text:
By Michael Dooley
This interview was first published in 1994 in Emigre #30.
Michael Dooley: Since you work full-time as senior art director of the New York Times Book Review, how do you also manage to find time to teach, do symposiums, edit the AIGA Journal, be active in that and other organizations, plus write all your books and articles?
Steve Heller: I'm a workaholic, so I make the time. I get to the office at 6 o'clock in the morning, I write for three or four hours, and then in the course of the day I'll turn on the computer and look at what I've done.
I also rely on good editors to make me look good; to clean up my messes, as it were. I couldn't do half of what I accomplish without terrific collaborators. Seymour Chwast is my primary co-author; Louise Fili and I have been working on books together recently. And on other book projects I often bring in researchers who frequently become so integral to the whole project that I invite them to become my co-authors.
MD: Did you know your "Cult of the Ugly" article for Eye magazine (No. 9, Volume 3, 1993) was going to be so controversial?
SH: Let's put it this way: I didn't really realize to what extent there would be acrimony. It's become a coastal thing, and I had no real sense of that.
Eye received eight letters, quite a few of them essay length, and various phone calls, more response than Rick Poynor has received for any other single article. This was pleasantly surprising. You see, I try to encourage letters for the AIGA Journal, and it's rare that I get them. Marty Fox says that if Print gets two or three letters about an article, that's a lot. It's kind of discouraging to think how few people respond.
I've heard from people who didn't write letters, who said they appreciated the article, that the article had echoed their feelings. I'm happy if somebody approves, but I'm just as happy if somebody can find the holes in my argument.
When somebody writes a letter, I respond. When I read the letter Joani Spadaro - who's responsible for Output - sent to Eye, my first response was to go to the typewriter and start pecking out some sort of pedantic response. But then I realized I really prefer to talk. This isn't a war, for godsakes. It's an exchange of ideas and there should be an attempt for me to change somebody's mind if I feel strongly, or for them to change mine. So I called her and we talked about it and it turned out Joani and I could find a common ground, and I asked her to write a story about Output for the AIGA Journal.
The reason I wrote the article was to expand critical discourse, to see how far I could go with it and how far people in the field would accept it. Coming from a political background, what I'm interested in is what we are saying through these various graphic machinations, stylizations, and experiments. Is the experiment ultimately worth the effort? Am I being given information, art, or artifice? Graphic designers are not going to find a cure for cancer, but are we going to find ways of communicating so the audience that needs to understand the messages we present will understand them? And that's my biggest gripe with the design vocabulary I critiqued in the "Ugly" article. In the final analysis, we're ultimately dealing with artsy-fartsy stuff here.
MD: As an example of what's being said, you wrote about Output #2 that "the lack of any explanatory precis . . . leaves the reader confused as to its purpose or meaning, though its form leads one to assume that it is intended as a design manifesto . . . " But the text in Output that begins on the first page and jumps to the other side is clearly labeled at its end as a "manifesto - diagram experiment." The statement reads: "Process of taking information from all the possible stimulus. Info coming from various technologies at different speeds and types of presentation causing . . . the random or conscious ordering of that information into a personal meaning and exploring the process or structure of that ordering or meaning. Diagraming. Taking information (trash) and by reordering (measuring) it becomes something new. Diagraming the process in which that new meaning was achieved." All that was set out in the beginning.
SH: I was so blinded by visual noise that I didn't see it. What they were saying was so inaccessible to me that it didn't matter whether an explanation or disclaimer was there or not. I just felt much more effort was required on my part to get into what they were presenting and then stay with it than I wanted to invest. If there was a signpost, I missed it.
MD: There were others, such as the snippet " . . . only probabilities of states and events could ever be known with certainty, and the very act of measuring and perceiving these probabilities entailed altering them." And there are funny little bits, too, like "defective machine instructions" and "Order Out of," which for me was a disorderly way of saying "out of order" or "Order Out of . . . chaos." My favorite bit was "Building a Lost-Cause Portfolio."
I saw value in the students accepting accident in a way graphic designers haven't been trained to do, and to pick and choose from these random occurrences. Would you grant that these students may have been attempting to further the evolution of graphic design rather than furthering the cause of ambiguity and ugliness?
SH: I'll concede that, but then what is the ultimate outcome? What is the ultimate output? I felt the ultimate output was students playing around with style.
But allow me to backtrack for a second. Output isn't what prompted me to write the article. Output became a lynchpin for a discussion of stylistic abuse. I accept that it's done by students, and that it's from an academy where this kind of experimentation is done. And I accept that a student publication has to be given license. But ultimately, I thought that Output was an output of conceit, an outpouring of it. In terms of the kinds of work that have come out of these hothouse environments, Output was a mediocre attempt.
In one sense I feel the word "experiment" is too broad. Design experimentation is taking license with what we've come to expect as conventional experimentation, where there are certain controls in place. If it fails, you learn from that failure. There are limits to what graphic design says and does. What I was trying to say is that those limitations need to be respected. It's hard to push the limitations of graphic design into areas that are going to be, in my opinion, either misconstrued or irrelevant.
MD: Who determines these limitations?
SH: The marketplace determines what the limitations are.
I think we could argue the merits or demerits of Output for a while and actually you might convince me I was wrong. Which would be fine. But what forced me to address it as a topic for criticism was not my knee-jerk response when I received it in the mail, but the fact that it was released to the world. It was no longer cloistered behind the academic walls. It was released as a document of what design is about today, what design education is about today. And in that context it's perfectly valid to criticize it, not as a student publication, but as a manifestation of what's occurring in graphic design.
MD: It was put into that segment of the world who'd recognize Cranbrook as its source.
SH: It went out to the AIGA and ACD members, but the AIGA is made up of 8000 members, and quite frankly, most of those members are not involved in the Cranbrook experience. And many of them, if you stop and talk with them - and I do because I go around the country - have no sense of what this is all about. I'm not saying one has to appeal to the mass, because we get enough mediocrity in our lives, but just because it's an experiment shouldn't mean it must get kid glove treatment either.
MD: As far as whether Output was political or just artsy-fartsy, I got the sense it was a critique of the media, of the glut of information. They incorporated a PayLess store logo and fragments of instruction manuals and various other elements the way Robert Rauschenberg would layer newspapers and objects from the street in his assemblages.
SH: Rauschenberg's work was "ugly" 40 years ago, but it was also radical and trail blazing. I'm aware of that. As I pointed out in my article, there are many valid circumstances when "ugly" is a viable code.
It's funny, I remember having a conversation similar to this with Ruth Ansel, who actually got me my job at the Times 20 years ago. She was the art director of Harper's Bazaar with Bea Feitler, and later the Times magazine. She was also a very good friend of Andy Warhol and a number of the artists of that movement, including Rauschenberg. And we used to get into these outrageous fights. We used to argue about Roy Lichtenstein, because I resented his objectification of the comics. I felt he was just co-opting comics. Lichtenstein was making comics into "high art" and at the same time rejecting comics as real art, a manifestation of mass culture. Ruth and I used to scream to each other. Her take was, "We're not talking about content, we're talking about process; the process is the most important issue here." We'd get into these discussions about the validity of printed work. I used to argue somewhat naively. I'd seen his work in books, and the books, of course, take away the monumental nature. And she would counter, "Have you ever seen a Lichtenstein painting?" Well, I hadn't, but for me it didn't matter. But since then I've read a lot, seen a lot of the work, and I've interviewed Lichtenstein, but I still have the same feeling.
MD: Again, I see political statements in Lichtenstein's work, most obviously in his war comics, which critique the mass media's ability to distort reality and flatten experience. When I went to his Guggenheim retrospective, I was particularly impressed with his paintings of printed reproductions of mirrors. When you stand in front of a mirror you expect to see your reflection; here you look, and all you see is the artifice, the benday dots. It's as though your existence is being denied. It was chilling. You've never gotten a similar feeling from looking at his canvases?
SH: No, but I think we all have agendas, particularly in terms of art. Art is supposed to be a kind of blank canvas. When you stand in front of a painting, it's blank in the sense that you bring your experience to it. I think I need a mediator to appreciate Lichtenstein - somebody like Leslie Fiedler - because he hasn't left me any entry points. I need my hand held.
MD: The Lichtenstein show is also a good example of how people who begin as revolutionaries - designers included - can easily fall into facile recycling, opting for the comfort of the formulaic and routine. For instance, I'm much more excited about the vitality of Paul Rand's work from the late '30s and early '40s.
SH: I used to think it was axiomatic that anybody's early work was terrific, but that's silly. I've always loved Philip Guston as a painter because towards the end of his career he just switched. He became a cartoonist. The paintings that Guston did were cartoons, they just happened to be on a huge scale.
I've been doing a history - which I hope will eventually be published - of avant-gardes, about how graphic designers have attached themselves to, and have been nourished by, progressive art movements, what they've used of them and what they've given back to them. Output, and a lot of Cranbrook work I've seen, reflects that sensibility. Yet it's treading on trodden ground. It's reinventing the wheel. Frederick Goudy said "Some of those old guys stole our best ideas." And Milton Glaser has said "Every generation has to make its own discoveries, even if they're old discoveries." Which is fine.
My own history has been rediscovering precedents and then incorporating them into myself. But when I did work that I considered to be my "student" work, I was happy to have somebody criticize it on a level that said "Well, it's student work" or "He's a young kid and he'll develop." But I also wanted a reality check, I wanted to know how it functioned in the marketplace.
MD: To the extent the students wanted to operate beyond the Cranbrook vacuum, to take their experiment - valid or invalid - and send it into the design universe, is it possible they share your agenda for expanding the discourse?
SH: Yes, and then it's subject to criticism. It's subject to attack or praise.
MD: I'm not advocating the elimination of criticism.
SH: No, I understand: you're advocating criticism from a position of knowledge.
I think there's a danger of being in the in-group. Which is not to say being "in" and having knowledge is going to stifle significant criticism, but there is a problem in being too intimate with your subjects.
Take the art critic Clement Greenberg. As the spokesman for Abstract Expressionism he did more harm than good. He made a radical form into something that could be easily digested by Corporate America, and ultimately it became a kind of official art for Corporate America. As a style, as a process, it didn't have to say much of anything, as opposed to more political manifestations that were unpopular during the same period because of the Red Scare.
MD: I looked at your article as another manifestation of certain people in the "out" group, if you will - such as Paul Rand and Massimo Vignelli - who are erecting barricades because what they're seeing now is not what graphic design has always been. But I'm amused when I read essays from Rand's book, The Designer's Art - some of which date back to the '40s - with comments about "The impossibility of typographic objectivity" and how "The function of readability is often taken too literally and overemphasized at the cost of individuality" and "If necessary, if the grid system isn't working, just abandon it completely, throw it out." Talk about old guys stealing your best ideas! Don't you think it's important for critics to get beyond the barricades, to acknowledge that some of the people they're attacking might actually be standing on the shoulders of giants?
SH: Yes, but it's also important to be behind the barricades.
Output reinforced what I was feeling in terms of the irrelevancy of the "theoretical," an overemphasis on, and misappropriation of, literary theory to explain design. That situates me in the pragmatic school of design, where theory is less important than instinct.
And I think my perspective on Output represents how certain graphic designers who are working in the marketplace feel about the perpetuation of this kind of work. I think I represent a certain viewpoint that's skeptical. And that's not to say I'm right. It's not even to say I'm enlightened. It's just to say that too few people are willing to say anything about it in public.
MD: Let's move from students to teacher. You wrote about how Lorraine Wild mentioned that Ed Fella's work ranges from low parody to high seriousness, and you countered with "The line that separates parody from seriousness is thin, and the result is ugliness." I'm not quite sure what you meant by that.
SH: I meant that I felt as though Fella was making a commentary on Modernism, on canonical design, but ultimately he went too far in the other direction. I wouldn't call it reactionary, but it is a reaction to conventional design practice. So what might be read as parody can also be read as extremism.
Can I jump back? I'm going to tell you this just so you have a perspective of where I'm coming from in relation to that question. Whether it holds water is another issue.
I started out in the underground press, and it was a remarkable experience. For me it was graduate school. It was primary school. At my first full-time job, the New York Free Press, I learned paste-up and mechanicals and all that. It was a slightly more conservative-looking journal than the anarchic East Village Other, Rat, Barb, Bird, or any of the other leading papers. When I learned how to manipulate design tools, the first thing I did was clean it up. I removed the anarchy - but, I hope, not the energy.
Originally I worked with - and learned from - a designer who took galleys of type and cut them and fanned them out. He was coming out of the Beat esthetic of concrete poetry and the kind of ad hoc books they'd do down on the Lower East Side of New York when it was a hotbed of Beatdom. And I just couldn't stand it because my feeling was, even then, as naive as I was, that I wanted to reach people who were not already converted, or hip-literate. I wanted to make something that would have some relevance outside the community of which I was a part. I wanted to have relevance to people who couldn't read our signs and symbols. So that's what I did. And I went on to do that at other underground papers which I designed.
I hate to admit it, but I hated psychedelic art in those days for that very reason. I was looking at it myopically. I simply dismissed it as uncommunicative and I was wrong. A number of years later, I reacquainted myself with Victor Moscoso, and finally understood what he was trying to accomplish, what he did accomplish, and how truly remarkable his particular approach was. Maybe over time I'll feel that way about Ed Fella's work, particularly because I think he comes from a similar background. What he's doing has relevance, but it has relevance to a small segment. And that's fine. I see Ed Fella as sparking, and perhaps stimulating, students to do what he's doing, and it's not necessarily their vocabulary. Therefore, it becomes style, it becomes a trivialization of what he's doing. And ultimately, when other, less committed, people adopt it, "ugly" becomes a trendy conceit.
MD: You said in the article that, as a model for commercial practice, Fella's work is "a dead end." How is it a dead end if he's influenced Barry Deck, David Carson, and Rick Valicenti?
SH: Valicenti is an interesting case, because I think he's mainstreamed, and ultimately trivialized, the form. It's become an "instant artifact." It's fun to look at, but that's surface. David Carson, on the other hand, has imposed a vocabulary on a group of people who accept it, just as the psychedelic artists imposed their vocabulary on their constituents.
MD: Why did you choose Paul Rand as the designer to hold up against the "new young Turks?"
SH: I chose Paul Rand because he represents the canonical approach. And he was one of the creators of the canon that graphic designers have lived with, and lived by - and now rebel against - for almost 50 years. He's also probably the most articulate spokesman of that approach. Although I didn't start my career doing what he does, and I probably could never do what he does, I still have a tremendous respect for his work and how he articulates his design "truths."
MD: When you say he's an articulate spokesman, I assume you're not referring to the cranky and closed-minded character profiled in the recent I.D. article.
SH: Paul and I talk a lot on the phone, and he says things that drive me up a wall, but when you scrape off the crust, there is real meat. He's a true Modern, an iconoclast who has real wisdom and passion. When he writes, he makes 57 drafts. When he speaks, he speaks like a street kid. That's what he was. That's how he grew up. And yes, he has many prejudices, born of his upbringing. But these prejudices have formed his being, they formed his personality. So when I say he's articulate, when we're talking about art and design, he's a fount of inspiration. And I wish more people could hear him in that context, and not write him off as a reactionary.
MD: You wrote that the difference between Paul Rand and the Turks is that his method was based on ideas that have held up under close scrutiny over the years. Isn't it disingenuous, fatuous even, to assume that the work of these designers you consider ugly now will not hold up, will still be considered ugly, fifty years down the road?
SH: It's possible. When you're making an argument of this kind, there are certain things you say for effect.
At the time I wrote that piece I was certainly hoping their work would meet with critical disfavor because the overall approach, the overall message that I'm getting from what's produced at Cranbrook, for example, is too introspective, too indulgent. And I feel that, whether we're talking about the originators or the copycats, ultimately we're just talking about style, which is totally irrelevant.
The real priority is not how something is presented, it's what's being said, and what impact that statement is going to have on you and me. I co-edited a book with Karrie Jacobs, called Angry Graphics, and there's a lot of ugly design in there. But when it gets a message across, esthetics are unimportant. Maybe I'm talking about "message" the way some people talk about style or fashion, but ultimately that determines how I view graphic design.
When I write about political phenomena from the point of view of graphic design - like the article I did for Print on Neo-Nazi iconography - it's never enough just to talk about the graphic design. I also have to deal with the issues behind those graphic characteristics. What do they represent or symbolize? And why are they formed in that particular way? Once you discuss design in terms of message, you must admit that we have an awful lot of power when it's manipulated in the right way.
MD: In the "Ugly" article, you wrote that the young Turks weren't engaged in viable visual communication, they were just a blip or tangent in design history. But back in a 1987 I.D. piece, you wrote "Emigre is setting a viable standard for the new tabloid. Perhaps Emigre will leave lasting contributions not only to design history but to our culture as a whole."
SH: I speak well out of both sides of my mouth, eh? Well, I'm not going to answer this question directly, so don't hesitate to ask it again.
When I wrote that piece about Emigre - and I was writing it in the context of culture tabloids - I stated that Rudy took a bold step. He went out in the world and, at his own expense, he carved a niche for himself. His magazine reflected a certain viewpoint and a certain passion that I didn't find in other culture tab magazines. I didn't necessarily agree with what I was reading, but I respected him and admired his passions.
In this sense I still hold Emigre in high esteem. It doesn't necessarily mean I'm enamored by the forms, or even the ideas all the time. I've read all the issues of Emigre, and there's an element of sophistry in the long-winded interviews that drives me up a wall - much like this interview might drive some readers to despair. Rudy should cut back some of those interviews. But I still admire him and his effort, and many of the issues he's produced.
MD: I guess I will have to ask you again. When you said Rudy's work isn't viable . . .
SH: Well, I didn't say Rudy's work isn't viable.
MD: You had grouped him with the Turks: "It could be argued that the language invented by Rand's 'Bauhaus Boys' challenged contemporary esthetics in much the same way as VanderLans is doing in Emigre today. Indeed VanderLans, and those designers whom Emigre celebrates for their inventions - including Cranbrook alumni Edward Fella, Jeffery Keedy, and Allen Hori - are promoting new ways of making and seeing typography. The difference is that Rand's method was based strictly on ideas of balance and harmony which hold up under close scrutiny even today. The new young Turks, by contrast, reject such verities in favor of imposed discordance and disharmony, which might be rationalized as personal expression, but not as viable visual communication, and so in the end will be a blip (or tangent) in the continuum of graphic design history."
SH: I'll recant in terms of Rudy. I'll recant in terms of Emigre as an entity. I feel it is tangential in one sense but it's also a significant piece of design history.
MD: So you didn't mean to include him in the grouping?
SH: Well, I didn't mean to dismiss him.
MD: Do you think it reads that way, though?
SH: Yes, counselor, it reads that way.
But Emigre contributes to this cult of ugliness. And yet Rudy created a forum in which we can see work that's not going to be seen in CA and will appear in Print after it's proven it has legs, if at all. And so Emigre is extremely valuable. But I question the viability of a number of designers he's presented. I question whether they're integral to pushing the design language or simply blips on the screen. Emigre has established these designers and given them a niche, a pedestal, and influence. It would be impossible - indeed, irresponsible - for any historian to ignore them all. It doesn't necessarily mean they have to be discussed in celebratory terms, though. Neither newness nor experimentation is, a priori, a virtue.
The bottom line is that Rudy's publication is a forum for his ideas, or ideas that are kindred. But I don't think over the course of the years he's brought in, on the extreme side, Paul Rand or Massimo Vignelli.
MD: Rudy's never denied that he's being exclusive. He's been quoted as saying he wanted to stake out his own territory, since other magazines were handling established designers quite nicely.
SH: That's fine. Rudy's narrow focus is what makes the magazine. He has a point of view, a constituency, and designers he favors. My ministry is to be more inclusive, that's all.
Not that I haven't considered exclusivity. When I started at the AIGA Journal I thought I wouldn't include any of these academics who deal with theory, post-structuralism, and semiotics. I'm just sick of that, I can't get through it, it's impossible to read. That theoretical construct isn't meant for graphic design as most of us practice it. And then I realized, three issues down the road, "I've got to."
As an editor, I've got to make it accessible. I'm going to say to an academic, "If you want to do this footnoted, at least take out some of the ninetytwo cent words. You can still present your thoughts without going into jargon." Ultimately that's what the issue became for me, jargon versus accessibility. And jargon is often a veil for undigested thoughts.
MD: You ended your defense of Rand in the AIGA Journal by writing "The contentious portion of Design, Form, and Chaos serves as a coda to an era by one who's lived through the profession's evolutions and revolutions." That sounded to me as if you believed the evolutions and revolutions are over.
SH: Good point. I wish you had edited my piece. What I meant was that he's lived through revolutions. I don't mean that change has ended in his lifetime. But he's lived through important stages of design history.
Incidentally, I concede that what's being done in Emigre has a great deal of validity in what's going to be the next era of graphic design, about which I think Modernists, eclecticists - and perhaps even some of the Emigre-ists - have no real conception, something that's not so much about the form of graphic design as we know it but how it will "interface" with other media that are emerging, such as CD-ROM and interactive television.
I also believe our current disquiet is really the predictable fin de siecle confusion.
MD: My confusion comes from the fact that most of the examples shown in the article had their own validity. The cover of Hard Werken, a culture magazine for young people that had interviews with avant-garde bands, was as appropriate to its audience as Rand's 1946 Jazzways cover was in its time. And Menno Landstra's Best Book Designs jacket wasn't Classicism, but it seemed to me to be a witty joke on Classicism. Why aren't you considering that these designers are dealing with form following function in a different way, and for a different audience, than we're used to?
SH: Maybe I don't care about the audience. LushUS, which was used on that book jacket, is an abominable typeface. It's . . .
MD: . . . vernacular carried to an extreme?
SH: . . . vernacular carried to stupidity. There are certain lines I draw in the sand. And for me, Keedy's LushUS is a line I drew in the sand. It ain't funny. There are certain extremes that are unnecessary, or too ingrown. Design for design, and so what?
And yet, my article in the Lift and Separate catalog was set in a Keedy face, Manu Sans, and I actually like the way it was used. You can tell him that.
MD: I wouldn't want to ruin your image.
SH: Please, ruin my image!
MD: There was another font designer, Frank Heine, whose promotion ad for Remedy was shown in your article. The font itself is light and lively and swirly and curly. Don't you think the look of the ad and the text reinforce the message?
SH: Maybe you have perhaps a healthier approach to all of this. Maybe I am an old fuddy-duddy. The bottom line, however, is about the misuse of style. You don't have to accept that, but you must accept that I'm more interested in politics than esthetic or anti-esthetic concerns about design.
MD: I didn't see the political issue being addressed in your article. It dealt with form following function and, of all the "ugly" design work, it singled out only Art Chantry's "tool kit" poster for the Center on Contemporary Art as being appropriate to its context.
SH: You've done a great job preparing for this interview. But still, you have to know all the things I've written in the last few years, because each article, essay, and book adds up to a point of view. I don't write in a vacuum. I don't decide to attack style today, and write on quantum physics tomorrow. My choice of topics, although often eclectic, is usually rooted in the politics of mass communications, and the mass communication of politics. For me, it all has a political underpinning in the sense that we are driven - at least, I am driven - by political forces. I'm particularly interested in design being an effective tool one uses to convey information, messages, and sermons too.
I wrote the "Ugly" article because I saw a dead end approaching in what was becoming an ossified style of the '90s, and didn't see it as a manifestation of anything political or social or cultural, at least that I could easily put my finger on.
MD: Not political, perhaps, but certainly cultural.
SH: You can isolate certain passages of my text, but overall, I was talking about "ugly" as a code, and the code isn't something I object to. The bottom line was the adoption of the vocabulary, of the language, into something that ultimately becomes trivial and trivialized once ideas become mainstreamed, once new ideas become old ideas. That may or may not have been clear to the reader, but it's certainly clear to me.
MD: Rudy mentioned that, after he came under attack by Massimo Vignelli, you suggested he take Vignelli out to dinner - kiss up to him more - and maybe Vignelli would like him a little better.
SH: No, I didn't say "Kiss up to him." I said "know your enemy." As the Godfather, Brando said something to the effect of love your friends, but embrace your enemies. I suppose Profacci might have said the same thing.
MD: Rudy took it to mean Vignelli would be more open to his work.
SH: Probably he would be, but it doesn't mean kissing up to Massimo. Massimo is human. If he likes you, perhaps he'll take down the barriers and explore what you're doing. That's all.
It's a simple matter of whether we enjoy having these little tensions - because it's fun to argue - or we understand what everybody else is doing. In this case, we'd accept criticism, not in vitriolic terms, but in terms of how one person with a certain set of values and experiences understands other - perhaps radical - approaches to design work. So what I said to Rudy was "You should probably get to know each other because you already know Massimo's philosophy, but Massimo doesn't really know yours."
MD: To what extent does friendship - or sycophantic behavior, for that matter - play a role in design writing or design criticism?
SH: I feel that in any design writing, in any design criticism, sycophantic behavior plays a role. There's an architecture critic I know who had a famous architect design his home. Isn't that a conflict of interest? Well, yes it is, and one should not do it if one is placing oneself above the fray or as a mediator of taste.
But critics do have their preferences. I have preferences, and many of the people whose work I prefer I also enjoy talking with. This is a small profession. The few design critics are also designers, so naturally they know many other designers.
That said, I'd also point out that I don't write nearly as many profiles as I did when I began because I prefer critical analysis of phenomenon.
MD: I'm thinking specifically of Art Chantry, the only contemporary designer you praise in your article.
SH: I know Art Chantry, though we're not bosom buddies. I respect some of what Art does, and I have problems with other things. But I admire Chantry, not for deliberately busting canonical conventions, but for elevating street art from its artlessness and so doing, making it more viable as a communications tool.
I suspect knowing Art Chantry helped form my opinion of his work, but I became acquainted with him because I responded to his work. I believe I can maintain objectivity.
My judgment of Chantry tends to be more positive than that of Jeff Keedy, whom I didn't know until recently. But I'm not sure where we go with that. Does that mean we have to live in a vacuum or does that mean we have to become knowledgeable to a fault about everyone we're discussing?
I called up Jeff Keedy after the fact, and we shared our views. He gave me a copy of Fast Forward, a publication and disk by his students at CalArts. And I'll concede that maybe what's being done for Keedy's class is a terrific way of preparing students to open up their minds to various possibilities before they have to get sucked into the commercial arena. But I still have trouble with the work itself. It's pretentious, full of conceit, and resolutely derivative.
That said, now that I know Jeff, I believe he's dedicated to his design and I'd like him to write for the AIGA Journal. But from the few conversations we've had, and from the evidence that he's given me, I still haven't changed my mind in terms of the "Ugly" article.
MD: Is it pretentiousness that draws the demarcation line between Keedy's work and true vernacular?
SH: I don't even want to talk about it in terms of vernacular. Graphic design is vernacular! Let's return to what I said in the beginning. I looked through that issue of Output and what did I come away with? Faux rhetoric. Nothingness. Conceit.
MD: Why didn't you get in touch with some of the young Turks?
SH: Because my "Ugly" piece was not reportage. It was a critique.
In my article, I criticized Carlos Segura's How brochure for being stewed-over hothouse design. He wrote a letter to Eye arguing that I don't really know what they're doing because I never spoke to them. I don't know what their motives or intent was. Well, when I'm reporting on somebody's work, I want to know everything I can about them, but when, as in this case, I'm looking in from the outside, if you will, I don't think it's important to know what the motivations were. It was a promotion piece for How. It was trendy, it was obtrusive, it was laden with cliches. I think one can build a critique upon that evidence, and one can also make judgments based on one's own experience and one's own understanding of medium.
My "Ugly" piece was a critique about phenomena I could see. Maybe it fails because I didn't speak to them, I didn't explore their motivations, and then be in a position to say "In spite of all this, I still feel the way I do." I'm willing to concede that might have made a more convincing argument. However, I don't necessarily think I'd do it any differently if I was writing it again.
Two years ago I reviewed Time magazine's redesign for Print. I didn't talk to the designers, but drew conclusions from the evidence, and compared it to previous formats. Michael Rock spoke to the designers for an article in I.D., and although it was a good piece, I believe his criticism was actually less incisive and effective than mine.
MD: The reason I'm asking why you didn't speak with the Turks is because the lead paragraph in your "Ugly" article led me to expect more of a dialogue. You wrote "Ask Paul Rand what is beauty" and you quoted Rand, then you suggested asking the Cranbrook students the same question. But then the answers were just your assumptions and extrapolations.
SH: It's a valid point. Again, maybe you should have been my editor.
I learn from everything I do. And, I hope, from how others respond. If you think you're talking with one who thinks he is God, trust me, I don't. I learn every step of the way. The reason I started writing was really to learn, and then share what I've learned with others. But what's important is what are the effective ways of writing criticism for this field. That's what it comes down to. What you've suggested to me is that maybe my method is not as effective as I had hoped.
I had something I wanted to say. I said it. Maybe I should have done more homework. Maybe not. I tried to explore this issue in a piece I wrote for the AIGA Journal on the merits of criticism, where we go with criticism, and what the graphic design profession needs in terms of effective criticism, coming from the position that, until I did it, there was virtually no criticism in the profession. And there's still not all that much written. So it may be time for other people, such as yourself, to not only carry the baton but go to the next intellectual plateau. And that's perfectly fine with me.
There's a little part of me that feels as if I've got to defend what I've written and another part of me says, "What's ultimately important is that I have the ability to communicate ideas and encourage debate." I enjoy exploring different avenues and subjects, and that to me is the most important thing. I don't have to defend the "Ugly" article. If readers think it's full of shit, so be it. If they're correct, I'll try to do better the next time. But as of now my opinion hasn't changed much.
I have a drawer full of stuff that defines what's been going on in design during the late '80s and early '90s. I recently received Output #4. Now, when I first saw it, I thought "What's the difference between that Output and Octavo #7?" It's fun to look at, but it's cursed by sameness.
I guess the problem - it's a problem with graphic design in general - is when something becomes appealing, a hell of a lot more of it gets produced by others and so the originator's work tends to be diminished in relation to the copycat's work. And you can see this throughout history, whether it's the history of art or the history of design. There are certain copycats who do it quite nicely, but in our culture, when something is overused it gets spit out and you forget about it, even if what you're spitting out is truly valuable. Separating the wheat from the chaff and keeping the chaff is an American pastime.
Anyway, I look at Output #4 and my knee-jerk response is "Oh, God, another challenging puzzle! And I can't spend my day looking at this when I really want to read the newspaper about the Neo-Nazis in Germany!" I'm being a little ridiculous here, but I did start reading part of it. And I have to say that some of the little sound bites were interesting - just as you were reading me those sound bites from that other Output - but it asks certain questions, then doesn't go any further! I feel as if I'm being teased.
And I can't point to the issues that these students are trying to grapple with. When I read a book and it's done in the traditional manner, I can underline things. But with this design, they've already underlined it for you but it's not necessarily the underlining I want. It's like reading a dyslexic "Cliff Notes." At least the "Cliff Notes" have a linear progression.
MD: Your objection brings to mind what Chuck Byrne said in my Print article on Emigre, how younger people have no problem with this new form of reading, whereas graphic designers - who've been trained as to how people are supposed to read - are freaking out because their yellow highlighter can't cope with it, or their linear-progression mind can't cope with it. To get Macintosh- and MTV-generation people to pick up a magazine, it needs to look like something they've never seen in print before, such as what David Carson is offering them.
SH: But they also need to be able to pick up the Signet Classics or the New American Library. It's still important to accept and appreciate the classics, and to try to integrate them in some way into one's life.
MD: Is part of the reason designers are digging in their heels because they actually believe that somehow Classicism is going to go away?
SH: No. I don't think that's why they're digging in their heels.
MD: You don't think that maybe part of it is that they're fearful . . .
SH: Well, to be perfectly honest, I'm fearful, in light of what goes on on the screen, that certain sensibilities will disappear, certain sensibilities that are not archaic, because they're appropriate to their subjects. And I want classic models to be in the minds of students, whether they practice it or not; I want them to accept it and experience it.
MD: I wouldn't have nearly as many problems with your article if the examples you chose had been inappropriate to their subjects. Fella's art gallery poster and Heine's self-promotion - they fit.
SH: That's true, but the examples I used are there not because they aren't appropriate to their media but because I determined them to be part of the "ugly" esthetic. You're right, I could have tried to find something where the examples were inappropriate, and that would have made my case a little better. I didn't.
MD: Well, whatever reservations I have about your article, I'll never cease to be amazed at your volume of output. I don't mind telling you I'm very envious.
SH: At times I wish I did less output and put more effort into flawless work, but that's not me. I can't do less output. It's the only way I can justify my existence. But certain things suffer. Of course I'd hate to think the "Cult of the Ugly" article was one of them, because I did spend considerable time thinking about it, writing, and - thanks to Rick Poynor's brilliant editing - rewriting it. But I reach a point in all my projects where I just have to cut off. I just have to say "It's over, it's through, however it's accepted or not in the marketplace of ideas, that's it, and goodbye."
Essays on Type and Typography
Essays on Emigre
Interviews with Rudy Vanderlans
Interviews with Zuzana Licko
Other Essays
A Selection of Essays from Emigre Magazine
By Zuzana Licko and Rudy VanderLans. Published in Emigre 11.
By Anne Burdick. Published in Emigre 24.
By Rudy VanderLans. Published in Emigre 30.
An Interview with Steven Heller
By Michael Dooley. Published in Emigre 30.
An Interview with David Shields
By Michael Dooley. Published in Emigre 30.
An Interview with Edward Fella
By Michael Dooley. Published in Emigre 30.
An Interview with Mr. Keedy
By Michael Dooley. Published in Emigre 30.
In and Around: Cultures of Design and the Design of CulturesPart I
By Andrew Blauvelt. Published in Emigre 32.
Discovery by Design
By Zuzana Licko. Published in Emigre 32.
In and Around: Cultures of Design and the Design of CulturesPart II
By Andrew Blauvelt. Published in Emigre 33.
An Interview with Rick Poynor
By Mr. Keedy. Published in Emigre 33.
Radical Commodities
By Rudy VanderLans. Published in Emigre 34.
Copping an Attitude
By Rudy VanderLans. Published in Emigre 38.
Graphic Design and the Next Big Thing
By Rudy VanderLans. Published in Emigre 39.
That was then, and this is now: but what is next?
By Lorraine Wild. Published in Emigre 39.
Graphic Design in the Postmodern Era
By Mr. Keedy. Published in Emigre 47.
Skilling Saws and Absorbent Catalogues
By Kenneth FitzGerald. Published in Emigre 48.
First Things First Revisited
By Rick Poynor. Published in Emigre 51.
First Things First Manifesto 2000
Various authors. Published in Emigre 51.
Saving Advertising
By Jelly Helm. Published in Emigre 53.
The Emigre Legacy
By Rudy VanderLans. Published in Emigre 56.
Sustainable Consumerism
By Chris Riley. Published in Emigre 59.


text:
Dateline can be a little scary sometimes, we know.
Luckily, because of social media, Rachel doesn't have to -- and neither do you!
Every Friday, the Dateline family comes together on Facebook, Twitter, GetGlue, and anywhere else we can find each other.
We chat about everything -- the case Dateline is covering, the people involved in it, and sometimes just about our lives. Why? Because that's what family does.
So, we already don't watch Dateline alone. But we decided to kick it up a notch and get the family together in person, two weeks in a row!
Next week, Josh keeps a promise, and will be visiting York, PA.
Have some fun with it! The more creative your entry is, the better chance you have to win.
Be sure to read the rules before entering -- they're important!
NO PURCHASE NECESSARY TO ENTER OR WIN. Void where prohibited. Legal residents of the 50 US or DC who are 21 or older. Begins 9/13/13 at 6pm PT and ends 9/22/13 at 11pm PT. For Official Rules, including odds and prize descriptions, visit http://datl.in/DWARules.

subset: commoncrawl


text:
Bastardi and Gray have been out there saying these things for a while, but you do know they are witches and have to be burned. Bastardi has been right on his analysis of the droughts and showing how we are in a time like the 1950s. His analyses are always very interesting along with Gray's analyses.Kristy, if you haven't read this you may find it interesting. Joe Bastardi says Dr. Bill Gray predicted a warming trend back in the 1970s.
Once slow-moving threat, global warming speeds up, leaving litt...
There are 63981 comments on the Newsday story from Dec 14, 2008, titled Once slow-moving threat, global warming speeds up, leaving litt.... In it, Newsday reports that:When Bill Clinton took office in 1993, global warming was a slow-moving environmental problem that was easy to ignore.
Join the discussion below, or Read more at Newsday.
#38615 Aug 29, 2013
#38616 Aug 29, 2013
Everyone is responsible for their own actions except for climate scientists. No matter how much they don't understand they never take responsibility for their botched predictions and botched climate models and then from all their botched science. So because of their incompetence, we have to have the government raise prices on everything so we change our behavior.
#38617 Aug 29, 2013
LMAO.....Every one of these climate scientists put this on their papers:
'but we know that over the timescale of several decades, the climate will continue to warm as we pump more greenhouse gases into the atmosphere."
No matter what they find out, they put in that statement. This is the only science that I know of that one thing always remains constant, CO2, and never changes no matter what new discovery is made. It's weird, huh? So now we have a paper that shows the models work really well with the PDO, almost exactly. But that doesn't change the fact that CO2 will be the primary driver. And psssst....don't bring up that our CO2 models are completely wrong and never caught this standstill....the climate will still continue to warm, we just know it, trust us. You know like we said in 2009 that global warming would be roaring back by now.
#38619 Aug 29, 2013
I love it when some idiot trumpets that global warming has ended and then uses a site or a quote that directly contradicts his trumpeting:
The "system" to which they refer is the El Nino/La Nina cycle, part of "one of the world's biggest ocean circulatory systems, the Pacific decadal oscillation. It has nothing to do with a mini-ice-age.
"Cooling waters in the tropical Pacific Ocean appear to be a major factor in "DAMPENING" global warming in recent years, scientists said on Wednesday."
"dampen"-Websters New Collegiate: "to check or diminish the activity or vigor of." Not "stop". Not "reverse".
"Their work is a big step forward in helping to solve the greatest puzzle of current climate change research why global average surface temperatures, WHILE STILL ON AN UPWARD TREND, have risen more slowly in the past 10 to fifteen years than previously."
Try again, genius.
But first, learn to read.
Since: Aug 13
#38620 Aug 29, 2013
You should look at this graph very carefully:
As you can see there are periods of temperature increase and temperature decrease. To say that the period of temperature decrease in the 50s meant an end to global warming is absurd.
It is the physical properties of CO2 that drives the scientific consensus. It isn't going to go away.
Since: Mar 09
Location hidden
#38621 Aug 29, 2013
Nice sashay to the right! Not what we were discussing. You and your denier sister have always had the ability to divert the discussion when it gets too hot for comfort.
But even at that, let us in on what they botched. Don't try to say they botched because it is a little cooler today than it was yesterday. There is no doubt that it is warmer this century than it has been since records began.
Since: Mar 09
Location hidden
#38622 Aug 29, 2013
Nice try, but again you resort to hysteria. The real skinny:
Since: Mar 09
Location hidden
#38623 Aug 29, 2013
More on oil shale.
Not gonna solve our energy problems....
#38624 Aug 29, 2013
Preparations for the Fifth Assessment Report (AR5) enter final stage
The Fifth Assessment Report (AR5) will provide an update of knowledge on the scientific, technical and socio-economic aspects of climate change. It will be composed of three working group reports and a Synthesis Report (SYR). The outline and content can be found in the AR5 reference document and SYR Scoping document.
The Working Group (WG) Reports and Synthesis Report will be completed in 2013/2014:
WG I: The Physical Science Basis
23-26 September 2013, Stockholm, Sweden
WG II: Impacts, Adaptation and Vulnerability
25-29 March 2014, Yokohama, Japan
WG III: Mitigation of Climate Change
7-11 April 2014, Berlin, Germany
AR5 Synthesis Report (SYR)
27-31 October 2014, Copenhagen, Denmark
More than 830 authors are involved in writing the reports. Several sets of Lead Author meetings have been held and the expert review of the Working Group contributions has been completed. The IPCC is now in the final stages of the review process.
#38625 Aug 29, 2013
How many times do I have to say I agree it is warmer? DUHHH. No one is arguing that point. The point, is that AGW science says warming will happen at an alarming rate because of an increase in CO2 and terrible, terrible things will happen. Here are some of the things that have been botched:
Surprise, Antarctic ice not melting, actually increasing.
Himalayan glaciers wont be gone by 2035, in fact about half of the volume of the Himalayan glaciers is actually growing.
Surprise, 30% less ice melting from glaciers, ice caps, and mountaintops.
Climate models never predicted a standstill for 15 years.
Surprise .mysterious drop in water vapor in the stratosphere.
Surprise the oceans have a bigger effect on temperatures than thought.
No increase in hurricanes, tornadoes, droughts, fires, extreme weather.
Snow was thought to be a thing of the past.
Now we just have roving hot spots and roving rain, which is really just weather, so not sure how any one region can have a change in climate if these hot spots are just randomly moving around.
CO2 at worst case scenario, but temperatures at a standstill.
Climate sensitivity less than thought.
The seas are not rising at an alarming rate.
The Arctic still isn't ice free, even though it was predicted by NASA that the Arctic would be mostly ice free this year, which in fact was the shortest melt season on record for the Arctic.
#38626 Aug 29, 2013
Based on the IPCC goal of limiting warming to 2C this century the graph indicates we're under the limit. Obviously 2C per 100 years averages .2 per decade, there's only one 10 year period that happened, indicated in that graph.
It also shows the current pause, with the 5 year average line you can see its been over 12 years. It'll take some extremely warm years, and soon, for that graph to indicate 2C warming this century.
#38627 Aug 29, 2013
A big whoopdy-doo.
#38628 Aug 29, 2013
Again, to you I say, no one is disputing the warming. We came out of the Little Ice Age and as Fun Facts stated in an earlier post the last half of the 20th century is now being considered the Modern Solar Maximum. It was at the highest levels recorded in the last 400 years and in the top 10% of all activity reconstructed with proxy data during the Holocene and the PDO was in the warming phase the last 30 years. So of course the trend has been up.
But here we are at a standstill and now papers are coming out saying it's the 30-year cooling phase of the PDO causing the standstill. But you have to ask yourself if the cooling phase of PDO is causing the standstill and it could even cause some cooling, only time will tell, wouldn't that mean that the warming phase of the PDO caused most of the warmth combined with the sun in the late 20th century? I mean the PDO doesn't go dormant in the warming phase and tell CO2 to take over heating up the planet does it? The warming hasn't been near what the climate models have been so all over the place and revised and no model has predicted the 15 year standstill and that would be because they have overestimated the CO2, underestimated the PDO and the sun.
Hypothetically, if temperatures trend down in the next 2 decades, what would you think at that point?
#38629 Aug 29, 2013
And it's already out of date.
#38630 Aug 29, 2013
The denier goose is cooked, well done.
#38631 Aug 29, 2013
Hey deniers, 90 million tons of ghg emissions daily are equivalent to 400,000 Hiroshima's energy. All your whine ignores this!
Your goose is cooked, well done.
#38632 Aug 29, 2013
You are DENSE.
P.S. The whole world knows you know no science. Or any expertise to speak of.
#38633 Aug 29, 2013
So not trying to find ways to extract the oil will solve our energy problems? Doing away with fossil fuels will solve our energy problems how?
#38634 Aug 29, 2013
The planetary problem is the climate change caused by humans' fossil fuel usage.
#38635 Aug 29, 2013
If the oil can be recovered. If a bullfrog had wings, it wouldn't bump its ass all the time.
What would you expect oil guys to say?
Anybody can pull figures out of the air, out of their ass, or out of their camel saddlebags.
Gas is still $3.299 here.
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text:
The father of former Minnesota Wild hockey player Derek Boogaard says some in the National Hockey League enabled his son in his prescription painkiller addiction.
Derek Boogaard died of an accidental prescription drug and alcohol overdose a year ago.
His father, Len Boogaard, told CBC's As It Happens on Wednesday that the NHL ignored positive drug tests and reports of his son's prescription drug abuse.
"Why have a drug testing system in place if you're not going to look at the results or do anything about it?" He said. "There's got to be accountability in terms of the doctors, the substance abuse program, and etcetera. So my goal in this, I guess, is to prevent this happening to any other players."
The New York Times reported this week that Derek Boogaard received about 100 prescriptions from a dozen NHL team doctors in his last few years.
"From what I've seen over the years, the majority of the players are just cannon fodder," he said. "If a player gets injured, he doesn't want to sit out because he knows that there's 1,000 kids or other players that are standing behind him waiting to take his spot. So, the players, as well as the doctors, are quite prepared to take the medications or dole out the medications."
The NHL released a two-sentence statement saying that Boogaard received appropriate medical care.


text: On Wed, Jul 21, 2010 at 11:05:02AM -0700, Iavor Diatchki wrote: > PS: About (+ e) being used in papers on monads: the instance we are > adding is actually "Either e" which would be confusing enough for > someone who is just learning about these things. It would be even > more confusing when---having finally figured out the > correspondence---they tried to define the instance from the paper and > got an "overlapping instance" error. Yes, Either is the Prelude version of +. As for the overlap, the same thing will happen if they read in those papers about (->) r and try to declare that -- it's already there. > PPS: I don't mean to sound too negative here (I am told I have some > skill for it though :-). Examples of the utility of this instance > would be most welcome though. Those papers have a few.


text: The history and future of the atom bomb Issues St. Paul, Minn. · Aug 4, 2008 Three nuclear weapons and global security experts discuss the history and future use of nuclear weapons at the Aspen Ideas Festival this summer. Stay Informed The news on your schedule from MPR News Update Email Address* Zip Code MPR News Update AM MPR News Update PM See our Privacy Policy. Must be age 13.


text:
Marijuana legalization in D.C.: Discussion should be had, Gray says
A discussion on the legalization on small amounts of marijuana in the District of Columbia should be discussed, Mayor Vincent Gray said Wednesday, despite his neutrality on the subject.
Appearing on NewsTalk with Bruce DePuyt on NewsChannel 8, Gray said that he is not for or against the legalization of marijuana, but he says that talk on the topic should take place.
"I don't have a position on whether to legalize it or not, but we should have that discussion," Gray said.
Marijuana for medicinal purposes was sold for the first time in Washington on Monday night, 15 years after it was approved by the D.C. Council. The sale was made at Capital City Care, a dispensary which operates on North Capitol Street.
A 51-year-old AIDS patient was the city's first recipient of medical pot.
Gray says that the discussion about legalizing some amount of marijuana should happen because so many young people end up with criminal records early on in life. He also recognizes that the use of pot among patients with chronic conditions is helping them deal with pain and the symptoms of their illnesses.
Anyone who wishes to acquire marijuana for medical use in the District must have approval from the city's Department of Health and a doctor's recommendation for the program.
The legalization of small amounts of pot is not a new notion for the District. On July 10, D.C. Councilmember and mayoral candidate Tommy Wells proposed legislation that would decriminalize possession of less than an ounce of marijuana.
Under Wells' plan, the penalty for that would be considered a civil offense and violators would be subject to a $100 fine.


text:
London, June 12 (ANI): New Superman movie 'Man of Steel' recovering three quarters of its total cost even before a single fan has laid eyes upon it.
The film that stars British actor Henry Cavill, has the most product placement deals in movie history, the Mirror reported.
More than 100 deals have Brands like Chrysler, Nokia and sunglasses firm Warby Parker are clamouring to kit Superman out with their latest products. (ANI)


text:
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You now can track your expenses with new features added to our internet banking product. Check out the new features for yourself or contact a banker for more information.
Click Here to learn about the expiration of the Temporary Full FDIC Insurance Coverage for Noninterest-Bearing Transaction Accounts.


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text:
Goldman helps Greece meet EU targets using large derivatives deal
Goldman used 'off market' cross-currency swaps to effectively extend a loan of about €1 billion ($1.1 billion)to the Greek government, which it will have to repay in the future along with interest payments and fees running into hundreds of millions of euros. The deal also helped the country to lower reported interest payments.
Due to loopholes in EU debt accounting rules, the deal was not disclosed in Greece's published accounts. The emergence of the off-balance-sheet deal coincides with a number of eurozone countries facing increased scrutiny from Brussels about excessive debts and budget deficits.
Although cross-currency swaps are widely used by both companies and governments to manage their exchange rate risks, the Goldman deal was deliberately structured 'off market' to help Greece to manage its debts. The majority of such deals rarely enter the public domain.
. The full details of this story are published in the July issue of Risk.
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text:
From sparkling pomegranate punch to a citrus-cinnamon punch, here are superb Thanksgiving party punches.
From sparkling pomegranate punch to a citrus-cinnamon punch, here are superb Thanksgiving party punches.
Mixologist Agostino Perrone created this simple sparkling punch. "It would be a great aperitif for a large dinner party," says Wayne Collins; he recommends serving it in teacups.
Erick Castro, former bar manager at San Francisco's Rickhouse, created this sparkling punch. It's terrifically light, but the malted grain–based genever adds whiskey-like depth.
Allen Katz, mixologist at the Shanty and a partner in New York Distilling, uses his own Dorothy Parker gin to make this fruity punch.
This bubbly, sweet-tart cocktail combines sparkling wine, dessert wine and deep-red pomegranate juice.
For hot punches, young Irish whiskeys work best. Heat intensifies the tannic edge of older whiskeys; young ones stay smooth.
In this pleasantly tart punch, David Wondrich mixes Irish whiskey with gin to mimic the taste of a richer, older style of gin.
Cinnamon flavors lots of holiday drinks, from eggnog to mulled wine. Here it appears in a juicy punch that's delicious spiked with Grand Marnier or Cognac.
Maria Helm Sinskey and her husband, Rob (co-owner of Napa's Robert Sinskey Vineyards), serve their wine at parties. But she also offers refreshing punches like this one, made with tart-sweet pomegranate juice and finished with Prosecco.
Vinho Verde is a white or red wine from the northwestern part of Portugal. The name means "green wine," which refers to its youthfulness.


text:
The Pastels, 'Check My Heart' [Listen]
Subscribe to Diffuser.fm on
Has it really been 13 years since the Pastels last colored our sonic palette? Actually, it hasn't — the Scottish indie-pop outfit recorded a movie soundtrack ('The Last Great Wilderness') in 2003, a theatre pieces in 2006 and a pair of collaborations with Japan's Tenniscoats in 2009 — but their most recent regular studio album was indeed a 1998 release: 'Illumination.' That absence comes to an end this year with 'Slow Summits,' and today (April 8), the band was unveiled the album's first single, 'Check My Heart,' which you can stream above.
Despite their modest output over the last decade-plus, the Pastels haven't skipped a beat; 'Check My Heart' is a well-crafted, immediately catchy and properly endearing slab of glorious indie pop in the mold of their classic 'Illumination' album. 'Slow Summits' drops May 27, and the Pastels play their first New York City show since 1997 on June 13 at the Chickfactor 21 Festival in Brooklyn.


text: "In previous reports, CBO analyzed how household income (which included some federal benefit payments, or transfers) and federal taxes were distributed among different segments of the U.S. population. This report goes a step farther by analyzing the distribution of most federal spending—including spending on transfers and a host of other government activities—and almost all federal revenues among U.S. households in 2006. In that calendar year (the most recent one for which relevant data were publicly available when CBO began the analysis), the federal government spent $2.7 trillion on a wide range of goods and services and collected $2.4 trillion in taxes and other revenues to pay for them. About 88 percent of that spending and 98 percent of those revenues are allocated to households in this report. With the economy still recovering from the 2007–2009 recession, federal spending was much higher in calendar year 2012 ($3.6 trillion) than it was in 2006. Some of the additional spending went to households affected by the recession, so the distribution of spending in 2012 probably differed from the distribution presented here. Although total revenues were similar in 2006 and 2012, the distribution of taxes also probably differed because of changes in tax laws and in the distribution of income. This analysis examines spending and taxes for three types of households, which are defined by the age of their members: elderly households, nonelderly households with children present, and nonelderly households without children present. The nonelderly households are further divided into five income groups on the basis of their annual market income—a measure that includes most sources of income other than transfer payments. (CBO excluded elderly households from the analysis of income groups because annual market income is not a good measure of resources for those households, many of whom rely heavily on nonmarket income, such as Social Security benefits.)"


text:
The new kind of HTC Slider
HTC has long been partial to a smartphone slider form factor.
It's slide-out QWERTY keyboard Windows Mobile smartphones like HTC S730 or HTC TyTN II are among the most popular in a category.
HTC was also first to expand the possibilities of it's full touchscreen handset (Touch) with slider keypad in HTC Touch Dual, an idea now borrowed by Alltell LG Glimmer.
Ever wonder what HTC might think of next? Well, I may have some ideas.
Let's take HTC S730.
How could you make this phone smaller, save on parts by having a single text/number input device and have it as easy to use for different applications in both landscape and portrait modes?
Here's how:
Make the numeric keypad a part of the QWERTY keyboard plate. Have the phone display covering most of QWERTY keyboard, except for the numeric keypad part, in a closed mode.
To open into a text/mesaging QWERTY landscape mode, just slide the screen diagonally across the keyboard plate and fix the display in the top/middle of it.
Voila. You still have all the benefits of the S730 smartphone, the same display size, but in a smaller package.
Of course, no such HTC handset exist yet, as far as I know. The drawings above are our Photoshop renderings.
However, they are not just my imagination, and are based on a recent patent filing by HTC, called "Handheld electronic device" , describing just such a handset.
And from the looks of, it ain't that hard to implement, so we might be seeing something along these lines in the near future.


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I had orthognathic surgery (leforte 1), 5 months ago to correct a gummy smile. The surgery has caused my nose to broaden at the base when I smile even though my doctor used an alar stitch. Is there anything that can be done to correct this other than Rhinoplasty?
Rhinoplasty Alternative for Broad Nose After Orthognathic Surgery?
Doctor Answers 9
Nasal need after a LeFort I
If your nose has widened after the LeFort I it is probably soft tissue. A revision of the alar cinch can be performed, but this is a surgical procedure. You may also have some residual swelling as well. It may be best to wait about 1 full year after your previous surgery before you go ahead for any secondary procedure.
Widened nostrils
It sounds like your greatest problem is during animation, which leads me to believe that yours is a soft tissue concern rather than a bony one at this point. Narrowing of your nostril base can be performed without a formal rhinoplasty, but it does still involve a surgical procedure. Discuss your concerns with your orthognathic surgeon. He/she undoubtedly has a relationship with a plastic surgeon or otolaryngologist for just such cases if he/she doesn't perform the base narrowing procedure themself. Good luck!
Rhinoplasty alternative for broad nose after orthognathic surgery
Dear MJR,
In a Lefort I impaction procedure a sliver of the maxillary bone under the nose is removed reducing the gum height and its visibility allowing the upper lip curtain to only uncover tooth white instead of always revealing the gum too. After that narrow slice of bone is removed, the hard palate is fixed upward to the bone under the nose with small screw plates providing stable fixation.
An alar stitch attempts to narrow the base of the nostrils. However, if the bony foundation of the nose was widened in the process of impacting the maxilla, the middle and base of the nose will remain wide while the suture, rather ineffectively attempts to keep the forward looking nose appearance of the nostrils closer together - not always successfully.
The ONLY way the middle and base of the nose can be brought together and narrowed is surgically with a fracture of the lateral sides of the nose and bringing them together.
Hope this helped.
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Wide alar base aka wide nostrils: what to do?
There are a few considerations here. Is it wide at rest or with smiling?
If it is the former, you may benefit from an alar base resection along the nostril sill also termed a modified Weir excision. This can be combined with another alar cinching suture.
If the wide nose occurs with smiling, this can be softened with the use of Botox.
Discuss this with a plastic surgeon, as there may be other alternatives.
Wide Nasal Base
You probably don't need a full rhinoplasty to improve your situation. Narrowing of the nasal base, which I suspect you need, is usually part of rhinoplasty surgery, but can be done as an isolated procedure. Ask for a referral to an experienced rhinoplasty surgeon.
Rhinoplasty may decrease the width of the alar base.
You should consult a board-certified, experienced, Rhinoplasty surgeon to discuss your options. Narrowing the base of the nose is a fairly simple technique, that is usually performed at the time of Rhinoplasty when the alar base is wide.
I don't think there is a non-surgical alternative.
If you'd like to post / email me a full-facial photo, I'll be happy to share my thoughts.
I hope this helps, and best regards.
Wide alar base
This a complication of undergoing a maxillary impaction Le Fort procedure. Your surgeon has placed a Cinch suture in an attempt to narrow your alar base width- the truth is these do work and if anything are temporary.
What should have been done at the time of the procedure was bony contouring of the priform aperture base. This could have minimised the alar base widening.
A Rhinoplasty (not just excising excess skin) will be required to correct this problem now.
Procedures to reduce a broad nose
A broad nose can be made narrower through osteotomies or rebreaking of the nasal bones. The nasal tip can be made smaller through some tip suturing techniques as well. Alar-based Wier excisions can be performed that reduce the alar bases.
Learn more: http://www.seattlefacial.com
Excision of skin can narrow the base of the nose.
Without a photo it is difficult to say. Narrowing the base is probably going to give you the desired result. This is a minor procedure, under local anesthesia and you could go to work the next day.
These answers are for educational purposes and should not be relied upon as a substitute for medical advice you may receive from your physician. If you have a medical emergency, please call 911. These answers do not constitute or initiate a patient/doctor relationship.


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Meryl Streep in talks for wicked witch role in Into the Woods
Pirates of the Caribbean: On Stranger Tides director Rob Marshall is the man behind the ambitious project, which brings fairytale characters like Little Red Riding Hood, Cinderella and Rapunzel to life.
Streep missed a reading of the film on Monday (01Oct12), but it was still an all-star affair, according to BroadwayWorld.com.
Anna Kendrick, Christine Baranski, Cheyenne Jackson, Allison Janney and Patrick Wilson were in attendance.
Donna Murphy was drafted in as The Witch for the rehearsal.


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Read the full story here Web Link posted Monday, August 22, 2011, 5:35 PM
Town Square
SAT scores up in the San Ramon Valley
Original post made on Aug 23, 2011
Read the full story here Web Link posted Monday, August 22, 2011, 5:35 PM
Comments (4)
a resident of Danville
on Aug 23, 2011 at 4:39 pm
More statistics without reference: 1500 is a "benchmark." 1500 out of how many possible points? 1500 as a minimum requirement for State Universities? As "average?" Across the board in all socioeconomic areas?
a resident of Danville
on Aug 24, 2011 at 11:39 am
A score of 1500 is the benchmark set by the state of California for students across all socioeconomic levels. As of 2005, the SATs include a writing/essay section that brings the total point value to 2400.
Jessica Lipsky
a resident of Danville
on Aug 24, 2011 at 11:50 am
Tom Cushing is a registered user.
Why, back when I was in high school, all we got were up to 1600 points. Has the world really expanded that far?
a resident of Alamo
on Aug 26, 2011 at 6:56 am
5 or so years ago the College Board added a third section to the SAT, an essay. Good idea to actually see if students can write rather than just multiple choice which is what the math and verbal sections still are . So total possible score went from 1600 to 2400.
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text: Washington (ANI): Britney Spears has denied reports that she will be playing a murderous lesbian stripper in Quentin Tarantinos next project. British newspaper the Mirror had earlier claimed that the Toxic hitmaker was set to play exotic dancer Varla in a remake of the 1965 movie Faster, Pussycat! Kill! Kill! But her spokesman has denied that the singer is working with Tarantino. Though she definitely intends to explore acting roles down the road, right now shes concentrating on recording her next album, Contactmusic quoted her, as saying.


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hypothetical armed robber unaware of you
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Lazy D
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Risky Business
Man,.........If someone here thinks he is going to shoot a BG with a cock weapon, finger on the trigger, and pointed at someones head, you have been smokeing something. I'm am not trying to be a
[email protected]
$$, but in that scenario you would have to make a "Nonreflex Brain Stem" shot. Anything else and he can still pull the trigger and maybe even kill more than one. That is a difficult enough task to do with a sniper rifle, let alone an offduty / undercover handgun. I don't know of anyone who makes a holster for a Rem 700 pss. I guarantee you would be prosecuted for causing the death of the victim, either in court or in the media.
The only way I would ever attempt it is if I am standing right behind the guy and can make a contact shot to the back of the head.
"Fast is Fine but accuracy is final."
.....Wyatt Earp.
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TAMPA — Berkeley Prep's boys team already has done some pretty impressive things this season.
The Buccaneers won the Tampa Bay Classic against some of the top private schools in the bay area and handed Jesuit its first loss in a dual meet in 11 years. On Thursday, Berkeley Prep crossed off another goal by winning the Class A, District 7 team title, the school's first in 10 seasons.
"We had three things we wanted to accomplish this year," Bucs coach Kevin Rosepapa said. "The first was to stop Jesuit's win streak, and the others were to win district and region titles. We've already got two of the three."
The Bucs scored 550 points due in large part to sweeping the relay events and showcasing their depth in the sprints.
Will Miller and Andreas Hatoum were Berkeley's individual winners. Miller won the 200 free in one minute, 49.79 seconds and Hatoum took first in the 100 breast (1:06.78). In the events they didn't win, the Bucs were able to gobble up points, particularly in the 50 and 100 free.
Robinson's John Nolte was the champion in both the 50 free (22.76) and 100 free (50.05), but Berkeley Prep had the other top four place-winners.
Tampa Prep's Rasmus Skjaerpe was the other boy to win multiple individual titles, taking first in the 200 individual medley (2:04.86) and 100 back (56.82).
On the girls side, the Terrapins won the team title, scoring 460.
Tampa Prep had three individual winners, Rosalie Spada in the 200 free (2:05.59), Emma Siewert in the 200 IM (2:16.30) and Carylyn Waite in the 100 breast (1:14.45).
The Bucs finished second with 397 points and were led by Laura Jordan, who won the 50 free (24.42) and 100 fly (59.26).
Pinellas County had just two teams competing, Clearwater Central Catholic and Calvary Christian. And the Marauders were the only Pinellas school to field both boys and girls teams.
CCC's girls finished third and the boys fifth. Marauders Eric Thatch and Justin Haas each had strong performances. Thatch was second in the 100 back (1:00.72) and fourth in the 200 IM (2:09.25). Haas was second in the 200 free (1:53.78) and third in the 100 fly (1:00.23). They also were on the third-place 200 medley and second-place 200 free relay teams.


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Get Your Dog Care Questions Answered by Experts
Thank you Candy - I will go easy on Aspirin. Will do some research on the leg braces you have suggested.
Do you believe that glucosamine or other types of supplements could help with the inflammation? Are there natural anti-inflammatory remedies?
My thanks for your prompt service!Mireille
Thanks again for your advice! Have a good day, Mi


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Our mission is to become a worldwide reference for education in the field for all professionals involved in the process to disseminate knowledge & skills of Acute Cardiovascular Care.
Our mission is to promote excellence in clinical diagnosis, research, technical development, and education in cardiovascular imaging.
Our mission is to promote excellence in research, practice, education and policy in cardiovascular health, primary and secondary prevention.
Our mission is to reduce the burden of cardiovascular disease through percutaneous cardiovascular interventions.
Improving the quality of life and reducing sudden cardiac death by limiting the impact of heart rhythm disturbances.
Our mission is to improve quality of life and longevity, through better prevention, diagnosis and treatment of heart failure, including the establishment of networks for its management, education and research.
The ESC Working Groups' goal is to stimulate and disseminate scientific knowledge in different fields of cardiology.
The ESC Councils' goal is to share knowledge among medical professionals practicing in specific cardiology domains.
Dr. Per Molstad
Dr. Terje Veel
Dr. Stein Rynning
The increasing age in the population and improvements in the treatment options for aortic valvular disease have resulted in a considerable rise in the number of elderly patients being admitted for conventional aortic valve surgery. Recently, transcatheter aortic valve implantation (TAVI) has been developed as a less invasive treatment option. However, both open heart surgery and transcatheter treatment have serious complications. Thus, the knowledge of contemporary results of conventional surgery is important in guiding treatment allocation.
From the database at Feiring Heart Clinic, 1525 patients were identified who had undergone aortic valve replacement from 1999 to 2010; of these, 361 patients were more than 80 years of age. The population was followed for all-cause mortality until March 2011, with special reference to the age group older than 80 years and other high-risk subsets.
The short-term mortality was 2.2% in the whole population and 3.9% in octogenarians. Five-year survival was 83.1 and 68.1%, respectively. In the high-risk subgroup of patients with a logistic EuroSCORE above 20%, the equivalent figures were 4.2 and 72.7%.
Contemporary results after conventional aortic valve surgery are excellent in both short- and long-term survival and should not be withheld in the elderly or otherwise high-risk populations. The logistic EuroSCORE grossly overestimates the operative risk and should be used with caution in allocating patients to TAVI instead of conventional surgery.
Per Mølstad, Terje Veel and Stein RynningEuropean Journal of Cardiothoracic surgery
Our mission: To reduce the burden of cardiovascular disease
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by Alexander Laurence and Kathleen McGee
We looked forward to talking with Martin Amis, British novelist, and author of the new book, The Information (Harmony). He is the author of numerous books, including Money, London Fields, The Rachel Papers, Time's Arrow, and Visiting Mrs Nabokov.
Like many, we had read the pre-publication publicity articles in The New Yorker and Vanity Fair. The media circus treated his new book as if Kato Kaelin wrote the next Ulysses. Amis complained about being misquoted in The Chronicle, an article which came out the morning we interviewed him. He called the article sloppy and atrocious. Amis pointed out that the writer had misquoted him as saying "desperation" instead of "desertion;" while he drank a "Virgin mary" not a "Bloody mary." He ordered another one while we talked to him in a hotel around Union Square about his new novel. Much hoopla had already been made about his large advance, his new set of teeth, his mid-life crisis, his divorce, but we focused on the art of fiction.


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The Business Desk
A job seeker reviews listings in the Job Finder at the Rigzone Oil & Gas Career Fair in San Antonio, Texas. Photo by Eddie Seal/Bloomberg via Getty Images. At the risk of incurring Jack Welch's wrath, I am obliged to … Continue reading
Mary Brassard, 86, Dorrace Delaney, 74, and Roger Huff, 68, work at Vita Needle in Needham, a manufacturing company whose average age of worker is 74. Photo by Joanne Rathe/The Boston Globe via Getty Images. By Elizabeth Shell The American … Continue reading
Photo by PublicAffairs Publishing. On Oct.16, 2012, the NewsHour interviewed Donald Bartlett and James Steele on their latest book, "The Betrayal of the American Dream". Here is a critique and question from viewer Gary Todd about this segment, which you … Continue reading
Image by Key Wilde via Getty Images. Paul Solman answers questions from the NewsHour audience on business and economic news here on his Making Sen$e page. Here is Wednesday's query: George White: Some people would have us believe that owners … Continue reading
Pedestrians walk past a gas station selling gas for over five dollars a gallon in Los Angeles, California. Photo by Frederic J. Brown via AFP/GettyImages Paul Solman answers questions from the NewsHour audience on business and economic news here on … Continue reading
Photo by Peter Dazeley via Getty Images. Nick Corcodilos is an expert on how to get a job. We ran into him while doing a story on the relative futility of Internet job boards and asked him to post his … Continue reading
According to S&P/Case-Shiller Home Price Indices, home prices continued to rise in August. Photo by Kevork Djansezian/Getty Images With election day a mere week away, all economic data carry potential political significance — for us in the media, at least. … Continue reading
Photo by CSA Images via Getty Images Larry Kotlikoff's Social Security original 34 "secrets", his additional secrets, his Social Security "mistakes" and his Social Security gotchas have prompted so many of you to write in that we now feature "Ask … Continue reading
Work-life balance illustration by Bjorn Rune Lie in Ikon Images via Getty Images. Bob Pozen has been the vice chairman of Fidelity Investments, chairman of MFS Investment Management, a professor at Georgetown University, New York University and Harvard Law Schools … Continue reading
Pensions for teachers and government employees had the highest funding level among all Arizona public retirement plans. Photo by John Elk via Getty Images. Paul Solman frequently answers questions from the NewsHour audience on business and economic news on his … Continue reading


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By DE Editors
Autodesk, Inc. (San Rafael, CA) has signed a definitive agreement to acquire analysis and simulation software developer ALGOR, Inc. (Pittsburgh, PA) for approximately $34 million. The acquisition will strengthen the Autodesk solution for digital prototyping with advanced simulation functionality, including multiphysics, mechanical event simulation, and fluid flow, according to a press statement released by Autodesk.
Robert "Buzz" Kross, senior vice president of Autodesk Manufacturing Solutions was quoted in the same press statement as saying that "the acquisition of ALGOR will add significant new capabilities to virtually test and predict the impact of simultaneous real-world conditions like heat and pressure on product designs."
ALGOR's CAE (computer aided engineering) software is used for product design and development in the automotive, aerospace, medical, consumer products, defense, energy and utilities industries. The company was founded by Michael Bussler in 1976. Mr. Bussler currently serves as president of ALGOR. The announcement made no mention of any future role for Bussler post-acquisition.
The transaction is subject to customary closing conditions, and is expected to close in the fourth quarter of fiscal 2009.
For further information visit Autodesk or ALGOR, Inc.
Source: Press materials gleaned from the company's website.


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At Gemvara, we believe that the jewelry you wear should be one of a kind, like you. That's why we make each piece to order, one at a time, just the way you want it. Choose fire opal and rose gold or peridot and yellow gold: it's your choice. Mix and match gems and precious metals for a look that's exactly you. It's jewelry for all life's occasions, from a birthday or Valentine's Day to your own personal milestones and celebrations. These brilliant Quincenera gift ideas will help you mark this milestone with beautiful jewelry she can treasure forever. Gemvara uses only the highest quality materials to craft your three stone peridot jewelry design with meticulous attention to detail. Our precious metals are recycled or responsibly mined. Peridot will add a fresh bolt of color to your wardrobe. Our wide selection of three stone peridot jewelry by Just Like You Designs, Damon Washington, Tony Rodrigues, and other talented designers means you can find jewelry that's exactly your style. You can also shop by style, choosing our Florette, Flower, or Featured Set Collections. Three-stone jewelry designs have a timeless appeal that you can update with the addition of colorful gemstones. Gemvara's fine quality three stone peridot jewelry is designed to be passed down for generations to come, crafted by hand in the United States.
We can help right away. Chat with a jewelry expert now!


text: Services to Be Held for Samuel Odom By Staff Wednesday, July 17, 2013 12:24 AM DALLAS—Samuel Wayne Odom's battle with glioblastoma brain cancer ended with his family at his side on Sunday July 14, 2013. Odom was born in Dallas on Jan. 29, 1947 to Reverend D. W. Odom and Margaret Ruth Wagoner Odom. He graduated from Garland High School in Garland, Texas in 1965 and attended Dallas Baptist University. Odom spent his career in the optical industry and was known for his charismatic presentation skills throughout the country. He played key roles in the planning, building and success of Benedict Optical and Legends 4.0 Optical in Lewisville. He spent a portion of his career with Hoya Vision Care, Silhouette, B+L, and operating his own businesses. Due to his illness, he was forced to retire in 2012 from his job at the VSPOne Technology Center in Dallas. Survivors include his wife Kini, sons Marc, Greg, and Kevin Odom; daughters, Samantha Odom Iliff and Candice Gaines; grandsons Matthew Odom, Blake Iliff, Mason Smith and Aaron Gaines; sister Betty Hansen; nephews Ray and Brad Goethals; and nieces Caitlan Haddock and Melissa Odom. He was preceded in death by his parents and his first grandchild, Logan David Iliff. Odom was a lifelong member of the Baptist Church. Visitation will be held at Flower Mound Family Funeral Home on Wednesday, July 17 from 6:00 p.m. to 8:00 p.m. A memorial service and reception will be at the First Baptist Church in Lewisville on Thursday, July 18 at 3:00 p.m. A reception will follow in the church fellowship hall. A time of reflection will be available to anyone who wishes to share a brief memory during the service. Interment will be on Friday, July 18 at Big Spring Cemetery in Garland. In Odom's memory, donations may be made to Legacy Brain Foundation Dallas or to the Rachel Fuller Memorial Scholarship Fund at Ouachita Baptist University.


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Donna Hunter
Contact Information:
Email: firstname.lastname@example.com
Office Phone:
1- 650- 725-1215
650- 725-1215
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Sweet Hall 3rd Floor, Rm 322, 590 Escondido Mall, Stanford, CA 94305
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T 01:45pm-03:15pm
Before starting to teach in the Program in Writing and Rhetoric, I was facilitating writing workshops in juvenile halls around the Bay Area for The Beat Within. (If you're interested in insightful, moving, unedited writing by incarcerated youth and adults, check out the website: www.thebeatwithin.org.) I began volunteering and then working full time at The Beat after earning my Ph.D. in English from UC Berkeley in 2000. Although this may seem like an odd transition, my dissertation, "Dead Men Talking," examined 18th century execution and crime narratives composed by and about Africans in colonial and early America and analyzed the historical, legal, and literary connections between blackness, criminality and writing. Sadly, the conflation of blackness and criminality evident in the 18th century has not changed significantly in the present day, so I became determined to understand more about these seemingly intractable bonds, and to contribute, in some tiny way, to loosening them in practice rather than just in theory-hence, my work at The Beat Within.


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Urban Toronto: Humber Cinema Returns to its Former Glory
The history, design, and development of Toronto's building projects, brought to you by UrbanToronto.
Top: the Humber Cinema last week; photo by Marcus Mitanis/UrbanToronto. Bottom: the cinema as it appeared in 1949.
After almost a decade of sitting idle, and briefly under threat by a controversial condominium development, the Humber Cinema at Jane and Bloor has recently reopened for business.
Cineplex Odeon closed the establishment in 2003, effectively marking the end of twin-screen theatres in Bloor West Village. (Four years prior, Famous Players had abandoned its theatre at Bloor and Runnymede. It's now a Chapters bookstore with much of the interior restored and thankfully intact.) For a long time, the only choice for neighbourhood moviegoers hoping to catch new films was to drive to the 18-screen multiplex Queensway Theatres.
Now, residents have an encouraging alternative: the 1940s-era Humber Cinema officially re-opened a few weeks ago, restored by businessman (and trained architect) Rui Pereira. For now, only the 300-seat main floor screen is operational; the 500-seat auditorium downstairs is under restoration and should be ready by the end of August. The plan is to eventually also open two smaller 60-seat theatres in addition to the larger screens.
The ongoing refurbishment of the building is long overdue; Cineplex Odeon had gutted the space entirely of the seats and screens and the structure was home to a family of raccoons for months. Not only that, but the unique brass and copper rails were stolen by vandals, the lobby was water-damaged, and the furnace was broken. Several years and $350,000 later, the raft of renovations has recaptured the cinema's atmosphere, bringing back the stylish movie-going days of the 1950s.
Additional details about the Humber Cinema and a complete set of photographs are at UrbanToronto.


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> Correct. But if you ask the API to get information about table myTable, > you should get an answer back for a table created as (create table > myTable (foo text)). The only way to do this is to lowercase the input > to match what the database is storing (mytable in this case). I agree > that if the table is created with a mixed case identifier (create table > "myTable" (foo text)) then there isn't a need to lower case in the > driver. Therefore the fact that there are a bunch of calls to > toLowerCase() in the jdbc code for DatabaseMetaData doesn't mean that > there is a bug here as they are entirely appropriate under some > circumstances. If someone produces a test case that demonstrates a bug > I will be glad to look into it. But up to this point there has only > been a lot of speculation on code that may be entirely correct. Test > cases demonstrating a real problem would be much apprecieated in this case. > OK, I see what you mean. If you pass in myTable, you want to look for mytable in pg_class. However, what if they pass in "myTable", with the quotes? Do we skip the lowercase step? -- Bruce Momjian | http://candle.pha.pa.us pgman(at)candle(dot)pha(dot)pa(dot)us | (610) 853-3000 + If your life is a hard drive, | 830 Blythe Avenue + Christ can be your backup. | Drexel Hill, Pennsylvania 19026
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