text:
Feb. 9, 2009
By Ivan Raconteur
Staff Writer
LESTER PRAIRIE, MN Too many people today walk on by without noticing those around them, or look the other way to avoid getting involved, according to Lester Prairie resident LeAnn Pick.
That is part of why she moved to Lester Prairie, and why she is so grateful that some of her neighbors were looking out for her young daughter and prevented what could have been a tragic situation on a frigid, snowy day in January.
The day was Monday, Jan. 12. It was the first day Pick's daughter, Kaila, 4, was to be dropped off at a new backup day care.
LeAnn said she is always very careful when selecting day care providers.
She does research, gets referrals, and checks to find out if there have been any negative reports about a day care before she agrees to use it.
She did all of these things in this case, too. She arranged a week in advance to drop Kaila off that day, and even called the new care provider one last time over the weekend to make sure everything was in order.
LeAnn's husband was out of town for work that week, so she and Kaila were alone.
The morning of Jan. 12 was bitter cold, and the forecast called for increasing winds, dropping temperatures, and more snow throughout the day.
In spite of this, LeAnn was confident that her daughter was in good hands when she headed off to her new job at the McLeod County Veteran Services Office.
Kaila was to spend the morning in preschool, and then the bus would drop her off at the new backup day care, because her regular day care was closed that day.
Everything went according to plan until LeAnn got the call that no parent would want to receive.
It was the school on the line. LeAnn was told that her daughter was OK, but was with strangers.
The story that followed scared her "nearly out of her mind."
The bus had dropped her daughter off as instructed, but the new day care was closed, leaving the girl stranded in a strange neighborhood.
"She (the day care owner) had called all of the parents except me," LeAnn said.
She explained that, to the bus driver, it looked like the residents were home, because there happened to be a construction company replacing the siding on the house that day.
Kaila's teacher told LeAnn that across the street from the new day care is another day care.
The neighbor, Phyllis Hummel, runs a licensed day care out of her home, and had noticed that when some of the preschoolers who attend her day care got off the bus, another little girl got off the bus with them, but walked across the street alone.
"She noticed my daughter standing out in the cold with nowhere to go. Following orders from her mommy (she had been told not to wander off), she just stood there, scared out of her mind and cold, and probably extremely confused," LeAnn said.
Hummel sent her husband out to get the girl and bring her in so they could find out where she belonged.
LeAnn explained that Kaila has been told many times to beware of strangers, but eventually she agreed to go into the Hummels' house.
"She knew this situation was bigger than she could handle on her own," LeAnn said.
The Hummels were able to get Kaila's first name without any problems, but when they asked for her last name, she said, "Princess."
"We always tell her she is mommy and daddy's little princess," LeAnn explained.
Armed with a first name and a description of the little girl, Hummel called the school to find out who she was and where she belonged.
"What is really positive about a small school is that they know the kids, and they acted so quickly," LeAnn said.
Before long, Kaila had been identified and the teacher immediately called LeAnn at work. She gave her Hummel's phone number.
"I could tell in my daughter's voice that she was OK," LeAnn said.
The relief she felt was immense.
"When you think of all the things that could have happened," LeAnn said, her voice trailing off. She mentioned children who have been grabbed off the street, and others who have wandered off in that kind of weather and been found frozen, or never found at all.
After consulting Kaila's teacher and talking briefly to Hummel and to Kaila, LeAnn decided to let her daughter stay there until she got off work.
"She didn't even want me to pay her," LeAnn said of her first meeting with Hummel later that afternoon.
"God was looking out for my daughter that day, and Phyllis was the angel he sent," she added.
Hummel's act of kindness has resulted in her being Kaila's new backup day care provider.
"She (Kaila) is excited to go over there," LeAnn said. "Her first day was Wednesday, and it was all hugs and smiles. She (Hummel) is the ideal day care provider. She is a very humble person, but her act of kindness was truly a miracle in my eyes."
LeAnn and her husband built their house in Lester Prairie and moved to the community in 2006 because of the good school district and the small-town atmosphere.
"We feel safe here," LeAnn commented.
After the incident, she thought about all of the things that could have happened, and all of the tragic stories she has heard on the news, but she tries not to think about that part of it anymore.
"You look at things a little differently after going through all that," LeAnn said.
She is grateful to the school staff for their quick action, and to the Hummels for looking out for a neighbor and going out of their way to make a scared little girl feel safe.


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text:
Theatrical release poster
|Directed by
|Sidney Lumet
|Produced by
|Howard Gottfried
Fred C. Caruso
|Written by
|Paddy Chayefsky
|Narrated by
|Lee Richardson
|Music by
|Elliot Lawrence
|Owen Roizman
|Edited by
|Alan Heim
|Distributed by
|United Artists
Release date
Running time
|121 minutes[1]
|United States
|$3.8 million
|Box office
|$23.7 million[2]
Network is a 1976 American satirical black comedy-drama film written by Paddy Chayefsky and directed by Sidney Lumet, about a fictional television network, UBS, and its struggle with poor ratings. The film stars Faye Dunaway, William Holden, Peter Finch and Robert Duvall and features Wesley Addy, Ned Beatty and Beatrice Straight.
Network received widespread critical acclaim, with particular praise for the performances. The film won four Academy Awards, in the categories of Best Actor (Finch), Best Actress (Dunaway), Best Supporting Actress (Straight) and Best Original Screenplay (Chayefsky).
In 2000, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[3][4] In 2002, it was inducted into the Producers Guild of America Hall of Fame as a film that has "set an enduring standard for American entertainment".[5] In 2005, the two Writers Guilds of America voted Chayefsky's script one of the 10 greatest screenplays in the history of cinema.[6][a] In 2007, the film was 64th among the 100 greatest American films as chosen by the American Film Institute, a ranking slightly higher than the one AFI had given it ten years earlier.
As of July 1, 2020, Warner Bros. Home Entertainment now owns international home media rights for Network along with the rest of the post-1952 United Artists library.[7]
Howard Beale, the longtime anchor of the Union Broadcasting System's UBS Evening News in New York City, learns from friend and news division president Max Schumacher that he has just two more weeks on the air because of declining ratings. The two get drunk and lament the state of their industry. The following night, Beale announces on live television that he will commit suicide on next Tuesday's broadcast. UBS fires him after this incident, but Schumacher intervenes so that Beale can have a dignified farewell. Beale promises he will apologize for his outburst, but once on the air, he launches back into a rant claiming that life is "bullshit." Beale's outburst causes the newscast's ratings to spike, and much to Schumacher's dismay, the upper echelons of UBS decide to exploit Beale's antics rather than pull him off the air. When Beale's ratings seem to have topped out, Diana Christensen, who heads the network's programming department, approaches Schumacher and offers to help him "develop" the news show. He says no to the professional offer, but she also makes a personal offer and the two begin an affair.
Christensen, seeking just one hit show, cuts a deal with a band of terrorists called the Ecumenical Liberation Army for a new docudrama series called The Mao Tse-Tung Hour for the upcoming fall season. When Schumacher decides to end Beale's "angry man" format, Christensen convinces her boss, Frank Hackett, to slot the evening news show under the entertainment programming division so she can develop it. Hackett agrees, bullying the UBS executives to consent and fire Schumacher. In one impassioned diatribe, Beale galvanizes the nation, persuading his viewers to shout out of their windows "I'm as mad as hell, and I'm not going to take this anymore!" Soon afterward, Beale is hosting a new program called The Howard Beale Show, top-billed as "the mad prophet of the airwaves". Ultimately, the show becomes the most highly rated program on television, and Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants Beale's signature catchphrase en masse: "We're as mad as hell, and we're not going to take this anymore." At first, Max and Diana's romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their way back together, and Schumacher leaves his wife of over 25 years for Christensen.
When Beale discovers that Communications Corporation of America (CCA), the conglomerate that owns UBS, will be bought out by an even larger Saudi Arabian conglomerate, he launches an on-screen tirade against the deal and urges viewers to pressure the White House to stop it. This panics the top network brass because UBS's debt load has made the merger essential for its survival. Hackett takes Beale to meet with CCA chairman Arthur Jensen, who explicates his own "corporate cosmology" to Beale, describing the inter-relatedness of the participants in the international economy and the illusory nature of nationality distinctions. Christensen's fanatical devotion to her job and emotional emptiness ultimately drive away Schumacher, who warns his former lover that she will self-destruct at the pace she is running with her career. "You are television incarnate, Diana," he tells her, "indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality." Jensen persuades Beale to abandon his populist message and preach his new "evangel". However, ratings slide as audiences find his new sermons on the dehumanization of society depressing, yet Jensen will not allow UBS to fire Beale. Seeing its two-for-the-price-of-one value—solving the Beale problem plus sparking a boost in season-opener ratings—Christensen, Hackett, and the other executives decide to hire the ELA to assassinate Beale on the air. The assassination succeeds, putting an end to The Howard Beale Show and kicking off a second season of The Mao Tse-Tung Hour.
As Beale lies bleeding on the set, a camera swings over the body in a crane shot — the tight depth of field of this final shot results in the camera apparently running over the corpse. We then cut to four television screens, three displaying news reports covering Beale's death, and the bottom-left displaying a contemporary commercial. The overlapping audio creates an unintelligible cacophony. Each news report plays out, two cutting to a different commercial, while the bottom-left screen replays Beale's death in slow-motion. The screens momentarily freeze, and a voiceover proclaims the film "the story of Howard Beale, the first known instance of a man who was killed because he had lousy ratings." All of the screens fade to black, except for a still-frame of the murder. The overlapping audio slowly resolves throughout the credits, finally ending in a sound effect of a single news teletype.[8]
- Faye Dunaway as Diana Christensen
- William Holden as Max Schumacher
- Peter Finch as Howard Beale
- Robert Duvall as Frank Hackett
- Wesley Addy as Nelson Chaney
- Ned Beatty as Arthur Jensen
- Beatrice Straight as Louise Schumacher
- Jordan Charney as Harry Hunter
- William Prince as Edward Ruddy
- Lane Smith as Robert McDonough
- Marlene Warfield as Laureen Hobbs
- Conchata Ferrell as Barbara Schlesinger
- Carolyn Krigbaum as Max's secretary
- Arthur Burghardt as the Great Ahmet Khan
- Cindy Grover as Caroline Schumacher
- Darryl Hickman as Bill Herron
- Ken Kercheval as Merril Grant
- Kathy Cronkite as Mary Ann Gifford
- Ed Crowley as Joe Donnelly
- Lee Richardson as the Narrator (voice)
- Lance Henriksen as Network lawyer (uncredited)
Network came only two years after the first on-screen suicide in television history, of television news reporter Christine Chubbuck in Sarasota, Florida.[9] The anchorwoman was suffering from depression and loneliness, was often emotionally distant from her co-workers, and shot herself on camera as stunned viewers watched on July 15, 1974.
Chayefsky used the idea of a live death as his film's focal point, saying later in an interview, "Television will do anything for a rating ... anything!" However, Dave Itzkoff's book Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in Movies disputes that Chayefsky was inspired by the Chubbuck case, asserting that Chayefsky actually began writing Network months before Chubbuck's death and already planned for Howard Beale to vow to kill himself on air, and that Chubbuck's suicide was simply an eerie parallel.[10] Sidney Lumet also confirmed that the character of Howard Beale was never based on any real life person.[11] Still, the Chubbuck case is mentioned in Chayefsky's screenplay.[citation needed]
Before beginning his screenplay, Chayefsky visited network TV offices. Sitting in on meetings at CBS and NBC, he noted "the politics, the power struggles, the obsession with ratings."[12] He was also surprised to learn that television executives did not watch much television. "The programs they put on 'had to' be bad," he said, "had to be something they wouldn't watch. Imagine having to work like that all your life."[13]
According to Dave Itzkoff, what Cheyefsky saw while writing the screenplay during the midst of Watergate and the Vietnam war was all the anger of America being broadcast in everything from sitcoms to news reports. He concluded that Americans "don't want jolly, happy family type shows like Eye Witness News" ... "the American people are angry and want angry shows."[14] When he began writing his script he had intended on a comedy, but instead poured his frustration at the broadcasts being shown on television, which he described as "an indestructible and terrifying giant that is stronger than the government" — into the screenplay. It became a "dark satire about an unstable news anchor and a broadcasting company and a viewing public all too happy to follow him over the brink of sanity."[14]
The character of network executive Diana Christiansen was based on NBC daytime television programming executive Lin Bolen,[15] which Bolen disputed.[16]
Chayefsky and producer Howard Gottfried had just come off a lawsuit against United Artists, challenging the studio's right to lease their previous film, The Hospital, to ABC in a package with a less successful film. Despite this recent lawsuit, Chayefsky and Gottfried signed a deal with UA to finance Network, until UA found the subject matter too controversial and backed out.
Undeterred, Chayefsky and Gottfried shopped the script around to other studios, and eventually found an interested party in Metro-Goldwyn-Mayer. Soon afterward, United Artists reversed itself and looked to co-finance the film with MGM, since the latter had an ongoing distribution arrangement with UA in North America. Since MGM agreed to let UA back on board, the former (through United Artists as per the arrangement) controlled North American/Caribbean rights, with UA opting for overseas distribution.
In his notes, Chayefsky jotted down his ideas about casting. For Howard Beale, who would eventually be played by Peter Finch, he envisioned Henry Fonda, Cary Grant, James Stewart and Paul Newman. He went so far as to write Newman, telling him that "You and a very small handful of other actors are the only ones I can think of with the range for this part." Lumet wanted Fonda, with whom he had worked several times, but Fonda declined the role, finding it too "hysterical" for his taste. Stewart also found the script unsuitable, objecting to the strong language. Early consideration was given to real-life newscasters Walter Cronkite and John Chancellor, but neither was open to the idea. Although not mentioned in Chayefsky's notes, George C. Scott, Glenn Ford and William Holden reportedly also turned down the opportunity to play Beale, with Holden instead playing Max Schumacher: For that role, Chayefsky had initially listed Walter Matthau and Gene Hackman. Ford was under consideration for this part as well, and was said to be one of two final contenders. Holden finally got the edge because of his recent box-office success with The Towering Inferno.[17]
The movie's producers were wary that Australian Finch would be able to sound like an authentic American; they demanded an audition before his casting could be considered. Finch, an actor of considerable prominence, reportedly responded, "Bugger pride. Put the script in the mail." Immediately realizing that the role was a plum, he even agreed to pay his own fare to New York for a screen test. He prepared for the audition by listening to hours of broadcasts by American newscasters, and by weeks of reading the international editions of The New York Times and the Herald Tribune into a tape recording, then listening to playbacks with a critical ear. Gottfried recalled that Finch "was nervous as hell at that first meeting over lunch and just like a kid auditioning. Once we'd heard him, Sidney Lumet, Paddy, and I were ecstatic because we knew it was a hell of a part to cast." Finch cinched the deal with Lumet by playing him the tapes of his newspaper readings.[18]
Faye Dunaway wanted Robert Mitchum to play Max Schumacher, but Lumet refused, believing that Mitchum wasn't sufficiently urbane.[19][20]
For the role of Diana Christensen, Chayefsky thought of Candice Bergen, Ellen Burstyn, and Natalie Wood, while the studio suggested Jane Fonda, with Kay Lenz, Diane Keaton, Marsha Mason and Jill Clayburgh. Lumet wanted to cast Vanessa Redgrave in the film, but Chayefsky didn't want her. Lumet argued that he thought she was the greatest English-speaking actress in the world, while Chayefsky, a proud Jew and supporter of Israel, objected on the basis of her support of the PLO. Lumet, also a Jew, said "Paddy, that's blacklisting!", to which Chayefsky replied, "Not when a Jew does it to a Gentile."[21]
Dunaway was cast as Diana in September 1975. Lumet told her that he would edit any attempts on her part to make her character sympathetic and insisted on playing her without any vulnerability.
Lumet cast Robert Duvall as Frank Hackett. Duvall saw Hackett as a "vicious president Ford".[22] On Duvall, Lumet said: "What's fascinating about Duvall is how funny he is."
Ned Beatty was cast as Arthur Jensen on the recommendation of director Robert Altman after the original actor failed to live up to Lumet's standards. Beatty had one night to prepare a four-page speech, and was finished after one day's shooting.
Beatrice Straight played Louise Schumacher, Max's wife, on whom he cheats with Diana.[23] Straight had won a Tony Award in 1953 for playing an anguished wife who similarly is cheated upon in Arthur Miller's The Crucible.
After two weeks of rehearsals, filming started in Toronto in January 1976.
Lumet recalled that Chayefsky was usually on the set during filming, and sometimes offered advice about how certain scenes should be played. Lumet allowed that his old friend had the better comic instincts of the two, but when it came to the domestic confrontation between Holden and Straight, the four-times-married director had the upper hand: "Paddy, please, I know more about divorce than you!"
Finch, who had suffered from heart problems for many years, became physically and psychologically exhausted by the demands of playing Beale.[24]
There was some concern that the combination of Holden and Dunaway might create conflict on the set, since the two had sparred during an earlier co-starring stint in The Towering Inferno. According to Holden biographer Bob Thomas, Holden had been incensed with Dunaway's behavior during the filming of the disaster epic, especially her habit of leaving him fuming on the set while she attended to her hair, makeup and telephone calls. One day, after a two-hour wait, Holden reportedly grabbed his costar by the shoulders, pushed her against a soundstage wall and snapped, "You do that to me once more, and I'll push you through that wall!"
Lumet and cinematographer Owen Roizman worked out a complicated lighting scheme that in Lumet's words would "corrupt the camera". Lumet recalled: "we started with an almost naturalistic look. For the first scene between Peter Finch and Bill Holden, on Sixth Avenue at night, we added only enough light to get an exposure. As the movie progressed, camera setups became more rigid, more formal. The lighting became more and more artificial. The next-to-final scene — where Faye Dunaway, Robert Duvall, and the three network gray suits decide to kill Peter Finch — is lit like a commercial. The camera setups are static and framed like still pictures. The camera had also become a victim of television."[21]
The film premiered in New York City on November 27, 1976, and went into wide release shortly afterward.
Critical reception
Network opened to acclaim from critics, and became one of the big hits of 1976–77. Vincent Canby, in his November 1976 review of the film for The New York Times, called the film "outrageous ... brilliantly, cruelly funny, a topical American comedy that confirms Paddy Chayefsky's position as a major new American satirist" and a film whose "wickedly distorted views of the way television looks, sounds, and, indeed, is, are the satirist's cardiogram of the hidden heart, not just of television but also of the society that supports it and is, in turn, supported."[25] Gene Siskel of the Chicago Tribune gave the film four stars out of four, calling it "a very funny movie that takes an easy target and giddily beats it to death."[26] Charles Champlin of the Los Angeles Times put the film on his list of the 10 best of the year.[27]
In a review of the film written after it received its Academy Awards, Roger Ebert called it a "supremely well-acted, intelligent film that tries for too much, that attacks not only television but also most of the other ills of the 1970s," though "what it does accomplish is done so well, is seen so sharply, is presented so unforgivingly, that Network will outlive a lot of tidier movies."[28] Seen a quarter-century later, Ebert added the film to his Great Movies list and said the film was "like prophecy. When Chayefsky created Howard Beale, could he have imagined Jerry Springer, Howard Stern, and the World Wrestling Federation?"; he credits Lumet and Chayefsky for knowing "just when to pull out all the stops."[29]
Not all reviews were positive: Pauline Kael in The New Yorker, in a review subtitled "Hot Air", criticized the film's abundance of long, preachy speeches; Chayefsky's self-righteous contempt for not only television itself but also television viewers; and the fact that almost everyone in the movie, particularly Robert Duvall, has a shouting rant: "The cast of this messianic farce takes turns yelling at us soulless masses."[30] Gary Arnold of The Washington Post declared that "the movie is too sternly, monotonously preachy for either persuasion or casual amusement."[31] Michael Billington wrote, "Too much of this film has the hectoring stridency of tabloid headlines",[32] while Chris Petit in Time Out described it as "slick, 'adult', self-congratulatory, and almost entirely hollow", adding that "most of the interest comes in watching such a lavishly mounted vehicle leaving the rails so spectacularly."[33]
Network currently holds a 91% "Fresh" rating on Rotten Tomatoes based on 68 reviews, with an average rating of 8.4/10. The consensus states, "Driven by populist fury and elevated by strong direction, powerful acting, and an intelligent script, Network's searing satire of ratings-driven news remains sadly relevant more than four decades later."[34]
Screenwriter Aaron Sorkin wrote that "no predictor of the future—not even Orwell—has ever been as right as Chayefsky was when he wrote Network."[35] The film ranks at number 100 in Empire magazine's list of the 500 Greatest Films of All Time.[36]
In popular culture
The film's noted line "I'm as mad as hell, and I'm not going to take this anymore" and its derivatives are referenced in numerous films and other media, including Mad As Hell, a satirical Australian news show starring Shaun Micallef.[37] In Better Call Saul's first episode "Uno", Jimmy McGill quotes part of Jensen's eviscerating diatribe when he is lambasting the board of his former law firm, then tells his confused audience that his quote came from Network. The same camera angle is employed in both instances.[38]
Peter Finch's "Mad as Hell" monologue is sampled in the 2009 track "Recession" by Dutch hardstyle artist The Prophet. This monologue is also sampled in the song "Lullaby" by Scottish singer/songwriter Gerry Cinnamon on his debut album Erratic Cinematic and on the post-rock group Maybeshewill's song, Not for Want of Trying, on their album of the same name.
The English speaking French rap duo Chill Bump use Howard Beale's iconic rant as the intro to their award-winning song Life Has Value from their 2012 release Hidden Strings.
Arthur Jensen's speech to Beale is extensively sampled in "Corporate Slave" by Snog and "America Number One" by Consolidated.
In the first episode of Studio 60 on the Sunset Strip, a character's on-air breakdown is compared to that of Beale by news reporters.
In Episode 15 of Series 4 of Boston Legal, "Tabloid Nation", Alan uses the film as evidence in his closing arguments to prove how debased modern American TV culture has become.
Stage adaptation
A stage adaptation by Lee Hall premiered in the Lyttleton Theatre at the National Theatre in London in November 2017. The play was directed by Ivo Van Hove featuring Bryan Cranston making his UK stage debut as Howard Beale, and Michelle Dockery as Diana.[39][40] It opened on Broadway on December 6, 2018, with Cranston reprising his role as Beale, and with Tatiana Maslany as Diana and Tony Goldwyn as Max Schumacher.[41]
Awards and honors
At the Academy Awards, Network won three of the four acting awards (the only other film to achieve that was, A Streetcar Named Desire in 1951, when it won in three of the acting categories).
Peter Finch died before the 1977 ceremony and was the only performer to win a posthumous Academy Award (until 2009 when Heath Ledger won Best Supporting Actor). The statuette itself was collected by Finch's widow, Eletha Finch.
Beatrice Straight's performance as Louise Schumacher occupied only five minutes and two seconds of screen time, making it the shortest performance to win an Oscar to date (breaking Gloria Grahame's nine minutes and 32 seconds screen time record for The Bad and the Beautiful in 1953).[42]
American Film Institute
- AFI's 100 Years...100 Movies – #66
- AFI's 100 Years...100 Laughs – Nominated
- AFI's 100 Years...100 Heroes & Villains:
- Diana Christensen – Nominated Villain
- AFI's 100 Years...100 Movie Quotes:
- "I'm as mad as hell, and I'm not going to take this anymore!" – #19
- AFI's 100 Years...100 Movies (10th Anniversary Edition) – #64
- ^ Dunaway, Duvall and Holden also appear in other films from the same WGA top ten list; Chinatown, The Godfather and Sunset Boulevard respectively.
- ^ Tied with Annie Girardot for Run After Me Until I Catch You.
- ^ Tied with Rocky.
- ^ "NETWORK (AA)". United Artists. British Board of Film Classification. November 1, 1976. Retrieved July 11, 2014.
- ^ "Network, Box Office Information". Box Office Mojo. Retrieved January 23, 2012.
- ^ "Complete National Film Registry Listing | Film Registry | National Film Preservation Board | Programs at the Library of Congress | Library of Congress". Library of Congress, Washington, D.C. 20540 USA. Retrieved May 6, 2020.
- ^ "Librarian of Congress Names 25 More Films to National Film Registry". Library of Congress, Washington, D.C. 20540 USA. Retrieved May 6, 2020.
- ^ Archive of Producers Guild Hall of Fame – Past Inductees, Producers Guild of America official site. Accessed October 31, 2010. Original site.
- ^ "101 Greatest Screenplays". Writers Guild of America, West. Retrieved November 29, 2015.
- ^ https://d20qidnmpnrwiu.cloudfront.net/cdn/ff/6JmGPNAv-9qNX5xAK5uYFF12m62glYVtdG_7rG6V9yg/1597354452/public/2020-08/Q2%202020%20Financial%20Report.pdf
- ^ "The end of the movie Network". YouTube. MGM / UA. Retrieved August 20, 2019.
- ^ "Television will eat itself in Sidney Lumet's searing satire". dead link. October 1, 2008.[dead link]
- ^ Itzkoff, Dave. Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in Movies. Henry Holt and Company, 2014, p. 47.
- ^ "Sidney Lumet on directing the film "Network" - EMMYTVLEGENDS.ORG".
- ^ "Network At 40". The Attic. Retrieved July 27, 2018.
- ^ Ibid.
- ^ a b Itzkoff, Dave (May 19, 2011). "Paddy Chayefsky's Notes for 'Network' - Film". The New York Times. ISSN 0362-4331. Retrieved March 13, 2017.
- ^ Dunaway, Faye; Sharkey, Betsy (1995). Looking for Gatsby: My Life. Simon & Schuster Inc. p. 304. ISBN 0-671-67526-5.
- ^ UPI, via Milwaukee Sentinel and Google News, "Producer Lin Bolen Denies She's 'Network' Character", July 31, 1978.
- ^ Network TCM. Retrieved 8 November 2018.
- ^ Faulkner, Trader (1979). Peter Finch: A Biography. Angus & Robertson. ISBN 9780207958311.
- ^ Robert Mitchum: Not Starring ...
- ^ Dunaway, Faye (1995). Looking for Gatsby. Pocket Books. ISBN 0-671-67526-5.
- ^ a b Lumet, Sidney (1995). Making Movies. Vintage. ISBN 9780679756606.
- ^ Eastman, John (1989). Retakes: Behind the Scenes of Classic Movies. Ballantine Books. ISBN 9780345353993.
- ^ Part 2: Network (1976): Why The Acting Is So Good-Acting-CinemaTyler on YouTube
- ^ Network (1976): Why The Acting Is So Good-Acting-CinemaTyler on YouTube
- ^ Review of Network from the November 15, 1976 edition of The New York Times
- ^ Siskel, Gene (December 19, 1976). "'Network' power scrambles TV's set image". Chicago Tribune. Section 6, p. 2-3.
- ^ Champlin, Charles (January 2, 1977). "Picking the Top 10 Motion Pictures in a Lean Year". Los Angeles Times. Calendar, p. 1, 30.
- ^ Review of Network by Roger Ebert from the 1970s
- ^ Review of Network by Roger Ebert from October 2000
- ^ Kael, Pauline (December 6, 1976). "Hot Air". The New Yorker: 177.
- ^ Arnold, Gary (December 16, 1976). "'Network': Satirical Overkill". The Washington Post. B1.
- ^ Halliwell, Leslie (1987). Halliwell's Film Guide, 6th edition. New York, NY: Charles Scribner's Sons. p. 729. ISBN 0-684-19051-6.
- ^ Milne, Tom (editor) (1993). Time Out Film Guide, The (3rd ed.). Hammondsworth, Middlesex: Penguin. pp. 486. ISBN 0-14-017513-X.CS1 maint: extra text: authors list (link)
- ^ "Network (1976)". Rotten Tomatoes. Fandango. Retrieved October 5, 2020.
- ^ Itzkoff, Dave (May 19, 2011). "Notes of a Screenwriter, Mad as Hell". The New York Times. Retrieved January 13, 2017.
- ^ "The 500 Greatest Movies of All Time". Empire. Bauer Media Group. Archived from the original on August 14, 2011. Retrieved August 17, 2011.
- ^ "Airdate: Shaun Micallef's Mad as Hell". TV Tonight.
- ^ Salud, April (February 24, 2015). "'It's From a Movie': A Guide to Better Call Saul". Geek and Sundry.
- ^ "New for 2017 and 2018 | National Theatre". www.nationaltheatre.org.uk. Retrieved March 20, 2017.
- ^ Billington, Michael (November 13, 2017). "Network review – Bryan Cranston is mad as hell in blazing staging of Oscar winner". The Guardian.
- ^ "Breaking: Tony Goldwyn Joins Bryan Cranston and Tatiana Maslany in NETWORK on Broadway". broadwayworld.com. Wisdom Digital Media. September 27, 2018. Retrieved October 15, 2018.
- ^ "Beatrice Straight performance length". Serving Cinema. Archived from the original on August 6, 2017. Retrieved October 9, 2016.
Further reading
- Itzkoff, David. "Notes of a Screenwriter, Mad as Hell", The New York Times, 19 May 2011
- Lerro, Bruce. "Network" 40 Years Later: Capitalism in Retrospect and Prospect and Elite Politics Today, CounterPunch, 31 May 2016
- Parker, James. "Madder Than Hell: How Network Anticipated Contemporary Media". The Atlantic (March 2014). Retrieved July 16, 2016.
External links
|Wikiquote has quotations related to: Network (film)
- Network essay by Joanna E. Rapf on the National Film Registry website
- Network at AllMovie
- Network at the American Film Institute Catalog
- Network at Box Office Mojo
- Network on IMDb
- Network at Metacritic
- Network at Rotten Tomatoes
- Network at the TCM Movie Database
- Network essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 733-735


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Full Moon on Leo/Virgo cusp
As with the opposition of a stellium of seven planets in the scientifically minded sign of Aquarius, the goal is to take the knowledge that we have recently acquired in relation to our health, communication and dreams with Chiron, Mercury and Neptune in the closest proximity and bring it out into the masses. To better the world and humanity, whilst not letting the task overwhelm us while we do it.
Virgo can get caught up in the minor details, but that will actually be good. Since those things are also important. If success is what we are striving for.
It's no use having knowledge that can heal, unify and protect others if you can't actually share it with them. When the moon moves more fully into this sign of service as it will, we can have better insight into how we go about doing this in a way that makes sense for others and more easily for ourselves.
Right now, it kind of feels like a game of scrabble with each letter representing a piece to the puzzle that somehow in the end will make up a word or outcome, though we just don't know how we will find that outcome yet, even if we know one does exist.
We are definitely in a time of great change for the better when it comes to our own personal health and overall sense of wellness and hopefully for the world at large as well. The good thing is that investors at this time are now looking more into renewables as a sustainable source of income with scientific research making unprecedented advances in these areas.
Since most people now can see through the illusion of falsehoods and misconception, while at the same time being able to take cues from the universe as to what is true and real. The outcome of a greener and healthier planet, is definitely on the rise.
As I said in my previous post, blogging about the stars is not the only thing I do, my main profession is a holistic health and beauty specialist and I have also since signed up as a wellness advocate for do-terra oils. A certified therapeutic grade essential oil company. Which you can purchase wholesale from me or distribute them yourself as well. Since my partner recently had two surgeries and didn't find that the strongest pain medication could do much at all for him, I knew there had to be a better alternative. I can only perform so much reflexology on a person until my hands feel like they will fall off.
After the first surgery I tried to acquire some oils from another reputable company but with no such luck, so I kind of gave up on them.
I figure someone heard my call and sent me an angel, around the time of the second surgery, which was the begging of this cycle when i was introduced to Do-terra.
Again I will post link, if you haven't already checked them out.
Be well,
Astrological discoveries for the new paradigm by
Danielle Rozsa G
Creative visionary assisting the ascension of humanity through a positive & truthful approach to interpreting the celestial bodies and their movements through our galaxy.


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Personal Injury Lawyer, Spohrer & Dodd warns that it can be crucial to understand all you can about the intricate environmental and genetic factors that may impact traumatic brain injuries and lead to permanent psychological issues in some veterans and not in other military members. Our brain is terribly fragile and easily exposed to a host of injuries. More than one hundred thousand people a year are diagnosed as permanently disabled as a result of brain damage. Brain injury due to more than one injuries is officially as CTE.
Veterans and civil servants in combat zones are at a greater risk for being diagnosed with traumatic brain injury as a result of shock waves from makeshift bombs. Traumatic brain injury reports Injury Board Blog is estimated to affect twenty-percent of the over two million veterans to war zones. But, the permanent health problems of blast exposure have not been documented.
It can be crucial to know how a lawyer will bill you for legal fees. Every insurance company has experienced investigators that they dedicate to settle an injury case. But, the at-fault's insurance company's representatives are not the friends of the injured party and their primary goal is to avoid restitution to an accident victim like you. Negligent injuries are one of the primary causes of deaths in the United States. There are many law offices furnishing free legal services before restitution is obtained, so seek legal guidance. Following an accident, obtaining medical attention for you or an injured loved one ought to be your initial concern.
Before you seek a personal injury lawsuit check the law firm's track record for settling lawsuits like yours to increase your opportunities for receiving full restitution. Aggressive insurance carriers customarily believe a victim will forfeit their position and go along with whatever compensation is offered. Many injured victims ignore the advice of an experienced attorney because of an absence of legal procedures.
Most accident lawyers offer a no-cost, no-obligation case review, that way you do not have to concern yourself worry about having money to spend. A reputable injury lawyer will skillfully navigate case through the negotiation or litigation process, documenting the legal basis for the case while quantifying the awards to which the victim is due. A way to protect your legal right is obtaining a just restitution when you're hurt due to an accident. Money can't restore health or return a loved one to a grieving family but it will help eliminate a lot of the pecuniary responsibilities.
There are many questions that arise in the mind of the people while picking up the auto body repair shop. Given below are some of them. You can search for collision repair orlando at
Many body shops out there are seeking unsuspecting customers and ways to pad their bottom dollar. Very often body shops will offer the minimum price because they know this can attract customers. Unfortunately, from a customer standpoint choosing the minimum price is not always the way to go.
Repairing your vehicle is always as to what you get in return. Nowadays, body shops continue to push the limits in their customers to see how a lot more they can get away along with. At this point the body shop knows precisely what they're doing. Is the customer to find out the better?
A solution that's been picking up a great deal of traction recently is hiring a third party to assist you in that area. There are a few good car wreck consultants out there that will help figure out what's being wear your vehicle and how your vehicle's being repaired.
Another way is looking for a detailed report of the effort being put into the auto and reviewing the warranty your shops offers. When you enter an accident, insurance gives you an assessment of the damages; take a look at the sheets and review to see what product they've listed for use.
Auto Body Shops sporadically will make an effort to use cheaper parts to bring in more money. Requesting the use of what's listed on your insurance assessment is not unusual all of which will help protect against this. In relation to warranties, most legitimate body shops can have an extensive warranty and prepare their work.
Dealing with car collision repair is not a very pleasant experience. If you get into an accident, you must anticipate getting your vehicle repaired by choosing the best collision auto body repair outlet.
Here are some easy steps that can assist you to choose a good and reliable car body repair center.
First, ask your reliable friends, family, and also co-workers about their experience of car repair shops. Also, read people's comments from online review sites about their opinions or good and bad experience with local collision repair shops. It is imperative that you check the reputation of the auto repair shop. Verify any complaints against the auto body repair shop in the BBB and see if they give warranties. For bumper repair orlando, contact http://www.colorrecon.com/bumper-repair/ and get the repair done at an affordable price.
Talk with your insurance corporation. You first might want to consider talking with your insurance corporation. Insurance providers usually have partnership agreements with local repair stores. Ask for any recommendation and they're going to offer you a list of competent collision centers. However, also consider references from outdoor sources.
Evaluate price quotes among different repair shops first. Most collision repair shops will readily supply you with cost estimates. This will determine the degree of damage control that really needs to be done on your car. When you get an estimate, try calling local auto body repair centers and get the estimate for the repairs.


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Kazi Nazrul Islam#114 on top 500 poets
» Click to list general statistics » OR, select a date :
Memories Of Liking
Memories of liking can not be forgotten,
so I visit your compound again and again,
read more >>
- Hits: Number of visitors who read the poem on the given date.
- Posts: Number of visitors who posted the poem to a friend (via e-mail) on the given date.
- Dates that have "0" hits may not be shown on the list.
- Dates, poems and poets that have "0" hits may not be shown on the list. Statistics are generated daily.


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Difference between revisions of "Sketch"
PeterMoulder (talk | contribs)
(* Add an advantage of having a separate grid layer)
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(* mention tk vs gtk)
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* Better support for patterns.
* Better support for patterns.
* Better SVG support, as one would expect. (SVG is a foreign format for Skencil.)
* Better SVG support, as one would expect. (SVG is a foreign format for Skencil.)
(The above are things skencil users find lacking, I haven't tried going through Inkscape's release notes doing a point-by-point comparison.)
(The above are things skencil users find lacking, I haven't tried going through Inkscape's release notes doing a point-by-point comparison.)
Revision as of 09:11, 23 November 2004
Please post links to screenshots and/or insights of this vector app. We must learn from others.
Notable features
- About the only scriptable free-software vector graphics program.
- Bézier curves, rectangles and ellipses can be used as guides.
- Text along path, with choice between rotation or vertical skew of glyphs. (Inkscape has SVG text-on-path, which I think only allows rotation rather than skew.)
- Can blend between paths (morphing).
- Written mainly in Python.
- "Conical gradients" as well as the linear & radial gradients supported by SVG/Inkscape.
- Claims to support masking; I haven't looked at its interface. (I believe Inkscape honours masking/clipping directives in SVG files, but has no user interface for this unless you count the boolean operations.)
screenshot showing layer dialog has four toggle buttons for each layer: screen visibility; printing visibility (probably including visibility in exported bitmaps); lockedness; and a "show outline only" option. Each layer can have its own colour used when show-out-line-only is on.
There is a separate layer for guide objects/lines. The layer's show-outline-only option is always on, the print option is always off, while the visibility and lockedness options remain togglable.
The grid has its own layer too, unselectable, but useful as a consistent interface for controlling its visibility and the colour of the grid dots. (It uses dots rather than lines for its grid representation.) The grid layer is always locked an non-printing, while visibility and colour remain settable.
Having a separate grid layer may help in Inkscape if we use njh's suggestion for having canvas controls to edit the grid.
Skencil has a reasonable interface for named styles. Individual objects can override properties assigned by styles, and there is an "Update style" command to copy those changes back to the style.
There are some gaps in the interface: when creating a style, one can control whether the style controls line thickness, but I didn't see a way of changing that after creation. There seem to be some inconsistencies about whether an object can belong to more than one style or not.
Skencil style control certainly isn't as sophisticated as that offered by SVG/CSS, but we may borrow some things from it.
(Inkscape doesn't support named styles, unless you count inheriting styles from parents, such as layer membership.)
Ellipses/Arcs: node editing
Like Inkscape, Skencil uses one tool for circles, ellipses and arcs. It uses the opposite convention for whether to show radial spokes (pacman, pie slice) or whether to show just the arc (with chord filling if filled): if the node tool is dragged outside of the corresponding ellipse, then it's a chord/pure arc in Skencil, whereas inside means pie slice / pacman.
For unfilled shapes, I think Skencil's choice is better (partly because pure arcs are more common than pie slices when unfilled, so it's good to assign it the alternative that gives more control.
For filled shapes, the argument of more-common-deserves-outside goes in Inkscape's favour.
When editing the placement of the radial spokes, it's slightly more intuitive putting the mouse inside the ellipse; though this is a minor argument.
Can we use Inkscape plugins to access any sketch features? Its web page says "many parts of Skencil can be used as a library (and are used by Skencil that way)".
Notable things missing from Skencil yet present in Inkscape
- Transparence in gradients.
- Better support for patterns.
- Better SVG support, as one would expect. (SVG is a foreign format for Skencil.)
- Skencil stable version 0.6.x uses tk interface. (Development version 0.7.x uses gtk.)
(The above are things skencil users find lacking, I haven't tried going through Inkscape's release notes doing a point-by-point comparison.)


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Who really thinks that Guns N' Roses releasing 'Chinese Democracy' would be a good thing? Really?
No, didn't think so. It'd be like someone unearthing a lost William Burroughs work and finding out that it was a Harry Potter book. Wrong, stupid and bizarre.
But still, something's gotta keep the flames of the baddest heavy rock band ever ™ going. This though? A ham-fisted rummage through the band's ever-tatty-growing back catalogue? Hmm.
So, no, it's not all good. Is it a greatest 'greatest hits'? No. It's a well-proportioned selection of the band's recorded history (and all the problems that go with that). Ergo, we only get three tracks from 'Appetite For Destruction' where there should be six (pushing on ten), and we get three tracks from 'The Spaghetti Incident' where there should be none. Guns N' Roses are an obvious kinda band, we accept, but please, grant us some sort of intelligence. You can stick your 'Sympathy For The Devil' up your arse.
In mitigation, it's impossible to call a record that has 'November Rain', 'Paradise City', 'You Could Be Mine' and 'Patience' on it bad. But they're really pushing it. A perfect example why a band falling to pieces from the start should never make a long term commitment to excellence in recording. But why should they give a fuck? They were Guns N' Roses.
6Gareth Dobson's Score


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Antioch University Santa Barbara is one of five campuses of Antioch University which is accredited by the Higher Learning Commission. The Higher Learning Commission (HLC) is an independent corporation that was founded in 1895 as one of six regional institutional accreditors in the United States. HLC accredits degree-granting post-secondary educational institutions in the North Central region. The Higher Learning Commission accredits degree-granting post-secondary educational institutions in the North Central region. See the Higher Learning Commission website for its student complaint process.
Antioch University has had continuous accreditation by the Higher Learning Commission since 1927.
A complete list of Antioch University academic programs that have been granted programmatic or specialized accreditation is available online.
Antioch University Santa Barbara is in voluntary compliance with state statutes, rules, and regulations pertaining to a private post secondary institution in order to operate in California as directed by the the State of California Bureau of Private Postsecondary Education. The Master of Arts in Education & Teacher Credentialing Program is approved by the California Commission on Teacher Credentialing (CTC). The Masters of Arts in Clinical Psychology program is approved by the California Board of Behavioral Sciences (BBS) and the Doctorate in Clinical Psychology (PsyD) program is approved by the California Board of Psychology.
Antioch University's accreditation further includes federal government recognition, making Antioch University's students fully eligible for a variety of financial aid assistance, including grants, scholarships, and loans. Antioch University Santa Barbara is an Affirmative Action/Equal Opportunity Employer. It is the policy of the University not to discriminate against and to provide equal employment opportunity to all qualified persons without regard to race, color, national origin, religion, sex, sexual orientation, gender identity, age, disability and veteran status.
Antioch University is a private, non-profit 501 (c)(3) institution.


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Important Federal NSR Guidance and its Impact on State Run Preconstruction Permitting Programs
August 1, 2018
By Scott R. Dismukes, Guest Writer
Eckert Seamans Cherin & Mellott, LLC
This article was originally published in Currents, POWER's quarterly Environmental newsletter.
Two recent Environmental Protection Agency ("EPA") interpretive memos regarding New Source Review ("NSR") source permitting have spurred great interest because they address the scope of information considered in conducting NSR applicability analysis. A December 12, 2017 memo expresses the EPA's intent to restrict enforcement efforts when assessing post‐project actual emissions, rather than presuming causation or second‐guessing a permittee's own pre‐project applicability projections. This memo stands in contrast to a recent Federal Appeals Court decision upholding EPA's authority to take enforcement action with respect to pre‐project applicability analysis. Next, EPA's March 13, 2018 memo impacts "emissions netting" with respect to project emissions accounting. While State agency receptivity to these developments remains to be seen, these memos create an opportunity to strategically consider or reconsider the viability of potential projects.
The CAA establishes the NSR permitting program for new major stationary sources and major modifications of existing major sources by requiring permitting prior to commencing construction. This program requires facilities undertaking a physical change or change in the method of operation to estimate expected emission increases from the project to determine if such increases are significant, thus triggering NSR permitting. Historically, EPA has pursued enforcement based on its evaluation of a project's predicted emission increases rather than actual post‐construction emissions and regardless of the permitee's reasonable projections. EPA's December 12, 2017 memo now defers to the permitee's projections and expands their allowable content. Historically, the "Projection" compared past actual emissions (average of 24 consecutive months over prior 10 years) with projected future actual emissions following the modification. Since 2002 the NSR regulations have provided that when the projection does not show a significant emission increase, it does not require a permitting action and does not need to be enforceable or receive permit authority review.
EPA's December 12th memo indicates that EPA will not second guess a permitee's projections and, provided they comport with regulatory requirements, they will not presume that emission increases following the project were caused by the project, and they do not intend to initiate enforcement unless post‐project emissions data indicates that a significant net increase occurred.
Projections must consider relevant information such as historical operating data and company's representations, projections of activities and filings with regulatory agencies. Historically, EPA has asserted NSR permitting can be required based on EPA's own projections, regardless of the reasonableness of permitee's projections; and, that the permittee cannot consider an intent to manage emissions post‐project. Significantly, the December 12th memo indicates that a permittee can now consider as "relevant information" their intent to manage actual emissions post‐project to avoid triggering a significant increase.
EPA's March 13, 2018 memo regarding Project Emissions Accounting further impacts the NSR applicability analysis. Projects not otherwise excluded from NSR applicability (e.g., routine maintenance and repair or an increase in hours of operation not otherwise limited) are required to conduct a two‐step analysis to determine whether there is a significant emissions increase. Step 1 analyzes whether there is a significant increase in actual emissions associated with the individual project itself. Historically, "step 1 analysis" only considered emission increases and not associated emission decreases. If step 1 suggested a significant increase, then step 2 evaluated whether there would be an associated significant increase for the whole facility.
Only at step 2 could a facility consider creditable decreases of emissions by engaging in netting analysis. The March 13th memo indicates that decreases may be considered in step 1 and are not required to be enforceable or creditable.
Most states require preconstruction permits for both minor and major sources. These memos may significantly change the approach a facility takes in conducting its projections and provides fodder for significant discussion points with the state permitting agency. However, States with EPA approved implementation plans are not required to follow federal guidance. Currently, we anticipate a meaningful reduction in federal enforcement actions against preconstruction projections and a similar reduction in scrutiny of post‐project emissions, given the potential to consider emission reductions in step 1 and to manage post‐construction emissions. Whether State permitting agencies adopt these approaches remains to be seen. In that regard, knowing the state program is critical for a facility contemplating a significant project, as is working with a team familiar with the permit writing process and developing a reasoned, well‐documented approach to projecting future actual emissions. Permittees should be mindful to not overreach, to avoid risks associated with future changes in administration, and potential subsequent post‐ project permit challenges by citizen groups.
About the Author:
Scott is an attorney for Eckert Seamans Cherin & Mellott law firm in Pittsburgh, Pennsylvania. He has nearly 30 years of experience in environmental litigation and counseling. As co-chair of the firm's Energy Group and member of the Environmental Group, he provides litigation compliance and environmental business counseling to industrial, municipal, and manufacturing clients under all federal and numerous state environmental laws. Scott also provides non-utility regulatory counsel and defense for a number of energy and energy-related companies.


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A Review of The Human Stain by Philip Roth (New York: Houghton Mifflin, 2000)
Daphe Patai, writing in the Chronicles of Higher Education, reports on the bizarre events at a recent conference she attended. The topic was academic freedom. The point of the gathering was not to defend the idea but to raise fundamental questions about its merit. The usual gaggle of academic despots trashed reason, standards, and clear thought, but among the dissidents was Harvey Silvergate, the co-author of The Shadow University, who spoke in defense of the idea of equality before the law the law in this case being campus codes on speech harassment. It is contrary to justice to permit every manner of attacks on white males, he said, while punishing the every perceived slight to blacks and women.
A response from the floor went as follows: equal treatment is a dangerous idea since it leaves inequality untouched. Whites, he implied, deserve whatever is dished out and hence those who attack them must be more free to speak than the subjects of attack or those who would defend them. There is perfect justice. Was the speaker decried as a McCarthyite who wants to suppress dissent? Was he snubbed for advocating a dam on the free flow of ideas? Far from it. He was greeted with applause.
Murray Rothbard was fond of pointing out the underlying basis of political correctness. As he saw it, leftist academics favored freedom so long they weren't in power, but this isn't the basis of a genuine commitment to freedom. Once in power, they worked to run the university the way Pol Pot managed reeducation camps, tolerating no dissent and demanding not only compliant behavior but conformism in every thought as well.
In the early 1950s, Bill Buckley wrote God and Man at Yale to demonstrate that the idea of "academic freedom" masked a conspiracy to change the curriculum in a leftist direction. In the course of his argument, however, Buckley raised fundamental questions about the utility of permitting free thought and speech on campus. Is it any wonder why he has again become the toast of Yale? At last the faculty has come around to the view that academic freedom serves no useful educational purpose.
Now one of Rothbard's favorite writers, Philip Roth, has written a penetrating novel that illustrates this point perfectly. His story is about one persecuted academic, Coleman Silk, a professor of literature and classics at a small Massachusetts college. The book is an extremely valuable contribution to a growing literature of dissent. Already in print are many comic send ups of politically correct restrictions on campus, along with some nonfiction documentary accounts of the thought-control absurdities. But Roth's book is something different: it treats the threat from the left as something more ominous than a misguided fashion that will soon pass; he sees the desire to degrade and dehumanize any dissidents from leftist orthodoxy as an extremely serious threat to thought and learning and thus the academy itself. Even more importantly, he has dissected and displayed the psychological basis of the desire to reconstruct or muzzle old-school faculty, and created compelling archetypes easily recognizable to anyone familiar with the current academic game.
The story is this. Five weeks into the semester, two students in Professor Silk's class had still not shown up. Irritated, Silk asked "Does anyone know these people? Do they exist or are they spooks?" Well, it turns out that, unbeknownst to him, the students were black. Horror! Apostasy! Silk was named a racist, and from there begins the trajectory from denouncement to persecution to total banishment. It didn't matter that he didn't know the students were black; it didn't matter that he was using the first definition of spooks in the dictionary, not blacks but ghosts. Nothing mattered because Silk had tred on sacred ground, and so the long and distinguished career of a brilliant and learned 71-year-old classicist came to an end.
Roth understands something important about the accusation of racism. In the dynamic of today's campus life, anti-racist codes are not really about enforcing a kind of social etiquette, universally applied. They are about power exercised by some over others. None of Silk's accusers really believed that Silk who, it turns out, was born black and remade himself as Jewish was a racist. They used the label to attack what he represented: an old-school classicist who demanded high standards from students and faculty alike. In the course of his long career at "Athena College" he had ruffled many feathers. His remark about "spooks" only presented an opportunity for his enemies to slay him as an example to others who might question the power of the new regime on campus.
Silk believes that his traumatic dismissal from campus is what led to his wife's death. In any case, it is certainly what begins a long series of tragedies that Silk both suffers and brings on himself. The reader can only wince as the pace of events takes us through an increasingly miserable downfall: his writing of an huge apologia named "Spooks" which he then tosses out; his frenzied relations with his new paramour, an illiterate woman on the college's janitorial staff; his relations with former colleagues, who either abandon him out of fear or cheer on his destruction to stay on the right side of history; his failing relations with his children; and his final end.
The events are described in the voice of several characters, each with a dramatically different but always pathetic take on things. Roth has an amazing ability to inhabit the minds and souls of all his characters, but none better than Delphine Roux, the young French literary theorist whom Silk hired in a weak moment. She uses the apparatus of deconstructionism and its rarified vocabulary, along with a relentlessly feminist take on the world, to immunize herself from attack from colleagues and to belittle classics and traditional critics she either has not read or cannot understand.
In Roth's portrayal of this woman, her style masks a lack of learning and scholarly confidence, and her political ideology is a weapon to use against anyone who threatens to expose her as the flake that she is. She, of course, was glad to see Silk go, on grounds that he is an obvious sexist. He once showed no sympathy for a student who complained she couldn't understand his lecture on Euripides because of his "engendered language." Roux takes the side of the student. Silk responds with the following sermon on the slovenliness of political correctness:
"Almost without exception, my dear, our students are abysmally ignorant. They've been incredibly badly educated. Their lives are intellectually barren. They arrive knowing nothing and most of them leave knowing nothing. Least of all do they know, when they show up in my class, how to read classical drama…. They know, like, nothing. After nearly forty years of dealing with such students and Miss Mitnick is merely typical I can tell you that a feminist perspective on Euripides is what they least need. Providing the most naive of readers with a feminist perspective on Euripides is one of the best ways you could devise to close down their thinking before it's even had a chance to begin to demolish a single one of their brainless u2018likes'. I have trouble believing that an educated woman coming from a French academic background like your own believes there is a feminist perspective on Euripides that isn't simply foolishness. Have you really been edified in so short a time, or is this just old-fashioned careerism grounded right now in the fear of one's feminist colleagues? Because if it is just careerism, it's fine with me. It's human and I understand. But if it's an intellectual commitments to this idiocy, then I am mystified, because you are not an idiot. Because you know better. Because in France surely nobody from Ecole Normale would dream of taking this stuff seriously. Or would they? To read two plays like Hippolytus and Alcestis, then to listen to a week of classroom discussion on each, then to have nothing to say about either of them other than that they are u2018degrading to women,' isn't a u2018perspective,' for Christ's sake it's mouthwash. It's just the latest mouthwash."
At one point in this riveting exchange, Roux responds in the student's defense that "some of our students develop irritating personal mannerisms when they are confronting fossilized pedagogy." The entire exchange watching Silk give this woman the what for is worth the price of the book. As for Roux, she vows to destroy him, and her appalling calumnies eventually go way beyond even what her colleagues dreamed up.
One of the characters whom Roth has inhabited explains why the racist label itself is so deadly. Unlike a normal accusation of wrongdoing, it doesn't just apply to a single incident. It is designed to tarnish an entire career. If you are deemed a racist, you must have been one forever; your racism has been unearthed and revealed, not merely spotted in a single incident. Neither is there any hope of rehabilitating you. Your whole life, your whole existence, is stained. It is a Maoist tactic to dehumanize and destroy your opponents: exactly the same tactic the left once decried when a few politicos in the 1950s dared pin the label of communist on, well, members of the Communist Party. And at least the red baiters of old accepted the burden of providing evidence. Even then, they were constantly under fire; today's witch hunters enjoy an unquestioned right to destroy.
Roth's attack on the academic culture of left-puritanism is expanded in the final pages of the volume in the voice of a older, educated black woman who will have nothing whatever to do with the new victimology. "In my parent's day and well into yours and mine, it used to be the person who fell short. Now it's the discipline. Reading the classics is too difficult, therefore it's the classics that are to blame. Today the student asserts his incapacity as a privilege. I can't learn it, so there is something wrong with it." She goes on to attack Black History Month, urban renewal, detractors of the Constitution, the welfare state, crime, and the collapse of schools. A tour de force.
In the end, Roth's story emerges as a deft but deadly attack on what has become of the university. But he also treats the story of Coleman Silk as a metaphor for what has become of the entire political system, run by official victims who slay and consume those who dare bring into question their absolute power. A very effective and compelling read.
June 7, 2000
Jeffrey Tucker is editor of The Free Market, a publication of the Mises Institute.


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Mapping of Kosciuszko's Tunnel
The show is a documentary highlighting the story of the Kosciuszko tunnel and the technology behind the 3D mapping and preservation efforts concerning the little known tunnel that is a part of the Ninety Six National Historic Site in Ninety Six, South Carolina. The Mapping of Kosciuszko's Tunnel project is collaboration between SCETV, The University of South Florida (USF), The Alliance for Integrated Spatial Technologies (AIST) and the National Park Service.
Closed captioning has been provided for this broadcast program.


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Social media marketing
Why Social Media Marketing Is Significant To Your Business
To define the term Social Media Promoting let's 1st analyse the definition of each word that makes up the term itself. 1. Add worth to their life – You can do this by sharing valuable information. Not just about your solutions or solutions but about issues relating to your market. Let's say for example that you own that monogram shop I was speaking about – possibly you can find articles or videos about babies or weddings or back to college that would add worth to your possible clients life. Not necessarily about monogramming but if it was that would be valuable.
The word 'social' implies that communication is taking place amongst two parties and the term 'media' is merely the platform or strategy by which men and women are 'doing' social. And 'marketing' is the act of promoting products and solutions that lead to sales opportunities.
Twitter is one of the hottest social media websites suitable now and lots of individuals are employing it to successfully industry their goods or services online. Prospects discover them by utilizing Twitter search engines such as Twellow or Twitter Search. These engines search the 160 character Bio so chose your words cautiously. Every single separate Tweet is also indexed by Google so it's significant to use your keyword phrases there whenever possible.
Social media can boost your site's Seo. Search engine crawlers know which pages are consistently earning website traffic and which are just floating out there, forgotten and ignored. Driving site visitors to your optimized pages with social media posts will trigger them to climb much more quickly in the search engine results pages (SERPs).
3. Share exciting content material – If you want to market place towards to right people, you want to make certain you are sharing content that they will love. If you share fascinating and beneficial content material, then you're most likely to have your content material shared and spread among the crowd. Extra importantly, don't neglect hashtags. The use of hashtags can aid your consumers preserve track of your posts, and if they're big sufficient, turn out to be a trend.
Brand loyalty can be built on a strong social media presence. It has been identified that brands with active social media profiles have extra loyal customers. Being active on social media assists you turn out to be much less like a enterprise and more like what you really are – a unified group of folks who share a vision.
You could blog and post your blog entries on Twitter, Facebook, LinkedIn and any of the many other sites. I should say I have many close friends that own retail stores and can not seem to wrap their minds around how advantageous social media can be for them.
1. Add value to their life – You can do this by sharing useful data. Not just about your solutions or services but about items relating to your business. Let's say for instance that you own that monogram shop I was talking about – possibly you can obtain articles or videos about babies or weddings or back to college that would add value to your possible clients life. Not necessarily about monogramming but if it was that would be useful.
The word 'social' implies that communication is taking place among two parties and the term 'media' is basically the platform or process by which people are 'doing' social. And 'marketing' is the act of promoting items and solutions that lead to sales possibilities.


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Reconstructions - Before / After
Here you see some illustrations of reconstructed vehicles build up in our workshop as per special requests of our costumer.
example 1
example 2
Daimler-Benz 2534 L 6x2 Coca Cola beverage plattform with electric roller blind and loading dropside reconstructed in 2003 as plattform-truck for container-transport with crane type Atlas 225.1. To this vehicle we have build a suitable tandem-trailer.
example 3
Daimler-Benz 2648 L 6x4 chassis (new model from stock) reconstructed in 2002 and build up to a truck tractor with Jost-fifth wheel coupling and crane type Palfinger PK19000 with raised seat and grab steering.
example 4
Daimler-Benz 3240 K 8x4 roll-of-container-truck with Multilift-equipment and crane type HIAB mounted behind the driver cabin reconstructed in 2002 and build up to a 3-side-tipper-truck with crane type Palfinger PK 13500 with raised seat and grab steering. Body: Meiller jet, 1100 mm dropsides. The wheelbase is extended.
example 5
Daimler-Benz 2653 K 6x4 chassis (new model fom stock) reconstructed in 2003 and bild up to a 3-side-tipper with crane type Palfinger PK 15002 behind the drivers cabin with cab steering. Body steel Meiller jet.
example 6
Daimler-Benz Atego 2628 B 6x4 chassis (new model from stock) reconstructed in 2003 and build up to a concrete mixer with Stetter AM7FH 7m³ mixer.


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Do We Owe Our Kids Our Money After We're Gone?
You think that kids of celebrities have it easy? Think again.
Sting's surprising announcement that he's not leaving any of his vast fortune to his children was a shock to many. How could this multimillionaire leave his kids to have to *gasp* work for a living? It just didn't seem right.
According to the rock legend, his decision comes from his personal philosophy about children not having things handed to them on a silver platter, even if - as in the case of his own progeny - they come from Rock royalty. The rock superstar says that he will continue spending the money he's earned as he has been doing all along, paying his staff and allocating it whenever and wherever he darn well pleases. He maintains that he's spending his money now, not saving it up in a tidy sum to be disbursed amongst his children in the event of his death.
The news has gotta sting for his six children who are likely very aware of their father's estimated $300 million net worth. After all, they've probably had more than comfortable lives as a result of their fathers' vast income, in spite of what Sting maintains.
Even so, the idea of pending poverty or, at best, the life of a "working stiff" must be sobering considering the fact that the family home is an Elizabethan Lake mansion located on a 60 acre estate near Stonehenge. The obvious question that crosses many of our minds is "why?"
Why would someone of such considerable means choose to make a decision that flies in the face of convention and leave his kids with bupkus?
Good-old mean-spiritedness, stinginess and general bad parenting attributes have been suggested as the reasons for Sting's decision. But is he really in the wrong?
My initial reaction to his news was probably a common one: that his choice regarding money is hurting his children in more ways than one. Of course, they must feel incredibly pained, knowing that their father has consciously chosen to exclude them from a future windfall following his death. Having the knowledge that a parent has actively and purposefully decided to limit financial comfort for their children and instead, relegate the kids to a life of working for a living seems a tad harsh, particularly when the parent is of considerable means.
Yet, upon further reflection, it seems that Mr. Sumner has a point.
It would be very easy for his children to kick back and chill, knowing full well that regardless of their success in life or lack thereof, they'd be driving down "Easy Street" (likely in a customized and really expensive luxury vehicle) once old Dad had kicked the bucket. In many situations where incredible wealth is a foregone conclusion, this is more commonly the behaviour that kids of the well-to-do display, sadly. After all - why bother working hard and making an effort to achieve something in your life - at least financially - when a monetary windfall is a matter of course?
Not so for the children of Sting, however, as he had apparently advised his kids of their lack of inheritance early on. "They have to work. All my kids know that and they rarely ask me for anything, which I really respect and appreciate," he explained.
As a result, all of his children have grown up knowing that they would not be handed an automatic ticket to la dolce vita and have planned accordingly. By most accounts, they are doing well.
Did the knowledge that daddy's money would not automatically be disbursed to them give the kids more incentive to work hard and achieve something on their own? Perhaps. But, more importantly, one of parenthood's most important lessons - that in the real world, nothing is handed to us on a silver platter - was demonstrated by Sting's actions. In other words, the rock superstar prepared his kids for one of the harsh reality of life: no pain, no gain.
The fact of the matter is that without the solid values of good old-fashioned hard work, focus and intestinal fortitude that result in a strong character, parents are leaving their kids ill-prepared for life's challenges. Living a life unfettered by the day-to-day hurdles that most of us experience may sound ideal but the reality is that those who have been given this "gift" have also been presented with a disadvantage as well. We all know that when the going gets tough, whether personally or professionally, that's when we need to draw upon our inner strengths that have been cultivated over the years. Working hard, sometimes struggling, and building a thicker skin gives us the toughness that we require when life doesn't go as planned.
"For of those to whom much is given, much is required." Except, that is, if you're the child of a mega-millionaire. Then, what's often required is very little as you reap the benefits of your parents' hard work without lifting nary a finger. Kids in these circumstances are very often, sadly, unprepared for hard times or worse - they may never gain the emotional strength that results from the difficult life challenges that so many of us face.
Understood: Sting's situation is atypical as most of us could only hope to earn $300 million in our lifetimes. But the point being made is still the same. The value and importance of hard work is something that all children should be taught; it is perhaps more pressing that children of the very wealthy learn these principles at an early age. Sting may not be leaving his children his earthly financial possessions but ironically, what he's giving them is far more valuable. The lessons learned from his decision are beyond any price tag that even a man worth $30 million or more could afford.
Harsh? Perhaps. A lesson learned? Absolutely.
Do we owe our kids our money after we're gone? No. What we owe them are the skills and abilities to navigate life successfully and (hopefully) happily. Money is not necessarily part of the equation.
To read this article on HUFFINGTON POST, click here: Sting is Right to Deny His Kids a Big Inheritance
Looking for parenting advice and tips? Click on the image below to get your copy of my eBook today!
Image courtesy of www.sting.com, photo credit: Kevin Mazur


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Taryn's Wreckreation Guide: Snohomish Brew Crawl
Growing up in Stanwood, I typically traveled to Snohomish to watch one of my hometown high school sports teams get creamed in some form of athletic competition. As an adult, I go there for great beer. If you're looking for something fun to do on a sunny afternoon, I recommend a Snohomish Brew Crawl, because this town is more than antique shops and dairy farms - it's a beer lover's paradise, too!
Start your brew tour at Sound To Summit right across the street from Snohomish Station. Their menu has it all, but my pick is the Cheeseburger. This isn't amateur hour! Add bacon. If you go on Tuesdays, they have a great Burger & Brew deal. I may or may not have taken advantage of it earlier today...
Taryn's Beer Of Choice: 6-Gill IPA. Taking inspiration from the largest shark native to the Puget Sound, you'll take in big, citrus-hopped aromas with just the right amount of bittery kick on the back end. She clocks in at 6.7% ABV and 46 IBUs.
A stone's throw from Sound To Summit, Josh's Taps and Caps is your next stop. Their craft beer and bottle shop offers bottles, crowlers, growlers, and kegs to go, but it's also a great place to belly up to the bar for a pint! With around 30 beers on tap, you'll find plenty of suds to sip, plus a food truck is always nearby to serve up good eats.
Taryn's Beer Of Choice: Black Raven Squawker IPA. They JUST tapped the keg, so go chill in their new lounge and enjoy 7.1% ABV and 72 IBUs.
Have you checked out our new side yet? Perfect for lounging & shuffleboard OR also available for private parties. Our friends @trailsendtaphouse even whipped us up a custom catering menu! Message or call to book -- #lounge #craftbeer #joshstapsandcaps #shuffleboard #snohomish
A post shared by Josh's Taps & Caps (@joshstapsandcaps) on
After Josh's, venture to Scrappy Punk Brewing to experience one of the state's smallest commercial breweries. You'll likely strike up a conversation with owner and brewery Greg Krsak over the unique concrete bartop. Feel free to bring your own food, your youngins, and your well-behaved leashed dogs!
Taryn's Beer Of Choice: Best Friends IPA. Best enjoyed with friends, obviously. With 6.5% ABV and 60 IBUs, even those intimidated by IPAs can enjoy one without being completely overpowered by the beer.
Just down the street you'll find SnoTown Brewing in the heart of Snohomish. Kid friendly, dog friendly and supporters of the local music scene, SnoTown has a laid-back vibe you can totally get down with.
Taryn's Beer Of Choice: KNEWt IPA. Well balanced and smooth with the right amount of punch, 6.2% ABV is
Next up is Prison Break Brewing located on historic 1st Street in Snohomish, and given its proximity to the Monroe Correctional Complex, the name is quite appropriate. They're dog and kid friendly, too, plus you can order lunch locally and have it delivered to the brewery!
Taryn's Beer Of Choice: Hop The Wall IPA. First off, you should know ALL of the beers have clever names related to lock-up, but this one in particular is certainly hoppy and not just a clever name! More than 6% ABV and 70 IBUs make this beer a great afternoon sipper.
Last but not least, wrap up your day with Haywire Brewing, a super-rustic nano-brewery in the charming dairy farmlands of Snohomish. They're big into sourcing local ingredients and recipes
Taryn's Beer Of Choice: Pig Style Rye IPA. Insanely smooth, full of flavor and super tasty, this unique brew has 6.2% ABV.
As always, please don't drink and drive. Be responsible and appoint a designated driver for your brew crawl. You can always use Lyft or Uber to safely make your way!
I can't wait to spend more time at each of these fabulous establishments in the Antique Capital of the Northwest! Heck, you might as well make it a full day - a brew and antiquing crawl through beautiful Snohomish!
Happy Adventuring,
Taryn Daly
Taryn's Wreckreation Guide is powered by Visit Bend. Upgrade your downtime in Bend, Oregon. Do some skiing at Mt Bachelor with short lift lines and long runs; or take a deep breath and give the breathtaking views a double take. Bend, Oregon – it's where you go to play!


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Flannel JCrew, Shirt CAbi, Jeans Miss Me, Shoes Lucky Brand, Bag/Watch Michael Kors,
Jewelry lia sophia
I went on a road trip the other week and this is what I wore. I wanted to be comfy, yet polished.
Did I hit the mark?...you tell me...
In late summer, when it is still hot out, I seem to wear boots. In the winter, when I am ready for spring, I wear shoes with no socks. I have done this for as long as I can remember. Sometimes my outfits are backwards. My people are always pointing this out.
Maybe that is why I remember that I do this ;)
My Mix...
CAbi tee
JCrew flannel, Michael Kors bag and watch


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December 15th Wichita Aero Club 'On-Air' Summit Will Be Simulcast On The Internet At http:accordant.powerstream.net/008/00165/WAC/msh.htm
December 9, 2009 10:14am
Panel Will Include Top Managers of Wichita Aerospace Companies and FLYING Magazine Editor Mac McClellan
Wichita, KS—December 9, 2009- The final monthly luncheon of the Wichita Aero Club on December 15 featuring the senior executives of Wichita's airframe manufacturers and prominent aviation writer and FLYING magazine editor Mac McClellan will be simulcast over the Internet club officials announced today. The luncheon, which will commence at 11:45 AM at the Wichita Airport Hilton and will extend until 2 PM in order to take advantage of the unique nature of the event. The video simulcast sponsored by the Wichita Aero Club, the Aircraft Owners & Pilots Association (AOPA), ADR, Inc., BBK, Inc., the National Aeronautics Association (NAA) and FLYING Magazine will begin at approximately 12:00 Noon and will be available free of charge at accordent.powerstream.net/008/00165/WAC/msh.htm.
"We're extremely pleased to host this unique event," noted Dave Franson, Wichita Aero Club Executive Director, " since it brings seven industry leaders together in the same place at the same time to discuss the industry, the economy and the outlook for both in the coming year. Add in the relevance it has beyond the local aviation community and it's obvious that there is undoubtedly a significant audience that won't be in attendance for the luncheon itself that will definitely be interested in what will be discussed," he said. "We are grateful to the participants for taking time from their busy schedules to be involved and to our sponsors for allowing us to disseminate this event to a much wider audience over the Internet," he added.
Scott Strode, Vice President and General Manager of Boeing Integrated Defense Systems in Wichita, Jack Pelton of Cessna, Bill Boisture of Hawker Beechcraft, David Coleal of Bombardier Learjet, Jeff Turner of Spirit AeroSystems, and Bill Greer of Airbus North America Engineering will make up the panel. FLYING Magazine's Editor in Chief J. Mac McClellan, who will act as moderator for the discussion, has indicated that he will focus on four key areas: Business and Recovery Outlook, Wichita's future focus, Employment levels and Government influence.
"We're expecting record attendance for this luncheon, exceeding the 240 attendees we had in January when Craig Fuller, the president of AOPA, made his first public appearance in that role. We're hopeful that the webcast will allow us to contribute to a broader understanding and awareness of the issues facing the aerospace industry among the general public," Franson added.
The Wichita Aero Club was founded in October of 2008 to foster and promote interest in aviation, provide a forum focused on the industry's issues and achievements and bring together those with a passion for flight.


text: The GDETO is responsible for handling economic and trade matters between Hong Kong Special Administrative Region (HKSAR) and the five provinces/region. Similar to other economic and trade offices of HKSAR, the GDETO serves to promote Hong Kong's economic and trade interests and seeks to attract direct investments into Hong Kong. The Office performs the following functions -


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While an exclusive meal at the Chef's Table at Victoria & Albert's is a unique experience, the main dining room exudes romance. This week, guest author Michelle Buchecker reviews this table service restaurant at Disney's Grand Floridian Resort.
Located on the second floor in the main building of the Grand Floridian Resort, Victoria and Albert's puts the "fine" in "fine dining".
This table-service restaurant has won many awards and accolades for its fine food and superb service. The restaurant is divided into three seating areas: Main Dining room, Queen Victoria's room, and Chefs Table. The Chefs table is in the kitchen. There is only 1 table and it often books well in advance. The Queen Victoria room seats 8 people and has only 1 seating a night. The 8 people may be all 1 party or 4 parties of 2 people or whatever ends up being reserved. But once they hit 8 people they close reservations.
The main dining room (where we dined) has about 20 tables and has 2 seatings per night. This is a prix fixe meal for $135. A wine pairing is an extra $65. In addition, the menu will have "upcharge" items, which I will mention in the details below.
The dress code is jacket and dress pants for men, and nice dress or pants for women. Ties are optional. We did see 1 family where the 2 men were dressed in tuxes and the woman was in a long cocktail dress. Most women were in nice dresses or skirts, but I did see one lady who was more casually dressed.
Our reservation was for 5:15PM on a Friday night. We arrived about 5:00PM and the doors were still locked. There were several other couples seated in the lounge area that is shared by Victoria and Albert's and Citricos. Shortly after, a hostess came and asked people their names and escorted them into the restaurant based on their reservation time. Reservations are staggered, my guess is to not overwhelm the staff all at once. At about 5:10 we were escorted in and shown our table.
As you enter the restaurant there is a [Read more…]


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Özbilge, Zeynep (2006) Analysis of the Domestic Organic Product Market in Turkey in Comparison with the European Union Experience. Thesis, Marmara University, European Community Institute , European Union Economics. . [Unpublished]
- English
Limited to [Registered users only]
It is a fact that conventional agriculture whose distinctive property is the implementation of agricultural chemicals aims to increase economic productivity at the expense of creating serious side effects on health and environment. Therefore, the spread of this system in time, has led not only to the probing of its sustainability by making the side effects visible, but also to the ascent of organic agriculture which shows a faster worlwide development since the 1990s. The development of organic agriculture in the EU has also been similar. While the public recognition was realised in the 1990s, the official recognition could not come true before the 2000s. Especially the announcement of the EU in 2001 which put the main emphasis of the CAP on quality, rather than quantity reflects the important change in the EU's point of view towards organic agriculture. However in Turkey, the organic agriculture is far away from receiving the deserved support and this situation leads Turkey to a position where Turkey is unable to use its high potential in organic agriculture. Regarding the fact that Turkey's ability to use this potential and develop its organic agriculture depends on the development of the domestic organic market, Turkey can only achieve it by the means of state support and the implementation of necessary precautions.
|EPrint Type:
|Thesis Type:
|Master Thesis
|organic agriculture,Turkey,domestic organic product market,European Union,comparison
|"Organics" in general > Countries and regions
Food systems > Markets and trade
|Research affiliation:
|Deposited By:
|Özbilge, Zeynep
|ID Code:
|Deposited On:
|21 Aug 2006
|Last Modified:
|12 Apr 2010 07:33
|Document Language:
|Not peer-reviewed
Repository Staff Only: item control page


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Occasionally one comes across a idea that is just brilliant.
How often have you been writing a bit of code, and got to a point where you think "gee, if the program ever gets into this state, then something is really wrong". Throwing an exception seems appropriate, but what kind of exception to throw?
Enter the following sage advise from Steve Freeman and Nat Pryce in their great book "Growing Object Orientated Software Guided by Tests":
A DefectException(). What a simple but brilliant idea!
Thanks guys