text:
Defending champion Novak Djokovic and six-time winner Roger Federer were once again set on a Grand Slam collision course when they were placed in the same half of the Wimbledon draw on Friday.
World number one Djokovic, who swept past Federer in straight sets in the French Open semi-finals earlier this month, could meet the Swiss again in the last four.
The top-seeded Serb will start his campaign against Spain's former world number one Juan Carlos Ferrero with Czech sixth seed Tomas Berdych, the 2010 runner-up, a potential quarter-final opponent.
Federer, who has lost in the quarter-finals in the last two years, takes on another Spaniard, Albert Ramos.
The third seeded Federer, still one title shy of Pete Sampras's record of seven at the All England Club, is scheduled to face Serb eighth seed Janko Tipsarevic in the last eight.
Tipsarevic starts against 2002 runner-up David Nalbandian, the Argentine who was defaulted in last week's Queen's final for accidentally injuring a line judge.
Second seed Rafael Nadal, the 2008 and 2010 champion, and fresh from a record seventh French Open title, meets Brazil's Thomaz Bellucci.
Fourth-seeded Briton Andy Murray, who has lost in the semi-finals in the last two years to Nadal, is scheduled to meet the Spaniard again in the last four, but first he must get past wily Russian Nikolay Davydenko in his opener.
Murray has lost all three grasscourt matches he has played this summer and has a minefield of a draw with Spain's David Ferrer, who beat him in the French Open quarter-finals, a potential last eight opponent.
Juan Martin del Potro, the 2009 US Open champion, Queen's winner Marin Cilic, three-time runner-up Andy Roddick and big-serving Canadian Milos Raonic are all in the Scot's section of the draw.
Wildcard Lleyton Hewitt, the 2002 champion but now ranked at 202 in the world, begins against French fifth seed Jo-Wilfried Tsonga, who knocked out Federer in five sets in the quarter-finals last year.
Hewitt's Australian compatriot Bernard Tomic starts against Belgium's David Goffin who went through qualifying at the French Open and reached the fourth round where he took a set off Federer before losing in four.
The draw also threw up the intriguing possibility of a second round clash between America's John Isner and Nicolas Mahut of France, two years after the pair played out the longest match in tennis history at Wimbledon.
Isner won that day, taking 11 hours and five minutes, spread over three days, to triumph 6-4, 3-6, 6-7 (7/9), 7-6 (7/3), 70-68.
In the women's draw, top seed Maria Sharapova, the 2004 champion and this year's French Open winner, begins against Australia's Russian-born Anastasia Rodionova.
Sharapova has beaten Rodionova four times in four meetings without dropping a set.
Unseeded Kim Clijsters, a four-time Grand Slam title winner who will retire after the US Open, is in the same quarter as the Russian and begins against fellow former world number one Jelena Jankovic.
China's number one Li Na, beaten in the second round by Sabine Lisicki 12 months ago, tackles Russia's Ksenia Pervak in the first round.
Defending champion Petra Kvitova of the Czech Republic, the fourth seed, starts her campaign agianst Akgul Amanmuradova of Uzbekistan.
Five-time champion Venus Williams, unseeded this year, takes on Russia's Elena Vesnina while sister Serena, a four-time winner, faces Barbora Zahlavova Strycova of the Czech Republic.
Second seeded Victoria Azarenka, the Australian Open champion, could face Kvitova in the semi-finals, but first the Belarussian takes on America's Irina Falconi.


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Diaphragm / Plunger Material:Other Metering Pumps Datasheets
from GRI Pumps (A Gorman-Rupp Company)
The gear pumps are designed primarily for metering and transfer applications. Their modular design allows a wide variation of flow ranges with a standard parts set. These pumps provide a broad class of industrial pumps in flow ranges of 10 ml. per minute to 1 gal. per minute. All of the gear pumps... [See More]
- Liquid Flow: 0.5283
- Inlet Size: 0.188
- Discharge Pressure: 30.0
- Discharge Size: 0.188
from SEEPEX Inc.
seepex pumps of product group D are used for delivering and dosing small quantities in almost all branches of industry. They are especially suited for low-pulsation delivery of low to highly-viscous media as well as media containing solids and chemically aggressive media while achieving a high... [See More]
- Liquid Flow: 0.5195
- Inlet Size: 1.000
- Discharge Pressure: 174.0
- Discharge Size: 0.500
from Wanner Engineering, Inc.
Electronic Precision Metering. Versatile, Reliable Pumps for a Wide Range of Applications. Designed to handle a wide range of fluids from clear water to thick slurries. Electronic flow control increases accuracy and reliability. Multiple diaphragm design provides linear, virtually pulse-less flow. [See More]
- Liquid Flow: 3.9667
- Inlet Size: 1.000
- Discharge Pressure: 1000.0
- Discharge Size: 0.750
from Anko Products, Inc.
Variable speed, 0.4-230 ml/min, 115 VAC, plastic case w/flanges/rubber feet [See More]
- Liquid Flow: 0.0608
- Discharge Size: 0.250
- Inlet Size: 0.250
- Power Source: AC; 115Single
from Bio-Chem Fluidics
What is a Solenoid Operated Micro-Pump? A Micro-Pump is a solenoid operated device designed to provide a precise, repeatable and discrete dispensed volume of fluid. The flow path is isolated from the operating mechanism by a flexible diaphragm. When the solenoid is energized the diaphragm is pulled... [See More]
- Liquid Flow: 0.0003 to 0.0019
- Pump Type: Diaphragm; PositiveDisplacement; Solenoid Operated Micro-Pump
- Power Source: 12 VDC (optional feature); 24VDC (optional feature)
- Number of Pumps in Assembly: 1
from Clark Solutions
Model MCP & PKP dispensing pumps have inert wetted parts and accurately dispense liquid media over an adjustable range of 1 to 500 micro liters. The pumps utilize a solenoid operated piston with a spring return. The MCP-10 type pump is basically a two-way inert valve with one port plugged. The... [See More]
- Inlet Size: 0.250
- Media Temperature: 104
- Discharge Size: 0.250
- Power Source: DC; 6 VDC (optional feature); 12 VDC (optional feature); 24VDC (optional feature)
from MOUVEX-Blackmer
Leak free pumping without the need for magnetic couplings or mechanical seals. Consistent performance, minimally affected by fluctuations in pressure and viscosity. Self-adjusting for mechanical wear. Excellent self-priming and line-stripping capability. Dry run capability. Outstanding price /... [See More]
- Liquid Flow: 5.0000
- Power Source: NoSourceIncluded
- Discharge Pressure: 217.0
- Pump Type: PositiveDisplacement; Eccentric Disc Pump
from Neptune Chemical Pump Co., Inc.
Neptune Series 500 tubular diaphragm pumps are engineered for viscous fluids up to 20,000 cP and for medium slurries up to 10% solids. [See More]
- Liquid Flow: 0.0500
- Inlet Size: 0.750
- Discharge Pressure: 300.0
- Discharge Size: 0.750
from U.S. Plastic Corporation
Cap Range16.4-82.5ml/min-1/8 in. Tubing Conn-1/2 in. Bellow Diam-Max psi 50-FKM valve/O-Ring [See More]
- Power Source: 115Single
- Pump Features: Corrosion Resistant; PlugIn; SelfPriming
- Pump Type: Bellows; PositiveDisplacement
- Impeller Material: Polypropylene
from Valcor Engineering Corporation
Description. Valcor Scientific 's solenoid and pneumatic operated dispensing pumps are positive displacement, piston driven devices that offer micro liter dispense rates at accuracies of +/- 2%. The SV500 dispensing pump series stainless steel constructions have wetted parts of 300 and 400... [See More]
- Liquid Flow: 0.0476
- Discharge Size: 0.125
- Inlet Size: 0.125
- Power Source: DC (optional feature); 24VDC (optional feature); AC (optional feature); 115Single (optional feature)
from Verderflex
Flow rates from 3 l/hour or 0.8 US GPH up to 5,488 l/hour or 24 US GPM. Discharge pressures up to 12 Bar / 230 PSI. Air gap between pump casing and gearbox for zero risk of cross contamination. Typically 40% longer hose life, increasing maintenance intervals with only the hose & lube as a... [See More]
- Liquid Flow: 0.6129
- Power Source: NoSourceIncluded
- Discharge Pressure: 175.0
- Pump Type: Peristaltic; PositiveDisplacement

subset: commoncrawl


text:
Why Seattle Has a Complete Streets Policy
The underpinnings of a Complete Streets policy in Seattle have been in place at least as far back as the 1994 Comprehensive Plan. It defines the urban village land use strategy to accommodate a majority of housing and employment growth; articulates a strong core value of environmental stewardship; and includes transportation policies aimed at creating a balanced transportation system that provides alternative choices to driving. Specific direction includes, "provide a range of viable transportation alternatives, including transit, bicycling and walking," and "make the best use of the City's limited street capacity, and seek to balance competing uses." The most recent version of Seattle's Comprehensive Plan states that "Part of Seattle's growth strategy is to encourage people to use cars less than they do today. One way to do that is through the urban village strategy's goal of concentrating most new housing, jobs and services near one another in small areas, so that more trips can be made by walking, biking or transit."
Here's a chart from the United Kingdom (UK) Department of Transportation that shows similar data:
Ensuring that all residents of Seattle can walk, bicycle and have easy access to transit as part of their daily routine could drastically improve public health. Although most people don't think of it as a determinant of health, our transportation system has far-reaching implications for a variety of health risks.
Regular physical activity provides a wide array of health benefits, including reducing the risk of some forms of cancer, heart disease, stroke, obesity, high blood pressure, diabetes, and injuries. In fact, research conducted by the Centers for Disease Control and Prevention found that "obesity is linked to the nation's number one killer—heart disease—as well as diabetes and other chronic conditions." In King County over half of the adult residents are overweight or obese (about 770,000 people), and just over half (55 percent) report that they exercise moderately about 30 minutes a day, five times a week. In school-age children, 21 percent are overweight and 9 percent are obese. Equity is also a concern; compared to whites, the prevalence of obesity among African American adults is 60 percent higher.[1]


text:
Tens of thousands of Israelis attended a mass rally this week in support of religious Zionism at the same Tel Aviv square where Prime Minister Yitzhak Rabin was slain.
The event was held to reaffirm the religious Zionist movement's goals in the wake of a backlash generated by the assassination of Rabin by a 25-year-old religious law student after a Nov. 4 peace rally.
National Religious Party leader Zevulun Hammer issued a call for national reconciliation without capitulation.
"We will not fold up our flag," he said. "With the rest of the nation we will examine what can be fixed, but we will not give up our principles."
Police estimated that 70,000 people took part in the Saturday night rally. Organizers put the figure at 120,000. The crowd stood in heavy rain, as speaker after speaker took their turn on the stage.
Israel's Chief Ashkenazi Rabbi Yisrael Meir Lau said the gathering was meant to "expel the darkness."
Jerusalem Mayor Ehud Olmert, a member of the Likud, said bullets should neither bring down the government nor silence legitimate argument. "May we have good luck in our future battles for the Land of Israel and Jerusalem, its capital," he said.
Throughout the week, members of a number of different streams within the religious Zionist movement debated whether to come to the rally.
Danny Tamari, secretary general of the religious kibbutz movement, said he attended, despite hesitations. "I do not want to run away, and I do not want to abandon my movement in the hands of the right-wing extremists among us," he said.


text:
Bangalore: One of the headlines that emerged from Pranab Mukherjee's huge win in the presidential elections yesterday was BJP-ruled Karnataka giving him 53 per cent of its votes. Newly-elected Chief Minister Jagadish Shettar has some explaining to do and today promised to investigate the cross-voting in his ranks that led to that rather public humiliation of the BJP.
"We will take action. A committee would be formed and appropriate action would be taken," Mr Shettar said. A little later he would have winced as the man who scripted his ascent to the Chief Minister's chair, BS Yeddyurappa, declared, "Pranab Mukherjee is well respected and (I am) happy he is President."
Mr Yeddyurappa, arguably the most powerful BJP man in Karnataka and quite the law unto himself, had said in an interview to NDTV before the presidential elections were held that he believed Mr Mukherjee was a good candidate for President, but that as a loyal party worker he would vote for the BJP's candidate. (Read)
He compounded the BJP's discomfiture by also saying today, "As a former leader, I requested honourable Sangma jee not to go to the Supreme Court against Pranab Mukherjee. The President of India is an honourable post. It won't look nice. In the interest of the country, he should stop this thinking. That is my humble request." Mr Yeddyurappa was referring to Purno Sangma, the candidate supported by the BJP and who lost to Mr Mukherjee, saying that he would challenge his opponent's win in court.
When votes for Karnataka were counted yesterday it was discovered, much to the unrestrained glee of Mr Mukherjee's poll managers, that he had got 117 votes from the state and the BJP's candidate Purno Sangma only 103. Three BJP votes were found invalid, so Mr Sangma should have got at least 116 clear votes.
Since this was a secret ballot, the party will now have to identify the 13 MLAs who voted for Mr Mukherjee, the Congress-led UPA's candidate, and not Mr Sangma. There are enough disgruntled elements - the party only recently gave in to pressure tactics from the Yeddyurappa camp to make Mr Shettar, a Lingayat leader, the Chief Minister. But that meant angering another powerful community, the Vokkaligas, since the man the party unseated, Sadananda Gowda, belongs to that community.
Then, there are MLAs who fancied their chances as ministers and a disgruntled that they didn't make it. And finally, there is BS Yeddyurappa. He said today that he had no idea about the cross-voting. "I am not aware of all these things. Our president has already told that he will inquire into the matter. Let us see who all have done this mistake," he said.
Mr Yeddyurappa's advice to Mr Sangma today was in reference to the latter saying yesterday that he might challenge Mr Mukherjee's victory in court, by bringing up the office of profit issue again. Team Sangma had challenged Mr Mukherjee's nomination a month ago alleging that he held an office of profit on the day he filed his nomination papers for the presidential elections, as the Chairman of the Kolkata-based Indian Statistical Institute.
Mr Mukherjee had furnished papers to show that he had resigned much before the day he filed nomination and the election officer had cleared his nomination, satisfied that he held no office of profit.


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It's very rare that I can point to an anime that floored me strictly with visuals – in fact, I could count them on one hand. I'm a character guy, and always prefer a strong story with weak animation to the opposite. But damn, Guilty Crown is just exquisite eye candy.
OP: "My Dearest" by supercell
It's not as though the second episode was bad. In fact, it was quite a bit more entertaining than the first. But this is the first show in years where I find myself almost not paying attention to the story because I'm floored by what I'm seeing. There's only so much you can talk about that – you really have to watch it, and you'll understand. But it's just the whole package – animation, backgrounds, CGI, character designs… Even the use of colors and shadows is stupendous. Production I.G. proves once again that they can churn out production values that put anyone else in TV anime to shame.
Of course there is a story and there are characters, and with a 22-episode show those elements are going to have to carry their weight before it's said and done for Guilty Crown to be something more than a gorgeous two-dimensional painting. In general terms this is a continuation of the trend we've seen in anime this year, an increased focus on dystopian society and a sense of helplessness at the hand of internationalism gaining too much power. It's played differently here than in UN-GO, as fits the fact that the two series could hardly be more stylistically different. GC is straight-ahead, big-budget blockbuster – it's a Memorial Day Weekend opening tentpole motion picture. As such, subtlety doesn't seem to be one of the goals.
My biggest concern so far is with lead character Ouma Shu. Kaji Yuuki's performance doesn't help, but as written he's a flat character. We've never really gotten inside his head, and we have no idea who he is or how he got that way. He's just a boring kid who got mixed up with strange and dangerous people and lucked into a mysterious power that saved his own life and that of
Rei Inori. My hope is that this is at least in part an intentional device, and (I really hope I'm not giving Yoshino Hiroyuki too much credit here) some credence was given to that idea by the ending of this episode. By refusing to take Gai's hand and join Undertaker, he proved himself to be ordinary (or at least want to). Maybe the story now will focus on how he becomes exceptional.
It's certainly no secret that the themes and construction of this series have been done many times before. I'm not a huge Code Geass fan so I'll leave it to others to elaborate on the obvious self-plagiarism Yoshino is engaging in here. But we've seen elements of Evangelion too, and Ghost in the Shell, and a dozen others. it doesn't really matter when you have a show that isn't trying to break new ground. The point with blockbusters isn't really to invent, but to execute in an entertaining way. And this episode was pretty entertaining, not just because the action scenes were sublime but because it was genuinely interesting. We know more than we did – Gai's group is called Undertaker, and they call the international authorities "Antibodies". The power Shu unleashed was a biological weapon was called a Void Genome, and it's sort of an interesting concept – a weapon created from the intron sequences of the human genome. Pretty much your standard mecha anime mumbo-jumbo, in other words.
So we have a pretty standard sci-fi setup here. We have the self-loathing ordinary schoolboy thrust into a massive struggle. We have the mysterious and beautiful girl (now in his class at school) connected to the source of power. The charismatic rebel leader, a spunky hacker chick who controls weapons with her butt (Taketatsu Ayana as Tsugumi) the genetic weaponry, the mechas, the evil international government agency that's killing civilians to protect its secrets. My goodness – it really does feel as if I've seen this series before, and probably produced by BONES (and that UN-GO was produced by GAINAX. Musical studios?) But the difference is the production values – they elevate the whole series from ordinary to exceptional. I have no idea if I.G. can keep this up for 22 episodes, but they're off to an amazing start.
I'll allow myself to dream big here, and hope that this series really finds its creative legs. There's a potentially interesting story to be told with Shu, though who knows if we'll see it. In terms of the geopolitics and science of the plot, that's so standard that it's hard to expect that to ever become really memorable – but it does have the potential to be exciting, especially with a solid director at the helm. If we can get to that point – exciting action and an interesting MC, with stellar production values – we'll be looking at one of the standout series of 2011, original or no.


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text:
|Trad, 1 pitch, 120'
|YDS: 5.11a French: 6c Ewbanks: 22 UIAA: VII+ ZA: 22 British: E3 5c [details]
|Manny Rangel and Jake Dayley and Kole Decou
|New Route:
|cold weather
|Page Views:
|Submitted By:
|manuel rangel on Dec 10, 2006
|Comments on MAJAKOL Line
|Add Comment
|Show which comments —
By Kole DeCou
From: Flagstaff, AZ
Feb 6, 2007
|See topo in Jap Head Section.
By Mike
From: Phoenix
Nov 14, 2007
rating: 5.11a 6c 22 VII+ 22 E3 5c
An absolutely stellar climb. Probably the best pitch I've done in Sedona to date.
A couple of good footholds have come off of the roof. It may eventually become a second crux.
By Kole DeCou
From: Flagstaff, AZ
Nov 15, 2007
|Out of curiosity how did you get down? We always had a 70m on us so we never tested if you can rap to the booltleful anchors and then off with a 60.
By Mike
From: Phoenix
Nov 15, 2007
rating: 5.11a 6c 22 VII+ 22 E3 5c
|I got down the same way you did, with a 70m rope.
By markguycan
From: flagstaff, AZ
Nov 16, 2007
rating: 5.11a 6c 22 VII+ 22 E3 5c PG13
|just did it w/ 5 #2 camalots and ended up with one still on the rack at the summit, so I'd recommend only taking 4 #2's, 1 #3, & 1 #4 (you could place a #5 if you wanted to). I concur w/ the beta on the little gear + small nuts, and yeah hexes would be useful. Super cool climbing on crappy rock; I'd recommend it to anyone who has a taste for choss! Nothing technically that difficult but the sustained climbing warrants 11a. Exciting from start to finish!
By Neil Kauffman
Nov 22, 2015
Let me clear up the rack beta as it is pretty confusing from the description; let's keep it to Camalot numbers and not throw in some colors to wack it up. There's not even a single rack of cams recommend, come on! Really, suggesting only 4 #2 is pretty bold.
Bring a double set of Camalots from .1to #1, 6 #2, 1 #3. I placed the #4 but only so i could save my #2, not worth its weight, neither were the nuts. You could place a #5, but a #2 can work instead, albeit a little lower. Keep a .75 for the final limestone dihedral.
Approach on Ciebola trail and cut off right, north when the trail goes through the fence. Follow the fenceline on the right up the ridge and around the right side of jap head. Scramble ledges around to the base of the route.
Have fun! Killer line!


text:
A Look At VMA Fashion: Trends To Adopt This FallTaylor Swift ditched her signature sundress and Nicki Minaj shocked in a jumpsuit. Who wore it best?
One Direction Sweep The VMA's, Rihanna Wins Video of the YearThe boy band wins over Justin Bieber and RiRi continues to assert her staying power at this year's VMA's.
Backstage At The VMA'sFind out what some of the stars revealed backstage before the show.
Kevin Hart Reveals VMA Predictions And Red Carpet Make-Out PlansWith MTV's Video Music Awards airing tonight against the Democratic National Convention, host Kevin Hart has his work cut out for him. The funnyman host of the VMAs recently revealed his plans for an action-packed evening.
The Full List Of VMA Winners + VideosOne Direction walked away with three Moonmen, Chris Brown and M.I.A. each earned two, and Rihanna landed the biggest fish: Video of the Year.


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Lund Genesis Roll Up Tonneau Cover 96072
- Our Price: $355.10
- Shipping:FREE SHIPPING
- Part Number: 96072
- Rating: (40)
$355.10Free Shipping
Select your vehicle details above to ensure item compatibility.
- The Lund Genesis Roll-Up Tonneau Cover keeps your cargo shielded from the elements
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- Hassle-free tension control keeps the rip-stop black tarp tight in all weather conditions
- Install in under 30 minutes
- Pre-assembled for your convenience
- Comes custom fit to your make, model, and year vehicle
- Genesis Roll-Up Tonneau Covers are backed by a Limited Lifetime Warranty
The Lund Genesis Roll Up Tonneau Cover keeps your tools protected without sacrificing bed access. Designed to keep your cargo protected in transit, this soft tonneau cover utilizes a heavy-duty Velcro hook and loop fasteners, so you can get to your tools easily and cover your bed quickly.
Bad weather is no match for the Genesis Roll Up Tonneau Cover. This soft tonneau cover is built of weather and tear-resistant fabric, and features a set of adjustable straps to ensure a tight fit and protection against water damage.
The Genesis Roll Up Tonneau Cover installs easily onto any vehicle in under a half hour. It features a pre-assembled, no-drill design and applies to your bed with heavy-duty adjustable clamps. Genesis Roll Up Tonneau Covers come fit to your make, model, and year truck to provide you with a custom style that looks great. The Genesis Roll Up Tonneau Cover is backed by a Limited Lifetime Warranty.
Lund 96072 fits:
- 2004-2018 Ford F-150
- 2006-2012 Lincoln Mark LT
Lund Genesis Roll Up Tonneau Cover Customer Reviews
Overall Rating:5.0 of 5
Average Install Time: 30-60 minutes
Showing 2 of 40 reviews. See All Reviews.
I love the way it looks on my F-150. It did take a little longer to install and it helps to have another person to help. It is something I have wanted for a long time and I am not disappointing. Thank you.
Install Time: 30-60 minutes
Nice product that is quality built. I've owned 3 of these and I can tell you it will not disappoint.
Install Time: 30-60 minutes
Showing 2 of 40 reviews. See All Reviews.


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*See frames for the use of multiple Web pages on a single display screen.
1) In telecommunications, a frame is data that is transmitted between network points as a unit complete with addressing and necessary protocol control information. A frame is usually transmitted serial bit by bit and contains a header field and a trailer field that "frame" the data. (Some control frames contain no data.)
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Here is a simple representation of a frame, based on the frame used in the frame relay access standard:
|Address field
|Information (data) field
(0-4096 bytes)
|Frame check sequence
In the figure above, the flag and address fields constitute the header. The frame check sequence and second flag fields constitute the trailer. The information or data in the frame may contain another encapsulated frame that is used in a higher-level or different protocol. In fact, a frame relay frame typically carries data that has been framed by an earlier protocol program.
2) In time-division multiplexing (TDM), a frame is a complete cycle of events within the time division period.
3) In film and video recording and playback, a frame is a single image in a sequence of images that are recorded and played back.
4) In computer video display technology, a frame is the image that is sent to the display image rendering devices. It is continuously updated or refreshed from a frame buffer, a highly accessible part of video RAM.
5) In artificial intelligence (AI) applications, a frame is a set of data with information about a particular object, process, or image. An example is the iris-print visual recognition system used to identify users of certain bank automated teller machines. This system compares the frame of data for a potential user with the frames in its database of authorized users.
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text:
It's All About Reality
"It's all about reality"
When you hear the name Jon Favreau, you'll probably remember that he's the guy who wrote and starred in Swingers (directed by Doug Liman), the movie that, back in 1996 (was it that long ago already?), made "You're so money" a commonplace and his friend and co-star Vince Vaughan something of a movie star. If the above sounds familiar, you probably also know that Favreau and Vaughan met back in 1992, when they were both knocking around Hollywood, and were both cast in David Anspaugh's Rudy (1993), then appeared as a hanger-on in Alan Rudolph's Mrs. Parker and the Vicious Circle (where he developed an abiding respect for co-star Jennifer Jason Leigh) and a college student in PCU (both 1994), an astronaut in Mimi Leder's Deep Impact and hapless accessory to murder in Peter Berg's Very Bad Things (both 1998), and Rocky Marciano in a respectable TV biopic (1999). Then, in 2000, Favreau stretched out still more: he starred opposite Famke Janssen in Valerie Breiman's indie romantic comedy, Love & Sex, and a psycho football player in the silly Keanu Reeves vehicle, The Replacements.
If you're a hardcore Favreau fan, you also know his background, for instance, he was born in 1966, in Queens, New York. Before heading to La-la-land, he worked for a Wall Street investment banking firm, spent some time in Chicago doing improv comedy and theater, and was a cartoonist for, um, money. While writing scripts to pay rent, family man Favreau is also working the development deal he earned from Swingers' success, out of which he's determined to make unusual, intelligent movies. Made is one of those. He wrote the film, his directorial debut, for himself (as Bobby) and Vaughan (as Ricky), to revisit their Swingers energy.
The Made soundtrack is so varied, from Hawaiian music and Monster Magnet to De La Soul and Black Eyed Peas: how did you make your choices?
Jon Favreau:
On this film and with Swingers, I give a lot of thought to the music as I'm writing it. In Made, the music has to do with the nightlife, what New York is really about. I wanted to keep it like a party. And it is an eclectic mix, which gave a lot of problems commercially. The complexity of the piece works against you, for the soundtrack.
I imagine someone wanted a categorizable cd.
[Laughs] Well, we did not deliver that. We didn't with Swingers either, which had Dean Martin and country-western, funk, and swing. This new film has that, too: you have hard rock and rap and Dean Martin, again.
I'm guessing from your history that you prefer to work with people you know.
That's right. Most of the people I cast for this film are people I feel comfortable with. I knew Famke [Janssen] from Love & Sex, Faison [Love] from The Replacements, a couple of people from The Sopranos [on which Favreau guest-starred as himself], and Jennifer Esposito and Sam Rockwell. The only people who I got through the more traditional means were Puffy, Peter Falk, and Mak [Makenzie Vega], the little girl.
Speaking of whom, she gave a very un-movie-kid-like performance.
That was because we did a lot of improv, where we'd just roll the camera. She wasn't very comfortable with that at first, but her mom was a very good coach. And a lot of the moments that show Mak in the best light, as a human child, are when she's just talking about her pets or other things. Me and Vince would improvise, or I'd just have a conversation with her with the camera rolling and we'd capture the moment, without those pre-rehearsed movements that a lot of kid actors use. She's a great actor, but I like having a little more reality.
What is appealing to you about improvisation as an approach to making films?
We have a script, but sometimes people make choices or say things on their own, and I encourage that. I shoot a lot of film. Tonally, sometimes things can be too much if you improvise; there's a lot more cursing than I would have liked. But I encourage improvisation and everybody felt very comfortable with that.
Had you had that experience with other directors you worked with?
Not really. But we sort of knew from Swingers what it would be like with me and Vince. And everybody's saying the lines, it's not like a Mike Leigh movie, we're not improvising the plot. But it's more like Spike Lee—more Lee than Leigh—bringing a certain authenticity to it, by paraphrasing. I'm a pretty good writer, I make a living at that. But I still don't think my writing is better than something someone would really say. If the little girl talks the way she talks, it's going to be a lot better than her learning how to talk the way you think she should. It's all about reality. It's about tricking the audience into buying into thinking what they're watching is not a movie.
I know that you didn't want to do a sequel to Swingers. What did you want to do with this film?
We definitely wanted to do a follow-up that would satisfy people who liked Swingers, but not make them feel like they're paying to see the same movie with us a little bit older and fatter and more pathetic, still trying to pick up women in Hollywood [laughs]. But I wanted to build on the chemistry between Vince and me, so I found aspects of both of our real personas, to exaggerate for comedy. I put us in a much more higher-stakes, more story-driven situation, and turned the screws on the characters. I also wanted to build into the movie a set of circumstances that drew upon our real life experiences since Swingers. You know, now we get to ride in limos and stay in nice hotel rooms. I wanted to capture that in this film, and the mob genre really lent itself to that.
Mob films let you focus on the guy-guy relationship.
And we turn into this "gay" couple at the end [laughs]. Ricky and Bobby begin under this veneer of mild racism and homophobia, but that comes out of their circumstances, but as they get further away from that world, they leave that behind: they're still cursing, but they look like a young couple trying to make the best of it. We came up with that last scene as we looked at the movie cut together, and Vince and I actually kicked in part of our paychecks to finance it, because I think the movie would have been understood without it. Just like in Swingers: while we were shooting the movie, I wrote that last scene where—remember?—Vince tries to pick up another girl and gets smoked, and he says that she's coming on to him, and my character just doesn't want to hear it anymore. That scene's important, because if you don't have it, the film can look like a recipe book for getting laid. But it's a movie about something else, that the real way to get what you want is to become comfortable with who you are, and accept it warts and all. It's a Shrek type of thing! [laughs] That's when Mike [Favreau's character in Swingers] gets what he wants. And [Made] is not about learning how to wear the right suit and carry a gun and handle yourself when the shit goes down. That's not what makes things good at home. Because you're going to get home and find a woman you don't really know, doing things you don't want to see her doing, because you were never really honest with yourself. Made is about opening your heart to people who deserve your love, and not trying to turn other people into something that they're not, not trying to save people who don't want to be saved. If you go down that dark path, you're not going to end up doing any good.
As Jessica, the woman who "doesn't want to be saved," Famke gives a brave performance.
She is brave, and that's why I wanted her for the film. I like to write roles for people I know, roles they'd like to play, roles they haven't had the chance to play. That's how I pick roles. Jessica is an adorable, seedy, lower-class character.
How were you thinking about setting Ricky and Bobby's "journey" in New York?
It is this archetypal, Joseph Campbell-type journey, and you want to take your characters from the ordinary world in which they dwell, and they have to correct some type of problem by going into this extraordinary other world. Whether that's Oz in The Wizard of Oz, or the nightlife in Swingers, that's your second act. In Made, New York is this wondrous place where they're uncomfortable. It's a key aspect of traditional storytelling. It cost us a lot of money to actually shoot in New York; they wanted us to shoot in Toronto, with a couple of exteriors in New York. But we needed to be there. I wanted you to feel like they were in a whole different world.
The boxing is an effective way to set up Bobby and Ricky's particular kind of intimacy.
I think the boxing is a great way to "show, don't' tell." It's the first rule of writing. To have two people beating the piss out of each other and then cutting to one driving the other one home, really says a lot about their relationship. After that opening, you always know that there's the possibility of violence between them. And it's fun also to saddle us with the burden of wearing these scars throughout the movie, as we're trying to gain credibility. Everybody assumes we're these rough characters, but really, every bruise on our faces comes from the other person, which is sort of embarrassing.
You said that you cast Puffy . . . or Sean, or what did you call him?
I used to call him Sean on the set. But I guess you can also call him Puffy. Or now, you just call him P [laughs]. But he's really great about all this shit. There's nobody I know who can get headlines like that guy! He totally works it and he's able to have fun with it. He wants to make people laugh.
Given that you knew so many of the people you cast, what made you go with Puffy, someone you didn't know?
He approached me after reading the script. I was surprised, but I thought, this could really work, because even if he just comes off like himself, there's an intrinsic humor built into our making all these faux pas in front of this guy, about whom the perception is that he's this really dangerous character. Especially at the time, with the gun charges being brought up against him, so to the vast American movie-going audience, it's like having John Gotti in the movie. He was willing to have fun with it, which I thought was really cool. And I thought it was cool that he wanted to do an independent film, in a small, supporting role. He worked his ass off. I was really happy with him.
And you chose Chris Doyle as your cinematographer: what was your thinking behind that?
Although this is my first time directing, it's really my second filmmaking experience. And between Chris and I, it was a real division of labor. He ran the camera and set up the scenes, and I worked with the actors. I knew that I wanted a really strong right-hand, and I'd seen all the Wong Kar-wai stuff he'd done, where he had to shoot on a budget, on practical locations, with available light, and I knew we'd be doing that a lot. I knew that a guy who could bring beauty to the piece, through his framing and energy, was going to go a lot further for us than a DP who would bring mood through setting lights and preparation. And he's a fantastic character as well as a talented cameraman. So, we would be a really good marriage—he'd add that grit and realism that people had come to expect from the way Swingers was shot.
So when you're writing—I know that you were once a cartoonist—do you think in terms of visual set-ups?
A little bit. I'm usually writing more about mood, for the actors, and for people who are reading it as a story unfolding, not so much so they'll see my vision as a director. I find that, no matter who you're dealing with—a music composer, an actor, or a cameraman—you're better off expressing the mood of what you're trying to say, and they usually have a lot more facility within their discipline. Instead of giving a line reading to an actor, I'll usually tell them where the character is coming from, what they're dealing with. Telling them what line to hit tends to limit people and people feel more empowered when you give them that freedom. Then, if you don't like the choices they're making, you can adjust them, but together. Chris Doyle's stuff was a lot more sophisticated than the stuff I would come up with.
He seems like he's pretty fast on his feet.
Literally! He's a powerful, slim, sinewy guy. He's like an ant. He carries this Ariflex camera on his shoulder, and what must be a 1000 foot mag [film magazine]. Since Vince and I are both much taller than he is, [Chris] built these shoes that look like Spice Girls platforms. He had two different sizes—Vince-size and like a foot shorter, Jon-size. So he'd run around in these huge Frankenstein boots with this big camera on his shoulders, and he never fell once!
Were there specific ideas that helped you directing, that came from directors you've worked with?
Yes. David Anspaugh, who was my first director, on Rudy, was all about empowering the actor, making you feel comfortable and appreciated, allowing you to keep your dignity, and treating you like a man. Being treated like a grown-up makes you proud to be involved in a film. Directing isn't getting somebody to do something. You're not cultivating a performance out of someone, peeling the onion. That's all bullshit. The best you can do is do a lot of preparation, empower people and allow them to be the best they can be: you stay out of their way and allay their fears. It's like a conductor of a symphony: waving that baton isn't getting people to play any better, it's just helping to coordinate everything. It's all in the preparation, the discussion, the planning, the synchronization. And then you sort of stand in front of the instruments, wave your arms, and look like you're running the show.
You sound like you're sure of yourself on this directing thing.
I don't feel like I'm necessarily great at what I do. I feel like I have a certain understanding of the way it works, and have a long way to go. I'm not in the league of great directors, by any stretch of the imagination. There's a certain understanding of filmmaking that people like Scorcese, Woody Allen, even Tarantino have, or Chris Nolan, who did Memento. They're all more sophisticated directors than I am, but I'm coming to it from where I come from, which is the people, the words and the acting. And I try to get the best people I can to help edit and shoot, so I can communicate the story I want to tell, and little by little I pick up what they do, and become a richer director. In Hollywood, it's amazing how many people are running around doing things just because nobody's telling them they can't. It's not like we're designing computer components or medical equipment, where there's a necessary level of understanding. It's all about ideas. And the person who is the most self-assured is probably going to go the furthest, and it's not necessarily because they have the best ideas [laughs].
So you're angling to keep one foot just outside of Hollywood?
Yes. I step in, but I get disappointed fast. There's nothing I would love to do more than a big-budget, big-studio movie that everybody will see and that has an impact on that level. But that's also self-limiting, because when you have to make it so broadly appealing, you deal with "committee creativity." And you get into this whole Ayn Rand watershed, where you're not able to aspire in any one direction with too much intensity, because it starts to scare people. So you're forced to make very safe material. I mean, I was in a couple of big studio movies, in supporting parts. But it's not time-efficient. Though, when I was working on The Replacements, I wrote Made! It came out of the frustration of being stuck in a hotel room in Baltimore for three months with nothing to do [laughs]. So, good things come out of every situation.
Your writing doesn't seem to condescend to viewers.
I think you owe them a certain amount of smarts. The ultimate storyteller is Shakespeare, who was able to get the "groundlings" to laugh at his bawdy humor and storylines, but could still be studied by scholars to this day, for the complexity of his language, meter, and symbolism. That's the real guy. I don't want to be an art-house movie guy, where people who go to film school can discuss your work, but people who haven't studied cinema can't appreciate it. By the same token, I don't want to be the guy who's making this commercial pap that people lap up, but that disappears the minute you leave the theater. I want to walk that fine line, and I want to do something good, I want to do good with it. I want people to learn something that will help them in their lives, and maybe give them a little bit of hope, ultimately. I think Swingers really accomplished that. Hopefully, Made will touch people and make them think in a responsible way, as opposed to so many films, where the irresponsible is rewarded. Maybe I'm coming off too large, but it is something I aspire to.
Does it complicate that goal, being a writer, director, and actor?
When you're acting in something that you're directing, you're burdening both of your roles. But being an actor who becomes a director definitely benefits you.
I'm thinking also of someone like Spike Lee, or even Woody Allen, whom studios expect to show up in their movies as a way to sell them.
I think Spike puts himself in it enough, but not too much. But he's also a film school guy, from NYU, and he knows to stay in the background as an actor, because he has a lot to say with the camera. I'm more of a ham. Though, I'd still like to direct a movie where I'm not in it and see if I could learn more. But they don't want me in the top slot. If I had Matt Damon playing Bobby, I would have had a lot more money to make the film [laughs]. If anything, they're scared that I'm going to want to star in everything!
You've chosen to play a wide variety of roles.
It's great, I love that. But it also slows you down as an actor, because they don't know how to label you. When I went into The Replacements, they were like, "You can do comedy?" And that's sort of what I started out doing. So you're constantly educating people as to who you are. Look at Jennifer Jason Leigh, such a fantastic actor, and yet, because she has systematically pushed her career in every different direction, everybody agrees that she's wonderful but no one can envision her as a "thing." Whereas, Tom Hanks has branded himself. He can operate outside of that, but people know what they're getting. People want the tried and true. I'm guilty of that too, when I cast. For me and Vince, I tried to change it up as much as a I could, but I didn't want to disappoint the people who are fans of Swingers.
Who are those people?
Actually, from the internet, I have a pretty good idea [laughs]. They're maybe a little younger than me, in their twenties, or from late teens to us aging gen-xers. They're computer-literate, have built web pages for me and for Vince, are smart, and like to laugh, but are also very emotional. People who like Swingers are keying into the heart of the movie as much as the humor. They're people who have a positive outlook on life and aren't nihilistic nay-sayers. They have goals in their lives and like watching characters who are going after what they want. We have a webpage for Made, www.gettingitmade.com, that we put up while we were shooting the movie. We put that up because we weren't letting press on the set. We couldn't; it was too distracting, given the amount of time we had to shoot. So, we put up photos and reports and when people heard rumors, they'd post it on the bulletin board and I could answer it. And all that turned into filling people in on where the movie would preview, and linking to online reviews, which people are usually scared of. I welcome them. A lot of Hollywood people only know the internet as a place that puts up their face on someone else's body, or sells their autographs on E-bay [laughs]. I have that going on too. But I think online is a way for people with common interests to get in contact with each other. The fact that there's a PCU fan-page out there—for this movie that was dumped by the studio—indicates that there's a cult following out there. And that's great. For Made, we previewed at the Alamo Draft House in Austin, so Harry Knowles [www.aintitcoolnews.com] could see the film. With a film this small, we need the internet, the grassroots support. It's like Mr. Smith Goes to Washington: if every boy scout sends in a nickle, we can get this movie out there!
Rising Appalachia 'Alive' (album stream) (premiere) // Music
Lost Bayou Ramblers "Allons a Lafayette" (video) (premiere) // Music
Jean Caffeine "Winter of Hate" (video) (premiere) // Music
TIFF 2017: 'The Shape of Water'
// Notes from the Road
"The Shape of Water comes off as uninformed political correctness, which is more detrimental to its cause than it is progressive.READ the article


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Tips for an Adventure in Africa
After reading about Marius's wild life, you're probably hoping to visit Africa one day. So what better way to start preparing for a trip to Africa than with the advice of Paul and Itziar, who in 2010 traveled the African continent from South Africa to Morocco. Ready for an adventure?
Guest post by Pablo Strubell and Itziar M. Marcotegui
Africa commands respect. Many people imagine an underdeveloped continent with conflicts, poverty, and savage nature, and this is true for some of its 55 countries. However, above all, it is a beautiful and interesting continent. Africa is home to amazing natural wonders and many of its ethnic and tribal rituals are some of the most interesting and impressive in the planet. Add to that thousands of miles of beaches, traditions, and cultures, and it is no wonder African is a continent that captures the imagination of adventurers the world over. With all its diversity and differences among countries and regions, it's important to be educated before you embark on your journey.
1. Avoid doing too much. When planning your schedule, assume that problems or delays will arise. It always takes a lot more time than you might think to make connections, negotiate new cities, and get your bearings. Scheduling downtime is a necessity…and in case you have too much free time, you can always do something new! Better safe than sorry.
2. Get some good travel insurance. Hygiene and safety conditions are not as good as we are used to, but you don't need to worry too much. Capital cities have very good hospitals in case anything happens, but medical attention there can be very expensive. A good travel insurance policy is the best way to avoid going bankrupt if any serious contingency requires hospitalization.
3. Be patient. Very patient. If something can go wrong, it probably will. And if there can be delays, there will be. So even if you have planned very well, the unexpected is always just around the corner. The best and only formula to steer clear of stress until is to adopt the African mentality of resignation and patience while you wait for matters to be resolved. It's a bit difficult at the beginning and you'll lose your patience quite often, but it is a requirement to fully enjoy this amazing but sometimes unpredictable continent.
4. From dusk to dawn, there is little to do. For safety reasons, is not convenient to move much in the cities after dark; not only because of crime but also because of the number of holes and obstacles that you might encounter (street lighting ranges from bad to nonexistent). It is also unwise to wander the beaches and, of course, driving at night is imprudent. Bad lighting, poor road conditions, and the number of people and vehicles without headlights make nighttime travel a reckless activity.
5. Wherever there is electricity, power outages should be expected and it is not uncommon for electricity to be down for several hours. If you bring electronic devices, make sure you take advantage of the electricity and charge your items whenever you can. Having extra batteries for your camera or smartphone is also a great idea. And, of course, carrying a flashlight or front light is almost mandatory as you will need it for rural and urban areas alike.
A beachfront villa in Cape Verde, a wildlife estate in South Africa, or even a home on a plantation in Kenya…find your perfect base camp in Africa and put these tips into practice!
About the authors
Pablo and Itziar are one of the most adventurous couples in Spain. They have lived in Malaysia, Turkey, Italy, and the United States; they have traveled to Africa more than once, and Pablo even became Marco Polo when he explored the Silk Road. They are looking forward to their first home exchange in Latin America or Asia. In 2012 they published their latest book: Cómo Preparar Un Gran Viaje.


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An Inter-governmental Organization (IGO) is defined as "an organization composed primarily of sovereign states, or of other intergovernmental organizations. IGOs are established by treaty or other agreement that acts as a charter creating the group." (Union of International Organizations website.)
A 'conceptual' definition of an IGO is:
Duke University Libraries hold significant collections of international organizations materials, especially from the United Nations and the European Union. Duke also has a collection of League of Nations documents.
The IGO Custom Search Engine searches across hundreds of IGO websites, enabling users to research topics such as human rights, development, environment, education, HIV/AIDS and health from IGOs like the United Nations, World Bank, UN Development Program (UNDP), Organization for Economic Cooperation and Development (OECD), European Union, Organization of American States, the Asian Development Bank and many others.
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The Arab League or League of the Arab States is a regional intergovernmental organization of Arab States in the Middle East and North Africa formed in Cairo on March 22, 1945. Seven states formed the League, defining its main goals as to: "draw closer the relations between member States and co-ordinate collaboration between them, to safeguard their independence and sovereignty, and to consider in a general way the affairs and interests of the Arab countries."
To find materials in Duke's Libraries about the Arab League, click here.
Recognizing the problem of potential global climate change, the World Meteorological Organization (WMO) and the United Nations Environment Programme (UNEP) established the Intergovernmental Panel on Climate Change (IPCC) in 1988. It is open to all members of the UN and WMO.
IPCC - How does it work?
IPCC - Meeting Documentation
IPCC Reports
IPCC Working Groups/Task Force


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The past three chapters have looked at the basic components which go into the linguistic competence portion of communicative competence––vocabulary, grammar, and pronunciation. This chapter will look at the basic component which makes up the social appropriateness component of communicative competence––culture.
Culture has been defined in a variety of ways in a variety of disciplines. Persons working in the humanities and fine arts use the term to apply to enlightenment or excellence in taste which has been acquired by exposure to and/or training in the arts. The term is generally applied as an adjective form, and we may thus speak of a person being "cultured" if he or she appreciates opera, ballet, and "good" art, literature, and music. Ned Seelye (1984), one of the better known leaders in the teaching of culture, calls this kind of culture "big C" (p. 19).
Anthropologists and sociologists have defined culture somewhat more broadly and differently. In a general sense, they use the word to apply to behavior and beliefs which seem typical of a group or class. This definition may include typical food, clothing, values, activities, manners, practices, etc. of a group. Seelye (1984) refers to this type of culture as "little c" (p. 19).
Another definition of culture is sometimes held by lay persons, persons not particularly ZZ specifically dedicated to the study of the arts or of groups of people. These people think culture refers to the things that people from other places do which seem unusual and curious. Thus, if these people say they would like to get acquainted with another country's culture, they may just mean that they want to see the tulips and windmills in Holland or someone sleeping under a cactus with a sombrero covering his face in Mexico. This definition is based on stereotypes, most of which are quite exaggerated and not very true. It has sometimes been referred to as "K culture" with the "K" standing for the "kooky" or "kwaint."*
If one were to ask which of these three types of culture should be taught in ESL classes, most people would answer, "Little c," very rapidly. However, if you think about what communicative competence is and how social appropriateness contributes to communicative competence, it becomes more apparent that teachers really must deal with all three types of culture in some way. If one is to act in a socially appropriate way among the "cultured" stratum of any society or understand that point of view sufficiently to read about the people in it with understanding, some knowledge of "Big C" culture is imperative. Furthermore, one cannot maintain "K culture" ideas for long and achieve desirable results in receptive skills (listening and reading) nor in productive skills (speaking and writing). It is obvious that the teacher of ESL must, in some way, deal with all three of these ideas about culture.
Many teachers of ESL must deal with these aspects of culture, but particularly "little c" culture for other very important reasons as well. These teachers are those who teach cross–culturally, that is, teachers who have students from a cultural group different from their own. These teachers need to know and understand what the reactions of their students from various cultural groups are likely to be, or they will not be effective teachers. This may be true whether one is in an ESL or and environment.
Two cases in point illustrate. In the late 1980's and early 1990's, one U. S. school district found itself with a large number of Russian and eastern European immigrant children in the ESL classes. Because administrators did not acknowledge the cultural differences in expectations which this group had about education and what was appropriate in classrooms, these children were placed in on–going ESL classes which, at the time, were composed principally of Hispanics and South–east Asians. The teachers in the ESL classes continued to teach in their accustomed manner, using lots of games and activities to involve the children and to get them to interact. Within a very short period of time, the Russian and eastern European parents were coming to the classroom complaining to the teachers about their incompetence and the "total disarray" of the classes. The teachers tried to explain what they were doing and why, but the parents did not understand and were not convinced of the need for more activity. They wanted their children in their seats listening, reading, and writing, and they considered any teacher who could not deliver this kind of class incompetent. Not finding satisfaction at this level, the parents moved on to the principal of the school. Here, once again, the principal tried to explain the philosophy of the school and of the ESL teachers. Once again, the parents were not satisfied. Before the school district was able to find a solution to this problem, it had grown into a very large one. Although there undoubtedly would have been some minor problems regardless, teachers more aware from the very beginning of cultural differences in expectations could have taken steps to defuse the problem and ease both children and parents into the new system more easily.
The second case occurred in an environment, in Israel, where a new teacher from the U.S. was teaching English in a Palestinian school. She was working with a fairly advanced group of students, trying to help them understand and use the present perfect tense. In her first exercise she wanted to use activities and experiences which she was sure her students had, so she began with the question, "Have you ever lived in Israel?" The usually bright students nodded, "No," or seemed to shake their heads in lack of comprehension. The teacher repeated the question, this time a little more slowly, but the response was the same. When the teacher repeated the question the third time, perplexed that such an obvious question could be so little understood, one of her students took pity and helped out. "Palestine, teacher, Palestine," the student said. The teacher, although somewhat familiar with the political situation at the time, was not familiar enough with the culture to know that the Palestinians would not give Israel recognition as a nation, even by name. What would have been a very effective example if that one cultural point had been considered became a very confusing and upsetting one. The students knew the grammar principle very well; they would simply not acknowledge the political circumstances it assumed.
Work done by Lily Wong–Fillmore in the area of cultural expectations from children are also enlightening for persons who teach cross–culturally. Her work examined the activities and success of children from various ethnic groups in ESL programs in the U. S., and tried to find the reasons behind any differences. She found that Chinese children were very task and work oriented. If told to write something on a page, they would stay at the task, sometimes even having to be pushed to go outside for the recreational break or recess. They would fill the paper from edge to edge and from top to bottom with the writing even if they had to write the same thing over and over.
Hispanic children, on the other hand, were generally lackadaisical in completing their written assignments, stopping often in the middle to chat with their neighbors or to do other social things. They were, however, absolutely outstanding whenever it came to communicating with others in a group or working together.
American Indian children were very quiet in the classrooms, generally choosing to sit at the back, seldom speaking and/or participating until an activity had been on–going for quite a while. Sometimes they would not speak with anyone, including the teacher even if they were addressed directly by name and with a specific question.
When Dr. Wong–Fillmore researched further into the homes and cultures of the children, she found information which helped explain what the children were doing at school. She found, for example, that at home Chinese children are given very small tasks without much responsibility and are expected to do them perfectly. Youth is not considered of particular worth; age is considered to be what gives one wisdom.
The responsibilities of Hispanic children at home are very different. They are given very responsible tasks, such as completely caring for younger brothers and sisters at a very early age (sometimes as young as six or eight). The children are not expected to do the jobs perfectly, but are expected to do them well. Also, they are not expected to do them alone; other brothers and sisters as well as cousins, friends, and neighbors all help. The tasks are the responsibility of the entire group.
The American Indian children were seldom if ever taught directly in their homes and they were not assigned any particular tasks by adults. Rather, the adults would perform the tasks in front of the children. When the children had observed the performance of the tasks and practiced them very quietly and privately enough to feel confident, they would join in the task without necessarily being assigned or asked. Dr. Wong–Fillmore's findings help explain why learners from different cultures may perform so differently. ESL teachers should be very sensitive to this fact and should look for ways to help students learn as much as possible in their own mode as they become accustomed to new ways and expectations of learning.
There are millions of little pieces of information about any culture which could be taught. The question ESL teachers must ask themselves is "What of all the things I could teach, should I teach?" Seelye (1983) suggested seven general goals which teachers should have. While all of these goals are good ones, learning in three areas would seem to impact the communicative competence of learners most: 1) conventional behavior in common situations; 2) the ways language and social variables interact; and 3) the cultural connotations of words.A brief discussion of what is meant and what could be taught under each of these areas follows.
What is taught as conventional behavior in common situations should depend on the kind of common situations students may encounter either in person or in their reading. If the ESL students are going to be participating in school in an English–speaking environment, there are many things which can be taught about conventional behavior. For example, in the U. S., if a student is late for class, it is not common for him or her to knock on the classroom door or to apologize to the teacher upon entering the class. In fact, this is considered very disruptive by most U. S. teachers and would have the opposite effect from what most students would desire even though knocking and apologizing is precisely what is common behavior in the culture from which many students come. Other behavior in the classroom which might be different in the U. S. would be how the teacher is addressed; when a lecture may be interrupted with a comment or a question; how and when one raises one's hand or otherwise gets the opportunity to speak; how and when to consult with a teacher outside of class; when, how, and why one may appropriately leave one's seat or the classroom; what expectations are with regard to homework assignments; when and how students may cooperate without it being regarded as cheating; what constitutes plagiarism and what are the consequences of it, etc.
If students are going to be involved in the workplace, conventional behavior for that workplace can be taught. Topics which might be taught include how to address one's boss, what is considered late and what one should do if he or she must be late, what are acceptable and (l unacceptable reasons for missing work, how to find out how one is doing on the job, how to advance in pay and in position, what might be expected in terms of socializing (or not socializing) with one's fellow employees, etc.
Other general kinds of common situations should probably be taught if there is any possibility that students will ever be required to function in an English–speaking environment, things such as how to order or get food in various kinds of eating establishments and/or stores; how to find public restroom facilities; how to get directions to needed locations and services; how to get assistance with various problems which visitors or strangers might have, etc.
If students are not expecting to come to an English–speaking country, their needs in understanding conventional behavior in common situations might be different. If they are reading literature, they will need to understand the conventional behavior which would be expected in the situations described in the literature, what clues the actions of characters give to their overall character and the judgement their society is likely to make of them.
The way language and social variables interact is a very important aspect to teach in the ESL classroom. It, in many ways, helps students integrate linguistic and social knowledge. The idea here is that language varies according to social variables, such as sex, age, location, social class, and circumstances. In many ways this is just teaching students about register, but it demands some specific looks at register differences. For example, students can examine what ways language use is different for males and females. They can be taught that there are certain words which are used more by women than by men (such as the word lovely) and vice versa (such as the word buck as a term for a dollar). They can also be taught that certain terms are used more often when referring to men than women (such as handsome) or more often when referring to women than men (such as lovely). There are other differences besides vocabulary as well. For example, women in the U. S. are likely to have a wider swing in pitch from their lowest to their highest levels than men in the U. S. If ESL students use the wider swing, they will sound more "feminine." If they use the narrower swing, they will sound more "masculine."
Likewise students can be taught that different terms are used by people of different generations. Thus, a person with the characteristics to be called the cat's meow by one generation, might be called cool or hip by the next generation, and awesome or totally rad by the generation after that.
Locational differences also have linguistic reflections. Regional dialectical dictionaries can point out many of these differences, such as the use of frappe to refer in Boston to what is referred to in other parts of the U. S. as a milkshake, or the use of bubbler in Wisconsin to refer to what is referred to as a drinking fountain in other parts of the same country. British and American English differences can be particularly important for learners to be aware of as there are many drastic differences in terms used in the two locations.
Educational differences are also evident. He don't and I seen are considered marks of lack of education, for example. Depending on other social variables, educated persons will also avoid the use of double negatives in a sentence (He isn't hardly ever here) and other questionable constructions (such as ending a sentence with a preposition).
The entire social situation dictates what linguistic features or choices will be made. One would not address one's teacher in quite the same way one would address one's best friend, and even some adjustments might be made in how you address the teacher in class and how you would address him or her at a social activity.
The third area which teachers should help students become aware of is the cultural connotations of words. Even though the students' native languages may have exact translational equivalents for some words (such as mother, for instance), all of the associations which go with the word will not be the same. Several authors (Szalay, Jiang, Jiang and Brown, for example) have shown that even simple words conjure up very different pictures for persons from different cultures. For I example, the word family produces a picture of the extended family including aunts, uncles, cousins, and grandparents for persons from most cultures, but for people from the United States, it produces a picture of the nuclear family––mother, father, and children (and occasionally the family pet). Aunts, uncles, cousins, and grandparents are not part of the picture. More research needs to be done about cultural connotations, but teachers need to do what they can to help students be aware that all words bv will come with some connotations and that misunderstandings can result when persons have different connotations.
The objectives for cultural lessons will vary not only in what is being taught, but in what is expected and desired as affective outcome. Sometimes knowledge of the behavior pattern or cultural item is all that is necessary for students to have. Other times they need at least an intellectual understanding of the meaning of the pattern. Still other times, teachers will want the students to actually experience empathy and/or the emotions which are tied to the pattern. For example, sometimes it may be fine if students have only a knowledge of how the grading system works at an American university. They do not have to have a deep understanding of the system's origins or development.
However, if the students are going to participate in an American university, they probably need to have at least an intellectual understanding of the system so that they recognize when they are doing well and when they are not. They need to develop more than just knowledge. With other patterns, such as classroom behavior, students may need to develop empathy and/or emotions that persons within the culture feel or they may offend. They need to feel what other students will feel if they interrupt teachers or need to feel what the teacher will feel. If the students do not develop these feelings, they are likely to cause problems for themselves in dealing with others.
Several methods have been developed for teaching culture. They vary in the affective outcomes they produce as well as in amount of student participation, class time necessary for their use, and in effectiveness in ESL and environments. This textbook will look at seven methods here and will discuss one further method in the chapter about teaching reading.
Culture capsules are one of the best–established and best–known methods for teaching culture. They have been tried mostly in classes for foreign languages other than English. Essentially a culture capsule is a brief description of some aspect of the target language culture (e.g., what is customarily eaten for meals and when those meals are eaten, marriage customs, etc.) followed by, or incorporated with contrasting information from the students' native language culture. The contrasting information can be provided by the teacher, but it is usually more effective to have the students themselves point out the contrasts.
Culture capsules are usually done orally with the teacher giving a brief lecture on the chosen cultural point and then leading a discussion about the differences between cultures. For example, the information which a teacher might use about the grading system at U. S. universities is included in the appendix to this chapter. The teacher could provide all of the information at once or could pause after the information in each paragraph and ask students about the contrasts they see. Some visual information, such as in handouts or overhead transparencies or pictures, supporting the lecture can also be used. Examples of supporting information for the lecture on the grading system are included.
A culture cluster is simply a group of two or more culture capsules on related themes. For example, a culture cluster about grades and their significance to university students could contain the capsule given in the appendix to this chapter, plus another capsule about how a grade point average is figured plus another about what kind of decisions (such as being accepted in graduate study, receiving scholarships, getting a better job, etc.) are affected by a person's grade point average.
Culture capsules and clusters are good methods for giving students knowledge and some intellectual knowledge about the cultural aspects being explained, but they generally do not cause much emotional empathy.
Culture assimilators consist of short (usually written) descriptions of an incident or situation where interaction takes place between at least one person from the target culture and persons from other cultures (usually the native culture of the students being taught). The description is followed by four possible choices about the meaning of the behavior, action, or words of the participants in the interaction with emphasis on the behavior, actions, or words of the target language individual(s).
Students read the description in the assimilator and then choose which of the four options they feel is the correct interpretation of the interaction. Once all students have made their individual choices, the teacher leads a discussion about why particular options are correct or incorrect in interpretation. Written copies of the discussion issues can be handed out to students although they do not have to be. It is imperative that the teacher plan what would issues the discussion of each option should cover. The appendix to this chapter contains a dealing with the issue of arriving late at class.
Culture assimilators are good methods of giving students understanding about cultural information and they may even promote emotional empathy or affect if students have strong feelings about one or more of the options.
Critical incidents are another method for teaching culture. Some people confuse them with culture assimilators, but there are a couple of differences between the two methods. Critical incidents are descriptions of incidents or situations which demand that a participant in the interaction make some kind of decision. Most of the situations could happen to any individual; they do not require that there be intercultural interaction as there is with culture assimilators.
Individual critical incidents do not require as much time as individual culture capsules or individual culture assimilators, so generally when this method is used, more than one critical incident is presented. It is probably most effective to have all the critical incidents presented at one time be about the same cultural issue. For example, the critical incidents listed in the appendix to this chapter all deal with the issue of time, promptness, and scheduling.
Generally, the procedure with a critical incident is to have students read the incident independently and make individual decisions about what they would do. Then the students are grouped into small groups to discuss their decisions and why they made them they way they did. Then all the groups discuss their decisions and the reasons behind them. Finally, students have to be given the opportunity to see how their decision and reasoning compare and contrast with the decisions and reasoning of native members of the target culture. If the ESL class is occurring in an English–speaking environment, students can be assigned to go out and survey native English speakers about how and why they would solve the problem or make the decision required by the critical incident. Reports on the reasoning and the differences can be made in a following class session. If the class takes place in an EFL environment, the native speaker information would have to be gathered by the teacher from reading or from contact with expatriates. Sometimes advice columns like the "Dear Abby" or "Ann Landers" columns, can provide teachers both with critical incidents or problems to be solved and with information about what native speakers would do and why.
Critical incidents are very good for arousing affect (emotional feelings) about the cultural issue. Discussion or surveys about what native English speakers would do also promote intellectual understanding of the issues and give learners basic knowledge about the target culture.
Mini–dramas are two– to three–act mini–plays in which misunderstandings are portrayed. They are generally written to foster sympathy for the non–native of the culture the "wrong" that is done to him or her by a member of the target culture. At the end of the mini–drama, some "knowing" figure explains what is really happening and why the target culture member was really not doing wrong.
With mini–dramas, scripts are handed out and people are assigned to act out the parts. After each act, the teacher asks students (not necessarily the ones performing in the drama) what the actions and words of the characters in the drama mean and leads them to make judgements about the characters in the play. After all of the scenes have been portrayed and the "knowing" figure has made his or her speech, students are asked to re–interpret what they have seen in view of the information which the knowing figure provided. A sample of a mini–drama about student status in the U. S. university classroom can be found in the appendix to this chapter.
The first time mini–drama is used in an ESL classroom, it should promote quite a lot of emotional feeling of the kind that really happens in intercultural misunderstandings. Mini–dramas always promote knowledge and understanding, but the great emotional impact usually only happens the first time. Mini–dramas work best if they deal, therefore, with highly charged emotional issues.
Audio–motor units consist of verbal instructions for actions by students which the students then carry out. They work very well for any cultural routine which requires physical actions (e. g., eating with a knife and fork, shaking hands, listening actively, standing in line to buy a ticket, etc.).
With an audio–motor unit, the classroom is set up as the required setting and with the required props. Individual students are then directed orally by the teacher to carry out appropriate actions. The process can be repeated several times with different students carrying out the instructions. Once appropriate behavior is established, minor but relevant changes can be made and students can see what factors require adjustment (e.g., Is it proper to shake hands with adults and children in the same way? If two come in together and have to pass in front of people, does it alter what anyone says or does?, etc.) An example of such adjustments can be seen with the sample audio–motor unit about getting to a seat in a crowded classroom which is found in the appendix to this chapter.
Audio–motor units give knowledge and practice with correct behavior. They do not necessarily promote understanding nor empathy.
Cultoons are like visual culture assimilators. Students are given a series of (usually) four pictures depicting points of surprise or possible misunderstanding for persons coming into the target culture. The situations are also described verbally by the teacher or by the students who read the accompanying written descriptions. Students may be asked if they think the reactions of the characters in the cultoons seem appropriate or not.
After the misunderstandings or surprises are clearly in mind, the students read explanations of what was happening and why there was misunderstanding.
Cultoons generally promote understanding of cultural facts and some understanding, but they do not usually give real understanding of emotions involved in cultural misunderstandings. The cultoon in the appendix to this chapter deals with surprises which a student from Hong Kong encounters as she lives with U. S. students.
Magazine pictures, slide presentations, and/or videos are among the kinds of media/visual presentations which can be used to teach culture. Usually with this method, the teacher presents a series of pictures or slides or a video with explanation of what is going on and what it means in terms of the target culture. Many aspects of culture, such as appropriate dress for activities, kinds of activities students participate in or the weekend, public transportation, etc., can be effectively presented with such visuals. The appendix for this chapter contains the script which might be used for a slide presentation about the importance of the automobile and the independence it allows in the U. S.
Media/visuals are usually very good at giving information and intellectual understanding, but, like several other methods of teaching culture, they do not cause students to understand the emotion which is involved with so many cultural issues.


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Awards or Recognitions
Bob Diotalevi, JD, College of Professional Studies, Justice Studies , "selected to Board of Visitors ", Ave Maria School of Law, November 9.
Elizabeth Elliott, Ph.D., Students members of Omega Epsilon, College of Education, Undergraduate Studies , "Achieving Chapter Excellence - ACE", Kappa Delta Pi - International Honor Society in Education, October 30.
Thomas C. Valesky, EdD, Graduate Studies , "Lifetime Contribution Award", Southern Regional Council on Educational Administration, October 17.
Shelton Weeks, PhD, College of Business, Economics and Finance, "NAIOP Distinguished Fellow", National Association of Industrial and Office Properties, October 29.
Mary Wisnom, Ph.D., College of Professional Studies, Resort & Hospitality Management , "2009 Outstanding Professor Award", Resort and Commercial Recreation Association, November 9.
Professional Presentations
Michelle Angeletti, MSW, Ph.D., College of Health Professions, Health Sciences , ""Health Professionals Supporting Breastfeeding Mothers Returning to Work" a CERP/CEU session", The Healthcare Provider Seminar , Florida Breastfeeding Coalition & La Leche League, Daytona Beach, Florida, September 11.
Michelle Angeletti, MSW, Ph.D., College of Health Professions, Health Sciences , ""The Healthcare Provider-Parent Partnership: Finding a Supportive Healthcare Provider"", La Leche League of Florida Conference, La Leche League of Florida , Daytona Beach, Florida, September 11-14.
Sheila Bolduc-Simpson, MA English; MA Theatre Arts; MS TESOL, Suzanna Henshon, Lori Cornelius, Amy Towne, Carol Bledsoe, Language and Literature, "To Be or Not to Be: Teaching Composition in Creative Ways", Florida College English Association 2009 Conference, Palm Beach Community College, Boynton Beach, Florida, October 15-16.
Douglas Carothers, Ed.D., Carolynne Gischel, Ed.D., & Lynn K. Wilder, Ed.D., College of Education, Undergraduate Studies , "Embedding Response to Intervention into an integrated program of study for all teachers", Teacher Education Division of the Council for Exceptional Children, Teacher Education Division of CEC, Charlotte, North Carolina, November 12-14.
Jeanie Darnell, Doctor of Musical Arts (DMA), Stuart Chafetz, guest conductor, College of Arts and Sciences, Bower School of Music, "Pop'era Concert Featured Soloist", Naples Philharmonic Orchestra Pop's Series, Naples, Naples Philharmonic Orchestra, Naples, Florida, October 17.
Elizabeth Elliott, Ph.D., Anna Winkle, Stephanie Karakos, Sabrina Bonventre, Roxanne Heiny, Undergraduate Studies , "KDP Reads!", Kappa Delta Pi - 47th Biennial Convocation, Kappa Delta Pi - Education Honor Society, Orlando, Florida, October 29-31.
Debra Hess, Ph.D., College of Arts and Sciences, Bower School of Music, "Using Listening Journals as a Tool in Teaching Music History Courses", College Music Society National Conference, College Music Society, Portland , Oregan, October 22-25.
Dennis Hunt, Ed.D., CSCS, Diana Wong, Andrew Hovanec, College of Health Professions, Physical Therapy & Human Performance, "Utilizing a Linear Periodization Resistance Training Model To Enhance Sport Performance of Female Athletes", Petro-Canada Sport Leadership Sportif and ICCE Global Coach Conference, Coaching Association of Canada, Vancouver, British Columbia, November 12.
Johnny McGaha, PhD, College of Professional Studies, Justice Studies , "Perspectives on US Policy and Funding initiatives for Human Trafficking,", First Annual Interdisciplinary Research Conference on Human Trafficking, University of Nebraska, Lincoln, Nebraska, October 29-31.
Dorothy Rea, Ph.D., Cecil Carter and Tom Valesky, College of Education Dean's Office, "Development of a Current Disposition Instrument for Educational Leaderhip Candidates", SRCEA, Southern Regional Council of Educ. Administration, Atlanta, Georgia, October 14-18.
Pamella Seay, JD, LLM, College of Professional Studies, Justice Studies , "Offshoring of Legal Services: The Many Ethical Concerns", 2nd Annual Ethics Seminar, Florida Alliance of Paralegal Associations, Inc., Tampa, Florida, November 7.
H. Julie Yazici, Ph.D., College of Business, Computer Information Systems and Decision Sciences, "Role of Behavioral and Psychological Factors on Tacit Knowledge Sharing Between Buyer and Supplier", Decision Sciences Institute 40th Annual Meeting, DSI, New Orleans, Louisiana, November 14-17.
Jong-Yeop Kim, Ph.D., 2, College of Business, U.A. Whitaker School of Engineering, "Volumetric clarifying filtration of urban source area rainfall runoff", Journal of Environmental Engineering, Monthly , pp. 609-620.
Angela Meyer, Ph.D., et al., College of Arts and Sciences, Marine and Ecological Sciences, "Simultaneous Multiwavelength and Optical Microvariability Observations of CTA 102 (PKS J2232+1143)", The Astronomical Journal, Vol. 138 Issue , pp. 1902-1910.
Shirley Ruder, Ed.D, College of Health Professions, Nursing, "Alzheimer's Care Today", Incorporating Spirituality into the Care of Persons with Alzheimer's Disease, Vol. 10 Issue 4, pp. 221-227.
Yinghong Sheng, Heather D. Bean, Irena Mamajanov, Nicholas V. Hud and Jerzy Leszczynski, College of Arts and Sciences, Chemistry and Mathematics, "Journal of the American Chemical Society", Comprehensive Investigation of the Energetics of Pyrimidine Nucleoside Formation in a Model Prebiotic Reaction, Monthly , pp. 16088–16095.
David Steckler, J.D,, LL.M., Fielding Epstein, MHSA, JD, Ronald N. Riner, MD FACC, College of Professional Studies, Justice Studies , "Getting Ready of EHR, RHIOs and Next-Generation Co-Management Agreements", Getting Ready for EHR, RHOIs and Next-Generation Co-Management Agreements, Quarterly , pp. 48-51.
Shelton Weeks, PhD, Dr. Justin D. Benefield, College of Education, Economics and Finance, "Price Effects of Specialty Ceiilngs in Residential Real Estate", The Appraisal Journal, Quarterly , pp. 117-125.


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House of Cards
An array of artists are joining Shelter in the 'House of Cards' campaign to raise awareness of the growing housing insecurity in the UK. The result will be a limited edition pack of playing cards, with each card representing a different artist's piece from the accompanying exhibition. Damien Hirst as the Ace of Hearts will be alongside David Bailey, Mat Collishaw, Michael Craig Martin, Paul Fryer, Rachel Howard, Rankin and Vivenne Westwood.
Seven of Diamonds, Rachel Howard
The 8 of clubs is reserved for the winner of the House of Cards design competition - the closing date is today so get your entries in quick! If you don't have an artistic streak, you can browse through all the entries instead, they are extremely varied in both concept and style.
The full set of cards will be exhibited between 24th - 28th September 2009 at Haunch of Venison, London. For your chance to win tickets to the exhibition launch party, click here.
The cards will be presented in specially designed presentation case and will only be available for a limited time. Preorder the limited edition cards by registering on the Shelter House of Cards website.


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Madagascar 3 :: Europe's Most Wanted Movie Review
Alex and his animal friends join a circus to escape the evil Agent DuBois. Kidzworld has the movie review of Madagascar 3: Europe's Most Wanted.
Gloria, Marty, Alex and Melman Courtesy of Paramount Pictures and Dreamworks Animation
Alex and His Circus Friends Courtesy of Paramount Pictures and Dreamworks Animation
Marty's Afro Circus Courtesy of Paramount Pictures and Dreamworks Animation
Captain Chantel DuBois Courtesy of Paramount Pictures and Dreamworks Animation
The Evil Agent
When the penguins leave them in the wild, Alex and his pals decide to take matters into their own hands. They return to Monaco to collect the penguins before finding a way to get back to their home at the Central Park Zoo in New York City. But when Agent DuBois discovers there's a lion on the loose, she makes it her mission to capture him. Not to return him to the wild, but to feature his head on her office wall alongside all the other dead animals.
Joining the Circus
Now Alex, Marty, Gloria and Melman on are the run for their lives. When their plane crashes, they think all hope is lost. Until they happen upon a traveling circus whose animals reluctantly let them board. With the penguins gambling wins, they purchase the deed to the circus and begin their travels to London, where they hope to impress an American scout.
Low Spirits
But the circus they purchased is lamer than lame. If Alex doesn't do something to boost their morale, then there's no chance the American scout will sponsor them. It's time to make a plan. Fast.
The Bottom Line
Madagascar 3: Europe's Most Wanted is the best Madagascar film yet! The characters are funnier and the action is crazier. Definitely see this film in 3D!
Madagascar 3: Europe's Most Wanted Movie Rating:
Have Your Say
Will you see Madagascar 3: Europe's Most Wanted? Tell us in our comment section below!