's responsibilities grew markedly when it took over the management of the University's $43 Million Land Grant Trust fund under a cooperative agreement with the Board of Regents. That same year donations and bequest received by the Foundation exceeded $5 Million.
Another significant organizational change at the Foundation occurred in 2000 when the Foundation received a $500,000 grant from the Rasmuson Foundation designed to catalyze the University and Foundation's efforts to centralize their fundraising functions. Augmented by matching funds from the University and the Foundation, the $1.1 million, three-year project resulted in the combining of the University's several donor databases into a single system accessible to all the campuses, the creation and staffing of a centralized Statewide Development office, and the provision of funds to the campus development offices to assist them in adapting to the new centralized system. At the close of 2001 the Foundation's assets had passed the $100 Million milestone.
Finally, in 2005 the Foundation embarked on its most recent and profound organizational change. Following a report prepared by consultants from the Association of Governing Boards, the Board of Directors approved a new structure and bylaws that divested the Foundation of the College of Fellows, upgraded the position of Executive Director to Foundation President, established fees for gifts and the management of funds, reorganized and revitalized the Board of Directors, and increased the Foundation and University development staff by several new positions in the area of planned giving, data management, and prospect research. That same year the total gifts received by the Foundation exceeded $12 Million and its total assets under management surpassed $243 Million.


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Saw this pop up on my Facebook news feed through the Sagan Series page. The video shown in the link below is pretty crazy - the fireball is huge and the shockwave was big enough to smash windows in buildings as it went past.
From the slate.com article
Apparently, at about 09:30 local time, a very big meteor burned up over Chelyabinsk, a city in Russia just east of the Ural mountains, and about 1500 kilometers east of Moscow. The fireball was incredibly bright, rivaling the Sun! There was a pretty big sonic boom from the fireball, which set off car alarms and shattered windows. I'm seeing some reports of many people injured (by shattered glass blown out by the shock wave). I'm also seeing reports that some pieces have fallen to the ground, but again as I write this those are unconfirmed.
Thats why we have to get off this Planet.
Theres a rock out there with our number on it.
Its rediculous, we should have bases on Mars by now.
Theres only one conclusion to be drawn as to why we havent.
pretty awesome


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Home heroes carry Bulgaria's hopes in Kardzhali
Winners and runners-up will progress to the third round scheduled next year. Teams missing out on places one and two will get another chance to qualify for a spot in the beach volleyball tournament of the 2016 Olympics in Rio de Janeiro when the second round events take place later this summer.
Teams from Albania, Bulgaria, Finland, and Serbia will be in action on Saturday and Sunday.
"We expect a weekend packed with emotions for everyone who is fond of this sport," said Milko Bagdasarov, who has overseen the preparations of the home teams as the national federation's head of beach volleyball. "The city of Kardzhali will be the stage for some close battles and a series of exciting matches. We have set up a facility specifically conceived for beach volleyball which meets all standards set by CEV and has a capacity of 500 seats," he added.
In the men's competition, the hopes of the host country will be carried by four players who are all natives of Kardzhali. Konstantin Mitev and Nikolay Kolev, winners of Bulgaria's National Tour last year as well as of the first two stops already played this season, are expected to provide the local crowd with something to cheer about. "We will try to play our best in order to win this tournament, knowing that strong rivals will be standing on the other side of the net," Nikolay Kolev said. "We hope that we will be able to exploit the home advantage. We also expect some loud support from our fans and friends throughout the weekend."
Bulgaria's second pair, Kiril Hadzhiev and Delcho Raev (pictured), also hails from the city of Kardzhali. "This is the first time that our home town is hosting a competition of this calibre. At the end of the weekend, we would like to celebrate our victory," said the runners-up of Bulgaria's 2013 national circuit.
As home star Diana Malinova is out due to injury in the women's competition, Bulgaria will rely on the likes of Svetla Angelova/Asya Dinova and Rusena Slancheva/Irena Mishonova. "We stand a fair chance in our matches with the teams from Serbia, whereas Finland will be a hard nut to crack," admitted Slancheva. "However, we will be fighting to the end to claim one of the top spots of the standings."
The competition will officially kick off on Friday night with the technical meeting taking place at the Arpezos sports centre in Kardzhali.


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