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Fresh Choices in Bathroom Flooring
Wood, concrete and even glass look beautiful underfoot and with a few, simple protective measures can really step up your bathroom's style, so don't limit yourself to traditional vinyl & ceramic tile.
Glass Tile
"Glass tile is exploding in the marketplace," says Bruce Curtis, who runs a remodeling company, Washtenaw Woodwrights, in Ann Arbor, Mich. And as interest in glass tile has grown, so have the available decorator options, including tiles by Moving Color that actually change color as the temperature of the room changes — sort of like mood rings for the bathroom. With their endless color variations, textures, sizes and shapes, glass tiles have become one of today's most popular home decorating materials. Glass tiles are versatile as well, working well on walls, countertops, backsplashes and, yes, bathroom floors. Many of the glass tiles available to homeowners are made from recycled bottles, jars and other discarded materials, making them a "green" choice, as well as a beautiful one.
Kelly Bakewell, Interior Designer for Washtenaw Woodwrights, says there are some special considerations for using glass tile flooring. "Most manufacturers recommend using smaller tiles to distribute weight more evenly." This is one reason glass mosaics have become popular flooring options for bathrooms, particularly showers.
Glass tile can be installed just about anywhere ceramic tile would work, and it's resistant to damage from moisture and temperature changes. Glass tile flooring is easy to keep beautiful with a mop and the same glass cleaner you use on your windows. While tiles aren't prone to break, they can be slippery, and smooth surfaces are prone to scratching. To avoid these risks, Bakewell recommends tiles with a sandblasted surface, from companies like Walker Zanger, Hakatai and Waterworks.
Wood Flooring
Hardwood floors — whether restored, recycled or installed new — have become one of the most popular choices in every area of the home, and the bathroom is no exception. With a few extra precautions, wood floors can perform as well in bathrooms as they do everywhere else. And unlike most other bathroom flooring choices, wood floors can be periodically refinished and resealed, increasing their practicality.
John Ahlen decided to go with wood flooring in the bathrooms as part of the extensive renovation of his 1890 Queen Anne Victorian just outside Atkins, Ark. (Ahlen has detailed his experiences on his blog, The Devil Queen.)
"The house originally had wood flooring throughout," says Ahlen. "Using wood in the bathroom fit the look and feel of the house."
Ahlen saved money by salvaging wood floors from a nearby, 60-year-old farmhouse and by installing the bathroom floor himself. After installation, he took some extra precautions to protect the floor from bathroom moisture.
"We applied a couple more layers of oil-based polyurethane than we normally would have," says Ahlen. "We also made it a point to fill cracks between the boards with wood putty to prevent water from seeping in between or under the boards."
Nicole Sassaman, an interior designer in southern California, says she loves the warm, inviting look of wood floors in bathrooms, and agrees with Ahlen that taking a few extra steps will pay off.
"Wood is fine in bathrooms. You just have to dry water off of it rather than letting it sit, but you should do that anyway," explains Sassaman. "Putting extra coats of varnish on it will also help make it more durable."
Other experts recommend installing a highly efficient vent/fan in bathrooms with wood flooring to help keep humidity to a minimum.
Modular Carpet
Sheila Harris of Bowling Green, Ky., longed to sink her feet into soft carpet in her new bathroom, but others were skeptical of her plan. She did her research, though, and found a modern carpet product that works well in bathrooms. It's called FLOR, and it comes in a wide variety of modular carpet tiles that can be easily installed by homeowners directly onto virtually any flooring surface.
"The FLOR tiles are great because any individual piece can be removed, cleaned, dried and then put right back into place with no trouble," says Sheila. "Obviously, this is exactly what you want in a bathroom, where there's a lot of moisture. Not just any wall-to-wall carpet would work as well as this does in my bathroom."
FLOR tiles are designed with a low-toxicity, antimicrobial backing designed to inhibit growth of mold and bacteria, and come in dozens of colors, patterns and textures. It takes 15 FLOR tiles to cover a 5' x 7' space, and at only $10-$14 per tile, they offer an economical, durable and fun alternative to standard bathroom flooring options.
Bamboo and Cork
For environmentally conscious homeowners looking for a "green" bathroom flooring option, you can't do much better than cork or bamboo. These two hip materials are made from tree-like tropical grasses that replenish themselves in the wild every few years.
Bamboo and cork each offer unique properties that can make them good choices for bathrooms. Bamboo floors look similar to traditional wood floors, but are naturally harder and more durable. Cork offers a soft, warm feel on bare feet. Both cork and bamboo are naturally resistant to mold, mildew and bacteria, and both naturally repel moisture, excellent qualities in bathroom floors.
Nick Hodapp and his wife Trissa chose bamboo for two of the bathrooms in their 1907 Craftsman home in Seattle, Wash. (You can track their renovation projects on their blog, Pigeon Point Project.)
"We chose bamboo for its warmth and durability," says Nick. "We installed all the flooring ourselves. The bamboo in the upstairs bath is nailed down; it took me about two hours with a rented floor nailer. The bamboo in the powder room is a floating floor where each piece is glued to the next. That took a while but the results are very nice."
More Alternatives
For homeowners who want the look of posh stone at a fraction of the cost and with easier upkeep, concrete may be the way to go. Many bathrooms already have a layer of concrete under existing tile or linoleum floors that can be restored through acid staining into a gorgeous, new stone-look floor. Concrete also works exceptionally well over underfloor radiant heating systems. Maintaining acid-stained concrete floors is easy, requiring only a mop and periodic polishing. For bathrooms, be sure to ask for a textured finish to prevent slips and falls. Learn more at: www.kemiko.com.
Pebble bath tiles can give your bathroom a Zen feel and a natural look. This hot flooring option is made from smooth pebbles attached to a mesh backing which can be cut into tiles of various sizes and shapes. Installed, they look much like a floor made of beach pebbles or small river rocks. See: www.zenparadise.net and www.beachpebbles.com.
For homeowners with adventurous tastes, rubber leather offers a truly different bathroom floor. This exotic-looking product comes in rolls or tiles, and while it looks and feels like the finest leather, it wears just like the 100 percent rubber that it is. That means you can wash it down with soap and water and touch it up with occasional waxing. See: www.robin-reigi.com
Washtenaw Woodwrights
Ann Arbor, Mich.
Nicole Sassaman
Interior Designer, Calif.
All about hardwood flooring at
Teragren bamboo flooring
Jelinek Group cork flooring
Sandhill Industries recycled glass tile
Moving Color


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Vice President
First Lady
Mrs. Cheney
News & Policies
History & Tours
Your Government
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For Immediate Release
Office of the Press Secretary
November 10, 2003
Veterans Day, 2003
A Proclamation by the President of the United States of America
The willingness of America's veterans to sacrifice for our country has earned them our lasting gratitude. On this, our Nation's 50th annual Veterans Day observance, we celebrate and honor the patriots who have fought to protect the democratic ideals that are the foundation of our country.
When the armistice ending World War I was signed on November 11, 1918, more than 4.7 million Americans put down their arms and turned to the work of strengthening our Nation. The end of that first global conflict was initially commemorated as Armistice Day. In 1954, the Congress renamed the day as Veterans Day to recognize all those who have served in our Armed Forces.
| |||
Today, our veterans inspire new generations of Americans as we work to defeat terrorism and advance peace. In respect for and recognition of the contributions our service men and women have made to the cause of peace and freedom around the world,the Congress has provided (5 U.S.C. 6103(a)) that November 11 of each year shall be set aside as a legal public holiday to honor veterans.
NOW, THEREFORE, I, GEORGE W. BUSH, President of the United States of America, do hereby proclaim November 11, 2003, as Veterans Day and urge all Americans to observe November 9 through November 15, 2003, as National Veterans Awareness Week. I encourage all Americans to recognize the valor and sacrifice of our veterans through appropriate ceremonies and prayers. I call upon Federal, State, and local officials to display the flag of the United States and to participate in patriotic activities in their communities. I invite civic and fraternal organizations, places of worship, schools, businesses, unions, and the media to support this national observance with suitable commemorative expressions and programs.
IN WITNESS WHEREOF, I have hereunto set my hand this tenth day of November, in the year of our Lord two thousand three, and of the Independence of the United States of America the two hundred and twenty-eighth.
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subset: commoncrawl


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SAN JOSE, Calif., Jan. 30, 2013 (GLOBE NEWSWIRE) -- "Chief information security officers and chief security officers must resolve an array of complex security and regulatory data residency issues when enterprises plan to store data in the cloud or remote data centers," according to a new report published by research company Gartner Inc. The research note, "Five Cloud Data Residency Issues That Must Not Be Ignored," (1) recommends enterprises take steps to assure the privacy of sensitive information, achieve regulatory compliance and understand the implications of data disclosure laws.
According to the authoring analysts, "even if the data is encrypted and the keys are managed in a separate jurisdiction, enterprises should be aware that requests for legal assistance, based on bilateral agreements, may be executed between those countries. However, in a well-architected system, the cloud services provider does not have direct access to the keys. In this way, if a legal request is made for access to the data, the enterprise must be involved."
Many countries have passed national laws granting authorities access to enterprise cloud data that may conflict with the legal protection rights of data in the originating jurisdiction, leaving companies wondering how secure their data is and how compliant they are with regulations. Gartner's research helps enterprises understand these risks and recommends they:
-- Consider deploying encryption solutions if there are data residency concerns for data crossing borders
-- Ensure that privileged users in cloud services providers are not granted access
-- Manage the keys locally to comply with local privacy requirements
-- Ensure that the selected vendor encryption products can provide the level of security, and operate in the different storage environments and locations as required
-- Use a documented key revocation and destruction process
We believe CipherCloud meets and exceeds these recommendations and the Gartner report cites a CipherCloud customer as an example of how companies are addressing the issues of data residency.
"We believe Gartner's analysts underscore the importance of cloud encryption and self-ownership of the keys as essential to confronting data residency risks no matter where the data is stored," said Pravin Kothari, CEO of CipherCloud. "CipherCloud's information protection platform ensures no one--whether it's law enforcement, cloud provider system admins, or cybercriminals--can access sensitive information under any circumstances without contacting the data owner first."
The CipherCloud technology incorporates a number of military-grade, AES 256-based format and operations-preserving encryption schemes to protect cloud information. Encryption keys are owned by the enterprise, ensuring that organizations retain control over data in-transit, in-use, and at-rest in the cloud.
CipherCloud also uses content-aware encryption, which speeds deployment and continues to break down privacy, residency, compliance and security barriers to adopting cloud applications. However, unlike previous approaches, with CipherCloud's breakthrough encryption technology users enjoy native functionality like search and sort with near zero-latency. This means that there is no change to the user experience, even when using dynamic encryption to enforce data loss prevention rules.
(1) Gartner, Inc., "Five Cloud Data Residency Issues That Must Not Be Ignored," December 26, 2012, Research report G00246143, Brian Lowans, Neil MacDonald and Carsten Casper
About CipherCloud
CipherCloud, the leader in cloud information protection, provides cloud encryption and tokenization gateways to enable organizations to securely adopt cloud applications by eliminating concerns about data privacy, residency, security, and regulatory compliance. CipherCloud's groundbreakinggateway encrypts sensitive information in real time, before it's sent to the cloud, using operations-preserving encryption and tokenization technology without impacting usability or the application in any way.
The CipherCloud product portfolio supports popular cloud applications out-of-the-box such as Salesforce, Force.com, Chatter, Google Gmail, Microsoft Office 365, and Amazon AWS. Additionally, CipherCloud Connect AnyApp and Database Gateway enable organizations to extend data protection to hundreds of third-party cloud and private cloud applications and databases.
CipherCloud is backed by premier venture capital firms including Andreessen Horowitz, Index Ventures, and T-Venture, the venture capital arm of Deutsche Telekom. For more information, visit www.ciphercloud.com and follow us on Twitter @ciphercloud.


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Working in hot temperatures
ACAS have some guidance on 'hot weather' working. The guidance confirms that:
'In the UK there is no maximum temperature that a workplace is allowed to be, rather advice from the Health & Safety Executive (HSE) states 'during working hours, the temperature in all workplaces inside buildings shall be reasonable'. What is reasonable depends on the type of work being done (manual, office, etc) and the type of workplace (kitchen, air conditioned office, etc).
The HSE offers further guidance on workplace temperatures including details on carrying out an optional thermal comfort risk assessment if staff are unhappy with the temperature - Health and Safety Executive (HSE) - Temperature.'
The ACAS guidance also covers issues such as getting to work, keeping cool at work, fasting during hot weather, vulnerable workers and dress code during hot weather.
Internet link: ACAS website


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More than 300 new batches of milk powder have tested chemical-free, China's General Administration of Quality Supervision said Sunday in a bid to restore trust in products from the dairy industry. But its announcement came as Iran and Guyana became the latest nations to ban imports of Chinese-made dairy products. Testing in Australia, South Korea, and Hong Kong found melamine in products imported from China, and they were withdrawn from sale or destroyed.
Foreign Minister Ahmed Aboul Gheit of Egypt became the latest senior official of an Arab state to visit Iraq, in another sign that the war-torn nation's ties with its neighbors are improving. Aboul Gheit, who was accompanied by Oil Minister Sameh Fahmy, promised that their government would reopen its embassy in Baghdad "soon." Terrorists murdered Egypt's envoy to Iraq in 2005. The leaders of Jordan, Lebanon, and the United Arab Emirates also have visited or sent ambassadors in recent months.
An all-out war against Kurdish rebels was pledged by Turkey's leaders after 15 government troops were killed in an attack Friday near the border with Iraq. Two other soldiers were missing following the worst clash between the two sides in eight months. It caused Prime Minister Recep Tayyip Erdogan to cut short an official visit overseas and return home to convene an emergency cabinet meeting. Funerals for the dead brought tens of thousands of angry Turks into the streets of major cities Sunday demanding revenge.
An indefinite curfew was imposed on Indian-controlled Kashmir Sunday and thousands of paramilitary troops patrolled the streets as separatists organized a new rally for independence. The demonstration, planned for Monday, would be the first since the end of the Muslim holy month, Ramadan. The top two organizers were arrested and a third was placed under house arrest.
Nine more people were found murdered Saturday in Tijuana, Mexico, in violence blamed on a turf war between rival drug traffickers. The discoveries bring to 49 the number of such deaths in the city in less than a week. Elsewhere, a drug gang also was blamed for assassinating the mayor of Ixtapan de la Sal, a popular resort town. Two others riding in his car were wounded when gunmen sprayed it with bullets.
President Evo Morales of Bolivia deepened his government's rift with the US, announcing Saturday that he'd rejected a request by the Drug Enforce-ment Administration for a flight that would ferry agents between two cities. "We don't need anyone spying," said the leftist leader, who last month expelled US Ambassador Philip Goldberg. Bolivia is the world's No. 3 producer of coca, the base ingredient of cocaine. The US pays Bolivia $66 million a year to crack down on illegal drugs.
A completed assembly plant for the world's cheapest car was abandoned over the weekend, throwing plans for bringing the $2,500 vehicle to market this year into doubt. Tata Motors Inc. blamed opposition by a local political party in India's West Bengal State for its decision to site a new plant elsewhere. The Trinamool Party organized violent protests against the plant by farmers on grounds that they'd been inadequately compensated for selling their land to Tata Motors.
Rescuers brought the 10th – and last – survivor to safety from a gold mine in the northern Philippines, almost two weeks after he and his co-workers were trapped by flooding. Six others died. Reports credited the miner's physical fitness for keeping him alive during the ordeal. But he later was arrested for his failure to appear for trial on theft and robbery charges.


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Find Our Latest Video Reviews on YouTube!
If you want to stay on top of all of our video reviews of the latest tech, be sure to check out and subscribe to the Gear Live YouTube channel, hosted by Andru Edwards! It's free!
Monday August 31, 2009 9:00 am
Sony Walkman S Series and E Series Walkmans set for release
Sony has finally revealed the S Series Walkman, which supports JPGs, MP3/WMA/AAC audio, and H.264/MP4/WMV video at 30fps. It also has an FM tuner with time-shifting, stereo speakers, a 2.4-inch screen, and a Lithium-Ion battery that'll provide you with 42 hours of audio, or 6.4 hours of video playback.
That's not all, though. Sony is also introducing the E Series Walkman, which is similar to the S Series, but forgoes the speakers, and has a 2-inch QVGA screen. It also doesn't support H.264 video.
The S and E Series come in many colors, at varying prices. The S-Series is $110 for the 8GB, and the $130 for the 16GB. The E-Series is $80 for the 8GB, and the 16GB version is $100.
Read More | PR Newswire
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Product Details:
Payment & Shipping Terms:
If you need our products, contact or check on line.
Or email me directly:firstname.lastname@example.com
~Tractor drilling rig was a kind of new type that designed for petroleum prospecting in Hill, Gobi and Jungle area. The drill was mounted on 4X4 tractor which has high quality and large power. The power of drilling rig was take off from the tractor engine. Adopted advanced hydraulic technology to control the rotation, pulldown, hoisting, jack flex movement. The operation is easy and reliable, the movement is flexible and the transport is convenient. Meet QHSE requirement in international prospecting marketing. The Standard configured drilling rig has auger drilling function, after equipped with mud pump or air compressor according to client's demand, the drilling rig can carry out mud drilling or downhole hammer drilling, it can be used to drill in complex stratum area like rock, clay, rivers network, and so on.
2 Main technology parameter:
Drilling depth Air/Mud drilling 30 m/100ft
Auger drilling 20 m/65ft
Drilling method Mud drilling, auger drilling
Drilling hole diameter 90 mm (Mud drilling)
90 mm (Auger drilling)
Drilling pipe (Diameter×Length) Drilling pipe φ60×1500 mm
Auger drilling pipe φ50×φ90×1500 mm
Drilling bit Drilling bit 3 1/2" 3-wing drag bit
Auger drilling bit 90 mm
Power swivel Output torque 1150 N.m
Output rotation speed 0~193 r/min
Hydraulic system Rotation/Hoisting/Pulldown 20.5/20.5/7 MPa
System displacement 75 L/min
Hoisting & pulldown system Rated pulldown force 7.8 kN
Rated hoisting weight 17.9 kN
Max. hoisting speed 0.95 m/s
Output power for chassis engine 29.4kW/2200r/min
If you are also interested in other drilling rig http://www.drillingrigts.com/
Contact Ms.Ann http://www.drillingrigts.com/contact.html
Contact Person: Ms. Ann
Tel: 86-15128492261
Fax: 86-312-3632588


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--By CHRISTY LEMIRE, AP Movie Critic
With "In Time," writer-director Andrew Niccol takes a clever, compelling idea — that time is currency and you can buy your way to immortality or die broke — and beats it into the ground.
For a movie about the importance of maximizing every second, "In Time" ultimately grows repetitive and wears out its welcome. It's fast-paced and hugely stylish, though, with its great-looking cast and a mix of gleaming, futuristic visuals and grimy, industrial chic. And it's a welcome return to the kind of slick sci-fi Niccol made his name on in the mid-'90s with "Gattaca" and "The Truman Show" (which he wrote).
But his high-concept premise raises several nagging questions. Why do all the inhabitants of this dystopian world (which happens to look just like downtown Los Angeles and Century City) stop aging at 25, then find themselves with only a year left unless they can buy themselves more? When did this start — what is the purpose? And if Justin Timberlake is so busy working in a factory just so he can afford to live one day to the next, where does he find time to go to the gym?
Yes, among the beautifully photographed images in "In Time" — the work of the great cinematographer Roger Deakins — is a shirtless Timberlake, early and often. He stars as Will Salas, who lives in the ghetto neighborhood of Dayton but dreams of moving to the ritzy New Greenwich with his mother (Olivia Wilde in an amusing bit of casting, since she's three years younger than Timberlake). In one of many inspired details, the amount of time you have glows green as it ticks away on your forearm, and you can share what you have — or take it away — by clasping wrists with another person.
When Will can't stop his mother's time from running out — and he's framed for a crime he didn't commit — he goes on a revenge spree to steal years from the rich and give them back to the poor. His accomplice: Sylvia Weis (Amanda Seyfried), the beautiful but sheltered daughter of the wealthiest man in town (Vincent Kartheiser), who starts out as his hostage but becomes his enthusiastic partner in crime.
So if you're keeping track, this is "Logan's Run" meets "Bonnie and Clyde" meets "Robin Hood."
Cillian Murphy is on their tail as a "timekeeper," a sort of cop who runs around enforcing the rampant theft of hours and minutes in his ever-present, distressed leather coat. Alex Pettyfer is also after them as a pimped-out British gangster (or
"Minute Man") who wants to steal the hundreds of years these two have amassed.
Basically, everyone is gorgeous, high-cheekboned and fashionably dressed in the future, the last of which is the work of multiple Oscar-winning costume designer Colleen Atwood. Seyfried's style would please Anna Wintour — because she happens to look just like the Vogue magazine editor — with her dark red, blunt-cut bob and tailored, feminine designs. The downside of that, though, is that she has to run in heels — a lot. A ridiculous amount, actually. She and Timberlake are cute and playful together, yet lack the kind of intense chemistry that suggests they'd ever be truly dangerous.
But if you can get past the plot holes and the copious time puns — with phrases like "Have you got a minute?" and "You're taking forever" taking on a whole new meaning — "In Time" is actually rather brisk, enjoyable entertainment. And with its
gaping disparity between the haves and the have-nots causing increasing class tension, it also has the added benefit of being relevant.


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Steelers Diontae Johnson Parallels CMU Great And Now Raider Antonio Brown
PITTSBURGH (AP) — Rookie WR Johnson paying is no Antonio Brown, just ask him.
Pittsburgh Steelers rookie wide receiver Diontae Johnson understands parallels will be drawn between himself and former Steelers star Antonio Brown. The third-round pick, however, is focused on forging his own path.
The comparisons and serendipitous circumstances that link the two are almost too conspicuous to believe. But this "D.J." isn't actively going out of his way to be the next "AB."
As he walked off the field after completing his first official on-field NFL practice session, Johnson was predictably asked to give his thoughts about the ubiquitous comparisons between him and the perennial All-Pro receiver now with Oakland.
"It's a good thing, because he's a great player," Johnson said Friday. "Somebody I used to watch. I still look up to him. He's a great player.
"But I can only be myself only."
What the Steelers have been saying they expect of Johnson would be more than good enough — even if it falls short of the level Brown attained as the Steelers' No. 1 receiver for most of the past decade.
Brown was shipped off to the Raiders for third- and fifth-round draft picks in March after he'd publicly clashed with everyone from quarterback Ben Roethlisberger to coach Mike Tomlin to Steelers President Art Rooney II since sitting out the final game of the 2018 season. That leaves a gaping, 114-catch-per-year hole of production on the offense. Brown had 686 receptions, 9,145 yards and 67 touchdowns from 2013 to 2018.
By no means do the Steelers expect Johnson to make up for that by himself. But Johnson enters the NFL with a similar game and profile as Brown — and he was acquired as the headlining (if underwhelming) return in the trade of Brown.
Johnson embraces the on-field similarities with Brown in regards to playing style: "route running, able to catch ball, get out of my breaks, able to run every route in the route tree." But Johnson politely downplays expectations he can approach the superstar status Brown reached in Pittsburgh.
"I'm just trying to come in and contribute and come in and do what I can do," Johnson said. "Be myself and help out in any way that I can."
It might forever be difficult for Johnson to simply "be himself" with the Steelers, if only because many might always compare him to Brown. A look at the roster shows that about the only way Johnson doesn't share a strong resemblance with Brown is uniform number. Johnson was wearing No. 18 at rookie minicamp; Brown's former No. 84 was given to undrafted tight end Milan Richard.
Brown stands 5-foot-10, 181 pounds. Johnson is listed at 5-10, 183.
Brown went to Central Michigan, a Mid-American Conference school; Johnson starred at Toldeo, the Chippewas' MAC rival.
Over his final two college seasons, Brown had 2,096 receiving yards and 22 touchdowns in being voted all-MAC twice. Johnson, over his final two college seasons: 2,039 receiving yards, 25 touchdowns, two-time all-MAC.
Each had great success as a punt and kick returner, too.
Johnson might not be Brown but he's already made an impression on his new teammates.
"He has a lot of talent," said cornerback Justin Layne, a player the Steelers took with another third-round pick. "Fast, quick guy. He is going to help us a lot."
Steelers fourth-round pick Benny Snell has gotten to know Johnson in recent months because they share the same agent and were roommates in Indianapolis at the combine in February.
"Diontae is amazing," said Snell, a running back from Kentucky. "He's a cool guy, a cool dude — and he's got some hands."
Johnson's hands weren't as much on display Friday as the Steelers likely hoped; he sat out portions of team drills, then deferred to coach Mike Tomlin, who was unavailable to media Friday, for specifics about any injury. But he allowed that he was "fine."
For his rookie season, Johnson joins a receivers corps led by JuJu Smith-Schuster and also featuring veteran Donte Moncrief, second-year wideout James Washington, and slot specialists Eli Rogers and Ryan Switzer.
Where Johnson falls into that pecking order in 2019 is a long way from being determined.
"It's exciting, being able to play football again," Johnson said, "being able to run routes and catch balls and learn the plays."
© 2019 Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed.
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I have fallen in love with textured MDF panels used to make walls.
Oh boy that's beautiful. But raw, it's almost impossibly fragile. The question is : How can I make it harder, stonger to go through the life? Should I give it 2 primer coats and paint? mix something in the primer? I have NO idea, and am a little worried.


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It would seem that Chauncey DeVega is a bad boy again. In the past, I have been mean to Sarah Palin. And in the present, my cruelty apparently knows no boundaries as I have hurt the feelings and besmirched the honor of good Conservative
Color me pleased. So my friends, the Conservative horde has been unleashed. From Breitbart, the Washington Times, to Hot Air, Pajamas Media, Townhall, and Power Line the right wing echo chamber is beating its drums. Please enjoy my infamy, as I wouldn't be motivated to cause so much trouble if it were not for all of your support.
What next my tribe of respectable negro friends and allies? Should I lay low or join the battle? And what will the reactionary troglodytes of the New Right do next?


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Irish singer songwriter Declan O'Rourke |
There is nothing that soothes the soul like going out and hearing live music and watching a talented and creative artist work their magic with a responsive audience. That is one of the underlying principles stoking the music performance arena at the Irish Arts Center in New York City, a small Irish Cultural Center more than punching above its weight in massively overstimulated Big Apple marketplace. Their recent initiatives like their Masters in Collaboration series and more particularly SongLives shows have sparked creativity and new performances at their black box theater space called the Donaghy Theater on the ground floor of the former garage building in Hell's Kitchen, more fashionably known as Clinton these days on Manhattan's far West Side in Midtown.
Last year , Dubliner Declan O'Rourke made an appearance with SongLives Curator and singer songwriter Susan McKeown as she sought to give much needed exposure to many gifted Irish singer-songwriters plying their trade on either side of the Atlantic these days. Contemporary folk singers need all the help they can get to muster out folks grown sedentary and housebound glued to television or computer screens. O'Rourke made an amazing first impression in the series and when he was anxious to come back to New York City for a full evening's show, the Irish Arts Center enticed him with the offer of a one-week residency which was too good to pass up.
That residency consisting of eight shows began last Saturday night with a sensational opening night performance by the artist who is far better known in his native Ireland than over here which is something he hopes to rectify by the end of the run in New York. He has produced three cds since 2004 (Since Kyabram/2004, Big Bad Beautiful World /2007, Mag Pai Zai/ 2011) with the first two producing platinum record sales. His most successful song in terms of being covered by others including Josh Groban and Eddie Reader was "Galileo" which he said was "a song that I have been very good to" and which he told the WFUV radio audience a few days before "earns him money when he sleeps" . He sang it early as the second song in the 12-song set that opened with another classic "Time Machine" and featured many of his newest songs from his latest CD. He joked that those who came along only to hear that song "could now go away and do something else with their evening". No one moved from their seats as he had people in the palm of his hand, including a couple behind me who came all the way in from Cleveland to see him perform live.
In January, I saw O'Rourke render a thought-provoking full concert at St. Warbourgh's Cathedral in Dublin as part of the Temple Bar Trad Festival dealing with a number of songs he has written dealing with the Irish Famine and its aftermath including the fact that his Grandfather was born in a workhouse in the early 20th Century, an outgrowth of the terrible poverty that afflicted Ireland. He sang "Poor Boys Shoes" from that repertoire which he aims to record by the end of the year as another CD project.
If there were any opening night jitters or Big Apple anxieties at the first show, they were anything but evident given the well-paced performance O'Rourke performed for the enraptured audience. His stagecraft is an interesting mix of revealing and personal chat and a disarming sense of humor which keeps him from coming across at too serious or introspective. His a cappella encore of "Married to the Sea" evoked the storytelling power of an epic Sean Nos song and was a fitting way to cap his show.
Enhancing the stage production Saturday night was a four-piece string quartet containing Christian Herzberger as first violin and Curtis Stewart as second violin, Nora Krohn on viola and Eimear O'Grady. Herberger and O'Grady have worked with O'Rourke in similar string quartets in Ireland and Krohn and Stewart joined in for the New York shows. Along with the varied program he put together it gave the evening a very sophisticated supper club quality which you don't always experience in black box theaters of this size without detracting from the intimacy between artist and audience that this venue provides.
O'Rourke still has five shows remaining at the Irish Arts Center from Wednesday to Sunday and tickets can be obtained at box office phone 866-811-4111 or www.irishartscenter.org. Shows start at 8 p.m. but call 212-757-3318 to confirm the time before going to the theater.


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On 17th December 2013, Metropolitan Hilarion of Volokolamsk, chairman of the Moscow Patriarchate's Department for Promoting Christian Unity (DECR), met with Cardinal Kurt Koch, President of the Pontifical Council for Promoting Christian Unity.
They discussed cooperation between the Moscow Patriarchate and the Roman Catholic Church in the Mixed Orthodox-Catholic Theological Commission and in the sphere of culture and students exchange.
Taking part in the meeting were archimandrite Philaret (Bulekov), DECR vice-chairman; Rev. Alexy Dikarev of the DECR secretariat for inter-Christian relations; Archbishop Ivan Jurkovic, Apostolic Nuncio to the Russian Federation; Archbishop Paolo Pezzi, ordinary of the Roman Catholic Archdiocese of the Mother of God in Moscow; and Rev. Hyacinthe Destivelle of the Pontifical Council for Promoting Christian Unity.
Source: DECR


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Stars Helen Hunt and John Hawkes are among the guests at the Zurich Film Festival.
Helen Hunt, John Hawkes and director Ben Lewin were at the Zurich Film Festival yesterday for the European premiere of Sundance hit The Sessions.
Hunt was also the recipient of Zurich's Golden Eye Award: "I've decided it's an award marking the mid-point in my career," joked the Oscar-winning actress. "I have worked a long time on so many things I'm proud of so I'm thrilled about this award," she said.
The Sessions, which picked up the Audience Award and Special Jury Prize in Sundance, was well-received by its first non-English language audience when it screened last night to a packed Kino Corso.
The comedy-drama tells the true story of a 38-year-old disabled man who contacts a professional sex surrogate when he wants to lose his virginity.
Hunt, Hawkes and Lewin, along with producers Judi Lewine and Stephen Nemeth and actress Blake Linsdley spoke to the media about the film earlier in the day.
"We adorn sexuality with so many prejudices and fears," said Hunt, who is naked on a number of occasions in the film. "This is a version of sexuality that drops that for 90 minutes. The film strips away the shame and the cliché, the half covering, the lighting and the music with which we adorn the topic of sexuality in films".
"I was initially worried about being an able bodied person playing a disabled person," said Hawkes. "Disabled actors are certainly under-represented in America. Ben assured me that he had searched for his Mark O'Brien among disabled actors but hadn't found the right person".
"The part represented a real challenge," continued Hawkes."But the character of Mark jumped off the page at me for his sense of humour and fighting spirit."
In response to a question about the imbalance between female and male nudity in the film, Hawkes quipped: "As a global actor, when it's so difficult to maintain any sort of mystery about yourself, I'm glad that there's one thing about me that is still unknown."


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Video Game Pioneer Atari Files for Chapter 11
Longtime video game maker Atari filed for bankruptcy on Monday and will begin a sale of its assets in the next few months, a move intended to help the company operate independently.
Atari, which created classic games like Asteroids and Pong, helped pioneer the industry with its home consoles. It will now focus on its digital and mobile business, while some titles, including Asteroids, are already available through Apple's (NASDAQ:AAPL) App Store.
Atari's French parent company, formerly known as Infogrames, changed its name to Atari S.A. in 2003 and remained unprofitable until recently, according to the Los Angeles Times, which reported the story Sunday night.
The video game publisher said its shift to mobile games led to annual profits of $11 million in 2011 and $4 million in 2012 for the parent company.
Atari has all but abandoned home console games. Its last major release was Ghostbusters, based on the movie series, in 2009.
Shares in Atari S.A. haven fallen to about one euro a share, down from 11 euros in 2008.


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Picture if you will a high-school drama teacher threatened with losing your program and your job. What brilliant stroke could save the day? After much floundering, Dana Marschz comes to the answer: to be taken seriously, he'll write "Hamlet 2," a sequel to one of the most famous plays ever written. And for good measure, he'll throw in a time machine, Sexy Jesus, and musical numbers. Marschz, the leading character of the new comedy film Hamlet 2, is just the sort of comic creation that appeals to Steve Coogan, the renowned British comic actor best known abroad for his role of Alan Partridge on the BBC series Knowing Me, Knowing You and I'm Alan Partridge. Here, Coogan may be better known for playing the film director in Tropic Thunder or pairing with Jackie Chan in Around the World in 80 Days, though he also starred in the art house favorites 24 Hour Party People and Tristram Shandy: A Cock and Bull Story. I spoke to Coogan at San Francisco's Ritz-Carlton Hotel.
Groucho: Got a day's worth of tea cups here, eh?
Steve Coogan: Yeah. That's how I imagine the passage of time.
Groucho: Can I ask you first of all to talk about your approach to developing a character? I think you're kind of a character actor—
SC: Mm-hm!
G: Or a character comedian. And once you have the idea or the script, do you tend to go outside-in and figure out the wig, the make-up, the voice?
SC: Mm-hm! Well, you've kind of said it. Yeah, I sometimes like to—if I can sort of distance a character from myself physically, then I kind of find it gives me license to go to extremes. I don't mind making a complete ass of myself. If I feel what I'm doing is so very different from me—in actual fact, whenever I do a character, there's always going to be a little bit of me in it. Even something that's been written by someone else like the Hamlet 2 by Pam and Andy, there was a lot of discussion about how I should approach that character and how I should do it and how big I can go with it, you know. And it's quite a big performance. And that's something to talk about too. This character that I'm doing is quite eccentric. He's quite larger than life, so you have to think about whether, when I perform that character, I've got to make sure I don't—it doesn't look like I'm overacting. Because that's a problem. Because the character itself is larger than life, so he would act in a slightly big way than other people in reality, but you don't want it to come across like I'm kind of out of kilter with the other actors. So you have to process all that when you're doing it. And then having, when you do all that, throw all that away and don't over-intellectualize and go with the seat of your pants as well, so it's kind of a combination of things. But in terms of sort of commonality to all the characters I do, whether mine or someone else's, I do like to have physical things just to hang on to, to help me sort of go back into the character. And that's not to say I just externalize it and don't do anything else, but the physical aspects—in the way I dress, the way I look, the way I walk, and the things that I do—help me find the character, help me get a handle on the character. And then you kind of go back inside, if you like, sort of start on the outside, work your way inside, and then come back out again. I don't know what the hell that means, but it still makes kind of sense to me! But you kind of—it does give you kind of—you go, "Oh I've seen guys like that. I think I know who that guy is." And then you start to—but there's no substitute for actually trying to really feel and experience the things the character's experiencing. Even in a comedy. If I just did the character in such a way whereby I did physical things that made you laugh, and I got the gags right, then all it would be is me stringing a series of gags together, around a kind of caricature. And while that can work and make you laugh for a period, but it's not going to see you through to the end of a movie. And it's not going to make you really care about the character. So that's only the start of it. The tough part for me isn't doing the funny stuff. The funny stuff's there on the page, and there's funny stuff to do physically, that you can—you understand the mechanics. When you've been doing it a long time, you kind of get the mechanics. You go, "Okay, if I do that, that, and that, then that should be funny. And if I do this, this, and this, and then do that, then that should be funny." Those are the bits that you kind of learn and get used to. The tough part, in this character for example, is that "Okay, those funny things should work. But then an hour and ten minutes into the movie, are people still going to give a damn and want to see you through or care what happens to you?" And that involves a kind of a little contradiction for me. Because as a comic—my background is both stand-up comedy and being at drama school and training. And once you let go of the mechanical stuff—a lot of comics are control freaks: they like to know exactly what they're doing every single moment, but I think for the emotional arc to work, you kind of have to really, really care about the character and not be seen as making a kind of commentary on the character you're doing. If it looks like—when you're watching it you think, "Well, he thinks the guy he's playing is a complete jerk," that will stop working after a while. You have to really believe that I really care about the character I'm playing. And I sort of do. And so when I'm really wanting things to work, I really try and feel those things, rather than trying to be funny. And Andy helped me with that, the director. There'd be moments there where he'd say, "Just don't worry about being funny right now. Just, you know, this really matters to you. Just really play it like you really care about it. Just forget the funny stuff right now." And I'd do that, and he'd say, "As long as there's funny stuff around it, you can have a little moment of genuine sentiment," and that actually makes the funny stuff funnier. Because you start caring about the character. That's that longest answer I've given all day…
G: And what about this character in particular?
SC: There was opportunities, "If you want, you could maybe play this as an English guy." And that to me was not right, wouldn't have suited the character. So I felt that I had to do it as American, because I couldn't believe a British guy would be so—you have to justify why he's teaching out there in the middle of Tucson. And plus someone who would be so emotionally open that way and not be gay, I didn't believe for a second. Whereas I could believe it of a kind of a metrosexual American guy who'd lived a lot of his life in California. (Laughs…) He certainly has a lot of feminine qualities…That kind of machismo thing doesn't bother me in the slightest. I don't give a damn about how macho I look. I really don't give a shit at all. (Adopts macho tone:) I know I'm a guy, so. I know a few chicks who know I'm a guy, too…But, yes, of course, he's got those slightly effete qualities…There's that idea of actors wanting to look good and look cool in whatever they do that is kind of a handicap. And there's another thing to let go of. If you're not worried about looking like a complete ass, somehow, if you really commit to it, you can end up being cooler than anybody else. So you kind of you just go through that pain barrier. You go, "Okay, I'm going to wear a caftan, I'm going to go around on roller skates, I'm going to have long blond hair that I flick around, and I'm going to just commit to that, you know?"...He's very effusive and emotionally open in a way that's not very masculine. And certainly not British, either. It's someone who sort of waves his arms around a lot and clutches his bosom. It's like he actually thinks his life is a movie. That's self-navel-gazing, which is kind of a Hollywood thing, a Los Angeles thing, that sort of addiction to self-analysis.
G: And how good you're going to look to others.
SC: Yeah, that's right…how good you're going to look to others. Because he does have a certain neurosis about him, which is even though he wears a caftan, I think he thinks it's bohemian, I guess.
G: How much more of "Hamlet 2," the play within the film, was worked out than what we see on the screen? Did you have a pretty good sense for yourself of the overarching plot he was trying to tell beyond what we see?
SC: Now that's a big, big trick. Did they? Well, actually maybe Andy did write a complete thing. I'm not sure he did, though. I mean, he changed it a lot. I mean, I wasn't supposed to be in the play originally. It was like—he just thought—in the original script I'm watching it all and the kids are doing it. He said, I really feel I've got to get you on stage because you power the movie through, and if you disappear for the last twenty minutes, watching this thing, it's kind of—we need you in there. And we need you onstage." But not through any self-obsession. Through wanting the kids to make the best [show] possible. There's maybe a little bit of narcissism in there. He said, "I really think we should have you playing Jesus Christ onstage. It just would be appropriate." And I thought, "Oh, really?" "Yeah." I was going, "Okay, okay." And again all those things tied in with the thing about being liked. If something scares me a little bit, then I kind of—I've learnt to spot that if something is a little bit scary, then it's potentially really quite a good thing. So you kind of smell that. And I thought, "Well, that sounds kind of, like, weird. Being Jesus." He went, "Yeah, I want you to be a sexy Jesus." I went, "Oh, criminey." I was raised a Catholic. "What are my mum and dad going to say?" and all that. But then you think, "Well, you know, could we really—and I thought, "Well, South Park: they've done some things I think, "There's no way in a million years I would have thought that would work. That seems too beyond the pale." And sometimes it really kind of is. You know, I mean, I saw it last night, and I was thinking, "I can't believe—" It's like every single time, "Okay, I get what they're going to do. It's not going to shock me anymore," and then I'll look at it and go, "Ohmigod, what are they--? Oh! Oh, it's so awful." But kind of, like, compelling. Anyway. When they said they'd do the Sexy Jesus, I thought, "Well, it scares me so it's potentially a good thing." And I think if you do stuff that's interesting and funny…the risk of making an ass of yourself is part and parcel of it.
G: And if you're not on the edge, what's the point?
SC: Yeah, yeah…
G: When you were doing theatre in your formative years, what was on your mind?
SC: I was very self-conscious. I went to—applied to—I mean, I used to do little kind of stuff at college, doing the kind of—all that stuff: I could do voices. I could make some people laugh; I wasn't the class clown, but I knew I had this certain skill, 'cause people would come 'round, sit 'round and say, you know, "Do some stuff. Do some of your voices." And I knew that I could do it. And people would sometimes say, even regular people would say at school, "Hey, you should be on TV." And they would say it a lot. A lot of people would say it to me: "Hey, you should be on TV." And I used to think, "Well, maybe they're right, maybe they're right." Because I wasn't a naturally confident, extrovert, outgoing person. I was quite insecure, like a lot of actors are. Big surprise. But, um, my first experience was actually one of—I had to apply to all these London drama schools. And felt quite—like I thought I had something, but then would feel very insecure, because a lot of these people were more cosmopolitan than me. And they were from London; I was from Manchester…we didn't have the same in-built confidence that a lot of these privately educated young men and women who had gone to drama school had this ease with themselves, and had a confidence and eloquence that I've acquired slowly. But they had that almost from birth. And they would understand the arts. They would understand Shakespeare. And they would be able to talk about it and his subtext and all the rest of it, and I was like, "Oh, I can do some funny voices, you know." I don't even understand all this stuff…but then I figured, "You know something? I think—" Whatever, I eventually got into a drama school, in Manchester. There was a lot of people-at first what I thought was my handicap, and lack of cosmopolitan creative bohemia, became what I realized was my advantage 'cause it was a kind of ordinariness of background that I realized was kind of like: I had an edge. I had something that was actually—what made me self-conscious became the thing that made me confident. And I thought, "I can draw upon that." And I suddenly figured that I had something more valid to say, that would resonate with more ordinary people. I felt I was in touch with popular taste, in a way that these other people weren't. And I figured that that would be my key. So I kind of honed in on that. And then I sort of mined it, you know? And I used to do comic characters that people would recognize. And ordinary people could think, "Oh, I know someone--he's like my uncle. He's like…"I went to characters that were kind of real, and resonated with ordinary people. And to me being popular didn't equate with being lowbrow. Or unintelligent.
G: I haven't had the opportunity to talk to you before, so I have to ask you about Alan Partridge.
SC: Sure!
G: I know he was based on a real radio presenter—
SC: No, he wasn't.
G: No, he wasn't.
SC: No.
G: Okay, well, who was he based on?
SC: He wasn't based on anyone. It's a complete misconception, no.
G: Oh, it was that somebody asked you, "Do a voice of a radio—"
SC: "Do a voice of a radio presenter," and I did a voice that sounded like the kind of voice I hear on radio when someone's talking about sport, which I know nothing about. He became a sports presenter, and I didn't know the names of any sports presenters. I'd just hear people on the radio, like these jerks who clearly knew *nothing* except sport. And I just had no interest in them whatsoever, but I'd hear these voices on the radio, and they'd say, "Well, what do they—do a sport voice." And I'd say: (as Alan Partridge:) "Well, these guys sound like this. They're sort of—like the sound of their own voice. They're very confident, but they're not that bright. Not very intelligent, but they're very confident broadcasters." And I thought, "Well, that's what those guys sound like," so that's where the voice came from.
G: And is the fabled Alan Partridge film something you think might ever happen?
SC: Everyone keeps asking me about that. I feel like I ought to make the film, just to make people stop asking about whether I'm going to make the film or not. Errrm, I guess I should say no, so people will stop asking me. But I can't say no, because I might do it one day. In England, it's kind of a double-edged sword, because it's something that was very successful, I'm very proud of. It's also a bit of a creative albatross in that it stops me being able to do other things. This movie that I love so much I would never have been able to do in England. Period. But in this country, people have seen a bunch of different stuff, even though I'm not that well known, which is, again, perversely, an advantage. It means I'm able to sort of move around and do different stuff. So I kind of—I'm nervous about screwing with that right now. And I'm glad I've been able to move away from that kind of character. But having said that, I still—I'm doing a live show in the fall where I'm going to do that character, I'm doing Alan Partridge, and I'm doing a bunch of other characters, onstage. So, I still love the character. I still love the guy. He's still sort of—he's like an old friend. Who you don't like. (Laughs.) Like an old friend that you don't want to see that often!
G: You should bring one of those shows to the U.S.
SC: Well, I've thought about it maybe, yeah…


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This article is more than 1 year old
Oracle charges $90 for Sun's free ODF plug-in
The price of open docs on Microsoft Office
Oracle is now charging $90 for the free Sun plug-in that teaches Microsoft Office how to use the latest open document format.
As noticed by The H, if you visit the home of the Sun ODF Plugin for Microsoft Office, there's still a big red button that says you can "Get it Now. Free." But if you actually click on that button, Oracle says you can't get it now unless you fork over $9,000. That's $90 per user, with a minimum of 100 users.
Oracle is also offering support for the not-so-free plug-in. That'll cost you $19.80 per user for the first year - aka a minium of $1,980 - but you don't have to pay this if you don't feel like it.
You do have to pay the $9,000.
The latest version of the Sun PDF Plugin teaches Microsoft Office how to read, edit, and save in ODF 1.2, the version used by OpenOffice 3.2. Redmond introduced ODF with Microsoft Office 2007 Service Pack 2, but the best it can do is ODF 1.0. The plug-in also plugs into Microsoft Office 2003, XP, and Microsoft Office 2000.
The plug-in was never open source. It was just free. So, Oracle isn't reversing an open source promise. But it is charging $90 for a plug-in. The Home and Student edition of Microsoft Office 2007 costs $149.95, and the standard edition is $399.94. So, even if we're kind, the cost of four plug-ins buys you the entire suite. ®


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People with flu can spread it to others up to about 6 feet away. Most experts think that flu viruses are spread mainly by droplets made when people with flu cough, sneeze or talk. These droplets can land in the mouths or noses of people who are nearby or possibly be inhaled into the lungs. Less often, a person might also get flu by touching a surface or object that has flu virus on it and then touching their own mouth or nose.
Person to Person
To avoid this, people should stay away from sick people and stay home if sick. It also is important to wash hands often with soap and water. If soap and water are not available, use an alcohol-based hand rub. Linens, eating utensils, and dishes belonging to those who are sick should not be shared without washing thoroughly first. Eating utensils can be washed either in a dishwasher or by hand with water and soap and do not need to be cleaned separately. Further, frequently touched surfaces should be cleaned and disinfected at home, work and school, especially if someone is ill.
The Flu is Contagious
Most healthy adults may be able to infect other people beginning 1 day before symptoms develop and up to 5 to 7 days after becoming sick. Children may pass the virus for longer than 7 days. Symptoms start 1 to 4 days after the virus enters the body. That means that you may be able to pass on the flu to someone else before you know you are sick, as well as while you are sick. Some people can be infected with the flu virus but have no symptoms. During this time, those persons may still spread the virus to others.
Mold Solutions & Inspections


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Fade Material: NFL Week 12 Predictions
With two pushes, one loss and one win in Week 11, my season record is now 18-24-2. I'm sure I go undefeated from here on out though, so make not of my selections below.
Browns @ Bengals, 1:00PM ET
This is a trap game for the Bengals. They're coming off two hard-fought losses to the Steelers and Ravens and have another matchup with Pittsburgh coming up next Sunday. Thus, it'll be easy for them to overlook a bad Cleveland team that somehow has four wins on the year. The Browns' offense packs as much punch as a dead raccoon but their defense has kept them in most games this season. Divisional games are usually tight and I think Cleveland catches Cincinnati trying to sleepwalk through what should be an easy victory.
Vikings @ Falcons, 1:00PM ET
The Falcons rarely blow opponents out, which is why so many people think they're overrated. Thus, I'm reluctant to lay almost 10 points on them this week but this is as good a spot as any. Adrian Peterson is out and Christian Ponder is good for at least two interceptions. Outside of its near collapse last Sunday against the Titans, the Falcons' defense has been very good for over a month now. I think the Vikings will have trouble generating points and Atlanta will methodically build a big lead. That said, if the Falcons have as much trouble in the red zone this week as they did last Sunday, then the outcome of this game will be closer than it should be.
Bills @ Jets, 1:00PM ET
We know Buffalo won't score without Fred Jackson because there's no way Ryan Fitzpatrick will get the best of Rex Ryan's defense this week. (He certainly didn't the last time these two teams played, and that was when Jackson was healthy.) That said, I don't trust Mark Sanchez to finally snap out of it and play with confidence so the under seems like a great play in this one. Buffalo's defense is brutal and turnovers could be an issue but there's a good chance that this game is a field-goal fest.
Broncos @ Chargers, 4:15PM ET
Tim Tebow's ratio of bad quarters to good quarters is about 3:1 right now. He's unwatchable for three quarters but he turns it on in the fourth and everyone gives him the credit for the win even though the defense has to basically pitch shutouts. Thus, I get why many people aren't buying into the Broncos as a serious playoff threat. That said, have you seen Philip Rivers play lately? The guy is almost willing his team to defeat. That interception he threw at the end of the Bears game last week looked like a guy who had money riding on the outcome. Denver's defense is legit and could give Rivers fits if he continues to play as poorly as he has, which is why I love the points here.
Follow the Scores Report editors on Twitter @clevelandteams and @bullzeyedotcom.
Comments Off on Fade Material: NFL Week 12 Predictions
Posted in: NFL
Tags: Adrian Peterson, Fred Jackson, Mark Sanchez, Ryan Fitzpatrick, Tim Tebow


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A yellow Asiatic lily grabs the limelight in this wonderful arrangement set in a vine basket complete with a handle. Yet, there's so much more to behold and admire, including stunning Viking poms, Monte Casino blooms, spray roses and button poms. Measures 10"H X 8"L.
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Box of Assorted Chocolates.
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18" Happy Birthday Mylar Balloon. Styles may vary.
18" Happy Anniversary Mylar Balloon. Styles may vary.
18" I Love You Mylar Balloon. Styles may vary.
Huggable, adorable and ready to cuddle. Our Lotsa Love teddy bear wears a checkered brown bowtie to match his cream-colored, plush fur. This lovable friend is ready to deliver warmth to someone you care about. Plush bear wearing brown checkered bowtie Measures overall approximately 18′′H


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U.S. Under-17 Men's National Team ties Mexico 1-1, takes second place at 2012 AGS Cup
The U.S. Under-17 Men's National Team earned a 1-1 draw against Mexico on Saturday and finished in second place at the 2012 AGS Cup in Spain after ending the five-game tournament level on total points with Mexico, but trailing in goal differential.
The result marks the second straight year the U-17 MNT has finished in second place at the AGS Cup, and the second consecutive year Mexico has won the tournament.
Needing a win against Mexico, the U.S. couldn't capitalize on two chances from inside the box as the team saw a penalty kick miss the target and failed to convert an indirect free kick inside the box following a six-second violation on Mexico's goalkeeper.
Alejandro Diaz Liceaga gave Mexico an early lead in the 27th minute after scoring from an indirect free kick inside the penalty box after U.S. goalkeeper Jeff Caldwell was whistled for taking longer than six seconds to put the ball back into play.
Forward Rubio Rubin found the equalizer for the U.S. in the 56th minute. The U-17 MNT ended the tournament with a record of 3-1-1 with 10 points.
Along with the second-place finish, defender Shaquell Moore, Rubin and Caldwell all earned spots on the tournament's Best XI team. Ahinga Selemani and Rubin ended the tournament with two goals apiece to lead the U-17 MNT.
The U.S. Under-17 Men's National Team is back in action from Oct. 18-29 in Argentina for a four-team tournament, plus an international friendly. More details, along with the roster announcement from head coach Richie Williams, will be announced at a later date.
-U.S. Under-17 Men's National Team Game Report-
Match: U.S. Under-17 Men's National Team vs. Mexico
Competition: AGS Cup 2012
Location: Ciutat Esportiva Camilo Cano; La Nucia, Spain
Date: Oct. 6, 2012
Weather: 60 degrees
Scoring Summary 1 2 F
MEX – Alejandro Diaz Liceaga 27th minute
USA – Rubio Rubin 56
USA: 1-Jeff Caldwell; 3-John Requejo Jr., 14- Conor Donovan, 2-Shaq Moore, 13-Elijah Martin; 16-Ben Swanson (6-Rolando Muñoz, 51), 20-Chris Lema, 10-Junior Flores, 7-Alan Winn (19-Mukwelle Akale, 77); 9-Ahinga Selemani (17-Wesley Wade, 62), 11-Rubio Rubin
Subs Not Used: 4-Jorge Miranda, 5-Tyler Turner, 8-Angel Heredia, 12-Paul Christensen, 15-Bryce Cregan, 18-Corey Baird
Head Coach: Richie Williams
MEX: 1-Raul Manolo Gudino Vega; 5-Osvaldo Rodriguez Del Portal, 3-Jose Carlos Robles Mejia (13-Jose Villegas Cruz, 41), 14-Alexis Ramses Gomez Martinez, 2-Francisco Jesus Calderon Flores; 7-Luis Enrique Hernandez Casiano, 6-Ulises Rivas Gillio, 15-Nicolas Govea Garcia Omar (8-Joseph Emmanuel Alacantar Gonzalez De la Llave, 76), 10-Ivan Fernando Ochoa Chavez (20-Victor Manuel Zuniga Medina, 67), 9-Alejandro Diaz Liceaga (19-Jesus Rene Delgado Palma, 61), 17-Marco Antonio Granados Villegas (11-Ulises Jaimes Huerta, 62)
Subs Not Used: 4-Erich Ramon, 12-Edson Alan Resendez Sanchez, 16-Jonathan Hernandez Ortega, 18-David Navarro Montalvo
Head Coach: Raul Erasto Gutierrez Jacobo
Misconduct Summary:
USA – Conor Donovan (caution) 80th minute
USA – Conor Donovan (second caution, ejection) 80


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- Fast order processing
- All products in stock
- 24/7 Support
- Questions? Call +31(0)10 - 479 15 11
More information about DVWE08SR
- Partnumber
- Brand
- Ermeto
- Manufacturer
- Parker Hannifin
- Crossreference Parker
- Material
- Steel, Cr(VI)-free
- Series
- Heavy Series
- Tubesize
- Connection Size
- 1/4 BSP Male
- Sealing
- Eolastic softseal
- Shape
- Elbow male stud plain bearing rotary union
- Type
- Complete with nut and ring
- Weight (KG)
- 0.091000
- Customs Tariff Number
- 73079290
- Country of Manufacture
- Germany
- Box Qty
- 1
- Sales Unit
- Piece
Details of the DVWE08SR
Plain bearing rotary fittings for slow rotating, swinging or moving machine parts up to 40 bar (series L) or up to 100 bar (series S).
Flow media:
Hydraulic oils and lubricants on mineral oil base. Also for hydraulic fluids HETG and HEES. Not suitable for corrosive and HFC-fluids or gases.
Technical Specifications:
Materials: Casing, body nut and progressive ring of steel. Sealing of NBR (Perbunan), on request of FKM. Plain bearing rotary fittings are not available in stainless steel or brass.
Series L, tube O.D. 6 to 35 mm, working pressure (PN): 40 bar
Series S, tube O.D. 6 to 38 mm, working pressure (PN): 100 bar
Tube connection according to DIN 2353, ISO 8434-1. Male stud with metric thread and BSP thread. Sealing of male stud by Eolastic-seals.
Nominal temperature:
For sealings of NBR: -35°C up to +100°C
For sealings of FKM: -25°C up to +120°C
- Chemical Industries
- Plant engineering
- Power stations
- Cable storage
- Connecting a fixed point to a rotating, swinging or moving machine part via hoses. To prevent torsion and to avoid small hose radius.
Features/ Benefits of the plain bearing rotary fittings:
- Plain bearing rotary fittings help to avoid torsion of hoses and therefore improve the life cycle of these products


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Swenson, Doug
Power Yoga For Dummies
—Karen Allen, actress, Yoga Practitioner
"Doug Swenson masterfully presents one of the most physically challenging styles of Hatha Yoga in a way students of any level will find safe, fun, easeful, and empowering."
—John Friend, founder of Anusara Yoga
In just a few years, Yoga has gone from an obscure spiritual discipline practiced by a handful of the "enlightened" in the Far East, to a mainstream exercise routine taught at gyms all across America. Now, at the turn of the new millennium, Yoga has a younger sibling, Power Yoga. A high-energy physical discipline embraced by Sting, Madonna, and thousands of other celebrities, professional athletes, and health advocates, Power Yoga takes the basics of Yoga and gives it a good healthy dose of aerobics to tone all your muscles, sharpen your focus, ease your spirit, and strengthen your heart.
Want to pump up your body and gain peace of mind? Power Yoga For Dummies shows you how. Featuring step-by-step instructions, illustrated with photographs that help you see each move clearly, it shows you how to:
- Improve flexibility, strength, and endurance
- Develop rock-hard abs, legs, and arms
- Find an instructor and the right workout gear
- Customize workouts for all ages and fitness levels
- Enhance your practice with a partner
- Beat stress, sharpen your focus, and lift your spirits
Power Yoga celebrity Doug Swenson explains the philosophy and science behind Power Yoga. He gets you ready to take the leap into Power Yoga, and he arms you with:
- Three complete Power Yoga routines—beginning, intermediate and advanced
- Exercises to improve specific areas, including flexibility, strength, endurance, and specific muscle groups such as your arms, abs, and glutes
- Expert tips on diet and nutrition for enhancing your practice and improving your overall health
- Specific postures and exercises that benefit women and seniors
A fun and easy guide for both beginners and experienced practitioners alike, this inspirational guide will help you unit a strong, sleek body with a sharp, clear mind.
Keywords: Fitness
- Author(s)
- Swenson, Doug
- Publisher
- John Wiley and Sons, Inc.
- Publication year
- 2001
- Language
- en
- Edition
- 1
- Page amount
- 384 pages
- Category
- Sport, Exercise
- Format
- Ebook
- eISBN (ePUB)
- 9781118069530
- Printed ISBN
- 9780764553424


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Eastman Guitars to Commemorate 10th Anniversary -
Eastman Guitars will celebrate their 10th anniversary in 2014, kicking off this January at the 2014 NAMM Show in Anaheim, CA. Headquartered in Pomona, CA the renowned violin and cello maker, and once fledgling guitar upstart, officially debuted their inaugural production line of acclaimed archtop guitars in 2004, before a rapid expansion over the past decade that has the company now manufacturing instruments that include their "Thinline" hollow-body electrics, golden era inspired flattop acoustics, and handcrafted traditional mandolins.
"I am truly humbled by the success of Eastman Guitars in reaching this momentous landmark," said company founder, Qian Ni.
"The growth and impact that we have made in 10 years serves as a testament to the dedication and commitment our designers, craftsmen, and employees have had in following the creative vision and inspiration we had when we conceived our next steps. I have long admired the guitar for its aesthetic beauty, the complex simplicity of its mechanics, and its immensely influential role in the canon of musical history. We're excited for what the future holds as we continue one of the most fascinating musical traditions the world has known."
Qian Ni, a classically trained flute player, studied at the prestigious School of Music at Boston University, before founding Eastman Strings in 1992 as a small U.S. distributor for international violin-makers. From his humble beginnings importing and selling instruments store by store across the country, literally from the trunk of his car, Ni's perseverance over time afforded him enough success to make the leap from a distributor to manufacturer. Two years later, a profound concept and bold decision led to Ni to hiring several master builders, opening a master violin workshop – one of the first the world had known since the first half of the 20th century - and set about to begin handcrafting his very own instruments.
In the short time since founding his initial workshop, the reputation of Eastman Strings' instruments became a worldwide standard. By the turn of the millennium, Eastman's simple philosophy of "not sacrificing excellent craftsmanship for affordability" had established the company as the leading supplier of violins, violas, basses, and cellos in the United States.
Noting the similarities to the violins and cellos Eastman Strings were already producing, the company began to take an interest in guitars. Ni admired such renowned guitar builders as John Monteleone, Bob Bennedetto, John D'Angelico, James D'Aquisto and Claudio Pagelli for their creativity as much as their dedication to traditional, old world building techniques. Confident that the experience the company had accrued building hand-carved violins and cellos, guitar making became a natural transition.
The company had an advantage by utilizing resources from pre-established relationships with wood suppliers to purchase woods such as Adirondack spruce, flamed maple and ebony from the same sources as larger, more well-known acoustic guitar companies, allowing Eastman to build with the same premium tonewoods, but at more desirable price points.
With Qian's input and vision, his luthiers developed the initial prototypes, as yet without logos, and were offered up for feedback from the retailers. After such a warm welcome, production began in 2003 and by the Winter NAMM 2004 tradeshow Eastman was ready to take dealer orders. From those initial two prototypes the archtop line has expanded to include nearly two-dozen different models in a variety of sizes, shapes, and designs – from traditional to modern.
As the company continued to expand in the marketplace, critics began to take notice raving "a new day has dawned on the world of carved-top jazz guitars" [Guitar Player magazine]. Eastman quickly followed the release of their archtop line with a compliment of additional hollowbody guitars including the "Thinline" electric and "El Rey Series" guitars.
Having established a footprint in the market, mandolins were a logical next step, given they require the kind of carving craftsmanship Eastman's builders honed over years of making violins, violas, basses, and cellos. The mandolin line was an instant success, luring the legendary and master of the mandolin, David Grisman, to design exclusive Eastman mandolins. The company's models grew to include traditional F-type, A-type, Mandola, and Mandocello styles inspired by the Golden Age of American luthiery.
Soon after, Eastman jumped into the flattop acoustic market building parlor guitars, 12-strings, dreadnaughts, orchestral models, jumbos and more. Met with dynamic success, Eastman was encouraged to complete a major expansion with a new factory dedicated solely to their flattop guitar production in 2013.
In the decade since Qian Ni realized he could put his violin-building luthiers' expertise to work constructing high quality archtops, Eastman Guitars has taught the guitar-playing world that you don't have to sacrifice craftsmanship for affordability. Since 2011 the company has maintained a quality control team of over 60 employees in its Pomona, California headquarters, as well as in-house setup shops to work on every piece before they ship. More than 50 hands personally touch each instrument before they are completed, adding up to a new Golden Age of luthiery.
To learn more visit them at Eastman Guitars.
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ESPN Films Announces '30 for 30' Fall Schedule
To tweet this release: http://es.pn/bQS4r9
Alex Gibney, Steve Nash, Ron Shelton and John Singleton among the Next Group of Filmmakers; Four New Films Announced
ESPN Films has announced the fall schedule for its critically acclaimed film series 30 for 30 Presented by Cadillac. The series' remaining films will begin airing Tuesday, Aug. 24, at 8 p.m. ET on ESPN/ESPN HD, and will be aired Tuesday nights throughout the fall. New films added to the lineup include Little Big Men (Al Szymanski and Peter Franchella), Unmatched (Directors: Lisa Lax and Nancy Stern Winters; Producer: Hannah Storm), Four Days in October (Major League Baseball Productions) and Pony Excess (Thaddeus D. Matula). These films join the previously announced Jordan Rides the Bus, One Night in Vegas, The House of Steinbrenner, Marion Jones: Press Pause, Catching Hell, Tim Richmond: To the Limit, Once Brothers, Into The Wind and The Best That Never Was.
The schedule:
- Tuesday, Aug. 24, 8 p.m. – Jordan Rides the Bus (Ron Shelton)
- Tuesday, Aug. 31, 8 p.m. – Little Big Men (Al Szymanski and Peter Franchella)
- Tuesday, Sept. 7, 8 p.m. – One Night in Vegas (Reggie Bythewood)
- Tuesday, Sept. 14, 8 p.m. – Unmatched (Directors: Lisa Lax and Nancy Stern Winters; Producer: Hannah Storm)
- Tuesday, Sept. 21, 8 p.m. – The House of Steinbrenner (Barbara Kopple)
- Tuesday, Sept. 28, 8 p.m. – Into The Wind (Steve Nash)
- Tuesday, Oct. 5, 8 p.m. – Four Days in October (Major League Baseball Productions)
- Tuesday, Oct. 12, 8 pm. – Once Brothers (NBA Entertainment)
- Tuesday, Oct. 19, 8 p.m. – Tim Richmond: To the Limit (Rory Karpf )
- Tuesday, Oct. 26, 8 p.m. – Catching Hell (Alex Gibney)
- Tuesday, Nov. 2, 8 p.m. – Marion Jones: Press Pause (John Singleton)
- Tuesday, Nov. 9, 8 p.m. – Pony Excess (Thaddeus D. Matula)
- *Saturday, Dec. 11, 9 p.m. – The Best That Never Was (Jonathan Hock) * two hours
Film summaries
Jordan Rides the Bus (Ron Shelton)
In the fall of 1993, in his prime and at the summit of the sports world, Michael Jordan walked away from pro basketball. After leading the Dream Team to an Olympic gold medal in 1992 and taking the Chicago Bulls to their third consecutive NBA championship the following year, Jordan was jolted by the murder of his father. Was it the brutal loss of such an anchor in his life that caused the world's most famous athlete to rekindle a childhood ambition by playing baseball? Or some feeling that he had nothing left to prove or conquer in basketball? Or something deeper and perhaps not yet understood? Academy Award-nominated director Ron Shelton, a former minor leaguer who brought his experiences to life in the classic movie Bull Durham, will revisit Jordan's short career in the minor leagues and explore the motivations that drove the world's most competitive athlete to play a new sport in the relative obscurity of Birmingham, Ala., for a young manager named Terry Francona.
Little Big Men (Al Szymanski and Peter Franchella)
On August 28, 1982, Cody Webster and a small group of schoolyard friends from Kirkland, Wash., sat anxiously in a dugout waiting to take the field for the championship game of the Little League World Series. Their focus was just about what you'd expect from any 12-year-old: hit the ball, throw strikes, cross your fingers and then maybe – maybe – you'll win. Adults in the stands and watching from home saw a much broader field of play. The memories of American hostages and a crippling oil crisis were still fresh; the economic malaise of the late 1970s still lingered; and the new President was recovering from an assassination attempt even while confronting new threats from the Soviet Union. Meanwhile, back on that tiny baseball field in Williamsport, Pa., where America's game was celebrated each summer, no American team had won a true international Little League World Series Championship in more than a decade. When the Kirkland players rushed from their dugout that day, they stepped onto a much bigger field than the one they saw. What they did, how they did it, and what happened to each of the players in the years that followed is a multi-faceted story. Emmy Award-winning filmmakers Al Szymanski and Peter Franchella will examine what became of a group of childhood teammates when the high point in their athletic lives occurred before their lives had really begun.
One Night in Vegas (Reggie Bythewood)
On the evening of September 7, 1996, Mike Tyson, the WBC heavyweight champion, attempted to take Bruce Seldon's WBA title at the MGM Grand in Las Vegas. At this point in his career, Tyson's fights had become somewhat of a cultural phenomenon, where the ever present hype of the professional boxing scene would come face to face with the worlds of big business, Hollywood, and hip hop. Sitting ringside was controversial rapper Tupac Shakur. Shakur and Tyson were friends; a feeling of kinship linked them as each rose to stardom from poverty only to be thrown in prison. Following Tyson's victory, Shakur and "Iron Mike" were to celebrate at an after party, but the rap star never arrived. Shakur was brutally gunned down later that night, and the scene in Las Vegas quickly turned from would be celebratory revelry to ill fated and inopportune tragedy. Director Reggie Bythewood, with the full cooperation of Mike Tyson, will tell not only the story of that infamous night but of the remarkable friendship between Tyson and Tupac.
Unmatched (Directors: Lisa Lax and Nancy Stern Winters; Producer: Hannah Storm)
The first time Chris Evert and Martina Navratilova stepped onto a tennis court together, the world scarcely noticed. Only a few hundred spectators saw the pert 18-year-old beat the scrappy 16-year-old Czech in 1973. "I remember that she was fat," Evert recalled. "She was very emotional on the court, whining if she didn't feel she was playing well. But I remember thinking, if she loses weight, we're all in trouble." Said Navratilova, "My goal was for her to remember my name." Eighty matches later – amid the extraordinary growth of women's tennis – Evert not only remembered, but became a tried and true friend and confidante, remarkable considering the two appeared to be polar opposites in upbringing, life styles and personal relationships. Through a series of personal conversations between Evert and Navratilova, filmmakers Lisa Lax and Nancy Stern Winters, along with producer Hannah Storm, will tell the story of one of the greatest one-on-one sports rivalries and capture these two extraordinary athletes' views on tennis and an ever-changing world.
The House of Steinbrenner (Barbara Kopple)
Love them or hate them, the Yankees remain the most successful team in American sports history. Behind George M. Steinbrenner, a man who at his passing in July 2010 has proven to be as iconic to the team as its pinstripes, the Yankees restored their storied sports stature with seven World Championships. Through all the ups and downs of his reign, "The Boss" managed to link the legends and legacy of Yankees past to Yankees present, and in so doing, assured the passage of older generations of Yankee fans to a younger generation that promises to carry forward well into the 21st century. An essential part of that accomplishment included the closing of the old Yankee Stadium and the construction of a new one, and the passing of ownership from George himself to his heirs, led by his younger son, Hal. Two-time Oscar-winning filmmaker Barbara Kopple documents this historic moment of transition for the team, the family and its fans, all of which was magnificently capped off with the Yankees' 27th World Championship.
Into The Wind (Steve Nash)
In 1980, Terry Fox continued his fight against bone cancer with the pursuit of a singular, motivating vision: to run across Canada. Three years after having his right leg amputated six inches above the knee after being diagnosed with osteosarcoma, Fox set out to cover more than a marathon's distance each day until he reached the shores of Victoria, British Columbia. Anonymous at the start of his journey, Fox steadily captured the heart of a nation with his Marathon of Hope. However the 21-year old BC native's goal was not fame, but to spread awareness and raise funds for cancer research. After 143 days and two-thirds of the way across Canada, with the eyes of a country watching, Fox's journey came to an abrupt end when newly discovered tumors took over his body. Two-time NBA MVP, proud Canadian, and first-time filmmaker Steve Nash will share Fox's incredible story of perseverance and hope.
Four Days in October (Major League Baseball Productions)
When the night of October 6, 2004 came to a merciful end, the Curse of the Bambino was alive and well. The vaunted Yankee lineup, led by A-Rod, Jeter, and Sheffield, had just extended their ALCS lead to three games to none, pounding out 19 runs against their hated rivals. The next night, in Game 4, the Yankees took a 4-3 lead into the bottom of the ninth inning, then turned the game over to Mariano Rivera, the best relief pitcher in postseason history, to secure yet another trip to the World Series. But after a walk and a hard-fought stolen base, the cold October winds of change began to blow. Over four consecutive days and nights, this unlikely group of Red Sox miraculously won four straight games to overcome the inevitability of their destiny. Using extensive archive coverage from that week, Major League Baseball Productions will produce a film in "real-time" that takes an in-depth look at the 96 hours that brought salvation to Red Sox Nation and made baseball history in the process.
Once Brothers (NBA Entertainment)
Drazen Petrovic and Vlade Divac were two friends who grew up together sharing the common bond of basketball. Together, they lifted the Yugoslavian National team to unimaginable heights. After conquering Europe, they both went to America where they became the first two foreign players to attain NBA stardom. But with the fall of the Soviet Union on Christmas Day 1991, Yugoslavia split up. A war broke out between Petrovic's Croatia and Divac's Serbia. Long buried ethnic tensions surfaced. And these two men, once blood brothers, were now on opposite sides of a deadly civil war. As Petrovic and Divac continued to face each other on the basketball courts of the NBA, only hatred passed between the two. Then, on the fateful night of June 7, 1993, Drazen Petrovic was killed in an auto accident. Once Brothers will tell the gripping tale of these two men, how circumstances beyond their control tore apart their friendship, and whether Divac has ever come to terms with the death of a friend before they had a chance to reconcile.
Tim Richmond: To the Limit (Rory Karpf)
Natural. Rock star. Outsider. In the 1980s, race car driver Tim Richmond lived his life the way he raced cars – wide open. Born into a wealthy family, Richmond was the antithesis of the Southern, blue-collar, dirt-track racers who dominated NASCAR. He also was a flamboyant showman who basked in the attention of the media and fans – especially the attention of female admirers. Nevertheless, it was Richmond's on-track performances that ended up drawing comparisons to racing legends. And in 1986, when he won seven NASCAR races and finished third in the Winston Cup series points race, some believed he was on the verge of stardom. But soon his freewheeling lifestyle caught up to him. He unexpectedly withdrew from the NASCAR racing circuit, reportedly suffering from double pneumonia. In reality, the diagnosis was much more dire: He had AIDS. Richmond returned to the track in 1987, but he was gone from the sport by the next year as his health deteriorated. He spent his final days as a recluse, dying on August 13, 1989, at the age of 34. Emmy Award-winning filmmaker Rory Karpf will examine the life and tragic death of one of NASCAR's shooting stars.
Catching Hell (Alex Gibney)
With five outs remaining in Game 6 of the 2003 NLCS, a foul ball descended from the cold Chicago sky, seemingly destined for the glove of Cubs left fielder Moises Alou. But a flurry of hands reached up from the left field stands, and one hand, belonging to Cubs fan Steve Bartman, fatefully tipped the ball away from a frustrated Alou. As the cameras subsequently isolated on Bartman trying to stay composed in the stands, most long-suffering Cubs fans, including a chorus of hostile ones in Wrigley Field, quickly became convinced that he had swatted away Chicago's chance of advancing to the World Series for the first time 58 years. Even though he was one of many who reached for a ball that appeared to them clearly out of play, and even though Cubs shortstop Alex Gonzalez booted an apparent inning-ending double play ball, and even though the Cubs still had a Game 7 left to try to win it, Steve Bartman became the most reviled man in Chicago. The mild-mannered Bartman released a sincere public apology, but his fate was already sealed by the Cubs fans' need for a scapegoat to explain a near-century of losing. Although Cubs Nation has since moved on to other seasons and other losses, Bartman remains ostracized from a community he lives in and a team he once loved. Oscar-winning documentarian Alex Gibney relates the scapegoat compulsion to his own frustration as a Red Sox fan when Bill Buckner was similarly singled out for letting a fateful ground ball go through his legs in Game 6 of the 1986 World Series. Gibney engages Buckner and his story as a means of exploring what has kept Bartman so silent despite highly lucrative offers to tell his side of the story, and what has led many fans and media people in Chicago to now act as if the whole notorious incident never even took place.
Marion Jones: Press Pause (John Singleton)
Few athletes in Olympic history have reached such heights and depths as Marion Jones. After starring at the University of North Carolina and winning gold at the 1997 and 1999 World Track and Field Championships, her rise to the top culminated at the 2000 Summer Games in Sydney, Australia. There, she captivated the world with her beauty, style and athletic dominance, sprinting and jumping to three gold medals and two bronze. Eventually, though, her accomplishments and her reputation would be tarnished. For years, Jones denied the increasing speculation that she used performance-enhancing drugs. But in October 2007, she finally admitted what so many had long suspected – that she had indeed used steroids. Jones was sentenced to six months in prison for lying to federal investigators and soon saw her Olympic achievements disqualified. Now a free woman, Jones is running in a new direction in life and taking time to reflect. Oscar-nominated director John Singleton will focus on the evolution of Marion Jones.
Pony Excess (Thaddeus D. Matula)
From 1981-1984, a small private school in Dallas owned the best record in college football. The Mustangs of Southern Methodist University (SMU) were riding high on the backs of the vaunted "Pony Express" backfield. But as the middle of the decade approached, the program was coming apart at the seams. Wins became the only thing that mattered as the University increasingly ceded power of the football program to the city's oil barons and real estate tycoons and flagrant and frequent NCAA violations became the norm. On February 25, 1987, the school and the sport were rocked, as the NCAA meted out "the death penalty" on a college football program for the first and only time in its history. SMU would be without football for two years, and the fan base would be without an identity for 20 more until the Mustangs' win in the 2009 Hawaii Bowl. This is the story of Dallas in the 1980's and the greed, power, and corruption that spilled from the oil fields onto the football field and all the way to the Governor's Mansion. Director Thaddeus D. Matula, a product of the SMU film school, chronicles the rise, fall, and rebirth of this once mighty team.
The Best That Never Was (Jonathan Hock)
In 1981, college athletic recruiting changed forever as a dozen big-time football programs sat waiting for the decision by a physically powerful and lightning-quick high school running back named Marcus Dupree. Having already graced the cover of Sports Illustrated, Dupree attracted recruiters from schools in every major conference to his hometown of Philadelphia, Miss. More than a decade removed from being a flashpoint in the civil rights struggle, Philadelphia was once again thrust back into the national spotlight. Dupree took the attention in stride, and committed to Oklahoma. What followed, though, was a forgettable college career littered with conflict, injury and oversized expectations. Eight-time Emmy Award winner Jonathan Hock will examine why this star burned out so young and how he ultimately used football to redeem himself.
The series
"30 for 30" is an unprecedented documentary series featuring 30 films from some of today's finest storytellers. Each filmmaker brings their passion and personal point of view to their film detailing the issues, trends, athletes, teams, rivalries, games and events that transformed the sports landscape from 1979 to 2009. Crossing the barriers of sports, the films reflect on the impact these events had across the pop culture spectrum.
Select films from the series are available for purchase on iTunes the day following air. Additional films are available for purchase at www.amazon.com/30for30.
For information about the "30 for 30" project and ESPN Films, visit: ESPN Films. To request a screener, please contact Jennifer Cingari at [email protected].
Media Contacts: Keri Potts, ESPN PR, 212/448-4841 or [email protected]
Alison Lazar, ESPN PR, 212/448-4804, [email protected]