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This recipe is part of the Epicurious Online Cooking School, in partnership with the Culinary Institute of America. To watch it being made, and to learn how to make other Mexican classics, check out the video classes.
- Yield
- Makes 4 servings
- 4 ounces dried ancho chiles
- 2 whole cloves
- 2 whole allspice berries
- 1/2 tablespoon whole cumin seed
- 1/2 tablespoon dried Mexican oregano
- 1 teaspoon fresh thyme leaves
- 1 teaspoon ground cinnamon
- 1 ounce white vinegar
- 3 cloves roasted garlic
- Kosher salt
- 4 (8-ounce) pork cutlets, pounded to 1/4 inch thick
- For serving:
- Lime wedges
- Crema fresca
- Sliced avocado
- Salsa
- Tortillas
- Clean, seed, and dry-roast chiles on a comal or in cast-iron skillet over medium heat until they are fragrant and slightly toasted, being careful not to burn them. Transfer to a small bowl of hot water and soak until softened, 30 minutes.
- On a comal or in a cast-iron skillet over moderate heat, dry-roast the cloves, allspice, cumin, oregano, thyme, and cinnamon, being careful not to burn them.
- In a blender, combine the chiles with the roasted spices. Add the vinegar and roasted garlic, and process until smooth, adding water as needed. Season to taste with salt.
- Marinate the pork cutlets in the chile paste for at least 8 hours.
- Grill the pork cutlets and serve immediately with lime, crema fresca, sliced avocado, salsa, and tortillas.


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Perez's glove could boost him in outfield competition
SCOTTSDALE, Ariz. -- Juan Perez could look at Michael Morse as competition. But in reality, the Giants' offseason signing of Morse could help Perez make his first Opening Day roster.
Morse was brought in for his bat, with the Giants needing an upgrade in production out of left field. But with Morse's defensive shortcomings, Perez could fit as a late-inning defensive replacement, though Saturday brought added competition.
The Giants are likely to break camp with five outfielders. Angel Pagan and Hunter Pence are locks to roam center and right; Morse figures to get the majority of starts in left; and Gregor Blanco should be one of the first reserves off manager Bruce Bochy's bench.
The 27-year-old Perez, who spent the past five seasons in the Giants' system and is in his fourth big league camp, entered Spring Training considered the favorite to be the fifth outfielder.
"I'm aware of that, but I have to be ready and do my job," Perez said Saturday morning. "I have to hit the ball when I'm up and catch every ball I can when I'm in the field. I have a lot of chances, I think. I just have to do my job, take advantage of the opportunity I get playing-wise on the field."
Roger Kieschnick, known more for his bat than his glove, appeared to be Perez's top competition until the Giants signed Tyler Colvin to a Minor League contract early Saturday.
"It's not certain we'll go with five outfielders, [but] that's where we're leaning right now," Bochy said. "Ideally, you'd take a guy who's versatile, with the bat and defense. ... A lot of it will be determined by who we're playing and the game situation. On the whole, we definitely need a guy who is going to give us some defense."
The field is where Perez made his mark with the team a year ago and where he holds an advantage over the competition. Perez made a handful of highlight-reel catches in both left and center during his 34 games with the Giants.
But Perez hit just .258 with a .650 OPS during that late-season stint, and is a career .279 hitter in the minors.
"They know what I can do in the field," Perez said. "I take a lot of pride in that because I work hard on it."
At the plate, Perez said he wants to take the ball to the opposite field more often as well as drive it into the gaps.
Before news of Colvin's signing got out, Perez said he wasn't going to worry about any competition.
"This year is going to be different because last year I played in the big leagues," Perez said. "I just have to take what I did at the end last year and bring it over to this year."

subset: commoncrawl


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Who: Anna Kendrick
Where: What to Expect When You're Expecting premiere London, England
Why we like it: Anna's neutral embellished tulle Christian Dior Spring 2012 frock included standout gold sequins. Her modified dress was paired with a Mulberry gold clutch and matching Duvette cap-toe pumps by Christian Louboutin.
Image: WENN.com


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The Hologram Ripples with the Cry of a Thrush
"It's a world of appearances.... packaged to the showroom specifications of a sit-com. She asks her hairdresser for 'tinted highlights' he mumbles something about going to the gym. He feels he should do something that requires him to clutch a bottle of mineral water and wipe his brow with the firm conviction that he's accomplished something more than providing the illusion that his presence in his own life is necessary. They believe in nothing as fervently as their own goodness. When she's asleep, he absently gazes at porn sites, before he checks out his stock portfolio online."
-- Writer and social critic Leilla Matsui
A while back it was announced that a Japanese inventor had successfully created an invisibility cloak using a material made of thousands of tiny beads called "retro-reflectum." I found this so amazing that I told six friends, three men and three women, about it over the next two days. Not a one of them found it even interesting, much less amazing. Two of the men subsequently showed mild interest when I pointed out that it could be used to mask tanks and soldiers in combat, and one speculated on its terrorist implications. Our techno hyper-reality has so gutted and rewired the brains of Americans that ordinary intelligent people are not even capable of amazement at such a thing as invisibility! To me, this is an indication of a near-total death of the individual mind and imagination caused by our over-technologized, effects-glutted sensory environment.
The pure miracle of invisibility is uninteresting unless it can be linked to, say the rumbling terror of an armored tank -- made perhaps even more attention-grabbing by squashing the bloody guts out of an Iraqi under its tracks? It's the sensory effect that matters, the simulacrum, not the reality. It's the kind of thing about America that drives me to thoughts of emigration daily.
Americans, rich or poor, now live in a culture entirely perceived through simulacra-media images and illusions. We live inside a self-referential media hologram of a nation that has not existed for quite some time now, especially in America's heartland. Our national reality is held together by a pale, carbon imprint of the original. The well-off, with their upscale consumer aesthetic, live inside gated Disneyesque communities with gleaming uninhabited front porches representing some bucolic notion of the Great American home and family. The working class, true to its sports culture aesthetic, is a spectator to politics ... politics which are so entirely imagistic as to be holograms of a process, not a process. Social realism is a television commercial for America, a simulacrum republic of eagles, church spires, brave young soldiers and heroic firefighters and "freedom of choice" within the hologram. America's citizens have been reduced to Balkanized consumer units by the corporate state's culture producing machinery.
We no longer have a country . . . just the hollow shell of one, a global corporation masquerading electronically and digitally as a nation called the United States. The corporation now animates us from within our very selves through management of the need hierarchy in goods and information. Sure there is flesh within the machine, but its animating force is a viral concept, a meme run amok. Free market capitalism. We got to move them refrigerators, got to sell them color teevees . . .
Meanwhile the culture generating industry spins our mythology like cotton candy. We all need it to survive, Hollywood myths, Imperial myths, melting pot myths, the saluting dick male myths. They keep the machine running. And when the machine is running correctly, it smoothes its own way by terrifying uncooperative people into submission in prisons and torture rooms, where we do not have to look at the corpses on ice and the naked hooded bodies handcuffed to the bars. We are innocent as long as we keep our eyes taped shut. And only with our eyes shut can we keep seeing the hologram. And with duct tape over our mouths, we can recite its slogans with one hand over our heart, with the other one resting on the trigger.
The average American spends about one-third of his or her waking life watching television. The neurological implications of this are so profound that they cannot even be comprehended in words, much less described by them. Television creates our reality, regulates our national perceptions and our interior hallucinations of who we Americans are (the best and only important tribe on the planet.) It schedules our cultural illusions of choice, displays pre-selected candidates in our elections, or types of consumer goods. It regulates holiday marketing opportunities and the national neurological seasons, which are now governed by the electrons of the illusion. We live within a media generated belief system that functions as the operating instructions for society. Anything outside of its parameters represents fear and psychological freefall to the faceless legions within it.
Our civilization, our culture, in as much as it can be said to exist in any cohesive way, is based upon two things, television and petroleum. Whether you are a custodian or the President, your world depends upon an unbroken supply of both. So it is small wonder that we all watch a televised global war for oil. As in all produced illusions, everyone we see is an actor. There are the television actors portraying what passes for reality, and real people performing for television. Non-actors in Congress perform in front of the cameras, grappling over the feeding tube on Terri Schiavo; real actors portray non-actors in "reality shows." Michael Jackson shows up for court in pajamas and Jeff Weise shows up for class with a gun. The demand for "newsmakers" is relentless as the empire's corporate cultural machinery weaves the warp of consumer illusions that make up our notion of individualism, and the weft of democratic mythology that constitutes our political system. This is by no means a free country and given the intense luminosity of the hologram, we cannot even see freedom from here, and probably would not recognize it if we could. Moreover, though, we cannot tear our eyes away from the great flickering glow of the hologram.
As my late friend Timothy Leary put it, "An enormous industry, similar to the national projects of pyramid-building in Egypt, cathedral-building in medieval Europe, and prison-camp building in Stalinist Russia has emerged in America -- the production of political martyrs, fallen heroes and concept outlaws…. The essence of 'news' is, of course, the modern version of Roman coliseum shows and gladiator combats." And like clockwork, there is the nightly ritual bloodletting through televised wars and domestic murders, with detective Lenny Briscoe finding the corpses at seven, eight and eleven PM weekdays.
The hologram that is our cathedral of consciousness and our national mind is an ever-darkening one. The average American, if he even thinks about the mind, thinks of it in the obsolete "mind-contained-in-the-brain" way. A few intellectuals and a handful of old dopers like me understand that reality is consensus based and is an interconnected network consisting of many minds operating along a theme. And the theme seems to be pathological.
America suffers from a psychosis, a psychosis being nothing more than an insistence upon staying in an untenable state of consciousness, despite the normal modeling of those around you. This is not out of meanness, but rather an indifference so profound as to be a sickness. The hologram IS the psychosis made manifest. Psychotics love to play ominous games with those around them, just as America does with the world today.
It always comes down to the one thing we never study in school, the one thing we cannot learn about in this country without a great deal of personal extracurricular effort -- consciousness. As we have known at least since the Sixties, the core issue of our existence is consciousness, which our corporate state is compelled to control at all times. That's why drugs are illegal; that's why we have hundreds of television channels; and that's why you will never find anything much resembling the truth in U.S. newspapers and magazines. But there are still those of us who remember our consciousness experiments in the Sixties. Remember what it's like to peer into other realities, not to mention observe the inherent folly and frequent horror of our own war-profit-driven, animal murdering, death-and-sex-without-love obsessed culture. There are those of us who know that when a thrush cries out from the branch it echoes throughout the galaxy. All things are connected and ownership of things is meaningless. The purpose of life is to know this. Lao-tsu knew it, just like Einstein knew it. But you and I are not allowed to. It would shatter our revered hologram, the one that threatens to shatter the world.
To even begin to dissolve this dangerous hologram we would have to examine the biggest lie of all -- that technology is neutral and that people determine its ultimate effects. What divine horseshit! Consider that even the best use of nuclear energy leaves in its wake over the long haul an uninhabitable planet. No matter who is in charge we end up with millions of tons of waste with a half-life in the tens of thousands of years. But the hologram we revere asks us to judge the technology at its heart in strictly personal terms -- cars, vacuum cleaners, and digital amusements. Pay no mind to the toxic rivers and a sky turning red. Science and technology are our religion and all philosophical decisions are made in the corporate world whose function is to sell commodities. Easily the most terrifying aspect of the industrial/media/political hologram is that we are trapped. There is no way out of a technological industrial machine where you need at least a car, a phone, etc. to function, to participate at all.
Thanks to the hologram, American culture, as such, is nearly over. It is not sustainable. It is not reformable. Not only are TV and all digital media unreformable, but they are sure to accelerate our demise more rapidly because of the technological capitalist paradigm of growth at all cost. We cannot eliminate the generators of the hologram, television and electronic media. They are the glue of the hologram, the mediators of our human experience. We will all die without them, now that they have replaced all other previous forms of knowledge, the ancient forms, and have colonized our inner lives like a virus. The natural world is not only boring but does not even exist, as we sit mesmerized, while the hologram sells our very feelings back to us. Are we adequate? How are we supposed to act? Did you phone someone you love today? What and whom are we to fear? You are rendered numb by a hypnotic medium, react to your own feelings which have been stolen and doled back out to you, and pay money to do so. Brilliant! The commodification of human consciousness is probably the most astounding, if ghoulish, accomplishment of American Capitalist culture.
Meanwhile, there is the omniscient "one voice that speaks out to the many," the disembodied military/corporate voice, that all but guarantees an authoritarian political scenario. Unlike the humans who constitute their living innards, the corporations animating the hologram are themselves deathless. The citizens cannot harm them. Under U.S. law corporations have all the rights and protections of individuals, and they cannot be regulated because corporations are "fictional persons" and have the same right to free speech as persons. Of course, given that the media are corporations, their speech is a helluva lot more impactive and significant than any one person's. "But", as the brilliant author of In the Absence of the Sacred, Jerry Mander, puts it: "They have none of the commensurate responsibilities. Communities cannot control them because they can always move to other communities. They do not have corporeality; they can't be executed. You can imprison certain people within a corporation if they engage in criminal acts. The corporation itself, however, lives beyond the people in it."
The light of the hologram plays on material reality and remakes it in its own image, destroying all connections with the natural world. Malls and suburbs and hyper-real surfaces and speed . . . meaningless but dazzling technology. The earth gets a makeover in the image of Disneyland and becomes inhabited by humans who are commodified versions of themselves.
It is difficult for people to grasp that we are in an age of corporate dominion just as we were once in an age of domination by royal families, kings and warlords. Somehow it is hard to equate our tribute rendered to the credit card companies, the insurance companies, the IRS, the power cartels, the mortgage banks, with the kind of bondage it is. Yet we must do these things to be allowed to live in society. The only other choice is to sleep under a bridge. And these days, whether due to an onsetting depression or creeping wisdom, I often contemplate just that. I really do. Of course I understand that even under a bridge one cannot escape the hologram's blue flicker issuing from a hundred million encroaching suburban windows. But like I said, there are still a few of us old bastards out here who remember. And we can still hear the cry of the thrush echoing, still out there shattering galaxies. Freedom is possible.
Joe Bageant is a writer and magazine editor living in Winchester, Virginia. His forthcoming book, Drink, Pray, Fight and Fuck: Dispatches from America's Class Wars, is due out next year, to be published by Random House. Visit his blog at: www.joebageant.com. He may be contacted at email@example.com. Copyright © 2005 by Joe Bageant.
Articles by Joe Bageant
Prince of a
Different Peace
Interviews With Joe Bageant
New Year's Bageantry


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Florence OR – The iconic Heceta Head Lighthouse is open again after two years of restoration. The official unveiling happened Saturday, June 8, when the Oregon Parks and Recreation Department (OPRD) welcomed a group of nearly 100 supporters to Heceta Head State Scenic Viewpoint to celebrate the reopening. Many of those in attendance were involved in the restoration work. The lighthouse had been closed since August of 2011.
The event kicked off with remarks by University of Oregon Professor of Architecture Emeritus Donald Peting, West Lane County Commissioner Jay Bozievich, and State Senator Arnie Roblan. The speeches were followed by the uncovering of the lighthouse's original first-order Fresnel lens and the relighting of the 1,000-watt quartz bulb with its signature of one white flash every 10 seconds. Attendees then enjoyed tours of the tower and refreshments on the lawn of the Heceta Head Lighthouse Bed and Breakfast, run by a concessionaire of the U.S. Forest Service. The event was emceed by Oregon State Parks and Recreation Commissioner Cal Mukumoto from North Bend.
The lighthouse tower was originally constructed in 1893 and its five-wick kerosene lantern first lit in 1894. In 2001, ten years after the property was fully transferred to OPRD by the U.S. Coast Guard, the Department initiated a top-to-bottom restoration effort. The work was needed to address deterioration of the landmark caused by more than a century of extreme weather and disrepair.
Under the supervision of OPRD preservation architect Sue Licht, a team of more than 100 subcontractors and craftspeople, the majority of whom were from Oregon, removed cement stucco that had sealed in moisture so that the lighthouse could air out in the damp coastal environment. They also replaced and restored the tower's historic metalwork and masonry, installed new windows, and repaired the lens rotating mechanism. The interior and exterior of the lighthouse were repainted and the original wood floor of the workroom was uncovered and reconditioned. The lighthouse has been returned as much as possible to the way it would have looked in 1894.
The nearly $1.6-million project was financed through a combination of federal, state, and private dollars—primarily by a $1.27-million transportation enhancement grant from the Federal Highway Administration, with the remaining funds coming from OPRD, the Oregon State Parks Foundation, and other private donations. Other park improvements to the trails and parking areas were completed in the last two years thanks to help from the U.S. Forest Service.
The restoration project was the winner of a 2013 Oregon Heritage Excellence Award from the Oregon Heritage Commission, which declared it "an exceptional example of an extensive, successful restoration project of a historically significant structure." A local artist, Marcy Tippmann, created a commemorative painting of the lighthouse for the reopening; proceeds from sales of poster prints will go towards a future project to restore two oil houses adjacent to the lighthouse.
Heceta Head is one of the most photographed lighthouses in the U.S. and has the brightest light on the Oregon coast. It also has the only active British-made lens of its size in the country. The Heceta Head Lighthouse and assistant light keeper's house (now the Heceta Head Bed and Breakfast) were listed in the National Register of Historic Places in 1978.
Heceta Head State Scenic Viewpoint is located 12 miles north of Florence off of U.S. 101. The lighthouse is open for tours daily from 11 a.m. to 3 p.m.; a $5 day-use parking permit, State Parks camping receipt, or Oregon Pacific Coast Passport is required to park at the State Scenic Viewpoint. For more information, visit www.oregonstateparks.org. The Umpqua River Lighthouse—32 miles to the south in Winchester Bay—is Heceta's "sister lighthouse" constructed from the same blueprints. Umpqua is open for tours daily from 10 a.m. to 4 p.m.—more information is available at www.umpqualighthouse.org.
Event photos:
Don Peting
UO Architecture Emeritus
Jay Bozievich
Lane Co. Commissioner
Arnie Roblan
State Senator
Crowd gathering at lighthouse
Arnie, Jay,
Parks Commissioner Robin Risley inside lighthouse
Cal, Arnie, Jay and Robin tour lighthouse
Jay, Cal, Arnie and Park Manager Kevin Beck
Refreshments by the Heceta Head Lighthouse B & B
US Forest Service folk enjoying a light snack


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Pocono Duo: Thirsty Camel
Mon 17th Feb 2020 2PM – 6PM
Listen to live music from Pocono Duo from 2:00PM-6:00PM
To check out some of their music, click here
When you're ready to relax after a long day cruising down the slopes, stop by the Thirsty Camel for the best apres ski entertainment in the east! Our ski area is the perfect spot in the Poconos to reconvene with your family and friends, share a beer and stories of the mountain adventures you experienced during the day all night long! Many Pocono ski areas offer skiing and snowboarding, but only Camelback offers the adventure. Choose to live life. Choose Camelback. Check out our live band schedule below to find out who we have playing for you tonight!
The ideal spot to experience nightlife in the Poconos without even leaving the ski area! The Thirsty Camel offers soup of the day and chili served piping-hot in a fresh bread bowl, daily Panini specials, other favorite pub fare and full wait service. No one under 21 is permitted in the Thirsty Camel on Saturdays and holiday Sundays after 4:00PM. ID is required.
Entertainment Hours:
Check out our Entertainment Calendar below for other select dates.
Listen to live music from Pocono Duo from 2:00PM-6:00PM
To check out some of their music, click here


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June 22, 2013 (http://news.xinhuanet.com) With commemorative events, Ukraine on Friday marked the 72nd anniversary of the start of the Soviet Union's involvement in the World War II, known as the Great Patriotic War in the former Soviet republics.During a ceremony, President Viktor Yanukovych laid flowers at the Monument of War Victims and said that Ukrainians should keep the memories of the war alive.
"The current and future generations should know everything about that terrible war, about every drop of blood, every tear shed in this war. Hard truth about the Great Patriotic War is still with us," Yanukovych said.
A moment of silence was observed in honor of the millions of Soviet soldiers who died during the war that lasted nearly four years. Nazi Germany attacked Kiev in the early hours of June 22, 1941.
The term Great Patriotic War is used in Ukraine to describe the period from June 22, 1941 to May 9, 1945 in the many fronts of the eastern campaign of WWII between the Soviet Union and Nazi Germany with its allies.
With 134 Divisions at full fighting strength and 73 more divisions for deployment behind the front, German forces invaded the Soviet Union on June 22, 1941, less than two years after the German-Soviet Pact was signed. Three army groups, including more than three million German soldiers, supported by 650,000 troops from Finland and Romania, and later augmented by units from Italy, Croatia, Slovakia and Hungary, attacked the Soviet Union across a broad front, from the Baltic Sea in the north to the Black Sea in the south. For months, the Soviet leadership had refused to heed warnings from the Western Powers of the German troop buildup along its western border. Germany and its Axis partners thus achieved almost complete tactical surprise. Much of the existing Soviet air force was destroyed on the ground; the Soviet armies were initially overwhelmed. German units encircled millions of Soviet soldiers, who were cut off from supplies and reinforcements.


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The hosting company that have taken over Titan Internet (and with whom my server is now co-located) have announced a planned outage on Sunday 27th October, for reasons of essential maintenance to the power systems of the data centre.
TMC will be down as a result. The outage is expected to take place from 08:00 to 17:00.


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Simple just post you favorite pinball table and why. (Dont Forget to vote also)
-My favorite table is the Street Fighter II Table
Speed Machine
Street Fighter II
Nightmare Mansion
Rocky & Bullwinkle
Simple just post you favorite pinball table and why. (Dont Forget to vote also)
-My favorite table is the Street Fighter II Table
I would have to agree, the Street Fighter table is my favorite. Great to see a table based off of a classic game that everybody has played at least once in their life lol.
SF II table, don't get me wrong all the tables look good but everyone loves street fighter. Not to mention all the little extras on the table, combo shots and figures that everyone thats ever played a capcom game would know
You forgot the El Dorado table, that's my favorite
Yeah the xbox game came out way before the PSN version. and the Xbox has more tables.
Rocky & Bullwinkle! Mainly cause i love the old cartoons. In all fairness, i own Zen Pinball as well and have alot of the DLC added to that one. Some many great tables!
I choose rocky & bullwinkle because it's a table me enjoy because of the easy great hi-scores i get. The table i like the most from viewing, music and gameplay is Streetfighter II, Agents and NIghtmare Mansion equaly.
Ofcourse by the time of my writting there is the FX2 expansion with Pasha, Rome, biolab and Deepsee and the Marvel add-on Blade, Wolverine, Spiderman and Ironman.
My fafo tables at this very moment are Spiderman, Pasha, Blade and still R&B
I got 4 or 5 favorites tables:
Wild West Rampage, i'm a huge fan of the far west
Excalibur because i like the Saint's Graal Legend
The Walking Dead
El Dorado
& Maybe Mars
Personally I would have to say "Agents" I put so many hours into that table. It was part of the original PFX1 game, so its such a legacy table in my opinion. Still remember the first time I completed the "Final Confrontation" Wizard Mode.
Official Pinball Guides (PFX3 etc.) - Written & Video Form
PSN = SrkToTheChin
Xbox Live = SrkToTheChin
*Send a msg with any Friend Request!*
If I could have one Zen table in real life, it would be Speed Machine. I always enjoyed pinball, but this table made me fall in love with pinball.
Hi i have a Golden Arrow pinball table, have just got it out of storage and powered up but is not scoring or chimes fully working can anone offer me some advice please.
With that said, I recommend going over to www.pinside.com which is site for pinball machine owners and they have a nice technical help forum.


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Story highlights
- Writer Orson Scott Card will pen a new "Adventures of Superman" digital comics series
- Card also has written outspoken criticism of homosexuality and same-sex marriage
- A marriage-equality group launches a petition aimed at the "Superman" publisher
- "You are giving him a new platform and supporting his hate," says the petition
A writer commissioned to help launch a new "Adventures of Superman" digital comics series is drawing controversy for the comics' publisher not for his perception of the Man of Steel, but for his perception of marriage -- specifically, his opposition to same-sex marriage.
Science fiction writer Orson Scott Card has been commissioned by longtime "Superman" publisher DC Comics to write a two-part story launching its new "Adventures of Superman" digital series.
Card is perhaps best known for the classic 1985 sci-fi novel "Ender's Game," but he also has sparked controversy with his outspoken criticism of homosexuality and same-sex marriage.
"Just because you give legal sanction to a homosexual couple and call their contract a 'marriage' does not make it a marriage," Card wrote in a 2004 essay titled "Homosexual 'Marriage' and Civilization." The essay concluded, " ... either civilized people will succeed in establishing a government that protects the family...or the politically correct barbarians will have complete victory over the family -- and, lacking the strong family structure on which civilization depends, our civilization will collapse or fade away."
News that Card would be among writers on the new "Adventures of Superman" digital comics prompted marriage-equality group AllOut.org to launch a petition drive aimed at DC Comics.
"By hiring Orson Scott Card despite his anti-gay efforts you are giving him a new platform and supporting his hate," reads the petition -- now with nearly 12,000 signatures, according to the group.
Card is no stranger to comic-book writing. He has written for Marvel Comics, penning series such as "Ultimate Iron Man" and comics based on his own "Ender's Game" among others.
The new "Adventures of Superman" is not DC Comics' long-running, flagship "Superman" comic books but an ongoing digital anthology series of short stories about the hero that will be written by various authors.
DC Comics, a division of Time Warner, the parent company of CNN, issued a statement Wednesday defending its decision to include Card among the writers.
"As content creators we steadfastly support freedom of expression, however the personal views of individuals associated with DC Comics are just that -- personal views -- and not those of the company itself," the statement said.
Card declined to comment to CNN.
Mitch Cutler, whose store, St. Mark's Comics has been open in New York City's East Village neighborhood for nearly 30 years, seemed to agree.
"Someone did tweet to us about boycotting the series, but since the first day (we opened) we have been committed to carrying everything we can in comics," Cutler said. "I'm sure right now on the shelves there is content I might not necessarily agree with. So while I understand Mr. Card may have advocated things that might upset people, it would be very uncharacteristic of us to refuse to carry something for that reason."
Jermaine Exum who manages Acme Comics in Greensboro, North Carolina -- the city where Card lives -- has a slightly different reason for deciding to carry the comics.
"Our main focus is that other creators are working on this," including artists like Jeff Parker who has ties to Acme, Exum said. "The public is running away with the Orson Scott Card story, but I don't want to short-change these other people working on the series."
Phil Jimenez, an openly gay writer and comic-book artist who has worked on "Astonishing X-men," "Captain America Corps," "The Amazing Spiderman" and more, is not OK with the decision, and believes Card's stance on homosexuality and same-sex marriage takes away certain people's civil rights.
"I'm encouraging people not to buy his work because when they do they actively support a foully bigoted man who uses his power and influence to affect public policy," Jimenez tweeted.
Brian Brown, president of the National Organization for Marriage, which has actively campaigned against same-sex marriage efforts and which counts Card as a member of its board of directors, says protesting Card's comics is un-American.
"For a movement that says it's focused on civil rights, it's surprising that supporters of gay marriage want to attack an opposing viewpoint and become violent," Brown told CNN.
The decision to include Card comes at a time when the world of comics, while sometimes still criticized for over-sexualizing female characters, has moved to make homosexual characters a big part of storylines.
In July 2012, in the second issue of "Earth 2," a new series in DC Comics' "The New 52," reimagining of many classic DC characters, Alan Scott, the first Green Lantern is an openly gay man. The series, along with DC's Batwoman, is up for a 2013 Gay & Lesbian Alliance Against Defamation (GLAAD) Media Award.
Marvel Comics had its first same-sex wedding in a June 2012 issue of "Astonishing X-Men" with superhero Northstar -- the first major comic-book character to come out as gay in 1992 -- marrying his longtime partner, Kyle.


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This is a printer version of an UnderwaterTimes.com
To view the article online, visit: http://www.underwatertimes.com/news.php?article_id=05863942710
SAN FRANCISCO, California -- Despite the tragic human and economic toll from Hurricanes Katrina and Rita along the Gulf Coast in 2005, the much-discussed "toxic-soup" environmental pollution was nowhere close to being as bad as people thought.
That's the bottom-line message from dozens of scientific papers scheduled for presentation at a four-day symposium that opened here today at the American Chemical Society's national meeting, according to symposium organizer Ruth A. Hathaway. Entitled "Recovery From and Prevention of Natural Disasters," it is one of the key themes for the meeting, which runs through Sept. 14.
James Lee Witt, former director of the Federal Emergency Management Agency (FEMA), will deliver the keynote address on September 14. Witt, now CEO of James Lee Witt Associates, LLC, headed FEMA during the Administration of President Bill Clinton.
"As I look at the presentations in this symposium, that's perhaps the most striking message," Hathaway said in an interview. "The dust has settled now and all the hoopla is over. We've actually had a chance to look at the real-world data from New Orleans. All indications at this point are that the hurricanes were not as devastating in stirring up chemicals as once feared.
"The data shows that there is no real need to ban fish consumption, for instance. Levels of some toxic metals are high in parts of New Orleans, but not generally higher than before Hurricane Katrina or in some other urban areas.
Hathaway, of Hathaway Consulting in Cape Girardeau, Mo., is an organizer of the symposium, which includes 37 presentations on hurricanes, tornadoes and other disasters. Speakers range from chemists who analyzed levels of toxic metals in New Orleans to ecologists studying environmental consequences of Katrina's storm surge to academics reporting on damage and recovery of universities in the Gulf disaster zone.
In one report, Michael T. Abel, Ph.D., of Texas Tech University in Lubbock, describes finding potentially hazardous levels of lead and arsenic in New Orleans soil samples collected after Hurricanes Katrina and Rita. "It should be noted that similar values found in this sampling effort were present in studies conducted before the hurricanes," Abel wrote in a summary of his presentation.
Jianmin Wang, Ph.D., and colleagues from the University of Missouri at Rolla, report that they collected 238 soil and sediment samples one month after Hurricane Katrina and analyzed them for pesticides and heavy metals. The pesticide levels were "generally not of great concern," they concluded.
In another study, Gregory J. Smith, Ph.D., reported that Hurricane Katrina's storm surge (rise in water driven by wind) severely scoured marshlands and barrier islands east of New Orleans and the Mississippi River. About 118 square miles of land in southeastern Louisiana was initially transformed into water, added Smith, who directs the U.S. Geological Survey's National Wetlands Research Center in Lafayette, La. Such changes reduce the ability of coastal wetlands to shield coastal communities from further hurricanes, he explained.
Smith believes science has a role to play in restoring the coast. "In many ways science, engineering and technology have played a role in human development of the coast, and it is these same enterprises that offer the greatest opportunity for transforming our coasts from ones that are vulnerable, like those impacted in 2005, to ones that are resilient," he said.


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Earn the rare privilege of exploring Willy Wonka's famous chocolate factory, in Take-Two Interactive's game of Tim Burton's film of Roald Dahl's classic children's book. Phew. As Charlie Bucket, the impoverished child who finds a Golden Ticket in his bar of Wonkalate, you'll embark on a personal tour of the factory and attempt to prevent the four other greedy winners from wreaking havoc in Wonka's world.
Set off on a magical adventure, exploring the factory's many fantastical environments - including some from the book that didn't make it into the film - and discovering what consequences Veruca Salt, Augustus Gloop, Mike Teevee and Violet Beauregarde's gluttony caused.
It's Charlie's job to save the chocolate factory from their destruction by solving tricky puzzles and using inventive candy powers. By helping the Oompa-Loompas and restoring order to the factory, Charlie can earn the respect of the reclusive Willy Wonka and win an even bigger prize!
1 Players
See it in action


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This report studies the Organic Corn market status and outlook of global and major regions, from angles of players, regions, product types and end industries; this report analyzes the top players in global and major regions, and splits the Organic Corn market by product type and applications/end industries.
The global Organic Corn market is valued at 971.26 million USD in 2016 and is expected to reach 1153.77 million USD by the end of 2022, growing at a CAGR of 2.91% between 2016 and 2022. The Asia-Pacific will occupy for more market share in following years, especially in China, also fast growing India and Southeast Asia regions.
North America, especially The United States, will still play an important role which cannot be ignored. Any changes from United States might affect the development trend of Organic Corn. Europe also plays important roles in global market, with market size of 224.58 million USD in 2016 and will be 254.98 million USD in 2022, with a CAGR of 1.83%. The major players in global Organic Corn market include United States, China, Brazil, Argentina, Ukraine and Canada.
Read Complete Report With TOC: http://www.radiantinsights.com/research/global-organic-corn-industry-2017
Geographically, this report is segmented into several key Regions, with Sales, Sales, revenue, Market Share (%) and Growth Rate (%) of Organic Corn in these regions, from 2012 to 2022 (forecast), covering
• North America
• Europe
• Asia-Pacific
• South America
• Middle East and Africa
On the basis of product, the Organic Corn market is primarily split into
• Organic Yellow Corn
• Organic White Corn
• Other
Request A Sample Copy Of This Report at: http://www.radiantinsights.com/research/global-organic-corn-industry-2017/request-sample
Table of Contents:
• Organic Corn Market Overview
• Global Organic Corn Market Competition by Manufacturers/Brand
• Global Organic Corn Sales (MT), Revenue (Million USD) by Regions (2012-2017)
• Global Organic Corn Sales, Revenue, Price Trend by Types
• Global Organic Corn Market Analysis by Applications
• Global Organic Corn Manufacturers Profiles/Analysis
• Organic Corn Manufacturing Cost Analysis
• Industrial Chain, Sourcing Strategy and Downstream Buyers
• Marketing Strategy Analysis, Distributors/Traders
• Market Effect Factors Analysis
• Global Organic Corn Market Forecast (2017-2022)
• Research Findings and Conclusion
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Succession planning
Finding the right people to take your business forward
Not a trick question: would you go into business with your daughter?
According to the BBC, the number of father-daughter businesses is growing dramatically. The inspiring story of Smruti Sriram of Supreme Creations, the UK's largest producer of natural fibre reusable shopping bags, is a case in point. This Oxford graduate had to beg the owner – who happened to be her father - to let her join the business. Initially he said no, because he wasn't convinced business and family would make a good mix.
Thankfully he changed his mind. It was his daughter's initiative to introduce fashion designs to the bags, a strategy that has seen sales rise dramatically. Now at 28, and having proved her worth to her father in more ways than one, she's made Chief Executive.
Not every family business has a bright, commercially savvy family member ready to assume control of course. We at BCMS often hear from clients who are looking to sell because they don't have a clear or obvious successor in place. In many family businesses, the second or third generation of the business have actually 'exited' before their mother or father, and many look to start careers elsewhere.
It's not just family businesses, either. Companies of all sizes and across all sectors often tell us they have talented staff in place, but feel they are 'not ready' to assume full responsibility. And the perceived lack of a clear successor has been a major factor behind the decision to sell.
And here's where an acquisition – by an ambitious third party - can have a huge, galvanising effect on a business, and the individuals working in it. It is often the case that senior management have their wings unclipped by the presence of a larger 'parent' company, who can support, develop and reward talented staff.
I remember the story of one client, a smaller SME we sold some years back. Our client knew he had a talented senior manager, but he just didn't have a role for her to develop into, and she wasn't ready to take over. She decided to stay with the business post acquisition, where her talent and commitment was immediately recognised. And today? She's been promoted to global head of development for the acquirer, across his range of international businesses.
My point is simple: finding the right successor is about far more than the price. It is about future opportunity, and the right people to take your business and your staff forward.
And you never know. The future might already be on your payroll.


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I read a silly amount of books every week/month/year, and I've realized something:
The ones I enjoy the most are the ones with discussion questions.
Recently my men's small group has been working our way through The Enemy Within by Kris Lundgaard (it's a great book, by the way), and one of the most helpful things about it—even more than the content itself—is the discussion questions and application activities.
It's really easy to read a book (or scan it in some cases) and say, "Yep, I've got it. Next!" Especially for me.
I read very quickly, I retain a lot… but if I don't dwell on the content, it just sits in my head and doesn't affect my life.
I find that I have to make the time for application. Discussion questions force me to do that, to dwell on the content and chew on its implications.
The Holiness of God by R.C. Sproul is a great one for that, as is Doctrine by Driscoll & Breshears. Both of these contain great questions that are beneficial to personal study or small groups.
Now, there are some things that don't require discussion guides, obviously. If you're reading Amish Vampire Romance End-Times books, for example—okay, that might require some discussion (but not of the book itself).
Rescuing Ambition, which I reviewed yesterday, had a lot of questions within the text, which was great. It made me stop and think about the book.
I also appreciate how Francis Chan periodically writes, "Okay, stop reading this book, go watch this video here, read this passage of Scripture and look at what it says about XYZ." That's smart; it pushes the reader to interact with the text and not just let it wash over him or her.
So what do you do with a book that doesn't have any questions?
Ask your own!
As a general rule, I have a few questions for every book I read:
- What is the main idea the author is trying to convey?
- How does the author support his/her idea(s)? Scripture, tradition, history, illustrations from real life examples…
- Do I agree with the author's main idea? Why or why not? And can I support my position with appropriate Scripture? (Questions two and three are essential for anything labeled "Christian Living," "Spiritual Growth," or "Theology," I've found.)
- If these ideas are true, what is one practical way I can apply this truth today?
A great book is one that doesn't just challenge the way you think, but challenges you to think.
Ask questions. Enjoy discussion.
And think about what you're reading.


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Gold plunges 5%, below $1500April 12, 2013: 4:00 PM ET
So much for that weak dollar, huh? The Bitcoin craze may finally be peaking and now another "alternative" currency is plunging too: gold.
Gold, which in its defense is at least a tangible asset, sank 5% Friday and fell below $1500 an ounce. Gold has fallen out of favor lately as stocks have continued to surge. Several Wall Street banks slashed their gold price targets earlier this week.
The sell-off in gold shouldn't come as a huge surprise, although the magnitude of it is stunning. Gold often does well in times of extreme fear (not happening right now) or when investors are seeking a good inflation hedge.
And even though there are some investors who feel the Fed's quantitative easing programs will eventually spark a nasty bout of inflation, that seems well off into the future.
Related: CNNMoney's Fear and Greed index back in greed
In fact, the latest producer price index figures, released Friday, showed that wholesale prices fell 0.6% in March. That might be one of the big reasons why gold was tanking.
Traders on StockTwits had more to say about the shiny yellow metal.
The SPDR Gold Shares (GLD) and Market Vectors Gold Miners (GDX) ETFs were top trending tickers. And two levered-up gold ETFs (funds on steroids) were trending as well: The Direxion Daily Gold Miners Bull 3X Shrs (NUGT) and its companion on the downside, the Direxion Daily Gold Miners Bear 3X Shrs (DUST).
$GLD Wow talk about a huge margin call; that looks like straight liquidation; until that somebody is done selling things do not look rosy...
Some serious liquidation going on in gold. Perhaps John Paulson is throwing in the towel. $GC_F $GLD
Ha! It's impossible to know right now just who is dumping gold. It's a plausible theory that hedge funds and other large institutions are running for the exits. There were also rumors that Cyprus might need to sell gold to raise capital. But it almost doesn't matter who the sellers are. There clearly is selling. And a lot of it.
But gold wasn't the only metal that was tanking. Silver was down 5%. And the iShares Silver Trust (SLV) was also trending on StockTwits.
Platinum and copper (which is more of an industrial as opposed to precious metal) fell too. Several traders think the sell-off in silver and gold (cue the Burl Ives ... or U2) is just beginning.
REPEAT: The metal's have lost there luster, look for violent sell off to $900 in gc_f $GLD and $17 in si_f $SLV Bearish
one thing i learned from the $SLV sell off a couple of years ago is don't bottom pick commodities. $GLD
There is a reason why gold and silver are tough investments to own. They are extremely volatile.
And like many commodities, they tend to move more on speculation as opposed to true changes in supply and demand.
Warren Buffett has often railed against gold for this reason. He notes that gold is an asset that just sits there. It doesn't produce anything in the way that a company does. He has a good point.
Related: Buffett on why stocks beat gold and bonds
That said, there were still a few brave gold bugs on StockTwits who were salivating about the opportunity to buy on the big dip.
Not good day to be a gold bug!! (Unless you can BUY!) $GLD $GC_F $GDX
Joe Cool is a gold bug? Who knew? Wonder if Woodstock (or as Baby Buzz says it, Woogenstock) is also long the yellow metal.
$GLD Panic will pass and the big players will buy cheap gold. Long at 1512 Bullish
It definitely looks like a panic. I personally don't think gold is doomed just yet. It may make sense as a teeny part of your portfolio -- especially if you're worried about the upcoming debt ceiling battle in Washington. Or Europe imploding again. Or North Korea. Or a bond sell-off and spike in interest rates. You catch my drift. Gold can be a good hedge. Just don't go overboard.
Bitcoin speculators, including twin brothers who are fond of rowing but don't "like" Mark Zuckerberg, have learned the hard way that what goes up must come down.
And speaking of Bitcoin (what are the Winklevii thinking?) there were tons of great tweets from followers this week that were worthy of Reader Comment of the Week. But one from Friday is my clear favorite ... especially since it reminded me of fun times as a video-game loving teen in the late 80s.
Hilarious. I hope Link wasn't long Bitcoin. Speaking of fictional currencies, here was my take on the "value" of Bitcoins.
Enjoy the weekend, everyone. Have fun spending your hard-earned legal tender paper currency!


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May be many of you who would buy the Lego 2009 H2 Starwars sets would wonder, which set is the most demanding one. Here in Hong Kong, some of the clues include:
1. 7749 Echo Base is the first set to be reviewed in local forum
2. 8036 Separatist's Shuttle is the first set that is out of stock in a ToysRUS branch in the busiest district in Hong Kong (Causeway Bay)
3. Someone already discovered that the R2-D2 in 8037 Anakin's Y-Wing Starfighter is new!
But these are random pieces of information, I have another angle of looking at it, which is trying to read the mind of the local Lego distributors through their pricing strategy.
Typically the pricing in Hong Kong is much higher than the US, the price at ToysRUS represents the official prices, and usually ranges from 110% to 130% of the US retail price. I think the pricing may somehow indicate how the distributor expects the sales of respective sets in local market, through common sense, the better selling sets with better demands should be marked up higher, based on the this theory, I calculated the pricing of the new Starwars 2009 H2 sets as followings:
So does this mean 8036 will be the hottest set if my theory is correct? But it is hard to convince myself that 8037 is the next hottest, the Yellow Y-Wing does not look good to me, and having no hot minifigs, how can it be more demanding than the others? And if someone tells you that 8038 Echo Base is the least demanding set, you must think that he is nuts. So my conclusion: My theory is wrong, I have no clue why the pricing is set this way. I can only say, buying 8036 locally is mostly hurting, and I just did that, even buying at a price way much higher than the regular price...
But the good news is, buying 8038 locally is a good deal, especially when I can use HKD 10 coupons per HKD 100 purchases at ToysRUS, they are really very good in driving you back for more purchase with this coupon strategy, but it helps indeed, as there are something that I sure will buy without the need for them to drive anything.
Anyway, a message to lego players in US, you are the lucky guys, you pay less for the same lego set we got.
I have been scratching my head on which set to blog about at the launch of my blog, I have quite a few interesting sets, but probably all of them are not interesting at all to others, so I need something that few would have blogged about, or even have played with, and this is what I got for my first set review:
8036 Separatist Shuttle has been mentioned extensively along with other Lego Starwars 2009 Summer sets such as 7749, 8038 and 8039, these are all interesting new additions but 8036 offers 2 new minifigs that caught a lot of attentions. To be honest I am not a minifigs freak (or geek), so even if I buy a set for the minifigs, I would complain loudly if the vehicle stinks, such in the case of 7752.
So how do I rate 8036? Well, I won't complain even slightly, except for the price I paid for in order to get this set at this moment (it is my fault and has nothing to do with Lego), it is truly expensive and I hate to mention it to make me appear like a fool, but because of this, I would complain more than loudly if somehow I am disappointed with the set.
The set is composed of a few relatively small Bags:
The shuttle is quite small, but a shuttle is a shuttle, especially in the world of Lego, if emperor Palpatine and Darth Vader together can only ride on such a small shuttle in 7264 (Imperial Inspection), how can Nute Gunray and Senator Farr expect to have a big shuttle? Here is a picture of the shuttle beside an X-BOX controller so you can feel accurately how small it is.
Actually I can feel how small it is by the size of the box, and when pulling out the bags from the box, but it is ok, coz this shuttle IMHO has been designed well, I am not sure how all the other much experienced builders would say, I am quite impressed by the sleak design.
The knob controlled doors is quite impressive over the common hinged doors, it is not easy to design a container space inside such a small vehicle. Besides, the building process is very smooth, the rear tail wing is very solid and nicely layered, and unlike many of the Star Wars vehicles, the shuttle is extremely solid! It is so solidly designed that it can be solidly separated and packed in chunks inside the original box, which if attempted on other vehicles, such as 7752, would instantly result in a vehicle break down.
There isn't any special parts in this set, but I don't think anyone would buy this set for reusing the parts really, the minifigs are what people mainly look for in this set I think, and the 2 minfigs are truly valuable, you get Nute Gunray and Senator Farr for the first time, and the 2 minifigs are quite good looking (in minifigs standards, which focus on color and pattern instead of being handsome), despite being the villains.
Overall this is must get set for Star War fans, "must get" are truly overused nowadays but I do mean must-get because it does not cost unreasonably if you buy it at regular price, you get 2 rare minifigs in addition to a nice shuttle, even if pay a foolish price I do not regret paying extra to have a first hand experience on it.
By the way, I do not remember exactly where this shuttle appears in the movie or TV series, is there really a cockroach like vehicle in Starwars?
I am not a kid, though I wish I am. I like Lego a lot, though I am not sure if I wish I have not. But this blog is about my daily struggle with lego, and I hope some folks would read it.
Let me start by sharing my sentiments on my lego playing experiences, like everything else on earth, there are always pros and cons to everything, and lego should not be an exception, so I feel like listing down the goods and bads about being infested with AFOL syndrome.
Top 5 good things about being an AFOL- Having a hobby after all- Have an area of interest in common with the Kids- Owns something that most likely won't depreciate- Create miniatures of things that one can't really have in reality- There is something nice to look forward to at least (especially when you are rejected for....)
Top 5 bad things about being an AFOL- $$$$$ - Losing spaces to lego sets- Long term tension with spouse- Have to act like a smuggler when bring home a new set- When passing away, would leave over a heritage of treasure that the family will dispose like crap


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Specs from the 2012 Porsche 911 either show a slight improvement for the new generation (codenamed 991) or mark the end times. Changes include new transmissions, longer wheelbase, launch control and and a more Panameraesque interior. Oh, and an optional hybrid drivetrain.
Here's what we know so far:
- The Carrera S will have 400 horsepower from 3.8-liter six
- Carrera will have 350 horsepower from its 3.4-liter six (shared with Boxster S)
- A choice of two trannys: 7-speed manual, 7-speed PDK
- Launch control with each transmission
- 2.5-inch longer with 4-inch longer wheelbase
- The longer wheelbase will help hold the hybrid drivetrain, do out in 2016 as a mid-cycle refresh
- An electronic parking brake
- Full-length sunroof
- 19-inch standard wheels on Carrera, 20-inch on Carrera S
So they're making it bigger, dropping the real parking brake, adding a bigger sunroof, and giving us a hybrid version. Someone pinch me because I thought I was describing the next generation Camry for a second.


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Straight from the West Coast, The Scrayper Boyz bring us on an intellectual journey through the world of highly innovative automobile customization. Or a dirty donk rap video. You be the judge. NSFW.
Just like Momma always used to say, "These hoes wanna fuck my car." We wonder if they meant it literally.
Catch the exclusive cameo from DJ Microsoft Sam. Hype Williams, you better watch your back.


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Osteosarcoma is the most common bone cancer. It starts in bone cells that make new bone tissue. It usually forms at
the end of long bones, such as the leg bones, but can form in any bone. It is most common in teenagers and in adults older than 65 years.
Malignant fibrous histiocytoma of bone is a very rare bone cancer. It is treated like osteosarcoma.
Ewing sarcoma includes several types of bone tumors. Ewing sarcoma tumors usually form in the hip bones, the ribs, or in the middle of
long bones. The disease occurs most often in teenagers and young adults. Ewing tumors are most common in bone but can also form in soft
Having past treatment with radiation can increase the risk of osteosarcoma. A small number of bone cancers are caused by inherited
conditions. Signs and symptoms of bone tumors include a lump, swelling, and pain.


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"It has been an adventure to arrive at this moment," began Aline Khoury, the media coordinator for the third Qalandiya International Festival (QIF). It is easy to see what she means. The event took two years to organise. Exhibits are hundreds of miles apart. One of the venues, the West Bank, is subject to a foreign occupation. Another, Gaza, is an open prison surrounded by fences and tanks.
Given all this, even basic coordination between organisers was a huge challenge. The Gazan participants could only be contacted via Skype. That the Qalandiya festival is a sprawling cultural festival – with two-hundred participants and across ten cities – is a remarkable achievement.
Considering the logistical difficulties they faced, moreover, it is unsurprising that the organisers were proud to highlight the international scope of their project. "We are keen for international visitors and guests to join in the conversations" the festival raises, explained Khoury.
Mahmoud Abu Hashhash, on the project's steering committee, agreed: the festival is important as an "incubator of Palestinian culture" abroad.
Not that venues are sprinkled around randomly. Rather, all the host cities have a special link to the sea.
This is especially important in a Palestinian context. Many Palestinians, confined to the West Bank, have never seen the sea. And in Gaza, people are trapped by it. Its ports are closed, and its fishermen risk Israeli shelling if they sail far from shore.
In Beirut, meanwhile, many Palestinians were stamped into the Mediterranean by Israel and its Maronite allies during the 1982 war with the PLO. Taken together, Abu Hashhash suggested, the Palestinian relationship with the sea is "a continuing part of the nakba."
It makes sense, then, that the organisers picked "cities on the sea" to host QIF, explained Khoury. Indeed, the festival aims to restore the sea "to the consciousness" of Palestinians, Abu Hashhash continued.
Optimistic cultural engagement – through art exhibitions, poetry and talks by historians – seeks to smash the stereotype that the sea is a purely traumatic place for Palestinians. It is not for nothing, after all, that the 2016 QIF is called 'This Sea is Mine.' The line is borrowed from the Palestinian national poet Mahmoud Darwish.
The sea, and the difficult spot it occupies in the Palestinian psyche, is also linked to the other main theme of the QIF: that of 'return.'
If the Mediterranean was stolen from Palestinians, the QIF aims to reclaim it as a genuine "geographical place" that goes beyond the depressing clichés, often peddled by politicians, about the 'right of return.'
As two of the curators for the Gazan exhibitions explain, "the sea is part of our daily lives." Palestinian links to the sea, and return to it, should be celebrated and not "reduced to a rigid slogan" devoid of cultural or historical context.
All this means the QIF is on firm conceptual ground. The organisers clearly put a lot of thought into how to intelligently combine the sea, and Palestinian return to it. This is unsurprising given the pedigree of many involved in the project. This includes representatives from some of Palestine's top cultural institutions, like the Palestinian Museum and the Arab Culture Association.
In short, the sea and the 'right of return' make a good intellectual framework for QIF. The organisers expect to welcome 15,000 visitors over the month-long run of the festival. If even some of those visitors are Palestinians who learn more about their historical and cultural links to the sea, the festival will have been a success.
But if visitors want to learn about Palestinian maritime culture especially, that have to be careful. Some of the exhibits seem so diffuse that it is hard to see how they fit into QIF's broader themes.
A piece at Birzeit University, for instance, shows a photo of a girl caught in the 2014 Gaza war. The picture, taken by Khalil Hamra for AP, is iconic. It made the front page of The Guardian.
The girl is shattered. She has scars on her face, and a single tear in her eye. In an interview, played over the top of the picture, Hamra explains the background to the shot, and his reaction to this terrible scene.
Certainly, the exhibit manages to hauntingly capture the Palestinian tragedy. But it is unclear how it links to QIF's focus on return and the Palestinian relationship with the sea.
This can probably be explained by QIF's decentralised style. Each artist involved in the festival was largely free to pursue their own work.
This is not a bad thing in itself. It means visitors can experience a blistering variety of art and culture. Anyway, given the scale of the festival, collaboration between individual artists was probably impossible.
But still, this scattered approach disconnects some of the art from QIF's aim of examining "the layers of repetitive manifestations of the nakba and imagined 'return.'"
Having said that, most exhibits do slip gracefully into QIF's programme. For example, in a handsome corner of Ramallah's old town, I saw an engaging series of paintings by Samia Halabi, now living in the US, about her inability to return to Palestine. The pieces are part of the aptly-named 'Sites of Return' exhibition.
Nearby, another 'Sites of Return' exhibit depicts a woman in various historical styles, including as a Byzantine saint. The aim is to return visitors far into Palestine's past, before the Islamic conquest of the 7th century.
In a further piece, at the Daraj Gallery in Birzeit University, Amneh Kheris and Nayef Zayed imagine a return to a peaceful Gaza, free from Israeli bombings. Their intricate cardboard models of futuristic houses jar with the shattered husks that dot Gaza today. The effect is chilling.
Indeed, the giddy range of activities on offer means that even if a few feel at odds with the general theme of 'This Sea is Mine,' there are plenty more to choose from. On October 11, Palestinian children will explore their relationship with the sea through art. A few days later, people can go on a guided tour of a village on the 1948 green line. From their balconies, residents can see the Mediterranean, but not visit it.
As a cultural event, then, QIF is phenomenal. The breadth of activities, and the level of organisation required to run them, is a mark of Palestine's lively civil society.
But, at a press conference before the opening of the festival, some of the organisers had loftier aims. After the cancelled Palestinian elections "artists have a duty to represent our problems in a sophisticated manner" claimed Abu Hashhash.
This is undoubtedly true. But Abu Hashhash also proposed that QIF could "accentuate change" in politicians via "positive active energies."
Institutions like Qalandiya definitely inspire people culturally. But can QIF really change political behaviour? Palestine's intractable political disputes suggest not. As Abu Hashhash himself admitted: "Palestinian politicians tend towards personal and factional interests" at the expense of the public good.
And even if the QIF can somehow affect the conduct of Palestinian politicians, Israel is a different matter.
Alia Rayyan is on the festival's steering committee and involved in organising the Jerusalem portion of the programme. I asked her whether cultural festivals like QIF could help improve the lives of Palestinian Jerusalemites given Israeli indifference to their problems.
She pauses. "Unfortunately we have to face new challenges every day. Just a week ago, [Israel] closed the only park in East Jerusalem. It is a long process to improve things."
Still, the QIF can shake up Israeli policy in subtle ways. Rayyan and her colleagues have circumvented a ban on public gatherings by paying for parking spaces on Jerusalem's streets, and hosting impromptu meetings. "In that moment we 'own' [the parking space], so we don't need a permit," Rayyan explains.
These hesitant shuffles forward notwithstanding, it is unclear how far the QIF can change the reality of the occupation in practice. Palestinians have fought to return to their pre-1948 homes for decades, without success. Can any cultural movement – especially one led by Palestinians – ever change actual Israeli policy?
Politics aside, though, the Qalandiya International Festival promises to be a fascinating event. With so many activities and exhibitions, it is the perfect way for Palestinians to learn more about their identity and history. And for everyone else, it is an ideal first stride into the beautiful, desperate foothills of Palestinian culture.
The Qalandiya International Festival runs from October 5 to October 31, in several cities.
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A musical celebration of the iconic BBC series, the Doctor Who Symphonic Spectacular features Murray Gold's captivating music from the Doctor Who series, accompanied by a big screen featuring specially edited sequences of Matt Smith's performance as the Eleventh Doctor. A host of monsters including the spine-chilling Silence and the awe-inspiring Daleks and Cybermen will add to the electric atmosphere. Inspired by the Doctor Who Proms at the Royal Albert Hall, the 2014 show will feature all-new content - including a look back at some of the previous Doctors and also some of the music from the last five decades - as well as performances of some audience favourites from the 2012 show.
The new Spectacular is currently scheduled for the following dates:
- 31st January (7:30pm) and 1st February (2:00pm) - Melbourne Symphony Orchestra
Plenary Hall, Melbourne Convention and Exhibition Centre
Bookings: 03 9929 9600 or visit www.mso.com.au
- 8th February - Queensland Symphony Orchestra
Brisbane Entertainment Centre
Bookings: 132 849 or visit ticketek.com.au/doctorwho
Composer Murray Gold said:
It's really special to be able to offer audiences the chance to experience this music as it was originally recorded. We worked with a symphonic orchestra on both the iconic theme tune and the rest of the series score and to hear the music performed by such world-class orchestras as the Melbourne Symphony Orchestra and the Queensland Symphony Orchestra is a fantastic opportunity for music lovers and Doctor Who fans alike.André Gremillet, Managing Director of the Melbourne Symphony Orchestra, said:
Doctor Who is a landmark in the history of TV and has a passionate fan base; most importantly for us at the MSO, music has been a key component of the show's success and durability; it is spine-tingling and inimitable. The MSO is excited to be able to share this unique concert experience with Melbourne Doctor Who fans. We're also looking forward to the opportunity this concert presents to reach out to new audiences who may not have experienced the power of a live symphony orchestra before.Sophie Galaise, CEO for Queensland Symphony Orchestra, said:
We are very excited to bring this international orchestral spectacular to Queensland with our own orchestra. I've worked on some major productions overseas including events with the Quebec Symphony Orchestra and over 1000 performers on stage at the Coliseum of Quebec; these are truly moving, memorable events, that should be shared and experienced by all. I anticipate Doctor Who Symphonic Spectacular to be a monumental musical moment that we look forward to sharing with Queensland audiences.
Helen Pendlebury, Head of Commercial, Entertainment and Children's Brands, BBC Worldwide Australia & New Zealand commented:
With Doctor Who celebrating its 50th anniversary this year, all eyes are on the Doctor. We are thrilled to work with the Melbourne Symphony Orchestra and the Queensland Symphony Orchestra to bring this unique event back to Melbourne following its huge success last year, and to give fans in Queensland the chance to experience it for the first time. We hope to announce dates in New Zealand shortly.
The Doctor Who Symphonic Spectacular is being presented in association with BBC Worldwide Australia and New Zealand. Tickets go on sale from the 6th August.


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Eleanor Bliss describes many of her varied life experiences including time she spent at Perry Mansfield Performing Arts School and Camp and The Explorers Club in New York City as well as her contributions to the Steamboat Springs Arts Council.
Voice Recording
Eleanor Bliss is interviewed by Tanna Brock, Lana Webb and Tracy Lewis about her experiences at Perry Mansfield Performing Arts School and Camp and other events in her life.
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Get help with your Graflex questions here
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Graflex in North East Scotland/WW1 1916-1918
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arthur t
Joined: 01 Feb 2004
Posts: 1
Location: USA
Posted: Sun Feb 01, 2004 5:26 pm
Post subject:
Greetings from Greasy Corner, Arkansas.
This is my f irst post on this site. I am doing research for a book, and I feel the vast and extensive knowledge of the members can help.
What I need to know is.
1. Was the Grafliex 5x7 available in Scotland and subsequently into France in WW1?
2. Did the camera use double dark slides holding film, or were glass plates in use?
3. How easy would it have been to use hand-held and would changing film inthe field pose many problems?
4. Could someone please tell about the lens in use, and how it worked?
5. Who manufactured the film for this camera circa 1916?
Any other information consider relevant.
Thank you in advance for all assistance.
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Joined: 10 Nov 2003
Posts: 812
Location: East Coast (Long Island)
Posted: Thu Feb 12, 2004 7:43 pm
Post subject:
I have no aversion to being a source of innocent amusement to the Graflex historians on this site, so I'll start the ball rolling with some vague and, perhaps, inaccurate generalities.
I'm sure that someone in Scotland, or elsewhere in the United Kingdom, could have gotten a 5x7 "Speed Graphic" in 1916. Similarly, I suppose you could have obtained one in France, if you'd wanted one -- you might have had to send away for it, but people did that all the time.
It might be fun to find out whether the unavailability in Britain and France (etc.) of new German cameras after August, 1914 emcouraged U.S. manufacturers to try expanding the export of our lower-priced alternatives to the beautiful but pricey English cameras that then dominated the high end of the market.
I'd be surprised if many combat photographers would have wanted to use a 5x7 camera of any make. My impression is that the German press corps tended to use 9x12-cm. format cameras (e.g., the Goerz "Anschutz") and I'd expect British (or American) photojournalists and military photographers to favor models accepting 3-1/4x4-1/4 or 4x5 materials. A 5x7 "Speed Graphic" might have been a very good choice for an observer in a captive balloon.
The photographer would have had a choice of cut film, roll film (including much larger sizes than are available now), film pack (which I think was invented in or before 1912) or dry plates -- for that matter, wet plates, if he'd wanted to carry a Matthew Brady-style tent or wagon around with him. (Wet collodion remained popular for graphic arts work through the 1930s.)
If I thought someone were likely to shoot at me while I was using a camera, I'd opt for film pack, which gave you a lot of exposures in a compact package, and was very quick and easy to advance. On this reasoning, dry plates would not have been a popular choice. The idea would be to have things in your pockets that wouldn't break into sharp pieces if you need to jump into a hole.
If the photographer were English, he'd be likely to use one of the excellent lenses available from Taylor, Taylor & Hobson (e.g., the "Cooke Anastigmat"), Ross, Dallmeyer or others. If he'd bought his lens before the outbreak of hostilities, it might be a Goerz "Dagor" double anastigmat or Zeiss "Protar" or "Tessar." He also could be using one of the older but still popular "Rapid Rectilinear" lenses, which were made under various names by several manufacturers (in the U.S., Bausch & Lomb. B&L also had a license to make "Protars"; so, I think, did Ross in England, and an outfit in France, perhaps Krauss).
My guess on film would be Eastman Kodak Co. for the United States (it showed everybody the way, and developed an international presence before WWI). Or, perhaps, Kodak's great rival Anthony & Scoville (later Ansco), and maybe Ilford in England. It was a lot easier to be a film manufacturer back then (easier still to make dry plates), so there may well have been a number of long-forgotten producers.
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Joined: 10 Nov 2003
Posts: 812
Location: East Coast (Long Island)
Posted: Thu Feb 12, 2004 9:11 pm
Post subject:
...I observe that you said "Graflex." These surely were around (in 5x7 and smaller sizes during World War I. They had many British competitors, made by famous manufacturers like Adams, Thornton Pickard and Marion (and more besides). They were widely used for peaceful reportage, but would not have found favor in a battlefield setting because you really had to use them standing up, and they did not fold up readily (though I think the Adams "Minex" collapsed more than a "Graflex" did).
I think the British Army was contracting for Marion "Soho Reflex" cameras right through World War II, but I doubt that the intended use was combat photography. You really wanted something with an eye-level finder for that!
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Joined: 10 Nov 2003
Posts: 812
Location: East Coast (Long Island)
Posted: Fri Feb 13, 2004 3:44 am
Post subject:
Concerning how the lens might have worked: if the camera were a "Graflex" reflex, the lens would have had a conventional iris diaphragm and nothing more. You focused with the lens wide open so you could see the image on the groundglass, then reached around and stopped down (if necessary) before making the exposure.
If it were a "Speed Graphic," the lens might have been mounted in a shutter but, at that time, probably would not have been. The appeal of the early "Speed Graphic" was its reliable, fast focal plane shutter. Front shutters with any kind of accuracy and versatility were still in their infancy, although the early modern "Ilex" and Daeckel "Compur" (derived from the design licensed from Ilex) both predate the outbreak of war (1910 and 1912, I think).
It always has been a mystery to me why no one fitted an automatic diaphragm to the lens of a large-format reflex prior to the 1950s. Jason Schneider of "Popular Photography" (and earlier, "Modern") once reported that Graflex patented an automatic diaphragm system in the 1920s. For some unknown reason, this seems not to have been incorporated into a real-world lens until the '50s.
I suppose it's all in what you are accustomed to; I've always had enough trouble with "preset" diaphragms, but my early experience was with rangefinder cameras.
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Ever heard a Stadium PA guy play the charge call in the bottom of the first inning? It is a neat summary of the Mets 2009 season, and it sounded out tonight here at CitiField not long after Jerry Manuel confirmed Carlos Delgado had suffered new setbacks and now would not make a late-season cameo after hip surgery in June. It had been assumed that if Delgado did not reappear it would augur poorly for his chances of 2010 employment here or elsewhere. But Manuel seemed to recognize an awful truth few others did not in saying Delgado might be back after all. That truth is this: he is earnest and he has flashes both of an instinctive ability to play the position, and even an occasional flash of brilliance. But Daniel Murphy is not now a major league first baseman. After a game-losing, panicky, assumption-driven fiasco in Atlanta Wednesday, Murphy tonight failed to make what would admittedly have been a special pick-up on a tough hop off the bat of Christian Guzman in the top of the first. And a first baseman needs to be special defensively if he has no real history of power, and has produced only 10-56-.262-.414 on his first big league season. Consider Delgado, in a power-starved lineup and in only 26 games, ended at 4-23-.298-.521. The Mets cannot assume his viability for 2010 but he is no more of a risk than Murphy appears to be now.
Off-point, talk in the press box here tonight of the NFL fiasco in which Jerry Jones spent – what was it? Eleventy Billion? – to install a video screen that is within easy reach of the leagues punters. Not that any of us was here for it, but the last confirmed new stadium screw-up on that level came in Brooklyn in 1913 when Charlie Ebbets opened his new home for the Dodgers. Reporters followed Ebbets to centerfield for the ceremonial raising of the flag, everybody applauded, and then some scribe asked So, Charlie, where do we sit? It was only then that the Dodger owner realized that Ebbets Field had been built without a press box.
4 Comments
What a classic guffaw by Mr. Ebbets. Who had those blueprints.. .I'd love to have the originals!!! HOF material.
"Ever heard a Stadium PA guy play the "charge" call in the bottom of the first inning?"
The Metrodome. Literally every time a Twins player reaches base, the organ starts up and will not stop. Doesn't matter if they're down by 12 runs in the eighth. Hit by a pitch, and there it goes! Granted, it's a live organ player, not a recording, but same gist. I really hope they do something different with the new ballpark next year, because if I have to hear the Addams Family theme on that ancient organ every ballgame, I'm gonna throw hotdogs at Chuck Knoblauch. Oh, wait. Is this 2001?
I love Murph for his dedication and hard work, but have to agree we need a power hitter 1st baseman for 2010. I was at that game too, and saw you signing helmets at the tail end of bp. You guest starred in my video 🙂
And, no toilets. (At Ebbets Field, that is.) You forgot that, Keith.
Just thought I'd let you know. And oh yes, the Nationals SWEPT the Amazin's!!! Should I call them the "Miracle" Nats now?? LMAO
Nasty Nats Live Here (and Everywhere)


text:
Currently 3.67/5 Rating: 3.7/5 (Total votes: 18)
Rating: 3.7/5 (Total votes: 18)
What's New in This Release:
· Fixed Spanish language
· Fixed a bug for a crash in old devices
What's New in 6.1.2:
· IMPORTANT: fix for a login error that could affect some users
· Stability fixes
What's New in 6.0.3:
· Fix for an important error that caused random crashes
· Performance improvements
What's New in 6.0.2:
· Fix for login at boot crash
· Better use of screen space
· Improved app navigation speed and performance
· Lots of crash fixes
What's New in 6.0.1:
· Fixed view profile with Facebook app error. Now compatible with latest Facebook app updates.
· Image/video/audio downloads are faster now.
What's New in 5.2.4:
· Fixed issues with images/audio/video uploads that made them slower
· Fixed image sharing bug when sharing from gallery app, it didn't send the image to all selected contacts
· Other bug fixes
What's New in 5.2.3:
· Added Traditional Chinese translation (thanks to Leo Yang!)
· Minor fixes
What's New in 5.2.2:
· Added privacy policy on settings
· Now you can choose between facebook official app or web when changing user in the login screen
» show more


text:
Sonic artist and programmer Daniel Jones and composer Peter Gregson have joined forces with Britten Sinfonia orchestra to create The Listening Machine, a tool that records the social networking activity of 500 people in the United Kingdom and uses algorithms to translate that into music.
The Listening Machine is software that monitors the tweets of 500 people (the team won't reveal the tweeter's identities to ensure that the musical outcome is not affected by participants becoming aware that they are part of it) selected from eight different fields—arts, business, education, health, politics, science, sport, and technology. Whenever these people post an update, the properties of the tweet are analyzed in terms of the sound and meaning of the words, and the program generates music based on it. Many different elements of the music have been prerecorded as individual musical cells, which are then recombined by the generative software.
The aim of the project is to create a six-month musical installation that is a "live soundtrack to the thoughts, opinions, feelings and conversations of the U.K.'s population, as played out on Twitter."
Gregson told Wired.co.uk that the idea struck him when he was at a conference in San Francisco and was talking with Twitter's then-chief scientist, Abdur Chowdhury. "He was enthusing about large data sets, and I was struck by how the vocabulary he used to describe data was essentially the same as the way we music types describe music—the effects of the drinks wore off, but the idea for 'sonifying' live, emotional data stuck around."
The system analyses the sentiment of the remark, looking for emotive words such as "ace" or "rubbish." These—along with any associated emoticons—will rank as positive or negative. It also classifies the subject matter of the tweet using the same eight categories. It does this by cross-referencing the words with an archive of material from the BBC News website. The software also analyzes the rhythm of the words used in the tweet, translating the sequences of syllables into musical notes, ordered based on their typical fundamental frequency for an English speaker.
The overall rate of tweeting is linked to the rate and speed of the music triggered. Emotional trends govern the piece's musical mode, while certain keywords or topics are used to trigger larger movements within the piece.
Thousands of short instrument fragments have been recorded with Britten Sinfonia and are played based on people's speech patterns. Recorded samples or individual notes are used to generate more complex patterns, with their speed and density controlled by the broader trends in social behavior—so if people are tweeting quickly then the tempo will increase.
"Honestly, producing six months' worth of potential music was a nightmare," said Gregson. "Clearly we didn't have the time (nor the inclination) to write, record, edit and mix six months' worth of music, so we had to be creative and think hard about how to map music cells to words, letters, consonants, vowels, sentiment and so on. The hardest part was itemizing all the bits we would need and develop ways that, even if every single sound played all at once, it wouldn't sound crap! It's like painting—if you use every color you've got, everything looks brown."
There are also nonmusical sounds that are triggered by certain keywords—for example if someone mentions an airport, it will trigger the sound of a plane taking off. The team is planning to allow members of the public to upload sounds from their lives, which they will integrate into the system.
Gregson started working with coder Daniel Jones at the same time as Britten Sinfonia. "So for a heavy tech project, it was rare in that it was absolutely developed as a musical piece from Day 1. So often, the 'art' bit is stuck on at the end, or the tech bit rammed on at the end. The satisfying thing with The Listening Machine was the equal weight between code and composition."
The piece—funded by the BBC and the Arts Council—runs 24 hours a day until October 2012. You can hear it on digital arts channel The Space or directly at thelisteningmachine.org.


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One of Jersey City's greatest strengths is its access to a wide variety of transportation options. Whether you're walking, biking, driving, taking the bus or train, or relaxing on the ferry, if you start in Jersey City.
The Fulop Administration has continued to expand access to various modes of transportation. From making more pedestrian friendly areas to the easy access of 50 Citi Bike stations throughout the City, you can always find a way to get around in Jersey City.