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Cross-posted on Health Care for All's A Healthy Blog
In this tight budget environment, lawmakers are always looking for those magic bullets: ways we can improve services AND save money. I joined Health Care for All, state Health and Human Services Secretary Judy Bigby, and Christie Hager, US Department of Health and Human Services Regional Director of Region 1 at the State House yesterday to talk about one of those rare policy solutions: a bill I've filed with Representative Ellen Story to establish 12-month continuous eligibility for children and their parents under MassHealth.
Thanks to our health care reform law, Massachusetts has done a very good job providing health coverage for children – but we've done less of a good job keeping children continuously insured. As the Boston Globe pointed out yesterday, thousands of Massachusetts children remain without coverage, often because they fall through cracks in the system.
Health Care for All has launched an Enrollment Challenge, with 65 organizations across the state pledging to help connect at least 500 kids to coverage during the month of May. To compliment this great effort, Massachusetts should do what it can to address problems in the system by eliminating those bureaucratic cracks so kids on MassHealth don't encounter coverage gaps in the first place.
By allowing eligible families to maintain their MassHealth coverage for a full year without having to reapply, we can help eliminate health care coverage gaps for children – and save the state money by reducing the administrative costs associated with reviewing multiple applications and reapplications from eligible families. Whether you care about health care for children or reducing unnecessary bureaucracy (or both), it's a win-win situation.
Children lose their MassHealth coverage – despite remaining eligible for the program – for a variety of reasons. Household income can fluctuate, a family may be unable to pay the required premium contribution, or a family can change their address and forget to notify MassHealth. As noted in the Globe, paperwork glitches on either end – government or family – can also cause coverage to be dropped.
Too often, parents have to delay preventative care for their children because they don't have health insurance, or are in a "coverage gap," and can't afford the medical bills. By passing continuous-eligibility legislation, we can help improve this situation for many children.
Massachusetts is still a leader in health care in many areas, but when it comes to continuous eligibility, we're behind. Thirty-two other states have already adopted changes to their health care programs in order to ensure 12 month continuous eligibility for children and their families. I look forward to the Commonwealth joining with those other parts of the country by passing this legislation into law later this session.


text: You won't be able to stop jerking off watching the sexy and beautiful Cassidy Klein giving this lucky dude an amazing and killer blowjob, it was so good that she deepthroats that huge cock! This babe is so horny that she doesn't want to take off her pants and rips them open. She is so hot and kinky and she gets fucked really hard and good in several positions. She has an awesome ass and a pretty pink pussy. She moans a lot with pleasure, which is like music. Then you can see a cumshot and she gets her sweet and juicy pussy fill with hot cum. What an awesome and sexy clip, she surely loves to suck huge dicks!

subset: commoncrawl


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Find out more about us.
We wanted to let you know how much we enjoyed our trip to the various parts of Botswana!
We had an amazing time and loved all of the places you had picked for us, as well as all of the camps!
We had a particularly amazing time in Machaba, but it was very hard to compare and we
truly loved all of the sites, camps, camp managers and staff!
- Mona
The trip was a trip of a lifetime, everything went very smoothly and exceeded expectations!
I certainly will go back to Africa! Both camps exceeded expectations; if anything, we had
a slight preference for Lagoon as the lodgings were bigger and the food was better. We really appreciate your
help and have no hesitation in recommending you and asking you to organize another trip for us.
- Ron
Everything went so smoothly and each of the places you had booked for us was delightful in very different ways.
We got excellent service in each of them and were very impressed at the expertise
of the rangers and trackers and saw wonderful birds and animals. Somehow nThambo was my favourite...
- Deirdre


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AUGUSTA, Ga. — The gates opened Monday at the Masters and a race-walk event broke out. Once on the grounds of Augusta National Golf Club, many patrons purposefully made their way to the par-4 17th hole to ogle at or take photographs of a fairway that has healed beautifully, though a circular scar remains visible from the removal in February of a very large, distinctive beauty mark.
The Eisenhower tree, a 65-foot loblolly pine so named because it needled the 34th president of the United States and an Augusta member, was a casualty of one of the several ice storms to strike the area over the winter. Its loss was so deeply felt it warranted a eulogy. Delivering it was the club chairman, Billy Payne, who described it as "difficult news to accept" and said the decision to remove the tree was made only after consulting with the nation's leading arborists
The effects of the harsh winter were obvious throughout the course during the first of three days of the official practice rounds. Several trees sported amputated limbs. Others survived intact but were as thin as 3-irons, stripped of their fullness by the winter elements.
Steve Stricker was in the middle of a news conference Monday when a loud peal of thunder interrupted the proceedings. "There goes another tree," he joked.
Thunderstorms chased patrons and players alike from the course at midmorning, but before the grounds were closed, scores of mourners stopped by the spot, about 210 yards from the tee, on the left side of the fairway, to pay their respects. One woman slipped under the ropes and posed as a tree, with her arms swaying above her head, while her photograph was taken. Others took pictures of, well, nothing, because the club, other than putting down grass, has chosen not to replace one beautiful eyesore with another.
"I'm surprised that there isn't a bigger one in place there already, to tell you the truth," Stricker said, laughing. "I'm sure over the next year or two, there will be something there."
He added, "I don't know if any of the players are sad to see it leave."
After playing the back nine Monday, the 2003 Masters champion Mike Weir expressed sorrow. He arrived at the 17th tee, looked out at the fairway and felt a strange emptiness, as if he were a family member gazing at the empty chair at the head of the table at the first Thanksgiving dinner after the passing of the cantankerous patriarch.
Weir, a short-hitting, left-handed Canadian whose draw put the tree in play every time he played the hole, said: "It's sad to see that tree go. I pegged that tree many times."
He added, "Part of the challenge was to shape the ball around it."
Loblolly pines grow fast, as Jim Furyk, who played in his first Masters in 1996, can readily attest. "When I first started playing here, that tree was much shorter and much closer to the tee," he said.
Absently slipping into the present tense, Furyk added: "Once the tee moved farther back and that tree grew, it's difficult. I have a very hard time hitting it over that tree with the length that I hit it. I need to kind of work it around it or up the right side of the fairway. I've tried to hit it high and hard over that thing and caught it. The history of it, the history of the tree will be missed, and there's a lot of lore there. But my game definitely won't miss it that much."
The tree routinely fielded the shots of President Dwight D. Eisenhower, who belonged to Augusta National from 1948 until his death in 1969. At a governors' meeting at the club in 1956, he campaigned to have the tree cut down but was overruled.
Arnold Palmer, a four-time Masters champion, was a frequent playing partner of the president's at Augusta. "A couple of times he told me, he said, 'Arnie, if I could hit that tree enough to bring it down, I'd do it.' "
Palmer laughed. "And that's in fun," he said. "But the tree was a hazard, no question about it."
Club officials said the tree is being held in its own morgue until Payne and the other club members decide what to do with the timber. One of the workers hired to clear the course of broken limbs and other debris, including the Eisenhower tree, after the ice storm, is a carpenter and furniture maker with a clear vision of how the tree could be reincarnated.
The worker, Mitchell Florence, who lives less than a mile from the course, said, "The first thing I thought when I heard about the Eisenhower tree is: How cool would it be to use the wood to build a 14-foot conference table that the members could use?"
Maybe they could sit around the table and discuss the tree's replacement.


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Carl Hansen & Son is adding a new chapter to the story of Hans J. Wegner's three-legged Shell Chair, which, with its elegant, wing-shaped seat, stands out as an iconic work by the greatest of chair designers.
Also read: Iconic Hunting Table is relaunched
The chair – which was created and launched in 1963 and remains a symbol of the Scandinavian design idiom – takes on a whole new expression in this exceptional offering finished in handwoven silk textiles from Jim Thompson Fabrics.
Meeting of visionaries
The collaboration between Carl Hansen & Son and the legendary Jim Thompson Fabrics, whose founder Jim Thompson revitalized Thai silk production in the early 1950s and laid the foundation for a world-famous textiles brand, is a meeting between two visionary and dedicated design companies, each working with its own materials and setting new standards for quality and craftsmanship.
The idea of upholstering Wegner's Shell Chair with handwoven silk felt completely natural for Carl Hansen & Son's CEO, Knud Erik Hansen.
- The collaboration between Carl Hansen & Son and Jim Thompson is in many ways quite organic. We share values and have the same high demands for sustainability, craftsmanship and design. Our shared ideals and individual strong cultures form a natural foundation for adding new dimensions to each other's products, Knud Erik Hansen explains.
Unique jewel-toned color themes
Carl Hansen & Son has selected 16 different textiles from Jim Thompson and compiled them into four distinct jewel-toned color themes – Red Coral, Blue Sapphire, Golden Citrine and Green Jade – each comprising four distinctly colored fabrics whose varied structures produce unique textures. The expressive colors of the handwoven silks and the pattern universe offer new possibilities for creating a unique Shell Chair.
Any of the 16 Jim Thompson textiles can be combined with a Shell Chair frame in various wood types and finishes: oak with a white oil or smoked finish, walnut with an oil finish, or painted beech in Anthracite Gray, Grass Green, Purple Blue, Berry Red and Vanilla White. The textiles' expressive color palette and the extensive range of frame options provide optimal opportunities to design a very personal Shell Chair.
Also read: Carl Hansen & Son opens new flagshipstore in Stockholm
- The structure of the handwoven silks perfectly suits the smooth and beautiful finish of our furniture, says Knud Erik Hansen.
- At the same time, silk is a unique organic material that reflects light and colors and radiates a very distinctive elegance. The color saturation is in a class of its own, and it is precisely this intensity that has captured our imagination. The elegant textiles add new dimensions to the Shell Chair without compromising on Wegner's vision and timeless design idiom.
Renowned for silk
Jim Thompson Fabrics is the world's largest manufacturer of handwoven textiles and is particularly renowned for its silks, which continue to be produced in Thailand.
The company was established by the designer and architect Jim Thompson, who, in the middle of the 20th century, decided to breathe new life into traditional Thai production of handwoven silk. He organized a network of weavers and upgraded their techniques and design, creating the unique look and the very special gemstone-inspired color universe synonymous with the brand.
The first store opened in Bangkok in 1950, and since then, Jim Thompson's elegant silk textiles have found their way to the major cities of the world. The company is represented in several high-end contexts, from haute couture to the interior design of the London Savoy Hotel – as well as the restoration of the Canaletto Room at Windsor Castle.
The CH07 Shell Chair with silk textiles from Jim Thompson will be available from November 1 to December 31 2017.


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Looking for weird pizza toppings? In the U.S., pepperoni is king. It is the number-one preferred pizza topping, followed behind other perennial favorites like sausage, ham, bacon, mushrooms, onions, peppers, and pineapple. Deviate too far from the norm, and you're in the realm of gourmet pizza-making. At Detroit Style Pizza Co., we're not pretentious, but it's fair to say that even my award-winning Tangy BBQ Chicken Pizza is a flavor sensation many pizza lovers have never tried. Everyone has their own tastes, and as pizza makers we continually experiment with different toppings in the quest for unique flavors. Still, there are some toppings we've never considered for our recipes; but if you have a penchant for trying new things and the palate to muster it, you might want to give the following 10 weird pizza toppings a try.
1. Frog Legs
Eco Restaurant in London served a pizza topped with frog legs. Activists were upset over "The Hopper" pizza, which has since been pulled from its menu. Frog legs are still a popular item in much of the U.S., so there's still hope if you want to give it a try!
2. Alligator
This might be a little harder to find, but if you're in Ft. Myers, Florida you can stop by Evan's Neighborhood Pizza for a slice of alligator pizza. And I thought we were supposed to be afraid of the gators!
3. Eel
In Japan, pepperoni takes a back seat to the country's absolute favorite pizza topping: eel!
4. Squid Ink (with Octopus Salami)
A weird pizza toppings go, anchovies are the closes our pizzas get to the sea, but some pizza makers embrace seafood in their recipes.
5. Kangaroo
You might have to go down under to get it, but we hear kangaroo pizza is delicious!
6. Fried Egg
Not exactly an exotic meat, but far more palatable for most of us. Fried egg is a common pizza topping in France, and it's gaining favor at more U.S.-based pizzerias.
7. Mockba
Never heard of mockba? Don't worry, you probably don't want to eat it either. It's a mix of sardines, tuna, mackerel, salmon, and onion commonly served on pizzas in Russia.
8. Smoked Reindeer
How the Finnish get away with this pizza topping, I'm not sure. Maybe Santa just passes on Finland.
9. Grilled Corn and Goat Cheese
Popular in Venezuela, this is an odd pizza recipe that would likely find favor in the States.
10. Cicadas
Yes, the chirruping bugs make a tasty pizza topping for some. To enjoy this insect-ridden dish, you'll have to travel all the way to… Missouri!
What's the weirdest pizza topping you've ever tried?


text: I just got a call from my RE's office, my beta from yesterday was 882….it should have been 1,250 or higher, which is a HUGE RED FLAG. I'm scheduled for another beta tomorrow morning and another ultrasound. My RE said this is looking more and more like an ectopic pregnancy, but we'll know more tomorrow.


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Consumers Guide to Life Insurance
Wondering how much life insurance you need, use our calculator to help you.
If you are interested in a quote please fill out the form below.


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There are 10 days until the Huskies play their first game of the 2011 season and head coach Paul Pasquoloni hasn't yet named a quarterback. But that's not a surprise; he's said that all along, going back to the spring.
For now, the competition continues among four QBs long on physical skills but short on actual game experience: Michael Box, Johnny McEntee, Scott McCummings and Mike Nebrich.
Nebrich is the youngest of the bunch, a freshman from Burke, Virginia, who chose the Huskies over other BCS schools.
According to the Hartford Courant's Desmond Conner, Nebrich and McEntee showed well during last Thursday's scrimmage and both have earned more first-team reps as a result. Conner writes that they've have also been the most consistent QBs in camp.
"When I first committed, Cody [Endres] was still here," Nebrich told Conner. "The plan in the beginning was to get here, learn as much as I can, be under Cody for a year and then have the chance to play as a redshirt freshman. Once I found out he left, that's when everything changed. I knew Zach [Frazer] was going to leave and nobody else had really gotten any playing time. That's when my whole mind-set changed like, you've got to make sure you go into college ready to go, ready to compete. And that's pretty much what I did coming in and what I've been doing since I've been here."
Until training camp, McEntee was best known for his trick-shot video. Now he has a legit shot at the starting QB job.
"I feel like I'm being given a real chance right now," McEntee told Conner. "I'm just trying to make the most of it. I feel good. I feel like I'm a lot better with all my reads. I'm still trying to make all the throws but I feel like I've come along with that, reading the defenses and knowing where the ball should be."
There's still the possibility that Pasqualoni goes into the season with a two-QB rotation, and the combination of Nebrich (who can beat you with his legs or his arm) and McEntee (a true pocket passer) could be best for the Huskies offense, at least in the near term.
Either way, we'll find out one way or the other when Fordham comes to town on Sept. 1.


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We are thrilled to announce that Synap has merged with Imagineer Technology Group, the leader in CRM and marketing software for the asset management industry. Combining our businesses enables us to build on our shared vision of delivering the best cloud-based software and services to a broad variety of industries. High fives all around for our newly combined team!
But first things first: our current Synap customers can rest assured that we'll continue to serve you and grow the Synap platform you've come to love.
We know that sometimes a merger can mean the end of the road for a startup's product offering, but that's not the case for Synap. In fact, all Imagineer clients will be able to take advantage of an expanded product portfolio. Synap customers will continue to experience rapid development for research, account management, and customer success teams, and everyone will benefit from the exhaustive industry knowledge and experience of our integrated teams. This is a win all around.
Since we're not consolidating products, you may be wondering why, then, are we putting the two companies together?
The answer is simple: over more than a decade, Imagineer founder Erol Dusi and I built a strong friendship that evolved out of mutual respect, shared values, and healthy competition. Bringing our teams together enables us to leverage our passion for serving clients and our never-ending commitment to engineering the best cloud-based products in the market.
So, here are the kinds of things you can look forward to as a result of the merger:
Better products for customers of all types. Our company now has more products than ever to help account management, investor relations, fund marketing, and due diligence teams work efficiently and get more done.
Higher quality results. With our combined expertise in engineering SaaS applications, you will continue to enjoy continual improvements and feature enhancements.
Continued voice in how we evolve. As always, we invite you to join us in crafting the future together. Email me personally at email@example.com. You know how much I appreciate hearing your likes, dislikes, suggestions, and comments about Synap. Your feedback will continue to impact future innovations.
Accelerated growth and scale. In conjunction with the merger, we also secured a significant follow-on investment from our primary backer, the Kemmons Wilson Companies.
We've teamed up with an incredible group of people who are every bit as committed to the success of our customers as we are. In fact, one of the other significant benefits of this merger is that we've been able to expand the management team. I am honored to serve as CEO of the combined company along with Erol Dusi (President) and Avi Giladi (Vice President of Engineering) from Imagineer, and Synap co-founders, Michael Boeke (Vice President of Product), and Matt Mitchell (Chief Technology Officer).
Did I mention that we're excited? We've had a blast building the Synap platform from scratch and we're looking forward to sharing the next phase of our journey with you and lots of new teammates, customers, and friends!


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Inspired by the upcoming Disney·Pixar animated film, Cars 2: The Video Game lets players jump into the Cars 2 universe with some of their favorite Cars personalities in exotic locations around the globe. Play as Mater, Lightning McQueen, and other brand new characters as players train to become world-class spies in the international training center - C.H.R.O.M.E. (Command Headquarters for Recon Operations and Motorized Espionage). Take on dangerous missions, compete to become the fastest racecar in the world, or use spy skills in exciting, action-packed combat racing and battle arenas. Players can race against friends and family in either single or multiplayer modes with up to four players to unlock challenging new tracks, characters, events and thrilling spy missions.
Game Features
- Choose from more than 20 different characters, such as Mater, Lightning McQueen and the newly introduced Finn McMissile and Holley Shiftwell, and train to become world class spies
- Participate in simulated hazardous missions using high-tech gadgets
- Perform maneuvers only Cars characters can do, such as backwards driving, air tricks, sidestepping to avoid obstacles, two-wheel driving and more
Buy it: Cars 2: The Video Game on Amazon for $39.99
Thank you to Disney Interactive Studios for sponsoring this review.
I was provided the above mentioned product for review purposes. I was not compensated in any way. All thoughts and opinions are my own and not influenced. disclosure


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Excite a Child About Bird Watching
Ever had one of those days when you just needed something constructive for the grandkids or your children to do that didn't cost a fortune? More important, something you could do together and continue sharing that experience beyond one afternoon. Introduce the
children in your life to bird watching. It is a relaxing activity and teaches the youngster a love for animals and nurtures a sense of responsibility that is required for the stewardship of the greater Earth.
One suggestion is to make your own bird feeder, not from bird feeder plans, but from things you would ordinarily discard after using. You'll need no saws, nails, screws, nor hinges. You will need some heavy duty kitchen shears, some wire, and a well washed out old bleach bottle or something similar.
Watch the video below for complete instructions, but if you are a woodworker at heart and want to really introduce the children in your life to both woodworking and bird watching, buy some quality bird feeder plans from either one of the experts we highly recommend to our readers. They have literally thousands of woodworking projects from which to choose which cost less than a penny apiece. A bargain by any account these days.
Bleach Bottle Bird Feeder
If you'd like more posts like this, please let me know, or just drop me a line at email@example.com
Thanks….. Rose
Tagged with: animals • bird • bleach • bottle • children • Earth • feeder • grandchildren • grandkids • homemade • love • relaxing • steward • watching • wire
Filed under: Homemade Bird Feeders • Homemade Bleach Bottle Bird Feeder • Wild Bird Feeders


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Since stumbling upon a beautiful fairytale toadstool I've been longing to find them once more. After seeing someone post about a visit to Half Moon Common in the New Forest I decided it was a spot I wanted to go to, to try and find them once more.
A little bit of looking under ferns and by silver birch trees, and we gasped when we found what we'd come looking for!


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There has been a wrongful death lawsuit filed regarding the fatal CTA bus crash that happened in downtown Chicago on June 2, 2015. That accident was summarized in the June 2, 2015 post titled "CTA Bush Crash At Lake Street And Michigan Avenue."
In that accident, Aimee Coath was the sole person who was fatally injured, and the wrongful death lawsuit has been filed by the Coath's children against the bus driver and the CTA.
An excerpt from the June 9, 2015 Homewood-Flossmoor Patch titled "Children of Flossmoor Woman Killed in Crash File Lawsuit Against CTA":
In the wrongful death lawsuit, Elaine and John Wilson claim that the driver "failed to control the bus, disregarded a red light and drove at an excessive speed" before striking Aimee Coath. She was pinned under the bus.
The driver, Donald Barnes, 48, swerved to avoid another car, struck three other cars and ended up on the south side of a pedestrian plaza on Michigan Avenue. Seven other people were also injured. He was cited for running a red light and failing to exercise due care in a deadly crash. The bus was empty at the time of the crash.
Additional details and possible updates regarding this Illinois wrongful death lawsuit can be found in the Patch article mentioned above, as well as the June 8 dnainfo.com article titled "Children of Woman Fatally Struck by CTA Bus File Lawsuit."
Should you be involved in a vehicle accident, there are certain actions you should take in order to protect your rights. Elman Law Group has compiled a reference document titled "10 Steps You Should Follow After an Auto Accident."
Elman Law Group LLC (ElmanLaw.com) concentrates in Personal Injury and Wrongful Death cases involving vehicle accidents (car, motorcycle, bike, bus, pedestrian, truck, etc.) This intense focus allows us to consistently achieve winning verdicts and settlements for our clients.
Should you be involved in a car accident, there are certain actions you should take in order to protect your rights. You should not assume – especially without proper legal representation – that you will receive appropriate compensation for your injuries, hardships and/or losses. To speak directly with a trial lawyer from Elman Law Group immediately, call (773) 392-8182 at any time. There is no fee for this consultation.


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Although a casual stroll to the offy for 10 bennys and a 4 pack of Super T might be on the cards. For couch adventurers, this statement t-shirt might be the perfect clothing for you so you can lounge all day.
9am-5pm (Mon-Fri) +44 (0)3302 232947
All CharGrilled t shirts are exclusive and are original concepts and designs. If you see them available elsewhere they are rip-offs please contact us. Please note they are unofficial and not endorsed by the personalities.
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Hollywood Brings Movies Online
April 3, 2006
Thomas Mennecke
A sizable portion of the Internet population readily adopted authorized music services when they debuted in 2003. At 99 cents per song, or approximately $7.99 per full album, the price was good enough to generate a market capable of reversing the music industry's losses.
The movie industry is facing its own financial hardships, as movie attendance continues slide. It was once thought the movie industry was largely immune from online piracy, as reproducing the movie experience at home was difficult and very expensive. However with the rapid price decline in electronic devices, such as surround sound and large TVs, the movie experience quickly became emulated in the home setting.
Unlike the theater experience, investing in a home theater is a gift that continues to give. The question then becomes how to populate this home theater with entertainment. Much like music acquisition, the Internet has become an established distribution medium for cinematic releases. Because of a relatively weak authorized distribution system for movies, services suck as Movielink and CinemaNow have not broken into the mainstream. Today's announcement by Sony is the first viable attempt to change that.
Sony announced today a partnership between Movielink and CinemaNow, in which many of the bigger named titles will be available for download. Initially 75 titles will be offered, such as Memoirs of a Geisha and Spiderman 2. Superficially it would appear the movie industry is trying to avoid a similar situation that has damaged sales for the music industry.
Yet the same driving force that has enabled a successful authorized music market may not replicate for Hollywood's venture. Authorized music services, particularly iTunes, have prospered due to the overwhelming convenience factor. A quick 99 cents here or there doesn't amount to a small fortune, and is a better value than purchasing an entire album. The same can't be said for Sony's new Movielink and CinemaNow venture.
Take "Memoirs of a Geisha" for example. After quick ride to BestBuy, a consumer can purchase the widescreen 2 disc special edition for $19.99. On Movielink, the same title costs $25.99 while on CinemNow, the title costs $19.95 (a savings of five cents.)
Not only do both these services generally cost more than the actual physical DVD, they are compounded with a laundry list of restrictions.
First, once the 1.5 gigabyte file is downloaded, the user cannot burn the movie to a playable DVD. In order to play the movie on a TV, the consumer must have a video card with S-video out, not to mention a compatible TV. There's also a question of quality, which is undoubtedly good, yet at 1.5 gigabytes is not an exact DVD replicate (most DVDs are either 4.5 or 9 gigabytes.) Downloaded movies cannot be played on portable devices such as the iPod, PSP or PDAs. The consumer can however transfer the movie to three alternative PCs. Distribution on P2P? According to Movielink, "Distribution of any movie files on peer-to-peer networks is not permitted."
There is also a rental component to both Movielink and CinemaNow. Movielink charges between $3 and $5 for newer releases, while CinemaNow is a bit less expensive with a cap of $3.99. The movie is designed to self destruct after 24 hours of playing the movie, however can be watched an unlimited number of times during that timeframe.
With HD-DVD and Blue-Ray just around the corner, Movielink and CinemaNow hardly appear like dedicated efforts to introduced authorized movies to the Internet. Downloading full length movies – even 700 mb XviDs – are still reserved for those with the will, knowledge and the bandwidth to accomplish such a feat. Movielink and CinemaNow may be a step in the right direction, but they lack the initial consumer-driven punch that accompanied iTunes. Both stores lack the value and attraction that made iTunes the success story it is today, and with prices greater than the actual DVD, it might be difficult to retract an unfavorable first impression.
This story is filed in these Slyck News categories
Authorized Music Store
Entertainment Industry
You can read the press release here.
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text: Wake up to bright blue skies and some of the whitest beaches in all of Australia. Esperance and the Golden Outback is full of gold rush history, fields of native wildflowers and of course the odd kangaroo at Lucky Bay beach. The fresh air and clear skies is just another day in WA.


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Mission Statement
To help our travel partners deliver unmatched customer satisfaction, by providing relevant solutions, so they can create and retain loyal customers for life.
Classic Core Values:
Build a great team
Develop our people; train and recruit the best talent
Collaborate more; communicate and share to drive the best results
Generate quality work; hold ourselves and each other accountable
Deliver excellence to our customers
Be our customer; understand their needs, pain points and expectations
Provide relevant solutions; deliver in a way that works best for our customers
Be consistent; execute with commitment and effectiveness
Play to Win
Commit to the game plan; act with urgency and sell with passion
Challenge the status quo; evolve to meet tomorrow's needs
Drive innovation; use technology to set us apart
We care about our customers, our community and each other
The Classic Difference
Classic Vacations is a top-rated luxury US tour operator for Travel Advisors. We have one goal: to do whatever it takes to ensure that your clients are not just satisfied with their vacation, but completely delighted. We are dedicated to helping you create the best possible vacation experiences for your clients. You can count on us to deliver world-class accommodations, exceptional privileges, and unparalleled service to your clients. That is the Classic® difference. It is the difference between a good vacation and a great one.
A World of Privileges
With Classic Vacations, your clients will have access to a host of unique benefits, services, and attractions. They will enjoy preferential treatment throughout their vacation. Whether it is a best-in-category hotel room, a last-minute appointment at a luxury spa, or tee times at world-class golf courses, you clients will have an inside track to the best of everything.
We Go the Extra Mile
Our customer service team is committed to making sure every vacation detail is absolutely perfect. A representative is available to assist your clients 24/7 during their trip. From last-minute itinerary changes to a simple re-confirmation of travel plans, no request or issue is too big or too small. For more than 30 years, Travel Advisors have trusted us with their most important clients.


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Kingston Car Accident Attorney When you need someone to fight for you, and when you are facing powerful insurance...Read More
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Quote Cards - Inspirational, Funny, Wise, Touching
Inspirational quote cards make great gifts for a friend, or great reminders and motivators for yourself. Each card contains an inspirational quotation or thought, and many contain humorous photographs to drive the point home.
Inspirational Quote Cards from the Borealis Press Quote Line. Classic quotes with lively graphics.
Inspirational Quote Cards from Quotable Cards. The ever-popular black and white (and color) simple classic quotes in interesting fonts.
Inspirational Quote Cards from the Borealis Press. Their famous black and white photos paired with classic quotes - inspirational, funny, wise, touching.
Inspirational Quote Note Cards from Maroon Peak Cards. Popular and famous quotes in great fonts and layouts, in simple and direct inspirational quote card.


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Basic Information
:Name: Riatta De Lebel Fortunè
:Age: 340
:Gender: M.
:Status: S.
:Rank/Class: Mutation, Abomination
:Date of Creation: March 19th, 1671
Age: Appears to be in his early twenties.
Gender: Young Man
Height: 6'3"
Weight: 165 Pounds
Hair Colour/Style: He has dark crimson locks of hair, the shade seems a bit more darkened than the average crimson. His hair usually falls over his eyes, the thickness of his hair isn't much instead it is light and thin, running over his eyes and most of the time his ears. Curled at the edges his hair seems to curl toward the right instinctively, giving it a brushed and polished look when it is anything but.
Eye Colour: His eyes are a deep shade of blue, ocean bleu seems to be the most exact color for it, or the most widely known name for it. His eyes are piercing, the dark blue not only drawing attention, but almost scarily precise in motion.
Distinguishing Marks: The only distinguishing marks on his person are a few scars along his arms, and multiple spots along his neck where needles have left permanent scarring on his flesh.
Race/Ethnicity: He was Human, now he is an Abomination.
Place Of Birth: A test-tube.
Skin Complexion: Porcelain
Body Type: Slender
Body: Years of bad nutrition and rare meals have left his body in a slim state, though the medication they gave did keep him somewhat healthy and fit, not to mention mutating his form for more agile frame
Physical Condition: He has a slender and gentle form condition, his frame is rather athletic, because of the medication his physical strength and speed was mutated to be faster and better than humans. A hybrid that always seems to know what to do, and how to survive.
Physical abilities/limitations: His body has no real limitations, though he is finding more with each day. There seem to be many new abilities being added to his body, they are added to what his brain deem needed in order to survive.
Physical Illnesses or Afflictions: He has yet to see any real affliction, but they are out there, he would rather not know them. His body is void to any illness thanks to mutations and medications. His body mutates to fight any illness.
Physical Imperfections/Would Like Most to Change: He has no physical imperfections other than the slight scaring along his arms and neck. What he would like to change is scars that remind him of his life in a lab.
Sounds Like: He has a gentle and soft voice, though it can turn hard and rather violent when he feels he is in danger or around violent people. He tends to slur his words and his vocabulary is rather..limited.
Rank/Class: Mutation
Noted Accomplishments: Living and surviving, what more could you ask for.
Personality: He has this gentle personality, where he likes to help others and be with others. He usually knows where to draw the line though, since he doesn't like to get to close to people, mostly since he will always have to leave.
Hobbies: He enjoys to read when he can, and try to improve his knowledge of things. He would like to be able to read.
Known Allies: He has one ally, and that is the woman he loves.
Known Foes: He has too many to count now, so many people hunting him for his DNA.
Basic alignment: Neutral Good- To a neutral good being, life and the assurance of other creatures' rights take precedence over all else. This is not to say that this character will have an aversion to taking another's life when faced with a choice between an attacker's and his own, however. Neutral good beings also believe that law and chaos are merely tools to use in bringing life, prosperity, and happiness to all deserving creatures. Neither numbers nor individual concerns have any bearing on decisions regarding the needs and rights of any given creature. In other words, in the view of a neutral good being, rarely will either the needs of the many or the personal desires of an individual outweigh the needs of any other creature. All life is given even-handed treatment. As with all alignments neutral with respect to law and chaos, self-reliance is a cornerstone of a neutral good being's personality. In a crunch, neutral good characters trust in themselves and in no other individual or group. This doesn't mean they can't make friends and develop trusting relationships with others, however. Neutral good beings aren't normally as independent as chaotic good beings, and they can cooperate in groups. But they won't always trust a group to be more effective than they could be themselves.
Outer Goals: The few outer goals he has is surviving, that is the one main goal he has for now, trying to live and find a place where he can be safe, even if it only for a while.
Inner Goals: The few inner goals he has is to be able to settle down, not worry about the masses of mutations and scientists coming for him. He wants to be able to start a family with her, the one he would die for.
Super objective: To be happy and free from the people who want him. To live how he wants with no fear and absolutely no regrets.
Defining characteristic: The most defining characteristic he had would have to be is his determination, that never seems to falter.
Hopes/desires: The only real desire that he currently has is Calypso, she is the burning sensation that drives him into temptation.
Fears/phobias: He has this little fear of losing what he has just finally gained. He finally has a lover, and he is scared of losing her now.
Dirty Secrets: This isn't something you get to know.
Introvert or extrovert: A very extrovert person.
More thinking or feeling: He is a very feeling kind of person, since he has rarely ever been taught things, he doesn't usually think or plan on things. Making sure he isn't to reckless.
Tends to be self-centered? Selfish? Selfless? He tends to be a bit selfless, always willing to help someone, though when his own safety is involved, he becomes quite selfish.
Admirable Traits: A strong character and will, able to think intelligently enough and act gently. He seems to be a bit soft, and a little bit brave when it comes to such things.
Negative Traits: He is a bit self-centered and he has trust issues, he rarely let's people close and always watches them, thinking the slightest thing could be a sign that they are going to betray him.
Philosophy Of Life:"Run, don't let people catch you and take your will. Run and be free..Unlike me.."
Mental Disturbances: He becomes psychotic at times, one of his abilities to call creatures to him is acted on when he is in this state, people around him usually become massacred by the dark beasts.
Weaponry: He carries no weapons, instead his body itself is a weapon, while he did not receive any education, he was taught forms of defense and fighting, taught these arts so that he would become there perfect weapon.
Armor: He wears no armor since he doesn't usually need it. The fact that he an harden his ski so that it become harder than diamond means that not many things can scratch him, let alone hurt him.
Inventory: He carries nothing else, simply because he own nothing else other than the things you usually see him with.
Accessories: He wears no accessories finding them petty and frilly things that he can live without, and if they are not a necessity, there is no need for them.
Basic Attire: He has wavy brown hair running down to the edge of his ace but he usually keeps it pushed back behind his ears. He wears his stethoscope on his head, two red semi-horns popping out just before his forehead. He wears a white lab coat, preferably keeping it open, it has no collar and it also adorns a red cross on the left side. Under the coat he wears a buttons brown jacket, and under that is a blue collared shirt, the collar popping out and running across his neck. Finally he wears a pair of normal grey jeans, with a hole in the back for his tail, which is long, thick, with a triangle shaped edge at the top.
Elemental Strengths: Unknown
Elemental Weaknesses: Unknown
Skills/Abilities: He has a few abilities that he uses when he needs to, along with a few he can't control. Some of them are;
Spells: He Has None.
He had been born without any parent least that was what he had been told he was a test tube child, a baby in a jar. He was a freak against nature and he knew it, the people who created him were merciless and mean, they never rested in telling him what a freak he was an outcast, what a disgrace he was to god and nature, how he would be better off dead, and he believed it. They started to experiment on him as soon as he reached the age of four they stuck needles in him, and things he couldn't describe. He was injected with things serums they changed him in ways he couldn't tell another person and things he didn't want to tell someone, they had changed him given him gifts that they abused and made him abused, he used his gifts to do whatever they said, but even then he was still given torture and more experiments that seemed to be his entire life till he was eighteen and he broke was released. He was twenty now, and without the serum that had apparently kept him sane, he was completely and utterly alone and crazy. The only thoughts he had were of suicide and masochism, he wanted to hurt and kill himself. He hated his life and for the last two years he had done nothing but run and hide he had used everything he had to keep himself sane.
Whenever he got close to someone they seemed to know what he was and what he could do, and for some reason they knew everything that he was. He hated that since every time they learned it, they would hate him and push him away call him a freak and an inhuman monster. He loved her, he knew it and yet he didn't know why, but he was afraid if he told her or somehow if she found out what he was, what kind of sick and twisted monster he was, would she run and leave him like everyone else. He had been alive for a while and yet those years he had done things for those monsters that made him, he did things that when people found out they would call him sick and twisted. He had killed and tortured other things to learn the things they wanted to do the things they wanted, he did everything they wanted since they promised him freedom, and even that freedom was horrible. When he was released he lived the first few days peacefully into the forest until he learned that the serum was what kept him sane. He started to see things and when he went into city's he started to kill randomly because of seeing things form his past that weren't there.


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Camera Ring Concept Gives New Meaning To Wearable Cameras 0
If you own an iPad or any other tablet, then you already know how awkward it is to take pictures using that big device. Well, those days will soon be over once the CAMER:ing concept becomes available.
The CAMER:ing is a camera that you can wear on your index finger, thus it's called the "camera ring". The design was made by designers Hyeonsik Studio and Jeon Yengwon. The whole setup comes with a tablet where you can view all the shots that you've taken using the ring.
The concept product is quite cool and innovative. The idea was to allow travelers "to take pictures whenever and wherever". But personally, I think secret agents will find this more interesting than a regular tourist.


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OnePlus 5 Specifications
One of the most awaited Smartphone in May-June 2017 is OnePlus 5 by OnePlus, and the wait is done now the OnePlus5 was released in June on amazon.
The phone comes with a 5.50-inch touch screen display with a resolution of 1080 X 1920 pixels. OnePlus 5 price in India starts from Rs. 32,999 with 6 GB RAM, 64 GB internal memory and Rs. 37,999 with 8 GB RAM, 128 GB internal memory dual sim (4G + 4G) and so many features.
OnePlus 5 Specifications as follows:
|Operating System
|Android v7.1.1 Nougat
|Qualcomm Snapdragon 835 octa core
|15.4 x 0.7 x 7.4 cm
|155 Grams
|Item model number
|Special features
|Dual SIM, Music Player, Video Player, E-mail
|Wireless communication
|Bluetooth, WiFi Hotspot
|Other camera features
|20MP + 16MP dual camera – Portrait Mode, Pro Mode, Smart capture, Fast AF
|3300 mAh
|Release Date
|22 June 2017
Camera lens image of OnePlus 5 by OnePlus.
oneplus 5 price india
Rs.32,999 for OnePlus 5 with 6GB RAM and 64GB internal memory.
Rs.37,999 for OnePlus 5 with 8GB RAM and 128GB internal memory.


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Beg Borrow Stijl
Tuesday, March 3, 2015
Jonah is Crusoe - or - a whale is an island that moves. This seems pretty obvious to me. But what about the opposite? An island is a sleeping whale...
Among the many, many beauties of fourth grade, the myth of Pangaea was perhaps the most startling to me. To think that the ground I was standing on, which felt so stable and hurt so much when I fell on it, was really just a hat in a swimming pool! I was crushed.
And yet: one of the great things about disasters is that they spur us into counter-movements. Currents don't just sweep away islands - they create them. Something gets stuck, like sand in an oyster, and then from that resistance a larger dream begins to happen, slowly at first, but then bigger and bigger, until finally the pearl has achieved an existence that turns the surrounding water into a sort of background.
A sentence is also an island, insofar as it is an agglutination of something (meaning) in a current of something else (language). And sometimes you can feel this happening. In the first paragraph of "Voice from the Chorus," for example, by the great Russian Crusoe, Andrei Sinyavsky:
"... a book which goes backwards and forwards, advances and retreats, sometimes moves close to the reader and at other times runs away from him and flows like a river through new countries, so that we sail along, the head starts to whirl from the sheer abundance of impressions, even though everything passes slowly enough before our eyes, allowing us to view it at leisure and then watch it till it drops out of sight; a book which has a number of themes but only one trunk, and grows like a tree, embracing space with the totality of its leaves and air, and - in the manner of the lungs which have the shape of an inverted tree - breathes by expanding almost infinitely, only to contract again down to a small point; a book whose meaning is as inscrutable as the soul in its innermost kernel."
Reading this is like spending a day at the beach: drive home, stop for soft serve, watch a movie, go to bed - and then just as your head hits the pillow feel that identical movement, revelation of your own sea, which has caught and translated that movement without even realizing it. Language at that point is the tree that blooms - not outside us, but inside (echoes of Tarkovsky, that other imagistic border crossing, with his cathedrals full of snow).
I don't know how to write like this, but I think it must have something to do with trying to make language follow thought - or rather, to make language and thought follow one another, so that language darts ahead and says something and then thought thinks about what language has said, and then language says something about what thought has thought, over and over again until you have is a record of passage that you can go back over and pick apart and even participate in yourself (a generous idea, sure, but then what is this kind of writing but a sort of confidence - a "putting faith in the reader," a la Bachelard or Kiarostami or Mandelstam).
I don't know how to write like this. I certainly don't know how to live like this. But I dream about this kind of writing, the way that Sinyavsky in his prison cell must have dreamed of his magical book. And then isn't this another piece of optimism: that in dreaming a book we create it, as we create a reader ? Of course, and yet how else (and yet, and yet: "My blood was full of them/My brain bred islands." - Elizabeth Bishop, "Crusoe in England")? How are you supposed to resist the current and draw from it at the same time?
Posted by Josh at 8:20 AM No comments:
Labels: Jonah, Robinson Crusoe, Sinyavsky
Monday, July 22, 2013
Ghosts and Machines
One of my favorite party stunts is to corner unsuspecting guests and "explain" the 1980s cult classic Goonies to them. In order to do this, you need to start with One-Eyed Willy, the main synechdoche of whom in the movie is a penis-shaped key that our hero and future Samwise Gamgee finds in his parents' attic, and then carries around with him through the long, dark, moist, weedy and dangerous tunnels that apparently exist under most pacific northwestern small towns. Queue the comically-repressing family of matriarch and mama-whipped sons; queue underground misunderstandings that occasionally end in a kiss. Queue most importantly Sloth, whose forehead is about as phallic as foreheads come outside of the Star Trek universe, and whose homosocial bravura leads to one of the greatest metaphor for pre-teen orgasm ever put to film: a fully rigged Spanish galleon exploding out of the side of a mountain...At which point whomever I'm talking to has probably started inching slowly towards the door.
Jon Negroni's Pixar Theory is superior to mine in every way; it is also different, in that it does not try to find a meaning behind the details, characters and events in the Pixar universe. On the contrary, one of the most fascinating things about Negroni's theory (to me at least) is how it continually, almost perversely resists this drive. In this way it is both perfect, and strangely innocent - like a reading of the New Testament that traces every use of fish imagery, but without asking itself why fish might have mattered to Jesus, or the writer of the New Testament, or even us.
The next logical step for someone delighted by something like this would naturally be to ask "But why?" - except, of course, that the question has already been answered, by the delight. "Only connect," said Forrester; but what was an ethics in the early 20th century becomes, in the 21st, something both more and less. A pragmatics, let's say, meaning a way to do things: connect this to that and you will receive pleasure. And because pleasure is itself an end, don't worry about thinking about why you're doing what you're doing.
God knows this is not a criticism. Okay, that's not true: it is a criticism. Finishing Negroni's article, I found myself scrolling down, down, searching for that last cathartic paragraph that explained why the connectedness of a particular aesthetic world should interest me. Because it reflects and "proves" (the only way art proves anything) the connectedness of the actual world? Or because it shows us how shrewdly Pixar (following, let's see, Marvel, Nintendo, Lucasfilm, and pretty much every other genius popular behemoth of the last twenty years) has learned to manipulate and extend our innately human desire to join discreet entities into superbeings? Or maybe the meaning is "love", which Negroni mentions with an audacity that reminds me of Simone Weil's "The Iliad as a Poem of Force", but which also emits the kitschy sproing of flowers pulled from a magician's hat.
Well, every physics both rejects and implicitly provokes a metaphysics, which is why I find myself thinking above all, as I read this piece, about Negroni's three suggestive categories: monsters, animals, and machines. Suggestive, as in "hey, that's cool that the many different characters that we see in these different movies can really be reduced to three basic categories, which makes me think that the universe is not just ordered but basically understandable. So, by reading about these categories I must be on my way to understanding something, right?"
The German writer Heinrich Kleist has this ur-text about marionettes, much cited but still very useful. It is, to my mind at least, essentially an essay about mastery and innocence - more specifically, about the way that an art that has become bored of its own ability has to then discover or manufacture a new set of limitations, a new way to be bad. In other words, art is not a matter of being objectively awesome of something - it's a matter of creating a theater in which people can watch you going from "no way" to "wow!" - of turning the grass of adversity (reality, as Goethe said, or "That which resists us") into the hay of art. Puppets are great at this, since what we love when we watch a puppet show (or - and here we come to the germane aspect of the article - a cartoon, a piece of artistic technology) is the way that puppeteers make this clumsy little doll remind us of something real - even, if the artist is very good, of ourselves.
Pixar has always been good at this, as you might expect of a company that essentially based its appeal on overcoming something people thought could never be overcome - that is, the limits inherent in using computers (the most artificial tool around) to try and depict the natural world (presumably, the most real thing one can dry and represent). People probably don't remember this, but the question of realism is one that the studio grappled with from its very beginnings. Sure, they could figure things out quickly, but how could machines create a realistic leaf, or more importantly capture that je ne sais quoi of realistic movement that a hand-drawing animator could? The assumption - the dogma, really - was that they couldn't. There was no way. Art was something that only the human hand could make. Reality was our province, ours to imitate and evoke.
Except that, lo and behold, the copying of the real world turned out to be exactly what Pixar was best at. First there was Woody (so close to an actual marionette that the Kleist estate probably should have sued); then water; then Sully's fur; then superheroes; then red hair, and so on. Each movie a Columbus-level rediscovery of reality in this medium that was supposed to be so cold but turned out to be, mysteriously, full of exactly the "love" that Negroni ascribes to it. The power to connect things, in other words, be they monster, animal, or machine - to make them all, essentially, look like us. So that dearest human emotion turns out to be, not generosity, but defense: a desire to domesticate and humanize the strange, inanimate, or bestial world. A desire so powerful that, so far at least, nothing has been able to resist it.
The one exception to this has turned out to be us, of course. Humans are notoriously tricky to make look real - to "render," as the terminology has it. Which is why I think both we and Pixar itself need Negroni's categories. An alibi-seeking species, we disguise our rapacious hunger for reality under myths of the status-quo: the world is all alive, a giant living room, and best of all it loves us back. Love, the Pixar kind of love at least, is beautiful. It is also powerful - so powerful a technology in fact that it can make everything, from the monsters under our bed to a streetlight to an ant, into something that reminds us of ourselves.
Tuesday, July 16, 2013
The Fattest Armor
Skinny poets last forever, but fat poets last only as long as the world - just ask Joseph Brodsky. With his blue eyes and impeccable deadpan (which sounds in Russian like nothing else but in English like John Shade) he did not invent, but almost certainly did extend the role of the poet as tourist.
Poets have always been tourists, of course, but Brodsky made the pose cool or rather interesting: productive, at least of poetry. His best poems are basically just him walking around looking at stuff, and his best lines a combination of super-retweetable aphorisms and typically Russian mini-conversations with things that most people would assume to be voiceless - things like salt-shakers, picnic tables, beaches. Here, for example, from Lullaby of Cape Cod:
"A giant clock on a brick tower
rattles its scissors. The face is drenched with sweat.
The streetlamps glisten in the stifling weather,
formally spaced,
like white shirt buttons open to the waist."
(translation by Anthony Hecht and probably Brodsky himself too - see Daniel Weissbort's whiny but illuminating journal of a translator, From Russia with Love)
Now maybe it's the summer, which is after all a great season for walking around and looking at things, and then kind of transforming those things into other things or just picking them up and putting them in your pocket, but I love this kind of stuff. It's the Euro of poetry: a terminally uncool super-currency that lacks in specifics but nonetheless opens everything up, at least for a little while. Its ethics are pragmatic, which is boring but at least honest: what it promises is that everything can be interesting, the same way that the American Dream promises that everyone can be rich. I have a sense that it is doomed, not just because its various CEOs (some of my favorites: Derek Walcott, Les Murray, Seamus Heaney) have strip-mined their sources, but because there is a point where plentitude itself becomes a ponzi scheme and we have to blow the whole thing up. Why do we have to blow the whole thing up? I don't know. Maybe because you can only offer band-aids for so long until people start wanting a Rimbaud to come in and reinvent the universe. Maybe because we just have to.
As a Petersburger, meaning as a native of a city that was created, Brodsky had an intuitive grasp of apocalype. Things had a beginning, and we can remember that beginning therefore they would have an end, and we will see it. Here he is talking to Solomon Volkov:
"Once Susan Sontag said that a person's first reaction in the face of a catastrophe is basically to ask, 'Where did the mistake occur here? What should have been done to take this situation in hand? So that it doesn't happen again?' But there is another, alternate behavior, she says: to let the tragedy steamroll you, to let it crush you. As the Poles say, 'to lie down under it.' If you ever do manage to get back on your feet after that, then you rise up a different person. The phoenix principle, if you like." (Conversations with Joseph Brodsky, p. 45)
Brodsky's calm in the face of disaster helps explain his fatness, I think - explain and excuse it, since there's a subtle but important difference between Nero fiddling and the Wandering Jew. Both men know they're going down, both are slightly detached from the disaster going on around/within them; but the WJ has his eyes open. He understands himself as a witness, and the particular end really just one more version of a thing that has been happening over and over again, as it should. Recently I was arguing with a couple of Russian friends about this. I said that the same thing happened in the US, and that if you squinted you could still see the blue and grey uniforms on TV commentators and supreme court justices - but Svetlana stuck a finger down into the air between us as it were a gigantic cauldron she was stirring. History for Americans moves around, but up too, she said. A spiral. But in Russia it is only round and round.
One good thing about being strapped to a wheel of course is that it allows you to shake hands with your predecessors - in Brodsky's case, with the great amor fatist Alexander Pushkin. For me, Pushkin is the key to Brodsky - not to understanding him (Brodsky is not the kind of poet you have to "understand"), but to liking him. Read on its own, Lullaby of Cape Cod is good, but read as a sequel or fourth season to Eugene Onegin or the Journey to Arzrum it starts to feel like necromancy. It's like, Brodsky's saying "Watch me be Pushkin for a few minutes, meaning watch me try and reconcile myself to the brevity/limitedness of life by throwing language at everything. Because I'm honest, and because I'm a poet, it will not stick everywhere - it will not even stick in the places it did before, and this will be why watching me is worth your while, since by doing so you'll get some tips on which parts of the world are still poetic and thrilling and which parts have been exhausted for now."
The "for now" is an important part of it. In his brilliant biopic of Brodsky, the animator of genius Andrei Khrzhanovsky reminds us of the advantages a city dweller has when it comes to remembering: namely, that with a city, you can see the same relatively small space change, age, disappear, be reborn, in a way that, ok, may be possible for someone who grows up on a farm but is not really possible for someone who grows up all over the place. I have literally not seen the continents, let alone countries, I lived on between the ages of six and fourteen since I left them. So Brodsky's preference for time over space possesses a certain... fascination for me. Actually, it makes me jealous and a little suspicious of his "exile" - for is it really possible to be an exile when you consider the entire earth to be a single huge ship sailing through time? Or is it only possible then?
To put this another way: Oh America! Oh Olson, with his "I take SPACE to be the central fact to man born in America" - as if spelling it in Poundian caps makes ANY DIFFERENCE! I can hear Brodsky chuckling at our insistence that time needs to be dealt with only in its congealed form (like believing in air conditioners but not electricity). Maybe that's why we're so lonely, and so communal - for lacking any handshake with ancestors we cuddle in the boat, anxious for the brown-eyed handsome man to come and make experience not important any more, and the skinny man therefore king.
Tuesday, July 2, 2013
Cordelia - with Cats Now!
Imagine, if you will, that cultural history is neither progress nor regress but a sort of food court, in which the stories of our lives are played out and then resampled like so many Tiffany singles. Cats do this all the time. With front paw extended and head bowed for example our tubby Maine coon appears to be a natural courtier; but look closer and you'll see that he has really only refined the Friar Tuckishness of his even fatter older brother. Similarly Yuri, the youngest, takes the natural jitter of the skinny black cat about as far into art nouveau as one can go without lapsing into parody (which happens anyway, cats being hilarious). So watching all three together, we make a momentous and inarguable discovery: as cats age, they move back in time through the history of English literature.
Which brings us, naturally, to Cordelia. As seen "by herself" she's a riddle: a wormhole whose silence threatens to knock her play out of its tenuous psychological realism and into the allegorical strangeness of a Saturday morning cartoon. But then what if we don't see her by herself? What if, instead, we put her next to Jonah, and see the ways that the two of them get along, or rather don't, since for all their love and resemblance siblings are put on this earth for one reason and one reason only: to fight?
Also stick up for one another, which is what I think Cordelia must be doing with her silence. Think about it: for however many hundreds of years, the Biblical prophets called out to a gradually-less-communicative God. Where had he gone? And why, when he reappeared, did he answer their very understandable questions with weird tasks and enigmas, instead of just coming out and addressing the problem? Get eaten by a whale! Spend a year in the desert! So that by the time we get to the Prophets (or parodies of prophets, which is what the book of Jonah really is), God has become something like a cross between a game show host and what I can only assume is the dashingly-dominant male character in 50 Shades of Gray.
Sadism like this grinds us - and by "us" I mean all of us, "the prophets," or, if I can be slightly less self-aggrandizing, "those who would speak" - into a mixture of mealy obedience and gravelly Rebellion - which works for a while, I guess, except that really, don't you ever want to teach God a lesson? Cordelia does, which is at least one of the reasons why she stops speaking - not because she doesn't love her father, but because she wants to teach him, and by teaching him turn the tables, and by turning the tables, presumably, turn the story, turn the world itself away from Simone Weil's famous wrathscape into a place so empty and meaningless that compassion has no choice but to seep in, as if following a sort of emotional/spiritual Second Law of Thermodynamics (and then writing this, I see that the understory here is basically Antigone's: when kings become unbearable, you appeal to the gods. When the gods are unbearable, bear them. See A Simple Heart, Breaking the Waves, maybe The Royal Tannenbaums).
Does it work? Absolutely not. She doesn't fix anything. Actually, she breaks the world. I mean that: shake a good paperback Lear and you can actually hear the pieces of world rattling around inside it like used matches that some asshole has decided to put back in an empty box. Because God always wins. And when we know that, I mean really know that, our only recourse is to loose so big that His victory becomes embarrassing. Which is kind of the point, since in doing this, what such a stunt secretly hopes is that God can be embarrassed, and therefore change his mind (a hope that, depending on your own point of view may be heroic, or beautiful, or absurd).
Posted by Josh at 12:30 PM No comments:
Sunday, February 26, 2012
The Patient Rose
Rose, oh pure contradiction, joy
of being No-one's sleep under so many
The letters, of course, had a lot to do with this. Though not technically addressed to me, they spoke so directly to my needs as a sensitive, ambitious, book-loving adolescent that I claimed them immediately. Within a few nights of landing in Russia they had assumed a regular spot under my pillow, from which they permeated my dreams with the cloying reek of incense and rosewater - a scent that became insufferable but in Moscow fit perfectly with the dishwater twilight of the room my host family had outfitted for me. My favorite item from this room? Difficult to say - for in the mixture of these two colors (and then isn't all of Rilke a similar tincture of pink and grey?) the dreary little cube was transformed into a shuffling, jingling tram-car. Books, mugs, pencils, shoes - even the slightly-ripped poster of a mid-scream Freddy Mercury all seemed to have their story to tell. Patient as a sage (like his fellow Czech Franz Kafka, he worshipped patience), Rilke showed me how I could place my loneliness against these objects like the bell of a stethoscope. Your loneliness is your gift, he said, twirling his mustache in a way that somehow seemed more earnest than creepy. Which was wonderful to hear since, at that point, loneliness was pretty much the only thing I felt.
Almost fifteen years later, I should probably know better than to revisit this feeling. I've watched The Neverending Story (most of it, anyway) and returned to Microserfs - certain passages of which I can practically repeat verbatim. Time has ticked a heaven around the stars, and many of the things that I loved the most as a kid have not survived this. Those that have survived have been transformed, in a way that Rilke promised me they wouldn't, so that now I can't help but hear a strange under-note in his own great obsessions, Rodin and Cezanne. On a term used by the first of these maistres he observes:
Le modelé...I know what that means: it is the science of planes as distinct from contours, that which fills out all contours. It is the law governing the relationships between these planes. You see, for him there is only the modelé... on all things, on all bodies, he detaches it from them, and after he has learnt it from them he makes of it an independent entity, that is, a work of sculpture, a work of plastic art. (7)
"An independent entity"; which was what Rilke wanted to be, of course, not in literature (where it was harder) so much as in life. Free, empty; "to be unnoticed, unseesn, invisible" (58) And the reward? "Then you lose yourself no more" (12) (so different from Hart Crane's wonderful admonition to the young poet, that he "spends out himself again"). So the sly German secretary learned from his Balzacian host how the new aesthetics - the aesthetics of the impressionists and cubists, in which an object was not represented as in a photograph, but broken down into its component planes, colors, shapes, and then built back up in the second world of the painting - could be used to free oneself from, for example, a wife and child. One (or rather No-one) could make one's life into a painting of sorts, an aesthetic object.
Is this true? As Reverend Lovejoy might say, Short answer yes, with an if; long answer no, with a but. I've noted Rilke's interest in the Prodigal Son story before; and then, keeping this in mind, I find it hard to read the letters as anything less than a diary of guilty prodigality. "If only it could go on," he writes to his wife, Clara, "This being known by no-one." (54) Which means he knows that it can't - that it shouldn't, maybe. Similarly the poetry - itself a paragon of lyrical self-containedness - is shot through with images of fracture. Things are always breaking in Rilke - for example in the poem of his that everybody remembers, as they should, The Archaic Torso of Apollo. It ends:
:for here there is no place
that does not see you. You must change your life.
These lines! They find you, don't they - catch you like mirrors and hold you like prongs, until you've seen that thing that's been following you all these years. Like all utterly unforgiving things, they are invigorating to read as a young person and perhaps slightly annoying to read as an older one - because jesus, I don't want to change my life! It's hard, and besides who are you who have nothing and are nothing to tell me that I'm not perfect? No shit I'm not, and you're not either, and this puritanical transcendentalist bullshit has gone far enough already. Life isn't about seeing imperfections; it's about accepting them. The country to which you journey may shame you initially; but within a few weeks, it'll just be your life.
Reading Rilke now, I can see better than ever that there is something deeply insufferable about him. He rewrites the story, refusing to come home, but producing in his suffering music so beautiful that it makes us doubt our concessions to the world. It's like he knew the game in advance. But how did he know? Jonah leaves the whale because he thinks God is going to keep his side of the promise in exactly the way Jonah wants him to - but Rilke never makes this mistake. He speaks out of himself, perfect, unsuffering, insufferable.
Posted by Josh at 1:21 PM No comments:
Saturday, February 18, 2012
Kicking up/off the Dust
It would be difficult to persuade me that the story of the Prodigal Son is not the legend of a man who didn't want to be loved.
As put this way, here - at the tail end of a book so basted in amour de soi that it turns whatever room you read it in into a stuffy Parisian garret - the sentence unwinds hypnotically and strikes you on the forehead. Was it there the whole time? Meaning, have I really been returning every night, after days of dreaming, to a room not empty and peaceful but in fact stalked, like a bathroom sluice by a venomous cobra?
The prodigal fears knowledge because for the same reason we all do: because he knows that it will imply him in the world, which he loves deeply but is also revolted by and terrified of. The story of the prodigal, like the flight of a boomerang, gets its shape exactly from this weird tension, between the hyperactive, self-involved twirlings of the hero, and the larger, slower, but no less circular arc along which these twirlings are gradually returning. For a good example of this, pick that most Oedipal of our century's genre's, the neo-noir. The private eye works his way deeper and deeper into a mystery, until finally he becomes a part of that mystery - and not just any part, either, but the agent: the keyhole through which evil leaks at last into the world. He has tried to do good, but in his puritanical, utterly-cool way he has insisted that the good he does be done on his own terms, meaning professionally, in a way he could escape if he wanted to. Except that you can never escape, no one can, and to build a super-capable persona around the idea that there's somewhere else to go other than the world means, in the end, to become that most beautiful and illustrative of characters, the Fool.
What does this have to do with us? The philosopher Stanley Cavell's kaleidoscopic reading of King Lear, The Avoidance of Love, frames the problem with characteristically care (and commas): "If good is to grow anywhere in this state, it must recognize, and face, its continuity with, its location within, a maze of evil." For Cavell, Lear messes up because he refuses to recognize this - and he refused to recognize this (the world as a "maze of evil") mainly because he does not want to admit that, in this kind of world, we have an obligation to one another - an obligation that we must acknowledge in order to even begin to consider ourselves good people (or maybe just people).
But Malte, like all prodigals, kicks instinctively at obligation. "Not until long afterward would he realize how thoroughly he had decided never to love, in order not to put anyone in the terrible position of being loved." Oh how generous of you, Malte! How utterly selfless, to avoid that most difficult of human works - not because you resent having to take out the trash and brush your teeth twice a day, but because you want to relieve all your potential lovers of "the terrible position of being loved"!
It's easy to laught at Rilke - but I remember reading NMLB for the first time when I was 17 and being floored by this very inversion. Yeah, I thought! (with that peculiar, almost glandular feeling of teenage epiphany, which I remember being somewhere between popping your ears and realizing that you're coming down with a cold) Being loved sucks. It pulls you out of your self-sufficient dream and into a relationship, meaning something contingent and social and imperfect. More importantly, it forces you to "put yourself out there" in a way that Cavell, again, utterly nails in the Lear essay: "We must learn to reveal ourselves, to allow ourselves to be seen. When we do not, when we keep ourselves in the dark."
The dark, the dark. The other night, a friend and I had a few beers and walked around town talking about atonement. Portland at midnight is an interesting place: empty enough to feel strange, but still small enough to feel domestic. Its west end (spotted like a pumpkin patch with empty brick mansions) crests in a promenade that overlooks the city like a tsunami too in love with itself to fall. Inspired, perhaps, by this melancholy vageling, my friend (who has read far too many German books) made the suggestion that his decision to go into healthcare (after years spent doing something completely different) was motivated in some part by a desire to atone. Cue shiver of recognition - but then isn't that how it happens in the story, too? The prodigal sits in a strange bar, salted by indolence, unaware of everything except the person who sits down next to him by chance, and then opens up his mouth to say a truth so startling that our hero understands immediately that someone is watching. The boomerang of meaning returns. As Rilke says somewhere else, forever, "You must change your life".
(image: not sure. If anyone has any idea, please let me know)
Posted by Josh at 2:07 PM No comments:
Labels: atonement, beloveds, Cavell, Prodigal Son, Rilke
Sunday, February 12, 2012
Sleep: a Job for Ghosts
One of the most paradoxical things about hospitals (especially big hospitals, which seem to be the only kind there are these days) is that they prize sleep as a central component of the body's healing process, while at the same time making it practically impossible for real live patients to get any. They are noisy, terrifying, and most importantly full of interruptions; on an average night an aide like me will wake up a patient at least twice simply in order to check his or her blood pressure. The reasoning behind why I do this is sound from a medical perspective: most of the patients on my unit are in a fragile state of health and therefore need to be monitored. But the actual consequence of this reasoning is paradoxical. We monitor the patients' health, but every time we do this we wake them up, meaning prevent them from healing as effectively as they would in a more quiet environment.
Real nursing, as far as I can tell, begins where the various manipulations that are typically help to be the profession's bread and butter - the pulse taking and medication-administering and catheter-inserting - end. In the aftermath of the disregulation forced on the patient by such interruptions the good nurse (or nursing assistant) creates something utterly different: calm. With meticulous art, he prepares the patient's room for sleep - and not just the literal room, but the other rooms floating inside it: bed, body, heart. The head-scratching and - I hate to put it this way, but so it goes - magical nature of his ability cannot be overstressed. I have seen it happen. Great nurses walk into a room and people start to relax. Relaxing, they begin to heal.
Nurses bring sleep: because of this, however, they are not typically great sleepers. Like Morpheus, they are imagined most of the time as watchers, lingerers, pausing in the corner of other people's dreams but never staying there long. Gennady Aygi, in his essay/poem "Sleep and Poetry", writes about the Russian poet Velmir Khlebnikov: "Unlike the other futurists, [he] belongs to the 'sleepers', the dreamers. But he is vigilant too, like a tempted saint." Are nurses similarly tempted by sleep? No doubt. But, the lure is bitter - for like all creators they buy their power at a significant cost. They can manipulate, but not participate.
The peripatetic nature of "runners-from-sleep" (to translate from an Aygiism that doesn't exist) links them with that other character of recent concern: the walker. Like him, they exist on an edge that may be made-up and may be real, between will and waste. Having sublimated their true fears (of surrender, extinction, regeneration), they move through the world without every being completely in it. Are they happy? No less than other people - though perhaps it is this very question that prevents them from resting, since it suggests that happiness will be found if only they keep looking.
"To speak means to be forever on the road," says Mandelstam; still, it's always interesting to ask how much sacrificers secretly enjoy their sacrifice, no matter how much they like to complain about it. Nabokov characteristically called sleep "the most moronic fraternity in the world, with the heaviest dues and the crudest rituals". My own relationship, for all its leer, is similarly patronizing. I don't want to sleep, because deep down I think of life as a race and sleep as time wasted, away from the fight (somewhere, someone is gaining on you). So I feel compelled to say that night nursing - that most sleepless profession - is actually perfect for me, since it lets me both have my cake (not sleeping) and eat it too (complaining that I never get to sleep). A job for prodigals, it posits the testamental division between prophets and false prophets, meaning those who can renounce their pride, and those who only pretend to. One group is sleeping, the other is not. But then the next question comes: which one?
Image: Chagall, "Poet with Birds", 1911. "The dignity of the artist lies in his duty of keeping the sense of wonder awake in the world. In this long vigil he often has to vary his methods of stimulation; but in his long vigil he is also himself striving against a continual tendency to sleep"
Posted by Josh at 1:04 PM No comments:
Labels: Aygi, morpheus, Prodigal Son, sleep
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text:
This is an only in Israel story. Took mic to the hairdresser this morning. It's a trendy salon on a funky street. The hairdresser himself is an uber trendoid. ( he gave Talya her funky do). The clientele consisted of an older women dying her hair platinum blonde. A man getting a bald shave, another twenty something covered in tattoos and the assistant – herself tattooed up and half naked.
There is a tv in the salon playing channel VH1. And trendy pop music resounding off the retro brick walls.
We had the appointment because she wanted her wild curls turned into waves. So while we sat waiting for the treatment to work, we were offered coffee and Danishes.
Micaeli looked at me as if to say " could I have? Kosher?"
I didn't know. Danishes were already plated on a cake plate. She was too embarrassed to ask.
So I asked. "Are they kosher?"
With that – everyone in the salon, simultaneously replied "Of course!! What else? They are badatz ( more kosher than kosher!)"
As if it would be anything otherwise. Love Israel and Israelis.


text:
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text:
Realson No.1:
This year, as you dig through your cupboards and drawers trying to round up enough candles to celebrate Canada's 150th year, we've come up with 150 or so "realsons" to light them up here.
What's a realson? Well, it's not a typo, because those happen when you're rushing things, and that doesn't happen here. Unless it's creek water rushing past your lips as you try to drink it, or horses rushing out of the barn, excited as kids on Christmas morning.
Headwaters is where Ontario gets real. And while we have a few ideas what real means, we'd much rather you come find out for yourself. People say it's how our cooking tastes, our air smells, our people are. And mostly, how Headwaters looks: unspoiled, unpretentious, unlike anywhere else in Ontario.
All those things, they're realsons. But the biggest one of all is how you will feel when you're here. We've heard it described as renewed, calmer, simpler, and very often, Canadian. On this special birthday year, why not shoot up here for a day or a weekend, and give yourself the gift of yourself — at your most real.
Realson No.2:
Real close.
And real easy. One hour from Toronto, even less, and you're in bigger skies, purer air, rollier hills. While everyone else is still on the road. We don't get it either.
Realson No.3:
We are what we were.
As Canada turns 150, there's going to be lots of looking back all over the country. We thought, why not invite people to look around instead? At ways of living that, after 150 years or more, are still going strong. So you can take a history lesson, or you can pop up here, and experience what is and always has been, real.
Realson No.4:
Outdoors from A to Z: Albion Hills, Bruce Trail, Cliffs & Caves, take the Dog Everywhere, Forests, Golf, Happy Hour! Ice fishing, Jogging, Kanoeing (we know), Luther Marsh, Meditation, Nightswim in an Old Pond, Quiet. Rolling hills! Ski/Skate/Spa, Tai Chi, Unplug, View a Waterfall, Credit Valley EXplorer, Yoga… Zzzzs. And that's just Saturday.
Realsons No.5 – 9:
Realsons No.10 – 13:
We're called Headwaters because we're the birthplace of four major rivers: the Nottawasaga, the Credit, the Humber and the Grand. As well as too many other streams and water bodies to count, but you're welcome to come up and try.
Realson No.14:
Our food, in all its forms and feelings. Craving sweet? Bakery butter tarts, maple syrup, Rosemont General Store pies. Feeling fresh? Farmers' markets and anything for sale at a farm. Nostalgic? A church dinner or diner breakfast will transport you to your gramma's kitchen. Real food isn't just a way of life here, it sustains one.
Realsons No.15 – 19:
Realsons No.20 – 22:
Realsons No.23 – 30:
Realson No.31:
No artifice, just art. Approachable, authentic and all-over. In artists' homes, in festivals (see p. 25) and just about everywhere. At Dufferin County Museum, which houses a pioneer house. At the breathtaking Alton Mill Arts Centre, where artists welcome you to pop in as they work. With air this pure, how can we be stuffy?
Realsons No.32 – 36:
Realsons No.37 – 91:
The Orangeville Chainsaw Masterpieces.
In downtown Orangeville, 55 trees that have aged and died naturally have been reborn as one of the most authentic art and community projects you'll ever see, and here's why: the heroes carved into eternity aren't the usual historic suspects, but beloved locals like the town's long-serving dentist, a group of boxers and a cherished teacher, amid a handful of powerful symbolic pieces. And the carvers are even more unexpected: a cop, a web developer, a couple of carpenters and of course, a few brave artists. Strolling Victorian-themed Orangeville is an essential Headwaters activity on its own: The Art Walk of Tree Sculptures makes it pure whimsey.
Realsons No.92 – 98:
We grow artists, musicians, creators by the bushel up here. And in a year when Canada's artists and the rugged, epic nature that so often calls to them are top of mind, a trip up here to soak up both is an inspired thought indeed. From outdoor summer music and art festivals, to ambling, self-directed home-studio art tours, to fiery winter food and art mashups, we just can't keep our creativity inside.
Realson No.99:
Celebrating, country-style. And not just Canada Day, but all year-round. Cutting your own Christmas trees, then watching a parade of lit-up tractors: massive cornfield mazes at Halloween: ancient festivities like wassailing, to wish the trees a good harvest. Traditions feel traditional up here, not to mention simpler and more meaningful.
Realsons No.100 – 104:
Realsons No.105 -111:
Fairly Canadian.
You can read about how confederation-era Canada honoured its agricultural ways, or you can come to our Fairs and taste, see, and oh yes, smell it. Have fun, and watch where you step.
Realson No.112:
More like 23,000 realsons, one for every horse up here. Headwaters is horse country. Stunning Caledon Equestrian Park hosts free Olympic and National level equestrian competitions year-round. You can ranch, rodeo, ride (or learn how), take behind-the-scenes stable tours. And you can stop to scratch someone's nose anytime.
Realsons No.113 – 139:
Headwaters is horse country, as well as an artists' colony. Bring them together, you get the Parade of Horses, winner of multiple tourism awards including the Canadian Tourism Award as the 2016 Visa Canada Innovator of the Year. You can hunt them down all over Headwaters, and get a little help at paradeofhorses.ca.
Realson No.140:
Owner-operators. The people who made your soup from scratch/designed your ring/balanced your chakra or even your tires came up here to do it because making, starting-up, small businesses, it's the country way. Strike up a conversation. You'll learn about doing things slowly and doing them right, and about following a dream all the way up here.
Realsons No.141 – 145:
Realsons No.146 – 161:
Realsons No.162 – 177:


text:
Patna: Microphones, chairs and desks were thrown by the Opposition in the Bihar Assembly - their "protest" they say against a corrupt government.
When slippers were hurled at the Speaker on Wednesday, marshals or security guards evicted 17 Opposition MLAs. (Read & Watch: Slippers hurled at Bihar Speaker as Opposition continues attacks)
Amid the chaos, Jyoti Singh, a woman MLC belonging to the Congress, threw several flower pots around. She claims she was manhandled by marshals.
Watch her in action here:


text:
Lake Almanor Peninsula, Country Club, Foxwood and Bailey Creek
The Lake Almanor Penninsula, Lake Almanor Country Club, Bailey Creek and Foxwood make up the villages and planned communities of the central and North Shore of Lake Almanor. The Peninsula Village on Penninsula Drive has a grocery store, coffee house, lodging, resorts, RV parks, miniature golf course, recreational facilities and many fine restaurants.
The Lake Almanor Country Club, rich with amenities, has a nine-hole golf course and club house with restaurant, seven tennis courts, three boat launches, two recreational and picnic areas and a bandshell for performing arts programs.
Foxwood, located off of County Road A-13, is a several hundred acre innovative, gated community. Known for the beauty of its seasonal landscaping, Foxwood's open areas, playground and Pavillion are favorites for family and neighborhood events.
Bailey Creek, located off Clifford Drive, is nestled among lush golf course greens, beautiful pines and mountain and lake views. Bailey Creek hosts an 18-Hole championship golf course, driving range and full service Club House, a favorite local spot for dining and events.