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New York, after the war. A young writer—more of a hustler, really—named P. B. Jones attends a publishing party full of artists and literary types. There he meets an older, established author he has long admired named Alice Lee Langman; he eventually becomes her lover for a time. Langman, says Jones, who narrates Truman Capote's underrated, unfinished final novel, "Answered Prayers," is "a perfected presence, an enameled lady."
When I met Miss Langman, and I never called her anything else, she was far into her late fifties, yet she looked eerily unaltered from her long-ago Genthe portrait. The author of Wild Asparagus and Five Black Guitars had eyes the color of Anatolian waters, and her hair, a sleek silvery blue, was brushed straight back, fitting her erect head like an airy cap. . . .
She said, that first night at Boaty's: "Would you see me home? I hear thunder, and I'm afraid of it."
She was not afraid of thunder, nor of anything else—except unreturned love and commercial success. Miss Langman's exquisite renown, while justified, was founded on one novel and three short-story collections, none of them much bought or read outside academia and the pastures of the cognoscenti. Like the value of diamonds, her prestige depended upon a controlled and limited output; and, in those terms, she was a royal success, the queen of the writer-in-residence swindle, the prizes racket, the high-honorarium con, the grants-in-aid-to-struggling-artists shit. Everybody, the Ford Foundation, the Guggenheim Foundation, the National Institute of Arts and Letters, the National Council on the Arts, the Library of Congress, et al., was hell-bound to gorge her with tax-free greenery, and Miss Langman, like those circus midgets who lose their living if they grow an inch or two, was ever aware her prestige would collapse if the ordinary public began to read and reward her.
Capote's portrait of Langman is a vivid vivisection of the writer Katherine Anne Porter, whom Capote first met at Yaddo, the artists' colony, in the nineteen-forties, when he was in his early twenties and she was in her fifties. By then, Porter had published three critically acclaimed story collections but had little popular appeal.
She did eventually attain commercial success. Her first and only novel, "Ship of Fools," published in 1962, when she was seventy-one years old, was the best-selling novel in America that year, and movie rights sold to the producer and director Stanley Kramer for four hundred thousand dollars—granting Porter financial, if not emotional, security in her old age. She had worked on the book for nearly twenty years, and had talked about it every step of the way. The novel's intended publishers died before it appeared. When it did come out, it was criticized, in some circles, for being too superficial. A thick book remarkable for its concision—the many plot points move along at a good clip—"Ship of Fools" is less a masterwork than a piece of cinema, a detailed script about the lost and the damned and the tragedy of history that no man can escape. The book is set aboard the Vera, a passenger freighter, as it makes a twenty-seven-day journey from Veracruz to Germany in the summer of 1931. On board, Germans, Americans, Spaniards, and Mexicans, ranging from the peasant class to the drug-addicted aristocracy, bicker, fight, love, and philosophize. In a trenchant review of the book in this magazine, Howard Moss wrote that "Ship of Fools" is "a novel of character rather than of action." What draws our interest isn't political or moral action but Porter's characters' inability to access either; the protagonists, like those of Porter's short fiction, are caught between solipsism and avarice—their emotional rock and a hard place—while the undertow of poverty, politics, and history threatens to pull them down and silence them forever.
Although "Ship of Fools" is not part of the Library of America's handsome recent edition "Katherine Anne Porter: Collected Stories and Other Writings," edited by Darlene Harbour Unrue ($40), it's interesting to read it alongside her other work, if only because it confirms Porter's superiority as a writer in the short form. (Her last volume, "The Collected Stories of Katherine Anne Porter," won the National Book Award and the Pulitzer Prize in 1966.) As Moss noted, " 'Ship of Fools' differs from her extraordinary stories and novellas in that it lacks a particular magic she has attained so many times on a smaller scale. The missing ingredient is impulse. . . . The stories read as if they were composed at one sitting, and they have the spontaneity of a running stream." In fact many of Porter's stories were written on the run—from the fiscal burdens, romantic hardships, and unfinished work that she could never put behind her.
Born in central Texas in 1890, Porter was the first modern white woman writer to turn Southern racism and machismo and their ramifications into art. She had an enormously liberating influence on the generation of Southern writers that followed hers: one can often hear her voice in the works of Eudora Welty, Flannery O'Connor, and Carson McCullers. Unlike them, though, Porter wasn't a particularly regional writer; she could write equally comfortably about Louisiana or Mexico, Texas or Germany—to name just four of the places she lived. And from the time she started publishing fiction, in 1922, she was determined to avoid the pitfalls of autobiography. "It is the intention of the writer to write fiction, after all—real fiction, not a roman à clef, or a thinly disguised personal confession which better belongs to the psychoanalyst's séance," she once wrote. Still, despite this overreaching comment, Porter's most vibrant work springs from her own life. She was at her most assured when she was writing about the poverty and the dust, the casual racism and the surreal violence of her native state.
"I am the grandchild of a lost War, and I have blood-knowledge of what life can be in a defeated country on the bare bones of privation," Porter wrote in a 1944 essay, "Portrait: Old South." Christened Callie Russell Porter, she was the fourth child of Harrison and Mary Alice Jones Porter, a farmer and a former schoolteacher, who reared their brood on a somewhat shabby farm in Indian Creek, Texas. (Mary Alice's father had purchased the property in 1883, shortly after his wife was declared insane and institutionalized.) In 1892, the Porters' fifth child was born; two months after the birth, the mother died, a blow from which Harrison Porter never recovered. In his grief, he couldn't properly comfort, let alone pay attention to, his children. And when he did focus on them the lion's share of his affection went to his youngest daughter, whom the family nicknamed Baby, and whom Katherine Anne forever resented. Porter complained to her older sister, Gay, "No wonder our mother died of pneumonia after the exposure of childbirth in January in that house!" In short, she blamed her father for her mother's death—he hadn't taken good enough care of her, or his children.
Soon after Mary Alice died, Harrison Porter moved the family to Kyle, Texas, where his mother, Catharine Ann Skaggs Porter, had a house, and a small farm nearby. Petite, fierce, and independent, the Kentucky-born matriarch, known as Cat, had been a widow for some time. (She claimed that her late husband had been a Confederate soldier.) According to Porter, Cat loved to dress and adorn herself, and "talk with friends or listen to music." "She did not in the least like pinching or saving and mending and making things do," Porter recalled. In order to avoid acknowledging the dirt trap she called home, Cat made up stories about the family's glorious past, replete with plantations and servants and a fine lineage.
Porter took after Cat. She, too, was a born fabulist, the heroine of her own dreams, a striver with a moral disgust for poverty and a snob's belief in hierarchy: to be richer was to be better. Writing of her grandmother in 1944, Porter noted, "The long difficulties of her life she regarded as temporary, an unnatural interruption to her normal fate, which required simply a firmness, a good deal of will power and energy and the proper aims to re-establish finally once more." She might as well have been describing herself. Throughout her life, Porter believed that her "normal fate" would include the love of a strong man and a life of comfort. Her failure to acquire either led to a certain "inclination to romance," as Elizabeth Hardwick observed in a 1984 piece about her friend. "As I look back over the attachments I knew about from gossip or otherwise, I see in them a conscious and careful make believe. . . . Katherine Anne knew the impossible when she met it."
In 1901, Cat died suddenly, and Harrison uprooted the children yet again, taking them to stay with relatives in other parts of Texas and Louisiana. Porter's only constant in those years was reading—she devoured Shakespeare, Voltaire, and Gibbon, among other writers. She also developed a preternatural ability to reinvent herself. While enrolled briefly at a Methodist school for girls in San Antonio, the fourteen-year-old Porter asked her family and friends to start calling her Katherine, in honor of her grandmother. Encouraged by a drama teacher at the school, and now a black-haired, pale-skinned beauty, she performed several times with a travelling theatre company. When, in the fall of 1905, the family moved again, this time to Victoria, Texas, a city near the Gulf of Mexico, Porter placed an ad in the local paper, offering her services as an instructor in "music, physical culture, and dramatic reading." Barely in her mid-teens, the nascent artist was searching for the form best suited to her sensibility. As she saw it, stardom of one sort or another was her only ticket out of Texas. "I started out with nothing in the world but a kind of passion, a driving desire," Porter told Barbara Thompson in 1963, in an interview for The Paris Review. "I don't know where it came from, and I don't know why—or why I have been so stubborn about it that nothing could deflect me."
In 1906, however, when Porter was sixteen, she gave up her independence to marry John Henry Koontz, the twenty-one-year-old son of a wealthy Texas rancher with a spread in Inez. Two years into the marriage, the couple relocated to Houston, where Koontz took a job at a cotton company. Three years after that, they moved to Corpus Christi, so that he could establish himself as a travelling salesman. By that point, Porter's days were marked by violence, and not the luxury she craved. In 1909, Koontz, often drunk, had knocked her unconscious and thrown her down the stairs. A year or two later, she suffered a miscarriage. In 1913, after undergoing surgery for an ovarian cyst, she instructed her husband to take his pleasures elsewhere. In between these hardships, she converted to Catholicism, her husband's faith, and read the lives of the saints, finding particular solace in the stories that involved martyrdom. And she ran. Over and over, she fled the marriage, staying with family members or friends, only to return to Koontz again, until, in 1914, at the age of twenty-three, she left him for good, ending what would turn out to be her longest relationship. She bought a one-way train ticket to Chicago, where she supported herself as a movie extra for a while, and published a prose sketch in the Chicago Tribune. When the divorce was final, the following year, she officially changed her name to Katherine Porter.
Reading about Katherine Anne Porter's early, blown-about years in Joan Givner's deeply pleasurable critical biography, "Katherine Anne Porter: A Life" (1982), and in Darlene Harbour Unrue's dry, methodical effort, "Katherine Anne Porter: The Life of an Artist" (2005), one does not discover a life devoted to growth, let alone self-analysis or compassion for others. After her divorce, Porter supported herself by addressing envelopes for two dollars and fifty cents a day and, following a brief second marriage to one of Koontz's business associates, working as a salesclerk at Neiman Marcus. Her life style in those days reminds one of Jean Rhys's early days in London and Paris—sitting alone in her furnished rooms, a bottle on the unused writing table. Like Rhys, Porter had a habit of inviting ruin into her home so that she could flee it. But the next cataclysmic event in her life came unbidden. In November, 1915, she contracted tuberculosis. Borrowing money from her brother, she recovered for a time in Texas, where she married and divorced for the third time, then in Colorado, where her professional life as a writer began. In September, 1918, the Rocky Mountain News hired her as a reporter. But she collapsed again in October, nearly succumbing to Spanish influenza—an experience she used as the central event in "Pale Horse, Pale Rider," the title piece of her 1939 collection of stories.
In "Pale Horse, Pale Rider," the heroine, Miranda, takes ill during the flu pandemic of 1918. Living on scant wages in a boarding house, she contemplates her immediate past from her sickbed, and among the images that loom and leer in her dreams the most significant involve a horse she rode while growing up on a farm in the South—the horse, we gradually understand, symbolizes death. In the Paris Review interview, Porter explained that her illness had changed her forever: "It just simply divided my life, cut across it like that. So that everything before that was just getting ready, and after that I was in some strange way altered, ready. It took me a long time to go out and live in the world again. I was really 'alienated,' in the pure sense. It was, I think, the fact that I really had participated in death, that I knew what death was, and had almost experienced it. I had what the Christians call the 'beatific vision,' and the Greeks called the 'happy day,' the happy vision just before death. Now if you have had that, and survived it, come back from it, you are no longer like other people, and there's no use deceiving yourself that you are."
Although Porter saw her struggle with the flu as an important juncture in her life—her black hair famously turned silver—her biographies make it clear that her life after 1919 was pretty much a continuation of what had come before: she had countless affairs and broken engagements and married and divorced at least twice more. (The poet Allen Tate remarked, "Who knows, there might have been yet another husband dropped off somewhere." In her own defense, Porter said in a 1965 interview, "I have no hidden marriages. They just sort of escape my mind.") She depended on friends and publishers and institutions for financial support—and then complained whenever a piece of writing was due, blaming everyone else for her bronchitis, brought on by overwork. Too often, Porter the artist was marooned by Porter the drama queen, with her vanity, her self-centeredness, and her self-destructiveness.
Porter made her way east in 1919 and set up house in Greenwich Village, intending to write fiction and poetry, but became a publicist for a film company instead. In New York, she met Edna St. Vincent Millay and Edmund Wilson, among other bright young things. But she was more drawn to the Mexican expatriates who were part of the bohemian circle. (Porter was an early proponent of difference as the ultimate turn-on.) In 1920, she travelled south of the border, with the idea that she would support herself by writing about Mexico for American publications. Once settled there, Porter fell in love with the people and the culture. Eventually, she referred to Mexico as her second home, and she lived there on and off over the following decade, during which time she befriended the great muralist Diego Rivera. Unrue includes a range of Porter's writing about Mexico in the Library of America volume, and she has chosen well: Porter had excellent descriptive skills and a solid grounding in history. Had she come of age as a writer in the sixties, she would have made an exceptional New Journalist.
The racial lens through which Porter views Mexican life dates some of the material. In a 1924 essay, for instance, she writes, "In Mexico, most of the birds, and all of the people, sing. They sing out freely and cheerfully, to the extent of the voice Heaven has endowed them with, in all places, and at all hours." But, as far as Southern writers go, Porter was one of the more evolved. She never despised black people, for instance; back in Texas, she had empathized with their low ranking on the social ladder—it reflected her own. In 1943, she resigned from the National Institute of Arts and Letters for a time, because of its propensity for identifying potential candidates as "Negro." And in a 1942 letter to her nephew she wrote, "I think at best there is perhaps a certain tension that exists yet between even the most intelligent persons of the black and the white races in this country. There is too much evil and sad history, too many painful memories, between us. . . . But it can be overcome, outlived, not by denying the past, but by understanding it." Mexico gave Porter the setting for her first short story, "María Concepción," which was published in 1922, when she was thirty-two. As a tale of marital jealousy and revenge, it carries the reader along, but it's a clever student's idea of a short story, not the powerful, messy work of a writer whom the page can barely contain. The same can be said of most of her first book, "Flowering Judas and Other Stories" (1930), despite the positive responses it received from other writers, including Graham Greene, who reviewed the British edition in 1936: "These seem to me the best short stories that have come out of America since the early Hemingways, and there is more promise of future life in them, the sense of a consciousness open to any wind, a style adaptable to any subject." The best moments in "Flowering Judas" occur when the narrative breaks through Porter's self-conscious craftsmanship and shows us something about the world where she was born. Unfortunately, that happens in only two stories. The first, titled "He," is the horrifying tale of a mentally challenged boy (referred to as "He" or "Him," a moniker that's clearly meant to remind us of Christ) who is exploited by his poor farm-locked family. Porter begins:
Life was very hard for the Whipples. It was hard to feed all the hungry mouths, it was hard to keep the children in flannels during the winter, short as it was. . . .
Mrs. Whipple loved her second son, the simple-minded one, better than she loved the other two children put together. She was forever saying so, and when she talked with certain of her neighbors, she would even throw in her husband and her mother for good measure. . . .
This didn't keep the neighbors from talking plainly among themselves. "A Lord's pure mercy if He should die," they said. "It's the sins of the fathers," they agreed among themselves. "There's bad blood and bad doings somewhere, you can bet on that." This behind the Whipples' backs. To their faces everybody said, "He's not so bad off. He'll be all right yet. Look how He grows!"
Readers of Welty, McCullers, and O'Connor will admire the verisimilitude of Porter's Southern locutions here—"A Lord's pure mercy"—and how cleverly she skewers not only the townspeople's hypocrisy but Mrs. Whipple's as well: when it comes down to it, Mrs. Whipple is more interested in her own martyrdom than she is in her son.
Porter herself must have felt something of that boy's isolation, as a motherless child in those small, hot, poverty-stricken Texas towns. Her fear of breaking out, of being heard, also haunts "The Jilting of Granny Weatherall," the other great story in "Flowering Judas." Essentially a monologue delivered by an old woman on her deathbed, it recalls Granny Weatherall's jilting by one man and her decision to settle for another. The author hovers over Granny's hallucinations, and her annoyances with her various caretakers, like a bemused spectator, ever aware of the fact that our aloneness in life becomes irrefutably clear in our dying.
Porter couldn't have written the novella "Noon Wine," the real centerpiece of "Pale Horse, Pale Rider," without having first produced "He" and "The Jilting of Granny Weatherall." The pieces form a kind of trilogy, resistant to the sometimes overwhelming command of metaphor and style, the insistence on elegance and control, which limit the rest of Porter's work. Unlike her other stories and "Ship of Fools," these three pieces are not constricted by her fundamental fear of self-exposure—a fear that she covers with a judgmental tone that mars most of her and her characters' better impulses. "Noon Wine," a masterly tale of greed, murder, and suicide on a run-down farm in Southern Texas, is the only story in which Porter was able to fully re-create the pinched, sparse universe she grew up in. In a 1956 essay, she noted that this "short novel . . . exists so fully and wholly in its own right in my mind that when I attempt to trace its growth from the beginning, to follow all the clues to their sources in my memory, I am dismayed; because I am confronted with my own life, the whole society in which I was born and brought up."
Set at the close of the nineteenth century, "Noon Wine" tells the tale of Mr. Thompson, a man with a wife and two sons, who can't make a go of his dairy farm. One day, while he is sitting on his porch churning butter, a stranger ambles up to the property, asking for work. The man "spoke with some kind of foreign accent Mr. Thompson couldn't place. It wasn't Cajun and it wasn't Nigger and it wasn't Dutch, so it had him stumped." Thompson takes a chance on the foreigner, Mr. Helton, who turns out to be Swedish, and the farm's prospects change; eventually, it even shows a profit. Thompson raises Helton's wages ("The man's worth it, Ellie," he says to his wife. "He's made this place pay, and I want him to know I appreciate it"), and the family gets used to the tall Swede's silences and the sad sound of his harmonica playing that drifts from his shack after dinner.
Porter lulls us into a false sense of security as Thompson grows more confident, and more arrogant: he believes he's brilliant for having hired Helton in the first place. But just as we grow fond of these characters and their foibles another man ambles onto the property: "He wasn't exactly a fat man. He was more like a man who had been fat recently." His name is Homer T. Hatch. In a scene of gothic horror—and it's horrible because it's funny, too—Thompson and Hatch discuss tobacco and other mundane male pursuits, while Hatch gradually reveals that he's looking to arrest Helton, who is insane, and who killed his own brother with a pitchfork in North Dakota. When Hatch spies Helton, he advances toward him with a knife. In an effort to protect his friend, Thompson hits Hatch with an axe, killing him, while Helton runs off. The story's tragedy grows and grows, spreading through the reader's mind like a fungus. After Thompson is accused and acquitted of manslaughter, he visits his neighbors to try to tell his side of the story. Begging for absolution makes him heartsick. Lying in bed after one such visit, he asks himself, "Did he have to kill Mr. Hatch?" The answer he comes up with is yes. The violence was always in Thompson, waiting for the right circumstance and person to attach itself to. Moving as though in a dream, Thompson goes outside, where he writes a note that says, in part, "It was Mr. Homer T. Hatch who came to do wrong to a harmless man." Then:
He licked the point of his pencil again, and signed his full name carefully, folded the paper and put it in his outside pocket. Taking off his right shoe and sock, he set the butt of the shotgun along the ground with the twin barrels pointed towards his head. It was very awkward. He thought about this a little, leaning his head against the gun mouth. He was trembling and his head was drumming until he was deaf and blind, but he lay down flat on the earth on his side, drew the barrel under his chin and fumbled for the trigger with his great toe. That way he could work it.
This brilliant morality tale resounds through much of the Southern writing that followed. It undoubtedly had an enormous influence on Eudora Welty—especially on her stunning story, "Where Is the Voice Coming From?" (1963), which was inspired by the murder of the civil-rights activist Medgar Evers. One can find elements of "Noon Wine" in O'Connor's story "The Displaced Person" (1954) and in McCullers's "Ballad of the Sad Café" (1943) as well. In 1944, Porter published "The Leaning Tower and Other Stories," a collection that, for the most part, lacks the flashes of life that mark these three earlier stories. The title story is set in Berlin, in 1931, a year that Porter spent in that city with a man she later married, Eugene Pressly, a government official who was fourteen years her junior. The hero of "The Leaning Tower," Charles Upton, is a young Texan who travels to Berlin, inspired by the memory of a German childhood friend named Kuno. As a boy, Charles was in love with Kuno's foreignness, and also envious of his class: his father was a merchant who "took his family back to Germany for a few months every two years," Porter writes. "And Kuno's postcards, with their foreign stamps, coming from far-off places like Bremen and Wiesbaden and Mannheim and Heidelberg and Berlin, had brought the great world across the sea, the blue silent deep world of Europe, straight to Charles' door." Eager to see that world for himself, Charles decamps for Berlin as a young adult. At the beginning of the story, he's walking the streets in search of a cheap pensione. At a busy intersection, he notices people looking in a shopwindow at "sausages, hams, bacon, small pink chops; all pig, real pig, fresh, smoked, salted, baked, roasted, pickled, spiced, and jellied." In another window, Porter writes, were:
dainty artificial pigs, almond paste pigs, pink sugar chops, chocolate sausages, tiny hams, and bacons of melting cream streaked and colored to the very life. Among the tinsel and lace paper, at the back were still other kinds of pigs: plush pigs, black velvet pigs, spotted cotton pigs, metal and wooden mechanical pigs, all with frolicsome curled tails and appealing infant faces.
With their nervous dogs wailing in their arms, the people, shameless mounds of fat, stood in a trance of pig worship, gazing with eyes damp with admiration and appetite . . . their late-medieval faces full of hallucinated malice and a kind of sluggish but intense cruelty that worked its way up from their depths slowly through the layers of helpless gluttonous fat.
This is a scene worthy of Fassbinder. But, despite its descriptive power, the condemnation of between-the-wars Germany, and Germans, gives the story the feeling of journalism rather than of literature; it is a travelogue with no room for the moral ambiguity of life.
By the time Porter published "The Leaning Tower," she had become something of a legend. "She was always spoken of simply as 'Katherine Anne,' and whether one was actually acquainted with her or not," Hardwick writes. "Everyone who cared about writing knew and admired her work. . . . And if at the height of her fame and for her longest story 'The Leaning Tower' Miss Porter came out with $300—well, that was her career." Not every critic had unqualified admiration for Porter, though. Edmund Wilson, reviewing "The Leaning Tower" in this magazine, wrote, "Miss Porter is baffling because one cannot take hold of her work in any of the obvious ways. . . . If [the reviewer] is tempted to say that the effect is pale, he is prevented by the realization that Miss Porter writes English of a purity and precision almost unique in contemporary American fiction. If he tries to demur that some given piece fails to mount with the accelerating pace or arrive at the final intensity that he is in the habit of expecting in short stories, he is deterred by a nibbling suspicion that he may not have grasped its meaning."
It's true that it's almost impossible to get a toehold on much of Porter's later work, owing to its high varnish: her characters can barely breathe beneath the sheen. Porter perfected her stories until you begin to feel like a clumsy intruder for even reading them. Rarely do you get beneath the decorous surface and feel a character's lifeblood. And it is this artificiality that kept Porter on the wrong side of the line that separates a minor writer from a great one. Ultimately, she controlled too much: she relied on tricks of style, on a language that was too cultivated for the rough potential of stories like "He" and "Noon Wine" to develop. Too often one senses Porter repressing the trashy twang of her childhood in favor of something more, as Capote put it, "enameled."
Porter did not publish another book until "Ship of Fools," eighteen years after "The Leaning Tower." Soon after that, the school of Southern writing that she had helped to forge was gone—O'Connor died in 1964, McCullers in 1967. But Porter had turned her back on her rural roots some time earlier. After "Noon Wine," she didn't revisit Texas—the violence of a male-centered world—in any significant way. Self-promotion came first; her fiction second. (She liked to quote Madame Du Barry, who said, "My life has been incredible. I don't believe a word of it!") By the time she died, in 1980, the star had suffocated the writer, who simply couldn't bear to take advantage of what empowered her as an artist: her lower-class origins. When "Ship of Fools" made her a wealthy woman at last, she bought an emerald ring that she had long coveted. Perhaps the shine of that stone finally eclipsed the too glaring days of her long past. ♦


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We choose a letter and cut it on their massive Die Cut Machine! Then inked around the edges. The flower and butterfly were added when I got home.
I even put a rare photo of myself with the kids in. I HATE having my photo taken!
My gorgeous hubby and our fluffy little norfolk terrier or is it fluffy hubby and gorgeous norfolk terrier?
Four hearts, one for each of my family and a photo I took of the boys for photography class but they could not stop messing about long enough for me to get a good one!
And the back! We inked the edges of the coaster pink after we had covered them. We then used a ring to hold it all together and tied some co-ordinating ribbon round for decoration.
I hope you like it, I enjoyed making it and have already bought some more blanks ones to do some more!
Have a Wonderful Week.
Tracey x

subset: commoncrawl


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Bombings around Iraq's capital kill 7 people
BAGHDAD (AP) — Officials in Iraq say two bombings around the capital, Baghdad, have killed seven people.
Police officials said that the deadlier of the two attacks took place Friday night when a bomb exploded as people left a soccer field. They said the attack in western Baghdad killed five people and wounded 15.
Earlier Friday, authorities said two soldiers were killed when a roadside bomb hit an army patrol in Mahmoudiyah, about 30 kilometers (20 miles) south of Baghdad.
Medical hospital officials confirmed the casualty figures. All officials spoke on condition of anonymity because they were not authorized to talk to journalists.
Violence has been rising across Iraq since a deadly crackdown by government forces on a Sunni protest camp in April.


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The F.L.Y levitation (aka Aliun) has been released for some time now.
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nice. need to see some good video demos of the performance. for me to spend $1,600 on it.
Watch My Videos: http://www.youtube.com/watch?v=RPYJxzDf1Gw
If you are airing things like this and getting paid $1500+, that is just ridiculous. Hmm. . .(sigh
-Nate River
If you want my pass lectures, they're in the Ninja Forums.
PM me only if you are desperate.
Hawk-Eye thanks for your comment. it was realy helpfull. You see other people make comments on the things which they don't even have the knowledge of it.
Hawk-Eye if the effect is good and easy to use then i'll order it today. :)
Watch My Videos: http://www.youtube.com/watch?v=RPYJxzDf1Gw
Let me understand this ..
You will have a magic special.
- This clip was a liiittle part from the special.
- You will be payed 1650$/effect.
- You will perform E's effects on T.V with NO permission .. ( unless you contacted them? )
Can you give us some idea about your magical background? ( like when you started magic? what are some effects you will perform? what branch of magic you are into? )
I'd love to see the special .. with no offense .. you should consider giving more hours to material .. the performance was bad in the clip ..
Bad and slow performance will not be enjoyable .. not for the spectator or for the viewers ... Basically when I'm doing the effects in public regardless of the video quality or angles are bad or the performance is slow or poor, as long i and the spectator enjoys it that what really matters.
~ Feras
Simplicity is the ultimate sophistication. - Leonardo da Vinci
Basically, you'd have to do a lot better than this video for your T.V. special, or... well, I don't really know what to say.
What in the world are you talking about! They would probably only pay $1600/effect(or how ever much it is) to someone like David Blaine! Im not being harsh but that video sure doesnt give me the impression of you being ANY thing like Blaine!
Ive got an idea for you:
Just take 5 and re-tell us your story...
If you want, just ask a mod to delete this thread and start from scratch. Because i dont think is a very good thread to be making excuses on. Plus your vid was filmed on a RUG and seeing as your about to make $1000s of dollers i think you could probbably afford a Close up pad. And the quality was as good as my 12 year old cousons editing skills!(and trust me there...Rubish)!
P.S. We dont mean to be harsh but with SUCH basic skill as that, you would be lucky to make $*/Effect.
Hey, could you please tell us how you came to this point? I mean, the procedures and methods to get you on TV?
We would like to know, as it is something a lot of us aim for. A little insight on how the deal came about, how the price was fixed, what part you played...?
We have a few members on TV and they have shared the complete thing, and it was very interesting to read about. So, share :) !
On the video, like others said, I didnt see anything too great. It needs to be part of a routine or sequence of tricks. This change alone, really doesn't make sense.
An artist makes the difficult look easy and a showman makes the easy look spectacular.
Ellusionist Lead Moderator
AJ has some good points. It would be great to hear how it all came about.
Moreover, if it's being broadcast over four countries I think it would be good to let us all know where and what station will be airing it.
The E forum has members all over the world and I'm sure there will be someone who will be able to see your special!
Anyway good luck and don't forget us when you're famous. ;)
Last edited by M!CHAEL; 12-26-2006 at 07:56 PM.
Most Ellusionist products along with most other products do not give you TV performing rights. In fact if you watch the credits of Box Monstor it specifically states that the TV performing rights are reserved for Nathan Kranzo at this time. Thus it is not legal for you to perform this.
I truly cannot believe that you are having a 4 country tour and getting paid 1650 per effect. Perhaps you could show us some footage that was cut or some other magic that you have performed for live audiences so we could get a feel for your presentational and spectator interaction techniques.
What we have seen so far makes me want to live in whatever country or city you do and have options to cable channels that you have because, wow, there is no way in hell that I could perform like that and get a show with a compensation.
On teh David Blaine note, it actually isn't that much money per effect. Blaine signed a contract for many millions of dollars for his first few specials. If you watch these specials you can see they only use a small number of effects. Some are repeated. He was being paid over 10,000 dollars per effect. BUT he brought magic back into the spotlight and had a unique form of presentation and got incredible reactions. His magic wasn't what was being sold on tv, it was his reactions.
"If you can dream it, you can do it"
For somebody who supposedly only sleeps 2 hours a day, it is interesting to see that kamran hasn't replied to everyone's questions. It is very hard to believe any of this. Your presentation isn't good at all and you are going to be in a tv special? You've watched ninja, right? You notice how when Brad does that trick on the ground, he is down next to the cards?
You are among some people who have been doing this stuff for a long time, including myself, if they question how you can be making that much money from such little experience then there is a big doubt. I know for a fact that Nate is an awesome magician, I just learned about his website today...which is awesome by the way, great job Nate...and if Nate questions this whole thing, then there is something wrong.
At Ellusionist, we have one goal: to give you the power to perform magic beyond belief. We want to make you the life of any party. We want to make you into a performer. Composed of 12 individuals, we barely sleep, and we will do anything necessary to bring you the best magic, the best talent, the best training and playing cards possible.
We manufacture many of our own magic supplies, tricks, effects, and custom playing cards. We strive to create the very best magical products the world has ever seen. We work with the United States Playing Card co and have produced 14 lines of playing card decks that are repeatedly acclaimed by top industry pros and magic enthusiasts all over the world.
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text:
Avira's Planned Online Service Will Ensure You Get Help
The fact that you're reading Security Watch strongly suggests that you're the go-to guy (or gal) for security in your family or your company. If Aunt Edna is flustered by an antivirus popup, if Clem in Accounting needs help scheduling scans, you're the one they turn to. Travis Witteveen, Avira's COO for Markets & Operations, briefed me today about a coming Avira service that will make your life easier, and might even make you money.
Witteveen first took me through some impressive Avira stats. The company has users in every country of the world except Antarctica. Avira's servers receive 1.6 million connections per minute getting updates. Around the globe, about 245 new users sign up every minute.
"Free antivirus is becoming mainstream," said Witteveen. "How can we bring other values to our customers? And what services can we monetize?" The company's new push involves protecting the user, not the device, and further bolstering the trust relationship between Avira and the user base.
Right now, a non-techie user who's confused by an event in Avira probably calls a friend for help. The friend must either cobble together some kind of remote control solution, travel to the affected computer, or try hard to communicate a fix over the phone. Avira intends to change that scenario radically.
Avira Online Essentials
The new service, called Avira Online Essentials, is presently in alpha testing. Beta testing should start in June, with a release in the fall. Where the current Avira Free Antivirus 2012 is free only for non-commercial use, this new service will be free for everyone.
The most important part of Avira Online Essentials is the ability to let another user manage your security. Cousin Kenny doesn't have to drive across town any more. He can check on his dear Auntie's Avira installation remotely and take any necessary action without leaving his man-cave.
The connection between manager and managed all happens in the Avira console online. A non-techie user may see one or more helpers here, with an option to ping them in emergency. A helper will see other users, organized into families or offices. Color-coded icons highlight any security problems, so with a quick glance and a few clicks the helper can straighten up everyone's security, possibly before those being helped know there was a problem. Click the image below to see a view of the online console.
The latest version of avast! Free Antivirus 7 added built-in remote control, but on an ad hoc basis. You phone or email your helper with a connection code, and the helper logs in. There's no online console and no chance to make a permanent connection. Avira isn't unique in offering built-in remote assistance, but its new system is very thorough.
Avira Experts Market
Just setting up a connection so you can help your relatives or officemates is a great thing, but Avira Online Essentials doesn't stop there. Tech-savvy individuals who take a simple training from Avira can register as paid helpers in the Avira Experts Market, specifying the services they can offer along with their price. In the sample screens Witteveen displayed, starting prices fell in the $5 to $12 range. Click the image below for an idea of what the market will look like.
Those receiving services rate the experience, so good helpers build a reputation just like good sellers on eBay or Etsy. Avira handles and guarantees the transactions between recipient and helper, so as to ensure a good experience. Avira also collects a percentage of each transaction. This can be as low as 10 percent for the most effective expert helpers.
Grander Plans
Avira's online infrastructure will be able to manage many different elements of security, many of them free. In addition to antivirus for Windows, Mac, and Android, the system can manage online backup across devices, establish patch management rules, help parents manage children's social media (thanks to Avira's acquisition of SocialShield) and more. In the future they may add antivirus for iOS devices, wider parental control, and secure browsing, all managed under the same Avira account.
Avira estimates that 90 percent of their users might need help from the other 10 percent. Avira Online Essentials will offer two parallel paths to get that help. You can connect with a friend or family member and get free help much more easily than in the past. Or you can shop an online market of experts and pay a reasonable fee for the help you need. I'm looking forward to this service's release, to see whether it's as effective as it sounds from the description.
For more from Neil, follow him on Twitter @neiljrubenking.


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Wheels on the Web
{Wheels.5.3547}: Jil {rabbit} Mon, 21 Sep 2015 06:47:02 CDT (2 lines)
The recall affects 2015 and 2016 vehicles too, and they use urea. I forget what year they made the change.
{Wheels.5.3548}: Joseph Kang {jsk} Mon, 21 Sep 2015 10:20:54 CDT (1 line)
{Wheels.5.3549}: Joseph Kang {jsk} Mon, 21 Sep 2015 11:58:23 CDT (4 lines)
From what I'm seeing, while some 2015-2016 models used the 2.0L w/ urea injection, they were still selling 2.0L models without. It looks like they hadn't completely eliminated the NOx trap models in their line-up.
{Wheels.5.3550}: Jil {rabbit} Mon, 21 Sep 2015 15:07:52 CDT (1 line)
I know the urea is based on engine size.
{Wheels.5.3551}: Doug White {dwhite} Tue, 22 Sep 2015 10:17:34 CDT (4 lines)
It's a pretty clever hack, I'll grant VW that much. Heh. Compared to all the tractor-trailers that are absolutely noxious, and how rare diesel passenger vehicles are in the US, I am not very outraged.
{Wheels.5.3552}: Joseph Kang {jsk} Tue, 22 Sep 2015 10:19:53 CDT (6 lines)
Someone else made that point elsewhere, too. In a sweet bit of irony, the Feds recently came out against allowing hobbyists and others from reprogramming ECUs and the like about a month ago claiming it could have negative impacts on emissions. Then this happens. Ha!
{Wheels.5.3553}: Joseph Kang {jsk} Tue, 22 Sep 2015 10:23:49 CDT (7 lines)
I think the outrage is moreso that VW has essentially lied to consumers that the non-urea injection TDIs were clean enough to meet EPA regulations. People were proud to drive TDIs over traditional gas cars and now they're being made fools of. Personally, I think depending on your driving habits, diesels may still be a better option than gas.
{Wheels.5.3554}: Jil {rabbit} Tue, 22 Sep 2015 10:33:03 CDT (4 lines)
I have to admit that I still love diesels. What's troubling here is the outright lying. And yes, I am also impressed with the hack.
{Wheels.5.3555}: Joseph Kang {jsk} Tue, 22 Sep 2015 13:27:01 CDT (9 lines)
"Outside the laboratory, the ICCT tested a Volkswagen Jetta TDI that spewed 15 to 35 times the EPAs nitrogen oxygen (NOx) emission limit. Passat models that were equipped with urea aftertreatment still broke the limits by 5 to 20 times the maximum allowed by law." "http://bestride.com/blog/vw-and-audi-tdi-owners-your-guide-to-volkswagens-tdi-crisis/24723/" This is getting worse by the day. Had no idea that even urea-injection cars were exceeding EPA limits.
{Wheels.5.3556}: Doug White {dwhite} Wed, 23 Sep 2015 10:24:56 CDT (1 line)
Maybe VW can concoct for me a "legal" two-stroke modern sport bike, LOL.
{Wheels.5.3557}: Joseph Kang {jsk} Wed, 23 Sep 2015 11:59:00 CDT (3 lines)
Not a surprise, really, but Winterkorn is officially out. "http://arstechnica.com/cars/2015/09/volkswagen-ceo-resigns-amid-emissions-test-cheating-scandal/"
{Wheels.5.3558}: Joseph Kang {jsk} Wed, 23 Sep 2015 12:00:20 CDT (2 lines)
I'd read elsewhere that his term was up for re-election later this month anyway.
{Wheels.5.3559}: Doug White {dwhite} Thu, 24 Sep 2015 10:15:20 CDT (1 line)
Imagine if all corporate CEOs faced regular elections...
{Wheels.5.3560}: Jil {rabbit} Thu, 24 Sep 2015 13:59:13 CDT (2 lines)
But first news - yet unconfirmed - is that he takes with him a $60 million golden parachute ...
{Wheels.5.3561}: Joseph Kang {jsk} Thu, 24 Sep 2015 16:02:01 CDT (2 lines)
Wall Street Journal is reporting that Porsche head Muller to be named as the replacement, too.
{Wheels.5.3562}: Joseph Kang {jsk} Tue, 06 Oct 2015 18:10:13 CDT (4 lines)
A Range Rover Evoque convertible. I lay the blame squarely at Nissan's feet. They started it with that Murano convertible monstrosity. "http://www.autoblog.com/2015/10/06/range-rover-evoque-convertible-off-road-video/"
{Wheels.5.3563}: Jil {rabbit} Tue, 06 Oct 2015 19:33:24 CDT (2 lines)
The concept convertible made the rounds of the auto shows a few years ago.
{Wheels.5.3564}: Joseph Kang {jsk} Wed, 07 Oct 2015 17:45:18 CDT (7 lines)
Did you get to see the concept in-person? What did you think of it "in the flesh" if you did? BTW, Jil, are you familiar with these boutique trucks? It looks like something that you might appreciate. "http://www.autoblog.com/2015/10/07/legacy-classic-power-wagon-first-drive-review/"
{Wheels.5.3565}: Jil {rabbit} Thu, 08 Oct 2015 19:27:31 CDT (6 lines)
I thought it looked okay in person. Mind you, I didn't think the Murano convertible was bad at all. I do know those trucks. The company has a display at the SEMA show each year and I drool over them. I've always wanted a Power Wagon, and they do a beautiful job, but man they cost the earth.
{Wheels.5.3566}: Jil {rabbit} Fri, 18 Mar 2016 18:12:03 CDT (4 lines)
When driving home isn't enough: "http://jilmcintosh.typepad.com/jil/2016/03/andrew-comrie-picard- driving-to-the-end-of-the-world.html"
{Wheels.5.3567}: Joseph Kang {jsk} Mon, 21 Mar 2016 17:06:32 CDT (3 lines)
Thanks for the great story, Jil. Impressed that they did it with a stock Jeep, too. Is their plan to do the pole-to-pole with a stock vehicle, too? Or will they be using something more purpose-built?
{Wheels.5.3568}: Joseph Kang {jsk} Mon, 21 Mar 2016 17:37:43 CDT (3 lines)
Just reading through your review of the '16 Civic and happy to read that Honda did away with that awful dual-tier instrument cluster design. About time!
{Wheels.5.3569}: Jil {rabbit} Mon, 21 Mar 2016 19:04:21 CDT (3 lines)
Yes, now only if they'd lose that awful touch-screen stereo. Right now the plan is to go pole-to-pole in a stock Jeep.
{Wheels.5.3570}: Joe Gordon {darmund} Tue, 11 Dec 2018 17:29:15 CST (HTML)
Well guess what? When you take your Veyron in for service or repairs that "fuck you" will get thrown back in your face!
Sort of. https://www.roadandtrack.com/carculture/a25435171/bugatti-veyron- repair-costs/
$42,000 to replace the gas tank?!? I could buy two great used cars for that much money.
*The phrase "fuck you level money" was reportedly coined by KISS guitarist/lead singer Paul Stanley who upon buying a new house spent $90,000 having a custom studio built in, then when it was finished walked in, spent 5 minutes twanging a guitar, said, "Nope, tear it down and start from scratch," and when the studio/builders/architect looked at him all boggleeyed, "Said, "Ay, I have Fuck you level money here, besides it's a tax write off, business expense.**"
**This courtesy of bassist/lead singer Gene Simmons who has always
been the smartest in the band when it comes to merchandising and
financial matters.
{Wheels.5.3571}: Jil {rabbit} Sun, 16 Dec 2018 07:42:00 CST (1 line)
My friend has a Ferrari Enzo. A set of tires is $30,000.
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Product Description
Rings. Dress. Cake.
You're engaged, and the checklist for the day of your dreams is a mile long. In the "who," "what," "where," and "how" of planning, the "why" can be forgotten."
Ready to Wed discusses 12 Traits of a thriving marriage and offers a variety of topics to guide and advise those preparing to say, "I do"
Learn to:
- Define a vision statement unique to your marriage.
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Loaded with advice, tips, and instructions, this valuable resource is ideal for soon-to-be-newlyweds and those who support them.
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text:
Belmont: The Key West of Charlottesville?
What does Belmont have in common with the relaxed, margarita- and music-laced isle of Key West? At least the last time I checked, Charlottesville's trendiest neighborhood lacked palm trees, piers, famous literary hangouts, turquoise water (though my Belmont basement has been known to flood to wading height) and pink sunsets.
But according to Michelle Easter, owner– together with The Happy Cook's Tammye Van Clief– of the late-summer opening Cayo Hueso ("Key West" in Spanish) café in downtown Belmont, the two share a certain sensibility. "I've always loved Key West," she tells Dish, "and I also think Belmont is a jewel of a neighborhood. To me, they both have the same sort of village feel."
I can see that, especially on a warm evening when Mas's patio is packed and neighborhood front porches rock to life.
Michelle and her husband, Jeff Easter, (of award-winning Jeff Easter Remodeling) purchased the vast brick and stucco warehouse-retail building at 823 Monticello Road (recent home of Patrick's Furniture) about five months ago and improvements- such as those to the eye-catching Florentine-yellow façade- were immediately visible. The Easters plan to move their kitchen cabinet remodeling shop into the building and several other tenants (among them, perhaps, a restaurant and a caterer) are hoping to occupy the prime spot soon.
But one thing is definite: Belmont will soon have a café of its very own.
Inspired by Key West and nearby Cuba, Cayo Hueso will occupy a cozy 500 sq. ft. space on the extreme left side (facing front) of the building. There will be tables and umbrellas outside, and the inside will be decorated in bright island colors and sporting a combination of the custom-designed (cabinets, of course) and the found. Easter says they plan to serve breakfast (cafe con leche, claro!) and lunch (Cuban sandwiches, soups, key lime and banana pies), then re-open for the evenings, after a little siesta.
In order to encourage that neighborhood feel, they'll likely offer discounts for people who stroll or bike to the cayo. (My flip-flops are ready.) Other details (i.e. exact hours) will evolve over time, and with the changing needs of this changing Belmont community. "Whatever anybody wants, we'll do," says the easy-going Easter.
Cayo Hueso should be open by late August, but that's certainly no guarantee. "We're on island time, after all." Easter adds.
Gaynor's gamble
Since 1999, City Centro served up soups, wraps, and salads. But the 32-year-old owner, Andreas Gaynor, felt pigeonholed by the compact location at the base of the former SNL Financial building.
"For five years," says Gaynor, "I struggled to get away from the 'coffee guy' moniker."
Now, he's getting away in a big way– but he's not going far. By July 1, he hopes to open his newest project right across the pedestrian Mall: Fusion Restaurant and Delicatessen.
The new concept will be located in what used to be called the "Downtown Mini-Mall." A mish-mash of trinket sellers and food stands, the Mini-Mall was adorned with flimsy wooden trellis material to diffuse its ubiquitous fluorescent lights.
Although the cheesy decor left in a dump truck, and the building has been rechristened "The 414 Building," the cheese quotient may come the form of Philadelphia cheese-steak and other sandwiches as well as breakfast from 7am to 8pm.
"I just have to say I'm a lucky guy," says Gaynor, 32, standing at the front of his work-in-progress. "Look at this floor– it's oak."
His renovations also uncovered a brick wall that, along with a beaded-wood ceiling, will become hallmarks of the space that will seat 48 inside and 40 outside on the Mall.
Andrea Gaynor: "I'm a lucky guy."


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Health SA Gesondheid (Online)
versão On-line ISSN 2071-9736
versão impressa ISSN 1025-9848
Health SA Gesondheid (Online) vol.13 no.1 Cape Town 2008
Health promotion needs of Hammanskraal families with adolescents orphaned by HIV/AIDS
MD PeuI; NC van WykII; ADH BothaIII
IMA Cur (Community Nursing), PhD student. Lecturer, Department of Nursing Science, University of Pretoria
IIPhD (Community Nursing). Professor and Head of Department, Department of Nursing Science, University of Pretoria
IIIDr. D Cur (Critical care). Senior Lecturer, Department of Health Studies, University of South Africa
Health promotion is regarded as the cornerstone of good health. It is the action expected from individuals and families in order to better their own health situation. Health promotion is an art and science (Edelman & Mandle, 2002:16) that is integrated into the primary health care to reduce existing health problems. The purpose of the research on which this article is reporting, was to explore and describe the health promotion needs of families with adolescents orphaned by human immunodeficiency virus or acquired immune deficiency syndrome (HIV/AIDS). The research was located within a qualitative paradigm that is both exploratory and descriptive. Eight families who were purposely selected participated in the research process. Qualitative methods, such as group interviews and field notes were utilised to collect data. The health promotion needs of the families with adolescents orphaned by HIV/AIDS were explored and described. Tesch's analysis process, which entails a series of steps, was followed (Creswell, 2003:192). Themes, categories and subcategories that form the central focus of health promotion needs emerged during the data analysis. These themes,categories and subcategories are used to develop guidelines for health promotion.
Keywords: health promotion; families; adolescents orphaned by HIV/AIDS; basic needs; rural homes
Die bevordering van gesondheid is die hoeksteen van gesondheid. Dit is die aksie wat van individue en familie verwag word, sodat hulle hul eie gesondheidstoestand kan verbeter. Die bevordering van gesondheid is 'n kuns en 'n wetenskap, wat geïntegreer is in primêre gesondheidsorg, om bestaande gesondheidsprobleme te verminder (Edelman & Mandle, 2002:16). Die doel van die navorsing, waarna in hierdie artikel verwys word, was om uit te vind wat die gesondheidsorgbehoeftes van families, met adolessente wat wees gelaat is as gevolg van menslike immunogebrek virus of verworve immuungebrek sindroom (MIV/VIGS), is, en dit te beskryf. Die navorsing was binne die raamwerk van 'n kwalitatiewe paradigma, wat eksplorerend en beskrywend is. Agt families, wat vir die doel geselekteer is, het aan die navorsing deelgeneem. Kwalitatiewe metodes, soos groepsonderhoude en veldnotas, is gebruik om data in te samel. Die gesondheidsorgbehoeftes van die families, met adolessente wat wees gelaat is as gevolg van MIV/VIGS, is ondersoek en beskryf. Tesch se analiseproses, wat uit 'n aantal stappe bestaan, is gevolg (Creswell, 2003:192). Temas, kategorieë en sub-kategorieë, wat die sentrale fokus van die gesondheidsorgbehoeftes vorm, het uit die data-analise na vore gekom. Hierdie temas, kategorieë en sub-kategorieë, is gebruik om riglyne te ontwikkel vir gesondheidsbevordering.
"Full text available only in PDF format"
ABDOOL-KARIM, SS & ABDOOL-KARIM, Q 2005: HIV/AIDS in South Africa. Cape Town: Cambridge University Press. [ Links ]
ALLENDER, JA & SPRADLEY, BW 2005: Community health nursing: Concepts and practice. Philadelphia: Lippincott. [ Links ]
ANDREWS, MM & BOYLE, JS 2003: Transcultural concepts in nursing care. Philadelphia: Lippincott. [ Links ]
BABBIE, E & MOUTON J 2007: The practice of social research. Cape Town: Oxford University Press. [ Links ]
BURNS, N & GROVE, SK 2001: The practice of nursing research: Conduct, critique & utilization; 3rd edition. Philadelphia: Saunders. [ Links ]
BURNS, N & GROVE, SK 2003: The practice of nursing research: Conduct, critique & utilization; 3rd edition. Philadelphia: Saunders. [ Links ]
CARPENITO-MOYET, LJ 2003: Maslow's hierarchy needs-revised. Nursing Forum, 38(2):3-4. [ Links ]
CRESWELL, JW 2003: Research design: Qualitative and quantitative Approaches. California: Thousand Oaks. [ Links ]
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DE HAAN, M; DENNILL, K & VASUTHEVAN, S 2005: The health of Southern Africa. Johannesburg: Juta. [ Links ]
DENNIL, K; KING, L & SWANEPOEL, T 2002: Aspects of primary health care: Community health care in South Africa. Cape Town: Oxford University Press. [ Links ]
DEPARTMENT OF HEALTH 2000: HIV/AIDS/STD strategic plan for South Africa. 2000-2005. Pretoria: Department of Health. [ Links ]
DEPARTMENT OF HEALTH 2001a: National guideline on home-based care and community-based care. Pretoria: Government Printers. [ Links ]
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EDELMAN, CL & MANDLE, E 2002: Health promotion: Throughout the lifespan; 5th edition. St. Louis: Mosby. [ Links ]
ELFITURI, AA; ELMAHAISHI, MS & MACDONALD, TH 1999: The role of health education programmes within the Libyan community. 5(2):263-276. Available at http://www.emro.who.int/Publications/EMHJ/0502/08.htm (Accessed: 30 August 2005). [ Links ]
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KINGDOM, G & KNIGHT, J 2005: Unemployment in South Africa: A microeconomic approach. Available at http://www.csae.ox.ac.uk/resprogs/usam/default.html (Accessed: 25 January 2007). [ Links ]
LEHANA, TV & VAN RHYN, L 2003: A phenomenological investigation of experiences of pregnancy by unmarried adolescents in Maseru. Health SA Gesondheid, 8(1):26-38. [ Links ]
LINCOLN, YS & GUBA, EG 1985: Naturalistic inquiry. London: Sage. [ Links ]
MARKER, S 2003: Unmet human needs. University of Colorado: Intractable Conflict Knowledge Base Project. [ Links ]
MBEKI, T 2004: State of Nation Address. Pretoria: Government Communication. [ Links ]
MENGEL, N 2003: A social work assessment of the emotional needs of HIV/AIDS orphans. Pretoria: University of Pretoria (Unpublished M Cur dissertation). [ Links ]
MONTH OF YOUNG ADOLESCENTS 2005: Expressions from the middle. http://www.nmsa.org/moya/-2004/related-youngadol.htm (Accessed: 31 May 2005). [ Links ]
MURRAY, RB & ZENTNER, JP 2001: Health promotion strategies through the lifespan. New Jersey: Apprentice Hall. [ Links ] PEARSALL, J 2002: Concise Oxford English Dictionary. New York: Oxford University Press. [ Links ]
POLIT, DF; BECK, CT & HUNGLER, BP 2001: Nursing research: Principles and methods; 5th edition. Philadelphia: Lippincott. [ Links ]
QUIN, FM 2000: Principles and practice of nurse education. United Kingdom: Ashford Colour Press. [ Links ]
RAMSDEN, N 2002: Community help for children living in an HIV+ world: Bringing hope to orphaned children. Durban: The Press Gang. [ Links ]
REPUBLIC OF SOUTH AFRICA 1996: Government Gazette 378(17678). Cape Town: Creda Press. [ Links ]
ROSSOUW, D 2003: Intellectual tool: Skills for human sciences. Pretoria: Van Schaik. [ Links ]
RICHTER, S & PEU, MD 2004: The educational and supportive needs of informal caregivers working at Refentse Clinic, Hammanskraal. Curationis, 27(1):31-40. [ Links ]
SIAENS, C; SUBBARAO, K & WODON, Q 2003: Are orphans especially vulnerable? Evidence from Rwanda. Rwanda: World Bank. [ Links ]
SOUTH AFRICA 1996: The South African Constitution. Pretoria: Government Printers. [ Links ]
SOUTH AFRICAN GOVERNMENT INFORMATION 2003: Address by President of South Africa, Thabo Mbeki, at the celebrations of the 9th million South African household to receive water. [ Links ]
SPECTOR, RE 2004: Cultural diversity in health and illness. Connecticut: Appleton & Lange. [ Links ]
UNAIDS 2006: Report on the global AIDS epidemic. Geneva: World Health Organization. [ Links ]
VAN RENSBURG, HCJ 2004: Health and health care in South Africa. Pretoria: Van Schaik. [ Links ]
MD Peu


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New Orleans is known for its jazz history and culture. We honor this historical Jazz culture with a celebration of our own, Louis Armstrong "Satchmo." The New Orleans Satchmo Summer Festival is a free American Jazz festival put on by the French Quarter Festivals Inc. to celebrate the life and works of Louis Armstrong. Featuring free local jazz, the Satchmo Festival will be held from August 4th-7th in the French Quarter, at the Louisiana State Museum's Old US Mint, only steps away from the French Market, 13 min from our Garden District bed and breakfast.
Some of the musicians featured in this year's Satchmo Festival include, our favorite, Kermit Ruffin, Jeremy Davenport, Dixie Saints, Rebirth Brass Band, the Treme Brass Band, and so more. Alongside this traditional, contemporary and local Jazz music will be unique speakers, seminars, and exciting special events, such as Louis Armstrong's birthday party, a Jazz Mass on Sunday at the Treme St. Augustine Church, and a second line parade. The Satchmo Festival also offers some of the most delicious local food and drink including locally brewed Abita Beer, fresh, local snowballs, and the red beans and rice loved by Louis Armstrong himself.
Because of the heat of the summer, this tends to be more of a local fest, less crowded and one of our favorites. As always…..great music, local color and delicious food! An umbrella and sunscreen are good items to take with you .


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Blowing Bubbles and Learning About Nanostructures
July 8, 2009
Visitors to the Sciencenter in Ithaca, NY, are blowing bubbles and exploring the nanoworld at the same time.
Visitors to the outdoor science park investigate the properties of bubbles, structures that self-assemble from soap film. They also create large soap films, observing that the colors of the film depend on its thickness. Summer campers are using clear nail polish to make rainbow-colored thin films that won't pop.
Dragonfly TV created an activity guide for exploring soap bubbles and the similarities between the iridescence in the bubbles and the iridescence in some butterfly wings. Download it here.
Photo by Tagishsimon


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Simply request information from a Transfer Contact at a KCTCS college, a Transfer Contact at a four-year college/university, go directly to their transfer web site.
The following deadlines are critical in your transfer planning from KCTCS to another college or university:
Youll find completing your degree at KCTCS and then transferring to the college or university of your choice is cheaper, faster, and easier. By taking courses and completing your degree at KCTCS you can save money. And by completing coursework at KCTCS, you may be eligible for transfer scholarships. Research shows that if you complete your degree at KCTCS before transferring you are much more likely to complete your bachelor degree and in less time than students who transfer before getting their KCTCS degree. And, if you have an associate degree, you can take full advantage of the policies and agreements that are in place to help you transfer.
Yes! KCTCS and colleges and universities across Kentucky offer a range of programs and services, and host a number of events to you help you decide on the right college or university as well as program study. To learn about events and programs, visit the website or contact the Transfer contact of the school you wish to learn about.
You can find out how your KCTCS credits will transfer in a number of ways.
Yes! There are a number of financial aid and transfer scholarship options available to help you finance your educational goals.


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Jun 27, 2011
From staff reports
Laura Myers, executive director of the Office for Institutional Equity and Gwen Brooks, director of employment and recruitment in University Human Resources, recently sent this letter to Ohio University hiring managers. It addresses changes made to the Diversity Initiative and the upgrade of applicant tracking software.
The purpose of this memo is to inform you of two important changes that affect the hiring process used by both academic and academic support units.
First, the impact of recent changes in the Ohio University Diversity initiative on the hiring process workflow. Second, changes to applicant tracking software and available training tools.
1. Diversity Initiative Changes
Ohio University's Diversity Initiative has been in place since 2004. In response to feedback from Deans and administrative leaders, Institutional Equity proposed and President McDavis and Executive Vice President and Provost Benoit have approved a work-flow revision of the Initiative as follows: for administrative and faculty searches, Institutional Equity will review the requisition after the close of the job posting and initial screening of applicants, prior to on-campus interviews. Institutional Equity will review the final interview pool to ensure that at least one woman or person of color will be invited to campus for interviews. If the Diversity Initiative is not met, a unit will have an opportunity to reconsider the applicant pool or re-open the search.
The advantages of earlier placement of a Diversity Initiative review in the process include:
1) The ability to provide information to the unit leaders while there is still opportunity to add qualified individuals to the interview pool;
2) Increased agility in the offer and negotiation stages.
By approving the interview pool rather than evaluating the completed search, Institutional Equity is, in essence, approving for hire any of the qualified applicants identified for the final interview pool. As always, the choice of who is the best individual candidate remains with the hiring unit. An affirmative action program cannot dictate outcomes, but must focus on strategic improvements to recruitment and outreach, and to ensure equal opportunity and fair consideration of qualified applicants, without discriminatory impact.
As an additional service and effort towards increasing the diversity of applicant pools, the Office for Diversity, Access and Equity (DAE), under the direction of Brian Bridges, will play a consultative role to deans, department and search committee chairs early in the search process in crafting a recruitment plan that demonstrates "innovation, exhibit(s) creativity, and reflect(s) an aggressive effort to recruit qualified persons from underrepresented groups." DAE's role is collaborative and will not absolve colleges, departments and search committees from putting forth a full faith effort to meet the requirements of the diversity hiring initiative.
Questions on Diversity Initiative changes should be sent to Laura Myers at firstname.lastname@example.com or 740-593-2620.
2. Upgrade of PeopleAdmin
University Human Resources is excited to announce that our applicant tracking/hiring system (PeopleAdmin) is going to upgrade in both look and functionality. We anticipate that these changes will make a significant impact on the quantity and quality of candidates available to hiring managers, as well as streamlining the hiring process.
Enhancements include:
• A more modern, intuitive, task-oriented user interface that reduces the amount of clicks required to get to the activities that matter most. It is clean, well-organized and very easy-to-learn, allowing most users to become productive almost immediately.
• Integration of the Hiring Freeze Exemption form to include electronic approvals
• Updated workflow to incorporate the Diversity Initiative changes (above)
• Advanced Applicant Assessment and Ranking capabilities
• A robust reporting and analytics environment that provides extensive ad-hoc reporting capabilities, a full array of pre-configured standard reports, mass data import and export capabilities, role-based queries, and report generation for non-technical users.
• Enhanced candidate searching capabilities that enables you to include applications and all related documents in your search. This delivers a more thorough view of the applicant pool and improves selection capabilities.
Anticipated go-live for the upgrade is scheduled June 28. A reminder notice will be sent to all users prior to the go-live. UHR will work one-on-one with units with searches in progress to prepare for the transition.
Training for Hiring Managers will be available both online as well as classroom style. If you have searches that are accepting applications beyond June 28, or a search that will begin within the next 30 days, please view the online training video available here.
As an additional option, classroom style training is available by contacting UHR at 740-593-1636 to register for an open computer lab session. Questions can be directed to Gwen Brooks at firstname.lastname@example.com or 593-1226.


text: This list compiled by Margie Bailey and friends Jolene Chisholm and Archie Mills. As of today, Margie is the only one with email access, and she is willing to pass along thanks and questions to Jolene and Archie. These three wonderful people are copying cemeteries faster than I can keep up! Please -- if you do make a connection with these cemetery listings drop a line to Margie and let them know. They are VOLUNTEERS -- and should be thanked as much as possible! Please -- also post any good news in the guestbook, so others can see that this system works.


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They say that cooking is an art while baking is a science. However, the lines are blurred when it comes to talented bakers such as Claudia Saraniecki, proprietress of Babushka Bakery (a DBA of the long-established catering company Saranecki Bros., Inc.). While Saranecki's work shows intense precision, it's largely her sense of whimsy and creativity that drew us to her work: fanciful ballerina cookies, delicately flowered and tendril'ed cakes, and pastry light as air or heavy as the night, depending on the occasion. Working as a boutique catering baking company, she's worked on an incredible variety of projects, from corporate gift baskets to fancy dinners to yes--even wedding cakes. We recently took some time to talk pastry with Claudia; here's what we learned about confectionery, bakeries in Chicago, and what in the world a kolacky is:
Cakespy: You are a partner in Saranecki Bros., Inc, but your baking business is Babushka Bakery. Is this a division of the catering company, or a completely different business?
Babushka Bakery (Claudia Saraniecki): Babushka Bakery is a registered DBA of Saranecki Bros. Catering, Inc. We are a 65-year old family business that owns and operates four banquet facilities in the northwest side of Chicago. In addition to the on premise catering, we also have an extensive off premise catering division. Babushka Bakery provides pastries and cakes for many of our parties. I also have clients who do not use our other catering services.
CS: Saranecki Bros. is a family business, so it looks like there is a history of cooking in your family- so what drew you to baking?
BB: I married into the Saranecki family 25 years ago. But I was raised in a food obsessed family that included a grandmother of German and Alsatian heritage, another grandmother of Austrian-Polish heritage, and a very creative and enthusiastic Mother who baked daily for a family of 7 (five kids). As the eldest daughter, I learned to cook at an early age, then studied Food and Nutrition in college, finally earning an MS in Human Nutrition and a license to practice dietetics. While raising my own children, I began to test recipes for our catering company and also was asked to create a few signature products for the company. About this same time, my eldest son was diagnosed with severe food allergies that included cane and corn products. I had to cook everything from scratch for him for a few years. That responsibility went from being a necessity to a pleasurable habit and finally, a career path.
CS: Do you cook, too? Or are you primarily a baker?
BB: Yes, I am a good cook, and have done some personal chef work, but professionally I consider myself a baker.
CS: Can you give us an idea of the breadth of the projects you've taken on?
BB: Corporate clients present the largest projects. Early on, I received an order for 700 welcoming gift baskets for a corporate meeting to be held in Chicago. Each gift basket included several products that I made: a small sourdough focaccia, frango mint cookie, caramel and chocolate dipped pretzel, and I think a small cake. I was certainly inexperienced at the time, but you can learn so much under pressure. My friends and family all rallied to help pack the items the day of shipping. I made everyone wear babushkas (scarves) on their heads. My husband walked in and yelled; "Holy smokes, it looks like a babushka bakery in here!" And the name stuck!
CS: Would you ever be interested in opening a more traditional bakery?
BB: If I was 25 year old and knew what I know now... but, no, I will not be opening a traditional bakery. I enjoy knowing exactly how many items I will be baking in a week. I still have time to fine tune recipes and create new ones. And my family continues to be priority #1.
CS: What are some of your favorite things to bake?
BB: My focus has been on creating special, over the top cakes for clients the last few years. It's exciting and creative. But for fun, comfort, and relaxation, I love to bake rustic tarts and breads.
CS: How does commercial baking differ from small batch (at home) baking?
BB: I'll never forget the first day I walked into a Food Lab in college. I thought it would look all cozy and home ec'y. Instead, it was a lab. A stark, pristine white lab with ovens, scales, and refrigerators. The teacher saw my confusion as I looked for measuring cups and told me "now you will learn to cook properly, with skill and precision. You will learn to replicate your formulations and create standards for your products." That class changed my perception of cooking from a casual activity to a scientific method. My teacher let me know that the work we did in a food lab was as important as the chem or bio lab. Consequently, whether at home or in a commercial kitchen, the standards and practices are the same for me; sanitation, quality of ingredients, scientific methods, combined with aesthetics and taste. I always weigh ingredients rather than measure. It becomes a habit; my boys laugh when they see me weigh the fillings for their sandwiches.
CS: You mention in your bio that one of your specialties is Kolacky. Can you tell us a little bit more about what Kolacky is and why it's so special to you?
BB: Kolacky are small pastries that are commonly found in Eastern European countries. Sometimes they are yeast raised with a small dollop of fruit preserves. Other kolacky are made of cream cheese pastry that is cut into squares, filled with fruit preserves, then two corners folded up and baked. Saranecki Bros. has been selling kolacky for probably the entire 65 years....Our original baker was a clever, but mysterious man who made these unique and delicious pastries by the thousands. His kolacky differed from others; they were slightly sweeter, had mini chocolate chips, and were crispy rather than soft. Unfortunately, he died without revealing his recipe. I was asked to recreate the recipe. Little did I know that I would become the kolacky queen of Saranecki Bros.!
BB: My first exposure to fondant was Wilton brand. Wilton is a wonderful company, but that fondant has an unpleasant flavor. So I used modeling chocolate for about a year while I tested different brands of fondant. With the advice of Colette Peters, I tried Massa Ticino, which is made by Carma in Switzerland. It tastes like the inside of an Oreo cookie and is a dream to work with. On the downside, it is very expensive, made worse by the dollar/euro imbalance. My second choice is Satin Ice.
CS: To you, what is the most important aspect in making a great baked good?
BB: An obvious answer for a cake decorator is appearance; but by now, we've all been burned by the large rotating dessert display at the local Greek restaurant. So I try to not judge a pastry by its appearance. Fragrance is not as obvious, but is a wonderful aspect. A concierge phoned
me to say that she could smell how delicious my pastries were, right through the cellophane packaging. A good chocolate cake should fill a room with its perfume. But, for me, the aspect that makes a product really interesting is texture. For example, I have been making a smoothie for myself every morning for about the past 6 months. Every smoothie from day one was good, smooth, creamy, and sweet (not cloying). But when I started to add ground flax seedto the mix, then the smoothie became interesting because of the chewing needed for the flax. And chewing helps stimulate serotonin, which is a mental tranquilizer, which adds a new dimension to a breakfast meal. Nancy Silverton, in Breads from the LaBrea Bakery (the best book on bread making) writes about learning to bake bagels from a grizzled old New York bagel guy. He tells her, "the real flavor of the bagel comes in the chewing." I agree and like to put unexpected textures in many products. When making cookie dough, I will throw in a good pinch of coarse kosher salt at the end. The person who bites into a cookie and gets one or two
grains of salt will stop, and hopefully, consciously finish eating that cookie. It's become more interesting. We all love crème brulee, not because of the sweet, smooth, unctuous custard; but because of the contrast with the crunchy burnt caramel topping.
BB: Rustic tarts with roasted fruit fillings, chocolate éclairs, and my own Turtle candies (slowly roasted pecans, homemade caramel, fleur de sel, dark chocolate).
BB: I have to test product all the time. It's tough on the wardrobe budget. And if I'm testing a recipe, then it's tasted for a few days in a row to see how it ages; what kind of shelf life a product has. Every Sunday, I prepare a large family dinner. That's when I'll bring out 2 or 3 desserts which my family loves to sample and critique.
BB: Here's my hot list: cupcakes, red velvet cake, caramel, salt mixed with sweet, passion fruit curd, deconstructed anything (cheesecake, napoleon, cannoli) crazy flavored crème brulees, grilled fruits in the summer, ginger, peppers, hot chocolate, extremely dark chocolate (over 70% cacao), more intense milk chocolates. Also, here in Chicago, we are proud of our Vosges chocolates that have introduced people to mixing chocolate with unusual flavors and textures. Parisian style macarons seem to be the rage internationally with a lot of coverage in food blogs.
- Hot Chocolate: cute little restaurant with good food and excellent desserts.
- Bittersweet: small café; so-so food, overhyped pastries. Everyone can havea down day, but the dessert special was stale on the day I visited.
- Julius Meinl: Austrian coffee and pastry shop and café. This is a chain inAustria, and I think the Chicago shop is the only one outside of Europe.Visit this place and feel like you've had a brief European vacation. Coffeeand tea is served on silver trays with tiny glasses of cool water. Lovely; skip the pound cake, but most everything else is delicious.
- Swirlz: very good cupcakes.
- Vanille: so French and delicious. Teeny tiny macarons. A small shop with a few chairs and sofa. The owner just received a best pastry chef award from Pastry Arts magazine.
- Gale Gand's restaurants: she also received the best pastry chef award. I've eaten at all 4 of her (and partner Rick Tramonto's) restaurants at the Westin Hotel in Wheeling. The best is Osteria di Tramonto where you can choose mini desserts for about a buck each. I think I ordered 5 or 6 and was not disappointed.
- Sweet Mandy B's: very cute, very retro American style bakery with seating. Good, pretty cupcakes and I enjoyed the sugar cookie.
- Alhambra: recently opened as a night club, restaurant, and banquet facility, but go, go, go to feel like you have stepped back in time to Morocco in the 1940's. If not in the mood for a meal, enjoy a silver pot of mint tea and some pistachio baklava. Ask to look around, it is amazing.
CS: What is your next goal as a baker?
BB: I hope to attend a class taught by Pierre Hermé this spring. I have started baking my way through his books in preparation for the class--it's been a very enlightening experience already.
CS: Do you have any advice for someone considering starting up their own baking business?
BB: I have friends who create beautiful objects for people. They ask me why I get so stressed about baking--after all, it's just cake. But the beautiful object that I make for people is put into their mouths and swallowed. It becomes a part of my customer! If this thought doesn't scare a novice baker from the business, then my advice is to get the best training you can afford, bake daily, take good notes, and find people who will evaluate your work kindly, but honestly. And always wear supportive shoes.


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Alexandra Baker grew up fascinated by both science and drawing, and like so many other medical illustrators when she first heard about the field it was a eureka moment for her. Based in Asheville, North Carolina, today she's a leading scientific illustrator, working for an array of book publishers and magazines, illuminating some the latest discoveries in medical science.
Texture and atmosphere are important elements in her work. She recalls the day when her father – who worked with electron microscopes – first showed her scans of the surface of a leaf and the proboscis of a butterfly. Today she uses various kinds of nature photography as sources of inspiration. Underwater images help her create the right mood when depicting the human body from the inside, and pictures taken in caves can help with bodily cavities. The branches of trees are reminiscent of arteries, and nature's textures and patterns provide endless fascination for an artist who is dedicated to getting the details right.
She's also inspired by the artists Stephen Gilbert and Frank Armitage, both of whom are medical illustrators. Outside of her art, she loves to run and took up training five years back. Since then she's completed seven marathons and more than 20 half-marathons. A keen reader, she says her house is like a secondhand bookshop.
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In his Fierce VoIP post on Monday, Doug Mohney reports that one of his takeaways from last week's CES is that your TV is morphing into a phone. Maybe so, but another - and potentially bigger - story at CES is how your phone is turning into a TV set.
The Open Mobile Video Coalition (OMVC) debuted the new ATSC candidate standard for broadcast - free-to-air - mobile TV rolling toward final approval later this year. At CES, the OMVC was showing live broadcasts on prototype handsets, mobile video players, PCs, and in-vehicle video players.
This just could be more important even than making a videophone call via your 54-inch HD TV. It might even be - dare I say it? - even more important than Skype's announcement last month about the VoIP's demise; a discovery, let me add, that is hardly original - Jajah co-founder Roman Scharf famously tried this attention-attracting gimmick back in 2006.
Why is the OMVC's announcement important? Because it's a potential game-changer.
Long, long ago, in a galaxy far, far way...in 1927, to be exact, American Telephone & Telegraph and Bell Laboratories demo-ed what the New York Times called "the first practical demonstration of television," in which live picture and sound were transmitted from Washington, D.C. to New York City over phone lines.
The following year the Times heralded the dawn of the television age, writing, "Radio Pictures for the Home is Next Step in Broadcasting. Television - that is, seeing motion pictures on the radio - is approaching."
When was the last time you watched TV on your wired POTS phone? Contrary to high tech pundits' predications 80 years ago, television didn't conquer the world via either copper phone wires or electro-mechanical "photo-radio machines."
But when it comes to mobile TV, the U.S. perspective is just as primitive as that 1927 NY Times story.
We're stuck in a model where cell phone carriers decide if, and for how much, we can watch Daily Show clips on our handsets. Mobile TV here is dominated by businesses whose revenue model is selling minutes to people making phone calls, as opposed to broadcasters whose revenue model is selling audience access to advertisers. Which explains why mobile TV penetration is low in the U.S. compared to the rest of the world.
Mobile TV delivered by TV broadcasters is, well, so obvious it makes you want to bang your head against the wall.
"Broadcasters definitely have the edge in cost and effort over cell phone carriers - they're using the existing infrastructure that's already in the ground," explains OMVC Executive Director Anne Schelle.
"It's fairly inexpensive for a broadcaster to put up a mobile transmitter on an existing tower - as little as $50,000 and as little [installation time] as four hours. In the mobile industry it takes as much as a year to put up a single cell site."
Of course, it doesn't matter if it's cheap to build if no one wants to buy. But local broadcasters have much of what mobile viewers want, Schelle says. They have stuff you need to know right now - like when a hurricane is headed your way or a 15-car accident closes the freeway.
"If you look at broadcasters, they have the most highly watched shows," Schelle says. "If you look at [mobile] carriers, what they're offering is very limited. If you look at the two countries that have really deployed broadcast [free-to-air] mobile TV - Japan and [South] Korea, both have 50 percent penetration [for mobile TV viewing].
"When the iPhone was introduced there, consumers didn't flock to it because it didn't have mobile TV," she adds.
But Doug is right that TV will get smarter. The phone's return channel gives broadcasters a direct connection to viewers and opens opportunities for interactivity.
"At NAB there was a demo with mobile DTV on a tablet computer showing Dancing With the Stars and you could vote by touching your favorite contest," says Schelle. "Think American idol and being able to vote on your handset."
Put it all together and you get - dare I say it? - TV 2.0, propelling local broadcasters into become new media companies. The payoff potential is big. Research firm BIA predicts that by 2012, $1.1 billion in additional advertising revenue will flow to local TV stations from mobile TV services.
Right now there's a boatload of handsets that pick up broadcast TV - even analog TV. You wouldn't know that here in the U.S. because you can't buy them here.
Of course, these handsets don't support our broadcast standards, but, as evidenced by the OMVC's dog and pony show at CES, component makers are gearing up and Schelle expects devices equipped with ATSC-mobile TV receivers to be on retailers' shelves by 2010.
Of course, this seems like grim news for carriers. But don't write them out of the equation just yet. Carriers may just find a new and interesting use for that bandwidth. Remember that 1927 television broadcast over telephone lines? We call that broadband multimedia today.If you're interested in what you can watch on your phone - as opposed to whom you can call on your TV - check out Broadcast Engineering's Mobile TV Update. (In the interest of full disclosure, I'm the editor. And don't tell me that it's impolite to promote your own publications. It's a Brave New Media World and all bets are off.)
Illustration courtesy of Tom Genova, owner of the online TV history museum, Television History - The First 75 Years.


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Authorities in the District of Columbia say they've arrested a man for making threats against Hawaii Rep. Tulsi Gabbard.
The U.S. Capitol Police and FBI said Aniruddha Sherbow was arrested Wednesday in Tijuana, Mexico. He was turned over to FBI agents in San Diego and will make his initial court appearance there before being returned to Washington, D.C.
Authorities say the alleged threats occurred Aug. 1 and Aug. 3 and were deemed credible. They did not elaborate.
Gabbard, a Democrat, was elected to Congress in 2012.