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After many of the bounces went their way in the first three months of the season, the Ravens, while still a dangerous team going forward, might be running out of luck. A football, with its oblong shape and pointy edges, can bounce in an infinite number of directions when it is put into play, when a kicker booms it down the field and makes it tumble end over end until it comes back down to earth. Which way it bounces on any given play comes down to luck. Well, unless you are one of those smarty-pants science people who understand physics, but I digress. As the Ravens got off to their second 9-2 start in franchise history, seemingly every bounce of the ball, every break went their way. Sure, there were unfortunate injuries that are starting to catch up to them now (for more on that, keep clicking), but other than that, luck was often on their side. Justin Tucker's field goal floated just inside the upright to beat the New England Patriots. A botched snap aided the Ravens in a win over the Kansas City Chiefs. The Dallas Cowboys shot themselves in the foot late in the Ravens' two-point escape in Week 6. There was the injury to Ben Roethlisberger right before the Ravens played the Pittsburgh Steelers twice in three weeks. And surely you haven't forgotten about 4th-and-29 already. There is a saying for luck, that you make it for yourself. The Ravens are 9-4 right now and still in great shape to claim the AFC North title because they have put themselves in a position to win -- whether it was aesthetically pleasing or not -- in the final minute in all but one of their games this season. It helped that Lady Luck -- oh, that fickle temptress -- had obliged. But recently, it has looked as if they have done something to draw her ire. One week after penalties, turnovers and blown assignments cost them in a last-second loss to the Steelers (who were playing with third-string quarterback Charlie Batch), penalties, turnovers and blown assignments cost them in an overtime loss to the Washington Redskins. The Ravens were mostly efficient offensively and the defense adjusted quickly to Robert Griffin III and the Redskins' read-option scheme. But for a second straight week, the Ravens couldn't hold a late lead, as Griffin and then fellow rookie Kirk Cousins led a game-tying drive that took forever to get going. But then, just like that, their eight-point lead was gone and their luck ran out in overtime, when some guy you and I have never heard of, Richard Crawford, returned a punt deep into Ravens territory, setting up the game-winning field goal. "We damn sure ain't looking for a way to lose," free safety Ed Reed said after the game. But for whatever reason, the losses have been looking for them. With the 31-28 loss, the flawed but still formidable Ravens have now dropped back-to-back games for the first time since 2009. With their weaknesses again brought to light these past two weeks, they can't afford to have that oblong ball bouncing to the NFL's hottest team, Peyton Manning and the Denver Broncos, this upcoming weekend. Or to the defending Super Bowl champs, Eli Manning and the New York Giants, the week after that. And then there is that trio of heavy hitters, including those Broncos, that will be looming after the season finale in Cincinnati. Make no mistake, the Ravens are still capable of going on a run to New Orleans. Anything is possible, whether it is probable or not, once you make the postseason. But the Ravens should consider sending flowers to Lady Luck. They need to get back in her good graces immediately.
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Explore Athens
What comes to mind when you think of the city of Athens? The birthplace of democracy? Greek Gods? Sun, sea and souvlaki? Athens is a bubbling capital city with a huge amount to see and do. Athenians are proud of the slightly chaotic nature of their city and they have perfected the laid back Mediterranean lifestyle.

subset: commoncrawl


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Kristin Lems is back
During the 1970s when Illinois became a battleground as a pivotal state in the fight for the Equal Rights Amendment, many women and men spent a great deal of time and energy at the Capitol attempting to persuade our lawmakers and sway public opinion on the validity of the ERA. In the end, Illinois failed to ratify the proposed amendment and it never became a part of the US Constitution. Among the demonstrators was a young singer-songwriter named Kristin Lems who drove over from Champaign-Urbana to join fellow advocates in singing and playing original tunes and the songs of the day. This is back when folks actually played music for social change and expected it to do some good.
"I sang inside the rotunda many times with the ERA fasters and blood throwers," said Lems, "and outside too, on the steps with demonstrators."
In the middle of all this intense chaos she tells of "an amazing story" that as she relates it some 30 years later, still inspires a sense of awe and wonder in the depth and strength of the human spirit.
"A country-looking security guard approached me and struck up a conversation. He was definitely not liberal leaning, but said he enjoyed my music and wondered if I had any use for drums. His son had recently died in a plane crash and he wanted me to have his conga drums," she said in a quiet voice filled with amazement. "I was there to protest and he was there to protect, yet he reached out to make this connection. I still have the drums." She paused and then spoke in more upbeat tones. "Maybe he will read this and come to the show and I can give back his son's drums."
This is just one of the many incredible tales from the life of Kristin Lems, singer-songwriter, protester, union-activist, demonstrator, mother, writer, artist and now a back-on-the-scene performer. Through music and work she traveled extensively, received numerous awards and performed with distinctive artists and dignitaries, but several of her favorite stories begin and end here in the capital city.
"I've had a long-term relationship with Springfield," said Lems, who currently resides in Evanston, just north of Chicago. "There is a good sense of place and people and pride — all the things that go along with a vibrant, juicy sense of community are here."
She tells of playing Crows Mill School on "New Year's Eve in '77, '78, '79 — one of those years" and seeing the old wooden floor "go up and down" with the dancers while she sang, "Those Were the Days." Her Springfield connection continued with performances at the Sangamon State University-sponsored Mother Jones banquets "a couple times in the '90s" and a benefit for the Women's International League for Peace and Freedom with Peg Knoepfle and friends in 2008. Throughout her career, along with a sincere devotion to the notion of personal and social empowerment through music, she also stayed committed to a balance of familial obligations.
"The thing about the Women's Movement of the '70s and '80s — it was a totally different place back then. Politics and culture were not so separated," she said. "But soon I became married with children and reinvented myself in that role."
She dedicated her life to working, teaching and raising children until recently, when her last child went off to college. Now the urge to play music fits with the time available and Lems is at it again, playing house concerts and coffee shops, union meetings and schools, spreading the gospel of equality, decency and other nice and good stuff through her songs and lifestyle.
"The kids don't want me to mope around and miss them, so I'm getting back on the road," she admits. "I hope and believe I made an impact on people's lives and opinions. And I'm not anywhere done yet."
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Lea Michele to release memoir
GLEE star LEA MICHELE is following up her new album with a debut book.
The actress/singer has revealed her new illustrated memoir and lifestyle tome, Brunette Ambition, will be available in May (14).
A post on her website reads: "The star of the hit show Glee shares her experiences and insider tips on beauty, fashion, inner strength, and more in an illustrated book that's part memoir, part how-to, and part style guide.
"Lea Michele is one of the hardest working performers in showbusiness and she knows better than anyone that it is difficult to be your best self and keep things in perspective when your to-do list is overflowing and you are faced with challenges. A practical and inspirational guide to harnessing tenacity and passion, Brunette Ambition is about living the fullest life, no matter what obstacles life puts in your way."
Michele's debut album, Louder, will be released on 28 February (14).


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Sometimes I will point out an error to a student. Many beginners react with sadness because they were conditioned in school or childhood that an error is bad -- therefore they feel bad.
But I try to explain that when I point out an error, I am doing my job (as a Sensei) and also doing them a favor.
Let's take an example. Let's say that I am having a problem with my computer. Something is not working right with one of my programs, say Windows or my virus protection, or any number of programs. A problem in one program can affect many other programs and functions.
When I call a computer technician and ask for help, I am asking him to find the error and fix it. When he does identify the error, I am happy! I might even owe him money.
Because of the computer technician's expertise, my problem is solved. Should I be sad? Should I react with a sour face? Of course not!
A Karate student naturally has many errors. It is natural. No one starts out doing everything correctly and no one avoids all bad habits. We all make mistakes.
When your Sensei or a senior corrects you, you should be very grateful. One error down!
I am going to borrow a parable I read in a religious book (I am not trying to be religious here).
A great Karate master observed the movements of two of his students. The first student was the most senior in the dojo. Everyone expected him to be named the successor of the master. The second student was the newest, only 12 years old. This all took place outside under a magnificent banyan tree with spreading branches that blocked out the sky.You should celebrate the identification of each error. If you work on each error, one by one, you will surely eliminate them all.
The master spoke to the senior student first. "Your kata was excellent, however, I noticed 10 errors."
The senior student was furious! He knew he had made no errors. He was worthy of being a master himself. He ripped off his gi top and stormed off, never to be seen again.
The master then addressed the new student. "Son, look up at the banyan tree. You made as many errors as there are leaves above you."
The student jumped up and started dancing!
"Why are you so happy?" asked the master.
"Sensei, the leaves in the tree, although many, are finite. With your guidance, I will work on them one by one, and even if it takes a lifetime, I will surely eliminate them all!"
Charles C. Goodin


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Sequoia Sensors specialises in niche, high quality sensor products. We offer unrivalled range of Radiative, conductive and convective Heat Flux sensors, used for measuring heat energy. These include our low cost flat plate sensors for use in determining heat energy through surfaces, to Thermogage and Schmidt Boelter sensors for measurement of heat flux in fires to the fastest response time heat flux sensors in our HFM range.
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T ricky bullets beget tricky problems, death-wise, legal-wise and otherwise. The yearly appearance of ammunition new and strange reminds me of the kaleidoscopically colorful fishing lures that change constantly on the merchandise hooks at Walmart. They're designed to catch anglers, not fish.
The new bullet on the block this year is a dazzler. The Multiple Impact™ Bullet (MI™ Bullet) is made by Advanced Ballistic Concepts. When fired, the slug separates into three pieces tethered by cords. The array spins like a propeller and upon impact saws a salad-bowl-sized slice out of the bad guy.
The advertising emphasizes that, because of the array's 14-inch spread, even dithery amateurs (your name goes here) can't miss. The photos show targets zapped impressively at 25 feet. You might infer that, with such ammo, you can shoot attackers from farther away!
Dream on.
When you fire in self-defense, you have two problems: staying alive and staying out of prison. Behind the attacker comes the popo, and behind them the Red Queen, Angela Corey, and her prosecutorial minions. Unless the attacker is a stranger who breaks into your home, and the corpse you create drops conveniently inside the threshold, nothing will be certain. Here's a more likely scenario:
You foolishly drive at night through an ash-can neighborhood like mine, where lowlifes lean on lampposts 24/7. Everybody on the block except you is selling crank, crack, heroin or a combination thereof. At the red light at Market and Union, a guy yells, "Gimme your car," then pulls a pistol and fires. His bullet misses. Yours hits.
Everybody stares at the twitching corpse. Nobody notices a kid who grabs the bad guy's gun as it skitters across the asphalt and then disappears at full gallop into the shadows. You and God know it was a righteous kill, but you're the only ones.
As God will not be your witness, you have only the onlookers. Some will be serving time on probation or free on bail. Some will be off-the-books snitches working for hamburgers or spare change. Most will want to make a deal with the Red Queen to minimize their future incarcerations. They may testify falsely — gasp — that you rolled down your window, shouted "nigger/spic/chink/honkey" at an innocent youth, then shot him down like a dog.
If a tricky bullet tempted you to shoot from farther than 10 feet, a court may rule you were never in danger. It may be self-defense to you, but to the Red Queen, it's Murder Two.
Advanced Ballistics sells the MI in three flavors: the MI-Stopper™, the MI-Stunner™ and the MI-Stinger™. (One wonders what ad agencies charge for such clever monikers.) The slugs are, respectively, lethal, kinda-sorta lethal and financially lethal since the plaintiffs' bar will grab your savings, insurance and home equity if you shoot some yob in the butt with plastic or rubber slugs.
This is madness. There is no kinder/gentler self-defense. The problem is for you to stay alive, not the other guy. When an attacker is amped on angel dust, meth or crack, or is schizophrenic, he'll be jacked on the adrenaline, have horrific strength and will come for you even after you empty a clip into vital organs. If the courts decide you violated firearms law, the fact that you used a supposedly non-lethal round is not — repeat not — a mitigating factor.
Advanced Ballistics and its trademark attorneys are T-M-ing their way through ever more fantastic self-defense scenarios. They suggest that you Smart-Stack™ your pistol (alternate their lethal, sorta-lethal and butt-slapper rounds in the magazine) or even to S.K.I.P-Stack™ it (alternate the three-slug helicopters with good ol' lead bullets) in the manner that military machine gunners load theirs — those guys load their weapons with alternating tracer rounds, ball rounds and incendiary rounds.
This is nuts. Self-defense demands simplicity, one gun and regular practice. The practice is for decision-making. (Fire or not fire? Bad guy or good guy?) Accuracy is secondary; misery is guaranteed
In Crime City.
An indicator of Jacksonville's interest in guns can be found on the Shooters website (shootersjax.com), which has cool graphics: if you have a fast mouse (and crank up your computer volume) and jiggle the pointer — hover / "aim" it quickly over the red menus. One can re-create memories from "Sandy Hook", "Columbine", or any number of mass-shooting scenarios! (Or create one's own even?)
Great for those with a violent temperament & a vivid imagination. And I'm sure Shooters carries the bullets one would need for any occasion. Thursday, March 20, 2014|Report this


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Stamkos improving even after 60-goal seasonby Dave Lozo
Remember when Steven Stamkos scored 60 goals last season? In 2012-13, he's actually scoring at an even greater rate.
With his third-period, game-winning goal in the third period of the Tampa Bay Lightning's 3-2 win against the Florida Panthers on Tuesday night, Stamkos became the first player to reach the 20-goal mark this season and he scored it in his 26th game.
On his way to 60 goals in 2011-12, he didn't score his 20th goal until game 32.
It's easy to forget Stamkos is just 23 years old and still figuring things out in the NHL. It was March 2 when the game's top goal scorer over the previous three seasons learned a hard lesson that cost the Lightning a game.
With the score tied 2-2 on the road late in the third period against the Boston Bruins, Stamkos led a shorthanded 3-on-2 rush, carrying the puck along the right wing. He ripped a shot that missed the far side of the net, rimmed around the boards, and sent the Bruins away on a 2-on-1 chance.
Carter scoring every way imaginableBy Curtis Zupke - NHL.com Correspondent
Jeff Carter has ignited the defending champion L.A. Kings with 17 goals -- many of which have come in unique fashion. READ MORE ›
Brad Marchand buried a pass from Patrice Bergeron, giving the Bruins a 3-2 win and sending the Lightning to their fourth loss in a row.
Afterward, Lightning coach Guy Boucher wasn't happy with his defense jumping into the rush in that situation, but he was just as displeased with his superstar's wide shot that served as an outlet pass for the Bruins.
"We're not thinking the right thing on that one," Boucher said. "It hits the net, no problem. We've seen this a thousand times. … I knew that if the puck misses the net, it goes right around, and that's exactly what happened. I've seen this so many times. We can't do that. We just can't do that. That's what we get."
Stamkos entered 2012-13 averaging 52 goals per season over the previous three. Despite reaching an elite level at such a young age, he proved his willingness to quickly adjust and improve in the five games that followed the Bruins debacle.
Through his first 21 games, Stamkos missed the net 35 times. That comes with the territory of being a sniper and high-volume shooter -- not every shot will hit the target -- but it had him among the League's worst in that category. In his past five games, he has missed the net twice while scoring five goals.
Incidentally, those two misses were harmless -- one was against the Winnipeg Jets when Stamkos shanked a shot from in tight and the other occurred Tuesday when he flubbed a backhand shot with an empty net in the final seconds against the Panthers.
It's a scary thought, but Stamkos is actually getting better.
NHL players tend to hit their prime right around the age of 25, yet here's Stamkos, who has been 23 for a month, in his fifth season improving on his 60-goal campaign. Twenty goals in 26 games put him on a pace for 63 goals in an 82-game season, and he's doing it with a career-best shooting percentage of 22.0. He's also on pace for 120 points in an 82-game season, 23 more than his career best of 97 a year ago.
Stamkos made a name for himself during his 51-goal season of 2009-10 by driving home most of them with one-timers from the left face-off circle. His scoring from that area was so frequent that it became known as the Stamkos Spot, but he's continued to evolve his game and no longer relies on his heavy, accurate one-timer to get his goals.
Five of his 20 goals this season have come from that spot, four during power plays, with the fifth with the Lightning goaltender pulled for an extra attacker. A greater percentage of his goals this season have come on the power play -- 7 of 20 after 12 of 60 last season -- but he's getting most of his goals from right around the crease or from between the hash marks.
None of Stamkos' 20 goals this season have been placed into an empty net.
Despite scoring at a career-best pace this season, 50 goals is very likely out of the question and 40 will be tough to reach. He's on pace for 37 goals, but that's with a shooting percentage that's about 5 percent higher than his career average. Stamkos is averaging 3.5 shots per game this season, a slight dip from his 3.7 last season, so he'd likely have to raise his shooting percentage even higher or start hitting the net with greater frequency.
That doesn't mean Stamkos can't catch fire over his final 22 games and reach 40 or 50 goals. With elite playmaker Martin St. Louis feeding him the puck and excellent passers Teddy Purcell and Vincent Lecavalier on the ice with him at times, no number is unreachable, especially if Stamkos continues to learn and grow at an incredible rate and has a similar finish to last season, when he had 10 goals in his final nine games.


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Jackrabbit Men Face Tough Test in 2012-2013
BROOKINGS, SD -- Three straight road games against NCAA Tournament teams from 2012 and a three-game event in Hempstead, N.Y., at the 2K Sports Classic Benefiting Wounded Warrior Project highlight a tough 2012-13 schedule for the South Dakota State men's basketball team.
"This is one of the toughest in my 18 years at South Dakota State, and was, without a doubt, the most difficult to put together, because people know we have a very veteran team coming back and they didn't want to play us," head coach Scott Nagy said. " In the end though, we added teams like Belmont and Montana because they were in the same boat. (Assistant) coach Rob Klinkefus worked tirelessly to get this done, and I'm grateful to him for all of his hard work."
In total, the Jackrabbits play a total of 11 teams that qualified for the postseason in 2011-12, including four NCAA Tournament teams, starting with a game at Alabama on Nov. 9, that can be seen live on ESPNU.
The three straight games against NCAA Tournament teams starts at Montana on Dec. 15, followed by games at Belmont on Dec. 19 and at New Mexico on Dec. 22, when the Jacks return to "The Pit" the same Arena where they played Baylor last season in the NCAA Tournament.
SDSU also plays at Minnesota for the eighth consecutive season, when they clash with the NIT runner-up Golden Gophers on Dec. 4, in Minneapolis.
Four of the opponents on the 2012-13 schedule advanced to the CIT last season, a list that includes Tennessee State, who the Jacks host in their home opener on Nov. 13. SDSU also hosts CIT qualifier North Dakota on Nov. 28 and CSU Bakersfield on Dec. 9. The Jacks then make a return trip to CSU Bakersfield on Feb. 20. Conference foe Oakland not only qualified for the CIT, but also advanced to the semifinals of the event.
North Dakota State and Western Illinois both played in the postseason in the CBI, but fell in the first round.
"Right in the middle of our season we play nine out of 12 games on the road, including six in a row, and three in a row against NCAA tournament teams," Nagy added. "We feel like this team can handle that. It should be challenging, but it should also get us ready for conference play.
The Summit League looks a little different now with the addition of former North Central Conference foe Omaha (Nebraska-Omaha) and the loss of Oral Roberts and Southern Utah, but still requires the Jacks to stay focused in league play.
"We think the conference schedule sets up well for us," Nagy said. " Five of our first eight games are on the road, but five of our last eight are at home, so it's imperative that we play well on the road early in the conference season."
The schedule also includes a BracketBuster game on the road on Feb. 23 against an undetermined opponent.
2012-13 Men's Basketball Schedule
Courtesy: South Dakota State University


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I ve seen Old Boy this week
This is the 3rd movie of the Korean director Chan-wook Park
But it is as well the second movie from a group of three movies about revenge, the first one was " Sympathy for Mr Vengeance ", a new one is coming about women's vengenges, as I ve understood (gonna be violent )
This movies was much expected as it has thrilled Quentin Tarantino that wanted to give it the Palme d'Or first price of the last Cannes Festival, when Quentin was President. But he failed to convince the other members of the Jury
The story is based on a japanese manga by Tsuchiya Garon and Minegishi Nobuaki (lol if anyone can find a better link please be welcome )
We discover the main character Oh Daesso one night he got drunk and has been jailed in the police office.
We understand that he is an average man of the middle class, with an average job, living a life without problem, married, with a kid.
A cousin comes to fetch him at the police, gives excuses for the trouble, and tries to phone the family to say that our poor Oh Daesso is OK,
but in the meanwhile, Oh Daesso disappears, he has been captured and when he wakes up he is alone in a room, up in a tower.
He is held during 15 years in this room by his unknown captors,
learning through TV, his only contact with the outside world, that he is suspected for the murder of his wife.
One day he is released with a wallet filled with money and a mobile phone.
Lost in the real world, he understands that he has now to find who and why he has been detained for so long.
His quest will be filled with strange encounters, violence and every new findings he makes lead to new questions.
Actually I m a bit mixed about this film. Some pictures are amazing, there is some incredible ideas in the script.
and what keeps your mind boiling is the impression this is a movie " without any limit ", everything is possible, can and will happen - this is probably what Quentin Tarentino appreciated in it. There is no censorship or any limitation of any kind from the script.
Sometimes you just stare at the screen and say " Ok i didn't expect that, you got me..."
But as the plot goes on, I had the feeling that the film totally lacked subtelty and found it incredibly heavy.
The plot explores a lot of commonplaces, with a very pompeous style. Themes of vengeance, interaction between people, memory are among the numerous themes.
But won t spoil
Finally I put a 4/6
but what do you think is the opinion of the octopus in the sushi restaurant ?
Old Boy
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Re: Old Boy
Did you know the actor apparently ate a real live octopus for the film? Absolutely amazing.
It was a masterpiece from start, too that IMMENSE finish. Left me confused but happily so. The plot is so thick and wonderful it made me happy to sit in my seat an just be mesmerised. Also the soundtrack is amazing.
It was a masterpiece from start, too that IMMENSE finish. Left me confused but happily so. The plot is so thick and wonderful it made me happy to sit in my seat an just be mesmerised. Also the soundtrack is amazing.
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Re: Old Boy
Very intersecting movie & it got very good concept behind it. Editing section was also too good.I will give it 5 out of 6.
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One of the very few Filmation characters to appear in more than one episode. I think he could make an awesome MOTUC figure. He kinda reminds me of Magneto except substitute Magneto's magnets/magnetism powers and knowledge for Negator's electrical/electronics evil mastermind supervillain genius.
Oh and here's a sweet custom by Faceless One: http://www.he-man.org/forums/boards/...d.php?t=182880 (See I do use the search feature, although it's not always my friend!!)


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Not Afraid of Risk
Fund: Alsop Louie Partners
Posted by Anonymous on 2008-09-05
As Ribbit, one of ALPs portfolio companies, we just had a successful exit. I just thought I'd add a comment that they were one of the few VCs who understood our strategy as a platform rather than just an application. A lot of other VCs believed that we needed a "Killer App" first, and the platform was just an add on. ALP actually encouraged the platform approach, even though there was no real other examples of companies building a platform first and an application second.
As our outcome demonstrated, the platform play was the key to success.PRIVATE: Members Only


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Whether you're looking for privacy, style, or both, it can be a daunting task to choose window treatments. Should you head to a specialty blind store, your local home center, or shop online? How formal should you go, or how sheer? And how come your stylish neighbors always seem to get it right? Carolyn Forté, Home Appliances & Textiles Director in the Good Housekeeping Research Institute, puts you on the right track.
"Windows are a great focal point in a room and blinds and shades should be both decorative and functional. Thankfully, we've come a long way from the days of hiding them behind basic mini blinds. Now you can dress up a room in hundreds of ways without making a major investment," says Forté.
At Good Housekeeping, we saw a need for better, well-priced window treatments that are more safety-conscious — and then decided to roll them out in a wide swath of colors, fabrics, and styles. We're proud to introduce our exclusive Good Housekeeping Custom Blinds and Shades Collection, available through top authorized online retailers.
Here's what to consider before you buy to keep from getting blindsided.
First Things First
- Light and privacy How much do you want and need? Decide whether you want your room bright and airy or more "buttoned up" and cozy. Is your goal to block out light for snug sleep in the bedroom or hang a sheer fabric in your kitchen that lets the sun shine in over your farmhouse sink? Are the windows you're covering near the front door or facing the sunny side of the house? All of these factors will influence the styles and fabrics you choose.
- Your budget Are you outfitting just one window or the entire house? You may consider spending more on certain windows and scaling back on others. Window treatments are priced by size, so expect larger treatments to cost more. Custom sizes and specialty fabrics, patterns, and features also add to the cost.
- How much time and effort you're willing to spend cleaning Standard blinds can be cleaned at home, but are magnets for dust and need frequent attention. Shades in textured fabrics and weaves hide soil better and are best cared for with either vacuuming or professional cleaning.
- Your decorating style Is it formal or casual, comfortable or chic? Bold colors can be fun or dramatic. Subtle hues are perfect for a room decorated in neutral, earthy colors. Do you prefer corded styles or sleeker, streamlined cordless ones?
- Safety Do you have young children in your household and a need for streamlined cordless blinds and shades?
Blinds are best if you want tiltable slats that can be adjusted to let the sun shine in (or not). They offer a handsome, clean-looking custom fit and plenty of privacy. Prices for blinds generally climb in this order: vinyl, aluminum, faux wood (or textured vinyl) and wood. Here's what to know about some types.
Wood blinds come in light and dark hues and polished or painted finishes — our GH line ranges from white Country Cottage to rich Peruvian Walnut — and they're perfect for offices and dens. They're not the best choice for kitchens or baths, where moisture could do damage (choose polymer or faux wood instead), or for bedrooms or living rooms where you want a softer, more romantic effect.
Insulating blinds help conserve energy and filter or block light, so they work hard for your money. Our GH branded selection of insulating blinds come in 15 colors, from Natural Linen to Sage.
When choosing blinds, keep in mind:
- Wider horizontal slats create the illusion of bigger windows and more space in apartments and small rooms. Slats in the GH line range from 1 inch to 2 3/8 inches.
- Vertical blinds work for windows that are wider than they are tall. They're an ideal pick for picture windows with a sweeping view or across sliding glass doors.
Upside: You don't have to put blinds at half-mast to let in light, as you do the with shades — the full length of the window pane can always be covered for a finished look, even when slats are open. Handy for bathrooms and bedrooms because you can leave blinds down for privacy but adjust as needed for light.
Downside: Blinds generally require more of a commitment to keep clean, because the slats attract dust and grime.
Shades are the answer if you're looking for tremendous versatility and style. They provide more ways to create different looks and moods using texture, pattern, and fabric weight. Our Good Housekeeping line includes everything from sheer horizontal to energy-saving cellular to blackout roller shades and more, in either traditional bottom up or with top down designs for more light-entering options. Some standouts:
- Woven wood (such as bamboo) offers full, natural-looking coverage. It works well in garden rooms and breakfast nooks, where you often need to filter out the sun to read the newspaper or see your iPad screen.
- Tight weaves like twill or microsuede offer optimal privacy because they're opaque. These work well in bedrooms and bathrooms—and don't forget the guest room.
- Roman shades have soft, wide pleats that fold flat when raised by a cord. These are lovely for the dining room, living room and family room. Balloon, where the fabric is gathered into billowy poufs—make a high-style statement and are a dressy touch for formal living rooms or sitting rooms.
- Honeycomb, aka cell or cellular, are designed with horizontal rows of air pockets (like the tight, neat rows in a bee's honeycomb) which work to keep heat in during winter and out during the summer. These energy savers are a favorite for all around the house.
- Blackout, with a room-darkening fabric, block out up to 100 percent of light (they cost more than conventional styles) are ideal for bedrooms, home theaters, and media rooms.
- Solar are made from a sheer weave that offers protection from harmful UV rays but don't completely block your view. They are a good option for sunrooms, kids' rooms, dining areas, and light-drenched offices.
Upside: Shades are a versatile way to easily refresh any room and can lend a warmer, softer look than blinds.
Downside: To keep them fresh and clean, you'll need to hand-wash vinyl shades. Fabric shades (especially if they're a light color) should be vacuumed with a hand tool regularly and either spot-cleaned or sent out for professional cleaning.
"There's an important push to get manufacturers to make blinds and shades safer, since the cords are hazardous for small children," says Carolyn Forté of the Good Housekeeping Research Institute. First line of defense: Don't use corded window treatments or leave cords dangling within reach of curious little hands. Good Housekeeping's new branded line of blinds and shades was carefully designed with an eye on child safety. "We've included cordless options, and special safety mechanisms for continuous loop and traditional pull-cord styles," says Forté. "These products also carry our Good Housekeeping Seal." GH engineers and textiles experts reviewed the line, and if any style becomes defective within two years of purchase, the product will be repaired or replaced, or your purchase price will be refunded. Visit goodhousekeepingblindsandshades.com to window-shop.
How to Measure
Knowing the sizes of the windows you want to cover will help you choose more wisely. "You should measure exactly where you want the blind or shade to be," says Forté. So if an inside-mount blind will stop at the frame, so should your measuring tape. For outside-mounted styles, include the window frame in your measurements. When ordering online, consider calling the site's customer service representative to confirm that you have measured correctly. We also like this helpful how-to-measure guide from blindschalet.com.


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Ok People,
I thought it be cool making a PET Thread, Feel free to post past or present photos of all the adorable animals you've had in your life.
Let me get the ball rolling,
This baby girl is my Puppy D called RIO... We named her after a BLUECHIP MINING SHARE available on the Australian Stock Market.
Her breed is GREAT DANE CROSS BULL MASTEV CROSS RODESIAN RIDGEBACK ... We only buy mutts... Have never had Purebread pets but as you can see the offspring of 3 breeds can produce something so adorable..
P.E.T thread
Here you can chat about anything that's not Warriors related.
Moderators: Mr. Crackerz, JREED, Guybrush, 32
PAWNO wrote:8th ave wrote:i don't know what it is pawno, but the your new mac is making you very incomprehensible
Damn i saw 1 reply to my post by 8th Ave & thought i'd see some of those Adorable Puppies you always pimping on facebook
I see puppies in every 8th ave post.
8th ave wrote:i don't know what it is pawno, but the your new mac is making you very incomprehensible
yeah I had to disable picks from pawno's photobucket account because his sig was destroying every thread he posted on. It's because of the new board layout - not his mac. I've talked to hobbes about it but we haven't figured out a solution yet.


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Boys Turtleneck - Emerald Green - French Bulldog Pug Fleece Sweater
Your French Bulldog and Pug boys will look even more handsome in these Polartec Fleece Turtleneck Sweaters! They are great for chilly days and nights and are easy to get on and off - you'll want one in every colour!
- Sized specifically for French Bulldogs and Pugs and other small to mid-sized broad-chested breeds.
- Made using Polartec 200-series water-resistant Fleece
- Hole for collar loop in back of neck
- Adjusted on bottom for boys so it won't get peed on
- Machine washable


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I'm frankly amazed at my own optimism," says Bob Guccione, the 74-year-old pioneering pornographer and founder of Penthouse magazine. "Whenever I'm facing a crisis—and I'm certainly facing a crisis now—I just fight harder. I know I'm going to survive."
Recent news reports have portrayed Guccione as a broken man. Having lost his entire Penthouse empire, he is said to be destitute, camping out in just four rooms of his princely home, on East 67th Street in Manhattan, spending most of his days curled up in bed asleep or watching CNN.
"An exaggeration," he croaks, attempting to smile. "Exaggeration," repeats his special assistant, Jane Homlish, to make sure he is understood. In 1998, a doctor performed laser surgery on Guccione's tongue in an experimental cancer treatment, so it is hard to understand him when he speaks. Because he has difficulty swallowing, a liquid nutrient called Boost is piped into his stomach.
And yet he looks trim, tanned, and healthy. His skin positively glows, and he appears almost serene, except for the dark, haunted eyes that glare out from under his thick, grizzled brows. The reason he sleeps during the day, he says, is that he is up until four in the morning working on projects and his oil paintings.
He has just given me a tour of his mansion, one of the city's largest private homes, which he designed himself. He uses the entire place—he even had a small dinner party here recently. He's especially proud of the mosaic-lined swimming pool on the ground floor, flanked by two lead Napoleonic sphinxes, each with a Marie Antoinette head. They're at the far end of the pool. On the floor below is a fully equipped gym. There's also a huge paneled screening room, a winding marble staircase up to the "ballroom," and a double living room with antique-mirror walls. Part of a great carved fireplace that once belonged to the architect Stanford White is in Guccione's bedroom.
The mortgage on the house is now owned by Mexican businessman Dr. Luis Enrique Molina, who literally saved Bob from eviction in February 2004 by paying $24 million to his creditors. Bob says he doesn't know how long he'll remain here, since he and his girlfriend, April Warren, are the only occupants of the house's 45 rooms. He still has 6 servants (down from 22), in addition to Homlish, who says she has no plans to leave him.
She was working with Guccione when I first met him, in 1974. He hired me as the executive editor of Viva, a sister publication of Penthouse that was billed as "the world's most sophisticated erotic magazine for women." That was during Guccione's glory days, when he was said to be one of the richest men in the world. According to a report in the New York Post last October, Penthouse has earned $4 billion since 1965, when Guccione founded it. During that time Guccione has squandered about $500 million of his personal fortune on bad investments and risky ventures.
Today, Penthouses circulation is down to 400,000 from a 1979 high of 4.7 million, a victim of X-rated videos and pornographic Web sites. On October 5, 2004, Marc Bell, a 37-year-old private-equity investor from Boca Raton, Florida, acquired the magazine in a bankruptcy sale. Bell insisted he would turn the title around in three years and make it more viable. He didn't reveal his plans except to say that the new version would be softer, "more like Maxim."
The two sides disagree about what happened next. Bell says Guccione declined an offer of $500,000 a year to stay on as a consultant. Guccione maintains he signed an agreement, but Bell reneged on the offer. Bell says that until recently he had been consulting with Guccione regularly and that Guccione and Homlish had helped him edit the Penthouse Pet of the Year issue. (The Pets, *Penthouse'*s answer to Playboy Bunnies, remain the star attraction of the magazine.)
According to Homlish, the relationship was severed within minutes of the ruling that approved Bell's takeover: "We got a call from the Penthouse office saying, 'You are no longer with the company,' and [they told us] to send over all the materials, layouts, pictures, etc., we had at the house."
"It was pretty hostile," Bob mumbles, but Bell maintains that there was nothing unpleasant about it.
Meanwhile, there are reports of chaos at the new Penthouse. Many longtime staff members have been fired, and some insiders feel that Bell, who has little magazine experience, doesn't understand the dynamics of Penthouse or its curious but enduringly readable mix. Bell insists that, while there will still be pictorials of Penthouse Pets, the end product will no longer be "embarrassing."
"Bell is too cautious, too button-down," says a former editor who remains loyal to Guccione. "Whatever you might think of Bob Guccione, he always took huge risks."
There are differing opinions about the so-called impact of Penthouse. Feminists have denounced it as an obscene insult to women, whereas admirers insist it was unique because it broke so many sexual taboos. One thing is certain: it remains among the greatest success stories in the history of magazines. "The secret of Bob's success was his timing," says editor Gay Bryant, who came from London and helped launch the American edition of Penthouse in 1969, four years after Bob started it in Britain. "Bob challenged Playboy at the peak of the sexual revolution."
Another colleague adds, "Bob out-raunched Playboy by displaying genitalia and pubic hair in the magazine. That had never been done before. He knew what to sell to the 18- to 34-year-old guy [who accounted for 70 percent of his readership in the 70s and 80s]. He knew how to mix tabloid headlines, sensationalistic muckraking journalism, and dirty pictures. It was a hell of a combination."
In the beginning, Bob photographed all the Pet pictorials himself. He used natural light, soft-focus lenses, and muted colors, and his models were young and in- nocent. Soon, though, he began to get more daring, featuring full frontal nudity, girl-on-girl shots, and graphic displays of genitalia. ("Going pink" was the trade expression.) "The pictures got really dirty," a former art director says. "And the models changed. They were no longer innocents. They were strippers or porn stars and they'd had face-lifts or breast implants. They weren't as real."
Throughout, Bob maintained that he was an artist. Growing up, he had wanted to be a painter, and he started Penthouse only because he thought it could subsidize his art career. Friends say he always had a pornographic imagination. "Comes from his repressed Catholic background," says Robert Weil, a former editor of Omni magazine. Bob once studied to be a priest.
Even when he was a big celebrity, Guccione kept a low profile. He wouldn't go to nightclubs or restaurants, and he rarely socialized, except to host an occasional dinner party for guests as disparate as Mike Tyson and Isaac Asimov.
Even editorial meetings took place at his mansion, which also housed Bob's noisy group of Rhodesian Ridgebacks. Often the dogs would trot into the meeting and run around the table barking. They were hungry.
"And we were hungry, too," one former editor says. "We were starved. And then Bob would throw a couple of big broiled steaks on the floor for the dogs to devour right in front of us. And we were supposed to go on with the meeting as if nothing was happening."
"My father was an emperor," says Bob's son Anthony. His youngest son, Nick, says, "He always felt that the world should come to him. You know, it's the old 'bring the mountain to Muhammad.' And after a while he's just going to attract the flies like that … after a while, the only people that are going to come to you are the ones who have their hands out."
These days, Bob blames his demise on the F.B.I., the Meese pornography commission, and scores of business advisers and old cronies who "betrayed" him.
He may even feel betrayed by his children, who told him harsh truths about his mismanagement of the business. Today, he is estranged from his sons Anthony and Bob junior and his daughter Nina. He speaks occasionally to Nick and is on good terms with his older daughter, Toni Biggs. "I guess I'm the only one who hasn't pissed him off enough," she says, trying to joke.
"But why wouldn't he listen?" asks Nina. Every one of his kids told him in one way or another what was going on, "how the business was suffering, sagging, being destroyed," she continues. "If only he'd listened we could have saved it for him. We loved him!"
When I tell Bob that his children have said they miss him and hope he'll heal the breach, he growls, "That is a family matter. I don't discuss it. Private." His face contorts, and Jane Homlish signals me to change the subject.
I remember how different it was back in the 1970s, when I was working with Bob. Then he was close to his children—they spent holidays together and shared meals and confidences. Nina was married at the house, and every one of them worked in one way or another at Penthouse. I saw them grow up there.
Feminism and the sexual revolution were at their height. There was no aids, no fear of terrorism. The Vietnam War was winding down. Watergate was in the news. Gay Talese was researching Thy Neighbor's Wife, which documented America at a peak of sexual permissiveness. Decades later, I would recommend Talese's book in my journalism class at Columbia University. But I found I could really get my students' attention if I told them stories about what it was like to be an editor in porn.
It was late April of 1974 when Bob phoned me. "Would you be interested in coming to Viva?" he asked in a deep, mellifluous voice. He had heard that I'd left my job as managing editor of Harper's Bazaar and was starting to write a book. He said he wanted a "really classy editor" to run things and he'd pay well. He wouldn't take no for an answer. His call came at a crucial time for me; my mother was very ill, and I was her only means of support.
A couple of days later I found myself sitting in the gloomy foyer of Bob's East Side town house, which even then the staff referred to simply as "the House." The place was crammed with antiques. There were murals on the walls, and Muzak played nonstop. I noticed two statues of Moorish slaves carrying candelabras.
I waited for close to two hours. Art Cooper, the late editor of GQ, who edited Penthouse in 1976 and 1977, once told me he thought Guccione enjoyed demonstrating his power over people by making them wait. "It's a test," he said. Cooper also told me that Guccione's idols were the Roman emperor Caligula and the reclusive billionaire Howard Hughes.
While I was waiting, a curvaceous brunette wearing a mini mink coat and not much else appeared out of nowhere and began vacuuming the floor. She had long, bare, tanned legs and wore delicate ribboned heels. Eventually, she wandered over and introduced herself as a Pet of the Month. She was from Cleveland, lived upstairs, and was about to pose for Guccione. "He only uses girls who've never posed naked before," she confided.
I asked where she got her tan.
"We have a tanning machine in our bedroom. Bob doesn't like us to look too pale."
Suddenly we heard a distant jangling. "That's Bob!" she whispered and scuttled off, dragging the vacuum cleaner behind her.
As the jangling got louder, I peered into the dimness and beheld a tall, handsome man, very muscled and bronzed, with a strong Roman nose and thick dark hair, descending the stairs from the second floor. He was wearing a black silk shirt open to the waist, tight black leather pants, and white suede go-go boots. The jangling emanated from the profusion of gold chains he wore about his neck, which were decorated with charms. One was a reproduction of the first Penthouse cover, another was a tortoise, and a third looked like a minute set of solid-gold genitals. (I was told later they were a model of Bob's own.)
Guccione did not apologize for being late. Instead he gestured me over to a long polished dining table at the far end of the room, and we sat down. A servant appeared and gave him a can of Tab diet cola. He popped it open and drank deeply but did not offer me anything. He told me he'd spent the day following the Patty Hearst kidnapping on TV. It would be the media event of the year, he predicted. It had everything: a mother-daughter story, politics, sex, "those terrorists, that rich white heiress. Good story for Viva."
With that, he handed me a copy of the February issue. It was big, glossy, and beautifully produced. As I leafed through it, I noted an angry editorial about Watergate and a graphic piece about the painter and author Betty Dodson's much-discussed masturbation workshop. Bob began urging me to accept the title of executive editor. "It will be a challenge for you—could be revolutionary," he murmured, adding, in an earnest non sequitur, "I respect women. I never demean them. There are many women in power positions at Penthouse."
I pored over *Viva'*s pages—the stylish fashion spreads, the diatribe against Billy Graham, the celebrity profiles and culture news, the color spreads of frolicking naked couples. It was a contradictory mix. I didn't know what to make of it.
Then I heard Bob say, "Kathy Keeton has the title of editor of Viva, but she's so busy selling ads that you'd actually be running the magazine, assigning articles."
"Viva is a cross between Ms. and *Penthouse,*w" Kathy crisply declared when she joined us a short while later.
Kathy was Bob's mistress, a steely 30-ish platinum blonde from Johannesburg, South Africa. Her taut, slender body was encased in skintight white jeans and a pastel silk halter top. Jewels twinkled on her fingers and wrists. She wore heavy makeup, expertly applied.
She'd moved to London at age 12 and studied ballet before becoming an exotic dancer in a Chelsea nightclub. One evening in 1965, Bob visited her dressing room and was impressed with how tidy it was, despite the well-read copies of the London Financial Times piled everywhere. Kathy was interested in the investment business.
On their first date they talked about sex, death, and money, and they bonded immediately. Both had come from nothing; Kathy wanted to be very rich, Bob wanted to leave his mark, and they both dreamed of being powerful and living forever.
Bob was struggling to set up Penthouse in the U.K. He had all sorts of imaginative ideas and promotion schemes, but he had no interest in handling money. Kathy did. He asked her to sell ad space for him and she accepted. "Nobody had been interested in my mind before," she said.
Bob left his second wife, Muriel, and their four children and moved in with Kathy. They were initially the sole staff of Penthouse. "I typed. I licked envelopes. I loved every minute of it," Kathy said. Within days of its release, all 120,000 copies of Penthouse's first issue sold out.
Four years later, in 1969, Bob and Kathy moved to New York to set up Penthouse in the U.S. "I created Viva for Kathy," Bob told me as we sat around the dining table. Kathy spoke dreamily about how she hoped Viva could express what she felt she was now: an independent woman "who has a guy and a house and, yes, money." Her face grew animated at the mention of money. "I love money. You can have money, too, if you work hard enough, if you take the job at Viva."
"Kathy works up to one a.m. every night," Bob said. "Well, so do you, Bub, she said softly. She pronounced his name "Bub."
By the end of the afternoon, I'd accepted the job and was telling them how women these days were obsessed with being women, with reading articles about women by women. Maybe I could help Viva fulfill that need, I thought, and inform and inspire women.
Whom was I kidding? Viva would never be anything but hopelessly schizoid, its feminist intentions overshadowed by male porn. Viva was raunchy—one of Bob's favorite words. "Raunchy means sophisticated sexiness," he used to tell us.
Before I started working at Viva, Bob asked me to interview Charles Revson for Penthouse. Revson, the autocratic head of Revlon, Inc., was gnarled and old with a mean temper, and one of Bob's idols. He and his beautiful young wife, Lyn, had a huge apartment on Park Avenue, and Revlon was one of the prime advertisers in both Penthouse and Viva. Bob and I were supposed to meet at Revson's apartment, because Bob wanted to photograph the millionaire himself. Bob would often not leave his house for weeks at a time, but since Revson had agreed to pose for him, he made an exception that day. I arrived first, a skinny little thing in granny glasses and a miniskirt, and a servant let me in. The apartment was immaculate and hushed, full of fresh flowers and great art. Since the staff paid no attention to me, I wandered into the huge living room to look around.
Suddenly armed guards grabbed me and pushed me to the floor. "Hey, wait a minute!," I cried. "I'm here to interview Mr. Revson for Penthouse magazine. Please let me get up." But they kept me pinned to the carpet while they went through my bag and wallet. "Who the hell are you?" one of them demanded.
"I am Patricia Bosworth, and I'm here to interview Mr. Revson."
Then a voice said, "Who's the broad?" and Charles Revson was standing over me, in a smoking jacket and gray slacks, with bedroom slippers on his bare feet. His leathery face was twisted with annoyance as he repeated, "Who is she?"
"I tell you I'm Patricia Bosworth," I pleaded. "I'm here to meet Bob Guccione."
At that moment Bob appeared, laden down with cameras. He didn't seem to even notice me. "Charles, how are you, you son of a gun?" he said, and the two men embraced. "How's Lyn?"
Revson said, "Fine. How's Kathy?"
"Bob, will you please tell them who I am!," I implored, close to tears. Only then did Bob glance in my direction. "What are you doing down there?" he asked. I couldn't speak. "She's with me, guys," he said.
Before they let me go, the guards conferred with Revson. He had apparently been receiving death threats, and they weren't taking any chances. The servant who had let me in was new, they explained, or I would have had to show identification and be announced. None of the men apologized or even asked me if I was all right.
Bob then took the pictures of Charles Revson, and I interviewed him. I have no recollection of what I asked him or what his responses were. Revson subsequently died, and the interview was never published.
We never did do a story about Patty Hearst, either, but the following year Viva ran an article about the kidnapping of John Paul Getty III. We were aware that times were changing, and we tried to capture the rebelliousness and the energy that kept surfacing in America back then, especially in the women's movement, which by 1975 was at its most transformational. Women were really attempting to experience love, achievement, and independence on a grand scale.
We ran stories about female masochism, bisexuality, and erotic art, and interviewed the feminist Betty Friedan and the women's-health expert Barbara Seaman. I hired Maureen Harris from Bazaar to cover fashion and beauty. (After I left, Anna Wintour, the current editor in chief of Vogue, became *Viva'*s fashion editor.) And we published short stories by Maxine Hong Kingston and Nadine Gordimer, the South African novelist who would go on to win the 1991 Nobel Prize in Literature. "Nadine who?," Guccione bellowed when I excitedly told him about her, and he juxtaposed her story with a cartoon.
Viva shared an art department with Penthouse as well as office space, in a large high-rise suite on Third Avenue. Our editorial meetings went on at Bob's house until the wee hours as we vented our desire to make the magazine more erotic and less pornographic, which wasn't possible given Guccione's macho point of view. He insisted on having two pictorials of nude men and couples in every issue. I heard rumors that much of the readership was made up of gay men who liked these pictorials.
For a while, the photographer Art Kane was the art director of both Viva and Penthouse, and he contracted Helmut Newton, Bill King, and James Moore to produce quirky, imaginative covers for Viva. Kane and Guccione thought up the infamous "Pubic Hairstyles" pictorial, which escalated the "pubic wars" Guccione was waging with Hugh Hefner and Playboy over who could get away with more.
I'll never forget the "Pubic Hairstyles" run-through in the conference room, which took place about the time Nixon was accused of impeding the Watergate-break-in investigation. It was surreal watching hookers and porn stars flipping up their skirts while Bob sketched outlandish drawings of Nixon as Judas. "Pubic Hairstyles" didn't help sell ads, but it got the magazine talked about.
I believed one of the magazine's biggest problems was the sexual-fantasies column, which was being co-written by a hairy-armed man who had been an editor at Popular Mechanics. His idea of what turned women on was so obnoxious to me that I finally fired him and replaced him with the novelist Mary Bringle. Guccione was tight with this editor, however, and hired him back as a special assistant at Penthouse. When I complained to Bob that he'd usurped my authority, he corrected me: "No, baby. I'm the authority." Meanwhile, whenever this editor passed me in the hall he'd give me the finger.
Late one night, Bob called me to say he had a genius idea for promoting Viva. He asked me to come over to the house right away so that he could tell me about it. It was one a.m. when I arrived, and he and Kathy were at the dining table drinking Tabs.
"You will be the madam of a Viva whorehouse," Bob began. "You won't have to do a thing, just be a figurehead—but what publicity!" He was considering buying a "fly-in" whorehouse that was situated by an airstrip in the desert near Las Vegas. "Guys fly in on their private planes, stop for a little pleasure at the Viva whorehouse, then get back onto their planes and zoom off!"
I protested vehemently and turned to Kathy, who was curled in a chair, her face sphinx-like as usual.
"Why don't you make Kathy the madam of the Viva whorehouse?," I said.
"I would never do a thing like that!," Kathy exclaimed. "Bub knows I wouldn't!"
"Well, neither would I!," I told them and ran out the door. Bob called after me, "You're cute when you're mad, baby!"
Going home in a cab, I debated whether I should quit my job and wondered why Kathy hadn't protested. She always went along with Bob, even when he had nutty ideas or played games with people, including the Penthouse Pets.
The bedroom suite she shared with Bob was near the Pets' "dorm." There were rumors that Bob slept with some of the girls and played them off one another to tease and torment Kathy. It was no secret that many of the Pets were attracted to Bob.
Bob's 16-year-old daughter, Nina, was living in the house, too. She says it was "difficult. I mean, what do you suppose it was like having your father the most famous pornographer in the world? His work and passion was sex and women, and that's all he talked about day and night. And there I was, the teenage daughter who adored her daddy, and he never noticed me."
I wondered how Bob's parents, first-generation Sicilian-Americans from New Jersey, felt about their pornographer son until I realized that most of the family worked at Penthouse. Bob's sister Jeri Winston was office manager. Her twin, Jackie Lewis, oversaw public relations. Their father, Anthony, who had subsidized Bob while he was living in Europe trying to be a painter, was treasurer. I often went to Anthony's office to have checks signed. He told me, "Bob is not a businessman. He doesn't know anything about financial statements or reports, but he doesn't have to. He's an artist. Sometimes his mama sits in the kitchen afraid to look at Penthouse. 'Why does he have to do this? He promised he was going to paint.'" Anthony was proud of Penthouse's huge success, and especially of a series Bob had instigated about the plight of Vietnam veterans. At the time, many Americans were directing their hostility against the war at the men who'd been forced to fight it. The first article was written by Vietnam vet Tim O'Brien, who went on to be an award-winning novelist. Bob was eventually honored as Publisher of the Year by Brandeis University for this series. He devoted at least a page a month to veterans' concerns and opened an office in Washington to lobby on their behalf.
By 1975, Bob maintained that he wasn't worried about his many competitors in the skin game, including his arch-rival, Playboy, as well as Gallery, Oui, Dude, Genesis, and the truly revolting Hustler, which was run by a former bar owner from Kentucky named Larry Flynt. Although those were the glory days for porn magazines, the field was getting crowded as the audience grew increasingly jaded. Less and less was left to the imagination.
It didn't matter to Bob, who was busy expanding his empire. In addition to Penthouse, Viva, and Penthouse Forum, the pocket-size magazine devoted to sex advice, there was a book division. He also had a merchandising division called Evelyn Rainbird Ltd., which sold, among other things, sexual-aid paraphernalia. "The name Evelyn could be a man or a woman," he told me. "Makes it more intriguing." Rainbird Ltd. was run by Dawn Steel, a dark-haired, fast-talking go-getter who would later become head of Columbia Pictures before her untimely death in 1997. When I knew her, she was pushing her latest scheme for Rainbird, a wool-knit "cock sock" that could be ordered in red, white, or blue, but only extra large.
Dawn and I used to go to P. J. Clarke's to eat hamburgers and talk—mostly about Bob. "He's a movie," she said. He fascinated us as he fascinated most people who worked for him. His dark, strange presence permeated every corner of the office, although he was rarely there. He was a mass of contradictions, engendering fierce loyalty and equally fierce contempt. He hired and fired people—then rehired them. He could be warm and funny one minute and cold and detached the next. All the while, we never stopped thinking about him, hoping he would approve of what we did. "That guy doesn't trust anybody," Dawn said one day. "He's suspicious, he's paranoid, he's overconfident, he's a male chauvinist pig. What do you suppose he's like in bed?"
As the number of ads in Viva dwindled, Bob conjured up ever more ridiculous promotions. In the spring of 1976 he asked me to hire an alleged rapist to write the love-advice column, and I said no. Bob insisted, "Just see this guy!" So I did, and he was a creep—hollow-eyed, unshaven, babbling about his dreams for sex shows on cable TV. I threw him out and then stormed into Kathy's office to tell her I was quitting and why. She listened impassively, then said she would take it up with "Bub."
I noticed that her cheeks appeared red and raw, and she admitted that she'd endured a painful new type of face peeling by a "plastic surgeon" Bob had on retainer. "If it works, Bub will try it," she said, wincing. I'd already had to deal with this "doctor" because Bob had wanted me to write a profile of him. "I may use him to run the Viva beauty spa I'm opening in Yugoslavia," he told me. I checked him out and was told he had no credentials. When I told Bob, he became furious—with me.
The "plastic surgeon" was only one of the many charlatans Bob seemed to attract. "The bigger the quack, the better—don't ask me why," a former editor says. "Bob could afford the best. He did hire a lot of terrific people, especially editors and artists, but he'd hire a lot of second-raters too, and downright thieves." Why did he do it? "Because they told him only what he wanted to hear."
If you argued with Bob, he'd tell you to get lost. His favorite comment—one he used on me a lot—was "If so many people are telling me I'm wrong, I must be right!"
I phoned Bob to tell him I was quitting. He told me to take my time about leaving and wished me luck. A few days later, Kathy called me and four other staff members who had objected to hiring the alleged rapist into her office and informed us that we were fired. Because I was fired, I got unemployment compensation, which may be why Bob did it. No matter. I was frankly relieved.
I began a new career writing books, and Viva folded in 1979. But I never forgot "the Gooch," as Bob is often called in the press, and for the next three decades I followed his rise and fall.
Bob continued to prosper through the mid-80s, buying an entire building on Broadway and 68th Street to house his expanding empire, General Media. It would grow to include his new science magazine, Omni, the self-explanatory Longevity, and titles on bodybuilding, computers, and photography.
In the late 1970s, Bob also made plans to build a $200 million Penthouse casino on the Atlantic City boardwalk. Typically for him, he put up all the money for it. Though he knew nothing about gambling, he figured it would be easy to open a casino. Almost immediately, he says, the F.B.I. went after him. "Because I was a pornographer Italian-American Sicilian," he told me years later, "they assumed I was Mafia. But I was clean. I've always been clean."
With the Atlantic City project stalled, he focused his attention on movies. He'd already invested in Roman Polanski's Chinatown and John Schlesinger's The Day of the Locust. Then he produced the X-rated film Caligula. He invested $17.5 million in it and hired Tinto Brass to direct and Gore Vidal to write the screenplay. He cast Malcolm McDowell as the monstrously decadent emperor of the title, and the supporting cast included Helen Mirren, John Gielgud, and Peter O'Toole.
The film was shot entirely in Rome, and there were endless problems. Brass and Vidal unsuccessfully demanded to have their names taken off the credits, and Bob directed some sequences himself. "It was a one-of-a-kind experience, that's for sure," says Toni Biggs, Bob's older daughter, who contributed to the soundtrack.
No distributors would pick up the film, with its scenes of lesbianism, incest, and implied bestiality, so Bob rented a theater on Third Avenue in New York and opened it himself. Critics panned the film, but it played all over the country. Bob believed he'd accomplished something special, and he remains proud of it. Today, it is Penthouse's most popular DVD, having sold an average of 3,000 units each month since its release.
Guccione bought two adjacent town houses on East 67th Street in 1976 and spent the next three years, with the help of architects, fashioning them into a Roman palazzo. Artisans came from Italy to lay down the Carrara-marble and terra-cotta floors and imported bricks for the walls of the pool room, which were decorated with medallions of Augustus and Julius Caesar. A huge El Greco of Mary Magdalene hung in the downstairs foyer, and in the entrance hall, near the wrought-iron gates brought from San Clemente, California, were two stone columns decorated with carvings of Bob's and Kathy's faces. Throughout the house were paintings by Modigliani, Bellini, El Greco, Soutine, Dalí, Degas, Matisse, and Picasso. Bob also bought an estate in Staatsburg, New York, and filled it with art treasures. Uma Thurman and hotelier André Balazs have reportedly purchased it.
He couldn't stop dreaming grandiose dreams. One was to buy an entire city block so that all his close friends and relatives could live nearby and he could see them at a moment's notice.
He also started giving huge sums to charity and raised money to combat cerebral palsy. When any member of the staff had health problems, he'd try to help. Rowan Johnson, an art director at Penthouse, developed a drug problem, and Bob sent him to rehab and paid the bills.
By the early 1980s, much of Bob's attention was focused on Omni, which he and Kathy had started in 1978. "We thought it up when we were sitting in bed talking about the universe," Kathy said. Bob printed a million copies of the first issue, which contained an interview with the physicist Freeman Dyson.
"Omni published interviews with Nobel laureate Jonas Salk and Richard Feynman," says Robert Weil, who worked there until 1988. "We also published stuff on parapsychology and U.F.O.'s—favorite topics of Bob's."
Bob and Kathy talked a lot about living to be 100, which was the focus of their magazine Longevity. "If they couldn't live forever, they wanted to stay young as long as possible," says Nina Guccione, who remembers seeing her father and Kathy gulping down handfuls of dietary supplements. They were also fond of plastic surgery. They had their eyes done, Kathy had her breasts augmented, and Bob had his strong Roman nose transformed into a Meg Ryan pug.
After Omni published a profile of a scientist who had theories on cloning, Weil recalls, "we were in Vegas for some trade fair and we're having a drink in the lounge and suddenly Kathy taps her long red nail on the table and tells me, 'I want you to start a cloning clinic.' I asked her, 'Do you want to clone Grundy [one of Bob and Kathy's Ridgebacks]?' Kathy shook her head. 'No, I want Bub cloned!' she said."
Bob had other ideas of how he might become immortal. In the early 1980s, he decided to back the creation of the first small-scale, disposable nuclear-fusion reactor as a low-cost energy source. He financed a lab in La Jolla and staffed it with 82 scientists. But it didn't work, and Bob was out $17 million.
He didn't care. He'd tried to accomplish something important and didn't regret it. "He wanted so much to be acknowledged for something other than pornography," says his son Bob.
In September 1984, Penthouse published nude pictures of Vanessa Williams, the first black Miss America, which forced her to surrender her crown. The issue sold nearly six million copies and made a reported $14 million. Bob made his third appearance on the Forbes Four Hundred, with his worth listed at $200 million.
In 1985 he followed up the Williams pictorial with nude black-and-white photographs of Madonna, but by then he was being deluged with lawsuits. The televangelist Jerry Falwell sued Bob for $10 million, and a Penthouse Pet accused Bob of forcing her to perform "sexual favors" for business colleagues. And then there was the $522 million libel suit—the largest in magazine history at that time—brought in 1975 after an article by Lowell Bergman and Jeffrey Gerth in Penthouse alleged that the Rancho La Costa resort, in California, was tied to the Mafia. A jury voted to exonerate the magazine, but the judge reinstated several sections of the complaint. Finally, both sides agreed to walk away, but they had already spent millions in lawyers' fees.
The proposed Atlantic City casino drained Bob of more millions. The casino project "could well be his downfall," Mark Meagher, who had been Guccione's chief financial adviser for nine months, told The Washington Post in April 1982. Guccione "couldn't leave me alone and let me do what I had to do to put the company in financial order," Meagher added, though he said that when he had signed on Guccione was "the most creative, exciting person I've ever dealt with."
In 1985, Bob had to pay the I.R.S. $45 million in back taxes. The next year, U.S. attorney general Edwin Meese's Commission on Pornography issued its highly critical report on the sex industry in America. In response, thousands of newsstands and convenience stores removed Penthouse from their magazine racks. Circulation dropped to 2.4 million and kept dropping.
In the 1990s, Bob's financial situation grew worse. He tried to reduce his debt by selling Four Wheeler magazine, taking other magazines off the newsstands, and selling much of his art collection. By then he and Kathy were married, but in 1995 Kathy was found to be in the late stages of breast cancer, which had metastasized throughout her body. Advised to start chemotherapy right away, Kathy opted instead to pursue treatment with the drug hydrazine sulfate. For two more years she went on working at the Penthouse office, which had moved to less lavish quarters on Park Avenue.
I ran into her at a Women and Power lunch at the Waldorf-Astoria in 1996. She was frail but in good spirits. She told me she was going to lick the cancer. "Bub" and she were fine, she said. She asked me if I'd read her books, Woman of Tomorrow and Longevity: The Science of Staying Young, or seen her exercise videos. When I said I hadn't, she said she'd send them to me. But she never did. She died in September 1997. Bob had her buried on the estate in Staatsburg.
He dutifully began keeping company with an attractive blonde named April Warren, whom Kathy had met not long before her death and felt "was right for Bub." April moved into the house in late 1997.
"I think Dad really kind of retired or gave up many years ago, when he lost Kathy," Biggs says. He tried to continue to be the swashbuckling, muckraking editor, but his heart wasn't in it, although he remained capable of thinking up stunts such as offering Monica Lewinsky $2 million to pose semi-nude. (He did not get a reply.)
Penthouse was slowly dying. Sex offerings on cable and pay-per-view TV had cut into its market. Guccione went online but claimed, in a filing to bondholders, that credit-card fraud seriously reduced the profit margin from the Internet. So, in an effort to save the magazine, he went hard-core, crossing lines in print even he had never crossed before. The material was gross, and advertisers left en masse. Everybody argued with him to stop, but he wouldn't listen. He kept insisting that it was what the public wanted.
Bob had always imagined his children would take over the business, but one by one they became estranged from him. When I was at Viva, Bob junior, the oldest son, was a genial, dark-haired, pixie-faced boy who worked in the mailroom, aspired to be a writer, and revered his father. In 1985 he started the music magazine Spin with his father's backing. But when Bob junior reportedly refused his father's order to put Pia Zadora, whose husband was a big advertiser, on the cover, Bob senior folded the publication. Bob junior, who owned the title, found other investors and relaunched Spin himself. He sold it in 1997 for $43.5 million. He and his father haven't spoken for 17 years. "The whole thing with him and I (and the rest of the family now) is terribly sad," Bob junior, now 49, says, "and I'm resigned to the notion that if we can't figure it out in this life we'll do it in the next, when, presumably, we'll have more time."
Anthony Guccione, who is 43 and as handsome as a movie star, was the only one of the siblings to complete college. He studied economics at Harvard. "My father saw me as the designated heir," he says. While working at Penthouse in the early 1990s, Anthony kept bringing in highly respected media and financial advisers to help his father salvage the business. Anthony wanted to make Penthouse less hard-core and more contemporary, but Bob and Kathy wouldn't listen. Anthony says he recognized the need to fundamentally re-engineer the company and presented plans for doing so. "[They kept] saying, 'We don't agree with you at all.' … There was tremendous denial." Anthony spent nearly a year doing research and knew Penthouse was headed toward disaster. "I told my father, 'There's a train wreck coming. You're in the engine. You're driving this train. I've done my best to tell you either slam on the brakes or change the direction you're going in.… I'm not abandoning you, I'm just getting off the train.'" What did Bob say to that? "My father has a way of not saying anything." Anthony resigned from General Media in 1996 and hasn't seen or talked to his father since.
Nina Guccione, 45, curvaceous, dimpled, and wavy-haired, also struggled to bring order out of chaos. She helped run Omni until her father insisted on putting an ad on its cover, something she found "unprofessional." She left in 1997, came back to the business for a short time in 2002, then left again after further disagreements. They haven't spoken since.
Nick, Bob's youngest, still speaks to him now and then, "because I never butted heads with him." He's the only child who's given him a grandson. "That does please him," he says, but adds, "Nobody except Kathy was close to my dad. And the Ridgebacks." Nick worked in the video division of Penthouse until 2003. "My dad is the kind of guy who will listen to one person on Monday and then another person on Tuesday. The business was getting kicked around and pulled in so many directions, it was like a monster with no head." By the time Nick took over the video division, it was full of holes. "When the restructuring management team came [in 2003], they said, 'Hey, sorry. The bondholders gave us the heads-up to let all the Gucciones go.'"
The only child who remains in close contact with Bob is Toni Biggs, his older daughter, by his first marriage, to Lilyann Becker. She's 52 and lives in Southern California. For more than 10 years, she ran the L.A. office of Penthouse and oversaw all the pictorials photographed there.
"I think the main reason Dad still talks to me is that I always believed in him and I helped save his life," she says bluntly. "In 1998, Dad developed throat cancer, and his doctor in New York wanted to remove his jaw. Untreated, he said, Dad had only 30 days to live. I said, 'Not my daddy, who's always been a fighter!' On the Internet, I researched clinical trials around the world treating this kind of cancer. I discovered Dr. Dan Castro and his photodynamic laser surgery, which 'zapped' tumors out of existence without touching a healthy cell! I convinced Dad to come out to L.A. and see him. Dad underwent the surgery and came out 100 percent cured!"
"But," Toni adds, "I just wish he'd listened to me about the business, but I don't think Dad ever thought of us as anything but his kids. He never gave us the credibility or respect we really deserve."
It is now the end of the afternoon inside Bob Guccione's elegant, marbled house. Throughout our conversation he has remained seated in one of the carved chairs around the coffee table. After a while, he calls for Muti, his favorite Rhodesian Ridgeback, to be brought to him. The dog comes bounding over, then nestles at Bob's feet.
His five Ridgebacks serve as guard dogs and companions. "They run up and down the stairs during the night," Bob says. "We never have a problem with break-ins or thieves."
"Would you like to add anything to what you've told me about your business losses?," I ask him. "Atlantic City was the beginning of terrible times, wasn't it?"
"Absolutely," Bob admits. "The F.B.I. never stopped harassing me. In 1992, I had huge tax problems. I had to borrow $80 million. Then I got cancer." His advisers decided to pay off the capital as well as the interest. "I was very sick. I didn't involve myself with the negotiations. The bond men drained me of everything." But now he says he doesn't blame anybody.
Does he blame himself?
He doesn't seem to hear the question and just repeats that he is not a businessman. He sounds almost proud. "I am an artist," he says, gesturing to the oil paintings, the still lifes and portraits, that crowd the walls of this huge room. They are Gucciones, and they have replaced the Chagalls, the Picassos, and the Soutines he had to sell when he was going broke.
Doesn't he regret what has happened to him? Couldn't it have been avoided if he'd made different decisions?
He glares at me. "I don't live in the past. Live in the present—the future."
He says he thinks the loss of Kathy was so great that he really couldn't cope. He stopped caring about the business. But he repeats that he feels good about the future. His plans include starting Omni again—"I still own that, thank God"—and relaunching the Saturday Review, another title he owns. "Norman Cousins came to see me after I bought his magazine and said, 'If anyone can make a go of it, you can.'"
He still hopes Marc Bell will put him in charge of another men's magazine. He's heard Bell is considering such a move, but Bell has not contacted him personally about it.
Before I leave, he asks me to please mention his girlfriend, April Warren. "She would have been here, but she had to go to the hairdresser." April takes good care of him, he says. Then he adds, "Kathy and I did not have an open marriage. I was never unfaithful to her, and when I strayed I always confessed."
I ask if it's true that he has a fortune stashed away in Switzerland.
At that, his eyes suddenly twinkle. "I'm not saying it's true and I'm not saying it isn't true. Look, I haven't given up. Other men might, but I won't."
"Didn't you say you wanted to live forever?"
He nods. "Maybe not forever." We stand up, and he gives me a little hug and starts walking me to the door. "I'm going to be around for a long, long time."
The magazine published a postscript to this article in the December 2009 issue.
Patricia Bosworth is a Vanity Fair contributing editor.


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5G live in Korea
In February 2018 Ericsson and Korea Telecom together with Intel conducted a 5G trial connecting a car to a live 5G network. The trial took place right in the center of Seoul, a capital with 25 million inhabitants. In the dense urban environment 4K video was streamed to and from the car, giving an idea of how 5G will change the experience for car passengers.
The throughput of more than 900 Mbps downlink while simultaneously having more than an impressive 600 Mbps uplink catered for high quality infotainment. Using the 28 GHz band the network connection was stable in the challenging propagation conditions.
The solution uses Ericsson's 5G radio trial system in conjunction with the Intel® 5G Automotive Trial Platform.
As the time for the first commercial 5G networks are approaching, trials are brought out on the streets to test the real-life situations that will be reality in near future.


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This collection of 93 objects was excavated from a cesspit in Irish labourer John Maloney's backyard, during an archaeological dig of the 'Little Lon' district in 1988.
During the mid to late-19th century, 'Little Lon' developed as a working class district, with simple houses, cottage industries, small-scale businesses and later a few larger factories. The area was characterised by a network of narrow laneways, with small properties packed together creating crowded and unsanitary conditions. 'Little Lon' was home to the city's poorest residents and many new immigrants from countries around the world. It was also Melbourne's 'red light' district. The poor, illiterate, transient, 'working' population of Little Lon led to the area gaining a reputation for being a shady, disreputable slum.
The Maloney family were the longest established residents in Casselden Place, with five siblings living in the street over a forty-six year period. John was an Irish labourer who had migrated to Victoria from County Clare in 1849. After some years on the goldfields John arrived back in Melbourne in 1855 and purchased a small three-room wooden cottage in Casselden Place.
John lived in the cottage with his younger brother Edward and his elder sister Hannah. John's younger sister Margaret also came to live in the house sometime after her husband's death in 1866. Their eldest brother Thomas also settled in Casselden Place, running a carting business for many years from his home.
The objects in this collection provide a glimpse into the Maloney's daily life, including what they ate, drank and wore, and to some extent their values and beliefs. The bones indicate that the Maloney's diet included sheep, cow and chicken. While rat and mouse bones were also found in the pit, butchering marks on many of the bones allow us to identify food from vermin.
Much of the china found in the cesspit is flawed with misaligned, smudged, or uneven designs, indicating that they were seconds or rejects. However the large quantity suggests that the Maloney's were keen to demonstrate respectability. This is further supported by several pieces of Spode china, some of it made between 1829 and 1833, suggesting it was passed on from an earlier generation and brought with the Maloney's from Ireland, or purchased second-hand in Australia. The remains of at least four Staffordshire figures were also found in the cesspit, including the 'Death of Nelson', signifying that the Maloney's had enough disposable income to purchase decorative ornaments and challenging the slum stereotype commonly applied to the Little Lon district.
The relative absence of buttons found in the assemblage suggests that these items were an expensive commodity, recycled rather than thrown away when clothing wore out.
The Maloney's may have been illiterate, unskilled, Irish and working class, yet this collection shows us that they were not passive victims of poverty. They were hardworking, finding modest success in business, and maximised their meagre assets to create a warm domestic environment.
Mayne, A., Murray, T. & Lawrence, S. (2000) 'Melbourne's 'Little Lon' ', Australian Historical Studies, 31 (114). pp.131-151
More Information
archaeological sites, archaeology, domestic life, Cultures and histories : Melbourne and Victoria, Melbourne
Article types


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Daily log, July 6
Tiffin reports
Marcella L. Losey, 35, of Tiffin, was charged with false statement for an incident June 2.
Andrew J. Nelson, 26, of Findlay, was charged with theft for an incident June 13.
A caller reported Thursday evening a man was driving drunk with a child in the vehicle. The vehicle was located at a gas station on North Washington Street and was towed.
A person reported Thursday evening an intoxicated man was walking on the roadway on North River Road. The man was transported to the jail.
A man in the 100 block of South Sandusky Street reported early Friday morning he was assaulted by his sister-in-law.
County reports
An adult was arrested early Friday morning after a vehicle spun out in the area of North SR 101 and North SR 228. A juvenile who was in the car was released to a family member. Charges to be filed included operating a vehicle while intoxicated and child endangering.
A man reported Friday morning several items were stolen out of a barn at the Seneca County Fairgrounds.
A 4000-block East SR 18 woman reported Friday afternoon her child support was fraudulently taken from her account.
Fostoria reports
A man went to the station Thursday afternoon to report his dog was stolen and he located it at a residence in the 200 block of East Eagle Street. He requested an officer accompany him to retrieve the dog. The dog was retrieved and the woman at the residence admitted to stealing the dog.
An officer was requested Thursday night at Meadowlark Park, 1225 S. Union St., for a woman who was assaulted. The parties were separated and told to go to each end of the park.
A 400-block West Lytle Street caller reported Thursday night a man was starting to unzip his pants and there were children around. Warnings for disorderly conduct and fireworks were issued.
A 400-bock West Ridge Drive woman reported early Friday morning a man was closing her van door when she went outside.
A juvenile was arrested early Friday morning in the 300 block of North Main Street for curfew violation.
A 600-block Woodward Avenue caller reported Friday morning a car was parked sideways in the street. The car was towed and charges for criminal damaging were to be filed.
A break-in was reported Friday morning in the 600 block of Woodward Avenue.
A 200-block East Jackson Street woman reported Friday morning her boyfriend's ex-girlfriend threw a beer bottle at her car and broke the windshield.
A 200-block College Avenue woman reported Friday morning she believed her pitbull had been poisoned.
A woman went to the station Friday afternoon to report a man threw out all of her mail from her old apartment.
A 400-block South Main Street man reported a break-in Friday afternoon. A man was arrested, according to the report.
State Patrol
Christopher C. Welly, 30, of Tiffin, was cited with operating a vehicle while intoxicated and violating traffic lanes early Thursday morning.
Tiffin accident
Steven G. Niedermier, 51, of Tiffin, was cited with improper backing/starting following a non-injury accident Thursday morning on Apple Street.
Tiffin EMS had three squad runs Thursday afternoon, two squad runs Thursday evening and one squad run Thursday night. Ambulances also were needed twice early Friday morning.
Attica fire and EMS had a squad run Thursday evening.
Clinton fire had one squad run Thursday evening and one squad run Friday afternoon.


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Let me take you too the scene. I worked Christmas day, after leaving my parents' home, we stopped home, I started the dishwasher, before going to work, Leaving C to his day. I get home after a 12 hour shift. The counter has literally his breakfast lunch and dinner dishes on it, and several glasses and mugs. Did I bitch? No, I did not. I calmly (yet loudly) emptied the dishwasher. Then rinsed his plates and calmly put them in the dishwasher. Poor C, he really does not have any survival instincts that day as I was closing the dishwasher and said "I could have done that...."
Now let me say, I do the Kitchen shit, because I do all the cooking. So most of the time it is easier for me to do it. BUT when I work a 12 hour shift and you've been sitting on your fucking ass all day, when your realize that the dishwasher needs emptying, but instead you put your dishes on the counter.....
But you get the point. This was not a one off. He actually called me working one day and asked if I made him anything for supper. So, the feeling underapreciated and taken for granted had been building. And I did mention that it would be nice to come home to a meal I didn't have to make, he suggested ordering pizza.
Me? I'm going to let him live, that was my improvement.


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Wednesday, August 25, 2010
Getting Started with Beamer: Tips and Tricks for LaTeX Presentations
This post provides a guide to getting started with Beamer, a popular LaTeX package for preparing slide presentations. The post: (a) Lists some of the benefits of Beamer in comparison to PowerPoint; (b) Links to tutorials and suggestions for learning Beamer for both people who do and do not know LaTeX; (c) Documents problems that I encountered when learning to use Beamer and the solutions that I developed to overcome them.
By jeromyanglim on Wednesday, August 25, 2010 Labels: Beamer, LaTeX, presentations 8 comments
Simple Beamer Template for Getting Started and Reducing Typing
For those who don't already know, Beamer is a useful package in LaTeX for preparing slide presentations. I have a Beamer template of preamble and slide templates. I found having a template was useful: (a) when first learning Beamer commands, and (b) in order to save typing. Thus, this post shares and explains the template in case it was of interest to others. It includes both my standard preamble and templates for individual slides. It is designed so that it is easy to compile both a presentation and a 2 x 2 handout.
By jeromyanglim on Wednesday, August 25, 2010 Labels: Beamer, LaTeX, presentations 2 comments
Thursday, August 5, 2010
Free Online Videos on Mathematical Statistics from UCCS
For some time I've been searching for online video courses on mathematical statistics. I previously posted a list of mathematics video courses. However, this previous list focused on introductory mathematics courses (e.g., calculus and linear algebra) and introductory probability and statistics. This previous list did not include more sophisticated mathematical treatments of statistics. Thus, I was pleased to discover the UCCS Department of Mathematics Video Archive.
By jeromyanglim on Thursday, August 05, 2010 Labels: mathematics, statistics, videos 1 comments
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