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It's September, so it means one thing.
St. Peter's Prep has the premier football team in Hudson County.
It's been that way every year since 1997. The Marauders own a gaudy and almost unfathomable 102-game winning streak within the confines of the county, having not lost a game to a Hudson County school since 2000.
And for now, no one seems close to knocking the Marauders from their lofty perch.
The Marauders seem to be ready to make a run at the elusive NJSIAA Non-Public Group 4 state title, an accomplishment that they have not achieved since 2005.
"I don't know how much higher our goals can be," said veteran head coach Rich Hansen, the school's all-time leader in coaching victories, who begins his 27th season as the Marauders' mentor.
"It's always the goal," Hansen said. "It's not always about talent. There are other things involved. There's team chemistry. There's the ability to trust one another. I think we have the potential to win it all, for sure. I think we are a better team than last year. We have a lot of kids back and those kids are bigger, stronger, and faster. We have kids who now have experience who just weren't ready last year."
The Marauders were 8-2-1 last year in perhaps the most tumultuous season in school history. In September, the Marauders received a forfeit win over Kearny, when Kearny didn't want to face the Marauders in fear that their players could get hurt.
In late October, Hurricane Sandy destroyed the team's practice facility, leaving the Marauders without a place to practice for more than a week. In fact, the superstorm closed the school for an entire week, the longest such stretch ever at Grand and Warren.
The storm led to the cancellation of a scheduled game against Dover of Delaware, thus the tie recorded on their record.
The Marauders won their opener in the NJSIAA Non-Public Group IV playoffs over Seton Hall Prep, before eventually losing in the sectional semifinals to Paramus Catholic.
But it's a new year and a new set of challenges.
"I think we have a nice balanced group," Hansen said. "We have several sophomores who are ready to contribute right now. We have a senior group that is experienced. It's now all about making sure that the chemistry works."
Leading the way for the Marauders is talented junior quarterback Brandon Wimbush (6-3, 200). Wimbush paid his dues last season, sharing time with the now-graduated Mike Rabasca. But there's no one else to take away snaps from Wimbush, who has several NCAA Division I offers on his plate.
"It's his team," Hansen said. "He now has 24 games to prove that he's the best quarterback we've ever had. He definitely has the opportunity to be in that class. No question, he has the package. He has the physical tools, the mental skills, the football IQ. He also now has confidence and an overall understanding of the offense. He's comfortable in his own skin."
The Marauders' top running back is senior Jonathan Hilliman (6-1, 210), who just recently declared his intentions to head to Rutgers next fall to play for the Scarlet Knights.
Hilliman averaged almost 11 yards every time he carried the football last season, collecting more than 1,100 yards and 14 touchdowns.
"He has a great combination of speed and power," Hansen said. "He just needs to challenge himself mentally and buy into what we're doing."
Another running back is junior Minkah Fitzpatrick (6-0, 190), who is the third of the Marauders' top Division I recruits.
"Minkah is a unique athlete with tremendous ability," Hansen said. "He has a great attitude and can do anything on the field. We have to get him other opportunities to touch the ball."
It means that Fitzpatrick will line up at running back, wide receiver, slot receiver _ you name it.
Another talented running back is another junior Corey Caddle (5-7, 160). Caddle, who is also a baseball standout, will also line up in different positions.
"Corey has tremendous ability," Hansen said. "The kid has more courage and passion than anyone in the program."
Others getting time in the backfield include junior mighty mite Tyler Martino (5-4, 170) and sophomore Sa'id Boykin (5-9, 175).
"Boykin is a talented kid who will find a nice niche with this team," Hansen said.
The fullbacks are seniors Justin Walker (6-1, 235) and Almamy Conde (5-9, 230).
The wide receiving corps is basically filled with newcomers, led by senior Tucker Freeman (6-0, 175).
Juniors Dennis James (6-3, 160) and Dwon Walker (5-10, 170) and sophomore Kolton Huber (6-0, 170) – the younger brother of last year's Hudson Reporter Defensive Player of the Year Shane (currently at UMass) – round out that group.
The tight ends are senior Armond Cox (6-0, 220) and junior Matt Oliveira (6-2, 210).
The offensive line features three returning starters in senior tackle Robbie Walsh (6-2, 260) and senior guards Jimmy Palmieri (6-1, 290) and Nick Angeli (6-1, 250). The other top linemen include junior tackle Jose Palomino (6-2, 280), who had a great wrestling season last winter, junior tackle Dave Tolentino (6-3, 280) and junior center Steven Trujillo (6-0, 260).
Defensively, the Marauders have a ton of talented players returning, including three members of the Hudson Reporter All-Area team from 2012.
Cox, who was an All-Area defensive end last season, returns to that slot this season, along with senior Delano Smalls (6-0, 245). Tolentino, who was also an All-Area standout at defensive tackle, returns to his nose guard slot.
Senior Jordan Fox (6-3, 210), who has also received a handful of Division I offers, returns to his outside linebacker slot where he earned All-Area honors last year. He is joined at outside linebacker by junior Cheyenne Robertson (6-2, 210).
Conde and Justin Walker return to their inside linebacker positions and will also be joined there by senior Zaire Cuttino (6-1, 230).
The cornerbacks are Fitzpatrick and Caddle, with junior Ahmad Thomas (5-9, 165) in the mix.
Senior Shamir Bearfield (6-1, 180), who has already given a verbal commitment to Temple, is one of the safeties, along with junior Dean Perez (6-2, 190) and sophomore K.J. Gray (6-2, 180).
Junior Ryan Hernandez is the placekicker.
No question, this is a team that is poised for a successful December run. The skilled players may be the best collection of talent that the Marauders have ever had. The defense has the potential to be stifling. It's a fine mix and the pieces are there.
Now, all that's left is a few victories come playoff time.
"We certainly hope so," said Hansen, who now has 203 career victories headed into the season, fourth all-time in Hudson County history.
He'll get a few more this year, maybe even 12. It's not out of the realm of possibility this time for the Marauders to bring home the state title from MetLife Stadium in December.
Jim Hague can be reached at email@example.com. You can also read Jim's blog at www.jimhaguesports.blogspot.com.


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Machine Safety: What are fault exclusions?
Where did the term "fault exclusions" derive? Can you simply choose any fault to exclude? Who would ever exclude a fault while trying to provide employees with appropriate safe machine guarding?
Has anyone heard about "fault exclusions"? Where did this term emerge from? Can you simply choose any fault to exclude? Who in their right mind would exclude a fault while trying to provide employees with appropriate safe machine guarding?
Okay, now that I have your attention, let's try to provide some background and understanding for this term.
Does a definition exist? I've examined several ANSI, NFPA, IEC and ISO standards. I found several uses of the term "fault exclusion" in IEC 62061, ISO 13849-1 and ISO 13849-2, however, I could not find the term in the definitions section of these standards. Additionally, I could not find the term used in NFPA 79, RIA 15.06, ANSI/PMMI B155.1 or any of the current ANSI B11 standards except one – ANSI B11.TR6 – 2010, Safety Control Systems for Machine Tools. Here's the definition:
3.22 fault exclusion: The elimination from consideration of a specific identified failure within the Safety-Related Parts of the Control System because its probability is low relative to the systems' required performance, through design, selection of components, or implementation of additional measures.
Furthermore, in Clause 4 of the General Design Considerations section you'll find the following additional clarifications for use:
4.6.2 Fault Exclusion
During the analysis, certain faults may be uncovered that cannot be detected during operation without undue economic costs. Further, the probability that these faults might occur may be extremely small, by using mitigating design, construction and installation. Under these conditions, the faults may be excluded from further consideration. This includes recommended maintenance procedures.
Fault exclusion can be based on but not limited to:
· the low probability of occurrence of some faults;
· tried and true (good) engineering safety practices;
· application specific technical requirements for the specific hazard.
Detail justification shall be given in the technical documentation for any excluded faults.
ANSI B11.TR6 is a technical report and not a standard with normative requirements that "shall" be followed. ANSI standards are frequently referenced by OSHA via the General Duty Clause and therefore become law via enforcement by OSHA. As a technical report TR6 provides "guidance in understanding and implementing."
Why doesn't this term appear in any of our domestic normative standards? Since it's used in several international standards why hasn't it been defined and clarified? Can anyone help the rest of us with the background for "fault exclusion"? Will there be a trend for this term rolled into everyday life for safety professionals, end users and manufacturers?
Have you encountered any of these issues? Add your comments or thoughts to the discussion by submitting your ideas, experiences, and challenges in the comments section below.
Related articles:
Inside Machines: Does adopting ISO 13849-1:2006 change the U.S. model for compliance and enforcement?
Machine Safety – does OSHA reference consensus standards for compliance?
Machine Safety: Is OSHA okay with my 'acceptable' risk mitigation?
Contact: https://www.jbtitus.com for "Solutions for Machine Safety".
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subset: commoncrawl


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Director talks how he found out Bill Clinton was a Bond fan, and how Skyfall director Sam Mendes questioned Daniel Craig as 007.
"The name is Clinton…Bill Clinton." When he was in the White House, US President Bill Clinton spent his spare time watching James Bond movies. The man from Little Rock thought that Pierce Brosnan was the "perfect" Bond for the transition from the Cold War to a new era in geo-politics. He also credited Bond creator Ian Fleming with having the foresight, long before 9/11, to realize that "non-state agencies could destabilize the world."
The revelations about Clinton's passion for James Bond are contained in Everything Or Nothing, a new documentary from director Stevan Riley to mark the 50th anniversary of the Bond series. Clinton recorded a special interview for the documentary, which was produced by Passion Pictures and Red Box Films.
Clinton is one of many politicians known to be big Bond fans, among them US Presidents John F Kennedy and Ronald Reagan and current UK Prime Minister David Cameron.
"I found it fascinating realizing that these premiers and heads of state are Bond fans," Riley commented. "Clinton in particular was a massive Bond fan, and unashamed. He told me he had watched all the films."
Riley discovered Clinton's enthusiasm for Bond from an old university friend, the actress (and former Bond villainess) Rosamund Pike. "She had a connection with Chelsea Clinton. I had heard a rumour he (Bill Clinton) was a Bond fan and then it was a case of verifying that. We found somebody who was part of his campaign team and they confirmed it."
The documentary features contributions from past and present Bonds with the exception of Sir Sean Connery, who turned down repeated requests for interviews.
"I was very keen to get Sean. Let's face it, Sean is everybody's favourite Bond, including my own," Riley commented. "I made several petitions…really urging him to participate, saying I am trying to do something very serious here, a legacy piece. Sean still declined. That's clearly his prerogative."
Riley describes his film as a "survival story." As he chronicles, there were many, many instances during the last 50 years when the Bond series came close to being derailed.
The director paid tribute to Bond producers Barbara Broccoli and Michael G. Wilson for allowing him to tell the unvarnished story of Bond. The documentary chronicles in detail the rupture in relations between Connery and the series' original producers Cubby Broccoli and Harry Saltzman. It also tells the story of the epic legal battles between Thunderball producer Kevin McClory and Ian Fleming, and then those between McClory and Broccoli and Saltzman.
George Lazenby speaks very candidly about why he was sacked as Bond after only one film while Pierce Brosnan reveals how an abrupt telephone call ended his four film stint as Bond.
Other interviewees include Christopher Lee, Barbara Broccoli and Michael G. Wilson, Skyfall director Sam Mendes (who acknowledges he initially thought Daniel Craig was totally wrong for Bond), Maud Adams, Judy Geeson and John Pearson.
The film receives its premiere in New York in early October. It is shown at the Dinard Festival and will be given a theatrical release on October 5 by Odeon as part of Global James Bond day.
Riley (whose previous credits include Blue Blood and Fire In Babylon) is planning to make the leap into dramatic features. Meanwhile, he is also working on another feature doc with Passion Pictures, about leading Spanish bullfighter, Cayetano Ordonez.


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Samsung hopes to sell 374 million phones next year, up 15% from the 325 million the company expects to have sold in 2011. The South Korea-based firm also said that it plans to sell 150 million smartphones in 2012, Korea Economic Daily said Tuesday. The vendor is well on its way to achieving its 2011 sales goal and announced in December that it had already sold 300 million devices. During the third quarter, Samsung became the top smartphone vendor in the world by shipment volume, surpassing Apple after shipping more than 27.9 million units during the quarter.
Samsung aims to sell 374 million phones next year, up 15% from 2011
If you buy through a BGR link, we may earn an affiliate commission, helping support our expert product labs.


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Its not often I can claim to be appropriately dressed but when I spotted a pair of Thomas The Tank Engine curtains in a charity shop the other day I knew I had to make them into a dress for Indietracks, the unique music festival combining steam trains with Indiepop music which takes place at Swanwick Junction at the Midland Railway Museum in Derbyshire.
If ever a dress was the centre of attention then this was the one, small children stood transfixed pointing out Edward, Thomas and James, grown men became misty eyed nostalgics recalling the bedroom curtains of their childhood and I even got a walk-on part in Indietracks, The Movie.
This weekend was our fifth Indietracks and our third as traders.
The first train pulled into the station at 6pm, delivering a legion of excited Indie kids to this year's festival.
Within minutes those incredible deadstock 1970s brown & yellow Dunlop shoes got snapped up (and we'd only bought them on Thursday!)
Friday night was filthy, the rain was torrential and the temperatures were more akin to Winter than the height of Summer. Indietracks has a multi-national clientèle and desperately cold Southern Europeans & Californians were snapping up cosy jumpers, scarves and wool trousers.
Fortunately Saturday was dry and warmer. I even took my coat off for a couple of hours in the afternoon.
Business was brisk and the sunset was spectacular. After shutting up shop we popped down to the Indie disco in the passenger shed and had a dance, proudly admiring the number of people dressed in vintage clothes they'd purchased from us over the years.
Sunday was appalling, torrential rain and high winds. The dress I'd packed was sleeveless and reluctant to spend another day in my coat I borrowed the 1970s Martin Emprex quilted maxi off the rails (I'd worn it at Cornbury a fortnight ago).
Jon donned the 1950s llama wool overcoat I'd found for £5 on a second-hand stall on the market a few weeks ago, got papped by the press and published in the Nottingham Post. (HERE)
Courtesy of the Nottingham Post |
The bag of White Zinfandel we opened at 11am certainly helped to take the chill away.
Not that a bit of inclement weather puts off the hardcore festival goers.
Between acts on the main stage we cranked up the volume on our boombox and danced the day away.
After shutting up shop for the final time we headed off to see the incredible The Go! Team. We first saw them at the Big Chill back in 2006 and if anything they were better than ever.
We were up bright and early to pack up & dismantle the stall and drive back to wet and windy Walsall.
We've got three days at home and then we're off to Dubtoberfest.
See you soon!


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Poster billboards bring your message to a local audience and impact your customers where they live, work and play. When you're launching a new product, making a name change or trying to get a message out in the shortest amount of time possible, Posters are the way to go.
Poster packages are designed to saturate the market and reach customers where they live, work and play.
Reach a wide audience and make a dramatic impact by flooding the market with Poster ads. With our Poster package, your ad will run simultaneously on several different Poster locations in a specified market area to saturate the region (typically for 30 and 60 day periods).
Lamar led the move to replace paper and PVC as the default printing materials in the OOH industry. We developed the industry's first recyclable billboard material, saving over 1,500 tons of waste per year.
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Using Out-of-Home media to target consumers close to the point of purchase, Kraft increased their Back to Nature brand awareness in a competitive category. Read more »
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Read more success stories on Out-of-Home advertising from our clients.


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I have a Fuji CCR3 with a triple in front, 9-speed casette in back. It came with a Shimano 105 5600 derailleur, but no local shops stock those. I've also been told that the 5600/5700 are 10-speed derailleurs and shouldn't be used on 9-speeds (though they can, they just don't work very smoothly).
So, what should I replace my (broken) derailleur with?


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STAN: OECD Structural Analysis Statistics 2014
This STAN: OECD Structural Analysis Statistics 2014 provides analysts and researchers with a comprehensive tool for analysing industrial performance across countries. It includes annual measures of production, value added (at current and constant prices), gross fixed capital formation, number engaged and labour compensation. Data are in national currency for current price data i.e. in Euros for EMU countries; in terms of the current price value in the reference year (usually 2005) for volume data and in number of persons for employment data. Coverage is provided for 15 OECD countries and for multiple sectors, with extended coverage of service sectors according to ISIC Revision 4 classification.
- Click to access:
Click to download PDF - 3.17MBPDF
Click to Read online and shareREAD


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Hair bangs are also referred to as a hair fringe. A fringe is a shaped cutting of the front part of the hair so that it is combed forward and hangs or curls over the forehead. A classic fringe is cut fairly straight at or above the eyebrows, but fringes can also be texturized, heavily layered, ruffled, swept to one side. One of the most controversial elements of hair bangs is whether to call them "bangs" or call them "fringes". In the United States bangs are the common word for hair that fully or partially covers the forehead area of the face. In England and other European countries bangs have a slang related meaning that is considered "off color". For those countries the word used to describe forehead hair is "fringes". More Info: To see more hairstyles for Allison Mack visit her Celebrity Hairstyle Gallery Regardless of what term you prefer to use, forehead hair, like everything in the hair world, has its style trends and general rules. Although the hair bang cycles in and out of favor depending on fashion trends and other related style indicators, they tend to look good on just about anyone ranging from babies to boomers of any age.
So why are they consider the one-stop-hair-trend for all? Mainly because they can be created to scale from long to short, side-swept to full frontal blunt or a variety in-between. Bangs can be worn to minimize large foreheads, help control annoying cowlicks or disguise forehead lines. They work in harmony with a wide range of hair accessories from headbands to clips. What else should you note about bangs? They can be an instant fix for a bad haircut or a decision that is made in haste and repented in leisure because bangs can be challenging to deal with during the sort-to-long phases. Selecting Best BangsBangs cut to enhance your face shape and when in harmony with your hair's type, texture and condition, can be wonderful. However, there can be drawbacks in other areas. If you wish to accentuate your eyes, wear bangs that are cut just to the brow line which will draw instant attention to your peepers. Super thick bangs that are too long may accentuate your note which may or may not be a good thing. Selecting bangs should encompass a wide range of factors that include: 1. Hair type When cut and styled correctly, bangs can actually help fatten naturally thin or fine strands. Side swept bangs might give the impression of fuller strands whereas feathered or wispy bangs might negatively highlight thinning strands. In fact, the famous male comb over style is a form of bangs that should never be adopted by anyone trying to hide thinning strands. More Info: Hair Tips: Trim Your Own Bangs
2. Hair texture While perfect for naturally straight hair or hair with some bend, bangs can be a living hell for naturally curly or super wavy strands. Note: See image of Actress Jennifer Love Hewitt to the side. 3. Hair length The length of bangs can range from super baby short to long. Depending on the over look desired, bangs can be cut to blend with the overall hairstyle and cut. Bangs can also be utilized to help blend an uneven or disastrous cut. 4. Condition of Hair Bangs may not work well for hair that is prone to breakage or has been chemically damaged. Each situation would need to be addressed with your hairdresser. Hair which is prone to oiliness may prone difficult when worn with bangs. This is especially true when oily strands are coupled with oily skin. 5. Face shape Once you have considered all hair related challenges, the face shape should be analyzed to select the very best type of style to frame the face. After all, while helpful in minimize a myriad of lines and other facial challenges, bangs should flatter and act as a beautiful curtain of tresses. Face Shape And BangsConsider the following rules of thumb when selecting bangs.
Oval face shapes - the oval face shape is considered to be a face shape that can wear any type of style or hair. This includes bangs which can be worn in just about any style. Of course bangs for oval face shapes should be chosen with an eye for hair type, texture, length and condition. Round face shapes - the most flattering bang styles tends to be built upon long softly layered or feathered bangs (if your hair texture, type and condition support feathering) which gently hug the cheeks areas to minimize round cheeks. When skillfully constructed, bangs can add beautiful contour to round fact shaped features. Great bands can instantly chisel into the cheekbones and help them pop. Long face shapes - blunt brow hugging bangs that softly drape over the forehead will help to give the impression of a more oval-shaped face. The oval look can be strengthened by opting for long or graduated layers that softly caress the sides of the face. Square face shapes - consider side-swept bangs that gently curve or taper inwards towards the jaw to soften pronounced square facial lines. When well cut, side swept bangs can also help soften all the angles of the face. Heart face shapes - depending on the ultimate goal, bangs can be selected to either minimize the general wideness of the heart shaped face or help to balance the generally prominent chin. A side swept feathered or texturized bang style can also be another great option. A heart shaped face can also usually carry off full bangs cut straight across the face. Long or short, full bangs can look really great for a heart shape.
Triangular face shapes - wider bangs that are feathered, wispy or texturized can help to balance the face and create more of an oval shape. A slight wispy fringe will cover and conceal a wide forehead. It will also bring it into a better proportion with a wide chin. Avoid the flat, pageboy fringes. These can level out fullness and height. Other Bang TipsBangs cut to enhance your face shape and in harmony with your hair's type, texture and condition, can be wonderful. However, there can be drawbacks in other areas. If you wish to accentuate your eyes, wear bangs that are cut just to the brow line which will draw instant attention to your peepers. Super thick bangs that are too long may accentuate your note which may or may not be a good thing. Wet or Dry CuttingThere is a lot of controversy about whether hair should be cut bone dry or when damp. Depending on your hairdresser, their preferences and their skill levels they may prefer to cut your bangs either way. While some hairdressers believe that there is more hair control when dry cutting is utilized. Other disagree strongly and prefer wet bang cutting.
Note: Some people prefer to cut their own bangs. For detailed information on cutting your own at home check out HairBoutique.com Tip 18051. Types of BangsIt is always best when considering the addition of new bangs to chat with your hairdresser before taking the plunge. It is always best to discuss the pros and cons along with looking at images of bangs that you might like. Your hairdresser can advise you whether the style you like would work well for your hair type, texture, condition, overall face and body shape. Although bangs generally have descriptive titles and names, in essence a good hairdresser can custom design bangs that work perfectly for you. Some hairdressers might combine a blunt bang with tapered sides or create a side-swept bang that has creative layering built in. Listed below are some common bang styles: Blunt Bangs - Worn just below the eyebrow these forehead fringes are cut precisely straight across from side to side.
Side Swept Bangs - Cut so that the hair tapers from shorter to longer lengths and is extended generally from a side part with the hair brushed to sweep across the forehead. Parted Bangs - Usually worn as a modified version of blunt bangs, these bangs are often cut so that they part slightly either in the middle of slightly to the side. Choppy Bangs - Usually worn as a modified version of blunt bangs, these bangs are often cut with a scissors and then texturized for a choppy look. Choppy bangs provide increased depth to the facial features. Asymmetrical Bangs - These bangs will have widely varied lengths with one side being a lot shorter than the other side or the middle being a lot shorter than either side. Disconnected Bangs - These bangs encompass extreme angles that often plummet drastically from side to side. Blunt edges may be cut into the bangs at unexpected locations and lengths. Blow Drying Bang Secrets
The secret to having great bangs is in the styling products utilized and how you blow dry them. Although hair experts disagree, celebrity hairdresser Barbara Lhotan recommends that bangs should be towel blotted before drying. Other stylists recommend that you blow dry bangs when they are soaking wet. Ask your hairdresser for suggestions and then be prepared to experiment. Apply the styling product of your choice based on your hair's type, texture and condition. Separate bang strands into small sections of 1-2 inches. Use your fingers to anchor the strand and then blow-dry from the roots down to the ends of the bangs. Direct the air flow "down the shaft" to add natural shine. If you have problems with bangs that get either too flat or too frizzy blow dry the roots of your bangs first. Then use a small flat brush to anchor the ends of the bangs while you blow dry. If you prefer some movement and bend, use a small round brush. You can also experiment with moving the air flow so that you direct the heat from up above the roots and from under the roots.
If you prefer stick straight bangs, once bangs are 100% dry, use a small flat iron and run the iron over them quickly to straighten. Remember if bangs are too straight, they might become limp or stick straight out. Finish with a light spritz of hairspray for added control. SummaryOne of the most controversial elements of hair bangs is whether to call them "bangs" or call them "fringes". Once you get past that initial challenge, the world of bangs/fringes can be all encompassing when you examine all the different styles and how they might work with various hair types, textures and conditioner. Whether you embrace bangs or not, they always offer new hair options. Social Media Network InformationPlease follow me on Twitter at: http://Twitter.com/HairBoutique. I look forward to meeting new people from all walks of Twitter and learning from their Tweets. Visit us at Hairboutique.com located at: http://www.HairBoutique.com, on Facebook, MySpace and YouTube. Thank you for visiting us at The HairBoutique Blog and for leaving your comments. They are very much appreciated. We apologize in advance but must remove any direct advertisements or solicitations. - Revised Publication Date: 06/25/11 | |||||||||||||||||||||||||||
If you want to talk more about this or other hair care articles on HairBoutique.com or anywhere else, please post a message on HairBoutique.com's Hair Talk Forums. |
Please follow us on Twitter at: https://Twitter.com/HairBoutique. I look forward to meeting new people from all walks of Twitter and learning from their Tweets.


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The most important media story this past week is that the Kardashians were guest co-hosts on the fourth hour of NBC's "Today" show. One Kardashian sister per day, plus mother Kris and stepdad Bruce Jenner.
It isn't bad enough that talk shows, which have descended into a morass of being publicity mills for celebrity hucksters, adore them. It isn't bad enough that the E! cable network, owned by NBCUniversal, throws millions to create and promote their reality shows that are as real as unicorns and fairy dust. Now we have Kardashians in NBC's Studio 1A, the window on New York City.
The three sisters are Kourtney, 32; Kim, 30; and Khloé, 27. Their mother is Kris, 54. Other than Jenner, whose career stems from having been an Olympian gold medalist and Wheaties box icon, the rest seem to have few discernible talents or skills, other than being celebutantes, socialites, and models. Even their various businesses exist only because they have the Kardashian name, earned because of Robert, a high-profile lawyer, who became a household name by defending O.J.
Upon their name, the three sisters wrote an autobiography and once again are about to leap to the best-sellers chart with a novel. There is no evidence that any of the three can write; there is evidence that bookstores and Americans buy books because of name recognition rather than talent.
But the real loser during Kardashian Week may be the integrity of NBC's News Division. News, not Entertainment, produces the fourth hour, co-hosted by Hoda Kotb and Kathie Lee Gifford. At one time, Kotb was a good journalist. Now, with a larger paycheck and her hair dyed an unnatural blonde, she and Kathie Lee Gifford, herself an excellent singer/writer, co-host the fourth hour.
That fourth hour is filled with diets, makeovers, fashion, food, relationship advice, and celebrities huckstering their latest films, TV shows, and books. There are frequent short segments devoted to displaying semi-wild animals, the "ahhhh" factor in TV entertainment. But since Hoda, who has covered wars and natural disasters, seems to be afraid of any animal less cuddly than bedroom bunny slippers, those segments seem to be inserted into the show not as information but to give the audience an at-home laugh track to Hoda's reactions. It makes little difference anyhow, since Hoda and Kathie Lee usually talk over whoever is trying to explain a little bit about each animal.
A typical show begins with Hoda and Kathie Lee interrupting each other with a few minutes of chatter. The chatter and interruptions occur throughout the rest of the hour. The guests, in rapid sequence, may actually have something important to say, but the endless babbling and cross-talk seemingly leave them little more than chum in a swirling pool of drunken steroidal fish.
Drinking is part of the fourth hour. Every day has at least a few seconds, often an entire segment, with the two co-hosts talking about booze and liquor, and then having demonstrations of how to make mixed drinks. Even the days are named. One day is "Booze Day Tuesday"; another is "Thirsty Thursday." Guest co-host Seth Rogen two weeks ago had said he had never had a drink that early on TV. Hoda, joking it up, responded on the show's Facebook page that the "operative words" were "on TV." It isn't too outrageous to believe that by the end of the Today's final hour, even AA mentors are tempted to take a swig just to ease their pain.
Because the "Today" producers are "with it" and "one with social networking," they underline the on-air show with audience contact through Facebook and Twitter. During the hour, Sara Haines conveys fan email to the co-hosts and occasionally discusses technology. There is no evidence she is a technology guru, just as there is no logic why she, like the two co-hosts, are bottle blondes.
Legendary TV pioneer Sylvester ("Pat") Weaver created the "Today" show in 1952, filling a daily two-hour program with news and features. Two years later, now NBC's president, he created the "Tonight" show.
For all but eight years of its 59 year run, "Today" has been the ratings leader in its two-hour time slot, mostly following the basic formula that Weaver established.
In 2000, NBC added a third hour. In September 2007, NBC expanded "Today" to the fourth hour. Kotb was the original co-host, along with Ann Curry and Natalie Morales. Gifford replaced Curry and Morales a few months later. After a dip in the ratings, the fourth hour again took over its time slot, adding to the News Division's profit, a reason why it would do everything possible to stonewall any attempt to move that hour into the Entertainment Division where it belongs. The show itself is little more than an amalgamation of the worst parts of Cosmopolitan, Us Weekly, and just about any TV entertainment-and-gossip show.
Kardashian Week may have brought in greater ratings. It's also why middle-class America willingly bathes in the limelight of the rich and famous, even those with little ability other than having created a following who make them famous for reasons no one yet understands.
Walter Brasch's latest book is Before the First Snow, a story of America's counterculture as seen through the eyes of a "flower child" and the reporter who covered her life for three decades.


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listed building, designed by A. W. N. Pugin (1812-1852) and built from 1841-46, may be unusually tall for a church of modest size, but the real surprise is inside. Every inch of the interior is highly and intricately decorated, and glows with gilding. The idea was to reflect the richness of a spiritual heritage with which, Pugin felt, the English had lost touch. It was also to provide an appropriate setting for worship according to the old Sarum, or Salisbury, Rite. But there is something theatrical here, as well, no doubt carried over from those early days when Pugin designed stage sets for Covent Garden. The spiritual fervour of a convert, combined with this sense of drama, and a thorough knowledge of medieval ecclesiastical forms and fittings, has produced something unique: "In its elaboration, its Englishness and its predominant symbolism ... it was the epitome of Puginism" (Hill 359).
. The spire of this Grade IThe Nave
Left to right: (a) The nave from the west end, showing the length of the church. (b) The oak roof. (c) The Chancel arch, with the painting of the Doom, that is, the Last Judgement, above it.
The five-bay nave is described in the listing text as having "octagonal columns painted in chevron pattern; pointed moulded arches, with carved lions in spandrels; large studs on corbels [with] scissor-brace collared trusses, fretwork in apices, single purlins and large curved windbraces"; Pugin himself described the roof proudly as being "framed entirely of English oak, all the beams, rafters, braces, &c, being open to the ceiling, and carved and moulded; each principal rests on a stone corbel, representing an angel playing on some musical instrument" (Lord Shrewsbury's New Church, 9). The depiction of the "Doom" above the chancel arch was a typical medieval feature, later found in other Gothic Revival churches (such as G. E. Street's St. James the Less in London). It was painted on canvas by the Swiss artist Edward Hauser (1807-1864), and has suffered a little from the passage of time. Poignantly, a daughter of the Earl of Shrewsbury, who had died in in 1840, is included among a group of young women in white robes being welcomed to heaven on the left-hand side (see Fisher 189).
Left to right: (a) One of the lion's head carvings. (b) The cross above the Rood Screen. (c) A door and its highly decorated surround.
The lions' heads are appropriate — they could allude to the winged lion of Revelations, which features, for example, in William Burges's St Mary, Studley Royal, Yorkshire — but also to the heraldic lions of the Shrewsbury family. Everything is packed with meaning here. The cross, of course, is the devotional focus: "From the centre of the loft rises the great rood and crucifix, with the attendant images of our Blessed Lady and St. John, which are placed on pedestals united to the foot of the rood with rich tracery. The cross is crocketed at the sides, and terminates at the extremities with quatrefoils, containing emblems of the Evangelists, and surrounded with foliage (Pugin, "Lord Shrewsbury's New Church," 10-11). It was carved in George Myers' workshop in Lambeth (Fisher 188). Although Pugin's ideal was to work with local craftsmen, this was only possible up to a point. The painted decoration was partly by the Earl of Shrewsbury's decorator, Thomas Kearns, but the later and more intricate work was by the more skilled London decorators, J. C. Crace (see Fisher 170).
The Chancel
The chancel, says Pugin, "is twenty-seven feet in length, and nearly the same width as the nave. The ceiling is of oak, arched and divided into panels by moulded ribs, with carved bosses at every intersection," its panels "powdered with gilt stars, with monograms of the holy name in the centres, surrounded by radiating borders" (Lord Shewsbury's New Church, 12). It can be seen in the picture of the Rood, in the centre of the row of pictures above. As for the walls, these are "entirely gilt; angels bearing scrolls with Scriptures from the Te Deum. Benedictus, &c., are painted at intervals, encircled by garlands, which are connected by a continuous diaper of quatrefoils and foliage" (Lord Shewsbury's New Church, 12). Everything here glows and dazzles.
Left: The high altar and reredos. Right: The Easter Sepulchre painting in the chancel, on a metal panel, also by Eduard Hauser (see Fisher 195).
The intricate sculptural work of the high altar and reredos was by Thomas Roddis, a stonemason from Sutton Coldfield who moved to Cheadle at this time, and whom Pugin called a "faithful & Laborious man" (Collected Letters 2, 465). Pugin describes the alabaster altar that he carved for the chancel, the sacred point to which the whole nave and chancel tends, as having a "front ... filled with angels seated on thrones under elaborate tabernacle work, playing diverse instruments, relieved by gilding and colour." The reredos above "represents the coronation of our Blessed Lady. This subject fills the centre compartment, while three niches on either side contain angels bearing thuribles and tapers," whilst above that are more angels carved along the stringcourse, topped by what Pugin calls "perforated brattishing level with the syl of the east window." Every aspect of church furnishings had been studied and reproduced here, down to the soft furnishings: "At either end metal brackets support curtains of tapestry with cipherings" (Lord Shrewsbury's New Church, 12). Hauser's painting under its intricately carved and gilded ogee arch (notice all the St George's shields) is specifically for an Easter ritual in the old Sarum liturgy (see Fisher 195).
(a) The chancel tiling. (b) The sedilia, or seats for the officiating priests. Just before these is a small but similarly canopied piscina or basin for the washing of hands, and of the sacred vessels. (c) One side of the medieval corona or circular candelabra, showing words ("miserere nobis qui" or "have pity on us who") from the text that encircles it.
The nave tiling is from Wedgwood, but the Minton tiling in the chancel is more elaborate and colourful, making the area even more brilliant. Herbert Minton became a friend of Pugin's, and later visited him at Ramsgate (see Hill 43). As Pugin says, the sedilia which make another notable feature here "are elevated one above the other on the three steps approaching the platform of the altar." He continues, "The respective emblems of priest, deacon, and sub-deacon, are carved in panels at the back of the seats, and the whole is surmounted by elaborate canopies and pinnacles" (Lord Shrewsbury's New Church, 12). This is immediately opposite the sepulchre for the Easter service. The stained glass that Pugin designed for the church is discussed separately, but the east window here, showing the genealogy of Christ, adds immeasurably to the play of light and colour as well as the spiritual meaning of the chancel.
Blessed Sacrament Chapel
"The chapel of the Blessed Sacrament is divided from the south aisle by a stone arch and an open screen of wrought brass. The lower panels are filled with chased and perforated work, representing chalices, with the blessed sacrament and lambs alternately, and a pierced cresting surmounts the upper part, rising into crosses.... Although light in appearance, this screen is of immense weight, and has occupied nearly two years in execution," writes Pugin. Like other metalwork in the church, it was executed by Hardmans of Birmingham. Of the liturgical inscriptions in front of the arch, and below each step inside the chapel, only the one below the top step can partially be glimpsed here: "Panem de coelo dedit eis" or "Thou hast given us bread from Heaven." Texts, as seen above at the entrance to the chancel, were another aid to devotion.
Church Fittings
Left to right: (a) The pulpit. (b) The pulpit from the other side. (c) The font with cover. (d) Closer view of the font carving.
Again, Pugin himself gives the best accounts of the pulpit and font. "The pulpit, which joins the Lady Chapel, is octagonal in plan. The four sides facing the nave contain subjects representing St. John the Baptist preaching in the wilderness; towards the chapel the three great friar preachers, St. Francis, St. Dominic, and St. Bernardin. It is ascended by a staircase in the sacristy, leading up through a door in the east wall" (Lord Shrewsbury's New Church 10). Roddis carved it out of one piece of local stone (Noszlopy and Waterhouse 215). As for the hexagonal alabaster font, ascribed to Roddis as well (Noszlopy and Waterhouse 215), the "four monsters, or dragons" at the base are "emblematic of sin destroyed by the sacrament of Baptism. The bowl is surrounded by quatrefoils, containing emblems of the four Evangelists, and angels, bearing crowns. The cover is framed of oak, and forms a central canopy, supported by eight flying buttresses and pinnacles, and surmounted by a finial, to which the chains are attached, for the convenient raising and lowering of the same" (Lord Shrewsbury's New Church 10). Roddis also carved the lovely altars in the Blessed Sacrament Chapel and the small Lady Chapel at the end of the north aisle — Pugin topped the latter with an equally finely carved late medieval oaken reredos, of Flemish provenance.
The Flemish reredos, that the Earl of Shrewsbury had wanted for St John's in Alton, but which Pugin persuaded him would be better here (see Fisher 185).
Despite such touches as the chancel corona and the Lady Chapel reredos, it is hard to imagine any medieval church looking quite like St Giles'. As Rosemary Hill says, it stikes us now as "a full-blown work of high romantic art" (360). It is easier to imagine the impact of such a church on a market town where many worked in local mines, or at looms. Following the consecration on the previous day, the elaborate opening ceremony on St Giles' Day (1 September) 1846 caused a huge stir, as a whole range of important personages — diplomats and dignitaries hosted by the Earl at Alton Towers, top church people including the Archbishop of Damascus with his interpreter, and the recent convert to Catholicism, John Henry Newman, as well as people from the art world, such as Charles Barry and Clarkson Stanfield — all descended on Cheadle. John Hardman led the the choir of Birmingham's St Chad's for the introit, Bishop Wiseman (not yet Cardinal) spoke at Vespers, and so on. The Morning Post of Saturday 5 September 1846 reported that the new church was "one of the most exquisitely beautiful structures in the kingdom," and the reporter in Freeman's Journal in Ireland, on the same day, talked of its "chaste magnificence." It is still a place of pilgrimage, arguably Pugin's greatest, and certainly his most complete and influential work.
The fine brass lectern, possibly by the Hardman firm though not included in the long list of items drawn up for Hardman in December 1844 (see Fisher 205).
Related Material
- St Giles' interior, as shown in Plate of Pugin's Present State of Ecclesiastical Architecture
- St Giles' chancel, as shown in Plate of Pugin's Present State of Ecclesiastical Architecture
- St Giles', Cheadle (Exterior)
- St Giles', Cheadle: A Gallery
- Stained glass in St Giles'
- St Joseph's Convent and Primary School, Cheadle (associated buildings)
19th Century British Library Newspapers (Gale). Web. 26 November 2012.
Fisher, Michael. "Gothic For Ever": A. W. N. Pugin, Lord Shrewsbury, and the Rebuilding of Catholic England. Reading: Spire, 2012.
Hill, Rosemary. God's Architect: Pugin and the Building of Romantic Britain. London: Penguin, 2007.
Noszlopy, George T., and Fiona Waterhouse. Public Sculpture of Staffordshire and the Black Country. Liverpool: Liverpool University Press, 2005.
Pugin, A. Welby. Account of the church in Lord Shrewsbury's New Church of St Giles, in Staffordshire: Being a Description of the Edifice.... London: Charles Dolman, 1846. (Free book) Google Books. Web. 26 November 2012.
____. The Collected Letters of A. W. N. Pugin, Vol. 2. 1843-45. Ed. Margaret Belcher. Oxford: Oxford University Press, 2003.
"Roman Catholic Church of St Giles." British Listed Buildings. Web. 26 November 2012.
Last modified 7 February 2020