text:
As a sometime dance critic, I frequently find my opinions wildly at odds with those of individuals talking in the lobby after the show, writing reviews in the paper the next day, or posting on blogs waiting for me when I get home later that night. I often wonder whether everyone but me was completely tuned out or if I'm just hopelessly out of sync with reality. Facing the critical response after seeing a dance performance can leave me feeling alienated and confused.
When I learned of the premise behind the upcoming A.W.A.R.D. Show! at On the Boards (which took place December 10 – 13) I was intrigued by the prospect of witnessing and participating in a process that included audience voting, post-performance artist discussions, authoritative judges, and a $10,000 grand prize. The format, loosely based upon the "So You Think You Can Dance?" model but with a discursive post-show component, debuted in 2006. It is now administered by New York City's Joyce Theater and had been expanded to include Chicago and Seattle. The Boeing Company – once based in the latter city but now headquartered in the former – put up the contest's prize money. On the first three nights, the audience would rank the four contestants in numerical order, but was not allowed to cast their ballots before being forced to hear the choreographers partake in a panel discussion. On the final evening, the three winners would advance to a championship round, where a quartet of judges would weigh in with the collective ticket buyers casting a fifth vote.
I also hoped that seeing twelve Northwest choreographers on three consecutive nights might provide me with some valuable insights into the small but dynamic local dance scene, even if many of this city's brightest lights (Zoe Scofield, Amy O'Neal, Wade Madsen) were not included.
On Thursday night the bill included a disparate series of works by Ricki Mason, Olivier Wevers (whose new company, Whim W'him, will debut at On the Boards next month), Hannah Lagerway, and Deborah Wolf. I approached the evening with an open mind but was most looking forward to Wever's contribution, which I had seen earlier this year as part of "Chop Shop" at the Meydenbauer Center. I had been impressed by the choreography of his I'd seen staged at the Pacific Northwest Ballet, where he's long been a principal and one of the company's most accomplished and theatrical dancers. But I was eager to be shaken up and conflicted by having to rank and choose.
Wever's main challenge, it turned out, would be from Rickie Mason, whose piece I've Never Been Good at Arranging Flowers was first on the program. When the stage lights went up I saw a person of indeterminate gender sporting an incredible mohawk and wearing a men's undershirt, briefs and socks. Mason stood staring sideways towards the wings, pumping her arms up and down, surrounded by a table, chairs and other apartment furniture. But soon this odd, Travis Bickle figure, with legs anchored firmly on the ground, launched into a series of sharp but supple arm movements, all rolling arms, swaying shoulders, and wide pivots. What made the piece so riveting from the start was the confidence with which it pushed against the boundaries of gender to create a state of confusion and enduring sexual ambiguity.
Mason changed into street clothes – walking shorts, white shirt, and suspenders – which appeared both too masculine and feminine and reclined on the floor. She proceeded to engage in a strange duet with a large projection of herself wandering through a decaying, urban landscape. At one point she holds a large fish constructed out of paper by the tail. When it is turned around, we notice the upside down image of pinup girl, like those which once adorned the insides of men's neckties.
The subtler qualities of Mason's seemingly straightforward movement demonstrated her sound footing in ballet, modern and burlesque. Through her carefully nuanced imagery, both on stage and in the film, she managed to reveal the limitations of dance and its rigid definitions of sexuality while simultaneously shattering them.
Olivier Wever's Ultimatum looked like a piece that could hold its own at any ballet company or modern dance venue around the world. Seeing it performed on the main stage at On the Boards made me consider the limitations of most contemporary dance movement. It looked even better than I remembered, though dancer Vincent Lopez wasn't quite the equal of his dance partner, PNB principal Lucien Postlewaite, or Jonathan Porretta, the PNB principal who danced the role alongside Postlewaite at Meydenbauer. There was a rigorous, ballet-based precision to the movement that led the viewer to pay close attention to the evolving interaction of the two dancers as the work unfolded. Ultimatum maintained a tentative, restrained homoeroticism that could only be achieved with such a degree of refinement. And the kilts, far from looking ridiculous, gave the piece a kind of ancient, timeless quality.
The untitled piece that followed was choreographed by Hannah Lagerway and performed by the Coriolis Dance Collective. Two couples danced across the floor in dramatic fashion; the women in brightly colored slips and ballet shoes, the men in shirts and trousers. It was lively and well-executed work that sought to bring forth the folly and strife of romance with an appealing combination of modern, ballet and jazz vocabulary. Despite some show business verve and a real sense of irony, it was a conventional work that lacked the distinguishing characteristics that might make it stand out. It was a solid composition but Lagerway did not seem interested in taking us anywhere with it. The dancers often exhibited facial expressions to signify emotion but evoking present-day romantic entanglements may have required a touch more avant-garde strangeness or a greater sense of dislocation. But that's just me.
The final work of the evening was Deborah Wolf's The Hipdeep Family, choreographed to songs based upon Edward Gorey's verse that were performed by the Tiger Lillies along with the Kronos Quartet. A gray-haired, black-robed school master began the proceedings by reading a poem, followed by a dance to the musical interpretation. The dancers themselves were an assortment of males dressed in black whose odd collective presence was the key element to the work's humor. But was it funny? No.
In the interest of full disclosure, I must admit that I'm not big on slapstick cuteness, falsetto singing, lounge accordion, or Gorey sans illustration. When combined together, however, these elements proved hard to endure. The act was repeated three times with short narratives that repeated similar themes; each one more unbearable than that which preceded it. There was no compelling movement to speak of and no underlying ideas beyond what was appropriated from Gorey. Or should I say misappropriated? Edward Gorey's morose wit cured though an extreme restraint. When acted out as low-rent modern day opera buffa, it simply loses all its gas.
The panel discussion that followed was uneventful and did nothing to change my mind. Moderator Tonya Lockyer asked a series of broad, pertinent questions about criteria, influences, and choices that went mostly unanswered. (Wevers himself was not in attendance, being represented by Postelwaite.) When voting was announced, I had no doubts – Wevers' piece was the winner, Mason's the most 'contemporary,' Lagerway's less fully-realized but showing promise, and Wolf's having little going for it.
After a late dinner I arrived home to discover that Wolf's piece had won the night. I was a bit stunned. I thought that the subscriber crowd at On the Boards would find Mason's piece most to their liking, but realized that this audience was far from but the typical house. Anything appeared possible when democracy was allowed to trump curatorial decisions or critical taste.
Friday night's evening included works by choreographers Catherine Cabeen, Sonia Dawkins, Shannon Mockli of Eugene, OR, and Molly Scott. I had been impressed by both Scott and Dawkins in the past but was not familiar with either Cabeen or Mockli.
Catherine Cabeen's Segments was set to live music composed and performed by Kane Mathis on a curious lyre that looked at once ancient and of the future. Cabeen moved slowly, tersely, and with much control through a prism of light projected across the floor. She advanced and retreated towards Mathis, whose gentle plucking would alternate with a hard, rhythmic knocking on the instrument's body. Periodically she would wind down into a fetal position before reemerging to charge forward again. The work had a spare elegance and emotional gravity that is likely the result of Cabeen's time in the Martha Graham Company. But it also possessed Graham's trademark lugubriousness and theatricality, attributes that undermined my ability to connect with the anguish and struggle at its core. Near the end of the work, Cabeen removed her gauzy Japanese-style robe and broke free of the prism, launching into rapid series of turns with longer, more sweeping movements. The house lights went up and she ascended, anticlimactically, into the audience.
Next up was Dawkins' SD Prism Dance Theatre performing her work Linkage. It was a lively, spirited piece with a well-developed loose, jazzy movement. The ensemble of kilt-wearing young dancers could execute the moves but seemed tentative and lacking in confidence with their blank, passive facial expressions. Dawkins has a good sense of composition but her work often does not reach for the consequential. While one could easily imagine her choreography on Broadway or in Hollywood today, it was missing a sense of purpose standing on its own in this venue. But so would most works by Jerome Robbins and other major figures, I suppose. The work ended abruptly and felt unfinished.
The evening's third piece, a solo by University of Oregon dance professor Shannon Mockli, was an unusual artistic homage to the late moderns. Entitled Trio with the Johns, it was performed to a reading by John Cage of an artist statement by Jasper Johns. As you hear Cage say, "I don't want my work to be an exposure of feelings, something to be stretched," Mockli does a series of repeated circular movements off the floor inside three distinct, alternating spotlight circles. The tension and similarities between Johns' words and Mockli's movement (which suggested Johns' concentric targets) fueled this erudite, intellectual dance. She was able to both honor and gently critique the visions of these great, influential men. I admired what she had achieved but could not get excited about a work so Apollonian and historically referential. Mockli is, of course, a university professor whose mind is absorbed by teaching and studying these traditions on a daily basis. And who exactly goes to see contemporary dance in a dreary college town like Eugene?
The final contestant that night was Scott/Powell Performance in Images from HOME, with choreography by Molly Scott and music by Jarrad Powell. Scott places powerful, expressive dancers like Ellie Sandstrom and Jess Klein in slowly evolving, deliberately constrained compositions. As a result, her dances generate considerable heat and pent-up energy. We await the flare-ups, which are intermittent and fleeting. I soon realized I had seen this work before and my appreciation was not diminished witnessing it a second time. Like all good abstract, minimalist choreographers, Powell is skilled at suggesting complex relationships between human beings and other, larger forces in the world while keeping her work from resisting easy interpretation. She succeeds in creating a unique movement vocabulary and uses it to build a separate but recognizable world.
The last segment of the piece, which involved a bearded man in a long white gown embracing a seated woman, did seem to settle into something of a stasis, however. And as is often the case when watching Powell's choreography, I find myself wanting less suspension and more release. But it was the only piece that left me with any sense of exhilaration that night. Despite whatever reservations I might have about the work, it was clear that she was operating at the highest level of this group and with some very formidable dancers. Deciding who would take the remaining three rankings would prove more difficult.
I looked for answers in the panel discussion, which grew a little testy. Cabeen spoke forcefully about her choices and accomplishments and of the influence of Graham in her work. Scott was calm and articulate, stressing the importance of Cunningham and describing in broad terms what dance itself constituted. Mockli wisely chose to let her composition speak for itself. Dawkins said little and sat scowling with her arms crossed, handing the microphone to two of her dancers when it was her turn to talk.
After flirting briefly with giving Mockli my second place vote, I remembered how strong Dawkins' work looked at PNB's Choreographers Showcase a few years ago, where it was danced by members of the school. In the same program, Scott's contribution seemed thinner than it had previously at On the Boards. I gave Dawkins my number two vote. Mockli received my third place vote for leaning too heavily on the past, though I felt conflicted. Cabeen, whose work had failed to speak to me, took fourth.
At midnight, I visited the On the Boards website and was shocked to discover that my fourth place choice had once again been selected as the audience favorite.
Saturday night's contest brought four additional choreographers into the competition: Daniel Wilkins, KT Neihoff, Lauren Edson (of Portland, Oregon), and Amelia Reeber. I had never heard of Edson and had never seen Wilkins' work, but was familiar with that of Neihoff (one of the founders of Velocity Dance Center) and Reeber.
Wilkins' Fighting Water was first on the program. A relatively large ensemble of dancers wearing sliced-up, minimalist costumes danced in front of a video projection that showed sweeping views of Seattle's faded maritime-industrial waterfront. The movement was like nothing I'd seen before. There was something captivating about the strange gravitational pull that held the dancers in its grip as they moved off the floor, embraced one another and struggled to be free. (I would later discover that the piece was conceived on a slip-and-slide that greatly inhibited the dancer's dexterity.) What was remarkable was the way in which the dancers' altered, slightly impaired motion mirrored the forlorn presence of the aquatic mammals that sat in repose among the waterfront ruins on the screen behind them.
The work struck me as both original and about something big. Was the dancers' environment as compromised as that of the blubbery wildlife? Their melancholy introversion on stage resonated perfectly with the gloomy, listless Harbor Seals and the large, uncomfortable Sea Lion that batted its long, feminine eyelashes at us. Perhaps it was suggesting the toll of planetary climate woes, but it seemed to be about the more general phenomenon of vulnerable species being edged out of their respective habitats. The piece was not without a gimmick or two (the dancer who wandered into the audience aisle, for instance) but Wilkins was doing something exciting here and could no doubt put $10,000 to good use.
Niehoff's Two Guys and a Truck began with the house lights still up. From inside the tech booth behind the crowded seats I heard muffled cries and a heavy thumping against the thin walls. The door quickly swung open and two dancers emerged, their bodies stuck together and limbs intertwined. Slowly stumbling down the stairs, they grumbled and shouted at one another, pushing and pulling their collective weight in and out of balance while carrying on contentious verbal negotiations. The piece continued onto the stage, where it became a compelling dramatization of the artistic process and everything that such artistic processes signify. It struck me as a solid, sophisticated work in the comic tradition of Beckett and his avant-garde heirs, but I'd seen this kind of thing too many times before.
The third work of the evening was Lauren Edson's In Time. At first I did not know what to make of the piece and found myself focusing on a few of the dancers who I deemed a bit shaky. But what I originally mistook for a rather conventional dance piece soon developed into very strong composition built from an eloquent fusion of ballet, modern, and pedestrian movement. Its emotional honesty and expressive musicality stood out among the more concept-heavy works I'd seen on the stage that week and even reminded me of Mark Morris.
Last on the bill was choreographer/dancer Amelia Reeber. I had seen her perform on at least two occasions at On the Boards but was not taken with her work. In one show I remembered, a dancer (possibly Reeber herself) came out on stage wearing giant plastic crustacean arms. Maybe I just didn't understand it. Much to my surprise, her A.W.A.R.D. Show! contribution, Dreamlife, proved to be a stunner.
Reeber entered the stage inconspicuously at first, wandering in front of a murky red backdrop amid the constant ebbing and flowing of noise. Suddenly the red gave way to clear blue and the rattles and low roar were replaced by the restlessly cheerful sounds that punctuate daytime television. Some strange current charged through Reeber and she was suddenly transformed, like a medium channeling spirits, as the voices of home renovation reality show subjects took over her body. Through her movement and facial expressions she acted out the anxieties and compulsions of these chattering aspirational husbands and wives with a pitch-perfect combination of humor and sorrow. More than simply a social critique, it was a poignant exploration of the American impulse to recreate one's environment through consumption and doing it yourself. Her comic timing was impeccable as she gave off just the right degree of empathy and ridicule.
For the first time, I was in a complete conundrum as to how to score the contestants. Wilkins' piece was the most original and ambitious; Neihoff's the most compositionally tight; Edson's the most giving and nuanced; and Reeber's the most outward, complex and culturally relevant. I awaited the results of the panel discussion.
As with previous evenings, the discussion was a choppy affair. The choreographers struggled to answer many of the questions each night, especially the one about artistic influences. Neihoff, wearing gloves, faux fur, and a multi-storied hat, seemed taken aback at first then mentioned the names of some local talents. Reeber concurred and Eldon, a young woman with a broad smile, spoke about her process. But Wilkins, slouching and unshaved, talked about the importance of Balanchine and how the modern quality of Agon and The Four Temperaments had inspired him. This made me remember how the movement and scope of his work had impressed me an hour earlier. But I was also drawn to Reeber's nonchalance and humility post-show, qualities which contrasted sharply with the exuberance of her piece. Of all the people I'd seen talking on stage these past three nights I identified with her the most.
The contest for the number one slot was really between Reeber, my initial post-show favorite, and Wilkins, who had forced me reconsider him after the discussion. Wilkins' goal of creating movement that works on its own terms rather than referencing more explicit human interactions was now working to his advantage. When it came time to cast my vote I gave him the number one slot, Reeber the number two, Eldon the third, and Neihoff the fourth. The choices felt arbitrary, but I had to make a decision.
When the clock struck twelve that night I checked the website and saw that Reeber had won at the ballot box. I was regretting not voting for her advancement on the way home and was slightly relieved to discover she'd come in first.
Sunday night would be the showdown between Deborah Wolf, Catherine Cabeen and Amelia Reeber. I was still disappointed that Wolf and Cabeen had beaten out Wevers, Mason and Scott to go onto the second round, but I would approach the evening with an open mind. I didn't expect the repeat performance to change my opinion about Wolf's piece but was willing to give Cabeen another chance. Reeber remained the favorite. Before the show began, On the Boards Artistic Director Lane Czaplinski announced that the combined audience would be one of five votes: the other four would be those of the judges. These esteemed personages would include Spectrum Dance Theater Artistic Director Donald Byrd, choreographer and longtime Seattle dance fixture Dayna Hanson, Kara O'Toole of Velocity Dance Center and Joyce Theater Executive Director Linda Shelton, who had flown in from New York to attend the event.
As soon as the school master began his pigeon-toed walk across the stage, it was clear to me that any whimsical charm I might have found in Wolf's The Hipdeep Family would not persist through a second viewing. I almost groaned out loud as I heard him begin his recitation and a very long twelve minutes followed. "Let's get this over with," I sighed to my brother, who had attended each night's performance with me.
The drama heightened as I waited to give Cabeen's piece the second look I felt it deserved. But moments after seeing her again poised in the prism of light and hearing the opening notes from Mathis' lyre, I lost my initial enthusiasm for it. The halting nature of the composition, with its frequent starts and stops, did not allow for any accumulation of energy and the piece fell flat. And there was something that began to feel slightly ridiculous about its heightened sense of seriousness. While I had been enchanted by the presence of live music the first time I saw the work, I now found Mathis' musical accompaniment cloying. It seemed more appropriate from a Discovery Channel nature special than a contemporary dance piece. I guess my mind was now made up.
Seeing Reeber's piece again confirmed my convictions of the night before. It was a great contemporary dance work and a sophisticated satire of our present-day cultural maladies.
There was no panel discussion that night. I had wanted to see the judges deliberate on stage before the audience but my hopes were dashed as we were dismissed into the lobby to sip champagne and await the outcome of the vote. After twenty minutes of talking to people in the crowd from both the Cabeen and Reeber camps, Czaplinski announced that Reeber had emerged victorious and that Wolf and Cabeen would each get a $1,000 award for their first round wins. I was quite pleased with the result. Some Cabeen supporters slinked off into the night grumbling that the judges had acted as a firewall against the better instincts of the audience. I was not so sure.
The remarkable thing about Reeber's piece was its sublime intelligence and ability to please the crowd. But based on my experiences of Thursday and Friday's contests, I could not be certain that her work got the most votes from the assembly. But if the judges did go against the will of the audience, maybe it was just as well. Each night the crowd appeared to be divided into camps, with most people having connections to one choreographer or another. Mockli and Edson, the talented out-of-town guests, had fewer associations, smaller cheering sections, and little hope of winning. With the burlesque performers and unabashedly queer folk coming out for Mason, the ballet enthusiasts showing up at an unfamiliar venue to see Wevers, and the more alternative Butoh and aerialist dance community supporting Cabeen, it seemed to be a game of turning out your base.
But the beauty of the A.W.A.R.D. Show!, like that of democracy itself, was that it placed these disparate groups of people together in the same place to see, discuss, and ultimately choose the dance that spoke to them most strongly. For even in a young, mid-sized city like Seattle, there is far too much balkanization among its many artists.
— By Jim Demetre

subset: commoncrawl


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February 22, 2013
Contact:Craig Lemon (908) 852-4950
Ron Jacobsen (908) 852-4950
Lawrence Ragonese (609) 292-2994
Lawrence Hajna (609) 984-1795
Excellent Pike Fishing Opportunities in the Upper Passaic River
(13/P13) HACKETTSTOWN – New Jersey anglers used to travel north and west, to Minnesota and the Canadian provinces of Quebec, Ontario and Manitoba, to find good northern pike fishing opportunities. Today, thanks to the efforts of the Department of Environmental Protection's Hackettstown Fish Hatchery, run by the Division of Fish and Wildlife, anglers can enjoy superb pike fishing close to home.
Currently, successful pike fisheries exist in nine state water bodies in northern and central New Jersey, and are especially thriving in middle sections of the Passaic River. The Passaic receives 2,200 six-inch fingerling pike each year from the state hatchery, and gets additional surplus pike, ranging from two to four inches. Pike are now well-established over much of the river's course as evidenced by angler reports.
Northern pike prefer cooler, vegetated reaches of larger water bodies, usually at least 100 acres in size. In New Jersey, this limits opportunities to a few select waters in the northern and central portions of the state. Under the guidance of state fisheries biologists, the introduction of northern pike was attempted in 15 locations from 1981 to 1996, with fisheries eventually established in Budd Lake, Cranberry Lake, Deal Lake, Farrington Lake, the Millstone River, Pompton Lake, the Pompton River, Spruce Run Reservoir and the Passaic River.
"It has been a remarkable effort by our team at the Hackettstown Fish Hatchery to restore pike to our waters and give anglers another terrific fishing opportunity in our state,'' said Dave Chanda, Director of the DEP's Division of Fish and Wildlife. "Anglers can now enjoy some really terrific northern pike fishing right here in New Jersey.''
The Passaic River borders or runs through seven different counties, flowing through relatively remote wilderness flood plains as well as densely populated urban areas. It offers both challenging and easy pike fishing opportunities for anglers of every level. Much of the river from Chatham in Morris County to Fairfield in Essex County is accessible only by canoe or kayak. However, many city riverside parks are havens for shore-bound anglers.
Pike are now stocked at more than 25 locations on the Passaic River, from the Lower Chatham Bridge at the Morris-Essex counties line to Pennington Park in Paterson. Locations from Hawthorne to Garfield, above the Dundee Dam on the Bergen County side of the river, also are stocked.
To explore the uppermost Passaic River pike-stocked areas, small watercraft can be launched at the McCormick Bridge off South Orange Avenue in Livingston in Essex County, and at the Swinefield Bridge, near the intersection of Eagle Rock Avenue and River Road, in Morris County. The Great Piece Meadow Natural Area, which stretches from Horseneck Bridge Road downriver to Two Bridges Road, has consistently produced large pike for anglers fishing from kayaks. Anglers have reported catching pike weighing up to 20 pounds and measuring into the low 40-inch range.
Although not stocked upriver of the Lower Chatham Bridge or below the Dundee Dam, which spans the Passaic between Clifton and Garfield, northern pike have been reportedly caught at numerous locations outside of that range. Recent reports have been received from anglers who have caught pike upriver at Berkley Heights and downriver at Belleville (though DEP fish advisories recommend not eating fish caught in the Lower Passaic River)
The Division of Fish and Wildlife's Hackettstown Fish Hatchery began raising pike in 1981 with eggs obtained from the Pennsylvania Fish and Boat Commission. However, it was not until completion of the hatchery's new intensive culture system in 2000 that large numbers of northern pike fingerlings were reared.
New Jersey's northern pike program is self-sufficient and is sustained by maintenance stocking of hatchery reared fingerlings. The Division does not rely on out-of-state sources for eggs. Each year staff from the Hackettstown hatchery collects broodstock, large adult fish, during March and April from New Jersey lakes for spawning.
Eggs are fertilized, hatched and the fingerlings reared to stockable size (normally 6 inch average) at the hatchery. The adult broodstock are returned to their lake of origin after the spawning process.
Popular fishing methods for pike are casting large spinners, spinnerbaits, wobbling spoons, jig lures and floating shiners, suckers or chubs. Anglers may keep two northern pike per day if they measure at least 24 inches in length.
For a more detailed account by DEP Fisheries Technician Ron Jacobsen on fishing for northern pike, plus locations of pike stocking areas, media useable photos of pike fishing, and other fishing opportunities in New Jersey, visit: http://www.njfishandwildlife.com/artpassaicpike13.htm
For more information on the Hackettstown Fish Hatchery, visit: http://www.njfishandwildlife.com/hacktown.htm#articles
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text:
Ryan Reynolds may be the big screen's Hal Jordan, but he's not the only actor who'll be reciting Green Lantern's oath this summer.
"Castle" star (and major comic book fanboy) Nathan Fillion gets his own green glow on by voicing the ring-slinging superhero in "Green Lantern: Emerald Knights," a DC Universe animated film coming to DVD and Blu-ray on June 7 in anticipation of the feature film's release. And after spending his childhood prepping for the role, he couldn't be happier to put a ring on it.
"As a child, when you're pretending you're different super heroes, Green Lantern was the easiest because all you needed to light the fire in the imagination was the ring," says Fillion. "Superman, you need a cape; Spider-man, you need a full face mask. That wasn't tough to come by in a winter town like where I'm from, but they're just too hot to wear in the summer. So to be Green Lantern, all you needed to do is suck a lifesaver down to the right size, and to make sure it's a lime one – slip it on your finger, and you were good."
U.S. & World
The direct-to-video film explores the origins of Jordan and many of his fellow Green Lantern Corps members, and Fillion said he was always captivated by the nearly limitless possibilities their power rings could unleash. "As a kid, what I liked about Green Lantern was that he could do anything – anything you could think of," he says. "It's like 'Wow, all I need is a giant mallet, or a catapult circa 1200s,' and suddenly he had it. I just thought that would be pretty cool to have anything you could kind of imagine. Imagination was always a big thing for me."
The actor, who's previously given voice to Wonder Woman's beau Steve Trevor and the Golden Age crimebuster The Vigilante for other animated projects in the DC Universe, says his childhood groomed him to play powerful protectors.
"I always thought I had an overdeveloped sense of justice," he explains. "Now looking back on my comic book days, my world kind of was formed around comic book justice. I think I have a very strong sense of comic book justice. Maybe that has something to do with how you take on a role. I mean, I'm steeped in the history of these characters. I know it and I love it."
"I love being part of this lore," he continues. "These are great characters – all these wonderful pieces of American pop culture. And now I've got a little piece. I can say, 'Oh yeah, I was Green Lantern for a DVD movie." Not a lot of people can say that. 'Oh, Steve Trevor? Funny you should mention him…' It may sound silly, but it means something to me."
And while he left his lime Lifesavers at home, Fillion – who two years ago was inserted into a virally popular "Green Lantern "trailer" made by a fan with editing skills – did get into character for the recording sessions. "Debbie Zoller is the head of my makeup department on 'Castle.,'" he reveals. "She saw that fan-made Green Lantern trailer and thought the t-shirt would be an appropriate Christmas present, and I wholeheartedly agree with her. I've been known to wear a few superhero shirts – and where better than a Green Lantern recording session to wear it?"


text:
Severe weather warnings, watches issued for counties in Ark, Okla.
Watches and Warning info below:
Flash Flood Watch in effect through Saturday afternoon
Crawford, Franklin, Sebastian,
In Oklahoma:
Le Flore County, Haskell, Latimer
Flash Flood Warning and Severe Thunderstorm Warnings in Polk and Scott Counties
Flood Watch
Flash Flood Watch issued for several counties in Northwest Arkansas in effect until Saturday afternoon.
The National Weather Service in Tulsa has issued a
Flash Flood Watch for portions of northwest Arkansas and
Oklahoma including the following areas:
In Northwest Ark:
Benton, Carroll, Madison and Washington
In Oklahoma:
Adair, Cherokee, Craig, Delaware, Mayes, McIntosh, Muskogee, Nowata, Okfuskee, Okmulgee, Osage...Ottawa...Pawnee...Rogers...Tulsa...Wagoner and Washington.
According to the NWS:
Widespread rainfall amounts of 3 to 6 inches are likely across
much of northeast Oklahoma and northwest Arkansas through
Saturday morning with locally higher amounts of 8 to 10 inches
possible. This would likely lead to life threatening flash
flooding in some areas if these rainfall amounts are realized.
Several rounds of heavy rainfall will be possible with the most
significant flooding threat occurring Friday night into Saturday
* The heavy rainfall will also cause rapid rises on creeks, small streams, and eventually lead to main river flooding as well.


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Fears that a stint hosting the Bar Mitzvah Show last year at Just for Laughs had mellowed Bobby Slayton proved to be unfounded. It was old-time barking for the pit bull of comedy as he returned to host the Nasty Show – the series with which he has become synonymous – Tuesday at Club Soda.
And so the English portion of Just for Laughs' 30th edition was launched, not so much with golden memories but with abundant shtick about mammaries. Hey, it's the Nasty Show, and no matter how raunchy Slayton and the five other performers were, no one in the crowd – again, made up of more women than men – seemed offended.
Buoyed by the presence of his buddy Alice Cooper at Tuesday's early show, Slayton – who has hosted the series for 21 of its 25 years – regaled the crowd with a tale about how someone had stolen his wife's identity. But it was a good news story: Once the thief discovered whose identity they had heisted, they returned it immediately. Evidently, Mrs. S. can be as gnarly as her mate.
Curiously, though, for all the shots Slayton took at his wife and odd couplings and unrealized sexual daydreams – "When I make love to my wife, I feel like I'm cheating on my hand" – his best zinger of the night contained no kink. Having learned that a high-ranking exec of the Subway chain was in attendance, Slayton went into a hysterical diatribe about the art of sandwich-making.
He noted that the masters of this craft at delis could fashion a sandwich faster than he can speak. Not at Subway, though, where a gang of eight not-so-swifties – one in charge of bread, one in charge of pickles and so on – breaks all the rules of fast food. "Not like Taco Bell," Slayton ranted. "They were so worried about fast service that they created a Taco Bell Express – where the food comes shooting out of your (rear, almost as soon as it is served)."
Aside from closer Mike Wilmot, the veteran Canuck wit, this year's spectacle showcases Nasty newbies led by young, twisted bucks like Ben Roy, Mike Lawrence and Brian Keith Etheridge.
Also on the bill was first-timer Paula Bel, who – while as filthy as the fellas, with bizarre banter about rape fantasies – seemed less comfortable and less able to generate gales of laughter than the others. Interesting how the women in the crowd seemed to react better to the potty-mouthed boys. Dr. Freud?
Roy could be a breakout star of this series. He takes an entirely different tack from the old guys on the insult-comedy circuit: He actually proclaims that he loves his wife, that they have great sex together, that they love to cuddle, and that he is really happy. Wait a minute here – this ain't Dr. Phil.
No, it's not. And Roy gets hilariously graphic while trying to explain to the men that it's their responsibility to clean up their junk – "the doorknob of the body" – to make it more enticing to their mates.
Wilmot – the endearing curmudgeon who forever disproves the theory that Canadians are bland and polite – also professed his love for his lady. Even though he kids that they are together more "out of spite than love."
After 26 years of marriage, the two are tighter than ever, both spiritually and physically – the latter relating to a sexual position wherein his head gets trapped. Frightening yet funny.
Montreal, which he has described as "Disneyland for alcoholics," is Wilmot's favourite destination. Or, to put it his way: "I hate this place the least." Well, welcome back.
And welcome to the bearded and bedraggled Lawrence, who could pass as an offspring of Charles Manson. He admits his appearance is a bit off-putting: "I look like I fought in the Civil War and you don't know what side I was on." True enough.
Unlike Slayton, who was mystified by student protesters outside Club Soda, Lawrence empathized with their lot – because he noted a resemblance between some of them and himself. Then again, he just got into a fight with a homeless man, because the latter had mistaken him for another homeless man.
Lawrence's mom was a stand-up comic as well: "They called her the Queen of the One-Liners. She would do a line of coke and (pleasure) all the men in the house."
Prior to hitting the comedy circuit, Lawrence worked at McDonald's for seven years "because when you love life, life loves you back." But it wasn't such a pleasant experience; he claims to have been molested on the job, "and I'm not just talking about my paycheque."
Lawrence gets extra points for rhapsodizing about Raphael, "the noblest of the Teenage Mutant Ninja Turtles." He could also be a breakout star of this series.
And if we questioned Lawrence's genetic background, what to make of the equally bearded and bedraggled Etheridge, who could pass for Unabomber Ted Kaczynski? Given the fact that he writes for South Park, it came as little surprise that his material sprung from the dark though cleverly cerebral side.
Etheridge calls himself a "pragmatic masturbator." That is, he sits on a toilet and has visions – of himself sitting on a toilet. He can only conjure up thoughts rooted in his reality. It doesn't help: It takes him 11 hours to climax.
As always, Nasty Show spectators are warned not to sit too close to the comics if they don't want to become the butts of their material. For, like caged critters, they will snap hard. As Roy pointed out to one unsuspecting patron: "You're just one rental car away from an Amber Alert."
The Nasty Show, hosted by Bobby Slayton and featuring Mike Wilmot, Mike Lawrence, Paula Bel, Brian Keith Etheridge and Ben Roy, continues Thursday to Sunday and July 27 and 28 at Club Soda, 1225 St. Laurent Blvd. For showtimes and reservations, call 514-286-1010 or 514-845-2322, or visit hahaha.com.
Twitter: @billbrownstein


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The NBCC Foundation, an affiliate of the National Board for Certified Counselors (NBCC), recently selected Barry University graduate student Mirsha Alexandre for the NBCC Minority Fellowship Program-Youth (MFP-Y). As an NBCC MFP-Y Fellow, Alexandre will receive funding and training to support her education and facilitate her service to underserved minority populations, with a specific focus on transition age youth (ages 16–25).
Alexandre is currently pursuing a master's degree in mental health counseling and marriage, couple and family counseling at Barry. After graduation, Alexandre intends to work with underserved minority teenagers and their families who are dealing with substance use, trauma and/or family issues. Alexandre is prepared for the fellowship to further enhance and develop her skills as a multicultural competent counselor and is hopes to provide outstanding mental health and family counseling to teenagers and their families in the community.
The NBCC MFP will distribute the award to Alexandre and the 39 other master's-level counseling students selected to receive the fellowship award. Alexandre is a graduate of Florida Atlantic University in Boca Raton.
The NBCC MFP-Y is made possible by a grant awarded to NBCC by the Substance Abuse and Mental Health Services Administration (SAMHSA) in September 2014. The Foundation is contracted by NBCC to administer the NBCC MFP-Y, as well as training and collaboration activities, such as webinars, that are open to all National Certified Counselors (NCCs). The goal of the program is to reduce health disparities and improve behavioral health care outcomes for racially and ethnically diverse populations by increasing the available number of culturally competent behavioral health professionals.
The Foundation plans to open the next NBCC MFP-Y application period in September 2015. To learn more about the NBCC MFP and its fellows, please visit www.nbccf.org.
To learn more about Barry University's graduate program in counseling, visit: http://www.barry.edu/counseling-ms/.


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What you're looking at here in bare carbon glory is the end of the road, the final act, the last of the greats. This is it: The last Pagani Zonda Revolucion that will ever be built.
Earlier this week I had a chance to drop in at the Pagani factory in San Cesario, Italy. Apart from seeing a gaggle of Huayras and learning that Pagani would build a Huayra with a manual transmission if you drove a dump truck of money to the factory, I also got to see this bare carbon shell of Pagani's final racer.
Well, until somebody with a gazillion dollars comes back to Pagani and says they just want one more. Then that one will be the last one.
Just look at this. I really wish I was a pro photographer.
For those of you that want to see a built car, here's the Zonda R (now upgraded to Revolucion spec) that made Pagani's famous Nurburgring run:
Photo Credits: My pal Dave took most of them, I took the middle three.


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Female Basketball Players Hindered by ACL Injuries
by Mark Brown
Shea Ralph was a player for the University of Connecticut's nationally ranked women's basketball team. She was going full-speed when she hauled in a pass on the break in a National Collegiate Athletic Association (NCAA) tournament game.
"Kesha gave me a lead pass, but it was going out of bounds. I tried to stop on my right leg and reach out of bounds to get the ball, spin, and get a lay-up. When I planted my foot, my leg below my knee just stopped, but the rest of my body kept going. I felt my knee shift. [The pain] was continuous and sharp. Kind of like somebody stabbed me in the leg and was moving the knife around."
Female basketball players, like Shea, and other athletes are at risk of suffering from anterior cruciate ligament (ACL) tears. Find out why this injury occurs.
Learning About the Causes
Sue Bird, a teammate of Ralph's at the time, tore her ACL while performing a routine basketball move. "We were doing a 3-on-2 drill in practice. I just jump-stopped to take a shot and my knee kind of gave out. My calf went to the left and my quad went to the right. It felt like it split. I didn't hear the legendary pop that you're supposed to hear. I felt a little pain, but nothing excruciating. I got up and walked off the court. I thought I would be fine, but the MRI showed I had torn my ACL."
Ralph's and Bird's ACL tears represent the 2 common instances of the injury involving female athletes: violent planting of the foot during a high-speed, high-impact stop/change of direction, and a routine jump-stop that players do dozens of times in a game or practice. Most ACL injuries occur when landing from a jump, cutting, pivoting, or with sudden deceleration—essential movements in the game of basketball.
Anatomy and Function of the ACL
The ACL is the ligament in the middle of the knee that connects the thigh bone (femur) to the shin bone (tibia). Along with the posterior cruciate ligament (PCL), the ACL help provide stability for knee rotation and protecting the thigh bone from sliding forwards and backwards on the shin bone.
Ways to Rebuild the Ruptured ACL
Ralph and Bird had the same surgical procedure to reconstruct their ACLs. A graft was taken from the patellar tendon in the injured knee and used as the new ACL. Although, in Ralph's case, since she had had her ACL repaired once before, the tendon graft was taken from the other, healthy, knee.
Both players reported stiffness immediately after surgery and spent 2 weeks in an immobilizer that keeps the injured leg straight. Rehab began right away.
"You work on your range of motion a lot," says Bird. "I could straighten my leg easily, but bending was hard at first. I could get to ninety degrees, but past that, they would have to push and then it was pretty painful." Bird also worked on muscle building and balance because the muscles around the knee had wasted.
Ways to Protect the ACL
Ralph has made some adjustments to try to prevent another ACL injury, such as distributing her weight more evenly on both feet when jump-stopping. Because of her body type, she has taken even more precautions. "I worked on turning my feet outward and being conscious of it," she explains. "I also worked on keeping my knees faced out, how to jump and land, how to collapse if I fall, how to position my leg if people are about to fall on it."
There are other ways to help prevent an ACL injury. Plyometrics, a type of jumping exercises, can be used to train and strengthen the leg muscles. You can also do warm-up exercises, strength training for your quadriceps and hamstrings, as well stretching exercises for your legs.
American Orthopaedic Society for Sports Medicine
Ortho Info—American Academy of Orthopaedic Surgeons
Canadian Society of Exercise Physiology
Health Canada
Anterior cruciate ligament injuries. Ortho Info—American Academy of Orthopaedic Surgeons website. Available at:
...(Click grey area to select URL)
Updated March 2014. Accessed January 30, 2018.
Anterior cruciate ligament (ACL) injury. EBSCO DynaMed Plus website. Available at: http://www.dynamed.... Updated June 26, 2017. Accessed January 30, 2018.
Griffin LY. Prevention of noncontact ACL injuries. Rosemont IL: American Academy of Orthopaedic Surgeons; 2001.
Ireland ML, The female ACL: Why is it more prone to injury? Orthopedic Clinics of North America. 2002;33:637-651.
Moeller JL, Lamb MM. Anterior cruciate ligament injuries in female athletes: why are women more susceptible? Phys Sportsmed. 1997;25(4).
7/6/2009 DynaMed Plus Systematic Literature Surveillance http://www.dynamed...: Prodromos CC, Han Y, Rogowski J, Joyce B, Shi K. A meta-analysis of the incidence of anterior cruciate ligament tears as a function of gender, sport, and a knee injury-reduction regimen. Arthroscopy. 2007;23:1320-1325.
Last reviewed January 2018 by EBSCO Medical Review Board Michael Woods, MD, FAAP
Last Updated: 1/30/2014
EBSCO Information Services is fully accredited by URAC. URAC is an independent, nonprofit health care accrediting organization dedicated to promoting health care quality through accreditation, certification and commendation.
This content is reviewed regularly and is updated when new and relevant evidence is made available. This information is neither intended nor implied to be a substitute for professional medical advice. Always seek the advice of your physician or other qualified health provider prior to starting any new treatment or with questions regarding a medical condition.
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Doctors Without Borders is pulling out of Somalia after more than two decades because of frequent attacks on its staff, the aid group said Wednesday.
The group, internationally known by its French name, Medecins Sans Frontieres, has worked in the nation since 1991.
It said civilian leaders tolerate or "condone the killing, assaulting and abducting " of aid workers.
"The same actors with whom MSF must negotiate minimum guarantees to respect its medical humanitarian mission have in some cases played a role in the abuses against MSF staff, either through direct involvement or tacit approval, particularly but not exclusively in south-central Somalia," it said.
In 2011, two MSF members were killed in Mogadishu, and their convicted killer was released early, the group said.In addition, 14 other staff members have been killed and dozens of MSF's ambulances and medical facilities have been attacked, the group said.
"In choosing to kill, attack, and abduct humanitarian aid workers, these armed groups, and the civilian authorities who tolerate their actions, have sealed the fate of countless lives in Somalia," said Dr. Unni Karunakara, MSF's international president. "... The situation in the country has created an untenable imbalance between the risks and compromises our staff must make, and our ability to provide assistance to the Somali people."
The aid agency had a staff of about 1,500 in the nation to provide various services, including health care, malnutrition treatment, surgery and relief supplies.
Somalia has been plagued by a long-running struggle between government forces and Al-Shabaab, a militant Islamist group with connections to al Qaeda. It has waged a war to implement a stricter form of Islamic law in the country.
Two years ago, Somali and African forces pushed the militants out of the capital, Mogadishu, raising hopes of a return to relative security after about 20 years of violence.
But the militants have maintained control of large chunks of southern and central Somalia, where they stage attacks.
Until last year, Somalia had not had an effective government since dictator Mohamed Siad Barre was overthrown in 1991.


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The tax break provided for net unrealized appreciation (NUA) on 401(k) account distributions once provided a powerful tax savings strategy for clients with large 401(k) balances—allowing some clients to reduce their taxes on these retirement funds by as much as 20%. Today, as high-net-worth clients are increasingly seeking strategies to help minimize their tax burdens in light of higher 2013 tax rates, the NUA strategy may have become more complicated than ever.
Therefore, it's important for advisors to help clients evaluate whether or not the NUA strategy still works, because for some clients, what was once a significant tax-savings strategy might be gone in 2013—especially for those who are newly subject to the 3.8% investment income tax.
NUA Strategy: The Basics
The NUA strategy allows certain taxpayers whose 401(k) plans contain appreciated securities of their employers to pay taxes on the appreciated value of those securities at the capital gains tax rate. The remaining 401(k) funds are taxed at the taxpayer's ordinary income tax rate under the traditional rule for taxation of 401(k) plan distributions.
In order for a client to take advantage of the NUA strategy, he or she must be eligible to take a lump sum distribution from the 401(k) account in question—meaning that the taxpayer must have reached age 59½, become disabled or retired (for certain employees) or died. The eligible client transfers the funds in his or her tax-deferred account into a taxable account, realizing the gain on the sale of the employer securities.
This strategy has proven effective for some clients—for example, if employer securities within a client's 401(k) are worth $100,000, but originally cost $20,000, only that $20,000 would be taxed at the client's ordinary income tax rate. The remaining $80,000 would be taxed at the applicable long-term capital gains rate.
NUA Considerations Today
Today, the ordinary income tax rate for high income clients has increased from 35% to 39.6%—but the top long-term capital gains rate has also increased, from 15% to 20%. Taken alone, these rate hikes would seem to preserve the benefits of the NUA strategy—but the additional 3.8% tax on net investment income requires closer consideration.
While retirement account distributions are generally exempt from the 3.8% investment income tax, the NUA strategy means that the appreciated value of the employer securities held within a client's retirement account will be treated as capital assets. This means that the 3.8% tax may be added to the otherwise applicable capital gains tax.
Therefore, while the highest earning taxpayers were able to realize a 20% tax break in 2012 (the difference between the 35% ordinary income tax rate and 15% capital gains rate), today that break is reduced to 15.8%.
While this might not seem like a huge difference, because the 401(k) must be emptied into a taxable account in order to use the NUA strategy, the tax-deferred growth potential on the securities is lost at the time of the transaction.
For clients who need immediate access to the funds transferred out of their 401(k)s, the NUA strategy may remain effective. Further, if the client has held the shares for many years and realized substantial appreciation in their value, the strategy may continue to provide significant tax savings.
However, for those clients who might otherwise allow their funds to grow, advisors should carefully weigh the potential tax savings against the loss of tax deferral. If the appreciation in value is relatively small, it may be more beneficial for these clients to allow their value to grow inside the tax-deferred account.
Though the increase in the long-term capital gain tax rate for 2013 may seem modest when the corresponding income tax rate hike is considered, clients seeking to use the NUA strategy should keep in mind that there is more to the picture—the potential gain that could be realized based on tax-deferred growth may outweigh the tax benefits for many clients.
For additional coverage of this issue and similar ones, we invite you to sign up with AdvisorOne's Summit Business Media partner, National Underwriter Advanced Markets, for a free trial.
You may also be interested in signing up for a free trial with another Summit Business Media partner, Tax Facts Online.


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How Flour Is Made: Behind the Scenes at Adluh Flour
As an avid baker, I constantly have a glass jar of flour sitting on my kitchen counter. But I never really thought much about what goes into producing that flour until a recent trip to Columbia, South Carolina, home to the Adluh Flour Mill. The Adluh building is a fixture in Columbia--at night, a neon ADLUH FLOUR sign atop the building lights up and can be seen throughout the city--and Adluh's flour and grits are a fixture in restaurants in Columbia, across South Carolina, and throughout the South. Among many restaurants, the iconic New Orleans restaurant Commander's Palace sources products from Adluh.
Adluh Flour been producing flour and grits since around 1900 and they're located in the Congaree Vista (a charming area in Columbia with shops and restaurants). While the flour mill isn't open for public tours anymore, I was able to check out some parts of the mill and see the machines that make flour and grits.
First the name--local legend is that the mill's original owner had a daughter named "Hulda," and reversed the spelling to "Adluh" (pronounced "add-loo") when naming the mill.
In 1942, there were 42 flour mills operating in South Carolina. Today, Adluh is the only one. Adluh opened in Columbia around 1900 under the B.R. Crooner family, and merged with the Columbia Grain and Provision Co., owned by J. H. Hardin, in 1920. A few years later, the First Commercial National Bank took the mill over under foreclosure, and the Allen family (who had been operating grist mills in North Carolina), bought Adluh in 1926. In 1937, they moved a North Carolina plant to Greenwood, SC, and then later consolidated all production to Columbia. The Allens still own the mill, which has the same configuration as the original mill. It was Bill Allen who showed me around Adluh.
I noticed two things right away about Adluh. First of all, the mill is loud--running the machines that do everything from breaking apart the wheat kernel to filling bags of flour makes a ton of noise. The second thing--the building is tall, but it's also really long. The building was designed so that it was easier to load products onto trains. Since Adluh uses trucks now for transportation, that long narrow room is used to store products.
Adluh begins the flour-making process by sourcing soft red winter wheat from South Carolina farmers. They also source yellow corn from South Carolina and white corn from Kentucky and Tennessee for grits and cornmeal. After Adluh receives the wheat, they test, clean, and condition it using a separator, scourer, and aspirator to remove stems, leaves, weeds, and other items that may have snuck in from the farm.
Once the grain is ready, it falls through break rolls on a machine--the kernel falls between the rolls and is crushed. Then it's sifted repeatedly until the flour is ready to be enriched, bleached, and conditioned. Adluh makes Short "Extra Fancy" Patent flour, which is made with the heart of the wheat kernel, and clear flour, which is what remains after the patent flour is removed. They also make blends. Once the flour is ready, it's used to make baking mixes like pancake or biscuit mix, and breaders for coating chicken, fish, vegetables, and pork. It's also packaged just as flour.
To make grits, Adluh uses a stone grinder. The corn kernels are crushed in between stones until they're the right size for grits. Adluh gets both white and yellow corn and crushes each individually. White corn has a higher sugar content, which means the grits are sweeter, while yellow grits have a bolder flavor. A combination of the two is "speckled grits," and Adluh makes those too.
Adluh directly provided flour and other products to stores like Winn-Dixie until 1986, and between 1986 and 2000, products made their way to shelves through distribution centers. By 2000, the company was out of retail entirely, since retail use of flour has been shrinking over the years—now, 75% is sold just around the holidays. Today, Adluh products are sold to hotels, restaurants, and other institutions.
While in Columbia, I ate smooth, creamy Adluh grits at Blue Marlin and visited Motor Supply Co. Bistro, which also sources products from Adluh. And I brought home bags of yellow grits to stir up batches of creamy Parmesan grits. In Adluh's mill office, you can pick up bags of all the products produced there, plus baking mixes like corn muffin mix and yellow-flake biscuit mix. But good news—even if you can't make it to Columbia soon, you can buy Adluh products online, and 1 to 2 pound bags of each product are just a couple of dollars. You can also get 25 or 50 pound bags, for the most serious baking projects.
Check out the slideshow to see how the flour is made.
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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Facility History
The Indiana Women's Prison is a maximum security facility which has the distinction of being the oldest and first adult facility for females in the United States. The facility was established on fifteen acres, 1.6 miles from downtown Indianapolis in 1869; the first seventeen offenders arrived in 1873. Until November 21, 2009, the Indiana Women's Prison continued to operate at its original site for 136 years. Indiana Women's Prison moved from the Randolph Street location to the current site at 2596 North Girls' School Road, the former location of the Indianapolis Juvenile Correctional Facility which was named Indiana Girl's School until 1996.
The Indiana Women's Prison is unique in many ways. It is a maximum security facility which until November 2009 was located entirely within an urban residential neighborhood. The facility houses all the special populations of female offenders in the state. The pregnant, sick, mentally ill, youthful, elderly, and high-profile female offenders are all housed at the Indiana Women's Prison. The challenges of managing such a diverse population are many and the methods of treatment and rehabilitation for each population of offenders are customized to meet the needs of that specific population.
The life of this facility is to prepare our ladies to re-enter the community with more skills and confidence than when they arrived here.


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This guide shows how to create API keys, and how to set up API key restrictions, for Google Cloud applications. To learn more about authenticating to a Google Cloud API, see Authentication overview. For information about API keys for Google Maps Platform APIs and SDKs, see the Google Maps documentation.
API keys are a simple encrypted string that can be used when calling certain APIs that don't need to access private user data. API keys are useful in clients such as browser and mobile applications that don't have a backend server. The API key is used to track API requests associated with your project for quota and billing.
API keys have important limitations, such as:
All Google Cloud services allow access using credentials such as service accounts. However, only a limited number of Google Cloud services allow access using just an API key, without also using another type of credential:
API keys do not identify the user or the application making the API request, so you can't restrict access to specific users or service accounts.
It is easier for others to discover and use your API key.
Because of this we recommend using the standard authentication flow instead. However, there are limited cases where API keys are more appropriate. For example, if you're developing a mobile application that needs to use the Cloud Translation API, but doesn't otherwise need a backend server, API keys are the simplest way to authenticate to that API. In most cases, we recommend having your application communicate to a backend server that handles authenticating to, and calling, Google Cloud services.
Creating an API key
To create an API key, your account must be granted the primitive Editor role
roles/editor) on the current project. For more information, see
primitive roles.
To create an API key:
Navigate to the APIs & Services→Credentials panel in Cloud Console.
Select Create credentials, then select API key from the dropdown menu.
The API key created dialog box displays your newly created key.
You might want to copy your key and keep it secure. Unless you are using a testing key that you intend to delete later, add application and API key restrictions.
Using an API key
Pass the API key into a REST API call as a query parameter with the
following format. Replace
API_KEY with your API key,
For example, to pass an API key for a Cloud Natural Language API request
POST https://language.googleapis.com/v1/documents:analyzeEntities?key=API_KEY
Securing an API key
When you use API keys in your applications, take care to keep them secure. Publicly exposing your credentials can result in your account being compromised, which could lead to unexpected charges on your account. To help keep your API keys secure, follow these best practices:
Do not embed API keys directly in code. API keys that are embedded in code can be accidentally exposed to the public. For example, you may forget to remove the keys from code that you share. Instead of embedding your API keys in your applications, store them in environment variables or in files outside of your application's source tree.
Do not store API keys in files inside your application's source tree. If you store API keys in files, keep the files outside your application's source tree to help ensure your keys do not end up in your source code control system. This is particularly important if you use a public source code management system such as GitHub.
Set up application and API key restrictions. By adding restrictions, you can reduce the impact of a compromised API key.
Delete unneeded API keys to minimize exposure to attacks.
Regenerate your API keys periodically. You can regenerate API keys from the Credentials page by clicking Regenerate key for each key. Then, update your applications to use the newly-generated keys. Your old keys will continue to work for 24 hours after you generate replacement keys.
Review your code before publicly releasing it. Ensure that your code does not contain API keys or any other private information before you make your code publicly available.
Adding restrictions to API keys
An API key is unrestricted by default. Unrestricted keys are insecure because they can be viewed publicly, such as from within a browser, or they can be accessed on a device where the key resides.
For production applications, set both application and API restrictions.
To add API key restrictions:
Navigate to the APIs & Services→Credentials panel in Cloud Console.
Select the name of an existing API key.
Application restrictions
Application restrictions specify which web sites, IP addresses, or apps can use an API key. Add application restrictions based on your application type. You can only set one restriction type per API key.
Choose the restriction type based on the needs of your application.
Use None for testing purposes only.
Use HTTP referrers for API clients that run on a web browser, so that only the specified pages can call the API. These types of applications expose their API keys publicly, so we recommend using a service account instead. See Adding HTTP restrictions for examples.
Use IP addresses to limit API key access to certain IP addresses.
Use Android apps for Android applications. This option requires adding your package name and SHA-1 signing-certificate fingerprint.
Use iOS apps for iOS applications. This option requires adding at least one iOS bundle identifier to restrict API calls to specific iOS bundles.
Adding HTTP restrictions
To add HTTP restrictions:
Select HTTP referrers (web sites) in the Application restrictions section.
Input at least one restriction in the Website restrictions section.
If your domain supports both HTTP and HTTPS, both restrictions must be added separately.
You can optionally use wildcard characters (
*) for the subdomain and/or path.
The following table shows example scenarios and restrictions, from most restrictive to least restrictive. We recommend using the most restrictive example that fits your use case.
|Allow a specific URL.
Add a single restriction with an exact path. For example:
|Allow any URL in a single subdomain or naked domain.
You must set at least two restrictions to allow an entire domain.
|Allow any subdomain URLs in a single domain.
You must set at least two restrictions.
API restrictions
API restrictions specify which APIs can be called using the API key. All API keys that are used in production applications should use API restrictions.
To set API restrictions:
Select Restrict key in the API restrictions section.
Select all API names that your API key needs to call from the dropdown.
Select the Save button.
Viewing existing API keys
Use Cloud Console to view your existing API keys. After navigating to the APIs & Services→Credentials panel in Cloud Console, existing API keys display underneath the API keys header.
What's next
- Learn about authenticating to a Google Cloud API.
- Learn about setting up authentication for production applications.
- Learn about setting up authentication as an end user.


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All information we hold about you is done so in a secure environment and will remain confidential, no details will be passed to any third parties including your e-mail address and all details we hold about you will be used solely for our purposes and relating to your order to provide the high level of customer service expected in our business. No credit card or payment details are held or kept on file and any credit card details taken manually are separated from your personal details and shredded immediately.
Should you wish to discuss anything further please contact us. Contact us.


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Source: Vogue Hellas, August 2012
• Lost & Taken has an amazing selection of free high resolution textures!
• The IRL Fetish points out that our online life is still "real life."
In great part…we have been taught to mistakenly view online as meaning not offline. The notion of the offline as real and authentic is a recent invention, corresponding with the rise of the online. If we can fix this false separation and view the digital and physical as enmeshed, we will understand that what we do while connected is inseparable from what we do when disconnected.
• Life's too short for so much email!
• Designers, how do you walk away from a project that isn't going to well or is taking too long?
• The 100 best movies set in New York.
• I love Promise Tangeman's list of random facts about herself!
• Seth Godin's wise words on on competition: "Competing with yourself is more difficult, requires more bravery and leads to more insight."
• How to have a career: Advice to young writers.
• The Rich Kids of Instagram: They have more money than you and this is what they do.
• If you never got over your first love, do you try to find them or let them go for good?
• Laurie Penny explains why 'having it all' is a middle class myth.


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#10037 - RTR NITRO RS4 3 EVO WITH TOUREZA BODY (PAINTED/200mm/WB255mm)
Pre-assembled 1/10th scale 4WD nitro powered car with T-15 engine, Roto Start, radio set, two-speed transmission, ball bearings, painted & finished body.
Partes opcionales
The very popular HPI Nitro 3 RTR Evo Touring car is now available in four new versions with HPI Stiletto, HPI Toureza, HPI Venom and Subaru Racing Impreza bodyshells! The new kit versions include the pre-assembled HPI nitro 3 Evo chassis with 2 speed gearbox, HPI Nitro Star T-15 engine equipped with Roto Start and HPI TF-3 Radio gear. The new HPI body shells are prepainted, trimmed and decaled. There are four versions available: 10036 - with HPI Stiletto V12 body shell 10037 - with HPI Toureza body shell 10038 - with HPI Venom body shell 10039 - with Subaru Racing Impreza
The pre-assembled chassis of these new kit versions is already well known from the very popular HPI nitro 3 Evo with the powerful HPI Nitro Star T-15 engine. Packed with features, the Nitro 3 Evo is designed to get new owners on the street or track faster and more conveniently than ever! With a more powerful engine, Roto Start System, 2-speed transmission, pre-painted body and more - this is the RTR touring car of choice for any discerning new buyer! The RTR Nitro 3 Evo uses the same chassis and major components of the Nitro 3 series. Preassembled on a 2.5mm thick purple anodized 6061 aluminium chassis, the RTR 3 Evo uses a durable shaft drive train with a removable radio tray. A HPI TF-3 radio, receiver and servos provide for a reliable and trustworthy electronics package.


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The Lipscomb Lady Bisons did not attempt a shot against Mercer in a 4-0 Atlantic Sun shutout Sunday afternoon at the Lipscomb Soccer Complex.
The loss dropped the Lady Bisons to 4-6, 0-2 in the A-Sun. Mercer is 3-5-1, 2-0 in the conference.
"This was the first time I could say this season that we got out-worked and out-hustled," Lady Bisons' coach Jon Ireland said. "We were definitely physically tired.
"But because of our injuries and low numbers no one is going to feel sorry for us. No one cares. We have to find a way to play hard in both games during the weekend."
All but two of the Lady Bisons' games this season have ended in a shutout. The Lady Bisons have recorded three shutouts, all on Sunday afternoons. This was the Lady Bisons fifth loss by a shutout this season.
Kacie Hudson scored two goals for Mercer, her first on a penalty kick at 18:31 of the first half. She scored the fourth goal of the game with a shot into the corner at 54:30. Emerald Phillips scored at 30:39 of the first half. Nadja Kolliesuah had an unassisted goal at 53:42.
"We gave them cheap goals," Ireland said. "We gave them a penalty kick because of a stupid foul on our part. Two of their goals were off of headers in our six-yard box.
"Did Mercer deserve to win? Absolutely. But the game could have been a lot different. If it's a one-goal game you still have hope even if you are being dominated and out played."
Cagney Valloch and Nikki Atkinson combined in goal for the shutout for Mercer.
Lady Bisons' goalkeeper Erin Zerio made three saves.
"Sometimes you have those games," Ireland said. "When you play good teams they will make you pay for every mistake you make.
"I told our girls I didn't want to hear any excuses. Mercer beat us plain and simple."
The Lady Bisons, who have lost their last two games, play their first A-Sun game on the road this season when they travel to ETSU in Johnson City Friday at 6 p.m. They will travel to USC Upstate Sunday at 1.
Written by Mark McGee, Senior Publisher/Director of Media Relations.


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In Westlaw, see also historical regulations, currently proposed & adopted regulations, and regulation tracking which can be found on the state's Regulations page.
State registers and regulation tracking are offered by Lexis.
In Bloomberg Law, proposed, final, emergency, temporary, and interim rules, plus regulatory notices can be found under Rulemaking within a state's Regulatory and Administrative page.


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At JP Morgan Chase, we have an obsession for taking care of our customers and employees, building lasting relationships and a strong commitment to diversity and inclusion. Using the latest banking solutions combined with cutting edge financial technology, you'll be front and center representing our brand, and providing superior customer service to offer our customers the best solutions for their financial needs. Here at Chase, you'll have the opportunity to help people experience our Customer Promise -- helping people make the most of their money so they can make the most of their lives, by providing education and advice tailored to suit their financial needs.
If you are enthusiastic about providing great customer experiences and digitally curious, join our branch family. In addition to providing education and advice tailored to suit our customers financial needs, you'll be able to take ownership of your own career development through a variety of cross-training opportunities and company support.
Job Description:
As an Associate Banker at Chase, you will be at the forefront of delivering an exceptional customer experience by fostering long-lasting, meaningful relationships. You will help customers with everyday transactions, build rapport and introduce them to our One Chase family. You will also teach clients how to use self-service options – help them enroll in & use tools so they can bank how, when and where they want. The minimum hourly rate for this job is $15.00 per hour.
You'll contribute significantly to the success of the branch and helping customers by:
Desired Skills:
Our free job seeker tools include alerts for new jobs, saving your favorites, optimized job matching, and more! Just enter your email below.


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Analysis of Radio and Optical Data on a Triple Galaxy Merger System
|Conference Paper
|Zach Griffith, M. J. Wolf, E. Hooper, M. Huang, C. A. Tremonti, C. Liu
|Conference Name
|American Astronomical Society Meeting Abstracts, #221, #147.12
|January 1, 2013
|Library Catalog
|We discuss a radio and optical study of a triple galaxy system at a redshift of 0.06. In optical images from the SDSS Data Release 7, the system consists of a close pair plus another galaxy at a projected distance of 35 kpc. Tidal features extending at least 30 kpc are visible to the southeast of both the galaxy pair and the third member of the system, suggesting significant interaction. Both the pair and the more isolated galaxy are low-luminosity radio sources. The lone galaxy is extended in a radio map from the FIRST survey. If the radio emission arises from ongoing star formation, the implied star formation rates are 1 to 2 solar masses per year in each source. We are analyzing new radio data to help determine whether the emission source is indeed star formation or whether one or both sources are low-luminosity AGN; we have found low-luminosity radio AGN in similar systems. We have also acquired deep spatially resolved optical (3500 - 8500 Angstroms) spectroscopy with the Sparsepak integral field unit on the WIYN 3.5-meter telescope. Both the pair and the more isolated galaxy show post-starburst (E+A) spectral signatures, and stellar population synthesis using Bruzual and Charlot (2003) models indicate that all components of the triple system had episodes of significant star formation at comparable times in the past. This system is part of a larger study of post-starburst galaxies which host radio sources, whose goals include a better understanding of the connection between, and relative timing of, galaxy interactions and the triggering of star formation and AGN. This work was partially supported by the National Science Foundation's REU program through NSF Award AST-1004881.


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Info54352 brauchte ein neues Logo Design und hat einen Wettbewerb auf 99designs gestartet.
Aus 199 Designs von 41 Designern wurde eine Gewinner gewählt.
Crooner Home Inspections, Inc.
Crooner Home Inspections provides the client with information regarding the condition of the systems and components of the home as inspected at the time of the inspection.
The Warm and Fuzzy:
Crooner Home Inspections cares about the health of your home, and most importantly, the health and safety of your family. Whether you are buying, selling, or simply wondering about the state of your present home, Crooner Home Inspections will investigate all the major components in your house including the complete structure, heating & cooling, plumbing, and electrical, and let you know if there are any concerns or potential failures. We give you the knowledge about your home's physical condition so you can take any necessary actions or rest easy knowing your home is safe, and sound.
Your home is part of the family. Take care of it.
The affluent area I will market has mostly old brick tudor, newer large colonial brick, and lots of greenery. Google StreetView the residential areas of 14226, 14221, and 14051 for the feel of homes.
ALSO: Please stray from the temptation to use anything obvious in your design like Sherlock Holmes related (i.e. magnifying glass, detective hats.)
I have attached a few logos I like from the Logo Store.
Finden Sie heraus, wie ein Designwettbewerb funktioniert, oder lernen Sie mehr über unsere Logo-Design-Angebote.


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The 2012 State of the Future is a concise, readable overview of the global situation, problems, solutions, and prospects for the future. It covers the global landscape with two-page overviews with regional considerations of 15 global challenges such as energy, food, science & technology, ethics, development, water, organized crime, health, decisionmaking, gender relations, demographics, war & peace, and others. These together with the executive summary are ideal for busy executives, thought leaders, corporate strategic planners, public policy experts, policy advisors, non-profit issues organizations, teachers and professors of world issues, and anyone interested in a global overview of our prospects for the future – with discussions of problems and potential solutions.
It is produced by the Millennium Project with its 46 Nodes (groups of futurists and organizations) around the world, which collects, feeds back, and assesses insights from creative and knowledgeable people on emerging crises, opportunities, strategic priorities, and the feasibility of actions.
"The 2012 State of the Future finds the world is getting richer, healthier, better educated, living longer, and is more peaceful and better connected; yet half the world is potentially unstable. Food prices are rising, water tables are falling, corruption and organized crime are increasing, environmental viability for our life support is diminishing, debt and economic insecurity are increasing, climate change continues, and the gap between the rich and poor is widening dangerously." says co-author and Millennium Project Director. Jerome C. Glenn.
The 2012 State of the Future – The Millennium Project GLOBAL FUTURES STUDIES & RESEARCH


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Moderators - firstname.lastname@example.com (will go to all moderators)
Email/Hangouts - email@example.com
I don't think Murali's bowling would make a huge difference in 20/20 . That's just my personal opinion.
Murali is needed for SL tour of Australia which is IMHO the No.1 priority ATM.And everything else is insignificant. Thats my personal opinion.
In eight games in all Twenty20 cricket, he has 17 wickets - over two a game - at an average of 9.17 and an economy rate of 5.37. They are almost unbelievably good stats. Murali would probably have been the first choice bowler for any side. Players like Lokuarachchi who can offer a bit with the bat won't have as much impact as you expect - Twenty20 games are largely won by the top 4, top 6 at a push.
Murali can now concentrate on the real stuff in Australia. Blessing in disguise.
"I am very happy and it will allow me to have lot more rice."
Eoin Morgan on being given a rice cooker for being Man of the Match in a Dhaka Premier Division game.
His loss is an absolutely huge blow to Sri Lankas chances.
I'd go further and say that if you were picking a world Twenty20 side from scratch, Murali would be my first pick.
The Future of International Cricket - Rohit Sharma, Suresh Raina, Ravi Bopara, Tim Southee, Ross Taylor, Shahriar Nafees, Raqibul Hasan, Salman Butt, JP Duminy
Proud Supporter of the Bangladeshi Tigers
Ryan ten Doeschate - A Legend in the Making
MSN: email@example.com
I am only hoping he is not going to use this to take an extended period off Cricket, under the excuse of "injury" to avoid going to Australia.
The latest is Murali is definitely out of 20/20.
If Sri Lanka make it to the last 4 -wouldn't be surprised if Murali's injury makes a miraculous recovery and he gets flown in to SA .
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Thickness: 1.2 - 1.4mm
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In late November, investigators released eagerly awaited data from the iPrEx trial showing that pre-exposure prophylaxis (PrEP) using tenofovir plus emtricitabine (the drugs in the Truvada combination pill) can help prevent HIV infection. A protective effect has previously been demonstrated in animal studies, but these are the first results from a human PrEP efficacy trial.
As described in the November 23, 2010, advance online issue of the New England Journal of Medicine, this Phase III trial enrolled nearly 2,500 men who have sex with men and a small number of transgender women in Brazil, Ecuador, Peru, South Africa, Thailand and the U.S. (Boston and San Francisco).
Participants were randomly assigned to take oral tenofovir/emtricitabine or placebo once daily; in addition, they received monthly HIV testing, regular risk-reduction counseling and free condoms.
During a median follow-up period of 1.2 years (maximum 2.8 years), 36 men using tenofovir/emtricitabine became infected compared with 64 men taking placebo -- a risk reduction of 44%. Among participants who achieved at least 90% adherence, the likelihood of HIV infection fell by 73%.
"The iPrEx results are extremely important and provide strong evidence that PrEP can reduce HIV acquisition among a segment of society disproportionately affected by HIV/AIDS," said National Institute of Allergy and Infectious Diseases (NIAID) director Anthony Fauci during a media conference call to announce the findings.
"This study provides the first proof that oral PrEP works in people, and the first proof of any biomedical intervention to prevent infection in gay and bisexual men," added study chair Robert Grant from the University of California at San Francisco's Gladstone Institute of Virology and Immunology.
Tenofovir/emtricitabine was generally well-tolerated, although some participants reported moderate and usually short-lived nausea. Few people overall showed signs of impaired kidney function -- a known potential side effect of tenofovir -- but elevated serum creatinine occurred more often in the PrEP group compared with placebo (2% vs. 1%).
No emergent drug-resistance mutations were detected in participants newly infected during the study. Three PrEP recipients who were actually HIV infected but not yet antibody positive at study entry developed emtricitabine resistance.
Study participants did not increase their high-risk behavior because they thought they might be protected, but rather reported more condom use and fewer sex partners. Adherence proved difficult, however; drug-level tests suggested that about half the participants did not take their pills regularly. Only three people who became infected while on PrEP had measurable drug levels.
Researchers and community advocates emphasized that PrEP is not completely protective and should not be considered a replacement for condoms or other risk-reduction measures. Furthermore, a protective effect has only been demonstrated in one population, and it is not known whether these results will extend to women or injection drug users, for example.
"PrEP could be part of a comprehensive HIV prevention package in communities like ours with epidemics still disproportionately affecting gay men," said Judith Auerbach, San Francisco AIDS Foundation's Vice President of Research and Evaluation. (See "The iPrEx Results: Lifting Hopes, Raising Questions," in this issue, for further commentary.)
Grant also noted that the iPrEx trial looked at PrEP used every day, not just before or after sex (as tested in the CAPRISA microbicide trial described in this issue). "Whether oral PrEP can be used in this fashion is completely unknown at this time," he said.
Fauci advised that gay and bisexual men who wish to start taking tenofovir/emtricitabine off-label as PrEP should be aware of potential drawbacks. "[T]here is a clear possibility of long-range toxicities of the drugs," he cautioned. Fauci said he could not give a timeframe for when the U.S. Food and Drug Administration (FDA) might approve an additional PrEP indication for tenofovir/emtricitabine, or if or when antiretroviral treatment guidelines might be changed to recommend prophylactic use. Studies of PrEP in other populations, and of episodic rather than daily use, are underway.
Liz Highleyman (email@example.com) is a freelance medical writer based in San Francisco.


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The Technology Behind Van Damme's 'Epic' Volvo Ad
"Epic" is the word being used to describe a new viral Volvo ad featuring Jean-Claude Van Damme. But how does the steering technology that made the stunt possible work? Mike Ramsey explains on Lunch Break. Photo: Volvo.
This transcript has been automatically generated and may not be 100% accurate.
... I ... she decided to those seasons ... the mines to muster ... a huge ... it's it's ... I ... it's ... well at it and mind blowing that the consensus about this new although ad featuring actors on Claude Van Damme ... is performing as well as you can see right now between two trucks ... into my teen backward ... in your plane in the background I'm moved beyond belief here that Cap'n out an up or just today's ... picked up over seven and a half ... million views bauble said the stunt ... was possible because of the dynamic steering technology ... so how does that technology word joining me right now is Wall Street Journal ... all those reporter Mike Ramsey Mike the first time we bumped in the key with any I think this is a great great day ... of the sort of alternate don't try this at home ... how does BallBall dynamic steering work ... well ... basically what there what they have here is their advertising electric power steering which is an evolution that has already time to introduce itself into that ... the mainstream where you have an electric motor that controls the hydraulic ... steering the power assist ... in this case they do ... that with the relief efforts presenters on very heavy truck if a variant of ... that ... truck driver is extremely difficult to keep it ... even with the hydraulic series it takes a lot of muscle strength and an entire shoot out ... their their technology knowledge keeps the vehicle such wait in lines for the senses it if it's going Adeline so it ... can lower seem an intention on people's ... um backs and muscles and and and also ... you know it it has a noteworthy controls our truck series say you're not doing as much work on topic that is not the only existing cars to forget about God the drivers being tied down even know how I bandanas and cutout from doing that split them for that long but ... Volvo trucks a day they've said that they they authorize they put out this ad ... so with the average drivers like ourselves Mike you know when we when we see this in our Volvo car that like a sedan that we might go and buy ... you can already find electrics I'm you know electric power steering and a lot of especially in the high end cars they've really gone that way and the reason is because it actually reduces ... um few a few years they've right now the steering ... our ceiling steering is controlled from any of the attacks of the engine ... and we go when you promote it on their ID actually drives electronically so ... it's a fuel efficiency of edition that's happening already ... nesting thing to note that no trucks are not attached to the car company which is owned by Chinese firms Sealy ... um ... but that the truck company one of the largest truck makers in the world in their big engine maker and there ... you know that that is is beautiful and interesting ... he notes that seat ... John thought bond aam and there which is you know you ... the Prophet that muscles from Brussels is looking very stand in the ad and very ... calm in the technology it actually might be a pretty big ... aam introduction into the heavy truck world ... it's a it's an amazing of tedious for often of course I it's much more dramatic singing duet on two tracks because it is onto sedans ... and be in getting more than seven a half million views already online Mike ... thanks for the syllable I will update on what that technology actually appreciate you being with us ...


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Shutterfly.com is offering a free 8×8 Photo Book or discount on larger size book. This is a $29.99 value. Just enter promo code MYBOOK to get your freebie. Shutterfly makes it easy to create high-quality keepsakes and gifts using your favorite family photos. Whether you want to design like a pro or simply provide pics and captions, there's an option for you.
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Shipping is not included and will run you about $7.95 for the photo book. But I personally think is worth it. These are my favorite photo books and very nice quality. I have given a couple as gifts and were loved!
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A Quarter-Back Signal
Then he thought, "Oh, forget it, it's only a quarter. Who would worry about this little amount? Anyway, the bus company charges too much fare; they will never miss it. Accept it as 'a gift from G-d' and keep quiet."
When his stop came, he paused momentarily at the door, and then he handed the quarter to the driver and said, "Here, you gave me too much change."
The driver, with a smile, replied, "Aren't you the new rabbi in town?"
"Yes," he replied.
"Well, I have been thinking a lot lately about going somewhere to worship. I just wanted to see what you would do if I gave you too much change. I'll see you in Shul on Shabbos."
When the rabbi stepped off the bus, he literally grabbed the nearest light pole, held on, and said, "Oh, Ribbono shel Olam (Creator of the world), I almost sold a Jew for a quarter!"