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World-renowned chef, best-selling author and Emmy-winning television personality Anthony Bourdain returns for the second season of CNN's showcase for coverage of food and travel. "Anthony Bourdain: Parts Unknown" is shot entirely on location and premieres Sept 15 @ 9pm ET/PT. Follow the show on Twitter and Facebook. Bourdain's first stop: Israel, the West Bank and Gaza.
By Daniel Burke, CNN Belief Blog Co-Editor
Follow @BurkeCNN
(CNN) -- Heaven and Earth are said to meet atop Jerusalem's sacred mounts, but the city's stony streets have seen more than their share of hellish violence.
King David subdued the Jebusites, the city's Canaanite founders. The Babylonians and Romans routed the Jews. Muslims booted the Byzantines. Christian Crusaders mauled Muslims and were, in turn, tossed out by the Tartars.
The Ottomans followed, then Britain, then Jordan, before finally, in 1967, the city came nearly full circle when Israel annexed East Jerusalem. That sparked another cycle of violence, this time between Israelis and Palestinians.
"It's easily the most contentious piece of real estate in the world," says Anthony Bourdain, who visits Jerusalem in the season premiere of "Anthony Bourdain Parts Unknown," which debuts Sunday night on CNN.
"And there's no hope -- none -- of ever talking about it without pissing someone off."
MORE FROM CNN: Exploring Jerusalem's Old City
Why would people argue about a holy place?
You might call it the Jerusalem Paradox: If the city wasn't considered so sacred, there'd be nothing to fight about.
But since the days of the Jebusites, more than 3,000 years ago, the otherwise unremarkable place has been called a portal to paradise, and everyone elbows for a closer look.
After all, how many places can list God on their guest registry? And Abraham, David, Solomon, the Virgin Mary, Jesus and the Prophet Mohammed as well.
"The city is chockablock full of places that have historical meaning for different groups of people -- and they are all contested," said Samuel Heilman, a professor of Jewish Studies at Queens College in New York and author of "A Walker in Jerusalem."
"Everybody's story is just one of many," Heilman said. "And so they not only try to make their story the right story, they try to delegitimize everyone else's."
Some Muslims say Jerusalem never housed a Jewish temple; some Jews argue that Mohammed never visited the sacred city, and the argument runs on and on … for centuries.
And it's not just Muslims, Christians and Jews fighting each other. Sometimes the most serious squabbles erupt within the faith themselves. Want to see Christian monks fist-fight? Go to Jerusalem.
The good news is, all three Abrahamic faiths teach that the Messiah will eventually return to Jerusalem and sort the whole thing out.
Until then, here are the sacred city's five most contested sites:
1. The Temple Mount
This broad platform in Jerusalem's Old City is said to have hosted an almost unimaginable series of sacred events.
The rabbinic sages say that God gathered dust from this spot to create Adam, the first man, before setting him loose in the Garden of Eden.
Jewish tradition holds that the Temple Mount also contains Mount Moriah, where Abraham, the Hebrew patriarch, is said to have nearly sacrificed his son -- under God's orders -- before an angel intervened.
Later, Solomon constructed the first Jewish Temple on the mount, including the Holy of Holies, a room that kept the Ark of the Covenant, which was said to contain the tablets on which God wrote the Ten Commandments.
Only the Jewish high priest was allowed to enter the Holy of Holies, where tradition holds he met with God on Yom Kippur, the Jewish Day of Atonement. Rabbis say that Jews are still forbidden to step on the Temple Mount, for fear of intruding on the Holy of Holies.


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I was struggling a bit with managing projects and sub-projects in Outlook, and thought I'd share something I found particularly useful: the role field.
Like most of you, for the 20 & 30k areas of my life, I have multiple projects. I added the Role field to tasks in outlook, and now have a way of keeping an areas' projects grouped together.
For example, under finances, I have projects related to health insurance, life insurance, $ allocations, stock market investments and real estate investments.
By filling in the Role field with Financial Freedom, all of the projects are now grouped together.
Best regards

subset: commoncrawl


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Just a quick bit of background here I had just seen Dawn Tyler & Paul at the Pennsylvania Blues Festival set the tent stage alight with their soulful and heartfelt renditions of original songs and covers of traditional blues and rock tunes.
What I didn't realize was their story on how they got there and also anything about them. I was so impressed with their energy and stage presence that I corralled them for some quick chat to share with y'all, enjoy it I know I did.
B411: Wow, what a set ! The emotional drain that you guys must have went thru during the set was incredible and highly visible. I mean you looked like you were wrung out and hung out to dry after it.
Dawn Taylor Watson: On goodness it was quite humid and the tent just kept it all underneath – but the towels and spritzers helped.
Paul Des Lauriers: Well, we managed to get here at three in the morning, and still don't have our luggage or clothing. Hopefully we will have them all by the second set.
B411: That was the rumor going thru, that you had nothing arrive from your plane. What happened.
PD: There was a terrible weather over Detroit, and we got stuck on the tarmac in Omaha for four hours. That was before we could actually take off, but once we got to Detroit all the planes were landing and departing but everything was delayed or canceled which meant that we couldn't get our flight to Allentown since it was canceled also.
So within twenty minutes I got us on a flight to Newark, but our luggage and gear didn't make it.
DTW: Yeah, we got here from Newark, NJ at like three in the morning.
B411: How, who drove or limo?
PD: Well thanks to my beautiful girlfriend here who accompanied us on this trip, she drove 100 mph on the turnpike to get us here.
B411: OK I won't use her photo here we wouldn't want her arrested (we laugh).
PD: I had to run out and buy a guitar and some gear at five this morning from the local shop so we could actually play today. All they carried was these student guitars so that's what I played.
B411: Wow, that would be a good guitar for me, but it just shows us all that it ain't the guitar it's the player.
So Dawn, you look great today, these are not your clothes?
DTW: Oh thank you, no I just bought this little thing. Thank God there are concessions here, we got in at three – got some sleep and got up at nine, and pretty much bee running around since.
B411: Smashing my dear, quite fetching.
DTW: Well Laura (Carbone) loaned me some things also, otherwise it would be a stinking mess.
B411: The Blues Framily takes care of one another yet again.
B411: So Paul you play that acoustic guitar like it owes you something. What I mean is that you really play it like it's an electric. Incredible stuff.
PD: Well I do play the electric. I'd even venture to say that the electric is my main instrument.
B411: Really, I've never had the chance to hear ya play electric, but seeing you play the acoustic the way you do it's not a far reach.
PD: As it should be, what happens is that a lot of people are going to see us – an acoustic show and are thinking folk, delicate finger picking and soft stuff – which we do a lot of, and I dig it – but much like an electric guitar you can pull out a lot of notes from it and squeeze out many different sounds from it. I approach it with the same energy that I approach my electric with. I don't see a difference I am playing it the same way I would play my Les Paul thru a Marshall amp cranked to 10.
B411: To me it's as close to an electric show but played with an acoustic.
PD: Yeah, people love it, and I like that approach. It sort of developed out of necessity to, part that's the style I want to play but also out of sheer desperation. I'm the only guy on the stage so I have to be the drummer, the bass player so that's where the necessity comes in.
B411: You do work a lot of that finger picking styled guitar work in to the show but on the other end you crush that baby when you need to.
PD: We do it all – that's the neat thing about our show it is that varied. One might think an acoustic duo show would be soft and such, we have those moments but we really rock it out and get loud. I think what we do is very original.
B411: Yes quite so. Now dawn is no slouch vocally either. She can belt it out with the best, but she also can weave a tapestry of sounds that range from Jazz inspired phrasing to taking on Stevie Ray Vaughn's "Cold Shot" – which is what first turned me on to ya's.
PD: We just played in Omaha and our friend introduced us to the audience as one of those rare occasions where 1+1=3 !
DTW: Well put, it was the Playing with Fire Festival. It's pretty cool, we are the sum of the parts but we also front our own bands also.
PD: Yeh we came together as both front persons and are used to working like that. So when you bring us together its like we are a one/two punch.
B411: You two seem to be somewhat opposite in musical background or direction. Dawn, I know has a penchant for Jazz typed vocals, while you have a rocker styled image.
PD: Yes that' quite the case, and we meet in the Blues.
B411: Yes the illegitimate child of a forbidden tryst. There is something quite attractive about mixed genres or races they usually turn out really stunning.
PD: (laughing) well if we're making analogies about records or music as children then that s correct.
People ask what style do you do, I think that Dawn and my backgrounds are so eclectic that we don't like to limit ourselves to do one thing. We touch Jazz, Rock, Folk, all sorts of Roots music, and, of course Blues and mix it all together – it's the sum of all of our influences.
B411: You did a version of "Tracks Of My Tears" that was really great. Then Dawn went off on a jazz-scat vocal voyage, just exactly what you said – an amalgam of influences.
DTW: Oh goodness Paul is the ultimate interviewee. I can barely get a word in, perfect!
B411: So do you guys get down across the border often? Last time I saw ya' was at the IBC's, and just briefly too.
DTW: Not as much as we'd like. There are always issues with work visas, the amount of time needed to get them in plus the whole legal workings that are always sticklers for details.
PD: I think that both sides make it really difficult for musicians to come across the border and work. These are the only two countries that I don't like coming home to. You go to Europe they stamp your passport and big you are done. Have a nice day – play some music and than you. Here it's where have you been, what have you got, a big hassle.
B411: Who can help with that – who on your end would handle it?
PD: A lot of it is handled by our manager also the ACFM (American Canadian Federation of Musicians) helps us some with some of that.
Note: At this point Ms.Anne Harris came over and we broke down the interview so the artists could spend time together and enjoy each other-that's how Blues411 rolls.
Please visit their site to learn more about this dynamic duo of Blues/Roots music: http://dawnandpaul.com/
and individually:
Dawn: http://www.dawntylerwatson.com/
Paul: http://www.pauldeslauriers.ca/
Until next time,
Love, Peace & Chicken Grease
©Blues411.com 2012
Where Blues Thrive
photos: Leslie K. Joseph, Blues411


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owell we all have diffrent taste
welcome to nicki minaj aka keely k minaj page hope u enjoy
yo I AM A NICKI MINAJ FAN AND ALL YOU HATER$ CAN GO KILL YOUR $ELF!!!!!!!!!!!!!
follow me on facebook send me a mail for more information on my pink friday day yo me bad bitch
hay all you blogers my name is shona but people call me Nicki Keelyk because i LOVE nicki minaj so much. i am american indigenous and i love love hip hop it is one of my most frav. I am 14 years old, Nicki minaj, She the bome and i love to rappe and love being wired crazy and silly but hay thats me
Sun, Sep 1, 2013 at 7:53 PM
Hay yo
hi barbs sorry I haven't been on I been sick :( but I feel a bit better now so what have I missed
Recent Blogs
im good and i dont like the video and im so disappointed at nicki its not funny. she says to media i have NOT have sex whit lil wayne to be sing to young money. and i the video it looks like the have sex so im disappointed. why woud nicki do that if she say no i did not have sex whit lil wayne to be sing to young money.


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from pilotsteve
wrote 1 year 22 hours ago
I would have to agree with the reply.
If ground speed changes then your actual speed has changed and therefore you have accelerated. You are faster and you have more inertia. Just because TAS stays the same it does not matter, your speed has changed.
from pilotsteve
wrote 1 year 22 hours ago
I have been flying for twenty years and have over eleven thousand hours but I have never had an oil light come on during flight while the gauge was indicating normal.
Interestingly I have had it happen in my car and the cause was oil not getting to the engine as opposed to not having enough oil.
I would suggest that any unusual oil indications meen you should alert ATC and get on the ground quickly.


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NavPress announced today that it has partnered with Greater Texting in order to turn prayer cards, verses from The Message Bible, material from Pray!, and Discipleship Journal magazine articles, and other NavPress discipleship resources into inspirational Christian text message subscriptions.
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2013 Ford Fusion melds world car sensibilities
DETROIT--Last year, Ford updated the Focus, combining U.S. and European variants into a single world car. Now the company repeats that strategy with the new Fusion midsize sedan.
Ford mixed about one part Fusion with two parts Mondeo, its European midsize sedan, added one more part of new stuff, and came up with a sleek looking high tech sedan. The new car does away with the previous Fusion's three-bar grille and squarish roofline, opting for a grille that shares design language with the Fiesta and Focus. The roofline now forms a graceful line back toward the trunk.
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Callimachus c. 310/305 B.C.-C. 240 B.C.
Greek poet and scholar.
Callimachus was a poet and scholar of great influence during a major transition in Greek history. After the death of Alexander the Great in 323 B.C. the influence of Greek culture began to extend beyond Greece east-ward to Persia and Asia; scholars have typically referred to this as the beginning of the Hellenistic Age. Many classicists have identified Callimachus as one of the forces that helped shape the literature of the age, even going so far, in the case of Bruno Snell, to dub Callimachus the "father of Hellenistic poetry." Callimachus was a highly prolific writer—producing an estimated 800 volumes of poetry and scholarship—and a substantial record of his work survives either in manuscript fragments or in citations by other writers. Scholars have devoted particular attention to his Hymns, all six of which are extant in complete form, most or all of his epigrams, the Iambi, and two of his longer works, the Aitia and Hecale. He is also well known, albeit less often studied, for his scholarship, conducted during his tenure as a cataloguer at the Alexandrian royal library. There he prepared exhaustive bibliographies—Pinakes—of the library's contents.
Biographical Information
Scholars date Callimachus's birth between 310 and 305 B.C.; he was born in Cyrene, a Greek colony situated in the part of North Africa that is now Libya. Callimachus sometimes carries the name Battiades, or "son of Battus", in reference to his father's name and the royal lineage that that name designates: until about 450 B.C., the names of the colony's rulers alternated between Battus and Arcesilaus. His family, however, was probably middle-class. When he was a young man, Callimachus moved to Alexandria, Egypt, then a focal point of Greek culture and the home of the royal family. He initially took a position as a teacher in a suburb of the city, but eventually was offered a place in the royal library maintained by the ruler Ptolemy II Philadelphus, who wanted the volumes in his extensive library catalogued. Scholars still debate the exact nature of the position that Callimachus took on. Whether he was a cataloguer only or also the library director, there is no doubt that the work he did was substantial and significant. The bibliographies of the library's holdings that he created exceeded 120 volumes.
Callimachus's work for the library necessarily exposed him to literary and non-literary works from preceding generations, making him a tremendously learned writer. Critics regularly have noted the influence of this reading in Callimachus's poetry. Although he is not known for producing critical works, Callimachus nonetheless became a voice to be reckoned with in the poetics—or literary conventions—of his day, becoming enmeshed in heated feuds with other scholars and poets. The most significant of these was actually one of his own students, Apollonius Rhodius, who went on to hold the library director position. Evidence of these debates, which were often hostile rather than rational, shows up consistently in Callimachus's poetry. Scholars have found little information about his later years, determining only that he continued to work at the library and that he composed poetry until close to the end of his life.
Major Works
Although the works Callimachus is known to have composed greatly exceed what has survived, there is still a substantial body of his work available for readers and scholars to examine. Because the Hymns are intact they win a good deal of study, as do the Aitia and Hecale, both of which have survived in substantial fragments. The Hymns are six in number, each addressed to a different deity: I to Zeus, 2 to Apollo, 3 to Artemis, 4 to Delos, 5 to Athena, and 6 to Demeter. In structure all closely imitate Homeric Hymns, typically composed for oral presentation at festivals; however, critics concur that Callimachus followed these conventions without ever presenting at such events. Callimachus apparently prepared his work for a small and elite audience, although some critics disagree, noting the dramatic and humorous elements that would seem to appeal to a broader audience, and arguing that seemingly esoteric allusions would in fact be familiar to the average Greek theateror festival-goer. The Hymns were generally shorter compositions and, like Callimachus's other works, incorporated his considerable knowledge of his poetic predecessors while introducing innovative and sometimes parodic elements.
Scholars have had to reconstruct the matter of the other major works from fragments. The Aitia, which translates as "causes", seems to compile and—for Callimachus's contemporaries—update various myths and local legends that the author would have encountered in his extensive reading. The work consists of four books, collected in discrete poems, totalling about 7,000 lines of verse. The last poem, The Lock of Berenice, became famous in its own right, eventually being translated by the Roman poet Catullus and providing the groundwork for Alexander Pope's 1712 mock epic, The Rape of the Lock. The Aitia also gives evidence of Callimachus's involvement in debates on poetics, since his introduction doubles as an Answer to the Telchines—a rebuttal of his literary critics.
One of the debates in which Callimachus engaged concerned the conventions of epic poetry. Callimachus, opposing his student Apollonius, advocated marked changes in the genre, contending that new poems should be shorter than tradition demanded, and more simple and concise. His Hecale, estimated to have totalled about 1,000 lines, put into practice many of his ideas about epic. The poem tells a traditional tale—the story of Theseus's journey to fight the bull at Marathon. Along the way, the young hero encounters a storm that compels him to take refuge in the hut of an old woman named Hecale. Callimachus's rendition of this tale, while using a traditional basis, turned convention on its head by effectively putting Hecale rather than Theseus in the spotlight. The story she tells Theseus of her life—a fall from aristocracy to her present condition—occupies the lion's share of the poem. Furthermore, her death after Theseus's victory at Marathon marks the end of the poem, particularly since Theseus bestows on her a hero's funeral.
While the preceding poems have garnered the bulk of critical attention, fragments of many shorter works have allowed scholars to round out their impression of Callimachus's work as a whole. Thirteen iambi and various lyrics reinforce the image of Callimachus presented in the major works and supplement it with love poems and more satire. He is also acclaimed for the sixty-one epigrams that demonstrate his skill with this form.
Textual History
Although what is available from Callimachus's corpus appears to be only a fraction of the prolific writer's works, it still provides a substantial sample. Many of his works were transmitted through the centuries because they were so broadly admired: writers imitated, quoted, and translated his works for hundreds of years after his death. Consequently, the six Hymns remain fully intact, preserved by their transcription in medieval manuscripts. Scholars assume that the sixty-one epigrams, mostly collected in Byzantine anthologies, represent Callimachus's contribution to the genre. The Aitia, Hecale, Iambi, and various lyrics became available for contemporary readers only in the twentieth century, when fragments of the works came to light with the discovery of papyri manuscripts.
Critical Reception
Since his own age, Callimachus has been an object of critical debate. Typically, his admirers have applauded his innovative twists on convention, the polished concision of his style, and the breadth of his knowledge. His detractors have ranged from those who condemn his break with tradition—particularly because his poetry was too short and because it embraced mundane rather than elevated subject matter—to those who find his allusions too obscure. Callimachus's reputation grew with writers of following ages, who found much to admire and imitate in his innovations: the Romans Catullus, Propertius, and Ovid declared their debt and English poets of recent eras—including Alexander Pope, William Cory, and Lord Byron—have also attested to his influence.
Debate among twentieth-century scholars recreates, to some degree, that original critical divide, with some valuing Callimachus's originality and learnedness and others arguing that that learnedness made his work elitist. Moving beyond these stances, some critics have pursued historical analysis, investigating the influence of political environment and literary heritage on Callimachus's work. Historical studies of Callimachus's immediate circumstances typically stress his relationship to the Alexandrian court—especially his need to win continued patronage from the rulers Ptolemy II and Ptolemy III. Rudolf Pfeiffer's work, one of several studies that looks at the Pinakes as well as the poetry, has explored the breadth of Callimachus's learning. Combined, these approaches emphasize the interrelatedness of all aspects of the poet's life in the creation of his poetry.
Principal Works
The Lock of Berenice
(The entire section is 10 words.)
Principal English Translations
The Works of Callimachus (translated by H. W. Tytler) 1793
Poems of Callimachus (translated by Robert Furness) 1931
The Epigrams of Callimachus (translated by Gerard Mackworth Young) 1934
Hymns and Epigrams (translated by A. W. Mair) 1955
Aetia, Iambi, lyric poems, Hecale, minor epic and elegiac poems and other fragments by Callimachus (translated by C. A. Trypanis) 1975
Hymn to Zeus (translated by G. R. McLennan) 1977
Hymn to Apollo (translated by Frederick Williams) 1978
Hymn to Demeter (translated by N. Hopkinson) 1984
The Fifth Hymn [Bath of Pallas] (translated by A. W. Bulloch) 1985
Callimachus: hymns, epigrams, select fragments (translated by Stanley Lombardo and Diane Rayor) 1988
Hecale (translated by A. S. Hollis) 1990
(The entire section is 104 words.)
SOURCE: "The Elegy," "The Epic," and "The Epigram," in Hellenistic Poetry, translated by Jacob Hammer and Moses Hadas, Columbia University Press, 1929, pp. 94-150, 150-257, 350-406.
[The following excerpt, drawn from his Hellenistic Poetry, presents Körte's summation of Callimachus as a writer of elegy, epic, and epigram. Examining Callimachus' work largely in the context of his biography and the social and political environment in Alexandria, Korte finds certain qualities constant in Callimachus across the genres. Korte emphasizes especially the poet's aptitude for originality and novelty, remarking that "precisely what was obscure, untouched and neglected had the greatest attraction for Callimachus." The excerpt also includes extended quotations in translation.]
Callimachus is the most significant and the most fascinating personality among the Alexandrian poets. He therefore deserves a detailed treatment.
Of his life we know, unfortunately, very little. He was born not much before 330 in the old Graeco-African city, Cyrene, which belonged after 322, with short intermissions, to the empire of the Ptolemies. His father bore the same name as the mythical founder of the city, Battus. From Battus the poet claimed descent; he therefore belonged to the old nobility of Cyrene. His grandfather, also named Callimachus, had occupied an eminent position...
(The entire section is 15544 words.)
SOURCE: "Art and Play in Callimachus," in The Discovery of the Mind: The Greek Origins of European Thought, translated by T. G. Rosenmeyer, Cambridge, Mass: Harvard University Press, 1953, pp. 264-80.
[In the following excerpt from his book The Discovery of the Mind: The Greek Origins of European Thought, originally published in German in 1948, Snell declares Callimachus the 'father of Hellenistic poetry" and compares him at length to Germany's Goethe. According to Snell, Callimachus's defining characteristic was his "post-philosophical" enhancement of technique and playfulness above moral instruction, the province of earlier eras in Greek literature.]
Father Bromius!
Thou art genius,
Century's genius,
Art what inward glow
To Pindar was,
What to the world
Is Phoebus Apollo …
Jupiter Pluvius!
Not by the elm tree
Didst thou visit him,
With his brace of doves
In his affectionate arm,
Crowned with the friendly rose,
Playful him, flower-revelling
Storm-breathing deity!
Not in the poplar grove
On the Sybaris' banks,
Nor at the mountain's
Sunlight-radiant brow
Didst thou seize him
(The entire section is 6627 words.)
SOURCE: "A Glance at the Hymns," in The Poet at Play: Kallimachos, "The Bath of Pallas," E. J. Brill, 1962, pp. 10-25.
[In his book-length study of Callimachus 's Bath of Pallas, classicist K. J. McKay begins with an overview, excerpted below, of the poet's six hymns. In an effort to determine date of composition and what some of Callimachus's sources might have been, McKay considers the poems, especially their imagery, in relation to earlier works and in the context of the history of the Alexandrian court.]
We owe the preservation of the Hymns to the tidy mind of an early scribe who brought together the Hymns of Homer, Kallimachos, Orpheus (and the Orphic Argonautica) and Proklos. It is worth bearing in mind what we would now possess but for this fortunate circumstance. Of the 95 lines of the first Hymn we would have some thirteen complete lines, parts of ten others and tatters of papyrus. But this would be sheer luxury compared with the lot of Hymns 5 and 6. Of the latter we would be able to identify only three lines with confidence from ancient testimonia, with fragmentary relics on papyrus. Of the former, the subject of this study, we could not place a single line. Lines are not assigned to the Hymn on the rare occasions on which they are quoted, and—presumably by accident—the Hymn is not represented among the papyri. Among the hymns fewest ancient testimonia survive for Hs....
(The entire section is 5659 words.)
SOURCE: "Kallimachos," in Hellenistic Poetry and Art, Barnes & Noble, Inc., 1964, pp. 98-121.
[In the following excerpt from his Hellenistic Poetry and Art, Webster considers Callimachus's reputation during his career and his aesthetic criteria, simultaneously providing an extensive examination of the poet's works, including the hymns, the iambi, Hecale, and the epigrams. Webster's discussion entails a summary of the "hostilities" concerning aesthetics that Callimachus found himself engaged in with other poets. In his final assessment, Webster attributes Callimachus with "elegance, humour, learning, and variety."]
Kallimachos certainly lived through the reign of Ptolemy Philadelphos and died in the reign of Ptolemy Euergetes. He came from Cyrene to Alexandria; he was first a schoolmaster in the suburb of Eleusis, then was in charge of the catalogue at the Library. The fixed points for his production are given by Pfeiffer [Callimachus]: Epigram 20 is very early, about 300, and was written at Cyrene; it probably takes Epigram 54, also for a Cyrenaean, with it. Hymn 1, according to Wilamowitz, contains a reference to Philadelphos early in his reign, i.e. about 280 B.C.; this therefore will have been written soon after Kallimachos came to Alexandria. The Galateia (fr. 378-9) is probably not long after 278 B.C. The Marriage of Arsinoe (fr. 392) is...
(The entire section is 8968 words.)
SOURCE: "Callimachus and the Generation of his Pupils," in History of Classical Scholarship: From the Beginning to the End of the Hellenistic Age, Oxford at the Clarendon Press, 1968, pp. 123-51.
[One of the most-cited Callimachus scholars, Pfeiffer presents an in-depth study of ancient Greek scholarship in his History of Classical Scholarship: From the Beginning to the End of the Hellenistic Age. The chapter excerpted below looks at Callimachus as a primary contributor to the scholarship, especially in his role as cataloguer for the Alexandrian royal library. Pfeiffer also offers a detailed view of the Pinakes, or bibliographies, Callimachus prepared for the library, and considers their impact on Callimachus's poetry.]
There was no distinguished textual critic in the generation after Zenodotus; only Aristophanes of Byzantium at the end of the third century was his equal if not his superior in this field. The outstanding representatives of scholarship between Zenodotus and Aristophanes were two men from Cyrene, Callimachus and Eratosthenes.
After Alexander's death Ptolemy I ruled over the old Dorian colony of Cyrene as the western part of his Egyptian kingdom (perhaps 322 B.C.); then his stepson Magas was given a kind of independent regency (about 300 B.C.?), and there was a time of considerable trouble between Egypt and Cyrene in the seventies. But at length the only...
(The entire section is 6095 words.)
SOURCE: "The Practice of Pictorial Realism" and "The Everyday and the Low in Alexandrian Poetry," in Realism in Alexandrian Poetry: A Literature and Its Audience, Croom Helm, 1987, pp. 55-112, 155-227.
[In the following excerpt, Zanker studies the use of pictorial realism among Alexandrian poets, looking at Callimachus alongside Appollonius, Theocritus, and Herodas. Zanker's discussion of Callimachus considers many of his works, including the Aetia and the Hymns, but his thesis rests primarly on an extended study of the Hecale, which he finds particularly demonstrates the meaning of pictorial realism. He argues that Callimachus uses the style for a specific meaning—to show "that appearances may be deceptive and that moral nobility can be found in people of lowly circumstances"—and that he achieved "a totally new tone … in epic" with his use of pictorial realism.]
… In the case of Callimachus of Cyrene, … we have indisputable evidence of a keen yet judicious interest in pictorial realism, even though two works of great importance to this book, the Aetia and the Hecale, are in a fragmentary state,
To consider the Aetia first, it must first be noted that cult origins will not have been a theme naturally conducive to pictorial description. Callimachus is in general...
(The entire section is 11946 words.)
SOURCE: "Kallimachos and His Lists of Greek Authors and Their Works," in Kallimachos: The Alexandrian Library and the Origins of Bibliography, translated by Hans H. Wellisch, The University of Wisconsin Press, 1991, pp. 124-81.
[In the excerpt that follows, Blum focuses his attention on Callimachus the scholar rather than Callimachus the poet. Blum carefully reconstructs the history of the royal library at Alexandria, attempting to determine the post Callimachus held there and the years of his tenure.]
Accounts of the life and work of Kallimachos are neither particularly extensive nor are they particularly sparse. Our main source is the article "Kallimachos" in the Suda which contains some biographical data and a selective bibliography of his works. The article is based on an epitome of the Onomatologos (Nomendator), a lost bibliographic lexicon compiled from older reference books by Hesychios of Miletos in the 6th century A.D. The abridgment of the Onomatologos affected also the article "Kallimachos". This explains some of its defects. Thus, we learn from it, for example, what was the name of Kallimachos's father-in-law, but we do not know what position he himself occupied at the court of the Ptolemies in Alexandria. Nevertheless, this article supplies interesting information not contained in any other source. The data of Hesychios which were incorporated in the Suda are...
(The entire section is 8113 words.)
Further Reading
Bulloch, Anthony W. "The Future of a Hellenistic Illusion: Some Observations on Callimachus and Religion." Museum Helveticum, Vol. 41, No. 4, October, 1984, pp. 209-30.
Addresses the "sense of paradox and even puzzlement" readers often have in response to Callimachus's religious poetry in order to work out some of the complexities in the Hellenistic view of the human rulers' relationship to the gods.
Bundy, Elroy L. "The 'Quarrel between Kallimachos and Apollonios' Part I: The Epilogue of Kallimachos's Hymn to Apollo." California Studies in Classical Antiquity, Vol. 5, 1972, pp. 39-94.
Uses the ambiguity of Callimachus's feud with Apollonius and a careful examination of language to demonstrate the hymn's "artistic integrity."
Cameron, Alan. Callimachus and his Critics. Princeton: Princeton University Press, 1995. 534 p.
An exhaustive overview of Callimachus's work, the work of his contemporaries, and the critical discussion that has surrounded Hellenistic poetry.
Dawson, Christopher M. "The Iambi of Callimachus. A Hellenistic Poet's Experimental Laboratory." Yale Classical Studies, edited by Harry M. Hubbell, Vol. 11, 1950, pp. 1-168.
Comments exhaustively on each of the Iambi, the history of the manuscripts, and suggests a possible "coherent view of the Iambi as a whole."
...(The entire section is 368 words.)
Source: Classical and Medieval Literature Criticism, ©1996 Gale Cengage. All Rights Reserved. Full copyright.


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Team Georgia comes out on top
Matthew Stokes
Friday, July 20, 2012
ATLANTA, Ga. – In a tight ballgame, number 28 seed Team Georgia 16u Blue (10-1-1) pushed across the game's only run late to secure a 1-0 victory over the number three seed South Charlotte Panthers 2014 (10-1) in the 2012 WWBA 16u National Championship finale on Friday afternoon.
Before the two teams matched up at noon, there were two 9 a.m. semifinal games. At Southern Poly, Team Georgia used a seven-run first to knock off the number eight seed South Florida Elite Squad 16u Red (10-1) by a final score of 9-0 in five innings. At Georgia Tech, the Panthers scored four early runs and held on for a 6-3 win over the number two seed FTB Chandler (10-1).
In the championship pairing, neither team's offense did much to mount a serious scoring threat through six innings. Between Panthers left-hander Corey Sikes (2014, Piedmont H.S., N.C.) and Team Georgia righty Patrick Stone (2013, Greater Atlanta Christian School, Ga.), the two starting pitchers combined for six 1-2-3 innings through the first six frames. Panthers third baseman Ryder Ryan (2014, North Mecklenburg H.S., N.C.) accounted for the game's only extra-base hit, a double grounded just inside the left field foul line in the bottom of the first.
The seventh and final inning provided by far the most excitement in this low-scoring affair. With the score still knotted up at 0-0, Danny Edgeworth (2013, Lambert H.S., Ga.) grounded a ball sharply to shortstop Nick Owens (2014, Charlotte Christian School, N.C.) who could not field it cleanly, allowing Edgeworth to reach safely on the error.
Edgeworth proceeded to steal second and advanced to third on catcher Bradley Brown's (2014, Richmond, N.C.) errant throwdown. On the seventh pitch of his at bat, Grey Davis (2014, Milton H.S., Ga.) stroked a line drive RBI single to right-center to drive home Edgeworth, setting off a series of loud cheers from Team Georgia parents and also ending Sikes' outing on the mound. The left-handed pitcher tossed six-plus frames of three-hit ball, allowing that one unearned run in addition to striking out five and walking none.
After Pathers reliever Andrew Loepprich (2014, Charlotte Country Day School, N.C.) set the final three Team Georgia batters in order, Stone trotted back out to the hill to finish what he started. After Ryan singled to right on Stone's first pitch in the bottom of the seventh, the right-hander set down Alex Destino (2014, North Buncombe H.S., N.C.) on the next pitch on a flyout to right field, setting up a dramatic finish. On Stone's 66th pitch of the game, Logan Sherer (2013, East Mecklenburg H.S., N.C.) grounded out into a 6-4-3 double play, ending the game and resulting in a team dogpile near the mound.
Our guys battled all tournament long, and this is the greatest group of competitors that I've been around," said head coach Jim Butler, in his fifth year with Team Georgia. "This is huge. This means a lot to the players."
Following the game's conclusion, Team Georgia first baseman Jack Thompson (2014, Milton H.S., Ga.) earned Most Valuable Player after batting .364 with four doubles, five home runs, 22 RBIs and 11 runs scored
. Stone took home the Most Valuable Pitcher award after pitching 13 and two-third scoreless innings, including his complete game three-hit shutout on Friday.
2012 WWBA 16u National Championship runner-up: South Charlotte Panthers 2014
2012 WWBA 16u National Championship MVP: Jack Thompson
2012 WWBA 16u National Championship MVPitcher: Patrick Stone
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Let the CHOsen one get to work!
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Making Money on 3D Printing
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Sep 19, 2012
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L&S IT Staff
The three LSITO teams are comprised of 13 full-time and 20 student employees supporting the technological needs of the College. To learn more about our staff, please select the team you'd like more information about from the menu to the left.
Robert J. Beck, Director
Robert J. Beck is Director of the L&S IT Office. He also serves as the Chief Information Officer of the College and Associate Professor of Political Science. From 1998-2000, Dr. Beck served as Director of Tufts University's Center for Teaching Excellence. Before Tufts, he spent nine years in full-time teaching and research at the University of Virginia (Government & Foreign Affairs, 1989-90, 91-98) and the University of Minnesota (Political Science, 1990-91).
Among his published works are the International Law volume of the International Studies Encyclopedia (co-editor and contributor), International Law and the Rise of Nations (co-editor and contributor, 2001), International Rules (co-editor and contributor, 1996), International Law and the Use of Force (co-author, second edition forthcoming, 1993 first edition), and The Grenada Invasion (author, 1993) . He has also published articles in such journals as International Security, the Review of International Studies, International Studies Perspectives, the Naval War College Review, the International Journal of Refugee Law, and the Wisconsin International Law Journal.


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Intramural Policies and Procedures
Welcome to our exciting Intramural Sports program! Numerous activities are offered throughout the year that accommodates all levels of play and interest. If sports, leisure activities and fitness are part of your life, we invite and encourage you to participate in our program. Experience the satisfaction of having fun, getting in shape, and playing your best while fostering a spirit of sportsmanship among participants and spectators. The policies and procedures outlined below are designed to ensure a positive and rewarding experience for all Hofstra students, faculty and staff.
The sport calendar and registration material for all activities are available online at www.imleagues.com/Hofstra. Teams or individuals interested in participating must attend the scheduled mangers' meeting.
Check our sports calendar for meeting dates and times prior to the start of each new season. These MANDATORY informational meetings are held for the designated team captain/representative and/or any individual looking to participate in our program. Completed online rosters are due on the date specified on the annual Intramural (IM) calendar and will be accepted until midnight. Due to scheduling requirements, late entries cannot be accepted.
REGISTRATION To enter a team into an IM sports league, completed online registration forms and rosters must be submitted by the scheduled deadlines. The following information is required for a roster to be accepted:
- Team name.
- Designated team captain.
- Team availability listing a minimum of five time slots during which the team can play.
- All male and female students (graduate and undergraduate), faculty and staff members currently affiliated with Hofstra University are eligible to participate. Alumni are not permitted to participate in our program.
- A player may compete on only one team per league (men's, women's and/or coed). Any player competing under an assumed name or without being listed on the roster will be banned from further IM sport participation for the remainder of the academic year.
- A player who fails to sign the liability release statement prior to his/her participation in each game is ineligible to play.
- Any individual who participates in an intercollegiate sport during one academic year would be ineligible to participate in that sport or associate sports during the same academic year. If a student did not practice with the varsity team after the first varsity contest, he/she would be eligible to participate in Intramurals.
- Redshirts and members of intercollegiate teams are ineligible to participate on an IM team in that sport (or associated sport) during that sport's season if run concurrently or at different times.
A valid HofstraCard is required at all times to enter all athletic facilities and will be requested prior to the start of each IM game. Individuals without valid HofstraCards will not be permitted to play.
Regular season play, with round robin format, is followed by a single elimination playoff to determine the overall IM champion. The top two qualifying teams in each division automatically advance to the playoffs. Scheduling is subject to change based on facility availability and time constraints.
All league schedules and season information are posted online and on the bulletin board located in the Fitness Center lobby. To ensure accuracy and up-to-date schedule information, check the website, bulletin board, or contact the graduate assistant in charge of the sport.
Administrative cancellations occur when inclement weather or other uncontrollable factors arise. In these cases, we will make every effort to reschedule the games.
Due to the number of teams involved in the IM program and the limited availability of fields/gymnasiums, requests for rescheduling will not be considered. Game cancellations may be done only through the IM office.
The success of our IM program is dependant largely upon the representatives who serve as managers for each participating team. These individuals are the liaisons between the teams and the IM Office. Each team is encouraged to select the person who is best qualified to fulfill the following responsibilities:
- Attend or send a team representative to the managers' meeting.
- Submit a complete, accurate online roster on the designated date.
- Represent the team in all facets.
- Check the website and IM bulletin board (located in the Fitness Center lobby) daily for current information (i.e., rain outs for schedule changes) and notify team members.
- Inform all team players of the game rules and policies that govern the Department of Recreation and Intramurals.
- Ensure the team will arrive on time and be ready to play when scheduled. A five-minute grace period is allowed before the game is recorded as a forfeit.
- Assist with pregame player sign-in.
- Oversee the conduct of team players and spectators before, during and after the game, and encourage sportsmanship throughout the season.
- Serve as the team's only designated spokesperson permitted to address the official.
- File a protest, if applicable, in the time allotted.
- Distribute awards at the end of the season, if applicable.
Teams may make roster additions anytime throughout the regular season; however, additions cannot be made during playoffs. IM staff must be notified of all roster changes.
Hofstra students, faculty and staff members seeking to participate will all compete in the same league. This applies to independent, fraternity/sorority, and Law School teams. All-female and mixed leagues will also be available, if applicable.
Pending registration in any given sport, this may be subject to change.
Protests must be on rule interpretation and must deal directly with the score. There shall be no protests allowed on judgment calls. The following restrictions apply:
- Protests are made by the team manager only.
- The manager must notify the officials and supervisor at the exact time the incident occurs. The official will then record the protest on the scorecard from the time of the incident. A protest will not be accepted after the game has been completed or if it has not been acknowledged by the supervisor or official. Player ineligibility must be protested on the field in order to identify the ineligible player.
- Protest forms are available at the game and at the IM office, and must be submitted within 24 hours of the occurrence. During playoffs, formal protests must be submitted no later than 9 a.m. of the first working day following the contest.
- Following the protest review, each team will be notified of the decision as early as possible.
Any player who is ejected from any IM activity must leave the playing field/court immediately. Failure to do so will result in his/her own team's forfeit.
An ejected player is ineligible to participate in further recreation or IM activities until he/she has met with the Intramural Advisory Council. It is the ejected player's responsibility to call the IM office to schedule an appointment. Team managers are invited and encouraged to attend this Advisory Council meeting.
A default is given when:
- A team captain notifies the IM office at least three hours before scheduled game time that he/she is unable to field a team. Fifty (50) percent or more of a regulation team is present.
- A team is not represented at the scheduled managers' meeting.
A team that defaults is given a loss and the opposing team automatically receives a win. Default games are not rescheduled, and sportsmanship ratings are not given to either team, unless the opposing team needs a rating for a playoff spot.
Forfeits are awarded when:
- A team fails to play a scheduled game or less than 50 percent of a regulation team is present.
- A designated team official is assigned to a game and does not show.
- Eligibility rules are violated.
- A player is ejected from the game and refuses to leave the playing area.
- Two forfeits warrant an immediate dismissal from the league. A team that forfeits is given a loss, and the opposing team receives a win. Forfeited games are not rescheduled, and the sportsmanship ratings are not given to either team. The opposing team, however, is not penalized for a forfeited game if a rating is needed to determine playoff spots.
Awards (maximum 20) are given to the overall champion of each sport. To be eligible, participants must have played in at least half of the season's games. Awards may be picked up only during the academic year in which they are won.
Participation in the IM program is voluntary. Hofstra University and the Department of Recreation and Intramurals are not liable for injuries suffered by participants; therefore, all participants are advised to be in good physical condition and have proper medical insurance. If a player is injured during an intramural contest, the supervisor will provide any assistance possible. If further assistance is needed, the supervisor will contact the Department of Public Safety. The injured party assumes liability for transportation and/or medical charges.
To maintain safe conditions of play at all times, jewelry and baseball caps (except during softball) are suggested not to be worn during IM participation.
"Sportsmanship" is defined as "a set of behaviors that will be exhibited by participants, coaches, game officials, and fans in competition.
These include respect, civility, fairness, honesty and responsibility." In order to encourage fair play before, during and after an IM contest, a rating system is enforced as follows:
- Teams qualifying for postseason play must have:
- A sufficient win/loss record.
- A "B" average (3.0) sportsmanship rating during the regular season.
Sportsmanship ratings are based on the following criteria:
- An "A" (4.0) is awarded to a team that demonstrates extremely good sportsmanship and maintains an attitude of complete cooperation. Examples include:
- Arriving early to play.
- All players exhibit positive behavior and communication.
- Shaking hands at the completion of the contest.
- A "B" (3.0) is awarded to a team when good play is exhibited throughout the contest with minimal incident or conflicts. Examples include:
- Being prepared to play at game time.
- A single verbal warning issued to a team.
- A "C" (2.0) is awarded to a team when sportsmanlike conduct is present in the game except for minor infractions. A team may not receive this score or a lower score (depending on the sport) unless it receives:
- A yellow card in volleyball and soccer.
- A technical foul in basketball.
- An unsportsmanlike conduct penalty in touch football.
- A second verbal warning issued to a team in softball or any self-officiated sport.
- A "D" (1.0) is awarded to a team:
- When a player, coach or spectator is ejected for abusive remarks.
- If players other than the manager persist in questioning the officials, or if any player repeatedly argues with an official.
- An "F" (0.0) is awarded to a team:
- If a player, coach or spectator is ejected for striking or shoving an official, opponent or spectator.
- If any individual associated with the team is so antagonistic to an official or staff member that the game cannot be played with proper order and control.
- If a player disregards warnings of unnecessary roughness.
Sportsmanship ratings are given by all members of the IM staff working the game. This includes officials, court monitors, supervisors, graduate assistants and senior staff members.
A team that receives an "F" rating must have its manager meet with the director before its next scheduled contest in order to be eligible to play its next game.
*Sportsmanship ratings are not given for any unplayed games.
Teams must adhere to the sportsmanship regulations by obtaining a "B" (3.0 point average) in the regular season to qualify for the playoffs. If a team's sportsmanship average dips below the "B" average during playoff competition, it will be dropped from play. Also, if a team receives two "D" ratings during playoff competition, it will be dropped from play regardless of its sportsmanship average. The IM Department reserves the right to drop any team and/or individual from playoff competition for sportsmanship violations.
Any player who is ejected for any reason will be ineligible to participate in his/her team's next scheduled contest. Based upon the ejected player's actions, further disciplinary procedures may be taken. These decisions are final. Any player or team ejected from a contest will be automatically suspended from the game and must meet with the Intramural Advisory Board. The following are considered to be evidence of unsportsmanlike conduct: profanity; unnecessary delay of game; striking, shoving or threatening an opponent, official, staff member or teammate; and any action with the intent to physically injure a player.
Consumption of alcoholic beverage/tobacco products by coaches, active players, bench players, and spectators is prohibited. Violators are subject to University disciplinary action. IM participants may be ejected from a game and suspended from further participation. All teams are responsible for their spectators. Any unsportsmanlike conduct from spectators will be penalized against the team they are "supporting."


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Updating Your Name
ALERT - Dangerous computer malware
CryptoLocker is dangerous, malicious computer software that encrypts your data files (word, powerpoint, pictures, music, videos, etc.). The nefarious individuals then hold your data for ransom and try to extort money from you.
Learn more about this risk and how to protect yourself here - http://oregonstate.edu/helpdocs/safety-and-security/computer-viruses-fraud/computer-viruses/cryptolocker-dangerous-ransomware
- Log into your list settings (click here for instructions on logging in)
- Under the "Membership Information" Section, find the "Your Name" box
- Enter the new name you want to be shown as
- Click the "Change My Address and Name" when you are done
Click on the image to view full size


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Global Navigation
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Babar: King of the Elephants
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This sequel to 1989's Babar: The Movie tells more animated tales in the life of the famous elephant from the popular children's books of Jean deBrunhoff and Laurent deBrunhoff. Babar is a young elephant living happily in the jungle until his mother is murdered by hunters. Distraught, Babar wanders aimlessly until he finds himself in the city, where his unfamiliarity with human lifestyles causes no small number of problems. But an older woman who's grown fond of Babar offers to show him the ropes, helping him learn to live among people until his friends arrive to take him back home. This production from Canada's Nelvana cartoon studio is highlighted by excellent animation and a fine musical score. ~ Mark Deming, Rovi
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Dan Lett
Janet-Laine Green
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Beetlejuice: Season 04
Even as Season Three of the animated series Beetlejuice was spooling every Saturday morning on ABC, a separate fourth season, consisting of 65 episodes, was merrily humming away from Monday through Friday on the Fox network. Though the principal characters are still the grotesquely hilarious and presumably dead practical joker Beetlejuice (aka BJ) and his wide-eyed mortal friend Lydia, and while the main locale for the series remains the surrealistic Neitherworld, the Fox version differs slightly from the ABC edition by specializing in literary and pop-culture parodies, beginning with BJ enthusiastically booking several dead historical figures for Neitherworld's top TV talk show. Later on, BJ assumes the guise of Grimdiana Jones to rescue Lydia from the clutches of giant beetle Thing Thong; a pair of severed ears show up as the main characters in a Maltese Falcon takeoff; BJ and Lydia pay a visit to the yecchiest place in Neitherworld, the ghoulish theme park Grislyland, where the mascot is Bartholomew Bat (try to spell out THAT name in a song!). Also: BJ is trapped in the enchanted village Brinkadoom, which disappears every time the citizens fall asleep, a frozen chicken haunts BJ's roadhouse as "The Poultrygeist"; our hero is given a chance to see what would have happen if he never existed by the spectral Clarence Sale; a trip back to 17th Century London finds BJ and Lydia being kidnapped by various Shakespearean characters who want her to rewrite their plays so they won't get killed; a Caesar salad comes to life and forms a legion of vegetables, then divides all Aroma into three parts (what Gaul!); BJ squares off against notorious outlaw Jesse Germs; thej first production of BJ's "Disasterpiece Theater" is Moby Richard, featuring the most temperamental whale in showbiz history. And you can't imagine the instigated in the episode "The Wizard of Ooze." Plus: exercise fitness guru Jacques LaLean finds a formidable foe in King of Fitness Armhold Musclehugger; BJ and Lydia compete in the fast-food business with Scuzoo the Clown; BJ defends his title of World's Great Prankster against his great rival, Germs Pondscum; an attempt to exterminate some ants results in BJ creating a whole new colony of annoying relatives (all "Aunts" of course); and finally, BJ takes advantage of a new TV cartoon trend by transforming himself into UltraBeetleMan. ~ Hal Erickson, Rovi
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Stephen Ouimette
Alyson Court
, (
Beetlejuice: Season 03
The third season of the animated crazy-quilt Beetlejuice (still seen this year on ABC, though a Fox network version was being telecast at the same time!) offers 13 new episodes revolving around Beetlejuice, aka "BJ", the gross and grotesquely funny practical joker who calls the Neitherworld his home, and who commiserates with his mortal friend Lydia. Episode highlights include BJ's frantic reapplication for his License to Drive People Crazy; a spooky séance, wherein Lydia communicates with her favorite dead actor, Boris To Death; BJ's adventures in amoeba form when he splits in two and learns that he literally can't live with himself; and a story focusing on a huge inheritance and a hob-nob session with Neitherworld's "stinking rich" class (they're rich, and BOY are they stinking!) And in a Very Special Episode (it says here), Beetlejuice must convince a mortal kid named Ramon not to imitate his disgusting behavior. ~ Hal Erickson, Rovi
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Stephen Ouimette
Alyson Court
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Beetlejuice: Season 02
Season two of the ABC version of the zoned-out cartoon series Beetlejuice features 13 new adventures with the Neitherworld's favorite ghoulish prankster Beetlejuice ("B.J") and his winsome mortal friend Lydia Deetz. This season, it's Beetlejuice vs. Lydia on Scary Fools Day; the duo races against the well-named Scuzzo the Clown in the Neitherworld Groan Prix; "Dr. Beetlejuice" creates a perfume that alters personalities; the episode "Uncle B.J.'s Roadhouse" dishes up a wild spoof of Pee-wee's Playhouse (which, like Beetlejuice, was a spinoff of a popular live-action movie directed by Tim Burton); and bug-eating B.J. is in gross-out heaven when he lands a job as a scarecrow on a beetle farm. ~ Hal Erickson, Rovi
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Alyson Court
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The Legend of Zelda [Animated TV Series]
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Originally seen as a component of the Nintendo-inspired cartoon series Super Mario Brothers Super Show, The Legend of Zelda is the 13-episode saga of a feisty 15-year-old Princess, a bold adventurer of the same age named Link, and all-around sidekick Spryte. The "good guys" (actually two guys and one gal) are dedicated to keeping the Triforce of Wisdom out of the clutches of the evil Ganon and his Moblin flunkeys. In the opening episode "The Ringer", Ganon creates a monster to capture Zelda, thereby distracting Linky and Spryte from safeguarding the Triforce. In "Cold Spells", poor Sprite falls under Ganon's control. "The White Knight" shows that Zelda should know better to fall in love with anyone named Prince Façade. A kiss from a beautiful maiden has the reverse effect than the one expected, transforming Link into a frog, in "Kiss 'N' Tell." "Sing for the Unicorn" finds Link and Zelda uniting with a sylphlike girl, whose unicorn was stolen by Ganon, to rescue Zelda's dad the King. In "That Stinking Feeling", an unscheduled trip to the Underworld spoils a special moment for Link and Zelda. Then in "Doppelganger", Gannon summons the "Evil Zelda" and her own Moblins from an magic mirror. Link and Zelda are forced into a perilous trek through Ganon's domain in "Underworld Connections." An elaborate con job is called for when Ganon tries to get his mitts on Link's enchanted sword in "Stinging a Stinger" A black-magic necklace and a hard-working castle handyman figure into "Hitch in the Works". In "Fairies in the Spring", Link and Zelda call upon the Triforce to allow them to breathe underwater when the King is kidnapped (again!). Link's body is separated from his spirit, courtesy of Ganon's Evil Jar, in "The Missing Link" Finally, "The Moblins are Revolting"--and that's putting it mildly--when Ganon is toppled from power...or is he? ~ Hal Erickson, Rovi
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Cyndy Preston
Jonathan Potts
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Beetlejuice: Season 01
The first season of the grotesquely hilarious animated series Beetlejuice originally aired weekly on ABC, and consists of 19 half-hour episodes, in which the hideously ugly, outrageously gross and stone-cold-dead con artist/prankster Beetlejuice, aka "BJ", made periodic visits to the surrealistic Neitherworld in the company of his mortal friend Lydia. This season offers our first glimpses of such other Neitherworld denizens as Judge Mental, the pesky Sandworms, the King and Queen of Gross, commercial pitchman Barry MeNot, Scuzzo the Clown and Beetlejuice's faithful pet, Doomie the DogBrained Cat. Typical adventures include B.J.'s public embarrassed when the skeletons in his closet come to life; the havoc wreaked by a walking tree who doesn't want to be cut down for a highway project; a dull Halloween livened up when BJ breaks open a can of Party People; a showdown with Neitherworld gunslinger Bully the Crud; BJ's unpleasant encounter with Pat on the Back, a leprechaun growing out of his shoulder blades; a cautionary fable of fame's fickleness when BJ hits the big time as an "armpit musician"; the curious courtship of Lydia by Neitherworld's Prince Vince; and a surprising encounter with Beetlejuice's ultra-ultra-ultra-ultra-ultra-ultra-conservative parents. ~ Hal Erickson, Rovi
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Stephen Ouimette
Alyson Court
, (
Double Standard
Based on a true story, this made-for-TV movie follows the scandal that arises when a prominent judge is discovered to be leading a secret life as the husband and father of two different families. ~ Iotis Erlewine, Rovi
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Robert Foxworth
Michele Greene
, (
Babar: The Movie
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Based on the beloved children's books character, this animated family story focuses on the early days of lovable elephant Babar, before he rose to his current position of king. With the help of female elephant Celeste, the young Babar attempts to save a village from a group of bad-tempered rhinoceroses. ~ Judd Blaise, Rovi
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Gordon Pinsent
Gavin Magrath
, (
Care Bears: Adventure in Wonderland
The cuddly pastel-colored Care Bears are back for a third feature film with their friend Grumpy. This time around, they have persuaded Alice to return with them to Wonderland. There, she must pretend to be a princess who has been kidnapped by the Evil Wizard. While many of the characters from Wonderland (such as the Mad Hatter and the Cheshire Cat) make appearances, so do characters from the Grimm fairy-tales, The Wizard of Oz, and many more fables. After being thoroughly treated to the ministrations of the loving bears, a little girl finds some much-needed self-esteem. ~ Clarke Fountain, Rovi
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Colin Fox
The Believers
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A police psychologist and his school-age son become embroiled in the machinations of a mysterious cult religion in this thriller from director John Schlesinger. After his wife is electrocuted in a freak accident, Dr. Cal Jamison (Martin Sheen) and his son, Chris (Harley Cross), move back to Manhattan, where Cal went to school. When not spending time with his son and surrogate extended family -- husband-and-wife anthropologists Kate (Elizabeth Wilson) and Dennis Maslow (Lee Richardson) -- Cal settles into his new job and romances his landlady, Jessica Halliday (Helen Shaver). Soon, though, a series of brutal murders of young children begins to take over Cal's life. Through the ravings of policeman Tom Lopez (Jimmy Smits), who believes the killers have supernatural power over him after stealing his badge, Cal learns of Santeria, a voodoo-like Latin American sect that mixes elements of Christianity and pagan mysticism. Although the religion turns out to have ties to some of the richest men in the city and even Cal's well-meaning maid seems to be a practitioner, he can't get any straight answers as to whether the cult is responsible for the murders. But after a sinister African shaman (Malick Bowens) places a curse on Jessica, Cal finally begins to understand the danger that faces him -- and his son. The Believers was very loosely adapted from Nicholas Conde's 1982 novel The Religion. ~ Brian J. Dillard, Rovi
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Martin Sheen
Helen Shaver
, (
Killer Party
Once again, it's horror on a college campus. The difference between this and other entries in the slice-n-dice genre is that bloodflow is minimal and most of the horror occurs off-screen. That is not to say that there are no queasy acts of violence though. Set just before April Fools Day, the story centers on a trio of sorority pledges who attend a dance held at a haunted frat house where two decades before a pledge lost his head in a hazing gone awry. During the party, the dead frat boy rises up from his gravesite (located in the backyard), takes over the body of one of the girl pledges and embarks upon an evening of bloody, inventive revenge using a variety of tools that include but are not limited too garden utensils, electric wires and even a guillotine. ~ Sandra Brennan, Rovi
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Martin Hewitt
Ralph Seymour
, (
Ozu no Mahotsukai
Though it isn't as engaging as the classic musical version of Frank L. Baum's timeless fantasy, this animated version of The Wizard of Oz remains a professional, entertaining production that should appeal to young children. ~ Stephen Thomas Erlewine, Rovi
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November 5, 2009
Trey Biddy HawgSports.com
The Razorbacks wrapped up practice preparation on Thursday for this weekend's important matchup with the South Carolina Gamecocks in Fayetteville. The Razorbacks are sitting at 4-4 with four games remaining, and they need to win six to get to a bowl game. But the Hogs want to do more than just that... ...More... To continue reading this article you must be a member. Sign Up Now for a FREE Trial
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Past Event: General Meeting
Thanks to the Red Sox play-off game, there were only eight of us, just the tight core-group minus one, who couldn't make it. We did a fun round circle, sharing our moods as weather reports. I introduced group culture and … read more
Energize Wayland
Energize Wayland Follows Solarize 2012 Success
Transition Wayland is working on a program to spur Wayland residents' and businesses' interest in making their homes and buildings more energy-efficient. It will promote free energy audits, efficiency work and deeper retrofits. It follows on the success of Solarize … read more
Wayland Walks
Past Event: Wild Cranberry Walk
On Sunday afternoon, November 3, we carpooled to the wild cranberry bogs of Watchusett Reservoir to pick cranberries and have a late fall picnic. This event was reported in the Wayland Town Crier: click here. read more
Experimental Community Garden Plots
As gardeners we often don't get to work in a field. It's a different thing altogether to work in a field than in a garden. There is all that space, sky, sun. You walk from one end to the next (diagonally, so … read more
Climate Change
Waylanders say NO to Tar Sands and Pipeline
On Saturday, September 21, several Wayland residents joined over fifty others from the Metrowest at Newton Centre to "Draw the Line" on the Tar Sands Pipeline, which would deliver tar sands oil from Alberta, Canada to Gulf Coast refineries, mostly … read more
Past Event: Founder Rob Hopkins Talk at Tufts
On October 3, carpool with us to a conversation with Rob Hopkins, founder of the international Transition Towns Movement, to learn how communities across the country and around the world are transforming their economic, energy, and food systems from the … read more