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LONGMONT -- Kids whispered throughout that spring semester in 1980 that 14-year-old Meg (Dittman) Hargett and a popular, 30-something ninth-grade teacher were having an affair.
"An affair? I didn't know enough to know what an affair was," Hargett, now 46, said.
Two years later, though, the teenager knew enough to see the relationship for what is was: child sex assault -- a charge to which the teacher pleaded guilty and served a two-year deferred sentence, one without jail time or a permanent record if he kept probation terms.
"He would never get a deferred sentence for that today," said Catherine Olguin, spokeswoman for the Boulder County District Attorney's Office.
Laws changed in the 1990s to make sex assault sentencing harsher.
But child sex assault survivors hope to help prevent the crime from happening in the first place by speaking out in April, National Child Abuse Prevention Month.
Though an estimated one in four girls and one in six boys suffer sexual abuse before age 18, only one in 10 ever discloses abuse, according to the National Children's Alliance, a professional membership organization that helps communities respond effectively to allegations of child abuse.
Child sexual abuse includes contact behaviors such as touching a child's genitals, breasts or anus with an object, hand or body part; making a child touch someone else's genitals; or putting body parts or other objects inside a child's genitals, mouth or anus for sexual pleasure, according to The U.S. Department of Health & Human Services.
Sexual abuse also includes non-contact behaviors such as sexual comments; watching a child undress or use the bathroom; exposing a child to sexual acts in person, video or print; obscene phone calls; exposing a person's genitals to a child; and photographing a child in sexual poses.
Survivors often report that such crimes against them remain a private grief because of the deep feelings of worthlessness, wickedness and shame abuse causes.
However, in 1982, at age 16, Hargett found the courage to tell the school district, her parents, a Longmont Police Department detective and the Boulder County District Attorney's Office.
By then, she had met two younger victims of the same teacher -- including one suffering abuse at the time -- and she realized that her testimony could make it stop.
"I was the one who brought down this very popular teacher," she said.
But the schoolgirl crush she had on him before he assaulted her haunted her recovery process, which kept her from sharing the story with co-workers, friends and acquaintances as an adult.
"The hardest thing about this was forgiving myself. I've never been one of those people that sits back and lets things happen to me," Hargett said.
"But I've gone over it and over it in my mind to find out why it happened. And the only thing I can come to is that this guy knew what he was doing."
Smooth operators
Looking back, Hargett -- now a happily married wife and mother of three daughters and a son -- sees her former teacher's criminal mind.
He picked her for his pet, which started with giving her rides home from school in his silver Datsun 240Z.
But he always dropped her off a block from her home and ordered her to duck when they drove past someone who might recognize him driving her around town.
When Hargett told him that her older sister questioned the relationship after he called on the family's dedicated basement line for the three teenage siblings, he dubbed her sibling the "stupid sister."
"That year, he wrote in my yearbook, 'I'd like to say something here, but your stupid sister might read it,'" Hargett said.
His favoritism eventually meant that she could be his special helper at school and after school at games played by a sports team he coached.
After months of currying her favor, the teacher invited her to his place on a Saturday night and unlaced her tennis shoes as she sat on his couch.
"I knew this was going to be the jumping-off point, and I was scared to death," Hargett said. "... I did have a sick feeling in my tummy. I remember that. ... I guess I didn't have the power to say 'Oh, no. This is creepy.' ... People can sit there and go, 'Wait. Why didn't she tell her parents?' There's so much shame. At 14, can you imagine having to tell your parents?"
Anatomy of vulnerability
The teacher assaulted Hargett about a half-dozen times that semester -- always on Saturday nights, when her parents ate out and bowled with their league.
He stopped only when the semester ended and he lost access, Hargett said.
Access, after all, is what it is all about for those who sexually abuse children, according to Feather Berkower, a Louisville-based child sex abuse prevention specialist, national speaker and coauthor of the book "Off Limits: A Parent's Guide to Keeping Kids Safe from Sexual Abuse" (The Safer Society Press).
"One offender on probation created a safety plan that only allowed him to go grocery shopping after 10 p.m. because there are fewer children in the store at that time," she said.
But access goes beyond physical contact.
Children who feel unloved and get little attention, those expected to obey authority without exception, and kids who lack confidence and self-esteem are more at-risk, Berkower said.
"Part of the arousal for some offenders is the planning, the getting the child to love, trust and depend on them," she said.
That's easier to do with needy children, although every child is a potential target, Berkower continued.
Also, kids who know little to nothing about body part terminology or body parts off limits to others are more vulnerable, she said.
A child's use of slang tips off the potential abuser that he -- about 95 percent of child sexual abusers are boys or men, according the U.S. Department of Justice -- can shape what the child understands about sex. Slang also makes it more difficult to express abuse.
"A child can say, 'He ate my cookie last night,'" and a distracted adult may not pickup on what that really means," Berkower said.
To keep kids safe, she tells adults to teach children to use correct body part terminology and to practice saying, "I'm the boss of my body!"
That means not forcing children to hug or kiss anyone -- including grandma.
Letting kids make those choices to forgo physical contact with family members in safe environments can protect them in unfamiliar settings with a potential offender, Berkower said.
"Sexual abusers love polite children," she added.
Talk about it
When Hargett reviews her life at age 14, she remembers wearing T-shirts, painter pants and straight leg, button-fly, 501 Levi jeans.
She played four sports every year and described herself as a tomboy who began sitting still on the couch in a fog when the abuse started.
Though not intentionally neglectful or tuned out, her parents very likely were busy cultivating their social life on weekends, she said, and might already have been grappling with troublesome issues in their marriage.
They divorced when Hargett, their youngest of three children, was a senior in high school.
Or maybe, like so many parents, they felt unwilling on some level to consider such victimization until Hargett sat before them to break the bad news two years after it happened.
"The resistance to 'go there' is exactly what the abuser wants," Berkower said. "So, this is what I would say if I could get a microphone on 'Oprah.' I would say that if we want as a society to eliminate child abuse, we need to stand up, to say 'this is not acceptable.' In our society, we demonstrate passive acceptance all the time."
To keep her kids safe -- the youngest of whom is 15 -- Hargett early on told them about her bitter past.
"They know the story," she said. "There is not a subject in this house that we don't talk about."
In going public, she aims to sensitize the community and to remind those who suspect child abuse to report it.
"Now, they teach kids to tell and tell and tell and tell until somebody takes appropriate action. But 32 years ago, it was never talked about," she said.
Hargett also hopes that her story shows that recovery is possible.
"They haven't created a word that can express how horrible that experience is. It lives with you forever. It never goes away. But it doesn't define me. It isn't my first thought or even my thousandth thought," she said. "... Going into those hidden rooms inside yourself is certainly not a place you want to go. It's not comfortable. But the more times you do and you share, it gives you that reality. It's the spoken word. If you hear it, it helps to see that it wasn't your fault."
Pam Mellskog can be reached at 303-684-5224 or email@example.com.


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Wednesday, December 18, 2013
• Asmussen (Prayer for Relief), Amoss (Grand Contender) Duel in Tenacious
• Channel Marker, Great Mills, 'Cash', Tour Guide to Meet in Bonapaw
• King David, Daddy Nose Best Head 'Buddy' Diliberto Memorial 'Cap
• Class Included, Artemus Kitten Top Blushing K. D. 'Cap
The Tenacious 'Cap, which includes Harvey Peltier's Diplomat Way and James Jackson's Valhol on its list of winners, headlines the New Orleans oval's Santa Super Saturday program but is joined on the holiday-themed day by the listed $75,000 Bonapaw Stakes, the $75,000 "Buddy" Diliberto Memorial Handicap and the $75,000 Blushing K. D. Handicap.
Two supporting overnight stakes, the $60,000 Sugar Bowl and the $60,000 Letellier Memorial will also be run on the afternoon that also focuses on a feast of family fun. Equestrian Angel Miniature Horses will be featured for the first time at Fair Grounds and will be displayed on the apron along with fun-filled face painting, cookie decorating, crafts and coloring opportunities for the youngest generation of Fair Grounds fans.
However, the Tenacious remains the main Thoroughbred racing event. Prayer for Relief, assigned 120 pounds including jockey David Flores, was unsuccessful in his last trip to the post in Churchill's Grade I Clark Handicap Nov. 29 but includes Prairie Meadows' Grade II Cornhusker Handicap last summer among his triumphs.
Grand Contender, with 119 pounds Saturday with Rosie Napravnik up, boasts clear-cut victories in his last three starts, topped by a 3 ¼-length tally in his most recent trip to the post in the $150,000 Delta Mile Nov. 23.
Others named to the Tenacious 'Cap are Robert and Lawana Low's Agent Di Nozzo, 118; Hoosier Daddy's Stable's Voodoo Storm, 118; Jim Tafel's Afford, 115; West Point Thoroughbreds' Flashy Sunrise, 114; J-Lu LLC's Hip Four Sixtynine, 114; and West Point Stable et al.'s Ground Transport, 112.
CHANNEL MARKER, GREAT MILLS, 'CASH', TOUR GUIDE TO MEET IN BONAPAW—St. George Farm's Channel Marker, Millennium Farms' Great Mills, Ron Paolucci's Expecting Cash and Calumet Farm's supplemented Tour Guide have been named to match strides in an extremely competitive $75,000 Bonapaw Stakes at about 5 ½ furlongs over the Stall-Wilson Turf Course on Santa Super Saturday at Fair Grounds Race Course & Slots.
Channel Marker, victorious in both of his last two turf starts, is conditioned by three-time Fair Grounds trainer champion Al Stall Jr. and will be ridden by Fair Grounds' 2009-2010 jockey champion Shaun Bridgmohan.
Great Mills, two-lengths the best in his most recent start over the local lawn Dec. 1 and fourth in the 2012 Grade I Breeders' Cup Turf Sprint, will have jockey David Flores in the irons for 13-time local leading trainer Steve Asmussen.
Expecting Cash, runner-up in Keeneland's Grade III Woodford last Oct. 5 is trained by Jonas Gibson, is owned by same connections that are expected to bring Looch Racing's Grade I Breeders' Cup Juvenile Fillies adjudged winner Ria Antonia here for the Grade II Risen Star Stakes Feb. 22, and has seven-time Fair Grounds jockey champion Robby Albarado up.
Tour Guide, hero of last year's $60,000 Sugar Bowl Stakes at Fair Grounds, has been supplemented to the Bonapaw by Hall of Fame trainer D. Wayne Lukas and will be ridden by Leandro Goncalves this weekend.
Completing the Bonapaw field is Sum of the Parts, winner of last fall's Grade III Phoenix at Keeneland and an unplaced contestant in the Grade I Breeders' Cup Sprint, Fair Grounds' defending jockey champion Rosie Napravnik astride; J. Kirk and Judy Robison's Mico Margarita, winner of Calder's Grade III Carry Back last summer and third in the $100,000 Thanksgiving Handicap here Nov. 22, Ricardo Santana Jr. up; Rolling the Dice Stable's Decisive Move, four times-claimed and a two-time winner in 2013 to be ridden by Miguel Mena; Billy Two Hats, Chris Landeros up; Artest, Richard Eramia aboard; Say No More, James Graham; Strong Impact, Alex Solis; and Hamiltonian, Kerwin Clark.
KING DAVID, DADDY NOSE BEST HEAD 'BUDDY' DILIBERTO MEMORIAL 'CAP—Scarlet Stable's King David, starting high weight at 120 pounds in the $75,000 "Buddy" Diliberto Memorial Handicap on Santa Super Saturday at Fair Grounds Race Course & Slots, and Cathy and Bob Zollars' Daddy Nose Best, rated a pound lower, head an overflow field of 16, including four also-eligibles in the grass test at about 1 1/16-miles over the Stall-Wilson turf course.
King David, winner of Belmont's 2012 Grade I Jamaica Handicap and runner-up in this year's Grade III John B. Connally at Sam Houston Park, is trained by Mike Maker and will be ridden by Fair Grounds' defending jockey champion Rosie Napravnik.
Daddy Nose Best, a two-time winner in stakes company last summer at Remington Park and most recently fifth in Churchill's Grade III River City Handicap Nov. 23, is conditioned by Steve Asmussen, and will be ridden by jockey David Flores.
Completing the field is Compliance Officer, Alex Solis (118); Grand Contender, Gerard Melancon (118); Mr. Vegas, Miguel Mena (117); Skyring, Leandro Goncalves (117); Voodoo Storm, Brian Hernandez Jr. (117); Pure Tactics, Jamie Theriot (117); Derby Kitten, Shaun Bridgmohan (116); Hammers Terror, Robby Albarado (116); Adios Nardo, Mark Guidry (115); and Welloiledmachine, James Graham (115).
The four also-eligibles to the "Buddy" Diliberto Memorial are Street Serenade, Brian Hernandez Jr. (115); Marchman, Jamie Theriot (115); Strike Impact, Miguel Mena (114); and Sneaky Kitten, Chris Landeros (113).
CLASS INCLUDED, ARTEMUS KITTEN TOP BLUSHING K. D. 'CAP—Brittlyn Stable's Class Included, assigned the starting high weight of 119 pounds in the $75,000 Blushing K. D. Handicap on Santa Super Saturday at Fair Grounds Race Course & Slots, and Ken and Sarah Ramsey's Artemus Kitten, 118, head a field of nine older fillies and mares in the about 1 1/16-mile grass test over the Stall-Wilson turf course.
Class Included, trained by Ron Faucheux, was the six-length heroine of Delta's $150,000 Treasure Chest Stakes in her last start Nov. 23 and fourth in Churchill's Grade II La Troienne last spring. Shaun Bridgmohan rides.
Artemus Kitten, trained by Mike Maker, will have Fair Grounds' defending jockey champion Rosie Napravnik in the saddle. The 5-year-old mare finished second in Arlington's Grade III Modesty Handicap last July 13 but was then eighth in the Grade I Beverly D. Aug. 17 at that same Chicago oval.
Facing those two mares are Coffeepot Stables' Imposing Grace, winner of last spring's Grade III Arlington Matron, also with 118 pounds including jockey James Graham; Hill 'n' Dale Equine Holdings' Irish-bred Twirl, seven-time Fair Grounds' leading rider Robby Albarado up with 116 pounds; Brereton Jones' Same Cross, Gerard Melancon (115); L. T. B and Miles Childers' Honey Hues, Richard Eramia (115); James Greene Jr. and Hurstland Farms' Heart of Destiny, Miguel Mena (112); Bourque Goldstein Thoroughbreds et al.'s Bluegrass Sapphire, Mark Guidry (111); and Elm Racing's Femme Fatale, Florent Geroux (111).
Read more articles in the Fair Grounds category.

subset: commoncrawl


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Designed by Peter Tysoe for Chance in 1970 as part of the revamp the company did to its entire range of Fiestaware. The pattern isn't necessarily rare, but finding it on the platter is "quite uncommon"
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Linked by Thom Holwerda on Mon 1st Apr 2013 12:25 UTC
"Last Friday, The Verge revealed the existence of a dead-simple URL-based hack that allowed anyone to reset your Apple ID password with just your email address and date of birth. Apple quickly shut down the site and closed the security hole before bringing it back online. The conventional wisdom is that this was a run-of-the-mill software security issue. [...] It isn't. It's a troubling symptom that suggests Apple's self-admittedly bumpy transition from a maker of beautiful devices to a fully-fledged cloud services provider still isn't going smoothly. Meanwhile, your Apple ID password has come a long way from the short string of characters you tap to update apps on your iPhone. It now offers access to Apple's entire ecosystem of devices, stores, software, and services."
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RE[3]: it happens to everyone
by JAlexoid on Tue 2nd Apr 2013 14:40 UTC in reply to "RE[2]: it happens to everyone"
On the other hand Mac OS X has a much lowest malware infection rate (and the gap has increased now that, by default, you can't install unsigned apps) then Windows and iOS has virtually no Malware while Android is riddled with it. I understand this is because Apple simply locks down it's platforms (which many think is a bad thing) but if you bother to read what CIO's are saying their much more comfortable with Apple's security then any other for desktop/mobile use.
Yes, I do know what a lot of CIOs think. Since I happen to work with a lot of them directly. Apple's security on the desktop is no more a concern as it is on Windows. CIOs are aware what and how, most of them are not stupid individuals and know where the problems lie.
Same goes for Android vs iOS, it's more an issue of MDM tool support than anything else... And even then none of the CIOs that have MDM solutions in place or have researched them are against either of the platforms.


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Seven Deaths Confirmed in Arkansas
Authorities have now confirmed seven deaths in Arkansas after a severe storm
< Much Rain This Weekend
Sep 26, 2013 16:02
Category: General News
Category: General News
Nissan Recalls Vehicles
TOKYO (AP) - Nissan is recalling nearly a million vehicles worldwide because of an accelerator sensor problem that could cause the engine to stall. The recall covers the Serena minivan, Infiniti M, X-trail SUV and other models. Nissan says no accidents have been reported that are related to the problem. Most of the vehicles being recalled are in Japan, but some are in North America, Europe, and Oceania.


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NEW YORK--Move over, "Dancing With the Stars"--there are some new high-flying heroes in town.
On Tuesday, ABC entertainment chief Paul Lee announced a fall prime-time schedule that would see the much anticipated Joss Whedon series "Marvel's Agents of S.H.I.E.L.D." take the Tuesday 8 p.m. slot previously given to "DWTS, with the long-running twinkle-toed series condensing its competition and results programs to a two-hour episode on Monday nights.
In a conference call with reporters, Lee explained the "DWTS" decision as motivated by a desire to create an "occasion" on the one hand and a belief in the new Marvel series on the other.
"It tested so well in all four quadrants [young, old, men and women]," Lee said of "Agents." "Of course it's Joss Whedon; he knows how to create not just great television but great relationships," adding that, despite the superhero aspects, "we think it's a four-quadrant show...[that's] going to bring a wider audience to us."
In a schedule he said was characterized by both "stability" and "ambition," Lee laid out a Tuesday prime-time lineup that would see a block of four new shows. Following the hour-long "S.H.I.E.L.D" will be retro '80s comedy "The Goldbergs" from actor-filmmaker Adam Goldberg, the Malin Akerman-toplined "Trophy Wife" about, well just that, and the DreamWorks Television lottery drama "Lucky 7."
Of the last one, Lee said it was "a show about the 99%. It's aspirational but we've gone out of our way to make it feel authentic."
On Wednesday, the network hopes to boost the Rebel Wilson ladies-on-the-town series "Super Fun Night" by handing it the coveted slot behind "Modern Family," with the James Caan intergenerational family comedy "Back in the Game" occupying the hammock slot between "The Middle" and "Modern Family."
The network will also give pride of place to its "Once Upon a Time" spinoff "Once Upon a Time in Wonderland" with an 8 p.m. Thursday slot; it will be the only change in prime-time that day, as long-running "Grey's Anatomy" and newer hit "Scandal" follow. Also staying put is "Nashville" in the 10 p.m. slot; in its first year, the Connie Britton country-music series attracted critical plaudits but drew mixed ratings numbers.
Among the shows that ABC is to air with no definite premiere date are new comedy "Mixology," about a group of New York singles, Kyle Killen's psychological-themed "Mind Games" starring Steve Zahn, and returning precocious-teen comedy "Suburgatory" starring Jane Levy.
Lee also described a seasonal structure in which limited-run series would be sandwiched between two batches of 12 episodes in fall and spring. The logic, he said, was to avoid the patchwork of repeats and originals that confuse viewers. Among the limited-run shows the network will air is non-scripted series "The Quest," a kind of globetrotting reality show that takes place in a "Lord of the Rings" environment.
ABC is coming off a solid year of returning hits in several genres with "Once Upon a Time," "Modern Family," "The Middle" and "Scandal." But it has also seen its share of disappointments, with freshman series "Last Resort" and "666 Park Avenue" canceled after low numbers. Overall, "DWTS" viewership remains solid, though the show tends to skew older. It will continue to be followed by "Castle" at 10 p.m. on Monday nights.
Polarizing alien comedy "The Neighbors" stays on the ABC schedule but moves to Friday night, where it will play at 8:30 behind returning family comedy "Last Man Standing." Lee described "Neighbors" as "gloriously inventive."
Off the network, to the chagrin of hard-core fans, is the Damon Wayans Jr. single-camera comedy "Happy Endings," which was shuffled around this season before being canceled last week. "It was on-brand; it was just too narrow," Lee said, adding, "I love that show and found it hard to make that decision."


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ST. PAUL, Minn. (AP) — The president of Minnesota Public Radio told employees the decision to dismiss Garrison Keillor resulted from "multiple allegations" covering an extended period of time, but an attorney for the former "The Prairie Home Companion" host disputed that characterization and said the humorist wants MPR to "set the record straight."
MPR President Jon McTaggart held an off-the-record meeting with employees Wednesday, a week after the organization cut ties with Keillor. Reporters from Minnesota Public Radio News did not attend because the meeting was declared off-the-record, but compiled an account from employees who did attend.
MPR News reports McTaggart said he alone made the decision to break with Keillor, who retired as "Prairie Home" host last year. Keillor told the Star Tribune he touched a woman's bare back as he tried to console her, and that he apologized. MPR has not given details of the allegations.
In response to the MPR News report, Keillor attorney Eric Nilsson issued a statement early Thursday.
"We are aware of allegations against Mr. Keillor by only one individual," Nilsson said. "We trust that Mr. McTaggart will set the record straight in this respect to avoid any misperceptions on that point."
Nilsson says Keillor wants a swift resolution of the matter and "with it expects a full restoration of his reputation."
"The Prairie Home Companion" continues with Keillor's hand-picked successor, mandolinist Chris Thile.


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German Literature
The German Literature Collection contains rare books and first editions from the seventeenth through the nineteenth century. The William A. Speck Collection is one of the finest Goethe libraries outside Germany, while the Faber du Faur collection of German baroque literature has long served as a bibliographical source in its field. Lessing, Schiller, Heine, and Rilke have been collected in depth. Manuscripts include the papers of Hermann Broch, correspondence of the Kurt Wolff Verlag, Thomas Mann manuscripts and letters, and materials relating to Goethe.
Like many library collections at Yale, the origins of the Collection of German Literature reach back into the history of the University. In the late decades of the nineteenth century, German book collecting was encouraged by Yale officers and faculty who had received their graduate education in Germany. Alfred Lawrence Ripley, 1878, for example, who taught German at Yale after studying in Berlin and Bonn, took particular interest in the Library during his thirty-four years as a Fellow of the Yale Corporation. University Librarian John Christopher Schwab, 1886, grandson of the German author Gustav Schwab, encouraged several programs to increase Yale's German holdings.
Given this atmosphere, it is not surprising that Yale sought out William A. Speck, 1914 Hon., a German American pharmacist from Haverstraw, New York, who by 1913 had amassed the largest private Goethe library outside Germany. The collection was acquired for Yale, and Speck served as its curator for the rest of his life, adding books and manuscripts with funds provided largely by the University. By the time he died in 1928, the Speck Collection had tripled in size to embrace some twenty thousand books and as many prints, manuscripts, broadsides, and miscellaneous materials. For the next three decades, the Speck Collection was overseen by Carl F. Schreiber, 1914 Grad., whose double role as curator and Yale professor forged an especially close alliance between the Library and German literary studies at Yale.
By establishing the Library's interest in German literature, the Speck Collection served as a beacon that attracted other materials. The Kohut Heine Collection came in 1930. Eight years later Thomas Mann founded a collection of his books and manuscripts at Yale, and in the 1940s and 1950s other authors and collectors exiled from Germany enriched the Library's collections. In 1944, Yale acquired the Faber du Faur library of seventeenth-century literature, Faber serving as curator for the next twenty-two years and he in turn facilitated the acquisition of the papers of the publisher Kurt Wolff. Hermann Broch, who died in New Haven in 1951, bequeathed his papers to the German Literature Collection, and in 1957 a collection of Rilke's printed works was added.
The year 1996–97 stands out as something of a recent annus mirabilis for the German Collection: just as the twentieth century was drawing to a close, the acquisition of two book collections launched a new program of collecting the literary works of those decades. The library assembled by Hans-Jürgen Frick, purchased on Beinecke funds, gave the German Literature Collection immediate bibliographic strength in the years 1900 to 1940 with special emphasis on Expressionist authors, while the Leslie Willson, 1954 Grad., gift of his Dimension library and archive set a collection development pattern for postwar literature.
Particular areas of strength in the German Literature Collection are described below:
Early Literature
The German Collection contains a small number of books published before 1600, including such rarities as the first folio edition of Hans Sachs (five volumes, 1558–79) and a copy of the original edition of Emperor Maximilian I's Theuerdank (1517). German manuscripts, books, and pamphlets of the fifteenth and sixteenth centuries are found in abundance in the general collection at the Beinecke Library.
Seventeenth Century
The seventeenth-century holdings of the German Literature Collection, some twenty-nine hundred titles, have at their core the library gathered by Curt von Faber du Faur, a descendant of the publishing family Cotta and one of the founders of the Munich auction house Karl & Faber (now Hartung & Hartung). He began to form his library while he was a book dealer, and his collecting gained impetus during the preparation of the auction catalogue for the Victor Manheimer Collection in 1927, a project on which he collaborated with the poet Karl Wolfskehl. Faber came to the United States in 1939, going first to Harvard. Five years later Yale negotiated the acquisition of his book collection, offering Faber a curatorial position and a faculty appointment, both of which he held until his death in 1966. During his years at Yale, Curt von Faber du Faur augmented the collection in areas where his original holdings were relatively sparse--Catholic writing, Pietism, Jesuit drama, and Rosicrucianism. Many of these later additions were made through purchases from the library of the German scholar Richard Alewyn and through exchange with Professor Harold Jantz, whose collection is now at Duke University.
To suggest the scope of the Faber du Faur Collection, a few items might be mentioned here. There is an unusual group of song texts in the Italian style, by poets who were precursors of Martin Opitz's reform of German poetics. The works of Opitz himself are well represented, as are those of the Nuremberg writers--Johann Klaj, Sigmund von Birken, and Georg Philipp Harsdörffer. The century's most famous novelist, Johann Jakob Christoffel von Grimmelshausen, is represented by almost all the editions of his works published during his lifetime, including Trutz Simplex (1670), the source of Bertolt Brecht's play Mutter Courage, and the only known perfect copy of the first edition of Das wunderbarliche Vogel-Nest (1672). There is a first edition of Johann Michael Moscherosch's satirical Philander von Sittewald (1640), one of seven known copies. Faber gave special attention to collecting the works of the Viennese preacher Abraham á Sancta Clara; of the poet Johann Rist, author of still-familiar Protestant hymns; and of Christian Weise, who wrote novels and school plays. Johannes Praetorius, the eccentric recorder of Rübezahl and other folk tales, was the collector's particular hobby. One of three known copies of Friedrich von Logau's epigrams, Erstes Hundert Teutscher Reimen-Sprüche (1638), is present in the collection, as well as the scarce Kühlpsalter of Quirin Kuhlmann, with all four parts in one tiny volume (1684–86). Kuhlmann was a poet and religious fanatic who was burned at the stake in Moscow in 1689 as an enemy of religion and the state; one of his earlier projects had been a trip to Constantinople to convert the Sultan. Another rarity is a copy of the first printing of Paul Gerhardt's Geistliche Andachten (1667), obtained from the Herzog August Bibliothek in Wolfenbüttel, which holds the other known complete copy of this compendium of hymn texts with music. Most of the volumes in Faber's original collection are remarkably well preserved--the result of a watchful bookdealer substituting better copies as they came into his hands. The seventeenth-century portion of the German Literature Collection has been described in the two volumes of Curt von Faber du Faur's German Baroque Literature (New Haven, 1958 and 1969), which, however, does not include the acquisitions of the last decades. Almost all of the twenty-five hundred titles listed in this bibliography are commercially available on microfilm from Primary Source Microfilm, a Gale imprint (formerly Research Publications, Inc., which issued a guide to the films in 1971, a volume that reproduced the Yale University Library catalogue records for the books). The collection is being augmented as aggressively as the market allows.
Eighteenth Century
While Faber du Faur's main collecting interest was the Baroque period, he nevertheless brought to Yale an outstanding group of eighteenth-century books, many of them illustrated editions. This core has been supplemented over the years by purchase and with transfers from Sterling Library. Large gatherings of works by the Hainbund poets--a group of nature enthusiasts centered briefly in Göttingen--stand beside contemporaneous rare items from the Sturm und Drang.
The cryptic philosopher Johann Georg Hamann, known to his contemporaries as the "Magus of the North," is represented by an extraordinary set of early editions annotated by the author. Christoph Martin Wieland, whose multifaceted career spanned the second half of the eighteenth century; the playwright and novelist Friedrich Maximilian Klinger, who gave the Sturm und Drang its name; and the Swiss theologian Johann Caspar Lavater have been collected in depth. In addition to Lavater's printed works, there are several substantial manuscripts and an intriguing collection of fragmentary manuscripts and physiognomic drawings, ostensibly castoffs from Lavater's workshop, where he was in the habit of producing handmade books for his friends. Many of the Lavater relics in the collection came to Yale in the 1920s from family descendants, Waldemar C. Hirschfeld (Yale certificate in architecture, 1903) and his brother Robert Lavater Hirschfeld, both then of Meriden, Connecticut. The Hirschfelds also donated an oil portrait of Lavater by a little-known painter named Ilg, a portrait of the eighteenth-century satirist Gottlieb Wilhelm Rabener by Anton Graff, and a drawing of Mrs. Lavater's hands by Heinrich Fussli.
An extensive collection of printed works by Gotthold Ephraim Lessing came from three sources. Lessing titles held in the Speck Collection and those brought to Yale by Faber du Faur were supplemented in 1947 by 444 books and pamphlets by and about Lessing. The collection had been formed by Sigmund Schott, spoken of as "my late father" in a letter from George F. Schott, dated from Philadelphia in 1948. Around 40 percent of the Schott Collection, sold to Yale through the New York dealer Theo Feldman, was added to the German Literature Collection; the rest--duplicates and secondary literature--went to Sterling Memorial Library. The Beinecke Lessing collection now includes rare early works such as the comedy Die alte Jungfer (1749) and the first collected edition of his works, published in six volumes by C. F. Voss (Schrifften, Berlin, 1753–55).
William A. Speck's interest in Goethe dated back anecdotally to his boyhood reading of the play Götz von Berlichingen. Despite his fascination with Goethe, Speck trained as a pharmacist and worked in the family business in Haverstraw, New York. Every spare moment and penny, however, was devoted to Goethe. His collecting had two main thrusts: philology and biography. Because the critical edition of Goethe's works, the 143-volume Weimarer Ausgabe, was then still incomplete, Speck felt compelled to amass every printing of every work by Goethe made during the author's lifetime in order to document textual variants. On the other hand, Goethe the man and personality fascinated William Speck: he made several trips to Weimar, where he went up and down the streets and into taverns and boardinghouses in search of Goethe relics. He even brought back pressed flowers from Goethe's garden and taught a course in Yale College about Goethe's personality and physical appearance. The resulting collection has at its core an extensive gathering of Goethe's works. Every collected edition issued up to 1832 (the year of Goethe's death) is present, as is a full array of later, bibliographically significant sets. All of the Goethe first editions are held at Yale, along with almost all variants and later printings through the mid nineteenth century. There are extensive groups of translations of Goethe's works, into both familiar and exotic languages. Illustrated editions have been collected, as well as fine press books.
Some of Goethe's works have been collected in special detail. Faust, the principal example, is treated separately in this article. There is a great deal of material on The Sorrows of Young Werther, including English adaptations and parodies of the novel in prose, poetry, music, and prints. Many pre-Goethe versions of the beast epic Reynard the Fox are present. The German Literature Collection includes, as well, a growing number of literary annuals and almanacs from Goethe's time. These volumes were originally collected because they contain suites of illustrations, contributions by Goethe, and first printings of works by other canonical authors. They have gained interest in recent years because they offer a cross-section of the literary tastes of the time, and because they preserve the work of women writers. Many include sheet music, while some contain fashion plates and ballroom dance diagrams.
Goethe's life is thoroughly documented in biographies, editions of conversations and correspondence, maps, and prints; contemporary reaction to Goethe and his works may also be studied in detail. Materials relating to Goethe's associates--his relatives, his friends, his amours, the personalities of the Weimar court--have been collected in depth.
The Speck Collection manuscripts include a few poems and quotations in Goethe's hand, three original drawings by him, and a number of letters, some of them written by secretaries. The two most recent additions to this part of the collection are letters directed to one of Goethe's scientific friends, Johann Wolfgang Döbereiner in 1812 and 1830; in the later one, Goethe asks for the chemical explanation of why a silver spoon soaked in a brew of red cabbage takes on a gold sheen. The Speck manuscript collection is strongest, though, in materials reflecting the British reception of Goethe. There are, for instance, autograph poems that Goethe wrote for the Carlyles and letters from Thomas Carlyle to Goethe's friend and secretary, Johann Peter Eckermann, after Goethe's death. Coleridge's manuscript translation of the poem "Mignons Lied" is present, as are manuscripts by two little-known Faust translators: George Henry Borrow's version of the "Walpurgisnacht" scene from Faust I and Jonathan Birch's translation of Faust I and part of Faust II, published respectively in 1839 and 1843.
Many of the materials in the Speck Collection are listed in Carl F. Schreiber's catalogue, Goethe's Works with the Exception of Faust (New Haven, 1940). In pre-Depression days, this catalogue was ambitiously planned as a four-volume work, modeled on the three-volume catalogue of Anton Kippenberg's Goethe collection, issued by the Insel Verlag in 1928. The second Speck volume was, of course, to have described Faust materials, the third volume would have listed biographical material on Goethe, while the fourth volume was to have brought addenda and a much-needed index. The illustrations and facsimiles for all four volumes were printed in Germany in the 1930s, but plans were never brought to fruition. The Faust volume has in all likelihood been eclipsed by Hans Henning's massive Faust bibliography (1966–76), and the Speck catalogue, its title boldly announcing its own deficit, stands as a monument to different times.
Goethe's Faust and Faust literature have been sought out by the Library since 1922 when William Speck purchased from the Zwickau collector George Wilhelm Heinrich Ehrhardt some six thousand items of Faustiana, including newspapers, magazines, playbills, and programs related to the theater history of Faust, as well as materials pertaining to the historical Faust and a large group of commentaries, parodies, translations, continuations, and critical studies of Goethe's Faust, materials that supplemented, without extensive duplication, the twenty-five hundred Faust items Speck had already collected. From a different source, Speck acquired a fragment from act 5 of Faust II ("Offene Gegend") in Goethe's hand. The collection also includes several Höllenzwang manuscripts (conjuring texts such as the historical Faust might have used) and a group of nineteenth-century handwritten Faust puppet plays. Illustrated editions of Faust from both the nineteenth and the twentieth centuries are well represented.
The Speck Collection contains many printed and manuscript scores, most of them from the nineteenth century, based on texts by Goethe or inspired by his works. Among the manuscripts are an early sketch from Wagner's Faust Overture and a one-page fragment from Beethoven's Egmont Overture. Liszt, Mendelssohn, Ludwig Spohr, and Goethe's composer friend Karl Friedrich Zelter, among others, are represented by manuscripts. First editions of songs by Schubert and a copy of the "Leipziger Liederbuch" (a collection of songs published by B. C. Breitkopf in 1770 and said to contain the first appearance in print of a poem by Goethe) are highpoints of a large collection of printed songs, scores, operas, and libretti related to Goethe. Twentieth-century music has not yet been collected.
Theodor Hell
This group of about one hundred letters from the papers of Karl Gottfried Theodor Winkler provides a portrait of intellectual life in the age of Goethe. Under the pseudonym Theodor Hell, Winkler edited important periodicals, such as the Dresden Abendzeitung, and was a prominent theater director, playwright, publisher, and translator. Most of the letters in the collection were written to Winkler, but there is also correspondence exchanged by Wieland, Lavater, and Eliza von der Recke, famous in her time for her part in the exposure of Cagliostro. These letters came to Yale in 1938 as the gift of Mrs. Alfred E. Hamill, a niece of Winkler's granddaughter.
Prints, Pamphlets, Ephemera and Artwork
The Speck Collection includes several vertical files of material that varies widely in value and rarity. Pamphlets, mostly material about Goethe, are classed and catalogued as printed books. In addition there are files of illustrations, chiefly to works by Goethe; portraits of Goethe and his contemporaries; and views of places associated with Goethe. These files were built strictly as subject collections, and material of the most ephemeral character stands side by side with such items as Piranesi's views of Rome. Goethe's travels are documented by a small map collection. Playbills and programs relating to productions of Goethe's plays date from approximately 1850 to 1930. Files of Goethe postcards and of Goethe in advertising date primarily from the early decades of the twentieth century. Much of this material was gathered by a private collector in Berlin, Karl Berg, and was purchased from his widow in 1928.
The Speck Collection also contains a number of significant art works, such as the Oswald May portraits of Goethe and Wieland that hang in the Beinecke reading room, a bronze bust of Goethe by Christian Daniel Rauch, an engraving of the young Goethe by Johann Heinrich Lips, and an anonymous silhouette of the poet from 1786. A collection of about one hundred and fifty coins, medals, and medallions with likenesses of Goethe includes all but one struck during the poet's lifetime.
While Schiller has not been collected as thoroughly as Goethe, all of his first editions are present, including rare early works such as Anthologie auf das Jahr 1782, Venuswagen (1781), Wirtembergisches Repertorium der Literatur (1782–83), and Schiller's dissertation, Versuch über den Zusammenhang der thierischen Natur des Menschen mit seiner geistigen (1780). A curiosity of the Schiller collection is the pamphlet Die Avanturen des neuen Telemachs, oder Leben und Exsertionen Koerners, fourteen colored sketches by Schiller that poke fun at his friend Gottfried Körner. The manuscript dates from 1786.
Women Writers
A special effort has been made over the last decades to add books by women writers of the eighteenth and early nineteenth centuries, an area that had been neglected in the past. The German Literature Collection now has growing numbers of works by authors such as Sophie von La Roche, novelist, friend of Wieland, and mother of one of Goethe's first loves; Benedikte Naubert, a prolific author of historical novels; the novelist and journalist Therese Huber; Johanna Schopenhauer, mother of the philosopher, novelist, and a figure at the Weimar court; Karoline Pichler, novelist and literary hostess in Vienna; Sophie Mereau, poet, translator, and novelist, whose second husband was Clemens Brentano; Sophie Bernhardi von Knorring, sister of Ludwig Tieck and the author of poems, prose, and criticism; and the poet Luise Brachmann, who drowned herself in the River Saale over an unhappy love affair.
Nineteenth Century
The German Collection is strong, although not complete, in first editions of the Romantic period. There are, for instance, copies of Friedrich Hölderlin's Hyperion (1797–99), Clemens Brentano's Godwi (1801–02), Novalis's Heinrich von Ofterdingen (1802), Wilhelm Waiblinger's Phaeton (1823), of the Kinder- und Hausmärchen (1812–15) of the brothers Grimm, and of the pseudonymously published Nachtwachen von Bonaventura (1805), now attributed to August Klingemann. The Library continues to add early nineteenth-century titles, such as Heinrich von Kleist's Käthchen von Heilbronn (1810), Joseph von Eichendorff's Ahnung und Gegenwart (1815), and Georg Büchner's Danton's Tod (1835). Literary editions from the second half of the nineteenth century, a growing collection at the Beinecke, are also present in Sterling Memorial Library, the result of the systematic purchase of German books begun at Yale during those decades.
Heine and Junges Deutschland
The basis of Yale's Heine Collection, as well as a large portion of its holdings in Judaica, came from George Alexander Kohut. In 1915 Kohut gave to Yale his father's extensive library of Judaica, the Alexander Kohut Memorial Collection, and in 1933 he donated his own Heine collection, which he had recently augmented by purchasing the Heine library of the Munich dramatist Arthur Ernst Rutra. The collection includes nearly all the printed works of Heine and representative manuscripts. It is especially rich in French editions and includes a historically significant gathering of works by the oppositional German writers of the 1830s and 1840s, with whom Heine is associated: Ludwig Börne, Theodor Mundt, Ludolf Wienbarg, Karl Gutzkow, and others.
In 1957, Dr. Edgar S. Oppenheimer presented to the German Literature Collection a group of 186 volumes by and about the poet Rainer Maria Rilke. Almost all of the first editions of Rilke's works are present, including rare early publications (Leben und Lieder, 1894; Larenopfer, 1896; and the three issues of Wegwarten, 1895–96) as well as later limited editions. The collection is in mint condition and many of the volumes are specially bound. Oppenheimer (1885–1959) is better known as a collector of children's books, an interest he developed after his immigration to the United States in 1941.
Kurt and Helen Wolff
Purchased in 1947, the Kurt Wolff papers consist of approximately 4,100 letters and some manuscripts from the files of the Kurt Wolff Verlag from the years 1910–30. During those decades Wolff was one of the leading publishers of contemporary literature in Germany, and his correspondents included Expressionists (Gottfried Benn, Georg Heym, Ernst Toller, Georg Trakl), Dadaists (Hugo Ball, Richard Huelsenbeck, Tristan Tzara), and artists (Paul Gauguin, Georg Grosz, Paul Klee, Oskar Kokoschka, Käthe Kollwitz, Alfred Kubin, Frans Masereel) as well as such prominent literary figures as Gerhard Hauptmann, Hermann Hesse, Franz Kafka, Karl Kraus, Else Lasker-Schüler, Heinrich and Thomas Mann, Rilke, and Frank Wedekind. The longest files of correspondence are with Franz Werfel and with Walter Hasenclever, a friend from Wolff's student days in Leipzig. In all, 178 correspondents are represented in the collection. Many of the letters at Yale were published by Bernhard Zeller and Ellen Otten in Briefwechsel eines Verlegers 1911–1963 (Frankfurt am Main, 1966).
After fleeing Europe in 1940, Wolff and his wife Helen established Pantheon Books in New York, which published the Bollingen Series and such popular works as the American edition of Doctor Zhivago and Anne Morrow Lindbergh's Gift from the Sea. When Random House acquired Pantheon Books in 1961, the Wolffs were invited to join Harcourt Brace Jovanovich, where they had their own imprint. After Kurt Wolff's death in 1963, Helen Wolff continued at HBJ, overseeing the Helen and Kurt Wolff Books until her death in 1994. In 1996 and 2003 Christian Wolff donated his mother's papers, an archive that includes correspondence and other records from the early 1950s through the 1990s, reflecting Helen Wolff's distinguished career as an international publisher based in New York.
Hermann Broch
The Beinecke Library's Hermann Broch archive is the world's principal repository of the manuscripts and correspondence of this exiled Austrian novelist and cultural critic. Broch's road to New Haven, where he spent the last two years of his life, was itself the stuff of fiction. He was born in Vienna in 1886, the eldest son of a wealthy industrialist. His early training was in business and technology, and as a young man he successfully managed the family textile mills in Teesdorf, Lower Austria, rising to a position of considerable national prominence in the industry. Broch's true interests, however, were in literature, art, and philosophy, and after the sale of the family firm in the late 1920s, he moved to Vienna and devoted himself wholly to writing. His Schlafwandler (Sleepwalkers) trilogy, a broad study of the decline of social and ethical values, appeared between 1930 and 1932, and by the late 1930s he had begun work on his last great novel, Der Tod des Vergil (The Death of Virgil), published in 1945. He died in 1951 and is buried in Killingworth, Connecticut.
Broch bequeathed his papers to Yale, and this core collection has since been richly augmented by purchase and by gifts of manuscripts, letters, and memorabilia from his family and friends. Virtually all of his books and essays are represented in manuscript form, most of them in multiple drafts, and the collection includes unpublished fragments as well as juvenilia, chiefly of a philosophical and mathematical nature. Broch was a letter-writer par excellence, and the archive contains a massive file of correspondence, both incoming and outgoing. Two recently added groups of central importance are his letters to fellow writer Franz Blei, and hundreds of letters to his second wife, Annemarie Meier-Graefe, from the 1930s to 1951. The archive contains a number of autobiographical documents, one of them only recently unsealed. Photographs of Broch have come from Broch's family and from the photographers Trude Geiringer and Trude Fleischmann. Broch's printed works (including a full range of translations) are supplemented by clippings and reviews that document the author's reception to the present. Irma Rothstein's bust of Broch and Peter Lipman-Wulf's death mask of the novelist are also part of the archive.
Thomas Mann
At the core of Yale's Thomas Mann holdings are nearly forty manuscripts given by Mann in 1938 for the purpose of establishing a collection. With the help and dedication of its advisor, Joseph W. Angell, the Mann Collection grew to include 102 manuscript items, about four linear feet of correspondence and special files, and a large collection of printed materials by and about Mann. Outstanding manuscripts include "Notizen zu Goethe und Tolstoi," prepared for a lecture in 1921; the autograph manuscripts of the first two Joseph novels, Die Geschichten Jaakobs and Der junge Joseph; and 71 rejected leaves from the lost manuscript of Der Zauberberg. In addition to longer works, there are many essays, open letters, and speeches, especially from Mann's time in the United States, for example, the autograph manuscript of the essay Dieser Friede, dated October 1938 from Princeton. The collection also includes the handwritten draft of Thomas Mann's reply to Karl Justus Obenauer, who in December 1936 revoked Mann's honorary doctorate from the University of Bonn, and a number of the Deutsche Hörer broadcasts in the form of typescripts corrected by the author. In 1957, Yale purchased the major portion of Helen Lowe-Porter's Thomas Mann papers, including typescripts of her translations of essays and lectures by Mann and her English renditions of five of his novels, often accompanied by German typescripts, which were prepared under Mann's supervision and have occasional manuscript corrections. Among the longer Mann correspondences held at Yale are the letters with Joseph Angell between 1935 and 1951, the letters to Hermann J. Weigand between 1927 and 1952 and to Helen Lowe-Porter, 1924–54. Erich Auerbach, Alfred Knopf, Llewelyn Powys, and Marguerite Yourcenar are represented by smaller groups of letters. The letters to Agnes Meyer, numbering over three hundred, offer indispensable information on Mann's years in the United States. Mann met Meyer, wife of Eugene Meyer of the Washington Post , on his 1937 lecture tour; she became one of his closest friends and most ardent supporters, offering him political advice and commentary on the American scene. The bulk of Meyer's letters to Mann have apparently not been preserved. Mann's letters to Meyer, edited by Hans R. Vaget, were published by Fischer Verlag in 1992. Nonprint materials in the Mann Collection include Esther Vance's oil portrait of the author, done at Princeton. There are also several photographs of Mann, one of them by Edward Steichen, dated 1934. Clippings by and about Mann include material collected by Helen Lowe-Porter and by the Mann scholar James F. White. The Beinecke Library holds a nearly complete collection of printed works by Thomas Mann, many of them signed by the author.
The Frick Collection
A new era began for the Yale Collection of German Literature in 1997 when the Beinecke Library acquired about five thousand literary first editions and periodicals in German from the early twentieth century through about 1945. This library was formed by a private collector, Hans-Jürgen Frick, of Founex, Switzerland. In 1996, the German government awarded Mr. Frick its Federal Service Cross in recognition of his role in preserving books and writing by victims of the world wars.
The Frick Collection includes most of the better-known writers of the period, such as Thomas and Heinrich Mann (34 and 15 titles, respectively), Bertolt Brecht (34 titles, including a nearly complete gathering of the early Versuche), Alfred Döblin (51 titles, including Berlin Alexanderplatz of 1929), Gerhard Hauptmann (23 titles), Franz Kafka (7 titles), Robert Musil (10 titles), Ernst Toller (26 titles), Franz Werfel (24 titles), and Arnold Zweig (58 titles).
Embedded in the Frick Collection is an astonishingly complete gathering of the writings of the German Expressionists, including anthologies, publishers' series (such as Kurt Wolff's Der Jüngste Tag books and Die Silbergäule series published in Hanover by Paul Steegemann, 1919–22), and periodicals, including a complete run of Die weissen Blätter, 1913–20. The Expressionist authors present in the collection range from the well known, such as Trakl and Heym, to the barely remembered. An abbreviated list may suggest the scope: Ernst Barlach, doubly gifted as dramatist and artist/sculptor (23 works); Johannes R. Becher, whose long career led to a ministry post in East Germany (48 works); the poet Georg Britting (19 works); the Austrian dramatist Arnolt Bronnen (26 works, his complete oeuvre); Theodor Däubler (38 works); Albert Ehrenstein (29 works); Kurt Heynicke (20); the prolific dramatist Georg Kaiser (54); Klabund (pseudonym for Alfred Henschke, 77 works); Wilhelm Klemm, who went on to a career in publishing (9 titles, his complete output for the Expressionist period); Alfred Lichtenstein, a casualty of the First World War (5 volumes of poetry, his complete output); Walter Mehring, associated with Berlin Dada (23); H. J. Rehfisch, a dramatist and American exile (19); Gustav Sack, another casualty of World War I (3 titles, his complete works); the early Futurist Paul Scheerbart (29); René Schickele (31); and Frank Wedekind, whose plays in the mode of naturalism led into the Expressionist movement.
Special mention might be made of nine titles in the collection by Arthur Ernst Rutra, cited earlier as a Heine collector. One of the books by Rutra in the Frick Collection--a volume of stories--has the author's handwritten dedication to Thomas Mann and stamps indicating that the book was confiscated from Mann's library by the Nazis.
Beyond the Expressionist movement, the Frick Collection covers the 1930s and 1940s in depth, including not only the well-known authors of the period such as Heimito von Doderer (19 titles), but also many lesser-known writers whose books are rarely seen in contemporary editions, either because they were suppressed by the Nazis, or because they were Nazi collaborators whose works fell into disrepute after the war. Among the latter is the playwright Hanns Johst (32 titles), who became head of literary academies under Goebbels.
Many of the authors in the Frick Collection were victims of the Holocaust. Among these writers are Georg Hermann, who died at Auschwitz, the author of novels of Jewish life in Berlin (34 titles in the collection); Jochen Klepper, a Christian poet and novelist who committed suicide with his Jewish wife in 1942 (7 titles); Paul Kornfeld, author of Expressionist plays, who died at Lodz in 1942 (11 works in the collection, his complete oeuvre); the revolutionary Erich Mühsam, who was executed by the Nazis in 1934 (20 titles); Ernst Weiss, a fiction writer who took his own life in Paris in 1940 (25 titles); and the poet Alfred Wolfenstein, another suicide (15 titles in the collection).
The Frick Collection is also rich in works by authors who spent part of their careers in exile, among them--to cite only a few from a large group--Lion Feuchtwanger, who achieved international fame in 1925 with his novel Jud Süss and went on to a successful career in the United States (41 titles); Oskar Maria Graf (39 titles); and the mysterious novelist of the American West and Mexico, B. Traven, who died in Acapulco in 1969 (21 titles).
In most cases, the Frick Collection includes postwar publications of authors whose careers continued after 1945. A few later authors are also represented, among them H. C. Artmann, Paul Celan, the Swiss dramatists Friedrich Dürrenmatt and Max Frisch, and the experimental novelist Arno Schmidt, who is represented by 26 titles, including a signed and numbered copy of his gargantuan novel Zettels Traum (1970).
Dimension Archive
The bilingual German/English literary magazine Dimension was founded in 1968 and for twenty-six years edited by Professor A. Leslie Willson at the University of Texas at Austin. In more than eighty regular and special issues, Dimension published the work of hundreds of German-language authors, in the original German with facing-page English translation. The journal also featured graphics, often by writers like Günter Grass, who are doubly gifted as artists. Well-known authors (Grass, Peter Bichsel, Gerhard Köpf, Günter Kunert, Siegfried Lenz, Ernst Jandl, Friederike Mayröcker, Gabriele Wohmann, and Christa Wolff among them) appeared in the pages of Dimension alongside lesser-known writers, some of them discovered by Leslie Willson. The archive, with its correspondences, manuscripts, and graphic art, reflects his decades of activity as editor, literary scout, friend, advisor, and teacher. In a similar way, the Willson material documents the educated tastes of one connoisseur and scholar as they intersected with the copious literary output of the postwar decades. The library is especially rich in the works of Leslie Willson's personal friends (Grass, Kunert, Jandl, Köpf). Another focus of the library is the interaction of text and graphic arts, as in its extensive holdings of the output of the Eremiten Verlag (founded in 1949) and its authors.
Continuing Twentieth-Century Acquisitions
While individual twentieth-century books are now being purchased on a regular basis, the German Literature Collection has had several opportunities to add nearly complete author collections of printed works. In 1995, for instance, we purchased 115 titles (his complete oeuvre comprises about 136 titles) by Hermann Bahr (1863–1934), an advocate of Modernism in turn-of-the-century Austria. It seemed especially important to preserve these often extremely fragile works, few of which have been reprinted, perhaps because Bahr was vilified by the influential critic Karl Kraus.
In 1997, we purchased all the first editions of H. G. Adler, together with books he edited, anthologies to which he contributed, and offprints from periodicals, amounting to approximately 135 items, all from the author's estate, many of the books with his annotations. In After the Fires, Yale professor Peter Demetz, 1956 Grad., describes H. G. Adler as "a towering and perhaps forbidding figure of courage and absolute demands." Adler was born and educated in Prague, but his career was cut short by Nazi imprisonment, first at Theresienstadt and then at Auschwitz, where his wife and mother-in-law were executed. Adler emigrated to London in 1947, and after the success of his first book, Theresienstadt 1941–45, he went on to write novels, poetry, and numerous highly regarded historical studies of the Nazi period.
Finally, in 2002, we purchased a collection of over forty first editions by the poet and essayist Gottfried Benn, nearly his total output. Benn was trained in medicine, and his earliest poems, such as the collection Morgue (1912), reflect his experiences as a doctor. He served as a medical officer in both wars and afterwards returned to private practice in East Berlin. After 1948, linguistic experimentation began to play a prominent role in his work, and on this basis he achieved international recognition.
Written by Christa Sammons
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The Seven Billion Mark
The UN Population Division has determined that the 7 billion world population mark will be reached today, October 31, 2011. This week's Economist, the Guardian online, and the New York Times have written on this already, and other news media are following suit. Having produced the World Bank's demographic projections for some years, and now working as a demographer in the World Bank's Africa Region, let me add my perspective to the mix.
The approximate date of the world reaching the 7 billion mark is no surprise. When the Bank issued demographic projections back in 1985 (linked to World Development Report 1984– the only one in the series to have specifically focused on the demographic aspects of development), the 7 billion milestone was forecast for early 2011. This is quite close to the current estimate, especially when you consider the projection span of 26 years. At the global level, demographic projections are fairly reliable (but less so for individual countries or small regions).


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Actors have worked plenty of odd jobs on the path to fame and Kelly Ripa isn't afraid to open up about her husband's unique path.
In an interview with George Wayne, set to appear in the June issue of Vanity Fair magazine, the "Live! With Kelly" morning talk show host confirmed that her husband Mark Consuelos, 41, was once a stripper.
Wayne brought up the actor's past, "I found out in the National Enquirer that he was once a go-go boy, a male stripper."
"He was," Ripa responded, according to Hollywood News. "A lot of hot guys in Hollywood have done that. He was straight out of college, and he went to Notre Dame and finished his degree at the University of South Florida. So, there he was in South Florida, he's looking to break into show business, so he started off as a roadie to a group of these guys, and then they talked him into stripping."
Ripa currently hosts "Live! With Kelly," solo after Regis Philbin's departure from the morning talk show last year. Consuelos often serves as a guest co-host on the show, but Ripa insists that her husband would never take on the job permanently.
"No one would make me happier than Mark, but he values our marriage and he says that he doesn't see how we could stay married and both do that show."
According to Us Weekly, frontrunners for the position as Ripa's co-host include Josh Groban, Jerry O'Connell and Nick Lachey.
Ripa and Consuelos, who met on the set of "All My Children," teamed up to produce a documentary series about cheerleading called "CHEER" for CMT, which is slated to debut in September.
According to a statement from the network, the show will be a one-hour, six-episode series and the couple will serve as executive producers on the show through their company Milojo Productions. "CHEER" will document a hard-driving coach named Patty Ann Romero and her cheerleading team on their journey to world cheerleading championships.
Ripa played Hayley Vaughan on "All My Children" between 1990 and 2001. Ripa began acting on "All My Children" when she was 19 as Hayley Vaughan. On the set she met Mark Consuelos, who played her on-screen love interest, Mateo, in 1995. The two married in 1996 and are parents to sons Michael, 14, and Joaquin, 9 and daughter Lola, 10.
The couple also served as executive producers on the reality series "Dirty Soap," which chronicled the lives of soap opera actors.
In September, the two talked about what it was like to work with each other on projects and acting. Check out the interview below.


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Discover how UV inks differ from other formulations and what it takes to print and cure them successfully.
By Bea Purcell
Depending on the ink system, certain colors within the system will have the tendency to cure faster than others. By the same token, certain ink systems will cure more slowly than others. Ink-manufacturer recommendations and your own experimentation will help guide you to the proper curing parameters for each ink line and color you use.
The inks should cure properly because my "puck" (radiometer) is showing the correct millijoule reading as recommended by my ink supplier. Radiometers are useful tools in measuring energy output. However, there is no correlation between numbers measured by different radiometers for the same curing unit. Employing the same radiometer to measure various curing units in the same shop is useful only for comparative purposes.
Ink manufacturers may have a published range of ideal curing conditions that were determined under controlled laboratory conditions, and these can serve as a starting point for your own measurements. Just keep in mind that in screen printing, where ink-film thickness can vary, the number of millijoules and, more importantly, the milliwatts necessary to cure an ink will also vary.
The lamp is bright, so it is still good. A UV lamp emits three different energies: ultraviolet, visible light, and infrared. As the lamp ages, the brighter and hotter it becomes. Simultaneously, the ultraviolet energy emitted by the lamp decreases. Since ultraviolet energy is invisible, regular measurement with a radiometer and good record keeping with a radiometer is the only way to ensure that UV lamps are operating correctly.
The ink is bad because it is not sticking to the material. There is a fine line between adhesion and cure. Ink film that is not cured thoroughly will not adhere to the substrate. Assuming you're printing a colored ink rather than a clear coat, you can determine whether the problem is adhesion or cure by slowing the conveyor speed and increasing lamp wattage. In other words, you eliminate curing as a variable by curing the dickens out of the ink. If the ink still doesn't stick, you know you're dealing with an adhesion problem.
You can also print a clear coat and check for adhesion (using the cross-hatch and tape test or a similar method). The clear coat should cure faster than pigmented inks, so if the clear adheres to the substrate but the colored ink does not, then the problem is cure. If the clear ink film lifts from the substrate like a banana peel, then the problem is adhesion.
The ink has a different smell; therefore, it is not good. Every UV ink has its own distinct smell in the container, depending on the monomers that are used in the ink. Smell has very little to do with the ink's performance. If smell is an issue, odor-masking agents may be added to the ink during or after manufacture.
All curing units are the same. Performance differences always exist among curing units, even in models from the same manufacturer used in the same production area. Among other things, these differences can stem from lamp age, use of different reflector geometries, and differences in the way the curing equipment is maintained.
Make UV work for you
UV technology gives screen printers the capability to print faster, more efficiently, and more accurately on a wide range of materials. But to realize the full benefits of UV, users must understand the nature of UV inks and the equipment required to cure them. UV technology leaves little margin for error, but through testing, regular measurement of curing conditions, and accurate recordkeeping, you can enjoy all the advantages that this technology has to offer.
About the author
Bea Purcell is product manager for Nazdar, Shawnee, KS. She has more than 18 years experience in screen-printing and UV-curing technology and has held positions in technical services, ink research and development, training, sales, and marketing. Purcell holds a bachelor of science degree in chemical engineering from the University of San Carlos and a master of science degree in education from the University of Southern California.
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text: Plants, animals, and people living in Coastal North Carolina are influenced by large, shallow bodies of water, called "Sounds." The Sound's daily influence can be a challenge or a gift. The word "sound" also means "in good condition; not damaged, injured, or diseased." Sound Harvest and Garden will try to reflect both those meanings, as I aim for sound vegetables, herbs, chickens, eggs, and ornamentals, all from my home by Core Sound.


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Chronicals of Narnia: Prince Caspian, The (US - BD RA)
Gabe returns to a much rougher Narnia, and stomps on Eddie Izzard mice...
One year after leaving a lifetime of rule over the land of Narnia, the Penvensie children have unexpectedly returned to their former home, thousands of years after humans have taken over. Their arrival coincides with the escape of Prince Caspian, a human co-fated to retake the lands of Narnia with them.
With the exception of the second book of the Bible (at least most of it), it seems that every epic sequel apparently must be 'darker' than its predecessor. That assumption was what kept me interested in a sequel to the bland beauty of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. I assumed that director Andrew Adamson and his company would follow the precedent, and I'd get a more mature film out of Prince Caspian. It turns out my needs may not have been in the series' best interests.
Adamson has learned from the previous film, and Prince Caspian features a much broader scope and more variety in look. Unfortunately the storyline of this second film doesn't allow for many of the visual elements that separated Wardrobe from Lord of the Rings. The Pevensie-less Narnia is much closer to the real world, and the fantastic elements are the exception rather than the rule, much like the land of Middle Earth. For me this was a frustrating trade off, because I appreciate the more mature and grounded storytelling, but miss the otherworldliness of the first film (even if talking animals aren't exactly the most imaginative fantasy element).
Tonally Caspian is easily superior to Wardrobe simply because it's more mature, and because Adamson is willing to let his story cook a little longer now that the universe has already been introduced, but the sacrifice might have been too much in favour of all those things I assumed I wanted. The darkness factor overtakes the family friendly nature of the series in many cases, and frankly I'm surprised the MPAA awarded Caspian a PG rather than a PG-13. With three dark and dangerous Lord of the Rings films still less than ten years old, and a Harry Potter series winding its way down a increasingly violent path, I'm not sure if there's room or necessity for the tone I originally thought I wanted.
The book was written in response to C.S. Lewis' interest in Biblical themes, and the horrors of two World Wars, but in proving that history repeats itself, the allegory works well for modern problems. Prince Caspian's Christian allegories are pretty heavy, heavy enough for a non-Christian like myself to feel a bit preached too, but we don't have to use too much of our imagination to re-evaluate matters to include modern war atrocity and class war. Though obviously inspired on some level by The Chronicles of Narnia, I prefer the complicated treatment of fantastical cultural genocide presented in Hellboy 2, even if Caspian has a healthy dose of old-world class and a cool last act temptation element. Apparently we are left to remember there is only one true God, and he is a taking lion, not an androgynous ice witch.
I vaguely remember hating the original book as a kid, enough that I stopped reading the series and never picked it up again. If the movie is true to the text (which I believe it is not, entirely), than it's very likely that all the maturity and tonal subtlety went sailing over my head. I certainly don't remember any rousing action beats. Adamson's improvements as a filmmaker are most potent during the initial castle infiltration sequence, where the Narnia army breaks in and does their bloody business under the cover of night. The later large scale battle scenes are well produced, and show off the awesome budget, but I'm becoming a little bored with rousing scenes of charging armies and rock launching tibucettes.
More interesting, ultimately, than the film is the film's business, which was a relative disappointment overall for Disney and Walden Media. Many insiders had Prince Caspian tapped to be one of the bigger hits of the year, but at last glance it's behind nine other films (including Mama Mia). Worldwide the film managed to turn a profit, but domestically it didn't make back its $200 million (plus?) price tag. Since the end of Lord of the Rings in 2003, most big budget studio endeavours have flopped at the box office, with the exception of the Harry Potter series, and the first Narnia film. Potter will continue to prosper, regardless of box office turns, but the relative failure of Prince Caspian, coupled with the domestic flopping of The Golden Compass and Eragon, likely marks the end of studio interest in epic fantasy. Well, you know, except for those Hobbit movies they're making.
There are no surprises in this 1080p transfer in terms of clarity, cleanliness, or colour quality. Vast sections of the film take place in the dead of night, under very subtle lighting schemes. The contrast levels are dulled, which does lead to some image loss. On the DVD release this is a pretty big problem, to the point where it's almost impossible to tell whets going on during the first attempt at taking the castle. But even with the super clarity to hi-def, which brings out much of the most diminutive highlighting, these darkest scenes are a little confusing visually. One wonders if perhaps Adamson hasn't taken this whole 'darker sequel' thing all a bit too literally.
The rest of the film is pretty overcast (remember, Narnia is sad this time around, boohoo), so those looking for the same brand of daylight crystalline imagery will have to stick their Wardrobe Blu-ray back in the player. Though Adamson has opted for a much more monochromatic pallet throughout, the richness of his colours do not suffer, nor does their crisp nature. The contrasting elements are richly opposed, but some of the black does absorb a bit of the surrounding hues especially the blues. The high detail levels don't give away the digital effects as often this time around, which is saying something from the effects themselves, rather than the disc's abilities.
It seems Disney has started abandoning PCM tracks, which will disappoint some viewers, as there aren't any other studios currently supporting the format that I know of. On my particular system (which we've constantly established is not state of the art) even a downgraded DTS-HD track usually sounds more powerful than a PCM track, so I welcome the change. I can't get the full effects of all 7.1 channels on this particular track, but the overall effect is still quite stunning. I'm most impressed with the LFE, which is large without warbling, or over-vibrating as to lose punch. With this LFE backing everything up, the entire track has real impact in all its most important assets. The sound designers and mixers do a fine job of keeping the track from becoming too messy with screaming warriors and clanging swords. Most of the time mournful, and at times genuinely rousing, the score is given the benefit of the doubt on the track. I also finally figured out what the main 'hero theme' from Narnia reminds me of—it's very much like the non-frenetic sections of the Deep Blue Sea 'hero theme', written by Trevor Rabin.
Disc one's extras begin with an audio commentary, featuring Andrew Adamson, and his child actors—Ben Barnes, Georgie Henley, Skander Keynes, William Moseley and Anna Popplewell (no Eddie Izzard unfortunately). The kids have grown up quite a bit since their previous commentary, and are thus a little less fun, but more thoughtful. Adamson is pretty direct in his factoids, but is affected nicely by the kids, who really end up running the track. Not surprisingly, the Christian themes are mostly avoided.
Disc one also features 'Circle-Vision Interactive', an interactive look at the production of the castle raid sequence (the best sequence in the movie). This is similar to the 'Enter the Maelstrom' extra that adorned Disney's Pirates of the Caribbean: At World's End Blu-ray, and features ten different behind the scenes options with commentary, including some which break apart into even more featurettes, totalling several minutes each. Disc one also houses a plethora of Disney previews.
The disc two extras are not unlike those of the original Wardrobe two-disc release, starting with 'Inside Narnia: The Adventure Returns', a thirty-five minute behind-the-scenes look and introduction to the rest of the extras. This featurette is mostly a personal look at the film from mostly director Andrew Adamson's point of view, though every other major player gets at least a bit of interviewing. Those bored by the ginormous making-of documentaries will enjoy the featurette's breakneck pace, which was a little too frenetic for me personally, but it covers almost everything (location scouting, settling into surroundings, production design and inspiration, casting, on-set footage, make-up, etc) at least a little bit.
Then things are broken down a little bit for those of us that like to savour our behind-the-scenes extras a bit more, starting with 'Sets of Narnia', a twenty-four minute, closer look at the film's locations and sets. This featurette opens with a lot of actors and crewmembers talking about the sparse visual descriptions in the original books, which is a really good point I hadn't really stopped to think about. The featurette directly compares the descriptive text, as read by C.S. Lewis' son, to the sets as they are seen in the film, and includes quite a bit of raw on-set footage.
Next is a twenty-three minute look at the effects of a $200 million dollar production on the small Slovenian town of Bolvic. The production set up shop in the tiny town, and brought twelve hundred cast and crewmembers with them to film the film's climatic river crossing sequence. The featurette is told mostly through the eyes of the natives and 'little people', though the big wigs get a few words. As an environmentalist I was happy with the trouble the production was given over environmental conservation, though I still don't understand why the production couldn't find a river in New Zealand and save themselves a couple million dollars. Seems a wasteful indulgence to me.
The remaining featurettes are much shorter. 'Previsualizing Narnia' is a ten minute look at the elaborate pre-viz work put into the film's most logistically complicated sequences. It's funny looking at the evolution of the pre-viz process over the years. At this point these simplistic moving storyboards are looking like movies themselves. 'Talking Animals and Walking Trees' is a five-minute glance at the cast and crew's favourite special effects creatures. 'Secrets of the Duel' takes six minutes to break down climax starting sword duel, from set design, to the staging, Weta's amour and sword design, and choreography. 'Becoming Trumpkin' is a five minute look at Peter Dinklage's hiring and make-up process (I honestly had no idea it was even him), and 'Warwick Davis: The Man Behind Nikabrik' is an eleven minute day in the life of the other famous dwarf actor. Apparently seniority gets you a few more minutes of behind the scenes time these days.
The extras are finished out with ten deleted scenes, with optional introduction by Adamson, totalling about eleven minutes, and a blooper reel. As per the usual story, the deleted scenes were all almost exclusively cut for pacing. They are the only extra presented in Dolby Digital 5.1, but all the extras are presented in high definition video.
Director Andrew Adamson has improved his skills enormously. Prince Caspian is a more consistent storytelling endeavour than The Lion, the Witch and the Wardrobe, and the action is both clearer, and more interesting. The film's tone is much different, much darker, and unfortunately much more similar to The Lord of the Rings, which is the fault of the text over the filmmakers, who really did do their best to overcome Peter Jackson's strangle hold on the genre (though they did have twice his budget). Based on expectation the film isn't a disappointment, but it doesn't go above and beyond either. Likely worth seeing at least once for even passing series fans, though.
*Note: The images on this page are not representative of the Blu-ray release.
Review by Gabriel Powers
Some material may not be suitable for children
Disc Details
Release Date: 1st January 1995
Discs: 3
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.40:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 7.1 English, Dolby Digital 5.1 French, Dolby Digital 5.1 Portuguese, Dolby Digital 5.1 Spanish
Subtitles: English SDH, French, Portuguese, Spanish
Extras: Director/Cast Commentary, 'Circle-Vision Interactive', BD-Live, 'Inside Narnia: The Adventure Returns', 'Sets of Narnia', 'Big Movie Comes to a Small Town', 'Previsualizing Narnia', 'Talking Animals and Walking Trees',Deleted Scenes, Digital Copy.
Easter Egg: No
Feature Details
Director: Andrew Adamson
Cast: Simon Andreu, John Bach, David Bowles, Warwick Davis, Liam Neeson
Genre: Action and Adventure
Length: 149 minutes
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In my last two posts I described how the New York Times misunderstands the Constitution and highlighted Reason's great new article comparing conservative and libertarian theories of constitutional interpretation. Well, now I have a chance to put those topics together, in response to yesterday's big front-pager entitled "Court Under Roberts Is Most Conservative in Decades."
Times Supreme Court reporter Adam Liptak – generally a sharp and honest broker – surveys some new political science literature and concludes, among other things, that since John Roberts became Chief Justice five years ago, the Court has been moving (modestly) to the right and is now "the most conservative one in living memory." Ed Whelan debunks both of these empirical claims at NRO's Bench Memos blog – I disagree with Ed on some legal issues, not least unenumerated rights, but his fisking is worth a read – and I want to add two broad points.
First, the claim that "all" (or even most) judicial decisions can be assigned an ideological value is simply laughable. Are all decisions favoring criminal defendants, unions, and people claiming discrimination or civil rights violations "liberal" while those favoring prosecutors, employers, and the government "conservative" (as the scholars who maintain the database maintain)? What about union members suing unions or large corporations suing each other? What if the criminal defendant is a Fortune 500 CEO (like Conrad Black and Jeffrey Skilling in this past term's "honest services fraud" cases)? What about "reverse" racial discrimination claims like those at issue in Ricci v. DeStefano (the New Haven firefighters case)? What about an oil company suing the EPA? A financial services company suing the SEC (or vice-versa)?
And what about civil rights claims involving the Second Amendment, or the Fifth Amendment's Takings Clause, or the right to earn an honest living? Are those not "real" civil rights claims? What if it's poor people losing their houses to a big developer who promises a town it will create jobs and increase tax revenues? What if it's black hair braiders who can't set up their shops without passing haridressing license exams requiring expertise only with white hair styles? What if it's women who want to buy and carry handguns to defend themselves on their walks home in a dangerous neighborhood? Attempts to code such cases – like attempts to decide them based on "empathy" or support for the "little guy" – are bound to fail.
Second – and this ties together all the criticisms – the labeling of decisions (and courts!) as "conservative" and "liberal" ultimately boils down to results-based analysis that equates law with politics. The liberal political position is to favor abortion rights, separation of church and state, gun control, wealth redistribution, economic regulation, and racial preferences, and to disfavor the death penalty. It is then obvious that court rulings against those positions must be "conservative." Add in the fact that the researchers performing all these analyses –and reporters writing about them – are themselves quite "liberal" and it becomes all the more alarming when the Supreme Court moves in a "conservative" (= wrong) direction.
But you can't simply code cases, tally up votes, and call it a day. Is there no difference between a vote to uphold restrictions on partial-birth abortion and one to overturn Roe v. Wade? Is voting one way because of stare decisis the same as voting that way because you think the underlying precedent is correct? Is a vote to overturn the Slaughterhouse Cases and revive the Privileges or Immunities Clause the same as one to "incorporate" via the Due Process Clause?
And what about all those unanimous and "odd bedfellow" cases – the ones where Justices Scalia and Ginsburg are on one side and Justices Breyer and Alito on the other? Are Scalia and Ginsburg simply more "liberal" when it comes to the Sixth Amendment's Confrontation Clause? Is a judge who votes to strike down economic regulations while also recognizing a broad right to habeas corpus just a "moderate" (or perhaps "confused")? Or is that judge simply a "libertarian" as a matter of public policy?
While we're at it, look at the First Amendment. How do you account for the leading pro-free speech justices the last 20 years being Kennedy, Thomas, and Souter? Is a vote allowing a statute that criminalizes certain kinds of disfavored speech "liberal" or "conservative"? (If you have a ready answer, contrast what you think about hate speech laws with what you think about anti-pornography laws.)
Put simply, law matters. Judges are not super-legislators voting on their preferred policy positions; they have different jurisprudential theories, some of which lend themselves more to "liberal" political results, some less, but hopefully it's the Constitution and statutes that ultimately lead to those results over the long term.
In short, Adam, c'mon, covering the judicial branch is not like covering the political branches. You know the difference between the Court and Congress so don't allow your readers to think there isn't one.


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Just over 20% of U.S. adults get as much aerobic and muscle-strengthening exercise as recommended in government guidelines, CDC researchers said.
Using data from the large Behavioral Risk Factor Surveillance System survey in 2011, with about 450,000 respondents, Carmen Harris, MPH, and colleagues at the CDC found that 20.6% of respondents indicated that their non-occupational physical activity reached levels recommended in the 2008 Physical Activity Guidelines for Americans issued by the U.S. Department of Health and Human Services.
On the plus side, however, half the respondents reported enough aerobic activity to meet the guideline recommendation for that type of exercise, and almost 30% reached the goal for muscle-strengthening activity, the researchers indicated in the May 3 issue of Morbidity and Mortality Weekly Report.
The guidelines call for adults to engage in these forms of activity, outside of work, at the following levels:
- Aerobic: at least 150 minutes/week of moderate-intensity, 75 minutes/week of vigorous exercise, or a combination of the two such that, by multiplying the duration of vigorous activity in minutes by two, the total is at least 150 minutes/week
- Muscle-strengthening: at least two episodes of such activity per week
Men were more likely than women to meet these goals, together and individually. Harris and colleagues also found a strong age effect, in which the percentage of respondents indicating that they met the goals declined with increasing age.
Both findings largely reflected lower participation in muscle-strengthening activities in women and older respondents. For aerobic activity, the disparities by gender and age were much smaller.
For example, 34.4% of men and 24.5% of women met the muscle-strengthening guideline, whereas 53.1% of men and 50.2% of women achieve the aerobic activity goal, Harris and colleagues reported.
Other factors strongly associated with success in meeting the guidelines were educational attainment (positive correlation) and body mass index (negative).
Only 12% of respondents without a high school diploma met goals for both aerobic and muscle-strengthening activity, compared with 27.4% of college graduates (P<0.05). Similarly, 13.5% of individuals classed as obese and 21.9% of those classified as overweight met both goals, versus 25.8% of normal and underweight respondents (P<0.05 for both comparisons to normal/underweight).
Race/ethnicity was less of a factor, with Hispanics showing slightly lower rates of goal attainment than other groups. African Americans showed relatively high participation in muscle strengthening but lower levels of aerobic activity than whites or "other" races.
Geographically, respondents in western states had the highest levels of goal attainment (23.5% for both goals) and those in the South had the lowest (18.7%).
States in the Deep South and Appalachian regions had attainment levels as low as 13%. The highest rates were seen in Colorado (27.3% for both goals) followed by the District of Columbia (26.3%).
Harris and colleagues noted that the CDC has previously recommended a number of local policies to encourage exercise participation, such as opening school recreation facilities to adults after-hours and designing streets to be more bike-friendly.
Limitations to the analysis included self-report of physical activity types and durations, a survey response rate of 50%, and the specific survey question on exercise which asked respondents to describe their participation in their top two physical activities.
"Some respondents classified as not meeting the aerobic guideline criteria might have met the criteria if information about additional aerobic activities or regular, aerobic job duties had been included in the analysis," the researchers indicated.
The study had no external funding. All authors were CDC employees.
- Reviewed by Zalman S. Agus, MD Emeritus Professor, Perelman School of Medicine at the University of Pennsylvania and Dorothy Caputo, MA, BSN, RN, Nurse Planner
- Download a complimentary source PDF.
last updated
Primary Source
Morbidity and Mortality Weekly ReportSource Reference: Harris C, et al "Adult participation in aerobic and muscle-strengthening physical activities -- United States, 2011" MMWR 2013; 62: 326-330.