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KEVIN COSTNER fidgeted on the plush sofa in the back row of the basement screening room in his Hollywood Hills compound. A slight grimace crossed his face. It's true, Mr. Costner said, he did feel a little uncomfortable. ''I don't usually tolerate people talking through movies,'' he said. ''My kids don't talk. They know.''
Talking during movies is a common annoyance, as anyone who has felt the fierce wave of shushes roll across a theater at the beginning of a movie can confirm. To many filmmakers it is a particular irritation, and Mr. Costner is one of them. But it can't be helped. It's the nature of the event. Mr. Costner has been asked to choose, from his favorite films, one that has some particular strength or resonance to him and to talk about the impact it has had on him and his fresh impressions of it as he sat through another viewing.
On the screen, ''Cool Hand Luke'' begins to roll. Directed by Stuart Rosenberg, a journeyman director of the 1960's and 70's who worked with some of the most popular actors of that period, this 1967 film stars Paul Newman as Luke, a cynical rabble-rouser whose deep reservoir of cool makes him a magnet to fellow prisoners on a Southern chain gang but whose self-destructive, anti-authoritarian streak makes him a target for the guards. ''Cool Hand Luke'' comes from a particularly fertile moment in the history of American film, when movies like ''Bonnie and Clyde'' and ''The Graduate'' were transforming the landscape, and a whole generation of television-trained actors, led by Mr. Newman, were working at the peak of their skills.
''The planets really lined up for this movie,'' Mr. Costner said. ''And that's when movies are miracles. The director, the writer, the actors -- everybody was playing at the top of their game, and that's when you get magic.''
Paul Newman is staggering along a gloomy sidewalk in a dark, quiet Southern town, methodically unscrewing the heads from a line of parking meters. They fall to the pavement with a clunk. He stoops, wobbling, clearly drunk, and gently places each back on the curb before moving down the line.Continue reading the main story
''See, he's not an anarchist; he puts the meter back on the curb, right?'' Mr. Costner said, smiling happily at the screen. ''Paul has great physical movements. You watch. They're vulgar movements, you know. He doesn't look fluid. When he was drunk there, it's a sloppy drunk. It's a laid-down drunk. He doesn't make it pretty or smooth. He makes it real.''
Mr. Newman squats on the sidewalk, tired, eager for another pull from the bottle he carries with him. We hear a car pull up off screen, see the reflection of police lights. Mr. Newman looks up, squints into the lights and then smiles.
Mr. Costner stirred as he watched. ''That's an electric smile,'' he said. ''Look at it. That's the highest order of movie star that there is. That smile, when you give it up, that's a movie star. Newman, McQueen, those guys -- they just took their time before they gave it up, but when they did, well, just look at it.''
He was particularly interested in watching how Mr. Newman played the role, how the actor chose his moments within his scenes, magnifying his natural magnetism with the subtle choices he made in individual scenes. Once Mr. Costner pointed it out, it was difficult not to notice how Mr. Newman rarely interacted with the other actors in his scenes, often not even looking at them as he talked.
''See, he doesn't look at anybody,'' Mr. Costner said. On the screen, Mr. Newman is sitting in the dirt along a dusty roadside. The other men on the chain gang clustered around him, a rogues' gallery of actors who went on to have significant careers but were still relatively unknown performers when the movie was released in 1967. They included Wayne Rogers, Dennis Hopper, J. D. Cannon, Ralph Waite, Harry Dean Stanton and George Kennedy, who won an Oscar for his supporting performance. In the scene, Mr. Newman had recently escaped from the gang, where he was serving a two-year term for his parking meter binge, and lived for several months in the outside world. Now the men wanted him to regale them with how wonderful it was. In fact, it wasn't. But Mr. Newman, his back to the men, smiles to himself and tells the story.
''See, he doesn't look at anybody,'' Mr. Costner said. ''It's like he's saying: 'You want to hear the story? Here's the story.' '' He studied the scene with rapt attention.
''If anybody wants to be a leading man, this is how you do it,'' Mr. Costner said. ''It's just the way you have to deliver these lines. It's just really good film instincts.''
Setting Himself Apart
Mr. Newman is setting himself apart from the group. He always has his own thing going on in his head, and you have to watch him to see what it is. ''Somebody who didn't have the instincts of a leading man would be including the whole group while he told the story, and a director who didn't understand what this role is about might be giving him bad direction, saying: 'Hey, talk to the other guys. They want to hear from you.' But an actor like Paul Newman, who knows, would just say to that director: 'Hey, they can hear me, they can hear me. I don't need to be looking at them. It's better if I'm not.' ''
The same sort of thing happens in a half-dozen major scenes in the film. The convicts are jabbering among themselves while Mr. Newman sits aloof, off to the side, listening and perhaps chiming in when something occurs to him, but rarely even looking over at the men. Usually, the other actors are playing to his profile, or even the back of his head.
''He doesn't look at the other actors, but the other actors check in with him,'' Mr. Costner said. ''You watch. I mean, he does, occasionally, but mostly he's enjoying being by himself, in his own head. He's got his own thing going on, but they're checking in with him. They all want to know what he thinks, what he's doing. But he's never checking in to see what they're doing.''
As a result, Mr. Costner said, you cannot take your eyes off Mr. Newman. You're checking in with him, too.
He gives the other actors nothing, but sometimes nothing can be a really cool hand.
Mr. Costner leaned back in the darkened screening room. Dressed in blue jeans and a gray T-shirt, he rested his feet on a long, benchlike ottoman that stretches the length of the 12-foot sofa that is the last of three rows in his screening room. ''Built it myself,'' he said of the ottoman. ''I like to rest my feet up when I'm watching a movie.'' His two Oscars, for producing and directing ''Dances With Wolves'' (1990), shimmer gently in a glass display case set into the right-hand wall.
Mr. Costner, who turned 46 on Thursday, said that he could not recall when he first saw ''Cool Hand Luke,'' but that he thought he had seen it 10 to 20 times. It is a movie he revisits regularly, he said, and one that he has shown to his children.
''When somebody says to you, 'Pick a favorite movie,' it's hard to narrow them down, especially if you love movies,'' he said. ''So why 'Cool Hand Luke'? I think it's a beautiful movie. It's the antihero at its best. It's like 'The Searchers.' A lot of kids now don't understand how a western can be a good movie. It's because there are so many bad westerns -- you know, so many westerns that are too obvious, too much the black hat-white hat routine. A good movie is very hard to make. In fact, it's almost impossible to make a good movie because there are so many things fighting against it.''
Although probably best known as a Hollywood leading man -- something he has been at least since ''The Untouchables'' in 1987 -- Mr. Costner is also a director whose fights to secure his vision for some of his films (even those he was not directing) has sometimes spilled into public. And since both of the films he directed -- the Oscar-winning ''Dances With Wolves'' and the critically panned ''Postman'' (1997) -- were longer than average, he has been pegged by some as vain and self-indulgent. This is just a flat-out misunderstanding, he said.
''There's maybe an opinion that I like to be in long movies or that I like the vanity of long movies,'' he said. ''But it's simply a function of style and what it is that you love as a filmmaker. I don't love being a movie star. I love movies. And I've always loved the longer narrative.
''It's not vanity, the vanity of falling in love with yourself. I just love subplots. You know how some people say, and you hear this all the time, that they hated the first 100 pages of a book, but once it got going, they really liked it? Well, I love the first 100 pages. And that's what I've always loved about epic movies or the movies that choose not to force themselves on the audience. They just untangle for you.''
Taking Their Time
Certainly, he said, ''Cool Hand Luke'' could not be described as an epic. But there is something about the way it unfolds, the slow buildups, the careful and subtle character moments and the handful of masterly scenes that are allowed to go on longer than the audience might expect, that appeals to Mr. Costner.
''It's a movie that takes its time,'' he said. ''And it has several scenes in it -- I'll point them out as we go along -- that would, in the way movies are made today, almost certainly have been cut out. The common language among studio executives today is, oh, look, we understand what's happening, you've made the point, don't make it again, let's move on. But I don't think movies can exist without fat. I think movies are actually propped up that way. It's not a negative. It's a positive.
''Certainly you have to be judicious about what stays and what goes. You have to be careful not to fall in love with the individual brush strokes so much that you lose sight of the entire canvas. But if you feel a moment has relevance, you must keep it. You have to keep it, and you have to fight for it. A movie is almost like a patient that can't speak for itself. You have to speak for it.''
Take the opening sequence of ''Cool Hand Luke,'' Mr. Costner said. The parking meters are decapitated, first one, then another, slowly, in real time, the squeak of the metal filling the soundtrack, the clunk onto the ground, a pause, a few footsteps, then the next meter. ''If you made this movie today, that would be done as a montage,'' he said. And so much would be lost: the sense of real life, time passing, the effort involved and Luke's awkward, stumbling rebelliousness.
''Great movies are ones that don't rush through their most important moments,'' he said. ''I mean, where are you going when you go to the movies? Are you in a big hurry? If you're in the hands of a careful filmmaker, you should be able to see what it is that sparked him, that made him want to make the movie. But no, nowadays it's hurry up, keep it moving, let's get out of Dodge before the audience gets bored.
''I say, no. No, no, no. Sometimes you've got to just let them hang, to make a point. Isn't that right? I mean, where are they going? They're there to see a movie.''
He cracked open a bottle of mineral water and took a couple of slow pulls. From out of the gloom, a tiny kitten insinuated itself onto his lap, and he stroked it once or twice and then gently lifted it onto the floor.
He had been working all day, on a thriller called ''Dragonfly,'' in which he plays a doctor whose dead wife tries to talk to him. Another of his films, ''13 Days,'' about the Cuban missile crisis, had opened in New York and Los Angeles in December to qualify for the Academy Awards and then went into wider release around the country on Jan. 12. And he has another movie already in the can: ''3,000 Miles to Graceland,'' in which he and Kurt Russell play burglars posing as Elvis impersonators.
It had already been a long day, and he had an early call in the morning to be back on the ''Dragonfly'' set. But he seemed unhurried as he watched ''Cool Hand Luke'' unfold.
Hard at Work
Mr. Costner may have been a leading man for a decade and a half, but he also remembers the days when he played tiny, supporting roles, sometimes little more than wallpaper in the background, even having his role cut out of the 1983 film ''The Big Chill.'' And he said one of the pleasures he has in seeing ''Cool Hand Luke'' again and again is watching the supporting cast members find their little moments, sometimes just moving across the frame in the background, especially now that some of those faces have become more familiar.
''Just keep an eye on Dennis Hopper in this movie,'' he said. Mr. Hopper appears in a handful of scenes, always part of a group of prisoners, often just peering from the back of the shot. He utters not a word, but he still makes a vivid impression. ''Every time he's on screen, he's trying to invent something,'' Mr. Costner said. ''He's a brilliant actor. Just watch for him, search him out in the background. He's always doing something. This is a guy who is working, working, working, and that's why he's had such a long and successful career.''
In one crowd scene, Mr. Hopper can be spotted carrying what looks like a basket and placing it in a kind of locker. After he closes it, he kisses the locker door, for no apparent reason. The camera is not even really focusing on him; he's just one of the prisoners moving through the shot. In another scene, Mr. Newman is working his shovel at the side of the road, talking to another prisoner, when Mr. Hopper glides into the frame, bends down and picks up an empty soda bottle, which he raises to his eye like a telescope.
''There you go, you see what I'm saying?'' Mr. Costner said. ''Every time you see him, he's working hard.''
The Little Things
The way the prison warden (Strother Martin) and the guards are portrayed also drew Mr. Costner's admiration. They are not cardboard villains, and they are not portrayed as stupid. Pains are taken to give them some humanity and to underscore why they might feel a special sense of vengeance in Luke's case.
''That was a very inspired choice, Strother Martin, for this role,'' Mr. Costner said. ''I know it's easy to see in hindsight, but somebody made a really smart decision there. A lot of directors would have gone with a standard sort of tough guy. But here, he's almost effeminate in his meanness, and it makes you feel how really mean he can be.''
Each guard, in turn, is given his own small moment to register a bit of subtlety, perhaps a moment of gentleness or a sudden flash of intelligence in his eyes. The guards' small routines are shown, with tiny details that reveal how careful and canny they are with the prisoners. When one guard, who acts as the movie's silent angel of death, hiding behind mirror shades, wants to use his rifle to shoot some game, he must first pull the bolt from his waistband and slide it into the rifle. A small moment, and wordless.
''Did you notice how the guy put the bolt in the gun to fire?'' Mr. Costner asked. ''This is a guy who is not going to let his gun be taken away and turned on him. It's just a nice bit, a small thing. But it lets you know how smart these guys are.
''You know, it's a promise I made to myself when I went into movies, and I think I drove Brian De Palma crazy on 'The Untouchables.' Because I was always stopping to load my gun or checking to see how many bullets I had left. I always hated how guns in the movies just kept on firing forever. You know what I mean? And the thing is, there's drama in having only six bullets. There's an opportunity for drama, as opposed to just killing somebody else.''
Truth in Gestures
Twice during the movie, Mr. Costner stopped talking altogether and held up his hand as if asking for silence. The first time came when Luke is summoned out of the barracks to meet with his dying mother (Jo Van Fleet), who is lying on a mattress in the back of a pickup truck.
'This is one of my favorite scenes because, again, they let it play,'' Mr. Costner said.
The mother and son have an almost flirtatious exchange. Mr. Newman spends much of the shot with his face cloaked in a shadow, and some of his best lines are played on his mother's face. When his young nephew gets out of the truck and asks about the chains on his ankles, Mr. Newman says, ''You know, these chains aren't medals,'' and instead of watching Mr. Newman deliver the line, the camera cuts to Ms. Van Fleet's face as she registers the pain.
''Let me tell you, this scene would be cut by 9 out of 10 movie studios today,'' Mr. Costner said. ''If they were looking to trim the movie -- and they're always looking to trim the movie -- this scene would have gone in an eye blink.''
The second time Mr. Costner gestured for silence was during what has become the movie's most famous scene, largely on the strength of its unforgettable dialogue.
Luke has escaped and has been recaptured, and in the shot he is returned to the chain gang. A car stops on a rise overlooking the ditch where the men are working. Mr. Martin emerges from the car first, and then Mr. Newman. Now, though, Mr. Newman has a new set of chains on his ankles as a punishment for having tried to escape.
''You gonna get used to wearin' those chains after a while, Luke, but you're never gonna get used to listenin' to them clinkin','' Mr. Martin says. ''They're gonna remind you of what I've been sayin': they're for your own good.''
Luke smirks in response. He says, ''I wish you'd stop bein' so good to me, Cap'n.''
Mr. Martin, suddenly enraged, lashes out at Mr. Newman, who falls to the ground and rolls into the ditch. Regaining control of his emotions, Mr. Martin tries to explain his outburst to the convicts below. ''What we've got here,'' he says, ''is a failure to communicate.''
Mr. Costner smiled and gently slapped his knee with one hand as the scene ended.
''What I like about that scene is, well, all of it,'' he said. ''It's just so good. It's really great dialogue. And I like it that when Strother hit him, he hit him in the neck. It looked so sloppy, almost funny. I mean, somebody made that choice. The obvious thing would be to hit him in the face or the stomach, but he just kind of lashes out and hits him on the side of the neck. Kind of clumsy, you know? But it feels more true, because that's the way violence really is. It's sloppy. It's not a perfect fist to the chin.''
What Really Counts
So many of the moments that catch Mr. Costner's eye are acting moments for Mr. Newman -- maybe a physical thing or a small movement of the eyes. Once, when the chain gang breaks for a meal, a shirtless and dirt-streaked Mr. Newman plops down on his back, closing his eyes and stuffing a spoonful of food into his mouth. He lets go and just lets the spoon sit there, sticking out of his mouth like a totem, bobbing back and forth as he chews. ''That's a true Paul Newman bit right there,'' Mr. Costner said.
He also pointed out the different ways that Mr. Waite's and Mr. Newman's characters reacted to being locked in the camp's punishment box, a kind of solitary-confinement outhouse. Mr. Waite blubbers and slinks into a corner as the door shuts on him. Mr. Newman just stands there, emotionless, maybe even a little cocky. ''You can tell from the way Paul plays it that Luke is a guy who doesn't feel bad about the idea of being alone,'' Mr. Costner said.
When the movie ended, the lights slowly came up and Mr. Costner rose and stretched out his back. He was due on the set in less than eight hours.
''I'm glad we watched that,'' he said, smiling. He walked slowly up the stairs, past a line of posters for movies that he admires, including ''Cool Hand Luke,'' and out into the warm evening, dark foliage overhanging the courtyard and the lights of the city rolling on to infinity below. As he walked, he tried to explain why he watches ''Cool Hand Luke'' so often, and why he enjoyed having his children see it, particularly his son, Joe.
''I guess it's because the movie says there's a way that men should behave,'' Mr. Costner said. ''It's about being your own person, about how men will desert you when, somehow, you don't live up to their expectations. And it's just something about the whole figure of the antihero. You know, Luke dies, but everybody still wants to be Luke. You want to be an individual. Right? Sometimes the outcome isn't great, but at least you leave a mark.''
A Career From 'Fandango' to 'Graceland'
Highlights of Kevin Costner's career, along with information on ''Cool Hand Luke.''
What They Watched
''COOL HAND LUKE.'' Directed by Stuart Rosenberg; screenplay by Donn Pearce and Frank Pierson; cinematography by Conrad L. Hall; music by Lalo Schifrin. With Paul Newman, George Kennedy, Strother Martin, Jo Van Fleet, Dennis Hopper and J. D. Cannon. 1967. Warner Home Video. 126 minutes. $19.98.
As a Director
''THE POSTMAN.'' With Mr. Costner, Will Patton, Olivia Williams and Laurenz Tate. 1997. Warner Home Video. 178 minutes. $19.98.
''DANCES WITH WOLVES.'' With Mr. Costner, Mary McDonnell, Graham Greene, Rodney Grant. 1990. MGM Video. 181 minutes. $29.98.
As an Actor
''3,000 MILES TO GRACELAND.'' Directed by Demian Lichtenstein. With Kurt Russell and Christian Slater. To be released on Feb. 23.
''13 DAYS'' (2000). Directed by Roger Donaldson. With Bruce Greenwood and Steven Culp. In theaters.
''MESSAGE IN A BOTTLE.'' Directed by Luis Mandoki. With Robin Wright Penn, Paul Newman and John Savage. 1999. Warner Home Video. 131 minutes. $19.98.
''TIN CUP.'' Directed by Ron Shelton. With Don Johnson, Cheech Marin and Rene Russo. 1996. Warner Brothers Video. 133 minutes. $19.98.
''WATERWORLD.'' Directed by Kevin Reynolds. With Dennis Hopper and Jeanne Tripplehorn. 1995. MCA Home Video, 136 minutes. $26.98.
''WYATT EARP.'' Directed by Lawrence Kasdan. With Dennis Quaid and Gene Hackman. 1994. Warner Home Video. 191 minutes. $24.98.
''A PERFECT WORLD.'' Directed by Clint Eastwood. With Mr. Eastwood, Laura Dern and T. J. Lowther. 1993. Warner Home Video. 138 minutes. $9.98.
''THE BODYGUARD.'' Directed by Mick Jackson. With Whitney Houston and Gary Kemp. 1992. Warner Brothers Video. 129 minutes. $19.98.
''ROBIN HOOD: PRINCE OF THIEVES.'' Directed by Kevin Reynolds. With Mary Elizabeth Mastrantonio and Morgan Freeman. 1991. Warner Home Video. 144 minutes. $19.98.
''J. F. K.'' Directed by Oliver Stone. With Sissy Spacek, Joe Pesci, Tommy Lee Jones and Gary Oldman. 1991. Warner Home Video, director's cut. $19.98.
''FIELD OF DREAMS.'' Directed by Phil Alden Robinson. With Amy Madigan, James Earl Jones, Burt Lancaster and Ray Liotta. 1989. MCA Home Video. 106 minutes. $9.98.
''BULL DURHAM.'' Directed by Ron Shelton. With Susan Sarandon, Gene Hackman and Tim Robbins. 1988. MGM Video. $14.98.
''NO WAY OUT.'' Directed by Roger Donaldson. With Gene Hackman and Sean Young. 1987. MGM Video. 114 minutes. $9.94.
''THE UNTOUCHABLES.'' Directed by Brian De Palma. With Sean Connery, Robert De Niro and Charles Martin Smith. 1987. Paramount. 119 minutes. $14.98.
''SILVERADO.'' Directed by Lawrence Kasdan. With Kevin Kline and Scott Glenn. 1985. Columbia TriStar. 132 minutes. $14.98.
''FANDANGO.'' Directed by Kevin Reynolds. With Judd Nelson and Sam Robards. 1985. Warner Home Video. 91 minutes. $9.98.
Watching Movies With . . .
This article is the fifth in a series of discussions with noted directors, actors, screenwriters and cinematographers. In each article, one filmmaker selects and discusses a movie that has personal meaning. Previous articles focused on Quentin Tarantino, Janusz Kaminski, Ron Howard and Curtis Hanson.
A list of Kevin Costner's films in Weekend on Friday with an article about watching ''Cool Hand Luke'' with Mr. Costner included an erroneous credit for the actor Gene Hackman. He did not appear in ''Bull Durham.''


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NT Footnotes Now in Hardback
Posted by Kevin Barney on February 10, 2007
See the announcement at BCC here.
3 Responses to "NT Footnotes Now in Hardback"
February 10, 2007 at 8:30 pm
Shameless, shameless self-promotion!
Has anyone here not seen the "Abraham Seminar" yet?
February 11, 2007 at 9:34 am
Kevin, thanks very much. I will have to order mine right away. It will be very helpful to have this resource at hand.
Sorry, the comment form is closed at this time.

subset: commoncrawl


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Next Episode of Degrassi High is
not planed. TV Show was canceled.
The young denizens of Degrassi Street in Toronto, Canada, have graduated from two television series, The Kids of Degrassi Street and Degrassi Junior High. Degrassi High confronts life as teenage high school students during the heady, late 1980s. This sometimes-controversial series confronts serious issues (adolescent pregnancy, AIDS, suicide) in a head-on way.
The whole school is thrown into turmoil when a student commits suicide at school – especially Caitlin, since the student is her ex-boyfriend, Claude.
Life begins to go on at Degrassi, but should they go through with Talent Night? Meanwhile, Caitlin begins to have nightmares about Claude's suicide.
Spike invites Snake to the graduation formal, but then Michelle – whom he'd really rather go with – invites him. What's a guy to do?
The year's last dance takes on new significance when the news comes out. It's not just the year's last dance. It's Degrassi's last dance.
Pat Mastroianni(Joey Jeremiah)
Dayo Ade(Bryant Lester 'BLT' Thomas)
Stefan Brogren(Archie 'Snake' Simpson)
Stacie Mistysyn(Caitlin Ryan)
Anais Granofsky(Lucy Fernandez)
Angela Deiseach(Erica Farrell)
Maureen Deiseach(Heather Farrell)
Sara Holmes(Allison Hunter)
Cathy Keenan(Liz O'Rourke)
Kyra Levy(Maya Goldberg)
Maureen McKay(Michelle Accette)
Amanda Stepto(Christine 'Spike' Nelson)
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I've had a bucket list floating around in my head awhile but just hadn't put it on paper yet! However, I knew it needed to happen soon if we wanted to actually make these ideas turn into memories!
Here's what we came up with!
*Sunshine indicates things we've already done
Some more things that didn't make the list: Take Andrew to see the Rodeo this year for the 4th of July, take him on a ferry ride (He's never been!), go to the local Shakespeare Festival in the park, help Andrew catch a bug for his bug catcher, visit a new fro-yo place in town (Soo excited that our small town has one finally!!), get something to wear for summer that is fun & bright, & get our birth playlist figured out. So there you have it!
What's on your list this summer?! Any fun traditions? Anything new you're looking forward to?


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On what's becoming more and more of a regular occurrence, I woke up this morning on Jon Larsen's floor to the sound of Beach House on repeat. Jon has a hard time falling asleep without noise, and thus he's in the habit of playing music rather loudly from the moment he starts yawning to when he wakes up at 7 P.M. Jon doesn't like being awake. The only thing he hates worse is silence.
Groggily I got to my feet and checked my pockets for items I might have lost. All there. I looked over at Jon's protracted body lying awkwardly on his bed and remembered my dream from the night before, a dream where I'd woken up to find Jon in the same position, only now dead. In the dream I called 911 and calmly told the dispatcher, "I think my friend is dead. There's probably no reason to send paramedics but I imagine it's customary for these types of things." Afterwards I hung up the phone, grabbed one of Jon's film cameras, took a photo of his now vacant face and put the camera down. Then, for whatever reason, I'd update my Facebook status. The fact that I was updating my Facebook in a dream after I found Jon's dead body is fucked up. Social media is so invasive that I can't escape it even in sleep. But that's not the point. The point is, I obviously couldn't write, "Jon Larsen is dead," on my wall, as it's become such an expected catch phrase that it might as well be copy-writed, and if I did write that, no one would bat an eyelid. Instead I wrote, "Life imitates art," and kept it good at that.


text: Activator 6.0.0 Administrator Guide Automatic replacements Activator can send end-entity certificates to a community's partners to replace certificates. Activator can send partners a replacement once a community has generated or imported a new self-signed certificate or imported a new CA certificate. Partners can signal acceptance or rejection of the new certificate. Administrators can make the process fully or semi-automatic. Activator supports Certificate Exchange Messaging (CEM)for EDIINT trading. This enables trading partners to exchange public-key certificates and replace certificates that are about to expire, have been compromised, or need to be replaced for other reasons. The user interface uniformly handles CEM through: Sending certificate exchange messages Managing sent certificate exchange trust requests Managing received certificate exchange requests Scope of CEM support The CEM standard encompasses certificate exchanges between partners who use the AS2 message protocol. Activator supports CEM for AS2 . The protocols are supported for Activator communities and partners who use Activator or a third-party interoperable trading engine. Overview of exchange process After a trading relationship has been established, a community may get another certificate and public-private key pair, either by generating a self-signed certificate or importing a P12 or PFX file. The certificate can be for use by the community for signing and encrypting messages or use as an SSL or TLS server certificate. Obtaining a new certificate triggers Activator to check whether the community supports CEM by having an active EDIINT delivery exchange. It also checks whether any of the community's partners have an active default corresponding delivery exchange. If so, the community has the option of sending certificate exchange messages containing the new certificate to any or all partners. The UI displays the partners grouped by CEM. If the community chooses not to send any CEM certificate exchange messages, the certificate is installed normally. However, if the community chooses to send any certificate exchange messages, the UI stops short of installing the new certificate and just adds it to the certificate store and the proper key store. When selecting the partners to receive certificate exchange messages, the community sets a date and time for partners to respond, or else the new certificate is installed automatically. CEM defines this "respond by date." Once every partner has responded to accept, the certificate is installed automatically, and any previously scheduled installation is cancelled. Types of certificates in requests Certificates used for the ordinary purposes of signing, encryption and SSL can be sent in CEMrequests for acceptance by partners. There are some variations in the way Activator handles certificates slated for different uses that you should know about. Encryption When a community sends a request for a new encryption certificate, the community must be prepared immediately to receive messages from partners encrypted with the new certificate and the old certificate the new certificate is intended to replace. Activator handles this without user intervention. Upon receiving an encrypted message, Activator determines the public key used to encrypt and uses the proper private key from its key store to decrypt. Signing and SSL A community uses a signing certificate to sign outbound messages. SSL certificates are used to authenticate a client or server. When a community sends a request for a new signing or SSL certificate, the community does not implement the certificate unless one of the following conditions is met: The respond-by date in the request has passed and no partners have sent a response rejecting the certificate. This means absent any responses — positive or negative — by the respond-by date, the community implements the certificate when the respond-by date has passed. On or before the respond-by date, all partners have returned responses accepting the certificate. If all partners respond positively before the respond-by date, the community implements the certificate when the final positive respond has been received. If only one partner sends a response rejecting the certificate, the community does not implement the certificate. Moreover, upon accepting a new signing certificate, a partner must be able to accept messages from the community signed by either the new certificate or the old certificate the new certificate is intended to replace. External resources CEM is a draft standard of the Internet Engineering Task Force (IETF). The IETF draft is available at the following URL: Related Links


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Sunday, February 28, 2010
Nicole Izmaylov Nominated for GAYA Award
FutureWord is overwhelmed with excitement for Nicole Izmaylov who will be dining among other nominees for the 46th annual GAYA (Georgia Author of the Year Award) on June 19th at the Kennesaw State University.
Nicole received the notice by mail along with silver labels to distinguish her book, Ronnie and BB as a candidate for this prestigious award. Each year an author is presented with this honor by the Georgia Writers Association.
FutureWord has been flooded with email addresses requesting press releases and any details that can update magazines or media,as well as inquiries about the GAYA Award.
Nicole's first book is about Ronnie, a bumblebee who meets up with a mole named BB. These two characters, created by Nicole Izmaylov, share her message in an acrostic poem that reminds the readers that love and friendship are never to be taken lightly. Her twenty-four page children's book is perfect bound 8.25 by 8.25 with colorful illustrations by Valerie Bouthyette.
Nicole's first book sales were contributed to Lily's Run to help a young cancer patient with receiving the needed medical care.
Sales records reflect that she was able to match Amazon sales with her books signing sales over a 45-day period.
Cheryl Haynes, publisher at FutureWord gave the following account of her interview with Izmaylov before she agreed to a contract.
"Nicole interviewed with me by telephone prior to re-submitting an acrostic poem-story. I asked her if she was familiar with acrostic poetry. Publishers seek authors who can supply what the publishers believe the readers would enjoy. At the time I saw the need for acrostic poetry. It wasn't until after I spoke with Nicole that I truly realized how skilled she was in literature and poetry. I made an agreement to see what she could do with acrostics when she said she worked with acrostics in the past. Within an hour, I received the first draft of the poem-story converted into an acrostic. I was baffled by how versatile she was for a twelve-year-old. It's not every day that you meet someone so young with such great talent. That's when I decided on working out a contract."
Nicole was born in Atlanta and received national recognition for literary and musical compositions during her elementary school years, as well as various times throughout middle school. Her personal interests include: writing poems, playing violin and piano, and acting in the drama club at her school. She is now attending seventh grade at Webb Bridge in Alpharetta, Georgia.
A copy of the original press release can be found on this web site link at the FutureWord web site.
FutureWord also posted a copy of Nicole's nomination letter on the same headline page for everyone to reference for information about the award event.
FutureWord has seven more titles coming out this year from various authors across the United States, but Haynes says she believes she tapped into the best "Authors of the Future" right out of Georgia.
For more information about ordering books for Ronnie and BB, email the publisher at: firstname.lastname@example.com.
384 E Goodman Road, Southaven, Ms 38671.www.futureword.net | Fax (901)-(672-6303)
901-217-8514 office


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Nike Free 5.0 Gets the Royale Treatment
No matter how tired of kaleidoscopes you think you are, this CG-free work for Nike by Royale kicks proverbial butt, "The effects were created completely in-camera on the RED EPIC. To achieve this, we built special rigs; painstakingly positioning the kicks to create multiple levels of reflections and patterns.
"We needed a highly visual way to show off just exactly how lightweight and flexible the Nike Free 5.0's are, while also featuring them in an array of colors. Building a practical kaleidoscope felt like the right thing to do. This is a global, multifaceted campaign, where our designs live happily in video, print, out of home and in interactive retail spaces."


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If you're planning on purchasing a warranty or insurance policy for your car, you should know the utility of it. In other words, is it useful? Is it needed? Regardless of how you purchased your car (i.e.: from a dealership, or through a private sale), you are required by law to have auto insurance. Each state's auto insurance requirements are different, so before choosing an insurance policy, consult your state department of insurance to find out what coverage your state requires.
After you have found this out, you should start comparing providers. Narrow your options down to reputable providers, and research consumer reviews of the company. Choose a provider that you are confident in, but one that also gives you the most bang for your buck. Try to strike a balance between reputability and economy. It's important to pay a fair price for the coverage you receive. Kelley Blue Book (KBB) offers an abundance of helpful advice on choosing the right insurance policy so if you are ever in doubt, visit KBB.com.
Whether or not to purchase a warranty for your car is a subject of considerable contention. Warranty companies will tell you that buying a warranty, whether standard or extended, is a prudent decision. However, it is important to remember that you are required by law to have auto insurance, however limited or extensive it is.
Some, if not many consumer experts would argue that because you have auto insurance, there is no need to purchase a warranty. However, if you have a questionable driving record, or are accident-prone, purchasing a warranty may be a wise decision for you.
Once you've decided whether or not to buy a warranty, it's time to choose what type you want or need. Do you want to purchase the warranty from the manufacturer, or from a third party? Do you want a standard or extended warranty? If you opt for the standard manufacturer's warranty, anytime your car needs to be repaired, employees familiar with the make of your car will repair it, and any parts you may need will be readily accessible.
There is one caveat however: if you are responsible for the damage, the warranty will usually not cover the damage. Refrain from purchasing a warranty from a third party, as they are frequently criticized for their questionable business practices, and have limited access to parts your car would need, should it be damaged. It is advised that when buying a warranty, you choose the manufacturer's warranty.


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|Pope Francis I - CNA photo
What's in a name?
In the 12th and 13th centuries, there were a great many new things in the Church: new wealth, new merchantile middle class, new forms of social organization and interaction (communes, Italian city-states, international banking), new technologies (mills, clocks, farming), a wave of urbanization, the whole phenomenon of the Crusades, and also new forms of poverty. The Church, in the midst of one of its most vital and flourishing periods, certainly developed responses to these new social realities. One of the most effective and enduring was the university. Others included the monastic reforms of the 12th century (Cluny, Bec, Citeaux), and (very "Vatican II"-ish) much greater lay participation in the sacraments and the divine office.
Most of these responses, reasonably enough, were an extension of the existing institutional church structures - parishes, monasteries, cathedral schools, systems of patronage, etc. These things worked, and they were brought to bear on the new challenges facing the Church because they could still work well in new ways. They were largely successful in this, and the Church continued to flourish.
But one of the radical, unexpected responses of the 13th century was Saint Francis, with his radical devotion to poverty and the poor, his insistence that the Gospel was itself the fundamental rule of Faith, and his refusal to let social and institutional norms and prerogatives limit the ministry of the Church. In particular, Saint Francis made the love of poverty apostolic again, in an age when it had largely been taken over by heretical, anti-clerical and anti-sacramental dualists. "Rebuild my Church" was a command with a much greater spiritual than institutional meaning, as St. Francis learned and then taught.
The parallels to the present day are suggestive, albeit inexact. As in his day, the Church today faces many new things, especially of economic significance (globalization), which have already caused huge dislocations in traditional social mores all around the world, including the appearance of new forms of poverty.
I think that, in choosing the name Francis, our new Holy Father is (at least in part) indicating his great desire to put all the resources of the Church to bear on these challenges - especially the spiritual ones, and the unexpected ones that flow directly from the Gospel itself, not just what is canalized in the institutions of the Church (potent and necessary though these can be). This is a continuation of the clear teachings of John Paul II and Benedict XVI, who stressed repeatedly the importance of strong spiritual foundations, and how to build them up in the life of the Church. The explosion of Catholicism in the southern hemisphere, especially among the young, which we also see here to a lesser degree, is a demonstration of what happens when we get the foundations right.
Here in the Midwest, we have to continue to rebuild the foundations - good liturgy, Adoration, the Rosary, a culture of marriage and pro-life vision, priestly and religious vocations. For us, radical witness to the Gospel is not poverty and the rejection of wealth, as in the 13th century, but evangelical hospitality and charity, a rejection of the selfish egotism and statist indifference that destroys marriages, parish life, and the lives of the unborn and the elderly.
We have to reclaim caring for the spiritually lost as apostolic practice by Christians. May God bless and guide our new Holy Father, Pope Francis I, and make fruitful all his ministry for Christ! Viva il Papa!


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You can update your billing information with Vendasta via the following:
- Log into Vendasta Partner Center
- Click on Administration > Billing.
- Select Manage Billing Info in the upper right hand corner. Note that this might take 5-10 seconds to open the link, as it opens a secure portal into our secure billing system
- Click on Payment Method along the left hand side of the screen
- Now select Add a Payment Method
- Enter all your credit card information and click Create. Please fill in the address field with the address associated with the credit card.
- When you enter this information, you will see a check box directly above the create tab. This box will ask if you want to apply all outstanding charges to this card.
- If the card was accepted, you will receive an email saying that your payment method has been updated and, if applicable, that payment has been processed.
- If you receive a message saying the card has been declined, the likely cause is that your credit card company is blocking the transaction because it is an international payment. Please contact your credit card company and ask them to allow all transactions from Vendasta Technologies Inc.


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Pat Connaghan inducted into St. Eunan's Hall of Fame
Former Donegal Co Board chairman, Pat Connaghan, was inducted into the St. Eunan's Hall of Fame at their presentation night on Saturday night.
Connaghan, who now resides in Killybegs, was a prominent St. Eunan's clubman and player in his early days. He is presently still involved at Co. Board level, being one of the Donegal Ulster Council delegates.
Among the other award winners on the night were - Senior Player of the Year, Lee McMonagle; Reserve Player of the Year, Aidan Friel and Junior Player of the Year, Mark Forde.
Conor Parke picked up the U-21 Player of the Year award with Niall O'Donnell awarded the Young Player of the Year.
Conor O'Donnell was presented with the U-21 Hurler of the Year award while Catherine Fletcher was winner of the Lady Player of the Year.
Other Appreciation Awards went to Mary Maguire (Gradam Culturtha na Bliana); Michael Mulhern (Club Person of the Year) and Canon Stewart Wright and his wife Eva.
Special guest on the night was Ulster Council President, Michael Hasson.


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Anne Burrell reveals the worst thing she tasted on her new Food Network show Worst Cooks in America: "The turnip surprise. It was hollowed out turnips and rutabagas, stuffed with tri-tip beef, asparagus, and rhubarb, tossed in a saute pan and put in the oven– no salt, no oil, whole turnips, completely raw. Everything was weird looking, and completely unpalatable."
[Yum Sugar]
Daniel Boulud shares his favorite places to eat in New York, including the obvious (Corton, Eleven Madison Park, Blue Ribbon), as well as Aldea, Salumeria Rosi, and Daisy May's BBQ, whose pulled pork he uses to pimp out the Piggie burger at DBGB.
The Food Network will start shooting the second season of Alex's Day Off next month, a program that follows Chef Alexandra Guarnaschelli of Butter when she's not running the restaurant.
[Grub Street]
Ever wonder what your favorite celebrity chef looked like as kid? See Anthony Bourdain in his long-haired glory, Giada de Laurentiis before the cleavage, and Rachael Ray in a fun feathered 80s 'do.
[Food Network Humor]


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(FRENCH LICK) - Drivers going from, to, and through French Lick may need to find another route when a portion of IN-56 gets shut down for construction.
The Vincennes office of the Indiana Department of Transportation says a section of IN-56 between IN-545 and IN-145 in Orange and Dubois Counties will be closed off in a couple weeks to allow workers to resurface the road and lay pipe underneath.
The shutdown is scheduled to begin Monday, June 16th, and continue through Saturday June 21st.
Local traffic will still be allowed as driveways should still be accessible, however, through traffic will not be allowed, and they will be routed via IN-545 to IN-164 to IN-145.
Have a question or comment about a news story? Send it to email@example.com
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Experience: 1 yrs.
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Yeah, Deacon, whoever saw anything positive in Lieberman was wrong. Whenever I think of him, I remember Ann Coulter's description of him as a member of the world's smallest club: "Orthodox Jews for partial birth abortion." Politics has always trumped everything else with Lieberman.
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Disappearing gun carriages were invented in Europe and perfected by the United States army ordnance officers. The design of the carriage utilized a counterweight system with massive lever arms to support the gun. The protective wall concealed the guns. After the gun was loaded and aimed, a counterweight, located in a large pit below the gun, was released to raise the gun to the firing position.
When the weapon was fired. the upper ends of the arms recoiled backwards and downwards, which simultaneously raised the counterweight attached to the opposite ends of the lever arms. This action placed the gun back in position for reloading, safely behind the wall and away from the enemy's view.
I was so impressed by what I had read about Fort Mott that I had to go see it. I was even more impressed when I got there and saw the massive size of the parapet and the size of the gun emplacements. I could only imagine the size of the guns that used to be there.
Copyright © 2001-
, Terry Muse
Revised: October 8, 2001
URL: http://www.coastalheritagetrail.tripod.com
Contact: Terry Muse
Coastal Heritage Trail | Delsea Region


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Football trading : Today's Football
Football, Soccer - whatever you call it. It is the beautiful game.
- Posts: 381
- Joined: Tue Oct 25, 2016 12:50 pm
Every trader and his dog now throwing stuff at the tv!
Looking to be a good day all round for Liverpool
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- Joined: Tue Oct 25, 2016 12:50 pm
- Kafkaesque
- Posts: 498
- Joined: Fri Oct 06, 2017 10:20 am
Indeed. The results, along with Tuesday being make or break for Pool and Spurs in the CL, did make me have a check on the fixtures/results. A few things of interest to me.
- City have played all five top six opponents (assuming you still consider United that), with four of them away, so a good second half of the season on that count.
- Pool played four of the five, with United upcoming next weekend, at possibly the worst time to get them.
- Spurs played five of five (three home, two away) and also having played six home and ten away overall.
If Liverpool don't do the business on Tuesday, and will be doing Thursday nights in Europe next year, I'll be laying Liverpool. Of course under the assumption that the market doesn't respond before I get in, but wouldn't think so after today's results. It would be an even lay if Spurs pull off a miracle on the same night.
I just wish there was more liquidity in the top 2 market, as that would be a more interesting lay position.
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Doubt it's worse than mine (if it's the PL official one) Current week rank 5.6 million-ish out of the nearly 6 million teams....that shouldn't even be possible with quite a few of those teams likely abandoned by now!!! Okay, I have three Everton players tomorrow with Richarlison captain, but it still stings, as the same thing happened last season, where I had the worst week by a mile the week preceeding the Cup, and not even "qualifying". If it happens again....
Maybe 1/4 stakes lay on Barca in the hope they are not at the races..... although generally laying the better side at home level in football is the road to the poor house. Depends if Spurs can get a foothold early and settle into it? I am not convinced either way. Maybe wait for Barca 1-0 then lay.....? Depends if Barca look like they are at a friendly and the crowd get on their backs? Sorry nothing concrete to offer just a few musings...... In fact make it 1/5 stakes!!!
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Dropping odds after Barcelona's team announced.
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Car backup cameras: A way to prevent back-over accidents?
Every year, roughly 100 American children under age 5 die and about 2,000 are injured when vehicles back over them.
That danger soon may be minimized. In December 2010, the U.S. Department of Transportation proposed that most cars be equipped with backup camera systems. The proposal aims to help eliminate blind spots behind vehicles that can obscure the presence of bystanders, especially small children and the elderly.
"There is no more tragic accident than for a parent or caregiver to back out of a garage or driveway and kill or injure an undetected child playing behind the vehicle," U.S. Transportation Secretary Ray LaHood said in announcing the backup camera proposal.
The proposal was required by Congress as part of the Cameron Gulbransen Kids Transportation Safety Act. The federal law is named for a 2-year-old boy who was killed when his father accidentally backed over him in the family's driveway.
In all, an average of 292 deaths and 18,000 injuries occur each year in the United States as a result of back-over crashes, according to the National Highway Traffic Safety Administration. Those numbers could be cut by as much as half if back-up camera systems become standard, the safety agency predicts.
Many of these back-over accidents are a result of a significant blind spot behind vehicles. On average, sedans have a rear blind spot of 12 feet. For minivans, that number increases to 13 feet. SUVs have a blind spot of 14 feet, and pickups top the list with an average blind spot of 30 feet.
Auto manufacturers say they're working with federal officials on the camera proposal.
Broadening the rear view
The proposed rule would expand the required rear view for all passenger cars, minivans, pickup trucks, buses, and low-speed vehicles weighing up to 10,000 pounds. This expanded view would allow drivers to see directly behind the vehicle when the transmission is in reverse.
To comply with the proposed mandate, auto manufacturers almost certainly will install video cameras on the back of vehicles, along with interior video displays. Ten percent of new vehicles must comply by September 2012. That number climbs to 40 percent by September 2013 and 100 percent by September 2014.
Ford Motor Co. says rear-view cameras will available on nearly all Ford and Lincoln models by the end of 2011. Jim Buczkowski, director of electrical and electronics systems engineering at Ford, says the automaker's research "shows that visibility is one of the biggest customer concerns today."
Some vehicles already have cameras installed, but they are used more for parking assistance than for safety, says Wade Newton, a spokesman for the Alliance of Automobile Manufacturers. Consumers interested in rear-view cameras for their cars do not need to wait for a new vehicle, though. Cameras can be purchased and installed in older vehicles.
A check on Amazon.com found that a backup camera and video monitor could be purchased together for roughly $70 and up.
Weighing costs and benefits
When seat belts initially were required, some balked at the idea, consumer advocate Christopher Elliott says. Just as seat belts now are the norm, rear-view cameras will become standard, Elliott says.
Installing cameras in vehicles may cause the price of a car to increase slightly, Newton says. When the federal government's final rule comes out -- Feb. 28, 2011, is the deadline -- auto manufacturers will have a better idea of what equipment they'll need to install and what price adjustments need to be made, he says.
In a year's worth of auto manufacturing, equipping a fleet of 16.6 million new vehicles with backup camera systems would cost $1.9 billion to $2.7 billion, according to an estimate from the National Highway Traffic Safety Administration.
Costs for a rear-view video system are estimated at $58 to $88 for a vehicle already equipped with a navigation system or another type of visual display, according to the National Highway Traffic Safety Administration, and at $158 to $189 for a vehicle requiring a dashboard-mounted video monitor.
However, those costs could be offset by lower auto insurance premiums.
Auto insurers use a driver's claims history to set rates. If built-in cameras are found to reduce accident frequency and severity, that could lead to a reduction in insurance premiums, says Michael Barry, a spokesman for the Insurance Information Institute. Discounts may be offered to those who already have backup cameras, but only after a track record of safety has been established, Barry says.
Elliott, the consumer advocate, wholeheartedly embraces backup cameras. Several years ago, Elliott was backing his car out of the garage but didn't see his daughter, who had gotten out of the house without his knowledge. Elliott came within inches of crushing her with his car.
"With a camera," Elliott says, "I would have seen her."
Putting safety first
Until backup cameras become mandatory, experts offer these tips on how to be a safer driver when you're in reverse:
- Walk around the back of the vehicle before hopping in, Elliott says. This will help you detect any people or objects that you may not have seen from the driver's seat.
- Use all of your vehicle's mirrors when backing up.
- Warn children of the dangers of playing around parked cars, and remind them to be aware of vehicles moving in reverse.
- Put all child passengers in your car before putting the key in the ignition.
- Make sure you know the location of family members who are not traveling with you before backing out of a driveway or garage.
--Rachel Hartman and


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Trying to capture the entirety of a weekend-long festival in a single write-up always seems a ridiculous task. Trying to capture the Cape Town leg of Synergy Live 2013 approaches Sisyphean. Synergy was riddled with problems from start to finish. Even before the start, actually. Some of those problems were really quite catastrophic. And yet there didn't seem to be very many people present who didn't enjoy themselves. It was kind of like the response received from the risk-averse when getting off one of the festival's more exhilarating carnival-type rides: sure, it was fun, but can you explain why?
This was Synergy's 6th year of existence in its current form, and was meant to be its biggest. Four overseas acts were brought down (the same number as the country's biggest festivals, Oppikoppi and Rocking the Daisies, managed) and a line-up sampling some of South Africa's best talent – past, present and future. As it turned out, it was one of the lowest turn-outs they've had in years. Exact figures aren't available (for what are probably pretty obvious reasons), but suffice it to say that the festival area was considerably downsized from previous years and it still never felt close to full. There are a few possible explanations for this. First is that they threw the festival the same weekend as Plett Rage, and so the festival took the ballsy but ultimately misguided decision to think that 18 year old kids, strapped with mom and dad's cash, would choose to come to this over the institution that is Plett Rage. The second is that it happened the same weekend as Kinky Disco, whose attendees would usually be expected to populate the Mainstay Beach Bar for much of the weekend. The third and most obvious is that they simply didn't do enough beforehand to convince people that the experience as a whole would be worth the R550 ticket price.
Beatenberg opened the main stage on Friday afternoon. With the success of their single 'Chelsea Blakemore' and the name they've been building for themselves, one might have expected them to pull a large audience, and considering their time slot they did eventually end up with quite a few people present. They've very quickly and with seemingly little effort settled into the 'hip' pop niche. Their set was great, with Matthew Field's falsetto particularly impressive. Ross Dorkin goofed around, all knees, on bass guitar and Robin Brink was a standout on the drums. Other Friday highlights included Gateway Drugs, who redeemed their Rocking the Daisies technical mess-up with a wonderfully energetic performance which had their devoted audience singing along, even to the unreleased songs off the upcoming 6-track, Hearts Break, and The Plastics, who showed why they're still such an exciting act, with last year's hit 'Stereo Kids' going down particularly well.
Saturday afternoon saw The Aztec Sapphire play at their first major festival. It was the last time they were performing their current set, and as usual they knocked it out the park, in spite of some pretty awful technical problems, with their trio of singles, 'Visitors', 'Conflicted', and 'The Instinct of Boyhood' getting a particularly good response. On the electro stage, Daddy Warbucks drew a diverse crowd and had all of them dancing, and he was followed by Headphase, who impressed too. On the main stage, Al Bairre and Shortstraw played back-to-back in possibly the funnest two hours of the main stage. Al Bairre's frontman Nick Preen proved why he's one of the most entertaining front men in the country, getting up to all sorts of ridiculous antics, including putting guitarist Kyle Davis on his shoulders for longer than one would think possible and looking up the 'skirt' of Assembly Radio's Dylan Lazarus' owl costume.
The run-up to the festival did represent a major coup for Kyle Brinkman's (Das Kapital) Cape Town-based label, Do Work Records. They managed to get three of their artists – RVWR, Leechi and Das Kapital himself – playing back-to-back in prime slots on Saturday night at the Red Bull stage. They labeled the three-hour-long period the '#DoWorkTakeover', and it was a chance for them to make a serious splash and statement. But rather than relying on their own abilities behind the decks, they saw fit to incorporate additional elements to their show, including dancers, a saxophonist and an MC. It was a bold move, and one that, unfortunately, really, really didn't work. It is incredibly difficult for four dancers on stage during an electro performance not to look awkward, and it doesn't help at all when it appears that just about zero choreography work went in beforehand. They came on stage repeatedly throughout the period and it turned out to be about as awkward as it could have been. But if that was slightly cringe-worthy, the MC was downright awful. He took it upon himself to shout 'DO WORK TAKEOVER' and 'OH MY GOSH' and other such aphorisms in a kind of British half-patois over pretty much every single track that all three of the DJs laid out. Not only did the MC add absolutely nothing to the show (except perhaps a crude attempt at brainwash-by-repetition), he actively detracted and near-on ruined three very exciting DJ's performances. Only the saxophonist, who featured prominently during Leechi's set, came off right, as he performed his powerful riffs to a receptive audience. It's a shame that it might not be remembered in the aftermath of the Do Work MC's destruction.
Back on the main stage, Everything Everything were set to play. It always seems unfair to harp on about technical problems or other unfortunate act-of-God occurrences at festivals, but the hour that it took to get Everything Everything ready really was abysmal. Nowhere was the low turn-out more noticeable than during this set, and the technical problems didn't help at all. This is the kind of internationally relevant band that festivals should be looking to bring out and it's a shame that more people didn't get to witness their set, which was as polished, professional and entertaining as you could hope for from your Saturday night headlining act. With bands like this, there is a definite need, not only for festival promoters, but also radio stations and other conduits through which the event is publicised, to make sure the audience actually knows who the artists are. It sorely exposed the lack of structure within the SA music scene as a whole, or at the very least, Synergy's place within that structure.
Foreign Beggars' presence at the festival brought up, once more, the tricky question of foreign acts playing 'DJ sets'. And nowhere was the issue more dichotomous than with them, as they played a very enjoyable set to a large audience at the Red Bull stage. But as much fun as they were, there's still no denying it: this wasn't Foreign Beggars. Not really. They didn't even play all the best Foreign Beggars tracks, going so far as to slip some Danny Brown and others into their set. The simple truth is that, if we are to start really moving forward as a music scene, then festivals and events need to stop booking bands to play DJ sets. It's disrespectful to the fans of the music, and it's disrespectful to the artists they share the stage with, who give their everything to put on the best show they possibly can.
The Sunday, as most Sundays at festivals, was lazy, as attendees wound down. It was especially noticeable at Synergy, however, as there weren't too many people there to begin with. Diamond Thug did, however, play to a reasonably-sized audience who soaked up the sounds of Chantel Van T's sultry voice and Danilo Queiros' bass riffs. It's not entirely clear why Mix n Blend played on the Sunday, but it was a waste of a great and established act's talents.
So what's the verdict on Synergy? There are obviously some things that you can't control at festivals, and some things, like the weather, will simply always go wrong, but there's simply no running away from it: Synergy Live 2013 was a mess. A beautiful mess, perhaps, but a mess all the same. Which is a shame – not because the people who attended were unhappy or the experience was ultimately negative – but because it endangers one of South Africa's foremost music festivals and it threatens to rob us of a great platform for bands to gain new fans and fans to find new bands. It's unclear what will happen going into the future, but at least for the sake of South African music, this festival shouldn't be allowed to die.
All Photographs: Alan Phair – ItsNot Phair Photography


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So comic-con was 2 months ago, and since I am always on the cutting edge I thought I'd share some of these drawings I did while there.
One of these people above paid to be at comic con and the other one is being paid to be at comic con. Guess which is which.
Elite security was in top form this year. Giving me the wrong information about everything from which lines to stand in to what door not to enter. I think a lot of those "elite" guys are old high school jocks who want to bark at nerds.
The comic-con backpacker.
The comic-con hipster
comic con opposites
young padawon
Go check out Anne Bush's blog to see the new Mink and Roob title card. Something is coming soon on that.
Sunday, September 23, 2007
Sunday, September 02, 2007
This is just a doodle I did the other day. This blog needed some color. What are they looking at? Find out in a couple of weeks.
Posted by BrianMORANTE at 3:07 AM 6 comments:
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Sara's quilt – folded patchwork
Finally, I finished Sara's quilt. It's a mixture of folded patchwork and fused raw edge applique.
Almost all the piecing and quilting done with Invisafil (by Wonderfil). The little hearts in the centre of the quilt are small books with pictures of Sara's first days.
Here's some more detail of the folded patchwork:
The finished quilt, Butterflybaby! The photographs are hidden under the butterflies. My grandson Koen posed for the picture I used to make the silhouette of the baby.
New babyquilt
As you can see on the babyquilts page of my site, I have started a tradition of making a quilt for every baby that is born into our family. I try to use the card the parents send to announce the birth as a source of inspiration and combine that with what I know about the colours in the baby's room and pictures of the newborn, his/her family (including pets), funny presents, etc, to make a quilt. I originally intended them for the crib but they all hang the quilts on the wall. That's an advantage because I can be a little more adventurous with the embellishments. The youngest addition to our family is my nephew Morris, he was born in May and is still waiting for his quilt (or rather, his parents are waiting, I don't think Morris is at all bothered). He's my youngest sister's son and she made it really hard for me this time. The card was a completely different style and colour from the cards she sent for her daughters, I would never have guessed it was hers. The colour was different too, check out her bedquilt on the 'other' page and the babyquilts of Anna and Julia. I had been thinking in purples and greens before I got the card but that went out the window when I received it:
I did a lot of sampling, colours, sketches, babies, butterflies, then I had to look through something like a thousand pictures my sister had given me to find the ones I wanted to use. I also wanted to use my new free motion quilting skills (thanks to my wonderful new Janome Horizon sewing machine) on this quilt. Up to now I have mostly stitched straight lines of quilting, my old sewing machine did not take kindly to anything more challenging than that. This is the fabric I used:
And now the quilt is finished. I'll show you in my next post…


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14″ x 48″ ASSEMBLED GLASS STACKER
- 14″ High x 48″ Wide Glass Stacker
- Steel, welded frame containing a glaze trim and tempered glass.
- Works with Herman Miller A01 and A02 systems.
- Top cap included with this style.
- Available in BU and MT
*Other colors available upon request.
- Requires panel blank, hanger frame, and raceway components for installation (sold separately)
Additional information
HM Black Umber (BU), HM Medium Tone (MT)
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Nosing around the Met's digitized collection a bit more, I came across "The Harvesters" by Pieter Bruegel the Elder from 1565. Not hard as it was on the front page. I have posted a few times about paintings by his son, the imaginatively named Pieter Bruegel the Younger, over the years but this one struck me as perhaps illustrating a few things worth thinking about.
Look at the scale of the people compared to the height of the grain. One of the characteristics of Battledore barley two hundred years later in Britain was that it had a short stalk. It could survive hail or wind better than other varieties but didn't provide all that useful straw that we learned about in relation to beer in New York before the switch to barley from wheat. The stalk was in itself important to the community as a multi-purpose material for mattress stuffing to looser wheat mash spargings. In "The Harvesters" the stalks are tall and entire stooks* are taken from the field with care. The stooks are strong enough to serve as a bench for the workers having their meal.
Harvest time is big stuff. The image is a narrative of agricultural economy in the Renaissance. If you click on the image at the met site, you can zoom in quite closely. Look at how the topography is used to illustrate the economic activity. The field being harvested is on the top of a hill. Scythed and stooked, it is carried one by one to the bottom of the hill where it is loaded on a cart and carried away. There are three communities in the painting. The hilltop has a church to the upper left seen through the trees. Down below there is a manor of some sort where some are swimming while others are killing a tied up goose as a blood sport. In the far distance, there is a coastal town with ships in the harbour. Is one point of the painting's structure that the grain gets exported? Or is beer made from the grain getting shipped out? I should cross reference the painting with Unger.
Where is this place? The blurb attached to the image by the Met says:
Bruegel's series is a watershed in the history of western art. The religious pretext for landscape painting has been suppressed in favor of a new humanism, and the unidealized description of the local scene is based on natural observations.
But is this really a local scene or an imaginary one? Where is it? Bruegel lived in coastal Antwerp, Belgium a city of about 100,000 at the time and the richest in Europe. He was born in the river town of Breda, another community now in the Netherlands but then also in the Duchy of Brabant. Perhaps one of those two centres is in the background. Could you find the field and stand where the artist stood?
But what about the beer? As one commentator notes, the scene is about producing and consuming. Or – if you are the goose – producing, torturing then consuming. The workers are eating bread and cheese as well as pears that one guy is shaking from the tree to the upper right. And they are drinking. A central character is a man carrying two large jugs up the path. Another man in the circle having a meal drinks directly from a jug. A fourth jug with what looks like a loaf of bread on top sits in the uncut wheat to the lower left.
We are told by Markowski that saison and biere de garde were brewed for centuries in the Low Countries and northern France to attract and retain workers. Farmhouse beers. The scene in "The Harvesters" is smack-dab in the middle of that culture, in the saison zone that included Brabant. Unger explains that particularly in the sixteenth century, tax records indicate a wide number of names for various grades of beer: "… dun and scheynbier and volksbier and scharbier and scherbier all turn up. No matter the name, it was always cheap."** Was that what was in the jugs? We can't reach back to ask those in the picture what they called their drink or even if it was in fact beer. But it could be and, frankly, likely was so… it is what it was. Day drinking 1565.
*I use the SW Ontario usage, spelling and pronunciation of the in-laws.
**at page 129.


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- Bernard the Postman just delivered my latest wool batch from the Meadow-upon-River spinning mill! All beautiful blues for happy winter knitting. I haven't had time to unpack it yet as I wanted to put up those lights first. But what did you have in mind this time, dear Anna?
- Alright, would you need anything else?
- I think that is great this time, thank you so much!
- Lovely, here is your bag, happy knitting!
P.S. When I got home, I opened my calendar, and got a little tree! How happy coincidence as I just bought a... Hush, hush!


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Product Pipeline
The BioLineRx pipeline is generated by systematically identifying, validating and in-licensing therapeutic candidates with advantages over current therapies or which address unmet medical needs.
Over 2,000 compounds have already been systematically screened and evaluated, of which over forty commenced development.
Currently we have two clinical-stage therapeutic candidate and one compound which has been commercialized.
BL-8040 - Multiple cancer and hematology indications Phase 3
AGI-134 - Solid tumors Phase 1/2a


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Goodyear, AZ 85338
Status: Pending
3 beds | 3 baths | 2025 sqft
1 / 44
Property Description
Beautiful single story home in the Estrella community, just blocks away from the beautiful, new, state of the art Presidio Resident's Club with it's own restaurant, fitness center and community pool. Upgraded, gourmet kitchen with stainless steel appliances, granite countertops and 42'' white cabinets. Upgraded luxury bath package, includes custom tile surrounds in master shower with a rainshower head and granite countertops in all bathrooms. Open great room, covered patio and front yard landscaping included. Great mountain views. Buyers will also have access to Starpointe resident's club with a water park, fitness center and pool, along with two private lakes and Estrella's Yacht club. A PUBLIC REPORT IS AVAILABLE ON THE STATE REAL ESTATE DEPARTMENT WEBSITE
Contract Information
Status Change Date: 2019-05-24
List Price: $317,990
Status: Pending
Current Price: $317,990
Ownership: Fee Simple
Location, Tax & Legal
Map Code/Grid: T27
House Number: 18510
Compass: W
Street Name: DESERT TRUMPET
St Suffix: Road
City/Town Code: Goodyear
State/Province: AZ
Zip Code: 85338
Country: USA
County Code: Maricopa
Assessor Number: 400-81-825
Subdivision: ESTRELLA PARCEL 9.8
General Property Description
Dwelling Type: Single Family - Detached
Dwelling Styles: Detached
Exterior Stories: 1
# of Interior Levels: 1
# Bedrooms: 3
# Bathrooms: 3
Approx SQFT: 2025
Price/SqFt: 157.03
Approx SqFt Range: 2,001 - 2,250
Horses: N
Model: Barbosa
Builder Name: Lennar Homes
Year Built: 2018
Approx Lot SqFt: 7500
Apx Lot Size Range: 1 - 7,500
Pool: Community Only
Marketing Name: Estrella
Elementary School: Westar Elementary School
Jr. High School: Westar Elementary School
High School: Estrella Foothills High School
Elem School Dist #: 025 - Liberty Elementary District
High School Dist #: 201 - Buckeye Union High School District
Remarks & Misc
Geo Lat: 33.313578
Geo Lon: -112.447481
Status Change Info
Off Market Date: 2019-05-24
Under Contract Date: 2019-05-22
Legal Info
Township: 1S
Range: 2W
Section: 27
Lot Number: 78
Association & Fees
HOA Fee: 108
HOA Paid (Freq): Monthly
HOA Name: Villages at Estrella
HOA Telephone: 623-386-1112
PAD Fee Y/N: N
Cap Impv/Impt Fee$/%: $
Cap Impv/ImptFee2$/%: $
Land Lease Fee Y/N: N
Rec Center Fee Y/N: N
Rec Center Fee 2 Y/N: N
Ttl Mthly Fee Equiv: 108
Basement Y/N: N
Separate Den/Office
Sep Den/Office Y/N: Y
Parking Spaces
Garage Spaces: 2
Total Covered Spaces: 2
Property Features
Special Listing Cond: N/A
Architecture: Ranch
Master Bathroom: 3/4 Bath Master Bdrm; Double Sinks; Private Toilet Room
Master Bedroom: Not Split
Additional Bedroom: Mstr Bdr Walkin Clst
Fireplace: No Fireplace
Flooring: Carpet; Tile
Windows: Dual Pane; Energy Star; Low-E
Pool - Private: No Pool
Spa: None
Community Features: Biking/Walking Path; Children's Playgrnd; Clubhouse/Rec Room; Community Pool; Community Spa; Golf Course; Lake Subdivision; Workout Facility
Dining Area: Eat-in Kitchen; Breakfast Bar; Dining in LR/GR
Kitchen Features: Range/Oven Gas; Disposal; Dishwasher; Built-in Microwave; Refrigerator; Engy Star (See Rmks); Walk-in Pantry; Granite Countertops; Non-laminate Counter
Laundry: Wshr/Dry HookUp Only; Inside Laundry
Other Rooms: Great Room
Features: 9+ Flat Ceilings; No Interior Steps; Soft Water Loop
Technology: Pre-Wire Srnd Snd; Ntwrk Wrng Multi Rms; Smart Home System
Exterior Features: Covered Patio(s)
Parking Features: Dir Entry frm Garage; Electric Door Opener
Construction: Frame - Wood
Const - Finish: Painted; Stucco
Construction Status: Complete Spec Home
Roofing: All Tile
Cooling: Refrigeration; Programmable Thmstat
Heating: Gas Heat
Plumbing: Tankless Ht Wtr Heat; Dual Flush Toilet
Utilities: APS
Water: City Water
Sewer: Sewer - Public
Services: City Services
Fencing: Block
Property Description: Mountain View(s); North/South Exposure
Landscaping: Dirt Back; Desert Front; Yrd Wtring Sys Front
Possession: Close of Escrow
Unit Style: All on One Level
Association Fee Incl: Common Area Maint
Assoc Rules/Info: Prof Managed
Existing 1st Loan: Treat as Free&Clear
Existing 1st Ln Trms: Non Assumable
Miscellaneous: Home Warranty
New Financing: Cash; VA; Conventional
Disclosures: Seller Discl Avail
Listing Office: Lennar Sales Corp
Last Updated: May - 24 - 2019
Copyright Arizona Regional Multiple Listing Service, Inc. All rights reserved. Information Not Guaranteed and Must Be Confirmed by End User. Site contains live data.
Sunday 26th of May 2019 03:58 PM


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Ask, answer and talk about our products
It is about two weeks. I can hardly visit Chinese website by using TPG website, either wireless and cable. At first, It seems like there is a wall between them. Even cannot log in the email website. It brings lots of problems. However, I can do that by connecting my mobile network provided by Vodafone, In addition, my friends, who also Tpg network, doesn't have these kinds of problem. I think it must be something wrong with my home network. What can I do to fix that problem?
Hi @xuzihan96,
Welcome to the community !
What type of service and modem/router do you have? If you're having problem accessing some website.
1. You can manually set google's DNS just to check if you're able to access the Chinese Website you'd like to open.
2. You can perform a factory reset ( pushing the rest button behind/back of the modem )
Note: If you Factory Reset your modem you need to re-configure the modem/router's connection settings and Wireless network and password.


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here), our shortest yet, features a review of Legacy of the Daleks, a somewhat-sequel to "The Dalek Invasion of Earth" featuring Susan and the Eighth Doctor. We would like to send a very special thanks to Jeff of The Goodies Podcast who provided us with this month's reading; as each episode progresses, it seems like each one of these readings is a tougher act to follow, and Jeff is no exception.
For August we will be reading The Infinity Doctors (ISBN: 0563-40591-0) by Lance Parkin. The back cover reads:
"Sing about the past again, and sing that same old song. Tell me what you know, so I can tell you that you're wrong."
Gallifrey. The Doctor's home planet. For twenty thousand centuries the Gallifreyans have been the most powerful race in the cosmos. They have circumnavigated infinity and eternity, harnessed science and conquered death. They are the Lords of Time, and have used their powers carefully.
But now a new force has been unleashed, one that is literally capable of anything. It is enough to give even the Time Lords nightmares. More than that: it is enough to destroy them.
It is one of their own. Waiting for them at the end of the universe.
Featuring the Doctor, this adventure celebrates the thirty-fifth anniversary of Doctor Who.
If this description seems a little broad, it is noteworthy that this book defies all continuity of the series, as it's impossible to tell when it is set (at least that held true in 1998). It's also worth mentioning that this is a rather meatier selection from our last entry, with 280 single-spaced pages in a small font. We'll have to start reading this one early!
Author Lance Parkin has penned a number of Doctor Who novels, perhaps the most notable being The Dying Days (the last Virgin New Adventure featuring the Doctor), The Gallifrey Chronicles (the last of the BBC Eighth Doctor adventures), and Cold Fusion (a Virgin Missing Adventure with both the Fifth and Seventh Doctors).
Don't forget to follow the podcast on Twitter via @dwpcpodcast, or follow Erik via @sjcaustenite or Sean via @tardistavern. Feel free to contact us at email@example.com.
Other sites of interest:
Lance Parkin's Official Website
The Doctor Who Reference Guide on The Infinity Doctors WARNING: SPOILERS!
The Doctor Who Reprint Society


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Jan. 20 (UPI) -- A Pennsylvania Republican who is taking a lead role in Congress in fighting sexual harassment, settled his own case and used thousands of taxpayers money to do so, according to reports.
Rep. Pat Meehan's (R-Pa.) office on Saturday denied allegations that he harassed the former aide who received the settlement, which came from his congressional office budget.
The congressman in April, joined other colleagues in launching the Bipartisan Task Force to End Sexual Violence, a task force designed to bring both parties together to advance legislative proposals and address sexual violence.
Meehan's settlement with his former aide comes before a vote expected this month on a bipartisan bill to prevent members settling harassment claims with money from their office budgets.
According to a report, the former aide filed a complaint after Meehan, 62, professed his romantic desire for her both in person and via a handwritten letter. When the young aide did not reciprocate, Meehan "grew hostile."
The former aide soon began working from home and eventually left her position, later reaching a confidential agreement with Meehan that includes an undisclosed amount of money.
Meehan spokesman John Elizandro said the congressman denies the allegations and has called on the former aide to waive the confidentiality agreement to "ensure a full and open airing of all the facts."
Alexis Ronickher, the former aide's attorney, pushed back, saying Meehan's statement was "a desperate effort to preserve his career" because he is the one who "demanded" confidentiality and is only speaking out now that it has become public.


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Mrs Wages Habanero Salsa .8oz
Product ID: PFI60340
Need more than we've got in stock?
Ordering Questions? Check the Buyer's Guide
- 0.8oz pouch makes 2 cups
- Spicy!
- All-natural
Additional Information
This one's hot! This salsa mix is packed with real habanero chiles plus southwestern spices, bell peppers, and onions. Grab the chips and drinks!
Ingredients: Dehydrated Vegetables (Onion, Green Bell Pepper, Garlic, Jalapeno), Chili and Habanero Peppers, Maltodextrin, Salt, Spice, Dextrose, Natural Flavors.
Shipping Weight: 0.07 LB
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Turkey makes terrific picadillos (ground meat fillings) that are a welcome change from the usual ground beef. Turkey is also nutritious, especially when the fat content is kept to moderate. New Mexico style green chile stews are one of my favorite foods, and you will find one from Naturally Healthy Mexican Cooking called Naturally Healthy Green Chile Stew made with the more traditional pork and beef on this site. Because the turkey does not need cutting or grinding, this version is quick and easy to prepare. Unfortunately, you still need to roast and peel the chiles, but it is otherwise a snap. The way flavor is blended into the broth makes it especially tasty! A great and healthful weeknight treat, it is delicious served with beans, rice, or as a filling for tacos. The recipe makes about 1 ½ pounds or six one-half cup servings, each with about 230 calories. It makes enough to fill 8 tacos.
4 cloves garlic, minced
1 cup onions, chopped
3 roasted and peeled poblano chiles
1 roasted medium-sized serrano chile, chopped
¼ cup coarsely chopped cilantro
¾ teaspoon oregano
¼ teaspoon cumin
2 ½ cups water
1 ½ tablespoons olive oil
1 ¼ pounds ground turkey
1 tablespoon flour
2/3 cup chopped tomatoes
2 bay leaves
1 ½ teaspoons rice vinegar
Heaping ½ teaspoon salt
1. Make the broth. Put 3 of the chopped garlic cloves into a blender and add ¼ cup of the onion, 1 poblano, the serrano, cilantro, oregano and cumin. Puree with the 2 cups water and eserve.
2. Brown the onions and cook the remaining garlic. Heat a Dutch oven over medium-high heat, add ½ tablespoon of the olive oil and cook the remaining ¾ cup onions until they begin to brown, stirring constantly. Add the remaining garlic clove, and cook a few more seconds, but do not allow it to scorch. Remove and reserve the onions and garlic.
3. Brown the meat and finish the dish. Keeping the pot at medium-high, add the remaining tablespoon of olive oil and then the turkey. Cook the turkey, breaking it into pieces as small as possible with a large spoon until it has browned, and pour off any excess liquid. Sprinkle on the flour and continue cooking and stirring for another minute or two, Add the reserved onions and garlic, the remaining poblanos and the blended broth mixture. Add the tomatoes, bay leaves, vinegar, and salt. Cook at a low simmer for 45 - 50 minutes, adding more water, if necessary.
Austin Website Design by: Site Street and Graphic Granola


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I forgot my password!
I don't have a CarpetU2 account
In our Eshop CarpetU2 you can find original Persian rugs and carpets online at the lowest prices on the market. Our constantly renewed collection contains thousands of Persian carpets chosen one by one by our experienced experts. In our selection you can find rugs for kids, nomadic, classic, modern rugs, as well as kilims mainly from Persia at incomparable prices. Furthermore, we offer our clients seasonal discounts as well as special offers on our carpets throughout the whole year. We guarantee for the safety of your transactions and we give you the opportunity to find easily the carpets that suit exactly to your personality, your style and your home. For each of our carpets and kilims we provide you a variety of professionally taken photographs, so that your choice is not time-consuming and irritating but on the contrary totally easy and risk-free. Visit our online shop and enjoy the extraordinary and outstanding magic of each carpet and kilim in our carpet-world.
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Man Gets Glasses Tattooed on His Face [VIDEO]
Hipster for life.
Being 'hipster' seems to be the big trend right now. Thick rimmed glasses, vintage style clothing, and pompadour hair cuts are everywhere. This is one trend that I actually like seeing people pull off. But there always has to be that one person that takes it too far. I came across a video from a few years ago of a man that decided to get those thick rimmed glasses tattooed on his face - seriously. Talk about being devoted to a lifestyle. Now this man will be forever hipster. I can't even begin to imagine how painful this had to be for him. Not to mention, they can't even help you see! Personally, I would have just invested in some fake glasses. But who knows, maybe there is a really cool story to go along with the tattoo.
What do you think of his new ink?


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I just posted in the "Welcome/Fáilte" subforum; after posting I noticed that the "Edit" button isn't visible on my posts there - how's that possible? Does this mean I can't edit my own posts in this subforum? Or what could be the reason for this? I'm really a bit confused.
I've looked in another topic - there I can see the "Edit" button on my posts.


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Reading back I noticed I neglected to mention a HUGE life changing milestone in the Forey house. KOLBIE IS WALKING!
Its hard for me to say an exact day she took her 1st steps. She took her sweet time figuring out how to do it just right. for a couple of days she would just soot her one foot forward. Then we caught her taking 2 steps here and there. Then for a good week she would get up to six or seven steps before she would fall down and resort back to her speed racer crawling technique.
It has really been in the last 2 or 3 weeks that she has really found her legs. She is such a stiff and awkward walker, I get the giggles just watching her get from point A to B. But she is oh so proud of herself!! There is no stopping her now! Her new favorite thing is getting one of Big brothers favorite toys...rubbing it in his face thats she's got it...then fast as she can take off running in the other direction! Giggling and laughing the whole way...while her brother squeals and tattles on her of course!


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Last night, conservative commentator David Brooks, said "Donald Trump is the wrong answer to the right question." It is easy to know what he means. Americans are being left behind and Trump has an answer. His formula to correct this is to pander to one of the left behind tribes, the "angry whites," who did not leave their small towns, attend college, and join the creative class. For these there is the hope Trump is not only asking the right question, but giving the right answer. But divide and conquer is never the right answer. Left behind is a much larger population than the working class whites of flyover country.
You can choose your left behinds. They include intercity blacks, debt ridden millennials, and any number of those who did not buy into the Democratic and Republican parties' backed corporate world of finance and big tech. Fortunately for Hillary Clinton, her opponent, has little interest and even outright disdain for these. For this reason, she will win the election and doing so without ever asking the question of what is wrong with America.
What is wrong is government has not been there for its citizens, particularly the most vulnerable whether they are those in the likes of south Chicago or Kentucky coal country. It is not that government has no care of us, despite the rhetoric from each side about the other. It is only that a history of propping up corporations or resorting to social engineering has done no good for the majority of Americans.
Whether on account of inability or unwillingness, our leaders have opted to work systems, rather than ask what helps the individual and communities. Working the systems does nothing. Manipulate things for the benefit of the free market and you get bank and corporate bailouts, that is "socialism for the rich, capitalism for everybody else." Manipulate the government and the market wins anyway. (Cutting regulation on the coal industry does not help miners in the era of cheap natural gas.)
This brings us to a quandary. We live in a time where it is easy to be left behind. On one hand we have a commitment to the market that encourages automation and a concern for the bottom line. Unless we are willing to cease placating corporations, we can do nothing about this. On the other, we have a large segment of the population who cannot participate in the new economy and have little choice but a reliance on the welfare state. Meanwhile the country goes through the motion of addressing the issues, but in no real or radical way. This would be fine if we had the time for it, but that is one thing we don't have.
I am no economist, but I do have a little common sense. You can talk all you want about better schools and free education, but the benefit is a generation away. (That does not mean you don't do these things; it is only that it provides no immediate help for those who need the help now.) You can also deregulate industry or discourage free trade to the point a few will be hired, but it will not help most of the left behinds and innovation will still have the day making the few who benefit immediately obsolete within a generation. In essence the system rewards progress and work, but it has failed to maintain the means to ensure these are available to large parts of the populace.
I do not know if there is a solution to this, but I do know that wealth in addition to being created is a resource that distributes goods and services and these are finite things. Any manipulation of policy that does not address how the population is to acquire goods and services or rewards the wealthy does nothing to help the vulnerable. I would guess solutions to these problems would have to come in radical ways and currently Donald Trump's campaign is the only radical thing in the current election cycle.
I do not know if Trump set out to cater to the far right. My guess is he sought to control them to his advantage and ended up their puppet. Regardless it is a dangerous group to have on your side. You cannot reason with a group who have more in common with the urban poor than the white elite, but who are so blind with rage and downtrodden (a very dangerous combination) that they will replace the America of e pluribus Unum with an apartheid state. Fortunately for America the numbers are against them. Unfortunately, their impoverished state (I mean this in a literal way as I would wager a good deal are on public assistance) will not go away and their anger will be mirrored by the increasing anger of all the other left behind tribes we have in America.
The answer to the question of what is wrong with America is anger. Ask where this comes from and the answer is fear. It is the fear of a white factory worker without a job and wondering what becomes of his children. It is the fear of the African-American mother telling her child to do what the police say that he may come home alive. It is the fear of a pink slip that wipes out 20 years of the dignity of labor and it is the fear of student debt that prevents our young from establishing households and families.
The next question becomes then where does anger go. In Star Wars we recall Yoda saying "fear leads to anger; anger leads to hate; hate leads to suffering." This is the future of America if we do not listen to all those left behind tribes and their fears. We cannot listen to only one angry tribe as the Republican party has opted to do with its nominee for we are too diverse for such a party to have a voice. And if we lose a voice in a two party system then we are left with the oligarchy of the Democratic Party, which in spite of its rhetoric has done little but take corporate donations and throw the crumbs to the poor.
Are there any solutions? That is the final and the most important question. The answer is yes, but it is bound in looking radically at who we are and what we want ourselves to be. If we want ourselves to be fractured and fearful and a place of competing tribes of left behinds that will one day leave everyone behind, we need only to keep on the course. If instead we want to be a land that creates one from the many, that is prosperous, enduring, joyful, the world's envy, the place that is kind to the stranger, that seeks the common good, a place that knows justice that flows like the rivers, and a land that works for peaceful habitation then we must not be like our candidates…..one asking no questions and the other having the wrong answers.