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Central Utah Clinic Opens New Eye Clinic, Adds Ophthalmologist
Central Utah Clinic based in Provo, Utah, has opened a new eye clinic in Mesquite, Nevada, to be operated by ophthalmologist Snow Slade, who will also practice at Mesa View Hospital, also in Mesquite.
Dr. Slade specializes in geriatric ophthalmology, medical and surgical glaucoma treatment and cataract surgery, according to a news release. He attended Brigham Young University and the University of Arizona, College of Medicine, and was a resident at University of Utah's Moran Eye Center.
More Articles on Ophthalmology:
Common Coding Mistakes in Ambulatory Surgery Centers: 6 Specialties to Know (Part 2 of 3)San Antonio Eye Center Adds Weekly Pediatric Clinic
Sightpath Medical to Mobilize Femtosecond Laser for Cataract Surgery
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Deserts and Beyond
Desert view
Living Desert Reserve, Palm Desert
Sunday, December 9, 2012
I'm back...sort of...
I'm back, sort of...still reeling from Cali's death. I notice that I now seek out darker photos...more austere.
1 comment:
I am so very sorry to hear about Cali. You are very much in my thoughts and prayers.
December 9, 2012 at 8:49 PM
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North vs. South in Williamsburg
The New York Times carried a cover story on its Thursday Styles section that explored the cultural divide in the trendy Williamsburg section of Brooklyn, Northside vs. Southside. It is a startling example of how news organizations glorify gentrification by treating the long-time residents of a neighborhood as an afterthought and wallowing in the lifestyle of the newcomers. Here is an excerpt:
Grand Street is more than just the dividing line between streets that are numbered north and those numbered south. The border has become Williamsburg's equivalent of the Mason-Dixon line, cleaving the neighborhood into two: a sleek, moneyed "North Williamsburg" and a gritty, hyper-authentic "South Williamsburg."
To the denizens of South Williamsburg, the north is now a glitzy playground of glassy condos for banker types, chain stores and hordes of tourists from Berlin; Tokyo; Paramus, N.J.; and, worst of all, Manhattan. They've turned the area, especially around the Wythe Hotel, into Brooklyn's answer to the meatpacking district.
The South, they argue, has maintained its bohemian D.I.Y. roots, with its indie boutiques, bearded mixologists, artists' lofts and working-class families: in sum, the "real" Williamsburg.
The problem is that the article dismisses the long-time population of Latinos, Hasidic Jews and Italians in two paragraphs, and gives no real consideration to their impact on the culture of the community. They're nearly invisible. One would never know that Latinos are by far the majority of the Southside. In the 2010 census, the Southside's three census tracts are 53 percent, 65 percent and 72 percent Latino.
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Independent and Catholic: Remembering Robert Hoyt
The Columbia Journalism Review has a nicely done piece on Robert Hoyt, founding editor of National Catholic Reporter, and on that newspaper's origins. I never met Hoyt, but it seems to me that his son, Michael Hoyt, former editor of the journalism review, has provided a nuanced and well-written portrait of his father in this article. He shows the importance of maintaining an independent Catholic press with outlets such as NCR and Commonweal, for which Robert Hoyt became a senior writer after leaving NCR.
It is good to see Robert Hoyt's life and work placed before the broader journalism community that Columbia Journalism Review reaches. Here is the top of the story:
Here are some of the things and people that my father loved: Gregorian chant, Joe Louis, airplanes, the Detroit Tigers infield of the mid-1930s, Salem cigarettes, Martin Luther King Jr., Latin, and big northern lakes. "That's not a lake," he would say, whenever I used the L-word about some muddy little man-made body of water, "that's a pond." Once, we drove all night from Missouri to vacation at Torch Lake, in Michigan, where he had experienced some happiness as a boy. I was in the front with him when we arrived, exactly at dawn, the rest of the family slumbering in the back of the wagon, a golden sun fingering across the blue water. He had tears on his face.
Another thing he loved: reporting. He was in awe of how good reporters find things out—interesting and significant things to be shaped into news, analysis, argument. He believed that journalism has a moral center, and that its motor is honest, independent reporting. Doing that reporting—asking questions of strangers—was not his cup of coffee. But he was an editor, and he didn't have to.
My father's claim to fame is that, nearly 50 years ago, in the fall of 1964, he and some colleagues set in motion a lively newspaper that covers the Catholic Church and its tidal pull on the world, from an independent and intelligent lay perspective—a paper that changed the rules for covering religion and remains an influential voice.
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Greeley, Gandolfini, and Clinton
The digital edition of the July issue is now available for download. In addition to all the content featured in the print magazine, the iPad, iPhone, and Android version includes serveral digital exclusives you won't be able to find elsewhere:
- Five articles written by Fr. Andrew M. Greeley published between 1964 and 2005
- Four reviews of James Gandolfini's work published between 2000 and 2009, with a new introduction written by Cathleen Kaveny
- A series of photos taken by Catholic News Service showing current events in a visually stunning format
- The cover and one article from the July issue we published in 2008 (5 years ago--including a cover story on Hillary Clinton's loss in the Democratic Primary), 2003 (10 years ago), 1998 (15 years ago), 1988 (25 years ago), 1963 (50 years ago) and 1938 (75 years ago)
- A link for digital subscribers to recieve a complimentary three month print subscription, as well as a copy of Commonweal Confronts the Century signed by the editor
To download your copy on an iPad, iPhone, or iPod Touch, click here.
To download your copy on an Android device, click here.
Commonweal Digital Editions: Exclusive Content
You may have seen Richard Alleva's review of Baz Luhrmann's film adaptation of The Great Gatsby in our June 14 issue. What you may not have seen is the original review of Fitzgerald's novel that Commonweal published in 1925—unless you have an iPad.
We scanned the review from bound copies of Commonweal that line the walls of our office and uploaded it to our digital edition. The review wasn't available anywhere else—until now. What's particularly amusing about the review is its assertion that F. Scott Fitzgerald "may have had one eye cocked on the movie lots while writing" Gatsby, and that it would provide "some soulful director a chance to display his art." Astute observations, considering they were written eighty-eight years ago. I can't recommend reading Alleva's screen review together with the book review highly enough.
Since we launched our digital (iPad, iPhone, iPod Touch, and Android device) edition in January, many subscribers have asked if they can get the digital edition free using their current print or online credentials. It works for The New Yorker and other similar publications, and we understand you'd like the same convenience with your Commonweal subscription. Unfortunately, we're not able to make that happen right now—the production, distribution, and fulfillment costs make it difficult for a small (non-profit) publisher to link print, online, and digital subscriptions—although we continue to seek assistance from Apple in addressing it.
In the meantime, we're making sure to feature a range of exclusive content in our digital edition—like that review of The Great Gatsby. And every digital issue also includes the cover, a summary, and an article from a print issue of the same date from somewhere in the last seventy-five years. What were we talking about on June 14, 1938? Find out by downloading our June 14, 2013, digital issue.
As we move forward with the digital edition of the magazine, we remain open to your ideas and comments. It's just as new for us as it is for you, and we want to make it as wonderful as possible. If you've read Commonweal on your mobile device, we welcome your feedback—just email us here.
If you would like to subscribe to the digital edition of Commonweal on an iPad, iPhone or iPod touch, click here. For Android devices, click here.
The end of '30 Rock'
Tonight the funniest comedy on television ends its seven-season run, and I feel compelled to say a word of farewell to 30 Rock. I came late to the show, in part because everyone I knew who enjoyed it kept talking about how great Alec Baldwin and Tracy Morgan were. I had trouble believing either claim. And for what it's worth, I was right about Tracy Morgan -- he was and is just as limited and barely adequate in his performance on 30 Rock (playing a version of himself named Tracy Jordan) as I'd always thought he was on Saturday Night Live. Fortunately, it doesn't matter much; if the show is often funny in spite of rather than because of his presence, it's still very, very funny. On the other hand, as Jack Donaghy, an NBC exec, Alec Baldwin was a revelation. I still find him fairly odious as a celebrity/public figure, and I'm still scornful of his under-rehearsed, cue-card-dependent appearances on SNL and elsewhere. He even seemed bizarrely unfamiliar with his own show when the cast appeared together on Jimmy Kimmel Live Late Night with Jimmy Fallon (whoops) last week. But on 30 Rock, Baldwin is a one-man master class, turning in an utterly disciplined performance with consistently perfect comic timing. Even in the two live episodes they did, Baldwin brought his A game. He is indeed a major reason for the show's success.The major reason, of course, is Tina Fey, 30 Rock's creator, star, and guiding sensibility. The show is ostensibly based on her experiences as head writer at SNL, but it's really about the character of Liz Lemon, who happens to be the creator of a lame sketch-comedy show on NBC. The writers'-room stuff has always been hit or miss; the personnel connected with the show are often funny but, on the whole, disappointingly one-note (in part because there are so many of them; certain minor characters disappear for such long stretches that the show cracks nervous jokes about it when they return). The writing is always sharp and original, and every character has quotable one-liners. But it's Liz quirks, and her fraught relationships -- with New York City, with work, with success, and most vividly with Jack, her boss -- that make 30 Rock satisfying and, for a lot of viewers (say, young women balancing careers and life and various insecurities in NYC), amazingly familiar. Liz is specific and finely detailed, and while I'm reluctant to start picking her apart as a feminist role model/betrayal to the cause of womanhood (as many have done and still do), I will say that I see in Liz a kind of womanhood-on-television that I haven't seen anywhere else: fully individual, smart and driven but also flawed and human and hilarious, and frankly anxious about the very questions of What Should a Woman Be? that critics and commentators project onto her. (A recent episode found Liz fretting about the trappings of being a bride. Her supportive boyfriend told her, "Liz, it's OK to be a human woman!" prompting her to moan, "No, it's the worst! Because of society!")
A word, too, for Jane Krakowski, who plays Jenna Maroney, the vain, self-centered star of Liz's show, TGS. The character of Jenna has shifted over the course of the show, from (as Fey put it in a recent interview) "TV best friend" to "bananas and an awful person." She was never an especially credible best friend for the uptight Liz Lemon, and the "bananas" role she took on in later seasons has stretched whatever consistent character Jenna had precariously thin. (I had very little patience for Jenna's kinky romance with a Jenna Maroney impersonator, played by Will Forte, a joke that lasted well past the point of diminished returns. And for a stretch, "Jenna opens mouth, makes reference to freakish past involving Mickey Rourke" was such a predictable part of any scene that I found myself bracing for my own Liz Lemon eye rolls.) [UPDATE: I am pleased to note that the final episode included a joke about how overdone the Mickey Rourke gag was.] But Jane Krakowski is a master at her craft, and as Fey says in that same interview, she "has grown Jenna into this ridiculous comedy powerhouse." Her performance, like Baldwin's, is incredibly disciplined (though in this case I wasn't surprised, having admired her in other shows/films, and especially on stage). As an actor she is Jenna's opposite: always listening, always giving her best to every moment of every scene. There have been times I've rewound the show just to rewatch her react to a line I didn't even find funny.My favorite example, which of course I cannot find a clip of online: Jenna and her TGS costar Tracy teamed up at one point to form an inept team they called "The Problem Solvers." That episode ended with a brief promo for their services, with both wearing shirts that said "THE PROBLEM" ("SOLVERS" was supposed to be, but was not, printed on the back). At one point Tracy had a punch line about finding a stripper passed out on your boat. I found the joke too effortful and Morgan's delivery typically halting, but Krakowski's reaction -- a fleeting expression of confusion and horror, suppressed and turned back into a sunny smile for the sake of the camera -- makes me howl every time. And she has found ways to make the character seem fleshed-out despite Jenna's ever-shifting countours. She's been nominated for an Emmy 3 times, so she hasn't exactly been overlooked or unsung (see also this appreciation from Grantland's Molly Lambert, which features some of Jenna's great moments). But it can't be said enough. [UPDATE: The finale ended with an amazing callback to one of my favorite early 30 Rock jokes, Jenna's role in a film with an impossible-to-understand title, The Rural Juror. Krakowski wrapped things up with a song that somehow hit all the right emotional notes while also being one of the funniest things I've ever seen on this or any show. Watch her perform the title song from the musical version ofThe Rural Juror at New York's Vulture blog, where they also went to the trouble of deciphering the lyrics.]In her farewell to the show at The New Yorker, Emily Nussbaum focuses, appropriately, on 30 Rock's dedication to and evocation of New York. Unlike a lot of shows set in NYC, 30 Rock was really shot here, and NYC life is one of its richest sources of material. And I'm not talking just "Hey, we're in New York, let's eat bagels and read theTimes on Sunday," but real, specific references to the city's annoyances and oddities -- like the cops with enormous guns checking purses at subway entrances, or (as Nussbaum recalls) a "bakery in the Bronx, located on the corner of Malcolm X Boulevard and Guy Who Shot Malcolm X Boulevard."Thanks to Boston-bred Jack Donaghy -- and Liz's regrettable ex, blue-collar meathead Dennis Duffy -- there were also plenty of Irish and Irish-Catholic gags (and some forays into Catholic practice, with the usual mixed results; Jack in the confessional was funny, but his devout Hispanic girlfriend, played by the humorless Salma Hayek, would have been much funnier if more of the Catholic stuff was "right"). And, praises be, many appearances from the riveting Elaine Stritch in a recurring role as Jack's harridan of a mother. (She once made reference to a parish in their old neighborhood, "Our Lady of Reluctant Integration in Waltham.")It's hard to say goodbye, but it's probably time for the show to go. Nothing gold can stay. The good news is, if you haven't watched 30 Rock, it's never too late. And I do mean that; the show is in syndication now, so reruns air several times a week, and unlike with certain very demanding dramas, you don't need to start from the beginning. Fellow fans, report back here after tonight's finale. We'll have a good old Irish wake, sharing stories of favorite memories. Let's work through our grief together.
The Burden of 'Compliance'
Compliance is the second feature from director Craig Zobel, and when it was shown at Sundance earlier this year, audience members reportedly booed and walked out. The concession worker at the theater where I recently saw it told me she hadn't yet worked up the nerve to watch it, and, while no one at the showing I attended booed or walked out, there was a lot of nervous whispering and disbelieving laughter, which soon enough turned to grim silence. Sitting through Compliance is an ordeal, and its meant to be.
The movie forces the audience to watch what happens when people unquestioningly follow orders, even when it results in harm to others. That Compliance is a small film is what makes the subject matter even more powerful. The setting is familiar and intimate: a fast-food restaurant on a busy winter Friday, manned by a skeleton staff of teenagers overseen by a harried middle-aged manager (Sandy, amazingly played by Ann Dowd).
Routine is broken when a caller identifying himself as a police officer asserts that one of the workers (Becky, played by Dreama Walker) has stolen from a customer, then deputizes Sandy to detain Becky and initiate an interrogation in the restaurant office, out of the sight of other employees and diners. The accused girl responds with increasing disbelief to the increasingly degrading demands of the unseen officer, relayed and carried out by the pliant Sandy: This is stupid, Becky says; there's no way it can keep going like this. But it does, and then it goes on some more, and then just when you think it has to stop, it goes even farther--with other employees dragooned into taking part while the late-afternoon rush kicks into gear on the other side of the door.
Unadorned writing and tight direction keep the main questions prominent: Why would ordinary people let themselves be talked into taking things to such lengths? Why wouldnt they rise up and say stop? The answer is that ordinary people are often only too willing to comply. Psychological studies like the infamous Milgrim obedience experiment, in which test subjects readily inflicted pain on innocents if the instructions came from an authority figure, demonstrate it. We like to think wed be brave enough, or aware enough, or smart enough to do the right thing in such instances, but maybe were not.
Few in Compliance are, least of all the hapless Sandy. Unsure, indistinctly middle-aged, clad in the color-coordinated scarf and blouse mandated by corporate for its female store managers, she's a ready mark for the smoothly manipulative presence on the phone. She's already having a crappy day--unruly staff, ungrateful regional supervisor, no pickles or bacon in the freezer. So she's eager to help, hungry for praise and validation, and blind not only to Becky's degradation but her own.
Amid the many unsettling moments is a low-key, single-shot scene outside the restaurant. Instructed by the voice on the phone to move important evidence to her car, Sandy sets out over the cracked parking lot, skirting piles of dirt-encrusted snow to reach her salt-grimed Subaru (model year 2001, the film makes sure to note). A discarded Styrofoam cup skitters across her path, but she's oblivious--she needs to hurry back to monitor the prisoner. Yet after depositing the evidence in the front seat as instructed, she stops to remove papers and cups littering the passenger side, lest she leave a bad impression for the officer arriving to retrieve it. It's an arresting segment, providing a momentary respite from the misery unfolding inside but also a sadly revealing glimpse of the neediness that makes Sandy so willing to help, so eager to please, so easy a mark. People who are hurting may prove more capable of hurting other people, especially if their actions are met with approval every step of the way. This is what gives Compliance such relevance and so much more immediacy than a psychological study, and what makes it work as art.
Unquestioning compliance leads inexorably to complicity, and the locked office of a generic fast-food restaurant will spur thoughts of Abu Ghraib, concentration camps, and other arenas of atrocity. Sandy doesn't make these associations; in the end, explaining to another character that she was simply doing what she thought was expected of her, she blurts: It all seemed normal to me. Of course: She was only following orders. There's a beat, and then she switches to the topic of the weather--much less troubling to ponder since it involves no introspection.
Breaking Bad #508: Poetic justice
Well, I don't know about the rest of you, but I had nightmares after last night's "finale." I will put spoilers after the jump, but here I will say that at least some of those nightmares involved baby Holly toddling around with that uncovered, not-fenced-in pool five feet from the back door of her house. I don't know whether Junior pushing the baby around the perimeter of the pool while the adults chatted happily in the foreground was supposed to fill me with dread, but it did. Are there no parents working on this show?
Now on to other intimations of danger...
How will I make it to next summer knowing Hank is finally on Walt's trail??? The Hank-gets-dangerously-close sequences have always been terrific. And now that Walt has thoroughly lost my sympathy (that prison-killings sequence was so chilling, and I think the way it was presented shows that the creators know we're no longer rooting for Walt at all), Hank is the new hero, as Emily Nussbaum predicted:
To escape this moral checkmate, Gilligan might shift yet another character into the foreground, revealing that the show is actually (as a friend suggested) a hero's tale in disguise. In that version of Breaking Bad, the protagonist is not Walt but Hank, a man with no children. Despite injury and depression, Hank brings down a vast drug ring, even when he discovers that the kingpin is his own brother-in-law, a sneering brainiac who has always considered himself superior. But because Hank is decent, and the show is on the side of good, Hank triumphs. That ending would have the virtue of symmetry, and pleasure, and closure, and relief, for the suffering audience.
"Right now, however," she adds, "its easier to imagine someone innocent coming to harm." Yes, especially with that pool and the chronically undersupervised baby!! Ahem. Or, maybe the one who comes to harm is Hank. Will the last half-season find Walt considering killing his brother-in-law? Once that would have been unthinkable. But now, by the end of last night's episode, I have to ask, Who wouldn't Walt kill to stay on top? (Even though that raises a further question: on top of what?) Whatever happens, next summer's episodes ought to be good and wrenching.
Questions I have: did Walt really mean it when he told Skyler he was out? My first thought was "What game is he playing now?" But he seemed sincere, and I took the final sequence to mean that he really did want to retire on his earnings and go back to family life. (And now justice will catch up with him. It's like the Hayes code says: crime must not pay.) So, if he really did quit, what does that mean for Todd? And for Lydia? I'm guessing we'll see more of the Czech Republic scheme, and I'm certain we'll see more of Todd. I haven't forgotten that he's (apparently) more dangerous than Walt seems to appreciate.
How could Walt have been dumb enough to leave that Walt Whitman book out where Hank (or anyone else) could see it? Did he do it on purpose? Or had he never noticed the very incriminating inscription? ("Dear Walt, Thank you for teaching me to cook such good meth. 'W.W.' stands for your name. Love, Gale.")
Other questions? Predictions? What do you want to see happen (or, what do you dread happening) in the last eight episodes? And who's going to get that ricin?
Breaking Bad #507: "Say My Name"
Wow. I suppose we should get right to the thing I know everyone wants to talk about from last night's Breaking Bad: the use of the terrific but little-known Monkees song "Goin' Down" to underscore the meth-cooking montage! I've always felt Micky Dolenz was one of the '60s' most underrated great pop vocalists. No?
OK, let's jump and talk about the episode's big shock:
Walt shot Mike! And he did it for no practical reason; it was violence driven purely by emotion. A new and frightening step in his progress toward villainy. In the New Yorker essay that I linked to last week, Emily Nussbaum wrote perceptively about how the show is balancing out Walt's losing viewers' sympathy by giving us other characters to root for. "The grizzled ex-cop Mike," she wrote, "with his dry wisecracks and his Realpolitik masculinity, fulfills our antihero needs." I think that's right on, and it makes it especially shocking and daring for the show to have Mike killed by Walt. It's not hard to hate a character who keeps killing the characters you like.
Walt's power to manipulate Jesse is waning as well. During Walt's "You have nothing in your life" anti-motivational speech trying to convince Jesse to stay in the partnership, it occurred to me, and I wonder whether it occurred to Jesse, that in fact it is Walt who has nothing and no one else in his life now. Walt has all but lost his family and is finding it lonely at the top of the meth-cooking game. Now that Walt has turned violent, my husband wondered after we watched, is Skyler in danger? A good question -- but I recall that in the past, Walt has reacted to violence and frustration by taking it out on her. (The scene that haunts me is the one where Walt all but rapes Skyler, after witnessing traumatizing violence that he has no way to process. I'm trying to track down the episode -- I think it was the season 2 premiere.) The dynamic in this episode seemed almost the opposite: Skyler is the one freezing Walt out and making him feel powerless, and "professional" violence is his release. It can't be an accident that Walt's gloating in the opening scene (echoed in the episode's title) made him sound like a sexual predator.But, with the loss of Mike, the show has introduced a new way to shape viewers' attitudes toward Walt: dramatic irony. We now know something he doesn't -- namely, that his new meth-cooking apprentice is not simply the diligent (if doltish) student he seems. We know Todd kept a souvenir of the murder in episode 505. We don't know exactly what that means, but I expect it to bode ill for Walt.
I continue to suspect that Hank's "promotion" was really just a gambit to get him off the trail of the Fring empire.... And the mommy in me hopes we'll hear about what happened to Mike's granddaughter after he abandoned her on the playground (one presumes). (Another data point for Nussbaum's observation about how children in peril is "practically the shows trademark.") Your reactions?
What makes an ending a "cliffhanger"?
Since I've been posting so much about television lately, I want to say a word of appreciation for the New Yorker's new (well, fairly new) TV critic, Emily Nussbaum. (She's already written a whole lot of copy, but I think it's OK to call her "new" until the magazine gets around to including her in its online list of contributors.) I enjoyed the "On Television" columns by Nancy Franklin, but I got the distinct impression that no one at the New Yorker, including and perhaps especially Franklin, actually thought they mattered much. Franklin wrote not as a person who cared deeply about the medium and spent a lot of time thinking critically and intelligently about it, but rather as an intelligent person who could take or leave TV and thought about it only when a deadline loomed. Her approach to the beat was casual to a fault. Nussbaum, on the other hand, takes television seriously as an art form, and takes her job seriously enough that she watches pretty much everything. What is more, she seems to really enjoy a lot of what she watches (sometimes to an alarming degree), which is a good quality in a critic. I don't watch that much television, but Nussbaum's enthusiasm is almost enough to make me think I should, in the same way that Sasha Frere-Jones can make me briefly consider listening to more Rihanna. Also, Nussbaum's writing is crisp and funny and insightful (though I often think her pieces are a little longer than they need to be). Since she started at the New Yorker I am more excited about the back of the magazine than I have been in a long while.
The July 30 issue has an extra-long article by Nussbaum, "Tune In Next Week," a cultural history of the cliffhanger. Much thought and research went into this piece, which covers everything from Scheherazade to Dickens to Dallas and beyond. It's full of interesting historical tidbits and smart critical commentary about the evolution of serialized storytelling and what separates (or only seems to separate) "trash" from art.
A cliffhanger, Nussbaum says, "makes visible the storyteller's connection to his audience.... [Cliffhangers] reveal that a story is artificial, then dare you to keep believing." This is fascinating to reflect on. But by the end of the essay I felt the notion of "cliffhanger" had been stretched well beyond its useful meaning. Nussbaum gives a quick and very interesting history of how television went from shows like "I Love Lucy," whose episodes were self-contained stories "designed to run in any order," to "long-arc" series that sustain a story over many episodes and require more committed viewing. But is telling an ongoing story, one that ends and then picks up again in another installment, enough to qualify as employing "cliffhangers"? In her third paragraph, Nussbaum offers two definitions of the term:
Narrowly defined, a cliffhanger is a climax cracked in half: the bomb ticks, the screen goes black.... Cliffhangers are the point when the audience decides to keep buying.
That narrow definition is a very good one. But if you broaden it too much, it seems to me, you end up saying that any serialized story is a succession of cliffhangers, and that waters down the definition of "cliffhanger" too much for it to be useful. If a show is telling a story, in a serial fashion, well enough that I am invested in the characters, I will want to "tune in next week" to know what happens next generally. That is just the nature of being an audience to a narrative that isn't over yet. But a "cliffhanger" is something more specific -- a break, however long, that leaves a particular question unanswered. So the "Who Shot J.R.?" season-ender on Dallas, which Nussbaum discusses in detail, is a cliffhanger for sure. But when Jim kissed Pam at the end of season 2 of The Office -- to take another of her examples -- was that a cliffhanger? A "climax cracked in half?" Or was it just...a climax? A cliffhanger, I think, would have stopped the action just before Jim declared his love. ("Pam, I have something I need to say..." black screen; "to be continued.") As a devoted fan of The Office I spent the summer before season 3 in suspense, eager to find out where the characters and their story would go when the show started up again. But I don't think that suspense was specific enough for the ending to qualify as a cliffhanger.
This leads me to a quibble, and yes, it relates to Breaking Bad. Don't read on if you haven't gotten to the end of season 3 of that show (and you think you someday will). Go read Nussbaum's article instead. Now, Breaking Bad viewers, I want to know what you think:
Read moreSummer Rental: 'Z Channel'
Xan Cassavetes 2004 documentary Z Channel: A Magnificent Obsession (available DVD-only from Netflix) chronicles the history of the Los Angeles-area pay-TV station that specialized in cinema and gave viewers an art-house experience without having to leave the couch. That these viewers included Quentin Tarantino and other future luminaries is emphasized: Predating HBO and Cinemax, Z ran from 1974 to 1989 and influenced a generation of young artists yearning to make it big in the local industry.It did so mainly with fare unlikely to find a way into the multiplex, from the uncut versions of Ciminos Heavens Gate and Bertoluccis 1900 to Altmans McCabe & Mrs. Miller and Peckinpahs gory westerns. There were John Ford tributes, Hitchcock marathons, Fellini and French New Wave festivals, and a lot more. The man responsible for the eclectic selection was programming director Jerry Harvey, and its his (and every fanatics) relationship with film that informs the title of the documentary. Friends and former colleagues recount Harveys fixation via anecdotes, and a humorously told story about his subjecting a girlfriend to three straight days of memorized line readings from Kubricks Dr. Strangelove hints at his capacity for emotional and physical cruelty, while also foreshadowing his end. The documentary makes passing reference to Harveys fundamentalist Catholic father in attempting to trace his demons, while noting that both of Harveys sisters killed themselves, but it doesnt follow the thread much farther than that.Cassavetes spends more time on the films, those that Harvey unearthed, championed, and insisted on showing the way their directors would have wanted. With each viewing of Z Channel I come away with another list of movies its time to see (or see again); just watch the final montage from the documentary to understand why.
But its the commentary of critic F.X. Feeney that got more of my attention this time around. A Harvey confidante and a co-producer of the documentary, Feeney provides emotional first-hand recollections of working and watching movies with Harvey, and his energy buoys the film while steering it clear of hagiographic shoalsa necessary thing, given Harveys final act as the perpetrator of a murder-suicide at the age of 39 (with a gun presented as a gift from Peckinpah). While theres no way to overlook Harveys dark side, Feeney helps keep the focus on his creative impulse and the art he brought to light.
'The Killing' Returns
This weekend brings a momentous decision: To watch, or not to watch, Season 2 of The Killing? Anyone who forged through the first season of this AMC police procedural (a remake of a Danish hit) last year is probably still fuming about the lack of answers in the final episode. For weeks, we had been watching the stubborn and slightly self-destructive Seattle detective Sarah Linden (Mireille Enos) plod around the cityoften in the pouring rainas she attempted to solve the murder of high school student Rosie Larsen. We had glimpsed the light at the end of the tunnel: Following an ingenious bit of gumshoe work, a culprit had been arrested! Justice had been served! Detective Linden was on a plane to sunnier climes! And then, the episodes final minuteswith fiendish glee, it seemedsubverted that resolution, saddling us with questions we have now lived with for almost a year.According to The New York Times, AMCs head of original programming has promised that the whodunit will be wrapped upreally and trulyat the end of Season 2, which begins this Sunday. Of course, even if we trust his pledge, there remains the fact that The Killing has so far been a real downer of a program. Many of its elementsthe red-herring clues, the multiple suspects, the sleuth with personal problems, the law-enforcement turf battlesare detective-story standards. But has there ever been a police procedural that focused so intensely on the grief of the victims family? In Season 1, scene after scene conveyed the Larsens pain: We saw Rosies parents suffer as they planned her funeral and suffer as they debated whether to clean out her room and suffer as they fielded detectives questions. We saw Rosies younger brothers suffer, too, as their pain-deluged parents ignored them. (In one heartbreaking scene, the boys, getting their own breakfast, wondered whether they dared eat some of their dead siblings favorite breakfast cereal.)The cinematography made the saga even more depressing: Season 1 was shot in blue tones that made each image even more lugubrious than it might have been otherwise. The police headquarters, in particular, might have been dredged up from the bottom of the Slough of Despond. All in all, The Killing strays far from the escapist-puzzle mode that is the default option for the mystery genre. And yet.Yes, I admit it. I will watch Season 2. The lingering suspense from Season 1 is just too strong. But listen, AMC: Dont count on me for any Season 3.
All the World's a (Political) Stage
Just cant get enough of cutthroat politics? Find yourself on YouTube, replaying the meaner jabs from the Republican primary debates? You might want to add the 1990s BBC miniseries House of Cards to your Netflix queue. Based on a novel by a onetime Chief of Staff to Britains Conservative Party, House of Cardstracks the legal and illegal intrigues of Francis Urquhart, a Machiavellian party operative who wrangles his way up the rungs of power in post-Thatcher Great Britain. Urquhart (Ian Richardson) uses the press and the ambitions and paranoia of statesmen to his own advantage, but he hides his ruthlessness beneath a polite and even grandfatherly exterior. You might very well think that: I couldnt possibly comment, he primly responds, whenever he has cunningly planted an idea in the mind of a reporter or colleague.Manipulating journalists, tangling with the monarchy, destroying lives and careers with relish, Urquhart is a charming and seductive antihero, and his schemes and deceptions make for an engrossing soap opera. But its the theatrical trappings that really distinguish House of Cards and its sequels, To Play the King and The Final Cut. The scheming Urquhart is a Shakespearean figurepart Richard III, part Iago and a very large part Macbeth, and the scriptwriters highlight these resonances with Shakespearean quotes and allusions. The spirit of Macbeth, in particular, haunts the story: Egged on by his equally ambitious and amoral wife (Diane Fletcher), Urquhart eventually racks up so many misdeeds that he might easily say, with Shakespeares thane-turned-king, I am in blood/Stepped in so far that should I wade no more,/Returning were as tedious as go oer.Even more striking are the impishly self-satisfied remarks that Urquhart periodically delivers straight to us, the audience: In the middle of a scene, he will turn his head, look straight into the camera and share an unnervingly honest confession or observation, while the folks around him carry on, oblivious. These break-the-fourth-wall moments are like miniature Shakespearean monologues, and they underscore an all-too-familiar truth: that politics is, to a large extent, theatrics.It will be interesting to see whether a forthcoming remake of House of Cardsmanages to be as interesting and sly: Director David Fincher (Fight Club, the Hollywood adaptation of The Girl with the Dragon Tattoo, etc.) is an executive producer of the forthcoming remake, which will be a Netflix original series and will star Kevin Spacey.
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FlaQuizTV - Family Quiz Game Flash Quiz TV (A quiz game for all family)
2 weekly downloads -
GhostEngine GhostEngine is a game engine coded in C++, available for Windows, Linux, and MacOS. It is currently in heavy development, only fully available for Windows and partially for Linux, but work is being done to allow portability.
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isoccer - Cute Football Game IMPORTANT: This football game is yet in an earlier development stage! (Scratch) A simple to play soccer game project, based on the oldies, but with actual machines graphics. Main idea is based on the "Sensible Soccer" and "Football Glory" Commodore Amiga classics. IDEAS TO-DO: http://www.youtube.com/watch?v=mFZpHZH897U
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Shetland: creative, confident, connected
Latest posts
Singer Songwriter Night launches seasonal showcase concerts
Posted by Amy Sclater on March 19th, 2015 No Comments
Shetland Arts has announced that in addition to the monthly Singers & Songwriters' Nights at Mareel, it will present three concerts throughout the year in the Mareel Auditorium showcasing some of the incredible talent the group has to offer.
The first of this year's concerts is on Sunday 19 April and stars Lisa Ward (as… Read the rest...
Bruce Molsky to play series of gigs in Baltasound, Muckle Roe & Mareel.
Posted by Lauren Doughton on March 11th, 2015 No Comments
Bruce Molsky is returning to Shetland to play his much acclaimed solo show in the Baltasound Hall (15 May), Muckle Roe Hall (16 May) and Mareel (17 May). The gigs, presented by Shetland Arts in conjunction with Atlantic Edge Music Services, will be performed in collaboration with a number of local musicians and will continue… Read the rest...
Data from online survey on the future of theatre in Shetland released
Posted by Lauren Doughton on March 11th, 2015 No Comments
The above document contains the data collected during the recent SADA led online survey. We are circulating raw data as we feel it may prove useful to other theatre practitioners, organisations and funders in Shetland and beyond.
We would like to thank everyone who took part. Shetland Arts Development Agency will be developing its… Read the rest...
Call for Entries: Bairns' Open 2015
Posted by Lauren Doughton on March 10th, 2015 No Comments
Calling all Shetland's budding young photographers!
Submissions are open for the 2015 Bairns' Open at Bonhoga 18 April – 31 May 2015. Entry is open to anyone from P1-S6. Two prizes will be awarded.
The theme is INDUSTRY, and this year we're making it a photographic exhibition. Now is your chance to get out… Read the rest...
Artists and Performers invited to showcase their skills in Mareel Cafe Bar
Posted by Lauren Doughton on March 4th, 2015 No Comments
Shetland Arts are delighted to announce the launch of two new platforms for local artists, practitioners and performers, Gutters' Gaet Sessions and The Open Mic Café, to take place in Mareel. The events, designed to provide local people with a chance to develop their performance skills and showcase their artistic abilities, will be free to… Read the rest...


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Boating Accident Lawyers and Law Firms in Oak Point, TX
Boating Accident Lawyers
The Edgett Law Firm, PC
Little Elm, Texas Criminal Defense and Personal Injury Attorney
(214) 308-4000I am proud to announce that our law firm has recently expanded to serving the residents of Little Elm by opening up an office in the heart of town located at the intersection of Eldorado and East Park Street across from the Town of Little Elm Government Buildings.
Our law firm...
Law Firm's Overview
Free ConsultationContingency FeeCredit Cards
Ben Hunsucker, Attorney at Law
Denton, TX - Law Firm near Oak PointTexas Criminal Defense Law Firm
(940) 484-5000At the Hunsucker Legal Group, We aggressively defend our clients to ensure that their rights are protected at every stage of the criminal process. We have over ten years of Criminal Law experience and are capable of handling a range of criminal legal matters in Denton County and surrounding areas....
Joel M. Vecchio, P.C.
Frisco, TX - Law Firm near Oak PointPersonal Injury and Auto Accident Lawyer in Frisco, Texas
(972) 380-4444Joel M. Vecchio, P.C. is a Frisco personal injury law firm representing the seriously injured individuals and the families of wrongful death victims. Founded in 2008, the firm has office locations in Plano and Frisco, Texas. ; A highly skilled and competent attorney, Mr. Vecchio represents clients...
Law Offices of Tim OHare
Carrollton, TX - Law Firm near Oak PointPersonal Injury Lawyers
(972) 960-0000The Law Offices of Tim O'Hare have successfully tried or settled thousands of cases in Texas and throughout the United States since the firm was founded in 2001. Our Dallas personal injury lawyers help people recover their economic losses, enable people to grieve or heal without having to battle...
Steele Law, P.C.
Lewisville, TX - Law Firm near Oak PointTexas Personal Injury Lawyers - Car Accident Attorneys
(214) 333-9393Dallas Texas Personal Injury Lawyer Fort Worth TX Car Accidents Wrongful Death Attorney with over 10 years experience.


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Backstage News On How Long Batista Will Be Back For, His Return On January 20th & More
As PWMania.com reported, Batista will be returning to WWE on January 20th at RAW and will be around through WrestleMania XXX.
The idea is that this is not a one-time WrestleMania deal, but rather a "last run" for Batista that could go as long as two years. Through his new deal, he's expected to take at least some time off this summer to promote Marvel's Guardians of the Galaxy movie.
Regarding his return on the January 20th RAW, he will not be wrestling that night. His first match back won't be until the Royal Rumble 30-man main event.
(Source: F4Wonline.com)


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TV Info
Episode Premiere
March 30, 2006Distributor
FOX, WBTVGenre
DramaShow Period
2003 - 2007Production Company
WBTV, Wonderland Sound and VisionCast and Crew
Michael FrescoScreenwriter
Stephanie Savage, Josh SchwartzMain Cast
- Peter Gallagher as Sandy Cohen
- Kelly Rowan
- Benjamin McKenzie as Ryan Atwood
- Adam Brody as Seth Cohen
- Rachel Bilson as Summer Roberts
- Melinda Clarke
- Mischa Barton as Marissa Cooper
- Tate Donovan
Additional Cast
- J.D. Pardo
- Sven Holmberg
- Jonathon Trent
- Mark Hames
Julie and Dr. Roberts announce their engagement and the Cooper ladies move in with Summer and her dad. Meanwhile, Marissa drifts away from the Summer and the rest of the group when she seeks solace in the bad company of Volchok and his crew. Ryan tries to move on with Sadie, but Seth's concerns for Marissa get in the way. At the Newport Group, Sandy's woes with Matt continue and Kirsten surprises Seth with a night out.


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At first glance, the MVS Chaise looks like a sculptural object. But you appreciate its high level of comfort the moment you sit in it. The soft, integral foam fits the body's contours and the construction of the base enables you to easily alternate between sitting and reclining.
D&D ships worldwide. All product(s) are insured on delivery. Please select your delivery destination for the shipping cost of one product. If your delivery destination is not listed below, please email us at firstname.lastname@example.com. This product is made & manufactured in Germany.
All Duties & Taxes are calculated according to shipping/delivery destination. VAT is only applicable on transactions within the EU. Outside the EU, duties & local sales tax will incur. You can be confident that you will not incur any extra charges upon delivery.
This item is Made-To-Order—non-returnable & non-refundable except in the case of damage.
Customers receiving damaged product(s) upon delivery are eligible for a full refund or replacement. Please email firstname.lastname@example.com with proof of damage within 24 hours of delivery. D&D will manage the collection and bear associated costs in the return of damaged product(s) and replacement of new product(s).
Every product sold on D&D is authentic & bears the original maker's mark. D&D is dedicated to defending original manufacturers & designers from cheap imitations.


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November 14, 2010 A new move in denying climate changehttp://www.jewishjournal.com/blog/item/a_new_move_in_denying_climate_change_20101114/ |
U.S. Rep. John Shimkus, R-Ill., is a leading contender to chair the House Energy and Commerce Committee. Why is this frightening? Because Shimkus is one of those global-warming deniers. And he is blaming God for his inability to come to terms with pretty simple science. The above video shows Shimkus quoting Genesis and Matthew during a Congressional hearing. Here's I too believe the word of God is infallible. But that doesn't mean that rising carbon levels aren't destroying our global ecosystem. For one thing, there is nothing irreconcilable about God saying He would never again course the ground or flood the Earth and man-made climate change doing just that. Religion Dispatches has a transcript of the passages that Shimkus quoted. |
JewishJournal.com is produced by TRIBE Media Corp., a non-profit media company whose mission is to inform, connect and enlighten community © Copyright 2015 Tribe Media Corp. |


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Putnam County, Florida GenealogyEdit This Page
From FamilySearch Wiki
This Florida-related article is a stub. You can help by expanding it. While this page is under construction, may we suggest Cyndi's List. |
Putnam County, Florida | |||||||||
Map | |||||||||
Location in the state of Florida | |||||||||
Location of Florida in the U.S. | |||||||||
Facts | |||||||||
Founded | January 13, 1849 | ||||||||
County Seat | Palatka | ||||||||
Courthouse | |||||||||
United States Florida Putnam County
Contents |
County Courthouse
Putnam County Courthouse
410 St Johns Ave; PO Box 758
Palatka, FL 32178;
Phone: 386.329.0361
Clerk Circuit Court has marriage, probate, court and land records from 1849,
naturalization records 1849-1914, miscellaneous from 1800,
cemetery record survey. [1]
Parent County
1849--Putnam County was created 13 January 1849 from Alachua County.
County seat: Palatka [2]
Boundary Changes
Record Loss
Places / Localities
Populated Places
Neighboring Counties
For tips on accessing Putnam County, Florida Genealogy census records online, see: Florida Census.
LDS Ward and Branch Records
- Palataka
- San Mateo
Local Histories
Vital Records
Societies and Libraries
Family History Centers
Web Sites
- USGenWeb project. May have maps, name indexes, history or other information for this county. Select the state, then the county.
- Family History Library Catalog
- Putnam County, Florida Genealogy and Family History (Linkpendium)
- Putnam County, FLGenWeb Project, Inc.
- ↑ Handybook for Genealogists: United States of America, 10th ed. (Draper, Utah: Everton Pub., 2002), Putnam County, Florida Page 136 At various libraries (WorldCat); FHL Book 973 D27e 2002.
- ↑ The Handybook for Genealogists: United States of America,10th ed. (Draper, UT:Everton Publishers, 2002).
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Where are all the good clubs for SURVIVAL HORROR games? Well this...
join foxhound and talk about all things MGs including MGS 3!
The club for samurai champloo or mgs stuff.
None found
1UP's Favorite Games of 2012
1UP's Essential 100, Part Four
A Dream Deferred: When Sega Got Out at the Right Time
The Most Ambitious Pokemon Ever? Early Thoughts on Pokemon X/Y
Metal Gear Rising Revengeance Connects the Series' Past With a Radical New Future
The Deceptive Beauty of Atari Box Art
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Oxon Hill High School
Oxon Hill High School | |
Location | |
1 Clipper Way, Oxon Hill, MD | |
Coordinates | 38°47′50″N 76°59′36″W / 38.79722°N 76.99333°WCoordinates: 38°47′50″N 76°59′36″W / 38.79722°N 76.99333°W |
Information | |
Type | Public Magnet High School |
Established | 1925 |
School district | Prince George's County Public Schools |
Principal | Dr. Jean-Paul Cadet |
Faculty | 130+ |
Grades | 9–12 |
Enrollment | 1,361 |
Color(s) | Black and Gold |
Mascot | Clippers |
Information | (301)-749-4300 |
Website | pgcps.org/~oxonhill/ |
This article needs additional citations for verification. (March 2009) |
Oxon Hill High School (OHHS) is a public senior high school located in Oxon Hill, an unincorporated area in Prince George's County, Maryland, and a suburb of Washington, D.C. in the United States.
The school, which serves grades 9 through 12, is a part of the Prince George's County Public Schools system.
Oxon Hill is one of three schools in Prince George's county to offer the Science & Technology Program (see below), a magnet program with a highly selective admissions process. This program is a "school within a school" with approximately 125 students in each entering class. Overall, the school has approximately 2,500 students spread across the four grade levels. In recent years, the school has suffered persistent overcrowding due to its popular academic programs, extracurricular activities, and location in the burgeoning southern tier of the county.
The school mascot is a Clipper Ship, as chosen through a student contest. The school motto is Navis Semper Naviget (May The Ship Sail Forever).
The Oxon Hill Consolidated School, a union of five elementary schools, started in 1925.[1] The school's first addition came in 1926, with three more in a period between 1928 and 1938 at the site which is currently Oxon Hill Elementary School on Livingston Road.
In 1948, the consolidated school ended and a grades 7 through 12 school was established in a new two-story building, which is currently the Education and Staff Development Center facing Maryland Route 210. The school operated on a split session until John Hanson Junior High School opened. With an expanding suburban population (approximately 1959) the current, larger school campus opened on Leyte Drive in the Southlawn community (SLC). (In the early 1960s the school's zoned attendance area stretched from the District of Columbia line as far south as Piscataway Creek/Bay. In the 1960s/1970s many of these neighborhoods were switched to Potomac, Crossland, and Friendly high schools after those schools were built). The school's music departments were especially noted, winning awards on local, national, and international levels. The student body was nearly all Caucasian, which gradually changed to majority African American as did the community. In the 1980s, the school was expanded by adding the magnet program's Science and Technology building.
In 1966 Oxon Hill High School, then serving as a senior high school with grades 10, 11, and 12, was selected as one of the first dozen high schools in the United States to participate in the U.S. Air Force Junior Reserve Officer Training Corps (AFJROTC) program.
The school received some attention in the local media in 1995 after the shooting death of student Charles "Chuck" Marsh while waiting for a bus in front of the school.[2] President Clinton alluded to the case when he made his remark about requiring school uniforms in his State of the Union address.[3]
A complete new school facility is scheduled to open in 2014 next to the current site, with demolition of the old building in 2014.Oxon Hill High is the first PGCPS to have a turf football field.[4]
Science and technology program[edit]
The Science and Technology Program (STP) is a highly structured, four-year academic program. Of twenty-eight possible credits, a student is required to obtain a minimum of thirteen credits in specific mathematics, pre-engineering technology, research and science courses. In grades nine and ten, the program consists of common experiences courses for all student. In grades eleven and twelve, each student must choose course work from at least one of four majore study areas. Students are expected to be enrolled in a full schedule of classes during the entire four-year program. External experiences are possible and encouraged, but must be a direct extension or enrichment of the Science and Technology Program, and have the recommendation of the Science and Technology Center Coordinator prior to approval by the principal.
The program was established in 1976, and is offered at three centers: Oxon Hill (serving the southern part of the county), Eleanor Roosevelt High School (serving the northern area of Prince George's County), and Charles Herbert Flowers High School (serving the central part of the county). Each school is a four-year comprehensive high school, as well as a Science and Technology Center. Each STP is an active member of the National Consortium of Specialized Secondary Schools of Mathematics, Science and Technology (NCSSSMST).
Currently, five-hundred and twenty-five students (between the four grade levels) are enrolled in the program. This is roughly 23% of the student enrollment of about twenty-three hundred. Students have consistently performed at a high level of success on the Scholastic Achievement Tests, with many being identified as National Merit Scholars and National Achievement Finalists.
Admission to the program is highly competitive, and students represent the top 5% of the county. Each year up to 2,000 students test for the 500 to 525 seats. Students are admitted by a combination of earned grades and a two-part comprehensive examination. The average of grades in English, social studies, mathematics and science is computed per quarter at the end of each student's preceding grade level. LIkewise, the first quarter grades of his/her current grade level is put into consideration. A standardized verbal and numerical ability test will be administered as a two-part competitive examination. The rest is administered at the Science and Technology high schools, and at several area middle schools each December.
At the end of tenth grade, students choose one major study area: pre-engineering technology, biological sciences, physical sciences, or science and technology exploration (i.e. computer science). The following course requirements correspond with each area of study:
Pre-engineering technology (PET)
- One advanced technology STP course: electronics/energy systems or production/statics systems
- One drafting and design STP course: engineering or architectural drafting and design
- One specific science elective
- Mathematics through pre-calculus
- Research Practicum
Biological science
- One advanced chemistry course: AP Chemistry or Bio-Organic Chemistry
- AP Biology
- One specific science elective
- Mathematics through pre-calculus
- Research Practicum
H.S.L Physical science
- AP Chemistry
- AP Physics
- One specific science elective
- Mathematics through calculus
- Research practicum
Computer science
- Computer mathematics
- AP computer science
- One specific science elective
- Mathematics through pre-calculus
- Research practicum
STP students at Oxon Hill have been recipients of a high number of college and/or military scholarships, grants, and awards since the inception of the program. Scholarship award opportunities for Oxon Hill High School have exceeded twenty-three million dollars ($23,000,000.00) annually. Virtually all STP students enter four-year colleges/universities immediately following graduation.
Science and technology program continuance & certification requirements[edit]
Students must progress toward, and meet, the STP certification criteria to remain in the program. Upon graduation, each student who has met the STP certification criteria is awarded the Science and Technology Program Certification of Completion.
Notable graduates[edit]
- Class of 1983 Football State Champions
- Derek Fenner, Seattle Seahawk, Los Angeles Raiders Running Back
- Ric Thomas, 1984 Washington Post Basketball 3rd Team All Met, Mcdonalds HS All American.
- O'Brien Alston, Indianapolis Colts linebacker
- Rebekkah Brunson, a professional basketball player for the WNBA's Sacramento Monarchs
- Lamar Butler, former starting guard for George Mason University during their 2005-2006 surprising season run to the Final Four
- Derrick Delmore, championship ice skater (World Junior Championships, National Collegiate Championships), Stanford graduate, and occasional pianist
- Taraji P. Henson is an Oscar nominated award winning actress and singer. She provided the vocals on the Academy Award winning Three 6 Mafia track, "It's Hard Out Here for a Pimp", for the film Hustle & Flow in which she stars as Shug, as well as being nominated for a best supporting actress nomination for her work in the film The Curious Case of Benjamin Button as Queenie, the adopted mother of the Brad Pitt's character Benjamin.
- Emily Perez, first female minority Command Sergeant Major in the history of the United States Military Academy at West Point; she was killed in action in 2006 in Iraq.
- Michael Sweetney, a professional basketball player for the Chicago Bulls
- Mechelle Lewis, member of the US track and field women's 4x100 meter relay team which participated in the 2008 Beijing Olympics
- Vince and Vance Moss, renowned physicians and recipients of the Global War on Terror Achievement Medal for their efforts in Iraq and Afghanistan providing medical care to those in need. They were also featured on Oprah, Good Morning America, and many other networks.
- Meshell Ndegeocello, singer, songwriter and musician
- Archie Moore, musician, member of Velocity Girl and Black Tambourine
- Aaron D. Spears, An actor starring in Being Mary Jane and The Bold and the Beautiful
- Carol J. Lancaster, Phd. Class of 1960: Dean School of Foreign Service, Georgetown Univ.; deputy assistant secretary of state for Africa; Dep. Dir. USAID.
- Kathy Clark, Class of 1975: Co-founder and CEO of Landmark Systems Corporation (NASDAQ: LDMK), Ernst & Young Entrepreneur of the Year 1997, Chair of Northern Virginia Technology Council 1998-2000
- ^ Oxon Hill About OHHS
- ^ violent deaths on buses
- ^ http://www.encyclopedia.com/doc/1P2-767617.html Student's Death Over Jacket, Noted in Clinton's Speech, Remains Unsolved, Police Say
- ^ http://www1.pgcps.org/communications/press.aspx?id=153771


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Key things you need to know aboutDr. Blanchette Porter:
Dr. Blanchette Porter's Experience
Research training, expertise and qualifications
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- View 1 specialty and 1 board certification
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Hospital Quality
The right hospital is as important as the right doctor
- Dartmouth - Hitchcock Medical Center
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Patients' risk of dying during a hospital stay for heart bypass surgery could be 85.2% lower, on average, at a hospital rated 5 stars compared to a hospital rated 1 star for that procedure. Choosing the right hospital is critical to your health. View Slideshow
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Likelihood of recommending Dr. Blanchette Porter to family and friends is 2.4 out of 5
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Patient satisfaction surveys provide a standardized way of reporting about healthcare experiences. But there can be more than meets the eye when reviewing scores. Here's what you should know
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Check insurance plans, locations and make an appointment
- 1 Medical Center Dr
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7 Tips to Prepare for Your Appointment
The key to a successful appointment is communication. To get the most out of your visit, prepare ahead of time so you can lead the conversation with your doctor. These 7 tips will get you ready


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Skydiving.com now has a network skydiving location serving Garcia and Costilla County in Colorado. Call Skydiving.com at 1-800-617-7948 for details, free information and specials on skydiving in Garcia, CO today!
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THE PERIPHERY is an Exorcism-themed psychological horror that follows the plight of teenager Cassie Stevens (StephensonPino), who after surviving a near-death experience in a car crash, finds herself haunted by a shadowy figure she sees from the corner of her eye. While her family and friends dismiss the visions as the result of head trauma
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David looking Gap-modelicious :P
3 responses
Aslyn Struble said (19 Jan 2009):
gorgeous portrait
Laurie Search gave props (19 Jan 2009):
Great portrait!
Alex Ojeda gave props (19 Jan 2009):
Very Nice
Also by Erin Gordon


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Internet Archive Tames Data Costs
Internet Archive Tames Data Costs
Peter Coffee
Posted 2006-11-08
The founder and digital librarian of Internet Archive reveals storage challenges and solutions.
Archiving the entire Internetnot just as it is but as it has beenis a task that pushes the limits of maximum storage volume while demanding a creative search for minimum cost. Brewster Kahle, digital librarian and founder of the nonprofit
Internet Archive,
spoke with eWEEK Technology Editor Peter Coffee about the magnitude of the challenge and the surprisingly simple solutions his group has devised. As enterprise data volumes swiftly rise into the petabyte realm, and as even the profit sector finds the cost of data center operations to be quickly outpacing the cost of the IT hardware that those centers support, Kahles team finds itself offering pointers to the future as well as the past.
More of Coffees conversation with Kahle can be found in an
eWEEK InfraSpectrum podcast.
What kind of total storage volume does the Internet Archive represent now?
If you take the Web collection, its about 55 billion pages, and if it were uncompressed, its well over a petabyte. We get about a 2-1 compression, so I guess its about a 1.6-petabyte [primary data] collection.
Are you using conventional magnetic storage technology?
Yes, we started with tape, and were now on spinning disks. We use, basically, Linux boxes stacked up.
Have you built RAID facilities?
We tried conventional RAID, and we found that it doesnt work very well for us. Our underlying storage system is what we call the PetaBoxits a cluster thats specifically designed for storing and processing petabytes of information. The hardware design leveraged commodity components and low-power components to make it high density, high reliability, easy to repair and very low in capital cost. Weve been able to figure out how to deal with petabytes in a cost-effective way. I mean that in every aspectthe capital cost, the maintenance cost, the people cost to keep these things repaired, the power and air conditioning costs. Were finding that its data center space thats one of the killers.
You mean the cost of owning and operating the facility?
I mean the time it takes to outfit one. Weve started to develop putting a petabyte in shipping containers, so you can store them, running, in parking lots. People just dont have the machine room space and the air conditioning systems to be able to deal with this [amount of data]. Air conditioning systems power use is woefully unoptimized for the regular types of machines that are going in. You can do much better if you control air flow.
Something like the enclosure on an IBM Blue Gene thats optimized for air flow?
The bigger issue is outside the box: The general idea is that you dump warm air into the environment, and you pull cold airwell, actually, warm airfrom the environment. Its just dumbthermodynamically inefficient. If you want to get your air conditioning cost down or eliminate it because you can use outside air, thats where were going next with our machine design.
Read more
about IBMs Blue Gene.
On the next level up, we just use Linux. We use very simple systems for replicating data from one system to another, and also for serving it to the outside.
When you say "simple systems," do you mean on the software side? Because when I look at multidecade curves for storage capacity versus storage subsystem bandwidth, it seems as if that gap is widening, and our ability to pack more petabytes into a box is vastly outstripping our capability for getting bytes in and out of that box.
Well, were seeing a nice progression from 96our tape robots and our first cluster and our second cluster. Now were on our third cluster.
With tape, were you horribly input-output bound?
You can just stop at "horrible." Theres almost nothing nice to say about tape.
Except that its cheap?
Its not even cheap. Disks seem like the way to go, this decade.
And the input/output?
We use Ethernet. We have four disks on a computer. Up until last year, the computers were 100 megabit, but now theyre gigabit.
Is that storage on an IP network?
Its just Linuxwe use the processors that are next to the disk. Its a straight cluster.
Is that essentially what Id find at Google?
Its what youd find at Google; youd find it at Hotmail; youd find it at Yahoo.
All Linux boxes with cheap disks?
They vary a bit with how much CPU, RAM, disk and network they have, but, other than that, theres probably not a lot of difference. Most of us tend to track the same processors. Were using dual-core [Advanced Micro Devices] Athlon [processors], mostly. But its not that easy to make it over the hump to know how to manage a cluster. There is a technology change that happened from the big-iron Sun Microsystems-EMC-Oracle lineup of the late 90s. [Its] these clusters, which always seem much easier to do than it turns out.
For a while, the big word in clusters was "Beowulf"youre not using that specific Linux cluster model, are you?
We never tried that, no. I could be wrong, but I believe those were really based for scientific applications, where low-latency communication between machines was importantbasically RAM applications, where were fundamentally disk-based. If youre disk-based, all sorts of things become easier. You dont have to deal with microseconds, in terms of response time. If youre [working with] milliseconds, you can just use Ethernet networks the way theyre normally designed, and you can use operating systems as theyre normally designed. You just have to be artful about how you put all of these pieces together. When you have a couple thousand computers, which we doand you then have 8,000 or 9,000 disks, which we doyou have to start getting good at making sure that everythings healthy or [at] managing failure.
Technology Editor Peter Coffee can be reached at
Check out eWEEK.coms for the latest news, reviews and analysis on enterprise and small business storage hardware and software.
Peter Coffee is Director of Platform Research at salesforce.com, where he serves as a liaison with the developer community to define the opportunity and clarify developers' technical requirements on the company's evolving Apex Platform. Peter previously spent 18 years with eWEEK (formerly PC Week), the national news magazine of enterprise technology practice, where he reviewed software development tools and methods and wrote regular columns on emerging technologies and professional community issues.Before he began writing full-time in 1989, Peter spent eleven years in technical and management positions at Exxon and The Aerospace Corporation, including management of the latter company's first desktop computing planning team and applied research in applications of artificial intelligence techniques. He holds an engineering degree from MIT and an MBA from Pepperdine University, he has held teaching appointments in computer science, business analytics and information systems management at Pepperdine, UCLA, and Chapman College.
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Hi Jeff. Jeff Schiller: > Seems like there might be a problem between SVG DOM extending certain > CSS DOM interfaces. For those who enjoy rambling, please see [1]. At the time SVG 1.1 was written, the DOM Level 2 Style interfaces weren't deprecated, so I imagine it was a reasonable choice at the time. It would be good if the new CSS OM were further along. I imagine SVG 2.0 will utilise it. > The issue seems to be that certain CSS interfaces, including CSSValue, > were effectively obsoleted without replacements [2]. Interfaces in > the SVG DOM, like SVGColor, depend on those interfaces [3]. Mozilla > has not implemented the interfaces yet (though Opera/Webkit did) > perhaps because of the CSS WG's warning [4]. Similarly, SVG 1.1 depends on some CSS 2.0 features that were dropped in CSS 2.1, and CSS 2.0 is deprecated with big red warnings too. I agree it's unforunate that CSSValue and co. aren't implemented more widely (even though they're somewhat baroque) since they do provide information that isn't easily accessible otherwise. I'm not sure what the SVG WG can do about it for SVG 1.1 at this point. We can at least get Erik to kick Anne to move CSS OM along, though. :) -- Cameron McCormack ≝ http://mcc.id.au/Received on Wednesday, 8 July 2009 01:30:20 UTC
This archive was generated by hypermail 2.3.1 : Wednesday, 7 January 2015 15:29:40 UTC


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(190499). Canadian chemist Gerhard Herzberg was awarded the 1971 Nobel prize for chemistry for his work in determining the electronic structure and geometry of molecules, especially free radicalsgroups of atoms that contain odd numbers of electrons. His experiments opened the way toward an understanding of electron shells, chemical bonding and other interactions, and


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Book your room at Novotel Ambassador Busan
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Information missing or incorrect? Tell us!Hotel Amenities
Hotel Amenities
In addition to a full-service spa, Novotel Ambassador Busan features an indoor pool and a health club. The hotel offers a restaurant. A bar/lounge is on site where guests can unwind with a drink. High-speed wired and wireless Internet access is complimentary.
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- Babysitting or childcare (surcharge)
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- Number of floors - 16
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Available in all rooms: Free WiFi , Free wired high-speed Internet
Available in some public areas: Free WiFi , Free wired high-speed Internet
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Where to Eat
Buffet breakfasts are available for a surcharge.
Seascapes - This restaurant serves breakfast, lunch, and dinner.
Ventanas - This restaurant serves brunch and dinner.
Chopsticks and Pizza - This restaurant serves lunch and dinner.
24-hour room service is available.
Nearby Things to Do
Recreational amenities at the hotel include an indoor pool, a health club, and a sauna.
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Guests can indulge in a pampering treatment at the hotel's full-service spa, Club Esprit. Services include deep-tissue massages, sports massages, Thai massages, and massages. The spa is equipped with hot springs/mineral springs and a sauna. A variety of treatment therapies are provided, including aromatherapy.
- Deep tissue massage
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- Sauna in spa
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- Massages
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- Facial treatments
Hotel Policies
Check-in time starts at 2 PM
Check-out time is Noon
Payment types
You need to know
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
- Fee for buffet breakfast: KRW 30000.00 per person (approximately)
- Rollaway bed fee: KRW 60500 per night
We should mention
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation. Some facilities may have restricted access. Guests can contact the property for details using the contact information on the booking confirmation.


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Our approval rating for Congress is at its lowest in our history. Our representatives and corporations are leading us in a race to the bottom.
Consider the fact that we have fallen from number one in education to 15th. Education is crucial to a democracy's success.
If you currently subscribe or have subscribed in the past to the Gazette, then simply find your account number on your mailing label and enter it below.
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Cheltenham's Best Kept Secret
Cheltenham's most glamorous hairdressing salon, Gorgeous Hair, offers a truly indulgent experience. Their philosophy is to give you a fantastic haircut and stunning colours, as well as luxury products, delicious refreshments, and a relaxing massage, all in sumptuous, contemporary surroundings, which will really give you a hairdressing experience to remember.
No expense has been spared in producing a hairdressing salon that totally pampers its clients. From the moment you walk in through the door you are offered a variety of refreshments, a detailed consultation, recommendations on colours to suit each individual client's needs, then a relaxing shampoo and massage in the luxurious Shiatsu massage chairs. Following this, a gorgeous haircut and blow dry, advice on recreating your new look, and a choice of fantastic products to take home.
The hair salon in Cheltenham's Suffolk Parade features an eco-friendly daylight lighting system to give a flattering yet true representation of colours. The beautiful leather salon furniture has been sourced from Italy, and is both elegant and comfortable. Clients can access wifi in the salon, or relax and escape from the world with a glass of wine, fragrant fruit tea or a delicious cappuccino.
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Gary Bullock - State Registered Senior Hairdresser, the Gorgeous Hair Salon's owner, has had a fantastic 31 year career in hairdressing. His first hairdressing salon in Cheltenham was established ten years ago and grew to be a successful, flourishing business. Gary has now put all of his valuable experience into his newest and most exciting venture, Gorgeous Hair, which is situated in the heart of the popular and attractive area of The Suffolks.
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Gorgeous Hair seeks to pamper its clients, however, of most importance to Gary is that clients leave feeling completely gorgeous – happy with their experience and their hair. He is a member of the Fellowship for British Hairdressers, having been awarded a gold star, and aims to live up the Fellowship motto "Strength through quality".


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It's a rainy, blustery Monday night on Lansdowne Street, and I'm finding it a little hard to believe that in a couple of hours the two shy, visibly hungry 26-year-olds sitting across the table at the sports bar/restaurant Game On will be on stage at Avalon, opening for the revved-up neo-new wave band Hot Hot Heat. Singer-songwriter Ben Trokan and guitarist Steven Mercado are the driving force behind Robbers on High Street, the latest in what's beginning to seem an endless line of promising indie-oriented young bands emerging out of the once barren New York underground. As they await the arrival of shrimp cocktails and steak tips, it becomes evident that in many quarters they've been miscast as the next big NYC neo-new-wave thing when in fact their hearts and their musical ambitions lie far from the attitude-heavy, guitar-driven, post-punk stylings of just about every band featured on the 2003 Atlantic comp Yes New York, whose title is a witty allusion to the scene-setting 1978 "no-wave" comp No New York. It's not even that easy to find common ground among the Yes New York bands, who range from the Rapture and Interpol to the Walkmen, Strokes, and Radio 4. Trying to fit the piano-rich, orchestrated pop of Robbers on High Street (who play the sold-out Phoenix/WFNX Best Music celebration party this Tuesday at Bank of America Pavilion) under that already tenuous umbrella is a major stretch. "It always sounds kind of weird when people talk about the 'New York sound' because there are so many different bands in New York and they all sound so different," Mercado points out between bites. "The bands we're friends with aren't very well known," Trokan continues. "So it's not a scene anyone would know about. And there's no big central bar that everyone plays at in New York so, it's not like Interpol and the Strokes hang out or anything. At least, I don't think they do . . . " Yet there are reasons Robbers on High Street have found themselves swimming upstream against the current of events that have led some to label them neo-new wave. They saved most of their poppier material, with sophisticated string arrangements and prominent piano chordings, for their debut full-length, the new Tree City (New Line/Scratchie). Their first release, the 2004 EP No Lines (New Line/Scratchie), was more of a raucous, guitar-driven affair. Mercado: "Ben was already writing a lot on piano back then, but we made a conscious decision to put all of our most rocking songs on that EP." "Yeah," Trokan interjects, "we got the new-wave thing a lot with the EP, with people quoting our influences as bands whom I don't even know. So I don't really hear it or feel it. But that's what happens when you come out of New York as a new band after something like the Strokes." To find the No Lines Robbers on High Street on Tree City, you don't have to go any farther than the second track, "Japanese Girls," with its heavy backbeat, serrated guitar riff, no piano, and lyrics that strut like the Strokes: "I know what I want/If I know I can get it/I take what I want/I know it's for sale." It's just that once you've met Trokan and Mercado, listened to them gush about the Beatles, and watched them run though a set with bassist Jeremy Phillips and drummer Tomer Danan, any resemblance to the Strokes or the other Yes New York bands dissipates. There are echoes of classic Britpop — the Kinks in particular — in a character study like "Amanda Green," with its staccato guitars, brisk beat, and wry lyrics: "Amanda Green/I can be very very mean/So don't get obscene/When I walk away." There's sunny Beach Boys/Byrds Southern California pop in the guitar arpeggios, bright piano chords, and massed background vocals harmonies that pepper "Bring on the Terror." And there's the band's love of the Beatles ("I still remember having some super super nerdy Beatlesfest in a Toyota Tercel when Stephen and I started the band in the summer of 2001," Trokan recalls), which colors the new album's chord changes and vocal melodies. Trokan may have a dark streak that reveals itself in ruminative lyrics on introspective lovelorn tracks like "Killer Bees," a song that has a folk-pop sensibility reminiscent of Freedy Johnston. But like Freedy, he still comes across as a nice guy. Whether that will be an asset or a liability for Robbers on High Street depends, in the short term at least, on how successful the band are in throwing off the mantle of the New York underground. LOUIS XIV (who also play the BMP Pavilion concert) aren't interested in being nice guys, despite taking their name from France's celebrated "Sun King." On stage at Axis a few months ago, in their tight jeans and black leather, they looked and sounded the part of a classic Bowery-bred Noo Yawk band, in the spirit of the Dolls, Johnny Thunders' Heartbreakers, rock-and-roll-animal-era Lou Reed, and, of course, the Ramones. They came on with enough attitude to put the Strokes on notice, plus tongue-in-cheek songs as brashly un-PC as the CD cover photo of a naked young woman with song titles scribbled across her back that graces The Best Little Secrets Are Kept (Atlantic). The CD is a raucous cab ride through the mean streets of proto-glam-punk rife with nasty 1-4-5 garage-rock riffing and fresh little boasts like "I need a fix/I don't need no apology/And all the kids on the street/They think I'm neat neat neat" ("Louis XIV") and "I said sing me sing me a song/And bang me like the girls in Hong Kong/I know I ain't correct/But politics is so much better when there's sex." Swaggering singer/guitarist Jason Hill even puts a little New York English (as in accent) on his bawling when he's feeling a extra naughty. David Johansen would be proud. Unfortunately — or perhaps oddly — Louis XIV aren't from anywhere near the five boroughs. They're SoCal boys (from San Diego, actually), which means some guy at Atlantic is probably trying to figure out how to position Louis XIV as the next Sunset Stripped Guns N' Roses or something like that. Good luck to him: when after a short string quartet intro the drums kick in and Hill starts spewing garbage like "Well I'm a master of self-destruction/Got no apologies for a hyper concussion/I'm gonna swipe your identity/Take your love and turn it into obscenity," he sounds more like a petty Brooklyn thief than Hollywood Hills royalty. When he turns the spotlight over to a brief blast of guitar solo by exclaiming, "Who's your daddy?", the joke is on anyone elitist enough to believe novelty isn't artful. I'll admit I was a little let down when, after hearing that string-quartet intro and reviewing what I knew about the historical Louis XIV, the band didn't hit the stage in full period costume. I guess Boston's Upper Crust nailed that particular affect long before Louis XIV found their rock-and-roll footing. But surely there's room in the world for more than one hard-rock glam band with powdered wigs. In fact, if Louis XIV have an Achilles' heel at this point, it's that they're not over-the-top enough. A song title like "God Killed the Queen" is designed to offend, as are lyrics like "If you want to take my body tonight/Then you gotta be somebody tonight/Use me just to make your body feel right." Not sure what someone shouting "God killed the queen" in the background has to do with a sleazy pick-up ploy, but it sure sounds good. And it doesn't end there: the garage-rocking groove of "God Killed the Queen" gives way to a bloozy acoustic-slide-guitar workout that serves as an outro. It's just totally out of context. Maybe that's the real lesson here: context may be king, but when you have a San Diego band out–New Yawking honest-to-goodness NYC artists like Robbers on High Street while nay-sayers accuse the relatively sunny Robbers of stealing the Strokes shtick, well, I'm not sure what the king's up to, but last time I checked, the emperor still wasn't wearing any clothes. Robbers on High Street and Louis XIV play the sold-out Phoenix/WFNX Best Music Poll celebration with the Killers and Interpol this Tuesday, June 7, at Bank of America Pavilion on Northern Avenue in Boston. |
Issue Date: June 3 - 9, 2005 Back to the Music table of contents |
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| April 30, 2015
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Of Pints, Ploughmen and Personality
Peint O Gwrw Welsh Pub
Food Review by B.A. Nilsson
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Readers Poll: Food & Drink
Food & Drink by The Staff
Readers Poll: People & Places
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Food & Drink by The Staff
Good To the Bone
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Thai to Come Back To
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Food Review by Caroline Barrett
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Readers Poll: Arts & Entertainment
Arts Feature by The Staff
The Price
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Theater by Alexander M. Stern
Theater by Alexander M. Stern
Bad Words
Film Review by Shawn Stone
Captain America: The Winter Soldier
Film Review by Laura Leon
Cloud Nothings
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Recordings by David King
Recordings by David King